To help our door users avoid the disappointment of installing a superior quality cabinet door on a poor hinge, we decided to offer a top-quality, American-made hinge.

These Blum hinges are not usually carried by the Big-Box Stores because they simply can’t get the same profit margin as with cheap imports.
These Hinges are top quality, self closing, American made, Blum Inserta Clip-Top, 120

The Blum part number is 71T5590B. The hinges do not require screws and are simply placed in the hinge pockets bored into the doors, and they lock into place when the locking clip is closed.

These hinges are now used by most high-end cabinet makers across the country.

The Face-frame adapter plate is Blum part number 175L6030.21, zinc die-cast, nickel plated, and does require two #7 x 3/4″ wood screws (not supplied).

The Adapter plate is for Face-frame cabinets with 1/2″ overlay.

If you order Hinge Boring, your doors will have 35mm holes bored 3 inches from the bottom and top of the door. Doors under 14 inches will have the pockets bored 1 1/2 inches from the top and bottom of the door.

If you wish, doors over 48″ tall may have three hinge cups bored, with the third hinge in the door center point (3 hinges are recommended for doors over 48″ in height).

BLUE AND WHITE is a popular color combination, and is often prominent in crockery and ceramics. The famous Willow pattern, based on Oriental chinoiserie designs, Delft tiles and ceramics from Holland, Spode china, and traditional Mediterranean pottery have all made use of this attractive pairing of colors.

Here we apply the crisp simplicity of blue and white to the kitchen, developing a design based upon an original piece of Portuguese pottery painted in a folk art style.

MATERIALS AND TOOLS

1. PREPARATION
This technique lends itself
to solid wood doors with
central panels. but it can also be applied to melamine,
laminate, vinyl, and fiberboard doors. Prepare the surface following the
instructions on pages
6-9. Apply two coats of
white matte latex paint,
allowing the first coat to dry
before applying the second.
Sand between coats using
fine-grade sandpaper on a
wooden door only. With a
varnish brush, apply one coat of matte acrylic varnish.

Tracing the Design

2. TRACING THE DESIGN
Choose a  blue-and-white ceramic design.

On a piece of transfer paper, trace the main part of the design, chosen  design’s main section shows a collection of flowers and leaves.

If the design needs to be elongated in order to fit the central pane parts of it can be repeated.

TRANSFERRING THE DESIGN

3. TRANSFERRING THE DESIGN
Turn the transfer paper over and center it on the door panel, holding it in place with some masking tape. Using a sharp pencil, draw over each traced line, transferring the design onto me door.

DESIGNING THE BORDER

4. DESIGNING THE BORDER
Select a detail from the original design that can be repeated as a border. Trace and transfer this design as before, around the border of the door. Alternatively, draw a border freehand, or paint a simple thin line using two lines of low-tack painters’ tape as a guide.

5. MIXING THE PAINT
Mix some cobalt blue and ultramarine blue artists’ acrylic paint together in two separate jam jars.

Add different amounts of white artists’ acrylic paint to each jar, creating a mid-tone blue and a darker shade of blue.

TRADE SECRETS: Use loose brushstrokes to paint in the less intricate parts of the design, holding the brush handle anywhere from the middle to the tip for greater ease oj movement. This will result in a “folk art” painting style. For the more detailed
portions of the design, hold the brush handle closer to the bristles to achieve greater control.

MIXING THE PAINT | PAINTING THE DESIGN

Add a little acrylic glazing liquid and water to both mixtures until they are the consistency of light cream.

6. PAINTING THE DESIGN
Using a medium artists’ sable brush, paint in the design with the mid-toned blue; use
the original design as a guide. Paint using short, rounded, brushstrokes for a folk art look. When dry, take up some dark blue on the fine artists’ sable brush and paint in the shadows and details. Paint the border pattern in the same way.

7. ADDING DECORATIVE DETAIL

Take up some of the dark blue on the fine sable brush and hold the loaded paintbrush at a slight angle to the edge of the raised panel or molding. Run the brush along the  molding to create a thin line. Mix a pale wash by adding more water to the mid-tone blue paint, then
use the medium artists’ sable brush to paint this wash along the molding. Allow to dry  thoroughly.

8. FINISHING
Apply three coats of matte acrylic varnish, allowing each to dry thoroughly before applying the next. Take up some blue-tinted wax polish on a lint-free cloth and apply its edges and corners of the panel and border to create area soft shading.

For more information and decorating ideas from Henny Donovan please visit a http://www.hennydonovanmotif.co.uk. You also can find The Painted Kitchen Book on Google.

COLORWASH is a popular and widely used technique for creating a beautiful, soft bloom
of broken color with far greater depth than plain, flat painting. Equally effective on furniture and walls, it is a simple finish with classic appeal that lends itself to both modern and traditional settings. Above all, it is a relatively quick and easy way to give kitchen
doors a face lift at very little cost. Here we introduce deep, rich berry tones, with a
repeat stamp motif in gold, and a brown shadow. The soft beauty of this design in these colors will add a warm and welcoming glow to kitchens large and small.

Preparation

1. PREPARATION

Colorwash is ideally suited to solid wood and fiberboard doors, but will also work on melamine, vinyl, or laminate surfaces. Prepare the surface following the instructions on pages 6-9. Use an acrylic or melamine primer, or an acrylic converter (according to door type) and tint with eight to ten drops of red universal tinter, to produce a red-toned primer. Apply a thin, even coat to the door, and allow to dry fully. Apply a second coat. Again, allow to dry fully. Sand between coats on a wooden door only using fine-grade sandpaper.

2. PAINTING THE BASE COAT
Apply two even coats of red matte latex paint to the door, allowing plenty of time for
drying in between. Use a non-absorbent matte latex paint, or, if unavailable, seal
a standard matte latex paint with a coat of matte acrylic varnish to make the surface
non-absorbent. Sand between coats using fine-grade sandpaper on a wooden door
only. Allow a full 24 hours for the paint to cure before applying the colorwash.

APPLYING THE COLORWASH

3.  APPLYING THE COLORWASH
Working on one door at a time, pour approximately 1 tbsp (15ml) of mulberry colorwash onto a decorators’ sponge.

Use the sponge to wipe the colorwash onto the door in swirling figure-of-eight movements, until completely covered.

Make sure that there are no gaps in the colorwash.

SOFTENING THE COLORWASH

4. SOFTENING THE COLORWASH
Immediately take the hog-hair softener and brush softly over the colorwash in light, sweeping crisscross movements, softening and blending the wash.

The glaze will quickly become sticky, so you need to work swiftly at this stage. Allow to dry for at least 12 hours.

VARNISHING

5. VARNISHING
Apply a coat of matte acrylic varnish with a varnish brush, gliding it onto the surface.

This seals the colorwash and makes the surface wipeable, a life-saver if you make a mistake during the stamping process. Allow to dry thoroughly.

To add extra depth to the color, apply another colorwash following the instructions in steps 3-4; varnish again to seal.

MARKING UP FOR STAMPING

6. MARKING UP FOR STAMPING
Small repeat motifs are an effective way to introduce a pattern that won’t dominate the overall effect. Measure the outer panel of the door and mark the position of the stamping repeats with small pencil dots at regular intervals.

Measure and mark the inner panel so that the stamp is repeated between two and three times on each line, creating a diamond repeat pattern. For our design, we used the flower part of the stamp for the outer panel, and both the flower and stem sections of the stamp together for the inner panel.

7. INKING UP THE STAMP

Pour some brown stencil paint into a small roller tray. Work a 2 in (50mm) sponge
roller forwards, backwards, and across the paint until it is evenly distributed on the
roller.

Roll the paint evenly onto the stamp. Do not overload the stamp, as this
will cause the paint to bleed and smudge when you press it onto the surface.

TRADE SECRETS: When painting a melamine or vinyl surface, be sure to leave adequate drying time between coats. Doing so will enhance the bonding process, making the finish more durable.

8. FIRST STAMPING-THE SHADOW
Press the stamp onto the surface, positioning it centrally on one of the pencil dots. Continue inking the stamp and printing in the same way, until you have covered all of the
pencil marks.

Stamp the inner panel first, starting at the top left-hand corner if you are right-handed, or at the top right hand corner if you are left-handed, to avoid smudging.

Then stamp the pattern onto the outer panel. Allow to dry thoroughly.

TRADE SECRETS: The stamp must be pressed firmly down perpendicular to the surface, or the edges of the image may turn out fuzzy. The best way to ensure a straight image is to stand directly behind the stamp, not to the side of it- this will help you
line it up with maximum accuracy.

9. SECOND STAMPING-THE HIGHLIGHT
Clean and dry the roller and stamp. Ink up the stamp with gold stencil paint. To highlight the shadow below, place the stamp slightly to the right of the brown stamped motif
already created- the clear plastic mounting of the stamp will make a good registration guide. Repeat over all of the previous stamping, and leave the paint to dry thoroughly.

10. FINISHING
Varnish the door with two coats of matte acrylic varnish, allowing the first coat to dry thoroughly before applying the second.

For more information and decorating ideas from Henny Donovan please visit a http://www.hennydonovanmotif.co.uk. You also can find The Painted Kitchen Book on Google.

Vine-leaf stipple - Preparation

THIS EFFECT IS BASED ON the Victorian technique of “fernwork,” the fashion of stippling onto bare wood using an arrangement of leaves as natural stencils. When the leaf shapes are removed, their silhouettes reveal the wood beneath.

We recreate this look here in a style that is both delicate and striking, using colors that result in an ambiance ideal for kitchens lacking in warmth or character. Our design is based on the attractive vine shaped leaves of Parthenocissus, or Virginia creeper, which
lend themselves perfectly to this treatment. We have used a bare, sanded oak door, warmed up first with a honey-colored polish, and finished with tawny and
chestnut glazes. Different leaf shapes can be used; delicate and frond-like leaves tend to give the most pleasing effect.

1. PREPARATION
This technique works best on bare, sanded, solid woods, such as oak or pine, but it can also be applied on painted wood, fiberboard, melamine, vinyl, or laminate surfaces, although these will have less of a natural “woodsy” appearance when finished. Prepare the surface following the instructions on pages 6-9. A few days prior to beginning, collect the leaves you intend to use and  press them between the pages of a magazine or newspaper, weighted down under several books or other heavy, flat objects. Sand the door well, using fine-grade sandpaper.

2. MIXING THE GLAZES
Just before you start, mix up a warm chestnut glaze and a lighter, tawny glaze as follows. Pour 4 tsp (20 ml) of acrylic glazing liquid and 2 tsp ( 10 ml) of water into each of two  separate paint pails. To make the chestnut glaze, add several drops of burnt sienna and raw umber; for the tawny glaze, add a few drops of yellow ocher, and some burnt sienna and raw umber. Stir the glazes well, ensuring that the colorant is fully dispersed.

3.  SEALING THE WOOD
Using a varnish brush, carefully apply a coat of button polish shellac, or white shellac tinted golden brown, over the door’s entire surface. Use long, even brushstrokes, letting the
polish “glide” over the surface. Take care not to overwork anyone area shellac is fast-drying, and quickly becomes tacky, so over brushing will result in a  rough, sticky surface. The polish seals the wood and adds a warm tone that suits this design. When fully dry, use fine-grade sandpaper to rub down any grain raised by the shellac. Brush or wipe away the sanding dust.

4. CREATING THE DESIGN
Carefully remove the leaves, which should now be completely flat, from their makeshift press. Lay them out on the door in an arrangement you like. We used whole leaves of varying sizes for the central panel.

CREATING THE DESIGN

MATERIALS AND TOOLS

• WATER-BASED UNIVERSAL T INTERS: BURNT SIENNA,
• RAW UMBER , YELLOW OCHER
• R ED ARTISTS’ ACRYLIC PAINT
• 2 VARNISH BRUSHES
• 2 STENCIL BRUSH ES
• 3 FINE ARTISTS’ SABLE BRUSH ES
• S ELECTION OF LEAVES
• MAGAZINE DR NEWSPAPER
• SEVERAL BOOKS DR OTHER HEAVY, FLAT OBJECTS
• 2 PAINT PAILS
• L OW-TACK SPRAY ADHESIVE
• PAPER TOWEL
• 2 ELASTIC BANDS
• C RAFT KNIFE
• FINE-GRADE SANDPAPER
• ACRYLIC G LAZING LIQUID
• BUTTON POLISH SHELLAC, DR WHITE SHELLAC TINTED
• WITH BURNT SIENNA, YELLOW O C H E R , AND RAW
• UMBER TO PRODUCE A GOLDEN BROWN
• SEMI-GLOSS ACRYLIC DR O IL- BASED VARNISH and broke off single leaflets
  for the outer panel.

For more information and decorating ideas from Henny Donovan please visit a http://www.hennydonovanmotif.co.uk. You also can find The Painted Kitchen Book on Google.

FIXING THE LEAVES

5. FIXING THE LEAVES
Remove a few leaves from a small section of the door.

Spray them lightly with low-tack spray adhesive, and smooth each leaf back into position on the door.

Move on to the next section, and continue carefully like this until all the leaves have then stuck down in position on the door.

6. STIPPLING ON THE GLAZES
Pour some of each glaze into separate saucers.

STIPPLING ON THE GLAZES

Dip a dry stencil brush into the chestnut glaze, wiping off any excess on a paper towel. Wrap an elastic band around the base of the bristles for more control.

Stipple-dabbing the brush onto the surface- the chestnut glaze around the leaves in the central panel, until the wood is covered.

Do the same using the tawny glaze around the leaves on the outer panel.

7. REMOVING THE LEAVES

REMOVING THE LEAVES

As soon as all areas of the wood have  been  stippled, you can begin removing the leaves. Using a fingernail, or the pointed
end of a craft knife, carefully pull up the tip of each leaf. then peel it back. If any leaves appear to be stuck, do not spend too long trying to remove them-peel off the remaining ones, then go back to the difficult ones and use a craft knife to lift or scrape them away.

TIPS: Leaves that cannot be removed with a craft knife will
loosen when dabbed with a cotton swab soaked in whatever
solvent is recommended on the spray adhesive’s label. Take
care not to disturb the surrounding glaze.

8. HAND-PAINTING

HAND-PAINTING

Any leaf shapes that appear blurred can now be touched up; use a fine artists’ sable brush to paint in the missing detail with the appropriate glaze. Next, mix red artists’ acrylic
paint with some chestnut glaze, and paint in the rim between the central panel and the outer panel. Allow to dry fully.

TRADE SECRETS: You may decide to hand-paint some detail, but resist the temptation to paint in the leaf veins. Doing so will make the design look fussy, and detract from the simplicity if
the image.

9. FINISHING
Apply another coat of button polish shellac, or white shellac tinted golden brown, gliding it onto the door surface without over working it. Once this has dried, you may need to sand the door lightly with fine-grade sandpaper for a completely smooth surface. Brush or vacuum away excess dust. Finish by varnishing with three coats of semi-gloss acrylic or oil-based varnish, allowing each coat to dry thoroughly before applying the next. If using oil-based varnish, sand lightly between coats.

A new take on the well-known use of stencils, raised relief work is an impressively chic yet simple way to bring modern textured finishes into everyday surroundings. This effect can be used to imitate intricate carvings or moldings, adding style and elegance to flat or plain surfaces. It can also introduce a uniform theme into a kitchen with cupboard doors of
different shapes and sizes.

PREPARATION

Impasto, a thick, textured paint that produces a raised finish, and is relatively quick-drying, is used here. It can be painted, colorwashed, and sanded back to create a subtle, distressed look. Used in conjunction with metallic effects such as metal leaf or gilt creams, it can lend a lavish, sumptuous feel to a kitchen. Or, as shown here, it can be applied using a neutral color scheme for a simple, modern style.

1. PREPARATION
This technique is only suitable for solid wooden and fiberboard doors- it will not work on melamine, vinyl, or laminate surfaces. Prepare the door following the instructions
on pages 6-9, applying two coats of acrylic primer. Apply a coat of cream matte latex paint. When dry, sand using finegrade sandpaper.

MATERIALS AND TOOLS

• A CRYLIC PRIMER
• CREAM MATTE LATEX PAINT
• IMPASTO PAINT, OR A THICK TEXTURED PAINT
• P ALE GRAY COLORWASH
• 2 HOLISEHOLO PAINTBRLlSHES
• V ARNISH BRUSH
• H OG-HAIR SOFTENER
• D ECORATORS’ SPONGE
• SHEET OF PAPER
• B ORDER OR LINEAR STENCIL
• METAL RLiLER
• P ENCIL
• L OW-TACK SPRAY ADHESIVE
• OLD CREDIT CARD OR DECORATOR S’ STEEL FLOAT
• FINE-GRADE SANDPAPER
• M EDILIM-GRADE SANDPAPER
• MATTE ACRYLIC VARNISH

2.  MARKING UP

Choose a border or a linear stencil. On a paneled door, draw marks along the center of the outer panel with a pencil; on a plain door, the marks should be about I 1/2 in (40-50mm) in from the edge. Make the same marks at intervals all around the door. Join the marks together to create a registration guide, to be lined up with the center of the stencil design.

3. STENCILING WITH IMPASTO

STENCILING WITH IMPASTO

Decide how often you will need to repeat the stencil design, and at what intervals. Start stenciling in the middle of each length of the door. Spray the back of the stencil with low-tack spray adhesive, line it up with the registration guide, and affix it firmly to the door. Spoon 2 tsp ( 1O ml) of impasto or a thick textured paint onto the edge of a credit card or a decorators’ steel float. Pull the card lightly over the stencil at a 45 degree angle until the stencil is covered evenly. Gently peel way the stencil without disturbing the pattern created. Allow each stencil repeat to dry fully before stenciling the next.

MITERING CORNERS

4.MITERING CORNERS

Miter each corner by positioning a sheet of paper at a 45-degree angle underneath the stencil-this will create a professional-looking, picture-frame corner.

Allow each corner section to dry before stenciling the adjacent corner.

SANDING ROUGH EDGES

5. SANDING ROUGH EDGES

When the stenciled sections are completely dry, lightly sand any rough sections of  the raised stenciling using fine grade sandpaper.

Brush or vacuum away excess dust.

6. OVER PAINTING

6. OVER PAINTING
Apply a fine, even coat of cream matte latex paint over the entire door, taking care to brush out any excess paint that has gathered around the relief stencil design.

Do not “overload”the paintbrush, or the fine detail of the relief motifs may be lost. Allow to dry thoroughly.

COLORWASHING

7. COLORWASHING
Using a varnish brush, apply a coat of matte acrylic varnish over the door. This will create a non-absorbent base for the colorwash. Let the varnish dry thoroughly. Pour I tbsp (15 ml) of pale gray colorwash onto a decorators’ sponge, then spread over the door’s surface using swirling movements. While the colorwash is still wet, lightly brush over it with a hog-hair softener in cross-hatching strokes to obtain a bloom of color.

If you make a mistake while the impasto or thick textured paint is still wet, simply wipe it away with a decorators’ sponge. If you discover a mistake once the impasto has dried, just sand it down and try again.

8. SANDING
When the colorwash is thoroughly dry, lightly sand the raised
areas using medium-grade sandpaper. This will create a
distressed effect, and will reveal the paler color of the impasto
or thick textured paint underneath the colorwash. Do not oversand,
or the raised areas may be flattened.

8. SANDING

9. FINISHING
Apply three coats of matte acrylic varnish, allowing each coat to dry thoroughly before applying the next.

We use matte varnish here to enhance the natural chalkiness of this paint technigue. The relief effect will be diminished if a gloss or eggshell (semi-gloss) varnish is used, as these add uniformity to or flatten raised objects.

For more information and decorating ideas from Henny Donovan please visit a http://www.hennydonovanmotif.co.uk. You also can find The Painted Kitchen Book on Google.

Care taken in finishing your doors is particularly important in the kitchen, which receives some of the heaviest wear and tear in a house. The doors must be carefully sealed and protected with varnish so they can be wiped down regularly and will stay looking good.

TYPES OF FINISHES

With its shiny, varnish-like finish, shellac can be used as a sealer, but it is not strong enough to be used on its own as a protector; it must be finished with varnish as well. Water-based acrylic varnishes are easy to use as well as durable. They are also preferable because they do not discolor over time, as all oil-based varnishes do. Most of the projects in
this book are finished with acrylic varnishes for this reason, with the occasional use of oil-based polyurethane varnish, where an aging, yellowing look is actually desired.
Waxes provide a water-resistant finish only; they are not waterproof, and thus are not generally suitable for the kitchen (although they are fine on overhead cupboards)’ Colored wax can, however, be used sparingly over a per-varnished surface on small sections of a door, as the varnish will enable the surface to be wiped down. Water splashes will mark a waxed surface over time, so do not use wax near sink areas.

SHELLAC

Shellac is used for sealing gilded and decoupaged effects, a on paint finishes for a lacquer-style finish before varnishing. White shellac is bleached, so it won’t discolor the finish it is being applied to. Button polish shellac is honey-colored, a perfect for achieving and is instant antiqued look. If button is unavailable, tint white polish with burnt sienna, raw umber, and yellow ocher universal tinters for a similar look. The solvent in shellac (denatured alcohol) evaporates rapidly, careful application is required. Dip a varnish brush into the shellac and glide it onto the surface. After laying on, brush through only twice before evaporation starts, or the smooth look will be spoiled. A single coat should take 15-20 minutes to dry. Wait two hours before applying a top coat of varnish.

HEALTH AND SAFETY

• Always read and follow the manufacturer’s instructions on all products, and work in a well-ventilated area.
• When using oil- and alcohol-based products, wear protective rubber gloves to avoid direct skin contact.
• When using water-based products, avoid lengthy exposure to the skin. Wear protective gloves if your skin is sensitive.
• Dispose of all leftover products and soiled rags according to the manufacturer’s instructions and local regulations.

ACRYLIC VARNISH

A water-based varnish, acrylic varnish is available in matte, semi-gloss, and gloss finishes. Paint effects with a chalky, look, such as color washing, are best protected with matte varnish. Semi-gloss and gloss varnishes are better for gilding and dark colors, as these styles suit a reflective surface, an because matte varnish can result in a milky look. Using a varnish brush, apply an even coat of varnish over the surface brushing it out to avoid ridges. The white sheen will disappear once dry. Apply a minimum of two coats.

Polyurethane and Uralkyd v Arnish

Polyurethane and Uralkyd v Arnish

Polyurethane varnish is an inexpensive and easy-to-use oil based varnish. It is available in matte, semi-gloss, and gloss
finishes. With exposure to light, oxidation will occur, causing yellowing. This varnish is recoatable within six hours and has a
strong, durable finish. Uralkyd varnishes contain a UV filter to combat yellowing, so they are clearer than plain polyurethane
arnishes. These varnishes are also strong and durable. Using a varnish brush, apply an even coat of varnish over the surface, brushing it out thoroughly to avoid unevenness. Sand lightly with fine-grade sandpaper between coats, removing dust with a cloth slightly dampened with mineral spirits.

Specialist and Metallic Varnishes

SPECIALIST AND METALLIC VARNISHES

Modern advances have led to the development of metallic finishes, thereby extending the range of varnishing options available. These metallic varnishes can be purchased at specialist outlets, and come in pearlescent, graphite, gold, silver, and copper finishes. They are recoatable after one hour, and are best applied over prepainted surfaces. Use a varnish
brush to evenly lay on me varnish. Layoff in one direction only; the direction of the brush affects the way the varnish reflects light, so brush upward or downward (but not both), or
you will end up with a striped effect. Work quickly, as these varnishes are quick-drying. Recoat after one hour for extra depth of color or for a stronger metallic effect.

COLORED WAX AND GILDING WAX

Colored wax and Gilding Wax

Both waxes are generally used to highlight moldings or
paneling. They are best applied after one or two coats of
acrylic varnish. Using a lint-free cloth, apply colored wax to
the desired area. Wait five minutes, then buff. Using a lint-free
cloth or a sable paintbush, apply gilding wax to the desired
area. Leave as is, or buff. Do not use wax near sink areas.

LIGUID WAXES

LIGUID WAXES

Liquid waxes are available from specialist outlets and are easy to use. Use them only on doors that will not be subject to a lot of moisture or will not need repeated cleaning. Brush on the wax using a varnish brush. Leave for about 20 minutes, then buff with a lint-free cloth.

For more information and decorating ideas from Henny Donovan please visit a http://www.hennydonovanmotif.co.uk. You also can find The Painted Kitchen Book on Google.

Cabinet refacing requires no changes to your plumbing, electrical, ceiling, and floors. And, if you do not want to change the existing counter-tops, you can leave them in place.
You can do the work yourself or hire a contractor who specializes in cabinet refacing. There is a variety of door and drawer finishes and styles available.

You start by choosing the door design, color, and finish and then measure the door and drawer front openings. Then measure the frames and cabinet end panels. Installation involves cutting and fitting thin self-adhesive strips of wood veneer (Read more about Cabinet door and Drawer front Materials) to the face frames or edges of frame less cabinets. (Read more about Frame or Framless Cabinets)

Another method is to paint the frames a matching or contrasting color to save even more money. After drying, the new doors and drawers fronts can be mounted and hung.
It is not a one day project, but a handy person armed with a minimum amount of tools can do it easily.

A very typical bland kitchen from the 1950s-and a good candidate for cabinet refacing.
By refacing the existing cabinets in natural maple and replacing the doors and drawers fronts, the kitchen stayed in the same configuration, but took on a modern appearance.

The space in the corner inside the cabinets in most kitchen of an older configuration is  inaccessible and wasted space. In additional, when the dishwasher door is opened, if you have the same kitchen as I than there is no option to open the cabinet door or drawer.

There are two solutions to this problem. First, install a lazy Sussan unit to provide easily accessible storage space. The are commonly 36” (914mm) across the front, leaving about 12” (305mm) exposed along each face.

This lazy susan is rated to hold up to 200 pounds (91kg) on two shelves. The doors are attached to the shelves and the entire unit rotates.

On this style lazy Susan, a fixed door opens before the shelves can rotate.

The second solution is to use a corner cabinet with diagonal front. This works best for upper wall cabinet. It allows easy access to the space in the corner and takes up an area that is 24” by 24” (610mm by 610mm)

Other common types of cabinet are oven cabinets and pantry cabinets.

These will usually be the same depth as the lower base cabinets, but the same height as the installed lower and upper cabinets combined.

Made from a composite material (edge-banded plywood or MDF), flat doors will not shrink or swell. They can be painted, stained, or covered with a veneer. Flat panel doors are usually flush mounted or used as full overlay doors.

Traditionally, cabinet doors and drawer fronts are constructed with a frame around the outside of a panel. Flat panel doors and drawers front create a clean, contemporary look to a kitchen. 

Know as frame and panel construction, it is used in classic and country types of designs.

There is reason beyond the visual appearance for frame and panel design. If a door is solid wood in composition, it will expand and shrink with changes in humidity over the seasons. It would be difficult to keep all of the doors aligned and they can warp as well.

Frame and panel construction can use a raised panel or flat panels as shown in this kitchen.

To counteract this, a wide solid wood panel is placed inside a slotted frame and allowed to float. The sizes remain the same and stay flat.

If the panel is solid wood, the edges can be shaped into a raised panel. A Flat panel creates a more contemporary or Shaker appearance. A pane of glass as the panel allows you to display items within the cabinet. The panel also can be made of plywood or veneer-covered MDF.

A solid wood raised panel housed within a frame keeps the panel from warping and still allows it to expand and contract.F

Frame and panel construction can use a raised panel or flat panels as shown in this kitchen. Flat panel doors and drawer fronts create a clean, contemporary look to a kitchen.

There are three main styles of door and drawer fronts. Flush mount, full overlay, or half overlay.

On the flush mount (sometimes referred to as inset) door; the door’s face is flush with the frame. That is, the door fits inside the frame. Picture 1 and 2.

It provides a clean, contemporary look but can be very hard to install to get a uniform gap all the way around the door. And it is even more difficult to keep the gap consistent as the doors, drawers, and cabinets settle.

A Flush-mounted door fits inside and is flush with the front of the face frame. Image 1

Flush Mount with Hidden Hinges: A Flush mounted door is sometimes called a full recess or inset door. Image 2

This one features a European style hinge that is hidden completely when the door is closed.

On a full overlay door; the door is mounted so it completely overlaps the frame. Sometimes the overlap is large enough that it will even hide the frame of a face frame cabinet or the front edge of a frame-less cabinet. Using full overlay doors can give a clean, modern look to a kitchen,  but the mass of a ¾ ” (19 mm) thick door sticking our beyond the frame can look a bit bulky.

Full-Overlay: This full overlay door fits in front of the frame less cabinet and uses a European-style, highly adjustable hinge. Image 3

The most widely used type of door, especially for face frame cabinets, is the half overlay door. It has a lip that runs all the way around the door. The lip serves two purposes. First, it makes the door look less bulky because it reveals only one-half or so of the door’s thickness.

Second, it is easier to mount because the lip hides any imperfections in the squareness of the door opening or the door itself that would cause uneven gaps.

A half overlay door has a lip that hides any gap between the door and the face frame.

Each of the door styles will require a slightly different kind of hinge. Some of the hinges are visible and some are hidden behind the door. So it is important to decide if you want the hinges to be shown throughout your kitchen or not.