I'll see you next time.
Bye.
Bye.
Bye.
Hi, and welcome to Home Time.
I'm Joanne Liebler.
And I'm Dean Johnson.
We're getting this room ready for a fresh coat of paint.
This is the first of many painting, staining, and wall covering projects we'll demonstrate
in this tape.
And after we prepare these walls, we'll show you how to paint and stain wood trim and how
to paint ceilings and walls.
We'll be covering some basic stenciling techniques and some special painting effects.
Then we'll get into the ABCs of hanging wall coverings.
It's sort of an encyclopedia of techniques.
What we recommend is that you watch the tape the first time all the way through, and then
use the chart and the project guide to go back and review the section that applies to
your project.
Home Time is made possible by Chevy Truck.
Who brings you?
Chevy full-size pickups, today's big pickups for professionals and do-it-yourselfers.
Chevy S-10 pickups, today's compact pickups that play as hard as they work.
Chevy S-10 Blazer, today's sport utility vehicle in two or four door models.
Chevy Astro all-wheel drive, today's mid-size van with standard four-wheel anti-lock brakes.
Chevrolet, the trucks you can depend on, the trucks that last.
The National Home Time PBS series is made possible by the Stanley Works.
Since 1843, Stanley's been committed to building quality tools and other products to help you
do things right.
Before we get into the nuts and bolts of painting, staining, and our wallpapering projects, there's
a few basic principles we'd like to discuss.
The first has to do with safety.
These jobs involve working with potentially dangerous tools and materials, ladders, sprayers,
steamers, utility knives, and toxic chemicals.
We'll show you some safe techniques and point out specific safety measures you can take
on your projects.
But again, it's up to you.
Work at a comfortable pace and use good tools.
Never work when you're too tired to do a safe job.
And follow the manufacturer's guidelines in using their tools, materials, and equipment.
We also want to emphasize the importance of careful planning and preparation.
Watching this tape is a good start, but you can also talk to experts at your local home
center and paint stores.
Also read directions on labels.
And you should be prepared to take the time to do the job right.
A painting contractor we work with tells us that you can cause $100,000 worth of damage
with just one gallon of paint.
So if you're not planning on doing good, safe work, you might just as well rewind the tape
at this point and record some home movies.
But if you do want to learn how to do a good job, stay tuned for our first project.
Using the right tools and the right materials make any job turn out better.
Like using a garden hose and a can of spray paint to lay out and mark the planting beds
for this landscape project.
And using the right truck for the job, the Chevy WT-1500 truck with a bigger standard
payload than Ford's F-150 holds everything we need for this project.
Nobody else offers this tough Dura grill.
And the biggest V6 in its class gives you more standard horsepower than Ford.
The full-size Ford doesn't offer this double deck loading either.
This Chevy lets you carry supplies on the top and tools on the bottom.
For landscaping, one of the handiest tools we've come across is a side cutter.
Once you get it started, like so, you can skim the sod cleanly and easily with a few
well-placed kicks.
And for hauling the sod away, don't worry about getting this Chevy dirty.
Just spray it clean.
The cargo box is all welded with no exposed mounting bolts to trap water and cause rust.
When you're ready to start planting, the Chevy Astro is perfect for bringing home the new
arrivals.
The sliding side door and swing-out rear doors make loading and unloading your cargo quick
and easy.
The Astro is the only mid-size van to offer the combination of all-wheel drive with standard
four-wheel anti-lock brakes.
And it converts easily from transporting plants to transporting passengers with available
seating for eight.
Keep coming, good.
After planting a tree, experts advise digging a hole twice as large as the tree's root
ball and then mixing in manure or peat moss with a backfill.
It gives the new roots good soil for quick growth.
These Baldwin burlap trees can be heavy and awkward, but the Chevy S10 Tahoe has the biggest
available V6 in its class.
And with a 4.3-liter engine, it's ready to tow up to 6,000 pounds.
That's more than enough for this last load of shrubs.
Our last step here is covering the exposed soil with hardwood mulch.
Now, this keeps in moisture, prevents weed growth, and eventually decomposes into organic
soil matter.
You need a lot on a project this big.
But there's no problem getting it home with Chevy's four-door S10 Blazer 4x4.
The biggest V6 in its class, towing capacity of 5,500 pounds, and standard four-wheel anti-lock
brakes Ford doesn't even offer.
So whether your project is big or small, when you have a Chevy truck working for you, you'll
be a winner.
And the continued support of Chevy truck has made home time a winner.
So thanks to you for watching, and thanks to today's truck, Chevrolet.
The trucks you can depend on, the trucks that last.
One of the most important parts about painting is surface preparation.
In new construction, that's pretty straightforward.
Yeah, a little primer on the drywall, some sanding, and you're ready to go.
But in an old house like this, you never have any idea of how many layers you're working
on top of.
So we'll show you some of the basic steps and principles, and you just have to apply
these procedures to your own situation.
Bear in mind that a third of the total time spent on a painting job might have to be spent
on preparation.
For walls, that means making sure that you've got a solid surface.
So you want to scrape, brush, and dig out everything you can.
We've got a couple of situations in this room.
This is an old plaster wall with some significant cracks.
For these, you need to chip out the crack.
Remove any loose or flaking plaster and create a little more room for the spackle.
Here both layers of plaster are damaged, and you can see back to the wood lath.
So once we've scraped off all the extra plaster, we just dust off any loose bits.
At this inside corner, somebody did a pretty poor taping job where some newer drywall meets
an old plaster wall.
Here we're going to really dig and tear.
Even take off pieces of the old joint tape until everything that's left is good and solid
and isn't going to go anywhere after we've painted it.
There are a lot of different patching compounds, and what you use depends on the size of the
space you're trying to fill.
Up here on the wall, where the plaster's broken back to the lath, we're going to use one of
these quick-drying, chemical-setting, ultra-hard joint compounds.
We don't need much, and it's probably a good idea not to fill this all the way.
This material's tough enough to sand when it hardens, so we'll put a top coat and a
softer spackle on later.
Sometimes it's a good idea to use fiberglass joint tape to reinforce problem areas, so
painting preparation may mean that you have to be a drywall taper, too.
Once the tape is on, I'm mud over the corner.
Just like with full-fledged drywall work, we'll let this layer dry before we come back
and put on a few more layers to smooth out the joint.
Now, most of the time, we're patching small cracks and nail holes.
For this, we're using a lightweight spackling compound.
This is one of a new generation of spackles.
They're called glass beading compounds, and they're pretty darn good.
They dry quickly, and they don't shrink much at all.
Once all the patched areas are done and dry, we can sand those areas smooth.
And now it's time to evaluate the wall surface itself, and this is one of the factors that
helps us determine whether we spot prime or prime the entire thing.
Now, we know we're going to have to prime these areas that we've patched because they're
not sealed, and they'll absorb more paint than the rest of the wall.
Now the rest of these walls are probably sealed with all the coats of paint that have been
applied over the last 60 years.
But in addition to sealing, a primer will also stabilize the surface.
So you wonder, how stable are these walls?
Well, it's important to know that because the paint needs a good, solid surface to grab
onto, and a good way to test that is with masking tape.
Now, I applied this, let it sit for a couple of minutes, and I'll just peel it off like
so and check the back.
If particles of paint have pulled off the wall, the paint surface isn't very solid.
This looks real good.
Another way to test is with a wet rag.
Just rub it on the wall like so, like you're trying to wipe off a stain.
And if paint shows up on the rag, then you're probably dealing with a bad coat of paint,
one likely cheap paint to begin with.
Our test shows us we can probably get away with spot priming these patched areas.
Otherwise, we'd want to put a good primer over the entire wall.
Except, these areas up here are going to create a coloring problem because their color is
so much different than the rest of the wall, they could show through our next layers of
paint.
So, we'll spot prime up there, too.
Before we prime, there's one other step to consider.
Paint needs a surface with a good tooth, as they say.
The surface has to grab the paint and hold onto it.
And there are a couple of things that can interfere with this.
A surface with a high gloss paint doesn't have much tooth.
And a surface with a lot of grease and dirt, like you might find in a kitchen, doesn't
have much tooth, either.
However, washing with TSP, or trisodium phosphate, can remove grease and dirt, and also help
to degloss the surface.
This is a latex primer, and since we're dealing with small areas, we can just brush it on.
Or we can use a roller for an area like this, along the top of the wall.
When the primer's dry, we sand the whole wall using 100 grit paper.
This gets out any lumps we left when we primed, and it takes down any bumps in the old paint.
Okay, with all the priming and sanding done, we can now start in the finish coats.
We'll cover painting the walls later on in the tape.
What we'd like to do now is spend some time talking about the steps involved in preparing
old wood trim like this.
As you can see, this trim has had lots of layers of paint.
It's also loose and cracked in several places.
Now that there's so many damaged areas in this wood trim, and because it's been painted
so many times, it's almost impossible to make it look like new again.
However, there are several steps we can take before we paint to repair the wood, and to
also make sure that the surface is good before we put on any more paint.
The first step is to scrape and chip away any loose, weak, or flaking paint.
Once all the areas are properly scraped, we'll spackle.
This is our same lightweight, quick-dry spackle.
We're looking for any extra nail holes, or gouges, or places we've chipped out the older
paint.
After the spackle has dried, we give the wood a real good sanding.
We're sanding the areas where we spackled to smooth those out, but we're also sanding
all the other areas.
We like using 80 or 100 grit sandpaper, and we just wrap it around a soft sanding pad.
After smoothing out the lumps and brush marks that have accumulated and multiplied with
every layer of old paint, you always check your work.
Sand until it feels smooth.
Always when you sand, you should clean up thoroughly afterwards.
You don't want any dust getting mixed in with the next layer of paint.
Sandpaper was used for gouges, gaps, and nail holes, but joints like this, where the surfaces
meet 90-degree angles, will caulk after we sand and vacuum, but before we paint.
You'll see us do this again in our next project area, where we paint raw wood trim.
You squeeze the caulk into the gaps, and then smooth it out with your finger.
We'll probably be able to get away with a little spot priming and one good finish coat
on this wood trim.
Now, if we were going to put on more than one coat, we'd wait to caulk until just before
the last coat of paint went on.
Once all your prep work has been done, you can start the actual painting, and you always
start with the wood trim, and that's true whether you're painting it like we're going
to do here, or whether you're staining it, which we'll show you later on.
We'll be painting new trim, but the steps are basically the same with the existing trim
if you've prepared it properly.
We've always planned on painting this trim, so that kind of let us off the hook a little
when we installed it.
We've got two types of wood trim here, a pine casing and a birch back band, so they'd stain
different colors, but painting them, no problem.
To get ready to paint, we'll remove the sashes, which we're able to do on these windows.
We also take off all the hardware, and we clean up any extra glue or anything that seeped
out into the window panes.
With raw wood, you need to do some preliminary sanding.
This is to deeper the wood, get rid of any slivers or any places where the wood's irregular,
like joints or nail holes.
This sanding is also to take off any really sharp edges.
Wood trim is an area where you would typically use oil-based paint, but that decision is
getting a little more difficult to make.
Oil-based paints, also called alkyns, are probably on their way out because of the concern
over the fumes they give off while you use them and the problem of disposing of them.
In fact, in some areas, they're already banned.
Oils are stronger than latex paints, and they don't build up as thickly, so they're good
for trim, but latex paints are always improving, and a high-quality latex will work in almost
any situation.
We are using an oil-based primer, however, that's the only time we're going to be using
an oil paint in the program.
We'll be using a latex finish coat.
Now one trick to doing panes like this is to hold the brush fairly square to the window.
I don't want to go along at an angle like this, nor do I want to just paint with a tip.
It helps to have an angled brush.
You've got to use enough paint on the brush so you're pushing a little bit of paint along
the outside of the brush, and this is what gives you a clean line.
You want to let the paint go just a tiny bit onto the glass, maybe a sixteenth of an inch,
and this helps make an airtight seal around the paint.
Now we'll probably be putting on at least two coats on the trim here, so if your plan
is to brush the paint on without getting any extra on the windows, you'll have to do that
on each coat.
I think the best plan for the do-it-yourselfer is just go ahead and plan on getting a little
extra on the windows, and then when the paint's dry, take it off with a razor blade.
So if you're not worried about painting perfectly, tricky areas like window sashes can go a lot
quicker.
Now don't expect to get complete coverage with this prime coat.
In fact, if it makes it easier to brush, you can even thin it out a little bit.
If you can't take the windows out of the frames, you need to follow this procedure.
You start by reversing the sashes so that the top sash is on the bottom and the bottom
sash is on the top.
Then you paint everything you can reach, but you leave alone the bottom of the outer sash
and the top of the inner sash, and that way you can reverse them without getting paint
all over.
Then you paint the parts of the outer sash that you couldn't get to before.
And you paint the top of the inner sash now that you don't need it to push on anymore.
We'll leave the bottom edge of both sashes alone because these get painted when the outside
of the house gets painted.
Now we can paint the inside trim of the windows.
This brand of window has a vinyl jam liner, which we don't want to paint.
Since we're going to paint the walls next, we don't have to worry about brushing real
accurately around the edges of the trim.
Just move along quickly and get a good, even coat on.
Priming isn't a very glamorous part of the painting process, but it's a critical one,
especially over raw wood.
Now once the primer is dry, we'll come back tomorrow and start on our finish coats.
When you're cleaning brushes after you've been using oil-based paints, be sure to work
in a well-ventilated area.
If you're using a slop sink in a basement, open up a few windows.
You should work as much paint out of the brush as possible before you clean it.
Let it soak for a few minutes and thinner, and then start to work it out.
If you have a wire brush, it helps to get out some of the hardened particles.
You'll have to change the thinner a couple of times until all the paint's out of the
brush.
With synthetic brushes, you can make your final rinse with soap and water, but not with
natural bristles.
There, the water will simply swell up the bristles, and never throw out leftover thinner.
Instead, pour it into an airtight container like so.
Any pigment will settle to the bottom, and you can reuse the thinner.
In terms of disposing of any paint materials, be sure to check with your local sanitation
department or environmental protection agency in your area.
It's a new day.
All of our primer is dry, so now we can go to work spackling in all the nail holes and
cracks.
This is a white, quick-dry, glass-beading spackle.
We're going to sand everything down in a couple minutes, so we don't have to be real finicky
when we apply this.
Raw wood absorbs primer.
The wood expands, and it raises the grain a little bit.
So we wait until now to do a thorough sanding.
We'll take that grain down a little bit and get a nice smooth surface for our finish coats.
Be sure not to overdo this, especially around the edges.
It's real easy to take off too much on the corners.
Now it took us about an hour to sand down the entire room here, and of course when you're
done sanding, you want to vacuum up all the dust and grit.
Now the next thing we'll be doing is putting on the finish coat, and the order of the steps
we've taken so far is fine if you plan on doing one prime coat and two finish coats,
but not if you only plan on doing one finish coat.
Let me show you why.
These spots where we putty aren't sealed up, and they'll absorb more paint than the primed
areas, and this will show up after one coat, but not after two coats.
If we were only putting on one finish coat, we'd putty and sand before we put on the primer.
This way these areas would be sealed by the primer.
Now we're finally ready for our finish coats.
Now if you have custom colors mixed up for you at the paint store, you should be aware
that there may be subtle color variations from one can to another.
So if you're in the middle of the job and you switch cans of paint, those color differences
could show up on the wall or the trim or wherever.
So it's always a good idea to blend the colors together.
Basically, this is a game of musical paint cans.
We're using a third empty can to make sure that we blend all the paint together.
For our finish coats, we proceed pretty much along the same lines as our prime coat, except
we want to brush much more carefully.
And here's a few tips on how to do that.
Then dip your brush a third of the way in, and don't scrape the brush on the rim.
Pat it off inside the can.
Always start past the area where you just finished and brush back into the wet area.
This cuts down on lap marks.
Then once you've unloaded most of the paint from your brush, take a couple of last strokes
over the whole area.
With latex paint, because it dries so quickly, you have to be careful about going over areas
that have already started to set up.
We know the feeling.
The paint kind of grabs hold of the brush and leaves marks when you pull it through.
Then when you try to smooth it out, you just end up with more marks.
Instead, the trick is to move quickly and take one section or piece at a time until
you reach a point where you can stop.
This is called keeping a wet edge.
So get a good brush full of paint and take long, even, smooth strokes.
You don't need to fuss with it.
How's it going?
Feels dry.
Well, it's been about three hours now, and that's how long it takes for this latex to
dry.
So we should be able to put the second coat on at any time now.
Before we recoat, we're sanding down the first coat, and we're just sanding it very lightly,
taking down any ridges or lumps.
That'll make our final coat that much smoother.
One last tip before we apply our final coat.
We want to fill in any cracks in the trim with caulk, especially those between the trim
and the wall and where the trim meets 90-degree angles.
This is paintable latex caulk.
Once it's applied, I just smooth it out with my finger.
Whenever you're working out of a can of paint that's already been used, you should strain
your paint first, and that clears it of any little pieces of skin or debris.
And here's something else you may want to try.
This is a latex paint conditioner.
By adding just a little bit to your work pot, it can make your paint flow on a little bit
more like oil paint.
Well it's time to clean up after ourselves, and here's a little trick that we like to
use.
We want to clean off the excess paint from the edges of the window panes, but we want
to leave a little of it on to seal the joint.
So I'll take this putty knife and use it as a guide to score a line in the paint.
The score mark is just the thickness of the knife blade out onto the glass.
Then I scrape off the paint with a razor blade, and I only scrape up to that score mark.
And this leaves just the right amount of paint lapped out onto the glass.
Another popular finish for wood trim is stain and varnish, so let's go over to the other
project house to take a look at the steps involved with that.
This is a new project house that we're working on, and for a good example of trim staining
techniques, we're going to be working in the family room.
If you're going to be staining woodwork like we are in this family room, it's best to stain
before the wall paint goes on.
If you don't and you accidentally slop some paint on the raw wood, it's going to be hard
to get a nice finish in that spot.
So finish the trim first, then paint the walls.
However, in new construction, all the walls should be primed before the wood trim goes
up.
That's why everything's primed in here.
Now getting good results on wood trim is no big trick.
All you have to do is use the right materials, the right steps, and do everything in the
right order.
And our first step is giving the wood trim a light sanding.
There you go.
This shouldn't be a big job.
We only need to remove any marks or scratches before we put on the stain.
We use a fine-grade sandpaper, about 150 grit.
Just spot sand now.
There'll be a complete, thorough sanding a few steps later in the process.
We also want to take down any really sharp edges, just a couple of gentle strokes.
The hardest part about picking a stain is getting the right color.
Staining is the only part of a painting job that you can't go back and change once it's
done.
So you want to make sure you get it right the first time.
Here, Jojo, this is all set on our egg.
Now it's a good idea to take a scrap piece of wood, apply the stain you think you're
going to use, and don't forget to varnish it, because a gloss of the varnish can make
the stain look a little bit darker.
You'll see stain applied with several different tools, but we're going to be using a brush,
a good, natural bristle brush.
We spread it out pretty generously.
We don't have to worry about putting on too much right now.
You want to let the wood soak up as much stain as it needs, and since you do your wood staining
before you paint the walls, you don't have to worry about slopping over on the walls.
Once you've got the stain spread out over a stretch, you come back and wipe it down
with a cloth.
You want to use a good, clean, soft cloth, and this is what evens out the coloring.
If you don't have any rags around, a good paint store will usually supply you with some,
so that shouldn't be a problem.
Working around windows is probably one of the hardest parts of staining.
You can mask up the windows with masking tape, but really it's just easiest to be as careful
as possible, and then just wipe everything off the glass when you're done.
Starting with a rag here, you can see it comes off the glass real easily, just like so.
Be sure to stir your stain periodically.
That's because the pigments can settle to the bottom, and that could cause your color
to be uneven.
Now we used a brush to apply our stain, but make sure you don't get something that's called
a brushable stain.
Brush refers to a type of stain that you don't wipe down with a cloth, and it's a little
tricky to apply, so you might want to steer clear.
The stain appears to dry pretty quickly, but we let ours go overnight before we go on to
this next step, and that's applying the sanding sealer, and sanding sealer is a crucial step
to get a professional-looking finish.
It's kind of like a varnish, only it's a little softer.
What it does is seals the wood and raises up the grain.
It makes it bristle a little bit, if you know what I mean.
Actually, the wood feels pretty smooth right now without the sanding sealer on it, but
once the sealer dries, it'll roughen up the wood a little bit, and then we'll come back
and sand off those little nubs for good.
You don't have to work this too hard, since we're going to sand it all down.
So we can move pretty quickly and just get a nice, even coat.
Uh-huh, little nubs.
Well, those won't be around for long.
The sanding sealer's dry, but before we have at it with the sandpaper, we're going to fill
in these little nail holes and depressions with putty.
There are a bunch of standard colors for this putty, but you still might have to mix and
match a little bit to get the exact color for your stain and wood trim.
The right tool for this job is your fingers.
Put a dab in every nail hole and smooth it out, and if you notice any gaps in between
the trim, you should fill these in now, too.
Okay, this is the delicate part.
Sanding is one of the most important parts of the process.
You want a nice, smooth surface, but you don't want to over-sand, just nice, even strokes.
We're using these soft, flexible sanding pads, and they're good for getting inside the grooves.
You've got to be careful on the ridges so you don't burn the stain away, and you should
probably check every so often to make sure you're getting a smooth surface.
Another place to be careful is around the window panes.
Find the insides and just use a few quick strokes, and the end of the pad doesn't have
any abrasive, so that's what we use up against the glass.
When you're done sanding, you have to get the dust off the woodwork.
Now, you can use a brush to do this, but a brush on a vacuum is really the best tool.
The last step is the varnish, and the varnish is a little thinner and a little harder than
the sanding sealer, but they're both basically the same material.
This is regular varnish and not polyurethane.
Polyurethane's a little bit more difficult to put on.
It's harder to sand, and it's harder to get smooth, even brush strokes.
It's great for floors and furniture, but frankly, for wood trim, it's probably more trouble
than it's worth.
It's a good idea to strain the varnish through some sort of mesh, or even an old nylon would
work for this.
You want to do everything you can to get a smooth finish on this coat.
There's nothing real tricky about applying varnish.
If you have a good brush, it should go real easy.
What you want to do is load up the brush real well, and then use as few brush strokes as
possible.
If you overbrush, you'll raise bubbles, and then end with a nice long stroke.
An angled brush works best when you're varnishing around the window panes, but overall, this
part of the job takes a lot of patience.
Overall, a room this size, with a few windows, some baseboard, and a fireplace, it takes
Joanna and myself a little over an hour to do each step, that's staining, sealing, sanding,
and varnishing.
We'll try not to stir up too much dust while all this varnish is drying, and once it's
hardened, we'll put the sashes back in the windows and move on to our next step in this
room, and that's putting up the wall covering, but we're getting ahead of ourselves a bit.
Now we want to go to another room and show you the simple process of putting paint on
the ceilings and walls.
Our experience in painting has been that the more you mask, the better off you are.
In fact, before you even bring in your first can of paint, you should start spreading out
the drop cloths and rolling out the masking tape.
It's a lot more work up front, but it makes the painting go easier, and you end up with
a much better job, so don't take shortcuts.
Some of these combination paper masking tape products work pretty well for us.
Then you always want to run a putty knife down along the side here to seek that tape
real well up against the wood.
We think you should buy the best paint you can afford.
Price and quality are usually directly related.
You get what you pay for when buying paint.
A cheap paint won't cover as well, so it'll take more coats to put it on.
It's not as strong and it's not as washable, so it'll need repainting sooner.
Cheap paint is just frustrating to use, so if you're going to invest a lot of time into
the project, you might as well spend a couple more dollars per gallon and get a good paint.
We'll start our painting on the ceiling using a flat white latex, and this paint was shaken
up at the store pretty good, so all we need to do now is give it a good stir.
Here's a little trick to keep the lip of the can from filling up with paint and dripping.
I used a 16-penny nail to poke a few holes in the top here.
This way, any paint that collects in the rim drips back down into the can.
The two basic tools you need for painting are a roller and a brush, and you need them
both if you're painting an interior wall or ceiling.
The first step in painting a wall or a ceiling is to cut in around the edges with a brush.
We'll use a roller for the large areas, but the roller can't reach into the corners, so
we start by filling these areas in with a brush.
This is called cutting in.
If I slop a little bit on the wall, it doesn't really matter at this point, we'll be painting
the walls next and we'll cover it up.
The band of paint should be about two inches wide.
For ceilings, you'll usually want to screw on an extension rod to the roller to help
extend your reach.
Now, one of the most common problems that most do-it-yourselfers make is not leaving
a wet edge.
This basically means applying wet paint over an area that's already started to dry.
Rather than mixing two layers together, you end up with two separate coats that have dried
at separate times in areas where you overlap, and this will create a ridge that will cause
shadows that just plain starts looking kind of ugly.
So, Dean, while you've been sitting there chatting, the paint's starting to dry on
the ceiling.
All right, good point.
I should probably get up there before Joanne gets too far along and start applying some
paint.
When rolling paint, you want to work in small areas, about three foot square.
Now, I'll show you the wrong way to do this, but it's also the way a lot of do-it-yourselfers
like to tackle it.
They start at one end and start working their way across the area like so.
As they get to the other side, find themselves running out of paint, so they have to really
squeeze to get paint out of the roller.
What this means is you end up with paint a little thick where you started, but too thin
where you ended up.
Now, here's the right way to handle it.
You just sort of zigzag across the area.
You should end up with something that looks like a W or an M. The important thing is to
spread the paint out over the whole area right away.
Then you go back, work the roller over the area to move the paint around, fill in the
gaps.
As you do more painting, you'll learn how to load up the roller with as much paint as
possible without having it drip.
Of course, this will depend on the size of nap you're using around the roller.
In our case, we're using a half-inch nap to help apply the paint to the textured ceiling.
So you might want these.
Thanks.
I was looking all over for these.
So now we just keep working across the ceiling in the same three-foot square sections.
You should always work across the short side of a ceiling.
This way, when you come back and start the second row of squares, the first row hasn't
had all that much time to dry.
You keep a wet edge to paint into.
The ceiling has a texture to it, and that makes it a little more forgiving for the sheet
rockers and the painters.
But this texture absorbs a little more paint than the plain sheet rock on the walls.
We're using a special ceiling paint.
It's a little thicker, and it's got an extremely flat finish, which you want on the ceiling.
We do it yourself, or as always, tend to put paint on too thin.
So it's a good idea to plan on two coats.
Since latex paint dries in just a few hours, a second coat doesn't add a whole lot of
time to the job.
Latex paint is real easy to work with, especially when it comes to cleanup.
You just wash the tools with warm, soapy water.
Okay, now we'll start with the brushes, just trying to rinse out as much of the paint as
possible, pressing against the base of the sink.
Add a little soap, and work it through the bristles on both sides, press a little more.
Then we take our wire brush and just brush through the bristles.
You can be fairly vigorous about this because you want to remove any and all paint particles.
Give it another rinse, and water is running clean, so we just take it in the palm of our
hands and spin dry it.
For the roller, the cleanup is similar.
You just need some water, a little bit of soap, and a lot of time.
Basically, you just want to rinse and wring, working from the center out, flipping it around.
Little soap, and when the water starts to run clear, you're ready for your next step.
There, that looks pretty good.
Now we'll take this brush and roller spinner, pop it on, another little rinse, and spin.
Rinse again, and spin.
You can also use this to spin dry your brushes, and good brushes are worth buying and taking
care of.
Actually, so are roller covers.
They don't last as long as brushes, but you'll get good use out of them if you take care
of them.
All right, with the second coat on the ceiling dry, we're now ready to start painting the
walls.
You about done there?
Yeah, there you go.
All right.
The techniques here are about the same as doing the ceiling.
You start by cutting in around the top, cutting in around the woodwork, and any other obstacles
you run into.
Here you have to be a little more careful.
You don't want to get any on the ceiling, since that's all finished.
The inside corners and baseboards are a lot easier for cutting in.
You can see that doing a thorough job of masking off the trim makes the painting go a lot quicker.
Just like on the ceiling, you want to keep a wet edge when you're painting the walls.
Now that we have a small area cut in, we can go ahead and start rolling.
We'll start at the top of the wall, go down about halfway, in an area about two feet wide.
You just want to spread it around at first, and then we'll come back and start filling
it in.
We do the bottom half of the wall the same way, making sure that we've got about five
or six inches of overlap with our top section.
Now we'll come back and make nice, long, even strokes the entire length of the wall.
Now I'm keeping a little bit extra pressure on the left side of the roller, and that gives
us a nice feathered edge on the right side.
Now there's a temptation to keep rolling over the areas you just painted, but you don't
have to do that.
Let it dry without disturbing it, and that way you won't leave roller marks on the drying
paint.
We also think it's a good idea to use an extension pole, even when you're rolling the walls.
You just get less tired, and it's easier to do a good job.
Be sure to do a complete wall at a time.
Don't stop in the middle of the wall, otherwise you could end up with lap marks where the
fresh paint overlaps with the dry paint.
All right, now we're done with this wall.
We'll continue around the rest of the room using the same steps.
Okay, well that should do it.
Yep, I'll be right out.
The reason that painting is such an ideal do-it-yourself project is that it doesn't
take long to learn the basic skills for it, and it doesn't require any fancy tools or
equipment.
It just takes time.
So after our first finished coat was dry, we put on our second finished coat.
It always seems to go pretty fast on TV, but actually in a 10 by 13 room like this, it'd
take a couple people about an hour to do the masking, about an hour to do each coat of
the ceiling, and then about two hours for each of the two coats for the walls.
Once everything's dry, you start pulling off the masking tape.
What you want to do is pull it back over itself.
This way you're going to put less upward pressure on the paint and it won't rip at the edge.
Now we want to show you some techniques that go beyond simple solid walls, and the first
trick is stenciling.
And we'll do that in the next room.
A popular decorating technique is to do a little stenciling as an accent.
With stenciling, you have a lot of options.
One of the most popular is to do a border along the top of the wall.
We're going to be doing something a little bit different.
We're doing a leaf and berry pattern here around the windows.
We bought this stencil at a store, but if you're real ambitious, you can design and
cut your own.
Before you begin, it's a good idea to do a test run.
This way you can practice and see how you like the end result.
And we have a three color pattern here.
So that means there are three different versions of the stencil, one for each color.
Of course, before you stencil, you need a good solid wall surface.
A matte or eggshell finish is the best.
The stencil paint doesn't stick very well to a glossy finish.
And this is an ordinary masking tape.
It's called drafting tape, and it's got a little less glue on the back of it, so it's
less likely to pick up bits of paint when you peel it off.
Now we're using special stencil paints.
These come in latex and oil, and you just put in about a tablespoon at a time.
Now it's very important to put only a little bit of paint on your brush.
So once I've dipped the end a little, I sort of dry it out with some paper towels.
And you're working the paint into the bristles.
Now the best way to get the paint from the brush onto the wall is to use almost a pounding
technique.
You see the difference between this pounding technique and the way you normally stroke
paint on with a brush.
Notice that I've wrapped the end of the bristles with masking tape to make the brush firmer.
There are three colors in each area, but we only apply one color at a time.
So we'll do all of color one first, and then we'll move on and put on the second and third
colors.
First, I need to move this stencil down.
So I take off the stencil and move it down the wall a little.
The stencil has the outline of a few extra leaves on it to line up the space from the
first repeat to this repeat.
There.
Everything all set?
Yeah.
Okay.
Go ahead.
For our second color, we line up our second stencil pattern over the first one.
This is pretty easy to do because there's an outline of the first pattern right on the
stencil.
When you change colors, you should always change brushes.
Color number two puts a different color of green in the leaf that complements the first
color.
We're ready to move on to color number three.
Here we're going to be doing something a little different.
We're using a stencil crayon.
Now you shouldn't apply the color directly to the wall with the crayon.
Rub some of the coloring onto the blank part of the stencil, and then pick up the pigment
with the brush.
Then we just move along in the same sequence with the third color, the one for the berries.
And here, as you can see, you can rub with the brush.
It's a little easier than the pounding you need to do with the liquid paint.
You just keep circling the brush clockwise and counterclockwise.
A couple of things to keep in mind when stenciling, one is to keep the stencil clean.
You can use either alcohol or thinner for this, depending on the paint.
Treat your brushes carefully, too.
If you're doing a large job, you'll probably have to clean your brushes a couple times
during the process of the job.
Just use a towel and some thinner.
That was pretty easy.
Yeah, it looks real nice, don't you think?
Uh-huh.
Well, that's one special painting effect.
Let's take a look at another.
A very popular type of paint finish is what's called a faux finish.
Faux means false or fake.
These finishes usually imitate a surface such as wood or marble, or even an architectural
item such as a painted window or door.
Now, we won't be doing anything that elaborate.
In fact, the texture we create will basically be a blend of colors.
And to do that, we'll be using a sponge and some cheesecloth.
There are lots of different techniques for this type of finish, but it takes a bit of
practice and a good artist's eye before you're successful at them.
Now, we'll show you sort of what's involved in all this, but don't try it until you've
done a little more research.
Maybe taken a course and definitely experimented and practiced a little.
Even experienced painters will try out their colors and their techniques on a small sample
board.
We did the same here.
We just used a larger sample board.
A finish like this goes on after the woodwork has been stained or painted, and the wall
has been painted the correct base color.
For us, that's a pale green with an eggshell finish.
The next layer of paint is actually called a glaze.
It's made up of one part paint, one part mineral spirits, and one part glazing liquid, which
extends the color and slows down the drying process.
We're rinsing out both the sponge and the cheesecloth, and the reason is to rid the
sponge of any leftover marine life or any sand.
And basically, it just keeps both tools from absorbing too much of the glaze.
All right, now it's important to maintain a consistent look.
So Joanne and I have worked it out, where I'll do all the first step, and she'll do
the second.
You ready there?
Yeah.
Okay, I'm going to get some paint on this.
First, I've got to cut in a little bit of the glaze around the edges of our work area.
This gets paint into the corner where the sponge won't reach.
So now we start putting on the glaze, and this is a pretty loose process.
I'm just dabbing and pushing and dragging the sponge around.
I've got to try to avoid making geometric patterns.
No rows or lines.
Xs and arcs are good.
Drips are okay, and so are little patches of light background showing through.
Okay, well, it looks like I'm up.
Yeah.
Now I'm going to use the cheesecloth to try to make this look pretty.
You can use the cloth in a lot of different ways to create a real unique texture.
One way is to roll the wad of cloth across the wet glaze.
Another trick is to dab the cloth into the glaze.
Every so often at this stage, you should just sort of stand back and get some perspective
on what you're doing.
You want to even out the really dark or light areas.
I'm also eliminating any drip marks and sort of hiding the marks of the sponge.
And before things get too dry, I need to use a dry brush to disguise that I can't get all
the way into the corner with the rag.
In addition to developing the right touch, there are all sorts of other things to keep
in mind.
One of the most basic, like with any kind of painting, is keeping a wet edge.
So once you start, you can't stop.
Okay, here we go.
I've got some more paint.
Okay.
One trick the professionals use is to darken the effect right into the corner.
This disguises the corner and makes the eye follow the pattern all the way around the
room instead of stopping at each wall.
Now this is a delicate process, so don't plan on picking it up in the few minutes we've
taken here.
Study up and experiment a little bit.
In one respect, wall coverings are like any other do-it-yourself project.
Painting, tiling, even framing.
If the surface you're working on isn't good, even the most beautiful job is worthless.
For wall coverings, this means not only does the wall have to be solid, in other words,
no loose drywall or plaster, no holes and gouges, but the wall also has to be sealed.
You don't want the adhesive from the wallpaper being soaked into the wall.
We're lucky working here in new construction because we know precisely what we've got.
It's brand new drywall with one layer of sealer primer, and that's pretty good.
For older walls, use the wall preparation techniques we showed you on the first part
of the tape.
Pay special attention to sealing the walls.
Now if you have any question about the surface, by far and away your best bet is to prime
the entire wall and then apply a layer of sizing over the top of that.
This is basically putting a layer of glue on the wall.
It's a guarantee of good wall covering adhesion.
Now let's spend a minute talking about the theory of hanging wall coverings.
We've gone with a pretty simple pattern here.
It's basically a coat of arms design that has a horizontal match.
Now you can always match one full piece right next to the other, like so, but once you've
worked your way all the way around the room and you've run back into the first piece that
you've started with, you'll probably need to trim the width of your last piece and there's
no way you're going to be able to get those patterns to match up.
It's important to start in a place where this one inevitable mismatch won't show.
What's usually a good idea is to hide the mismatch in an area behind you as you enter
a room, like above a doorway.
Our family room here provides us with a real easy solution to the mismatch problem because
of the floor to ceiling opening from the kitchen.
We can start on one wall with our wallpaper, work our way around the room to the other
end, and we'll never even have to deal with a mismatch.
Now the golden rule in wall covering is the paper's always straight, but the room's always
crooked.
You can't count on a corner, a wall, or a ceiling to be straight and square, so consequently
you can't line up your wallpaper to a wall or ceiling.
You start with a plumb line and lay your first piece from here, and when you're working with
a dead end, like we are here with this opening, you want to make your first mark one wallpaper
width over from the opening.
We recommend using a pre-pasted wall covering for a do-it-yourself job.
I've cut this length to be a little longer than I actually need to stretch from the floor
to the ceiling, and I'm re-rolling it, or rolling it over backwards, and that is to
relax the paper a little and take the curl out, and it's also a good time to check for
any flaws.
To activate the glue, we wet the paper.
Different manufacturers will use different types of glue, so you should check the directions.
Usually you just soak the paper in water for a second, and this plastic tray works perfect
because it's the right depth and width for this.
Then, as I pull the paper out, I check to make sure that it's moist on the back side,
and this is looking pretty good.
There we go.
Now with it face down, I book it, and that's a special way of folding it, and it helps
keep the paper moist, and it also makes it just a little easier to handle.
Finally, you roll it up.
Now you always let the paper sit for a little while after you wet it, about five to ten
minutes.
The glue needs time to activate.
Also, the paper might swell a little, get a little wider and longer, and you want this
to happen before you put it on the wall.
There's an important decision you have to make before you hang your first piece, and
that's what part of the pattern do you want along the ceiling line.
It's the most noticeable part of the job, so you really should give it some thought.
For instance, you don't want to cut off the pattern in an awkward place, like chopping
this poor little guy's head off here, or chopping the flowers off the top of the stems.
Actually, this area in here would work a lot better.
And give yourself a little margin for unevenness at the top.
Don't use a strong horizontal line right at the edge.
It'll just accentuate any waviness wrangled at the top of the wall.
Our pattern has a little space between these horizontal rows, so we'll put our cut right
here.
Okay, Jo, I think we're all set here.
Yeah?
Okay, I'll give you a hand.
Okay.
Okay, so we're all set for our first piece here.
What I'll do is unfold the first book, and I'll place this up to the top of the ceiling,
getting my pattern here about the right spot where we want it.
And I leave about two inches of this overlapping, so I think I'll pull that up just a little
bit, about like so, and I don't want to put it tight into the corner quite yet.
Now, we want to line this up with a plumb line.
You can see we're off here just a little bit.
Now, the temptation is to slide this, which will stretch the wallpaper, and these stretch
marks will come back to haunt you.
So the best thing to do is to pull this out a little bit from the wall and realign it
with the plumb line like so, so we can just barely see the pencil line like that.
Now, the next thing we want to do is brush out the wallpaper.
This is basically pressing it up against the wall, getting out any bubbles.
You can use a brush like this or a plastic tool.
Now, we want to avoid horizontal strokes.
The exception is right up here at the top, where we really have no other choice.
Once we've done that, then we want to use primarily vertical downward strokes, doing
a downward V like so.
Now the reason we don't use horizontal strokes like this is we could scrape adhesive off
from underneath the paper and end up with unglued seams.
So as we move down, we want to take care of any bubbles while lining up the plumb line
at the same time.
So again, I'll just pull this out a little bit, line that up with the plumb line, and
keep on going like so.
And once the top's done, we can unfold the bottom book here, like so, and get that in
place, right along the plumb line, and a couple more vertical Vs.
Now we're ready to trim the piece.
First, I want to make sure that it's tied up against the corner here, and then, using
a six-inch putty knife or a broad knife, I use that as a guide and make my cut.
I run my cutting blade along the edge of the broad knife.
Once I start my cut, I never take the blade away.
I always slide the broad knife down and keep on cutting.
One critical point is to maintain a nice, sharp knife.
A lot of people recommend changing the blade after every strip.
That's not a bad idea.
With a little knife like this, the cap has a slot in it.
You use this to snap off the end of the blade.
Then you push the first part of the blade out again, and you're all set to go.
Before we move on to the next piece, it's very important that we rinse this first piece.
So I've got a good sponge and some clean water.
I'm going to wipe it down.
This removes any adhesive that might have gotten on the surface of the wallpaper.
It should also hit the ceiling at this point and the trim below it.
There you go.
There's your top.
Okay.
We're all set for our second piece now.
I put this up at ceiling level and match up the pattern with our first piece and our second
piece here, like so.
Again, we don't want to push this piece around too much for fear of stretching it.
Just lift and reposition, about like that.
On a pattern like this, where the design doesn't extend all the way to the edge of the paper,
it's a good idea to check your alignment periodically with a level.
Let's go on the top of these shields here.
That's good.
Now that the bottom seam is matched up, we can concentrate on cutting out an opening
for this outlet.
You should play it safe and make sure that the power is turned off to any outlets or
any fixtures that are in the room.
I use a broad knife to find the top and bottom of the outlet and make little slits.
Then I find the side and just freehand along here.
This doesn't have to be real precise because the cover plate will hide all the edges.
Then I just smooth it out.
This is probably the tool most often overused by do-it-yourselfers.
You need to roll out your seams, but you don't do it right after you hang.
You wait until you've done three or four pieces.
Then gently run the roller over the seams and make sure you wipe up any adhesive that
squeezes out onto the paper or roller.
You may remember that when we put up this first piece, we aligned it so that the edge
would be flush with this outside corner.
But after the paper soaked in water, it expanded a little bit and we got this extra flap.
Actually, we were counting on that and we wanted that to happen because now we want
to trim off that flap at an angle.
I'm using a razor blade and I cut down along the edge.
I'm holding it at about a 45-degree angle to each wall.
With a corner beveled like this, if someone rubs up against it, they're going to be less
likely to pull the paper off.
Your temptation on this next piece will be to wrap it around the corner and just keep
right on going.
Well, don't do that.
Trust me, you'll end up being sorry.
What happens in corners like this is they're hardly ever plumb and square.
The edge that you end up with over here then won't be plumb either.
Then what happens is your pattern starts to rise and fall.
We've heard this situation called the divorce corner.
The reason is if you don't handle it correctly, by the time you reach the fourth or fifth
piece on this wall, you could be ready for divorce.
The way to avoid that is to create a seam right here in the corner, reestablish your
plumb line on this wall, and then work your way down the pipe.
Our first step on this is going to be to measure for this final piece here on this wall.
We're going to measure in a couple of different spots, eight and a quarter.
We're looking for the longest measurement, and we've got eight and a quarter.
Sure enough, we're a little wider at the bottom here.
That's why we go through this exercise.
We want our paper to overlap on the adjoining wall by a half inch, so we'll take our longest
measurement of eight and a quarter inches, add on the half inch, and then cut our piece
to eight and three quarter inches.
Now I've got this piece wedded, booked, and we've let it soak for 10 minutes.
Now before we make our cut, we want to make sure that we line up all four edges of our
sheet here like so.
All right, that's perfect.
Now to make the cut, we'll take our straight edge, place that on top of the paper and measure
up eight and three quarter inches in a couple of spots to make sure it's running parallel
to the edge of the paper.
It doesn't hurt to check this measurement a couple times to make certain the ruler hasn't
moved at all.
Okay, that's perfect.
I take my knife and I just start cutting along the straight edge.
Now remember, I'm going through four layers of wallpaper here, so I want to press pretty
firmly, and it doesn't hurt to make a second pass through this just to make sure you're
going through all four layers.
All right, now we're all set to hang it.
This piece goes in like any other.
The pattern's matched up at the seam, but now I need to make a diagonal slit so that
the paper will fold into the corner right.
I use my blade to pinpoint the corner and make a cut.
You can get rid of some of the slop at this point, too.
Then we just push it back into position, and of course, once the piece is all set, we'll
trim it top and bottom.
My leftover piece here is 12 1⁄4 inches, so I'll measure out from the wall 12 1⁄4,
and then I'll draw on a plumb line to establish plumb for the rest of our sheets that will
be hanging on this wall here.
On this next piece, we'll align the left side to our new plumb line.
On the right, the piece overlaps with the 1⁄2 inch that we added on the previous piece.
Because of our overlap here in the corner, our pattern doesn't match up exactly.
If you take a close look, you can see we've actually cut out part of the emblem, but the
corner helps hide this.
You really don't notice it.
In the next couple of pieces, we're going to run into another problem, the window.
When you're working around a window, it's best to take things as they come.
You start by matching up the seam like we've done here, then just work your way in toward
the window.
Now, the first cut here is a rough one.
All we do is want to remove the excess, but we want to stay at least 2 inches away from
the edge of the window on all sides.
Then you can fold the paper in a little tighter, make a careful diagonal cut, starting right
at the corner of the casing.
When this cut's done, you can finally get the paper to lay flat around the corner.
At the bottom of the window, we have to do the same kind of cutting, only it's a little
more complicated because of the shape of the window sill.
Now we'll just use our standard cutting techniques to get rid of the excess.
Now we want to fill in the small pieces above and below the windows, and hope everything
works out by the time we get over to the area between the window and the door.
JoJo, for the first one here, we've got 23 quarter will do fine.
We'll start with this first piece that goes above the window, then we move on to the first
piece that's below the window.
We alternate between the top and bottom pieces until we get to the left of the window, and
notice we aren't trimming anything yet.
For this full piece, we line up our pattern here at the top, and once we've cut around
the windows here, we can double check our pattern match down on the bottom, making any
adjustments needed.
Looks like that's pretty well bagged.
Yeah.
Now every room that you put paper in is going to be different.
The papers will be different too.
So check the project guide for some tips in handling some other situations.
So now we want to show you a very effective but very simple wallpaper application.
One way to take plain paint in a room like this and add a little pizzazz to it is to
install a wallpaper border.
You can cut one of these out of an existing piece of wallpaper, but that's a little tricky
for a do-it-yourselfer, and there is a wide selection of borders available at your local
wallpaper dealer.
Just like with any wallpapering job, you want to make sure that the surface you apply your
wallpaper to is adequate.
Now we just painted the walls in here, so it's probably sealed up pretty well, but here's
a little trick that we recommend.
We've brushed a little of the white ceiling paint onto the top of the wall.
This way, if the top of the wall is a bit irregular, we won't see any little bits of
wall paint showing through.
I cut the piece here to the length of the first wall, plus a few inches.
Now this is a pre-pasted border, so we run it through the water and book it up.
You fold the border accordion style, always putting the pattern against pattern and paste
against paste.
Then we let it set for the recommended time, about ten minutes.
When it's set up, we start with an eighth of an inch to a quarter of an inch overlap
across the corner, and then we spread the border along the top of the wall.
This is definitely a two-person job, because you need both hands free to position the paper
underneath the ceiling.
You need the other person to hang onto the border and feed it to you as you move along.
And to help us move along, we've turned a couple of sheetrock buckets upside down, put
a plank on top.
It's a lot easier than moving ladders.
Now that we're into the corner, we mark where to cut the piece, about a quarter of an inch
onto the second wall.
We peel it back off a little, and we cut it.
Now we go back and smooth out the wallpaper border and clear out any air bubbles.
Be sure to wipe off any excess paste that might have oozed out.
We cut a fresh roll here for the second wall and cut it a little bit longer than the wall.
Now we just want to put it up in the corner, match up the patterns.
And mark where we need to cut for the corner.
Then we cut it on the mark.
Just like you do when you're papering an inside corner on a whole wall, you want a seam here
and a little overlap.
Right there, that's pretty good.
It's also important to make a seam at a shallow corner like we've got here.
Otherwise, if the paper should pull back, it looks pretty bad.
We cut our last piece to end up right in the corner where we started.
It folds over the little bit extra we have left.
Now remember, this is where we plan to have our mismatch.
Putting up a border is simpler than papering an entire room.
But now let's take a look at some wall covering options that are a little tougher.
A damaged piece of wall covering isn't a disaster if you've been smart enough to save some spare
pieces of the paper.
The trick here is to tape a piece to the wall slightly larger than the area you're going
to repair.
You line up the piece so that the pattern matches the existing paper and tape it securely
in place.
We wet the paper so it expanded a little, the same way the paper on the wall did.
Then I cut through both layers of the paper.
If you've got a geometric pattern in the paper, you should make the cut along the lines in
the pattern.
For this pattern, we're going to make an irregular circular cut.
And I have to cut firmly because I'm going through two layers of paper.
I peel out the new patch, take off the excess paper, and peel out the old wallpaper.
Peel the edges, sponge it off, and your patch should be invisible.
We tried to fit a lot of information on this tape on different painting, staining, and
papering techniques.
Now every job is different, so we put some additional references and information in the
project guide.
We hope you'll consult this.
And be sure to check out some of the other tapes in the Home Time Library.
I'm Dean Johnson.
And I'm Joanne Liebler.
Thanks for watching.
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I'm Joanne Liebler.
And I'm Joanne Liebler.
Thanks for watching.