For extra weight, lined curtains may be interlined. For interlining, you will need a panel of fabric for each curtain, the same size as the finished (ungathered) curtain, or slightly longer if you want to pad the hems for a fuller look.
Calculate the total quantity by dividing the total width of the curtain by the width of the interlining fabric, and multiplying the number of drops required to make up the panel by the finished length of the curtains. Interlining should be joined with a lapped or abutted seam. Join interlining to the curtain fabric with lock stitch (p. 196), so that the interlining is centered on the panel of fabric for the curtain. Treat the curtain fabric and interlining as a single piece of fabric to finish the curtain.
FINISHES & TRIMMINGS
There are many purchased finishes and trimmings used in home sewing. Ribbon, lace and braid are suitable for any seam which is straight but for curved seams and a truly professional finish, use bias-cut fabric.
CUTTING BIAS BINDING
To find the bias of the fabric, fold it so that the selvedge is parallel with the weft or crosswise grain (1). Press this fold to give yourself the first cutting line. Now cut all the remaining bias strips parallel to this line to the desired width (2). To join strips, position ends together as shown, right sides facing, so that the edges of the strips match at the stitching line (3). Press seam open and trim away points of fabric after stitching.
MITRING CORNERS To turn up a hem at a corner, you need to mitre the corner. Turn up the hems along both edges of fabric to the same width and press (1). Insert a pin at the edge of the fabric where the two hems intersect and open out again. Fold in the corner diagonally to meet the pins at both sides. Cut across the corner about 6 mm (i in) from the folded edge (2) and turn in the hems again, Slipstitch the corner edges together and finish the other hems with your chosen method (3).
This works with hems of unequal width, for example, on curtains.
When making your own bed linen, where possible apply any decorative touches before finishing the seams. Decoration is best limited to borders and edgings (it is uncomfortable to sleep on when used elsewhere). Use full width fabric for the reverse of the duvet and bottom sheet to avoid uncomfortable seams.
Cording and pin tucks are described here – other finishes are described elsewhere: applique, frills and piping. Sheets and duvet covers should be made up in sheeting width fabric – normally 228 cm wide. If you want to use a print which is not available in sheeting width, just use it for the parts of the bed linen that will show – the borders all around the pillowcase or along the top edge of the duvet, for example.
Choose washable fabrics. Linen is luxurious, but demands time and effort to keep it at its best; cotton or a cotton/polyester mix are more practical alternatives. Where possible, use enclosed seams to prevent fraying during laundering. CORDING Use fine cotton cord, in white or a color to match or contrast with the fabric. Thread the machine with an appropriate color: if you use contrast cording, use a contrast color in the needle; the bobbin thread can be matched to the fabric so that the stitching is less obvious on the underside. Set the sewing machine to a medium length and width zigzag stitch and fit the cording foot on the machine.
This has a hole to guide the cording thread under the needle.
Mark the position of the cording with chalk or a line of tacking threads on the right side of the fabric. Thread the end of the cord into the foot and position the edge of the work under the foot of the machine. Stitch along the marked line, feeding the cord under the foot, so that the zigzag stitch holds the cord in place. Two parallel lines of cording, 6 mm apart, are a simple, effective touch.
TUCKING Decide on a suitable width and spacing for the tucks: they may be stitched close to the folded edge of the fabric for a very narrow tuck (pin tucks), or up to about 15 mm from the fold for a wider tuck. Calculate the total number of tucks and allow to each tucking when working out} you will need. Add an extra a you can trim the panel a, making up the item. Mark out the tucks across the edge of the area to be stitch areas, such as a duvet cover, center of the fabric as well.
One of the easiest ways to give cohesion to a group of accessories and ornaments is to pick a theme. It may be a color, a subject, or a similar shape, although the things you collect need not necessarily be in the same style or period. Start with a core of items with some connection and keep your choice flexible. A thoughtful, eclectic mixture can reflect truly individual taste; in a collection of jugs, for instance, a few genuine, antique examples will blend in beautifully with new, reproduction jugs of any period.
Color grouping
Grouping ornaments and accessories by their color is a powerful way to highlight a color scheme. You could choose cushions, lampshades and picture frames in antique, muted soft colors that pick up one of the tones in a rug, carpet or wallpaper. Select your colors carefully: coral ceramic vases and lamp bases contrast well in a smoke-blue living room scheme. In a predominately apricot bedroom, accents of soft aquamarine could be introduced – in delicately embroidered cushions and decorative glass.
Collecting ornaments in the same colors, such as blue and white jars, bowls and plates and displaying them against a matching backdrop brings a welcome freshness. Conversely, a collection of brilliant saffron yellow plates on a dresser can make a predominately cool blue and white kitchen scheme feel sunny and Mediterranean. Large blue and white ginger jars were a favorite early-Georgian accessory offering a welcome focal point and light relief to many heavily carved mantelpieces.
A pair, or group, of blue and white ginger jars can still do the same for traditional mantelpieces, or use them to bring a classical touch to a modern setting. Covering old blanket chests and screens, small card and wooden boxes and metal wastepaper bins in fabrics that either co-ordinate or blend in with the rest of the furnishings helps to link some of the more disparate elements.
Extra touches Collections and accessories can be witty and tongue-in-cheek. An assortment of necklaces can enhance the necks of plain glass and pottery vases. A trompe l’oeil painted cat on a fire screen with a collection of needlepoint cat cushions makes an amusing point. If you haven’t much wall space on which to hang all your objects, consider displaying them on a freestanding fabric-covered screen – the panels are perfect for pinning up collections of old Valentine cards and dolls’ hats. Antique toy and games collections can be carefully displayed in special Perspex cases to great effect. Medals, coins, stamps, old pieces of lace and fans can be framed in deep box frames
Wealthy medieval households spun and wove their own bed linen which was stored in huge oak linen presses smelling sweetly of wood ruff and lavender. Bed linen was considered so precious it was included in wedding dowries and wills; rich travelers took their sheets and pillows with them when they went to stay with friends. And while embroidered silk ‘over sheets’ adorned royal beds, practical linen sheets went underneath. Satin sheets were reputed to have made a brief appearance in Tudor times in Britain through the auspices of Anne Boleyn who brought them back from France.
However, cotton sheets were not introduced until the end of the eighteenth century and remained white throughout the nineteenth century, although the edges were often elaborately embroidered and trimmed with lace and ribbons. It was not until the 1960s that deep- dyed colors and sumptuous floral printed cotton bed linen first appeared; duvets from Germany and Scandinavia were also introduced and revolutionized styles in modern bed linen.
Styles and fabrics Bed lien should be seen as part of the whole bedroom scheme. Colors, styles and patterns in duvets and pillowcases should match, complement or contrast with other bedroom furnishings such as the curtains, blinds or a bedspread.
It also helps to think of successful combinations: pure, crisp white cotton sheets with delicate lace, scalloped or picot edges always look marvelous against rich mahogany or walnut bedheads and Empire-style beds. Flower-sprigged cotton duvets and valance frills are pretty and practical on a divan in a young girl’s room or a spare bedroom. Sheets and pillowcases patterned with bold cabbage roses can complement a white lace and crochet bedspread or perhaps co-ordinate with a smaller geometric trellis, a striped bedspread and matching curtains or an Austrian blind.
Sofa beds in a living room, study or one- room apartment could have a set of bed linen that 160 complements the upholstery: midnight-blue sheets and pillowcases with a light quilt in a bold paisley pattern could either match or co-ordinate with the sofa covers. By making your own bed linen, you can add special decorative touches, making it truly individual- details such as tucking and cording in a contrasting color for pillowcase and sheet borders.
Borders of coordinating fabrics or plain fabrics in a contrasting color also look attractive. A time-honored favorite is to have plain sheets and pillowcases discreetly monogrammed in satin stitch with your initials. A few embroidered flowers, leaves or bows do wonders for a plain white pillowcase corner.
NURSERY BEDDING & Ac deep. Use a single thickness of double thickness of lighter fabric. Of fabric for the back panel the finished overall piece. Cut the pockets making the length of a same as the width of the panel, 2.5 cm(1 in) across the top for a ( and 12 mm (! in) turning across Cut sufficient binding or bias cut f the outer edge of the back pane. two loops from fabric or binding storage pockets from the corner cot or from two hooks on the back Turn under a double 12 mm across the top of each pocket. Turn under and press a 12 mm allowance across the lower edge, three strips across the front of the spacing them evenly apart. Ta down the sides and across the Top stitch in place.
Mark the pocket across the strips, and tack marked lines. Top stitch in place, the end of the stitching at the pocket by sewing a few stitches in Position binding around the 01 the front panel, making a pleat at to form a neat miter. Position the strip for the corner loops between and fabric at each top corner. Stitch enclosing the sides of the pockets J across the end of the loops. Turn to the back of the panel and stitch edge in place by hand or machine.
For deeper pockets, allow an (1 in) for each pocket along the strip. Turn and stitch the top hem: seam allowance under along the before stitching the strip in position stitching lines for each pocket deep tuck on either line. Make similar tucks 2 cm end of the pocket strip. Tack the tucks in place. Position across the back panel and stitch before, so that the ends of the tuck by the base stitching. Remove bind the edge. Turn under 2.5 cm down each long edge of the binding, position on the inner side of the quilted panel, with the raw edge of the binding 2.5 cm from the edge of the panel, right sides together. Stitch along the fold line, making tucks to turn the corners.
Turn the binding over to the outside of the quilted panel and slip stitch in place by hand or machine just inside the previous line of stitching. 3 Make up ties by turning in 12 mm (t in) down each long edge and then folding in half. Press and stitch, turning in the ends. Stitch the center of each tie to the appropriate point on the outside of the binding by hand. Do not make the ties too long; if they were to come untied, they could become entwined around a baby’s neck.
POCKET STORAGE A simple fabric pocket storage system, hung on the back of the door or at the foot of the cot, can be used to store baby-changing equipment or small items of clothing. Decide on a suitable overall size for the storage system: about 60 cm wide by 100 cm deep is suitable for most needs. Plan the size and number of pockets: the instructions here are for three rows of pockets across the width of the panel, 30cm.
Lamps Lighting in Bedroom Interior Designing Decoration By Expert Interior Designers
Bed bug I built for this interior designing room has both built-in night tables and goose neck lamps. Since the room was large enough to accommodate more furniture, I added some small side tables to add space for books and other bedroom Interior designing. With “grass” (actually broom bristles painted green) and some enormous paper flowers I found at an art store.
Even the hanging lights are made to look like over sized sunflowers. When she came into the room for the first time, her eyes lit up. Here was a room that would help her heal while allowing her to feel as though she was outdoors at the same time. Whatever the reason, I see it as a blessing because nothing is more fun than creating a little world separate from the rest of the house.
Ornamentation In Interior Designing and decoration
In Interior Designing and Decoration, Girls tend to like rooms that are rich in fantasy, rooms that allow them to step into a whole other world and close the door behind them. When you have dolphins swimming around your room, you don’t need much else in the way of ornamentation. Each girl I’ve had the opportunity to Interior design a bedroom for has had a different type of dream. One girl dreamt of becoming a fashion designer so, for her, I created a room with a needle and thread that danced around the walls and a bed that accommodated bolts of fabric. For a girl who loved dolphins, I filled the bedroom with images that made it feel like one big aquarium.
Floor Tiles In Interior Designing and Decoration
Tiles on the floor and her bedding looked like they were immersed in the ocean. Just find out what a young girl is crazy about and take that passion to the limit.
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Mass loaded vinyl barrier is same as the lead sheet but the American mass loaded vinyl barrier is a high grade-vinyl with barium salts and silica added to it but without any health hazards like raw lead. Companies that supply the mass loaded vinyl barrier are Acoustical surfaces Inc ,sound proofing America, green glue company, sound isolation company, super sound proofing company etc.
Mass loaded vinyl barrier applications
Due to its versatile characteristics this mass loaded vinyl barrier is used in many places, residential ,business, hospitals, theaters, auditoriums, recording rooms , events, music studios etc. it is not toxic for the occupants where is it being used.
If you are not able to attach the mass loaded vinyl barrier to reduce the noise during the installation then no need to worry about that you can attach to the dry walls and paint it. Or can be attached to the back of the paneling with good finishing nails .
Mass loaded vinyl barrier acoustical soundproofing material for ceiling, walls and floors
Mass loaded vinyl barrier for Ceiling and Flooring
Mass loaded vinyl barrier not only be used in ceiling it can also be used in flooring also. So that it acts as a barrier from the below like children running around or dropping things. In the modern trend, many houses are constructed in the plan of placing the media room in the basement and the living room on the top, In order to protect the noise from the media room to living room, here the mass loaded vinyl barrier is used for flooring or ceiling purpose.
MLVB Easy, cost effective, non-toxic
Mass Loaded vinyl barrier sound proofing can be done to the walls, ceilings and also to the flooring of the media room. Before the introduction of the mass loaded vinyl barrier the raw lead sheets were used to control the noise from the outside after the introduction of the mass loaded vinyl barrier, due to its ease in installation, cost effectiveness, and non-toxic formula are the most of the benefits that come with the mass loaded vinyl barrier.
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Paint a base coat of matt or silk emulsion. Allow to dry. Using the same color, or a slightly different tone, mix a wash of emulsion and water in equal parts. Then gradually increase the water to make a thin color which will not fall in heavy droplets down the wall but which allows the base color to show through when it is applied to the wall. Test the wash, and then apply it using a wide brush, with long, sweeping strokes. Further coats can be applied in toning colors. For a more durable finish, try using a subtly tinted, thinned glaze as a wash over the surface.
RAGGING
Apply a base coat of oil-based eggshell in a medium to pale tone. Leave until completely dry. Prepare a large batch of tinted and thinned glaze in a darker color. Have several white lint-free cloths ready to work with. Cut them from the same piece of fabric, making each one about 40cm(15 in) square so they are easy to handle. Ragging may also be worked in emulsion using the same base coat and top coat as for sponging.
Scrunch up a piece of cloth. Dip the cloth in the paint and remove excess paint by padding it on a piece of paper or the ribbed part of a roller tray if you are using that as a paint kettle. Then dab the rag over the surface of the wall, applying even pressure and recharging the rag when necessary. If the rag becomes cloggedwith paint, both refold and use a cleaner part of the rag, or use a clean rag. You can experiment with substitutes for the rag, such as screwed up lining paper or even a plastic bag. Make sure that you can achieve the same effect all over the surface: if the paper becomes clogged with paint, you must have more of the same quality to continue over the surface.
DISTRESSED EFFECT
Apply a base coat of matt, gloss or eggshell oil- based paint and allows drying. Mix a batch of glaze in a deeper tone, or in a similar or contrasting shade. Prepare some squares of lint-free rag and moisten the first with white spirit. Don’t soak all the rage at once – the white spirit evaporates quickly, and they are a fire risk. Apply the glaze quickly, ensuring you work it into the recesses of the surface you are painting.
Cover an area a couple of meters (yards) square or a length of skirting or architrave a couple of meters (yards) long. Wipe the glaze off the raised part of the surface with the moistened cloth, leave to dry. For a graded effect, repeat the process, using a darker batch of glaze and wiping off slightly more to reveal the first color beneath.
DECORATING DIRECTORY OF PAINT EFFECTS
Mainly for walls Sponging is one of the quickest and easiest ways to achieve a broken color effect on walls and ceilings.
BASE COAT Emulsion in a pale color (pale grey right and white Jar right)
