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Godsey, Lisa. Interior Design Materials and Specifications. New York: Fairchild Books, 2017. Fairchild Books Interior Design Library. Web. 13 Aug. 2020. <http://dx.doi.org/10.5040/9781501317620>.

Accessed from: www.fairchildbooksinteriordesign.com Accessed on: Thu Aug 13 2020 12:58:32 Central Daylight Time Access provided by: Oklahoma State University

Alkali burn Alkyd Alligatoring Biocide Bleed Bleeding Block fillers Blooming Chalking Checking Commercial/contract

wallcovering Companion/correlated

wallcovering

Crocking Embossed Epoxy coatings Faux finish Feathered Flash Flocking Foil Glaze Grain raising Ground Laminated Lap Mylar

Prepasted Pretrimmed Register Repeat Sags Selvage Shellac Sizing Stock Striaé Substrate Water-modified

alkyd

Key Terms

Chapter 3

PAINTS, COATINGS, AND WALLCOVERINGS

Objectives After completing this chapter, you should be able to

• Select paints, primers, and wallcoverings with appropriate characteristics. • Avoid common problems with paints and coatings. • Specify special primers and paints. • Make decisions about prepwork and painting quality. • Collaborate with suppliers of stock and custom wallcoverings. • Select the right painter or paperhanger for your client’s job. • Manage the process for painting and paperhanging. • Evaluate safety and budget considerations. • Specify paint and wallcovering products and labor. • Inspect completed painting and wallcovering work.

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

on metal that requires a coating. Manufacturers have been developing hybrid primer technologies and paints to come up with waterborne coatings that will not raise the grain.

You are probably somewhat familiar with the form of the paints and coatings that are covered in this chapter and may have applied some of them yourself. If so, you have already had to make evaluative decisions when you selected the paint or coating that you used; thus your personal experience will help you visualize the things discussed in this chapter. A deeper understanding of the product category will make you a better specifier, able to solve and avert problems.

PAINT MATERIALS To keep the numerous products in this chapter straight, we will break them down into base coat, or primer, versus a top coat, alkyd or oil-based products, includ- ing plant oils, versus water-based products using latex or acrylic.

Primers A primer is the performance-improving base coat for paint. Its job is to hold the finish coats to the surface, preventing them from soaking into the surface and caus- ing the gloss level to flash and the top coat have an inconsistent surface texture. If the substrate is chalking, or a previous coat of paint is checking or alligatoring, the surface must be cleaned and primed with an appro- priate sealer. The primer’s main job is to create a good bond between the substrate and the paint.

Two categories of primer are sealers and underbod- ies. Sealers hold back anything on the substrate that might bleed through the finish coats. They also prevent “hot spots,” which are chemical reactions caused by alkaline in plaster substrates. Some primers are a specific category called underbodies that are specified to con- ceal minor imperfections. These primers can be sanded smooth easily. Underbodies that can conceal rough tex- tures, like those on cinder block walls, are called block fillers.

Primers may be alkyd (oil-based) or water-based (latex or acrylic), or they may be a hybrid, water- modified alkyd that uses plant-based oil instead of petro- leum. Latex is more flexible than acrylic, and acrylic is a little harder than latex. Both will cause grain raising of bare woodwork (because water makes the grain swell), so they are sanded after they dry. Oil-based coatings are no longer allowable on wood but are permissible on materials that are not compatible with water, such as

Consideration 3.1 Sometimes different categories of finishes will be used in tandem. Paint and shellac have their differences, but they are often used together when woodwork is primed with shellac before painting to seal knots and sap.

Paint A paint topcoat is a performance coating that is also decorative. Like primers, paint may also be oil- or alkyd- based or water-based. Generally, the recommended paint-primer system will have similar, compatible for- mulas. However, even though water and oil don’t will- ingly mix, in some circumstances characteristics of both water and oil-based products are used together. Emulsi- fying chemicals help keep the oil and water mixed.

Paint for Special Surfaces Formulas are designed to address a variety of materials and site conditions. For example, even though using oil is increasingly illegal for walls and trims, paint for metal is still oil-based because water corrodes metal. High-performance epoxy coatings are used for high- traffic floors, and additives are introduced to paints for antifungal, antimicrobial, mildewicide, or other biocide properties. Some companies will produce custom coat- ings for large quantities, working with you to define the necessary characteristics and developing a formula to meet your needs.

Many designers mistakenly restrict their specs to manufacturer, color, and gloss level, but the most impor- tant part of your spec is the formula.

Formulations recommended for various surfaces include

• Cement: Cementitious paint (like a thin mortar). • Cement floors (high traffic): Urethane coating or

epoxy polyamide. • Concrete block (above grade): Cementitious latex

with a filler finish, epoxy polyester, or below-grade cementitious only.

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C H A r A C T E r I S T I C S

If the surface to be painted has previously been painted a color that is similar to the color you have specified, you may not need to prime at all. Test the surface by spritzing a little water on it; if the water soaks in, you should specify that the walls be primed or specify a self-priming paint. If the water does not soak in, priming may be optional.

Paint Paint formulas require complex chemistry to address many specific needs, but all paint is essentially a combi- nation of pigment and binder in a carrier that removes itself as the paint dries. Different formulations create a variety of functional differences between different kinds of paint. Table 3.1 shows a more realistic picture of the basic paint recipe.

Grades Paint has quality distinctions that affect pricing. While you may prefer to specify the highest available quality, price is often a consideration as you manage client bud- gets. Varying qualities at varying price points are avail- able from most manufacturers; however, some specialty products do not offer different quality grades.

Contractor grade is generally a lower price and lower quality paint; it tends to have lower sheen levels than the same sheen level designation at higher quality, or “specification grade” paint. Contractors bid com- petitively for work and would like to have the lowest

• Wallboard, particleboard, or flake board: Alkyd undercoat with a latex top coat or alkyd undercoat and top coat.

• Wood: Water-based top coat or water-modified alkyd undercoat and top coat.

• Metals: Alkyd- or urethane-based paint. • Impervious surfaces that need to be meticulously

cleaned and perhaps abraded before receiving a urethane.

CHARACTERISTICS Product characteristics vary, making some materials bet- ter suited for your site conditions and program goals. A mere awareness of the differences will help you as you investigate options, but a designer is expected to have a working knowledge of the differences between product types and when to select from among them.

Primers A primer’s main job is to prepare the specific surface in question for the paint specified. The substrate, site conditions, paint formula, and planned use will indi- cate the proper primer (and paint). Different materials (metals, brick, wood, plaster, concrete, etc.) require primers having specific characteristics. Whether the job is above or below grade also influences the selection of primer, as can the planned use (heavy-traffic floor paint, spaces with temperature fluctuations, etc.). Shellac is sometimes used to seal resinous wood or knots in wood before the wood is primed to further seal the surface so that the resins or pitch will not work to the surface.

If the surface is particularly absorbent, it will need a different primer than if it is not. Sealers can be espe- cially formulated for particular situations in addition to sealing surfaces. One example is suppressing stains on existing surfaces if you must cover graffiti or create compatibility between a substrate and a finish, such as primers that can hold paint on plastic laminate or other nearly impervious surfaces.

Some primers will work with many paints but work best with particular paints, whereas others will not work at all for certain kinds of paints. It is common to specify the entire system—primer/sealer and paint—from the same manufacturer. As you investigate different formu- lations, you will discover some combination products that are paint and primer in one.

Table 3.1 A simplified recipe for paint.

Pigments Powders, usually minerals that impart color but also affect gloss levels.

Binders Chemicals responsible for the toughness of the paint; they bind the other ingredients into a film after the diluents go away.

Diluents The thinner or carrier that makes the paint liquid enough to spread.

Additives Chemicals that change the characteristics, mak- ing paint viscous, stable, fast-drying, mildew resistant, or flame retardant and having increased “open time” (remember, these additives are all chemicals and will change the toxicity of the formulas to which they are added).

Emulsifiers Chemicals that fuse materials together by break- ing down chemical “walls” that keep each ingre- dient distinct from the others.

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

an odor and many latex formulas off-gas VOCs). VOC levels are identified as parts per volume using the metric measurement of grams per liter (g/l), even though paint is still sold by the gallon in the United States. Some latex paint formulations claim zero VOCs and are virtu- ally odor-free. There may still be some toxicity related to colorants and additives, but getting the solvent down to zero is a big step toward healthier environments.

Water-based paint dries faster than oil-based paint and therefore must be applied very quickly with as little reworking over the surface as possible to avoid brush and roller marks. When latex paint is to be used on woodwork, some painting contractors mask off the entire room, leaving only the millwork exposed, and they spray the paint on. No brushing means no brush marks; however, you still must watch for drips and sags.

Gloss Level In addition to formula and color, paint cannot be adequately described without designating a sheen level. Standard designations break down into the following:

• Gloss • Semigloss • Satin • Eggshell • Flat (or matte)

possible material cost in the bid, so they bid lower qual- ity paint, unless a different formula is specified. One of the characteristics of contractor-grade paint is that it has a lower resin content. This lowers the price, lowers the sheen level, and lowers the washability. This may be ideal for commercial clients who prefer to touch up rather than wash their walls. In such a case, the lack of washability is not a problem, and lower sheen level allows for better blended spot touch-ups, so the low grade is the better functional choice. See Table 3.2 for a comparison of specification and contractor grades.

Formulations Water-based and oil-based paint are the two broad cat- egories of formulation commonly referenced. You still can identify oil-based paints by the traditional meaning: the solvent is oil. The solvent in water-based paints may be latex or acrylic.

Oils traditionally used in paint include linseed, tung, and soya oil, but now the designation oil paint usually refers to alkyds (modified oils). Alkyds dry harder and faster than traditional oils. Oil paint does not simply dry but oxidizes in a way that produces extra hardness, which is referred to as surface tack. A hard tack is preferred for moving parts, such as window sashes and door leaves, which must slide without sticking.

Oil-based paints using solvents that will off-gas VOCs are being replaced by water-based paints. Water- based systems include acrylic, vinyl acrylic, styrene acrylic, polyvinyl acetate, and waterborne epoxies and waterborne alkyds. Water-based paints are less toxic. See Table 3.3 for characteristics of the different formulas.

Water-based paint is easy to use because painters don’t have to keep stirring it, and it cleans up with water. It does not emit solvent fumes (although it does have

Table 3.2 Comparison of two quality levels of paint.

Specification Grade Contractor Grade

Geared to residential market Geared to commercial market

Higher resin improves washability

Lower resin results in lower sheen for easier touch-ups

Higher cost Economical compared to speci- fication grade

Higher sheen level Gloss level will be lower for each sheen level designator (e.g., satin will be less shiny than for specification grade)

Table 3.3 Characteristics of different paint formula ingredients.

Acrylics Good adhesion Thermoplastic Flexible resistant to damage from moisture

Vinyl acrylics Form a breathable film Thermoplastic Nonyellowing Alkali resistant

Styrene acrylics Good film strength Moisture resistant

Polyvinyl acetate Forms a breathable film Nearly odorless Good alkali resistance

Waterborne epoxies Nonyellowing Low VOCs

Waterborne alkyds High-sheen formulas Crisp details

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Q U A L I F Y I N G I N S T A L L E r S

RELATED WORK The quality of your paint job depends on the surface, paint selection, and the skill of the painting labor. No part of the system is independent of the others. If the surface was previously painted, the painter may have to correct problems left by the previous painting, such as drips and globs, dents or roughness under the paint, and areas where the paint did not cover completely. In buildings that were built before the late 1970s, nails were used, and you will need to look for nail pops (where the nail is working its way out of the surface, making a bump). Nails should be pulled, replaced with screws, and spackled.

Your job may require a textured surface that may be formed with special products that are applied as a paste and worked to build up a textured base that is then painted. Some of these products are colorant and texture in one. They are usually applied by the painting contractor, unlike a faux finish or glaze that is applied by painters who have special fine arts training.

QUALIFYING INSTALLERS Painters tend to learn their trade on the job. Trade unions often have a formalized system of advancement beginning with Apprentice and advancing to Journeyman. Not all painters (or plasterers) join a union, but if you are work- ing on a job site where other union workers are employed (or working in a building that employs union elevator operators), you will want to hire union painters. You will

Manufacturers have proprietary formulas for sheen levels. As sheen increases, so does washability and the tendency to show surface imperfections. The surface under gloss paint must be well prepared and flawless. Matte or flat paint is much less washable, but the soft reflection is very forgiving of imperfections. Sheen level is a measur- able characteristic, but since the reflectivity of each sheen level will vary with manufacturer and with formula, there is a range in the sheen levels described in Table 3.4.

Table 3.4 Description of sheen-level terms.

Gloss Level

Measurable Sheen

Considerations

High gloss 85% or even more

Every surface imperfection will be highlighted.

Expert preparation of the surface is necessary.

Prepwork will be easily judged by the perfection of reflection in the surface.

Gloss paint

75% to 85% Surface imperfections will be visible.

Expert preparation of the surface is necessary.

In utility spaces, where washability is more important than appearance, it is usually acceptable to use gloss paint on less-than-perfect surfaces.

Semigloss paint

40% to 75% A little less shiny, a little less washable.

Less of a need for a perfect surface.

Specified more often than gloss paint.

Frequently used on millwork trim and as accent areas.

Satin 25% to 40% Soft sheen.

Can be cleaned with a soft cloth and mild soap.

Eggshell 10% to 25% Close to the sheen of satin.

View samples side-by-side in order to discern the difference (for exam- ple, eggshell on the walls and satin on the trim).

Still washable.

Matte 5% to 10% Good at hiding imperfections.

Affords some washability but not rigorous.

Also referred to as velvet or suede finish.

Flat Less than 5% Not washable; touch-ups only.

Hides more imperfections than other sheen levels.

Touches up easily.

Consideration 3.2 Manufacturers may designate their own descriptive names for some sheen levels, so you will occasionally run across other sheen-level names like Benjamin Moore’s “Pearl,” which is not a sheen level referenced by all manufacturers.

qualify both union and nonunion painters the same way. review photos of previous, similar work, visit a job site where the painting crew worked, and call references. When you are hiring a large crew through a painting

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

labor for the boiler room in a school, for instance. Table 3.5 describes the different qualities of wall finish application that you can specify.

Prepwork Before painting can begin, preparatory work, or prep- work, is usually required. Even if the wall or trim surfaces are new, they must be filled or spackled, primed, and sanded. Walls that have been in use should be washed and sanded and sometimes primed before they can be repainted.

Walls The substrate for painted walls is usually drywall or plaster. If new plaster walls are to be painted, they must cure completely before painting work begins; otherwise, problems with adhesion may occur due to alkali burn. Different kinds of plaster formulas and site conditions will affect curing time. After the drywallers have installed the drywall sheets and the corner beads, and

contractor, you will not qualify individual workers; it is the company that you are hiring. A company may be as small as one painter with a helper, so in that instance you are, of course, qualifying the individual.

INSTALLATION New substrates will usually be in more predictable con- dition than substrates that have been in use for years. The older the surface material is, the more likely it is that the surface will require repair. While you are pre- paring budgets for your client, you should draft a rough idea of the work required to bring surfaces to acceptable condition. Your specifications will consider quality and completion time. List conditions that should be repaired so that you can clearly communicate your expectations for quality and timing to bidders.

Different levels of finish quality can be specified to accommodate the different needs of these situations. A job like a residential living room may require a high level of finish, but you don’t need top-notch painting

Table 3.5 Use these descriptors in your spec so that painters can bid accurately and provide the level of finish most appropriate to your client’s needs.

Level How Wallboard Is Finished When to Specify This Level of Finish Finishing

0 No finishing. Temporary partitions that shield areas from construction dirt. When finishes will be determined by others under separate contract.

No finishing.

1 Joints and interior angles are taped with tape set in joint compound, but compound not smoothed, excess compound removed.

In hidden areas, such as in plenum above ceilings.

Primed.

2 Fastener heads and tape covered in (not just set in) joint compound at taping, excess com- pound removed, not smoothed.

When surface will be covered with tile or other material not requiring smooth surface.

Primed with two coats of paint.

3 Fastener heads and tape covered in (not just set in) joint compound at taping, second layer of joint compound, excess compound removed, compound is free of tool marks and ridges.

If textured skim coat or heavy-duty and textured wallcovering is to be applied.

Primed and painted two coats. The paint application may appear inconsistent, but that should not be due to painters’ work.

4 As level 3 but two separate coats of joint com- pound applied to flat areas and one to interior corners, fastener heads covered with three coats, excess compound removed, compound free of tool marks and ridges.

Where flat paints or medium-texture finishes or wallcoverings are planned.

Primed with two coats of paint. This is the most common level of finish for visible surfaces.

5 As level 4 but a thin skim coat of joint com- pound or other plaster veneer applied to entire surface, excess compound removed, compound free of tool marks and ridges.

Higher sheen paint finishes, nontextured surfaces, and where lighting conditions will exaggerate defects, such as side-lighting conditions.

Primed and painted at least two coats, sanded between coats. This is the highest level of perfection.

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I N S T A L L A T I O N

have taped and spackled the seams and out-corners, the spackle is feathered out and sanded smooth.

The walls may also be fully skim coated with a special kind of plaster coat. This is, of course, more costly because where spackle normally covers only screw and seam loca- tions, skim coating covers the entire wall. The material list is slightly different too. The seams may be taped and spackled, but a special coat that cures like plaster (called hot mud) may be used to skim coat. The surface is worked and troweled like a plaster wall finish coat.

Figure 3.1 Plaster washers from rodenhouse are used to tighten plaster to the lath if some of the fingers/keys have broken off.

Consideration 3.3 Both the material and labor costs are increased for skim coating, but if the budget allows for it, it is more durable and more solid sounding. We experience spaces with all our senses and can hear quality construction in the way sound moves, or doesn’t move, through spaces.

Helpful Hint 3.1

It is especially tricky to locate the source of leaks, so clients should be prepared for a couple of wrong guesses as to the source of the water. Be sure to allow time in the schedule for this sleuthing to be complete before the work proceeds.

Helpful Hint 3.2

Changing a pale color to a dark one or a bright color to a pale one often requires multiple coats of paint (unless you have specified one of the new formula- tions that have super coverage). For a dark paint color that would require a tinted primer and mul- tiple coats, specify that the primer will be tinted to 75 percent of the final color, and each successive coat should be 10 percent deeper than the previous. This will ensure that the color is consistent upon comple- tion, and the succession of deeper coats allows the painters to see where the current coat may be a little too thin.

In either drywall or plaster installations, you may encounter water damage or settling cracks. Plaster may have come loose over time and need to be tightened down to the lath with special plaster screws (Figure 3.1). There is no point in repairing the surface and paint- ing if the cause of the problem has not been corrected; thus, the repair should be done first. If a separate taping

New paint formulations are available with built-in primer, so you may select such a finish to avoid priming product and labor costs. Ideally, the primer color should be similar to the finished wall color, even though paint- ers frequently use white. White primer is usually fine for pale paint colors, but if you intend to use a very dark or bright color, you may request that the primer be tinted to within 75 percent of the finished color. This allows for better presentation of the final color while still allowing the painter to confirm that all the primer is covered by the finish paint.

crew will be taping and spackling, it is a good idea to include instruction in your paint specs mandating that the painter must approve the tapers’ work prior to painting. This allows the painter to request corrections and helps you maintain control over the quality of the finished job.

Once the primer coat has been applied, it is easier to see any surface imperfections before the final coats of paint are applied. Many good painters will graze the wall surface with a bright light to check the quality of the prepwork before proceeding with painting. You can

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

Typical Process The following hypothetical scenario outlines the steps in working with a painter. Imagine that you want to hire a painter, so define the scope of work with the client and select all the finishes and colors. Then do the following:

1. Meet your prequalified painting contractor(s) on-site for a walk-through (even if the job was bid from a set of plans, there will eventually be a walk-through to confirm all presumptions made during bidding). The painter will want to inspect the surfaces to be painted to make sure they are in

do the same kind of check with a flashlight and indicate with a pencil mark where additional filling or sanding is required.

Figures 3.2A–B Scraping tool. These tools that scrape loose paint from trim profiles are very sharp, and inexpert handling can create gouges in wood.

Helpful Hint 3.3

Use pencil to make any notations on primed walls to instruct painters after your inspection of the prep- work. Write things like “sand,” “fill,” and other work they should perform before painting only with pencil because pen will bleed through paint and through all but special, stain-killing primers as well.

Helpful Hint 3.4

If woodwork has been stripped down to bare wood, some areas may need to be sealed to prevent sap from rising through the paint.

Trims Millwork trims may have many layers of old paint on them. If the woodwork finish is in bad condition, it should be stripped or replaced. Stripping paint is costly but makes sense if the damaged paint is confined to a small area of a large job having fine, consistent trim throughout. If the paint is in poor condition throughout the entire job, it is, unfortunately, cheaper and some- times healthier (in cases where lead paint would have to be removed or chemical strippers used) to remove all trim and replace it with new trim. If paint is flaking in a few places, specially shaped tools are used to drag the loose paint off the woodwork profiles. This work must be carefully done by experienced tradespeople because these tools are sharp enough to cut into the wood (see Figures 3.2A and B). The woodwork is then hand-sanded to try to minimize the differences at the junction between the painted and scraped portions (although you will still be able to see subtle ridges under the new paint). This approach is less costly (money and environmental) than stripping or replacing wood trim. If only a few sections of the trim will be replaced on a job having old original woodwork, the existing woodwork is likely to have several layers of old paint. The new work will look “crisper and newer” compared to the existing areas unless you specify extra layers of paint for the new work.

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S P E C I A L F I N I S H E S

5. Take a painted sample away with you after the mixing meeting for your records. You may want to check the color of the batch mixed by the supplier. If it is not an exact match but is still a good color, you could accept the batch even if it is a little off.

the condition expected (and thus in the condition upon which the bid was based). The painter may make suggestions regarding proper preparation of the surfaces for the painting work described in the scope of work. Painting contractors are typically competent to perform many of the required prepwork tasks and may include them in the bid.

2. After contract terms are confirmed, the painter will be hired and paid a deposit (often the payouts are one-third, one-third, and one-third, but sometimes they are half down and half upon completion if the job will not take long).

3. The color and formula are specified (or custom mixed with the painter). It is a good idea to check the color on the site with the painter, who should have universal pigments on hand to adjust the color as needed. Have all of your selected material sam- ples in hand for color comparison at this meeting. review a large (18-inch or larger) square of dried color. If the color should be adjusted, the painter will add pigments as needed, drying the samples with a blow dryer or heat gun so you can see the final, dried color.

4. When you believe you have selected or mixed the correct color, the painter should paint it on several surfaces throughout the area so that you can check it in direct daylight, indirect light, in shadows under both natural and artificial light and all light- ing conditions that you can effect. If it still looks right, and your client approves, the painter will purchase all the paint needed for the job, custom mixed by his or her supplier to match the color that you just created.

Helpful Hint 3.5

It is a good idea to prepare for your sample of a custom-mixed color by taking a piece of board, like poster board or foam core, and a drop cloth for your trunk. The sample will need to dry someplace where it won’t be disturbed. Even if you are having other meetings while at the site, it is a good idea to put the paint sample in your trunk so you don’t forget it and it is not disturbed while drying.

Consideration 3.4 Some painters refuse to mix color, and in many instances, this results in a compromise: a color that is almost right. You should prefer to work with painters who can “nudge” a color a little.

6. The painter will perform all the prepwork described in the contract. If a large quantity of paint will be required, you should specify that the painter should “box” the paint (mix up the batches to even out any slight variation in colors of each). After the prep- work is completed and approved, the painter will apply primer and paint as specified. If a high-quality paint job is required, the painter is likely to sand the walls and trim between coats. When each coat is dry to touch, you will be able to see the final color, but it must dry even further to hold up to sanding.

If you require a glaze technique (a faux finish or sponge, for example), the proceedings are just slightly dif- ferent. The painter will create large (18" × 18") samples on poster board. Check this sample at the site by carry- ing it into several different lighting conditions available there. request any adjustments necessary and have the painter make a new sample if the change is significant.

Metal accessories that are to be painted (switch- plate covers, outlet covers, floor or wall vents) must be lightly textured if they are to hold paint.

Your expert painter can “faux grain” metal vent cov- ers to blend with a wood floor or faux paint outlet covers that are on stone or other surfaces so that they blend in and are not eye-catching on the fine surfaces that you have specified.

For the Connoisseur 3.1

SPECIAL FINISHES Paint techniques are achieved using a variety of meth- ods. Some techniques that you will specify may require a textured undercoat. This undercoat may be as delicate as

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

Many special finishes employ the use of a glaze, a thinned-down paint that is applied by some method over a solid base color. Glazes come in a variety of for- mulas to achieve the finish desired. For instance, faux tortoise technique depends on the incompatibility of two or more glazes that repel, rather than combine with one another.

The use of stencils (Figure 3.9) allows for a rep- etition that resembles printed patterns on wallpaper.

tissue paper (Figure 3.3) or as bold as a buildup of a com- posite (Figure 3.4). Many techniques require multiple steps (Figure 3.5). They range from random spatters to a tightly controlled trompe l’oeil. Textural effects are pos- sible when paint layers of differing formulations react to each other in controlled ways, such as an alligator finish (Figure 3.6). Commonly used techniques include striaé (Figure 3.7), a simulated wood grain called faux bois (Figure 3.8), or other simulated materials.

Figure 3.4 A composite material was used to create a very heavily textured surface for a metallic paint coat. Sample by Hester Painting and Decorating in Skokie, IL.

Figure 3.5 A lightly-textured base coat was ragged with two successive layers of glaze.

Figure 3.6 This alligator skin technique requires careful management of two paint formulations to create this visual texture. Sample produced by Hester Painting and Decorating in Skokie, IL.

Figure 3.3 regular paper forms the underlayer of the sample on top and tissue paper forms the underlayer of the sample on the bottom. Both samples produced by Hester Painting and Decorating in Skokie, IL.

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S P E C I A L F I N I S H E S

Figure 3.7 A classic technique called striaé (pronounced stree-ay) drags the over glaze in one direction. Produced by Hester Painting and Decorating in Skokie, IL.

Figure 3.8 Faux bois (pronounced foe bwah) techniques imitate wood surfaces. Sample produced by Hester Painting and Decorating in Skokie, IL.

Figure 3.9 Stencils may be cut to create crisp patterns with a heavy application or delicate patterns as shown here with a glaze. Sample produced by Hester Painting and Decorating in Skokie, IL.

Figure 3.10 Metal leaf is super-thin metal that the painter must remove from its tissue paper backing and apply to the surface by burnishing. Actual metal is used, so characteristics of the metal will remain constant, meaning oxidizing metals must be sealed.

Metal leaf (Figure 3.10) is not paint but is included here because it is a surfacing material employed for the same function and it would be applied by the painter. These thin foils are small (less than 6 inches square) and so fine

A Cautionary Tale 3.1

About two weeks after the painter had fin- ished a custom surface with metallic paint, the designer received a call from the client to come and see a change that had taken place on the ceiling where metallic paint had been applied. In 4-foot spacing, the silver paint had tarnished in narrow stripes. The painter quickly realized that the stripes corresponded to spackled joints in the drywall ceiling. The spackle had reacted chemically with the metal flakes in the paint. The painter repaired the problem by repainting the oxidized areas with a sealer/primer and dabbed in the new paint to blend with the other areas. If the finish had been rolled on smoothly instead of dabbed in squares and rectangles, he would have had to recoat the whole ceiling to repair the oxidized stripes.

that the painter cannot handle them with bare hands— the heat from your skin is enough to adhere the leaf to your fingers. The material and labor are expensive for metal leaf surfaces. Metallic paints can be substituted, however. Metal will retain its characteristics regardless of the application, so the properties of metal leaf and metallic paint include the tendency for some metals to oxidize.

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

Coast Air Quality Management District), OTC (Ozone Transportation Commission—northeastern states), and LADCO (Lake Michigan Air Directors Consortium). Green Seal has established criteria for sustainable paint and couples that with standards for performance identi- fied by ASTM. Greenguard has also established guide- lines for emissions.

Unused paint must be disposed of properly, pref- erably taken to a paint recycler where the paint will become part of a batch that will be used on someone else’s job. Empty paint cans are to be entirely dry inside before disposing of them. Small amounts of paint (less than a quarter of a can, for instance) should be left open in a well-ventilated place and allowed to dry before being thrown away.

MANAGING BUDGETS When work is released for bids, price differences can be startling if there are differences among the skill levels of the bidders. You get what you pay for, and it is an unspo- ken expectation that college students painting houses over summer break will not be expected to provide the same quality work as skilled, full-time craftsmen.

A wide range of painting labor skill levels are avail- able for hire. If you are managing rental property and need a lot of area sprayed white, you would not hire a highly skilled painter because the quality expectations do not indicate that level of expertise (or expense). Painting is one area where it is possible to cut costs if necessary. Unlike structural work, painting can always be done again and properly when funds become avail- able. However, if you plan to paint twice to achieve appropriate quality, consider the cost of the initial job plus the final job as the real cost when opting to cut this corner. Because new construction settles, it may make sense to delay the “real” paint job for two to three years in cases where special paint techniques will be used.

There is a quality difference between paints, even those from the same manufacturer. Manufacturers will produce different quality levels to meet various price points so they can compete in more markets and don’t get priced out of budgets. There is a quality compromise when you downgrade the paint quality, so make sure you will still get the performance you need if you drop down from specification grade to contractor grade. Also understand that some manufacturers target low-end or high-end markets, so one manufacturer’s high-grade

PROTECTION/MAINTENANCE Painting labor is one of the last tasks to be performed. If a floor required a final coat of sealant, that work would follow the painting work. After that, carpeting and window treatments go in, followed by furniture. The installation of carpet typically will scuff and mar small areas, and it is typical to require painters to include these touch-ups in their contract price.

Higher sheens are more durable against abrasion and are more washable; however, they are harder to touch up than low sheens. If you are worried that a spe- cialty paint technique or a painted floor will be subject to soiling or wear, you may specify a clear coat over it to protect it.

SAFETY Pale colors often contain titanium dioxide. Old paint may contain lead. These materials are dangerous if inhaled, so workers who are preparing and sanding pre- viously painted surfaces should wear masks and goggles as precaution against particulates. Select paint with low or no VOC formulas when appropriate and consider coatings with as few chemical additives as will be func- tional at your client’s site.

SUSTAINABILITY Coatings often emit volatile organic compounds (VOCs), reducing indoor air quality (IAQ). Water- based finishes generally emit fewer parts per liter of known VOCs, but VOCs are not the whole story. Designers should look at other chemicals that are pres- ent; because they are not, strictly speaking, VOCs, they are not necessarily accounted for in emission measure- ments. Check the specific paint’s material safety data sheet.

You will come across organizations that have developed guidelines and limits on emissions, and their standards are often listed in performance specs that manufacturers provide for their products. They are also referenced in project requirements; an example of such a requirement would be the LEED standards. Some impor- tant organizations issuing standards are the EPA (Envi- ronmental Protection Agency), AIM (Architectural and Industrial Maintenance Coatings rule), CArB (the California Air resources Board), SCAQMD (South

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O r G A N I z A T I O N O F T H E I N D U S T r Y

product for big-box home improvement stores will be comparable to another’s mid-grade product. The quality of paint includes many factors, but if you are not sure, a shortcut for discerning quality is to look at coverage. High-quality paint will cover more square feet per gal- lon than low-quality paint.

ORGANIZATION OF THE INDUSTRY

As described previously, different kinds of painting laborers specialize in different aspects of the work. Shops specializing in large-scale commercial painting don’t want to be bothered with small, fastidious jobs, and small painting contractors are incapable of completing large-scale work on time. You will want to match your job with the right painting contractor.

It is most typical for painters to supply the materials used on the job, and some will have their own preferred brands for paint characteristics and pricing. If you spec- ify the color and sheen but fail to specify the formula, you run the risk that the painter will provide the lowest quality paint.

A Cautionary Tale 3.2

After receiving bids from two good-quality, pro- fessional painting contractors for comparison, a designer’s client decided to find a third on his own. The designer’s painters came in at $25,000 and $27,500, and the client’s third bidder came in at $17,000. The designer’s specifications for the bid were a little “loose” because she had worked with both painting contractors before and knew their commitment to quality. The designer explained that the quality might not be as good, but the client really felt that there could not be an $8,000 or $10,500 difference no matter how poor the third company was. The client reminded the designer that, per contract, the designer would be instruct- ing and inspecting, so they should theoretically be able to get the same quality from the last bidder anyway. After the prepwork was completed, the designer stopped by after the end of the workday to graze the walls with a flashlight. High-quality

painters normally check the smoothness of their prepwork this way. The designer used a pencil to note every imperfection, circling it and writing notes for more work required (it was considerable and took hours to complete). The next day the work described was performed in the most perfunctory way, not to make it right but to say it had been done, even though results would not support the fact that any effort had been made. The relation- ship became contentious. It’s important to know that you get what you pay for when it comes to paint- ing labor, and it was not fair to insist on the high standards when it was not made clear to the bidder before the bid was finalized. So what finally happened? The client’s project fell to the bottom of the work list because the job became a money-losing proposition for the paint- ing contractor, who would throw a couple of guys onto it when he could spare them from more profit- able jobs. The painting work took three months to complete instead of one, and the designer could not effectively manage the completion date.

A Cautionary Tale 3.3

A designer had a client who “knew a guy” who represented one of the large paint manu- facturing companies. This client had the cost of the paint itself removed from the painting contract, the painter estimated quantity, and it was delivered to the site. This painter was in the habit of simply picking up more paint on the way to the job site when he ran low, and having to wait for paint to be delivered by this third party caused a delay as well as a nuisance for the client, who had to be the go-between for each of three additional requests for paint of one color or another (and undoubtedly for “the guy” who had to have a gallon delivered on three separate occasions). This is one of many penny-wise, pound-foolish instances to explain to your clients to dissuade them if they imagine that they can afford to “save” some small sums of money at the expense of job organization.

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

on schedule, you are looking at the same things that you would check at the end of the job: that the prepwork has proved to be adequate, the color is correct, the level of gloss is as specified, the work is being neatly done, and all areas to be painted are being painted. After the job has been completed, recheck all of these features as well as the clean-up on windows and hardware (check hinges especially) and other finished surfaces. Make sure there are no runs or drips or globs on the painted surfaces. Arrange to have all artwork, window coverings, and anything else that was removed for the paint work rein- stalled if necessary. Table 3.7 lists some problems that you might notice if the painting that you are inspecting is not just right; possible solutions are included.

RELATED MATERIALS Other products are used to coat and color surfaces. Spe- cial sustainable surfacing plasters and paints and finishes for wood are related to this topic. You can find similar product information about these related materials in Chapter 6, “Wood.”

Paints and Plasters Special kinds of paints developed for sensitive client populations include milk paints that use the casein from

SELECTION CRITERIA As you organize your priorities for these finishes, it will become clear what kinds of products and labor you require. Some considerations to get you started are pre- sented in Table 3.6.

SPECIFYING Let’s presume that your client is an eye surgeon with a small suite in a medical building. You have decided that it makes sense to use color to help patients who have difficulty seeing detail and reading signage to locate themselves in the suite using color cues. Each of three exam room doors is to be a unique color. Open waiting areas are to be a color that is distinct from corridor walls, etc. You imagine that elderly people, who comprise a large percentage of the doctor’s patients, may steady themselves by touching walls, so you balance your desire to omit any possibility of glare with the desire to occasionally wash smudges from walls and doors. For this client, your spec may resemble Sample Spec 3.1.

INSPECTION You may find it beneficial to evaluate the paint work in process. Aside from confirming that everything is still

Table 3.6 Organize your selection criteria to help with your paint formula selection.

Condition Program Implications

How will this site be maintained? If the client prefers to touch up, specify matte or flat; if he or she prefers to wash, specify eggshell or higher sheen.

Is this a high-traffic location? Higher sheens are more durable but require better prepwork because they show every imperfection.

What needs are there for visual organization and wayfinding?

Color selection and distribution can be used to create meaningful contrasts to organize the space and indicate direction.

What kind of lighting will be present?

Tune and adjust your color palette to be attractive under the selected lighting conditions. If lighting is cool, select colors with cool notes even if they are warm, e.g., brick red versus tomato red.

Are there several kinds of surfaces requiring different paint formulas in a single area?

The identical color in different formulas will have a noticeably different appearance due to chemistry and sheen variation. If this will be disturbing, you may decide to purposely call out different painted surfaces in different colors since they will never match.

Will you be trying to maximize daylighting?

reflectance for walls should be between 40% and 70% and for floors 25% to 40%.

How interested is your client in sustainability?

Consider an alternative surface like tinted lime plaster, clay plaster, or milk paint. If sticking with typi- cal paint products, select low- or no-VOC formulas with few added chemicals.

Are specialty finishes required? This work is often performed by different painting contractors on the job site and always by different workers, who need to be coordinated, especially if the painters prepare the base coat for the specialty painter, as product compatibility must be managed.

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SAMPLE SPEC 3.1 Part 1 General Information 1.1 Related Documents

A. Refer to finish schedule for location of each paint specified.

1.2 Summary A. Prime and paint newly constructed partitions,

ceilings, doors, trims in suite 105. B. Ten wall colors located as specified, to be

washable matte finish. Six trim colors, located as specified, to be satin. One ceiling color throughout to be flat.

1.3 References A. Comply with local regulations pertaining to

disposal of leftover paint. B. Comply with OSHA regulations for ventilation of

work site.

1.4 Contractor Submittals A. Two sets of material safety data sheets for all

paint and compounds used. B. Samples demonstrating color and sheen for each

paint specified, minimum size 18" × 18" labeled with the paint formula and color.

1.5 Quality Assurance A. Contractor to have a minimum of five years of

proven satisfactory experience. B. Qualified journeypersons to perform painting

labor and supervise apprentice labor. C. Work to be inspected and approved by designer

when priming is complete and upon completion of painting labor or at the end of each of two weeks estimated as duration of painting work.

1.6 Delivery, Storage, and Handling A. Deliver all paint in sealed, original containers

bearing the manufacturer’s name and product identification.

B. All product to be stored in accordance with manufacturer’s recommendations.

1.7 Maintenance of Installation A. Prevent paint from falling on items that are not to

be painted with painter-supplied drop cloths and tape.

B. Remove all spatter from unpainted surfaces.

Part 2 Products 2.1 General Information

A. This contract includes all contractor-supplied equipment required to complete the work described, sufficient quantities of all materials to provide the specified number of coats, all drop cloths, ladders, and safety equipment.

B. ASTM D476 titanium dioxode C. ASTM D332 hiding power

2.2 Manufacturers A. Ecopaint Inc., 1234 Industrial Drive, Anytown, ST

45678. B. Smoothseal Caulk Corp., 5678 Industrial Drive,

Anytown, ST 45678.

2.3 Products A. Ecopaint No-VOC Tenacity formula primer B. Ecopaint No-VOC Tenacity formula paint in

washable matte for walls as noted below and on finish plan: 1. PNT-1 Moorefield Gray 2. PNT-2 Moorefield Lichen 3. PNT-3 Moorefield Heather 4. PNT-4 Moorefield Moss 5. PNT-5 Seaspray Lilac 6. PNT-6 Seaspray Deep Water 7. PNT-7 Seaspray Tidal Sand 8. PNT-8 Hilltop Hay 9. PNT-9 Hilltop Coneflower 10. PNT-10 Hilltop Phlox

C. Ecopaint No-VOC Tinman paint in washable satin for metal or wood doors and trim: 1. PNT-11 Moorefield Slate 2. PNT-12 Moorefield Bottlefly 3. PNT-13 Moorefield Amethyst 4. PNT-14 Seaspray Lieutenant 5. PNT-15 Seaspray Keel 6. PNT-16 Hilltop Winter Wheat

D. Ecopaint No-VOC flat wall paint for ceilings: 1. PNT-17 Hilltop Snowdrift

E. Smoothseal low-odor, paintable caulk.

Part 3 Execution 3.1 Examination

A. Do not paint any surface that, upon inspection, is not properly prepared for quality level 4 finish. Painting a surface constitutes acceptance of surface quality, and painter shall not be relieved of providing work of acceptable quality.

B. No dust is to be generated by others during the duration of the painting labor.

C. Ensure adequate ventilation to comply with OSHA standards.

3.2 Preparation A. Describe work that must be performed under

this contract (not related contracts mentioned earlier) to get the material or the site ready for installation.

3.3 Installation A. Apply primer in accordance with manufacturer’s

conditions and recommendations in workmanlike manner, sand, and vacuum.

B. Apply a minimum of two coats of finish paint color, sanding and vacuuming between coats.

3.4 Post Installation A. Upon completion, work is to be free of brush or

roller marks, lap marks, sags, drips, stippling, missed areas, and foreign materials.

B. All defects visible at 30 degrees to surface to be corrected.

C. Contractor responsible for protecting painted surfaces until curing time stated in manufacturer’s literature has passed.

D. Clean site of all equipment and debris and leave ready to present to owner.

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

Top Coatings for Wood Wood is vulnerable to soiling, staining, and expan- sion and contraction due to changes in humidity. Top coats seal the wood, minimizing these problems. Table 3.8 breaks down the finish types by formula and characteristics.

Other Coatings Paints and coatings are used on many surfaces, not just walls. Substrates, such as MDF and particleboard, metal, and plastics, are coated with specific formulations. You are probably already aware that there is no such thing as a universal coating that can be applied to any surface. Coatings have been developed to meet a variety of needs and surfaces. research will be required any time

milk as a binder. It produces a generally matte surface that can be buffed to a satin sheen. Milk paint often has lime in it, but it is different from lime paint. It is recom- mended that this type of paint be sealed for damp areas like bathrooms or where condensation might occur due to temperature, such as adjacent to large, older windows, and in skylight wells.

Other coating surfaces for walls can be substituted for paints. Products like clay plasters and lime paints and plasters with pigment added are applied as a fin- ish coat. Clay and lime plasters are generally inert and remain inert if mineral pigments are used to color them. It is common practice to wax these surfaces to protect them from soiling. The wax can also be tinted, so complex color subtleties can be developed. Lime paint used to be called whitewash. It is less washable than regular paint.

Table 3.7 Watch out for some of these common problems when you inspect completed paint jobs.

Problem What Probably Caused It What to Do

roller marks The wrong roller or low-end paint lacking the chemistry to level out

Sand walls, repaint with correct roller nap, painter should dampen roller before starting to paint with water-based paint; specify better quality paint for recoating

Lap marks Not working with a wet edge (painting in long strips that dry before adjacent area is coated)

recoat

Hatbanding (area cut in around ceiling looks differ- ent from walls)

May be similar to lap marking or may be poor priming

recoat with one more layer of paint, rolling and if necessary, feathering in at cut-in areas; worst case: may need to prime and recoat

Subtle cracking to “mud-cracking”

Paint applied too thickly, perhaps over a too- porous surface

Sand or scrape and sand if cracks are larger; recoat with high-quality latex paint

Poor leveling Inferior brush or roller with nap too deep for paint formula or working back into paint that has started to set

Sand and recoat with good quality paint; correct brush and roller nap; do not rework surface

Inconsistent sheen Poor primer/priming or not working with wet edge recoat

Sagging (paint slides down surface)

Paint applied too thick in areas or it was thinned Sand and recoat

Wrinkles Second coat applied before first coat was dry enough

Scrape and sand; then recoat

Spatter (paint drops appear on surfaces that were not painted)

Too much paint on roller, rolled too fast Use proper nap; roll in small sections, not long swaths; specify wall paint for ceilings (lower-spatter formulas)

Bubbles/foam leaves tiny craters

Old paint may have been used and shaken instead of stirred; paint may have been applied too quickly, “frothing” it up

Sand and recoat properly

Blisters Moisture is coming from below; maybe the first coat was not dry enough or the problem may be with the substrate

Scrape and sand; fix the problem; prime; recoat

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Table 3.8 Top Coats for Shop Finish Wood Products You will hear mention of these finishing options when talking to your finisher. The general descriptions of performance issues will help you discuss options as you work with your finisher to determine the best one.

Formula Contents Characteristics Uses

Nitrocellulose lacquer

Solvent-based, strong acids dis- solve cellulose source material

Fair scratch resistance; easy to repair; only fair chemical and water resistance; yellows with age; “thin” (multiple thin coats generally better than thick coats), flexible; forgiving formula

Architectural trims, furniture, paneling, ornamental carving

Acrylic lacquer Water- or solvent-based clear coating

Nonyellowing; relatively soft; low resistance to heat and chemicals; good stain resistance; low VOCs

Furniture, casework, paneling, blinds and shutters

Catalyzed lacquer

Hybrid formulas cure chemically via acidic additives

Good resistance to abrasion, staining, and chemi- cals; yellows over time; finish must be sprayed on

Furniture, casework, stairs, blinds and shutters, architectural trim work, doors

Precatalyzed lacquer

Chemically cures; precatalyzed just means the catalyst is part of the formula

Fast drying; better abrasion resistance than nitro- cellulosic; medium buildup; slight ambering over time

Furniture, paneling, trim work, orna- mental carving, vertical stair parts (not treads), doors, window frames, shutters and blinds

Postcatalyzed lacquer

Chemically cures; catalyst is added at the time of use; small shops prefer because they mix what they need when they need it

Fast drying; easy to apply; better abrasion resis- tance than cellulosic; good clarity; slight amber- ing over time

Furniture, paneling, trim work, orna- mental carving, vertical stair parts (not treads), doors, window frames, shutters and blinds

Polyester Catalyzed finish Waterproof; builds thick coat quickly; among the most durable finishes

Formal furniture with a “thick” finish with closed pores and slick gloss

Varnishes resins and oils combined, such as alkyd, phenolic, and urethane, often combined with oils like lin- seed, tung, safflower, and soybean

Varnishes combined with oils dry harder than oils alone and build up a surface with fewer coats

Casework, paneling, stairs, win- dows and doors, blinds and shutters, furniture, architectural trim work, countertopsAlkyd is a broadly used, general-purpose varnish

Phenolic is usually combined with tung oil; durable and somewhat flexible so often used on exterior work

Urethane and polyurethane offer the best abra- sion, solvent, and heat resistance

Polyurethane A varnish with urethane as the resin

Solvent-based; easy to apply, plastic finish; nonflex- ible; ambers with age; does not bond as easily with subsequent coats as lacquer (harder to repair than lacquers); can be applied with a brush; slow drying time: cures for approximately 30 days

Floors, furniture, paneling, trims

Conversion varnish

Catalyzed varnish cures chemically via acidic acid

resistant to damage from scratching, heat, and solvents

Furniture, casework, stairs, blinds and shutters, architectural trim work, doors

Water-based finishes

Many of the same ingredients as oil-based but water used as a vehicle; requires emulsifiers

The ingredients of the varnishes and lacquers determine properties, so variable characteristics with slight diminishment in heat and solvent resistance

Furniture, casework, stairs, blinds and shutters, architectural trim work, doors

Water-based urethane

resin; easy to apply; nonflexible; does not amber with age; low fumes; one- and two-component formulas

Furniture, paneling, trim work, floors; two-component formulas are suitable for commercial floors

Moisture-cure urethane

Very durable, very moisture resistant; some formu- las yellow with age, odorous and difficult to apply; solvent base so use is restricted

Furniture, paneling, trim work, floors

Waxes Carnauba or beeswax Penetrates into wood; typically used as a polish on top of another finish; damaged by water; buffing after applying wax forms a surface seal that is soft but repairable

Furniture, case goods

Oils: tung or linseed

reactive material cures versus hardens through evaporation of solvent

Too soft to build up much of a surface coat; low sheen; “natural” look; repairable; water spots; tung oil is a little more durable

Furniture, architectural millwork, floors

Shellac Insect secretions form a basic ingredient combined with dena- tured alcohol

Not very durable; easily tinted; easy to apply; removable with alcohol; easy to touch up because new coats soften and bond with previous coats of shellac; easily damaged by water; ambers with age; select clear versions for pale wood

Beneath other finishes to seal surface and French polishing

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

WALLCOVERINGS Any material that can be adhered to walls and later removed without damage to the walls can be used as “wallpaper.” The following discussion reviews materials commonly sold specifically for that purpose. However, with proper sizing and preparation, followed by careful and durable installation, you can expand beyond these materials by using your creativity. Table 3.9 shows the various material combinations that are used to make commonly available wallcoverings.

WALLCOVERING MATERIALS Just as paints have functional and decorative variety that is derived from the precise materials used, wallcov- erings serve a variety of aesthetics and functions that are also derived from the materials used to create them.

Paper Printed paper is the simplest form of wallcovering and is exactly what its name implies. Wallpaper is usually two kinds of paper laminated together, having a paper that has good characteristics for printing on the front and good characteristics for adhesion on the back.

you specify a coating so that you are sure you understand the characteristics of the coating you are specifying and confirm that it will adhere to the substrate and provide the performance that you need.

New Technologies 3.1

Coatings are being improved to provide better performance and increased functionality. Coatings can be magnetic, work like marker board, remove pollution from the air, or even create an electrical circuit. Hydrographic techniques transfer intricate patterns to complex forms. Wallcoverings may be printed with thermochromic ink that changes color with temperature. Fiber-optic lighting is intended for decoration and to provide light. Improvements to the wall boards discussed include polymer-infused cement board that can be curved over supporting structures to a radius as small as 6 inches without kerf cuts.

Table 3.9 Wallcovering assembly.

Backing

Decorative Layer

Coating

Use and Care

Paper None None Line walls before apply- ing other paper

Printed onto backing

None Light use Dry clean

Material (string, cork) laminated to backing

Printed onto paper laminated to backing

Light vinyl sprayed on

Moderate use Damp sponge

Vinyl sheet laminated to face

Heavy residential use in kitchens and baths; light commercial use Washable

Vinyl laminated to backing

None Heavy residential use in kitchens and baths; commercial use varies with thickness of vinyl Washable or scrubbable

Non- woven

Vinyl laminated to backing

None Heavy residential use in kitchens and baths; commercial use varies with thickness of vinyl Washable or scrubbable

Scrim Vinyl laminated to backing

None Heavy use Washable or scrubbable

Fabric Teflon or Nano-Tex

Light use

Material (string, cork) laminated to backing

Drill Vinyl laminated to backing

None Heavy use Washable or scrubbable

Fabric Teflon or Nano-Tex

Light Damp sponge

Colors are printed onto the surface via screens, blocks, or cylinders to produce the image. Each additional color requires an additional “screen,” and the number of colors used is typically diagrammed as little squares on the selvage that the paperhanger trims off when installing the wallcovering. The more colors and the more complex a pattern, the higher the cost will be because of the difficulty in perfectly aligning each color with the others to form the pattern. If the successive colors are not perfectly aligned, the pattern is said to be

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Cylinder print To create this type of print, a roller is carved with a pattern; similar to the block print, ink is dispersed onto the roller, which is then rolled over the wallcovering to transfer the colors in the pattern.

Hand-printed paper is increasingly rare, and most printing is now done by machine. Small defects and irregularities are to be expected on hand-blocked papers. These irregularities are considered to be the charming quirkiness of a handmade product, but a gross defect—a large, noticeable, unattractive, off-register lot—is cause for rejection of goods. You should retain all samples and strike-offs to support your point, in case of defective goods or a quality dispute.

Coated paper has a thin layer of vinyl or acrylic sprayed on. This layer of acrylic provides protection and light washability but is not to be mistaken for a more durable vinyl coating. Figure 3.12 is a zoomed-in shot of the back- ing paper tearing while the vinyl face merely stretched. This wallcovering is more serviceable than one where the acrylic coating tears along with the paper backing.

Facing Materials Other than Paper Any materials, backed with paper, a textile, or left unbacked, that can be glued to the wall can be used

out of register. Figures 3.11A and B show off-register prints. The “looser” quality of Figure 3.11B renders the registration less important than for Figure 3.11A. This distinction is part of your quality evaluation during selection because some kinds of patterns will require tighter registration than other designs.

Figure 3.11A Hand-blocked wallcovering will display some off-register markings because the human hand is not as precise as a machine. In this precise pattern, the misalignment is easy to find in the white border next to color areas. This pattern utilizes a moderately large number of screens; eleven different color layers create this pattern.

Figure 3.11B In this less-precise pattern, the off-register marks are not as noticeable. If you are hoping to find the imperfection in the product as evidence of its hand-produced nature, you may want to consider how the pattern displays, or does not display, the evidence.

Consideration 3.5 Not all prints are produced by screen printing; the number of colors is often called the number of screens.

Screen print This type of print is created by hand- screening a pattern of different-colored inks onto the paper through mesh fabric that has portions of the mesh stopped (so no ink can get through, thus controlling the pattern) with a separate screen used for each color.

Block print For this type of print, a carved block (traditionally wood) has ink applied with a roller. The portions of the block that have been carved away will, of course, receive no ink, so when the block is positioned facedown on the paper, only the parts of the block that were inked will transfer color to the paper.

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

hidden. These coverings are especially porous and vul- nerable to soiling (and cats cannot resist clawing them).

Wood and Cork Veneers Wood and cork veneers are backed with paper or mesh, providing flexible wallcovering (Figure 3.15). They are available in different unit dimensions, so check with the manufacturer before estimating. Three feet wide is fairly common, but narrower and wider widths are also avail- able. Some manufacturers sell this material by the panel (8 or 9 feet long), others by the roll. The veneer surface is ready for finishing on-site or may come prefinished.

Foil and Mylar Foil, Mylar, and metalized plastic wallcoverings, backed with paper, are reflective and can show every imperfec- tion in the wall surface. Prepwork may be more intensive than merely sizing the walls, including filling and sand- ing or installing a lining paper. These products require a level 5 finish. (For prepwork levels, refer to Table 3.5.) Foils are actual metals and can oxidize under the wrong conditions. Mylar (DuPont trademark for this metalized polyester film) and other metalized plastics are reflective and imitate foils but will not oxidize.

as wallcovering. Among the many commonly available choices are grass- and string-faced papers, veneers, foils, cloth, and vinyl.

Grass Cloth Grass cloth is paper faced with long woven grasses that are left natural or dyed (Figure 3.13). Paperhangers can avoid an uneven appearance by rotating every other panel as they install. The seams between panels of grass cloth always show. Special clear paste is required to avoid staining the face of the goods. Because some grass cloths will shrink as the glue cures, the hanger may not trim the top and bottom of the sheets until the glue is dry.

String String paper has continuous rows of strings laid side- by-side on a paper backing (Figure 3.14). Because the strings relate to the vertical seams, the seams can be well

Figure 3.12 When the backing tears before the vinyl face, the wall covering will be more durable against moisture and stains.

Figure 3.13 Grass cloth has vegetable fibers glued to a paper substrate. The seams on this paper will always show, so it is important to consider the seaming plan with the hanger so that the rhythm of panels is acceptable.

Figure 3.14 String is glued to a paper substrate to create string paper. This paper will not show its seams as readily as grass cloth.

Flocked Flocking is utilized by manufacturers of wallcoverings, carpeting, and fabric so the same process that you have or will encounter in other chapters applies here too. Flocked wallcovering has had glue applied, usually in some kind

Consideration 3.6 Liner paper is used as a substrate for wallpaper. It has the characteristics of the backing used for paper wallcoverings.

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W A L L C O V E r I N G M A T E r I A L S

of pattern, in a manner similar to applying ink to printed wallcoverings. Small fibers are then sprinkled onto the glue so the wallcovering is “fuzzy” in those areas.

Cloth Cloth can be backed with paper, knit backing, foam backing, acrylic backing, or left unbacked (Figure 3.16). If the backing is laminated rather than sprayed on, the backing process may stretch some sections of the facing material more than others. If you use a third party to back your fabric (rather than select fabric that is already backed by the manufacturer), your fabric may not arrive at the paperhanger’s precisely on grain (with warp and weft at right angles to each other). Paper backing does not allow for any movement, if the hanger should have to alter the alignment of a pattern, for instance. A knit-backed or acrylic-backed fabric will allow for some movement, if necessary.

Textile wallcoverings (cloth, grass cloth, and string) should be treated with a stain-repellent finish to make it easier to remove any adhesive from the face after instal- lation. Cloth-faced wallcoverings can also have vinyl laminated over them, which will improve washability and protect the fabric from damage.

Vinyl Vinyl wallcoverings are usually the most cleanable. Vinyl won’t be damaged by a little water. Many vinyl

wallcoverings are considered to be scrubbable and can withstand more aggressive cleaning and sanitizing prod- ucts, so vinyl is a good choice for areas subject to slight moisture and dirt. Vinyl can be laminated over paper or a textile. Some vinyl coverings are heavily textured expanded foam material or lightly textured embossed product to add texture for visual appeal and acoustic control. Another form of vinyl wallcovering is a vinyl- impregnated cloth on paper.

Different classifications of vinyl are

• Paper-backed vinyl is a paper substrate with 2–5 millimeter solid vinyl layer applied to substrate in liquid form. The decorative layer is printed on the vinyl.

• Fabric-backed vinyl has a woven or nonwoven substrate to which up to 10 millimeters of vinyl is applied in liquid form. The vinyl may be printed or embossed.

• Solid vinyl consists of film vinyl that is laminated to a paper or fabric substrate. It is more durable than paper-backed or fabric-backed vinyl, where the vinyl or acrylic is a coating.

Vinyl wallcoverings have been the standard for many kinds of commercial locations because they have been engineered to withstand impact, and their highly cleanable surfaces can be sanitized without damage.

Figure 3.15 Cork veneer on a paper backing. The voids in the cork sample on an angle allow contrasting paper to show through to decorative effect.

Figure 3.16 Fabric can be purchased paper-backed or can be laminated to paper. When you select fabric already- adhered to the paper substrate, you are more assured of consistency in the application than when you have fabric laminated per order by a third party.

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

advisable to determine the cost per strike-off if there is a limit to the number of strike-offs that will be included as part of the order.

Vinyl presents some problems, however, as it off-gasses VOCs, it contains PVC and plasticizers, and some colo- rants contain toxic metals.

Other Product Characteristics Wallcoverings can be very durable if properly selected for your client’s site, but eventually they must be removed as they become worn or fashion changes and looks must be updated. removal will sometimes neces- sitate tedious work and steaming equipment to loosen the covering from the wall. If the wall was not properly sized before the covering was installed, the wall is likely to be damaged as the wallcovering is removed.

Some wallcoverings are designed to be strippable, meaning they can be dry-stripped from the wall (no steaming required), leaving only traces of adhesive that can be easily washed off. If you anticipate that your cli- ent will always want wallpaper for that surface, you might specify a peelable wallcovering. This means that when the wallpaper is removed, the decorative face delaminates from the backing paper. The backing paper stays on the wall, providing a perfect surface for a new wallcovering.

Some designs are developed for special uses. Borders are narrower wallcoverings designed to hang with a hori- zontal orientation. A unit of border paper is referred to as a spool instead of a roll. Ceiling papers are nondirectional, and designs look correct from any angle. Mural papers are panels that must be hung in precise consecutive order to complete a scene. These costly papers are often installed with restoration techniques so that they are removable intact for reinstallation elsewhere.

Custom Colorways for Wallcovering Some manufacturers will custom color any of their designs on a ground (the paper or vinyl that is the base material for the patterned wallpaper). Minimum quanti- ties usually apply, and often a setup charge is included in addition to the usual costs. Custom colors and patterns can also be hand-blocked onto any suitable ground.

The custom process will increase the delivery time of the order. In addition, you may need more than one strike-off (sample) because new color combinations may have unexpected results in ink pigments that cannot be anticipated on screen. Include the time for production of the strike-off as well as transportation of the strike-off between the fabricator, your office, and your client. It is

Consideration 3.7 Color theory effects, such as simultaneous contrast and color vibration/phantom color, are often exhibited in various color combinations on wallcoverings. As intriguing as these effects are to encounter, they are best avoided in your wallcovering designs.

Backings Products offered for sale as wallcoverings are typically backed with a material that is compatible with the cov- ering. If you are selecting a backing for a product that is not sold as a wallcovering but you intend to use it that way, you should consider the different characteristics of various backings.

Wallcovering often serves functional purposes; vinyl provides a more durable surface than paint. It also must serve an aesthetic function, and pattern and color are central to such considerations. But what makes some wallcoverings command such a high price? The designer can look to several categories to find a product that would earn the descriptor “exqui- site.” Things that your client might value enough to pay a high price include

Historical accuracy Some people seek a connec- tion to the past and will pay more for a special archival pattern.

Material Patterns printed on silk or delicate handmade paper are especially satisfying to some clients. The difficulty in handling such materials commands a high price.

Exclusivity Hand-blocked (meaning the pattern is stamped on by hand rather than by machines) with its inherent unique imperfections is more one-of-a-kind. A custom-designed wallcovering made by an artist will have similar value.

Novelty Unusual surfaces that surprise people also delight them.

For the Connoisseur 3.2

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P r O D U C T I O N

you narrow your search. One relates to all wallcovering, and the other describes commercial/contract wallcov- ering specifically.

Ratings for All Wallcoverings • Class I: Decorative • Class II: Decorative and serviceable (more wash-

able and colorfast) • Class III: Decorative with good serviceability;

medium use for abrasion and stain resistance; meets strength and crocking resistant standards

• Class IV: Decorative with full serviceability, heavy consumer and light commercial use; meets strength, crocking, and tear-resistance criteria

• Class V: Medium commercial serviceability; high- abrasion and crocking resistance; colorfast and tear resistant

• Class VI: Full commercial serviceability; in addi- tion to preceding criteria, resists cold cracking, heat aging, and shrinkage

Ratings for Commercial Vinyl Wallcoverings These wallcoverings are all fire-rated.

• Type I: Light duty for offices, hotel rooms, patient rooms; 12 to 18 ounces per lineal yard

• Type II: Medium duty for reception areas, corridors, classrooms; 18 to 24 ounces per lineal yard

• Type III: Heavy duty for hospital corridors and other heavy uses with moving equipment; heavier than 24 ounces per lineal yard

PRODUCTION Patterns are often produced in several different color combinations called colorways. A stock pattern may also be printed on a variety of different grounds that are available coated or uncoated, so there are often many different ways you can specify a given pattern. The manufacturer will produce one colorway, and then the printing machinery will undergo a color change in which some or all of the ink colors will be replaced with dif- ferent colors and a new production run will be printed. Pattern and run numbers are printed along the edge of

• Woven (light = scrim, heavy = drill/cotton twill) backings allow for flexibility, so the paperhanger can make minor adjustments, if necessary, while hanging. The various weights should correspond to the material being backed. The backing should be lighter in weight than the face.

• Nonwoven backings will be dimensionally stable because of the randomized orientation of the fiber and fiber content of the backing. This backing will also be flexible, allowing for adjustment.

• Knit backing is a fine open knit and allows for adjustment at the site since it is so flexible.

• Paper backing fixes the dimensions of the cover- ing and is not flexible, so the paperhanger cannot make adjustments on-site. This selection should be reserved for coverings that are also very stable, such as tightly woven chintz, or materials that do not require any pattern matching.

• Contact paper is an engineered substrate of cellu- lose, polyester, and a synthetic polymeric backing designed especially to stabilize patterns. These products feel like paper but have improved perfor- mance and are a more expensive option.

• Acrylic or latex backing maintains flexibility and, because it is applied in liquid form, it bonds fibers together. This backing would be selected for a fabric likely to unravel at the cut edges where you expected that adjustments would be needed at the site.

• Lining paper is a backing that is not yet adhered to a facing material. It may be installed on the wall and then the decorative wallcovering would be installed over it rather than being adhered to the wallcovering. Special bridging lining would be selected to mask texture on the wall if necessary.

Helpful Hint 3.6

Minor imperfections in the wall surface can be con- cealed by adhering lining paper to the walls if you intend to install another wallcovering. If you intend to paint, use a fine canvas instead.

RATINGS APPLICABLE TO WALLCOVERINGS

A couple of different rating systems for wallcoverings serve the industry, and familiarity with them can help

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Estimating General rules can be used if the roughest of takeoffs is sufficient. For example, an American roll will usually cover about 30 square feet of wall surface. Subtract a half roll for every door or window of similar size. If the wallcovering is metric, add an extra roll for every four American rolls. Patterned wallcovering will result in some waste. For a repeat up to 6 inches, reduce the 30-square-feet coverage rule to 25; for 7 to 12 inches, the coverage will be closer to 22 square feet; for 13 to 18 inches, it drops to 20 square feet; and for 19 to 23 inches, it will be about 18 square feet.

Calculating Quantities for Cost Comparisons The most precise way to estimate wallcovering is to use the strip method. It is the method that most paperhang- ers use when estimating quantity.

1. Measure the perimeter of the room and divide by the width of the paper to determine the number of panels. Alternately, tick off the panel widths on your to-scale plans, as illustrated in Figure 3.18. The benefit of looking at a plan while you deter- mine the panel count is that you can understand where the seams will fall. If you are using grass cloth or other materials in which the seams will be apparent, you may decide to shift the layout and will then know what additional instructions you should give the installer. The pattern will not

the wallcovering that the hanger trims off. The color run is akin to the fabric dye lot, so one run of the same pattern in the same colorway may not match another run. Wallcoverings shipped for your order must all come from the same run to ensure uniform appearance.

SIZES AND ESTIMATING Standard wallcoverings come in a variety of sizes, as shown in Table 3.10. These sizes can be used for estimat- ing and budgeting.

Most papers produced for the residential market are priced by the single roll but sold in double or triple rolls to reduce waste. Wallcoverings are produced in lengths longer than the lengths that are shipped. A long strip of wallpaper coming off the machine is cut into single, double, or triple rolls. When the wallpaper is priced by the single roll but shipped in doubles or triples, two or three rolls will be left together rather than be cut apart. Figure 3.17 demonstrates the coverage of a single versus a double roll. Unless a cutting charge is offered, you will have to round up your order to the nearest multiple.

Commercial vinyls are often sold by the yard or the bolt. Bolts commonly contain 30, 50, or 60 yards depending on their weight. The best way to know for sure how much wallcovering comes in a single unit for any wallcovering product (bolt, roll, or double roll) is to ask the supplier. The number will probably be stated in terms of yards for commercial vinyl or in terms of square feet for residential rolls, so you may have to perform a little math to deduce the length by dividing the width (in feet) into the square feet to arrive at the length.

Figure 3.17 Single versus double roll yields demonstrate the material savings for two rolls of wallcovering left contiguous rather than cut into separate rolls. It is priced by the single roll but shipped in doubles.

Table 3.10 Standard wallcovering sizes.

Type of Covering

Width

Length

Coverage

Sold

American rolls

27" 4.5 to 5 yards per single roll

30–33 SF/ roll

Double or triple

European rolls

20.5" 5.5 yards per single roll

27.5 SF/roll Single or double

English rolls

20.5" 11 yards per single roll

55 SF/roll Single

Borders No standard

5 yards per spool

5 lineal yards

Spool

Vinyl 54" Sold by the yard in 30- to 35-yard-long bolts

13.5 SF/yard Per yard

1st 8-foot strip 1st 8-foot strip2nd 8-foot strip 3rd 8-foot strip waste only 1/4 strip

waste is 2/3 of a strip

FOR TYPICAL CEILING HEIGHTS DOUBLE ROLLS HAVE LESS WASTE

SINGLE ROLLS LEAVE MORE UN-USED / WASTED GOODS

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Q U A L I F Y I N G I N S T A L L E r S

yard, etc.) to arrive at the number of units required. Add one full repeat per roll to your order so that you can start the first cut where you want it.

QUALIFYING INSTALLERS To qualify your installer, you should interview him or her about similar work that he or she has done in the past. Be sure to ask how the work was done, what issues came up in the hanging, and how they were handled. If possible, you should review photos of similar instal- lations. If the job is especially tricky and the material is costly (if you are hanging a hand-blocked fabric with some inconsistency in the match, for instance), you

match up where the first strip meets the last one. So identify on your plan where this mismatch will be least noticeable and note where the installation should begin.

2. Calculate the total running length of paper required by multiplying the number of panels times the length of the panels. recall that the earlier quick calculation instruction directed you to deduct a roll for every two openings, but Figure 3.19 diagrams a configuration that disallows any subtraction of material for an opening, so that kind of deduction is for the quick takeoff to produce a ballpark estimate only.

3. repeats are important in determining the quantity of wallcovering required. The kind of match—drop match or side match (Figure 3.20)—does not cause as much difference on quantity as does the length of the repeat, but you also should relay the kind of match to the paperhanger before finalizing quan- tity. Divide the size of the vertical length of the repeat into the height of the wall and round up to the next full repeat. Multiply that number by the vertical length of the repeat. This will give you a cut length.

4. Divide the cut length required by the length avail- able in a single unit (single roll if sold by the roll, bolt if sold by the bolt, single yard if sold by the

Figure 3.19 Formulas do not always yield accurate information. A formula may tell you that you can deduct so much wallcovering for openings, but if the opening and wallcovering meet in the manner shown here, you cannot reduce your order per formula and receive enough paper.

Figure 3.18 The most precise way to estimate the quantity of wallcovering required is the strip method. It will also help you visualize how the pattern of seams may lay out if you have a wallcovering on which the seams will not hide well.

Strips of wallpaper

Pattern will not match in one corner

Window

Wallcovering Panel

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

may ask to see a completed installation of a similar material, even if it is not recent. While inspecting the installation, you should evaluate the following issues:

1. How neatly the matching was done and, if an exact match was not possible, whether the seams are inconspicuous.

2. Whether the seams are clean (with no glue, wrinkles, etc.).

3. Whether the overall job appears to run on grain and the pattern is well placed relative to architec- tural details.

You should also interview previous clients of the paperhanger and ask about the quality of the instal- lation, the accuracy of the estimates for material and time, and the professionalism of the workers (i.e., their general tidiness and courtesy).

OBTAINING AN ESTIMATE When it is time to draft the proposal to your client, you will obtain written estimates from one or more paper- hangers. The installer will tell you how much paper to deliver to the job site or his or her receiving room. Along with your request for bid, you should forward this information:

• A description of the job: Location, room name, condition.

• Scope of work: Washing, sizing, other work required for the walls, in addition to hanging the paper. Include any special instruction from the manufac- turer in the scope of work list.

• Description of the material: Type of wallcovering (vinyl, paper, etc.), unit of measure (yard, Ameri- can roll, etc.), width, and repeat. Tell the installer if the paper is prepasted or pretrimmed.

• Description of any other work that will have to be done: Will old wallcovering have to be stripped from the walls first? Will the walls have to be sized, primed, deglossed, or otherwise prepared?

Include a to-scale plan and information on how to gain access if the hanger wants to inspect the job site before bidding. If you need the bid by a certain date or if

Figure 3.20 The match may be described as a straight/side match, or it may be a half-drop or other match. You should give this information to the estimator when you are ready to place the order. It does not always mean more paper than estimated actually will be required, but it is better to have overage on hand than come up short.

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50 25

No match Reverse alternate lengths

Spongeable

Good light fastness

Strippable

Peelable

Paste the wall (Unpasted paper)

Paste the paper

Pre-pasted

Scrubbable

Suf�cient light fastness

Washable

Super-washable

Straight match

Half drop match

Direction of hanging

Distance between repeat Distance offset

P r O T E C T I O N / M A I N T E N A N C E

bridging primer may be recommended, or a liner paper may be installed.

If walls have a textured finish, the installer may be able to sand them, or you may instruct the installer to apply a skim coat of a plaster product. If the walls are primed with a color similar to the color of the wall- covering, any small opening that develops from paper shrinkage as the glue dries will be less noticeable.

To minimize the visual presence of HVAC grilles and electrical device cover plates, you may want to have them covered as well. Applying them works bet- ter with wallcoverings that are thin than it would for heavy, commercial wallcoverings with a drill or foam back. return grilles tend to soil more than supplies and a covered grille is a little harder to clean, so you may decide to selectively paint those covers to match the wallcovering ground even if you decide to paper supply and electrical device covers.

Wallcovering is usually installed from the bottom of any crown molding to the top of base molding and does not extend behind these millwork trims because that would make it difficult to remove wallcovering in the future.

PROTECTION/MAINTENANCE Instructions pertaining to the handling, installation, and maintenance of wallcoverings are usually included with the shipment. They may be given in the form of international symbols, as shown in Figure 3.21.

If the face of a wallcovering is likely to be marred by adhesive, it is a good idea to have the face sealed prior to the installation so that any stray adhesive can

there is a deadline for completing the work, you should also include that information with your request for bid.

INSTALLATION Wallcovering is typically one of the last materials to be installed in a decorating project, and if it is a delicate, decorative product, you must make sure that the hanger is the last trade to work in the area. Preparation varies with the product and site conditions, so you will review manufacturers’ installation instructions before you approve them for your job.

Prepwork In addition to the prepwork required for painting (including priming with the recommended primer, traditionally an alkyd-modified primer), you will need to bring the surface to a particular quality level that the wallcovering manufacturer often will specify. A metal- ized wallcovering typically requires a level 5 finish. Other products, like grass cloth, string paper, and tex- tured vinyls, are good at camouflaging a level 3 surface quality. It is a waste of money to bring a surface to a higher finish level than required.

On an existing site, old wallpaper may have to be removed, and walls may need to be deglossed or sanded so that the adhesive will stick. All holes and cracks must be repaired. Walls may have to be sized so the paper can be stripped off without damage at the end of its life; sizing also limits absorbency of the wall surface and allows for a good bond between the wall and the wallcovering. If the walls are not smooth enough, a

Figure 3.21 International symbols for characteristics and performance of wallcoverings are a necessity in today’s “world market.”

International Wallpaper Symbols:

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

olefin is a possible substitute; it is low emitting and does not have other chemical components that we worry about with vinyl wallcovering.

MANAGING BUDGETS Materials that are rare or difficult to handle can increase their production costs. Printed wallcoverings that have multiple screens are more difficult to produce and can raise the price of the material significantly. Exclusive designs and sometimes historical designs can command premium pricing.

Most wallpapers are so consistent in their form and matching that paperhangers will often figure their installation costs on a flat fee per roll or yard of covering hung. Highly specialized wallcoverings that are difficult to handle (silk textile wallcovering or other materials that cannot be easily cleaned) will require a slow and careful installation, and installers will usually account for that in their pricing. When you are given a time and materials fee, try to obtain a “not-to-exceed price.” Keep in mind that the maximum agreed-on price that will be charged often becomes the final fee.

ORGANIZATION OF THE INDUSTRY

The industry is quite varied in supply of wallcoverings, from the small, custom, hand-block shop to the large manufacturer. It is quite common for companion or cor- related wallcovering products to be produced, designed to be used together on a job site with several distinct areas. These correlated suites of patterns often share a common color scheme and are designed in patterns that will enhance each other or will at least not fight with one another. As you browse the wallpaper books at the ven- dor, these companion wallcoverings are shown together. The wallpaper is somewhat segmented between trade and “street” sources but less so than for other products. Exclusivity is disappearing in this product category as the Internet gives your clients access to product that in the past could be accessed only through a designer. If you have structured your business with a markup versus a fee for services, you will want to restrict your search to those products that are available only through the trade.

be removed. This recommendation goes for fabric and string papers and textured absorbent material like cork or unsealed wood veneers. Painting work required on trims and ceilings in the space should be completed before the wallcovering goes up.

SAFETY Wallcoverings are generally safe to use. Some products are antimicrobial or have biocides to combat problems in the job environment, such as micro-organisms or mold. There has been some discussion about the contri- bution that wallcoverings make to the growth of mold. Wallcoverings generally offer no special nutritive envi- ronment for mold but will not correct moisture problems in the building that might promote the growth of mold. If you have a concern about potential for mold growth because of the climate in your job area, you can ask the manufacturer of your nonbreathable wallcovering (breathable coverings are less likely to grow mold than nonbreathable) for microvented product. Microventing is invisible when the wallcovering is installed, and you can see the small perforations only when you hold up the wallcovering to the light.

SUSTAINABILITY The material specified may have recycled content in it. You should carefully evaluate the use of vinyls, weighing their serviceability against the negative environmental affects. Heavy vinyl protects wall surfaces against dam- age in places where wheeled carts are used (hospitals, hotels, etc.), and these areas can be easily sanitized. As much as designers would like to stop specifying vinyl, it is still frequently selected for those advantages. You must weigh all considerations of your design program as you evaluate materials with potential negative sustainability characteristics. Select water-based inks and limit coat- ings and additives to those with low VOCs. remember that a sustainable material that does not perform may be replaced before the end of its useful life, and that is not a sustainable outcome. Look for recycled content in vinyl and shop for PVC-free materials.

Our long-standing love affair with the practicalities of vinyl leave us with a sustainability quandary: vinyl is not an ecologically sound material. Thermoplastic

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S P E C I F Y I N G

your own unique program points to indicate a list of options, perhaps in the manner shown in Table 3.11.

SPECIFYING Let’s imagine that you are the lead designer for a nightclub in Jackson Hole, Wyoming. The project is to be a tongue- in-cheek tribute to painter Jackson Pollock. At one point in his career, Pollock painted by dropping and dripping paint on canvases, incorporating cigarette butts and other detritus into the surface, where it adhered to the paint. You have decided that for one accent wall in the club you are going to commission a local artist to create a wallcovering that incorporates small mementos from other local venues, such as ticket stubs, signature swizzle sticks, etc., into the surface. This wallcovering will cover a wall that is 18 feet wide and 9 feet tall with a continuous effect that does not look like individual strips of canvas. So you have decided to have the canvas paper-backed by a backer that serves the design trade, applying various kinds of backing and coat- ing to fabric as well as chemically treating the flammable material for use in commercial environments. Then your paperhanger will cut the panels to fit (with a few inches extra top and bottom to allow for a surface that might be out of square). The following spec would be addressed to the fabricator painting the custom wallcovering.

Discontinued product on hand is often sold at a reduced price. The quantity is referred to as a job-lot. You should be sure you have enough to complete your order because, even if another vendor also has that product on hand, the likelihood that you can find the same run is very slim. retail vendors will also sell room lots, sale units consisting of enough rolls of a pattern for a typical room, with a set quantity, but the professional designer is unlikely to specify a random quantity that way. retail and Internet sources will also sell, at deep discounts, off-grade product that is not first quality. The defects that you will find in them are often minor, and a room that is of little importance, such as a laundry room, may be the kind of place that you would make the unusual decision to specify an inferior quality to save money.

Paperhangers generally receive their training on the job but may attend classes to learn how to hang wallcoverings. Many painters also hang wallcoverings, and large-shop painters will likely have a division for paperhanging specialists.

SELECTION CRITERIA Your design program should define material performance characteristics in enough detail to use it to determine choice of wallcovering that you might select. Organize

Table 3.11 Possible organization for your wallcovering selection criteria.

Condition Program Implications

Is this a high-traffic commercial space? Select type III wallcovering.

Is this a brainstorming space? Consider dry-erase wallcovering.

What needs are there for visual organization and wayfinding? Select directional patterns or color-cue with selection.

Is there a concern that the building configuration could foster the growth of mold?

Consider microventilated wallcovering and a biocide installation system.

Will acoustics be a concern for the design of this area? Select acoustical wallcovering with a high NrC rating.

Will you be trying to maximize daylighting? reflectance for walls should be between 40% and 70%.

How interested is your client in sustainability? Consider materials other than vinyl but perform LCA (life-cycle cost analysis) to be sure you don’t compromise durability (which could tip your scale in the opposite direction).

Are you attempting to give an institutional building a residential atmosphere?

residential wallcoverings are often used in light-traffic areas for that reason. residential rooms in a nursing home are generally light-traffic places where you can use residential products.

How cleanable must the covering be? Match cleanability with your design program for an appropriate choice.

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Part 2 Products 2.1 General Information

A. Installation materials and tools required to complete the installation to be provided by INstallexperts.

2.2 Manufacturers A. Backing and fireproofing to be provided by Back

Me Up, 1234 Industrial Drive, Anytown, ST 45678.

B. Painting of custom wallcovering to be provided by Lee Smith, 1234 Student Ghetto, Anytown, ST 45678.

C. Installation by INstallexperts, 3456 Industrial Drive, Anytown, ST 45678.

2.3 Products A. Unsized canvas to be paper-backed for wall

application and fireproofed before delivery. B. Custom-painted canvas to have acrylic paint

dropped onto canvas for color and texture and also to adhere mementos (provided by designer) unevenly distributed as discussed.

Part 3 Execution 3.1 Examination

A. Fabricator to confirm that canvas is thoroughly adhered to paper backing across entire surface and that no bleeding of adhesive will interfere with tight bond between acrylic paint and canvas.

B. No frayed edges or damaged fabric is to be painted; notify designer immediately regarding any damage or defect.

C. Installer to confirm that walls are primed (by others) and ready to receive sizing and canvas by INstallexperts.

3.2 Preparation A. Using the general colors and techniques identified

by the designer and tagged in books, and litter and mementos provided, fabricator to create a facsimile of large Pollock canvas.

B. Final product is to appear to be a contiguous canvas.

3.3 Installation A. Installer to size walls and install panels in

sequence, trimming top to align with top of partition and bottom to be neatly trimmed along top of baseboard. Care is to be used when abutting panels side-by-side to ensure that continuity of paint technique is maintained to create illusion of contiguous canvas.

3.4 Post Installation A. Remove all scraps and debris

Part 1 General Information 1.1 Related Documents

A. Refer to finish plan for location of material to be installed by others.

B. Refer to books about Pollock by Emmerling, Lanchner, Namuth, and Karmel with pages tagged by designer for technique and color.

1.2 Summary A. Paper-backed canvas to be supplied (backing

applied by others), cut to approximate size by the installer. Painting technique discussed to be utilized to create the appearance upon installation (by others) of a continuous canvas, with a pattern of drips and drops continuing from one piece to the next.

B. Dominant, color-contrasted swoops to be used to emphasize continuity of panels.

1.3 References A. No solvents to be applied or use of any chemical

that will diminish effectiveness of fire-resistive chemical treatment applied by others.

1.4 Contractor Submittals A. Provide daily pictorial diary of job progress with

series of close-ups at junction between one panel and the next to confirm that illusion of continuity and imitation of technique accomplish all goals listed in these specifications.

1.5 Quality Assurance A. Fabricator to strive to create wallcovering that

closely imitates Pollock’s technique and decision processes.

B. Panels to be laid out in the artist’s studio in order of installation with no spaces in between consecutive panels for the painting.

C. Final review and approval to be performed by designer upon completion of canvases.

1.6 Delivery, Storage, and Handling A. Upon completion, and when panels have cured

sufficiently to roll and transport, a moving company will deliver them to the site. Numbering of panels to be visible on panel backs when panels are rolled.

1.7 Maintenance of Installation A. Installation to be performed by INstallexperts,

who will maintain order noted as well as visually confirm that texture of painting is contiguous before installation.

SAMPLE SPEC 3.2

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r E L A T E D M A T E r I A L

RELATED MATERIAL Specialty painting is often used in place of patterned or textured wallcovering. Linen-painted textures, stencil patterns, and graphic appliqué function in a similar manner aesthetically if not functionally. Another closely related material application is custom-upholstered wall panels.

Like custom-wood wall panels, upholstered panels will be drawn up in elevation and put out to bid. It will probably be your preference to have the fabricator also handle installation. Drapery workrooms often supply this kind of service, and some upholstery shops also do this kind of work. Panels will require some kind of stable substrate. Homasote is often used; it can be backed with MDF or other material to strengthen it if necessary. Pan- els can be padded with a layer of foam or polyester bat- ting. They can be hung on the wall with cleats or Velcro or some other concealed method that is demountable. The panels should probably not be glued because this would make it impossible to change the fabric without damage to the panel substrate and the wall. Walls may be padded out and fabric panels tacked top and bottom and a millwork trim or fabric welt added to cover all tack locations and seams between panel widths.

More consideration to service outlets must be given to upholstered panels than for wood panels. The same issues apply but are compounded by maintenance considerations. HVAC vents (returns as well as sup- plies) and switch plates will be areas subject to soil- ing. HVAC grilles are problematic because wherever a lot of air is moving past a textile, there will be extra soiling. Switch plates will accumulate dirt from hands. Areas adjacent to windows that open are vulnerable to soiling as well. Cleats for hanging artwork will have to be modified so that the artwork does not “dimple” the wall upholstery.

The fabric width should exceed the panel width to avoid having a seam on the face of the panel. repeats will have to be figured into the planning and placement, and all of this information must be clearly communi- cated to the fabricator in drawings and notes. You may want to inspect the panels at the shop prior to their delivery to the site to make sure that the panels are cov- ered as instructed, on grain and free of unwanted tucks and puckers, and that the padding is smooth and of the proper puffiness. It will be easier to correct or adjust panels at the shop than on-site.

INSPECTION Your paperhanger is the one who will likely be respon- sible for checking the quality of the material delivered for the job because you will ship the product directly to the hanger. That is why you will want to send a memo or piece of your strike-off with your installation order. The hanger will be able to spot defects like bleeding, bloom- ing, color crocking, off-register prints, and the like but will not be able to confirm correctness without a sample. The hanger will compare the quality of the sample to the goods delivered as they are hung, so unless you specify that the wall covering is to be inspected upon arrival, problems will not be discovered until the installation. If a construction delay causes a lag time between delivery and installation, you may want to request that a roll be inspected upon receipt.

You will inspect the installation to check the seams for a tight, accurate match and make sure there is no adhesive on the face of the paper. Make sure that natu- ral material (cork, grass cloth, etc.) was installed so as to minimize the effect of variations in the panels and that fabric orientation is consistent (fabric may reflect light differently depending on which way it is hung). There should be no bubbles or crush marks. All cuts should be straight and neat.

If HVAC grilles are covered, be sure

1. The slices are straight and neat.

2. The covering adheres tightly to the entire surface.

3. The corners of covered plates and grilles are neatly folded and tightly adhered.

4. On fabric or string wallcovering, cuts do not show fraying or loose edges.

For restoration of historic places, installers follow installation techniques that were originally used, with the addition of one more step, installing acid-free liner paper. Historically, the plaster was sized with diluted glue, and a lining paper was installed using cooked wheat paste. Then a layer of 100 percent cotton mus- lin was installed on top of the blank lining paper, and the decorative wallpaper was installed on top of that. Today we add a second layer of acid-free lining paper beneath the decorative paper to ensure longevity of the installation.

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

videos, try to find a professionally made video from a popular TV show.

3. Search for painters union and add your zip code after the string to see what kind of community is avail- able to painters in your area. Check for educational opportunities and apprentice programs. What skill level for painters is promoted by resources in your area?

4. Go to a major paint manufacturer’s website and locate a material safety data sheet (MSDS) for one of its primers or paints. review the ingredients and cautions and decide whether you would use this product on a job site and under what conditions.

5. Find a master spec for a painted surface on the In- ternet and review it for comprehension.

6. Go to a commercial wallcoverings website (you can access some through the Wallcoverings Association website, www.wallcoverings.org) and search for a commercial wallcovering product that contains no PVC, chlorine, or heavy metals. review its spec sheet for other attributes such as light fastness, flame resistance, cleaning recommendations, and other characteristics that you would consider if you were specifying wallcovering for the corridors in a hospital or hotel.

7. Search for specialty wallpaper, custom wallcovering manufacturers, or some similar string. Notice the breadth of resources available. If you have time, click on some to see their product offerings and potential for truly custom work.

8. Go to an international sourcing site such as www .alibaba.com and enter wallpaper in the Products bar and select different countries from the Origin drop- down menu. Notice that there are wallcoverings available on the international market produced in many countries. As an alternative search, you could use the word wallcovering followed by individual countries you are curious about to see what kinds of wallcovering products are being produced in those locations.

9. Locate a material safety data sheet (MSDS) for a commercial wallcovering.

SUMMARY This chapter covered how to select paints, primers, and wallcoverings, and it addressed paint formula, sheen level for paint, and quality distinctions and product types for wallcoverings. You reviewed sustainable and safety considerations for paint and wallcoverings. You also reviewed potential problems with site conditions, materials, and labor. In addition, you learned how the coatings industry is organized. The different kinds of wallcoverings commonly available were reviewed. You learned how wallcoverings are produced, distributed, and installed. Then you reviewed considerations for selecting product and tradespeople and specifying labor and materials. Next, you reviewed typical job progression for standard and custom installations and reviewed budget considerations and how to make deci- sions appropriate for your site conditions and design program. Finally, you reviewed punch list items for coatings and wallcovering installations.

WEB SEARCH ACTIVITIES

1. Visit a paint manufacturer’s website and go to the section for architects and designers. Imagine a surface that you might paint in your home or at your job. Go to the product section pertaining to primers and then to the section with paint formu- las. Select products that you would specify based on performance characteristics of this particular formula.

2. Perform an image or video search for repair old plaster walls or patch plaster walls. You will likely be able to understand the processes described in step- by-step photos with descriptions. If you search for

New Technologies 3.2

Some experimental materials use heat-reactive ink that changes color with temperature and coverings that incorporate LEDs or glow-in-the-dark inks that emit light. Light-reactive plastic films and other new material technologies have enlivened this material category.

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S U M M A r Y Q U E S T I O N S

have selected, round up to full repeats for each panel, and add 10 percent waste factor to your quantity.

SUMMARY QUESTIONS 1. Describe the difference between primer formu-

lations.

2. How are primers different from paints?

3. Describe the different paint formulas, highlighting their differences.

4. rank sheen level in order from lowest to highest using standard industry terminology.

5. How would you explain to your client why one contractor’s bid is higher than another’s?

6. What would you inspect for when the walls are primed?

7. What would be on your checklist to inspect for when the walls are painted?

8. What is skim coating? What are the benefits of it?

9. How are faux finishes created?

10. What sustainability issues pertain to paint and painting?

11. What are some alternative materials if you want lower toxicity and more sustainability than is typical?

12. What organizations issue guidelines pertaining to air quality with regards to paints and coatings?

13. What are the different decorative faces used for wallcoverings, and what are the differences in their performance?

14. What backings are used, and what circumstances indicate the use of which wallcovering?

15. What is the distinction between custom wallcover- ing and custom colorways?

16. What is the difference between vinyl and vinyl- coated wallcovering?

10. Go to www.wallcoverings.org and select a manu- facturer. Visit a few manufacturers’ websites. Com- pare the information that you are able to find out about residential wallcoverings versus commercial wallcoverings.

PERSONAL ACTIVITIES 1. Go to a store that sells paint and look for a sample

card that shows different sheen levels. If samples are made available to take, take one; if not, contact a manufacturer and request a sheen-level card. Use the card as a reference to determine the sheen level on walls, trim, furniture, and other coated items. Consider in each instance if that sheen level makes sense to you. Also notice how the finish is holding up. Can it be kept clean? Does it show fingerprints? Is it abrading (wearing off)?

2. Consider an area in one of your projects where you might use a painted surface or find a picture of an installation of a painted surface in an inte- rior space. Select a product and, using the spec template in Chapter 3, write a spec for the item or surface.

3. Imagine a highly custom wallcovering. It could be as simple as the pages of your favorite book lami- nated to blank stock (undecorated wallpaper) or cigarette butts à la Jackson Pollock adhered with acrylic paint to canvas or items stitched to fabric that is glued to paper, etc. Where would you find the materials you need? Who could you hire to make it—or would you make it yourself? Imagine the process required to produce it and list the steps and materials

4. Select a wallpaper that you can imagine using in your plan (or in the to-scale plan that you have found for this exercise). Select a place in one of the rooms where it will be the least noticeable if the pattern does not match up (a corner behind a door is a good choice). See how many panels you will need and perform a takeoff of the length you will need. Presume a 9-foot ceiling if there is no ceiling height given. Using any method, cal- culate the quantity of the wallcovering that you

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C H A P T E R 3 P A I N T S , C O A T I N G S , A N D W A L L C O V E R I N G S

21. When would you use a strippable wallcovering? When would you use a peelable wallcovering?

22. What sustainability issues pertain to wallcovering?

23. What characteristics can add to your price for a paint or wallpaper installation?

24. When you are inspecting a completed job, what kinds of things will you look for?

17. What are the two rating systems that pertain to wallcoverings, and what does each of the numbered ratings mean?

18. What steps are necessary to estimate the quantity of wallcovering needed for purposes of budgeting?

19. What kind of prepwork prepares walls for wall- covering?

20. When would you use an antimicrobial system? A biocide? Microvented vinyl?

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