Black & Decker The Complete Photo Guide To Home Decorating Projects DIY Projects To Transform Walls, Windows, Furniture, Floors & More (Black & Decker Complete Photo Guide) PDF

The Complete Photo Guide to
HOME
e.
DECORATING
Photo Guide to
The Complete
PR O J E C T S
HOME DECORATING PROJECTS
DIY Projects to Transform Walls, Windows, Furniture, Floors & More
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THE COMPLETE P H O T O GUIDE TO
HOME DECORATING
PROJECTS
130 Do-it-Yourself Decorating Solutions
MINNEAPOLIS, MINNESOTA
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Wall Décor . . . . . . . . . . . . . . . .175
Contents Pictures & Mirrors . . . . . . . . . . . . . . . . . . . . 176

Textiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Sticker Art . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Wood Shelving . . . . . . . . . . . . . . . . . . . . . . . 182
Glass Shelving . . . . . . . . . . . . . . . . . . . . . . . 184
The Complete Photo Guide to Ceramic Tile Mirror Frame . . . . . . . . . . . . . . 186
Home Decorating Projects New Towel Bar . . . . . . . . . . . . . . . . . . . . . . . 188
Tile Fireplace Surround . . . . . . . . . . . . . . . . 190
Ceiling Décor . . . . . . . . . . . . . .193

Introduction . . . . . . . . . . . . . . . . .5 Picture Rail . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Ceiling Panels . . . . . . . . . . . . . . . . . . . . . . . . 194
Chair Rail . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Acoustical Ceiling Tiles . . . . . . . . . . . . . . . . 198
Decorating Basics . . . . . . . . . . . .7 Built-up Chair Rail. . . . . . . . . . . . . . . . . . . . . 114
Metal Ceilings. . . . . . . . . . . . . . . . . . . . . . . . 201
Planning Your Project. . . . . . . . . . . . . . . . . . . . 8
Wall Opening Trim . . . . . . . . . . . . . . . . . . . . 116
Painting a Ceiling . . . . . . . . . . . . . . . . . . . . . 204
Understanding Color & Pattern . . . . . . . . . . . 10
Crown Molding. . . . . . . . . . . . . . . . . . . . . . . 120
Aluminum Leaf Gilding . . . . . . . . . . . . . . . . . 206
Selecting Materials. . . . . . . . . . . . . . . . . . . . . 14
Built-up Cornices . . . . . . . . . . . . . . . . . . . . . 124
Ceiling Wallcovering . . . . . . . . . . . . . . . . . . . 208
Using Décor to Create Atmosphere. . . . . . . . 18
Window Casing . . . . . . . . . . . . . . . . . . . . . . 128
Discovering Your Style . . . . . . . . . . . . . . . . . . 22
Arts & Crafts Window Casing. . . . . . . . . . . . 130 Cabinets & Doors. . . . . . . . . . .211
Sewing Techniques. . . . . . . . . . . . . . . . . . . . . 26
Painting Window Casing. . . . . . . . . . . . . . . . 132 Painting Wood Cabinets . . . . . . . . . . . . . . . . 212
Painting & Carpentry Techniques. . . . . . . . . . 34
Window Shelf . . . . . . . . . . . . . . . . . . . . . . . . 134 Faux Mahogany . . . . . . . . . . . . . . . . . . . . . . 214
Home Décor Tools . . . . . . . . . . . . . . . . . . . . . 50
Basement Window Trim . . . . . . . . . . . . . . . . 136 Antique Stained Finish . . . . . . . . . . . . . . . . . 216
Faux Stainless Steel . . . . . . . . . . . . . . . . . . . 217
Wall Panel & Tile . . . . . . . . . . . .59 Wall Paint . . . . . . . . . . . . . . . . .141
Cabinet Molding . . . . . . . . . . . . . . . . . . . . . . 218
Decorative Wallboard Panels . . . . . . . . . . . . . 60
Concrete Block Walls . . . . . . . . . . . . . . . . . . 142
Decorative Brackets. . . . . . . . . . . . . . . . . . . 220
Architectural Detail with Wallboard. . . . . . . . 62
Double-Rolled Color . . . . . . . . . . . . . . . . . . . 144
Wineglass Rack . . . . . . . . . . . . . . . . . . . . . . 221
Wainscot Panels . . . . . . . . . . . . . . . . . . . . . . . 64
Stripes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Knobs & Pulls . . . . . . . . . . . . . . . . . . . . . . . . 222
Tongue-and-Groove Wainscoting . . . . . . . . . . 68
Polka Dots . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Prehung Interior Door . . . . . . . . . . . . . . . . . 226
Wainscot Frames . . . . . . . . . . . . . . . . . . . . . . 74
Sponge Painting . . . . . . . . . . . . . . . . . . . . . . 150
Bifold Doors . . . . . . . . . . . . . . . . . . . . . . . . . 228
Tile Backsplashes . . . . . . . . . . . . . . . . . . . . . . 78
Rag-rolled Texture . . . . . . . . . . . . . . . . . . . . 152
Painting Wood Doors . . . . . . . . . . . . . . . . . . 230
Embellishing a Tiled Wall . . . . . . . . . . . . . . . . 82
Terra-Cotta Finish. . . . . . . . . . . . . . . . . . . . . 154
Decorative Door Headers. . . . . . . . . . . . . . . 232
Blended Color Bands . . . . . . . . . . . . . . . . . . 156
Wallcovering . . . . . . . . . . . . . . .87 Door Mirror. . . . . . . . . . . . . . . . . . . . . . . . . . 234
Color Wash Finish. . . . . . . . . . . . . . . . . . . . . 158
Stripping Wallcovering . . . . . . . . . . . . . . . . . . 88
Hanging Wallcovering. . . . . . . . . . . . . . . . . . . 90
Stamped Mosaic . . . . . . . . . . . . . . . . . . . . . 160 Flooring . . . . . . . . . . . . . . . . . .237
Scumbled Wall Designs . . . . . . . . . . . . . . . . 162 Resilient Tile . . . . . . . . . . . . . . . . . . . . . . . . . 238
Wallcovering Panels . . . . . . . . . . . . . . . . . . . . 98
Faux Serpentine Finish. . . . . . . . . . . . . . . . . 164 Glass Mosaic Tile . . . . . . . . . . . . . . . . . . . . . 244
Wall Upholstery . . . . . . . . . . . . . . . . . . . . . . 100
Faux Grasscloth . . . . . . . . . . . . . . . . . . . . . . 166 Carpet Squares. . . . . . . . . . . . . . . . . . . . . . . 246
Wall & Window Trim . . . . . . . .105 Caulk Designs. . . . . . . . . . . . . . . . . . . . . . . . 168 Concrete Floors . . . . . . . . . . . . . . . . . . . . . . 250
Base Molding . . . . . . . . . . . . . . . . . . . . . . . . 106 Veneer Plaster . . . . . . . . . . . . . . . . . . . . . . . 170 Wood Floors . . . . . . . . . . . . . . . . . . . . . . . . . 254
Library of Congress Cataloging-in-Publication Data
The complete photo guide to home decorating projects.

p. cm.
At head of title: Branded by Black & Decker
Summary: “Features do-it-yourself information on everything from painting
and trimwork to slipcovers and window treatments”--Provided by publisher.
ISBN-13: 978-1-58923-484-0 (hard cover)
Copyright © 2009
ISBN-10: 1-58923-484-7 (hard cover)
Creative Publishing international, Inc.
1. Handicraft--Amateurs’ manuals. 2. House furnishings--Amateurs’ manu-
400 First Avenue North, Suite 300
als. 3. Interior decoration--Amateurs’ manuals. I. Black & Decker Corporation
Minneapolis, Minnesota 55401
(Towson, Md.) II. Title: Branded by Black & Decker.
1-800-328-0590
www.creativepub.com
TT157.C575 2009
All rights reserved
747--dc22
Printed in China
2009019965
10 9 8 7 6 5 4 3 2 1
President/CEO: Ken Fund
VP for Sales & Marketing: Kevin Hamric
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Custom Floor Mats. . . . . . . . . . . . . . . . . . . . 256
Sheet Vinyl . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Stencils. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Slipcovers & Upholstery . . . . .261

Upholstery Basics. . . . . . . . . . . . . . . . . . . . . 262
Stripping Furniture . . . . . . . . . . . . . . . . . . . . 268
Repairing a Frame . . . . . . . . . . . . . . . . . . . . 270
New Cushions . . . . . . . . . . . . . . . . . . . . . . . 272
Button-tufted Cushions . . . . . . . . . . . . . . . . 280
Re-upholstering a Drop-in Seat . . . . . . . . . . 284
Re-upholstering a Chair . . . . . . . . . . . . . . . . 288
Upholstered Ottoman . . . . . . . . . . . . . . . . . 296
Upholstered Headboard. . . . . . . . . . . . . . . . 302
Reversible Seat Covers . . . . . . . . . . . . . . . . 306
Ottoman Slipcover . . . . . . . . . . . . . . . . . . . . 310
Chair Slipcover . . . . . . . . . . . . . . . . . . . . . . . 312
Futon Slipcover . . . . . . . . . . . . . . . . . . . . . . 324
Furniture Refinishing . . . . . . . .327

Heat Stripping . . . . . . . . . . . . . . . . . . . . . . . 328
Chemical Stripping . . . . . . . . . . . . . . . . . . . . 330
Surface Prep. . . . . . . . . . . . . . . . . . . . . . . . . 332
Butterfly Shades. . . . . . . . . . . . . . . . . . . . . . 372 Valance Styles . . . . . . . . . . . . . . . . . . . . . . . 410
Stain & Top Coat. . . . . . . . . . . . . . . . . . . . . . 334
Cloud Shades . . . . . . . . . . . . . . . . . . . . . . . . 374 Buttoned Valance . . . . . . . . . . . . . . . . . . . . . 412
Painting Furniture . . . . . . . . . . . . . . . . . . . . 338
Balloon Shades. . . . . . . . . . . . . . . . . . . . . . . 376 Cloud Valance. . . . . . . . . . . . . . . . . . . . . . . . 416
Faux Leather Finish . . . . . . . . . . . . . . . . . . . 340
Curtain Styles . . . . . . . . . . . . . . . . . . . . . . . . 378 Upholstered Valance . . . . . . . . . . . . . . . . . . 418
Photo Montage Table . . . . . . . . . . . . . . . . . . 342
Hanging Curtains . . . . . . . . . . . . . . . . . . . . . 380 Hanging Shelf Valance . . . . . . . . . . . . . . . . . 422
Spray-painting Metal Furniture . . . . . . . . . . 344
Draped Window Treatments . . . . . . . . . . . . 382 Swag Styles . . . . . . . . . . . . . . . . . . . . . . . . . 424
Painting Radiators . . . . . . . . . . . . . . . . . . . . 346
No-sew Side Panels . . . . . . . . . . . . . . . . . . . 386 Scarf Swag . . . . . . . . . . . . . . . . . . . . . . . . . . 426
Window Treatments . . . . . . . .349 Basic Curtains . . . . . . . . . . . . . . . . . . . . . . . 388 Bias Swag . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
Window Treatment Basics . . . . . . . . . . . . . . 350 Grommet Curtains . . . . . . . . . . . . . . . . . . . . 390 Rod-pocket Swag . . . . . . . . . . . . . . . . . . . . . 430
Window Treatment Styles . . . . . . . . . . . . . . 352 Loop-tab Curtains. . . . . . . . . . . . . . . . . . . . . 392 Stained Glass . . . . . . . . . . . . . . . . . . . . . . . . 432
Blinds & Shades . . . . . . . . . . . . . . . . . . . . . . 354 Rod-pocket Curtains . . . . . . . . . . . . . . . . . . 394 Frosted Glass . . . . . . . . . . . . . . . . . . . . . . . . 434
Window Shade Styles. . . . . . . . . . . . . . . . . . 360 Tent-flap Curtains. . . . . . . . . . . . . . . . . . . . . 396 Shoji-style Screen. . . . . . . . . . . . . . . . . . . . . 438
Roller Shades . . . . . . . . . . . . . . . . . . . . . . . . 362 Tie-top Curtains . . . . . . . . . . . . . . . . . . . . . . 398
Roller Shade with Tabbed Hems . . . . . . . . . 364 Drapery Styles . . . . . . . . . . . . . . . . . . . . . . . 400
Resources. . . . . . . . . . . . . . . . .444
Coach Shades. . . . . . . . . . . . . . . . . . . . . . . . 366 Pinch-pleated Draperies. . . . . . . . . . . . . . . . 402 Photography Credits . . . . . . . .445
Flat Roman Shades . . . . . . . . . . . . . . . . . . . 368 Drapery Lining . . . . . . . . . . . . . . . . . . . . . . . 406 Index . . . . . . . . . . . . . . . . . . . .446
Home Improvement Group

NOTICE TO READERS
Publisher: Bryan Trandem For safety, use caution, care, and good judgment when following the
Managing Editor: Tracy Stanley procedures described in this book. The publisher and Black & Decker
Senior Editor: Mark Johanson cannot assume responsibility for any damage to property or injury to
Editor: Jennifer Gehlhar persons as a result of misuse of the information provided.
The techniques shown in this book are general techniques for
Creative Director: Michele Lanci-Altomare various applications. In some instances, additional techniques not
Senior Design Managers: Jon Simpson, Brad Springer shown in this book may be required. Always follow manufacturers’
Design Manager: James Kegley instructions included with products, since deviating from the directions
Production Managers: Linda Halls, Laura Hokkanen may void warranties. The projects in this book vary widely as to skill
levels required: some may not be appropriate for all do-it-yourselfers,
Compilation author: Betsy Matheson and some may require professional help.
Page Layout Artist: Danielle Smith Consult your local building department for information on building
permits, codes, and other laws as they apply to your project.
The Complete Photo Guide to Home Decorating Projects

Created by: The Editors of Creative Publishing international, Inc., in coopera-
tion with Black & Decker. Black & Decker® is a trademark of The Black & Cover photograph credits; middle left courtesy of FLOR / www.flor.com;
Decker Corporation and is used under license. middle right and lower middle courtesy of Louvolite / www.louvolite.com.
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Introduction
D ecorating is the key to transforming a functional living space into a comfortable home that is uniquely yours.
The nearly limitless variety of decorating techniques, materials, colors, patterns, and accents that can be
used in any room in your home provides endless options for customization—and an inherent creative challenge.
With so many choices, where do you start?
The Complete Photo Guide to Home Decorating Projects will guide your creative vision and provide the
know-how to complete nearly any decorating project with professional quality and designer results. Whether
you plan to reinvent your living room with new upholstery, window treatments, decorative painting, and an
aluminum-gilded ceiling or you merely want to know the best way to hang artwork and shelving, this volume
provides clear, step-by-step instructions with large, easy-to-follow photographs to guide each project from start
to finish.
To ensure that you love your completed project, always begin by envisioning the atmosphere and design
scheme that best suits your room’s needs and your personal style. Also, take stock of the tools, materials, and
skills needed to be successful. “Decorating Basics,” the first section of this book, is intended for exactly that
purpose. Focused on principles of good design and on the basic skills and tools needed to achieve high-quality
results, this section is a must for every decorator. With these resources, you can confidently create a home décor
that truly reflects your abilities and creative intent.
Each of the remaining sections is composed of a set of projects associated with one element of room design,
such as “Wall Paint,” “Cabinets & Doors,” and “Furniture Refinishing.” Projects are widely varied, encompassing
both large and small commitments, varied skill levels, and both innovative and time-tested techniques. Let these
projects help you complete common tasks—such as installing curtains, applying wallcoverings, or installing a tile
backsplash correctly. Or let them inspire you to take on a more challenging project such as installing wainscot
frames, sewing a custom-fit slipcover, or applying sophisticated painting techniques to walls, ceilings, and floors.
Successfully completing a decorating project will be one of the most creative, most rewarding, most fun
ways you can invest in your home while also achieving a lasting impact on its value. In addition, the beauty and
personality you create will become a part of your family’s story for years to come. Add the extensive resources of
The Complete Photo Guide to Home Decorating Projects to your own creative energy and get started on your first
project today.
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Decorating
Basics
T aking on a home decorating project can transform
the spirit of your home. Whether completing
a small task such as updating a window with new
curtains or a major undertaking such as wallcovering
an entire room, each project in this book will
require you to be familiar with a few basic design
considerations, tools, and techniques.
Consider the needs of your room, the interplay
of colors and patterns, the desired atmosphere, and
the impact of your own personal style when selecting
materials and projects for your home. Then, familiarize
yourself with the basic techniques and tools you’ll
need to complete the project—as well as any specific
measuring and planning instructions. Review this
chapter for tips and techniques to ensure your project
is a success from start to finish.
In this chapter:
• Planning Your Project • Discovering Your Style
• Understanding Color • Sewing Techniques
& Pattern • Painting &
• Selecting Materials Carpentry Techniques
• Using Décor to • Home Décor Tools
Create Atmosphere
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Planning Your Project
T he first step in planning any decorating project,

large or small, is to analyze the room in which
the project will take place. Consider what you like
new materials to help you coordinate the old and new.
Page through decorating magazines for additional
inspiration. Consult salespeople, designers, websites
best about this room—and what you would like to and friends for helpful suggestions. The general
change. Make notes about your initial impressions of guidelines laid out in this chapter can also help you
changes you’d like to see, including key words about make good decisions. Ultimately, however, your own
how you’d like the room to feel when your project preferences and sense of style are the most important
is complete. consideration in any decorating decision. Each
Remember, there is no right or wrong way to project in this volume can be customized thousands
coordinate the décor of a room. Collect samples of any of different ways to suit your taste, so follow your
carpeting, fabric, wallpaper, or paint that will remain instincts to achieve a decorating scheme you’ll love in
in the room and bring them with you when purchasing the end.
A well-thought-out combination
of colors, patterns, and texture are
presented here. The color scheme is
related (see page 10), the patterns work
well together (see page 12), and the
wainscot wall ties together the overall
formal feel (see pages 60 and 64).
8 ■ THE COMPLETE PHOTO GUIDE TO HOME DECORATING PROJECTS
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Use warm tones such as red, orange, brown, or natural to To create an illusion of more space, paint walls and trim
create a space that is intimate, cozy, or dramatic. white or pale cool colors. Cool colors recede from view, making
walls feel farther away than they really are. Cool colors (see
page 11) are also calming.
Planning Considerations ▸
Light: Carefully observe the natural light in your project materials will complement or contrast with the existing
room at various times of the day and the artificial light elements of the room. Research the techniques you'll
available at night. Write down where you’d like to create, need to master to work with new materials.
soften, accent, or utilize light to beautify your décor.
Pattern: Rooms with several printed or patterned
Color: Decide which colors in the room you want to keep, surfaces can appear cozy and small, whereas rooms with
and decide on new colors to introduce to play up the many solid surfaces tend to be restful and expansive.
strengths of the room. Consider how color contributes to Consider the needs of your room and how using patterns
the overall mood of the room—does the space appear too with fabrics, decorative painting, ceramic tile, or other
bland, or are the colors overwhelming the space? Does techniques could help you achieve your design goals.
your color scheme appear outdated? Notice how the
colors play off of one another and consider how to modify Functionality: Your home should be a livable space.
and/or accent this interplay. Always consider the durability and day-to-day functionality
of any design decision during the planning stage. Will your
Material selection: Notice the materials currently floor surface be subjected to daily wear and tear? Will
present in the room that make up the floor surface, walls, children be using this space, and are your design decisions
trim, ceiling, fixtures, windows, and furniture. Decide what child-proof? Select materials and techniques that will fit with
materials you like best, and consider how adding new your day-to-day life as well as with your decorative taste.
Decorating Basics ■ 9
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Understanding
Color & Pattern
M ost home decorators have an instinctive sense of

how to choose effective color combinations, but
the majority of us could benefit from a little more color
theory to enhance our color combination decisions.
Basic color theory is illustrated with a color wheel. The
The color wheel illustrates how basic colors are related. Red,
color wheel shows how colors are related and can help yellow, and blue are primary colors. Orange, green, and purple
guide decisions about which colors work best together, are secondary colors made by combining two primary colors.
and the effect they have on a room’s overall décor. Neutral colors are shades of white, gray, or beige (image right).
■ Basic Color Theory
Related colors, sometimes called analogous, are next to Complementary colors are located opposite one another
one another on the color wheel. Related colors harmonize on the color wheel. Taupe and moss (shown here) are
naturally; many decorators use various shades of two related complementary colors within a neutral scheme. Decorating
colors in one room. with complementary colors adds intensity when used within
bold color schemes and adds interest in neutral color schemes.
Monochromatic colors are all within a single family (shown Neutral colors are shades of white, gray, or beige. Most
here, green) but are presented in various lightnesses and neutrals are tinted slightly with another color, which is good
saturations. This scheme looks clean and elegant, resulting in a guidance when choosing accessory colors for pillows,
soothing effect. curtains, and other accessories. Use the color wheel to choose
complementary or related colors based on the tint color of the
main shade in the room.
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■ Dimensions of Color
Color is so much more than what the very
important, if overly simplistic, color wheel can
illustrate. Colors also vary in value, temperature,
and brightness.
Value is a color’s lightness or darkness (see
vertical axis on diagram) and is determined by the
amount of black or white that is in a color. Using
a mixture of light, medium, and dark values of the
same color in one space is called a monochromatic
scheme. Using color in this way is subtle,
sophisticated, and calming. Light color combinations
create bright, spacious rooms and can make rooms
appear larger and ceilings higher. Light colors reflect
light well and can brighten and expand small spaces.
Dark color combinations create intimacy, and can
make rooms feel small and cozy. Dark colors absorb
light, can disguise problem areas, and create drama. The orange rug and brown walls add warmth to an
Large swaths of dark colors can be very dominant— otherwise cold, stark loft with steel stairs and concrete
you may want to break up a dark room with light floors. The wood stair treads, curvy couch, and oval pendant
accents for balance. lights all add natural elements and shapes to further soften
Saturation describes the brightness of a color the room, resulting in a blend of industrial loft design and a
warm atmosphere.
and works around the color wheel (see rounded
arrows in the center of the diagram). Bright colors, on
the outside of the circle, are intense and undiluted by Light
a neutral color. Subdued colors, closer to the center,
are diluted with a neutral color or a complementary
hue. Bright colors demand attention and are a
great choice for active, creative spaces or in rooms
that receive little natural light. Bright colors are
often used as accents or can be paired with neutral
elements; an entirely bright-colored room can be
bold and energetic. Subdued colors are diluted with
neutral colors and create restful, relaxing spaces.
They are clean and modern and can be effectively
Value
accented with one or two bright colors used sparingly.
Temperature describes how warm or cool
Neutral
a color is, according to its position on the color
wheel (see horizontal axis on the diagram). Reds, Subdued
oranges, yellows, and browns are warm colors; Bright
greens, blues, and purples are cool colors. Intense
warm colors create stimulating social spaces,
perfect for dining rooms or kitchens. Research has
shown that people actually feel warmer in a room
painted in a warm color, so that may be a great
choice for warming up homes in cold climates.
Cool colors are fresh and tranquil, perfect for
rooms that receive abundant sunlight. Using cool
colors in warm climates can make a home feel
more comfortable year-round. Dark
Warm Cool
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■ Understanding Patterns
There are six basic categories of patterns in decorating, and any design scheme may use several of them in the
same room. Start with an overall plan, taking into account the architecture of your home and the ambiance you'd
like to evoke.
Solids are used in flooring, carpeting, walls, wallcoverings, Geometric prints are dominant and stimulating, and help
and window treatments. Calm and contemporary, solids are a move the eye around a room. To prevent a room from looking
classic choice that will never go out of style. too busy, balance intense geometric prints with solid-
colored accents.
Stripes can be used to great affect all over the home—in Combination prints use two or more of the previous
window treatments, furnishings, and painted on walls and patterns and work best in large areas. Six or more patterns can
ceilings. Stripes can expand small spaces and are very elegant be used effectively in one room if you have a balance of color
in subdued colors. along with pattern size and scale.
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Patterns take up more visual weight than solid expanses of Overall prints and florals are effectively used on
color. Contemporary rooms usually forgo bold or aggressive wallcoverings, large furniture pieces, or flat window
patterns in favor of solid-color fabrics on large upholstered treatments, such as window shades or valances. As accents,
pieces. Traditional rooms require a minimum of pattern for overall prints add a spark of interest to quiet spaces. As the
authenticity. When pattern is desired, choose subtle color dominant decorative element, overall prints create energy and
combinations such as those featured in tone-on-tone stripes fun and are a great choice for social or creative spaces.
or damask patterns, and use sparingly.
Experiment with pattern scale with sketches or collages of your room. Typically, patterns close together make a room appear
cozier, while patterns far apart can make a room appear more spacious. Dense patterns allow accents and furniture in the room to
stand out, making it easy to create focal points even if the pattern is large.
Designer Tip: Working with Color and Pattern ▸

• Repeat one strong-patterned print at least once or twice in the room. For example, a strong print in a sofa could
be repeated in a valance, or in a cushion across the room.
• Repeat strong accent colors more than once in a room.
• More than four patterns in one room can work, but the effect will be stimulating and eclectic.
• Mini-prints can easily be overdone. Do not use more than two very small prints in the same area.
• Have fun! Do not be afraid to let the prints and colors you choose reflect your personal taste.
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Selecting Materials Fabric Terms to Know ▸
Fiber is the basic unit of yarn before it is made into
fabric. Fiber content affects durability and care.
C areful material selection ensures that your project

will turn out the way you’ve envisioned it in your
mind’s eye. Research your options and question your Blends are the best qualities of two or more fibers
combined in one fabric.
salesperson about differences between materials and
brands before you make your final selections.
Decorator fabrics are designed for decorating
projects. They are usually wider than 48" and often
■ Selecting Fabric have special finishes that are desirable for home
décor projects.
Selecting the right fabric for your decorating project can
affect your success. Always consider how the fabric’s Fashion fabrics are used primarily for fashion
durability, formality, weight, and care will affect your sewing; however, fabrics such as calico, poplin,
project. Use the chart at right as a basic guide to various cotton, gingham, sateen, and muslin may also be
fabric types and uses. Consult a salesperson at your fabric used for the home.
store before you purchase fabric to determine whether or
not the fabric you love will work well for your project. Repeat is the size (length and width) of the pattern or
Always carefully calculate the yardage you’ll need to motif printed on the fabric. You will usually need to buy
purchase according to your project’s specifications before one extra repeat for each length of fabric you use. The
you purchase fabric. It’s usually a good idea to buy size of the repeat is often printed on the label or selvage.
slightly more fabric than you think you’ll need to help
accommodate for small mistakes, or to add decorative Selvage is the finished lengthwise edge of a
accents, if possible. Also, remember that fabric bolts woven fabric.
often come from different dye lots. To avoid problems of
slight color variations or differences in pattern printing, Grain is the direction in which fabric threads run.
buy all fabric for a large project from only one bolt.
Working with Decorator Fabric

Some decorator fabrics should not be pre-washed.
Many are treated with finishes to protect their beauty
and resist soiling. Washing may remove this finish,
alter the fabric, or fade the colors. Check the care
label on the end of the bolt to learn how best to
prepare the fabric.
Decorator fabrics are often made of natural
fibers, which include cotton, linen, silk, and wool.
Natural fibers are breathable, comfortable, and easy
to sew. If decorating outdoor areas, however, choose
a fade-resistant, acrylic or polyester decorator fabric
that looks and feels like a natural fiber fabric. These
fabrics will resist stains and mildew and will fade
less quickly.
Decorator fabrics are available in countless colors,
weaves, and styles. Always carefully choose the right
fabric for your project.
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Fabric Selection Guide ▸
Fabric Weight Formal/Informal Decorative Uses Durable Care
Antique Satin Heavy Formal Draperies, upholstery, cushions, tablecloths, Yes Dry-clean
slipcovers
Batiste Light Formal/informal Under curtains, casual curtains, balloon shades No Machine-wash
Broadcloth Light to medium Informal Curtains, soft shades, bed linens, pillows, Yes Machine-wash
cushions, table linens, shower curtains
Brocade Heavy Formal Draperies, bedcovers, pillows, cushions, Yes Dry-clean

tablecloths, slipcovers
Calico Light to medium Informal Curtains, pillows, table linens Yes Machine-wash
Chintz Medium to heavy Formal/informal Curtains, draperies, upholsteries, shower Yes Dry-clean
curtains, cushions, Roman shades, slipcovers
Damask Medium Formal Draperies, upholsteries, bedcovers, Yes Machine-wash

tablecloths, slipcovers or dry-clean
Dimity Light Formal Under curtains, soft shades No Machine-wash
Duck Heavy Informal Draperies, slipcovers, Roman shades Yes Machine-wash

or dry-clean
Gingham Light Informal Curtains, soft shades, tablecloths, napkins Yes Machine-wash
Lawn Light Formal Curtains, under curtains, pillows, napkins Yes Machine-wash
Lace Light Formal Curtains, tablecloths Varies Machine-wash

or dry-clean
Matelasse Heavy Formal Draperies, upholsteries, slipcovers Yes Dry-clean
Moiré Light to medium Formal Draperies, curtains, tablecloths Yes Machine-wash

or dry-clean
Muslin Light Informal Curtains, table linens, linings No Machine-wash
Organdy Light Formal/informal Curtains, under curtains No Machine-wash
Percale Medium Informal Curtains, bed linens, table linens Yes Machine-wash
Sateen Light to medium Formal Curtains, bed linens, table linens, draperies Yes Machine-wash
Satin Medium to heavy Formal Draperies, curtains, pillows, bed linens, Roman Yes Machine-wash
shades, upholsteries, slipcovers or dry-clean
Shantung Light to medium Formal Draperies, curtains Yes Dry-clean
Suede cloth Heavy Formal/informal Cushions, draperies, upholsteries, slipcovers Yes Dry-clean
Taffeta Light to medium Formal Draperies Yes Machine-wash

or dry-clean
Velvet Medium to heavy Formal Draperies, upholsteries No Dry-clean
Voile Light Informal Curtains, under curtains, balloon shades No Machine-wash
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■ Selecting Paint
Interior paints are either water based (latex) or oil Always purchase a good primer to coat surfaces
based. Latex paint is easy to apply and clean up and before painting. Primer is designed to bond well to a
suitable for nearly every interior application. Oil bare surface and creates a durable base that keeps the
based paints sometimes create a smoother finished finish coat from cracking or peeling. When using deep
surface but also require longer drying times and colors, use a tinted primer to reduce the number of
harsh solvents for clean up. For small projects such coats necessary for good coverage. Ask your retailer to
as stenciling or detailing and for some faux finishes, help you find the best tint for your project.
you may also use specialty craft paints, which are
generally water based.
Choosing a quality paint will save you time in
extra coats now and in repairs and repainting in the
future. Because quality paint is more durable and
washable, the pigments will remain bright, even when
scrubbed or washed repeatedly. Paint coverage for
quality paints should be about 400 square feet per
gallon. Bargain paints may required two or even three
coats to cover the same area as quality paints. Paint
prices are usually an accurate reflection of quality.
As a general rule, buy the best paint your budget
can afford.
Estimating How Much

Paint to Buy ▸
1) Length of wall or ceiling (feet)

2) Height of wall, or width of ceiling ×
3) Surface area =
4) Coverage per gallon of chosen paint ÷
5) Gallons of paint needed =
Quality paint lasts longer, covers beautifully, and will usually
end up costing less than bargain paints in the long run.
Types of Paint ▸
Paint Characteristics & Applications
Flat latex No sheen; for walls and ceilings

Satin latex Low sheen; for walls, ceilings, trim
Semigloss latex Slightly glossy sheen; for walls and trim; durable
High-gloss latex Reflective sheen; for doors, cabinets, trim; washable; durable
Satin-enamel latex Low sheen; smooth, hard finish; for trim and furniture
Gloss-enamel latex Very glossy; smooth, hard finish; for trim and furniture
Oil-based enamels Very glossy sheen; smooth, hard finish; for trim and furniture
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■ Selecting Trim
Before you design your new trim project, choose
the style of molding that is most appropriate for
your overall home decor. Balance and scale, existing
furnishings, and the applied finish will all change
the effect your project has on the room. To narrow
Crown molding
down your style options, focus on the overall result
you’d like to achieve in the room—is your style
simple and modern, formal and decorative, or classic
Picture rail
and streamlined?
Scale, the size of an object in relation to its
surroundings, is a very important consideration in trim
selection. Moldings that are too large or small might
not impact a room the way you had planned. Moldings
that are well balanced create a sense of stability and
proportionality. For example, if you have tall base
moldings, the crown or cornice treatment should be
similar in scale or the room will feel imbalanced.
Playing with Scale ▸

Casing
Chair rail
Baseboard
Generally, our eyes do not like surprises when it Base shoe

comes to scale. However, it is possible to create
effective illusions by violating the normal rules of
proportional scale. For example, the elaborate crown
detail shown here makes this standard-height room
appear to have a taller ceiling. But use caution—if
not handled graciously, the trick can backfire and The style of trim in this example is well balanced. The
make your room feel cluttered. individual elements are similar in color and molding profile and
do not overpower each other with strong differences in size.
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Using Décor to Create Atmosphere
A good way to define parameters for color, pattern,

and material decisions is to establish the
atmosphere or mood you’d like your room to take on. A
clean, crisp, and cheery will look very different from
a kitchen described as rich, warm, mellow, cozy,
and traditional.
good way to start is to list five words that describe how Return to your chosen descriptive words
you’d like your newly decorated room to look and feel. throughout your decorating process, as you decide on
These words can evoke instincts about color, fabric projects, materials, finishes, fabrics, and techniques.
patterns, texture, furniture styles, and woodwork. For Remember that each decision in the design process is
example, a kitchen that is described as sunny, bright, completely up to you—so have fun and express yourself!
This neutral, related scheme of blues, grays, and tans is warmed up by adding a subtle yellow tone: notice the warmed wall
color, brown throw pillows, and yellow hues in the dresser. Neutral schemes and cool colors are known for being restful and good
choices for bedrooms. The white accents allude to a fresh and clean space. All of this surely results in sweet dreams!
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■ Decorating Schemes
Bold schemes are created with high-contrast tones, such Subtle schemes are restful and open, often using subdued
as whites and blacks, and complementary colors. Hard- complementary colors. They often include a careful balance of
edged geometric patterns and dark walls also contribute to warm- and cool-toned elements. Subtle schemes are always a
these striking designs. Bold schemes work especially well in safe choice and are appropriate for any room in your home.
entryways and foyers and can also be appropriate in kitchens
and living rooms.
Cheerful schemes are created by using light, saturated colors Tranquil schemes use cool related colors with low contrast.
that make the room seem larger. To maintain an open feeling, To unify the room, use coordinating patterns that repeat the
use low-contrast, pastel furnishings and minimal window color scheme in draperies, artwork, rugs, and other accents.
treatments for maximum sunlight. Multiple patterns can be Use a tranquil scheme in rooms that serve as relaxing retreats,
combined to great success in a cheerful scheme; this style such as bedrooms, bathrooms, sunrooms, or living areas.
works well in any frequently used room and in children’s rooms.
(continued)
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Formal schemes use rich fabrics and classically detailed furniture and window treatments. To create a more intimate atmosphere,
choose a rich, dark color for the walls. Guest bedrooms, dining rooms, powder rooms, and parlors are all well suited for a formal
decorating scheme.
Natural schemes use neutral colors and fabrics, well-chosen accents and earthy textures. Often, the warmth of brown tones is
balanced with light cool colors, such as blue and gray. Libraries, family rooms, and bedrooms often feature a natural scheme.
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Guidelines for Creating a Décor Scheme ▸
Atmosphere Suggested Colors Fabrics & Textures Projects to Consider
Key Words
Cheerful Bright, clear colors: pink, Bold florals, geometric Tiling backsplash, painting polka dots, applying
yellow, blue, green, or combination patterns, sticker art, button-tufting cushion, making
orange lightweight cotton blends, tab curtains
sateens, laces
Comfortable, Autumn colors: rust, Smooth to lightly textured Installing wood shelves, installing carpet
casual tan, gold finishes, sheers, polished squares, making chair slipcovers, making
cottons, sateens, casements draped window treatments
Conservative, Light colors, warm tones: Woven fabrics, nubby Installing wainscot panels, trimming
clean & neat, white, mauve, peach, textures, all-over prints, wall openings, applying faux grasscloth,
tidy, crisp ecru, maize sheer linens, cottons, making an upholstered ottoman, making
suede cloths upholstered valances
Contemporary Neutral tones: beige, gray, Textured or smooth fabrics: Applying veneer plaster, hanging glass
ivory, cream simple designs, solids, shelves, applying a faux stainless steel finish,
casements making a photo montage table, making
tent-flap curtains
Cozy, restful Soft to medium shades: Softly padded or quilted Applying color-blended bands, upholstering
blue, mauve, green fabrics, inviting prints: walls, paneling a ceiling, making an
sheers, percales, upholstered headboard, making a scarf swag
sateens, broadcloths
Elegant, refined Dark, rich colors: taupe, Shiny fabrics or fabrics with Installing crown molding, applying a
gold metallic, ecru—and sheen: silks, antique satins, wallcovering panel, applying faux-serpentine
clean neutral accents moirés, decorative trims finish, aluminum roll gilding, wood graining
mahogany, making a cloud shade
Practical Multi-colors, medium Washable or stain-resistant Installing a basement window casing, hanging
shades: red, blue, orange fabrics, over-all prints: pictures and mirrors, installing a bifold door,
sheetings, cotton blends painting wood floors, painting a furniture piece,
making rod-pocket curtains
Romantic Fresh colors: pastel Sensory fabrics with texture Installing decorative wallboard panels, installing
pink, blue, green, ivory; or elegant prints, florals, a built-up cornice, installing two-color meshing,
clean white laces, eyelets stenciling a floor, making a butterfly shade,
making tietop curtains
Tailored, masculine Earth tones, rich colors: Geometrics, plaids, stirpes: Creating architectural detail with wallboard,
rust, brown, intense blue upholstery fabrics, tapestries applying veneer plaster, installing a tiled
and green fireplace surround, installing a decorative
door header, creating a faux leather tabletop,
making a buttoned valance
Traditional, classic Reliable colors: green, Timeless fabrics: antique Installing wainscot frames, installing a chair
white, blue, burgundy satins, jacquards, rail, painting stripes, applying built-up cabinet
matelasses, linens, velvets molding, making reversible seat slipcovers,
painting radiators, making roller shades,
making bias swags
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Discovering Your Style
E ven after you’ve assessed the needs of your room,

planned out your projects, and established the
atmosphere you’d like to create, the most important
flip through the pages, ask yourself the same type
of questions you asked at the furniture stores and
websites. Take note of your responses and look for
factor in your home décor may still be a mystery—your common threads.
personal decorating style. Focusing on one general Creating a collage is one of the best exercises to
decorating style throughout your home will unify your kick off a decorating project. Just find some decorating
décor from room to room and will help guide many magazines and cut out images that appeal to you—it
steps in the decision-making process. doesn’t matter what they are or why you like them.
There are several ways to discover your style. The only criteria is that the images strongly appeal to
The first and least expensive is to go to furniture you. Once you’ve collected several images, paste them
stores—both online and brick-and-mortar. What together in a collage (poster board works well as a
rooms attract you? What repels you? Do you prefer base). When making your collage, don’t think or plan
florals and ruffles or glass and chrome? What do too much. Discovering the information hidden inside
the rooms you like have in common? The rooms the images you’ve selected is what you’re after and
you dislike? As you look around, take notes and that only happens when you leave structured thought
make sketches. behind and play with the possibilities. Eventually,
Looking at magazines and decorating books patterns will emerge, revealing your favorite colors,
is another great way to discover your style. As you shapes, and textures.
Collect design magazines, color swatches, photographs that inspire you, travel books, favorite fabrics, and photographs of
treasured furniture pieces or decorative accents to kick off your design challenge.
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What’s Your Decorating Style? ▸
To take this quiz, check the answers that appeal to you most, then count the number of As,
Bs, Cs, and Ds you have. Finally, consult pages 24 and 25 to find out what decorating style
best suits you.
1. What words best describe the exterior 7. Which of these do you prefer?
of your home? A. Streamlined shapes with
A. Angular and dramatic simple details
Minimalist
B. Traditional and elegant B. Button-tufting, nail-head
C. Simple and adaptable trim, fringe
D. Reflects its setting C. The more details the better
2. Which of these descriptions most D. Homespun or
closely matches the interior of handcrafted accessories
your home? 8. When it comes to art, what would you
A. Streamlined rooms filled with choose first?
straight lines and angles A. Modern or contemporary art
B. Cozy rooms accented with B. Botanicals, landscapes, and still-
Romantic detailed moldings and trim life paintings
C. Rooms filled with a wide variety of C. Mementos and items of
colors and shapes personal interest
D. The style is closely tied to the D. Wildlife art or pieces with themes
exterior architecture related to nature
3. What textures appeal to you most? 9. What type of materials would you
A. Flat matte or shiny surfaces most like to live with?
B. Smooth surfaces with rich patinas A. Metal, stone, and glass
C. Some of everything B. Painted and stained wood,
D. Natural textures such as rough- burnished metal, such as polished
Contemporary hewn wood, sisal, or terra cotta brass or nickel
4. What type of fabrics do you prefer? C. Distressed paint and patina
A. Textured fabrics in solid colors on metals
B. Chintzes and brocades D. Terra cotta, rough plaster,
C. A little of everything and natural materials, such
D. Hand woven with dramatic colors as bamboo
5. What color combinations do you prefer? 10. The perfect window treatment is:
A. Muted or monochromatic with A. Nothing at all or the simplest
dramatic accents possible shades or blinds
B. The colors of a garden B. Formal draperies with valances
Theme
C. Anything goes and swags
D. Bright, cheerful colors C. Layers of fabric with details galore
6. What details draw you to an D. Simple shutters or flat
upholstered piece? fabric panels
A. Clean, spare lines
B. Luxurious fabrics and Total
elaborate trim A=
C. You never can tell what might B=
strike my fancy C=
Formal D. A dominant theme or motif D=
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■ Decorating Style Quiz Results
IF YOU CHECKED MOSTLY As, YOUR STYLE
IS LIKELY TO BE CONTEMPORARY.
Contemporary styles are based on furnishings
developed from 1900 to the present. Contemporary-
style homes embrace the Arts and Crafts, Art Deco,
and Art Nouveau movements, as well as Asian, retro,
and modern influences. Upholstered pieces have
minimal seams and no adornments (such as tufting or
buttons) for a streamlined look. Rooms are filled with
straight lines and simple angles and typically include
natural materials, such as wood, stone, metal, and
glass. Color schemes tend to be muted or neutral. A
limited amount of bright color is used as an accent. A
few vintage pieces or natural elements, such as plants
or trees, soften the angles and often strengthen the
overall impact of the decor.
IF YOU CHECKED MOSTLY Bs, ROMANTIC

STYLES ARE YOUR CUP OF TEA.
Romantic-style homes focus on the types of
furnishings and accessories developed before 1900.
This style includes Traditional, Victorian, and Country.
Furnishings in these homes tend to include pieces
upholstered with luxurious fabrics and elaborate trim.
Rolled arms and kick pleats abound. So do the colors
of a garden, detail-painted millwork, and carefully
selected accessories. Window treatments typically
include layers of fabrics and lots of details.
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IF YOU CHECKED MOSTLY Cs, OR YOUR
ANSWERS ARE EVENLY DIVIDED AMONG
THE CHOICES, ECLECTIC MAY BE THE WAY
TO GO.
Eclectic homes are the style equivalent of wearing
your heart on your sleeve. They’re a mix of period
styles and personal mementoes. Many people refer
to this style as Bohemian. Eclectic does not mean
hodgepodge or Grandmother’s attic. Every piece needs
to be deliberately selected and carefully displayed
to contribute to the whole. Although eclectic types
generally follow no style rules but their own, they
understand the value of editing their choices to
create the best possible mix of styles, shapes, colors,
and textures.
IF YOU CHECKED MOSTLY Ds, A THEMED

STYLE IS LIKELY TO SUIT YOU.
Themed-style homes reflect a specific aspect of their
environment or architecture. Southwestern, tropical,
and rustic homes are examples of environmental
theme styles. For example, an adobe house with a red
tile roof calls out to be filled with rough textures, earth
tones, handwoven fabrics, and the colors of the desert.
Architectural themes are most successful if derived
from the era in which your home was built. Some
styles include Vintage, Antique, and the Old West.
Every detail should relate back to this era—from trim
moldings to rugs and sofas to lighting. It’s important
that the interiors of themed-style homes complement
the exteriors and vice versa.
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Sewing Techniques
H ome décor sewing requires many techniques,

from matching and cutting fabric to stitching
seams, ruffles, welting, and hems—both by hand
and with a sewing machine. Before you get started,
familiarize yourself with these simple techniques, and
gather the supplies shown on page 52.
■ Preparing Fabric
Before you begin, pre shrink your fabric, lining, 3. Press dried fabric to eliminate wrinkles.
zippers, and trims so the finished project won’t shrink 4. If fabric can’t be laundered, steam to preshrink it
later. Launder everything as you intend to launder the or have it dry-cleaned. To preshrink with steam,
finished item. first steam-press a small scrap to test for damage.
1. Check care instructions printed on the end of the Dampen the fabric and press on the wrong side
fabric bolt before you launder. Machine-washing until the water evaporates.
may remove sizing and other finishes that enhance 5. If fabric is identical on both sides, choose one side
the fabric’s beauty and performance. Many as the right side and mark the wrong side so you
upholstery fabrics should not be laundered. won’t confuse the sides when sewing.
2. If care instructions aren’t available, launder a 6" 6. Trim selvages before or after seaming or before
square. Remove it from the dryer, press, and measure. hemming sides. Do not use the selvage as an edge.
Is it still a 6" square? Did it fade, ravel, or visibly lose 7. Find the straight grain and straighten the cut
its finish? If the results are good, preshrink the entire ends, using a carpenter’s square or T-square. Align
length of fabric the same way. If fabric ravels, zigzag- one side of the ruler with the selvage and mark
stitch the cut edges before laundering. the perpendicular side with tailor’s chalk.
■ Cutting & Matching Fabric

Work on a large, flat surface so you can lay the fabric the top of the fabric and place all pattern pieces or
straight and smooth. For most home décor projects, cut all measured pieces in the same direction. For
the fabric is cut in a single layer, with the right professional results, always match the pattern of
side up. This layout makes it easy to position and a fabric at the seam lines. Extra yardage is usually
match design motifs. If fabric is directional, mark needed in order to match the pattern.
To calculate the amount of fabric you’ll need, multiply To match patterned fabric, position fabric widths right sides
the cut length by the number of fabric widths required for your together, matching selvages. Fold selvage back at one end until
project, and then add one pattern repeat. The pattern repeat pattern matches. Press the foldline, and then pin and stitch on
is the lengthwise distance of one distinctive point on the the foldline. Trim fabric to finished length (inset).
pattern. This will be the total length in inches. Divide by 36" to
determine the number of yards required.
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■ Machine Stitching
Most home decorating sewing can be done entirely When tension is perfectly balanced, the stitches
by machine with a straight or zigzag stitch. Although look even on both sides of the fabric because they
machines vary in capabilities, each has the same basic link midway between fabric layers. Too-tight tension
parts and controls. Consult your machine manual to will cause seams to pucker; too loose results in
review threading procedures and to locate the controls weak seams.
that operate the principal parts. Also, select the Pressure regulates the even feeding of fabric
appropriate needle and thread for your project’s fabric layers. If too heavy, the bottom fabric layer gathers,
to ensure quality stitching, and test your stitching on causing unevenness. Too-light pressure may cause
a scrap of fabric before stitching your project. Learn skipped stitches or crooked stitching lines.
more about the sewing machine on page 52. There are Stitch length is the length of each stitch, and
a few machine-stitching terms you should know: is measured in different scales depending on your
Tension is the balance between the upper and machine. For normal stitching, set the regulator at
bobbin threads as they pass through the machine. 10 to 12 stitches per inch, or the equivalent.
Straight stitches should link midway between fabric layers Zigzag stitching is adjusted correctly when the links interlock
so stitches are the same length on both sides of the fabric. at the corner of each stitch. Stitches should lie flat.
■ Machine Stitching Terms
Baste stitching is the longest straight Gathering stitch is done with two rows Edge stitching is placed on the edge
stitch on the machine. Some sewing of baste stitching placed ½" and ¼" from of a hem or fold. Use a straight-stitch
machines have a separate built-in the fabric edge. Loosen tension, use a foot and straight-stitch needle for
baste stitch that makes two stitches heavier bobbin thread, and pull up bobbin close control.
to the inch. Use it for speed-basting thread to form gathers. For long areas of
straight seams. gathers, zigzag over cord, string, or dental
floss without catching the cord in the
stitch. Pull up the cord to gather.
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■ Gathering Ruffles
Use a ruffler attachment to make a test strip. Adjust ruffler Use a shirring foot, designed to lock fullness into every
to desired fullness. Before ruffling lightweight fabrics, zigzag 3⁄8" stitch with evenly spaced shirring. Set stitch length according
from the edge with the widest zigzag to give the ruffler teeth to fullness desired; the longer the stitch, the greater
something to grasp. the fullness.
■ How to Attach a Ruffle with a Heading

1 2 3
Hem both edges of the strip to be Overlock the edge and press ½" to Place the wrong side of the ruffle
ruffled with a narrow double hem or right side. Or, turn and stitch a double on the right side of the fabric, with the
overlock rolled hem. Gather the ruffle ¼" hem on the right side of the edge. gathering line on the hemline. Stitch
strip the desired distance from the the ruffle in place. Allow extra fullness
upper edge. at corners.
■ How to Apply Ribbon

1 2
Mark the trim location, using a marking pen. Use a glue Stitch both sides of the ribbon trim in the same direction to
stick to hold the trim in position. prevent diagonal wrinkles.
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■ How to Miter Corners
1 2 3
Place two lengths of trim right sides Slip-baste the two pieces together Stitch on the line of the slip basting
together and edges even. Fold the top on the diagonal fold. Unfold the trim. on the wrong side. Trim the seams, and
trim at a right angle to form a diagonal finish the edges.
at the corner, and then press.
■ Hand Stitching
Almost all home decorating sewing can be done on the machine, but sometimes hand stitching is necessary.
Closing seam openings on pillows, attaching trims, and finishing hems are tasks that may require delicate
hand sewing.
Running stitch is a straight stitch used Slipstitch is a nearly invisible stitch Blindstitch makes a hem that is
for temporary basting, easing, gathering, for hems, seam openings, linings and inconspicuous from either side. Work
or stitching seams. Work from right to trims. Work from right to left, holding from right to left with the needle
left, taking several stitches onto the the folded edge in the left hand. Bring pointing left. Take a tiny stitch in the
needle before pulling it through. the needle up through the fold and pull body of the fabric, roll hem edge back
the thread through. Then, take a tiny slightly, and take the next stitch in the
stitch in the body of the fabric, directly underside of the hem every 1⁄4 to 1⁄2". Do
opposite the point where the thread not pull the thread too tightly.
came out. Stitch every ¼".
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■ How to Sew a Simple Casing
A casing, or rod pocket, is the hem along the upper edge of a curtain or valance. The curtain rod is inserted
through the casing so that the fullness of the curtain falls into soft gathers.
1 2 3
Determine the rod-pocket depth by Press under 1⁄2" along the upper cut Stitch close to the inner folded edge
loosely pinning a curtain fabric strip edge of the curtain panel. Fold over to form the rod pocket, backstitching at
around the rod. Remove the rod and mea- again at the rod-pocket depth and press. both ends. If desired, stitch again close to
sure the distance from the top of the strip the upper edge to create a sharp crease
to the pin. Add 1⁄2" to be turned under. appropriate for flat or oval curtain rods.
■ How to Sew Double-fold Hems

Double-fold hems are the most common hem for home decorating projects. Insert drapery weights to help
curtains and draperies hang nicely.
1 2 3
Turn a scant 3" to the wrong side on Turn a scant 1" to the wrong side for Press the side hems in place. When
the lower edge of the curtain. Pin along the side hems. Pin and press. Fold under the hems have been pressed, finish
the cut edge. Press fold. Turn under another 1". Pin and press. Tack weights them with straight stitching, machine
another 3", pin, and press in place. inside the second fold at the side blindstitching, or fusible web.
Finish the lower hem using one of the corners, if desired.
methods below.
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■ Basic Seams
All seams in home decorating projects are 1⁄2" unless otherwise specified. To secure seams, backstitch at each end.
Plain seams are suitable for almost French seams eliminate raw edges in Interlocking fell seams completely
every fabric and sewing application exposed seams. Use whenever a seam enclose raw edges. Sew on the wrong
when you plan to enclose the seam is visible on the wrong side or will be side of the fabric. Use the narrow
or cover it with lining. laundered frequently. hemmer attachment (inset) to save time.
■ Making Welting
To make welting, cut fabric strips on the bias for The width of the fabric strips will depend on the size
greater flexibility around curved edges and corners. of the cording. To determine how wide to cut the strips,
Strips do not have to be cut on the true bias; strips wrap a piece of fabric around the cording. Pin it together,
cut at an angle less than 45° provide the necessary encasing the cording. Measure this distance and add 1"
flexibility but require less yardage. for seam allowances. Cut fabric strips to this width.
Seam fabric together as necessary

for desired length. Fold the fabric strip
around the cording, wrong sides together,
matching the raw edges. Using a zipper
foot, machine-baste close to the cording;
smooth the cording as you sew, removing
any twists.
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■ Measuring for the Bedroom
One of the simplest rooms to redecorate is the Mattress width and length: Measure across the
bedroom. Start with fabulous bed linens to set the top of the bed from edge to edge.
stage. Easy-care and easy-to-sew fabrics—such as Mattress depth: Measure from the top edge to
polyester/cotton sheeting, sateen, and cotton flannel— the bottom edge.
are ideal for bedroom fashions. Full drop: Measure from the top of the mattress
If you are decorating a guest room, consider luxurious to ½" above the floor.
satin, antique linen, and lace fabrics for bed coverings. If Comforter or duvet drop: Measure from the
the room has another use—as an office, for example— top edge of the mattress to 3 to 5" below the bottom
choose tailored bed linens. Fabrics should be durable, edge of the mattress.
machine washable, and crease, wrinkle, and soil resistant. Dust ruffle: Measure from the top edge of the
Mattresses have standard sizes, but the depth of the box spring to ½" above the floor.
box spring and the mattress and the height of the bed Bed pillows: come in standard sizes, but fullness
frame may vary. Before you begin your project, measure (loft) varies, so you might want to measure each pillow
your bed—with the sheets and blankets in place. to ensure the best-fitting pillow cover.
Depth
Full drop
Comforter drop
Dust ruffle
Standard Bed Pillow Sizes ▸

Name Size
Standard 20 × 26"
Queen 20 × 30"
King 20 × 40"
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■ Fabric Requirements for Bed Covers
Bed covers are large, so you usually need to piece Finished Bed Cover Width = [bed width] + [two
fabrics—unless you work with sheeting, which is times desired drop length]
available in widths of 90 or 120". When piecing, try to
avoid a center seam. It’s much more attractive to have Cut Length = [Finished bed cover length] + 4"
one wide center section with two narrower side sections.
Bedspreads and coverlets require only a top fabric. Cut Width = [Finished bed cover width] + 4"
Comforter and duvet covers require a top and bottom
fabric, and comforters also need a layer of batting. The To determine how many widths of fabric you
amount of fabric you’ll need depends on the fabric need, divide the cut width by the fabric width. Round
width and the size of the bed covering—and on the up the number.
pattern repeat, if there is one.
To determine the total length of fabric you need
Finished Bed Cover Length = [bed length] + [desired to buy, multiply the number of widths you need by the
drop length] + [12 to 15" for pillow tuck, if desired] cut length.
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Painting & Carpentry Techniques
B y mastering a few basic painting and carpentry

techniques, you can tackle any home decorating
project in this volume. Whether painting, cutting
and attaching trim, or creating snug joints,
familiarize yourself with these steps before
you begin.
Paint Safety Tips ▸

Always wear safety goggles when using chemical strippers or cleaning products, or when painting overhead. Paint fumes
are often hazardous, so ventilate indoor painting areas by opening doors and windows, and use a fan to move air in and
out of the room. Wear a respirator to filter vapors if you cannot ventilate a work area adequately. When you’re finished
with your project, dispose of leftover latex primers and paint safely. Let the container stand uncovered until the paint
dries completely. In most communities, dried latex paint can be put in the trash, whereas alkyd primers and paint must be
disposed of as hazardous waste.
Read label information completely Pour paint thinner into a clear jar Make a scaffold to reach ceilings
before you begin. Chemicals that are after use. When the solid material and high spots by running an
poisonous or flammable are labeled settles out, pour off the clear thinner extension plank through the steps
with warnings and instructions for and save it to reuse later. Dispose of the of two stepladders. The plank should
safe handling. sediment as hazardous waste. be no more than 12 ft. long. Ladders
should face away from each other, so
the steps are on the inside.
Never stand on the top step, top brace, or utility shelf Center your weight on the ladder. Move the ladder
of a stepladder. often; do not overreach. Keep the ladder in front of you when
working. Lean your body against the ladder for balance.
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■ Painting Techniques
Painting a wall is a simple matter of distributing Roll one 2 × 4-foot section at a time, cutting in the
paint evenly and can be a fun and satisfying edges and corners before rolling the main area. Roll the
process as you watch your room transform before area while the areas that have been cut in are still wet,
your eyes. Try to paint during daylight hours, as and start the next section while the edges of the first are
it’s much easier to see missed areas in natural still wet. This technique, called painting to a wet edge,
light. Use high-quality paint and tools, and work keeps lap marks from showing on the finished wall.
with full brushes and rollers to keep lap marks to
a minimum.
When painting bare drywall or plaster, apply a
coat of primer to the entire project area and let it Tools & Materials ▸
dry before applying the paint. When applying dark
or deep colors, (especially reds), ask your dealer to Paint
tint the primer to match the paint; tinted primer 3" paintbrush
reduces the number of paint coats required for Paint roller and tray
full coverage.
Paint surfaces in small sections, working from dry areas back into wet paint to avoid roller marks.
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■ How to Paint a Wall
1 2
Stir the paint using a variable-speed drill and paint-mixing Cut in the edges of a 2 × 4-ft. section of the first wall using
bit. Set the drill on a low speed and keep the head of the bit the narrow edge of a paintbrush. Press down just enough to
in the paint until it completely stops turning. Paint separates flex the bristles. Use long, slow strokes, and paint from dry
quickly, so stir it thoroughly from time to time. areas back into wet paint.
3 4
Cut in any corners in the section using the wide edge of Use a roller loaded with paint to make a diagonal sweep
the paintbrush or a specialty corner roller. about 4 ft. long on the wall. Roll upward on the first stroke to
avoid spilling paint. Roll slowly to avoid splattering.
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5 6
Draw the roller straight down from the top of the diagonal Roll back and forth across the section to smooth the area.
sweep. Shift the roller to the beginning of the diagonal stroke Lightly draw the roller down the section from top to bottom.
and roll upward to complete the unloading of the roller. Lift the roller and start again at the top after each stroke.
Finally, slide the roller cover slightly off of the roller frame and
roll the cut-in areas to minimize brush marks.
7 Paint Color Consistency ▸
Paint, especially custom-mixed paint, can vary

a tiny bit from one can to another. If using more than
one bucket for your project, this may result in slight
variations between paint colors from wall to wall. To
Cut in and roll the section directly next to the first one. avoid this common problem, mix the cans together
Continue with adjacent areas, cutting in and rolling the top in a large pail and stir it thoroughly before you begin.
sections before the bottom sections. Roll all finish strokes This technique is called boxing.
toward the floor.
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■ Painting Trim Moldings
Although you will need to apply a final topcoat after
trim is installed, always prime and paint trim before Tools & Materials ▸
installation. First, prime your trimwork on both sides
to seal the piece, balancing the wood movement from Paintbrush Small paint roller
humidity and temperature changes. After the primer is Paint Mineral spirits
dry, apply two finish coats to the face. After the finish Cut bucket or warm water
coats are dry, install the molding and fill in gaps in Paint additive
joints and fastener holes. The final step is to apply a
touchup coat to the filler areas.
Use a high-quality brush to paint trimwork.
Straightedge brushes around 2" are the tool Using Additives ▸
of choice for many professional painters when
painting moldings. If bristle marks are a concern,
consider putting an additive in the paint. Paint
additives thin the paint without affecting its
durability or sheen. The end result is a paint that
flows on smoother and lays out flatter when dry.
Using an additive may require that you apply at
least one additional coat.
After each coat of primer or paint is applied,
carefully inspect each piece for drips or clots. Cut bucket
These problems need to be dealt with immediately,
or they will mirror through the final coat.
Remember that multiple thin layers of paint look
Pour a paint additive into the mix to reduce brush
better and last longer than one heavy coat. Heavy marks on the finished product. A cut bucket like the
paint layers will also hide any intricate details or one above is easier to handle than a gallon pail and
crisp edging and could possibly make installation creates a convenient way to mix the products.
more difficult.
This baseboard has a very different appearance when it is painted. The finish you choose will alter the cost of your project
as well.
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■ Painting Trim Moldings
Dip the brush into the paint, loading one-third to one-half Paint moldings with thin, even coats starting along the
of its bristle length. Tap the bristles against the inside of the deeper grooves of the trim, and moving on to the smooth
can to remove excess paint. Do not drag the bristles against areas. This sequence will minimize drips into the detail of
the top edge, or rub them against the lip of a one-gallon can. the molding.
Use a small paint roller to coat long, straight strips of trim Clean the brush with mineral spirits when using oil-based
material. Rollers make for fast work and don’t leave brush paint, or with warm water when using water-based. Shake out
marks. If the paint is too thick or you roll too quickly, however, the brush and let it dry. Always start subsequent coats with a
the roller can create an orange peel effect that you may not like. clean, dry brush.
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■ Clear-coating Trim Moldings
Water-based and oil-based finishes have a few basic
differences in application and end result that you Tools & Materials ▸
should be aware of so that you can make the best
decision about which product is right for you. Bristle brush Drop cloth or cardboard
Not long ago, oil-based polyurethanes were or foam brush Sawhorses
regarded as much more durable and capable of Latex gloves Trim material
providing more even coverage than water-based Stir sticks Polyurethane
products. Today, this is not always the case. The Paint can opener Stain (optional)
major differences between modern oil and water
urethanes are not related to finish quality as much
as to secondary (but important) characteristics such
as odor, finish appearance, and drying times. The
durability of water-based products is no longer an
issue. In fact, the most durable urethanes available
are water based.
Oil products emit fumes during drying that
can linger for weeks. Pregnant women and young
children should avoid these fumes altogether.
Water-based products create minimal fumes, and
are not dangerous under normal conditions with
adequate ventilation.
According to most manufacturers, water-based
products dry faster than oil varieties. This literally
means less time spent between coats. Water-based
urethanes also clean up with soap and warm water,
rather than with mineral spirits. Easy clean-up can
come in handy for large spills.
The biggest factor to consider when choosing a
type of polyurethane is finish appearance. Although
water-based products offer many more conveniences
than oil, the end results can be quite different. When
oil-based urethanes are applied, they add a warm
amber color to trimwork that creates more visual
depth and variety.
Water-based products dry crystal clear. The color
of the trim before the product is applied is similar
to the finished product. Only a light color change
appears. Keep in mind that most of the clear-finished
trim in an older house is oil based and water-based
finishes will not match.
The following examples run through the steps
of successful clear-coat finishing. These steps are
a guideline to finishing only. Always follow the
manufacturer’s specific application directions.
Drying times will vary, depending on temperature
and humidity.
Arts and Crafts Style trimwork is normally stained rather
than painted to show off the grain detail of quartersawn
white oak.
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■ How to Apply a Clear Finish to Trim Moldings
1 2
Set up the work station area with a drop cloth or sheet Sand each piece as necessary, finishing with a fine-grit
of cardboard on the floor and two sawhorses. Place the trim paper. Wipe the moldings with a clean, dry cloth to remove any
pieces to be finished on the horses. Inspect each piece for leftover dust.
large blemishes or flaws, repairing any large splinters.
3 4 5
Apply a coat of stain, if desired, to Apply the first thin coat of polyure- Lightly sand the entire surface with
the moldings with a foam or bristle thane with a brush. Stir the polyurethane 220-grit sandpaper after the finish has
brush. For more even coverage of frequently before you begin, between dried. This will ensure a smooth finish
the stain, apply a pre-stain wood coats, and during application. Let the with a strong bond between layers. If
conditioner. Follow the manufacturer’s finish dry for four to six hours. the sandpaper gums up quickly, the
instructions for stain drying time, and moldings need more time to dry. Use a
remove the excess with a clean rag. Let clean, dry rag to remove dust.
the stain dry sufficiently.
(continued)
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6 7
Apply a second layer of polyurethane. Check each piece Lightly sand the entire surface of the moldings with
for skipped areas and heavy drips of urethane. These areas 220-grit sandpaper after they have dried for four to six hours.
need to be corrected as soon as possible or they may show
through the final coat.
Apply a third and final coat of polyurethane to the moldings. Keep the third coat very thin, using only the tip of the brush to
apply it. Lightly drag the tip across the molding on the flat areas. If the moldings have deep grooves or intricate details, skip these
areas; two coats will be sufficient. Try to maintain constant pressure and avoid smashing the brush as this will create air bubbles in
your finish. Allow the moldings to dry for a minimum of 12 hours (check manufacturer’s recommended drying times).
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■ Removing Old Trim
Damaged trim moldings are an eyesore and a sequence used to install it will greatly affect your ability
potentially dangerous splinter waiting to happen. to remove it without cracks or splits. Regardless of
Removing trim so that it can be reused is not always whether or not your trim can be reused, however, take
easy, especially if you live in a home with intricate your time and work patiently when you remove it so as
moldings. The age of your trim and the nailing not to damage the surrounding walls, floor, or ceiling.
■ How to Remove Painted Moldings

1 2
Before removing painted trim, cut along the top seam Work the molding away from the wall from one end to
of the molding and the wall with a utility knife to free the the other, prying at the nail locations. Apply pressure to the
molding from any paint buildup on the wall. Cut squarely on molding with your other hand to help draw it away from the
the top edge of the molding, being careful not to cut into the wall. A wide joint compound or putty knife makes a good guard
wallboard or plaster behind it. to insert bwteen the tool and the wall.
■ How to Remove Clear-finish Moldings

1 Removing Nails from Trim ▸
Remove the molding starting with the base shoe or the

thinnest piece of trim. Pry off the trim with a flat bar using leverage
rather than brute force, working from one end to the other. Tap the
end of the bar with a hammer if necessary to free the trim.
Extract nails from the moldings using end nips

Use large flat scraps of wood to protect finished surfaces or side cutters. “Roll” the nails out rather than pulling
from damage. Insert one bar beneath the trim and work them straight out. Or use a nail set to drive the nail
the other between the base and wall. Force the pry bars in through the molding from the front (inset).
opposing directions to draw the molding away from the wall.
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■ Planning Trim Installation
Before you start your project, plan the order, layout, and type of joint at each end of the trim. Measure the
corners accurately to ensure a snug fit.
Plan the order of your trim installation to

minimize the number of difficult cuts on
1 individual pieces. Use the longest pieces of
Butted to wall
molding for the most visible walls, saving
Coped joint the shorter ones for less conspicuous
areas. When possible, place the joints so
they point away from the direct line of
sight from the room’s entrance. If a piece
2
will be coped on one end and mitered on
4 the other, such as with 3 (left), cut and fit
Mitered joint the coped end first. Also keep in mind the
nailing points—mark all framing members
3 you’ll be nailing into before starting the
installation. At a minimum, all trim should
be nailed at every wall stud, and every
5
ceiling joist, if applicable. Install door and
7 6
window casing before installing horizontal
molding that will butt into it.
Miter outside corners, cutting each piece at 45°. Use a Use the trim piece as a measuring device, marking the
pattern with mitered ends to help position your workpieces. cut line directly off the wall. Eliminating the tape measure
Fasten the first piece of each joint to within 2 ft. of the corner, reduces errors and makes it easier to visualize the cut.
leaving some flexibility for making adjustments when you
install the adjoining piece.
Draw a reference line off each wall of

the corner using a straight 1 × 4. Trace
along each wall, connecting the traced
lines at a point out from the tip of the
corner. To find the angle you need to miter
your moldings, place a T-bevel with the
handle flush against one wall and adjust
the blade so that it intersects with the
point (inset). Lock the blade in place.
Reference line parallel to wall
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■ Coped Cuts
At first glance, coping molding appears to be difficult
work, but with patience and the right tools coping Tools & Materials ▸
can be mastered by a DIYer. Coping is essentially
cutting back the body of a trim piece along its profile. Molding Metal files or rasp set
This cutting is done at an angle so that only the Tape measure Pneumatic finish
face of the molding makes direct contact with the Coping saw nail gun
adjoining piece. Miter saw Coping saw
■ How to Make a Coped Cut

1 2 3
Measure, cut, and install the first Cut the second piece of molding Starting with the most delicate edge
trim piece. Square-cut the ends, butting at a 45° angle as if it were an inside of the molding, cut along the front
them tightly into the room corners, miter. The cut edge reveals the profile of edge of the molding with a coping saw,
and nail the workpiece at the marked the cope cut. following the contour exactly. Bevel the
stud locations. cut at 45° to create a sharp edge along
the contour.
4 Tip ▸
Trim components such as this chair rail can be

complex to cope properly. A variety of rasps or metal
Test-fit the piece (inset photo) and use a metal file to fit the files with different profiles is the key to fitting these
joint precisely. When the joint is properly fitted, nail the coped joints tightly.
piece in place.
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■ Mitered Returns
Mitered returns are a decorative treatment used to
hide the end grain of wood and provide a finished Tools & Materials ▸
appearance when molding stops prior to the end of a
wall. Mitered returns range from tiny pieces of base Combination square Pneumatic finish
shoe up to very large crown moldings. Utility knife nail gun
Power miter saw Air compressor
Miter box Air hose
and backsaw T-bevel
Pencil Molding
Tape measure Wood glue
■ How to Cut Mitered Base Shoe Returns

1 2
Measure and mark the molding to length. Adjust the Adjust the blade of the miter saw to the opposite 45°
miter saw blade to 45° and back-miter the molding, cutting angle and miter-cut the molding using a slow, steady stroke.
the front edge to the desired overall length of the trim. Nail the
back-mitered piece in place using a square to line it up flush
with the edge of the door casing.
3 4
Mitered return
Beveled return
Mitered return
Hold the mitered molding against Check the fit of the return against the Option: Beveled returns are a quick
the baseboard at a right angle above the baseboard. If it is too small repeat step and simple alternative to mitered
installed base shoe. Mark the molding 3, making the piece slightly larger. If returns. They require finish touchups
at the depth of the installed base shoe. the return is too large, trim it to fit with after the trim is installed.
Square-cut the molding at the cutoff a utility knife or sandpaper. Once the
mark. Because making this cut with a return fits properly, glue it in place with
power saw is very dangerous, use a wood glue.
miter box and a back saw. The cut-off
piece will be the mitered return piece.
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■ Scarf Joints
Scarf joints are mitered joints used to join two pieces
of trim over a long length. This joint should always Tools & Materials ▸
be laid out over a stud location so it can be properly
fastened. Position scarf joints so they point away from Moldings Tape measure
the main entry to the room, which will hide the joint Miter saw Pneumatic finish
from view at a quick glance. Wood fence extension nail gun
Pencil Wood glue
■ How to Cut a Scarf Joint

1 2
Bottom
Bottom
Fence extension for
cutting crown molding Piece 1 Piece 2 Fence extension
Top Top
30° 30°
Cut the first piece of molding a couple of inches longer Measure and cut the second piece of trim to length (so
than its planned length at a 30° angle. This angle should be it will fall over a stud when installed), leaving the saw set at
back-beveled or back-mitered so the molding will fit over the its original 30° angle. Make sure the second piece of molding
open-cut end of the second piece. If you are cutting crown is in the same orientation as the first (bottom edge up in
molding and the molding is taller than the fence of your power photos above).
miter saw, attach a wood fence extension to the fence so you
can position the molding properly on the saw table (see “How
to Install Wood Crown Molding,” page 120).
Glue
3 Top Open bevel 4
Piece 1
Piece 1 Piece 2
Bottom
Piece 2
Back-cut bevel
Test-fit the scarf joint on the wall (a helper is a great asset Tack the piece with the open bevel in position and apply
here). Have one person hold the piece with the open bevel wood glue (high-tack trim and molding glue are perfect here)
(piece 2 above) in position while the other person places the to the open bevel. Reform the scarf joint and tack the back-cut
piece with the back-cut bevel over it. Check for a tight joint and piece in position. Finish nailing around the joint, and then work
then mark the back-cut piece for trimming to final length (if your way toward each end with the nailer.
both ends of the run are inside corners, you’ll have to overlap
the open-cut piece and mark for cutting to length).
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Home Décor Tools
T he decorating projects in this book will require you

to work with a wide variety of materials, including
fabric, wallcovering, paint, wood, trim moldings, stain,
even your own photographs. Whatever the project,
familiarize yourself with the required tools before
you begin project preparations for the highest quality
wallboard, tile, foam padding and polyester batting— result and easiest application process.
■ Essential Home Decorating Tools
Specialized presser feet for sewing projects increase A paint-mixing bit attached to a drill can speed up your
efficiency and prevent a lot of headache. Shown here is a preparations for painting projects.
ruffler attachment, which automatically gathers strips of
light or mediumweight fabric. Refer to your sewing machine
manufacturer for attachments that may help with your job.
A stud finder takes the guesswork out of decorating Keep multiple cleaning products on hand to prepare
projects, such as hanging pictures and mirrors or attaching surfaces for decorating projects.
trim moldings.
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■ Preparation Materials
As each project in this book will remind you, Trisodium phosphate (F): Cleaning agent used for
preparation is key to a successful project and a washing walls before painting or hanging wallpaper.
professional-quality finish. Always take the time to Hole-patching kits (G): Sturdy, self-adhesive mesh
prepare your work area before beginning. and backing materials used to repair large holes
in walls.
Preparation liquids (A): A latex-bonding agent Easy-release painter’s tape (H): Tape designed
makes plaster repairs more durable; liquid for easy and clean removal (does not leave an
deglosser dulls glossy surfaces so paint can adhesive residue).
adhere properly. Spackle (I): A quick-drying drywall compound. Some
Wallpaper stripper (B): A chemical agent that loosens types of spackle are pink when wet and turn white
wallpaper adhesive so it can be removed easily. as they dry, which makes it easy to tell when the
Pressure sprayer (C): Used to apply wallpaper patch is ready to be sanded.
stripper over large areas. Self-adhesive seam tape (J): Used to smooth
Sponges (D): Used to smooth damp joint compound, drywall compound over joints and cracks.
which reduces the amount of sanding needed later. Safety equipment (K): Rubber gloves, safety glasses,
Wood Filler (E): Compound used to fill holes in and dust masks or respirators; these are necessary
wood. It can be sanded and painted or stained. when using strong or caustic chemicals.
With the help of these tools and

C materials, project preparation can be
A B smooth and easy.
E F
G
H
L K
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■ Sewing Tools
A D
Hand-sewing supplies: A pincushion and pins (A) are an absolute must for any sewing project; a thimble (B) protects your finger
while hand sewing; a needle threader (C) makes threading machine or hand needles a breeze; select thread (D) appropriate for the
fabric and sewing method you'll be using; beeswax (E) strengthens thread and prevents tangling.
A Measuring and marking supplies:

E A transparent ruler (A), yardstick (B),
and tape measure (C) are each essential
tools for various sewing projects; a seam
B D F gauge (D) helps make quick, accurate
measurements; a transparent T-square (E)
C
is used to locate grainlines and measure
90° angles; marking chalk (F), fabric
marking pens (G), and narrow masking
tape (H) can each be used for marking
fabrics during decorating projects.
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C
Cutting tools: Bent-handled dressmaker's shears (A) are ideal for cutting fabric shapes; sewing scissors (B) are used for clipping
threads and seam allowances; seam rippers (C) are used to remove stitches and open buttonholes; rotary cutters (D) are perfect
for cutting straight lines; pinking shears and pinking rotary cutters (E) cut fabric in zigzag or scalloped patterns and are used to
finish seams.
E
C D
B
F
A
G
Other sewing supplies: A steam-spray iron (A) with multiple temperatures accommodates all fabrics; a seam roll (B) is used for
pressing seams; a point turner (C) safely pokes out stitched corners; glues (D) hold trims or decorative motifs in place; liquid fray
preventer (E) stiffens fabric and prevents fraying; cutting boards (F) protect your work surface; press cloths (G) or a Teflon-coated
sole plate guards (H) help prevent iron shine on fabrics.
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Understanding your sewing machine well will who sells your brand—or download one from the
make fabric decorating projects quick and easy to manufacturer’s website.
complete. The principle parts common to all modern If you are buying a new machine, consider how
sewing machines are shown in the diagrams at much and what kind of sewing you expect to do. Talk
right. The parts may look different on your model, to friends who sew and to sales personnel. Ask for
and they may have slightly different locations, so demonstrations, and sew on a demo machine before you
refer to your manual as well. If you do not have buy. Many dealers also offer free sewing lessons with
an owner’s manual for your machine, you should purchase of a machine as well, which will be geared to
be able to get one from a sewing machine dealer your particular brand and model of sewing machine.
Bobbin Spool pins Bobbin winder spindle

winder
tension
Stitch
pattern
Tension control selector Winder starting lever
Tension indicator
Thread guide & tension discs
Light switch Handwheel
Stitch width selector

Take-up lever
Needle position selector

Thread guide
Buttonhole knob
See detail below

Detachable
machine bed Stitch length selector
Feed dog control
Front view Back view
Thread guide
Presser foot lifter
Needle clamp
General-purpose
presser foot
Thread cutter
Bobbin/ Throat plate

bobbin case
Feed dogs
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The bobbin holds the lower thread that
Built-in bobbin case Removable bobbin case locks with the upper thread. Always use
bobbins in the correct style and size for
your machine. Bobbin thread tension is
controlled by a spring on the bobbin case,
which may be built in or removable.
A B C
D
A general-purpose foot (A), probably the one you will use the most often, has a wide opening to accommodate the side-to-side
movement of the needle in all types of utility (nondecorative) stitches. It is also suitable for most straight stitching. A zipper foot
(B) is used to insert zippers or to stitch any seam that has more bulk on one side than the other. A special-purpose or embroidery
foot (C) has a grooved bottom that allows the foot to ride smoothly over decorative stitches or raised cords. Some styles are clear
plastic, allowing you to see your work more clearly. A walking foot (D) feeds top and bottom layers at equal rates, allowing you to
more easily match patterns or stitch bulky layers, as in quilted projects.
Sewing machine needles come in a

variety of styles and sizes. The correct
needle choice depends mostly on the
fabric you have selected. Sharp points
(A), used for woven fabrics, are designed
Shank
to pierce the fabric. Ballpoints (B) are
designed to slip between the loops of
Flat side knit fabric rather than pierce and possibly
damage the fabric. Universal points (C)
Round side
are designed to work on both woven
and knit fabrics. The size of the needle is
Shaft designated by a number, generally given
in both American (9, 11, 12, 14, 16, 18)
Groove and European (60, 70, 80, 90, 100, 110)
numbering systems. Use size 11/70 or
Scarf 12/80 needles for medium-weight fabrics.
A large number means the needle is
Eye
thicker, and that it is appropriate for use
Point with heavier fabrics and threads.
A B C
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■ Painting Tools
When it comes to painting tools, some people allow you to paint corners without cutting in the
prefer disposable tools while other value traditional edges. Good-quality roller covers create an attractive
versions. The difference between the two are cost finish without leaving fibers in the paint.
and quality. Special containers: Large and small containers
Paintbrushes: All-purpose brushes are made simplify large projects. For large projects, some paint
from a blend of polyester and nylon. Brushes manufacturers sell their paint in 5-gallon containers,
blended with hog or ox bristles should be used only so you can paint straight from the container. If the
with oil-based paints. Your kit should include a 3" paint you choose doesn’t come in a container like this,
straightedged wall brush, 2" straightedged trim you may want to buy one. For cutting-in and touchups,
brush, and tapered sash brush. A good-quality brush small, easy-to-hold containers are a good idea.
has a shaped handle, non-corrosive metal ferrule, Paint-mixing bit and drill: Stirring paint
and several spacer plugs between bristles. Split is extremely important. The best way to stir large
(flagged) and tapered (chiseled) bristle ends make amounts of paint is with a drill and special paint-
clean edges. mixing bit. These bits are easy to use and clean
Roller trays: Sturdy trays are a must. Disposable up quickly.
pan liners minimize cleanup, but they are not Lead test kit: If your home was built before
substitutes for roller trays. 1978, it’s critical that you test paint before cleaning,
Standard roller frames: Choose a well- sanding, or repainting it. Easy-to-use lead test kits are
balanced frame with nylon bearings and a comfortable available at home centers, hardware stores, and paint
handle. Extensions are available for painting ceilings. retailers everywhere. If the test indicates the presence
Standard roller covers: Most jobs can be done of lead, consult a lead abatement specialist before
with 3⁄8" synthetic rollers. Special corner roller covers starting any project.
Choosing a Paintbrush ▸
Chiseled end
Flagged bristles
Spacer plugs
Hardwood
handle
Reinforced
ferrule Cutaway view
A quality brush (left), has a shaped hardwood handle A 3" straight-edged brush (top) is a good choice for
and a sturdy reinforced ferrule made of noncorrosive cutting paint lines at ceilings and in corners. For painting
metal. Multiple spacer plugs separate the bristles. A woodwork, a 2" trim brush (middle) works well. Choose
quality brush has flagged (split) bristles and a chiseled brushes with chiseled tips for painting in corners. A
end for precise edging. A cheaper brush (right) will have a tapered sash brush (bottom) can help when painting
blunt end, unflagged bristles, and a cardboard spacer plug corners on window sashes.
that may soften when wet.
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Light
Roller tray & disposable liner
Standard roller cover
Standard roller
Specialty container
Dual-roller cover
Paint & primer
Detail roller Specialty brushes
Stir sticks
Lead-test kit Paint-mixing bit & drill

Paintbrushes
Roller frame extension
Painting tools like these are available at every home improvement center, paint store, and hardware store.
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■ Decorating Tools
Basic decorating tools like the ones shown here are a Power sander: Sanders smooth surfaces to be
must for any burgeoning decorator. Before you begin painted or decorated.
your project, check to make sure that you have all the Screwdriver: Standard screwdrivers—both
tools you’ll need on hand. slotted and Phillips—are essential. Choose quality
Carpenter’s or laser level: A carpenter’s level screwdrivers with hardened-steel blades and easy-
contains two or more bubble gauges used to check to-grip handles. Insulated handles protect you from
the level of work surfaces. A laser level creates level, electric shock, and oxide-coated tips provide a strong
square lines on any surface. hold on screw heads.
Hammer: Designed for driving, setting, and Tape measure: A high-quality, retractable steel
pulling nails, hammers are essential. A 16-ounce, tape measure will last for decades. Choose a tape that
curved claw hammer with a high-carbon steel head has a locking mechanism and a belt clip. Make sure
and a handle made of hickory, fiberglass, or solid steel the tape you choose has a standout of at least 7 feet.
is a practical choice for typical home repairs. Stud finder: A stud finder has an indicator that
Drill: Variable-speed reversing drills are handy lights up when it passes over a stud.
for driving and removing screws, nuts, and bolts, Awl: An awl is a tool that has a metal shaft with a
as well as for drilling holes and stirring paint. sharpened end. It is used to poke holes in drywall and
For most decorating projects, a medium-voltage other surfaces when drilling a pilot hole isn’t necessary.
cordless drill is a good choice. Look for features Nail set: This is a metal shaft with a rounded end
such as a keyless chuck, adjustable clutch, and that is used to drive finish nails below a work surface.
electronic level. Drywall knives (putty knives): These knives
Cordless screwdriver: For small projects, have a thin, somewhat flexible blade attached to a
cordless power screwdrivers are a great alternative sturdy handle. They are used to spread spackle and
to standard screwdrivers. These tools come with a drywall compound and can also be used to scrape
universal 1⁄4" drive as well as a slotted bit and a #2 away debris before cleaning walls or filling holes.
Phillips bit. Other bits, such as Torx and square drive, Razor knife: A razor knife is a sharp, retractable,
are also available. disposable blade in a sturdy handle.
■ How to Use Self-drilling Metal Anchors

1 2 3
Drive the anchor into the wall in Insert a screw through a rail and As you drive the screw into the
between studs. As the threads touch into the anchor. anchor, the metal flange pulls tight
drywall, slowly tighten the toggle until against the inside of the wall.
it’s nearly flush to the wall.
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A B C D E F G H O
P
Q
I J K L M N
* NOT ACTUAL SIZE * NOT ACTUAL SIZE
Finish sander
Palm sander
Stud finder
Detail sander
Tape measures
Cordless screwdriver
Putty knives
Razor knife
Drill
Drill bits
Hammer
Awl
Nail Level
set
Drywall knife
Screwdrivers
These tools are available at every home improvement center, paint store, and hardware store. Scour your garage and closets
before you buy new tools—you may have many of them in your home already. (Top left): Standard hardware for decorating include
(A) 10d finish nail, (B) 8d finish nail, (C) 6d finish nail, (D) 4d finish nail, (E) 11⁄4" drywall screw, (F) 3⁄4" drywall screw, (G) 15⁄8" drywall
screw, (H) 21⁄2" drywall screw, (I/J) toggle bolts, (K) 3⁄4" panhead screw, (L/M) wood screws, (N) 11⁄4" panhead screw. (Top right): (O)
Toggler SanToggle 1⁄4–20, (P) self-drilling anchor, (Q) self-drilling toggle.
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Wall Panel
& Tile
D ecorating with substantial materials such as
paneling, tile, or glass block results in both a
luxuriously appealing finish and lasting durability.
As you beautify your rooms, you are also protecting
your walls! By using innovative design plans and
thoughtfully selecting materials, you can increase
the value of your home while you make it your own.
Be sure to select your project thoughtfully—and
experiment with innovative designs while using time-
tested, traditional techniques. Each wall treatment
project in this chapter significantly contributes to the
overall mood of the space—it helps distinguish the
space and reflect personality. The treatments can be
mixed and matched in endless ways and are suitable
for an entire room as well as specifically chosen
accent walls.
Use decorative wallboard, traditional wainscot
paneling, and colorful tile backsplashes to define your
hallways, add color and usability to your kitchen, and
cleanly divide separate living spaces. Each one of
these projects will set your room, your home, and your
style apart from the rest.
In this chapter:
• Decorative • Tongue-and-Groove
Wallboard Panels Wainscoting
• Architectural Detail • Wainscot Frames
with Wallboard • Tile Backsplashes
• Wainscot Panels • Embellishing a Tiled Wall
■ 59
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Decorative Wallboard Panels
D esigner wallboard panels add detail and polish

to any room. Decorative wallboard replicates
the professional look (and time-consuming work)
of raised panel walls and ceilings with detailed
trimwork, but it is installed as a single pre-designed
piece. The panels can be used to add a wainscot,
bring interest to upper walls, or create a coffered
ceiling; they work equally well used on accent walls
or on all the walls of a room, depending on the effect
you wish to achieve.
To install raised panels, plan the layout carefully
to ensure the panels are in alignment across the
entire surface. In our project, standard wallboard is
used to fill strips between or around decorative panels
and all seams are finished using standard techniques.
While you’re finishing your project, be careful not
to smudge compound in the raised panel area of
wallboard since it is difficult to remove once dry. If
you do smudge the panels, carefully clean off the
compound immediately with a clean wallboard knife
and a damp towel. If you prefer to add decorative
wallboard directly on top of your existing walls, Decorative wallboard adds a refined finish and the antique
consider products or easy-to-install kits specifically character of formal estates, established residences, and
for this purpose. country cottages.
■ Planning Your Wallboard Installation

4" gap
Aligned raised panels
4" gap
4" gap
When planning your designer wallboard installation, the key to a good layout is symmetry. Panels should be installed so
the raised areas break at equal distances from the corners. Standard wallboard can be used to fill in between panels to create a
workable layout. Treat both inside and outside corners similarly, so that the raised areas fall the same distance from the corner on
each side of the wall. Panels also can be installed to “wrap” inside corners if necessary (inside corners, opposite page). Take careful
measurements of your walls and ceilings and make accurate sketches to guide your project.
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■ How to Install Decorative Wallboard Panels
1 Tools & Materials ▸
Wallboard panels
Tape measure
Screwgun or 3⁄8" drill
Chalk line
Wallboard screws
T-square
Utility knife
Construction adhesive
Inside Corners ▸
Measure and mark the location of the first panel on the
framing. At one end of the wall, measure and mark the top To wrap an inside corner, score the back of a panel
edge of the panel’s raised area. Drive a nail and run a level using a T-square and sharp utility knife, being careful
mason’s line across the wall 1" from the framing. Install the not to pierce the front face. Gently snap back the
first panel with wallboard screws, so the top edge of the
panel, leaving the face paper intact. Fill the void with
raised area is level with the mason’s line. Note: if your wall is
already covered with wallboard, consult a licensed remodeling a bead of adhesive to reinforce the panel, then install
carpenter to remove the existing wall or consider easy-to- it immediately.
install decorative wall kits.
2 3
Install subsequent panels not only so the raised top Finish the rest of the wall and fill gaps with standard
edge is level with the mason’s line, but also with an equal wallboard of the same thickness. The designer panels can be
distance between the sides of the raised areas of each panel. taped and finished in the same manner as standard wallboard.
At corners, make sure to account for panel overlap when
making cuts.
Wall Panel & Tile ■ 61
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Architectural Detail with Wallboard
W allboard can be installed in creative ways to

bring a variety of architectural detail to a room.
From a simple series of tiers wrapping the perimeter
Use a sharp utility knife and a rasp for cutting, as
panel edges must be clean for finishing. Use adhesive
to create strong bonds between layers, and type-G
of the room to curved soffits or raised panels on screws to hold panels together while the adhesive sets
walls, you can use traditional wallboard to replicate up. Use L-bead to create sharp, clean panel ends.
designs in high-end homes or bring your own creation Finish all seams and beads with joint tape and at least
to life. three coats of compound.
Tools & Materials ▸

Wallboard Tape measure Utility knife Chalk line
Wallboard screws T-square Wallboard rasp Screwgun or 3⁄8" drill
L-bead
A decorative ceiling finish like this requires wallboard and trim finish carpentry skills. By combining built-up wallboard step
soffits flanked by trim, a stunning layered effect is created.
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■ How to Add Decorative Tiers to a Ceiling
1 2
Measure and mark the width of the first tier on the ceiling Install the wallboard with screws following traditional
along each wall, then snap chalk lines to mark the perimeter. wallboard spacing recommendations. Snap chalk lines on the
Cut pieces of wallboard to size and apply 3⁄8" beads of adhesive first tier for the second tier perimeter.
to the backside.
3 4
Cut and install the wallboard as in step 2. Stagger all Install L-bead on all exposed edges of each tier, then finish
seams at corners and along tier runs. with three coats of joint compound. Edges can also be finished
with flexible corner tape.
Variation: Built-up Wallboard ▸

For a more substantial step soffit, build a 2× framework as a base for the wallboard. As you lay out the placement of the
new framing, make sure to account for the thickness of the wallboard in all final dimensions.
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Wainscot Panels
A wainscot is a wall treatment covering the lower

portion of a wall and is not only decorative, but
also protects your wall against wear and tear in high-
traffic areas such as hallways and mudrooms. In most
applications, the wainscot is covered along the bottom
by a baseboard and along the top by a cap molding,
rail, or shelf.
There are two basic methods for installing wainscot
panels: sheets and thinner boards (up to 3⁄8") can be
attached to drywall with construction adhesive and
nails, or with nails alone. Most wainscot is 30" or 36",
but the exact height of the wainscoting is up to each
designer. When installed to the height of the furniture
in the room, wainscoting provides visual symmetry. It
also allows the cap rail to double as a chair rail.
Most paneling is available in 4 × 8, 4 × 9, and 4 × 10
sheets. Before you start, measure the length of each
wall in your room and plan the layout of the paneling
sheets. The last sheet on each wall should be at least 3"
wide, so you may have to trim the first sheet in order to
make the last sheet wide enough. Specific installation
instructions may vary according to the type of paneling
you purchase—be sure to check the manufacturer’s
instructions for the product you choose before installation.

Stud finder
Caulk gun
Tape Measure
Circular saw
Sheet paneling
Compass
Construction adhesive
Chalk line
10d, 6d and 2d finish nails
1 × 6 and 1 × 3 clear pine lumber
Power miter saw
Router with roundover bit
Chamfer bit
Wood glue
Drill
Cove molding
Baseboard Solid and veneer wood wainscot panels can be stained
Nail set or painted, depending on the look of your room. Synthetic
paneling comes in hundreds of colors and styles as well.
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Types of Paneling ▸
Solid and veneer wood paneling is durable and
easy to clean—and brings a warm, rich tone to
any room.
Wood
FRP (fiberglass reinforced plastic), extruded plastic,
and vinyl panels contain solid material throughout,
creating a low-maintenance, water-resistant wall surface.
These materials are great for garages, workshops, and
commercial applications.
Laminate panels are available in hundreds of colors and Vinyl
patterns, providing a more durable alternative to paint

or wallcoverings.
Tileboard is moisture-resistant hardboard coated with Laminate
melamine—a durable, easy-to-clean plastic finish that
replicates the appearance of ceramic tile.
Tileboard
Bamboo (not pictured) is unique and green-friendly. Its
unusual construction—strips of bamboo laminated to a
Plywood-faced
fabric backing—allows it to conform to any type of shape laminate
or surface.
■ How to Scribe the First Panel

1 2
Starting in the corner farthest from the entry, use a stud Position the first sheet of paneling against the wall so the
finder to locate the stud closest to but less than 48" from the cut edge is 1" from the corner and the opposite, finished edge
corner. Snap a plumb chalk line down the wall at this location. is plumb. Temporarily tack the top of the paneling to the wall.
Measure the distance from the corner to this plumb mark and Spread the compass to 1¼" and run down the full height of
add 1". Use a circular saw to cut your first sheet of paneling to the wall to scribe the cut line onto the face of the paneling.
this measurement. Remove the paneling from the wall and cut to fit.
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■ How to Install a Wainscot with Sheet Paneling
1 2
Measure up from the floor and snap a chalk line 3⁄4" below Apply construction adhesive with a caulk gun to the back
the height you’ve determined for your wainscot. Use a pencil of the first panel. Apply the sheet to the wall so its top edge
to mark the stud locations approximately 1" above the chalk is flush with the chalk line and its scribed edge is set into the
line. Scribe and cut your first panel to fit into the corner (see corner. Press the sheet firmly to bond it to the wall.
page 65). Measure the distance from this line to 1" above the
floor and use a circular saw to cut the first sheet of paneling
to length.
3 4
Drive 6d finish nails at the stud locations, spacing them Install the remaining sheets in the wall section. If you are
every 16" or so. Use only as many nails as needed to hold the paneling an adjacent wall, check the paneled wall for plumb,
sheet flat and keep it in place. and trim the first sheet, if necessary. Install the sheet butted
against the end sheet on the paneled wall.
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5 6
Install the 1 × 6 rail with its top edge flush with the chalk Mill the 1 × 3 top cap material using a router and
line, fastening it to each stud with two 10d finish nails driven roundover bit. Work on test pieces to find the desired amount
through pilot holes. Butt together rail pieces at inside corners, of roundover, then rout your workpieces on both front corners.
and miter them at outside corners. Preparation tip: Before you Sand the cap smooth. Option: Create a waterfall edge by
install the rail, sand the front face and bottom edge smooth. rounding over only the top edge of the cap (top inset), or
chamfer the front edges with a chamfer bit (bottom inset).
7 8
Cove molding
Baseboard
Install the cap with wood glue and finish nails. Glue along Add cove molding to the joint between the cap and rail,
the top edge of the rail and drive a 10d finish nail, angled at fastening it to the rail with 2d finish nails. Install the baseboard
45° through the cap and into each stud (drill pilot holes for the along the bottom of the wainscot. Recess all nails with a
nails). Miter the rail at corners. nail set.
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Tongue-and-Groove Wainscoting
T ypical tongue-and-groove boards for wainscoting

are made of pine, fir, or other softwoods, and are
¼ to ¾" thick. Each board has a tongue on one edge,
consistent blocking between the studs to substitute
for this backing. However, this is usually difficult to
confirm unless the walls were framed with tongue-
a groove on the other, and usually a decorative bevel and-groove wainscoting in mind.
or bead on each edge. Boards are cut to length and If you plan to stain your tongue-and-groove
then attached with nails driven through the tongues of wainscoting, use oil-based stains before or after
the boards. installation, since most of the stain will be absorbed
If installed over finished wallboard, tongue- into the wood and won’t interfere with the tongue-
and-groove wainscoting will require that nailers be and-groove joints. If painting, choose a latex-based
fastened to the wall studs to provide a reliable backing paint, which will resist cracking as the joints expand
for nailing. You can skip this step if you know there is and contract with changes in the weather.

Circuit tester Level Pry bar Tongue-and-groove boards
Circular saw Miter box Tape measure Spacers
Compass Miter saw Fine-tooth Cap rail
Drill Nail set woodcutting blade Cove molding
Hammer Pencil Receptacle box or quarter round
Jigsaw Plane extenders, as required 4d and 6d finish nails
Tongue-and-groove wainscoting boards are milled with smooth faces or contoured to add additional texture to your walls.
For staining, choose a wood species with a pronounced grain. For painting, poplar is a good choice, since it has few knots and a
consistent, closed grain that accepts paint evenly.
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■ How to Prepare for a Tongue-and-Groove Wainscoting Project
1 2
Measure to make a plan drawing of each wall in your Condition the planking by stacking it in the room where it
project. Indicate the locations of fixtures, receptacles, and will be installed. Place spacers between the planks to let air
windows. Use a level to make sure the corners are plumb. If circulate around each board, allowing the wood to adjust to
not, mark plumb lines on the walls to use as reference points. the room’s temperature and humidity. Wait 72 hours before
staining or sealing the front, back, and edges of each plank.
3 4
Remove the baseboard moldings, along with any Mark the walls with level lines to indicate the top of the
receptacle cover plates, vent covers, or other wall fixtures wainscoting. Mark a line 1⁄4" from the floor to provide a small
within the area you plan to cover. Before you begin, turn off the gap for expansion at the floor.
electricity to the circuits in the area.
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Planning Your Project ▸
Begin installation at the corners.
Install any outside corners (A) first,
working your way toward the inside
corners. In sections of a room that have
no outside corners, start at the inside
corners (B), and work your way toward the
door and window casings. Calculate the
number of boards required for each wall,
using the measurements on the drawing
A A
you created earlier (length of wall divided
by width of one plank). When making this
calculation, remember that the tongues
are removed from the corner boards. If the
total number of boards for a wall includes
a fraction of less than 1⁄2 of a board, plan
to trim the first and last boards to avoid
ending with a board cut to less than half
its original width.
B B
■ How to Install Tongue-and-Groove Wainscoting

at Outside Corners
1 2 3
Cut a pair of boards to the widths Position the boards at the corner, Position a piece of corner trim and
indicated in the calculations you butting them to create a plumb corner. nail it in place, using 6d finish nails.
developed during the planning process. Facenail the boards in place, then nail Install the remaining boards (opposite,
the joint, using 6d finish nails. Drive steps 5 and 6).
the nails to within 1⁄8" of the face of the
boards, then finish with a nail set.
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at Inside Corners
1 2 3
Hold a level against the first board and Cut along the scribed line with a Hold the first board in the corner,
hold the board flush with the corner. If circular saw. Subsequent boards may leaving a 1⁄4" gap for expansion, and
the wall is out of plumb, trim the board require minor tapering with a plane to facenail into the center of the board
to compensate: hold the board plumb, adjust for plumb. at each nailer location, using 6d finish
position a compass at the inside corner nails. Drive the top nails roughly 1⁄2" from
of the wall, and use it to scribe a line the edge so they’ll be hidden from view
down the board. once the cap rail is attached.
4 5 6
Install a second board at the corner Position subsequent boards. Leave Mark and cut the final board to fit. If
by butting it against the first one, then a 1⁄16" gap at each joint to allow for you’re at a door casing, cut the board to
facenailing in at least two locations. Nail seasonal expansion. Use a level to fit flush with the casing (trim off at least
to within 1⁄8" of the face of the board, check every third board for plumb. the tongue). If you’re at an inside corner,
then use a nail set to finish. If the wainscoting is out of plumb, make sure it is plumb. If not, scribe and
adjust the fourth board, as necessary, trim the board to fit.
to compensate.
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■ How to Make a Cutout
1 2
Test the receptacle (inset) to make sure the power is off. If Create a cutting outline by pressing the back of the board
tester lights, determine the correct circuit and shut it off before that will be installed over the receptacle directly against the
continuing. Then, unscrew and remove the receptacle from the electrical box.
box. Coat the edges of the electrical box with bright colored chalk.
3 4 Tip ▸
When paneling around a

receptacle with thick stock,
you will need to attach a
Lay the board face down and drill Facenail the wainscoting to the wall, receptacle box extender to
a large pilot hole near one corner of then reattach the receptacle with the the inside of the box, then
the outline. Use a jigsaw fitted with a tabs overlapping the wainscoting so the reconnect the receptacle so
fine-tooth woodcutting blade to make receptacle is flush with the opening. You it is flush with the opening in
the cutout. Be careful not to cut outside may need longer screws. the paneling.
the lines.
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Around a Window
1 2
On casement windows, install wainscoting up to the casings On double-hung windows, remove any window trim and
on the sides and below the window. Install 1⁄2" cove molding, install wainscoting up to the jambs on the sides and below the
quarter round, or other trim to finish the edges. window. Cut the stool to fit over the wainscoting, then reinstall
the apron.
■ How to Finish a Wainscoting Project

1 2 3
Cut baseboard moldings to fit over Cut the cap rail to fit. At doors and Attach the cap rail by nailing 4d finish
the wainscoting, and attach them by windows, install the cap rail so its edge nails through the flats of the moldings at
nailing 6d finishing nails at the stud is flush with the side casings. the stud locations so that the nails enter
locations. If you plan to install a base both the studs and the wainscoting. Set
shoe, leave a small gap at the floor. the nails with a nail set.
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Wainscot Frames
F rame-and-panel wainscot adds depth and variety

to living spaces and can be constructed to match
any specifications you determine. Use paint-grade
materials, such as MDF, or build with hardwoods and
3
⁄4" MDF sheet stock Straightedge guide
finish-grade plywood if you prefer a clear-coat finish. 11⁄16" cove molding Power miter saw
It’s best to prime all of the wainscot parts prior to
1
⁄2 × 3⁄4" base shoe Clamps
installing them.
9
⁄16 × 11⁄8" cap Drill with bits
Installing wainscot frames can be done piece by molding (10 feet Carpenter’s square
piece, but it is often easier to assemble the main frame per panel) Pocket hole jig
parts in your shop. Not only does working in the shop Panel adhesive with screws
allow you to join the frame parts together using pocket Paint Pry bar
screws driven in the backs of the rails and stiles, it also Primer Hammer
generally results in a more professional look. Laser level Pneumatic finish
Once the main frames have been assembled, Pencil nail gun with
attach them to the wall at stud locations. If you Tape measure compressor
prefer to site-build the wainscot piece by piece, Router Caulking gun
you may need to replace the wallcovering material Circular saw
with plywood to create nailing surfaces for the or table saw
individual pieces.
Wainscot frames fit in well with contemporary room design, adding a traditional class and craftsmanship to the design. Inset: The
wainscot panels shown here, as well as the wall sections within the frames, were painted a lighter contrasting color from the wall
for added depth.
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■ How to Install Wainscot Frames
1 2
Use a laser level and a pencil to mark the height of the Test your layout plan by drawing lines on the wall to
wainscot installation directly onto all walls in the project area. verify that your design will work in your room. Try to use a
Also mark the height of the top rail (3⁄4" below the overall panel width that can be divided evenly into all project wall
height), since the cap rail will be installed after the rest of the lengths. In some cases, you may need to make the panel
wainscot is installed. Mark stud locations, using an electronic widths slightly different from wall to wall, but make sure to
stud finder. maintain a consistent width within each wall’s run.
3 4
Based on your plan, rip a sheet of MDF into strips to make all Dry-assemble the cut top rails, base rails, and stiles into
of the wainscot parts except the trim moldings. In our case, that ladder frames on a flat surface based on your layout. Plan the
included the cap rail (2" wide), the top rail and stiles (31⁄2" wide), layouts so wall sections longer than 8 ft. are cut with scarf
and the base rail (71⁄4" wide). Note: These are standard lumber joints in the rails meeting at a stud location.
dimensions. You can use 1 × 4 and 1 × 4 dimensional lumber for
the rails and stiles (use 1 × 2 or rip stock for the cap rail).
(continued)
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5 6
Assemble the frames using glue and pocket screws or Mount a 3⁄4" roundover bit in your router or router table
biscuits. Clamp the parts together first and check with a and shape a bullnose profile on the front edge of your cap
carpenter’s square to make sure the stiles are perpendicular to rail stock.
both rails.
7 8
Prime all parts on both sides, including the milled moldings Position the frames against the wall and shim underneath
and uncut cap rail stock. the bottom rails as necessary to bring them flush with the
top rail marks on the wall (3⁄4" below the overall height lines).
Attach the wainscot sections by driving 3" drywall screws,
countersunk, through the top and bottom rail at each stud
location. If you are using scarf joints, be sure to install the open
half first. Cut the cap rail.
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9 10
Attach the cap rail to the top rail with panel adhesive and Install cove molding in the crotch where the cap rail and
finish nails. Drive a 3" drywall screw through the cap rail and top rail meet using glue and a brad nailer. Then, nail the base
into the wall toenail-style at each location. Be sure to carefully shoe to conceal any gaps between the bottoms, rails, and floor.
drill pilot holes and countersink holes for each screw. Miter-cut Miter all corners.
the cap rails at the corners.
11 12
Cut and install mitered frames out of cap molding to fit Mask the wall above the cap rail, and then prime and
around the inside perimeter of each panel frame. paint the wainscot frames. Generally, a lighter color contrasting
the wall color above is most effective visually.
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Tile Backsplashes
T here are few spaces in your home with as much

potential for creativity and visual impact as
the space between your kitchen countertop and
cupboards. A well-designed backsplash can transform
the ordinary into the extraordinary.
Tiles for the backsplash can be attached directly
to wallboard or plaster and do not require backerboard.
When purchasing the tile, order 10 percent extra to cover
breakage and cutting. Remove switch and receptacle
cover plates and install box extenders to make up for the
extra thickness of the tile. Protect the countertop from
scratches by covering it with a drop cloth.

Level Straight 1 × 2
Tape measure Wall tile
Pencil Tile spacers
Tile cutter (if needed)
Rod saw Bullnose trim tile
Notched trowel Mastic tile adhesive
Rubber grout float Masking tape
Beating block Grout
Rubber mallet Caulk
Sponge Drop cloth A tiled backsplash normally extends all the way from
Bucket Grout sealer countertop to the bottoms of the wall cabinets. The tile pattern
also can be extended to the wall underneath your range hood.
Tips for Planning Tile Layouts ▸
Gather planning brochures and Break tiles into fragments and Add painted mural tiles to create
design catalogs to help you create make a mosaic backsplash. Always a focal point. Mixing various tile
decorative patterns and borders for use a sanded grout for joints wider styles adds an appealing contrast.
the backsplash. than 1⁄8".
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■ How to Tile a Backsplash
1 2
Make a story stick by marking a board at least half as long Starting at the midpoint of the installation area, use
as the backsplash area to match the tile spacing. the story stick to make layout marks along the wall. If an end
piece is too small (less than half a tile), adjust the midpoint to
give you larger, more attractive end pieces. Use a level to mark
this point with a vertical reference line.
While it may appear straight, your countertop may not be level and therefore is not a reliable reference line. Run a level
along the counter to find the lowest point on the countertop. Mark a point two tiles up from the low point and extend a level line
across the entire work area.
(continued)
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Border
Field
Variation: Diagonal Layout. Mark vertical and horizontal reference lines, making sure the angle is 90°. To establish diagonal
layout lines, measure out equal distances from the crosspoint, then connect the points with a line. Additional layout lines
can be extended from these as needed. To avoid the numerous, unattractive perimeter cuts common to diagonal layouts,
try using a standard border pattern as shown. Diagonally set a field of full tiles, then cut enough half tiles to fill out the
perimeter. Finally, border the diagonal field with tiles set square to the field.
4 5 6
Apply mastic adhesive evenly to the Starting at the vertical reference line, Install a whole row along the
area beneath the horizontal reference press tiles into the adhesive using a slight reference line, checking occasionally to
line, using a notched trowel. Comb twisting motion. If the tiles are not self- make sure the tiles are level. Continue
the adhesive horizontally with the spacing, use plastic spacers to maintain installing tiles below the first row,
notched edge. even grout lines. If the tiles do not hang trimming tiles that butt against the
in place, use masking tape to hold them countertop as needed.
in place until the adhesive sets.
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7 8 9
Apply adhesive above the line Lay a beating block against the tile Mix the grout and apply it with
and continue placing tiles, working from and tap it lightly with a mallet. Remove a rubber grout float. Spread it over
the center to the sides. Install trim tile, the spacers. Allow the mastic to dry the tiles, keeping the float at a low
such as bullnose tile, to the edges of for at least 24 hours, or as directed by 30° angle, pressing the grout deep
the rows. the manufacturer. into the joints. Note: For grout joints
1
⁄8" and smaller, be sure to use a
non-sanded grout.
10 11
Wipe off excess grout, holding the float at a right angle to Shape the grout joints by making slow, short passes with
the tile, working diagonally so as not to remove grout from the sponge, shaving down any high spots; rinse the sponge
the joints. Clean any remaining grout from the tiles with a frequently. Use your finger to fill any voids with grout. When
damp sponge, working in a circular motion. Rinse the sponge the grout has dried to a haze, buff the tile clean with a soft
thoroughly and often. cloth. Apply a bead of caulk between the countertop and tiles.
Reinstall any electrical fixtures you removed. After the grout
has completely cured, apply grout sealer.
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Embellishing a Tiled Wall
M any of us live with tile we don’t particularly like.

It’s easy to see why: builders and remodelers
often install simple, neutral tile in an effort not to
put anyone off. Older homes sometimes have tile
that’s not quite vintage but certainly no longer stylish.
Because tile is so long-lasting, new styles and trends
often make it look dated. Here’s a bit of good news:
there’s a choice beyond simply living with it or tearing
out perfectly good tile to start over.
Removing a section of boring tile and replacing
it with some decorative accent tile can transform a
plain-Jane wall into one that makes a unique design
statement. Because this project involves breaking the
seal of the wall surface, it’s a better choice for a tiled wall
that gets little exposure to water (as opposed to a shower
wall or tub deck).

Tape measure 1
⁄4" notched trowel Grease pencil Thinset mortar
Grout saw Grout float Masking tape Mosaic medallion or decorative tile
Grout scraper Grout sponge Safety glasses Tile spacers
Flat head screwdriver Buff rag Drywall screws Grout
Straightedge Foam brush Cementboard Latex additive
Utility knife Needlenose pliers Construction adhesive Grout sealer
Drill Drop cloth Drywall screws Dust mask
■ How to Embellish a Tiled Wall

1 2
Measure the decorative tiles and draw a detailed plan Using a grease pencil, mark the tiles to be removed
for your project. Indicate a removal area at least one tile larger according to the plan drawing. Remove a section of tile that’s
than the space required. If it will be necessary to cut tile, create a minimum of one tile all around the project installation area.
a plan that will result in symmetrical tiles. Protect the floor with Put masking tape on the edges of the bordering tiles that will
a drop cloth. remain to keep them from being damaged by the grout saw.
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Embellished Wall Styles ▸
Border tiles, set in a rather random fashion, create a Decorative tiles can be mixed with plain to produce
focal point behind the counter and sink in this colorful stunning designs like this one. Many manufacturers will
bathroom. Don’t limit your use of decorative tiles like customize tile with photographs that you choose or
these to conventional methods. Let your imagination run provide. Craft stores also offer kits that allow you to add
free—you may come up with your own unique take on your own photographs to tile.
their possibilities.
Borders liven up walls and break up otherwise boring Subway tile, simple rectangular tile, blends the shower
expanses of solid color. into its surroundings. The room is brightened considerably
by a backsplash of colorful mosaic tile. A niche, cleverly
sized and placed, creates the appearance that the
backsplash continues behind the shower, and the mosaic
floor provides a visual anchor.
(continued)
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3 4 5
Wearing eye protection and a dust With a flathead screwdriver, pry up Draw cutting lines on the drywall that
mask, use a grout saw to cut grooves in the edges of the tile at the center of the are at least 1⁄2" inside the borders of the
all of the grout lines in the removal area. removal area. Wiggle the blade toward area where you removed tiles. Using a
If the grout lines are soft this will only the center of the tile and pry up to pop straightedge and utility knife, carefully
take one or two passes. If the grout’s it off. cut out the old drywall. If the tile comes
hard, it may take several. Using a grout off very easily and the tile backer is not
scraper, remove any remaining material damaged, you may be able to scrape it
in the joint. Angle the tools toward the clean and reuse it.
open area to protect the tile.
6 7 8
Cut and install cementboard backer Cut a cementboard patch to fit the Apply thinset mortar using a notched
strips that are slightly longer than the opening in the tile backer. Place the trowel to spread it evenly.
width of the opening. Align the strips patch in the opening and drive drywall
so the ends are pressed against the screws through the cementboard and
back surface of the tile backer. Drive into the backer strips. Also drive screws
wallboard screws through the edges of at any stud locations. Cover the edges
the old tile backer and into the strips to with wallboard tape.
hold them in place.
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9 10 11
Gently press the accent tiles into Remove the protective sheets Mix a batch of grout and fill the joints
the adhesive, smoothing it from the on the tiles. You may need to use a between tiles on the entire wall, one
center toward the edges. Let the mortar damp sponge to first soak the sheets. section at a time. Clean the tile with a
cure as directed. Once wet, slide the sheets off and throw damp sponge. Occasionally rinse the
them away. sponge in cool water (inset).
Design Suggestions ▸
Inserts add interest, texture, and color to tile This stone insert adds a contemporary flair to a simple
designs. This piece combines tumbled stone with marble tile design.
in a delicate floral motif.
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Wallcovering
W allcovering today is so much more than
coordinating floral prints. Whether you’d like
to add fresh, clean stripes to your bathroom walls or
turn a cool, spacious living room into a quiet hideaway
with soft upholstered walls, wallcovering may be just
what you need to perfect a room’s style and ambience.
A multitude of textures, prints, and colors are readily
available to completely transform your space, or
to perfectly highlight your existing design scheme.
Wallcovering can also disguise imperfect walls, absorb
or reflect sound and light, and help draw attention to
the best features of your room or furnishings.
Choose wallcovering carefully, however.
Each type and application method differs in its
durability, maintenance, and ease of removal. Ask
your salesperson plenty of questions when making
decisions about what kind of wallcovering is best for
your room, and always bring samples home to see
how they look with the light in your room both during
the day and at night. Each wallcovering application
method also requires careful measurements and
planning, but given the time up front, it can be one of
the most rewarding ways to completely alter the look
and feel of your space.
Be bold in your design choices and meticulous in
your application, and you will not be disappointed in
the outcome of any wallcovering project.
In this chapter:
• Stripping Wallcovering • Wallcovering Panels
• Hanging Wallcovering • Wall Upholstery
■ 87
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Stripping Wallcovering
S tripping wallcovering can be quick and easy

or quite tedious, depending on the type of
wallcovering to be stripped and how it was applied.
Newer vinyl wallcoverings are designed to be
strippable, which means they can be scraped off easily
when dampened with water. Older wallcoverings,
however, may require a fair amount of time and effort.
The best way to find out what’s lurking beneath your
wallcovering is to grab an edge and gently pull!
If wallcovering is hung over unsealed drywall,
it’s nearly impossible to remove it without destroying
the drywall. You may be able to paint or hang new
wallcovering directly over the old, but always make
sure the surface is smooth and prime it with an alkyd
drywall primer.

Putty knife Rubber gloves
Hand pump sprayer Sponge Properly applied wallcovering—high-quality coverings that
Wallpaper remover Wallpaper have been applied with good wallpaper adhesive over primed
Paint scraper perforating tool walls—can be stripped with a few simple materials and a little
time and patience.
■ How to Strip Wallcoverings

1 2
Begin to remove wallpaper by pulling upward. First, use a Wash the walls, working from the top down. Rinse walls with
putty knife to pry a corner loose and then pull. water and let them dry completely. Always dilute wallpaper
remover according to the manufacturer’s instructions.
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■ How to Remove Stubborn Wallcoverings
1 2
Run a perforating tool over the surface of the wallcovering, Dilute wallpaper remover according to the manufacturer’s
creating holes that will enable the remover solution to instructions. Cover the floor with drop cloths and use
penetrate the surface and loosen the adhesive. a pressure sprayer to apply the remover solution. Let
the solution soak into the covering according to the
manufacturer’s instructions
3 4
Scrape away loosened wallcovering with a wide paint Rinse adhesive residue from the wall with the remaining
scraper. Be careful not to damage the wall and be sure to remover solution. Rinse the wall with clear water and let
remove any backing paper or other layers. walls dry completely. Inspect the walls carefully, making
sure they are completely clean before painting or hanging
new wallcoverings.
Wallcovering ■ 89
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Hanging Wallcovering
S uccessful wallcovering projects start with careful

planning. The materials can be expensive and
mistakes are immediately obvious. Always measure
the room and sketch out a hanging plan. Hanging
should start at a focal point, such as a fireplace or
large window. Bear in mind that every wallcovering
project will likely have one mismatch: the point where
a full strip meets a partial strip. Plan to place the
mismatch in an inconspicuous area, such as behind
a door.
Work during daylight hours whenever possible, as
the light is better and the adhesive dries more evenly.
Remember to turn off the power to the circuit in the
room and remove covers on receptacles and switches
before starting your project.

Non-corrosive bucket
High-quality sponges
Bubble stick
Wallpaper paste
Smoothing brush
Razor knife
Smoothing tool
Wide drywall knife
Wallcovering scissors
Water tray Hanging wallcovering requires careful planning and
Seam roller attention to detail. The work is not difficult, but the only way to
avoid problems is to plan meticulously.
Other Considerations ▸
Removability: Strippable wallcoverings can be pulled away from the wall by hand, leaving very little residue. Peelable
wallcoverings can be removed, but may leave a thin paper layer on the wall. Check the back of the sample for its
strippability rating.
Washability: Washable wallcoverings can be cleaned with mild soap and water. Scrubbable wallcoverings are durable
enough to be scrubbed with a soft brush.
Application Ease: Prepasted wallcoverings are factory coated with water-based adhesive that is activated when wetted
in a water tray. Unpasted wallcoverings must be coated with adhesive before hanging.
Patterns: Large patterns are more difficult to match and will produce more waste. Covering a room with a large pattern
or a pattern that repeats rarely can be more expensive and more time-consuming.
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Applying the Rule of Scale ▸
You'll often hear that vertical prints add height to a room print, the shade, the density (or repeat of the print), and
and large prints pull a room together, making it appear the way that the light in the room will further advance
smaller (or cozier). This is only somewhat true. With all (highly reflective prints, such as foil) or broaden (warm,
prints you must also consider the scale and depth of the dark, mute tones) the perceptual space.
Pastel verticals (left) typically broaden a room and make it seem larger both in height and width, but here the wide and
large vertical repeat advances the pattern and pulls the room in. This disagreement adds energy to the space, which is
also in opposition to the typical calming effect of pastels. A very small, dense vertical pattern (right) does elongate the
wall, adding perceived height to the room. Sparse vertical prints with more white space maintain the illusion of height but
also give a room an airy and bright feel, which perceptively adds overall space to the room.
Dark vertical prints typically add Bold repeat prints visually take Light shades of repeat prints,
height to a room with low ceilings, up a lot of space. This can become even when large (as shown
but as seen here a very large-scale disorienting if used too much, so here), visually recede. This makes
repeat vertical print with dark colors these prints have the best effect a room appear larger while
and large floras adds drama to a when used on accent walls and in maintaining interest.
room and makes the room look moderation, as was done in this fun
more square. and inviting hallway.
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Types of Wallcovering ▸
Vinyls are made with a continuous flexible film room. They are also a good choice for floawed, irregular
applied over a fabric or paper backing. Some vinyls walls. Hang them with clear adhesive and be careful never
successfully duplicate the effect of grasscloth or to use water to rinse grasscloths.
fabric wallcoverings, but come with the advantage of Fabric wallcoverings are made of woven textiles. Fabrics
pre-applied adhesives. Vinyls are easy to apply, clean, soften the appearance of a room and absorb sound, but
and remove. they may be difficult to clean.
Foils or mylars are coated with a thin, flexible metallic Embossed wallcoverings are stamped with a relief
film. These highly reflective wallcoverings add brightness pattern for an elegant, formal appearance. Remember not
to a room, but they require careful handling during to use a seam roller if applying embossed wallcoverings,
application. Foils also reflect all wall flaws, so surface as they can easily be damaged.
preparation must be perfect. Flocked paper has a raised fuzzy pattern that resembles
Grasscloths are made of natural plant fibers. Grasscloths velvet. It hides wall imperfections well. It is best used
reflect very little light and soften the appearance of a sparingly because it is very ornate.
Spot foils add brightness and interest

to a room. A simple design like the one
shown here will still take up a considerable
amount of visual space in the room, so
decorate to complement the wallpaper.
Creating a Hanging Plan ▸

Measure the room and create a sketch of the hanging
plan. Center a plumb line on a focal point, such as a
fireplace or window. If the room doesn’t have an obvious
Door
focal point, start at the corner farthest from the entry.
Seams Mismatch over door
Measure a distance equal to the width of the wallcovering
and mark a point. Work in both directions, marking the
points where seams will fall. Or start here
Window
Adjust the hanging plan for corners that fall exactly
Fireplace
on seam lines. Wallcovering should overlap at least 1⁄2" on
inside corners and 1" on outside corners. Similarly, adjust Start here
for seams that fall in difficult locations, such as near the Far corner
edges of windows or doors. Always leave workable widths
of wallcovering around obstacles.
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■ How to Prepare Wallcovering Strips
1 2
Hold the wallcovering against the wall so there is a Fill a water tray half full of lukewarm water. Roll the cut
full pattern at the ceiling line and the strip overlaps both the strip loosely with the pattern side in. Soak the roll in the tray
ceiling and the baseboard by at least 2". Cut the strip to length as directed by the manufacturer, usually about one minute, to
using scissors. activate the prepasted adhesive.
■ How to Apply Wallcoverings

1 2 3
From the starting point shown in Position the top portion of the first At the corner fold line, snip the top
your hanging plan, measure a distance prepared strip against the plumb line of the strip so the wallcovering wraps
equal to the width of the wallcovering so the strip extends beyond the ceiling around the corner without wrinkling.
minus 1⁄2" and mark a point. Draw a joint by about 2". Using your open palms, slide the strip
vertical plumb line from the ceiling to into position with the edge butted
the floor using a bubblestick or level. against the plumb line. Smooth the strip
with a smoothing brush.
(continued)
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4 5
Position the bottom of the strip against the plumb line Trim the excess wallcovering at the ceiling and baseboard,
with your open palms. Smooth the strip with a smoothing using a drywall knife and a utility knife. With clean water
brush, carefully pressing out any bubbles. and a sponge, rinse any adhesive from the surface of
the wallcovering.
6 7
Hang additional strips, sliding strips into place so the Where wallcovering covers receptacle or switch boxes,
pattern matches exactly. Let the strips stand for about half an use a razor knife to make small diagonal cuts to expose the
hour, then roll the seams with a seam roller. (On embossed or box. Finally, trim the paper to the edges of the box. Note: Turn
fabric wallcoverings, set the seams with a smoothing brush.) off power to the circuit and remove switch and receptacle
covers before starting the project.
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■ How to Hang Wallcovering Around Doors & Windows
1 2
Position the strip on the wall, running the wallcovering Use scissors to make diagonal cuts at the corners of the
over the window or door. Smooth, pressing the strip tightly casings. Trim away excess to about 1". Inset: Hold a drywall
against the molding. knife against the molding and use a razor knife to trim the strip.
3 4
Cut and position the next short strip to hang above (and Match the pattern at the seam on the bottom half of the
below, if this is a window) the opening. Smooth it into place. next full strip. Trim the excess as you did in step 2. Rinse the
Snip the corner diagonally and trim away excess as described wallcovering and casings using a damp sponge.
in step 2. Continue around the opening.
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■ How to Hang Wallcovering Around a Wall-mounted Sink
1 2
Cut and position the strip, brushing it up to the edge Trim the wallcovering around the sink, leaving a slight
of the sink. Cut slits in the wallcovering, leaving a 1⁄4" overlap overlap. Smooth the strip, tucking the overlap into a gap
around the edges of the sink. around the sink, if possible. Or, neatly trim the overlap.
■ How to Hang Wallcovering Around a Pipe

1 2
Pull the escutcheon plate out from the wall. Hold the strip Cut a hole at the end of the slit to fit around the pipe. Butt the
against the wall so the pattern matches the previous strip. edges of the slit together and brush them smooth.
From the closest edge of the strip, cut the slit to reach the
pipe. Press the strip flat up to the pipe with a smoothing brush.
Lot Numbers ▸
Make sure all of your wallpaper rolls have the same lot number. Color may vary between lots. Also, file away the lot
number in case you need to purchase more later.
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■ How to Hang Wallcover Borders
1 2
If you are positioning the border somewhere other than Begin at the least conspicuous corner, overlapping the
along the ceiling or baseboard, create a level line in the desired border onto the adjacent wall by ½". Have a helper hold the
position using a laser level, or draw a light pencil line around the border while you apply it against the line. Smooth with the
room using a carpenter’s level. Cut and prepare the first border smoothing brush as you go along. At inside corners, create a 1⁄4"
strip following the methods for preparing wallcovering (page 93). tuck from the overhang.
3 4
Apply the adjoining strip and trim it with a razor knife. Peel Where a seam falls in the middle of a wall, overlap strips
back the tucked strip and smooth the strip around the corner, so the patterns match. Cut through both layers, using a razor
overlapping the border on the adjacent wall. Press the border knife and a wide drywall knife. Peel back the strips and remove
flat. Apply seam adhesive to the lapped seam, if necessary. the cut ends. Press the strips flat. Roll the seam after 30 minutes
and rinse with a sponge.
Mitering Corners ▸
Apply the horizontal border strip, extending it past the
corner a distance greater than the width of the border.
Apply the vertical strip over the horizontal one.
Then, hold a straightedge along points where the
strips intersect and cut through both layers. Peel back the
strips and remove the cut ends, then press the strips back
into place. Roll the seams after 30 minutes and rinse any
adhesive from the area with a damp sponge.
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Wallcovering Panels
C ombine wallcovering and coordinating borders

to create decorative wall panels that add smart
design elegance to painted walls. Panels can be
identical in size, or alternate wide panels with
narrow ones. Whatever your approach, carefully
space the panels evenly on the wall to maintain the
balance of the room, leaving slightly more space
below the panel than above. To plan the placement
of panels, it may help to sketch the room, taking
into account the position of windows, doors,
and furnishings.

Butcher paper Framing square
Tape Smoothing brush
Pencil Seam roller
Carpenter’s level Sponge Wallcovering panels divide up walls in large rooms, and can
add color and variety to accent your color scheme.
■ How to Make Wallcovering Panels

1 2
Determine the size and position of the wallcovering panels Cut a strip of wallcovering for the center of each panel
by cutting and taping butcher paper to the wall. Using a pencil to size, using a framing square to ensure 90° angles at the
and a carpenter’s level, mark the outline of the panels on the corners. Prepare the strip following the instructions on
wall. Measure and record the dimensions of each panel. page 93.
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3 4
Unfold and press the top portion of the booked strip lightly Unfold the bottom half of the strip. Use flat palms to
onto the wall, aligning the edges with the marked lines. Use flat position the strip against the marked lines. Press the strip flat
palms to slide the strip into place. Press the top of the strip flat with a smoothing brush, checking for bubbles.
with a smoothing brush, and check for bubbles.
5 6
Cut and apply any remaining strips, matching the pattern Apply the border strips in a clockwise direction, starting
and butting the seams. Roll the seam after 30 minutes. Rinse at the least conspicuous corner. Butt the inner edges of the
any adhesive from the wallcovering and wall with a damp border to the panel edges. Miter the corners (page 97). Smooth
sponge. Prepare the border according to the instructions on the first corner only lightly until the final strip is applied. Roll
page 93. the outer edges of the border and seams after 30 minutes.
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Wall Upholstery
U pholstered walls help create an inviting

atmosphere. The fabric covers any imperfections
on the walls, and the batting used as padding helps
insulate the room and absorbs sound. Avoid using
fabrics in plaids or strips, because they call attention
to walls that are not squared. Stapling the fabric to
drywall or paneled walls is easy; however, staples
will not penetrate metal corner pieces. For plaster
walls, check to see if staples will penetrate the wall
and hold. Before starting, remove switch plates and
outlet covers. Do not remove moldings or baseboards,
because double welting will cover the fabric edges.
Cut fabric lengths as figured in the chart, next
page; do not trim the selvages unless they show
through the fabric. Measure around doors and
windows and along the ceiling and baseboard; also
measure from the floor to the ceiling at each corner.
For the double welting, cut fabric strips, 3" wide,
equal to the total of these measurements.

Decorator fabric Single-edged
Polyester razor blades
upholstery batting Hot glue gun and
Staple gun glue sticks Upholstered walls add texture to a room. Soft fabrics are
3
⁄8 to 1⁄2" staples Thick craft glue ideal for quiet rooms, such as a bedroom or an office. Coarse
Pushpins Cording fabrics and vinyl are good for social spaces, such as a living
room or a den.
Finishing Tip ▸
For an elegant finish, cover your outlet covers and switch
plates with coordinating or matching fabric. Apply fabric,
securing it well with diluted craft glue, and then clip and
trim around openings. Turn raw edges to back of plate and
glue in place.
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Determine How Much Fabric to Purchase ▸
Before you get started, take measurements in your project room. Measure around all doors and windows, along the
ceiling and baseboard, and from the floor to the ceiling at each corner. Then, use these measurements and the chart
below to determine how much fabric you’ll need to complete this project before you head to the store.
Worksheet for Calculating Fabric
Cut Length in.
Measurement from floor to ceiling plus 3"* =
Cut Width
Width of fabric minus selvages =
Number of Fabric Widths Needed for Each Wall
Width of wall =
Divided by cut width of fabric ÷
Number of fabric widths for wall** =
Amount of Fabric Needed for Double Welting
Total welting length (see cutting directions) =

Divided by cut width of fabric ÷
Number of strips** =
Multiplied by 3" ×
Fabric needed for double welting =
Total Fabric Needed
Cut length (figured above) =

Number of fabric widths (figured above) for all walls ×
Fabric needed for all walls =
Fabric needed for double welting +
Total length needed =
Divided by 36" ÷
Number of yd. needed = yd.
* Allow extra for pattern repeat; do not subtract for windows and doors unless they cover most of the wall.
** Round up to the nearest whole number.
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■ How to Upholster a Wall
1 2
Staple batting to the wall every 6", leaving a 1" gap Stitch the fabric panels together for each wall separately,
between batting and the edge of the ceiling, corners, matching the pattern, if necessary. Plan seam placement
baseboards, and moldings. Butt edges between widths of to avoid seams next to windows and doors. Make double
batting. Cut out batting around switch and outlet openings. welting (opposite).
3 4
Start hanging fabric from the top, turning under 1⁄2" and Anchor fabric in the corners, pulling taut and stapling
stapling every 3 to 4". Begin at a corner where matching is not close to the corner so the staples will be covered with double
critical. Do not cut around the windows and doors. welting. Trim excess fabric. Start next panel at the corner.
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5 6 7
Staple along the baseboard, pulling Mark outside corners of windows Apply hot glue to the back of the
and smoothing fabric taut to remove and doors with pushpins. Cut out double welting, about 5" at a time;
any wrinkles. Trim the excess fabric openings with diagonal cuts into secure the double welting to the upper
along baseboard using a single-edged corners. Turn under the raw edges, and and lower edges of the wall and around
razor blade. staple around the molding. window and door frames. Carefully push
the double welting in place to cover
the staples.
■ How to Make Double Welting

1 2 3
Place the cording on wrong side of Place the second cord next to the Stitch between the two cords on
the 3" fabric strip. Fold fabric over the first cord. Bring the fabric over the the previous stitching line. Trim off
cording, with an additional 1⁄2" seam second length of cording. excess fabric next to the stitching; the
allowance. Stitch with the zipper foot raw edge is on the back of the finished
next to the cording. double welting.
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Wall &
Window Trim
D ecorative baseboards, moldings, and window
casings are the best way to establish your rooms
as refined, complete living spaces. Although beautiful
trim is not usually the first thing many people notice
about a room, it not only contributes to the entire
aesthetic of a space, but also highlights the design
choices that make your home stand apart.
Crown moldings, built-up baseboards, and artistic
chair rails can add grace and elegance to flat walls
without overwhelming the space. Framing a room-to-
room transition or basement window can complete an
element that you hadn’t considered incomplete before.
Stylistic trim can also serve a practical function, such
as showcasing art and collectibles or protecting your
walls from damage.
With a few common tools and an imaginative
eye, transform your bare walls into unique, charming
frames for day-to-day living with one of these projects.
In this chapter:
• Base Molding • Window Casing
• Picture Rail • Arts & Crafts
• Chair Rail Window Casing
• Built-up Chair Rail • Painting Window Casing
• Wall Opening Trim • Window Shelf
• Crown Molding • Basement Window Trim
• Built-up Cornices
■ 105
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Base Molding
B aseboard trim is installed to conceal the joint

between the finished floor and the wallcovering.
It also serves to protect the wallboard at the floor.
Installing plain, one-piece baseboard such as ranch-style Pencil Framing square
base or cove base is a straightforward project. Outside Tape measure Table saw
corner joints are mitered, inside corners are coped, and Power miter saw or circular saw
long runs are joined with scarf cuts (see page 47 to 49). T-bevel Base shoes
The biggest challenge to installing base is dealing Coping saw Cap rails
with out-of-plumb and nonsquare corners. However, a Metal file set 2" finish nails
T-bevel makes these obstacles easy to overcome. Pneumatic finish Wood glue
Plan the order of your installation prior to cutting nail gun 11⁄4" brad nails
any pieces and lay out a specific piece for each length & compressor Brad nailer
of wall. It may be helpful to mark the type of cut on Moldings 18 gauge,
the back of each piece so you don’t have any confusion Pneumatic fasteners 5
⁄8" brad nails
during the install. Carpenter’s glue Nail set
Locate all studs and mark them with painter’s Finishing putty Putty
tape, 6 inches higher than your molding height. If you
need to make a scarf joint along a wall, make sure it
falls on the center of a stud. Before you begin nailing
trim in place, take the time to pre-finish the moldings.
Doing so will minimize the cleanup afterward.
■ How to Install One-piece Base Molding

1 2
Measure, cut, and install the first piece of baseboard (1). Cut the second piece (2) of molding oversized by 6 to 10"
Butt both ends into the corners tightly. For longer lengths, it and cope cut the adjoining end to the first piece. Fine-tune the
is a good idea to cut the piece slightly oversized (up to 1⁄16" cope with a metal file and sandpaper. Dry-fit the joint, adjusting
on strips over 10 ft. long) and “spring” it into place. Nail the it as necessary to produce a tight-fitting joint.
molding in place with two nails at every stud location.
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3 4
2
3
2
2
Check the corner for square with a framing square. If Adjust the miter angle of your saw to cut the adjoining
necessary, adjust the miter cut of your saw. Use a T-bevel to outside corner piece (3, inset). Test fit the cut to ensure a tight
transfer the proper angle. Cut the second piece (coped) to joint (inset photo). Remove the mating piece of trim and fasten
length, and install it with two nails at each stud location. the first piece for the outside corner joint.
5 6
4
3
Lay out any scarf joints by placing the piece in position so Nail the third piece in place, making sure the outside
that the previous joint is tight, and then marking the center of corner joint is tight. Cut the end of the fourth piece (4) to
a stud location nearest the opposite end. Set your saw to a 30° match the scarf joint angle and nail it in place with two nails
angle and cut the molding at the marked location. at each stud location. Add the remaining pieces of molding, fill
the nail holes with putty, and apply a final coat of finish.
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■ How to Install Built-up Base Molding
1 2
Cap rail
Attach
baseboard to Attach cap
wall studs to baseboard
with 2" with 18-gauge,
5
finish nails ⁄ 8" brads
Attach
base shoe
to subfloor
with 1 1⁄ 2"
finish nails
Quarter
round
Dress up simple baseboard stock with cap moldings and Built-up baseboard requires more attention to the nailing
base shoes or quarter rounds. The baseboard can be made schedule than simple one-piece baseboards. The most important
of solid wood, as shown above, or from strips of veneered consideration (other than making sure your nails are all driven
plywood, as shown on the opposite page. into studs or other solid wood) is that the base shoe must be
attached to the floor, while the baseboard is attached to the wall.
This way, as the gap between the wall and floor changes, the
parts of the built-up molding can change with them.
3 4
Stud location
Open
bevel for
scarf joint
Back-cut bevel
for scarf joint
Cut the plywood panel into 6" strips with a table saw or a Install the plywood strips with 2" finish nails driven at stud
straightedge guide and a circular saw. Lightly sand the strips, locations. Use scarf joints on continuous runs, driving pairs of
removing any splinters left from the saw. Then, apply the finish fasteners into the joints. Cut and install moldings so that all
of your choice to the moldings and the plywood strips. scarf joints fall at stud locations.
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5 6
Nail and glue 45°
outside miter joint
before attaching
baseboard
Test-fit inside corner butt joints before cutting a Miter outside corners squarely at 45°. Use wood glue and
workpiece. If the walls are not square or straight, angle 11⁄4" brad nails to pull the mitered pieces tight, and then nail
or bevel the end cut a few degrees to fit the profile of the the base to the wall at stud locations with 2" finish nails. Small
adjoining piece. The cap molding will cover any gaps at the top gaps at the bottom or top of the base molding will be covered
of the joint. with cap or base shoe.
7 Finishing Baseboards ▸
Use a brad nailer with 18-gauge, 5⁄8" brads to install the cap Prepare the baseboards and wall for painting.
and base shoe moldings along the edges of the plywood base. Apply a light coat of paint starting at the top edge of
Fit scarf joints on longer lengths, coped joints on inside corners, the baseboard and working toward the floor. Hold
and miter joints on outside corners. Stagger the seams so that a drywall knife or plastic shielding tool beneath the
they do not line up with the base molding seams, following the baseboard as you paint and wipe the tool each time
suggested nailing pattern (previous page, top right). Set any it is moved.
protruding nails with a nail set and fill all nail holes with putty.
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Picture Rail
P icture rail molding is a specialty molding that was

installed in many older homes so homeowners could
hang artwork without making nail holes in the finished
walls. Today, picture rail molding is still used as a clean, Ladder
functional means to hang art—but it also provides its Pencil
own decorative touch, breaking up the vertical lines Stud finder
from floor to ceiling. Many homeowners choose to Tape measure
install picture rails as a decorative accent alone. Power miter saw
Picture rail molding is easy to install but should be T-bevel
reinforced with screws, not brads or nails, especially Pneumatic finish nail gun & compressor
if you will be hanging large, heavy items. Depending 4-ft. level or laser level
upon the style of your home, picture rails can be hung Drill with bits
anywhere from 1 ft. to a few inches from the ceiling. If Painter’s tape
you already have cornices or crown molding, you may Moldings
want to consider adding a picture rail just below to add Pneumatic fasteners
an additional layer of depth. When applied this way, a 15⁄8" wallboard screws
picture rail is commonly referred to as a frieze board. Wood filler
■ How to Install Picture Rail Molding

1 2
Measure down the desired distance from the ceiling and Most corners are close to 90°, but to cut a tight inside
draw a level reference line around the room using a pencil corner, the actual angle must be divided exactly in half. Use a
and a 4-ft. level (or, take advantage of modern technology and T-bevel to measure the angle of the corner, tightening the lock
use a laser level). While you are up there, use a stud finder to nut with the blade and the handle on the reference line.
locate the framing members, and mark the locations on the
walls with blue painter’s tape.
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3 4
Place the T-bevel on the table of your power miter saw Read the angle from the miter saw table, divide the
and adjust the miter blade so that it matches the angle. With number by 2, and add or subtract that number from 45° to find
the T-bevel tight to the fence, read the angle the saw is set to the proper cutting angle for each corner. Cut each molding
when it aligns with the T-bevel. If the blade is angled to the slightly longer than the measured length.
right of 0° the angle is larger than 90°; to the left, it’s smaller.
5 6
Nail the molding at the stud locations, covering the level Fill nail holes with wood filler. Let the filler dry and sand it
line around the room (if you’re using a laser level, you simply smooth. Then apply a final coat of paint over the molding face.
keep it in position and turned on to cast a reference line you
can follow). After each molding is completely nailed in place,
go back to each stud location and drive 15⁄8" wallboard screws
into the molding through counter-bored pilot holes.
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Chair Rail
C hair rails were originally installed to protect walls

from collisions with chair backs, but today, a
chair rail is primarily a stylistic decorative element
that helps to divide a wall visually. Chair rails may cap Pencil Painter’s tape
wainscoting, serve as a border for wallcoverings, or Stud finder Carpenter’s glue
divide two different paint colors on a wall. Tape measure Finishing putty
A chair rail typically runs horizontally along walls Power miter saw Finishing materials
at a height of around 36" (the rule of thumb is to 4-ft. level Coping saw
install it one-third of the way up the wall). When Air compressor 180-grit sandpaper
determining the height of your chair rail, keep in mind Finish nail gun
the height of your existing furnishings. It would be Metal file set
disappointing to discover that the new molding has a Moldings
bad visual effect with your couch or chair backs when Pneumatic fasteners
the project is completed.
■ How to Install a Chair Rail

On the starting wall of your installation,
1 measure up to the height at which you
plan to install the chair rail, minus the
width of the molding. Mark a level line
at this height around the room. Locate
all studs along the walls and mark their
locations with painter’s tape below
the line.
Wall stud locations
Measure, cut, and install the first piece

2 of chair rail with the ends cut squarely,
butting into both walls (in a wall run with
two inside corners). Nail the molding in
place with two 2" finish nails at each
stud location.
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3 4
Coped joint
Coped piece
Butted piece
Miter-cut the second piece of When the coped joint fits tightly, measure, mark, and cut the opposing end of
molding with a power miter saw and the second piece of trim squarely with a miter saw. Nail the second piece in place
then cope the end with a coping saw. with two nails at each stud location. Follow the level line with the bottom edge of
Clean up the edge of the cope cut with a the molding.
metal file to ensure a tight fit. Dry-fit the
piece to check for any gaps in the joint.
Install the third piece of the chair rail with a cope cut at one end. Use a butt joint Option: Cut a mitered return for the
where the molding runs into door and window casings. Fill all nail holes with putty chair rail in areas where it will end
and apply a final coat of finish to the molding. without joining into another molding.
Cut the return with a miter saw and glue
it in place using painter’s tape to hold it
until the glue dries.
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Built-up Chair Rail
B y combining stock chair rail moldings and multiple

pieces of assorted trim that are available at most
lumberyards and home centers, you can easily create
intricate and elaborate chair rails on your own. When
developing your design, bear in mind the style of your
existing moldings so that the new chair rail will not
look out of place. To maintain balance in the room,
your chair rail should always be smaller than the
crown molding and/or baseboards.
To accentuate your built-up chair rail, consider two-
tone painted walls or adding a wainscot or wallcoverings
to further emphasize the division of the wall.

Painter’s tape Coping saw
Moldings Pneumatic finish
Pneumatic fasteners nail gun
15⁄8" wallboard screws & compressor
Hole filler 4 ft. level
Pencil or laser level
Stud finder Combination square A built-up chair rail is made up of several styles of moldings,
Tape measure 21⁄2" finish nails so the design options are unlimited. Experiment with molding
Power miter saw 15⁄8" brad nails samples when finalizing your design. See inset for a cutaway
view of the molding pictured here.
■ How to Install a Built-up Chair Rail

1 2 3
Mark the desired height of the Install the filler strip so that the top Install the upper piece of cove
1 × 4 filler strip, or the first chair rail edge follows the level line around the molding around the room, nailing it flush
component you will install. Mark a room. Fasten with two 2½” finish nails to the top edge of the filler strip. Drive
level line around the room at this at every stud location. Butt the ends one nail at every stud location and one
height, noting the location of studs with of the filler strip together. Joints will be nail between each stud into the filler
painter’s tape. covered with additional moldings. strip. Install the lower piece of cove
molding flush with the bottom edge of
the filler strip.
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4 5
Screen molding will

conceal gap between
stop molding strips
Install the upper piece of stop molding, driving two finish Set a combination square to 13⁄8". Rest the body of the
nails at each stud location. Install the lower piece of stop square on the top edge of the upper stop molding and use the
molding keeping the edge flush with the bottom edge of the blade as a guide to mark a reference line for the top edge of
filler strip. Stagger the seams of the stop molding so that they the screen molding.
do not line up with the joints of the cove moldings.
6 Chair Rail Return ▸

Before you begin installing the molding pieces of the
built-up chair rail, decide what type of return you
will use. Returns are finish details that occur in areas
where different moldings meet at perpendicular
angles, or quit in the middle of a wall. A beveled
return (below left) is a bit difficult to produce, but has
a clean look. On some built-up chair rails, you can
take advantage of the depth of molding by butting the
back moldings up to the obstructions, but running the
cap moldings onto the surface (below right).
Fine-tune the cope cuts of the screen molding with a

round metal file. Nail the molding in place with 15⁄8" brad nails,
keeping the top edge flush with the reference line. Set nail
heads, fill nail holes and any gaps in the joinery. When dry, sand
with 180-grit sandpaper and wipe clean with a dry cloth (inset).
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Wall Opening Trim
T ransitions between rooms are an often-overlooked

opportunity to add polished refinement to your
home. Trimming out a wallboard opening frames the
Storing Trim ▸
entrance for the room and protects the wallboard
from damage. Choose either paint-grade materials,
or utilize a clear finish, which showcases the wood
grain and adds warm, natural detail to your interior.
Trimming a wall opening draws attention to your
home’s structural detail, and invites old-world charm
into contemporary spaces.
Bear in mind that finished wallboard corners
are likely irregular, which will cause some minor
differences in wall thickness along the jambs of the To avoid problems due to potential shrinkage after
opening. When these irregularities are minute (less installation, stack the trim in the room where it will
than 3⁄16"), it is best to cut the jamb materials at the be installed and allow it to acclimate for several days.
Apply a coat of primer or sealer to all sides of each
widest jamb measurement and let the casing bridge piece and let it dry thoroughly before installing it. You
the difference. When wall thickness varies a lot (3⁄16" may choose to paint or stain the trim before installing it,
or more), it is better to cut tapered jambs to cover although this can be completed once installed as well.
the difference.

Jamb material (lumber or plywood) Wood glue Side cutters Circular saw and straightedge guide
Case moldings Shims Pencil Pneumatic finish nail gun
Base moldings Scrap 2 × 4 Tape measure Power miter saw
21⁄2" finish nails Pry bar 4 ft. level Framing square
Pass-through openings between rooms

are often left naked by the builders,
especially in modern homes. Give your
living spaces a distinguished finish by
adding trim and transforming openings
into framed transitions between rooms.
Before
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■ How to Trim a Wall Opening
1 2
Remove the existing base molding with a pry bar and Measure the width and length of the head jamb and
hammer. Be careful not to mar the surface of the moldings as the width of each side jamb. Measure each jamb at both
you remove them. Pull the nails out of the moldings through ends as well as in the middle of each run. Take note of the
the back face with an end nippers or side cutters. measurements. If a jamb differs in width by more than 3⁄16",
install a tapered length (see Tip, below).
Tip: Cutting Tapered Jambs ▸ 3
Guide
W
sa idth
w
fo of
ot
Width at top
left corner
Cutting guide
1× lumber
Width at top
right corner
Jamb stock
Jambs that do not taper can be cut on a table
saw, but if you have enough variation in your jamb
widths that a taper is called for, make a simple
cutting jig and taper-cut the jambs to width with a Clamp a straightedge guide to the head jamb on the
circular saw. Then, lay out the dimensions on the reference line from the measurements of step 2, and cut
head jamb using the measurements from step 2. The the piece to width with a circular saw. Keep the base plate
head jamb should run the full length of the opening. tight against the fence and move the saw smoothly through
the board. Reposition the clamp when you near the end of
the board.
(continued)
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4 5
Position the head jamb at the top of the opening, flush with Place a T-bevel on the floor at the bottom of each side jamb
the edges, and nail it in place starting in the middle. Before to check for any angled cuts necessary to follow the pitch of
nailing the ends of the head jamb, check it for square with the the floor. The handle of the bevel should rest against the outer
walls of the opening, adjusting with shims if necessary. Drive a face of the wall, with the blade across the floor.
pair of 2" finish nails every 16".
6 7
Transfer the angle from the T-bevel in step 5 to a power Nail the side jambs in place using pairs of 2" finish nails
miter saw, and cut the side jambs to length. The top end of the driven every 16" along the jamb. Check the edges of the jamb
jamb should be cut square (90°). Each jamb should butt against pieces as you go to make sure they are flush with the surface
the head jamb and fit tightly to the finished flooring. of the wall.
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8 9
Install casing around the opening. Maintain a consistent Measure, cut, and reinstall the existing baseboard so that
3
⁄16 to 1⁄4" reveal around the opening. the ends butt into the sides of the casing.
Tips for a Good Installation ▸
15 ga. × 2 1⁄ 2" finish nails
15 ga. × 2" finish nails
Attach wood trim with finish nails, which have small After the trim is installed and the nails are set, fill
nail heads that you drive below the surface using a nail nail holes with wood putty and touch up areas with paint
set. Nails for most trim are size 6d or smaller, depending or stain.
on the thickness of the trim and the wall surface. At a
minimum, nails should be long enough to penetrate the
framing by at least ¾"; heavier trim requires nails with
more holding power. Use finish screws for securing trim to
steel studs.
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Crown Molding
C rown molding is angled trim that bridges the joint

between the ceiling and the wall and helps soften
the transition between walls and ceilings. Crown
molding comes in a variety of materials and finishes, Pencil 2 × 4 material
from hardwood finished with a clear topcoat to paint- Tape measure for backing
grade materials such as polymer. Circular saw Carpenter’s glue
If working with wood crown, inside corner joints of Straightedge guide Crown molding
crown molding should be cope cut, not mitered, except in Drill with bits 2", 11⁄2" finish nails
the case of very intricate profile crown that is impossible Coping saw Fine-grit sandpaper
to cope (and therefore must be mitered). While mitering Power miter saw Hole filler
inside corners may appear to save time and produce Pneumatic finish Paint and brushes
adequate results, after a few changing seasons the joints nail gun Sandpaper
will open up and be even more difficult to conceal. Framing square Mineral spirits
Polymer crown, on the other hand, is just as easy or combination Polymer adhesive
to cut as wood, but won’t shrink and can be repaired square Vinyl spackling
with vinyl spackling compound. Most polymers come Nail set compound
in 12-ft. lengths and some have corner blocks that Hammer Paintable latex caulk
eliminate the need for corner cutting. If you’d like to Metal files Caulk gun
apply crown to curved walls, flexible moldings are also 3" wallboard screws Putty knife
available in polymer.
■ How to Install Wood Crown Molding

1 Test cope cuts
against this profile
2
Cut a piece of crown molding about 1 ft. long with square Place the first piece of molding upside down and sprung
ends. Temporarily install the piece in the corner of the last against the fence of the miter saw. Mark a reference line on
installation wall with two screws driven into the blocking. This the fence for placement of future moldings, and cut the first
piece serves as a template for the first cope cut on the first coped end with an inside miter cut to reveal the profile of
piece of molding. the piece.
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3 4
Temporary scrap
Cope cut the end of the first piece Measure, cut to length, and install the first piece of crown molding, leaving
with a coping saw. Carefully cut along the end near the temporary scrap loose for final fitting of the last piece. Nail the
the profile, angling the saw as you cut to molding at the top and bottom of each stud location.
back-bevel the cope. Test-fit the coped
cut against the temporary scrap from
step 1. Fine-tune the cut with files and
fine-grit sandpaper.
5 Test pieces 6
Cut two test pieces to check the fit of outside corners. Start Position the actual stock so a cut end is flush against the
with each molding cut at 45°, adjusting the angles larger or wall at one end. At the other end, mark the outside corner on
smaller until the joints are tight. Make sure the test moldings the back edge of the molding. Miter cut the piece at the mark,
are properly aligned and are flush with the ceiling and walls. according to the angles you noted on the test pieces.
Make a note of your saw settings once the joint fits tightly.
(continued)
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7 8 9
Measure and cut the third piece To fit the final piece, cope the Fill all nail holes. Use a putty knife or
with an outside corner miter to match end and cut it to length. Remove the your finger to force spackling compound
the angle of your test pieces. Cut the temporary scrap piece from step 3 and or tinted wood putty into loose joints.
other end squarely, butting it into the slide the last molding into position. Nail Caulk gaps 1⁄8" or smaller between the
corner. Install the piece with nails driven the last piece at the stud locations when molding and the wall or ceiling with
at stud locations. Install the subsequent the joints fit well, and finish nailing the flexible, paintable latex caulk. Lightly
pieces of crown molding, coping the first piece. sand the nail holes and joint gaps.
front end and butting the other as you
work around the room.
■ How to Install Polymer Crown Molding

1 2
Plan the layout of the molding pieces by measuring the Hold a section of the molding in the finished position. Make
walls of the room and making light pencil marks at the joint a light pencil mark on the wall every 12" along the bottom
locations. For each piece that starts or ends at a corner, add edge. Remove the molding and tack a finish nail at each mark.
12" to 24" to compensate for waste. If possible, avoid pieces The nails will hold the molding in place while the adhesive
shorter than 36", because short pieces are more difficult to fit. dries. To make the miter cuts for the first corner, position the
molding in a miter box with the ceiling side against the table
and the wall side against the fence (inset). Make the cut at 45°.
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3 4 5
Check the uncut ends of each Run a small bead of polymer adhesive Drive 2" drywall screws through
molding piece before installing it. Make along the edges where the molding will countersunk pilot holes through the
sure mating pieces will butt together contact the wall and ceiling. Set the flats and into the ceiling and wall at
squarely in a tight joint. Cut all square molding in place with the mitered end each end of the piece.
ends at 90°. Lightly sand the backs of the tight to the corner and the bottom edge
molding where it will contact the wall resting on the nails. Press to create a
and ceiling. Slightly dampen a rag with good bond.
mineral spirits and wipe away the dust.
6 Finishing Crown Molding ▸
Crown molding can be painted the same color

Apply a bead of adhesive to the end where the installed as the ceiling or with highly elaborate details.
molding will meet the next piece. Prepare and install the Finish wood crown with a clear topcoat for an
remaining pieces, making sure the ends are joined properly. appealing natural look. For deeply patterned crown
Allow adhesive to dry completely, and then carefully remove molding surfaces, use a stiff-bristled brush, such
the finish nails. Fill nail holes with spackling compound and fill as a stenciling brush. Use small, circular strokes to
screw holes and any gaps in the joints with latex caulk (see penetrate recesses.
inset). Wipe away excess and smooth the caulk over the holes.
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Built-up Cornices
D esigning your own cornice molding is a creative

and fun process that allows you to custom-
design molding to fit the style of your room. A
cornice is, by definition, an elaborate crown molding, Molding Chalk line
bridging the space where the wall meets the ceiling. 2" and 11⁄4" finish nails Power miter saw
Although traditionally cornices have been made Carpenter’s glue Pneumatic
of one continuous plaster piece, built-up types are Construction adhesive finish nailer
much cheaper to purchase and easier to install. Pencil Nail set
And, they enable you to dictate every aspect of the Tape measure Hammer
cornice design.
First, go to the lumberyard and bring home
samples of several types of moldings: baseboard, stop,
crown, and bed moldings, as well as smaller trims not to overwhelm the room with a large, complicated
like quarter rounds and coves. Bring the samples molding. A good rule of thumb is to try to match the
home and arrange them in different combinations size of the cornice to the overall size of your baseboard
and positions. As you design your cornice, be careful for proportionate balance and an appealing finish.
Built-up cornices are made of smaller pieces of trim, installed in layers. Cornice design is 100 percent customizable, and can
significantly add to the formal finish of any living space.
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Cornice Variations ▸
Quarter
Stop molding round
Crown molding
2×2
1×2
Band
Picture rail
Crown molding
Use picture rail (page 110) to enhance a cornice Install blocking to provide a nailing surface and added
molding. Standard height for picture rail is about 10 to 12" bulk to a built-up cornice. In this simple arrangement, a
below the ceiling, but you can place it at any level. For a 2 × 2 block, or nailing strip, is screwed to the wall studs.
simple variation of the project shown, use a square-edged A facing made from 1 × 2 finish lumber is nailed to the
stock for the band (since the bottom edge will mostly be blocking and is trimmed along the ceiling with quarter-
hidden), and add picture rail just below the band. round. The crown molding is nailed to the wall studs along
the bottom and to the nailer along the top.
This highly detailed Victorian-style built-up cornice This Arts and Crafts variation is made up of flat solid
is made up of several pieces of stock trim and solid stock ripped down to specific dimensions. Two pieces of
stock ripped down to different widths. The right-angle 1 × 2 stock are fastened together to form an L-shaped
component of this cornice may be screwed directly to angle. The angle is then screwed to the wall at the stud
the wall to serve both as a decorative function as well as locations. An additional piece of 1"-wide stock is nailed
a nailer for the other trim elements. The screw holes are in place so the top edge is flush with the installed angle.
covered when the crown molding is installed. This configuration creates a step cornice with a simpler
appearance than the traditional sprung moldings. Notice
that the L angle is nailed together with a slight gap at the
back edge. This is done to compensate for irregularities in
the corner joint.
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■ How to Create a Built-up Cornice
1 2
Cut a 4- to 6"-long piece from each type of molding. Glue or Locate and mark all of the wall studs and ceiling joists,
nail the pieces together in the desired arrangement to create a marking in areas that will be hidden by the crown molding.
marking template. Position the template flush with the wall and
ceiling and mark along the outside edges of the ceiling and
wall moldings. Mark at both ends of each wall.
3 4
Snap chalk lines between the template marks you made in Install the ceiling trim, aligning its outside edge with
step 2 (you can also mark with a pencil and level). If the ceiling the ceiling pencil line. Nail into the joists with 2" (6d) finish
has a deep texture, scrape off the texture just behind the chalk nails, and miter the joints at the inside and outside corners.
lines, using a drywall taping knife. Wherever possible, place the nails where they’ll be hidden by
the crown molding.
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5 6
Where walls run parallel to the ceiling joists, and there Cope the molding at inside corners by first cutting a 45°
are no joists to nail into, apply a bead of construction adhesive angle on the piece. Then cope cut the angle with a coping saw.
to the trim and nail it in place with pairs of nails driven at Cut along the front edge of the molding, following the contour.
opposing angles. If you’re hand nailing, drill oversized pilot Test-fit the cut and fine-tune it with a metal file if necessary.
holes and secure the trim with coarse-thread drywall screws. We chose to stain the pieces now, before installation.
Let the adhesive dry before starting the next step.
7 8
Align and install the wall trim with the pencil lines, Add the crown molding, fastening it to the ceiling trim and
nailing into each stud with two 2" nails. Miter the band at wall band with 11⁄4" (3d) nails. Miter the molding at outside
outside corners. corners, and miter or cope the inside corners. Use a nail set to
set all nails that aren’t countersunk.
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Window Casing
D oor and window casings provide an attractive

border around doors and windows. They also
cover the gaps between door or window jambs and the
surfaces of surrounding walls. Tape measure Hammer or
Install door and window casings with a consistent Pencil pneumatic nailer
reveal between the inside edges of the jambs and Combination square Casing material
casings, making sure the casings are level and plumb. Nail set Plinths and corner
In order to fit casings properly, the jambs and Level blocks (optional)
wallcoverings must lie in the same plane. If either one Straightedge 4d and 6d finish nails
protrudes, the casings will not lie flush. To solve this Power miter saw Wood putty
problem, you’ll need to remove some material from
whichever surface is protruding.
Use a block plane to shave protruding jambs or a facing paper to support the wallboard. If the paper
surface forming rasp to shave a protruding wallboard around the screws is damaged, drive additional screws
edge. Wallboard screws rely on the strength of untorn nearby where the paper is still intact.
Case molding is installed around windows and doors to conceal the gaps between jambs and the wall. Venturing beyond the very
common ranch-style casing offers some high design payback.
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■ How to Install Mitered Casing on Doors & Windows
1 2 3
On each jamb, mark a reveal line 1⁄8" Place a length of casing along one Make 45° miter cuts on the ends
from the inside edge. The casings will be side jamb, flush with the reveal line. of the moldings. Measure and cut the
installed flush with these lines. Note: On At the top and bottom of the molding, other vertical molding piece, using the
double-hung windows, the casings are mark the points where horizontal same method.
usually installed flush with the edge of and vertical reveal lines meet. (When
the jambs, so no reveal line is needed. working with doors, mark the molding
at the top only).
4 5 6
First drill pilot holes spaced every Measure the distance between the Locknail the corner joints by drilling
12" to prevent splitting, and then attach side casings, and cut top and bottom pilot holes and driving 4d finish nails
the vertical casings with 4d finish nails casings to fit, with ends mitered at through each corner, as shown. Drive
driven through the casings and into the 45°. If the window or door unit is not all nail heads below the wood surface,
jambs. Drive 6d finish nails into framing perfectly square, make test cuts on using a nail set, then fill the nail holes
members near the outside edge of scrap pieces to find the correct angle of with wood putty.
the casings. the joints. Drill pilot holes and attach the
casings with 4d and 6d finish nails.
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Arts & Crafts Window Casing
T raditional Arts and Crafts casings are made of

simple, flat materials with little to no decorative
molding trimmed out of the stock. Add non-mitered
milling method of the material. Quartersawn oak is
easily distinguishable from plainsawn oak by its tight
grain pattern laced with rays of lighter color, known
corners and this casing becomes as sleek and stylized as rifts. Quartersawn oak is more expensive than
as intended. The back band installed on the perimeter plain oak, and may only be available at lumberyards
of this project is optional, but it adds depth to the or hardwood supply stores. Although quartersawn oak
window treatment while maintaining simple style. is the traditional material, plainsawn oak will finish
Traditionally, the wood used for this style of trim nicely as well.
is quartersawn oak. The term quartersawn refers to the

1 × 4 finish lumber Finishing putty Hand saw Pneumatic nailer
Back band trim Tape measure Circular saw or jigsaw Combination square
Wood shims Straightedge Plane or rasp Compass
4d, 6d, and 8d finish nails Power miter saw Drill hammer Nail set
The Arts and Crafts style is similar

to the overall look and feel of Mission
furniture, as can be seen in this relatively
simple oak window casing.
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■ How to Install Arts & Crafts Casing
1 2
Install the stool and jamb extensions according to To find the length of the head casing and apron,
traditional stool and apron trim methods. Set a combination measure the distance between the reveal lines on the side
square to 3⁄16" or ¼" and mark a reveal line on the top and jambs and add twice the width of the side casings. Cut the
side jambs. head casing and the apron to length. Install the head casing
flush with the top reveal line. Use a scrap piece of trim to line
up the head casing horizontally.
3 4 Back band
Measure and cut the side casings to length. Install them Measure, cut, and install the back band around the
flush with the reveal lines. Make sure the joints at the top and perimeter of the window casings, mitering the joints at the
bottom are tight. Measure the distance to the end of the stool corners. Continue the back band around the edge of the apron,
from the outer edge of the side casing. Install the apron tight mitering the corners. Nail the back band in place with 4d
to the bottom of the stool at the same dimension from the end finish nails.
of the stool.
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Painting Window Casing
W indows are on the frontline of the daily bump

and grind, and a fresh coat of paint can freshen
their appearance and make your room décor bright
and lasting. Always begin with the inside edges and
work your way toward the walls. On windows, this
means you should start with the sashes and finish with
the case molding. To achieve a smooth, even finish,
make sure all nail holes and dents are filled with latex
wood filler and that the surface is sanded, primed, and
sanded again before you begin.

Primer and paint
Painter’s tape
11⁄2" tapered sash brush
Corner masks
Drill
Ladder or sawhorses
Sandpaper A fresh coat of paint can both refresh the appearance and
prolong the life of window casings.
■ How to Paint Window Casings

1 2
Prepare the window to be painted. Remove hardware, Remove double-hung window sashes from their frames
apply tape or corner masks to glass, and apply tape around the when possible. To release a spring-mounted, double-hung
outside edges of the case molding. window sash, press against the frame and pull the sash
toward you.
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3 4
Using a tapered sash brush, begin by painting the wood Paint the case moldings, sill, and apron. Let the paint dry
next to the glass. Use the narrow edge of the brush. Then, completely. Sand lightly and apply a second coat. When dry,
paint the flat portions of the sash. Use slow brush strokes and remove the tape and replace the sashes.
smooth the paint carefully. Do not paint the sides or bottom of
the window sash.
Casement Windows ▸ Painting Sashes ▸

To paint sashes that have been removed, drill
holes and drive 3" nails into the legs of a wooden
stepladder. Set the window on the nails as though on
an easel. Windows can also be placed flat on a bench
or on sawhorses.
Remove the hardware and apply tape and

corner masks. Paint the wood next to the glass,
then the flat portions of the sash, followed by the
case moldings and sills. Move the sash in and out to
comfortably reach all areas. Do not paint the sides,
top, or bottom of the sash.
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Window Shelf
S helves above windows are a delightful addition

to bright rooms, and allow you to showcase
plants, artistic collections, or dried flowers and herbs.
They can be used alone or with brackets installed
underneath for hanging items or window treatments.
Although the end pieces act as supports for the
shelf, it’s also a good idea to secure the shelf to a
horizontal support piece. Then, attach the whole unit
to the wall with wood screws. If you know what will
be displayed on the shelf, plan your project around
those objects. If you’d like to display heavy items,
add strength by drilling more pilot holes for the wood
screws to be closer together. If the objects are large, Window shelves are a great place to showcase treasured
adjust the depth of the shelf to accommodate them. decorative items and design your own decorative end pieces.

1 × 8 and 1 × 2 6d casing nails Drill and bits Router
lumber Paint or stain Circular saw Sander
2" wood screws Hammer Jigsaw Nail set
Additional Shelf Ideas ▸

Window shelves are a great way to combine functionality with bold design choices. Add large, decorative supports to
accommodate a dowel for hanging objects such as dried flowers or herbs. Add a coordinating backsplash to add to the
presentation of items, or attach hooks to the underside for smart storage of essentials.
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■ How to Build a Window Shelf
1 2
Attach the 1 × 8 shelf board and the 1 × 2 horizontal Cut out the two end pieces from 1 × 8 lumber. If the design
support piece at a 90° angle after you’ve cut them both to the has only straight lines, use a circular saw. If it includes curves,
same length as the total width of the window unit (including use a jigsaw. If desired, use a router to add a design to the
the outer casing). Use 2" wood screws, spaced every 6 to 10". end supports. Sand the faces and edges that will be exposed
until smooth.
3 4
Attach end supports to the shelf unit using wood glue and Drill pilot holes in the support piece every 6 to 10", avoiding
6d casing nails. Use a nail set to recess the nail heads. Finish the screws that attach the shelf to the horizontal support.
the unit by staining or painting. Attach the shelf unit to the wall just above the window casing
using 2" wood screws driven through the pilot holes. Plug and
finish screw holes, if desired.
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Basement Window Trim
B asement windows invite much-needed sunlight

into dark areas, but they present multiple trimming
challenges. Most basement foundation walls are at
least 8" thick, in addition to a furred-out wall. In many Finish-grade 3⁄4" 2-ft. level
cases the window starts to look more like a tunnel with oak plywood Framing square
a pane of glass at the end. But with some well-designed Spray-foam insulation Utility knife
and well-executed trim carpentry, you can turn the Shims Straightedge
depth disadvantage into an attractive trim shelf, great 11⁄4" and 2" finish nails
for potted plants, objects—even sunning cats. 15⁄8" drywall screws
Basement window openings may be finished with Carpenter’s glue
wallboard, but the easiest way to trim one is by making Pencil
extra-wide custom jambs that extend from the inside Tape measure
face of the window frame to the interior wall surface. Table saw
Because of the extra width, plywood stock is a good Drill with bits
choice for the custom jambs.
Set into thick foundation walls, basement windows present a bit of a trimming challenge but finish beautifully with creative
trim work.
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■ How to Trim a Basement Window
1 2
Check to make sure the window frame and surrounding Set your table saw to make a rip cut to the width arrived at
area are dry and free of rot, mold, or damage. At all four in step 1. If you don’t have a table saw, set up a circular saw
corners of the basement window, measure from the inside and a straightedge cutting guide to cut strips to this length.
edges of the window frame to the wall surface. Add 1" to the With a fine-tooth panel-cutting blade, rip enough plywood
longest of these measurements. strips to make the four jamb frame components.
3 4
3
⁄ 8 × 3⁄ 4" rabbet
Miter gauge
Cross-cut the plywood strips to correct lengths. In our Cut 3⁄8"-deep × 3⁄4"-wide rabbets at each end of the head
case, we designed the jamb frame to be the exact same jamb and the sill jamb. A router table is the best tool for this
outside dimensions as the window frame, since there was job, but you may use a table saw or hand saws and chisels.
some space between the jamb frame and the rough opening. Inspect the jambs first and cut the rabbets in whichever face
is in better condition. To ensure uniformity, we ganged the two
jambs together (they’re the same length). It’s also a good idea
to include backer boards to prevent tear-out.
(continued)
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5 6
Glue and clamp the frame parts together, making sure to Before the glue sets, drill carefully three perpendicular pilot
clamp near each end from both directions. Set a carpenter’s holes countersunk through the rabbeted workpieces and into
square inside the frame and check it to make sure it’s square. the side jambs at each corner. Space the pilot holes evenly,
keeping the ones at the ends at least ¾" in from the end. Drive
a 15⁄8" drywall screw into each pilot hole, taking care not to
overdrive. Double check each corner for square as you work,
adjusting the clamps if needed. Let the glue dry for at least one
hour, overnight is best.
7 8
Remove the clamps and set the frame in the window Taking care not to disturb the frame’s position (rest a
opening. Adjust the frame so it is centered and level in the heavy tool on the sill to hold it in place if you wish), press a
opening and the exterior-side edges fit flush against the steel rule against the wall surface and use a pencil to mark
window frame. trimming points at the point where the rule meets the jambs at
each side of all four frame corners.
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9 10
Scribe line
Remove the frame and clamp it on a flat work surface. Use a straightedge to Replace the frame in the window
connect the scribe marks at the ends of each jamb frame side. Set the cutting depth opening and install shims until it is level
of your circular saw to just a small fraction over 3⁄4". Clamp a straightedge guide to and centered in the opening. Drive a few
the frame so the saw blade will follow the cutting line and trim each frame side in finish nails (hand or pneumatic) through
succession. (The advantage to using a circular saw here is that any tear-out from the the side jambs into the rough frame. Also
blade will be on the nonvisible faces of the frame). drive a few nails through the sill jamb.
11 12
Insulate between the jamb frame and the rough frame Remove the masking tape, clean up the remaining foam,
with spray-in polyurethane foam. Look for minimal-expanding and install case molding. We used picture-frame techniques to
foam for “windows and doors” and don’t spray in too much. install fairly simple oak casing.
Let the foam dry for a half hour or so and then trim off the
excess with a utility knife. Tip: Protect the wood surfaces near
the edges with wide strips of masking tape.
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Wall Paint
A rguably, no one element can have as large an
immediate impact on your design scheme
than the paint applied to your walls. However, too
many decorators make the mistake of concentrating
carefully on their color choice and then giving little
or no thought to their technique and application
method. As you will see in the following pages,
painting techniques and faux finishes are a high-
impact, low-commitment way to vastly improve your
interior painting.
Each painting technique in this chapter has the
potential to greatly affect the texture, tone, depth, and
overall appeal of the colors you so carefully choose
for your walls. Combine multiple colors using double-
rolling or sponging techniques, carefully blend from
one color to another, apply a flat geometric pattern or
trowel classic veneer plaster to your wallboard. Use
technique to cleverly highlight the rich boldness of
your color choices or to blend in and accent your light,
natural aesthetic.
In this chapter:
• Concrete Block Walls • Color Wash Finish
• Double-Rolled Color • Stamped Mosaic
• Stripes • Scumbled Wall Designs
• Polka Dots • Faux Serpentine Finish
• Sponge Painting • Faux Grasscloth
• Rag-rolled Texture • Caulk Designs
• Terra-cotta Finish • Veneer Plaster
• Blended Color Bands
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Concrete Block Walls
P ainting a concrete block wall adds a long-lasting,

durable finish to the porous block surface that will
not only greatly improve the appearance of the blocks,
but also increases their water resistance. All concrete
walls must be cured for at least 30 days before being
painted. They must also be free of mildew, dust, dirt,
and efflorescence (a white, crystalline mineral deposit
sometimes found on masonry surfaces). Keep in mind
that the products used to prepare and paint concrete
blocks will likely emit irritating fumes. Make sure your
work area is well ventilated or wear a respirator when
working with them.

Masonry chisel Etcher and
or bottle opener rust remover
Wire brush Heavy-duty
Hand vacuum rubber gloves
Hydraulic cement Sponge
Putty knife Masking tape
Concrete cleaner Drill with paint-
and degreaser mixing bit Concrete block walls need not look as industrial and
Safety glasses dull as they often do—dress them up with bold colors or
clean neutrals.
Prepare Your Concrete Block Walls for Painting ▸
Use a masonry chisel or a bottle opener and wire brush To patch holes, apply hydraulic cement in layers no
to remove any debris or dirt from holes and cracks. Clean more than 1⁄2" thick until the patch is slightly higher than
all dust and debris from the surface with a hand vacuum. the surrounding area. Feather the patch until the edges
are even with the surface. Let the patch dry according to
the manufacturer’s directions.
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■ How to Paint a Concrete Block Wall
1 2
Press a piece of masking tape onto the blocks in several Wearing safety goggles and rubber gloves, clean the
places, and then pull the tape away. If the tape doesn’t pull concrete blocks with a cleaner and degreaser (or etcher/
concrete away from the surface, it can be painted. If loose rust remover). Thoroughly rinse the blocks with water and let
concrete comes away with the tape, all loose bits need to be them dry. Stir the paint using a variable-speed drill and paint-
scraped away with a wire brush. mixing bit.
3 4
Working in roughly 2 × 4-ft. sections, start at the top and While the cut-in edges are still wet, roll paint onto the first
cut in with a paintbrush. section. Work the paint into the surface, making certain paint
fills any pores. Repeat with the section immediately beneath
the first. When you finish the room, let the paint dry according
to the manufacturer’s instructions, then apply a second coat of
paint to the entire area.
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Double-Rolled Color
D ouble rolling, also called color meshing, produces

a complex texture with impressive color variations
in only one step. Two-color meshing is perfect for
If you’re new to using creative painting techniques,
experiment on a piece of scrap drywall or on an incon-
spicuous wall (behind the water heater is usually a good
beginners or anyone who wants to create a painted spot) until you’ve perfected your technique.
surface that has depth and variety without spending
a lot of time.
This technique works best with satin-finish,
standard latex paints and is not compatible with Tools & Materials ▸
glazes. Choose your lightest color first and then
find a second color that is three, four, or five shades Dual roller Masking tape
darker. Colors that are three shades apart will Two-compartment Two colors of satin-
produce muted variations, whereas colors that are paint tray finish latex paint
five shades apart produce more dramatic textures. 1" brush Drop cloths
Choose colors that blend rather than contrast for Accessory pad
best results.
Use a dual roller and two paint colors of varying shades to achieve a simple textured effect.
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■ How to Apply Meshed Color
1 2 3
Select two colors of satin-finish latex Remove any lint from the paint roller Roll the two-color roller into the
paint, one color three-to-five shades by patting it with the sticky side of paint and run it up and down the
darker than the other. Stir the paint masking tape. Change the tape when textured portion of the tray several
well, then pour each color into one it loses its stickiness, and continue times. Make sure the roller is loaded
compartment of a divided paint tray. patting until no more lint comes off the well, but not so full that it will drip.
roller. Dampen the roller with water and
thoroughly wring it out.
4 5 6
Make a diagonal sweep about two Draw the roller in a back-and-forth At the edges and in corners,
feet long, rolling slowly enough to avoid motion until the colors are blended to apply ample splotches of each paint
splatters. Next, make a diagonal sweep your satisfaction. color using a 1" brush. Immediately
in the opposite direction and then make pat the paint with the accessory pad
a vertical sweep. to blend the colors to match the
surrounding area.
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Stripes
P ainting stripes is a relatively simple painting

project that can produce striking results. Stripes
visually expand a small foyer or perk up a dull hallway
or landing. In a kitchen, stripes can be an innovative
treatment above upper cabinets. Wide stripes can relax
formal furnishings in a living room or guest bedroom.
If you’re considering stripes, choose your colors and
the size of your stripe carefully, as these elements will
greatly impact the energy of your room when finished.
Begin by measuring the room and planning
the width of your stripes so they work out evenly
throughout the room. The challenges of this project
are keeping your plumb lines straight and eliminating
seepage under the painter’s tape once you begin.
A laser level greatly simplifies the line-drawing
process, and every stripe painter should splurge on
professional-quality painter’s tape to avoid seepage.

Paint Laser level or
Roller carpenter’s level
Professional-quality Tape measure
painter’s tape Small roller or Painted stripes can be subtle or dramatic—it’s up to you!
Pencil sponge applicator Coordinate with furniture and woodwork to ensure a classic,
elegant final result.
■ How to Paint Stripes

1 2 3
Apply a base coat in your chosen Apply painter’s tape against the Measure from the inside edge of the
color. Allow paint to dry. plumb line shot with a laser level. Firmly painter’s tape to the desired width of the
press the edges of the tape to the wall stripe and make a pencil mark. Shoot a
to ensure a good bond. parallel boundary with the laser level and
apply tape on the outside of the plumb
line. Repeat until all stripes are taped off,
checking for plumb from time to time.
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4 5
Paint the stripes, using a small roller or sponge applicator. While paint is still damp, carefully remove the tape. Let
paint dry completely.
Additional Stripe Ideas ▸

Stripes can be bold and energetic, subtle and elegant, or somewhere in between. Layer contrasting stripes of different
widths for bold elegance. Or, add interest to a wall without expanding the color palette by adding evenly spaced stripes of
similar colors. Paint glossy stripes over a flat background of the same color to create a quiet accent particularly suitable
for formal spaces.
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Polka Dots
A lively, lighthearted paint technique, polka dots are

perfect for children’s rooms, craft rooms, laundry
rooms, bathrooms, and more. Part of the success of
brighter colors for lively spaces like children’s
playrooms, bedrooms, and bathrooms. If you
select complementary colors, use a lighter
this technique depends on adjusting the spacing of the value for the background so the dots pop.
polka dots to suit the size of the room. Don’t worry if Use subdued colors, perhaps two shades of
the polka dots are imperfect, as randomness is part of the same hue, for an elegant, refined result.
what makes this technique appealing. Colorwashing the walls after applying polka dots
Color choice depends mostly on where the will soften the pattern even more for a subtle
polka dots will be used in your home. Consider finished effect.

Painter’s tape Latex paint for base coat Paper plates Paper towels
Drop cloths Latex paint in desired colors for dots Styrofoam cups Small foam applicator
Paint roller and tray
Polka dots can be large or small—applied in small areas, such as within paneling frames, or on a large accent wall. If you’re
painting your entire room with polka dots, plan the spacing to appear consistent on all of the walls.
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■ How to Paint Polka Dots
1 2
Prepare the room for painting—apply painter’s tape and Pour a puddle of paint onto a paper plate. Dip the open end
drop cloths. Apply the base coat and let it dry completely. Plan of a Styrofoam cup into the puddle, and then lightly press the
the spacing of the polka dots. Place a small piece of painter’s cup onto several paper towels to remove excess paint.
tape wherever you would like the dots placed.
3 4
Press the cup firmly over the tape mark on the wall. Repeat Using a small foam applicator, fill in each polka dot with its
to outline each polka dot. paint color.
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Sponge Painting
A pplying paint with a sponge produces a pebbly,

mottled finish. The technique is easy to master
and the effect complements many décor styles
beautifully. Today, sponging color choices are most
often subtle and blended, unlike the high contrast
color combinations that were a fad for a time. The
sponge you choose will also greatly impact your final
result. Use a natural sea sponge for small, condensed
marks or sculpt a synthetic sponge for a larger, more
defined pattern.
Semigloss, satin, and flat latex paints are all
appropriate for sponge painting. For a translucent
finish, mix a paint glaze by combining paint, paint
conditioner, and water. Always practice your technique
on a large piece of wallboard or an inconspicuous
wall to experiment before you begin to perfect
the application.

Latex paint Roller tray
Paint conditioner Natural sea sponge Sponge painting produces a soft texture; use varying hues of
the same color for bold depth.
Additional Sponging Ideas ▸
Tape off stripes (see page 146) and apply For a muted effect, use closely-related shades of the
sponge painted color to the unmasked areas for a same hue. For bold texture, choose highly contrasting
textured pattern. shades or similar shades of colors that are next to each
other on the color wheel.
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■ How to Sponge Paint a Wall
1 2
Mix together equal parts latex paint, latex paint conditioner, Pour some of the paint into a roller tray, and press a
and water for the first sponged color, the darker color. natural sea sponge into the paint. Pat the sponge onto a paper
Stir thoroughly. towel to remove excess paint, then dab the paint onto the wall
in a 2 × 4-ft. section.
3 4
Continue sponging until the section is filled with sponged Dampen the sponge and wring it out. Press the sponge
paint but the base coat is still visible. Wash out the sponge and into the lighter color of paint and remove the excess by
let the paint dry. Mix the paint for the lighter color as described blotting it on a paper towel. Sponge the paint evenly over the
in step 1. wall. Don’t cover the base coat or dark color. Stand back and
evaluate the effect. Sponge more paint where necessary to
even out the variations.
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Rag-Rolled Texture
R agging is a textural application technique that

produces a soft, organic texture. Ragging is
particularly effective in cottage- or country-styled
spaces using soft colors that clearly reveal the rag Bucket Rubber gloves
imprints. In typical rag-rolled paint designs, a lighter Latex paint Lint-free rag
color is used as the base coat with a darker color for Latex paint conditioner Old towel
the glaze. However, the reverse can also be quite
lovely. Experiment with the technique as you test;
apply the rag marks densely or sparsely, try ragging two
different glaze colors over the base coat, or experiment choice will affect the imprints, so test a few rags on a
with pulling color off with a rag rather than applying it. scrap before choosing your favorite. Though extremely
Any clean, lint-free rags can be used, including versatile, ragging can be quite messy, so prepare your
gauze, burlap, chamois cloth, or jersey; your fabric work area thoroughly before beginning.
Ragging can create rich texture and subtle interest when used with similar or complementary colors and consistent application.
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■ How to Rag-Roll a Wall
1 2
In a clean bucket, mix together equal parts latex paint, latex Put on rubber gloves, and then dip a lint-free rag into the
paint conditioner, and water. Stir thoroughly. glaze, saturating the entire rag. Wring out the rag thoroughly,
and then wipe the excess glaze from your gloves onto an
old towel.
3 4
Roll up the rag irregularly, then fold it to a length equal to Roll the rag over the surface of a 2 × 4-ft. section of the
the width of both your hands. wall, working upward at various angles. Rewet and wring the
rag whenever necessary and continue application until you’re
satisfied with the effect. Move on to subsequent sections until
the project is complete.
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Terra-Cotta Finish
I ntroduce depth and warmth to a room by applying a

terra-cotta finish to your walls. Although this finish has
a sophisticated and refined appearance, it’s quite easy to
The traditional terra-cotta finish consists of
three colors of latex paint, usually shades of deep
brown, dark clay, and apricot. For a rosier terra-cotta,
create. Unlike most other painting techniques included choose colors with a red base; for an orange overtone,
here, a terra-cotta finish does not require a preliminary choose yellow-based colors. If you’re not sure which
base coat. Instead, use a wool pad to apply and blend colors will work best to achieve your desired effect,
several colors of paint to a primed surface. The more you seek help from a salesperson to put together the
blend the paints, the more muted the finish becomes. right combination.

Divided paint tray Wool paint pad Brown, clay and Paint glaze
Paint stirrer sticks Wood finishing tool apricot latex paint
The term terra-cotta originally referred to ancient unglazed ceramic clay used to make vessels and plumbing systems. Today,
terra-cotta refers to a warm orange-brown, subtly textured color scheme.
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■ How to Produce a Terra-cotta Finish with a Wool Pad
1 2 3
Pour each shade of paint into a Dip the wool pad into the brown Scrape the pad to remove as much
separate section of a divided paint tray. paint and scrape the pad along the of the brown paint from the pad as
Add a quarter cup of paint glaze to each edge of the tray to remove excess paint. possible. You do not need to wash the
color, blending it into the paint with a Working in 4 × 4-ft. sections, apply the pad before applying the next paint color.
stir stick. Wet your hand with water and paint by pressing the pad to the wall in a
run it over the wool pad to remove lint random pattern. Cover about 80 percent
and loose fibers. of the wall surface in each section,
leaving some bare spots visible.
4 5 6
Dip the wool pad into the clay paint, Dip the wool pad into the apricot Once you’ve finished the section,
and scrape off the excess. Using the paint, and remove the excess. Using use a finishing tool to apply paint in the
same stamping technique you used to the random stamping technique, lightly corners and at the edges of the section.
apply the brown paint, fill in the bare press the wool pad onto the painted First, remove lint and loose fibers from
spots in the section with the clay paint. section. You will begin to see the paint the tool (see step 1). Repeat steps 2
When you are finished, scrape the clay blend. The more you apply the apricot through 5, applying the brown, clay, and
paint from the pad, as before. paint, the more the paint will blend and apricot paints, and blending until the
the lighter the final design will be. design is complete. When the section is
complete, move on to the next.
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Blended Color Bands
T his blending technique creates the illusion that

the paint colors are fading into one another, a
unique and striking effect that draws the eye around
the room and highlights your artwork and furnishings.
The success of this technique depends heavily upon
careful color selection. Choose two paint colors that
sit next to each other on the color wheel (see page 10).
You’ll create the third color by mixing together equal
amounts of each. The resulting midtone will smooth
the transition between the top and bottom bands and
enhance the illusion of the blend.
The key to success with this application is that
the paint must be wet in order to blend the bands
properly, so it’s best to work in small sections. If the
paint gets too dry to blend well, add fresh paint to
each band and blend it again.

Carpenter’s level Power drill and paint
or laser level mixing bit
Tape measure Three paint pails
Straightedge Two colors of matte Blending color bands is a great solution for intimate
Pencil latex paint spaces or very small rooms, as it creates the illusion of more
Five 3" paintbrushes Wallpaper paste space. Use this technique along with simple furnishings and
decorations for the best effect.
■ How to Create Blended Color Bands

1 2 3
Measure the wall and divide it into Pour equal amounts of each color into Paint a 2 to 3-ft. section of the
three equal sections. Using a laser a pail and use a drill and paint-mixing darkest color at the bottom of the wall,
or carpenter’s level, draw horizontal bit to blend it thoroughly. In a second spreading the paint roughly up to the
lines to act as guidelines for the bands pail, mix equal amounts of the darkest first guideline.
of paint. paint and wallpaper paste. In a third, mix
equal amounts of the lightest paint and
wallpaper paste. Label the pails.
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4 5
Apply a coat of the blended midtone (created in step 2) Apply a thick coat of the dark wash to the gap between
to a 2 to 3-ft. section of the middle band. Leave an inch or so the first and second bands. Dampen a clean paintbrush and
between this band and the first one. run it along the line between the bands, blending the wash up
and down into each band until the lines have disappeared into
a subtle transition between colors.
6 7
Apply the lightest color to the top band, leaving a gap Continue painting one section of the wall at a time, running
between it and the middle band. Apply a thick coat of the over at the corners. Use the finished corner as a placement
light wash between the bands, and then use a clean, damp guide for the newly painted one, blending the edges to make
paintbrush to blend the colors up and down as before. sure the color shifts are consistent. Slight variations are
inevitable, but try to keep the blends as consistent as possible.
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Color Wash Finish
C olor washing gives walls a translucent,

watercolored appearance, adding the illusion of
texture to flat surfaces and emphasizing the unique
eccentricities of textured surfaces. Color wash glaze
can be either lighter or darker than the base coat,
but for best results, choose colors that are closely
related or use a neutral color as one of your selections.
Washing complementary or contrasting colors will
result in a muddy, dull finish.
Color washing can be completed using either a
sponge or a brush with varying results. The sponge
application method requires a highly diluted glaze that
is applied over a base coat of low-luster latex enamel,
using a natural sea sponge. The result is a subtle
texture with a soft blending of colors. Color washing
with a paintbrush requires a heavier glaze to retain the
fine lines of the brush strokes. As the glaze begins to A color wash creates a subtle decorative effect, highlighting
dry, soften the appearance of brush stroke lines further the texture of your walls, or creating hints of depth on
by smudging the surface with a dry paintbrush. flat surfaces.

Flat latex paint Low-luster latex Natural sea sponge or two 3 to 4" Rubber gloves
Latex paint conditioner enamel paint natural bristle paintbrushes Pail
Glaze Selection and Mixing ▸

Select colors for the base coat and glaze
that are closely related or use at least
one neutral color. A dark glaze over a
lighter base coat (left) produces a mottled
effect, whereas a light glaze over a darker
base coat (right) produces a chalky or
watercolored effect.
Sponge Color Wash Glaze

1 part latex or acrylic paint
8 parts water
Brush Color Wash Glaze

1 part flat latex paint
1 part latex paint conditioner
2 parts water
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■ How to Color Wash with a Sponge
1 Color Wash with a Brush ▸
After the base coat dries, mix the color-washing

glaze as instructed on page 158. Dip a paintbrush
into the glaze and apply to the wall in a cross-
hatching manner, beginning in one corner. The more
brushstrokes you create, the softer the texture will
appear. Before the paint has dried completely, brush
Mask off the surrounding area, using painter’s masking over the surface, with a dry natural bristle paintbrush
tape, and cover the floor with waterproof drop cloths. Apply a to soften the look. Wipe excess glaze from the brush
base coat of low-luster latex enamel paint, using a paint roller. as necessary.
Allow the paint to dry.
2 3 4
Mix the glaze as instructed on page Beginning in a low corner, wipe the Repeat steps 2 and 3, moving
158 and immerse the sponge into the color wash solution onto the wall in short, upward and outward until the entire
solution. Squeeze out excess liquid, but curving strokes. Overlap and change the wall has been color washed. Allow
leave the sponge very wet. direction of the strokes, quickly covering the paint to dry. Apply a second coat if
a 3 × 3-ft. section of wall. additional color is desired.
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Stamped Mosaic
M osaic tile is a classic choice for walls, but tile

can be expensive and time-consuming to install.
A painted mosaic is inexpensive and easy to do, and it
can be changed just as easily as it can be created. Craft knife High-density
The effect of a tile mosaic is too dramatic to Large paintbrush foam rubber
use it in large spaces. Typically, it’s best to choose Roller and roller tray Low-tack
a small area or the space below a chair rail for this Three 1" paintbrushes masking tape
finish. With its irregular coloration and varied pattern, Small artist’s brush or painter’s tape
a painted mosaic can cover many flaws, so the Ruler Three colors of
preparation steps for this project don’t have to be quite Repositionable spray glue latex paint
as elaborate as for many other paint projects.
A stamped mosaic is a creative way to add color and texture to small spaces and works beautifully under a chair rail or
wallcovering border.
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■ How to Create a Stamped Mosaic
1 2
Place some of each paint color into the well of a clean To make a paper template for the stamp, draw a series
roller tray. Using three clean paintbrushes, dab a generous of tiles divided by 1⁄4" grout lines. Round the corners of the
amount of each color of paint onto the flat surface of the roller squares to resemble tile. Spray the back of the paper with
tray. It’s fine for the colors to blend a little in a few places, but repositionable spray glue and press the pattern onto the
don’t deliberately mix them. high-density foam. Cut around each tile, using a craft knife,
and remove the excess pieces. (Try to consistently cut about
halfway into the foam.) When the stamp is complete, press it
into the paint until it’s well coated but not dripping with paint.
Start at the top, left-hand corner and press the stamp squarely against the wall, being careful not to let it slip. After a moment,
peel the stamp away from the wall from one side. Recoat the stamp and position it ¼" from the previous print, to create a grout
line. Continue stamping in this manner. When you begin the next row, align the pattern lines before pressing the stamp to the wall.
If the colors bleed together, reestablish the base color between “tiles” with a small artist’s brush (inset).
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Scumbled Wall Designs
S cumbling is a technique that creates textural

geometric patterns that mimic the look of
expensive wallcovering. To scumble, use a large stencil
Scumbling can be a stunning finish over
geometric shapes applied to an entire wall, a ceiling
border, or as a faux wainscoting. Take care to
brush to dry-brush paint onto the wall in swirling measure each wall and sketch the geometric design
motions over a base coat. Because very little paint is on graph paper to help you determine the scale and
required for dry-brushing, pick up small jars of acrylic placement of your design. Always experiment on a
craft paints instead of more traditional latex buckets. piece of cardboard or an inconspicuous wall, and
Choose two or three related decorator colors, or use remember to adequately prepare your work area
gold and silver metallic paints for a classy shimmer. before you begin.

Ruler Straightedge Painter’s tape Latex or craft acrylic
Pencil Putty knife Latex paint paints for scumbling
Paint roller 1" stencil brush for base coat Paper towels
Carpenter’s level Graph paper Disposable plates
Scumbling can recreate the classic, refined texture of expensive wallcovering or can be used to partition walls as a border
or wainscot.
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■ How to Paint a Taped-off Scumbled Design
1 2 3
Measure the wall and plan the design Allow the paint to dry. Draw the Mark the sections that will be masked
to scale on graph paper. Apply a base design on the wall with a pencil using a off. Apply painter’s masking tape to the
coat of paint using a paint roller. straightedge as a guide. marked sections using a putty knife to
trim the tape diagonally at the corners.
Press along all edges of the tape using
a plastic credit card or your fingernail to
create a tight seal.
4 5 6
Pour a small amount of each paint Brush the paint onto the wall with Dip the brush into the second color
color onto a disposable plate. Dip the vigorous, wide, circular motions. Work and blot. Apply the paint randomly over
tip of the stencil brush into the first in a small area at a time, and change the same area, building up the color to
color. Using a circular motion, blot the the direction of the circular motions varying intensities throughout the area.
brush onto a paper towel until the frequently. Overlap the paint onto the Repeat with a third color, if desired.
bristles are almost dry. masking tape. Build up the color to the Repeat this technique to complete the
desired intensity, but allow the base wall, working in one small area at a time.
coat to show through. Use all of the Remove the tape carefully when the
paint on bristles before applying more. paint is dry.
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Faux Serpentine Finish
S erpentine is the name given to a variety of green

marble that contains deposits of the mineral
serpentine, speckles of black and white rock, and a
conspicuous network of fine veining. Replicate this
classic marble with paint to add sophistication and
elegance to smaller portions of your living spaces, such
as bathroom walls, beneath a wainscot in a kitchen or
hallway, or to accent fireplaces and furnishings.
Because genuine marble is often cut into workable
pieces for installation, a faux serpentine finish applied
to a large surface is more realistic if applied in sections
with narrow grout lines to mimic marble pieces. Mask
off and complete application in sections, allowing each
completed section to dry completely before masking
it off and completing the next section. Always finish a
faux serpentine project with a high gloss coat applied
to the entire surface, imitating the lustrous appearance Faux serpentine adds sophisticated appeal to fireplaces,
of genuine marble. wainscot paneling, and furnishings.

Low-napped paint Spray bottle Craft acrylic paints in Water-based
roller (for base coat) Turkey feather a darker shade than clear urethane
Sponge applicator Low-luster latex the latex enamel, High-gloss clear finish
or paintbrush enamel paint black, and white or aerosol clear
Stippler Newspaper Cheesecloth acrylic sealer
■ How to Apply a Faux Serpentine Finish

1 2
Apply a base coat of low-luster latex enamel. Mix equal Stipple the glazes in adjoining areas to blend them slightly,
parts clear urethane, paint, and water for each gloss color. bouncing a stippler rapidly over the surface.
Apply colored, black, and white gloss glazes separately in
random broad, diagonal strokes with a sponge applicator or
paintbrush. Cover most of the surface, allowing small patches
of the base coat to show through.
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3 4 5
Fold a sheet of newspaper to Soften areas of high contrast by Brush black glaze onto a piece
several layers and lay it flat in the same dabbing with wadded cheesecloth. Mist of newspaper and touch it to the
diagonal direction as the original paint the surface with water if necessary, to surface diagonally in scattered areas,
strokes. Press the newspaper into the keep the glazes workable. adding drama and depth. Soften with
glaze and then lift it off, removing some cheesecloth, if necessary. Repeat the
of the glaze. Repeat over the entire process using a white glaze in small,
surface using the same newspaper. light areas.
Occasionally turn the paper in opposite
directions and add glazes as desired to
develop the color.
6 7 8
Dilute a mixture of the white and Connect adjacent vein lines Dilute glazes to the consistency of
colored glazes with water to the occasionally to create narrow, oblong, ink and apply randomly to the surface.
consistency of light cream. Run the irregular shapes. Dab veins lightly Dab with wadded cheesecloth to soften
edge and tip of the feather through the with wadded cheesecloth to soften if the colors. Allow the glazes to dry.
diluted glaze. Lightly drag the feather necessary. Allow the surface to dry. Apply several thin coats of high-gloss
diagonally over the surface while clear finish or aerosol clear acrylic
fidgeting, turning it slightly, and varying sealer, allowing the surface to dry
the pressure to create an irregular, between coats.
jagged vein. Begin and end veins off
the edge of the surface. Repeat as
necessary to create a veining pattern.
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Faux Grasscloth
W oven grass wallcoverings are a lovely, if a little

expensive, way to bring a soft natural appeal to
your décor. With paint, a squeegee, and a little hard
work, however, you can create the same look with Painter’s tape Window squeegee
cleverly applied paint! A variation of combing, this Drop cloths Rubber gloves
technique manipulates the top coat of paint, removing Paint roller and tray Latex paint
fine lines of color to expose the base coat. Walls are Latex paint for base coat for top coat
taped of in sections similar in width to traditional Pencil Sash brush
wallcoverings, and the narrow lines of color where Long carpenter’s level Small paint comb
the sections overlap add to the illusion of traditional Scissors Clean rags
grasscloth seams.
For a realistic appearance, select paint colors that Or, pair grasscloth with rich reds and classic black to
closely resemble natural grasses, such as sand and replicate the luxurious elegance of Asian-inspired décor.
wheat. Because of the earthy nature of the technique, Bear in mind, however, that this faux finish produces a
grasscloth walls work well in rooms that depend upon pronounced texture. If you plan to repaint in the future,
plants and natural textures for their design aesthetic. the walls will need to be sanded as well as primed.
Detail
Faux grasscloth is perfect for contemporary or natural décor—and blends beautifully with neutral or bold decór.
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■ How to Create Faux Grasscloth Wallcoverings
1 2
Prepare your work area and apply the base coat. Let it dry Using the scissors, cut the squeegee into a saw-toothed
completely. Mark off 3 ft. vertical panels around the room with pattern, with pointed teeth about ¼" apart. Put on rubber
a pencil. Pencil in the edge lines with the level. Tape off every gloves and cut in to the top and bottom of the panel with the
other panel. top coat paint using a sash brush. Immediately fill in the rest of
the panel with a paint roller.
3 4
Draw the squeegee across the painted panel horizontally, Remove the tape before the paint dries. Repeat step 3
beginning at the top and working downward and overlapping for each alternating wall section. Allow each section to dry
the passes. After each pass, wipe excess paint from the completely, and then mask off painted sections, positioning
squeegee with the rags. Use a small paint comb for hard-to- the tape 1⁄8" inside the painted edges. As the paint overlaps
reach areas like corners and outlets and switches. in these thin lines, it will imitate traditional grasscloth seams.
Remove the tape and let the paint dry completely.
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Caulk Designs
C aulk designs are drawn on the wall using tub and

tile caulk. When the caulk designs are dry, the
wall can be painted any color, and the shadows of the
The caulk adheres to the wall best if it is
slightly cool when applied. The size of the dots
and lines will depend on the size of the opening
raised dots and lines produce patterns from beneath. cut in the tip of the caulk tube. For tiny dots
The technique is simple, but the design options are and thin lines, cut the tip close to the end; for
unlimited! Create geometric patterns, swirls, flowers, more substantial strokes, cut the tip closer to the
words—whatever inspires you! Draw your designs tube. To remove designs later, scrape them off
freehand, or utilize an LCD or overhead project to with a paint scraper, patch and prime the walls
enlarge patterns on the wall for you to trace. for repainting.

Painter’s tape Latex primer Scissors Satin latex paint
Drop cloths Pencil Paintbrush for top coat
Paint roller and tray Tub and tile caulk
Caulked designs can add fanciful flair to children’s bedrooms and other playful spaces, or they can dress up kitchens, bathrooms,
or living spaces with subtle patterns and designs.
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■ How to Apply Caulked Designs
1 2
Lightly pencil in the design of your choice onto the wall Apply the top coat to the entire wall.
surface. Apply dots and lines of caulk over the marked lines,
squeezing the tube with even pressure. Stop squeezing and lift
the top from the surface at the end of each line. Using a wet
fingertip, smooth down any bumps and tails after 30 minutes.
Allow 24 hours for the caulk to dry completely.
Creating Your Design ▸
Use a stencil to trace dynamic designs onto your walls with a pencil. If your designs are complex or if you are applying
words, tape a piece of graphite transfer paper to the wall, then place a photocopy or printout of the design over the
transfer paper. Trace your design and remove the paper to reveal a penciled outline.
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Veneer Plaster
V eneer plaster application recreates the classic

look of homes from the 1940s and adds a solid,
uniform surface that is highly resistant to nail pops,
cracks, and surface damage. A skim coat of plaster
is troweled onto a gypsum wallboard base that has a
distinctive blue color, commonly called blueboard.
Installed like standard wallboard, blueboard has
highly absorptive face paper to which the wet-mix
plaster bonds. Applying veneer plaster effectively does
take some time to master. The key is to apply the
plaster with a trowel in quick, short strokes, called
scratching in, and then to immediately trowel it over
with a steady, even stroke, smoothing the plaster to a
consistent thickness (typically 1⁄16 to 1⁄8").
Finished plaster can be troweled smooth or tooled
for an appealing texture. Sand and other additives can
also be used to create coarser textures, which, when Veneer plaster adds character and depth to modern
combined with sophisticated painting techniques, homes, evoking the classic look of homes from the early
produce lovely, old-world decorative charm. twentieth century.

Stapler Mortar hawk Metal corner bead with Clean potable water
Hammer 12" trowel mesh flanges Dry-mix veneer base
Heavy-duty 1⁄2" drill Fine-wire rake or broom 11⁄4" wallboard screws coat plaster (for two-
with mixing paddle (for base coat) Non-adhesive fiberglass coat application)
16-gal. drum Spray water bottle mesh tape Dry-mix veneer
1
⁄4" staples finish plaster
Textured Surface Options ▸

For textured surfaces, skip the final troweling and work the surface to create texture. Use a broom, paint-roller, paintbrush,
or the trowel itself to achieve creative, eye-catching surfaces.
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■ How to Apply a One-Coat Veneer Plaster System
1
Apply mesh flanges and a thin layer Variation: Blueboard joints can also be reinforced with paper tape. Embed the tape
of plaster along all flat seams and in a thin plaster bed, and then cover with another thin layer to conceal the tape fully.
corner bead at corners (inset). For inside Note: Some manufacturers recommend setting-type compound for embedding paper
corners, apply a thin bed of plaster and tape; always follow the manufacturer’s directions for the products you use.
embed the loose tape, then cover with
another thin layer. Allow all taped seams
to set.
Smooth pass
Scratch pass
After the seams have set, begin plastering the surface beginning at one corner and moving to the opposite. Start with ceilings
and then do the walls, completing one entire surface before moving on to the next. To apply the plaster, tightly scratch in the
material up the wall (photo left), then immediately double-back over it, smoothing over the material to a thickness of 1⁄16 to 3⁄32",
as specified by the manufacturer. Use tight, quick strokes to apply the plaster during the scratch pass and long, even strokes to
achieve consistency during the smooth pass.
(continued)
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3 4
Continue to apply plaster by scratching in and smoothing Once the plaster begins to firm, trowel the surface to
over the surface. Don’t worry about uniformity and trowel fill any voids and remove tooling marks and imperfections,
ridges at this point. Rather, make sure the entire surface is integrating the surface into a uniform smoothness.
completely concealed with a relatively even plaster coat 1⁄16
to 3⁄32" thick.
5 One- and Two-Coat Veneer

Plaster Systems ▸
Finish
Finish
Basecoat
Gypsum
plaster base Gypsum
plaster base
One-coat veneer Two-coat veneer

plaster systems use a plaster systems are
single 1⁄16 to 3⁄32"-thick composed of a 1⁄16 to 1⁄8"
coat of finish plaster basecoat plaster applied
applied directly to a to blueboard, followed
blueboard base. The coat by a 1⁄16 to 3⁄32"-thick coat
can be troweled smooth of finish plaster. The
or textured, resulting in a finish coat bonds with
hard, monolithic surface. the scratched basecoat
surface, forming a more
uniform and monolithic
Prior to the plaster setting, make a final pass with the surface than that of a
trowel to smooth the surface spraying water sparingly. Do not one-coat system.
overtrowel; stop before the plaster begins to darken and set.
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■ How to Apply Base Coat in a Two-Coat Veneer Plaster System
1 2
Smooth pass
Scratch pass
Apply a thin layer of basecoat along all flat seams and After the seams have set, tightly scratch in basecoat, then
corner bead, feathering out the edges by 6". For inside immediately double-back over it, smoothing over the material
corners, apply a thin bed of basecoat and embed the loose to a thickness of 1⁄16 to 1⁄8", as specified by the manufacturer.
tape, then cover with another thin layer. Allow all taped seams Use tight, quick strokes to apply basecoat for the scratch
to set. pass and long, even strokes to achieve consistency for the
smooth pass.
3 4
Once the plaster begins to firm, or take up, trowel the Approximately two hours after the basecoat has set,
surface to fill any voids and remove tooling marks and the finish coat can be applied using the same techniques used
imperfections, integrating the surface into a reasonably for a one-coat veneer plaster system (see pages 171 to 172).
uniform surface—do not overtrowel to a smooth surface.
Create keys for the final coat using a thin-wire rake to roughen
the basecoat.
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Wall Décor
W all decorations transform a beautifully decorated
space into your beautifully decorated space.
The collections, libraries, and artwork you display
in your home are what make it uniquely your own;
these elements tell the story of your family and are
intimately tied to your decorative choices.
The wall décor projects in this chapter will help
you display your personal belongings professionally
and will provide ways to refresh and accent areas often
neglected by decorators. Update your bathroom with
new fixtures or a creatively tiled mirror—or accent
your fireplace with a tiled surround. Apply a critical
eye to your walls and then utilize these techniques
to add style, polish, and personality to every area of
your home.
In this chapter:
• Pictures & Mirrors • Ceramic Tile
• Textiles Mirror Frame
• Sticker Art • New Towel Bar
• Wood Shelving • Tile Fireplace Surround
• Glass Shelving
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Pictures & Mirrors
I f you’ve ever made six holes in a wall to hang one

picture, you know how frustrating the process can
be. Most of us have done it, and none of us want to
Before getting out your tools, study the size and shape
of the room. Designers and decorators often suggest
placing the center of a picture or mirror at eye level—57
repeat the experience. Great news! By following the to 60" above the floor—but that’s a guideline, not a hard
steps outlined here and using the right hardware, and fast rule. If you’re placing a mirror behind a sideboard
you can hang a picture without making a single or a picture over a mantle, let the style of the room and a
unnecessary hole. sense of balance guide its placement.

D-rings or pictures hooks Tape measure Awl Self-adhesive felt pads
that will support the Pencil Screws or silicone caulk
weight of your artwork Drill Stud finder Painter’s tape
Hanging pictures and mirrors instantly personalizes a room, and it’s easy to do when you approach it with the right tools and a
good attitude. We’ll show you how to position a piece properly and hang it securely—the first time.
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Choosing Hardware ▸
Frames and mirrors remain level and
secure when they’re supported by wall
studs and sturdy hardware. Before you
choose hardware, find out what the piece
weighs. While shopping, check the labels
on the hardware you’re considering to Stud
make sure it will support the weight of the D-rings
piece you’re going to hang.
If a stud is not available, then
hardware selection is even more
Wood screw
important. Take your specifications to a
salesperson and find out which kind of
self-tapping hollow wall anchor or heavy-
duty wall hanger she/he recommends to
Drywall
both support your artwork sufficiently and
protect the integrity of your walls.
Self-tapping
hollow
wall anchor
■ How to Hang a Picture

1 2
On each side of the frame, mark 8" down from the top. Set the D-rings aside, and then use an awl to punch a hole
Purchase D-rings or picture hooks rated to support the at each mark on the frame. Reposition the first D-ring and drive
approximate weight of the picture or mirror (package labels on a screw into the mark, securely attaching the D-ring to the
the hardware give the suggested weight ranges). frame. Repeat on the other side.
(continued)
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3
Attach a self-adhesive felt pad at each corner of the frame. Variation: If you do not have felt pads available, put a dot of
silicone caulk about the size of a pencil eraser on each corner
instead. Continue to hang your artwork when the caulk is
completely dry.
4 5
In the area where you want to hang the frame, place a piece Measure the width of the frame and divide that number
of tape at the appropriate height, measured from the floor by 2—this is the center of your frame. On the tape, mark the
(usually 57 to 60", depending on the room’s dimensions). proposed center of the frame, and then mark the edge of the
Following manufacturer’s directions, use a stud finder to locate frame the calculated distance on each side. If possible, align
the studs and mark the tape to indicate their positions. the frame so that the three points are near your stud marks.
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6 7
8"
Measure down 8" from the frame side marks for the D-ring Slip the D-rings or picture hooks over the screws on the
placement. Drill wood screws into the studs. wall. Your picture should now be straight and secure with nary
an extra hole to repair.
Hanging a Picture When a Stud is Not Available ▸
Use an awl to drill a small hole on your placement mark, Mels Enterprises, Inc. produces a heavy-duty wall
then follow package instructions to drive self-tapping hanger that is remarkably strong and easy to use, and is
wall anchors into your wallboard. Drive a screw into each usable only where a stud is not available. To use, just push
anchor as instructed. the chiseled anchor into the wall at your placement mark
and twist until the hook is upright.
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Textiles
F abric wall hangings dress up walls and are easily

replaceable as your décor changes. Quilts,
tapestries, and other textiles make exquisite wall
decorations, especially in bedrooms and living spaces,
but are easily damaged when hung improperly.

Cotton twill Small hooks or screws
rug binding Dowel
Fabric-marking pen Narrow board
Needle and thread Velcro strip
Level Drill Hanging textiles is a creative way to add softness and
Tape measure warmth to your home—and to display family heirlooms and
textile art.
■ How to Hang Textiles

1 2
Mark a straight line ½ to 3⁄4" from the Mark a level line where you’d like to Variation: Position a narrow board
top edge of the textile. Cut a piece of hang the piece about 11⁄2" shorter than along a level line at the desired height.
cotton twill rug binding about 3" shorter the width of the textile. Drive one small Drive screws through the board into
than the width of the textile. Align the hook or screw eye into the wall at each the studs in the wall. Cut a Velcro strip
binding with the line and pin in place. end of the line. Insert a dowel or rod (cut slightly less than the width of the textile
Stitch the binding to the textile by hand, 11⁄2" wider than the rug binding piece) and attach the “hook” side to the board.
using a blind hem (page 31). through the textile’s casing and rest the Hand-stitch the “loop” side along a line
dowel on the hooks or screws. ½" from the top edge of the textile.
Press the Velcro strips together to hold
the textile in place.
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Sticker Art
W all stickers are an excellent decorative alternative

to hung wall art—perfect for children’s rooms
or playful spaces. Stick-on wall art is even available
as materials suitable to draw on with chalk. Today,
manufacturers also make contemporary stickers in
large, bold styles and patterns that are appropriate for
any room in the home, including formal areas. Stickers
are simple to use, apply professionally, and are
available in a variety of styles and colors. Plus, they’re
easy to move and replace for those who change their
décor frequently.

Pencil Wall stickers Wall stickers can enhance decorative motifs in your room, or
add a striking contrast to existing elements.
■ How to Hang Wall Stickers

1 2
Clean walls then place light pencil marks where you plan to Peel the backing off each sticker and place it at your marked
stick each item. locations. Accurate placement is not necessary because wall
stickers are easily removed and repositioned. However, bear in
mind that continued removal and replacement will weaken the
sticker’s adhesive over time.
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Wood Shelving
A n attractive space to display collections, libraries,

and mementos is a key element to every family’s
home décor, which explains why installing shelves
is one of the first projects many decorators take on.
Wood shelves fit invisibly into most design schemes,
and are durable and easy to clean. By following a few
basic guidelines, your shelves will be a sturdy and
secure home for your belongings.
Before you purchase materials for this project,
decide where you’d like your shelving placed and
how wide you’d like it to be. It’s also helpful to
know the approximate weight of the items you’ll be
displaying—heavier collectibles will require more
support than lighter items. Wood shelves are typically
sold with all the hardware you’ll need to install them,
but always check the packaging to see if you will
need to purchase hardware separately, and remember Indispensable to virtually every home, shelves provide
to purchase self-tapping hollow wall anchors if you storage and display space for everything from books to your
cannot install your shelf into wall studs. favorite chachkas.

Shelf and brackets Wood screws or self-tapping Laser level or Painter’s tape
Pencil hollow wall anchors carpenter’s level
■ How to Install Wood Shelving

1 2
Measure the shelves and the brackets. Make a quick Mark the studs on the wall with easy-release painter’s tape
diagram of the shelves and their placement on the wall, and plan to use them to support the shelf if possible.
including spacing between the shelves if there will be more
than one. Be sure to consider the sizes of the items the shelf
will hold as you decide how far apart to put the shelves.
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3 4
Position the first bracket and mark its screw holes on the Use a level to create a line across the wall from the first
wall. If there is a stud available to support the bracket, drive bracket to the planned position of the next bracket. Attach the
pilot holes at the marks and drive screws into the stud. If no bracket to the wall as you did in step 3.
stud is available, use an awl to make a small hole and then
drive self-tapping hollow wall anchors into the holes and wood
screws into the anchors. Attach the first bracket to the screws
(see inset).
5 6
If the project includes more than one shelf, refer to the Remove the first bracket and use it to measure for the
measurements from your diagram and use a level to draw a placement of all additional brackets. If shelves are more than
line for each of the remaining shelves. 36" wide or will be supporting heavy items, install a bracket as
a center support as well. Attach the remaining brackets and
position the shelves upon them.
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Glass Shelving
G lass shelving is sleek and unobtrusive, so it

fits well into many rooms and décor styles.
If you’d like to elegantly showcase items without
drawing attention to the shelving as a structural Level Pencil
statement, then glass shelves are the best choice Drill Glass shelves
for you.
Glass shelving is typically held in place with
metal mounts, though the attachment method differs
from shelf to shelf. The most basic models may have The directions here are for shelving that uses hidden
mounts that are screwed directly into the wall with brackets that attach to the wall. Mounts then slip over
exposed screws. the brackets and are secured with setscrews.
Glass shelves are an excellent choice for bathrooms, kitchens, bedrooms, and living spaces.
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■ How to Install Glass Shelves
1 2
Assemble the shelf and shelf holders (not the brackets). Remove the shelves and use the level to extend the mark
Hold the shelf against the wall in the desired location. On the into a 3" vertical line. Use the level to mark a horizontal line
wall, mark the center point of each holder, where the setscrew across the centers of these lines.
is. Remove the shelf from the holders and set aside.
3 4
Center the middle round hole of the bracket over the Slide a holder over a bracket, check that the shelf mount
intersection of the vertical and horizontal lines. Mark the is level, and tighten the setscrew. Repeat with the other holder.
center of each of the oblong holes. Put the bracket aside and Insert the shelf and fix in place. Check the shelf for level. If it’s
drill a 1⁄4" hole at each mark. Insert the included wall anchors in not level, remove one holder and loosen the bracket screws.
the holes. Replace the bracket, insert the screws into the wall Slide the bracket up or down to make the unit level. Replace
anchors, and drive the screws. Repeat for the second bracket. the holder and shelf.
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Ceramic Tile Mirror Frame
F raming a mirror with ceramic tile can transform

the object from a flat, modern necessity to a
beautiful decorative flourish. The process is extremely
simple; in fact, choosing the tile can be the most
difficult part of the project. If you’re tiling the rest
of the room, combine trim pieces that match or
complement the field tile. If the room has no other
tile, match your tile to the rest of your décor or create
an elegant accent piece in bold, standout colors.
There are two ways to tile a mirror: apply the tile
directly to the mirror, or tile around the mirror and
butt up to the edges. We chose to remove the mirror
and attach the tiles around the perimeter, and then
rehang the mirror. Before you rehang the mirror, make
sure the hanger and anchor are designed to support
the mirror’s new weight, as it will be considerably Our tile frame uses three types of trim tile: an outer chair rail tile,
heavier with the addition of the tiled frame. a thin band of mosaic tile, and a thin pencil tile as an inner ring.

Tape measure Putty knife Heavy brown paper Wide painter’s tape
Permanent marker Grout float or cardboard Grout with latex additive
Wet saw Grout sponge Trim tile Grout sealer
Laser or carpenter’s level Foam paintbrush Windshield adhesive
■ How to Frame a Bathroom Mirror

1 2 3
Dry lay the tile around a mirror Dry lay the outermost row of Dry lay the next couple of rows
template made of heavy brown paper. chair rail tiles again—this time on of field tile starting in the left-hand
Use spacers if the tiles are not self- the mirror. Check corner miters for corner. For accurate placement,
spaced. Mark tiles that must be cut. proper alignment. include spacers.
Miter the one end of each corner tile at
a 45° angle using a wet saw.
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4 5 6
Dry lay the final row of pencil tiles. Apply adhesive to the back of the Repeat until all rows are secured
Cut tiles, as necessary, to fit onto mirror tile using a small putty knife. Set tiles on to the mirror. Prepare a small batch of
as planned. Once all tiles fit, remove all the mirror and twist to secure in place. grout and fill all the tile joints. Clean and
but the first row of chair tiles. Start at the top, left-hand corner and buff the tile.
work around the entire mirror.
Tiled Mirror Designs ▸
Tile has been added only to the mirror in this project. In new construction or major remodeling projects,
The mirror is framed by a mosaic of shards and small place the mirror so the trim tile can be attached to the
pieces of glass tile. Mosaic projects are incredibly easy to wall rather than to the mirror.
do and really add a lot to a small room like this one.
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New Towel Bar
R eplacing an out-of-date or damaged towel bar

can spruce up your bathroom décor in a snap. If
you’re selecting new accessories, note the finish on
the existing faucets and handles. Generally, bathroom
décor looks best when faucets and accessories match,
or at least coordinate.
It’s also smart to measure the mounting plates on
the existing towel bar before you purchase a new one.
It will be easier to produce professional-looking results
if the plates on the new bar are the same size or larger
than the existing plates. In fact, sometimes your new
accessories can be mounted on the existing plates if
the hardware is the same size, greatly decreasing the
time required for this project.
Most bathroom accessories are installed similarly,
so these instructions could easily be applied to many
different accessory installations.

Towel bar with Level
mounting plates Drill
Pencil Screws
Stud finder Screwdriver New accessories can have a great impact on your bathroom
décor without much time or expense.
Anatomy of a Towel Bar Mount ▸

Towel bars and other bathroom
Wall plate accessories are supported by mounting
plates attached to walls. The mounting
Wood screw plate must be securely supported by wall
Rod holder studs or self-tapping hollow wall anchors
rated for the bar’s weight.
Stud
Hollow
wall
anchor
Setscrew
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■ How to Install a Towel Bar
1 2 3
Position the towel bar and make a Center the mounting plate between Drill pilot holes, and then hold the
mark along the outside of the mounting the marks made in step 1, and then first mounting plate in place and drive
trim on each side. (Try to avoid make marks for the screw locations. screws to attach it to the wall. Repeat
positioning the bar so the new holes will Repeat this process on the other side. on the other side.
fall directly over the old ones.) Repeat Check the marks with a level, and adjust
for the other side. if necessary. Use a stud finder to check
if the marks are located over studs.
4 Ceramic Tile Walls ▸
Use a ceramic tile bit with a carbide tip to drill the

pilot holes. Before beginning to drill, scratch a dimple
Settle the towel bar onto the mounting plates. Tighten the into the tile with an awl or a sharp nail. Starting to
setscrews that hold the bar to the mounting plates. (These drill beyond the tile’s glaze helps keep the bit from
setscrews typically are found on the bottom of the trim.) dancing around on the tile.
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Tile Fireplace Surround
T ile dresses a fireplace surround in style—any

style you like. From simple ceramic to elegant cut
stone to handmade art tile, anything goes. As long as
You can finish the edges of the surround with
wood cap rail trim, as shown here, bullnose tile, or
other trim tile.
it’s sturdy enough to withstand significant swings in
temperature, almost any tile will work.
Although the project shown here starts with Tools & Materials ▸
unfinished wallboard, you can tile over any level
surface that’s not glossy. If you’re tiling over old tile or Level Tile spacers
brick, go over the surface with a grinder, then apply a Drill Latex-reinforced
thin coat of latex-reinforced thinset mortar to even out Hammer thinset mortar
any irregularities. To rough up painted surfaces, sand Nail set Masking tape
them lightly before beginning the project. Notched trowel Grout
The tile shown here is flush with the face of the Grout float Cap rail trim
firebox, which then supports it during installation. If 2 × 4 lumber 6d and 4d finish nails
necessary, tack battens in place to support the weight Mantel Wood putty
of your tile during installation. (Make sure the batten Tile Sponge
is level.)
A tile surround can dress up home accents, like fireplaces. Choose tile that blends with or complements your other décor.
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■ How to Tile a Fireplace Surround
1 2 3
Mantel
support
cleat
To install the mantel, measure up Paint the areas of wallboard that Dry-fit the tile around the front of the
from the floor and mark the height of won’t be tiled. Finish the mantel as fireplace. You can lay tile over the black
the support cleat. Use a level to draw desired, then fit it over the support cleat front face, but do not cover the glass or
a level line through the mark. Mark the and center it. Drill pilot holes for 6d any portion of the grills. If you’re using tile
stud locations just above the level line. finish nails through the top of the mantel without spacer lugs, use spacers to set
Position the cleat on the line, centered about 3⁄4" from the back edge. Secure the the gaps (at least 1⁄8" for floor tile). Mark
between the frame sides and drill a pilot mantel to the cleat with four nails. Set the perimeter of the tile area and make
hole at each stud location. Fasten the the nails with a nail set, fill the holes with any other layout marks that will help with
cleat to the studs with screws provided wood putty, then touch up the finish. the installation. Pre-cut tiles, if possible.
by the manufacturer.
4 5 6
Cap rail trim
Buildup strip
Mask off around the tile, then use a Mix a batch of grout and spread Cut pieces of cap rail trim to fit
V-notched trowel to apply latex mastic it over the tiles with a rubber grout around the tile, mitering the ends. If the
tile adhesive to the wall, spreading it float. Drag the float across the joints tile is thicker than the trim recesses,
evenly just inside the perimeter lines. diagonally, tilting it at a 45° angle. Make install buildup strips behind the trim,
Set the tiles into the adhesive, aligning another pass to remove excess grout. using finish nails. Finish the trim to
them with the layout marks, and press Wait 10 to 15 minutes, then wipe away match the mantel. Drill pilot holes and
firmly to create a good bond. Install excess grout with a damp sponge, nail the trim in place with 4d finish nails.
spacers as you work, and scrape rinsing frequently. Let the grout dry for Set the nails with a nail set. Fill the holes
out excess adhesive from the grout one hour, then polish the tiles with a dry with wood putty and touch up the finish.
joints. Install all of the tile, then let the cloth. Let the grout dry completely.
adhesive dry completely.
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Ceiling Décor
T hough many decorators choose to focus their
time and energy on wall detail, ceiling decoration
can add considerably to the wholeness and energy
of a room. Sometimes the best way to pull a newly
decorated room together can be to paint, wallcover,
panel, or tile a ceiling. These projects can also help to
seal and protect your ceiling wallboard and insulate or
reflect noise and light.
Careful preparation for ceiling projects will ease
the process and cleanup, and most techniques will be
vastly easier with the help of a partner. When planning
your project, bear in mind that the ceiling edge closest
to the entry of any room is the least visible, so always
work from the farthest corner toward the entry. Also,
always repair any ceiling damage before installing a
decorative finish.
Before you decide on the technique that will best
accent your room, consider how the ceiling treatment
will complement or blend with your wall décor and
make a plan for smoothing the transition between the
ceiling and wall.
In this chapter:
• Ceiling Panels • Painting a Ceiling
• Acoustical Ceiling Tiles • Aluminum Leaf Gilding
• Metal Ceilings • Ceiling Wallcovering
■ 193
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Ceiling Panels
I nstalling ceiling paneling in a den, bedroom, or

attic adds balance and warmth, wrapping the
room in the cozy natural glow of finished wood.
Tongue-and-groove paneling made of pine is the Chalk line Tongue-and-groove
most common type of paneling for this project, Compound miter saw paneling
but any tongue-and-groove material can be used. Circular saw 13⁄4" spiral
These materials are typically 3⁄8 to ¾" thick and are Drill flooring nails
attached directly to ceiling joists and rafters (over Nail set Trim molding
faced insulation, when required). If using a thin
paneling, bear in mind that most codes require you
to install 3⁄8" wallboard as a fire stop under ceiling
material thinner than ¼" flaws such as pattern deviations, misaligned walls,
Tongue-and-groove boards are attached with and installation mistakes. Before beginning, measure
flooring nails driven through the shoulder of the to see how many boards will be installed. If the final
tongue into each rafter. This technique is called board will be less than 2" wide, trim the long edge of
blind-nailing because the nail heads will be covered the first board to allow more room.
by the next board. Nailing through the board face If the angle of the ceiling peak is not parallel to
is only necessary on the first and last course and on the wall, compensate for the difference by ripping the
scarf joints. Layout is very important to the success starter piece at an angle so that the leading edge, and
of a paneled surface because the lines clearly reveal every piece thereafter, is parallel to the peak.
Tongue-and-groove paneling can be installed directly over rafters or joists or over wallboard. In attic installations, it’s important
to insulate first, adding a separate vapor barrier if required by building codes. Local code may also require that paper-faced
insulation behind a kneewall be covered with drywall or other material.
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■ How to Panel a Ceiling
1 2 Rafters
Reveal
Side wall
To plan your layout, first measure the reveal of the boards. Use the calculation from step 1 to make a control line for
Fit two pieces together and measure from the bottom edge the first row of panels—the starter boards. At both ends of the
of the upper board to the bottom edge of the lower board. ceiling, measure down from the peak an equal distance, and
Calculate the number of boards needed to cover one side of make a mark to represent the top (tongue) edges of the starter
the ceiling by dividing the reveal dimension into the overall boards. Snap a chalk line through the marks.
distance between the top of the wall and the peak.
3 4
Rafters
Joints
1st board 2nd board
If the boards aren’t long enough to span the entire ceiling, Rip the first starter board to width by bevel-cutting the
plan the locations of the joints. Staggering the joints in a three- bottom (grooved) edge. If the starter row will have joints, cut
step pattern will make them less conspicuous. Note that each the board to length using a 30° bevel cut on the joint end only.
joint must fall over the middle of a rafter. For best appearance, Two beveled ends joined together form a scarf joint (inset),
select boards of similar coloring and grain for each row. which is less noticeable than a butt joint. If the board spans the
ceiling, square-cut both ends.
(continued)
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5 6
Position the first starter board so the tongue is on the Cut and install any remaining boards in the starter row
control line. Leave a 1⁄8" gap between the square board end one at a time, making sure the scarf joints fit together tightly.
and the end wall. Fasten the board by nailing through its face At each scarf joint, drive two nails through the face of the top
about 1" from the grooved edge and into the rafters. Then, board, angling the nail to capture the end of the board behind
blind-nail through the base of the tongue into each rafter, it. If necessary, predrill the nail holes to prevent splitting.
angling the nail backward at 45°. Drive the nail heads beneath
the wood surface, using a nail set.
7 8
Cut the first board for the next row, then fit its grooved As you install successive rows, measure down from
edge over the tongue of the board in the starter row. Use a the peak to make sure the rows remain parallel to the peak.
hammer and a scrap piece of paneling to drive downward on Correct any misalignment by adjusting the tongue-and-groove
the tongue edge, seating the grooved edge over the tongue of joint slightly with each row. You can also snap additional
the starter board. Fasten the second row with blind-nails only. control lines to help align the rows.
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9 10
Ridge
board
Panels
Rip the boards for the last row to width, beveling the top Install trim molding along walls, at joints around obstacles,
edges so they fit flush against the ridge board. Facenail the and along inside and outside corners, if desired. (Select-grade
boards in place. Install paneling on the other side of the ceiling, 1 × 2 works well as trim along walls.) Where necessary,
then cut and install the final row of panels to form a closed bevel the back edges of the trim or miter-cut the ends to
joint under the ridge board (inset). accommodate the slope of the ceiling.
Tips for Paneling an Attic Ceiling ▸
Panels
Trim
Collar
tie
Panel
material
Use mitered trim to cover joints where panels meet Wrap collar ties or exposed beams with custom-
at outside corners. Dormers and other roof elements cut panels. Install the paneling on the ceiling first. Then,
create opposing ceiling angles that can be difficult to rip-cut panels to the desired width. You may want to
panel around. It may be easier to butt the panels together include a tongue-and-groove joint as part of the trim
and hide the butt joints with custom-cut trim. The trim detail. Angle-cut the ends of the trim so it fits tight to the
also makes a nice transition between angles. ceiling panels.
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Acoustical Ceiling Tiles
E asy-to-install ceiling tiles can lend character to a

plain ceiling or help turn an unfinished basement
or attic into beautiful living space. Made of pressed
mineral and fiberboard, ceiling tiles are available 4-ft. level Stapler
in a variety of styles. They also provide moderate Stepladder 1 × 2 furring strips
noise reduction. Chalk line 8d nails or 2" screws
Ceiling tiles typically can be attached directly to a Utility knife String
drywall or plaster ceiling with adhesive. If your ceiling Straightedge Ceiling tiles
is damaged or uneven, or if you have an unfinished Hammer or drill Staples
joist ceiling, install 1 × 2 furring strips as a base for Handsaw Trim molding
the tiles, as shown in this project. Some systems
include metal tracks for clip-on installation.
Unless your ceiling measures in even feet, you to the same width and are at least half the width of a
won’t be able to install the 12" tiles without some full tile.
cutting. To prevent an unattractive installation with Most ceiling tiles come prefinished, but they can
small, irregular tiles along two sides, include a course be painted to match any decor. For best results, apply
of border tiles along the perimeter of the installation. two coats of paint using a roller with a 1⁄4" nap. Wait
Plan so that tiles at opposite ends of the room are cut 24 hours between coats.
Acoustic tile improves the sound quality inside a home theater and reduces the transmission of sound to the rooms
surrounding it.
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■ How to Install Ceiling Tile
1 2
Measure the ceiling and devise a layout. If the length (or width) doesn’t measure Install the first furring strip flush
in even feet, use this formula to determine the width of the border tiles: add 12 to with the wall and perpendicular to the
the number of inches remaining and divide by 2. The result is the width of the border joists, fastening with two 8d nails or 2"
tile. (For example, if the room length is 15 ft., 4", add 12 to the 4, then divide 16 by 2, screws at each joist. Measure out from
which results in an 8" border tile.) the wall a distance equal to the border
tile width minus 3⁄4", and snap a chalk
line. Install the second furring strip with
its wall-side edge on the chalk line.
3 4
Install the remaining strips 12" on-center from the second strip. Measure from the Check the strips with a 4-ft. level.
second strip and mark the joist nearest the wall every 12". Repeat along the joist on the Insert wood shims between the strips
opposite side of the room, then snap chalk lines between the marks. Install the furring and joists as necessary to bring the
strips along the lines. Install the last furring strip flush against the opposite side wall. strips into a level plane.
Stagger the butted end joints of strips between rows so they aren’t all on the same joist.
(continued)
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5 6
Set up taut, perpendicular string lines along two adjacent Cut the corner border tile to size with a utility knife
walls to help guide the tile installation. Inset the strings from and straightedge. Cutting the border tiles 1⁄4" short will ease
the wall by a distance that equals that wall’s border tile fitting them. The resulting gap between the tile and wall
width plus 1⁄2". Use a framing square to make sure the strings will be covered by trim. Cut only on the edges without the
are square. stapling flange.
7 8 9
Position the corner tile with the Fill in between the border tiles Install the final row of tiles, saving
flange edges aligned with the two string with full-size tiles. Continue working the far corner tile and its neighbor for
lines and fasten it to the furring strips diagonally in this manner, toward the last. Cut the last tile to size, then remove
with four 1⁄2" staples. Cut and install two opposite corner. For the border tiles the tongue and nailing flange along the
border tiles along each wall, making along the far wall, trim off the flange side edges. Finish the job by installing
sure the tiles fit snugly together. edges and staple through the faces of trim along the edges.
the tiles, close to the wall.
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Metal Ceilings
T oday’s metal ceilings offer the distinctive elegance

of 19th-century tin tile in a durable, washable
ceiling finish. Available at home centers and specialty
Begin your installation by carefully measuring the
ceiling and snapping chalk lines to establish the panel
layout. For most tile patterns, it looks best to cover
distributors, metal ceiling systems include field panels the center of the space with full tiles only, then fill in
(in 2 × 2-, 2 × 4-, and 2 × 8-ft. sizes), border panels along the perimeter with border panels, which are not
that can be cut to fit your layout, and cornice molding patterned. Make sure your layout is square.
for finishing the edges. The panels come in a variety
of materials and finishes ready for installation, or they
can be painted.
To simplify installation, the panels have round Tools & Materials ▸
catches called nailing buttons, that fit into one another
to align the panels where they overlap. The buttons are Chalk line Field panels
also the nailing points for attaching the panels. Use Level Border panels with
1" decorative conehead nails where nail heads will be Tin snips molding edge
exposed, and 1⁄2" wire nails where heads are hidden. Drill with 1⁄8" Cornice molding
Install your metal ceiling over a smooth layer of 3⁄8" or metal bit Masking tape
1
⁄2" plywood, which can be fastened directly to the ceiling Compass 1
⁄2" wire nails
joists with drywall screws, or installed over an existing Metal file 1" conehead nails
finish. The plywood provides a flat nailing surface for the 3
⁄8" or 1⁄2" plywood Wood block
panels. As an alternative, some manufacturers offer a 2" drywall screws
track system for clip-on installation.
Real metal ceilings have traditional embossed patterns with an unmistakable luxurious quality. But, they are expensive and a bit
unwieldy to install. Acoustic panels with an embossed vinyl pattern layer are much cheaper and easier to install, but are also less authentic.
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■ How to Install a Metal Tile Ceiling
1 Cornice
2
Border panel
Field panel
Measure to find the center of the ceiling, then snap perpendicular chalk lines Align the first field panel with the
intersecting the center. On the walls, mark a level reference line representing the chalk lines at the ceiling’s center, and
bottom edges of the cornice molding. Where possible, plan to install the panels so attach it with 1⁄2" wire nails along the
they overlap toward the room’s entrance, to help conceal the seams. edges where another panel will overlap
it. Drive the nails beside the nailing
buttons—saving the buttons for nailing
the overlapping panel.
3 4
Continue to install the field panels, working along the Cut the border panels to width so they will underlap the
length of the area first, then overlapping the next row. Make cornice by at least 1". Use sharp tin snips, and cut from the
sure the nailing buttons are aligned. Underlap panels by sliding edge without edge molding. Install the panels so the nailing
the new panel into position beneath the installed panel, then buttons on the molding align with those on the field panels.
fasten through both panels at the nailing buttons, using 1" Fasten through the buttons with conehead nails, and along the
conehead nails. Where field panels meet at corners, drill 1⁄8" cut edge with wire nails. At corners, miter cut the panels, and
pilot holes for the conehead nails. drive conehead nails every 6" along the seam.
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5 6
Install each cornice piece with its At inside corners, install one cornice piece tightly into the corner, then scribe the
bottom edge on the level line. Drive mating piece to fit, using masking tape and a compass. Cut along the scribed line
1" conehead nails through the nailing with tin snips, and make minor adjustments with a metal file. You may have to cut the
buttons and into the wall studs. Don’t nail mating piece several times, so start with plenty of length. If you have several corners,
the ends until the succeeding piece is in use this technique to cut templates for the corner pieces.
place. Fasten the top edges to the ceiling.
7 8
At outside corners, cut the ends of two scrap pieces at a Using a hammer and a piece of wood, carefully tap
33° angle. Fit the pieces together at the corner, then trim and any loose joints to tighten them. If the cornice will be left
mark each piece in turn, making minor adjustments until they unpainted, file the joints for a perfect fit. If you’re painting the
fit well. Use the scrap pieces as templates for marking the ceiling, seal the seams with paintable silicone caulk, then apply
workpieces. Fasten near the corner only when both mating two coats of paint using a roller with a 1⁄4" nap. Allow the first
pieces are in place. coat to dry for 24 hours before applying the second coat.
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Painting a Ceiling
P ainting a ceiling can greatly enhance the stylistic

rhythm of your room—whether you choose a clean
neutral color, an extension of your wall color, or a bold
accent color. Before painting a ceiling, make sure it
is clean and that your room is prepared adequately.
Although it’s best to paint ceilings in sections, set aside
time to complete the entire room in one sitting, which
will ensure that the edges of each painted section are
wet enough to blend seamlessly into one another.
A roller extension enables you to paint the ceiling
with your feet firmly planted on the floor, but a ladder
will still be necessary to cut in around the edges of
the room. Also, eye protection is an absolute necessity
when painting overhead. Before you begin, clean the
ceiling and prime any stained areas.

Paint roller and tray Painter’s tape Painting a ceiling a dark color can absorb light in large
Roller extension Ladder rooms, making them feel intimate and cozy. Painting a ceiling
Paint brush to match the color of your walls draws the room into a
cohesive whole.
Preparing the Room ▸
If you have hanging light fixtures, shut off the power Press painter’s tape along the joint between the ceiling
to the circuit, lower the plate cover and pull a trash bag and the wall, leaving the bottom half of the tape loose.
up from the bottom of the fixture. Tie a knot at the top, Then, slide sheet plastic under the masking tape and
neatly covering the entire piece. press the tape down just enough to hold it in place. Make
sure the plastic is long enough to protect the baseboards
as well as the walls.
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■ How to Paint a Ceiling
1 2
Load your brush only about one-third of the length of the Cut in on the edge of a 3-ft. section of the ceiling starting in
bristles, and tap the bristles against the side of the can. Do not the corner furthest from the entry door. Press just hard enough
drag the brush against the lap of the can as this tactic wears to flex the bristles, use long, slow strokes, and paint from a dry
out the bristles. area back into the wet paint.
3 Painting Large Areas ▸
New roller covers sometimes have lint fibers that

will stick in the paint unless they’re removed. To
clean out lint, wrap masking tape around your hand
Load the roller and begin rolling the section you just cut and blot the surface of the cover. When no more
in. Roll across the area with diagonal strokes and lift the roller lint comes off the roller cover, wet it, using water
at the end of each sweep. For the final smoothing strokes, roll for latex paint or solvent for alkyd. Squeeze out as
each section toward the wall with the entry door. Reposition much liquid as possible and slide the cover onto the
your ladder under the next 3-ft. section and repeat steps 2 and roller frame.
3 until the entire ceiling is painted.
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Aluminum Leaf Gilding
A n aluminum-leafed ceiling is a spectacular accent

and looks wonderful in large dining rooms where
the lights from the chandelier can dance across the
As with any gilding process, the final look is only
as good as your prep, so make sure that your ceiling
surface is smooth and free of any blemishes and
shiny surface or in intimate spaces that need a little cracks. The leaf will expose all flaws in your surface
kick. If you do not want to apply many single sheets texture. Basecoat the ceiling to be leafed in a pale
of aluminum leaf to a ceiling over your head in the warm gray, eggshell-sheen latex paint applied with
traditional manner, however, there is an easier way: a foam roller to keep roller stipple to a minimum.
aluminum leaf comes on a roll! It is made just for this The eggshell texture will ensure proper sealing of
type of large, continuous surface application. the surface.

Water-based 7" roller handles 6" spreading knife Denatured alcohol
gold-leaf size Aluminum leaf Wallpaper blade Lint-free rag
4" paintbrush on a roll Lamb’s wool pad Satin acrylic varnish
An aluminum leaf ceiling can transport a modern dining room back in time 100 years, evoking the elegance and sophistication
of formal parlors and dining spaces.
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■ How to Apply Aluminum Leaf Gilding
1 2
Gilding products include adhesive, the leaf roll, top coat, With mild tension, pull the roll of leaf at a 45° angle to the
sealer, and brushes. Brush the size to an area of ceiling that opposite side of the ceiling, using your free hand to lightly
you can comfortably gild in one day. Do not leave any skips. press leaf to ceiling as you go. When you get to the opposite
Follow the instructions on the size bottle to know how long to wall, cut the leaf with a sharp wallpaper knife into the corner.
wait before applying the leaf. Start along the edge where the Repeat until the ceiling is covered, overlapping each previous
ceiling meets the wall. Tuck the side of the roll into the edge row by ¼".
with the spreading knife, allowing ½" excess to fall onto wall.
3 4
With a lamb’s wool pad, softly brush over the paper and the Continue softly cleaning until all excess leaf is removed.
leaf. This will adhere the leaf to the ceiling. The paper will fall Dampen a rag with denatured alcohol and gently wipe the entire
off at this time. gilded surface down. This removes the wax on the surface of
the leaf and allows your topcoat to be applied. Topcoat cannot
be applied over the wax film. Apply a coat of satin acrylic
varnish to the entire gilded surface with a latex brush.
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Ceiling Wallcovering
A pplying wallcovering to a ceiling is a tidy way

to add detail and panache to a room. It works
particularly well in kitchens and bathrooms. Similar
ceiling strips at the far end of the room and work back
toward the entryway.
If you plan to cover the walls in addition to the
to most wallcovering projects, applying wallcovering ceiling, bear in mind that the ceiling pattern can blend
to a ceiling is a two-person project. When planning a perfectly into only one wall. Select your “match” wall,
ceiling project, remember that the pattern on the last and plan the ceiling project so the strips will blend
strip may be broken by the ceiling line. Since the least into it easily. Always cover the ceiling first, and then
visible edge is usually on the entry wall, begin hanging cover walls.

Wallcovering Water tray Smoothing brush Wallboard knife
Pencil Scissors Razor knife Seam roller
Straightedge
Wallcovering a ceiling in a room

with wallcovered walls draws the entire
decorating scheme into a cohesive
whole, and creates an intimate,
comfortable space.
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■ How to Wallcover a Ceiling
1 2 3
Measure the width of the Working in small sections, position Cut out a small wedge of
wallcovering strip and subtract ½". Near the strip against the line. Overlap the wallcovering in the corner so that the
a corner, measure this distance away side wall by ½" and the end wall by 2". strip will lay flat. Press the wallcovering
from the wall at several points, marking Flatten the strip with the smoothing into the corner with a wallboard knife.
points on the ceiling with a pencil. Using brush as you work.
the marks as guides, draw a line along
the length of the ceiling with a pencil
and straightedge. Cut and prepare the
first wallcovering strip (page 92).
4 5
Trim the overlap to ½" on all walls that will be covered with Let the strips stand for 30 minutes, then roll the seams
wallcovering, using a razor knife and wallboard knife. On walls lightly with a seam roller.
that will not be covered, trim the excess to the ceiling by
holding a wallboard knife against the corner and cutting with a
sharp razor knife (see inset). Repeat steps 2 through 4, butting
edges of the wallcovering so the pattern matches.
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Cabinets
& Doors
A dding a decorative stain, creative molding, or
new hardware to doors, cabinets, and drawers
is a quick and easy way to vastly improve the overall
appearance of these home essentials. Kitchen cabinets
contribute massively to kitchen décor, and with a little
creativity, standard cabinets can be transformed with
a luxurious, custom-built appearance. Interior and
closet doors can also easily be renewed—improving
both their appearance and functionality—with many
of the projects in this chapter.
Try applying a faux mahogany finish to cabinets
or repainting doors in an accent color for a dramatic
change. Or, simply replace the knobs on your drawers
or cabinets or install a wineglass rack for a subtle
decorative shift. Consider how your decorative choices
will contribute to the overall tempo of your home and
spend time in preparations and planning, and any of
these projects will complete your overall home décor
with accented detail.
In this chapter:
• Painting Wood Cabinets • Knobs & Pulls
• Faux Mahogany • Prehung Interior Door
• Antique Stained Finish • Bifold Doors
• Faux Stainless Steel • Painting Wood Doors
• Cabinet Molding • Decorative Door Headers
• Decorative Brackets • Door Mirror
• Wineglass Rack
■ 211
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Painting Wood Cabinets
P ainting cabinetry can drastically alter the final

appearance of a kitchen. Update an outdated color
scheme or add a clean shine to a new kitchen. Painted
cabinets are attractive, easy to clean, and durable, Screwdriver 3" paintbrush, trim
especially if you use heavy-duty enamel paint. Pliers brush, tapered
Although painting cabinetry isn’t difficult, it is a Sponge and bucket sash brush
time-consuming process. Most cabinets require two Latex wood filler Paint roller and tray
coats of paint on both sides and all surfaces must be Putty knife Primer
lightly sanded between coats. Plan to spend about two Sander and sandpaper Paint
hours per foot of cabinetry to complete this project.
Painting wood cabinets is an inexpensive way to give your kitchen an instant face-lift.
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■ How to Paint Wood Cabinets
1 2
First, empty the cabinets, and then remove the shelf pins, Brush paint onto the interior of the cabinet frames, starting
shelves, and all hardware. Sand the cabinet frames and use a with the back wall, then the top, sides, and bottom. Roll the
damp cloth to remove dust. paint on the outside surfaces, working from top to bottom.
3 4
Fill scratches, dents, or cracks with latex wood filler using Using a trim brush, paint the inside of each door. Once dry,
a putty knife as necessary. Let the wood filler dry completely. paint the other side using a tapered sash brush. Allow the
Sand all surfaces with an orbital sander and 150-grit paint to dry and then add a second coat of paint, if needed.
sandpaper. Let the doors dry for several days, then replace the hardware
and rehang the doors.
Cabinets & Doors ■ 213
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Faux Mahogany
M ahogany is an elegant wood, and this finishing

technique can replicate the grace and luxury
of real mahogany on wood surfaces throughout your
home. Using wood graining, a deep basecoat color, and
the addition of rich reds to the graining varnish, this
finish is simple and believable—perfect for tabletops,
inset side panels, and cabinets.
Mahogany grain is fine, fairly straight, and without
knots and whirls. Apply this technique carefully and
consistently for the best finish. Before you stain, apply
a coat of a dark, rosy brown latex eggshell paint as your
base coat, and allow to dry completely.

Eggshell latex paint UTC, Burnt Umber
for base coat UTC, Raw Umber
3" latex paintbrush UTC, Venetian Red
One pint 3" and 11⁄2" chip brush
measuring cup T-shirt rags
Satin oil-based Flogger brush
varnish, clear Steel wood-
Paint pail graining combs A mahogany finish adds depth and sophistication to
a kitchen.
■ How to Apply a Wood-Grain Finish

1 2 3
Repetitive raking creates a realistic Pull a soft T-shirt rag from top to Hold the flogger brush parallel to the
wood grain. After the basecoat has bottom, jittering the motion slightly to surface, bristles downward. Slap the
dried, apply tinted varnish in the create a vaguely rippled linear pattern. surface with quick snaps, working from
direction of the grain using a chip brush. the top down. Flog the entire surface a
Rake a comb back and forth quickly, couple of times until you are satisfied with
multiple times, from top to bottom until the look, then allow to dry for 24 hours.
a grain pattern emerges. Top coat with one or two coats of varnish.
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■ How to Create a Faux Mahogany Finish
1 2
Mix the graining medium. Pour one pint of varnish into Texture the varnish by lightly pulling a soft T-shirt rag over
the jar, then drip the UTC colors into the varnish slowly: start the surface from top to bottom. Jitter the motion slightly
with three parts Burnt Umber, two parts Raw Umber, and to create a vaguely rippled linear pattern. Repeat over the
one-part Venetian Red. Continue to add/mix colors until you entire surface.
create a varnish color you’re happy with. You may need to add
more colorant to make enough solution for large pieces, but
continue slowly; if too much colorant is added, it will not mix
and the varnish will never dry. Also, colorant will not dry, so
wipe up spills immediately. Apply graining varnish with a large
chip brush using a straight top-to-bottom stroke, then rake
gently with the wood grain combs (see step 1, opposite page).
3 4
Hold the flogger brush parallel to the surface, bristles Dip the tip of the chip brush into the graining varnish.
downward. Slap the surface with quick snaps, working from Hold it at a 45° angle to the grain and lay in a dark accent by
the top down. Flog the entire surface. dragging the chisel-edge down the length of the grain. Use this
accent sparingly, perhaps once per side. Allow to dry for 24
hours, and then top coat with one or two coats of varnish.
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Antique
Stained Finish
A dd extra punch to your cabinets’ stain with this

easy-to-accomplish antique finish. Use antiqueing
over a freshly stained surface or enhance previously
stained cabinetry. When working with an older or
already stained piece, wash the surface well and allow
to dry thoroughly before you begin.

Gel stain: golden oak and dark walnut
1" flat oil paintbrush
T-shirt rags The soft beauty of an aged finish can add spark and
character to a modern kitchen.
■ How to Apply an Antique Stain Finish

1 2
Dip a rag into the oak stain and apply using a circular Apply the walnut stain to the edges and corners of the
motion. Use the small paintbrush to reach into corners or project surface; leave a clear oval area in the center. Wipe the
crevices. Wipe the excess stain off with a clean rag. Allow to stain into the center with a clean rag until the entire surface is
dry completely. antiqued. Top coat with one or two coats of varnish.
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Faux Stainless Steel
A pplying a faux stainless steel finish is a great

way to modernize old appliances—such as
dishwashers, refrigerators, and trash compactors. This
technique also works well on metal cabinet doors and
frames. The finish will only successfully replicate
stainless when used on flat surfaces, however. The
technique is not effective over pebbly, textured
appliance fronts or wood grain.
Paint color choice is crucial to this technique’s
success. Choose a latex-based metallic paint close A faux stainless paint finish is a great way to modernize
old appliances.
to the color of the existing stainless in your kitchen.
You may need to add a few drops of UTC to tweak
the color, or you might find that a warm champagne
metallic mixed with a silver metallic will match the Tools & Materials ▸
coloration. Prime the surface with a high-quality
latex bonding primer tinted to a color close to your High-quality latex Metallic latex paint
metallic. The primer should be applied using the bonding primer, 3 or 4" paintbrush
same technique as your final, metallic coat to help tinted to a color Metal straightedge
replicate the slight grain in real stainless steel. Use close to the Satin latex
a slight, linear pattern to your brushwork to aid in metallic final coat polyurethane
this effect.
■ How to Create a Faux Stainless Steel Paint Finish

1 2
Apply the metallic paint in a very straight up-and-down After the first coat of metallic paint has completely dried,
manner with the paintbrush, after the surface has been apply a second coat in the same manner. Finish the project
primed. To keep your strokes straight, place a straightedge with a clearcoat of durable latex polyurethane.
onto the surface and use as a guide for your brush.
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Cabinet Molding
I f you love the color or finish of your cabinets,

but feel like something is missing, try applying
ornamental molding to your cabinet panels. This
raised molding can be stained or painted in a similar Miter box Paint or stain, clear
or complementary color and can greatly enhance the and backsaw acrylic finish,
detail and drama of your kitchen. Use the molding Pencil and matching
as an accent on flat cabinets, or apply around 220-grit sandpaper wood putty
recessed areas for added definition. To further Wood glue Lumber scraps
the effect, build moldings in layers, or lay one Clamps Wool fabric
within another.
Use wood glue sparingly for a clean application;
wood glue holds securely, even when a very small
amount is used. Also, if your moldings will be between the strips with wood putty. Bear in mind that
attached to cabinets with beveled or routed edges, it there will likely be minute measurement differences
will be necessary to adjust the angle of the mitered from one cabinet door to another, so always measure
cuts somewhat by sanding the edges of the mitered the panels on each side before cutting the molding to
molding strips. You may also need to fill in small gaps ensure an accurate fit.
Applying molding to kitchen cabinetry adds depth and character to a contemporary kitchen.
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■ How to Apply Cabinet Moldings
1 2 3
Using a miter box and backsaw, cut Check the fit of the molding strips Paint or stain the moldings and
molding strips at each end according and sand the corners, using 220-grit allow to dry completely. Apply wood
to your measurements and the marked sandpaper, as necessary for proper fit. glue sparingly to the underside of
angle of your cuts. Repeat to cut the molding.
remaining strips.
4 5
Position the molding on the cabinet and clamp it in place. Remove the clamps when the glue has dried thoroughly.
Use a scrap of lumber to protect the trim from the clamps. If Fill any gaps between the molding strips at the corners, using
there is any excess glue, remove it immediately using a scrap wood filler if trim is painted; touch up paint. If trim is stained,
of wool fabric. fill gaps with putty that matches the stain.
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Decorative Brackets
T ransform your cabinetry from plain to custom-

fabulous with the easy addition of decorative
shelf brackets underneath wall cabinets. Shelf
brackets are affordable, and are available in a
multitude of shapes and styles—stain or paint them
to match your cabinetry for nostalgic, old-world
appeal. Always paint or stain your brackets before
you install them.

Decorative brackets
Paint or stain and clear acrylic finish,
wood putty to match stain
4d finish nails
Nail set
Drill
3
⁄32" drill bit
Countersink bit
Installing decorative shelf brackets beneath kitchen

cabinetry gives your kitchen custom-built detail.
■ How to Install Decorative Brackets

1 2 3
Determine the location of the Cut end strips. Mark the placement Mark the placement for screws on
brackets; they may be flush to the for screws on all the molding strips; the bottom of the cabinet using molding
cabinet, protrude slightly beyond the predrill screw holes through molding strips as guides; predrill screw holes
cabinet, or be recessed inboard. strips using a countersink bit. using a 3⁄32" bit. Secure the molding
strips with screws.
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Wineglass Rack
B ring your stemware out of the cabinet and display

it proudly on a wineglass rack beneath your
cabinets, easing storage space within your cabinetry
and adding to the elegance of your kitchen. Molding
designed just for this purpose is sold through specialty
woodworking stores in predetermined lengths that can
be cut to fit beneath your cabinetry.
If the bottom shelf of your cabinets is recessed,
add layers of plywood to fill this space before installing
the molding to ensure that glasses can slide easily in
and out of the rack without breakage. Position the
moldings so that the center of one molding is about
4" from the center of the next to accommodate a wide
variety of stemware.

Molding for 8-gauge flathead
wineglass rack wood screws
Plywood (if bottom of Drill
cabinet is recessed) 3
⁄32" drill bit
Screwdriver Countersink bit Add wineglass moldings to display your stemware and add
to the beauty of your kitchen.
■ How to Install a Wineglass Rack

1 2 3
Plan and mark the placement Mark screw hole locations on the Attach the moldings to the cabinet
of molding strips, including the end molding strips and predrill holes using with screws.
strips. Cut the end strips to span the a countersink bit. Mark the position for
distance from the wall to the front of screws on the cabinet bottom, using the
the cabinet. molding strips as a guide. Predrill holes
using a 3⁄32" bit.
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Knobs & Pulls
S witching out old drawer or cabinet knobs and pulls

with updated hardware is a small, inexpensive
decorating project that can significantly update a
Before you select new hardware (especially if
shopping for pulls instead of knobs), always measure
your existing pulls. If you can avoid filling old holes
room, or convert an insignificant piece of furniture and drilling new ones, you will save a significant
into a one-of-a-kind conversation piece. Like the amount of time needed to complete this project. Also,
perfect piece of jewelry or an exquisite accent color, for kitchen or bathroom cabinetry, carefully note the
attractive knobs and pulls can truly transform the color of the existing hardware in the room and select
conventional into the exceptional with a touch of knobs or pulls that will match or accent your décor,
sparkle, elegance, and class. faucets, and knobs.

Pulls or knobs Pencil WD-40 Sandpaper
Measuring tape Cardboard Masking tape Paint or stain
Screws Scissors Wood filler Escutcheons (optional)
Screwdriver Drill Small putty knife
Drawer pulls and cabinet knobs serve an important function, but also add a decorative flair to furniture and cabinetry.
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Hardware Selection Considerations ▸
• Finish: Before you select a finish, consider both the
existing faucets and metal work nearby your cabinetry
or furniture – and the overall decorative style of the
room. If your style is traditional, then brushed finishes,
shiny brass, or pewter may be a good choice for you.
If more contemporary, look for enameled or high-gloss
metals. If you prefer extremely unique hardware, shop
around at a local antique store, or scavenge hardware
off of second-hand furniture.
• Style: Knobs are available in varying shapes,
sizes, and with drop-loops or colorful enameled
accents. Drawer pulls do not only vary in length;
choose sleek, contemporary D-rings or classic antique
bails or drops in a variety of shapes and colors.
• Escutcheon: An escutcheon, or baseplate, may be
used behind knobs or pulls to conceal previous holes
or to highlight and frame hardware.
• Functionality: If your knob or pull is uncomfortable
to use or doesn’t adequately support the weight
and/or size of your door or drawer, then it won’t
matter how beautiful or unique it is. It’s usually best
to gauge the general size required for your project
based upon the previous hardware. If selecting
hardware for a heavy drawer on a new piece, consult
your salesperson for advice on the size, style, and
placement that will work best for your piece.
■ How to Install Cabinet or Drawer Hardware

1 2 3
Measure the thickness of doors or Compare the length of the screws Experiment with the placement
drawer fronts and count the number provided with your new hardware to of knobs or pulls. Generally, pulls are
of total knobs or pulls needed to finish the thickness of the doors or drawer centered side-to-side and top-to-
your project before you buy hardware. fronts. The screws should be between bottom on drawer fronts. If your drawer
Drawers over 24" wide should have 1
⁄8 and 1⁄2" longer than the thickness requires two pulls, divide the length
two pulls to prevent the drawer from of the front. If necessary, purchase of the drawer front by 6 and mark
twisting when opened. screws separately. this distance from the outside of your
drawer front on both sides. Center your
pull upon this mark.
(continued)
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4 5 6
Mark the distance between screw One at a time, drill holes as marked Align the new pull with the holes
holes on a piece of cardboard, on the doors and drawer fronts. Doors and drive a screw through the first
then cut these holes out to make a can remain in place, but it’s easiest to hole and into the pull. Drive the second
template. Hold the template against remove drawers and place them on a screw, and then test the pull to make
doors or drawers and mark the screw table or workbench. sure it’s secure.
hole placements.
■ How to Replace Cabinet or Drawer Hardware

1 2
Remove the screws holding the old hardware in place. If Measure the distance between holes, center to center. If
screws are stubborn, spray a little WD-40 and let it sit for a your measurement matches the width of your new pulls, install
few minutes before removing. Clean the front and back of the the new pulls as on page 223.
drawer or door thoroughly.
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3
Variation: If the filled holes are too obvious to cover, attach Mark and drill screw holes and install hardware as
escutcheons to camouflage them. instructed on page 224 (top).
Covering Holes ▸
If your new pulls measure differently than the old, Sand the filler and touch up the paint, if necessary.
place masking tape securely across the front of the If you intend to repaint the drawer, sand or strip now
drawer or door, covering the holes. From the backside and repaint.
of the drawer or door, fill the holes with wood filler using
a small putty knife. When the holes are filled evenly and
completely, remove the tape and allow the filler to dry.
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Prehung Interior Door
R eplacing an old door with a clean, new one can

instantly update a room’s décor and can help
coordinate your paint selections with the woodwork
in the room. When adding a new door, always match
the finish to any existing trim. If working in new
construction, install after the framing work is complete
and the wallboard has been installed. If the rough
opening for the door has been framed accurately,
installing a door should take no more than an hour.
Standard prehung doors have 41⁄2"-wide jambs and
are sized to fit walls with 2 × 4 construction and 1⁄2"
wallboard. If you have 2 × 6 construction or thicker
wall surface material, you can special-order a door to
match or add jamb extensions to a standard-sized door.

Level Prehung interior door
Hammer Wood shims
Handsaw 8d casing nails
Tool Tip ▸
1"-thick
jamb
extension
If your walls are built with 2 × 6 studs, you’ll need

to extend the jambs by attaching 1"-thick wood strips
to the edges of the jamb after the door is installed.
Use glue and 4d casing nails when attaching jamb
extensions. Make the strips from the same wood as
the jamb. Prehung doors are shipped as single units with the door
already hung on hinges attached to pre-installed jambs.
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■ How to Install a Prehung Interior Door
1 2 3
Slide the door unit into the framed Insert pairs of wood shims driven Anchor the hinge-side jamb with 8d
opening so the edges of the jambs from opposite directions into the gap casing nails driven through the jamb
are flush with the wall surface and the between the framing members and and shims and into the jack stud.
hinge-side jamb is plumb. the hinge-side jamb, spaced every 12".
Check the hinge-side jamb to make sure
it is still plumb and does not bow.
4 5
Insert pairs of shims in the gap between the framing Cut the shims flush with the wall surface using a handsaw.
members and the latch-side jamb and top jamb, spaced every Hold the saw vertically to prevent damage to the door jamb or
12". With the door closed, adjust the shims so the gap between wall. Finish the door and install the lockset as directed by the
door edge and jamb is 1⁄8" wide. Drive 8d casing nails through manufacturer. See page 129 to install trim around the door.
the jambs and shims, into the framing members.
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Bifold Doors
B ifold doors are available in many colors and styles,

and they provide easy access to a closet without
requiring much clearance for opening. Most home
centers stock kits that include two pairs of prehinged Tape measure Screwdriver
doors, a head track, and all the necessary hardware Level Hacksaw
and fasteners. Typically, the doors in these kits Circular saw Prehinged bifold doors
have predrilled holes for the pivot and guide posts. Straightedge Head track
Hardware kits are also sold separately for custom (optional) Mounting hardware
projects. There are many types of bifold door styles, Drill Panhead screws
so be sure to read and follow the manufacturer’s Plane Flathead screws
instructions for the product you use.
A variety of designer bifold doors are available for installation between rooms and closets. They provide the same attractive
appearance as French doors but require much less floor space.
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■ How to Install Bifold Doors
1 2
Cut the head track to the width of the opening using a Measure and mark each side jamb at the floor for the
hacksaw. Insert the roller mounts into the track, then position anchor bracket so the center of the bracket aligns exactly with
the track in the opening. Fasten it to the header using the center of the head track. Fasten the brackets in place with
panhead screws. flathead screws.
3 4
Check the height of the doors in the opening, and trim Fold one pair of doors closed and lift it into position,
if necessary. Insert pivot posts into predrilled holes at the inserting the pivot and guide posts into the head track. Slip the
bottoms and tops of the doors. Insert guide posts at the tops of bottom pivot post into the anchor bracket. Repeat for the other
the leading doors. Make sure all posts fit snugly. pair of doors. Close the doors and check alignment along the
side jambs and down the center. If necessary, adjust the top
and bottom pivots following the manufacturer's instructions.
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Painting Wood Doors
P ainting wood doors can add an extra splash of

color to a new space or help older doors blend
with updated décor. If you’re working on a raw wood
door or repainting an old piece, always take the time
to prepare the wood adequately before painting for the
best, most lasting result.

Screwdriver Fine-grit and extra fine-grit sandpaper 3" paintbrush Clear wood sealer
Hammer Lead-testing kit (optional) Paint Latex wood patch (optional)
Wood filler Sawhorses Tack cloth Drill
Putty knife
Painting interior doors can help old doors blend with updated décor or add a punch of accent color.
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■ How to Paint a Wood Door
1 2
Remove the door by driving out the lower hinge pin with a Prepare the door for painting. Apply wood filler to any dents
screwdriver and hammer. Next, have a helper hold the door or damaged areas, then sand the surface of the woodwork
in place while you drive out the middle and then the upper thoroughly. Start with a fine-grit sandpaper and progress to an
hinge pins. extra fine-grit sandpaper, sanding with the grain of the wood.
If painting a door that may have been painted before 1978,
take a sample of the paint and test the paint for lead with a
lead-testing kit before you proceed. If the test indicates the
presence of lead, consult a lead-abatement specialist.
3 4
Place the door flat on a pair of sawhorses. On paneled Seal the unpainted edges of the door with clear wood
doors, use a paintbrush to paint in the following order: 1) sealer. Allow the sealer and paint to completely dry. Rehang
recessed panels, 2) horizontal rails, and 3) vertical stiles. Let the door, using the old screw locations. If the screw holes in
the paint dry thoroughly. If a second coat is required, sand the the wall no longer support the screws firmly, fill them with latex
door lightly and wipe it with a tack cloth before applying it. wood patch and drill pilot holes before hanging.
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Decorative Door Headers
A dding a decorative head casing to a door is a

tasteful way to dress up your existing trim.
Although head treatments like this are more common
over doors, you can use this technique over windows Moldings
as well. Designing your own decorative molding can be Wood glue
creative and fun, but try not to overwhelm the room Pencil
with trim that will detract from the décor. Tape measure
Standard door casings have an outer-edge Power miter saw
thickness of approximately 11⁄16". Build your custom Finish nail gun
header around this thickness. Use it to create a reveal Brad nail gun
line to a thinner piece of trim, or build out from the
edge for a bolder, more substantial appearance.
Replacing plain head casing on a door or window with a decorative built-up version is a quick and easy way to add
sophistication to these standard home features.
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■ How to Install a Decorative Door Header
1 2
Measure the width of your door casing and rough cut a With the molding upside down and sprung against the
piece of bed or crown molding 6" longer. Use the casing width fence, cut a 45° outside corner miter angle at each end on the
dimension to layout cut marks on the bottom edge of the casing reference marks from step 1. See pages 120 and 122 for
molding. Start the marks 2" from the end to allow space for more information on miter-cutting crown molding.
cutting the mitered ends.
3 4 5
Cut mitered returns for the molding Nail the new header in place with Cut lattice molding 1" longer than the
using the leftover piece. Set the angle 21⁄2" finish nails driven at an angle length of the bed molding and nail it in
of the power miter saw to the opposing through the bed molding and into the place with 5⁄8" brad nails so that it has
45° angle and cut the returns with framing members of the wall. a uniform overhang of 1⁄2". Fill all nail
the molding upside down and sprung holes with spackle and sand them with
against the fence. Dry fit the pieces, fine-grit sandpaper. Apply the final coat
recutting them if necessary. Apply glue of finish.
to the return pieces and nail them to
the ends of the head molding with 1"
brad nails.
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Door Mirror
M irrors create the illusion of extra space in a

room, and help move light easily around a
space. Installing mirrors on the back of bedroom
or closet doors is not only an efficient use of the Tape measure Drill
extra space, it also adds detail and a smart finished Pencil Mirror
appearance to an area otherwise left neglected Adhesive-backed hooks
by decorators.
Most mirrors will come with all the necessary
hardware, but if you are purchasing your own, consult deep enough for the screws you’ve chosen, or that
the weight loads suitable for the product and ensure came with the mirror. Some toggle bolts, for example,
that the screws will support the weight of your require a radius to flip open that is too large for most
mirror. Also, measure the door to ensure that it is prehung doors.
Installing mirrors on doors is both a

functional and an aesthetically pleasing
use of space.
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■ How to Attach a Mirror to a Door
1 2
Measure up from the floor to the desired heights at which Fasten adhesive-backed hooks (or hooks provided by the
you want the top and the bottom of the mirror to rest on the manufacturer) along level lines. Here a plastic anchor was
door. Draw a level line. drilled into the wall and then the screw with plastic fastener
was drilled into the anchor. For detailed instructions on self-
tapping wall anchor use, see page 179.
3 Creative Mirror Decoration ▸

Spraying a stenciled frost to a mirror can add to its
decorative flair. Purchase a can of “frosted glass”
and apply it to the mirror using a stencil for this
contemporary, whimsical effect. When dry, correct
any stencil mistakes or oversprays with a safety razor.
See page 134.
Place mirror into the hooks and make sure each screw is
thoroughly and securely driven into the wall.
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Flooring
F loors are one of the largest surface area elements
in each room of your home, and your selection of a
flooring surface is a high-impact decorating decision.
If you’re considering a new decorative finish for your
existing floors or installing new flooring, consider both
the decorative appeal and the durability of any finish
you choose. Floors that are not sealed or maintained
properly will reveal wear more quickly than other
design elements; conversely, some of the most durable
floor surfaces will outlive their design statement and
will become a force to be dealt with in updated or
remodeled homes.
Regardless of the technique you choose, prepare
your existing floor surface completely before beginning
and be bold in your design choices. Use your floors as
an outlet for your creativity—the color or design you
choose can set the tone for any room in your home, so
be confident and get ready to transform your space.
In this chapter:
• Resilient Tile • Wood Floors
• Glass Mosaic Tile • Custom Floor Mats
• Carpet Squares • Sheet Vinyl
• Concrete Floors • Stencils
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Resilient Tile
R esilient tile comes in thousands of colors and

styles and is a dynamic flooring choice for
kitchens, hallways, and other high-traffic areas.
Because tiles are inlayed with a pattern, you can
create a design with the tiles that will have a large
impact on your overall decor. One way to create a
design is the quarter-turn method in which each tile is
placed so its pattern grain runs perpendicular to that
of adjacent tiles. Or combine complementary tiles in
different patterns and styles into a pleasing design.
As with any tile installation, resilient tile requires
carefully positioned layout lines. Before committing to
any layout and applying tile with adhesive, conduct a dry
run to identify potential problems. Also, keep in mind
the difference between reference lines and layout lines.
Reference lines mark the center of the room and divide
it into quadrants. If the tiles don’t lay out symmetrically
along these lines, you’ll need to adjust them slightly,
creating layout lines. Once layout lines are established,
installing the tile is a fairly quick process. Be sure to keep
joints between the tiles tight and lay the tiles square.

Tape measure Heat gun
Chalk line Resilient tile
Resilient tiles have a pattern layer that is bonded to a vinyl
Framing square Flooring adhesive base and coated with a transparent wear layer. Some come
Utility knife (for dry-back tile) with adhesive preapplied and covered by a paper backing,
1
⁄16" notched trowel others have dry backs and are designed to be set into
flooring adhesive.
Tips for Laying Out Your Tile ▸

Check for noticeable directional
features, like the grain of the vinyl
particles, to help determine your layout.
Set the tiles in a running pattern, placing
them so the directional grain runs in the
same direction (left), or in a checkerboard
pattern using the quarter-turn method
(right). Always plan the layout of the room
thoroughly before you begin.
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■ How to Make Reference Lines for Tile Installation
1 2
Position a reference line (X) by measuring along opposite Measure and mark the centerpoint of the chalk line.
sides of the room and marking the center of each side. Snap a From this point, use a framing square to establish a second
chalk line between these marks. reference line perpendicular to the first one. Snap the second
line (Y) across the room.
3 4
5'
4'
y 3'
Check the reference lines for squareness using the 3-4-5 Measure the distance between the marks. If the
triangle method. Measure along reference line X and make a reference lines are perpendicular, the distance will measure
mark 3 ft. from the centerpoint. Measure from the centerpoint exactly 5 ft. If not, adjust the reference lines until they’re
along reference line Y and make a mark at 4 ft. exactly perpendicular to each other.
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■ How to Install Dry-back Resilient Tile
1 2
Snap perpendicular reference lines with a chalk line. Dry-fit If you shift the tile layout, create a new line that is parallel
tiles along layout line Y so a joint falls along reference line X. If to reference line X and runs through a tile joint near line X. The
necessary, shift the layout to make the layout symmetrical or new line, X1, is the line you’ll use when installing the tile. Use a
to reduce the number of tiles that need to be cut. different colored chalk to distinguish between lines.
3 4
y1
x1
Dry-fit tiles along the new line, X1. If necessary, adjust the If you adjusted the layout along X1, measure and make a
layout line as in steps 1 and 2. new layout line Y1 that’s parallel to reference line Y and runs
through a tile joint. Y1 will form the second layout line you’ll
use during installation.
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5 6
Apply adhesive around the intersection of the layout lines Spread adhesive over most of the installation area, covering
using a trowel with 1⁄16" V-shaped notches. Hold the trowel at a three quadrants. Allow the adhesive to set according to the
45° angle and spread adhesive evenly over the surface. manufacturer’s instructions, then begin to install the tile at the
intersection of the layout lines. You can kneel on installed tiles
to lay additional tiles.
7 8
When the first three quadrants are completely tiled, To cut tiles to fit along the walls, place the tile to be cut
spread adhesive over the remaining quadrant, then finish (A) face up on top of the last full tile you installed. Position a
setting the tile. 1
⁄8"-thick spacer against the wall, then set a marker tile (B) on
top of the tile to be cut. Trace along the edge of the marker tile
to draw a cutting line.
(continued)
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Tool Tip ▸ 9
To mark tiles for cutting around outside corners,

make a cardboard template to match the space,
keeping a 1⁄8" gap along the walls. After cutting Cut the tile to fit using a utility knife and straightedge. Hold
the template, check to make sure it fits. Place the the straightedge securely against the cutting line to ensure a
template on a tile and trace its outline. straight cut. Option: You can use a ceramic-tile cutter to make
straight cuts in thick vinyl tiles (see inset).
10 11
Install cut tiles next to the walls. If you’re precutting all Continue installing the tile in the remaining quadrants until
tiles before installing them, measure the distance between the room is completely covered. Check the entire floor. If you
the walls and install tiles at various points in case the find loose areas, press down on the tiles to bond them to the
distance changes. underlayment. Install metal threshold bars at room borders,
where the new floor joins another floor covering.
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■ How to Install Self-adhesive Resilient Tile
1 2
Once your reference lines are established, peel off the Begin installing tiles in the interior area of the quadrant.
paper backing and install the first tile in one of the corners Keep the joints tight between tiles..
formed by the intersecting layout lines. Lay three or more tiles
along each layout lines in the quadrant. Rub the entire surface
of each tile to bond the adhesive to the floor underlayment.
3 4
Finish setting full tiles in the first quadrant, then set the full Continue installing the tile in the remaining quadrants until
tiles in an adjacent quadrant. Set the tiles along the layout lines the room is completely covered. Check the entire floor. If you
first, then fill in the interior tiles. find loose areas, press down on the tiles to bond them to the
underlayment. Install metal threshold bars at room borders,
where the new floor joins another floor covering.
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Glass Mosaic Tile
M osaic tile is an excellent choice for smaller

areas and is available in many different colors
to accent or blend with your décor. Variations in
color and texture are likely when working with tile,
so always buy all tile for one project from the same
lot and batch to ensure a good match. Also, mortar or
mastic intended for ceramic tile may not work with
glass mosaic tile—check with your salesperson to
determine what product will best suit your project.
Sheets of mosaic tile are held together by a fabric
mesh backing. This makes them more difficult to hold,
place, and move. They may not be square with your
guidelines when you first lay them down. Mosaic tiles
also require more temporary spacers and much more
grout, so calculate the materials you’ll need carefully
before beginning this project.

Carpenter’s square Notched trowel
Chalk line Recommended
Cleaning supplies adhesive
Coarse sponge Rubber mallet
Craft/utility knife Sanded grout
Grout sealer Scrap lumber
Mosaic tiles come in sheets (usually 12 × 12") and can
Marking pen Straightedge be made from ceramic, porcelain, glass, or any number of
or pencil Tile nippers designer materials. Normally installed for their appearance,
Measuring tape Tile spacers mosaics are relatively high maintenance and prone to cracks
because of all of the grout lines.
■ How to Install Mosaic Tile

1 2
Clean and prepare the area and then draw reference lines Select a sheet of mosaic tile. Place several plastic spacers
(see page 239). Beginning at the center intersection, apply the within the grid so that the sheet remains square. Pick up the
recommended adhesive to one quadrant. Spread it outward sheet of tiles by diagonally opposite corners. This will help you
evenly with a notched trowel. Lay down only as much adhesive hold the edges up so that you don’t trap empty space in the
as you can cover in 10 to 15 minutes. middle of the sheet.
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3 4
Gently press one corner into place on the adhesive. Slowly When you have placed two or three sheets, lay a scrap
lower the opposite corner, making sure the sides remain piece of flat lumber across the tops and tap the wood with a
square with your reference lines. Massage the sheet into the rubber mallet to set the fabric mesh in the adhesive and to
adhesive, being careful not to press too hard or twist the sheet force out any trapped air.
out of position. Insert a few spacers in the outside edges of
the sheet you have just placed. This will help keep the grout
lines consistent.
5 6
At the outer edges of your work area, you will probably After the adhesive has cured, usually 24 to 48 hours, apply
need to trim one or more rows from the last sheet. If the space grout. With many more spaces, mosaic tile will require more
left at the edge is more than the width of a regular grout line, grout than usual. Follow the manufacturer’s instructions for
use tile nippers to trim the last row that will fit. Save these spreading and floating the grout. Wipe a damp grout sponge
leftover tiles for repairs. diagonally over about 2 sq. ft. of the floor at a time and rinse
the sponge between wipes. Wipe each area only once, to avoid
pulling grout out of the joints. Allow to dry for 4 hours, then
buff with a soft cloth.
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Carpet Squares
M ost carpeting has a single design and is stretched

from wall to wall. It covers more square feet of
American homes than any other material. But if you
clean, level, dry underlayment or existing floor. If the
surface underneath is waxed or varnished, check with
the manufacturer before you use any adhesives on it.
want a soft floor covering that gives you more options,
carpet squares are an excellent choice.
Manufacturers have found ways to create Tools & Materials ▸
attractive new carpet using recycled fibers. This not
only reuses material that would otherwise become Adhesive Flat-edged trowel
landfill, it reduces waste in manufacturing as well. Aviator’s snips Marking pen
So, instead of adding to problems of resource Carpenter’s square or pencil
consumption and pollution, carpet squares made from Chalk line Measuring tape
recycled materials help reduce them. Cleaning supplies Notched trowel
The squares are attached to each other and to the Craft/utility knife Straightedge
floor with adhesive dots. They can be installed on most
Carpet tiles combine the warmth and comfort of carpet with do-it-yourself installation, custom designs, and easy replacement.
They can be laid wall-to-wall or in an area rug style, as shown above.
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■ How to Install Carpet Squares
1 2
Take the squares out of the package. Be sure the room is Check the requirements for the recommended adhesive.
well ventilated. Carpet squares should be at room temperature You can install carpet squares over many other flooring
for at least 12 hours before you lay them down. materials, including hardwood, laminates, and resilient
sheets or tiles. The carpet squares shown here are fastened
with adhesive dots, so almost any existing floor provides a
usable surface.
3 4
Make sure the existing floor is clean, smooth, stable, Snap chalk lines between diagonally opposite corners to find
and dry. Use floor leveler if necessary to eliminate any hills or the center point for the room. In rooms with unusual shapes,
valleys. If any part of the floor is loose, secure it to the subfloor determine the visual center and mark it. Next, snap chalk lines
or underlayment before you install the carpet squares. Vacuum across the center and perpendicular to the walls. This set of
the surface and wipe it with a damp cloth. guidelines will show you where to start.
(continued)
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5 6
Lay a base row of carpet squares on each side of the Check the backs of the squares before you apply any
two guidelines. When you reach the walls, make note of how adhesive. They should indicate a direction using arrows
much you will need to cut. You should have the same amount or other marks so that the finished pile has a consistent
to cut on each side. If not, adjust the center point and realign appearance. If you plan to mix colors, this is the time to
the squares. establish your pattern.
7 8
Fasten the base rows in place using the manufacturer’s When you reach a wall, flip the last square over. Push it
recommended adhesive. This installation calls for two adhesive against the wall until it is snug. If you are planning a continuous
dots per square. As you place each square, make sure it pattern, align the arrows with the existing squares. If you are
is aligned with the guidelines and fits tightly against the creating a parquet pattern, turn the new square 90° before
next square. marking it.
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9 10
Mark notches or draw a line across the back where the At a door jamb, place a square face up where it will go. Lean
new square overlaps the next-to-last one. Using a sharp the square against the jamb and mark the point where they
carpet knife, a carpenter’s square, and a tough work surface, meet. Move the square to find the other cutline, and mark
cut along this line. The cut square should fit neatly in the that as well. Flip the square over, mark the two lines using a
remaining space. carpenter’s square, and cut out the corner.
11 12
Finish all four base rows before you fill in the rest of Work outward from the center so that you have a known
the room. As you work, check the alignment of each row. If reference for keeping rows straight. Save the cut pieces from
you notice a row going out of line, find the point where the the ends. They may be useful for patching odd spaces around
direction changed, then remove squares back to that point and doorways, heat registers, radiator pipes, and when you reach
start again. the corners.
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Concrete Floors
C oncrete is a versatile building material. Most

people are accustomed to thinking of concrete
primarily as a utilitarian substance, but it can also
in your dining room, it should be sealed. Concrete
is a hard and durable building material, but it is also
porous. Consequently, concrete floors are susceptible
mimic a variety of flooring types and be a colorful and to staining. Many stains can be removed with the
beautiful addition to any room. proper cleaner, but sealing and painting prevents oil,
Whether your concrete floor is a practical surface grease, and other stains from penetrating the surface
for the garage or an artistic statement of personal style in the first place, thus cleanup is a whole lot easier.

Acid-tolerant pump sprayer Acid-tolerant bucket Paintbrush High-pressure washer
Rubber boots Sealant Extension pole Wet vacuum
Alkaline-base neutralizer Garden hose Respirator Rubber gloves
Acid etcher Broom Paint roller and tray
Although concrete is most common in

garages and basements, it is not limited
to these parts of the house, especially
in contemporary design. Pair concrete
floors with elegant furnishings for modern
industrial sophistication.
Acid Etching Safety ▸

WARNING: Risk of serious injury. Always read manufacturer’s instructions.
Acid etching is the process used to open the pores in concrete surfaces, allowing sealers to bond with it. All
smooth or dense concrete surfaces should be etched before applying stain or sealant. An etched surface should feel gritty
and be easily penetrated by water. A variety of acid-etching products are available, including citric acid, sulfamic acid,
phosphoric acid, and muriatic acid.
All of these acids are dangerous, so use caution while handling them. It is critical that your room is well ventilated, and
that you wear protective clothing, including long sleeves and pants, rubber boots and gloves, a respirator, and safety goggles.
Also, never add water to acid—only add acid to water.
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■ How to Seal a Concrete Floor
1 2 3
Clean and prepare the surface Saturate the surface with clean Add the acid etching contents to
by first sweeping up all debris. Next, water—the surface must be wet before the water in the acid-tolerant pump
remove all surface muck: mud, wax, and acid etching. Check for any areas sprayer. Follow the directions (and
grease. Finally, remove existing paints where water beads up; this indicates mixing proportions) specified by the
or coatings. that contaminants still need to be manufacturer. Use extreme caution
cleaned off. Test your acid-tolerant when using these materials.
pump sprayer with water to make sure
it releases a wide, even mist. Check
the manufacturer’s instructions for
the etching solution and fill the pump
sprayer with the recommended amount
of water.
4 5
Apply the acid solution. Using the acid-tolerant pump spray Use a stiff-bristle broom or scrubber to work the acid
unit, evenly apply the diluted acid solution over the concrete solution into the concrete. Let the acid sit for 5 to 10 minutes,
floor. Do not allow the acid solution to dry at any time during or as indicated by the manufacturer’s directions. A mild
the etching and cleaning process. Etch small areas at a time, foaming action indicates that the product is working. If no
10 × 10 ft. or smaller. If there is a slope, begin on the low side bubbling or fizzing occurs, it means there is still grease, oil, or
of the slope and work upward. a concrete treatment on the surface that is interfering with the
etching product.
(continued)
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6 7
Once the fizzing has stopped, the acid has finished Use a garden hose with a pressure nozzle or, ideally, a
reacting with the alkaline concrete surface and has formed pH- pressure washer in conjunction with a stiff-bristle broom to
neutral salts. Neutralize any remaining acid with an alkaline- thoroughly rinse the concrete surface. Rinse two to three
base solution. Put a gallon of water in a 5-gallon bucket and times. Reapply the acid and repeat steps 4, 5, 6, and 7.
then stir in an alkaline-base neutralizer. Using a stiff-bristle
broom, make sure the concrete surface is completely covered
with the solution. Continue to sweep until the fizzing stops.
8 9
If you have any leftover acid you can make it safe for your Use a wet vacuum to clean up the mess. Check your local
septic system by mixing more alkaline solution in the 5-gallon disposal regulations for proper disposal of the neutralized
bucket and carefully pouring the acid from the spray unit into spent acid, which may be hazardous to local vegetation or
the bucket until all of the fizzing stops. your drainage system. Check for residue by rubbing a dark
cloth over a small area of concrete. If white residue appears
(inset), continue the rinsing process.
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10 11
Let the concrete dry for at least 24 hours and sweep up Create a testing patch with painter’s tape and apply sealer
dust, dirt, and particles leftover from the etching process. Mix to this area to ensure desired appearance. Add an antiskid
the sealer in a bucket with a stir stick. additive to aid with traction, especially on stairs.
12 13
Use wide painter’s tape to protect walls, and then using Use a long-handled paint roller with at least a 1⁄2" nap to
a good-quality 4"-wide synthetic bristle paintbrush, coat the apply an even coat. Work in small sections at a time (about
perimeter with sealer. 2 × 3 ft.) and work in one orientation. Always maintain a wet
edge to avoid lap marks and do not rework partially dry areas.
Allow the surface to dry according to the manufacturer’s
instructions, usually 8 to 12 hours. Then apply a second coat in
the opposite direction to the first coat.
Tip for Painting a Concrete Floor ▸

If you decide to paint instead of apply clear or stained sealant, check to make sure that the paint is designed for use on
concrete floors. Also, once the paint has dried for a few days, apply two to three coats of water-based polyurethane.
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Wood Floors
I f your wood floors need a lot of work and your room

is desperate for color, warmth, or a clean finish, then
painting your floors may be the best decorating solution
for your space. Both formal and informal spaces can Paint scraper Primer
benefit from this technique. Unify a space by extending Pole sander 4" paintbrush
a painted floor through a hallway to a staircase, or add Medium- or fine-grit Roller, extension
a faux antique finish to edges to make a large room feel sandpaper pole, and tray
cozy and inviting. Or lay out and paint a checkerboard Damp cloth Semigloss paint
pattern, which will draw the eye around the room Lacquer thinner Polyurethane sealer
quickly as well as disguise worn spots under darker paint Hammer Painting pad
colors. When purchasing supplies, always purchase Nail set and pole
paints and sealers that are designed specifically for Painter’s tape Tack cloth
floors to improve the durability of your finish.
Rev up a worn-out floor with a bright paint color. Paint can not only disguise flaws, but it can also add warmth and character to
a room.
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■ How to Paint Wood Floors
1 2 3
Use a paint scraper to smooth rough When finished sanding, sweep or Protect the baseboards with wide
spots. Use a pole sander to sand with vacuum. Use a damp cloth to remove painter’s tape. Press the tape edges
the grain of the wood. For coarse wood, fine dust. Use a cloth dampened with down so paint doesn’t seep underneath.
use medium-grit sandpaper. Scuff glossy lacquer thinner for a final cleaning. If
hardwoods with fine sandpaper (#120) you see any nails sticking up, tap them
for good adhesion. down with a hammer and nail set.
4 5 6
Mix primer well. Use a 4"-wide Cut in with a 4" brush, then paint When the paint is dry, apply two or
brush to apply the primer around the the rest of the floor using a roller on an three coats of a matte-finish, water-based
perimeter of the room. Then paint the extension pole. Always roll from a dry polyurethane sealer, using a painting pad
remaining floor with a roller on an area to a wet area to minimize lap lines. on a pole. Allow the sealer to dry. Sand
extension pole. Allow the primer to dry. Wait to dry, then apply a second coat. with a pole sander, using fine sandpaper.
Clean up the dust with a tack cloth.
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Custom Floor Mats
P ainting a stenciled design onto your indoor/

outdoor floor mats is a quick project that adds
instant custom detail to your home. Showcase your
family monogram, stencil a pattern or image, or share Rug Nonheat-sensitive
a friendly message with visitors. Add fun and creativity, Stencil full-bodied
sophistication, or unify a décor scheme with a painted Ruler fabric paint
motif found elsewhere in the room. Triangle
To complete this project effectively, select a
3
⁄4" medium stiff
nonheat-sensitive fabric paint (nonheat-sensitive paint stencil paintbrush
does not require heat to set). Explore your craft store Green tape (will
for a fuller-bodied paint as opposed to a paint that is stick to hard-to-
very thin. Full-bodied paint will bond to the rug fibers, stick surfaces)
resulting in a lasting design. Apply this technique to
jute, cotton, or sisal rugs. Always make a mock-up of
your design to check placement, measurements and
spacing to spare any surprises once you get started.
Add a traditional monogram to indoor/outdoor floor mats – or stencil a creative overall design, image or message.
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■ How to Stencil a Floor Mat
1 2
Make a mock-up of your design and position it on the Begin to apply the design one stencil piece at a time. Use
mat. Set a level line beneath your stencil with green tape. Use green tape to hold the stencil in place along your guidelines
a triangle to set a side line, creating a 90° angle where your and softly pounce the paint on with the stencil brush, starting
design will begin. If your design will cover the entire mat, skip in the center and off-loading a bit before moving to the edges.
this step. Stencil in all the pieces of your design, one stencil at a time.
3 Stencil Selection ▸
A wide variety of stencils—letters, numbers, and
images—are available at your local craft store. If you’re
a new stenciler, select stencils that are fairly simple,
without many small spaces or intricate details. If you will
be using a stencil with intricate detail, select a stencil
brush in a size that will accommodate your project. For
a truly one-of-a-kind piece, make your own design on
your home computer, print on heavy cardstock and cut
out your stencil with a sharp razor knife.
Inspect your design, then reposition stencils to add detail or

correct forms, if necessary. Allow paint to fully dry before use.
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Sheet Vinyl
I f your sheet vinyl flooring is outdated, replacing

it isn’t your only option. Paint selected areas of
the floor with updated colors to freshen up the look
of your room and add detail to a tired, dated floor.
Remember, always strip off any wax buildup and dirt
before applying paint.

1" artist acrylic White semigloss
paintbrush latex paint
White latex Black semigloss
bonding primer latex paint
Darkly tinted latex Semigloss latex floor
bonding primer polyurethane Paint selected squares of a floor to update the
entire surface.
■ How to Paint Sheet Vinyl

1 2
Prime selected squares with the appropriately tinted primer. After the primer dries, apply the semigloss paint over the
The embossing on the linoleum will not be straight—so simply tinted primer, white over white and black over black. When dry,
hold the brush flat to the surface and follow the edge around coat the painted squares with polyurethane primer to seal and
the squares. protect your work.
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Floor Stencils
A beautiful way to dress up a large slab of cement

flooring or other flat surface is with an overall
stenciled pattern. For the best effect, choose a design
that is airy and appealing underfoot. Always use the
same side and directional orientation throughout your
application, especially with complex stencils like the
one shown. If you are stenciling over raw cement,
always seal your floor before adding decorative
painting (page xx).

Chalk line 4" foam roller brush
Triangle Latex enamel
Spray adhesive or floor paint
painter’s tape Hair dryer
Large floor stencil A stenciled pattern can transform a dull surface into a
masterful design statement.
■ How to Stencil a Floor

1 2
Use chalk lines, snapped from the room’s corners, to Apply paint to the stencil with the roller, working from
determine the center of the room. Use a triangle to make the center out. Force the paint dry with a hair dryer, then
a square off the center point. Align your first stencil within reposition your stencil and repeat. For best results, apply a
this square and affix to the floor with spray adhesive or clear topcoat when finished. Be careful with the fresh stencil
painter’s tape. for the first week, until the paint cures completely.
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Slipcovers
& Upholstery
U pholstery projects can be very rewarding; consider
the creative satisfaction of returning a tattered
castoff to its like-new state, or transforming an
extremely well-loved chair to the beauty of its better
years. Similarly, slipcovers can make the old new
again, with careful measurements and a few simple
sewing techniques.
Whether you’re merely adding seat covers to dress
up your dining room or reupholstering an entire garage
sale sofa complete with welting and new cushions, the
projects in this chapter will challenge and inspire you.
Start to imagine your furniture dressed in updated
prints, colorful stripes, or classic florals—and get
started on one of these creative projects, suitable for
all skill and experience levels.
In this chapter:
• Upholstery Basics • Re-upholstering a Chair
• Stripping Furniture • Upholstered Ottoman
• Repairing a Frame • Upholstered Headboard
• New Cushions • Reversible Seat Covers
• Button-tufted Cushions • Ottoman Slipcover
• Re-upholstering a • Chair Slipcover
Drop-in Seat • Futon Slipcover
■ 261
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Upholstery Basics
A
C ompleting a high-quality upholstery project will

require a few specialized tools and fabrics. Before
beginning your first project, familiarize yourself with
B
the materials you’ll need to be successful. If you can,

speak with a salesperson at an upholstery supply store
or an experienced upholsterer in your area about your
project’s specific needs. C
■ Stripping D
& Upholstering Tools

Tack and Staple Removers (A)
Small screwdriver (B): Can be used for
removing staples during the stripping process.
Upholsterer’s Tack Hammer (C): Has one
magnetized tip to hold a tack, leaving your other hand
free to hold fabric.
Electric Staple Gun (D): Choose a model that
will accommodate both 3⁄8" and 1⁄2" staples.
Webbing Stretcher (E): Pulls webbing taut with
one hand while tacking or stapling with the other.
Mallet (F): Chose rubber or rawhide for F
best results. E
Stretching Pliers (G): Made for webbing and
leather, these can also be used to grasp and stretch
fabric for stapling.
Upholstery Regulators (H): One end of these
8" or 10" metal skewers is used for pleating or forcing G
padding into tight corners. The other is used to H

make holes in fabric by gently separating yarns in the
weave, which can be closed by coaxing them back
into position.
■
I
Measuring, Marking J
& Cutting Tools
L
Yardstick (I) K
Cloth Tape Measure (J)
Dustless Chalk Sticks (K): Used for marking
cutting lines on fabric and tailoring patterns. If you
already have a fabric-marking pencil or marker, this
will work as well.
Cutting Mat & Rotary Cutter (L)
M
Heavy-duty Shears (M)
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■ Pins & Needles C
Curved Needles (A): Used for blind-stitching
fabric where stapling or tacking are not possible. B
Round-point curved needles are used for fabrics, while
wedge-point needles are used for leather or vinyl.
Button Needles (B): Available in a variety of
lengths from 6 to 18", these are used to secure buttons A
and stitch through padding.
Upholstery Pins (C): Hold fabric in place
temporarily before tacking or sewing.
■ Nails, Tacks, Staples & Zippers

Webbing Nails (A): Narrow, with sharp points, Tack Strip (E): 1⁄2" cardboard stripping used to
these nails can hold webbing securely without maintain a straight, sharp line between upholstered
damaging the frame. fabric pieces.
Upholstery Tacks (B): The most commonly used Tacking Strip (F): Tacks are spaced evenly for
sizes are #3 and #6. Most upholstery tacks will be sold securing fabric panels invisibly when tacking is not possible.
in sterile packaging, as many upholsterers hold them Flexible Metal Tacking Strip (G): For curved areas.
in the mouth while working. Metal-toothed Heavy-duty Zipper (H): Length
Staples (C) determined by cushion size.
Decorative Tacks (D): Available in many sizes, Nylon-toothed Heavy-duty Zipper Tape (I):
designs, and finishes to complement fabric and Can be cut to size and fitted with a zipper pull.
furniture style. Extra zipper pulls (J)
G
F
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■ Foundation Fabrics
Cambric (A): Black fabric used to cover the
bottom of a furniture piece as a dustcover, and to A
B
finish the piece.
Burlap (B): Used as a covering over springs or
webbing to form a support base.
C
Denim (C): Strong, thin fabric used to cover the
deck area of a chair.
Synthetic Webbing (D): Stronger than jute
webbing, synthetic webbing will not rot over time due
to moisture.
Jute Webbing (E): Used when working
with antiques to maintain the authenticity of
the piece.
Edge Roll (F): Long, firmly stuffed tube used
D E
to cushion a wood or wire edge, keep padding from
G H
shifting, and reduce wear on fabric.
■ Threads, Twines & Cords

F
Polyester Thread (G): Strong and thin, used for

I
machine sewing. J
Nylon Thread (H): Fits the eyes of curved
needles, used for hand sewing.
Nylon Button Twine (I): Used to fasten buttons,
hand-stitch edge rolls and nosing seams, and secure
springs to webbing and burlap.
K
Spring Twine (J): Used for tying springs.
Welt Cording (K)
■ Sewing Machine Equipment

16/100 Needle (A): For lightweight to medium-
weight fabrics.
18/110 Needle (B): For heavyweight fabrics.
D F
Leather/Vinyl Needles (C): Specially designed H
with a wedge-shaped point. B
Welting or Piping Foot (D): Designed to
accommodate welting and trim up to ¼" thick.
Zipper Foot (E)
General Purpose Foot (F) E
G
Straight-stitch Foot (G) A C
Walking Foot (H): Prevents layers from shifting

when sewing unwelted seams upon difficult fabrics,
such as velvet or satin.
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■ Padding Materials
Foam (A): Used for seat cushions, foam is available
in many thicknesses and degrees of firmness. Cut foam B
with an electric foam saw knife or electric kitchen knife.
Thin foam (less than 1" thick) can be cut with shears.
Spray Foam Adhesive (B): Used to secure foam
to webbing or batting.
Bonded Polyester Batting (C) F
Cotton Batting (D): Available in different grades
E
of purity, cotton batting is often torn to size rather A
than cut. D
Deck Pad (E): Stiff padding material, suitable for
areas that require minimal foundation padding, such
C
as chair decks or thinly padded chair backs or arms.
Rubberized Hair (F): Used when a thicker or
fuller appearance is required.
■ Upholstery Fabric Considerations

Color and Texture: Carefully select a color and the pattern or design is railroaded, meaning that the
pattern that will coordinate with or complement your pattern runs the lengthwise grain horizontally on the
existing décor. piece rather than vertically.
Fiber Content: Consider the durability, color Surface Treatment: Most upholstery fabrics
brilliance, ease of stitching and manipulation, and are treated with a stain-resistant or crease-resistant
stability of a fabric’s fibers. finish, which greatly increases the durability of
Weave Structure: Some fabrics are woven so the fabric.
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■ Measuring & Calculating Fabric
Before beginning to strip a piece, take careful
measurements of every section of your project. This
will help determine how much upholstery fabric to B
purchase and help you plan your cutting layout. Note A

the measurement of each piece (length times width),
F
then add the necessary allowances. Remember that
the total length of many pieces must include several E
G
inches of fabric that cannot be seen before stripping.
Include the approximate amount of hidden fabric in J
K
your measurements as well. Most pieces will be cut I
out as rectangles and trimmed to shape as they are L
H
attached, so measure each piece at its longest and
N M
widest points.
Last, measure the total length of all welting. Use
the chart below to help you calculate the amount of
fabric you’ll need to purchase. Your measurement
chart may differ, and may include pieces not listed
on the example chart, such as a skirt, arm boxing, or
back boxing.
D
C
Sample Measurement Chart ▸

Piece Actual Size Allowances Cut Size
(includes hidden fabric) 1
⁄ 2" seam, 2" pulling
A Inside Back (IB) 36 × 32" + 4 × 4" = 40 × 36"

B Inside Wing (IW) 17 × 9" + 4 × 4" = 21 × 13"
C Outside Back (OB) 30 × 23" + 4 × 4" = 34 × 27"
D Outside Wing (OW) 15 × 7" + 4 × 4" = 19 × 11"
E Inside Arm (IA) 27 × 27" + 4 × 4" = 31" × 31"
F Front Arm Band (FAB) 18 × 8" + 4 × 2½" = 22 × 10½"
G Arm Panel (AP) 15½ × 4" + 4 × 4" = 19½ × 8"
H Outside Arm (OA) 14 × 26" + 4 × 4" = 18 × 30"
I Welting (W) 250 × 15⁄8" + 16" (for seaming and waste) = 266 × 15⁄8"
J Cushion (C)* 22 × 19" = 22 × 19"
K Cushion Boxing (CB)* 4 × 63" = 4 × 63"
L Deck (under cushion)**
M Nosing (N) 6 × 21" + 1 × 4" = 7 × 25"
N Front Band (FB) 5½ × 21" + 2½ × 4" = 8 × 25"
*The cut size of cushion pieces and cushion boxing are determined after tailoring a pattern for the cushion (page 272).
**Deck will be covered with other fabrics. Do not include these measurements to calculate amount of
upholstery fabric needed.
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■ Cutting Fabric
Use measurements from the chart to diagram a Cut the end of the fabric squarely, either by
layout of all the pieces on graph paper, as in the following a thread in the weave, using a carpenter’s
examples below. The amount of fabric needed can square, or aligning a straightedge to the pattern
be determined from this diagram. If your fabric has repeat markings on the selvages. Transfer the diagram
a large pattern, plan to center the large motifs on the to the right side of the fabric, marking the cutting
exposed areas of prominent pieces, such as cushion lines with chalk and measuring from the squared
tops and bottoms, inside and outside backs, and end. Label the wrong side of every piece with its
inside and outside arms. You will need to purchase location as it is cut. It’s also a good idea to draw
considerably more fabric to lay out your pieces a chalk line near the lower edge to indicate the
this way. downward direction.
AP AP
CB OW
C C FAB FAB
t N
ZB el OW
W
IW
CB
IB
IA IA
FB
OA OA OB
ZB
IW Lengthwise direction of pieces
Sample Layout (fabric with no pattern, or small pattern). Most upholstery fabrics are 54" wide. Because the pieces are cut as
rectangles, this layout is suitable for fabric with or without a nap.
AP CB
AP ZB
Cont.
OW OW OA OA ZB
direction of pieces
FAB FAB IW IW
Lengthwise
AP
W
C C IA IB
el
IA OB
Cont.
t
IA
FB N
Layout for Railroaded Fabric. If the fabric can be railroaded, lay out the pieces so that their length runs on the crosswise grain.
This is often a more efficient layout.
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Stripping Furniture
R emoving the old cover from a furniture piece is

an educational experience—in fact, the detailed
notes you take during this process will become your
1. Remove the skirt, dustcover, and any welting
around the lower edge.
2. Remove the outside back, outside arms, and
re-upholstery instructions. Before you begin, sketch or outside wings.
photograph any unique details you would like to recreate 3. Loosen the inside back, inside arms, and inside
in the new cover, such as the pleating arrangement on wings, leaving them staple-basted in position to
an arm front or a series of tucks at a nosing corner, and keep the padding in place.
make a note of any areas that will need more padding. 4. Remove the deck and nosing.
Before you remove any pieces, label each fabric
piece with its name and direction; after the pieces are As each piece is loosened or removed, record
removed, they will only be puzzling shapes, so good the method used to attach it to adjoining pieces or to
labeling is key to a successful project. Document the the frame in your notes: machine sewn, hand sewn,
seams and joints that have welting and measure the stapled, or attached with a tacking strip. Set the pieces
total amount of welting used after it has been removed. aside for reference throughout the upholstery project.
Loosen or remove pieces in the reverse order from Strip the padding and foundation only as far as
that in which they were attached to the frame. For necessary. Check to see if the frame is sturdy, if the
example, in reupholstering a wing chair, remove pieces webbing and springs are secure, and if the padding
in the following order: needs to be replaced or replenished.

Camera Tack hammer Pencil and paper for note taking Tack lifter or staple remover
Pliers
Stripping upholstery is messy and

dusty; cover your work area with a tarp.
Discard used tacks, nails, staples, tack
strips, tacking strips, and any musty-
smelling foundation materials.
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■ How to Remove Tacks, Nails & Staples
1 2
Hold the tack lifter or staple remover at a sharp angle, Pry the tack, nail, or staple up from the wood.
with the tip touching the wood at the edge of the tack nail, or
staple. Strike the end of the handle with the side of the tack
hammer, wedging the tip under the tack, nail, or staple.
3 Tip ▸
Avoid back strain and sore knees by standing the
project on a raised platform or padded sawhorses
during the stripping process. You can then do
the upholstery work while standing or sitting at a
comfortable height, without repeatedly bending over
or kneeling.
Grasp the tack, nail, or staple with the pliers; roll the
pliers in the direction of the wood grain, extracting the tack,
nail, or staple. (Extracting against the wood grain damages
and weakens the wood.) Remove all tacks, nails, and staples.
Pound in any broken points that cannot be removed.
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Repairing a Frame
B efore you can beautify your old furniture with

new upholstery, spend some time making sure
your frame is structurally sound. After you remove the
outer cover, check to see if there are any loose joints
or cracked rails or posts. Minor repair work can be
done with minimal carpentry skills. This is also a great
time to completely refinish any exposed wood, if that
is a part of your project. However, shallow scratches
and general dullness can be corrected with a few
simple techniques.

Touch-up markers Screwdriver
Wood polish and Hot vinegar
cleaner with File
lemon oil Clamps
Extra fine steel wool Glue syringe
Wood glue Chisel
Wood screws Repair minor scratches using touch-up markers in the same
color as the stained and finished woodwork.
Frame Maintenance ▸
Clean a dull finish by applying wood polish and cleaner Tighten loose corner blocks by first applying wood
and gently rubbing with extra-fine steel wool. glue and then inserting wood screws.
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■ How to Repair Loose Joints
1 2
Scrape away the old glue. To open the joint, apply hot Apply an ample amount of wood glue to the joint. Close the
vinegar to the old glue to soften. joint; clamp or tie (as shown here) tightly. Allow to dry, following
the glue manufacturer’s directions.
■ How to Repair a Cracked Rail or Post

1 2
Inject wood glue into the crack, using a glue syringe. Clamp the rail or post securely. Allow to dry, following the
glue manufacturer’s directions.
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New Cushions
Knife-edge
T he three most common cushion styles are

boxed, waterfall, and knife-edge, each of which
offers a distinct decorative flair to a finished piece.
All three styles can be fitted flush to the front of Waterfall
the chair or T-shaped, wrapping around the front
of the chair arms. Boxed cushions are sturdy and
classic, and can be sewn with or without welting at Boxed
the top and bottom seams. Knife-edge cushions fit
nicely on older furniture and usually have a welted
seam around the center seam, where the cushion
is exposed; hidden sides are then constructed with Chair and sofa cushions are generally constructed with a
a boxing strip. Waterfall cushions are a beautiful zipper closure around the back corners of the cushion, which
makes it easy to remove covers for cleaning, if necessary.
contemporary style, sewn with one continuous piece
of fabric wrapping over the front from top to bottom.
Waterfall cushions have a boxing strip around
the sides and back and are usually constructed Tools & Materials ▸
without welting.
As a general rule, the finished width of the boxing Muslin Electric knife
strip should be ¾" narrower than the height of the Upholstery fabric Marker
foam. Many waterfall cushions, however, are made Welt cording and fabric Polyester batting
with narrower boxing strips. The fabric wraps over the Upholstery zipper or and spray foam
sides from the top and bottom and forms small pleats continuous zipper adhesive, or
around the curved front of the boxing strip. To copy tape and pull button needle
this type of cushion cover, it is best to make a pattern Foam and heavy thread
from the original cushion.
■ How to Tailor a Pattern for a Boxed Cushion

1 2 3
Measure the seat opening in both Mark an outline of the cushion, Remove the muslin and draw a ½"
directions at the widest point and add holding a sharpened stick of chalk seam allowance outside the marked
2" to each measurement. Cut muslin perpendicular to the deck and following line; cut out the pattern. Fold the pattern
to this size and mark a centerline the shape of the inside arms and back in half on the centerline, checking to see
from front to back. Center muslin of the chair. The chalk should brush that the pattern is symmetrical. If edges
over the chair deck, turning excess against but not push into the chair are off by less than 1", trim uneven
muslin up along the arms and back. padding. Mark the cushion front along edges and unfold the pattern (inset). If
For a T-cushion, clip muslin around the the crown of the nosing. edges are off by more than 1", adjust the
curves, allowing it to lie flat. chair padding and draw a new pattern.
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Boxed Cushion Cover Cutting Guide ▸
Length Width
Top/Bottom Pattern (2) See pattern See pattern.

Fabric Strips for Welting Cushion Circumference × 2 + 8 to 10" Cording circumference × 2 + 1"
Boxing Strip Front + sides of cushion. Add 1" for each seam, if necessary Cushion foam + ¼" or width of original strip + 1"
Zipper Tape & Pull Back cushion measurement + 8"
Zipper Closure Strips (2) Length of zipper tape Boxing strip width ÷ 2 + ¾"
■ How to Sew a Boxed Cushion Cover

Prepare welting and sew around the
1 outer edges of the cushion top and
bottom pieces.
Press under a ¾" seam allowance on

2 one long edge of the zipper strip. Position
the pressed edge along the center of the
zipper teeth, right sides up. Use a zipper
foot to topstitch ¾" from the fold. Repeat
on the opposite side, making sure folds
meet at the center of the zipper. Attach a
pull to the tape if necessary.
Center the zipper strip over the back

3 of the cushion top and stitch, beginning
and ending on sides about 1½" beyond
the corners. Clip once into the zipper strip
seam allowance at each corner and pivot.
(continued)
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4 5
Align the center of the boxing strip to the front center Stitch boxing strip to cushion top 1⁄2" from the seam,
of the cushion top, matching print, if necessary; pin-mark the beginning at the side pin. Match the clip mark to the front
pieces separately. Smooth strip to the right front corner; mark corner and pivot stitching. Continue stitching the strip,
with a 3⁄8" clip into the seam allowance. Smooth strip along matching center marks. Clip once into the seam allowance at
the right side of the cushion top and pin about 6" from the the left front corner; pivot. Stop stitching about 6" from the
back corner. back left corner.
6 7 8
Cut the boxing strip 4" beyond the Stitch together 2" from the end; pivot Finger-press the seam allowance
point where it overlaps the zipper pull at the zipper tape. Stitch along the outer toward the boxing strip; finish sewing
end of the zipper strip. Pin the end of edge of the zipper tape to within ½" of the zipper strip and boxing strip to the
the boxing strip to the end of the zipper the end; pivot. Place a small scrap of cushion top. A small pocket will form to
strip, right sides together, matching all fabric over the zipper teeth and stitch hide the zipper pull when closed.
cut edges. slowly across the teeth to the opposite
side of the zipper tape; pivot. Stitch
along the opposite side of the zipper
tape until 1" from the end; pivot and
stitch to the edge.
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9 10 11
Cut the opposite end of the boxing Fold the boxing strip straight across Pin the boxing strip to the cushion
strip 1" beyond the point where it at the corner; mark the opposite side bottom, matching clip marks to the
overlaps the end of the zipper strip. Pin of the strip with a 3⁄8" clip into the seam corners. Stitch. Turn right side out
the ends together. Stitch ½" from the allowance. Repeat for all corners, then through the zipper opening.
ends, placing a scrap of fabric over the open the zipper partially.
zipper teeth. Turn the seam allowance
toward the boxing strip; finish sewing
the zipper strip and boxing strip to the
cushion top.
■ How to Tailor a Pattern for a Waterfall Cushion

1 2
Measure the seat opening in both directions at the widest Unfold and center one end over the chair deck, aligning
points. Multiply the depth by 2 and add the cushion height. the line to the crown of the nosing and turning excess muslin
Add 4" to the depth and 2" to the width; cut muslin to this up along the arms and back. For a T-cushion, clip muslin
size. Mark a centerline through the entire length. Fold fabric around the curves, allowing it to lie flat. Follow steps 2 to 3
in half, perpendicular to the centerline; crease. Draw a line on page 272. Fold under the uncut end of the pattern along
across the muslin a distance above the fold equal to half the the crease; cut the lower layer to match the cutting line of the
cushion height. upper layer. Mark the lower layer even with the nosing line
(inset); unfold.
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Waterfall Cushion Cover Cutting Guide ▸
Length Width
Tom/Bottom Piece See pattern See pattern

Side Boxing Strips (2) Side of cushion + 1" Cushion foam + ¼" or width of original strip + 1"
Zipper Tape & Pull Back of cushion + 8"
■ How to Sew a Waterfall Cushion Cover

1 2
Follow steps 2 and 3 on page 273. Fold the zipper strip Mark the center of the front short end of each side of the
straight across at the corner; mark the opposite edge with a boxing strip; round the front corners slightly. Mark the outer
3
⁄8" clip into the seam allowance. Repeat for opposite corner. edges of the top/bottom cushion piece even with the crease
Pin zipper strip to cushion bottom, matching clip marks to the marking on the pattern. Staystitch 1⁄2" from the edge, a distance
corners. Stitch length plus 11⁄2" beyond both corners. on either side of the marks equal to the cushion height.
3 4
Clip the seam allowances to staystitching every 1⁄2". Pin Follow steps 6 through 9 on pages 274 to 275. Finish
the side boxing strip to the cushion piece, right sides together, sewing the boxing strip to the cushion bottom on both
aligning the center marks. Check to see that the corresponding sides. Turn the cushion cover right side out through the
points on the top and bottom match up directly across from zipper opening.
each other on the boxing strip. Sew a ½" seam, beginning and
ending 6" from the back corners. Repeat for opposite side.
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■ How to Tailor a Pattern for a Knife-edge Cushion
Follow steps 1 and 2 on page 272,
1 adding the cushion height plus 2" to the
seat measurements before cutting the
muslin. Remove the muslin.
Draw a line along the front of the

2 cushion pattern a distance from the
marked line equal to half the finished
boxing height. For a T-cushion (shown),
extend the line around the front corners
to a point even with the line at the back of
the T; connect the ends of the lines.
Draw a ½" seam allowance outside

3 the entire pattern and cut out. Fold the
pattern in half on the centerline, checking
for symmetry. Trim edges as in step 3 on
page 272. Lay the pattern over the original
cushion, aligning the pattern seam line to
the midpoint of the cushion height; pin out
corner tucks (inset). Mark tucks; unfold
the pattern and transfer marks to the
opposite corner.
Knife-edge Cushion Cover Cutting Guide ▸

Length Width
Top/Bottom Pieces (2) See pattern See pattern

Fabric Strips for Welting Equal to knife-edge section of cushion Cording circumference × 2 + 1"
Side Boxing Strips (2) Side of cushion Cushion foam + ¼" or width of original strip + 1"
Zipper Tape & Pull Back of cushion + 8"
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■ How to Sew a Knife-edge Cushion Cover
1 2
Fold out the corner tucks on the cushion top and bottom; Pin the cushion bottom to the cushion top along the welted
baste. Sew the welting to the desired edges of the cushion top. edge, matching the corner tucks. Stitch the seam, crowding
the cording. Complete the cushion cover as for the waterfall
cushion on page 276, steps 1 to 4.
■ How to Prepare & Insert the Cushion

1 2
Trace the cutting line of the cushion cover onto the foam Wrap the polyester batting over the foam from front to
and cut using an electric knife. Follow the seam line of the back. Trim the sides and back so that the cut edges overlap
pattern for high-resiliency foam; follow the cutting line for about 1" at the center.
softer foam. Hold the knife blade perpendicular to the foam at
all times.
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3 4
Apply spray foam adhesive to the cut edges of the batting Trim excess batting vertically at the back corners. Fold
at the back of the cushion; overlap the edges and press firmly excess batting over the side seams at the front corners and
to seal, forming a smooth seam. Or whipstitch the edges apply adhesive. Press together firmly to seal or whipstitch
together using a button needle and heavy thread. Repeat for in place.
the sides.
5 6
Fold the cushion in half from the front to back. Insert into Turn the seam allowances toward the boxing strip all
the cover opening, gradually working the cushion toward the around the cushion. Zip closed, hiding the zipper pull in
front of the cover. Stretch the cover to fit. Stand the cushion the pocket.
on one side and check to see that the cushion is inserted
symmetrically, with equal fullness on both sides.
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Button-tufted Cushions
B utton-tufted cushions can be custom shaped

to fit chairs, benches, or window seats. They
have inner cores of batting-wrapped foam and
can be anchored to the furniture with fabric ties.
Buttons keep the filling from shifting and accent the
“stuffed” appearance of the cushion. Since tufted
cushion covers are not usually removed, zippers
or other closures are not necessary. Tightly woven
decorator fabric with a stain-resistant finish, available
in endless colors and designs, is a great choice for
this project.

Fabric Button and
1" polyurethane foam carpet thread
Polyester upholstery Long needle
batting with large eye
Thread Felt-tipped pen
Buttons to cover Button-tufted cushions can be a cheerful custom addition
to chairs in the kitchen and dining room.
■ How to Sew a Button-tufted Cushion

1 2
Make a paper pattern of the seat to be covered by the Place the pattern on the right side of the decorator fabric
cushion, rounding any sharp corners. Simplify the shape and mark a cutting line 1" from the edge of the pattern. Cut the
as much as you can. Cut out the pattern and check it for cushion top out on the marked line, then cut the bottom out,
symmetry and fit. Mark the placement of ties. using the top as a pattern. Transfer any marks for ties from the
pattern to the wrong side of the cushion front. Use the pattern
to cut two pieces of polyester upholstery batting. Trace the
pattern on foam using a felt-tipped pen; cut the foam ¼" inside
the marked line.
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3 4
Cut two 2½" × 16" fabric strips for each tie, following fabric Stitch along the open edge of each tie. Leave both ends
grainlines. Press under ¼" on the long edges of each strip, then of the ties open. Tie a single knot at one end of each tie,
press them in half lengthwise, wrong sides together, aligning enclosing the raw edges in the knot.
the pressed edges. Pin.
Velcro Ties ▸ 5 6
Cut fabric tabs just long

enough to go around the chair
post plus 1½" for overlap and
½" for seams and twice the
finished width plus ½". Cut
Velcro tape 1½" long for each
tab. Press in ¼" on each edge,
then press in half lengthwise
and stitch all sides. Attach Pin the unfinished ends of the ties to Place the cushion top and bottom
Velcro to tabs (inset). Press in the right side of the cushion front at the right sides together, aligning the outer
half horizontally and attach marked positions. Stitch the ties in place edges; pin. Leave an opening for
folded end to cushions. 3
⁄8" from the edge, removing the pins as inserting the cushion.
you come to them.
(continued)
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7 8
Place the pieces under the presser foot and stitch ½" from Press the seam flat. Turn back the top seam allowance and
the edge. End the seam at the opposite side of the opening. press. Press back 1⁄2" seam allowance on the cushion cover
Clip the seam allowances at any curved areas. back in the open area. Reach through the opening to turn the
cushion cover right side out.
9 10
Press lightly, centering the seam around the outer edge. Place the foam between the layers of upholstery batting.
Make sure ties are sewn securely into the seam at the Whipstitch the edges of the batting together, encasing
correct positions. the foam.
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11 12
Fold the cushion in half and insert it into the cushion Mark the button placement on both sides of the cushion.
cover. Unfold the foam, smoothing the fabric over the batting. Buttons are usually equally spaced in all directions. Follow the
Slipstitch the opening closed. manufacturer’s directions for making covered buttons. You will
need two buttons for every tuft.
13 14 15
Cut two or three 18" strands of Insert the ends of the thread strands Thread a second button onto one
button and carpet thread; insert all the through the eye of a long needle. Insert group of threads. Tie a single knot, using
strands through the button shank and the needle through the cushion to the both thread groups; pull the strands
secure at the middle of the thread with back side. Remove the strands from the until the buttons are tight against the
a double knot. needle and divide them into two groups. cushion, creating an indentation. Wrap
the thread two to three times around
the button shank and tie a double knot.
Trim the thread tails. Repeat steps
13 to 15 for each tuft, keeping the
indentations equal.
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Reupholstering a Drop-in Seat
R eupholstering the seats on dining room or kitchen

chairs is a great choice for a first-time upholstery
project. The fabric change can give new life to older
chairs or can help new chairs better coordinate with
the room’s décor. Because the seats are easy to remove
and reupholster, a set of four chairs can easily be
completed in a day.
Drop-in seats usually drop into a recess in the
chair seat; some styles rest directly on the surface
of the seat and may have welting attached around
the lower edge. All styles are held in place by screws
attached from the underside of the seat. Regardless
of the style, if more than one chair in a set is
being reupholstered, always return seats to their
original chairs, assuring proper fit and alignment of
screw holes.

Screwdriver 2 yd. cambric
and tack lifter (optional)
or staple remover Upholstery fabric
1"-thick foam
Foam adhesive
3 yd. of 27"
polyester batting
(for four seats)
Staple gun
and 3⁄8" staples
5
⁄32" welt cording
(optional) A set of four chairs like this can easily be reupholstered in
a day.
Cutting Guide ▸
Length Width
Upholstery Fabric Seat + 6" Seat + 6"

Foam Seat + 1" Seat + 1"
Batting Seat + 4" Seat + 4"
Cambric Seat + 2" Seat + 2"
Welting Circumference of seat + 3 to 5" 1½"
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■ How to Upholster a Drop-in Seat
1 2
Remove the screws on the underside of the seat; remove Apply spray adhesive to one side of the foam; affix foam to
the seat. Strip off the existing outer fabric using a staple the top of the seat.
remover or tack lifter. If the foundation is intact, omit steps
2 and 3.
3 4
Place upholstery batting on the table; place the seat, Mark the center of each side on the bottom of the seat.
foam side down over the batting. Wrap the batting around the Notch the center of each side of the fabric. Place the fabric
top and sides of the seat. Trim excess batting even with the on the table wrong side up. Center the seat upside down over
bottom edge of the seat. the fabric.
(continued)
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5 6
Staple the fabric to the bottom of the seat at the center Apply staples to the back of the seat at 1½" intervals,
back, matching the center marks. Stretch the fabric from the working from the center toward the sides, to within 3" of the
back to front; staple at the center front, matching the center corners. Pull the fabric taut toward the front of the seat; staple.
marks. Repeat at the center of each side. Repeat for the sides.
7 8
Fold the fabric diagonally at the corner; stretch the fabric Miter fabric at the corner by folding in each side up to the
taut and staple between the screw hole and the corner. Trim corner; staple in place. Repeat for the remaining corners. Trim
excess fabric diagonally across the corner. excess fabric, exposing screw holes. If welting is not desired,
omit step 9. If cambric is not desired, omit step 10.
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9 10
Make and staple welting around the seat at ¾" intervals, Fold under the raw edges of the cambric; staple to the
starting at the back of the seat; align the stitching line of the bottom of the seat at 1" intervals. Puncture cambric at the
welting to the edge of the seat. screw holes in the chair seat. Screw the upholstered seat to
the chair.
Reusing Padding Materials ▸

When reupholstering a piece of furniture that was originally natural materials. When stripping older furniture, it is
padded with natural fiber materials, reuse the materials common to discover padding materials such as curled
intact if the foundation is still in very good shape. Most of hair, moss, tow, and straw. It is possible to reuse these
the time, however, it will be necessary to supplement or materials, though supplementing them will require a
replace the padding with cotton or polyester batting. considerable amount of time and expertise. Often, some
If you’d like to retain the authenticity of an antique additional cotton batting is all that you’ll need to add to
piece, but the padding is in poor shape, reupholster with restore the piece to its original shape and firmness.
Inspect the original material and

maintain as much of the original material
as possible for authenticity, antique resale
price, and greater sustainability. Make
sure reused materials are dry and free of
mold and bugs, though. If the material is
suspect, replace it.
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Reupholstering a Chair
R eupholstering a chair to better match your room

décor can make an old piece functional in a
formal room again and can enable you to custom-
corners of the arms and back but allowing the lines
to remain fairly sharp. Many of the pieces for this
chair are sewn together before they are attached to
blend your furniture with your existing style choices. the frame. Also, the top arms, front arms and front
The instructions that follow are a general guide for band are cut as one piece and sewn with welted
upholstering a chair, but styles and designs vary seams to the inside arms, outside arms, and nosing
greatly from chair to chair. Always refer to the notes, of the chair.
sketches, and photos taken while stripping your chair Begin your project by measuring all chair parts
to help you reassemble it (see page 268). and recording their measurements (page 266). Then,
This particular style of chair, called a Lawson- determine the cut sizes of all the parts, diagram the
style chair, is characterized by its boxed arms, boxed fabric layout, and cut out the pieces. Strip the chair as
and buttoned back, and simple lines. The padding far as necessary. Check the frame for sturdiness and
in this chair is fairly minimal, cushioning the make any necessary repairs (page 270).

Upholstery fabric #18 nylon thread Foam adhesive Button twine
Welt cording Burlap Staple gun and staples (3⁄8" Buttons
Polyester batting Edge roll and 1⁄2") Button needle
Webbing and Deck pad Lining fabric (such as Cardboard tack strip
webbing stretcher Denim lightweight, inexpensive Flexible metal tacking strip
Spring twine High-resiliency foam upholstery fabric) Cambric
After Before
Reupholstering a chair can be a

rewarding project, though it is labor and
time intensive. Plan carefully and take
detailed notes while stripping to ease the
re-upholstery process.
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Furniture Frame Anatomy ▸
Learning the process of furniture upholstery will be
easier if you know the correct names of the frame parts. A
Familiarize yourself with the basic frame parts shown B

here. Various chair styles have differently shaped frames,
but the basic structure will be consistent from piece
C
to piece. K
Frame Parts D
(A) top back rail
E
(B) top wing rail M
(C) front wing post J
(D) top arm rail F
H I
(E) front arm post
(F) arm stretcher rail L
(G) front rail G
(H) corner block

(I) back rail
(J) back stretcher rail
(K) back stretcher post
(L) side rail
(M) back leg post
■ How to Upholster a Chair

1 A 2
Stitch welting to the front and top edges of the outside Lay the deck piece over the seat. Note: your piece will
arm panel. Stitch boxing to the front and top of the outside look more complete than the pictured piece, with nosing and
arm, aligning the lower edge of the front boxing to the lower arm pieces attached. Fold the nosing back, aligning the seam
edge of the outside arm. Stitch welting to the remaining line to the marked line on the deck, matching the center;
edge of the boxing and front band. Mark seam allowances of pin on each side of the center. Pull the seam allowance taut
the boxing directly across from the top front corners of the under the arm; staple to the top of the side rail. Repeat for the
opposite arms (A). Clip the seam allowances at the upper opposite side.
corners of the band (B). Stitch the inside arm to the boxing,
aligning the mark to the top front corner of the inside arm.
Center nosing on the front band. Stitch nosing to the front
band between clips, backstitching at the clips. Stitch the deck
to the nosing, matching centers. Mark a placement line for the
nosing seam on the spring cover; mark the center. Mark the
center of the nosing seam allowance.
(continued)
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3 4
Use a 6" curved needle and button twine to attach the Pull the deck under the back. Insert extra batting between
seam allowance and spring cover, securing both ends. Take the deck pad and spring cover to fill in depressions. Pull the
1" running stitches near the seam line; hook springs in the deck to the back rail, matching centers. Staple to the top of
stitches whenever possible. the rail. Continue stapling the deck to the back rail for several
inches on each side of the center.
5 6
Cut a piece of deck pad ½" narrower than the space Turn the arm cover inside out; position the front boxing
between the nosing seam line and the edge roll. Stitch to the in place over the arm front. Turn the arm cover right side out;
spring cover in this position. Cover nosing with one layer of smooth in place over the chair arm, turning the welted seam
batting. Add a half layer of batting from the nosing seam to allowances toward the inside and outside arm panels. Repeat
the lower edge of the front rail. Replace webbing on the inside for remaining arm. Then cut a straight Y-cut on the side edge
arm, if necessary. Cover the inside arms with burlap and attach of the nosing, parallel to the front edge, allowing fabric to
the burlap to the outside arms, leaving unattached along the fit around the front arm post; the front point of the Y-cut is
lower edge and for a short distance at the lower front and aligned to the nosing seam line.
back. Supplement or replace arm padding as necessary.
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7 8
A A
Pull the nosing down to the front and side, straddling the Fold under the cut edge of the inside arm from the corner
front arm post with the sides of the Y-cut (A and B). Pull taut; of the nosing to the point of the cut (A); pull the lower edge of
staple. Finish stapling the nosing and deck to the top of the the inside arm under the arm stretcher rail.
side rail. Repeat for the opposite side. Pull the front band taut;
staple to the underside of the front rail for several inches at the
center. Cut diagonally into the lower front edge of the inside
arm, allowing the fabric to fit around the front arm post.
9 10 11
B
Cut a Y-cut in the boxing at the back Pull the lower edge of the inside Pull the outside arm taut, realigning
top of the arm, allowing the fabric to arm taut to the side rail (A), pulling the the welting along the top of the arm.
fit around the back post. Cut a second welting along the upper arm slightly to Staple the lower edge to the underside
Y-cut on the back edge of the inside the inside (B). Staple the lower edge of of the side rail up to within several
arm, allowing the fabric to fit around the the inside arm to the top of the side rail. inches of the back corner. Staple the
back stretcher rail. Fold under the edges back edge to the outside of the back
of the Y-cut on the boxing. Pull the post, leaving unattached several inches
inside arm through to the back of the from the top and bottom. Finish stapling
chair. Pull taut; staple to the inner side the front band to the underside of the
of the back rail. front rail.
(continued)
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12 13
A
A
Place the inside back piece over the existing inside back, Stitch welting to the outer edge of the inside back, avoiding
cutting shallow relief cuts (A) to fit around the arms; pin. Mark any welting seams on the top of the back. Stitch the top back
a seam line around the outer edge using chalk. Cut out the boxing to the side back boxing pieces using ½" seams; press
inside back ½" beyond the marked seam line. open. Pin boxing to the inside back, right sides together,
matching boxing seams to the top corners. Stitch.
14 15
A
B
Supplement or replace back padding as necessary, then Cut a horizontal Y-cut in the side boxing, allowing the fabric
place the back cover, inside out, over the padding. Turn the to fit around the top arm rail and arm stretcher rail Pull taut,
cover right side out, fitting the corners snugly: smooth in place pulling boxing above the top cut to the outside of the back
over the chair back, turning the welted seam allowances post (A) and boxing between cuts to the inside of the back post
toward the inside back. Pull taut; secure to the outside of the (B); staple over the inside arm fabric (C). Cut the boxing along
top back rail at the center. welting seams at the lower edge of the inside back, allowing
the fabric to straddle the back leg post.
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16 17
B
A
Pull the welting taut; staple to the top of the side rail (A). Finish pulling and stapling boxing to the back of the back
Pull the remaining lower edge taut; staple to the top of the posts and top rail. Pull the top of the outside arm taut over the
back rail (B). inside back; staple to the back of the back post. Finish stapling
the outside arms under the side rails.
18 19
Pin-mark positions of buttons on the inside back. Cut Repeat step 18 for each button. Tighten all knots equally,
button twine about 25" long for each button. Insert one checking indentations of the buttons on the inside back.
end of the twine through the button shank; then insert both Secure knots with overhand knots. Pull twines taut to the top
ends through the eye of the button needle. Insert the needle rail and staple securely. Make any final adjustments necessary
through the chair back at one pin mark. Pull twine through in tautness of the outer fabric. Trim excess fabric in areas that
until the button shank enters the fabric. Separate twines at the have not yet been trimmed. Make the cushion (page 272).
back of the chair, straddling a spring, if possible. Tie the twines
around a wad of batting, using a slipknot.
(continued)
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20 21
Attach welting to the outer edges of the back sides and top, Flip the fabric up over the back of the chair. Align the
beginning and ending at the bottom of the back rail. Encase cut edge of the fabric to the cut edge of the upper welting,
cording at the ends (inset). Attach lining to the back, trimming matching centers. Place a cardboard tack strip over the 1⁄2"
even with the cut edge of the welting. Place the outside back allowance, aligning the outer edge to the welting seam line.
fabric over the outside back. Trim to size, allowing a 1⁄2" excess Staple across the top.
along the top, 1" along the sides and 11⁄2" along the bottom.
22 23
Cut a half layer of batting to fit between the seam lines of Staple a metal tacking strip to the sides, aligning the outer
the welting at the top and sides and even with the bottom of edge of the tacking strip to the welting seam line. Begin at the
the back rail. Staple baste at the top and side centers. upper welting seam line; end at the bottom of the back rail,
opening the strip as necessary for ease in stapling. Position the
stapler so one leg of the staple goes through each hole in the
tacking strip.
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24 25
Close the tacking strip to about 30°. Wrap batting over the Tuck the fabric into the tacking strip opening, using a
edge of the strip to cushion the sharp edge. Pull down the regulator. Push the tacking strip closed along both sides.
outside back fabric; staple baste to the bottom of the back rail, Hammer the tacking strip securely using a mallet or
matching centers. Trim fabric to ½" along the sides. tack hammer.
26 27
Pull the lower edge taut; staple to the underside of the Cut cambric 3" larger than the measurements of the bottom
back rail. Attach the welting to the underside of the rails of the chair between the outer edges of the rails. Fold under
around the bottom of the chair, joining the ends (inset). just shy of the outer edge; staple at the center front, back, and
sides. Fold the cambric back at the corner so the fold is even
with the inner corner of the leg. Cut diagonally from the corner
of the fabric to the fold. Repeat for each corner. Fold under
the cut edges so folds are tight against the sides and staple in
place. Continue stapling the front, back, and sides.
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Upholstered Ottoman
Y ou may never have imagined building your own

furniture—but it’s easier than you think! For your first
piece, start with this sturdy tufted ottoman, which will add
Construct a simple frame and upholster with your chosen
fabric. Before you know it, you’ll have a handy, attractive
ottoman at a fraction of the cost you would pay in a
comfort and complementary colors to your living space. store—and it’s 100 percent unique, handmade by you.

1
⁄2"-thick plywood Drill with 3⁄8" bit Button needle 11⁄4 yd. 5⁄32"
Saber saw and 1" spade bit 31⁄2" yd. polyester batting welt cording
1 × 4 lumber, cut in 3" semifirm foam Fourteen #22 covered buttons 1 ⁄2 yd. burlap
1
eight 13" lengths Electric knife Nylon button twine 2 yd. cardboard
Wood glue Approximately Staple gun and staples tack strip
2" coarse-thread 21⁄2" yd. of (3⁄8" and 1⁄2") Cambric
sheetrock screws upholstery fabric Upholstery regulator Four chair glides
An ottoman is a great addition to large rooms or comfortable living areas in your home.
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Fabric Cutting Guide ▸
Length Width
Polyester Batting 27" 27"

Ottoman Top Piece 45" 45"
Welting 82" 1½"
Band 17" 82" (piece as necessary)
Cambric 27" 27"
■ How to Make a Tufted Ottoman

1 4"
23 1⁄ 2"
15 1⁄ 2"
From ½" plywood, cut two circles, each 23½" in diameter. On one piece, draw a circle 4" from the outer edge. Drill a hole large
enough to fit the blade of the saber saw inside the inner circle. Use the saber saw to cut out the inner circle to make the ottoman
bottom. Draw pencil lines across the second full circle (the top), dividing it into eight equal wedges. Transfer marks to the lower ring.
2 3
Apply wood glue to the end of one 1 × 4 support. Center Mark the positions of the tufts on the top of the frame.
the support over one of the marked lines on the ottoman top, The example displays a diamond pattern. Drill 3⁄8" holes at
aligning the narrow edge to the outer edge of the circle. Secure the marked points. Mark a 24" circle on the foam. Using an
the support with two screws inserted through the top of the electric knife with the blade held straight up and down, cut
circle into the support. Repeat for the remaining supports, then out the circle. Mark out the same button placement pattern on
turn the top over and attach the bottom ring to the supports the foam.
in the same way. Make sure the supports are straight and
centered on the marked lines.
(continued)
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4 5
Using a 1" spade bit and a light touch, slowly drill holes Place the fabric face up over the batting, aligning the
straight down through the foam at the marks. Place the centers and lines. Working on the most central horizontal line
foam over the ottoman frame top, aligning the holes. Center of holes, flip back the fabric and cut a small hole in the batting
upholstery batting over the foam. On the wrong side, mark a directly over the closest hole to the center. Insert a pin through
chalk line across the center in both directions. the fabric and batting at the location of the next hole closest
to center to keep the layers from shifting. Turn the fabric back
into position. With a finger, push the fabric down through the
batting and into the foam hole to the wood. Wiggle a little slack
into the fabric, drawing from the outer edge of the fabric while
keeping the centerlines aligned.
6 7
Thread 24" of nylon button twine through the shank of On the underside of the ottoman top, staple the twines
a button. Thread the ends through a button needle. Push the three times as shown.
needle through the fabric and through the hole in the wood.
Pull the twines tight so the button rests against the wood.
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8 9
Cut a hole in the batting over the next hole closest to Continue to the next row and apply buttons, working
center. Push the fabric down into the hole as in step 5. Repeat from the holes in the center out. Wiggle slack into each hole,
steps 6 and 7. Continue on and complete the buttons in the drawing fabric from the outside to prevent pulling the fabric
line of holes closest to center. too tightly. Apply all buttons in this manner.
10 11
Use a regulator to turn all the pleats between buttons in the Smooth the fabric over the edge. Beginning at the center
same direction. The pleats should open out just before they front, pull the fabric down in a straight line and staple to the
reach the buttons. edge of the wood circle. Repeat on the opposite side, then on
each side of the horizontal axis. Staple around the ottoman,
pulling the pleats straight out to the sides, then easing in other
fabric fullness between pleats.
(continued)
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12 13
Trim off excess fabric only after you have checked to see Prepare welting and wrap around the ottoman over the
that pleat lines are straight and fullness is evenly distributed. staples. Mark where the ends meet. Sew the welting into a
circle. Slide the welting ring back onto the ottoman from the
bottom to check the fit and remove. Stitch the welting to the
upper edge of the band. Turn the band inside out and with the
welting at the bottom pull it over the top of the ottoman until
the welting rests just above the top of the wood. Staple in
place using ½" staples.
14 15
Wrap burlap around the ottoman and staple in place along Cut batting 15" × 80" and wrap around the ottoman with 1"
the edges of the top and bottom circles. Staple the overlapping extending above the tack strip. Staple the batting along the
ends to the edge of a support. Place a cardboard tack strip tack strip and along the lower edge.
over the welting seam allowance with the upper edge even
with the stitching line. Staple diagonally through the tack strip.
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16 17
Turn the band down and stretch the fabric to the underside Turn under the edge of cambric and staple to the
of the ottoman. Staple in place using 3⁄8" staples. Staple at the underside of the ottoman. Attach four glides to the underside
four center marks first. Then, work out the excess fullness as of the ottoman, evenly spaced and 1" from the edge.
you finish stapling the rest of the band in place.
Button Tufting Designs ▸

The pattern shown on page 297
of this project is only one possible
layout for the button tufts on
a tufted cushion. Four buttons
are often laid out in a square,
sometimes with a button in the
center, in a five-point star, or
sometimes the only tuft is one
button in the center. Diagram your
button layout on graph paper
before you mark button placement
on the ottoman frame.
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Upholstered Headboard
A n upholstered headboard can help a bedroom

space feel cozy and inviting, and adds color
to blank walls. Padded with foam and batting, this
the smaller the bed, the shorter the headboard should
be. Lightly outline where you’d like the headboard
to rest on the wall before you determine your
headboard also provides comfortable support for final measurements.
reading or watching television. Choose upholstery
fabric to blend with the bedroom décor, or to nicely
complement your comforter or duvet cover. To avoid
having to piece the center padded section on large
headboards, choose fabric that can be railroaded.
This project can be custom fitted for any size bed.
The headboard attaches to the bed frame, so measure
the width of the frame and add 2" to allow room for
drilling bolt holes. To determine the height, measure
from the bottom of the attachment plate on the frame
to the desired height above the mattress. The height
of the headboard is completely up to you. Generally,

1
⁄2"-thick plywood Welt cording
Saw Polyester batting
Wood glue Upholstery fabric
1" coarse-thread 1
⁄2"-wide cardboard
sheetrock screws tacking strip
2"-thick firm foam 3" curved needle
Foam glue and #18 nylon
Staple gun and thread An upholstered headboard is comfortable to lean against
staples (3⁄8" and 1⁄2") Bolts and nuts for reading or watching television in bed, and adds warmth
and softness to a bedroom.

Length Width
Central Headboard Foam Headboard frame – length of headboard bottom cover – 2" Headboard frame – 6"
(cut to fit curve of headboard frame top)
Central Headboard Piece Central headboard foam + 3 to 4" Central headboard foam + 3 to 4"
(cut to fit curve of headboard frame top)
Welting Outer edge of headboard – 2 × the length of headboard 1½"
bottom cover + 6 to 8"
Border Strip (piece as necessary) 1½ × welting 6½"
Headboard Bottom Cover Bed frame + box spring + mattress + 1" Headboard frame + 6 to 8"
Headboard Back (cut to fit curve of headboard frame top) Headboard frame + 1" Headboard frame + 1"
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■ How to Make an Upholstered Headboard
1 42"
2
7"
36"
Cut a rectangle of ½" plywood in the desired width and Glue, then screw the support pieces to the back of the
height. Mark a point 7" down from the top corner on each side headboard. Take care not to insert screws where you will need
and draw a gentle curve from these points across the top of to drill bolt holes to attach the headboard to the bed frame.
the board. Check for symmetry and then saw on the marked Measure the height of the bed frame, box spring, and mattress.
line. Cut another rectangle of plywood 8" by the headboard Mark a line across the front of the headboard at this distance
width. Shape the upper edge to match the headboard curve. from the bottom. Draw a line 3" from the edge along the sides
Cut 3" support strips of plywood for the bottom, sides, and top, beginning at the first marked line. This marks the
and center. width of the gathered border.
3 4
Cut a piece of foam to fit the center section of the upper Pull the fabric evenly and staple it to the frame, starting
headboard, glue it in place, and lay a half layer of batting over in the centers and working out toward the corners. Trim off
the foam. Staple it in place. Cut fabric several inches larger the excess fabric. Measure the outer edge of the headboard,
than the foam. Mark the center of each side. Mark the center beginning and ending at the bottom of the padded section.
of each side of the padded section of the headboard. Prepare welting slightly longer than this measurement and cut
border strip according to cutting directions. Stitch the welting
to one edge of the border strip.
(continued)
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5 6
Using 3⁄8" staples, staple the border strip to the headboard Place the cardboard tack strip over the welting seam
around the padded section with the welting seam 3" from the allowance with the upper edge even with the stitching line.
edge. Use a 3" strip of cardboard tack strip as a gauge. Staple diagonally through the tack strip using 1⁄2" staples.
7 8
Center 8" strips of batting long enough to cover the border Wrap the border strip to the back of the headboard and
on the tack strip and staple in place. staple it in place using 3⁄8" staples. Don’t pull the fabric too
tightly. It should look full and padded. Staple frequently,
distributing the fullness evenly.
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9 10
Mark the centers of the sides of the bottom headboard Turn down the fabric, wrap it to the back of the headboard
cover. Place the fabric face-down over the padded section. and staple in place using 3⁄8" staples. This area is unpadded to
Staple in place along the bottom of the padded section. Place allow it to fit closely to the frame, box spring, and mattress.
a cardboard tack strip over the edge, with the upper edge Place the headboard back piece wrong side up over the lower
aligned with the line drawn in step 2. Staple through the edge and staple in place through the tack strip. Turn under the
tack strip. sides even with the sides of the headboard.
11 Attaching the Headboard ▸

Hold the headboard to the head of the bed, aligning
the lower edge to the lower edge of the attachment
plates on the frame. Mark the placement of holes
for bolts. Punch holes in the fabric before drilling to
prevent catching and tearing the fabric. Secure the
headboard to the frame with bolts and nuts.
Turn the fabric up, turn under the edges and pin in place.
Blindstitch the outside of the headboard using a 3" curved needle
and #18 nylon thread.
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Reversible Seat Covers
M aking your own seat covers is a quick way to

dress up your kitchen or dining room chairs.
Plus, these covers are made with two coordinating
These covers are suitable for armless chairs with
straight sides and fronts that are open between the
back posts. Make the pattern before you buy fabric
decorator fabrics so they can quickly be flipped so you’ll know how much fabric you’ll need. If you’re
over for an instant décor change. Darts sewn at the making covers for two or more chairs, be sure to center
front corners shape the covers to fit the chair seats the printed motif on each seat cover. Sometimes it
smoothly. The back corners are held in place with a helps to bring the pattern with you to the store to
button tab that wraps around the back of the chair leg. make sure you buy enough fabric to do this.

Two coordinating Four buttons for each cover, ⁄2 yd. grosgrain ribbon 7⁄8" wide,
1
Muslin
decorator fabrics 7
⁄8 to 1" in diameter in a color to match the fabrics
Tip ▸
Choose reversible dining chair seat cushions. In this
way, it’s possible to enjoy two distinct looks—one for
the dining room and one for the living room, or one
for summer and one for winter—without requiring
storage for the extra set of cushions.
Reversible seat covers are a quick way to transform the

look of your chairs and are as quick and easy to change as
your placemats.
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■ How to Sew a Reversible Seat Cover
1 2 3
Measure the chair seat side to Mark a dot at one front corner. Pinch Mark dots at the back of the seat, at
side and front to back. Add 10" in the fabric together from the dot down, the inside front corners of the back
each direction. Cut muslin to this size bringing the front to meet the side. posts. (If your posts are round, mark
to make a pattern. Press the muslin Pin out excess fabric, inserting the each dot at a point in line with the front
pattern in half in both directions. Unfold. pins parallel to the chair leg, forming and side of the post.) Trace the outline
Center the pattern on the chair seat, a dart. Mark lines on both sides of the of the chair seat on the pattern.
allowing it to fall down over the front dart from the dot down to the bottom.
and sides. At the back, turn the pattern Repeat on the other front corner.
up along the posts. If necessary, tape
the pattern in place.
4 5
Remove the pattern from the chair; remove the pins. Draw Place the pattern on the top fabric, aligning the front-to-
lines 41⁄2" outside the traced seat lines. At the back corners, back crease with the lengthwise grain and the side-to-side
draw lines from the dots to the outer lines, forming squares. crease with the crosswise grain. Position the pattern so that
(These will be the stitching lines.) Mark pivot points (shown the intersection of the creases is at the exact center of the
in blue) on the stitching lines 1⁄2" from the outer edge. Draw design motif, if you're using a large print. Cut out the seat
cutting lines (shown in red) 1⁄2" outside the stitching lines at the cover top. Transfer the pivot points and dart dots to the wrong
legs and the front darts. Fold the pattern in half to make sure it side of the fabric. Cut out the remaining seat cover tops using
is symmetrical, and make any necessary corrections. Cut out the first piece as a guide.
the pattern on the outer lines.
(continued)
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6 7
Place each top piece on the bottom fabric, right sides Fold the dart on one front corner, right sides together,
together. Pin near the outer edges. Cut out bottom pieces; aligning the raw edges; pin. Stitch the dart. Repeat for the
remove the pins. remaining front corners on the top and bottom pieces.
8 9
Press the seam allowances of the darts open. Place the top and bottom seat covers right sides together,
aligning the raw edges; pin. Align the seams of the front darts.
Stitch the layers together 1⁄2" from the edge all around, pivoting
at the corners. Leave a 6" opening along one straight edge
for turning.
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10 11
Trim the seam allowances diagonally at the outer corners. Turn back the top seam allowances and press, applying
Clip to, but not through, the stitches at the inner corners. light pressure. In the area of the opening, turn back and press
the seam allowances ½" where they meet. Turn the cover right
side out through the opening. Gently push the pivot points out
to form perfect corners (use a pointed object, like a crochet
needle, to help if necessary). Push the seam out so that it is
centered all around the outer edge; press. Align the folded
edges of the opening and pin them closed.
12 13 14
Edgestitch around the seat cover, Mark placement lines for the four Place the cover on the chair seat.
stitching the opening closed; pivot at buttonholes parallel to and 1" above At the back of one chair leg, measure
the corners. the lower side and back edges. Mark the distance between buttonholes. Cut
lines that equal the diameter plus the ribbon 4" longer than this measurement.
thickness of the buttons, with one end Turn under 1" twice on each end of the
1" from the vertical edges. Attach a ribbon; press. Stitch across the inner
buttonhole presser foot or buttonhole folds, forming double-fold hems. Stitch
attachment. Stitch the buttonholes over a button to the center of each hem.
the marked lines. Cut the buttonholes Repeat for the other leg. Button the
open, using a buttonhole cutter or small, chair seat cover in place.
sharp scissors.
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Ottoman Slipcover
R ectangular ottomans with attached cushions are

often used with upholstered chairs and sofas.
Their styling is so simple that they easily blend with
various furniture styles, and their shape fits perfectly
into a fitted slipcover.
This slipcover features a tailored skirt with
inverted box pleats at the corners and is suitable for
an ottoman that has short legs or bun feet (with or
without a skirt). A hidden lip of fabric that extends
from the boxing strip under the skirt helps you pull
the cover firmly in place and secure it to the existing
upholstery. Twill-tape ties sewn to this lip are tied
around the legs to keep the slipcover from sliding up.
The skirt is lined for body and to avoid a noticeable
hem around the bottom.

Making a slipcover for an ottoman is a quicker project
Decorator fabric than reupholstery—with equally classy, polished results.
Lining
Welt cording
■ How to Sew a Slipcover
1
Length Width
Top Ottoman top + 1" Ottoman top + 1"
Boxing Strip (2) ½" Circumference + 1" Width of existing

strip + 2"
Skirt Pieces (4) Lower seam of boxing strip Side of ottoman

to the floor top + 16"
Lining Pieces (4) Skirt piece - 2" Skirt Piece width
Welting Circumference of 1½"

Make the welting and stitch to the outer edge of the slipcover
ottoman × 2 + 8 to 10"
top, then sew the boxing strip pieces together in ½" seams.
Finish the lower edges with zigzag stitches or serging. Pin the
Twill-Tape Ties (8) 18" boxing strip to the slipcover top, matching the print on one side, if
necessary. Clip into the boxing strip seam allowance at the corners
to allow the fabric to spread. Stitch the boxing strip to the top.
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2 3 4
Mark a chalk line 1" from the lower Pin the lower edges of the skirt and Fold the lining and skirt, wrong
edge of the boxing strip. Stitch the lining right side together, matching sides together, aligning the upper edges.
welting to the boxing strip, aligning the seams. Stitch ½" from the edges. Press Press. Baste the upper edges together.
raw edges of the welting to the line. the seam allowances toward the lining.
Mark the lower edge of the boxing
strip at the corners, even with the pivot
points of the stitching on the top edge.
Then sew the skirt pieces together in
a big circle using ½" seam allowances.
Repeat for the lining pieces. Press seam
allowances open.
5 6
At each seam at the upper edge of the skirt, place one pin 1" to the left of the seam, Place the slipcover on the ottoman,
one pin 7" to the right of the seam, and one pin 15" to the right of the seam. Fold pulling on the boxing strip extension to
each pleat, bringing the outer pin marks to the center pin mark; pin them in place. The position it snugly in place. Tie the ties
seams will be hidden in the folds of the pleats. Check the skirt for fit and adjust the behind the ottoman legs. If the ties are
pleats if necessary. Baste across the top of each pleat. Pin the upper edge of the skirt impractical for your ottoman, secure
over the welting at the lower edge of the boxing strip, right sides together, aligning the with screw pins through the boxing strip
raw edges and matching the marks on the boxing strip to the centers of the pleats. extension into the upholstered sides of
Stitch. Stitch the ties to the extension of the boxing strip, 2" from each corner. the ottoman.
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Chair Slipcover
A custom-fit slipcover is made to fit your chair to a

T, and covers as beautifully and drapes as nicely
as a complete reupholstery—without the mess of
stripping. Slipcovers can be made from a single fabric
or several coordinating fabrics. For added detail, add
contrasting welting in the seams. Choose between a
fully gathered or box-pleated skirt to best complement
the rest of your furniture.
Chairs with a concave back design may be
difficult to slipcover and the cover may not fit well.
For best results, a concave back should be wrapped or
covered in a thick upholstery batting before you pin-fit
your pattern. To help the slipcover stay in place, this
technique adds a fabric strip pinned to the existing
upholstery, hidden under the skirt, which keeps the
cover from pulling out of place. Also, polyurethane
foam pieces can be tucked along the sides of the deck
to provide a tight fit. These same instructions can be
used for sofas or loveseats as well.

Muslin Tacks or heavy-
Decorator fabric duty stapler
Welt cording and staples
Upholstery batting Zippers
Polyurethane foam, (one for chairs,
cut in 2" strips two for sofas
T-pins and love seats)
■ Making Patterns
for Fitted Slipcovers
The easiest way to make a slipcover pattern is by pin-
fitting muslin on the chair you plan to cover. Before you
start, look carefully at the chair and note the placement
of all of the seams. Usually the seams in the slipcover
will be in these same locations, but you may be able
to add or eliminate some details if it will not affect the
fit of the cover. For example, cover a waterfall cushion
with a box cushion cover with welting (page 272). Or a
chair with a pleated front arm can be slipcovered with Make your slipcover with a fully gathered skirt (upper) or
a separate flat front arm piece (page 322). box pleats (lower).
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Pin-fitted Slipcover Pattern Cutting Guide* ▸
Cut pieces from muslin, then mark the center line on each piece, following the lengthwise grain.
Length Width
Outside Back Outside back length + 3 to 4" Outside back width + 3 to 4"
Inside Back Inside back length + 10" (allows for 6" at the lower edge to tuck into the deck and hold in place) Inside back width + 15"
Outside Arm (2) Outside arm length + 3" Outside arm width + 3"
Inside Arm (2) Deck to upper edge of outside arm + 9" Inside back to front + 9"
Arm Front (2) optional Arm front length + 2 to 3" Arm front length + 2 to 3"
Deck Front of chair to skirt seam + 9" Width at deck front + 15"
Skirt Length of skirt + 1" Circumference + pleats
*Measure existing pieces between seam lines.
■ How to Pin-fit the Pattern

1 2
Remove cushions and pin outside back piece to the chair, Pin the outside back and inside back together along the top
smoothing fabric. Mark seam lines. of the piece, matching center lines. Fold out excess fabric on
the inside back piece at the upper corner, forming a dart. Pin
muslin snugly, but do not pull tight.
Tip ▸
Zipper length should be 1 to 2" shorter than the length of the vertical seam at the side of the outside back. Additional
zippers will be needed for cushions.
(continued)
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3 4
Trim excess fabric on sides of the inside back to 2"; clip Pin an outside arm piece in place with the grain line
along the arms as necessary for a smooth curve. Push about perpendicular to the floor and the lower edge extending ½"
½" of fabric into crevices on sides and lower edge of the beyond the seam line at the upper edge of the skirt. Smooth
inside back, and mark seam lines by pushing a pencil into fabric upward; pin. Pin the outside arm to the outside back.
the crevices. Mark the seam lines.
5 6
Pin an inside arm piece in place, with 7" extending at Pin the inside arm to the outside arm at front; clip and trim
inside back and grain line straight across the arm, smoothing fabric at the front lower edge as necessary for a smooth fit.
fabric up and around the arm. Pleat out fabric for the rolled arm to duplicate pleats in the
existing fabric. Mark radiating fold lines of pleats.
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7 8
Mark tucks on the inside arm at the back of the chair to Mark the inside arm and inside back with large dots halfway
fold out excess fabric; clip the inside arm as necessary for a up the arm. Push about ½" of fabric on the inside arm into
smooth fit. crevices at the deck and back.
Variation: Pin-fitting an Arm with a Front Section ▸
After the inside arm piece has been placed (see Pin the front arm piece in place. Fold out excess
step 5), mark seam line at front edge of the arm and trim fabric on the inside arm as necessary to fit the front arm
away excess fabric not needed for seam allowances. piece, making two pleats. Mark the seam line for the
curve of the arm, following existing seam line on the chair.
Complete the arm pattern as in steps 7 through 9.
(continued)
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9 10
Mark all seam lines on the muslin, smoothing fabric as Mark a seam line on the front edge of the deck piece on the
you go. straight grain, ½" from the raw edge. Pin the marked line to the
welting of the skirt seam, with the center line centered on the
skirt. Smooth muslin over the front edge and deck and match
center lines of deck and inside back.
11 12
Mark the deck and inside arm pieces with large dots at the Pin the deck to the outside arm piece at the side of the chair;
point where the deck meets the front of the inside arm. For mark the seam line. Do not fit the deck snug. Push about ½" of
furniture with a T-cushion, clip excess fabric to the dots. Fold fabric into the crevices at the sides and back of the deck; mark
out excess fabric on the deck at the front corner, forming a seam lines by pushing a pencil into the crevices.
dart; pin and mark.
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13 14
Place raw edge of the first skirt piece just below the lower Mark the direction of the upper edge on all muslin pieces;
edge of the skirt; pin at the upper edge of the skirt, keeping the label pieces. Check that all seam lines, darts, gathers, and
muslin straight and even. Pin seams as you come to them; pin pleats are marked. Mark dots at intersecting seams; label.
out fullness for pleats or gathers. Pin vertical tucks in the skirt,
pinning 1⁄8" tuck near back corner on each side of the chair and
¼" tuck near each corner on back of the chair; tucks will be
released in step 16, adding ease to the skirt. Mark seams and
placement of pleats or gathers.
15 16 17
Remove the muslin. Add ¼" ease Remove the pinned tucks near the True straight seam lines using a
to back edge of the outside arm at back corners of the skirt pieces. Mark straightedge; true curved seam lines,
lower corner. Add ½" ease to sides “fold line” at lower edge of the muslin drawing smooth curves. Do not mark
of the outside back at lower corners. for a self-lined skirt. seam lines in pleated areas.
Taper to the marked seam lines at
upper corners.
(continued)
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18 19 20
Add 4" to the lower edge of the Mark the lower edge of the inside Mark the back edge of the inside arm
inside back and back edge of deck. arm from a point 4" away from seam from a point 4" away from the seam
line at the back edge to ½" from large line at the lower edge to ½" from the
dot at front edge; repeat for the sides of large dot; repeat for the sides of the
the deck. inside back.
21 22
Check lengths of the seam lines for adjoining seams; Fold pleats on marked lines. Mark seam lines in pleated
adjust as necessary to ensure that seam lines match. area; add ½" seam allowances. Trim on the cutting line through
all layers of the pleats. Add ½" seam allowances to any
remaining seams and cut pieces out on the marked cutting
lines. Before cutting, double-check that you cut on the cutting
line, not on the seam line.
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■ Making a Quality Slipcover
• When laying out the pattern for cutting, center • Although your slipcover may be slightly different
large motifs in your fabric on the back, sides, from the project shown, familiarize yourself with
cushions, and on the top of the arms. On a striped the basic construction steps, as the general order
fabric, center the prominent stripe on the center of assembly will be the same.
placement line on the back and cushion pieces. • Stitch small details, such as darts, before
Position arm pieces on striped fabric so the stripes assembling pieces.
will run in the same direction as the skirt. • Use strong thread, such as long-staple polyester, a
• Cut the skirt pieces to make a self-lined skirt, medium stitch length, and a size 90/14 or 100/16
placing the fold line at the lower edge of the pattern sewing machine needle.
on a crosswise fold. Self-lined skirts generally hang • Add welting to any seams that will be subjected
better than single-layer skirts with a hem. to stress and wear. Welting can also be added for
• Mark names of pieces on wrong side of fabric and decorative detail to seams such as around the
transfer all markings, including notches and dots. outside back and the upper edge of the skirt.
Fitted Slipcover Cutting Guide ▸

Length Width
All Slipcover Pieces See pattern See pattern.

Tacking strip (cut on straight grain) Circumference of chair at upper edge of skirt 3"
■ How to Sew a Fitted Slipcover

1 2
Stitch darts at the upper corners of the inside back. If Stitch darts at the outer front corners of the deck; stop
welting is desired, apply it to the upper front edges of the stitching ½" from the raw edges at the inner corner.
outside arm, pivoting at the corner.
(continued)
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3 4
Stitch the deck to the front of the arm and the inside arm; Pin pleats in place at the front and back of the arm. Check
this can be stitched as two separate seams. the fit over the arm of the chair. Baste in place on seam line.
5 6
A
A
Stitch the horizontal and vertical seams, joining the Pin the inside arms to inside back on both sides (A). Pin
outside arm to the inside arm; pivot at corner. lower edge of the inside back to back edge of the deck (B).
Make tucks in seams at the corners, if necessary, so pieces fit
together. Stitch seams.
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7 8 9
Apply welting around the sides and Press pleats for the pleated skirt. Pin the tacking strip to the upper
upper edge of the slipcover unit; curve For a gathered skirt, stitch gathering edge of the skirt on the wrong side.
ends of the welting into seam allowance stitches by zigzagging over a cord; Join the skirt to adjoining pieces; for
1
⁄2" from the lower edges (arrow). Join for a skirt with bunched gathers, a gathered skirt, pull the gathering
slipcover unit to outside back, leaving stitch gathering stitches between the threads together to fit. Insert the zipper
the seam open for zipper application. markings. (page 322) and sew cushion covers
Apply welting to the lower edge. Stitch (page 272).
skirt pieces together, leaving the seam
at the back corner unstitched for the
zipper; press seams open. Fold the skirt
in half lengthwise, wrong sides together
and press.
10 11
Apply the slipcover to the chair. Secure the tacking strip to Push extra fabric allowance into crevices around the deck
the chair by pinning into upholstery with T-pins. and inside back. Stuff 2" strips of polyurethane foam into
crevices around the deck to keep fabric from pulling out. Insert
the cushions.
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Sewing a Fitted Slipcover with a Front Arm Piece ▸
Stitch darts at the upper corners Stitch the front arm piece to the Follow steps 2 and 3 on page 319
of the inside back. Apply welting to front edge of the inside/outside arm; to 320. Pin the pleats in place at the
the upper edge of the inside arm, if stop stitching 2" from the outer end back of the arm; baste in place on
desired. Stitch the horizontal seam, of the front arm piece. the seam line. Complete the vertical
joining the outside arm to the inside seam at the front edge of the outside
arm. Pin and baste tucks at the front arm. Finish the slipcover as in steps
edge of the inside/outside arm. 6 to 11 on page 320 to 321.
■ How to Add a Zipper to a Slipcover

1 2
Pull the cording out slightly from the ends of the skirt Press under the seam allowances on the zipper opening.
opening; trim off the ends 1". Pull the seam to return the Place the open zipper on the welted side of the seam, so the
cording to its original position. welting just covers the zipper teeth and with the zipper tab
at the lower edge. Pin in place; fold in the seam allowance
at the lower edge of the skirt to miter. Fold up the end of the
zipper tape.
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3 4
Edgestitch on the skirt using a zipper foot, with the zipper Close the zipper. Place the remaining side of the zipper
teeth positioned close to the folded edge. Stitch in the ditch of under the seam allowance, with the folded edge at the welted
the welted seam. seam line. Pin in place; fold in the seam allowance at the lower
edge of the skirt to miter. Fold up the end of the zipper tape.
5 Pleated Skirt ▸
Break the stitching at the upper edge of the skirt.

On the skirt, stitch through the lower layer of the box
pleat; stitch as close as possible to the seam at the
Open the zipper. Stitch 3⁄8" from the folded edge, pivoting at upper edge of the skirt.
the top of the zipper.
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Futon Slipcover
F utons are wonderfully practical, especially for

small spaces. With the addition of this simple
slipcover, your futon can complement your décor
as well. Use flat cotton sheets or decorator fabric to
stitch together this practical fitted cover.

Two cotton sheets Zipper tape
the same size as Zipper pull
the mattress, or 3
⁄4"-wide Futons are a comfortable addition to guest rooms, vacation
decorator fabric transparent tape homes, basements, and small spaces. Dress them up with a
slipcover to match your room’s décor.
Futon Slipcover Cutting Guide ▸

Length Width
Front/Back Piece (2) Length of futon mattress + 1" Width of futon mattress + 1"
Boxing Strip Length of futon mattress + 1" Width of futon mattress + 1"
Zipper Tab 4" Width of boxing strip
Long Zipper Strip (2) Length of futon mattress + 1" Width of boxing strip ÷ 2 + 1½"
Short Zipper Strip (4) Length of mattress end + 1" Width of boxing strip ÷ 2 + 1¼"
Zipper Tape Length of mattress end × 2 + length of mattress side + 1"
■ How to Sew a Futon Cover

Stitch one short zipper strip to each
1 end of one long zipper strip, right sides
together, with ½" seams. Stitch from raw
edge to ½" from the opposite edge. Finish
seams,using a zigzag stitch or serging;
press open. Repeat, using the remaining
short and long zipper strips.
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2 3 4
Place the zipper strips right sides Fold the strip in half, right sides Press the zipper tab in half, wrong
together, matching the raw edges and together, with one seam allowance sides together. Open the zipper about
seams. Machine-baste ¾" from the long extending. Place the closed zipper 2". At the top end of the zipper, place
edge, where stitching of the end seams facedown over seam allowances, with the tap over the zipper strip, right sides
extends to the raw edge. Finish seams; the teeth centered on the seamline up; stitch across the end ½" from the
press open. and the ends of the zipper tape even raw edges, stitching carefully over the
with the ends of the strip. Machine- zipper teeth.
baste the zipper tape to the extended
seam allowance. Unfold. Center a strip
of transparent tape over the seam
line. Stitch on both sides of the tape,
securing the zipper. Remove the tape
and basting stitches.
5 6 7
Stitch the ends of the boxing strip Pin the boxing strip to the futon Open the zipper; turn the futon cover
to the ends of the zipper strip, right cover front, right sides together, right side out. Insert the futon mattress;
sides together with ½" seams. Start and matching seams to corners. With close the zipper, hiding the zipper pull
stop ½" from the raw edges. Finish the the boxing strip face-up, stitch a ½" under the tab.
seams and press open. seam, pivoting at the corners. Pin the
opposite side of the boxing strip to the
futon cover back, right sides together,
matching seams to corners; stitch.
Finish remaining seams.
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Furniture
Refinishing
R efinishing furniture pieces not only improves
the appearance and value of rare, well-loved, or
rescued furniture, but it can also be a fun hobby.
The techniques described in this chapter are easy to
master, but will require time, patience, and diligent
attention to detail for a truly excellent end result.
Always spend time stripping, sanding, and preparing
the surface, as well as making any minor repairs,
before you apply the final stain or paint color. If you
spend time preparing your piece, you will not be
disappointed with the final result. A unique furniture
piece with a professional, high-quality surface has
lasting appeal and can add immense character, spark,
and sophistication to your living spaces.
In this chapter:
• Heat Stripping • Faux Leather Finish
• Chemical Stripping • Photo Montage Table
• Surface Prep • Spray-painting
• Stain & Top Coat Metal Furniture
• Painting Furniture • Painting Radiators
■ 327
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Heat Stripping
B efore painting or refinishing, wood should be

cleaned, repaired, and sanded. If the old paint
is heavily layered or badly chipped, it should also be
Heat-Stripping Tip ▸
stripped before the wood is repainted. Using heat to
strip an old finish is safe and effective; heat encourages
paint to blister and pull away from the wood so it can
easily be scraped away with a putty knife. You just need
to use the proper techniques and safety measures.
An electric heat gun looks much like a hand-
held hair dryer and forces a stream of hot air against
the piece. This stripping technique works best when
stripping multiple layers of paint but can also be
used on thick layers of varnish, lacquer, and other top
coats. If you plan to use a chemical stripper, you may
A heat shield keeps the heat gun from damaging
want to heat strip the wood first—you’ll use less of or blistering the finish on surrounding areas. For a
the chemical stripper if you do. Never use a heat gun shield, use a piece of sheet metal or cover cardboard
after using chemical strippers, however. The chemical with heavy-duty aluminum foil.
residue could become vaporized or ignited by the heat.

Heat gun Heavy-gauge extension cord Goggles Aluminum foil
Putty knife Fire extinguisher Work gloves Cardboard
Assorted scrapers Coffee can
Heat stripping can scorch the wood if applied unevenly—watch the painted surface carefully. If the paint looks gummy, it may be
becoming overheated.
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■ How to Heat-strip Paint
1 2
Scrape off all loose paint flakes using a paint scraper. Hold Follow the heat gun with a metal scraper. Hold the scraper
the heat gun about 2" above the surface, and then turn it on, at about a 30° angle, and move both the scraper and the
starting at the lowest setting. Move the gun in a circular motion heat gun at the same speed. (Always move the heat gun in a
until the paint begins to blister. If the paint doesn’t blister, try circular motion.) Strip all the large, flat surfaces. Deposit the
the next higher heat setting. ribbons of paint in a coffee can or other heat-proof container.
3 4
Heat strip the contoured and uneven areas using Dry scrape all wood surfaces to remove any remaining
specialty scrapers, where needed, to remove the loosened loosened paint flecks after you are done heat stripping. In most
paint. Do not overheat or use too much pressure around cases, you will need to use chemical solvents or strippers to
detailed areas—they are more vulnerable to scorching and remove the rest of the finish.
gouging than flat areas.
Furniture Refinishing ■ 329
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Chemical Stripping
C hemical solvents are fast and thorough. They

can remove just about any finish material, from
varnish to polyurethane or paint. Before choosing
a solvent or stripper, identify the old finish type.
Remember that most finishes are composed of several
layers; try to select a chemical that is effective on the
materials in all of the layers.
The primary solvents used for stripping are
mineral spirits, denatured alcohol, and lacquer
thinner. These chemicals are inexpensive and
relatively safe, so use them instead of commercial
strippers whenever possible. Many commercial
strippers and older strippers contain hazardous
chemicals, and will require you to wear a respirator
and other protective equipment when in use. These
strippers are very effective but always follow the
recommended precautions and try to use a less
abrasive product if you can. Newer products without
hazardous chemicals dissolve most finishes with far
less risk, although they work somewhat slower than
their more hazardous counterparts.

Paintbrushes
Putty knife
Assorted scrapers
Safety equipment
Stripper or solvent
Medium abrasive pads
Newspapers and rags
Sawdust
Rinsing agent
Refinishing Safety Tip ▸

Protect yourself and your home, and help ensure
good finishing results by using sensible safety,
cleanup, and disposal methods. Contact your local
city office or the Environmental Protection Agency
(page 444) for disposal regulations. Also see "Safety Chemical stripper dissolves thick finishes so they can be
Equipment" on page 346. wiped or scraped off easily. Coarse abrasive pads are effective
removal tools for contours.
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■ How to Chemically Strip a Finish
1 2 3
Pour some stripper into a small, Wearing rubbers gloves (and a Let the stripper work for the length
easy-to-use container (no more than respirator if the label advises you to use of time suggested by the manufacturer.
you can use in 15 minutes). Read the one), apply a thick coat of stripper to the Remove the sludge with a putty knife
label and select a brush for applying workpiece, beginning at the top of the or stripping knife, and deposit it on old
the stripper—most brands can be project and working down from there. newspapers. Tip: Just before you start
applied with inexpensive polyester- Do not overbrush the stripper. to scrape away the sludge, sprinkle
bristle brushes. sawdust on the stripper to make it
easier to remove.
4 5 6
Strip the detailed and contoured areas, Apply a thin coat of stripper to the Clean the wood with a medium
using specialty scrapers and abrasive wood, and then scrub off any remaining abrasive pad dipped in the rinsing
pads to remove the sludge. Use light finish, using a synthetic-bristle stripping agent recommended by the stripper
pressure on the scrapers so you do not brush or medium abrasive pads. manufacturer (often denatured alcohol).
gouge the wood. This removes most traces of the finish
and the stripper.
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Surface Prep
S urface preparation ensures an even, high-quality

finish. Finish sand with progressively finer grits of
sandpaper, starting with 150-grit. Generally, hardwood
requires finer-grit sandpaper than soft wood. To
speed up the process, use a power sander for the first
stages of the sanding, then switch to hand sanding to
complete the process.
Finish sanding alone creates a smooth surface,
but because wood absorbs stain at different rates,
the color can be blotchy and dark. Sealing wood
with sanding sealer evens out the stain-absorption
rates and yields a lighter, more even finish. Filling
the grain creates a finish that feels as smooth as
it looks.

Fine-grit sandpaper Putty knife
Power sander Grain filler
Sanding blocks Plastic scraper Use sanding sealer or grain filler for a fine finish. Finish
Rags Mineral spirits sanding alone (left) can leave a blotchy surface, but sanding
Abrasive pad sealer (center) plus grain filler (right) give progressively
finer finishes.
Using Sanding Sealer ▸

Make your own sanding sealer by
blending one part clear top coat material
(not water based) with one part top coat
solvent. Use the same top coat material
you plan to apply to the project. Wipe on
a heavy coat of the sealer, then wipe off
the excess after a few minutes. When dry,
sand lightly with 200-grit sandpaper.
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■ How to Finish Sand
1 2 3
Finish sand all surfaces with 150-grit Raise the wood grain by dampening Use sanding blocks to hand sand
sandpaper, following the direction of the surface with a wet rag. Let the wood the entire workpiece with the finest-
the grain. Use a finishing sander on flat dry, then skim the surface with a fine grit paper in the sanding sequence.
surfaces and specialty sanding blocks abrasive pad, following the grain. Sand until all sanding marks are gone
on contours. When sanding hardwood, and the surface is smooth. (Use bright
switch to 180-grit paper and sand again. sidelighting to check your progress.) If
using sanding sealer, do that now.
■ How to Apply Grain Filler

1 2 3
After finish sanding, use a rag or Remove excess filler by drawing a Lightly hand sand the surface,
putty knife to spread a coat of grain filler plastic scraper across the grain of the following the direction of the grain, with
onto the wood surface. With a polishing wood at a 45° angle. Let the grain filler 320-grit sandpaper. Finally, dampen a
motion, work the filler into the grain. dry overnight. clean cloth with mineral spirits and use
Let the filler dry until it becomes cloudy it to thoroughly clean the surface.
(usually about 5 minutes).
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Stain & Top Coat
A pplying stain shows off a fine or distinctive grain

pattern and creates a beautiful wood tone. Stain
and penetrating oil, the two most basic coloring
For both the stain and top coat you choose, pay
careful attention to drying times, safety advisories,
application techniques and cleanup methods on
agents, also help conceal uneven coloration and can the product label, as these aspects vary greatly from
blend different wood types on the same piece. When product to product.
selecting a coloring agent, consider oil-based stains,
water-based stains, wipe-on gel stains, penetrating
oils, and one-step stain-and-sealant products. To sort
through the options, start by finding a color you like,
and then read the label to determine if it’s the best Tools & Materials ▸
product for your project and that it is compatible with
the top coat you’d like to use. Protective gloves Stiff-bristled brush
Top coats seal the wood and protect the finish from Penetrating oil Mineral spirits
scratches and other wear as they highlight the coloring Staining cloths Polyurethane
of the wood. For most projects, a top coat of tung oil, Soft buffing cloth 600-grit wet/dry
polyurethane, or paste wax will protect the wood and Fine abrasive pad sandpaper
give it the appearance you want. When choosing the Liquid stain Paste wax
best top coat for you, consider durability, sheen, and Paintbrush
compatibility with the stain color you’ve selected.
Masking Discoloration ▸
Evening out the color with dark stain is easier

than trying to sand out discolorations. Because stain
A well-chosen, properly applied color layer and protective forms a more opaque color layer than penetrating
top coat will highlight the natural beauty and prolong the life of oil, it’s generally a better product for covering
your furniture. Regularly dust and maintain the furniture and it wood problems.
will serve you for life.
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■ How to Use Penetrating Oil
1 2 3
Apply a heavy coat of penetrating oil Wipe the surface dry with a clean Dab a few drops of penetrating oil
to all prepared surfaces using a staining cloth, rubbing with the wood grain. onto a fine abrasive pad, then rub the
cloth. Wait 15 to 30 minutes, recoating Apply another coat of oil with a clean surfaces until smooth. Let the oil dry for
any areas that begin to dry out. Apply cloth, then let the oil dry overnight. at least 72 hours before applying a top
oil to all surfaces, and let it soak into the Note: Two coats are sufficient in most coat. If you do not plan to top coat the
wood for 30 to 60 minutes. cases, since further coats will not finish, buff with a soft cloth to harden
darken the finish color. the oil finish.
■ How to Apply Liquid Stain

1 2
Stir the stain thoroughly and apply a heavy coat with a Remove the excess stain with a clean, lint-free cloth. Wipe
brush or cloth. Stir the stain often as you work. Let the stain against the grain first, then with the grain. If the color is too
soak in according to manufacturer’s instructions. dark, try scrubbing the surface with water or mineral spirits.
Let the stain dry, then buff with a fine abrasive pad. Repeat
with light coats of stain until the desired color is achieved. Buff
between coats and after the final coat.
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■ How to Apply Gel Stain
1 2
Stir the stain, then work it into the surfaces of the workpiece Let the stain soak in according to manufacturer’s directions,
with a staining cloth, rubbing in a circular motion. Recoat any then wipe off excess with a clean rag using a polishing motion.
areas that dry out as you work and cover as much of the piece Buff the stained surface with the wood grain using a soft, clean
as possible. Use a stiff-bristled brush, such as a stencil brush, cloth. Apply additional coats until the desired color has been
to apply the gel in hard-to-reach areas (inset). achieved; three coats are typically recommended. Let the stain
dry, then buff the piece with a fine abrasive pad.
■ How to Apply Polyurethane Top Coat

1 2 3
Seal unstained wood with a 1:1 Apply a coat of polyurethane, Apply the second coat. To keep
mixture of polyurethane and water or starting at the top of the project and the finish from running, always try to
mineral spirits (check the product label working your way down. When the position the workpiece so the surface
for its recommendation). Apply the surface is covered, smooth out the being top coated is horizontal.
sealer with a clean cloth or brush and finish by lightly brushing in one direction
let it dry. Wipe off excess sealer using only, parallel to the grain. Let dry, then
a clean cloth. Note: If you used stain or sand the surface with 600-grit wet/
penetrating oil to color your piece, skip dry sandpaper.
this step.
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■ How to Apply Paste Wax
1 2 3
Apply a moderate layer of paste wax Allow the wax to dry until it becomes Begin buffing the wax with a soft
to the wood using a fine abrasive pad or filmy in spots. Gently wipe off any cloth using a light, circular motion. Buff
a cloth. Rub the wax into the wood with excess, undried wax, and then allow the the entire surface until the filminess
a polishing motion. remaining wax to dry until filmy (usually disappears and the wax is clear.
within 10 to 20 minutes). Note: Do not Continue buffing the wax until the
let the wax dry too long or it will harden surface is hard and shiny. Apply and buff
and become very difficult to buff. another coat, then let the wax dry for at
least 24 hours before applying additional
coats. Three coats are recommended
for a fine finish.
■ How to Apply Tung Oil

1 2
Apply a thick coat of tung oil with a cloth or brush. Let the After 24 hours, buff the tung oil with a clean cloth, and
tung oil penetrate for 5 to 10 minutes, then rub off the excess then reapply additional coats as necessary to build the finish.
with a cloth using a polishing motion. (Three coats are generally considered the minimum for a good
finish.) Use a clean cloth to apply each coat.
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Painting Furniture
T he key to a beautiful painted finish is detailed

surface preparation, so spend time sanding your
piece to a fine finish, making any small repairs, and
filling any nicks or dents with wood putty before Extra fine-grit
you begin. For a truly professional finish, sand after and fine-grit sandpaper
priming and between coats as well. Use a power sander Extra fine sanding sponge
for large surfaces and plan to hand sand detailed areas. 2" paintbrush
After initial sanding, apply a high-quality primer as Tack cloth
your first coat. If you will be painting your piece a bold Latex primer
color, ask your retailer about tinting the primer—this Semigloss latex paint
may result in fewer coats of your final paint color later Polyurethane spray
on. Finally, apply several coats of high-quality paint for
a shined-up, refreshed, good-as-new piece.
Sanding Tip ▸
To check a sanded surface for flaws, shine a bright
light sideways over the piece and run your hands
over the surface, feeling for flaws that can’t be seen.
A coat of paint can unlock the potential of an old or

neglected table or chair, transforming it in a matter of hours.
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■ How to Paint a Furniture Piece
1 2 3
Sand the piece thoroughly using Apply the first coat of primer and let Lightly sand the surface using an
fine-grit sandpaper. Switch to the extra it dry overnight. extra fine-grit sanding sponge. Wipe the
fine-grit paper and sand again. Wipe piece down with a tack cloth and apply
away the sanding dust with a tack cloth. a second coat of primer. Let the second
coat of primer dry overnight.
4 5
Brush the first coat of paint onto the piece and let it dry. Spray a light coat of polyurethane onto the entire piece
Sand the piece using the extra fine sandpaper. Wipe away the and let it dry thoroughly. Add a second coat and let it dry.
sanding residue with a tack cloth. Apply a second coat of paint
and let it dry.
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Faux Leather Finish
E legant and easy, this finish works well as an inlay

on large tables or desktops and complements both
painted and stained surfaces. Leather hides tend to be
smaller than 19 × 30", so inlays with dimensions smaller
1
⁄2"-wide painter’s tape
than that most successfully mimic real leather. Color 3" painter’s paper
variations in tanned leather range from reddish Cordova Flat oil-based paint, brown
to a deep brown/black. Experiment with different latex Flat oil-based paint, golden brown
paints and mediums to create this finish, but the oil (for base coat)
glaze is an essential component and gives the finish a Alkyd glazing liquid
richness that the latex just cannot quite achieve. Paint thinner
Apply the faux leather finish to the entire project 3"-wide flat oil paintbrush
piece, allowing the tape lines to form panels, or use 3" Newspaper
painter’s paper to protect the outer surface to create 90-weight, 24" cheesecloth
an inlaid look. Use a clear ruler and T-square to keep
your tape lines straight when planning out your panels.
To begin, basecoat the project or inlay surface
with a paint color that is about 50 percent lighter than
your glaze color. Allow it to dry, then apply tape lines
where they’d best help to frame your panels.
Leather colors range from reds to warm black; although the table shown here was painted in brown tones, your choice of
colors for this finish is quite broad.
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■ How to Apply a Faux Leather Finish
1 2
Mix a glaze using one part brown paint, one part glazing While the glaze is still wet, smoothly lay the sheet of
liquid, and one part paint thinner. After the basecoat has dried, newspaper onto the glazed surface. Keep the newspaper
use a paintbrush to apply glaze to the entire project surface. flat. Lift the paper, then replace it on the project surface
overlapping the first area slightly and avoiding right angles.
Repeat this process over the entire surface.
3 4
While the glaze is still wet, soften some of the edge lines Top coat the surface with one or two coats of wax.
by patting with the smooth side of a cheesecloth wad. Soften For greater protection, apply a satin oil-based varnish
the lines and fold the texture into the finish. Allow the paint to before waxing.
dry, then remove the tape.
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Photo Montage Table
D isplay your photos proudly as a creative,

professional-grade finish on a desk or tabletop!
This technique is not decoupage but a modern
application of paper to a piece of furniture. Whether Flat latex paint, black
following a theme or choosing random much-loved Matte finish photo-grade
photos, your work is sure to be a conversation piece. A computer printing paper
computer, a basic photo-editing program, and a printer Wallpaper cutting blade
will enable you to manipulate the size and color of the Metal straightedge or ruler
images, but photocopies can be used as long as they White chalk
are produced on matte-finsh photo-grade paper. Painter’s masking tape
When working with photographic images, never 18 × 24" acid-free artist sketchbook pad
use your originals. Store them in a safe place and use Spray adhesive
reproductions for this project. For best results, print Wax paper
your images on matte-finish photo-grade computer Rubber roller
printing paper, or send them to a professional Satin oil-based varnish
photo printer.
A photo montage table or chair can be

the perfect accent to add spice and artistic
interest to any space in your home.
Composition Tip ▸
To help you arrange a pleasing composition on your piece, draw two diagonal lines with chalk to find the center
intersection of the surface. Work off the center for a balanced composition. Also, determine which photos will be placed
portrait or landscape, then size and crop photos appropriately before printing.
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■ How to Make a Photo Montage Table
1 2
Basecoat the project surface with the black paint. Trim Place a number of images on the surface and move them
the white borders from all images using the cutting blade and around until you find a pleasing composition, holding images
a straightedge. in place temporarily with a small loop of painter’s tape. When
your composition is complete, lift one image and lay it back
side up on a clean sketchbook page. Lightly apply an even coat
of spray adhesive across the entire back. Place the image in its
final position carefully, for you will not be able to reposition it.
3 4
Place a sheet of wax paper over the image. Roll it smooth Top coat with one or two coats of satin oil-based varnish.
using the rubber roller and flatten any bubbles or air pockets. When applying varnish, the photo paper may bubble. Not to
Smooth with clean fingers, if necessary. Repeat adhering and worry—just press the image flat with a fingertip once the
rolling procedure for all images. Allow the surface to dry for varnish is dry.
24 hours.
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Spray-painting Metal Furniture
S pray-painting metal furniture can help unmatched

pieces coordinate and bring new life to old pieces.
Spray paint is available in a wide variety of colors,
styles, and finishes, and there’s certainly a color or
finish perfect for your furniture. As with every other
painting project, preparation is the most important
aspect of spray-painting. Spray paint adheres best to
clean, rough surfaces, so cleaning is the first and most
important step in this project. For best results, shake
the can and clean the nozzle often and maintain a
distance of about 12" to ensure a smooth, even spray.
Also, it’s important to spray-paint in a well-
ventilated space. When concentrated, paint fumes are
both dangerous to breathe and flammable.

Drop cloths Mineral spirits
Spray primer Wire brush There are many spray paint options for metal furniture—
Spray paint Newspaper consider brush-on, crackle, stone, hammered metal, and suede
effects in several shades.
HVLP (High Volume Low Pressure) Sprayers ▸
Turbine-driven HVLP sprayers Compressor-driven HVLP sprayers Gravity feed HVLP spray guns have
have a self-contained turbine are supplied by an air compressor, a small finish cup that’s mounted at
blower that supplies a large volume usually at least 3 hp and 20 gal. in size. the top of the gun so it flows down
of uncompressed air through the They function similarly to turbine- into the nozzle unassisted. Guns with
sprayer nozzle, atomizing the finish style models, except the product is bottom-mounted cups rely on suction
material and dispensing it in a soft, not warmed up (which can cause the created by the sprayer turbine or
manageable mist. finish to dry too quickly). comrpessor to siphon the material up
and into the nozzle.
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■ How to Spray-Paint Metal Furniture
1 2
Remove any hardware and dismantle furniture, then Scrape away rust and loose paint with a wire brush. Wipe
wash thoroughly with a scrub brush and mild detergent. Rinse down all pieces with mineral spirits and inspect for any surface
and allow to dry completely. bubbles. Use a putty knife to scrape bubbles away, then brush
the surface for a second time and continue to wipe with
mineral spirits until your rag stops picking up grime.
3 4
Spray a very light coat of primer using a wide-spray nozzle After the primer has cured, apply the first coat of paint.
attachment to the can. Bear in mind that the primer is meant Shake the can well before you start and hold it about 12" away
to create a rough surface that will be easy for the final coat while you spray, cleaning the nozzle periodically. Allow the first
to adhere to. Shake the can and hold about 12" away while coat to dry, then reapply additional coats as necessary. After
you spray. Clean the nozzle every few minutes according to your final coat has dried, reassemble your piece.
the manufacturer’s directions. Let the primer dry, then apply a
second coat.
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Painting Radiators
P ainting radiators can help these ornate,

functional pieces add decorative flair, as well
as warmth, to your décor. Before you prepare the
surface, remember that many radiators are old
enough that they could be coated with lead paint, so
always test for lead before beginning this project. If
tests indicate the presence of lead, consult a lead-
abatement expert, and do not attempt to paint the
radiator yourself.
Top-of-the-line interior eggshell, satin finish latex
paint, or high heat-resistant paint can all be used
for this project. Before you begin, make sure your
radiator is clean and grease free and has a slightly
rough surface. Also, radiators should be warm, rather
than hot or cold, while being painted, and should be
allowed to remain cool for 2 to 3 hours after painting.
Take on this project in late spring or early fall, when
the heating system in your home won’t be necessary. A new coat of paint can help coordinate a radiator with the rest
of the room, rescue it from shabbiness, or turn it into a showpiece.

Drop cloths Tack cloth Scrub brush Bendable paint pad
Latex paint Lead-testing kit Painter’s tape 11⁄2" tapered paintbrush
Plastic sheeting
Safety Equipment ▸
Basic safety equipment for the
Eye wash kit work area includes a fully charged fire
Smoke detector
extinguisher rated for type A and B fires,
a smoke detector, a first aid kit, an eye
wash kit, disposable latex gloves, and a
Disposable
gloves telephone for emergency use.
Telephone
First aid kit
Fire extinguisher
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■ How to Paint a Radiator
1 2 3
Use a lead-testing kit, following the Wash the radiator using a scrub Scrape away loose paint using a wire
manufacturer’s instructions, to test the brush and mild detergent. Rinse the brush. Sand the surface of the radiator,
paint on the radiator. If test indicates radiator with clear water and allow it to paying special attention to areas where
the presence of lead, stop and consult a dry completely. the old paint is cracking or peeling. Wipe
lead-abatement specialist. If lead is not the surface with a tack cloth to remove
detected, prepare your work area with sanding dust and debris.
drop cloths and plastic sheeting.
Turn on the radiator until the surface is slightly warm. Apply Variation: Heat resistant paint is designed to resist heat as
paint using long, smooth strokes. Use a bendable painting pad high as 2,000°. This type of paint comes in spray cans, which
to reach the back of the radiator fins (inset). Do not run the makes it easy to apply. Always apply two coats of sprayed
furnace for 2 to 3 hours after the paint is dry. paint for best adherence, cleaning the nozzle regularly and
holding the can about 12" away from surface.
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Window
Treatments
W indow treatments can transform a room from
an architecturally stunning, well-decorated
space to a complete, inviting corner of your home
by softly framing windows, accenting decorating
colors, and reflecting your personality. Hundreds of
window treatment styles are available, and each can
be customized to fit your style. Select coordinating
decorator fabric, add trim and hardware, and mix
and match over- and under-treatments for the best
marriage of form and function in each room.
Protect your privacy, control light, and insulate
rooms from heat and cold while you add a splash of
color, a sweep of elegance, or draped sophistication to
your windows with any of the following projects.
In this chapter:
• Window Treatment Basics • Loop-tab Curtains
• Window Treatment Styles • Rod-pocket Curtains
• Blinds & Shades • Tent-flap Curtains
• Window Shade Styles • Tie-top Curtains
• Roller Shades • Drapery Styles
• Roller Shade • Pinch-pleated Draperies
with Tabbed Hems • Drapery Lining
• Coach Shades • Valance Styles
• Flat Roman Shades • Buttoned Valance
• Butterfly Shades • Cloud Valance
• Cloud Shades • Upholstered Valance
• Balloon Shades • Hanging Shelf Valance
• Curtain Styles • Swag Styles
• Hanging Curtains • Scarf Swag
• Draped • Bias Swag
Window Treatments • Rod-pocket Swag
• No-sew Side Panels • Stained Glass
• Basic Curtains • Frosted Glass
• Grommet Curtains • Shoji-style Screen
■ 349
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Top of rod
Window Treatment
Basics
B efore you design new window treatments, always

take accurate measurements of the window
to determine the amount of fabric you’ll need to
Inside
purchase. First, choose the style of your treatment, the

installation type, and determine the type of hardware Outside
you’ll need. Then, take careful measurements of your

window, including space for mounting hardware,
to estimate the yardage of fabric you’ll need. Once
you have this basic information gathered, you’ll be
well prepared to make custom window treatments in
Apron length
Floor length
Sill length
any style.
■ Measuring Windows
Measure the window to determine the finished length
and width of the treatment. These measurements will
help you determine the cut length and width, which
is the finished measurement plus the amount of
fabric needed for hems, rod pockets, seams, matching
repeats, and fullness.
Finished Length: Top of the heading or rod
pocket to bottom of the hem.
Finished Width: Width of the rod plus returns
and overlap for draperies.
Curtains and draperies can be sill length, apron
length, or floor length. For good proportion, valances
and swags are often one-fifth the length of the
window or the completed window treatment. Swags
are usually one- or two-thirds the length of the
Always measure and record the measurements for each
window. Whatever your desired measurement, avoid window you plan to dress, even if windows appear to be the
dividing any window directly in half with a window same size. Use a folding ruler or metal tape for measuring;
treatment. cloth tapes may stretch or sag.
Measuring Tips ▸
• For floor-length draperies, allow 1⁄2" clearance between the bottom of the drapery and the floor.
• For loosely woven fabrics, allow 1" clearance to allow extra room for stretching.
• If you have baseboard heaters, allow 4 to 6" drapery clearance above heaters for safety.
• If carpeting has not yet been installed, allow 21⁄2" clearance.
• If windows are varying heights in one room, use the highest window as the standard for measuring others.
Place all draperies in the room at the same height from the floor, if possible.
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■ Estimating Yardage
Fabric widths vary, so wait to calculate yardage until
you have selected your fabric. After you take the Estimating Yardage ▸
necessary measurements and determine the finished
Cut Length in.
size of the treatment, calculate the cut length and
width of the project. For fabrics not requiring pattern match
To determine the cut length, add the amount of 1) Finished length
fabric needed for lower hems, rod pockets, headings, 2) Double-fold bottom hem +
and pattern repeat to the finished length:
3) Rod pocket/heading +
Lower hems: Because many lower hems are
doubled, add double the desired finished hem length. 4) Cut length for each width or part width =
For medium-weight fabrics, add 8" to make a 4" hem.
For sheer or lightweight fabrics, add 11 to 12" for a 5 For fabrics requiring pattern match
to 6" hem. For short curtains or valances, add 2 to 6" 1) Cut length (see above)
for a 1 to 3" hem.
2) Size of pattern repeat (distance between motifs) ÷
Rod pockets and headings: For rod pockets
3) Number of repeats needed* =
with no headings, add an amount equal to the
diameter of the rod plus ½" to turn under and ¼ to 4) Cut length for each width or part width:
1" ease, depending upon the thickness of the fabric multiply size of repeat by number of repeats needed
and the size of the rod. Lightweight fabrics require
less ease; rod pockets for large rods require more. For Cut Width
rod pockets with headings, add twice the depth of the
1) Finished width
heading to the rod pocket measurement.
2) Fullness (how many times the finished width) ×
Pattern repeat: Prints must match across the
width of the panels. Measure the distance between 3) Width times fullness =
motifs and add that amount to the cut length of 4) Double-fold side hems +
each panel. 5) Total width needed =
6) Width of fabric
To determine the cut width, add the amount
7) Number of fabric widths:
needed for seams, side hems, and fullness to the
total width needed divided by width of fabric*
finished width:
Seams: For multiwidth panels, add 1" for each
seam. If your panel is not wider than the fabric, you Total Fabric Needed
will not require extra fabric for seams. 1) Cut length (see above)
Side hems: Add 6" per panel for a 1½" double- 2) Number of fabric widths (see above) ×
fold hem on each side of the panel.
3) Total fabric length =
Fullness: Fabric weight determines fullness. For
lace and medium-weight to heavyweight fabrics, use 4) Number of yd. needed: yd.
2 to 2½ times the finished width of the curtain. For total fabric length divided by 36"
sheer and lightweight fabrics, use 2½ to 3 times the
finished width. For wide sheers, which can be railroaded
1) Finished width times 3 (fullness) ×
Make a copy of the chart at right and fill it in to
2) Number of yd. needed: yd.
help determine the yardage needed for your window
Total width needed divided by 36"
treatment project. If you are working on draperies
(with lining), see pages 402 to 403.
* For fabrics requiring pattern match, see page 28.
Window Treatments ■ 351
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Window Treatment Styles
W indow treatments infuse a room with color,

pattern, and personality. They also provide
privacy, control light, conserve heat, minimize
There are hundreds of variations on each window
treatment style, depending on the fabric and
combination you choose to best suit your home and
noise, and obscure or draw attention to a view. personal style. Also see pages 361, 379, 401, 411, 425.
Side view
Rod-pocket curtain at floor length

Rod-pocket curtain with tiebacks
Tab-top curtains
Curtains are straight fabric panels, usually unlined, that hang on the sides of the window. Change up your curtains by choosing a
creative heading or layering them over window shades or under a top treatment. Lightweight cottons, cotton/polyester blends, and
some fashion fabrics are a good choice for curtains.
Pinch Pleat Goblet Pleat Inverted Box Pleat
Draperies are long, straight fabric panels with pleated headings that are almost always lined. Draperies are hung from drapery
hooks, usually on traversing rods, which makes them easy to open and close. Medium-weight to heavyweight cottons and formal
fabrics, such as damask, toile, antique satin, and brocade work well for draperies.
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Roller shade Roman shade Balloon shade Padded cornice
Fabric shades are mounted inside or outside the window Valances are window toppers that hang alone or over
frame and are used to block or filter light. They can be flat, curtains, draperies, or shades, cleverly camouflaging mounting
gathered, or pleated, and they are generally raised from the hardware. Valances can be made in a variety of styles to best
bottom by pulling a cord. Use firmly woven cloth for flat shades match your décor; choose fabric that will work best for the
and soft, drapable fabric for gathered shades. valance style and formality of the room.
Freeform Scarf Swag Bias Swag
Swags are pleated or draped to hang across the top of a window, and they are usually lined because both sides are part of the
design. Soft, drapable fabrics, such as lace, silk, or linen drape beautifully as swags.
Window Treatment Hardware ▸
Curtain rods work well for rod-pocket window Decorative rods are made of a variety of materials and
treatments or for any treatment that will cover most of are often sold in kits that include brackets, finials, and
the rod. These rods are functional, not decorative and rings. These rods are meant to be seen—pair them with
don’t allow you to easily open and close curtains. treatments that will showcase their material and styling.
Hang window treatments from decorative rods with pleat
hooks, fabric tabs, ribbons, grommets, rings, or clips—
depending on the best look for your room.
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Blinds & Shades
H orizontal blinds and shades can be opened or closed

with the push of a button or a tug of a cord. They
also help control the amount of light that is filtered into
a room, and they can help insulate a room against heat Shade or blind Wall anchors
or cold. The key to easy blind or shade installation is Tape measure Hanger brackets
careful measurement and good preparation. Drill Screws
Blinds or shades can be mounted inside or outside Stud finder
of the window frame on the hardware provided with
the item. Custom shades or blinds are often installed
on mounting boards, which are covered and custom-
cut to fit your project.
Mounting Styles ▸
First, decide if the new shade or blind will be placed
inside or outside of the window frame. For an inside
mount (shown), install the hardware inside the top
of the window frame so the molding is exposed; this
is a good choice when you’ve installed decorative
molding, or if your window treatment fits nicely inside
the window frame. An outside mount is installed at
the top of the window frame or on the wall above the
window; treatments installed on an outside mount
add height to the window and can let more light into
the room. Inside or outside mounts can be used for
either blinds or shades.
Horizontal blinds and shades improve energy efficiency

Inside mount and provide privacy and light control. Many retailers will cut
them to fit while you wait, so always bring your measurements
to the store with you.
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■ Blind and Shade Installations to Consider
Stationary blinds (shutters, here) are installed like other Inside-mount blinds allow window trim to complement the
inside-mount blinds only they do not require space above for décor. Here, a simple matching wood valance was provided
hardware—they are typically flush with the top window frame, with the blinds to conceal the hardware along the top edge.
as shown here.
Outside-mount shades are often used for window top-to- Center inside-mount shades are often used if windows on
floor coverage. Covering the window trim on both sides and an upper-level floor require privacy only on the lower half of
the bottom maintains a balanced look. the window. Outside-mount curtains complement this scenario
well for those times when full light filtration is desired.
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■ How to Install Shades (Inside Mount)
1 2
Measure the opening between the side jambs at the Measure the height of the window frame (between
top, bottom, and middle of the window frame. Make a the top and bottom) at each side and in the middle. Add the
quick diagram of the window and note the smallest of the largest of these measurements to your diagram. With your
three measurements. diagram in hand, purchase blinds or shades to fit the window.
If possible, have the retailer cut the blinds or shades to your
specifications. If that’s not possible, buy the closest size (a bit
smaller) to the window opening.
3 4
To cut standard roll-up shades to length, remove the slat Remove the excess cardboard, and then remove the roller
from the bottom edge and cut through the hem with scissors. end from the tube. Cut the tube to length with a hacksaw (for
Carefully tear the material until you reach the roller tube. metal tubes) or finetooth wood saw (for cardboard tubes).
Follow the manufacturer’s specific instructions.
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5 6
Roll the shade material back up, and then push the roller Cut the slat (that fits into hems) to length, according to
end inward and replace the end cap. manufacturer’s instructions. For basic roller shades, you simply
snap the slat apart at the desired location.
7 Dress Up Plain Roller Shades ▸

It's easy to dress up inexpensive roller shades. Simply
add grommets to the lower edge for a designer detail.
Follow the same basic instructions for installing
curtain grommets on page 391.
Position the first bracket flush with the upper front corner
of the window frame, and mark its screw holes. Drill a pilot hole
at each mark, hold the bracket in place, and then drive in the
screws to secure it. Repeat for the other bracket, making sure
the two brackets are level. Inset: slide the pin end of the head
rail into the bracket on one end, and then slide the slatted end
into the other bracket.
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■ How to Install Blinds (Outside Mount)
1 2
To mount blinds outside the window frame, measure Position the first bracket as indicated by the diagram you
the width from the outside edges of the window frame and made in step 1, and mark its screw holes. Use a stud finder to
the height from 2 to 3" above to 2 to 3" below the frame. If the locate nearby studs. If a stud is in the bracket area, drill pilot
window doesn’t have a frame, measure the opening and add a holes at the marks and attach the bracket to the wall. If no stud
few inches on each side. Make a diagram of the measurements is available, use an awl to make a small hole at each mark, and
and refer to it when purchasing blinds to fit. then drive a self-tapping hollow wall anchor into each. Finally,
drive a screw into each anchor.
3 4
Shoot a line with a laser level or use a standard level to draw Lift the blinds into place and install them in the brackets
a level line across the wall from the top edge of the bracket on the wall. Follow the manufacturer’s instructions to ensure a
to the planned position for the second bracket. Position the secure fit.
second bracket and fasten it to the wall as described in step 2.
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■ How to Install a Mounting Board (Outside Mount)
Many valances and simple stationary shades are valance is styled to the board. The board size depends
mounted on boards instead of window hardware. on the strength required (based on fabric weight
The mounting board is covered with fabric; then the × span).
1 2 3
Cut window treatment fabric to fit Miter fabric at the board end corners. Mark screw holes for the angle irons
around a 1 × 2 board, adding 3" to the Finger press and staple miters in place. on the bottom of the board, positioning
length and 1" to the width. Center the Fold under excess fabric at ends and them within 1" of each end and at 45"
board on the wrong side of the fabric staple near the fold. intervals or less. Snip a hole in the fabric
and staple it to the long edge, spacing at screw positions using scissors, then
staples about 8" apart. Wrap fabric predrill screw holes into the board at
under the board, and then fold under 3⁄8" marked locations.
on the long edge and staple.
4 5
Hold the board level at the desired Align the board onto brackets, and Option: Mounting boards can also be
placement and mark the screw holes then secure board with 3⁄4" screws using installed flat against the wall for Roman
on the wall. Predrill holes into the wall a handheld screwdriver or drill. shades, or secured to the top of the
studs, and then fasten brackets to the window frame (inset), if an inside mount
wall with 1½" flathead screws using a is preferable.
handheld screwdriver or drill.
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Window Shade Styles
W indow shades control light, provide privacy, can

be used alone or with curtains, and are one of
the most affordable window treatments to make—
keep your house cool in the summer and warm in the
winter, improving your home’s energy efficiency.
Dress up traditional shades with gathers, tabs,
fabric cost is minimal and hardware is inexpensive. sophisticated tucks, complex layers, and bold color
Window shades also fit close to the window and help and pattern choices.

Drapery pull (optional) Depending on the Iron and large Graph paper
Decorator fabric(s) project you choose, pressing surface Round ball finials
Angle irons with screws you may also need: Liquid fray preventer or drawer pulls
or nuts and bolts Roller kit (includes and small paintbrush Paint and paintbrush
Drapery lining (optional) roller, mounting Decorative trim Masking tape
3
⁄8 or 1⁄2" plastic rings brackets, fusible Fabric glue or vinyl tape
Staple gun and staples backing, and 3
⁄8 to 7⁄8" wooden dowel Adding machine paper
Mounting board hem stick) 1
⁄2"- or 3⁄8"-wide flat Self-styling tape
Screw eyes Paper-backed metal weight bar, Adhesive-backed hook
Shade cord fusible adhesive cut 1⁄2" shorter than and loop tape
White glue Carpenter’s square the finished width
Awning cleat Awl of the shade
Window shades are a beautiful, formal alternative to blinds. They can be customized with decorator fabric to complement your
décor and draw attention to your windows.
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■ Shade Styles to Consider
Roller shade: This traditional style can be customized with Roman shade: These shades are raised and lowered by a
dynamic decorator fabric, tabs and decorative hardware, system of cords and rings, which also cause them to pleat
painted designs, tassels and pulls—the options are limitless! into soft folds when raised. Shown here are tucked (or "flat")
roman shades.
Hobbled shade: Twice the length of a roman shade, excess Butterfly shade: When drawn up, folds stack in the
fabric is taken up in permanent soft folds between each row of center and flare at the sides in this classic version of the
rings, giving the shade a bubbled look when lowered. Roman shade.
Cloud shade: Cut two to three times Balloon shade: Cut two to two and a half Coach shade: Two fabrics fused
the width of the window, then shirred times the width of the window, fullness is together roll up around a wooden
across the upper edge to create a folded into oversized inverted pleats at the pole at the bottom and flip over the
soft heading, the lower edge of cloud heading and lower edge. This shade has mounting board to form a valance.
shades fall into gentle poufs. permanent poufs at the bottom.
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Roller Shades
R oller shades are the most common of all shade

styles—but that’s because they work! Roller shades
provide total privacy, they’re affordable, and they’re
stick, fusible adhesive strips, and fusible backing. Some
shades have a pulley system with a cord for raising
and lowering the shade; others operate by means of a
easy to install and operate. This style can be beautifully spring inside the roller. Use firmly woven, lightweight
decorative as well, especially when made with the fabric to medium-weight fabric; avoid glazed, stain-resistant,
of your choice and designer details, such as a sculpted or water-repellant fabrics, because these finishes will
bottom edge, decorative trim, or painted motifs. prevent the fabric from bonding well to the fusible
Roller kits, which are sold in fabric and craft backing. Before you make your shade, test a scrap of the
stores, include the roller, mounting hardware, hem fabric with the fusible backing to ensure a good bond.
Add customized details and bold drapery fabric to best complement decorative (and functional!) window shades.
Cutting Guide ▸
Length Width
Decorator Fabric Finished length + 14" Finished width + 2"

Fusible Backing Finished length + 12" Finished width + 1"
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■ How to Make a Roller Shade
1 2 3
Install the mounting brackets and Turn up the lower edge of the Mark the finished width on the
roller inside or outside the window fabric 6" from the bottom, wrong sides shade backing. Square off the upper
frame (see page 359), and measure together, and press a crease. Turn the and lower edges using a carpenter’s
the roller to determine the finished lower edge back down, right sides square. Draw a symmetrically shaped,
width of the shade. Steam-press the together 1½" from the first crease, decorative hem. Cut along the
fabric thoroughly to prevent shrinkage forming a pocket. Using a 3⁄8"-wide strip marked lines.
during fusing. Cut the fabric and of fusible adhesive, fuse the upper edge
use a carpenter’s square to ensure of the pocket closed. Fuse the backing
square corners. to the wrong side of the fabric, following
the manufacturer’s instructions. Center
on the width of the fabric.
4 5
Apply liquid fray preventer or diluted fabric glue along Mark a straight line down the center of the roller and attach
the cut edges using a small paintbrush. Apply decorative trim the shade to the roller by taping the upper edge in place along
along the cut edge of the shaped hem using fabric glue, if the marked line. Trim the hem stick to fit the pocket and slide
desired (inset). in. Mount the roller on the brackets.
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Roller Shade with Tabbed Hems
A dding a tabbed hem and decorative dowel

to the bottom of a roller shade increases the
stability and detail of the standard roller shade
that are larger than the tab openings to hold the
shade bottom securely in place. Paint or stain the
dowel in a color that complements your fabric
shape. Select a dowel with decorative finials before insertion.
A tabbed hem and decorative rod at the bottom of a window shade is one creative way to dress up this standard
window treatment.
Cutting Guide ▸
Length Width

Tabs (desired number) 4½" 3"
Facing Strip Note: cut from decorator fabric after it has been fused to backing 2" Finished Width
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■ How to Make a Roller Shade with a Tabbed Hem
1 2 3
Cut tabs. Follow steps 1 to 3 on page Fold the long edges of the tab to Fold the tabs in half; pin to the lower
363, then cut the 2" facing strip from the the center, wrong sides together; press. edge of the shade on the right side, with
lower edge of the fused shade. Fuse in place using a 3⁄8" strip of fusible the outer edges of the end tabs even
web. Repeat for all tabs. with the outer edge of the shade and
spaced evenly. Baste in place. Pin facing
to the lower edge of the shade, right
sides together, matching raw edges
and hemmed ends. Stitch a 3⁄8" seam
through all layers.
4 5
Turn facing to the wrong side; fuse in place at the upper Insert the dowel into the tabs. Attach the finials. Secure
edge and ends of facing using fusible web. Cut the dowel 1⁄8" with thumbtacks on the back sides of the first and last tabs.
shorter than the finished width of the shade. Paint the dowel Mount and install the roller shade on the brackets.
and finials, or apply stain and clear finish.
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Coach Shades
T hese shades recall the window coverings on early

twentieth-century stagecoaches; when installed
in the home, however, coach shades are quite elegant
and versatile. Fabric rolls up from the bottom and is
controlled with loops of cord. Pair the shade with a
top treatment to hide the mechanism, or make a shade
and valance all in one.
In this project, one fabric shows on the face of
the shade; the other shows on the valance and the
bottom roll. Two cords, strung through screw eyes
on the underside of the mounting board, raise and
lower the shade and wrap around an awning cleat to
hold the shade at the desired level. Use firmly woven,
lightweight to medium-weight fabric and avoid glazed
or treated fabrics, which will not bond well with the
fusible adhesive. Before you begin, cut, cover, and
secure the mounting board above the window frame
using angle irons and nuts and bolts. Measure for the This coach shade plays a playful role in this aquatic-themed
finished size of the shade and remove the nuts and bathroom. Tied only in the center, the shade bends to create a
bolts that hold the mounting board to the angle irons. relaxed, casual mood.
Cutting Guide ▸
Length Width
Decorator Fabrics Finished length + 20" Finished width + 1"

Cord 1 Finished length × 3 + finished width
Cord 2 Finished length × 3
■ How to Make a Coach Shade

Fuse the adhesive to the wrong side
1 of one of the fabrics, following the
manufacturer’s instructions. Remove the
paper backing. Fuse the second fabric to
the first, wrong sides together. Allow the
fabric to cool completely.
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2 3
Mark the finished width on the shade. Square off the upper and lower edges, Cut the dowel to the shade width,
using a carpenter’s square. Draw a decorative, symmetrical upper edge (this will paint if desired, and staple the shade
become the bottom of the valance). Cut along the marked lines and apply liquid bottom to the dowel with the back of
fray preventer or diluted fabric glue along the cut edges. Glue decorative trim to the the shade facing up. Roll the shade
valance edge on the side that will face the room. Drill pilot holes and insert three around the dowel until the shade is the
screw eyes, centered on the underside of the mounting board. Insert one screw desired finished length. Staple along the
eye 1" from the end on the side of the shade where you want the cords to hang. back of the dowel.
Insert the other two screw eyes 3" from each end. Staple the shade over the top of a
mounting board, allowing the desired length to hang forward for the valance. Pierce
the fabric with an awl over the mounting holes.
4 5 6
Tie a small loop in one end of both Mount the shade on the angle irons, Wrap the cords under the rolled
Cords 1 and 2, leaving 6" tails. Staple the making sure the bolts go through the dowel, up over the shade front, and
cords to the top of the mounting board cord loops. Just before tightening the through the screw eyes. String Cord 1
with the loops over the bolt holes. bolts, secure the loops with two or also through the opposite screw eye
three knots. and both cords through the end screw
eye on the draw side. Knot the cords
together just outside the last screw eye.
Attach a small drapery pull to the ends.
Secure an awning cleat to the edge of
the window frame or to the wall. Pull
gently on the cords to raise the shade.
Wind the cord around the clean to hold
in position.
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Flat Roman Shades
F lat Roman shades are tailored window treatments

that are flat and smooth when down. When
raised, however, Roman shades pleat crisply instead
and rows so the shade will fold neatly at regular
intervals when raised.
Choose sturdy decorator fabric for a crisp look.
of roll. The shade design is minimal—lining provides Roman shades show off large, allover prints nicely,
added body, prevents fabric from fading, and creates but all patterns and styles work. Mount Roman
a uniform appearance from the outside. A system of shades on a board either inside or outside the window
evenly spaced rings through which cords are run on frame. For the project shown, follow the directions
the back of the shade make it possible to raise and for installing a mounting board on page 359 before
lower the shade. Rings are spaced in even columns you begin.
With a large pattern and warm, earthy colors, these tailored shades are the perfect solution for these challenging large windows.
Cutting Guide ▸
Length Width

Lining Fabric Finished length + 3½" Finished width
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■ How to Make a Flat Roman Shade
1 2
Press under 1" on the sides of the shade. Cut strips of ¾" Press under ½" at the lower edge, then press under 3"
paper-backed fusible adhesive the length of each side. Turn to form the hem pocket. Pin the hem in place. Edgestitch
back the hem and place the strips near the cut edge. Press along the top fold of the hem through all layers. On the lining
over the strips to fuse them to the hem allowance, following side, draw a line across the top of the shade at the finished
the manufacturer’s directions. Place the lining over the shade length. Draw a second line 1½" above it (equal to the board
fabric, wrong sides together, with the lower edge of the lining projection). Cut off excess fabric along the top line. Pin the
3½" above the lower edge of the shade fabric. Tuck the lining layers together and finish the upper edges with wide zigzag
under the side hems. Remove the paper backing from the stitches or serging.
fusible adhesive and press to fuse the hems in place.
3 Finished width of shade - 1½" / 12 = # of spaces between columns

# of spaces between columns + 1 = # of columns
Finished length of shade (from top of hem to upper marked line) / 8" = # of spaces between rows
Finished length of shade (from top of hem to upper marked line) / Distance between rows
# of spaces =
Diagram the back of the shade on graph paper, indicating the finished length and width.
Mark the hem 3" from the lower edge. Plan the locations of rings in columns spaced 8 to 12"
apart, with the outer columns ¾" from the edges of the shade. Space them in even horizontal
rows 5 to 8" apart, with the bottom row at the top of the hem and the top row on the marked
line. Mark the placement for the rings on the lining side of the shade, following the diagram.
Pin horizontally through both layers of fabric at each mark.
(continued)
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4 5
Stitch a ring at each mark through both layers of fabric, Insert the flat weight bar into the hem pocket. Slipstitch the
stitching either by machine or by hand. Reinforce the rings side openings closed.
in the bottom row with extra stitches because they carry the
weight of the shade.
6 7
Staple the shade to the top of the mounting board, aligning On the side where you want the cords to hang, run
the marked line to the front edge of the board. Drill pilot holes cord through the first column of rings, through the top screw
and insert screw eyes, centered on the underside of the eye, and at least halfway down the side. Cut the cord at the
mounting board, aligning them to the columns of rings. desired length and tie a nonslip knot at the bottom ring. Repeat
for each column in order, running the cords also through the
previous screw eyes. Apply glue to the knots for security. Install
the mounting board.
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8
Adjust the cords with the shade down so the tension on all cords is equal. Tie the cords in a knot just below the first screw eye.
Braid the cords, insert them through a drapery pull, if desired, and knot and trim the ends. Secure an awning cleat to the edge of
the window frame or on the wall. Pull gently on the cords to raise the shade and wind the cord around the cleat to hold in position.
Train the shade by raising it and pulling the excess fabric forward to form gentle rolls. Leave the shade in the raised position for a
few days to set the folds.
Roman Shade Variations ▸
Flat roman shades can be customized in countless creative ways. Pair them with matching goblet-pleated draperies
(left) or add a beautifully shaped hem with decorative trim or tassels, as in the example at right. Mounted on French
doors, these shades sit close to the glass but clear most of it when raised, giving the illusion of added height to the
room's centerpiece.
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Butterfly Shades
A butterfly shade has the smoothness of a flat

Roman shade with draped softness at the lower
edge. As the shade is drawn up, the folds stack in
the center and flare at the sides, creating a butterfly
effect. Choose firmly woven lightweight to medium-
weight decorator fabric for this project. Butterfly
shades should be mounted so the finished length from
the top of the mounting board to the highest point of
the hem is evenly divisible by six. The swagged fabric
at the bottom of the shade will hang below the sill.
Before you begin, cut the mounting board and
cover it with fabric. Secure angle irons to the bottom
of the board, near the ends, and in the center, if
necessary. Mount the board, centered above the
window frame, as on page 259. Measure for the
finished size of the shade, and then remove the screws
that hold the mounting board to the angle irons,
leaving the angle irons in the wall.
Cutting Guide ▸
Length Width
Decorator Finished length + 26" + Finished width + 2×

Fabric mounting board length mounting board width + 2"
Lining Cut length Cut width
Fabric of decorator fabric + 1¼" of decorator fabric – 3"
When your view isn’t beautiful, a well-dressed window

is especially important. This plaid shade is mounted inside
the deep frame, showing off the decorative wood trim. Bead
trim along the lower edge of the shade draws attention to the
dramatic curve of the fabric.
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■ How to Make a Butterfly Shade
1 2 3
Mark a line across the wrong side Tack through the dowel pocket Mark placement for two columns of
of the lining 265⁄8" from the bottom. Fold at the ends of the dowel to hold the rings, each positioned one-sixth of the
the lining, right sides together, along the dowel in place. Press under ¾" twice shade width from the sides. Space rings
marked line; pin. Stitch 5⁄8" from the fold, on the sides of the shade fabric. Place 6" apart vertically. Place two rings at
forming the dowel pocket. Press the the lining on the shade fabric, wrong the dowel; top rings should be 6" below
pocket toward the bottom. Insert the sides together, matching edges; with the upper marked line. Mark placement
dowel into the pocket and slide it to the the lining tucked under the side hems, for two rings in the center of the lower
center of the lining. pin. Blindstitch side hems. Press up 1" of hem, at the edge of the side hems.
the lower edge twice; pin. Stitch. Finish Space the remaining three rings evenly
upper edge. Mark a line from the upper between the dowel pocket ring and the
edge a distance equal to the projection bottom ring.
of the mounting board.
4 5
Center the shade on top of the mounting board, aligning Tie the lower five rings of each row together securely. Apply
the marked line to the top front edge of the board. Staple the glue to the knots and ends of the cords to prevent them from
shade to the mounting board; wrap the sides over the ends of slipping. Reattach the mounting board and finish as in step 8
the board and staple in place forming squared corners. Drill on page 371.
pilot holes and insert screw eyes, centered on the underside
of the mounting board, aligning them to the columns of rings.
Install a third screw eye 1" from the end of the board on the
draw side. Run cords as in step 7 on page 370.
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Cloud Shades
A cloud shade is gathered across the top and

hangs as a softly shirred, translucent panel when
lowered full length. When raised, the bottom of
Ring Placement ▸
Width of hemmed panel - Distance between ring columns
the shade forms soft, cloudlike poufs. Cloud shade
2" / # of poufs desired =
headings are gathered or softly pleated using a styling
tape. Several styles are available; select a style for the Length of shade # of spaces between rows
amount of fullness your shade will require. This shade (top of hem to bottom (round up)
is also made extra long to create the “cloud” effect. of styling tape) / 8" =
Space poufs evenly or create one large pouf in the
Length of shade (top of hem to Distance between rows
center, framed with smaller poufs. An odd number bottom of styling tap) / # of
of poufs generally looks more appealing than an even spaces between rows =
number. Choose lightweight, soft fabric for a cloud
shade. Lining is not necessary. Use the table above to determine the placement
Before you begin, cut and cover the mounting of rings. Mark ring placement on the panel. Stitch a
ring at each mark through both layers of fabric, with
board, and secure with angle irons above the window
a machine or by hand. Do not stitch rings at the base
frame. Remove the screws that hold the mounting of the styling tape. Reinforce the rings in the bottom
board to the angle irons, leaving the angle irons on row with extra stitches.
the wall.
Cutting Guide ▸
Length Width
Decorator Fabric Finished length + 15" Finished width + (2 × projection of the mounting board) × fullness required for styling tape + 4"
Weight Rod Cover 1" larger than rod circumference Finished width + 1"
The softly gathered, casual appearance

of this cloud shade and the tone-on-tone
color scheme make for a quiet, relaxing
living area.
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■ How to Make a Cloud Shade
1 2
Seam panel as necessary using French seams. Press under Fold the tape and panel to the wrong side, forming a ¼"
1" twice on the sides and stitch. Press under a 1" double-fold fold above the upper edge of the tape. Press the fold. Pin
hem pocket at the lower edge. Stitch along the upper edge the tape in place and stitch to the panel, stitching next to
of pocket. Cut styling tape to the width of the hemmed panel the cords. Stitch all stitching lines in the same directions to
plus 2". Turn under 1" on the ends, keeping the cords free. avoid ripples.
Place the tape right side up on the right side of the panel,
aligning the lower edge of the tape to the upper edge of the
panel. Finish the edges together using overcast stitches.
3 4
Knot the cords together or in pairs at each end of the Insert the covered rod into the hem pocket, distributing
styling tape. At one end, pull evenly on the cords to gather fullness evenly. Stipstitch the hem ends closed. Tack the
the fabric, adjusting the width of the heading to the finished hem to the rod cover at the ends and near each ring to hold
width of the shade, including returns. Knot the cords together spacing. Cut the hook and loop tape to the finished width of
to close the shade. Cut off excess cords or wrap them in a the shade; attach the hook side to the mounting board and the
circle and safety-pin them behind the heading. Fold the weight loop side to the upper edge of the styling tape. Follow steps 7
rod cover strip in half lengthwise, wrong sides together. Stitch and 8 on pages 370 to 371 to finish. In step 8, leave a long tail
along the long side; turn the tube right side out. Insert the rod at each bottom knot. Using the tails, tie together the bottom
and stitch the ends closed. three rings of each column to secure the bottom poufs.
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Balloon Shades
T ailored box pleats meld with luxurious poufs

to create the ever-popular balloon shade.
With its split personality, a balloon shade can be
equally at home in a living room, a breakfast nook,
or a child’s bedroom. Box pleats give this shade
controlled fullness when lowered and a billowy, soft
effect when raised. Evenly spaced pleats should
be about 12" apart. Lightweight, soft fabrics work
best for the gentle gathers of this shade. Lining is
optional. Mount the shade on a mounting board
outside the window frame. Attach the mounting
board to the wall, then remove the screws that hold
the board to the angle irons, leaving the angle irons The gentle swags that form at the bottom of this balloon shade
on the wall. as it is raised accent the structured architecture of the room.
Cutting Guide ▸
Length Width
Decorator Fabric Finished length + 12" + projection of mounting board 2 × finished width + 4" (do not cut until step 2)
Facing Strip 2" Finished width + 1"
Adding Machine Paper Decorator fabric cut width
■ How to Make a Balloon Shade

1 2
Length of mounting board / 12 = # of poufs (round up)
Cut width of shade – 4"—width Inches of fabric
of mounting board / that must be folded out
# of poufs = in each pleat.
Cut the strip of adding machine paper; this will be a Seam fabric widths together. Trim the seam allowances
pattern to help determine the pleats. Mark a 2" hem allowance to ¼", finish them together, and press to one side. Place the
at each end of the pattern. Mark pleat lines, as determined by pattern on the fabric, aligning the seams to points in the
the chart above. Fold the pattern into pleats and measure to pattern where they will be hidden in pleats, and mark the
check for accuracy. fabric at the pattern ends. Cut the fabric to the width of the
pattern. Press under 1" twice on the sides of the panel and
stitch the hems. Place the pattern on the shade at the lower
edge. Mark the pleat fold lines. Repeat at the upper edge.
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3 4
Pin the pleats in place along the lower edge; the side hems Pin the pleats in place along the upper edge. Extend the
will be hidden under the half-pleats at the sides of the shade. hemmed edges away from the pleat fold a distance equal to
Stitch ½" from the lower edge to secure the pleats. the projection of the mounting board. Stitch a distance from
the upper edge equal to the projection of the mounting board.
Finish the upper edges together. Pin pleats in place from top to
bottom. The shade will be slightly wide at the top. Press pleats.
Press ½" under on the long edge of the facing strip. Pin the raw
edge to the bottom of the shade, right sides together, with the
ends extending equally. Stitch a ½" seam.
5 6 7
Length of shade # of spaces
(top of the pocket between rows
to stitching line (round up)
at the top) / 6" =
Length of shade Inches between
(top of the pocket rows
to stitching line
at the top) /
# of spaces
between rows =
Press the seam toward the facing. Mark the placement for the rings Finish as in steps 6 to 8 on pages
Turn the ends over the seam allowance, in columns at the side hems and at the 370 to 371. In step 6, insert the end
then turn the facing to the wrong side. center of each pleat. Mark the bottom eye screws 1" from the ends of the
Edgestitch along the fold, forming a row at the upper edge of the pocket mounting board. In step 7, leave a
weight rod pocket. and space rings according to the chart long tail at each bottom knot. Using
above. Stitch rings to the shade at the the tails, tie together the bottom three
marks, taking care not to catch the rings of each column to secure the
pleat fabric in the stitches. Insert the bottom poufs.
weight bar into the pocket. Slipstitch
the ends closed. Staple the shade to the
mounting board; wrap the sides over
the ends and staple in place.
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Curtain Styles
B efore you decide what style of curtain will work the

best for you, consider the functional requirements
of the room. For example, lined curtains that extend
nook to invite light to pour in, while protecting
your privacy. Café curtains frame a window without
interfering with the sunlight that makes a kitchen so
above and beyond the window block the most light, and inviting. Experiment with color, fabric choice, and
may be the best choice for bedrooms. Use the same pairing curtains with blinds, shades, or top treatments
style with a sheer fabric in a sitting room or breakfast to best suit the form and function of any space.

Decorator fabric Curtain hardware, Optional Materials Fusible interfacing
Lining fabric (optional) as needed (grommets, Swinging extender Grommet heading tape
Decorative rod decorative hooks, clip- rod set Decorative rod
or mounting board on or sew-on rings) Safety pins with finials or elbows
Installation hardware Drapery weights (for Double-stick Tieback holders
Stapler and staples floor-length curtains) carpet tape or wooden blocks
Sewing notions
Curtain colors and patterns affect a room’s overall feel dramatically. Dark colors absorb light and therefore pull a room in,
making it feel smaller (left photo). This is a good effect for formal dining areas or spaces you wish to feel cozy or warm. White
curtains reflect light, making rooms feel bright and therefore more spacious (right photo). This effect is good for areas you would
like to feel clean, cheerful, social, or contemporary.
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■ Styles to Consider
Basic curtains are panels with clip-on Tab-top curtains are panels of fabric Rod-pocket curtains are held in place
or sew-on rings. There are many styles trimmed with tabs, loops, or ties that by inserting a curtain rod into a pocket
of rings and clips. Depending on the slip over decorative rods. They can be sewn into the header (the top of the
rings or clips you pick, the curtains pulled open and closed, but the tabs curtain). Although they can be opened
can hang from a rod or from high- don’t always slide smoothly. Attach tabs and closed fairly easily, they are mostly
tension string. to rings or clips to remedy this problem. considered stationary because it is time
consuming to arrange and rearrange their
pleats each time they are moved. Many
sheers are constructed with rod pockets.
Café curtains cover only a portion of the window—usually Stationary curtains don’t close at all and serve no function
only the lower half. They’re often made of sheer fabric and beyond decoration. Typically, they consist of one or two
hung by rings on small metal rods mounted inside or directly panels—with or without valances—hanging on each side of
on the window frame. Café curtains create a stylish look but a window. Stationary curtains are easy to make, easy to hang,
don’t interfere with the light or view from the window. They and inexpensive because they use so little fabric.
can be opened and closed easily, but by design they are not
handled often.
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Hanging Curtains
H anging curtains is a simple project that can

be finished quickly and cleanly with careful
measurements and preparations. Before you begin,
decide whether you’d like your curtains to open and Curtain rods Self-tapping hollow
close, or if they will be stationary curtains; this will Curtain wall anchors
help determine what kind of hardware you will select. Sheer Sheer rod hardware
Also, pay careful attention to the finish and style of Decorative curtain clips Painter’s tape
decorator hardware to ensure a good match with other Decorative curtain rod Tape measure
hardware in your room. hardware Drill
Choose your curtains and hardware carefully to ensure a smooth installation. Here, the rod-pocket curtain rod needed to
be shorter than the decorative rod so that only the decorative rod is seen in the finished installation. Planning out such details will
save you time and money.
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■ How to Hang Curtains
1
Measure the height and width of the window. Make a quick diagram of the window and note the measurements you took.
Before purchasing curtains or hardware, decide where you want the curtains to start and stop, and indicate those measurements
on your diagram. Attach the brackets for the sheer rod. Place the sheer rod and check for level. Adjust if necessary.
2 3
Curtain rod
Sheer rod
Attach the brackets for the decorative curtain rod a few Place the curtain over the sheer rod, and then place
inches outside and above the sheer brackets. Use wall anchors the rod for the sheer into the mounting plate. Repeat for the
if the bracket is not located over a stud. decorative curtains and rod.
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Draped
Window Treatments
S oft, draping window treatments beautify your

window as they invite light to spill into the room,
and can be made quickly from sheer or lightweight
reversible fabrics. These treatments are made
without side hems or seams, so it’s important to use
fabrics with neat, narrow selvages. Lace fabrics with
finished side edges work nicely for this project. The
number of fabric widths needed vary from window
to window; experiment with inexpensive fabric to
determine the number of lengths you’ll need before
you begin.
Mount this style of treatment on a decorative
rod just above the window frame, or tie the fabric
to decorative knobs or hooks for a unique flair and
innovative draping style.

Sheer to lightweight Mounting brackets,
reversible fabric or decorative
with narrow hooks or knobs
selvages or lace Decorative
with finished edges tieback holders
Decorative rod Coordinating
or pole ribbon or cord
Draped window treatments have a casual feel and

simplistic beauty. Add drama by using heavier fabrics or
lush silks.
Cutting Guide ▸
Length
Pole or rod-mounted, to puddle on the floor 2× desired finished length + 40"

Pole or rod-mounted, free-hanging straight lower edges Hang a length of twill tape over the pole to desired length with the lower edges even.
Cut fabric 2" longer than tape.
Hook or knob-mounted, to puddle on the floor 2× desired finished length + 40"
Hook or knob-mounted, free-hanging uneven lower edges 2× desired finished length + 2"
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■ How to Install a Draped Window Treatment on a Rod or Pole
1 2
Press cut edge under ½" twice; stitch to make double- Hang fabric over rod, and then form two panels, with lower
fold hem. Repeat for opposite cut end, pressing fabric in edges even and hem allowances facing the window.
opposite direction.
■ How to Install a Draped Window Treatment on Hooks or Knobs

1 2
Install decorative hooks or knobs on or just above the Hem the cut edges of fabric, as in step 1, above. Fold the
window frame; predrill holes to avoid splitting woodwork and fabric in half, forming two panels, with the lower edges even
use appropriate anchors if installing hanger bolts into drywall. and hem allowances facing the window. Grasp the outer
Position one at each outer edge, with the remaining hooks or edge at the fold; tie to the hook or knob, 2 to 3" from the fold.
knobs evenly spaced. Tie a decorative cord or ribbon to each Repeat at the opposite side and again at the center. Repeat for
hook or knob, leaving long tails. any additional panels.
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■ Draped Window Treatment Finishing Styles
Tiebacks
Install tieback holders at the desired height, even with Gather up fabric to the opposite edge at a 45° angle
outer edge of the window treatment. Grasp the outer edge of toward the floor. Secure gathered panel to holder. Repeat for
the front fabric panel even with the holder. the opposite side of back panel, if desired. This finished look
can be used with draped treatments on knobs or hooks as well.
Tent Flap Sides
Grasp the outer edge of the front fabric panel; pull to the Install the tieback holder or tenter hook; tie the fabric
opposite side, adjusting position of the pulled-back edge as edge to the holder using ribbon or cord. Pull back and secure
desired. Mark the wall for placement of tieback holder or the opposite edge of the back panel, if desired.
tenter hook; mark fabric edge with pin.
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Center Knot
Grasp outer edges of the front fabric panel about 18" below Tie a knot in the gathered front panel; adjust sides of the
the desired knot position. Gather up fabric on each side toward panel above the knot as desired.
the center, and upward toward the desired knot position.
Side Knots
Install tenter hooks at desired knot height, even with the Gather up fabric to the opposite edge at a 45° angle
outer edge of the window treatment. Grasp the outer edge of from floor. Tie a knot in the panel; secure the knot to a tenter
the front fabric panel even with the holder. hook. Make a side knot for the opposite side of the back panel,
if desired.
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No-Sew Side Panels
F or a no-sew window treatment with a light,

unstructured appearance, drape soft, lightweight
fabric panels over swinging extenders or crane rods,
the window view. Decorative utility crane rods
are available from specialty window hardware
suppliers, through decorators, or sometimes
to create a deep valance and elegant floor puddles. at antique shops or thrift stores. Choose a
This treatment is suitable for full coverage on narrow soft, lightweight, reversible fabric that has an
windows or as side panels on wider windows. attractive or minimal selvage. If the fabric ravels,
Swinging extender rods are mounted to a you may want to finish the lower edge of the
bracket on one end and can swing out to expose drapery panel.
Side panels like this are a perfect

project for the decorator with no sewing
experience and drape beautifully around
any window that needs dressing up.
No-sew Side Panels Cutting Guide ▸

Length Width
Decorator Fabric Top of rod to the floor + 60" Width of fabric
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■ How to Make Draped Side Panels
1 2
Cut and apply double-stick tape to the back side of the Gather fabric loosely about 36" below the rod, using hands;
rod. Drape the upper edge of fabric over the rod, with about 4" fold the bottom of the panel up and over the rod, with hand
folded to the back side; secure fabric to the tape, distributing gathers at the top of the rod forming an 18" valance.
fullness evenly.
3 4
Arrange the valance, distributing the fullness evenly and Arrange the bottom of the panel on the floor, draping it
folding in the selvages. loosely and concealing the raw edges and selvages of the fabric.
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Basic Curtains
F lat-panel curtains are one of the most basic, easy-

to-make window treatment styles. Surprisingly,
they are also one of the most versatile. Adjust fullness
gracefully. Sheer, lightweight fabrics swing gracefully
and fall in soft puddles. Choose to line or not line
your panels for privacy and light filtration, depending
or ring placement for very different looks, from flat to upon the needs of your room. Hang curtains from
neatly folded; from controlled dips to softly swooping the rod with clip-on or sew-on curtain rings, which
curves. Fabric selection also plays a large role in your are available in many styles. Whatever your window
finished look: Firm, medium-weight fabrics create treatment needs, many different looks can be achieved
a simple, tailored look with an upper edge that dips with these simple panels.
Fabric Fullness
& Hardware Spacing ▸
For a flatter panel, 1½-times fullness is used (left),

meaning the width of the curtain measures 1½-times
the width of the rod. For a fuller panel, use 2-times
fullness or more (right).
For a controlled look along the top of the curtain,

use more rings and space them closer together
(left). For a soft look, use few rings spaced farther
For a simple, controlled look, only one and one-half times apart (right).
fullness is used for basic curtains.
Cutting Guide ▸
Length Width
Decorator Fabric Finished length + 22 to 28" (depending on desired floor puddle) Finished width × desired fullness
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■ How to Sew a Curtain Panel
1 2
Unlined panel. Seam the fabric widths, if more than one Plan and pin-mark the spacing for the rings or grommets
width is desired for the panel. Press under 1" twice at the at the top of the curtain panel. As shown opposite, if fewer
lower edge of the panel; stitch a double-fold hem. Repeat for a rings or grommets are used, spaced farther apart, more fabric
1" double-fold hem at the upper edge, then at the sides. drapes between them. For a more controlled look, use more
rings or grommets, spaced closer together.
3 4 5
Check the drape of the panel by Attach the grommets to the top of Arrange the fabric to puddle onto the
securing it at pin marks to the side of the panel at the markings, following the floor, if desired.
an ironing board, with markings spaced manufacturer’s directions. Insert hooks
the desired distance apart. Adjust the into the grommets, or attach sew-on
number of rings or grommets and the or clip-on rings. Hang panels from the
spacing between them, if necessary. decorative rod.
Use an even number of grommets if a
rod will be inserted through them.
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Grommet Curtains
F lat curtain panels with grommets in the top hem

can be hung from a decorative rod with cording
laced through the grommets or with fancy S-hooks.
Cutting Guide ▸
Length Width
Grommet curtains with large grommets can be speared
by the rod, as in the project shown here. In this Decorator Finished length + lower Grommet tape + 6"
technique, it’s important to have an even number of Fabric hem allowance + 2"
grommets so both sides of the curtain turn toward the Grommet Standard Finished width × 2. Measure
wall. How close or far the grommets are spaced to one Tape this length of tape: you must
another is completely up to you: wide spacing will allow have an even number of
the curtain to slouch between grommets, closer spacing grommets and must begin and
will hold the upper edge in a straighter line, or use end 2" beyond a space tab on
grommet tape, which determines the grommet spacing each edge.
for you. Use medium-weight fabric for this project.
These grommet curtains combine

sheers and sun-blocking panels for a
multipurpose window treatment. The
casual puddling on the floor adds to the
carefree attitude.
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■ How to Make Grommet Curtains
1 2
Seam the fabric widths together for each panel. Finish Turn under the upper edge 2" and press, then pin the
the seams together and press toward the side of the panel. Lay grommet tape tabs up, on the wrong side of the panel, aligning
out grommet tape along the upper edge. Adjust placement so the cut ends to the inner folds of the side hems, with the
the seams fall between pairs of grommets. Mark the curtain upper edge of the tape 1½" from the upper pressed fold. Stitch
panel 3" beyond the ends of the tape and trim excess fabric close to the top and bottom edges of the tape. Insert a drapery
evenly down the sides. Press under the lower edge the full weight between the layers of the lower hem and tack in place.
amount of the hem allowance. Unfold and turn the cut edge Stitch side hems, using a blindstitch or straight stitch. Straight
back to the fold line. Press. For floor-length curtains with more stitch the hems over the grommet tape, keeping the spacer
than one width, tack a drapery weight at the base of each tabs free.
seam. Refold lower edge and stitch. Press under 3" on each
side, then unfold and turn the cut edge to the fold line. Press
outer fold and repeat on the other side. Unfold side hems.
3 4 5
Trim away the fabric from inside the Working on a flat surface, clip the Hook the plastic spacers together
grommet openings. decorative rings over the grommet to ripple-fold the curtain. Insert the rod
openings, encasing the raw edges of through the grommets and hang.
the fabric.
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Loop-tab Curtains
T ab curtains draw the eye upward with the no-frill

appeal of fabric tabs, loops, or ties that hold this
style of curtain to the rod. Tab curtains effortlessly
blend form and function and are easy to make and
install. This style is not intended to be opened and
closed repeatedly, as the friction would put too
much strain on the tabs; usually, tab curtains are
stationary panels on the side or are drawn to one side
on a tieback to let light into the room. Tab curtains
can be lined or unlined, depending on the fabric
selection and the degree of light control and privacy
required. Medium-weight fabrics will keep the
upper edge of the curtain in a tailored line, whereas
lightweight or sheer fabrics will drape elegantly Earth tones of cream, brown, and yellow create a calm and
between tabs. inviting space. Add button accents for understated detail.
Cutting Guide ▸
Length Width
Decorator Fabric Finished length + bottom hem allowance + 3" Finished width × 2
Tabs Desired length (see step 2, below) Desired tab width × 2 + 1"
Facing strip 3" Cut width of curtain panel
■ How to Make Loop-tab Curtains

1 2
On the facing strip, press under ½" on the long side and Determine the tab length by pinning a strip of fabric over
each short end. Press double-fold lower and side hems of the rod and marking the desired length with a pin. Add ½" for
curtain. Stitch lower hem only. seam allowance. Cut tabs to the measured length and two
times the desired width plus 1".
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3 4
Fold each tab in half lengthwise, right sides together. Fold each tab in half so the raw edges are aligned. Pin or
Stitch ½" seam along cut edge; sew from one tab to the next, baste tabs in place on the right side of the curtain, aligning raw
using continuous stitching. Cut tabs apart and turn right side edges of tabs with upper edge of curtain. Place end tabs even
out. Center the seam in back of each tab; press. with side hem fold line of curtain.
5 6
Pin facing to the upper edge of the curtain, right sides Press facing to the wrong side of the curtain so tabs
together, so the raw edges are aligned and the tabs are extend upward. Fold curtain side hems under facing, covering
sandwiched between the facing and the curtain. Stitch a ½" the seam allowance. Stitch the side hems. Slipstitch facing to
seam with the curtain side hems extended. the curtain. Insert the curtain rod through tabs and hang.
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Rod-pocket Curtains
R od-pocket curtains are often chosen for a stationary

window treatment that is understated and easy to
sew. With ample fullness and a deep, ruffly heading,
top and bottom of the rod-pocket keep the rod
in place. Rod-pocket curtains are extremely
versatile and work with a wide variety of fabrics
classic rod-pocket curtains take on a feminine, romantic and rod styles. Use a rod with elbows to create
appearance. With less fullness and a shorter heading, returns, where the sides of the curtain wrap
the look becomes tailored and robust. Or eliminate the around the panel toward the wall. Or use a rod
heading ruffle altogether for relaxed curtains that fit with finials for a decorative finish. Sheers or
snugly over the rod with a sleek, streamlined appearance. medium-weight fabrics drape and ruffle very
The rod-pocket is the “tunnel” where the differently, and lining can be added for light control
rod or pole is inserted; stitching lines at the and privacy.
Add a ruffle to the sides of panels for a romantic, airy flair.
Cutting Guide ▸
Length Width
Decorator Fabric Finished length + lower hem allowance + Finished width × desired fullness
depth of heading and rod pocket + ½"
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■ How to Make Rod-pocket Curtains
1 2
Seam fabric widths together. Finish the seam allowances Press under 3" on one side, then unfold the pressed edge
together, then press toward the side of the panel. Press the and turn the cut edge back, aligning it to the fold. Press.
lower edge the full amount of the hem allowance; unfold Tack a drapery weight between the layers of the lower hem.
pressed edge and turn cut edge back, aligning it to the fold Refold the edge. Blindstitch. Repeat for each curtain panel
line. Press. If making floor-length curtains with more than one side. Press under ½" on the upper edge. Then press under an
width, tack a drapery weight to the upper layer of fabric at amount equal to the rod-pocket depth plus the heading depth.
the base of each seam. Refold the lower edge, encasing the Measure the distance from the wall to the center of the rod.
weights. Pin. Stitch. Unfold the upper edge of the curtain on the return side of the
panel. Measure from the side of the curtain a distance equal
to this measurement; mark the center of the rod pocket on the
right side.
3 4
Cut a 1 ft. strip of fusible interfacing, 1" longer than the Stitch close to the first fold; stitch again at the depth of
depth of the rod pocket. Fuse the strip to the wrong side of the heading using tape on the bed of the sewing machine as a
the curtain panel, centering it directly under the mark made in stitching guide.
step 2. On the right side of the panel, stitch a buttonhole at the
mark, from the top to the bottom of the rod pocket. Refold the
upper edge of the panel along the pressed lines; pin.
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Tent-flap Curtains
T rim, tailored tent-flap curtains are great for

bedrooms, bathrooms, or home theaters, where
you want optimum light control and privacy. These flat
grommet, or metal ring over a button or small wall hook.
Choose medium-weight, firmly woven decorator fabrics
for both the front and the lining. If you choose two print
panels are lined with decorative fabric because both fabrics, layer them and hold them up to the light to see
sides show when the flaps are open, and are a great if the pattern from the back fabric shows through. You
way to use two coordinating prints! may need to interline the two layers with drapery lining
Tent flaps can be drawn back in a variety of ways or blackout lining to minimize this issue. Install tent-
and are typically secured by slipping a buttonhole, flap curtains on a mounting board and angle irons.
The simple styling and decorative drapery holdback dress up this window with a deep ledge.
Cutting Guide ▸
Length Width
Decorator Fabric Top of mounting board to desired finished length + Mounting board / 2 + return + 2"
mounting board projection + ½"
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■ How to Make Tent-flap Curtains
1 2
Pin face fabric to lining, right sides together, and stitch three Mark finished length across the top of the panels, making
sides in ½" seam, leaving the upper edge open. Press one sure that both panels are exactly even and that the end is at a
seam allowance back to make it easier to turn a crisp, sharp perfect right angle to sides.
edge. Trim the seam allowance across corners, turn panels
right side out, and press.
3 4
Align panel length marking with the front edge of the Mount the board with angle irons positioned at the edge
mounting board. Staple panel to board, starting at return. At of window frame.
the corner, make a diagonal fold to form a miter. Panels overlap
about 1" at the center.
5 6
Fold the front edges of the panels back to the side edges Hand-tack two layers together and finish with decorative
and adjust the opening. Measure to be sure they are even on or covered button. Or hand-tack ties at the front edge and
both sides. sides. To maintain projection at the sides, attach the panel to
the a tieback holder or wooden block attached to the window
frame behind the ties.
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Tie-top Curtains
T ie-tops are a refreshing, casual way to dress up a

window heading; they draw the eye up to highlight
crown molding or decorative trim and highlight your color
mind that opening and closing frequently will wear quickly
on the ties. Use lightweight to medium-weight fabrics for
best results, and add a lining for more light control.
and fabric choices. Choose matching or coordinating Determine the number of ties needed by placing
fabric for ties, or save time by using 1½- to 2"-wide ribbon one pair at each end of the curtain panel, one pair in the
instead. Tie-top curtains slide open easily, but bear in center, and spacing the remaining pairs every 6 to 8".
These tie-top sheers have a casual, soft

look that is perfect for bedrooms.
Cutting Guide ▸
Length Width
Decorator Fabric Finished length + 6½" (for 3" double hem at lower edge) 1½ to 2 × Finished width + double side hems
Facing 4" Finished width
Ties 4" 10" to 18"
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■ How to Make a Tie-top Curtain Heading
1 2 3
Fold strip lengthwise, right sides Pin pairs of ties to right side of the Turn facing to wrong side, so ties are
together, and stitch across one short curtain with raw edges even. Overlock free at the upper edge. Fold raw edges
end and along long edge with 1⁄2" seam one long edge of facing, or hem with of facing under 1⁄2" on each side. Fuse
allowance; or overlock. Use continuous narrow hem. Pin facing strip over ties, side and lower edges to curtain with
stitching. Trim corner, turn right side out, with right sides of facing and curtain fusible web.
and press. together. Stitch 1⁄2" seam at top of facing.
Making Tiebacks ▸
Tiebacks are a decorative, sleek Center fusible interfacing on Hand-tack a ring on the back
way to hold curtains open. They are the wrong side and fuse. Press seamline at each end, ¼" from edge
usually 2 to 6" wide; experiment with short ends under ½" fold in half (a), or press corners diagonally to the
the best length by pinning fabric lengthwise, right sides together. inside to form a point; slipstitch or
around curtains before cutting. Stitch ½" seam, leaving short ends fuse in place and attach a ring (b).
open. Press open. Turn tiebacks right
side out. Center seam down back
and press. Turn pressed ends inside
and slipstitch closed.
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Drapery Styles Tip ▸
The secret to an
opulent look in curtains
D raperies are one of the most functional,

durable window treatments available. This
traditional style does require more advanced
or draperies is a flannel
interlining. A must with
decorator silks, which
sewing techniques, but the end result is an would look limp and
elegant, refined treatment that will stand the test skimpy otherwise,
interlining can also give
of time. Attach draperies to a decorative rod and
other fabrics a body-
use elegant tiebacks and tailored details for a final building boost. Stitch
treatment that is effectively functional and refined, interlining between the
especially on tall windows or doors. Use medium- decorator fabric and lining
weight to heavyweight fabrics with or without to boost the volume of
any window treatment.
lining for a classic look, and choose from a wide
variety of pleating styles to best complement your
existing décor.
Experiment with multiple fabrics when constructing your drapery panels. These color-blocked panels in red and taupe provide
a colorful solution for this family room patio door.
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Pinch pleats: The most common Goblet pleats: Open tubes that are Inverted box pleats: Most often
drapery style, pinch pleats gather neatly pinched into pleats at the bottom used for valances, dust ruffles, or skirts
at the top of a window when closed and resemble wine glasses—thus the name on upholstered furniture, box pleats
remain gathered in pleats when open goblet pleats—and add a dressed-up are also a beautifully tailored accent
for a professionally tailored look. finish. Detail the base of each goblet for full-length draperies, especially in
with a tassel or covered button. rooms with a clean, modern style. In
the inverted style, fullness is folded out
to the back of the heading, creating a
smooth line on the front.
Cartridge pleats: Stitch the heading Attached valances: Add depth and Banded panels: Banding helps define
into cylinders to create soft, rounded layers to your drapes by sewing a the edges of a curtain or drapery. A
folds throughout the panel. Cleverly valance to the heading of your panels. solid-color band can accent a patterned
placed wide fringe trim calls attention to This style is an easy way to add detail, panel, adding visual weight to the sides
the heading and transforms the drapery such as trim or tassels, or to incorporate and anchoring the lower edge. In the
from a quiet backdrop to an energizing complementary fabric without building treatment shown, the dark-colored
accent to the room’s warm décor. an extra treatment. banding frames the box pleats as the
dark wood frames on the furniture
pieces complement their clean,
neutral fabrics.
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Pinch-pleated Draperies
C lassic pleated draperies are the ultimate window

treatment for versatility and style. Installed
on traverse rods, they easily open to reveal the full
Estimating Drapery Yardage ▸
Drapery Length
window view. When closed, they offer privacy, light
control, and insulation from the weather. 1) Desired length as measured from rod
When designing the treatment, allow for the 2) 8" for heading +
stacking space at the sides of the window, so the 3) 8" for double hem +
draperies will clear the window when they are open. 4) Cut drapery length =
The actual stacking space varies, depending on the
Drapery Width
weight of the fabric, the fullness of the draperies, and
whether or not they are lined—but a typical stacking 1) Rod width (from end bracket to end bracket on conventional
space is about one-third of the width of the windows, rods; from end ring to end ring on decorative rods)
divided evenly between the two sides. A wide variety 2) Returns +
of fabrics, from sheers to medium-weight, can be 3) Overlap [standard is 31⁄2"] +
used. Most common is 21⁄2-times fullness, but for very 4) Finished drapery width =
light fabrics or sheers, 3-times fullness may be best.
Drapery widths per panel
1) Finished width times 2, 21⁄2, or 3 (fullness)

2) Width of fabric ÷
3) Fabric widths needed: round up or down whole width =
Decorator fabric Decorative traverse rod 4) Divide widths by 2 ÷
Lining (optional) 4"-wide buckram 5) Number of widths per panel =
Total Drapery Fabric Needed
1) Cut drapery length (figured above)

2) Fabric widths needed (figured above) ×
3) Total fabric length =
4) Number of yd. needed:
total fabric length divided by 36" yd.
Lining Length
1) Finished length of drapery (from top of heading to hem)

2) 4" for double hems +
3) Cut lining length =
Lining Width
1) Number of widths per panel

(figure as for drapery widths per panel, above)
2) Multiply widths by 2 ×
3) Total fabric widths =
Total Lining Fabric Needed
1) Cut length (figured above)

2) Fabric widths (figured above) ×
The different styles and sizes of doors and windows in 3) Total fabric length =
this bedroom posed a decorating problem solved by the
pinch-pleated, traversing draperies. Choosing a lighter color 4) Number of yd. needed:
drapery than the wall draws the eye around the room’s clean, total fabric length divided by 36" yd.
inviting décor.
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■ Calculating Drapery Pleats
After fabric panels have been seamed and hemmed, between pleats should be 3½ to 4". If your calculations
use the table to determine the number and size of result in pleats larger than 6" or spaces smaller than
pleats and spaces per panel; the recommended amount 3½", adjust the number of pleats to ensure that your
of fabric required for each pleat is 4 to 6", and space measurements are within the recommended range.
Pleats Worksheet ▸
Finished Panel Width Pleat Allowance
1) Finished drapery width (figured left) 1) Flat width of hemmed panel

2) divided by 2 ÷ 2) Finished panel width (figured above) −
3) Finished panel width = 3) Pleat allowance =
Space between Pleats Pleat Size
1) Number of widths per panel (figured left) 1) Pleat allowance (figured above)
2) Times number of pleats per width* × 2) Number of pleats in panel ÷
3) Number of pleats per panel = 3) Pleat size =
4) Number of spaces per panel (one less than pleats) * Figure five pleats per width of 48" fabric, 6 pleats per width of 54" fabric.
5) Finished panel width (figured above) If you have a half width of fabric, figure 2 or 3 pleats in that half width.
For example, for 48" fabric, 21⁄2 widths per panel = 12 pleats.
6) Overlap and returns (figured left) −
7) Width to be pleated =
8) Number of spaces per panel (figured above) ÷
9) Space between pleats =
■ How to Sew Pinch-pleated Draperies

1 2
Seam widths together as necessary. (Remove selvages to Cut 4"-wide buckram 6" shorter than the width of panel. On
prevent puckering.) Use French or serged seams. Turn under wrong side of drapery panel, place buckram even with the top
and blindstitch or straight stitch double 4" bottom hems. edge and 3" from the sides.
(continued)
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3 4
Fold heading over twice, encasing buckram in fabric. Press; Turn under and blindstitch or straight stitch double 11⁄2"
pin or hand baste in place. side hems. Determine size of pleat and space between pleats
from worksheet (page 403).
5
pleat pleat pleat pleat pleat pleat
space space space space space
overlap
seam
pleat pleat pleat pleat pleat pleat

space space space space space space
return
seam
Mark the returns and overlaps on each panel; then mark the pleats and spaces. Mark a pleat just before the return and another
next to the overlap. Mark pleats next to any seams on the opposite side of the panel from the return. Bear in mind that pleat size
can vary slightly within each fabric width. Spaces between pleats must stay uniform. Spaces between pleats should be 3½ to 4".
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6 7 8
Fold individual pleats by bringing two Stitch on pleat line from top of Divide into three even pleats.
pleat lines together and pinning. Crease heading to 1⁄2" below heading; backstitch Crease the fold of the pleat with
buckram on the fold. to secure. one hand while opening the pleat
at the top of the heading. Press the
fold straight down to meet the pleat
stitching line. Two pleats form at the
sides. Pinch outer folds up to meet the
center fold (inset). Finger press three
pleats together, making sure they are
all even.
9 10
A
Tack pleats with machine bar tack Insert drapery hooks. On a conventional traverse rod (a), top of hook is 13⁄4" from
in center of pleat, ½" from bottom of the upper edge of drapery. On a ringless decorator traverse rod (b), the hook is 3⁄4" to
buckram. Set machine for widest stitch 1" from the upper edge. On a wood pole set (c), hook is 1⁄2" from upper edge.
and stitch four to five times.
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Drapery Lining
L ining adds body and weight to curtains to help

them hang nicely. A lining also adds opaqueness,
prevents fading and sun damage to decorative fabric,
and provides some insulation. For lined curtains with a
2" double-fold hem, cut lining the finished length plus
2½" and the finished width minus 6".
■ How to Line Curtains

1 2
Turn, press, and stitch 2" double-fold hem in lining. Turn and Place lining on curtain right sides together so the lining is
press double-fold hem in curtain. Tack weights inside fold of 11⁄2" above curtain hem. Pin and stitch 1⁄2" seams on sides.
curtain hems at seams and stitch curtain hems.
3 4
Turn curtain right site out. Center lining so side hems are Press 1⁄2" seam allowance across the upper edge of the
equal width. Press side hem with seam allowance toward the curtain. Fold the upper edge of the curtain down an amount equal
center. Continue to the top edge of the curtain. to the depth of the casing and heading. Lining ends at fold line.
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5 6
Stitch close to the folded edge to form casing. For Hand-tack weights along lower edge of the curtain inside
curtains with headings, stitch the heading the desired depth. side hems.
7 8
Turn side hems back diagonally below lining to form a Make French tacks about 12" apart between hem and
miter. Slipstitch miter in place. lining using double thread. Take two stitches near the top
of the hem and directly across the lining, leaving 1" slack in
thread. Make blanket stitch over thread; secure with knot
in lining.
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Using Pleater Tape ▸
Prepleat pleater tape to finished width of drapery Position the pleater tape on installed traverse rod
panel. Leave space unpleated at one end of tape for and adjust pleats if necessary. Fold ends under 1⁄2".
overlap and at other end for return. Remove hooks. Cut drapery panels using pleater tape as
a guide.
After double-fold hem on lower edge and side hems Insert hooks. Push prongs all the way up into pleats.
are finished, pin the upper edge of pleater tape, pocket Adjust folds between hooks.
side up, ½" from the upper edge on the right side of the
drapery (so the pleater tape overlaps ½"). Stitch ¼" from
the edge of the pleater tape. Fold to inside of drapery and
press. Stitch lower edge and both sides.
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■ How to Sew Lined Pleated Draperies
1 2
Stitch drapery fabric as on page 403. Repeat for lining, Mark lining panel 8" from upper edge of drapery panel. Trim
pressing under 2" double-fold hem. Place drapery panel on on marked line. Cut buckram the width of each panel. Place
large flat surface, then lay lining panel on top, wrong sides buckram even with upper edge of panel on wrong side. Fold
together, with the lower edge of lining 1" above the lower edge heading and buckram to wrong side; press.
of the panel; raw edges will be even at sides.
3 Dressing Draperies ▸
When draperies are
finished, draw into
stacked position and
guide pleats into soft
folds. Staple paper around
drapes at the hemline
and halfway between the
hem and the rod to hold
draperies in place; leave
them to hang straight
from the rod in this
fashion for five to seven
days. The humidity will
encourage the setting
process, so the soft folds
will continue to hang
nicely in the future.
Fold again, encasing the buckram, and then press. Pin or
hand baste in place. Press under 1½" twice on sides, folding
lining and drapery panels as one fabric. Stitch double-fold side
hems. Finish draperies as on page 405.
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Valance Styles Tip ▸
A window valance is a top treatment that can be

used alone or paired with curtains, blinds, or
draperies. Window valances have traditionally been
used as an attractive covering for window hardware,
but today are often primarily a decorative accent
that can draws together complementary fabrics used
throughout the room. Valances are also a great outlet
Modify the technique of making the balloon shade
for your creativity—whether you prefer tailored pleats (page 376) to make this stationary valance, which
or softly draping clouds of fabric, complete your adds an attractive focal point to the sunny décor of
window treatment with one of these popular styles, or this bathroom.
a variation of your own.
A single inverted box pleat at the middle of a deep, banded valance makes a strong statement in this formal area. While
centering the attention on the window, the valance also hides the hardware for the draperies and roman shade.
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Rectangle Valance: Lined Rectangle Rod-pocket Valance: Use the Buttoned Valance: These box-pleated
Valances are simply a length of fabric technique employed in rod-pocket valances are tailored and simple;
lined to the edge with the same or curtains to create these attractive top however, fold the lower corners back
contrasting fabric. Multiple looks can be treatments; choose to shape the bottom in this decorative style to highlight the
achieved by changing the dimensions of edge to complement your window contrasting fabric of the pleat inserts for
the rectangle or the way the valance is (shown) or leave the bottom edge in a stylistic flair.
hung, either clipped to a decorative rod straight line for a classic look.
or stapled to a mounting board.
Cloud Valance: Feminine, romantic, Upholstered Valance: This formal, Shelf Valance: Think creatively, and
and eye catching, a cloud valance is a tailored top treatment is made by add a shelf to the top of your window
great way to draw attention to a well- covering a wooden frame with fabric. instead of a fabric valance. Placed in the
dressed window. This style is gathered First, cover the frame with batting to window’s light, these shelves are a great
across the top, either by making a rod round the corners, then cover with place for an herb garden, flowering
pocket and mounting on a curtain rod or decorator fabric. For added detail, plants, or soft pieces, such as children’s
by gathering the top with shirring tape apply welting to define the upper and stuffed toys.
and securing it to a mounting board. lower edges.
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Buttoned Valance
T he lower corners of the box-pleated valances

are buttoned back in this project, revealing the
contrasting fabric of the pleat inserts. These valances
pleats and spacing. You may want to repeat a large
motif in each space between the pleats, or perhaps a
series of stripes. In general, a solid-colored fabric, or
are self-lined, eliminating the need for a lower hem. a fabric with a small print, can be divided into smaller
If the valance or insert fabric is patterned, it’s best to spaces than a fabric with a large print.
interline the valance with lining fabric to prevent the
pattern from showing through in the sunlight.
Unless the projection of the mounting board is
less than 5", pleats should always be positioned and Tools & Materials ▸
buttoned back at the outer front corners. The number
of remaining pleats and spaces between them will vary, Decorator fabric(s) Mounting board
depending upon the design that will best suit your Lining fabric Angle irons
window and room. In some cases, it may be desirable Covered buttons and screws
to align pleats with existing divisions in the window or decorative Staple gun
space created by moldings. It’s also smart to consider buttons and staples
the fabric you’re using when planning the number of
Fold back your pleats in large diagonal

strokes, or in small corner flaps (above)
for varied shape and design. You may
also choose to align pleats with window
molding to add to the overall consistency
of the window treatment.
Cutting Guide ▸
Length Width
Main Valance Fabric Sections Finished length × 2 + 3" Width of each space between pleats + 1"
Valance Returns (2) Finished length × 2 + 3" Projection of mounting board + 1"
Pleat Inserts (Contrasting Fabric) Finished length × 2 + 3" If mounting board projection is 5" or more: All pleat inserts = 21"
If mounting board projection is less than 5"
Corner Inserts: Mounting board projection × 2 + 11"
Remaining Inserts: 21"
Interlining (optional) Finished length + 1½" Finished width of valance
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Calculating the Spaces & Pleats ▸
To calculate the spaces between pleats, diagram the window treatment, including any undertreatments. Label the
finished length and width of the valance, then determine where you would like pleats (if aligning with window molding) or
the number of pleats that will work best for your design. Always place the first and last pleats on the outside corners. The
size of the spaces between pleats can either align with the window molding or can be divided evenly across the width of
the valance. To do this, first determine the approximate spacing between pleats, and divide into the width of the valance,
rounding up or down to the nearest whole number. This is the number of spaces between pleats. Remember, there should
always be one more pleat than the number of spaces. Divide this number into the valance width to determine the exact
measurement of each space.
■ How to Sew a Valance with Buttoned Pleats

1 2
Pin the pleat insert for left end of the valance over the left Pin a space section to the pleat insert, right sides
return section, right sides together; stitch 1⁄2" seam. together; stitch 1⁄2" seam. Continue to join sections, alternating
pleat inserts and space sections end with the right pleat insert
and the right return section. Press seams open.
3 4
Fold the end of the valance in half lengthwise, right Press valance in half, matching raw edges and seams.
sides together. Sew 1⁄2" seam on outer edge of returns; turn Machine baste layers together, 1⁄2" from raw edges at the top of
valance right side out, and press. Repeat for the opposite end the valance.
of valance.
(continued)
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5 6
Mark center of each pleat insert along upper and lower Fold under pleats at all seamlines; press. Bring the
edges. If return is less than 5", measure from inner seam of pressed seams together to pin marks; pin pleats in place along
return a distance equal to twice the return; pin-mark. upper and lower edges.
7 8
Press folded edges of all pleats, turning valance back and Stitch pleats in place across the valance, 11⁄2" from upper
pressing only on the pleat to avoid imprinting edges to right edge. Finish the upper edge, using overlock or zigzag stitch.
side of valance.
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9 10 11
Fold back lower corners of pleats at Determine button placement. Sew Cover mounting board. Position the
desired angle to expose pleat insert. Pin the buttons in place through all layers. valance on the mounting board using
in place; press, if desired. For shank-style buttons, cut a small slit stitching line as guide to extend upper
in the fabric, through corner layers only. edge 11⁄2" onto top of board; position
Insert the shank through the slit; sew end pleats at the front corners of
button through remaining layers. board. Clip fabric at corner pleats close
to stitching line. Staple the valance in
place, beginning with returns; ease or
stretch valance slightly to fit the board,
if necessary. Mount the valance.
■ How to Sew an Interlined Valance with Buttoned Pleats

1 2
Follow steps 1 and 2, page 413; measure the width of Complete valance as in steps 3 to 11, pages 413 to
seamed valance. For interlining, cut the lining fabric to this 414. The lower edge of interlining extends to the lower fold
measurement, seaming widths together as necessary. Pin of valance.
interlining to wrong side of valance, matching upper edges
and ends.
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Cloud Valance
C loud valances are soft and feminine and draw the

eye to window treatment details. The headings
of cloud valances are typically gathered, either using
a rod pocket and decorative rod or shirring tape, and Decorator fabric
the lower edge is raised into soft billows by sewing in a Lining fabric (optional)
column of rings and tying them together. Plastic rings
The pouf sizes can be all the same, or they can Shade cord
vary in width and length, depending on the needs of Two utility curtain rods of equal projections
your window. Columns of ring should be placed at Installation hardware and tools
seams between fabric widths and then 18 to 24" apart.
Depending on the width of your treatment, there will
be two to three poufs per width. Lightweight fabrics
and soft, medium-weight fabrics work best for cloud
valances. Depending on your fabric and desired look
21⁄2-times or 3-times fullness can be used.
An extra-wide pocket rod creates a grand top for this sheer cloud valance. Three graceful swags of different depths are created
by tying the two inner columns of rings tighter than the outer columns.
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Cutting Guide ▸
Length Width
Each Valance Section Finished length + (rod pocket depth × 2) Full valance: rod length + (projection of rod × 2) × desired fullness
+ (Heading height × 2) + 18" Valance section: divide full valance width by number of valance sections,
round to nearest whole number
Lining Finished length + (rod pocket depth × 2) Full valance: rod length + (projection of rod × 2) × desired fullness
+ (Heading height × 2) + 18" Valance section: divide full valance width by number of valance sections,
round to nearest whole number
■ How to Sew a Cloud Valance

1 2
6"
Seam fabric widths together. Repeat for the lining, if Lay the valance face-down. Mark positions for rings in
necessary. Pin valance and lining wrong sides together, aligning columns at the side hems and at each seam, placing the
edges. Trim any excess, turn under and stitch 1" double-fold bottom marks at the top of the bottom hem. Space one or two
side hems, handling pieces as one fabric. Press under ½" on additional columns of marks between seams. Place four marks
the upper edge. Then, press under an amount equal to the rod- in each column, spaced 6" apart.
pocket depth plus the heading depth. Stitch close to the first
fold; stitch again at the depth of the heading. Turn under and
stitch a 1" double-fold hem at the bottom.
3 4 Seaming Fabric
Widths ▸
Use only full and half widths.
Add half widths at the sides. If
an even number of full widths
are needed, divide one in half
and add a half width to each
side of the center full width to
Stitch a ring at each mark, stitching Thread a length of shade cord avoid a seam in the center of
through the lining and valance fabric. through the rings of the first column and the valance.
tie the rings together. Leave long tails
of cord. Repeat for each column. Insert
the curtain rod in the upper rod pocket
and mount the valance. Adjust fullness
evenly. Mount a second rod under the
valance, even with the clusters of tied
rings. Tie the cording tails to the rod to
keep the poufs in position.
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Upholstered Valance
A n upholstered valance is a style of cornice: a

formal, tailored top treatment made by covering
a wooden frame with fabric. The frame, which is a
box with an open back and bottom, is first padded Decorator fabric Polyester upholstery
with foam or batting to round the corners for a soft, Lining fabric batting or 1⁄2"-thick
upholstered look. Fabric-covered or cord welting can Welting cord polyurethane foam
also be used to define the edges of the valance. and fabric Cardboard upholstery
Building the valance frame takes only very basic
1
⁄2"-thick plywood stripping
carpentry skills—and any imperfections will be covered or pine boards Spray foam adhesive
with the padding and decorator fabric. Design your Carpenter’s glue Installation hardware
cornice to clear the curtain or drapery hardware by 2 to Finishing nails and tools
3" and extend at least 2" beyond the end of the drapery Stapler and staples
or window frame on each side. Medium-weight, firmly
woven decorator fabrics and upholstery fabrics are suitable
for this project; railroad the fabric to eliminate seams or
place the seams inconspicuously, never in the center. the frame and attach them to the wall at your marks.
To mount the cornice to the wall, remember to Finally, reattach the frame to the angle irons. Following
first attach the angle irons to the frame and mark their these instructions will ensure that you don’t get in to a
positions on the wall. Then, remove the angle irons from sticky spot trying to screw a narrow frame to the wall.
These dramatic arched valances are a grand focal point for this formal dining area. Apply antique details to the finished cornice,
such as the metal medallions in the corners here, for added character.
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Cutting Guide ▸
Length Width
Face Piece Height of frame + 3" Front + sides of frame + 6"

Inner Lining Strip 4" Front + sides of frame + 6"
Lining Strip Height of frame – 2" Front + sides of frame + 6"
Dustcover Top of frame + 1" Width of frame top
Batting or foam Height of frame Front + sides of frame
Welting Length of all welting edges + 6-8" 1½"
■ How to Make an Upholstered Valance

1 2
Measure and cut the cornice top. Cut the front the same Stitch welting to the lower edge of the face piece with
width and the desired finished height. Shape the lower edges, a ½" seam, then sew the lower (welted) edge to the inner
if desired. Cut sides pieces the same height as the cornice lining strip, right sides together. Sew the free edge of the inner
front plus the depth of the top piece, plus the thickness of strip to the lining strip. Press seam allowances toward the
the wood. Glue the top to the front board and nail to secure. lining. Mark the center at the top and bottom on both the face
Attach the sides, first gluing in place, then securing with nails. piece and the frame. Place the wrong side of the fabric on
Allow glue to set. the outside of the cornice, with the lower (welted) seam on
the lower front edge of the frame, matching center markings.
Staple in place at the center.
3 4
Pull the seam allowances taut to the corners of the Place cardboard stripping tight against the lower (welted)
cornice and staple in place. Staple every 4" from the center to seam. Staple every 1 to 1½". Cut and overlap the stripping at
the ends, keeping the lower (welted) seam aligned to the front the corners. Fold lining to the inside. Fold under the raw edge
edge of the frame. and staple at the inside of the box where the top and face
meet. At the lower corners, miter the fabric and staple close to
the corner. Tuck excess fabric into the upper corners and staple.
(continued)
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5 6
Open the welting seam back to the edge of the frame. Staple face fabric to the frame top at the center and ends.
Trim welting to 1". Trim out the cording even with the cornice Starting at the center, turn under the raw edge and staple
back edge to reduce bulk. Staple the lining to the back edge it to the cornice top. Smoothing the fabric as you go, work
of frame; trim excess lining. Staple the welting end to the first toward one end and then the other, placing staples 1½"
back edge of the frame. Turn cornice face up and apply spray apart. Pull fabric around the frame end to the top back corner,
adhesive to the front and sides. Place padding over the glued removing any slack; staple. Fold side fabric to the back edge;
surface and smooth it taut over the front and sides. Allow staple. Trim excess fabric at the back edge.
glue to set, then fold face fabric over the padded front. Gently
smooth toward the top, keeping the padding tucked snugly
into the corners and lower edge.
7 8
Fold the fabric diagonally at the corners to form miters. Staple welting to the sides and front of the cornice top,
Staple at the corners and across the ends. with the welting stitching line along the front and side edges.
Place dustcover over the welting on cornice front, with right
sides together and raw edges event. Staple cardboard stripping
at the front. Fold under the sides of the dustcover even with
the sides of the frame. Insert cardboard stripping into the folds.
Staple dustcover to the top of the frame, close to the folds.
Fold the back edge under and staple in place.
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Cornice Variations ▸
If you love the look of upholstered valances but are intimidated by the frame construction and upholstery techniques,
don’t fret! You can achieve the look and feel of upholstered cornices without building a frame by using one of these
clever techniques.
Soft cornices are mounted on a board with side extensions instead of a full frame and result in a similar shape with a
lighter look. Soft cornices can be made as either a single panel of fabric with a shaped lower edge or with overlapping
panels. Welting defines the lower edge of the soft cornice and can also trim the upper edge.
Rod-pocket mock cornices are mounted on flat curtain rods that are 4½" wide. Fusible fleece applied inside the rod
pocket gives the treatment a padded look. The top and bottom of the rod pocket are accented with welting to add to the
illusion. Add a pleated or gathered skirt below the rod pocket for extra length.
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Hanging Shelf Valance
T hink creatively about your window treatments,

and replace a traditional valance with a
hanging shelf to house collectibles, toys, or plants.
This functional piece can also be a delightful 1 × 6 board for 180-grit or 220-grit
decorative addition to kitchens, bathrooms, and each shelf, cut to sandpaper
bedrooms. Hang a single shelf near the top of a the width of the Pole brackets with
window as a valance, or hang multiple shelves for window frame 4 to 6" projection
additional privacy. Two 7"-lengths of Latex paint or wood
The shelves in this project are made from 1 × 6 parting stop for stain and clear
stock lumber, braced with parting stop at each end, each shelf acrylic finish
and suspended with a rope from a wooden pole. If Sponge applicator 3
⁄16" nylon or
mounting a shelf over a window that is more than 36" Drill with 5⁄16" drill polyester rope
wide or if you will be displaying heavy items, add an bit and 3⁄32" (cut twice as long
additional brace and rope to the center, along with a combination as the distance
center support bracket for the pole. Ropes are knotted drill and from the pole
just below the pole and under each brace to keep the countersink bit to the bottom
shelf hanging level. 1" flat head screws of the last shelf,
13⁄8" wood pole plus 6 to 10" for
with finials each knot)
■ How to Make a Hanging Window Shelf

1 2 3
Mark placement of holes for rope Mark lines on underside of shelf 2" Adjust 3⁄32" combination drill and
on the wide side of braces ½" from from each end. On wide side of braces, countersink bit so head of drywall screw
each end; drill holes using a 5⁄16" drill bit. mark placement for screws, 11⁄2" from will be recessed below the surface of
Sand all wood surfaces using 180-grit ends. Place braces, wide side up on wood when inserted into drilled hole,
or 220-grit sandpaper; round corners of shelf with outer edges along lines and then predrill screw holes, holding the
the shelves and braces slightly. ends extending equally on each side of brace firmly in place as positioned. Drill
shelf. Position a third brace, if needed at through brace and into underside of
center of board. Repeat for braces on shelf, up to point on drill bit indicated by
any additional shelves. the white line. Insert screw and repeat
for remaining braces.
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4 5 6
Paint the shelves, if desired, or stain Fold the ropes in half. Tie each folded Thread the rope down through the
shelves and apply clear acrylic finish. rope together in an overhand knot near holes in the braces of the shelf until
the folded end, leaving a 2½" loop; tie all the pencil marks are below the braces.
knots in the same direction so they look Tie a figure-eight knot at each location,
the same. Measure from the overhand just under the mark. Repeat for any
knots to the desired location for the first additional shelves, measuring from
set of shelf support knots, allowing 1¼" previous knots.
for the thickness of the shelf and braces
and mark the ropes.
7 8
Mount brackets for wood pole on or just outside the Slide the pole through loops in the rope, and attach finials
window frame. If a center support bracket is needed, mount it to ends; mount the pole on brackets. Check to see that shelves
with one side of the bracket at center. are level and resting on knots; adjust the knots if necessary.
Trim excess rope under the knots for the bottom shelf.
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Swag Styles
S wags are elegant and versatile and are easily

employed by decorators of all skill levels. As a
top treatment, they are the perfect way to introduce
an accent color or pattern to your window décor.
Consider adding a swag in a complementary color
to your curtains or draperies to tie together various
elements of your room’s color scheme.
For a polished designer look, be sure to take
proper measurements and style the fabric over the
window throughout the process. Avoid directional
prints, such as birds or flowers that only look right in
one direction: you don’t want to have upside down
tulips on one side of your window. Consider semisheer
decorator fabric for a soft, airy look. For a more formal,
traditional look use medium-weight decorator fabric
and consider trimming the edges with bullion fringe.
Bias swags made from striped or plaid fabric can add
interest, tie the window treatments in with other
patterns and colors in the room, or just add a fun focal
point with a burst of pattern or color.
Tip ▸
Making a decorator window treatment is easier than you

may have thought! Here a white semisheer freeform swag
cascades to the floor for formal, yet fresh softness.

Decorative rod and Paper for
mounting hardware pattern making
Long cord or string Drapery lining
Tape measure Fringe
Decorator fabric Clip-on or sew-on
For a reversible option or to tie in a prominent
Depending on the drapery rings
color or scheme in the room, consider lining the project you choose, (ten per 36")
backside of the fabric. you may also need: Twill tape or ribbon
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■ Swag Styles to Consider
Freeform scarf: This swag style Bias: Cut with the true bias running Tapered: Floral print is draped through
is classic and uninhibited, draping through the center of the swag, bias-cut scarf rings to form this easy single
effortlessly across a window frame. swags drape in smooth, graceful folds. swoop treatment. There are hidden
Made of a full-width, unshaped length of seams at the points where the swag
fabric, this style can be sewn and draped goes through the rings, so a directional
in minutes. Add trim or decorative swag print like this can run upward on
holders to accent the fabric both tails.
Tailored: The tailored version is Rod pocket: This softly gathered swag Multiple swoops: Shape your swag
more structured has a formal, pleated is versatile and can be tailored multiple with multiple swag holders to unify
look. This swag style is not formed ways. Add fringe or decorative trim windows of multiple heights, accent a
at the window, but rather created for a formal finish, or add a ruffle for vaulted ceiling, or to add variety to a
with a muslin pattern to fit the country charm. large bay window.
window perfectly.
Shirred: This lined swag is adorned with multicolored rope Butterfly: A stationary treatment, the butterfly swag can be
trim and is created with jabots, or side panels. The trim simply made in any length. Its fan-folded fabric is held in place with
drapes through the swag and hangs over the jabots on decorative straps, which helps the fabric to swag in the center
each side. and flare at the sides.
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Scarf Swag
T his elegant top treatment is versatile and requires

very little sewing; in fact, a scarf swag is simply
a long length of fabric that is hemmed at the ends.
the swag. You will use the entire width of a decorator
fabric, running the lengthwise grain up one side,
draping across the rod, and down the opposite side.
If the selvages are neat and unpuckered, they can Avoid directional prints when creating swags in
be left intact as finished edges for the long sides of this style.
■ How to Make a Scarf Swag

1 2
Mount the rod above the window frame, with the outer Fold and press 1" from the outside edge of swag end, and
brackets beyond the frame sides. Drape a cord in the path you then unfold it. Turn the cut edge back, aligning it to the first
want the lower edge of the swag to follow. Cut fabric 2" longer foldline (shown), and press.
than this length.
3 4
Refold along the pressed 1" foldline to create a double- Align the selvage edge under the presser foot, with the
fold hem. Pin the hem as shown. No-sew alternative: fuse or needle aligned just inside the inner fold. Straight stitch the
glue the final hem instead of pinning it. entire length of the swag edge, removing pins as you go. Be
sure to backstitch at the start and finish. Repeat for the hem at
the opposite end.
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5 6
Fanfold the entire finished panel into gentle pleats of Drape the folded fabric over the rod, remove the ties, and
consistent depth, keeping the right side facing out on the first arrange the folds. Tug gently at the center of the lower folds to
and last folds. Tie the folded fabric at regular intervals using shape the swag into a gradual curve.
ribbon or twill tape.
■ Variation: Freeform Swag with a Knot

1 2 3
Measure and mark the point in which Hang the swag over the rod. Tie the fabric between bundles into
the swag will fold together near pole Secure the upper edge to the rod with a large, loose knot over the rod. Pin
ends. If you want an exact placement double-sided carpet tape so that it the bundles together inside the knot. If
for the fold, use a fabric pencil. Fan doesn’t move. you’d like to use multiple knots, begin
fold the swag along the marked lines, in the center and work out toward
keeping the number and depth of folds each side.
consistent. Secure with a Velcro strap or
twill tape.
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Bias Swag
T his style of swag is cut with the true bias of the

fabric running through the center of the piece,
which enables the swag to drape in smooth, graceful
semisheer fabric, or formal and refined when made
with medium-weight fabric and decorative trim. Drape
one bias swag per window, or make multiple swags to
folds. Bias swags can be light and airy when made in overlap as you mount them.
The striped fabric in these swags

hides the gap between the top of the
window and the decorative rod. The
stripes echoed in the upholstered chair
cushions pull the overall design together.
■ How to Make a Bias Swag

1 2
Measure your window to determine how much fabric you Mark the folded edge 5" from the upper point. Draw a line
need. Take a square measurement based on the farthest edges from the mark to the opposite edge (as shown) and cut along
top to bottom and right to left (typical size is 42"). Cut a square the line. Use this template for the swag and the lining.
piece of paper to match your desired measurement. Fold the
square diagonally from corner to corner. Using a string and
pencil, draw an arc between the square corner and the fold,
marking the lower edge of the swag. Cut along the marked line.
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3 4
Fold under 2" on the long straight edges. Trim the lower With right sides together, align and stitch the fabric and
area that is folded under, following the curve. Unfold the lining together at the curved edge with a 1⁄2" seam. Turn the
pattern. This pattern can be used for the lining and swag. Test swag right side out.
it out by hanging it in place on the rod.
5 6
Press under 1" twice on the long straight sides, folding Attach drapery rings to the upper straight edges of the
the decorator fabric and lining together. Stitch close the inner swag as shown. Hang the rings on the decorator pole. Arrange
fold. Repeat at the upper edge. the swag as desired (inset).
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Rod-pocket Swag
M odeled after traditional rod-pocket curtains

(page 394), this swag style is simple to make
and can be detailed to match many décor styles. Style
the swag to fall in one deep, graceful half-circle, or in
multiple swags of equal depths. Or divide the swag
further to create a deeper swag in the center, framed
by smaller swags on the sides. Lightweight, sheer
or medium-weight decorator fabrics all work well
rod-pocket swags.
Whatever your styling, this top treatment will
always be constructed from a half-circle of fabric.
Surprisingly, the straight edge of the half-circle will
become the lower curved edge of the valance to
which the ruffle or fringe is attached. Before you
begin, install the rod and drape a piece of string
or twill tape from the rod to simulate the final
appearance of the swag(s). Mark the swags on the This rod-pocket swag has been gathered along the pocket
string and use this piece to help determine your and the top portion is folded over, resulting in a cloud-like
final measurements. fullness at the top.
■ How to Make a Rod-pocket Swag

1 2
Determine the depth of the heading and rod pocket. Mark ½" seam allowance and the depths of heading and
Fold the decorator fabric in half crosswise. Mark an arc using rod pocket on the wrong side of the valance fabric (arrows), at
a straightedge and pencil, measuring from the outer edge at each end of the straight edge. Pin valance to lining, right sides
the fold, a distance equal to ½ the measured length of the together, matching raw edges.
lower edge of the valance plus the depth of the heading and
rod pocket plus ½" for seams. Cut on marked line through both
layers. Cut lining to this same size.
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3 4
Stitch valance to lining in 1⁄2" seam, stitching with valance Press the lining seam allowance toward the lining. Trim the
face up. Leave an opening for the rod pocket at each end corners diagonally.
of the straight edge, and an opening near the center of the
straight edge for turning.
5 6
Turn valance right side out; press Insert the curtain rod or pole into Variation: To gather swag, follow steps
seamed edges. Stitch the center the rod pocket, gathering fabric evenly. 1 through 5 then mark gathers on the
opening closed. Mark chalk lines for Install rod on brackets. Adjust folds of wrong side of the fabric. Zig-zag stitch
depth of heading and depth of rod valance as desired. Note: Swag shown over a length of cord down one side of
pocket on curved edge of valance. Pin has a ruffle attached to the straight the line. When you reach the end, pivot
layers together. Stitch on marked lines. edge. Attach ruffle to long straight edge and continue stitching over cord on the
before beginning project, if desired. opposite side of the line and secure
at the end. After mounting swag,
draw up cords to gather swag to the
desired height, then tie cords together
and trim.
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Stained Glass
H anging stained glass panels in a window is a

dramatic way to add color to the brightest places
in your home. Custom order a new panel or search
for a unique find at an antique store or salvage yard. Hooks and chains Finishing compound
If you are refurbishing an older panel, follow these Mineral spirits or furniture polish
simple tips to make sure it looks its best. Or, if you Paintbrush Painter’s tape
can’t afford (or can’t find) the perfect panel for your Vinegar Spray stained glass
window—make an imitation panel yourself! Use this Razor blade Felt-tip marker
simple painting technique to add a colorful, removable 0000 steel wool Paper
design to your window glass. Glass cleaner Liquid leading
To hang a stained glass panel, secure hooks to the top of the panel frame and to the top of the window frame, predrilling
holes. Hang from chains secured to the hooks. Ask for help selecting hardware that will be strong enough to support the weight of
your piece.
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■ Refurbishing Stained Glass Panels
1 2 3
Remove old paint by applying mineral Clean dirty lead by rubbing 0000 steel Clean glass using a commercial-grade
spirits to the area covered with paint wool over it, taking care not to scratch glass cleaner and polish with finishing
using a paintbrush; wait a moment and the glass; then wipe the lead with a compound. Wipe the polish on, allow it
scrape away paint with a razor blade. dampened cloth. to dry and buff the surface. You can also
Remove putty or glazing compound use furniture polish to shine the glass.
using vinegar and a razor blade. Either kind of polish will protect the
glass with a wax coating.
■ How to Make Imitation Stained Glass

1 2
Plan your design on a piece of paper, then place your When all colors have been applied and have dried, apply
drawing behind the glass panel and trace over your guidelines liquid leading materials following your marker lines.
with a marker on the front of the glass. Mask off your first
color, and apply Spray Stained Glass in short sweeping
motions. Repeat for each color.
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Frosted Glass
F rosted glass spray paint provides a durable finish

that cuts the glare of strong sunlight and provides
privacy for windows in bathrooms or entrances. Spray
paint over a masking stencil of self-adhesive vinyl
to leave spaces of clear glass in a decorative shape.
Or, reverse the stenciling process and apply frosted
glass in a decorative pattern to imitate etched glass
detailing. Unlike true frosted glass, however, frosted
glass spray paint can be removed, using a razor blade
or lacquer thinner.

Frosted glass Graphite paper
spray paint or pre-cut stencil
Self-adhesive Masking tape
vinyl, such as Paper
Con-Tact® Glass cleaner
Mat knife Lint-free cloth
Frosted glass can add privacy to doorway windows or

bathrooms along with decorative flair. Or, apply frosted glass to
small stenciled areas to imitate etched glass (above).
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■ How to Apply a Frosted Glass Finish with a Clear Design
A
1 2
Clean the window thoroughly using glass cleaner and Position design on window, with carbon or graphite paper
a soft, lint-free cloth. Cut self-adhesive vinyl 2" larger than under design, tape in place. Trace design onto vinyl (A). Or tape
design. Remove paper backing; affix vinyl to window in the precut stencil to vinyl in desired position; trace design areas
desired location, pressing out any air bubbles. If more than one with pencil (B).
width of vinyl is needed overlap the edges slightly.
3 4
Cut around the design areas using a mat knife, applying Remove vinyl surrounding design areas using tip of mat
just enough pressure to cut through the vinyl. Overcut corners knife to lift edge of vinyl.
or curves into surrounding areas, if necessary, but do not cut
into design areas.
(continued)
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5 6
Press firmly on all areas of the design; rub away any Mask off the woodwork around window and surrounding
traces of adhesive left on glass, using glass cleaner and soft, wall area using masking tape and paper to protect from
lint-free cloth. overspray of the paint.
7 8
Check to be sure the glass surface is free of dust. Follow Remove vinyl in design areas using tip of matt knife to lift
the manufacturer’s instructions for applying paint. Spray paint edge of vinyl. Gently rub away any traces of adhesive left on
onto the window in sweeping motion, holding can 10 to 12" the glass, using a soft cloth dipped in glass cleaner.
away from glass, lightly respraying surface several times in one
application. Allow to dry for 15 minutes. Repeat two or three
times for good coverage.
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■ How to Apply a Frosted Design with Surrounding Clear Glass
1 2
Follow steps 1 and 2 on page 435. Cut around the design Remove vinyl in design areas to be frosted using tip of mat
areas to be frosted using a mat knife, applying just enough knife to lift edge of vinyl.
pressure to cut through the vinyl. At the corners, do not cut past
point of the intersecting lines, onto the area surrounding design.
3 4
Follow step 5, opposite. Mask off woodwork, walls, or any Follow step 7, opposite, spraying over design area. Remove
areas of the glass not protected by the stencil using masking vinyl, masking tape, and paper. Gently rub away any traces
tape and paper. of adhesive left on glass using a soft, lint-free cloth dipped in
glass cleaner.
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Shoji-style Screen
T raditional Japanese screens, called shoji, are made

with an intricate wooden lattice framework backed
with rice paper. Shoji-style screens filter muted
light through the transparent paper backing, adding
sophisticated elegance and an aura of tranquility to
any room. Shoji-style screens are especially suited for
windows that cannot be opened and closed and that
have a less-than-perfect view.
These shoji-style screens are made from parting
stop and rice or decorative paper. Parting stop
measures ½" × ¾" and can be painted or stained, if
desired. Paper backing can be applied in one sheet
or in multiple sheets. Mount the screen inside or in
front of your window frame. Careful measuring and
cutting is important, especially if you plan an inside-
mount. Make your screen 1⁄4" narrower and shorter
than the inside of the frame. Take accurate, detailed
measurements of the window and draw a full-size
pattern of the screen framework before cutting any of
the wood pieces. Japanese shoji-style screens are timeless, and filter light
softly in to any room for simple, classic elegance.
Tools & Materials ▸ Anatomy of a Shoji ▸

Parting stop
Rice paper or decorative paper
Double-stick transfer tape B C
15⁄8" drywall screws
Wood filler
Wood glue
Sandpaper A
Paint, or stain and clear acrylic finish D
(optional)
Mat knife
1
⁄8"-thick self-adhesive bumper pads A
(for inside mount)
Two shoulder hooks and screw eyes
(for outside mount)
B
Spring clamps
Drill with 1⁄8" combination drill
and countersink bit
Small miter box and backsaw
Shoji-style framework has an inner frame,
consisting of two vertical stiles (a) and top and
bottom rails (b), a slightly offset outer frame (c), and
interior lattice strips (d).
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■ How to Make a Shoji-Style Screen
1 2 3
Measure window frame; determine Draw the outer frame of screen 1⁄2" Draw stiles and rails 1⁄2" wide, inside
outer measurements of screen (1⁄4" wide; sides run full length of frame, with outer frame; stiles run the full length
narrower and shorter than window top and bottom sections abutting sides between top and bottom sections of
frame). Draw outline of screen on at inner edges. outer frame, with rails abutting stiles at
large sheet of paper; use accurate inner edges.
measurements and square corners.
4 5
Draw inner lattice of screen as desired; draw all sections Tape the finished pattern to the window frame,
1
⁄2" wide, abutting the ends of lattice sections to inner edges of checking for accuracy. Measure pattern for the length of each
stiles, rails, or other lattice sections. Sections should abut each wood section, including the stiles, rails, lattice, and outer frame
other at right angles. To allow for the insertion of screws, stagger sections. Keeping the ½" side of the parting stop face up, mark
placement of ends that abut opposite sides of the same section. and cut for each section; cut on the outside of the line using
It is helpful to plan the design of the lattice by sketching it on a miter box and backsaw, leaving each section slightly longer
another piece of paper before drawing it on the pattern. than the desired finished length.
(continued)
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6 7
Check the lengths of outer frame sections by placing Remove left stile from pattern and place it face up near
sections of parting stop over pattern. Sand the ends of the edge of a flat work surface. Abut bottom rail to stile, face
sections until they fit the pattern exactly. Reposition on the up, with lower edges even; clamp. Mark placement for screw
pattern. Repeat for stiles, rails, and all lattice sections until the on outside of stile in line with the center of the rail.
entire framework is laid out (inset).
8 9
Adjust 1⁄8" combination drill and countersink bit so head Repeat steps 7 and 8 for top rail. Attach right stile to the
of drywall screw will be recessed below surface of wood opposite end of rails, abutting ends of rails to side of stile;
when inserted into drilled hole, then predrill screw hole, drilling countersink holes and insert screws.
through the side of the stile and into the center of the end rail.
Countersink the hole up to point on bit indicated by white line.
Insert drywall screw.
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10 11
Position the stiles and rails over the lattice pieces on Join sections of lattice, working from center outward and
pattern. Align all pieces for perfect fit. Make small pencil lines aligning penciled markings. Keep lattice flat on work surface,
at every abutting location. and predrill holes in line with center of section being joined;
insert screws.
12 13
Fit lattice inside the framework of stiles and rails. Apply wood glue to upper side of top rail and top ends
Join the stiles and rails to lattice, countersinking holes and of stiles. Place the framework face up on flat surface; place
inserting screws. straightedge of about 1⁄8" thickness next to top rail. Rest the top
section of outer frame on straightedge to offset it slightly; glue
to the top rail, aligning ends. Clamp in place. Repeat for bottom
section. Then, glue side sections of outer frame to stiles.
(continued)
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14 15
Cover exposed screw heads in lattice with wood filler, if Cut paper 1" longer and wider than outer frame. Apply
desired. Allow to dry. Sand filled areas until flush with wood double-stick transfer tape to all stiles, rails, and lattices.
surface. Sand any rough areas of the screen. If desired, paint or
stain framework.
16 17
Center piece of paper, right side down, and affix center of Fold back the excess paper at the edges of inner frame;
each side to frame. Pull paper taut and affix sides of paper to crease. Trim using mat knife.
stiles and rails. Then, affix paper to all lattice sections.
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Attaching Paper Using Multiple Sheets ▸
Divide original screen pattern into areas that can be Affix paper to frame using double-stick transfer tape,
covered with one piece of paper. Trace each area onto one area at a time. Always apply to outer edges first, and
tracing paper, planning for paper pieces to overlap each then to any lattice strips. Center paper over the area and
other on the back of the lattice sections, hiding seams. affix to frame as in step 16. Trim, using mat knife, and
Cut each piece of paper using the traced patterns. Add 1" move on to the next section, overlapping pieces on the
margin on each side. back of any adjoining lattice strips (inset).
■ Mounting a Shoji-Style Screen
Inside Mount: Adhere self-adhesive bumper pads to outside Outside Mount: Attach screw eyes to the top of the outer
edge of outer frame, 2" from each corner, and then every 18 to frame, 2" from the corners. Hold screen in place and mark
24", around the entire frame. Push the screen into place inside placement for shoulder hooks. Attach shoulder hooks to
the window frame until the front of the screen is flush with the window frame and hang the screen, hooking the screw eyes
front of the window frame. Stack additional pads, if necessary. over the shoulder hooks.
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Reference Charts
Metric Conversions
To Convert: To: Multiply by: To Convert: To: Multiply by:
Inches Millimeters 25.4 Millimeters Inches 0.039
Inches Centimeters 2.54 Centimeters Inches 0.394
Feet Meters 0.305 Meters Feet 3.28
Yards Meters 0.914 Meters Yards 1.09
Square inches Square centimeters 6.45 Square centimeters Square inches 0.155
Square feet Square meters 0.093 Square meters Square feet 10.8
Square yards Square meters 0.836 Square meters Square yards 1.2
Ounces Milliliters 30.0 Milliliters Ounces .033
Pints (U.S.) Liters 0.473 (lmp. 0.568) Liters Pints (U.S.) 2.114 (lmp. 1.76)
Quarts (U.S.) Liters 0.946 (lmp. 1.136) Liters Quarts (U.S.) 1.057 (lmp. 0.88)
Gallons (U.S.) Liters 3.785 (lmp. 4.546) Liters Gallons (U.S.) 0.264 (lmp. 0.22)
Ounces Grams 28.4 Grams Ounces 0.035
Pounds Kilograms 0.454 Kilograms Pounds 2.2
Converting Temperatures Lumber Dimensions

Convert degrees Fahrenheit (F) to degrees Celsius (C) by following this simple Nominal - U.S. Actual - U.S. (in inches) Metric
formula: Subtract 32 from the Fahrenheit temperature reading. Then, multiply that 1×2 3
⁄ 4 × 1 1⁄ 2 19 × 38 mm
number by 5⁄9. For example, 77°F - 32 = 45. 45 × 5⁄9 = 25°C. 1×3 3
⁄ 4 × 2 1⁄ 2 19 × 64 mm
1×4 3
⁄ 4 × 3 1⁄ 2 19 × 89 mm
To convert degrees Celsius to degrees Fahrenheit, multiply the Celsius temperature 1×5 3
⁄ 4 × 4 1⁄ 2 19 × 114 mm
reading by 9⁄5. Then, add 32. For example, 25°C × 9⁄5 = 45. 45 + 32 = 77°F. 1×6 3
⁄ 4 × 5 1⁄ 2 19 × 140 mm
1×7 3
⁄ 4 × 6 1⁄ 4 19 × 159 mm
Fahrenheit Celsius 1×8 3
⁄ 4 × 7 1⁄ 4 19 × 184 mm
55° 15° 1 × 10 3
⁄ 4 × 9 1⁄ 4 19 × 235 mm
50° 10° 1 × 12 3
⁄4 × 111⁄4 19 × 286 mm
45°
40° 5° 1 1⁄ 4 × 4 1 × 3 1⁄ 2 25 × 89 mm
35°
Freezing
1 1⁄ 4 × 6 1 × 5 1⁄ 2 25 × 140 mm
30° 0°
25°
1 1⁄ 4 × 8 1 × 7 1⁄ 4 25 × 184 mm
-5°
20° 11⁄4 × 10 1 × 9 1⁄ 4 25 × 235 mm
15° -10°
10°
11⁄4 × 12 1 × 111⁄4 25 × 286 mm
5° -15° 1 1⁄ 2 × 4 1 1⁄ 4 × 3 1⁄ 2 32 × 89 mm
0°
1 1⁄ 2 × 6 1 1⁄ 4 × 5 1⁄ 2 32 × 140 mm
1 1⁄ 2 × 8 1 1⁄ 4 × 7 1⁄ 4 32 × 184 mm
11⁄2 × 10 1 1⁄ 4 × 9 1⁄ 4 32 × 235 mm
11⁄2 × 12 11⁄4 × 111⁄4 32 × 286 mm
Metric Plywood Panels
2×4 1 1⁄ 2 × 3 1⁄ 2 38 × 89 mm
Metric plywood panels are commonly available in two sizes: 1,200 mm × 2,400
2×6 1 1⁄ 2 × 5 1⁄ 2 38 × 140 mm
mm and 1,220 mm × 2,400 mm, which is roughly equivalent to a 4 × 8-ft. sheet.
2×8 1 1⁄ 2 × 7 1⁄ 4 38 × 184 mm
Standard and Select sheathing panels come in standard thicknesses, while Sanded
2 × 10 1 1⁄ 2 × 9 1⁄ 4 38 × 235 mm
grade panels are available in special thicknesses.
2 × 12 11⁄2 × 111⁄4 38 × 286 mm
Standard Sheathing Grade Sanded Grade
3×6 2 1⁄ 2 × 5 1⁄ 2 64 × 140 mm
7.5 mm ( ⁄16 in.)
5
6 mm (4⁄17 in.)
4×4 3 1⁄ 2 × 3 1⁄ 2 89 × 89 mm
9.5 mm (3⁄8 in.) 8 mm (5⁄16 in.)
4×6 3 1⁄ 2 × 5 1⁄ 2 89 × 140 mm
12.5 mm (1⁄2 in.) 11 mm (7⁄16 in.)
15.5 mm (5⁄8 in.) 14 mm (9⁄16 in.)
18.5 mm (3⁄4 in.) 17 mm (2⁄3 in.) Liquid Measurement Equivalents
20.5 mm (13⁄16 in.) 19 mm (3⁄4 in.) 1 Pint = 16 Fluid Ounces = 2 Cups
22.5 mm (7⁄8 in.) 21 mm (13⁄16 in.) 1 Quart = 32 Fluid Ounces = 2 Pints
25.5 mm (1 in.) 24 mm (15⁄16 in.) 1 Gallon = 128 Fluid Ounces = 4 Quarts
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Resources
American Society of Interior Designers (ASID) National Association of Remodeling Industry (NARI)
202 546 3480 847 298 9200
www.asid.org www.nari.org
The Bradley Collection Limited Room and Board

44 (0) 845 118 7224 800 301 9720
[email protected] www.roomandboard.com
www.bradleycollection.co.uk
Wallcovering (paper) Resources
Color Association of US www.creativewallcovering.com (919 384 1994)
www.colorassociation.com www.jocelynwarner.com
www.madisonandgrow.com
Encyclopedia of Fabrications www.mardero.com
by Ethel Mahon www.pottokprints.com
see WCAA entry www.tracykendall.com ([email protected])
www.wallpaperstore.com (406 541 2091)
US Environmental Protection Agency (EPA)
202 272 0167 WCAA | Window Coverings Association of America
www.epa.gov Window coverings & home furnishings standards.
Publications, certification programs, and training to maintain quality
Esteban Interiors standards, definitions of industry terms, and standardization of
7605 Girard Avenue window treatments.
La Jolla, CA 92037 Publisher and distributor of the Encyclopedia of Fabrications by Ethel
858 729 0045 Mahon.
www.estebaninteriors.com 2646 Hwy 109, Ste. 205
Grover, MO 63040
IKEA Home Furnishings 636 273 4090
610 834 0180 www.wcaa.org
www.Ikea-USA.com
International Furnishings and Design Assoc. (IFDA)

610 535 6422
www.ifda.com
International Interior Designers Association

888 799 4432
www.iida.org
National Kitchen & Bath Association (NKBA)

800 THE NKBA
www.nkba.org
Photo Credits
Photo Credits p. 24 (top) Room & Board, (lower) Photolibrary p. 132 (top), 141, 146 (top), 147 (lower) iStockphoto
p. 3 Tony Giammarino/Giammarino & Dworkin p. 25 (top) Photolibrary, (lower) Louvolite p. 166 Esteban Interiors
p. 4 iStockphoto p. 59 Shutterstock p. 175, 176 iStockphoto
p. 7 iStockphoto p. 62 Shelley Metcalf p. 180 (top) Photolibrary
p. 8 FLOR p. 68 iStockphoto p. 181 (top) Modern Seed
p. 9 (both) Room & Board p. 74 Shelley Metcalf p. 182 (top) Bratt Décor
p. 10 (middle left) iStockphoto, (middle right & lower p. 78 (top) Photolibrary p. 187 (lower left) Brian Vanden Brink, (lower right)
right) Room & Board, (lower left) Jocelyn Warner p. 83 (top two) Ceramic Tiles of Italy, (lower left) Fireclay Tile, Inc.
p. 11 (top) Room & Board Oceanside Glass Tile, (lower right) Eric Roth p. 193 and 198 Armstrong
p. 12 (top left & right) Jocelyn Warner, (lower left) p. 87 iStockphoto p. 201 Brian Greer's Tin Ceilings
Photolibrary, (lower right) Shelley Metcalf p. 90 IKEA p. 204 (top) Corbis
p. 13 (top left) Tony Giammarino, (top right) Pottok, p. 91 (top two, lower left & right) Jocelyn Warner, (lower p. 206 Gilded Planet
(lower left & right) Jocelyn Warner middle) Pottok p. 207 (top left) Gilded Planet
p. 18 Room & Board p. 92 (top) Jocelyn Warner p. 208 Madison & Grow
p. 19 (top left) Esteban Interiors, (top right) Ted p. 100 (top) iStockphoto p. 211 SieMatic Corp.
Yarwood/design Kimberley Seldon Design Group, p. 105 iStockphoto p. 218 Corbis
(lower right & left) Corbis p. 124 Deron E. Meranda p. 222 IKEA
p. 20 (top) iStockphoto, (lower) Armstrong p. 128 Marvin Windows and Doors p. 228 Woodharbor
Photo Credits ■ 445
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p. 230 Naill McDiarmi/Alamy Brian Greer's Tin Ceilings, Walls and unique metal David Duncan Livingston, photographer/
p. 234 Beateworks Inc./Alamy work/www.tinceiling.com www.davidduncanlivingston.com
p. 237 Armstrong p. 201 p. 374, 416, 421 (top right)
p. 238 (top) Armstrong
p. 250 Room & Board Ceramic Tiles of Italy/www.italytile.com Louvolite, Window blind systems and fabrics/
p. 261 Shelley Metcalf p. 83 (top two) www.louvolite.com
p. 301 (lower) iStockphoto p. 25 (lower), 357 (lower right inset), 361 (top two,
p. 338 (left) Brian Vanden Brink Chrisicos Interiors/www.chrisicos.com/617 699 9462 middle left), 362, 368
p. 349 Eric Roth p. 371 (lower left) photo/design Kathie Chrisicos
p. 355 (top left, lower right) iStockphoto, (top right, Madison & Grow, LLC/www.madisonandgrow.com
lower left) Hunter Douglas Color Association of US/www.colorassociation.com Eco-friendly designer wallcoverings: Modern, chic,
p. 357 (lower right) Louvolite p. 379 (top left) sustainable, green, handmade.
p. 360 IKEA p. 208 (Elizabeth design)
p. 361 (top two, middle left) Louvolite, (middle right, Conso Company/www.conso.com
lower left) Tony Giammarino, (lower middle) ADO p. 396 Marvin Windows and Doors/www.marvin.com
USA, (lower right) Waverly p. 128
p. 362 Louvolite Corbis Corporation/http://pro.corbis.com
p. 366 (top) Photolibrary p. 19 (lower two), 204 (top), 218 Deron E. Meranda/http://deron.meranda.us
p. 368 Louvolite p. 124
p. 371 (lower left) photo/design Kathie Chrisicos, (lower Esteban Interiors/www.estebaninteriors.com/
right) Marcia Wright/design Carol Stearns 858 729 0045/[email protected] Shelley Metcalf, photographer/tele. 619-281-0049,
p. 372 Tony Giammarino p.19 (top left), 166 James Hiebling, Esteban López email [email protected]
p. 374 David Duncan Livingston p. 12 (lower right), 62, 74
p. 376 (top) ADO USAi Fireclay Tile, Inc./www.fireclaytile.com
p. 378 (left, right) IKEA p. 187 (lower right) Modern Seed/www.modernseed.com
p. 379 (top left & top middle ), (top middle) IKEA, (top p. 181 (top)
right) ADO USA, (lower right) Interiors by Decorating FLOR, Modular carpet squares/www.flor.com
Den and D. Randolph Foulds/design Adrian Halprin p. 8, 246 to 249 carpet squares courtesy of FLOR Oceanside Glass Tile/www.glasstile.com
p. 382 iStockphoto p. 83 (lower left)
p. 388 (left) IKEA GetDecorating.com
p. 390 ADO USA p. 418, 425 (middle right) Photolibrary/www.photolibrary.com
p. 392 (top) IKEA p. 12 (lower left), 24 (lower), 25 (top), 78 (top), 180
p. 394 Jessie Walker Tony Giammarino, photographer/ (top), 366 (top)
p. 396 Conso Company www.tonygiammarino.com
p. 398 Shutterstock p. 3 (Giammarino & Dworkin), 13 (top left), 361 (middle Pottok, Wallpaper artist prints and patterns/
p. 400 (lower) Interiors by Decorating Den/design Sally right, lower left), 372, 401 (top left) www.pottokprints.com
Giar, (top) iStockphoto p. 13 (top right), 91 (lower middle)
p. 401 (top left) Color Association of US, (top Gilded Planet/www.gildedplanet.com
middle) Jessie Walker, (top right) Interiors by Gold leaf, copper leaf, silver leafing & gilding supplies. Eric Roth, photographer/www.ericrothphoto.com
Decorating Den and D. Randolph Foulds/design p. 206, 207 (top left) p. 83 (lower right), 349
Connie Thompson, (lower left) Carol Stearns/
design Barbara Tabak, (lower middle) Interiors by Hakatai/www.hakatai.com/888 667 2429 Room & Board, Modern furniture and accessories/
Decorating Den and Doug Barnett/design Janet p. 244 glass mosaic tiles courtesy of Hakatai www.roomandboard.com
White, (lower right) Interiors by Decorating Den and p. 9 (both), 10 (middle & lower right), 11 (top), 18, 24
Doug Barnett/design Marisa Lupo Hunter Douglas, Window fashions/ (top), 250
p. 402 Interiors by Decorating Den/Casa Fiora www.hunterdouglas.com
p. 410 (top) Richard Leo Johnson/design Carlette p. 355 (top right, lower left), 410 (lower), 425 (top left) Shutterstock/www.shutterstock.com
Cormier/CC's Designs, (lower) Hunter Douglas p. 59, 261, 398
p. 411 (top left) iStockphoto, (top middle) design T. IKEA Home Furnishings/www.ikea.com
Comer, (lower left) Jamie Gibbs & Associates, p. 90, 222, 360, 378 (both), 379 (top middle), 388, SieMatic Corp., High-end kitchen features/
(lower middle) design Cheryl McLean 392 (top) www.siematic.com
p. 416 David Duncan Livingston p. 211
p. 418 GetDecorating.com Interiors by Decorating Den/www.decoratingden.com
p. 421 (top left) Carol Stearns/design Connie p. 379 (lower right) D. Randolph Foulds/design Adrian Carol Stearns/www.decoratingden.com
Thompson, (top right) David Duncan Livingston Halprin, 400 design Sally Giar, 401 (top right) design p. 371 (lower right) design Marcia Wright, 401 (lower
p. 425 (top left) Hunter Douglas, (middle left) Interiors Connie Thompson, 401 (lower middle) design Janet leftdesign Barbara Tabak, 421 (top left) design
by Decorating Den/design M. Anquetil, (middle White, 401 (lower right) design Marisa Lupo, 402 Casa Connie Thompson
right) Getdecorating.com, (lower right) Interiors by Fiora, 411 (top middle) design T. Comer, 411 (lower
Decorating Den/design Rebecca Shearn middle) design Cheryl McLean, 425 (middle left) design Brian Vanden Brink, architectural photographer/
428 (top) Interiors by Decorating Den/design M. Anquetil, 425 (lower right) design Rebecca Shearn, www.brianvandenbrink.com
Beverly Barrett 428 (top) design Beverly Barrett p. 187 (lower left), 338 (left)
Photography Resources iStockphoto/www.istockphoto.com Jessie Walker, photographer/www.jessiewalker.com

ADO USA, Fine fabrics/www.ado-usa.com/ p. 5, 7, 20 (top), 68, 87, 100 (top), 105, 132 (top), 141, p. 394, 401 (top middle)
888 766 5895 146 (top), 147 (lower), 175, 176, 301 (lower), 355 (top
p. 361 (lower middle), 376 (top), 379 (top right), 390 left, lower right), 411 (top left) Waverly, Fabrics, wallcoverings, window treatments,
paint, and more/www.waverly.com
Alamy/www.alamy.com Jamie Gibbs & Associates, Interior designers and p. 361 (lower right)
p. 230 Naill Mcdiarmid/Alamy; 234 Beateworks Inc./ landscape architects/www.jamiegibbsassociates.com
Alamy p. 411 (lower left) Woodharbor, doors and cabinetry/
www.woodharbor.com
Armstrong, Flooring, ceiling, cabinets/ Jocelyn Warner, Wallpaper, lighting, rugs/www. p. 228
www.armstrong.com jocelynwarner.com
p. 20 (lower), 193, 198, 237, 238 (top) p. 10 (lower left), 12 (top left & right), 13 (lower left & Ted Yarwood, photographer/www.tedyarwood.com
right), 91 (top two, lower right & left), 92 (top) p. 19 (top right), design Kimberley Seldon Design Group
The Bradley Collection Limited/www.bradleycollection.
co.uk/[email protected]/ Richard Leo Johnson
44 (0) 845 118 7224 p. 410 (top) design Carlette Cormier/CC's Designs
p. 23 All window rods courtesy of Bradley
Kimberley Seldon Design Group/
Bratt Décor, Baby cribs and children furnishings/ www.kimberleyseldon.com
www.brattdecor.com p. 19 (top right) photo Ted Yarwood
p. 182 (top)
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#175 Dtp:119 Page:446
Index
A D G
Acoustical tiles, installing ceiling, 198-200 Doors/doorways Gel stains, applying, 335
Aluminum leaf gilding, applying, 206-207 attaching mirrors to, 234-235 Glass mosaic tiles, installing floor, 244-245
Antique stained finishes, applying, 216 installing Glass shelving, installing, 184-185
Appliances, faux stainless steel, 217 Arts and Crafts casing, 130-131 Grommet curtains, making, 390-391
Attic ceilings, paneling, 197 bifold, 228-229
decorative door headers, 232-233 H
B mitered casing, 129 Heat stripping, 328-329
Backsplashes, installing tile, 78-81 prehung interior, 226-227 Hems, sewing, 30
Balloon shades, making, 376-377 trim molding around, 116-119
Bamboo, about, 65 wallcovering around, 95
K
Bias swags, 428-429 painting wood, 230-231
Knobs, installing on cabinets, 222-225
Blended color-bands, painting, 154-155 upholstering wall around, 103
Blueboard, about, 170 Double welting, making, 103
Draped window treatments L
Built-up base molding, installing, 108-109
finishing styles, 384-385 Laminate paneling, about, 65
Butterfly shades, making, 372-373
installing, 383 Loop-tab curtains, making, 392-393
Buttoned valances, 411, 412-415
no-sew side panels, 286-287
Draperies M
C
making lined, 406-409 Metal anchors, using self-drilling, 56
Cabinets
making pinch-pleated, 401, 402-405 Metal tile ceilings, installing, 201-203
applying antique stained finishes, 216
styles, 252, 400-401 Mirrors
applying decorative brackets, 220
attaching to doors, 234-235
applying trim moldings, 218-219
F framing, 186-187
installing hardware, 222-225
Fabrics hanging, 176-179
painting faux mahogany finish, 214-215
covering receptacles with, 100 stenciling, 235
painting wood, 212-213
estimating amount to purchase, 32-33, 351 Mitered returns, making, 46
Carpet squares, installing, 246-249
hanging, 180 Moldings. See Trim moldings
Casement windows, painting casings and
sashes, 132-133 preparing, 26
Casings, sewing, 30 selecting, 14-15 O
Caulked designs for walls, 168-169 sewing basics, 27-31 One-piece base molding, installing, 106-107
Ceilings Faux upholstered valances, 421 Ottomans, making slipcovers, 310-311
adding decorative wallboard tiers to, 62-63 Fireplace, installing tile surround, 190-191 Ottomans, making upholstered, 296-301
applying aluminum leaf gilding, 206-207 Flat Roman shades, making, 368-371
applying wallcovering to, 208-209 Floor mats, stenciling, 256-257 P
creating illusion of higher, 17, 91 Floors Paint
installing acoustical tiles, 198-200 installing carpet squares, 246-249 color consistency, 37
installing metal tile, 201-203 installing glass mosaic tiles, 244-245 estimating amount to purchase, 16
painting, 204-205 installing resilient tiles selecting, 16
paneling, 194-197 dry-back, 240-242 stripping from wood chemically, 330-331
Chair rails, installing, 112-115 preparation, 238-239, 242 stripping from wood using heat, 328-329
Chairs, upholstering self-adhesive, 243 Painting
redoing, 268-269 painting ceilings, 204-205
slipcovers, 312 concrete, 250-253 concrete floors, 253
Cloud shades, making, 374-375 sheet vinyl, 258 essentials tools and materials, 48, 49, 54-55
Cloud valances, 411, 416-417 wood, 254-255 metal furniture, 344-345
Color meshing, painting, 144-145 stenciling, 259 radiators, 346-347
Color wash finish, painting, 158-159 Frameless cornices, 421 sheet vinyl flooring, 258
Concrete block walls, painting, 142-143 Frosted glass, making, 434-437 stenciling floor mats, 256-257
Concrete floors, 250-253 FRP (fiberglass reinforced) paneling, about, 65 walls
Coped cuts, making, 45 Furniture applying meshed color, 144-145
Corners, mitering, 29 frames basic techniques, 35-37
Cornices, 124-127, 421 anatomy, 289 blended color-bands, 156-157
Cove moldings, installing, 67, 77 repairing, 270-271 color wash finish, 158-159
Crown molding, installing, 120-123 painting, 338-339 concrete block, 142-143
Curtains refinishing faux grasscloth, 166-167
hanging, 380-381 applying stain & top coat, 334-337 faux serpentine finish, 164-165
lining, 406-407 chemically stripping, 330-331 pebbly, mottled finish, 150-151
making heat stripping, 328 polka dots, 148-149
grommet, 390-391 surface preparation, 332-333 rag-rolled texture technique, 152-153
loop-tab, 392-393 upholstering scumbled designs, 162-163
panels, 388-389 chair slipcovers, 312 sponge technique, 150-151, 159
rod-pocket, 394-395 futon slipcovers, 324-325 stamped mosaics, 160-161
tent-flap, 396-397 headboards, 302-305 stripes, 146-147
tie-top, 398-399 ottomans, 296-301 terra-cotta finish, 154-155
styles, 352, 378-379 ottoman slipcovers, 310-311 wood
Cushions, making, 272 redoing chair, 268-269 cabinets, 212-213
boxed cushion covers, 272-275 reversible seat covers, 306-309 crown molding, 123
button-tufted, 280-283 Futon slipcovers, making, 324-325 faux leather finish, 340-341
knife-edge cushion covers, 277-279 faux mahogany finish, 214-215
reupholstered drop-in seats, 284-287 floors, 254-255
waterfall cushions, 275-276
Index ■ 447
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ects
446
#175 Dtp:119 Page:447
furniture, 338-339 with pleated skirt, 323 making
interior doors, 230-231 sewing, 319-321 chair slipcovers, 312
trim moldings, 38-42 sewing fitted with front arm piece, 322 futon slipcovers, 324-325
window casings and sashes, 132-133 futon, 324-325 headboards, 302-305
Paneling ceilings, 194-197 ottoman, 310-311 ottomans, 296-301
Paneling types, 65 Sponge painting ottoman slipcovers, 310-311
Paste waxes, applying, 337 color wash finish, 158 redoing chairs, 288-295
Photo montage tables, making, 342-343 pebbly, mottled finish, 150-151 reversible seat covers, 306-309
Picture rails, 110-111, 125 Spray-painting metal furniture, 344-345 stripping, 268-269
Pictures, hanging, 176-179 Stained glass panels, 432-433 valances, 411, 418-421
Pinch-pleated draperies, making, 401, 402-405 Stainless steel, painting faux, 217 tools & equipment, 262-263, 264
Plaster, applying veneer, 170-173 Stains, applying, 334-337 on walls, 100-103
Polka dots, painting, 148-149 Stamped mosaic, painting, 160-161
Polymer crown molding, installing, 122-123 Sticker art, applying, 181 V
Polyurethane top coats, applying, 336 Stripes, painting, 146-147 Valances
Pulls, installing on drawers, 222-225 Swags buttoned, 412-415
bias, 428-429 cloud, 416-417
R rod-pocket, 430-431 styles, 401, 410-411
Radiators, painting, 346-347 scarf, 426-427 upholstered, 418-421
Rag-rolled texture painting, 152-153 styles, 353, 424-425 Veneer plaster, applying, 170-173
Rails, installing Victorian-style built-up cornices, 125
chair, 112-115 T
picture, 110-111 Tables W
Receptacles making photo montage, 342-343 Wainscoting, installing
covering with fabric, 100 painting faux leather finish, 340-341 frames, 74-77
paneling around, 72 Tent-flap curtains, making, 396-397 sheet panels, 64-67
Rectangle valances, 411 Terra-cotta finish, painting, 154-155 tongue-and-groove, 68-73
Resilient tiles, installing Textiles, hanging, 180 Wallcovering
dry-back, 240-242 Tie-top curtains, making, 398-399 applying to ceilings, 208-209
preparation for, 238-239, 242 Tile backsplashes, installing, 78-81 creating panels, 98-99
self-adhesive, 243 Tileboard, about, 65 hanging
Reversible seat covers, making, 306-309 Tiles around doors & windows, 95
Ribbon, applying to fabric, 28 drilling into, 189 around pipes, 96
Rod-pocket curtains, making, 394-395 embellishing walls with, 82-85 around wall-mounted sinks, 96
Rod-pocket swags, making, 430-431 framing mirrors with, 186-187 borders, 97
Rod-pocket valances, 411 installing mitering corners, 97
Roller shades, 361, 362-363 acoustical ceiling, 198-200 preparation, 90, 92-93
Roller shades with tabbed hems, 364-365 fireplace surround, 190-191 on walls, 93-94
Roman shades, making, 368-371 floor glass mosaic, 244-245 selecting, 87, 90-91, 96
Ruffles, sewing, 28 metal tile on ceilings, 201-203 stripping old, 88-89
resilient floor Walls
S dry-back, 240-242 applying caulked designs, 168-169
Sanding wood, 332-333, 338 preparation, 238-239, 242 applying veneer plaster, 170-173
Scarf joints, making, 47 self-adhesive, 243 decorating with
Scarf swags, 426-427 painting faux, 160-161 pictures & mirrors, 176-179, 186-187
Screens, making shoji-style, 438-443 Top coats, applying, 334, 336 shelving, 182-185
Scumbled wall designs, painting, 162-163 Trim moldings sticker art, 181
Sealers, 332 for basement windows, 136-139 textiles, 180
Seams, sewing, 31 installing, 44-47 installing
Seat covers, making reversible, 306-309 around openings, 116-119 chair rails on, 112-115
Shades and blinds built-up base, 108-109 decorative panels, 60-63, 72
installing built-up chair rails, 114-115 molding around openings, 116-119
inside mount, 356-357 built-up cornices, 124-127 picture rails on, 110-111
mounting options, 354-355 on cabinets, 218-219 tile backsplashes, 78-81
outside mount, 358-359 chair rails, 112-113 tiles for embellishment, 82-85
making cove, 67 upholstering, 100-103
balloon shades, 376-377 decorative door headers, 232-233 Welting, sewing, 31
butterfly shades, 372-373 one-piece base, 106-107 Windows
cloud shades, 374-375 picture rails, 110-111 building
coach shades, 366-367 polymer crown, 122-123 shelves, 134-135
flat Roman shades, 368-371 wood crown, 120-122 trim for basement, 136-139
roller shades, 362-363 painting, 38-42 hanging wallcovering around, 95
roller shades with tabbed hems, 364-365 removing old, 43 installing
styles, 353, 360-361 selecting, 17 Arts and Crafts casing, 130-131
Sheet paneling, installing, 66-67 mitered casing, 129
Sheet vinyl flooring, painting, 258 U tongue-and-groove wainscoting around, 73
Shelf valances, 411, 422-423 Upholstery trim molding around, 116-119
Shelves cushions, 272 painting casings and sashes, 132-133
building window, 134-135 making boxed cushion covers, 272-275 upholstering wall around, 103
installing on walls making button-tufted, 280-283 Window treatments
glass, 184-185 making knife-edge cushion covers, 277-279 estimating amount of fabric to purchase, 351
wood, 182-183 making waterfall cushions, 275-276 hardware for, 353
Shoji-style screens, making, 438-443 reupholstering drop-in seats, 284-287 preparation, 350
Slipcovers, making fabrics and padding materials styles, 352-353
chair, 312 cutting, 267 Wineglass racks, installing, 221
adding zipper, 322-323 estimating amount to purchase, 266 Wood crown molding, installing, 120-122
pin-fitting, 313-315 reusing padding, 287 Wood paneling, about, 65
pin-fitting arm with front section, 315-318 types, 264, 265 Wood shelving, installing, 182-183
444-448_C51711.indd 448
444-448_C52215.indd 6/26/09 5:08:41 PM
6/3/09 3:42:59
(Ray)
(Ray) Text Job:05-11989
Job:05-11989 Title:CPI-Complete Photo Guide
Title:CPI-Complete Photo Guide to
to Home
Home Decorating
(06-AC52215) #175
Decorating Projects
Projects
Dtp:119 Page:448
#175 Dtp:119 Page:448
Beautify Your Home
P erfect for both new homeowners and seasoned home improvers, this hands-on, how-to manual will
inspire your creativity and guide your handiwork to help you add the perfect finishing touch to your home.
Break out your tools to:

Install tongue-and-groove wainscoting and a decorative built-up chair rail
D
Add style to your walls by adding decorative molding
Add a luxurious tiled surround to your fireplace or a bathroom mirror
Photo Guide to
The Complete
Or, get crafty and think like a designer:
Transform any room by using creative painting techniques for ceilings, walls and furniture
Reinvent a well-loved chair from the inside-out with updated upholstery
Play up your room’s strengths by creating decorative window treatments
Driven by practical considerations but inspired by professional designers, the time-tested and innovative
HOME DECORATING PROJECTS

techniques included here will let you accomplish complex and simple décor projects with ease.
ISBN – 1 3 : 9 7 8 - 1 - 5 8 9 2 3 - 4 8 4 - 0
CATEGORY: HOME DÉCOR ISBN – 1 0 : 1 - 5 8 9 2 3 - 4 8 4 - 7
$35.00 US
EAN
UPC
£24.99 UK
$43.99 CAN
www.creativepub.com
1-800-328-0590 opt.2
D
PLC_C52210.indd 1
(Ray)

Black & Decker The Complete Photo Guide To Home Decorating Projects DIY Projects To Transform Walls, Windows, Furniture, Floors & More (Black & Decker Complete Photo Guide) PDF

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The Complete Photo Guide to

DIY Projects to Transform Walls, Windows, Furniture, Floors & More

Job:05-11999 Title:CPI-HI 0571 CG Outdoor Carpentry

001-057_11989.indd 1 5/21/09 3:33:57 PM

Contents Pictures & Mirrors . . . . . . . . . . . . . . . . . . . . 176

Ceiling Décor . . . . . . . . . . . . . .193

Library of Congress Cataloging-in-Publication Data

The complete photo guide to home decorating projects.

001-057_C51711.indd 2 6/3/09 10:46:17 AM

Slipcovers & Upholstery . . . . .261

Furniture Refinishing . . . . . . . .327

Home Improvement Group

The Complete Photo Guide to Home Decorating Projects

001-057_C51711.indd 3 6/3/09 10:46:24 AM

001-057_11989.indd 5 5/21/09 3:34:8 PM

001-057_C51711.indd 7 6/3/09 10:47:38 AM

T he first step in planning any decorating project,

8 ■ THE COMPLETE PHOTO GUIDE TO HOME DECORATING PROJECTS

001-057_11989.indd 8 5/21/09 3:34:32 PM

001-057_11989.indd 9 5/21/09 3:34:35 PM

M ost home decorators have an instinctive sense of

■ Basic Color Theory

10 ■ THE COMPLETE PHOTO GUIDE TO HOME DECORATING PROJECTS

001-057_11989.indd 10 5/21/09 3:34:43 PM

001-057_11989.indd 11 5/21/09 3:35:3 PM

12 ■ THE COMPLETE PHOTO GUIDE TO HOME DECORATING PROJECTS

001-057_11989.indd 12 5/21/09 3:35:9 PM

Designer Tip: Working with Color and Pattern ▸

001-057_11989.indd 13 5/21/09 3:35:13 PM

C areful material selection ensures that your project

Working with Decorator Fabric

14 ■ THE COMPLETE PHOTO GUIDE TO HOME DECORATING PROJECTS

001-057_11989.indd 14 5/21/09 3:35:18 PM

Brocade Heavy Formal Draperies, bedcovers, pillows, cushions, Yes Dry-clean

Damask Medium Formal Draperies, upholsteries, bedcovers, Yes Machine-wash

Dimity Light Formal Under curtains, soft shades No Machine-wash

Duck Heavy Informal Draperies, slipcovers, Roman shades Yes Machine-wash

Lace Light Formal Curtains, tablecloths Varies Machine-wash

Matelasse Heavy Formal Draperies, upholsteries, slipcovers Yes Dry-clean

Moiré Light to medium Formal Draperies, curtains, tablecloths Yes Machine-wash

Muslin Light Informal Curtains, table linens, linings No Machine-wash

Organdy Light Formal/informal Curtains, under curtains No Machine-wash

Shantung Light to medium Formal Draperies, curtains Yes Dry-clean

Taffeta Light to medium Formal Draperies Yes Machine-wash

Velvet Medium to heavy Formal Draperies, upholsteries No Dry-clean

Voile Light Informal Curtains, under curtains, balloon shades No Machine-wash

001-057_11989.indd 15 5/21/09 3:35:20 PM

Estimating How Much

1) Length of wall or ceiling (feet)

Paint Characteristics & Applications

Flat latex No sheen; for walls and ceilings

16 ■ THE COMPLETE PHOTO GUIDE TO HOME DECORATING PROJECTS

001-057_11989.indd 16 5/21/09 3:35:20 PM

Playing with Scale ▸

Generally, our eyes do not like surprises when it Base shoe

001-057_11989.indd 17 5/21/09 3:35:26 PM

A good way to define parameters for color, pattern,

18 ■ THE COMPLETE PHOTO GUIDE TO HOME DECORATING PROJECTS

001-057_11989.indd 18 5/21/09 3:35:32 PM