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Kristi Linauer’s orange lamp makeover turned a previously green table lamp into a vivid entryway accent with orange spray paint, clear gloss, and layered bias tape on the shade. The finished lamp is the completed project in her account; the teal molding, purple credenza insets, and chair upholstery were ideas she was still considering. Her post is a record of one decorating project, not a tested recipe for every lamp material or shade.
In her account of the lamp makeover and entryway plans, Linauer explains that she had been looking for pendant lights and replacement table lamps but had not found options she liked. Instead, she brought an older lamp back into the room and changed its color and shade trim. The result paired a glossy orange base with a white shade edged in orange and white. It is a small intervention, but it also shows how an existing object can anchor a larger decorating scheme while other decisions remain open.
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The lamp had a history in the entryway. Linauer says the original pair were green floor lamps with white shades and black trim, bought at Target. After one was accidentally broken, she combined intact parts from that lamp with the other one to make two matching table lamps. Later, she said the old lamps had never been wired and did not work. This was a decorative reuse project, not an account of restoring a functioning light.
That background helps explain the makeover’s practical starting point: she already had a lamp whose shape she wanted to reuse, while the color and shade details no longer suited the room. Rather than present a new lamp purchase or a full entryway renovation, the post focuses on changing the appearance of an existing object. The reuse also explains why the article is not a conventional lamp-buying guide. Linauer was solving a visual problem with a piece already on hand, after deciding that the new fixtures she had considered were not right for the space.
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What materials and quantities are actually named?
The documented list is short. For the base, Linauer names 150-grit sandpaper, Rust-Oleum Real Orange spray paint in a gloss finish, and clear gloss spray. For the shade, she names extra-wide orange double-fold bias tape, standard-width white bias tape, hot glue, and a very hot iron. The post identifies Joann Fabric as the tape source. It does not give a model number, can size, tape length, glue brand, iron temperature, or a detailed bill of materials.
That distinction matters if you are trying to turn her account into a shopping list. The quantities that can be carried over exactly are the 150-grit abrasive and her report of about three clear-gloss coats. The tape widths are described comparatively—orange was extra-wide and white was standard-width—rather than by measurements. Nothing in the account establishes how much tape she bought or how much glue the shade required.
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How did Linauer paint the lamp?
Linauer sanded the lamp with 150-grit sandpaper, then sprayed it with Rust-Oleum Real Orange in a gloss finish. She felt that the gloss alone was not shiny enough for her preference, so she added about three coats of clear gloss. Those are the materials and quantities she reported for her own project, not a universal paint specification.
- Prepare the existing surface: She sanded the lamp with 150-grit sandpaper.
- Apply the color: She used Rust-Oleum Real Orange spray paint in gloss.
- Adjust the sheen: She followed the color with about three coats of clear gloss because she wanted a shinier finish.
The distinction between the color coat and the clear gloss matters to the story: the clear coats were an aesthetic adjustment after Linauer judged the first finish insufficiently shiny. Her own words explain the choice: “I used a gloss finish, but it wasn’t quite shiny enough for my liking, so I followed up with a about three coats of clear gloss.” That is a personal assessment of appearance, not a claim that clear gloss is required over every gloss spray paint.
The source does not say that three coats are suitable for every surface, or that the product remains available in the same form today. It also does not identify the lamp’s precise base material or give detailed preparation, drying, or curing instructions. Anyone considering a similar change should treat compatibility and application directions as questions for the products and the lamp in front of them, rather than assume this account settles them. The paint step is therefore best understood as a sequence Linauer used: abrade the existing finish, apply the named orange color, then add clear gloss when the visual sheen did not meet her expectation.
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How was the lampshade trim made?
Linauer layered two widths of double-fold bias tape to create the shade’s orange-and-white edging. She centered standard-width white bias tape over extra-wide orange bias tape, then attached the paired strips around both the top and bottom of the shade with hot glue. The post names Joann Fabric as the tape source.
After attaching the trim, she used a very hot iron to flatten the four tape strips as much as possible. A commenter specifically asked whether she ironed the bias tape after it had been attached; Linauer’s described sequence confirms that she did. The order is part of what readers found notable: the tape was glued first, and the ironing came afterward, rather than being described as a separate pressing step before installation.
The post reports her method but does not test how different shade fabrics, tapes, glue, or heat settings respond. It offers no material-compatibility or heat-safety testing, and it does not say what temperature was used or whether a pressing cloth protected the shade. It should therefore be read as what she did—not as proof that applying a hot iron over glued trim is suitable for every lampshade. A reader copying the look still has to assess the particular shade and trim materials and follow the directions and limitations of the tools and products being used.
The layered trim gave the plain white shade a visual connection to the freshly painted base without covering the whole shade in color. The orange tape supplied the wider band and the centered white strip created a narrower contrasting line. Running the paired trim around both the upper and lower edges made the treatment read as a deliberate border rather than a single stripe. That design description follows the project’s documented materials and arrangement; it does not establish a particular best tape width or adhesive for other shade shapes.
Was the shade original, and what did it cost?
In a comment, Linauer said she bought the shade separately at Lowe’s and thought it had cost around $20 at the time. That is an approximate historical price, not a current price, inventory statement, or recommendation about a particular Lowe’s model. The shade therefore appears as a separate purchase from the older lamp base, while the orange and white bias tape supplied the custom detail.
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The retailer references are useful for reconstructing the project’s context: Target for the earlier floor lamps, Joann Fabric for the tape, and Lowe’s for the separately purchased shade. They should not be read as proof that the same products, colors, prices, or stock are still offered. The account dates from 2018, and it contains no current product links or affiliate terms.
What else was planned for the entryway?
The lamp was finished, but several surrounding changes were still plans in the original post. Linauer wanted to paint the molding around the grasscloth teal, echoing the fireplace across the room. She also wanted to repaint the credenza insets, moving away from an icy purple-gray toward a purple closer to the living-room drapes. She had tried two purple test colors and said neither was right yet. She was also considering upholstering a chair.
These distinctions are important when reading the project title: the “entryway plans” were not all completed makeovers. The documented result is the orange lamp and its trimmed shade; the molding, credenza color, and chair upholstery remained possibilities at that point. The source does not establish that those ideas were later carried out, nor does it identify a final teal paint, a final purple, an upholstery fabric, or a completed schedule for those changes.
Why did the chair move?
A reader raised the possibility that the chair might obstruct the front door. Linauer replied on April 21, 2018, that it had been a problem, and that she moved the chair to the right while shifting the lamp and olive tree to the left. On April 22 she said the revised arrangement felt less cramped and no longer got in the way of the door.
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This is a useful part of the makeover account because it shows that the entryway arrangement changed in response to circulation, not just color. A photograph or initial layout can make a chair and lamp look balanced while missing the clearance needed at a door. In this particular dated update, moving the chair and shifting the other objects resolved the reported obstruction. It describes the room then, not its present-day layout, and it does not provide measured clearances or a general furniture-placement rule.
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How should readers compare this makeover with other options?
Linauer’s post does not compare two paint systems, two lamp models, or competing adhesives. The meaningful comparison is between the choices she made and the questions a different lamp would raise. A reader would need to consider whether the existing surface can accept the selected spray paint, whether the desired look is the color coat’s gloss or a deeper shine from a clear topcoat, and whether the shade can accommodate layered tape. Those are decision axes, not findings established by Linauer’s project.
The same applies to reversibility. The shade embellishment is a visual treatment attached with hot glue, while the base received sanding and spray paint. The post does not say that either change was removable without damage, and it does not evaluate long-term wear. Readers should not infer that the tape method is temporary, that the painted finish is permanent, or that either approach will perform identically on another lamp.
What can readers take from this particular makeover?
The project’s most transferable lesson is about sequencing design decisions, not a claim that one paint system or adhesive is best. Linauer started with a lamp she already owned, chose a strong color for it, added clear gloss when the initial sheen did not meet her preference, and used coordinated trim to link the base to the shade. The process shows how a small object can become a color accent while larger room changes remain undecided.
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It also demonstrates a practical way to keep a colorful room from becoming visually disconnected. Orange appears on the painted base and in the wider tape band, while the white center strip relates back to the shade. The surrounding plans—teal molding, purple credenza insets, and possible chair upholstery—were still being tested, so the lamp functioned as a finished focal point within an evolving palette rather than as the final piece of a completed scheme.
At the same time, the limits of the account matter. It does not compare paints, report long-term durability, identify every lamp or shade material, or provide professional electrical or heat-safety guidance. The lamp’s previous lack of wiring makes especially clear that the article describes a visual refresh, not a method for making a nonworking lamp electrically safe or functional. Nor does the historical mention of particular retailers establish present inventory or pricing.
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For readers revisiting the original project, the details worth carrying forward are specific: 150-grit sanding, Rust-Oleum Real Orange in gloss, about three coats of clear gloss, extra-wide orange and standard-width white double-fold bias tape, hot glue, and a very hot iron used after attachment. Those details faithfully describe Linauer’s choices. Whether they suit another lamp depends on that object’s surface, shade materials, desired finish, and the directions and limitations of the products being considered.
Frequently Asked Questions
When was the orange lamp makeover published?
Linauer’s post is dated April 20, 2018, and the page also displays January 13, 2019. Those are dates associated with the historical page, not a claim that its product details or room arrangement have been updated since then.
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She used Rust-Oleum Real Orange spray paint in a gloss finish, then added about three coats of clear gloss because the initial sheen was not shiny enough for her preference.
How much did the lampshade cost?
In a comment, Linauer said she bought the shade separately at Lowe’s and thought it had cost around $20 at the time. That is an approximate historical price, not a current price or availability estimate.
What grit sandpaper was used?
The account specifies 150-grit sandpaper for sanding the lamp before painting.
What exactly was used on the lampshade?
She layered extra-wide orange double-fold bias tape with standard-width white bias tape centered on top, attached the four strips around the shade’s upper and lower edges with hot glue.
The Bottom Line
Linauer’s documented makeover is a specific visual sequence: sand with 150-grit paper, spray Rust-Oleum Real Orange in gloss, add about three clear-gloss coats for more shine, and edge the separately purchased white shade with layered orange-and-white bias tape attached with hot glue. The entryway color ideas were still plans, and the chair was later repositioned to clear the door. Treat the account as a historical decorating example, not universal paint, heat, or electrical guidance.
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