Heritage – Kitchen working windows

Today, I worked on the Houseworks working windows for the kitchen. I had already given them their first coat of paint and applied the crackle medium to the exterior some time ago. I can fiddle with windows and painting tiny parts only so long, then I have to move on. So, they’ve languished in the “to do box” since then.

They have their original acrylic inserts, which I will worry about aging later in the build though right now they are appropriately dusty.

For the large double window, I glued the top window pieces in place, and the lower portions are loose enough to require dowels to prop them open. That makes three windows like that in the kitchen, the other being one of the bay windows.

I’m so glad I added the casement window above the sink. I think it’s the perfect addition for a farmhouse.

Building up the outer edges of the window trim not only helped make up some of the difference between the thickness of the wall and the depth of the working window, it also makes the windows look more realistic in construction.

The padding I added to the inside wall makes up the rest of the difference in wall thickness so the interior surfaces of the windows are flush with the wall surface. This will make adding the interior trim much easier.

When I take photos where the open back will show through the windows, I often prop up a spare piece of matching wallpaper to make the room feel whole. Here you can it in place.

The Houseworks double working window came with pre-cut trim, so I painted and used those pieces as is. There were a few gaps, so I filled and painted just as I did for the baseboards. The flowers are by Michelle of Little Rabbit Miniatures.

I used brass window handles but I painted them Vintage White by Folk Art to match the windows. I usually use spray paint when I change the color of brass hardware, but old houses often have painted over hardware…done by hand. My old farmhouse was like that.

The casement window didn’t have interior trim included, so I made my own using some crappy trim wood from the Heritage kit to get a more aged look to the trim. I wanted to have a small sill for plants and knickknacks. I started with the top piece, cutting the mitred corners with an Easy Cutter. I cut the sides to end at the bottom of the window opening.

I then marked a straight board held on its side to serve as the sill.

In order to cover the gap remaining on the bottom, I cut a rectangular piece identical to the sill piece though it will sit flat against the wall.

After painting, sanding, gluing, filling and touch-ups, the window trim is complete and the sill is the perfect place for the milk carton flower.

Hmm…I think I need some half-ripe tomatoes, too.

The little chick in the nest is another creation by Cathy Rohal, the same artist who made the peacock box I showed in an earlier post. Too stinkin’ cute! And, tiny! :D

Categories: The Haunted Heritage
February 3, 2012 | 0 comments

Heritage – parlor table lamp

There was one more lamp to wire before I could finish the wallpaper in the parlor: the Chrysolite table lamp, which is the only Chrysolite light fixture I bought that wasn’t a kit. I used my usual faux outlet method for table lamps; I made a wall outlet. The outlet is made of wood with a hole on the side where the lamp will “plug in” and a drawn on empty outlet next to it.

I poked the wire extension through the floor from the open foundation and into the channel I made for the lamp wire. I used a white bead for the plug. Both the outlet and bead will be glued in place after the wallpaper is up so I still have the ability to adjust the positioning.

I wrapped the lamp in bubble wrap while working to keep from damaging the globe. The lamp is attached to the table with a bit of mini hold wax.

I used a scrap of baseboard and held the window trim in place to make sure I glued the outlet to the wall in the right place. I then glued the bead to the outlet.

It will be mostly hidden by The Chair, but I still like the way it looks! The lamp and table will sit on the front porch while I work on getting the floor in, so I’ve left the bubble wrap in place.

I also drilled a hole in the foundation for the cellar LEDs and the lamp wire. The chimney will cover this area. Thinking about it now, I could have dropped the front door coach lamp wires into the foundation instead of making wire channels. Ah, well.

Since all other wiring will come from the second floor and higher, no more wires will run through the foundation. Well, if I decide to put in a flickering fireplace unit in the cellar doors, I might need to fish some wires through the foundation, but it would be right next to the chimney and I can figure that out later. :D So, I glued the house to the elevated base I had previously attached to the landscaping board.

Speaking of the cellar, check out this creepy shot. :O

Categories: The Haunted Heritage
February 2, 2012 | 0 comments

Heritage – parlor sconces and wallpaper

The Chrysolite sconces had non-replaceable bulbs that I decided to swap out for replaceable ones. At first, I thought I would have to use candle sockets with thick wires, but I did some research and discovered and Cir-Kit Concepts makes candle sockets with varnished wires, the same type that came with the kits. :D

The sconces were molded in black plastic, but I still used flat black spray paint to take away the shiny plastic appearance. These fixtures have beautiful and delicate detailing only possible with plastic kits, but they don’t look at all cheap.

Threading the wires wasn’t exactly easy but there was no way I could have used regular white wire replaceable bulb sockets. The varnished wires fit perfectly.

I used some black acrylic paint to cover the red wires so they wouldn’t be as noticeable.

Installing these rascals involved a lot of “chicken or the egg” reasoning. I had made the channels for the wires previously. The wires will not be poked through the wall to the exterior until they reach a center point. So, part of the wires will run on the interior wall. I had to figure out how to get the sconces attached to the wallpaper, paste the wallpaper in place, and run the wires into the channels. This is why I buy extra paper! This scrapbook paper is by Recollections and is a glittery deep green with plain black on the back.

First, I made sure the wallpaper piece was cut correctly. Next, I marked where the sconce channels began behind the wallpaper. I poked holes in the wallpaper and fed the wires through, leaving the sconces loose. I did a quick dry fit, and realized I had the sconces too high. Since I didn’t want to re-cut the paper, I dropped the holes by 3/8″ (the size of the sconce back plate) so the original holes would be covered. I re-cut the channels in the wall to make up the difference.

I put a few small pieces of tape per channel to make a pocket for the wires while still allowing for movement. I figured a whole strip of tape would just stick to the wires and make it difficult to pull them through. More on that in a minute.

I then applied Yes! paste to the wall. (Note: I no longer recommend Yes paste – I use Wallpaper Mucilage instead. Yes paste has problems with longevity.)

Then came the “I hope this is going to work as well as the plan in my head” moment. I fed the wires behind the tape and out the holes in the wall. Using my third and fourth hands (bahahahaha), I somehow managed to press the wallpaper down while pulling the wires out through the holes to the outside of the wall, pausing for a second to apply some glue to the backs of the sconces so they would remain in place once the wires were pulled taut. I taped the wires on the outside of the house so they wouldn’t slip as I worked.

I then smoothed, straightened and stopped swearing. ;D I also clamped the back edge of the wallpaper to make sure it would seal tight. This was not something I wanted to have to do over. This paper doesn’t much like to stick, as I noticed when I put it on the pocket door wall.

I added the glass globes, propped my mockup ceiling in place and tried out the lights with the frame (still to be aged) that will sit between them. Love!

For a final treat tonight, I tried out two works of art by Giovanni Boldini. These are quick printouts on regular paper. Before using them, I will sharpen and brighten them in PhotoShop and print on Art Canvas by The Crafty PC.

The first is a 1911 portrait of Princess Marthe-Lucile Bibesco. I love this painting, though I just discovered it only two days ago when I was searching for the second painting below.

The second, and my original idea for this space, is the 1905 portrait of Elizabeth Wharton Drexel. I first saw this gorgeous painting in person during a trip to Newport, Rhode Island. It is located in The Elms, one of the magnificent mansions there. While the first painting is darker and has sharper brushstrokes, this one ties in the reds and oranges in the room and lightens the mood just a bit.

I am so torn between them. I think I’ll just have to wait until the room is all together and then try them again. Whichever painting I don’t use in the parlor can perhaps go in the bedroom, though I have another painting in mind there. (Final choice here.)

Categories: The Haunted Heritage
February 1, 2012 | 0 comments

Heritage – parlor firebox, wiring and coals

Before I could truly get to work on the parlor floor, I needed to finish up the parlor fireplace. The first order of business was gluing the final side wall into place. Before I could apply the parlor wallpaper, though, I needed to make channels for the two sconces that will sit above the fireplace.

In order to know where to start the firebox, I had to make the hearth. I cut a piece of cardboard a little thicker than the parlor floor marquetry border.

Next up was building the firebox.

The firebox sits partially inside the chimney through a hole in the side wall.

I’m using a Phoenix Models firegrate and resin coal fire, so the box didn’t need to be very deep. The resin coal wire will exit out the back. I might end up installing a flickering unit for the fireplace, so I’ll determine the final wiring pattern later.

Here’s the whole set up in relation to the chimney. I don’t have the gable in place, but that’s why the back of the chimney is angled. You can really see how massive that chimney is…makes my massive fireplace look small.

Here’s the firebox bricked, painted and grouted. It’s nice and dark from years of use.

The fireplace and firebox aren’t glued in place yet, but here is how they fit together. The hearth will cover the area in front of the fireplace and into the opening to meet the firebox.

The next order of business for the parlor involved turning the cardboard hearth into marble. :D Don’t you just love alchemy?

This technique is shown in the DVD by Master Miniaturists called Faux Finishes. I used a subtle dark green base with black, off-white and just a touch of metallic bronze. Once dry, I sealed with Triple Thick Glaze by Americana (so many coats I lost track). It’s by no means perfect upon close inspection, but it is rather convincing considering it started out as cardboard. :D Of course, all the painting and sealing swelled the cardboard a bit, so I had to trim it to fit again…that was scary.

It is also only one element in a larger scene and likely won’t be the focus of the fireplace if the griffins have anything to say about it. I might also bring the hob grate forward a little more so it shows better.

(Since the last photo, I’ve installed the wallpaper and flooring in the parlor, but I wanted to round out this post with the final detailing.) I tried out the red bulb and resin coals for the Phoenix parlor hob grate. I love the way it brings out the detailing in the fireplace, but it was a bit bright. I like the idea of sleepy embers in a warm, cozy room.

I used black acrylic paint to tone down the brightness of the resin coals. Having the light on while painting ensures you don’t overdo it and block out too much light.

I coated the back and bottom completely so light would come only from the top and just a little from the front and sides. It’s much more realistic with a smoldering, warm glow.

Categories: The Haunted Heritage
January 29, 2012 | 0 comments

Fancy parlor floor – part 1

I finally have all the supplies I need to make the parlor floor a reality. The marquetry border I am using is from eBay seller great-instruments and was advertised as being for guitar making. It is thicker than the flooring sheets, so I will need to build up the floor sheets to use with the marquetry strips.

Bristol paper is 1/64″ thick and should do the trick as an underlayer for the wood sheets. I’ll work on that portion later.

This is will allow for a completely flush surface for the floor.

I usually finish my flooring before installation, so I decided to do that in this case as well even though I will be piecing it all together afterward. I just wanted to make sure I could get the coloration I was looking for before spending the time putting it all together. I also worried about getting glue on the wood surfaces which would make it harder to stain once in place.

Here are the three materials in their original states. I bought the herringbone sheets from Green Gables Dollhouse and the walnut flooring at a local mini show. These are pretty common and can be readily found from online resources.

I started with the herringbone pieces first since that makes up the largest area and will set the overall tone of the room. I sanded the sheets thoroughly and then applied Minwax oil based stain in English Chestnut.

Wow, is this ever a lovely color!

I think it is going to look fabulous with the furnishings, though I’ll need to recheck it after letting it dry completely just in case the color changes as it dries.

Using the same Minwax English Chestnut as I did for the herringbone portion of the parlor floor, I stained the walnut flooring sheet to coordinate. Even though I will be cutting strips out, I made a full sheet to have consistent coloration. I can always use the leftovers for the balcony on the second floor.

Again, it turned out beautifully.

It will be the perfect frame for the herringbone center.

The next step in the floor finishing was staining the guitar marquetry. I wasn’t sure if the stain would take to it the same way as the flooring sheets, so I started with a small sample at the end using Minwax English Chestnut. It was too dark and lost all the beautiful marquetry detail. The original was too light, so I next tried IKEA antique stain. It warmed the color but wasn’t dark enough. So, I next tried an acrylic paint wash using Real Brown by Folk Art. It was a much better match.

Here are the results left to right.

The Real Brown warmed the marquetry without losing the detail. I like how some portions took more of the pigment; it makes it look like an old floor. :D

I bought three marquetry strips each 25″ in length and ended up using the paint was on all three (minus the small test portions I had cut). I again wanted consistent coloration and any leftovers could be used on the balcony on the second floor. It would be a nice way to tie in the floor upstairs with the fancy floor downstairs.

Now I just need to let it all dry while I finish the prep work in the parlor.

Categories: The Haunted Heritage
January 28, 2012 | 0 comments