Craftsman Siding and Shingle, Pasadena
On a Pasadena bungalow the paint is not the job. The job is the rafter tail that has gone soft, the shingle butts that have opened up, and the joints nobody has caulked since the last owner. Coating over that buys you three years.
What the scraper finds on a Craftsman exterior, and what to do about it.
September 11, 2026
Paint almost never fails because of the paint. It fails because of what it was asked to stick to. A premium coating applied over a chalky, dusty, glossy or damp surface will let go inside two or three years, and the identical product over a properly prepared surface will still be sound in twelve. The material is the same in both cases. The difference is a few days of unglamorous work that nobody can see afterward.
This is worth understanding because preparation is also the part of a quote that is easiest to reduce, hardest to verify, and most consequential. A homeowner who knows what proper preparation looks like can specify it, watch for it, and refuse to pay for its absence. It is also the most useful thing to ask about when comparing painting contractors pasadena homeowners are considering, because the answers separate the bids far more sharply than the prices do.
Coatings fail in recognizable patterns, and the pattern usually identifies the cause.
Peeling in sheets, down to bare substrate, means the paint never bonded. The surface was dirty, chalky, glossy or wet when it was coated.
Peeling between paint layers, where you can see an older color underneath, means the new coat did not bond to the old one. Usually an incompatible product, or a glossy previous coat that was not dulled.
Blistering means moisture or solvent trapped under the film. Either it was painted over a damp surface, or moisture is coming through the wall from inside, or it was painted in direct sun so the surface skinned before the underlying film dried.
Cracking and alligatoring, a network of fine cracks like reptile skin, is usually a brittle old oil film that can no longer move with the substrate, or too many accumulated layers.
Chalking, where a hand run down the wall comes away covered in fine pigment, is normal ultraviolet degradation of the binder. In moderation it is expected. Heavy chalk must be washed off completely, because painting over chalk is painting over loose powder.
Mildew, dark spotting particularly on shaded and north facing elevations, is a living organism and will grow straight through a new coat if it is painted over rather than killed and removed.
Rust bleed and tannin bleed, brown or reddish stains coming through the finish, means a fastener or a wood extractive is migrating and needs a blocking primer rather than more coats.
Reading these on a house before quoting tells you what the job actually requires, and it is why a contractor who walks the whole property slowly and looks closely is worth more than one who measures and leaves.
Every exterior surface carries a film of dust, pollution, pollen, chalk and in shaded areas mildew. Paint applied over that film is bonded to the film rather than to the house.
Pressure washing is the usual method and it needs to be done with judgment. Too much pressure drives water behind siding, into joints, under trim, and into stucco, and a wall that has water inside it will blister whatever is applied over it. It also gouges soft wood. The right approach is a lower pressure with a detergent and dwell time, doing the cleaning chemically rather than by force.
Mildew needs a biocidal wash rather than water alone. Rinsing mildew does not kill it.
And the surface has to dry properly afterward. Stucco and masonry hold water for far longer than they appear to, and painting a wall that washed clean yesterday morning is a common cause of blistering. Warm dry conditions might need a day. Cooler or shaded elevations need more.
Every area of failed coating comes off. What matters almost as much is what happens at the boundary between the removed area and the sound paint around it.
If a scraped area is simply painted over, the edge of the old paint film stands proud, and that ridge telegraphs through the new coating as a visible outline of every patch. Under raking afternoon light on a west facing wall it is obvious from the street.
Correct practice is to feather that edge with sanding so the transition from bare substrate to full paint thickness is gradual. On a badly deteriorated wall this is the slowest part of the job by a wide margin, and it is the first thing dropped by anyone working to a low price.
Houses built before nineteen seventy eight are subject to lead safe work practice requirements, and disturbing old paint on them is regulated. Certified renovator status, containment, and specific cleanup methods are required. Any contractor working on a period property should raise this themselves.
Rot gets replaced, not filled. Filler in a rotted board is a cosmetic act that hides an active problem, and the surrounding wood continues to decay underneath. Sound wood with a damaged surface can be filled with a proper exterior epoxy filler, which is a different thing entirely.
Loose glazing, failed joints, gaps at trim intersections and separated siding all get dealt with at this stage. So does anything structural that has been found, because paint is not a repair.
Caulk closes the gaps where water would otherwise enter, and a good caulking job around window and door casings, at trim intersections and at butt joints in siding does more to extend the life of a paint job than an extra coat would.
Two things go wrong. The first is using a cheap product. Painter grade acrylic caulk hardens and splits within a few years. A quality elastomeric or polyurethane sealant stays flexible for the life of the coating, and the cost difference across a house is small.
The second is sealing joints that are designed to drain. The bottom edges of siding boards, weep holes in masonry and brick, and the underside of horizontal trim are drainage paths. Water gets into walls regardless, and it needs a way out. Caulking those closed traps water inside the wall, and the result is worse than the gap.
Every bare surface exposed during scraping needs primer before the finish coats. Primer does a different job from paint: it penetrates and bonds to the substrate, seals porosity so the finish coat sits on the surface rather than soaking in unevenly, and blocks stains from migrating.
Bare wood needs a wood primer. Bare metal and fasteners need a rust inhibitive primer. Stains from tannin or rust need a blocking primer, usually shellac or a dedicated stain blocker. New stucco needs a masonry primer, and it needs to have cured properly first, which takes considerably longer than most schedules allow.
Where a glossy old finish is being recoated, the surface needs either sanding to dull it or a bonding primer. Paint does not adhere to gloss.
Manufacturers publish temperature and humidity ranges and they are not suggestions. Too cold and the film does not coalesce properly, which produces a weak coating that fails early with no visible warning at the time. Too hot, or in direct sun, and the surface skins before the film levels and cures, which causes lap marks and blistering.
The practical approach on a hot day is to follow the shade around the building, painting elevations after the sun has left them. It is slower and it is correct.
Before painting starts, walk the house. There should be no chalk on your hand, no mildew, no loose paint anywhere, scraped edges that feel smooth rather than stepped, primer visible on every bare spot, and fresh caulk in the joints that need it and not in the joints that drain.
If the house looks ready to paint on the second morning of a large exterior repaint, it almost certainly is not. Good preparation on a weathered house takes most of the schedule, and the painting itself is the quick part at the end. That distribution of time is the single most reliable indicator of a job that will still look right in a decade.
September 1, 2026
Stand a few feet from the front of an older Pasadena bungalow and look at the bottom inch of the siding rather than the wall as a whole. On most houses that have not been touched in eight or ten years, that is where the story is. The field of the wall will be chalky but intact. The bottom edge of the boards, or the butt line of the shingle courses, will be cracked across the grain, cupped, lifting, or simply bare. That pattern is not random and it is not a bad batch of paint.
Wood absorbs moisture along the grain far faster than across it. A sawn end, or the exposed lower edge of a board, is effectively a bundle of open straws. Water reaches it two ways, running down the face of the wall in a rain and wicking up from anything wet below, and once it is in, it moves along the fibre and away from the surface where it could evaporate quickly.
Now put a coating over that. Paint is not a vapour barrier but it is a restriction, and the restriction is on the outside face where the sun is. Moisture that has entered through the unprotected edge has to travel back to a face to leave. When it cannot, it builds up under the film, adhesion goes, and the coating lets go from the substrate rather than from itself. Then the exposed wood weathers, the next rain gets in further, and the failure widens along the edge in both directions.
This is why the pattern is so consistent. The paint does not fail in the middle of the wall because the middle of the wall is flat grain with a coating over it and no direct route in.
You do not need a contractor to find these. Take a small screwdriver and go round the outside on a dry day.
The butts of the shingle courses, if you have a shingle wall. Check the north and east elevations first, because those dry slowest after a rain, and check low, within reach of splash off a walkway or a planting bed.
The bottom lip of lap siding, particularly the lowest three or four courses, and specifically anywhere near a downspout that puts water out too close to the wall.
The exposed rafter tails. On a Craftsman with the classic deep overhang, those tails project out beyond the roof line into full afternoon sun with nothing above them. They are the most exposed piece of wood on the entire house and they are usually the first to go soft. Owners assume the overhang protects them. The overhang protects the wall, not the tail.
Window sills and the lower rail of the sash. If the glazing putty has cracked and fallen out anywhere on the lower half of a sash, water has been running down inside the joint for as long as that has been true.
The bottom of door casings and porch column bases, where trim meets a deck or a step that stays damp.
Hold the screwdriver at a shallow angle, not perpendicular, and push with light pressure. Sound old growth redwood or cedar will stop the tip almost immediately and you will feel it refuse. Compromised wood accepts the tip a quarter inch or more without much argument and frequently brings back damp, stringy fibre.
Do this at every location that looks suspect rather than testing one spot and generalising. Rot is stubbornly local. It is entirely normal to find one rafter tail gone to punk while the next one along, four feet away, is perfect. The difference is usually a gutter joint, a tree that shades one bay, or a sprinkler that reaches one corner of the house and not the other.
Mark what fails with a pencil. Count it. That number is the single most useful thing you can hand a painter, because it turns a vague repair allowance into a line item.
An exterior on an old wood house should be priced in two halves that are kept visibly separate.
The coating half is predictable. Somebody measures the elevations, counts the openings, decides on the prep level, and quotes it. Reasonable painters land within a fairly narrow band of each other on that number, because the labour is knowable.
The repair half is not predictable from the street, which is exactly why it should be quoted from an actual inspection with an actual board count rather than as a percentage of the paint price. A repair allowance expressed as a share of the total is a placeholder, and placeholders get revised upward once the scaffold is up and you have no leverage.
If two quotes are far apart on an old house, this is almost always where the difference lives. One of them has looked at the wood and one has not.
It buys about three years and it costs you the material.
A soft board that is left open will keep weathering, which is bad, but it will also keep drying between rains. Seal that same board under two coats of a good acrylic and you have slowed its ability to dry while doing nothing about the water still getting in through the unprotected end. Decay organisms need moisture and they get a more stable supply of it. We regularly pull boards during a second repaint cycle that were merely soft at the last one and are now gone entirely, and the paint on the face of them is still in decent condition, which is the whole irony of it.
On old growth redwood and cedar this matters more than it would on modern stock. The siding on a house built between roughly 1905 and 1930 is tight grained, stable and naturally rot resistant in the field, and it is materially better than anything you can buy now at any price. Saving it is worth real effort. Replacing a whole wall because nobody dealt with the bottom edges is a genuine loss, not just an expense.
There is nothing clever about the order. There is only the fact that people skip parts of it.
Repair first. Cut back to sound wood, splice or piece in matched stock, and prime the cut ends on every face before installation, while you can still reach all of them. End grain primed on the ground stays sound for decades. End grain primed after it is nailed up, when one face is buried, does not.
Wash and scrape second. Take failed film back to a bonded edge and feather the transition so it does not telegraph through the topcoat. On a house that predates 1978, and most of this housing stock does, the old coats contain lead and that prep has to be done lead safe. Containment below the work area, wet methods where practical, no dry power sanding without extraction, and a clean up at the end of every day rather than the end of the job.
Prime third, per surface rather than per house. Bare cedar and redwood need a stain blocking primer or the tannin will bleed through a light topcoat and ghost brown over your new repairs about a month after you pay. A chalky old surface needs a bonding primer. Stucco needs a masonry primer. These are not interchangeable products and buying the cheapest one is a false economy that shows up as a callback.
Caulk fourth, and only the joints that should be closed. Trim to siding, casing to jamb, corner boards, vertical butt seams. Never the bottom edge of a lap board, never the underside of a shingle butt, never the bottom of a sill. Those are drainage paths. A painter who caulks them has turned a wall that dries into a wall that holds water, and that single well meaning mistake has ruined more old siding than neglect ever did.
Then colour. Two coats over any colour change, because one will not build the film thickness the coverage rate on the can assumes and it will fail early and unevenly.
Three things about this city shape the work. The summers are hot, dry and hard on ultraviolet exposure, so south and west elevations chalk and fail years ahead of the north side of the same house. It is common and entirely defensible to restore two bad elevations properly now and leave the other two for a later cycle rather than spending evenly across a house that is not wearing evenly.
The Santa Ana winds coming down off the San Gabriels drive grit into any joint that has already started to open, which accelerates a small caulk failure into a real one.
And surface temperature, not air temperature, governs when we can work. A west wall in late summer can be well past the maximum application temperature printed on the can while the thermometer on the porch reads pleasant. Paint applied to a hot wall flashes off before it can level or properly wet the surface. So we follow the shade around the house through the day, which looks inefficient and is not.
Go and check your rafter tails. They are the most exposed wood on a Craftsman house, they are the cheapest thing on this list to fix while they are still fixable, and nobody looks at them until the painter is already on site with a quote written for something else.
Call (626) 243-2387 if you want a second opinion with a screwdriver in it.
The order matters more than the product. Everything below is what has to happen before a colour goes on an old wood house, plus the coating itself.
Soft boards, split shingles and punky rafter tails cut back to sound wood and replaced with matched stock, bevel and exposure copied off the existing course so the repair disappears once it is coated. Cut ends get primed on all faces before they go up.
Individual shingles pulled and replaced without disturbing the course above, keyways kept off the joint below, and the butt line held straight. Cedar and redwood shingle walls are repairable one piece at a time, which is why they are worth keeping.
Failed film taken back to a sound edge with scrapers, carbide and where needed infrared, then feathered so the transition does not telegraph through the topcoat. Old paint on a pre-1978 house is handled lead-safe with containment and daily clean up.
Bare wood gets a proper exterior primer chosen for the substrate, stain blocking where tannin bleed from redwood or cedar would ghost through a light colour. Then joints caulked with a flexible exterior sealant, and never across a drainage gap that has to stay open.
The detail work that makes or breaks a Craftsman elevation. Sash sanded and reglazed where the putty has failed, doors coated in a harder finish that will take a handle and a shoulder, and the trim sheen stepped up from the field so the shadow lines read.
For a wall that is genuinely sound, a wash, spot prime and a single well applied coat on the elevations that need it. Cheaper, faster, and the right answer more often than a full restoration quote will admit.
Pasadena and the older neighbourhoods around it, where the housing stock is wood sided, shingled, or stucco over a wood frame with wood trim doing the visible work.
Call (626) 243-2387. If you want a straight answer on whether your siding needs repair or just a coat, that walk round is free and takes about an hour.
Artintheamericas repaints wood sided and shingled houses in Pasadena, and we do the carpentry that has to happen first. Most of the calls we take are from owners of homes built between about 1905 and 1930, the Craftsman bungalows and their neighbours, where the siding is old growth redwood or cedar and the trim details are the reason anybody bought the house. Those houses reward restoration and punish a quick coat.
Here is the plain version of what we find. Paint fails from the bottom of the board upward, because that is where water sits and where end grain drinks. So the first thing we look at is not the field of the wall, it is the horizontal edges. The butt line of a shingle course. The bottom lip of a lap board. The cut ends of exposed rafter tails under those deep Craftsman overhangs, which sit out past the wall with no roof over them and take sun all afternoon. When those are sound, a repaint lasts. When they are soft, the finish will lift in the same places again no matter what goes over it.
The second thing that shapes the work here is climate. Pasadena summers are hot, dry and hard on a south or west elevation, and the UV at this elevation chalks a film faster than most owners expect. Then the Santa Ana winds come off the San Gabriels and drive grit into anything already opening up. Wood moves under that cycle, joints work loose, and the caulk that was fine four years ago has split down its middle. We plan the sequence around it, we do not fight it. Repair, prime the bare and the end grain, caulk, then two coats. In that order, every time, or the coating is doing structural work it was never made to do.
Painting an old wood house is priced in two halves and it is dishonest to blend them. The coating half is predictable. The repair half depends on what the scraper finds, so we quote it after the walk round with the actual board count in writing, not as a percentage guess.
| Maintenance Coat$3,400 to $6,200 | Full Prep and Two Coats$7,800 to $14,500 | Restoration and Repaint$12,000 to $30,000 |
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An hour on site, a screwdriver, and a straight list of what is actually wrong with your siding, trim and rafter tails. You get the board count and the repair scope in writing before anyone talks about colour. If the answer is that your house needs a wash and one coat, that is what we will quote you.