These notes and pictures were created as a window into the world of cabinetry finishing. Additional important information may be required for this or alternate finishes. The calculations presented in these articles are in reference to this specific job and may not be a true representation of your requirements for your job. Please visit Faux Masters Studio for classes and product information.

ARTICLE 6 – The Final Stretch

Well now I can take a deep breath after its all done, but before we get too excited, let me share a mistake I made and just how I was able to save the day.

Area 4, Day 1: Dust, Clear, Clean, & Stain

Due to heavier usage around the stove, cleaning this area took some time. I had expected this so it wasn’t a surprise. What was a bit of a surprise was the extent of the worn through areas next to the countertop and on the baseboards and trim pieces after the wax had been removed.

Worn Through Trim

Worn Area Next To Countertop

After using Jasco Liquid Sander to clean and prepare the surface for glaze, the worn through areas required some sanding to reduce the roughness of the raw wood. I used some 180grit to get it started and some 220grit to finish. I might also mention that the wood next to the countertop had been calked with clear silicone so that had to be removed before I could sand cleanly (lots of careful peeling and scraping with a sanded paint stick, a delicately manipulated straight edge and some diligence).

Staining

A honey colored stain was created again using Golden Oak Stain & Seal and a little American Walnut Stain & Seal to reduce the brightness. I used lint free cheesecloth with a gloved hand to spot stain the worn areas.

Isolated Stained Area

End of Day

I taped around tiles and wallpaper then sealed twice in-between cleaning up for the day.

Doors Left In Place

Area 4, Day 2: Isolate & Glaze

Picking up where I left off, I finished taping and masking off the countertops and stove. While the first coat of AquaGuard (gloss) was brushed onto just those areas that had been stained the day before, I worked to glaze the doors and drawers separately. A second coat of AquaGuard was applied to the wood next to the countertop after a 220grit sanding to further smooth this area out. Once this was dry, I glazed all of area 4.

Hint: When something is sealed for protection we say that it has been isolated. Multiple glazed layers will only work if you isolate your work to separate color layers and to protect the previous work from the current layer you are working on. (The same is true for art making)

Glaze "Burned Through"MISTAKES HAPPEN!

Somehow, after glazing one of the door fronts (had to be the front, huh), I overworked an area and “burned a hole” in my glaze. This will happen if you spend too much time blending and pulling on a glaze that is about to “tack up” or begin its drying phase.There’s not much you can do at this time to save the finish.

End of Day

I know I was tired this day, but the only thing to do is to allow this to completely dry. So, I cleaned up for the day and left hoping to return with a clear head.

Area 4, Day 3: Fixing & TopcoatingFeather Sand”

The first thing I needed to deal with was the burned through area. Using a Scotch Brite Pad, I delicately sanded and feathered out the edges where the mistake happened. I thinned a little AquaGuard (gloss) to isolate or seal this area. After all that sanding, even though done lightly, I didn’t want to risk having the glaze take too deeply over this section. Once this was dry, I worked to blend a new layer of glaze into the surrounding area. This was left to fully dry.

Blending Glaze Over

While my adjustment glazing layers were drying, I worked to mask area 4 for topcoating. My topcoats went on fine after that. Some sanding was required here and there to smooth the surface out, but all in all, a good finish to my day.

Adjusted Mistake Still Drying

End of Day

I worked between cleaning up to remove all tape and film once the topcoat “flashed off.” As soon as the doors and drawers were ready, I re-attached them to their hinges to cure overnight.

Fully Protected

Area 5 & Extras

The center island went very smooth and faster than I thought it might so that was such a relief. There were some worn through areas on the baseboards, but that was anticipated. I didn’t take any pics for this section; I figured by now it should be clear.

With my End of Day for area 5, I returned all items to their previous locations and placed the chairs back in place for the last time.

The baseboards ended up being more work that the island. In determining a new finish for the kitchen, the owner had tried a variety of finishes using a variety of products on the baseboards. All of which didn’t work with the kitchen as it is now. All surfaces needed stripping.

Production Line!

Since these were already disassembled, I decided to sand them down to return all baseboards back to the original wood so I could re-stain a honey color before sealing with AquaGuard (gloss). They were glazed and topcoated 3 times to ensure a strong surface. I brushed the topcoats here since they were so small and could be completed faster by brushing anyways. Additionally, brushing produces a thicker coat.

Hint: I should mention here that for topcoating baseboards, I would recommend DuraGuard or C-500 in gloss or satin for extra durability. The client needs to know not to use any cleaning products that contain ammonia in them when cleaning against or on these newly finished surfaces.

Sanding In-between

The shelf between the kitchen and living room was also finished in-between processes with the baseboards. There was one very worn through area so I just sanded it down, stained, sealed, glazed and brushed 3 topcoats to protect. I used the same durable topcoat that I applied to the baseboards since things get placed here often.

End of Job

I allowed everything to cure a couple of days before returning to install the baseboards, pack up and collect the final check.

With some jobs I’ll leave the extra topcoating product for touch ups, glazes or paints in some cases too. Storing these things ends up becoming a hoarding behavior after awhile and I don’t recommend starting.

Final Hint: It’s best to keep things like topcoats, common paint colors like Neutral White, and only keep the formula for Glazes. If you’ve created your Glaze Mixture using a custom Pigment Mixture, then added that Mixture to a glaze medium, then by all means, keep the Pigment Mix well labeled in an airtight container for further use on other projects! We practice this technique at Faux Master Studio to more quickly prepare for all our classes.

Before & After

Before - Area 1

After

Before - Area 2 (Fridge)

After

Before - Area 3

After

Before - Area 4

After

Before - Area 5

After

Beauty Shot of Kitchen

(okay, so I’m not a pro photographer)

Daily Tally

Area 4, Day 1 – 3

• Dust & Clear = ¾ hr
• Jasco Clean = 4 ½ hrs
• Fixing (re-staining)= ¾ hrs
• Taping / Masking = 5 ¼ hrs
• Sealing / Isolations = ½ hr
• Glazing & Adjustments = 10 hrs
• Topcoats = 3 hrs
• End Of Days = 2 ¾ hrs

Total Hours = 27.5 (not including .5 hr lunches)

Total Product & Tools, Area 3:

• Lint Free Cheesecloth = about 10 pieces
• Jasco Liquid Sander = 3 cups
• Tape = 1/2 Roll
• Masking Film = ¼ Roll
• Scotch Brite Pads = 2
• Glaze = ¼ cup – for 67.75 sq.ft. (Remember, some of the Glaze is lost in the brush or on the cardboard so the amount necessary to create the finish may be different for the amount used up each time)
• Additional Purchase of Varnish Plus (satin) = 1 qt.

Daily Tally

Area 5 & Extras, Day 1 – 8

• Dust & Clear & Disassemble = 2 ½ hrs
• Jasco Clean = 4 ¼ hrs
• Sanding Baseboards from wear = 6 ¾ hrs
• Fixing (re-staining)= 1 ¼ hr
• Taping / Masking = 2 ¼ hrs
• Sealing / Isolations = 7 ½ hr
• Glazing & Adjustments = 8 ½ hrs
• Topcoats = 9 hrs
• End Of Days = 3 ¼ hrs
• Packing Up = ¾ hrs
• Install Baseboards & Threshold = 3 hrs

Total Hours = 48 (not including .5 hr lunches)

Total Product & Tools, Area 3:

• Lint Free Cheesecloth = about 15 pieces
• Jasco Liquid Sander = 3 cups
• Tape = ¼ Roll
• Masking Film = ¼ Roll
• Scotch Brite Pads = 3
• Glaze = ½ cup – for 66 sq.ft. + 12 baseboards & 1 shelf (Remember, some of the Glaze is lost in the brush or on the cardboard so the amount necessary to create the finish may be different for the amount used up each time)

ACTUAL TOTALS

Finally, lets add up what we now know against what I had originally estimated and see how well I did. I don’t know if I’ve looked at any job I’ve done in years with this much detail so I’m curious myself. I will say that every job is different and will land somewhere outside of your actual estimations – under or over. The key is to balance the losses against the gains to yield a successful business.

TIME:

• Load In = ½ hr
• Load Out = ¾ hr
• Dust, Clear, Disassemble & Reassemble = 15 ¾ hrs
• Liquid Sanding / Cleaning = 26 ¼ hrs
• Sanding = 11 ¾ hrs
• Fixing (re-staining)= 5 hrs
• Taping / Masking = 22 ½ hrs
• Sealing / Isolations = 16 hr
• Glazing & Adjustments = 49 ½ hrs
• Topcoats = 27 ¾ hrs
• End Of Days = 11 hrs

Total Hours = 187 ¼ (not including .5 hr lunches)

Days of Work = 25 days – Averages to 8 hrs per day of work, however, actual has 173 ¾ hrs regular & 17 hrs OVERTIME. That may not be a concern if you are working alone, but a possible cost factor for employees.

PRODUCT USED:

• 3 cups Glaze used – ½ gallon created. I have lots of this mixture left over. Since it’s a color used often I’ll be able to consume this Mixture with another project so I’ll hold on to it.
• ¼ cup used = Golden Oak Stain & Seal
• 1 quart used = AquaGuard (Durasheen) Gloss (seal coats or isolations)
• 1 gallon + 1 quart used = Varnish Plus Satin (topcoats)
• 1 quart used = DuraGuard (I used a product equivalent for baseboards)

TOOLS – large amounts used up with process:

• 1 gallon + 1 quart used = Jasco Liquid Sander
• 25 pieces = Scotch Brite Pads
• 63 pieces – about 1 Roll = Lint Free Cheesecloth
• 4 ½ Rolls = Tape
• 1 ¾ Rolls = Masking Film
• ¾ Box = Gloves
• 1 Package = Baby Wipes

WHERE THE COOKIE CRUMBLES

Time Estimations From First Article

A total of 565.75 sq.ft. (square feet) estimated for job

A total of 6.5 minutes per square foot = 62 hours to complete finish (liquid sanding, glazing, 2 topcoats). Remember, I mentioned before that this doesn’t include prep, taping, clean up, fixes, and adjustment coats (which I also said could very well add up to almost double the time allotment).

Actual Calculations:

Finishing Hours = 136.25 (liquid sanding, sanding, fixes, glazing & topcoats)

A total of 14.5 minutes per square foot for this finish, more than double the original estimation. Those 2 ½ days of extra work removing wax and preparing area 3 didn’t help either. Luckily, I always pad the estimated time it will take. I’ve underbid the time for the actual finish even with the extra padding, which means that I’ve worked for less $ per hour than I had originally calculated for this job.

Jobsite Hours = 50.5 (load ins/outs, dusting, clearing, taping/masking, clean ups) These hours would be much less had I completed the job from start to finish without all the extra preparations and break downs after each area was completed. This area of calculation is not related to the finish, but to the job process, which changes depending on the job requirements. Because the client needed access to the kitchen weekly, I had allowed 5 weeks to complete – 1 for every area. I used up 6 weeks, and due to my calculated padding, I am within my bid estimations for this portion of the work!

Final Notes: Some jobs come under the estimations and some go over. The way to minimize these fluctuations in the future is to continually re-evaluate the original estimation process, and to allow the overs and unders to happened from job to job. The real money you make is in the averages over a period of time anyways. That’s how business is done!

Product & Tool Estimations From First Article:

Glaze

• From my chart, very light glazes will go 1228 sq.ft. – 1536 sq.ft. per gallon = 2 quarts of glaze created
• Actual Yield = 188.5 sq.ft. per cup of Glaze = 3,000 sq.ft. per gallon!! (Of course, these are very thin layers of glaze on sealed surfaces, NOT THE SAME THING FOR WALLS)

• The extra purchase of Golden Oak Stain & Seal was so inconsequential that I wouldn’t consider it a miscalculation.

Seal Coats & Topcoat:

• Seal coats will cover about 1,000 sq.ft. = 1 gallon & 1 quart of Varnish Plus (2 coats). This calculation was spot on!

• I used up what I expected for the AquaGuard as well

Extras & Tools:

• The Jasco Liquid Sander I did under estimate, but having to buy only 1 quart more was a minimal miscalculation.

Final Notes: Overall, my product and supply calculations were within the range of estimation. Over time, an accumulated amount of tools will eventually lead to periodic purchases as you use portions of these things from your studio. That’s why most contractors will add a percentage of cost for “supplies or sundries” that get used up in the process – somewhere within 5% – 10%, depending on the complexity of the job.

AND WE’RE DONE! I hope you enjoyed these articles and found them useful as a guide to cabinetry finishing. I know I would have benefited from something like this when I was first starting out.

Signing off for now…

Stephanie Bartlow

Studio Manager & Instructor for Faux Masters Studio, CA

Each faux finish is a new experience. Jobsites reveal new obstacles, unknown factors and exciting challenges to overcome!

These notes and pictures were created as a window into the world of cabinetry finishing. Additional important information may be required for this or alternate finishes. The calculations presented in these articles are in reference to this specific job and may not be a true representation of your requirements for your job. Please visit Faux Masters Studio for classes and product information.

ARTICLE 5 – Delays, Delays

As the days go by with the same jobsite we may start to feel “more at home;” meaning we get lazy about clean ups, we don’t protect areas as well, and don’t take those extra steps that would prevent disasters. Treat every working day as if the entire job depends on your actions, because guess what . . . it does! Each time the owner, or for that matter anyone whom might give feedback to the one who pays the bills (like your next client), notices something out of place or sees disrespecting behaviors, it could become a strike against your livelihood.

It helps me to pretend that my client is always watching me or someone working with me during my work so that I don’t fall into those bad habits. There is a kid in all of us and no matter how hard we try to pretend to be self-motivated, eventually we get bored or tired and just want to go ______ . Try not to beat yourself up, take a break when you need to, just don’t get lazy and start to cut corners.

Day 1, Area 3: Dust, Clear & Clean . . . & Clean . . . . & Clean

Numbered Drawers

I cleared kitchen items from area 3, and worked to remove the drawer fronts from the cabinets. When I do this, I usually rig some kind of system to keep items in the drawers from falling out. I just used the tape I was working with to hold the items in place. I carefully labeled where everything goes by numbering drawer fronts with numbered drawers.

Labeled Drawer Front

Protected With Plastic

I used some large clear plastic trash liners as a quick protection device for liquid sanding the surfaces. Since I wasn’t going to tape the cabinets until I glaze them, this works well.

Just when things seam to be moving along . . . they don’t!

Wax Revealed!

As I was cleaning the lower cabinets, wax started rolling off onto my Scotch Brite pad and imbed itself there. I plowed through all of the Scotch Brite pads I brought during the next 7 hours it took to remove the wax from the lower cabinets!

Even though I had inquired whether or not the cabinets had been waxed during my preliminary questioning with this job, the owner didn’t realize that it had been. During the years of wear, areas of the existing topcoat had worn through and the owner had used a product that promised to protect and bring back the previous luster in the finish. We all know this statement to reveal that the “product” was probably some kind of wax that would hide the fact that the topcoat was worn through.

Once wax is found to be present, all of it must be stripped off before any new product will adhere.

Sanding Worn Areas

Due to the heavy cleaning these cabinets received, I also needed to give all of the cabinets a sanding as well.

Hint: Using any water-based product (liquid sanders as well) will lift the grain of all woods. Sanding in-between processes is a good way to ensure the smoothest finish.

Original Stain is Lost

In addition to the wax removal, I had to deal with the raw oak exposed over large areas. When the existing topcoat is worn through, sometimes the original stain is gone as well, as in this case. When that happens, you must bring the original tone of the existing cabinets back to its original tone before sealing and glazing. If I don’t re-stain the raw wood before sealing and glazing, these cabinets will “read” as a different finish altogether!

End of Day

All the usual cleaning and end of day rituals where completed before leaving.

The next day I visited Faux Masters Studio retail store to pick up some Golden Oak Stain & Seal. This color seamed to fit the light yellow appearance of the existing cabinets I’m working on. With the American Walnut Stain & Seal I already have, I could soften the golden oak tone if I needed to.

This “snag” ended up costing me 2 ½ days of extra work to bring myself back on track, which means that the entire job will take an extra week to complete. Due to this delay, I decided to complete the lower cabinets this week and the upper ones next week.

When I submit a bid for a job, a small “overage” calculation for product & labor is always a part of my estimation. I usually add into my product & time estimations a 15% to 20% buffer for unforeseen issues like this one. If the job goes well, I’ve made a profit; if the job has obstacles, I’ve covered myself. Returning the profits in the form of a discount is completely up to your business needs.

Day 2, Area 3

Picking up where I left off, I finished cleaning the lower cabinets and worked to complete all of area 3.

Oh, but the fun wasn’t over! This area required some disassembly of the microwave, toaster oven and the coffee maker. These appliances where built into the cabinet framework which revealed a more complicated disassembly job than I had anticipated.

After more cleaning, I also realized that to gain access to these upper cabinets I would need to remove some dishes and books from shelves since this area stored more items inside which would make it too difficult to tape up properly.

End of Day

Okay, so this day ended a little early. After all the fussing over this day’s work I just had enough. I cleaned up and left after 5 hours. I wouldn’t be able to complete the next process in the time allowed anyways.

Day 3, Area 3

The liquid sander used to remove the wax and dirt on the first day swelled the areas where raw wood were exposed so I needed to use a 180grit sandpaper to smooth down the rough areas and then finish with some 220grit.

Sanded Door Ready to Stain

Prepared Stain

Once everything was dusted off, I prepared a staining mixture to bring back the honey tone of the original stain on the cabinets. I used the Golden Oak Stain & Seal mixed with a little American Walnut Stain & Seal to create my color. I added some water and a bit of the So Slow Super Extender. So Slow is not a staining glaze medium, but in this case I only needed a little bit to slow down the bite of the Stain & Seal product.

Applying Stain

Using a piece of Lint Free Cheesecloth, and a glove to keep the stain off of my hands, I rubbed the stain mixture over the raw wood areas and blended it in. This layer was allowed to dry overnight.

Honey Oak Returns!

After Staining

Day 4, Area 3

Sprayed Seal Coat Outside

Because the entire lower cabinets had to be sanded and sealed, I chose to spray all of the doors and frame with my AquaGuard (gloss) to make the job faster. I sprayed the doors and drawers first so that I could glaze them before the end of the day.

After a light sanding using a Scotch Brite pad, I proceeded to glaze both back and front of all the drawers, and finished my day.

Drawer Fronts

Day 5, Area 3

Taping around both upper and lower cabinets took some extra time so I worked in-between taping sections with glazing the doors from the lower cabinets. Once the tape was in place, I sealed the tape 2 times next to the tile and once where the tape met the wallpaper.

I finished day 5 with one glaze coat over the entire frame of the lower cabinets.

Day 6, Area 3

I returned to discover that all my doors & drawers needed a second coat of glaze to deepen. The isolation coat I had applied caused my glaze to slip more, usually a good thing, but in this case an adjustment coat was necessary.

I checked the level of glaze as I worked to apply the glaze while the doors were in the kitchen so I didn’t apply too much.

Hint: Always stay just shy of your target depth to avoid going over. Applying a second layer is always much easier than sanding or stripping a layer, re-isolating and glazing again.

I used masking film to protect around the lower cabinets and sprayed 2 coats on the frame and backsides of the doors & drawers, and 3 on the fronts of the doors due to the heavy use I anticipate for these areas. I made sure to spray a lighter first coat before heavier applications of a second or third while lightly sanding between topcoat layers to ensure a smooth, even application.

End of Day

Some of your days may need to be shorter or longer depending on the job’s needs and yours. If you can afford the overtime to complete a process so that the next day moves forward it can be the right choice. These things must be weighed with the cost of that decision.

Day7 & 8, Area 3 – Upper Cabinets, 2nd Week

Fully Protected

I taped out the interiors of the upper cabinets, and glazed all surfaces twice. These doors and frames were either made from lighter cuts of oak or stained with a different batch of stain by the original cabinetmaker. I worked to create an even tone over all surfaces of the kitchen. That was actually one of the perks to the client’s kitchen for refinishing.

Things were finally picking up for area 3, and then my spray gun wouldn’t work! Well, it wasn’t that bad, I was just complaining. It ended up being a plugged air valve that came loose after cleaning again. Check out our section on “Troubleshooting – Equipment” for other helpful tips.

Light First Coat

Heavier Second – Dry Flat

First topcoat, a quick Scoth Brite sanding between, second and done!

Light Sand Inbetween

End of Day

Bleed Through!

When I pulled the tape against the tile, I noticed a small seepage where the glaze traveled under the tape. The tape and sealer must not have created a good seal at that point. If this were real bad, sometimes a quick scrape using a straight edge blade or an “X-Acto knife works well. For this level of seepage I wouldn’t bother fixing. It’s underneath the cabinet where the coffee maker gets attached so its not viewable anyways.

After all was done, I attached the doors to their hinges and left open to cure overnight. I returned back the next day to reassemble the microwave, toaster oven and coffeemaker for just an hour. I didn’t want to risk tearing through the topcoat the day before.

Attached Doors to Cure Overnight

Daily Tally

Area 3, Day 1 – 8

• Dust & Clear = 3 hrs
• Jasco Clean = 11 hrs
• Sanding Lower Cabs = 5 hrs
• Fixing (re-staining)= 1 ½ hrs
• Taping / Masking = 8 hrs
• Sealing / Isolations = 5 hr
• Glazing & Adjustments = 18 ½ hrs
• Topcoats = 8 ¾ hrs
• End Of Days = 5 ¾ hrs
• Total Hours = 66.5 (not including .5 hr lunches) (over 2 weeks)

Total Product & Tools, Area 3:

• Lint Free Cheesecloth = about 20 pieces
• Jasco Liquid Sander = ½ gallon
• Scotch Brite Pads = about 20 pieces
• Tape = 2 Rolls
• Masking Film = ½ Roll
• Glaze = 1 cup – for 162.75 sq.ft. (Remember, some of the Glaze is lost in the brush or on the cardboard so the amount necessary to create the finish may be different for the amount used up each time)
• Additional Purchase = Golden Oak Stain & Seal, 1 qt.

Next week, finished!

Signing off for now…

Stephanie Bartlow

Studio Manager & Instructor for Faux Masters Studio, CA

Each job has a story to tell. Have you told one lately?

These notes and pictures were created as a window into the world of cabinetry finishing. Additional important information may be required for this or alternate finishes. The calculations presented in these articles are in reference to this specific job and may not be a true representation of your requirements for your job. Please visit Faux Masters Studio for classes and product information.

ARTICLE 4 – Problem Solving

Day 1, Area 2: Dust, Clear & Disassemble

Some aspects of doing a job are clear and visible from the beginning, and others aren’t.

Refrigerator Vent

I had agreed to do the moving and disassembling of all the kitchen appliances when necessary. For this area I needed to remove the vent above the refrigerator, dust off and move the refrigerator out about 2inches to gain access to the frame surrounding it. Also, the door handles were removed to gain access to the wood panels on the front, which created a fabrication problem.

Fabricated Handle

Some fabrication problems need unique or custom solutions. Because the handles of the refrigerator had to be removed, the doors couldn’t be opened without some kind of handle. In this case, I took a hard plastic packaging strap and drilled a hole in the end and attached it to the door so the refrigerator could still be accessed while I worked on this area.

This area is more often used than others so the years of dust and oil/grease have built up which in turn consumed more Jasco Liquid Sander this time.

The baseboards in this area were partially worn through from years of floor cleaners used to clean the white tiles. After cleaning with the liquid sander and allowing to dry; I used a cut piece of styrene to protect outside areas while I brushed a light coat of AquaGuard (in gloss) to seal the surface before glazing. I also checked other areas that needed sealing before attempting to apply my Glaze.

For quick touch ups without taping, you can cut some thin styrene into manageable shapes that can be placed right up against the surface you are applying product to protect the outside areas. Because part of the baseboard wrapped around to a carpeted area, I used commercially available carpet guards to tape in place and protect the carpet.

Carpet Protector

Hint:

 

End of Day

All the usual cleaning and end of day rituals where completed before leaving.

Day 2, Area 2

Due to the unexpected hurdles that day 1 brought, I taped off my working areas today and sealed twice where the surfaces met wallpaper and tile.

Glazed Together To Check Levels

Glazing went fairly well working small manageable areas at a time. When it came time to glaze the large side panel I slowed the air movement down by closing all doors and windows preventing my glaze from tacking up before I could get a good blend.

Scratches In Surface

Wiped Back Glaze & Sealed

One of the door panels had a scratch at the bottom that I hadn’t noticed until the glazing process had already begun! I didn’t panic, its an easy fix. I wiped back the glaze from this area using a damp rag and feathered out the edges of my glaze application and brushed a coat of AquaGuard over the scratch, brushing with the grain and feathering out. Once the Glaze and sealed area was allowed to fully dry, I blended and feathered fresh Glaze back over being careful not to get the application too heavy over the blend.

Hint: All acrylic products dry darker, so error on the side of lighter rather than darker. It’s always easier to add more and not possible to take away without disturbing the finish.

Day 3, Area 2

I decided to hand brush the baseboards with my topcoat so I only used Painter’s Tape to protect these adjoining surfaces.

Painter's Tape To Inside Edge

Pull Out Film & Secure

After applying adjustment layers of Glaze to pieces of wood that were lighter, I worked to mask off the cabinets. Masking Film was used to protect the interior area of the larger pantry. I started with a boarder of tape around the inside edge with the sticky side facing out, then, applied the Masking Film against it. After the film was applied I wrapped the hinges with Painter’s Tape.

Taped Out Hinges

Pantry Masked Off

Sprayed All Inside

I sprayed the frame and the doors in the same room this time. I was able to use a free wall to mask off and lean the doors against the wall. I couldn’t spray the doors as heavily this time because they were vertical but even then, a couple of drips did develop so I wicked the drips up using the very edge of a piece of VIVA paper towel. What little irregularity developed when the topcoat was dry was so small that I just let it go, besides, it was on the inside and sometimes its not worth the effort to correct the very small things when time is money.

Accidents Do Happen

While I was spraying the refrigerator doors, a piece of dust blew out of the masked off ventilation area and fell on my fresh topcoat!!!

More than a little perturbed, I couldn’t wipe this area away with a damp cloth because some of it was already flashing off (drying). I just kept working to finish applying the first coat to all surfaces and allowed this layer to fully dry. Once this spot was dry I used 220grit sandpaper to sand out the dust and used some Scotch Brite to smooth down. Because I had to sand so much, I burned through my glaze application in a couple of spots, what a mess. Although this fix is possible, it’s not as easy as making adjustments in my glaze application.

Glaze Adjustment

I used an artist’s brush to delicately apply a very thin layer of AquaGuard over the burned area and let that dry. I then had to delicately apply my Glaze and feather blend that over the spots. Luckily these cabinets are made of oak, which has a dramatic grain that will hide any minimal imperfections that may have been created during this fix. Once the fix was fully dry (which ended up being completely invisible), I applied a second spray coat to all surfaces. A third coat was applied to this one panel a little later.

Hint: Small adjustments can be made between layers of topcoat. Once the first layer has dried, a light Scotch Brite sand with the grain to all surfaces helps yield the smoothest topcoats. It also allows for a small amount of Glaze to hold on to areas of adjustment. Once this is allowed to fully dry a final topcoat can be applied.

Note: my Glaze is created using Stain & Seal which has a stronger bond to my surface, for delicate Glazes made from pigment & glazing mediums only, another protection layer or “isolation” layer using AquaGuard should be applied over it (especially for larger applications) before another topcoat could be applied. Topcoats are made with strong co-solvents, which in some cases may burn through a glazed layer (especially if brushing). All Glazes created with only glazing mediums should have an isolation coat applied before the topcoat is applied.

End of Day, Same As Area 1

Removing Tape

Only remove the Masking Film when you are sure the topcoat was successfully applied, check this using the extra light. After cleaning my spray gun, tools and arranging items back in my staging area, enough time had passed to fully remove the Masking Film from the kitchen (at least 1 hour or until there are no moist areas). I was careful not to allow over spray dust on the film to land on countertops, floors and especially my delicate topcoat. I pulled my Painter’s Tape very carefully working with a small blade periodically to score and release difficult sections. The chairs and kitchen items were returned to their positions before I left.

One more note here. When collecting Masking Film, tape and other trash or recyclables, always remove your disposables from the jobsite. You don’t want to fill up the client’s trash leaving them with less space than they may need.

Daily Tally

Area 2, Day 1, 2, & 3

• Dust & Clear = 3hrs
• Jasco Clean = 3 ½ hrs
• Taping = 3 hrs
• Sealing = 2 ½ hr
• Glazing & Adjustments = 6 ½ hrs
• Topcoats = 4 hrs
• Fixes = 1 ½ hrs
• End Of Days = 2 ½ hrs

Total Hours = 26.5 (not including .5 hr lunches) 

Total Product & Tools, Area 2:

• Lint Free Cheesecloth = about 10 pieces
• Jasco Liquid Sander = 2 ½ cups
• Tape = ¾ Roll
• Masking Film = ¼ Roll
• Glaze = ¾ cup – for 68sq.ft. (Remember, some of the Glaze is lost in the brush or on the cardboard so the amount necessary to create the finish may be different for the amount used up each time)

Next week Area 3 will reveal even more awful surprises!

Signing off for now…

Stephanie Bartlow

Studio Manager & Instructor for Faux Masters Studio, CA

Faux Finishing is all about paint. If you don’t like what you’ve done or problems come up, just paint over it!

Have you had an accident you didn’t know how to get out of?

These notes and pictures were created as a window into the world of cabinetry finishing. Additional important information may be required for this or alternate finishes. The calculations presented in these articles are in reference to this specific job and may not be a true representation of your requirements for your job. Please visit Faux Masters Studio for classes and product information.

ARTICLE 3 – Glazing Tips & Topcoating

Day 2, Glazing

VERY IMPORTANT – Before you start glazing your cleaned cabinets, check the surfaces for wear. There will likely be areas on your surface where the topcoat has worn through or where scratches are evident. If there is a substantial amount of wear, you will need to spray or brush a coat of AquaGuard (gloss) before applying your “Glaze” as these areas will absorb much more product than the sealed up areas creating a blotchy appearance or revealing the scratch marks in the surface.

Sealing Scratches

I thinned a little AquaGuard (gloss) with water and hand brushed minimally worn and scratched areas with one coat to ensure my glaze would go on nicely. Where I applied the sealer I made sure to feather out the product moving with the grain of my wood. Because the wood grain of my cabinets is so prevalent, I wasn’t worried about brush marks being evident here and there where I’ve applied the AquaGuard. If this were a “quiet” finish with minimal graining, I would seriously think about spraying all my seal coats to ensure a professional appearance.

To learn how to spray product using an HVLP system, visit www.fauxcenter.com to find our Furniture I class (also Mini Furniture will touch on the basics).

Masking Off

Masking Film & Paper

I used Masking Film to protect the surrounding areas from my process. It comes in 48, 72 & 99 inches. Applying Masking Paper as well as film will help absorb heavier applications or multiple layers. You can use a Masking Film Dispenser to automatically attach Masking Tape to your film, or just cut to size and apply tape as you go. Masking Tape (the regular buff colored tape) is a stronger tape that will stick to the Painter’s Tape. Since I didn’t bring any and I had way more Painter’s Tape this day, I ended up using the more expensive Painter’s Tape, oh well.

Area Masked Off

I masked off some areas against my cabinet and protected the countertops and floors where I thought I might drip my glaze mixture with plastic and my picnic tablecloth.

Hint: Keep some baby wipes near by as these clean up messy spills or missed drips very easily. They also work to re-moisten my pointed glazing brush as I work keeping my Glaze flowing.

Premixing

It’s a good idea to premix your “glaze mixtures” before coming to the jobsite to save time in preparations. In this case, my Glaze is a direct product color, American Walnut Stain & Seal with 20% So Slow Super Extender added in so I was able to create enough Glaze easily in my staging area on glazing day. If preparing mixtures on the jobsite, work in staging area only on well protected surfaces even if on a garage floor or non-precious locations.

Mixing in Staging Area

Note: A confusing thing with faux finishing slang, when you have mixed pigment  + glaze medium = “glaze mixture” which we finishers generically call “Glaze.”

Puzzle Pieces

Finally, we get to apply Glaze!

I usually work the backside of the doors before the fronts, that way when I need to turn the door over (if working flat), the backside is the one supported on a soft cotton cloth (or Lint Free Cheesecloth) just in case there are any flaws or areas of the finish where it might stick. I allowed the backside to dry 4 hours before turning over.

I learned from the best, Mike Hoppe. He showed me how to break down my working areas into sections that I would be able to manipulate and complete before my Glaze begins to “tack up” on me. This is called a puzzle piece approach.

Puzzle Piece Sections

After applying a glaze layer to the first puzzle piece section of my door, I wiped away the over brushed areas I’m not ready to deal with yet using Lint Free Cheesecloth. I moved on to the next puzzle piece and finished that section. I continued until this side of the door is complete then turn the door when it’s dry.

Work in Sections

Glazing Frame

The cabinet frame and ceiling frame were glazed in place working in small manageable sections. I had to move into the center of the room periodically to check that my application was evenly applied and that I hadn’t missed anything.

Removing Over Brushed Area

Glazing

Loading Brush

Off Load Excess

I used the “wet brush” technique we teach here at Faux Masters Studio. Basically, you spread a little Glaze on some cardboard, roll the edges of your bristles into the Glaze to load and move over to a clean piece of cardboard and offload the excess. Brush smooth, even applications with this minimally loaded brush blending from one section to the next. The idea is that you only apply what you need reducing the time it takes to wipe off or manipulate further.

I added a little “scumbling” technique for interest. I applied 1 coat of Glaze to all surfaces and in some cases 2 coats where needed as some of the pieces of wood were much lighter. These glazing techniques are taught in our classes on wood finishing.

For more information on applying a simple wood toned glaze, visit www.fauxcenter.com for furniture classes.

End Of Day

After giving my Pointed Glazing Brush a good clean, I returned all my tools to my staging area, collected all the trash and completed my end of day rituals complete with returning the chairs and kitchen items back to their place.

Day 3, Topcoating

Before thinking about applying my topcoat, I checked the tone and level of my glaze applications so adjustments could be made.

99 inch Masking Film

Secure Film Edges

Since I’m spraying my topcoat, I need to work a little harder to protect surrounding areas from over spray. While my small adjustment applications dried, I assembled all my Masking Film and started tenting around the areas of my faux finish working to fully protect the surrounding surfaces. I applied overlapping sections of film, pulled out the lengths and secured them together. Masking Film and sheets of plastic were used to protect the countertops and floors as well.

Cabinet Cavity

For the internal cavity of the cabinet, I applied painter’s tape around the interior with the sticky side facing out, that way I could apply a protective paper (or plastic) over the internal cavity protecting the items inside. It saves a lot of effort to keep kitchen items in place instead of moving them out, and the owner is usually very thankful.

Protected Interior

Ripped Hole for Access

To protect myself, I used a particle mask and work goggles/glasses. If you are concerned about getting product in your hair, you could put a painter’s hat or shower cap on as well, even though it may make you look like a dork!

Thinned With Water

Strained Into Cup

I thinned some Varnish Plus in satin with about 10% to 15% water and mixed well. Once I had the mixture just right, I placed a paint strainer into the reservoir cup of my HVLP gun and strained some product into the cup to remove any unwanted particles.

Ready to Spray

Always spray 2 coats of a topcoat to ensure proper coverage and depth of protection. The first coat is applied a little lighter that the second for drying purposes and to prevent drips. Working between fist and second coats applied to frame I worked on the cabinet door outside.

Tape Out Hinge

The cabinet door had the hinges left on so I worked my Painter’s Tape around the hinge to protect them from the topcoat.

Outside Spraying

I didn’t have space inside to spray the cabinet door so I placed plastic on top of a shaded area on the grass outside with a cotton cloth over a bucket to support the door. When working outside, dust and bugs can be an issue so I have to use a soft large brush to dust off surface just before spraying. If I can place the door inside after I’ve sprayed to keep bugs form landing in the surface I do that, if not, I try to place in a quite shaded area until dry, then sand out any dust or bugs that may drop into product on first coat.

Hint: Most finishers bring the doors back to a studio to spray for best results unless there is space that can be created inside. If you choose to remove doors or studio spray, create a map of door locations complete with a tiny mark on top edge of top doors and bottom edge of bottom doors so the same doors are returned to their locations later. Most cabinets are custom fit into place and may not be interchangeable. For a hanging studio system, you could drill tiny holes instead of placing marks on strategic positions and hang doors from eyehooks for managing studio space and mark the hooks. Once these doors are finished, wood putty is placed over the holes in a matching color.

The back of the door was sprayed first, left to dry for 2 hours then lightly Scotch Brite sanded with the grain of the wood and sprayed a second. After another 2 ½ hours passed I turned the door over onto a soft cotton cloth and applied the first coat to front of door. Once the second coat was dry (flat so drips don’t develop), I very carefully re-attached door to hinge that I had put back in place after frame was dry and left the door open to cure overnight. The owner placed protective pads on the inside of door the next day.

While I am working elsewhere or taking a break from spraying, I wrap a damp cloth around my spray gun tip to prevent product from drying. Keeping product from drying on the tip makes for easy clean up at the end of the day.

Hint: An HVLP (High Volume Low Pressure) system is the best way to apply the most professional topcoat to your surfaces. The low pressure reduces bounce back and this type of turbine keeps a constant even pressure on your spray gun for best spraying results. Using a compressor system will work, it just means you need to pay attention to the pressure changes as your spraying which ends up being just one more thing to think about.

Graco 4900 HVLP

 

Troubleshooting

On the right side of our blog, there is a section called “Troubleshooting Equipment.” This section will answer most questions regarding the use of a Graco 4900 HVLP system. For product issues, check out the section on “Troubleshooting Product.”

Drips in Topcoat

My first coat of Varnish Plus went on very well, but during the second coat I sprayed an area too heavily because it was in shadow and the topcoat sagged! OH NO Mr. Bill… no worries, I just let that area dry, sanded back smooth using 220 grit sandpaper with a good sanding frame and then applied a third topcoat to that section. Light scratches from sanding will disappear when subsequent layers are added.

Hint: Bring an extra light that can be used to shine across the surface to check for spray applications. There are usually shadows in any room and it can sometimes be difficult to see the surface as you’re working.

End of Day

Only remove the Masking Film when you are sure the topcoat was successfully applied, check this using the extra light. After cleaning my spray gun, tools and arranging items back in my staging area, enough time had passed to fully remove the Masking Film from the kitchen (at least 1 hour or until there are no moist areas). I was careful not to allow over spray dust on the film to land on countertops, floors and especially my delicate topcoat. I pulled my Painter’s Tape very carefully working with a small blade periodically to score and release difficult sections. The chairs and kitchen items were returned to their positions before I left.

Daily Tally

Area 1, Day 2

• Taping = 2 hrs
• Sealing = ½ hr
• Glazing = 5 ½ hrs
• End Of Day = .5 hrs

Total Hours = 8.5 (not including .5 hr lunch) 

 Area 1, Day 3

• Check Glaze = ½ hr
• Masking Film = 2 hrs
• Topcoat = 3 hrs (includes gun loading, moving things, managing spray system etc.
• Tape & Film Removal and Clean Up = 1 ½ hrs

Total Hours = 7 (not including .5 hr lunch)

 Total Hours, Area 1 = 15.5

Total Product & Tools, Area 1:

• Gloves = about 6 pairs
• Lint Free Cheesecloth = 6 – 8 pieces
• Jasco Liquid Sander = 2 cups
• Tape = 1 Roll
• Masking Film = ½ Roll, both 48 & 99 inches
• Glaze = ½ cup – for 136.25 sq.ft. Wow! Of course, the ceilings frames are not solid; I calculated those frames as if they were to allow for extra time it takes to work around edges etc.

Next week I’ll talk about problem solving with issues from area 2.

Signing off for now…

Stephanie Bartlow

Studio Manager & Instructor for Faux Masters Studio, CA

Do you have any helpful solutions for issues you’ve come across?

Or maybe you have a question regarding an issue you currently have. Go to our Technical Support Category to ask the pros.

These notes and pictures were created as a window into the world of cabinetry finishing. Additional important information may be required for this or alternate finishes. The calculations presented in these articles are in reference to this specific job and may not be a true representation of your requirements for your job. Please visit Faux Masters Studio for classes and product information.

ARTICLE 2 – What Comes First?

Day 1, Clear & Clean

The first things to consider are usually not the most obvious.

• Where do I store or place all my stuff?
• Where can I clean my tools?
• Am I allowed to use the facilities? (A very important question for a girl!)

Based on the questions I asked the client from my first article, I know where to load-in.

Creating A Staging Area

Staging Area

This is the location for all the job’s tools and products. Usually it’s the client’s garage or utility room. Just make sure you have access to water and these items can be locked up at night. Any pathways necessary for the job should be protected with runners (either drop cloths or temporary plastic ones).

Sometimes you are on a job in a new build and there isn’t any specific area. Keep your tools close and your product out of any high traffic areas so other contractors aren’t tripping over your things. I would also recommend that you take your tools (and product if you can) home with you each night for these new constructions. It’s nice to think people can be trusted, but way too many finishers have lost costly tools or product over the years.

Another important note about new constructions, B.Y.O. TOILET PAPER! Most new constructions will have a Port-A-Pot near by that you can use, but don’t expect the paper to be there. To tell the truth, I’ve usually rushed out to the nearest fast food chain during my breaks – it’s a girl thing.

Assessing The Job

Due to the size of the job, the access need of the client, and my schedule, we worked out a plan for the job. I broke up the kitchen into 5 Areas. I will finish each area during a one-week time span. That gives the client access to the kitchen without the inconvenience during half the week while allowing me 5 weeks to finish the job.

Area Map

Area 1

I decided to tackle the recessed ceiling frame and one cabinet for my first week. The cabinet was so close to the frames that I needed to complete them together, and it seamed like a good way to ease my way into the job.

Dust & Clear

Before tackling anything, the area surrounding the job needs to be clear or covered to prevent dust or product from coming down on them. I moved the chairs and kitchen items to a safe temporary place during each day while I worked. I used a large picnic tablecloth under the areas where I worked and some Painter’s Plastic over the center island. I really like the old picnic tablecloth; they are very durable, coated in plastic on one side and a soft fiber on the other. I use them for all kinds of things.

The 2 ceiling frames had 24 plastic panels that needed removing and dusting off. I had agreed to do any of the disassembly, moving and cleaning required for the job. These clients happen to be very clean and tidy ones, so my job wasn’t that time consuming.

Clean

Liquid Sander & Supplies

I decided not to tape the wood out until after I cleaned it with Jasco’s No-Rinse Liquid Sander for 2 reasons, this allowed me to wipe away the excess from the surrounding wallpaper with a damp cloth so it wouldn’t soften the wallpaper glue, and to dry off faster.

I protected my hands with my medium duty chemical resistant gloves and dipped the Scotch Brite Pad into the liquid sander. Rubbing and sanding with the grain, I cleaned the entire surface. The Scotch Brite Pad works best to get into all surface areas. I used the red colored ones, I believe they’re a 220grit, but you could use the standard green ones too.

Hint: Cleaning the lacquered oak with liquid sander is much better than just trying to sand before application of new product. Just sanding grinds down the highest levels of your surface, but does nothing to lower surface areas. Using a Scotch Brite Pad with the liquid sander will create some tooth evenly over the entire surface while removing any dirt or grease at the same time. A quick 3 or 4 passes works well, more for greasy areas surrounding the cook tops (all kitchens have more deposited grease above the cook tops).

End Of Day

After I had finished cleaning area 1, I proceeded to my end of day ritual. Since I’m working in an existing home with clients who need access to the jobsite, the kitchen in this case, I need to be respectful to their needs. I cleaned all my tools and folded up the drop cloth and plastic and placed them in the staging area, and returned the chairs and kitchen items back to their place every day.

Hint: Keeping your things NEAT & TIDY present to the client the most professional appearance for your business!

Day 2, Taping & Sealing

To Disassemble, or not to disassemble, that is the Q…

European Hinges

Labeling

Well, in this case I removed the brackets from the cabinet frame and left the hinges on the door for glazing. I wasn’t sure which way I wanted to go with the entire kitchen and having this single door to finish allowed me to test out how difficult it would be to remove. The European Hinges are the easiest to work with for removal and replacement of doors, and as luck would have it, that’s what these, are.

Hint: If you do decide you need to remove your brackets or hinges, make sure to clearly label the bracket or hinge, its location, and to which door a hinge belongs if you need to remove those as well. Most finishers will make a tiny mark on the bottom of the lower cabs or top of the upper cabs marking the location of the door or drawer within the kitchen (make a map as well). Cabs are custom set into their place and may not fit into another location when you are finished.

In the end, I decided my single glaze didn’t require that I remove any brackets or hinges. After completing this cabinet, I continued with the rest of the kitchen by just taping the hinge out while working around it.

Taping

Know your surfaces to make the best tape choices. The walls surrounding the cabinets I’m working on are smooth with wallpaper in some areas. Some cabinets are also up against tile. I wouldn’t want to use regular masking tape for fear of lifting the wallpaper. These types of surfaces require #2080 Smooth Painter’s Tape. Lets talk about tape.

Painter's Tape

3M Scotch-Blue Painter’s Tape For Delicate Surfaces #2080

 

“Low – medium adhesion. 60 day removal. Test before use. Do not use with or on lacquer, paper or foil wallcoverings, unprinted wallboard, or rough surfaces.”

This tape has a smooth surface to make a good seal against other smooth or semi-smooth surfaces with a 60-day light stick before it become difficult to remove. It’s not meant to be used if you were applying a lacquered topcoat.

Smooth & Creped

3M Scotch-Blue Painter’s Tape For Multiple Surfaces #2090

 

“Medium adhesion. 14 day removal. Test before use. Do not use with or on lacquer, wallpaper, unprinted wallboard, or wood floors.”

This tape has a ribbed or creped surface to make a good seal against irregular surfaces with a 14-day stick before it becomes difficult to remove. The ability to give also allows for some arching for edges that aren’t straight. These ones also not for use if applying a lacquered topcoat.

Both kinds of tape generally come in 1,1 ½, 2 and 3 inches to suit multiple surface needs. I like the 1½inch size to save a little money over the 2 inch. Use the tape width that best suits your finish or protection needs.

Steps For Taping:

1.  No wall is ever perfectly straight or flat so rip off, or cut, pieces small enough to manipulate easily. Follow edge of tape with edge of surface to be worked on.

2.  Overlap the end of previous piece 2 to 3 inches and work in one continuous direction or line. This will allow you to remove tape (when you are finished) in one smooth continuous motion without stopping! It’s fun too.

Burnishing

Rag Protects Finger

Blunt Tool

3.  Burnish edge of tape near working surface using a fingernail, rag wrapped finger, tool or brush for difficult areas.

Sealing Tape Edge

4.  Seal tape edges 2 times where it meats ALL: countertops, tile, wallpaper and other wood surfaces or metal. It may be impossible to remove your product from these surfaces if the taped edge is not sealed against the working surface. You can use Color Seal (gloss or satin), AquaGuard (gloss or satin), or SetCoat Clear. I used AquaGuard gloss mixed with about 5% water to thin out slightly, and then used a 1-inch chip brush to lightly brush 2 coats.

Release Slits

Irregular Surface

Hint:

Taping irregular Surfaces – Cut “release slits” on opposite side of tape to fit very irregular areas. For irregular corners, use small pieces and a blade or scissors for difficult shapes.

Daily Tally

Area 1, Day 1

Lets see what my actual numbers add up to for this job when I’ve finished.

• Load-In = .5 hrs
• Assess Job = .5 hrs (made area map too)
• Dust & Clean = 2.5 hrs
• Liquid Sand = 3 hrs
• End Of Day = .5 hrs
• Total Hours = 7 (not including .5 hr lunch) 

Jasco Liquid Sander = 2 cups

Area 1, Day 2 (next article will have full tally) 

• Taping = 2 hrs
• Sealing = ½ hr

Next week I’ll talk about Day 2 & 3 – Glazing & Topcoat.

Signing off for now…

Stephanie Bartlow

Studio Manager & Instructor for Faux Masters Studio, CA

Having a bird’s eye view of faux finishing working at Faux Masters Studio has allowed me to pick up some amazing tips over the years. What kinds of tips have you collected?

 Each article will take you through the entire story of how to achieve the finish from start to finish complete with pictures and supporting information. Valuable hints and jobsite notes will be shared to help you feel more prepared for real world problems and fixes that you will encounter. Whether you are new or experienced, there’s probably something in these articles that you will find well worth the visit!

Go to our Creative Corner under CA to find this weeks article.

Single Glaze Over Kitchen Cabinets

So you think you’re ready to become a faux finisher until the moment you walk through the clients door and they wait for you to make a work of art with their kitchen, under their budget and on their time frame. You want to do good work so you blindly go forward without a clear picture of how you will achieve this, and how long it will take you… sound about right??

Let me walk you through an actual job with real time information. Each week I am posting progress reports with supporting notes and “how to” information vital to accomplishing a successful cabinetry finish. At the end of the project a tally of how much product was used up, the time it took to actually do the job and how many steps it took to get there will be provided.

On a more personal note, I always found it difficult when I was first starting out as an artist to get the right information for the project I was involved in. It would sometimes eat up all my profits just to figure out how to do the things that weren’t mentioned in the instructions or classes I’d taken. I hope these articles serve to fill those gaps in our teaching style. While we strive to share all that we can, time is limited and experience is a lifetime endeavor.

These notes and pictures were created as a window into the world of cabinetry finishing. Additional important information may be required for this or alternate finishes. The calculations presented in these articles are in reference to this specific job and may not be a true representation of your requirements for your job. Please visit Faux Masters Studio for classes and product information.

ARTICLE 1 – In the beginning . . .

First, some professional advice for you to chew on.

Discuss the vision your client has for their kitchen. If they are struggling for creative input, some helpful suggestions are great, but remember, if they are looking for you to be the designer you may want to have them find an Interior Designer before the job begins. Giving up a little time and some creative control will save you hours of redoes and false starts before the check comes.

Talk about the real potentials for the intended finish. Don’t sugar coat anything. Discuss things like the grain of oak revealing itself when applying a painted finish, or having to strip a dark stain in order to return to a lighter stain. Most clients are thrilled to have something new and will allow some room for adjustments or shortfalls in their vision. Only show samples or talk about finishes you are comfortable working with.

DON’T SELL WHAT YOU CAN’T DELIVER.

Making A Game Plan

Whenever I start a new project I think about a series of questions that help me to clarify the full project and its specific needs, including extra time/cost considerations. Ask the client and/or yourself these helpful questions before estimating the job:

• What is the clients schedule and yourself?
• Will you need help to facilitate a faster turn around for the client’s time frame?
• How much of the job can you tackle at one time?
• Does the Client have access needs into the workspace during?
• Will the Client be moving furniture and the refrigerator or disassembling any other necessary appliances or build-ins?
• Will the Client clean areas around the cabinets, or will you?
• Has the Client applied any waxes or petroleum products to the surface?
• Will the Client be re-painting around your cabinets?
• Will you be able to spray cabinets on the jobsite, and the frames in place?
• Is there an area to spray outside, in the shade? Or will you be taking them to your studio?
• Is there a pet or a small child in the home to handle or deal with?
• Does the Client or other resident have any sensitivities or respiratory issues?
• Where can you set up your staging area?
• Where can you clean up each day? Or will you be cleaning in your own studio?

Estimating The Job

Okay, so your first meeting went well and the client wants you to come up with an estimate. NEVER GIVE AN ESTIMATE WHILE IN THE ROOM. Tell the client you will study the kitchen (jobsite) and provide a written estimate later (that day or next). Take pictures for reference and measure the dimensions of each surface to be refinished (backsides too). In general, finishes are measured in square feet. Consider moldings and ceiling trims if they are to be refinished as well. Making an accurate job estimate will save you later when the client says, “I thought you were finishing the moldings in here too?”

For more detailed information regarding Estimating, Tracking & Managing Jobs, visit www.fauxcenter.com and look for our DVD with Bob Hoppe.

Great! The client approves and you’re ready to begin.

Once the client approves your estimate, create a sample of the intended finish to verify the desired faux finish (sometimes this is a prerequisite to the approval). I created mine from one of the lower cabinet baseboards that were in the same wood as the cabinets. If they approve, have them initial the sample and/or a written contract to ensure they are in agreement with the creative direction.

Preparations

With my cabinet measurements I calculated the amount of product I will need. I used the amount of time it took me to complete my sample to estimate the time it should take me to complete the finish. You can look up Tips & Tricks under Charts to see how to come up with these numbers on your own.

• A total of 565.75 sq.ft. (square feet) estimated for job.
• A total of 6.5 minutes per square foot = 62 hours to complete finish (liquid sanding, glazing, 2 topcoats). Remember, that doesn’t include prep, taping, clean up, fixes, and adjustment coats (which could very well add up to almost double the time allotment).
• Very light glazes will go 1228 sq.ft. – 1536 sq.ft. Per gallon = 2 quarts of glaze needed.
• Seal coats will cover about 1,000 sq.ft. = 1 gallon & 1 quart of Varnish Plus (2 coats).

Lets check the actual numbers at the completion of this job to see how close these estimates are.

The existing cabinets are the typical honey lacquered oak cabinets we all know and love from the 80’s. The wood was originally sealed with lacquer, but in some areas newer coats of polyurethane have been applied over the years. A simple clean with Jasco’s Liquid Sander should prepare my surface well enough to receive my new finish. (Look up Surface Preparations for extras about this subject).

My finish recipe is a simple glaze made out of:

Stain & Seal American Walnut with 20% So Slow Super Extender added in.  One semi-thin “wet brush” was applied to surface with some scumbling techniques used here and there to break up the appearance of the oak grain.

Based on the previous information, I purchased:

• 2 quarts of Stain & Seal American Walnut
• 1 quart of So Slow
• 1 gallon of Varnish Plus Satin (lets see if that’s enough??)
• 1 quart of Durasheen Gloss (to seal tape and seal worn through areas in lacquer finish)

 Other product:

• 1 gallon of Jasco’s Liquid Sander

Tools I purchased or packed for this job (most are from our store www.fauxcenter.com):

• Baby Wipes
• Box Cutter (and/or straight edge razor)
• Brushes – #16 Pointed Glazing Brush, #30 Sloop Brush (for my topcoats, and some artist brushes for details)
• Buckets – ½ Gallon (1 for glaze, 1 for topcoat), 1 Gallon (for storing brushes, spray gun etc.), 1 ½ Gallon (for water) & 5 Gallon (for trash)
• Cardboard – Lots
• Chip Brushes – 3 to 4 each – 1 inch, 2 inch
• Cling Film – 1 roll
• Cotton & Terry Towels – A Box Full
• Gardening Knee Pad
• Gloves – 1 box Chemically Resistant, Medium Duty
• Graco 4900 Spray System with #3 Needle & Tip
• Krud Kutter – For Cleaning
• Lights – Work and/or Clamp Lights (and/or a small hand held closet-like light for checking topcoats & dark surfaces!)
• Lint Free Cheesecloth – 1 Roll
• Masking Film – 2 rolls each 48inch, 99 inch (and holder)
• Masking Paper – 1, 24inch roll
• Paint Sticks – 2
• Paper Clip – For Cleaning Spray Gun
• Pipe Cleaner – Provided With Graco 4900
• Scotch Brite Pads – 10
• Screw Drivers – Flat & Phillips (for removing things, also a Ratchet, and Allen Wrench set wouldn’t hurt)
• Solo Deli Containers – 3 or 4 each w/ lids – 8oz. 16oz.
• Tape – 3 Rolls Each – 1 ½ inch #2080 & #2090
• Trash Bags – Large & Clear (doubles for protecting surfaces too)
• Viva Paper Towels

 Now that I’m packed, next week I’ll talk about DAY 1 – what comes first??

Signing off for now…

Stephanie Bartlow

What tips do you have to share?

This article is the best explanation I’ve found for moisture testing concrete surfaces before application of your product choice. If you don’t do your homework, you could be RE-DOING that amazing finish again! Even though its a bit long, it has lots of good info.

Source: CONCRETE CONSTRUCTION MAGAZINE
Publication date: February 1, 2006

By Tom Klemens

Testing concrete slabs for excess moisture has become a common construction requirement, particularly where flooring or impermeable membranes are to be installed on top of the slab. But, while several standard moisture test methods are available, no single test reveals everything that should be considered in deciding when flooring can be installed or a coating applied.

Before looking at the tests themselves, let’s review the source of the moisture.

Concrete is mixed and slabs are placed with more water than will be needed for hydration of the cement. Given the right thermodynamic conditions, slabs dry over time as the excess water evaporates. How rapidly and forcefully this occurs is determined largely by the difference between the vapor pressure in the slab and the vapor pressure in the air over the slab, as well as conditions below the slab. Vapor pressure, in turn, is affected by temperature.

Problems with floor coverings, such as bubbles, blisters, and delamination, occur when an impermeable floor covering or sealer traps excess moisture remaining in the slab. The key is to wait until the moisture level reaches an equilibrium point or is acceptably close to it before sealing. Pinpointing that specific equilibrium point sounds relatively simple in theory, but difficult to measure. Moisture is not evenly distributed throughout a slab, and changing environmental conditions cause moisture to move into or out of the slab.

Fortunately, experience and some simple tests can help determine if the moisture content in a slab is within an acceptable range for various impermeable coverings. But first we need to know what we are measuring and what the results mean.

On water leaving concrete

Both fresh concrete and slabs that have cured and hardened have excess water. Immediately after concrete is placed and throughout the curing period, efforts are made to prevent water from evaporating from the slab so that the concrete can properly hydrate. After the initial curing period, however, we want the concrete to dry out, and large amounts of water are given off by a newly placed slab. Concrete with a higher water-to-cementitious material ratio gives off proportionately more moisture simply because there is more free moisture in the slab and the differential vapor pressure between the concrete and the air remains high. But if the concrete is simply air drying, the rate finally decreases, which means the differential vapor pressure is greatly reduced. When the water vapor approaches equilibrium, flooring, coating, or sealing can be applied.

However, even after it has hardened, most concrete remains porous, so its moisture increases or decreases with changing temperature and humidity. Concrete’s permeability, the rate at which it will allow moisture to pass, depends on the size and distribution of the pores in the concrete matrix. Generally speaking, the lower the water-to-cementitious-materials ratio of a concrete mixture, the lower its permeability will be after it has cured. Concrete’s permeability can also be reduced by adding any of a number of products to fill in the voids in the concrete matrix.

Moisture given off by a concrete slab in an enclosed space is a concern. Two tests measure this vapor emission directly. One was developed by the ASTM Committee for Protective Coatings and Lining Work for Power Generation Facilities’ Subcommittee on Application and Surface Preparation. To use this method, ASTM D 4263, “Standard Test Method for Indicating Moisture in Concrete by the Plastic Sheet Method,” a plastic sheet is tightly taped to the concrete. After 72 hours, a humidity reading is taken under the plastic with a dew point hygrometer.

Determining what humidity level is acceptable depends upon the surface treatment to be applied. For flooring or related materials, as an example, the relative humidity must usually be below 80%, and the floor under the plastic should be free of dampness, discoloration, or damp odors.

A second direct test, ASTM F 1869, “Standard Test Method for Measuring Moisture Vapor Emission Rate of Concrete Subfloor Using Anhydrous Calcium Chloride,” was standardized in the 1990s by the Subcommittee on Practices of the Committee on Resilient Floor Coverings. Its development, however, goes back to the 1950s and the Rubber Manufacturers Association. Then it was known as the RMA Moisture Test, or the Quantitative Anhydrous Calcium Chloride Test

The standard requires three tests for the first 1000 square feet of floor, with additional tests for additional floor area. Similar to the plastic sheet test, this procedure tests for moisture being emitted under a sealed area of concrete. However rather than measuring humidity under the enclosure, the test captures the moisture in a sample of calcium hydroxide that starts out very dry. As each calcium chloride test is being set up, a sealed packet of calcium hydroxide is emptied into a small container and weighed. The container is then placed on the concrete under an enclosure and left open to the air under the enclosure for 72 hours. At that point, it is again weighed; the increase in weight indicates the weight of the moisture emitted by the slab over that time.

After some calculations using the weight change and the area under the test device, the test results are expressed as the number of pounds of water being emitted per 1000 square feet of floor in a 24-hour period. Several companies offer kits that include all the materials needed to set up and run this test according to the standard.

Most flooring manufacturers recommend that their products not be installed if the moisture transmission rate exceeds 3 pounds, although some allow installation for certain materials at rates of up to 5 pounds. ASTM standard tests usually avoid specific interpretation of test results. However, a more formal guideline on the moisture vapor emission rate is found in ASTM F 710 “Standard Practice for Preparing Concrete Floors to Receive Resilient Flooring,” which says concrete can be considered suitably dry when the vapor emission does not exceed 3 pounds.

For test results to be useful, it is very important that testing be conducted under stabilized environmental conditions. They should represent the long-term conditions under which the building will be expected to perform. For example, the indoor relative humidity is generally reduced after a building’s heating, ventilating, and air-conditioning systems have been turned on, and that makes the moisture in a slab behave very differently. Whether heating or cooling, HVAC systems dry the air inside enclosed spaces. That upsets the equilibrium previously reached, and the moisture vapor emission rate can be expected to increase. Hence, the need to test after these systems have been turned on.

The software touch

Another way to test the moisture in concrete slabs is with a humidity meter. One type uses sensors to measure the dielectric constant of the concrete, then processes that information to report the moisture content. Many of these surface-testing devices can also be calibrated to measure the moisture content in other solid materials, such as masonry, brick, or wood. Their primary drawback is that they measure the moisture in only about the first inch of material. Also, there is no ASTM standard test for their use in measuring moisture in concrete slabs.

The same technology has been applied in a second type of moisture meter that measures the relative humidity directly. These devices generally consist of a probe that is inserted into a hole drilled in the slab. The probe houses a sensor that measures the relative humidity in the air within the test hole. With the probe sealed in place, the setup is allowed to come to equilibrium for 72 hours, at which time readings can be taken.

A test method for using this type of equipment was issued in 2002 as ASTM F 2170, “Standard Test Method for Determining Relative Humidity in Concrete Floor Slabs Using in situ Probes.” It contains provisions for obtaining measurements in hardened concrete using the drilled-in approach, as well as allowing placement of plastic tubes with plugs in fresh concrete to facilitate testing once the concrete has hardened.

Numerous interesting variations can be found in the equipment available for this type of moisture measurement. Vaisala’s probes use a sensor with a thin polymer film that absorbs or releases water vapor as the relative humidity of the air in the test bore rises or falls. That changes the dielectric properties of the polymer, which have been precisely correlated with humidity, so the system permits very accurate humidity readings.

Wagner Electronics offers a self-contained relative humidity probe that is inserted into the concrete and left in place. Besides the battery and moisture sensor, it includes a digital readout only about the size of a dime on the top of the device.

Engius is offering two versions of its relative humidity logger—one for drilled-in use prior to installing floor coverings, in accord with ASTM F 2170, and the other for embedding in fresh concrete. The cast-in-place version is designed to record the internal humidity of the concrete and monitor curing conditions for as long as a year.

A hand-held combination unit from Tramex can operate in moisture measurement mode to measure the moisture content in concrete. Switching to hygrometer mode, it measures the temperature, relative humidity, and dew point of the environment adjacent to the slab. Hooking the device to probes allows it to measure those same parameters within the floor slab.

The answer is both

While the in situ measurement of relative humidity does give an overview of the moisture throughout the slab, it does not directly address the issue of moisture vapor pressure. Similarly, the calcium chloride test shows what a slab’s surface water vapor activity is like but does not take into account moisture content deeper within the slab. And in both cases, any test is only a snapshot of conditions at a particular spot at a particular time.

Because the moisture within slabs is so prone to movement when temperature and humidity change, it would seem that testing for both moisture content and moisture emission vapor pressure would be wise. And it would also seem imperative to test when you’ve gotten realistically close to the building’s final operating conditions. The wisdom in this approach and its accompanying reduction in guesswork should result in better results for all concerned

http://www.concreteconstruction.net/industry-news.asp?sectionID=715&articleID=259135&artnum=1

Volatile Organic Compounds (VOCs)

Faux Effects water-based products were the first to bridge the gap between oil-based products and waterborne technology for professional use and results. With over 330 low-VOC products, the advanced chemistry maintains the workability of historical recipes without the health hazards associated with oil-based mediums. The most extensive, compatible product line in the industry, Faux Effects products are formulated with the finest selection of raw materials and designed to ensure lasting beauty for the creation of fine faux and decorative finishes.

 Take a look at these two abridged articles:

The Clean Air Act of 1990

Improving Air Quality in Your Community.

The Clean Air Act of 1990

 The Clean Air Act of 1990 began the process of change that is under way today in California. After developing air districts in California and several other states, government bodies began working to become compliant with the Clean Air Act.

According to Jay Kaiser, representative for DuPont, “California and Canada are the two active places for VOC regulation right now. Other areas of the country might be discussing change, but the places with real activity are California and Canada.”

“Some air districts are considering adopting stringent VOC compliance levels in 2010, and some will follow after that,” said Kaiser. “Also, some of the requirements for compliance for different paints – such as specialty coats, clearcoats, etc. – take effect at different times.”

It seems as if it is only a matter of time before more stringent VOC-compliance legislation and regulations will take effect throughout the country.

Get ahead of the process by making small changes and moving toward understanding the costs and processes of VOC-compliant paints. Not only will making a shift away from solvent-borne paints now ease the transition in the future, it will also go a long way toward protecting the environment – which, after all, is the reason for all these changes in the first place.

Courtesy of Rachael J. Mercer

Although written for automotive industry, useful information is found here. For full article, visit: http://www.asashop.org/autoinc/march2007/collision.htm

 Improving Air Quality in Your Community

Outdoor Air – Industry, Business, and Home: Painting and Coating Operations

How To:

• Substitute Materials
• Improve Spraying
• Reduce Loss from Evaporation
• Change Cleaning Procedures
• Upgrade Facility Equipment

Substitute Materials

 How?

• Use paint types such as waterborne paints, powder coatings, ultra-violet (UV)-light, or electron beam curable coatings, or higher solids paints.
• Use cleaners with low hazardous air pollutant and volatile organic compound content such as water-based, alkaline, or microbial cleaners. These can reduce air pollutant emissions up to 90%.

Benefits

• Coatings typically contain 5-6 pounds of VOC per gallon. Alternative coatings may contain less than 0.5 pounds of VOC per gallon and result in lower emissions of VOC.
• One company substituted high-solids paints for conventional solvent-borne coatings, which resulted in increased transfer efficiency and a 30% decrease in VOC emissions and paint wastes. Also, the company saved $28,000 in paint purchases and paint disposal costs (North Carolina Department of Pollution Prevention and Environmental Assistance [NCDPPEA]).

Costs

• Educating customers about the value of substitutes.
• Capital costs for any new equipment necessary.
• Training employees to use new equipment and procedures.

Improve Spraying

 How?

• Use more efficient paint application equipment to reduce overspray such as switching to a high-volume, low-pressure (HVLP) spray, air-assisted airless spray, or electrostatic spray guns.
• Reasons to use HVLP spray guns
• They produce a quality product (e.g., maintaining the same or similar dry film build [thickness]) while using less paint to do the same job. Using less paint results in less emissions of volatile organic compounds (VOCs) and hazardous air pollutants (HAPs) as well as less overspray (dry waste) generated.
• HVLP guns are more effective than conventional atomized air spray guns when technicians are properly trained. HAP and VOC emissions released during painting operations are directly related to the skill of the spray gun operator.
• Properly used HVLP spray guns often result in a higher transfer efficiency, which results in reduced overspray.

Benefits

• By training spray gun operators to properly use HVLP spray guns, one wood furniture coater reduced VOC emissions by 126,000 pounds per year and saved approximately $120,000.
• In a conventional spray painting process, as much as 70% of the paint misses its target surface. Using more efficient application methods can often substantially reduce the amount of paint used (NCDPPEA).

Costs

• Capital cost of conventional spray gun (air-atomized spray): $500 to $1,500 (NCDPPEA).
• Capital cost of high-volume low-pressure (HVLP) spray gun: $500 to $1,500 (NCDPPEA).
• Capital cost of airless spray gun: $3,500 to $7,500 (NCDPPEA).
• Capital cost of an electrostatic spray gun: $5,000 to $7,500 (NCDPPEA).
• Training employees to use new equipment and procedures.

Reduce Loss from Evaporation

 How?

• Only open containers when adding or dispensing materials. This minimizes evaporative emissions and waste.
• Use air-tight containers to store solvents, paints, and other coatings.

Benefits

• Reduces emissions of HAPs and VOC.

Costs

• Capital costs for any new equipment necessary.
• Training employees to use new equipment and procedures.

Change Cleaning Procedures

 How?

• Use enclosed or mechanical parts washing and gun washing systems to reduce evaporative emissions.
• Monitor the amount of cleaning solvent used during cleanup to avoid excess usage.
• Reuse cleaning solution or solvent. Use dirty solvent for initial cleaning, then follow with clean solvent.
• Schedule color changes to minimize cleaning needed between colors. Paint products with light colors and then follow with increasingly darker colors.

Benefits

• Reduces emissions of VOC and HAPs.

Costs

• Capital costs for any new equipment necessary.
• Capital costs for gun washing units can range from $600 to $1,500 (NCDPPEA).
• On-site distillation units start at $1,500 with an average cost of $3,000 (IWRC).
• Training employees to use new equipment and procedures.

Upgrade Facility Equipment

 How?

• State, local, and Tribal pollution prevention offices may offer funding opportunities.

Benefits

• Reduces emissions of HAPs and VOC.
• One company changed spray nozzles from a larger to a smaller nozzle for a cost of $270. The amount of waste solvent reduction equaled approximately 11,000 gallons, and the cost savings were approximately $13,500 (NCDPPEA).
• Reduces costs of raw materials purchases and hazardous waste disposal.

Costs

• Capital costs to purchase new equipment

For more information and the full article from the Environmental Protection Agency (EPA): http://www.epa.gov/air/community/details/paint_operations.html

Lead is a toxic metal that was used for many years in products found in and around our homes. Lead also can be emitted into the air from motor vehicles and industrial sources, and lead can enter drinking water from plumbing materials. Lead may cause a range of health effects, from behavioral problems and learning disabilities, to seizures and death. Children six years old and under are most at risk. For additional health related information, go to www.epa.gov.

Renovating, repairing or painting a home, child care facility or school containing lead-based paint

Beginning in April 2010, federal law will require that contractors performing renovation, repair and painting projects that disturb lead-based paint in homes, child care facilities, and schools built before 1978 must be certified and follow specific work practices to prevent lead contamination.

Contractors must, before beginning work, provide owners, tenants, and child-care facilities with a copy of EPA’s lead hazard information pamphlet Renovate Right: Important Lead Hazard Information for Families, Child Care Providers, and Schools (PDF) (20 pp, 3.3MB) | en español (PDF) (20 pp, 3.2MB). Contractors must document compliance with this requirement?EPA?s pre-renovation disclosure form (PDF) (1 pp, 36K) may be used for this purpose.

EPA will begin processing applications on October 22, 2009. The Agency has up to 90 days after receiving a complete request for certification to approve or disapprove the application.

Until April 2010, EPA recommends that anyone performing renovation, repair, and painting projects that disturb lead-based paint in pre-1978 homes, child care facilities and schools follow lead-safe work practices. The contractor should follow these three simple procedures:

• Contain the work area
• Minimize dust
• Clean up throughly

Not subject to rule:

•  Housing built in 1978 or later
• Housing for elderly or disabled persons, unless children under 6 reside or are expected to reside there.
• Zero-bedroom dwelling (studio apartments, dormitories, etc.)
• Housing or components declared lead-free by a certified inspector or risk assessor.
• Minor repair and maintenance activities that disturb 6 square feet or less of paint per room inside, or 20 square feet or less on the exterior of a home or building.
• Note: minor repair and maintenance acivities do not include window replacement and projects involving demolition or prohibited practices.

Effective after April 22, 2010

• Firms must be certified.
• Renovators must be trained.
• Lead-safe work practices must be followed.
• The training, cerification, and work practice requirements do not apply where the firm obtained a signed statement from the owner that all of the following are met:
• The renovation will occur in the owner’s residence.
• No child under age 6 resides there.
• No woman who is pregnant resides there.
• The housing is not a child-occupied facility.
• The owner acknowledges that the renovation firm will not be required to use the work practices contained in the rule.

Violations

 Under TSCA (Toxic Substances Control Act), EPA (Environmental Protection Agency) may file an enforcement action against violators seeking penalties of up to $32,500 per violation, per day.

To learn more about how you can meet these requirements contact the National Lead Information Center at 1-800-424-LEAD (5323) or visit EPA’s Lead website.

http://www.epa.gov/lead/pubs/renovation.htm#contractors

 http://www.epa.gov/lead/pubs/sbcomplianceguide.pdf

 www.epa.gov

 For certification centers, go to www.epa.gov

Certification and accelerated programs are available at PACA 2010, February 6 – 10 in Phoenix AZ.

http://www.pdca.org/contractors/

The first 150 to become a fan on facebook will be entered in a drawing for a FREE one day class at Faux Masters Studio. One winner will be selected at random and will have the option of selecting a 1-Day workshop or a private, one-on-one training session.

When sharing a recipe for a custom finish, follow these 5 steps:

1. Faux Masters Studio only posts recipes with Faux Effects products.
2. Be sure to include all steps to make yourself clear and understood.
3. It’s helpful to also include the materials and tools you used to create your finish.
4. Let others know at what level your finish is, “Begining,” “Intermediate,” or “Advanced.”
5. If your recipe requires Gold Line products, you need to include this information, or provide an alternative Faux Effects product.

Faux Masters Studio has provided this forum for YOU!  Faux Masters Studio cannot guarantee the information or outcome of these shared recipes. At the end of each month these posts are archived; you may find a previously shared recipe there

• Protect your product from freezing! – You don’t want your liquid products to freeze or crystalize on you.
• Check for moisture collecting on lower racks or the floor, or in tools like your spary gun - this can rust or penetrate non plastic containers causing issues later.
• Keep items off the cold concrete floor by using wood blocks – concrete can reduce temperatures even more when items are in contact with it, all year round. 
• Sometimes your sandpaper will curl up too much to use once it becomes damp or cold – try to keep items like this away from moisture and the cold.
• Batteries, yes batteries don’t like to freeze - If you can’t warm up your studio try to keep those things that are affected in a warmer storage closet, like the one that usually houses your holiday decorations!!!
• Some of your unused paint and pigments will need a good stir this time of year - when product hasn’t been used in awhile the ingredients may separate and settle at the bottom of your container making it difficult to create a new mixtures. Pigments like FauxCreme Color Concentrate like a good stir about once a month to keep all the pigment in solution. Textural products are usually fine on their own, opening too much will introduce too much air. The best thing to do is to turn them upside down sometimes and then back again to reduce settling (of cource make sure the lids are tight).

Share with us what things you do to keep your studio in tip top shape!

Now is the time we creatives should review our portfolios, edit out last years styles and finishes, and infuse our creative juices with some new directions. Take a look at our Color Forecast for 2010 page to see the new colors for 2010!

Many of us have had more down time than we would have desired this last year, and some of you have used this time to come to class. Others have used it to clear out the the studio (in addition to the cobwebs). If you haven’t already, now is the right time to invest in yourself and your portfolio. Read about the new color and design direction, then take a real close look at your portfolio.

• Do you have finishes that have been shown for more than 2 – 3 years?
• Are you presenting your most current work?
• Have you been researching the latest trends or finsihes?
• Have you created something extra cool recently that could now be presented in your portfolio, but didn’t have the time before?
• Have you created or updated your website?
• Have you documented all your available work?
• Have you visited your local stores to see what designs are being presented and which ones are moving? (this is a good indicator of your market)

NOW IS THE TIME!

Most of us take time to review our lives this time of year, its only natural.  There was a time not so long ago where all I heard was “I’m so busy I can’t think, and I don’t have time to . . .” Well, take this time and refresh, reinvigorate, and get busy again!

Good news is on the horison. I have heard more contractors are going back to work.  Some painting companies are getting more bookings. And, the housing market has stabilized in some areas. We may not see an immediate improvement, but be ready for the work when it returns.

What have you done lately??? We would like to hear how how you are.