Drapery & Design
P ROFE SSI ON AL Volume 2014, Issue 1
Cover Story
Meet Jackie Von Tobel Button-Back
Faux-Pleat Valance Challenge:
Working Around Obstacles and Uneven Measurements Drapery & Design Professional
Volume 2014, Issue 1
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
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From the
Publisher W
elcome, 2014 Network Members. My name is Khindu (Khiki) Eke-Spiff, and I am the CEO of Beautiful House USA. Recently, my company acquired both Drapery & Design Professional magazine and the Custom Home Furnishings Academy. I have been in this industry for many years, and started out like most of you ― as a person who found a way to earn a living in the custom home furnishing industry. I began my career as a teenager by sewing and selling home-dÊcor items, and eventually grew my business into an international design company with locations in Africa, Dubai and the USA. One of my life goals has been to open a school to teach these skills to many people all over the world. I attended CHF Academy as a student back in 2005 and fell in love with what Cheryl Strickland was doing for the industry. I knew back then that this was something I wanted to capture and reproduce for my own school. I am truly honored to be a part of CHF Academy and Drapery & Design Professional magazine, and will now be able to blend this piece of history into the plans for a new international educational experience. The future is bright for the window coverings industry, and I am looking forward to meeting many of you along the way. "
Khiki Eke-Spiff Publisher, Drapery & Design Professional Magazine
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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 Chicagoland chapter of WCAA.
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 Professional forum, WFcp, and Drapery Pro. 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 life-long 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- n-Cocoons, 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 Associates Degree in Electronics from Devry. 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 our website at www.sewcozyinteriors.net
Michele Williams is the owner of The Scarlet Thread, LLC. She runs a successful Life and Business Coaching practice, offers business education around the country and continues to offer window treatment design and fabrication services. Prior to a career in coaching and textiles, Michele worked for Dun & Bradstreet Software as a development manager for financial applications. Michele serves on the Window Coverings Association of America (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 Drapery and Design Professional Magazine Editor-In-Chief. 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. From the Business Coach:
Who Are You? - Michele Williams
The Ripple Box Pleat - Karen Lander
WCAA Members and Kids Cancer Connection - Karen Lander
- Tammi Paradoski
Working Around Obstacles and Uneven Measurements - Tammi Le Nair
With Faced Headings - Mary Grice
- Roger Magalhaes
- Judi Turner
From Concept to Completion Part I - Donna Cash
- Dawn Saunders
Relax, Research, Reinvigorate Lacemaking- Jill Robson
11. A Versatile Hybrid Drapery Pleat: 14. Giving Back:
17. Slipcovering a Tufted Ottoman 22. Challenge:
26. Roman Shades
30. What a Pain in the Neck 32. Upcycle
36. Redecorating a Bedroom
40. Button-Back Faux-Pleat Valance 45. The Three R’s:
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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If you would like to receive a CHFA Course Catalog please contact Peggy Brewer
980-254-5385 E s t. 1 9 9 3
300 South Polk Street, Pineville, NC 28134 — peggy@CHFAcademy.com
Draw your own inspiration...
beautiful fabrics at exceptional value 800.945.3838 www.trend-fabrics.com Drapery & Design Professional Volume 2014, Issue 1
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From the Business Coach
you? Who Are
By Michele Williams Alpharetta, Ga.
Y
es, that is the question. Who are you? Are you who you want to be in business, or are you who others want you to be? This is a serious question that demands a serious answer. Each of us will be hard pressed to succeed (however we define success) if we don’t know who we are. Having worked with many workroom and design business owners over the years, the question may often be phrased in some form of “Do you do wholesale or retail? Residential or commercial?” There is much more to the question than a single-word answer, however. Many business owners, no matter the industry, don’t know who they are in business, so that leads to not knowing who they’re called to serve. To determine who you are in business, let’s answer a few questions. First: “What do you value?” Can you name three or four values that are super important to you? These are values like integrity, family, beauty, love, success or kindness. Values so meaningful to you that you could not work if those values were not present in the course of doing business. Consider your personal values. Write them down, and then write a sentence or two on why they matter to you and how you can capture each specific value in your work and life. The second question is this: “What are you passionate about?” What do you love doing so much that you would
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almost be willing to do it for free? What jazzes you? What makes color come alive? Again, think through your day-today dealings. What parts of your job do you enjoy the most? Write down these areas that bring you the most satisfaction, and indicate why if you can. Consider the last time you were able to work within your passion. How did it make you feel? What was the situation? Could it happen again? OK, those two questions got you thinking. Now here’s the third: “What do you dislike about your job or tasks?” Just as with the above exercise, consider your workday. What areas do you put off until the last minute? What tasks are so irritating or bothersome or depressing that you make yourself face them ― but grumble and complain the entire time (even if it’s only in your head)? Great. Now we’re getting somewhere. You may be asking, “Why do these things really matter? I take the work that comes my way. It’s called work for a reason and it doesn’t have to be enjoyable!” Or, “I can’t afford to be who I want to be and do what I want to do. I have to do what pays the bills.” There may be some truth to each of these statements. Our attitude, however, greatly affects the work that comes our way, the work we seek, and the work we maintain. If we work in a way that allows our values to be honored while we
passionately do what we love ― there will be a difference. Our customers will be in tune with us. Their values will match ours and we’ll work in harmony. We’ll provide exemplary service and product because we’re working in our strength and not our weakness. We will exude a positive attitude that will draw the customers in. They’ll want to continue working with us. Whenever we work in an area where we’re forced to go against our innate value system, or are working in an area where we lack passion ― others can tell. They can read it on our face and in our actions (think response times, attitude on the fourth phone call, etc.), as well as in the product or service we deliver. Instead of looking to what the “customer” wants ― consider what you want. Build your business on your values and passions. Then market your values and passions to the customers who share the same traits; they will be much easier to sell to and so much easier to work with. We all are quite aware when we get the “red flag” (or even pink) that waves in the wind of our minds. We try to stop the flag from flapping and take the job knowing the entire time we should have just walked away. Has this happened to you? Which of your personal values or passions did you ignore to take the job? Was it worth it in the end? Maybe next time you can walk away ― that might not be a customer you were meant to serve. Or, you can consider taking the work and giving it to a subcontractor who loves that particular task (assuming the values line up).
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We aren’t meant to be all things to all people ― or one business to fit every need. Hire help for the tasks you dislike the most, but are necessary to run a business. Identify who you are and what you want, refine your offerings, then seek customers who want what you have to offer. You will be much more joyful and successful along the way and at the end of the job. " 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.
© iStock.com/Maridav
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Photo 2 Embellishment options abound. This linen features self-covered buttons at the base of each pleat and button trim on the leading edge
By Karen Lander Paoli, Pa.
A Versatile Hybrid Drapery Pleat
The Ripple-Box Pleat
Photo 1 I used 2.5x fullness for these ripple-box pleated shears in a house with walls of windows
D
rapery heading styles seem to go through phases. One year, goblets are all the rage, and the next it’s French pleats. Lately, my clients have been choosing simpler, less fussy looks. I started getting orders for roll-pleat draperies (Kirsch’s Ripplefold is the primary example), but I wasn’t always happy with the results. There were limited hardware choices, and certain fabrics just were not well-suited to that look. The clean look of the inverted-box pleat was appealing, but it just didn’t stack very well. So I combined the two looks and named it the “ripple box pleat.” Through some adaptations, I discovered ways to make an inverted-box pleat drapery heading stack better, which has led to it becoming the most popular choice of pleat for my customers. It has turned out to be a very versatile pleat in that can be made at many different fullness ratios, and stacks beautifully. When stacked it looks like a roll pleat. When flat it looks like an inverted box pleat (see Photo 3 at the top of the next page). It has the clean modern look, but can be used on a conventional rod with rings rather than needing the specialty track.
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Photo 3
Photo 5
When the draperies are opened (right), the pleats stack tightly with a ripple effect. When the draperies are closed (left), the pleats are pulled flat with an inverted-box pleat look. One huge advantage of using this pleat is that you can use it with so many types of fabric: sheers, relaxed linens, silks, and so much more. This pleat can also be dressed up or down to adapt to many design styles. You can enhance it with bandings and trims placed horizontally or vertically (see opening photo on the previous page). When it is to be stationary, buttons or nail heads with backs work well at the base of each pleat. Contrast headings, microcording and ruching (see Photo 4 below) also look great.
The back folds of the pleat must be free to fold back to stack, as well as allow the front to ripple forward.
Photo 4 Photo 6
This dupioni silk looks great with randomly pleated ruching, and nail heads at the base of each pleat. Construction Techniques The trick to getting the pleats to stack is to not tack them at the top corners like a traditional box or inverted-box pleat. When the corners are tacked, the pleat cannot fold. If the corners are not tacked, the pleats can fold to the back when the drapery is opened to form the stack back (see Photo 5 above, right). If the draperies are to be stationary, they also need to be made this way so the front can ripple forward. Once the pleat has been stitched, the back folds need to be held in place somehow. The best way I found to do this is to stitch in the ditch from the front (see Photo 6 at right). Then you can place the drapery pin next to the stitching line in the back of the drapery (see Photo 7 at the top of the next page).
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Stitch your pleat, and then hold it all together by stitching in the ditch from the front.
Photo 7
You can even do a very shallow pleat with 2 inches into each pleat. Using small pleats works beautifully for very large windows when the draperies need to be closed. The advantage of this is that you need less fabric to cover the window, which means smaller stacking space, and the customer on a tight budget saves money. The spacing of the pleats should be around 5-6 inches. This allows enough fabric for the front to ripple forward. Use buckram in the heading to get the right look for the pleats.
Place the drapery pin in the center next to the stitching line. This pleat is very adaptable to different fullness ratios. It can be made very full looking at 3x fullness with 5-6 inches in each pleat, or, for 2x full, put about 4 inches into each pleat.
Photo 8
There are two ways I found for making the returns. These examples show rod hardware with a 3-inch bracket return. Option 1 (see Photo 8 below, right) is to use a standard 3- to 4-inch fabric return from the last pleat at the corner. Option 2 (see Photo 9 below) is to use a 6- to 7-inch fabric return and let the return ripple around the last pleat before it returns to the wall. "
Photo 9
Another option for the return is to stitch the last pleat 6-7 inches from the hemmed edge.
Karen Lander is the principal window fashions designer of Drapery Design, which she founded in 1991 as a wholesale workroom. Today, Drapery Design has a retail showroom to showcase the latest products and styles in the industry. Karen is very involved with the WCAA as a National board member, and past president of the local Pennsylvania chapter.Â
One option for the return is to stitch a pleat 3-4 inches from the hemmed edge.
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Blue Room
Giving Back:
WCAA Members and Kids Cancer Connection I
n early 2013 a call came in to WCAA National making a request of its members to help out cancer patients, specifically kids. The Kids Cancer Connection (KCC) was remodeling its Family House in Los Angeles, and needed window treatments to finish off a few rooms. Three rooms were on the list for new treatments. Within one day all the rooms were spoken for by WCAA members! The quick response comes as no surprise. The designers, workrooms, and installer involved included Diana Lopez Axthelm of Diana’s Designer Draperies LLC, Dallas/Fort Worth Chapter; Annette Brandt of Annetti’s Custom Window Treatment Workroom, SEPA and New Jersey chapters; Stacy Musial of Drapery Solutions, Phoenix, Ariz., chapter; and David Moles of Castle Draperies & Interiors in Woodland Hills, Calif. The participants provided materials and labor for each treatment, and then shipped the treatment to California for in-
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By Julie Wood Derry, N.H.
stallation by David Moles, who also provided a shade for one of the windows. For those designing and fabricating the treatments, Amy Firestein of KCC provided photos of each space, paint colors, and descriptions of the needs for each room. Helser Brothers also donated decorative hardware. A thankyou should also go out to Kelli Chitty, New Jersey chapter, for organizing all the members who jumped in to help out. The installation took place in April 2013. Diana fabricated treatments for the yellow room; Annette fabricated treatments for the brown room; Stacy fabricated treatments for the blue room; and David provided measurements to all the participants. Congratulations to those who donated time, talent, and supplies to complete this project! "
Yellow Room
Brown Room
Julie A. Wood is the owner of The Leading Edge Drapery, LLC, a wholesale business for Soft Home Furnishings, Slipcovers, and newly added Upholstery (headboards, ottomans and small furniture). Julie is a graduate of Our Lady of the Elms College, Chicopee, MA with a BA in Art Education. She worked as an Art Educator for 9 years in Londonderry, NH public school. Julie then completed a certificate in Interior Design at the New Hampshire Institute of Art. Julie holds both WCAA certifications and is a Window Treatment Professional through CHF Academy. Continued education is a priority to Julie. “The more you know the more you grow.” Julie has also teaches a “Soft Furnishings” course at New Hampshire Institute of Art. She resides with her husband, Dan and son in Derry, NH.
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New Certification
CWTW—The Fabrication Professional’s “Measure” of Success Designers, decorators, and commercial and residential clients have the choice of countless workrooms they can hire for the creation of custom window treatments. So, how do you stand out from your competition and win the job? By proving your experience and skills are a step above. When you earn WCAA’s Certified Window Treatment Workroom (CWTW)* professional certification, you’re providing your customers with tangible proof that you are more than book educated... you have practical experience in the field. The CWTW says your work is of the highest quality, that you are capable of fabricating with minimal input, and you utilize industry best practices in your work. The CWTW Measures Skills in the Following Categories:
Drapery Workroom Operations Style and Function Yardage Calculation Fabrication Methods
Visit wcaa.org to learn more about certification. * WCAA certifications need to be renewed every two years
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Slipcovering a
Tufted Ottoman By Tammy Paradoski Arlington Heights, Ill.
M
aking a custom slipcover is like fitting a piece of furniture for a beautiful, one-of-a-kind dress: It requires attention to detail and careful fitting. This detail is what sets a custom slipcover apart from store-bought. When a client has a piece of furniture with details she wants hidden, I see it not only as a challenge, but also a great way to impress her with the finished product! In this article I will address how to hide tufting when making a slipcover for an upholstered ottoman, but you can also use this method for sofas and chairs. Typically when hiding features you will need to make an under-
garment or slip to keep things in place, which means you are basically making two slipcovers. You will want to keep this in mind for both pricing and scheduling. Supplies and Materials
• Upholstery twist pins • Cornice board padding • Bump interlining • Lining • Glass-head pins
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• Fabric • 5/32-inch medium welt cord
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Before After
Step 1 Use upholstery twist pins to secure pieces of cornice board padding inside the tufted areas. If you install the pins correctly, they will be alongside the button and you will not be able to feel the head of the pin since it will be covered with padding.
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Step 2 Repeat the process until all the tufted areas are filled with padding.
Step 3 Cover the entire surface with layers of bump interlining; in this example two layers were required. I cut the interlining about ¼ inch larger than the surface area to prevent lines from showing through the slipcover.
Step 4 Using the reverse pin method, pin fit the lining for the slip. You want the slip to have a very snug fit ― much more than the slipcover ― so it does not shift or cause unnecessary bulk.
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Step 5 Mark the bottom hem, remove the slip from the ottoman, and sew and serge the edges including the bottom hem. It is not necessary to hem the slip, because you want to minimize bulk.
Step 6 Check the fit, and leave the slip on the ottoman for the remaining steps.
Step 7 Using the reverse pin method, pin fit the slipcover fabric on the ottoman, and mark for the skirt. The fabric used for this slipcover was linen and not quite sturdy enough on its own, so I lined the entire thing. Remove the slipcover, and sew and serge the seams.
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Step 8 Cut and serge the skirt pieces.
Step 9 Make the welt cord and attach to the slipcover, serge the bottom edge, and then attach the skirt. Place the slipcover on the ottoman to check the fit, and make necessary adjustments. "
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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After
Challenge:
Working Around Obstacles and Uneven Measurers By Tammi Le Nair Ephrata, Pa.
T
he Project: I was first approached by one of my designers ― Sandra Steiner-Houck, CKD ― with this project. One of her friends was opening a new salon and needed someone to fabricate unlined sheer draperies for an entire wall of styling stations. It sounded really neat and very NYCish, so of course I jumped at the opportunity. She forwarded the elevation of the wall to be treated (see the drawing at far right). What I thought sounded like an easy job soon became a challenge that I knew I could work through with a little thought. I had to determine the best style of drapery for this application, as well as decide how to best approach the eight mirrors where the cutouts in the drapery needed to be. The Problems: I met with the owner as well as the lead hairstylist (for which the salon was named) for the initial measure. The building was built in the 1940s and used to be a post office but was now divided up into several spaces. I soon discovered that the floor-to-ceiling measures were not the
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same, and neither were the countertop-to-ceiling measures. Plus, the drop ceiling was lower in the middle of the wall. This wall measured 48 feet with two separate cabinet units with three styling stations each, as well as one unit with two styling stations. I also had to deal with the first 28 feet of wall projecting 1 inch farther than the last 20 feet because of it being a firewall. So I had to decide where I was going to start, and realized that somewhere down the line, the lengths would be different from one end of the countertop to the other. I decided to stick with the ceiling line and take the difference in heights from one end of the counter to the other and divide the difference by 2 so that instead of one end being 1 inch off the countertop, one end would be ½ inch. At first the lead stylist wanted the draperies to touch the countertop, but I cautioned against that since all the styling products would be sitting there and the poor cleaning lady would have a difficult time cleaning around the draperies. My next surprise came
Before
when a door to a storage room appeared at the end of the wall instead of being a solid wall, and I had to accommodate for that. No problem, that was easy ― a separate rod and a tieback! The Solution: I decided that I wanted the sheers to be 3-4x full, with the 4x fullness for the panels that dropped to the floor. The 3x I reserved for above the mirror and countertop to alleviate excess fabric falling at the countertop level. I determined that a rod pocket with a sausage bead weight chain in the hems was the best way to go as the 1-inch header at the top would get lost at the ceiling line and take care of the uneven lengths when the rod was installed at different points from the ceiling. Further, I divided the wall into eight sections: a floor-length panel at the beginning, a three-mirrored station, a floor-length panel, a three-mirrored station, a floor-length panel, a two-mirrored station, a floor-length panel and then the door panel.
length from the ceiling to the top of the box that the mirrors were mounted on, because the mirror hanging bracket had to be boxed out to allow for the draperies to hang nicely around and behind them. This box measured 22 inches wide x 32 inches long x 4 inches deep. That was my cutout dimension plus the fullness factor. My first panel ended up being one width, the next eight
This meant that I had to do some serious calculations when it came to the mirrored stations. The floor-length panels were easy because I knew the distance between the cabinets and multiplied by 4 for the fullness. As for the mirrors, starting from the left I measured the distance from the side of the countertop to the left mirror, the distance between the left and center mirrors, the center and right mirrors, and right mirror to the end of the countertop. This would tell me how many widths my panel needed to be when multiplied by 3 for the fullness. I had the
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Tieback
widths, the next two widths, the next eight widths, the next two widths, the next five widths, the next one width, and then the door panel at three widths. I always work left to right, and when cutting out and numbering the panel cuts, they were 1-1, 2-1, 2-2, 3-1 etc. It would have been very easy to get the cuts mixed up in the workroom so this voided any confusion as I serged the widths together. I also considered the takeup factor for the rod (½ inch) when determining the cut lengths to eliminate any shock on installation day. I decided that there would be a cleaner look between panels if I did my side hems using a narrow-hem foot often used in dressmaking. The thought of having 2-inch folded side hems sitting side by side did not sit well with me in this application even though 2-inch side hems are my standard. I had my installer come out to take a look at the job so he could get an idea of how he was going to approach the job. Originally he thought one installer could take care of this project, but when he saw the scope, he knew it was a two-man job. He also suggested custom cutting the Kirsch Lockseam rodding for the hardware, and using a bracket that he designed that would allow us to shirr the rod pockets on and have a cutout at the back of the pocket to allow for the bracket. This still allowed the bracket the option of being able to adjust to the different projections of the wall. We were able to mount the brackets as specific points on the wall in line with the mirrors so it would be easy for me to make the tiny slit in the back of the pocket as I could easily eye up according to the cutout in the panel.
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There were two more trips back to the site for the final measures as things kept changing because of electrical box placement and delayed cabinet installation. When all was said and done, the timing of the draperies were not in line with the timing of the October 1 opening. That turned out to be a good thing because we were able to install on a Monday when the salon was closed and at the five-week cycle; when those clients came back for their touch ups, they were gaga over the draperies! It also allowed me to have one of my leather tiebacks, Le Cuir, custom made for the door panel. Because of the humidity and the blow dryers, these panels are constantly in motion. Despite being polyester, they grew from the humidity and rested on the top of the boxes that supported the mirrors. I had to go back and re-pin the hems shorter, and couldn’t believe that they needed to be raised as much as 1 inch. When I saw the puckering above the mirrors I gasped because this was not one of those treatments that I wanted to sit gently on the surface ― I couldn’t possibly put my name on this looking like that. I went back on December 30 to hand sew the hems in place and readjust the beaded weight chain; this should alleviate any more growth in the future and allow them to hang without puckers. I didn’t mind going back; I wanted it to be perfect. Besides, Michael finally got a chance to get his hands on my hair … something he had been dying to do since the first day we met! I combined his touch up with my touch up and got two things accomplished with one trip. "
After
Tammi Le Nair, of L’Interieur Le Nair has been fabricating couture window fashions for over 22 years. In addition to being a retail designer/ workroom and workroom to the trade, Tammi is on the WFCP Advisory Board as well as one of their Workroom Certification Instructors. www.couturewindowfashions.com
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Roman Shades
With Faced Headings
I
’ve been making Roman shades for many years and learned the fabrication technique in a professional bespoke custom workroom. The method was almost entirely hand stitched until the final application of the loop strip at the top, which, I was taught, must be machine stitched through all layers for strength and stability. I was never happy with the two rows of visible machine stitching that this method created at the top of the shade. Over the years I’ve experimented with different methods of disguising or minimizing these unsightly “tram-lines” because even the best matched thread color and most precise stitching can still spoil the appearance of an otherwise flawless fabric shade. I tried adding an additional covering flap (like a mini valance), but found this to be a cumbersome solution that would often compromise the design of the shade. For a while I only machine stitched the top edge of the loop tape, and hand stitched the bottom edge, but that still left me with one visible
Step 1 Prepare your face fabric and lining in the normal way. You should allow around 4 inches (10 cm) of face fabric at the top of the shade to make the facing. Trim the lining and any interlining to the exact finished drop of the shade.
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By Mary Grice Staffordshire, England
row of machining. And hand stitching both the top and bottom of the loop tape to the back of the shade resulted in an unstable, drooping top edge (and very sore fingers!). Realizing that additional strength and stiffening were needed, I tried using buckram in the same way that it’s used for curtain headings. After some trial and error, I found that adding fusible buckram to a facing made from an extension of the face fabric finally produced a firm enough top edge to support the loop tape and the weight of the shade without the need to stitch through all the layers. Buckram is readily available, inexpensive, and easily cut to size ― and the process itself takes no longer than most of the traditional methods of attaching loop tape to the top of a Roman shade. I’ve been using this method for about two years now, and even on large shades have never seen any sagging or distortion of the top edge.
Step 2 Cut a 2-inch (5 cm) strip of single-sided fusible buckram, ¼ inch (½ cm) smaller than the finished width of the shade. Place the buckram with the fusible side facing the wrong side of the excess face fabric at the top of the shade.
Step 3 Insert the buckram under the side hems, and position it just ⅛ inch (¼ cm) above the top edge of the interlining. This small gap allows the top edge of the shade to be folded over without too much bulk.
Step 4 Use a hot iron to fuse the buckram in place. Fold the side hems so that they taper inward very slightly. Press.
Step 5 Trim the excess face fabric to 1¼ inches (3 cm). Use a clear acrylic template to quickly measure and mark.
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Step 6 Fold the raw edge over the buckram and press.
Step 7 Now, turn the shade over so that the right side is facing you. Measure up from the bottom of the shade and mark the finished drop of the shade plus ¼ inch (½ cm). Use a fading marker or chalk marker to draw a line across the measured points. (This line will not be seen on the right side of the shade).
Step 8 Machine stitch the loop tape so that its top edge is exactly on this measured line. You’re sewing through the loop tape, face fabric top flap and buckram here ― not the face of the shade itself.
Step 9 Machine stitch along the bottom edge of the loop tape. This row of stitching should catch the free edge of the face fabric, which was folded under the buckram. This is a good place to enclose your maker’s label if you have one.
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Step 10 Flip the shade over so the wrong side faces you. Starting at one side of the shade with a strong thread, make large stitches catching the top raw edges of the lining and interlining to the top row of machine stitching that you used for the loop tape. This prevents the top edge of the lining and interlining from sagging inside the shade.
Step 11 Use one continuous thread for this, so that you can gently pull on it when you get to the other side, thereby helping the facing to lie flat.
Step 12 Fold the facing over to the wrong side and secure with pins. Slip stitch the side and bottom edges of the facing to the shade. Do not pick up the face fabric in these stitches. This produces a heading that has no visible stitches on the face side, and yet is stable and firm enough not to sag or roll forward when you attach it to your mount board or head rail. "
Mary Grice runs Mary Grice Soft Furnishing from her home-based workroom in Staffordshire, England. City and Guilds trained, and with more than 30 years of experience, she specializes in bespoke Roman shades. She’s the creator of Roman Blind Wizard, an online facility that calculates the ideal rod positions for perfect cascading on standard Roman shades (www.romanshade-wizard.com). See more of Mary’s work at www. marygrice.co.uk.
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What a Pain in
the Neck By Roger Magalhaes Franklin, Mass.
© iStock.com/Eraxion
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uick question: What is the one thing your installation company cannot function without? Is it the working van? Is it the cordless drill? Is it, perhaps, the multi-positioning ladder? For a “one man show” like my company, the most important asset is my body being able to perform the installs without much struggle. Unfortunately, it hasn’t been the case for a while now. I fell 30 feet to the ground in 1997. Add another seven years of driving trucks across the country and unloading trailers. Then add another seven years installing window coverings. At the age of 40, my back, elbows and neck are charging a fee for being abused.
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I’ve conducted an informal poll among my peer installers, and it’s no surprise that we all have some pain-related issues. Take Anthony Lauer from Coral Springs, Fla., for example. Having installed window coverings for more than 20 years, his neck, knees and back frequently hurt. “Generally, I ignore it,” he says. “If it’s too intense, I’ll take two extra-strength Tylenol. If it’s extra intense, I'll take the day off.” About four months ago I started seeing a massage therapist once a week to treat severe neck stiffness. Each section is an hour long and costs $50. It definitely has improved my neck mobility again, but it wasn’t enough. In addition, I also started visiting a chiropractor once a week to help improve my joint mobility and lower back pain.
If you aren’t familiar with the term chiropractic, here’s Wikipedia’s definition: Chiropractic is an alternative medicine health care profession, and an approach to healing concerned with the diagnosis, treatment and prevention of disorders of the neuromusculoskeletal system and the effects of these disorders on general health. Chiropractors emphasize manual therapy including joint adjustment and manipulation with particular focus on joint dysfunction Most people who seek chiropractic care do so for low back pain. I’m not a big fan of painkillers or pills, and have always tried to find an alternative to address the pain. Douglas Faivre from Claremont, Fla., also uses an alternative treatment for his pain: “After a five-year project installing 12- to 13-feet-wide motorized shades in a 36-story condo high-rise with solid concrete walls, even using a high-end SDS Bosch hammer drill caused chronic elbow tendonitis. I did plenty of research and tried various products. Then I found electromagnetic energy waves (not heat waves). It's called Blood Flow Stimulation Therapy. Elbows have very little blood flow, which is imperative to the healing process as oxygen and nutrients are needed to reach the infected area and wash out toxins that build up from scar tissue. I use this in conjunction with a specially developed elbow wrap that contains removable freezer packs to ease inflammation. I still have elbow pain from time to time, but it sure beats cortisone shots. They hurt like hell and I’m normally no good the following day ― so I have to plan an office day.” We can’t always blame the job or our tools, however. Sometimes we’re what’s causing harm to ourselves by unnecessary stretching or bad posture. T. Scott Stose in Crownsville, Md., explains: “I installed for a spine and neck doctor once. He told me to quit working without a ladder. I’m 6 feet 1 inch tall and can frequently get away with that. I would get headaches, backaches and numbness all the way to my fingertips. Now that I install almost all commercial, I rarely work without a ladder, lift or scaffold ― and most of my pain has gone away.” If you’ve been installing for any length of time, you also know that installers aren’t necessarily the best example of healthy eating habits. We’re always on the road and, quite often, running behind schedule. Consequently we seldom have time for a healthy meal and will most likely stop at a fast food restaurant for a “quick bite.” The results of a poor diet can be felt on the scale, waistline and also on the joints, as Jerry Levinson from Phoenix, Ariz., can attest: “I discovered that cutting down on sugars helps joint pain. I’ve been dealing with back pain my whole life.”
while and it went away. I started installing heavily again, and the neck pain came back. I still believe it’s the job … we're always looking up and using heavy drills, and that puts stress on the neck.” Since my job is physically demanding ― and changing professions is not something in my short-term goals ― I’ve created a list of New Year’s resolutions to help me perform my installations more efficiently and, I hope, pain-less or even pain-free: • Keep a weekly massage therapy session to relax the back and neck muscles; • Visit the chiropractor every other week to adjust and align my spine and joints; • Reduce my weight by 30 pounds to alleviate the extra load on my knees; • Bring a healthier meal from home every day instead of eating at fast-food restaurants; and • Add two or three yoga classes a week to help tone muscles, and strengthen my core and arms. My goal is to be a pain-free installer like Phillip McKinnis from South China, Maine. “I had all of the above,” he says. “I started installing in 1976, and most of my installs were into concrete. I no longer have issues with back or neck pain ― the answer is to lose weight, and to lift weights for strength.” Is this one of your goals too? Happy New (and Pain-free) Year! "
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
For some, the only way to avoid pain is quitting installing. Unfortunately, not everyone can afford that, says Waldo Tejera of Miami, Fla. “I’ve had neck pain for years … I’ve tried chiro, pain medication and patches, shots, etc. I had cardiac arrest three years ago and bypass surgery. I stopped installing for a
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Photo 1
Upcycle As If Your Life and Business Depend On It
By Judi Turner Dover, N.H.
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ecycle and upcycle have become everyday words. When we recycle we’re normally taking a waste material to create another useful product. To upcycle is to take an item and produce something with a higher value. The aesthetics of the original piece are usually still evident. Being part of a custom, creative, and expressive industry means that you’ve probably upcycled already in your business. The downturn of the economy has led to a supportive craft interest as witnessed by the variety of DIY blogs and websites such as Pinterest.com. The ever-present understanding that we are a world that produces much waste with ever-decreasing resources supports the idea of “trash to treasure” mentality for a more sustainable lifestyle. During the Heimtextl show each year, there’s a “Young Creations ― Upcycling” competition. My favorite was a student who took old skateboards and created innovative lighting (see Photo 1 above). The aesthetic changed so much that you may not even know it came from a broken skateboard. For the skateboard enthusiast, the average life span of a skateboard is two months. The composite of a board is pressed Canadian maple veneer. With a break in the board, there
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may still be a lot of good, usable wood to be used for other purposes; this is the concept behind using the wood in new pieces. Attending auctions is a great way to pick up items ready for upcycling. The beauty of an auction is that you never know what will speak to you. You could pick up a box of old silverware to turn into hooks, drapery rings or posts for a tie treatment. Or you may find a crate or box to convert to a side table by adding a wooden base (see Photo 2 on the next page). Recently I saw on Pinterest.com a clever repurpose of an entertainment cabinet made into a dollhouse. This is a very aesthetically pleasing way to reuse a nice piece of furniture where the original use may have become obsolete. Years ago I purchased at auction a needlepoint rug for $65. It had a few stains, but I was able to cut up the needlepoint into enough pieces to make 10 pillows, which I then sold for $35 each (see Photo 3 on the next page). I’ve also upcycled a leather sofa that had torn seat cushions. I re-covered the cushions in thick upholstery chenille (see Photo 4 on the next page). Even though it’s still a sofa, I believe it
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has now gone up in value because of the custom and more upscale look it now has. The leather scraps were then turned into bracers and gauntlets for my son who attends Middle Ages festivals in costume (see Photo 5 at right).
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Lamps and lampshades are a great way to get creative and use interesting items for one-of-a-kind pieces, unique to your client’s interests and tastes. I’ve used scrap fabric, linen tea towels and old postcard images to create lampshades. I’m also creating lamp bases out of discarded items such as old insulators (see Photo 6 on the next page) and books. You can find all kinds of examples for lighting that uses upcycled parts such as the skateboard concept mentioned earlier. If you can drill a hole in it or laminate it to polystyrene, you can make a lamp and shade (see Photo 7 on the next page) … but that sounds like another article! The apparel industry is also playing with the idea of upcycling. I’ve read the suggestion in blogs to take unused wool sweaters, and put them in the washer and dryer (on purpose this time) to felt the woven fibers. Once they’re felted, they can be made into a pillow. You can also find DIY steps for taking sweaters as they are and creating pillows, mug warmers or hot water bottle covers. I’ve also seen in a DIY blog how to take a man’s oxford shirt and turn it into a pillow that still used the buttons as a design element. For Christmas gifts last year, I upcycled T-shirts to make one-of-a-kind scarves each with a specific attitude. This would be a great idea for teens who tend to collect T-shirts from events or clubs (see Photo
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Photo 6
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8 below, right). T-shirts have also been made into blankets and throws for many years. The cotton that’s been washed over many times only gets better with age and wear. Use your knowledge and experience of fibers to use silk or linen in new ways, as well. Most natural fibers only get better with age, and the older fabrics have been made with fewer chemical finishes than the more recently milled fabrics. Less money flowing in the economy and the concept of thrift is the mother of ingenuity for this upcycling lifestyle, but you can also use it to create that one-of-a-kind, bespoke item your clients are looking for in their spaces. Use your skills, education and knowledge of the industry to provide them with something they cannot “shop you” by providing a unique product or service. This may seem like a trend, but it is one that’s going to stay for quite a while. Use this idea to set your business apart as a custom service available to all economic- and sustainable-minded clients, and you may see an “upcycle” in your own business and lifestyle! "
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.
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Photo 8
www.shopadaptive.com
Redecorating a Bedroom From Concept to Completion
Part One: Paint and Fabric Selection By Donna Cash Flowery Branch, Ga.
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or this series of articles I’ll take you step by step through the process of redecorating a bedroom as it pertains to soft home furnishings. From concept to completion, I’ll offer tips for working with clients to select a new paint colors ― as well as fabrics for bedding and window treatments ― while staying within a budget. When working with clients, it’s important to gather information about their lifestyles. Doing this before picking the paint color and fabrics will help to narrow the choices, taking you less time to find colors and fabrics to fit their personalities. I offer three options (see Photos 1, 2 and 3 on the next page) and never tell them my favorite even when asked. I don’t want my opinion to get in the way of the clients ending up with the room of their dreams.
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Getting to Know Your Client You can design a questionnaire to email your clients prior to meeting, or you may interview them and ask the following questions: • Why do you want to redecorate the room? • This is where you determine what needs to be fixed. Listening and understanding the answers to this question are key to creating satisfied clients. • How will the room be used? Is this a master bedroom, a guest room, or child’s room? • A master bedroom may be decorated with soothing colors for the owners to snuggle in after a hard day of work; • A guest room may be decorated with a splash of bright colors; or • A child’s room will require considering certain safety
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features while keeping the childlike feel of the room. How do you want to feel in the room? • Do the clients want a warm and cozy atmosphere or one that is light and airy? Does the room get enough natural light? • If the room is shaded all day and has dark corners, light paint colors will give a fresh and open look. Think about adding extra light with recessed lights, track lighting or decorative lamps. Are there any children in the home? If so, what age and how many? • Drapery treatments and/or blinds must be cord-free. Are there any pets in the home? • Most pets shed, so you may want to recommend bedding and drapery treatments just above floor length. What is your favorite color? • Whether the main color or just an accent, a touch of the clients’ favorite colors will bring joy and comfort. Is there any element (artwork, pillow or accessory) in the home to be used in the new room? • This may give a starting point for selecting paint colors, and fabric patterns or textures. Do you like to mix fabric patterns such as flowers with stripes or plaids? • A room design doesn’t have to be all about the newest trends, but rather what’s most pleasing to the clients. Pulling in trendy fabrics or colors may be good in small doses such as a pillow, cushions or throws. What’s your favorite place in the world to go when you want to get away? • Consider the colors and textures of where the clients describe, and try to bring some of this into the room designs as accents. Ask them to describe their favorite rooms growing up. • By listening to your clients, you’ll find elements to
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add to their rooms to make them feel at home, happy, and safe every time they walk into their newly decorated rooms. It’s wise to select fabrics and paint colors at the same time to develop the perfect combination. If you’ve ever been invited to clients’ homes after they’ve painted, trying to find just the right fabric can be very difficult! Unfortunately, this happens a lot. When this happens to you, I’d suggest using a complementary color for fabrics, and just a touch of fabric using a color similar to the paint color (such as on a pillow welting or maybe even a button detail). Talking Dollars and Cents Now that you’ve gathered the above information, it’s time to discuss budget. Be upfront about the budget to avoid over-designing an option your clients love but cannot afford to pay for and, consequently, losing a sale. Be prepared to share a price range for the project. I’ve designed bedroom projects everywhere from $1,500 to $12,000. (Note: I always pre-qualify clients on the phone, especially if we’ve never worked together previously.) Talking about money may be the most difficult part in decorating. After many years in this business, I know a Designs by Donna total bedroom package including window treatments and bedding ensembles may range anywhere between $4,000.00 and $10,000.00. If a client isn’t within that range, I’m prepared to offer alternatives. I may suggest a window treatment that will require fewer yards of fabric or be less labor intensive. On the bedding ensemble, I may suggest using a combination of custom and ready-made products. A custom dust skirt and shams, and a matelassé purchased from a local retail store is a very popular look. Another option is to develop a plan to work on over the span of six months or maybe a year, or ordering the fabric while it’s available and completing the fabrication over a period of time. My clients Drapery & Design Professional
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Tip: When working with paint or fabrics (or even carpet), always show these on the plane in which they will be in the room. For example, the paint for the wall should be held up to the wall, rather than sitting on a table (see Photo 5 below). The same goes for fabrics. Drapery or window treatment fabrics should be hanging as they will be in the final product (see Photo 6 on the next page). Bedding fabrics may be laid on a bed or tabletop (see Photo 7 on the next page). This helps to give a better representation of the colors.
appreciate my knowledge in this field and also my willingness to work with them to create a custom package within their budget. Putting Ideas Together After you’ve interviewed the clients and a budget amount is settled on, you’re ready to begin coordinating paint and fabrics. As I mentioned earlier, I give my clients three options. Ordering memos is necessary because trying to show clients how a fabric in one sample book will look next to a fabric from another sample book is too difficult. Other fabrics may be on a vendor website, but the colors are not true to life. This is why I order several fabric memos and have them sent to my studio. I do the same with paint selections. All paint stores have small chips available, but I like the larger paint chips when available. Some charge a small fee for these larger chips, but it does make the planning process easier. Before showing my selections to my clients, I gather them together and snap a photo to see how they look together (see Photo 4 above). For me, seeing something in a photo makes it easier to visualize whether something is working or needs to be omitted. Once I’m pleased with my selections, I meet with the clients to go over the different options. I offer suggestions such as: “This option will create a room that is soft and relaxing with just a hint of color” or “This option will create an environment that is warm, earthy and settling.” These should fit the description of how the clients want to feel in the room. This helps to romance the options so they can almost see themselves in their new room setting. Furthermore, it lets the clients know you were listening.
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Always remember to ask which options they like the best. We may end up taking away one fabric from Option A and adding it to Option B to create a totally new look. Be flexible. It’s your job as the designer/decorator to give a professional opinion, but remember: It’s ultimately each client’s decision. Before making a paint commitment, I suggest purchasing sample sizes of the new paint color(s) and trying it out on the walls ― not just in one area, but on each of the walls. Sometimes the same paint color will look entirely different on each wall in the same room. Let the clients look at this for a few days to get the feeling of how it will look in the different light settings from morning to nighttime. The walls are now ready for paint, and the room is ready to be transformed. In the next issue: We’ll begin step-by-step fabrication for this bedroom by creating custom bedding for the newly decorated room. "
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Donna Cash operates a workroom in Flowery Branch, Ga. She’s a 20-year veteran of the window coverings industry and has an associate degree from the Art Institute of Atlanta. She’s a WFCP Associate, and a member of WCAA, DraperyPro and the Designers Workroom Council in Georgia. Donna is also a certified yoga instructor.
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Button-Back
Faux-Pleat Valance By Dawn Saunders Smith Mountain Lake, Va.
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learned to make this valance from Jill Stanbro Hughes at the CHF Academy of Design. I’ve made it several times since, incorporating a few revisions. Because it’s so simple, it’s become the “low-cost” valance I offer my clients on a budget. It looks pleated, but it isn’t ― all pieces are stapled to the board separately. To get started, determine your dimensions and plan out your sections. This example is 72x16 inches finished. Divide the valance finished width (FW) by an odd number (odd numbers tend to flatter any treatment) to get the number of contrast-lined sections. For example, 72 inches FW ÷ 7 sections = 10¼ inches per section. I typically shoot for sections of 12 inches, but you can go as low as 10. I haven’t found a specific standard for a maximum width ― I would simply draw the treatment to scale to see what looks best.
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Note the following cuts: Contrast under layer FW + 2 inches (72 + 2 = 74 inches) FL + 5½ inches (16 + 5½ = 21½ inches) Lining for the contrast under layer FW + 2 inches (72 + 2 = 74 inches) Contrast CL – 4 inches (21½ - 4 = 17½ inches) Center contrast-lined sections (face and contrast): Section FW + 1 inch (10¼ + 1= 11¼ inches) Valance FL + 6 (16 + 6 = 22 inches) Return contrast-lined sections (face and contrast) Section FW + 5½ inches (10¼ + 5½ = 15¾ inches) Valance FL + 6 (16 + 6 = 22 inches) Keep in mind that when you make your board cuts, the legs should be ½ inch shorter than the valance finished length. In my example, the legs are 15½ inches. If the treatment will be over a kitchen sink, make the legs ¾-1 inch shorter than the overall finished length; the client will be looking up from below and the legs won’t be as noticeable.
Step 1 Cover the board and legs separately with blackout lining. Screw the legs to the board, and then apply L-brackets on the inside of the legs for stability. Mark the center of the mount board.
Step 2 Cut your contrast under layer (74x21½ inches as noted above), as well as the lining for that piece (74x17 ½ inches as noted above). Black-out lining is recommended.
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Step 3 Cut the face and contrast pieces for the center and return sections. For this example, these are 11¼x22 inches (five center sections) and 15¾x22 inches (two return sections). The face and contrast cuts are the same. Don’t forget that you’ll need to consider the pattern placement on the return sections so the part that faces out matches the center sections. Mark returns “Left” and “Right.”
Step 4 Stitch the contrast under layer (74x21½ inches) and lining piece (74x17½ inches) together along the bottom with a 2-inch seam.
Step 5 Press the seam toward the face fabric and wrap so 2 inches of the fabric forms a hem on the back side.
Step 6 Trim the fabric and lining so they’re even at the top. Measuring from the center, press the ends under to obtain the finished width (72 inches). Measuring from the bottom, turn the top under to match the valance FL – ¼ inch (16 – ¼ inch = 15¾ inches). The top of this piece will be stapled to the face of the mount board. An option is to add 1 inch to the FL if you’d rather staple it to the board top without turning under. This piece will ultimately be covered by the center and return sections.
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Step 7 For the five valance center sections (11¼x22 inches), sew the face and contrast fabrics right sides together on the sides and bottom. Clip the corners, turn and press. If you’re using a heavier fabric, you may need to trim the seams to ¼ inch. Turn the top under so the length equals the FL + board width (16+3½ =19½ inches). Mark the center of one of these sections. Repeat for the two return sections (15¾x22 inches), except leave the return ends open. Clip the corners, turn and press. Turn the top edges in so they finish at 19½ inches.
Step 8 Staple the contrast under layer to the face of the board and legs, making sure the finished length is ¼ inch longer than the valance legs.
Step 9 Matching the center marks on the mount board and the one center section, staple the center sections onto the mount board so the valance is ¼ inch longer than the contrast under layer. Pin the return sections onto the board matching the length of the center sections. Lift the face fabric edge away from the back edge of the return. Turn the lining edge over so it’s even with the leg edge. Staple the lining to the leg edge.
Step 10 Apply double-sided tape along the return edge of the contrast lining.
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Step 11 Remove the paper from the double-sided tape. Turn the face fabric under to meet the lining edge and stick the fabrics together.
Step 12 Fold the top of each return section over the board top, mitering the corners. Staple into place.
Step 13 Cover your buttons. Fold the flaps back to where they look good, and sew on the buttons ― measuring to ensure they’ll be in the same place on each flap. "
Dawn Saunders, of Smith Mountain Lake, Va., started LakeWorks in 2009 after retiring from a corporate career. She holds an advanced degree in chemical engineering, and during her pre-retirement vacations, she attended CHF Academy of Design for several certifications. She also completed the interior design and the landscape design programs at the University of Richmond, and offers clients complete indoor/outdoor home design.
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The Three R’s: Relax, Research, Reinvigorate
Lacemaking By Jill Robson Franklin, Tenn.
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hat stimulates your creativity? Where would you go or what would you do to escape the day-to-day activity of your business for a while and recharge your creative energy? What makes you lose all track of time? If you were granted a wish to immerse yourself in an activity for a couple of days ― what would you chose to do? Let’s dream a little! When I need a change of pace and scenery, I immerse myself in bobbin lace making. This craft has existed for hundreds of years. It has been used in church linen, ceremonial dress (for kings, queens, lord mayors, christenings, weddings), and as a general embellishment on collars, jabots and cuffs for special occasion wear. Within this handmade lace category there are several subcategories. Plaited laces include Bedfordshire and Maltese Lace, recognized by the use of plaits, picots and leaves. Bucks Point lace is intricate with a fine hexagonal net and honeycomb stitches. Honiton lace was favored by Queen Victoria of Great Britain and commissioned for both her wedding gown and the christening gown of her son Prince Edward (and Prince George was recently christened in a copy of this gown). Then there are Cluny, Bruges, Valenciennes, Mechlin and Chantilly laces. Most names reflect the original geographic location where a certain style of lacemaking was prominent. One of the easiest handmade bobbin laces to learn is Torchon, due to its logical and repetitive progression.
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I can’t remember how I became involved with bobbin lace making, exactly, but it started back in the late 1980s soon after we had moved to York, North Yorkshire, in the U.K. My mother always encouraged me to take at least one day a month for myself, preferably out of the house, away from the children (leaving my husband in charge!). I discovered there was a local group of ladies who made a variety of bobbin laces and I paid them a visit one Saturday. I was hooked, and signed up to become a member of York Area Lace makers (YAL). YAL met one Saturday a month, from 10 a.m.-4 p.m. We would all work on our own projects, but were able to seek support from others. Occasionally, someone would lead a workshop to help us expand our skills, or vendors would visit so we could buy new supplies. We’d also go on field trips to vendor shows. It was a wonderful day to spend time absorbed in something special to me. My focus was on Torchon lace and small projects. I’ve also tried Bedfordshire. Lace bookmarks can be completed quickly and also allow a beginner to learn a wide range of stitches in a relatively short period of time. I have yet to start the lace for a christening gown pattern or the large tablecloth project I once dreamed of!
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For inspiration and a little dreaming, I have a book called Lace for Church Use by Sister Marie-Clare Downham. There are definitely some projects in this book waiting for retirement.
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Linen or cotton thread is chosen based on the thickness required for the pattern ― just as yarn is chosen to make a knitted garment. It’s important to choose thread that isn’t highly twisted; they produce coarse, uneven work. Conversely, thread that is only slightly twisted may separate and break easily. Fils a Dentelles No. 70 and DMC No. 50 are some of the most widely used (see Photo 4 below). Traditionally the thread is white or cream, but modern lace designs incorporate colored threads.
It is a time-consuming craft that used to be called “nuns’ work” ― probably because they were able to dedicate long hours to it. It can take up to an hour to produce 1 square inch of lace. It’s a labor of love and few lace makers sell their work these days for that very reason. Basic supplies for bobbin lace making include a lace pillow, lace bobbins, thread, pins, a pattern and lint-free cloths to cover work in progress. A simple lace pillow is made of polystyrene foam, dense enough to support fine brass pins. Originally these pillows would have been made of straw, packed tightly into cloth. My first pillow was a basic square of foam, covered in lightweight cotton (think quilting fabric). Be sure to use a color that enables you to see fine cotton thread more easily (typically navy blue, dark green or deep red). My first bobbins were simple and inexpensive ― a basic tool to wrap thread around. Glass or ceramic beads are added to prevent the bobbins from rolling and unwinding the thread as you work. To get started it was common to use beads from broken necklaces, threaded on to brass wire and attached to the bottom of the bobbin. These are known as East Midlands or North Bucks bobbins with spangles (the beads). Patterns are designed and printed on paper or card (see Photo 3 above). A working pattern is printed on a more durable brown glazed card. Lace makers typically have a paper pattern photocopied onto this specialized card, then the dots, representing the pin placements, are pricked with a “pricker” (a tool comprised of a wooden handle with a screw on the side that holds a needle in place ― these needles can be changed when they become bent or worn out). A card pattern can be used several times before the holes made by the pins become too enlarged for accurate lace making. I have some favorite books containing many patterns. My primer was by Robin S. Lewis ― 101 Torchon Patterns, which also has a very clear stitch dictionary (including 12 varieties of “spiders”). Pamela Nottingham is a lace authority, and Bobbin Lace Making covers the basics for the beginner.
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Thread names and “prickers” are just the beginning of a lace maker’s new language to learn! Bobbins are wound in pairs and pairs are hung on a pin. The footside, the ground, passive threads and spiders legs are all terms that you quickly learn. It can be quite amusing to watch those unfamiliar with these terms overhear lace makers talk about “twisting their legs three times after the pin”! Once bitten by the lace making bug, you’re more likely to invest in higher quality tools. These don’t improve the finished quality of the lace necessarily, but the bobbins, beads and pillow all add to the eye candy aspect and the satisfaction of pursuing this visually appealing craft. Over the years I’ve gradually built a collection of decorative bobbins. Some are of exotic woods like Honduras redwood, ebony and Afromosia (see Photo 5 on next page); some are commemorative to record holidays like Christmas or New Year’s Day, and others mark events and memberships (see Photo 6 on the next page). I also have some made by my dad, carefully whittled out of pre-cut strips of wood. I use tea cloths to cover works in progress ― cloths that my kids made at school, printed with their self-portraits. A lot of memories are wrapped up in my tools these days ― a smaller piece of history than the bigger picture of lace making. Since leaving the UK I discovered that the national Photo 4
headquarters for the British Lace Guild is now in my childhood home town of Stourbridge, West Midlands. A few years ago I was able to visit the offices and see the lace collection there. The history of bobbin lace and identifying styles is a fascinating aspect of textile history. In the United States there is a lace school in Bedford, Ind., that offers a wide range of classes that cover many types of lace (http:// bedfordcollegeoflacemaking.com). There are also many state lace guild groups around the country. Several host demonstrations and events ― including vendor days that offer a glimpse into the world of bobbin lace making and all the supplies that support the ancient craft. Do an online search for “bobbin lace making” and see what pops up near you. "
Photo 6
Photo 5
Jill Robson established Designs by Appointment in 2001. Born in England, Jill transferred to Franklin, Tenn., with her family in 1998. She’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 roles of educator at CHFA and the Chapter Development Manager for WCAA.
What does it take to become the
Drapery & Design Professional of the Year? Learn all the contest details in Issue 2 of Drapery & Design PROFESSIONAL magazine. Information will also be posted on March 10th by email blast, the Forum and our Facebook page located at
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iWatermark 101 By Sandra VanSickle Apex, N.C.
T
here are many benefits to displaying images of your creations on the Internet. The growing popularity of social networking sites provides us with the excellent tools to showcase our creations and talents, as well as to drive viewers to our websites. The disadvantage to all this technology is that it also allows unscrupulous people to hijack our photos and claim them as their own. Adding a visible watermark is a way to digitally sign your images and protect them from unauthorized use. A watermark can consist of text, logo, graphic, signature or even a QR code. The main goal of watermarking is to claim authorship of your work and to deter unauthorized use. Watermarking cannot prevent all unauthorized use, but if you’re creative with your watermarking, you can make it more difficult for others to steal your photos. At the same time, you can build your brand by embedding your logo on images, making it easier for viewers to find you. I use watermarked photos on websites, Facebook, Pinterest and other social networking sites. (I would not use them on Houzz, however, as this site prefers nice, clean photos.
Step 1 Get Started With iWatermark Open the app. On the main page you’ll see five bars. The first, “Select Photo(s)” allows you to choose a photo saved in your photo library, and the second, “Take Photo,” allows you to shoot a photo. Both are highlighted here (see Photo 1 below). Next, choose “Select Photo(s).” Once you’ve selected a photo and it becomes the background of the main screen, you can now click any of the following buttons: • “iWatermark Photo(s)” to actually watermark a photo using the built-in watermarks or those you create in Steps 3, 4, 5 and 6. • “Create Text Watermark” to create custom watermark text, and save it to the roller. • “Create Graphic Watermark” to create graphics like a logo, QR code or signature, or to import an existing logo and save to the roller. Photo 1
There are many options for watermarking. I personally like the iWatermark app by Plum Amazing; I find it very easy to use on my iPad. There are two versions each for iPhones, iPads and Android smartphones: iWatermark free and iWatermark for $1.99. The only difference is that the free version adds a small watermark at the bottom of your photo that says, “iWatermark free.” The Mac desktop version is $30, and the Windows desktop version is $20. iWatermark allows you to create a watermark, or use one that is pre-loaded in the app ― all from your tablet. Just follow these steps to create a custom watermark using your text, graphic, logo, signature, or a custom QR code. You will save your watermark in the app’s “roller” (a type of pop-up list) to watermark your images. Once you’ve created your watermark, you’ll shoot or choose a photo then select a watermark from the roller. Now you can save and/or share the photo. Step 2 Watermark a Photo Selecting “iWatermark Photo(s)” will take you to the watermarking page (see Photo 2 at the top of the next page).
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Photo 2
Step 3 Create a Text Watermark Now that you know how to select a photo and add a watermark already stored in the roller, let’s create a text watermark to add to the roller. Repeat Step 1 by selecting or shooting a photo as a background. (Please note that we are not watermarking a photo here; this photo is only a background during the creation of a text watermark. Once you’ve created and saved a watermark to the roller, then you can use it on any photo in the future.) Select the fourth bar, ”Create Text Watermark.” You will then see a new menu in the bottom left corner. Click “Edit” and then “Text” (see Photo 4 below). In the resulting dialogue box (see Photo 5 below), type anything that you would like your watermark to say.
When you click on “Watermarks” at the bottom of the page, a roller will slide up (see Photo 3 below). Choose one of many example watermarks (as you can see in this photo) or your own watermarks (those you will create in Steps 3, 4, 5 and 6). Once you make a selection, you’ll see the watermark on your photo. Click on the photo or the watermark menu to make the roller disappear. Now you can adjust the watermark’s size and location on the photo. (Use your finger to click and drag the watermark around on the page. Use pinch and expand to change the size, and two fingers to rotate.)
Photo 4
Photo 3
Photo 5
When you hit the “Save” button at bottom right of your screen after watermarking an image, you’ll have the following options: • Save to the Photo Library • Email at full quality and size • Email at somewhat lesser quality and smaller size • Email at less quality and still smaller size but that still looks good on the web Upload to your Facebook account • Upload to TwitPic • Share with Flickr
Above the dialogue box you will see special characters like ©, TM and ®, as well as the date and time. You can add any of these to a text watermark as well. And if that’s not enough fun ― this app has 87 fonts in a wide range of colors. Once you’ve typed your text, choose any of the other Edit menu buttons to adjust scale, opacity, font, color and/or angle to your liking. (Adjusting the angle and size can also be
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done by use the usual pinch or zoom with two fingers.) Hit “Save & Exit.” The “Save Watermark As” window will pop up, where you can give your watermark a name (see Photo 6 below). Hitting “Save and Exit” will save your text in the roller for future use. To discard your text, simply chose “Exit” without saving. To add your new text watermark to a photo, select a photo from your photo library or shoot a photo, and repeat Step 2.
Photo 8
Photo 6
Step 4 Create Graphic Watermark In this step you’ll learn how to add your logo to the roller. If your logo is currently saved in your photo library, repeat Step 1 to select or take a photo as a background (you will learn how to scan a logo in Step 5). (Please note that we are not watermarking a photo here; this photo is only a background during the creation of a graphic watermark. Once you’ve created and saved a watermark to the roller, then you can use it on any photo in the future.) Next, select the “Create Graphic Watermark” bar from the main screen. From there, select “Image” (see Photo 7 below). Select your logo from your photo library. Now select the “Edit” menu to change the opacity (see Photo 8 at the top of the next column), angle and scale. Choosing “Save and Exit” will allow you to name your watermark to save it in the roller for future use. To add your watermark logo to a photo, select a photo from your photo library, or shoot a photo and repeat Step 2. Photo 7
Step 5 Create a Signature Watermark iWatermark has added a special tool that allows you to import your signature, logo and art. To create a signature watermark, you must first sign your signature with a black pen on very white paper. (Using something thicker than a pen and smaller then a felt-tip marker is best.) Next, select “Create Graphic Watermark” from the main menu, then select Scan Signature (see Photo 9 below). The camera will now open for you to shoot a photo. Photo 9
Make sure you’re in good bright lighting without shadows, then snap a photo of your signature. If your signature looks good, hit “Use” and it will instantly add transparency to the background of your signature. You may need to practice this a few times to get it just right. By clicking on the “Edit” menu items you can change the opacity, angle, scale and position. Choosing “Save & Exit” will allow you to name your watermark, and store your signature as a watermark in the roller for future use. Additionally, the Scan Signature option can be used to import simple high-contrast graphics like logos. Make sure your logo is on white paper and follow the above steps. Feel free to experiment with this tool.
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To add your watermark signature, logo or art to a photo, select a photo from your photo library or shoot a photo, and repeat Step 2.
Photo 10
Step 6 Create a QR Code Watermark Before you create a QR Code, let me explain what it means and why you would want to use one as a watermark. QR, or “Quick Response,” is a type of barcode that stores information to be viewed once it’s scanned by a smartphone with a QR code reader app. You can do many things with a QR code as a watermark on a photo, including: • Encode the URL of your website, blog, YouTube video, or social media pages. This makes it easy for viewers to find and follow you. • Simply add the name of your business, location, contact info and store hours. • Leave a message, asking viewers not to use the image as their own. • An additional benefit to using a QR code is its small size ― just store information about you or your business in this cube, instead of cluttering your image with type. To add your very own QR code to the roller, start by repeating Step 1 to select or shoot a photo as a background. (Please note that we are not watermarking a photo here; this photo is only a background during the creation of a QR code watermark. Once you’ve created and saved a watermark to the roller, then you can use it on any photo in the future.)
Photo 11
Next, select the “Create Graphic Watermark” bar from the main screen, and then choose “QR Code” in the left side edit menu (see Photo 10 above, right). Enter the data you want to encode, then hit the “Generate” button to create and insert the QR code (see Photo 11 at right). By clicking on the “Edit” menu items you can change the opacity, angle, scale and position. Choosing Save & Exit will allow you to name your watermark (see Photo 12 at right), and store your QR code as a watermark in the roller for future use. Once you’ve created a QR code it’s good to test it. To add your watermark QR code to a photo, select a photo from your photo library, or shoot a photo and follow Step 2. "
Photo 12
Sandra VanSickle is an ardent entrepreneur, continuing education instructor, and life-long 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-n-Cocoons, an online, international retail business featuring her blanket and bedding designs.
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Beautiful
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The Design Directory of Bedding Module The Design Directory of Bedding Module is from Jackie Von Tobel's Design Directory of Bedding book. This module includes coverlets, duvets, bedspreads, dust skirts, canopies, coronas and hundreds of pillows! Simply decide on the bed, add a bed cover, bed skirt and toss on some pillows and your beautiful bedroom is complete! Now you can quickly access over 1,000 bedding images in Studio’s Library.
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Cover Story
Jackie Von Tobel
By Jackie Von Tobel Las Vegas, Nev.
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M
y career has been an incredible, ever-changing journey, full of creativity and adventure that I never expected. I began sewing when I was 5 or 6. My sister and I made fabulous doll clothes and accessories on my grandmother’s old Singer, and I spent most of my free time drawing one thing or another and coloring in my coloring books. This creative streak flowed through everything in my life, and led me to design school at the Design Institute of San Diego where I received a great education that was heavy on hand-rendering skills. Even as I built my interior design business, artistry and creativity became my signature talents. I owned a high-end design firm and showroom in Las Vegas, Plush Home, for almost 20 years at which I rendered full-service design from conception to completion for a wonderful variety of clients including residential, hospitality, retail, executive, and corporate projects. I personalized many of my jobs with faux finishing, decorative painting, murals, and a multitude of custom products that I designed for each client ― but my favorite products to design were soft furnishings. Having always had a love for fabrics and everything related to them, I developed a unique style of soft treatment design. I began putting my designs down on paper as a sales tool for my designers, and I found the process of documenting them addicting. Before I knew it, I had quite a collection of window treatment renderings, and I began to think that other designers could use them as a resource. In one short year I found
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a publisher, illustrated and colored more than 3,000 designs, and wrote the text for my first book. The Design Directory of Window Treatments came out a year later. Next, I saw all of my illustrations come to life in the Minutes Matter Studio graphic design software. Six years and two more books later, I’m now branching out into product design with award-winning drapery hardware for Helser Brothers, home-décor fabrics, quilt fabrics, tabletop, gifts, paper goods and stationery, garden, holiday, and much more. I remain dedicated to the window treatment industry and to the wonderful community built by its members. We are an industry that fosters creativity and individuality, and rewards ingenuity. At a time when most of us are rethinking our business models and looking for ways to survive and thrive in the new economy, it’s more important than ever to think outside the box and to embrace our unique talents and bring them to bear in our businesses. Throughout my career I’ve followed my intuition and refused to allow fear to keep me from taking risks or facing the possibility of failure. I never said, “No,” even though most of the time I had no idea how to do what I was being asked to accomplish. Every new opportunity is an adventure worth exploring; it might lead nowhere, or it might lead to something totally unexpected and rewarding. Every day I get up and say, “Yes,” to whatever challenges I face. So far it’s worked out well for me. I hope I can inspire my fellow window treatment professionals to say, “Yes,” to their new opportunities. "
Get Certified With Jackie Von Tobel If you want to draw like Jackie Von Tobel you may be interested in her new webinar coaching series for WFCP: Drafting Certification with Jackie Von Tobel. This intensive six-week, one-on-one coaching program will show you how to produce accurate, to-scale communication sketches for your clients, workroom and installers using her unique quick-rendering system. For more information email her at jackie_vontobel@msn.com.
Jackie Von Tobel is a 27-year veteran of the home furnishings industry, having gotten her start at the Design Institute of San Diego. She’s written three books, including The Design Directory of Window Treatments, and has her own line of quilting and drapery fabrics, as well as drapery hardware for Helser Brothers. Follow her creative journey via her blog at: http://jackiebluehome.blogspot.com.
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