Category: Furnishings

Teak is renowned because of its durability and resistance to moisture. The wood is as durable as most varieties of oak, and in the exact same time is really thick with organic oils that it is almost immune to moisture and rust under ordinary conditions. Teak-lumber keels and other parts are found on centuries-old shipwrecks, long after the rest of the wood construction of the vessel has rotted away or been consumed by worms! Even so, teak still requires some care and treatment to maintain the wood, so it continues to look presentable.

Spray the teak using an oil soap wood cleaner and wash it down with a clean rag.

Allow the teak to dry overnight.

Sand the surface of the teak lightly and evenly, with a hand sanding block, a handheld rotary instrument, a hand orbital sander or a oscillating instrument as appropriate. Use a fine-grit sandpaper, for example 240-grit.

Wipe the teak down with a tack cloth.

Apply a coat of teak oil into the surface of the teak using a paint brush, with long, even strokes. Allow this to soak in overnight, then apply another coat.

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Before you can repair a wood joint or veneer, you must strip the old adhesive from the furniture. Traditionally, the glue held bits of veneer to furniture or added strength to wooden furniture joints. Before 1940, most furniture makers utilized animal-based glues. Made from rendering collagen from hooves, bones, skin and other connective tissue, the paste responds to warmth. Furniture manufactured after 1950 has polyvinyl acetate or PVA adhesive that reacts to alcohol. During the removal process, you will determine the sort of paste on the furniture.

Remove any large pieces of paste using a putty knife. Scrape off the tops the large lumps of glue, but don’t press on the knife to the wood.

Grind off the glue bits left from the knife. Utilize the abrasive tip on a drill, or a grinding wheel or attachment at a rotary or oscillating tool to provide you with the most control to pinpoint the adhesive.

Replace the abrasive point using a sanding disc or mat. A disc of 180-grit gives you a smooth end. If the area is small and a disc or pad would harm the end, use a smaller sanding ring to protect the furniture.

Place a drop of very hot water on the paste. If the glue softens, it’s animal-based. If the glue stays firm but lightens, it’s PVA-based.

Wipe any adhesive residue from the item. If you decide it’s animal adhesive, heat a moist rag at the microwave for 30 seconds. Wipe the paste slowly from the wood with the hot, moist fabric. If it’s PVA-based adhesive, wet the rag with isopropyl alcohol and wipe the adhesive residue from the wood.

Allow the wood to dry completely before staining, painting or regluing. Depending on the ambient humidity of your workspace, this can require around 24 hours.

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The traditional way to acquire a mirror finish on hardwood is to utilize a technique known as French polish, which basically consists of rubbing layers of shellac. This technique is time-consuming, though, and due to the stickiness of shellac, it can be tricky. A less demanding method is to rub a previously hardened finish, such as varnish or lacquer. Lacquer is a noncuring finish more akin to shellac than overcast, and because it dries quickly, it is possible to layer it more readily than varnish, which makes it a lot easier to get a glassy-smooth finish.

Sand the bare wood as needed to smooth it and remove the old finish. Complete the sanding procedure by hand-sanding with 150-grit aluminum oxide sandpaper, with the grain of this timber. Wipe off sanding dust with a dry cloth.

Fill the grain with an oil-or water-based wood grain filler. This measure is much more important if the timber is an open-grained selection, such as oak, but it makes it a lot easier to reach a mirror finish on all kinds. Use the filler having a paintbrush, scrape it flat with a plastic paint scraper, and let it dry for several hours. Sand it flat with 220-grit sandpaper, with the grain of this timber.

Spray one coat of lacquer. You may also brush or spray a coat of vanish. Wait for it to dry tack-free; lacquer takes approximately 20 minutes, whilst varnish may take one or two hours. Sand the lacquer or varnish with 320-grit sandpaper and wipe off the sanding dust.

Apply one more coat of varnish. If you’re spraying lacquer, apply two layers, sanding the first one before applying another.

Permit the varnish or lacquer to dry for one day, then level-sand with 400-grit sandpaper to remove bruises and bumps. This offers you a smooth substrate for the finish coats.

Apply one more wet coat of varnish. If you’re using lacquer, employ three additional coats, sanding each with 400-grit sandpaper prior to implement the following. Give the completes time to fully heal before rubbing them. Lacquer takes approximately a week, whilst varnish takes two weeks.

Wet-sand the surface with silicon carbide sandpaper, using water as a lubricant. Start with 400-grit paper to knock down gross imperfections, then sand the whole surface with 600-grit sandpaper. Rub until the surface shows a uniform dull sheen. Repeat the process with 800-, 1000- and 1200-grit sandpaper.

Scatter 4F pumice on the timber, spray some water or rubbing oil on it, and buff up the finish with a cotton cloth. It is a lot easier to find a full gloss finish with a power buffer than it is if you’re hand-buffing.

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Acoustic ceilings, or popcorn ceilings, were incredibly popular in new construction during the 1970s and 1980s. Originally, acoustic material often contained asbestos; today, acoustic material contains little Styrofoam or synthetic balls the size of bee-bees, which make the identical influence on the ground. Acoustic is available in 50-pound sacks of powdered material, and must be combined with water or paint. Some professionals mix the acoustic material directly with the interior paint for the ceiling; that practice, however, can result in hairline fractures at the finished ceiling. The preferred method is to blend the texture with water, spray it on the ceiling and, once it has dried completely, apply at least two thin layers of paint above the dried texture with a paint sprayer.

Room Planning

Planning for new construction is very easy. Use plastic sheeting and masking tape to guard the walls and windows from overspray. You do not have to be worried about protecting the sub-floor from overspray. If you’re remodeling, then the room planning is much more intensive. Remove as much furniture as you can from the space. Protect each one of the rest of the furniture and the flooring in the room with drop cloths. Use masking tape and plastic sheeting to protect all vertical surfaces. Keep in mind, all exposed areas will get splatter in the spraying process. Cover any open or doors hallways with a vertical sheet of vinyl to prevent overspray from impacting those areas.

Ceiling Preparation

For the best possible texture adhesion, consistently clean the surface of the ceiling with a damp clean cloth, and prime the ceiling with a drywall primer. Cleaning the ceiling eliminates dust particles that can prevent strong adhesion between the new texture and the ceiling surface. Painting the ceiling with a primer coat will prevent staining, provide a clean uniform end and protect against future loss of adhesion on sanded, taped joints. Allow the primer coat to fully dry prior to applying the acoustic texture.

Acoustic Texture Blending

Acoustic texture comes in 50-pound bags of powdered mix. Mix the texture with either water or paint, using a electric paint mixer. Whichever method you choose, the consistency of this texture liquid after mixing should resemble lumpy pancake batter. Totally mix the acoustic powder to prevent spraying lumps of dry material on the ceiling. Dry material lumps will mar the end, and possibly lead to loose acoustic texture once it dries.

Acoustic Texture Application

Apply the acoustic texture to the ground with a air compressor and a texture hopper spray rig. In case you haven’t ever done this before, practice with the gear on scrap plywood or scrap drywall before you begin on the ground. Adjust the air pressure during the spray gun to detect the proper pressure setting. Ideally, you need to spray two or three light coats of texture evenly over the entire ceiling, rather than a single heavy coat. The heavier the coat, the greater the probability of creating areas of clumping, or areas where material falls off the ceiling before it dries, on account of the weight of their coat.

Painting Strategies for Acoustic Ceilings

If you didn’t add paint into the acoustic mixture, you’ll want to paint the ceiling with a interior finish coat. Confirm that the new acoustic is completely dry before you paint it. Unless you’re experienced at painting acoustic texture, do not attempt to roll on the paint with a paint roller. Instead, use an airless paint sprayer to gently coat the texture. Apply at least two thin layers of paint into the new texture, allowing each coat to completely dry prior to applying another coat. Don’t paint the new texture with heavy coats of paint, rather than backroll a freshly sprayed ceiling with a paint roller.

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