Hilando la creatividad

¿Nunca te ha pasado que tienes una idea para tu casa, quizás para tu cuarto, el comedor, la sala de estar, incluso una clara idea en tu cabeza de un diseño para una prenda de ropa o para ese viejo sofá que tanto te gusta y que hace bastante tiempo quieres retapizar, pero no encuentras nada que te satisfaga esa idea en las tiendas?

A mí sí y es bastante frustrante la verdad el hecho de no poder vestir o decorar tu casa como quieres exactamente, como esa idea que tienes queda inconclusa por no poder encontrar esa combinación precisa de colores, texturas y sentido que quieres tener alrededor tuyo. Por mi parte yo no me conformo con quedarme solo con lo que las tiendas me ofrecen por muy bueno que sea simplemente porque me gusta ir más allá, me gusta buscar y combinar a mi manera, me gusta decidir cómo mezclar unos cuantos colores y retazos de tela y decir: esto es precisamente lo que quería. Me encanta dejar volar mi imaginación y poner a trabajar mi creatividad, comprar la materia prima y personalizar mi entorno para que este refleje lo que en realidad quiero exteriorizar, cosa que solo puedo hacer yendo a la tienda de telas y yo mismo escoger el qué, el cómo y el dónde. Yo no soy una persona muy diestra para las labores manuales con este tipo de cosas, para coser, tapizar o remachar, pero eso no me ha impedido hacerlo, no me ha impedido darle mi toque personal a mi entorno y a mis prendas de vestir, combinando cosas y aspectos que solo se me ocurrirían combinar a mí y que por más que buscara en otros lugares siempre fracasaba en el intento de encontrarlo. Así como una tela se hila punto a punto e hilo a hilo, con todo el amor y la dedicación que eso conlleva, deja volar tu imaginación y poco a poco ve hilando tu creatividad.

Matteo De Vecchis.

Tienda de telas en Miami

La mejor Tienda de telas en Miami

La tienda de telas en Miami Fabric Gallery nace hace 21 años, con el objetivo de brindar el mejor servicio en su clase y atender las  necesidades de un mercado creciente con caracteristicas muy particulares marcado por la elegancia, vanguardismo  y  buen gusto, Miami era y continua siendo una ciudad en pleno crecimiento, donde mergen una mezcla grande  de crisoles y donde las opciones de telas decorativas y del hogar, en su momento eran limitadas, ademas el Sur de la Florida carecia de un lugar que conjugara buen servicio, amplia variedad de productos y lo mas importante que ofreciera un trato diferenciador, personalizado y profesional.

Definitivamente el  éxito de Fabric Gallery ha sido la puesta en practica  del Golden Rule “ Siempre tratar a nuestros clientes con el mismo respeto, comprension y sobre todo honestidad con el cual nos gustaria ser tratados”.

Desde la apertura de nuestra tienda en el año 1995, siempre nuestra vision y objetivos han estado focalizados en ofrecer la mejor calidad de productos, tanto para los clientes locales asi como para toda HispanoAmerica y el mercado Brasileño, le ofrecemos a nuestros clientes la mayor gama de opciones disponibles en el marcado, para que puedan desarrollar al maximo todo su potencial creativo y de esa manera  poder generar ambientes alineados con las tendencias actuales. 

En los ultimos  3 años con el objetivo de mantenernos siempre a la vanguardia hemos evolucionado aceleradamente, actualmente contamos con uno de los mejores y mas vistosos showrooms del Sur de la  Florida, de igual manera como parte de esta evolucion ademas de nuestra enorme variedad de Telas, hemos incorporado nuevas lineas de procutos, contamos con una gran variedad de:  alfombras, desde cueros naturales, alfombras para patios o exteriores, Alfombras de seda o Lana para decorar los espacios mas elegantes, tambien contamos con una gran variedad de papel de pared (Wallcoverings). Manejamos en  nuestro showroom afamadas marcas tales como: Scalamandre, Kravet, Robert Allen, Beacon Hill, Norbar, Novel, Maxwell, Sunbrella, Thibaut, JF Fabric, York, Waverly, Gianti, etc; tambien contamos con ua gran variedad de  drappery hardware desde los modelos muy clasicos hasta los mas modernos del mercado.

How to Use Basic Design Principles to Decorate Your Home

Some people are born with a great eye for decorating or design. Others learn the skill and are able to apply it successfully. And then there are the rest of us. If you don’t have much of a knack for design, a few basic techniques can go a long way.

These decorating rules and principles are simple enough that most anyone can apply them. Your home might not look like a West Elm catalogue, but it’ll look presentable.

Follow The Rule of Odd Numbers

You might already be familiar with the rule of thirds for photography. Designing with odd numbers as a foundation can create harmony and visual interest, explains designer Cecilia Walker:

The basic idea of the rule is that details and objects that are arranged or grouped in odd numbers are more appealing, memorable, and effective than even-numbered pairings.

It helps to have groupings of objects in varying heights, shapes and textures. At the same time, there should be something similar about them. This advice seems to contradict itself, but the point is, there should be something that groups your items together, but also something about each of them that is slightly different.

Look at the image above as an example. Three vases, all different heights. The main materials are similar—wicker and glass. But there are subtle differences in elements—sand, water, and the texture of the limes.

Walker points out that this is just a basic rule, and it might not work in every instance. But if this grouping doesn’t look right to you, go with your gut. The goal here is to make sure everything isn’t uniform, and by extension, boring.

Find Your Room’s Focal Point

A room’s focal point is its most emphasized feature. It’s the thing your eyes are naturally drawn to when you walk into the room. And everything around the focal point compliments it.

If you’re lost with how to start decorating a room, finding its focal point is a good start. Many rooms have built-in focal points: a large window with a view, for example, or a fireplace. If your room doesn’t have a built-in focal point, here are some tips and options for creating one:

  • Paint one wall a different color, then accessorize with artwork or shelves,says interior designer Coral Nafie.
  • Decide what you want to use the room for, then create a focal point around that, says The Inspired Room. For example, if you want to use a room for reading, you’d make a bookshelf your focal point.
  • Nafie also suggests simply using a large piece of furniture as a focal point.
  • You could use a large piece of artwork as a focal point. A large mirror also works well.

Once you find the focal point, decorate around it. Use its main color in elements throughout the rest of the room. In the above example, the focal point—the fireplace—is white. The red walls make its color stand out, and the white candles, orchid and vases all around the room compliment the fireplace.

You can also frame it. In the photo, the vases, windows and sofas serve this purpose. A fireplace is easy to frame, as it usually comes with a mantle. You can add decor on or above the mantle. If your focal point is a large window with a view, you might arrange your furniture to frame it. If it’s a large mirror or an interesting piece of artwork, you might frame it with two smaller elements on either side, like this:

Once you have a focal point, a center point helps balance the room. Apartment Therapy explains:

The center point is the core of your room’s layout. It doesn’t have to be the exact middle of the room, although that’s the case in many homes. The center point of a living room is where the coffee table or center table will sit, with seating arranged around it.

Think of it as the room’s anchor.

Know Basic Measurement Rules

When it comes to hanging curtains or arranging furniture, most of us just eyeball it as we go. But there are specific measurements for decorating that make a room look better. Here are a few general measurements to keep in mind:

  • Coffee table distance: Keep at least 15″ between coffee tables and sofas,says decorator Maria Killam. Apartment Therapy suggests leaving about 18″ between them.
  • Hanging art: When hanging art, keep its center at eye level, which is generally 56″ to 60″ from the floor, says Driven By Decor. If you’re hanging multiple pieces of art, keep the center point of the whole arrangement at this level.
  • When hanging art above your sofa, make sure it’s no more than 2/3 the width of the sofa. You’ll also want to leave 5-9″ of space between the art and the furniture, Driven By Decor adds.
  • Hanging curtains: Crate and Barrel says it’s typical to have 1-3″ of overlap on either side of your window. For height, they say you should mount curtain rods 4″ from the top of the window. But maybe you want your windows to look wider or taller. To create the illusion of height, Real Simple says you can go beyond the 4″ standard, but don’t exceed 8″, or it’ll look awkward. To create the illusion of width, feel free to break the 1-3″ standard, too. You might want to go as far as 12″ on either side.
  • TV distance: How far your TV should be from your sofa will depend on its size. We’ve talked about viewing distance before. The easiest rule of thumb: multiply the diagonal size of your TV by two. That’s about how many inches your tv should be from your seating area.

For rugs, there are three basic rules you can follow.

All on: If a rug is big enough, you can put all legs of your furniture on top of it. But you should leave 12-18″ of floor surface on all four sides of the rug, says decorating site Houzz.

All off: If you have a smaller space, you might choose a smaller rug, and then you’d leave all four feet of your furniture off of it. Houzz adds, “You don’t want to pick too small a rug, though, or it may look insignificant, like an afterthought.”

Front on: Many designers choose to just put the two front feet on the rug. This can tie everything together and create a feeling of openness.

Again, most all of these sources add one big caveat: don’t be afraid to break these rules. They don’t always work, but they’re good guidelines to follow.

Consider Your Negative Space

Sometimes, less is more. In design, the negative space is the area that’s not taken up by any subject. Most commonly, this is the white area on your walls. Its tempting to fill every space with a subject, but sometimes, the negative space speaks for itself. Apartment Therapy explains:

In writing, sentences often contain extra words that without, the sentence would sound just fine. Train yourself to look for those moments in your own home. Is there a narrow wall with a small blot of art that when taken down, would still look like a fine wall? Is there a tabletop with a fledgling vignette that would look just as spectacular if cleared off?

Decorating with negative space can be a bit complicated, but there are a few ways anyone can do it:

  • Avoid clutter. This is probably the best and most common way to make the most of negative space. A bunch of stuff might fit perfectly on your table, but that doesn’t mean it all needs to go there. Leave some room—some negative space.
  • Be intentional. Make sure the negative space serves a purpose. You might leave a space empty to highlight a decorated area nearby. Or maybe the negative space creates an interesting design.
  • Look at shapes. SF Gate’s Home Guides explains that two contrasting shapes can create an odd—or interesting—negative space. “a curved coffee table can soften the harsh negative space lines created by angular sofas and chairs in a square room. But this space plan may not work in smaller rooms, which would force edge of the round table too close to the sofa for comfortable sitting.”

To clarify, it’s not just about looking for places where you can remove things. It’s about looking for spots that look great even when they’re empty. It’s also about considering the function of the empty spaces between subjects.

Layer Your Lighting

Lighting could be a whole post in itself, but here’s what you should consider when you don’t know much about it. First, learn the three basic types of lighting:

  • Ambient: Its also called general lighting, and its the overhead lighting meant to evenly illuminate a room.
  • Task: As its name suggests, task lighting is meant to light a specific task. A lamp in the living room might light a reading area. Under-cabinet lights in a kitchen serve as task lights for countertops.
  • Accent: Accent lights are meant to highlight a particular object. You might see them on painting, for example.

Adding different types lighting can give your room dimension. Start with ambient lighting in each room, then consider how you can use task and accent lighting. Real Simple has some specific tips on how to do this in each room.

Beyond these basics, you’ll probably also want to make your home look like your own. We’ve got some tips on how to do that, too. These guidelines help you get started, but you should adjust your decorating according to your own tastes and preferences. Use these rules to get started, but don’t be afraid to break them and go with your instincts if something feels right to you.

How to Install Wall-to-Wall Carpet Yourself

Determine the Area of the Room

Measure the longest walls in your room. Multiply the length and width, and divide by 9 to determine the square yardage. Add 10 percent to allow for errors, irregularities and pattern matching.

STEP 1

Clean the Subfloor

Make sure the surface to be carpeted is smooth and clean. Scrape up any paint or joint compound and sweep and vacuum the floor thoroughly.

STEP 2

Remove the Doors

If possible, remove the doors from the room so you won’t have to work around them. Having the doors out of the way will also make it easier for you to cut off the bottoms of the doorjambs if necessary.

STEP 3

Install the Tackless Strips

Cut the tackless strips to size with a strip cutter or heavy snips (Image 1). Nail the strips 1/2″ from the wall (Image 2). Don’t install tackless strips across thresholds or doorways; the tacks on the strips are sharp and could poke through the carpet and hurt your feet. Tackless strips come in a variety of widths, thicknesses and heights. Make sure you’re using the correct size. If you’re installing carpet over a concrete subfloor, use masonry tacks or epoxy adhesive to hold the tackless strips in place.

STEP 4

Install the Carpet Pad

Lay out the carpet pad perpendicular to the direction you plan to install the carpet (Image 1), and staple it near the tackless strips with a staple hammer (Image 2).

STEP 5

Staple Any Pad Seams

Staple the seam of the pad, alternating staples so that they aren’t beside one another. Stretch the padding so that the pieces are butted tightly together.

STEP 6

Trim the Pad

Feel through the padding to locate the tackless strip, and use a utility knife to cut away the padding along the interior edge of the strip (Image 1) so that all the tacks are exposed (Image 2).

STEP 7

Cary Wiedman

Notch Corners for Trimming

Measure the room at its longest point, and add 3″ to the measurement. Take the carpet outside if possible, and notch the back on both sides at the appropriate length. The carpet will be easier to handle outside. You might want someone to help you.

Deep Clean Your Natural-Fabric Couch For Better Snuggling

After a long day, your cozy couch is the perfect place to unwind, which sometimes involves stinky feet or a late-night snack. You might not realize your couch is a bit dirty, but giving it a deep clean helps remove built-up stuff that you’d rather not think about — like sloughed-off skin cells and leftover bits of food. If you have a natural-fabric couch, here’s how to make your sofa look like new again.

Identify the Fabric

Couches come in lots of shapes and materials, with some even having removable and washable cushions. If you are lucky enough to have a cotton-blend or linen couch, you can easily clean it with natural ingredients. Before getting started, give your couch a good once-over to figure out what it’s made from. Most have a tag that identifies it as:

  • W: OK to use water for cleaning.
  • S: Only use a solvent-based cleaner on fabric.
  • SW: Either water or a solvent cleaner is safe to use.
  • X: Only use a vacuum for cleaning.

Prep Your Couch

Get your couch ready for grooming by using a clean and dry white hand towel or washcloth to brush the entire piece of furniture, breaking up any dried-on spots and removing any bits that have made homes of nooks and crannies. You can also use a stiff brush for this step. Avoid using any colored towels or sponges, as the dye may alter the color of your couch.

Deep Clean

Sprinkle the entire couch with a good heap of baking soda. Baking soda helps release lurking smells and break up stains in the fabric. If you’re feeling your sofa really needs a serious clean, mix together this dry natural carpet cleaner, and then use for covering the fabric. Allow the baking soda to sit on the couch for at least 20 minutes and up to an hour before vacuuming using a brush attachment.

Stains, Begone

Now take a closer look at the couch to find any lingering stains. Mix together this easy cleaning solution, and do a small fabric spot test in an unseen location to check if there’s any discoloration. Dip the washcloth in the cleaning solution, and gently dab and rub stains — or simply use for wiping down the entire couch. You’ll be amazed with the results!

Just Like New

Allow the couch to dry, and touch up as needed. It may appear darker in color until it’s completely dry. This cleaning method is safe to use on fabrics and can be done anytime your sofa needs a cleaning — or a little touch-up.

Image Source: POPSUGAR Photography / Sarah Lipoff
http://www.popsugar.com/smart-living/How-Clean-Natural-Fabric-Couch-33772791

Tips for Choosing Curtain Fabrics

Tips for Choosing Curtain Fabrics

ou have tons to think about when deciding on fabric for window treatments. Choosing the correct weight, texture, light-blocking or light-exposing qualities, and the fabric’s durability are just the beginning. If you spend some time considering your options now, when it comes time to look at dozens of fabrics at the store, you’ll have a clearer idea of what will work best for your specific needs.

  • Durability: Over time, the sun can damage all fabrics, but silks are especially prone to sun rot. Some of the window fabrics least prone to sun rot are chintzes, brocades, and cotton canvas.
  • Thread count: Generally speaking, decorator fabrics have a higher thread count than fabrics used for making clothes, so decorator fabrics last a bit longer. Some of these fabrics need to be dry-cleaned; check the fabric bolt tag or cylinder tag.
  • Weave: Plain, twill, satin, or damask weaves are common ones for decorator fabrics. Most printed cottons are plain or twill weave. For example, satin weaves are used to create stripes in some fabrics, and a damask weave is a single-color, patterned weave.
  • Width: Fabric generally comes in two basic widths: 42 to 45 inches and 54 to 60 inches. Always check out the fabric bolt label or tag to determine its width. Home-decorating fabrics compared to fabrics used for clothing are in the wider width. You can also find some decorating fabrics that are 72 to 75 inches wide, 90 inches wide, and even some that measure 105 or 110 inches or wider.

Still not sure what kind of fabric to choose? Here are a few familiar window treatment situations and recommendations for picking the right fabric:

  • A bank of wide, long windows that need plenty of coverage: Fabrics with some heft to them will meet your coverage needs. Make simple floor-to-ceiling panel draperies in a heavier-weight fabric, such as velvet, velveteen, corduroy, or a wool-blend fabric that limit the light. An alternative is to line your draperies with cotton duck.
  • A bank of wide, long windows where not much coverage is needed:A swag and cascade (made out of a nonsheer fabric with great drapability, such as a silk or blended charmeuse) that frames the top and sides of a bank of windows is a perfect treatment to provide some dress-up without much coverage. If you want to use a sheer fabric to diffuse the light, choose panels in gauze, batiste, organza, chiffon, or even lace.
  • A small room with drafty windows: Think about adding a drapery that covers the window entirely. Measure your drapery so that it extends well past the window’s trim molding. Then choose a heavier fabric, such as damask, in a color that matches (or closely matches) the room’s paint color. The window treatment helps block cold air. Matching the fabric with the room’s walls gives the room-enlarging illusion of unbroken wall space.
  • A very low-ceilinged room: Measure your draperies so they extend from the floor to the ceiling and match their color to the wall color. Be sure to install the curtain rod nearly flush with the ceiling. If you want to let in light, choose a fabric whose texture is very light yet crisp, such as voile. If you like coverage, choose a tightly woven cotton. Using a fabric that features vertical stripes is another nice way you can create a feeling of length and height in a low-ceilinged room.
  • A small window, the only source of light in a small kitchen: If you have a small kitchen with only a tiny window, you want to maximize the window as much as possible. Consider adding a simple valance, or if you have the ceiling height, an arched valance in the mediumweight fabric of your choice. For privacy in the evenings, you can add a simple roll-down shade, mounted out of sight under the valance for daytime.
  • Blah-looking windows in a formal dining room that doubles as a study: Balloon valances look great over sheers in dining rooms, and this treatment lets in adequate light for dining, working, or studying while adding a bit of design pizzazz. Choose a fabric with a tight weave and even a bit of stiffness when creating balloon valances (like chintz or taffeta), so they’ll keep their shape.
  • A bathroom window that needs privacy but still needs natural light:Try a heavier voile or plissé, which both give a bit of coverage, yet let in some light. Plissé fabric comes in solids or patterns. Create a simple curtain panel with this fabric, and your problems are solved. When considering plissé, test a sample before pretreating; some plissés lose their texture when washed.

How to Reupholster a Stool

http://www.core77.com/posts/18161/Monster-Post-How-to-Reupholster-a-Stool

They say “To a guy with a hammer, everything looks like a nail.” Well ever since I bought this bad-ass, cast-iron, fully refurbished 1953-model Singer 15-91 sewing machine on eBay, I’ve been looking for things to repair by sewing. So first up, I’m gonna show you how to reupholster a stool. As usual I’ll include my screw-ups in hopes you can avoid them. And even if you don’t have a stool to re-upholster, hopefully the methodology of this post will teach you a little about taking things apart and fixing them.

A little background on the sewing machine: I came across an engineer who restores and sells these in his spare time (more on him in a future entry). The one I bought from him was a little cheaper than usual–$200 price range–because although it is mechanically perfect, the condition of the machine’s cast-iron body makes it look like it actually fought in World War II.

So here’s the stool in question. I bought six of these on Craigslist for ten bucks each; they were originally $40 at Bed Bath & Beyond.

As you can see, the corner seam of the vinyl is ripped and the foam is poking its way out. I don’t know anything about how stools are built, but it hardly looks like rocket science, so I’ll figure this out as I go along. Please join me on my magical journey of self-discovery. First you gotta get the seat off of the legs, so put the stool upside down and grab a screw gun. (I was going to say “or you can grab a screwdriver if you’re Amish” but I just realized anyone Amish is not on the internet, which is why I will freely fill the bottom of this post with anti-Amish slurs.) Remove the screws holding the seat bottom to the frame.

Now we’ve got just the seat cushion. We see it’s covered in some type of plasticky paper with some flammability requirement label no one’s ever going to take the time to read. There are staples around the periphery and through the label.

Remove just the staples around the periphery. I like to use this Oxo Good Grips blade-style staple remover, as I find the common jaw kind will tear up the material. More on this tool in a second. (At one point I tried using a standard claw hammer, but the claw wasn’t sharp enough and it was too wide to get inside a staple.)

The best way to remove a staple using this tool is to get the tip under the staple at a high angle, then bring it level with the material, push it under the staple and wiggle-rotate it, like you’re turning a screwdriver back and forth. This should release both ends of the staple. If you screw this up, you will release only one end of the staple, as I’ve done here–

–that means you’ll have to use a pair of pliers to yank the staple free.

When you have to remove 20-30 staples using two tools, that increases the time greatly, so either develop the skill to do it with just the Oxo or cancel your afternoon appointments.

The Oxo tool is made out of soft metal. Here you can see I’ve bent the tip through repeated use.

If this happens just flip the thing over and you’ll eventually bend it back the other way. Over time you will chew the tip up; it’s handy for now, but this is not a tool you will be passing on to your grandchildren.

By the way, don’t take the staples out of the label. I’ll show you why in a sec.

Now we’ve removed all of the staples from the periphery of the plasticky paper sheet. Finished, right?

Wrong, sucker! Lifting the paper, we now find a crapload of new staples attaching the vinyl to the wood bottom.

Sigh loudly and dramatically so that your roommate goes “What’s wrong?” while you mutter “Nothin’, mind your own goddamn business.”

We also see that the wood bottom is particle board. I freaking hate particle board. It’s crumbly, dusty, it doesn’t hold screws well, and it always makes me crave peanut brittle when I don’t have any around.

Fold the corners of the plasticky paper into the center, then tape the whole thing shut with a piece of tape. (I used blue tape and if you don’t use blue tape your stool will explode, causing severe burns.) We could remove the paper, but there’s no point, we just need to get it out of the way. In general, when disassembling something I find it’s best to leave attached whatever you can leave attached, you save yourself a little work later.

If you are sensitive to particle board dust, or just a plain ol’ pussy like me, now is when we vacuum the dust away so we’re not breathing it in during the rest of the process.

As we begin to remove this second round of staples, let’s observe how they were applied. We see there’s three in the corners, because that’s the high-stress area. We also see that they were placed closer to the center of the board, leaving room on the periphery for the plasticky paper staples. Good to note.

Another thing we should observe is which corner folds are on top, which tells us the order in which the sides were stapled and folded. It’s different than how I thought: I would’ve stapled and folded two opposite sides first, then did the remaining sides. But here we can see the manufacturer did it in a clockwise fashion, so we should probably copy that later when we staple the new fabric on.

After removing all of the staples from the vinyl, you should now have a small mountain of them. They’re metal, so make sure you recycle them! I throw mine into a drinks can first, so the garbageman doesn’t get stabbed when he picks the recycling bag up. If you don’t like your garbageman, coat the staples in Ricin and throw them straight into the bag.

Peeling the seatcover back, we can see the seat’s “ingredients.” We’ve got a smooth vinyl outside and a crunchy particle board inside with a creamy polyurethane foam center.

Now we remove the vinyl altogether. It’s sewed at the corners and we need to take the stitches out. For this you can use an X-Acto knife or a stitch ripper. Though the stitch ripper was designed for this purpose, I actually find the X-Acto knife superior for stitch removal.

With the vinyl piece now flat and the stitches removed, we could simply trace its shape onto the replacement fabric; but since I have six of these stools and will likely replace the seat on all of them down the line, it’s worth it to make a template. Get a scrap piece of cardboard, foamcore, or one of your roommate’s prized LP record covers.

The vinyl has been stretched through use into an irregular, not-quite-square piece, so I measure it, average out the inconsistencies through guesswork, and draw the corresponding shape onto the foamcore. It’s basically a square with flaps coming off of each side, simple.

Only after cutting out the foamcore–my last piece of it–do I realize I’m a retarded idiot that has mis-measured the flap sizes. But luckily the seat center is the correct size, so I can compensate by leaving a perimeter around the template before tracing it onto the new fabric, then extending the flap lines out to make them longer.

Next I cut the fabric out. I was supremely impressed by Fiskars in my recent review of their Cuts+More scissors, so now I’m trying out a dedicated pair of their fabrics scissors, the 8″ Softgrip Razor-Edge. Cuts like a beaut.

Now what you want to do is fold the corners shut, with the “good” side of the fabric inside, and sew them shut with a single line. By observing the vinyl we can see there’s a 3/8″ “seam allowance,” meaning the stitching is 3/8″ from the edge.

Sewing a straight line on a machine like the Singer 15-91, which pulls the material along strongly and smoothly, is probably the easiest sewing operation you can do on a machine.

After doing all four corners, we now have this floppy box.

Turn it inside out, so now the sewed flaps are on the inside. Use your finger to push the corners out from the inside. Be thorough, as you’ll think the corner is fully extended but then a little bit more will pop out.

Next we shove the foam-and-particle-board sandwich down into the material, foam side down, obviously. If you’ve done everything right up ’til now, it should already be a tight fit.

Check to make sure the corner of the fabric lines up with the interior corner of the foam-wood sandwich.

Now it’s time to assemble, so we grab our trusty staple gun. What’s that you say, you don’t have a staple gun? Well you’re in luck, we sell them on Hand-Eye Supply! What a co-inky-dink, that I wrote this entry and then we just happen to sell them! Funny!

Before stapling, grab one of the old staples (careful if you did the Ricin) and check the length. Staples come in different sizes, and obviously you want to use the same length so it doesn’t go all the way through the wood and poke someone in the ass. Here we see they used what looks like a 3/8″ staple, and the 5/16″ staples we have on hand are close enough.

Next we load the gun up–be sure to empty it first, in case there are longer staples already loaded–and start stapling the fabric. Tips:

1. Stretch the fabric and staple it under tension, so it’s nice and taut.

2. Remember to staple closer to the center of the board, to leave room on the outside for the second set of staples.

3. Also remember to duplicate the order in which the original fabric was folded and stapled.

I opted not to do the three-staples-in-each-corner because I believe this fabric is stronger than vinyl and I want to see if it still tears. I’ll check it after a month of use.

Once all four sides are done, inspect the staples. I found several of mine were screwed-up and didn’t go in all the way. This will happen if you don’t apply enough pressure when stapling–you really need to lever down on the staple gun and apply a lot of pressure to the tip at the exact moment you pull the trigger. Here’s what a good staple looks like,

and here’s what a screwed-up one looks like:

Obviously this must be fixed, or the fabric is more prone to tear because it’s being pierced by two pinpoints, rather than sandwiched against the wood by the surface area of the staple top. So give the staple a good whack with a hammer to drive it flush.

Next we untape the plasticky paper and staple that back on. I can’t see any function for this paper other than to catch the particle board dust and hold that stupid label.

Now, ta-da, the cushion is done, and hopefully your corners are nice and tight.

Re-attach the legs by driving the four screws.

Particle board sucks, so the existing screw holes are probably kind of loose. To compensate for this I drove the screws in at a bit of an angle, hoping they would bite into fresh wood. But I may have just succeeded in widening the already crumbly screw hole, so I may have to eventually replace the wood.

For now though, the base seems solidly attached. Now you’re finished, and you can sit on the stool for many weeks to come while scanning the papers for your garbageman’s obituary. Congrats!

List of Fabric Types for Curtains

Perhaps the most compelling reason to make your own curtains — other than the satisfaction that comes with completely customizing their design and execution — is picking out fabric. Although you are limited to woven fabrics, you have many more options at a well-stocked store than you have for premade panels. While perusing fabrics, look beyond just the color or print. Unwind some bolts and feel the fabric with your fingers — don’t be shy. See how it drapes and gathers, and assess the texture and transparency. All of these characteristics determine the finished look of your curtains, and they vary considerably by fabric type.

Decorator Fabrics

Decorator fabrics, which occupy their own section of a fabric store, are generally the best choice for curtain-making, especially if your curtains will get a lot of use in terms of opening and closing, and if you intend for them to last many years. Decorator fabrics usually have a high thread count, which makes them more durable than other fabrics. The more substantial weight of these fabrics also helps curtains hang nicely. Typical decorator fabrics that are suitable for curtains include linens; silks and faux silks; cotton and cotton-blend chintzes, which have a shiny coating; warp sateens, which are smooth and heavy; drapey antique satins with characteristic slubs; and brocades, with raised, tapestry-inspired motifs. Velvet is a nice choice for a traditional, regal look.

Garment and Quilting Fabrics

Garment and quilting fabrics don’t have the high thread count or substantial weight of decorator fabrics, but don’t eliminate them entirely as an option for curtains. They are suitable for more lightweight window treatments, particularly those that are intended to be decorative rather than functional. Examples include cafe curtains, which cover just the bottom part of a window; hourglass curtains, mounted at the top and bottom of a glass-paneled door and cinched in the middle; and simple, plain panels that will hang from clip rings. Use these fabrics also for curtains that will only be hung for a limited time, such as in a short-term rental or the room of a child whose tastes will quickly change.

Sheer Fabrics

Sheer curtains offer some degree of privacy without fully blocking light, and are used either alone or as a decorative accent layered over an opaque window treatment, such as blinds. These lightweight fabrics tend to appear delicate, complementing a romantic or feminine style of decor. Laces and eyelet fabrics, most commonly in white, are easier to handle than you might think; often you can trim around their design for a decorative, no-sew hem. Lightweight, transparent sheers, usually polyester, are available in a wide variety of colors and sometimes prints. They are slippery, which can make them difficult to work with, but successful cutting and sewing is achievable with patience. For a more rustic version of sheers, consider a loosely woven fabric, such as burlap, which is easy to fray at the edges if you want to create a fringe instead of hems.

Linings and Interlinings

Lined curtains, with the exception of sheers, have a more professional-looking finish, block more light and offer more insulation than unlined ones. They also resist fading and look more attractive from the outside of the house when drawn closed. White or unbleached cotton is typically used to line curtains. Special blackout fabric is available specifically for lining curtains, and is a good choice for bedrooms. Insulated lining is another specialist option, keeping a room warmer in winter, blocking drafts and possibly lowering your heating bill. Interlining, an additional layer of fabric sandwiched between the curtain fabric and lining, adds further insulation and more body.

http://homeguides.sfgate.com/list-fabric-types-curtains-96497.html

How to Install Fabric Wallcovering

Materials Needed:

  • bolt of backed fabric
  • wallcovering paste
  • fabric scissors
  • smoothing tool
  • bucket
  • tape measure
  • pencil
  • notepad
  • spackle
  • spackle knife
  • wallcovering primer
  • paint roller
  • paint pan
  • pan liner
  • roller cover
  • sanding block
  • damp rag
  • paint brush
  • utility knife
  • Measure the Walls

    Use tape measure to determine height and width of space for fabric. Jot measurements down for reference.

    Choose Fabric

    Bring swatches of assorted backed fabrics home from fabric store and tape up on wall using painter’s tape. In order for fabric to adhere to wall, it must have fabric or acrylic backing. Fabric without backing can be custom-backed by local fireproofing and backing shops. After a few days, decide which fabric works best in space. Keep in mind patterns with large repeats will require more yards, therefore will be more expensive. Smaller prints or textured fabrics require fewer yards, but might not be as impactful.

    Prepare Walls

    Comb walls with smoothing tool to get rid of any bumps. Fill nail and screw holes with spackle using a spackle knife. Once dry, lightly sand residue, then wipe with damp rag. Apply a coat of wallcovering primer using paint roller. Allow three hours for primer to dry.

    Cut Fabric

    Roll fabric out on long, flat surface. Refer to dimensions, and use tape measure and pencil to mark height on fabric. Allow 4 extra inches to account for waste, then cut using fabric scissors.

    Paste the Wall

    Dip paint brush in bucket of paste, and spread paste on wall starting from the top down.

    Attach Fabric

    Hold each strip of fabric up to wall allowing overlap to match up the repeat. Press against glue, and smooth out air bubbles with smoothing tool.

    Cut Excess

    Use utility knife to cut excess from corners and around outlet holes.

     

    http://www.hgtv.com/design/rooms/living-and-dining-rooms/how-to-install-fabric-wallcovering

How to pick a color palette for your house

After looking at ways to work through paint-color procrastination and how to find color inspiration all around you, we are ready to tackle the last, and possibly most challenging, part of our color series: the whole-house paint palette.

If picking one paint color is tricky, how on earth do you find colors for an entire house? How can you know they will go together? Where do you even begin? Join us as we navigate the process of selecting colors for a whole house, and gather inspiration (and maybe a little courage) to tackle your own walls.

Note which rooms are visible to one another. Walk through your house and note which spaces you can see from each room. Use a floor plan (a rough sketch is fine) to keep track.

Adjoining rooms are part of this, but you may be able to see quite a bit farther — down a hall and into the kitchen, for instance. These notes will form the basis of your whole-house color plan, so keep them close at hand.

Start by picking a color for the biggest, most centrally located room.This will most likely be your living room or kitchen, and it’s a great place to start working on your whole-house palette.

If picking colors has been stressing you out, choosing a soft, neutral hue for the main room will make picking the other colors easier. And you really can’t go wrong withwhite.

Or start with the room you want to paint the boldest color. If you love color and have a certain hue in mind for a specific room, you can start there instead. Looking out from the bold-hued room, choose a softer, more subdued color for the next rooms. You can, of course, put bold colors next to each other, but that does carry more risk — painter, beware!

Build your palette with shades of the same hue. Once you have a paint color picked for your first room, one simple way to move on is to choose shades of the same hue for adjacent rooms or walls. You can choose a hue from a nearby paint chip, pick the next color up or down on the same paint chip, or even have the same color mixed at the paint store with white added to make a lighter version.

The beauty of this method is that, while it will give your home interest and depth, you also can rest assured that the colors will go well together.

Have a strategy when picking colors for an open space. When much of the house is visible at once, as in the open plan space shown here, picking colors that work together is especially important. Using shades or tints (shades are darker; tints are lighter) of the same hue can work well in this type of space.

Another approach is to use an environment as inspiration for the whole space — we touched on this concept in part two of this series, using the beach as an example. The colors that go well together in nature will also work as paint colors.

Work on upstairs and downstairs spaces separately. If there is a true separation between floors, you can easily create a different mood in the upstairs versus downstairs, rooted in the colors you choose. Plus, focusing on one floor at a time can help keep the task feeling more manageable.

Consider keeping connecting spaces neutral. Whitebeigegreige and the like are fairly foolproof choices for halls and landings, and they give the eye a place to rest between areas of more saturated color.

On the other hand, if you have decided to stick with white or soft neutrals in your rooms, the halls and landings can be a great place to experiment with a richer hue. It doesn’t need to be a big departure from the other colors you are using — just a shade or two darker is enough to make an impact.

Test your potential palette. As you narrow down your color choices and think you may have some winners, bring home test pots of paint. Sample cards, even the big ones, can be deceptive.

Painting your own swatches will allow you to assess each color in the room it’s meant for and check that the colors in visually linked spaces work together.