Honey Teak WPC exterior wall cladding, the reference tone
The reference tone of the range and the most widely specified. Even figure, mid-dark pore lines, teak-scale.
- Value
- Mid
- Colour temperature
- Warm honey
- Profiles
- 178 × 15 / 223 × 25 mm
- Warranty
- 10 years
Photographs of the actual boards in this colour. Tap any swatch to move through the range.
Where Honey Teak sits in the six.
| Colour | Value | Temperature |
|---|---|---|
 Pale Oak | Lightest | Cool neutral |
 Ash Silver | Light to mid | Cool grey |
 Golden Beech | Light to mid | Warm golden |
 Honey Teak ← you are here | Mid | Warm honey |
 Smoke Grey | Mid to dark | Warm grey |
 Coffee Walnut | Darkest | Warm dark |
Three distances, three different colours.
The same board reads differently at arm's length, in the hand and from across the street. Look at all three before you decide — most disappointments with a timber-effect facade come from judging only one of them.
The surface you touch
A honey-brown ground with an even figure and mid-dark pore lines. The scale of the grain is the most familiar of the six — it looks like teak because it is drawn at teak scale rather than being an amplified or a minimised pattern.
The board in your hand
A single Honey Teak board against the light. The interval between pore lines is drawn at teak scale - roughly what you would measure on the timber it stands in for - rather than amplified or minimised. That is the whole reason it survives both an arm's-length look and a twenty-metre look, and why it is the reference specimen in the range.
The wall at twenty metres
The same boards installed. At this distance Honey Teak reads as timber boards rather than as a flat field - the joints and the grain carry a visible rhythm between them, so a large elevation does not depend on the window pattern to hold interest.
How Honey Teak behaves as the light changes.
This is the tone that keeps its identity across the widest range of light, which is most of the reason it is the default specification. It shifts - it does not change character.
At arm's length
A honey-brown ground with an even figure and mid-dark pore lines. The scale of the grain is the most familiar of the six — it looks like teak because it is drawn at teak scale rather than being an amplified or a minimised pattern.
As the light moves
The tone that keeps its identity across the widest range of light. It goes slightly olive in shade and warmer in sun, but it does not change character the way the two greys do. That stability is the practical reason it is the default specification.
At twenty metres
At twenty metres it reads as timber boards rather than as a flat field: the board joints and the grain together carry a visible rhythm, so a large elevation does not depend on the window pattern to hold interest.
Six real sections, one lighting setup — the only honest way to compare two tones.
Horizontal or vertical
The grain runs along the board, so rotating the layout through 90 degrees rotates the figure with it, and changes the elevation more than the colour does. Horizontal boards make an elevation read wider and lower; vertical boards make it read taller. Decide it before the lengths are ordered.
In depth: Honey Teak.
Why the grain is drawn at teak scale
The thing that makes a wood-effect board read as a print at arm's length is not the colour, it is the pattern scale. Amplify the figure and it looks like wallpaper; minimise it and it looks like a laminate. The figure on this board is drawn at roughly the interval between pore lines you would measure on real teak, which is why it survives both the arm's-length look and the twenty-metre look. It is the same reason this is the specimen the rest of the range is described against.
There is one caution that comes with the scale. A figure that is correct at arm's length is visible at arm's length, which means the board rewards being used where people get close to it: entrance walls, canopies, feature columns, the underside of a soffit. On a large facade seen only from the road, the twenty-metre reading - value and board rhythm - is what does the work, and the grain is a bonus rather than the argument.
Ten markets in one tone group: how to read the project record
The table above is the most complete entry in the file for a reason. The teak group appears across Serbia, Belgium, Canada, the United States, New Zealand, Bahrain, Egypt, Brazil, the Philippines and Taiwan, China - ten markets with very different climates, from a Belgian winter to a Bahraini summer. Two of those rows are worth a second look: the United States row is a wall-and-ceiling project, which is a specification that only makes sense if the same board is acceptable overhead, and the Serbian rows include a teak-and-walnut elevation where the tone is used as part of a two-colour scheme rather than alone.
Read the caveat with it. Those rows are folder names in a project photo file, and they record the profile and the market; they do not record the pigmentation code, and they are not a claim that any of them used FV01 or FV02. What the list does establish is that this tone group has travelled, which is the useful part when you are writing a specification for a market you have not sold into before.
The three-tone facade: Pale Oak above, Coffee Walnut below
Honey Teak is the middle of the classic three-tone timber facade - Pale Oak above it, Coffee Walnut below it - and it is the tone that holds the middle without competing with either end. Because all six colours are cut from the same board and the same surface system, a multi-tone scheme is a coordination exercise rather than a second product, and the six standard colours can share one container load. Each colour ordered still has to meet its own minimum - half a container per colour - so a three-tone scheme is three minimums, not one.
The two-tone version already exists in the file: a Serbian elevation with teak and walnut on the same wall, and an Australian project combining a dark grey with a dark brown. If you are planning a two- or three-tone scheme, the practical order of work is to fix the darkest tone first, because it decides the boundary lines, then the lightest, then everything between as gradation.
Where this tone family is already specified.
Honey Teak is read here against the teak group in our project file.
| Market | What the project file records |
|---|---|
| SerbiaEurope | Teak co-extruded wall cladding, several project sets, one of them teak + walnut two-tone |
| CanadaNorth America | SP-WP11 and SP-WP08 teak cladding |
| United StatesNorth America | SP-WP14 + SP-WP03 teak, wall cladding and exterior ceiling |
| New ZealandOceania | SP-WP14 teak |
| BelgiumEurope | SP-WP14 teak |
| BahrainMiddle East | SP-WP03 teak |
| EgyptAfrica | SP-WP11 teak and a first-generation WP03 set |
| BrazilSouth America | SP-WP12 teak |
| PhilippinesSoutheast Asia | WP03 teak |
| Taiwan, ChinaEast Asia | SP-WP03 teak |
How to read that table for Honey Teak
This is where the table earns its place. Teak is the most frequently recorded tone group in the file, and it is recorded across ten markets: Serbia (several project sets, one of them a teak and walnut two-tone elevation), Belgium, Canada, the United States (a wall-and-ceiling job in SP-WP14 plus SP-WP03), New Zealand, Bahrain, Egypt, Brazil, the Philippines and Taiwan, China. The same profile family is also supplied as 100 x 50 and 200 x 200 aluminium-composite sections for sun-shading runs, so the tone has been used on facades and on brise-soleil within the same projects. Read the caveat with the table: these are folder names recording the profile and the market, not the pigment.
Every row above is a folder in the project photo file for the MexyTech co-extruded wall system that FV01 and FV02 are engineered on. It is not a claim that these installations used FV01 or FV02. The ledger records the profile and the market, not the pigmentation code, so the rows are grouped by tone family.
Where Honey Teak is used.
Facade, ventilated rainscreen
The default. Cavity, battens, screw-fixed to the pre-punched male end.
Soffits and exterior ceilings
This is the tone used on the wall-and-ceiling project in the United States file.
Feature walls and columns
Strong enough at close range to carry detail.
Balcony soffits and terraces
Warm underneath, works with timber decking.
Boundary and compound walls
The conventional timber-wall read for a boundary.
Aluminium louvre and profile work
The same family is supplied as 100 x 50 and 200 x 200 profile for sun-shading runs.
Concept visualisation: a honey-toned facade in a coastal setting. This is a design impression, not a photograph of an installed FlowVeins project.
The section is the argument: a fourth-generation WPC core, a composite ASA surface cured into it, and an interlocking edge that takes the screw without a visible fixing.
What Honey Teak sits beside.
Pale Oak above it and Coffee Walnut below it make the classic three-tone timber facade. Outside the range: cream or sand render, bronze anodised frames, sandstone, and hardwood decking.
Specification.
Because this is the reference tone in the range, the specification below is usually quoted from this page rather than from the others. It is identical in all six.
| Profiles | FV01 178 x 15 mm · FV02 223 x 25 mm |
|---|---|
| Exposed face | FV01 150 mm · FV02 195 mm |
| Construction | Fourth-generation WPC core with a composite ASA surface, cured together in the molecular crystal curing stage |
| Fixing | Patented pre-punched male end, screw-fixed to battens |
| Length | 2.9 m standard, custom within 3.0 m |
| Colours | Six standard colours, combinable in one container load |
| Warranty | 10 years, coverage scope subject to the formal warranty statement |
| Chain of custody | FSC® ESTS-COC-240458 |
| Fire | EN 13501-1 B-s3, d0 — tested on a 26 mm specimen, screw-fixed to a substrate, 40 mm ventilated cavity, no joint |
| UV / weathering | 3000 h QUA ageing report for the ASA surface, SDHL2407013318HI |
| Surface reference | The signed physical sample governs production, not any screen image |
Fire classification is quoted with its specimen build-up. FV01 is 15 mm and FV02 is 25 mm, and the classified specimen was 26 mm — confirm the required build-up against your project.
Choosing between two close tones.
Honey Teak vs Golden Beech
Honey Teak is browner and deeper; Golden Beech is lighter and more golden. Side by side in the same light they are clearly two tones; across two buildings a week apart they are close enough that the sample is the only reliable way to choose.
Honey Teak vs Coffee Walnut
One and a half steps darker, and with the colour temperature turned toward red. Honey Teak is the safer specification on a large area; Coffee Walnut is the stronger single gesture.
Questions buyers ask about Honey Teak.
Will the delivered colour match the photo on this page?
No, and no supplier can promise that. Grain direction, the angle of the light and the production batch all shift what the eye reads, and a screen adds its own colour cast. Every colour is supplied as a physical section of the FV01 or FV02 profile you are specifying, and the approved sample is the reference production is held to.
Does it fade or grey off the way timber does?
ASA is chosen for facades because it holds colour under UV. The 3000 h QUA ageing report for the ASA surface is SDHL2407013318HI. Colour retention is projected to exceed 20 years of outdoor exposure — a test-based estimate, not a warranty period. The commercial warranty is issued separately and is shorter by design: 10 years.
Is it fire tested?
EN 13501-1 B-s3, d0 was classified for a 26 mm specimen, screw-fixed to a substrate, with a 40 mm ventilated cavity and no joint between specimens. The classification applies to that specimen build-up; FV01 is 15 mm and FV02 is 25 mm, so use the tested build-up as the reference and confirm the requirement against your project.
What is the minimum order?
Half a container per colour. The six standard colours can be combined within one container load, but each colour ordered has to meet its own minimum.
Does it turn greener over time, the way teak does?
Teak goes grey-green because the surface is weathering. Here the outer surface is a composite ASA layer chosen for facades precisely because it holds colour under UV, and the ASA ageing report on file is SDHL2407013318HI. Colour retention is projected beyond 20 years of outdoor exposure as a test-based estimate; the commercial warranty is separate and shorter.
Is this the most widely specified of the six?
In the project file, the teak family is the most frequently recorded tone group, appearing across ten markets from Serbia and Belgium to New Zealand and Brazil. The table on this page is that record, and it is the reason this page reads as the reference entry in the range.
Put Honey Teak in your hand before you specify it.
Half a container is the minimum per colour and this is the tone most often ordered alongside a second one - two or three tones can share a container load. Tell us the profile, the quantity and the tones you are comparing and we will send sections cut from production board.
- MOQ
- Half a container per colour
- Lead time
- 30 days after order confirmation, standard colours
- Combining
- All six can share one container load
Samples are cut from production board, not cast as colour chips — so the grain, the sheen and the edge you hold are the ones you will receive.