Drapery & Design PROFESSIONAL 2014 Issue 2 by Drapery & Design PROFESSIONAL Magazine

Drapery & Design

P ROFE SSI ON AL Volume 2014, Issue 2

Cover Story

Debbie Green: A Family Affair The Pagoda Cornice From the Business Coach

Are You Afraid? Drapery & Design Professional

Volume 2014, Issue 2

S er v ing the C u s tom Home F u r n i shi n g s Indu s tr y si nce 1993

From the

Publisher A

s a business owner, I learned early on that to be successful, there must be guiding principles in place to lead a company into the future. These principles must represent a leaderâ&#x20AC;&#x2122;s core values, and must be easy to instill within all staff members. Guiding principles are the concepts that a company wants to be known for, and are at the heart of the company mission statement. At the CHF Academy and Drapery & Design Professional magazine, our three guiding principles are: Respect, not only for ourselves, but also for the industry we represent. Respect by acting and speaking in a positive way that builds esteem in others, and motivates people and businesses to build a passion for this industry. Recognition of hard-working people as they lift up this industry, helping others to grow and do what they can to keep their businesses fresh and moving forward into the future. Reward each other in many different ways. It may be as simple as a thank-you, an act of kindness or truly acknowledging someone for an outstanding job.

Khiki Eke-Spiff Publisher, Drapery & Design Professional Magazine

This year weâ&#x20AC;&#x2122;re wrapping our guiding principles around an award we are proud to announce. Later this year someone will be named the Drapery & Design Professional of the Year. Turn to page 59 to learn more about how we want to honor someone very special in the window coverings industry. It may even be you!

- Khiki Eke-Spiff

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2014 D&D Professional

Editorial Board Connie Sikora has more than 20 years of experience in the soft furnishings industry as a sales and design consultant doing business in the Chicago area. She specializes exclusively in window treatment design for her own business, as well as Custom Decorators, the largest inhome window treatment consulting company in the country. Connie has served as executive director and instructor at CHF Academy, was the managing editor of this trade publication, and served two terms as president of the WCAA Chicagoland chapter.

Jill Robson, owner and creative director at Designs by Appointment, has an extensive background in the visual and textile arts, and considers custom sewing for the home a facet of this field. As lead instructor for WT301 and WT401 Advanced Drapery Panels for CHFA, education plays a significant role in her business (Jill also holds a teaching degree). She regularly attends business focused meetings, industry specific seminars and is a member of several trade associations, including: WCAA, D&D Pro Network, WFCP, and DraperyPro. Jill feels strongly that education should be ongoing in order to stay aware of design trends, fabrication methods, new products and current industry developments.

Sandra VanSickle is an ardent entrepreneur, continuing education instructor, and lifelong learner, with nearly 40 years of experience in the window fashion industry. Sandra’s newest “passions” are technology and social media. Using her technology “tools,” she is always looking for new ways to use mobile apps to optimize her business operations to increase her Return On Investment (ROI). She is the proud owner of Sew What’s New, a wholesale drapery workroom, and Cuddlebugs-nCocoons, an online, international retail business featuring her blanket and bedding designs.

Beuancha Jeffries, operates Sew Cozy Interiors, a custom drapery workroom in Snellville, Ga. It has served retail/ wholesale clients since 2003. She holds an associate Degree in electronics from DeVry University. She is a Career Professional in Advanced Window Treatments and Bedding from the Chf academy. She is a member of WCAA and Designer Workroom Council. Visit her website at www.sewcozyinteriors.net.

Michele Williams is the owner of The Scarlet Thread LLC. She also runs a successful life and business coaching practice, offers business education around the country, and continues to offer window treatment design and fabrication services. Earlier in her career, Michele worked for Dun & Bradstreet Software as a development manager for financial applications. Michele serves on the WCAA National board of directors as vice president, and is a past president of the Atlanta WCAA chapter. She is also a member of the Designers’ Workroom Council in Atlanta, Ga. Michele was formerly the communications director of the Custom Home Furnishings Academy and editorin-chief for Drapery & Design Professional magazine. Check out her website at http:// www.scarletthreadconsulting.com.

Jo Moore has operated Jo’s Sewing Studio since 2004, but began specializing in home-décor fabrication in 2007. Before she took her business full time in 2005, she worked in magazine editorial for 13 years. She’s a WCAA Certified Window Treatment Workroom, a CHFA Career Professional in Window Coverings and Cornices, was featured at the 2010 IWCE Alumni Showcase, made Cincinnati Magazine’s Best of the City 2010 list, and serves on WCAA’s Education Committee. This is her fifth year as copy editor for Drapery & Design Professional magazine.

Magazine Advisory Board Karen Barnes, Liz Hawkes, Greg Mohr, Judy Peters, Susan Scholl, Chrystal Younger

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Drapery & Design PROFESSIONAL a publication of the

Custom Home Furnishings Academy Drapery & Design PROFESSIONAL is a bimonthly trade publication specifically for those who sell, design or create custom window treatments, upholstery, slipcovers and related services. Contributions from readers are welcomed. We look for articles that teach new techniques, inspire readers to tackle new projects, and inform readers of current trends in fabrication and design. To request submission guidelines or a media kit, email editor@DDProNetwork.com

Table of Contents 8. Cover Story — Debbie Green

A Family Affair

Are You Afraid? — Michele Williams

From Concept to Completion Part Two: Dust Skirts — Donna Cash

— Linda Erlam

— Tammy Paradoski

— Jann Newton

— Roger Magalhaes

— Julie A. Wood

Tell Me How You Really Feel — Judi Turner

— JoAnne Lenart Weary

— Jill Ragan Scully

Painting — Jill Robson

— Sandra Van Sickle

12. From the Business Coach 14. Redecorating a Bedroom

20. Take Control of Your Cord

24. Detaching a Semi-Attached Back Cushion 28. Pedals Pillow

32. What Type of Installer Are You? 34. WCAA Launches 2014 Calendar 38. Designing With Emotion

40. My Top Ten Tips for Decorating Success 43. The Pagoda Cornice 48. Out of the Workroom 52. Photo Measures App

CHF Academy 300 South Polk Street Pineville, N.C. 28134 Phone: 704-333-4636 Fax: 704-333-4639 Scan the QR code to receive your master index list.

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Drapery & Design Professional

Volume 2014, Issue 2

By Debbie Green Hendersonville, Tenn.

Cover Story

Debbie Green: A Family Affair

n 1983, I was raising two young boys ― Owen and Lee ― but I also had a strong desire to use my creative skills. So I started a design company. Like most people in this industry I wanted it all: family and career … to be a superwoman. I believe it was my “I can do anything attitude” that gave me the confidence to tread new waters. My design business, Dandelion Interiors, has been through many transitions through the years, and will continue to evolve as the trends and needs of my clients change. I began my business in a 100-year-old antebellum home, which I inherited from my grandparents. To showcase my design talents, I turned every room of the house into a showroom featuring the latest in custom designed window and bedroom treatments. It wasn’t long before I realized I had to hire employees, but I stayed with my roots and decided not to move into a retail space. I found inspiration in the home of my grandmother, and the charm of the old house was also a huge asset to my business. Almost every year, I redecorate one room to showcase the latest design trends. Clients who come to view the treatments often ask, “Does anyone live here?”

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Several years after I started my design business, I enrolled in an Advanced Business Concepts class that drastically changed my life and my business. The class gave me the motivation to start systematizing every aspect of my business. Before then, I never dreamed that a custom-oriented business could be systematized. I also learned that, in fact, every business could and should be systematized ― it’s the key to being efficient and increasing your bottom line. After this enlightening course, I developed the philosophy, “Do the Same Thing the Same Way Every Time!” That one concept changed my life and business forever. In 1997, I joined my local WCAA chapter, and happened to show the group my measuring, work order and instructional systems that I’d created. The group immediately wanted to know whether these products were for sale. At that moment, Minutes Matter was born. In 2003, I decided to expand the company even more by adding Minutes Matter Studio, which is our graphic software program. At the same time, I added two partners: Owen and Casey, his wife. Casey’s creative talent is a big asset to the company. Casey and I have spent countless hours educating ourselves by attending business seminars, reading articles and books, and conferencing with other business professionals. We strongly believe that knowledge is the best advantage for a growing business. We also rely on Owen for our company’s technological advances. With our distinct talents integrated, we were able to create a very successful partnership.

a giant leap forward for us. Everything got easier! With Firefox and Xmarks sync, we could access information from any computer with one click. We use Google Calendar and Google Drive, which includes Google Spreadsheets, Google Docs and more ― allowing us to share files. Long gone is the need to email documents back and forth. Once we became a cloud-based business, we didn’t have to worry about backing up our data, or ever reinstalling software. In fact, we rarely print anything. In 2013, since our company had been so blessed, we decided to give back even more so others could have a brighter future. Casey volunteered to conduct a computer class at Lincoln Village Ministries, and, of course, I couldn’t resist offering my services. We purchased a cloud-based software curriculum for grades 2 through 8 to make sure they were learning on their grade level. Young minds can learn so fast when they’re given the chance. So far, I think creating PowerPoint presentations has been their favorite part of the class. Almost every Wednesday, I travel from Nashville to Huntsville to help out in the computer class. Casey and I love all the hugs we get from the kids. It seems Maddie, my 12-year-old granddaughter (one of Casey and Owen’s daughters), has been blessed with technology skills. In fact, last year she began working a few hours a week for Minutes Matter. She’s learned to use Google Spreadsheets, Infusionsoft, Podio and The Lounge, Minutes Matter’s forum. If you’re registered on The Lounge and didn’t add your avatar … well, Maddie has added one for you.

In 2007, my husband, Jerry, joined Minutes Matter and Dandelion Interiors full time. Like me, Jerry wears many hats at both companies. You’ll see him at shows, and you might speak with him on the phone from time to time. At the beginning of 2010, I decided to move our business to the clouds and joined Google Apps, signed up for a cloud-based customer relationship management application (Infusionsoft), and signed up for accounts with Facebook, Twitter, Dropbox, Xmarks, LastPass and Evernote. This was

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I absolutely love technology and love sharing my knowledge with others. I’ve conducted countless seminars, which include a wide variety of topics, such as “Inspiring Ideas,” “QuickBooks & You,” “Capture the Best Shot,” “Measuring Solutions,” “Designing Start to Finish,” “Power of Marketing,” “PowerUp,” and “10 Ways to Increase Your Profits With Studio.” I also create blogs and newsletters that are emailed to our customers. The blog and newsletter include such topics as organization, computers, technology, design ideas, QuickBooks tips, and more! Our company has grown tremendously since it was established in 1997. One thing that has never changed, however, is our attitude to give our customers more than they expect. We’re always listening to customers and adapting products and services to meet their needs. We feel that staying current is the most important part of keeping our business successful. Because of this philosophy, every product that we offer has

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gone through multiple revisions to make them better than before. We know that there’s always room for improvement and we’re never afraid of change. "

Minutes Matter offers a variety of products to meet the needs of the design industry. These products include the Measuring System, Instructional Systems, Work Order System, and more. One of the company’s biggest sellers is the graphic design software, Minutes Matter Studio and Studio Online (a monthly subscription). By using Studio, designers can create beautiful window and bedding illustrations to scale on a computer. The program maximizes the design process, saves hours of time during consultations, and eliminates costly communication errors. QuickBooks & Quoting 7.1 consolidates the estimating and accounting processes in an existing QuickBooks program. Now it’s easier than ever before to quote and close a job on the spot! Designers can design a treatment in Studio, and then use QuickBooks & Quoting 7.1 to calculate the yardage and create the estimate! To learn more about the Minutes Matter products, visit the website at www.minutesmatter.com or call the office (800-343-0616). You can also connect on Facebook, Linkedin, Twitter and Pinterest.

Debbie Green has been president of Dandelion Interiors Inc. since its inception in 1983. She’s developed numerous design products and graphic design software, all of which are now under the corporate umbrella of Minutes Matter Solutions Inc. and are sold internationally. Debbie tours the country educating designers and sharing her creative, innovative ideas. She also presents seminars on measuring problematic windows, using fabrication techniques, photographing interiors, and implementing today’s technology.

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Are You

Afraid? By Michele Williams Alpharetta, Ga.

e all have a fear of something related to our business: Fear that we won’t be able to accomplish a task before us. … Fear that the window treatment we’re making isn’t just like the rendering. … Fear that we can’t install it properly or that we’re forgetting something. … Fear that we can’t design a room with all the elements that we need to show our vision, or that the client won’t fall in love with our vision. … Fear that we won’t be paid. … Fear of even handing over the invoice. … Fear that we might fail. … Fear that we just might succeed. At some point in business, all of us have had to deal with fear. Some of us may still be battling it. Fear can be defined as an unpleasant emotion caused by the belief that someone or something is dangerous, likely to cause pain, or a threat. Fear isn’t a bad thing, but too often we let it define us or stop us. We can’t do that. I’ve seen this acronym for fear: False

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Evidence Appearing Real. Many times the things that we fear most never happen. We may stop ourselves short of achieving a goal, or totally sabotage our opportunity for success for a fear that may never materialize. According to author and speaker John C. Maxwell, “The greatest mistake we make is living in constant fear that we will make one.” One way to push through our fear is to first identify it. Write down what you’re most afraid of happening in your business. For example, “I am afraid that the client will not love the finished product.” After identifying the fear, make note of how you will solve the problem. For example, “If the clients don’t love the finished product, I will work to understand better what they wanted and to make changes to ensure their satisfaction. Custom products and ideas will take custom solutions.” By doing this, you’ll take the uncertainty out of the situation. Now, if you go into the situation and it just so happens that the clients don’t love the finished product, you’ve

already dealt with the emotion behind it and can go directly to solving the problem. According to the late writer and corporate trainer Dale Carnegie, “Inaction breeds doubt and fear. Action breeds confidence and courage. If you want to conquer fear, do not sit home and think about it. Go out and get busy.” In business, this can be part of a risk analysis. What can go wrong? After identifying the risk, evaluate the likelihood of this happening. Many times the likelihood is very small, but we spend a lot of time thinking about it and worrying. Writing down these fears and addressing them head-on prior to the situation actually happening helps tremendously to react with a professional attitude. One of the best books I’ve read on this subject is Failing Forward by John C. Maxwell. In this book Maxwell discusses failure and success ― and how to define them. We’re often most afraid of failure of some type. If we can redefine failure as an opportunity to learn how not to do something, we are really ahead of the game. According to Maxwell, “The only guarantee for failure is to stop trying.” My question for each of you is this: What are you afraid of? Write it down, analyze it and consider it. Make a plan to deal with the fear. Don’t let fear of failure or success stop you. Be who you were created to be. Use your gifts and talents. I will leave you with this quote by former first lady Eleanor Roosevelt: You gain strength, courage, and confidence by every experience in which you really stop to look fear in the face. You must do the thing which you think you cannot do. "

Michele Williams is the owner of The Scarlet Thread LLC. She also runs a successful life and business coaching practice, offers business education around the country, and continues to offer window treatment design and fabrication services. Earlier in her career, Michele worked for Dun & Bradstreet Software as a development manager for financial applications. Michele serves on the WCAA National board of directors as vice president, and is a past president of the Atlanta WCAA chapter. She is also a member of the Designers’ Workroom Council in Atlanta, Ga. Michele was formerly the communications director of the Custom Home Furnishings Academy and editor-in-chief for Drapery & Design Professional magazine. Check out her website at http://www.scarletthreadconsulting.com.

What FEAR is:

FEAR-

Drapery & Design Professional

False

Evidence

Appearing

Real

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Redecorating a Bedroom

From Concept to Completion D

ust skirts, bed skirts, dust ruffles, or bed ruffles are all terms for the three- or four-sided skirts covering the space between the top of the bed’s box spring to the floor. The finished length may be just above, to, or breaking on the floor. The term I use most is dust skirt because of its purpose, which is to hide the view under the bed and keep it free of dust. The most often asked question by my students is how to make a dust skirt for a bed with side rails and a footboard. The typical style of skirt covering the space between the box spring to the floor has limitations. The reason for this is the skirt sides would have to go outside of the bed’s sideboards and the skirt foot inside of the footboard. That’s OK as long as you make your skirt with split corners and add gussets. Very often, however, my clients don’t want to cover the sideboards of the bed.

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Part Two: Dust Skirts

By Donna Cash Flowery Branch, Ga.

My solution to this type of bed is to make a three-piece skirt. The skirt is attached to the bottom of the side rails and footboard using hook and loop tape. This style of skirt has a shorter finished length and uses less fabric. Because of this, fabrics with a smaller pattern repeat are a better option. Measure the side rails from the headboard to the footboard and from the bottom of the side rail to the floor. Measure the footboard from side to side and from the bottom of the footboard to the floor. Oftentimes the lengths on each of these will be different. If the finished length is to brush the carpet, measure from the bottom of the side board and footboard to the top of the carpet being careful to not crush the carpet, or the skirt will be too long. For the skirt in this article, the sides will each have one pleat in the center and a 3-inch half-pleat at each end. Because I

was short on fabric, the foot section won’t have a pleat in the center, but it will have a 3-inch half-pleat at each end. (Using a half-pleat at the ends rather than just hemming the ends of the skirt sections gives the ends a nicer finish.) The center pleat had a total of 11 inches in the pleat due to the repeat of the stripe. For my cut length, I add 4 inches for a double 2-inch hem, 1 inch for a small flange at the top of the skirt (a new technique

I decided to try for this article), and 1 inch for my loop tape. Altogether I added 6 inches to my finished length. On heavyweight fabrics I may add another inch for workroom allowance. It’s best to have a little to cut rather than being caught with not enough! My cut widths for the lining are the same as the cut widths for the face fabric. The cut length for the lining is the finished length plus 1 inch for the flange, and 1 inch for the loop tape.

Step 1 After marking fabric cut lengths on the face fabric and lining, cut your fabric widths and join the seams using ½-inch seam allowances. The tool you see here is the Clover Hera Marker, which I found at WAWAK and which marks a creased line on fabrics. It works great on light color fabrics and lightweight fabrics. No worry about removing marks.

Step 2 At the lower edge of the face fabric, fold in and press a 4-inch hem. I don’t like knife-creased hems, so I finger press or use the side of a ruler to gently press.

Step 3 Tuck the raw edge in to create the double 2-inch hem. Finger press or press using the side of a ruler.

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Step 4 Place the lining on the table right side up. Unfold the pressed hem on the face fabric and place this right side down on the lining, matching the bottom edges. Pin along the 2-inch mark. This becomes the stitch line for your hem.

Step 5 Stitch a 2-inch seam allowance in each of the dust skirt sections.

Step 6a Press the 2-inch seam allowance toward the face fabric.

Step 6b If you were to tuck the raw edges into the other fold of the face fabric and bring the lining over, it would look like this. Right now, however, weâ&#x20AC;&#x2122;re going to work on the side hems.

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Step 7 Fold the sides right side together with the seam allowance folded toward the bottom of the hem.

Step 8 After pinning the side seams in place, stitch a Â˝-inch seam allowance.

Step 9 Turn the skirt sections right side out, press and mark the finished length. Fold in the 3-inch half-pleats at each end. Fold in the center pleat. Then sew along the finished length line to keep all the layers together.

Step 10 Before folding and stitching the flange, cut away the back of the pleats to remove bulk.

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Step 11 Create a fold adding about a inch above the finished length stitch line, folding the fabric to the back side of the skirt pieces. Stitch along the original finished length stitch line. This creates the flange.

Step 12 Cut your loop tape (the soft side) wide enough for each of your skirt pieces. Place the loop tape aabove the flange and stitch only the edge of the tape closest to the flange.

Step 13a Serge the remaining edge of the loop tape, removing any excess fabric from the skirt.

Step 13b The front and back sides of the completed skirt will look something like this.

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Step 14 Press self-stick hook tape (the hard side) to the bottom of the sideboards and footboards. Follow up by stapling every 6 inches or so (a hand stapler will work just fine). You don’t have to use self-stick hook tape, but it makes the job easier. Note: When I’m designing this type of skirt, I always make sure the clients are aware of me stapling into their bed. It will never show, but I don’t want any unhappy surprises at the installation!

Step 15 Press the skirt into place.

In the next issue: We’ll create a custom coverlet for the newly decorated room. "

Donna Cash owns Designs by Donna, a soft furnishings design and fabrication studio, opened in 1989. The studio is located in Flowery Branch, Ga., and serves the Atlanta Metro area. In addition to working with wholesale and retail clients, Donna conducts private training on workroom fabrication techniques in her workroom or yours. She also presents group seminars on many workroom, design and business topics for the home-décor industry. Donna is a regular contributor to Drapery & Design Professional magazine, and conducts webinars for the Window Fashions Certified Professional program. She is a member of Designers Workroom Council and Window Coverings Association of America. Donna is president of the WCAA Atlanta chapter.

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Take Control of

Your Cord By Linda Erlam Salmon Arm, B.C., Canada

ecause I live about 450 miles from the nearest city with an industrial iron repair guy, I donʼt use industrial irons in my workroom; I use a professional-level “domestic” iron, which I quite like. But the cord that drags across my worktable has made me crazy for years. Every time I went to the carwash and looked at the mechanism in the ceiling that held the hose, Iʼd think to myself, Thatʼs exactly what I want. Then I finally got one of those downtimes with enough spare time to actually figure out how to do it. Itʼs amazingly simple. You need some supplies you can get from the hardware store, a piece of rod, your trusty drill and thatʼs about all.

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You need a good sturdy base to attach the Lazy Susan to, but not something too heavy ― ¼-inch thick laminate flooring seems to be just about right, and my local hardware sells samples for $1. I got four bases out of one sample. I used to use anodized aluminum rod for my Roman shade weight rods and I still have some lengths around, but you could use a RollEase rod or any other sturdy lightweight metal rod. I tried some fling rods, but they didnʼt work very well because there’s too much bend. Supplies and Materials • 4-inch Lazy Susan mechanism • 1, 6-inch piece of floor laminate • Saw to cut the laminate • Screws and screwdriver • 2, 2-inch swivel clip rings • 2 plastic cord clips • 2 end caps • 30 inches of 4-inch rod • 2 binder rings

Step 1 Drill a hole in each end of the rod large enough for the binder ring to easily fit through. A metal drill bit goes through the aluminum quite easily.

Step 2 Slip the binder ring into the hole â&#x20AC;&#x2022; one at each end of the rod â&#x20AC;&#x2022; and put the end cap in place.

Step 3 Lay the Lazy Susan on the laminate and trace around the outside edge of one of the plates. Cut on the traced lines. Sand the edges off a bit.

Step 4 Set the Lazy Susan on the laminate and rotate the swivel to expose the screw holes in the base. Use appropriate screws and attach the base to the laminate. I used No. 4, a-inch screws.

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Step 5 Turn the base over. Attach the rod to the base with the plastic cord clips. Open the binder rings and slip the swivel clip rings into place.

Step 6 Attach the other plate of the Lazy Susan to the ceiling. Rotate the base until you can see the screw holes. Insert screws and screw up into the ceiling. Use an anchor if you like.

Step 7 Insert one long screw into the ceiling just behind the base along the path the cord takes to the wall. Leave enough screw exposed so that the rod will hit the screw and prevent the rod from rotating 360 degrees. Attach a large cup hook to the wall as a guide for the cord. Open the swivel clips and insert the iron cord. "

Linda Erlam is the owner of Design Sewlutions based in Salmon Arm, British Columbia. Linda designs and creates draperies, slipcovers, Roman shades and bedding, as well as assisting clients in color coordination and furniture placement. Sheâ&#x20AC;&#x2122;s also a Hunter Douglas Professional Dealer. Linda currently writes the Design Dilemmas column for her local newspaper, Lakeshore News, and just published her first book, Every-Day Design Dilemmas: How to Take the Guesswork Out of Decorating. You can find out more about her at her website, www.designsewlutions.ca.

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F ur n i s h i n

emy

Cust

Unique Expressions

E s t. 1 9 9 3

If you would like to receive a

SUMMER Course Catalog please contact the Student Coordinator.

info@CHFAcademy.com Classes to be held in Roswell, GA

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Before

Detaching a

Semi-Attached Back Cushion By Tammy Paradoski Arlington Heights, Ill. Before Detail

n the previous issue I discussed how to deal with details on furniture that a client wants hidden with a slipcover. This article will address how to alter furniture such as turning a semi-attached back cushion into a detached cushion. Sometimes this will be the suggestion of the client, and other times you will determine that the alteration makes the most sense or will improve the overall finished design. Although it may be intimidating to consider making permanent changes to a clientâ&#x20AC;&#x2122;s furniture, the results can be beautiful and impressive.

After

Supplies and Materials Glass-head pins Fabric 5/ -inch medium welt cord 32 Waxed thread for hand sewing Bonded nylon thread for walking-foot machine Polyester batting Medium density foam (talk with foam supplier to determine appropriate firmness for application)

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Step 1 If the back cushion is in bad shape you will need to make a new cushion insert. Measure the width, height and depth of the existing cushion. In the case of a boxed or Turkish corner, single-welt cushion, measure seam to seam and deduct the cushion depth from that measurement to determine the actual width of the cushion.

Step 2 Find the seams where the cushion is attached to the furniture; this will vary on each piece. With this chair itâ&#x20AC;&#x2122;s along the top and bottom of the cushion, and down the sides to about where the top of the arms meet the back of the chair. Evaluate which seams can be cut or opened to best remove the semi-attached cushion in the cleanest way. Also determine whether removing the cushion will cause the guts of the furniture to be exposed. If this is the case, consider stapling fabric to the frame to cover the exposed areas.

Step 3 Using a seam ripper, open the seam.

Step 4 Once the seam is opened, pull out the stuffing or cushion insert. This allows you to see what is going on underneath the cushion. At this point the cushion cover is still attached.

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Step 5 Determine the best place to cut the excess fabric, which will usually be done by following the seams around the perimeter of the cushion. Generally it is better to cut off less initially until you are able to see what is underneath the semi-attached cushion. You can always cut more fabric off, but it is much harder to add it later.

Step 6 Once you have cut away the front of the back cushion cover, evaluate the best way to neatly deal with the leftover loose fabric, and then trim the additional excess. With this chair, you can see that the back of the cushion cover is made of an interfacing-type fabric.

Step 7 Fold the raw edges under and hand sew excess fabric to the base of the chair.

Step 8 Make the new back cushion by cutting a piece of foam that is 2 inches smaller â&#x20AC;&#x2022; all the way around â&#x20AC;&#x2022; than the finished size and depth of the old cushion. Then wrap the foam with six layers of polyester batting to make up the difference and soften the foam. (For example, if your finished cushion size is 32 inches wide x 24 inches high x 4 inches deep, you will cut the foam 30x22x2 inches. In the instance of a T-cushion like this, make a template to verify the proper fit and shape, and then deduct the 2 inches all around.)

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Step 9 Fabricate the slipcover as usual.

Step 10 Watch the client enjoy the results! "

Tammy Paradoski is the owner of Daisy Chain LLC, a full-service retail drapery studio created in 2000. She specializes in the high-quality craftsmanship of window treatments, bedding and slipcovers through attention to detail. Her studio serves clients in both Chicagoland and Metro Detroit. She is a CHFA instructor, a WFCP Workroom Certification Instructor, a member of WCAA, and the founder of the Chicagoland Workroom Professionals.

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Petals Pillow By Jann Newton Bloomington, Ill.

ecently I’ve been making pillows for my granddaughter’s bed. She’s still in a crib, but in the next few months she’ll move to the double bed that’s already in her room. It’s so fun picking out the fabrics and pillow styles for her. I love this petals pillow that I found at Pier One, and decided it would be perfect to make for a little girl’s room.

Supplies and Materials w yard of fabric (I used an outdoor fabric that has a lot of body so that the petals wouldn’t be limp and floppy) 16x12-inch pillow form Thread to match fabric

Step 1 Cut out the front and back pieces at 16x12 inches.

12" 16"

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Step 2 Cut out 160 circles for the petals using a bottle that you have around the house as the pattern. My circles are approximately 2 inches in diameter. There are 32 flowers on the pillow, and five petals in each flower, so 160 petals are needed. I found it easiest to keep all of the petals in a small box to keep them together during the different sewing phases. Keep in mind that the edges of your fabric will fray. If this bothers you, you could use a product like Fray Check fray preventer on the edges, but be sure to test it on a scrap first.

Step 3a Fold each petal in half, and sew a few angled stitches across one corner. â&#x20AC;Ś

Step 3b â&#x20AC;Ś This is how the petal looks opened up after one corner has been sewn.

Step 4 Sketch out where you want your flowers to be placed. Here I used seven rows of flowers, staggered 5-4-5-4-5-4-5. I did get the measurements from the Pier One pillow, but then I also played around with it to make sure I liked the spacing.

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Step 5 Mark your dots on the pillow front with a fabric marking pen.

Step 6 With each petal folded in half, place your first layer of petals with the stitched corner on the dots, and all petals facing the same direction. Sew a few stitches over the stitches sewn on the petal corner.

Step 7 Pin the second layer of petals over the first layer, but rotated a little. Each layer moves around in a circle, like a pinwheel. Be sure to unfold or open up the petal already sewn on before adding the next layer. 2nd layer

1st layer Ââ&#x20AC;&#x201D; open

Step 8 Repeat Step 7 three more times until your flowers have five petals. After the fifth layer of petals is sewn on, unfold and finger press open this layer.

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Step 9 With right sides together, sew the pillow front to the back. Be sure to pin back the flowers so they donâ&#x20AC;&#x2122;t get caught in the seams. Clip the corners, and insert the pillow form. Hand sew the pillow closed. "

Jann Newton, owner of Newton Custom Interiors, has operated her home-based retail and wholesale workroom in Bloomington, Ill., since 2000. Jann is a Window Coverings Career Professional from the CHF Academy, and a member of WCAA. Learn more about Jann and check out her blog at www.newtoncustominteriors.com.

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What Type of

Installer Are You?

By Roger Magalhaes Franklin, Mass.

s installers we must cater to several audiences during the process of any project. We interact with designers and decorators and the client, which in most cases is the home owner. Depending on the complexity of the project, we also get involved with fabricators, project managers and workrooms. I’ve been installing window treatments for seven years, and in that time I’ve discovered that everyone involved has the same goal ― beautiful results and a happy client ― but often the various personalities play a part. I’ve identified four personality traits that installers tend to exhibit on the job, as well as tips for improving the perception (and the overall project).

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The Above-All Perhaps you’ve heard that “the installer makes or breaks any job.” Some installers simply know they’re great at doing what they do and, unfortunately, let their egos get in the way. When that happens, they usually make comments to the home owner or to the people in charge of the job while at the installation, such as “I think the designer should have used this or that instead.” I’ve even heard cases of the installer diminishing the designer’s knowledge in front of their clients. Their egos are so big they won’t even welcome suggestions while at the jobsite. Above all, they know everything (or think they do).

Tip: Never let your ego get in the way of your work. Humbleness will you take you far, but your ego can knock you down. Designers and Workrooms: Involve your installer in the process early on ― he or she will have a different perspective, and that information could be key. If your installer still exhibits attitude, carefully explain over a friendly cup of coffee that he or she reports to you and that you’re in charge. If that still doesn’t work, you may need to find a new installer to join your team. The Superhero To some designers, decorators and workrooms, the installer is simply the superhero from the cartoons. They can do anything. The home owner saw this crazy picture of a massive drapery job and wants something “just like that.” The designer agrees because he or she just trusts that you can do just about anything. On one hand it’s nice to have the respect from your peers; it makes you feel appreciated. On the other hand, it adds pressure because they simply trust your “super powers.” Tip: Develop a great relationship with your designers, builders and accounts. Explain to them that it’s very important for you to be part of the process from the beginning. That way you can prevent potential issues from happening. Designers and Workrooms: Be sure to give a heads-up so your installer’s super powers don’t have to be called upon too often. The TV Star If you’ve been in business even for as little as two installations, you probably have already realized that on installation days, you’re the center of the attention. The client will greet you at the door, help you carry the goods to the room, and offer you something to drink, and, even worse: will want to watch you on the ladder. That’s when things really should change. Besides the extra pressure of having someone watching you working, you’ll also have someone watching you “tweak” things in order for them to work properly. Tip: If you’re working by yourself, explain to the client that you would feel better working alone and that if there’s any problem you’ll communicate right way. Designers and Workrooms:

If you’re there, take the client to another room to discuss the “next project.” The Fireman This is how I believe installers should be and act. The first role of any fireman is not to put out fires, but to prevent them. As I’ve mentioned earlier, installers should be firm about participating in any project from the beginning. I install for several websites that sell window coverings direct to the end user. They recommend my installation services, so I make it clear to the consumers that measuring accurately is the most important step of the whole process. Over the years I’ve had several people (including dealers and designers) tell me, “I know how to measure.” My reply is simple: “I understand you know how to read a tape measure, but ordering window coverings within specs of your windows is very different.” As the conversation progresses and I still see resistance for them to pay the measurement fee, I politely explain the extra fees they’ll incur in case the goods don’t fit. In most cases I’m able to convince them to bring me on board early on. What happen when the client already has the product and simply contacts you for the installation? Well, if everything fits, everyone wins. But if there are any problems, the other side of The Fireman kicks in: putting out fires. The No. 1 rule of a good installer is to keep calm and just think about what you need to do to solve the situation: Modify a bracket, use a longer screw, or perhaps just get touch-up paint to cover some scratches. In case there’s a major problem, approach the client and explain that you’ll need to return upon receiving the new parts or new product but rest assured “everything will be fine.” Designers and Workrooms: Putting out fires takes time and costs money. Call your installer ahead of time to ensure an efficient installation and a great finished product. There’s always enough credit to go around. So, Installers, the next time you’re called for a job, try to act more like The Fireman with a bit of The Superhero, leave The Above-All at home, and hope The TV Star can stay out of the spotlight. Happy performing! "

Roger Magalhaes owns Shades IN Place Inc., specializing in window treatment installation and sales. He has been trained by CHF Academy and certified by Hunter Douglas, Somfy and Norman Shutters. Roger is known for his attention to detail and superior customer service. He is a member of WCAA, WAOA and the D&D Pro Network, and can be contacted at roger@ shadesinplace.com or visit www.ShadesInPlace.com

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WCAA Launches

2014 Calendar

By Julie A. Wood Dery, N.H.

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his year, a select group of WCAA National leaders crafted the idea of having a WCAA calendar. This team of volunteers worked tirelessly to review the more than 140 entries from WCAA members far and wide! When the group met to review, all submissions were voted on blindly ― meaning the group did not know who submitted the photos and applications. It’s with great pleasure that the 2014 WCAA Calendar top four winners are announced. Top Winner: Calendar Cover (Pictured at left) Wendy Appleby Your Home by Wendy LLC Columbia, Md. Wendy’s room, the formal parlor, is in a house built in 1828. Wendy was chosen to decorate this room for the 2013 Historic Ellicott City Decorators Show Home. The only window

in the room spans from floor to ceiling, with a ceiling height of 12 feet. The window itself is an 8-foot-wide shallow bay. A show house rule was to not drill into the original plaster moldings, so the treatment is board mounted, and cantilevers the window so as to appear to be mounted to the molding. Wendy wanted a traditional heavy drapery turn-of-the-century look with a more modern take. This treatment allowed her to use two fabrics with a tassel trim. Wendy chose the chenille striped damask for the treatment with a maize colored silk for the lining. The nontraditional way the draperies are tied back add to the overall appeal. Wendy has been doing residential design for about 15 years. She still feels honored to be asked into a client’s home “to help turn their homes into a reflection of them.” The other winners ― in no particular order ― are:

Evelyn LaLicata Design by Evelyn Brick, N.J.

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Evelyn LaLicata Design by Evelyn Brick, N.J.

Calendars can still be ordered by contacting karen@wcaa.org. WCAA plans to continue this calendar for 2015. Stay tuned for details! "

Sharon L. Ferraraccio Old Market Windows LLC Bloomsburg, Pa.

Julie A. Wood is owner of The Leading Edge Drapery LLC, a wholesale workroom for soft home furnishings, slipcovers and upholstery (headboards, ottomans and small furniture). Julie is a graduate of Our Lady of the Elms College in Chicopee, Mass., with a degree in art education. She worked as an art educator for nine years in Londonderry, N.H., public schools. Julie then completed a certificate in interior design at the New Hampshire Institute of Art. Julie holds both WCAA certifications, and is a CHFA Career Professional in Window Treatments. Continuing education is a priority for Julie: â&#x20AC;&#x153;The more you know, the more you grow.â&#x20AC;? Julie also teaches a soft furnishings course at the New Hampshire Institute of Art. She resides with her husband, Dan, and son in Derry, N.H.

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Old meets new with this idyllic country setting depicted in needlepoint paired with a current fabric offering.

Designing With Emotion:

Tell Me How You Really Feel By Judi Turner Dover, N.H.

etting to know a client is often the most challenging part of a new project. We tend to focus on the project. Roadblocks come up when we realize that our vision and the client’s may not be the same. Identifying what their emotional interest is in the final outcome can be a key to a successful collaborative experience. Having been in this industry for more than 20 years, I was interested to get all the psychology behind a customer interaction so that I could avoid the pitfalls that come with doing custom work. I’m not interested in identifying a person as “X”, “Y” Or “Z” but, rather, determining his or her emotional connection to seeing this project completed. This is actually a question that you could just come out and ask the client without the risk of crossing any emotional fences. The answer could possibly give you some other valuable information to use when proposing fabrics, fabrication and style. There is more of a trend now to follow emotional connections. This concept is a bit of a departure from the forecasting done in the past that looked more at objects or colors for trend forecasting. There continues to be an eclectic interest that allows for an emotional connection in retro items to override aesthetic. Getting to know the emotion behind your client’s interior preferences may be a key to successfully navigating the items that stay and the new items coming into a space. Or they may help you sell from one supplier over another. Use this information when you propose specific design choices and you may see quicker close times, less negotiation over product and supplies, and increased satisfaction with the end result. The emotion usually comes from an overriding personal interest. To dismiss the emotional connection is almost equivalent to overriding the interest. The general trend groups follow

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three types of emotional character ― preservation, nostalgia and perseverance ― and I think you may see some of your current clients falling into one of these categories. (Please note that these are not formal names for current trend groups; they are general characteristics behind the emotion component in current trend pieces.) There have always been people who are very keen on living in a sustainable way, and they want the benefits of the earth either in an interest of healthy lifestyle or steward of the planet. These clients will be interested to know the fiber content of fabrics and materials used, and country of origin for sourcing (domestic or foreign made and transportation). They will want to know that they’re making responsible choices for their interiors. Find out how important these issues are to the current project before you spend too much time on the design side. Another type of client may be one who is interested in history, particularly his or her own. He wants to feel connected to the past but also in making it fit into modern time. There is a big introduction of morphing and images of the past with contemporary objects. He may want to keep objects in his space for emotional reasons, but he may also be interested in objects that reflect pieces in history but have a more modern twist. Fabric companies are introducing prints that have classic motifs but use a trendy color palette. Collage is also a huge design motif that can unify disparate objects. Get to know what kind of connection your client wants to have to history so you can incorporate and propose items that fit his emotional need for the design. Are we experiencing another renaissance? Some believe that the time we live in now will show a tremendous amount of

innovation and experimentation. Because technology puts the world at one’s fingertips, the possibilities are virtually unlimited for finding what you want and need. Needs are being met with products we would have never dreamed about just a few years ago. People can self-publish and find self-help for almost anything. Because of this open pipeline to information, if you can’t find what you need, chances are you can create it with parts that may already be out there. The clients who have a tendency to be inventive are going to want to know that what they pick is also transitional down the road. That could be in space design options for living, fabrics that are high performance for wash ability or insulation, or that maybe they could convert a piece of furniture into something else down the road should their needs change. "

A unique use of nostalgic saucers can serve as post holders to hang fabric or as tiebacks for panels. This idea can be incorporated into a room where the client wants to make the emotional connection to the past.

Judi Turner has been owner/designer for Domicil Design in Dover, N.H., since 1992. Starting business in Germany, global inspiration continues to be an interest and influence. Domicil Design is a resource for clients looking for custom treatments, slipcovers, DIY supplies and soft furnishings. Judi is the current president of the WCAA virtual chapter.

Use fabric selection to unify pieces that a client has an emotional connection to in a “seaside” space: Nantucket basket coffee table, faded cabbage rose cottons, block print botanicals and comfortable stripes.

A morphed image of classic Elizabethan and modern print patterning shows how modern technology can take a rich historic image and re-create it through morphing ― thereby creating an image that is neither futuristic nor historic, but “today” and current.

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My Top Ten Tips for

Decorating Success By JoAnne Lenart-Weary Waterford, Pa.

hen I began decorating professionally about 35 years ago, there were so many rules. Symmetrical arrangement was critical … woods and metals must all match … walls should be light … furniture was sold in sets … all of which resulted in stiff and boring spaces. Quite frankly, it was a very limiting approach to decorating. At best, it was almost impossible to make a mistake. At worst, it was impossible to design a creative masterpiece. As time went on, I realized these dated rules impacted not only the aesthetic value of a space but also the emotional value. How we behave and interact in a space is largely impacted by placement, color and the interior décor selected. The bottom line is we have much more leniency with decorating today than years ago, but there are still guidelines that will help you make decisions resulting in a fabulous space each and every time. Let me share my Top 10.

1. Make It Personal. It isn’t what you like or the current style du jour ― it’s all about the people who live there. If you’re offering professional advice, close your mouth and listen. Encourage your clients to visit Pinterest or Houzz, or to explore magazines to find design ideas that delight them and inspire the process. 2. Trust the Golden Mean. The Greeks believed beauty required the three “ingredients” of balance, proportion and harmony. With regard to proportion, they also discovered that when something was visually pleasing, it typically followed the Golden Ratio of 0.618 or, as we refer to it, the rule of twothirds. Those of you who have a custom workroom, use this mathematical formula on a daily basis. The Golden Ratio is a tool you will use again and again when decorating a space. For example, when trying to determine what size of a furniture piece you can place on a wall, simply multiply the wall dimension by 0.618 (or more simply 2/3). Need to decide what size art over the sofa? Multiply the width of sofa by 2/3. 3. Learn the Art of Hanging Art. Position your art based on the function of the space. In a room where you’re typically seated ― e.g., living room or dining room ― hang the art 54 inches up from the floor to the center of the art. In a room where you’re typically standing ― e.g., foyer ― position the art at 60 inches up from floor to center. Use this as your starting point even in a room with high ceilings. You may then choose to stack art to accommodate the ceiling height. 4. Acknowledge the Anchor. When hanging wall décor over a piece of furniture, the bottom of the frame should be within 6-10 inches to feel unified with the anchor furniture. 5. Make It all About the Conversation. Yes, we know many people believe the TV is the star of most family rooms, but the reality is it’s the people who sit on the furniture that

Photo 1

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make a room rock. So bring them close enough to encourage conversation. Create a core conversation group that allows seating for five to six people encompassing an 8- to 10-foot span. (See Photo 1 at the bottom of Page 40.)

Photo 2

6. Remember That Odd numbers Are Always “In.” Whether you’re creating an accessory vignette or deciding how many walls to paint in a room, odd numbers are always the answer. Cluster accessories in groups of three, five or seven. Paint one or three walls to create an accent wall. 7. Do Your Chandelier Math. For the best size, simply convert the width and length of a room to inches, then add them together to come up with minimum diameter of ceiling light. For example, a 15x15-foot room will become 15+15=30, giving you a minimum 30-inch diameter chandelier. For height, figure 2½-3 inches of ceiling height; the chandelier for an 8-foot ceiling would be 20-24 inches in length. 8. Apply the Principle of Repetition. Repeating shapes, color or other design elements creates a sense of balance in a room. One way we’re seeing this today is the use of multiple chandeliers over a table or island. (See Photo 2 at right.) 9. Measure for Crown Moldings. Figure ½ inch for every foot of ceiling height for minimum crown molding width. For example, an 8-foot ceiling will require a minimum of 4 inches of crown molding. 10. Remember that Color Saturation Is More Important Than Hue. It’s not the color that matters, but the level of intensity that matters. Learn how to establish your client’s saturation threshold using my simple Color Saturation Test. Email me at the address below for a free recording of how to give your client this quick test. (See Photo 3 at right.) Bonus Tip: Insert a surprise element in every space. This guideline isn’t as black and white as some of the others, but it is critical to remember the wonder and joy of creating a beautiful room for yourself or a client. Every space needs something that makes you pause and adds that personalized touch. In my next article, let’s talk ways to add elements of surprise to a space. "

Photo 3

JoAnne Lenart-Weary is a 35-year decorating veteran known for her beautiful rooms, creative training, powerful coaching and the founding of The Decorating and Staging Academy. Contact her at joanne@ thedecoratingandstagingacademy. com.

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The

Pagoda Cornice

By Jill Ragan Scully Hastings, Minn.

uring my travels to Japan in my 20s I was fascinated by the pagoda roofs in the town of Narita in which I stayed. I was mesmerized by the city’s many religious structures, historical pride and impeccable attention to detail. I always hoped I would be able to implement this inspiration into a design. The day finally came when I needed a treatment for our master bath … so I chose the pagoda style cornice.

Supplies and Materials Marker/pencil Pattern paper Tape measure and straightedge French curve Carpenters square Wood products: OSB/plywood, flexible plywood (sometimes called “bendable lauan”), 1x4 lumber Saws: jigsaw and circular Drill and flat-head screws Pin nailer and pin nails Pneumatic stapler and staples

Staple remover Hammer Eye and ear protection Adhesives: spray, wood and fringe Scissors Cornice padding Cardboard tack strip Lining and interlining Fabric Embellishments Gimp

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Step 1a Decide on the overall shape. For this project I chose a picture I found in a design book. Draw half of the face of the treatment on the OSB itself. Trace the shaped half onto pattern paper, cut it out …

Step 1b … and transfer it facedown onto the other side.

Step 2 Cut the shaped edges with a jigsaw. For the bendable lauan sides, decide on the length, mark and cut to the length of the face board with a circular saw. Cut the mounting board the same width as the face board.

Step 3a Attach the face board to the mounting board with screws; be sure to pre-drill your holes first. Attach the bendable lauan strips to the sides. Secure first with screws at the top …

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Step 3b â&#x20AC;Ś and then use wood glue and pin nails down the sides.

Step 4 Cut your padding for the front and adhere with spray adhesive. Then cut the padding strips for the sides, again securing with spray adhesive. Be sure to also secure the seams with a small amount of spray adhesive and pinch to seal together where the front padding meets the side padding.

Step 5 Line the inside of the pagoda. First use interlining, and then lay lining over the top to add that extra finish. Secure with staples around the perimeter. Closely trim off extra fabric along the sides.

Step 6 Line the face of the pagoda with interlining and secure to the sides with staples.

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Step 7 Cover this layer with face fabric and staple. Cut â&#x20AC;&#x153;fingersâ&#x20AC;? along the curved edge to help pull the fabric smoothly to the inside of the pagoda.

Step 8 Apply welt around all four edges of the face. Staple your facing strip onto the edges, using a tack strip along the welt to create a crisp fold when pulled to the inside of the pagoda.

Step 9 Staple to the inside, and trim off the excess.

Step 10 Repeat this for the sides and the top, tucking and trimming all extra fabric.

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Step 11a Apply trim to the bottom edge if desired, â&#x20AC;Ś

Step 11b â&#x20AC;Ś as well as any other embellishments to the face.

Step 12 Cover all staples and raw edges with gimp on the back side using fringe adhesive or hot glue. "

Jill Ragan Scully is the owner of Impressive Windows & Interiors, a full-service design and fabrication studio specializing in overall design, soft furnishings, and window treatments for both residential and commercial clients, located in Hastings, Minn. She has extensive education and experience in fashion, apparel, textiles, and design from the University of Wisconsin-Stout and the University of Minnesota- Twin Cities.

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Out of the Workroom

Painting Compiled by Jill Robson Franklin, Tenn. Jar of Radishes, Two (oil on canvas, 9x12)

ur industry consists of talented, creative individuals. Not only are they designing and fabricating beautiful soft furnishings, they often have another creative outlet that offers an escape from their daily business, and provides another opportunity for self-expression. It can become a passion, a source of inspiration and sometimes another stream of income. In this issue we’ll explore the medium of paint and delve into the inspiration and motivation for two artists who also happen to own successful soft furnishings businesses ― Camille Moore and Judi Turner. You’ll find some interesting common “threads” between these two ladies’ stories: initial intimidation, overcoming that fear, and now a newfound joy and delight in the creative process of painting. They are truly talented.

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Camille Moore Camille Moore Window Treatments & Custom Bedding; Franklin, Tenn. Most of my early memories involve art and creativity. My favorite subject in school? Art. I took fine art from a local Nashville artist (Juanita Green Parks) on Saturdays during my high school years, but I never felt I was “good enough” to take art in college. I would visit the art wing and look at everyone’s art when no one was in class and would be amazed by the talent. I later went to Harris School of Art in Franklin, Tenn., but it closed in 1987 before I could finish the program. I then worked as a medical secretary for a nephrology office (kidney disease), and stayed there for five years. I was the worst secretary ever. My job was to file papers and type, but my favorite job was as the receptionist because I could talk with the patients and their families. Papers? Did I tell you that I'm unorganized and hate minutiae? I like “maxutiae” ― the big picture. I’m not interested in getting down to the nitty-gritty details, except where design is concerned. When we bought our first house in 1988, I took a drapery making/Roman shade class at Watkins Art Institute in Nashville, Tenn. The drapery world really satisfies my need for creativity, design, connection with people, and also my need to do something different each day.

Border Collie (oil on canvas, 8x8) Off and on between 1987 and 2013, I took a few oil painting classes and then would take years off while raising children. Finally in January 2013, I started attending oil painting classes on Tuesday nights. I really like the way my teacher, Jody Thompson, teaches. He never takes my paintbrush to paint on my canvas. (I absolutely hate when a teacher paints on my paintings!) It had been 10 years since I had last painted, and I was really rusty and nervous. I kept at it, however, realizing that painting is for me and is my outlet, my therapy. Two events catapulted me from hobby artist to serious artist: First, my youngest child was going to graduate from high school and would be leaving for a six-month mission trip in September 2013. With an empty nest, I felt the need for something to help me through the transition and to help raise money for her trip. Secondly, a friend of mine commissioned me to paint seven paintings for her relatives as gifts for Christmas! I even entered my first art contest in January 2014 and won first place! (See Border Collie at right.) This is a portrait of Yorma, a designer-friend’s dog. She has the sweetest disposition (Yorma, that is)! This was also my first painting of 2014.

Hazel J. (oil on canvas, 12x12)

The first painting that I ever “sold” was Hazel J at right. My friend Jodi Stanford of Jodi's Window Fashions in Memphis, Tenn., had seen my paintings on Facebook and asked in Spring 2013 whether I would donate a painting for a charity auction to raise money for families wanting to adopt a child. This is the painting that I donated and Jodi won the bid. This robin actually nested on our back porch, and we named her Hazel. One day we were looking at her and we said, “Hey what if she turned around and said, ‘My name is Jennifer!’” So from then on we called her Hazel J. Jar of Radishes, Two (see opening photo) is a very recent painting that I began in mid-March and finished a couple of weeks later. Ruth Zahler of Ruth Zahler̓s Custom Creations had seen a painting on Facebook that I did of radishes in a jar, and asked whether I could paint her something similar. Editor’s note: To see more of Camille Moore’s work, check out her website (www.camillemoore.com/ portfolio/oil/) or her Facebook page (Camille Moore Art).

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Judi Turner Domicil Design, Dover, N.H. My college background was four years working on a Bachelor of Fine Arts degree at the University of Michigan. I majored in Textiles & Fibers, and Graphics. While working on this degree, I was required to take a broad selection exploring basic and other media outside of my concentration areas. So I took ceramics, metal arts, sculpture and a ton of art history. I actively avoided any painting classes for several reasons, two of which were: the cost of basic supplies just to complete the course projects, and fear of the medium. Securely in my “middle years,” I’ve begun to challenge myself to take on the things I found challenging or intimidating with the attitude that you live only once! Two years ago I put down the knitting needles and picked up a paintbrush in the middle of winter to take some classes. I chose oil paints over acrylics or watercolors because I knew that oil would allow me to work on a piece, put it down (drying up and setting over days), then revisit and rework until I felt it was “done.” Call me crazy, but the single thing I loved most about art school was the smell of the oils from the painting class. To jump into this

new art medium was an emotional lift on many levels ― especially after I began to get comfortable with the medium. I paint only what I know will hold my interest. My instructor urging me to start with a piece of fruit or a box was quickly vetoed. My first piece was Patriot’s Day (below). I knew that the variety of surfaces, the “costumes” and the details would keep me interested while I developed a feel for oils. I prefer to shoot high-quality, well-cropped photos to use as reference. Painting is not so much about what you do with a paintbrush as how you look at the subject and process what you see. I was so pleased with the beginning piece that I began a few more in quick succession. I also enjoy taking classes for feedback and tips, and for holding me accountable and moving forward with this hobby. I continue to be drawn to pieces that have interesting composition and color, and I do love a variety of texture especially when it involves fabric! This summer I hope to work on a larger canvas, as well as plein air pieces. I would encourage you to take on an intimidating medium and enjoy the journey of doing something that may bring you more joy than you can imagine! "

Patriot’s Day (oil on canvas, 20x16)

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Plimoth Plantation (oil on canvas, 20x16)

Jill Robson established Designs by Appointment in 2001. Born in England, Jill transferred to Franklin, Tenn., with her family in 1998. Sheâ&#x20AC;&#x2122;s a member of several trade associations, including: WCAA, D&D Pro Network, WFCP and DraperyPro. Jill holds a teaching degree, which helps in her role of educator at CHFA.

Sherman (oil on canvas, 20x16)

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Photo Measures App By Sandra Van Sickle Apex, N.C.

hether you’re a designer, workroom, installer, real estate agent or in the construction industry, the Photo Measures app by Big Blue Pixel Inc. is a must-have. It will help you become more efficient and accurate when it comes to measuring for window treatments, blinds, shutters, and even furniture placement. Simply snap or import a photo, and add measurements. The information is neatly saved to the in-app folder, making it easy to access the details or share with others collaborating on the project via email. Installers, workrooms, and designers especially love this tool because of the visual aspect. They can troubleshoot and work out any problems before starting a project. This app can be used on the Android platforms, iPhone and iPad. The instructions I’m showing are from an iPad. If you’re using a smartphone, you will have the same features, but they just may be in a different location on your device. There is a free version, Photo Measures Lite, which limits you to two photos and places a “Photo Measures” watermark on any photos you export. The full-blown version is $6.99 and well worth the time and effort it will save you in the long run. This app came highly recommended from a builder as well as an installer. I’ve been using it for more than a year. It works well, so I haven’t felt the need to experiment with any other apps that have come out.

Drapery & Design Professional

Volume 2014, Issue 2

Here is how it works: Step 1 Meet the Menu Bar When you first open the app you’ll see the Menu Bar with the following tabs across the bottom (see Photo 1 above): • New or Category: Allows you to create a new file or category for a client’s project. • Photo: Allows you to import or shoot a photo. • Organize: Lets you rename, duplicate or delete photos and categories. • Export: Allows you to email as a JPG or PDF, send to your photo library, or print. • Settings: Lets you tell a friend about the app, play sounds, sync with Dropbox, and Help.

Step 2 Create a New Category Let's begin by creating a new category for a client with the last name of Brink. I like to think of a category as a project or client file. (See Photo 2 at right.) A. Tap on the New or Category tab. (The first time you use the app the tab will be named “New,” afterward it will change to Category.) B. Give the Category a name. In my example I will give it my client's last name, Brink. C. Hit OK, now you will see the Brink category banner pop out on the left side. Step 3 Add Photos Once you’ve created a category for your client, it’s time to add the photos. You will notice the pop-up alerting you that this category does not contain any photos. A. “Add Photo” by tapping on the “Photo” tab. You will now decide whether you will shoot a photo or import a photo from your library. 1. “Take New Photo” tab will open up the camera on your device. 2. “Import from Photo Library” will allow you to select a photo already stored in your photo library. I find it helpful to shoot my photo straight on. If there is an area of concern, I will shoot a few close-up shots. 3. Quick Tutorial: Once your photo is in place, you’ll notice three mini tutorials on the screen that instruct you on how to draw, zoom, and move lines, angles and text box on your image. (See Photo 3 at right.) • With one finger you can draw a new line measure, or use your finger to move a line to a different location on your image. • Use two fingers to move or zoom in on your image. • Select and edit a measure with just one finger.

Drapery & Design Professional

Volume 2014, Issue 2

B. The Photo Edit Bar The Photo edit bar will also appear once you import your first image. You will see the following: Line: You will choose between adding a Line, Angle or Text to your photo. Size: will allow you to adjust the size of your font Rotate: Allows you to rotate your image Help: Contains a Presentation video and written tutorial Done: Will take you back to the man page. 1. Add a Line to Photo From the Photo Edit Bar select the Line icon. You will now see the options for a Line, Angle or Text; choose Line. With one finger, draw a line on your photo, and touch and drag to reposition it in the correct spot on your image. You will also notice the magnifying glass that appears in the upper right corner; this allows you to accurately place your line. (See Photo 4 on the previous page.) Once you add a line, you will notice that the Photo Edit Bar has changed to the Line Edit Bar: • Measure: You will add measurement and comment to line or angle • Style: Allows you to change the style of your line, as well as the ends of the lines. • Color: Change the color of your line. • Delete: Delete current selection • Done: Saves your Image 2. Add Measurement to Line Next you will want to tap on the Measure icon to add the measurements you have taken ― unfortunately it does not do this for you. Enter your measurements in mm, cm, m, ft-in, inches or yards. Enter any important information in the comment field. Then select to make the measurements visible or not. You can now choose to cancel or select OK. (See Photo 5 at top right.)

Drapery & Design Professional

Volume 2014, Issue 2

Follow the directions below to edit your line: • Style of Line: If you would like a different style line, tap on the Style icon. You can change the tips of your lines to flat or pointed, as well as change the look of the line from solid to dotted. (See Photo 6 at middle, left.) • Color of Line: If you would like to change the color of your line, simply tap on your line, making sure it shows the two magnifying bubbles on each end, then tap the color icon. Now chose a color. To add additional lines or measurements, repeat the above instructions. (See Photo 7 below, left.) • Delete Line: Should you need to delete a line, simply tap on it, making sure you see the two magnifying bubbles on each end. Hit Delete. When you’re finished editing your photo, hit Done. The app will then take you back to the Photo Edit Bar where you can now add an angle. 3. Add Angle With the Photo Edit Bar shown, tap on the Line icon, then select the Angle banner (see Photo 8 above, right). With your finger, start to draw a “V,” reposition the lines on the angle you’ve measured. You will now see the Angle Edit Bar. Tap on the angle icon to record the measurement of the angle, and add any important comment. Hit OK. (See Photo 9 at right.) Follow these directions to edit your Angle: • Color of Angle: You can now tap on the color icon to change the color of your lines. • Delete Line: You can choose delete the angle if it is not to your liking (make sure it’s highlighted with the magnifying bubbles). To add additional angles, repeat the above instructions. • Done: Hit Cancel if you don’t want to save, or select Done to save.

Drapery & Design Professional

Volume 2014, Issue 2

4. Add Text Photo Measures allows you to add a text box to your image. With the Photo Edit Bar shown, tap on the Line icon. Select the Az banner (see Photo 10 at the bottom of the previous page). With your finger, start to draw on your image; you will now see a colored text box. To add text, tap on the center of the box. You will see the pop-up that will allow you to add and change the size of your text. In that same pop-up box you’ll see an option to add arrows that point to the area on the photo that you’re commenting on. To change the color of the text box, simply tap on the color icon from the edit bar on the right and select a new color (see Photo 11 above, right). You can also use your finger to move and size the text box on the image. To add additional text boxes, simply repeat the above instructions. Hit Delete to delete your last selection, or Done to save. C. Additional Photo Edit Bar Options The Photo Editing bar has a few more options I would like to explain (see Photo 12 at right): 1. Size: Under the Text icon you will see the Size icon. Tapping this will allow you to change the font size on your image from 8 to 32 points. 2. Rotate: Directly under the Size you will find the Rotate icon. This allows you to rotate your entire image. 3. Help: Here you’ll find a video and written tutorial for quick reference. 4. Done: Selecting Done from the Photo Edit Bar will bring you back to the home screen where you can add, export or organize your projects. Step 4 Get Organized Back at the home screen with the Menu Bar along the bottom, you will see the Organize tab. Once you select that tab, you will see the following on your photo (see Photo 13 at right):

Drapery & Design Professional

Volume 2014, Issue 2

• Green Circle with a x2: Selecting this will allow you to duplicate your image. • Red Circle with an X: Will Delete the image. • Blue Arrow on Image: Selecting this on the Photo image allows you to rename the photo. You can also delete the photo from here. • Blue Arrow on Category Bar (see the banners to the left): Selecting this on the category bar will allow you to rename the project or delete the entire category. Step 5 Export Just to the right of the Organize icon on the Menu Bar, you’ll see the Export icon. • Tap the export icon. • Select the category, or individual images to be exported. • Tap Export. • Select your method of export (send to Photo library, email JPG or PDF, copy to Clipboard, or Print) (see Photo 14 above, right). Step 6 Check Your Settings Settings (see Photo 15 at right) allows you to do the following: • Tell a friend about the app via Facebook, email or Twitter • Gift the app • Turn on or off the sounds in the app • Turn Tutorials on or off • Turn Protect Image on or off (I would highly recommend turning this on!) • Enable a direct sync with Dropbox • Select export quality • Photo Album Copy "

Drapery & Design Professional

Volume 2014, Issue 2

Drapery & Design Professional

Volume 2014, Issue 2

Do You Have What It Takes to Be the

Drapery & Design PROFESSIONAL of the Year? All entrees must be received by September 1, 2014. Please email editor@ddpronetwork.com for more details and information packet.

t CHF Academy, we define a “Drapery & Design PROFESSIONAL” as a respected member of the industry who produces high-quality custom window treatments. This person also contributes to the community by mentoring or assisting others either through the Internet or in person. The contest is open to anyone in the world who designs and fabricates window treatments, and meets the basic criteria listed below. There are five parts to the application ― each of which will be evaluated by a different panel of judges. The judges will be chosen from throughout the industry, and will include workrooms, designers, vendors and industry leaders. Part 1: Basic Criteria Must: • be a Premium Member of the D&D Pro Network • have a minimum of five years in the industry • have a company website and/or blog • be an active participant in window treatment-related activities such as social networking groups, show houses, charities, showcase-galleries, mentoring, and group networking, etc. • have a professional headshot • have professionally printed business cards and marketing materials Note: Employees, instructors and subcontractors of Beautiful House USA/Custom Home Furnishings Academy and their immediate families are not eligible.

Part 2 Tell us your story: When did you get started? How did you get started? Why did you choose this profession? Where do you see yourself in five years? Where do you see the industry heading in the future? Part 3 Show us your work: Please send us a variety of photos of your best work and tell us why you chose each one. You may send up to 20 photos. We’ll provide a link for uploading. All photos must either have been shot by the entrant, or the entrant must have written permission by the photographer (e.g., if they were shot by someone other than the entrant, such as a professional photographer, friend or relative). Part 4 Send us photos of your workroom. Please note that the size of your space doesn’t matter ― it’s how you use the area and how well it works for you. Please submit a floor plan and up to 20 labeled photos of your space. Part 5 Design a window treatment and submit a sketch and work order. (Be sure to send only the design ― a fabricated window treatment is not required.) You can send hand sketches or digital drawings ― the format is up to you. Only original designs, conceived and created by the entrant, will be considered. You’ll find further directions/specifications in the application packet.

Drapery & Design Professional

Volume 2014, Issue 2

Drapery & Design Professional

Volume 2014, Issue 2