High gloss
The mirror finish most people picture when they picture polished marble. Maximum depth and reflection, and the option that shows dust, footprints and fine scratching most clearly. Best in controlled spaces with matting at the doors.
Light and dark resin are layered wet-on-wet and the veining is drawn in by hand, then sealed under clear coats. The result reads as marble or onyx, but it arrives as one continuous surface with no slabs, no joints and no grout lines. It is a resin finish, not stone — and that difference works both for you and against you.
A marble epoxy floor is built, not laid. A base body coat goes down in the lighter of your two tones, a second and sometimes third resin is introduced while everything is still wet, and the veins are then drawn through the material by hand — pulled with a fine brush, a feather or a blade, softened at the edges, and broken up so they do not read as repeated brush strokes. Clear resin goes over the top to bury the veining at depth, and a protective topcoat sets the final gloss. What you end up looking at is a pattern sitting inside the floor, under clear resin, rather than a printed or painted surface.
Because the veins are placed rather than quarried, the design is something you specify. A vein can be walked straight across a doorway without interruption, kept away from the middle of a lobby where people stand, or run in one deliberate direction along the length of a corridor. Nothing has to stop at a slab edge, because there are no slab edges. That control over layout is the real argument for the system, more than the saving against stone.
Underneath the decoration the discipline is the same as any resin floor: prepared slab, primer, body coat, design layer, clear build coats, topcoat. The topcoat is where practical performance is decided — gloss level, abrasion resistance, slip resistance and UV stability all come from that final layer, not from the veining.
Nobody should approve a marble floor from a photograph. Before installation we make sample boards in your chosen tones so you can see the real base colour, the real vein weight and the real gloss level under your own lighting, held up against your own walls, worktops and skirting. On the boards we settle four things: the base tone, the vein colour, how heavy and how frequent the veining should be, and how much light-to-dark contrast you want. We also agree the vein direction on a plan of the room.
The installed floor is then worked to match that direction. It is a hand-made finish, so it follows the approved board — it does not clone it. We put that in writing before anyone signs, because it is the most common misunderstanding on decorative resin work.
Marble is a genuinely beautiful material and we are not going to pretend resin is the same thing. Here is where each one wins. First, where a resin floor is the better answer:
And where stone is genuinely better:
This system suits a client who wants a calm, high-end stone look across a continuous area, and who is buying a designed finish rather than a natural material. It is a good fit when:
It is the wrong system when:
Marble finishes work hardest in spaces where the floor is meant to read as expensive and calm, and where an uninterrupted plane makes the room feel larger:
We have offices in all major cities and provide service all over Pakistan. If you are planning a fit-out, tell us early — a marble floor should be sequenced after the wet trades and before final furniture.
Illustrative references for the palettes, vein weights and gloss levels we build. Your own sample boards are made in your chosen tones before installation. Tap any image to view it larger.
Part of the appeal is the look. The rest is everything that comes with a seamless resin floor instead of a tiled one.
These are the trade-offs we go through on site before anyone commits. None of them are deal-breakers in the right room — but you should hear them from us, not discover them afterwards.
Preparation decides whether the floor lasts. The vein stage decides whether it looks right. Both happen in this order, every time — and the vein stage cannot be undone once the resin starts to gel.
The cross-section alongside is what we install. Read it top to bottom and you are reading the order of work in reverse: the slab is prepared first and the topcoat goes on last.
Top to bottom, the strata of a finished marble epoxy floor.
We measure the area, check the substrate for rising moisture and look at how the room is lit and used. Where moisture is present we specify a moisture-tolerant primer or barrier system so the floor performs long term.
Boards are made in your palette and viewed under your own lighting. We agree base tone, vein colour, vein weight, contrast and the vein direction on a plan of the room. Nothing is ordered until that is agreed in writing.
Diamond grinding opens the slab so the resin can bond. We do not coat over dust, laitance or a floor that has not been assessed.
Cracks are cut out, filled and consolidated, and joints are treated according to whether they need to stay live. On a pale floor this stage matters more, because any movement shows.
A penetrating primer seals the slab and creates the bond the rest of the system depends on.
The base marble tone goes down first and is levelled flat. Everything above it is judged against this colour, so it is mixed and checked against the approved board.
Secondary resins are introduced while the base is still open, and the veins are drawn, feathered and broken up by hand in the direction agreed on plan. This is the stage that cannot be undone, and it goes to the same experienced installation teams every time.
Clear resin adds depth over the veining, then the protective topcoat sets the gloss level, abrasion resistance, slip resistance and UV stability.
The floor cures to a return-to-service time we confirm for your specific system. We walk the finished floor with you and hand over the written warranty.
There is no single rate for marble work, because two rooms of the same size can need very different amounts of labour. These are the factors that actually change the number on your quotation.
| Cost factor | Why it moves the price | What we do about it |
|---|---|---|
| Slab condition | Cracks, unevenness, old adhesive, weak or contaminated concrete all add preparation hours before any resin goes down. | Assessed at the free inspection and priced as a separate line so you can see it. |
| Area and layout | Rate per sqft falls as area grows. Small rooms, corridors and broken-up spaces cost more per sqft than one open floor. | We measure on site rather than working from a drawing. |
| Vein density and complexity | A quiet two-tone floor with occasional veining is far quicker than a heavily veined onyx look with three resins and fine gold work. | Agreed at sample-board stage, before the quotation is fixed. |
| Palette | Deep blacks and gold or pearl vein pigments cost more per square foot than a white-and-grey palette. | Priced against the board you approve, not against a standard package. |
| System thickness and levelling | A thin decorative build uses less material than a self-levelling base needed to correct an uneven slab. | Specified against the traffic and the substrate, with any levelling shown separately. |
| Topcoat specification | UV-stable, higher-abrasion and slip-resistant topcoats cost more than a standard clear coat. | Recommended based on sunlight, footfall and whether the area gets wet. |
| Edges and detail | Coving, thresholds, stair nosings, drains and columns are slow, hand-worked areas — and on a veined floor the pattern has to carry through them. | Counted and listed, so nothing appears as an extra later. |
| Access and working hours | Upper floors without a lift, live retail units and night-only working all add time. | Programmed with you so the space is out of use for the shortest possible period. |
| Location | Where a site needs a crew to travel, mobilisation is included in the quotation. | Scheduled as a single continuous mobilisation wherever possible. |
For a single room, plan on roughly three to five working days on site, plus a few days beforehand for sample boards and sign-off. Preparation and priming usually take the first day, the body coat the second, the vein work the third, and clear build plus topcoat the days after that. Each coat has to go down within the recoat window of the layer below it, so the sequence cannot be compressed by putting more people on the job.
Larger commercial floors are phased so parts of your site stay usable. A lobby, showroom or venue is normally programmed section by section, with break lines agreed in advance at doorways, columns or a change of level, so that where one day's work meets the next reads as part of the pattern.
Return-to-service time is system-specific. Light foot traffic usually comes back well before wheeled loads, heavy furniture or cleaning chemicals are allowed on the floor, and warm weather cures faster than cold. We do not quote one universal number: the exact foot-traffic and full-service times for your build-up are confirmed in your quotation and repeated at handover.
Marble epoxy is easy to clean and easy to dull, and on a light palette both happen in plain sight. Almost all of the fine scratching on a gloss floor comes from sand and dust being walked across it, not from the traffic itself — so the job is won at the front door.
When the gloss eventually flattens in the main walking lines, the topcoat can be abraded and re-coated. That refreshes the surface without touching the vein layer underneath, and it is far cheaper than a new floor. Commercial lobbies and venues should budget for it as a periodic item; a family dining room usually will not need it for years. We will tell you honestly when a floor is ready for it — and when it is not yet worth doing.
The three directions most clients start from are white with grey veining, warm beige with soft cloudy movement, and black with gold veining for an onyx look. Base tone, vein colour, vein weight and contrast are all set on the sample boards — the topcoat below is what you choose separately.
The mirror finish most people picture when they picture polished marble. Maximum depth and reflection, and the option that shows dust, footprints and fine scratching most clearly. Best in controlled spaces with matting at the doors.
A softer honed-stone sheen that keeps the veining but hides day-to-day marking far better. The pragmatic choice for restaurants, offices, hotel circulation and family homes.
A fine additive broadcast into the final coat for bathrooms, entrances and any area that gets wet. It softens the mirror effect slightly, which is the honest trade for a safer surface.
Specified where the floor sits under glazing or a skylight, using a polyurethane or polyaspartic topcoat to hold a white or pale palette in sunlit areas. Also improves abrasion resistance.
We have been installing resin floors since 2012 and have completed more than 1,200 floors, with offices in all major cities and service all over Pakistan. Marble work is unforgiving — the vein stage happens once, inside the working window of the material, and a pale floor hides nothing — so it goes to the same experienced installation teams every time, not to whoever is free that week.
Every project starts with a free site inspection: we measure, assess the slab, check for rising moisture and tell you what the floor genuinely needs. Then you get a fixed written quotation with the system, the palette, the topcoat and the return-to-service times set out in it.
Tell us the city, roughly how big the area is and whether you are thinking white, beige or black with gold veining. We will inspect the floor free of charge and come back with a fixed written quotation.