Plaster Of Paris Contractor in Delhi NCR - Interior Designers


Best Interior decorator and Interior designer in Delhi for corporate office, home in NCR, Gurgaon, Noida, Ghaziabad, Faridabad.

Plaster Of Paris(POP) is one of the most widely used raw material for ceiling. Find thousands of  

Plaster Of Paris(POP) based Ceiling designs

 with extensive information explaining on why Plaster of Paris is required, Precautions for POP, POP inspection checklists, Tips for Plaster of paris, material for POP, Application of Plaster of Paris etc.

Plaster of Paris Works Delhi | Interior designers & decorators for Office Delhi

Plaster of Paris is a great material to use for basic sculptures and craft projects because it is easy to prepare and sets in a few minutes. Mixing Plaster of Paris is easy but there are important steps to keep in mind to come up with a solid and sturdy sculpture.

  • Materials Needed
  • Plaster of Paris powder
  • Water
  • Mixing container
  • Spoon or spatula
  • Measuring cup
  • Newspapers or plastic mat
  • Poster paint (optional)
  • These are various designs of POP Plaster of Paris Ceiling designs are very easy to construct. It is just a matter of creative designs and workmanship. Just look at the variety of POP Ceiling designs so that you can have it in your dream home.

Safety Guidelines

Plaster of Paris powder is extremely light and fine, thus easily dispersed through air. Caution should be taken to avoid getting the powder to the eyes and nose. Wearing a dust mask is highly recommended.

Interior plastering techniques


Wall tiles, which in technical language are called stoneware tiles, and floor tiles, which may be manufactured from stoneware or porcelain stoneware. What they all have in common is a glazed, closed surface,which is very durable and easy to clean. Some instructions for care of these coverings:The plasterer quotes prices based on techniques to be used and board feet to be covered to the contractor or homeowner before work begins. The board feet is obtained by the hangers or estimated by the head subcontractor by counting the wallboards that come in an industry standard of 8' to 12' long. He then adds in extra expenses for soffits and cathedral ceilings.

Ceiling second or first

Typically if the ceiling is to be smooth it is done first, before the walls. If it is to be textured, it is done after the walls. The reason for this is that invariably when a ceiling is being worked on plaster will fall and splash onto the walls. However a texture mix doesn't need to be smoothed out when it starts to set:

Thus a retardant such as "Cream of tartar" or sugar can be used to prolong the setting time, and is easily scraped off the walls.


The first thing the plasterer tends to do is go over all the mesh-taped seams of the walls he is about to cover; in a very thin swatch. The wallboard draws moisture out of this strip so when the plasterer goes over it again when doing the rest of the wall it will not leave an indented seam that needs further reworking.

He then fills in the area near the ceiling so he will not have to stretch to reach it during the rest of the wall; And he forms the corner with his bird. This saves much needed time as this process is a race against the chemical reaction.

Laying on

From the mix table the plasterer scoops some "mud" onto the centre of his hawk with his trowel. Holding the hawk in his off-hand and his trowel in his primary the plasterer then scoops a bulging roll of plaster onto his trowel. this takes a bit of practice to master, especially with soupy mixes.
Then holding the trowel parallel to the wall and at a slight angle of the wrist he tries to uniformly roll the plaster onto the wall. In a manner similar to a squeegee. He starts about an inch above the floor and works his way upwards to the ceiling. Care is taken to be uniform as possible as it helps in the finishing phase.

Knocking down

Depending on the setting time of the plaster.once the moisture of the plaster starts to be drawn by the board a second pass is made. this is called knocking down. it is much like applying paint with a roller in wrist action and purpose. to smooth out any lines and fill in any major voids that will make extra work once the plaster starts to truly set. very little pressure is applied and the trowel is kept relatively flat towards the wall.


Sometimes an accelerant will be added to a mix to hasten the time delay from the initial mixing phase to when the plaster starts to set. This is normally done on cold days when setting is delayed or for small jobs to minimize the wait.
Once the plaster is on the wall and starts to set (this can be determined by the table that sets first), the plasterer gingerly sprinkles water onto the wall; this helps to stall the setting and to create a slip. He then uses his trowel and often a wetted felt brush held in the opposite hand and lightly touching the wall ahead of the trowel to work this slip into any small gaps (known as "cat faces") in the plaster as well as smooth out the rough lay-on and flatten any air bubbles that formed during setting.


From the time the bags are dumped into the barrel to when the wall is completely set is called a mix. Varying on the technique used and whether accelerant or retardant is added, a mix typically lasts about two hours.
The final moments are the most frantic if it is smooth or if the mix sets quicker than anticipated. If this happens it is said the mix has "snapped" and is normally due to using old product or various types of weather (humidity or hot days can cause plaster to set quicker). Normally only three or four mixes are done in a day as plastering is very tiring and not as effective under unnatural lighting in the months with early dusk.


Plastering is done year round but unique problems may arise from season to season. In the summer, the heat tends to cause the plaster to set faster. The plaster also generates its own heat and houses can become quite hellish. Typically the plaster crew will try to arrive at the house well before dawn.
In winter months, short days cause the need of artificial lighting. At certain angles these lights can make even the smoothest wall look like the surface of the moon.


Texturing is usually reserved for closets, ceilings and garage walls.
Typically a retarding agent is added to the mix. this is normally Cream of Tartar (or "Dope" in the plasterer's jargon) and care must be taken with the amount added. Too much and the mix may never set at all. However the amount used is often estimated; much the way one adds a dash of salt to a recipe. you add a small scoop of retarder, dependent on the size of the mix. Retardant is added so that larger mixes can be made, since the texture technique doesn't require the person to wait until it starts to set before working it.


The sponge (technically called a float), has a circle form and rough surface. it is fixed to a backing with a central handhold and is roughly the size of a standard trowel. Sponge is a variant texture technique and used normally on ceilings and sometimes in closets. Typically when using a sponge; sand is added to the mix and the technique is called sand-sponge.


Stilts are often required to plaster most ceilings and it is typically harder to lay-on and work than walls. For short ceilings one can also work with milk crates. The difficulty of working upside down often results in plaster bombs splattering on the floors, walls and people below.
This is why smooth ceilings, that use no retardant and sometimes even accelerant, are done before the walls. Retarded plaster can easily be scraped off a smooth plaster wall when wet. Any splatters from a smooth ceiling can easily be scraped off bare blueboard but not from an already plastered wall. Care must be taken when standing under your trowel or another plasterer.
The general difficulty of working a smooth ceiling fetches a higher cost. The technique is the same as a smooth wall but at an awkward angle for the plasterer.


Plain, or enrichment, moldings are formed with a running mold of zinc cut to the required profile.
For a cornice molding two running rules are usual, one on the wall, the other on the ceiling, upon which the mold is worked to and from by one workman, while another man roughly lays on the plaster to the shape of the molding. The miters at the angles are finished off with joint rules made of sheet steel of various lengths, three or four inches (102 mm) wide, and about one-eighth inch thick, with one end cut to an angle of about 30°. In some cases the steel plate is let into a stock or handle of hardwood.
Enrichments may be mouldings added after the main outline molding is set, and are casted in moulds made of gelatine or plaster of Paris.

Earth Friendly Tips

Do not throw Plaster of Paris into the drain, it will clog the pipes. If you have any leftover mixture, let it harden, then throw it into a garbage can.
If you want to save spoons or containers used for mixing Plaster of Paris, scrape off the hardened plaster and wipe the utensils with a damp cloth.