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At a corner the angle is unlikely to be accurate enough to allow taking one piece of paper around. Instead, cut the paper so it will reach the corner and wrap around a very small amount. Fix it, then bring the remainder up to it, checking that its further edge is upright. The slight break in the pattern in the corner should not be noticeable.

Where the paper has to be cut around doors and window frames, use a similar technique to that used at top and bottom, rubbing to mark the shape and peeling back for trimming. At a window recess, paper inside from the window and wrap over the edges, then bring pieces from the flat wall over them. When papering around a light switch, first unscrew and loosen plastic covering.

Place the paper over the top. Feel for the switch by pressing on the knob, making cuts from this diagonally. Wait until the paper is hung before cutting fully to shape. Screw the switch cover back in position, hiding cut edges.

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Take the looped paper to the wall. Use a small step ladder so you can reach the ceiling. Open out the looped top part and position the end against the ceiling, but with a little over for trimming. Hang one edge against the plumb line marks. Stroke the hanging brush down the center of the paper to force out air then brush to the edges. With the top in place, open the bottom fold and do the same to the bottom edge. The paper should lie as it comes, not be stretched in any direction, or there will be creases.

At top and bottom rub the back of the scissors in to the angle of the ceiling or skirting board to mark where the paper has to be trimmed. Peel the paper back and cut to these lines, then press it back. If there is excess past, use a sponge to remove it before pressing the paper back. Make sure the whole piece is tight against the wall by looking across it towards the light to see whether air bubbles are trapped. Slide the next piece of paper into position so the patterns match and the edge make a neat butt joint with the previous piece, then smooth it and trim top and bottom.

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Soak any old wallpaper with warm water several times or use a stripping solution. Be careful not to dig the scraper into the plaster. If the old paper has a glazed surface, break through this with a wire brush, so that the water can penetrate. Plasterboard that has not been sealed will soften and become damaged with water. Always try a corner first. If the plasterboard under the paper softens, leave the paper on and put the new paper over it.

In a new house, plaster should be left at least six months before covering with paper. Glue size should be applied to an absorbent wall to prevent loss of adhesion by absorption of water from the paste. This is a thin wood glue to be painted on in the proportions stated on the packet – this is important. A painted wall should be sanded and sized before papering.

Fix lining paper horizontally with its edges butting. It may not be necessary to go all over a wall if it is generally smooth. Paper can be pasted over damaged and uneven surfaces only, but hard edges have to be avoided as they may show through the wall paper.

Paste lining paper over the affected area, allowing a small amount to be loose all round. When the paste has dried, tear this surplus away so as to leave a tapered, ragged edge. If there is still any hardness, sand so it blends into the wall.

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Wallpaper is made in so many attractive designs and finishes that it can be used to complement any coloring or furnishing scheme, but for early attempts at hanging avoid the heavier and deeply patterned papers. Lining paper is plain and may be used before wallpaper on painted or poor surfaces. Papering a ceiling is more difficult than a wall, but may be the only way to cover cracks.

Cellulose paste is now the choice for light papers, as it does not stain. The older starch/flour pastes are better for heavier papers. There are some self-adhesive papers that are moistened in a special trough before hanging. For most papers you will need a pasting table, preferably about 2m (61/2ft) by 80cm (21/2ft), but a kitchen table could be used.

A broad pasting brush is used to apply the paste, which is kept in a bucket. Large paperhanger’s scissors are useful, although domestic scissors can be used and a trimming knife with replaceable blades is also handy. A hanging brush is like a narrow clothes brush and is used for smoothing paper. If old paper has to be stripped, a similar scraper to that used for paint stripping can be used.

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When dealing with panels in a door or elsewhere, paint the panels first. Get well into the surrounding angles, but be careful not to have too much paint on the brush, or it will build up in the angles or corners and may run. When dealing with windows, paint the bars and the moldings before the wider parts of the frame.

In other structures, it is normally best to deal with narrow parts before broad. If there are two colors to be used on one piece, it is lighter color first. If it runs over to where the darker color will come, the darker shade will hide the lighter one. Masking tape can be used to define the edge of the second color. With some paints that set very hard, leave the tape until the paint is almost dry then peel it off.

If you wait until the paint is very hard, you may finish with a cracked line. When using a roller for walls and ceilings, have enough paint in the tray and work the roller up and down the slope of the tray. A little experience will show how much paint to take up or work out to allow satisfactory use.

A roller covers large areas quickly, but is unsatisfactory where edges have to be defined. Use a brush around edges. When dealing with a wall or ceiling use the brush at the edges, doing small areas at a time ahead of the roller so that both coats are liquid when they meet.

If all the edges are done first with a brush, the paint may be dry before the roller reaches it and the meet may be obvious.

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The traditional paint for most purposes was oil based, with pigments and natural resins. The modern equivalent is synthetic and has improved drying qualities and durability. A good gloss oil paint is best for outside work on wood or metal. Normally it is applied with a brush. A non-drip version is like a thick jelly, which can also be brushed. Polyurethane paint in a one-can form has similar qualities to oil paint, with increased water proof. A two-can version, mixing the parts before use, is one of the toughest paints made. Acrylic paint can be thinned with water and is suitable for inside surfaces. Finishes are semi-gloss and matt. It will make steel rust if a primer is not used first.

Emulsion paints can be used on interior walls and ceilings. They are not satisfactory on wood work. Washable distempers are similar in effect to emulsion paints and are now mostly used for walls and ceilings. Both can be used with a brush or roller. Emulsion comes in matt, silk and gloss finishes; distemper is matt. Vanishes are made in several qualities. The best for exterior work is boat varnish and this is also toughest for interior use. Normally, varnish has a slightly orange color. Varnish stain has a color added, but a better result is obtained by staining the wood and then using clear varnish.

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The quality of the final painted surface depends as much on adequate preparation as on the application of the paint. Nails should be punched below the surface. Knots, which tend to stand up because of their hardness, should be sanded level. Nail holes and cracks should be stopped. Buy stopping in a tube or a powder which is a mixed and pressed in with a filling or putty knife, although an old table knife, will do. Leave it slightly raised to allow for sanding.

Plastic wood makes a harder stopping and it could be used if wood has broken away and has to be built up to trim to shape. Sand the surface all over after stopping. Some porous wood also needs filling, using a paste which is rubbed into the wood and sanded to prevent absorption. Some hand-board is also very absorbent.

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All too often lighting is limited to a single dangling bulb and lampshade; yet it has an enormously important and all pervading effect on your house. No matter how good your decorating is, if the light is bad a room will look uninteresting. Good lighting can transform a very ordinary setting. What is good lighting then? Again, there’s no straight answer; it will depend on your personal needs. Clever use of light and shadows can appear to alter the shape of your rooms; a ceiling that is too high can be brought down by remaining shadowy, while wall lights appear to increase your space. Leave your room’s deficiencies in the shade and high-light its good points. An even all-over light can be depressing areas of light and shadow will give interest. Plan where you’ll need light, what sort and how much.

Apart from the usual bedside light, this will mean considering where you do the mending, pay the bills, and listen to records and so on. Then make sure the switches and sockets are where you need them. If they’re not and you can’t afford or aren’t allowed to do any electrical work, look for standard lamps with adjustable spotlights, use the central ceiling outlet for a track with a number of spots, or use extension leads from skirting sockets. You could have a long flex from that outlet with a lamp attached to the end, and loop the flex over a hook, perhaps above the coffee table.

You may think that lights inside cupboards are too much of a luxury but a spotlight could be angled to shine into them. In a child’s room make sure that the fittings are out of reach, and use safety plugs and childproof sockets. You will need stronger light for an elderly person. Lights should not shine on to mirrors or they’ll shadow the bags under your eyes. Reading lights should shine down over your shoulder, and ideally should be used in conjunction with a background light to avoid glare. If you’re right-handed you will need it come over your left shoulder. For dining, watching television and for stairways, make sure no one’s dazzled by low lights for other activities low level lighting can be affective and look very glamorous.

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