Sample: Estimating and Costing

ESTIMATING AND COSTING FOR INTERIOR DESIGNERS

SECOND EDITION

DIANA ALLISON

extended contents

1 The Business of Interior Design 1

The Interior Designer as a Businessperson 2 Business Relationships 2

Box 1.1 Professional Tip: Network with Everyone 4 Importance of Estimating and Calculating Costs 4 Calculating Costs and Client Pricing 5 Measuring and Take-Offs 5 Regional Considerations 6 Box 1.2 Calculations and Pricing Terminology 6 Math in Interior Design 8 Approach to Calculations Dictated by Product Size and Packaging 8 Calculator Language 8 Business Math 8 Chapter Summary 9 Key Terms 9 Exercise: Math Test 9 Box 1.3 Converting Inches to Feet 10

PART 1

WALL AND CEILING TREATMENTS 11

2 Paint 11

Box 2.1 Professional Tip: Proper Wall Preparation Takes Time and Money 12 Coverage and Packaging 12 Cost Factors 13 Calculations 14 Box 2.2 Worksheet: Paint 15 Step-by-Step Examples 16 Example 1 16 Example 2 17

Box 2.3 Professional Tip: Best Business Practices 19 Chapter Summary 19 Key Terms 19 Exercises: Paint 20

3 Wallcoverings 22

Types of Wallcoverings 23 Sizes and Packaging of Wallcoverings 23 Cost Factors 25 Wallcovering 26 Labor 26 Shipping 26 Calculations 26 Methods 26 Deductions 27 Estimating Wallpaper 27 Step-by-Step Examples 28 Example 1 28

Box 3.1 Example 1: A Comparison with Other Types of Rolls 29 Example 2 30 Box 3.2 Example 2: A Comparison with Other Types of Rolls 31 Box 3.3 Worksheet: Wallcovering—Square Footage Method 31 Box 3.4 Professional Tip: The Importance of Wall Preparation 32 Chapter Summary 33 Key Terms 33 Exercises: Wallcoverings 33

4 Other Wall Materials 36

Other Types of Wall Materials 37 Wall Tile 37 Paneling 39 Sizes and Packaging 39 Wall Tile 39 Paneling 40

Cost Factors 40 Wall Tile 40 Paneling 41

Box 4.1 Professional Tip: Necessary Costs 41 Calculations 41 Wall Tile 41 Paneling 42

Step-by-Step Examples 43

Example 1—Wall Tile 43 Example 2—Paneling 44 Box 4.2 Worksheet: Wall Tile 47 Box 4.3 Worksheet: Paneling 48 Box 4.4 Worksheet: Accent and Trim 49 Chapter Summary 50 Key Terms 50 Exercises: Other Wall Materials 51

5 Suspended Ceilings

55

Ceilings: Acoustical and Metal 56 Sizes and Packaging 56

Box 5.1 Professional Tip: Utilize Manufacturer’s Resources 57 Cost Factors and Calculations 58

Step-by-Step Examples 58 Example 1—Suspended Acoustical Ceiling 58 Example 2—Decorative Ceiling 59 Box 5.2 Worksheet: Ceiling Panel/Ceiling Tile 61 Chapter Summary 62 Key Terms 62 Exercises: Suspended Ceilings 62

PART 2 FLOORING 64

6 Hard Flooring 64

Types of Hard Flooring 65 Plank Flooring 65 Tile Flooring 66 Sizes and Packaging 68

Cost Factors 68

Calculations 71

Box 6.1 Finding the Area of the Example (Figure 6.10) 72

Box 6.2 Professional Tip: Floor Pattern Layout 73 Step-by-Step Examples 74 Example 1—Plank Flooring 74 Example 2—Tile Flooring 75 Box 6.3 Worksheet: Hard Flooring Material 76 Box 6.4 Worksheet: Flooring Transition 77 Chapter Summary 78 Key Terms 78 Exercises: Hard Flooring 79

7 Resilient and Soft Flooring 82

Types of Resilient and Soft Flooring 83 Modular Tile/Plank Goods 83 Roll Goods 84 Modular Tile and Plank Goods 84 Sizes and Packaging 84 Cost Factors 85 Calculations 87

Step-by-Step Exercises 87 Example 1—Resilient Tile/Plank 87 Example 2—Carpet Tile 89 Roll Goods 90 Sizes and Packaging 90 Cost Factors 92 Box 7.1 Professional Tip: Necessary Waste in Roll Goods 94 Calculations 94 Pile Direction Guidelines 96 Seam Placement 97 General Notes for Carpet Calculations 98

Step-by-Step Examples: Roll Goods 100 Example 1—Sheet Goods 100 Example 2—Broadloom Carpet 101 Example 3—Carpeted Stairs 104 Box 7.3 Worksheet: Resilient Tile and Carpet Tile 106

Box 7.4 Worksheet: Sheet Goods 107 Box 7.5 Worksheet: Broadloom Carpet 109 Box 7.6 Worksheet: Carpeted Stairs 111 Box 7.7 Worksheet: Carpeted Stairs—Quick Estimate 113

Chapter Summary 114 Key Terms 114 Exercises: Resilient and Soft Flooring 115

8 Custom Bordered Area Rugs 120

Box 8.1 Professional Tip: Repurposing Carpet Remnants 121

Types of Custom Bordered Area Rugs 121 Sizes and Packaging 123

Cost Factors 123

Calculations 125

Step-by-Step Examples 129

Example 1—One-Piece Custom Area Rug 129

Example 2—Two-Piece Custom Bordered Area Rug 130

Example 3—Three-Piece Custom Bordered Area Rug 133

Box 8.2 Worksheet: Area Rug Part One— Labor 137

Box 8.3 Worksheet: Area Rug Part Two— Materials 139

Chapter Summary 141 Key Terms 141 Exercises: Custom Area Rugs 141

PART 3

BUILT-INS 143

9 Cabinetry and Countertops 143

Cabinetry 144

Cost Factors 144 Calculations 144

Countertops 146

Box 9.1 Professional Tip: It’s All in the Details 148

Cost Factors 149 Calculations 149

Step-by-Step Examples 150

Example 1—Tile Countertop 150

Example 2—Engineered Stone Countertop 151

Example 3—Concrete Countertop 153

Box 9.2 Worksheet: Slab/Sheet Countertop 154

Box 9.3 Worksheet: Tile Countertop 155

Box 9.4 Worksheet: Tile Countertop—Trim 156

Box 9.5 Worksheet: Poured Countertop 157

Chapter Summary 159

Key Terms 159

Exercises: Countertops 159

PART 4 WINDOW TREATMENTS 161

10 Curtains and Draperies 161

Curtains and Draperies 162

Gathered Curtains 163 Stationary Side Panels 163 Traversing, Pleated Draperies 164 Cost Factors 167

Box 10.1 Professional Tip: Importance of Communication through Pictures 169 Calculations 169

Box 10.2 Professional Tip: Identifying and Communicating Potential Issues 170 Step-by-Step Examples 173

Example 1—Gathered Curtains 173 Example 2—Stationary Side Panels 176 Example 3—Traversing, Pleated Draperies 178 Box 10.3 Worksheet: Gathered Curtains 180 Box 10.4 Worksheet: Stationary Side Panel 182 Box 10.5 Worksheet: Traversing, Pleated Draperies 184 Box 10.6 Worksheet: Seamless, Traversing Draperies (118+ inches wide) 186

Chapter Summary 188 Key Terms 188 Exercises: Curtains and Draperies 189

11 Fabric Top Treatments, Fabric Window Shades, and Hard Window Treatments 194

Types of Fabric Top Treatments, Fabric Window Shades, and Hard Window Treatments 195

Fabric Top Treatments 195 Fabric Window Shades 198 Hard Window Treatments 201 Motorization 204 Sizes 204

Box 11.1 Professional Tip: Motorization and Home Automation Is on the Rise 205

Cost Factors 205

Fabric Top Treatments and Fabric Window Shades 205

Hard Window Treatments 208 Box 11.2 Professional Tip: Professional Installers Look for More Than Window Measurements 208

Calculations 208

Fabric Top Treatments 210

Fabric Window Shades 214 Hard Window Treatments 215 Step-by-Step Examples 217

Example 1—Gathered Valance 217 Example 2—Swags and Cascades 218 Example 3—Roman Shade 220 Example 4—Balloon Shade 222 Example 5—Blinds 223

Box 11.3 Worksheet: Cornice and Lambrequin 224

Box 11.4 Worksheet: Gathered Valance 225

Box 11.5 Worksheet: Tabbed Valance 227 Box 11.6 Worksheet: Pulled-Up Valance 229

Box 11.7 Worksheet: Swags, Cascades, and Jabots 232

Box 11.8 Worksheet: Roman/Hobbled Shade 234 Box 11.9 Worksheet: Balloon and Austrian Shades 235

Box 11.10 Worksheet: Mock Roman/Hobbled Shade 237 Chapter Summary 238 Key Terms 238

Exercises: Fabric Top Treatments, Fabric Window Shades, and Hard Window Treatments 239

PART 5

SOFT FABRICATIONS 245

12 Pillows and Accent Table Coverings 245

Types of Pillows and Accent Table Coverings 246 Sizes 247

Cost Factors 248

Box 12.1 Professional Tip: Customizing the Detail 248

Calculations 248

Throw Pillows 248 Table Rounds 251 Table Toppers 251 Box 12.2 Professional Tip: Educating the Client 252 Step-by-Step Examples 252 Example 1—Throw Pillow 252 Example 2—Table Round 254 Example 3—Table Topper 255 Box 12.3 Worksheet: Throw Pillow 256 Box 12.4 Worksheet: Table Round 257 Box 12.5 Worksheet: Table Topper 259 Box 12.6 Worksheet: Fringe and Cording 260 Chapter Summary 262 Key Terms 262 Exercises: Pillows and Accent Table Coverings 262

13 Bedding: Spreads, Coverlets, Duvet Covers, Bed Skirts, Shams 265

Types of Bedding 266 Sizes 271

Cost Factors 271 Calculations 273 Bedspreads and Coverlets 273 Duvet Cover 274 Bed Skirt 274 Bed Scarf 276 Pillow Shams 276 Flanges and Ruffles 276 Box 13.1 Professional Tip: Bedding Options 276 Step-by-Step Examples 277 Example 1—Coverlet 277 Example 2—Duvet Cover 279 Example 3—Bed Scarf 280 Example 4—Sham with Flange 281 Box 13.2 Worksheet: Bedspread and Coverlet 284 Box 13.3 Worksheet: Duvet Cover 285 Box 13.4 Worksheet: Bed Skirt 287 Box 13.5 Worksheet: Bed Scarf 288 Box 13.6 Worksheet: Pillow Sham 290 Box 13.7 Worksheet: Flange and Ruffle 291 Chapter Summary 293 Key Terms 293 Exercises: Bedding 294

PART 6

UPHOLSTERY 297

14 New Upholstery 297

New Upholstery 298 Box 14.1 Professional Tip: Quality of Frame Is Most Important 298 Cost Factors 301 Calculations 302 Step-by-Step Examples 302

Example 1—Upholstery Using Manufacturer’s Fabric 302 Example 2—Upholstery Using COM 305 Example 3—Upholstery Using COM with Upgrades and Add-Ons 305 Example 4—Upholstery Using COL 307 Chapter Summary 308 Key Terms 308 Exercises: New Upholstery 308

15 Reupholstered and Slipcovered Furniture 310

Reupholstered and Slipcovered Furniture 311 Reupholstery 311 Box 15.1 Professional Tip: Quality, Comfort, and Style Is Key 311 Slipcovers 312

Cost Factors 312

Reupholstery 312 Box 15.2 Professional Tip: Estimate High 313 Slipcovers 313 Calculations 317 Reupholstery 317 Slipcovers 318 Step-by-Step Examples 318 Example 1—Reupholstery 318 Example 2—Slipcover 319 Example 3—Reupholstery 319 Example 4—Leather Reupholstery 320 Box 15.3 Worksheet: Reupholstery and Slipcover 321 Box 15.4 Worksheet: Fabric Yardage Conversion to Leather Hides 322 Chapter Summary 323 Key Terms 323 Exercises: Reupholstered and Slipcovered Furniture 323

Conclusion The Sales Process 325 Appendix A Exercise Answer Key 327 Appendix B Metric Conversion Table 396

Glossary 398 Credits 407 Index 408

preface

Interior design is a profession that is a combination of art and science. This means that both sides of an inte rior designer’s brain, the logical side and the creative and emotional side, are engaged through the course of a project. Hand in hand with the logical side is the math aspect of interior design. Many novice interior designers or beginning students don’t realize how math-intensive this profession is and how important it is to understand how to estimate. From simple conver sions of inches to feet, use of geometry, and complex calculations to determine costs of jobs, math is used every day.

It is important to note that the first word in the name of this text is estimating. Very experienced inte rior designers may be comfortable quoting pricing to their clients, but most interior designers rely upon subcontractors to confirm figures and calculations before quoting pricing. Being able to understand how to calculate quantities helps to double check subcon tractors’ numbers. Math is math and everyone can make a mistake at any time. Checking, double- and triple-checking calculations becomes second nature to those in this field.

Residential and commercial designers need to understand the basic calculations of materials, the financial implications of the products specified, and how to calculate the prices of these products. There have been few books dedicated to this aspect of the interior design profession. It is important to note that there will be regional differences that occur with product, pricing, and who is responsible for various estimates.

This book explains the relationship between prod uct sizes and calculations. Step-by-step processes are outlined for calculating materials for the projects

designed and created. Examples, scenarios, worksheets, and answers allow the student to understand and then apply the process to real-world situations.

ORGANIZATION OF THE TEXT

This book has been organized in five parts, first cover ing products that are attached to the interior building shell and then covering items that are movable. Parts 1 and 2 discuss wall and ceiling treatments and flooring. Part 3 introduces countertops and cabinetry. Parts 4 and 5 discuss window treatments and other soft fabri cations such as bedding, pillows, and table coverings. Part 6 explains upholstery. The book begins with a chapter on the overall business of interior design, then starts calculations with chapters on walls as these types of calculations have been easier for students to grasp, continues to cover calculations in the other subject matter, and ends with a chapter that discusses what happens when the client places the order.

New to this edition are some pedagogical items such as: Learning Objectives, Chapter Summary, and Key Terms. Additionally, the Insight from the Field has been renamed Professional Tips and several new tips have been included. In this second edition, there is a slight restructuring of content in Chapter 7: Resil ient and Soft Flooring by separating tile/plank goods from roll goods when discussing each type of product. From the first edition, Chapter 11: Top Treatments and Window Shades and Chapter 12: Hard Window Treatments were combined in the second edition into Chapter 11: Fabric Top Treatments, Fabric Window Shades, and Hard Window Treatments. By doing this, Chapters 13, 14, 15, and 16 from the first edition shifted in the second edition to Chapters 12, 13, 14,

and 15. The exercise answers were reviewed from the first edition and math errors were corrected. Even the author makes math errors (it is math)!

Interior design departments in colleges and univer sities focus on various aspects of the interior design profession. Even though this book has been organized in a certain way, each part can stand alone so that the instructor can determine which parts work best for his or her department’s focus. This book can be used by students and practitioners to ensure they are consider ing all aspects of a project.

Chapter 1

The business of interior design is explained to help the student understand the different professions and sup portive teams involved in the interior design field and the interior designer’s role with them. The question of why interior designers should know how to calculate prices for materials is examined, and basic terminology in the field is reviewed.

Part 1—Wall and Ceiling Treatments

Part 1 consists of four chapters that include paint, wallcoverings, other wall materials such as wall tile and paneling, and suspended ceilings. In addition to brief explanations of the products, descriptions of sizes and packaging are included. Six worksheets are also included for various product calculations.

Part 2—Flooring

Part 2 consists of three chapters, including hard floor ing: plank and tile, resilient and soft flooring, and custom bordered area rugs. Brief explanations of the products, product sizes, and packaging are intended to clarify the unique aspects of flooring. Included in this part are eight worksheets of the various types of floor ing products that are commonly used.

Part 3—Built-Ins

Part 3 introduces countertops, with a brief explanation of cabinetry. The discussion of countertops explains the products, sizing, and packaging and includes four worksheets explaining calculations for several different

types. Cabinetry is a distinct niche, and the interior designer calculates prices differently than most other products. Similar to case goods, the designer prices most cabinetry using pricing grids from the manufac turer or from manufacturers’ online resources. Pricing for cabinetry is not addressed in this book.

Part 4—Window Treatments

Part 4 consists of two chapters on curtains and dra peries, fabric top treatments and fabric window shades, and hard window treatments. This part discusses some of the common types of window treatments, including the elements involved with specifications and pricing. Twelve worksheets are included, showing the steps to calculate yardage.

Part 5—Soft Fabrications

Part 5 consists of two chapters—the first one about pillows and accent table coverings and the second one about bedding. Bedding includes spreads, coverlets, duvet covers, bed scarves, bed skirts, and pillow shams. The most common products are discussed, and ten worksheets are included showing the steps in calculat ing yardage.

Part 6—Upholstery

Part 6 consists of two chapters; the first discusses new upholstery, and the second discusses reupholstered and slipcovered upholstery. The chapter on new upholstery explains how to calculate pricing from an upholstery manufacturer’s price list. The chapter about reuphol stered and slipcovered upholstery explains the various issues that the designer must consider when creating an estimate to reupholster an existing piece of furniture. Two worksheets are included showing calculations for reupholstery with fabric and then fabric conversion to leather.

Conclusion

The conclusion takes the student through the process that occurs after the client decides he or she wants to go forward with the project. It briefly describes the process that occurs behind the scenes to the point of installation.

TEXT FEATURES

Estimating and Costing for Interior Designers: A Step-byStep Workbook, 2nd edition provides a logical process for calculating costs of products. Learning objectives, explanations of the types of products, sizes, and pack aging, cost factors, calculations, step-by-step examples, worksheets, chapter summary, key terms, exercises with answers included to help the student fully grasp the information, professional tips, a glossary, and instruc tor’s manual are included.

Learning Objectives

Each chapter begins with basic learning objectives to give a framework for the student.

Types of Product

Certain products require explanation regarding the various types that are available. For one example, the different types of plank flooring and tile flooring require specific considerations when they are being priced.

Sizes and Packaging

Each product is available in unique sizes that are inher ent with each product. Some products are available only in certain quantities. This information provides the designer with an understanding of the units used in calculations and explain the minimums that the designer must consider when pricing so that all costs are covered in the final price.

Cost Factors

Most products have two different types of cost factors: materials and labor. This section will provide some of the possible costs that can occur with each product. Understanding what these costs are allows the interior designer to have fewer unanticipated costs. There will be regional differences that will occur.

Various cost worksheets/schedules have been in cluded that help organize the various components of a project, including materials, costs, and purchase orders, in one summary document. These are intended to minimize omissions when pricing and subsequently ordering product.

Calculations

Students are shown in a step-by-step style how to cal culate the amount of materials needed for the product. These calculations are based on the worksheets that are included.

Step-by-Step Examples

The step-by-step examples give client scenarios for certain products. In the chapters that cover several dif ferent types of products, there are multiple examples. The worksheet is used, an explanation is given for the calculations, and additional tips are provided.

Worksheets

Worksheets have been included for each area. These worksheets can be copied and used multiple times. These are written in a step-by-step manner to help students understand the process. A total of 42 work sheets are included in this book to cover as many var ious products as is practical. These worksheets have been favorites of graduates working in the field.

Chapter Summary

At the end of each chapter the chapter summary helps to recap the main points in the chapter.

Key Terms

The key terms used in the chapter are identified for the student to grasp industry terminology. Keep in mind the same word can be used a little differently depending upon which product is being discussed.

Exercises

Residential and commercial scenarios have been cre ated for the student to calculate and answer. There are three levels of exercises: basic, intermediate, and advanced.

In the chapters that have multiple variations, mul tiple lessons in these three levels are provided for the student. Also included in the advanced exercises are at least one exercise that integrates the quantities calcu lated with per-unit pricing to determine the total price of the product. Prices and pricing can vary quite a bit

depending on the region. These are meant to be exer cises in calculations and not representative of actual prices.

Exercise Answers

Math is confusing. Exercise answers are included in the back of the book for students to self-check their understanding of the process. This is invaluable to stu dents because sometimes their error is simple and pro viding a way to check their answer and their process helps them to understand and enables them to correct the error.

Professional Tips

Sidebars appear throughout the book with advice from professionals representing different aspects of the inte rior design field. These voices provide assurance to the student. Some advice relates to tricky areas when cal culating material, some advice relates to working with the customers, and some advice is given in general for the design professional.

Glossary

The definitions of all the key terms are included in the glossary in the back of the book for students to refer ence when learning terms.

INSTRUCTOR AND STUDENT RESOURCES

Additional resources are available online for both instructors and students. The instructor’s manual pro vides suggestions for organizing the material and addi tional exercises not included in the book. Suggestions for team projects and applied assignments are given. A test bank with an answer key is provided. Since there are regional differences in costs and some variations in practice across the country, the instructor may want to substitute local costs into the lessons provided in the instructor’s manual. It can enhance learning when les sons are layered with existing studios so that students relate the material to their designs.

An Excel spreadsheet of the material calculations worksheet will be available for the instructor’s use. In studios, this can become an advanced tool that, if desired, can be shared with students. PowerPoints for each chapter allow an outline for lecture and discussion.

Student resources online will include material cal culation worksheets and schedules/cost worksheets that can be downloaded and used for the various exer cises. Additional exercises can be accessed to help gain understanding of the specific product.

The Business of Interior Design

LEARNING OBJECTIVES

• Explain why an interior designer must also consider themselves a businessperson.

• Define and understand the role the following have in the interior design profession: vendors, contractors, subcontractors, workrooms, installers, manufacturer’s representatives, and showrooms.

• Describe three reasons why it is important to be able to calculate estimates.

• Explain the importance of being aware of regional differences.

• Define the various terms used in calculations and pricing.

• Understand that math errors are common and math calculations need to be double-checked.

• Demonstrate the ability to utilize the same type of units in math calculations.

• Demonstrate the ability to use complements when working with percentages.

THE INTERIOR DESIGNER AS A BUSINESSPERSON

As interior designers, it is easy to get caught up in the problem solving and creativity of a design project. After all, this is what interior designers love! However, being an interior designer is about more than design. It also means being a professional businessperson and having authenticity, credibility/legitimacy, integrity, personality, and people skills. The ability to design, coordinate, manage, and think outside of the box is important, but if the business aspects are not handled well, the chances of keeping a job and client referrals decrease drastically. Whether the designer is selfemployed or an employee, the client wants someone who is professional and ethical. They want someone who knows the field and who is comfortable to work with. Clients are also looking for the interior designer to be their advocate, to look out for their best interests, and to be able to logically explain design decisions and the roadblocks or issues that come with the project. The client is looking for the “added value,” the intan gible knowledge that the interior designer brings to any project. Designers must be compensated for this added value by an hourly fee, a design fee, profit from products, or any combination of these.

Since they work so closely and intimately with their clients, interior designers get to know their clients very well. It is sometimes possible to cross the line between working relationships and friendships. While this may be unavoidable, the interior designer who remem bers to keep the working relationship separate from the friendship, realizing that this is first and foremost a business, should go far in this field. By acting in a professional manner, the respect and regard of clients are earned. The reward is the hard-earned “client for a lifetime” and referrals. Over the long run, the best clients usually come from word-of-mouth referrals.

Business Relationships

Vendors, contractors, subcontractors, workrooms, and installers want an interior designer who is professional and ethical, understands the way things occur in prac tice, and takes the business side of design seriously. As in most cases, respect of colleagues in the field is impor tant for credibility and must be earned. Networking

and earning respect start very early in interior design. Students sitting in a classroom sometimes forget that those they see in their classrooms and on field trips, including fellow students, the vendors and manufac turers’ representatives, are likely to be their colleagues in the field after graduation.

With this in mind, a closer look at each of these pro fessionals and businesses is warranted.

Contractor—The contractor is responsible for the project including a project’s costs, scheduling, and completion. Sometimes the interior designer works for the contractor, sometimes the interior designer works for the client who has hired the contractor, and sometimes the contractor is the interior designer. Check your state laws for the definition of a contractor, the qualifications of the contractor, and any required licensing and/or insurance contractors should have.

Subcontractor—Subcontractors generally specialize in a certain area of work and are known as electricians, plumbers, cabinetmakers, seamstresses, and installers of all types of products. Some installers own workrooms where the products to be installed, such as draperies, bedding, furniture, cabinets, lighting, and so on are made.

Interior designers subcontract most labor to these types of professionals with detailed work orders while maintaining control of the project. Be sure to check subcontractors’ credentials and to speak with others who have worked with them before you hire them. Check your state laws for any applicable licensing or insurance they should have.

Installer—The installer is usually a subcontractor and generally specializes in a specific area of installation, such as tile, countertops, flooring, window treatments, systems furniture, wallpaper, and so on. Installers can make or break a successful job by their appearance, their communication with the client, their attitude, and their creativity in problem solving issues found at the jobsite. All of these must be considered, along with credentials, when determining whom to hire for the job. Ultimately, they are one of the last faces the client sees representing the interior designer. The interior designer either gets the credit for the success or the blame for the failure of the installation.

Manufacturer’s representative—The manufacturer’s representative (rep) is a person hired by a company to promote and sell the company’s product line to interior designers and interior design firms. Many times, reps’ territories cover several states. They are responsible for maintaining existing accounts and look for new accounts. They can teach the interior designer about their line and how to sell it. Often the interior designer will contact the rep for special pricing on a job with high volume potential or if the job is complex so the rep can help to confirm the correct specifications. The rep is also the person contacted when there are perceived problems with the product.

Workroom—The workroom is the company where the custom items the interior designer imagines and designs are created. This includes window treatments, bedding, furniture, art/stained glass, cabinetry, and so on. Any specifications for

construction of the product designed (furniture, cabinetry, window treatments, etc.) will be given to the workroom to create. The interior designer and the workroom work as a team discussing the design, where it will be located, and determine the best strategy for it to be made and installed. The end product is a combination of the designer’s vision and the workroom’s construction knowledge (see Figure 1.1). The interior designer gets to know the workroom very well. Although workrooms can be found through a search on the Internet, most interior designers find workrooms from referrals from other interior designers and business colleagues. As with contractors and subcontractors, find out if there are any state laws that pertain to a workroom, and make sure they have the applicable licenses and insurance.

Vendor—The vendor is the person or company who sells material, product, and/or services to the interior designer. Usually the vendor requires the interior designer to establish an account and have a sales tax or use tax certificate on file with them. Since the interior designer is normally purchasing at wholesale and is not the end user, the sales/ use tax certificate allows the vendor not to charge sales tax. This keeps the final product from being taxed until it is complete. The interior designer will charge sales tax to the client on most products their client purchases.

Showroom—The showroom is normally a “to the trade only” business that is not open to the public. This means that only an interior designer in the trade can use the showroom to find items and materials for their clients. Some showrooms will represent multiple lines of manufacturers; for example, furniture, fabric, trim, and accessory lines will often be found in one showroom. Many interior designers have close working relationships with their showrooms (see Figure 1.2). There is an unwritten rule when using showrooms: product found at a showroom that is then specified for a job needs to either be ordered directly from the showroom or made sure the showroom gets the sales credit for the order. The easiest way to do this is to specify and order from the showroom even if the interior designer has a direct account with

Figure 1.1

Interior designer collaborating with drapery workroom.

1.2

the line being purchased. This will go a long way toward establishing a good business relationship with that showroom.

An interior designer perceived as a professional, ethical, and reasonable businessperson will find people and companies willing to go out of their way to collab orate on solutions when questions arise or some part of the job has an issue.

Interior designers must be aware of the team aspect that is crucial for a project to be completed. For some, the team may begin in their firm as different profes sionals are brought together for their expertise on a particular project. However, this is not the entire pro ject team. The other, sometimes unacknowledged, team members (manufacturer’s representatives, work rooms, subcontractors, installers, and contractors) involved in completing the project are as important and sometimes more important because they bring the vision to life, hopefully on time and in budget. It is vital to keep these relationships on good terms. If the designer is fair, knowledgeable, and reasonable with those they work with, when something goes awry their willingness to help can be the difference in keeping the project on track and your clients happy.

Importance of Estimating and Calculating Costs

Why is it important to be able to do estimations? In large cities, workrooms and installers are available who can go to the site, take field measurements, and provide

Box 1.1

Professional Tip: Network with Everyone

“Get active in local interior design related and unre lated organizations depending on which area of work you want to pursue – commercial, residen tial, etc. The interior design related organizations are great for networking, support, and for finding additional resources and subcontractors. Chambers of Commerce, professional business organiza tions (including women’s business organizations), social groups (symphony), builders’ organiza tions, apartment organizations, health-care related organizations are a few to consider that are non-in terior design related. These organizations are good avenues for developing an extended client base.”

Joyce Bryant, Allied ASID, RID, NKBA, owner, Aesthetics Interiors and Renovations, San Antonio, Texas

the calculations that are needed. The problem is that there are fewer and fewer workrooms and installers and the demand for their services is great. In smaller cities and towns, there may not be someone else who can measure and provide calculations. The client may not want to wait several weeks until someone can go out to measure and price the job. The ability for the interior designer to take measurements and calculate the costs of the job allows for a faster turnaround of the project and creates credibility in the client’s eyes.

Another reason is to be able to confirm whether the project is within the client’s budget before wasting subcontractors’ time. It is a best practice to do a quick estimate to “qualify” the client. An estimate allows the client to have an idea of how much the project will cost and be able to determine if it fits within their budget. An estimate is a win-win-win for all concerned because it saves the designer, the client, and the installer/work room time if the client decides from the estimate that the project is more than he or she is willing to pay.

The client’s budget is important and should not be ignored. An interior designer can look at the overall picture to balance the needs of the client with their wants within their budget. Life cycle costing comes into

Figure

Showroom employee working with interior designer.

play. Life cycle costing is a way of looking at a prod uct’s price over its life span. A product’s life cycle cost is determined by adding all costs, including maintenance, and dividing by the estimated life of that product. Most durable products generally have a higher up-front cost; however, when spread over their life span, such prod ucts are much less expensive than those that initially have lower up-front costs but are cheaply made, wear out, and must be replaced more often. This allows the interior designer, when dealing with conflicting infor mation such as quality and price, to determine where it is essential to budget for quality products. If a piece of furniture is never or seldom used, it is possible to select a less expensive piece of furniture, allowing more money to go to a well-constructed, more expensive piece that is heavily used. The same is true of floor ing. If there are rooms that are used infrequently, a less expensive carpet can be used in these areas, allowing more money to go to areas like entries, halls, and kitch ens that need more durable flooring, such as bamboo, hardwood, or tile. This allows the client to make more informed decisions on selections in a timely manner before the budget is blown.

If the client is ready to progress after this initial esti mation, more time is taken to develop a quote for the work to be done. Before anything is ordered a quote is given, a signature is obtained, and the appropriate deposit is collected. So, estimation also helps to deter mine the final “hard figures” quoted to the client. The ability to estimate quickly and correctly improves over time with practice.

CALCULATING COSTS AND CLIENT PRICING

Once a price is quoted, the interior designer stands behind that price for better or worse. All foreseeable costs of the specific product need to be calculated before any price is quoted to the client. If the designer does not know the overall cost, the designer might quote the client a price that is too low. In the following chapters the various components of specific products are explained so that the designer can include them in the calculations to find the overall cost. Various work sheets are included to help calculate the amount of material needed. This can then be added into the costs. These worksheets allow for waste. While all pricing calculations will be based on the amount calculated

from these worksheets, it is an acceptable industry practice to add additional quantity to the material needed to allow for breakage, waste, and miscalcula tions. This amount varies based upon the product and the firm’s policies.

Most firms have determined the type of markup or profit margin that is needed to cover overhead and to stay profitable. This amount is added to the over all cost in order to determine the selling price to the client. Pricing calculations must begin with measure ments and account for regional considerations.

Measuring and Take-Offs

Any interior designer responsible for specifications and pricing must obtain dimensions in order to do his or her job. Most nonresidential design work relies on contractors’ or installers’ dimensions and material amounts; however, there are still times when interior designers need to get their own measurements. A field measure where the actual space can be measured is ideal. A clipboard, pencil, graph paper, and a tape meas ure that is a minimum 25 feet long with a 1-inch-wide blade are the standard tools used for measuring. This type of tape measure can extend over a large area, and the width of the tape makes it substantial enough to feed out over distances. Laser tape measures are useful for longer distances but currently are not helpful when trying to measure more detailed areas, such as around windows, doors, and fireplaces.

At times costs must be estimated before the actual space is built, in which case a take-off must be done. A take-off is a calculation of the dimensions to be used in estimating using a scaled drawing of the space along with an architect’s scale. AutoCAD and Revit are help ful in calculating base numbers for some materials, but not all. While materials can be estimated this way, it is important to get actual field measurements once the space is built and to closely watch the project in case there are changes to the structure and space that will influence the quantity of materials ordered and overall costs.

Throughout this book are exercises calculating the materials and costs of various products common in the interior design field. The costs of a product include the price of the material, all material components, ship ping of the material and components, fabrication, and installation. Be aware that no matter how carefully the math is calculated or the contract is written, there are

always unexpected factors, such as indirect job costs or simple mistakes, that will minimize the profits. Do not feel guilty about marking up the product appropriately. Novice interior designers often forget or don’t real ize that the markup isn’t pure profit but that it must also cover overhead. They also must learn not to think about prices based upon their own checking account. What to them seems like an expensive item may be an appropriate price for the product being sold.

In most states, clients are also charged sales tax for what they purchase. Sales tax is not considered a cost since as a collector of the sales tax for the city, county, and state this money is sent on to the city, county, and state. Sales tax is only a cost to the client. However, if the client’s budget is accurate as to how much money can be spent, sales tax must be calculated from the beginning into the bottom line. This will reduce the dollars that can be spent on actual product.

Regional Considerations

In today’s global economy, getting to know the region and the design norms and expectations of that region are important when you are designing and calculat ing prices for the client. Different climates, building

Box 1.2

Calculations and Pricing Terminology

The following are terms used when pricing.

Cost price—The actual price paid to buy the goods from the manufacturer or distributor. It may or may not include shipping and there may be multiple items to determine final overall cost.

Discount—A deduction, usually stated as a percentage, from the suggested retail price. This deduction will vary depending on the product and the vendor.

systems, and cultures have an impact on the interior design, specifications, and how retail prices are calcu lated for the consumer. The cost of labor, installation, material, and shipping will vary greatly from one part of the United States to another as well as one part of the world to another. RSMeans data keeps track of various construction costs throughout North America and is another way of learning regional construction costs. It is available online and as hard copy and is used by many firms when bidding jobs. When becoming familiar with the region where the work will occur, network with other design professionals in ASID (American Society of Interior Designers), IIDA (The Commercial Interior Design Association), NKBA (National Kitchen & Bath Association), NEWH (The Hospitality Industry Network), AIA (The American Institute of Architects), NARI (National Association of the Remodeling Industry), and HBA (Home Builders Association). Attend continuing education events and visit local vendors. Become immersed in the local inte rior design community to learn what is needed.

Be aware that the costs and markups found in the exercises and examples in this book are not intended to represent any standards; rather, they are intended to help in the process of learning calculations and pricing.

Multiple discounts—These are a progression of discounts off the list or suggested retail price. A 50/5 discount is calculated by taking a 50 percent discount off the initial amount. From this figure, an additional 5 percent will be deducted. $100 less 50 percent = $50. $50 less 5 percent = $47.50. This is not the same as adding 50 percent + 5 percent. Do not add these percentages together because they will not give the correct discount. Sometimes a three-tiered discount is used, such as 50/10/5. Again, each discount is calculated from the previous resulting balance. $100 less 50 percent = $50. $50 less 10 percent = $45. $45 less 5 percent = $42.75.

Trade discount—This is a discount given to people in the trade by local retail stores and establishments. These are generally not large discounts, varying between 10 to 40 percent off the retail price. Pier 1, Bed Bath & Beyond, Pottery Barn, Restoration Hard ware, and so on extend these courtesies with proof of business credentials. They also may not charge sales tax if there is a sales or use tax certificate on file.

Freight—The shipping costs (normally referring to semi-truck shipping) involved in the delivery of the goods from the manufacturer to the designer. Some companies use their own trucks on large orders, but most use independent truck carriers for their smaller orders.

Keystone—A code to let a designer know that the price shown at retail is twice the wholesale price. When adding a 100 percent markup, the original amount (100 percent of the price) is added to the 100 percent markup. Cost is multiplied by 2 for a 100 percent markup because 100 percent + 100 percent = 200 percent, or 2.0 when shown as a decimal.

List price—The manufacturer’s published suggested retail price for goods to be sold to the consumer. Manufacturer’s suggested retail price (MSRP)— The manufacturer’s published suggested asking price for the goods to the consumer. It means the same as list price.

Net price—Same as wholesale price. Net price can also be defined as a price to the designer that is lower than the item would cost the customer.

Number markup—Also called keystone; a code, often used in showrooms, indicating that price at retail is twice the wholesale price.

Number + 10 markup—A few showrooms may add an additional amount to the doubled price to allow for such things as shipping/freight and will express it as number +, indicating the additional percentage. For example, number + 10 markup means that the wholesale price is doubled and then another 10 percent is added to obtain the suggested retail price shown on the price tag.

Price list—This comes in two forms: the suggested retail price (the list price) and the net (wholesale price) list to the designer. Designers should always determine which price list they are working with before quoting a price to the customer or estimating a job.

Retail price—The price the retailer decides to charge for the goods. This is not necessarily the same as MSRP.

Wholesale price—Same meaning as net price. Depending on whether the interior designer has direct accounts with the manufacturers or is going through a showroom, this may be a 30 percent or more discount from the suggested retail price list.

It is impossible to discuss calculating costs without a brief discussion of different methods of charging your client for product. The price to the client is dependent on the type of design work—that is, residential, commercial, hospitality, institutional, and so on. Each of these interior design specialties is approached a bit differently based on norms, volume, and region. Several methods are as follows:

Discount from retail—This is a discount given on the merchandise sold to the client. For some manufacturers that don’t have an MSRP (such as carpet), a retail figure must be established before it can be marked down.

Markup from cost—One way of calculating prices is by adding together all costs of the product (material, freight, labor, etc.) to get the true cost of the job, and then adding on the markup percentage. This method gives a consistent percentage of profit.

Profit margin—This is an additional amount calculated to all sales to allow for compensation of overhead, miscellaneous costs, and unknown costs while still maintaining an acceptable percentage of profit. While similar to markup, it is not the same thing. When calculating prices by profit margin, the percentage of profit is higher. For example, a $100 item has a 50 percent markup: $100 × 1.5 = $150. Consider the same item with a 50 percent profit margin: $100 ÷ 50 percent = $200.

MATH IN INTERIOR DESIGN

Frankly, math is math. Everyone makes mistakes, even the most experienced interior designers and installers. As products and quantities needed for projects become more familiar, it will become easier to know when the numbers are off because of a math error. Knowing how to calculate materials and prices allows the designer to double-check another’s calculations. Because mistakes cost the interior designer or the design firm money and sometimes credibility, having this knowledge will help to minimize this loss of profit.

Approach to Calculations Dictated by Product Size and Packaging

There are specific issues with each material and prod uct relating to the manufactured size of the product and how it is packaged and shipped. For example, while many carpet stores sell broadloom (wall-to-wall) carpet by the square foot, carpet manufacturers have traditionally sold it by the square yard. Carpet comes in a roll approximately 12 feet wide and is calculated to order in square yard increments. If someone were to order 6 square feet from a carpet manufacturer, they could receive a 12-foot-wide roll that is only 8 inches long. While it isn’t common that anyone would want just 8 inches of carpet, this example makes the point that we must calculate material and then adjust the quantity according to the product dimensions and standard ordering norms.

Calculator Language

Interior designers become proficient in considering feet and inches in the traditional architectural scale manner of fractions and in calculator language of dec imals. Remember that math functions must be com pleted using the same type of units, feet with feet and inches with inches. A room that is 12 feet 8 inches × 14 feet 6 inches is an example of combined units, feet and inches. These dimensions must be converted to either only feet or only inches; converting to feet creates a more manageable number. When converting feet and inches to decimals in order to use most calculators, the feet in this example are the whole numbers, and the inches are a fraction of the whole and the numbers after the decimal.

Table 1.1 Inches Converted to Decimals

1” .08’

2” .17’

3” .25’ 4” .33’ 5” .42’

6” .5’

7” .58’ 8” .67’ 9” .75’ 10” .83’ 11” .92’ 12” 1’

To convert inches to a decimal, take the number of inches and divide by 12.

Table 1.1 shows inches to decimal conversion. Copy this and keep it handy until this information becomes second nature.

Business Math

The fewer math steps that can be taken to find the answer will lower the probability of a math error. Because discounts, markups, profit margins, and other percentage-driven items are common, a useful con cept to remember when working with percentages is using the complement of a percentage. If a 20 percent discount is given on a product, the long way of calcu lating this is as follows: $100 × .2 (20 percent) = $20. $100 – $20 = $80. A faster way of arriving at the same solution is to consider the complement. The comple ment percentage is the number which added to the orig inal percentage equals 100 percent. In this case, when there is a 20 percent discount, in essence taking away 20 percent, 80 percent is being kept. $100 × .8 = $80. This creates fewer steps to the correct answer, mini mizing the possibility of error.

Using the complement also works with multiple discounts. If a company gives a 40/20 discount, the complement, that is the amount being kept, is 60/80. $100 × 60 percent = $60 × 80 percent = $48.

The interior design business requires designers to act and think as business people. It is important to gain respect and trust from clients and from those who help make their designs reality: vendors, con tractors, subcontractors, workrooms, installers, man ufacturer’s representatives, and showrooms. The ability to estimate and calculate costs for a product or project allows the interior designer to know if it is in the client’s budget to proceed, to gain a poten tially faster turnaround for the project, and to dou ble-check the installer’s or workroom’s calculations to prevent math errors. There are many industry

terms used when calculating costs and prices. Under standing these terms can be the difference between making a profit or losing money. With the many dif ferent types of products specified by interior design ers, calulations will vary depending on the size and packaging of the product. While the types of math calculations for estimation are fairly simple, it is still math and easy to make an error. Making sure to use the same type of units, such as feet to feet or inches to inches, minimizes math errors. Finally, reducing the number of math operations will also minimize the possibility of error.

Exercise Answers

1. 4 + 4 = 8

Most of the math interior designers use is simple math such as this.

2. 18 + 18 = 36

When working with fabrics, understand that 18 inches is 1/2 yard; 36 inches is 1 yard.

3. 36 ÷ 12 = 3 36 inches divided by 12 inches equals 3 feet.

4. 5 × 8 = 40

A common bathroom size is 5 feet × 8 feet, which results in 40 square feet.

5. 40 ÷ 9 = 4.44

Sheet vinyl laid in that bathroom will require 4.44 square yards. 9 is used because there are 9 square feet in 1 square yard and the same units must be used in math.

6. 1.5 × 4 = 6

Calculators work with decimals and not fractions.

7. Convert .5 ft. into inches = 6 in. .5 × 12 = 6 in.

8. Convert .75 ft. into inches = 9 in .75 × 12 = 9 in.

9. Convert 3 in. into feet using a decimal = .25 ft. 12 in. ÷ 3 in. = .25 ft.

10. 6 × 12 = 72 ÷ 9 = 8

A 6-foot × 12-foot space is 72 square feet, divided by 9 square feet is 8 square yards. When you are doing math, it is important to use the same units, in this case square feet.

11. Convert 9 ft. 9 in. to feet using a decimal = 9.75 ft.

.75 ft. × 12 = 9 in.

12. 12 ft. – 8 ft. 3 in. = 3 ft. 9 in

13. What is the numeric equivalent of π? 3.14

14. What is the formula to find the circumference of a circle? 2r × 3.14, where r represents the radius of the circle.

When working with round fabric products, such as pillows, tablecloths or swags, you must some times know the perimeter, or circumference, so that you can order fringe or other trim.

Box 1.3

Converting Inches to Feet

Converting 12 feet 8 inches to a decimal: The inches must be converted to feet units from inch units. 8 inches divided by 12 inches (1 foot) equals .666 feet. Only two numbers are kept to the right of the decimal point. If the third number to the right of the decimal is less than 5, the second number remains as it is. If the third number is 5 or more, the second number should be rounded up. In this case, .666 becomes .67. Therefore, 12 feet 8 inches as a decimal is 12.67 feet.

Converting 14 feet 6 inches to a decimal: 6 inches divided by 12 inches equals .5 feet. Therefore, 14 feet 6 inches as a decimal is 14.5 feet.