The Doors!

Order matters, which is the main reason why planning is so important. In the first dollhouse I ever completed (notice I say "completed," not "began") I did each door only after I finished the rooms that it connected and I left the windows until absolute last. Needless to say, nothing ever looked quite right. Installing the doors first allows you to achieve a much tighter fit with all the trim in the room. Ultimately, you're going to end up with a room that looks much more like a room in a real house.

Today I'm going to talk about finishing a pre-made door. In the next couple of posts, I'm going to teach you how to make a variety of different doors from scratch. Trust me, you're a better woodworker than you think--within a few weeks, you're going to be a door making champion.

1. Pick a door, any door. For the purposes of this post, I'm going to assume that you're working with a standard Houseworks 6 light door. The term "light" actually refers to the 6 little inset panels in the door. But, regardless of what door you choose, the procedure is about the same so bear with me.

2. Sand that baby. The trick here is to be (don't I know it) firm but gentle. This should resonate with the parents out there: you want to get rid of the obvious flaws, but not push so hard that you rough off the beautiful, crisp edges. These are, after all, what make the door interesting. Start with a finer grit of sandpaper than you think you need, maybe 240, and go slowly. A little bit of sanding sponge (they tear pretty easily) works great to sand down those beveled edges.

3. If you're staining one side (or both sides) of the door, now's the time to do so. If you're staining (or painting) both sides, order isn't as much of an issue, but the reason you want to tackle the stain before the paint is, wood is porous! Any gesso or paint that gets on the wood now is going to stay there, and that's not really the look you want. Stain the door (remembering the sides of the door), and lay it aside to dry. After it dries, apply your first coat of varnish. I use matte or semi gloss spray varnish, here. Sprays, unlike liquids, don't leave brush strokes. It's very important, however, when working with a spray to apply very, very, very thin coats. Don't try to cut corners on this step. Waiting about 30 minutes between each coat, apply 3 thin coats of varnish. After the door is completely dry (usually about 2 hours), lightly sand the door with either 400 grit sandpaper or an extra fine sanding sponge. If you sand through to the wood, it's OK--you can fix it. Using a small brush, touch up the area with stain. If you're using a water based stain, then mixing a little bit of brown acrylic paint into it helps to thicken it up and increase coverage. And remember, real wood doesn't look completely uniform and that's what makes it so expensive.

4. Remove any dust from the crevices of the door with a clean, dry craft brush and repeat the sanding and spraying procedure. After the door is clean and dry, spray a single, final finish coat on and leave it to dry.

5. If you're painting the other half of the door, then now's the time to break out the masking tape. I use 3M painter's tape. It works well, but nothing's foolproof--this is a tough step. If you're using a pre-made door, you might want to consider staining or painting both sides of the door the same color. Run the tape around the sides of the door, creating as straight an edge as you can. Use your fingernail (or a scrap of wood) to gently press the tape into the door. You want to ensure a tight seal, here. The tape is going to give you a smooth division between the stain and the paint.

6. Break out the gesso and gesso that baby. After the gesso is completely dry, lightly sand the door. It should feel smooth to the touch.

7. Break out the paint. As with the walls, you want to start out with a slightly watery first coat--except around the edges of the door. Here, you want to apply the paint full strength, angling your brush strokes towards the tape. Once you're finished painting the door, set it aside to dry for at least a couple of hours. Once the door is dry, gently remove the tape. If you painted both sides of the door, you can use the same technique with the tape to separate the colors of paint from each other.

8. The frame of the door breaks into two parts: the lintel and the threshold. The lintel is the part that encases the door, and the threshold is the part that sits on the floor. In most houses, the threshold matches the surrounding floor--wander around your house and have a look. If, for example, you're going to be installing hardwood floors, then you might want to paint or stain the threshold to match. If you're going to be installing carpet, or tile, then you might want to paint it a brown or cream, to coordinate. In most houses, the lintel matches the trim on the door. Keep in mind that the lintel will be visible after you install the door.

9. Once you've finished the door, it's time to install hardware. If you're yearning for something other than the basic brass options, then my friends at Earth and Tree, www.earthandtree.com, have an awesome selection. Personally, I like to use something different every time.

10. Now, reassemble the door with the frame. It can be especially tricky to realign the threshold with the lintel, and I usually use a gluing jig for this step. If you don't have one, then small clamps work just as well.

Your door is ready to install. Personally, I don't use the trim that comes with pre-made doors, but that's a matter of personal taste. At this point, if you're using pre-made doors, you want to go through your house and install them all. If you're making doors from scratch, then tune in next time!

Painting the Walls

Believe it or not, this part is trickier than it seems. It's just paint, right? Do I really need to go there? When it comes to paint, the possibilities for disaster are pretty much endless. My personal favorites include obvious brush strokes, ridge marks and, my personal favorite, gloppy puddles that appear for no reason. Here are some thoughts on how to avoid these common pitfalls and make the most of your painting experience:

1. Start with good quality paint. Yeah, I know. But seriously, it does make a difference. A lot of people will tell you to start with a super expensive brush and, yeah, maybe that makes a difference. Considering as how I live on planet Earth, where I need to use my hard-earned money to buy things like groceries, I wouldn't know. I've found that the cheapo packs of craft brushes work just as well. Now, I don't get the ultra cheapo (like, 20 cents a brush) brushes, I get the slightly more expensive (8 bucks for 5) brushes. You can find packages of them at Michael's, emblazoned with inspiring names like "craft brush value pack." Basically, the difference is that these brushes are fake and the nice brushes aren't. The brushes with the white bristles (my personal favorite) are fake (faux, for you fancy people) white sable, just as the brushes with the reddish brown bristles are fake red sable. The bristles came off an assembly line, instead of from an animal. Apart from all other considerations, I can totally get behind not ripping the hair out of some hapless ferret by the roots. I don't dig hurting animals. Likewise, the bristles make it into the brush in basically the same way, too--they're gathered together in a big ponytail by a machine, glue is dabbed on the end of the ponytail by another machine, and they're inserted into a little metal cup. This little metal cup, called a ferroule, is then crimped shut by yet another machine. Finally, the ends are trimmed into a uniform shape. Voila, you've just achieved brush. Again, the difference is in the materials used--artificial glue instead of horse hoof glue (yes, "real" glue comes from horse hooves). One really good reason for studying art is that people can't BS you about materials quite as easily--a lot of "fine art" supplies exist to lure in suckers. Don't be one! Anyway, you can check out my work and decide for yourself if it sucks.

2. Decide, well in advance, what room is going to feature which colors. Nothing ruins even a really great paint job like poor planning. A neighbor of mine recently invited me over to admire her newly renovated kitchen. She'd spent a lot of money on it, and she'd gotten a great deal, at least when it came to workmanship: nicely crafted woodwork, expensive fixtures, professional paint job. The only problem was, everything in the kitchen was school bus yellow and candy apple red. I felt like I'd walked into a McDonald's. The moral of the story: coordinate! Remember, in a dollhouse, you can see all the rooms at once. For the Hampton, I chose a color I really liked, moss green, and worked around it. The master bedroom is blue, the library is yellow, and everything else falls somewhere in between on the color spectrum. Green (a mixture of blue and yellow) is the unifying theme.

Also, keep track of what other finishing materials you plan to use, when you select colors--what do you have in mind for the floors? The trim? I'm planning to use some stained woodwork, some painted woodwork, some carpet and some linoleum. I need to make sure that these choices are all going to blend in. For example, the stained woodwork is going to be mahogany, because mahogany--in addition to looking expensive--has a lot of yellow tones in it. It's going to go really well with my overall color theme. I tend to take materials on test-runs--as you can see, the carpet is just sort of hanging out in the master bedroom, while I get a feel for whether I like it there or not.

Also, note that I left a couple of the walls blank--I'm going to be installing floor to ceiling paneling. I know I've said this before, but it bears repeating--the more planning you do beforehand, the better off you're going to be later on. It's a pretty sick feeling when you realize, halfway through working on a room, that you have absolutely no idea how you're going to make it work with the rest of the house.

3. Mark off the ceilings (if you finished them in the last step) with masking tape. Duh.

4. Get some (clean!) water. Do not use brush water, people. Pour a little paint into a Dixie cup and add water until the paint is the consistency of heavy cream. Yes, you want it a little too watery for this step. The point is not to cover well, but to lay a solid base coat. Plaster (and all forms of gessoes are just reconstituted plaster dust) is extremely porous. If you use thick paint, then you're going to end up with blotchy, ridgy walls. Lay on your first coat of paint. It's not going to look great. Wait for it to dry, and lay on another coat. Wait for it to dry. Lightly--and I mean lightly--sand. I really like extra fine sanding sponges for this. Now, you can start using a little more paint and a little less water. The learning curve here is really steep--you're going to find that you get a feel for what you're doing really quickly. Build up coats until you achieve opaque coverage.

Some troubleshooting techniques:

Don't give into the temptation to rush. These first steps are the slowest, but they yield the best results.

If you see little "holidays" (white spots, blotchy spots, strange areas) appear after you've just laid on a nice coat of paint, don't try to touch them up. If you do, then you're going to end up with a royally painty mess on your hands. Sit on your hands if you have to, but wait until the walls are fully dry before you play touch-up.

OK, so you have blotches and ridges--now what? First, wait for the wall to dry. Grab some sand paper (For this, I tear off part of a fine sanding sponge), dip it in some clean water and gently sand over the area. Rub in a circular, not a back and forth, motion. Wipe off any stray grains from the sandpaper with a damp cloth. Once the area dries, lay on one or two light coats of gesso. After the gesso dries, you can lightly sand it with an ultra fine sanding sponge.

OK, so you have visible brush strokes--now what? Depends on how bad they are. If they're bad, see above. If they're visible to the eye, but not too bad to the touch, then lightly sand the wall with dry sandpaper. Again, rub in a circular motion. Remember, it's better to spend too much time on this step than too little!

Plastering the Walls

Everyone has their own personal preference, and I'm going to teach you mine. The most common method (which I dislike) is to use wallpaper 100% on every surface possible--the reason being, it's relatively easy. Once you get the hang of hanging wallpaper, you can speed through the house. Here, the good news and the bad news are the same news: you get professional results, but your house doesn't look very good. Too much wallpaper looks busy--all these little designs, side by side, are a lot for the eye to take in. Picking coordinated colors is a big issue in any dollhouse decorating project--unlike in a real house, where you see only one or two rooms at a time, in a dollhouse, you very often see all the rooms at once. Any plan should take this issue into account. To that end, I prefer to plaster at least some of the walls in any dollhouse I build.

OK, you're probably going to read on and go, "Is all this necessary? Why can't I just gesso and sand the plywood?" The answer is yes, it is and the reason you can't is, the grain of the plywood will raise and show through. No matter how many coats you apply, you're going to end up with gessoed plywood instead of dollhouse walls. It's really an issue of scale and, for me, being an obsessive perfectionist. The technique I describe here can be a little challenging to master at first, but becomes much easier over time and provides beautiful results. I promise you, with all these building and decorating techniques, the learning curve is very steep--you're going to be creating things you love in very little time.

To complete the basic finish work on the walls, you're going to need 9 things:

1. Artist's bristol board (vellum or smooth, it doesn't really matter)

2. Mod Podge

3. Gesso

4. A brayer (my brand preference is Speedball)

5. A rubber squeegee

6. Scissors or an X-Acto knife

7. A pencil

8. Trash bags

9. A cheap painter's brush

All of these things are available at any major craft store, such as Michael's. Ask for help if you can't find them all right away.

The first thing you want to do is lay down trash bags beneath your work area. This procedure can get messy, especially if you've never done it before. Make sure nothing valuable is lurking nearby.

Cut out pieces of bristol board the size of the room you're working on first. Don't forget, you can do the ceiling, too. Remove the pieces of bristol board for a minute and, using your painter's brush, slather some mod podge onto the surfaces of the room that you want to cover. Don't skimp--too much is better than too little. Remember, the idea here is to provide a good adhesion, not to look pretty. Below, you can see how the mod podge should look when it's on the wood--thick, visible, but not dripping.

Next, you want to apply the bristol board. Keep in mind, you need to work relatively quickly here--you don't want the mod podge to dry. After you've pressed each piece of bristol board into place, roll the brayer over it (using some solid downward force) to force the air bubbles and wrinkles out. You can also use the squeegee to get into tight spots, like corners. Keep going over the bristol board until it begins to feel dry to the touch--you don't want any last minute air bubbles appearing. A thick paper like bristol board can sometimes be challenging to work with, because it twists and buckles as it begins to dry. Anticipate this problem, and you're going to be home free.

After you're done with each room, go around the edges (don't forget holes for doors and windows!) and very gently wipe away globs of excess mod podge with a slightly damp paper towel. It's better to remove these globs now, when they're easy to remove, than wait until they dry.

After you're done with all the rooms you plan to do, make yourself a cup of tea and read a book for awhile. You should NOT do anything else until the bristol board is completely--and I mean completely--dry.

When the bristol board is completely dry, use an x-acto knife and a hard surface, such as a piece of plywood, to remove the excess paper. You can lightly--and I mean very lightly--sand along the edges with 240 grit sandpaper to remove any paper fluffies. Press the piece of plywood against the inside of the wall (against the bristol board you want to cut) and gently run your (very sharp) x-acto knife down along the edge. This way, you're removing the paper with as clean a cut as possible. You want to make very sure to avoid pulling or tearing, which is why it's so important to save this step until the bristol board is dry. Remove excess paper in window holes in the same way. Below is the Hampton with excess bristol board partially removed. Note that, here, I left some walls blank because I'm planning to use other treatments (such as wood paneling) on them.

The next step is to apply an even coat of gesso to the bristol board. Ultimately, you want to apply 3 coats, and make sure that the gesso dries completely between each coat! This is the "plaster" on the walls. Don't start trying to sand until you have at least 3 coats and, even then, be very careful--vigorous sanding is going to cut right through the gesso and rip up the bristol board underneath. If you find that you end up with gesso ridges on your walls, sand them down very lightly with wet sandpaper. A good way to avoid this problem is to keep the gesso a little bit runny by mixing it with water before you apply it. It's better to put on 5 thin coats than 3 gloppy coats.

After the gesso dries, lightly sand it with dry 240 grit sandpaper. You're now ready to paint!

A note on order: you'll notice that I haven't mentioned the floors, other ceiling treatments, or wallpaper yet. There's a good reason for this: gesso is not only messy, but also permanent. So is acrylic paint. You do NOT want to start installing your beautiful (and expensive!) treatments until you complete this step. Doing things in the proper order goes a long way to eliminating many of the common construction problems we miniaturists deal with. Don't worry, we'll get there soon!

Problem Avoidance!

Yes! You, too, can practice problem avoidance! It goes like this: before you put together the shell (or start doing anything, if it's already put together), practice a construction "dry run" in your mind. Where are the doors? Where are the windows? Is there any part of the house that's going to get blocked off? The Hampton features a "secret room" to the right of the bedroom and directly behind the bathroom--if I put it in before doing any of the finishing, then I'd pretty much be making it impossible for myself to paint the walls, add flooring or add a ceiling. Below is a picture of the floor without the walls, which form the secret room, installed.

Instead, I build the house without the secret room, and put the walls that form it aside for later. I'm not going to do all the finish work to the room before I install it, but I am going to do about half of it--the walls, flooring, and ceiling (but not the trim).

Pick Your House...

A great option for those of you who either don't want to waste time putting together a kit or find all those little bits and pieces intimidating is to purchase a pre-constructed shell. The dollhouse pictured here comes from my friends at Earth and Tree Miniatures, http://www.earthandtree.com/.

It's a wall-hanging dollhouse called the "Hampton." It's a great starter house, because it doesn't have a really challenging exterior (no windows!). It's relatively small, but it still has plenty of architectural interest. Over the next few weeks, I'll be turning this shell into some lucky doll's new home.

Which Dollhouse?

A note on selecting a dollhouse: start small! It's really tempting to, with your first or second house, set out to achieve all your construction and decorating fantasies. Finally, a chance to have that victorian parlor you've always wanted, install that really pretty wainscotting you've been saving, build a cute little window seat! You know what you're doing, after all, you have a number of room boxes under your belt. No! Stop! Intuitively, it might seem true that a 10 room dollhouse is really just 10 room boxes stuck together. It isn't. A dollhouse, even a small dollhouse, takes a LOT more work--and money--than you think. Things go wrong in any craft project, and in a dollhouse, those things can multiply exponentially--very quickly.

You're going to lay down flooring wrong, end up with inexplicable bubbles in your wallpaper, try a few new techniques that backfire horribly. A dollhouse can be, among other things, a huge money pit--and even worse than having to lay that pretty flooring you love so much twice is having to pay another 45 bucks for it. Pretty soon, you're stuck with a half finished dollhouse.

Trust me, I know--and if you think I'm the only one with a few half finished dollhouses under her belt, check eBay. A small dollhouse only seems boring until you take it out of the box and start to actually try to put it together--and start to freak out!

Before You Start...

This post marks the start in a series on how to build a dollhouse. You're going to be following along with me, dear reader, as I do just that. However, before we get to the fun stuff (watching me suffer), we need to get through a couple of preliminaries. Every book you read starts with the really boring "now preparation is important" speech, and I'm going to start that way, too. I'm going to start that way because, with the first couple of dollhouses I built--and never completed--I ignored it. I wanted to jump right in. I still do. The only difference is, now, I have a designated studio space so it's a little easier to do. But seriously, you need to pay attention to preparation. If you know anything about crafting, then you already know the basic "buy high quality glue"-type recommendations. I'm going to spare you those and, instead, give you my own list.

1. Designate a space for working on the dollhouse and nothing else. When I was in law school, my current dollhouse project lived on my kitchen table. This not only made for awkward dinner parties (my kitchen table was also my only table), but also for even more awkward crafting sessions. I'd have to unpack my supplies, work for an hour or two, and then pack them up again. I lost pieces, I forgot which moulding went to which room, etc. A good rule of thumb for space is, designate about twice as much as you think you're going to need--believe me, you're going to spread out.

2. Invest in some furniture--at a bare minimum, a table and a workbench. This doesn't have to be expensive. I still use the cheapo tables I bought at IKEA years ago, and they still work great. If you want a high-end workbench, Sears sells the entire Ultimate Garage series. It's affordable and sturdy. The idea here is, your dollhouse can live on the table and your tools can live on the workbench. If you have any extra money or space, consider investing in another workbench, to hold your "in progress" pieces--it's nice to be able to lay out all those little bits of molding you're sanding.

3. Invest in some organizational supplies. I buy all of mine at Target. Whether you use drawers, bins, whatever, find a way to keep your various woods, trims and other supplies seperate. I particularly love Target's small plastic kitchen organizers, little trays that are about 10" x 7". I have a ton of them (they cost about 1.50 each), and I put the bits for each room in a separate bin. That way, no matter how complicated things get, I'm still organized--and portable.

While it's tempting to go on and on about all the tools, tricks and storage ideas you need, I'm going to give it a rest. Lists like this are inherently difficult because everyone's at a different place in terms of available space, budget, and skill level. If you have any specific questions about tools, then ask me--and if you have some better ideas than mine, then please educate me (and my readers).