thompsons

Painting a newly built MDF media wall

Sat, 10 Oct 2026 10:01:03 GMT

The short answer

I painted a newly built, full-wall media wall in a home in Barlestone, which had been fitted by a joiner and left as bare MDF and pine. The unpainted joinery needed full preparation from scratch, so I filled, sanded, primed and painted every cupboard, shelf and plinth. The result is a smooth, seamless pale grey Zinsser All Cost finish that makes the whole wall look like one factory-finished piece.

Barlestone

Location

Property

Private House

Painting bespoke fitted furniture (media wall)

Service

Full redecoration

Level of work

Duration

4 days

Products

Zinsser All Coat

before

AFTER

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What did the customer need?

What condition was it in?

The customer needed their new media wall painted so it looked finished and built in. Their joiner, had fitted a full-wall unit running corner to corner in the living room. It included two tall Shaker-style cupboards, two open shelving bays with three shelves each, low cupboards and a central unit beneath the TV bracket. The customer wanted a calm pale grey that suited the room. Most of all, they wanted it to look like one seamless piece of furniture, not a row of separate units.

What preparation was needed?

The media wall needed full preparation from bare board before any paint went on. This was a Full redecoration rather than a Refresh, because there was no existing finish to key and recoat, so every surface had to be built up from scratch.

Which paints and materials were used?

I used primer to seal the bare MDF and pine, followed by topcoat. Priming matters more on MDF than almost any other surface. It seals the fibres so the topcoat sits on the surface instead of soaking in. For the filling I used filler, which sands back flush so repairs disappear under paint. The topcoat colour is a soft pale grey in Zinsser All Coat, chosen to keep a large piece of furniture feeling light in the room.

What was the result?

The media wall now reads as one smooth, continuous feature from corner to corner. The filled screw holes and joints have vanished completely, and the finish is even across the doors, shelves, worktops and plinth. The pale grey softens the scale of the tall cupboards and keeps the room bright. The open shelving bays and central TV unit now look properly built in. For the customer, the finished wall looks as though it arrived factory-sprayed, even though every coat was applied by hand on site.

Questions about this job

It was brand new but completely bare, with no primer or paint on any surface. The cupboards and doors were raw MDF (medium-density fibreboard, a smooth board made from compressed wood fibres). The shelving frames were bare pine. Every screw hole and joint was still visible, and there were small gaps where the units met each other and the walls. Bare MDF is very absorbent, especially on its cut edges, so paint applied straight onto it soaks in unevenly and raises a rough texture. Nothing was damaged, but nothing was ready for paint either.

Protected the floors and furniture with dust sheets, as the room was in use. And removed hardware from doors

Filled every screw hole and joint in the pine frames and MDF units.

Sanded the filler and all surfaces smooth, taking extra care over the MDF edges.

Primed all bare MDF and timber to seal it.

Applied topcoat

Restoring a 1930s mock Tudor house exterior

Tue, 29 Sep 2026 21:10:23 GMT

The short answer

I repainted the entire exterior of a 1930s mock Tudor house in The Westlands Newcastle-under-lyme, where the black timber boards had peeled badly across the gables, dormer and porch. Every loose area was scraped back, filled and primed before the boards, render, windows, doors and rainwater goods were repainted in black and cream. The house now has the crisp, even finish it would have had when it was built.

The wetstlands Newcastle-under-lyme

Location

Property

Detached mock Tudor house

Exterior painting

Service

Full redecoration

Level of work

Duration

3.5 - 4 weeks

Products

Johnstones Exterior Paint

before

AFTER

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What did the customer need?

What condition was it in?

The customer needed the whole outside of their mock Tudor home repainted, because the black and cream finish had started to fail. The job covered the front and rear gables, the dormer, the porch and the bay window surrounds. It also covered the render, the window frames, the doors, and the fascias, gutters and downpipes. The rear extension and side passage were included too. The aim was to bring the house back to its former glory, with a finish that matched on every side.

What preparation was needed?

The preparation involved scraping back every loose area and priming the bare wood before any new paint went on. This was a full redecoration, not a refresh, because the old paint had failed on every elevation and needed bringing back to a sound base.

Which paints and materials were used?

I used Johnstones Gloss Paint in black on the timber boards, and Johnstones masonry paint in buttermilk on the render. A gloss finish suits mock Tudor boards because it is hard-wearing and sheds rainwater, which protects the timber underneath. It also gives the deep black look these houses are known for. Masonry paint is made for render. It lets moisture escape from the wall while keeping rain out. The fascias, gutters and downpipes were painted in Johnstones Gloss Paint in black.

What was the result?

The house now has a crisp black and cream finish that looks the way it would have when it was first built. The gloss on the boards is deep and even, and the cream render looks fresh on every side, from the front drive to the back patio. The stained glass, porthole window and tiled step all came through untouched. The red and blue brick plinth and the clay-tiled bay roofs now stand out against the new paintwork.

Questions about this job

The black timber boards were flaking badly across the front of the house, with bare patches showing through. The worst areas were the front gable, the dormer and the porch pillars. The bargeboards and the dentil moulding under the gables had peeled too. The cream panels between the boards were chipped and stained. The house also has original features that needed protecting. These included leaded stained-glass windows, a round porthole window beside the door, an octagonal stained-glass window at the side, and a tiled porch step.

WBS Scaffolding put up scaffolding to give safe access to the gables and dormer.

I scraped back all loose and flaking paint on the boards, bargeboards and moulding.

I filled damaged areas and spot primed the bare patches, so the new paint had something sound to grip.

I masked the stained glass, the porthole and octagonal windows, and the tiled step.

Restoring a 1930s K6 telephone box

Tue, 29 Sep 2026 20:53:03 GMT

The short answer

I restored a 1930s K6 cast iron telephone box in Newstead that had flaking paint, surface rust and frosted panels. I sanded it back, filled the damage, then undercoated and glossed it inside and out, and removed the frosting for the customer. The box now has a deep, even red gloss and clear panels ready for polishing.

Newstead

Location

Property

1930s K6 cast iron telephone box

Exterior painting, heritage restoration

Service

Full redecoration

Level of work

Duration

4 days

Products

Johnstones oil based

before

AFTER

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What did the customer need?

What condition was it in?

The customer wanted their 1930s K6 telephone box brought back to its original bright, glossy red. The K6 is the classic red kiosk designed by Sir Giles Gilbert Scott in the 1930s, and this one had clearly seen decades of weather. The customer asked for a full repaint inside and out, not just a quick freshen-up of the outside. They also wanted the frosting removed from the panels so the box would look clear rather than cloudy. Their plan is to have the Perspex panels polished afterwards to finish the look.

What preparation was needed?

This job needed full preparation back to a sound surface before any paint went on. It was a Full redecoration rather than a Refresh, because the old paint had failed and rust had started, so a fresh top coat alone would not have lasted.

Which paints and materials were used?

I used an undercoat followed by a high-gloss red finish, applied inside and out. The undercoat was Johnstones oil based undercoat and the gloss was Johnstones oil based red. Gloss is a hard-wearing, high-shine finish that suits cast iron outdoors, as it sheds rain and is easy to wipe clean. I used filler for the repairs to the cast iron. I also removed the frosting from the Perspex panels, as the customer requested, by removing all the film on them using sticky stuff remover. The customer is now arranging for the Perspex to be polished to bring back full clarity.

What was the result?

The K6 box now has a deep, even red gloss that brings back the look it would have had in the 1930s. The finish picks up the light across the domed roof, the crowns and every glazing bar. Inside, the walls, frames and fixings are a clean, solid red with no flaking or rust showing through. With the frosting gone, you can see right through the panels. When the box is lit at night, it glows through the clear panels and makes a real feature of the garden.

Questions about this job

The box was sound structurally, but the paint had failed badly, especially inside. On the interior, old paint was flaking and peeling away from the back panel, the door frames and the glazing bars. There was surface rust on exposed cast iron around the frames, fixings and corners, with bare metal showing in places. Outside, the red had faded and dulled, and there were chips around the roof and sign surrounds. The panels were frosted, which made the box look cloudy from both sides.

I laid dust sheets to protect the gravel and surrounding area.

I sanded back every surface inside and out, removing loose, flaking paint and surface rust.

I filled chips, pits and damage in the cast iron where needed, then sanded the filler smooth.

I applied undercoat, a base coat that seals the surface and helps the gloss grip and look even.

Repainting and resealing Victorian cottage windows

Tue, 29 Sep 2026 20:44:58 GMT

The short answer

I repainted every exterior timber window on a Victorian brick cottage in Stone, preparing, undercoating and top coating each one in Johnstone's Aqua Satin. I also resealed all the windows to keep the weather out. The fascias and bargeboards were too far gone to paint, so I advised the customer to have them replaced.

Stone

Location

Property

Victorian brick cottage

Exterior window painting and resealing

Service

Full redecoration

Level of work

Duration

4 days

Products

Johnstone's Aqua Satin

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up close

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What did the customer need?

What condition was it in?

The customer needed every exterior window repainted and resealed to protect the timber and smarten up the house. The cottage has timber casement windows with traditional glazing bars, set into arched brick openings on every elevation. Windows like these are a big part of a period home's character, so the finish needed to be neat and even across the whole property. The customer also wanted an honest view of the rest of the exterior woodwork while I was on site.

What preparation was needed?

Every window needed thorough preparation so the new paint had a sound, clean surface to grip. This was a Full redecoration because each window received a complete undercoat and top coat system, not just a single freshening coat.

Which paints and materials were used?

I used Johnstone's Aqua Satin for the top coat, over an undercoat on every window. Aqua Satin is a water-based trim paint for wood and metal. It dries quickly, has a low smell, and holds its white colour better than old-style oil gloss, which can yellow over time. The satin sheen is softer than high gloss, so it suits a period cottage without looking too shiny. For resealing I used a flexible sealant that moves with the timber and brick instead of cracking.

What was the result?

Every window now has a clean, bright and even finish that is protected against the weather. The white frames stand out crisply against the red brickwork and the black gable details. The fresh sealant gives each window a tidy edge where it meets the brick and helps keep damp out of the timber. With the fascias and bargeboards due for replacement, the customer now knows exactly where the house stands.

"

Questions about this job

The windows were flaking paint and had cracked old sealant, but the fascias and bargeboards were beyond saving. The ornate black bargeboards on the gables had deteriorated too far for paint to do any good. Painting over timber in that state only hides the problem for a short while. I told the customer this plainly, and they're being replaced by another trade.

Cleaned down all frames, sills and glazing bars to remove dirt and algae.

Scraped off loose and flaking paint, then sanded to a smooth, keyed surface.

Filled any cracks or dents with exterior filler and sanded flush.

Applied undercoat to every window to build an even base.

Resealed all the windows, renewing the flexible sealant where the frames meet the brickwork.

Applied the top coat of Johnstone's Aqua Satin.

The difference Mick has made in our windows is incredible, thank you for bringing them back to their former glory!

Restoring a carved Victorian front door

Tue, 29 Sep 2026 17:51:32 GMT

The short answer

I restored the original carved front door at Holly House in Newcastle-under-lyme, a Victorian terrace used as offices by Rory Mack Associates. Decades of paint had clogged the carvings and was flaking away, so I stripped every detail back by hand. I then repainted the door in gloss yellow and refreshed the frame, railings and plinth around it.

N ewc astle-under-lyme

Location

Property

Victorian terrace, now used as offices

Front door restoration, with exterior painting of the entrance

Service

Full redecoration

Level of work

Duration

1 week

Products

Johnstones

before

AFTER

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What did the customer need?

What condition was it in?

Rory Mack Associates needed the original front door at Holly House brought back to life. The building is a Victorian terrace used as offices, and the door is its best original feature. It has carved scrolls, rosettes and diamond panels, a stained glass fanlight above and black fluted pilasters on each side. The door had become tired and patchy, which didn't match the business inside. The client wanted to keep the original door rather than replace it. They also wanted the whole entrance to feel cared for, including the frame, railings and painted plinth along the front.

What preparation was needed?

Preparation was the biggest part of this job, because the carved details had to be stripped by hand before any new paint could go on. This was a Full redecoration rather than a Refresh, because the old coatings had failed and needed to come off back to sound timber.

Which paints and materials were used?

The door was finished in Johnstones, a gloss finish that stands up well to weather and daily use. Gloss is a good choice for a front door because it's hard-wearing, wipes clean and shows off carved detail well. Under it I used primer and undercoat, which gives the topcoat something sound to grip. The fluted pilasters and door head were painted in black gloss, keeping the original brass roundels. I used the same black on the railings. The plinth and step walls were painted in Johnstones paint, and the arch around the door was refreshed in Johnstones white.

What was the result?

The door now looks as it should, with every carving sharp and clear under a smooth gloss finish. You can see the full detail of the scrolls and diamond panels again, which had been lost for years. The yellow stands out against the black frame and white arch, so the entrance is easy to find from the street. The black railings and solid black plinth tidy up the whole frontage. The original brass letter plate, handle and number 37 are all still in place. Most importantly, the client kept their original Victorian door rather than replacing it.

Questions about this job

The door was solid, but decades of paint had built up and was peeling away from every carved detail. The layers had filled the carvings, so the fine lines of the scrolls and petals were blurred. Around the panel edges the paint had flaked off completely, leaving bare timber exposed to the weather. The black frame was chipped and worn. The plinth along the front was patchy, with pale filler marks showing through. The railings had lost their shine. None of it was beyond saving, but painting straight over the top would have buried the carvings even further.

Laid dust sheets over the steps and protected the fanlight and brass fittings.

Scraped off all loose and flaking paint from the panels and mouldings.

Stripped the carved details by hand to open up each scroll, leaf and petal.

Sanded the flat panels and edges smooth.

Primed the bare timber on the door and frame.

Applied undercoat ready for the finishing coats.

Stripping and redecorating a period boardroom

Tue, 29 Sep 2026 17:32:33 GMT

The short answer

A tired boardroom in a period office building in Newcastle-under-lyme had discoloured cream paint. I stripped the walls back so they could be replastered, then redecorated the room in Cole & Son geometric wallpaper and Johnstones paint matched in a Little Greene paint colour over around 3 days. The result is a bold, characterful meeting room that shows off the original cornicing and cast-iron fireplace.

Newcastle-under-lyme

Location

Property

Victorian office building

Boardroom redecoration, wallpapering and painting

Service

Full redecoration

Level of work

Duration

3 days

Products

Cole & Son geometric wallpaper and Johnstones paint Durable Matte

before

AFTER

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What did the customer need?

What condition was it in?

The customer needed their boardroom fully redecorated so it felt fresh, smart and fit for meetings again. The room has lovely period features, including deep ornate cornicing, a ceiling rose, a six-panel door and an original cast-iron fireplace with a tiled insert. The finished scheme uses Cole & Son geometric wallpaper on two walls, a rich Johnstones yellow on the door wall and chimney breast, and a soft pale grey on the remaining walls. Scheme chosen by the customer. The boardroom table and chairs stayed in the room throughout, so everything had to be worked around and protected.

What preparation was needed?

The walls had to be stripped back completely and replastered before any decorating could start. This was a Full redecoration rather than a Refresh because every wall surface was taken back and rebuilt, not just repainted.

Which paints and materials were used?

I used Cole & Son wallpaper and Johnstones Durable Matte colour matched to a Little Greene colour, well-known British brands. Cole & Son is a London wallpaper maker famous for bold and heritage designs. The cube pattern here, in ochre yellow, charcoal and white, creates a striking 3D effect. Geometric papers need very flat walls and careful pattern matching, or the lines look crooked, which is why the replastering mattered so much.

What was the result?

The boardroom is now a bold, characterful room that still feels calm enough for meetings. The yellow chimney breast frames the original fireplace and makes it the centrepiece of the room. The crisp white cornice, skirting boards and door stand out sharply against the new colours. The two papered walls give the room energy, while the pale grey walls give the eye a rest from the pattern. The whole job took around two weeks, most of which went into stripping and replastering. The room now makes a strong first impression on anyone who walks in.

Questions about this job

The walls looked tired and worn, with marks and discolouration showing through the cream paint. The worst patches were above the radiator and along the long back wall, where the finish had stained and looked uneven. Taking everything back to the original wall was the only way to get a finish that would last and look properly smart.

Sheeted the boardroom table, chairs and carpet with dust sheets to protect them.

Preppered the walls for replastering.

Had the walls replastered to give a smooth, sound surface replastered by a plasterer.

Left the new plaster to dry out fully before decorating.

Applied a mist coat, a thinned first coat of emulsion that soaks into new plaster and seals it.

Prepared the woodwork by sanding, filling and caulking gaps, which means sealing joints with flexible filler.

thompsons

Painting a newly built MDF media wall

The short answer

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What condition was it in?

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What was the result?

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Restoring a 1930s mock Tudor house exterior

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What condition was it in?

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What was the result?

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Restoring a 1930s K6 telephone box

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What was the result?

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Repainting and resealing Victorian cottage windows

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What was the result?

"

Questions about this job

The difference Mick has made in our windows is incredible, thank you for bringing them back to their former glory!

Restoring a carved Victorian front door

The short answer

Location

Property

Service