Posts Tagged ‘heights’

Timorous Beasties Ruskin Floral – A Trying Pattern Match

April 18, 2019


Timorous Beasties makes some unusual wallpapers, with most of them including animals or insects in the design. It’s cool stuff!

This particular pattern, called Ruskin Floral, was more than a bit of a challenge to plot and hang. The manufacturer said there was no pattern match, but just a subtle impression in the textured background that could be matched if you wanted to, but was not necessary. They also said that this pattern match came at something like every 56″. And that it was a quarter-drop match (pattern motif repeats at the same height in the strip every fourth strip).

All of this info was wrong. It turned out that the tree branches in the design did match across the seams. And the pattern repeat was more like 36″, instead of 56″. And, yes, you could have matched the design as a quarter-drop – but it looked better as a traditional half-drop (repeats every other strip).

But what was most unexpected was that the design had these areas of darker foliage that appeared mid-way through the bolt. In every photo that I saw on the manufacturer’s website or on-line, only the picture of the sparse tree branches was pictured (what you see at the top of the wall in the top photo). Even though I rolled out several feet of each bolt on the floor, I had no idea that there was this other area of colorful and full foliage and insects, which you see at the bottom of the wall in the top photo.

I plotted and got my first strip in the center of the wall, and then pinned the second strip next to it. Once I stood back, I was able to see that the foliage got darker and fuller as it dropped closer to the floor. I had not anticipated that.

With 13′ high walls and 13′ long strips, and 33′ on each bolt of paper, there were 20′ more feet (one more strip) left on each of those two first bolts.

But when I pulled more paper from the bolt and pinned it temporarily to the wall, matching the background tree branch motifs, this new strip, which had started from the middle of the first bolt (the first 1/3 of the bolt was now on the wall), was full of colorful foliage – which did not meld well with the sparser tree branch area on the first two strips that were now on the wall.

If I hung this new strip next to the two existing strips in the center of the wall, I would have had two sparse tree branch areas in the center, and then a stripe of darker, fuller foliage directly horizontal to it.

At first, I was going to go this route, because it made the best use of the number of rolls we had (two strips from each double roll). I planned to put two strips of darker foliage next to the two strips of lighter tree branches.

I also contemplated taking off the two center strips (the ones with lightly leafed foliage) and replacing them with ones that had more color and fullness. But I realized that if all the pictures I had seen of this pattern showed the sparse areas, then that’s what the homeowner had seen, too, and she probably was not expecting to see the very dark and full and busy heavily-patterned area, especially not at the top center of her accent wall.

Even more compelling – we didn’t have enough paper for me to rip off and discard two 13′ high strips.

I spent about an hour and a half contemplating various possible options.

Just then, the interior designer walked in – and she was just in time. Two sets of eyes are better than one. By then, I had a number of strips pinned to the wall, to see how the pattern could be played out. She didn’t like my idea of hanging two sparse strips, flanked by two heavily pattered strips – she thought it looked top-heavy, especially over the windows.

We fiddled some more, knocked around various options, and finally concluded that, even though the bed would be obscuring much of the fuller pattern, the wall looked better with the sparse area up high, and the fuller floral area near the floor.

I studied the 33′ long bolt I had rolled out on the floor, with the lighter area at the top, the fuller area in the center, and then tapering off to a lighter area toward the end of the bolt. Our decision meant that I could get only one strip of paper out of each double roll bolt.

The problem with that was that I needed 10 strips, but only had 8 bolts. We’ll come back to that in a minute.

The next issue was that quarter-drop pattern repeat. And that sloped ceiling, which also effected the way the pattern hit the wall. If I used the paper the most economically, and matched the first tree branches as they came off the roll, then that quarter-drop pattern match would have started marching diagonally up and across the wall, and then dropped down again, 7′ to the right. Nothing wrong with that, but it’s a look that would play out better on a larger space, such as a full dining room, not one accent wall in a bedroom.

(Quarter-drop pattern matches are very hard to get one’s head around, and way more than I can get into here, but suffice it to say – they lead to a lot of head scratching and a whole lot of wasted paper.)

After more fiddling, I realized that the pattern was printed on each bolt exactly the same; in other words, the design was more like a mural. With one strip per bolt, the design was played out across alternating “A” and “B” bolts. If I ignored the sloping ceiling and cut each strip to the full height of 13,’ I could ensure that specific flowers in the darker area near the floor would hit the wall at the same height, lending a homogenous and pleasing rhythm to the pattern.

Problem solved!

But now we get back to the wall that needs 10 strips, but we only have 8 bolts of paper (one strip per bolt).

In the top photo, all the paper has been hung except that last strip to the left of the window. (There is a mirror image on the right side of the wall.) That area was about 9′ high. Since I had already taken approximately 13′ off each 33′ long bolt, I had about 20′ still left. But since that started in the center of the bolt, it was an area full of the heavier colored and printed pattern. Even though the pattern of the tree branches would match, I didn’t want to place that darker strip next to the lighter strips already on the wall. It might have looked interesting, as a sort of darker “frame” for the outer edges of the wall – but, like the interior designer, I thought it would look too dark and heavy and lopsided.

I remembered that the pattern thinned out again as it moved toward the bottom of the bolt. So I unrolled the paper down to the bottom, and then, working from the bottom instead of the top, I found the pattern match that corresponded to what was on the wall, and cut it to fit the height of the wall.

Trimmed and put in place, it looked pretty darned good. This piece (and it’s twin on the opposite side of the wall) didn’t have nearly as much dark foliage at the bottom as the other strips. At first I was going to cut some flowers out of scrap paper and appliqué them to fill in the void areas. But I realized that was getting kinda obsessive over something that few people would even notice.

It was just a 12″ wide strip, and there will most likely be furniture in front of it, and we were able to get by without having to buy two extra double rolls (which would have been different runs (see previous posts).

Getting this wall with a tricky pattern match to look good was a mix of luck, skill, mathematics, and having purchased enough paper. Always buy more paper than you think you will need.

The interior designer is Stacie Cokinos of Cokinos Design, and the home is in the Woodland Heights neighborhood of Houston.

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Wonderful Wonderland Compliments Wooden Wall

March 1, 2019


Wow! Here’s a wonderful, cheery, playful pattern that works beautifully with the exposed shiplap wood wall in this small powder room in a nicely renovated 1920 home in the Woodland Heights neighborhood of Houston.

It’s unusual to have an accent wall in a small room like a powder room, but the builder had left this wall’s 100-year-old original shiplap exposed (after sanding and sealing), and the family loved the warmth and texture of the wood, and it really enhanced the room. The homeowner – who is the mother of two young children – found this super fun wallpaper design that works with both the wooden wall and her spirited, youthful family.

This fairy tale-ish pattern is called “Wonderland” and is by the Scandanavian manufacturer Boras Tapeter. I really like hanging their paper. The seams are invisible, the material will resist water and little sticky fingers better than most, it’s on a non-woven substrate that is designed to strip off the wall easily when it’s time to redecorate, and it’s thin and pliable enough to work nicely in rooms that have corners and intricate cuts and turns.

It was bought from my favorite source for good quality, product knowledge, expert service, and competitive price – Dorota Hartwig at Southwestern Paint on Bissonnet near Kirby. (713) 520-6262 or dorotasouthwestern@hotmail.com. She is great at helping you find just the perfect paper! Discuss your project and make an appointment before heading over to see her.

From Fussy Victorian to Serene Home Office

February 10, 2019


Originally, this front bedroom in a 1925 bungalow in the Houston Heights was wallpapered in a dark green and red floral. It was lovely, and went beautifully with the home’s vintage vibe.

But the new homeowners (who have lived here many years, but are just now getting around to decorating this room) want to use this room as a home office, and they wanted something lighter and more modern. In the top photo, you see me stripping off this floral paper.

They were considering grasscloth, but, after reading my warnings about that product (see the page link to the right), they decided to avoid the color variations, staining, and fragility of that material, and instead went with a sort of faux grasscloth – this textured vinyl in a silvery grey color.

The color of the new paper goes perfectly with the gray paint on the woodwork. The paper has vertical lines in a striped pattern, as well as subtle horizontal shading that mimic real grasscloth, but in a more controlled and pleasing way. The commercial-grage vinyl is thick and durable, and will withstand bumps, splashes, and stains way better than most other types of wallcoverings.

On my end, though, the vinyl material was very difficult to work with. It is thick and stiff, and it is on an Osnaburg woven fabric backing, which is much like canvas. It takes a really sharp razor blade and a lot of strength to cut through it.

And because it is so thick, it’s very difficult to get it pressed up tightly against woodwork – so when you trim against the ceiling, doors, or baseboard, it’s very likely to get a gap that lets the wall behind it show. I have a special trim guide that makes a “fat cut,” which helps eliminate that gap.

Because the wallcovering is made of vinyl, it traps moisture behind it, so when the paste behind it dries, there is nowhere for the moisture to go, so you get off gassing – which is a nice way of saying that the paper “burps” and creates bubbles. I had to continually go back and chase bubbles out of the drying paper.

The design has a textured raised vertical stripe pattern. I had cut my first several strips with the intention to start hanging. Then I started measuring the wall, plotting the layout, and counting stripes. They were not laying out properly across the wall. After studying the paper’s pattern for a while, I realized that the stripes on the ends of the paper would not be spaced correctly – unless paper was trimmed off the edges of the wallpaper strips.

By removing 2.5″ from the edge, the stripes would be spaced correctly. I could trim this 2.5″ off, using my work table, a ruler, and my 6′ straightedge.

But the manufacturer’s trimming roller had left a slight beveled edge where it cut the paper. Since my hand-cut edge would be straight up, you would see an odd junction where my straight cut met against the manufacturer’s beveled cut at each seam.

So the only option for a very smooth seam was for me to trim some off both edges of the wallpaper. This worked out to 1.5″ off one side and 1″ off the other. Which was complicated further by the fact that some of the bolts of wallpaper were 1/4″ – 1/2″ narrower than others. So much for quality control at the factory!

But what this meant to me was that I had to carefully measure the width of each bolt of paper, compare that to the rhythm of the stripes crossing the paper horizontally, and determine how much to trim off each edge, in order to have the stripes be spaced correctly across the room.

In real life, most people are not going to notice a spacing difference of 1/2,” or even 1.” Especially in a room with very dim lighting and tons of shadows, and a pattern that is difficult to see in the first place.

But since I had to trim the paper’s edges anyway, it just made sense to trim it so that the spacing of the stripes fell as perfectly spaced as possible.

Try as hard as you may, hand-trimming wallpaper, especially thick, heavy, fabric-backed vinyl, is not as accurate as what they do at the factory. Thus there is always the potential for slight gaps or overlaps at the seams. With a thin paper, it’s possible to stretch and manipulate the material to make a good seam. But with this thick vinyl, I expected to see these gaps and overlaps. However, I was amazed that the vinyl was more malleable than expected – every single seam melted together perfectly.

Although the specs said that the trimmed paper would be 25″ – 26″ wide, by the time both edges were trimmed off and the stripes spaced as they should be, the paper was actually only 24″ wide (give or take an extra 1/4″ or so). Lose 2″ on each of eight strips going across a wide wall … and that can screw up your engineering of the wall and your plans of the number of strips needed and how many bolts of paper will be required.

All of this fiddlin’ and futzin’ took a lot of time, and I was only able to trim and hang paper on two walls each day. So, with prepping the walls and hanging the paper in this … it was something like a 16 single roll room… it took me a full three days. Which is what I had planned on, so we stayed right on schedule.

There was no brand name, so I don’t know the manufacturer, but the label said “JL 8008.” This commercial-grade paper is available in the 27″ width (which is what I can work with) or the wider 54″ (which is more for commercial settings). It was bought from my favorite source for good quality, product knowledge, expert service, and competitive price – Dorota Hartwig at Southwestern Paint on Bissonnet near Kirby. (713) 520-6262 or dorotasouthwestern@hotmail.com. She is great at helping you find just the perfect paper! Discuss your project and make an appointment before heading over to see her.

Longing for the Big Apple

January 20, 2019


Originally living in the heart of New York City, these homeowners “got a better offer” and moved to Houston. In a nicely updated 1925 bungalow in the Woodland Heights, life for these two has changed for the better – but the wife still reminisces over the view she had out her skyscraper office window back in NYC.

She found this really cool wallpaper design, which depicts hundreds and hundreds of New York buildings, from tall to gigantic, from the 1800’s to the 2000’s, with many styles of architecture tossed into the mix.

Where did this cool and sentimental wallpaper go? … In the laundry alcove. But it’s not tucked away in the rear of the house … this laundry room is in the main hall leading through the house – which means that this fun and sentimental wallpaper is on view every time anyone walks through the house.

This wallpaper is by York, in their Sure Strip line. It is a thin, easy to manipulate non-woven material, and is designed to strip off the wall easily and with minimal damage, when it’s time to redecorate. This is one of my favorite brands, because it’s easy to work with, doesn’t tear or crease, it doesn’t shrink and gap at the seams, it’s easy to remove, and it will stand up to humidity, such as will exist in a laundry room.

Rolling Roiling Waves on a Heights Dining Room Wall

January 18, 2019


This pen & ink-like drawing of rolling waves is obviously a knock-off of the very popular (and very expensive) “Nuvolette” in the Fornasetti collection by Cole & Son.

I have to say – I think I like this one better. The pattern is more homogeneous and less overpowering. Yet you still get the same feel of movement from the rolling waves. And it has the same scratchy pen-and-ink feel as the other, plus a few seagulls tossed in, too.

This design is by Eijffinger. I hung it in a newly-remodeled and expanded home in the Woodland Heights neighborhood of Houston. It is a non-woven material, and is designed to be hung via the paste-the-wall method. I did use this method this time, as it was one accent wall in a dining room, with no intricate cuts nor difficult spaces to access. It went up beautifully, with near-invisible seams.

Way Fun Splotchy, Inky Lines in a Heights Powder Room

January 10, 2019


Here we are, in another new tract home in inside-the-Loop Houston, with a generic look and beige-everything. The homeowners have twin daughters who are just learning to walk, and they wanted their home to reflect the fresh energy of the young family.

Here comes a fun “angled, tufted pillow” sort of design to the rescue!

This cool design looks like it was hand-drawn in watercolor paint, and has a distinct Rorschach Ink Blot Test feel to it.

The manufacturer is Graham & Brown. It is a nice-quality non-woven material, and was nice to work with. It should hold up very nicely as this young family grows.

Non-wovens are also designed to strip off the wall easily and with little-to-no damage to the walls when it’s time to redecorate.

Patch Disguises Delaminated Wall

December 19, 2018

I hung this paper for a young couple in a cute 1930 bungalow in the Heights neighborhood of Houston a year or two ago. After a year or so, the wallpaper began to gap at the seams. Turns out this is not the wallpaper coming loose from the wall. What is happening is that the various layers of paint and etc. inside the wall are actually coming apart.

The wallpaper dried and shrank and put torque (tension) on the wall at the seams. Also factoring in is humidity in the air, poor air circulation in the air, and possibly a moisture problem inside this wall. Oh, and this wallpaper manufacturer, Hygge & West, is known for using inks that curl away from the wall at the points where they cross the seams.

But the real culprit is years’ worth of paint and other wall surfaces that are not compatible with one another. Back 80 years ago, you had oil-based paint. Cover that with latex paint, then do a project that creates dust that sifts onto the walls, add some gloss paint, roll on a coat of latex, then a layer of texture, then more paint … all without proper prep between.

Proper prep or not, most of these wall coatings are not prepared to adhere to one another, and when drying / shrinking wallpaper puts stress on the surface, the various layers can let go from one anther and “delaminate” – which means to come apart.

In the photo, you can see the thickness of the separating layers. Some layers of paint have held fast to the wall, but others have let go and curled back. Because there is dust and gloss and other factors underneath, it’s not guaranteed that anything will hold the layers back tight to the wall.

Adhesive silicone caulk was my glue of choice. It will stick to porous or glossy surfaces. I squeezed some carefully into the popped seams, spread it around, closed the seam back up, and then waited for the caulk to tack up and grab ahold of the layer above it.

Eventually the caulk dried enough and became tacky enough that it held the layers together. Not perfectly, but at least there was no gaping opening at the seam.

The gap and a slight “pouch” still showed, so I thought of covering them with a patch that would span the seam, holding both sides together.

So next I took some left over paper (ALWAYS save your left overs!) and cut out dark green palm leaves. I made sure to leave a wide section on either side that was cut along the individual fronds, so they would mimic the pattern on the wall, and so there would be a wide area to straddle the seam and add stability. The area I cut out between each front helped the patch blend in with the pattern that was on the existing paper on the wall.

The stupid camera ate my picture of the patch after it was cut and pasted, but before it was applied to the wall. Dang it, because that would have explained a lot of my process.

Anyway, I made several of these frond-leaved patches, pasted them, and then applied them to the wall, directly straddling the popped seams. Not only did this cover and hide the open edges of the seams, but the width of the patch helped strengthen the bond while at the same time lessening the possibility that a seam would open up again.

In the last photo,  at the top of the picture, you can see one appliqué patch applied, straddling the seam.  Moving down the wall, I would add two more similar patches over the seam.

From a distance – heck, even from up close, you could not see the repaired areas.

Books and Bricks

November 9, 2018


This room in a 1920’s home in the Woodland Heights neighborhood of Houston is to become something of a “man cave,” hence the dark wood floors and the rich, cobalt blue of the bookcases. The bookcases needed a little more personality, so the interior designer found this beautiful faux brick wallpaper pattern – amazingly in the exact perfect blue hue to match the paint.

The paper is by Wallquest, one of my favorite brands, and was lovely to work with. It’s one of the most realistic faux brick patterns I’ve come across, and does not have the repetitiveness that many patterns so.

The interior designer for this job is Stacie Cokinos, of Cokinos Design. Stacie specializes in new construction and whole-house renovations, mostly in the Heights neighborhoods. I can’t say enough good things about her designs and about working with her. https://www.cokinosdesign.com/

Cute Paris Theme for Little Girls’ Shared Bathroom

October 4, 2018


Most everything in this new home in the Woodland Heights neighborhood of Houston is sleek and white. The homeowner wanted to add just a little pizazz to the hall bathroom shared by her two young daughters.

This Paris-themed design, with its pencil-thin lines and three-color palette is just perfect! I love the way the line drawing effect reiterates the lines in the shower’s subway tile. Charcoal grey, white, and just a touch of red are enough to brighten the room, without overwhelming the serene white color scheme. And it’s a fun design to look at. I mean, who wouldn’t love Paris – especially a Paris with a Ferris wheel?

The wallpaper is by York Wall, in their Sure Strip line, and is a pre-pasted product on a thin non-woven backing. It is designed to strip off the wall easily with no damage when it’s time to redecorate. In the meantime, it is thin and hugs the wall tightly, and the seams are practicably invisible. This brand is very reasonably-priced.

The interior designer for this project is Stacie Cokinos, of Cokinos Design. Stacie specializes in helping choose floor plans, finishes (flooring, countertops, paint colors), fixtures (faucets, lights, knobs), appliances, in new home construction and in remodel projects. Her look is fresh and clean, but very livable for modern families. She is a delight to work with.

Cozy Accent Wall in a Master Bedroom in the Houston Heights

September 23, 2018


This small, two-color Moroccan lantern style wallpaper pattern is snugging up an accent wall in a master bedroom of an expanded and renovated home in the Heights neighborhood of Houston. Because the design is small and tight, it works as a background, rather than making a statement of its own. Once the new headboard arrives, the bed and bedding will take center stage.

The four windows, along with an unlevel ceiling line and unplumb windows and west wall, combined to create an installation challenge. It’s too complicated for me to explain, but I like to say, “It’s easy for you to look at this wall, but it was darned tricky for me to hang it!”

It was a somewhat thick non-woven material, and was intended to be hung using the paste-the-wall method – but I find the product much easier to work with when the paper itself is pasted. The pattern match was spot-on, and the seams were invisible.

The interior designer for this project was Stacie Cokinos. She does a lot of work with clients who are remodeling older homes, or who are building from the ground up. It’s great to have a designer on board from the beginning, to help choose fixtures, moldings, colors, flooring, appliances, etc. Stacie is one of my favorite designers to work for, too, because she is sharp, knowledgeable, organized, and on time. And her interiors are gorgeous, yet well suited for busy modern families.