Posts Tagged ‘engineering’

Two Color Rhythmic Print for Heights Breakfast Nook

September 7, 2022
Before. Grey and boring .
The built-in banquette seating has been removed.
Finished.
Closer look.
Showing the pattern centered on the wall, and with the shutters. The dimensions of the paper not corresponding well with the width of the window, along with logistics of pattern placement at the ceiling line but starting my first strip under the window all created some plotting and engineering challenges. Fun, but time consuming. But it turned out great!
The original idea was to just paper the nook area, ending at the vertical door molding. But it would have looked odd to stop the wallpaper above this doorway. So the homeowner and I decided to run the paper along the top of the doorway, and then down the left side (not shown), which dead-ends into some cabinets and the granite countertop. It looked good and was the right call.
It tickles me that this is quite obviously a riff on the very popular Strawberry Thief wallpaper pattern by William Morris , which is quite popular right now (do a Search here to see my installations of it). When a company comes up with a hit, you can be assured that a competitor will soon be making its own version of it.
The original has a lot more color, but this version is limited to just two colors. Even though there is a lot of contrast between the black and the white , the pattern doesn’t feel busy, because the design is so close and tight .
There is a lot of symmetry , repetitiveness , and balance in Wm Morris and similar styles .
I love the raised ink texture to this material .
Whoops! A slight pattern mis-match . The overall design is busy enough that small imperfections like this (as well as some color variations / shading ) are not really noticeable .
It’s odd to me that the printing defects are different in different strips / rolls of the wallpaper . You’d think that if the print roller was out of whack, it would create the same image every time it strikes the wallpaper surface. Or maybe it’s the trimmers that are off. If they had cut 1/16″ more off that left edge, we might have a perfect pattern match .
The manufacturer is York , one of my favorites , in their Sure Strip line, also one of my favorites.
It’s in the Magnolia Home collection , by, yes, Joanna Gaines , of HGTV fame with the show Fixer Upper .
SureStrip is a pre-pasted , thin , flexible , non-woven material that is easy to hang . It’s also easy to remove when you’re ready to redecorate , because it’s designed to strip off the wall easily and in one piece with no damage to your walls .
installer houston birds

Grasscloth Engineering and Logistics – Technical Details Post

August 21, 2022
Grasscloth is a natural material that cannot be matched from strip to strip, so all the seams will be visible . In addition, there is usually a slight but noticeable color difference between strips / panels (called shading or paneling ) . So it’s important to plot the layout of the strips to give the most visually pleasing overall look. Usually this means balancing the width of strips so they are all equal , at least on the same wall . We call this engineering .
This wall presented particular challenges , due to the widths of the elements. Grasscloth comes 36″ wide . You can use your straightedge and a sharp razor blade and trim it down to any width you want.
The width of both the large wall spaces to the right and left of the bank of windows was 34.” The width of each window was about 35.” The width of the two spaces in between the windows was 7.”
So you’d think I could trim my panels on either side of the windows, and then over the windows, to about 34″-36″ – give or take a few inches (or fractions thereof).
But that would leave me with two 7″ wide strips between these 35″ panels. Although the look would be uniform and mirror-image from the center outward, moving from right to left you’d have: 35,” 35″, 7,” 35,” 7,” 35,” 35,” … those 7″ breaks were just not going to look right.
One option was to determine the width of the wall (189″) and make each strip an equal width. This worked out to six strips, each at 31.5″ Not good, because this would mean a seam down either far side. And since those sides were 34″ wide, that would mean a 31.5″ wide strip and a strip 2.5″ wide. Not attractive at all, and it would use up an extra strip of wallpaper.
This six strips @ 31.5″ wide scenario might also land with a seam smack in the middle of those 7″ wide interludes in between the windows. Not attractive at all.
So I decided to make the two outer strips 35″ wide. That left 119″ of wall space above the windows to be covered with wallpaper. Do some math and you get four panels of 29.75″ wide. This gave a balanced and uniform look to the area over the windows, and also prevented seams from landing between the windows.
Moving right to left, I cut and hung the full length outer strip first. Then I cut and hung the strip over the window on the right. Then I measured to find the centerpoint of the window in the middle. Turns out it was a bit less than 29.75″ away. So I trimmed that next over-window strip accordingly.
Once that was in place, I measured from that center point above the middle window out to where my left full-height panel would fall, 35″ out from the wall. Took the resulting measurement and divided by 2. Lo and behold, each of the next two panels over the window was going to be a bit wider than 30.” No problem. No one (but a paperhanger or maybe an engineer) is going to notice a 1/4″ or even a full 1″ difference in widths between this strips over the windows.
Another thing to point out … it’s important that I took measurements before cutting these strips for this second left-hand section. Because, since grasscloth comes at 36″ (and walls can be wonky), if my strips had been narrower (say, 28″), that last full-height panel on the left might have ended up needing to be 37″ wide – and that wouldn’t work because it only comes 36″ wide – plus you need at least 1/8″ to wrap around the corner.
Luckily I had the flexibility to be able to trim the panels over the windows to any width needed, to accommodate all this.
If you’ve followed all this so far, let me also toss in that we also need to figure how to get paper in between those windows. More on that below.
In this scenario, I’m moving from right to left.
Area beneath the windows needs to be treated in the same way, and preferably with widths that match what’s going on above the windows. In addition, it’s tricky because after you move across 12′ of wall space, the strips above and below the windows are going to twist and torque out of shape, so that last full-length panel on the far left might not butt up perfectly with the last strip under the windows.
The grasscloth is black , and my wallpaper primer is white . It’s common for teeny gaps to appear at the seams . In this case, it’s likely that white wall would peek out from those gaps. So I like to stripe under where the seams will fall with dark (diluted) paint . This takes measuring , plotting , and also a heat gun to get the paint to dry before the wallpaper hits it, to avoid staining. You can do a Search here to read more about this technique .
Now let’s talk about getting wallpaper in between those windows.
As you can see in the photo, if I hang a 30″ wide strip, a whole lot of paper is going to be cut off and thrown away. Also, a whole lot of sticky, pasted paper is going to bump against that window molding and maybe even the window glass. A lot to clean up! And unwieldy, to boot.
My solution was to stop the wallpaper just a little below the tops of the windows. Then I would patch in a 7″ wide strip in between the windows. This is trickier than it sounds, because, if it were a paper wallpaper, I could simply cut along a design motif and overlay the 7″ wide piece. But grasscloth is thick and overlaps don’t look good. Also grass has no design elements , and the reeds of grass don’t necessarily fall perfectly horizontal , and even if you cut everything perfectly true to square , if the window molding is a teeny bit off-plumb , then your edges won’t butt up perfectly.
So that’s a good reason for striping the black paint under where the butt join will occur.
Same thing for the sections under the windows. I measured and positioned the strips so that the top edge (which I had trimmed to be perfectly horizontal) fell between the narrowest part of the windowsill molding, for less visibility.
I admit, instead of butting the two pieces, here I did overlap the 7″ wide strip about 1/4″ onto the piece under the window, right at that narrow junction. It’s only about 3″ wide, and I figured no one is going to be examining it that closely, anyway. This saved me about a half an hour of measuring, trimming, testing, repeat, repeat.
This is my second window interlude, and by this time I had realized that it’s hard to trim stiff grasscloth around intricate moldings precisely . So I used paint to fill in the edges around the window molding, just in case there might be any gaps between the grasscloth and the molding, so you would see black instead of the white molding paint. I did this with a small sponge; if I had used an artist’s brush it would have been a bit neater and tighter to the conforms of the molding. But sometimes you’ve gotta relax and realize that no one’s going to be scrutinizing the insides of moldings below shin-level.
Area over windows finished, with drapes back in place.
Turns out this particular grasscloth is so uniform in color (quite unusual, I will add), that you can’t really see the panels , nor their equal widths , anyway. I’m still glad I took the time to do all this math and trimming.
Area below the windows, done. That last seam on the left bears some explanation, too. Moving across the top of the windows, I measured that that last strip – the full-length strip – would need to be exactly 35″ wide. It butted up nicely to the last strip above the windows.
But, due to twisting , shifting , expansion , unlevel and unplumb walls and ceilings , and other factors, there is a really good chance that that last 35″ wide strip would not butt up perfectly with the last 30″ wide strip under the window . So I planned to splice these last two strips together.
Yeah, the drapes are hanging there, I coulda overlapped the two strips about 1/2″ and the drapes would have covered it. With a thin wallpaper, I probably would have done this. But grasscloth is thick, and an overlap would be visible , and also the adhesive / paste can’t be trusted to adhere as well to grass as it would to paper .
So I plotted for a splice. Instead of trimming my last strip under the window to 30″ (read above), I trimmed it to 32″ wide. That way, when I hung the last full-length strip to the left, which was 35″ wide, it overlapped the piece under the window by a few inches. Then I did a double cut and spliced the two pieces. See below for details about that technique.
Grasscloth is 36″ wide, and this wall area is wider than that. So two strips were needed. This means you’re going to have a seam, and since grasscloth seams are always visible, it looks best to plot to have the seam fall down the center. It uses more wallpaper to do this, but it looks much better than having, for example, a 36″ wide strip next to an 8″ wide strip.
As mentioned above, in case you get thin gaps at the seams, a dark stripe of diluted craft paint under where the seam will fall, will prevent white wall from showing through.
Rounded / bull-nosed edges and corners have been popular in new construction for at least 10 years. I wish they’d go away. They’re very difficult to trim around, and hard for the paper to conform to and adhere to.
It’s very hard to trim around that rounded edge, because the paper is hanging over and blocking your view, because grasscloth is thick and stiff and your fingers can’t feel through it, and because the edges aren’t necessarily true and plumb so a laser level or other level won’t help you much.
I use this little gadget as a trim guide. It’s actually a small section of the same corner bead material that drywallers use when they assemble these walls. Cut to about 1″ long and notched in different places where you might trim along the edge of the wall.
It’s intended that you place your trimming knife in one of the notches and slide the gizmo along the edge and make your cut. I find that awkward and also inaccurate. So I prefer to use the notches as a guide and mark where I plan to trim with a pencil. Since this wallpaper is black, I used this marking pencil from my home sewing kit instead. Chalk might work, but I was afraid it might now wipe off completely.
The pink pencil line was barely visible, but it was enough for me to use a scissors to trim along the grasscloth. I like this better than using a razor blade as I can see better, and also less chance of scoring into the primer or wall. Which raises its own set of issues – do a search here to find previous posts.
Inside view of the trim guide.
Finished arch. Note the four panels of equal width above the arch. And two flanking full-height panels also the same widths.
I was lucky that there was no pattern to match, so I was able to butt my two flanking strips right up to the edge of the bull-nosed corner. No trimming needed! Then I measured the remaining width between these two strips (the area over the arch), divided by four, and cut four strips of equal widths.
I hung the two on the left, and then one on the far right. This left one strip still to be positioned to the right of center. So the pieces are going to meet over the arch, rather than the last strip falling in a corner.
Same as the last strip under the window (discussed above), it’s really difficult to get your last piece to fit in here perfectly. I’ve done it, but it takes a lot of measuring, trimming, testing, retrimming, and often starting all over again.
So I did a double-cut / splice.
A double cut involves cutting each strip an inch or so wider than it should be, and overlapping the two. Then you take a straight edge and sharp razor blade and cut through both layers. This handy tool is a wonderful non-slip guide for this process. It was invented by an installer colleague in the Wallcovering Installers Association ( WIA ) and she has them fabricated in various lengths (along with other cool tools ) and sells them on-line. Contact me if you’re interested.
Anyway, it takes a lot of strength to cut through two layers of grasscloth, so somewhat difficult for lil’ ol’ me.
You also want to be sure to not cut / score into the wall, because the tension of drying wallpaper can tug at the wall and cause it to actually come apart, leaving an open seam that’s difficult to repair.
So you’ve got to put some padding under the wall where the cut will take place. I use special strips of polystyrene (hard but flexible plastic) to pad the wall. Also invented by a colleague in the WIA , who also sells other cool tools and supplies. Contact me if you’re interested.
This black grasscloth was printed on a white substrate. If the seams aren’t absolutely tight, there can be worries about the backing showing through to the front. So sometimes we’ll take a piece of chalk or pastel (never oil pastel or permanent markers because they bleed and stain ) and run it along the edge of the paper – from the back, and taking care to not get chalk on the surface.
I do this frequently with dark papers ( do a search here to see previous posts ) but opted not to do it with this grasscloth. It wasn’t necessary, and might have stained the porous reeds of the grass. It was beneficial, though, to have striped dark paint on the wall under the seams, as mentioned above.
Ugh. Grasscloth comes 36″ wide, and this section of wall is 38″ wide. It’s not visually pleasing, nor is it easy from an installation point of view, to have a 36″ wide strip next to a 2″ wide strip. Or to use scraps and put a 25″ wide strip next to a 13″ wide strip.
So best to plan two strips of equal widths. Two strips, each 19″ wide, with the seam down the middle.
Actually, the strip on the left was 19″ wide, but I trimmed the strip on the right to 21″, because I like the wallpaper to extend 2″ over the top of the door molding. This provides a more stable surface in case of shifting foundation or walls, and less likelihood (knock on wood) of the seam opening up should the house / drywall experience shifting.
Note that design “rules” caution against seams down the middle of spaces. But it would have been more visually distracting (and used up more paper) to have made three strips of each 12.75″ wide. And would have looked even dumber to have used scraps left from other walls and put together two strips of disparate widths.
So the homeowner and I discussed during our initial consultation , and she was happy with the center seam. Once it was all finished, this particular grasscloth was so even in tone that you barely see the seams, anyway. Win-win!
This did use up additional paper, though, as noted in a previous photo above.

Hanging House of Hackney 4-Panel Mural

April 23, 2022
Not all wallpapers come as traditional goods with a repeating pattern in a straight or drop match.
Companies like House of Hackney (here) or Milton & King (search to find my previous posts), often package their patterns as 4-panel sets, or A & B rolls.
These take a little more thought and engineering than just pulling strips off a bolt and slapping them on the wall.
You’ve got to keep the 1-2-3-4’s in order, and parlay that into whether you’re moving to the right or the left. In this scenario, I started in the corner, so was moving in both directions. 1, 2, 3, 4. Then 4, 3, 2, 1.
In the photo, I’ve measured, cut, and laid out my strips in the order in which they’ll be applied to the two walls.
Believe me – I checked everything twice – no, thrice! – before pasting and hanging.
Another thing about murals and 4-panel sets,,, you only get one chance to get it right. There are no additional strips sitting around to be called in in case of a goof.
Here is the manufacturer’s instruction sheet.

Pattern Placement with Prominent Poppy

December 25, 2021
Re yesterday’s post, the large red poppy is a dominant feature in this wallpaper design, and could easily steal the show. I didn’t want it at the top of the wall, as I thought it would feel top-heavy. When the homeowner mentioned that she really loves the red flower, I worked to place it prominently. I found two heights that were aesthetically pleasing and alternated the flowers between the two heights. I also centered the flower in the wall space when possible, which you can see gave a very pleasing, balanced look. None of the red flowers was cut off by a door frame or molding. The short areas over the doors coupled with the vertical foliage in the design gave me a lot of wiggle room to fudge things and play with placement. All this plotting and engineering took a whole lot of time – but I really enjoy the challenge of it all.
Gave the eye a break from repetition here by not centering the poppy.
Aquafleur in Anthrocite colorway by Mind The Gap out of Transylvania.

A Second Centered Wall In the Same Room – Tricky Feat

December 2, 2021

Re my previous post, about centering the pattern on the fireplace wall … Once a wallpaper pattern has been positioned on the first wall, as subsequent strips are placed around the room, the pattern falls in its proper sequence. Meaning, you have no control over how the design will land on all the other walls.

In this room, I felt it was important for the design to be centered on the fireplace wall (see previous post). But the headboard wall was equally visually prominent, and it would sure look best if the scalloped design could be centered on this wall, too. But the way the wallpaper strips were following each other, the pattern would fall off-center when it hit this wall.

I thought I could make it look better. It took careful engineering, precise measurements, a laser level, some secret tricky techniques, and a whole lot of time (coupla hours). But I got the swoopy design centered behind the bed and between the windows and light fixtures, so the whole area looks perfectly balanced.

To achieve this, I had to ” shrink ” the design above and below the windows. (Do a Search here to see other posts explaining this process.) And I did end up with a pattern mis-match in the corner to the left (sorry, it’s not visible in this photo). But I figured that a mis-match in a corner 17″ from the floor, plus a 4″ high section over a window were a fair trade-off for that beautiful symmetrical headboard wall.

For the record, I worked it out so that the mis-match in the corner was only about 1.5″ off from the actual match. No one’s gonna notice! So sorry I forgot to photograph this.

I will say that the features of this room, as well as the way the pattern was printed on the wallpaper, plus the pattern itself, helped immensely to achieve this balanced outcome.

The design is called Versailles and is by Schumacher.

Koncentration Killer

April 23, 2021

I HATE noise. But this is probably the WORST type of noise EVER.

It’s uncanny how often these guys show up at the homes where I’m hanging wallpaper.

The racket and reverberation penetrate the walls and hijack my brain.

All this ruckus bollixes up concentration, focus, math, engineering … It leaves me with a headache, nausea, double vision,,,

“I Hate Leaf Blowers” – Google it.

Working Around Shading in Cork Wallpaper

February 16, 2021

The homeowners originally sought grasscloth for this accent wall in the home office. But I talked them out of it, due to the unpleasant shading and color variation issues (click on the page to the right to read more). I showed them a sample of this white-washed cork wallpaper, and they were immediately smitten.

The previous time I hung this, the material was very homogeneous in color.

But this time, it was immediately evident that there was a darker band running down the left half of the roll, and a lighter band along the right side. Note that this is not considered a defect (even though it is obviously a problem stemming from the factory). It is considered part of the “inherent beauty of these natural materials.” Meaning, you can’t return it and expect to get your money back.

Cutting strips as they come off the roll and hanging them next to each other will result in abrupt color differences between strips – as you see in the top photo. One way to minimize that is to hang every other strip upside down, so you are then putting the dark side next to it’s dark counterpart on the previously hung strip.

In this case, because the darker areas were so dark and wide, this would have resulted in the wall having a striped look. Not what the homeowners were shooting for.

The wall was exactly 12′ wide, and the material is 3′ wide, so we needed four strips to cover the width of the wall.

We had three double-roll bolts. Each 24′ long bolt will give you two 9′ strips. Thus we needed two double rolls to cover this wall. That left us with one bolt in excess.

That turned out to be a good thing – having extra paper. The color shading was bad in one bolt, noticeable in another bolt, and the third bolt was pretty homogeneous in color.

I rejected the bolt with the worst shading. Thank goodness the client ordered a little extra paper! The bolt with the second-worst shading, I discovered that if I rolled it backwards, the shading was less severe in the inner portion.

So I took two strips off this bolt from the inside-out.

So now that gave me two strips from the first roll that were pretty homogenous. Plus two strips from the second bolt that were passable.

How to keep the color as uniform a possible across the 12′ wide wall?

II knew I wanted to place the two strips from the first, “best” bolt in the center of the wall. If I hung one right-side-up, and the next one up-side-down, keeping the darker area toward the center, the color differences would be less noticeable.

But I still had to cover 3′ width on either side of those two center strips.

One strip equaled 3′ width. So one 3′ wide strip on either side of those two center strips.

One plan, I contemplated cutting each of those the two 3′ (36″) wide strips from the second bolt into 18″ widths. Hang one right-side-up and the other upside-down. That would break up any color variations into less noticeable panels.

Only problem was, then there would be two 36″ wide chunks of material in the middle, flanked by two 18″ wide chunks on either side. I thought that would be too inconsistant, visually.

It would look better to keep all the widths the same, at 36.”

The two strips I had taken off that second double roll bolt had some shading issues, with the left side being darker than the right side. I reasoned that it would be less noticeable if the darker, shaded area, was toward the outer corners – sort of as if sunlight or furniture or window shutters were casting shadows.

So I plotted to use a full 36″ wide strip on either side of the center strips. I would position them so that the lighter side of each strip was toward the center – toward those two originally-placed strips. This meant placing one right-side-up and the other one upside-down.

Thus the darker edge of the strips would be situated toward the corners of the wall – a logical place for shadows and light to play tricks on the eye.

That’s what I ended up doing. And the finished wall does really look very homogeneous!

Yes, I am quite guilty of over-thinking way more than I should. But I think the client deserves the best look possible. And, to be honest, all this plotting and engineering is a big part of the fun of hanging wallpaper!

Textured Faux Crocodile in Montrose Powder Room

October 1, 2020


From flat and white to textured and black, this powder room took a trip to the wild and exotic. The embossed vinyl wallpaper mimics the look of crocodile hide.

I centered the design on the sink wall, so the pattern would frame the mirror evenly. Then, since the toilet wall is the first thing you see when you enter the room, I thought it would look nice to have the pattern centered on that wall, too. Usually, you can only balance the pattern on one wall, and after that, the design has to fall sequentially as it works its way around the room. But I did some engineering, and figured a way to place the pattern in the center of the toilet wall, too.

The material is an unusually thin and flexible embossed vinyl on a thin non-woven substrate. It’s my second time in this year to hang this, and I like it a lot – much better than most non-wovens, which can be thick and stiff and can bruise easily.

Non-wovens have some fiberglass in their content and do not expand when they are wet with paste, nor do they shrink as they dry. They can be hung immediately after pasting – or you can use the paste-the-wall method. Non-wovens are designed to strip off the wall easily and in one piece when it’s time to redecorate.

This is in the SuperFresco line by Graham & Brown, one of my preferred manufacturers. You don’t need a retailer, because this can be bought directly from the G&B website.

The home is new build, contemporary in style, in the Montrose area of central Houston.
alligator installer

Warping Wallpaper – Grasscloth

June 17, 2020

Well, this was a first for me. I can’t say that I remember having a grasscloth that stretched and warped out of shape this badly.

What’s odd is that, after I pasted and booked the wallpaper, it was perfectly lined up and flat. It was only after the paper had sat for the resting period, and then I unfolded it and took it to the wall, that it started warping out of shape.

My first strip laid against the wall nice and flat, but did not line up against my laser level’s red beam, moving to the left the farther down the wall the strip went. The subsequent strip to its right, naturally, would not butt up against the first strip. However, this second strip did line up against the laser plumb line, on both the right and left sides. So I left it on the wall.

But I had to tear off and discard that first strip.

I had problems with many of the strips. As you can see, there was major warping and wrinkling. I was unable to smooth out most of these warps.

Some of my colleagues have suggested that my trimmed edges were not straight. And I admit that I sense that my ($200!) straightedge is not true (perfectly straight). But a 1/8″ discrepancy over a 9′ drop should not result in wrinkles of this magnitude.

I think that the substrate that S&L is using is absorbing moisture from the paste unevenly, and thus creating the warps and twists.

The only way I could make this work was to do a double-cut (spliced seam). I smoothed the grasscloth onto the wall as best I could, even though both the right and left edges still presented wrinkles.

I carefully pulled away from the wall the left edge of the previous strip (having applied extra paste, to keep everything wet and “open”). Between that edge of the strip and the wall, I placed a “Boggess Strip,” (invented by a fellow WIA member) which is a thin strip of 2″ wide polyethelyne plastic, that will protect the wall from my razor blade.

Now hanging the next grasscloth strip, I then covered the underside of the right (wrinkled) edge with blue plastic tape (also invented by the same WIA genius member). This would keep paste off the surface of the strip I was overlapping it onto. Then I smoothed the paper onto the wall, allowing the right side of the strip to overlap on top of the previous strip, by 1.5″.

I worked out wrinkles as best as I could, but some insisted on remaining. I then took my EuniTool straightedge (invented by yet another WIA member), and used it as a guide, along with the red light line from my laser level, and a new, fresh razor blade, to cut a straight, plumb line between the edges of the two strips.

The grasscloth was thick, and I had to press really hard to cut through both layers. The Boggess strip prevented scoring into the wall. This is important, because an un-intact wall can delaminate under the stress of drying / shrinking wallpaper, and this can cause the seams to pop open.

Back to the double-cut. Once the cut was done, I removed the plastic Boggess strip from the wall, and the protective blue plastic tape from the edge of the grasscloth, as well as the two excess strips of paper that I had just cut off. (Do a Search here to see pics and read more about the double cut / splice process.)

I could then smooth the newly-cut edges of the two strips together.

All this takes a lot of time.

I still had more strips to hang – and each required the same procedure. You only have so much “open” time before a piece of wallpaper starts sticking to the wall and cannot be jacked around with anymore.

I had to jump to the left edge of the current strip I was working with, and add a Boggess strip behind it. And then I had to paste and book my next strip, and apply some blue tape to the area that would overlap the previous strip. Wait a few minutes for it to book and absorb the paste.

Then repeat the double cutting procedure used on the first strip.

All this caught me off guard, and it threw off my engineering of the wall and my planned width of the strips. It also took a lot more time … I spent 5 hours hanging just these 5 strips.

Bottom line – I got ‘er done … But I am definitely NOT going to recommend Serena & Lily grasscloth to future clients.

And I am VERY grateful to my WIA colleagues for inventing tools and gadgets that help with these tricky situations, which I’m glad I bought and had stashed in my van, and for sharing their knowledge and experiences so I knew what techniques I might try.

Classic Look in Historic Home in the Woodland Heights

April 23, 2020


This large 2-story home was built way back in 1985 – a whole 12 years before the Woodland Heights (Houston) neighborhood in which it sits was platted and developed. It just underwent a major renovation, but retains most of its original details, such as floor plan, windows, moldings, flooring, pocket doors, and much more. There are several large, regal live oak trees on the property.

The homeowner chose this classic damask pattern with a weathered look for all four walls of the dining room. It perfectly suits the room.

It took me about two hours of measuring, plotting, engineering, hanging, removing, re-hanging, yada, to get the design to perfectly flank either side of the window. All that work was worth it, to have the design fall symmetrically. But the real show-stopper is the view of those oak trees through the window!

This wallpaper is by Designer Wallpapers, and is lovely to work with. The interior designer for the job is Stacie Cokinos of Cokinos Design. She is the go-to designer in the Heights for whole-house remodels and new builds.

I threw in a photo of my work table, just for fun.

Tune in tomorrow, to see the finished room!