How-To: Building Rustic Twig (willow or cedar) Chair

GATHERING

Many people worry that cutting down the small trees will kill them and reduce their numbers. In fact, the types of trees required to build furniture have huge root systems that replace the cut trees faster than you would imagine. Small trees that grow in wet areas reach a relatively small maximum size before they die and return to the earth. It is their job to live, die, and decompose into the earth so more highly evolved trees and grow in their place.

Enjoy pruning the trees and treating the places that you use for gathering as gardens. Clear away the decomposing materials and make little pathways. Spending time pruning will put you in a proper frame of mind to see what you like and find what you need. Try to leave enough time to be able to see the beautiful and unusual treasures that are waiting there. A silent prayer of thanks to the trees may further a good feeling for you in the bush.

To construct that fan-back chair, you will need both framing materials and whips (which are for the seat, arms and back arch of the chair.) Build the chair with fresh, green wood. This means that in the summer you cannot gather more than two or three days before using the materials. In the winter and fall, of course, the cold damp conditions will keep your wood in good shape for a much longer time.


What Trees Should You Use?

For framing, you may choose to use willow, alder, birch, poplar, or cedar. If you have a profusion of some other trees growing locally, try them to see what happens and how long lasting the product will be.

Willow

Willow grows in swampy places edged by cattails. You may also see willow growing along roadsides. It often has a smooth gray bark with little diamond shaped points.

There are many types of willow. Often when it is about 7 or 8 years old the bark becomes rough. Willow leaves are elongated and flash silver in the breeze. Willow grows in clumps. These clumps may contain 50 or 60 shoots if they are well established. Sometimes these clumps cover many acres of wetland. Cast your eyes to the tallest willows and there you will find framing materials because the tall trees are also the thick trees.

You will be looking for trees that are 2 1/2 to 3 1/2 inches at the trunk and you will prefer tall trees with few branches.

Alder

Alder will often grow in the same locations as willow. Sometimes they grow side by side with one predominant. Alder grows in the same sort of place as willow. Wet.

These clumps can grow to great heights of about 10 to 25 feet. The bark is dark brown with white horizontal markings. It resembles cherry, but is not so luminous. Alder leaves are very green and pear-shaped with a serrated edge. There are different types of alder with many local names. You can use any of the types.

Birch

There are two main kinds of birch. Yellow birch has bark that looks like mica. It is iridescent and beautiful. And white birch, also called silver birch or paper birch. These trees grow in many different areas -- wet, dry, on the edge of willows, in the midst of poplars. When they are still quite young -- 3 or 4 years -- their bark is brown with markings similar to alder. The difference between young birch and older alder is that birch grows alone as one tree, not in a family unit, unless one has been cut. In this case many will spring up around the cut one. You will eventually be able to distinguish them from one another.

Poplar

In some areas this tree or its relative is called "Balm of Gilead", or simply "Balma". It usually grows in places that once had willow and alder, and are now drier. Poplar grows to prepare an area for more sophisticated, well loved trees. I The wood is hard. The bark is smooth and soft enough to nail but dries very hard.

Cedar

Cedar has been commonly used for rustic building. It has great endurance to weather. It can be left outside; over the years, the bark will strip off, but it is very tough. It is also sticky to work with. The bark is very rough and in the early summer, it wants to peel off like crazy. Working with cedar has its difficulties, but the results can be great. If cedar grows in your location, get to know it. You don't need to rasp the ends of cedar.

WHIPS & TOOLS

A whip is a young tree that has sprung from the root or base of an older tree. It is virtually branchless and is very flexible.

Whips can be gathered all year round. In the winter, spring and fall the weather is not too hot, the bugs are not bad and the absence of leaves makes it easier to see the shape of the branches. The wood is appropriate to use and to cut all year round.

Trees that produce good whips are willow, alder, birch, dogwood, buckthorn, cedar or hazel. Definitely not poplar: It breaks.

You can find great whips along the roadside or beside train tracks because big bushes are often cut down for visibility. Of course new growth occurs and the more they are cut, the better the whips. For your chair, whips about 3 or 4 years old are usually best. From about 1/2" in diameter to 1 1/2 inches is useful. The back, arms and seat require different length and dimensions but if you gather 35 whips of the above dimensions, you will probably find you have what you need.


TOOLS and Other Gear


For gathering materials in swampy areas you definitely need a pair of rubber boots, big enough for felt insoles. Wear good wool socks, tight enough not to slide down your foot and you will be comfortable and safe even on quite snowy days. Of course, at any time of the year, dress for the weather. Always have your arms and legs covered to prevent scratches, bites and sunburn.


Tools


Pruning Shears - With the recent popular interest in gaardening comes the availabilty of wonderful pruning tools. You can purchase nice little folding saws with very sharp blades to cut green wood. Some have replaceable blades; some do not. One advantage of these small sharp saws is that the little blades can fit into some very tight spaces.


Saws - On the other hand, there are bow saws with replaceable blades available for low prices, also designed to cut green woods. The advantage of this saw is its long blade. Fewer passes of the saw make the cut.


Long Handled Pruning Shears - For gathering whips, long handled pruning shears are good. There are many variations. Some have telescopic handles which are good because the longer handles give more leverage and make cutting easier, but you must keep them dry and well oiled or they will get stuck either in the long or short position or one in each.


Anvil Cutters and Side Cutters - The anvil cutter is designed to cut at right angles to the branch. Other uses will put this cutting tool askew. Its drawback is that after a few sharpenings, the blade will no longer meet the cutting bed, although some anvil pruners have adjustable cutting beds that may be raised. Some anvil pruners have ratchet action. No matter the quality or the price you pay, this is a disposable tool. It cannot be sharpened often and will need to be replaced.


Curved Side Cutter (or bypass pruner) can be sharpened more often. There is a huge variety in the quality and price to choose from. These pruners allow more accurate cuts. Both anvil and side cutters are availabe for hand use also.


Rasps - Quality is very important in rasps. Make sure the blade has bite. Blades on rasps can be replaced when they become dull.


A Sharp Knife is sometimes handy.


Hammers - There are many hammers in the world. Get one that feels comfortable in your hand and has a nice flat hitting end, not one that is rounded.


Nail Pull - You'll need a tool to remove misplacedd nailed.


Always wear safety glasses.


Nailpush - It is a magnetic sleeve that can push a nail into a tight spot. The nail punch sets nails into the wood and when the wood dries and shrinks the head of the nail won't emerge above the surface.


Work Table - Make sure you have a sturdy worktable that is well supported. If your table bounces up and down when you hammer, it can absorb the impact from your hammer and cost you time and energy.


Screws and Nails - There are many types of fasteners.&nbssp; Some people choose to use screws. If you use screws, you should first drill the hole and it should be somewhat longer than necessary because, when the chair dries and the wood shrinks, the screws will have to be tightened down. If there is no pre-drilled hole to tighten into, the wood will split.


Nails - are a very fast method. If you hit the nails on the pointed end before using them they become blunt. When a blunted nail is hammered in, it breaks the fibers on the way through the wood. This considerably reduces the possibility of splitting. Spiral nails hold better than smooth nails.A famous rustic builder in the U.S. uses copper nails with big heads. The big copper heads create a surface decoration on the furniture. Galvanized nails are treated in a way that prevents rusting. Rust is bad because it makes the nail increase in size which enlarges the nail hole. When the rust powders off, the nail is weak, the hole is too big, the joint is loose and the chair wobbles and breaks. Buy galvanized spiral nails in the following sizes: 3 1/2", 2 1/2", 1 1/2", 1 1/4". Also buy small finishing nails of 1", and 1/2" or less. It is hard to find all these sizes in any one store. Try to buy in bulk for convenience and economy.


Wire - good to hold small, skinny branches together where no nail is small enough. any wire joint is temporary until the wood shrinks. When the wood dries, it should them be rewrapped with wire, bark, rawhide or ribbon.


ASSEMBLING

You will need approximately six small trees. This number will depend upon the type and height and degree of straightness of trees that you decide to use.


Description of Frame Pieces

You will need 12 pieces that are 25 inches long of various dimensions and shapes, including pieces with forks that are no wider than six inches. These will be labeled from A to L. They will be called stretches.


You Will Need:

• 2 Back Legs (labeled W1 and W2): these will be 32" long, 2-3" in diameter
• 2 Front Legs (labeled X1 and X2): depending on the knee height of the person, these will be 15 to 17 inches long and 2-3 inches in diameter.
• S = a piece for the fan to rest on (approximately 35 inches long): it should be straight and approximately 1 1/2 to 2 inches in diameter.
• Z = a piece to support the small of the back (approximately 20 inches long): it is straight and 1 1/2 inches in diameter.

When you make chairs in the future, use these measurements to determine ones that will be ideal for you. Ask yourself questions:

• Will you use cushions?
  
• Is the chair the right height, depth, and width?
  
• What adjustments would you like?
  

Cutting the Pieces

Cut the back legs and front legs from the root end of the tree because it is the thickest. Your job will be easier with very straight pieces Once you have cut both the front and the back legs (2 of each) find piece X. Because it is long and straight you should choose it before cutting the other pieces. At the other extreme, piece Z usually shows up during the cutting of all the other pieces. Cut everything else 25 inches.

Rasping and Clipping

After the pieces have been cut, you may want to rasp the edges. The exposed wood at the ends of each piece dry faster than the protected wood inside the bark. This tends to cause the bark to split. Rasping helps to prevent splitting.

The rasp is a tool that works like a cheese grater. The many little blades shave the edges from the cut sticks. Grasp the end that is a bump in the palm of your hand. Support the stick and remove the bark and a little of the wood to give the end a gently rounded shape.

Use the bypass clippers to remove little branches that are in the way. If the cut is not clean, you may rasp it too, or you might want to use the sharp knife to clean away any mark that is already starting to peel.

Organizing the Sticks

Organize the 25 sticks. Putting actual letters on each stick with masking tape could save you time and confusion for your first chair.

Choose:

From all the 25" pieces, the 3 straightest and most similar in size (about 2" in diameter) to be the seat and front knee bar. The thickets is A, then B, and the thinnest C.

The next 2 straightest for the top of each side D and E.

The two most similarly forked or wavy sticks for the bottom rung of each side F and G.

One stick with or without a fork. It must be able to lie flat. This is is for the lower rung and the front H. The fork must not be wide than 6 inches.

Two sticks will be the back rungs. The top one, I, should be moderately straight and the lower one J, doesn't really matter.

Last the two thinnest sticks, K and L are diagonal braces.

Hammering

This frame will be fastened together using hammer and nails. Hammering looks easy when done by an experienced person. In fact, it is a learned skill that does need practice and experience.

Finding the Flat Side of the Stick

Begin by laying the stick on a flat surface. You will notice that each stick generally has a flat plane. Even though a stick may look like a corkscrew, on one side it may still have a flat side.


The Frame

Place one back leg W1 and one front leg X1 on the table with their thickest diameter (usually the end nearest the root)flush with the tables edge. Place D horizontally across the two legs about 1 1/2 inches down from the top of the front leg with piece D overhanging the front leg X1 about 1 1/2 inches.

Use a nail that is not so long as to go through the two pieces and out the other side, but that is long enough to firmly join the two pieces together at their thickest points.

Remember: To avoid splitting, bang the nails on their points with the hammer to make them dull. One bang will do.

You may want to use a nail punch to set each nail as you put it in. Or you may want to wait and set them all when you are double nailing. (Double nailing is explained later.)

Remember that the edge of the table represents the floor and that the bottom of each leg must be flush with the table edge in order to ensure a chair with legs that all touch the floor.

With piece D overhanging back leg W1 by about 1 1/2 inches, make sure that X remains perpendicular to the table. Use the nail that joins X to D at the front leg as a hinge. Tilt stick D so that it touches back leg W1 about 2 inches lower than it is attached to front leg X1. Nail it together.

Find one lower side bar E which may be straight or forked and place it across the front and back leg about 3 inches from the floor or table edge. E should extend about 1 1/2 inches in front of the front leg; nail it in place. Then using the nail that joins to top bar D to the back leg W1 as a hinge, tilt the back leg about 2 inches. Nail it. If this is a forked stick, nail only one part of the stick.

We're starting to build now. Follow along and do each step one at a time.

Follow these directions for the other side of the chair, making certain to reverse the placement of the back and front legs, making sure that each side is more or less a mirror image of the other.

When you pick the chair up, the two sides should move as though hinged. This is as it should be. They should not fall apart when picked up. If they do, remove the small nails and start over with larger nails.

Lay the two sides on the backs of the floor with the back of the chair under the worktable and the pieces (D and E) and (F and G) on the outside.

Hang the two sides with the nailed-on pieces facing out from the front legs X1 and X2 from the table's edge.

You should be able to support this structure with your hips, but if you can't, ask for help.

Lay stick A across the two front legs above the protrusions of the top side stretches, F and D. The top of A should be flush with the sides of the sticks F and D. Nail stick A to stick X1 and then to stick X2.

You may remove the table from hanging on the table's edge and stand it on its four legs on the table. It will be very wobbly. It has no braces and only 10 nails. Hopefully, it will be able to stand up by itself. If, not you may need help again.

Ensure that the front legs are perpendicular to the table and parallel to each other.

Place stick G on top of the protrusions of G and E. Its ends should be flush with the sides of G and E. Nail one side to X1 and, making sure that the space surrounding F, G, D, and E is a rectangle, nail F to X2.

From now on, always work with the chair standing on its four legs. This will ensure that all legs will touch the ground. There are a few exceptions to this rule which will be discussed later.

Once you have accomplished this task, turn the chair so that the back is facing you or go to the other side of the table. Add stick H to back leg W1 and W2 above the back protrusions of D and E in the same way that you did at the front. You may pull the back legs together at this point. Extend the stick edge a finger width beyond the the side bars before nailing.

Place stick I on the top of the protrusions of G and E. Its ends should be flush with the sides of G and E. Nail one side to W1 and making sure that the space surrounded by F, G, D and E is a rectangle nail G to W2. The addition of stick I will greatly enhance the stability of the chair.


The chair now has four legs and all of the stretchers. It needs bracing with the diagonal brace pieces. Before you do this, the chair needs to be the correct shape. Look at the chair from all sides. Ask yourself the following questions:

• Does it have right angles?
  
• Does it look comfortable?
  
• Is the line between the back legs parallel to the front knee bar?
  
• Is the back tilted back comfortably?
  

Manipulate the chair quite firmly until the answer to all the above questions is yes. This is called "racking the chair" and is similar to a chiropractic treatment.

Add the diagonal braces. This will set the shape of your chair. Do not double nail.

These braces go on the inside of the legs on either side of the frame. Use only one nail (as long as possible) at each end.


Double Nailing

Place the chair back on the table. You are about to double nail each of the nails on the four sides of the chair. The addition of these nails will considerably strengthen the structure.

In order to avoid cracks, make sure not to nail on the same grain line as the previous nail. This is the time to set your nails with a nail punch.

Adding the Mystery Pieces

Put the chair on the floor. Piece S goes across the tops of the back legs. You will have to stand behind the chair, looking down at the shape of the back. Imagine yourself sitting in the chair. Slowly turn piece S until where you back will be is either flat or concave. It should definitely not be bumpy.

The back legs should make sharp contact with horizontal piece S. Fasten it to the top of the legs with quite a long nail going straight down through the piece S into the center of the top of the leg.

Piece Z fits in between the two back legs in a position approximately at the small of the back about 2/3 of the way below the fan support S.

Follow the same procedure as with the fan support to determine comfort and you will have to cut the ends; rasp them and fit them in between the two legs; nail through the sides of the legs into the middle of the back support bar, Z. It gives stability to the chair. You can nudge it into place with a hammer.

Congratulations!

Your chair frame is finished! You should have two pieces left over. They are for the seat and won't be nailed on until the arms and back are in place. At this point though, you can put them across the side stretchers and try your chair for the first time. If you notice any serious comfort problems at this point, you can still make adjustments. To tilt the back more, you can undo the diagonal braces at one end, make your adjustments and re-nail.

The Arms

To finish the chair you will need to have about 35 good whips with most of their branches removed.

After they are trimmed lay the whips on the ground side by side about six inches of space between them so that you can see what you have to work with. Choose the six longest and straightest whips (about 7 feet long) for the arch at the back. You'll need five but the sixth is just in case one breaks or ends up not being good enough. Set these aside and don't use them for anything but the back. Then choose the ten sticks that you will use for the arms. These sticks will be very straight for about four feet and of equal (more or less) thickness.

Arrange these ten sticks on the floor in two groups of 5. Then re-arrange these sticks to be in the same order that they will be on your chair. The thickest straightest stick will be first and then thinner and thinner because you should never try to attach a thick stick to a thin one. The thin stick cannot support the strength of the thicker one.

Bend each stick gently before applying to the chair.

Place the largest arm whip behind the lower front bar and in front of the knee bar. Using a small spiral finishing nail, attach the whip to the knee bar in front of the front leg, leaving enough room for four more whips beside it.

Attach the whip to the side of the back leg about three inches above the side stretcher. Use the seat stick as a measuring tool. The arms should be about 23 or 25 inches from the ground.

Until the first arms are nailed to the inside of the lower foot bar they can move, thus changing their position and symmetry. Once the two first arms match, lift the chair onto a table and lay it on its front.

Nail the two arm pieces to the bottom front bar. This is to prevent them and the next eight pieces from popping out.

The challenge is to make the other side match. Use your eyes. When both sides look pretty much the same, you are ready to try whip number two. Work from alternating sides so that you always have an equal number of sticks on each side. These bent sticks exert a great deal of force on the frame of the chair and if the pressure is not kept equal the chair frame could be forced apart.

Applying whips upon bent whips is a trick! The second stick follows the path of the first. Do not nail the second stick to the inside of the lower front bar. It won't move because its neighbor is secure. Nail it to the knee bar as tightly beside the first whip as it will fit.

The arms are shaped like the wings of a butterfly. They slope upwards. Using 1 inch nails (mostly), nail the second stick to the first stick at intervals of about 2 - 4 inches but only where the sticks touch one another. Sometimes there might be a space of about 4 or 5 inches between the nails because of a curve in the stick. Never let go of a stick that you are placing as you nail because it won't be secure until it is attached to the back leg with a small spiral nail.

Continue to add arm whips until there are five on each arm. It becomes easier with each stick. Don't give up!

Tip the chair forward onto its arms, stand behind it and nail the ends of the arm whips to the lower front bar. Arrange them attractively to fill the space.

Clip the ends about 1 1/2 inches from the nail position.

The Back and Seat

The Back

Arrange the long pieces for the back arch in the same order that you arrange the arms, the thickest and the straightest first, down to the thinnest. Beginning with the thickest, fasten it to the inside of the side bar. It will wrap around the outside of the arms. Hopefully this back whip will also support the arms.

Nail it to the long arch support bar about 2 or 3 inches from the back leg. Making a nice curve, nail it in the same position on the other side of the other back leg. Continue down, outside the arms to the inside of the side bar. Nail.

Repeat this process four more times, nailing only to the frame at the side bar and arch support bar. However, on the arch the whips will be attached to each other as they were on the arms. This time there will be no angle as the whips are piled straight up.

At this point you can saw off the extra length at either end of the arch support bar. Rasp. Remember where you put the last nails on the arch support bar -- you don't want to nail through them.

The Seat

You have two 25 inch pieces left over from the frame of the chair. These are the supports for your seat.

Attach the largest right behind the front legs making sure that it it is flat. Attach the second seat bar about 6 inches behind it. It should support the weight of your body.

Cut a piece of whip a little thicker than the seat sticks, 25 inches long and place it on top of the knee bar. Nail every 4 or 5 inches. It should be flexible enough to be molded to the knee bar.

Cut four more whips 25 inches long and place them one on each side of the seat outside of the front leg butting up against the knee bar addition and curving inside of the back leg. Nail in place.

Using 10 to 15 straight, flexible whips, you will make both the seat and the back.

Insert the stick through the back of the arch and bend it across the seat supports butting up tight against the knee bar addition. Nail it first to the seat support that is closest to the front, then put the second nail in the front knee bar. Be sure to dull this nail.

Hold this piece tightly in place and press the whip flat to make it touch the second seat bar. If it pops up, try again. Sometimes it helps to trim the crooked end that is causing the problem.

Continue until the seat is filled in.

Sitting behind the chair you will be able to see clearly the curve of the whips. Pull the curve back and then nail the whip to the back support. It's handy to have two people for this job, but it is still possible with only one.

Continue to do this until all the seat whips are attached. Make sure that each curve is the same. This is essential for comfort.

Lean the chair forward so that the top of the arch rests on a table surface. Now is the time to decide on any design you'd like the back whips to have. Using the appropriate nails, attach the whips to the back of the arch where they touch. Trip the whips diagonally.

Don't forget to set the nails on the seat and the back, the last air of arm pieces, the top arch piece and the frame.

Congratulations!
You're Chair is Done!

Now that the chair is finished, there are a number of suitable oils that maybe used to improve the appearance of the chair, keep it clean and prevent splitting: Tung Oil, Danish Oil, and Min Wax Oil Stain (which is available in natural or several different stains). There is also a product called Wood End Dressing. All these products may be applied directly to the chair with a brush. Pay particular attention to the exposed cut ends which require several soakings.

How-To: Building Prefect Bluestone Patio

Patio Layout

Random-sized rectangles of softly hued bluestone cover about two thirds of the backyard, leaving enough space for gardens along the perimeter. There are also islands of soil within the patio that serve as planting beds, which prevent the large, stone-paved area from seeming overly stark. A smaller stone patio lies at one side of the house, along with a sizable wooden deck. The other narrow side yard holds a small storage shed. Even the front yard is grass free; it features a network of stone walkways set off by abundant shrubs, trees, and perennials.

Local winters are long, and Bob and his family spend much of the summer traveling, so Rick Lamb's garden plan emphasizes shrubs and trees with winter texture and color. On the east side of the patio, for example, he planted two small Japanese maples. Their iridescent, salmon-colored bark and knotted branches make them look like pieces of sculpture in the winter, while the saw-toothed leaves make them a hazy green in summer.

Viburnum, which forms a 3- to 4-foot hedge, is also used extensively. It has bright red leaves in the fall and scarlet berries that attract birds in the winter. Tucked beneath the trees and hedges are heath, a summer bloomer, and heather, which blooms in winter.

Lamb also kept the existing hemlock, dogwood, and cypress trees, trimming and shaping the branches, and eliminating "nuisance" trees around them.

When the evenings are warm, Bob and his family can sit on a patio that's as comfortable as an outdoor room. Electric lines, run beneath the patio during construction, power low-voltage accent lights and stereo speakers. There are telephone jacks, electrical outlets, and a gas line for the grill and, to ensure the survival of the plantings, water lines were laid for an automatic sprinkler system.

Setting a patio in stone


Before starting work on the patio, Bob met with landscape architect Rick Lamb to determine its shape and size. Too much stone and the yard would look like a parking lot. Too little would mean filling the yard with plants. At 18 x 54 feet, the patio is large. Lamb used islands of greenery to break the space into intimate seating areas. There's also a balance between sun and shade.

Bob was concerned that water would collect on the patio, undermining its foundation. The solution was to gently angle the patio at a ratio of roughly 1/4 inch of slope per foot of run. Small drains in the center also conduct water away.

The patio is dry-laid, which means there's no concrete to hold the stones in place. The result is more natural looking, and also easier to build.

Establishing a level, firm foundation was the first step. Bob called in Boston-based Schumacher Landscaping to do the construction work. They cleared away bushes, trees, rocks, and yard debris. Entire root structures were removed to prevent them from rotting and leaving voids that could pose structural problems.

Bob called the local utilities and asked them to come and spray-paint the locations of gas, electric, phone, and water lines buried underground. This service is free and saves you from severing lines and disrupting services. Once the site was cleared, the corners and key points were marked with stakes and mason's line. Then it was time for the digging to begin.

Gravel Preparation


1. A bed made up of successive layers of gravel and crushed stone is established to provide drainage beneath the patio. On Bob's project, the area was dug out to a depth of 18 inches, and a mini-front-end loader was used to spread the first 6-inch layer of coarse gravel.

A 6-inch layer of finer gravel was added on top of the first, then 3 inches of crushed stone was placed over it. Each layer of material was spread with a steel rake, graded to a slope of 1/4 inch per foot, then tamped with a vibrating plate compactor.









2. Electric-service lines were run in plastic conduit in trenches dug in the drainage bed. Water-supply pipes for the sprinkler system were installed at the same time. Gravel was dug out of the bed to establish planting areas, and the holes were backfilled with topsoil enriched with organic material.


Paver preparations


3. Hoisting pavers is heavy work; if you plan on setting the patio stone yourself, be prepared and take precautions against back injuries. Get a helper to help lift the heaviest stones, which can weigh up to 200 pounds. Keep your back straight as you pick up the pavers, and try to let your legs do the lifting. Pros carry pavers on their shoulders to reduce back strain.




4. The pavers were trial-fitted on top of the crushed stone in a staggered-joint pattern. After a stone is set in place, it's checked for evenness with surrounding stones and for consistency of the 1/4-inch slope. A steel crowbar and wooden levers can be used to adjust the position.














5. It may take several tries to perfect the fit of a paving stone. In conjunction with makeshift levers, a steel trowel can be used to add or remove crushed stone beneath the paver to achieve the desired grade. The joint spacing should be uniform in width — in the case of Bob's patio, 1/2 inch. Once you're satisfied with the position of a stone, pound the surface with a rubber mallet to snug it in place, then check it again with a level.








Cutting & Saving Pavers


6. Where the pavers need to be cut, a gasoline-powered cutoff saw fitted with a Carborundum blade can be used to slice through stone. An ordinary portable electric circular saw can also be fitted with a stone-cutting blade, which is used to score the surface about 1/8 inch deep. Then the surface is tapped with a mallet to break the stone along the scored mark.












7. Where more complex shapes must be cut, such as on this stone trimmed to fit around a planting bed, two intersecting cuts are made. The waste stone is broken off, then the corner is chipped cleanly with the tapered end of a bricklayer's hammer.







8. Once all the stones have been set, crushed stone is spread on the patio surface and swept into the joints with a broom. Then the patio is sprayed with water, which helps the filler to settle into the joints. After allowing the surface to dry, the process is repeated until all of the joints are firm and level.


About Bluestone

Bluestone is an exceptionally hard type of sandstone quarried in New York, Pennsylvania, and Vermont. It's available throughout the country if you're willing to pay for shipping, which adds about 25 percent to the average price of $2.50 per square foot. Installed costs, in this case, ran about $11 per square foot.

The cost, color, sizes, and patterns of paving stones vary from one quarry to another. Bluestone, which earns its name from its gray-blue hue, comes in a range of shades from brown to purple; Bob's patio is made of lilac bluestone — it has a soft lavender tinge to it that coordinates with the plum color of the house's exterior.

Surface texture also varies. Top-of-the-line pavers are absolutely smooth. But the slight waviness that comes with a lesser quality gives a patio character and makes it less slippery.

Anaglypta and Lincrusta Wallcoverings: Application Techniques

THEY CAME FROM NINETEENTH-CENTURY ENGLAND. In creating Anaglypta and Lincrusta wallcoverings, Victorian inventors made it possible for people of relatively modest means to achieve some of the decorating splendor that, until then, had been the exclusive privilege of the super-rich. What the firm created was an affordable product that could be installed easily and made to resemble costly materials with ornate finishes.

Lincrusta was introduced in 1877. Although fashioned with the idea of bringing elegance to the English masses, it also caught on quickly in America because of its appeal to such giants of industry as the Rockefellers and Carnegies.

Ten years later, Anaglypta was developed. It proved an even more versatile wallcovering: Made from wood pulp and cotton, it was lighter in weight, easier to handle, and less deeply embossed, making it much less demanding to apply and finish.
Left: A frieze that appears to be made of plaster is actually a deeply embossed Lincrusta pattern. Center and right: A kitchen ceiling and a plain wall are given depth and color by the addition of painted, low-relief vinyls.


Although many of the original production rollers used to emboss the materials are still used today, late 20th-century technology has made possible the fabrication of a far wider range of styles and sizes of Anaglypta wallcoverings. There are pelmets and dadoes, friezes and borders. Some are made from the traditional cotton-wood pulp amalgam, others from various thicknesses of vinyl.


IF YOU'RE CONSIDERING applying one of these embossed wallcoverings, be sure to practice with a small piece first to get the hang of it. Or try easier pieces such as borders or dadoes. For large surfaces, it's better to hire a professional. Although the installation process is only a little more complex than putting up standard wallcoverings, the key to success is preparing the surface properly. Make sure any loose paint, old wallpaper, or textured finish has been removed, and take care that all cracks are filled with caulk or spackle. Rough surfaces should be scraped or sanded.


Once smoothed, the areas you plan to cover should be washed with a solution of 2 cups household bleach mixed with a gallon of water. When dry, the surfaces should be primed with a coat of water-based acrylic paint or a shellac-based primer formulated for use under wallcoverings. Before hanging the wallcovering, apply a wallpaper adhesive designed for heavyweight papers and let it soak into the back of the product for at least 15 minutes. Use a soft wallpaper brush instead of a roller to smooth Anaglypta on the wall; you don't want to crush the relief pattern.


TIP: At corners, allow the wallcovering to overlap at least 2 inches, using the blade of a putty knife to push the product into the corners as tightly as possible. Use a utility knife to cut through both layers of wallcovering and remove the overlapping strips; smooth both sides of the corner with a seam roller to achieve a perfect butt joint.

After hanging Anaglypta or Lincrusta, leave it alone for at least two days until all the moisture in the adhesive has dried. Brush on a coat of primer – experts recommend latex for Anaglypta and an oil-based primer for Lincrusta. Then apply a base coat in the color of your choice and, if a special effect is your objective, follow up with a tinted glaze. Let it dry for 24 hours, then apply an oil- or solvent-based varnish. One coat is normally sufficient, but two or three coats add protection in high-traffic areas.

Painting Anaglypta and Lincrusta further enhances their pattern and texture. Faux finishes can also be applied to create a variety of illusions...

THE THICKNESS OF THE PAINT and the type of brush you use depends on the look you want to achieve. When creating a background, you'll want the paint to be watery so it flows into recesses and covers every area. The paint can be thicker when you're creating highlights or accenting details.

Use a bristle brush, sponge brush, or roller on the background, but when highlighting try a tempera or watercolor brush that's small but holds a lot of paint. You can also take the dry-brush approach when coloring high relief: After dipping the brush into paint, wipe it nearly dry on a scrap of newspaper. Then when the paint goes on, you'll get a light, diaphanous coating.





1 — Using a pattern from the standard Anaglypta Original collection, we show two entirely different decorating effects.






2 — Lincrusta's Adelphi frieze involves classical motifs that can be dealt with in an entirely contemporary way using artist's brushes in various sizes and hefts – heavier for thick areas, lighter where the pattern is fine.

TIP: When painting a whole room, first do two opposite walls and let them dry a day; then do the other walls, so you won't have to worry about overlapping paint in the corners.






3 — Here, the same Lincrusta pattern used in Treatment 2 is finished to simulate wood grain.

A more emphatic wood-grain effect can be created by whisking a stiff brush made of natural bristles over the surface. For an even deeper, richer appearance once the stain dries, repeat this process with another stain color. To simulate the look of wood paneling, rub away some of the color. With this pattern, the sponge brush is useful in pulling pools of stain out of the grooves along the side columns and the lower edges. But whether you use a sponge brush or a bristle brush, a light touch across the face of the pattern will create the textured look you want.

Tips For Spring Painting

Spring is often a time when we take a walk around the outside of our homes and realize it's time to do some painting. Although exterior painting is a job that most do-it-yourselfers can handle, a few tips from the painting pros can help make the job easier and last longer. With proper preparation and application, most of today's house paints will last 10 years or longer.

Purchase Brand Name Paint from A Quality Paint Supplier.

Don't skimp on the quality of the paint! Bargain paints may not be such a good bargain if you have to repaint more often. Painting is very labor intensive. It takes a great deal of time and effort to do the job right so you want a paint that will perform well for years. Purchase a well known brand and purchase it from a supplier who is knowledgeable about paint. Discuss your project with a sales consultant and ask for their recommendations. A well trained professional sales person should be able to tell you which paint will perform best for your particular application and may be able to give you some time-saving tips to make your job go smoother.

Should You Use Oil Base or Latex Paint?

If you have latex paint on you house, then you will need to use latex paint. Oil paints need to penetrate deep into the wood in order to have good holding power. Latex paints form a strong surface film that blocks out oil pants. Most homeowners prefer to use latex paint because of ease of application and easy soap and water clean up. Some painters prefer oil paint because of its penetrating qualities. However, new additives and formulations in latex paints have improved durability and reduced fading.

Can I Stain Instead of Paint My House?

If your are painting new wood or wood that has previously been stained, then you can use one of the new stains. Stains will not peel or blister. However, they tend to fade faster than paint. Most people use stains when they want to highlight the grain in the wood. Stains also offer more earth tone colors and are a little softer in look. Stains are available in oil and latex.

Read and Follow the Manufacturer's Directions.

Following the directions assures not only a quality job but is also required for the warranty to be upheld. The truth is, high quality paints seldom fail. Failure is usually a result of failing to clean and prepare the surfaces properly before painting.

When to Paint.

Temperature is an important factor when painting. Too hot or too cold and the paint will not dry and cure properly. Generally speaking, the temperature should be above 50F. The surface must also be dry so wait until all dew is off. Avoid painting in the bright sun. Direct sun causes too rapid drying resulting in poor leveling and lap marks.

Mixing Your Paint.

When you purchase your paint, the store will shake or mix the paint to the color your want. If you purchase several gallons, it is a good idea to "box" or mix your paints together at home before you start painting. Pour all of the paint into a 5-gallon bucket and stir it together. Paint may vary slightly from lot to lot so this will prevent any subtle color changes as you paint. Before you pour the paint back into the individual cans, punch several holes in the rim. This will allow access paint from your brush to drain back into the can when you paint and help keep the lid from sticking when you close the can.

Where Should You Start Painting?

It's a good idea to test paint a hidden area of your house and allow the paint to dry to be sure you are happy with the color. All wood species do not take paint the same and the condition of the wood will also affect the final color and look of the paint. Be sure to let the paint dry before you make your go ahead decision.

When you start to paint, begin at the top, paint all the way across the house and then work down. This will prevent drips and splatters from ruining previously painted areas.

Surface Preparation.

The number one reason for paint failure is surface preparation and it's also the most difficult and time-consuming part of the job. Paint won't stick on loose or dirty surfaces. Start your paint job by thoroughly washing all surfaces. Use a commercial cleaner and scrub off all dirt and grime. It's probably worth renting a power washer for big jobs. Allow the surface to dry before painting.

Mildew.

Unless you completely remove mildew from the surface before you paint, the mildew will return. Most paints have mildew inhibitors to help prevent re-occurrence but they won't have any chance unless existing mildew is removed. Purchase a good quality commercial surface cleaner specifically designed for mildew removal. Scrub the entire surface vigorously and then rinse with clean water.

Be sure to look for the cause of the mildew as well. Mildew is the result of high humidity and high temperature. Check for leaking gutters or other sources of water. If the area is near the kitchen or a bathroom that is unvented, it's a sign you need to install an exhaust fan. Trim shrubs and bushes away from the house that could trap moisture and heat. Mildew under eaves is a sign of inadequate attic ventilation that should be corrected.

Blistering.

Moisture that is trapped in wood will move to the surface when the sun is beating down. The moisture fights to get out until it finally breaks the paint film. To fix this problem, first eliminate the cause of the moisture (see "Mildew" above) and then scrape and/or sand the blistered paint down to the bare wood. Prime the exposed wood and when dry finish with two coats of paint.

Chalking and Flaking Masonry Surfaces.

This problems is usually the result of poor preparation of the surface prior to painting. First remove the chalking or flaking with a wire brush or by sand blasting if you have a large area. Seal any cracks with concrete patch or concrete caulk. Seal the entire area with masonry conditioner being careful to follow the manufacturer's instructions. Repaint with two coats of latex house paint or masonry paint.

How-to: Building a Deck

Locating and preparing the ledger board poket

Unless you are building a free standing deck, locating and installing the ledger board on the house is the first step in deck construction. The ledger board anchors the deck to the house and determines the level of the deck floor. It is best to anchor the ledger board directly to an existing rim joist in the house framing. The rim joist is found on the outside edges of the home's floor framing. If the deck is located along a section of poured concrete or concrete block, you will need to drill into the concrete or block and anchor it with masonry anchors.

To determine where the ledger board should go, first mark on the siding where you want the top of the deck to end up on the wall. This is typically 2" to 4" below the inside floor line. Next, mark the bottom horizontal line by measuring down from the top line. This distance is the thickness of your decking boards plus the height of your ledger board. Using a circular saw with the blade set at a depth that won't cut into the sheathing, cut away the siding leaving a pocket for the ledger board.

Making the ledger board

The first step in making the ledger board is to cut it to the proper length. If your plan calls for a skirtboard to cover the rim joists you will need to cut your ledger board 1 1/2" shorter to allow the skirtboard to fit right up to the sheathing on the house. After you have cut the board, hold it up to the house to be sure that the size is correct.

It's easier to layout the joist locations and attach the joist hangers by placing the ledger board on a set of saw horses rather than fastening it to the house first. Start by marking off a pair of joists for the rim joists at one end. These are two joists that are side by side that strengthen the edge of the deck. The remainder of the joists are then laid out 16" on center (or whatever spacing your plan requires). At the end you will again layout two more rim joists.

Next, transfer the layout from the ledger board to the header joist which will be opposite the ledger board. Simply line up the edge of the header joist with the ledger and transfer the marks using a framing square. This is much easier and more exact than trying to re-measure everything when is comes time to install the header joist.

Finally, nail the joist hangers onto the ledger. Be sure to insert a piece of scrap 2x6 material into the hanger to make sure that the hanger is open to the right width. If you don't do this, you will find that the hanger could be too tight or too loose for a good fit.

Installing the ledger board


Before installing the ledger board on the house, cover the exposed sheathing with felt paper to create a moisture barrier. Next, fit the ledger board in place remembering to allow equal space on both ends for the skirtboard. Tack the board into place. Use lag bolts to secure the ledger to the house. Typically two lags are driven in between each pair of joists. Pre-drill holes and squeeze enough silicone caulk into the hole to create a moisture seal.

You'll also want to keep moisture from seeping down behind the ledger board. Seal any gaps with silicone caulk. A galvanized metal z-flashing should then be slipped behind the siding and over the top edge of the ledger board.

Laying out deck area

The remaining layout is projected from the ledger board. This assures that the deck will be plumb and square to the house. You will use batterboards and mason's strings to mark off the deck area and locate the footings for posts. This is commonly referred to as the 3-4-5 layout method.

Batterboards should be assembled just outside of the perimeter corners of the deck as shown in the illustration below. These boards are used to hold and adjust strings to define the deck area and height.

(1) Attach the string to the outside edge of each end of the ledger board and stretch it out and tie it to the batterboard. Be sure that it is level.


(2) Use a felt tip marker to mark the string 3' from the corner in one direction and 4' in the other direction.


(3) Adjust the string attached to the batterboard until the diagonal connecting these two points is 5'. This will result in a 90 degree angle.

Preparing the site

Decks usually shade the soil sufficiently to prevent the growth of most weeds. However, getting grass and weeds out of the way first makes construction easier.

Remove the sod from the staked area. Cover the area with poly film. You'll have to cut away the poly to set the posts, but after the posts are set, cover the sheet with gravel or bark chips. (Some codes may require gravel.)

Next measure and mark the length of the deck on each string. Stretch a string across and tie the ends to the batterboards. Using your plan, measure and mark the locations of the footings on the strings. (If you require footings at additional intervals, attach a string to the ledger board and stretch across the end line. Use the 3-4-5 method to make sure all the strings are straight. You will also need to erect additional batterboards to tie off the strings.)

At the location of each footing, use your plumb bob to transfer the mark from the string to the ground. Mark the ground with a strip of cloth and nail.

Deck posts need to be set below the frost line to prevent heaving. This means digging holes that are below the frost line. Most municipalities have set requirements for footer depths and require an inspection after the holes are dug and before any concrete is poured or posts set. Check with your local building inspector for requirements.

There are several methods of setting posts. Your deck design and local codes will probably determine if you need to use concrete footings or whether you can simply set the posts in ground. For the in ground applications, posts must be pressure treated for ground contact. Fill the bottom of the hole with gravel and place a treated wood block on the gravel. Set the posts in the holes, check for level and brace securely. Fill the hole with concrete or alternating layers of gravel and earth. Let posts set in concrete overnight.

If you need concrete footings, the easy way to construct these is to insert a heavy form tube into the hole and fill the tube with concrete.

Before cutting posts, check your plan to see if any posts are to extend above the surface of the deck to support railings, benches or other features. Posts that are to be trimmed can be marked by setting a 2x4 in the joist hanger on the ledger board and allowing it to extend out to the post. Loosely clamp the 2x4 to the post and level by tapping it into position. The bottom of the 2x4 will be the cut line for the top of the post.


Double post and beam construction is most often recommended for beams. Beams are attached to posts using carriage bolts. Pre-drill holes and tighten securely with a socket wrench. Be sure to use galvanized bolts. Washers should be used under bolt heads and nuts to prevent pulling the head or nuts into the wood. If your plan specs single solid beams, you will require special ready-made connectors and additional instructions.

Post bracing

Perimeter posts over 5' high from ground to deck level require bracing. "X" bracing with 2x4s or 2x6s running diagonally from just below the beams on one post to approximately one foot above ground level on the neighboring post creates a strong brace.

Joists are attached to the ledger board by setting them in the joist hangers and nailing. They are also attached to the header joist with joist hangers. As you will recall, the header joist was laid out to match the ledger board. Attach the joist hangers to the header joist, and then attach to the joists with nails. The joists also need to be attached to the beams. Special galvanized metal clips make this easy.


Joists should also be "blocked" to prevent buckling or twisting. Blocking is placed between the joists and nailed into place through the joists. Snap a chalk line across the joists where the blocking will go and stagger the pieces left and right of the line.

Laying the decking boards

Decking will be your deck's most visible feature. It is important that the decking boards are laid straight and in line with proper spacing. If your deck boards are wet, which is typical of southern pine boards, you can butt the deck boards up against each other, they will shrink and leave a space for rain water to drain off. If your wood is dry, which is typical of cedar or redwood, use a 10 penny nail as a spacer.

Decking should be attached with 2 1/2" galvanized screws. Two screws should be used in every board and every board should be screwed into every joist. Pilot holes should be drilled near the ends of boards to prevent splitting.


For a really clean deck surface without any screw heads showing, you might consider using special fasteners that allow you to fasten boards from below or on the edges. The extra work will give you a better appearance.

If you install decking using a straight planking design, you can trim your deck after nailing to assure a straight line. Start laying your deck boards next to the house. The first two boards will have to be cut to length to allow for clearance for your circular saw. Remember, we allowed for an overhang of 1 1/2". Just cut the decking boards to fit nicely into the ledger board pocket.


After that you can let the ends "run wild". As you lay your deck boards, measure the distance to the header joist. If you discover your spacing is off, adjust between the next few boards. At the end you may have to rip the last deck board or use a wider board to fill the space. After all the boards are in place, snap a chalk line even with the first two boards and trim with a circular saw.

Railings


The safety and beauty of your deck are enhanced by its railings. They can be plain or elaborate, offering as much opportunity for individual taste as a fence. However, remember to check your local building codes for size requirements before you build your railings.

Support for the railings can come from the continuation of deck posts that extend up through the deck floor or railing post that are bolted to the outside joists. Posts must be fastened to rim joists with at least two 3/8"x5" carriage bolts.

Once the railing posts are cut to their proper height, you can install the other railing components. You may want to visit us to see what type of pre-cut deck railing components are available. Turned spindles, lattice, square spindles, and molded handrails are a few of the choices available to make building your railing a simple task.

Protecting the appearcance of your deck

No wood is so naturally resistant as to be maintenance-free. Protective finishes are needed to avoid water and sunlight damage. In the past it was once thought that new decks should be allowed to weather or "season" for several months before applying any type of finish. New research shows that letting new wood go unprotected for even a few weeks after installation can cause surface damage.

New decks should be protected from the elements as soon as possible with repellent finishes or preservatives that are specifically designed for new wood. If the wood is wet, it should be allowed to dry before finishing. The best way to test the wood for dryness is to sprinkle a little water on the surface. If the wood becomes darker, it is because it is dry enough to absorb the water and is ready to be treated. Their are several options for treatment in a range of prices that our deck specialist would be happy to review with you.

The Sociable Kitchen: Design elements target functions beyond cooking.

Few give it much thought, but rooms come and go, expand and shrink, their uses change according to fashion as well as to cope with our changing lifestyles. Parlors are a thing of the past, formal dining rooms too. Open plan, once a fresh novel idea, wavers and flickers toward extinction. All leave their mark.

Currently, the kitchen is king. The living room is shrinking (metaphorically), the media room lights up few pixels, the mud room creates an imagined sense of cleanliness and order. But the kitchen is on the rampage. Almost all the downstairs uses of the house now are expected to be accommodated at least partially in the kitchen: entertaining, eating, cooking, a desk with space for a computer and telephone, a television, a relaxing space including a sofa, a children's play area with some toy storage and access or connection to the yard.

Why is there this enthusiasm to raise the profile of the kitchen when, according to recent surveys, Americans now buy prepared food in ever-increasing quantities? Surely the kitchen should be on the decline.

The chief reason is our fundamental need for a hearth, an emotional and spiritual center of the home. We are returning to an ancient archetype last in fashion in medieval times, which can be summarized as 'life in one room.' It is convenient and sociable and with the time-crunch factor caused by both partners working, we want to be together when we are home.

Kitchen designer used soft geometry, varying counter heights, new appliances and a central island to create a sociable "living" kitchen for day-to-day use and special entertaining.

Cooking is only part of the role of the kitchen nowadays. The more pre-prepared food is brought in the more we need to cling to the role of the kitchen as a cooking space. It is a compensation for the real thing. The trend toward ever more sophisticated appliances, particularly professional-style ranges, confirms this.

Men, too, are getting in on the act. "Hobby cooking" now is a major activity and source of relaxation. And why not -- it's fun and helpful and as good an introduction to the kitchen and cooking as you can get. It has given rise to the inclusion of double work stations and higher quality appliances.

A recent survey indicates that while the size of the kitchen is increasing, the cooking area itself is not. The extra space is for sociable uses so the pressure on the cooking zone remains as tight as ever and ergonomics -- the planning for efficiency and ease of use -- remains more important than ever. Ergonomics is based on the science of measurement of the human body so a new ingredient entering is good kitchen design for which professionals are needed.

Raised height dishwashers, correct height countertops and convenient positioning of the main kitchen activities are all important. One of the links between ergonomics and the new social role of the kitchen is the central island cook top. It shortens walking distances and focuses you into the center of the room. Why face a wall when you can be chatting or looking at the view? Another requirement is ultra-quiet dishwashers and refrigerators. Who wants to entertain, watch television or listen to music in a machine shop?

A comfortable kitchen can make a real difference in the quality of life and in the way a house is lived in and enjoyed. Kitchens have moved on in our aspirations. Our job as architects, designers and kitchen makers is to help adapt our ill-shaped houses to accommodate these new perceptions and turn them into reality.

Ten Tips
Following are 10 suggestions for turning kitchens into living rooms:

• Used as a central living space, the kitchen should be designed for functional as well as social purposes. Design an island counter and position cooking tasks sociably toward the center of the room.
  
• To give a kitchen a fresh new look without completely remodeling it, replace appliances and countertops, add decorative tiles and alter the lighting.
  
• Think of the kitchen as a living room and make space for favorite collections or pieces of furniture. A sofa or wooden hutch can add to the personal style of any kitchen.
  
• Make the kitchen inviting for everyone in the household. Accommodate children, for instance, with varying counter heights or a separate activity area with a chalkboard.
  
• Make sure kitchen appliances fit cooking and design needs.
  
• Use soft geometry and create a kitchen space which goes far beyond the traditional "boxes on the wall" cabinet concept.
  
• Today's sociable kitchen should be a rich visual experience and a pleasure to use. Consider materials such as granite, stainless steel and dark woods as accent materials to provide contrast.
  
• Go beyond the single triangle concept -- create two or three triangles. Develop separate work areas including duplicate appliances like ranges, dishwasher and microwaves to increase traffic flow and make food preparation and clean-up quick and easy.
  
• Assure the overall comfort of the kitchen by installing the quietest materials and appliances.
  
• Last but not least, create a kitchen that is functional for the jobs at hand, comfortable enough to live in, and personal enough to entertain in and enjoy.
  

REDEFINING THE KITCHEN'S PURPOSE
A key finding of the recent Jenn-Air Homelife Trends Survey indicates that the larger the kitchen, the more important it is to the total functioning of the home.

Of the 750 survey respondents nationwide, nearly half (45 percent) indicated their kitchens are routinely used as multi-purpose rooms for cooking, entertaining and relaxing, outpacing "cooking and eating only" (33 percent) and "cooking only" (22 percent). The proportion rises considerably (58 percent) among those with self-described large kitchens. Additionally, among those with self-described large kitchens, the kitchen now leads the living room as the room where important household activities take place:

• The kitchen is the room in which conversations with family and friends most frequently take place (41 percent).
  
• The kitchen is the room in which people are most likely to gather (42 percent).
  
• The kitchen (31 percent) now rivals the living room (29 percent) as the room in which the most time is spent.
  

They are more likely to be entertaining more (35 percent) than are families with smaller kitchens (23 percent).

Even when combined with the responses of those with less kitchen space, the kitchen competes with the living room as the room in which family conversations take place (37 percent living room, 32 percent kitchen). The kitchen of the '90s has become the center of quality family interaction.

Painting a Room with a Roller

Painting a room can make a room look completely different. A lighter shade can make the room look bigger and brighter. Darker shades can make the room look more sedate and formal. Using a different color on the trim can also spruce up a room.

While we can not help you with the color you want to use, we can give you some pointers about what kind of paint to use. For "normal" rooms, I prefer a flat latex paint. If applied with a roller, it will help hide any flaws in the wall. You can use oil if you like but it smells more and dries slowly. For high-traffic areas and kitchens, I prefer a "satin" or "semi-gloss" paint as they seem to endure scrubbing and cleaning better. Bathrooms are their own special case and require "bathroom" paint. Bathrooms are not extensively covered in this project. Primers are very helpful, to learn about them, click here for a short discussion on primers. Trim is normally painted with a semi-gloss or gloss paint.

This Project article covers painting an interior room with a roller. The picture at right shows you the order in which to paint the room.


Level of Difficulty: 1 out of 5
Time Required: 4 hours

Tools:

• Paint brush
  
• Roller and tray
  
• Drop cloth
  
• Step ladder
  
• Respirator
  

Materials:

• Paint
  
• Masking tape
  

Prepare to Paint


The first step is to prepare the surface for painting. If you are painting the entire room, paint the ceiling first. The methods used on the walls are the same as the ceiling.

Remove any loose paint and debris from the wall. If the area that you are painting is a kitchen or bathroom it is an excellent idea to clean the wall with a mild solution in order to remove any grease and/or soap that might be present. If you are painting over gloss or semi-gloss paint, it is a good idea to scuff sand the surface. Using a 120 grit piece of sandpaper, lightly sand the surface. Not so much that you sand into the paint but enough to roughen the surface. You have to give the new paint the best possible surface to adhere to. A good primer will help.


When the wall is clean and any debris cleaned up, put down a drop-cloth to catch any paint splatters. If you are really good with a trim brush you might skip masking the trim off but, for the rest of us, it is best to mask off any areas that you do not want to get paint on. These might include moldings around doors, windows or baseboards. Use masking tape, it is available at the paint store and it does not stick so tightly as to pull wallpaper or painting from surfaces. I find the blue 3M tape works best. It does not "shred" like the traditional yellow masking tape and comes up easier.

Safety Note:

Before opening any paint, it is appropriate to talk a bit about safety. You should wear eye-protection when painting and provide adequate ventilation. Paint contains solvents that are harmful to humans. Check the container for specific warnings. Make sure that you open some windows and use a fan to provide adequate ventilation. If this is insufficient, use a respirator, increase ventilation or leave the area.

Before You Begin Painting


Before we get paint all over, you need to plan how you are going to paint. If you are painting the entire room, do the ceiling first. If the area is large then you will have to paint in phases. Try not to let the paint between sections dry before continuing. The first step is to "cut-in" the wall areas around trim and outlets. The second step is to roll paint onto the wall and the third is to cleanup.

"Cutting-In"


When cutting-in, make sure you do not get so far along that you will not be able to roll over the cut-in areas before they dry. Rolling over the brush marks will help hide them.

I like to use a 3" 'Sash Brush' with a combination bristle for this job. They have an angled end that allows the painting of difficult areas. The combination bristle provides good results with different types of paint. If you are not using masking tape you may have to sneak up on the line between the trim and wall. After you have cut-in, smooth the paint by holding the brush perpendicular to the surface and going over the area to smooth it out. There are also pads that have small wheels that keep the pad away from the molding.

Roll the Surface


The roller cover that you use depends on the wall surface. A lower nap cover is suitable for smooth walls. I prefer the covers with the plastic inserts as they can be washed and reused. Take out the paint tray and pour enough paint into the deep end to fill it about half way. Use the sash brush to clean the groove in the top of the bucket.

Roll the roller down the pan and about halfway into the paint. Pull it back and work it up and down the pan to spread the paint over the entire roller cover.


Start near an area that you already have cut-in. Holding the roller up to the wall, roll a 2' "V" onto the wall. Then work the paint out into a smooth coat. Make sure that you roll over any areas that you cut-in. Get as close as you can to the molding in order to hide the brush strokes to the extent possible. While painting, you will likely leave "lines" on the wall. These lines are areas where the paint is thicker. You need to go over these lines in order to evenly distribute the paint. Go over the line in the same direction. If this does not get rid of the line then roll over it perpendicular to the line (see picture).

Clean Up

I generally use a newspaper to remove the roller cover and then throw it away. You can clean these or put them in a sealed plastic bag if you want to re-use it. If you are using latex paint, everything will clean up with water. If you used oil, you need to use thinner or mineral spirits, but with roller this is not very cost effective.