1. Faux mahogany wood beam library, styrofoam preparation:

Shaped styrofoam comes in 'casings' -- a remnant of production where the shape is extruded -- which will also will protect the finished pieces en transit. For this particular application, I designed for a beam measuring 3 inches by 6 inches to act as the base application beam, with the room perimeter beams angling back to accommodate the existing crown molding (picture shows different shapes in the casings). They will be applied to the ceiling using water-based adhesive; and tacked in place with three-inch sheetrock screws at 2-foot intervals. The screws will inset into the styro about an inch without needing a washer, just the force of the screw and screw head secures it in place long enough for the adhesive to set.



First preparation step is to coat the surfaces that will be exposed, as this applied coat also serves as primer. The primed surfaces will later be painted in a faux wood grain. The coating is a thick paint-like product called 'texture paint' that is brushed on heavily enough to generously coat the surface and disguise the 'orange peel' texture of the styrofoam, and also give a striation texture from the paint bristles that mimics wood grain. The nature of this texture paint is to be rather flexible and clay-like for a few days (even when painted over with further wood graining steps). Eventually it will harden to a resilient shell over the course of a week or two. This works perfectly with the flexible nature of the styrofoam in the course of installation and attachment, unlike plain plaster painted over the styro which may crack and pop off in handling.



The pictured styrofoam being coated is the cap layer of the beams, and one inch narrower in width than the base beams for a 'just right' edge reveal, to be glued in place over the base block beams. Their slight weight will allow them to stay in position with adhesive alone, with no screw or nail tacking necessary. This makes the overall ceiling application much easier and secure, done in two steps. The inch and a half thick caps also cover the attachment screws for the base beams, and their slimmer size will easily facilitate the specialty cutting and mitering that will give the end work it's ultimate high-end artisan presentation.

 

2. Faux mahogany wood beam library, styrofoam color coat and installation:

When the beams have air-dried to the 'clay' stage, the surface may be worked with sand paper (100 grit is a good medium density sandpaper). Carefully sand all surfaces that are showing drips, uneven application of base coat, granules and other imperfections. This is especially necessary in areas where light reflections on the sheen of the finished work may enhance certain uneven surfaces. Gently sand into the surface to bring a crisp, smooth edge to the beams (fig. 1) further removing any 'orange peel' texture, and use a folded piece of sandpaper at the fold or over a block with a sharp edge to re-enforce the inward angles of the cap beam as well (fig. 2).



With the selected color (latex, interior, flat sheen) apply a consistent, thin and even coat to all prepped surfaces (fig. 3), working well into the texture and angles of the surface. The color selected depends on the faux wood grain to be performed. The red toned woods require a color range of amber/pumpkin to terra cotta for medium to dark mahogany; white to tan for standard oaks, tan-pink to rose for red oak; medium tan to brown for walnut; gray-tan for hickory etc. The choice for the foundation color is equivalent to the palest color found in a sampling of the species desired. Two thin coats may be necessary.

Depending on space allowances, time and ease of application, the faux wood graining steps may be applied before or after firm attachment to ceiling or other surface. In the case of this presentation, it is decided to work the faux finish on the base beams after they are in place (they have lesser visibility, and require simpler detail/regular grain for this work); subsequently faux grain the cap beams before application, then cut/mitre after and install over the base beams. This technique gives more availability to accuracy (more grain detail elaborations can be done this way) considering the surface cap beams are the most visible.

While the color coat of the beams is drying, preparation for the ceiling may be done (before starting the room, the ceiling, fig. 4). Merely using a snap chalk line to configure placement of beams is all that is necessary. Measure on center, mark, then measure outward half the width of the beam each side (in this case, three inches outward each side). To this measurement, the line is snapped in all related directions (fig. 5). The techniques in the following pictures were decided for this presentation, you perhaps might find other equally satisfactory means of establishing placement in your situation as it applies.

Working with a chalk line is easiest with two people, one at each end of the desired line to be snapped. If for some reason it isn't possible to find someone to help, I always just push into the sheetrock (usually the surface I'm dealing with) a small spool-of-thread shaped plastic push pin, and it can fit through the ring on the end of the snap line, holding it securely while the string is stretched and snapped at the other end.



I choose to begin with the static register elements here, which in this case are the ceiling blocks that will be located at the four outer corners, and the four inner corners surrounding the central light fixture (fig. 6).

The outer corner blocks are three part; base, central block, and tapered spire. The inner blocks are two part; the base block, and the cap block. Corner blocks are trimmed on the back to allow for the existing crown molding, as the yet to be installed beams are (see pic below). The large block is tacked in place using the three inch sheetrock screws toe-nailed into the ceiling and walls, then the next two blocks are held in place merely with the water base adhesive, due to the light nature of the styro.



Adjacent to the four installed corner blocks, the angled back beams are installed simultaneously against the existing crown molding, adhesive applied to the bottom and to the region of the styro edge that rests on the crown molding (see picture below).



When the perimeter of the room is done, then the four inner blocks will be installed, applying adhesive to the base block, centering on the snapped grid, then tacked with two screws in the center (to keep from rotating), then the cap is glued over the screw holes (see below).



Once all the blocks have been established for position, then simply install each run of base beam between each block (measure, square cut and glue in place, set with drywall screws).



The unseen steps at this point are basically caulking/pointing/plaster insertion of repair, smooth joints, breaks etc. When dry, then the texture paint layer and color layer will be applied.

 

3. Faux graining and cap application:

While the installed base beam adhesives are curing, it seems best to begin creating a faux wood grain texture on the already base-coated cap beams. There are many wood grains to pursue, but I choose a simple yet rather exotic presentation that satisfies the wood grain 'naturalness', and is a more lovely grain and more rare than say pine or oak.

Since the base coat of color on the surface reflected the lightest color desired in the wood species, then the glaze coat will reflect the darkest color in the wood species desired, simply said.

Personally, I choose to use oil-based glaze and color it with artist oils. In this case two thirds raw umber and one-third burnt sienna. These two colors alone or in combination, or with burnt umber (which falls somewhere inbetween) are used almost extensively for wood grain. I mix the artist oil from the tube with enough mineral spirits or thinner to make it 'pourable', like heavy cream. This I mix with the neutral glazing medium (already like a thick paint) to create a dark rendition of the color desired, and glazed down enough to ride on the surface of the base color without 'staining' into the paint. As for water-based glazes, I would assume that the color may also be artist grade acrylics, mixed with the water-based glazing medium, but as with water based materials, it may be necessary to thin slightly with water, then enriched with a bit of 'flotrol' to regain the slickness needed, also to increase the working time and slow the drying time.



Apply the glaze to as much surface that can be worked easily in a minute or two, maximum. Then return and work the glaze to a wood grain by:
Drawing the brush sideways to create heavy and light striations; using fingers to 'finger paint' highs and lows; pushing the brush bristles against the direction while jittering to invoke a burled effect; and/or use liner brushes to create strong grain lines and knots.



Work all cap beams, then return to base beams and continue in same fashion.



Work glaze on interior areas first, working into connecting areas next. Do high visibility/main character pieces (bottoms caps of blocks) last. All faux methods described were used to do the graining shown here. This step is the first in a series of graining steps, and must be applied in a high contrast, almost cartoonish fashion. Wood grain at this stage will be mostly darks and lights, and this is what you want.

Painters tape was used to contain the patch/filling/blending work that was done prior to glazing. It doesn't necessarily depict the edges of the process, just gives a clean finish that will affect future steps.



When the cap beams are dry they may be attached to the base beams, even if the base beams aren't yet completely dry (since the contact areas are both bare and dry styrofoam. The dryness factor is determined when the glazed areas are dry to touch, and not at all sticky.

Handling of the semi-dry pieces is done very carefully, as contaminating elements such as finger prints, splatters, clothing/plastic sheeting contact will most likely affect the finish. Should this occur, do NOT use fresh glaze to 'touch up'. It is too wet in comparison, and may further compromise the final finish. It is best to rub with a finger, dry brush or cloth to stabilize/minimize the visual damage, next allow to dry completely and then 'touch up'. Wet oil base glaze WILL re-dissolve 'not dry' oil based glaze, no matter how close to dry it is.

For attachment, use water-based adhesives ('liquid nails' has a product made for foam insulation, which is what I used), as any vaporous, solvent or mineral product will certainly affect -- if not dissolve -- the styrofoam, and then will fail in the adhesive success as well.



No nails or tacks are necessary to apply the cap molding. Because of the thin profile and very minimal weight, the tack of the adhesive is all that is necessary to apply and hold. I used two lines of water-based caulk on the outer edges, and the more gripping water-based adhesive on the center bead, which has yet to be done in the picture above.



Mitre cuts are done (for my application) with a power mitre-box saw. Hand sawing is also successful, but with care to avoid ripping away particles on the cut edges. I recommend a very fine-toothed Japanese back saw.

Connecting areas are carefully and accurately mitred to further enhance the illusion of wood. The side mitres are done like a 'y', and the interior mitres are done like an 'x'. In the case of this application, the interior connections are all butt-joined to the base block. But in other applications, it can differ, as in the following pics from the library beamed ceiling I had done earlier.



The last detail to assume at this step is to brush the dark glazing medium into the mitre cuts now showing white, and any dings or nicks that occurred in the installation process. Only apply the glaze where the surface is DRY, as the medium will re-dissolve any glaze that is semi-dry.

4. Final wood grain steps, and sequencing of ceiling finish
When the base grain step has totally dried, check all surfaces, remove grit, touch up blobs and off-grain applications, and do any repairs necessary.

Apply one or more coats of the same colored glaze used in the faux grain and apply in a uniform, gentle, grain-directional fashion. This will even out the contrast intentionally applied in the earlier drag/striation/wipe technique, and finalize the wood grain richness. Carefully blend all work, start at harder to reach areas first, working last to the easiest. Finish with most important/high visibility areas.



Before this glaze has dried, check and repair any uneven applications, chips, blobs and/or drips.

When totally dried, you may then choose a base color to insert into the ceiling grid, if not already painted in advance of application of faux beams. Mask out each grid and fill the base color. I prefer to paint the grid at this stage and avoid the need to be too careful during the messy glazing steps. You may paint the overall ceiling your desired color before, and touch up after the beams have dried in their final steps. The choice is yours.



The work could end here, and be a gracious finish. However, I'm going for a little more age and period appeal.

For this work, I opted to paint each grid to appear in a recess coffer with the sides angled up to a 'higher' ceiling plane; an economical way to raise the ceiling sense of a smaller room. Done in trompe l'oeuille fashion, the inner square is metallic (copper here) to catch the soft light of a lamp-lit room, and thus appear even more recessed.



Masking out the first rectangle, I offset the inner square toward the more likely focal source in the room to appear as if it had been raised up, and viewed more in diminished perspective because of its higher placement. I then connect the inner corners to the outer corners with a sharpie or lead pencil creating the side angles of the coffer, then shading the color appropriately to the light source of the room, in this case, the central square flush mount light.

The first pic above shows the color somewhat off-hue as it is a pic taken with flash. The darker green of the finished pic on the right is the same color and shade surrounding the copper square in the first pic. I lightly brushed a paler shade over the outer sides for their lighter cast, and introduced a third middle shade on the side panels for 'indirect light'. Next the rectangular beam and copper grids were re-enforced by cleanly edging with a permanent marker and straight edge. One may opt to finish the project at this point as well. I chose to continue and to glaze then rag off, the surface with raw umber -- to soften the brightness of color, add 'age' and further enhance the perceived height of the ceiling area by diminishing attention within each grid.



5. The wrap of the project

The walls in this room were the simplest to do, as the primary focus of the room is the faux mahogany, and the walls' purpose is to back away and let the primary statement be viewed. The walls were first painted a dark base, most any neutral color would have worked, as the chosen color for the walls is to be a metallic lavender. This medium flows better over a satin surface finish, dark enough to read as shadows in lightly applied areas, as opposed to a white base that requires complete thick coverage. In this usage, one quart of the expensive metallic paint was more than enough to do all the walls.



The above pic was taken after the cabinets were begun installation, but I've chosen to use this as a reference. Over this was brushed the metallic lavender, made by Ralph Lauren, and as with metallic paints, application toolmarks are visible. With that in mind, I applied the paint with a small 2-inch brush, applying short, multi-directional strokes so as to enhance light refractions.



On the back wall over the shown lower cabinets, I applied a display panel of five rectangles, the middle the largest, the sides medium, and those three separated by two very thin panels. Each panel was outlined by masking 3/8 inch wide lines and using aerosol paints. First black, then copper misted over for an antique appeal.



These allow for placement of art, mirrors, candle sconces or any other decorative works, or to leave the wall alone and allow it present itself as an art statement as it is. The color selection for this room was mahogany, copper, lavender and sage green. These wall colors simply and calmly refer to that choice.

The floors were actually the next project to be done after the completion of the ceiling. We removed the existing carpet, cleaned the floor and at this point used blue tape to mark the exact dimensions and placement of future cabinetry. This step is very important in visualizing the later placement of furniture, rugs, tables and floor lamps – and to check that the cabinetry proportions work in the space allotted.



The cabinet purchase was made after confirmation that the eight modules would fit properly; the floor was then installed. We chose the selection of a floating, manufactured flooring that was installed in a matter of hours. The under base was a dense neoprene like substrate, and the planks locked into place over that. We chose the dense substrate based on the fact that this was a second story condo, and as a media room, sound transference was an obvious issue.



This dark species was chosen to ground the room, give a rich contrast to the mahogany and other 'period' work in the 'turn of the century library', and to best present the chosen carpet.



The carpet colors reflect the period, yet with a light-hearted twist, contains the color palette of the room – the sage green, lavender/reds, coppery tans -- and was the perfect proportion to contain the furniture, show the flooring underneath, and soften the tones and coolness of the room.

The base cabinets were installed, anchored and covered with a plywood cap to secure the balance of their placement. Electrical lines were run under the bases for future outlets, lighting etc.



All cabinetry was sanded, primed, and painted in the same base color as the ceiling. The steps remain the same as the ceiling in transferring the woodwork into a faux mahogany. Sconces were added on the bookcase with circular plaques applied for a base, no drawer pulls were used as a precaution to catching clothing and other objects while in passage in this smallish room.



Interior of the bookcase itself was painted a deep mahogany color to offset the necessity to do faux mahogany inside the bookcases, somewhat a waste of resources and funds.

The room has been finished with details of the faux mahogany reduced in description, yet the idea has been passed to show the final view. The remaining feature, the fireplace, has been allotted as last in the series of this work, financially, and will be done within a couple of months (a great amount of work already has been done). It will be a five section series of boxes creating (from bottom up) the hearth, firebox, mantle, overmantle and crown cap of the work, and will be based on a roller system for access to the interior wiring. The firebox and overmantle areas will house four (two each) 'turned' columns in fact made of candle bases and large pvc pipe, that will be finished in mahogany and copper. The large screen plasma tv will fit into the 'firebox' area, and dvd's of crackling fires or aquarium life have been procured to show in the space when not used as a video or pc screen (a wireless keyboard is used on the lap of the client). The future home for the cable box, sound system tuner, dvd/vhs player and computer mixing system will be housed in the 'mantle', which will open like a tailgate of a truck. The speakers will be housed in the 'crown cap' of the piece (furthest from the floor, for sound reasons), and lastly, on the overmantle, a set of petit period sconces will be installed that each houses a flickering flame bulb.

Following are pics of the final work, with the before in the corner of the view:





The entry door was removed, and the hinge/catch mortises were filled. The tall bookcase was installed, with a taper to the entry to allow a smooth entry flow. A pendant light will drop into the space in that corner. All electrical lighting switches have been hidden inside the bookcase, and the future home of the tower, power surge protector electronics is inside the corner office cabinetry. The existing printer shall have a shell of 'books' over it when not in use.



And the fun details that make any space, although not strong in the finished piece, a necessary finish to quiet detail:



The ALMOST finished room, as it appears now.