Sash window painting

Procedure for internal painting

1.Slide the outer sash down a little and raise the inner sash slightly, leaving a gap top and bottom.
2.Paint the glazing bars and the surfaces of the inner sash including the top surface of the meeting rail and the underside of the bottom rail.
3.Then paint what you can see of the outer sash, including the face (but not the underside) of the meeting rail.
4.Now slide the outer sash up, but not quite closed, and lower the inner sash by gripping it from the outside so that you don't touch the wet paint.
5.You can now complete the painting of the outer sash, omitting the top surface of the top rail. Ideally you should leave the sashes in this position until dry.
6.According to how your colour scheme relates to the outside paint colour, you can either paint the pulley stile at the same time as the sashes, or later. If painting at the same time, then the stile, parting bead and staff bead can be painted in sections as the sashes are moved up and down. Pull the sash cords out when you are working behind them (painting the cords makes them more likely to break); paint the pulley housing but not the pulley itself, otherwise it will jam and the sashes will not run easily.
7.Finish off by painting any inside linings, frames, and shutters. Tackle one component at a time if possible, and complete it before moving on to the next. Any framed elements such a shutters or lining should be covered in the following order; mouldings and panels (at the same time), muntins, top rail, middle rail, bottom rail, and stiles. Remember to 'lay off' (the final brush strokes) in the same direction as the grain of the wood.
Procedure for external painting

1.Reverse the sashes as described above and paint all visible surfaces except the top surface of the top rail of the inside sash. The pulley stiles can be painted at this time also.
2.Return the sashes to an almost closed position and complete the painting of the inner sash and the pulley stiles, together with the cill.
When finished, all exposed wood should be covered; any unprotected wood can be affected by moisture, providing entry points for rot and allowing unwanted expansion with consequent sticking of the sashes. At the same time, the coating of paint should not be so thick as to cause its own problems, jamming the sashes in their runners, or preventing them from moving at all.

Repair or replace

Repair or replace?

There is often an assumption that old windows will need to be replaced if they are

in need of repair and because of this many original windows are lost - and money

spent – unnecessarily. An historic building’s character depends upon correct

proportions, material and detailing as well as the retention of historic fabric. Careful

repair ensures that these features can be retained.

A window often can appear to be in worse condition than it actually is, so make

sure that the assessment is properly carried out, as detailed below. A specialist

joiner, or blacksmith/metal window restorer for metal windows, will generally be able

to advise on whether repair is possible, but bear in mind that some companies will

prefer to make a new window than undertake time-consuming repairs.

Original windows should only be replaced as a last resort

Historic joinery is usually made from naturally seasoned hard and softwoods, and

if the timber is properly maintained, it is likely to outlast a modern replacement

window. Historically timber was slow grown and naturally-seasoned, unlike the

majority of modern timbers, and producers did not rely upon preservatives and

stove-drying.

It is very uncommon for metal windows to be beyond repair. Although they may

appear to have corroded, surface rust looks much worse than it is. Metal windows

are often capable of restoration either in-situ or can be taken away to a workshop

for more extensive repairs.

Modern windows tend to be poorly detailed and heavy in appearance with the

‘storm-proofed’ opening ‘lights’ set outside the main frame, protruding cills and

no or crudely detailed mouldings. Double-glazing windows are easy to spot due

to their external mirror-like reflection and spacer bars. Modern materials such as

uPVC, stained hardwoods, ‘stick-on’ lead or glazing bars only add further to the

loss of character of a period building. The difference between traditionally detailed

timber casement and sash windows, and modern uPVC alternatives, can be seen in

the images on this page.

Unlike traditional timber windows a modern uPVC window is not easily repaired and

often has to be totally replaced when it fails. The repair of a timber window will use

far less resources than the manufacture of a new window, and is, therefore, also far

more sustainable.

The starting point for any repair or alteration work to an historic building is to seek

professional advice. It is also very important to record and photograph original

windows before they are altered or removed. Where windows with leaded lights are

being removed for repair, it may be prudent to make a rubbing of the leaded lights

in order to record their arrangement.

The installation of a new window in a listed building will require listed building

consent.

Save the Windows!

Sash window restoration is not such a commonplace art any more. With everyone scaling up, making room for more, and replacing the old with the new even before considering its value, the sash window has suddenly become an iconic piece of art work.
The sash window has been seen by most of us at one time or another. We often recognize it by sight rather by name. It is a window created generally of six small panes that are stacked in two rows of three. These squares of glass are held tightly together by small, thin pieces of wood that we call muntin. These muntin are part of the window’s structure and often require small restorative efforts as well.
With the world being in such a hurry to buy something better and newer and bigger, these windows are actually slowly becoming impossible to find. They are historically significant and any home that is lucky enough to have them should try to retain them.
Despite this arrangement the sash window is not drafty the way one would think. A good restoration should also remain tight from the wind. There are some customary replacements rather than restorations that have become commonplace. The restoration of a sash window that requires more than have of its panes replaced is often eliminated and replaced with a casement window.
The casement window gives the same appearance as a sash window from afar, but it is not the same type of window at all. The sash window slides up and down thanks to a counterweight that is affixed inside the window frame. The casement window is opened via a crank system, allowing the window to open at an angle rather than up and down.
While many are starting to replace the sash window with the more restrictive casement window, the full sash window restoration is the gem of the home. These are windows that are becoming uniquely antique, and those homes that have them are particularly fortunate. A window such as this one should be replaced only as a last possible resort. Sash window restoration is a much more viable option for posterity.
Learn more about sash window draught proofing Stop by http://www.kensingtonsashes.com/where you can find out all about sash window repairs in London

Contrary to populist belief, double glazing is not the best way to reduce noise - full stop.
It is just one expensive way to reduce some noise.If traditional single glazed sash windows are the only barrier between you and the traffic you can tackle a major part of the problem by simply installing draught proofing. As well as draughts, draught proofing also reduces airborne noises which find their way through the smallest and least noticeable gaps.
The next step is to replace the glass in the sashes. There are many types of acoustic glass, available in various thicknesses, and designed to control various levels and types of noise. Developed and tested by the larger glass manufacturers (e.g. Pilkington Glass) the results are often not as impressive in real life situations as they may be on paper.
Sound insulation is probably best achieved via well fitted windows with good draught strips, laminated safety glass 4.4mm or 6.4 mm thick may not be quite as acoustically efficient as the best specialist glass but, at a fraction of the price, it will dramatically assist in an overall noise reduction plan.