0424 - Painting Faux Finish
February 14-20, 1994 | August 15-21, 1994
HI. I'M BOB VILA.
WELCOME HOME AGAIN.
WE'RE FINISHING UP
THE HOUSE.
TODAY WE'VE GOT
THE ELECTRICIAN
SNAKING WIRES
IN THE WALL.
WE'VE GOT TO CORRECT
A LITTLE PROBLEM.
HE'S ALSO INSTALLING
A WIND SPEED INDICATOR.
AND THEN WE'RE GETTING TOGETHER
WITH RYLEY, THE CARPENTER.
HE'S CRAFTING
A BEAUTIFUL FRAME
FOR A FRONT HALL MIRROR.
AND WE ALSO HAVE
AN UNUSUAL PAINTING TECHNIQUE
THAT WE'RE GONNA DEMONSTRATE,
CALLED RAG ROLLING.
THAT'S IN THE MASTER BEDROOM.
IT'S GOOD TO HAVE YOU
HOME AGAIN.
LET'S GET STARTED
WITH STEVE BRADLEY,
OUR ELECTRICIAN.
STEVE, I UNDERSTAND
YOU'VE GOT
A SNAKING PROJECT
UNDERWAY HERE?
YEAH. WE'RE SNAKING IN
A THERMOSTAT WIRE
FOR THE AIR CONDITIONING UNIT
THAT'S BEEN ADDED.
THIS IS THE ORIGINAL
THERMOSTAT CABLE
FOR THE HEATING UNIT,
BUT THERE'S NOT ENOUGH
CONDUCTORS IN THE WIRE.
ORIGINALLY,
THE HOMEOWNER
WAS ONLY GOING
TO HAVE HEATING,
BUT THEN HE
DECIDED TO ADD
AIR CONDITIONING.
THIS CABLE'S
NOT GOOD ENOUGH.
MY ASSISTANT CHRIS
HAS GOT A 2O-FOOT SNAKE
THAT HAS A HOOK
ON IT LIKE THIS
THAT HE'S SENT THROUGH
A HOLE IN THE FLOOR
UNDERNEATH THIS WALL.
I'LL CATCH THE SNAKE
WITH THIS CATCHSNAKE.
IF CHRIS SHAKES THE WIRE...
CHRIS, CAN YOU SHAKE THE WIRE?
I CAN HEAR IT
RIGHT BY THIS BOX.
I'LL INSERT
THE HOOK .
AND TRY TO CATCH IT.
SO THAT THE OTHER
WIRE IS COMING OUT
IN BETWEEN
THE STUDS BEHIND
THE WALLBOARD.
JUST PUT
A LITTLE BEND IN.
OK, CHRIS,
I THINK I GOT IT.
CAN YOU FEED IT UP
A LITTLE BIT?
GREAT.
SO THAT'S HIS END
OF THE SNAKE.
NOW YOU TIE
THE NEW WIRE TO IT.
WE STRIP THE END
OF THE WIRES,
SLIP THEM THROUGH
THIS LITTLE LOOP.
FOLD IT, GIVE IT
A TWIST AROUND.
WE WANT TO TAPE IT
TO MAKE SURE THE WIRE
DOESN'T PULL OFF
INSIDE THE WALL.
YOU DON'T WANT TO
HAVE TO KEEP PUSHING
THAT SNAKE THROUGH.
I UNDERSTAND
YOU'RE CONNECTING
A WINDSPEED
INDICATOR UP
FOR THE HOMEOWNER.
COULD WE TAKE
A LOOK AT THAT?
SURE.
GO AHEAD, CHRIS.
PULL SOME DOWN.
LET'S GO
IN THE KITCHEN.
BEAUTIFUL.
I UNDERSTAND PAUL,
THE HOMEOWNER,
IS AN AVID
BOARD SAILOR
AND HE WANTED
A GADGET TO LET
HIM KNOW
WHEN THE WIND
PICKED UP.
THAT LOOKS
COMPLICATED, STEVE.
THIS MONITOR
MEASURES TEMPERATURE
THROUGH A TEMPERATURE
AND HUMIDITY SENSOR
MOUNTED ON THE PEAK
OF THE HOUSE.
ABOVE THAT,
EXTENDED ON
AN EIGHT FOOT ROD,
IS THE WINDSPEED
INDICATOR.
THAT'S A TRADITIONAL
THREE-CUPPED AFFAIR?
RIGHT. IT ALSO HAS
AN AERODYNAMIC FIN
THAT MEASURES
THE DIRECTION
OF THE WIND.
LIKE A WIND VANE
ON A MAST.
THIS MONITOR
CALCULATES THE WIND
CHILL AUTOMATICALLY.
IT MEASURES THE RAIN.
FAR OUT.
THE RAIN IS MEASURED
IN THIS BLACK CANISTER.
THE RAIN COMES IN
TO THE CANISTER.
IT'S MOUNTED
ON A FLAT LEVEL
SURFACE OUTSIDE.
WHEN THE RAIN
COMES INTO THE BUCKET,
IT ACTIVATES
THIS PENDULUM
BACK AND FORTH.
EACH TIME IT FILLS
ONE OF THESE
HALF-CUPS,
THE WEIGHT
TIPS IT OVER
AND IT MAKES
A CONTACT.
THAT'S HOW IT
MEASURES RAINFALL.
THAT'S CORRECT.
NEAT. I LIKE THAT.
WHAT ELSE
DOES IT DO?
BAROMETRIC PRESSURE.
HUMIDITY,
AND THE DEWPOINT.
AMAZING. PROBABLY
COSTS AN ARM
AND A LEG.
I'LL HAVE TO
ASK HIM.
ARE YOU GOING
TO GET IT FINISHED
TODAY?
NEXT WEEK?
GOOD. THANKS
A LOT, STEVE.
WE'LL BREAK FOR MESSAGES.
WHEN WE COME BACK,
WE'LL SHOW HOW TO
CREATE A PICTURE FRAME
FOR THE FRONT HALL.
STICK AROUND.
HI, I'M BOB VILA.
NEXT TIME ON HOME AGAIN,
WE'RE PUTTING FINISHING
TOUCHES ON THE PLACE.
THE ELECTRICIAN WILL
GIVE TIPS ON
HOW TO SNAKE WIRE
THROUGH A WALL.
HE'S ALSO INSTALL
A WINDSPEED INDICATOR.
RYLEY'S BUILDING
A SPECIAL PICTURE FRAME
FOR A FRONT HALL MIRROR.
WE'VE GOT A REAL
TALENTED PAINTER
WHO'S GOING TO SHOW US
HOW TO RAG ROLL THE WALLS.
THAT'S NEXT TIME
ON HOME AGAIN.
HI, I'M BOB VILA.
NEXT TIME ON HOME AGAIN,
WE'RE SNAKING A WIRE,
BUILDING A MIRROR FRAME
AND RAG ROLLING WALLS.
DON'T MISS IT.
WITH A NEW FRONT HALL,
YOU'VE GOT TO HAVE
A NEW FRONT HALL
MIRROR.
THIS ONE'S MADE
OUT OF SUGAR PINE.
I'M JUST BACK FROM
THE GLASS HOUSE
WHERE I PICKED UP
A MIRROR I HAD CUT
TO THE RIGHT SIZE.
LET'S VISIT RYLEY
AND LEARN HOW THIS
WAS MADE.
WE'RE BUILDING THIS
OUT OF A FURNITURE
GRADE PINE.
IT'S CALLED
SUGAR PINE.
WHAT ARE
THE DIMENSIONS?
THIS IS
EIGHT QUARTER STOCK.
A FULL TWO INCHES
BY EIGHT INCHES.
WHAT WE REALLY NEED
IS HALF THAT
THICKNESS?
RIGHT. THIS IS
THE SMALLEST ONE
THEY HAD.
THEY DON'T LET THIS
SIT AROUND IN SMALL
LENGTHS.
WE'LL START UP
THE TABLE SAW,
GET OUR EYE GOGGLES ON
AND WE'LL RIP IT DOWN.
OK. YOU'VE ACTUALLY
MADE A MOCK-UP
OF THE FRAME
USING PLAIN
TWO BY FOURS.
AND THE INTERESTING
THING IS THE ANGLE,
THIS NICE
GOTHIC PEAK.
HOW DID YOU
GET THAT ANGLE?
THIS PIECE WAS
SO SMALL,
IT WAS EASY TO
DRIVE IT OUT IN SIZE
ON A PIECE OF PLYWOOD.
WE KNOW WE WANTED
THE RIDGE PIECE
TO BE 15/12.
THAT'S THE PITCH.
WHAT WE'VE DONE IS
DRAWN A CENTER LINE HERE
AND FROM IT, WE CAME OVER
HORIZONTALLY 12 INCHES.
WE TOOK THE ROLLER
AND CAME UP 15 INCHES
MAKING A MARK
AT BOTH POINTS,
THEN COMING UP
WITH THE FRAMING
SQUARE.
AND THIS GIVES US
A 15 PITCH.
THAT WOULD BE
24 INCHES WIDE,
AND WE WANTED
18 INCHES IN WIDTH.
WHICH IS THIS HERE.
WE'LL JUST TAKE
THE FRAMING SQUARE
AND SLIDE IT DOWN
PARALLEL
WITH OUR LINE
UNTIL WE REACH
THIS POINT HERE.
AND THAT'S IT
RIGHT THERE.
THE CRITICAL
LINE RIGHT NOW
IS THIS ONE.
THIS IS WHAT
WE'RE AFTER,
THAT ANGLE.
NOW WE'LL TAKE
THE BEVEL SQUARE
AND WE'LL SET IT
ON THAT
AND SET THE SQUARE
AT THAT ANGLE.
WE'LL TAKE THIS
TO THE RADIAL ARM SAW
AND MAKE A TEMPLATE.
WHAT WE'RE AFTER
IS A TEMPLATE.
THE FIRST THING
WE WANT TO DO
IS BE SURE WE'RE
COMING OFF THE RADIAL
ARM SAW SQUARE.
NOW WE'LL TAKE
OUR BEVEL SQUARE
AND TRANSFER
THIS ANGLE ONTO IT.
NOW WE'LL TAKE
THE PIECE WE'RE USING
AS THE TEMPLATE
AND WE'LL HOLD IT IN
ON THAT LINE.
AND WE'LL HOLD THIS
UP AGAINST THE FENCE
OF THE SAW.
AND THIS IS
THE TEMPLATE RIGHT HERE.
HAVING CUT
THE TOP OF THIS OFF,
WE NOW HAVE
THE TEMPLATE WE NEED.
AND WE'LL JUST SET
OUR FINISHED STOCK
IN HERE
AND THAT WILL GIVE US
OUR 15/12 PITCH
FOR THE RIDGE.
OK. WELL NOW WE HAVE
EVERYTHING CUT.
WE CAN SEE WE HAVE
OUR 15/12 PITCH
FOR THE RIDGE.
WE'VE ALREADY CUT
THE INTERSECTION
WHERE THE TOP
AND SIDES MEET.
THAT TURNED OUT TO
BE A 2O DEGREE CUT.
THE WAY
WE DETERMINED THAT WAS
WITH THE BEVEL SQUARE.
WE JUST SET IT ON
THE DRAWING HERE.
YOU CAN SEE THAT
THAT WORKED FOR
BOTH THE TOP CUT...
THE SIDE CUT
AND THE TOP CUT.
OK. NOW WE'RE READY
TO JOIN TOPS AND SIDES
TOGETHER
SO THAT THEY'LL
LOOK LIKE THIS.
WE'LL ACCOMPLISH
THAT WITH BISCUITS.
WHAT WE'LL BE DOING
IS PLOWING OUT
A LITTLE AREA
ON THE BUTT END
THAT WILL RECEIVE
THESE ON BOTH THE TOP
AND THE SIDE.
THE TEMPLATE HAS
BEEN NAILED INTO PLACE.
THE PIECE HAS BEEN
MOUNTED INTO THE VISE
NICE AND FLUSH.
IT'S READY TO
RECEIVE THE ROUTER.
NOW THAT WE'VE GOT
PLENTY OF GLUE
ON THE PEAK,
WE'LL SET IT
IN THE VISE.
I'LL GET A SMALL
BAR CLAMP ON IT
TO PULL THAT RIDGE
TOGETHER NICE AND SNUG.
THERE WE GO.
NOW WE'RE READY
TO SCREW THIS TOGETHER
AND AS ALWAYS,
WE'LL PUT A PILOT
HOLE IN IT FIRST.
WE'RE GOING TO BE
USING THREE INCH
DRYWALL SCREWS.
THAT PULLS IT
TOGETHER GOOD AND TIGHT.
AND THAT'S ALL SET.
NOW WE'RE READY TO ATTACH
TOP AND SIDE TOGETHER
AND WE'LL USE THESE BISCUITS.
BE SURE TO PUT PLENTY
OF GLUE ON THESE.
THIS IS A WATER-BASED
GLUE TO USE
SO THE BISCUITS WILL
SWELL UP ONCE THEY'RE IN.
THAT SETS IN THERE.
TIGHTEN THE VISE ON THAT.
WE'LL PUT THIS SMALL
BAR CLAMP ON IT
TO PULL THEM
TOGETHER FLUSH.
WE'LL USE AGAIN,
A THREE INCH DRYWALL SCREW
TO SNUG THOSE TOGETHER.
FIRST, WE'LL PUT
A PILOT HOLE IN IT.
ONCE WE'RE DONE
WITH THE WHOLE PROJECT
WE'LL BE USING THESE
THREE INCH WOOD PLUGS,
3/8 INCH PLUGS TO FILL IN
ALL THESE HOLES.
OK. THAT'S READY
TO GO TOGETHER.
I'VE GOT THE BOTTOM
PIECE CUT FOR YOU.
ALL RIGHT.
WE'LL NEED SOME GLUE
ON THESE BUTT ENDS HERE.
OK, THAT GOES
RIGHT IN THAT
PENCIL MARK.
WE'LL BE USING
THREE INCH DRYWALL
SCREWS FOR THIS.
LET ME JUST PUT
A LITTLE GLUE ON
TOP OF THIS.
AND YOU'VE ALREADY
PRE-DRILLED THE TOP.
AND YOU'VE GOT
YOUR MARK?
YEAH, RIGHT THERE.
GOOD.
PRESTO!
IT'S LOOKING
PRETTY GOOD.
ANYTHING
LEFT TO DO?
JUST ROUTER OUT
THE BACK.
OK.
OF COURSE, NOW WE'VE
CREATED A RABBET HERE
FOR THE MIRROR
AND THE BACKER
TO FIT.
AND WE'RE DONE,
RIGHT?
YEAH.
IT WOULD BE A GOOD
IDEA TO BRING IT
RIGHT DOWN TO
THE GLASS FACTORY
AND FIT IT
FOR SOME GLASS.
GOOD IDEA.
THANKS, RYLEY.
THERE, THAT SHOULD DO IT.
GOOD. IS THAT STRAIGHT?
YEAH.
PRETTY NICE, HUH?
WHEN WE COME BACK,
WE'LL BE IN
THE MASTER BEDROOM
PUTTING ON SPECIAL
PAINT FINISH.
PUTTING FINISHING
TOUCHES ON THE MASTER
BEDROOM WALLS,
GARY HALZEL.
HI, BOB.
HOW ARE YOU?
YOU'RE ROLLING ON
WHAT APPEARS TO BE
A PINK PAINT, HUH?
THIS IS A LIGHT
SALMON COLOR.
I'M PAINTING
ON A COAT OVER
A LATEX FINISH
TRYING TO GET
A TRANSLUCENT
EFFECT.
ARE YOU USING
AN OIL-BASED PAINT
OVER THE LATEX?
EXACTLY.
THIS IS
A GLAZE MIXED WITH
OIL-BASED PAINT,
GLAZE AND SOME
PAINT THINNER.
AHA.
SO IT'S RELATIVELY
THIN STUFF.
IT DOESN'T COVER.
RIGHT, I...
WELL, IT'S
ACTUALLY THICK.
IT'S SORT OF JUICY.
I LIKE IT TO
STAY WET.
THAT WAY,
WHILE IT'S ON WET,
I'M GOING TO
ACTUALLY DISTRESS
THE PAINT
AND TAKE IT OFF
LITTLE BY LITTLE.
IT GIVES IT
AN EFFECT.
IT'S CALLED
RAG ROLLING.
THAT'S EXACTLY
WHAT YOU'RE DOING.
YOU PUT THE RAG
CRUMPLED UP AGAINST
THE WET PAINT.
THEN YOU ROLL IT DOWN,
REMOVING SOME OF
THE PAINT.
I'M REMOVING ENOUGH
TO SHOW THE UNDERCOAT
AND TO TRY TO GET
AN EFFECT THAT IS
KIND OF
SURREAL LOOKING.
THE OVERALL GOAL
IS TO HAVE A LOT OF
DEPTH IN THE WALL.
THIS IS THE FIRST
SEQUENCE ON A SERIES
OF FOUR.
WHEN YOU HAVE
JUST ONE COAT,
IT'S NOT AS DEPTHY.
IT'S KIND OF POWDERY.
IF YOU ADD TWO OR
THREE CONTRASTING
COVERS...
NOT NECESSARILY
GREAT VARIATIONS
IN THE COLOR
BUT ENOUGH TO
SEE THE CONTRAST,
YOU GET A REAL
DEPTH IN THE WALL
THAT MAKES
IT BEAUTIFUL.
WHEN IT'S DONE,
IT WILL BE DARKER?
EXACTLY,
AND VERY PLEASANT
TO THE EYE.
IT'S CALLED
BROKEN COLOR.
GARY, YOU ONLY DO
A CERTAIN SECTION
AT A TIME.
YOU ROLLED ON A SECTION
ABOUT 3 BY 3 FEET
AND THEN STARTED
ROLL-RAGGING IT.
I'M TRYING TO
GET IT SO THAT
THERE'S NOT MUCH
OF A GREAT SEAM
BETWEEN EDGES.
IF YOU KEEP IT WET
DURING ONE SECTION
WHERE IT BARELY
OVERLAPS,
YOU CAN GET IT
SO THAT THE SEAM
IS ALMOST
NOT A SEAM.
SO THAT YOU WON'T
SEE THOSE ROLLER MARKS
THAT WE OFTEN
END UP WITH.
THE GREAT THING
ABOUT DOING MORE
THAN ONE COAT
IS THAT THE NEXT
COAT WILL COVER IT
CAMOUFLAGE STYLE.
AND THEN
ANYTHING IN BETWEEN
THE THIRD OR FOURTH
COAT WILL GET,
SO IT REALLY WORKS
OUT TO YOUR ADVANTAGE
TO DO MORE THAN
ONE COAT WITH THIS
KIND OF TECHNIQUE.
I'M USING GLOVES
BECAUSE I'M REALLY
GETTING MY HANDS WET.
THE RAG IS VERY
SATURATED WITH...
WITH THE PAINT.
EXACTLY.
ANYTIME YOU
DO RAG ROLLING
I THINK YOU SHOULD
USE OIL
BECAUSE THE LATEX
STYLE DRIES TOO
QUICKLY,
EVEN WHEN YOU ADD
A LOT OF EXTRA WATER
OR ANY SOLUTION
TO WORK WITH IT.
THIS IS
THE GLAZING LIQUID.
IT'S NOT TRANSPARENT.
WHAT IS IT
THAT IT DOES?
THE GLAZING LIQUID
IS A SOLUTION
THAT SUSPENDS
THE PIGMENT OF
THE PAINT
SO THAT IT CAUSES
QUITE A DEPTH.
I'M ADDING
SIX PARTS...
UH, GLAZING LIQUID,
TO ONE PART THINNER
AND TWO PARTS OF
THE COLOR WHICH
I HAVE TODAY.
AND THAT'S
A DARKER SALMON.
OF THE ACTUAL
PAINT, YEAH.
SO, READY TO GO
TO THE ROLLER?
EXACTLY.
FIRST, I LIKE
TO POUR ONLY
A SMALL AMOUNT
INTO THE PAN
AT EACH TIME.
YOU NOTICE THAT
I'VE CHANGED PANS.
THE LAST ONE
WAS A LIGHT ORANGE.
THIS ONE IS
A DARKER COLOR.
I GET A NEW
ROLLER ALTOGETHER
BECAUSE I WANT
A COMPLETELY
DIFFERENT
COLOR CONTRAST.
WHY DO YOU PUT
SO LITTLE PAINT
IN THE PAN?
IF I PUT TOO MUCH
PAINT IN...
I NEED TO KEEP
MIXING IT.
READY FOR THE WALL?
I'M READY
FOR THE WALL.
HOW ABOUT IF I TRY
THE RAG ROLLING?
I'M GLAD
YOU'RE PICKING
UP THE GLOVES
BECAUSE YOU DON'T
WANT THIS ON
YOUR HANDS.
THIS IS A DARKER
COLOR OF SALMON.
EVEN THOUGH
I'M PUTTING IT
ON THICK HERE,
IT DOESN'T
HAVE TO BE.
YOU CAN HAVE
THE MOTION
IN BETWEEN
BUT YOU WANT
IT TO COVER.
YOU'RE NOT PUTTING
TOO MUCH ON.
YOU JUST CRUMPLE
THE CLOTH LIKE THAT?
LET ME SHOW YOU.
THERE ARE
TWO TECHNIQUES.
ONE IS TO ROLL IT
COMPLETELY LIKE
A TOOTSIE ROLL
OR LIKE THIS,
STRAIGHT DOWN.
USE THE PALMS
OF YOUR HANDS
AND YOU GET
A DISTRESSED FASHION
THAT TAKES OFF
A LOT OF PAINT.
LET ME TRY THAT.
OK. RIGHT.
YOU DON'T NEED
THE FINGERS SO MUCH.
JUST THE PALMS
OF YOUR HANDS.
THAT GIVES IT
A LOT OF POWER.
THE OTHER IS
MORE CRUMPLED UP.
LET IT FIND
ITS OWN SHAPE
AND FORM.
LET IT FALL
DOWN THE WALL.
YOU CAN KEEP
CHANGING IT.
AFTER YOU'VE DONE
IT THE FIRST WAY,
I DON'T THINK
THESE GLOVES ARE
MY SIZE, GARY.
THEY'RE EXTRA LARGE.
IT LETS YOUR HANDS
BREATHE A LITTLE.
AFTER THE SECOND
COAT IS DRIED,
WE LIKE TO PUT
A THIRD COAT ON
WHERE YOU HAVE
A MUCH LIGHTER
COLOR CONTRASTING IT.
LOOKS LIKE YOU'RE
COVERING UP ALL
YOUR WORK.
IT LOOKS LIKE THAT
BUT WHAT YOU'RE
GOING TO HAVE
IS A TRANSLUCENT
EFFECT
WHERE YOU CAN SEE
RIGHT THROUGH THIS
BEIGY COLOR
WHICH IS REALLY
A WHITE OPAL.
THAT'LL TONE DOWN
THE SALMON COLOR
SO IT WILL GO
VERY WELL WITH
THE WHITE BACKGROUND.
NOW BACK TO THE RAG?
THAT'S RIGHT.
WE'LL JUST TAKE
THIS OFF
AND YOU'LL BEGIN
TO SEE A TEXTURE
THAT WILL BE ALMOST
AS THE FINISHED PRODUCT.
I WILL PUT
A FOURTH COAT ON.
THAT WILL BE
MOSTLY JUST DABBING
AND TAPPING HERE AND THERE.
THAT WILL DARKEN
IT UP AGAIN?
RIGHT.
ONLY HERE AND THERE.
IT WILL GIVE IT
AN EFFECT THAT'S
VERY BREATHY AND AIRY.
I SEE.
THANK YOU, GARY.
WE'VE GOT TO
BREAK FOR MESSAGES.
THE PAINT JOB LOOKS
PRETTY GOOD.
AFTER THREE COATS,
THE HOMEOWNER DECIDED
THIS WAS WAS WHAT HE WANTED.
A FOURTH COAT WOULD HAVE
MADE IT MUCH DARKER.
COME HOME AGAIN NEXT WEEK
WHEN WE'LL INSTALL
NEW BLINDS IN THE KITCHEN.
WE'LL SHOP FOR FURNITURE
AT A FANTASTIC,
ENORMOUS FURNITURE STORE
NOT FAR FROM HERE.
WE'LL BE IN
THE MASTER BEDROOM
PUTTING DOWN
WALL TO WALL CARPETING.
UNTIL THEN,
I'M BOB VILA.
IT'S GOOD TO HAVE
YOU HOME AGAIN.
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