Posts Tagged ‘sequence’

William Morris-Like Design in Woodlands Powder Room

December 5, 2021
Before. Hurricane Ida (October 2021) took their New Orleans home and everything in it, so the homeowner relocated to a north Houston suburb to be closer to family and college friends. The home is brand new, and has grey-tan walls. While the homeowner “grows” into the house, acquires furnishings, and figures out her decorating approach, she wanted at least one room prettied up.
She fell in love with this wallpaper pattern, and decided the powder room was the best place to showcase it.
Pattern centered on the sink / faucet and light fixture. It will look symmetrical and super nice when the mirror is hung.
William Morris innovated designs like this back in the 1860’s, and started the Art Nouveau and Arts & Craft movements, which carried on into the early 1900’s. I’ve hung a lot of patterns by him, and similar, in recent years, indicating an increased interest in this gorgeous, fluid, nature -centric style.
The paper has a velvety feel, and the seams were invisible. It’s non-woven material, which is very strong and designed to strip off the wall easily and in one piece when you redecorate. It’s fairly water-resistant and somewhat more stain-resistant than more traditional wallpaper substrates.
Apelviken by Midbec is a Scandinavian manufacturer. Yeah…. the instructions on the flip side were a lot of fun to read through!
Interestingly, the labels listed the sequence in which the bolts were printed. Note that not all the bolts were in proper sequence. With a machine-printed product, sequence isn’t all that important because the color will print out very evenly.

The homeowner loved the new look, and said that having this one room decorated with some color and personality helped a lot to make the new house feel like a home. After the trauma she went through in recent months, it was an honor to help her new home become warm and welcoming.

Fun Kill Point With Schumacher Versailles

December 3, 2021
The kill point is your last corner in a room, where your last strip of wallpaper meets up with the first strip you hung hours ago. This virtually always results in a pattern mis-match, In the photo above, if I were to add the next strip of wallpaper to the right of the striped section, in the order it’s supposed to be hung, a mis-match would result when that design lands in the corner and bumps against the leaves and flowers to the right.
I thought I could make it look better. Instead of matching the pattern in proper sequence coming from the left, I decided to cut a fresh strip and match it with the strip on the right.
This gave me a perfect pattern match. But left me with a 1″ gap between the strips.
I could fill that gap in with a strip of plain blue paper, cut from scrap wallpaper in the trash pile. But this particular pattern didn’t have any areas with 1″ width of unprinted paper. So I used my straightedge and a razor blade and cut two 1/2″ wide strips of paper the height of this area over the door.
Here I have placed the first of these next to the strip on the right.
Here I have butted the second 1/2″ strip up against the first one, and am tucking it underneath the striped strip to its left. The vertical lines in the design will disguise any ridges caused by the overlap. Besides – who’s gonna notice this 9′ up, anyway?
Here it is, finished and smoothed into place. Note that these strips are still wet, and will be homogeneous in color once they all dry.
Here’s the finished corner. Remember – it still needs to dry. You can’t notice that there’s an inch of extra blue space in there.
From a distance.

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.

Foliage Update for Guest Bedroom

November 10, 2021
This small floral print was fashionable when it went up, 30+ years ago. But now it’s dated, and also some stains and dirt are showing. Time for an update!
Old paper has been stripped off, the walls have been primed with my favorite Roman Pro 977 Ultra Prime, and ready for wallpaper.
Done! An accent of grasscloth was used on one wall. I love the way the greens match, and everything coordinates with the paneling / wainscoting.
Usually I place the pattern so a prominent design motif sits at the ceiling line. But in a room with wainscoting or chair rail, that horizontal mid point in the wall is more visible. So I plotted to have the bottom of the dark green, most visible flower land just above the top of the chair rail. It looks like it’s growing from the wood! The pattern also just happened to land nicely at the ceiling line, with no major design elements getting cut in half.
The material has woven fabric look to it – but that’s just the printing. It’s actually a very flat paper. It was very thin, and reminded me of papers from decades ago. It hugs the wall very tightly. I liked it a lot.
Exclusive Wallcoverings
The grasscloth accent wall. All four strips were reverse-hung, and hung in the sequence they came off the bolt. Yet you see a color difference (called paneling or shading ) between some strips. This is quite typical of natural products like grasscloth and sisal.
Close up. Bad photo … the color is actually an attractive green. The material is more of a thin balsa wood about 1/2″ wide, rather than traditional grass or reeds. I feared it would be difficult to cut through, but it turned out to work very nicely. But it would not have been good in a room with corners or intricate details to trim around.

The home is in League City, a southern suburb of Houston.

Hanging Wallpaper Strips Sequentially – Stumbling Block

May 6, 2020


You can expect color variations in grasscloth (and other natural material) wallcoverings. These products are made from authentic natural elements, like grass and reeds and hemp and other such materials.

Because each individual blade of grass absorbs dye differently, and because different fields of grass, or even different handfulls grabbed by the worker women, are of differing thicknesses and porosities and thus take the dye differently, there will be differences in the color of these reeds as they are sewn onto their paper backing.

So, you often (usually) end up with an effect we call “paneling” or “shading,” which are differences in color between strips of wallpaper (see third photo), or even within the same strip – such as being darker at the top but becoming lighter at a lower point on the wall.

To minimize this, many manufacturers are labeling their material in the sequence that it came out of the factory. The idea is that, if the strips are hung in the order they came off the dye machine, the strips that are the most similar in color will be next to each other on the walls.

The problem with this particular job is – the vendor didn’t send bolts that came in any sort of correct sequence at all. See second photo.

Luckily, this room is chopped up enough that I can plot the layout so that on most walls, only strips off the same bolt, or closely within the same sequence, will be touching each other.

Unfortunately, even strips within the same sequence can fall prey to paneling. In the last photo, the narrow strip on the far right is from sequence 14-9. The two strips to the left of it are from bolt 14-10. And the two strips to the left of those (next to the door frame) are from bolt 14-11.

As you can see, 14-9 and 14-10 are very close in color / shade. But there is a big difference between the shades in 14-10 and 14-11.

Note that this is not considered a defect or error. These color variations are considered part of the “inherent beauty of these natural materials.”

Farrow & Ball Feather Grass

September 1, 2019


Farrow & Ball is a long-established British company. Here is their very unique design “Feather Grass” which I hung in a master bedroom in the country. I love the look of this pattern as you gaze out the windows to the pastureland beyond.

Farrow & Ball includes their own powdered paste, which you mix up with water. To get a smooth mix, I prefer a hand-held blender to the old-fashioned stirrer stick. Not shown is the 1-gallon bucket of cellulose pasted all ready to go.

The company sends a mock-up of what their design will look like. (The image above is from a different pattern I hung in this same home.)

Because their paper is coated with their paint, rather than ink, there can be variations in color as the printer moves through the batch of paint. So the company labels each bolt in the sequence that it came off the printer, and you are instructed to use the bolts and strips in sequence, to minimize any color variations.

This pattern is something like a mural, and comes in panels with one design per panel, rather than strips with multiple repeats of the pattern. In the photo above, I am rolling the paper out on the floor, to get an understanding of how it is laid out and how it is packaged.

Each bolt contained three panels, all rolled up together. The panels are made to fit a wall as high as 12′, so I had to cut each panel from the bolt, then trim it down to fit the 7 1/2′ high walls.

Yes, there is a lot of waste with Feather Grass. In fact, it takes a full strip to go above and below the windows and doors, even though you are throwing away the entire middle part. So, again, incredible amount of waste – I carted home a whole lot of unusable paper to toss into the recycling bin!

Before shot.

The “grass” pattern is meant to appear at about 4 1/2′ from the floor. Since you start hanging wallpaper from the ceiling, I needed to know where to place the tops of the sheaves of grass. So I drew a horizontal line around the room at the 4 1/2′ height. (enlarge photo to see the faint pencil line) This way, from up on the ladder at the ceiling, I was able to see where the tops of the grass stalks were landing on the wall. It took a few trips up and down the ladder on each strip, but I was able to get all the stalks lined up perfectly.

Finished photos. It’s a subtle colorway, so you may need to enlarge the photo to see it well.

Isn’t the overall effect lovely, with the soft misty color of the grass showing against the view of nature outside the window?!

I hung this in the country home (Chappell Hill) of a family for whom I have worked previously in their River Oaks area home in Houston.

Fudging The Pattern To Make It Look Like It Matches

June 15, 2019


Top photo – this wallpaper has a subtle stripe pattern formed by vertical blocks of squares. As I mentioned in the previous post (below), I centered the white stripe pattern on each wall. And that meant that as the wallpaper moved its way across the wall and up over the doorways, the squares making up the pattern would be out of sequence as they met in the center over the doors, resulting in a pattern mis-match.

To further complicate things, I felt the room would look better with the white stripe also centered over each doorway and window.

My challenges were to:

~ Keep the squares positioned so the horizontal lines of the pieces over the doors aligned with the horizontal lines on the full-height strips to either side. That was harder than it sounds, because on two of the doorways, the center point where I started was 6′ away from the target I was trying to line up with. In some cases, I trimmed the edge of a doorway header strip every so slightly at a diagonal, so as to move that top line of the square up or down, so it would match up with the target line.

~ Keep the pattern inside the squares looking like they were following the original sequence. In other words, I didn’t want a tan square to land abruptly next to a white square. All those squares had to ease into one another. The pattern was a bit forgiving, because the squares were of varying widths, so the eye wouldn’t notice if some were wider or narrower than originally printed. So I used a straightedge and razor blade to cut some of the header strips apart vertically, eliminating tan or white squares as needed. I could also cut some additional squares and insert them in between strips.

If this were a thin paper-paper, I could have simply trimmed along a vertical line and then overlapped the two pieces. But this non-woven material is thick, and an overlap would show, probably even from 9′ up and over the door moldings. So I used a double-cut (splice) technique.

In the photo, you see the opening I am trying to bridge. In the next photo, I have positioned a piece of paper so that it lines up with the horizontal lines on both the left and right. This piece overlaps an inch or two onto the strip to the right. You can just barely see a bit of the blue plastic tape I am using to keep paste off the piece that it is overlapping.

Now it’s time to make the double-cut. I have placed a strip of polystyrene plastic on the wall under where my splice will take place. This will prevent my razor blade from scoring into the wall surface below. This is important, because an un-intact wall surface may give way when the tension from drying / shrinking wallpaper tugs on it, causing a popped seam.

I found a spot among the vertical lines where I could have the spacing between lines and squares look similar to the natural rhythm of the design. Using a straightedge and new razor blade, I cut vertically through both layers of wallpaper. In the photo, you see the excess paper of the top piece, along with its protective blue plastic, falling away.

Not shown is removal of the excess piece from the strip of paper on the bottom, and also removal of the polystyrene padding strip. The blue tape was also pulled away.

The last shot shows the area over the door after the spliced pieces were smoothed back into place. Perfect!

Nobody would guess that the pattern is a tad out of sequence.

And, yes, all this takes engineering, concentration, and time. There were five sections over the doors and windows, each only 13″ high. I spent more than six hours on just these five sections.

Etched Forest Mural in a Baby Girl’s Room

January 4, 2018

Wallpaper - Mural - Etched Forest Close Up


No pink dollies for this baby girl (still a few months away!). This foresty mural is far more interesting. The “etched” appearance of the design brings to mind an old-world lithograph, and adds depth to the image. The green and gold colors are muted, and coordinate with the mom’s planned color scheme of grey, taupe, and dusty rose.

The first photo shows laying the mural out on the floor, to be sure the panels match, and to be sure they are in the right sequence. This also allows me to check dimensions of the mural against those of the wall, and to plot placement of the design.

This mural is from Europe. It came in 8 panels, and was custom-sized to fit the wall. It was a non-woven material, and was installed via the paste-the-wall method. This particular material was stiff and felt even brittle. I wasn’t thrilled working with it, but once it was up on the wall, it will be fine.

I hung this in a baby girl’s nursery in a home in West University (Houston). The manufacturer is Rebel Walls.

Oil Spot Damages Wallpaper

November 25, 2017

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Before putting up a mural, I like to spread the strips out on the floor, to get an idea of the pattern, the layout, dimensions, etc., and to be sure the sequence is correct.

Little did I know that the homeowner had recently oiled her furniture, and drops of oil had gotten onto the floor. The oil got onto the wallpaper and created several permanent stains. Whoops!

Luckily, only one strip was effected. It was the end piece (far right of the mural) and was not needed. Whew!

Plotting a Mural Before Hitting the Wall

September 1, 2016

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Most murals come in strips or panels, which can be either vertical (as shown here) or horizontal. Before hitting the back with paste and attempting to put the paper on the wall, it’s a really good idea to unroll all the panels an spread the mural out on the floor.

This will allow you to organize the panels into the sequence in which you want them to be hung. You will also need to check the dimensions of the mural as compared to those of the wall, and decide which, if any, of the design will have to be cut off and discarded. You’ll also be checking to see how (well) the pattern matches across the seams.