Material · Textured, embossed, and paintable
Lincrusta, Anaglypta, flocks, embossed, and dimensional papers, installed to the specification each house publishes. Soaked and booked to timing. Relief registered by touch as well as eye. Corners mitred. Painted after full cure. Installation-only, headquartered in Park City.
What textured and paintable is
Wallcoverings with relief: Lincrusta's linseed-based composition, Anaglypta's embossed paper, flocked velvet-on-paper, and dimensional non-wovens. Some are painted after installation and become part of the architecture. All are heavier than paper and less forgiving at corners, where a bend shows as a crack or a step.
They are the classic materials of the dado, the wainscot, the stair hall, and the ceiling, and they are also the newest: dimensional non-wovens that read as carved plaster. What they share is a surface that cannot be folded, rolled, or hurried. Lincrusta is hung to a clock the house publishes. Embossed repeats are registered by touch, not only by eye. Paint goes on after a cure measured in days.
Textured and paintable wallcoverings are specified across Park City and the Heber Valley for period homes and for new mountain houses that want a painted finish with depth, and they are installed by the crews that carry our hand-painted and specialty work, to the instructions each house publishes.
Four materials
Lincrusta is a composition of linseed oil and wood flour pressed onto paper, heavy and deeply relieved, and it is painted after it cures. Anaglypta is embossed paper or vinyl, lighter and shallower, also painted after cure. Flock is velvet fibre bonded to paper in a pattern, finished as supplied. Dimensional papers are moulded non-wovens with deep relief, finished as supplied and often read as carved plaster.
The two paintable ones are finished after the adhesive has fully cured, never before, because paint on an uncured wall traps moisture and lifts. The two finished ones are never touched by a roller or a bare hand after they are set, because a crushed pile or a flattened relief does not recover. All four carry a repeat that is registered by touch across the seam.
Relief guide
Textured and paintable covers everything from a Victorian dado to a moulded non-woven feature wall. Each asks its own timing, its own corner, and its own finish.
| Product | Construction | Finish | Corners | Seams | Best uses |
|---|---|---|---|---|---|
| Lincrusta | Linseed composition on paper | Painted after cure | Mitred while soft | Butted, registered by touch | Dado, stair halls, wainscot |
| Anaglypta paper | Embossed paper | Painted after cure | Wrapped ≈ 1 in, seam off the corner | Butted, registered by touch | Ceilings, dado, period rooms |
| Anaglypta vinyl | Embossed vinyl on paper | Painted after cure | Wrapped, seam off the corner | Butted | Corridors, hospitality, family rooms |
| Paintable non-woven | Embossed non-woven | Painted after cure | Wrapped | Butted | Ceilings, bedrooms, full rooms |
| Flock | Velvet fibre on paper | As supplied | Wrapped, pile protected | Butted, pile never rolled | Dining rooms, powder rooms, bedrooms |
| Dimensional non-woven | Moulded relief non-woven | As supplied | Mitred or wrapped per house | Registered by touch | Feature walls, media rooms, headboards |
| Textured plaster-effect | Printed or embossed non-woven | As supplied | Wrapped | Butted | Bedrooms, ceilings, great rooms |
| Friezes and borders | Embossed paper or composition | Painted after cure | Mitred at the corner | Butted at the repeat | Period cornices, dado rails, stair halls |
Where relief performs
What relief demands at the wall
The material is correct more often than the installation. These are the steps that close the gap.
The composition softens with water and stiffens as it dries. It is soaked from the back, booked with the house's adhesive, rested, and hung inside the window the house publishes.
A repeat that is right by eye can still be millimetres out in relief. A fingertip across the join finds the ridge on both drops before the edge is set.
Relief cannot be folded. Outside corners are mitred at forty-five degrees while the panel is soft; inside corners are wrapped by an inch with the next seam kept off the corner.
Days, not hours. Paint on an uncured wall traps moisture and lifts. The crew returns to check the seams before the painter starts.
Gloves, the edge rolled and the field never touched, nothing leaned against the wall afterwards. A crushed pile does not recover.
The clock
Lincrusta is a linseed composition that softens with warm water and stiffens as it dries, and the installation runs on that clock. The panel is soaked from the back, booked with the house's adhesive, rested, and hung inside a window the house publishes. Hung early, it slides on the wall. Hung late, it cracks at the corner. Corners are cut while it is still soft.
Paint goes on only after the adhesive has fully cured, and on Lincrusta that is measured in days rather than hours. Painted early, the finish traps moisture under a surface that cannot breathe and lifts in the first season. The schedule carries the cure, and the crew returns to check every seam before the painter starts. Anaglypta and embossed paper run on a shorter clock to the same principle.
The corner
Flat paper folds around a corner. Relief does not: the pattern shows every bend as a crack in the composition or a step in the emboss. So outside corners are mitred, two edges cut at forty-five degrees meeting on the arris, with the relief continuing across the join. Inside corners are wrapped by about an inch, and the next seam is placed a hand's width off the corner so nothing is rolled where the relief is highest.
The corners are read at the measurement, because a corner that is out of plumb or out of square is a corner where the mitre will not close. Where the wall needs it, the corner is trued before the panel arrives. Lincrusta corners are cut while the panel is still soft, embossed papers while wet. A corner cut late is a corner that cracks.
Registration
An embossed repeat that is matched by eye can still be a few millimetres out in relief, and under a sconce that reads as a step the full height of the wall. So the seam is registered by touch: a fingertip drawn across the join finds the ridge on both drops before the edge is set. Then the edge is rolled, and only the edge, because a roller across the field flattens the relief it was chosen for.
Flocks are registered the same way and then never touched again. A roller or a bare hand crushes the pile, and a crushed pile does not recover. The crew works in gloves, sets the edge with a soft brush, and nothing leans against the wall afterwards.
Living with relief
Painted relief is the most durable wallcovering there is. Flock is the most delicate.
Painted Lincrusta and Anaglypta take a damp cloth and a mild detergent, like any painted wall. Flock and dimensional papers take a soft brush or a vacuum with a brush head along the pile, and nothing else.
Painted relief is repainted in place as the room changes, with a short-nap roller or a brush that follows the relief. Lincrusta in period homes has carried a dozen coats over a century.
Painted composition shrugs off chair backs and bags, which is why it is the dado material. A dent in Lincrusta is filled and repainted. A crushed flock is replaced, not repaired.
Painted relief holds indefinitely. Flock fades under direct, sustained sun; walls that take the sun are identified at the measurement.
Lincrusta installed on a sound wall and painted after cure serves for generations. Anaglypta and embossed vinyl serve through several redecorations. Flock serves as long as it is left alone.
Because the layout drawing and the lot are kept, a single drop of embossed paper or a flock panel can be replaced years later. Keep the surplus flat, dry, and in its wrapping.
Why Mancini
Hung to the clock. Registered by touch. Corners mitred while soft.
A relief wall shows the hand that set it at every corner and every seam. The standard is measured in what you do not see: no step at the join, no crack at the arris, no flattened field.
Installed to the instructions each house publishes, product by product.
Every house publishes the soak, the paste, the window, the cure, and the finish for its relief products. We read it before the order and follow it at the wall. No shortcuts, no substitutions.
Four active crews. Twelve trained installers. Scheduling measured in weeks.
Multi-crew capacity means a relief project moves on the designer's timeline, with the cure and the painter's start written into the schedule rather than guessed.
Textured and paintable, installed
Textured and paintable wallcoverings are installed by the crews that carry Mancini's hand-painted and specialty work across the Wasatch Back: four crews, twelve trained installers, fully insured and bonded, with 70+ five-star reviews.
The houses
Each house builds its relief products differently and publishes its own timing and finish instructions. These are the ones we install most, and what each asks for.
The original linseed composition since 1877. Soaked, booked, and hung to the published window with the house's adhesive; corners mitred while soft; painted after full cure.
Installation notesEmbossed paper and vinyl since 1887, paintable after cure. Hung wet to dry on the house's paste, registered by touch, seams off the corner.
Installation notesBelgian texture innovation, including dimensional and moulded non-woven collections sold by lot with collection-specific instructions.
Installation notesEmbossed, textured, and paintable lines alongside its printed papers, each with its own instruction for paste and finish.
Installation notesLondon since 1875. Flocked papers handled to the house's protocol: gloves, edge set with a soft brush, pile never rolled.
Installation notesPaintable embossed and textured non-wovens for ceilings and full rooms; painted after cure to the published instruction.
Installation notesTextured, embossed, and paintable lines sold by the double roll; quantities confirmed from the measurement and installed to the published instruction.
Installation notesSend the sample and the room. If it carries relief, we have installed something built the same way, and we read the house's timing and finish instruction before the order.
Send the sampleDesign house and manufacturer names referenced on this page are the property of their respective owners. They identify materials we install and completed project history. Mancini Wallpapers holds no partnership, certification, or endorsement from any house named, and installs every product to the instructions its manufacturer publishes.
Client reviews
Where we install relief
Four crews, twelve trained installers, most projects on the calendar within weeks.
Old Town, Thaynes Canyon, Aerie, Pinebrook, Silver Springs, Trailside.
Empire Pass, Deer Crest, Bald Eagle, Silver Lake Village.
Heber City, Midway, Red Ledges, Victory Ranch, Tuhaye.
Alpine, Highland, Traverse Mountain, Cedar Hills.
Golf and mountain club residences above Kimball Junction.
Federal Heights, The Avenues, Holladay, Cottonwood Heights.
Questions
The questions homeowners and designers ask before, during, and after a Lincrusta, Anaglypta, flock, or dimensional installation.
Yes. Stair runs and dado are the classic Lincrusta application. The panels are soaked, booked, and hung to the house's timing with its adhesive, the corners are mitred while the composition is still soft, and the finish is painted after a cure measured in days. Across Summit, Wasatch, Salt Lake, and Utah counties.
Mancini Wallpapers, headquartered in Park City. Embossed, flocked, and dimensional papers are installed by the crews that carry our hand-painted and specialty work, to each house's published instruction, with the repeat registered by touch and the corners mitred or wrapped as the product requires.
Lincrusta is a linseed-oil composition pressed onto paper, heavy and deeply relieved, hung to a soak-and-book clock and painted after cure. Anaglypta is embossed paper or vinyl, lighter and shallower, hung wet to dry and also painted after cure. Both are registered by touch at the seam; Lincrusta corners are mitred, Anaglypta corners are wrapped.
Days, not hours. Paint on an uncured wall traps moisture under a surface that cannot breathe and lifts in the first season. The cure is written into the schedule, the crew returns to check every seam, and the painter's start date is set from the cure rather than from the installation day.
Yes. Painted embossed ceilings are among the best uses of both, especially in dining rooms and period reception rooms. The ceiling is prepared flat, the repeat is laid out from the fixture, and the panels are hung from a scaffold and registered by touch overhead.
Relief cannot be folded around a corner the way flat paper can; the pattern shows every bend as a crack or a step. Outside corners are cut at forty-five degrees and meet on the arris with the relief continuing. Inside corners are wrapped by an inch with the next seam kept off the corner.
Not when the repeat is registered by touch. A match that is right by eye can still be millimetres out in relief and read as a step under a sconce, so a fingertip across the join finds the ridge on both drops before the edge is set. The edge is rolled; the field is never rolled.
A soft brush or a vacuum with a brush head along the pile, and nothing else. No damp cloth, no pressure. A crushed pile does not recover, which is why the crew works in gloves and nothing leans against a flocked wall afterwards.
Yes, in place, as the room changes, with a short-nap roller or a brush that follows the relief. Lincrusta in period homes has carried a dozen coats over a century. It is the most durable wallcovering there is once painted.
Painted embossed vinyl, in a family bath with ventilation and away from the shower, yes. Paper-backed relief and flock in a bath with a shower or steam, no. Those rooms are declined at the measurement.
No. Relief exaggerates a wave in the wall beneath it. Texture is skim-coated flat, sealed, and primed before the layout is marked, and the corners are trued so the mitres close. That preparation is part of the scope and is written into the proposal when the walls need it.
The relief is hung first and the cap or rail is fitted after, covering the top edge. Outlets and switches on a dado run are cut with the panel still soft and the plate covers the cut; where the electrician allows it, a plate is moved so no cut lands in the relief.
It depends on the run, the height, the roll or panel format, the repeat, and the corners. James measures every wall, plans the seams and the corners, and derives the quantity from the drawn layout with the house's overage. The proposal shows the arithmetic, and the surplus stays with you for repairs.
No. Mancini is installation-only. Material comes through your designer's trade account, a showroom, or your own order, and we install what arrives. Designers keep their procurement chain and their markup; we are the execution at the end of it.
With a complimentary on-site measurement. James walks the space, reads the walls and every corner for plumb and square, and measures it himself. A written proposal follows, with the cure and the painter's start in the schedule. Send the property address, the product, and a photo of the room to begin.
Begin your textured project
Send the property address, the product or the sample, and a photo of the room. James will come back with a time to walk the space, read the walls and the corners, and measure it himself. A written proposal follows.
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