The “Pro” Blogs Make It Look Easy (If You Have Picture Perfect Floors)

Refinishing hardwood floors: you just rent a few sanders right?  How hard can it be?  Like many others, you own or bought a house, and a rewarding but challenging decision awaits you with unlocking the potential (and future monetary value) of hardwood flooring.  In this Blog, I will specifically be discussing Sanding.  For the Introductory Posting, please see Part 1.   

WHICH “LOOK” OF HARDWOOD FLOOR DO YOU WANT?

Before you go through the time and expense of attempting to refinish a hardwood floor, you may want to consider what type of “look” you are going for. What’s the difference?

After learning from a friend who did both original hardwood floors and had modern hardwood floors installed, the difference really boils down to the look (both are beautiful when done well).  Compare the two photos below:  1. is original refinished 1930’s yellow pine, and 2.) are modern installed hardwood floors (and there are many derivatives engineered vs non-engineered, and various price points, etc.)

 

Set aside the fact that one image isn’t a picture perfect stock photo, the point is that that original hardwood floors give off a certain look and feel of being much more “historic” (for lack of a better word).  Wood ultimately comes in all shapes, sizes, colors, and there is no shortage of examples online.  The real point being that an older original floor will likely show flaws, dings, dents, etc., that can potentially cause you a number of headaches.  However, if you like that “non perfect” look, that is where you will likely end up.

Imagine a 1960’s Fender Stratocaster guitar versus one from 2023.  Both look similar, but the rarity and age of the 1960’s can never be re-duplicated.   There are only so many forests in the world (going backwards in time).  

SANDING ORIGINAL WOOD FLOORS: WHAT THEY DON’T TELL YOU

So you’ve pulled up some carpet, ripped out tile, and discovered that you have acceptable original hardwood flooring.  You’ve read a few Blogs and Step-by-Step Instructions and made your checklist of materials.  Great!  Now comes the hard part: all wood has variables. 

Assuming that you have removed all of the staples and nails, and removed everything from the rooms,  you’ve gone to big-box hardware store to rent (at least) your Drum Sander, and your Edging Sander (heavy aren’t they!)  Don’t forget to also buy an ample supply of 36, 60/80, and 100/120 Grit Drum Paper, as well as a very ample supply of Edging Sander Discs.  (Tip: return anything you don’t use). 

Remember also to set aside at least 3 days worth of time to complete the work- and the time is ticking on those Rentals!  (More days= more $$$)  

Let’s take a look at some examples of “non perfect” original hardwood floors, after a pass or two with the Drum Sander (on 36 and 60), working of course, with the grain:

 

After multiple passes at this, you may be scratching your head wondering why you have streaky floors, still with varnish and the original floor color. 

This is due to varying levels and inconsistencies with the wood.  Using a disc or orbital sander with inevitably create swirl marks and patterns on your floors, even when done carefully.  Similarly, doing something like that by hand with large rooms would wear your patience to the bone.  

What is the solution?  Working diagonally “against” the grain.  Note, that the word “against” is in quotation marks.  You are not really sanding “against” the grain, it is just a sort of half-counter measure.  For this, I would recommend using a 60 or 80 Grit, to be on the safe side and test the result.  For particularly difficult rooms, you might lower back to the 36 Heavier Grit.  

An excellent and more professional and scientific explanation can be found watching this epic Australian guy here.

 

BUT: a very important point to note, is that once you go diagonal, you then need to re-sand your floors straight with the grain.  If you continue onwards to sanding and varnishing, you will have diagonal lines in your floors!  

This means that you have now Drum Sanded your floors upwards of potentially 5 passes.  (2 regular, 1-2 diagonal, and 1 more time to take out the diagonals)   

(Not exactly how they show you in the picture-perfect videos and blogs…)

Trickier yet, some of the diagonal areas will be harder to “set back straight” due to the same sorts of wood inconsistencies.  This is where you have one of two options:

1.) go back to the big-box store and rent a Random Orbital Sander (for possibly your final pass using a 100 grit or 120)

2.) get down on your hands and knees and use a palm and/or belt sander to touch-up inconsistent areas.  Vacuum, and look really fucking hard at everything 

In the case of the 1930’s original floors, I ended up having to do both of these!  The Random Orbital was OK, (work fast and without stopping), but then left some swirl marks in the high/low areas.  You then have both swirls and diagonals to contend with!  

 

 Be prepared to “finish” the sanding with an orbital and/or palm sander, to smooth out the remaining inconsistencies (and chances are you will lose your mind before getting all of them!)  

P.S.  Don’t forget the Edging and fleshing the edging into the main work of the floor.  This is extremely hard work, and you will use dozens of sanding discs, so pack your bag adequately.  

I was fortunate enough to have my old folks make runs back to the hardware store for me.  Again, plan wisely.

END RESULT

Should you have spent the time and labor to sand the floors adequately, you should have an extremely “bare” appearance, devoid of any varnish and coloration.  Obviously, grains have some color, as you should NOT try to sand those away, and NOT OVERSAND the floors.  Know when to stop and enough is enough.   ALSO- BE EXTREMELY CAREFUL with your bare floors- as anything can scratch or discolor them now, including the Shop-Vac wheels, etc.

The appearance should look something akin to this: 

BEST OF LUCK WITH YOUR SANDING PROJECT!  Be prepared for the “imperfect” and accept rolling with the punches in terms of getting creative with sanding, while not over-sanding!   

Chances are the floors will still not be “perfect”- remember, they may be a 100 years old and were cut and installed by workers with far less advanced technology…  

The “Pro” Blogs Make It Look Easy (If You Have Picture Perfect Floors)

Refinishing hardwood floors: you just rent a few sanders right?  How hard can it be?  Like many others, you own or bought a house, and a rewarding but challenging decision awaits you with unlocking the potential (and future monetary value) of hardwood flooring.  I am here to share with you my experiences as an “artist“, and although I am not a contractor or woodworking professional (never worked on a home in my life), you are likely in a similar situation. As an artist, I will try to show you how to “have fun with it,” and to use your ingenuity and imagination.  I will fill in parts of the story with working advice that I learned searching dozens of blogs and videos.  One preliminary note: if you plan to do a new floor or discover that your floor is not salvageable, you may want to look elsewhere.  Like Kenny Rogers says: “know when to hold em’, know when to fold em'”  The rest is up to you.

What it starts by boiling down to is 1.) Conditions 2.) Time/Money 3.) Other Factors.

CONDITIONS

Having a wife in late stages of pregnancy and needing a larger future space for our new family, we were fortunate enough to have found a beautiful, semi-original, 1930’s home (in about a C- condition), in January 2024.  The entire house had been done wall-to-wall with musty old carpeting, and large, thick tiles throughout the dining room.  Sure, you can lift up a carpet corner during the home tour (and later inspection stages), but, you really don’t know what you are getting into, especially if you plan to move fast.  With closing delayed to the very last day (February 20th), we had less than 3 weeks until the baby due date to get the essentials of the home into working shape, as well as potentially fumigated.  (Disclaimer: we are still living in an apartment until the lease runs out in April, however, there is a loss of “daddy labor time” 2-3 weeks, due to the newborn).  SO- time is ticking (daddy…)   

Immediately upon closing February 20th and getting keys, I began removing all of the carpeting and wallpaper (and glue!)- FAST.  By Friday the 23rd (3 days later), I had reached the thick tile in the downstairs dining room and struck pay dirt:  there was a layer of plywood between the tile and the original hardwood floors.  Fortunately, the rest of the floors beneath the carpeted areas were in decent shape, with the exception of the stairs (which can be done separately).  The tile removal you will see below.

On Saturday the 24th, my folks brought over their general contractor (maybe you will have a similar “guy” or professional), and he began to layout three things:  1.) the floors had uneven spots; therefore 2.) sanding would create all sorts of headaches; therefore, 3.) hire us to put in “dustless” brand-new wood floors.  Without getting into the details, you could ballpark this for about $5,000-$6,000 for approximately 900 sq. ft.  With everything going on in our lives- there just isn’t that kind of extra money laying around! 

With a professional, you are really getting two things: 1.) the speed/time of having a crew (if they are competent); 2.)  brand new modern flooring or pro-refinishing (if they are competent).  

Ask yourself: with decent/good original wood floors, why would I spend $5,000+ to have someone install a floor on top of an existing floor?

As another friend of mine who did both a refinish job and hiring someone (two different houses), his advice was “pick your poison”- the results are both equally as rewarding.  (This is of course, unless you screw up refinishing the floors yourself.)  

TIME

Time can involve a number of things. For starters, if you pulled up your carpeting and your hardwood is trashed, you may be forced to move in on bad floors if you don’t have the luxury of multiple thousands of dollars (and time).  Or, you will work like serious hell to fix the floors, with no guaranteed result.  Let me say that after the grueling level of work, going back to the start is your worst nightmare. 

Time can also involve labor and other people’s time.  It’s always interesting how many people are quick to give you opinions and volunteer help, but then don’t show up.  For me, it was myself, and my 80 year old father, and retirement-age mother.  I’m not saying I forced them to work- I’m just saying they showed up!   Be prepared to do it yourself and with little help.  Contrarily, you don’t want too many people or you will be stuck managing personalities (and they will drink all of your beer), and you have to be careful not to scratch or gouge the floor.   If you do have help, refinishing floors will push you and your loved ones to the limits of insanity.  Every person will have a “breaking point”.  

Let me put it another way: even for someone young and in good shape, refinishing hardwood floors can be one of the most physically challenging jobs.    

For the edging- imagine being bent over, in horse stance, with a “Covid mask” on, for days on end, holding the equivalent of the heaviest bowling ball with a canvas balloon blowing off the back.  In fact, if you haven’t reached “psychosis” by Day 2-3, you might be doing something wrong. 

On day 2-3, I worked 8 AM to 9 PM running constantly vibrating heavy machines, and began to hallucinate, returning home to remove my sawdust covered clothes and proceed to sit naked in the kitchen while staring blankly at a corner of a wall spinning while I heard faint mumbles of my wife saying something to me about food.  YOU WILL FEEL PAIN.  Hell, you’ll probably lose a little weight. Any non-working people around you in your life will start to resent you.  

The up shot is: if you do finish this project, it will not only be rewarding, but you will (hopefully) have little-to-no recollection of it having ever happened.

Bear in mind your own “breaking point”: fatigue, and things like drinking beer, being stuck in a respirator and earplugs for hours and hours, and then possibly having to get behind the wheel of a car.  

To spell it out for 900 sq. feet (working at least 9 AM to 8 PM w/ one break):  the sanding took 4 days.  Approximately 3 with machines and 1 for touchups.  Staining: 1 whole afternoon + 24 hours drying, and Polyurethane (at least 2 days +/- depending on type).

 

OTHER FACTORS (AND THE TILE FLOORS!)

Before you get started with refinishing, consider a few other things, such as: 

1.) LIGHTING.  You will ideally need as much sunlight as possible, and or whatever you can do.  This makes working at night challenging.

2.) some machines weighing 100 pounds and moving them, considering stairs.  

3.) the transport of machines from a rental place to your house (do you drive a Miata?)  

4.) Relating to TIME:  the “easiest” of the tasks (such as corners) will bog you down and drive you crazy if you don’t have helpers. 

5.) the amount of sand paper truly needed for the project and the stock levels at your local store (the good news is that un-used items can usually be returned) because:

6.) some floors were originally finished with varnish (how would you know?)  When using the Edging Machine the varnish will smear with the old stain into circles everywhere and clog your sandpaper every 3-4 feet– even at 36 Grit.  For 900 sq. ft. we used nearly 30-35 round sanding discs just at 36 grit and had to drive to 2 different Home Depots.  Once the varnish is mostly removed and smeared around, you basically have to do everything over again to get to the goal of the bare wood.  

I never read that anywhere in any Blogs.  Be prepared for the unexpected things and when in doubt- buy more and return the unused.  Fortunately for me, at least one of my elderly parents was able to do the driving tasks.  Consider dividing tasks according to factors.  Remember my 80 year old dad?  I had him use the Drum Sander, which essentially is walking behind a machine like a lawn mower- but still an exhausting task (and he has done professional woodworking).

7.) FINALLY, as promised: The Tile Floors Over The Hardwood Floors.  Reaching the first floor Dining Room and a “pad” coming off the front door entryway, there was a layer of large thick tile covering the hardwood floors.  To Proceed or Not To Proceed?  Sometimes you just have to have a little guts and do the most rudimentary of things.  Remember- it’s all about your vision (and stamina)! 

For starters, don’t bash up the floor with a sledgehammer.  The true answer to removing tile over plywood (over hardwood) is very simple, almost ancient (but still extremely backbreaking and brutal).  You need to cut 10-16 pieces of 2×4’s lengthwise into long WEDGES.   The parent’s contractor said to just use shingle lifters/rippers to pry up the floor.  This sort of works, but will gouge the hell out of your floor.  (Conspiracy theory: he wanted to sell me that brand-new floor…) 

Pry up the floor slowly in multiple places and try to create an air pocket, and then begin driving in the wedges with a sledgehammer. 

This will still take quite some time, especially if the tile had a layer of metal mesh, and there were tons of nails used to hold down the wood.  You could bash up some of the tile as you go, and you will need multiple pry-bars in addition to wedges.  Why do you need so many wedges?  Reason is: you will bash up the ends of the wood and need backups, and more backups…  

All told: 2 days delay at minimum (but that hardwood floor is like a gold mine!)

Here are the pics.  Do a search on this technique and let the wedges do the work!   If you get lucky like my tile in the front doorway, the entire sheet will just pop-off.    Good luck and stay tuned for Part 2!    

The Good, The Bad, and The “Meh”

As we announced on social media, we’re officially going to be a mom and pop art gallery business.  It’s also official however, that we’re closing.  Suffice to say, life priorities change and call it what you want, Vestige Concept Gallery as it is known at 5417 Butler Street will be closed on 12/31/2023.  (Almost made it to that 4th year…)  It’s not a defeat or going out of business financially, so much as it’s having to perform the only selfish act that we have ever done (i.e. closing).   (Note: that “I” use “we” interchangeably, as this business includes Kelsey (who may not endorse these opinions), and the business entity itself). 

$200 and a Credit Card

Awards should be given for this type of bootstrapping and along with it, the segue into ending up on the cover of Pittsburgh Business Times (Headline: Guy Creates Successful Business With $200 and a Credit Card) or the 40 Under 40 List (I’m currently 39- so close!)  These dreams have sadly not come to pass (at least not yet).  Hundreds of art pieces and tens of thousands of dollars paid-out-to-artists later, things are just as they say “business as usual.”  There’s no award for years staying open.  Although it’s not a compliant, our take of sold art is just unfortunately not enough to muster the further energy in the face of rent and fixed cost.  Custom works of art where we take 100% sales also require a large amount of energy to produce.  People that understood “unique” (as opposed to mass produced) knew where to look, and chances were that on any given day you would have a free painting demonstration if you walked into the gallery.    

Truth be told, we started a successful art gallery from nothing, with the basic premise to provide immediate opportunities for people who are tired of waiting around for the wank at the pseudo-art-elitist jerk circle, or have to write a novela and give a blood sample to take a shot at a grant, with “waiting around” being the general lament.  As it began in December 2020, an art gallery is like having one long party, where the host has to continually make things interesting for people to attend.  In Zoolander, when he says “That Hansel is so hot”- is kind of the idea.  You and your gallery are either hot (or not).  In order to keep the party fresh, we opened up the place to anyone interested in showing with the caveat that it was curated.   As many have probably noticed, there was always some sort of “party” happening at the gallery.  Suffice to say, it has all taken a toll on my personal health.

 

We worked fast, and are a great gallery if you are looking to make a quick and decent buck.  Above us, there are definitely much slicker galleries, and below, you have a booth. Take your pick.  We truly appreciate the artists who invested their time, money, and energy on us.  While we’ve been accused of “pay to play” (which is true), we’ve always felt that it was more “pay it forward” and after all, someone needs to run the whole show.  The only real money came from Sales, albeit inconsistent for the higher priced pieces.  Unlike a day job, there is no salary direct-deposited every week.  Trying to guess at the tastes of everyone is also quite difficult.  Not every piece of art was amazing, and not every show was a runaway success.  It happens, and you learn to live with it.  In the end, it’s not my art and we tried to make things fun and interesting.  

When under the gun to constantly pay rent, you don’t get infinite chances to experiment and take risks on seemingly unknown artists.  Truth be told, we don’t really like a lot of artists out there, and a lot of it is just not that interesting. Heck, you probably already DIY, and hurrah for that, you’re among endless legions of competitors looking to sell their art (somehow).  The flip side of all of this, is that so-called artists of “caliber” aren’t knocking on our doors to be represented.  That’s not to say that we haven’t had artist’s of caliber (there’s been plenty) it’s just that investing thousands of dollars into another person that is not ourselves is a risky endeavor- when we would rather invest the money in ourselves and play it safe.  A case could be made for taking greater risks in business.  Sure, it’s been easier creating a situation where people come to us, when it’s no secret: there is a larger demand from artists to be seen than there is from consumers for the art itself.  However, we’ve done more than due diligence in both.  It would be one thing to never open or sit there and do absolutely nothing.   

Therefore, for all of the questions we’ve fielded for “why don’t you do more solo shows?” and “why do you keep doing these mixed/theme shows,” that is the simple answer.  The more complicated answer is that we’re just not that into your art, specifically.  The times we have brought in art pieces by the names that a buyer or collector says, those same buyers and so-called collectors don’t even show up to look at it, and we throw away money on shipping.  With that, I say that we have tried risk.  One of the worst parts of the dying breed of Main Street businesses is that overall customer loyalty just well… sucks.   The time and energy to invest in highly particular artists can be reserved for the leftover 1990’s/2000’s Pittsburgh scene “A-listers,” and silver-spoon galleries who open a handful (or spoonful) of times per month, and while we don’t doubt that the artists they host make “ok” art and both gallery and artist probably make a lot more money than us, their work is akin to what The Clarks are to the Pittsburgh music scene.  If you’ve been around Pittsburgh for as long as we have, you’ll understand what that means. 

I’d rather be out of business than deal with hack-abstract artists and even bigger egos in let’s face it… Pittsburgh.  I can say that only because I’m from here.

We’re just regular people- perhaps part of the enduring appeal of whatever it is that we’re doing, and part of why we have never received the golden anointment from one of very few keyholders in the Pittsburgh arts community at large.  Most of those keyholders are boring and have shallow personalities and as I believe, shun us.  We called bullshit for what it is and tried to provide people at least with some sort of other alternative.  

Pittsburgh: Some Place Special (Or So We Pretend)  

Being from Pittsburgh (80’s, 90’s… to today) it is my dubious honor to present my opinions on the pros and cons.  Outside of here, I lived in Chicago for roughly 8 years and have been to multiple countries, continents, world heritage sites, and the like.  I’m sure that in the end, a lot of cities and towns are the same that with over time, you would find the same sorts of things (i.e. the mundane).  And heck, there are probably a lot worse places than Pittsburgh.  On top of that, everyplace has its cheapskates, undercutters, spiers, haters, phony-wannabes, so-called “cultured” women that basically only fuck rich guys, “cultured” men that are misogynistic asshats, douchebros, rednecks, hood rats, etc.   I’m sure we’ve all experienced these people at some point.  

The problem with Pittsburgh is two fold:  it’s a fair weather bandwagon city where in order for anyone to appreciate something new, there has to be at least some sort of majority already doing it.  In a city of hundreds of thousands of people, roughly 80% of them won’t do anything that doesn’t involve a football, or a dancing food item or condiment.  Hell, the city is best known for football and a fucking condiment.   It elects Baron Batch (was he a Steeler?) as it’s best artist, and a yellow bridge as it’s art-du-jour.  So-called “culture” is confined to a limited number of institutions and key-holders.  I’m the “so and so” virtue-signaling curator at the Carnegie, Mellon, Frick, this or that-institutions named after wealthy old white men that literally worked people to death for very little pay.  Therefore, It’s also a hard working town, where undoubtedly, you have to earn some sort of respect or reason why people want to spend their hard earned dollars on you.  

The second problem with Pittsburgh is that it’s full of haters, but not a lot of critics.  “How can that be,” you ask? Hating on people can be anonymous, and shitting on ideas (and businesses, etc.) is easy.  Critically, the circle of “importants” is so small that you can’t say anything remotely honest or critical of anyone or anything without being ostracized.  Art critic Jerry Saltz once wrote that in New York City for instance, you can afford to lose 50 followers because you can gain 100’s more.  It’s easy in a large town, but not a small one.  What does this lead to?   This leads to a scenario where “everybody gets a turn” and everyone’s stuff is treated equally and without criticism (until it’s not).  Everyone is forced to play nice to each other.  This sort of egalitarian stupidity is why the city has barely (if not ever) produced any superstars by way of art or music, and I’m not talking about George Benson, Wiz Khalifa, or Donnie Iris.  People in Pittsburgh cannot simply be allowed to give their time or energy to back one really good thing that doesn’t involve a food item or the playoffs.  That is, until that thing moves away and becomes much more successful- then everyone in Pittsburgh takes credit for it (i.e. Andy Warhol or Michael Keaton).

That’s not to say that Vestige Concept Gallery is the holy messiah of the art world, after all, it’s just a small business. But with all of the art-loving, virtue-signaling, cultured people out there, the visitorship and community support could have been a whole hell of a lot better.  When I say “community support” what I mean is that the support for our gallery came from everywhere else other than the actual community where the gallery resided.  It makes sense to put your business in a “hip” neighborhood on “Main Street” next to million-dollar condos, and a soon-to-be- Michelin Star restaurant, and what a lucky deal you have!  Sure thing right?  Wrong.  As an art gallery, we’ve been for 3 years more like Pusadee’s Personal Parking Lot.  Watch my Escalade take up two parking spots while I go stuff my face full of $600 worth of seafood (and then say you can’t afford a piece of fine art).  That’s your prerogative, sure, but answer me that in 25 shows, with hundreds and hundreds of pieces of art, that you can’t even manage to venture inside and look?  And looking is 100% free.  Fuck it, I think I’ll buy it Online and then wonder what happened to all the retail in my community. 

One story I remember in particular.  It was our first Christmas as a business, December of 2021.  We installed a miniature railroad in our window display.  Two kids wanted so badly to watch the train before douche-daddy grabbed them and told them “get away from there” before tossing them into the back of a Range Rover.

What of those million dollar condos?  3 years- maybe 2 people?  $100?  Everyone else that you might call “foot traffic” are just dog walkers and joggers.  Dog walkers and joggers, dog walkers and joggers.  And COOKIE TOUR people: THE WORST OF SOCIETY.  (i.e. “Where’s your free cookies?”- never looks at the merchandise).  Like I said, if it doesn’t involve food, condiments, or sports, you’re SOL.  When you work in a shop long enough to see enough dogs take shits and the humans that follow them around cleaning it up, you realize that perhaps fine art is just too overwhelming for that type of brain.  Meet me at the Dog Brewery in yoga pants, Brad.  Oh well.  I doubt I am the first human to have these thoughts. Take that same art gallery or shop though and put it in a foreign country- and it’s the coolest place you’ve never seen before.  

Not The Bitter End

Suffice to say, although being stuck in the same room for three years lends to both positive and negative experiences, I have to say that the overwhelming amount of experiences and support have been extremely positive.  There’s no manual for doing things the right or wrong way, and a lot of running this has been trial and error, and a TON of fun.  The party is over though.  What counts in the art business (like any business), is having the clientele.  We’ve had great clients, just not enough, consistently.  Advertising is also risky and very expensive.  What many never realize, is that we sold a lot of art that was never even in the gallery or on the walls and these experiences (a.k.a. home decoration) are where a gallery can really begin to turn a profit.  Getting a client to trust you with that judgement can be tricky, as we live in a DIY world where people can shop art online or buy it through other channels.  I was once asked to provide references (which I did) and then never heard from the person again.  I believe that they did it to feel like a big shot.  

Emerging Art and Artists are an “you get what you see and pay for” kind of endeavor.  What I mean is that typically the price reflects exactly what it is and who made it.  If you like the artwork, you are trading what you are willing to spend on something that you enjoy and makes you happy.  The likelihood that an Emerging Artist is going to become “big” and the piece increase in value is about the same odds of winning the lottery.  If you wanted to sell the art, you would probably get what you paid for it, less, or only slightly more.  Vestige Concept Gallery for consumers was about providing the highest quality art at a realistic price.  If you spend thousands more someplace else, you probably let the smoke get blown up your ass.  But, the art world exists in that sort of way for a reason.  In the end, anything is only worth what someone is willing to pay for it, and if you like it, you like it. 

If you have bought art from our Gallery, we thank you sincerely and hope that that you continue to appreciate the work for many years to come.  We will likely continue in some shape or form, as it has been a major time and energy investment into running the business and to the community.  For all of the other visitors and supporters- thank you as well! 

-Alex