Interior designing and decoration fabric walls -covering walls with fabric designing technics

COVERING UP WITH FABRIC
 FABRIC WALLS
Measure up the area to be covered, and check the width of the fabric you intend to use. Calculate the total width of the area to be covered. For fabric gathered on to curtain wires, you will need at least 10 times this width; for stretched and stapled fabric you will need to add an allowance for joining widths plus about 10 cm (4 in) for turning down the sides of the area to be covered, and for a pleated and stapled finish you will need to allow 2-3 times the width of the area, plus side turnings.
Divide the total width of fabric required by the width of the fabric you plan to use to give the total number of drops of fabric. Each drop of fabric has to be the height of the wall to be covered, plus 10 cm (4in) top and bottom for making a casing or turning and stapling – make allowances for any pattern repeats. Multiply the length of each drop by the number of drops to give the total amount of fabric required. Battens have to be fixed all around the room to carry the stapled fabric or the curtain hooks.
 The battens can be nailed in place with masonry nails, screwed, or glued with a strong building adhesive. The fabric lies away from the wall, so you will have to adjust the positions of light switches, fittings and sockets, raising them away from the wall and edging them with battens so that you can fix the fabric around them. Always turn off electricity at the mains before doing this; if you do not feel confident about working with electrics, ask an electrician to do this for you.
If you want to hang pictures afterward, remember to position battens in suitable places. For gathered fabric, string curtain wires around the room along the battens. Fit extra wires above and below sockets and switches, above doors and above and below windows. Make up panels of fabric for the major areas to be covered, turning under a narrow hem down each side. Form casings top and bottom by turning under a double 5 cm (2 in) hem and making two rows of stitching 2.5 cm(1 in) apart, 2.5cm(1 in)- from the finished edge of the panel.
Thread the wires through the casing and hang in place, adjusting fullness across the wall. Mark the position of electrical sockets on the fabric curtain. Take down the fabric, cut an H shape and turn hems to make casings above and below the area removed for the sockets. Neaten the sides of the opening with zigzag stitch before rehanging.
For stapled fabric place extra battens vertically down the corners of the room and around doors and windows. Join widths to make up panels of fabric for each area to be covered and press under 10 cm (4 in) turnings all around. Staple one side edge of the first panel to a vertical batten at the end, working from the wrong side of the fabric with the panel of fabric turned to face the adjacent wall. Work across the wall, stapling the top edge of the fabric to the horizontal batten. Stretch the fabric, and then staple the bottom edge in place. (This may be easier with two people, one working at the ceiling and the other working along the skirting.) 
If the window has angles or curves, as with bay or bow windows, check that the track can go around the bend. For medium- and heavy-weight drapes, and pale-colored curtain fabric, it is worth using a cording set so that you can draw the curtains without putting unnecessary strain on the leading edge of the curtains – this helps to prolong wear and reduces the need for cleaning.
Heading tapes Heading tapes either have drawstrings running through them which pull up to form a gathered or pleated heading plus woven loops to fit the hooks into or they have woven slots into which Standard tape Pencil pleat tape pronged curtain hooks are fitted to form pleats across the top of the curtain. Many heading tapes have the effect of stiffening a few centimeters ‘ across the top of the curtain, which gives a crisp finish and helps heavy curtains to hang well.

The manufacturer will indicate how much fullness is required in the curtain for the different sorts of heading tape. Roman blinds and Austrian blinds have special tapes with rings sewn to them at regular intervals to carry the cords for pulling the blind. Cased headings involve making two lines of stitching across the top hem of the curtain so they can be slotted onto a pole, rod or wire. Lining tape – Triple or pinch pleat tape. 

Bedroom Designing and decoration – Bed Linen designing tips and guidance

 
A COT BUMPER Use washable fabrics and quilt the bumpers with heavyweight polyester wadding. The instructions here are for a bound edge – but bumpers can equally well be finished with a frilled or piped edge. Measure across the inside of the top and half way down the sides of the cot and Decide where the ties should be positioned – the top edge of the bumper should be tied to corner posts and to bars half way down the side of the cot. If the cot has a solid headboard, make long ties which can fasten around the back of the headboard. 
 
Cut main panels of fabric and a layer of wadding to the finished measurements. Join widths of fabric with flat seams and the wadding with a lapped seam if necessary. Cut a 15cm wide strip to bind the edges of the bumper; these strips need not be cut on the bias since they do not have to be eased around curves. Cut four ties, 20cm long and the 5cm wide. 
 
Sandwich the wadding between the two panels of fabric, right sides outwards; pin, then tack together all around the edges. Tack at intervals to hold the layers in place while you stitch the quilting – tack along the length of the bumper for vertical stitching, or up and down for horizontal quilting. 
 
Turn under 2.5cm down each long edge of the binding, position on the inner side of the quilted panel, with the raw edge of the binding 2.5cm 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 slipstitch in place by hand or machine just inside the previous line of stitching. Make up ties by turning in 12 mm (! 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 60cm wide by 100cm (40 in) 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. 

Herring bone stitch – Stitching style to design and decorate

Herring bone stitch

 Sandwich the three layers together, with the wadding in the middle and the main fabric and lining right side out, tack together all around the outer edge. Make lines of tacking stitches diagonally or in parallel lines across the panel, a bout 10 cm apart. 2 Quilt up and down the panel by machine. Trim the quilted panel to the finished measurements of the bedspread and round off the corners if required. If the bedspread has to fit over the frame of a bed, cut out the corners so that you can arrange the overhang neatly around the bedposts at the foot of the bed.

Cut lengths of binding on the bias, making one strip long enough to fit all around the outer edge of the quilt and one to fit across the top. Join lengths as necessary. The binding should be about 8cm(3 in) wide. Turn under and press 2 cm G in) down each long edge, and fold in half and press. Position the binding around the outer edge of the quilt and stitch in place by hand or machine.  Make up further strips enough to fit the width of tl strips so that each one starts fabric in the sequence. Press a clip across corners of seam all Join the strips in the same ‘A being careful to take precise allowances. Check the array strips before stitching so diagonal bands of pattern.

Make up the quilt with panel and a piece of wadding the patchwork panel, and when joining  triangle square, match the raw edge resulting seam will be incorrect,  If the quilt is to fit over a brass or wooden bed frame, cut out the corners of the quilted fabric to accommodate the bed posts before applying the binding. 

FITTED COVER WITH INVERTED PLEATS – Interior designing and decoration tips

 FITTED COVER WITH INVERTED PLEATS

This cover has a top panel with piped edges, and a straight skirt with inverted pleats at the corners of the foot of the bed. Calculate the finished measurements for the bedspread – the overall length and width of the top panel and the depth of the skirt. Cut a rectangle of fabric for the top panel, allowing a 12 mm U in) seam allowance all round. Cut a piece of lining fabric the same size. Cut an? Join the sections for the skirt, adding 40cm (16 in) for pleats at each corner.

Allow a 12 mm seam allowance along the top edge and 5cm for double hems all around the sides and lower edges. Make up sufficient piping to fit all around the sides and lower edge of the top panel. Join fabric to make up a top panel if necessary. Round off the corners at the foot of the bed for a less severe shape, position piping all around the sides and lower edge of the top panel and tack and stitch in place using the zipper foot, taking a 12 mm seam allowance.

 Clip into seam allowances as necessary to fit the piping around the corners. If the corners are rounded, lay the cover on the bed and mark the position of the pleats at the corners of the top panel with pins. Turn under 2.5cm double hems down the sides and along the lower edge of the skirt, mitring the corners. Measure and pin pleats to fit at the corners of the bedspread, and then stitch across the top of the pleats, just inside the seam line. Position the skirt around the sides and lower edge of the bedspread, with right sides facing and raw edges matching.

Clip into the seam allowance of the skirt at the corners if necessary to help the fabric lie flat. Pin and tack in place, following the line of stitching which is holding the piping in place. Layer the seam allowance. Position the lining over the top panel, right sides facing and raw edge matching, stitch across the top edge, and turn the lining to the wrong side. Turn under 12 mm U in) all around the lining and slip stitch in place, enclosing the raw edges of the top panel, the skirt and the piping.

 MAKING QUILTS A simple throw over bedspread in quilted fabric gives a smart finish and provides an extra layer of warmth over blankets or a duvet. In warmer weather, the quilt and a flat top sheet alone provide ample bed covering. Although ready-quilted fabric and ready- made quilts are available, by quilting your own fabric, you can alter the spacing, direction or even the shape of the quilting to suit the fabric. A straight striped fabric, for example, is particularly effective quilted with parallel lines of stitching, following the stripes of the fabric. For more elaborate detail, shape the quilting to outline bold motifs in a pattern.

 QUILTED THROW OVER Cut a panel of main fabric, the size of the finished bedspread plus 10 cm (4 in) all around. Cut the wadding and lining fabric (preferably in a contrast fabric, as the throw over is reversible) to the same size. 1 Join widths of fabric with a flat seam, and butt widths of wadding together, joining them with zigzag stitch or by hand with. 

Making Bed spreads for the interior designing and decoration

MAKING BEDSPREADS

By making your own bedspreads, you can ensure a good fit and perfect match to other furnishings in the room. You can devise your own finishing touches and embellishments – quilting in patterns outlining the print of the fabric, or ‘adding an unusual trim, piping or binding, for example. When measuring up for a bedspread, note whether the pillows and bedding should be in place. When cutting out fabric for a double bedspread, it is important to position the seams down either side of the top of the bedspread, close to the sides of the bed: this avoids having an unsightly central seam and gives a more professional finish to the cover. 

Fitted covers lie more smoothly on the bed if the top panel is lined and interlined; the sides need not be lined, although this gives a smart finish to tailored covers.

A THROW OVER

 This simple, floor-length throw over cover has rounded corners at the foot of the bed, and is lined and interlined. Decide on the overall finished dimensions of the bedspread: it can just touch, or trail on to the floor. Cut out the fabric to make up the main panel, allowing 5 cm turning all around the sides and lower edge, and 2.5cm across the top. Cut the interlining with a 2.5cm turning around the sides and lower edge, but no turning allowance across the top. The lining should be 5 cm smaller than the main fabric around the sides and lower edge, with the same turning across the top.

 If you need to make seams in the layers of fabric, position a full width of fabric down the center of the bedspread with narrower widths joined selvedge to selvedge down each side edge. Use flat seams for the main fabric and lining, and abutted seams for the interlining. Round off the lower corners of the panels, using a large plate or paper template, and check that the corners match. Position the interlining on the wrong side of the main fabric and lock stitch in place leaving the appropriate turning allowance all around.

Herring bone stitch the interlining to the main fabric around the’ outer edge. Turn under and press the seam allowance across the top edge of the main fabric, over the interlining. For a hand-finished cover, turn up the 5 cm (2 in) hem allowance on the main fabric, rolling the interlining up without pressing a crease. Press under a 2.5cm turning all around the lining. The lining may be fitted by hand, or stitched by machine. Position the lining on the wrong side of the fabric and lock to the interlining. Slipstitch the lining to the main fabric all around the sides 2 and edge of the cover close interlining. For a machine-stitch the lining on the inter sides together. 

How to use bed linen for interior designing and decoration – Tips and guidance

BEDS & BED LINEN

BED SPREADS

For centuries, sumptuous bedspreads, coverlets and quilts have been important elements of bedroom furnishing. Crimson silk worked with gold thread was the stuff of royal fourteenth- century quilts; Henry VIII’s bed also boasted splendid covers quilted in gold and silver; humbler Tudor households made do with embroidered linen and serviceable woolen blankets. Washable, brightly printed Indian chintz bedspreads, known as “palampores”, were first seen on European beds over 300 years ago and were imported from Madras by the East India Company; contemporary regal four posters, however, favored more elaborate bedspreads of damask and velvet.

Marriage quilts were something special- Victorian girls would spend years stitching their own – and in colonial America, betrothed girls would be expected to stitch at least twelve everyday quilts as well as a marriage quilt for a trousseau. Styles, colors and fabrics Bedspread fashions may come and go but for cottage and attic bedrooms a traditional patchwork quilt teamed with a simple iron, pine, or painted bedstead is a recipe for success. 

Grand, more formal beds can take a dressed-up patchwork quilt. A frilled or pleated valance showing below gives a variety of different effects. The fabric could echo or contrast with colors in the quilt, bedhead, window dressing or upholstery fabrics. Quilts and bedspreads in children’s rooms in pastel-colored fine cotton prints with embroidered angles edges look enchanting appliqued with alphabet or animal motifs.

 For more unusual applique inspiration, say, in an Edwardian-style child’s bedroom, Kate Green away’s characters would also look appropriate worked in typically muted grey-greens, blues, cream and terracotta. Lace and crochet bedspreads always look feminine and pretty, providing a soft, glamorous contrast to sturdy brass and iron bedsteads.

 BEDS & BED LINEN fortunately, it is not hard to find new versions of authentic nineteenth-century lace designs as these are still being made. A fine white or cream voile or lace ‘overspread’ with a gathered skirt can cover an existing chintz quilt for an exciting new look and give added protection at the same time. Throw over bedspreads consisting of a simple hemmed sheet are useful in informal bedroom schemes and are quick and easy to make.

For grander beds needing a more luxurious, finished look throw overs can be quilted and lined with a complementary coordinating fabric in a tiny geometric print. Alternate bed covers according to the season with a heavy quilt for winter warmth and a light cotton cover for the summer. A tailored bedspread with a paneled or pleated skirt lends dressed-up dignity to a four poster. 

In one-room apartments and spare bedrooms the bed needs to blend in unobtrusively as part of a seating arrangement. Suitable fabrics here could be a plain linen union or cotton pattern or paisley prints in sophisticated burgundy, navy, charcoal and bottle green will also work well. To add interesting detail, pick out the piping and pleats in a fabric to match the curtains and upholstery. 

Table cloth designing and decoration in interior designing and decoration

A CIRCULAR CLOTH 

Decide on a finished diameter for the cloth: for a full draped effect, make the cloth slightly longer than twice the height plus the diameter of the table. Decide on a suitable finish and include a hem allowance. For a lined cloth, include a 5cm turning all around the outer edge. To interline the cloth, the best method is to cut a separate circle of interlining to fit the table and place under the cloth. This saves cleaning problems.

MAKING TABLE LINEN 

For a lined cloth cut a circle of lining the same size as the main fabric, on both circles of fabric cut notches all around the edge at regular intervals 2.5 cm to allow the hem. to lie flat. Turn under 2.5 cm (1 in) all around the lining and the main cloth. Lock- stitches the lining to the cloth if it is large. Position the lining on the cloth wrong sides together and slip stitch the folded hems together.

Press, without making a crease in the hem of the cloth, a faced hem gives a crisp finish to a circular cloth. Cut the fabric into a circle as before, allowing a 1 cm turning. 

Cut a 2 cm (1 in) wide strip of fabric on the bias to match the circumference of the finished cloth. Press under 6 cm down each long edge and join the ends, or you can purchase binding. Position the binding around the hem of the cloth, right sides facing, and stitch so that the fold of the binding is 1cm inside the raw edge of the fabric. Press, then turn the hem allowance and binding to the inside and press again. Slip-stich the free folded edge of the binding to the main part of the cloth, easing in the fullness as you works. The cloth may also be finished with a simple top stitched hem, and trimmed with braid or bullion cord at floor level. 

Making of table Linen and Napkins – Interior designing and decoration with cloths

Making of table Linen and Napkins

Simple linen or cotton tablecloths can be made up with any number of different finishes: bold, bound edges; fine, hand-rolled hems; a simple, top stitched double hem. Trim them with applique ribbons or lace, cording, drawn thread work or embroidery. Napkins should have a simple finish that will withstand repeated laundering. Cotton blended with polyester makes a good easy-care cloth. Fabrics that are woven with no distortion of the lengthwise and crosswise grain (so they run at right angles to each other) are easier to cut out and to handle. Follow a thread when cutting out and marking hem lines. 

 For a richly padded, floor-length circular cloth, careful measurement and cutting is essential. The cloth may be lined and interlined, with a thickly padded or faced hem. 

TABLECLOTH & NAPKINS

Decide on the finished size for the tablecloth and add a suitable allowance for the seam. For a bound hem, no allowance is needed; for a rolled hem, 6 mm (t in); for a double hem, anything from 2 cm to 20 cm. Cut out a panel of fabric for the cloth, ensuring the corners are exact right angles. (Use the side and end of a table as a guide when cutting out.) 

Flat fell seams are used to join any widths of fabric. 1 For a bound edge, cut bias strips of fabric twice the depth of the finished binding with 6 mm (t in) turnings down each long edge. Press under the turnings and fold the binding in half, right side out. Attach the binding by hand or machine, easing around corners. For a rolled hem, make a stitching 6 mm from of the fabric. Roll the edge between the thumb and fore fin as you stitch the hem with you.

 For a double hem, turn un the hem, trimming away corners for a smooth finish. To be mitred, or finished with wove Stitch the hem by machine, inner edge of the hem. You zigzag stitch over the folded hem, or stitch from the right zigzag stitch, applying   Cut out a panel of fabric for the cloth, ensuring the corners are exact right angles. (Use the side and end of a table as a guide when cutting out.) Flat fell seams are used to join any widths of fabric. For a bound edge, cut bias strips of fabric twice the depth of the finished binding with 6 mm turnings down each long edge. Press under the turnings and fold the binding in half, right side out. Attach the binding by hand or machine, easing around corners. For a rolled hem, make a line of machine stitching 6 mm from the raw edge of the fabric.

Roll the edge of the fabric between the thumb and forefinger of one hand as you stitch the hem with your other hand. For a double hem, turn it under the depth of the hem, trimming away fabric at the corners for a smooth finish. (The corners may be mitred, or finished with overlapping hems.) Stitch the hem by machine, close to the folded inner edge of the hem. You can also use a zigzag stitch over the folded inner edge of the hem, or stitch from the right side with a zigzag stitch, applying cording along the line of stitching.

Decide on suitable dimensions for the napkins. For maximum use of fabric, cut an exact number of napkins (say three or four) across the width of the fabric. Use one of the methods described for finishing table cloths to neaten the edges of the napkins. Cut enough widths of fabric to make a square with each side the same measurement at the diameter of the fabric required for the cloth. In most cases you will have to join widths of fabric. Position a full width of fabric down the center of the cloth and join strip to each selvedge to make up the width, stitching the pattern carefully by slip-tacking, if necessary.

Fold the fabric to quarters, wrong side out, and lay it on a carpeted floor. To make    a paper pattern, take a square of paper the size of the folded fabric. Use a drawing pin (thumb tack) to hold a string at the center of the paper in the corner of the fold, and tie a pencil to the other end of the string so that you can mark the radius of the paper pattern (including earn allowance). Pin the pattern to the layers of fabric, draw a pencil line along the curve and tack just inside the line. Cut out through all layers at once. With thick pile or flippery fabrics, cut through, only two layer at a time.

Interior Table Linen designing and decoration

SOFT FURNISHINGS TABLE LINEN

Pure linen will always have its place at a formal dinner table as a partner to porcelain, silver and sparkling cut crystal. Napkins should be made in fabric with some absorbency. Again, linen is the ideal choice. As napkins are reversible, the fabric needs to be plain or a woven design such as a gingham or stripe. Hems should be neatly unobtrusive unless they are contrast bound, scalloped or trimmed with lace or crochet.

The cut of the cloth Match table linen to curtains and they will draw that color or pattern into the room scheme, or if cushions provide pattern contrast in a sitting room, cloths for side tables could be matched to them in a strong supporting role. Tables, sideboards and even mantelpieces were once draped with cloths, often in thick fabrics and heavily fringed or overlaid with layers of linen and lace. 

Even in our much simpler interiors, the full-length cloth over a side table can add style to a room. Though the table beneath may be of humble chipboard, when draped with an antique kelim or a paisley print in rich colors, and used as a base for a collection of objects, it becomes highly decorative. A full-length circular cloth can be cut over long so that it swings out at the hem.

A knee- or floor- length edge can be bound, frilled, padded or fringed. 

Cloths can be used in tandem: a small circle or square can be laid as contrast over the main cloth; Madras muslin can be draped or knotted over a creamy cotton or dark contrasting base cloth, and lace can be swaged over gathered voile for a romantic bedroom. Side tables with sweeping over cloths have a place in the sitting room as an alternative to conventional wooden occasional tables to hold lamps, books and objects. In the bedroom they can take on the role of bedside or dressing table, perhaps hiding a portable television beneath the skirt. Such an elegant table provides a useful surface in the hallway by a front door.

UPHOLSTERY TECHNIQUES and covers – Interior furniture designing and edcoration

 UPHOLSTERY TECHNIQUES and covers

Shape generally most flowing the’ 50 that either way. Stitch it in place with a row of top stitching, angling the needle as you stitch so that the lines of stitching are almost continuous on both sides of the roll. The stitches should hold the roll firmly in place over the edge of the frame. The next step is to use more stuffing to pad the center of the chair inside the roll, holding it to the scrim with bridle ties. Then cover with calico, wadding and the top cover as before. 

When covering a chair with an upholstered back and or arms, always start with the seat section of the upholstery, stretching the webbing to hold padding or springs. Normally, the back (and arm) sections have a hessian backing only: no webbing is needed to hold the stuffing in place. Leave the hessian backing not tracked across the lower back edge when you fit it.   

This enables you to fit the seat covering to the back of the back rail. Fit webbing and springing to the seat, then fit hessian over the springs. Fit the stuffing and form a rolled edge on the seat of the chair, then finish the calico cover, wadding and main cover on the seat, nailing them firmly to the outside of the back rail. Fit stuffing to the back of the chair, using extra bridle ties, and finish with calico over the front.

To neaten the back of the chair, you will need a panel of fabric shaped to fit, with a 2.5 cm turning all round. Press under the turning and slip stitch the panel in place around the sides and top of the chair. Fit the cover to the back of the chair as for the calico cover. To anchor the stuffing to the frame, knock tacks halfway into the frame, and then tie loops of twine between the nails. Knock the nails in to hold the twine and tease the horsehair under the loops in the same way as described for bridle ties. The stuffing is held in place with scrim tacked to the frame.   

You will have to make pleats around the top of a shaped arm or back. The roll of the arm or back is stitched in place as for the seat, and more horsehair laid over the depressions before the calico cover is fitted. The front arm gusset has to be slip stitched in place in the same way as for the back of the chair.