xt795x25cb9g https://exploreuk.uky.edu/dips/xt795x25cb9g/data/mets.xml   Kentucky Agricultural Experiment Station. 1930 journals kaes_circulars_237 English Lexington : The Service, 1913-1958. Contact the Special Collections Research Center for information regarding rights and use of this collection. Kentucky Agricultural Experiment Station Circular (Kentucky Agricultural Experiment Station) n. 237 text Circular (Kentucky Agricultural Experiment Station) n. 237 1930 2014 true xt795x25cb9g section xt795x25cb9g ,\   Y O, K N ,/
  \   LEGE OF AGRICULT \*\ /
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CIRCULAR NO. 237
‘ Walls as Backgrounds in The Livable Home
 L By IDA C. HAGMAN
r The treatment of walls is important because they form a
large part of the background of a room. They are the setting
against which we see the furnishings and occupants. Their
color, design, and texture play an important part in determin-
— ing the atmosphere of the room.
_ Some modern interiors which are constructed and furnished
° in definite styles require characteristic wall treatments. Span-
‘ ish and Italian styles with sturdy, decorative furniture and rich
upholstery require rough plaster backgrounds or the heavier
l type of paper corresponding to leather, plaster or fabric. The
. graceful shapes and delicate carvings of furniture of the style
of Sheraton, Heppelwhite, or Chippendale a1·e best displayed -
 ` against light, paneled, painted or papercd walls. The charm of
V' the early Colonial furniture is brought out by the small-figured
1 papers in dot, star, lattice, or chintz effect, or reproductions of
old pictorial scenes. In most American homes there is no pre-
dominant style of architecture or furniture. This fact permits
a wider choice in the selection of wall coverings.
COLOR IN RELATION TO WALLS
.i The appreciation of harmonious colors in our surroundings
_ adds much to the enjoyment of life. All colors are beautiful i~
themselves but often inappropriate uses or combinations of them
make them appear ugly. Colors have a strong effect upon the
V emotions. They can arouse feelings of joy and gladness or
V gloom and sadness. When used in the backgrounds of a room

 4 Ifciitucky Exteiisioii Circular N0. 237
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_ Fig. 1. Plain walls display the furniture, pictures rind accessories to ,
the best zulvziiitzigxe. C<1l<»1·[1;l patterns in the drapery relieve the 1110110l0ll5' K C
of plain walls and rug. ·
. I
they may create 211] ?lil1lOSl)llCl‘€ of CllCQ1‘fllll]€SS7 gziiety, eXU1T0* ~ I
lll(‘]li`, t[lllCi1l(‘SS, dignity, 01* (l(*l)I`CSSlOH. 1 I
‘ . i . . I
To add su11sl1111e and b1·1gl1t11ess to El dark 1*00111, choose the v I
sunniest. of colors, ai soft, light yellow. lt is one of the NSY  j E
colors to reflect light, makes the 111ost of the existing light in tht I
clark room, and gives the 1*00111 \V2ll‘]llI[ll, l)1`lg'lli11GSS and gaicty. l
4

 I- Walls as Baclcgroumls in llte Livablc Home 5
l Cream, buff, and ivory, also, are warm, light colors which can
. make even the darkest, gloomiest room bright and cheerful. In
addition, when decorating a dark, gloomy room, use brilliant
I colors for accent notes in cushions, pottery, flowers and
f other small decorative objects. Bright orange and red are ex-
, citing colors and, when used in small quantities, are excellent to
S add life to a room. Sharply contrasting colors brighten each ‘
[  other and give animation to the decorative scheme of the room
· that is too dull.
_ The cool hues, in which blue predominates, are more sub-
. duing and less exciting than the warm hues, red, orange, and
yellow. The coolness of the color is dependent upon the amount
  of blue that is present. Too much blue, in medium and darker
values, is depressing. ln extremely light rooms use colors which
I have a feeling of coolness, light gray, soft gray, green, etc. The
. brighter the room the more blue may appear in the color.
T For the room with an average amount of light, warm, sub-
I clued hues, dull cream, putty, and warm gray, are usually more
satisfactory than the cool ones. The cool hues may predominate
3,,  I inthe other furnishings. The amount to be used depends upon
  , V the brightness of the room.
_ I  _ Light colors, because of their power to reilect light, give a _
line sense of airiness and space to a room and make it seem
larger. whereas dark colors absorb light and seem to draw the
   I walls together.
   I CHART SHOWING APPROXIMATE LIGHT REFLECTING POWER
   y OF 001.0Rs
    Percentage of
—1es to  ‘ Color Light it Reflects
“0t°"y l Cream ________________________________________________________________,...__,,,,.................. 62-80
· Buff ._______________________»__________________________________________________________________,,_,_ 49-66 ·~
xeitt- —— Ivory ._______________________________,___________________,__________________________,__.,__.,__.. 73-78
_ Light grggn ________________________________________,___________ _ ___________________________ 48-75
SC the :   gI`€€11 ,_______,______ _ ______ , _____________________ __ ,,____....,.._....... . ..............  
A Llght blue ___________________________________________r_______________,____________________ 34-61
I lm  ` Pink ,___,_______________________,_______________,__________,______________________________________ 36-61
,11 tht Dark red ________________________________________________________,________`_,__________________ 13-30
.agO{y_ _ Yellow   ______________________________________________________________________________________ 61-75

 6 Kentucky Extension Ctrculam N0. 237
Percentage of
Color Light it Reflects
Dark tan ...................................................................................... 30-46 ‘ {
Natural wood brown .................................`.............................. 17-29 (
Light wood varnished .............................................................. 42-49 -
Gray .................................................................,.4.......................... 17-63 — %
. 2
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Fig. 2. Definite patterns in wall paper, xug, upholstery and d1·z1D€1'>’ f
[)l`O(]UC€ 2`L restless, CUHIUSIIIK BITGCE. ’l`ll€ €l.CCc5SOl'n:$ UU 1lUL 5llU\V null ·
against the figured background. y
0
l

 i Walls as Bctclcgrowncls ln the Llvable Home 7
jeg; y Intensely bright colors attract attention more sharply than
do the duller tones. They seem to advance. Bright reds,
oranges and yellows are more advancing than bright blues,
greens and violets. lf the walls of a room were brightly colored
1 all over, they would seem closer and consequently the room
  , would appear smaller. To make a room seem larger, the duller,
, ; softer shades should be used on the wall surface. Bright colors
if  ‘ are far too stimulating to be used in large quantities in a room
gse · which is in daily use and for long periods of time. Light, dull
  .· colors have a more tranquil effect than do bright ones and there-
  ` fore give greater satisfaction as wall finishes.
  _ DESIGN IN RELATION TO WALLS
  Striking effects are difficult to live with for long periods and
  l should never be used for background surfaces of frequently
  `V used rooms. Subtle effects—combinations of closely related .
  _A values of different hues—produce a restfulness which is pleasing.
'°`~ ' One does not tire of them so quickly as of striking color combi-
if  _ nations, and does not feel the desire to change wall Hnishes so
if , frequently as when striking efects are used. Striking effects are
fl _ produced by: _
  i Great contrasts of light and dark values—example, black pattern
  { on white ground.
. Great contrasts of warm and cool l1ues——example, orange and
pt , blue flowers on cream ground.
{__ Combination of large areas of bright colors.
és Combinations of all of the above.
   » Plain walls display good furniture to the best advantage
I Y (See Fig. 1). Furniture that is ugly or eccentric in design is .
 Q emphasized and thrown into displeasing relief by plain walls.
  lt is less conspicuous against an indefinite pattern in medium
values. Formal designs in unobtrusive effects are appropriate
Mfg f01‘ the general rooms, Less formal designs may be used in bcd~
  rooms not connecting with the general rooms. Realistic designs
  of birds, flowers, and landscapes are to be avoided. Softly

 8 Ifenfucky Exfevzsion Circular N0. 237
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_ Fig. 3. One s0011 tires of such O\'€I'—dGC0l`1I[B(l walls. However, t|1cY HW `_
less objectionable when there are 110 pictures, 0r definite pattern 111 the rug,
upholstery, or drapery n1:1te1*ia1. ·
blended patterns with indistinet edges usually term better baclt- (
grounds than d0 th0se with distinct outlines. t
If a lClQ._`lll'GCl paper is used, select a pattern which is in scale 1
with the size 0f the r00111. A large pattern is inappr0p1·iz1tc 111 . j
the small 1*00111 whereas the small pattern is lost in tl1e la1‘{-“` » (
r00111. Open patterns 011 light backgrounds with much of the ‘
1

 ° W alls as Baclcgrmmds in the Livable Home 9
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rug, Walls and drapery produce a more harmonious effect.
Mh background exposed, are especially good for the small room  
(Sce Fig. 5-A). The design worked out in darker tones against
pcm the light ground color makes the background seem lighter and
C in  I further away. lf prominent designs are used in other furnisl1—
,1,,,., P 1%*5, choose a paper in soft colors, in a subtle, all-over or mottled
the _ design or use plain paper with an interesting texture. Soft,

 10 Ifcntucky Ezcfension Oi2·cula.¢· N0. 237
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Fig 5. A. Open patterns on lightfbaclfgroundlsi with 1l1L¥}1·Of tl}; back— `.
ground exposed are especially good or tie sma room. ns pa ern in i
pastel colors is suitable for a bedroom.
B. A well-covered paper with rather large, formal pattern in darker .
values will apparently decrease the size of the very large room.
C. A narrow band of paper repeating the color of the walls but
slightly darker is in bctter taste than elaborate, highly decorated or cut
out borders as in D.
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Fig. 6. A. Subtle ClTE3Ct-—CO1l"ll)l1lLl[lOll of closely related values of  _
different hues—produces a restfulness which is pleasing. Q
B. Striking effects are difficult to live with for long periods and L
should never be used as background surface of frequently used rooms.  A
é

 _ Walls as Backgroumls in the Llvable Home 11
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  Fig. 7. A. Conventionalized designs in unobtrusive effects are ap-
  propriate for the general rooms.
  B. Realistic designs of birds and Howers are to be avoided as they
show too much perspective and do not present a fiat appearance as beiits
` _ wall coverings.
k ~-  tw0—toned grays, creams, and tans serve as good backgrounds
ac - . . .
n in ‘ for figured furnishings. The wall may supply the decorations
Ike,  _ if there are no pictures, no definite pattern in the rugs, uphol-
bu,  ’ stery, or drapery material. However, care must be exercised in
““‘ ~ the selection as one soon tires of over-decorated walls (See Fig.
3). Quiet, unobtrusive surfaces fit into the general plan of the
room and pass unnoticed. They are always in better taste than `
jg? the self—assertive ones.
;  _ Bold, geometric patterns should not be used in the very small
, j room nor in rooms badly cut up by a great many doors and
  ` Windows, as they emphasize the narrowness of small wall spaces.
  · "Sp0tty," "quarrelsome," "busy" designs produce a restless
i I effect.
W Wall paper should appear to lie flat against the wall and
   » Hot appear to be raised or show perspective. Occasional metallic ..
   — é’iiI1'6S are Often unsatisfactory because they play queer tricks
with light and shadow.
{ Plain, light—cream ceilings are preferable to moire or in-
5 O * ·
 . distinct patterns.
d ‘ . . .
an ; A Harrow band of paper or a picture molding, repeating
 . the colors of the walls, is in better taste than elaborate, highly

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Fig. 8. A. "Busy." B. Spotty. C.
Crnxvling, effects are tiring because they i
ztttrnct the attention by their apparent  `
lT10\'8l’Ti€l1tZ. ;
J

 Walls as Baclcgrolmds in the Livable Home 13
Fig. 9. A. The interesting texture of this paper allows a pleasing
 ` play of light and shadow and makes a line background for sturdy furniture.
B. Soft, two—t0ned grays, creams, and tans serve as excellent back-
V grounds for the furnishings in many rooms.
_ decorated, or cut out borders. The less conspicuous the joining
of ceiling to side walls, the better.
TEXTURE IN RELATION TO WALLS
 _ Texture influences the effect of color and design. A rough-
` textured surface allows a pleasing play of light and shadow and
gives depth and an appearance of vibration to the colors applied
r to it. A flat, dull finish has a mellow quality which is inlinitely
more pleasing than a harsh, glossy iinish.
. SUGGESTIONS FOR OVERCOMING ARCHITECTURAL DEFECTS
IN A ROOM
if To increase the apparent size of a room use:
A 1. Light, grayish tints for background.
_ 2. Dull colors rather than bright ones.
3. Scenic effects which give a feeling of distance.
4. Plain hair stripes or patterns not too closely covering the ground,
_ eliminating all superfluous detail and all sharp contrasts of hue
; and value.
. 5. Limit colors to tones of two or three hues.

 14 Kentucky Extension Circular N 0. 237
To decrease the apparent size of a room use:
1. A rather large and more pronounced pattern in two tones suffi-
ciently heavy and in keeping with the rest of the room.
2. Darker values, if the room is well lighted.
3. More colorful ettects—darker, brighter tones of warm colors. ~
4. Well-covered papers.
To increase the apparent height of a room, use narrow, two-
toned stripes not more than a half inch wide. i
To decrease the apparent height: "
1. Drop the ceiling 12 to 18 inches. Cover the joining of the ceiling
and wall with simple picture molding or an inconspicuous binder.
2. Have the ceiling tone darker than usual.
For the sloping roof have the ceiling and walls alike, either ·`
l in plain effect or inconspicuous pattern with no up and down. i
APPROPRIATENESS OF WALL FINISHES TO THE USE OF THE O
ROOM
The ha-ZZ creates the first impression of the home and should
provide an atmosphere of good cheer and welcome. Its coloring °
should be warm and cheerful but dignified- and restrained. Z
Figured paper is useful in a hall which opens into several rooms
because it may be an excellent medium of color transition.
The lining room, the meeting place of the family and
friends, should have an atmosphere of "Do come in, I’m glad °
to see you," should be restful, reposeful and free from any hint
of garishness. Use subdued paints in softly blended effects or
papers in neutral colors and indistinct patterns as they make an
excellent background for pictures, furniture and decorative
objects.
The dining room should give an atmosphere of dignity and I
simplicity, geniality and cheerfulness. More color and pattern ·
may be used than in the living room. The breakfast room should
be bright and cheerful to start the day right.
The bedroom should be airy and restful, planned to suit the .
particular tastes of the occupant. Dainty effects are permissible _?

 · Walls as Backgrounds in the Llvable Home 15
· as are lighter, gayer colors, more informal and realistic designs.
In sleeping rooms serving as sitting rooms, have color schemes
ffl in lower, more neutral tones.
The kitchen must be sanitary and cheerful. Paint, wash—
able paper, oil cloth, sanitas or light weight linoleum, make
good wall coverings. .
i Connecting rooms may be treated exactly alike or one may
to- _ use types of patterns to suit the particular rooms, uniting them
’ by harmonious coloring and definite bonds of common colors such
[ as the same background tones.
ng TYPES OF FINISHES FOR WALLS AND CEILINGS
er.
Oil palm is sanitary, permanent, suitable for any room in
the house, reflects light, provides charming color effects, lends
er i itself to mottling, stippling and blending. Dull finishes give a
L . more pleasing texture than do the glossy ones. However, the
{E · semi—gl0ss is better for the kitchen for a smoother finish is more
easily cleaned. Use paints from a reliable manufacturer and
ld follow directions on the container.
ng - Oalclmlne has a low initial cost, will adhere to many kinds
Ed- i of surfaces, may be stippled, is made in soft, interesting colors,
ns but needs frequent renewals, rubs off easily and must be re- ‘
moved before applying any Hnish.
nd Wall paper provides a wide range of pleasing colors, de-
ad signs and textures, and has a softening effect. It absorbs more
M light than paint.
Or Ollcloth and sanllas have a comparatively high first cost,
an but if well pasted to the surface are permanent. They have a
Ve waterproof finish, are easily cleaned, and may be refinished.
Appropriate and pleasing backgrounds are the result of U
ud { study and careful planning and never of chance. Before pur-
irn , chasing wall paper, it is well to experiment with the effect of
ild it in the room in which it is to be hung. Pin generous samples
of paper in position in various places in the room. lf patterned
he _ Paper is under consideration, get the effect of two or three strips
,16, J P]¤@€d bGSide each other, Study the effect of the various SE1T11pl€S

 16 Kentucky Extension Circular N 0. 237
under different lighting conditions. Consider the relation of the .
color, design and texture to:
1. The style of the house.
2. The style and kind of furniture, rugs, curtains, and woodwork in
the room.
3. The use of the room.
4. The size of the room.
5. The number and placing of openings. _
6. The amount of light in the room. ·
7. The treatment of adjoining rooms. -
8. The personality and preferences of the occupants. '
WOODWORK
The standing woodwork should not be conspicuously lighter V
or darker than the walls. lt should usually appear as part of
the walls, and in harmony with them. lt is especially necessary I
that the woodwork should be subordinate when the room is small,  N
when a room has many openings, and when the openings are not
well placed nor well proportioned.  L
Vloodwork can be given a little more emphasis when the ·
room is large if the windows and doors are well proportioned
and well placed. ’
\Vith papered walls have the trim the predominating color
of the background.
lf the walls are painted, the trim may repeat the color of
the walls or may be a little lighter or darker.
VVhen stained or painted in darker values, select wall h
finishes darker in value than would ordinarily be selected so that
there may not be too strong a contrast between the trim and Z
. walls. However, avoid getting the effect too dark.
Vlfaxcd and stained woodwork make fitting backgrounds for
sturdy oak and walnut furniture.  ;
A satin finish is preferable to a flat or highly polished one. .
Gray trim with ivory is unsatisfactory as the colors detract
from each other. Q
The finish of standing woodwork in adjoining rooms should p
be alike if connected by a wide doorway or a1·ches.  A

 Walls as Baelcgroumls la the Lioable Home 17
he CQNDITIONING THE SURFACES OF WALLS AND CEILING FOR
FINISHES
For all finishes, the surface should be smooth, clean, dry
and free from cracks.
m Plastered walls
a. Newly plastered surfaces of those which have been
washed with soda should be sponged with a strong
vinegar solution.
Q b. Use glue size on newly plastered walls, painted and
caleimined walls to be papered, and on wall board.
` To malae glue size: Soak until soft a quarter of a pound of
tc,. painter’s glue in enough cold water to cover it. Pour off the sur-
Of plus water and pour two or three quarts of boiling water on to
,1.,, " the glue. Because of the great differences in glue, these pro-
my . portions may have to be changed. Test a little of the mixture
wt between the thumb and forcnnger for holding qualities or
“tack." Apply the glue size with a calcimine or whitewash
me i brush, evenly and thoroly, while hot. Dry. For painted walls to
[Cd be papered, add 1 pint molasses and 1 pint vinegar to this mix-
- ture.
my To remove eolcl uvater paint, wet the wall with warm water ·
using a coarse sponge or calcimine brush. \Vash off with a
Of ’ cloth or sponge. Change the water often. Dry thoroly before
applying a new Hnish.
all To remove olcl wallpaper, wet the paper in half of the room
iat with warm water, using a whitewash brush. Continue brushing
Hd with the wet brush until the paper will scrape off. Test by
scraping with the thumb nail. Remove with a broad knife,
for keeping it two-thirds under the paper. Be careful not to dig p_
. into the wall.
ne. . To prepare oil painted surfaces for a renewal of the finish,
get wash with warm water and a mild soap. If greasy, wash with
warm water to which washing soda has been added in the propor-
ild p tion of half a pound of soda to one pail of water. lVhen almost
i dry rinse off with clear water. Protect the woodwork and floors.

 18 Kentucky Extension Circular N 0. 237 .
To ytll holes and cracks, cut out loose plaster with the edge
of a broad knife. Thoroly wet the edges with warm water. Fill
with plaster of Paris moistened to a paste. Mix only a small a.
quantity at a time. To keep the mixture soft add a small b.
quantity of any of the following: glue size, glycerinc, baking
powder, or borax paste. Go over the cracks two or three times I 0
as the mixture shrinks.
To prepare sealed surfaces for papering, use any of the fol-  ` d`
lowing methods: _
a. Paste felt paper to the surface. Allow it to dry ·
thoroly before papering. I
b. Cover with cheesecloth, muslin or canvas tacked on
two inches inside the edge of the cloth. Paste the
edges down. Brush strong glue size over the .
material (1 lb. glue to 2 qts. water).  j
c. Cover with sheeting or muslin sewed together to if 
fit each wall and ceiling. Tack along one edge. ·
Stretch taut to the opposite side and tack. Glue A
size.  
d. Cover with burlap bags stretched and tacked about ,-
two inches apart on the edges. Size with the fol- ·
lowing mixture: M1 lb. glue to each gallon of wall ·
paper paste. Apply hot. Dry 24 hours before
papering. L
DIRECTIONS FOR MAKING WALL PAPER PASTE ·
3 pints flour. ·
2 quarts cold water mixed with the flour to form a smooth
paste. i
8 quarts boiling water. 3
Cook slowly for ten minutes, stirring constantly. Strain. ·
Wlien cold add two tablespoons of powdered alum. Paper is
not so apt to crack from fast drying if the papering is done on ,
cool, damp days.  

 » Walls as Baclegrouncls ln the Lifuablc Home 19
ge I WALL PAPER CLEANERS
ill
in a_ Stale bread.
lu b' Dough made of flour and water with plaster of Paris
lg wcrked in to stiffer; it.
Les Q_ One part Sal ammoniac, 4 parts rye flcur, water to
~ make dougli.
1 ll. Commercial cleaners.
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ry  ‘
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hc .
to ii 
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ue V
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