What kind of wall finishes are appropriate for our heritage home?

Wall décor is broken into two broad categories: paint and wallpaper. Both were used alone or in conjunction with each other. Paint will be discussed in this article, and wallpaper in the next issue of Legacy.

All paint is composed of a pigment, a vehicle (composed of a binder and solvent) and additives. Significant technological advances have been made since the mid 1800’s. Prior to this time, paints were created from natural materials: clay, vegetable matter (also used to dye yarns) and by -products of mining, such as cobalt, iron, and copper oxides. Paints were mixed in situ by itinerant craftsmen until the end of the 19th century when paint in a can was invented. This mass production helped to create a more consistent, reliable product, yet interestingly enough, it is the very imperfections of older paint that many homeowners try to emulate in their home today.

Historic water based paints are generally characterized by a matte finish. Milk paint consisted of casein ( a milk protein binder such as cheese or milk), and lime. Recipes varied then as they do now. Milk paint is commercially available today in powdered form, which is mixed with water. Although the finish is flat, the colors are velvety, and the look is very difficult to emulate using contemporary latex paints. Whitewash is a general term encompassing the result of mixing ingredients such as lime, whiting (chalk), water and pigment. Traces of this original paint may still be found on farms in Alberta.

Oil based paints were made of linseed oil (from the flax seed), pigments, and a solvent such as turpentine. The combination of these ingredients determined the amount of gloss in the paint. These paints tended to get brittle and yellow with age.

Colors in paint had always been determined by the availability of natural pigments. However , after 1850, this changed with the invention of analine dyes. This created a fashion for intensely bright and acidic yellows, purples and greens. In reaction to this bombardment of color, muted colors became the rage at the end of the 19th and early 20th century. Arts and Crafts interiors favored green – yellows, terra cottas, greyed rose, and warm blue greens. Late Victorian homes sported deep rich colors such as chocolate brown, maroon, mustard, and earthy reds. Woodwork was painted with clear or colored varnishes.

As cities became cleaner towards the beginning of the new century, the use of softer, paler colors – and lots of white returned. It even became permissible to paint one’s woodwork! One theory also credits the recognition of germs harboring in dirt for society’s preoccupation with cleanliness. As late as 1929, a decorator by the name of Syrie Maugham created the “All White Room”, and took the home décor industry by a storm.

It is a mistake however to assume that only these colors were in favor at the time. Then, as now, choice was available. At all times there was a parallel trend that favored the use of colors that were not as mainstream, but nevertheless completely acceptable for a heritage home today.

The walls in late Victorian and early Edwardian residential homes comprised a dado or wainscot,( the lower portion of the wall) a field ( the center area) and a frieze, ( the area closest to the ceiling). Wall proportions changed as style dictated, and pattern motifs followed suite. Decorative painting became extremely popular.

Stenciling, which has existed for centuries, enjoyed a resurgence in popularity during the late Victorian, and early 20th century eras. The ceilings of grand Victorian reception rooms were stenciled with garlands of flowers, and fruit. Stenciling also figured prominently in the works of William Morris and William Burgess. The stylized floral designs as well as medieval inspired motifs are synonymous with Arts and Crafts design.

The trend to simplicity, and large expanses of flat color, which characterized modernism, ended the popularity of stenciling. Today, stencils from simple to complex, from contemporary to traditional are available. Many are do- it- yourself, others may require the aid of a professional.

Broken Color techniques have been popular for the last ten years and include color washing, ragging, sponging, dragging, combing and stippling to name a few. They are meant to emulate the uneven appearance of early paints, and imbue painted surfaces with “age”. They are a terrific choice for damaged, cracked walls as the imperfections add to the ambience! “Trompe L’oeil” which means “to fool the eye” is the art of creating believable three dimensional images on two dimensional surfaces and is usually the province of the professional painter.

Before beginning your project, consider the following:

1. The paint currently on the wall, and the condition of the surface.
Contact your local or provincial heritage / historic sites department for names of professionals who can help you analyze the paint and make recommendations for repair or stabilization of wall surfaces. This is especially important if your home is of significant historic importance. If you prefer to do this on your own, check out appropriate books out of the public library for information on what to do, or speak to knowledgeable craftsmen / painters. Do research on your own particular house at local planning and development offices.

2. The appropriate colors and styles of decorative painting for your home
The architecture of your home will provide you with good clues on what would have been typical décor of the time. Identify colors of paint and suitable motifs for decorative embellishments by consulting a decorator / designer or architect who is knowledgeable in this area, or head for the local library and do research. Also, contact local paint stores for help. Many have excellent swatches developed specifically for the heritage home market. If possible, purchase small cans of paint in your intended colors and finish (satin, semi gloss etc.). Paint a 3x3 foot area of the wall, or cardboard panel. If you use the cardboard, ensure it is well sealed so that the finish is identical to the final look. Move this around the room to see what effects are created under different light conditions.

3.Consider psychological effects of your color choices.
Colors have psychological effects, and this can make a huge difference in being able to live with a color or not – regardless of the historic accuracy of your choice. Fully grown trees that block out the light, awnings or porches that have been added on will affect the quality of light that filters into a room. The direction of the light will alter the color you place on your walls. West light will warm your walls with its orange sunset glow at the end of the day, and north or east light will cast a cooler light on that same color. Use the services of an experienced decorator or take a color class at your local college, public continuing education facility, or university.

Once you have done your research, you are ready to take paintbrush in hand and recreate a piece of architectural history in your own home!

by Johanne Yakula

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