BUILDING and HOMES

Dominion, Volume 21, Issue 87, 11 January 1928, Page 15

BUILDING and HOMES

(■T

JACK PLANS)

MOTTLED PAINTWORK TREATMENT OF INSIDE WALLS AMERICAN METHODS In an article which “The Decorator” reproduces from an American trade journal, “The Carter Times,” some of the newer forms of wall decoration are discussed. Among these are two which will present no difficulty to a tradesman, and should be within the compass of any amateur who has acquired a reasonable mastery of the elements of painting work. The “crumpled roll” finish is possible only on' smooth finished walls. It is easy to produce, and adaptable to practically all interiors. It is very pleasing with its soft, feathery design, which gives an even all-over treatment without any distinct pattern.

The walls are painted the colour desired, the gorund coat to be flat or eggshell finish. Allow this to dry hard, and then apply another coat of paint of a colour which will harmonise with the ground coat. Cover a strip of wall 3ft. or 4ft. wide from moulding to baseboard. Whilst this paint is still wet take a double sheet of newspaper and crumple it into a wadded roll about a foot long. Beginning at the top of'the freshly-painted surface, press the crumpled roll against the wet paint and carefully roll it down the wall, turning it around with the fingers and being carried not to let it slip on the wet paint. As the projecting parts of the roll touch the wall, they will lift off some of the wet paint, showing the ground colour underneath. Go right to the bottom of the wall and then open up the paper, and again crumple it so that new, dry surfaces will be available to roll down the wall for the next stretch. Have plenty of old newspapers handy, so as to be able to use clean rolls frequently. Different kinds of paper produce different effects. A newspaper makes a bold, prominent figure when crumpled loosely. Crumpled more tightly it makes a finer, closer figure. Wrapping paper makes a large, pronounced figure. Tissue paper' gives a soft, fine, closely-knit figure. Excellent panel effects may be obtained with the crumpled roll treatment. The whole surface may be painted the same colour, then lay out the panels carefully. Let the final coat in the panels be a trifle darker or lighter than the space outside of the panels, and use a softer paper on the panel work so as to show a finer figure. When dry a strip can be, painted in some darker colour around the edge of the panels, or a small enamel moulding can be used.

For colour combinations it is best to use colours nearly alike in value, such as a light grey for the ground coat, and a slightly darker grey for the finishing coat, particularly for small rooms. On large rooms or in public buildings strongly contrasting colours may be used. In bedrooms the more delicate tints are used such as a light grey over a pink, a light grey over a slightly darker grey, a light blue over medium blue, a soft grey

green over a lighter grey green, or old rose over pink. In the larger rooms u tan over a cream ground, or some shade of deep brown over buff or yellow, or a soft shade of grey over a buff, will give a pleasing pearanceAnother form of wall .decoration that is simple, yet interesting and effective, is tlie sponge mottled finish. It is easy to apply, and the only tool needed is a sponge. It works, equally well on smooth or sand-finished walls, and may, on occasion, be used in combination with a crumpled roll finish on panel work, using one form of decoration inside the panel and the other for the balance on the wall. It is equally effective, however, as an allover wall treatment. It is not restricted to the use of one colour, but two or more may be successfully employed. As in other forms of decoration, the walls are first painted in the colour desired for the ground colour, the final colour to be flat on egg-shell gloss. When this is bone-dry, a harmonising colour of heavy brushing consistency is prepared. Next cut an ordinary sponge in half and pour a little of the paint on a board or other flat surface. Press the flat side of the sponge in the wet paint and lightly tap the wall with the painted side of the sponge, which will leave a design where the structure of the sponge touches. For a finer figure use the outside surface of the sponge. The idea is to use the latter as you would a rubber stamp, transferring the paint from the board to the wall, leaving the impression of the sponge wherever it touches. To avoid a repetition of pattern, the sponge should be turned in the hand frequently.

There is hardly a limit to the choice of colours that may be used with this treatment, as it is equally effective with soft, harmonious tints or sharply contrasting shades. In fact, the greater the contrast the more distinct will be the pattern. In an editorial note, the “Decorator says: “It is customary to prepare a ground coat and then apply the sponge coat in a colour which will show considerable contrasts. All types of sponges may be used for this decorative work, but comparatively few craftsmen make use nf the rubber sponge, most men preferring one of the deep sea type- Yet most interesting patterns may be evolved by use of the rubber sponge, on account of its softness, pliability and individual texture. The cost of a rubber sponge is, moreover, very reasonable. When using flat colour for sponge application, it is advisable to have the colour very plastic in order to prevent running, and to obtain effects which stand out prominently. The use of a fairly slow drying colour is to be recommended in order to prevent the paint from setting up too rapidly and showing laps.

“After use, the sponge may be cleaned with soap and water containing a washing soda and then washed in clean water and dried. Another method is to use benzol, which will clean the sponge, cause it to increase in size somewhat, and to become very soft. After a day or two, however, it will resume its normal size. Soap, soda and water is probably the better method of cleansing.

STRAY NOTES UNUSUAL WINDOW • CURTAINS Window curtains are always a necessity, and one sometimes tires of the ordinary kinds, however dainty and fresh they may be. All women are interested in new curtains that are unusual in effect. If the pattern is, one that can be made at home, with little expenditure of time and money, then the idea becomes one of real value. The following is just such an idea. The curtain has for its foundation plain cotton net, black in colour, the kind that sometimes is used for dresses. Still, there is no reason why a clever woman should not ■ dye black any fine-meslied net on hand, to use for this purpose. The curtain should reach just to the window sill, and be only full enough not to have a flat look. At the bottom what might have been three rather deep scallops are just reversed, the three curving upwards instead of downward, which leaves four sharp points downward, two at each outer edge, and two at equal distances between. The hem should be as narrow as possible, and to it must be attached a black fringe, one or one and a half inches Four or five inches above the bottom of the curtain, a design is appliqued al! the way across the curtain, not in a straight line, but curving so as to follow the bottom edge all along. It should be about four inches deep, and black also, either sateen or velvet. One often has seen cretonne put on in this way, with its flowers cut out along each edge of the strip. This black material is cut out along each edge in this same mannei, to suggest flower shapes or a conventional design, and at each one of the highest points of the three curves, the design must run up into a point one or two inches higher yet. This makes the strip look more ornamental than it would otherwise.

This strip is quite simple to make. The design is the same, of course, over each of the three curves. The best way is to cut out a design from stiff paper, then when it looks satisfactory, use it for a pattern for cuttirig the cloth. Either fold the cloth three times, so the entire strip can be cut out at one time, or else move the pattern along on the material after cutting out the first third. After the strip has been cut out, if sateen is used, turn all the edges under a tiny bit, baste, then press flat before sewing it onto the net. Stitch it on the machine. Side drapes should be used. They should contain vivid, brilliant colours, and must have a decided, although not conspicuous touch of black in them also, (o make them harmonise with the black net. This black curtain is suited especially to sunny rooms or to any room where the light is glaring, such as an apartmenthouse room opening upon a court whose walls are painted white and so reflect the light too sharply. The wall opposite the curtain should have a touch of black to preserve ‘balance.” Almost anything will answer for this purpose, as a stool, a mirror, or a picture in a black frame, a black vase, or a pair of blaek candlesticks. Such a curtain, used in connection with the brilliantly-coloured drapes, adds richness and vividness to the furnishings, and it may solve for many women the problem of what to do with some room that seems drab and uninteresting. This same curtain idea may be developed in other ways, too. For instance, if instead of black net for the curtain

material, pure white net is used, with the blaek fringe and decorative strip, an entirely different effect will be achieved. Or let the net, the appliqued de.sign, and the fringe all be of one colour, as ecru, or some other tint to harmonise with the room, and one will have a curtain that will be delightfully suited to a great many rooms where something unusual in the way of window curtains is desired. — “Christian Science Monitor.”

STORY OF THE TABLE In a recent issue of the "Master Builder,” Mr. Albert C- Freeman has au article on "Period” chairs and tables, in which he describes and illustrates typical examples of the historic periods of British furniture. Dealing with tables, he says that trestle boards were introduced about the time of Henry 111, planks fastened to uprights fixed in the floor having been used in early Gothic time. The reign of Henry VIII, however, saw the origin of an ordinary type of modern table —one with two leaves supported by sliding bars which pull out from under the central part. The form of dining table known as Jacobean seems to have come into use in the early part of Elizabeth’s reign. In the days of-James I and Charles I these tables had become general. They rested upon four, six, or even eight massive supports, which, ns in some examples made in the year IGOO. were turned from huge logs of wood and bulged into great bosses, carved with rude acanthus foliage. Others had tapering pillars with raised bands, and of great strength and weight. A fine example of a carved Jacobean table with bossed pillars is to be seen at Maunton Court, Worcestershire, now a farmhouse, but formerly a seat of the Littletons. These tables are a fine feature in the old oak work of the end of the sixteenth and of the early part of the seventeenth century. Small tables which can be dated earlier than IGOO are rarely met, but may be found of the period of James I and Charles I. These tables are strongly framed together, and have footrails. The most prized by collectors .have twist ed legs, and the twist is always a single one. More heavily made round tables, often with carving running round their frames, were introduced during this period;’ they stand upon four legs, on three of which one-half of the top is fixed, whilst the other half, which folds down as a leaf, rests, when raised, on the fourth leg. This type of table is generally assigned to the reign of Charles I.

The gate-legged table was an important feature of the second half of the seventeenth century. The sizes vary from 2ft. to Bft in the longer diameter, for they are generally oval, though the smaller ones are sometimes round. The only ornaments these tables had was their twisted or twined legs (they are never carved) ; several varieties are to be found. The gate-legged tables are generally of oak throughout, but the legs, when twisted, are sometimes of walnut or chestnut. The absence of carving on the frames of these tables does not imply that they are of late date.

During the sixteenth .and seventeenth centuries the spurt of ornament ran riot, and every part of the table was utilised for the purpose of ornament. The supports in the centre were more gracefully turned, whilst every other part of the table was carved. The feet are carved in the form of a creqture, with a lion’s body and a woman’s head and breast.