More than 2,0^^ practical solutions to help
you ovey
your home JULIAN CASSELL
PETER PARHAM
i'A(.i:
QUICK INDEX
NO.
COLOR AND STYLE Usin}i Color
Setting Styles
Color SdwDiin^i
•
Rcjlccting Lifestyles
•
PAINTING WALLS Preparing to Paint
Improving Techniques
•
Creating Paint Effects
FinisLnng
•
COVERING WALLS Preparing to Wallpaper- Improving Teclmicpies
Wallpapering
Awkward Areas
Choosing Other Wallcoverings
•
Finishing
TILING WALLS Preparing to
Tile
Planning a
•
Improving Teclmiques
Tiling
>
Tiling Strategy
Creatively Finishing
WOODWORK
DECORATING Preparing to Paint
•
Painting Specific Areas
Wood
•
Creating Paint Effects
En/jancing
Painting Furniture
•
Finishing
COVERING FLOORS Selecting Floor Types
Carpeting Floors
•
Preparing Floors
•
tftility
Flooring
Painting I'loors
•
•
•
Wooden Floors
Hard-tile Flooring
I-inishing
WINDOW TREATMENTS Selecting Materials
•
Cfjoosing Curtains
Adding Trimmings
and
Decorating Glass
•
FINISHING TOUCHES Lighting
•
Shelving
Soft Furnishings
Wall Decorations
•
•
Final Details
INDEX
Blinds
^R
Digitized by the Internet Archive in
2010
http://www.archive.org/details/decoratinghintstOOcass
DECORATING
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DECORATING Hints (S-Tips Julian Cassell
& Peter Parham
I
DK PUBLISHING, INC
Contents
A DK PIJBUSHING BOOK
www.dk.com Project Editor JikIi'
US Editors
Will I.ach,
Designer
i
Introduction
(iaiiii k
Project Art Editor Sarah
I
Ray Roj^ers
Using This liooK
Ick-n Bcntield
Decorating
Production Controller Alison Jones
DTP Designer Jason Managing Editor
American
Published
Little
Nigel Duffield
^
the United States by
in
Publishing, Inc., 95
New
York,
Madison Avenue,
New York
Copyright
©
10016
Color & Style
1998
Dorling Kindersley Limited. London
All rights
reserved under International and
Pan-American Copyright Conventions. of this publication in a retrieval
No
may be reproduced,
part
stored
system, or transmitted in an\-
form or by any means, electronic, mechanical, photocopying, recording, or otherwi.se, without the prior written permission of the copyright owner. Published
in
Great Britain by
Dorling Kindersley Limited.
Library of Congress Cataloging-in-Publication Data Ca.s.sen. Julian
Decorating hints p.
&
tips
Julian
Ca.s,sell
and IVter Parham
cm.
Includes index, I.SBN 0-7894-2393-6 1
Hou.se painting.
3. Interior I.
Parham.
2.
Wall coverings.
decoration.
Peter.
TT323.C.372
II.
Title.
1998
97-34411
747'.3-dc21
CIP
Reprcxiuced by C;hroma Graphics. Singapore Printed
Modern World
Edition. 1998
8 10 9
DK
in a
Sit-phanie Jackson
Managing Art Editor First
6
lall
and lx)und
in Italy
by Lego
Using Color
lo
Covering Walls 40 Choosing Wallpaper
Covering Floors 88
I NTRODUCTION rewarding tasks pcrfonnccl d;,'; the home. Hard work, creativity, and a little ingenuity can produce spectacular transformations. Tloere are no instant means to achieving the look you desire, hut there are easier methods, ways of saving time, and innovative ideas to help you. This hook F.coRATiNG ccDi hc oiic ofthc DiosI
provides expen advice
and
instruction in all aspects of decoration.
Using This Book Preparing to Decorate Most of us
realize
when
it
is
time to
redecorate, but the next logical step
deciding
how
difficult.
Color
to
do
it
-
- can be more
& Styte will
help you with the
decision-making process by explaining the effects of combining colors and
can meet your needs. essential
how
All the
a decorative plan
chapters
recommend
equipment and materials and suggest the
correct preparation for the finish
you
desire.
Copying a motif Use
a collection of favorite items as a basis for a stencil
design, as
shown on page
18.
Woodwork
Decorating Walls and
The walls and woodwork in a room can be thought of as a basic framework on which the rest of a room's decoration hangs. The chapter on Painting Watts covers all methods and techniques, ranging from the simple coverage of wall to
looks
more spectacular
at
a
paint effects. Covering Walls
every aspect of wallpapering as well as other
options, such as
wood
paneling. Tiling Walls examines
the third major option for decorating walls, prox iding practical instruction as well as creative ideas for
applying
tiles to walls.
Decorating Woodwork
completes the fundamental decorati\"e framework, Effecting verdigris For the secret of how to make an ordinar)' wooden surface resemble weathered copper, see page 8 1 .
providing adxice on the best ways of paiming
woodv^-ork and incorporating paint criccts
completely transform the appearance of
that will
wooden
surfaces - including favorite pieces of furniture.
Adding Fabrics and Finishes The needs
basic decorative to
framework of
be complemented by the
a
rest
r
room of the
room's decoration. Covering Floors deals with another major surface area. Whether you choose soft or
hard flooring,
this
chapter provides
many
innovative ideas. Wiiidoiv Treatments suggests
some shortcuts and new angles on traditic^ial window treatments, and includes advice on decorating glass. Finishing Touches covers
all
those other areas that can highlight a room's decorative style, such as fabrics, lighting, and wall decorations,
which contribute
to the overall effect.
Looking
at
the whole
Plan a complete decorative
Finally, the glossary
provides explanations for a
variety of terms that are relevant to decorating.
look including wallpaper, borders, paints, and furnishings.
Decorating
Modern World
in a
Choosing the Right Equipment Home-decorating outlets and tiill
of
retail
designed to aid
eciuii">nK'nt
chains are
yoLi in almost
every decorating project. However, a few essential tools, together
with one or two
specific jobs, will
arm yon
for
rec|Liired for certain
most
tasks.
Be wary
of tools making timesaving claims nnless they are
supported by the firsthand experience of someone
you know. Quality
is
unquestionably the key to
when buying equipment. Remember
success
you can add
to a tool collection as the
need
Making
a dragging tool
(Convert a car
that
arises.
window
scraper
into a dragging tool by cutting
"teeth" out ol the blade.
Working with "Green" Materials We
are frequently reminded of the
our
lives in
need
to lead
an environmentally friendly way to
conserve natural resources. Decorators can contribute to this ethos with relatively effort.
little
Materials are increasingly water based
rather than solvent based.
As well as being
"greener," water-based products tend to be
more quickly, and are up after use. This book
easier to use, they dry
much Graining Use
wood
easier to clean
recommends environmentally
a rocker - a special-effects
tool - to
create the impression of
a grained
wooden
surface.
Working within Your budget
Budget
a
will frequently
primary concern
when
decorating project.
friendly materials
and methods of cleaning up, and suggests many imaginative ways of using leftovers.
be of
planning a
Keep
costs
down
by simple financial management. Always choose the best materials you can is
afford.
Good-quality paint
expensive but covers
coats;
in
padding extends the
fewer life
of a
carpet; good-c}uality wall tiles are less likely
when
than cheap ones to break
cut. Save money by long-term planning as well as short-term saving.
Using up cork
tiles
Attach a few cork
tiles that
are
left
over from
a flooring project to a piece of jilywood, place it
inside a picture frame,
and liang up
tor use
as a home-office or kitchen noticeboard.
Experimenting with Decor Redecorating
you the chance
gi\'es
to
A
with different effects and finishes.
from an existing decorative plan can transform a
experiment
tr^italh"
ViTien decorating, consider
although a less radical
rc:)om.
transformation may be re\"italize its "tired"
all
that
is
needed
the following important health and safety aspects.
to
appearance. Consider several
options and experiment with ideas before you
any
Health and Safety Guidelines
bold change
final decisions.
Make use
make
of samples and color
swatches from suppliers of decorating materials and fabrics,
Following Instructions •
Al^^ays read manufacturers"
operating in.structions before
using any equipment.
• Make
sure that you use any
materials or chemicals
complying with
and practice
.safely,
,statutor%'
legislation regulating the use
paint effects
on
test
areas
of wall. Decorating can
of hazardous substances. Follow- advice
on labels making
carefully before
prox ide an outlet for
your
and an
creati\'ir\'
opportunity to channel
solutions or mixtures.
Using Equipment • Make sure that ladders and stepladders are in
\'our ideas into a li^
practical plan, the results of
which
you can enjoy for manv vears to come.
Electricity • Disconnect any electrical equipment when it is not in use.
Tr\'ing out colors Take home some wallpaper samples from suppliers, and evaluate snatches in situ.
good
working order, and platforms ha\e been constructed safely. to pre\"ent injur}' from falling.
even
for a short time.
• Switch off the power supply when decorating around switches or wall outlets
and when cleaning them. • Consider using a ground fault interrupter to protect
against electrocution.
Enjoying the Finished Product which many people's lifestyles have become increasingly frantic and stressful, leisure time and relaxation ha\e become of paramount In a societ}' in
importance to counterbalance the living.
A
well-decorated
sanctuar\'
from the
strains of
home can become
rigors of ever\-day
life
as a place for relaxation
and recreational
with family and friends.
A
modern a
as well acti\ities
decorating project
itself
can provide you with an enjoyable pastime offering the necessar\^ distraction
and
relief
from
- and you will find successful results immensely satisfying. You will subsequently be able to relax in and enjoy pleasant surroundings
work and
that are
a
room
the result of your
and -
last
own
of dust and fumes.
• Wear
a mask to minimize amount of dust and fine particles that you inhale. • Wear safet)" glasses to
the
protect eyes from flying debris.
• Wear gknes from
injur\'
• Keep tools
all
to protect skin
and
irritation.
chemicals and
a^ay from children and way of "corridors"
out of the
within vour working area.
^^^^
Dust ma.sk
ideas, planning.
but not least - hard
\\
ork.
in
to reduce the effects
stress
all
creati\'ity,
Protecting People • Increase the \ entilation
OLOR
m; uj- iiiiii())s ofc/ccoraliiig is Ihat it provides an opportunity to experiment
Quick Reference Using Color,
p.
Color Scheming,
with color
12
(iHcI clccoralire styles irhi/e
i>ii'i>i(^
you a means of expressing your personal taste and preferences. Creating your own color
p. 16
Setting Styles, p. 18
combinations and choosing styles does, hoivever need thought ciiul consideration
Reflecting Lifestyles, p.
Style
&.
20
other factors before you nutke final decisions.
Understanding Color is not necessary to understand the physics behind the derivation of color in order to appreciate why you like particular colors or
It
Applying Colors • Defining aims Decide
to
determine
Rather,
different
scheme wiien decorating,
working knowledge of howcolors arc related and affect each other. a
Learning the Language of Color
whether or not you want
to
All
achieve a certain result w
ith
derived from the three primary
your color choice in a room, and the sort of mood you want to create. Select a main color with these needs in mind - restful colors in a bedroom, for example, or warm, in\iting hues in a living area. • Evoking emotions Colors produce different emotional responses in people. If you want to make a statement or attract attention, use a strong,
Choose warm be welcoming and
hot color. colors to
a color
you need
comforting. Select strong, cold
colors in the .spectrum are
- red, yellow, and blue. Secondary colors are created by mixing two primaries: yellow and blue to make green, for example. All other colors are
colors
^^
^^r
Adjacent hlut-s
known
as tertiary colors and formed from a variety of combinations of primaries and secondaries. Shades and tones are produced by lightening or
are
darkening colors with the addition of black or white.
^^
Atli^Rcnt red i\-cl,s Adjacent
Relating colors
colors for a calming rather
Primary colors
than
at
a
stimulating effect. Cool
colors are invigorating but
soothing
at
the
same
• Combining colors
time.
Base your
scheme around one main color. Then consider whether other colors should form a range of consecutive hues,
equal
around
a "color
wheel."
On
either
side of each
primary color a
is
range of toning,
adjacent hues.
(Complementary colors
fall
directh
be clashing or contra.sting complementary colors, or be
opposite each
combined to create a more complex scheme altogether.
color
10
lie
inter\'als
other on the \\
heel.
COLOR & STYLE
Combining Colors people have an in.stincti\e feel for hnw be combined successfully w ithin an extensi\e scheme. But vou can soon learn
whether colors contrast with or complement each other. Either alternati\e can provide the basis of a hiyhh' successful color scheme.
Contrasting Shades
Combining Opposites
Some
colors can
Juxtaposing light and dark Using particularly
Using complementarv' colors
light colors alongside
much
Red and green work well together because
the\
darker shades can provide good definition
are complementan,- colors - that
between the various surfaces in a room. Here, the light lemon of the alcove and the pale woodwork
directly opposite
create a neat finish against dark blue
includes the use of yellow, a contrasting color
^^-alls.
is.
they
sit
each other on the color wheel.
The color scheme
that
is
featured here also
Choosing Colors
Using Adjacent Colors
S Following
instincts
basic colors within a
Choose scheme
according to your preferences.
Once \ou ha\e chosen these basics, you can make slight \ariations in shade to suit particular requirements.
• Harmonizing a finish Choose same intensity
colors of the viithin a
schenie to create
a restful feel within a
The
room.
greater the difference in
intensin'. the
tend to
more
colors will
standi out. ^'ou ma\'
wish to highlight a feature a
room using
in
this effect.
• Mixing complementaries Combine
a large area of
color with color,
Striking a balance with related color.s Contrasting colors emphasize features, but
they also unite a room. The red walls and despite a great difference in wall colors.
baseboard
contra.sts
if
The
one
ccMiiplementarv'
which w
ill
ha\e the
effect of softening the original
the\ are adjacent hues
window
its
link this
scheme,
vibrant yeU(n\ on the
with the pale yellow wall while relating to
it
You can also use this method to take the edge off
shade.
vibrant hues so that they
more comfortabh'
lie
together.
11
COLOR
& STYLE
Using Color HAVE CERTAIN PROPERTIES thilt can c'\()kc particular feelings in a room. You may choose a color scheme simply to c lian_ne the character of your room or to create a certain atmosphere In means ot that color's characteristics.
COLORS
Transforming Rooms with Color When a
starting the decoration of
room from
scratch,
the function of the
wlio
is
examine
room and
going to be using
•
(Catering for
a
room
is
for
occupants
communal
it.
If
use,
cater for general taste rather
than individual needs. Even a personal
iiedroom
room such
as a
will require ver>'
and aesthetic terms, depending on whom it is designed for.
Playing with greens In a bedroom intended for use by a child, bear in mind that its
Relaxing in warm pinks ^ou can transform a rof)m almost
• Considering
functions will include both rest
color. L'se a
and recreation. You will have the scope to use different colors to enliven the atmosphere and add
scheme
different decor, in
both practical
function Select
your colors according to whether a room will be used for rest and relaxation, for fun and recreation, or for work.
interest for the
room
s
occupant.
Subtle or Bold Subtlety and boldness are generally equated with con.servatism and daring, respectively. This is because it is considered far more risky
Staying Pale
completely
for
in
just
by changing
its
uniform color an adult's bedroom,
example, to ensure that
features
do not leap out and
to
maintain a restful atmosphere.
USING COLOR
Warm or Cool
C
have
olors
warm
warming ov cooling
definite
ill
areas of the
or cool colors, or using both
warm and
cool together, can produce a range of different
properties that can be used to great effect
atmcxspheres and
home. CcMiibining several
Warming Up & Cooling Down
moods
to suit
your needs.
Adjusting Effects # Emanating warmth Oranges, reds, pinks,
and warm yellows
create a cozy atmosphere.
Choose warm colors such these for a little
room
as
that receives
or no direct .sunlight.
#
Freshening up Select a cool, refreshing color scheme with
o
o
blues and greens for areas such
narrow corridors that need opening up, or for sunny as
ro<^ms that
Bringing in
warmth
The warming effect of these colors is enhanced by the fact that they
Typical cool colors tend to have a receding effect
room. Choose colors
in a
like
these for coziness and intimacy.
Creating a
room. Use
rich, red wall
by similar tones undertones to the
an
warming cjr cooling influence depends on its intensity and its
warm
color
wooden
is
shade. Use dark colors
have the most marked
Keeping Cool
in the furnishings.
in the natural
this to create
extent to which a color has a
as creating a cool effect.
and reassurance by
basing an entire color scheme on
room, the
which
overheat.
carefully, since these tend to
Nurturing warmth and comfort
this
walls,
may
Varying intensity The
open, airy atmosphere, as well
Warm Glow
Clrcate a feeling of coziness
on
gives a greater feeling of space
appear to bring the
walls nearer and reduce space in the
#
Creating space
hues. In
accentuated
Even the orange floor contribute
rooms warm and welcoming atmosphere.
effect.
COLOR & STYLE
Light or Dark use The course,
of a
light
or dark color does, ot
create a correspondingly light
dark atmosphere
in a
room. Howexer.
Making Light Work
or
ditUrt'iii
USING COLOR «
Blending and Toning
toning can often be tiie most concept to grasp when choosing colors. YoLi need to decide which features of a
Blending and difficult
Color Coordinating
Maintaining a Blend •
Setting the tone
ro(^ni should be accentuated and which should be blended in with the general decor in order to produce a sympathetic color scheme.
Blending together
Choose
Choose
colors to suit a room's
function and the impact
you
wish to make. Use subtle tones in areas of
rest,
in
more
Creating
mood
main wall it
blends
with the color of
another significant feature in the room.
intense hues in activity rooms.
•
a
color so that
In the
Select a
example shown
wood
shade that is appropriate for a room's mood. Slightly tinting a color one way or another
here, the natural
can make all the difference. • Reducing impact Use
effectively with the pale
colors to
make
finish of the fireplace
and the furniture tones ochre walls and smaller items such as paintings
unsightly
and ornaments to create a harmonious and relaxed feel in the room.
features less noticeable. Paint a radiator the
same color
as
the walls, for example.
Extending Color Extending
the
one surface
same to
colors
another
and designs from is
a
hirther
way
of using color to balance a decorative scheme.
Locating Color
in
This link can be a
room
made between
all
surfaces in
including the flooring and furnishings,
as well as the smaller decorative details.
Less Obvious Places
Following Guidelines » Including ornaments As well as using similar colors
on
all the major surfaces in room, extend your color scheme to your ornaments
a
and collections on display to match the components of your decorati\e plan further.
Incorporating textures
The
textured aspect of a decorative
plan can also be linked in with
scheme. For example, shades and tones produced by a natural flooring, such as seagrass, in wicker baskets and other accessories in the room. a color
reflect the different
9 Scheming
simply The best
Maintaining a theme between features
effects are often created
rooms together by sharing a theme, for example by extending a pattern from one decorative feature to another. Here, the bands of tricolored squares running above the kitchen work surface and above the baseboard have also been applied to the painted frame. Use constituent colors separately on other selected surfaces to echo and maintain the theme between features or rooms.
means of
Link features or
a
by few simple color
statements. A\()id including
too
many
colors, since this
tends to produce a very cluttered feel that wall
be
too busy for most rooms. 15
COLOR
& STYLE
Color Scheming CiioosiNc^, A COLOR SCHFMH is excitinu, hut can also he a link- daunting. You may find it easy to select a main color hut more difficult to iinalize the smaller details, although these can often make or break the finished effect. it
Finding Inspiration tonics
Inspiralion
nalurallv
anti
lo
casil\-
dcfininy our
sonic pcopk'. but most of us ncccl a littk^ help in developing our artistic flair, or c\en in
identity a
you
start to
may
selecting colors,
find
tliat
is
close
hand, so look around vou before searching farther afield.
schemes in friends' homes. Try combining ideas from several sources.
scheme does not suit you. and to what extent the color scheme needs to be changed
• Looking
at
photographs
Browse through
pages and images
album. identif\ing favorite
and which colors they
•
you
feature.
Paintings U,se paintings
and you have bought in the past as reminders of what appeals to you visuallv. prints that
Consulting professionals
If
\()u \isit a
thrcuigh magazines to see wliich attract
decisions about decoratin.^.
the color
• Existing decorations Examine why your existing decorati\e
Flick quickb-
-Iry to
before
yoLi
• Observing friends' homes Although in.spiration is an individual experience, you can learn a lot by looking at
at
• Magazines
lu-lp
Seeking Help
you
inspiration
personal pivfcivncL-s.
key areas lo
make
Looking around You When
own
few
photograph
a
vacation pictures.
Make
decorating outlet, ask their experts for advice on color scheming. This service is often free,
a note
it
•
and you mav
find
extremely useful. Visiting
showrooms Most showrooms
)ou
of those colors that appeal to in landscape photographs
large outlets build
to give you an indication of your color preferences.
to displa\- entire rooms. Here you may cjbserve the work
of interior designers.
Starting Out • Trying technology
Traditional Tip
Using Swatches
There are man\- computer programs available to help with home design and decoration. You can tr\- out a range of different
color schemes on screen before making any decisions or doing any work.
•
Considering lighting "I'ou to be aware of the
need Using color charts
Many manufacturers now provide more than simple
lighting in a
room, since this Study both conditions and
will affect colors.
natural light
color swatches to aid \ our
artificial lighting
choice of colors. They will
selecting a color scheme.
aLso advi.se styles
and
on period color
how
to
combine
colors to create an authentic look.
Many
of their materials
have traditional
finishes.
• Choosing
before
accessories Pick
out the decorative accessories for a
room before completing
the color .scheme
an object you
if
there
partictilarly
like or find in,spiring.
16
is
Painting lining paper Make a rca.sonably sized color swatch
b\-
painting a piece of
lining paper. Stick this
on
a
wal
temporarib so that \()u can observe a color as the light
changes throughout the
dav.
COLOR SCHEMING Building Up a Complete Decorating Plan Choosing the decoration of a room from scratch can provide an exciting challenge and thus be very rewarding on completion. From the starting point
of your chosen color or several colors,
follow
through to every last detail of decorative materials, furnishings, and ornamentation in the room
Chouse fabrics far uphulsteiy and
window treatments that highlight one- or combine sereral - of the colors in your decoratire plan
u
Select howls
and other
ceramic ornaments so that they reflect the colors you
hare chosen
I'icL'
out
coinhinations
of colorsthis
i)!
case blue
and pale terracotta
-
from vacation photographs that you
particularly
like
Look through hooks on painting or photography for ideas on using
and combining color anil tone
I
se caipet samples to
select appropriate to
shades
coordinate with
the colors of other
decoratire materials
and to
complete your
chosen color scheme
Make a much-loved ceramic pot the anchor point for color scheming, or buy a neiv item specifically Tr)>
out paint on a wall using samples- which
for that piiipose
are available in small quantities- before
making a
final decision about colois
17
COLOR
& STYLE
Setting Styles Wiii:n
making a
established
decoR/\ti\i: pi.ax,
st\'le
or eivate
you
choo.sin^L;
t.lccorati\c
a
VeritS'ing age
home
give your cio
If
yon wish
to
a period look,
some thorough
Balance
.style.
nimilx-i' ol elilkTe-nl itlcas tari'lulK rcvsult
w
a
ill
ihal
also
\i)Li
research
and beginning work. • Watching movies \\ atch movies and tele\ision programs as a source of
the costs of reproducing a particular
ma\' be neeeleel lor
(.Irapes
period look, tor example, ^ou
need
In
structural
ri.se if
producers - especially of period dramas - need to pay
^ork
is
attention to precise details.
of the
for authenticity,
•
Keeping existing sr\'le if you happy with an existing .style, you may need simph' to update or renew it. Do not feel obliged to change a kx)k each time you redecorate.
are
major
carried out. Decide
vvhether or not the benefits
work will justilx the Lidditional expense incurred.
1
form your making decisions.
)'ou to
Exhiliitions. Libraries.
.Magazines. lilu.straied
books,
Craft fairs. Lifestyle
and home-
decorating pn jgranis.
k'ss
expensi\ e than w.illpaper or
•
Tiieaters.
'9
Trade shous.
• Art galleries. • MLiseums. • Places of historical
other materials. A^lapt a st\le to incluLle paintetl surfaces
interest.
tor a less costh option.
i^L
Bright Idea
® • S • • •
.strtictural
is
Ri: si; ARC
of different locations.
ideas before
changes
Choosing paint Paint
wlii^li
of these ma\ inspire \<)u
and help
that for decorative accessories.
Costs
their
All
other expenditure, sucii as
• Making
and
In other iicoplc.
number
,i
then need to cut back on
will
lo aciiic\u a
willi
Source material for planning your style can be found in a
E.xtraxagant
sVs'le.
happ\
DoiNd
Decorating lavishly C^onsider
into the recjuisite colors
and reference.
Ix-
Ik- aiiprcciatLxl
st\les before
inspiration
will
Keeping within Budget
Deciding on Style •
lo
.\
Forming Ideas -——---—--------^^
with color sclK'niiiiL;. look lor acklilional A.sinspiration trom \arioirs (.-xicrnal somxes
wlK'n
look.
you
possible, ^ilh man\' periiuilations allowing;
-——--——-----—-------
whether to follow an combination of bolli is be as ereali\e as you wish.
nccci lo tkxicic
own
\'oiir
Using Collections L
se a personal collection as a
basis for a theme, extending
appeal and making
it
its
a significant
part of a room's decoration.
# Using furniture Some people collect furniture that reflects a
particular liistorical period or
mllLK'nce, I'sc this h.isis tor
theme
as a
other decorations by
matching colors and designs to i>
Viewing period homes Seek
in.spiration for original
complement
the pieces.
Decorate \our iiictLires
t'sing pictures
room so that w be enhanced a
ill
styles
from period homes.
Visit a few, particularly locally,
to get a feel for the character
of the region, and note inspiring elements.
18
sLirroiindin<;s. (.'.m
usLialK
b\ their
L.irLje-
cnpc
p.iiniings
wiiii l.nisii
w.ill o)\erinL;s. wlieiv.is sm.illei' l")iinl,s
ni.\\\ A subik'i-
that will not
backdioii
com|X'le with them.
Stenciling a design C]opy an image from an item is
displa\ed in the
room
of a collection, for example tracing o\er
it.
a stencil ilesign as
th.ii
- (i.irl -
b\
I'se this to cre.ile
w
hich. as well
adding tlecoratixe appe.il to
the wall, will also
complinuin
the item or collection.
SETTING STYLES
Considering Other Factors setting
a
srs'le.
InsLipplementaiA' need
there
are
that
rsh.
elaborate \\indow treatments.
and
e-\tra\agant furnishings,
the impression of swaths of
and cushions
material .soft,
as well
luxurious carpeting.
Considering your stay
be
n(~)t
in a
home
If
striped designs for a neat,
cottage
tidw and ordered appearance.
relati\'ely
a
work
better in
well. sell
-
\\
It
to lea\'e behind.
hc^me
will
be
is
decorated
far easier to
- and fetch a higher hen the time comes.
price
realir\-
countr\--kitchen look
con\1ncing
•
is
countne\en if used sparingly in a room. gi\"e a
feel.
most
.Maintaining a
theme When Reflecting architecture
on other
and whether you v.ill extend the style to them later.
a finish reflects a particular era.
changing
it
may mean
replacing
other decorati\'e features, too.
Certain types of building are best suited to particular
If
To plav
choose a fairly neutral plan and reflect
example.
immediate
designs, for
in a rural setting.
tjuickly as other fashions. safe,
Gingham
Consider
areas
as
effect.
For example, a
think about the impact
change
Decorati\"e sr\ies
Reflecting authenticity-.
decorating pan of your home,
* Dealing with trends
into a decorati\e plan. Select
fabrics carefully for
some
surroundings than in others.
that ycuir
to inject the idea of a sr\1e
particular decorative plan
a\oid extraxagant decor that
need
e
Considering Bt ilding Stylls will
Increasing value xMake sure
.Ma.ssi\
o\'erhauls are not necessar\'
you
for long,
Following a design
can range from opulence to minimalism. Howexer. designs for wallpaper or fabric should be precise and obxious to gi^'e an impression of regimented order. For example, choose
plan for short-term needs and \-ou will
Minimizing Changes
Being ordered Formal styles
Thinking Ahead \\ ill
an authentic effect. These factors may not be ob\ious but can help in making the practical decisions that w ill shape the hnal plan.
of
you
Creating Formality
Using the right fabric La\
sumptuous st\1es rely hea\"ily on soft furnishings. Tct create this sort of feel, emphasize
as
number
to take into account in (Mxler to achie\'e
Being Lavish -
a
considerations
of decor. in a
A
sr\ les
look that works well
Mediterranean
villa
may be
out of place in a townhouse or a rustic,
wooden home.
fashion onh^ in accessories.
Transforming
Starting
a Space into a Living
Area
from scratch
For a major
room
facelift,
or
the creation of a living area in
previoush unused space, clear the
room
as
much
as possible.
room become welcoming
Here, a cold, uninviting
(above) has
and comfortable (right), and good use has been made of inherent features such as
its
unusual shape and natural
light.
19
COLOR
& STYLE
Reflecting Lifestyles MAKING DECISIONS ABOIT DECORATING. Consider voLir lifestyle as well as feelings about how li\-ing enxironments shoLild appear. You may be constrained by architectural lealures. but there are iuan\ ways to adapt them.
Wiii-N
\()iir
Selecting a Style All a
decorators aiv,
in effect,
presenietl with
blank cam-a.s on which to work.
planning your creation, you
will
need
When
to strike
halante between
a
tnnction.s a
room
requirements, then
Living in an Urban Environment
look yoii like and the
a
will ,ser\e. First resolve basic
make
adjustments to
.style.
Maximizing space Space may well be if
you
premium
at a
dwelling.
live in a city
(Consider an open-plan layout to
help create
a feeling
of greater
space or simply to make the
most of the space
that
you have
more make
available. Light colors are likely
than dark shades to
room
a
if it
feel spacious, especialh'
has high ceilings. Think very
carefulh about the layout of and furnishings
fcjr
an open-plan
home. It can be challenging enough to coordinate the decoration of a small area,
let
alone take a creative oxersiew of a large
room
that
must
ser%'e
multiple purposes. So take your
time
when making
choices.
Designing a Country Kitchen
Reflecting a Regional Style
Recalling the simple life Choose a countr> look for a kitchen to reflect a theme of uncomplicated living and promote
Adding an ethnic flavor
comfort and relaxation
be
in
one of the busiest areas
of the home. Reinforce this atmosphere by using a lot of
20
wood, both painted and unpainted.
You can develop
a
theme w ith
or create a complete replica of
is
it
local or
from
far afield.
simply produced with a
just a a
few
details
regional st>Ie -
This Hispanic tlieme
little
basic
know ledge
about the appropriate colors and designs.
reflecting lifestyles Selecting a Modern or a Traditional Approach
Being thoroughly modern Modern decorative as
much by
Upholding tradition
plans are often characterized
their selection of furniture,
these striking chairs, as by their color
choice of fabrics.
A modern
st\'le is
such as
scheme and
innovative, so
you can give yourself scope to experiment and produce a st^le that reflects your own ideas.
Creating a Home
in
Many people
feel
comfortable with traditional
decorative themes, like the classic look of this
room. Tried and tested over the years, such
styles
are to a certain extent guaranteed to give a satisfying result.
You can choose from
and are
wide range of options vour taste.
a
likelv to find a selection to suit
One Room
Making Your Mark * Adding
There is complete your decorative plan as soon as
no need
to a look
to
main decorating job is completed. Collect and add
the
accessories and ornaments
over time nntil you feel you have achieved a total look. • Creating a focus The most successful decorative plans result
from well-chosen focal
points that
draw
attention to
detail. Fireplaces, furniture,
and pictures all fall into this category. However, do not clutter up a room and reduce the impact of such features. Minimalist decorative plans
draw
®
attention to focal points.
Take an and adapt it to suit you. This can be great fun and will add a touch of Adapting a
style
established style
Planning a room layout carefully
When one room
is
to
be used
for a
number
of purposes, design
individuality. For
example,
the decor largely according to practical concerns. Here, split-level
include an extravagant
accommodation creates space by suspending the sleeping area above ground level. The choice of a few ornate accessories, such as the
material in a Shaker-style
mirror and the pillar support of the raised area, adds interest.
simple, utilitarian designs.
kitchen to contrast with the
21
p.AINTING
ALLS
m Axn (I'Jiixcs arc usuallly Ihc /arrest W1//S' you will ihal you ^ui'facc areas Ihal wii jxiiiU iu
Quick Reference Preparing to Paint, p. 24 Tnipro\ing Tcchni(]ucs. p. 2(1
Creating Paint Effects, p.
face home. a As a resull. wall color aiul lexlure form Ihc hach(lrol) for other (leco)-alioii in a room. II is lheref>re imporlaut lo prepare surfaces thoi'oui^hly
30
and
lo
use the correct
techui(/uef)r the finish recjuired
Finishing, p. 3H
both the
(jiiality
and
lon;^ life
to
ensure
of the decoration.
^—
Selecting Materials -^------— There
is
a
\ast
and
e\"er-increLising \ariety
of painting materials
thev
broatlh-
fit
into
a
in
the marketplace;
number
of
general
categories. Water-basctl paints tcnel to ciominatu
the
\\all-finisii
cliTinq
and
market because they are quickuse over large surface areas.
eas\" to
Paint Types and Their Characteristics
PAINTING
\%
ALLS
Ba>ic Painting Equipment Having the most suitable took for painting projects is imponant. There are several basic tools that should form pan of even home decorators painting kit. which ma> then be added to for tasks with more specific requirements. Buying good-qualit) equipment will reap benefits in the form of
I
bener. longer-lasting results.
•
Creating paint effects
If
you
intend to use paint effects, you will require
some
additional
equipment as well as certain different materials (see p. 31^-
• Testing equipment Before buying any painting equipment - but especially large, costly pieces — test them for sturdiness. and make sure that they have an adequate guarantee.
D:r-rv:
Me AS
Sandpaper
PAINTING WALLS
Preparing to Paint Till-
FIRST
STAGE OF iHF DFCORA'i'iNG PROCFSS
top-qualitv finish, hut
important to ihc
is
of a
i')roclLKlion
often perceived as the most tedious. Takini^ time
is
it
to prepare a wall thoroui;hl\' before paintin^^ will ensuiv a i^ood result.
Getting Surfaces Ready Prolecling i.s
is
It
a.s
ad\i,sable to
Clearing •
be
.surfaces that arc not to
important
a.s
preparing those
remove
all
& Covering
Protecting furniture
not possible to
move
If
it
is
the
all
tlio.se
Filling Walls • Mixing filler .Mi.x
area,
If
much
room and
if
too wet, in
,i
too dry,
will shrink too
it
hole
when be
will
it
it
dries;
difficult
work and dn'
Storing prepared
keep dust off. Secure around the bottom with masking tape. • Covering floors Coxer floors
you
.store
with dropcloths or old house-
•
hold sheets. Use a dcHible thickness of the latter since
newspaper to pack corner cracks and prcnide a ba.se
they are less impermeable.
filler.
•
a
to pre\ent
them from creeping.
your
to increa.se
easier to identify'
it
to
9
Stopping movement Secure dropcloths in position b\baseboards with masking tape
make
to
Repairing Corners filler
to
a pla.stic
from damage,
areas of wall needing mo.st attention.
sheet over the furniture to
around them. Drape
it
and
a firm, pastelike consistency.
large items in the center of the
smaller pieces
to proiccl
working
furniture trom a
furniture out of a room, stack
fit
room
painicel thai are.
prei")are
tcx) c|uickly. filler If
much
too
filler,
the surplus, co\ered with
plastic \\iap, for later use.
•
Filling large
Deep
second
gaps I se
holes
fill
Vkill
for
neeci
before sanding.
Fill any holes abo\e the wall surface
Overfilling
slightly
Using a support To repair an external corner nail a wood strip fiush with one edge, then
till
dries,
against
it.
remove the
Once
the
strip.
Repeat
tiller
to allow tor shrinkage.
on the other edge, and
Covering Large Areas
Making Alterations ®
Bright Idea
Putting
lightly sand.
up eo\ing
Strip old
new
\\all|^aper before attaching
co\'ing to walls. Put co\ing in
position before deling any further painting preparation.
• Replacing woodwork want
to replace
basebcxirds,
do
If \ xiu
moldings or .so
liefore
nou
paint the walls in order to a\()id the po.ssibilin- of
being damaged after
them
the\-
have been painted.
# Organizing
Protecting fixtures
To protect a.s
a light
a wall fixture
from paint
such
.splatters,
cover with a plastic bag secured with
string.
Remove
the light bulb, which,
if
switched on, would heat up
and present
a fire risk.
Using a caulking blade If
a wall has
numerous scrapes
out any major electrical or
plumbing alteraticms
that are
and holes, use a caulking blade to spread filler across the whole
necessary before \'ou
or a large part of the damaged
return once
area.
will
24
professionals Hire
qualihed traLlespeople to cany
The broad blade
cover the area
surface
efficiently.
painting. Arrange for
start
them
the decorating in order to attach
any
to
you ha\e finished
fixtures for you.
PREPARING TO PAINT
Preparing Walls Asmootli
wall surface
Sand excess
is
essential, since paint
rather than hides imperfections.
higlilights
filler
and other rough areas back
Sanding & Sealing • Sanding large areas Use
a
to
flat
finish
electric
large
filler
an
sander for preparing expanses of wall. Renting one for a day is not expensi\e. • Maximizing use Once coarse
Sealing
new plaster
one
flat
with a scraper. Only sanding v\"ill then be
needed
for total
smoothness.
•
Fdid sandpaper arfiinicl iiooci
Dilute
P\A
before you
latex
Mix one
glue with five parts
water to make an excellent sealer. It will ha\e strong bonding properties and be ideal for use on povvder}' walls.
painting
start
• Reaching
the least expensive.
Sealing dust}' walls
part
Clean a ceiling thoroughly
on new
Choose white
it is
touch.
ClE-WING
part water for use as an
since
to the
latex with
excellent primer plaster.
smooth
a light
sandpaper has become v^orn. you can use it for fine sanding before thro^\ing it away.
•
is
Making Sanding Easier # Saving time Before sanding. remo\e lumps of plaster or
ten parts of
that
Prime with an appropriate sealer to stabilize the surface and make it ready to accept paint.
it.
a ceiling Rather
than climbing a ladder with
Using a sanding block Wrap a piece of sandpaper tighth" around a wood scrap
a
• Using
to
as
it
to reach up.
rinse with clean,
Rotate the sandpaper
around the block
mop
detergent Use a mild
detergent for cleaning, then
provide a tlrm base as you sand a wall.
bucket of ^ater. use a
squeegee
warm water
wears.
Preparing Paint produce the finish that you require is prepared correctly before you Problems such as poor color matching.
Paint
will
only
use
it.
if
it
shadows, and
are the result of
Removing Limps
Mixing Paint
a
fault of the paint
poor
poor preparation by the
Stirring
user.
& Decanting
Protecting paint Before
Pour paiut
Stir with
finish are usually not the
manufacturer: more often they
opening a can of
slat
paint, al-^ays
brush to remove dust and dirt from the rim of the lid. Impurities may otherwise fall into the paint as you ease off the lid. use a
soft
# Hand
stirring Stir paint in
several different directions rather than in a one-directional
movement. Use a slight lifting motion as you stir to ensure an even color throughout and the dispersal of paint up from
Maintaining color You may require several cans of paint when decorating a large room. Pour large
all
of
them
into
one
bucket and mix to conceal
Sieving paint However \\ ell it is stored, paint may form a skin in the can or
the base of the can.
acquire lumps and foreign bodies.
decanting paint into
Use
a
household sieve
when
color differences. U.se a bucket
decanting paint into a paint bucket
with an
to separate out the.se impurities.
airtight lid for storage.
•
Lining paint buckets Use
to line a paint
the job
is
foil
bucket before it.
Once
finished, the foil
can
be thrown away and there is no need to clean the bucket. 25
PAINTING WALLS
Improving T e
h n oi
c:
t
j
es
TECHXigri-s AKi-; cooi). you will achic-w the elcsiivtl finish and acx'iirately. You can cover lar^e areas (|iiickly with modern equipment. Ne\er rush, and reuK'niher thai speed will come with practice.
YOiR
IF
I'Mxiixc.
efficiently
-^——--———--— E\cn
il
have
\()u
technique,
\nu nvA\ be suiprised
alternati\e metliods.
Following Bask Rules • Smoothing w
walls I^ub
dow n
lietween coats
N\alls lightly
Lighting efficiently
w
I'aint
ith
that
a
lia iini(|uc
and well within
yoLi thouglit
to
yon had piv\ iously
that
ditticLiil is. in tact,
easier than
yoLir capaiiililies.
Loading Paint and buckets till bottom edge of its ribbed slope, and a paint bucket up to one-third full. Filling trays
a tray
hne-grade sandpaper
ith
fiiul
considered to be
worth expefimenting with
--------------------
Basics
nil:
pivtcivncc tor a parluular
a
is
it
Improvinc,
up
Traditional Tip
to the
an indirect rather than a main light source illuminating your work, ^'ou w
then be able to
ill
more cleaiiy where you ha\e painted, especially on the second or third coat. • Keeping edges wet Keep the edge wet as you paint along see
a wall, since ditfering
times
diying
on the same surface
may cause shading
variations.
Complete one wall
at a
• Covering coats
if
well
time.
AppK two
you are making
color change, but three
are replacing dark
w
a -flight it
\ou
ith light.
c>
Dampening brushes Dampen paintbrushes lielbre make them easier to work with. Wash xour
use to
Distributing evenly Run a roller head over the ribbed area of a paint tni)- to remove
brushes regularly during painting to prevent the
excess paint. This will also
ensure that the paint
is
bristles
Dampen
evenly
Irom
rollers
t
logging up
and pads,
Selecting Brushes
Rolling Walls
Using Paint Pads
Using brushes efficiently
Covering evenly
Painting with ease
Choose
Apply paint on
a 4-in
(
l()()-mm) bru.sh
for painting wails.
one
will take too long,
larger to
Using a smaller
one
tire.
will
while
Apply random suokes
in all directions,
and do not
ONcrhrush. La\ off as with a
26
a
cause ) our wrist
roller.
too.
distributed over the roller head.
slightly
a roller in vertical,
o\erlapping
load should cover
I
strips. st| ytl
One
( 1
nv
VXithout reloading, lighth run tile roller
o\er the area lo
l.i\
olt
I
sing a paint pad rec|uires a
minimal amount of technical ).
abilit)',
Pre\enl
Uy spreading Init
m.ike
it
a builtlup ol paint in all directions,
Miri' liiat all
areas
the paint, removing excess and
within the range of the jiad
producing an e\en coverage.
are suincienllv et)\ered
IMPROVING TECHNIQUES
Painting Around Edges ^ Paintinii aroLind the edges of a wall is know n as cutting in. and it recjuires great precision. Good defining lines between different surfaces
* Overlapping Cut in a
Choosing brushes Use
w^ay onto molding and
baseboards
Then \"ou \\'ill need to onl\- one straight line -
painted.
paint
when you
paint the
Masking
woodwork.
masking tape
wooden
adjacent tliis
also
it
the edge of the ceiling
in a corner. Tliis
undulating, cut
enough
below the wall-ceiling JLinction to produce a new line that is clearlv defined and straight.
to
co\er a reascMiabl)' sized area with a single loading of paint.
in slighrh'
Cutting
in at a
Wall— ceiling Junction
alcMig
edges. Dc^
\()u intend to
apph' a natural
wood
H'^
Use a small brush to cut in around switches. Clean off
when
o\ersplashes
they are
thy with the edge of a
filling
knife or a \\indow scraper.
1
'
Painting inaccessible areas
is
hard to paint betv^een pipes ra^liators.
#^
finish.
Painting around switches
and behind
here is
you are painting
If
walls but not \^oodwork. apply a strip of
w ill be small maneuxer. but will
W
Hiding unevenness
a
2-in (S()-nim) brush to paint
they are to be
if
I'sLially a
Painting a Well-deeined Edge
Dealing with Edges little
add professionalism
to your decorating, brush is used, although corner rollers and miniature pads are axailable. will
Use
It
a
long-handled radiator roller, or make a tool by taping a sawed-off paintliRish
at a right
angle to the end of a
do^^•el.
Apply
a strip of paint
5
cm) below the
not brush this
apph'
ceiling.
trail
a thicker
out.
2 With unloaded
of paint, spread
the paint
upward
the brirsh
along the top of a wall bePi\een 1 and 2 in (2.5 and
Do
and
coxering of
paint than xou would if you were painting the open wall.
trail
now mosth' right
into the wall-ceiling junction.
Using the outermost bristles, bead the paint accurately into
making
the corner,
a clean,
straight line at the junction.
Adapting Techniques for Painting Ceilings (~>verlapping walls
Slight modifications in painting
technitiiics are required
when
painting ceilings because of the difficulty in
You
will
When make
reaching them.
need
a sturd) stepladdcr.
/;,!,'/)//)
cinniml hnlh hinulk's
decorating a whole room,
first,
Wm
\()ur height
Unscrew
ceiling roses rather
than attempting to paint anniiul
them.
Make
sure that the
electricitx' is tiu'ned oft first.
easier to cut
wall-
If
Lising a drip guard,
«'
a long-slee\'ed shin
and
cap. or use nondrip paint.
Making a drip guard Cut
a
dishwashing-liquid bottle in half
find stepladders
upturned wooden crate. • Dealing with light fixtures
is
protect yourself from .spray by
w earing a
If you cumbersome, and you have low ceilings, you may be able to paint a ceiling merely by standing on an
it
Protecting from overspray
you are not
been decorated.
w Increasing
will fine!
in the wall color at the
•
thus preventing
overspray onto walls that have alread\'
walls are
ceiling junction than \'ice \'ersa.
sure that you paint the
ceiling
If
he painted, cn-erlap ceiling paint 2 in (^ cm) onto the wall.
lo
Staying on the ground Reduce the amount of work xou have to do up a ladder w hen painting a ceiling by using an
vertically.
extension pole with a roller or
you
paint pad. If you do not want to buy an extension pole, impro\ ise b\ taping a roller or paint pad to one entl of a iiroom ii.iiulk-
Attach one half to
cage by screwing the cage's retaining screws through a roller
holes
at
ends of the
bottle.
When
any paint spray w ill be caught by the guard, ^'ou may n^<^d to modify the design and method (if attachment for ditieieni brands of roller. roll,
27
PAINTING WALLS
UsiNc,
Equipment
Tfchnoloi^ical dex'elopiiients coniiiuially biin^L^ new paimini; ee|uiiiment and tools into the marketplace and imiiroNe existing deeoratin,^
iiK-llioeK. I'aini
sprayers.
example, arc more
i'(n
home
suiiahle lor use in the
he and are leadiK available
than the\
Embracing Technology • Reducing eftbrt I'se battery-
Choo.sing to Paint with a Spra-si.r
powered
held, airless spray
and brirslu's need lor
rollers
to eliminate
tlu'
reloadint^. Paint
pump<.'d
is
through a tuix' onto the roller or brush head, thirs
Spraying with ease
light
and
iLsc.
Practice
I
a
sexeral e\en, thin coats for flat.
e\en
finish: thick
coats
make
paint
moie
to rtin.
a
piece of
likel\
newspaper. Clean the nozzle
Spraying can be messy, so
regularlv for an e\en coating.
mask
Maintaining a steady hand
Covering a wall
off bordering surfaces.
speeding up the painting process ancl making
it
easier.
• Improving coverage Use commercial one-coat paints to reduce significantly the time it takes to decorate a room. These paints are ideal for partial redecoration and for freshening up a
room quicklw
• Buying multipurpose
tools
These days manufacturers produce ladders, for example, with
more than
far
With one hand
their
in control
of the
Spray in a continuous motion,
purpose in mind. Combination ladders ha\e se\'eral uses - as trestles and
the sprayer.
working platforms as ^ell
Wear
lighuveight gloves to protect
backward and forward across a wall and from top t(^ bottom. Spray a little beyond each wall edge. Keep spraying until the
\(Hir
h.mds from o\ ersprav
wall
traditional
as
con\"entional stepladders.
trigger,
use the other to steady
about 12
in
\\ ith any equipment, read manufacturers instructions
As
carefully sprayer.
when
using a paint
There are
Keep the nozzle C^O cm) from the wall.
is
completely covered.
Choosing Painting Tools
Safety
particular!}
important
safet)'
remember
in this case.
T(nM,s Brush
(jiaracteristks and
St
Blushes are niultii")urpose and
come
shapes and
points to
sizes.
They
itability in
many
are ideal for cutting in and
painting intricate details, and can be irsed
on open
wall surfaces, hut will be slower than other tools.
® Wearing protective clothing Wear mask and goggles ci
when
Roller
using a paint spra\er.
paint or get
•
it
into
your
The size of them varies, but
put your hands in front of
wis expelled
at
The
cLittint; in.
Spra>er
injur^^
power
blockages, for example.
The texture of
rollers are
too big for
rollers also \'aries.
:\vc
ideal
w here
little
masking
is
required
Pad
for painting
Pads are suitable
for large surfaces, .incl small p.uls
in. They cause less mess Use them where extensi\e masking
are available for cutting
than
rollers.
would
28
hv
broad wall surfaces and inaccessible areas, such as behind pipes. Using a sprayer can be a mess\- business, so protect adjacent surfaces.
Disconnecting power Always disconnect a paint
supply before you remove the nozzle - in order to clear
Sprayers
and
•
sprayer from the
surfaces, hieing
a
paint
high pressure
and could cause
open
the quickest tools for co\ering walls efficiently.
e)"es.
Protecting hands Ne\er
sprayer's nozzle.
Rollers are ideal tor wide, lar
\e\'er inhale the fine mist of
to
Follow ing guidelines Apjily
land-
guns are
relati\ely easy to
on
usl'iI
lor (lurehase or rent.
()then.\ise
be necessan. sueh as
in kitchens.
IMPROVING TECHNIQUES
Emphasizing Texture depth and texture ean lie produced hv applying specialty coatings and paints to wall surfaces. These finishes look effecti\"e and
Greater
are almost as easy to apply as
literally
add another dimension
Dealing with Corners
Making Patterns
more con\entional means that they
paints. Their thick formulation
to
your painting.
Leaving Walls Looking Natural Many
wall surfaces provide
a textured or natural look in
their
own
right.
This requires
minimal additional
#
finishing.
Natural stone Seal natural
PVA glue
stone with diluted
(one part P\'\ to
fi\'e
paits
water). This will ]irovide a finish,
while the bonding
P\A-based
jiroperries of the
reduce dirst. Brick Use commercial
sealer
• Cutting in
Using tools
Use
Use a small grout spreader to
Work
create a design.
about will
1
sq yd (1 m-
or the paint
),
dry before you ha\e
the pattern. is
in areas of
A
made
keep the design
if
you want
a small stippling
to
brush to
a
low-sheen
attracti\"e
Dab
lighth with a well-
loaded brush to achieve the
rough
finish
produced by
finish that
and
Bare plaster
textured roller will not reach
right in.
semicircular shape
easy to reproduce
watersealants to give bricks
apply paint in corners, since a
v,-ill
is
tiinctional.
A
well-plastered
)m can itself be pleasing. Seal with two or three coats of water-based matte \arnish. r( )(
a
textured roller on ;m open wall.
relatively simple.
Applying Specialty Coatings to Ceilings designed with ceilings in mind can provide effective finishes. They are ideal for Specialts- coatings
areas that are prone to cracking, or for ceilings that
need
to look
uneven
more uniform. As with
textured paint, you can create a wide variety- of patterns with tools designed specifically for the task, or, b)' impro\'ising
vou can create \ our ow n
with different implements, indi\idiial look.
* Getting help Tiy to fin^l someone to help you with the application of a textured
coating to a ceiling, since difficult job to
One
it
is
a
do on your own.
of you can apply the
coating, while the other follows
behind creating the pattern. • Cleaning as you go Keep a bucket of clean water at hand
you texture a ceiling. Rinse your tools regularly in the water to pre\-ent them from becoming clogged up with the coating. s Finishing edges Frame a fini.shed ceiling by dragging a 1-in (25-mm) brush through as
the textured coating
all
the
around the perimeter This
enhance the
finish.
Once
a
tips
textured coating
is
dr\.
gently brush the ceiling with a
household broom to remove an\
when
way
excess coating. Otherwise,
will
you paint the ceiling, rollers will catch on the drip tips, hampering an even paint tlistribution.
create a preci,se, well-defined edcre to
Removing drip
Creating effects Use a crumpled pia.stic bag
to
create a textured effect. Turn the
bag regularly
.so
clean area to
make
Wear \-our
that
you use
a
the imprint.
surgical gloves to pre\ent hands from becoming caked,
and keep some bags
at
hand.
29
PAINTING WALLS
Creating Paint Effects Y(Mtor cw
(
Ki
\Ti'
wiDi
\
EFFECTS h\ iisjn^ p;iinis aiul i^hi/cs.
R\\(,i' oi'
Use paint
deceiving ihe eye wilh eolor unci perspectix'e. seniili'ansparenl c|Lialily lo prockiee eleplli and iranslueence.
|^allci"nN
eiosii^ninL;
I'se (glazes lor iIkmi"
aiul
Considering Opiions paiiil
Simple' impact
technic|ues.
can
cttccts
those
as
xou are
It
\\a\
just
as
much
simple cllco that uses toloivd emulsions, "^ou
more complex heginnei". choose a
a
Wliichever
paint effects. Father a tool
chcxisc.
dipped into paint or glaze and then applied to a wall. or a glaze
is
all
tools
apply
a
build
•
Rough, textured walls
flat
w hich
walls will
stippling off to
Assessing
iirobabh the
is
work
with, although
glaze should be used for this
A sea sponge must be used since substitiUes tend to smudge the finish.
This
is
progression from
a natural
spt)nging on in terms of
difficult}'.
Ragging
of a sponge.
disguises defects, while smooth.
show
^2)
effect (.see p. ^2).
Ragging (see
Fxamine walls
are ideal for sponging,
completely
p.
p. 3.^)
inxohes a similar
suitabilit)'
Choose
ragging and bagging rather
than rag rolling on a wall that has pipework or .sw itches. Rag
glaze shoukl be
results.
Bagging Bagging (see
p. .33)
involves the
techniciiie as ragging, is
best.
its
A mixed
used for the best
used instead of
same
except a plastic bag
a rag.
This creates a
more sharph defined texture compared to the fabric alternatixes
used
in nigging.
Rag rolling Rag
rolling (see p. 33)
a tw isted rag
down
inxohes
rolling
a wall to create a
needs a constant motion without frequent interruptions.
off since uniformity and consistency are
Joins are difficult to disguise.
difficult to
rolling
• Getting ready Make all
materials
and tools are reach" once nou start
wall
\ou should
finish
without interruption. not,
some
If
it
\"ou
do
areas will dn- before
others and the joins will
30
It is
achieve
best to rag
when apph ing
roll
on.
sure that
for use. since a
repeating pattern.
show
Stippling .\
sti]ipled effect (see p. 32)
is
created
by pressing the bristle tips of a stippling brush into a wet glaze. The lechnic|ue is
onh is
suitable
w ith
to
;m e\cn nvcnill finish.
technique to that of sponging, except a crumpled, lint-free cloth is used instead
Prfparing to Paint carefully.
iinotlier lor
Sponging off
A mixed
m^
latex are ideal.
it
hand.
hand
wall
synthetic sponges can be substituted.
you can then
color: semiglc:)ss or
Roughing
:it
nKncmcnts from one
iia\e
are the ideal tools to
base coat. Light shades
up
and materials
Tf) to maintain consistent
\()u
\()ii
or glazes can be used. Natural sea sponges
"off."
are best, since
effect
sure that
easiest paint effect to create. Latex paints
E\en if vou use the same glaze and the same tool, a different finish will be achiexed depending on which method you employ. • Apphing a base coat Alw a\ is
paint
make
Sponging (see
is
pressed into the glaze. The former is an "on" technique: the latter
more
attempt
as noli i^ain experience.
sponging on
applied to a wall
with a hrirsh and a tool
and
glazes,
Types of Paint Effect
methods There are two main methods of creating Selecting
is
coloivcl
e.\tia\ aidant tinishes.
Choosing Effects •
mix
can
in\()l\int^
glazes, .ind conlinuit\
impt)rtant to pre\ent joins or oxerlaps.
CREATING PAINT EFFECTS Colorwashing
Additional Painting Equipment up
Building
gradually.
need
Colorwashing
a paint-effect tool
can be expensive, so do
kit
Buy equipment
as
a highly diluted glaze to wall
produce through which the base coat shows, creating depth and texture. surfaces. This will
everything that you think you
may need
•*
a translucent finish
the future, onh' to
in
few
find that >(iu use
items.
Improvising You can
u.se
Stabilizing a
tools other than special-effect
of highly diluted paint. To
prexent
unique
to create
from running
it
of
effects
P\A glue
help
it
to the
mix
coats,
1
and
\"aiy
to create a
of depth. gi\'e a .Stenciling
taps.-
brush
to
adhere to the wall.
* Adding depth AppK'
.Masking
oil
the walls, add a small atnotint
items as well as decorating
-
wash A w ash
should ha\'e the consistency
equipment for paint technic|ue Experiment with different objects - orciinaiy household tools
probably the
large paint brush to apply
you
rather than purchasing
it.
is
oldest paint technique. I'se a it
se\eral
color slightly
wonderful feeling
Warm
colors will
glo^' to any room.
Choosing walls -'^pply a to a rough surface to create texture. The color will clear from the peaks ?
^ash
but build
up
in the tniughs.
creating a great textured finish.
Plastic \x\i
Craft knife
Making Glazes AL;la/e
the
is
nieditini
for
paint
creating
by it.s ability to hold patterned impressions and by its long drying ellecrs.
di.stinguished
is
It
time that allows \'ou to create effects. Glazes
ha\e
traditionally
acfN'lics are
been
ba.sed.
oil
but
modern
popular and are often preniixed.
Calculating Quantities
Coloring Glazes
#
Diluting color For a
good
acr\lic-!~)ased glaze, five to ten
percent
(
)f
be color and the
Add
Traditional Tip
the mixture .should rest glaze.
the color to the glaze and
mix thoroughly. A clean jelly lar is ideal for mixing .small quantities of color iii this way, since you can scrc^' the lid on tightlv
before shaking the
colors to
•
go much
Mixing acrylic colors I .se
an
artist's
acrylic colors.
on lid.
a surface
such
first
as a paint-can
and make sure
it is
the right
shade. Decant the basic glaze into an old jelh
jar.
the acrylic color to
and it.
atld
well.
farther than standard
paints. Dilute aciylic glazes
brush to mix
Mix the color
mix them
Estimating amounts Glazes
Mixing a traditional glaze
with a small amount of water
Mix
coverage of the glaze. Estimate hcnv much you will need by hah ing the
with three parts of boiled
to increase the
amount of standard paint you would reciLiire to cover
six parts of turpentine
linseed
oil
and one part
of white, oil-based undercoat t)r
semiglo.ss. Tint the glaze
using
artist s oil paints.
the same-sized area of wall.
31
PAINTING WALLS
Sponging Whether areas,
effect transforms the look of a
Sponging Successfully • Removing
A
sponging whole walls or selected such as beneath a chair rail, this
sponging produces
a subtle,
while nuilliple la\ers produce a busier, bolder effect that has greater depth.
wall surface.
tlat
single layer of
airy
pattern,
Using Color EFrncrnHLY
When
excess
sponging on, decant the glaze onto an oM jilate or rininied paint-can liel. Dip the face of a damp sponge into the glaze, and remo\e excess by drawing the sponge across the rini; othenvise. the
•
-
impression
first
be thick and blotchx'. you do apply too much, reapply some base cok^-. will
I
if
Rotating the hand Rotate the
hand
into a slightly different
Sponging dark onto
light
Sponging
light
onto dark
position after each impression
Use
keep the pattern random. • Sponging corners Tape a small piece of sponge onto the end of a pencil to enable
gradual!)'
apply darker shades
progressively lighter shades
on top
produce
top for
to
\"(~)u
a light
to
base coat and
a highly
distinctive pattern.
of the
final
Use
The color
and apply on
a translucent effect.
will see a larger color
coat applied will
You
range
since the light colors will not
alwa\s be the most dominant
to reach into corners.
a dark base coat
obliterate preceding coats.
Stippling Stippling
is
bmsh
a .subtle paint effect using a
depending on the size and compactness of the bristles. This is a timeconsuming technique, but it is \er>- satisfying. to a coarser finish,
to create the impression of a texixired surface that
may range from
a light, \-el\-ery
Choosing Brushes • Using
specialty brushes
you can
afford one.
buy a which is ideal
stippling brush,
for stippling since
of a thick
wad
If
of
it
consists
bristles.
appearance
Stippling Effectively • Working in sections Apply glaze in areas of about (
1
m-
1
stj
\d
Time-saving Tip
using a large paint
).
brush. Co\"er as e\"enl\' as \-ou
dab the stippling on the wet glaze.
can, then
baish
•
lightly
Creating uniformity
from
left
bottom.
to right
Do
not overlap
because they
more f^
Work
and top
will
to
.stipples,
appear as
heavily shaded areas,
Preventing clogging
each area has been wipe the head of the baish with a lint-free After
stippled,
Finding an alternative For a less cost!) alternative to a stippling brush, trim the bristles
of a wallpaper-hanging brush
with sharp
,scissors.
pad of bristles so will
32
be
Make
that
in contact
all
a flat
the ends
with the wall.
cloth to
remove excess
glaze.
K buildup of glaze will create a patchy effect over the wall. • Adding depth Use a slightly darker glaze a wall
in the
corners of
than toward the center
to create a feeling of depth.
Glazing with a roller mohair
I'se a fine
apply glaze to
much a brush
quicker
roller,
roller to
w.ill
tiian
I'liis is
using
and therefore allows
more time effect.
.1
Do
for crcatiiii; an
not o\crloa(.l the
or the glaze might run.
CREATING PAINT EFFECTS
Ragging Ragging
is
similar to sponging, except that a
more
effective
used rather than 30) is easier and
latter,
cloths
CRinipled lint-free
Ragging
a sponge.
Creating
clotli is
"off" (see p.
a
Shielding Surfaces
Efffc t
thf.
producing
ragging
than
"on."
With the
become clogged up with rather gummy. patch\' finish.
glaze,
Bagging Use the same technique
as for
ragging, but substitute a plastic iiag for the lint-free clotli.
(Choosing bags
You
will
ncL'd a ready supply of bags at
hand so that you can one away and piclv up iHw one as you need to.
tlirow .1
Experimenting Different types of plastic create different effects:
Avoiding smudges
Building up pattern Using a damp, scrunched-up apply
light
rag,
pressure on the glaze.
a
random
Hold
a strip of
pattern. Return
an angular
i\mIl-s
(,
the adjacent wall to prevent the
effect.
For
it.
Move
the cardboard
more understated look, gently lirush the bagged surface. Use a softening
you
paint.
Wipe
or wallpaper-hanging
a
color onto
to mis.scd areas before the glaze
down
dries. Rinse the cloth regularly.
regularly to avoid a glaze buildup.
as
do not
afraid to experiment.
Softening edges Bagging
cardboard against
edge of the rag from smudging
C^hangc \ our grip frequcnth' to
produce
he
it
tirii.sh.
Rag Rolling rolling requires a more ordered technicjue Rag than simple ragging, because the effect
created
is
one-directional:
it
mimics
falling
material.
difficult to
is
Rolling Successfully
Preparing Rags
Choosing rags Make sure that your rags are all cut to the same size and made from the
"
'
same
material.
The pieces
should not include seams.
® Applying
glaze
is
It
beneath chair
Having supplies
at
ideal rails
areas
tor
and
such as those
in wall panels, since
Improving Techmqi hand
it
execute uniformlv over large areas. f
Roll
up a number of rags before you begin to create this paint effect, and keep them close at hand once you have .started.
Apply the
glaze in strips from top to
Keep run
bottom of the area to be ragged. Make each strip slightly wider than the rolls. • Dealing with corners Ycui need both hands to roll a rag down the wall, making it
rolls
loiiclhcr [Hiiiil
III
Iray
impossible to shield adjacent walls.
mask o'f
Make
sure that you
the nearest
(t
in (IS
cm)
the adjacent wall with
Making lengths consistent fie off the
ends of the rags so
Maintaining uniformity Start rag rolling in
one of the
top corners of the area to be
newspaper and masking tape. • Combining techniques
that the central portions are of
Stipple the glaze before rag
paint tray to prevent
edge
lolling to create a
picking up dust,
each length of rolling slighlh,
more
.softer,
material-like effect.
a consistent size.
Keep them in a them from which would
then be transferred to the walls.
ccnered to establish
to
all
make
the wa\
a
a straight
down.
O'.erlap
continuous pattern.
33
PAINTING WALLS
Cruatin(. Stripes Stripes are commonly associale'd wiih loniialily and a sense of order wilhin a loom (awning your own stripes gi\es you lots ot seope to
Using linsuriiiu
tli.it
straiglit is
I.im;
tletoratint'. I'sc tliis tnidilional
mark out
lines in
(i
reser\()ir.
inianinatix el\
use color
when
il
lonies
to e(|uipinenl aiul UK'thocIs oi apiilicalion.
onlnislmg w uh the
wall color) to
parterns aiul
oriuinni
Choosy
Striping Freehand
(Chalking lines Bu\ jiowtk red eiuilk
lines are
\er> iniportant in
teehniqiic to
elteeli\el\.
Marking out Stripes
('haik
a
lii.nhK
elesiL;ii
a
lill
or rub
,i
thalk-line sti(.k
Rolling stripes .Masking gtiidelines can 1k' .sa\e
time by
exact finish.
ot
chalk along a piece ol string.
-
roller
.i
long job:
.settling for a less I'.se
a
masked
preler:ibl\' a toain
one.
readiness for paintins' stripes.
M
•
Snapping a line Meastue and mark off the widths ot the stripes along the lop
of the wall. At each mark. tap in a 1-in (2.5-cm) nail
up
to about half
its
length,
%
lia\ing checked that there are no pipes or wires beneath
the surface.
Hook
a chalk
taut to the floor,
and pull making sure
Masking off areas
that
Gently pull
Run masking tape dow n the chalk
line
over the
it
nail,
\ertical.
is
the chalk line away, it
and snap
again.st the wall to create
a chalk impression.
Remove
and repeat the process at the next mark
the
nail,
Rolling Patterns • Var}'ing stripes Extend
stripes.
by
w ithin
Secure firmly the edge adjacent
be painted: leave
to the area to
the other edge loose for easy
the
Create different designs
masking tape tighth around "in I~.S-cm) roller Load with
a
(
paint and
roll
the wall, creating
the striped effect. Use the right-
remosal. Use a soft brush to dust
hand
away the chalk before
align the roller for the next run.
painting.
Making
the
technique of creatitig stripes using a roller to include all kinds of patterns
guidelines before paintitig.
Using a masked roller Wrap two pieces of 1-in (2.5-cm)
Combine
a
Checkered Pattern
horizontal and vertical
stripes to
produce
checks similar
The color
a pattern of
gingham you use for the
to that of
that
stripe as a guideline to
horizontal
\erticals.
color
stripes
should
be
than that used for the
lighter
at
This will create a third
the cros.sover points.
m(xlif\"it\g the roller itself. (All'dUt IIIVIIS I
II it
pick
(/()
lit
Ml Using a patterned roller Use
a craft knife to cut
diamond
shapes, for example, out of a
11
se a lo ong ]e\el to
keep the
level
down
the wall each time
foam roller sleeve before use. Apply paint from a tni)- in the
you reload the
usual way: the diamond-shajietl
do not smudge
holes will not pick up paint,
li.iw already lieen p.iinied.
creating a pattern on the wall.
34
)\\
the \ertical stri|ies
In thoroughly. U.se the
striiies v
from right to
roller
Work
left .so tJuit
the
you
strijies that
le\ el
horizontally to paint the
Work from downward. The stripes may have uneven edges, hui loi")
layer of .stripes.
the top
lliis
.idds lo i1k' m.ileri.il eftei-l.
CREATING PAINT EFFECTS
Stenciling made up
technique allows you to fcproducc a design or pattern accurately over a surface as many times as you like. Stencils can lie
This
# Loading brushes Co\ er
the
bristles exenly, biit
with only a minimal amount of paint.
Remove excess on
paper before applying to the wall. Too thick a coverage of paint will make it seep under
(letting ideas I'se
and magazines as
®
books
inspiration.
Make sure that the image you choose has a distinct outline and clear detail within it.
Tracing
& Cutting
sheet or a
number of
(anting stencils Use a
craft
narrow easy maneuvering. edges at a slight
knife, ideally with a
handle for Cut stencil angle to
limit paint
seepage.
a Stencil
the edges of the stencil.
# Holding
sin,qlc
Selecting Tools
Choosing an Image
Using Stencils ends of the
of a
superimposed layers. The latter option creates depth and allows you to use different colors.
"T"
(Jiltiiiii
null
Keep a on a wall
in place
stencil in position
with masking tape. Low-tack tape will not pull the base coat
when the stencil is moved. • Mixing color Stencils offer
off
an excellent opportunity to mix and vary colors. Create subtle differences in shade from one area to another to
1
If
you make an acetate you will not need
2
CutIt the stencil ster carefully
produce a mellow, aged effect. i Keeping stencils clean Wash
to trace
acetate stencils regularly in
acetate over an
many
warm water
keep their edges clean and free of paint.
masking tape, and detail with
job of
Creating Depth • Using shading To lend
Placing Designs
to
a
three-dimensional effect in a stenciled image, xan' the degree
of color shadiny across
it.
stencil,
an image
first.
Secure
image with and trace outline a
wax
crayon.
§ Stenciling a border Use a le\el and a soft pencil to draw a continuoLis line all around the w^alls about 12 in (3*' cm) from the ceiling. ha\ing measured the correct drop at
w
that u.se
ill
the bottom edge of the
stencil
on
this line,
and follow
thus creating an
attractive border.
Do
not
forget to rub out the pencil line carefully
with an eraser
once you have finished. • Grouping images Follow through a theme by grouping
Shading around edges
add more depth, shade one of
images together. Animals are a popular subject for this treatment. Three leaping dol|-)hins in a bathroom, tor
the edges slightly more, creating
e.\am]")le,
an impression of shadow and
farmyartl animals in a kitchen
hence directional
can look very
.Make
tlie
color intensity greater
around the edges of a design. To
sunlight.
or a colk'ction ot
.stencil to
images, so it.
Use
create
make
a cutting
,so
You
a
good
mat
if
Finding Alternatives to a Brush Experiment with other implements for stenciling instead of a stenciling brush to pn)diice a range of effects.
Sponging Use a natural sponge to create a highly
sea
textured stenciled effect.
Crayoning
the line around with the stencil,
one
lines.
voLi are cutting a lot of stencils.
.se\eral points around the room. Sit
smooth has sr
it
Tr\'
special
stenciling crayons or traditional crayons.
Ensure
is
end of the crayon \ ery rounded, and use
it
in a circular
that the
•
motion.
you are using aen^sol paints, which are Spraying
If
ideal for stenciling, all
around the
newscjapei'
lc>
mask
stencil with
prevent
overspra\' IhacmkI the image.
• Improvising Cut tiown lirisiles
lo
llie
of an okl iiaintbrush
make
a sienciling hi'Lish.
effective.
35
PAINTING WALLS
Printing an alternative to stenciling in image on to a wall. It need not be an e.xact .science, and \<)ii can use
a \ariety
offers
Printing
Choosing Equipment
of tools. Stamping and blocking are the
an image stands above a stamp: takes up llie whole surface area.
techni(|ues:
transferring a painted
with
a blot k
it
Choosing Blocks
Using Stamps
• Stamping Buy make
yc^ur
stamps or cnvn by cutting a ^^ii.:^v.i'
design into a small piece of
wooden
linoleum. Glue a
block to the back of the
linoleum to
act as a handle.
Load paint onto the face of the
stamp with
•
a rigid mini-roller. t
Blocking Use household
objects such as sponges
make
potato halves to
These
)r
(
a block.
sorts of "tools" are
readily a\ailable to
Rolling onto a wall
Making
achie\e a
Place the bottom edge of a stamp
Transfer a shape onto a houschokl
you and good texture.
\er\-
•
on the
Increasing depth Var\^ texture by stamping or blocking onto a piece of paper before
contact.
applying the tool to the wall,
lift
to
reduce the density ot paint.
wall,
and
roll
it
wall until the top edge
Hold
sponge, and cut
onto the
makes
.scissors.
motion
it
out with sharp
Place the sponge fulK
onto the wall and agitate
for a second, then
off carefully. This
a block
will
slightly
it
without changing
its
position. Reload frequently.
ensure a crisp, clean impression.
Creating Murals Producing may
a
think:
is not as daunting as you simply anc^ther method of
mural is
it
transfernng a drawn or copied image onto
Using an Image of Your • Selecting an image Chocxse
Some
artistic abilit\' is
since
-
no
a wall.
in
its
different
room
in
which
appear, and that detailed
and
is
it
is
Own Choice
Saving Time Projecting a design Use a
tc:)
overhead projector to onto Adjust the size by
slide or
transfer a design directly
to
not too
difficult
is
from painting by numbers.
a subject that suits the nature
of the
helpful but not essential,
simplest form - this technique
a wall.
mo\
copv.
ing the projector closer to
or farther
away from
the wall.
t Painting quickly Ha\e
a
selection ot difierent-sized
brushes
w
ill
:it
hand, so that you
ha\ e the right size for
the area
you are
piunting.
Painting with a steady hand flokl
Draw ^rid lilies
carefully
a l.S-in
dowel with
your nonpainting hand, and
some tracing paper 1 Secure over an image. Measure out and draw an accurate
grid so
A
covers the picture.
that
it
grid
made up
(2.5
cm by
2.5
of
1
cm)
in
by
1
place the other end again.st the wall (p:id the pencil, bsing the
guide,
in
.squares
a standard workable size.
36
one end of
(-t5-cm) length of
is
fill
.squares
in the
on the
the chalk
when you
tlust
first
grid as a
corresponding
wall. F.ra.se
or pencil lines
ha\ e finished.
dowel
to
from scnitching the paintwork). Rest the forearm of your painting arm on the |~>re\ent
it
centnil section of the dowc'l to maintain a .stead\ hand.
CREATING PAINT EFFECTS
Deceiving the Eye Paint
he used to create all sorts of on a Hat surface. These vaiy greatly in complexity, and many
can
illusions
different illusions
--------------------
them require a lot of time and care to execute, Simple applications, however, can often prove
of
just as effective as
more extra\agant
ideas.
Creating the Impression of Stone Blocks
I'aint
whole wall with
the
2S|ionge oon two
1 block shapes with i-'m
'
coats that
3Remo\e
are darke rker than the mortar .strips
of
color.
(1-cm) ma.sking tape. The
masked areas
will
be the mortar
lines in the finished effect.
Apply the second before
the
masking tape
to rexeal the mortar. a
weathered
effect,
For
mix burnt
colors merge.
umber with a little yellov^ochre, and paint some cracks
paint for
with a fine-tipped
the
first
has dried, so that the
Apply lots of texture. Allow to diy.
artist's
brush.
Painting Interior Surfaces to Look Like External Walls
and create effective mortar. You can add sand to interior
r Varying color and texture Choose paint colors according to the type of surface you wish to mimic. Apply using a fibrous sea sponge to achie\e
latex for a similar ehect.
a
;;
Increasing texture Use coarse-
masonry paint the base coat to add texture
grained, exterior for
more
finelv textured finish.
iNCLiiDiNG Trompi; L'oi-ii I.magery in Yol
Being authentic Increase realism by enhancing the outlines of shapes with a soft
Darkening the edges add depth. Do this before remcning the masking tape.
pencil. will
r
Dhcorating
stonework trompe I'oeil, but the term is more commonly a.ssociated with
Technically, painting is
the reproduction of specific objects
on
a wall.
Such images
appear three-dimensional and therefore :
seem
Keeping
lifelike.
simple If you are do not be too bold.
it
a beginner,
Recreating a life-sized kitchen cabinet, for example,
would
test
the mo.st experienced decorator. .Small items
such as picture
frames are a good
Mixing
start.
Painting
flat
Producing an
Using an alcove
surfaces
illusion of
depth on
not easy. Pa) ing
with false This will often produce the most realistic trompe I'oeil. For
a flat surface
example, paint in a decorative cord between a \eitical row
realism of the effect. Paint an
of hangin.y plates or pictures.
as the real luniiture in the
real
is
attention to small details, will
however
same
to paint faux shelves.
style
room.
The depth
of the recess adds yet another
dimension to the
add considerably to the
illusory cabinet in the
Alcoves provide an opportunit)'
real
effect.
Hang
items alongside imaginary
ones,
which
will iielp to bring
the whole picture to
life.
37
PAINTING WALLS
Finishing m
iiwi ixjucuks thai can cnhancf the hnish of an\Tiii:ri- arf a numbhr painting project and smooth the way foi' lutiirc woik. Once you ha\e
make
finishetl,
,sui\'
that xoii ck'an
ecjuipment thoioughK and
stoix-
well.
it
it
Preventinc, and Correc riNG Mistakes is
II
almost
haw
thai noli will
iiu'\ liable'
sonu-
- most preparation or poor
probk'iiis witli \()ui' |iaintccl sLirtaccs
resulting from inai.le(|uate
Drying Properly • Avoiding
lull\-
before recoating nia\ produce a
shadowed or patchy
little
doing
can he convcleel with onU' a work, which is well worth
.\Ian\'
amount
ot extra
to avoid spoiling the overall finish.
Rectifying Paint Faults
patciies Not
allowing paint to dr\ out
k'l liiii(|ui_'.
finish.
such a case. Iea\e for 24 hours, antl appl\ another coat.
Tlicre are varicius
common
paint
ease,
faults tiiat
start.
.Vlost
can haunt decorators. can be sohcti with rclali\e
when
and few necessitate a frcsli Use a fine-grade .sandpaper re|iairin,ii a
lop coat.
In
•
Speeding up drying In a cokl or damp room, reduce dr\ ing time by heating the room or opening windows. Otherw'i.se, paint ma\' wrinkle or discolor.
Cleaning fixtures
If
remove
it
using a scraper or
paint
marks ma\ remain
visible
may be acceptable on
areas
they create a traditional
spreatl tlie
on the
the grounds that
feel,
but larger areas
should be sanded and recoated.
filling knife.
Roller trails
woodwork on woodwork
Dealing with
Wall paint
equipment correctly and
paint using the appropriate technique.
lirusii
when dn
carefully
to load
painted surface once they are dry. Small
gets ontc5 electrical fixtures,
•
simplest of mistakes, resuilini; from not enough paint or too few coats being applied. Rccoat the area, being sure
Brush marks
Removing Overspill •
Poor coverage Tills is tile
Roller
trails
are causetl by not ia\ing off the
paint during application
need not be a pn)blem if the wc^odwork is to be painted. Sand back pronounced drips
much
and allowing too
paint to gather at the roller edges,
sand back the affected area, and touch up carefulh with a brush. (iarefully
or areas of roller spray.
Flaking paint
Dealing with Cracks • Settlement cracking The appearance of cracks in wall surfaces soon after painting usually indicates
movement
the building. This
new houses
in
is
•
common
as settlement
when mcnement
ceases.
Prolonged cracking Persistent
movement because
of climate,
the age of the building, or the
more of
a
of heating can be
problem. Consider
using flexible commercial paints
and
fillers,
or lining the
walls to cover hairline cracks.
38
likely to flake if
back renKned.
•irea
it
has been applied
until the flakes
have been
stabilize the surface
commercial
sealer,
with
then recoai w
a
Itii
paint
Assorted stains There are a number of miseeilaneous
stains,
from rust spots for example, that ma\ show through a top coat. Cover the area w Ith an oil-based undercoat or primer, allow to dr\. and repaint w Ith top coat. resulting
Drip marks l)rl|i
in.stallation
Is
an unsealed, dusty wall. Sand the affected
of
occurs. Redecorate atfected
areas
Paint It)
marks on
w hen
a
paint has
painted surface occur been applied too thickh and
therefore begins to sag or run
down
before
Sand back the affected area, then touch up with top coat using a small brush
dries.
it
FINISHING
Cleaning and Storing Equipment Kcci')ing equipment clean ensnies that w ill be in good working order the next time
more quickly than
it
want
\()Li
to
use
it.
and
that
it
Cleaning Thoroughly
Conserving water Most w all paints are water-based, so you can wash brushes and other jxiinting equipment under a
S Using a scourer
Remoxe excess
tap.
on newspaper first, thus reducing the amount of water recjuired for cleaning, and limiting the amount of paint l^aint
If
\c)u
dispo.se of decorating
ha\e finished using will accumulate at the
drains.
base of the
bristles and on the and the baish's life
into
ferrule,
tightly,
after \'ou it.
w
|iaint
ill
be reduced considerablw
tor future projects.
Protecting the environment
Nexer
not clean a paintbaish well
and
Disposing of Paint •
do
Efficient
easy to find items and
it
work out vour recjuirements
will not deteriorate
Caring after Use
running
shcuild.
it
ordered storage makes
down
materials
Four
sinks or paint leftovers
all
one can. secure the lid and dispense of it with
the rest of the household wa.ste.
&i
entering the water supply.
Bright Idea
Washing brushes Massage amount of hou.sehold
a small
eletergent into the bristles of
brushes to speed up cleaning.
w
This
ill
make
also
the brfstles
and more flexible w hen you need to use them again. softer
•
Preventing rust After
cleaning metal items such as roller
cages and paint
make
sure that you dn-
thoroughly with a otherwi.se, they
#
them
soft cloth;
may
Fcrrii It-
trays,
\\
Labeling paint cans
CHean off dried-on or stubborn
Always
paint from ferrules and brush
rust.
Recycling paint cans
Scouring a ferrule
ash
handles using
a
kitchen scourer
You can
w hen
the bristles but only lengthwise;
tile
a
paint,
\ ariets'
ha\e finished with
and use
for storing
of household items.
also use a scourer
room
on
out paint cans thoroughly \(iu
used
otherwise, the bristles will splay
which
of the house they were in,
and on what date.
Use self-adhesive strips of
labels or
masking tape.
out and lose their shape.
Storing Materials
Storing Brushes
label cans after
decorating, noting
Removing Paint
Keeping paint Store paints inside the house if possible. The\- can be adversely affected
dropcloths over a floor and
b\ temperature fluctuations.
fasten
-^
Hold
on firmly and shake produce an airlock to
lids
cans to
prevent a skin from forming.
•
of the
\av in
mix more
on the
Hang brushes from hooks around
.stencils
the inside of a can or bucket.
cardboard and somewhere
damp
them down with masking tape before you
decorating,
• Using a
between pieces of
w a\.
dropcloths before
witli
bristles will risk
be protected
of being crushed.
that they
do not
dr>-
lo ihe floor to
\ou can
from the
craft knife
Hokl the blade flat,
stick together.) Stored in this
with
they will
start
paint
way
Allow
completely,
then scrape across the surface with a craft knife.
Caring for stencils Store
such as in a book. Stencils can be reu.sed only if they sit flat. • Storing dropcloths Launder
bristles first
some
splashes ma> tlnd their
the paint to
at a later date.
•
a hairdrier; otherwise,
you place
side
case you want to
Hanging brushes
(Dr)' an)'
carefully
on to the carpet. Deal with them promptly and effectively.
Storing glazes Write the
recipe for a glaze
Howe\ er
.storing .so
at right
;i\'c)id
angles
cutting
into llie c.upel. 'The p.iint \\
ill
gratiually criimlile.
.1
tiien
remoxe
and
it
\;nuuni cleaner
.spread du.st.
39
Walls
(l^ovERiNG Quick Reference Choosing Wallpaper,
p.
'II-:
l'u'cills
42
Preparing to Paper, p. 44
Papering
p.
46
Awkward 52
Other Wall Coverings,
p.
Finishing, p. 56
is iT(ill[)(ilK>ri}ii}.
a similar way
pa}ie/i)ji^. w/.iic/.i
p.
.\i:n:R.\Aii\
i:
lo /xiiii/ini^
More
iiniorcitire
wa //paper. For a so/ id. various types of wooden )nay he painted or /eft to
trac/itioiia/ fuiis/i.
Areas, p. 50
Adding Borders,
(:<).\i.\i<).\
clcconitors Duiy (illcnuilircly like lo use fcihric in
Improving Techniques,
MOST
luitura/. 54
options
can he used.
make
it
easy
nuiny wal/-corerin<^ se/ect a finish to suit
Tl.ie
to
your practica/ and economic needs, as as satisfying your persona/ prefereiices.
we//
Selecting Wallpapering Materials Wallpapers
are manufactured in a nLimber
of finishes. Prices van,' greatly, and the
most expensi\e \\allpapers are not necessarily
easy to hang, however aesthetically pleasing they are. There is a wide choice of ine.xpensi\e wallpapers, and they are usually easy to hang.
Wallpaper Types and Their Characteristics
COVERING WALLS Basic Wallpapering Equipment You
will
need more equipment
for papering
w alls
than for
painting. .Man> tools, however,
arc required for both so.
once
those items are in your toolkit,
they can be used for either job.
©
Prioritizing quality
best-qualit^• tools that
afford. This
is
Buy the you can
particularly
important for the items that are
used most and those that come into direct contact with the wallpaper, such as wallpaper-
hanging and pasting brushes,
and a craft The latter two items are for making accurate cuts
seam
roller, scissors,
Pa.stino
knife. vital
table
and, therefore, achieving the best possible finish.
• Choosing
brushes Select a
pasting brush that will co\"er a surface evenly
and
and
with long, flexible
•
efficiently,
a wallpaper-hanging bnish
Pencil
bristles.
Considering safely Follow
the
same
safet)'
precautions
with regard to wallpapering materials
and equipment
Phillip.s-hcad scre^drixer
Seam
Filling
roller
knife
as
for painting (see p. 23
Ruler
Craft knife
.Measurinj'
cup
41
COVERING WALLS
Choosing Wallpaper ROOM, the style of xoiir home, and any eflect that \()u wish lo .uhiew are taelors lo bear in mind when ehoosint^ wallpaj:)er, hul whether xou like a walii^aix'i' will ha\e most intliienee on voiii' choice.
Tni"
wii
siiMM
rs\(,i' oi-
A
Considering Effects It
\(Hi
wani
lo acliicxL- a spccilic cllccl
in
a
von make about pattern and design can he as im|-)()rtant as your room.
decisions
iIk'
thai
thoicc of
ot color.
s|-)acx',
lor
Coordinating Decor
•
•
a
textured or hea\il\" patterned
wallpaper to
une\en
eletract
walls.
will disguise a
•
A
trom
hus\' pattern
problem
lo crfalr iIr' illusion
elc-sia-
yoii
as
iiiuth as a wallpaper's other decorative qualities.
Considering Options Hiding defects Choose
A
example, may intluencc
Creating a total look
Buy
Creating Height
a
complete range of decoratixe materials so that tabries.
wallpaper, and paint mateii
best.
Creating order I'se bold.
geometric designs
if
you want
to create a sense ot order aiul
formality within a room.
• Using two wallpapers If a room has a natural dividing line,
two
such as
use
a chair rail,
different wallpapers,
therhy creating a feeling of height, for example.
•
Considering other colors Bear in mind the colors of walls and woodwork w hen choosing wallpaper. It should be complemented by nearby colors to maximize its effect.
Matching accessories U.se matching w allpiipcr and
Using stripes
fabric to create a coordinated
taller
look. Tic in other accessories
toward
will
a viewer,
seem
low. Here, a
room
if
a
room
look
ceilings are
divider covered
colors used in the wallpaper
to the illusion of height.
wallpaper contributes
Choosing Small Patterns
Creating a feeling of space A small pattern has the effect of making
in
to bring the walls
reducing the feeling of space
appear larger as long In
room a large pattern can be overpowering, a big room it can help to create a cozy feel
o( ttie
wallpaper
is
as the
pale.
The
less
the greater the effect.
but in
small-scale, creates a bus\ feel
A
a
room
background color
a small
42
make
ideal
in striped
Reducing the size of large room A large pattern can dominate the decoration it
by
and are
picking out different tones of the
Choosing Large Patterns
a room, since
Vertical stripes
dense the pattern,
tiense pattern.
w ilhin
a
e\en
il
room.
it
is
CHOOSING WALLPAPER
Planning the Wallpapering is highly important to figure out how nuich wallpaper is required for a room and to determine the order in which the room will he
It
Measuring the Dimensions of w
•
Measuring total surface area Measure each wall as a separate
a
wallpapered. Measure walls accurately so that there will be no waste, and think \ery carel\illy
about where
Room
Including repeats
for
in the
room
to start wallpapering.
Calculating Accurately To account
trimming and waste of
Including lining
If
to line the walls of a
you
\\
large-patterned wallpaper, add
before wallpapering them,
plus the ceiling area (obtained
the size of the pattern repeat
remember
by measuring the
to the
entity.
Add
together wall areas,
floor), to
give the total surface area. Miilli/ily hci]iihl
room
height. This will
paper
in
ant
room
to include lining
your calculations of
guarantee enough wallpaper.
material requirements. Lining
hy nullh
paper has no pattern repeat,
dJ wall
so the surface area alone
is all
need for the calculation. Doing a quick count In a
yoLi
room that is already papered, count how man\' hangs were used before. This
is
a Cjuick
measure the number of rolls of wallpaper that you will need. In rooms of average height, small-patterned paper gives four hangs per roll, while large-patterned paper gives
way
to
three.
Most wallpapers coiiform
to a staiularel roll length.
Calculating quantities Multiph the
licight of a wall
by the width (1x2)
Measure flixir
Measure the height in may vary. To obtain a ceiling
to calculate the surface area. several places, since
it
measurement, measure the floor total surface area
to give the
by the area of a
number
&
Starting
(jiilliillie
!
of
ceiliiiii
(3 x 4). Divide the roll
of wallpaper
rolls recjuired for
Finishing
area
iiislead (if
in
the room.
the Correct Place
& Wallpapering ceilings Wallpaper a ceiling in the direction of
its
longest length.
This will keep the
number of minimum
lengths recjuired to a
as well as reducing trimming
and the waste of
vvallpaper.
COVERING WALLS
Preparing to Wallpaper ACFR'iAiN AMoi NT on the
<)i'
finish noli
before. \\all|^apei' faults
neccssaiy prior to wallpapering, depending want and whether or not the walls have been papered
I'Ri'i'ARA'noN is
aix-
not always easy to put right, so prepai'e surfaces well.
Stripfinc, S[v\p
oki w allp.ipLT before liangin,^ a
all
wallcovering.
Some manufacturers
you remove only the top
that
Stripping Easily • Stripping dry Remove any loo.se
wallpaper before soaking
reduce the amount of mess caused by water and wet paper. to
Where seams have can get
a
good
away
layers usually pull
•
lifted,
you
hold. \'inyl top easily.
Soaking walls Use hot water
soak wallpaper. Apply the water with a large pasting to
brush. .Allow
it
to penetrate for
minutes before removing the wallpaper with a scraper. a tew
•
Protecting floors Stripping
is
messy, so you need to
protect the floor. As well as
dropcloths, put rolls of
newspaper
at
walls to .soak
the bases of
up water
runoff.
Safety When
using a
.stripper,
wear
goggles to protect your eyes,
and keep out of the way of the hot steam. You may wish to protect >()ur hands with gloves.
§ Following
instructions Reati
manufacturers' guidelines carefully laefore using a
steam
may
differ
stripper, since
they
from one macliine to another. • Leaving unattended Turn a stripper off
•
when
not in use.
Stripping ceilings
Beware of
hot water droplets that can
on the edge of the pad and drip onto you. collect
•
Keeping cords dr)' Ensure no water comes into
that
contact with electrical cords.
new
suggest
layer of \inyl
Sr()RiN(,
Walls
wallpapers lining.
This
and
backing layer
use
the
baeking la\er as
only po.ssible, however,
is
is
.stuck firmly
enough.
if
a
that
PREPARING TO WALLPAPER
Preparing Walls Whether
walls have just
been stripped or
are being wallpapered for the
good preparation
is
is
Providing a key Sand glossy
Masking stains Tt:) prevent from bleeding through
walls or those with a silky-
stains
smooth
and discoloring wallpaper,
provide a key
finish to
for wallpaper adhesion. This
speed up drying:
will also
pa.ste will dr\' into the wall
PVA glue
part PVA). This will
help wallpaper to
allow you to
•
.stick
mo\e
Covering texture
but
you
If
apply a stabilizing coat
PVA P\A
one
part
),
them
in
Covering dark backgrounds applying light-colored wallpaper to a previously dark or patchy wall, apply a ccxit of
the
light latex paint to
then coat the
dark color from showing
am
and
sizing
small holes. Before
filler dries,
cover the area
with a PVA glue solution parts water,
Carefully
prevent the
(five parts w-ater.
surface think' with
Filling Fill
5"
textured coating with, a steam
of diluted
hammer, and fill. Make sure they are well beneath the the wall with a claw
or drive
When
cannot remove a highly stripper,
Removing protrusions Take
old nails and screws out of
surface to prevent staining.
easily.
it
commercial stain-blocking
agent, or apply an oil-based
?
solution (five parts
one
water,
Time-saving Tip
primer before wallpapering.
Sealing dust Seal dustv*
surfaces with a coat of size or a
surface
spray the affected area with a
and
out through the paper.
•
good
necessaiy for paper and paste adhesion.
Hiding Imperfections
Doing the Basics •
disguise wall imperfections, but a
important. Filling and
xitally
Some wallpapers may
sanding are essential.
time,
first
a
(five
one part PVA).
smooth
it
with
brush to eliminate the
need
for sanding.
through and c\cn out patches.
pla.ster.
Preparing and Papering Ceilings As with most decorating it
is
jobs,
work down.
Ceilings should be
tackled
after
first
all
Suppdvt
Pdsition wallpcipei
best to start at the top and
(It
Diic
cud
(if
'
I
iivii>hl
of
rest (if ircillpiipcr
standard
preparation has been carried out.
S
Filling
edges Fnsiirc that
the wall-ceiling junction precisely filled
is
and sanded,
since this edge will provide
tlie
guideline for wallpapering on
both the ceiling and the walls.
#
Testing ceilings Old latex-
painted ceilings unstable.
may
wallpaper off,
may
l^e
The weight of pull the paint
causing the wallpaper to
sag.
Apply
patch of
a small test
wallpaper to the ceiling, and leave
it
overnight.
If
is still
it
firmly stuck in the morning,
Working
continue wallpapering.
Build a sturdy
•
Playing safe
about the .strip
If
of a
off the old paint
Then
prc[:>arL-
BiHird
easily
dkk/c sturdy hy
cc-iling,
wooden
box
w
ceiling
ith a
scraper before iirocccdini; any further
and
work platform
suspending a board between two stepladders. Support the board with a
you are unsure
.stabilir^'
safely
the
surface and seal as usual.
b)-
box. Adjust the height of the platform
,so
supfart
that the
in (15 cm) abo\e )()ur head - ck)se you to move the wallpaper easily without being cramped. To reduce the risk of tearing, ask a friend
enough
is
about 6
I
if
III
middle
to allow
to help \<)u to iiold
.1
lenglJ! ot
wallpaper while
\()u appl\
it.
45
COVERING WALLS
Improving Techniques Tiii:ri- is onia' onh 'rix;iiNiQiiH for applying wallpaper to a wall - with a paperhanginj^ brush and various trimming tools. The seeret of success lies in the
preparation of the surfaee and
in youi- ability to
wallpaper around obstaeles.
Measurinc; and CirniNc; Acc'uratL' measuring minimal wasia.ue a
will (.nsuiv llial iIiltc
wastet'iil
sure that scissors are
sliarp
and
•
is
clean
work.
.scis.sors befc:)re
ceiling
and the
baseboard.
between the
toji
Add
the size of
pattern repeat, plus
(10
cm) be
standard length
ot a
of these lengths to
number
start
Mea.suring Easily
)me
application
of the lengths \-ou cut will be
alkjw the wallpaper
to concertina
in
t
Stacking hangs .Most hangs
will
rolls.
Dealing with length Most
itself, .so
to allow for trimming.
within a room. Cut a
between
longei' than the |~)asting boare
of the
tlie
•
#
Measuring walls Measure
the exact distance
the rolls lia\c
expensive wallpapers may not have perfectly straight edges. Trim them with shaip
that the surface of
start
S(
all
llial
luimher, thereby avoiding ihe
possibility ot color xaiiations
# Trimming by hand
ready
Make
before you
same batch
the
Working with Paper
Starting Out • Making equipment
the pasting table
wallpapiT. check
cLittiii,u
is
what is inexilably teehni(|ue. ik'tore unwrapping and in
itself,
Marking
a pasting table
Turn the ectge of
it.
a pasting talile
® Cutting When you ha\e marked off measurements on
into a ruler
the wallpaper, irse a ruler to
appropriate inter\als along the
draw
with,
back on
taking care not to crease
a guideline. Cah across
may
so that you have them on
this line, ^'cui
hand when vou need them.
to cut a straight line
.soon
be able
by eye.
by marking off
increments accurately and
tatije's
length.
Measure
of wallpaper against
at
lengtlis
tiiis
instead
of using a ruler every time.
Lining Walls To improve wallpaper is
wortli lining
tlie
tlnisli, it
walls
/;;/( luirm/i-
indlh^ i-crlndlly
first:
many manufacturers recommend it.
Tlie
same technic]ues
w allpajier apply witli a
for
to lining paper,
few minor
adjii.slments.
Leveling fining pajier does not need to he exaclK' since
it
is
\erlii.'.il.
not seen. 'lYeal each
wall as a self-ccmtained unit.
@
Sizing Size lined surfaces
once
tliey are diy'
using a diluted
paste solution mixed according to the manufacturer's guidelines.
Sizing will allow
paper easily
•
you
when
to
mo\e
positioning
Sealing edges Seal trimmed
edges with
flexible filler to
prevent them from
lifting
and
good edge .igainst which you can trim wallpa|">ei'. to give a
46
it.
Lining horizontally and vertically ilecitling the direclion in w hicli to
When
hani;
linii
paper, be guided by the fewest numlier of hangs
needed. The fewer the hangs, the less cutting and trimming. Horizontal lining around a fireplace area
makes trimming
antl
rounding the corners easier
iiiilc
'.UCS Iniri Zdlllclllv
IMPROVING TECHNIQUES
Pasting Wallpaper
requires adhesi\-e to attach
it
yourself
water actixates
C
longer than suggested by the manufacturer to ensure that
no lumps. A wooden dowel makes an ideal stirrer. there are
Also
the paste from time
stir
Keeping Paper Clean
Pasting Paper
Stirring well Stir paste tor
to time during wallpapering.
Keeping paper
flat
To
pre\ ent wallpaper from cuding.
weight each end before you start. Co\er evenly with paste. Fold
it
a coatin,^
others rec|uire that you api^K' paste to the wall.
it
Mixing Paste
are prepasted on the hack - while
Some wallpapers
wallpaper.
to
Vou can cither mix wallpaper paste to the or buy it premixecl and apply
a wall.
into a loose, crease-free
move along from one end to the other.
concertina as you
Protecting from paste Paste each length in the same position - flush with the edge of the ]^a.sting table
-
on the
getting pa.ste
to avoid
right side.
Wipe
the table with clean,
warm
water between lenyths.
Dealing with Prepasted Wallpaper
Money-saving Tip
^^jH
%
1 Rolling
Using a kitchen table
Folding soaked paper
up wallpaper
soaked wallpaper unroll on
Prepasted wallpaper needs
Let
soaking to activate the paste.
a pasting tahle. Fold
Looseh
roll
up
a cut length
with
the pattern on the inside so that the water will
with
all
come
into contact
the pasted surface
easily,
Spread a plastic sheet over
back on
itself into
a kitchen table,
each end
the sheet
is
on the outside. This will prevent the pasted side from drying out
taping
Handling Damp Paper
Storing Wallpaper While
•
as
of
is
held taut by
securely
at
each legs.
w all.
before \-ou apph
to the
it
corner to the table
thus acti\ating the paste.
it
it
buying one. Make sure that
the middle of
the length so that the pattern
and use
a pasting table instead
it
Soaks
Protecting wallpaper As ycui Pole
from the which it is being
transfer wallpaper
container in
soaked
siispe)ic/c(f
hcliivcii lira chciii
to a pasting table, the
patterned side of the wallpaper
ma\ rub on the side of the and he damaged. Soften the edges of the table by covering them w ith two or three layers of masking tape. • Anchoring edges Ha\ e
Length folded
a small jar of premi.xed paste
hioselv orer f)(>le
table
hang a length of wallpaper. The edges of prepa.sted wallpaper handx' as xou prepare to
s(^metimes diy out too quickly,
and you may need
to appl\ a
little
more paste
before \x)u hang them.
Suspending wallpaper from a pole While wallpaper is soaking, hang it from a pole between two chairs - a broom handle is ideal. Alwa\s remo\e a length from the same end then move the others along, so that you take the
one
that has
soaked longest.
47
COVERING WALLS
Hanging Wallpaper However
much
hanging finish to \()ur
preparation yoii do. a
technicjiie
is vital
method of application so w hen you come across obstacles, you \\ill ha\e a sound techni(|iie on which to build.
good
lo master tlie basic
to give a qualitx
wallpapered walls.
It
is
thai
important
Addressing a Wall
ST.\RTING ACCIRATELY
Hanging Successfully _ Allowing for expansion When measuring out where lengths will hang, bear in mind that wallpaper expands from its dr\'
measurement once
pasted.
it
is
Make an allowance
up to Vi in CO. 5 cm). Smoothing wallpaper Brush from the center of a length out toward and o\"er the edges, and (if -
from top to bottom. This air bubbles
remo\es
• Using embossed \\ allpaper not apply too much
Do
Finding the vertical
Preventing tears
L'se a level as a straightedge
Wallpaper that has been folded
draw a pencil giiielcline at your chosen starting point on
while soaking
the wall. Extend this line by
one hand
to
carctiilh m()\ing tlie le\cl
the
w all
to
make
tear,
more
is
so support
its
likeh to
weight with
\ou unroll it. Make the first contact about 6 in ( 1 5 cm) below the ceiling, and
tlown
sure of an
accurate and continuous guide.
as
follow guidelines
down
the wall
pressure: otherwise, the raised
pattern will be flattened.
W Applying to .stretch
\
vinyl
inyl
Take care not
w allpaper while
smoothing it. This can distort its edges and make it difficult to
jcjin
to the next hang.
Trimming Wallpaper Making
precise
a
di\iding
between
line
wallpaper and the adjacent surfaces is important for the production of a neat and
well-defined
and
craft
Money- SAVING Tip
Labeling craft knife blades a
a
dot on one end ot
new craft-knife
blade.
Always use the marked end first,
so that
\\
lien
nou need
to change the blade around
you
will
be sure that the
other end has not been used.
Smoothing lines W liere tile wall-ceiling is
not
the
.1
junction
straight edge, overlap
w allpaper slightly onto the make a crease line with
ceiling, a pair
product.
Sharp scissors
technique are required to achieve
Hiding Uneven Lines
Mark
finished
kni\es and a steady, accurate cutting
of scissors, then trim.
This will create a straighter line.
this aim.
Fixing Overtrimming
IMPROVING TECHNIQUES
Joining Wallpaper Vs-allpaper accurateh'
Joining as
trimming well.
niLitehing joins
"I'on
need
is
or gaj^s between hangs. Most wallpaper slioLikl
as important
to
make
meet exaetly - in what is eallecl a hntt join prodnee a smooth, perleetly matehing finish.
neat.
between lengths with no o\erlaps
Making Perfect Seams Underbrushing Brush >nl\ enough to remo\e air bubbles 4.
<
to
Centralizing a Wallpaper Pattern ^^ c>
and seeure wallpaper firmly to
o
a.
o
o
the wall. 0\erbrLLshing tends to polish seams,
which
shine once wallpaper
©
Using a seam
invisible.
joiii
Do
is
not use a
almost
seam
on embos.sed wallpapers,
since
it
so stick them
down
well. After
been hung, return to the first hangs and repaste any lifting edges using a small brush. Smooth few lengths ha\
e
o
CcntiMli/Lxl
Using
a feature
Wallpaper
\\
centered on
balanced
medium-
a focal
falls
to
room (above
should always be This creates a well-
left).
the rest of the decoration. Leaving
chance might
which would draw
room
to iargc-si/ed pattern
point in a
feel that sets off
the pattern right),
ith a
Ix.iiuli nil
within the
result in an off-center
where
look (above
attention to the focal point for the
wrong
reason. Start wallpapering from the focal point (see p. 43)
elamp sponge.
a
o
will tlatten the relief.
B Repasting seams Wallpaper edges are the first areas to lift,
with
=iO
wallpaper
that
roller
a
Oa<5
Run a up and down
a join to secure the
a
oYo
dry.
roller
.seam roller lightly
and make
o
will
is
Keeping Wallpaper Clean Wallpaper
is
a delicate,
and often expensixe,
decorating material, and xou should look after
it
caretYilh-
so that the surface does not
Segregating Tools
become
spoiled.
Always kee|^
supply ot clean
a
water on hand for any cleaning recjuirements throughout the entire decorating project.
Removing Excess Paste (leaning adjacent surfaces
wallpaper lengths ha\e been trimmed, remm'e excess pa.ste from the paper surtace. Also, clean the ceiling and baseboards before any^ paste dries and dulls the surface.
Keeping Yot'R Work Station Clean
.After
Cutting
new
lengths
liowe\er often xou wash elow n it may become To prexent wallpaper from becoming .sticky while
a pasting table,
tacky.
It is
advisable to keep
surfaces and wallpapering
equipment possible
as clean as
at all
times to
ensure the best
results.
* Removing excess
paste
Scrape partly dried paste off .1
pasting
black' of
tal")le .1
using the
^craper. es|-)ecially
around the edge of the table. Replacing water Fill the cleaning bucket with a fresli supply of water after about len lengths ha\e been pasted. Drying equipment Keep scissor.s and craft-knife bl.iiles tlry .u all times by w ipiiyi; with lint-free cloth. .
Color coordinating Keep
different-colored buckets
and sponges Tliis will
for different tasks.
prevent items used for
cleaning the pasting table, which
soon become
dirty,
from being
confused with those tor wallpaper
being cut. co\er the table first with a sheet of lining paper. • Disposing of rubbish As .soon as each length is hung, immediateh- place scraps in a trash b.ig. This w ill reduce the risk ol paste being spieael throuuhoiil the workiny area.
49
COVERING WALLS
Wallpapering Awkward Areas Wiriiix AM ROOM
you
inn\-
well ha\c to modif\' your basic wallpapering
Once
lechni(|ue in order to deal with nonstraightfoiANard areas.
learned.
how"e\er. these adaptations will Ix'eonK' part ol your w allpa|^<.-iing repertoire.
Around Windows and Doors eloors mv commonplact.' most rooms of the house, and vou need to learn the correct procedure
Wiik1()\\> and olxstacles
loi'
Coping with Openings
ncnoliatin,!^
tlK-ni.
Slick
to
a
systematic
can be adapted depending on the design and size of each door and window
approach
in
that
W.4LLPAPERING ACCORDING TO Pl.AN
• Keeping moisture out Window recesses ma\ be by condensation in To prexent wallpaper from lifting, mn a iiead of clear silicone around the frame-paper junction to affected
damp
climates.
Oivrh(iil}> is left inilil
iicxl leii}>lh is ill
secure the wallpaper firmly.
•
Overlapping Small oxerlaps una\ oiclable arc:)und
may be
window Tiy to position o\erlapping seams so that a
.
curtains
•
w
ill
conceal them.
Preventing accidents Lock a
door when w allpapering abo\"e it to pre\ent it from opening while you are on a ladder. If the door does not lock, pin a warning note to the other side, or put an obstacle there.
\\
ALLPAPrKl.\(
Following a logical sequence Wallpaper a wall that includes w indow s and doors a certain order (1-12) to maintain the vertical as
wallpaper around them. Hang 12 before ensure that 12 followed that
is
1
1
to
xou trimmed 1 first, and 12 might not be completely \erticai.
vertical. If
line,
\()u trim
in
you
1
place
WALLPAPERING AWKWARD AREAS
Around Corners Occasionally, wallpaper
When
corners easilw
will
hciul
^
,..^
wallpapering tcchnic|ue when continuing the paper onto the adjacent wall. Check again that
arouiiLl
corners are not square
or e\'en, howe\er, you will
.
^^^^^^^^.^.
the
neei.1 to atljirst \'our
hang
is
\ertical as
you
start a
new
wall.
Wallpapering Successfully around Uneven External Corners '''US'.
iili
1 around an external corner.
2
Hang
remove the two
Extend
a length
c^f
wallpaper
the next length so that
it
hack the edges of the oxerlap, and strips
of
fHi.
iir
Smooth the seam with a w allpaper-hanging brush
Carefully peel
3form to
a perfect butt join.
overlaps the previous one by
excess wallpaper. Support the
2—1
wallpaper with one hand to
Before the paste dries, remove any excess from around the
avoid any possibility of tearing.
join with a
(S-IO cm). Cut through
in
the center of the o\erlap.
damp
sponge.
Wallpapering Successfully around Uneven Internal Corners Joining in corners Wallpaper
around an trim
1
inteinal corner,
in il.^
wliII
#
Cornering
on the
o\ er the strip.
easily
To
fit
paper
arounel an internal corner, cut
two small
cm) beyond.
Place the ne.xt length
second
and
slits at
both the top
and bottom of the length at the ceiling and baseboard.
lifting To ensure wallpaper will not litt. run border adhesixe along the .»
Preventing
that
overiap with a small brush. This is
essential with \in\i papers.
Wallpapering Stairwells Wallpapering a stairwell involves handling long lengths, angled trimming, and rounding corners.
•
Sharing the job
It
is
two people than one
SicpUuUlcr (i/>CIICil In
full cMciil
easier for to liandle
long lengths of wallpaper.
One
can position the top of a length while the other supports
it.
•
Measuring hangs Measuring is difficult because the bottom edge of each hang is angled. Start at ihe hollom of the stairs, and work up. ']'\V\s will make angled
Ensuring safe access
culling cMsR-i- to i^L-rform.
Pasting and soaking Pa.ste
only one length
at a
time.
soaking times consistent so all
Build a platform using sturdy
Keep thai
lengths e.xpand equally and
|")altein^
w
ill
inalch
up
exactly.
scatlbid boartis
and thick rope to
them lo ladders and stepladders. Double up boards possible, and give
binti
it'
lenglln spans extra midpoint sui")porl.
51
COVERING WAILS
Around Electrical Fixtures Electrical \'ou \hc\'
fixtures avc \\kc
nii,L;lil
(.onic across
ymi follow oIisltxc
prohlcni as lon.n as
nol iTivsent a
nccel
Any dllu'i" ohsUKJcs w Ik'ii w allpa]HTin,L;;
\\
conrci iuwssjia
the-
iIk-
Take
prnc'cciurcs. s,iki\
c^are to
pix'c aulioiis
when
allpa|~n-Tin,L; ai'ouiuK-li.\ liic al lixtiircs.
Wallpapering around an Electrical Switch
Electricity Prep Doing electrical work If voli ha\e a room rew irecl. ask the electrician nol to insiall socket
plates
and wall
lixiui'es unlil
the wallpapering
is
I'se portable lights
finished.
from
another room temporarily.
Coping with wall lights Pkm wallpapering so that seams will occur behind the center a light fixture, ^'ou will
ol
then
need onh to loosen the fixture, and slip the wallpaper behind.
WARNING!
IPape?r
Before wallpapering .irounti electrical fixtures, turn off the
power Wallpaper
paste
is
a
good conductor, so do not get it
near exposed wires.
looseh o\er
switch ]ust
m
2 Loosen f'asL-
w Itch serews. the sw
the
iilate
iwa\ trom
trom each corner imj^ression in the wnllpaper. C-ut from the center out to each niLirk. Trim the resulting triangular
the wall
tlaps to lea\e a sc|uare hole.
screws and w ipe the plate clean.
Around
and
in front
of the
wallpaper. I'sing a wallpaper-
hanging brush, smooth the
paper behind
the plate. Replace
and Radiators
Pipes
and ladiators are awkward obstacles around which to wallpaper. The\' ha\e no straight edges to trim against, and it ma\ be
Pipes
Coping with Radiators
a
mark
.Makt ce a pencil
nece.ssar\' to wallpaper the wall behind them, These obstacles can be o\ercome with a few-
adjustments to general wallpapering technic]ue.
Avoiding Problems Starting
w ith pipes
Start
wallpapering behind a pipe so that the joining seam will be hidden b\ it. B\' doing
\()ur
this. \()u will
Bright Idea
also eliminate the
need for complicated trimming around the pipe brackets. Keeping pipes clean Remoxe wallpaper |~>aste tn)m bare metal pipes immediatelw since it can cause corrosion, which in
turn results in the unsighth"
Wallpapering behind pipes
staining of the pipes.
Papering behind a radiator If
a radiator
wall, allow it.
Cut
is
bracketed to the
wallpaper to
slits in line
fall
over
with the
Removing obstacles Hire a professional plumber to remove radiators and cap off
behind ihe pipes. Rejilaee the
the pipes before \'ou
hnickeis while \ou can locate
brackets. Using a radiator roller.
w
feed the wallpaper behind,
inexpensive job
guiding
52
it
around the brackets.
all]Xiper. I'his
wallpapering
is
start to
a c|uick,
that will
much
make
easier.
L'nserew and remo\c pipe braekets. and
llu- sc
\'l-cl\
wallpaper
riw holes cmmK
through the wet wallpaper.
ADDING BORDERS
Adding Borders BORDERS
AN
ARE
IMPORTANT
Many
be used against
a particular wallpaper, hut they can also
"
»
Al^ph'
a
Attaching Borders
^^
border once tlie rest of the wall has been completed, \\1iether
the application
is
narrow or
appearance
broael, textured or plain.
PosiTioNi.NG Borders
a plain-colored wall.
^
^
fif
^. ^ ^ n
method
border very carefully
decoration the border
ACCESSORY: they Complement Of borders are designed for use with
WALLPAPERING
highlight features of the wallpaper.
in
is
.
u ... ..u^...^^...«M«
^^
the same. Attach a
order to enhance the
the alreaeiy eiecorated wall.
Dividing Walls
Choosing Appropriately
Using a border
Coordinating details
Planning position ^ou can han,i; rail,
borders
at ceilint^. chair-
pictnre-rail. or
le\'el.
baseboard
Consider iinexen
\\'all-
ceiling junctions, split-level
and the location of and other obstacles when making your decision. • Keeping level If placing a border on wallpaper, follow ceilings,
.switches
a
horizontal line in the pattern. If this is
impossible,
draw
a
guideline using a level.
•
Pasting
up Use
a small
brush to apply adhesive to border. Place
it
a
on the wall
Use a
a
wallpaper border instead of
wooden
or plaster chair
rail
to
away. The adhesi\e dries quickly, so do not soak it
up an expanse of wall. This will be decorative without
unless the instructions say so.
installation rec|uirements
Framing with Borders
Applying Borders
right
di\ide
"
and
cost.
(;hot)se a
border with an image
that suits the
room
as well as
matching the decor. In
bedroom,
for
a child's
example, pick
a simple, brighth'
colored motif
Cornering Apply one length
of border so that
it
overlaps
Money -SAVING
Tip
onto the adjacent wall by s in (O.S cm). Overlap the next length onto it so that the '
pattern matches
Crease
down
at
the join.
the corner
junction with a pair of scissors, anel pull
back the paper. Cut
accurately
down
guideline.
Smooth the border
the crea.se
back into place, producing matching join in the corner with an in\'isible o\erlap. Hanging quickly I se damp sponge rather than a wallp.ipei-hanging brush lo
a
Mitering a corner Allow one
Icngtii of
border to
overlap the other with the pattern
corresponding. Cut diagonally through both with
Remove excess
a craft knife.
flaps,
and smooth
the remaining pieces into place.
,1
[losition a boi'der anel
remove
any excess boixler ,idhesi\e c|uickly before
it
Making your own border Trini .in old, leftover roll
wallpaper to create your
border Wallpaper with striped pattern it
is
ideal,
of
own a
since
provides a ready-made
guitlclinc along
\\
iiich to cut.
dries.
53
COVERING WALLS
Choosing Other Wall Coverings TiiFRi:
MA\^
AKi
incliKk"
liiL^hK
oi'Tioxs tcxlui"cel
otluT than
it
\()ii
for
iVjX's
clitkaxMil
j^apci's.
wootl. wooti panelini^. and plaskT
wallpai^or
j")!'*.'!!.'!"
a
of
wall lahiii,
'Ihcv
ek'toration. .
and
hcaxx dctoraliNc
iIk-
llsc
ot
tinish.
Wall Hancings its
most
Inconsists
ol
iraililional
torm. a wall
decorati\e fabric that
wall in a similar
way
to pictures
is
liai\L;ing
huns^
on
a
and paintings.
Choosing Textured
I
lowcxcr.
tiicre,
\\
all-hangiiiL;
decorative materials to
do not stop ways of allachini^
oinions
since there are other a tlat
wall surface.
Hanging Uni
si
al Items
CHOOSING OTHER WALL COVERINGS
Wood Walls
can be covered coniplctcU' or
with
wood
in
Paneling
pan
panelini; to create a substantial
Faint
them or lea\e them
Paneling Cleverly
Bi iLDiNG A
decoralixe impact.
Allowing access Cut access pieces into wood paneling in order to reach pipework and to
house
«
Covering edges Xeaten and joins in paneling ceiling le\el by attaching
nails.
panels To
create the effect of
panels on
wood
a wall, cut
et|ual-si/.ed lengths of
tour
molding
or architra\"e. mitering the
ends to make the corners of the panels. Position each piece
on the
wall, using all-purpo.se
adhesixe.
A number
of such
panels beneath a chair
rail,
tor
example, creates a realistic effect - especially if the panels are grained (see p. 79).
1-in
franiework of 2-in by (S-cm bv 2.S-cm) battens about 12
in (3('
em)
Slirci-nf innn!
wooden
wood
to a
wall,
molding, using panel Faking
Framework
L'sing battens Attach panels
apart.
at
lengths of decoratix e
t
few basic carpentr\
placed horizontally on the
electrical sockets.
cuts
depending on your preference. You one or two woodworkin,^ tools and a
natural,
will neeel
iktllcii
m
.skills
to panel successfully.
Attaching Paneling .\(/;7
uiscrlccl dl
Panel
COVERING WALLS
Finishing IMPORTANT TO TAKF
IS
ITfinish
TiMi: to
looks as good as
it
Complete your wallpapering properly so
possibly can and will
decorating projects easier by looking alter your
ec|Lii|^nK'nt \"eiy
that the
Make
long time.
last a
future
carefullw
CoRRHCTiNCi Mistakes pn^lilems
Sonie
finished
be
minor and
faiih'
Removing •
may
tlcx
\\allpapering.
clop after yoii ha\'f
they will need attention. Pro|-)lenis
Mcst of
.seriou.s
the.se
easily corrected,
although
St.\ins
Dealing with
damp
will
deficiencies
in
more extensi\e work
in
Damp
patches that persist wallpaper has dried tuit
Ttierc are several fairh'
common
not
after
wallpapering
may
well
\our technique,
may
indicate a structural
affect only small areas \et
can
Strip the paper off and line the whole area with commercial moisture-resistant
from
Rectifying Wallpapering Fallts
patclics
problem.
arisinL;
technique may need order to correct them.
spoil
fault.s
that
your decorating
if
However good
corrected.
faults
can occur,
but most can be solved using a tew relatively simple methods.
thc\ are
Gaping seams
miscellaneous stains and
Use a felt-tip pen that matches the background color of the wallpaper to color in seams that have not been joined properly, or which have opened slightly as
marks with
the
foil
•
before wallpapering again.
Using detergent Remoxe a mild
household
detergent solution, clabbeci on
and wiped
off with a sponge.
Rub extremeh'
Shiny seams
genth".
iping
\\
Improving Matching Use a picture or wall hanging to detract from a mismatch. Always rectif\' or conceal an\' Distracting the e)e
that
occur
w allpaper dried. Remove excess color a clean, damp sponge.
by dabbing with
at
eye
down
shiny or stained seams with
mild detergent solution should
make them
conspicuous. To prevent
when
less
sliine
wallpapering in the future, remove any excess wallpaper paste from seams before dries,
it
and do not oversmooth seams.
Lifting edges
le\ el.
• Repapering Apply
a
another
layer of paper to co\'er a
bai.i
pattern mismatch but only
m
small-scale, localized areas.
Stick
back
lifting
edges with o\erlap
adhesive or neat PVA. L^se a brush to
apply the adhesive along the entire length i)f
the area that
is lifting.
,idhesi\e that spills out
edge w
ith a clean,
Wipe
aw^ay excess
from beneath the
damp
sponge.
Evening Off Edges • Sticking down hi bathrooms and kitchens, paper can lift at tiled edges because of excess moisture and poor adhesion. Run a thin band of grout or sealant over the paper at the tile-paper junction. Use masking tape to ensure a straight
•
Painting
If
paper
is
line.
poorly
trimmed and overlaps onto wood, will look bad and it
may
lift.
If
necessan-. paint
over any overlapping paper using the woodwork paint.
56
Paper tears Apph'
a small
amount of
P\.\ to the Mirface.
then ease the torn piece of wallpaper a clean, damp manemer the
back into position using sponge. As long as you
w allpaper carefulh back into place, repair w ill be almost in\ isible.
the
Bubbling Most bubbles
ow n accord If
slioulel i.lis.i|ipi.ar ol tlu'ir
as the
wallpaper dries out.
they do not. pierce them with a sharp
and stick the area back ilow n with neat PNA. Apply it ver>- caretiilh
craft knife
iisin'4 a
small artist
s
brush.
FINISHING
Cleaning and Maintaining Equipment all types of decoratin,^ work - and wallpapering is no exeeption - make sure that you clean your ecjuipment well, so that it
After
© Using soap Wash d(n\n
yood workin,^ order
in
any paste residue might be reactivated by water the next
remain
that they
soft until the
next time thev are used.
Protecting Scissors
l^aste off
life
them
pn)tecti\'e coat of aciylic
\arnish.
Oiling a hinge Use a lint-free cloth to apph oil to the hinging mechanism once scissors have been washed and
Do
not use too
stain the
much
oil.
first.
or
Lwbt switch
of wall coverings.
Following recommendations Check the label to see if you can wipe or scrub wallpaper. Protecting paper Apply a
may
too
Maintaining Wallpapered Walls
the
it
is all
Hanging up Most le\ els ha\e a hook on one end lor hanging up after use. They are delicate and should be kept out of harm's way. Clean any
There are several different wa)'s to maintain and thus prolong
dried.
it
Storing Levels
thoroughly. This will ensure
used.
the kitnre.
easy to ruin them through needless neglect.
w allpapering brushes with a mild shampoo, then rinse them
detergent after use; otherwise,
in
and
tools are costly to replace,
Softening bristles Clean
a pasting table with mild
is
be
Many
Caring for Brushes
Cleaning surfaces
time the table
will
Do
matte
a test patch in case
Clear cicctntc
Making cleaning easy Fit a
rectangular-shaped piece of
acetate (with a central area the
the varnish reacts with the paper.
size of the switch cut out of
f
\acuum-clcaner attachment to remo\e tkist from fabric-based,
around an electrical switch. The wallpaper will still be visible, but you will be able to keep this
icMLiretl wall coxerinirs.
frequently soiled area clean.
Caring for fabrics Use a
soft
it)
paper next time.
Using Leftovers Applying
a
wall
covering
tends
rather wasteful business, so
some
tr\-
to
lie
to ttse
a
up
of the leftoxer pieces. Wallpaper pieces
Using Up Wallpaper ® Wrapping
gifts
can be used for a \ariety oi different purposes, Always keep some in case you have to make patch repairs to a wallpapered surface in future.
Maximizing Use
Cut up
Recycling blades Craft-knife relatively sharp
scraps of patterned wallpaper
blades are
wrapping presents. €= Enhancing decoration Co\er the panels of cupboard doors with wallpaper to add an extra decoratixe dimension to your papering. This will help
e\en used
to coordinate the decorative
carpet prior to laying
plan as well as enhancing a
Keeping paste If there is a chance that you may do more wallpapering shortly after your current project, do not throw away leftover wallpaper paste. It can be kept for sexeral weeks, oi' e\en a lew months,
fc:)r
plain piece of Itnaiiture.
•
Using pattern Patterns that include distinctive motifs can be cut up and the motifs put to use for a variety of other
decorative piu'poses, such
decoupage (,see p. 85) or making a stencil (see p. 35).
as
still
Money- SAVING Tip
have been trimming wallpaper.
after they
for
Since only the tip of the blade
w
ill
ha\ e been used,
you can
continue to use the blade lor other purpo.ses such as cutting it.
as long as \oii ean translc'r
it
Lining a drawer Trim wallpaper as
drawer
scrap.s lo
liners. Iron
use
and
spray-starch each length so that
it
will
sit flat
inside a
drawer. Secure in place with pins or tacks
if
necessary.
to an airtight container.
57
W
fT^
ALLS
ILING Quick Reference Preparing to
As
60
Tile, p.
Will
arc
clcconilioii
.IS ni:i\(,
hi]^h/y (/ccoralirc.
li'/cs
prcicticdl DUitciicil for use in honic
(I
'I'Ik'v
.
pi'ariclc
ci
chii-ahlc siiifdce
Planning a Tiling ll.nil Is /(iii^i^ /c/.sV///^'
Strategy, p. 62
Inipro\ing Techniques.
63
p.
hoDic clecordlois arc rchicUiiit cha/lcjiges aiul
Tiling Creatively, p. 65 Finishing, p.
not as
clean. Mciiiy to fiicc
than they used
cilfflcult
tllliii^
(k'/'cr to c.y/)L'rts. ihit ciitliin^
tile (iclhc'slrcs. (iinl i2,roiit
C(iiil/)i)icJit.
iiscr-frlciidly
69
(iiul cds]' to
as
yon
arc more
to he. so tllln<^ Is
nn'i^ht thinh.
Setting a Style
With an emphasis on the decoratixe aspect of
comes the design, and
the st\le.
la\'out
Budgeting Wisely •
Planning Tiles \an'
in price,
idely
\\
Choosing
oppcMtunit)' to intluence
tiles
so ahAays bear
a st\ie
into account before
S.wPLi.NG Tiles
\'our capabilities.
difficult to \isualize
first-time
mean
will
prt:)ject
tiler,
to start
come
\<)u are a
chocxsc a simple "^ ith.
'^ith
Proficienc\'
experience.
Arranging W.\ll Tiles Wlien you arc choosing
a design
for the hu'out of an area H) be tiled,
you may find yourself
limited b) the size of the area.
Bear in mind
its
practical
purpose, and take the following stylistic
points into account.
» Choosing first
a basic st}ie
aspect to consider
an-anging wall
tiles is
The
when
whether
to follow a traditional .st)lc of tiling,
or choose from the range
modern st^'les. or adopt a more indi\idualistic approach.
of
<
Thinking about color
deciding
\\
When
hich kind of design
to create, consider the color of
the
tiles.
Think
in
terms of the
decoration of the whole
room
as well as color combinations
within the tiled area itself
vou stan
Appr.\isi.\g Yol r Skills Being realistic Tile w ithin It
own
and e\en creating vour
designs are easy as long as you take a
few basics
of a tiled area.
your budget in mind. Less expensixe tiles need not a less attractixe finish.
tile
Borrowing
tiles If
out.
\ou
how
find
it
tiles
will look in your home, borrow" samples from a supplier to take home and tn- out "dv\\"
TILING WALLS
Choosing Tiles Size and
w here
it is going to be used. It is not advi.sable. example, to choose a complicated design or laroe tiles if the area to be tiled is small
shape are as iniponant as color are choosing tiles. Howexer much particular tile, you must consider
w hen you vou
like
a
for
Types oy Tile Most wall tiles are machine-made and have a tough ceramic finish. Some are made from natural materials such as marble. Then there are handmade and handpainted tiles. The huge choice of tiles should enable you to find some to match \ our decor
"J
Border Paper-co\ered Slip
ola.ss
Finished-glass
mosaic
mosaic
Plain inset
Relict irr-et
He.xayonal
1
nglazed
ilazee!
HanJ-p.i
Coordinating Tiles w ith Degor « Tiles
ha\e
little
of the decoration to be complementar\".
impact unless they are well rest of the decor in a
coordinated with the
room. Extra\'agant
tile
designs require the rest
Considering Options • Choosing colors Stick to your you are concerned
Adding
tiles if
tiled
will find
Remember that you much easier to
it
redecorate around neutraltiles than around bold colors and designs that
colored
make a strong statement. • Using picture tiles The most commc^n
wa\' of adding
more
interest to a plain tiled surface is
to include
tiles.
some
How ever, be
picaire
cautious in
your choice: too many picaire can make a design look o\erdone. detracting from the
tiles
rest
of the tiled surface and
from the room as a whole.
feaaires to
make
interest Incorporate
few themed
a
about changing' styles and
complex design allows other
Introducing Themes
plain, neutral colors for
fashions.
a less
tiles into
a plain
design to transform the
appearance of a
tiled surface.
a s?reater .statement.
w hile
decoratix e
TILING WALLS
Preparing to Tile AREAS TEND TO HE REDECORATED IXEREQUENTLY bccaUSC tilcs aiV expensive and more of a permanent fixture than other wall coxerinL^s. Voii are likely li\e with them for a while, so prepare well and do a thoroui^h job.
TILED lo
Basic Tiling Equipment A
toolkit for tiling
\\ill
include
few more specialized tools than are required for most other decorating jobs. However, some a
general tools are. in effect, muiti
purpose and lend themselves a
number
to
of different tasks.
• Choosing
By
a tile cutter
far
the most important piece of
equipment you purposes
tiling
Buy
will is
buy
for
a tile cutter.
a good-qualir\" one. as a
substandard cutter
-^111
not
produce clean edges and increase the that
number of
you break while
This
is -^'asteful
v>
ill
tiles
cutting.
of materials and
and '^ill result in greater expense in the long run. • Buying wisely Do not be deterred by the initial expense of a fe^' key tiling items: they may pro\"e themseU'es to be time,
worth
it
in the
long run. especially
as your technique improves.
•
Renting instead of buying
Consider renting expensive pieces of equipment such as tile-cutting
you
will
machines, which
use onlv occasionally.
Filling knife
o 'D
Grout spreader
Goi-gk
Notched spreader
«• rile
60
gauge
PREPARING TO TILE
Making Surfaces Ready that
essential
is
It
tiles
make good
be perfectly smooth as long as the surface is sealed, is as flat as possible, and has no unstable areas that may cause tiles to bulge or fall awav.
contact
with a wall by means of a consistent and e\'en spread of adhesi\'e. Walls do not need to
Preparing a Wall •
Dealing with Obstacles
major holes with all-purpose filler. Before it dries, trim rough areas with a
Tiling over Tiles
Filling Fill
filling
knife so that
Old
tlie
firmly attached to be.
The
than
adhesi\'e
to
remove
Boxing
and
that
in
Create a neat,
•
Sealing Stabilize dusty walls
them
or
new
wooden
flat
solution (five parts water to
that
one PVA) before
when
tiling.
Construct
a
simple
it is
enough not
pasted and
to
(
)ki tiles
Make
tiles join in
tiles.
sure
different
with TSP, allow to
dn', then
or pl\"svood framework
sturdy
is
you
from those beneath. Providing a key Wash down
surface around
obstacles such as pipes by boxing
plaster with a P\'A
fill
l^laces
weight of the new tiles \\ill almost certainly pull it away.
in.
new
if
several
Avoiding joints
may appear
it
then
more economical
especially
filler,
need
how'ever
tiles
areas with one-coat plaster.
This will be
need to sand the ^•alls. • Removing old coverings Do o\'er paper,
excellent
as long as they
® Replacing damaged Remove cracked tiles,
not be smooth, but are quite adequate i'oi tiles. You do not
tile
new
are securely stuck to the wall.
no pieces
protrude. These patches will
not
make an
tiles
base for
sand with
fine-
grade sandpaper to provide
bow
kev
for the
new
laver of
a
tiles.
tiled.
Measuring Acctu'acy when measuring
important so
is
are avoided, ^'ou must
first
much
decide how^
prove
of a
room
to
expensi\e. and incom'enient undercalculations
will
make
a large difference in requirements.
o\ercalculations,
that
which
Making Allowances •
can
Making
a Tile
tile.
Small \ariations
Gauge
are usuallv
than plain
Mark off tile-width measurements along
more expensixe
tiles,
so \-ou should
calculate exacth"
a batten, either
how many
sample
working
\()u need, rather than
tiles
tile sizes.
Allow
out the size of the area.
for grout
%
each
tile.
Tiling borders
Measure the
of border
using
or based on
mm)
total leiigth
stage
Using a batten
Allowing for pictures Picture
tiles
at a later
'
s in (2.5
between
U.se the
gauge
to calculate quantities of
tiles
Mini'
n/'f/},,sili(iii
and work out where
required rather than their area.
tiles
Remember, however,
cuts and joins will be.
to
deduct the border area
when
you are calculating the area of the main ix)d\- of tiles.
# Using If
tiles
you wish
of different sizes
to inctjiporate a
complicated design tiled area,
including
different sizes for
ask a
tile retailer
in
your
tiles
of
example, to
work out
your preci.se requirements. Supply a drawing of the tile design and the measureiuents of the area to be tiled.
CaLCI'LATINC, QlANTITIES Never estimate even the
Allowing tor cuts and breaks ten percent to the figure
smallest part of a tiling area.
,'\dd
Measure each section separately and accurately, then add the
you ha\e calculated to allow wastage from cutting and the
figures
up
to give the total area.
© Measuring
appropriately Most
retailers sell tiles in \-arcls
square
(square meters), so work
oul lover.r'L' with this in miiul.
lor
occasional breakage. Increase this percentage for awkwardshaped rooms that ha\e man\' corners and cuts, and reduce it slightly tor rooms that ha\e hro.KJ expanses of wall surface.
61
WALLS
TILINC;
Planning THIS
KK^.iD am:)
ARi-
1'.
SO
it
awkward
plan
not possible to disguise mistakes like you
is
areas care'lulK
,
linisli.
se-clioiis in
(.lilli.TL'ni
up ihc joh
s|-)i.'i.\l,s
'\'Akc
Starting Out • Mixing tiles \\ hen mix
hifge ai"ea.
elilferent
boxes
ol tik's in
ease there are color
between
will
when
«
Ixitehes.
not notiee them
the
on the wall. bottom lile
are
tiles
Starting at tiic
from the base of an area up. llsing natural levels
If
baseboards base line
ixithtubs. sinks, or
pro\ ide a naturLiI
w ithin \'our tilini^ them as a slartiuL; Accounting
plan, use [loint.
for corners .Make
sure that corners look as
wlK)le
tiles
are
it
wrapped
around them. Two small strips or two lar^t.' scrajis meeting; at a
corner join look unattractive.
you cannot plan so that whole tiles meet in a corner, two halt-tiles look best. If
tonwl i1k'
oreicr
ill
tiles
lall.
Work
\(Ui
.i:\'
.noinn lo Lickk' a
1k\si
e'nsuix'
how
iIosl' at liaiul,
lluit
.ill
i
p.irlii iiLir
i.'(|uipiiK'nl
lean,
.iiul
and iwkK
awa
.iikI
luak'ii.ils
lor use.
Tiling a Wall Slction by Section tiling a
\ariations
You
tin.'
proJinws
extra time to Je'eiilc
link'
A
.iiul
where rows of
and cklermine w here euls w
Orderinc. Tilint;
Strategy
wallpaper. Vou nuisi, iherelore, ealeiilak' exaeth'
e:in willi
will \^c.
iMi rxiHi
a Tiling
Ihil/lilc
Full 11(1
/lie' III
nf null
lo
.la-
I
M
PR
C) ^
I
TECHNIQUES
G
N
Improving Techniques 0\(
HA\T A TILING STRATEGY, thc teclmicjuc
>"nr
1
comes do\Mi
itself
tc)
the
process of apphins^ aelhoixc aiul sticking tiles to a wall. Technical refinements shoiikl a^Uress methods of cutting anei appKing a<.lhesi\-e. nicchanical
Cutting and Attaching Tiles
Youyou
will
if
take the right precautions to keep
tiles
and
both horizontalh
produce'a flat and e\en tiled finish apph' adhesi\e correctK' and if \'Ou
bend or
stretch,
\enically.
when you
so
the incisions as precise as
lexel.
cannot
Tiles
them make
cut
you possibly can.
Le\eling Tiled \^alls
Applying Adhesive
Traditional Tip
Spacing
tiles
.Matchsticks are ideal for
Using a notched spreader Isc
spreader to
a prot'cssional
apply adlu-si\e to
Work
wall
a
m up to st] \cl and make sure that the adiiesixe has a uniform, ridged appearance in areas oi
1
before apph ing
(
am
).
1
Tiling aroi no Plastic Bathtcbs prone
movement because they
to
are
t'lexibie.
so take extra care to
ensure
good
a
tiled finish.
Supporting Pro\ ide extra support beneath a pla.stic aib r'
to stop
of adhcsn c
downward mo\ement
out protruding
hladed scraper
water before you
around
it
.so
that
w itii
it
be in and shape.
Sealing Run silicone l^eading aroimd the top of a plastic tiling to
barrier against
w hile you
.igain - unlike plastic tile
spacers.
using a
tiles
can be used again
lic\
\\
hich cannot be
remo\"ed once grout
is dr\-.
tile.
Getting Quickly CIrip lever
fin
rUeciitu
ineasuring
tiles
for cutting,
allow
{2.S
mm)
'
s in
for grout.
Tiling with marble .Marble
should
gi\
e the appearance
of a solid sheet, though grout rec|uireLi for
is
waterproofing. U.se
Mounting a
tile
cutter
will
•
tub liefore
1
them at right angles to the joins, and remo\e before grouting. S Making allowances VChen
start tiling
the correct position
and
w ideRemove some of
tiles
between thin tiles and may show through the grout. U.se
tiles
tiles.
grout
finish.
Ising thin tiles Spacers are too deep to be left in place
bottom row of
aib
an e\en
Preempting Problems
•
Filling Fill a plastic
ir
maintaining the spaces
hetw een
Before thc adhesive dries, lever
cracking the grout around the
•
t<
the adhesi\ e and replace the
tiles.
Plastic tlxiiires arc
Reducing adliesive On unc\cn walN. \ary the depth
make
a
water seepage.
strips
of cardboard as spacers.
Reducing cleanup Keep a damp sponge and a dr\- cloth handv so that you can keep liles .md hands clean at all times w hile \c)u work.
I
sing
w.i\
a tile
cutter
otniaking
is
the easiest
accurate
nc.il.
cuts. .Mount thc cutter
w orkbench
or clamp
a tabletop to at thc
hold
it
it
on
a
to
firm and
correct working height.
63
TILING WALLS
Awkward Areas
Tiling
As
with
all
areas are
Corners, as
decorating
more
\"oii
some
techniques,
difficult to tile
if you want them to look as neat as and you ma\' well need to cut intricate shapes to tile successfully around obstacles.
challenge
than others.
possible,
might expect, can present a
Overcoming Obstacles « Using nippers To cut aw a\ awkward pieces of tile, use
Tiling around Curved Obstacles • Choosing S Measuring cunes Mold a
a blade Select
pipe cleaner or piece of wire
a timgsten carbide blade to
nippers. These resemble a pair
to the cur\e"s shape, then draw-
make
of pliers and enable you to
along
chip off small sections of
tile
between the sharp-edged
jaws.
•
on the
tile
to
be
Cutting Ci rves Using
and thus
a precise cut
create the mo.st accurate cur\'e.
cut.
a
Template
Remo\e
Dealing with pipes
any pipe brackets so that tiles can be slipped directly behind. Reposition brackets after
by
it
Template
tiling
drilling new- holes in the
tiles
(see p. 70). Take care
not to overtighten the screws,
w hich might crack the tiles. • Tiling recesses To pro\"ide support once dow nw ard-facing tiles ha\e been attached along the top surface of a recessed
w indow.
cut three pieces of
IMake
a
cardboard template
cune - allowing for - and hw on top of
2 Use
a specialized tile saw-
- one the width of the recess and rw o tlie height of it. Rest the r^o uprights on
grout
the windowsill. supporting the
with a nonpermanent
horizontal flush to the top
pen. so that the ink guideline
workbench, hold it and cut - using a normal saw ing action - along
can be w iped off the
the "uideline
of a
flatten
tiles
adhesi\e has dried.
until the
Tiling External
&
the
it
tile.
Trace around the edge felt-tip
tile later.
Internal Corners
the tile
to cut
around the shape of
cune
accurately. Place the
on
a
firmly,
\-er\-
vou have marked.
Dealing \x ith Sockets and Sw itches Tiling
around sockets and
switches offers no particular
problems
as long as
)()ii
follow basic guidelines. 4.
Turning off power Alw a\
turn off the electricin.' supply
hetbre you begin work.
• Loosening screw s Loosen electrical .socket or switch
screws so that tile edges can be inserted behind the .socket plate.
Do
screws
Hiding edges
Making
Attach a plastic corner strip to an
W
external
protect
comer
tile
to conceal
edges.
onto the comer with
Using whole
and
Mount the tile
tiles, tile
striji
adhesixx
away from
the strip on each wall, aligning the
64
tiles
vcrticalh
w ith
it.
a neat edge
•
]icn tiling an interna! corner,
place
tiles alternately
w all
to ensure
join
and to keep the
ani.1 ni
on each
an even corner tiles le\el
position. l,ea\e gaps tor
grout in hetw cen the corner
using spacers in the usual
tiles,
w a).
not retighten the
until after grouting.
Adjusting screw length
using thick
tiles,
it
If
may be
necessar\- to replace existing
socket screws with longer
ones so that the socket plate can be screwed firmly back
on
to the electrical liousin".
TILING CREATIVELY
Tiling Creatively TILING
A FLEXIBLE OPTION
IS
when
it
comes
to
making decorative
You
decisions.
can create a variety of designs and tile arrangements using different shapes and sizes of tile to lend an individualistic and personal look to any room.
Choosing Tiles of Different The
most obxious altcrnati\e
methods
tiling
is
are similar to stanclarel tiling teehniqiies. Minor
to traditional
process as well as improve the
methods
Positioning
• C^hoosing surfaces Large tiles look most impressive
within a sheet
on
of position
large wall .surfaces rather
than
defective.
detailed places.
in small,
tiling
finish.
Using Small Tiles
Applying Mosaics
Using Large Tiles
up the
refinements, however, can speed
to use different-sized tiles
to achiexe \arious effects. Application
Sizes
tiles
Mosaic
may
drift
tiles
out
if the backing is While the adhesive
Too many
is still
detract
using the edge of a scraper,
half-tiles and joins from the overall look. • Using marble tiles Lise marble tiles only on flat wall
and
(Aitting tiles out
backing
•
Cutting marble
tiles
tableto]^-mounted
Bedding in Use
Cut
marble tiles with a tile-cutting machine for greater accuracy. Ask your tile retailer to miter external corner joiiis, or rent a
will not
If
the sheet
allow you to
reposition easily, cut the
grouted joins
spoil the "sheet" finish.
tile .saw.
tiles
then support them with spacers.
surfaces, since undulations will highlight
wet, reposition the
out of the sheet with a
a short-pile roller to
sheets of mosaic
Apply adhesive to the back and put it back in place,
bed
into
tiles
knife.
tile
adhesive. This will ensure that
you apply even pressure the area, so that the firmh'
and
lie
all
over
using spacers to keep Finishing edges Cut
some of
tiles stick
flush to the wall.
Designing Layouts
tile
craft
it
level.
up
the mosaic sheets and
use to edye other
tiled areas.
Making Your Own Mosaic well as standard square
.\s
mosaic tiles, you can use smaller and irregularly shaped tiles to create mosaics that are less
I
uniform. Incorporate small pieces of broken
tile
to build
either simple patterns or
lip
more complicated images. Making mosaic
tiles lise tile
nippers to break up old and Ictiover tiles into small irregular
pieces approximately -Vi-l'
sq in (2-4 cm-')
2
T
in area.
V
•
Mixing
Producing a design \ design tan i:)e drawn on a wall using
tile sizes
Lay out your
tile
design "dry" on
a tablctop, tlicn take
the
tiles
directly (roni the table to the wall.
Hy doing
this,
you
will
be
able to see what the pattern looks
and make any adjustments before the tiles are stuck down. like
,1
method
similar lo thai usetl
lor painting murals (see p.
.-56).
the shapes thai
Carefully
Fill
make up
tlu'
image' with small
pieies
lile
instead ol painl
1)1
in
to create voiir
own
mosaic.
Creating a bold design You can combine irregularsiiaped fragments of tile with custom-made, square mosaic liles to stunning effect. Framing tile area with uniform but vivid bands of color adds drama.
65
TILING WALLS
Inserting Tiles and Borders Picture
and border
inset tiles,
tiles,
tiles
proxide the finishing touches on a surface.
They add
Usi.NG
Border Tiles
•
Ordering work
or -
in
tiled
area or a panel. The choice of
tiles
surrounding
the back of the it
on the
tile
tiles is
tiled .surface
tiled area.
•
huge,
ones should be easy.
by in.serting a wooden molding in the form of a chair rail. Paint it to match or complement the
narrow, spread the adhesi\e position
suitable
Varying Borders
of a
on
some
Inserting Chair Rails Using wood \ an the le.xture
main body of tiling before appKing border tiles. • Applying tiles Because most border tiles are by nature \ en,' finish the
the case of borders
so finding
interest to a plain tile design.
.\l\\a)s
- frame the whole
can tiled
Offsetting joins .\Ian\ border
are a different width from
main
the
when
tiles.
Offset the joins
possible, so that the\'
occur near the mid-point of the main tile width.
and then
^all. rather
than applying adhesive to the ^all before mounting the
•
tile.
Dealing with corners
Mitering corners ^'ith a
standard
difficult
is
tile cutter,
so
flush-join the tiles or calculate
where miter cuts will be. Ask your supplier to cut them. • Tiling up to wallpaper If you are papering a wall
al')o\"e
a
extreme edge of the paper beneath the tile edges. Complete the tiling as far as the border, then apply the paper to just below where the upper edge of the border tiles will be. Once the papering is complete, attach the border tiles in position. tiled area, insert the
Planning Tiled Images
Using
Deepening a border
tiles
Create the effect of a chair
within a tiled
wiM
using
rail
flat tiles
band
that pro\ ide a contrasting
Create a deep border by using
two rows of border
tiles,
beneath the other. Place
one relief
of color or pattern. .\Iternativel\
border
insen precisely cut
example, with decorated border
half-tiles
tiles
along the top. for
more
in
another color or pattern
tiles
to
produce the same
interesting decorative effect.
effect.
below^ to create a
Inserting Picture Tiles Changing existing Rejuxenate an old b\'
remoxing some
inserting picture
tiles
tiled surface tiles
tiles.
Money-saving Tip
and
Remoxe
by means of the technique used for replacing broken or
tiles
cracked
•
tiles
tsee p. 71).
Creating panels Use picture
tiles
to
make up
.separate tiled
panels on suitable
flat
areas
of wall, making a decorati\e feature that
Drawing
plan
is
not necessarily
part of a larger tiled area.
.\dding
new
tiles to
Using squared paper draw an
• Making
.\ttach a
new
tiled
accurate plan to scale of the
deep border using picture tiles instead of border tiles. Use the
whole area
a
to
be
any picture
tiles.
carefully as
you
tiled,
including
Follow the plan
tile.
This will
help to ensure that picture are positioned accurately.
66
tiles
a border Create a
opportunirs' to introduce a
A
border of fruits and \egetables. for example, will
theme. lie
suitable for a kitchen.
old
border
above old bathroom
tiles
to
spruce the room up without completely the old
tiles
rejyout
retiling.
Clean up
thorouglih; then if
necessai^.
TILING CREATI\ELY
Tiling
Most
wall
as their
tiles,
applied to
name
suggests, are
vertical surfaces.
flat,
Work
Howe\er.
horizontal surfaces are often just as suitable for
Tiling Horizontally • Supporting w eiglit Tiles are relativeh' heax"^'.
surface
is
sci if
lightweight,
may need
to gi\e
it
additional support.
way
of doing a
.some
The
this is to build
the
tiling,
and some can benefit
common with
tiles,
application
such as
Adjusting Grout
if
necessar)' at the wall.
utililv
Work
rooms.
Surfaces
easier to clean the tiled
dirt
lodging in grout
cre\'ices.
•
Cleaning grout Use a commercial grout cleaner from
surface as clean as possible.
edge of a work surface, and work backward to a cut join
and
surface and reduce the risk of
work
To prepare such surfaces, cut out and fit a thin piece of pl>^ ood or MDF as a base on which you can then mount the tiles. • Neatening edges Always use whole tiles along the front
in kitchens
so that it is absolutely flush with the tiles. This will make
time to time to help keep the
for direct tiling.
The most work surfaces
greatly.
to cover
Edging
spread the extra weight. • Making surfaces ready Man\ surfaces are not suitable
is
£ Finishing flush Apply grout
it
be.st
work surface sheet of plywood to
up the top of
w ith
work you
a
Surfaces
grouted areas of a
• Grouting
tiled
hygienicalh'
work The
most hygienic wa\' of grouting tiles is with an epoxy-based grout. This forms a longerlasting surface that
is
resistant to bacterial
far
more
growth
Attaching battens Attach hardw
(j(jd
battens along
work-surface edges to produce a neat finish. Faint or varnish as
than traditional grout. Epox)-
required. .Make sure that the
based grout is difficult to apply, howe\er, so you may
batten tops are flush with the
need
work
to hire a professional.
othervs ise cleaning the
tiles,
surface will be difficult.
Using Specially Made Tiles Besides
their
most
ob\ious
function
providing a tough washable surface,
ha\e other
practical
of tiles
uses around the home.
Supporting Heavy Tiles
Man\- upes ha\e been specially modified in design for a particular purpose, but ordtnar\" tiles
can also be put to a
Modifying Worktops
\ariet\-
of
u.ses.
Improving Efficiency aterproofmg showers Tiles will be hea\"ily bombarded by water and so \\
in a
shower area
require extra waterproofing.
Use a
commercial
specialized,
waterproofing grout, and seal all
corners
w ithin
the
shower
area with clear silicone after \
ou have grouted to provide
an
•
e.xtra
waterproof
barrier.
Tiling siUs Batlirooms are
especially prone to high
Attaching soap dishes
.Making a chopping board
le\'els
Because of its weight, a soap-
Cut a hole and insert a tile in a worktop to create a permanent chopping board. A large marble tile is ideal, since it is tough and ea.sily cleaned. Seal around the edges of the tile with a bead of
runoff onto a
dish
tile
in place
needs support to stay whiJe the adhesive
masking tape over and the adjacent tiles for
dries. Strap it
support.
Remove
the tape
once the adhesive has
dried.
clear silicone after insening
it.
of condensation. Water sill can quickly
degrade the surface
if
the
merely painted.
a
good
It is
idea, therefore, to sills in
them
a
bathroom
e.xtra
tile all
sill Ls
the
to give
protection and
increase their lifespan.
67
TILING WALLS
Decorating Plain Tiles retiling a room can be costly, so always worth considering whether or not the existing tiles can he renoxateci rising
Completely is
it
Painting Tiles • Repairing grout ivake an\' okl, loo.se grout
using a scraper, anel
gaps with all-purpose tiled
surface
tlccoratiw nicthocis. Similarh',
inexpensiw.
them using one or more painting
joints
the
paint tiles
tiller.
ceramic paints, you can your own designs onto as long as they have been
ILsing
correctly
prep, net!
Deiieiuling
b\'
cleaning down thoroughly with TSP and rinsing with clean
w ater.
Allov^- to cln'
thoroughly, then apply a
commercial
• Applying
tile
primer.
paint After
you
have carried out the correct ]^reparation, you can use either commercial tile paints or normal aciylic or oil-based paints. Protect the tiles with
a coat of ceramic varnish
you have finished
•
once
painting.
Painting selectively There
is
no need to paint all the tiles on a wall. Simply painting in a border or stenciling
on
a
few
look of
tiles
\ou can
then enhance
p\:\\n tiles, antl
te(.hnic|ues.
HAND-PAINTINf. TiLES
Preparing surfaces Fieiiare
an old
Iniy
out
trom lill
otliL-r
images
can revive the
a "tired" tiled surface.
1L
sc masking tape to .stick an image over a tile, placing carbon paper berw'een the image and the tile. Draw around
the picture outline, pressing
hard enough for the carbon transfer the
imaue
to
to the tik-
on the extent of your artistic capabilities, yon can transfer an image to a tile and color it in (as iieiow) or paint
it
Ireeliand
FINISHING
Finishing TILES
REQUIRE CARE AFTER APPLICATION to cnsure that they look
well for as long as possible. As well as tidying finish tiles so that they ser\'e their practical
purpose
them
are of
practical
little
use unless they
are completely waterproofed, providing an easily
cleaned surface that
is
totally
Grouting Successfully € Selecting grout
powdered grout
Choose you mix
that
with water, since
this
more
is
durable than dual-purp<^se adhesi\e or other grouts.
® Making neat
lines
Run
a
grout shaper or the edge of
your finger down the joints once excess grout has been
removed but before
it
dries.
•
Grouting marble tUes Ensure that grout is flush with the tile surface to give the illusion of
expanse of marble. Producing a sheen Wipe the tiles first with a damp sponge
a
flat
•
to
remove excess
grout.
When
diy. polish with a lint-free cloth. Polish several times.
Sealing with Silicone
1
impermeable
you must
efficiently.
-—---^------------ Waterproofing Tiles Tiles
good and wear
decoratively,
mmmmmmmmmm.«mmmmmmmm^
water. Joins and tile edges are the areas most prone to water penetration and seepage, and therefore require the most attention. to
TILING WALLS
Atta(:hin(; Fixtures Tiling been
is
not
cannot
surfaces
to
the
tilecl
touched
he
ry
I
to position attachments so that
away
Irom the edges. Drilling near edges may cairse cracking.
•
Making watertight When
putting a screw into a hole a
tile,
apply a small bead
in
ol
silicone to the point of the scre\\'.
This will ]Tre\ent any
water from seeping into the hole and behind the tile.
© Protecting eyes Use goggles when drilling to protect yc:)ur eyes from flying
•
attachment weight, to
tile
splinters.
Finding alternatives \\ill
bear
If
it
in place.
an
little
irse ,selt-adhesi\e
mount
sniiacx'.
up
easiK'
have Tileel in
a
similar siirfaces. in
pads
manner lo painlrcl or wallpapered so make sine that hxlures aiv placed
the conx'ct position
Drilling Holes
Drilling Wisely • Keeping to the middle \()U drill holes in tik's
lixluix's
until ,in\
(.'onii^k'li.-
attatheel
at
the hrsi attempt.
PosnioNiNG Fixtures
FINISHING
Maixtaixixg Tiles Tiles to
ha\e a long decoratixe
end because
color
life
that tends
preferences
and
design trends change rather than because of the
Replacing an Isolated Damaged Tile
-
themseKes. Sometimes, and a few repairs are needed to keep tiles looking pristine.
deterioration of the
however, a
little
tiles
regular maintenance
ECORATING
BACKDROP for all the fccitiires of a room, then the ivooclirork is the frame upon which the whole look of the room haiii^s. It is iij) to you how prominent you make that frameirork. which offers you great scope for CAperinwulation. Decorating woodwork is not confined to permanent fixtuj^es: painting fu r n i u re adds a further decorative dimension. WALLS ARi:
Preparing to Paint, p. 74 Painting Specific Ai'eas, p. 76 p.
Creating Paint Effects,
78 p.
79
Painting Furniture, p. 83 Finishing, p. 86
is
great di\ersity in
available for in
I III-.
I
-
There
OODWORK
THE TFdecorative
Quick Reference
Enhancing Wood,
w
Selecting Materials tiie
types of finish
wood. They vaiy considerably
terms ot color and sheen as
\\e!i
as their
Paint Types and
and translucency. Choosing the depends on the type of wood and
le\el of opacity right finish
how
it
fits in
Wood
with other decorated surfaces.
Finishes
DECORATING Basic Painting Equipment Equipment is little
for painting
different
Calculating Quantities
wood
from that for -\ngle-hc;ii.l
painting walls, necessitating jList
a
OODWORK
V^
.Measuring solid surfaces such
p.iintbnisli
as
few additional items.
doors and baseboards is With other
realtively simple.
• Choosing brushes Painting wocxluork inx'ohes more detailed and smaller-scale work than painting walls, so you will need a larger range of small
items, a
method of measuring
ma\' not be obvious.
Use the
table opposite to calculate
how much
paint you need for
surfaces of average porositv*.
brushes. Pure bristle brushes
« Windows To
give the highest-qualit>' finish
but are
calculate the
surface area of the fninie
more expensive than
>f
<
a
their .synthetic counterparts.
picture
\\
inflow, nicisiue the
however
h'anie's
\\
idth
They
•
are,
easier to use
Selecting sandpaper
.several
A
C^.Lsemeni
Buy
many
grades of sandpapers.
pcnnK-tei'.
ha\ e
lail^.
so niea.Mire the
the
whole window.
are.i ot
good-quality, fine-grade
in^kKlii\L; tile
paper is essential for the smoothest possible finish
.md
windows
Coverage
L;l.l^s.
F.iints antl
van
natur.il-wooLl tini^hes
Consider
their co\er.ige.
in
this
w hen (.alculating number ot coats required.
carefullv
the •
Preparatorv coats
1
)( )
nc
)t
wood needs
forget that bare
priming, and most paints need an imdercciat before painting. .)lMp,
1,^11
^ni.ili
Wood
roller .inJ tra\
Types Com.monly Found around the Ho.me
Many tv'pes of wood are found around the average home. Thev" are categt)rized according to suitability of fmish.
•
Natural
that
woods You w ill
planed
wood
is
find
used
Ph'wood
generally for intricate areas such
Softwood
Hardwood
and baseboards. Rough-sawn wood is used for con.stRiction and is unlikely to require decorating. The exception to this may be houses in which beams are exposed. • Manufactured woods You may
Natural woijd. usuailv
Natunil
wood,
qualitv'
than softrw-ood.
as moldings
pale in color. for
all
Used
internal joinerv'.
Takes most paints and natural
wood
finishes.
Used
liiglier
for internal
joinery. Best suited to
natural
wood
finishes.
Sheets
made
of layers
of veneer. Takes
all
paints, but natural
wood
finishes
may
give patch)' coverage.
prefer to use "manufactured"
woods, whose appearance differs greatly from natural grain. Produced in large sheets, the V
ersatility
of these materials
for structural purpo.ses,
Medium-density fiberboard(MDF)
as floors,
Sheets of compressed
means
can be used such as well as for making
that they
doors, panels,
and other
items.
wood
fibers.
Often
Hardboard
Chipboard
Smooth, high-densitv board made of compressed vvootl
wood
-Some are impregnated with
used for cupboards
fibers.
fire-retardant sub.stances that
and door panels.
.\I1)T;
may
Takes
affect paint application.
all iiainls.
Thinner than usetl for floors.
Takes most paints.
Sheets of compressed particles.
Often
u.sed as a flooring
material. Takes certain
paints
-
follow
suppliers' guidelines.
73
DECORATING
W
() ()
DWORK
Preparing to Paint Diiicis il
is
i\
wooDwoi^K lend
lo
be cnliaiuccl
important to prepare the
Then make sure
tliat
wood
rnilK'i'
ilum
tlisniiise'cl h\-
as well as |:)ossihle before
you appK' the paint using
tlie
paini. so
you paint
it.
appropriate techniques.
Stripping and Sanding
You work
will
need is
lo
jlicIljc
recjuired
whether or not
to
how much preparation more importantly,
and,
remo\ e old
Order of Work
paint.
Multiple
layers are be.st .stripped, but a pre\ iousiy .sound
painted surface can \ery often be redecorated after a thorou_uh
sanding and washinj^ down.
PREPARING TO PAINT
Filling
Most
woodwork cannot be simply sanded
then painted. Usually scratches and small
some
holes will need
filling
prior to jiainting.
Following Guidelines • Removing
dust
area has been
»
There are
a variety of fillers available for this:
some
all-purpose,
are
fine surface
filler,
Dealing with Big Gaps
Raking out Remove flaky
and
l^aint
Saving time
ready-mixed filling
Keep
filler
running the edge of a scraper firmly down the joint. Dust well before applying the filler.
a jar of
handy
for
may
small holes that you
Smoothing Tubed flexible cannot be sanded, so smooth it before it dries. Once
have missed the first time. • Smoothing surfaces Use a fine surface filler
filler
on ornate
the
When
sanded, this will provide the smoothest moldings.
filler
into position
Smooth
when
filler
Filling
and trimming
position, use
damp sponge
smooth
it
joint
Use an aerosol foam filler to a large hole, such as a wide
repairing
small holes and cracks by
fill
w ith a damp artist's brush. Smoothing the filler carefulK' will reduce the need for sanding once it has dried. shaping
filler is in
a clean,
o\er.
best finish, run
possible surface for paint.
• Molding
and other pieces of
debris from cracked joints by
sanded, remove any filler dust by wiping with a damp cloth.
•
such as
others,
Using Flexible Filler
Once an
filled
vthile
serve a specific purpose.
it
crack behind a baseboard. Traditional fillers will not hold in
place as well. Trim any excess
filler
with
To
to
give the
down
the
with a wet finger.
Preventing cracking Hairline
may appear in waterbased paint applied over flexible filler. Axoid these by
cracks
priming the
tiller
with oil-based
undercoat before painting.
a craft knife.
Priming and Painting order to produce the best
Incarefully coats that
Applying First Coats •
finish,
consider
any preparatoiy coats and the top will be required. These will differ
depending on whether you have chosen wateror
oil-based
materials.
Also think about the
techniques suitable for painting
wooden
surfaces.
Applying Top Coats to Flat Surfaces
AppK w aterwhen using
Sealing knots
based knotter water-based paint. It will be more compatible with aciylic paints and will seal knots without showing through subsequent coats of paint. • Coating natural wood When
wood
applying a natural
do not knot or prime.
coating,
Most natural
wood
will automatically
coatings
be sealed
when you apply the first coat. • Breaking in brushes Always use new brushes for priming rather than painting, since
they will probably molt bristles the
used.
be
'I
his
first
time
the\' are
means they
in a better
will
condition for
appKing subse(|uent
coats.
i'irsl.
paint a
1 vertical
number
ot
about 12 in (30 cm) in length. Reload the brush with paint for each .strip. Without reloading, spread the strips
2 Without brush
reloading, lightly
the area vertically to
lay off the paint
and produce
an e\en coverage. U.se
this
paint across the panel surface
technique for painting both Lindercoats and top coats on
using horizontal strokes.
most Hat surface areas.
75
DECORATING WOODWORK
Painting Specific Areas Yoi
K i'\i\Ti\G TECHMoi will alwax's need to he aclaplecl lo suit differeni areas and surfaces. Most adaptations will he concerned with the order in which an area is painted and with ohtainini^ the best finish quickly and efficiently. i:
———^——— Ddors
make up llic lai;ycst i^jroponion wooden surfaces in most homes, and
ol it
is
theref(M-e important that the\ are painted in the
Painting Doors to Reflect
irule
n,uht \\a\.
ones in
tall
---—-----------------.
Door designs vary, but most common two categories - paneled or tlat -
into
terms of technical painting re(|uirements.
Room Colors
Defining Edges
Paint
Make sure door is
Doors
Paintinc;
architrare after
open
frame head
uhile painting to gain access to
whole
frame head
Keep paint off hinge
to
produce neat finish
Lay offpaint
Painting the edges of a door frame If two different-colored rooms adjoin at a doorway, you need to delineate clearly \\here the color of one room ends and the color of the other room begins. Following convention, paint certain edges within door frame one color or the other in order to
a
indicate
which room they belong
to decorativeh'.
carefully to
avoid excess
forming drip marks along frame edge
i
PAINTING SPECIFIC AREAS
Windows
Painting may be concerned You both panes of
aronnd and time-
that painting
glass
difficult
is
if you paint windows in a systematic and extend your repertoire of painting
ho\\'e\'er.
\\ay
consuming. This does not ha\e to be the case.
techniques slighth" to aid the process further.
Planning the Painting OF Windows ®
Starting early Paint
day so
early in the
can
sta\-
open
\\
indow s
Shielding Glass
glass
Remo\e
splashes of undercoat vvith
that the\'
to dn' for as -long
Wedge them open
as possible.
» Cleaning a
window
scraper and polish
the glass with a commercial
with cardboard to prevent
household cleaner before
them from slamming
top-coating the
shut.
woodwork.
Working
logically
Work from
the top
of a wineiow frame down\s'ard, and from areas nearest the glass
outward (1-6). Follow
Using a window guard
this
system to ensure
Cut the base out of a
that
you do not miss
container, leaving part of
any part of the frame. It is
easy to miss areas
new
if
the
is
similar to the old.
paint color
side as a handle.
plastic food
one Hold the guard
to the glass-frame junction, then
paint without overspill glass.
Clean the guard
on
to the
regularly.
Painting Other Areas
Not
all
the surfaces around a
home
fit
into
simple categories: some \\ill rec|uire more diverse techniques. Metal siufaces. for example.
Dealing with Metal € Removing rust Patches of rust on metal should be sanded back - to the bare metal if necessary-. Prime and paint the bare surface immediately to prevent moist air from getting at
it
and
might
recjuire specific preparation before
such as high-wear areas, need special attention.
Negotiating Pipes - Painting large pipes
Use
Painting Stairways
a
radiator roller to cover large
VClien painting
woodwork
pipes quickly and e\enly.
on
Protect nearby areas from
specific requirements of this
o\ers]Tra\\ Cut in with a Inrush.
part of the building.
a stair\%ay, consider the
finish
triggering the rusting
it
process once again.
• Choosing
is
A good
especially important
tlic stairs
arc in constant use.
Protecting handrails Gi\ e
primers You might
handrails an extra top coat,
find a vast array of different
since these are the areas
metals and alloys around your
that receive the
home. Make sure
that
laying a
metals indi\idual properties. • Painting radiators Always paint radiators v\hen they are cold. Applying paint to
carefulK-
warm
cause
The be
it
or hot surface will tc:)
dry too quickly.
paint will therefore
difficult to
brush out.
resulting in a patchy finish.
most wear.
Painting edges Before
you
use a primer that suits each
a
you
decorate them, and certain parts of the house,
new
carpet, cut in
on each step so
that
the painted area extends well
Shielding a wall To make it easier to paint pipes
Ix-yond the carpet edge. I'illing
prone lo
cracks Staircases are slight
that are against a wall, hold a
use flexible
piece of cardboard behind
loints to
to protect tile wall
from
iiuiklup of paint splashes. it
up or
(.[own as
liicni
a
in
Move
movement, so gaps and
filler in
prevent paint^^ork
)m cracking. This will
lirotliKc a longer-lasting finish.
you progress.
77
DECORATING WOODWORK
Wood
Enhancing Yor option
MA^" ni;c;ini;
iiivi' Ki:i:i'i\(i
woodiix
NAirRAi,
siki-a(:i:s i.ookinc;
There
to paintii\u or decorating them.
is
a i^ivlcnihlc
range of hnishes your disposal, and man) ollliem are easy to use as well as being durable.
Selecting Natural
wood
transform a
Wood
is
a large
at
Finishes
finishes can
lifeless
wooden
object into a vibnint decorative feature.
Choose
a finish
according to the type of
wood
Wax
and the color and durability required. Water-ba.sed finishes
Suitable for dark hardwoods, since
are easy to apply; oil-based
it
products are more durable.
Buff to create a sheen.
Most natural finish: enhances and texture. Buff for sheen. Needs frequent recoaling.
Varnish
Wood dye
Stain
.Most durable: u.se alone or as
Colors
tough top coat on other
required. Colors can be mixed.
depth of
Finish with clear varnish.
according to the number of coats.
finishes.
Sheen varies from matte to
s;loss.
is
a subtle, highlighting finish.
wood
match
Hni.shcs
will
wooden
solid
w hate\ er shade
Wood
Using Natural wood
to
in
wood match each other, ^'on make pine .surfaces resemble oak or
.se\erai
tran.sform
fir
Improving Finish
• Protecting yourself Man\wood finishes are runny, and
dye with
unavoidable. Wear
goggles, especially
\\
hen
Using a sponge a
so that
of unsightly brush marks. duster to the pad of an electric
The
surfaces
these products.
Buffing easily Attach a clean
SLinder.
then use
Dispose of
Smoothing varnisheci coats wire wool to rub down
residue
container with a
lid.
Oil
is
a
danger that rags might
coat.
Remo\e cloth
with tLnpcntine.
halfway through staining a surface; otherwise, an cnerlap
mark w
combust spontaneously. \
(
78
each
ith a lint-free
Staining evenly Ne\ er stop
metal
highly combustible, and there is
w
dampened
oily rags in a
to buff a
t^se
\arnisli after
Safety
it
wa.xed or oiled surface.
of plastic containers might be
damaged by
Green Tip
thus eliminating the possibility ^j
kettle.
looks like mahogany.
Apph wood
•
metal paint
it
household sponge,
coating at eye level.
Decanting Always decant natural w'ood finishes into a
varies
different t\pe,s of
Taking Care
is
which
can e\en
a
make
spattering
finish,
Finishes -
with piece.s of furniture or to
-
Largest color range and great
room
enable yoii to
fixtiue.s
grain
ill
isible as )f
gradually
become
subsec|uent coats
st;iin ;ire
applied.
Using natural dyes Lic|uef\' fruits
with
a little
or vegetables
hot water, then
strain to extract their natural
dyes. seal
Apply several coats, and with a coat of varnish.
CREATING PAINT EFFECTS
Creating Paint Effects HAMNG Asdo and they allow you
A CONSIDERABLE DECORATI\T IMPACT, paint effeCtS Can be fun tO
W'HLL AS
the xarioLis effects
experiment with different paint finishes. Adapt so that you can stamp your individuality upon your hcMiie. to
Additional Painting Equipment Much
of the equipment used for
on walls
creating paint effects
can also be used for woodwork. Many tools are multipurpose.
•
Including brushes Include a
variety of sizes of brush in your toolkit to cater for different
surface areas and finishes.
• Meeting
specific requirements
such as a rocker will enable you to produce a highly .\
tool
indi\idLial
wood
X'ainish inu.sli
effect.
WfJfV n '
A Comb
W
Burnishing
Rocker
l.int-fivf cloth
i
f
fy r Tffr^^
iiv lirush
Steel
w
.
.<
.1
tool
Mimicking Natural inxention of a graining The has revolutionized the creation
tool, or rockt-r.
wood
effects
Graining
using a glaze (see
Wood
of
p.
realistic
The
31).
Wood
is \irtLially unlimited, so you can select natural, authentic wood tones or base your effects on holder, brighter colors.
choice of colors
Graining Kitchen Cupboard Doors
Choosing base colors Create a solid feel by using a light base color beneath a dark top coat.
For greater depth and
m^
translucency, use a light top
coat over a darker base.
•
Cleaning a rocker
Remove
excess glaze from the tooling
i^
part of a rocker at regular intervals to prevent
•
smudging.
Creating knots Improve the
wood finish by few knots here and there. Do this by rolling the rocker tool backward and forward gently as you draw
texture of a
creating a
it
across the glazed surface.
ITake and
a
lay
cupboard door oh, it flat. Apply a base
2\\ hile
the glaze
coat such as semigloss and
surface
Apply a glaze e\enl\' o\er the door using a 2-in (S()-mm) brLish.
create a "grain."
allow
it
to diy.
is
wet.
pull a rocker across the in \ertical
strokes to
Do
not .stop
midway, since glaze dries quickly and joins will show.
79
DECORA T
N
I
W
(i
() () I)
W () R K - C()ix)RiN(;
simplest
TIk'
\\;i\
coloring wooel
(it
is
and depth. As well as coloring the wood, both of these methods highlight the natural grain.
to
colorwash il. usins; a tc'(.iinic|uc similar lo olTcrs an alkTnaliw anel piox iclcs i^ivaUT k'xlun.' .
Raising
Wood
Grain
Wood
Wax
Appiyinc. Liming (xnering
totalh'
that liming \\a.\ gets into
the
nooks and grooves
wooden
all
in
Apjily
the wax.
stilf-liristleel
when you
.Making a
into these gaps.
SLirface using a lint-tree cloth.
away any wax as well
This will clean
a
excess liming
wire brush to open up the fiber
that
make up
liming wax. Brush the gently; otherwise,
make
Huffing
Once
has dried, give
the grain. This will
allow the surface to absorb
as
more
wood
wax coating the wooden a
A
a ,soft-bri,stled brush.
shoe-polishing brush
is
latex with
water
a niilklike
consistency.
uniii
fhit it
has
textured wf)od. allow to
then sand
carefLilly
remcne
hm
clean
a
the
dr\'.
with an
electric sander. This
surface a final bLiffing using
\ou might
simpU'
I'or a
Lindiluted latex to rough-
pio\ ide a protective coating.
witii
wash
Rubbing liack Hefore a wash dries, rula the surface w ith a rag to remove excess paint and expose the grain, which will be highlighted. Rough-sawn washing .\pply
Removing excess Once you ha\e applied liming wa.x. rub a clear wax o\er a wooden
Using a wire brush Stroke a wooden surface
a eoloreil.
finisii.
wash, dilute ordinary
brush, which will
wax
force the
wooii lor
grain-enliancing
se a fairly
I
paint or gla/e
ciiliilecl
to liare
.1
siirlace. u.se a circul.ir
brushing motion a|-)|il\-
(]()l,()KWASIilN(,
To ensun'
w
ill
paint from the |ieaks
not the troughs, creating
coloiwaslied
effect.
ideal tool for this purpose.
indentations in the surface.
Dragging ^ Dragging more
wooden
is
considered to be one of the paint
traditional
effects,
'lift'
Dragging
the finish, creating a realistic impression
ol elepth. 'the techniqLie
a
surface a textured look that tends to
Creating the Effect •
gi\ ing
it
a
can transform a
flat
is
relatively simple, yet
wooden
surface.
Improvising Tools
Glaze
Varying texture Vary texture
by adjusting the angle at which you drag a brush across a glazed surface. Having the bri.stles at a ,steep
wood produces
angle to the
a fine texture,
whereas a shallow angle
makes
•
strokes
cc-)arser.
Using other tools
It
is
not
essential to use a dragging
brush, so experiment with
other tools to vary the effect.
•
Dividing areas Treat different
Adapting a window scraper
Using a brusii
sections of a door or different
Appl)' an even coat of glaze, then
lengths of molding, for example,
draw
as .separate entities.
glazed surface at a constant speed
Produce a dragged effect using car-window scraper. Cut out sections of the tough rubber
and with
blade,
important in
It
is
drag continuously
the direction of the grain
and
to cwlI strokes at junctions,
joints,
80
tcj
or natural di\ ides.
a
brush slowly across the
the grain.
tlie bristles |iarailel
Do
lo
not stop until you
a large
making
a
jagged edge. Use
the scraper in the
same
have draggetl the whole extent
a
brush. Because of
Mask adjacent
w
ill
areas
if
neeessar\.
be suitable
\\
a\ as
its size,
it
for large areas.
CREATING PAINT EFFECTS
Creating a Metallic Finish materials can be used to
Traditional painting
create the impression of a metallic surface.
There are products
axailable.
novv-
Selecting a surface
•SN'ant
to create the
If
you
impression
of \'erdigris, choose a
actually contain the
that
wooden
I^ainting a
realistic metallic finish
ol iron-oxide paint,
choose
highlight the surface edges
surface that includes patterned
a bronze- or copper-colored
moldings or other intricately shaped details. This \\ill enable
paint for the base color.
more
so that a
easily,
good
with black and dark gray spray-
Spray a fine mist rather
paints.
Dust powder by lightly
a v^'ooden surface.
Leading Apply a base coat then
increase the realism of a
the surface to hold the colors
on
Faking Metals
base color To
\erdigris effect,
metal that they are
emulating. These materials produce a highly
Establishing Color
Creating Verdigris fe
ho\\"e\"er.
-
tapping
surface with
ha_u
than co\ering the edges
#
Clioosing a
Use
a
totally.
hammered
finisli
commercial paint
range of color shading can be
intended to give a textured,
obtained across the area.
hammered
• Choosing
a subject
effect on exterior metalwork to create a similar finish on interior woodv^ork. %i Enameling Enamel paints mimic real metal effectixely. Apply them to moldings or doors to add detail.
Consider
creating a \erdigris effect
on
an area or item that could well be made of metal, so that the deception is belie\able.
•
up color Use
Building
you build up the
first
at
shades of green as
least three
a \erdigris effect,
\erging on pale blue.
i Sponging
on Apply
layers of
"Weathering" verdigris Secure white, powdered within the
last
a
filler
muslin square. Before
top coat dries, dust
The surface
it
color with a natural sponge,
with
allowing one coat almost to
resemble weathered copper
filler
will then
L'sing car paints
Many
ha\"e a metallic finish. a
cars
Use
touch-up spray-paint
in
an
appropriate color to create metal effects on inside surfaces.
Wear
a
mask when
spraying.
dry before you apply another. Soften the sponged effect
w ith
crumpled rag. This ^ill expose the base coat in some places, adding authenticity.
Using Metallic Paim
a
Some commercial metallic paints produce a highly authentic finish. They do not require any special
preparation, and - with a certain
.Metal paint can be applied 1 directly to bare wood.
2 Once o\er
and two blocks of wood, one of which slots around the molding.
A primer
is
with a burnishing tool. Burnish
essential.
Apply two coats of
The blocks
niL'tal |iainl to
Highlighting
in
a
gold outliner pen
will steady the
and help you draw
all
pen
a straight,
"gilded" line equidistant
the edge
specialized fmishing -
achieve very impressive results.
Gold
"Gilding" molding Tape together
amount of
from
opatjiie
advisable but not
tinisli.
the paint
is dr>-,
rub
the entire surface
in all directions
over the surface,
create a totalK'
then buff with steel wool.
Allow
takes time, but the quality of
to dry
oNcrnight hctoic proceeding.
the
v\'{vl:1
warrants the
Thi.s
eftbrt.
the \\a\ around.
81
DECORATING WOODWORK
Marbling TIktc
tinish.
hL^ausi.-
lai.LjcK
ol
Marbling Panels Using
a
;i
ihi'
maihk' xarirs
suiiaie' ol natural
iIk'
llial
\\a\s of producing;
in.iin'
:\vv
marbk'
on llic 1\|X'. ^our main aim shoukl a'pioeknc iIk' (,k>uil\ iiiU-.^ialion ot (,lillc-n.-nl tok )is ihal is n>mmon lo all marhk-s.
lakr
(.kpriulin.t;
\.m
lo
L;i\'ail\,
\x-
Rag
Increasing, Realism Vcining .\ppl\ slightly tliluled i>urnt
umbei'
suggest the
wins
of marbk'.
se a
I
\\
ith a
biush to
line-lippL'd artist's i
haracleristic
p\\(
>lograph
marble as a guide. Drag the brush lightK in the same direction each time.
Ol' i^ieei.'
ot
Softening Soften a surface
before the glaze dries.
do IHavins^
base coat
a
Il-i
tin
randomly ctncr each panel
w
ith
two colors of
glaze.
Appl\ the second color hefort the
first is
matter
if
this will
dry;
it
does not
the colors run, since
add
2
Holding a damp), lint-free rag by one corner, flick it onto the glazed surface, thus mixing the colors. Work
•
Protecting Apply several
protecti\e coats ot \arnish to
A
the hnished product.
Remove excess
or semiglo.ss varnish will
glaze from
you
genth use a .sc:)ft dusting brush to blur the hard edges of "\eins" or the base colors.
diagonalh' o\er each panel.
panel edges with a dry cloth.
to the effect.
If
not ha\e a softening brush,
create the
most
satin
realistic finish.
Combing Combing
is
except that
do
not
need
to
similar to dragging or graining, it
offers greater diversity.
apph'
a
combed
Combing Effectively w
Preparing surfaces
You
pattern in the
same
direction as the
wood
grain.
the creation of extravagant
that
You w
ill
patterns
find is
\ery satisfying part of the combing technic|ue.
Creating Patterns on a Paneled Door
Combed
designs look most effective
when
glaze lines are smooth.
Prepare surfaces well so that they are perfecth' level and tree
trom de|~)ressions and
kimps
that
would
intertere
with the comb's movement.
Choosing tools Although you can buy specifically designed combing tools to create this effect, experiment
with a notched grout spreader or traditional hair
combs
to
introdtice variety to the hnish. C^reating
combed designs a number of
Choose from
iiy combing. Basketweave designs, circles, or combinations of patterns, and images such as sciolls and
designs created
letteriny
82
all
look verv ettective.
a paneled door 1 Decorate scLtions. C.laze and
2 Now apply
comb
p.ittern s\nimetrical
in
the horizontal
then the vertical
combing rails vv
ith
tool will
look grained, the
rails tirst.
The make the
rails.
in
door p.mels.
contrast
glaze to the
p.mels. i\eep the combetl
by
m.iintaining a constant
hand
each combing movement, removf excess ulaze trom the combs teeth. motion,
.\tler
a
PAINTING FURNITURE
Painting Furniture OF THE PAINT EFFECTS Lisecl MA\\' furniture. Some, howe\'er, are
because they require great attention
OH wooclw'ork Hiav espeeially
to detail
suitable
be applied
also for
to
mainh'
furniture,
and are labor intensixe.
Preparing Surfaces pieces Man\ than other
of furniluiv arc smaller scale
wooden
surfaces ma\' include tine details
Making
Fi
rmti
and their and ciir\es.
surfaces,
may. therefore, need
"lou
the surface area will not be as extensive.
Filling Holes
re
Preparing
Hand-stripping okl painted lurnitLire
furniture
carefulh before painting
Wood
Cictting professional help
RrADV TO Paint Choose and prepare
spend more time However.
to
preparing the sLirfaces thoroughly.
can be
difficult
and
time consuming, so take items
it.
to professional stripping firms
• Choosing nonwooden
items
where they can be dipped. The expense will be worth it. Sanding Use onh' fine-grade l^aj^er to sand furniture. Hea\y
Prepare and prime wicker or metal surfaces before painting.
• Masking \ailnerable items With semiupholstered items of furniture, mask the edges between wood and • Testing laminates patch on laminated
Ensuring smoothness
fabric.
Do
I
a test
filler
items.
.Many will not accept paint.
for repairs,
and apply w
craft
that
se\eral
rec|uires
is
distort
and moldings.
Preparing detailed surfaces
the
.Apply several base coats to
finish th.ui all-purpose
surfaces belore creating ehects.
well as being \en- e.xjiensixe. authentic
gilding or water-gilding
ith
furniture profiles
end of one finger. Once sanded, this will produce a smoother filler.
Gilding
As
sanding can easily
commercial fine-surface
se a
a highlv skilled
years
of practice.
detailed furniture
-
Modern
substitutes
dramatically and.
do not
cuned and
if
can
reduce
you appK' an
gilding
ctxsts
t)il-basecl size,
recjuire special ai^]Tlication skills.
Applying Gilding to a Frame Size liulctl
Money- SAVING Tip
Ba.se-coat a frann.it
diA'.
all o\"er. little
.iiiU
.\pply gold size
let
evenh
Tint the size with a
burnt
umber so
that \'ou
can see which areas ha\e been co\ered. .Allow the surface to dr\ until
it
is
tackv.
2Ciently
positioi )n the sheets
down. Fit them around the molding soli brush. Remo\ e with of
gilt,
metal-si side
.1
the b.u king. lea\ ing the metal
hen the m/c is di"\ eltist awa\ excess Hakes ot metal.
\\
.
Using enamel paint Produce
a gilded effect
inexpensively using gold
enamel
paint.
Apph
it
very
sparingh' with a brush to the
edges
ot cli.iir molilings.
83
DECORATING
Vi
O O D Vi
()
RK
Aging There are
are
many
different
ways of making
aimed
known
onh
co!lecli\el\
•
Using latex Ise waterbased paints, especially flat
which are much
latexes,
easier to distress than their
oil-based equivalents. Their duller finish will gi\'e a
and
as distressing,
Aging Effectively
the\'
Distressing • Masking areas Mask
creating a look that occurs naturally
at
after \ears of
continuous wear and
tear.
Wooden Door Panels to
be aged
areas that are likely to
ha\e been worn with scraps ot masking tape. Remove the tape once you ha\e painted.
Sanding Use sandpaper to complete a distressed finish. Use flat sandpaper rather than a block so that you can judge
how much
pressure to apply.
more
impression of age.
realistic
•
in\ol\e the use of xarioiis decorati\'e materials
a
piece of furniture looi\ old. These techniciues
Knocking around Any piece
of furniture with a histoiy will
ha\e recei\'ed the odd knock here and there. Randomly tap a screwdri\er or chisel end o\er a
wooden
surface to
create a well-worn effect.
•
Paying attention to edges
Make
sure that you distress
the edges of the c^bject well, since this is -^'here the most ^ear would have occurred. • Making details consistent Exchange new handles on cupboards and cabinets for
jelly to mask you wish to
petroleum
"se
the areas that
on
old ones. Dent metal door
distress
knobs with a hammer, and sand around the edges to
surface that has dried. Use just
imitate vears of handling.
before painting the top coat.
a base-coated
enough
to resist the paint
Antiquing Wood • Using wax Brush licjuid wax
Time-saving Tip
t\cnii
)\
c the paint-co\'ered
petroleum jelly using sandpaper. Sand the surface again to take the wood back to its natural finish, which will add authenticity" to the effect.
Highlighting Cracks
onto a painted or distressed surface, then buff Vkith steel wool. The wax will produce w'h-M appears to be a dirtingrained finish. Use an old toothbrush to reach into intricate areas
•
Applying
such as corners.
wood
d)'e
Use
a
apply wood dye (medium or dark oak). It has a similar effect to wax but is soft cloth to
A
Using a hairdryer up the
hairdryer will speed
drying time of paint, allowing
you
to apply the next coat
sooner.
when
It is
particularly useful
using crackle varnish,
since the heat will also increase the si/e of the cracks.
more Vvhich
suitable is
on semigloss,
oil-based, than water-
ba.sed paints.
Use
sparingly.
•
Crackling successfully To maximize the effectixeness of
artist's
To accentuate finish,
rub
in a
paint
a crackle-varnish
darker
make the cracks more
between applying base-coat \arnish and
This
top-coat varnish
cracked (era quel lire)
the period of time
is
constant
artist's
color (such as burnt umber) to
crackle varnish, ensure that
across the entire surface area.
84
Using
is
essential
produce a good,
if
obvious.
you want to
delicately finish.
PAINTING FURNITURE
Applying Decoupage the impression of a detailed, hand-
Create
painted surface without using any paint by applying the simple method of decoupage. This
.•SSffSSS^sK^KiSJSSaEK^^BSS^M^SSiSSSSSI
inxolves cutting out appropriate images from a \ariety of sources
attaching
them
to
- such as magazines - and
an object or piece of furniture.
Decoupaging Small Clipboards
Traditional Tip
Sealing with egg tempera
2
Cut out the images of your
1 choice, then
stick
them
down
Once
the adhesive has
Separate and break the
dried, apply aciylic varnish
using PVA glue. Brush more PVA over the images
The more varnish you apply,
to hold them. Tlie thinuner the
the greater the hand-painted
paper used, the greater the impression of painted images.
feel.
to seal
and protect the images.
distilled
this e\'en
water and the same
amount of
linseed
oil,
then
mix. Apply with a brush.
Crackle varnish will
emphasize
oik of
)
an egg. Add a tcaspooiiful of
dry, buff
with a cotton
Once ball.
more.
Creating Advanced Effects advanced Toyouproduce same can employ
effects
the
as
you would
to
create
on
furniture,
basic techniques
other paint
effects.
However, you to detail and
will
need
to
authenticity
pay more attention to mimic natural
substances such as marble or tortoiseshell.
Faking Other Surfaces • Hand-painting designs Stencil
Perfecting the Art of Pretense # Extending trompe I'oeil Do # Paying attention to detail
images onto furniture. Create a hand-painted finish by going over the designs with an
Trvmpe
I'oeil effects
ha\e
be complicated and to execute. You can
brush, varying the
artist's
detail
and color
to give
it
a
just
freehand
enough
to
difficult
create just as
much
do not
impact with
small details as large images.
not limit ycuir use of trompe I'vei I
a
ef'f<^i:ls
little
With
to walls.
imagination, you can
apply deceptive images to pieces of furniture, too.
feel.
• Graining accurately Have an example of the wood you are
Being practical
imitating in front of you. This
I'oeil
will
make
it
easier to color-
match and copy the subtle graiii variations of the wood. • Using decoupage Create the effect of tortoiseshell or
marble
by finding examples in books or magazines (that are out of copyright) and using a photocopier to enlarge them to the size ycui want. Apply using decoupage technicjues.
trompe on a garden table, and you will never again need to cover it before you Ia\ the Paint a clever
table.
tablecloth
This simple
yet striking
image
ser\ es a very useful |-)urpose,
but
same time ret|uire a
it
at
the
does not
high level
ol artistic skill.
8S
DECORATING WOODWORK
Finishing WiiiA
ii\isiii\(,
rclouchinL;
then store
it
\\(
)i
)KK
)i)\\(
nuikc
Di'.ci )K \Ti( )\,
work
caiTiccl out. W'iK'n ihc
is
MUX'
(.k'an cciiiipnicnl,
lanallw maintain painted surlaecs to pr()k)ni^
carclLilly.
iK-ccssarx'
all
tliiil
compk'k',
is
llicii' life.
CORRECriNCi MlSIAKKS Expect
lo elo A
amount of mistake-
certain
rectit\ iul; lietore
\
I
store
)U
Removing Flaws a
window
scfapei",
oui'
to
et|uipmenl,
sometimes
Ex'en experienceel (.lecofatofs
Drips Shaxe off
\
neeel
iL-toLuli
iiiipK
that the liiiish
as
is
Dealing with Bllfi)i\( with
eirips
should be corrected. Sand the whole that ajipear i;roo\e(.l
area, hrst with rouLjh paper,
«^
Wipe and
tlius
Take (.'nsuie
S.MooTHiNG Surfaces and dust
can get Irom them
Dirt
onto painted surfaces. 11 this occurs, sand lightly and recoat. ( )range-peel effect Wrinkles are caused by oil-based paint being applied o\er paint that has not dried or that dries too
is flat.
and top-coat. Brush marks A few hiLish marks are inexitahle. 'I'hose
sm(K)tli.
aivas.
.iikI
as possilile.
^ljoocI
drit
L'nclercoat
then
n emeiils
into hrushes anei
then saiul
so that the whole aiea
some
fepnint
e\eii
(i
(
time to m.ike
c|uickh\ tor
Removing resin
recoat.
Improperly prepared knots may
Patchy finishes Patches or
shaded areas indicate either poor coverage or inaeletiaate mixing of paint. In either case.
suffer
gun
to iiuhblc out
the resin.
Remo\e
a scraper
Prime and recoat.
resin
w
|~)aint
and
stick to
a tack\' surface. .Allow
di\
all
remix top-coat paint properly,
tlie
attracted to
Use
spoiling a top coat of paint.
and apply another
coat.
Insect invasions Insects are
from resinous bleeding,
a hot-air
example in direct and repaint.
sunlight. Strip
,
with
ith
paint to
then wipe awa\' insects a dr\" cloth.
and recoat
if
Sand
lighth'.
nece.ssarw
Cleaning Up Clean
up thoroughly
hrst to
and
ensure
.second
after
that the
make
to
completing
work looks
sure
Removing Dry Paint
that
ec|uipment are kept
a job,
its
best.
tools
and
Oil-based paints are
in
good working
order,
commonly used on wood.
and these especialh need
to
be cleaned up well.
Cleaning Properly Cleaning hands se a commercial hand cleaner nither than soh ent-based products, I
(,ciilly JnlXC
ccillh lhrnu;j,h ciKiiislCil hnsllo
which ma\'
irritate
Green
Ti
the skin.
(dcaning according to t\ pe Use tuipentine tor cleaning up oil-based paints and plain
water lor acrxlic paints. Read the insiiuclions on specialist commercial prodticis caielulK
since they
Combing Use
a
a paintbrusli
grooming comli or
household
comb
a
to break
c;iked-on paint. 'Hie
metal
can
then be cleaned more easily and will
86
remain flexible
in
.
re(|uire
Reusing turpentine Remove paint ^cciiiiuiu In mi
thinners or other products.
up
lirisiles
may
die tuture.
Dealing with stubborn paint SusjX'nd
a
brush
in
soh ent
oxernight to loosen paint. not
let
touch
the-
the'
bottom of the base
ol the
Do
bristles
container.
turpentine
sohent into will
li\
sic\ iiig
.iiiotiier jar
the This
pre\ent scclimeiit getting
into brushes as
vou clean
thciii.
FINISHING
- Storing Materials the Notelecorating
materials
all
you
luiy Liseel
tor
equipment must be eleaned thoroughly before being stored so that they are kept in good working order until noli need them again.
a
up, so
to store lefto\'ers. All pieees of
need
will
\()i.i
that
job will be totally
Storing Small Brushes
Protecting Bristles
Dealing with Paint ®
Decanting water-based paints Transfer leftoxer water-based IdiiiU
paints into small
jars,
to sa\'e
Use them
si~)aee dtiring storage.
to tint glazes for paint effects,
or as samples
when you
are
upon
new
trying to decide
color
scheme
a
in the future.
•
Combining oil-based paints Pour leftover oil-based paints into one can, then mix them together for storage. Use the
""^SSr
mixture on surfaces where color is not important, such as the inside of exterior metal
guttering to prevent corrosion.
% Keeping tubes Store tubes of
together
artist's
color
Maintaining shape Wrap the bristle end of a clean brush in brown paper Secure
Taping brushes together
with a rubber band around the
tape, thus
together in a clean paint can
ferrule to protect
so that von do not lose them.
bristle sliapc
surfaces,
woodwork
needs a certain amount of care
to maintain
other
Like it
decorated
will
—
Woodwork lasting.
A
prevent a
little
lot
effort
more
will
make
from time
effort in the
coats Apply the
to revive
wooden
become
Riihhcts
am
he
tfi/icci irilh ildiii/i
clulh iiistetui
Rail
finish.
Paint can Edge
affected by natural
its
old
original shade.
I'lniil
mark on a wall, make sure that you paint a wider area. If you need to retouch a door panel, cover the whole panel so that no
Jcice directly
into
become
®
Repaint only the
with a
damp sponge and
mild household deteruent.
riHiiii
Sill
Repainting selectively
Cleaning surfaces Clean wood finishes simply
hnidd
mils then
\isible across the surface.
most
iiiul
well
)io <)rers/)ill
When
retouching a
color differences
is
defined with
color changes slightly
from the
Ix'tiiveii
new pciiiil
decorating, with the result that
ivjhimlcil
(iflx'iu;j,
Riihhet
only a few months after
light
ill
surfaces
and protect the
# Retouching marks
w
to time
long term.
occasional coat of varnish to
appropriate
a finish long-
Redecorating Window Frames
Reviving Surfaces € Maintaining
making several small which be more difficult to lose.
objects into one large one,
and maintain
few simple guidelines
the best possible condition. Fc^llowing a
in
lost.
Bind them together with masking
during storage.
Maintaining
'
Small brushes can easily be
rails
and
sills
of a
window frame
rather than
the entire frame. Rails are the most visible areas, and
sills
regular maintenance. Avoid fiddly rabbets, thus speeding
the job. Use the
same color
need up
paint as the original finish
87
OVERING QiMCK Reference
F LOOKS
SELECTING FLOOR TYPES
Selecting Floor Types but
can be
when
FEATURES are highly influential
DECOR.\Ti\E
must be
practicality' also
Take your time \\hen weighing options before making chcMces.
laid.
Common Floor many and most of them into four main categories.
Floor
t)
fall
Wooden flooring These range horn basic planking to veneers. Block floors are another option. # Carpets These include goodquality burlap-backed as well as less expensive foam-backed varieties. Naturally
also
*
\'in\l floor tile
Vinyl sheet flooring
Cc'ianiic f\oor tile
occurring
such as seagrass and
fall
Types
pes are
various, but
fibers
it comes to choosing flooring, does the ease with which a floc:)r
consiciereci. as
jute
Parquet Oooring
Floorboard
.strip
into this category.
Utility flooring
Sheet flooring,
such as \-inyl and linoleum, hardwearing and washable. Carpet and vinyl decorative yet
tiles
still
are
Parquet flooring panel
is
more
practical.
• Ceramic
tiles These make the most hardwearing floors and offer a huge decorati\"e choice.
Carpet
Carpet
tile
Considering Options All purely decorath'e consicleration.s
a.sicle.
the
economics of bu\'ing and laying flooring de.ser\'e serious consideration.
Budgeting stay
Many
floor coverings are difficult
remove once laid so v^ill need to be left behind vvhen you move. Bear this in mind to
deciding
how much
to
spend on
•
Including the preparation
flooring.
Consider the preparation that might be required prior to laying a floor.
major factor
is
\ou expect
a floor to last. Flooring
not permanent, but neither
and
it
It
may
costly U) lay flooring
pro\"e if
the
subfloor requires a great deal
»
Planning an entire
room. Obtain floor
and paper .samples. Budgeting will be far easier if you consider .swatches as well as paint
flooring rest
when you
plan the
of your decorating.
Determining period When choosing flooring, consider its pattern and style in terms of the historical period of your
•
of work. Old floorboards, for
house,
example, would need a
as the decoration in other
of preparation to reach' for la\in"
lot
make them
ceramic
tiles.
if
appropriate, as well
rooms. Being accurate ma\ require
some
it
is
easily remox'ed.
Measuring
room
Remember to include flooring w hen color-scheming and styling a
is
represents a significarit financial imestment.
Reflecting on Style
€ Considering your
when
A
hovv long
Working out floor surface area
is
relatively simple: just
multiply together the relevant
dimensions. Bear in mind
few other considerations, depending on the tlooring. a
• Wooden
floors Allow ten
wastage from cutting. • Carpets These are sold jiercent extra for
arising
rolls.
Work out
in
the direction
which it will be unrolled minimize wastage. • Tiles Allow extra tiles for any cutting that will be ret|uireci at joins and edges. in
to
research.
89
COVERING FLOORS
^——^— The room
suilalililiu
room,
is
how
CONSIDliRINC, PrAC riCALl TIES
-
ot
a tloorii^y tor a
parlitular
by the function of iliai much flooring is retiiiiretl. and \<)uiclelerniined
Any some
lloor coxerint^
|ia'lcivncc. to
suiieel
on
ils
is
clearly better
areas than others, dependin.u
comfort, appeaiance. and durability.
Room
Selecting Siitabli: Flooring for Each Individi al
need not l)e as durable on a landin}> as in a hallway, l-looriiii>
Cciipel
is
bedroom.
and CI
niosi suitable for proi'iclii>i>
a
comfort
soft siirjiicc to iiiilk
.\atnral-fiher corenni>s
practical fir a liiinn
and
room
is less
traffic
and
Ru;j,scuii,
color
.
and
\iiv
is
comfim
inyl tiles are e.xcelleni
spla.'ihes in
a haihroom
uotiden Jloonnii
suitable for a
hallway, since
it
will
he durable, easily cleaned,
Choosing flooring to suit function When choosing flooring for a particular room in a home, is essential to bear in mind how mucii the area will be
\
for loleratinf> tiater
some of it may he barefoot
on
such as
seagrass or jute are durable
since there
and able
to tolerate large
amounts of traffic
V I
'inyl
flooring
or linoleum
is
totally sealed
and easily wiped clean of
it
kitchen
used and whether, for example, people using the room
and grease spots
will
spills
be wearing outdoor shoes or going barefoot. There are
man\
(options to
choose from for each room
in the
home.
Considering Occupants • Children Lu.xun' caqoeting
Choosing Materials
can easily be spoiled by the activities of children. Consider laying inexpensive carpet
Make
materials of a floor covering.
most quickly. Lay durable
or other types of flooring
You cannot
flooring, or protect these areas
while children are young.
this after
you have
laid
•
• Going
for qualit)'
Choose
Pets Hard flooring
may be
advisable in rooms to which
animals have access.
Young
cats
and dogs can
and
natural-fiber tlooriny.
90
spoil carpet
Disguising Proble.ms
Establishing fiber content
sure that no one
Protecting corridors
The
flooring in areas leading into
is
adjoining rooms usually wears
allergic to the constituent
afford to discover
by also laying rugs or carpets.
it.
as
good a ciLiality of flooring as you can afford. The better the
'
Adju.sting to lifestyle In
Inisy households, choo.se a
patterned or flecked carpet to
qualirv'.
the longer the flooring
disguise wear. Stains and dirt
will last
without looking worn.
will also
be camoutlaued.
PREPARING FLOORS
Preparing Floors BEFORE that
it
NEW FLOORING CAN HE LAID, an existing floor may rccjLiirc renovation so is in a good enough condition to accept a new covering. As with all sound preparation
decorating,
is
most
likely to
produce the best finished product.
Repairing Floorboards Floorboaixls deteriorate o\cr time and nia\' need repairing in order to hrini; llieiii Lip to a satisfactor\' standard. Sometimes this will
Patching Problem Areas Replacing sections Remoxe an area of defective boards ;
using a miter saw. Cut through the boaixis to either
at
si(.le.
the nearest
joist
Saw board
edges
at a
make
the replacement section
t^-degree angle to
slightly less obxious.
#
Patching tongue and grooxc
To remcne
damaged
a
section
of tongue and groo\e. saw-
down each well as
at
length of board, as
each end,
in
order
to cut through the interlocking
device. I'se a
hacksaw
to cut
through anv hidden nails. t Concealing marks To hide badl\- pitted or lift
it
out
an(.l
grooved
turn
it
oxer so
that the uneierside faces up.
Filling Gaps
Using a sliver of Where
a
gap
lias
wood
opened up
hetween floorhoards, genti) drive in a thin, wedge-shaped sli\'er
of
wood with a hammer wood down until it
Plane the is
a
boarel,
flush with the floorboards.
rcc|iiirc
total
lioaixl
rcplacciiicnt.
Init
the problems resulting from normal tear can
he so|\ed with
Lifting Floorboards
most
ol
wear and
tar less drastie aetion.
COVERING FLOORS
Preparing Subfloors Li
If the
-
lloor
base or
is
siirt'aee will neei.1
concivlc
ck-pcnclint^
cowrcd.
applied. As a _ucnci'al
rLilc,
the appropiiate pre|iaration
covering and concrete
will
e'onsiM.s ol
it
-
is
Making
to
a Start • Removing lumps Lumps
Reducing Dust
of concrete can sometimes
floors are
be
difficult to see.
them, slide
a
To
•
locate
batten across
the floor flush to the surface.
Protrusions will
impede the
Remo\e hammer and chisel.
batten's progress.
them with
•
Filling
a
gaps
with exterior
•
Soaking hardboard Brush
viater o\er
hardboard lengths,
then lea\e them
in the
which they are
in
to
room
be used
them
for 48 hours. This allows to acclimatize to the
room,
preventing edge expansion or contraction once they are
•
Arranging hardboard
laid.
La\'
lengths of hardboard in a brick-bond pattern so that
seams are continuous direction only. that the
Make
in
one
seams do not coincide
will rcciLiire
le\eling.
damaged board,
a
before laying carpets seal the
insert a nog, or small
floor with a solution of fi\e
wood, between the
water to one
jiarts
Apply
|iart
block of
floor joists
as a support before fitting a
\'\'.\.
new
easily with a large
pasting brush or a soft broom.
nog
board. is
Make
sure that the
flush with the joist tops.
Removing Old Floor Coverings It is
remove
best to
all
traces of
an existing floor covering before
you prepare for
•
a
new
one.
Carpet Discard old carpets
but keep the tacking
strips,
since
they can be reused. Padding
may also be used again. • Vinyl flooring Depending on how much adhesi\'e was used to lay
it,
vinyl will usually
A
lift
gun will soften vinyl and speed up its remo\-al. Take care when using a hot-air gun (see p. 74). fairly easily.
•
sure, too,
boards
need
i
removed
always dusty, so
or a general
cement mix. To correct an undulating floor, use a mix of self-le\eling compound.
of lloor (.oxering to be
tlu- l\pc'
Strengthening Boards • Inserting a nog Ia\ ing
Scaling concrete Concrete
small holes
Fill
filler
on
a
lie
whe'lln.'!'
flooiboaixicci
Ceramic
hot-air
As long as they are level, ceramic tiles make a good base for a new floor and should be left undistLiriied.
Removing Floor
tiles
become
floor tiles
or linoleum or can
brittle
with age, and the
strong adhesive used to attach
tiles
them makes
their removal
difficult. Slide a
tlicm,
shovel beneath
then break sections
awa\'.
with floorboard joints below.
Cutting to Fit and Attaching a Hardboard Subfloor
Ilf pan is
of a hardboard sheet
required, cut
position. Place
it
it
to
fit
in
rough-side
up to a ba.seboard. Mark w ith a pencil the points on each edge w here it reaches the sheets that ha\e been laid. up, butting
92
2
lorn the
two marks using I
a
straightec ightedge, then cut along
the line with a craft knife, using a steel ailer to straight.
keep the
along the should break cleanlw
board, then tiend line.
It
cut
Score deeply into the it
3 smooth hardboard hay the
in place
side up. Staple
down is
using a
.staple
it
gun, which
inexpensive to rent and quick
to Lise. This laying
method
ensures that onh i^enmeter
edges are not
factoiA -finished.
LAYING WOODEN FLOORS
Wooden Floors
Laying
WOOD
DEMONSTRATES GREAT
excellent subfloor laid in a
number
^
Re\o\atixg Old Floors —
a new wooden floor can sometimes oided by renovating an existing one and a decorative finish. There are ob\"ious
Laving a\
gi\"ing
it
Making Decisions fe
a floor
the reno\'ation
is
worthwhile.
depend on how much you use the room. • Covering a floor If you
•
material
process
is all
that
Considering floor size Use
when only a small proportion of a floor requires
floor or
Chemical stripper
not economical
when
This will
is
covering a floor with rugs so
used for large areas. • Masking Use at least 2-in (5-cm) masking tape along the lower edge of baseboard to pre\ent stripping solution from
that only a small part
the a
wooden
is
are
visible,
surface will not be
prominent feature and need
not be highly finished.
•
.\ssessing the job
When
planning floor reno\ation. assess the work required to finish
it.
A
reaching
its
it
is
painted surface.
• Putting on and taking off Dab on stripper with an old paintbrush in 3-sq-ft (0.25-m-) areas.
Once
it
reacts,
scrape
rustic, distressed
awa\' paint or \arnish with a
work
broad-bladed scraper Use a wire bmsh on unexen floors.
look will take
far less
than a highly polished
finish.
Using an Industrial Floor Sander
A-
its
makes an it
can be
own
right.
^-^—
raw
already there, and a relatively simple
is
chemical stripper on a small
stripping.
It
and
financial ad\ antages to this approach: the
Using Stripper
Considering amount of use
needs a lot of repair or board replacement (see p. 90), decide whether or not If
usecl foF flooring.
to lay other floor co\'erings.
of different vsavs to produce an attracti\e finish in
^—^——^— be
when
XTRSATiLiT^'
on which
is
required to finish
it.
COVERING FLOORS
New Floors
Laying Tlieie
arc
ways of
,sc\x'ial
wootlcn Hoor. This
laying
new
a
bccaLisc thciv
is
be
when
sc\cral clilTcrcnt consiruclion systems that can
Preparing to Lay • Checking all joists
long
a
tliem.
•
are le\el
Check
by laying
wood
that the
^bii
across
it
underside
ot
is
with sli\ers of wood.
Make
Ensuring dryness
that a
new
wooden
concrete base
floor-,
Check newly
la\'
wood
to buckle.
with
to
is
he
gnxne
lloor Miicli will
on your woodworking Farallcl This
i.^
niosi
ilie
Parallel lavoia
•
amount know-how.
Diagonal This design requires
good planning and accurate woodwork, especially if you are laying directly on top of joists. 3 Concentric
A
concentric,
square or rectangular design
laid for at
room and
a solid
wooden
tlfxiting subtloor. If
to run in
two
directions, as in
this design, a joi.sted
contract slightly as
area
it
adjusts
will
subtloor
enough surface
not have in
or
planks are
48 hours before it is used. This will allow it to expand or
which
to secure nails.
room temperature.
TONGL E- A.N D -GROOVING •
depend
skills.
requires an appropriately shaped
least
to the
Avoiding adjacent joins
Dealing with Edges Hiding gaps Co\ er gaps
cut ends of adjacent planks
between baseboards and with strips of molding of
not coincide. Xail
either a c|uadrant (convex) or
Stagger ends of boards so that
or
1
to designing tiie I.ixmiu
requires a minimal
• Acclimatizing wood .Store wooden flooring in the room it
LaYOI
jirockicts.
phiiikcel or tongue-antl-
of technical
otherwise,
laid ba.ses
.1
is
a moisture detectcM'.
w hich
A
straightforward design and
moisture from the subtloor will cau.se the
in
most existing subfloors.
ha\e sevenil options wlicn
comes
sure
completely dry before \'ou a
nwr
dealing with commercial
DESIGNING
touching the top of the joists all along its lengtli. Anv gaps should be filled
go
the manLitactLircr's specific instructions
levels F.nsuie that
strip of
of the strip
aclaplcxl to
I'ollow
arc
u.se .secret
do ends down.
nailing (.see p. 5^).
a scotia
floor
Considering Options Lsing padding You can lay
some
(conca\e) \ariet\
onto foam padding
floors
rather than
w ooden
joists
or
frames. Called "floating" floors, these
ha\e no
real
attachments and rely on
mechanisms to ensure .Mount baseboards after laying the flocjr. to cover the gap left around the floor's edge to allow for expansion. lsing clips Hide floor tixuires by using metal clips. which will hold floorboards tcjgether without being visible. In.sert the clips beneath and jointing
stability.
along the flooilioard
Butting up .Make
.sure that
Attaching molding lengths of tongue
and groove are butted up tighth. To protect a board that is being fitted
from damage, use
a small
scrap of board as a driving tool against wliich to
94
hammer.
.\ttach
molding to
a ba.scboard
rather than to the floor to allow tor lloor
moxenicnt. which
might pull the molding aw
Use oval-headed minimal
filling
nails,
joins.
V Hii\ ing prefinished flooring
a\
in.
may choose
rec]uires laid.
whicii need
once driven
\'ou
It
w
no ill
a floor that
finishing
once
it
is
be more expensive
and require care when laying, but \ou will save a lot of time ,ukI
mone\'
in
the long term.
LAYING WOODEN FLOORS
Laying Parquet Floors TraelitionnlK", wood-block floors were made up of rectangular wooden blocks laid
np
tighth' butted
against each other in a \ariety
requires a
patterns,
strips
l^arcjuet
costly to
ideal,
while hardboard and chipboard are suitable as long as
make
sure that there
flexibility in
is
larger than 1 sc] \d nr). Tapping into place Parquet w ill rec|uire "bedding in." fap each panel down b\gently hammering a block of
as
you walk across them.
•
Starting in the middle Find
(
wood
room using
the center of a
placed on top of
will
di\iding the floor into four.
surface and
Complete one section before moving to the next. • Cleaning surfaces Micuiim the floor and wash it with a
e\
before starting to
Coping with expansion Leave a
la\
"^s-in
(
1-cm) gap around
or panel floor to allow for
lay a floor, split a
expansion caused by changing huinidit\.
grit particles
in
l"ill
w ith cork
lifting,
and
improve the
to
wooden
protect
floc^rs
of flnish
need
to
ha\e some used to
before they are
them from wear and
tear.
Varnishing Evenly
The choice of
"fingers."
of three lo single fingers.
strips to
w
ill
You
thus ha\e a choice for
trimming around obstacles.
finish.
Sealing Floors sort
Before vou couple into sections ranging from groups
pre\ ent edges from buckling or
might pre\ ent the floor from beiny laid le\ el. that
Most
Parcjuet consists of equalK" sized
wooden
remove dust and
This
it.
w ill apph" a more en pressure across it. Dealing with obstacles
the perimeter of a wood-block
blocks or panels. This will
1
axoid damaging the panel
a chalkline (see p. 99). thus
mop
in
effect.
no
you no
movement
now made
Apphing adhesive Flooring adhesixe tends to be \en' \iscoLrs. Appl\- it with a groLit spreader and work in areas
surface.
Concrete bases are
are
produce but create the same
a subfloor Partjiiet
\ei"\' flat
floors
or panels of rectangles, which are less
Allowing for Movement Fitting Panels
Preparing Floors € Choosing
ot
'
products \aries from traditional waxes, requiring regular maintenance, to harclwearing \arnishes.
which pro\ ide the toughest
finish of
all.
Covering Efficiently Sealing with varnish Thin die
flrst
slightlw
Money- SAVING Tip
coat of \arnish It
w
ill
then act as a
primer, soaking in well and sealing the
wooden
surtace.
Using ciuick-drying varnishes I'se acrylic or water-based \ arnishes, since more than
one coat can be applied in a elaw This means that \ou will be able to get the floor back in Lrse as ejuickly as possible.
Protecting high-wear areas
Keeping Apply a
a
to edges
colored
.\ppl\' extra coats of
finisli to
planked floor one floorboard
at a
time: otherwise, overlapping
brush strokes
will
produce
different le\ els of color
intensity
and
a
patchy
tlnish.
to
door entrances
\arnish
anel natural
"corridoi's" within a
room.
I'se a clear \Lirnish; otherwi.se%
there
w
buildup
ill
of
bi'
too great
a
color in those areas
Polishing To hiilT a
waxed
waxed
floors
.surface.
attach a soft cloth to the end
of a broom. (After the application of laid floor,
wax
to a
you might
first
newly
like to
rent a polisher for buffing.)
that are recei\ in" extra coats.
95
COVERING FLOORS
Carpeting Floors LAMXc; is
c;arim:i
is
a joi^ that
is
often
no reason why you cannot
tlo
to prolcssional taipci la\crs, luit there
left
as long as
it
you follow the mantifacturer's do laying techniques.
instructions. Carpet materials \ary and, consecjuently, so
Laying Burlap-backed Carpet Burlap-backed terms of
carpet
c|uality.
The
is
fiber, and \\ea\'e can \'ar\' from one kind of burlap-backed carpet to another, but
amon,^ the best in burlap backinLi
of pile,
stronii
always proxicles excellent durability. The type
Securing Curved Edges
laying technicjLies remain
Learning the Basics Using padding
.\1\\
ays use
padding below burlap-backed carpet. Felt or
g()()d-t|i.ialit\'
rubber
\-arieties
and provide
are suitable
extra comfort as
well as increasing the the carpet.
Do
over the tacking
#
life
of
not lay padding strips.
Cutting roughly Roll
cuit
and cut it roughly to size. Allow an additional 6 in (IS cm) around the a carpet,
perimeter for
Using tacking strips Tacking strips are so
rigid,
straiglit
saw them
and
into 2-in (5-cm)
sections to round a cursed area sucli as a ba)"
them
window.
Attacli
to the floor close to the
baseboard
in the usual
wav.
Laying Foa.m-backed Carpet Foam-backed carpet is usualh expensive and easier to
less la)'
•
than burlap-backed carpet.
Preparing Padding
is
not
usually required, but cover the floor with
newspaper before
laying the carpet to reduce
dust and abrasion between carpet backing
and
floor.
•
Laying Foam-backed carpet
is
relatively lightweight, so
attach
it
to the floor with
double-sided carpet tape.
• Joining Use
final
trimming.
© Joining carpet Not
single-sided
tape to join lengths of carpet
from below, ensuring that the pile goes in the .same direction.
are regularly shaped,
may need
rooms and \'ou
all
to join carpet rolls
before laying them. Obtain profe,ssional help with this.
Most suppliers will join lengths so that seams are in\isible.
Trimming Carpet
more or
le.ss
con.stant.
CARPETING FLOORS
Laying Natural-fiber Flooring Natural-fiber flooring such as sisal is both decorati\'e and hardwearing. The t\pes of used \an', but
fiber
\anations
causes onh' subtle
this
slightly
Caring for Flooring • Acclimatizing Allow a natural in the
be
room
in
which
laid for at least
before laying.
It
it
need
Prolonging
Check
life
first in
are particularly useful for both
adding color and providing extra comfort when they are laid upon natural-fiber floor coverings.
Choosing rugs Tire
and durries - usually cotton or wool; modern, syntlietic. mass-produced rugs; and sophisticated traditional \\ ea\'es. often from Central Asia or Cliina. You can decide to buy as kilims
as pro\'iding
an inexpensi\e rug. or look upon a high-quality rug as an inxestment and pay much more.
underfoot. Use
coverings that do not
alread\"
ha\e
clioice
includes lx)ld ethnic rugs sucii
padding onh' with natural flcxM"
Rr(,s
of color. Small decorative rugs
such as rush can usually benefit from occasional light watering. A household plant sprayer is ideal for this purpose. • Using padding Attach padding beneath natural-fiber flooring using commercial adhesive. This will ha\e the effect of smoothing an une\ en v>'ell
Creating a splash of color Rugs
that incorporate
many
different colors in their design
are often easy to
fit
into a color
scheme. Splashes of color that blend or contrast with a rooms color scheme both enhance the decorative appeal of the rug itself
and provide
a decorati\ e
focal point within the
room.
a latex backing.
Laying Flooring on Stairs Laying flooring on stairs presents
" Laying
the problem of working vertically
Staple along the back of each
as well as horizontally.
trimming so there also for
is
need
la\
is
more to
More
necessary as a
You will allow more time on
foam-backed carpet
tread in order to attach foam-
result,
waste.
ing flooring
backed carpet will '-
prexent
Starting at
• Using
natural-fiber
floormg
If
to cover stairs with
materials such as seagrass or jute,
follow manufacturers'
guidelines carefully.
and therefore the materials to
fit
The
abilirv'
rigidity-
of these
stair profiles varies,
making the use of different laying methods necessan,'. ® Laying burlap-backed carpet .\ttacli
to stairs. This
from slipping. the top When
it
laying stair carpet, place the
stairs.
length ftrmh'
you want
carpet.
They can be used to complement other tloor co\erings or to enhance a plain floor by adding a spla.sh
but a natural floor covering
e.xtra comfc:)rt
E
la\"
dcct)rating accessories.
to
the manufacturer's guidelines,
subfloor as
DtC()R.\Ti\
irsed to
Rugs, in a wide variet)' of
adjust to the room's humidity.
•
Laying techniques differ only
designs, arc traditional floor-
is -to
24 hours
will
the pattern, texture, and comfort
offer.
from the methods
L\si.\c,
floor covering to acclimatize
in
they
that
an appropriate length
on
tiie
first
landing
before continuing downstairs.
£ Placing rod
at
rods
stair
Fit a stair
the tread— riser junction
to reduce the possibility of the
The rods can be
carpet slipping.
painted to match the color of the carpet before to
make them
9 Reversing stair
you
- and
them
carpet Before a
carpet begins to
places
fit
less conspicucuis.
if
wear
in
the dimensions
of tacking strip to the bottom of
of the treads and risers are the
each riser and at the back of each tread to make sure that the carpet is secured as firmly as possilile on each stair.
same - take up the carpet and reverse
extend
it
to[i to
its lite.
become
risers
bottom
to
The treads will and \ice \ersa.
«^
COVERING FLOORS
Laying Utility Flooring AREAS OF THE uoMi-
SOME
durable.
Once thought
ek'iiiaiKl ol'
cushioned for comfort, and
purely
a large
lloorin,!^ iluil
is
both easy to clean antl \ciy
in practical terms,
most
range of designs gi\e
it
now
utility
flooring
scope
clecoratively.
is
Sheet Flooring There
arc three eati^ories ot sheet tloorint^:
\in\i. \ersatile.
linolenni. antl rubber.
being axailable
in a
\'inyl
is
\ery
range ot thieknes.ses
Laying Sheet Flooring • Preparing a subfloor Clean a
and other less
properties.
tor specific properties
it
is
^
- whether concrete or plywood - to sure that there are no
traces of dirt or grit, or lumjis
of any kind. Imperfections
such as these can push into the back of the flooring.
causing a
weak
will eventually
• Choosing
spot that
wear
througli.
adhesive Flooring
adhesives vary considerabh*.
Make
sure that you ha\e the
one for your flooring. Applying adhesive Apph adhesi\e around the edges of a room and along any joins. Do nt)t waste adhesive, and therefore money. b\" co\ering the whole floc^r with it.
ani.1
and
linoleum are in
demand
characteristic finishes.
Making an Accurate Template for Cutting
SLibfloor thoroughh'
make
Kubber
eoninion alternatiws bin are
correct
Co\er the
•
iheets of newspaper, fitting
subtloc^r with
them e.xacth" around the edges of any obstacles. Tape all the pieces together, creating a large template that size
is
and shape of the
the e.xact floor.
LAYING UTILITY FLOORING
Soft-tile Flooring of the recommendations and methods Many applicable to sheet flooring also apply to soft-tile flocM'ins.
since
tiles
are
Protecting a floor
walk on
newly
a
not
tiled surface
hours while the
for at least 24
adhesive
Do
dries. Tile in rw-o
halves, so that
one
Spreading evenly Apply tile adhesive using a notched spreader. Cover about four
dries.
tiles
once - a convenient working
area
- so
Other types of
that the adhesive
does not dry too quickly.
soft-tile flooring
tiles,
rules apply to their application
the
•
at
part can
be used while the other
materials.
include cork and carpet
Applying Adhesive
Planning the Job •
made hom
same
and the same and laying.
Flattening Tiles • Rolling down Tiles \\ usually flatten easily.
and
flat
surface, gently roll over
the
tiles
with a rolling pin
have been
Finding the Center
Cutting Tiles to Fit around a Corner
Snapping a guideline To locate the center of a room,
ILay
snap
tile
to the corner. Lay another
between the midpoints of opposite walls. Use the chalk
tile
on top of
lines as guides for laying the first
baseboard.
row of tiles
its
a chalk line (see p. 34)
in
each quadrant.
the
to
tile
be cut exactly
edge butting
this
but with
up
right
Draw
edge on the
be
Keep turpentine and handy so that you can
cut.
Carpet
tiles
are a practical,
easier to clean than carpet
alternati\e solvents for this.
•
• Making templates
carpet
Cut some
pieces of paper exactly to
make
to
tile
you begin. Use them
templates of
awkward
areas such as those around the bases of door moldings.
•
Negotiating pipes Fitting a
template around a pipe easy.
on
a
Mark the tile,
then
is
not
pipe's position u.se a
pipe
scrap to create an accurate
impression on the
tile
tiles
whole tile, then repeat The lines you have drawn will show where nearest
to cut the
tile
to
fit
the corner.
all-
Place shape in
ciiloiil
purpose flooring. They arc more comfortable than vinyl tiles and
it immediately. Some manufacturers may suggest
remove
size before
rotating the
be cut, mf)ve both c around the corner to the to
Laying Carpet Tiles tile
surfaces.
a cloth
to
2WithoLi Without
just
laid.
the process.
to the
a line along
tile
Tiling Cleverly
• Cleaning off adhesive Adhesive often gets onto
its
down
To ensure an absolutely
after thev
on top of the nearest whole
ill
stick
Stained
tiles
itself.
can be replaced.
Sticking carpet tiles Lay tiles in
soft tiles,
the
same way
except that there
as
is
no need to attach them, apart from around thresholds, v\liere LloLilile-sided tape can be used.
«
Butting up Cut .some
to ilie size of a
of
wood
tile.
plywood
Stick a strip
to the center ot
one
side as a handle. Attach four or ti\e cut leniilhs ot taci^inL; strip
to tlie otiier side.
pick
up and
butt
Use
up
tiiis
to
tiles tightly.
Creating footprints Cut
left
and
right foot
shapes
out of different-colored floor
from the main color (ail same shape out of a few of the main-color tiles and fill in with the cut-out "feet." tiles
the exact
Position the tiles so that the
footprints lead across the room.
tile itself.
99
COVERING FLOORS
Laying Hard-tile Flooring TILES ARE isiJALLV LARci.R aiul iiioiv siihsianlial tluin wall lilcs because ihev are load Ix^aring and need lo Ix- more lolxisi. There is a large variety of hard tiles from which to choose to complement other decoration in a room.
FLOOR
Designs and Techniques Laying
floor tiles
similar to attachiuL; wall
i,s
and many of the same principles and techniques applw Mistakes in laying tloofs can tiles,
Laying Qi arry Tiles • Planning a knout W hen
pixne e\pensi\e lo \'ou start
Designing Layouts
baseboards as guidelines. This should reduce the amount of cutting necessar\-
on
at least
walls. If the walls are not
true, start tiling
from battened
edges. Leave a gap between battens and walls so that
infill
used to fini.sh off the floor will he at lea.st half-sized. • Using mortar Always lay
tiles
quarry- tiles in a thick
bed of
Planning a design l-or
an intricately patterned a
each
tile
is
floor,
plan to scale of where
make
will
be po.sitioned. This \\ hen you
especially important
are intending to use marble inset
ensure that each one
mortar, rather than applying
tiles,
ceramic
laid in exactly the right place.
tile
adhesive.
to
is
Spacing Floor Tiles Canlboanl
Time-saving Tip
Making
Gap
a template
Most floor coverings need
few
fuss)- cuts.
around
all
a
.Make templates
and
let
make
all
obstacles,
your
local supplier
your
floor-tile cuts for
Batten
spacer
/
you.
so always
make
work, and follow the instructions.
working out exactly where floor tiles are to be po.sitioned, use a tile gauge (see p. 62). • Starting out In rooms w ith straight and true walls, use the
two
rectify,
sure that you plan the job \er\' carefully before
Tile
LAYING HARDTILE FLOORING
Ceramic Tiles
Much
of the methodology for laying hard
floor tiles can also floor
tiles.
be applied
However, with ceramic
Making Adjustments •
Dealing with doors
Remove
doors that open onto a tiled floor surface before laying the tiles. Shave the same amount
bottom of the door as
off the
the depth of a
tile
plus a
little
•
you
tiles
a
little
more
when
flexibility
duty, ceramic
tiles
are easier to
work
comes
it
to laying techniques. Since they are less
will
heavy-
with.
Making Mosaic Panels ® Using an MDF base W hen
Cutting Small Pieces
creating a mosaic panel as an
tiles,
insert feature to
enhance
a
MDF cut MDF will
a piece of
tiles to
to measure.
The
shapes - or
if you up pieces of tile insertion in a mosaic -
want for
to cut
use a nipper to give you
sturdy base.
rigid,
@ Using a nipper As \\ ith wall when you need to cut
intricate
plain floor, attach the mosiac
provide a
extra to allow for adhesive.
have
ceramic
to
greater accuracy (see p. 64).
Finishing off the threshold
Cut a strip of hardwood doorstop the same width as the door to create an excellent threshold strip that is both
Inlaying Mosaics within Tiled Floors
and provides a good which to tile. • Keeping level Check that tiles are level from time to time by Rmning a level or decorative
barrier against
batten over the surface of
newly
laid tiles.
Make any
necessary adjustments while the adhesive
is still
wet, since
Leave a hole the size of the 1 area required by the mosaic
Draw 2 on
Using inserts To give a tiled area an opulent feel without
design within the floor layout.
with mosaic
spending a lot of money, buy a few high-quality, patterned
hole,
mistakes will be rectify
once
it
difficult to
has dried.
•
Cut
piece of
a
MDF
making sure
to
that
the
fit it
is
of
the design
the
that
MDF, and
you use
mount them
tiles.
you want fill
Make
floor adhesive to in place, as this
the correct thickness so that,
the strongest method.
once tiled and mosaic will be
inlaid, the
complete,
insert in
level with the
its
to
surrounding
and design
tiles,
lift
a panel to an appropriate place the floor's appearance.
hole.
fit
Use
in
sure
is
Once
the mosaic into floor adhesive to
attach the base in position.
tiled surface.
Creating a Rustic Look A.s
well as
tiles that
are custom-
or factory-made, there are other alternatives that
you can use
for
decorative hard flooring. These
more naturalThe particular
include a variety of
looking materials.
characteristics of these products
mean
that
you should consider
practical requirements carefully.
•
•
Bricks These are best laid
their sides, especially
want
to create a
if
on
you
herringbone
pattern. Bricks should
be
bedded in mortar and butted up tightly together Once laid, cover with several coats of varnish or commercial floor .sealer to seal
the surface.
Moving
•
sure that the
Move
Make
Slate
Flagstones These are extremely heavy-duty and can be found in
subfloor
regular or irregular shapes. Their
adhesive, taking great care to
surfaces tend to be uneven, so
prevent
it
in
is
essential that
you bed them
with plenty of moriar.
perfectly level before
is
using slate
upper it
may
it
tiles.
Lay them onto
from getting on the
.surfaces
of the
stain tliein
tiles,
since
permanently.
a heavy slab heavy stone slab using a simple yet effective method. Maneuver the slab onto two poles, then push the slab along as
if it
a
were on wheels. Bring
each pole to the front as it is left behind as the slab progresses.
101
COVERING FLOORS
Painting Floors si kiiooks can ho paintcxl rather than covered with should he used in hii^h-wear areas, hut other floor paints Commercial flooring. paints are acceptable on less well-used floors, as long as yon varnish them well.
C()Nc:Ri:n-: basks and woodI'N
-—-—
--^—
One
Creating
«
of the acivnntai^cs of civaling
c'lTecl
ia\inu a
is
that
wooden
it
far less
is
I'siny
floor.
Wood
wood
a
you can
expcnsiw than
\<)u
Preparing to Paint € Checking
imitate
Alternatively,
ciexeriv,
eoloi'
Wooden
sheet flooring (hardboard and
ideal
opportunity for trompe
Some
/'ot'//
clYccts,
sheets are
tc
and
a
faux rug
bands of color
Planning a design
Work
dliI
complete design tor tlie laux mg before you start |iainling. Decide where on the floor
which >
a
a
smooth finish. Fill small gaps between sheets with flexible filler, .so that the cracks w ill not reopen when walked on. • Painting Use a roller rather
you want the "icig" to he, then measure out an area guideline. Painting narrow stripes Use mini roller for painting any
than a brush to paint a floor
•
c|uickl\
.
.1
naiiow colored
Attach an extension
Add
fine
freehand to increase the
iv.iiism. or 'tJK-.il"
Adding the lise
with stencils.
tassels
an artists brush to finish
a faux rug b\ painting tassels at
each end. In
stripes.
Increasing realism
detail
pole to the roller so that xou
can paint standing
id eolors,
inish.
surfaces can offer an
for iiainting
the surfaee of sheet flooring
can be sanded back
I
provide read) -made guidelines
imperfections on
filler,
\ i\
The edges of floorboards
unsuitable for painting.
with all-purpose
convincingly.
to use
can be particularly c^c-catching.
impregnated with fire-retardant chemicals that render them Filling Fill
wood
natural
you choose
ean ereate an altogether surreal
guidelines before painting
•
if
Painting a Faix Rug
l^ead manulaeturers'
chipboard).
----—--——
Effects
realit\',
rug tassels
arc often pale in color or off-white, but \ibrant colors
show up
better against
wood.
ujt.
Creating the Impression of Painted Floorboards
base-coat the then 1 draw pencil gLiidelines to
2
represent the floorboard
edge,
edges. Use an old plank or
to
lloor,
floorboard as
which \()i.i
102
will
a
template,
automaticalU
'boards' ot the riyht
gi\
e
si/e.
.Mix
up
a gla/.e
(see
Using the plank as a ap|')ly a
y>.
}i\).
.straight-
coat of glaze
each "lloorboard." Draw a rocker through the glaze. Create knots by agitating the rockei' backward and 1( )rw arel.
'^ Once the glaze
^
is
dry.
go
over the pencil guidelines w ith a dark felt-tip pert. This \\ ill
(
)utline CMC
I'inalh
.
ci
)\
with two or coats ot
li
er the
"III
w
K irb( >.ird."
Ik )le
lloor
lliree protecti\e
aci'xiic
matte \arnish.
PAINTING FLOORS
Creating Tile Effects
As
in the case of
tiles ratlier
real
wood
effects, painting
thiny will greatly reduce your decorating
Creating "Hard Tiles" •
faux
than covering a floor with the
Ensuring dryness
Make
sure
that a tloor has totally dried
out before you paint it. A new concrete base should not be
expenditure. Tile effects are ideally suited to
concrete bases: extra realism
«
"Tiling"
freehand Fainting a
need not be an exact science. To avoid the need for tile
effect
pencil guidelines, use a square
object to produce the
•
means of block
commercial floor paints for the
first
provided by the surface.
Creating the Impression of Terracotta Tiles
painted for several mcMiths. Sealing a floor Dilute
is
on the
noise created by walking
tiles
by
printing.
#
Using a sponge Make a block
from a household sponge. Most are rectangular, so cut one down to tile size. Use the trimmed for creating "tiles"
pieces for
filling in detail.
slighth'
coat in order to
prime and seal a floor surface. If you use alternative types of paint,
make
sure that
you
coat the tloor \\ith a commercial
sealer before
you
• Choosing a
base color
Choose first
start.
a light color for the
coat. This will not only
pro\ide a
realistic
but will also
grout color
make
a
good
foundation for the subsequent tile colors that you choose.
•
a roller tray as a paint
IUse
Applying effects Marbling and sponging are two painteffect techniques that are particularly irseful. Use either
Load a sponge with paint, removing excess. Place the spcMige firmly on the
or both to imitate \'arious
print a well-defined
t\pes of hard floor
Lea\'e
tile.
resei'voir.
floor,
then apply pressure to
Faking Checkered Vinyl Tiles
j
tile
shape.
gaps to represent grout.
2
After
producing lU-20 apply more paint to
"tiles,"
each one with a small piece of sponge to increase opacity.
This buildup of depth will
help to
make
textured and
the
tiles
more
look
realistic.
COVERING FLOORS
Finishing LA^iNc; MANY TYPES OF Fi.ooRiNci is c|Liitc a cosllv hiisiiu'ss and OIK' yon elo nol want to repeat \eiy often. Make sure that the job is done well so tliat you reap the inaxiniuni beneht h-om the new Hoor and that it lasts as long as possible.
Protecting and Maintaininc, Floors
Anew
floor co\'crin,y will lasl a loni; time
ways of prolL-ctin.L; and mainlainin,u iIrmii. all ol which are aimed at imreasini; the lite of a lloor lookm.L; as i^ood as possible. and keejiin.L;
it
looked after. There are many \arieties of lloorin.y and a number ot elitterent is
it
well
Distributing Weight
Caring for Carpet fe
Cleaning Xaeniim carpets
it
once a week, and ha\e them professionally cleaned once a \ear to keep them in good condition and make them k)nger-lasting. • Protecting \n main walking thoroughfares, lay rugs on top of carpets to reduce heavy wear on the carpets. Rearrange
least
•
hist
on the
longer.
mat inside each
Using mats Place f\nnv just
a
Waxing Wax to maintain
up a good depth and improve the appearance of the floor. Padding rugs Use a rug
Using
lids as coasters
Paint jam-jar lids to
color of a carpet.
to protect a
and
match the
Lift hea\-)-
items
under the
make
the greater the weight distribution
and the
feet.
less
lids
The larger the
w ear on
tlie
lid,
carpet.
Maintaining Tiles • Cleaning vinyl Always remove vacuum
dirt
and
w ith a mopping
grit
cleaner before
a vinyl floor. Otherwise, the
mop ma\' push bits ot grit around the tloor and scratch the SLirtace of the
" Washing hard
\
in\l.
tiles .Mojt
a harel-tile tloor with warm water regularlw Buff the tloor occasionally w ith a commercial polish designed speciticalK
Making a Seal
porous
tiles
with
made by warming boiled linseed part
beeswax
for hard-tile floors; standan,!
sealer
oil
a
four
wax part.s
with one
until
they are
well mixed. Allow to cool, then
apply to the
tiles ani.1 iiuli.
polishes will
make
it
slippery.
• Replacing carpet tiles Simply litl out and replace worn or badh tiles, lliis is
w
them
ith aelliesix e.
wooden
|iadding beneath
ha\e the
down
it.
in
'I
nonslip his will
effect of slow ing
wear of the rug by
the
it from rubbing on the hard wooden surface.
prexentirig
Re.moving St.mns FRO.M CaRPFT spills and the marking of carpets will happen from time to time. .Most stains can be removed \\ ith care, fast action, and sometimes a little ingenuit\.
Accidental
• Speed
Act
(.|Liickly.
siiuc
the success ot stain reiiiox
elepends upcMi
tlie s\\
remoN'al of the
spill.
.\ction
Dab and
rallier tlian
Dampening Do tlie
at
ill
blot stains
rubbing
nuicli water, since
ol
floor,
insert a piece ol
damage
stained carpet
an .id\antage
not ha\ing secured
position
104
durability
of color
natural-fiber floor coverings
Traditional Tip
its
to build
of furniture, then place the
both functional and decorati\e.
a wocjcleii
propeities as well as helping
external door. Scraps ot
excellent mats, being
floor at
a year to maintain
floor occasionally in order
they wear
tliat
once
the floor's protective layer.
the positions of the rugs from
more evenly and
Wood
wooden
areas of a
least
time to time so
Protecting
Varnishing Kecoat well-used
at
iticni.
nol use too lliis iniglil
carpet backing.
Prevention Treat carpets Willi
commercial
stain guard,
lolldwin*; makers' instructions.
FINISHING
Using Leftovers Scraps and
leftovers
from a flooring project
repairing
making about
future decorating projects.
Making Stamps for Floor Effects
Using Carpet Scraps • Caring for pets Carpet makes an
some of the spare pieces of flooring for damage or as swatches to aid decision-
retain
can be put to a variety of practical uses in a number of areas of the home. Howexer. al\\a\s
31'
excellent lining for
pet beds and baskets. Simply cut and fit as required. • Using in cars Car trunks recei\'e a great
amount of
wear and
Line the base
tear.
of a car trunk with carpet to protect the body^'ork from
damage and
make
to
it
much
The piece of carpet can either be lifted out easier to clean.
of the trunk to be cleaned or \acuLimed
•
/;/
ICut
situ.
Lining paths Graxel paths
cork into pieces the
21xl^L•-^.|
allow
length of the strips of a
keep
ijl
il( )r and Load the stamp
the
diy.
li)
)(
parquet floor panel. Apply P\'A
from
along the edge of each cork
haired mohair
with pieces of old carpet or
piece, then attach to the panel.
the stamp, then apply pressure
padding scraps cut
Stick a block of
are notoriously difficult to free of
weeds. Line a path tc^
size
before laying gra\el. This will
impede the gro-^'th of weeds or other stray plants. • Covering compost Lay carpet over the top of a compost pile to keep heat in and therefore
wood
back of the panel as
a paint tray using a shoit-
Position
roller.
to the
to transfer the paint well.
handle.
Reload
a
after
each impression.
greatly
Using Hard Tiles
Using Vinyl Cushioning movement
up sheet beneath
accelerate the natural
Vinyl
processes of decomposition.
ba.se
\inyl or tiles
(Xit
and
lay
washing machine.
a
pro\ide a sturdy but cushion the \'ibrations. \\ ill
Absorbing heat Quarry tiles and sttirdy and make excellent pan rests. Use them to protect a worktop from hot pans remo\'ed trom the tire. are thick
Protecting Doors
Using Up Cork Tiu-s Cork is a versatile materiaL and leftovers can be put to a number of uses in the home.
• Making coasters Place an uplurned drinking glass on a cork tile and draw around liic rim.
lo
Cui out the sliape
make
• Caring few cork
a coaster.
for cats Stick a liles
onto a block
memo
of woc^d for your cat to
Making
use as a scratcher instead of
Attach some
scratching
back of
furniture.
llie
• Making pads lork
tile
iiea\ y
Id
lii
-
Cut pieces of
F\A
surface of the pl^'wood until the in
frame
Remove excess damp cloth. Hang
is filled.
PVA with
of furniture and prevent the
the frame
in
use
memo
trom Nlipping.
to the
a picture frame. I'se
position to protect the surface
(irnaniL'nts
board
phwood
to stick cork tiles to the front
the iiottoms of
ornaments. Stick them
a
it
as a
a
the usual
\\ :n-
boaril
and
Making
a kicker
The
of a door can easily be
ba.se
damaged
b\'
children and pets.
Retluce this wear and tear by
making
a kicker
spare carpet
board out of
tiles.
Use spray
adhesive to attach the the bottom etige of
tiles
tlie
along
door lOS
w
INDOW
Quick
REATMENTS
WINDOW TREATMENTS
Setting a Style Choosing window
treatments can give you a
artistic
flair.
Before choosing fabrics and
window
treatments,
more minimalist
approach, the decorative style of a room can
to release
Considering Options styles of
of expensi\e fabric or adopt a
your own Whether you drape la\ish swaths
wonderful opportunity'
often be set
b\-
the
window
treatment alone.
Keeping Fabrics Plain
Making
a
• Color scheming simply Use plain materials to make color
• Drawing
attention
scheming
Window
easier.
think about these purely
treatments will thus play a
practical considerations.
complementan.- decorati\e
role.
Statement
If y ou want a window treatment to be a focal point, choose bold or contrasting colors and
patterns to di-aw the
ey'e.
•
Function Choose simple, inexpensive hanging systems
whene\er \<)u c.in. especialK' if your window treatments are pLireK <.lee( >i"ati\e. You may neetl to invest in more costly hanging .sy.stems
decide to hang curtains
if
yc
>li
made
of heavyweight material for
warmth, for example. • Budget \'ery full drapes usually result in great
expense, so
make
sure that
you ^ork out what your budgetary- restrictions are
before you
make
• Theme
you decide
If
choices. to
try-
to follow a regional or period
theme, research appropriate materials, designs,
and
Dressing up plain fabric Although in color,
a fabric
drape
it
may be plain
Enhancing enibellishnients Emphasize
a flouncy
w indow
dressing by offsetting
effectively
it
against
colors in order to create
with an unusual tieback. Use
understated walls. Paint walls
a complete, authentic look.
window-sills as display areas for
off-white or an extremely pale.
interesting collections of objects.
complementary color
Treating
\
Ways
AX'indow in Different
Setting the Scene # Having fun Choose an appropriate fabric and use tor curtains. bedco\ers,
it
and
cushions to produce a sense of fun in a child's room.
* Aiding relaxation Indulge yourself in swaths of cuitain material in restful colors for a
is used for calm and relaxation. Improving light Use pale-
den
that
recreation
u
sunlight.
Disguising w indow shape (Airtains
hung outside
will disguise the
a recess
shape of a
window, especially if tied back from a clo.sed position. I .sc a shaped valance to di.sguise the sciuarcncss of a window.
Emphasizing w indow shape Hang
a blind inside a
w indow
recess to emphasize the shape of
the
w indow.
w
draw attention to clear
ill
antl scjuare
make
tiic
.\
patterned blind lines
angles and help to
window
a feature.
or
windows no direct
will
encourage
ilored treatments at
that recei\e
little
These
the greatest
amount of
reflection into the
light
room.
Q Increasing privacy In pri\ ate home, such as a
areas of the
bedroom, cover the windows completely to help to create a secure, restful
mood. 10"
WINDOW TREATMENTS
Selecting Materials whcfi drcssing windows is as important as in an\other decorating jol). All tasks at this stage of your project will be easie-si you use the equipment and materials that are specifically designed for the job.
SELECTING THE
RiciiT
M
vii-RiAi.s
it
Basic Window-dressing Equipment ^bii
may need
amalgamate and dressing windows. to
(S^^l
several eoUections of tools
other items for
•
Siiiail
Scissors
brass curtain rod plus rings
Toolkits Include a liasic
sevvint^ kit for
making and
altering furnishings, as well as
general household tools for
Hand-,sewing needles
attaching treatments in place.
• Hanging equipment Choose Wootien curtain pole plu^
a simple, relatively inexpensive
rings
hanging system - a track and gliders, or a lightweight rod -
medium-weight Use a stronger, more
for light- to curtains.
Tailor's
Sewing
chalk
thread
Fusible
Tape
I'
Track and gliders Gliders
complicated systems for hanging heavyweight fabrics.
.UrLa:
web
Track with integral
mea.sLire \\eii>ht
^
draw-cord and weight Draiv-cord
Set square
Staple
gun
Pla.stic
Tieback
hooks
hook
Choosinc Fabrics for Wi.ndow Treatments Most
fabrics can
be used
curtains or blinds.
for
Make your
choices based on practical as well as aesthetic factors.
•
Color, pattern,
and
fiber Let
colors and patterns, or the
weave of
fabric such as damask. guide your choice, but bear in
mind
practical factors also.
• Weight Choose heavy
fabric
such as brocade for sumptuous drapes. Sheer silk or fine fabrics such as lace, cotton, or calico will be more light and airy.
•
Function
fabric, light
If
using thin cunain
consider lining to block
or interlining for warmth.
CHOOSING CURTAINS
Choosing Curtains DO NOT NEED TO BE an expert at sewing to make curtains. Not all curtains need to be lined or hemmed. It is possible to adapt many curtaining techniques to suit your level of ability^ and still achieve the look you would like.
YoiT
-------------- Considering Options scope when windows. They come materials, styles, and designs,
Curtains
offer a lot of
to covering
different
Planning Curtains • Lining You do not need will
many
^'oli
btiy
them ready-made, or adapt
existing ones. Consider
your preferences as well
as practical requirements before
can
warmth. To
Deciding length While you are choosing a style and material for
in.
e.xtra
your curtains, consider
sewing
a\-oid
the ideal length. This
attach
it
to curtain
number of factors, not least of which are the
a
Avoiding obstacles Pipes,
radiators,
and other obstacles
or restrictions
may
shape and
prevent
purposes that curtains serve such as keeping a
Selecting hanging systems
Choose
hanging system before \'ou measure up for curtains, since the drop will clearK' affect \our calculations.
size of the
window, the position of the window on the wall, and practical
curtains from falling nicely. Take these into account when determining the style and the length of your curtains.
•
be determined by
will
material using fusible web.
•
you decide.
Choosing Curtain Length to
if
provide the room with lining
in
you do so improve the hang and
line curtains, but it
make them,
comes
it
------------------
room warm or cool or
a
blocking light out of CiirUmi fdlh III
Ciii-taiii
apron
Jloor
it.
Curtain hangs
hcDigs lo
length,
just
ahore
sill
midway between sill and flofir
Calculating Fabric Requirements
Measuring
Miilliply this nteasnrctueiit
A
1' J
2 for each
hy
ciirkiin width
.Measure as accurately as
Determining
size
curtain fabric required,
measure width Depending on how
first
\
A. full
ou want the curtains
to be.
possible to reduce the risk
of making expensive mistakes.
W) calculate the
add half as much
Checking figures The old adage about measuring t^\'ice and cutting once is wise advice, .always check your figures, because mistakes are
made when
again to this figure, or
easily
multiph b) two. This
luiinlier
w
fabric for
each curtain.
For length, measure B for sill-length curtains
or
C
for full-length. Vor
apron-length, measure to halfway
the
Being precise Not
gi\e the width of
ill
sill
and
between
taking a
of measurements.
windows, and
all
floors,
ceilings are
aiisolutely "square," so take ai lea.st
three width
and
length measurements. .
.•\s
yVllowing for pattern repeats
with wallpa]ier. centralize
large palierns for lialancc.
floor.
109
WINDOW TREATMENTS
Curtaining Creatively Wiiielow
ireatmenLs,
otTcr a
and cuitains
good opportuniu
and create your
tradition
own
Reducing Costs •
new
on life sinipK b\ attaching .some new lease
down
Cutting
cuitains
To
room a fresh new look, make some cafe curtains by cutting down an old pair of
give a
curtains from a different in your home. Using old for new To sa\e time and money', use old curtains as a lining around
•
to
fit
new
and
hang
lightweight
Money-saving Tip
by placing
better
coins or other weights inside corners, or gluing
decorative beads along the outside edyes of the hems.
ill/ Roll
////S
ll/>
fri)t}>cil
room
which
witii
• Weighting .Make curtains
hem
braid or trim to their hems.
•
break designs
Impk()\ing He.vis
Reviving old curtains Gi\ e
old curtains a
decoraliw ilienies. "ibu can, of course, make or bu) new curtains, but there are many ways of adapting and revamping e.xi.sting curtains.
particularly.
to
trim from
one cud
fabric.
Enclose the old in the new then simply secure around the edges with fusible web. .
Using a sheet Use a sheet
•
Buying seconds There is quite a market in secondhand curtains. Consider buying secondhand to reduce your expenses signiticantly. You may. howe\er. need to make size adju.stments for the
curtains to
lit
\()ur
windows.
as a simple,
single curtain. Nail the sheet
Making a
tassel
to the top of a
Make a tassel by carefully rolling up some excess trim or braid and securing
it
nails.
with fabric glue.
one
cord and use as hang several tassels
Insert a length of
a tieback. or
from
a
curtain
rail
to dress
it
window frame
using large, exterior roofing
Drape the curtain
side of the
another rootmg is
'
to
window o\er nail
which
used as a tieback.
up.
Using Applique
Decorating Sheers
Attaching shapes
Tracing outlines
up a pi.nn materi.il liy cutting themed shapes out of
piece of tracing paper. Draw
treatment and distracting
a differenth colored fabric.
directh' onto the material using a
device. Use a rug's looped
Attach the shapes to the curt.iin
colorfast outliner pen. Lea\ es are
using fabric glue. Use a ni)n-
an easy subject to draw around.
USI.NG OTHI^R iM.\TERI.\I.S
how
Consider
a curtain will
hang when you arc planning to use alternative materials,
and keep headings simple.
© Blankets
U.se blankets as
hea\'}-\\"eight "curtains" in
very cold rooms. The insulating properties of i^lankets
•
Burlap
into a
make them ideal. Sew burlap bags
patchwork
to create
a rustic but very natural-
looking
•
Rugs
with a
window
dressing.
you have a window poor view, use a If
decorative rug as a
fringe to
window
hang the rug from
a substantial curtain pole.
Firighten
fraying fabric such as
felt
for the
shapes to avoid finishing edges. 10
I
se sheer curtain fabric like a
ri\ the outliner ink by ironing
the back of the fabric.
CHOOSING CURTAINS
Hanging Curtains
--
There
are
types are straiglitfoiAAard to
mount
Using Poles • Selecting materials Choose a
wooden
pole for a fresh,
lightweight appearance, or a sturdier-looking metal pole for a
more
You
two main methods of hanging
solid.
hea\y look.
Carefully roll paper
around
in
place.
Measuring #
can, however, adapt either of these basic systems in order to add a touch of originality or to suit a particular decorative or color scheme.
Most
curtains: using poles or using tracks.
& Mounting
Alternative to Using Poles
Adjusting width Adjust
the length of a curtain pole
You can choose from
depending on \\ hether the curtains will be gathered back beyond the edge of the window, or whether they will hang partly in front of the window and therefore require
substitutes for curtain poles. Alternatively, use
less
a pole suitable for
# Making poles level You
ideal curtain poles.
v^ill
two brackets -
easy to ensure that the brackets
Cover a pole with wallpaper to match the walls. Attach the paper with PVA, let it dry, then
are le\el using a level.
apph" several coats of matte
bracket
more
Mount the
little
imagination you
can substitute all sorts of items for standard heading tape when
iianging lighn\-eight, sheer curtain fabrics.
®
central
and use this to take a level to where the other two need to be positioned.
Make
holes in
fabric with a punch-and-rivet set to facilitate the threading of ties.
Pole supports Use ornate
slielf
brackets to support
any kind of pole, as well as
first,
hiinging curtains.
fit
It is
Alternatives to Using Heading Tape a
to
corners, so use
three
difficult to align
brackets.
make
You can
around them in bay and dormer windows. • Bamboo stakes Use .stakes as an inexpensive means of liend
at
Covering poles
pipes These
them
make
draping
or swags.
eitlier curtains
each end - to mount a curtain pole in position above a narrow window. It will be
With
a slender
® Copper
one
suitable
length of driftwood to
calculating a pole's length.
require only
facilitate curtain pulling.
still
® Driftwood Use
Allowing for fmials Do not forget to allow for finial attachments at each end when
and
obvious but
item instead of a pole.
#
varnish to protect the paper
your
imagination and substitute a
a shorter length of pole.
pole
a varietx'
of alternative materials as
providing a decorati\'e
Using Tracks # Looking and learning If you you might not be able to assemble and mount a curtain track. ha\e a look at a similar working system, either in your local are concerned that
supplier's
showroom
or in
someone's home. You
know what Bulldog clips
Bow-tic ribbons
Hang bulldog clips from curtain rings. Paint them if you wish.
Cut ribbons to the same length to ensure consistent loop size.
finish.
will
then
the track should
look like once assembled. €i Painting to match Consider painting cuitain tracks,
which
are usually supplied white, so that they
blend
in
with wall
colors or curtain materials. Semiglo.ss gives the best paint finish
#
on
pla.stic
surfaces.
Lubricating tracks In order
Raffia loops
Strip of leather
lo maintain a curtain track in
Tie lengths of raffia or string
bread on, keeping a constant droj") from pole lo curtain.
good running
around
a
pole for
a rustic feel
I
il
order, lubricate
occasionally v\ith a few
drops of dish detergent. Ill
WINDOW TREATMENTS
Choosing Blinds BLINDS
ARi;
11 ii;
MAIN
Ai.Ti'KN
vn\
TO cririAiNS aiul can he mack- tVom a NaricU of
i;
different fabrics. Try to balance decorative
assess to
what extent
w
a blind
need
ill
and functional
and
rec|uireinenls,
to block light or provide privacy.
Styles or Blind Blinds vary in shape and size as
kind of
window
treatment and
much
as
may be
any other
left
plain or
decorated extravagantly, depending on your
Roller
Gathered
Roller blinds are the
(
most functional and
more
require least material
own
lathered blinds use
and suit an opulent almospherc. fabric
These you choo.se for \()ur blind and the hanging mechanism you will nectl and
preferences
requirements.
practical
factors affect both the material
Roman
Venetian
Roman
Venetian or slatted
blinds consist
of subtle, gently folded
blinds can be plastic,
hners of material.
metal, or
wooden.
Measuring Tcclinique.s for nica.siiring for blinels tlcpcntl upon whether you preter a Hat blind or one that con.si.st.s ot told.s ol tabrie. I'he .sLirtaee
Measuring for Blinds ^
Fitting
on the fit
po.sition of a blind, anel
the pole or track before
measurements
for material, ^'our calculations
then be more accurate.
well
a,s
the
b\'
of generosity
when
amounts of material need to trim .itresh because nou
calculating It
is
better to
tli,in stai't
do not
h.i\e
enough
.size ot
the
a.s
Gathered Blinds
Overestimating Err on the .side
blind
tlie
window reces.s window itself.
will lKin,L; insiele or outsiele a
Recessed Windows
attachments Decide
yoLi take the
will
in
he determined h\ whether
will
aiv.i
material.
Calculating width Tape the end of a long length of .string to one corner at the top of a w indow frame. Take the .string .ilong the
frame to the other
corner, forming a numbei' of
scallop shapes. Measure the
Measuring I'or a roller
recess,
a recess
length of string to gi\e \"ou the
blind outsitic a
measure the width
(A), including a
1
'
i-in
(3-cm) overlap onto the
and the length H) below the sill. Add 1 in
walls, to
(
(S cm), for attaching the fabric to a dowel. For a
measurement
w idlli
(C). Calculate
length (1)) to ab()\c the
112
ol the blind
ruched
folds.
S in (20
cm)
including
Add an
L'\ti,i
tor side luinings.
Measuring length
.Aekl
\2 in
cm) to the basic height measurement to allow for the depth of the sc.illopei.1 edge iw n. w hen the blin^l is (.-i()
i.l(
blind inside a recess, allow for brackets in the
width
sill
(Counting scallojis Be.n minel that an otld
of
more b.ilanced en number.
scallo|>s creates a
look than an e\
in
number
CHOOSING BLINDS
Making and Fitting Blinds work by means
of a fairly
blinds are adapteel from this system, although
simple meehanism. making them the easiest type of blind both to make and to fit. Most
there are alternatixe t\pes of blind that can be
Plain
roller blinds
constructed to pro\ ide a more indi\ idual look.
Choosing Fabrics
Squaring Corners
•
# Making
Assessing
For
suitabilir\'
flouncN' blinds
\\
ith
the
gathers.
angles
To ensure
smooth running of
a roller
Finishing Edges '
Preventing fraying L se
a stiffened fabric for roller
can be cut to an
choose lightweight materials such as nioire or soft cotton, which w ill ruche well. Hea\"ier
blind, cut precise. 90-degree
blinds. This
angled corners. Use a large
exact size and will not fray.
set sc|uare
Stabilize lightweight fabric
fabrics will not gather well.
to
ed"es with zigzag
Reviving Blinds
Attaching Material
and tailor's chalk draw accurate guidelines.
stitch.
Attaching Simply
i Spraying Paint old \enetian
them
blinds to give lease of
a
new
rf'-vvjfl,
Wash them
life.
thoroughly, allow to dry, then spra\'
•
with an aerosol paint.
Stenciling Transform a plain
blind by stenciling fabric paints.
own
it
with
Make your picking out a
stencil,
design from fabrics or other decorations within the room.
•
Dyeing
in
good condition but has
become for
d\e
If
Fiisihic
uvh
a blind remains
discolored by
example,
irse a
"^~~-\
Dniivl
Avoiding stitching
light.
cold-water
to transform the look ot
_
it
To make a casing for a wooden dowel at the bottom of a blind without sewing, iron
in
some
completely. Choose a color to
fusible
match or tone
firmly to the roller at the top of
in
with other
decorations within the room.
web. Secure the material
the blind using a staple gun.
,-ftIk,
W
N D () \X
I
K
I
AT M F N
!
I
S
Adding Trimmings oi-
iKi\iMi\t'.s lor
Till:
wIikIow nwiiniLMils
tkxorativ
piiix'ly
ai\'
e'
and arc
used as accessories to a color scIkmik' oi' si\le. )iIil'1' lriinniii\(^s, Ik )\\ l'\ M\\^' are dual-purpose and perlorin a function w illiin a window-dressing system.
er.
(
—
————^—
Cornices form hnished-lookinL;
curtains
{)\
window
and create
trealinent.
ihex
to
a
usclI
Ik-
lor
n,i^hler-\\ eiijlu.
ellecti\ e in a
tenei
i^ranel
—^—
trcatmcnis.
curtain
less elaborate \ersions
luiich'diKl-
Papering cornices Decorate
Closc
plain \\"ooden cornices simi^K
by
but
can look
simpler elecorati\e plan.
Attaching Fabric Cornices
Using Cornices •
hide ihc
a ciec(irari\(.' finish lo
runnin!^ sxstcins
-^^^^^—
Cornices
Icl/H'
Sl(l/)lccl
It
I
paintin_y or wallpaperint^
them. Use the same
i^apei" as
that ccneriui^ the walls,
make
will
w hich
the job easier and
(jirliiiii Ifcich
less costh' than irsiuL; fabrie.
•
AM
Increasing impact
a
decorative molding along the
top of a cornice, or use to increa.se
•
its
it
as a Press fahric
ornaments
shelf for displaying
iiilo
\isual impact.
Creating effects Use a
close tape
cornice lo alter the apparent
shape of
a
window
.
Position
higher than the top of
it
the
window
treatment, lor
Mounting
a cornice Once the wooden framework of a cornice has been assembled and mounted in place, attach its fabric front. Ideally,
make
piece
this
w ith
example, to make the window
frame so that
look
held there using touch-and-closc tape.
taller
than
it
actualK
place uith
loiich-aud-
is.
it
eas\ to
is
fit
in place.
It
Toiich-aiidcluse tape
fixed
a flexible
to fahric
can be
Shaping Cornices V.\LANC:iiS Jigsaw .\ \
alancc serves a similar
purpose to
a cornice, but
it
is
constructed from fabric rather than a solid material. Despite
being
Cornice
less substantial, a
\
alancc
can contribute to the decorati\c
l)()(inl
impact of Saving latlici'
a
window
money
treatment. \ akmce you are
.Make a
than a cornice
if
woiking within a tight budget. The tabrlc needei,! to make a
Using a
\,ilance will cost less than lor
jigsaw-
a
more
.1
low
Add to tlic decorative appeal of a wooden cornice b\ scalloping tile
lower edge. .Mark out the
cur\ed design on the cornice board, clamp the cornice onto a
workbench, and use
a jigsaw
carefully to cut the shapes.
111
substantial allciiialive.
Using ceilings ceiling,
In
,i
N.ilance tlireclK horn .ibi
i\ L-
Auac
li
A
loom with
xou tan
w inilow w
hookei.1
ii.ing
.1
llic O-'ilinu
illuHiI
.1
i.iil,
st.i\'\\s elircelK
lo iIk' xal.ince's iK'atling tajie.
Hanging a valance alone A \alance is highl\ decorative and can be hung by curtains right.
-
.Mount
a \alance
rail
it
its
in position
own using
so that the lahric
hang w ith and be seen to \\ ill
without
itself -
as a finish in
a
good
ilu-
shajic
best illect
ADDING TRIMMINGS
Swags and Tails Swags
and
can
tails
eitlier
accompany
a
tlic
cornice or be used alone as a decorati\e ^\indow treatment. These decorati\e items take
Making Simple Swags
cornice and \alance idea a stage further,
Their function
can be used
pureh' decorati\"e. but they
is
ima^inati\"el\" to great effect.
Being Inventive « Using
alternative materials
Bright Idea
Since swags are usually simply
draped, experiment ^ith different kinds of material. Tr\'
long
or other
silk scarves, saris,
lightw eight fabrics to create sorts of
all
\oluminous and
shapely draped
# Draping
effects.
For
in position
an informal hanging system, simply drape your material arc aind a pole or other cuitainlianging mechanism.
Make
Using leftovers
a
few stitches in appropriate
Leftover pieces of material
need ne\er go
pkices to maintain the hold.
Using door knockers
Attaching to cornices
Great a simple swag effect b>
attaching swags
mounting an ornate door knocker above each top corner of a window. Drape material around the w indow through the rings so
a cornice,
that
it
hangs
in a flow ing sr\'le.
and
When
tails
to
sliNers of material left
fal")ric
the
w
a\'
contrasting frilled edging
whicli will impro\e
the fabric
over
add a coordinating or
neat pleats easih" as \'Ou secure the
You
from making trimmings to
use a staple gun. allow you to create
This will
to waste.
can use even the smallest
around
a plain cushion.
falls.
TiEBACKS
The
traditional
function of a tieback
is
Tiebacks can. howe\er. also ha\e a decorative
to
hold a window treatment back to one side of a window (or door) in order to allow light in.
role as integral parts of the
Using xVlternative Materials
Using Tiebacks
w indow
or e\'en as decorations in their
own
treatment
right.
Tiebacks
in
•
Using contrasting fabric In a formal curtain arrangement that includes a cornice, for
example, use a different for the tiebacks
add
•
fat:)ric
and cornice
to
definition to the curtains.
Tying easily Choose ribbons
or cords for the simplest of material tiebacks.
Hold them
secure by looping them oxer
hooks screwed
•
into the wall.
Positioning tiebacks In the
case of
tall
window^s, tiebacks
are be.st positioned about onethird of the
way up
the wall.
Being creative with leaves
Using a door knob
Entwine wired
.\
artificial
lea\es
together to create an unusual attractive tieback resembling
Experiment with string before vou finalize the position. This w ill also enable you to judge
and
the length of the tieback.
llicni
a
wreath. Spra\ the leaves using
.utosdI
w
p. lints to nil iIk-
tDordin.Ue
color scheme.
door knob makes an
back is
ideal
tie-
as long as curtain material
not too hea\y and does not
o\cr
it.
If
of
wood
to
make
it
lo the it
fall
does, attach a block
back of the knob
more
substantial.
115
\<
I
N D O \V
TREATMENTS
Decorating Glass WINDOW
TREATMENTS ai'c not ihc onK' way of elccoratiiiL; w inelows: noli can decorate the glass iisclt. Ihc design ol stained-glass windows ranges from "othic to modern, so \()u w ill ha\e a wealth ol tradition (mi which to draw.
Bash; Eorii\\iENT and MAirRiAi.s Glass decoration requires specialized materials in order
NMon
paintliru.sii
to achieve the desired finish.
• Buying materials You can all
bu\
the tools and materials that Gla.s> paini.->
you require for adding effects to glass from most good art suppliers. They should also be able to gi\'e you advice. • Choosing paints You can use
Etching
Lint-fretr
nuid
cloth
Craft knife
oil-based paints for applying
simple painted designs to glass
Howe\er. these are and will not be as effecti\e as glass paints, which are designed and manufactured surfaces.
translucent
Felt-tip
Window
Frosting
Spra\-
pen
cleaner
varni-sh
paint
specifically for the job.
Etching Windows Etched windows
are
traditionally
Liscd
bathrooms, cloakrooms, and entrance in
in
halls
order to prcnide pn\"ac\' as well as decoration.
Using Frosting Varnish • Cleaning windows Befcore
Etched bnt \
it
L^lasN is
-
can look effective in any window.
particularly useful
er\ plain or
if
the
window
overlooks an undesirable area.
Etching Quickly
Green Tip
varnishing, clean a Vkindow
with household cleaner so that the glass surface
is
free
of grinie and other impurities.
•
Applying varnish Apply
frosting \arnish using the
method (see Mount a stencil in position on the window with
basic stenciling p. 35).
a light covering of spray-on
adhesive, and then apply the
Reusing etching
varnish to the c^utlined design.
•
Changing designs Most
Using spray-on "snow"
frosting \arnishes are acrylic, so you can easily modify or completely change a design
W ith
simply by cleaning away the varnish using an abrasive
or three light coats are better than
cleaner and a
116
window
scraper.
fluid
Commercial etching a stencil in
window.
snow
u.se
for an
place on a
spra\-on festi\e
etched
effect.
Two
one liiick one Remove excess snow with fine sandpaper
fluids
can be used on an\ glass surface. .Most can be reused.
since once the fluid has dried
the residue
c.in
be
st |-.ipeil
away and returned container to be
to the
iiseti ati.iin
is
DECORATING GLASS
Reproducing Stained-glass Effects Modern
decorating
relati\elv
stained glass
materials
on
\-our
it
windows without needing
use
to
colored glass
or
Yon can use
lead.
commercial paints on plain glass
to achiexc a
\en' authentic-looking stained-glass
Imitating Stained Glass on a
Creating Designs V
make
easy to reproduce the effect of
effect.
Window
Seeking inspiration Ha\'ing
chosen a \\ indow to decorate, you must then select a design. Stained glass associated
and
\\
is
ith
traditionall)-
ornate settings
religious themes, while
single motifs or original
on plain glass windows more modern option. • Tracing designs Mount a
patterns
are a
design to the outside of a window Lising a low-tack
Draw
adhesi\e.
the design
on
cardboard that is rigid enough to remain in place against the surface of the glass,
much easier. Once it is
tracing
•
O Once the colors are a design to the 1 Attach La add the leaded effect using outside of a window Apply dn,-.
making
Finishing
.
the appropriate color to each area on the inside.
diy.
Do
not
clean your stained glass
o\'erload the brush, since paint
using a soft cloth and mild
will
run
household window cleaner.
top
down
easily.
Work from
to a\oid
the
smudging.
a
tube of siher outliner. Keep
a
steady
mcnement
to a\"oid
une\enness. I^emoxe the design
from the outside of the window when you have finished.
Reproducing Leaded-light Effects Leaded
lights
share a similar tradition to that
of stained glass, although the technique for
reproducing them
is
quite different.
A
leaded-
Creating Leaded Lights on Yoi
r
light
effect
is
ideal
for large,
plain
windows
that lack interesting features or for recreating a perif)d
look
in line
with a decorati\e
,sr\-le.
Windows
s
Draw
the leaded-light design
1 on clear sticky-backed plastic, insick'
and attach it to the window. Cut
of the
around the "panes" of lea\ ing bill
them stuck
gla.ss.
to the gla.ss
peeling awa\' the
re.st.
2 With
a
commercial metallic
3\X'hen
or four thin coats to the entire area. .Metallie |iainl
since
il
a^lds le.xlure
is
ideal
and depth
the paint
is
dry.
remo\e the "panes" of
aerosol paint, apply three
sticky-backed
pla.stic
betw een
ihe "leadeel" strips to re\'eal
the glass.
Remo\ e any
exce,s,s
to the leaded areas as well as
drips or runs of paint using
]iro\iding a realistic color.
a
standard
window
scraper.
117
F INISHING QriCK
Rlii
Lighting,
LRliNCE
OUCHES
LIGHTING
Lighting MORE THAN JIST PI^ODUCE LIGHT. It is one of tllC mOSt influential tools for creating mood and atmosphere in a room, and there is an extensive range of options to choose from to achie\e effects you like.
LIGHTING DOES
FAR
Lighting Types .\lth()ugh styles of lighting vary
considerably, there are only a
few categories - based largely on function - into which the majority
t)f
lighting systems
fall.
Within these groups, designers have excelled in producing lighting to suit lighting styles
all tastes, and and fashions
contribute greath^ to the overall
Opaque howl
decorative look of a room.
\\(HK.Icn
I1.ISC
with p.ipcr
De-~k
sli.idc
liLjIit
w
ilh
I'cndam
cl.imp
\\
Br.iss stanLl.ird i.inip
ith
shade
with
|-i.ipcr
shade
Energy-efficient Types of Lightbulb Energy-efficient lightbulbs
produce an attractive light and last up to five times longer than conventional bulbs.
•
Fluorescent Nuh.slilute these
for slandiuxi
domestic
luiibs.
• Tungsten-halogen These
are
low -voltage with specially built fi.xtures.
Choose them
2-1)
minialuiv
lliiorcscent hLiI
Bayonet ap tixiure
tor i^owerhil yel unoiitrusive H,t;litiny,
such as
in a kitchen.
I'Uioivscciu
biillis
119
FINISHING TOUCHES
Fix HO LicnriNG
Most
rooms LisualK
is
h.i\
I.-
soiiK' HxclI ligluin^.
opL-rak'el
In
close to a door or entrance,
Consider changing light fixture to
mounted totally
•
in
spite
ol
Making
Choosing Lights • Changing pendant
which
swikiu's IolliKxI this
hmilial
ri'l.ih\rl\
\\a\s
Midi h
r
Di
Idjic
a pi.'ndant
sunken or
track-
spotlights. I'hese can
change
a
room's mooc
Lighting alcoves Fixed
lighting oil
is
room
Bringing
showing and displaxs.
ideal tor
features in
new
electrical
cables might necessitate redecoration, so consider l:)attery-powered lighting,
Wtlll/KI/HT
especially for occasional use.
IniiL h-iiiiil-dose
tape
•
ICut some
wallpaper to
Diffusing light Paint and
suspend a metal colander from the base of a lampshade, it
will
many and
channel the
light into
shafts, creating
shadows
a varied intensity of light.
and strengthen
it
b\'
lengths of wire across
size,
taping
it.
Fold
the long edges of wallpaper to
form two
\\\vvv
li.uhliiiL;
c
an
ordei' to ac hic'\ c inoie intcrcstinL;
a Strif-i.k.ii
lights
sfiup,
which hxccl
in
flaps,
and attach
torich-and-close tape to them.
1
1
s
i;
R
aw
iiuiiktolis
Ik- aclaplecl in li,L;ht
cllects.
LIGHTING
Lampshades
Once
have chosen your light tLxtures. how lampshades ^ ill affect the produced and the coordination of
\"ou
consider
kind of
light
lighting
buy
w itli
other decorati\'e features.
make
or adapt your
Enhancing Shades
Contrasting Sh.xdes
You can
a shade as part of a lighting system or
own
for a personal note.
Using Lampsh.ades •
Cut-out shape enhances
Directing light Line a
lampshade w ith dark paper
plain lampshcule
to
channel
light
through the
bottom and top openings and therefore create concentrated, directional shafts of light.
•
Varying color Alter the
effect of a
lampshade by using
a colored lightbulb. This will ha\"e a dramatic effect
if
you
are using a pale lampshade
Using different colors As
in
all
aspects of decor, the
color of a lamp and will affect the
its
shade
atmosphere and
sn le of a room. Use strongly contrasting colors to
make
a
Intrc^ducing shapes
and allow you to experiment with color and a dark shade. • Keeping clean To ensure that a lampshade looks at its best, always keep it clean.
.\dd interest to plain lamps and
Either
shades by adapting their designs.
appropriate attachment, or
For example, cut simple patterns
wrap hand
or shapes into a lampshade,
perhaps linking to other designs
vacuum siick\"
it
using the
tape around your
(sticky-side out)
and
brush o\er the surface of the shade to pick up dust and dirt.
localized decorative statement.
and motits within the room.
Decorating Shades
Threading a Shade with Decorative Strands # Choosing tlireads Once made die holes,
Attaching stickers Stick
• Making holes A hole puncii
shaped, fluorescent stickers onto a plain lampshade.
intended for paper will not cut
\"ou ha\"e
lampshade material adequately,
change the ribbon or diread
Once
so use a
•
the\ ha\"e
absorbed
while the lamp is on. they ^ ill continue to shine after it has been turned off. light
This
is
a particularly
leatlier
how e\ er man\'
punch
to
make
holes \"ou need.
occasionally to reflect festi\e
or otlier special occasions.
good
idea in a child's bedroom.
•
Stenciling designs
Coordinate lampshades '^ ith the rest of the decoration in a
room by stenciling the same design on a shade as there is on a border, for e.xample.
• Using a wallpaper border Cut down a v\ allpaper border to make a mini-border, then attach it around the edges of color-coordinating shades.
• Adding trimmings Use contrasting or matching braid, tas.sels.
or other appropriate
trimmings to enhance the lower edge of a plain shade.
IUse
a pencil to
make
a
series of equidistant mark,-
around the upper and lower edges of a lampshade. Make holes at these marks using a leather punch, holding the shade firmlv as vou do so.
2
Pass
some ribbon through
the holes,
making a
criss-
cross pattern o\"er the surface
of the lampshade. Create any number of your own designs
using the same method and a variet\" of alternative materials. 121
FINISHING TOUCHES
Shelving SiiiiAiNG
ESSFN'riAi.i.^'
IS
FUNCTioNAi.,
Lincl
si/c
ils
iiiul
on
sliirtlincss will cicpciul
load-bearing reciuircniciits. Ikit it can also scr\c as a design accessory within the constraints of j'jraclicality, yon can decorate as yoLi like.
llial.
SHin.viNc; Eqiu'miin
II
II
Shelves
from
may be
constructed
M
a variet)' of different
Liirge
II
materials, but their basic design
II
Spring;
remains relatively consistent.
•
Supporting shelves
II
Medium
.
II
All
shehes require some support. The exact nature of the support will be determined by the decorative requirements and the type of mounting needed. Use strong supports for a heavy shelf, or one that wi carr\- a
«
1(><; tiles
/
SlK-lt
Siiuill
Lipports _'a\'y\\ei,iihl
E.xpandm-
I'laMic
vinu .uuiior
wall anciior.s
/
Slidvinglrack
II
II
"
brackcl
\en' hea\'\' load.
Mounting Shelves from certain types ol trccstanding unit, need firm wall hardware to hold it in position. I^e sure to use hardware
Asitle
a shelf will alway.s
that
appropriate tor the type of wall, since
is
designs
particular
Using Wall Anchors • Limiting drilling When
Bright Idea
ol
screw are intended
lor
specific types of construction materials.
Keeping Shelves Level
measure the
drilling holes,
length of the wall anchor against the
drill hit.
Place
around the bit at this point so that you cart see when you have drilled the sticky tape
correct distance into the wall.
•
Inserting anchors
If
it
is
necessary, use the handle enel ol a
Searching for obstructions Before attaching any shelf
hardware into
a wall, use a
small metal detector to ensure that there are
no wires or
pipes beneath the surface.
Such metal detectors are relativel>-
inexpensive to buy.
hammer
into a wall.
face can
•
I
to dri\e
anchors
sing the striking
damage them.
Rectih'ing overcirilling
Shimming
If
too large or a wall surlace crumbles so that the a
hole
is
a bracket
a shelf slopes
forward due to
the uneveiiness of the wall,
shim
hole widens, fill the hole willi commercial tilling adhesixi- anti
cardboard. Place a le\cl on top
then insert the
of the shelf to help you judge
anclioi'.
l.cl
il
diA iK'lore inserting the screw.
122
if
its
brackets
how much
\\
ith jiieces
carelboanl to use.
of
SHELVING
Decorating Shelves can be treated
Shehes
room
a
in that
they
like nia\'
any otlier item be decorated
\\"hen
how
deciding
their
in
decorate them, consider to what extent they
order to blend, complement, or contra.st with
w ill be obscured by
items placed
to
on them.
Adding DECORAinE Moldings
Covering Shelves • -\llowing
.surroundings.
in
dr\ ing time -\fter
painting sheh es.
let at least
~2 hours pass before putting anMJiing on them. This lets the paint
dr\-
completely,
preventing denting or scraping
when vou place omimients. • x\dding trimmings Decorate edges of sheh es w ith material trim or a row of upholster)" pins for a textured finish.
• Using plastic To produce a durable yet decorati\"e surface, cover the tops of
double-sideJ tape 1 Attach along die front edge of the
shehes widi patterned stickybacked plastic. This is ideal for kitchen shehes. which
shelf.
require regular cleaning.
to the required length
Altemati\ ely. appl\- wallpaper
stick
to
shehes and
se\"enil coats
finish
Cut a piece of molding
and The tape eliminates the need for nails, so no filling is required.
w idi
of \'amish.
it
to the shelf edge.
2 Applymoldings
gilding creimi along
the
surface. For
the best effect, highlight parts
of the molding rather than covering it totalK" with cream. \'ar\-
the extent to
w hich
the
base color shows through.
Improvising Shelves Adaptation and creation
variation are
tiie
keys to
tiie
of individual decorative effects.
Sheh ing provides
;in
excellent opportunits
Using Alternatives
to
ue\eiop
\c)Lir
innovative
ideas.
simple
Its
construction, requiring limited technical
means \ ou can design and build from
Serving Practicalities
skills,
scratch.
Being Inventive ,
Creating freestanding shelves
Shelves need not be secured to a wall as long as the\" are sairdy. not too
tall,
and do not
earn" heavv- loads. Improvise
shelving using large terracotta
phmt pots
as supports for
lengths of natuml
wood.
Make open sheh ing look more solid
•
"Solidifvlng" shelves
by painting the back v\all the same color as the shelves. • Hanging from the ceiling
Supporting with Improvise
v
rails
enical supports
between shelves with chrome
Storing equipment
Create unusual shelving for
.Many household objects are
light loads
awkv\ ardh shaped and
from the
ditficult
by suspending
to store, .\dapt a plain shelf b)
using wall brackets.
for this purpose, they provide
cutting out holes along
chains
adequate support and create a
edge from which to hang brooms and mops, for example.
towel
\crv
rails.
WTiile not designed
modern,
alternative look.
its
front
it
ceiling instead of If
you use
w ith hook-and-eye them beams
hardvsare. secure into supporting
firmh"
123
FINISHING TOUCHES
Wall Decorations PKTi the
AM)
Kis
OTIIIK w All. Di'coKAi loxs HKikc a stak'iiK'nl ahoLil yoLir
manner
which they aiv
in
clisplayetl eonlrilniles lo a
atmosphere. The wide choice available allows
Bask; Han(,in(. A limited is
a
huge
1-()iiii'mi;n
rooms
laste-.
while
cleeoiatixe
\ariety of efiects.
i
amount of equipment
required for picture han.uinj;,
since
it
is
simple
a relatively
joii
to carry out. Il()\ve\er. usiiii; ihe
correct equipment
is
essential
make sure tliat pictures hung safely and secureh.
to
• Keeping
pictures
are
o
on the wall
l^re\'ent pictiu-e fastcnini^s oi-
fixtures
from
failint;
h\
lAck-l-
Lising C^oncretL'
the appropriate liook.s and ihix'.ul
loieath
wall
hook
piitiu'e. .\laii\ I'ictLMV-
hooks are sold with guidelines
lianj^iiiL; \\ iiv
as to the weight they can bear.
Choosing Hanging Systems wall-hanging Any appropriate the for
weight, which
is
syste^ni
deteniiineel In
Hanging Inventively •
Using picture
rails
rails
Pictuiv
are ideal for hanging
pictures - especialh' hea\
\'
ones - by means of chains, picture wire, or heavyweight cord. For aesthetic effect, consider painting chains ,so
that they
match the color
of the walls, or coordinate
decorati\e cords with the
sol't
furnishings in the room. ^
Deceiving the eye Paint
a (.ord
between
vertically
aligned pictures or items
such as plates to produce the tronipe locil effect of
them
hanging from each other. • Avoiding holes Attach very .small,
lightweight pictures to
a wall using self-adhesive
pads
rather than a hanging s\'stem.
This will eliminate the need to
make
holes
in
needs
size of a pictLiiv
the wall.
its
be
to
and
mount
its
antl
tianie.
Attaching Wire
\
Once
\oli
ha\c worked
this
out.
\'oli
can decide whether the hanging system itself is to he a decoiati\e feature or purely functional.
Hanging Ornately
WALL DECORATIONS
Hanging Wall Decorations Positioning wall decorations
is
important for
creating the desired effect in a room.
do
it
well. voLi will not onh" maintain
If
decorative balance but also ensure that each piece is fully appreciated, fulfilling its role as a
you
an oxerall
tinishing touch
and
a feature in
own
its
riyht.
Enhancing Pictures
Determining Position
Marking Position
•
Choosing height Position joictLU'es for \iew ing from the eye level of an average-height per.son. Needing to look up or
• Using a finger Rub chalk on one finger. Pt)sition a picture on the wall, then mark the point at which it will hang
use directional spotlights to serve the same purpose.
down
with the chalked finder.
• Moving
Inserting
Lighting hicrease the impact
room
of the pictures within a
by illuminating theni with picture lights. Alternatively,
Give
a
pictures around
room
a fresh look
distorts perspective.
Hooks
by
Traditional Tip
.switching the positions of existing pictures or introducing
one or two different ones. • Choosing frames The frame plays an important role in
showing off a picture. If you feel you ha\e made a wrong choice of frame, you can modify it relatixely easily by painting the molding.
•
Cleaning frames Frames
and dirt like any other surface. Use an old shaxing brush to remoxe dust and debris from e\en the most collect dust
intricate
molding, thereby
maintaining the frame
Sanding a
Taping over the spot Apph a piece of masking tape a wall
to
where
a picture
be placed. This
will
hook
The
the best po.ssible condition.
to prevent
is
prevent the
Mirrors require similar hardware as pictures,
be used in such a wa)' as to have great decorative impact.
flush against a wall.
Ironing Use a cool iron to
before
hanging it. Nothing looks worse than a poster that is
except those that
sit
Use special
large mirrors Most
large mirrors
have mcuinting
to a wall using wallpaper
brackets as an integral part of
adhesive. For the greatest
the frame. Drill rather than nail
visual impact, place several
them, and ensure that the sizc ol screws used will he suffieieni
and then apply
wall.
a coat of
matte varnish over the w
shinv and clean.
mirror screws in such instances. Take time to consider a mirror's position, as it can dramatically affect the appearance of a room.
Hanging
a poster
on one
it is
corner angles, mirror pads, or
curling at the edges.
posters together
fine-grade sandpaper until
Hanging Mirrors Effectively
inexpensive option, they can
• Mounting Attach
from slipping off
and the hook being dislodged.
Although posters are an
flat
it
nailheads. Sand the face with
hook from slipping and reduce
Using Posters
.snujoth a poster
hammer
needs cleaning occasionally
to
the chance of plaster crumbling
in
hammer
striking face of a
i()
Ik )1c
Increasing s|)acc DramaticalK
iiicrea.se
take the weight ot the minor.
impression of space
Tightening screws Take care
by
the
in a
room
carefully positioning a mirror,
surface for a
flat finish.
not to overtighten mirror screws,
especially a large one. Center
• Aging Age
posters or prints
(.racking the mirror. Insert a ihin
on
Iw rubbing
damp
tea
bj'j,
piece of cardboard behind each
distribute
over the surface of
tiie
paper.
screw as
a
a liirhtenin"
gauge.
as
a
w all
much
it
or in an alcove to its
effect evenly oxer
of the
room
as possible.
125
FINISHING TOUCHES
Soft Furnishings SOFT
IT
RMsmxcs
ARH AN i\Ti(.R\L
I'ARi
ol
tlc\( )rat i\c
.1
plan,
eonirilnitini^
color coordination and st\k'. ("omplicalcel upholslcring or co\crii\g
some
to experts, i^ul in
left
areas limited skills can achieve effecti\e
Ba.sic
A collection for is
is
to
best
resLilts.
Equipment
of tools necessary
working on
soft furnishing.s
inexpensive to put together.
Even the cost of a stapler has in price, and there
come down is
a
good range of high-quality-
pieces to choose from. Ipiiolsten.' nt-edlf
.Spools of tliread
Tailors clialk
T.ipc nicisuiv
Staplcr
Set >qLiare
Pattern paper
PL-ncil
Choosing Fabrics Whereas
assembling a
t(X)lkit
is
ivlali\el\
ine.\pensi\e. fabrics can send your costs
soaring.
Howe\er.
is
it
Lip
to
xon
to
choose
Considering Fabrics • Checking that material If
it
buy
.safety is fire
retardant.
you may need to commercial spra\- and
a
Medium are the
e.xtraxagant to be. although in
finish
Common
.Make sure
not.
is
how
fabric selection will \'oli
rec|uiiv anel the
b\-
some cases the t\'pe of
look xou aim
for
making
fumishiiiiis. Tlie\ are diiraiiic.
but
you may fmd that their bulk makes them more difficult to work with than liulitcr falirics.
treat the material \oiuself.
•
Choosing colors It can be choose fabric \\ hen
difficult to
\()U are not in the
which
some
it
will
room
in
be used. Paint
of the wall color
on
piece of paper and take
a
to
it
\'el\et
Heav\"uei^lit cotton
the store with you. or take fabric
them
swatches in the
home
to
appropriate
\
iew
light
conditions and surroundings.
•
Assessing costs Buy the best
fabric that
you can
affortl.
since better-c|uality material is
more hardweariny.
126
for.
Types of Furnishing Fabric
to hea\-}"sveight fabrics
most suitable
be dictated
Wool mix
SOFT FURNISHINGS
Using Cushions and Covers Changing
upholsten,' co\"ers. introducing ne\^
finish to a
the rest of a room's decor can
add the perfect
Measiring
Making Cushions
room.
How
a
Chair for Loose Covers
• Bu\ ing secondhand Buy secondhand curtains and use them to make cushion covers. This is an ideal way of saving money when making more
Fold line
-
luxurious cushion covers, since
plush secondhand material will cost a fraction of the price
of the equivalent new fabric. • Scenting cushions Add one or two sprigs oi la\ender to the stuffing of a cushion to
keep
it
smelling fresh.
• Cushioning
floors Join
rag Rigs together to
two
make
a
be
large floor cushion that will
both decorative and practical. Use tw o different rug designs for a
more
interesting effect.
• Making bean bags Always make an inner lining for a bean bag so
that the filling
is
enclosed in a separate bag. allowing for its easy remoxal
when you w ant
to
wash
the
co\er. .\s an inexpensive alternatix e filling, fill
loft
use loose-
insulation material.
hnish these additions are
depends on your preference and sewing Simple ideas can often he ncia' effectixe.
cushions, and t\ing in soft fiirnisliings with
Side
ability.
FINISHING TOUCHES
Finishings Finishing
the
ciecorati\"e
material
plan
knowing how much
Ide.\s
is
or
accessories
\eiA'
how
\or Tki\i\iin(.s
much little
a
in
your
case
to use.
ol
which
is
a matter of personal taste. >X'liether
to kee]T things linish,
you choose
simple or aim for an extrax'agant
trimmings shoulel enhance
a furnishing.
FINAL D£TA1L>
Final Detail PLAONG OF OBJECTS in a newly decorated room offc THE for experimentation. Arranging and displaying omaiiJcirLcomplete the decoratixe look that you planned to
flair will
-tunity .^/L:.
^liuividual
in the beginning.
Ornaments
O CHAN G
I
N
( I
CONTAINER'
AGING Ornaments
Pi
:^'
*
Seclring Small Items
necTins surface* ATr^ch
.\rran.
are inter
Decanting
Using double-sided tape
toiletries
Lighr« eight or small ornaments
Pour shamfKKj or bubble bath into glass containers,
soaps in a matching
them
and arrange
jar
• Grouping coilections Spwoe
to turn
into colorful decorative
items. Select colors that
with the room
s
fit
ea^- knocked over
are
Fix them by attadiii^ douMe-
^
>sition
.
d tape to their bases. .Alwa%3
cn>ure that the surface on winch
in
Ihe^ stand will not
color scheme.
Being Practical
be maiked.
DlSPLAYl.NG JSaTLRAL MATERi.\LS The 7" '>-ibilri;r- are endless few UMng ruiuTi] iicm* pnrefy f-ir
show or for pcact: ^
•
Seasliells
aipriund ?he
<
'
Dncd flowers :"
iwers as lhe\'
I
ar-.
liiem with gold sfway-pami-
• Pressed flowers Preserve a
Adding
rlowers b>" pressing
a finger plate
"
Screw an ornamental finger
v.r'-
p^..
dirt>-
door from
hands. Finger plates are
available in metal, plastic,
or
iTcate
-nunics
onto a door for a decorative ecj that will protect the
•
Making a soap dish Cover the base of a ceramic r 'K'itfa an assortinc:::
glass boi%i
of cokxed pebbles to nuke attractive displav'.
•
Feathers Lse
1
and place
_ r _-
of soap on top. .\ny water will drain through the pebbles lo collect ai the booom of the bowi.
decorated ceramic finishes.
129
FINISHING TOUCHES
Tableware Tabic
accessories,
whellicr
of a permanent clispla\
occasionalK
.
can
or
contribute
llie\
lonii
pan
an.'
u.secl
onK
opj-x )rtunity to
to
a tout
ertecti\ely
a
looin's dctoiatixe style.
li
'I'liey
also gi\e \()U the
use your imagination and bring
ol originality to
xour home.
Decorating Ceramic; Kitchen Jugs
Changing Usage >4»
4 5\»
'\-
"'
Using items as ornaments Put Clips or mugs to no\cl use by converting them into miniature
*-' '"
Icipe
Create bands around
1 ceramic jug using masking a
Remove excess from
tape.
the
herb gardens. Extend the idea to
sponge before applying
other containers for displaying
ceramic paint o\er the whole jug. This will avoid a gLimmy
plants. in
Coordinate them to
fit
with the decorative theme.
finish
and give depth of
acr\iic
color.
2 Once lemove
the paint has dried, the tape. This
technique can be used to create a variety of designs.
To make the jug dishwasher safe, bake in an oven for 40 minutes
300°F (150°C).
at
Decorative Containers Storage systems
often
let
a
decoratixe plan
down. Even general storage items can be made more attracti\"e h\ means of a simple
ma\- be hidden
Painting shoe boxes Paint
but they too
,
attractixe.
Using Containers hammock
a simple
it
and easy solution the problem of storing toys. Doubling up Create a
as a quick
latex paint for a wipeable.
to
Choose
Hang
of a suitable size in
bedroom and use
a child's
or other paperv>ork. Use hard\\ earing finish.
\ie\\
Storing toys
fS^
shoe boxes to create storage boxes for photographs, letters,
away from
can be transformed into something
Tidying Bathrooms
Adapting Boxes •
decorati\e ox erhaul. Boxes and other containers
a different color for each
elouble-sided storage shelf by
category of item so that you
attaching
can identify the contents by
a strong
jar lids - using either adhesi\e or screws -
the exterior color of the box.
to the underside of a shelf.
•
When you
Decorating boxes Use
ha\e
them
filled
trimmings to decorate storage
with small items.
boxes. Upholstery snaps
containers onto their lids
\\\\\
give a sturdy look, while glass
that they
beads or buttons are colorful. • Using packaging Remoxe the cardboard di\ ider from a packing box. cut it to size, paint it with latex, and insert it in a drawer to create compartments for storing socks
•
or other small items of clothinu.
130
bathrooms are
with
all
sorts of bottles
it
ill
and
than using
room up
holeler.
save space and
easier to find a
make
jiarlit Lilar
shelf.
>
using a metal \egetal")ic rack,
w hich w
.so
tvpe of .storage unit rather
littered
containers. Neaten the
hang below the
Using hanging baskets Turn a hanging basket inti a n( )\ el
Using a vegetable rack .Most
the
screx\'
item
I
it
simply as
a plant
fang the basket
kilLJien anel Lise
it
in
.i
for storing
\egetables or small bo.xes or jars of
dried herbs and spices.
FINAL DETAILS
Room Some
finishing touches are particularly suited
rooms
home. They tend to another dimension to a completed
to certain
add
Details
yet
the
in
decorative plan, but they can also he used to
draw together \arious aspects of a style or simply update anel renew an existing look.
Curtaining off Corners of Rooms Using
Faijkics Clevi;ki,y
Coordiinik' Juhnc so
with
thill ivcill
il
hlciuls
cdivriiiii
(;ievtr use of fabrics will give \
isual
cohesion as well as
maximize space and money.
Ciiilciii! JHilc
Saving
money Buy
a
new
bedspread or throw to match a color scheme, rather than replacing
Making a
bed linen. canopy Attach
all tiie
a
curtain pole to the ceiling
above a headboard anei another one te) tiie ceiling ab()\e
tliL-
foot of
tlie
bed.
Drape material between the
wood
Cut a small block of iagonally into
two
nl the
blocks to match
wall color.
pieces.
Hang
a
poles to create a canopy.
S
Screening Cover a screen
with material to match other
Screw one to each wall just above head height, and about 3'/ ft (1 m) from the corner.
curtain from the pole, using
wall decoration. Attach several
conceal unattractive features
Secure a CLirtain-pole mount
coat hooks to a
or create a secluded corner.
1
each block, then attach
a
tc
pole
a
blends with the rail
corner "cupboard"
inside this if
fabrics in a it
as a
room, then use
movable
partition to
required.
Reinforcing Themes with Accessories
Renovating Units » Renewing
a fabric that
bath surface
Rather than re-enameling a bathttib or replacing altogether, paint
it
it
with a
commercial coating. Follow manufacturers' guidelines
on
the preparation of surfaces to
ensure the best possible
•
finish.
Finishing kitchen cupboards
The look of
a kitchen can
be
transformed by changing or painting drawer and cupboarei
Go a stage further by renewing kitchen unit fronts. saving money by retaining the original framework if it handles.
good
condition.
is
in
#
Revitalizing
equipment Give old white relrigerators and freezers new Hfe by coating them with colored paints.
Check manufacturers'
in.structions to
surlace
is
ensure that the can
suitable, ^'oli
also appK' paint ettects.
Grouping bathroom items u
il!i oiiianuiils bathroom accessories simph iiut elTecti\ely to emphasize a theme - in this case a maritime theme in an assortment of blues. Ihe starfish shapes and fish motifs contribute to the theme, w hile
Position
the ceramic
fish also
provide splashes of contrasting color
131
USEFUL D E C C) R A
1
N
I
Ci
I
K
!•
M
S
Useful Decorating Terms ciossARv
Tills
hut not
Acrylic
A term
ck'coialin,^
the Icxl ol this hook. Ihc
• Blocking A
elL-scribini^
tlccorating nialciials. such as paint, that arc
water
• Addres.s
place a
'lb
basctl. lcni;tli
inaneuNcring into a
preci.se position
and
applving 111 )()r.
of pasted wallpaper on a wall read)' k)r
orconinion
Mi'ANiNc,
terms
used
that arc
inckiclcs e'(|iiipnR-nt,
list
decorating methods and technicjiies, and other useful terms.
nialciials,
^
i:\i'i,\i\s nil-
ttillv c.\j:)lainccl in
altachin_y.
a
of
tcchni<|ui.-
design to
labric u.sed lor soli lui nishings.
Chipboard A nianul.K lured
a wall,
surface
dipped
is
compressed wooden
whose
cut-out. shapetl object
and
in paint
iioister chisel
• Coir A coconut-husk hber
hea\\ weight,
,\
particles,
used mainly for subtloors.
then applied to that aica. ~
made Irom
building board
or other area using a
u.sed for natural-fiber llooring.
of techniciucs to create the
but usclul tor laxing buiiap-
• Colorwa.shing A tr.iditional paint techni(|ue w hereb\ paint is diluted and used to le.ile
impression of wear and tear on
backed carpet over tack
a semitransparent r.ither lli.m
• Aging
In dccoratin,y. (he
application of
a
one of
a
wooden, painted, or
number
plaster
surface over a period of time.
• Antiquing The application of one of a nhmber of techni(|ucs
broad-bladed chisel mainly intcn(.lctl lor masonr\' work,
c
.strips.
Brick bond A design taken Irom bricklaying and applied
an opaque
whereby
to the laving ot tiles,
to create the
impression of the
rows ot tiles are arranged so that no \ertical joins align with
changes to
wooden,
those ol the pre\
a
painted,
or metal surface over time.
lirocade
heaw weight,
« Architrave The molded edging of
a
archwaw or
door,
window,
a raised
tonus the boundarx' between
made from •
thai leature anel a wnll.
lagging A paint-effect
.\
)us
row
comb to
(A)rnice
.
woxen
w indow
ol a
it.
curtain that
covers only the lower
h.ill
(
>!
it
a
window
or slim curtain pole sLispended
a specially
acro.ss the center of the frame.
• Coving A
wood
•
Batten
is
rectangular in section ami ol
A
length of
narrow dimensions, used
forms
tli.it
a
wire
w indow
has vertically hinged
sections
that
aiiel
rail .\
drill bit.
decorati\e plaster
A
glaze
particular
t\pe of glaze used to achieve a cni(/in-/m\' effect.
niokling attached
(.reu/iic'/ii)v
\ term
ck'scribing a jiainl elfeel used
with three sections looking out
along
in different directions.
height, to separate uppei' aiul
to
• Bead To spread
lower areas.
appi-arance' of a network of
a small
paintbrush into cornei'
junctions, such as
meet
paint using
where walls
ceilings, to create a
edge between the two. • Beading A thin, wooelen. decoratixe molding u.sed as an ornamental edging. • Bleed The seepage of unwanted sub.stances. such as re.sin from wood, through the preci.se
.surface of a painted finish.
132
a wall.
(Ihalk line
coated
rougliK
A
waist
at
length of string,
chalk dust, used to
in
piodikx' acxunitcK |")ositioned.
t.isks.
The
line nia\ alteriiati\ el\
,1
('liase in
a
(Alt in
a
w
all
.1
coverage
giooxe
to lake a cabk' or pipe.
Chenille
.'^
thick, \el\etlike
To
b\'
nil
paint the
,1
edge of
i.()iiipk'U-
a
the
of the surlace.
Damask w
in
and created
or ceiling to
be nr,
ilh ilk'
painted surl.ice.
w.ill
(
surlace w
applitation of \arnisli to
cli.ilk
ch.ilk i\'ser\
lb tut
a
fine crac ks.
housi.'d in a special \essel that cont.iiiis
age
till.'
straight guielelines for m.iin
decorating
at
wall-ceiling junction.
Oackle
and .sometimes also
or lived sections.
Chair
a recess in a roc^m. often
designed
or poly.styrene molding used a
includes horizontalh hinged
variety of purposes.
• Bay window A window
wmdow A
(;asement
that
for a
hangs Irom
a
wootlen surlace so that its head tloes ik piotruele abo\e that suiiace. This is achieved by means of
bag is dabbed on a glaze or emulsion to create a pattern.
.ind
lix'.itiiient.
.1
technique whereby a crumpled plastic
or fabricthat
(Countersink lb insert
strew into
jute hlier.
A
A wooden
conceals the hanging s\stem
with into
coarse, plain labiK
C^afe curtain
is dragged across a gla/e produce a series of lines.
covered hard edging
silk tabric
design
Burlap
wall [lancl that
i<
lu.xurious.
.'\
finish.
• Combing A paint-effect technique whereby a decorator's
.\
silk
t.k'sign
w
or linen fabric
o\ en
iiili
>
il,
Decoupage A term k'chni(|ue used to
di.'scribing
.1
decor.ite
surf.u\' In
.1
.ill.u hiii''
S E F
II
t
ul-oiil papci'
Io
iiii.i,l;i-s
Distressing
(
)iK'
ot lL'tlini(|i_Kvs ot
eroding
a
(
nuiiilK'i'
.1
or painUxl
appeal's woin,
il
• Dowel A shoil leiiglli ol wood, round in s^'elion. used lor a
\
arieU
(
)l
puiposes
that
is
mcshlikt.'
.\
used to
join Iw
(
l.ipc.-
fabric
>
together but .i\oids
suii.K(.'s
D
L
fusing
the IkmI
and soil lurnisliings. Dragging A |iainl elk\l
ck-eoniling
ess
)(
)m an
fr(
window
decoraIi\L-
The bliml
U|1
An
Interlining
tiles,
muslin or
la\ cr ol
next to
and
liles.
acldili( >nal
)iher
c
placed
liglilw eighl m.ilerial
t(
m.iinlain this sh.iped eelge
or
of a diflerent
tile
surrounding bod\' of
livalmcnl
draw n
Is
\
Inset tile
lower edge.
a siallopi'd
wood
design or color from the
)n,
ii<
such as
lor decorati\e purpo.ses.
b\
.uli\.ili.'d
is
(ORATING TERM S
material,
Ciathered blind A highi\
wilh
in
pr(
F.
colored material or allernalix'c
the neetl lor siiu hing. TIr'
(.Ii'HIh'I'.iIl-K
wooden
surface so ihal
)|
ik'iiis.
web
I'usible
<;i\(_'
ihc imiii'L'ssion ol paink'tl
II
lo increase
a faf'iic
insulaloiA or lire relardani
lo ere. lie llie elfecl of folds of
|iroperlies and. in ihe case of
(.liagged across a gla/e- lo create
tumbling material.
ciirlains.
a series of \ery
• Gilding A
leelinn|ue
\\
herel)\ a hiusli
• Egg tempera eggyolk-based
is
liuL- lines.
uaililional
.\
iiii\Uii\' irs^'d
as a prolectiw toaling lor
painlwork and painl niixi'd
I
its
mix A
own
leaf
a
term usetl w
realislii all\
surface that h
i^.iinletl
anothei' niateiuil. sui
>
is
wry
iinil.ile
liouses the
tliat
medium made (
adding
In
bi<
)(
ol rolled
that
is
(
compound
that
is
able'
absorb minor
wood is
flower.
iris
filling
\
(irout
in
liles lo
continuous, smooth, and unbroken paint finish. • Flush ,A term describing
Hard board
),ird
without
mainl\ lor co\ering sublloors.
a suiiaie
create a tolalK
is
le\ el linish.
• Frame head Tiu- bio.uk'si area running around iIr- inside ol a
wooden door frame
ihan
(|iialil\
inlerior
wood
nalural
Hue
ihal
.
(
a color.
• French windows \ casemenl window or pair of windows
parlicular
higher
iisc'cl
lor
I
)iffcacail c
(
)1<
)r
are
iihin a Hal suiiac
a gartkai or ollK'r outside
a
hole w
I'o
(
>llc'ii
usc'cl
inserl a sec lion
ilh a
c-
lleior
ce)le)r
coxering
,ind resins,
e)il
)n a bill la|i
mounted
bac king.
In lilling
diffcacnlK'
carry weight. .\
describing a
term usually
adliesie)n
le
>
masking
\ariet\' ot
lape ihal creates
w hen
the s.ime decorali\ e plan. liila\'
whilish
a
slic
k
ene)ugh
jusi le>
surface
,1
wilhe)ul dam.iging ihal surface
lor
degree of hues of a
w
ai(.-a.
>cl
ol
linishes.
extend to tloor le\el and commonK' open outward onto that
x )d.
(
io(
.-\
Low-tack
\ariety or
.\
acts as a ba.se tor the doorstop,
in
)flw
s(
)iner\
j(
wood
.\
)ller
le)i
capacitx' of a structure or item
panicles and used
Hardwood
reixiiix'd lo
re
hni(|ue
lre)m a mixture including
linsec'd e
le)
wooden
where
a linish as
Load-bearing Describing the
manulaclured building b( made Ire >in compressed
adjacent surfaces that join an\' un(.'\(.'nness. or
lec
Linoleum
made
thin
.\
to disperse
)rder lo
using liming wax.
Hush surface. fine-toothed saw
.\
<
ilh a p.iini
.\
wood
staining
effect.
between
tilling in
w
d( )ne
Liming
used tor cutting through melal.
a
twi)
be
rc'ale a
c
Hacksaw
or plaster surlaces and
therefore able to maintain
wood
in
smooth
create as
line plaster or
mortar for
l(
mowmenis
ihe bruslimarks
paint-effect
realistic, natural
or
A
ceilings.
possible, I.a\ing oil can also
resembling a
lily
and
brush an
)
unloadc'd paintbrush across a
g< )ld
techni(|ue for creating a
filler
T(
wel painlecl surlaco
u.sed tor gilding.
• draining A
water based painl
,\
Lay off
(
hammered
)r
gripping and
.\
applied m.iiiiK to large surlaces
\er\ thin shc'ci
.\
is
most carpels.
lay
Latex
sue h as walls
describing a traditional motif
Flexible
and
hardw earing, high sheen p)aint. maiiiK used as )clw >rk. a lo|i coal on w Ciold leaf
ot a
used to
a
.\
(
liber
slretching de\ ice that can be
used
)ken color linishes.
(iloss
w hose
pi. ml
,\
Knee kicker
lo transpareni gla/cO,
linl
Ixrse of tlie bristles.
• Flat .\ broad surhice window rail or Irame. • Fleur-cle-lys \ teim
jute
arns.
\
a tloor
construe led,
u.sed lor nalural-llber llooring.
or water-based
lor creating painl effects
as
li
Jic'd
(ila/e .\n oil
wood, ceramic tiles, or marble. Ferrule The nielal strip) around tin.' centnil area ol a paintbrush
checked pallern usualK
dillerenl-c ol(
lie-n
Iramework on which
is
itii
created b\ the w ea\ ing ol
ri.nlil.
supporting a
w
fabric
.\
wooden beam used to make
large
Joi.st .A
or gold painl.
(iinghani
creating paint elfects lo tie.scribe a
gold surlace In
a
pro\ ide extra bulk
improNc the hang.
to
ihe application ot calher gold
elleils, or
with color lo iiiDclme a
finish in
producing
of
tec hni(|U(.'
.1
heaw
|e)r
remo\ od.
is
il
.Mallet
.A
large.'
hammer
wilh
head. cetmniemU used
mase)nr\
.Matte
,\
lerm describing
a dull linish.
ce)mme)nl\
asse)cialed wilh lalex
nalural
w
e
)e)cl
and se)me
linishes.
133
S
I)
D
L
11
F, 1
C () K A T N
E
• Make good
To pivparc a
suriacc ready for
• Marbling A nuinlxT
impression
one
ol
lo crcatL' llic
marble surlaee.
ol a
M
K
!•
i'aint effect
gl.i/e
il
fiberboartl
but
.\
cm
p.iinl
Ik' usi'd
e
I'ari|uel
.1
Ir.idilii >n.ill\
made
is
m.Kk' up
<
into a sausagelike
p.iint
Iechni(|ue
commonK
)duce
|in
>
p.iinl v\\(\\
.\ xx
i.ig IS usL'1.1
sm.ill
Ii
direclion.il p.illern.
Kaggiiig
)l
simil.ir lo
length anel rolled doxx n a
.i
flooring A llooriiig
paint-effect is
ragging except that the rag
.1
linish.
|\iilicul.ii
A
rolling
l(,'chnic|ue that
gla/e or ol
l\|ie ol ii.iinl. re(|iiiix-d
.H liie\
1
or other decorating material
• Medium-density
m,
system A melliod
specific li
illusK
application, using
p.iint
masking tape - to pre\ ent from being eo\ered In painl
n
,i
.m alternalixe
.IS
I'aint
with paper, eardboard. or
i
re.ile
i
>
ollen the inosi suil.ible
is
m.ileri.il.
Rag
Tlu' use of p.iint
antl otln'i' m. lien, lis h
area -
• Mask To eo\er an
S
p.illern. Icxluie.
painlH-t'trci
ways
ol
I
•
(.leccM^ating.
tcchnitiiK' jiioducccl in a
(.
I
herein
l(
irumpled
.i
re.iU'
t
I
either In .ipplying
p.illern.
,1
lo
It
(Ml)F) A manufactured
wooden
buiUling board of varying
arranged in a herringboiu' or other geometrical pattern.
then applying
.Motlern alternatixes consist ol
sirul lh.it
m.ikes up
door or
iiuloxx Irame.
thickness
composed
ol
compressed wooden used
lor a \ariet\
.md
libers
interior
t-ii
and building tasks. |oin two pie\es
joinerx
material - lor exam|")lL',
or baseboanl -
at a
cutting each
n
meet
that the\
•
at
that
is
liles
corner by
degrees so
and
he
1
iiK'.isuremenl Irom
rail
w Ikmc
begins to wheix'
|Xiltern
•
roil \
.-\
be
L'rtKalK o\ er a nail, can
hammered
to eirixe in the nail
head below surtace
•
le\el.
Natural-fiber flooring
covering fiber,
or
coir,
made from
such as
A
of
.\
resembling teeth, th.a
portions
oil
ceramic
jute, seagras.s,
is
number
.1
hand
to
useel to
sharp
eiit
small
hen
joists to
kaul
acts as
in
colors - red. blue,
r.ilios lo m.ikL'
used
and
fliL'X
a wall prior to attaching
• Overspray A
tiles.
.ire
of three
xariety ol
other colors.
p.iinl
used
to se.il
A hole used on |\iper
Puncli-and-rivet set
making
iminlentionally been s]-)lashed
or
l.ibric.
li(
)le XX iih
g.idgel. xx .1
hich rix
i.'l
le.ix
es
.i
indoxx
xx
Ixxo m.iin p.irls
that sliele p. 1st e.ich other verticallx'
on
s.ish cords.
* Sand back
'I'o
use sandp.iper
.md smooth
to lex el
Scale
a surf.ice.
down/up To
transfer
ll.il
surlaee
xx
reproLluced In
heix'
on
sm.ill
linishim'.
to
xxill
it
be
.itliusling its
si/e accoixlingly.
Seagrass
used
(.lur.ible fiber
.\
for natural-liber llooring.
Secondary color m.ide In mixing
.\
color
(.'tiu.il
.imounls
ol ixxo j-irimarx (.olors,
Self-le\eling
compounti
com|")ound [loured oxer uiU'XX'n lloor to produi.\'
lurther coats are applieel.
line spr.i\- or
surface.
.i
up of
im.ige Irom a source
and yellow.
in
window A
.1
stabili/e a surl.ice belore
splatters of i^aint that h.ixe
wnmu
mixeel
Primer A
.1
spread adhesi\e o\er
One
toji
tin.'
expose
surl.ice to
.i
to poxxxlerx surlaces.
Primar)- color
r.iised.
the outline of a pattern or
hen diluted
x\
is
A
sl.ibili/ing solution tor
.1
appKing
ol
underne.uh.
is
m.iele
lli.it.
.is
.1
Sash
angles
(.oncentr.iteel. .icls
strong glue, but
order to cut
attached to
multipurpose .idhesixe XX
suppon lor tloorbo.iids. • Notched spreader A tiling (.astellated edge tool with
134
XX h.il
of
Pol\A inyl adhesive (PVA)
the edges ol
tiles in
oxer the
at right
the blinel
IS
co.il ol
ot the prex ions laxer.
th.il
tool,
extra
to
•
ol fixers ol
a x\ax' that the grain
fixer runs
indox\-
number
Rub back To remoxe
xeneer stuck together
oolI
such
.\ 11. it x\ .i
material into a folded concertina
w iiulow
.\
constructed
bo.irel
wood grain. Roman blind
ln)rizontal struts that gather the
Also knoxxn as ply or plyboaixl.
them to size or sh.ipe them. • Nog A small block of wooel that
ln)m
one
plant
pliers with is
building
to create the impression
tre.itment with
p.me or sheet ol gl.iss. Plywood :\ m.inulactured
XX
llooi
sisal.
• Nippers
l
consisting ol a single, large
small metal punch w hich. w hen placeil
Nail
a |iane ol glass.
Liseel
distance Irom the ceiling, o\er
• Picture window
cotton labric.
.\n .irea ol a xxiiulow
bordering
labric.
wall decorations.
wo\en
p.ineled
.i
that
it
on wallpaper or Picture rail A molding
finishes
painted decoration on a wall. finch
XX
Repeat si/e fhe .ulu.il dimension of a p.iiU'in i\'pL-.il. Rocker ,\ p.iinl-L'lTei tool
a
which are hookeel lIcx ices from which to hang fr.imcLl
.A
p.iint.
lo a surlaee.
it
hori/onl.il or xertical
.\
Rebate
saiiK' lTIccI.
used for joinery purposes. • Mural A large painting or is
• Muslin
Rail
runs along a wall a short
fine-toothed
short in length
the rag into a gla/e or
reproduce
ih.il
i'attern repeat
ol
neatly.
A
Miter saw
saw
wootlen paiuTs till.'
• Miter To
blocks.
gla/eel
.i
or painted surface, or dipping
\
,in .i
\v\ c\ surl.ice.
Semigloss b.iseel,
lor
.\n oil-
mielsheen
XX .ills
.md
or xx.uer-
p.iinl suil.ible
i.'eilings.
USEFUL DECORATING TERMS • Shade
•
In evenxlay usage, a
\ariety or degree of a color: in scientific
floorboards,
terminology, a color
mLxed v\ith black. • Sheen The degree
which
to
Sheet flooring
A
Fabric
tails
Verdigris
that
added
.\
light
greenish coating
forms naturally with age
as a result of corrosion.
to
appearance
a basic
utilir\-
amount of
passing through.
on copper, bronze, or brass
window treatment. • Template A design made
term used
to describe a variet\^ of
• Swags and
curtain accessories
to control the
•
and sometimes
cov ered with hardboard.
a particular finish shines.
•
Subfloor The surface beneath
flooring, usually of concrete or
of
is
Its
copied as a
decorative effect
on metal or
continuous sheets, such as
that acts as a guide in cutting
wooden surfaces. ® Vinyl A soft flooring -
linoleum, \inyl. or rubber.
out a shape from fabric or
sheets or
other materials, or in painting
and cushioned. • Wood-block flooring A tvpe
flooring that
•
An aga\e
Sisal
paper, cardboard, or acetate
laid in large
is
fiber
used
for
a design
natural-fiber flooring.
•
Size
To prepare
«
a plaster
on
a surface.
Tertiary color
A
color
made
of
tiles
wooden
-
that
sheet flooring
surface with size (diluted
bv mixing
wallpaper paste or a P\A
v\ ith
solution) to stabilize the surface
• Tieback A
and ease the maneuvering of it is on the wall. • Soaking time The period for which \\ allpaper is left after
device that holds a curtain to
panels constaicted in a
one
of different finishes.
calibrated with tile-width
finish that colors
pasting before hanging, to allow
measurements and used to mark off the positions that tiles will occupy on a wall.
bare
wallpaper once
paste to soak in and prevent the formation of bubbles.
• Softwood A that
is
natural
•
w ood
pale in color and used
material or other
side of a window^ frame.
Tile
gauge A length of wood.
Tint
To
adjust the color of a
evervday usage, a degree of a color:
Solvent The chemical base
varietv"
terminology, a color mixed
with white.
to oil-based paints.
• Tone A
• Sponging
a color, particularly in terms of
paint-effect
varietv or
its
sponge
• Tongue and groove A svstem
used
to create
an
impression in a glaze or paint. or
is
used to apply a glaze or
depth or
of interlocking
• Stamping A technique of applying a design to a wall,
• Trompe ioeil A term meaning "trick of the eye" and,
or other area using a hand-held block, whose surface
in decorating. de,scribing a
bears a design and
impression of a real object.
paint
•
in
A
decorativ e
technique w hereby paint
is
applied in the cut-out areas of a
cardboard or acetate template
to create a design
•
Stippling
A
on
painted image
•
and then applied.
Stenciling
a surface.
paint-effect
Valance
A
treatment rather like a cornice.
•
A
Varnish
that seals
resinous .solution
and
protects surfaces.
• Varnishing brush
A
long-
create a dragged paint effect.
of bristles are
wet glaze to
•
Venetian blind
.\
w indovv
create a velvety texture.
treatment consisting of a
•
Stripper
number of
to
remove old
A
solution used
from a surface.
layers of paint
ing. a
decorative fabric
extreme
tips
sew
edging that conceals the hanging svstem of a window
haired paintbrush u.sed to
into a
stitch In
machine stitch that takes the form of a zigzag sawtooth and is used for neatening edges.
gives the
tliat
technique whereby the
dipped
a
surface.
produce a
panelled surface.
dipped
• Zigzag
w ood and protects
naairal
w ooden boards
paint to a wall.
is
wooden
.\
brilliance.
that are joined to
floor,
• Woodstain
variety'
degree of
technique w hereby a natural is
A wooden
or
of certain decorating materials.
.\
paneling
wall cov ering consisting of
in scientific
The term
also refers specifically
consisting of small blocks.
• Wood
a secondary- one.
paint or glaze. Alternatively, in
for interior joinery.
•
®
a primarv' color
in
flexible
is
plastic,
slats
of
wood,
or other material, the
angle of which can be adjusted
135
I NDEX acc'L'ssoi'ics.
131
IS,
1
bean iiags, iii.iking, 127 bed co\ ers, re'iilating. 131 bedrooms, 12, hS
canopy, making car paints,
I
iidding, 21. IhS clioosint^. 16.
calico, 10,S
lighting,
120 1
10
bleeding, Sd
acxliniali/int;:
92
iiaiclboard.
lloorint^s. 94.
blinds,
(.leaning off. 99
laying flooring.s, 9^,
9
113
adjacent colors.
10,
11
aero.sol paints, for stenciling.
,^S
furniture.
using as wall hangings, 5 carpet
painting
boxing
appliqueing curtains. 110
bricks:
archways, papering. 50
painting walls, 33
attaching moldings. 94
27
masking. 93
ceilings:
laying flooring, 101
choosing colors.
sealing, 29
cleaning, 25
hanging
108
painting. 27
budgeting, 18
papering. 43. 45 110, 12^
tiles,
choo,sing
window
treatments.
laying tlooring beneath,
9
making
into curtains,
around, 63
burlap-backed carpet, laying. 96, 9"
as a tiling base. 62
44
45
55
rails. 54. tiles.
66
using wallpaper borders. 53 chairs:
covering, 127
improving, 127 stenciling seats. 128
cafe curtains: cutting
l^attens:
chair
using
removing grout from, ~0 renewing surface, 131 tiling
1
suspending shehes from. 123 testing.
110
bathtubs:
1
texturing. 29
.sacks,
storage. 130
1
preparing. 45
.stripping,
burlap:
bathroom:
14
reaching. 25. 27. 45
58
choosing
12,
a valance from.
brush marks, removing, 38, 86
107, 11-1
100
casement windows. 106 painting, 73
choosing hcxMing, 89
baseboards:
a kicker board, 105
replacing. 104
caulking blade. 24
buying .secondhand.
texturing ceilings. 29
tiling,
66
in pipes, 61
bi-()caele,
bagging. 30
in.
61.
boxes, decorating, 130
antiquing. 84
cutting
making tiles,
see also wallpaper borders
120
faux shehes. 37
i
tiles:
laying, 99
border
u.sing
lighting.
105
scrajys. trsing.
stenciling, 35
alcoves:
removing paint from, 39 removing stains from. IOI
measLiring, 112
borders:
cS4
posters and prints. 125
96-97
reviving, 113
blocking, 36
aging:
89
removing, 92
imprcnising shutter blinds,
99
tiling, 6.3
17.
cleaning. 70 laying,
113
fitting,
104
for,
choosing.
107
acilK-,si\e;
calculating quantities, 89
caring
112-113
emphasizing window shape,
97
131
carpet:
blankets, irsjng as cuHains.
i2
a,
81
6i8,
down
curtains, 110
chalk
line:
finding the center ot a room.
calculating quantities:
attaching wall hangings, 54
flooring.
building panel frames. 55
glazes, 31
edging work surfaces, 67
loo.se covers, 127
checks, painting, 34. 103
making
paint, 23
chemical stripper, using, 74, 93 chenille, 126 chipboard, ~3
a
tile
gauge, 6I
89
marking out
bay windows. 106
tiles,
beading:
wallpaper, 43
painting technique. 27 silicone 63.
136
98
61
w indow treatments,
woodwork
finishes.
loo,
73
112
filling
and
chisel, 88,
%
slri]oes.
34
painting. 102
INDEX coir,
threshold
corridors:
132
choosing colors, 13
collage, using Feathers, 129
protecting flooring, 90
collections. 18
coving:
displaying, 107, 129
door
strip,
making, 101
furniture:
84
distressing,
flnger plates, adding, 129
color charts, 16
attaching,
color coordinating, 15, 42
repairing, 55
2-i.
removing
55
for painting,
window
using in
76
treatments,
borders, 53
crackle glaze, 84
papering ec|uipment, 49 tiles, 59
cracks, dealing with. 38
door mats, using scraps, 104
craft kni\es:
d< )()rs:
color scheming, 10, 15
window
treatments, 107
115
marking blades. 48
adju,sting height, 101
recycling blades, 57
defining edges, 76
color wheel, 10
craquelure, 84
coloring glazes, 31
crayons, .stenciling with, 35
masking edges, 93 painting, 76
colors:
cupboards:
painting effects, 82, 84
adjacent, 10, 11
decorating, 79, 85
blending, 15
laying flooring beneath, 98
Llragging,
choosing, 10-17
painting, 76
drawers:
complementaiy, contrasting,
replacing fronts. 131
10. 11
curtain poles. 111. 108
121
1,
1
paneling with wallpaper, 57
hanging rugs from, 54
cool, 10, 13
mixing, 35
curtain tracks, 108. Ill
primary, 10
curtains, 108-1 10
lining,
80 57
painting, 76
dried flowers, displaying, 129 drilling:
inserting wall anchors, 122
70
seconclaiy, 10
appliqueing. 110
tertiaiy, 10
choosing, 108, 109
drip guard. 27
warm,
covering old curtains, 110
drips,
curtaining off corners. I3I
dropcloths:
10, 13
colonxashing, 31
woodwork, SO
decorating
hanging,
1
tiles.
securing, 24
1
lining, 109
combing, 82
complementaiy
storing,
reviving, 110
colors, 10, 11
using alternati\e materials,
concrete subfloors, preparing,
weighting hems, 110
condensation;
papering windo^^ recesses, 50
39
E egg tempera. 85
110-111
92
removing, 38, 86
electrical fixtures:
painting around, 27
cu.shions:
edging, 128
protecting surround
containers, decorating, 130
making, 127
removing paint from, 38
contrasting colors. 11, 121
making
67
tiling sills,
making troDipc
cork
tiebacks,
1
15
painting, 3~. 12
I'licil.
115
r
99
damp
curtaining
laving soft-tile flooring. 99
paint:
faking enamel, 81 gilding with. 83
equipment:
areas:
papering
131
off,
hanging. 48, 49
enamel
lining wallpaper, 56
beading, 27
around, 64
embossed wallpaper, 40
using textured paints. 29
damask, 108
using up, 105 corners:
tiling
window
recess. 50
decoupage:
cleaning,
.^9,
decorating flooring,
57 116
gla.ss,
88
painting. 27. 29
decorating furniture. 85
improvising, 31.
painting effects. 32, 33
Lising lefto\'er wallpaper, 5~
keeping clean. 49
using pressed flowers. 129
painting, 23, 28, 73
papering around, rej-jairing.
sanding
floors,
tiling, 62. 64.
using plastic cornices,
1
I
51,
53
li
93
66 tile strijis.
fabric, attaching,
to, 1
1
.'^6
diffusing light, 120
paint-effects, 23. 31.
dimmers, 120
picture-hanging, 124
disk cutter, using safely. 100
shelving, 122
distressing,
84
door frames:
t
attaching swags
69
57
wallpapering around. 52
D
tiles:
laying,
frills for,
trimming. 128 cutting in. 2^
cord:
of,
.soft
79
furnishings, 126
.stenciling.
115
painting, "O
storing.
i
papering around. 50
tiling.
35
39 60
137
INDEX walliiapcring, \\
57
ll. -16,
intiow -tlrcssiny. 108
cuiiing
nuicl. ivu.sin,^.
elcliintJ Lilass,
1
I
\(i
1()
88-105
i)\t'ring. 2
I.
i
dragging, 80
.storing,
105
lefto\ers, using.
choosing. lOS,
13,
1
126
graining, 85
remoN
1
cupbcxird doors, 79
lUi
92
ing.
grout:
types, 89
15
.sec
iloors. painting, 102,
lO.-i
applying, 67, 69
98-99
utility,
Jin IX:
f //.so
choosing, 69
woock-n
carpet;
floors
cleaning, 67, 71 dried, removing, 70
floors:
nigs, |iainting, 102
finding the center of. 95, 99
slieKes, painting, 37
ixiinting.
replacing, 71
102-103
sealing,
concrete subtloors, 92
fluorescent
corners, 24
foam-backed
cracks, 38
96.
.stickers.
121
carpet, laying,
97
""0
touching
fluorescent lightbulbs, 119
filling:
72
prep.iring floors. 80, 91-92, 95
dressing up, 10^
making. 31
traditional, glo.ss paint.
l-iroleiling. 90,
using leftovers,
39
maintaining. lOi
color sclicniing, P, 107
wall co\erings, 54, 57
wood, 79
graining
i
88
e(|uipnieiil.
F
coloring, 31
choosing. 89-90 c
tabrics, 19
Lip.
70
H hammer, sanding, 125
focal points. 21. 107
hammered
83
frames, gilding, 83
hands, cleaning. 86
ga]is in floorboards, 91
freehand painting:
hanging basket, 130 hanging systems:
decorative co\ing, 55 fiirnitiire,
taking with decoupage, 85
grouting, 68
over stenciling, 85
77
stairs,
painting
woodwork, 75
tile-effect floor,
Imials.
allowing
for curtains, 107, 108,
100
103
French windows, 106
for,
for pictures, 124
haixlboard, 73
frosting varnish, 116
1 1
ire-retardant materials. 118. 126
flagstone flooring, 101 flaking paint. lectifving, flexible
tiles,
,^8
furnishing fabrics, 126
acclimatizing, 92
furniture:
niling, 102
aging, 8)
laying subfloors, 92 painting, 102
collecting. 18
filler:
woodwork, 75
hnish, 81
for blinds, 112
68
walls, 24, 45, 61
linger plates, 129
I
calculating (|uantities. 31
turning. 91 flooring.
decorating, 83-85
IuulIwoolI. 73
floating floors, laying, 94
gilding. 83
hea^l boards:
flocked wallpaper, 40
pre]iaring for painting. 83
attaching cushions. 12"
protecting, 24
covering, 128
lilling
floor
89
tiles,
calculating quantities, 89
fusii:)le
web:
heading tape alternatives,
faux, painting, 103
attaching curtain linings, 109
inlaying mosaics, 101
making no-sew
laying flooring over, 92 laying hard laying soft
100-101
tiles, tiles,
look, creating
sealing with wax, lOi
floorboards:
101
12
1
fabrics, 113 for.
112
inseliing
using gold
]")en,
decorating. 116-117
91
1
shic'lding,
138
jugs, decorating,
effecting .stained glass.
replacing, 91
.staining,
jigsaw, shaping cornices, 114
16
1
etching.
93 103
1
effecting leaded lights.
repairing, 91
.sanding,
66
J
glass:
inserting nog, 92
lifting,
59,
liles,
81
cleaning, 77,
94
ideas, lorming, 1()-18
gilding. 83
faux, painting, 102 joining,
92
stripping paint, ^4
measuring a.
111
hot-air gun: .softening \inyl.
choosing
rernoving, 92 rListic
G gathered blinds.
99
maintaining, 104
blinds, 113
I
1(1
97
K knee
77
kicker,
88
knots:
glaze. M) ;ippl\ing. 32,
jute flooring,
3.^
creating, 79
130
INDEX dcaliiiL;
with hleeeling, 86
sealiii",
^S
meelium-density liberboard, sec
MDF
making pads,
using tableware. 130
metal detector. 122
L
metallic finish, creating, 81
ladders, 28
metallic paint, using. 81
P
metals:
padding:
using safely, 23. 50
105, 129
.securing, 129
laminates, painting. 83
faking, 81
carpeting over, 96
lampshades. 121
painting. 77. 83
for rugs. 104
mirrors, hanging. 12S
11
late.x paint,
laying
mitering
lead, testing paint for, 74
leaded
reproducing. 11"
lights,
leading, faking, 81 leather curtain
111
ties.
light,
improving, 107
light bulbs. 119. 121
unscrewing, 27
glass paints, 116
one-coat paints, 28 preparing, 25
edging shelves, 123 filling. 75
storing, 39. tile
sealing
mood, mortar:
tile
labeling. 39
recycling, 39
edges, 69
creating, 10. 12- IS. K.P
gauging depth. 100
painting as a swatch. 16
laying quariy
removing. 92 loose co\'ers. measuring
for.
12'
M
tiles.
100
combing, 82 decorating woodwork. "^9-82
making a floor panel. 101 making your own. 65, ^1
dragging, 80
painted
tiles.
68
painting. 36
marble
using mosaic
tile effects,
decorating
103
woodwork. 82
masking: distressing
woodwork. 84
painting furniture, 83 painting
.stripes,
34
painting wall edges, 27 .sealing
65
with silicone. 69
cutting for 9"'
.securing stencils, 35
using. 63
notice board, making. lOS
72,
buffing, ^8
measuring:
ornaments:
i6.
SI
sec also calculating (|u.inlities
choosing. displaying,
102.
furniture,
8S
walls, 37, 124
paint
]i;ids,
28
extending, 27 using. 26
adding, 21
112
flcx)rs.
paint kettles, 25, 26, 78
open-plan room layouts, 20
wall|i.i|ier.
34
Irunipe iocih
on on on
78
32
.stippling. 30,
stripes.
MDF, 73 i:)linds.
sponging, 30, 32
stenciling, 35
notched spreader. 60
wood,
36
rag rolling, 30, 33
stamping. 36
using. 64. 101
oil,
68
staining glass. 117
nippers. 60
stripping floors, 93 tape:
tiles.
ragging. 30, 33
door mats. 104
spray painting. 28
masking
painting
printing,
89
choosing. 90
laying.
""9
painting walls, 30-37
natural-fil:)er flooring,
creating
23. 31.
liming. 80
painting floors. 103 tiles,
N
grouting, 69
marbling:
equipment,
murals. 36. 65
marbling, using decoupage. 8S
cutting, 65
choosing, 30
colorwashing. 31
tiles:
murals:
63, 65
36
applying, 6S
irsing
tiles,
bagging, 30, 32 checks, 34, 103
simulating, 3~
98
paint effects, 30
L:)locking,
lining walls. 46
mosaic
8^ 68
paints.
paint cans:
lighting pictures, 125
lining paper. 40, 43
39
of,
edging floorings, 94, 98
sanding, 74
laying.
16, 17
co\ing, repairing and fixing.
liming, 80
94
calculating quantities, 23
disposing
for painting, 26
designing your own, 98
floors,
choosing colors,
painting, 27
linoleum. 89
wooden
paint, 22, 72
covering panel edges, 55
gilding, 81
119-121
lighting. 16.
69
SS
20-21
light n.xtLires,
66,
tiles,
moldings, decorative:
le\els, storing. S~ lifestyles,
laying
mitering borders. 53
26
off,
laying natural flooring, 97
mitering, SS
distressing with. 84
IS. i
1~ 18.
paint stri|iper.
129
""i.
pLiint trax's. filling.
93 26
139
INDEX masking edges, 47
73
jiaintlMuslics, 28,
IxilKMy-poweied, 28 breaking in. ^5
pressed flowers, 129
primaiy colors, 10
p.itleriis:
49
centralizing, 43,
priUKM':
cleaning, 3^, 86
choosing. 42
|inining mel.il. 77
clamix'ning, 26
linking. IS
priming
jilasler
making
matching. S6
[iriming
woodwork, 75
a steneiling lirusli, 3"^
for paint elTefls, 31.
sek'cting, 26, 27,
"'-*
ri'pe.ils.
73
100
i3.
priming. 30 professional help:
rolling. 3-1
with color scheming. 16
lor sii|:)pling,
stenciling. 33
Moling.
in iLAluiX'd linish.
32 87
.39,
washing, 26 |xiinling:
27
ceiling.s,
nii.stake.s.
curtain tracks.
86
fini.shing. .^8-39,
86-87
102-103
furniture.
83-83
alti.-rations,
24
83
Willi stripping.
sanding
70 93
floors,
woodwork, 74
stripping
using a disk cutter, 100
picture
rails,
124
picture
tiles,
59, 61,
picture
windows, 106
66
using a paint sprayer, 28 using a steam
124-125
Lising
wood
.stripper,
punch-and-ri\et
44
78
finishes.
Ill
set.
hanging. 124
boxing
quarry
.shoe bo.xe.s. 130
87
painting around. 2^. 28
papering around. S2
texturing. 29
68
soft-tiling
upholstery snaps. 12"
Venetian hlintK.
1
13
22-39
tiling
panels:
a
pan
105
rest.
papering aiound. 52 reducing \isual impact
renting tools. 88
distressing. 84
w
all|i.ipering,
|-)lant
in.serting in floor tiles. 101
66
using up wallpaper. 37
wood
paneling
47
ragging:
painting
keeping paper clean, 49 marking measurements on. ^6
tiles. f)8
using tableware. 130
relief tiles, using.
hanging
29
making making
plastic:
strijis.
poly\ inyl adhesi\
stand. 71
88
ribbon:
24
posters, 125
60,
14.
le.search. 18. 10~
coving, fixing. SS
jiot
S9
renting equipment.
plaster:
69
plates. 12
curt.un
1
ties,
licli.ic ks.
1
e,
sec
1
I
1
IS
threaeling lampsh.ides, 121
rocker:
polystyrene ecning. fixing. SS 1"
of. 15
I
refrigerators, joainting. 131
using tiling l^lywood. ~3
S""
pasting table: cleaning. ^~
1
decorating walls. 30. 33
43
cowring shehes. 123
1
1
rag rolling:
66
containers:
.sealing. 2S.
stairwell lengths. 31
ties.
decorating pots, ^l, 129
filling,
borders. S3
rafha curtain
100
tiling walls, 62,
faking, 53
radiators:
painting.
89
tiling floors,
improvising.
making
painting around. 2"
l^lanning:
combing. 82
cleaning.
1
choosing curtain lengths. 109
around. 99
around, 64
flooring.
woodwork. ^5—77
pasting brush.
1
painting.
.storing materials, 39,
see also
1
hidden. a\oiding. 118. 122
123
tiles,
tiles:
laying. 100
61
in.
cop|")er. as curtain pole.
23
.shelves.
140
plumbing. 24
painting ceilings, 27
125
accessing, 55
pa.sting,
major
nil
drilling tiles,
retouching, 87
using
nil
I
(>""
pipes;
metal.
ualls.
iiing. 2
l^rolective clothing:
123
pipes, 77
tiles,
90
lor.
cleaning. 125
kitchen e(|uipment. 131
.safety.
1
picture hooks:
pictures, 18,
116-117
gla.s.s,
choosing flooring
pictLire lights,
cc|nipnient. 23. 28. 73
tloors.
1
removing, 30
ing paint. 84
w
.il
w w
I
120
lights.
in.serting.
2~
CLitting in. elr\
38.
electric
wooden, shaping.
picture frames, choosing. I2S
1 1
illi
with epoxN grouting.
l^ets,
cleaning up. 39. 86 correcting
w
20
using letto\ci" wallp.iper. S7
pendant
luidgeting, 18
25
P\A
using. ~0 roller blinds. 112 fitting,
113
no-sew. makinu.
1
13
INDEX rollers,
making
28
mosaic
in
tiles,
6S
space, maximizing, 20
scissors, oiling, 57
screen, covering. 131
making
.seagrass flooring,
covering
masking, 3^ painting lloors, 102
treatments
softwood, 73
dampening, 26 44
window
see also
scenting cushions, 127
extending, 27, 102 a scorer,
fabrics, 12, 17
equipment, 126
scaling down/Lip, 36
batteiy-powered, 28
bedding
choosing
74
a iLibe.
sash windows, 106
applying glazes, 32
stairs.
sponging:
89
creating a verdigris effect. 81
97
dyeing wood. ~8 painting floors. 103
.sealing:
painting stripes, 34
decoupage, 85
painting tableware, 130
painting walls, 26
du.sty walls. 25, 45, 61
painting
removing excess paint, 26 removing trails, 38
grout, 70
painting walls, 30, 32
Homan
blinds.
1
lining-paper edges, 46
new
34
rolling patterns,
tiling
functions
of, 12, 15,
spoflights. using. 120. 125
spraying:
bathtub edges, 63
waterproofing
90
seam
increasing space, 14, 125
67,
tiles.
covering
wooden
floors,
93
faux, painting, 102
compound, 92
.semiglo.ss paint, 22,
shade. 10
padding, 104
sheet flooring: laying,
using as a throw, 127 using
at a
stair rods, placing,
12
painting, 77
reversing wcjrn carpet, 97
98
sheets:
window, 110
,staii"uells.
papering. 51
stamping:
using as curtains, 110
rush flooring, 97
using as clropcloths, 24
making
rust:
using as a throw, 127
stamping
removing. 77
jiacking
(
)ut.
i
shelving, 122-123
118. 122
disposing of oily electricity. 52.
1
fire-retardant materials. 118.
painting. 3~
etching glass. 116
hand-painting o\er. 85
improxising. 123 of.
50
mounting, 122 under-shelf storage, 130
126
using a disk cutter, 100
using a cornice shower, tiling. 6^
using ladders, 23, 50. 51
showrooms.
using a spray gun. 28
shutter lilinds, improvising. 113
using a steam stripper, 44
silicone, applying, 67,
harmful substances. 118
16
69
sanding walls.
25, 26.
sizing w.ills.
sanding wootlwork. 74 .sanding block, using. 25
tracing
and
cutting. 35
using leftover wallpaper. 57 stepladders. 23, 28
decorating
pa|")ei'.
46
w.ills, 30.
32
101
soap dishes: tile,
stone:
faux, painhng.
1
slate floors, laxing.
.soft
.stencils:
rag rolling oxer. ^^
sizing lining
45
121
stippling:
size:
sanding furniture, 83 sanding moldings, 74
on lampshades. on tiles. 68 on walls, 35 storing. 39
isiiing.
laying, 9^
84
.sanding floors. 93
sandpaper, "3
114
as,
sisal flooring:
.sanding: distre.ssing,
\
44
i
marking the position
18
stripper, using safely.
on blinds, 13 on cushions. 128
equipment. 122 fciii.w
rags. 7,s
steam
stenciling. 18
decorating. 123
4l
avoiding pipes and wires.
105
floors,
staples, hiding. 128
22
supporting curtain pole. 111
.safety, 9, 23,
stamjis, 105
stamping walls. 36
shelf brackets:
preventing, 39
97
stairs:
laying flooring. 97
hanging. 54
protecting carpet, 104
masking, 38, 45
removing from carpet, 104 removing from wallpaper, 56
self-adhesive pads, 124 self leveling
making, 127
floor cushions,
reproducing, 117
.stains:
.secondaiy colors. 10
choosing, 97
using a spray gun, 28 •Stained gla.ss,
10
1
making cushions from, 127
rngs:
35
.stenciling.
69
49
roller,
.secondhand curtains.
rubber flooring, laying, 98
68
stenciling, 35
plaster, 25
subfloors, 92, 95, 103
12
rooms:
tiles,
attaching. 6^
furnishings. 126-128
.-^"^
moving
slabs, 10
.sealing.
29
stone-effect xxall coxering. 54 .storaee:
141
INDEX decorating containers. 130 storing e(]uipnient. 39. 5^
making. 120
strip-light cliilu^cr.
tiles 5rt' floor tiles;
creating an impression of
smoothing. 78
awkward
preparing walls. 6(Mjl tiling
woodwork. 74 18-21
tiling
work
allowing to
dr\-.
removing, 92
surfaces. 67
waterproofing
choosing, for woodlilock
Lising leftovers.
67, 69, 70
tiles,
and
tails.
1
126
16.
trellis,
.switches, icc electrical fixtures
\
inv
I
105
22
89
tiles.
hanging, 48
transfers, decorating tiles.
15
inyl paint.
94
tortoi.seshell effect, creating.
preparing. 92. 98
V
vinyl wallpaper, 40
patching. 91 .secret nailing. 55.
95
floors.
98
laying,
58-66
laying floors. 94
94
12
cleaning, 104
tongue-and-groove:
subfloors:
1
creating. 81
66
to wallpaper. 56.
tiling walls,
dressing windows. 107
swatches.
up
85
68
wall anchors, inserting. 122 wall coverings:
covering walls, 54
decorative moldings. 55
trimming:
T
curtains. 110
wallhangings, 54
lampshades. 121
wallpaper, 40-53
tablecloths, painting. 85
shelves. 123
tableware. 130
soft furnishings. 128
tacking
stairs,
97
securing curved edges, 96 tassels,
trumpe
I'oeil.
hanging. 124—125
papering around. 52
cords. 37. 124
protecting. 24
faux aigs. 102
cutting curves, 64 cutting sheet flooring. 98
laying floor
tiles.
99. 100
wall
selecting fabrics. 54. 57
textured paints. 22
hard-tile effects. 103
choosing, 59. 65
vinyl-tile effects.
cutting, 63, 64, 65
103
decorating. 68
85
drilling.
leftovers, using. 71
turpentine, reusing. 86
maintaining. 71 polishing. 69. ^0 replacing, 66, 71
plastering over, 45
themes, 20-21
window
treatments.
reinforcing with accessories.
131 12""
up
plain curtains. 10"
using tassels, IIU tile cutters.
60
mounting. 63
u.sing, 62,
100
saw, 64, 65
tile .spacers.
142
wallhangings. attaching. 54 wallpaper.
89
63. 100
4()
checking batch numbers. 46
98
V valances.
61
see also tiling
choosing. 42
covering curtain poles. 1
maintaining. 57
14
disguising
window shape.
10"
enhancing wood.
"'2.
^8
maintaining wood. 87 tiles.
removing
stains.
56
stripping. 44
frosting varnish, applying. 116
protecting painted
prepa.sted. 4^
protecting. 57
varnish:
crackle \arnish. drying. 84
gauge:
making. 61
tile
tiling over.
uplighters. 120
laying.
tiebacks, 115
tile
decorating boxes. 130 painting. 12^
utility flooring.
dressing
sprucing up. 66. 68
upholster}' snaps:
107
throws.
70
timg.sten-halogen lightbulbs. 119
applying. 29
choosing
59
attaching fixtures to, 70
tablecloth.
texture. 15
tiles.
floodioard effects. 102
stonework, 37
colors. 10
paneling. 55
wall lights:
37
painting floors. 102-103
making. 110
templates:
tertian*'
wood
wall decorations. 118
storage boxes. 130
strips:
attaching to
i
vinyl flooring. 89
wcjoden
93
10
verdigris effect:
planning. 62
floors.
<-)t,
painting, 113
and borders. 66
inserting tiles
83
floors,
varnishing brush. 31. 79
Venetian blinds.
(rt
wallpaper. 44, 61
.swags
areas,
equipment. 60
painting, 34 .stripping:
style.
woodc-n
()\
designing layouts, 58-59. 65
height, 42
furniture,
protecting wallpaper. 57
tiles
calculating (|uantities,
dealing with
.stripes:
wall
tiling:
using leftovers. 5^ see also wallpapering
68
wallpaper borders:
1 1
INDEX choosing hanging systems,
attaching, 53
decorating lampshades, 121
10". 108
wallpapering, 40-53
cornices,
removing paint splashes, 38
14
1
curtains, 109-111
centralizing patterns, 43, 49
equipment, 108
correcting mistakes, 48, 56
.swags
and
.sanding, 74 .stripping.
work
115
tails,
tiebacks, 115
for
windows:
hanging. 48-52
work
altering apparent shape,
lining walls. 46
51
surfaces:
chopping board.
tiling,
67
types, 106
51 pasting, 47
see also glass
planning, 43
windowsills,
preparing walls, 44-45
\\
tiling, 67,
wallpapering cornices, II4
liidelen,
picture-hanging, 124
wallpaper paste:
hanging posters. 125 keeping, 57
71
ires:
wallpapering shelves, 123
axoiding, 118, 122
wockI, types
of,
wood-block
floors:
73
laying, 95
wood
mixing, 47
removing excess, 49
dyes, 78
wood, 84
anticiLiing
wallpaper-hanging brush, 41
wood
effects:
graining. ^9
cleaning, 57
painting floors, 102-103
walls:
a\'oiding pipes
and
wires,
wood
fini.shes,
72
enhancing woodwork, 78
118, 122 filling, 24. 45,
61
.sealing floors,
wooden
framing. 12
floors,
95
89
painting, 22-39
calculating quantities, 89
preparing. 24-25, 45
designing
sanding, 25. 45
laying.
a layout.
protecting. IO4
58-71
renovating, 93
tiling,
waterproofing: tiles.
67. 69.
sanding. 93
70
utility flooring.
72.
using prefinished flooring. 94
98
varnishing, 95
78
waxed,
wood wood
antiquing wood, 84 buffing, 78. 95 liming. 80
porous
\\axing
wooden
tiles.
floors,
104
paper, 4O
woodstains, 72, 78
woodwork: choosing colors,
frames:
painting. 73. 77
12, I4
cleaning, 87
8~
coloring. 80
reiiainling.
decorating. "^2-87
S"
window guard. ~7 w indow recesses: measuring
enhancing natural
for blinds. 112
maintaining, 8"
masking. 26
I
window Ueatments. 106-115 blinds. 112-113 fabrics,
"^8
graining. ^9. 85
tiling,
choosing
\A'of)d,
niling, ~S
papering. 50 ()
80
paneling:
woodchip
104
wicker, painting. 83
rails.
buffing, 95
grain, raising,
coxeilng walls. 55
.sealing
window
94
94-95
sealing. 25, 45. 61
wax.
.stairvk'ells.
67
papering around, 50
cutting, 46,
74
platforms. 45
in.serting a
107, 114
measuring and
7")
replacing, 24
anchoring edges, 47, 49, 56
equipment, 41, 57 finishing, 56-57
priming.
painting.
2"'.
75-77
p.iiiiling elTects,
108
jirepariug.
79-82
^4—75
143
Acknowledgments Authors' Acknow ledgmkn is Many thanks tliis
Jiitle.
to
all
those
and
who
inelix ickials
book. However, the [op Sarah, antl Helen i'luink
ol ihis
\(>u
list
Ik'I|X'cI
your
loi-
us lo produce
lirmly otcupietl
is
humor us and deal with innuendo o\er the past year.
Linenin.L; ahilily to
nianiKT
ol
i')y
total prolessic )n.ilism all
Publisher's Acknowledgments Doiiinu Kindersle\' would like lo thank the lollowin,^:
Prop loan and provLsion of samples H Hiswell
Q
Pie (tools anel inak-rialsj;
Leggate (lloor eoxerings): A.W. C'hanipion duinher):
>bt
Lead and Light (etching
SDM
Leyland
fluid);
(tools
and
materials);
Metal Paint Ltd. (specialist paints); John Oliver (wall covering.sj. Editorial
and design assistance
Catherine Rubinstein and Penelope Cream For editorial assistance; Chris Bernstein for the index; Josephine Br\"an for proofreading; Rachel Symons for design assistance; .Mollie Gillard for picture research;
and
Dr.
Sue I)a\idson
for
cheeking health
Artworks Kuo K;ing Chen and
;ind
s;ifet\'
guidelines.
Halli .M;irie \eirinder.
Photographers Ste\e T;inner. .Andy Crawford, and Sarah .\sluin. Photographic assistants .\Iar\ Wadsworth and Lee Walsh.
Hand models Toby Heran, Pepukai .Makoni, Charmen Menzies, and Maiv Wadsworth.
Picture Credits Dorling Kindersley would like to thank the following for permissi(Mi to reproduce their photographs:
Key: a above, b below, c center,
f tar,
left, r
1
right,
Fired Earth: S9bc. 66c. 66cr, 97tr; Jake Fitzjohns: (;hris For.se\
1~1;
:
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t
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1-tbr;
Ltd.: 53cr;
Robert Harding Syndication: Dominic Blackmore Homes 'le and Fads (paint ;ind w;ill coxerings): ~tr, 9cl. Ibl, khi. Icra.
©
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Parham are who have had
Julian Cassell and Peter professional decorators
many
own In this
years' experience running their
successful decorating business.
book they bring
to a familiar subject
a fresh
and
approach
share their trade
secrets, enabling you to improve your
techniques, develop your creativity, and
save time and money.
DK
PlIBLISttING, INC.
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DECORM'ING
SB COLOR AND STYLE
Hints fe'Tips PAINTING WALLS TRIED-AND-TESTED TECHNIQUES Innovative ideas, sliortcuts, and tricks
of the trade enable you to achieve professional results.
COVERING WALLS
INGENIOUS TIPS Special tip boxes provide practical
TILING WALLS
help, preventing
problems and
saving time and money.
DECORATING
WOODWORK EFFECTIVE PLANNING Charts and checklists help you
plan each project thoroughly before you begin.
COVERING FLOORS
SPECIAL EFFECTS
Rot window treatments
Easy-to-follow instructions help you create a range of decorative effects,
whether you are or freshening
starting
up
from scratch
existing decor.
FINISHING TOUCHES
EXPERT ADVICE Professional decorators Julian Cassell
INDEX
and Peter Parham share thousands of tips
from years of first-hand experience.
ISBN 0-7894-2393-6
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