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June 10, 2010

Drywall Damage

Filed under: Installation of Wallpaper,Wallpaper — Tags: , , , — Garett@EW @ 2:56 PM

Drywall Damage

Most drywall damage occurs
when wallcovering is dry-stripped from the all or when mirrors andDrywall Damage paneling glued directly to bare drywall are pulled away, taking the face
paper with them.  The brown backing paper that remains is highly
absorbent and will bubble and blister if water-base paint, joint
compound or spackling are applied without first sealing it.
Follow the instructions below to repair damaged drywall using GARDZ® High Performance Sealer.


Prepare the Surface: Drywall Damage

Remove any wallcovering from the wall. (See: Remove
Existing Wallpaper for more details). Next, remove any loose
facing paper by cutting back to sound areas with a razor knife or
sanding off using 80-grit sandpaper. To locate any invisible bubbles or
blisters, tap the surface of wall with your fingernail. If you hear a
flat, hollow sound the facing paper has separated and bubbled. Cut the
sound paper around the bubbled area with a razor knife and pull the
damaged paper off towards the cut for a clean, sound edge.

Appling GARDZ:

Make sure all
floor areas adjacent to walls are protected with drop cloths. Apply one
coatDrywall Damage of

GARDZ
liberally with a brush, medium nap roller or sprayer to the entire wall.
When applying GARDZ with a roller, start from the bottom of the wall and
press gently as you move the roller upward to prevent the sealer – which
is very thin – from dripping onto the floor. GARDZ penetrates and seals
the paper, drying to a rock-hard moisture-resistant. When dry, GARDZ
should exhibit a uniform sheen. Excessively porous areas may have a dull
appearance and should be given another coat of GARDZ. If the facing
paper blisters again, cut out the blister and reapply product to exposed
paper. Allow at least three hours dry time.

Apply skim coat of spackling or
joint compound:Drywall Damage

After GARDZ has completely dried, use a large (6” wide
or bigger) spackling knife to apply a thin layer of READY PATCH
Spackling & Patching Compound to create aDrywall Damage smooth, uniform surface. Allow
to dry completely before sanding smooth.

Apply Final Coat of
GARDZ:Drywall Damage

Remove all dust from the surface and seal skim-coated
areas with a final coat of GARDZ. When dry, apply your desired paint, wallcovering or texture finish to
complete your look. GARDZ
replaces the need for sealing the surface with an oil-based primer. It
seals damaged drywall facing paper to prevent bubbles andseals residual
wallpaper adhesive to prevent it from ruining topcoat finishes.
Wallcovering can be installed directly over GARDZ.

June 9, 2010

Window Decorating Tips

Filed under: Drapery/Window Treatments — Tags: , , , — Garett@EW @ 2:44 PM

WINDOW TREATMENT Decorating Tips:

Privacy Issues – Sun & Ultra-Violet Concerns
Fabric Content – Style & Design
Quick Lace Curtain Terms Guide – Bay Windows – Window Type -
Curtain Info – Drapery Info – Pinch Pleats -
Combination Treatments – Pinch Pleats – Pinch Pleats

Privacy Issues:

Lace/sheer fabric should not be used alone where privacy is a must.  Fortunately, lace/sheer fabrics can be installed over shades and blinds and look terrific.

Sun and Ultra-Violet Concerns:

Drapery curtains softly filter light but not the harmful ultra-violet rays that can damage fine furnishings.  This includes furniture, both wood and upholstered, floors and rugs, as well as the art on your walls.  In most instances, this is not a problem.  However, wherever the light bothers you for a period of time daily, and for most of the year, this could be a potential problem.  There are many possible solutions including windows with built-in protection, products that can be applied to your windows, and protective window treatments such as fabric sheers, shades or blinds.  Some fabric has an UV protective additive. This will help the curtains last longer, but will not protect any furnishings.

Fabric Content:

Drapery curtains are usually made from either polyester or cotton with some polyester added.  There are very few items made today that are totally cotton.  The term “polyester” has had a “bad” reputation, remembering the stiff polyesters of the past.  However today’s polyesters have come a long way.  They are soft, very easy to clean, and very durable.  (Not to mention – good-looking!) Polyesters can even be made to have the look and feel of fine leather.

As with any fiber, there are varying grades and types of polyester. You can still find the less costly drapery fabric and other products that have that yucky feel.  Some drapery fabrics are “memory” polyesters that will retain their “drape” after washing.

Most cotton-content drapery fabric is either cotton or cotton-rich made  You will be hard-pressed to actually find or feel the polyester fibers in some drapery fabrics.  The polyester adds durability and aids in shape retention.  Fabric Drapery Curtain stretchers have been regulated to the antique collectors! (For those of you too young to remember, curtains were washed and mounted on stretchers to dry. The edges of the curtains were slipped over tiny pins, top, bottom and sides and the rack was adjusted to hold the curtain taunt to keep its shape as it dried.)

QuickTerms Guide:

The Valance is a short top treatment. It can be used alone or with tiers or over panels. Use as many as you need for wide windows. Each piece fits windows generally 27″ to 48″ wide. Some Valances are shaped like short swags.

Tiers are used on the bottom half of the window, if desired. The 24″ Tier can also be used as a longer top treatment. Each tier generally fits a window 27″ to 48″ wide. Tiers are generally one piece but can be made into two.

The Swag Pair is a top treatment for a single window. There is a left and right piece. One swag pair fits windows 27″ to 58″ wide. The valance/insert or festoon can be inserted between the swag pair for wider windows or a fuller look. There are One Piece Swags which have to used in multiples for wider windows. Swags can be combined with tiers or panels.

To appreciate the full beauty of Fabric Panels, use one for each window 27″ to 48″ wide. They can be used alone or with top fabric treatments. You can hang them to the sill, below the sill, to the floor, or puddled on the floor. If you would like to tie them back, you will need 2 panels and tie backs.

Bay Windows:

If your bay has the narrow windows on the ends with a wider window in the center, the swag pair is a good choice. The left piece goes in the left bay and the right piece in the right bay. The valance/insert or festoon goes in the center. This keeps the fullness pretty even.

Style & Design:

Patterns are not written in stone and most patterns will adapt to almost any style category. Much depends on your furnishings and what you wish to highlight and decorate with. Be adventourous.

Many fabric patterns will do well in any country, traditional, comtemporary or Victorian setting. Long curtain panels lend towards a more formal setting, while sill length is more casual. Lace curtains belong in the Arts & Crafts style, or even Art Deco.Laces are exceptional in designs, they suit their purpose, and serve you well for many years.

Window Type:

Consider how your window opens and make sure that your treatment won’t interfere with how your window functions. For example, vertical shades may not be the best choice for a window that opens horizontally.

Curtain Info:

Curtains are typically lightweight, unlined, and suspended from a rod by simple tabs, rings, or a rod-pocket casing. Most can be drawn back by hand to create a simple, casual-looking window treatment.

Basic curtain panels are easy to make and install. They may cover the full length of the window or reach from ceiling to floor. Lining the panels and adding decorative accessories and top treatments can make curtains look as elegant as any drapery panel.

Cafe curtains cover only the lower portion of the window, allowing light and views through the top half of the window.

Panels shirred on rods at both the top and bottom are somewhat stationary and are good solutions for swinging doors and for casement windows that swing in.

Drapery Info:

Normally lined, pleated, and floor-length, drapery panels often attach by hooks to a traverse rod. A cord mechanism that hangs behind either the left or right panel draws both of the panels open and closed.

Because of the way a traverse rod works, drapery panels don’t always retract as compactly as curtain panels do, so if a window has minimal wall space around it, you may want to consider curtains or another type of treatment.

Before you purchase draperies, check their stackback, the technical term for the width of a window treatment when fully retracted. Very wide windows require more fabric, resulting in a wider stackback. In this case you’ll need to increase the length of the traverse rod to keep the stacked fabric from covering the window glass when the drapes are fully open.

Because draperies are typically pleated and more tailored in appearance, they generally lend a more traditional look to a decorating scheme. However, newer pleating styles can offer a more updated and casual look for contemporary interiors. Look for fan pleats attached to simple rods with clips and rings.

Fabric selections can dress a drapery panel either up or down. Velvet, damask, and silk generally require a more traditional or formal room, while linen and cotton fabrics offer a more casual look.

Combination Treatments:

Outfitting your windows has never been easier. Whether you choose treatments that are custom- or ready-made, or some of each, you can combine practical options, such as shades and blinds, with attractive top treatments or side panels to create a personal look.

Combination treatments can also give you more freedom to manipulate the perceived size and shape of your windows. An inside-mount shade, for example, emphasizes the actual size of the window. Mounted outside the frame, the same treatment can make a window appear larger.

Pinch Pleats:

Traditional pinch pleats take three folds of fabric sewn together for a pleat that fans out on the top and bottom. This drape gets extra interest from a sewn-in valance header with tassel fringe.

Please call or email with questions.

We look forward to hearing from you.

How to get started wallpapering

Filed under: Decorating,Installation of Wallpaper,Wallpaper — Tags: , , , , , , — Garett@EW @ 2:13 PM

CALCULATING HOW MUCH PAPER YOU WILL NEED

* Click Here to use the Wallpaper Calculator *

To figure your wall area in square feet, measure
the width of the walls and multiply by the height. Divide your total square
footage by 50 to determine the number of double rolls you will need for your
job. A standard roll of wallpaper covers approximately 56 square feet. The
suggested divider of 50 square feet to determine the number of rolls will allow for pattern waste in matching.

Example: A wall is 8′ high by 10’ long. 8’ X 10’ = 80’ sq.
feet.,

80’ divided by 50 = 1.6, 1.6 rounded up = 2 double rolls.

A general rule of thumb is you can cut three 8’ pieces

and one 6’ piece from one double roll.


WALLCOVERING ROLLAGE CALCULATOR

Wall Area

In Square Feet

 Number of Double

Rolls Required

(11 Yard Bolts)

 Number of Double

Rolls Required

(14 Yard Bolts)
50 1 1
60 2 1
100 3 2
120 3 2
150 4 3
180 4 3
200 5 4
240 6 4
250 6 5
280 7 5
300 7 5
320 8 6
350 8 6
360 9 6
400 9 7
420 10 7
450 10 8
480 11 8


PLANNING YOUR WALLPAPER LAYOUT

You’ve made an investment in your new wallcovering
and you deserve a professional finish! Preplanning will save you time and help
eliminate mistakes. Before preplanning your layout, keep in mind, your wallpaper
will EXPAND anywhere from 1/4″ to 1/2″ when wet or pasted. Test a piece and
allow for this when measuring.

How to pre-plan -As a general rule, start in the
most visable corner planning to meet in the least visible corner in your room
and measure the width of your paper around the room in both directions meeting
in your inconspicuous corner. Try to avoid small strips (2″ or smaller) in
corners or around windows, doors, cabinets, etc. If you are only doing one wall
(especially full length 8′ pieces like in a bedroom), start somewhere in the
middle, work your way to each corner, marking off off where your pieces will
fall as you go. Try to avoid any small strips in the corners.

When pre-planning – Be sure to take into account if
you have window sills that you will be wrapping. Plan your layout so there will
be sufficient paper to wrap inside your sills without having to strip in a
piece.

PREPARING and PRIMING WALLS

A LITTLE WALL PREPARATION GOES A LONG WAY TO INSURE EASE OF INSTALLATION AND
THE LONG LASTING BEAUTY OF YOUR NEW WALLCOVERINGS.

Priming – Its
always a good idea to prime your walls with a PRIMER RECOMMENDED ESPECIALLY FOR
PREPARING WALLS FOR WALLPAPER. This will promote adhesion, plus when you want to
remove your wallpaper, the job will be easier.

Hanging over Painted Wall – If hanging over
painted walls, priming is a must! In many cases, especially in new homes where
the paint has been applied with sprayers, the paint will let loose if it is not
primed first. Many kitchens and baths have been painted with glossy enamel
paints. Treat these with a wallpaper primer before installing your new paper.

Marking Wall – Use chalk or a pencil to mark your
wall; never use ink as it may bleed through your paper and stain.

HANGING OVER OLD WALLPAPER OR PANELING

Primin – If hanging over old wallpaper, priming is
a must. Use a primer that seals the paper to a hard, impermeable finish. Test
your old paper first by wetting the surface in a small test area. If it bubbles
easily, then you would be better off to remove it.

Hiding Old Wallpaper Seams - To hide old wallpaper seams so that they won’t show under
your new paper, after the wallpaper primer dries, lightly skim the old wallpaper
seams with joint compound. Let the compound dry, sand lightly, and coat the
skimmed areas with your wallpaper primer.

Hanging wallpaper over paneling - There are a number of liner papers on the market that
address this task. Almost any wallpaper center or paint store handles liners,
generally known as Wall Felt. Liners should always be pasted with a heavy duty
vinyl to vinyl adhesive or a “clay-based” adhesive to insure proper adhesion.
Generally, the liner must dry 24 to 48 hours before hanging over it with your
wallcovering. Before hanging your liner, be sure to check the paneling for loose
areas and secure these areas. Most liners recommend priming before hanging your
wallcovering. After you have primed the liner, you may want to float out joints
and any unlevel areas with sheetrock mud.

Liners – can be installed horizontally or vertically
(sometimes called railroading). Hanging the liner vertically is oftentimes
faster. Be sure to butt the seams, don’t overlap, then skim the join with
sheetrock mud.

Another alternative is a number of new wallcoverings that are designed to
especially address hanging over paneling. Check with your local decorating
center for information on these products.

LEVEL LINES

Using a plumb bob, chalk line – Remember always use a plumb line (a vertical level line)
out of a corner or on your first piece. Make a true vertical line with plumb
line and chalk a paper’s width away from your intended starting point. A plumb
line, chalk and plumb bob is included in every WalWiz Wallpapering Tool Kit.
Attach the line to the plumb bob. Fasten the string with a pin or small nail 2″
from the ceiling and rub the string with the colored chalk. Let the bob hang
above the floor. When the plumb bob stops swinging, hold it firmly against the
wall and snap the line leaving a chalk mark. Keep the plumb line and chalk
handy, because you’ll want to mark a true vertical around every corner or
starting a new wall.

Using a level – Make a true vertical line with a
level a paper’s width away from your intended starting point. Hold the level
vertical until the bubble is centered (within in two marks) and trace along the
level with a pencil. Line up the level with your previously drawn line and
repeat this process until you have reached at least 2″ from the floor.

Dealing with Out-of-Plumb Walls – Walls are never
perfect. Waves in sheetrock oftentimes will cause your patterns to pull off the
match. To camouflage this, match the pattern at eye level (rather than starting
at the top) and work up to the top, then down to the bottom of the wall.

My ceiling is out of plumb causing my pattern to run off at the ceiling line.
What Can I do? – Choosing a mini-print or plain paper is the easiest solution
for this problem. If you already have your paper, you may want to consider
hanging trim to a level line, caulking the gap at the ceiling.

An alternate solution is not easy, but can be accomplished with a good eye
and artful skill, depending on your pattern and where the paper is being
installed, i.e., a solid wall, over a kitchen cabinet, etc. The technique to
camouflage this type of problem often requires hanging the strip off level, but
careful placement makes it look to they eye like it is level.

A good example of this is often used when hanging plaids. This technique
works best when hanging smaller pieces but a more skilled craftsman will use
this on full length pieces too. Place the paper so that it looks level to the
eye with the ceiling, cabinet, etc. allowing it to overlap the previously
installed piece. Pay attention to how the overlapped paper lines up with the
pattern.

You may have to split the difference and adjust the paper somewhat. The idea
is that you can cheat the match enough to visually fool the eye. Once the paper
is in place, double cut the overlap.

June 7, 2010

FABRIC GLOSSARY

Filed under: Drapery/Window Treatments,Fabric — Garett@EW @ 4:54 PM
Index: A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z
A

Absorbency

The ability of a fabric to take in moisture.

Acetat

A manufactured fiber formed by compound of cellulose, refined from cotton linters and/or wood pulp, and acedic acid that has been extruded through a spinneret and then hardened.

Acrylic

A manufactured fiber, its major properties include a soft, wool-like hand, machine washable and dryable and excellent color retention.

Alpaca

A natural hair fiber obtained from the Alpaca sheep, a domesticated member of the llama family.

Angora

The hair of the Angora goat. Also known as Angora mohair. Angora may also apply to the fur of the Angora rabbit.

Antique Satin

A reversible satin-weave fabric with satin floats on the technical face and surface slubs on the technical back created by using slub-filling yarns. It is usually used with the technical back as the right side for drapery fabrics and often made of a blend of fibers.

Argyle

A pattern designed with different color diamond shapes knit into a fabric.

B

Bamboo Fabric

Bamboo fabric is a natural textile made from the pulp of the bamboo grass. Bamboo fabric has been growing in popularity because it has many unique properties and is more sustainable than most textile fibers. Bamboo fabric is light and strong, has excellent wicking properties, and is to some extent antibacterial.

Bark Cloth

A textured woven, usually printed cotton fabric that was popular in the 30s-40s and 50s as an interiors fabric. The prints were often large vines, leaves and florals.

Batik

A method of dyeing fabric where some areas are covered with wax or pastes made of glues or starches to make designs by keeping dyes from penetrating in pattern areas. Multicolored and blended effects are obtained by repeating the dyeing process several times, with the initial pattern of wax boiled off and another design applied before dyeing again in a new color.

Batiste

A lightweight, plain weave fabric, semi-sheer and usually made of cotton or cotton blends. Appropriate for heirloom sewing, baby clothes and lingerie.

Bedford Cord

A cord cotton-like fabric with raised ridges in the lengthwise direction. Since the fabric has a high strength and a high durability, it is often used for upholstery and work clothes.

Bengaline

A fabric with a crosswise rib made from textile fibers (as rayon, nylon, cotton, or wool) often in combination.

Boiled Wool

Felted knitted wool, it offers the flexibility of a knit with great warmth. Create your own by washing double the needed amount of 100% wool jersey in hot water and drying in a hot dryer. Expect 50% shrinkage. Appropriate for jackets, vests and stuffed animals.

Boucle

A knit or woven fabric with small curls or loops that create a nubby surface. The fabric has a looped, knotted surface and is often used in sweater looks, vests and coats.

Broadcloth

A plain weave tightly woven fabric that is usually made from 100% cotton or a cotton blend. Most common uses are quilting and shirt-making.

Brocade

A heavy jacquard-type fabric with an all-over raised pattern or floral design. Appropriate for upholstery, draperies, handbags and eveningwear.

Burlap

A loosely constructed, heavy weight, plain weave fabric. It has a rough hand. Appropriate for draperies and decorative items.

Burn-out Velvet

Created from two different fibers, the velvet is removed with chemicals in a pattern leaving the backing fabric intact. Appropriate for more unconstructed and loosely fit garments.

C

Camel’s Hair

A natural fiber obtained from the under-hair of the camel. It is relatively close to cashmere. Appropriate for coats and jackets. Very soft hand.

Calico

A tightly-woven cotton type fabric with an all-over print, usually a small floral pattern on a contrasting background color. Common end-uses include dresses, aprons, and quilts.

Cambric

A fine thin white linen fabric.

Canvas

A strong, durable, closely woven cotton fabric.

Cashmere

A natural fiber obtained from the soft fleecy undergrowth of the Kashmir goat. Most commonly used in sweaters, shawls, suits, coats, and dresses. A luxury fiber with a very soft hand.

Challis

A lightweight, soft plain weave fabric with a slightly brushed surface. The fabric is often printed, usually in a floral pattern. Challis is most often seen in fabrics made of cotton, wool, or rayon.

Chambray

A plain woven fabric that can be made from cotton, silk, or manufactured fibers, but is most commonly cotton. It incorporates a colored warp (often blue) and white filling yarns.

Chantilly lace

This lace has a net background, and the pattern is created by embroidering with thread and ribbon to create floral designs. The pattern has areas of design that are very dense, and the pattern is often outlined with heavier cords or threads.

Charm Quilt

A quilt made of many, many small patches (traditionally 2″ or so) where each piece is a different fabric. The pattern is usually a one-patch design and often involves swaps and trades with friends to gather many fabrics.

Charmuese

A luxurious, supple silky fabric with a shiny satin face and a dull back. Generally either silk, rayon ,or polyester. Suitable for blouses, fuller pants and lingerie.

Cheesecloth

A lightweight, sheer, plain-woven fabric with a very soft texture. It may be natural colored, bleached, or dyed. It usually has a very low count. If dyed, it may be called bunting and could be used for flags or banners.

Chiffon

Lightweight, extremely sheer and airy fabric, containing highly twisted fibers. Suitable for full pants, loose tops or dresses.

Chintz

A plain-weave fabric, which has been glazed to produce a polished look. Fabric must be dry-cleaned as the glazing will wash off with machine laundering. Suitable for drapes and lining.

Chite

Painted linens that originated in Chitta (India) in the 17th century.

Corduroy

A fabric, usually made of cotton or a cotton blend, utilizing a cut-pile weave construction. The ”wale” indicates the number of cords in one inch. Suitable for jackets, pants and skirts.

Cotton

a white vegetable fiber grown in warmer climates in many parts of the world, has been used to produce many types of fabric for hundreds of years. Cotton fabric feels good against the skin regardless of the temperature or the humidity and is therefore in great demand by the consumer.

Crepe

Used to describe all kinds of fabrics–wool, cotton, silk, rayon, synthetics and blends-that have a crinkle, crimped or grained surface.

Crepe Charmeuse

A smooth, soft luster fabric of grenadine silk warp and filling, with latter given crepe twist. It has the body and drape of satin and is used for dresses and eveningwear.

Crepe de Chine

Silk crepe de chine has a slightly crinkly surface create with highly twisted fibers. It comes in three weights: 2 ply, appropriate for blouses and lingerie; 3 ply, appropriate for dresses, fuller pants and dresses; and 4 ply, most luxurious and best for trousers and jackets.

Crepe-back Satin

A satin fabric in which highly twisted yarns are used in the filling direction. The floating yarns are made with low twist and may be of either high or low luster. If the crepe effect is the right side of the fabric, the fabric is called satin-back crepe.

Crewel

A true crewel fabric is embroidered with crewel yarn (a loosely twisted, two-ply wool) on a plain weave fabric. Traditional crewel fabrics are hand-woven and embroidered in India. The design motif for crewel work is typically outlines of flowers, vines, and leaves, in one or many colors. Modern weaving technology and inventive designers create traditional “crewel” looks with weave effects alone, without the use of embroidery.

Crocheted

Loose, open knit made by looping thread with a hooked needle. Used for light, summer sweaters.

D

Damask

A glossy jacquard-type fabric, the patterns are flat and reversible. Unlike jacquards, the fabric is all one color. Suitable for draperies, curtains bed and table linens.

Denim

A twill weave cotton fabric made with different colored yarns in the warp and the weft. Due to the twill construction, one color predominates on the fabric surface. Suitable for pants, jackets and skirts. Pre-wash and dry 100% cotton denim at least twice to eliminate shrinkage and color bleeding.

Dobby

A decorative weave, characterized by small figures, usually geometric, that are woven into the fabric structure.

Doeskin

Generally applied to fabric with a low nap that is brushed in one direction to create a soft suede-like hand on the fabric front. Great for tops, pants and fuller skirts.

Dotted Swiss

A lightweight, sheer cotton or cotton blend fabric with a small dot flock-like pattern either printed on the surface of the fabric, or woven into the fabric. End-uses for this fabric include blouses, dresses, baby clothes, and curtains.

Double Cloth

A fabric construction, in which two fabrics are woven on the loom at the same time, one on top of the other. In the weaving process, the two layers of woven fabric are held together using binder threads. The woven patterns in each layer of fabric can be similar or completely different.

Double Knit

A weft knit fabric in which two layers of loops are formed that cannot be separated. A double knit machine, which has two complete sets of needles, is required for this construction.

Drill

Strong, medium- to heavyweight, warp-faced, twill-weave fabric. It is usually a 2/1 left-handed twill and piece dyed.

Duck

A tightly woven, heavy, plain-weave, bottom-weight fabric with a hard, durable finish. The fabric is usually made of cotton, and is widely used in men’s and women’s slacks, and children’s playclothes.

Dupioni Silk

A crisp fabric with irregular slubs. It is perfect for tailored slimmer silhouettes like flat-front trousers, jackets and fitted blouses and dresses. Silk Dupioni can be machine washed in the gentle cycle and drip-dried.

E

Eyelet

Fabric with patterned cut-outs, around which stitching or embroidery may be applied in order to prevent the fabric from raveling.

Elasticity

The ability of a fiber or fabric to return to its original length, shape, or size immediately after the removal of stress.

Embossing

A calendering process in which fabrics are engraved with the use of heated rollers under pressure to produce a raised design on the fabric surface.

Embroidery

An embellishment of a fabric or garment in which colored threads are sewn on to the fabric to create a design. Embroidery may be done either by hand or machine.

F

Faille

A glossy, soft, finely-ribbed, silk-like woven fabric made from cotton, silk, or manufactured fibers.

Fat Quarter

cut piece of fabric which is made by cutting a half yard in half again vertically. The piece is therefore approximately 18″ x 22″. This allows for cutting larger blocks than a standard quarter yard which is 9″ x 44″.

Faux Fur

Artificial fur made from synthetic material.

Felt

A non-woven fabric made from wool, hair, or fur, and sometimes in combination with certain manufactured fibers, where the fibers are locked together in a process utilizing heat, moisture, and pressure to form a compact material. Ideal for most craft projects.

Flannel

Usually a 100% cotton fabric that has been brushed on one or both sides for softness. Typically used for shirts and sleepwear.

Flax

The plant from which cellulosic linen fiber is obtained. Linen is used in apparel, accessories, draperies, upholstery, tablecloths, and towels.

Fleece

Synthetic knit fabric that stretches across the grain. Suitable for vests, jackets and tops.

Foil

A thin piece of material put under another material to add color or brilliance.

Foulard

A lightweight twill-weave fabric, made from filament yarns like silk, acetate, polyester, with a small all-over print pattern on a solid background. The fabric is often used in men’s ties.

Friezé

A strong, durable, heavy-warp yarn pile fabric. The pile is made by the over-wire method to create a closed-loop pile.

G

Gabardine

A worsted twill weave that is wrinkle resistant. Wool gabardine is the most common and is considered year-round fabric for suits.

Gauze

A sheer, open-weave fabric usually cotton or silk. It is suitable for blouses, dresses and curtains.

Georgette

A drapey woven fabric created from highly twisted yarns creating a pebbly texture. It is semi-sheer and suitable for blouses, full pants and flowing dresses.

Gingham

A medium weight, plain weave fabric with a plaid or check pattern. End-uses include dresses, shirts, and curtains.

Gossamer

Very soft, gauzelike veiling originally of silk.

Grois Point

A fabric which features large points of yarn on the surface of the fabric.

Grosgrain

A tightly woven, firm, warp-faced fabric with heavy, round filling ribs created by a high-warp count and coarse filling yarns. Grosgrain can be woven as a narrow-ribbon or a fullwidth fabric.

H

Habutai

A soft, lightweight silk fabric, is heavier than China silk.

Heather

A yarn that is spun using pre-dyed fibers. These fibers are blended together to give a particular look. (For example, black and white may be blended together to create a grey heathered yarn.) The term, heather, may also be used to describe the fabric made from heathered yarns.

Herringbone

A variation on the twill weave construction in which the twill is reversed, or broken, at regular intervals, producing a zig-zag effect.

Homespun

Refers to a coarse, plain weave fabric with a hand-woven look.

Houndstooth Check

A variation on the twill weave construction in which a broken check effect is produced by a variation in the pattern of interlacing yarns, utilizing at least two different colored yarns.

I

Ikat

A fabric, usually handwoven which has been tie-dyed in the yarns prior to weaving. The pattern can range from simple little dots to intricate double ikats.

Interlining

An insulation, padding, or stiffening fabric, either sewn to the wrong side of the lining or the inner side of the outer shell fabric. The interlining is used primarily to provide warmth in coats, jackets, and outerwear.

Interlock Knit

Also known as T-shirt knit. It usually has stretch across the grain. Great for tops, skirts and lightweight pants.

Irish Poplin

There are two types of Irish poplin: (1) Originally a fabric constructed with silk warp and wool filling in plain weave with fine rib. (2) Fine linen or cotton shirting also made in Ireland. Sometimes used for neckwear.

J

Jacquard

Woven fabrics manufactured by using the Jacquard attachment on the loom. This attachment provides versatility in designs and permits individual control of each of the warp yarns. Thus, fabrics of almost any type or complexity can be made. Brocade and damask are types of jacquard woven fabrics.

Jersey Fabric

Usually thinner or lighter-weight than Interlock knit with less stretch. It’s appropriate for tops and fuller dresses.

Jute

A bast fiber, chiefly from India, used primarily for gunny sacks, bags, cordage, and binding threads in carpets and rugs.

K

Kapok

A short, lightweight, cotton-like, vegetable fiber found in the seed pods of the Bombocaceae tree. Because of its brittle quality, it is generally not spun. However, its buoyancy and moisture resistance makes it ideal for use in cushions, mattresses, and life jackets.

Khaki

A tan or dusty colored warp face twill, softer and finer than drill. Name derived from East India word meaning “earth color.” Fabric made of cotton, linen, wool, worsted, or manmade fibers and blends.

Knit Fabrics

Fabrics made from only one set of yarns, all running in the same direction. Some knits have their yarns running along the length of the fabric, while others have their yarns running across the width of the fabric. Knit fabrics are held together by looping the yarns around each other. Knitting creates ridges in the resulting fabric. Wales are the ridges that run lengthwise in the fabric; courses run crosswise.

Knit-de-knit

A type of yarn texturizing in which a crimped yarn is made by knitting the yarn into a fabric, and then heat-setting the fabric. The yarn is then unraveled from the fabric and used in this permanently crinkled form.

L

La Coste

A double-knit fabric made with a combination of knit and tuck stitches to create a mesh-like appearance. It is often a cotton or cotton/polyester blend.

Lace

An openwork fabric with yarns that are twisted around each other to form complex patterns or figures. Lace may be hand or machine made by a variety of fabrication methods including weaving, knitting, crocheting, and knotting.

Lamé

A woven fabric using flat silver or gold metal threads to create either the design or the background in the fabric.

Leather

Animal skin dressed for use in clothing and upholstry.

Leatherette

A Simulated leather.
Linen

A natural plant fiber, linen fibers are stronger and more lustrous than cotton. Depending on the weight, it’s appropriate for anything from           heirloom sewing and blouses to slacks and jackets.

Lawn

A light, fine cloth made using carded or combed, linen or cotton yarns. The fabric has a crease-resistant, crisp finish. Linen lawn is synonymous with handkerchief linen. Cotton lawn is a similar type of fabric, which can be white, solid colored, or printed.
Loden cloth

A heavily fulled or felted fabric originating in Austrian Tyrol. Wool may be blended with camel hair or alpaca. Thick, soft, waterproof without chemical treatment. Sometimes given fine nap. Used for coats, sportswear.
Lycra
A DuPont trademark for its spandex fiber. Any time you see this fiber listed on a label, expect comfort, movement, and shape retention that won’t wash away.

M

Madras

A lightweight plain weave cotton fabric with a striped, plaid, or checked pattern. A true madras will bleed when washed. This type of fabric is usually imported from India. End-uses are men’s and women’s shirts and dresses.

Marabou

A thrown silk usually dyed in the gum or a fabric made of this silk.

Matelassé

A medium to heavyweight luxury fabric made in a double cloth construction to create a blistered or quilted surface. Common end-uses are upholstery, draperies, and evening dresses.

Melton

A heavyweight, dense, compacted, and tightly woven wool or wool blend fabric used mainly for coats.

Merino

A type of wool that originates from pure-bred Merino sheep. The best Merino wool comes from Italy.

Mesh

A type of fabric characterized by its net-like open appearance, and the spaces between the yarns. Mesh is available in a variety of constructions including wovens, knits, laces, or crocheted fabrics.

Microfibers

An extremely fine synthetic fiber that can be woven into textiles with the texture and drape of natural-fiber cloth but with enhanced washability, breathability, and water repellancy.

Mohair

Hair fibers from the Angora goat. End-uses include sweaters, coats, suits, and scarves.

Moiree

A corded fabric, usually made from silk or one of the manufactured fibers, which has a distinctive water-marked wavy pattern on the face of the fabric.

Moleskin

It resists wrinkling and has a beautiful sueded look on the face. The reverse has a satiny look and feel. Generally, will contain 2-4% spandex. Great for pants, jackets and heavy shirts.

Monk’s Cloth

A heavy weight cotton fabric utilizing the basket weave variation of the plain weave. Used for draperies and slip covers, monk’s cloth is an example of 4 x 4 basket weave. It has poor dimensional stability and tends to snag.

Muslin

An inexpensive, medium weight, plain weave, low count (less than 160 threads per square inch) cotton sheeting fabric. In its unfinished form, it is commonly used in fashion design to make trial garments for preliminary fit.

N

Net

Refers to any open-construction fabric whether it is created by weaving, knitting, knotting, or another method.

Nylon

Produced in 1938, the first completely synthetic fiber developed. Known for its high strength and excellent resilience, nylon has superior abrasion resistance and high flexibility.

O

Oilcloth

sheetings or printcloth that are printed, bleached, or dyed, and given a special linseed oil and pigment preparation. Used for table coverings, waterproof outerwear; now largely replaced by plastic-coated and vinyl materials.

Oilskin

A Cotton linen, silk, or manmade material treated with linseed oil varnish for waterproofing. Used for rainwear.

Organdy

A stiffened, sheer, lightweight plain weave fabric, usually cotton or polyester.

Organza

A crisp, sheer, lightweight plain weave fabric, with a medium to high yarn count, made of silk, rayon, nylon, or polyester.

Ottoman

A heavy, plain weave fabric with wide, flat crosswise ribs that are larger and higher than in faille. It sometimes comes with alternating narrow and wide ribs. When made of narrow ribs only, it is called soleil. Warp may be silk or manmade fiber; filling may be cotton, silk, wool, or manmade fiber. Used for dress coats, suits, and trimmings.

Oxford

A fine, soft, lightweight woven cotton or blended with manufactured fibers in a 2 x 1 basket weave variation of the plain weave construction. The fabric is used primarily in shirtings.

P

Paisley

A tear-drop shaped, fancy printed pattern, used in dresses, blouses, and men’s ties and upholstry fabrics
.

Panné Satin

Lightweight silk or manmade fiber satin fabric with very high luster achieved with aid of heavy roll pressure. Crushes easily. Used for eveningwear.

Panné Velvet

A lustrous, lightweight velvet fabric, in which the pile has been flattened in one direction. Has good stretch across the grain. Appropriate for tops and dresses.

Peau de Soie

A heavy twill weave drapeable satin fabric, made of silk or a manufactured fiber, and used for bridal gowns and eveningwear.

Pima Cotton A type of cotton plant developed in the Southwestern USA from a cross between Egyptian and Uplands cotton which is longer in fiber length and more lustrous than most American cottons. It is used to weave some of the popular quilting fabrics which have a silk-like hand.

Piqué

A medium-weight cotton or cotton blend fabric with a pebbly weave that looks almost like a check. Suitable for vests, jackets and fitted blouses. Also used in children’s clothes.

Plissé

A lightweight, plain weave, fabric, made from cotton, rayon, or acetate, and characterized by a puckered striped effect, usually in the warp direction. The crinkled effect is created through the application of a caustic soda solution, which shrinks the fabric in the areas of the fabric where it is applied. Plissé is similar in appearance to seersucker. End-uses include dresses, shirtings, pajamas, and bedspreads.

Plush

A compactly woven fabric with warp pile higher than that of velvet. Made of cotton, wool, silk, or manmade fiber, often woven as double face fabric and then sheared apart. Higher pile gives bristly texture. Usually piece-dyed but may be printed. Used for coats, upholstery.

Pointelle

Very feminine, delicate-looking, rib-knit fabric made with a pattern of openings.

Polyester

A manufactured fiber introduced in the early 1950s, and is second only to cotton in worldwide use. Polyester has high strength (although somewhat lower than nylon), excellent resiliency, and high abrasion resistance. Low absorbency allows the fiber to dry quickly.

Poplin

A fabric made using a rib variation of the plain weave. The construction is characterized by having a slight ridge effect in one direction, usually the filling. Poplin used to be associated with casual clothing, but as the “world of work” has become more relaxed, this fabric has developed into a staple of men’s wardrobes, being used frequently in casual trousers.

Q

Quilting

A fabric construction in which a layer of down or fiberfill is placed between two layers of fabric, and then held in place by stitching or sealing in a regular, consistent, all-over pattern on the goods.

R

Ramie

A bast fiber, similar to flax, taken from the stalk of a plant grown in China.

Raschel Knit

A warp knitted fabric in which the resulting knit fabric resembles hand crocheted fabrics, lace fabrics, and nettings. Raschel warp knits contain inlaid connecting yarns in addition to columns of knit stitches.

Rayon

A natural fiber created from wood pulp, it usually has good drape and a soft hand. It’s appropriate for tops, shirts, skirts and dresses.

Rib Knit

This knit has tremendous stretch across the grain a 1 x 1 rib has one rib up and one down. A 2 x 1 rib has two ribs up and one down, similar to a Poor Boy Knit.

Rip-stop Nylon

A lightweight, wind resistant, and water resistant fabric. Appropriate for outdoor wear and equipment as well as outdoor flags.

S

Sailcloth

Any heavy, plain-weave canvas fabric, usually made of cotton, linen, polyester, jute, nylon, etc. that is used for sails and apparel.

Sateen Fabric

A fabric made from yarns with low luster, such as cotton or other staple length fibers. The fabric has a soft, smooth hand and a gentle, subtle luster. Sateen fabrics are often used for draperies and upholstery.

Satin

With a lustrous, shiny surface, drapability depends on fiber content. Silk and rayon satins have the best stitch results.

Seersucker

A fabric with a woven pucker, this fabric is traditionally cotton, but can be polyester. Suitable for shirts, casual slacks and children’s clothing.

Sequined

Ornamented with a small plate of shining metal or plastic.

Shantung

A medium-weight, plain weave fabric, characterized by a ribbed effect, resulting from slubbed yarns used in the warp or filling direction. End-uses include dresses and suits.

Sheer

Any very light-weight fabric (e.g., chiffon, georgette, voile, sheer crepe). Usually has an open weave. Sheers mostly feel cool.

Silk

A natural filament fiber produced by the silkworm in the construction of its cocoon. Most silk is collected from cultivated worms; Tussah silk, or wild silk, is a thicker, shorter fiber produced by worms in their natural habitat. All silk comes from Asia, primarily China.

Silk Shantung

Similar to Dupioni silk, Shantung has a more refined appearance with smaller slubs. It’s appropriate for tailored pants fuller skirts and gowns.

Sisal

A strong bast fiber that originates from the leaves of the Agave plant, which is found in the West Indies, Central America, and Africa. End-uses include cordage and twine.

Slinky Knit

It drapes well, never wrinkles and washes beautifully. It’s the perfect travel fabric with four-way stretch for ultimate comfort. Suitable for almost any wardrobe item.

Spandex

A manufactured elastomeric fiber that can be repeatedly stretched over 500% without breaking, and will still recover to its original length.

Suede

Leather with a napped surface.

Surah

A light weight, lustrous twill weave constructed fabric with a silk-like hand. Surah is the fabric of ties, dresses, and furnishings. It is available in silk, polyester, and rayon.

T

Taffeta

With a crisp hand, taffeta is typically used for formal wear like gowns and fuller skirts. Underlining prevents some of the wrinkling it has a tendency to have.

Tapestry

A heavy, often hand-woven, ribbed fabric, featuring an elaborate design depicting a historical or current pictorial display. The weft-faced fabric design is made by using colored filling yarns, only in areas where needed, that are worked back and forth over spun warp yarns, which are visible on the back. End-uses include wall hangings and upholstery.

Tarpaulin

A waterproofed canvas sometimes made of nylon or other manmade fiber.

Tencel

Created from wood pulp, Tencel is very soft with great drape. It’s usually a medium weight fabric that suitable for pants, skirts and jackets.

Terry Cloth

Unclipped, looped pile, 100% cotton terry cloth is highly absorbent. French Terry has a looped reverse and a knit-like face.

Ticking

A variety of fabrics are known as “ticking.” The main weave is a closely-woven, thick yarn twill. Spaced, colored, and natural or white yarns repeated in the warp, and all natural or white in the filling, forming a stripe. Several color combinations used, as blue and white, brown and white, red and white. Heavy warp-face sateens as well as heavy sheetings are printed and sold as ticking. Jacquard damask ticking woven in damask effects also sold for this purpose as well as other fabrics, such as drills.

Toile

A type of decorating pattern consisting of a white or off-white background on which a repeated pattern depicting a fairly complex scene, generally of a pastoral theme such as (for example) a couple having a picnic by a lake. The pattern portion consists of a single colour, most often black, dark red, or blue. Greens and magenta toile patterns are less common but not unheard of.

Tulle

A lightweight, extremely fine, machine-made netting, it is softer to the touch than netting. Appropriate for veils and costumes.

Tweed

A medium to heavy weight, fluffy, woolen, twill weave fabric containing colored slubbed yarns. Common end-uses include coats and suits.

Twill

A fabric that shows a distinct diagonal wale on the face (e.g., denim, gabardine, tricotine).

U

Ultrasuede

An imitation suede fabric composed of polyester microfibers combined with polyurethane foam in a non-woven structure. Hand and appearance resemble sheep suede.

V

Velour

Usually with a knitted back, velour resembles velvet, but has some stretch. Appropriate for tops and sportswear like pants and jackets.

Velvet

With a longer pile, velvet is the most luxurious fabric. Stretch velvet has some lycra, It can be machine washed and will not create a shine in the seat or elbows. Appropriate for tops, skirts and fuller pants.

Velveteen

A cotton or cotton blend fabric with a short, dense pile. It lacks the sheen and drape of velvet. It is perfect for drapes and home décor items as well as pants, jackets and skirts.

Venice lace

This lace often has a high profile, and is made using a needlepoint technique rather than embroidery. A heavier weight lace, the patterns vary from geometric to floral. Each pattern is attached to the others by bars made of thread.

Viscose

The most common type of rayon. It is produced in much greater quantity than cuprammonium rayon, the other commercial type.

Voile

A crisp, lightweight, plain weave cotton-like fabric, similar in appearance to organdy and organza. It is appropriate for curtains as well as blouses and dresses.

W

Waffle Cloth

Similar to piqué in texture. Waffle cloth has a honeycomb weave made on dobby loom. Usually of cotton.

Wool

Wool is naturally stain and wrinkle resistant. It can absorb up to 40% of it’s weight in moisture without feeling damp. Wool comes in many forms including crepe, challis, gabardine, merino, melton, jersey and worsted wool suitings.

Wool Crepe

A lightweight worsted fabric with a more or less crinkly appearance, obtained by using warp yarns that are tightly twisted in alternate directions. The term is often applied to lightweight worsted fabrics for women’s wear that have little or no crepe surface.

Woven Fabric

Fabrics composed of two sets of yarns. One set of yarns, the warp, runs along the length of the fabric. The other set of yarns, the fill or weft, is perpendicular to the warp. Woven fabrics are held together by weaving the warp and the fill yarns over and under each other.

X

Sorry, no entry.

Y

Yarn

A continuous strand of textile fibers created when a cluster of individual fibers are twisted together. These long yarns are used to create fabrics, either by knitting or weaving.

Z

Sorry, no entry .

Going Green

Filed under: Decorating,Wallpaper — Tags: , , , , , , , — Garett@EW @ 3:39 PM

GOING GREEN

bamboo blinds

BAMBOO: A grass that grows extremely quickly, bamboo can be harvested in just 3 to 5 years compared with many species of trees, which can take 10 to 20 years or more to mature. Bamboo can be grown without pesticides and fertilizers, and it never requires replanting because of its extensive root system.Organic materials are literally bringing nature indoors. Exposed wood grain in blinds and natural woven shades are becoming popular choices. Wood is making a comeback in decorative hardware, while bamboo, birch and maple are the materials of choice for the newest finials and pulls.

One of the most popular window treatments are the natural woven shades in bamboo and matchstick. These woven shades come in different colors of wood, and some include grassy woven accents.Shades and blinds have always been about keeping light out, but now they can also save you money on your heating bills. Honeycomb shades, the third most popular window treatment creates a detour for the wind or the cold to not go into your home.

Linen: Linen is best suited for formal living rooms or adult areas because it soils and wrinkles easily. And, it won’t withstand heavy wear. However, linen does resist pilling and fading. Soiled linen upholstery must be professionally cleaned to avoid shrinkage.

Leather: This tough material can be gently vacuumed, damp-wiped as needed, and cleaned with leather conditioner or saddle soap.

Cotton: Cotton fiber can be USDA certified organic, but processing the fiber into a textile is not covered. Select organic cotton products that have been dyed with “low-impact fiber reactive dyes” and finished without formaldehyde. Product labels should mention voluntary third-party standards or certifications such as Eko (certified by Skal), Oeko-Tex, or the Global Organic Textile Standards. These are meant to ensure that production and/or processing is eco-friendly.

Also, find textiles that can be machine washed so you can avoid dry-cleaning chemicals. If an item is a blend, check whether it’s blended with another sustainable fiber like hemp or linen, rather than conventional cotton or a synthetic fiber.

This natural fiber provides good resistance to wear, fading, and pilling. It is less resistant to soil, wrinkling, and fire. Surface treatments and blending with other fibers often atone for these weaknesses. Durability and use depend on the weave and finish. Damask weaves are formal; canvas (duck and sailcloth) is more casual and more durable.

Wool: Sturdy and durable, wool and wool blends offer good resistance to pilling, fading, wrinkling, and soil. Generally, wool is blended with a synthetic fiber to make it easier to clean and to reduce the possibility of felting the fibers (causing them to bond together until they resemble felt). Blends can be spot-cleaned when necessary.

Cotton Blend: Depending on the weave, cotton blends can be sturdy, family-friendly fabrics. A stain-resistant finish should be applied for everyday use.

Vinyl: Easy-care and less expensive than leather, vinyls are ideal for busy family living and dining rooms. Durability depends on quality.

Silk: This delicate fabric is only suitable for adult areas, such as formal living rooms. It must be professionally cleaned if soiled.celery green fabrics

Economically and environmentally safe treatments now offered as affordable options for window treatments. Green design is becoming apopular trend for those looking to combat allergies as well as those looking for heat- or cold-repellant window panels.
For larger, sliding glass windows, the solar panels will reduce glare, UV penetration and heat transfer.

Performance fabrics have also gone “green,” with anti-microbial, anti-fungal traits woven into the yarn or offered as a topical spray. Stain-resistant and mildew- and mold-resistant fabrics are also popular picks for allergy sufferers. Even the environmentally conscious will feel right at home with non-toxic dyes on fabrics.

Look for products that incorporate recycled content (since it reduces the use of raw materials), renewable fibers like organic cotton and hemp that can be grown without most pesticides, and wood that comes from forests that are certified.

Pasting Un-pasted Wallcovering

Filed under: Installation of Wallpaper,Wallpaper — Tags: , , , , , , — Garett@EW @ 3:32 PM

Pasting un-pasted
wallcoveringpasting un-pasted wallcoverings

Use the type of paste recommended in the instructions
that came with the wallcovering.   If no information is given, ask your retailer’s
advice.

Brush or roll the back of the wallcovering with paste.   Apply plenty to the edges.  Fold the strip (or “book”) pasted side to pasted
side, that is bring in both edges toward the middle, but do not crease.

Strips should be
booked to allow for sufficient absorption of moisture and for the wallcovering
to become supple. Approximate time is 2-4 minutes. Once again, see individual
instructions for exact booking time.

Pre-Pasted
Wallcoveringspre-pasted wallcoverings

Fill water tray with luke-warm water and roll the strip
pattern side in (backwards).  Immerse in water tray for the  time recommended in the
instructions supplied in each roll(usually 2-4 minutes).  Then take the top end of the roll and pull
sheet out of water allowing it to unroll as it is drawn from the tray.  Fold the strip (or “book”) pasted side to pasted
side, that is bring in both edges toward the middle, but do not crease.  Change the water frequently every
5-6 strips.

Change your blade often.  Having a sharp knife
is the key to successful trimming.




cutting

June 4, 2010

Creating With Color

Filed under: Decorating,Installation of Wallpaper,Wallpaper — Tags: , , , , — Garett@EW @ 3:43 PM

Step 1: Finding a Color Scheme
Step 2: Choosing Color
Step 3: Factors that Influence the Use of Color
Step 4: Three Basic Elements to Color
Step 5: General Categories of Color

Step 1: Finding a Color Scheme

choosing color
If you feel helpless when it comes to picking and blending
colors, your answer could be as far away as your nearest
pillow.  Here is a quick way to create a color scheme for your
home with PICK – SEE -LMD .

PICK a Pattern: Starting with a pattern is the easiest
way to create a color palette for your decor. Choose a pattern
from any object you already have and love such as a pillow,
picture or piece of furniture. This will be your color palette !

SEE 3 Colors: Select a light, medium and
dark color from your pattern to be used as your foundation. You
may want to go to a hardware store and select color chips from
the paint department that match your pattern to carry with you
in case you come across a great find and need to know if it
matches.

LMD: Light, Medium and Dark – How you use
these colors can affect the overall appearance of your room.

a)
Light- Is the Background- this is usually easy
to achieve since most rentals are equipped with light to
off-white walls.

b)
Medium- Large furniture and windows - Since the
color of these objects will blend with the above lighter
selection, the medium furniture will ground the room and
give it a foundation.

c)
Darker- Accessories. Since your eye is drawn to
a darker more intense color you will be able to arrange you
accessories in a manner to guide the eye flowing through
your room.
Step 2:
Choosing Color
color pencils

  • Choosing the right
    colors is the first step to great looking room.  It is not so
    easy to select the right color of paint or wallpaper or the
    right carpet color to deliver the best desired results.  All too
    often, a color that looks ideal on a small paint sample erupts
    into a totally different color when you apply it to a wall.  A
    subdued light champagne yellow paint color turns into a
    screaming lemon yellow on the walls, an olive carpet winds up
    brownish in color, and a very light tint of any paint color
    turns out white.   Design colors in an office space must also be
    mindful of the mood they will convey.  Some studies have shown
    that colors can play a significant role in how we feel and the
    energy we have throughout the day.

    The practitioners of color therapy teach that people can have
    emotional and physical responses to color. For example, colors
    that are light or cool recede from the eye while dark or warm
    colors make a room feel less expansive. Our perceptions of size,
    weight, and temperature can also be influenced by color schemes.

    Sometimes called chromotherapy or chromodynamics, color
    therapy involves applying light and color in an effort to
    stabilize emotions, mind, spirit, or body. This balance is
    demonstrated by the positive and negative aspects related to
    each color meaning.

    Here are some of the
    commonly accepted mental and physical connotations of colors:

    Red

    Positive – passion, love, excitement, fire, strength,
    courage.

    Negative – anger, war, danger.

    Effects – increased respiration, blood pressure, appetite,
    and metabolism.

    Orange

    Positive – happiness, endurance,
    stimulation, enthusiasm, determination, attraction.

    Negative – heat.

    Effects – increased mental activity,
    appetite, and energy.

    Yellow

    Positive – cheerfulness, sunshine, energy,
    joy, intelligence,honor.

    Negative – deception, cowardice, caution.

    Effects – increased mental activity,
    awareness, and energy.

    Blue

    Positive – tranquility, loyalty, truth, depth,
    confidence, trust, sincerity, expertise, masculinity.

    Negative – depression, solemnity, coldness.

    Effects – increased calm and satisfaction.

    Green

    Positive – safety, nature, restfulness, growth,
    fertility, harmony, newness, security,money; power, wealth, dignity,royalty,                luxury, magic,
    wisdom, drama, mystery,ambition, creativity, femininity.

    Negative – greed, envy, jealousy, ignorance; snobbery, gloominess.

    Effects
    - improved healing and relaxation; increased creativity and intuition.

    White

    Positive – cleanliness, innocence, purity,
    kindness, light, simplicity.

    Negative – chilliness, sterility, emptiness.

    Effects – increased sense of sophistication and
    sanitation.

    Black

    Positive – formality, night, elegance, mystery, prestige,
    power.

    Negative – evil, death, fear, grief, depression.

    Effects – increased sense of sophistication and depth.

    Gray

    Positive – wisdom, atonement, intelligence, industry,
    futuristic.

    Negative – dreariness, storminess, boredom.

    Effects – increased sense of sophistication and calm.

    		•
    Step 3:
    Factors that Influence the Use of Color

    color schemes
    Here are some factors influencing the use of color in space
    design:

    a) The time of day the area will be used the most.

    b) The type of light it will receive.

    c) The relation of colors surrounding it.

    d) The size of the area.

    e) The purpose of the space.

    Color and light go
    hand in hand in designing your room.  Each type of light bulb
    furnishes a different color accentuation.  Halogen is very close
    to the full spectrum of sunlight while incandescent lamps are on
    the warm, orange scale.  Fluorescent lamps are usually more blue
    (though some are called full-spectrum).  It is important to see
    your color choice in the lamps to be used.  Each will show the
    color in a different way.
    Step
    4:  Three Basic Elements to Color

    color elements
    Here are the three basic elements to color and interior design:

    a) Hue – the color itself – Blue, Red,
    Green, Yellow, etc.

    b) Value – the relative lightness or
    darkness of a color, whiteness or blackness.

    c) Intensity – the saturation or
    brightness of a color.

    The mixture of these design elements induces psychological
    and emotional reactions. Surrounding colors support various
    moods and activities, from resting and dreaming to socializing
    and working.  It’s best to consider carefully the requirements
    of the space to create a successful design.
    Step
    5:  General Categories
    of Color

    general color
    Colors fall into three general categories:

    a) Warm

    b) Cool

    c) Neutral

    The way we mix those colors along with attention to
    value, can enhance the use of color in design and
    communicate explicit messages.

    a):  Warm colors in design convey excitement and
    energy:  red, orange, and yellow.

    b)  Cool colors are calming and relaxing:  blue,
    green, and violet.

    c)  Neutral colors are unifying and help us
    focus better:  white, black, and gray.

    Different spaces within a home or office may need
    different colors depending on the purpose of the space.
    Design colors in the office can be essential to the
    image and mood that is created thus helping productivity
    and enriching aesthetics.

    June 3, 2010

    MEASURING FOR DRAPERY CURTAINS

    Filed under: Drapery/Window Treatments,Fabric — Garett@EW @ 4:22 PM
    Curtain Measurements
    Fullness: Curtains are designed to be 1.5 times the window width.  This offers the best view of the lace.  Generally one curtain fits windows 30 to 45″ wide. If more fullness is desired, use more than one.
    Curtain Sizing: Curtain measurements are tip to tip. From the very top to the longest scallop on the bottom. The width is first, followed by the length. (W x L) These are flat measurements.
    Mounting: When mounting outside the window frame, curtains can end anywhere.  At the sill, the apron, in the middle of the wall between the window and floor, to the floor, or puddled on the floor.
    Privacy: Lace curtains should not be used alone where privacy is a must.  Fortunately, lace curtains can be installed over shades or blinds and look terrific.
    Basic Components
    festoon topperA Festoon valance can be used alone or as an insert between the swag pairs. fabric swagsThe one piece swag and fan tie swag may be used alone or with panels and tiers.
    valance
    		 The Valance goes at the top of the window. It can be used alone, as an insert between the swags, and over panels or tiers.
    tier curtainsTiers usually fit the bottom half of the window. The Valance/Tier designation indicates it is designed to be used as either a tier or a long valance. fabric window panelThe versatile panel. This piece can hang just about anywhere on the window.
    Configurations

    (Limited only by your imagination).
    fabric paneland festoonA festoon Valance over 2 panels, tied back.  A double curtain rod is needed. fabric swag pairThe swag pair can be hung inside or outside the window frame.  Ideally, it should come down about 3/4 as shown. Other lengths are fine as long as the window does not appear cut in half.
    fabric swag pair and tier2 Swag Pairs over 2 tiers. This is a double window. fabric swag and festoon

    1 Swag Pair with Festoon inserted, over 2 panels. This is a double window.
    fabric panelOne panel tied back. This works well where 2 windows are close to each other. This would be the right side window, the left side would tie back to the left. fabric valanceThe Valance can be hung alone.

    Quick Decorating Tips:

    Privacy Issues – Sun & Ultra-Violet Concerns

    Fabric Content – Style & Design

    Quick Lace Curtain Terms Guide – Bay Windows

    Privacy Issues:

    Lace curtains should not be used alone where privacy is a must.  Fortunately, lace curtains can be installed over shades and blinds and look terrific.

    Sun and Ultra-Violet Concerns:

    Lace curtains softly filter light but not the harmful ultra-violet rays that can damage fine furnishings.  This includes furniture, both wood and upholstered, floors and rugs, as well as the art on your walls.  In most instances, this is not a problem.  However, wherever the light bothers you for a period of time daily, and for most of the year, this could be a problem.  There are many possible solutions including windows with built-in protection, products that can be applied to your windows, and protective window treatments such as fabric draperies, shades or blinds.  Some of our current Scottish Lace curtains have an UV protective additive. This will help the curtains last longer, but will not protect any furnishings. Polyester lace will not be affected by the sun.

    Fabric Content:

    Lace curtains are usually made from either polyester or cotton with some polyester added.  There are very few items made today that are totally cotton.  The term “polyester” does have a “bad” reputation, remembering the stiff polyesters of the past.  However today’s polyesters have come a long way.  They are soft, very easy to clean, and very durable.  (Not to mention – good-looking!) Polyesters can even be made to have the look and feel of fine leather.

    As with any fiber, there are varying grades and types of polyester. You can still find the less costly polyester lace curtains and other products that have that yucky feel.  We use only high quality polyesters in our lace curtains.  Some of our  lace draperies are “memory” polyesters that will retain their “drape” after washing.

    Our cotton-content lace curtains are either 95% cotton and made in Scotland, 70% cotton-rich made in the USA, or 33% cotton made in Europe.  You will be hard-pressed to actually find or feel the polyester fibers in these lace curtains.  The polyester adds durability and aids in shape retention.  Curtain stretchers have been regulated to the antique collectors! (For those of you too young to remember, curtains were washed and mounted on stretchers to dry. The edges of the curtains were slipped over tiny pins, top, bottom and sides and the rack was adjusted to hold the curtain taunt as it dried.)

    QuickTerms Guide:

    The Valance is a short top treatment. It can be used alone or with tiers or over panels. Use as many as you need for wide windows. Each piece fits windows 27″ to 48″ wide. Some Valances are shaped like short swags.

    Tiers are used on the bottom half of the window, if desired. The 24″ Tier can also be used as a longer top treatment. Each tier fits a window 27″ to 48″ wide. Tiers are one piece unless noted otherwise.

    The Swag Pair is a top treatment for a single window. There is a left and right piece. One swag pair fits windows 27″ to 58″ wide. The valance/insert or festoon can be inserted between the swag pair for wider windows or a fuller look. There are One Piece Swags which have to used in multiples for wider windows. Swags can be combined with tiers or panels.

    To appreciate the full beauty of our Panels, use one for each window 27″ to 48″ wide. They can be used alone or with top treatments, either lace or fabric. You can hang them to the sill, below the sill, to the floor, or puddled on the floor. If you would like to tie them back, you will need 2 panels.

    Bay Windows:

    If your bay has the narrow windows on the ends with a wider window in the center, the swag pair is a good choice. The left piece goes in the left bay and the right piece in the right bay. The valance/insert or festoon goes in the center. This keeps the fullness pretty even.

    Style & Design:

    On our left side navigation bar, we have general Style Groups to help you find the patterns that will fit your style.  Please keep in mind that these are not written in stone and most patterns will adapt to almost any style category. Much depends on your furnishings and what you wish to highlight.

    Our laces are either new designs or reproduction designs. Whichever you choose, they will be exceptional designs, suit their purpose, and serve you well for many years.

    Scottish lace curtains are all reproductions from lace archives. The Rennie and Wisteria belong in the Arts & Crafts style, or even Art Deco. Our other patterns will do well in any country, traditional or Victorian setting. Long curtain panels lend towards a more formal setting, while sill length is more casual.

    Please call or email with questions.

    We look forward to hearing from you.

    OUTDOOR FABRIC SEWING/COMPARISON CHART

    Filed under: Fabric — Tags: , — Garett@EW @ 4:17 PM
    Comparison Chart of Outdoor Fabrics
    Below the chart is more info on each fabric.
    		Insulates
    Wind Resistance
    Windproof
    Water Repellant
    Waterproof
    Breathable
    Heat Resistance
    Abrasion Resistance
    Absorbs Moisture
    Cordura X X X X
    Ballistics Cloth X X X
    Fleece X X
    Neoprene X X X X X
    No-See-Um Netting X
    Packcloth X X X X
    Ripstop & ToughTek X X X
    Supplex X X X X

    Packcloth, Ballistics, and Cordura

    Packcloth is a tough, durable, nylon fabric used for luggage, backpacks, book bags, and tarps. Since most of the fabric is waterproofed, it does not breathe. Keep the cloth out of puddles and seal the seams to keep water out. Packcloth is both lighter in weight and stronger than cotton canvas. Our packcloth generally consists of fabrics in the 400-430 denier range. (A denier is the gauge or thickness of a yarn, commonly specific to nylon fabrics, and is defined as the thickness of one gram of fiber stretched out in a filament one quarter of a mile long.) Contains nylon.

    Cordura cloth is like packcloth but tougher and more durable. It is resistant to abrasion but will readily damage other fabrics with which it comes into contact. We stock 500 and 1000 denier. Seams must be sealed to maintain water protection. Contains nylon. Uses include backpacks, luggage, sea bags, duffel bags, and sophisticated rock climbing packs.

    Ballistics cloth is a heavier packcloth with a denier of 1050 or 1250. Since Ballistics has a higher thread count per square inch, it is heavier than Cordura. Ballistics cloth is not abrasive, and is usually sold with a waterproof coating on it. Contains nylon. For uses, see Cordura.

    Fleece

    Today’s fleece fabric is a high-tech, high performance, outdoor apparel product that is very easy to sew because it’s extremely forgiving. Fleece is extremely warm and soft to the touch. It wicks away moisture from the body, so it feels dry, even when soaking wet. Fleece offers tremendous warmth in comparison to its weight and offers high fashion colors, textures, and designs. Fleece fabric is made by first twisting fibers into yarn, then knitting the yard into fabric. To raise the fibers and create a downy surface, the fabric is brushed with wire brushes. This process makes the cloth compact. Finally the fleece is then sheared and finished. Uses include mittens, jackets, blankets, socks, pants, sleepers, and anything else that needs to be soft and warm.

    Neoprene

    Neoprene is an extremely versatile synthetic rubber and was originally developed as an oil-resistant substitute for natural rubber. Neoprene is noted for a unique combination of properties, which has led to its use in thousands of applications in diverse environments from car fan belts to wet suits, waders, insulated can holders, sports gloves, pet collars, and elbow or knee pads.

    It resists degradation from sun, ozone and weather, remains useful over a wide temperature range, displays outstanding physical toughness, and has outstanding resistance to damage caused by flexing and twisting. Neoprene will conserve your natural body heat but it does so at the cost of keeping you damp if you’ve gotten wet. Recommended care: carefully, thoroughly rinse and let air dry completely. Store in a cool, dry and dark place.

    No-See-Um Netting

    No-see-um netting, aka Mosquito Netting, is so finely woven that it prevents not only mosquitoes and black flies but even the tiniest of no-see-ums from getting to you. Soft, flexible, lightweight, bug proof polyester netting is great for repairing your tent or making a bug shirt or hood.

    Ripstop and Taffeta

    These 100% nylon outdoor apparel fabrics have poor absorbency (which is why they dry so quickly), and have good abrasion resistance. Nylon is highly durable and resistant to moths, mildew, and most chemicals. It is also wind resistant and colorfast.

    Ripstop is woven with a combination of lighter and heavier threads to form a grid-like pattern. Uses include tents, tent awnings, sleeping bags, kites, light jackets, pants, tarps, stuff packs and windbreakers.

    Taffeta is lightweight with a high thread count. Taffetas with a thread count of 160×90 or more are downproof. They can be used for many of the same applications as Ripstop and are commonly used as lining for insulated jackets.

    Supplex

    Supplex is a lightweight, 100% nylon outdoor apparel fabric made by DuPont which imitates the look and feel of cotton. It is also sometimes blended with natural fibers. Supplex is soft and flexible, can be used for anything from fashion garments to outerwear and ski apparel, can be machine washed and dried, and packs down very small.

    Toughtek

    Toughtek is an abrasion resistant, leather-like grip fabric made of 100% polyester backing with a rubber outercoating. Coated with a copolymer formula on one side, it is rugged and nonslip in wet, dry, hot, and cold conditions. This fabric works well for many applications:

    • Glove palm and finger patches
    • Luggage/Handbag/Backpack straps, bottoms, and lumbar patches
    • Footwear soles and panels
    • Seat covers and chair cushions
    • Patches for jackets, pants, and shorts
    • Miscellaneous uses for outdoor apparel such as table covers, jar openers, shelf liners, and body armor

    Thinsulate™

    ThinsulateT is a synthetic microfiber insulation made be 3M and is commonly used in outerwear. Denver Fabrics carries the UDS type, known as ThinsulateT “Ultra,” which is softer, warmer, with better drape than the original ThinsulateT. We carry 2 weights; 100 and 150. The greater the weight, the greater the insulation provided. Both are double scrim (scrim on both sides of the insulative fibers). Some specific attributes of ThinsulateT are:

    • Moisture Absorbtion Absorbs less than 1% of its weight in water, helping you stay warm in damp conditions.
    • Breathability-
      ThinsulateT is breathable.
    • Durability-
      It will not bunch, matt or thin out.
    • Insulation-
      Inch for inch, Thinsulate is nearly twice as warm as down.
    • Allergenic-
      Thinsulate is hypoallergenic.
    • Water Protection : Thinsulate is not waterproof or water repellant. It may be used with shell fabrics that are.

    Please Note: Nylon fabrics will fade and rot with prolonged direct exposure to sunlight.

    These fabrics are not suitable for outdoor furniture, awnings, etc.

    Guidelines for Sewing with

    Outdoor Recreation Fabrics

    Starting Out

    Understanding “Technical” Terms

    Sewing with this new generation of outdoor fabrics called “technical fabrics” to make “technical outerwear” need not be intimidating. The terms simply describe how the fabric or clothing is designed to function. Coatings, fibers, and finishes are technical features that contribute to how well a fabric works for a particular use, i.e. waterproof vinyl for rain coats, fleece for skiing apparel, etc. Technical outerwear refers to clothing that is highly functional and is probably a simple garment. These garments typically have specific design features (keep out wind, have unusual durability, etc.) and thus need fabrics that enhance their function. When each piece of an outfit is considered separately, one can see why a certain fabric is chosen and feel comfortable sewing with it.

    Getting Started

    While patterns can be found for outdoor fabric on this site, commercial patterns can be adjusted for outdoor clothing designs. Running suits can be adapted to make nylon pile outfits for cold conditions, and parkas can be made form raglan-sleeved shirt or jacket patterns.

    Men or boys’ designs usually have the full cut you will want for freedom of movement and capacity for extra layers of insulation. Men should choose one size larger than usual, and women can use smaller men’s or large boys’ patterns. Any pattern can be customized, and use notions more fit for outdoor apparel use than normal use.

    Outdoor fabrics are typically more bulky and harder to cut on a table. Instead, rid a spot of of debris and pet hair on your floor to cut out pattern pieces. When sewing, make sure you keep hot light bulbs away from these synthetic fabrics, and go outside or stand near an exhaust fan if you need to heat-seal nylon seam edges or waterproof rain gear.

    Field Testing

    If you are planning to sew outdoor fabric for a serious mountaineering expedition, finish the needed gear early enough for adequate field testing. Sewing gear which your survival depends needs to be adequately tested to uncover problems in design and materials that cannot be predicted in the sewing room.

    Equipment

    The Sewing Machine

    While you may already have a sewing machine, if you sew on a regular basis consider an industrial machine. Most home machines are more versatile than industrial machines, but that means more things to go wrong. While it takes practice to learn to control the speed of an industrial machine, it shouldn’t be a problem if you sew regularly. Carefully check out sewing machines before buying or renting as an hour in the store may save days of frustration at home.

    Serger Sewing Machines

    Also known as the overlock machine, serger machines can sew up to 1700 stitches per minute. They trim the seam allowance and overcase the edge, making any garment look like ready-to-wear, and is invaluable for sewing Spandex, knit, and woven fabrics. There are three primary differences in the serger when compared to a conventional machine: number of threads, use of loopers rather than a bobbin, and knives which trim away seam allowances.

    Special Problems

    This is an abbreviated list of some problems to look out for with these outdoor fabrics.

    Nylon Fabrics – Nylon fabrics will fade and rot with prolonged direct exposure to sunlight. These fabrics are not suitable for outdoor furniture, awnings, etc.

    Curves and Slippery Fabric – Sewing curved seams on lightweight, slippery outdoor fabric can be difficult. To test how the fabric sews, practice on scraps first.

    Coated Fabric – Some waterproof coatings on outdoor fabric can feel sticky, preventing material from sliding under the presser foot of the sewing machine properly and/or pushing the top layer ahead of the bottom layer. Lightening the pressure of the presser foot or notching long seams to recognize a “creep” problem are possible solutions to this problem, or putting tissue paper under the fabric while sewing and then ripping it away from finished seam.

    Breathable Waterproof Fabrics – Investing in these fabrics means putting lots of money at stake. Here are some tips to keep them as much intact as possible:

    1. Use weights instead of pins when cutting pattern pieces.
    2. Keep hands and sewing machine free of oils as they can ruin the waterproofness of the fabric.
    3. Pin as little as possible and keep the pin holes within the seam allowance, and remove any tape you use now rather than later so it doesn’t delaminate the fabric.
    4. Seam-seal using seam-seal tape all places on the body of the project where stitches have been removed to prevent leaking during wear.
    5. Use smallest possible needle to handle the thread as the thread will more completely seal the hole.

    Repairs & Maintenance

    Some tips for repairing your outdoor gear

    Zippers should be removed stitch by stitch with embroidery scissors instead of a seam ripper and NEVER with a razor. It is also a good idea to have snaps or velcro over all zippers. Sliders and stops can also be repaired if need be.

    Patching is an opportunity to be highly creative, as most outdoor gear will need patching at some point during its use.

    When a backpack begins to show signs of wear, it is a good idea to give it to a general maintenance overhaul: removing the frame, checking seams for weakness and raveling, replacing damaged zippers, and patching worn areas.

    The causes of accidents to gear and clothing are typically due to impatience and carelessness. There is a need to shift into a lower gear, go more slowly, and think more powerfully in the wilderness. The carelessness that can cause a nuisance in the city may cause disaster in the mountains. There is no excuse for going into the outdoors unprepared.

    Proper cleaning of outdoor wear will extend its life considerably as the buildup of grit within fibers is one of the major causes of weakened fiber. Wash out the grit with a mild soap, but leave the stains as harsh chemicals and “elbow grease” necessary to remove them can weaken the fibers and ruin waterproof coatings. Follow the hang-tag instructions for care. Raveling can be prevented with heat sealing – remember that once raveling begins, it can’t be stopped

    Store outdoor gear with care as it is an expensive investment and deserves adequate, well-ventilated storage space. Make sure all gear is dry, and store down bags and parkas free from crowding and compression.

    Tips

    Binding with spandex

    Spandex binding adds a nice flat finish to a fleece-cut edged. The stretch of spandex gives a more fitted sleeve edge or hem, and can replace ribbing. Choose spandex with four-way or all-way stretch. It should stretch 75% or more along the length of binding strip. Nylon/spandex is best for this as it has more strength and lasts longer than Cotton/spandex.

    Side Release Buckle

    Sear all cut edges of webbing by running cut edges carefully through the flame of a candle or lighter. Take care to protect yourself and your work surface from burns.

    2 options for stationary buckle ends:

    1. Feed a short piece of webbing through end of stationary buckle. Fold webbing in half, matching ends. Place raw ends in seam allowance and sew into place, or
    2. Feed one end of webbing though end of stationary buckle overlapping approximately 1 inch. Sew across webbing several times to secure.

    Tooth Buckle End with Adjusting Slider

    Thread webbing through the slider, scooting it about half way down. Thread the webbing through the tooth end of buckle, continue webbing through underside of slider. Follow the arrows with the webbing. The slider will have two layers over the center bar.

    June 2, 2010

    WALLPAPER BASICS

    Filed under: Fabric,Wallpaper — Tags: , , , — Garett@EW @ 2:17 PM

    BASIC WALLPAPER CATEGORIES

    The most popular types of wallpaper you will find are:

    * Vinyl Coated Paper – this wallpaper has a paper substrate on which the decorative surface has been sprayed or coated with an acrylic type vinyl or polyvinyl chloride (PVC). These wallpapers are classified as scrubbable and strippable, and are suitable in most any area. These papers are better resistant to grease and moisture than plain paper, and are good for bathrooms and kitchens.

    * Coated Fabric – this wallpaper has a fabric substrate coated with liquid vinyl or acrylic. The decorative layer is printed on this coating. This is generally considered more “breathable” wallpaper which makes it best for use in low moisture rooms, like living areas.

    * Paper Backed Vinyl/Solid Sheet Vinyl – this wallpaper has a paper (pulp) substrate laminated to a solid decorative surface. This type of wallpaper is very durable since the decorative surface is a solid sheet of vinyl. It is classified as scrubbable and peelable. Solid sheet vinyl can be used in most areas of the home since it resists moisture and is stain and grease resistant. However, this type of wallpaper will not withstand hard physical abuse (like mudrooms or storage areas).

    * Fabric Backed Vinyl – this wallpaper has a fabric substrate laminated to a solid vinyl decorative surface.

    * Paper – this type of wallpaper refers to wallpaper with a paper substrate/ground combination upon which the decorative layer is printed. True papers are not coated, but some may have a coating applied to seal in the inks. Because this type of wallpaper varies widely, check the label for attributes of the pattern/brand you want to purchase.

    Rediscover the charm, elegance and distinctive style that only comes with wallpaper from Eade’s Wallpaper & Fabric.

    The new wallpapers and borders out today use the most user-friendly wallcovering materials ever introduced. They are lightweight and easy to handle, yet sturdy enough so that they won’t expand, nor will the seams curl or separate. And removal is even easier than installation. No messy tools or chemicals. Just lift up a corner and each strip removes in one clean motion with no residue.

    Plus, great color and design make these wallpapers the perfect choice for innovative and unique walls in your home – with no ups and downs. Just beautifully simple results.

    INSTALLATION IS NOW A SIMPLE PROCESS

    The wallcoverings at Eade’s:

    • install cleaner, easier and faster

    • take about half the time to hang

    • are more stable – won’t expand when hanging for a seamless, professional look

    • available in prepasted (you can hang immediately after wetting – no booking) or paste the wall (simply position and smooth strip onto the wall with a gentle swipe)

    REMOVAL IS NOW VIRTUALLY EFFORTLESS

    And when it comes time to redecorate:

    • removal is even easier than hanging

    • 100% dry removable – no steamers or chemicals necessary

    • like peeling a banana, the average 8′x10′ room can be stripped in about 15 minutes

    • will not damage walls

    • leaves no residue on walls

    • walls can be repapered immediately without additional preparation

    AND NOTHING CHANGES THE CHARACTER OF A ROOM QUITE LIKE NEW WALLPAPER

    Today’s new wallpapers and borders make decorating and redecorating easier than ever. And they’re environmentally friendly, vinyl free and inhibit the growth of mold and mildew.

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