Posts Tagged ‘stacie cokinos’

Railroading a Trellis, Heights Powder Room

May 14, 2020


Railroading means the wallpaper strips were run horizontally, instead of veritcally. See top photo.

That treatment gave the room a little more visual height. AND it coordinates with the paneled glass windows in the front of the house – which dates back to 1895.

This pattern is by Candice Olsen, for York wallcoverings. The interior designer is Stacie Cokinos, of Cokinos Designs.

The home is in the Woodland Heights neighborhood of Houston.

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!

Cheery Blue & Pink for Shared Girls’ Bedroom

March 21, 2020


“Uplifting” and “cheerful” come to mind when you search for an adjective to describe this accent wall in a bedroom for two little girls in a beautifully renovated home in the Woodland Heights neighborhood of Houston.

Flowers, birds, pink, blue – a fanciful pattern and sweet color choice framing a view out of the window of a magnificent live oak tree.

The interior designer is Stacie Cokinos of Cokinos Design.

Textured Wallpaper for Headboard Accent Wall in the Heights

August 20, 2019


A distant shot to show you the warmth, and a couple of close-ups to show the texture.

This wallpaper went on all walls of a small vestibule leading into a master bedroom, and then on the headboard wall of the bedroom itself. The remaining walls were painted a coordinating grey color.

This is a thick textured vinyl material on a woven fabric (scrim) backing. Unlike most wallpapers, this is quite durable and stain-resistant – it’s the same type of stuff they use in hotels and hospitals, where it’s going to get banged into by carts and washed every now and then.

It is also extremely heavy. I’m betting that each double-roll bolt weighed at least 15 pounds. I could barely carry three at a time. A pasted strip 9′ long took about all my strength to lift higher than my head and position on the wall (while balancing on a ladder!).

Because it is so thick, it was hard to press tightly against the wall/ceiling junctions, so it took a little work to get a nice, tight cut. It was also difficult to cut through, so I had to press really hard, and went through a lot of razor blades, and still had to use my scissors to finalize some of the cuts, particularly to cut through some of the string backing.

My shoulders and arms are sore!

This embossed, textured pattern made a lovely, soft backdrop to the bed, and added a warmth that the paint alone could not.

The manufacturer is Thibaut. The older home has been beautifully enlarged and updated, and is in the Woodland Heights neighborhood of Houston. The interior designer is Stacie Cokinos, of Cokinos Design.

Clever Wine Crate Pattern for Outside a Wine Room

July 24, 2019


In the top picture, out of sight to the right is a walk-in wine room. The homeowner has loved this pattern for years, and finally found a place to put it – right adjacent to the wine room!

The wine case pattern is by Brunschwig and Fils. Unlike the other papers by B&F that I have hung, this one is a vinyl, with a slightly embossed surface (the lines between the boxes are slightly indented). It has a selvedge edge that had to be trimmed off by hand. Unlike most hand-trimmed papers, this one had no trim guide marks, so I had to wing it on where to place my straightedge.

The paper backing soaked up paste quickly, and each strip was nearly dried out by the end of the booking time, so I ended up rolling a little paste on the wall where the seams would fall, to augment. Once it was on the wall, the paper adhered nicely.

The floor was unlevel, and so the paper ran crooked along top of it, making it look like the bottom row of boxes was running downhill. To level out this bottom line, I used my straightedge and a razor blade to cut off the bottom “boards” along the black line. I trimmed the strip to 1/2″ high. See 4th photo. I used a piece of artist’s chalk to color the cut edge, so white would not show along the top.

Then I appliquéd the strip over the bottom of the paper on the wall, butting it up against the baseboard. Wallpaper paste won’t stick to vinyl (it’s too slick), so I used special adhesive on the area of the overlap.

In the bottom photo, you can see how nice and even the bottom line looks.

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

Mapping Out a New Look

July 21, 2019


Here is a small vestibule (the second vestibule I’ve done this week! 🙂 ), that leads from the living room past the powder room and into the kitchen / great room, in a newish “tall skinny” home in the Houston Heights.

It’s the perfect place to add a little personal flavor. This map pattern in muted colors is perfect for this space, because, in the adjoining living room, the homeowner has some framed maps that mirror the style and color of this wallpaper. The wallpaper pulls everything together.

This wallpaper is a non-woven material, and can be hung by the paste-the-wall method, or the paste-the-paper method. With the intricate door moldings requiring complicated cuts in miniscual spaces, it made more sense to paste the paper. It is by Mulberry Home (I gotta say – I think they’re knocking off the Magnolia Home brand made famous by Joanna Gaines on HGTV). It’s a British company.

The interior designer for this job is Stacie Cokinos, of Cokinos Design. She works primarily in the Heights, Garden Oaks, and Oak Forest neighborhoods. Her style is fresh and open, with attention to the homeowner’s personal taste, and a dash of fun tossed in.

Soft Mattress Ticking Stripe in an All-White Bathroom

April 24, 2019


With just paint on the upper walls, this all-white bathroom was simply … too white. The addition of a soft stripe, in the shape of a classic mattress ticking pattern, was just enough to add some warmth and definition to the space.

While I like the pattern, I am not fond of the material, nor the brand. Norwall is one of the lowest-priced manufacturers out there, and … you get what you pay for. This is a solid vinyl wallpaper with a paper backing. The vinyl surface sounds attractive to homeowners, because it is a tad more stain resistant than other papers, and because it repels water.

The bad news is that humidity (such as when someone takes a shower, or splashes water on a seam) tends to find its way behind the seams and into the paper backing. That paper then swells and pushes away from the wall, causing the seams to curl.

Over time, the vinyl top layer can actually separate (delaminate) from the paper backing, leaving curled seams that cannot be reattached.

In addition, the seams are always a little “pouched” when the paper is installed, and never lie completely flat. It’s also common for this material to bubble or blister as it dries … I call it “burping” … or more properly termed off-gassing as the air released by the drying paste tries to find an escape but is trapped by the vinyl surface. So you have to keep going around the room chasing out bubbles. Really small ones usually disappear as paper dries.

Type in key words and use the Search feature here (upper right corner) to read my previous posts about these topics.

This was the first time I’ve encountered a Norwall solid vinyl paper-backed product that was not pre-pasted. Maybe the manufacturer has figured out what made it’s wallpaper so crap…py… er… disappointing. To be honest, the paper I worked with today (which had to have adhesive applied by hand/paint roller) went up with fewer problems than usual. There were still blisters, and still seams that were not as flat as they should have been. But overall, it was better than I expected. This is not the same as being “satisfactory.”

Only time will tell how this product stands up to humidity in a family bathroom.

This is a new-but-classic-looking home in the Woodland Heights neighborhood of Houston. The interior designer is Stacie Cokinos of Cokinos Design.

UPDATE: This paper had only been up for a few months when the homeowner called me to say that some of the seams were curling. As expected, this was due to humidity / moisture…. either splashing water or the housekeeper’s damp rag running along the top of the chair rail. Or possibly humidity from showering.

Either way, some of the seams were starting to curl away from the wall, and were on their way to delaminating. I was able to tack down the curls. But if the paper starts to delaminate (vinyl layer separates from paper backing), there is no cure for that – at least, not anything that looks good.

Timorous Beasties “Indie Wood” Wallpaper in a Dining Room

April 21, 2019


This is some novel stuff!

This wallpaper pattern is something like a mural, but with a little more brain-bending. It is one continuous design, with no element or motif repeating or showing up more than once in the 33′ length of each bolt.

It’s a good thing that no one was living in the house, and that furniture had not been moved in yet. Because I needed a LOT of floor space to roll out and study each bolt.

I had to compare the height of the walls and the length of each strip that I needed, to the placement of various animals in the design. This enabled me to plot where on the wall any given critter would appear, and to get as many creatures as possible on each strip, all while accommodating the homeowner’s preference for a few special ones.

I rolled the entire 33′ long bolt out on the floor, took measurements, and used blue tape to indicate the tops and bottoms of each strip. This enabled me to fiddle with various layouts and animal positions, and I could make changes if needed.

We needed 22 strips, and I was getting 5 strips out of each double roll bolt. So after I cut five strips from the first bolt, I moved on to the second bolt.

To give a more random look, I wanted the same animals (the squirrels, for instance) to be placed at different heights moving around the room. So when I started plotting my strips and cuts from the second bolt, I made sure that the creatures landed at different heights from the first bolt. That first bolt and the animals’ positions I called “A” and the second bolt and positions were “B”. I only got four strips out of the “B” bolt.

This meant that any given motif would appear at the same height on the wall only every 9th strip. This would give a pleasing, random look.

The plan was to hang all the strips taken in order from the “A” bolt first, followed by strips taken sequentially from the “B” bolt. Repeat with another “A” and another “B”, and then back to an “A” bolt again.

To be sure, I measured and marked and double-checked everything carefully before I cut anything. Then each strip was labeled … (“2A,” “4B,” etc.)

Working around the doors and windows, the room was divided into four sections. The next step was to get all those strips of paper placed in proper sequential order, standing in queue all around the room – all while figuring the center point of each of those four spaces and plotting which strips would be placed flanking the middle of that wall.

Some cool features of this pattern is that it was placed smack down the middle of the 20.5″ wide strip, which made it a lot easier to center and balance the design than if it had been placed off-center. Also, the design did not reach across any seams, so (other than plotting the height where each critter would fall) there was no pattern match. This made it a lot easier to accommodate crooked walls and un-level ceiling and wainscoting.

The dimensions of the room were also amazingly in sync with those of the wallpaper pattern. Vertically, the 82″ height of each wall / strip worked with the placement of animals on the paper, so virtually all animals were kept intact. There was only one bird who got cut in half at the wainscoting, and that happened only every 9th strip (twice in the whole room).

Horizontally the pattern worked out just as incredibly. The width of all of the walls worked out to be within an inch or two of a multiple of the width of the paper. So centering the strips / pattern on each wall resulted in a look as if the design were “framed” by the door and window moldings. Sorry, no pics.

The downside was, just by happenstance, I ended up with an extraordinary number 1″-2″ strips that had to be squeezed in. Time-consuming and PITA.

I centered the pattern on each of these four wall spaces. But that meant that the rhythm of the pattern would get screwed up as it passed over the door to the butler’s pantry, two windows, and the 12′ wide entry to the hallway.

Here again, the dimensions worked amazingly well, and so did the very accommodating pattern. In the short 10″ high areas over these doors, I was able to “fudge” the pattern by slicing strips vertically along a tree trunk, for instance, and then overlapping the two sections an inch or two, to “shrink” the strip’s width. Making an inch of width disappear from each of seven strips is barely noticeable, and maintains the rhythm that the viewer’s eye wants to see as it travels around the room. Again, sorry, no pictures.

The walls had been primed a few days before; just laying out and hanging the paper took me 12 hours.

I hung this “Indie Wood” pattern by Timorous Beasties on the top 5′ above paneled wainscoting in a new home in the Woodland Heights neighborhood of Houston. It’s made of non-woven material, and can be hung by paste-the-wall or paste-the-paper (which was what I opted to do). Non-wovens are strong and have a high fiber-glass content. They are designed to strip off the wall easily when it’s time to redecorate. Additionally, they are dimensionally-stable – they do not expand when wet with paste. This makes it much easier to plot placement of strips and motifs.

The interior designer for this job is Stacie Cokinos of Cokinos Design.

Timorous Beasties, Papillion de Nuit

April 20, 2019

Say it in French and it sounds beautifully exotic. In reality, they’re moths.

This rhythmic pattern by Timorous Beasties went in a powder room in a new home in the Woodland Heights neighborhood of Houston. Note the brick and wooden accents in the room.

Whereas most wallpaper patterns repeat either every strip or every other strip (half-drop), Papillion de Nuit has a quarter-drop pattern match, which means that the pattern repeats itself every fourth strip. It’s extremely difficult to figure out and to keep properly placed on the wall, especially when every motif is identical.

In addition, the powder room had some challenging features of its own. The whole job took me about 14 hours! It looks great, though.

It’s made of fiberglass-based non-woven material. This can be installed via the paste-the-wall method, or by pasting the paper (which is what I generally do). Some features of this material is that it is designed to be stripped off the wall easily when it’s time to redecorate, and that it is dimensionally-stable and won’t expand or stretch when wetted by the paste.

The interior designer for this job is Stacie Cokinos of Cokinos Design.

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.