Heirloom Traditions Paint ALL-IN-ONE Paint, Durable cabinet and furniture paint. Built in primer and top coat, no sanding needed. Includes our 30 featured color card - Abbey (warm gray), Quart

Why I reached for this paint

I had two projects staring me down: a glossy, faux-wood bathroom vanity that looked tired next to a freshly updated space, and a set of kitchen cabinets I’d been meaning to modernize without committing to a full sand-and-prime marathon. I chose Heirloom Traditions’ All-In-One paint in Abbey, a warm gray with brown undertones, because it promised what every DIY-er wants to hear—no sanding, no separate primer, no top coat. I’m not easily swayed by big claims, but this paint largely made good on them, with a few caveats worth understanding before you open the can.

Prep and color selection

“No sanding” didn’t mean “no prep” in my experience. Degreasing and deglossing mattered—especially on slick, non-porous surfaces. I scrubbed both the vanity and cabinet doors thoroughly with a degreaser and a non-scratch pad, removed hardware, and taped edges. On raw or previously stained wood, I cleaned and did a very light scuff just to knock down fibers, but I didn’t do any heavy sanding.

Abbey turned out to be a smart color choice. It’s a dark greige that shifts depending on light—reads warmer in incandescent or moody spaces, cooler in daylight—and it worked with both warm brass hardware and brushed nickel. The included 30-color fan deck (actual sprayed samples) helped me decide in my own lighting; that was more useful than any digital swatch. If you’re on the fence, the fan deck is the most reliable way to judge undertone and depth.

Application: tools and technique

My best finish came from a combination of a high-density 4-inch flocked foam roller for panels and a fine synthetic brush for edges and profiles. I tried a standard foam roller first; it was fine, but the flocked roller leveled better and reduced stipple. The paint is fairly self-leveling with a creamy viscosity, but it dries fast, so you need to work in manageable sections and resist the urge to overwork areas once they start to set. Keeping a wet edge is essential.

• Coats: Cabinets went to full coverage in two to three thin coats, depending on color transition. Over dark brown to a lighter shade, three coats looked the most uniform. Over lighter surfaces, two coats often did it.
• Recoat time: About two hours between coats in normal room conditions. Touch-dry much sooner, but I let it sit to avoid lift.
• Sanding between coats: Not required. I did a super-light pass with 320 grit on a tabletop to knock back raised nibs and got a velvety, almost sprayed look.
• Cleanup: Water and a drop of dish soap. It wiped off tile and painted walls easily when caught the same day.

One technique note: the first coat won’t look pretty on slick substrates; it’s a grip coat. The second coat is where the transformation happens. The third coat, when needed, is just for evenness and depth.

Finish and feel

The advertised low-luster “velvet” finish is accurate. It’s not chalky-flat, and it isn’t satin either—more of a soft, refined matte that disguises minor surface flaws and texture. On oak, it softened the grain visually without completely obliterating it. Edges leveled enough that doors looked close to sprayed, especially on flat panels. I didn’t experience brush marks when I laid off lightly and avoided overbrushing as it tacked.

Durability and cure

Two realities here:

• On properly prepped wood cabinets and doors, the finish dried hard and has held up well to daily contact, wiping, and the occasional fingernail behind a pull. I let doors cure a few days before rehanging and avoided heavy use for about a week.
• On the glossy faux-wood vanity (that slick, non-porous laminate), adhesion was impressive for a paint-and-primer product, but it was more vulnerable to chips in the first few days. I added a water-based clear top coat on horizontal high-wear areas, and that eliminated the edge chipping I saw early on. If you’re painting laminate, tile, or high-touch zones like a kitchen trash pull, I’d plan for a top coat even though the can says it isn’t required.

Outside of cabinetry, I tested a small vinyl stool seat. The paint flexed without cracking after curing, and the feel wasn’t rubbery or tacky. If you’re painting flexible surfaces, apply multiple thin coats and allow extended cure time.

Coverage and efficiency

A single quart went further than I expected. I completed a double-sink bathroom vanity and a small bank of kitchen cabinet doors with two to three coats and had some left for touch-ups. Coverage per coat is highly dependent on color shift and substrate; darker shades seem to pack more pigment and cover faster, while very light colors over dark bases may need a third coat to avoid shadowing. The important part is to keep coats thin—heavy applications can drag and telegraph texture as it dries quickly.

Odor and cleanup

Low odor is accurate. I painted indoors with minimal ventilation and never felt overwhelmed. Tools cleaned up with water; drips on tile wiped away easily the same day. Once cured, it resists typical kitchen splashes and wipes down without burnishing or creating shiny patches.

Versatility

This paint’s superpower is how many surfaces it will take on. Beyond wood cabinetry, doors, and furniture, it adhered to metal hardware backplates, glass sample tiles, and ceramic test pieces far better than a typical wall paint would—though again, durability on slick tile is where I’d opt for a clear protective coat if it’s receiving any friction or moisture. The exterior rating is a plus for doors and outdoor furniture; if I were doing a full exterior door, I’d still lean toward a clear top coat for UV and abrasion insurance.

Color accuracy

Abbey is not off-black; it’s a gray-brown that behaves as a chameleon. If you need a precise match, view the included sprayed samples in your actual space across morning, afternoon, and evening light. Digital screens are unreliable for this line and undersell how much the undertones can swing. The fan deck solved that for me.

What I’d do differently next time

• Pre-plan sections because the working time is short. I’d remove every door and drawer before painting a single surface to avoid painting into drying edges.
• Commit to a top coat on slick, non-porous, or horizontal high-wear surfaces. It’s an extra step that preserves the look.
• Stick to flocked mini rollers and a high-quality synthetic brush; cheaper applicators telegraph texture that this fast-drying formula can freeze in place.

Where it excels, where it struggles

Strengths:
- Genuinely reduces the prep stack for cabinets and furniture.
- Levels better than most DIY-friendly paints, with a refined low-luster finish.
- Low odor and fast recoat times keep projects moving.
- Adheres to a wide array of surfaces, including some flexible materials.

Trade-offs:
- Slick laminates and tiles may chip without a protective top coat early on.
- Fast dry can punish overbrushing; technique matters.
- Coverage varies by color; very light shades over dark bases may need three coats.
- Color shifts with lighting; rely on the physical samples, not your phone screen.

Final thoughts and recommendation

Heirloom Traditions’ All-In-One is the rare “shortcut” paint that actually respects the craft. It doesn’t eliminate the need for cleaning and careful application, but it does consolidate steps without producing a fragile, chalky finish. The result on my cabinets and vanity looks intentional and professional—softly matte, leveled, and cohesive with modern hardware.

I recommend it for homeowners and pros tackling cabinetry, vanities, built-ins, and furniture where time, odor, and workflow matter. It’s especially compelling if you’d like a sprayed look without setting up a sprayer. Just go in with realistic expectations: plan thin coats, respect dry times, prep thoroughly, and add a clear top coat on slick or high-wear surfaces. Do that, and this paint will reward you with a durable, understated finish that reads high-end without the multi-product hassle.