Focal wall before. With many patterns, the finished room looks better if the dominant features of the pattern can be centered . You may not consciously notice this, but the overall room just feels more cohesive and balanced . Here I’ve located the horizontal center of the wall , and placed the skinny tree running vertically down that line . Same thing on this section of wall, but I used the alternate tree figure, which is wider and filled the space better.
It’s kind of tricky finding the center of a design like this, because it’s not symmetrical and elements of it move to left and right , and some are wider than others. So it helps to be able to pull up a room-scale image on-line , or to lay a couple of rolls out next to each other on the floor and look at the pattern from a distance.
It was cool that this dining room had lots of individual spaces , separated by windows and doors .
And extra cool that these features reached up almost all the way to the ceiling. AND that the design was loose and flowing . That’s what allowed me to fiddle with the pattern and center the trees on each individual section of wall . Normally a pattern would have to match all the way around the room. But here you would never notice if a tree branch didn’t perfectly match the next tree branch way up 9′ high over the window that was only 2″ high .
On those short areas over the windows and doors, I overlapped the left and right strips a small amount, and then cut along one of the branches to disguise the mis-matched pattern.
Since there were two tree figures to the design , I varied what I placed in the center of each wall, to prevent every visual vignette from being the same.
It was fun plotting all this out and executing the layout . I love when my work environment is nice and quiet and I have the space and time to play around like this .
The pattern is called Luminous Branches and is by York . It’s a material made by a good brand .
Moody and dark. A great, snug place to hunker down and spend the day on the computer , working from home . But maybe a little too much dark ? An accent wall brightens the space and adds interest . Makes a day at work more inviting. BTW, those windows with their bull-nosed edges / rounded corners are a bear to hang wallpaper around, requiring special techniques. I won’t go into details, but, after applying my wallpaper primer, just this one wall took me about six hours. Surprise! Look closely and notice the jungle theme , with palm trees and leopards . I centered the pattern between the windows , for a balanced look. Close up. See the fibers on the torn edge of the wallpaper strip ? This is a non-woven material , also called paste the wall , and has a 20% polyester content . Thus the fibers. This stuff is simpler to hang than traditional wallpapers . Also more washable and stain-resistant , and will strip off the wall easily and with no damage to the wall when you redecorate later. These days, most people don’t use land lines or phone jacks . So I removed the wall plate , and stuffed the connector into the wall . Then I hung the wallpaper over the hole / box . It’s right above the head of the cat on the left. If the homeowners ever want to access the phone line , they can easily cut the wallpaper to open up the box , then reconnect it and then screw the wallplate back into place. The wallpaper is by York , under the designer Ronald Redding . The label says it’s a paste the paper installation method , but in actuality, the instruction leaflet enclosed inside the roll is correct – it can be hung via the paste the wall method . Usually I prefer to paste the paper . This is a newish townhome in the Sawyer Yards area of Houston .
A cozy nook. The homeowner likes to spend time here, soaking and relaxing. And recovering from supervising high school athletic activities ! This is a 1939 4-plex in the Montrose area of Houston that was beautifully renovated into a single-family home. So this entire master suite is carved out of what was originally one 1- bedroom apartment . Note my white 2′ x 4′ sheet of plywood over the claw-foot tub , so I can safely access the wall above. The wallpaper was placed on just one accent wall , above the tile wainscoting / chair rail . During the initial Sunday afternoon consultation , both the homeowners and I felt that this pattern on all the walls of this large master bathroom would be too overpowering . So they opted for just one accent wall . The design doesn’t have a strongly noticeable secondary or vertical pattern , but I still took the time to center the most dominant feature (the pomegranates) on the tub faucet . The faucet guy , tub guy , and tile guy didn’t get everything perfectly lined up – but nobody’s even noticing. What matters is that the finished nook looks fantastic! Also of note is that, in this near-100 year old home, the wall was bowed , and it wasn’t possible for the tile to lie flat against the entire surface. So there were some areas where the grout was 1/4″ wide, and some areas where the wall actually overshot the tile, leaving no visible grout at all. So at the area where the wallpaper met up with the top of the tile and the uneven grout line, I made a fat cut , to try to disguise the uneven line. Do a Search here to see previous posts on fat cuts . This wallpaper design is by William Morris , who was a strong force during the late 1800’s and early 1900’s , in the Art Nouveau and Arts & Crafts movements . His work is having a resurgence in popularity right now. Most are more symmetrical and repetitive than this example ( Google Strawberry Thief ) , but, true to the design aesthetic , all of them involve natural elements , such as plants , flowers , fruits , birds , and animals . In this close-up shot, you can see the raised ink of this print , which gives a slight textured feel . The manufacturer is Morris & Co. Usually M&C prints on a user-friendly non-woven material . But in the last year or two I’ve come across more and more M&C that are printed on the old-fashioned, traditional, what we call a British pulp substrate . Non-wovens are strong , durable , stain-resistant , humidity – resistant , easy to install , and easy to remove when you redecorate . Pulps , on the other hand , are just the opposite . Do a Search here to see my previous posts. None of this is a deal-breaker. The installer just needs to know what he’s getting into, before taking on the project. We hunted. This particular pattern was not available by any vendor in the NW material. Maybe it’s COVID , or supply chain issues , or maybe it’s a British thing (even though many American and Canadian companies are printing the Wm Morris designs ). Couldn’t find any outfit offering Fruit in non-woven. At any rate, the paper went up beautifully, and the basic paper material will hold up well, even if the homeowner steams up the room on her long tub soaks , and the pattern is lovely in the vintage home with new tile , tub , and faucet .
Although it’s free and loose, this is essentially a symmetrical pattern . After studying the pattern on-line , I determined that this dark berry motif with the red bird was the dominant element in the design . I measured and plotted carefully , to plant that motif right in the center above the window molding . This would ensure that the dark berry motif would fall evenly on both sides of the window as it moves down the wall . What I didn’t anticipate is how the individual design elements would also play out , being divided equally on both sides of the window . Take a look … On the left side of the window molding is the rear end of a bird . See his tail ?And on the right side of the window , at the same height , is the front end of the bird ! The flowers and other motifs were affected the same way . The pattern is called Apothecary’s Garden and is by C.F.A. Voysey , a designer from the turn of the last century, in the Arts & Crafts period . This is by Lord Twig Wallpaper , out of Canada . I’ve heard all positive results in dealing with this company. Please see previous post for more information re the wallpaper itself.
Deep green wainscoting at the bottom, and on the right is a 100 year old ” dry sink ” with coordinating colored tile backsplash turned into a vanity, with period-appropriate faucet . Fresh and lively . But can you believe the design dates back about 100 years ? – same as the house! Close up. Looks like watercolor paint . Birds , butterflies , plants , flowers , and grasshoppers !C.F.A. Voysey is a male designer who worked around the turn of the last century, late 1800’s through about the 1920’s , and was part of the Arts & Crafts decorating movement . Most of his patterns are somewhat symmetrical , as well as whimsical and fanciful , with heavy emphasis on nature . This is a non-woven material , can be hung via the paste the wall method , although I prefer the paste the paper installation . It has a 20% polyester content and is thus more resistant to stains and humidity than traditional papers . And it’s designed to strip off the wall easily and in one piece with no damage to your walls when you redecorate . The brand name is Lord Twig and it comes from Finest Wallpaper , which is in Canada. This went in the rear powder room of a beautifully renovated 1926 4-plex apartment that has been artfully converted into a single family home , in the Woodland Heights area of Houston .
This is a powder room off a bar in a home in the Spring Branch area of Houston. The walls have wainscoting below and paneled walls above; the wallpaper is to go inside the panels. Wallpaper primer has been applied . Because both the woodwork and the wallpaper are dark, I’ve taken care to not let my white primer get onto the woodwork, making sure to leave a 1/8″ or so gap of the dark woodwork paint. This way there won’t be any white showing at the edges. This is a little dubious, though, because wallpaper paste won’t adhere to the glossy woodwork paint . Not too much of a worry, though, because that gap is mighty narrow and not likely to cause any adhesion problems. See recent previous post for a closer photo.Done. Opposite wall reflected in the mirror. From a distance, it just looks like a symmetrical design . I centered the design on this section between the corner and the door .I positioned the pattern so that half of it landed in the corner. Thus, looking in the mirror, between the two walls, you’ll see a whole motif.The manufacturer colored the edges black . This greatly reduces the chances of the white edges of wallpaper showing at the seams. Do a Search to read my previous blogs on this topic. The pattern is called Showgirls and is by Graduate Collection , out of England .
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 .
This accent wall in a home office in Cypress ( Houston ) has a long story of mishaps, frustration, and $$. Originally, the interior designer had suggested Feather Bloom grasscloth / sisal by Schumacher . I prepped the wall and prepared to hang the paper. But we discovered printing defects (very, very common with Schumacher), and other issues. Search here to see my previous posts. We had to abort the install that day. This turned out to be a good thing, because, truth be told, the homeowners really didn’t like the Feather Bloom, but felt a little pressured to go with it. So back to the vendor the ugly duckling went. Then the homeowners took their time without the designer’s input, to look at wallpaper selections and purchase $1 samples they could see, feel, and tack up to the wall. Their new choice (below) fits their style, color scheme, and pocket book much better (this option cost thousands less than the Schumacher). The actual purchase was made through Dorota at the Sherwin-Williams store in the Rice Village (713) 529-6515. Everything was done over the phone, and, to save the homeowners driving all the way into the city, I picked up the paper for them and delivered it to their home on install day. Starting in the middle of the wall so I can place the very symmetrical pattern dead in the center of the wall. The colors in the paper work beautifully with the green cabinets you see to the left. And I love the way the airy feel and foliage and flowers compliment the open-air view outside the window. This pattern is reminiscent of designs by William Morris, a designer of the Arts & Crafts period around the turn of the 20th Century. I’m seeing a lot of interest in these patterns of late. Apelviken , Midbec , 33006 , A Street Prints , Spring, non-woven material made in Sweden , was very nice to work with and will hold up well for many, many years. I installed using the paste-the-wall method , although you could also paste the paper.
Textured walls have been skim-floated and sanded smooth, wiped free of dust, primed, and are ready for wallpaper. For the master bathroom, the homeowner again chose a symmetrical, fanciful, woodland themed design in muted tones of cream on tan. The overall look is balanced and calm.I added the paper towel cushions to the cabinet handles on the left, to prevent them from slamming into and marring the new wallpaper. Close-up shows the unique light texture of raised ink on this material. The manufacturer is Schumacher, pattern name is Chenoceau. Usually I don’t like this brand, but this paper was actually pretty nice to work with. It does not have a protective coating, so the homeowner will need to be careful with splashes of water and toiletries to prevent staining, and to not let damp towels hang against the wallpaper.
This young family wanted some WOW! Factor for their new home’s plain-Jane powder room. It’s a 2-room set up, with the sink in one area and the toity around the corner in a more private area.Looking through one room into the next – yes, really a WOW! Factor!Looks fantastic with the burnished gold faucets, light sconces, and hand towel ring.Opposite wall. I centered the pattern on the wall opposite the mirror, so that the design would work around the room evenly and the pattern would fall equally on these two walls. In other words, the pattern hits the tile wall on the left at exactly the same point as it does on the tile wall to the right. The sconces also land on the same element in the wallpaper. This gives a very symmetrical look as you face the mirror. One of those things no one can put his finger on, but it makes the whole room feel balanced and in sync. Back wall connecting to right wall with door that leads to the entry hall.The commode room is under the stairway, so has a strongly sloped ceiling – and tight working quarters. You can also see that the wall is bowed in the corner, resulting in a good pattern match at top and bottom, but some mis-alignment in the center. Pretty typical. No walls are perfectly plumb, no ceiling is perfectly level, and corners are just about always a bit wonky. Geometric designs like this are particularly difficult to make look perfect. On close-up, you can see a slight raised ink texture. This surface printed wallpaper was not a crisp look – nothing wrong with that … it’s part of the hand-crafted look. The non-woven material is thick and stiff, and the seams were a bit more noticeable than on many other non-wovens. I also noted that where the gold ink hit the edges of the paper, there were ever-so-slight curls and overlaps. My guess is the gold ink reacted to the wet paste and expanded differently from the black and the background color. Never mind. From two feet away, you can’t notice it at all. The David Hicks Collection by GP & J Baker contains several variations of this type of bold geometric pattern. Some of the vendors are calling this a “new” release … but I first hung one of these designs maybe 10 years ago. Unfortunately, they haven’t gotten any better with the quality. Surprising, because GP&J Baker’s papers are usually very nice – I did one just a few months ago and loved it. Conversely, this one is quite stiff, and trying to work it into tight spots such as corners or behind a toilet or around a vanity or light fixture can result in creases. And the ink flakes off very easily. Here, just pressing the wallpaper against the baseboard so it could be trimmed caused the ink to chip off, and you can see little bits of it collected on top of the baseboard on the left. Luckily, this was at the floor and not very noticeable. I used some black chalk to cover the white areas. But at eye-level, this would have necessitated removing the whole strip and replacing with a new one.
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