This is from the June / July 2021 issue of American Farmhouse Style magazine.
It’s so great to see how wallpaper can add a boost to this popular style of decorating.
What a fun idea – using “barware” wallpaper on the backs of shelves above an in-home bar!
Only clear stemware will go on the shelves in front of this colorful, wacky wallpaper.
This “Cocktails” pattern is in the Fornasetti collection by Cole & Son. It’s a non-woven material, and can be hung by the paste-the-wall method, or by pasting the paper.
The contemporary / industrial modern style home is in the Heights neighborhood of Houston.
This colorful and playful geometric pattern went in an elevated “nook” in an open play area in a new home in the Oak Forest neighborhood of Houston. It wakes up an otherwise all-white house, and coordinates perfectly with bright artwork in the room.
The paper is by Stroheim, and was somewhat difficult to work with, especially in a room that presented the challenges it did – wide window, and four cubbyholes around three fixed built-in shelves.
First, the paper had a selvedge edge that had to be trimmed off by hand, a straight edge, and a razor blade. This is tedious and took about an hour to trim eight single rolls.
Second, any time you have wallpaper whose ink smells like mothballs, you know you are in for a tough day. The ink absorbs moisture from the paste at a slower rate than the substrate, so the paper backing puckers (called waffling or quilting). This doesn’t go away, even after booking and sitting in a closed plastic bag for several minutes – so you end up with wrinkles and blisters on the wall.
One thing that helps with this is lightly wetting the surface of the paper with a damp sponge. This allows the ink to absorb moisture, and relax at the same time the paper backing is expanding and relaxing.
You will also notice in the photo that the edges of the paper are curling toward the front. This is, again, the result of uneven absorption of moisture from the paste. Unfortunately, this continues once the paper is on the wall. I had to keep going over the seams to make sure they were down and that edges were not coming away from the wall. No matter how much paste I put under the seams, or how tacky I let the paste get, it didn’t seem to want to grab those edges.
Once the paper is good and dry, though, usually the seams lie down nice and flat, and any blisters or wrinkles will disappear.
Clay-based paste has less moisture content, and could possibly help reduce the waffling. I hate clay paste, though, because it’s hard to wipe off woodwork and off the surface of the wallpaper, and because it works its way through the paper and casts a tan tinge on the paper.
One thing that will help with issues like these is a liner paper. A liner is a plain paper of a special material that is applied to the wall before the decorative wallpaper goes up. It’s job is to absorb moisture from the paste, which causes the paper to dry more quickly, and to “lock down” the seams quickly. So a liner has its place, but it does add an extra day of labor, plus the cost of the liner material.
Interestingly, the Stroheim instructions did not spec a liner; only a good quality wallpaper primer (which I did use). They also did not spec clay-based paste, but recommended three different types of clear pastes (vinyl, wheat, or cellulose), each of which is distinctly different and contains different moisture contents. I would think wheat or cellulose to be too thin and weak to adequately adhere this particular material.
I’ve hung plenty of their products and had no problems with waffling or curling seams; it’s clear that the company has a blanket set of instructions that they stuff into every roll, with no regard to the substrate it’s printed on or the type of ink that was used.
The other thing is, most of the time, you don’t know what you’re going to be working with until you show up at the job site. Even if you research the brand and pattern number ahead of time, there will likely be no mention of the type of substrate or the “mothball” smelling ink. If I had known, I would probably have suggested that this homeowner use a liner. Beyond that, it’s good to have your truck stocked with a variety of primers and adhesives.
Back to the difficult room … I always say that a window like that is easy for you to look at, but very difficult for me to get paper around, at least while keeping the pattern straight and properly lined up. That’s because papers stretch and twist when they get wet with paste, and can contort out of whack. And the wider the obstacle you are working around, the more the paper can go off-kilter. So you can start perfectly lined up on the left of the window, but by the time you get to the right side, the strip coming down from the top of the wall may not line up with the pattern coming across horizontally below, and the two edges may not butt up perfectly, either.
It didn’t help that the pattern had an irregular hand-drawn look, so I couldn’t use a ruler to make sure every horizontal line was equidistant from the window molding. So that window wall took about two hours in itself.
Then there was the wall on the right, with the four cubbyholes in between the three shelves. I had to get two strips of paper on the backs of each of those cubbies, keep the seams from curling, and keep the pattern straight, continuing to four more strips on the wall to the right (the inside side of the wall you see on the right of the photo next to the door molding), so that all four of those strips would line up with one long piece coming down from the ceiling. Oh, and did I mention the extremely unlevel ceiling? This wall in itself took about three hours.
Actually, the irregular hand-drawn look of the pattern helped immensely, because the pattern didn’t have to line up exactly perfectly. Also, the way it was printed on the paper, the design motifs didn’t cross a seam, so that allowed me to raise or lower a strip slightly, to keep the pattern where I wanted it, without disrupting the look of the design. In fact, it was possible to not follow the correct pattern match, and the eye really couldn’t detect it. I could also cut strips vertically to narrower widths, to suit the area I was working in.
There were a few other tricks I pulled out of my hat, in lining up the design after coming around the window and shelf walls, to plumb up the pattern after turning a corner, and to disguise the very unlevel ceiling. The kill point (last strip meets up with first strip) turned out amazingly undetectable, with very little tweaking from me.
In the end, the nook turned out fantastic, and is ready to host children’s performances, reading marathons, or just gazing out the window.
The interior designer for this job is Stacie Cokinos, of Cokinos Design. She works mostly on new builds and on whole-house remodels, and is a great resource for finding and coordinating all the details – tile, plumbing and light fixtures, rugs, furniture, lamps, accessories, paint colors, and, of course – wallpaper. 🙂
I am about to hang a finely-textured gold grasscloth with something of a metallic sheen in the space between these bookshelves, in a home office in League City, south of Houston.
I have smoothed and primed the wall, but noticed that a little of the original painters’ white paint has wrapped just a teenie bit around and onto the navy blue walls of the bookcases. It looked fine when everything was painted and you had white wall against blue shelves. But with the gold grasscloth going next to the shelves, there was the potential for a wee little stripe of white to show between the wallpaper and the navy blue shelves.
So I got out my Box of Tricks (paint bottles) and mixed two colors together until I got a pretty good match, and then used an artist’s paintbrush from Texas Art Supply to cover up the white line where the navy blue shelf meets the white wall.
This way, you won’t have any white wall peeping out from between the new gold grasscloth and the navy blue wood.
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