"one of the best ways to LEARN is to TEACH"
July, 2018
TUFFETS dofix SHEER adhesive lining the upholsterer of the FUTURE wish I'd known THEN what I know NOW Sherwin-Williams 2019 COLOR forecast buckram-fold, BLACKOUT Roman shade button TUFTING a headboard draw-MATIC products busFIRST AID in the workroom
Buckram-Fold, Blackout Roman Shade by Susan Woodcock bu by
Scroll to read full article Introducing a NEW Blackout Roman Shade Method This is my 30th year as a workroom professional, and you would think I have seen it all, learned it all and tried it all! Well, there's always something new to learn. I have discovered that one of the best ways to learn is to teach. Teaching has given me the opportunity to research and try many different methods. I want answers to "why," and I want to share the latest materials, supplies, and trends with others who want to learn and grow in their workroom businesses. Creating new and improved methods is an exciting process. A few years ago I created a "no pinholes of light" method for Roman shades where the lining and face fabric were connected with a small daisy chain at each ring. It's been a good method that many workroom owners have used, and adapted to their own shade fabrication. Recently, I had another idea… what if buckram was used instead of ribs for a Roman shade? I created a few shade samples with buckram stitched inside the shade. This idea was a winner and the new Buckram-Fold Blackout Roman Shade method was born! Because the shade is blackout lined, I also incorporated steps to eliminate pinholes of light. A win-win! I have tried this successfully for shades with blackout lining only and blackout with interlining. The method has been tested by workroom owners in the United States and Canada. If you make a shade using this method, I hope you will share your results and ideas. Thank you for joining me on this educational journey, where we strengthen the industry by supporting each other through learning, respect, and friendship. This Roman shade uses buckram, instead of ribs or rods, to provide stability and structure to the shade folds. Blackout lining prevents shadowing. This method eliminates pinholes of light; a common problem with blackout lined shades. The following sample shade finished 20 inches wide by 45 inches long with 6-inch vertical ring spacing. Materials and supplies: Face fabric Blackout lining (sample used Hanes Outblack) 3” dӧfix fusible buckram (aka crinoline #000397) dӧfix fusible blackout tape (#081010) Shade rings, lift cord, and ladder tape Basic sewing tools and rulers Weight bar (based on lift system used) Roman shade lift system that accepts cords. Cuts: Cut face fabric finished width + 8 inches x finished length + 8 Inches Cut blackout lining the finished width wide x the finished length + 2 inches Cut pieces of 3-inch fusible buckram finished width minus ½-inch. You will need one piece for each section between the rings. This shade used six pieces of buckram. Note: The size of buckram used should be half of the ring spacing. For example; 3-inch buckram is used for 6-inch spacing, and 4-inch buckram is used for 8-inch ring spacing. If ring spacing is 7 inches, use 4-inch buckram and tear off ½-inch. Only woven buckram, like the dӧfix fusible buckram, can be ripped to size. Pre-plan how many pieces of buckram by figuring your rings spacing. You will need one piece of buckram for each section between the rings. Fabrication Step-by-Step: 1. Place main fabric, face down on the worktable. Fold over 4 inches on each side, measuring to check that the width is accurate. Fold cut edge under to create 2-inch doubled side hems. Press the side hems. 2. At the bottom, fold over 6 inches and fold the cut edge under and press to create a 3 inch doubled bottom hem. (A) 3. Starting at the bottom, place one piece of 3-inch buckram fusible side up even with the crease pressed in at the bottom finished length. Do not fold it into the hem. The double fold bottom hem will be below the buckram. (B) 4. Measure from the top edge of the first piece of buckram 3 inches, and place the second piece of buckram, evenly spaced with fusible side up. Stab pins into the table or use weights to hold the buckram pieces in place. Repeat for the rest of the pieces of buckram spacing 3 inches apart. (C) 5. Mark ring spacing at the top edge of each piece of buckram. Ring spacing will be 2 ½ inches from each side, and 10 inches or less apart in the center. For this sample, there was one column of rings on each side, and one down the middle. 6. To make it easier to move the shade around, you can secure the buckram with low-tack blue tape. Do not tape over where the buckram will be sewn in the next step. (D - E) 7. Hand stitch the buckram to the face fabric at each mark, using a thread that matches the face fabric. (F) Because blackout lining is used, you can float the threads from each tack point without clipping if you like. Continue tacking all the buckram pieces to the face fabric, folding the shade carefully so that the buckram pieces stay flat. (G) There are 18 tack points on this shade sample. 8. After all the buckram is tacked, remove the tape. (H) 9. Cut small pieces (3/4 inch square) of the dӧfix fusible blackout tape. (I) You will need one piece for each tack point. Lift each piece of tacked buckram and place one piece of blackout tape below each tack-point, under the buckram and with the fusible sides up. (J) Fold the buckram back over, covering the blackout tape pieces. (K) 10. After all the pieces of blackout tape are in place, carefully place the blackout lining face up over the back, covering the buckram and keeping the shade neat and square. (L) Slip the blackout lining under the pressed side and bottom hems. Press the entire back of the shade using steam to fully secure the fusible buckram to the back of the blackout lining. (M) 11. Finish side hems with fusible tape or fabric glue. Place the weight at the bottom of the shade before finishing the hem across the bottom. Use fusible tape or fabric glue to finish the bottom hem. The outside edges of the bottom hem can be hand sewn using a ladder stitch. 12. Sew a shade ring slightly below each tack point that was made in Step 7. The bottom rings should be sewn at the top of the hem, catching the hem and blackout lining underneath. You should be able to see and feel a small raised area from the knot where each piece of buckram was tacked. If needed, make a small mark ¼-inch minimum to ½-inch maximum below each knot for the ring spacing. When sewing the rings, do not sew through the buckram, or to the front of the shade. Only sew through the blackout lining. You will be sewing over the square of blackout tape, which hides the pinholes of light. If using ladder tape, stitch in place with the rings and tie off at the top, and bottom rings. (N-O) You can also use the ladder tape without rings, sewing the tape directly to the lining. 13. Measure and mark the finished length and complete the shade by attaching it to a board or headrail and threading the cord through the ladder tape and rings. (P-Q) Attach the required cord safety devices, labels, and warning tags. Additional information: Using buckram that is exactly half of the vertical ring spacing creates a slightly spaces, cascading look to the folds. If you want a tighter stack, use a piece of buckram smaller than the fold size. You can rip-down the dӧfix buckram to the size you need because it is a woven. Ripping is very quick and accurate! To make an interlined shade with this method, cut interlining the same size as the blackout lining. Add the interlining in Step 2. In Step 3, the buckram will be placed on top of the interlining, fusible side up. In Step 6, the buckram will be tacked with the face fabric. A printable how-to instruction for making an interlined, buckram-fold, blackout shade can be found at www.homedecgal.com. You can use any shade headrail lift system that accepts cords whether it’s a track or tube with a clutch, spring, or motor. This shade is fitted with the motorized tube with wand from Pro Design LLC. It was installed with the “reverse mount” method, where the shade falls from the back of the board. A valance is used to hide the lift system. Visit www.homedecgal.com to download complete instructions for this new method, with or without interlining. There is also a 25-minute video tutorial available! Susan Woodcock owns Home Dec Gal a how-to sewing and decorating resource and custom workroom in western North Carolina, and is a Craftsy.com instructor and international speaker. She’s also worked in marketing and brand management, and co-produces the Custom Workroom Conference with her husband, Rodger Walker. Susan’s publishing credits include Sewing Custom Curtains, Shades and Top Treatments (Singer, 2016). In 2017 Susan and Rodger founded Custom Workroom Technical Center, a hands-on training facility dedicated to the workroom industry. She credits her mother with teaching her to sew and inspiring her career of creativity. Contact: Susan Woodcock Owner, Home Dec Gal and Custom Workroom Technical Center Producer, Custom Workroom Conference Susan@WorkroomTech.com or Susan@HomeDecGal.com 828-859-2854
Circle Time at the Library: Project Risk Management for the Workroom Tuesday, July 17th 12:00 p.m. EDT
The Curtains & Soft Furnishings Resource Library presents Sue Fresconi for this CIRCLE TIME broadcast on Project Risk Management for the Workroom. Project success is defined as achieving project objectives within schedule and on budget. Project risks are unknowns that are often the culprits when objectives, schedules, or budgets aren't met. Participate in this webinar as Sue introduces project management strategies and templates that can be applied in the workroom to systematically manage risks and increase the likelihood of project success. Join today as a PRO Member to attend this, and future , CIRCLE TIME events. Already a PRO Member? Check your email for an invitation or go to the Library Events Calendar to register. Visit the Library at www.curtainsandsoftfurnishingspro.org All CIRCLE TIME broadcasts are recorded for on-demand viewing by PRO-Level Members.
Scroll to read full article Ideally, when draperies are open they should clear the glass of your window. How to you make sure this is going to happen? Figuring stack back. Stack back is the amount of space needed if open panels are to clear the glass completely. Take the amount of stack back and add it to your window opening, this will give you the proper rod width needed. See our stack back chart below. Note: Stacking areas will vary with different weight fabrics. The table is based on average pleating and medium-weight fabrics. Allow additional stacking room for heavier fabrics or extra fullness. *If you have a style that requires more fullness or larger pleats, please do not use this chart. ANDERSON'S STACK BACK CHART Don't see your window opening on our chart? CLICK HERE to see our stack back formulas.
Calculating Stack Back with
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Scroll to read full article Do you need to add body to sheer fabric to make shades? Let Beth Hodges introduce you to Sheer Adhesive Lining from döfix. See how easy it is to apply this sheer, iron-on product to delicate fabrics. Beth also shares tips on other döfix products: silicone paper, clear pocket tape, and clear ribs so you can keep that sheer look and feel when making a Roman shade. Products are available for purchase at www.dofix.com Beth Hodges Soft Furnishings offers wholesale custom window treatments to discriminating interior designers across the country. Our twenty-five years of experience ensures that each window treatment that we fabricate is made to the highest of industry standards. We take great care to engineer every item that we produce in order to achieve the most beautiful and functional soft furnishings available in the market anywhere in the world.
döfix Sheer Adhesive Lining with Beth Hodges
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The Upholsterer of the Future by Cynthia Bleskachek
Scroll to read full article This article was originally published in Cynthia's Blog, The Funky Little Chair, which you can read here. About five years ago, I started teaching upholstery in NE Minneapolis. We were pretty successful with the hobbyists, but people kept asking, “Now how do you do this as a career?” I surely didn’t know. I’m the daughter of an upholsterer, and still, it’s been a long, messy road. BUT IT SEEMED LIKE A QUESTION WORTH ANSWERING, SO IN 2016, I OPENED A SHOP OF MY OWN TO SEE WHAT WE MIGHT SEE . . . There are still more questions than answers, more challenges than clear opportunities. But like watching a photograph develop, there are definite shapes emerging . . . I’m going to spend the next couple months sharing my observations and ideas regarding professional level upholstery education in the U.S. – it’s far too many thoughts for just one post. AND I’D LIKE TO LEAD WITH THIS: THE UPHOLSTERER OF THE FUTURE I used to joke that an upholsterer was never one of the people in Mr. Roger’s Neighborhood. Meaning, most people didn’t have enough familiarity with our industry to even form a “stereotype” of who we were. But really, that’s not true. WHETHER OR NOT IT WAS VISIBLE, UPHOLSTERERS OF THE PAST DEFINITELY HAD A “TYPE” Mostly men. Lots of introverts. Amazingly skilled in their trade. Probably not early adopters of technology. Comfortable with established practices and time-honored traditions, distrusting of new innovations. Protective of their “secrets,” not at all inclined to collaboration with “competitors.” This generation entered a very different market, one with degrees, apprenticeships, and relatively large shops. There was far more manufacturing in the U.S. and consumers generally expected high quality from new furniture. It was possible to be great at upholstery and find a career working with your hands. THIS GENERATION WAS HEARTLESSLY STEAMROLLED BY A RAPIDLY CHANGING NATION. Manufacturing left. And so did education. The reupholstery market in many areas became flooded with skilled tradespeople, even as the price of new furniture plummeted. Consumers, not yet savvy to the sleazy shortcuts behind inexpensive furniture, rudely and persistently challenged the price of custom reupholstery. Again. And again. Tradespeople burned out. Or worked twice as hard. Large shops broke up. Professionals who hung in became overwhelmingly self-employed, adding a staggering list of responsibilities to an already challenging craft. That is the sad part of the story. Sad because these men and women have not always been valued as the artists and craftspeople they are. The job description changed around them. And oh, my dears, many of them are beat down indeed, as any of us would be after years of infrastructure disappearing around us, and clients casually, relentlessly demeaning our worth. And as these men and women retire, there’s new sadness, because they often have no way to bequeath their experience, their stories, their expansive knowledge, their business, their pride. THE UNFORTUNATE TRUTH IS THAT THE UPHOLSTERER OF YESTERDAY IS A POOR FIT FOR TODAY’S STRANGE NEW MARKET. THE SUBSEQUENT CONCLUSION HAS BEEN THAT UPHOLSTERY WAS A DYING INDUSTRY. But here’s the thing – I don’t think that’s quite true. Because I work, and the market is interested. I teach, and some really good people show up. BUT OUR SERIOUS STUDENTS ARE WILDLY DIFFERENT THAN THE PROFESSIONALS THEY ASPIRE TO REPLACE. AND THAT’S A GOOD THING – THEY NEED TO BE – BECAUSE OUR MARKET IS NOT THE MARKET OUR FOREFATHERS (AND MOTHERS) KNEW. In no particular order, here are some common, general characteristics I’ve observed in our aspiring professionals. Want to learn Cynthias's five characteristics of aspiring upholstery professionals? Click here to read the rest of the blog post, and meet some upholsterers of the future. Cynthia Bleskachek has been doing upholstery professionally since 2001 – before that, she grew up making buttons and pulling staples in her mom’s home upholstery shop. Her journey has cultivated a deep love, and appreciation for the character, and quality of older furniture – in a market overwhelmed by disposable options, re-upholstery provides a viable alternative. The Funky Little Chair began as a Facebook blog of sorts, sharing bits of education from whatever project was on the “horses” in the upholstery shop. Now in St. Paul, MN, Cynthia provides upholstery services, as well as hands-on education for students of every level. Cynthia is an instructor at Workroom Tech in Tryon, NC, has an online class available through Craftsy.com, and was a featured presenter at the 2015 Minneapolis Junk Bonanza, with TV appearances on Kare 11 and Fox 9. She is a member of the Professional Upholstery Association of Minnesota and currently serves as chair of their education committee.
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Tuffets Galore from Caterina Meadows
Scroll to read full article Do you need some extra seating and want to take on an entry-level upholstery project? Why not try your hand at a tuffet! These fun, covered stools are adorable as a vanity bench or boudoir seat, and you can add your signature by choosing the style of tuffet and embellishing with your own custom accents. Select your favorite tuffet option below, and then decide how much "Y" you want to put into your DIY project! You can either: print the instructions for free from the "Tips/Free Patterns" section of the Pate-Meadows designs website, and do it ALL yourself! Or, make your life a little easier by purchasing the full-size pattern for $19.95 from the website, or order the entire kit with everything you need to build your own tuffet (except the fabric) for $125. Purchase by 8/31/2018 and use the code DDD15 to receive 15% off of your order! Tuffet #1 has a two-tiered circular skirt with a boxed cushion top: Tuffet #2 has a pleated underskirt with a sheer, gathered overskirt. The top cushion is gathered in the center and tufted with a big covered button. Tuffet #3 has a gathered skirt and cushion with a pointed band. The band can be embellished with nail heads or buttons. Caterina Meadows founded Pate-Meadows Designs over 25 years ago with her business partner Leigh Pate. Although Leigh retired in 2015, Caterina continues their legacy through many different outlets including window treatment pattern making, drapery hardware, and their You Tube Channel "OutOnThaPorch". Read full biography here. Photos credits for this article: Southern Lady Magazine Pate-Meadows Designs Cassidy Joy Reynolds
Scroll to read full article During a webinar revealing The Transparency Initiative results, we received the following message from an attendee: “Looks like a great way to find people who are ‘doing it right’ and find out WHAT they are doing right to share. A good article for them... ‘what I would do differently/what I would do again’ if I could do over.” Great idea, but the survey was anonymous! Rather than let the idea die on the vine, we reached out to the Library’s Contributing Partners to see what they had to share. We received a lot of interest in participating in articles of this nature, so welcome to the first of what will be a regular installment – if I could do it over, what would I do differently (or the same!)? Rose Mary LeBlanc and Amanda Smith are featured together because, in addition to being successful owner/operators of their own workrooms, they co-own Seamless Workroom, a workroom management system to improve efficiency and productivity. That being the case, Amanda and Rose Mary shared their thoughts on what they would do differently for each of their individual businesses, as well as their joint venture. Workroom Businesses While the specifics were different, the overarching common theme when looking back at the early days of the workrooms was to invest in the necessary equipment. Both Amanda and Rose Mary worked with machines they had versus buying industrial machines right out of the blocks. They later learned that the improvements they realized in efficiency and quality would justify the outlay of resources to purchase the machines earlier – even if it meant taking on debt. In their words: Amanda: I began Sew Unordinary, a to the trade only workroom, in 2001. At that point, I had just a Kenmore home sewing machine and to “upgrade” I purchased a Bernina home machine that also would make buttonholes and blind stitch. I so wish I had known enough to buy an industrial straight stitch and blind hemmer instead! Now that I have the industrial machines it has made a huge difference in my quality of work as well as increased efficiency in my workroom. I still have the Bernina, and at this point, I only use it for buttonholes. And I keep it just because of the buttonhole feature and because it is a quilting machine and someday I hope to have the time to do some quilting! Rose Mary: For RML when I started my business, I would have taken out a small loan to purchase all industrial machines instead of upgrading my machines over time. At the beginning, I bought a Juki walking foot which I still have and love. I made do with existing machines until I could afford to upgrade. I would also have invested in better storage furniture to store all of the stuff that fabrication needs. Rose Mary also added her thoughts in the l “follow your heart” arena: This comment will come totally out of left field. Instead of starting a fabrication business, I would have gone back to school for textiles and textile design. Art and fabrics are my first love and, looking back, that is what I really wanted to do all along. My first business was designing needlework while doing picture framing. When needlework went out of fashion, I was looking for another business and fell into window treatments purely by accident knowing full well that art and illustration were my joy and passion. I began college in search of an art degree, but life got in the way, and I never finished and never acknowledged or followed my passion and talents. It's odd how things turn out. I can say that with certainty because I am, shall we say, 'of a certain age.' Seamless Workroom A workroom owner since 1992, Rose Mary created her own work orders and measuring diagrams, working through many iterations as she perfected the forms over the years. As technology progressed, Rose Mary saw an opportunity to market her comprehensive forms collection to the industry by adapting them for online use. She shared her idea with her friend Amanda, and a new enterprise was conceived. Seamless Workroom is an entirely different animal than a workroom business and, despite the pair’s subject matter expertise in workroom management and efficiency, there were different hurdles to overcome as they began their new venture. Again, Amanda and Rose Mary had similar thoughts about what they would do differently but with a common thread – this time it’s learning. Their thoughts: Rose Mary: For Seamless Workroom, I would have learned all that I could have about website design and app development, especially app development. Amanda: Seamless Workroom is an entirely different kind of business for me. Rose Mary LeBlanc and I launched it in 2017. My biggest learning curve has been marketing and social media. I have spent and do spend on a weekly basis an enormous amount of time researching marketing techniques and how to use them in social media to reach our clients. Then taking those techniques and developing great content to post. If I could have taken a marketing class right at the beginning, I think it would have made this past year so much easier for me. It is also ironic that I was a Business major in college for two years when I realized that I did not like business…guess what class I was in when this epiphany hit me…yep, Marketing!!! And now that I feel like I am understanding it more I am enjoying this aspect of the business. Rose Mary finalized her thoughts with these words of wisdom: The big lesson here is a very common one but one that we don't pay attention to - we think we always have time to do everything, but the reality is that we run out of time. Thank you to Rose Mary and Amanda for sharing your recollections in this article. Readers: If you'd like to contribute to future articles in this series, please click here to let us know your thoughts on what you would do differently if you could start over now. Amanda Smith SewUnordinary is a to the trade custom window treatment design and fabrication studio serving the Charlotte and Lake Norman Areas for more than 16 years. This is a second career for Amanda which came about after seeing the custom window treatments a friend had recently purchased. Although she was busy raising 3 year old twin boys, she also needed something for herself and to supplement the family income and since she had sewn since the age of 12 it seemed like a logical choice. What started out as sewing for friends quickly turned into a full-time career and now serves interior designers as a full service custom workroom. Amanda joined the Charlotte Chapter of the WCAA in 2009 and has had her work published in several print and online magazines. Rose Mary LeBlanc Rose Mary LeBlanc started her business in Louisiana in 1992 fabricating window treatments, slipcovers, bedding and pillows. She moved to North Carolina in 2006 after Hurricane Katrina. RML Custom Home Creations is a ‘to the trade workroom’ offering a wide range of services to designers including measuring and collaboration on design and hardware. She specializes in high end fabrication techniques including hand sewing and is compliant with roman shade safety standards. Having been a member of WCAA since 2007 when the Charlotte Chapter began, Rose Mary has served as Vice President, President and Past President. She continues to serve the fabrication community by teaching for the WCAA Charlotte Chapter, Custom Workroom Weekend, the IWCE Construction Zone and has instructional videos available on her company website.
Wish I'd known then what I know now... featuring Rose Mary LeBlanc and Amanda Smith
Browse the slide show for some 'then and now' photos from Amanda and Rose Mary
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Scroll to read the full article The instructions below start with a constructed headboard. For instructions on headboard construction, look at M'Fay patterns 9321, 9322, 9323 available through The Workroom Marketplace. Button tufted headboard photo descriptions: Step 1. Pull button through front and staple the tufting cord to back in a zigzag fashion. Step 2. Work from the center then left and then right. Keep the chalk line straight as your reference. Use your finger to push the fabric in each hole. Have your buttons threaded with 18" long pieces of tufting cord and use a long needle and push through to the back of the headboard into the hole and staple to the back in that zigzag as in step 1. Step 3. After working the tufting on a couple of holes to either side of the center start working up and down too. Make sure to dress the creases in a fashion that is pleasing to the eye as you go. Note: you can remove staples and re-dress the crease if needed. Step 4. Continue working until you complete all the buttons. Step 5. Start at the center top and pull and smooth then staple the batting to the back. Then trim off excess batting. Step 6. Start at the center and gently pull the face fabric to the back and place a staple to tack the fabric in the middle of the area of the tuft following the row of tufts on the front of the headboard to the back. This area will have extra fabric and needs to be neatly tucked to be pulled and stapled to the back. You want the areas between the tufts to be smooth so you have to work all the extra fabric back towards the tufted row. Be sure when pulling to the back that you do not pull too tight and distort your neat tufting look. So, you have to look at the front while pulling to the back. It's all about how it looks. Step 7. After the sides are finished, smooth the fabric to where the foam ends at the leg. Secure the fabric with staples. Step 8. Start in the center bottom at the tuft and pull the fabric to back and place one staple in the center of the tuft. Go to the next tuft and pull fabric straight down and tack with a staple. Now with the excess fabric create an inverted box pleat around each staple that you tacked at the center of the tuft. Step 9. Finish stapling fabric to legs. Step 10. Cut a piece of fabric 3 inches longer and 2 inches wider than the what is needed to wrap around the leg. Place the fabric face down on the headboard so that the seam meets the finished edge of the headboard. Place a 1/2" wide tack strip around the face and two sides of the legs and staple. Step 11. Tack strip going around the sides. Step 12. Pull fabric down to the bottom of each leg. Step 13. Pull fabric around to inside back and neatly tack it. Step 14. Make a neat fold over of all the fabric on the bottom of the legs. You can add plastic feet to the bottom. You need to mark the screw holes on the legs to mount to the bed frame. Step 15. Finish securing face fabric along the back edge. Step 16. Staple lining fabric right side down and to the back bottom edge using tack strip. Then pull lining fabric evenly up to the top of the back of the headboard and staple starting in the center. Trim away any fabric that extends past the staples as neatly as possible. Patrick and Kippi O'Hern have been working together since 1989 on various home improvement and decorating projects. While attending the University of Maryland Kippi took textile classes which has helped them with assisting clients on which types of fabrics to use for any application. They both have personal strengths they bring to the job. Such as, Kippi has a design idea, but it seems impossible to execute a plan to achieve the results she wants, but Patrick has the vision to make it happen. They seem to tag team with each other while working. One of them is on either side of the cutting table, and they move about sharing the space and cutting without speaking and working together seamlessly getting the project completed. Patrick is an expert, and award-winning, upholsterer. On the other hand, Kippi has won multiple slipcover awards, taught slipcover classes, and her designs have been featured in magazines. This project is a perfect example of them working together to accomplish the task.
How to Button Tuft a Headboard by Kippi O'Hern
Click HERE and use promo code HEADBOARDS731 at checkout to receive 20% off M'Fay headboard patterns until July 31,2018 (M'Fay pattern shipping is always free!)
We are pleased to announce WCMA awards for two products: Design Art Crystal on Iron Rods, and Iron Facia for Motorized and Manual Traversing Tracks. Design Art Crystal on Iron Rods has won WCMA's 2017 Best Style Concept. It features five styles of beautiful 24% lead hand-cut crystal. Each comes with a standard base, but may be paired with Petite, Classic or Sculpted decorative bases. Brass hardware may be left unpainted to match gold tones, painted silver to match silver tones, or painted to match the pole finish. Every piece is hand-painted in 58 Décor Finishes or your own custom finish. Sculpted bases are also available in the Dual Finish System with 11 Accent Finishes. Iron Facia for Motorized and Manual Traversing Tracks has won WCMA's 2017 Best Technical Innovation. Orion’s traversing systems come with many great features, plus plenty of options to choose from. Traversing collections are available in iron, wood, and lightweight embossed metal designs, in over 100 finishes and over 200 different finial styles. When using our traversing systems, draperies will open and close more easily than traditional rod and ring combinations, reducing wear and tear to keep them looking beautiful. Use them manually with cords or batons, or combine them with Somfy Motorization for smooth, quiet, and powerful motor operation. Heavy-duty single or double track systems are available up to 30 feet in length, are easy to use, and allow for a wide range of drapery styles. With so many options to choose from, you’re sure to create that perfect design!
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Draw-Matic Products from Shasta Breitkopf
Scroll to read full article Watch as Cathy Tucker, owner of The Traveling Workroom Temp, demonstrates the components of the Draw-Matic product: Rule-O-Matic Edge Rulers are rulers in a metal channel that fit on both sides of your work table. Size-O-Matic clamping bars – that "extra set of hands when you're tabling draperies" – comes in both a regular and a deluxe model. Cutting Guide is installed across your table to make straight cuts in fabric and bias banding easy. All products are custom made to the specific size required. View the video to "see the magic of the Draw-Matic clamping bar". Shasta Breitkopf entered the window decorating industry as Döfix No Sew’s business manager over 30 years ago. While traveling extensively demonstrating the No Sew system, she was able to observe many workroom operations. In 1998, she became an independent sales representative and created Unique Expressions offering products for both designers and fabricators. Noting that efficient workroom practices directly increase profit margins, she included the Draw Matic products. She also provides outdoor décor products including Sunbrella® fabrics, umbrellas and indoor/outdoor foams and pillows.
Blast from the Past
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Sherwin-Williams 2019 Color Trends Reflect the Human Touch: Six unique themes make up the Colormix Color Forecast master palette Sherwin-Williams announces its 10th annual Colormix® Color Forecast, with a single master palette to inspire and help professionals and DIYers select the right color scheme for any project. This year’s 42-color palette can be divided into six themes, or color journals: Shapeshifter, Wanderer, Aficionado, Enthusiast, Naturalist, and Raconteur. Together, the journals are fresh, fluid swipes of color that are key for 2019 color and design trends. “Every color in the Color Forecast, whether alone or when combined with others, tells a different story, a different riddle, or different song, similar to the honesty found only in a written journal,” said Sue Wadden, director of color marketing at Sherwin-Williams. “Our intent was to ask ourselves, ‘If this palette were a person, what kind of person might they be?’ making it important to bring forth a forecast that is personal and aspiring, yet attainable— how all design should be.” Wadden developed this year’s trends with the Sherwin-Williams Color Forecast team by identifying colors from free-spirited wanderers and old-world storytellers, while drawing inspiration from every corner of the globe extending to the cosmos. The result: an organic and spontaneous palette. Color Journals Shapeshifter There are those who always seem a little ahead of their time. Visionary and creative, this palette reaches into the cosmos and returns with a whole universe of inspiration. Shapeshifter’s aesthetic is about the mystical, from the deep sea to the galaxy and everything in between and is rooted by strong geometrics and clean lines. “The atmospheric wisps of color, grounded by deep, mysterious blues capture the unique space between technology and spirituality found in the Shapeshifter palette,” said Wadden. Wanderer This palette is for the person who will never be fenced in, who needs to soak in the endless horizons and subtle earthy tones of the high plains. Clays, caramels, and browns come from canyons to worn leather and woven wool blankets of the true New West. “The Wanderer palette is sun-washed and warm,” said Wadden. “It brings you to a modern desert made of one part cowboy, one part Scandinavian style that produces a luxurious result.” Aficionado Like a bookcase of leather-bound literary classics, this pedigreed palette evokes nostalgia and timeless traditions. Copper and gold anchor merlot and gray. The tailored tones are tasteful, elegant and classic. “When we say ‘Aficionado,’ it evokes an emotion of what is best-in-life, well-worn and bespoke,” said Wadden. “It is ostentatious without being fake or showy, and has the right amount of charm to make it feel tasteful.” Enthusiast For those who go against the grain, break the rules or are more free-spirited than the status quo, the Enthusiast palette brings maximum attitude and yet produces harmonious results. The proof is in this palette, which features bold pops of vivid blue, green and red. “The Enthusiast palette is a fresh take on ‘maximalism,’” said Wadden. “It’s an opportunity to have fun and push boundaries with color.” Naturalist Nature lovers can connect with the wonder of the world in full bloom. This collection’s lush, sophisticated tones poke out from the rainforest as colorful tendrils. Ranging from mushroom to passionate pink, the focus on botanicals is slightly classic, with bold details. “From conservancies to hothouses, Naturalist brings you into a chic, French woodland,” said Wadden. “It’s a place where color never fades.” Raconteur From ancient rhetoric to today’s on-screen webcasts, there is a desire and appreciation for stories and the storytellers behind them. From Africa to the New World, human origins have been translated into this rich palette that spans time. “From rich red to muted mauve, Raconteur represents storytelling itself,” said Wadden. “These stories are a subtle reminder of how everyone is connected.” Color Exploration and Selection Learn more about Sherwin-Williams 2019 Colormix Color Forecast and other color selection resources at swcolorforecast.com. This immersive experience provides a more contextual overview of each color journal along with information about local Sherwin-William Colormix events for designers, which are eligible for continuing education (CEU) credit. In addition, explore the Color Forecast and all of Sherwin-Williams colors using the ColorSnap Visualizer app, recently updated to allow customers to use cutting-edge augmented reality to make faster and more confident color selections. With Instant Paint, smartphone cameras instantly recognize walls in a three-dimensional space. Customers simply tap on any wall in their camera view to “try on and see” any of Sherwin-Williams 1,500 colors on walls in real time. Ask Sherwin-Williams™ For more than 150 years, Sherwin-Williams has been an industry leader in the development of technologically advanced paint and coatings. As the nation’s largest specialty retailer of paint and painting supplies, Sherwin- Williams is dedicated to supporting both do-it-yourselfers and painting professionals with exceptional and exclusive products, resources to make confident color selections and expert, personalized service at its more than 4,200 neighborhood stores across North America. For more information, visit sherwin-williams.com. Join Sherwin- Williams on Facebook, Twitter, Pinterest and Instagram.
Scroll to read full article Enjoy this month's Instagram finds! We LOVE looking at your photos on Instagram, and we're happy to feature them here! Do you want photos of your work to be included? It's easy, just follow csf_resource_library on Instagram, and we'll follow you back! The best way to get noticed is to include our hashtag on your post - #csfrl - we'll be sure to check you out! Photo credits and Instagram links: Cristina Alamdari: @azdraperies Patti Ayers: @pillowsandpleats Whitney White: @whitneywhitedraperydesign Penny Bruce: @dentondrapes Nancy Letts: @pinehousedrapery Jessica Arey: @areydesign Alejandra Canales: @acdraperystudio Sheri Stouffer: @sheristouffers Susan Woodcock: @homedecgal (Note: using #csfrl implies permission, so we may use in the Digital Digest - with photo credit and Instagram link, of course - without contacting you.)
She's Coming to Philadelphia!
Scroll for event details Registration deadline is July 15th! Hosted by Comfortex Window Fashions at: The Philadelphia Marriott West 111 Crawford Ave. West Conshohocken, PA 19428 Tuesday, July 31st 11 a.m. to 1 p.m. (Check in starting at 10:30 a.m.) Join Susan Woodcock and learn the steps for creating successful window treatment solutions by bringing design elements together in harmony. From color, fabric, and style, to layering hard and soft treatments, you will gain professional knowledge and tips for designing draperies, top treatments, shades, and blinds. *This is a continuing education course specifically for Interior Designers and Custom Workrooms to earn 1 IDCEC approved credit.* Space is limited! Please RSVP by July 15th at: info.comfortex.com/phillyceu ENTER REFERRAL CODE: Digital Susan Woodcock owns Home Dec Gal a how-to sewing and decorating resource and custom workroom in western North Carolina, and is a Craftsy.com instructor and international speaker. She’s also worked in marketing and brand management and co-produces the Custom Workroom Conference with her husband, Rodger Walker. Susan’s publishing credits include Sewing Custom Curtains, Shades and Top Treatments (Singer, 2016). In 2017 Susan and Rodger founded Custom Workroom Technical Center, a hands-on training facility dedicated to the workroom industry. She credits her mother with teaching her to sew and inspiring her career of creativity.
Save the Stress for Stuff That Matters:
Scroll to read full article We’ve all been there. You buy a beautiful new chair, recently upholstered, and brand-spanking new. (Or at least, new to you.) It’s a sight to behold, and every time you look at it your heart feels a little happier. Then, one day, a blight befalls your beloved chair. Perhaps a rougeberry stain, a drip of merlot, or an unsightly pen mark makes its way onto your once-perfect piece of furniture. And no matter how much you blot, scrape, wash, or rub, you can’t get your beautiful chair back to the perfection it once possessed. The merlot has seeped into the fibers. The berry has left a small kiss of burgundy. The ink blotch just got lighter, never fully disappearing. What’s more, sometimes it’s not even the stain that has staying power, but the unsightly watermark that was left behind during your period of frantic cleaning. The stain may have faded, but now in its place is an unsightly discoloration, a ring around what used to be the offending mark, that will never fade or disappear. Stains, watermarks, and stubborn odors that simply do not want to dissipate are the heartbreaks of the upholstered fabric world. But it doesn’t have to be this way. You can save yourself both time, money, and a whole lot of disappointment by choosing fabrics embedded with Crypton® Home technology that will keep your furniture beautiful for years to come. What is Crypton ® Home Fabric? Fabricated with proprietary technology from the Crypton® brand itself, Crypton® home fabrics undergo an extensive, trademarked process at their plant to make this performance fabric so impervious. The fabric is first covered in Crypton’s exclusive chemical solution that completely soaks into the very fibers and yarns of the fabric, coating it and protecting it inside and out from the damaging effects of water-based stains, harmful microbes, and unpleasant odors. You might think that all of this chemical processing could make the fabric stiff, difficult to design with, and damaging to the environment. Surprisingly, both assumptions are wrong. Let’s set the record straight on both. The Handsome and Hardy Choice Unlike other performance fabrics, Crypton® Home fabric is available in a variety of weights, colors, patterns, and textures. As any type of fabric can undergo the registered Crypton® treatment, you also won’t be limited by any one type of fabric. From silks and damasks, cottons and wools, polyesters and acrylics, your creativity is the only limit when designing spaces for clients using Crypton Home fabric technology. A longtime favorite of the design industry for its durability, beauty, and extensive variety in choice and color, you’re certain to find a look you’ll like within any of our Crypton® Home stack books. In addition to this wide variety of designs and colors that are certain to fit any taste, Crypton® Home fabric possesses a premium softness and elevated texture that would at first glance seem to belie its own durability. This softness of hand is achieved through an exclusive process wherein the chemically treated fabric undergoes a series of repeated treatments with a water-based solution to avoid a plastic, rigid feel. Combining a bevy of other ingredients such as anti-microbial agents and fluorochemicals, this water-based process ensures softness of texture and hardiness of wear for years to come. The Environmentally Responsible Choice Despite the extensive treatment and advanced technology that goes into producing this performance fabric, Crypton® Home textiles are in fact Greenguard certified. This means that despite the treatment process, Crypton® fabrics are low-emitting materials that meet the rigorous standards of this global environmental safety company. You can rest easy bringing Crypton® fabric into your home knowing that the material has been screened for thousands of volatile organic compounds and harsh chemicals that can negatively affect both the earth and the environment within your own home. Crypton® fabric is produced in a closed-loop production method, under one roof. This increased amount of accountability results in better business practices and a sense of transparency you won’t get from other performance fabrics. Crypton® fabric leads the pack when it comes to healthy living, as this fabric is always free of harmful phthalates, heavy metals, phenols, and other compounds that can lead to skin sensitivity or irritation. When you purchase Crypton® Home fabric, you can rest easy knowing that 100% of all fabric scraps are regularly recycled, and that the fabric itself contains no halogenated flame retardants, and no PBDE’s. We Believe that Living Rooms are For Living – Not Cleaning Crypton® Home fabric is the perfect choice for families, party hosts, and pet lovers. Cover your couch or favorite armchair in Crypton® Home, and you’ll no longer be worried about spilling your wine glass during your monthly book club meeting or having the family dog brush up against the back of your sofa after a rainy walk. Give yourself the gift of peace of mind and specify Crypton® Home fabric for your next project. Crypton® Home at Charlotte Fabrics At Charlotte, we believe that living rooms are for doing just that – living. It is possible to live in peace with your furniture while living in beauty when you specify Crypton® Home fabric from Charlotte Fabrics. With wholesale prices that are always 25% lower than the competition, a shipping department that works around the clock to send out orders within 24 hours, and a lifetime warranty on all of our fabrics, we offer a human touch and definite perks you won’t find from any other fabric supplier. Start Your First Crypton® Project with Charlotte Today Ready to see what we have to offer in the Crypton® department? It’s easy. Become an authorized dealer today. By becoming a dealer, you’ll have access to all our stack books for your library – including our two extensive Crypton® Home collections. Once you flip through our collection, get a feel for our exemplary service, and start experiencing the real savings you’ll get as a result of working with us, we can promise you’ll have a hard time working with anyone else! Ryan Davis, Sales Rep – New Accounts Phone: 1.800.328.5224 Extension 246 Email: ryan@charlottefabrics.com At the end of the day, the purpose of a decorator, designer, or upholsterer is to bring more beauty, performance, and style to a client’s home, and to tailor these specifications to a client’s particular tastes and lifestyle. Work with Charlotte for our selection of Crypton® woven fabrics, and you’ll be able to do just that. Libby Huber is the Director of Marketing & Communications at Charlotte Fabrics. Before joining the family at Charlotte, Libby studied retail merchandising as well as Interior Design at the University of Minnesota. Charlotte Fabrics is a third-generation, family-owned business that has been selling designer-quality fabrics to the trade with care since 1952. Based in Minneapolis, Minnesota and with sales reps located across the country, Charlotte Fabrics is a nation-leading fabric brand poised for growth and dedicated to serving their network of customers with speed, fairness, and agility.
Choose Crypton® Home Fabric by Libby Huber
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July 2018 photo credits Cover photo : Nancy Letts, Pine House Drapery Susan Woodcock, Home Dec Gal Kippi O'Hern, Kippi at Home Cynthia Bleskachek, The Funky Little Chair Liz Kelly, The Workroom Channel Rose Mary LeBlanc, RML Custom Home Creations Amanda Smith, Sew Unordinary, LLC,
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