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.

Interior UPHOLSTERY TECHNIQUES -Tips and guidance

UPHOLSTERY TECHNIQUES UPHOLSTERY

The details of stitching and fitting covers depend on the style of the chair or the shape you are covering, but there are some general principles which apply to any shape. The most important rule is to make a careful note of how the original cover, was fitted, including the positioning of webbing and springs, so that you can reassemble the chair in the same way. 

Keep the original fabric-covering for use as a pattern when you come to cut the new fabric. Always include a generous turning allowance so that you have plenty of fabric to grip as you stretch it in place. It can always be trimmed if necessary. If you plan to tackle more involved upholstery techniques, you may find it easier to use a staple gun to fit the fabric to the frame.

GENERAL HINTS

To attach springs, first fit a basket work of webbing to the underside of the chair frame (rather than the top, as described for dining chairs). Position the springs on the webbing; center them at the points where the strips of webbing cross. Stitch the springs to the webbing intersections. The springs are then lashed in place with twine. Drive tacks half way into the frame at the end of each row of springs. Tie the twine to the tacks and thread the twine across the top of each spring to the other side of the frame. Hammer the nails in to hold the twine firmly. The springs should be slightly compressed. Cover with a layer of hessian, tacking it to the top of the rails and stitching it to the springs again with twine.

Continue as for an un-sprung seat. 2 To make a rolled edge, an extra layer of fabric is included in the stuffing. The horsehair is held in place with a layer of scrim (hessian type fabric), which is fitted to the lower edge of the rails. Around the edge of the seat, stitch the scrim to enclose a roll of stuffing. Topstitch the roll in place, enclosing stuffing in the roll made by the stitches. Fasten the thread at one corner of the chair with a couple of backstitches and then grip a roll of stuffing through the scrim at the outer edge of the seat. Stitch it in place with a row of topstitching, 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 untracked 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: them firmly to the outside of the b Fit stuffing to the back of the extra bridle ties, and finish with front.

To neaten the back of the cushion: need a panel of fabric shaped to 2.5 cm turning all round. Pre-turning and slipstitch the panel in the sides and top of the chair, fit to the back of the chair as for the calico To anchor the stuffing to knock tacks halfway into the frail tie loops of twine between the nails in to hold the twine and horsehair under the loops in the s described for bridle ties. The stuff place with scrim tacked to the frail. You will have to make pleats arc of a shaped arm or back.

The roll a back is stitched in place as for tl more horsehair laid over the before the calico cover is fitted. The gusset has to be slip stitched in place way as for the back of the chair. 

A PLEATED PAPER LAMPSHADE – Interior designing and Decoration Tips to reduce the cost of interiors

BINDING THE FRAME OF A LAMP SHADE IN INTERIOR DESIGNING AND DECORATION

 In Interior deigning and decoration by lamp shade, by binding the frame with tape can be stitched to the Iamb shade narrow, firmly woven tape cotton. If you follow the orc will only have to secure one with stitching. . . When the whole frame is bend of the tape under the last, and stitch it in place to give a frill to look nice for decoration of the room to be interior designed.
 

SHADES- A PLEATED PAPER LAMPSHADE IN INTERIOR DESIGNING 

A simple shade should be made from stiff card. You can buy plain colors from art shops, but if you want to use a pattern (wrapping paper or wallpaper, for example) to blend with other furnishings, use lightweight white card and paste the patterned paper to it. t Measure the circumference of the lowering and multiply by 1  -2, depending on the fullness required. Measure a vertical strut, and add 2.5 cm for a slight overhang at the top and bottom of the shade. Cut a piece of stiffened patterned paper to these dimensions.
 
For interior decoration on designing , Decide on a suitable size for the pleats: 12 mm will suit most frames, but you may want to make the pleats smaller for very small shades. Mark the pleat fold lines vertically down the card lightly in pencil, working across the width of the panel. Use the back of the blade of a pair of scissors to score the card: score every other fold line on the right side of the shade, then turn over and score the alternate lines on the back of the card. 
 
Fold the card concertina-wise, following the scored lines: this is easier if you use a metal rule as a guide, folding the card crisply over the ruler. 3 Trim the end folds (or waste) so that you can lap one end nearly over the other, and glue in place. 4 Use a fine punch to make holes in the pleats, 12 mm from the upper edge of the card, centering the holes between the fold lines.
 

Thread cord or ribbon through the holes for interior designing and decoration with do it yourself tips

Fit the shade over the frame and draw up the cord. Tie the ends in a decorative bow, or fasten ends together inconspicuously inside the shade. 5 To hold the shade to the frame, use a strong thread to stitch over the cord and the frame between each pleat. You can finish the lower edge in the same way for a firmly fitted shade.
 

BINDING THE FRAME in interior designing and decoration

By binding the frame with tape, a fabric cover can be stitched to the lampshade frame. Use a narrow, firmly woven tape in unbleached cotton. If you follow the order shown, you will only have to secure one end of the tape with stitching. When the whole frame is bound, tuck one end of the tape under the last loop, turn under and stitch it in place to give a firm finish.
 
For a crisp effect stiffens the fabric with heavy iron-on woven interfacing (buckram). Binding in a contrasting color gives a neat finish.
 
Use the frame to draw a paper pattern for the shade; mark a straight line the same length as a strut and position the strut along it. Then roll the frame over the paper, marking the position of each ring as you go with a series of dots. Join the dots to make smooth curves. Allow a 2 mm (! in) overlap at the end. Cut the pattern out and check that it fits before cutting out the shade in two pieces, allowing a single overlap on each piece. Cut iron-on interfacing to the size of the paper pattern and the fabric with a 6 mm turning all round. Cut bias strips 2 cm wide, plus 6 mm turning down each edge, and long enough to go around each ring plus a turning at each end. Press turnings under. Fuse the fabric to the interfacing, leaving the turnings free.
 
Position the binding around the top and bottom of the panel so that the raw edge of the binding is 12 mm (} in) from the edge of the panel and stitch in place on the fold line of the binding. Wrap the turning of fabric over the stiffening and fit the shade over the frame. Glue the overlap in place. Slip stitch the fold of the fabric to the bound frame all around and Fold under the opposite edge of the binding and turn under the ends so that they meet neatly. Wrap the binding over the frame and slip stitch or glue in place. 
Making lamp shades with do it yourself tips and tricks for interior designing and decoration of your home stitching and making lamp frames to make it beautiful look

Interior game services and guidance and tips

Interior designing and decoration tips and guidance to do yourself, interior designing and decoration for Living roomBedroomKitchenBathroom, GardenExteriorsinterior designing and decoration products and materials sale online for the small houses and homes of the rich. Painting suggestions and guidance and painting color combinations for the walls and doors as well as ceiling and the doors. Furniture settings in interior designing and decoration with curtains and wall surfaces to decorate the house. Tables and matt placement space management in interior designing and decoration.

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