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Bed Linen creates a great interiors – interior designing and decoration – Tips and guidance

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. 
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Coloring the Interiors – concept selection of colors – tips and guidance for Interior designing and decoration

ACCESSORIES CO-ORDINATION & GROUPING

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 
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How to use our own bed linen for Interior designing and decoration – Tips and guidance

BED LINEN 

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.  
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Kids Bedroom designing and decoration with kids Items and play things

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. 
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Kids Bedroom accessories and Interior designing and decoration at home


NURSERY BEDDING & ACCESSORIES deep. Use a single thickness of chintz, or a double thickness of lighter fabric. Cut a panel of fabric for the back panel the size of the finished overall piece. Cut three strips for pockets making the length of each strip the same as the width of the panel, and adding 2.5cm(1 in) across the top for a double hem, and 12 mm (t in) turning across the bottom. 

Cut sufficient binding or bias cut fabric to bind the outer edge of the back panel, and make two loops from fabric or binding to hang the storage pockets from the corner posts of the cot or from two hooks on the back of the door. Turn under a double 12 mm (t in) hem across the top of each pocket strip and stitch. Turn under and press a 12 mm (t in) seam allowance across the lower edge. Position the three strips across the front of the back panel, spacing them evenly apart.

 Tack in place down the sides and across the lower edge. Top stitch in place. Mark the width of each pocket across the strips, and tack down the marked lines. Top stitch in place, reinforcing the end of the stitching at the top of each pocket by sewing a few stitches in reverse, position binding around the outer edge of the front panel, making a pleat at each corner to form a neat mitre. 

Position the ends of the strip for the corner loops between the binding and fabric at each top corner. Stitch in place, enclosing the sides of the pockets and stitching across the end of the loops. Turn binding over to the back of the panel and stitch the folded edge in place by hand or machine.  

 For deeper pockets, allow an extra 2.5 cm (1 in) for each pocket along the length of the strip. Turn and stitch the top hem and press the seam allowance under along the lower edge. Before stitching the strip in position, mark the stitching lines for each pocket and make a 6 mm (;} in) deep tuck on either side of each line. Make similar tucks 2cmG in) from each end of the pocket strip. Tack the tucks in place. Position the strips across the back panel and stitch in place as before, so that the ends of the tucks are held in by the base stitching. Remove tacking and bind the edge. 
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Interior designing and decoration tips and guidance- Making of Piping in fabric design

MAKING PIPING In Interior designing fabrics

Piping can be flat or corded, single or double. Cord for piping can be bought in many thicknesses, and you should choose your thickness carefully; a very heavy piping can look unwieldy on a light cotton cushion cover, for example. Join the strips of bias fabric together on the straight grain In Interior designing. The width of bias-cut fabric should be the circumference of your chosen cord plus two seam allowances. Check when you buy that the cord is preshrunk. If not, wash it before use if it is to be sewn on something you intend to launder. If you need to join the cord, unravel a little from both raw ends and intertwine them for about 2.5 cm (1 in).
 
Press the length of bias strip and wrap it around the piping cord, raw edges together. Hold in place with pins. Using the zipper foot on the machine, sew close to the cord with a similar colored thread. Lay the piping on the fabric, raw edges level. Pin and machine stitch close to the piping, covering the original seam line. Sew around comers as for welted borders. To join raw ends of piping, trim away the cord and overlap the ends of the binding, curving those inwards. Sew through all thicknesses. A quick method of applying piping to a square cushion is to fit the piping straight along each edge so that the ends cross at each corner. Sew through all the thicknesses and trim excess piping In Interior designing. 

APPLYING CORD TRIM in Interior designing fabrics

Pin the cord in position, making sure the ends are not at a corner. Secure the thread in the fabric and sew through the cord and into the fabric with tiny stitches. Join the two ends of cord by unraveling a short length and inter- twining the strands. Stitch the twisted ends to the fabric In Interior designing.
 

 MITRI G BORDERS OR RIBBON

Cut a length of ribbon or binding for each edge to be trimmed, allowing a good overlap at each end. Attach the trimming to the right side of the fabric with pins along one edge. In Interior designing, Stitch up to the inside corner point where you intend to turn the corner (1). Fold the trimming so you can stitch a diagonal line between the inner and outer edges of trimming (2). Clip the seam, press the trimming flat or turn binding to wrong side (3), and continue down the next edges of the fabric. it/ FRILLS Ruffles or frills are used on cushions, curtains, bed drapes and loose covers In Interior designing.
 
In Interior designing, A single frill needs hemming or binding, whereas a double frill is a piece of fabric folded along its length and the right side of the fabric shows all the time. A single frill is preferable if you are using bulky fabrics. Calculate the depth of frill and either adds allowances for a double hem and the gathered edge seam or double the required depth and seam allowance for a double frill.
 
Decide on the effect you want, then measure up for the length of the frill: one and a half to three times the length of the finished edge fullness. Sew two lines of gathering stitch and gather up the fullness to fit the edge. Pin and stitch in place- around the edge of a hem, for example, or inserted into a seam. For a frilled edge to a round cushion, join the fabric strip into a circle, gather and distribute the gathers evenly around the cushion piece. In Interior designing, A double frill can be bound on the outside edge and the folded edge overlapped on to the cushion or curtain fabric. This frill can be applied after the rest of the sewing IS completed.
A pleated frill gives a crisp finish. To calculate the fabric length needed for the frill, measure around the cushion piece or along the curtain edge and multiply by three for the frill length. Include seam allowances for any joints. The frill can be hemmed or double. Mark the fabric length into 3 cm sections along its length. Make 6 pleats and pin. Tack across the top of the pleats. Apply the frill as before. 

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SEWING TECHNIQUES-MACHINE STITCHING- Types and procedures for interior designing and decoration

SEWING TECHNIQUES For Interior designing and decoration

 
When working on the machine, refer to your manual before you sew furnishing fabrics. The manual will recommend needle sizes, tension and the correct foot to use. Always select the thread according to the type of work and material, and the needle according to the thread. A good tension is when the threads are locked together properly between the layers of fabric.

FINDING A STRAIGHT EDGE For Interior designing and decoration

To cut out any large piece of fabric, you need to start with a straight edge. This ensures that the fabric hangs true, on curtains, for example. For firmly woven fabrics, you can tear to get a straight edge. Cut into the selvedge and, grasping both sides, rip across the width. If the fabric is loose, pull out a crosswise thread right across the width and cut along this line. Alternatively, lay the selvedge up against the edge of a table and check that the crosswise grain is level with the end of the table. To measure off the first length, use a set square or a large object with a right-angled corner. Draw across the width of fabric with dressmaker’s chalk and cut along this line. Cut out the rest of the lengths in the same way.

APPENDIX SEAMS For Interior designing and decoration

 
 A puckered or poorly finished seam will spoil the look of your soft furnishings. For example, the seams on full-length curtains need to be Rat and tidy or the whole effect will be ruined. Make sure there wedges are together before you sew so that the allowances are the same width; most seams are about 1.5cm wide. Everyone has a favorite method of holding the fabric while sewing; either tack or pin at regular intervals. If you insert the pins across the seam you can sew straight over them and remove them at the end of the sewing. Reverse the stitch at either end of the seam to secure the threads. After stitching, press seams open or to one side, as directed.

OVERCAST SEAM For Interior designing and decoration

 
This can be worked on the machine with a zigzag stitch or more laboriously by hand by taking an even diagonal stitch over the raw edge along the seam. If the fabric is likely to fray, use pinking shears or make a line of machine stitching about 3mm (A in) in from the edge.
 
CURVED SEAM Pin and stitch as usual but clip outward curves at intervals to ease the seam and cut V shapes along an inward curving scam. You can then press the seam open. This clipping also reduces bulk where the seam cannot be pressed open, as on a circular cushion.
 
When sewing a regular corner, trim the seam allowance by cutting straight across the corner. To get a clear point on sharp corners when using thick fabrics, make two or three stitches across the turning point (1). Trim the seam allowance parallel to the seam line. To turn a corner on a welted or boxed cushion, clip into the welt at the corner point, reinforcing the corner with extra rows of stitching.
 
FLAT FELL SEAM For Interior designing and decoration
 
This is a very strong seam and perfect for home furnishings where wear and constant laundering could present problems. From the right side it looks like a top stitched seam. Sew an ordinary seam (1) and press the allowances to one side. Trim the underneath seam allowance to about 6 mm (  in) (2) and fold the top allowance over it, turning under the raw edge to enclose the trimmed edge (3). Pin and press Rat then sew through all layers close to the folded edge.
 
 FRENCH SEAM For Interior designing and decoration
This encloses the raw edges but because it can be bulky it is best on lightweight fabrics. It is particularly appropriate for lace and voile because turnings are narrow and don’t show through the fabric. With wrong sides together, sew a narrow seam (1). Trim seam allowances (2), even if fabric doesn’t fray, and fold along the machined edge with right sides together (3). Stitch along this seam about 1 cm from the seamed edge (4). 
 
LAPPED SEAM To match patterns from the right side of the fabric, turn under one edge of the fabric by 6 mm (t in) and pin in place over the other piece to be joined, matching patterns if necessary (1). On the right side of the fabric, pin and machine stitch along the fold (2) and then sew another seam parallel to the first to catch down the raw edge beneath (3). To join bulky widths of interlining overlap the raw edges by about 6 mm (i in) and machine stitch a line of zigzag down the length. Alternatively, butt the two raw edges together and hand sew down the length using a loose herringbone stitch (an abutted seam).
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SEWING TECHNIQUES – interior designing and decoration – Tips to reduce your cost of labor and products

SEWING TECHNIQUES Interior designing and decoration 

 
The following in Interior designing cloths and screen techniques provide the basis for all soft furnishings. Some people prefer to use hand sewing because of the control this allows.
 

RUNNING STITCH for Interiors

in Interior designing cloths and screens,  This stitch is used mainly for gathering up fabric or as a tacking stitch. Secure the thread with a back stitch (see below) and sew small, evenly spaced stitches. If you are gathering, work two parallel rows about 6 mm (i in) apart and leave a length of thread at the end with which to gather up the fabric to the required length. Secure the threads to a pin in a figure of eight and adjust the gathers.
 

BACK STITCH in Interior

 
In Interior designing and decoration, This hand stitch is firm and looks like machine stitches on the right side; on the wrong side the stitches will overlap. Working from right to left, insert the needle about 3 mm (t in) behind the place where the thread came out and bring the needle out again the same distance in front of that point. Every time, insert the needle in the end of the last stitch.  

 

PRICK STITCH in Sewing interior designing garments

 
In Interior designing and decoration, This is similar to back stitch but is less obtrusive. Instead of inserting the needle in the end of the previous stitch, you should only pick up a couple of threads on the right side so that the finished seam looks rather like tiny running threads with the stitches like tiny prick holes on the fabric. This stitch can be used to secure seam allowances. 
   
LOCK STITCHING in Interior designing cloths and screens
 
 In Interior designing and decoration, This is rather like herringbone thread is left very loose bee purpose of this stitch is to see inter linings to the curtain fabric is necessary. Lay the fabric or wrong sides together, lay the lining in place over the curtain pins at regular intervals down from the top to the bottom oft: back the lining along the line the thread at the top, take a stitch folded lining and the curtain fling up only a couple of the stitch. Make the next stitch further along and bring the nee thread to produce a loop very loose.  
 
SLIP-TACKING 
 
 This tacking stitch invisibly secures two folded edges or a facing. It is the perfect way to match patterns at a seam line before machine stitching. Fasten the thread within one of the folds and take over to the other edge picking up a 6 mm (i in) stitch. Cross over the opening again and continue, picking up fabric from just inside the fold.
 
 
 This is similar to back stitch but is less obtrusive. Instead of inserting the needle in the end of the previous stitch, you should only pick up a couple of threads on the right side so that the finished seam looks rather like tiny running threads with the stitches like tiny prick holes on the fabric. This stitch can be used to secure seam allowances.
 
This tacking stitch invisibly secures two folded edges or a facing. It is the perfect way to match patterns at a seam line before machine stitching. Fasten the thread within one of the folds and take over to the other edge picking up a 6 mm (i in) stitch. Cross over the opening again and continue, picking up fabric from just inside the fold.
 
 
This is rather like herringbone stitch, but the thread is left very loose because the main purpose of this stitch is to secure linings and interlinings to the curtain fabric and some give is necessary. Lay the fabric out flat and with wrong sides together, lay the lining or inter- lining in place over the curtain. Secure with pins at regular intervals down a straight line from the top to the bottom of the curtain. Fold back the lining along the line of pins. Secure the thread at the top, take a stitch through the folded lining and the curtain fabric (1), picking up only a couple of threads with each stitch. Make the next stitch about 5 cm (2 in) further along and bring the needle out over the thread to produce a loop (2). Keep the thread very loose. Work vertical rows of lock stitch about every 60 cm so the lining doesn’t sag.
 
 
 This is used to stitch any folded edge. Working from right to left, take a tiny stitch in the main fabric and insert the needle immediately into the fold as close as possible to the previous stitch. Pull the thread through. This should be one continuous movement.
 
This is a firm hemming stitch particularly appropriate for curtains; it doesn’t need a folded hem because the raw edge is covered by the stitch. This is normally worked from left to right. Secure the thread and bring the needle up through the hem about 3 mm from the edge, take the needle diagonally across to make a backwards stitch in the curtain fabric just above the hem edge. Bring the needle diagonally back to the hem again and take a backwards stitch in the hem. Keep the thread fairly loose as you work.
Hemming should be done delicately with similar colored thread so that it is virtually invisible. Take a tiny stitch in the wrong side of the fabric and insert the needle diagonally under the folded hem about 6 mm away. Continue along the hem, keeping the tension even so there is no puckering seen from the right side.
 
 
This stitch neatens raw edges on fabrics that don’t fray, such as leather and felt. It can also be used as a decorative edge. Fasten the thread near to the fabric edge and, keeping the depth of stitch even, insert the needle at right angles to the edge of the fabric and bring it up and over the thread to form a loop stitch, Keeping the width of stitch constant, insert the needle into the fabric again so that the thread runs horizontally along the edge of the fabric.     
These Do it yourself techniques in Interior designing keep your costs of interior designing at control, reduce your costs at major levels and you can taste of your own produce. Screens in interior designing and table cloths can be stitched for your own convenience and design.
Contact us for a better interior designing with low cost budgets and at the same time with a glamorous  look of your own product.
Interior Designing and decoration cloths and garments, screens and fabrics can be stitched at your own to cut costs and reduce the labour charges in interior designing and decoration
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Interior MAKING ACCESSORIES PICTURES & WALL HANGINGS- Tips and guidance

MAKING ACCESSORIES PICTURES & WALL HANGINGS 

Owning a modest number of pictures, prints and photographs brings a personal art gallery within your reach in interior designing. Achieving a professional look is often a question of careful hanging, grouping and proportion in interior designing. As with everything else, there are fashions in picture hanging. Traditional picture rails can be used to provide a more formal interior scheme. 

 

Camouflage picture cords with lengths of wide satin, moire or velvet ribbon or strips of glazed chintz. Large picture hooks can be hidden with generous opera bows or rosettes. Grouping Frames in the same colors and finishes give uniformity to a collection of differently-shaped pictures. Framing disparate subjects with the same color mounts also gives unity to a collection in any interior designing.

In Interior designing, Another attractive way to group pictures is to revive the eighteenth-century practice of dividing a wall into picture panels using simple wood beading or wallpaper borders to ‘frame’ your pictures. A classical wallpaper border in interior designing such as egg and dart molding on pale grey or yellow painted walls could be a perfect foil for a set of engravings with birds’ eye maple frames. Similarly, a chinoiserie fretwork wallpaper border on red painted walls could enhance a set of Chinese paintings with black lacquer frames. In interior designing, Narrow wood beading picked out in a color or perhaps a stenciled acanthus motif could also make effective wall panels. 
 

In interior designing, Placing all the pictures and objects you intend to hang up on the floor is an easy way to plan the grouping. Move your groups of pictures around until you are satisfied and then stand away from them. You can also plan groups of pictures and objects successfully by sketching the shapes out carefully first on a piece of squared paper. When hanging pictures over a piece of furniture such as a sofa, bedhead, chest of drawers or a fireplace you will also need to consider how much space to leave above and below, both for practicality and visual effect.  

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Gypsum Ceiling Tiles in interior designing and decoration

Gypsum Ceiling Tiles

Gypsum ceiling tiles are made from gypsum which is a mineral. It is extracted from sedimentary rocks which are found all over the world. Gypsum has been known to be used by mankind from the days of the pyramids of Egypt. Gypsum boards or panels are also known as drywall (other names are plasterboard and wallboard). It is a panel or board made from gypsum plaster which is compressed between a pair of sheets of thick paper. Gypsum panels are used to line interior ceilings and walls. Gypsum tile became popular in construction business as a replacement for traditional plaster and lath.

Gypsum Ceiling Tiles Applications

Nowadays gypsum is used to make ceiling tiles, wallboard, and other plaster products for commercial as well as residential buildings. Gypsum ceiling tiles being smaller are suitable to be used in suspension ceilings or in other words, suspended ceilings. Since the time gypsum products came into the market gypsum ceiling tiles, are an alternative to home owners for replacement of an old existing product. Homeowners can now cheaply and quickly replace their old interior tiles. It has also become common now to use gypsum tiles for ceilings and walls in newly built buildings and homes.

Gypsum Ceiling Tiles Installation and Finishing

Gypsum Ceiling tiles are fitted to a system of grid work which are hung from the ceiling with the help of wires or strings. Suspended ceilings also known as false ceilings are very commonly used in commercial and office buildings. Gypsum ceiling tiles are available in different designs to give varying acoustical qualities. They have good aesthetic look and different acoustical and aesthetic qualities. They can also be had in several varieties. The installation of the tiles is easy, but for installing the suspended system of tiles it is better to employ professional installers. The joints, where two tiles meet, are filled with a special a compound and then a drywall tape is used to cover it. To conceal the joint the tape is coated several times. To even out unevenness sand paper is used to make the surface smooth and then a primer is applied as a base for final painting.

Advantages and Disadvantages

The main advantages of gypsum ceiling tiles over other types of ceiling tiles are that they are comparatively easy to install and also they are cheaper. Though it is recommended that only qualified and skillful professional should be employed for installation gypsum ceiling tiles, it is possible for homeowners to install and finish the tiles themselves (but not the ceiling grid work needed for mounting the tiles). The disadvantages to having gypsum ceilings tiles are that its sound absorption qualities are not quite good. Therefore when soundproofing is important the customer may prefer other types of ceiling tiles. Also, gypsum tiles are not waterproof. For damp spaces like bathrooms or basements where moisture content is high, the gypsum ceiling tiles must be treated with moisture resistant chemical.
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