View ChannelsFeatured: Finance
View ShowroomsFeatured: Radiantec - Radiant Solar Heating

BobVila.com

Home

Painting the Bedroom Walls with Rag Rolling

Bob meets Gary Halzel putting the finishing touches on the master bedroom walls. Gary will be rag rolling the wall. He's putting on a coat of oil-based mixture over a latex finish trying to get a translucent effect. The oil-based mixture is oil-based paint, glaze, and paint thinner.

Get Adobe Flash Player to see this content.

Chapters from this episode

Painting the Bedroom Walls with Rag Rolling Now Playing

Painting the Bedroom Walls with Rag Rolling

Wiring a Thermostat Now Playing

Wiring a Thermostat

Clip Transcript For:

Painting the Bedroom Walls with Rag Rolling

computer-generated transcript - may not be 100% accurate

" I'm painting on. Call over a latex finish and trying to get. -- translucent effect. Yeah now are using an oil based paint over the latex. Exactly. This is a glaze mixed with. Oil based paint glaze and some paint -- hot. So it's. Wrote relatively thin stuff doesn't cover. Right well actually think it's sorted -- like it to stay away. Way while it's what are -- west when I'm gonna do is I'm -- actually this distress the paint particular law little by little gives it an effect. So you on Iraq well and that's exactly what you're doing you put the rag doll crumpled up against the wet paint and you roll it down. You're removing some of the paint removing enough to show me under cold. And try to get an effect. This kind of surreal looking at the the overall. Goal is to have a lot of depth in the wall so that you -- white weighed down below while this is if Lucy sequence on a series of law. When you have just one call it's not a -- it's kind of powdery but if you add two -- three contrasting. Covers pop. Not necessarily. Great variations in the column. Enough to see the -- Traficant real depth in the wall exit through when it got a -- darker right. Exactly and very pleasant for the -- call roll call. Gary you only do a certain section at a time I notice you've just rolled on a section about three by three feet and then started roll dragging it right that. Well -- tried together so that there's not much -- great seam between edges and if you keep it wet during one section. Where it barely overlaps you yet yet so that the scene is very. Almost Nazi. The great thing about doing more than one coat is that the next call will cover. Quite camouflage style and then. Anything in between. The that a fourth call got so really works out to your advantage to do more than one coat with this kind technique. I notice I'm using gloves. Because I'm really getting my hands swept the grass it's 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 a this is the glazing liquid. If not pat pat. Wouldn't that dot -- glazing liquid as a solution. That suspend the pigment of the paint so that it causes quite adept. And adding six -- I'm glazing liquid to one hot -- yeah. And two parts of the column which I have today in and that's a doctor salmon of the actual paint yeah right so roller. Exactly first. I like to pour over its small amount into the pan and each time and you noted that change had the last one wasn't. It was a light orange it and this one as a doctor -- if you got on the paper much and I get a new rule altogether because I want a completely different. -- contrast to go over what it would absolutely in the because if it -- if I put too much paint it it I need to keep mixing it I need to keep mixing it. Ready for the wall -- I trying to correct ruling this time you actually like to picking up the gloves because you don't know what this all we enhancement. This is a darker color of sanity. And even though I'm putting down -- yeah. It doesn't have to be. -- unhappy motion in between but you want to get it common sort that nobody knew much -- just kind of crumpled up like that. Let me take and we pick Michael up and showing you. What that you techniques wanted to roll it completely like a tootsie roll up. Sort of like this straight up -- and use the palms of your hands and again look at that. The distressed fashion that leads that takes off longer -- threat. And it. You don't need to think it's a much of your policy hands. And it gives it what's the other a lot of now the other take the other is more crumpled up and let us. Let it find its own shape and they won't and it all eyes on the walls and you can keep changing it. After you've done for quite awhile -- think these gloves are my side here in extra lives and -- But it lets your hands breathe a little bit because you he has been released Friday night. OK Bob after the second coat of dried we let that put a third coat on where you have. A much lighter color contrasting what you're covering up on your work though it looks like that but. What you're gonna have there's quite a translucent effect weak state. Right through this beige coat is really a white opal. And that'll tone down the salmon color so it will go very well with the white I don't know back of Iraq. Right. And we'll just take this. Again this day. Texture that will be almost as the finished product I will put a fourth coat on and that will actually be mostly just dabbing and tapping here and then."

[-]

More Videos »Related Videos

Wall Construction

There are three important concepts to remember for wind-resistant wall construction. Walls have to resist the uplift forces caused by the pull of the wind. Walls have to resist the shear forces that try to push the walls over. Walls have to resist the lateral force of the wind that tries to push the walls in and pull them away from the building. For uplift purposes, walls are the intermediate link between the roof and the foundation below. To resist uplift forces walls have to have a continuous load path that can be achieved through the use of metal connectors for wood frame construction or a combination of metal connectors, vertical and horizontal reinforcement, and a bond beam at the top of the wall for concrete masonry construction. Shearing forces Walls are also subjected to shearing forces that act in the direction the wind is blowing. As wind blows on a wall, the walls perpendicular to the wall the wind is blowing on, are subjected to these shearing forces and are called shear walls. Shear walls are inherently subjected to the shearing and sliding forces. Wood frame walls resist these shearing and sliding forces through the action of the wall studs, the wall sheathing (preferably plywood), and a specific nailing pattern. Concrete masonry walls resist these forces through a combination of concrete masonry units, mortar, and grouted and reinforced cells. As a result of the walls resisting the shearing forces and being fixed at the base, the walls are subjected to an overturning force, or the tendency to rotate over. For wood frame construction, this force is resisted through the use of a holdown or tensions tied down. Vertical reinforcement and grouted cells resist the overturning forces in concrete masonry construction. Wind Ready Walls Finally, walls have to be capable of supporting the push and pull from the wind. For wood frame construction, studs have to be sized and spaced accordingly to resist the lateral forces, and have to be securely supported at the top and bottom plates. Concrete masonry resists the lateral forces by using reinforcement in grouted cells.

Applying a Textured Finish to the Drywall Interior Walls

Doug Frueh of West Coast Drywall is in the bedroom applying a textured finish to the fiberglass-faced walls. He is using Magnum, a dry mix that is blended with water to the desired consistency then sprayed on the wall with an airless sprayer. The effect is a splattered, built-up texture that is allowed to sit for a couple of minutes before being knocked down with a plastic wedge trowel that evens out the surface but maintains the texture. This technique is fast and low moisture, making it a perfect finish for Florida construction. Frueh says he can complete a house in just a couple of hours.

Supporting and Repairing Load Bearing Walls

Charlie and Bob discuss how important it is to determine where the load-bearing walls are when undertaking a major remodel. Charlie points out the doubled-up 18-inch Georgia-Pacific LVL that is now carrying the entire load of the sidewall and the roof. During the installation Charlie found serious termite damage at the bottom of the support post. Since the LVL (or any beam) is only as strong as the posts that support it, Charlie cut out the damaged piece and put a new pressure-treated pad in and then posted it up with 2 x4s to tie it all in and create a solid point of transfer for the load. Using studs Charlie also created some temporary supports for the second floor joist system while he replaced load-bearing walls with a triple LVL and a 4 x 6 post. This basically transfers the load down to the basement to a lally column which will go down onto a concrete pad. The LVLs are 1 3/4-inch by 9 1/4-inch by 11 feet long.

Identifying a Bearing Wall

There are two kinds of walls: Bearing walls and non-bearing walls. Knowing which can be critical. You can do anything you like to a non-bearing wall, but if you remove or even cut open a bearing wall, you can literally bring down the house. Check the joists or rafters in your basement or attic; if they run perpendicular to the wall in question, it is almost certainly a bearing wall. If they run parallel, it is not.