




The top photo shows a stain on the wallpaper that is probably related to a rain or hurricane event a few years ago.
Water stains (and also other substances, like rust, blood, ink, oil, tobacco, tar, cosmetics, and more) will bleed through wallpaper. So, before patching the area, it is imperative to use a stain blocker to seal the problem. My favorite is KILZ Original oil-based.
KILZ will seal off the stain all right. But wallpaper won’t stick to it. So, in the third photo, you see where I have primed over the KILZ with a wallpaper primer (tinted light blue, for visibility). It’s not necessary to prime the entire wall area to be patched, because this type of wallpaper will stick to itself with just plain old adhesive.
The striped pattern made for an easy repair. I took a straightedge and sharp razor blade and trimmed along the striped design, creating a long skinny patch. See fourth photo. You can also see the strip pasted and booked (folded pasted-side-to-pasted-side).
Once that sat and relaxed for a few minutes, I took it to the wall and appliquéd it over the damaged area, going the full height.
There was a very slight color difference between the paper that had been on the wall for 20 years and the paper that had been in a dark closet. Had I placed the white area of the patch next to the white area on the existing paper on the wall, the color difference would have been noticeable. But trimming along the blue stripe gave the eye a logical stopping point, and so the color difference is not detectable.
In the finished photo, you would never guess there had been anything amiss with this wall.
I used this same technique to patch over the bug-bite holes in yesterday’s post.
And another good reminder that it’s always best to order a little extra wallpaper, in case of the need for repairs later. Store the paper in a climate-controlled space … not the garage or attic.
The wallpaper is by Schumacher, and appeared to be an old-school pulp paper material.
This is the same house as in yesterday’s post, and I love the way the papers in the two near-by rooms coordinate in theme and color.
Note how the light blue color is just enough to make the beautiful millwork / moldings in this room stand out.
A geometric pattern in this dining room was more than a bit of a challenge. The wainscoting ran to slightly different heights as it went around the room. The ceiling in most sections was pretty level – but on the right side of the east wall, the crown molding ran up, and then back down again.
All of this means that the design motifs were not going to line up perfectly all the way around the room.
Even though the eye sees the pattern at the level of the chair rail most prominently, I chose to position the motifs so they hit the top of the wall with their tops intact. This meant that the bottom of the motifs were cut off when they reached the chair rail.
This ended up being a good decision, because, as already mentioned, the varying heights of the chair rail meant that the motifs would land on it at different points, anyway. Also, since so much of the room was comprised of the 5″ high areas over the doors and windows, I felt it more important to keep the motifs intact at the ceiling line.
That worked fine most of the way around the room. Except for that east wall, where the crown molding rose and dipped. The wainscoting also got off-level here. That is the second photo above.
I ended up with motifs that tracked up and down from the two moldings. That meant that the motifs became taller or shorter, or had more or less space between them and the moldings than the rest of the room. This would have been acceptable, because the homeowner was well aware of the home’s framing issues.
But I pulled a few tricks out of my hat to camouflage this. I took scrap wallpaper and cut out around the design motifs, to make them the correct shape and height to match others around the room, and appliquéd them on top of the skewed motifs.
No photos of this process, sorry. But you can see in the second photo that the motifs look whole and uniform all the way across the wall.
This wallpaper is by Baker Lifestyle. It is a sturdy non-woven material. It can be hung by paste-the-wall, but I prefer to paste the paper. The home is in the Heights neighborhood of Houston.
Re my previous post, where I explain why to add 2″ to EACH side of EACH dimension (height and width) of the wall when measuring for a mural (for a total of 4″ to both height and width),,, thus when the mural is installed, there will be 2″ or more of excess paper trimmed off and discarded from each side.
Usually, the manufacturer leaves a good bit of space around all sides that has no important pattern or motifs, so you are not losing anything special when this excess paper is trimmed off.
But this mural had a part of a bird flying in from the left edge. And he was going to be completely cut off and thrown into the trash.
I thought it would look better if the mural included this arriving feathered friend.
So I took the strip of wallpaper that had been trimmed off from the left side of the mural, and cut around his figure, pasted the back side, and appliquéd him to the upper left edge of the mural – right where the artists planned to have him be.
The second photo shows a mosaic composed of scraps of vintage wallpaper cut into blocks and appliquéd onto a wall behind a sofa.
I’m betting this homeowner didn’t have full rolls of wallpaper, but stumbled upon an old sample book, and simply cut her pieces from its pages.
What a wonderful way to get a lot of color and retro-style!
I plotted the layout of this pattern to have the leopards’ heads be at the top of the wall, just under the crown molding. This worked nicely for the first three walls. But due to unplumb walls and a very unlevel ceiling, as the wallpaper strips moved from left to right across the four subsequent walls, these poor leopards got their heads got cut off.
I cut new intact heads from scrap wallpaper, and appliquéd them onto the cats’ chests. A little snipping and trimming was needed to get the various body parts to line up.
The leopards’ necks are a little shorter than when they started out. But that is much less disagreeable than half-heads. 🙂 From 9′ down on the floor, all the eye can see is that the animals’ heads are lined up perfectly under the crown molding.