[Dave Plowman (News)]

I'm decorating the hall and the external corner at the dog leg consists of
a curve over most of it - but a right angle for the top foot or so, with a
sort of concave filet between the two. Last time I papered this I use a
sort of heavyweight paper with a very random pattern which could be
overlapped without showing - this time it's a plain coloured vinyl but
with a random relief pattern.
What's the best way of approaching this?

--
*When everything's coming your way, you're in the wrong lane *

Dave Plowman London SW
To e-mail, change noise into sound.

[Stuart Noble]

Dave Plowman (News) wrote:
I'm decorating the hall and the external corner at the dog leg consists of
a curve over most of it - but a right angle for the top foot or so, with a
sort of concave filet between the two. Last time I papered this I use a
sort of heavyweight paper with a very random pattern which could be
overlapped without showing - this time it's a plain coloured vinyl but
with a random relief pattern.
What's the best way of approaching this?


Always a dog's dinner IME. Whenever I go into a house with that kind of
wall, I look to see how the decorator handled it, and it's always the
same story. Fiddle, fiddle. Vinyl is less forgiving than paper too.

[JTM]

In article , Dave Plowman (News)
wrote:
I'm decorating the hall and the external corner at the dog leg consists
of a curve over most of it - but a right angle for the top foot or so,
with a sort of concave filet between the two. Last time I papered this I
use a sort of heavyweight paper with a very random pattern which could
be overlapped without showing - this time it's a plain coloured vinyl
but with a random relief pattern. What's the best way of approaching
this?

Could that top foot or so with the concave fillet be accentuated even more
perhaps with something contrasting to turn it into more of a feature? like
some sort of corbel?

John

--
John Mulrooney
NOTE Email address IS correct but might not be checked for a while.

Glass, china and reputations are easily cracked, but never well mended.

[[email protected]]

On 15 May, 10:57, Stuart Noble wrote:
Dave Plowman (News) wrote:
I'm decorating the hall and the external corner at the dog leg consists of
a curve over most of it - but a right angle for the top foot or so, with a
sort of concave filet between the two. Last time I papered this I use a
sort of heavyweight paper with a very random pattern which could be
overlapped without showing - this time it's a plain coloured vinyl but
with a random relief pattern.
What's the best way of approaching this?

Always a dog's dinner IME. Whenever I go into a house with that kind of
wall, I look to see how the decorator handled it, and it's always the
same story. Fiddle, fiddle. Vinyl is less forgiving than paper too.

The way its done in my house is a minor miracle. Paper, not vinyl
though. Seems to be an area of skill taught to apprentices etc. The
paper looks like it has been stretched and perfectly matches up the
embossed pattern. You'd think it had been sprayed on !
Maybe the few coats of emulsion helps to cover it though.
I seem to remember reading a tutorial on the web somewhere that
explained how to do it. I think you tear the edge around the pattern
shape to disguise the join.
Simon.

[Dave Plowman (News)]

In article ,
JTM wrote:
In article , Dave Plowman (News)
wrote:
I'm decorating the hall and the external corner at the dog leg consists
of a curve over most of it - but a right angle for the top foot or so,
with a sort of concave filet between the two. Last time I papered this I
use a sort of heavyweight paper with a very random pattern which could
be overlapped without showing - this time it's a plain coloured vinyl
but with a random relief pattern. What's the best way of approaching
this?

Could that top foot or so with the concave fillet be accentuated even
more perhaps with something contrasting to turn it into more of a
feature? like some sort of corbel?

There's a corbel right beside it - about a foot away.

--
*Ever stop to think and forget to start again?

Dave Plowman London SW
To e-mail, change noise into sound.

[Andy Dingley]

On 15 May, 10:11, "Dave Plowman (News)" wrote:

What's the best way of approaching this?

Web search (or this ng) There's a very nice illustrated article on
how to do them somewhere out there.


The technique was (AFAIR) to cut one piece short in the (rounded)
middle and to cut the other into three strips. The centre strip
wrapped round, so that the butt joint wasn't on the apex of the
corner. The top and bottom strips went out to the arris of the square
corner.

[Mark]

"Dave Plowman (News)" wrote in message
...
I'm decorating the hall and the external corner at the dog leg consists of
a curve over most of it - but a right angle for the top foot or so, with a
sort of concave filet between the two. Last time I papered this I use a
sort of heavyweight paper with a very random pattern which could be
overlapped without showing - this time it's a plain coloured vinyl but
with a random relief pattern.
What's the best way of approaching this?

My father in law was a professional decorator. On the upper concave part
like yours he used to cut in a separate piece of paper, which he actually
would tear the edges of the paper to match, that drop was also the first in
the hall very carefully positioned to get the pattern in the best place for
matching.

He was amazing to watch not only were the joins completely invisible after
the paper had dried but the speed he worked was like watching someone do
Origami, but with a 10ft length of wet paper.



-

[Dave Plowman (News)]

In article ,
Mark wrote:

"Dave Plowman (News)" wrote in message
...
I'm decorating the hall and the external corner at the dog leg
consists of a curve over most of it - but a right angle for the top
foot or so, with a sort of concave filet between the two. Last time I
papered this I use a sort of heavyweight paper with a very random
pattern which could be overlapped without showing - this time it's a
plain coloured vinyl but with a random relief pattern. What's the best
way of approaching this?

My father in law was a professional decorator. On the upper concave part
like yours he used to cut in a separate piece of paper, which he
actually would tear the edges of the paper to match, that drop was also
the first in the hall very carefully positioned to get the pattern in
the best place for matching.

That's pretty well what I've ended up doing. And then removed some of the
vinyl from the backing paper where it's under the top layer to reduce any
step. The results are ok. Ish. ;-)

He was amazing to watch not only were the joins completely invisible
after the paper had dried but the speed he worked was like watching
someone do Origami, but with a 10ft length of wet paper.

I could watch a skilled craftsman for ages. It's a good way to learn, but
can be frustrating when you can't achieve quite as good results - after
all it probably took him several years apprenticeship to learn his trade.



-

--
*The longest recorded flightof a chicken is thirteen seconds *

Dave Plowman London SW
To e-mail, change noise into sound.

[Dave]

Dave Plowman (News) wrote:
I'm decorating the hall and the external corner at the dog leg consists of
a curve over most of it - but a right angle for the top foot or so, with a
sort of concave filet between the two. Last time I papered this I use a
sort of heavyweight paper with a very random pattern which could be
overlapped without showing - this time it's a plain coloured vinyl but
with a random relief pattern.
What's the best way of approaching this?

When I have done this in our hall and stairs, I cut the paper at the
corner and used the leftover by dropping a line short of the width of
the left over paper on the other wall and glued a plastic 90 degree
strip of the right coloured plastic to the corner after. It stops the
edge of the paper from getting caught and getting pulled off.

Dave

[Dave]

wrote:
On 15 May, 10:57, Stuart Noble wrote:
Dave Plowman (News) wrote:
I'm decorating the hall and the external corner at the dog leg consists of
a curve over most of it - but a right angle for the top foot or so, with a
sort of concave filet between the two. Last time I papered this I use a
sort of heavyweight paper with a very random pattern which could be
overlapped without showing - this time it's a plain coloured vinyl but
with a random relief pattern.
What's the best way of approaching this?
Always a dog's dinner IME. Whenever I go into a house with that kind of
wall, I look to see how the decorator handled it, and it's always the
same story. Fiddle, fiddle. Vinyl is less forgiving than paper too.

The way its done in my house is a minor miracle. Paper, not vinyl
though. Seems to be an area of skill taught to apprentices etc. The
paper looks like it has been stretched and perfectly matches up the
embossed pattern. You'd think it had been sprayed on !
Maybe the few coats of emulsion helps to cover it though.
I seem to remember reading a tutorial on the web somewhere that
explained how to do it. I think you tear the edge around the pattern
shape to disguise the join.

You can do it this way, providing you tear the paper so that the upper
layer is tapered to the edge of the tear to nothing.

Dave

[Mike Barnes]

In uk.d-i-y, Dave wrote:
wrote:
On 15 May, 10:57, Stuart Noble wrote:
Dave Plowman (News) wrote:
I'm decorating the hall and the external corner at the dog leg consists of
a curve over most of it - but a right angle for the top foot or so, with a
sort of concave filet between the two. Last time I papered this I use a
sort of heavyweight paper with a very random pattern which could be
overlapped without showing - this time it's a plain coloured vinyl but
with a random relief pattern.
What's the best way of approaching this?
Always a dog's dinner IME. Whenever I go into a house with that kind of
wall, I look to see how the decorator handled it, and it's always the
same story. Fiddle, fiddle. Vinyl is less forgiving than paper too.
The way its done in my house is a minor miracle. Paper, not vinyl
though. Seems to be an area of skill taught to apprentices etc. The
paper looks like it has been stretched and perfectly matches up the
embossed pattern. You'd think it had been sprayed on !
Maybe the few coats of emulsion helps to cover it though.
I seem to remember reading a tutorial on the web somewhere that
explained how to do it. I think you tear the edge around the pattern
shape to disguise the join.

You can do it this way, providing you tear the paper so that the upper
layer is tapered to the edge of the tear to nothing.

That's OK for paper but I don't think it works so well with vinyl.

A professional decorator (as in: done it all his working life, now at
the top of his trade) decorated one of our rooms recently. It involved a
very irregular rounded corner. The join went right on the corner. He
pasted one piece on each side, roughly overlapped. Then he cut down the
middle of the corner from top to bottom with a new blade. He removed the
offcuts (which of course involved peeling back one side of the job).
Then he smoothed it all down. Result: a perfect butt join, *completely*
invisible. Even dragging a fingernail lightly across where the join is,
it's undetectable.

Takes a bit of practice, though, I'd think. My guess is that you have to
angle the blade slightly (away from the exposed edge) to get the sides
to join perfectly on a curved surface.

--
Mike Barnes

[Dave Osborne]

Mike Barnes wrote:

He pasted one piece on each side, roughly overlapped. Then he cut down the
middle of the corner from top to bottom with a new blade. He removed the
offcuts (which of course involved peeling back one side of the job).
Then he smoothed it all down. Result: a perfect butt join, *completely*
invisible. Even dragging a fingernail lightly across where the join is,
it's undetectable.

Takes a bit of practice, though, I'd think. My guess is that you have to
angle the blade slightly (away from the exposed edge) to get the sides
to join perfectly on a curved surface.


I've seen this trick done as a matter of course on straight drops as
well as corners. Usually in high-class offices with Muraspec (i.e.
top-quality) wallpaper. Result: completely seamless wall end-to-end. The
trick usually involves a straight edge and a Stanley knife. The straight
edge is often only a metre or so long and they have a knack of smoothly
alternating between pulling the Stanley knife and the straight edge down
the wall.

I tried it at home once and the knife just dragged the edge of the paper
to buggery. So, there's definitely a knack to it and it probably works
better on some types of paper than others.

[Mark[_24_]]

On Sun, 17 May 2009 12:33:58 +0100, Dave Osborne
wrote:

Mike Barnes wrote:

He pasted one piece on each side, roughly overlapped. Then he cut down the
middle of the corner from top to bottom with a new blade. He removed the
offcuts (which of course involved peeling back one side of the job).
Then he smoothed it all down. Result: a perfect butt join, *completely*
invisible. Even dragging a fingernail lightly across where the join is,
it's undetectable.

Takes a bit of practice, though, I'd think. My guess is that you have to
angle the blade slightly (away from the exposed edge) to get the sides
to join perfectly on a curved surface.


I've seen this trick done as a matter of course on straight drops as
well as corners. Usually in high-class offices with Muraspec (i.e.
top-quality) wallpaper. Result: completely seamless wall end-to-end. The
trick usually involves a straight edge and a Stanley knife. The straight
edge is often only a metre or so long and they have a knack of smoothly
alternating between pulling the Stanley knife and the straight edge down
the wall.

I tried it at home once and the knife just dragged the edge of the paper
to buggery. So, there's definitely a knack to it and it probably works
better on some types of paper than others.

You need a /very/ sharp blade for this, otherwise it will tear. It's
best if the paper is not too wet.

To the OP: I'd paint that bit ;-)

--
(\__/) M.
(='.'=) Owing to the amount of spam posted via googlegroups and
(")_(") their inaction to the problem. I am blocking most articles
posted from there. If you wish your postings to be seen by
everyone you will need use a different method of posting.

[The Natural Philosopher[_2_]]

Mark wrote:
On Sun, 17 May 2009 12:33:58 +0100, Dave Osborne
wrote:

Mike Barnes wrote:

He pasted one piece on each side, roughly overlapped. Then he cut down the
middle of the corner from top to bottom with a new blade. He removed the
offcuts (which of course involved peeling back one side of the job).
Then he smoothed it all down. Result: a perfect butt join, *completely*
invisible. Even dragging a fingernail lightly across where the join is,
it's undetectable.

Takes a bit of practice, though, I'd think. My guess is that you have to
angle the blade slightly (away from the exposed edge) to get the sides
to join perfectly on a curved surface.

I've seen this trick done as a matter of course on straight drops as
well as corners. Usually in high-class offices with Muraspec (i.e.
top-quality) wallpaper. Result: completely seamless wall end-to-end. The
trick usually involves a straight edge and a Stanley knife. The straight
edge is often only a metre or so long and they have a knack of smoothly
alternating between pulling the Stanley knife and the straight edge down
the wall.

I tried it at home once and the knife just dragged the edge of the paper
to buggery. So, there's definitely a knack to it and it probably works
better on some types of paper than others.

You need a /very/ sharp blade for this, otherwise it will tear. It's
best if the paper is not too wet.


Yup. I do aircraft models, and both the film we use to cover them, and,
as I discovered, wet wallpaper, needs a fresh blade that goes off after
only a few cuts..

I remember th puzzled look on the face of the man in the model shop when
I pointed to a box of blades and said 'how much?' ' its' £x a packet' -
'er no. How much for the WHOLE BOX of packets..' :-)

I run about 3-4 knives. When its paper or film slitting time, I take the
naffest and put a shiny new blade in. And rotate them. That way there is
always one with a fresh blade and some less good ones for wood cutting.


To the OP: I'd paint that bit ;-)

[Andy Dingley]

On 19 May, 11:02, Mark wrote:

You need a /very/ sharp blade for this, otherwise it will tear. It's
best if the paper is not too wet.

You don't need an especially sharp blade, so much as a smooth _non-
sticky_ blade. One with a worn or chipped edge is obviously bad, but
so is one that has been used for cutting roof felt or such and has
"goop" stuck to the sides of it. Wet wallpaper cuts easily enough. So
long as the blade can then slide smoothly through it without sticking,
this "cut & butt" approach isn't all that hard.

[[email protected]]

On 19 May, 13:25, Andy Dingley wrote:
On 19 May, 11:02, Mark wrote:

You need a /very/ sharp blade for this, otherwise it will tear. It's
best if the paper is not too wet.

You don't need an especially sharp blade, so much as a smooth _non-
sticky_ blade. *One with a worn or chipped edge is obviously bad, but
so is one that has been used for cutting roof felt or such and has
"goop" stuck to the sides of it. *Wet wallpaper cuts easily enough. So
long as the blade can then slide smoothly through it without sticking,
this "cut & butt" approach isn't all that hard.

What about a good chef's knife that can be sharpened every few cuts ?
Their weight alone is enough to cut a tomato, so the storey goes !
It is often cutting too deep and losing the edge on the plaster that
is the issue.
I think pros know the exact pressure to use to just cut the paper and
no deeper.
Simon.