There can be reasons for unstable walls, mostly cheap or poor quality paint, dust, someone applied paint over dust, improper prep, incompatible layers inside the wall built up over years (oil based paint, latex paint, dust, gloss paint, joint compound, etc.).
These can cause problems with wallpaper, mostly with the layers delaminating (coming apart), which causes the wallpaper seams to come away from the wall. Sometimes sheets of wallpaper simply fall off the wall.
This isn’t so much a problem with paint, because it just sits on the surface. But wallpaper shrinks when the paste dries, or expands and contracts with humidity, and can put tension on the seams
Before wallpaper goes up, one way to test for such unstable surfaces is the tape test . Use a razor blade to cut an “X” into the wall, scoring through the paint and maybe into a few layers beneath. Place a strip of blue painters tape over the cut. Pull the tape off the wall.
If paint comes away from the wall along with the tape, or if layers inside the wall come apart, you know you have to do a lot of specialized prep to stabilize the wall before hanging / installing the wallpaper.
This example is an interesting twist. The homeowner used a piece of tape to hold up a wallpaper sample. Then used an ink pen to write notes on it. When removed, the tape took the paint off – in the shape of the writing!
Because I feared unstable walls in this 1920’s bungalow in this neighborhood (do a Search for previous posts), before hanging the decorative wallpaper, first I hung a non-woven liner paper on all the walls. That’s the white material you see in the photo. The liner was hung horizontally so its seams can’t line up with the decorative paper. The idea is to disperse tension from drying wallpaper and changes due to humidity and etc., so as to deflect tension away from sketchy wall surfaces, and thus prevent delamination of multiple unstable layers deep inside the wall. Again, do a Search here to learn more. Finished vanity area, with pattern centered on the light fixture.Corner shot.This colorful and symmetrical pattern is quite popular; I’ve hung it a number of times just this year. Englishman William Morris designed wallpaper and fabrics during the late 1800’s and early 1900’s. The styles then were Art Nouveau and Arts & Crafts. This design reflects a bit of each.Wallpaper expands when it gets wet with paste, and then can shrink just a tad as it dries. The liner helps prevent that, but you can still end up with teeny gaps at some seams. To prevent the white backing from showing through, I run a stripe of dark paint under where each seam will fall.I use matt finish craft paint from the hobby store, diluted with a little water (in the orange bottle cap) and smeared on the wall with a scrap of sponge. Use a ruler or level and a pencil to mark where you want to stripe the dark paint. Remember to allow for that expansion as the paper absorbs moisture from the paste. Meaning, if the paper is 20.5″ wide, and expands 1/2″, you’ll want to run your line at about 21.” And make sure that your painted swath is about an inch wide. I also run a bit of dark chalk along the edges of each strip, to prevent the white substrate from showing at the seams (no photo).Morris & Co. makes this iconic Strawberry Thief. Interestingly enough, most times when I’ve hung a Morris paper, it’s been a non-woven paste-the-wall material. Today’s option was a surprise – a traditional British pulp . This is a pretty basic and somewhat old-fashioned type of substrate . Sort of like construction paper, or the pages of an old family Bible . The paper is very fragile , and can tear easily. You have to keep using new razor / trimming blades, because the material dulls blades quickly, and when dull they will drag and tear the paper. Pulp papers also require a soaking / booking time after pasting , to allow time for the material to absorb the paste , soften a bit, and expand . The edges of the strips like to dry out , so I’ve learned to dip about 1/4″ of the booked ends ( booked means the pasted side of the wallpaper strip is folded onto itself, bottom edge folded up and top edge folded down to meet in the middle), into a bucket of clean water. Then it goes into a black plastic trash bag to soak and relax for a few minutes before hanging. I use this opportunity to paste the next strip. Non-woven wallpapers have advantages, because they do not expand when wet, and therefor you can get accurate measurements. They also can be pasted and hung immediately, with no waiting time. Alternately, you can paste the wall .
Originally, the whole room was this not-quite-milk-chocolate brown. Dark can look good in a small room like a powder room. But stark dark with no pattern is often claustrophobic. Since this is a 100-year old bungalow with many layers of paint and potentially incompatible wall coatings, I was worried about unstable conditions inside the wall. Long story short, these conditions can lead to stress on the wall and delaminating layers, which also mean wallpaper seams that don’t stay down. Do a Search here to learn more. So the homeowners agreed to have the walls lined, as a way to avoid these potential problems. Read previous post for more info. The photo above shows the walls covered in the white liner. Finished!William Morris’s designs, and Strawberry Thief in particular, have been very popular the last two years or so. His patterns are studies in symmetry and rhythm , and evoke the era of Art Nouveau and even Art Deco . Last corner magically ended up with virtually no mis-match. Morris & Co is the manufacturer. This is a nice, supple, non-woven material, and can be hung by pasting the wall , although I prefer to paste the paper. It has a vinyl coating and will be fairly washable – good for this family with a toddler. It’s also designed to strip off the wall easily and in one piece when it’s time to redecorate. See previous post for a pic of the label of the liner paper.
After you’ve hung wallpaper on all the walls in a room, the point where your last strip meets up with the first strip is called the kill point . This virtually always ends up in a pattern mis-match. That’s why you engineer to place it in an inconspicuous place, such as behind a door. This powder room, though, had no hidden corner or handy door. That meant that I would have a pattern mis-match a full 5′ high, to the left of the toilet you see here. I prefer to have the pattern match in a corner like this. As you can see – it does. I will explain how I accomplished that. I decided to place the kill point over the door. Even though this space is 2′ high and a mis-match might be noticeable, not many people are looking up over the door, so it’s a better choice than in a 5′ or 9′ long corner. The dark smudges on the wall in the photo are where I’ve spread paint, to prevent white walls from peeking out, should the dark wallpaper shrink as the paste dries. Here I’ve positioned the strip on the left. This leaves a gap of about 3″. Once I match the new strip up to the piece on the right, its pattern will not match perfectly with the strip on the left. Now I’ve positioned both strips, and the one on the right is overlapping the one on the left. Here’s an idea of what the pattern mis-match will look like. To be honest, it’s not all that bad, with this busy pattern and being up over the door. Still, I thought I could make it look better. I’m going to do a double cut , which is our installers’ fancy term for a splice. I’m going to cut through the two strips, splicing them together, cutting along the vertical foliage elements, to minimize cut-off motifs and to disguise the splice. When double cutting on the wall, it’s really important that you slice through the two layers of wallpaper only , and not cut into the primer or wall surface beneath. This is because, if the wall surface becomes scored or compromised, when the wallpaper paste dries and the paper shrinks and pulls taught, it can put tension on the wall surface. If the surface is not intact, it can give way and actually come apart ( delaminate ), resulting in wallpaper that comes away from the wall – and there’s nothing beneath it to paste it back to. I’ve blogged about this before, so do a Search here to learn more. It’s important! Anyway, to protect the wall beneath where I will make my splice cut, I’ve placed three layers of scrap wallpaper, to pad the wall. I figure I can cut through the two top layers, but not all five. Note that three layers of non-woven material have some thickness, and can “throw off” the splice cut and prevent the top two strips from fitting together perfectly. In this case, the paper is flexible enough that I’m not worried about that particular scenario. The strips are in place, and I’m ready to make my cut. I prefer to use a single-edged razor blade held in my fingers, rather than a blade-holder. What’s most important is that the blade be brand new and spankin’ sharp!Here I’ve made my cut and am removing excess paper from the right side of the top strip. Look carefully and you can see how my razor blade followed the contours of the vertical foliage design elements. Here I’ve removed the excess paper from the left edge of the bottom strip. You can see they are poised to fit together nicely.Before fitting the two strips back together, though, I’m examining the wall surface. Check the photo carefully, and you’ll see that I did, after all, score into the primer. 😦 The surface below is skim-coat that was used to smooth a textured wall – and another potential layer that may come apart when exposed to tension from the drying wallpaper. Shoulda used a Boggess Strip. https://www.steveboggesspaperhanging.com/lexanpage.htmOne way to prevent the wall from delaminating is to put something over the compromised area, to distribute the tension of the drying paper and take it away from the cut wall. Here I’ve taken a scrap of wallpaper, which is a tough non-woven material, and carefully peeled the printed surface from the white substrate (no pic of that process). Now I have a thin material that I can use to pad the wall. I’m using the black printed side facing out, in case the spliced strips shrink a little – anything peeping out will be black and not noticeable. Here is the bit of paper in place, spanning across the cut on the wall. Now I’ve smoothed the two top strips back into place. Since my double cut followed along the vertical foliage elements as much as possible, and because I cut around the gold flowers to keep them full and round, the pattern looks like it matches up just about perfectly. But wait! … What’s that lump / ridge under the wallpaper, the full height of the seam? That’s my seam padding! Doesn’t look great. I’m really surprised at this. The non-woven wallpaper material is thick. But that’s why I pulled the top and bottom layers apart, to make my patch piece thinner. I guess not thin enough. Once dried, this ridge is going to be obvious. But, to be honest, this is up over a door where no one’s going to be spending much time looking. In addition, once I get my 100 watt light bulb out of there and replace the homeowners’ original, small light fixture, this bump under the wallpaper will be pretty much indiscernable. Still, that lump was buggin’ me. Another invention from my colleague Steve Bogges to the rescue! Pictured is his seam tape , which was made specifically for this type situation. This is very thin – yet strong – paper tape that is used to bridge cut areas like this, and prevent tension from drying wallpaper from tugging at unstable walls. The tape has a pre-pasted side (the gloss you see), and feathered edges, to make it less noticeable under wallpaper. Hard to see, but here I’ve placed the seam tape over the cut wall areasNow the two top strips have been smoothed back into place. Amazingly, no bump from the seam tape beneath shows. And the pattern mis-match is barely visible, too. Win-win! All that’s left to do is to wipe paste off the surface of the wallpaper. This overlapping and splicing does mean that wallpaper paste will get on the surface of the strip underneath. Actually, there is a way to prevent that, and it also involves products from Steve Boggess … But … that’s a blog post for another day … This pattern is called Peonies and is by Rifle Paper.
This Brooklyn Toile wallpaper by Flavor Paper on an accent wall in a nursery went up beautifully. The contractor had added new Sheetrock to one wall, and painted the other, old/original wall. I skim-floated both walls and sanded smooth, primed, and hung the wallpaper. Perfect! (Search here to see my original post.) But within less than a month, the homeowner contacted me and said that the wallpaper was ” coming off the wall .” It was a 1920’s bungalow in the Woodland Heights neighborhood of Houston. And therein lies the brunt of the problem. The wallpaper itself is not ” coming off the wall .” What’s happening is that the wall surface itself is coming apart – or, delaminating . This is because multiple layers of paint and other substances on the wall may not be compatible. A probably scenario: In 1920 oil-based paint was used. Later someone rolled on a coat of latex paint. Then the homeowners redecorated and used gloss paint. Then some ” flippers ” who had watched too much HGTV slapped on more paint without bothering to de-gloss or prime first. And somewhere in the mix you’ve got cheap paint and dust and other incompatible materials.Over time, and especially when stress is put on the wall surface, such as when wet wallpaper paste dries and the paper shrinks, this stress can tug at the wall and actually pull these layers apart. There are other contributing factors, too, such as humidity, temperature, and location. I find it interesting that the worst parts of the affected seams were toward the top of the wall. This speaks of heat, humidity, and forced air (either hot or cold) coming out of the air vent just to the right of this wall. This photo is of the area over a door, very close to the air vent. See how thick that is? It’s not just the wallpaper. There are several layers of wall coming apart. Some layers are clinging to the back of the wallpaper, and some are staying stuck to the wall. Multiple layers, many years of coatings on this wall. Easy to see the many layers. The paper itself, my blue primer, my layer of smoothing compound, paint, more paint coming off the wall. Then multiple layers of paint and texture still clinging to the wall. This shot is just below the ceiling.Same thing happening at the baseboard at the floor. Layers of paint separating from the wall in chunks. Some pulled off easily, and some I had to chop off with my 3″ putty knife.Most of the paint and unstable surface material clung to the back of the wallpaper. This pile is just three strips – only half the wall. But it’s thick and stiff and heavy because of the paint stuck to the back of the wallpaper. There was so much and it was so heavy and bulky that I had to carry it out to my van in two trips. When I got home, it totally filled my trash bin. Here’s the wall once all the other layers came off. Brushing my hand over it revealed a layer of dust. No wonder the paint and other coatings wouldn’t stick. Nothing sticks to dust. It’s like flouring a cake pan… The paint or wallpaper will kinda stick – but won’t really stick. Paint on top may be fine. But add a little stress from drying / shrinking wallpaper, and you may end up with layers that pull apart. Wiping the walls with a damp sponge removed a lot more dust. But the wall still felt chalky. Whatever type of paint this was, it was not holding together. I had to stabilize this chalky surface. Enter Gardz, a wonderful product – Gardz is a thin, penetrating sealer that soaks into porous surfaces and binds substances together. It dries hard and creates an intact surface. The darker area in the picture is where I’ve rolled on a test area. Gardz is thin like water, and it runs and drips and splatters. It’s imperative that you cover floors, countertops, and baseboards, and roll carefully, and roll upward rather than downward, to minimize runs and drips. A microfiber roller holds the liquid well, and reduces drips. Gardz is made by Zinsser. No photo of the finished wall, but I was very pleased with the stability of the surface. No more chalk or dust. Now, there still could be unstable or incompatible layers deeper inside the wall. (Latex paint over oil without proper prep.) But for now I feel pretty confident that this wall is solid and will hold up to the next process in preparation for getting the new wallpaper up.
Starting to strip wallpaper. You see the top, inked layer, the tan backing layer, and the white skim-floated wall beneath. Wall surfaces delaminating at seamsGardz, a penetrating sealer that binds surfaces together and dries hard.My first idea was to just Gardz the lifted areas. The sealer is newly applied and still wet in this photo.Gardz’ing the whole wall created a more stable surface. This doesn’t look much different from the photo above. But in actuality, the the Gardz has sealed and “locked down” the surface, as well as soaked into the material and sealed the inner layers as well. Applying a skim-coat to even out the surface levels. Once this skim-coat is dry, it will be sanded smooth.
The installer of the original paper did a good job of skim-floating the wall and creating a smooth surface. But he didn’t apply a sealer or primer. Thus, when I used water to strip off the old wallpaper, the moisture soaked into his skim-coat (drywall joint compound, a plaster-like substance, which we also refer to as “mud”). Some of the skim-coat came away from the wall,,, particularly in areas of stress, such as where the wallpaper seams had lain.
In fact, long (years) before I began stripping the wallpaper, many of the seams had started to pull away from the wall, taking inner layers of the wall along with them. This is because wallpaper shrinks as it dries, and that creates tension on the wall. If the wall surface is unstable, these layers can delaminate (come apart), and the result is an open seam with chunks of wall material stuck to it.
This can also happen over time, as temperature and humidity changes can cause the wallpaper and / or wall surface to absorb and then let go of moisture. All this puts stress on those wallpaper seams and on the layers inside the wall.
Besides these seam areas that let go, I had one wall where the entire surface came apart in a mottled effect.
Another factor is that the original skim-coat had been applied over a glossy paint. It’s hard for anything to stick to gloss. The guy probably should have rolled on a “bonding primer” before applying his skim-coat.
Of course, all that increases the time and materials needed, and ups the cost to the homeowner.
Gardz is a wonderful product that is designed to soak into surfaces and “bind them together.” It dries hard and is pretty water-resistant. It was originally intended to “lock down” torn drywall. But workmen quickly discovered that it would fix a whole lot of other surfaces – such as my delaminating skim-coated walls.
At first I thought I would just Gardz (we use it as a noun and as a verb!) the areas that were lifting. Once it dried, I intended to skim-float over these areas, sand smooth, and then prime the entire room with my usual wallpaper primer – Roman Pro 977 Ultra Prime.
But I realized that, even after I wiped down the walls with a damp sponge, they were still covered with powder or grit. This was powder from the layer of skim-coat, as well as residue from wallpaper paste. Neither my primer not wallpaper will stick securely to powder.
So I decided to roll Gardz on to all the walls, ceiling to floor.
Fifth photo – I was really pleased with the way the Gardz soaked in and drew all those layers together. There was no more power on the surface, and the inner layers of the walls were all pulled together.
To even over these vacant areas, and to create a pristine new surface, I skim-floated over the entire wall surface – all walls, floor to ceiling. See last photo.
Once that is dry, tomorrow morning, I will sand everything smooth. Next I’ll apply my 977 primer.
Then walls will be stable, and the surface will be ready to take on the new wallpaper.
Over the years, this powder room ended up with at least four layers of wallpaper. Some had been stripped down to the backing layer before the next layer went up, sometimes a primer was used, and in other cases, the installer simply plopped the new paper on top of the old.
The homeowners attempted to remove the multiple layers of paper. This mess would have been difficult to begin with, but, to complicate things, unfortunately, they pulled some bad information off the Internet. You can see how the use of a “paper tiger” scoring tool caused damage to the wallpaper as well as to the surface underneath – and didn’t help at all to loosen the old wallpaper.
My solution was to peel off the top layer of vinyl paper – the brownish striped faux finished pattern in the upper left of the photo. Then I used a sponge and lots of water to soak the tan backing until the paste reactivated and the paper could be scraped off the wall.
I would have preferred to also take off the layers of paper that remained underneath. But time was a consideration, and also the likelihood of damage to the wall surface. And I wasn’t sure if there was drywall or plaster under there.
So I used the product Gardz to seal off the revealed wallpaper. (Do a Search here on the word ‘Gardz” to learn more about this ingenious product.) Once that was dry, I skim-floated over the entire surface, to create a new, plaster-like layer. That was allowed to dry overnight.
The next day, I sanded this skim-float layer smooth. Because the smoothing compound had to be applied thickly, this resulted in a massive amount of dust. Luckily, it was all contained in the powder room, and was easily vacuumed up.
Then I used a damp sponge to wipe residual dust off the wall. This was followed by another coat of Gardz – a product that soaks in, dries hard, and effectively seals the surface. It’s a good sealer for new skim-coat, and it also works nicely as a primer under wallpaper.
With fans blowing on it, it dries quickly, and I was able to start hanging paper in an hour or so.
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.
Here’s where a little bit of paint has peeled away from the wall. Why? Most likely because over the 60 year lifetime of this house, various products have been applied to the walls.
Oil based paint, followed by latex paint, then gloss paint, maybe some smoothing compound, then more paint and then another coat of paint.
In all probability, improper prep, or, more likely, no prep at all, was done between all these surface treatments.
The thing is, all of these disparate materials are not likely to stick to one another, especially if no prep has been done.
The problem becomes, then, that when a new surface treatment (paint, wallpaper) is applied, and then dries, which results in shrinking, which results in pulling taught and putting stress on the wall’s surface, the stress can cause these various surfaces to actually pull apart (delaminate).
This hall bathroom in a 1955 ranch-style home in the Briargrove / Tanglewood neighborhood of Houston was damaged by a roof leak during Hurricane Harvey. The contractor’s guys did a good job replacing drywall and painting the woodwork, but they fell short when it came to wallpaper. See first photo.
But this just gave the homeowner a chance to choose something that coordinated better with the decades-old tile that she loves (and that I love, too), and to pick a paper with more color and flair, that is more suited to her taste. See tomorrow’s post for that.
My first task was to remove the existing wallpaper. It turned out that there were two layers of paper, and, in some places, THREE layers.
In the second photo, I have removed most of the top (new) paper, which is the aqua trellis by Thibaut. I took it off by simply tearing it off the wall. Below it, you see the green savoy (small, tight, squiggly) by Waverly. Interestingly enough, I have hung this a bunch of times – in the ’90’s. 🙂
This paper was attached more tightly to the wall. To remove it, I had to first separate the top inked layer from it’s paper backing. You can see this in the second photo. Once the top layer, with it’s water-resistant acrylic surface was removed, it left behind a white paper backing. I used a sponge and bucket of hot water to soak the backing. It didn’t take long before the underlying paste reactivated, and then it was ready to let go of the wallpaper. You can see clean wall revealed in the photo, where the layers of wallpaper have come away.
In one area of the room, I got a surprise. There was a third layer of paper under the others. The top vinyl layer had been stripped of eons ago, but the tan, gritty paper backing was left on the wall. You can see this in the third photo dry (light tan) and soaked with water (dark tan). Once that tan paper backing got soaked enough with several spongings with hot water, the paste reactivated and the paper was happy to come away from the wall.
I was uncommonly lucky today, because whoever hung the original wallpaper had taken the time to prep the walls correctly. First, he skim-coated the textured walls to yield a smooth surface for the paper to adhere to. Second, he applied good quality penetrating sealer. This sealer might have been Gardz, a product that I use now, or another similar sealer, perhaps even a solvent-based (as opposed to water-based) sealer. His sealer provided a hard surface for the new paper to stick to, and also gave a surface that was resistant to all the water I was using to strip off the old wallpaper.
Check out the fourth picture to see the huge pile of wallpaper I pulled off this one small hall bathroom.
Once all the paper was off, the walls were in very good condition. There were no delaminated areas, no lifted areas, nothing that needed patching – just an amazingly intact surface.
I did a few little touch-ups to a few little areas (I wanted to clean up 60 years of grime collected along the top of the tile), and then rolled on my favorite wallpaper primer, by Roman’s, their Pro 977 / Ultra Prime. It’s a white pigmented primer, and is a wonderful surface to hang wallpaper on.
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