The previous wallpapers I’ve hung by Katie Kime have been on a non-woven substrate, a dependable synthetic material that has many positives going for it – light weight, breathable, stain-resistant, strips off the wall easily when redecorating, doesn’t expand when wet with paste so you can paste the wall as an alternative to pasting the paper, doesn’t expand so you can hang pasted strips immediately (no booking time), and your measurements will be accurate.
So I was surprised today by the weight of this material. And I could tell immediately that it was not their usual non-woven material.
Through a 20-minute Chat with their Customer Service (which is excellent, by the way), they told me that, due to the construction supply shortages related to the COVID pandemic, they are currently unable to get their usual materials, os have temporarily switched to a vinyl.
The backing looks like non-woven to me, but their instructions say to paste the paper and then book for 10 minutes, like a traditional paper. I suspect these instructions are outdated, but I followed them anyway.
This stuff was very thick and stiff … like working with a sheet of plastic. It was hard to press tightly into corners and to get tight cuts at ceiling and floor. I had to push really hard with a brand new blade to even slice through it.
I even had to use the heat gun to “melt” the material a bit so it would fit into and around inside and outside corners. This stuff would be the dickens to hang in a room with intricate cuts and turns.
Another room awash with color, and even better with this Van Gogh-inspired wallpaper pattern on the accent wall.
This is a home office in a nicely updated older home in the Eastwood neighborhood of Houston.
The wallpaper is a textured / embossed vinyl on a non-woven backing. It was fluid and workable, and clung to the wall nicely. It’s really a good product.
Usually, wallpaper is printed on a white substrate. But, because wallpaper tends to shrink a little when it dries, often you end up with hair’s width gaps between strips, which can show thin lines of the white backing, and also sometimes the wall itself.
This manufacturer went the extra mile and printed on a darker substrate. This greatly reduces the chances of white peeking out at the seams.
The large medallion on soft lavender on all walls of this large bedroom worked well for this gal for many years – but now that she’s an older teen, it was time for an update.
So instead of putting wallpaper up, today I took it down.
Most people think that stripping wallpaper is difficult. But if the walls were prepped properly, and if the paper was hung properly, and if the proper removal steps are followed, it should all go well, with minimal damage to the walls. See my link at right, on how to strip wallpaper.
The most important thing is to separate the top, inked layer of paper from the backing / substrate layer. I find that wetting this top layer with a sponge and plain water helps strengthen the fibers, so the top layer can be pulled off in larger strips.
In the second and third photos, you see how the purple layer has been stripped off, leaving the white backing attached to the wall. This top layer has to be removed, because it has an acrylic (or vinyl) coating, and will not allow water to pass through it.
The next step is to soak the backing with plain water and a sponge (see photo). No chemicals, no additives – just plain warm water. You will have to reapply water several times. The idea is to let water soak through this backing layer, to reactivate the paste underneath. Once that paste is good and wet, it should release from the wall. Sometimes you have to gently scrape the backing from the wall. But in my case today, once that paste was reactivated, the substrate layer came away from the wall in full, intact sheets. Easy peasy!
One photo shows my “dull” 3″ stiff putty knife. I call it “dull,” because it’s old and beaten up. But it’s really rather sharp. I use it to carefully get between the inked top layer of wallpaper and the bottom substrate layer. And then I use it to gently scrape wallpaper from the wall.
In my case today, the previous installer had done a superb job of hanging the wallpaper. He applied a primer before hanging the paper. That primer helped make this whole removal job go well, and it protected the walls from damage.
The family will need to apply a stain blocker to prevent any residual paste from causing the new paint from crackling or flaking off. Once that’s dry, the walls can be textured and / or painted. The room’s resident told me that she is planning to go all white.
This home is in the West University area of Houston.
It’s not good to put wallpaper over wallpaper, especially if the bottom layer is vinyl. And double especially if no prep is done.
In this case, a vinyl wallpaper was hung over another vinyl wallpaper, which had been hung on unprimed drywall, back when the house was built 30 years ago.
All very bad. Vinyl is plastic, and therefore glossy, and that means that new wallpaper placed on top of it won’t stick. Look at the curling paper in the top photo and you will see what I mean. The second photo shows the paper curling away from the baseboard.
Raw drywall is porous in some areas, meaning it sucks the paste off the wallpaper, and thirsty in other places, meaning that it bonds tightly to the wallpaper paste and is often impossible to get off without damaging the drywall.
In the last photo, you can see where I have peeled off the top layer of wallpaper, revealing the paper backing underneath. Under that, you can see where I have removed some of the top layer of the first wallpaper, and the lighter colored backing of that paper is also visible.
So you are looking at two layers of wallpaper backings, installed on the home’s original drywall.
I knew I could remove the top layer of vinyl paper (see my page to the right “How to Strip Wallpaper”). But I honestly didn’t think I would be able to get the first layer off the wall.
But this job surprised me. … Turns out, both the top and bottom layers stripped off relatively easily, and with minimal damage to the drywall. Solid vinyl wallpapers are easier in situations like this. Click the link on the right to see the process.
Note: “Relatively easily” does not mean “quickly.” It took me about four hours to remove the paper from this 10 single roll (5 bolt) powder room.
I put this paper up back in the ’90’s. It’ still in perfect shape!
The two girls who shared this bathroom have grown up and moved away. Mom thought it was time to get rid of the girlhood décor and move to something more suited for a guest bathroom.
The original paper was a pre-pasted solid vinyl. The vinyl layer stripped off easily, and left the paper backing clinging to the wall. A good soak with plain water softened and reactivated the paste, and the backing came away from the wall easily and with minimal scraping (the putty knife is there more to show perspective). The primer I used back then, oil based KILZ Original, helped protect the walls, and prevented moisture from the removal process from soaking through. KILZ was a superb primer, and I wish I could still use it. But the EPA required changes to many products, to be more environment-friendly, and wallpaper paste will not stick to the new formulas. 😦
Back to the wallpaper … This pattern is from Anthropologie. It is made by York, and is in their SureStrip line – one of my favorite papers to work with. It is pre-pasted and water-activated. The non-woven substrate is thin and pliable (unlike most other brands), conforms nicely to the walls, and exhibits no shrinkage / gaps at the seams when it dries.
The material is designed to strip off the walls easily and in one piece, when it’s time to redecorate. (Although I pretty much doubt that claim – and I would prefer that it not … There is much less chance of damage to the wall if the top layer of wallpaper strips off, leaving the backing on the wall, and then the backing is soaked with a wet sponge, the paste reactivated, and then the backing will come off easily, with minimal or no damage to the walls.)
The home is in the West University neighborhood of Houston.
This custom-made “Meadow” wallpaper by Peter Fasano was very expensive, so I was disappointed to find a good number of printing defects in the material. I think it is digitally-printed, which is equally perplexing, because that process is much more precise than screen or block printing.
Either way, I encountered blurred ink, streaks, streaks of red running through the black & white print, and voids, like you see here in the top photo. This is one that I didn’t catch when I was hanging the paper (and you get to a point where you can only replace so many strips of paper, or you won’t have enough to do the whole room). The homeowner spotted it a few days later, so I went back to fix it.
Replacing the whole strip was too complicated (for many reasons) and would have used too much of their left over paper, and splicing in a patch would have damaged the wall surface, leaving it open to the possibility of curling edges. So I chose to do a patch. I could have simply cut a patch out of paper that matched the pattern of the flowers in the photo, but that would have placed a somewhat thick patch on top of the exisiting wallpaper. This would have been pretty unnoticeable, but I knew it would look better if the patch were thinner.
So I soaked the scrap of patch paper in water, and then worked carefully to remove the paper backing. Most wallpaper is made of at least two layers – the printed, inked layer, and the paper backing. Once I wet the paper backing, I was able to carefully and slowly peel the paper backing away from the inked top layer. See third photo. This process is a lot more delicate than it sounds.
Then I cut this patch to match the design on the wall, so the patch (now called an appliqué) would be as small as possible. See fourth photo.
Then I pasted the appliqué and applied it over the flawed area. Smoothed into place and wiped free of excess paste, the patch is invisible. See last photo.
This home in the Meyerland neighborhood of Houston was flooded during Hurricane Harvey, and has been redone, and is now ready for final touches, like decorating, i.e. – wallpaper!
The first three photos show how the contractor left the walls. It’s hard to conceive how anyone could think these walls are “ready for wallpaper.”
What you are looking at is where the contractor ripped off the top, inked layer of the original wallpaper. Most of them don’t realize that there is a backing layer of paper that is left on the wall, that should be removed, too. Simply soaking this with a wet sponge will reactivate the paste and allow the paper to be removed easily, and with no damage to the wall (esp. if there is a good primer underneath the paper). Read my page to the right “How to Strip Wallpaper” to see how this should be done.
Instead, this contractor left the paper backing on the wall. Some of this porous backing is exposed. Other areas have been covered with the paint that was used on the woodwork. This solvent-based paint “raises the grain” of the surface it’s applied to – see all the hairy fibers from the wallpaper backing that have gotten stuck in the paint and raised up? Some of them are more than 1/4″ high. They create a gritty feeling on the surface, like really coarse sandpaper.
The surface is uneven, and the bumps will show under the new paper. The unevenness also means that areas of the paper will not be able to contact the wall, so there will be gaps and air bubbles and poor adhesion. The backing of the original wallpaper has been exposed, and when new, wet, pasted wallpaper gets placed on top of that thirsty paper backing, it will absorb moisture, expand, and bubble.
I had three missions. 1.) Seal the surface 2.) Smooth the surface 3.) Prime with a wallpaper-appropriate primer.
I rolled on a coat of the penetrating sealer Gardz to seal the surface, so that my following treatments would not cause the paper backing to bubble. When that was dry, I skim-floated the wall with a coat of joint compound. In the areas where the hairs were 1/4″ high, the skim coat was pretty thick, and took a good while to dry. Once that was dry, I sanded it smooth, then vacuumed the dust of off the floor, used a damp sponge to wipe residual dust off the walls, and then followed up with another coat of Gardz. It will soak into the joint compound and dry hard, forming a stable surface for the new paper to adhere to.
The homeowner is ready for a new look, so the red wallpaper with the “broken coral” pattern has to go. I am pretty darned good at removing wallpaper, but this stuff was not agreeable with the idea.
Normally, you peel off the top, inked layer, and then soak the remaining backing layer with water until the paste loosens, and then you can either lift the paper from the wall, or gently scrape it off.
But this top inked layer came off in tiny pieces – 1/2″ square. Which meant it would take a year and a day to get the whole room stripped off. Then, on my test area, when I tried soaking the paper backing to loosen the paste, it would have non of it.
The backing would not come away from the wall. And in the tiny 1/2″ square area where I finally did get the paper off the wall, there were more problems underneath. Meaning, a gummy, rubbery substance that would not come off the wall, and that left a residue behind that was unsuitable for hanging new wallpaper on top of – it would have necessitated a whole lot of additional skim-floating, sanding, sealing, priming, etc.
I believe that the previous installer either primed the walls with RX-35, or hung the paper with VOV ( Vinyl Over Vinyl), both of which are inappropriate for this type of paper, and both of which are nearly impossible to remove, and both of which leave the gummy, rubbery residue that is so difficult to negate.
I found it preferable to leave the existing paper on the wall. I removed any loose areas (virtually none), and then skim-floated over the seams with joint compound, to remove any vertical lines that could show under the new paper. That’s the white stuff you see in the 2nd photo.
When dry, I sanded that smooth, wiped off the residual dust with a damp sponge, and then primed with Gardz, a penetrating sealing primer. This will yield a smooth, stable surface for the new wallpaper to grab onto.
A double-cut is a paperhanger’s term for splicing two strips of wallpaper together. The edges of the strips are overlapped about 1″ on the wall, and then, bracing against a straightedge, a sharp razor blade and plenty of pressure are used to cut through both layers of wallpaper. Remove excess paper from both layers, and you have a perfectly butted seam.
The only problem is that it’s virtually impossible to do this without scoring into the wall, slicing through the top layer (or more). This cut makes the surface unstable, and when the new wallpaper dries, it shrinks and puts tension (torque) on the wall’s surface. This shrinking and tension can cause the wall to split and curl back, leaving a gap or a gaping wallpaper seam.
This is what you see in the photo.
To remedy this, I wanted to bridge the gap with something that would move with any shifting in the drywall, and that would not cause ridges under the new paper.
The new wallpaper was a thick, textured material, so I was not overly worried about ridges from the patch telegraphing through it.
I used strips from the paper backing of the old wallpaper / grasscloth I had just stripped off the wall to cover the cut wall areas. I tore the patches, rather than cutting, because the “feathered” edges of the torn paper would be less noticeable under the new paper than a sharp, straight edge would be.
The strips were wet from having been stripped off the wall with water, and the wall’s surface had damp paste residue remaining on it, so the patching strips adhered nicely to the wall surface.
But, to be sure, I brushed on Gardz, a penetrating sealer and “problem wall solver.” It soaked in, bound the surfaces together, dried, and made a taught, strong surface for the new wallpaper to go over.
Still, I made sure that my seams did not fall in the same exact spots as these compromised areas of wall. That greatly reduces the possibility of seams in the new wallpaper from curling back or pulling away from the wall.
As it turns out, because of the way I engineered the wall and various other factors, I did end up doing a double cut splice over this door. But I made sure it was not in the same place as the compromised wall surface. In addition, I protected the wall by putting a thin polystyrene (plastic) strip under the wallpaper before I cut, so that when I pressed my razor blade hard to cut through the two layers of cork, it did not damage the wall. Sorry, no pics, but there are other photos of that process on my blog, if you want to do a Search.
