Boston’s best housepainters – the difference a trained eye makes

We’re known for being discriminating, and also for being more expensive than most painting companies.  We pride ourselves on superlative finishes of course, and also on meticulous prep.  So it’s often a surprise to our clients when they hand us the keys to their new home and expect a simple color change by the end of the day, instead finding a collage of repairs, primer and preparation. 

This photo typifies our attention to detail; what superficially passed for a finished wall to our client was actually a quandary for us; skim the most obvious defects or skim the whole wall?  In this case we ‘touched up’ because time was of the essence.

We are asked all the time, “what makes you different?”  Or more directly,  “why do you cost more?”  Our trained eye is just one of many reasons – what kind of painter do you want in your home?  Someone whose eye is on the bottom line, or one who cares for craft and consequence?

Boston’s best housepainters – solving the unsolvable

A call came from a Newton homeowner, referred by one of our customers; an exterior painting project in need of estimating and consulting; a strange issue with sidelights around the front door that couldn’t be explained.  A home inspector, a general contractor and a window manufacturer had all been consulted, to no avail.

The photo below shows 2 issues; plastic glass panel inserts had yellowed over time from their original bright white; a cleaning, priming and painting with Benjamin Moore’s Aura exterior semi-gloss resolves this eyesore.  But what about the black seams around the window?  Poltergeists?

Not quite; simply a poorly installed and finished mildew-friendly flexible caulk or gasket material used to seal the sidelights after installation.  We’ll kill the mildew with Jomax and bleach, then prime and paint like the rest of the trim.

This issue is not uncommon and thankfully the resolution is quick and low-cost.  Now if we can just get the project wrapped up before the next snow…..”

A Boston Housepainter in South Korea

One of our past foremen, Joe Voigts, now teaches English in Korea, and he sent along this photograph of an elaborately painted and decorated eave. We’ve worked on plenty of Painted Ladies in our time, but nothing quite so detailed!

 

Joe’s last photo we posted a few years ago while he traveled through Nepal and we show it again here, a reminder that OSHA has a valuable and critical role to play in regulating health and safety in the workplace!

The Transition from Military to Civilian Life – Part 2

The Transition from Military to Civilian Life – Conclusion
Mike Glowacki

Oliver Stone once said something about being in war that was one of the few things about being in war that made sense to me. He said something like, “War is endless boredom broken up by intense violence.” He was right.

I was in my first real gunfight in Mogadishu, Somalia as a grunt with the 10th Mountain Division out of Ft Drum N.Y. My unit had been shot at on almost a daily basis indirectly for months. That’s to say, the Somali’s shot up our compound at night, never really seeing us directly, but they knew we were there. That all changed one night during a raid on a Somali weapons compound. This would be a one on one fight in close proximity to the death. We got the word that my platoon would be involved in the raid. We staged ourselves with all of our gear and weapons on the back of flat bed diesel trucks. (The smell of diesel exhaust still brings me right back there to this day. I can smell it in the air walking out of a pizza place at noon and for a second I’m in The Mog’.) Night vision goggles, anti-armor shoulder fired weapons, grenades, seven full magazines with a tracer round every third round were all checked and rechecked. Canteens were filled. We were ready to go. There were six trucks with about a ten guys on it each. We sat on the back of the trucks and watched our cobra helicopters “prep” the compound from about a mile away and waited for the trucks to start up and get us in there quick.

The Cobras shot hellfire rockets and 20mm guns as they flew low over the compound. The helo’s hit a weapons cache and it exploded. The weapons cache was in a giant steel freight car in the middle of the compound. The compound was about the size of a football field with a few two story stone buildings in it. The box was filled to the brim with every type of fire arm and weapon imaginable; rocket propelled grenades, bullets, mines, everything. Now, everything was exploding out of it and since Somalia doesn’t have electricity, the fire from the burning munitions lit up what looked like the entire countryside through the night vision goggles. The helo’s pulled out and the trucks we were on started up. Now it was our turn to get in there and clean up and secure the compound. The trucks drove us as fast as they could go. We headed towards the fire. At first I heard it. It’s a sound that I’ll never forget, and to this day it’s still the single loudest sound I’ve ever heard in my life. AK-47’s, not just firing, but firing at us from close range. When I say close range I mean they were 30 yards away of us on both sides of the street shooting out of the windows and cracks in the walls of the buildings they were in.

I looked up in front of the trucks in the direction we were heading. The Somali’s were firing into the sides of the moving trucks as we drove through them. The bullets lit up in the goggles like laser beams being shot across the road and my truck was headed into it. Truck after truck passed through the kill zone. It was like watching boats in front of you go over a waterfall. I knew I was going into it. I turned back to look off the side of the truck at the gunfire I was now about to go through myself. I got as low as possible, clicked my safety off of my rifle. I could see the flashes of light from the muzzles of the AK’s like one hundred people trying to each light a cigarette with lighters that would only spark. I pulled the trigger and unloaded. I was fortunate enough to have the platoons M-60 gunner to my left, right next to me. I could feel his expended machine gun shells rattling off my helmet as we both tried to kill what was trying to kill us in the glow of the flames, somewhere in the eastern most part of Africa. It was June 6th, 1993. I was 20 years old.

My trainer Big Tom use to be a professional football player. He’s the size of a heavy bag and can move one without gloves with minimal effort with his bare fists. The bag actually beds when he hits it. His technique and philosophy for fighting is to wear me down with exercise then have me fight. If you’re in the gym you’ll hear him yell, “You gotta fight when you’re tired.” He’s right, and that’s good enough for me to train by. That’s the building block I need to carve myself out of as a boxer.

Boxing is like building a boat. You have to know a lot about the water before you get in the actual boat you’re building. And with boxing, you’re building your own boat with what you bring to the table and what you’re taught. Now you have to retain the information and do something with it. When you step into the ring, you push off the land. Then it’s a whole new ballgame. It’s a new atmosphere. You’re no longer throwing punches at something without a response. Now you’re fighting someone you’ve never met, never seen, who wants to hit you as much as you want to hit them.

You have to learn how to breathe all over again. You have to think about breathing. Most people don’t do that at all. I mean when’s the last time you thought to yourself, “I’m breathing correctly right now?” When you get good, you’ll almost forget about breathing. Being a good boxer means you don’t have to think about breathing anymore. I’m not there yet but I’m working on it. I start with that.

Most guys just want to knock someone out. They think too much about the guy in front of them and less about themselves. You fight first with yourself. If you don’t, the other guy will kill you. I fight myself a lot. Today I fought myself and the other guy in the ring. It was two against one. I like that. It makes me better. I get real pleasure from getting better with anything. I walked out bleeding and exhausted and I haven’t felt that good since I left Paris Island Marine Corps boot camp as honor graduate. That’s the truth and the truth goes a long way with me and truth is, there’s nothing fake about getting punched in the face.

Boxing isn’t some guy hitting a tennis ball back in your direction; it’s another guy looking to take your head off. I walked up the stairs and said to my wife, “I got hit in the face today.” She told me to look in the mirror. I told her I had been. Earlier I saw my contact lens fly across the ring after I got clocked with a left hook. I could see the leather of my opponents glove an inch in front of my face, then crack. I stood there and took it and I felt good about being able to take it. I dished it out, too. I made real contact and it felt good. Sometimes feeling good is good enough.

I bled from the nose and lip. It was an honest bleed. I’ll take that any day of the week. Tuesday, I’ll be back in there lifting a medicine ball over my head. I’ll lift it one hundred times to build the strength I need to keep my arms up during a fight so I don’t get hit once. One hit can knock you down. I’m trying to avoid that. It’s impossible to not get hit once in boxing. That’s what they tell me anyway. I’d like to be the first guy who fights 3 rounds and does it.

There’s a few rooms in a house that I’ve never been to that need to be painted. I’ve painted rooms before but not in this house and not this room. I’ll have to talk to the home owner and get an idea of who they are and what they want. I don’t mean the stuff on paper that they want done, but an overall feel of who they are as people.
I try to categorize them in a familiar group. I’ll say to myself, “Ok this person is like my brother, my mom, my dad…the cashier at the 7-11.” Maybe he or she is like someone I knew in the Army or Marines. I also give them some leeway to give me more or less of who they are, what they want to show me and why. I only hope they do the same with me.

I think I’m good with judging character. Most people can tell me what they’re all about without saying a word. My instinct is my best trait. I’ve had to keep myself alive with it for years. It’s something I never doubt.

I’ll meet the home owner and see what they’ll want done in their house. For the most part it’s 100% overwhelming the way a huge body of water is at first, the way a foreign battlefield use to be, the way a guy in a ring who’s fighting me first looks. I never ignore the fear. I just move with it the best I can. Life is scary. There are a lot of moving parts and I’m just one guy. When I’m in their house I see nothing but obstacles and possible solutions. I see the hazards and the gifts of the trade.

Maybe they have a dog and maybe that fence door lock doesn’t work too well. I imagine the dog getting out and getting lost. I imagine my dog getting out and getting lost. I make a mental note before I even get off the sidewalk to at least ask about the situation. When I get in the home I see they’ve moved furniture already. That’s always a bonus. I appreciate it and can breathe a little easier. I keep going. I keep rowing, and shooting, and bobbing and weaving. It’s all I can do.

I couldn’t tell you how I’ve transitioned from the military to civilian life in any normal way. The truth is, I haven’t transitioned. I just wear different clothes. All I do know is that I can’t walk around the streets of a burning city with a semi automatic machine gun anymore. I’m too old and that game has been played.

I’ve done it and in ways nobody will ever know, I’ve won.

It took me a long time to be alright with that. It took me a long time. I like to think of myself like a Stanley Cup champion, I’ve raised that cup two different times for two different teams, once in the Army in Mogadishu, Somalia and once in the Marine Corps in Baghdad, Iraq. I have that forever. I need to find other things to do like fishing and boxing. As far as working goes, well, I suppose I could do anything. I’ve resorted to what I enjoyed as a kid, painting.

Before I was old enough to talk my parents would fill a bucket of water and give me a brush and I would paint the wooden bulkhead in the backyard. I would brush the water on and I remember the water evaporate right before my eyes. It would just disappear. I found it amazing. I couldn’t believe what I was looking at. The water would just vanish. Then I would repeat the process over and over and over again.

I wish someone would pay me to do that all day. I’m the guy who doesn’t mind watching the paint dry. I consider that type of entertainment my break in a work day. It’s a few 20 second breaks to watch the paint lay down and get smooth. There are 1 billion imperfections in it and I see everyone. My next stroke will be a little better.
There’s my second pay check; job satisfaction. It’s what I pay myself with. It’s the mastery of what needs to be fixed. I treat every imperfection I need to fix in a strangers house like the homeowners life depends on it, because in all actuality, it does. I can go home now, it’s getting late and my dog needs to go out. Although I can’t see it, I know a truck just drove down this street. I look up at the sky for a second and think about when my nose is going to stop hurting.

The Transition from Military to Civilian Life – Part 1

We’re an eclectic bunch here at Catchlight; no knuckledraggers amongst us, nor mouthbreathers.  We hire for aptitude, attitude and presentation; our people spend a lot of time in our clients’ homes, interacting with kids, pets and in-laws. We like to make sure every last one of us is easy company for the most discerning client. To that end I was pleased as punch to hire a very enthusiastic candidate this spring, Mike Glowacki. His passion for painting, for working with his hands, was apparent; he was expressive in conversation, gesturing with his dinner plate sized hands as he described the pleasure of preparing a room for painting.  He was an easy and obvious hire, and we are pleased as punch he is now a solid, reliable and highly competent member of our company.  His history and story are interesting, and unusual so I asked him to write about his life and how he found his way to painting. I hope you’ll enjoy his words below, as much as I did.

Nigel

The Transition from Military to Civilian Life – Part 1
Mike Glowacki

     I watch the weather channel looking for the ideal day to fish as often as I can. There’s a low pressure system coming through New England in a few days which is good for fishing. If there’s no wind, I’ll be set up for success. Low pressure brings rain which plays into my favor. Rain breaks up the water surface enough for me to burn a spinner bait a foot below it. The bass can’t see my fake lure as well with the chop in the water and the chances of them reacting to it increase. It’s mid June and with the lilly pads visible I know the big bass will be relating to it for cover. Bass like to hang around things like rocks that can hold heat and tree limps to hide in, but especially lillys because they produce oxygen and shade.  Besides my spinner bait, I’ll have two other rods loaded before I leave shore. One will have a jig for bottom fishing. The other rod will have a rubber worm on it for a slow mid level drop. This arsenal covers all water columns. Now I just need to find which column they’re in. Once I find them. I repeat the same lure for the next few hours around the entire water body.

Some sides of the pond are better than others. Some people say the better side has to do with where the sun comes up or goes down. Some people say it has to do with where the breeze is blowing the bait fish. Some people will say anything to make them believe they know what they are talking about. The only thing that really knows where the fish are, are the fish, and in a body of water like Quabbin Reservoir which holds 412 billion gallons of water, the fishing gets interesting. Today though, I’ve skipped the hour and a half drive to Quabbin and have chosen a more local water body. I’m not fishing to relax. I’m not fishing to enjoy myself. I relax and enjoy myself enough just being myself which is always and everywhere. Someone once asked me how I would handle solitary confinement. I said, “I can’t think of anything better.” Being on a water body is as close to solitary as I can find. I don’t need a “perfect” weather day, either. I ignore the rain. I’ve broken through ice to get out on the water and have had to break it on the way in after its frozen back around the dock after a trip.

One time my engine died and I had to row through a snow storm at night in a stiff gale. Bad weather is just something you need to prepare for. A ten dollar raincoat eliminates many things. In a few days though, the weather looks good enough to wear just a t-shirt and shorts. My goal this day, like any day I’m on the water, is to catch a fish, preferably a big one. A big one consists of anything over 3lbs 10 Oz. My buddy caught that one a few days ago and he’s in the lead for angler of the year this year. I have to stay close to his overall weight. It’s June, and June, like September is where you make your money in bass fishing. I have until about the 4th of July to get something worth taking a picture of. After that, the heat takes the oxygen out of the shallow waters and the fish go deeper. Lillys only work for a few weeks.

Deep fishing is tough because you can’t cover as much water in the day. The fish get a little more sluggish in the summer. Things just get harder. But for now, I’m in the pocket, I’m in the window, and I’m on the water body that I believe will deliver something solid. Now, all I have to do is find it. I know there’s a big one here. I know what he likes and I know when he likes it- early morning. This is what goes through my head most of the day before a trip. I’ll walk around shadow casting and setting the hook the way a boxer throw punches at an imaginary opponent before a fight. I’m going to be fighting tomorrow. I’m going to be fighting a fish I’ve never seen. When the fight is over, and if I win it, I’ll take a picture of him and put him back in the water to swim away. I’ll tell my fishing buddy’s about it. I always imagine the fish telling his people buddy’s about me. “ Ya, he had a good hook set…it was a good fight…I jumped a few times, but I knew he had me. I heard him say I weighed 4 lbs 4 oz. That’s the last time I fall for that fake worm.” His fish friend says, “Ya, that’s what you said the last time.”

    I get up at 4 a.m to eat breakfast and take a shower. My car is already packed with my gear so I can get in it and go. I know it will take me about twenty minutes to get to the pond, another ten minutes to get the gear in the boat, hook up the engine and launch. It will take me another ten minutes or so to get to my spot. I’ll give myself a little time for any unsuspected problems. I’ve had mornings with all red lights before. There should be some kind of law that says, “Between the hours of 3 a.m and 5 a.m. if you can see well, you may go through the red light. Sometimes I practice this, just to see if it will work. So far, it has. I will be taking my first cast at 5 a.m. From there, the clock will only wind down. My window of time starts to close. The sun will rise far enough in the sky that the fish will stop biting and nature will force me off the water. There’s nothing I can do about it. I’ll feel the need to come back to shore. In a few minutes I’ll be on land but I’ll still feel like I’m on the water. The feeling stays with you for a few hours. On really long trips it can stay with you for a whole day, especially if you’ve been standing in the boat. It eventually goes away, but it always brings you back.

Setting off on a small boat is like blasting off the surface of the Earth in a space ship. Not there’s any real speed or explosiveness behind launching a john boat with a 30 amp electrical engine, but you do push off from something, into something else. The water is like traveling in space and fishing is like searching for space monsters. They’re invisible space monsters and only the right light will expose them. It’s your job to find the right wavelength light, see them and catch them. When you push off land you see the world as the Indians did, especially if you’re on The Charles River. Look at a map from a hundred years ago of eastern Massachusetts. The Charles River is there. Look at one from two hundred years ago, it’s still there. Find the oldest map you can find, it’s still there. When you’re on that river, you’re on it two hundred years ago. Look at the bend in the river, stop talking, have nothing in your hands, look past the boat you’re in, all there is, is the river as it was. All there is, is the river as it is and has been and God willing, will always be. If you look close enough you will see an Indian in a birch tree canoe rowing towards you. We raise our hands to each other as we pass and never say a word. It’s dawn and the river banks scream with bird songs, everyone at the same time, like an orchestra warming up before a concert.  Now, I pick up my rod. I turn the engine off.  I make sure I have my scale handy, my camera handy, my needlenose pliers handy. They are all ready.

I am ready to fish.
I.
I am.
I am ready.
I am ready to fight.
I am ready to fight and win.
I will.
I. Will.

continued . . . . .

Lead-Safe exterior painting in Greater Boston

Catchlight Painting EPA CertifictionEach month seems to bring a new EPA clarification on how we are supposed to implement the RRP protocols while working on homes coated in lead-based paint.

Catchlight Painting's Lead-Safe preparationsThe article below introduces a new wrinkle, arguing that the current 10 foot rule is still inadequate in keeping dust and debris from leaving surface protection.  We’ve certainly found this to be an issue; the slightest breeze will violate the 10 foot rule so we have been using walls for a while.

This is especially important when working in the more densely populated areas of Boston.  Prepping a 2nd floor window over a sidewalk brings its own challenges, as we try to avoid sidewalk closure, police details and permits, all of which hike the price of our project.

We’ve begun working ‘wet’ whenever possible; this means wetting surfaces to minimize or eliminate dust.  But we also rely on the use of chemical paint strippers to convert paint to paste, then remove it with steel wool.  The wool captures all the material and is cheap and lightweight.  Keeping the coating in paste form and moving to finer and finer steel wool replaces sandpaper.

The added benefit is the elimination of the airborne lead hazard for our employees; they wear HEPA respirators, gloves and eye protection regardless.

Working hard, but working smart.

The New Norm for Exterior Vertical Containment

John H. Jervis, Senior Contributing Editor

ForRenovationPros.com

While the industry has escaped the requirement of dust sampling and clearance, EPA’s July 15 announcement included more specific language on vertical containment requirements for exterior projects, specifically stating that vertical containment is now required for exterior renovation projects that are covered by the rule and that affect painted surfaces within 10 feet of the property line.

In such cases, vertical containment is necessary to ensure that adjacent buildings or properties are not contaminated by leaded dust or debris generated by the renovation.  EPA’s Dust Study demonstrates that leaded dust and debris from exterior renovations can be found 10 feet away from activities disturbing leaded paint, even if no prohibited or restricted practices are used.

The RRP rule further states, at 40 CFR 745.85(a)(2)(ii)(D), that, in certain situations, the renovation firm must take extra precautions in containing the work area to ensure that dust and debris from the renovation does not migrate to adjacent properties.

EPA’s decision is based on their admission that they know of no work practice, other than a system of vertical containment or equivalent extra precautions in containing the work area, that would universally and effectively prevent the migration of dust and debris from renovations performed within 10 feet of the property line to adjacent properties.

This requirement is intended to provide flexibility for certified renovators to design effective containment systems based on the renovation activity and the work site.  Effective work area containment can span a range from simple barriers to more extensive scaffolding, depending on the size of the job and other relevant factors.

Boston’s Dog Days of Summer

The Friday before last, all craftsmen and women were given a paid day off to escape the heat.  Even those who were working inside Boston’s older homes were without A/C and when the conditions were exacerbated by the need for respirator use and other personal protection equipment, our misery index was off the charts.

So, off to the beach we went.  I think most of us stayed home though, enjoying the cool breeze of conditioned air.  Makes me wonder how any work gets done south of the Mason Dixon line after June 1st….

On a more practical note, those conditions are actually poor painting weather.

The side of any paint can describes ideal painting conditions; these do not include high humidity and high temperatures.  In fact the near magical coalescence of ingredients that takes place when paint dries properly is very sensitive to environmental factors.  Manufacturer labels are pointed in their advice not to paint below a certain temperature; 50 degrees Fahrenheit for older generation acrylic materials and oil-based coatings, 35 degrees for newer acrylics and water-borne material.

It would be wise to add some words about painting in the summer. something along the lines of “when heat and humidity begin to reduce productivity, consider giving your employees the day off and forget about painting until the weather moderates.”  That’s just what we did that week, and hopefully that meant our craftsmen and women enjoyed a quiet paid day at home, compliments of Catchlight, and Mother Nature.

Water in Buildings

We have the privilege of tending to some of Boston’s grand old homes and we have learned that ongoing maintenance is the best approach to keep these buildings in top shape.

The photograph below is taken from a gorgeous Federal house in Brookline, one that was originally situated a ½ mile from its current location.  House wrights moved it on log rollers to its current address over 100 years ago.  Owned by an academic whose field and passion is old house conservation, the house is still largely clad in its original siding and trim.

Consistent with building practices of its time, the house is built over a substantial fieldstone basement with a concrete floor poured directly over gravel.  Every year the house manifests classic symptoms of impeded moisture transmission through the painted sidewalls.  The first picture shows the classic alligatoring that paint begins to suffer as layer upon layer of coating produces an ever thicker, impermeable and inflexible barrier.

The second photo shows a more dramatic symptom, sometimes referred to as moisture bagging, wherein the original primer delaminates from the substrate in large bubbles. Pop these in late winter or early spring and voila, your very own spring water…

In his book Water in Buildings the architect William Rose examines the root cause of moisture uptake by older homes and concludes that permeability of the basement floor is largely to blame.  No moisture barrier prevents the house from wicking moisture via capillary action through the slab; the warmth of the building in the winter creates a chimney effect, increasing the pull of  moisture from the earth and exhausting it via attics, fireplaces, drafty windows, and, as evidenced on innumerable older homes in New England, through the sidewalls.

Unless the homeowner has the stomach to endure a thorough paint stripping project, the best approach is to patiently but consistently address the problem on an annual basis.  We also recommend limiting the number of additional topcoats; one is adequate in most cases over a properly prepared and primed substrate.  Needlessly adding layers of paint to the older home is best avoided.

Finally, it is worth noting that there is evidence that application of water-based coatings over thicker coats of oil-based paint will exacerbate delamination issues; curing of the water-based material can continue for months after application as summer and fall weather conditions can retard the the final cure.  When this does happen, it is often during the coldest and driest days of winter; and the final contraction of the new topcoat can pull the original, ancient primer off siding and trim.  Where the existing topcoat is oil-based, we faithfully touch up with oil paints.

We’re paint nerds, and proud of it!

I’m not sure why our craft is called painting when the vast majority of our time is spent preparing surfaces for paint. Invited to repaint the back deck of a gorgeously detailed home in Brookline, we find a paint failure common to newer construction. The wood in the photos below is fir, a soft wood harvested from massive plantations across the Pacific Northwest. I use the word plantation intentionally – old, slow growth fir is a beautiful durable wood; newer fir has been engineered to grow quickly for faster turnover of product. Consequently the grain of new fir is wider, the wood softer and so more prone to moisture uptake.

The image below, of the rot around the fastener, is easily remedied using wood-specific epoxy fillers. We’ll dig out the rot until we find solid wood then fill with epoxy, making this section of the rail bullet-proof.

Paint Failure - Image 1

Paint Failure - Image 1The end grain splitting visible in the image to the right is more difficult to manage– end grain acts as a sponge and needs to be carefully sealed. In this case we will scrape and sand off all the paint as well as 1/16” of the exposed wood to ensure the substrate is clean and sound. We’ll then saturate the end grain with an epoxy consolidant – this is a water-thin material that will seal the wood cells permanently. If the end grain appears coarse and unfinished, we’ll fill with the epoxy material in use on the rail, sand smooth and paint. Presto, a post that will last forever.

Paint Failure - Image 3This final photo  to the left shows delamination of the fir rail – in this case this section of railing is plain sawn, having been cut from the outer part of the tree – the grain is rounder, further apart and is easily degraded by ultraviolet light. As the lignin binding the cellulose breaks down, the layers begin to separate, or delaminate. We’ll aggressively sand this rail to remove all paint and surface wood until we have a sound substrate, flood with epoxy consolidant and then proceed to finish coats.

We’ll spend almost no time actually painting on this project. But that’s OK – we’re paint nerds, and we love our work.

Color advice, for your ceiling

There’s a great outfit just outside Philadelphia that is a valuable resource to we painting professionals, the Paint Quality Institute, www.paintquality.com.

The institute’s mission is to inform and educate the professional as well as the consumer. Their Director of Communications, Debbie Zimmer, is a dynamic and engaging speaker who keeps our industry on its toes, with her wealth of knowledge regarding color trends, as well as consumer purchasing behavior. I’m including here a blog post of Debbie’s that offers a refreshing take on adding color where you least expect it – the ceiling.

Debbie Zimmer, Paint Quality InstituteWhen redoing a room, don’t fail to consider how your fifth wall – the ceiling – can help enhance and beautify the space. In the right circumstances, adding color to the ceiling can make a big difference in the appearance, ambience, and character of a room.

The lightness or darkness of the ceiling color can create an illusion that the height of the room is higher or lower than its real dimensions. That’s one reason many people opt for a white or very light-colored ceiling. More often than not, a ceiling is regarded as too low, especially in older homes. And a squat room can feel claustrophobic. Hence, the common use of a light ceiling color.

At the other end of the ceiling spectrum, many newer homes have one or more cathedral ceilings in the foyer, living room, great room, master bedroom, or bath. While a white or very light-colored ceiling can create an aura of luxury in the entranceway, a vast overhead can make other rooms seem cold. Painting a cathedral ceiling in a living room or bathroom in a warm color like soft yellow, gold, or light cinnamon can provide welcome intimacy to an area that would otherwise be just raw expanse.

Rooms with “ordinary” ceilings of standard height can also be enhanced with a little ceiling color. (“Little” being the operative word, since subtle color typically works best on the fifth wall.) If your walls are painted in a mid-tone, consider treating your ceiling in the very lightest tint that appears on the same color card. You’ll be surprised how this can pull a color scheme together.

If you break away from the wall color, proceed with caution when painting the ceiling. You’ll generally do best with very soft pastel hues – extremely pale blue (almost blue-tinted white) works well in many rooms, but not with every wall color.

The exception to this general rule occurs with homes that are either very old or very new. They may offer special opportunities to those who are willing to paint the fifth wall.

Debbie Zimmer, Paint Quality InstituteVintage or historic homes often have irregularly shaped ceilings, particularly on second stories, where bedrooms and bathrooms sometimes track the profile of the roofline. Contemporary architecture, on the other hand, often intentionally incorporates dramatic, angular ceilings.

If you are living in a home that is endowed with such ceiling features, don’t shrink away from them. Play up your home’s unique ceilings with paint color! These are the kind of spaces that scream for innovative color treatment.

The great variety of unexpected ceiling shapes and dimensions makes it difficult to suggest general rules on color treatment. Moreover, that defeats the whole idea of painting these ceilings in a color that is your own personal style statement.

Still, it is safe to say that you should feel more liberated color-wise when choosing a paint color for a unique ceiling. Contemporary spaces often look great when the ceiling is painted in a “statement” color drawn from modern art – orange or certain browns, for example, while ceilings in older homes typically look best in a hue derived from a more traditional color palette.

The final choice is yours when painting the fifth wall. After taking into account how tone will affect the perceived height of the space, let your creativity soar!