Home In Progress

Dan Hansen/RepcoLite Paints
  • 4.6 (15)
  • Home & Garden
  • Weekly

Welcome to Home in Progress—the weekly show from RepcoLite Paints where we dig into the projects and little fixes that make home life better. Paint colors, design tricks, flooring, plumbing, yard work—you name it. If it happens at home, we’ll talk about it. Think of it as helpful advice with a sense of humor, always leaving you with something useful and a smile.

  1. 4d ago

    What Men’s Style Can Teach You About Decorating a Room

    Original Air Date: November 15, 2025 Episode Number: 483 Episode Summary A rerun this week, and one of Dan’s favorites. He opens with a daylight saving time confession: he was a week early, stayed up late for an extra hour of sleep that never came, and texted the whole family bad information. Clocks actually go back tonight. Then two topics that look unrelated and aren’t. First, the circular saw, which Dan avoided for years because it seemed dangerous and which professional carpenters reach for constantly. He covers the two main types, what the saw does well, the four accessories that change the experience, and the safety habits that matter. Second, men’s fashion, which Dan has no business teaching and researched thoroughly anyway. After his daughter’s wedding, somebody complimented his son on wearing a suit well, and Dan started wondering what the difference was. What he found maps almost perfectly onto home improvement: dressing is a learnable skill, you already have an eye whether you think so or not, fit and proportion beat everything else, classics outlast trends, and one swap at a time beats an overhaul. Timestamps [00:00] -- Welcome and Rerun Setup [00:18] -- Daylight Saving Mixup [01:16] -- Fashion Advice Teaser [02:29] -- Why Circular Saws Matter [04:31] -- Saw Types and Blade Size [06:00] -- Cuts You Can Make [07:42] -- Must Have Add Ons [10:05] -- Circular Saw Safety Basics [11:37] -- Break and Sponsor Spot [12:45] -- Wedding Suit Inspiration [15:25] -- Color of the Year Meets Fashion [17:14] -- Dressing Is a Skill [19:26] -- Skills Can Be Learned [22:20] -- Challenge Your Assumptions [26:25] -- Fit and Proportions [30:55] -- Avoid Trend Traps [33:18] -- The Swap Trick [35:39] -- Buy Quality Within Budget [36:48] -- Wrap Up and Where to Listen Clocks Go Back Tonight [00:18] Daylight saving time ends tonight. Set the clocks back an hour. Dan mentions it mostly because he celebrated a week early, stayed up far too late Saturday night counting on the extra hour, woke up Sunday feeling worse than expected, checked the clock, and then had to deal with the fact that he’d already texted the entire family to go change theirs. This week he’s going to bed early. The Circular Saw [02:29] Dan avoided circular saws for years. They’re loud, aggressive and look dangerous, so he used a benchtop table saw or a miter saw for everything, including jobs where it made no sense. What changed his mind was noticing that carpenters and experienced DIYers reach for a circular saw constantly. Getting the objection out of the way first. A good table saw gives more precise cuts, especially for repeat work, and a track saw system delivers laser straight accuracy breaking down sheet goods. Both true. Neither is what most DIYers own. What a lot of us have is a small benchtop or contractor saw wedged into a garage corner, and if you’ve tried to push a four by eight sheet of plywood through one of those, you know how awkward it gets. Sheets bind. They kick back. It’s genuinely frightening. That’s where the circular saw changes the math. It’s portable, it’s versatile, and with a guide rail or straight edge it gets accurate enough for essentially everything around a house. Maybe not furniture grade. Close enough for the rest. Two types [04:31] SidewinderWorm drive Motor Beside the blade In line with the blade, set back Weight About 7 to 9 pounds About 10 to 13 pounds Speed Usually 5,000 to 6,000 RPM Slower Strength Lighter, less fatiguing, most common homeowner saw Much more torque Sightline Standard Clearer view of the cut if you’re right-handed, harder if you’re left-handed For most homeowners the sidewinder is the right pick. If you’re ripping heavy lumber or engineered beams, the worm drive’s torque is a real advantage. Either way, get a 7 1/4 inch blade. That’s the standard size, it cuts clean through a two by four at any angle, and it’s the most convenient to work with. Smaller saws exist for more intricate work, but for an all-purpose saw that’s the size. What it does well [06:00] Cross cuts. Grab a speed square as a guide and you can make a perfectly square cut faster than you can carry the board over to a miter saw.Rip cuts. Where the saw really shines, and arguably safer than a benchtop saw for full sheets, especially working alone or in a tight space. Lay the plywood on a few sacrificial two by fours, clamp your guide, and cut it right where it sits. No wrestling the sheet, no kickback worry.Bevels. Every circular saw tilts the base, usually up to 45 degrees.Shallow dados and notches. A few careful passes will do it. Not a substitute for a dado stack, but it works for rough carpentry.Cutting in place. The saw goes to the material instead of the other way around, which is the whole point for deck work, siding, or building a shed. Four add-ons worth having [07:42] A speed square. A good 7 inch rafter square gets you a perfect 90 or 45 every time. Hook it on the edge, line it up, cut.A straight edge or track guide. This is how you get to pro-level accuracy. Commercial tracks from the major tool makers start somewhere around $150 to $200. Kreg has options starting closer to $50. Or build your own from scrap plywood. There’s a link in the resources to a plan that turns a circular saw into a DIY track saw.Better blades. The blade that came with your saw is for rough framing lumber, period. Step up to a 40-tooth carbide for general work, or 60 to 80 tooth for plywood and finish cuts. And remember a dull blade is a dangerous blade. It binds, burns and kicks. Keep it sharp or replace it. Sharpening services are more common than you’d think. Dan ran a quick search and found several near him.Clamps. Bar clamps, C clamps, whatever you have. Do not hold a guide with one hand and cut with the other. Just picture that for a second and you’ll understand. Safety [10:05] Eye protection and ear protection.Watch the cord. People saw straight through extension cords. It’s dramatic and completely avoidable.Let the blade stop completely before setting the saw down. The spring-driven blade guard usually swings back into place on its own, but every now and then it sticks, and then you’ve set a spinning blade on your bench.Newer saws with electric brakes stop the blade in a second or two after you release the trigger. They cost more and they’re worth considering, but even with one, let the blade stop.Keep both hands on the saw. The front handle exists for a reason.If the saw starts bogging or binding, stop and find out why before you force it through. Treat it with respect, stay alert, and you’ll be fine. Men’s Fashion, and What It Has to Do With Your House [12:45] Dan’s daughter got married recently. He wore a suit for the first time in about twenty years and describes feeling like a short, slightly portly James Bond. At the reception, somebody walked up to his middle son and said something that stuck: lots of people can put a suit on, but not as many can really wear one. Then told his son he was one of the ones who could. That got Dan thinking about what the actual difference was, since by his own description he doesn’t dress well and has never known how. The connection [15:25]. Around the same time, Benjamin Moore’s Color of the Year material was talking about the link between color and fashion, and about dressing a room the same way you dress yourself. Dan liked the idea. He just had no standing to use it, not knowing how to dress himself. So he went and researched it. Everything that follows comes from an article by Peter Nguyen at The Essential Man, linked in the resources. The home improvement connections are Dan’s. 1. Dressing is a skill [17:14] Nobody is born knowing how to dress. There’s no perfectly tuned intuition anybody springs from the womb with. It’s a skill, and skills improve with practice. That matters because of how easily we write things off as innate. Some people just know what goes with what, we tell ourselves, and I don’t have that, so I never will. The home connection [19:26]. Painting well is a skill. Using tools, building cabinets, installing trim, putting together color combinations that create the mood you want in a room, all skills. And people write themselves off on these constantly. Not good with my hands. Not mechanical. Not a painter. You’ve heard it and you’ve probably said it. Every master craftsman, every master painter, every person you’d point to as being good at this was new at it once and bad at it once. Some people pick things up faster, sure. That’s different from the thing being out of reach. So don’t spend your time wishing when you could start instead. 2. You already have an eye [22:20] The most common objection is some version of “I just don’t have the eye for it.” Nguyen’s response to clients is a small trick. Take five minutes and list a few people whose style you think looks good. Actors, musicians, anyone. Even if you don’t think you could...

  2. Oct 22

    Benjamin Moore Webster Green: How It Looks in Every Room

    Original Air Date: October 24, 2026 Episode Number: 482 Episode Summary Three topics this week. First, Benjamin Moore’s Color of the Year 2027, Webster Green HC-130, and the story that got Dan thinking about it: his son’s living room, which went from a perfectly nice gray to a deep blue-green that Dan tried to talk them out of and now wishes he had in his own house. He walks through what the color actually looks like, three rules for predicting how it behaves, and how it reads in north, south, east and west facing rooms, with alternate greens for each. Second, the furnace repair that cost him real money and turned out to be a free fix. His furnace was short cycling, he checked the filter and cleaned the flame sensor, and the actual problem was outside the house. Third, a follow-up on English designer Johnny Grey, with six practical ways to use his ideas in an ordinary kitchen without a renovation. Timestamps [00:00] -- Show Intro and Preview [00:25] -- Why Design Advice Feels Distant [01:14] -- Big Furnace Repair Tease [02:00] -- Color of the Year Setup [02:32] -- Son’s Living Room Makeover [06:51] -- Gray Room Wake Up Call [07:44] -- What Color of Year Is For [09:24] -- Webster Green Backstory [10:17] -- What Webster Green Looks Like [11:10] -- Three Lighting Rules [13:07] -- Room Exposure Walkthrough [16:25] -- Bulbs and Cloudy Winters [17:22] -- Sampling and Final Color Takeaways [19:23] -- Furnace Story Begins [20:48] -- Short Cycling Explained [21:43] -- Airflow Checks Inside [23:04] -- Flame Sensor Cleanup [26:16] -- Real Fix Exhaust Vent [27:06] -- Safety Checks and Tune Up [28:59] -- English Kitchens Return [31:17] -- Design for Eye Contact [32:07] -- Counters That Fit You [33:35] -- Quiet the Kitchen Noise [34:53] -- Evening Kitchen Lighting [37:13] -- Smarter Storage Placement [38:12] -- Color Texture and Wrap Up The Living Room That Changed Dan’s Mind [02:32] Dan’s son and his fiancée bought a house. Some rooms had a lot going on, including a Pepto-Bismol pink dining room. The living room was the opposite: a calm, nice gray, with furniture that looked good in it. Nothing wrong with it at all. Then they announced the plan to paint it a deep blue-green. Dan tried, gently, to talk them out of it. Too dark for the room. Extra work. Extra money. The room already looked fine. They painted it anyway. It is spectacular. An old house, not a fancy one, and the living room now looks like a magazine spread. Walls in the deep blue-green, trim and crown in an off-white. The woodwork and crown molding, which Dan never once noticed under the gray, now jump out. The art on the walls is vivid. The same furniture that looked nice before now looks genuinely fancy, because it isn’t blending into the wall anymore. And it works at ten in the morning or ten at night. The point [06:51]. If you’re sitting in a gray or beige room that’s fine, and you haven’t really looked at it in a few years, it may be time to reconsider. A color change can take a room from fine to something you actually feel. Dan’s son is not a let’s-talk-about-color guy, and he will tell you how welcoming that room is. What a Color of the Year Is Actually For [07:44] Everybody has one now. Paint companies, stain companies, trend forecasters, a dozen or more, most announced before Benjamin Moore’s. So it’s fair to ask whether any of it matters. Here’s the useful answer. It doesn’t matter whether you use the color. What matters is whether it makes you look at your own walls and think there might be something better available. That’s the job. It’s a reason to stop walking past the same room every day without seeing it. If it does that, it worked, whatever color you end up choosing. Webster Green HC-130 [09:24] Benjamin Moore announced Webster Green HC-130 as the Color of the Year 2027 on October 14. It comes out of the Historical Collection, which turns 50 this year, having launched in 1976 for the bicentennial. So this isn’t a new color invented for the occasion. It’s been on walls for decades and held up. In the color story behind the pick, Benjamin Moore went through their old color cards and found that every era had its green: deep forest in the Arts and Crafts period, emerald in the twenties and thirties, mint in the fifties, moss in the sixties, avocado in the seventies. Webster Green is the one for now. What it looks like [10:17]. Picture the soft greenish-blue needles of a white pine in the shade. The shade part matters. Or a boxwood hedge on a cloudy day. It isn’t emerald, it isn’t a bright crayon green, and it isn’t olive. Benjamin Moore calls it a midtone, which is fair outside on a sunny day, but indoors it will read deeper than that in a lot of rooms. Three rules [11:10] Remember these and you can predict most of what this color will do in your house: Dim light makes it darker.Cool light makes it bluer.Warm light makes it greener. How It Reads by Exposure [13:07] ExposureWhat the light doesHow Webster Green behavesIf it’s not right North Indirect, cool, slightly blue, steady all day Predictable from morning to afternoon, but darker and leaning to its cooler, bluer side. Great in a den, library, or a dining room you use at night. In a small north room with one window, it can feel like a cave Cushing Green HC-125, warmer and a touch grayer at about the same depth. Lighter option: Saybrook Sage HC-114 South Strong, warm, golden The easy one. That warmth plays against the color’s blue side. Brightest version in daylight, richer as evening comes on If midday feels too lively, Caldwell Green HC-124 settles it down East Warm and bright in the morning, flat and cool by afternoon The question isn’t the exposure, it’s when you’re in the room. Great in a kitchen, breakfast nook, or a bedroom you wake up in. In a family room used after dinner it goes cooler and flatter A warmer green, plus the right bulbs West Flat in the morning, warm golden light sideways late in the day Looks its richest in the evening. A west-facing living or dining room used at night is a strong fit Usually no change needed Two things that may matter more than exposure [16:25] Bulbs. Once the sun is down, the direction the room faces stops mattering, because you’re seeing the color under lamps. Warm bulbs around 2700K to 3000K pull this green warmer and cozier. Cool bulbs at 4000K and up push it blue and can make a dark room feel stark. Our winters. The National Weather Service in Grand Rapids puts December at roughly 20 percent of possible sunshine. If you fall in love with a color on a sunny July afternoon, know that it’s going to spend a big part of the year under a gray sky here. So sample it, and sample it now [17:22]. Get a large swatch up, not a little chip. Put it on more than one wall. Look at it in the morning, in the afternoon, and at night with your lamps on. If you love it at this time of year, you’ll love it all year. The Furnace That Cost Dan a Chunk of Change [19:23] Eleven thirty at night, just getting into bed, and the furnace kicked on and shut off a few seconds later. Then again. Then again. Dan was in the basement in minutes with the panel off, in his long underwear, watching the burners light and go out, light and go out. Short cycling [20:48]. That’s when a heating system turns on and off in rapid bursts instead of completing a normal 10 to 15 minute cycle. Dan’s was barely getting past ignition. It’s more than a comfort problem: repeated starts add wear, reduce efficiency, and can lead to damage. And sometimes the furnace is stopping because a safety control is doing exactly its job, which is a reason to find the cause rather than assume something is simply broken. What he checked, in order: Airflow inside [21:43]. Every furnace needs air moving through it to carry heat into the house. Restrict that and the furnace can overheat and a safety switch cuts the heat. A dirty filter will do it, and so will blocked returns or a blower problem. Dan’s filter, for once in his life, was relatively new, the right type for the system, and the right MERV rating. Not the filter. The flame sensor [23:04]. When the gas valve opens and the burners light, the furnace needs confirmation that there’s actually a flame, because you do not want gas continuing to flow if ignition hasn’t happened. A modern flame sensor sends a tiny electrical signal through the flame to confirm it. No signal, the controls close the gas valve, the flames go out, and the furnace may try again and again. The sensor can be faulty, but contamination on it is more likely, and that contamination blocks the signal. The furnace thinks there’s no flame even while you’re standing there looking right at one. Dan had dealt with this twice at his previous house, so he shut the furnace down, pulled the sensor, found the ceramic intact and the metal rod filthy, and cleaned it with steel wool. Nothing too coarse. A Scotch-Brite pad works too. Put it back, fired it up, burners lit, and it shut down again. If you want to try this yourself, it’s within reach for a lot of people, but get...

  3. Oct 15

    How to Stop Swirl Marks From a Random Orbital Sander

    Original Air Date: October 17, 2026 Episode Number: 481 Episode Summary Two topics this week. First, a follow-up to last week’s interview with Jean Stoffer and Grace Start. Jean mentioned that she fell for British kitchens because they had furniture, coziness, and a sense of being a room people gathered in rather than a wall of boxes. That sent Dan down a rabbit hole and into the work of English designer Johnny Grey, who challenged the whole idea of the fitted kitchen back in 1980 and spent a career designing kitchens around the people in them. Dan covers where Grey’s thinking came from, what separates a fitted kitchen from an unfitted one, and the specific ideas that show up in his work: furniture instead of built-ins, designing for eye contact, soft geometry, counter heights matched to the actual cook, and a kitchen that looks like somebody lives there. Second half is random orbital sanders and the little pigtail swirls they leave in wood. Dan spent years assuming those were unavoidable. They aren’t. The sander wasn’t the problem. Timestamps [00:00] -- Show Preview [00:41] -- British Kitchen Inspiration [04:47] -- Johnny Gray Origins [07:02] -- Fitted vs Unfitted [10:49] -- Furniture First Design [13:17] -- Conversation and Comfort [16:28] -- Humane Ergonomics [17:59] -- Lived In Kitchen Style [19:29] -- Orbital Sander Setup [20:22] -- When Sanding Is Worth It [21:08] -- Lead Paint Safety First [22:18] -- Why Orbital Swirls Happen [25:10] -- Stop Skipping Grits [27:30] -- Move the Sander Right [29:52] -- Light Pressure Slow Passes [32:00] -- Start On Stop Off [34:12] -- Dust Collection Matters [35:31] -- Corners Curves Hand Sanding [37:04] -- Final Hand Sanding Check [37:34] -- Inspect With Raking Light [38:13] -- Pro Tools And Wrap Up Where This Came From [00:41] Last week’s guests were Jean Stoffer and her daughter Grace Start from Jean Stoffer Design. The whole conversation is worth hearing, but one piece of it stuck. Jean described needing a kitchen in her own house more than thirty years ago, going looking for ideas, and finding what she wanted in British magazines. She said those kitchens were thought of differently. More of a gathering space, closer to a keeping room, with actual furniture in them and a coziness that American kitchens did not have. Her description of what we had instead: boxes screwed up on walls. She sat down at her drafting table with those magazines and a magnifying glass to work out what exactly was making the difference. Dan wanted to know too, and went digging. Johnny Grey [04:47] One British designer kept turning up. Jean never said whose kitchens she was looking at, only that they were British, so this is not a claim that she was studying Grey’s work specifically. But his ideas were getting a lot of attention right when she was looking, and they line up closely with what she described. What makes Grey interesting is the size of the question he was asking. Not where the fridge goes and where the stove goes, but what kind of life do the people living here want this room to make possible. Where that came from. Grey grew up in a big family in London. If you wanted to find his mother, you went to the kitchen, which was small and dark and in the basement. He remembers peeling potatoes down there at a counter built for somebody much taller, which turns up again later in his thinking. The family later got a cottage in the country and that kitchen was not much better: hard wooden chairs, almost no counter space, no heat. He and his brothers and his mother still sat in there for hours reading and talking and working. That’s the part worth sitting with. Nobody gathered in those rooms because somebody designed a beautiful gathering space. Both kitchens had plenty working against them. People gathered there anyway, because that’s where family life was happening. Which raised the question: if people are drawn to this room regardless, what happens when design actually tries to help? Could people be more comfortable? Pitch in more often? Could the room make time together easier? Fitted and Unfitted [07:02] In 1980 Grey wrote a piece for the Sunday Times in London titled “Why This Awful Fixation With Fitted Kitchens?” The response was large enough that it reshaped his career, and the Unfitted Kitchen followed. A fitted kitchen is what most of us picture. Built-in cabinets along the walls, counters running across the base cabinets, uppers above, appliances slotted in, the whole thing coordinated as one system. That’s not a bad idea, and Grey wasn’t throwing it out. The thinking behind it is efficiency: good prep space, convenient storage, surfaces that clean easily, and a short trip from refrigerator to sink to stove. Anybody who has cooked in a kitchen that fights them knows those things matter. What Grey wanted was the same level of design attention paid to everything else that happens in the room. He argued the kitchen may be the last place in the house where people genuinely gather and talk. Food is one of the ways we show affection, and it sets the rhythm of a day, so the room is not really a place to make meals. It’s where family life happens. His evidence is worth repeating, because he heard it over and over from clients. When people described their dream kitchen to him, they almost never mentioned cabinets. They described a table set by a window. A view. A fireplace. Conversations around a table with family. The cabinets and the appliances were secondary every time. Fitted kitchens are built for storage and efficiency, and almost none of that effort goes toward the thing people actually describe wanting. What an Unfitted Kitchen Looks Like Furniture first [10:49] Think about what makes your living room feel like yours. A hutch from your grandmother. A bookcase. A chair you would never get rid of. Things with legs, things you’d load into a truck if you moved, different shapes and woods, a little history. Now count how many of those things are in your kitchen. For most of us the number is zero. The kitchen is the one room we don’t furnish. We install it. Furniture brings three things: Feeling. One piece changes the whole room. An old dresser holding the everyday dishes. A chair in the corner. This is exactly what Jean was describing in those British magazines, a room you want to settle into.Flexibility. Cabinets get screwed to the wall and stay there. Furniture moves, changes jobs, changes rooms, and comes with you. When the kids grow up or the way you cook changes, the kitchen can change too instead of locking you into a design that no longer fits your life.Storage. Not more than a wall of built-ins, but enough to give back what you gave up, with each piece assigned a job. A dresser with open shelves for everyday plates and glasses. A tall cupboard for food. A work table with drawers keeping pots and pans near the stove, and the tools you use daily hanging where you use them instead of buried in a drawer. Designing for conversation [13:17] Picture someone walking in while you’re making dinner and telling you about their day. You’re facing the wall, working at the counter. You turn around, say something, turn back, keep chopping. We all have conversations like that and we’re used to them. Grey’s question is whether the room could make that easier, and whether it could make the conversation itself better. Eye contact during conversation builds trust, increases the sense of connection, and helps manage turn-taking. You can see when someone understands you, when they’re about to speak, and when they need a second to think. If design can create more chances for eye contact without pulling you away from the work, that’s a real win. So in his kitchens the cook faces into the room whenever possible, and the work happens in the middle of the space on narrow islands or work tables rather than lined up along walls. The islands are long and thin on purpose: on a narrow island, two people working across from each other are close enough to actually talk. Comfort and soft geometry. A kitchen should be comfortable enough that people linger. A chair matters. A window seat. A spot in the sun. A sofa if the room can take one, which is not off the table. Soft geometry is his term for rounding things off. Picture the corner of an island jutting into a path you walk fifty times a day, then picture that corner curved. He uses curves to make the routes through a kitchen more comfortable, and leaves breathing room instead of treating every available inch as a spot for one more cabinet. The evening kitchen. While you’re cooking and cleaning you need bright, usable light. When the work is done, the lighting should change with the activity. Overhead lights give way to a lamp or softer light near where people are sitting. Picture your kitchen with every overhead blazing, then picture a soft glow around the table while you finish a cup of coffee and keep a conversation going. Humane ergonomics [16:28] This is where the potato peeling comes back. Grey worked at a counter that was the wrong height for him, and it made the job harder and less pleasant. So rather than accepting that there is one standard counter height for every human being, he builds work surfaces based on the elbow height of the person actually doing the cooking. He also varies heights around the...

  4. Oct 8

    Jean Stoffer & Grace Start Interview: The Established Home, Kitchens, and Old Houses

    Original Air Date: October 10, 2026 Episode Number: 480 Episode Summary Dan sits down with Jean Stoffer and her daughter Grace Start, the mother-daughter team behind Grand Rapids based Jean Stoffer Design, Stoffer Home, and the Magnolia Network show The Established Home. They cover how Jean got into design with no formal training, how a failing kitchen in her own house sent her to British magazines with a magnifying glass, and what happened when a new appliance technology, a growing national interest in kitchens, and a design contest win all landed at once. Grace explains how she went from teaching preschool to asking her mom for a part-time job, and both talk about what each of them turned out to be good at. There’s a long stretch on the career decisions Jean turned down when her kids were small and what she thinks of those choices now. Then the business side: the Wealthy Street store, going online, building a virtual cabinetry business during COVID, and Grace’s vanity line. They get into how the Magnolia show came about and why it ended after three seasons. Finally, old houses, what you find behind the walls, why constraints make for better design, and how they approach a kitchen. They close on their three books, including one out for pre-order now. Timestamps [00:00] -- Welcome and Guests [01:14] -- Jean Finds Design [03:58] -- Kitchen Design Breakthrough [07:05] -- Sub Zero Contest Win [08:31] -- Grace Joins the Firm [10:42] -- Mother Daughter Strengths [15:00] -- Faith Family Priorities [20:40] -- Store Online Expansion [23:49] -- Virtual Cabinetry and Vanities [28:04] -- Magnolia Show Origins [29:39] -- Landing the Pilot [31:24] -- Building a TV Season [32:10] -- Filming Reality Check [33:29] -- Why the Show Ended [34:46] -- Getting Used to Cameras [37:20] -- Old House Surprises [39:35] -- Constraints Spark Creativity [42:38] -- Kitchen Design Basics [44:53] -- Trends and New Tech [47:36] -- Guiding Client Choices [50:01] -- Books and New Releases [54:14] -- Where to Follow Them [54:54] -- Final Takeaways How Jean Got Into Design [01:14] Jean studied business and started on the administrative side of a design firm. Design had not been on her radar growing up. In her parents’ house a home was supposed to be warm and welcoming, a place where people felt connected and accepted, and what it looked like was not really the point. Working around designers opened up the idea that a house could be beautiful and warm at the same time. She and her husband Dale had just bought their first place, which gave her somewhere to try it. Her training was light: a drawing class at a community college, back before computer drafting. The rest was observation, study, and looking hard at photographs to understand the mechanics behind them. She started as a decorator picking furniture and wall colors. The kitchen that changed things [03:58] Then they moved into a house whose kitchen was falling apart. That sent her looking for what a kitchen could be, which in the early nineties in America was still mostly boxes screwed to a wall. She found the answer in British magazines. Those kitchens were gathering spaces with furniture in them, closer to a keeping room, with a coziness and beauty that American kitchens did not have. So she sat at her drafting table with the magazines and a magnifying glass and worked out exactly what made them different. It came down to flush inset cabinetry, which almost nobody was building at the time. The hard part was finding a cabinet maker who would do it. She got it built, installed it in her own kitchen, and that was the start. The timing mattered. This was right when Sub-Zero introduced a way to panel an appliance so that it disappeared completely, no visible grill, no visible hardware, nothing projecting past the cabinetry. Panels on fridges had existed. Full disguise had not. That technology, a national shift in how people thought about kitchens, and Jean’s own interest all arrived together. The contest [07:05]. A few years in, she entered a Sub-Zero kitchen design contest with 35mm photos of a 1938 reproduction kitchen, and won, she thinks largely because it was so different from everything else. The celebration was at a resort in Arizona, where she met designers whose work she had studied, including Mick De Giulio out of Chicago, and found them talking about her work. Grace Joins [08:31] Grace grew up around all of it and never once pictured doing it. She went to Calvin College, married, studied education, and taught preschool at Zeeland Christian. Then she and her husband bought their first house, had their first child with a second on the way, and seeing a home as her own space changed how she looked at the work. Jean had also just moved to Michigan from the Chicago area. Grace asked her mother for a part-time, flexible job doing whatever needed doing. Jean hired her with no experience. What each of them is good at [10:42]. Jean’s gift turned out to be the analytical side. Kitchens have right and wrong answers, fractions of an inch, mechanicals, appliance integration, lighting schedules. She loved that. The subjective work, fabrics and paint shades and whether the flower on a textile is the right size, she did not enjoy and did not feel good at. Grace was confident with exactly that, early on. Grace makes the business case too. As a one-woman operation, Jean was winning awards but always relying on another designer to finish the house, which meant she could rarely photograph a whole project and call it hers. Doing the full house, plus the arrival of social media, is when things took off. Both describe the same trait: a willingness to try things they do not know how to do yet. As Grace puts it, they both suffer from “how hard could it be.” Jean notes they have since hired people who are much better at spotting the pitfalls, which has been a useful guardrail. The Decisions Behind the Business [15:00] Jean writes in Establishing Home about turning down career opportunities when her kids were young, including ones that looked like they could have catapulted the business. Her youngest was about two at the time, with three older. She describes it as something she could not settle with a pros and cons list, because the consequences could reach into the next generation, so she prayed through it and got what she describes as a clear answer, which she tells in the book. Looking back she has no regrets. She knows her four kids, she was present at every stage, and she says those relationships are the foundation that made going into business together possible at all. A family business only works if the family works. Grace points out how much of this she did not know at the time. She was a kid on the way to soccer practice. Hearing later what was being weighed and given up changed how she thinks about her own choices with her husband and their four kids: you do not burden children with the big decisions, you just put them first. Dan’s note on this: there is no guarantee that the sacrifice pays off professionally the way it did here. The relationship part is the part that always pays. Growing Beyond Design Work [20:40] The store came from several needs at once. The team was working out of Jean’s small house with samples under the beds, contractors and clients coming and going. They needed office space, a meeting room, a place where people could actually see and touch the cabinetry, and inventory to finish their own projects with. All of that became the store on Wealthy Street. Jean had to keep reminding herself for months that the retail side was never going to cover the building on its own, because it was also the office and the showroom. Online came next, driven by people asking. Followers would see something in a store post and have no way to buy it short of driving to Michigan. Cabinetry and vanities [23:49]. The bigger move was figuring out how to deliver their cabinetry nationally. Kitchen design is an in-person business, and when COVID made everything virtual they put their heads down and spent months working out how to do it remotely. It was Grace’s idea, and Jean’s initial reaction, by her own account, was that it would never work. It has become the most important piece of the brand. There are now Stoffer Home Cabinetry showroom partners in the Miami area and just outside New York City, plus designers across the country specifying their cabinetry. The vanity line came from Grace’s frustration as a designer. The options were full custom or a handful of large retailers whose designs did not match the British-leaning look they wanted. They built five designs in three-inch increments with their catalyzed, durable paint finish, so a client who wants a genuinely nice vanity without going full custom can order one made to order. The Magnolia Show [28:04] Several unconnected things lined up. Jean’s son John, the family photographer, had shot for Magnolia Journal and been to Waco. Instagram was taking off for design and they caught the wave early. Joanna Gaines was following Jean and occasionally commenting, and the new network had a specific vision for encouraging, time-well-spent television. The pilot [29:39]. They were offered one episode of a show called Point of View: A Designer’s Profile, each episode following a different designer. Theirs followed the kitchen in Jean’s own home, The Madison. After the edit, the network came back and asked for a show of their...

  5. Oct 1

    The Mystery of the Kitchen Cabinets Nobody Could Reach

    Original Air Date: October 1, 2026 Episode Number: 479 Episode Summary Dan opens with two questions: what's the weirdest thing in your house that you've never been able to explain, and what's the strangest thing you've ever found in one that you weren't looking for? Then he spends the full episode on his own answer. His first house was a 1928 place in Zeeland, bought in 1999, and it came with kitchen cabinets mounted so high he needed a ladder to reach the second of four shelves. Nobody could explain them. Converting a dingy basement room into a workshop turned up canning lists penciled on the wall for 1940 through 1944, and newspapers from October 1943 lining the shelves. There's a screwdriver found inside a wall, a map scribbled behind fake cabinet doors, and a nighttime dig in the backyard that turned up nothing. Ten years in, a woman in her eighties knocked on the door, walked through the house her father built, answered the cabinet question in one sentence, and later mailed back something she'd taken with her when the family moved out. The show ends somewhere it usually doesn't: with the case for appreciating your house exactly as it is. Timestamps [00:00] -- Weird House Quirks [01:19] -- My 1928 Zeeland Home [03:00] -- The Sky High Cabinets [05:46] -- Basement Workshop Plans [09:24] -- Canning Lists Discovery [14:03] -- Sponsor Break [14:22] -- Newspapers From 1943 [16:41] -- A Winter Day Reflection [18:55] -- Sponsor Tease [19:09] -- Paint Is The Project [19:32] -- Basement Finds Revisited [19:52] -- The Wall Screwdriver Story [20:17] -- Cabinet Door Treasure Map [22:23] -- Night Digging Misadventure [24:04] -- Visitor From The Past [25:32] -- Lightning In The Dining Room [26:29] -- Porch Sleeping Tradition [27:04] -- Why The Cabinets Were High [28:50] -- A Gift From Texas [30:13] -- Ceiling Globe Time Capsule [31:50] -- A House Full Of History [34:27] -- Superman Comic Wall Find [36:51] -- Homes Hold Our Stories [38:19] -- Appreciate Your Home [39:25] -- Share Your Weird Finds [39:41] -- Final Sign Off Two Questions to Start [00:00] What's the weirdest thing in your house? Not something you did, something that was already there. A door that opens the wrong way. A patch in the floor where something used to be and nobody knows what. You wonder about it for a while, then you stop seeing it and just live with it. And the second one: what's the coolest or strangest thing you've ever found in a house that you weren't looking for? Behind a wall, under a floorboard, in the middle of a renovation. What did you think when you found it? Did it tell you anything about the house, or about the people who were there before you? Most of us live in a place that had a whole life before we showed up, and we almost never think about it. The House in Zeeland [01:19] Built 1928. Bought in 1999. The previous owners had finished the entire main level before the sale and it was a major selling point: wallpaper in the dining room, original trim cleaned up, some of it stained and varnished in the bedrooms, new crown molding, new carpet. The screened front porch was the part Dan misses. Three seasons a year he was out there, coffee in the morning and a book late into the evening, hearing dogs and conversations up and down the block while still having his own space. The cabinets [03:00]. Two walls of the kitchen had normal uppers and lowers. The third wall had uppers only, mounted so high that Dan could stand under them, jump, and not come close to hitting his head. Reaching the second of four shelves took a ladder, no exaggeration. The top shelf might as well have been Everest. Everybody who walked in noticed within seconds and everybody had a theory. Dan's working theory for years was that the original family was simply enormous. They weren't. The answer came about ten years in, and it came from the daughter of the man who built them. The Workshop and the Canning Lists [05:46] A year or so after moving in, Dan wanted a project. The upstairs needed more work than he was ready to take on, so the dingy basement room with a workbench and floor-to-ceiling shelves became the one. He was working the RepcoLite Lakewood store in Holland at the time, having the same conversations with customers that he has on the radio now, about making a space exactly what you want it to be, and this was his turn to do it in his own house. A workshop is never just a workshop. It's where maintenance happens, where Pinewood Derby cars get built and painted, where dollhouses get glued and wallpapered for Christmas, where bookcases come together. The writing on the wall [09:24]. While cleaning, Dan swung a work light into another corner and caught pencil writing he'd walked past repeatedly. Thick cursive, hard to read in bad light. He leaned in genuinely expecting something along the lines of five paces west from the giant maple. What it said was 1940, and under it: four quarts of pickles, five quarts of peaches, eight quarts of green beans, on down the wall. More lists followed for 1941, 1942, 1943 and 1944. Pickles, beans, tomatoes, peaches, jam. Standing there, he started picturing the shelves across the room loaded with Mason jars two and three deep, and the work it took to fill them. Kids coming down for a jar of peaches. The pop of a lid when the seal breaks. He's fairly sure those kids snuck peaches, on the grounds that he would have. When he painted the room, floors and walls, he left every section with writing on it untouched. Newspapers From 1943 [14:22] Turning to the shelves, Dan found the top ones lined with newspapers from October 1943. Not pristine, not valuable, and he sat reading them for a couple of hours. American troops pushing through Italy. Bombers over Germany. Alongside the war news, ordinary ads and local stories. That day [16:41]. A Saturday morning in December. Snow coming down hard with a storm on the way, piling up outside the window. A space heater running, a work light hanging from a hook, Dan on the top step of a stepladder so he could reach the shelves. The people who canned all that food had read this same paper, probably holding it in the same spots his hands were in. The difference is he knew how it all turned out and they didn't. Every story they read ended with an unspoken "to be continued." Did they have a son in the fighting, a nephew, a grandchild? Did he come home? What he does know is that they kept going, because he had their canning lists from the years after. That was the day it landed: this wasn't just his house. More Finds in the Walls [19:32] The screwdriver [19:52]. Found inside a wall during electrical work when the boxes came out. Somebody dropped it and either fished for it or never knew where it went, and spent an afternoon looking. The map [20:17]. A run of cabinet doors in the kitchen was fake, hinged and nailed over ductwork. Dan assumed they were painted shut. When he finally popped them off during a painting project, expecting bonus storage, he found writing on the wall behind them. This one actually was a map: directions, coordinates, west, east, a number of steps. He believed it completely. He has joked about this before but has never quite admitted how literally he expected to find buried treasure in his own yard. The dig [22:23]. He followed the instructions exactly and went out at night, reasoning that nobody would see him. In hindsight that's backward. A man digging in his yard at two in the afternoon is doing yard work. A man digging at midnight is a different story entirely. He found nothing. The visitor later supplied the obvious answer: the instructions marked the property corner. The Visitor [24:04] A Saturday knock, about ten years in. The neighbor, and with her a woman Dan didn't know who was in town for the weekend and had grown up in the house. Her father built it. Dan, who describes himself as socially awkward and nervous about unexpected visitors, got out of the way and let her walk through. The dining room [25:32]. Three big windows above the table. During dinner one evening, with her mother, father and brother at the table, lightning came in through a window, crossed the room along the wall and left through the kitchen. She pointed to the corner that had been scorched black afterward, wallpapered over by then. Storms at that house felt different from then on. The porch [26:29]. It had been her brother's room every summer and into the fall, because his upstairs bedroom was unbearable in the heat. She said porches up and down the block usually had somebody sleeping on them through the summer. The cabinets [27:04]. Dan finally asked. Her answer took one sentence: when the house was built, a large chest freezer sat against that wall, and her father hung the cabinets high enough that the lid could open fully without hitting them. The freezer eventually left. The cabinets stayed. The reason got lost, and for decades people stood in that kitchen inventing theories. The Globe [28:50] She said she'd send something as a thank you, and Dan assumed it would never arrive, mostly because he's the kind of person who promises to mail things and doesn't. A few weeks later a small package came with a note. Inside was a glass globe from a ceiling fixture, the one over the light in her bedroom the entire time she lived

  6. Sep 24

    Do You Have to Strip Old Furniture Before Refinishing It?

    Original Air Date: September 26, 2026 Episode Number: 478 Episode Summary This week on Home In Progress, Dan starts with elastic waistband jeans and gets from there to an architectural idea worth borrowing. British architect Alex Gordon argued that good buildings should have long life, loose fit and low energy. That middle one, loose fit, is the useful one for homeowners. It means leaving room for change, and Dan looks at what that means for theater rooms, garage conversions, outdoor kitchens, mudroom lockers, closets and aging in place. Then the show picks up the furniture refinishing series with the question people skip: does that old finish actually have to come off? Dan walks through the painting path and the stained wood path, the denatured alcohol test, why shellac changes your primer choice and when stripping is genuinely worth it. The episode closes with fall exterior painting, including moisture content, surface temperature and dew point, plus how to pick your painting window on a cool fall day. Timestamps [00:00] -- Welcome and Sponsor Intro [00:08] -- Elastic Waistband Epiphany [02:46] -- Loose Fit Design Principle [04:40] -- Remodeling for Flexibility [08:27] -- Aging in Place Upgrades [10:01] -- Repurpose What You Have [10:27] -- Refinishing Strip or Not [14:21] -- If You're Painting Prep [21:44] -- Wood Look Stain Decisions [25:43] -- Refreshing Clear Coats [27:58] -- Shellac vs Poly Options [33:11] -- Antiques and Final Tips [33:58] -- Fall Exterior Painting Guide [35:26] -- Moisture Temperature Dew Point [39:18] -- Best Fall Paint and Wrap Up Long Life, Loose Fit, Low Energy [02:46] British architect Alex Gordon, president of the Royal Institute of British Architects in the early 1970s, argued that good buildings need three things. Long life means it physically lasts. Low energy means it doesn't take absurd amounts of resources to keep running. Loose fit is the interesting one. It means a building works for the life happening in it right now, without being built so tightly around one use that it can never become anything else. People change. Families change. Technology changes. A house should be built or remodeled with the assumption that what you need from a space will not stay the same. Preserve possibilities [04:40] None of this is an argument against customizing your home. Build the theater. Build the outdoor kitchen. Build the gym. The question to ask is how permanently you need to customize a space in order to get what you want out of it. The theater room. You could build permanent risers, fixed seating and cabinetry designed around one screen. Fifteen years later, when movie night isn't a thing anymore, turning that room into an office or a bedroom means tearing half of it apart. You can get a fantastic theater instead with dark paint, blackout shades, great seating, lighting, speakers, rugs and removable acoustic panels. Underneath all of it, the room is still just a room. You can make a room incredibly specific without making the architecture incredibly specific. The garage. Converting a garage into living space makes sense for some families. But pulling the door, framing in the opening and adding permanent walls, plumbing and flooring is a real commitment. If what you actually want is a gym, insulation, heat, lighting, flooring and movable equipment may get you there while the garage stays a garage. The outdoor kitchen. A patio with good lighting, power, a grill and movable prep space does a lot of the same work as a masonry kitchen with built-in appliances and plumbing. One of them leaves you more options later. Small projects too. Dan nearly built an elaborate mudroom locker system a few years back. Life got in the way and it never happened, and now the family doesn't need it. Adjustable shelves, movable hooks and flexible storage hold backpacks now, sports gear later, then dog supplies, then something else. Same with closets. Permanent shelving that suited a previous owner becomes a project to undo. Adjustable brackets take five minutes. Smart technology. There's a difference between adding smart technology to a house and building a house around one generation of it. A smart thermostat, bulb or plug-in speaker is easy to swap. Whole-house lighting, motorized shades and automation systems can involve proprietary controllers, keypads and wiring buried in the structure. The house may last 100 years. The technology will not. Keep the permanent infrastructure flexible enough that the tech can change without the house changing with it. Aging in place [08:27] Loose fit isn't only about a room changing jobs. Sometimes the room stays exactly what it is, and the person using it changes. The bathroom is still the bathroom, but mobility, grip strength or vision may be different in twenty years. Blocking behind shower walls. The walls are already open during a remodel. Adding blocking now gives you the option of grab bars later.Curbless shower. It looks great today and is far easier to use if mobility changes.Lever door handles. Convenient now, easier to operate later. If you plan to stay in the home, think about how you may eventually need to use a space, not just how you might want to. Discover possibilities [10:01] Look for flexibility in what you already own. We get attached to labels. That's the dining room, that's a dresser, that's a china cabinet. The dining room can be an office for a few years. The dresser might work better in the entry. The china cabinet can hold games. Sometimes the value comes from simply letting a room or an object change jobs. Refinishing Furniture: Do You Have to Strip It? [10:27] This continues our furniture refinishing series. Earlier weeks covered how to tell if a thrift store or estate sale find is worth bringing home, and the safety concerns around lead-based paint. Assuming lead isn't present, the instinct is to sand or strip everything to bare wood. That's a fine foundation, but it's often far more work than the piece requires. Dan watched three videos recently where experienced people described two-hour jobs that became two-day sanding projects. Nobody regretted it. Nobody enjoyed it. Before you start, answer one question: what do you want the piece to look like when it's finished? Painted, or stained wood you can see? The two answers send you down different paths. Path one: you're going to paint it [14:21] If the existing coating is sound, meaning it isn't peeling, flaking, bubbling or lifting, you usually don't need to remove it. Do the prep instead. Test for lead if the piece is painted. Kits are inexpensive and easy to use. Test all the layers you can get at.Test for shellac if the piece is clear-coated. Put a little denatured alcohol on a hidden spot, like the inside of a leg or underneath the top. If the finish stays hard, it's likely lacquer, polyurethane or something similar. If the alcohol softens it, makes it sticky or starts dissolving it, you very likely have shellac.Clean it thoroughly, then scuff-sand with 180 to 220 grit. You are knocking down the gloss, not sanding through the finish. Go gently on veneer. A lot of old furniture is a thin layer of nice wood over a cheaper core, and a power sander can go right through it.Prime. Over lacquer, poly or a similar hard finish, STIX from Insl-X is a great choice. It's a waterborne acrylic-urethane bonding primer built for glossy, difficult surfaces, and it cleans up with soap and water.If it's shellac, switch primers. Traditional shellac contains a little wax, and wax causes adhesion problems for some coatings. Zinsser B-I-N, a white pigmented shellac, will bond over it. B-I-N is alcohol based, it smells strong and cleanup is less convenient, so it isn't Dan's everyday primer. This is exactly the situation where it earns its keep. Path two: you want to see the wood [21:44] Here the next question is whether you like the color of the wood that's there now. If you don't like the color, you're probably headed to bare wood so new stain can penetrate. One exception worth knowing about is gel stain, which can go over a sound existing finish and behaves more like a translucent color coat. It can darken a piece without stripping, but layering translucent tones is unpredictable, the color you need on top is often not the one you'd guess, the grain gets partially obscured and even application takes some skill. Stop by your nearest RepcoLite and ask before you commit to that route. If you like the color and the finish is just dull, scratched and tired [25:43], you may be able to keep what's underneath. Run the denatured alcohol test. If the finish isn't affected and it's still firmly attached, clean the piece extremely well, scuff-sand it so the new coating has something to grab, and test the new finish in an inconspicuous spot first. Oil-based polyurethane is an obvious choice. It's easier to apply than the waterborne version, it bonds well and it's durable enough for wood floors. If the alcohol did soften the finish, you're dealing with shellac [27:58]. Shellac has an unfair reputation as fragile. It gives wood real clarity and warmth, it dries fast and it's remarkably repairable, because fresh shellac softens and...

  7. Sep 17

    How to Paint an Ombre Wall

    Original Air Date: 09/19/26 Episode Number: 477 Episode Summary This week on Home In Progress, Dan covers paint store tools you've probably walked past without a second look, and explains why each one is worth having. They include FrogTape (green and yellow), the painter's five-in-one tool, a brush comb, the Handy Paint Pail, the Wooster Pelican Pail and the Wooster Sherlock system. Then he gets into ombre walls, a painted gradient where one color slowly melts into the next with no hard line between them. He explains what the look is, where it works and which direction the colors can run, then walks through the full process from choosing colors to blending wet paint. The episode wraps up with a fall list: jobs to get on the calendar now, plus a few fun things to do before the season gets away from us. Timestamps [00:00] -- Show Preview [01:09] -- FrogTape Clean Lines [03:28] -- Yellow FrogTape Delicate [04:29] -- Five In One Tool [05:28] -- Brush Comb Care [06:15] -- Handy Paint Pail [07:24] -- Pelican Pail Combo [08:28] -- Wooster Sherlock System [09:32] -- Ombre Walls Explained [10:02] -- Color Capping Context [10:59] -- What Ombre Means [15:20] -- Where Ombre Works [16:29] -- Ombre Direction Choices [18:50] -- How To Paint Ombre [19:27] -- Ombre Recap Practical [20:43] -- Ombre Wall Basics [21:36] -- Choose Three Colors [23:20] -- Prep and Base Coat [24:04] -- Map the Color Zones [25:23] -- Blend Like a Pro [28:55] -- Corners Tape and Edges [29:57] -- Practice and Dry Time [33:14] -- Fall Checklist Begins [33:51] -- Chimneys Apples Gutters [35:21] -- Trips and Winter Prep [37:20] -- Historic Homes and Furnace [38:36] -- Last Fall Fun and Wrap Paint Tools You've Walked Past [01:09] Some of the most useful things in a paint store don't look like much on the shelf. Once you know what they do, painting gets a lot easier. Green FrogTape. FrogTape has PaintBlock Technology along its edges. When latex paint touches that edge, the water in the paint makes it react and form a tiny barrier, so paint doesn't creep under the tape. You still need a clean surface, a firmly pressed edge and a light hand with the paint, but the lines come out much sharper. Through the end of September, RepcoLite has 1.5-inch green FrogTape 3-packs for $12.99, which works out to about $4.33 a roll. Yellow FrogTape [03:28]. This is the same clean-line technology in a delicate surface tape. It's made for freshly painted surfaces that have dried, and for wallpaper. Regular tape on those surfaces can pull paint or damage the paper when it comes off. Five-in-one and seven-in-one tools [04:29]. They look like oddly shaped putty knives, but each part has a job. The flat blade scrapes and spreads patching compound. The pointed corner digs out and opens up cracks before you patch them. The half-moon curve squeezes paint out of a roller cover while you wash it. Some versions also open paint cans or have a flip-out screwdriver. Brush comb [05:28]. This is a small steel comb you run through the bristles while cleaning a brush. It separates the bristles so water gets deeper in, and it pulls out paint that has built up near the ferrule. That buildup slowly ruins a good brush. A comb costs very little and adds years to a brush. Handy Paint Pail and Handy Paint Cup [06:15]. Both are hand-held containers for cutting in. A magnet on the side holds your brush, so it doesn't sink into the paint when you need a free hand. They clean up and can be reused. Wooster Pelican Pail [07:24]. It's a similar idea with a brush magnet, plus an angled roll-off area for mini rollers up to about 4.5 inches. You can cut in, stick the brush to the magnet, roll a section and go back to the brush, all from one pail. Liners are available. Wooster Sherlock System [08:28]. These roller frames and extension poles lock together. You don't thread anything, and nothing spins loose while you work. You can swap frame sizes and change pole length in a few seconds. Ombre Walls: What They Are and Where They Work [09:32] A couple weeks back we talked about color capping, which uses two or three related colors with deliberate, visible transitions as you move up the room. Ombre (ombré) does the opposite. The colors blend into each other like a gradient, with no stripes or bands. On a well-done ombre wall, you can't point to the spot where one color stops and the next begins. You can use shades of one color, which is the easiest and most subtle option, or blend between different colors. Because the color keeps shifting as your eye moves across the wall, you get depth and movement that a single color can't give you. Soft, related colors feel calm. Bolder colors make it dramatic. Where it works [15:20]. The wall behind a bed, a dining room wall, one big living room wall, or a kid's room. Some versions online look like the night sky just after sunset. You can wrap a whole room in it, but blending across corners gets tricky, and Dan thinks one wall is usually plenty. Direction [16:29]. Dark at the bottom and light at the top is the most common choice. It puts visual weight down low and makes the ceiling feel lifted and airy. Flip it, with dark at the top, and you get a much more dramatic room. Look at examples online before you decide. How to Paint an Ombre Wall [18:50] No sprayer needed. Regular wall paint, rollers and brushes will do it. It takes more technique than rolling two coats, but most people can pull it off with a little practice. Choose three colors [21:36]. Pick a light, a medium and a dark. Start with color chips, then get Benjamin Moore color samples and try them on foam board or the wall. Blended colors can expose undertones you didn't expect. For a first try, pick colors a couple of steps apart on the same chip.Prep and base coat [23:20]. Fill holes, sand, clean the wall and tape off trim and neighboring walls. Paint the entire wall in the lightest color, top to bottom, and let it dry 3 to 4 hours.Map the zones [24:04]. Divide the wall roughly into three horizontal zones. Don't tape the zones off. Light pencil marks are fine if you want a reference.Roll the medium and dark colors. Put the medium color across the middle and the dark color along the bottom. The edges can be wavy, and this paint doesn't need to stay wet. You're just establishing the zones.Blend [25:23]. Put each color in its own container, like a Handy Paint Pail or Pelican Pail, with its own brush, and keep a few clean brushes for blending. Start where dark meets medium and work about 2 feet of wall at a time. Brush fresh dark paint in a 6 to 12 inch band along the top of the dark zone, then fresh medium paint right above it. While both are wet, use a clean brush to blend across the line with loose diagonal strokes, around 45 degrees. You're softening the line where the colors meet, not erasing either color. Move to the next 2 feet and blend it into the section you just finished. When that transition is done, repeat the process where medium meets light. Corners and edges [28:55]. Feathering right into a corner is fiddly. Tape the adjoining wall. If that wall has fresh paint on it, use yellow FrogTape so the tape doesn't pull the new paint off. Practice and dry time [29:57]. Practice on a scrap of drywall or foam board first. You'll learn how wet the paint needs to be, how much pressure to use on the brush and how wide you want the blend. Know when to stop. Once the paint starts to set up, more brushing just drags half-dry paint around and leaves marks that show every time sunlight hits the wall. If you can't blend fast enough, a little Floetrol extends the working time of latex paint. It isn't a cure-all, but it helps. Tried an ombre wall? Send pictures to radio@repcolite.com. Fall Checklist: Jobs and Fun Stuff [33:14] Chimney [33:51]. If you plan to use a fireplace or wood stove, have it swept. If it hasn't been used in a while, have it inspected too. Apple picking. Pick a Saturday and an orchard. Try not to walk out with $150 worth of apples. Gutters. Start clearing them now and keep at it as the leaves fall, so water moves away from the foundation. Charlevoix mushroom houses [35:21]. Earl Young's stone homes have curved roofs and huge boulders built into them. Charlevoix has a self-guided route. Most of the houses are private, so enjoy them from the street. Snowblower. Change the oil and make sure it starts. Repair shops have room in their schedules now. They won't in late November. Sprinkler winterization. If someone blows out your system, get on their schedule now. Historic home tours [37:20]. The Meyer May House in Grand Rapids is a restored Frank Lloyd Wright home with free tours. The Hackley and Hume Houses in Muskegon are Queen Anne Victorians from the lumber era, and their Flashlight Tour is October 9. The Felt Mansion near Saugatuck is also worth a visit. Furnace. Change the filter and make sure it runs before the first cold stretch, when everyone else finds out theirs...

  8. Sep 10

    What Color Makes a Small Room Look Bigger?

    Original Air Date: 9/12/26 Episode Number: 476 Episode SummaryThis week Dan tackles one of the most repeated pieces of color advice in home design — "dark colors recede, light colors advance" — and asks why it so often fails in real rooms. Digging into the perception research behind the phrase, he untangles two things the rule quietly conflates: a color fading into the background versus a surface actually appearing farther away. From there he works through seven common room situations — low ceilings, long narrow rooms, dark rooms, walls as backdrop, boxed-in rooms, ceilings as a feature, and color capping — showing how to pick color by starting with the room and your goal instead of a rule. The episode opens with part two of the furniture refinishing series: checking an old piece for lead before you sand, scrape, or strip. Timestamps00:00 Welcome and Color Questions 00:44 Lead Paint Testing 04:07 Dark Colors Recede Myth 07:58 Research on Room Perception 11:19 Recede vs Spaciousness 14:07 Contrast and Lighting Effects 18:44 Practical Room Scenarios 22:25 Low Ceilings Look Higher 23:48 Fix Long Narrow Rooms 27:24 Brighten Dark Rooms 29:46 Walls as Backdrop 32:08 Small Rooms and Drenching 34:30 Make Ceiling a Feature 35:58 Color Capping Guidance 37:11 Key Takeaways and Wrap Test for Lead Before You Refinish Anything [00:44]Part two of the furniture refinishing series. Last week: deciding whether a thrift store or Marketplace find is worth bringing home. This week: the question to answer before you touch it with sandpaper. Why it matters during refinishing. Intact lead-based coating buried under newer paint, left alone or simply painted over, is a relatively low-exposure situation. Scraping, sanding, or grinding changes the picture — that's when you turn the coating into chips and airborne dust that can be inhaled or spread through the house. The older the piece and the more layers on it, the better the chance lead is in the stack somewhere. Test all the layers, not just the top one. That dresser may have been painted white five years ago with modern latex, with a coat from the '70s under it and something much older under that. If you're sanding through the stack, you need to know what's in it. Clear finishes count too. Paint gets most of the attention, rightly — but lead compounds were also used as drying agents in some older oil-based varnishes and related finishes. On a genuinely old piece, don't assume a clear finish is nothing to think about. Kits are cheap and simple. Lead test kits are inexpensive and widely available online — basic screening tests where you expose the coating, follow the directions, and watch for the color change. If it tests positive. Stop treating it as an ordinary refinishing project. A dust mask and a sander is not the plan. There are specific lead-safe work practices for these coatings, and the EPA publishes homeowner guidance on them. You can still do the work yourself — just understand how to protect yourself and your family first. Why "Dark Colors Recede" Keeps Failing [04:07]The segment started as a nagging doubt. In last week's color capping discussion, Dan cautioned against automatically putting the darkest color on the ceiling of a small, low, dimly lit room — which runs against something the show, and designers generally, have said for years. The honest problem: he's been in plenty of small rooms with dark ceilings and dark walls that felt small, not expansive, and others where a dark ceiling genuinely did feel farther away. If it's a rule, why is it hit or miss? Where the idea came from. It isn't invented. Perception research supports it — much of the early work involved objects against backgrounds, where lighter shapes come forward and darker backgrounds fall back. A cream sofa against a deep navy wall is the everyday version: the sofa, the artwork, the lamp grab your eye, and the navy settles behind them. Where it breaks. A wall or ceiling isn't an object against a background. It's one of the surfaces that defines the size of the room. What the Research Found in Rooms [07:58]Researchers eventually studied room surfaces directly, using virtual rooms where physical dimensions stayed fixed while the lightness of individual surfaces was manipulated. 2010: lighter ceilings appeared higher than darker ceilings.2018: the work broadened to all the surfaces defining a room. Brighter side walls made rooms appear wider; a brighter far wall made the room appear deeper. Darker versions consistently shrank the estimates. So the traditional rule says dark recedes — but when researchers measured where people thought a room's boundaries actually were, brighter surfaces read as farther away. Two Different Meanings of "Recede" [11:19]The word is doing double duty, and that's the whole problem. Meaning one — it takes a back seat. The navy wall behind the cream sofa recedes in the sense that it's no longer what you're looking at. Real effect — but it doesn't mean your brain has decided the wall is five feet farther away. Meaning two — it looks farther away. A different claim, and the one the research doesn't support for room-defining surfaces. Separate the two and the contradiction dissolves. That navy wall can function as a background behind a light sofa while a lighter color on the same wall would make the room read as slightly deeper. And a dark color doesn't automatically become the background anyway. Put that same navy on a single accent wall in an otherwise light room — light side walls, white ceiling, white trim — and it's a large dark rectangle in a bright space. Your eye goes straight to it. Same color, opposite result. What Actually Decides It: Contrast and Lighting [14:07]Contrast. Whatever stands out from its surroundings gets your attention. In the first room, the light furniture and art stood out against the navy, so the navy became background. In the second, the navy stood out against everything, so it became the focal point. Whether a color reads as backdrop or star depends on what you put next to it and what else is competing for attention. Lighting. Light hitting a dark wall directly keeps it present — you see the roller texture, the corner, any sheen reflecting back. It's dark, but it clearly isn't going anywhere. Move the illumination out in front of it, in a flatter finish, so the furniture and art are lit and the wall sits in softer light, and it becomes far less visually distinct. That's when it falls away. Same overhead: a ceiling lit brightly enough to show its texture reads as close, whatever the color, while softer light up there starts to feel cavernous. One counterweight. Lighting research also shows brightly illuminated light walls increase the overall sense of spaciousness. Receding is not the same as feeling open. The takeaway on the rule itself: it's trying to do too much. One small rule is being asked to predict something an entire room creates — color, contrast, lighting, furniture, ceiling height, windows, sight lines, even clutter. Which is why the lab studies help: strip the variables out, change only lightness, and lighter ceilings look higher, lighter side walls look wider, lighter back walls look farther. Dark rooms can absolutely feel spacious — the paint just isn't doing that work alone. Seven Room Situations [18:44]Start with the room, not the rule: what do I want color to do here, and what am I working with? 1. You want a low ceiling to look higher [22:25]The cleanest case. Stay relatively light overhead — this is where the research is strongest. Lighter walls help too; a light wall color with a very light ceiling is the strongest combination for apparent height. You can put color on the ceiling, it doesn't have to be stark white — but be cautious about letting the ceiling read as perceptibly darker than the walls. Green walls with a soft pale green ceiling gives you color overhead while keeping the ceiling light, which is the part actually working for you. 2. Long, narrow room you want to reproportion [23:48]Too narrow? Keep the two long side walls relatively light. Lighter side walls appeared farther apart in the research, and they also bounce more light back into the space, softening the shadowed edges that make a room feel like a tunnel. Want it to feel longer? Keep the far wall relatively light — a lighter rear wall appeared farther away. Want to visually shorten it? Flip it. A deeper color on that far wall makes the boundary feel more present and closer. Worth flagging: a lot of design advice says a dark accent wall at the far end makes a room look deeper. When researchers measured perceived depth directly, that isn't what happened — the lighter rear wall consistently appeared farther, the darker one closer. That's lightness in isolation, though. A brightly lit, clearly defined dark wall feels right in your face; the same wall in softer light can fall back. Lightness pushes perceived depth one way, darkness the other, and the rest of the room has its say. Already painted and disappointed? Before repainting that dark hallway wall, try changing the lighting or adding contrasting furniture or artwork in front of it. The color may be fine — it may just need help. 3. A room with little natural light...

See All (300)

Ratings & Reviews

4.6
out of 5
15 Ratings

About

Welcome to Home in Progress—the weekly show from RepcoLite Paints where we dig into the projects and little fixes that make home life better. Paint colors, design tricks, flooring, plumbing, yard work—you name it. If it happens at home, we’ll talk about it. Think of it as helpful advice with a sense of humor, always leaving you with something useful and a smile.

Information

  • Creator
    Dan Hansen/RepcoLite Paints
  • Years Active
    2017 - 2026
  • Episodes
    300
  • Rating
    Clean
  • Copyright
    ℗ & © 2025 Dan Hansen
  • Show Website
    Home In Progress

You Might Also Like