Soft Furnishings Notes - AFDE 312 PDF

AFDE 312: DESIGN AND SOFT FURNISHINGS Dictionary Definitions: a) Furnishings made from fabric that decorate a house and make it more comfortable e.g. curtains and rugs. (upholstery/curtains/drapes) b) Household textile/fabrics used in the Home-They include items frequently classified as linens, s...

AFDE 312: DESIGN AND SOFT FURNISHINGS Dictionary Definitions: a) Furnishings made from fabric that decorate a house and make it more comfortable e.g. curtains and rugs. (upholstery/curtains/drapes) b) Household textile/fabrics used in the Home-They include items frequently classified as linens, such as –bath and dish towels, table linens, shower curtains and bathroom accessories. -Other related items include sheets, pillowcase, mattresses, blankets, comforters and bedspreads. c) Textile products contributing to the atmosphere and comfort of the home etc d) Basically- household objects that are made out of the fabric- used to decorate a room. E.g. cushion/pillows/curtains/rugs blankets etc. ELEMENTS OF DESIGN The elements of design are the fundamental aspects of any visual design which include shape, color, space, form, line, value, and texture. Designers use these elements for various reasons, to create an image that can convey a certain mood, draw the eye in a certain direction, or evoke a number of feelings. 1. Dots A dot is a part of a point made on a surface it may be used to convey different meanings eg mathematician may take it as a point where two lines cross each other. Also storytellers may consider a dot as a mark for a full stop. Artists use dots to show position. It can also be viewed as an object either moving in space or fixed. It can also be seen as a vanishing point of objects in receding space. In design a dot could be used to indicate a vanishing point in perspective drawings. It could be of any shape and size, it could be square, triangular, circular etc. A dot in design could be used to create a line, define form, express movement, and also symbolize distance. 2. Line Line is defined as a connection between two points. It could be also used to refer to a pattern created by images or objects arranged in series. It may also be used to mean a pattern created by dotes mainly in space. 1 There are different types of lines. Lines in art and design can be used to enclose shapes which could be geometric or organic. It can also be used to define form (3D objects) From the extreme shape continuous lines could be used whereas a broken line could be used to show an internal structure of an object. Lines suggest a feeling of volume, a projection, depth and an illusion of a landscape. Lines could be used in a picture or an image to suggest movement. Applications of lines 1. Vertical lines evoke a feeling of height. 2. Horizontal lines remind us of a calm horizon or a person lying down. It implies quiet and rest. 3. Diagonal lines are the most dynamic. 4. Bold lines are strong and masculine. 5. Delicate (normal) lines are seen as weak and less masculine compared to bold lines. 6. Curved lines feel natural and organic. 3. Shape Shape is defined as an area with defined boundaries. The area maybe enclosed by line covered by by color, texture or form. Lines and dots can be used to create shapes. Shapes are categorized into two, organic and geometric. Organic shapes are natural, different and unique. For example, plants animals, rocks clouds, waves, sandstorms are organic shapes. They are irregular in character and so they appear to be in motion and expanding and they also draw our attention to a particular direction. 2 Geometric shapes are manmade and have definite shapes. They have regular dimensions which can be measured and drawn in different scales. Shapes vary in size, color, value, texture, type and direction. Some are stable eg square, triangular, etc. others are unstable like circle, oval etc. when an object is drawn, shape is defined by relating geometrical shapes to the organic form. The character of a shape can be defined by the way it relates to the environment. Shapes can be used to represent objects and parts of objects. Just like lines, shapes can be used to create an illusion of volume on a flat surface eg cuboid, cube cylinder, cones, spheres, shape and pyramid form. They can suggest stability or movement; shapes can be used to create an exciting movement. They can be used to express ideas, imaginations and feelings. 4. Texture Texture is defined as smoothness and roughness of a surface. Glass is smooth, concrete blocks are rough, tree backs are rough. Texture can be experienced by touching in which case is called tactile texture. It can also be experienced by seeing. Tactile texture is experienced when dealing when dealing three dimensional forms such as sculptures, buildings, baskets, ceramics, ornaments, and clothing. Visual texture is a feeling of roughness or smoothness of a surface which is represented on a surface by drawing or painting. Uses of texture in art and design 1. It can be used to define a shape; this is done by creating a smooth/ rough feeling that spreads on an area. The area covered by texture becomes a shape. 2. Highlighting form, form can be highlighted by use of texture. In a composition which consists of many types of forms texture can be used to make important stand out more distinctively. 3. To create illusion of space and depth when texture is used to model form creates a 3D illusion. 4. Can be used to make surfaces appear lively and interesting. This depends on the way texture on a particular surface contrast with those in the surrounding areas eg an artist can make a smooth surface active and lively by applying rough texture on it thus making some parts smooth and others rough. 5. To create visual harmony, texture is used to create visual harmony between form, shapes, and spaces in any given artwork. These harmonies are created by transition between smooth and rough textures. It is 3  by repeating a specific type of texture in various parts of the the composition and by varying the visual strength of textures that is bold leaving others faith and making some smooth. 5. Value/tone Value is defined as the degree of lightness or darkness of a surface. In design the surfaces of an object are worth only expenses, charcoals, ink, dyes, color creates an ability is controlled to fit the artwork being produced. Value is added by shading or tinting. Shading is the process of darkening a surface or color by adding a darker medium such as ink or dye or color. Shading reduces the a bility of a surface to reflect light. Tinting is the process of lightening a medium by adding white. It increases the ability of a surface to reflect light hence making it appear eg red and little white, light red, pink, etc depending on the amount of white added. It can also be used to create an illusion of depth. It can also be used in a pictorial composition to to show movement. The movement created by value may lead the eye to see objects located far in the background. 6. Color Color is defined as the wavelength of emitted light. Color comes from light - if it weren’t for light, we would have no color. Light rays move in a straight path from a light source. Within this light, rays include all of the colors in the spectrum or rainbow. Shining a light into a prism will create a rainbow of colors because it separates the color of the spectrum. When the light rays hit an object, our eyes respond to the rays that are reflected back and we see only the reflected color(s). For example, a red ball reflects all the red light rays Color has three properties; hue, intensity and value. Hue; refers to the pure state of colors. It is the name that we give a color eg red, blue etc. Hue also indicates whether a color is warm or cool. The basic hues are red, green and blue. Warm colors are red, yellow, pink and orange. Cool colors are blue, green, purple, maroon and violet. Color schemes also known as color harmonies have been duped to help designers in selection of colors to work well together. The color wheel is visual representation of the primary, secondary and tertiary colors and forms the basic four color schemes. Color wheel 4 A Color Wheel is a tool used to organize color. It is made up of: Primary Colors - Red, Yellow, and Blue. These colors cannot be mixed; they must be bought in some form. Secondary Colors - Orange, Violet, and Green. These colors are created by mixing two primary colors. Intermediate Colors - Red Orange, Yellow Green, Blue Violet, etc.; mixing a primary with a secondary creates these colors. Complementary Colors - Colors that are opposite each other on the color wheel. When placed next to each other they look bright and when mixed together they neutralize each other. Color schemes Color schemes are certain combinations of colors that create positive looks or feelings. Analogous Color schemes are colors that are next to each other on the color wheel. Examples include red, red orange, and orange. Triadic color schemes are three equally spaced colors on the color wheel. For example, yellow, Red, and Blue are a triadic harmony color scheme. Monochromatic color schemes is one color used with different values and intensity. For example, light brown, brown and dark brown are monochromatic colors. Complementary color schemes are colors that are opposite each other on a color wheel. When two complementary are mixed they neutralize each other. When they are placed close to each other they increase each other’s intensity. Split complementary color scheme use two colors adjacent to the colors complement for balance. Warm colors are on one section of the color wheel and give the felling of warmth. For example, red, orange, and yellow are the colors of fire and look warm. Cool colors are on the other side of the color wheel from the warm colors. They give the feeling of coolness. For example, blue and violet are the colors of water, and green is the color of cool grass. On the back of this sheet of paper create a color wheel. Be sure to include the primary, secondary and intermediate colors. Use colored pencils to create your colors. 5 Value refers to the lightness or darkness of a color adding white to a hue creates a lighter value and adding black to a hue creates a darker value. Intensity refers to the degree of purity and saturation in a color. It is also referred to as Chroma. Colors of any value either light or dark varies in intensity. PRINCIPLES OF DESIGN They are guidelines used for putting elements of design together to create effective communication they describe ways that artists and designers use the elements of design in their work of design. They include; proportion, rhythm, harmony & unity and contrast. 1. Balance Balance is the state of equilibrium between elements used in a composition in arts and design. It is achievable through the distribution of the visual weight of objects, colors, texture and space. Balance creates a feeling that the visual weights of objects is balanced. In design there are three types of balance; symmetrical, asymmetrical and radial. Symmetrical balance is the equal correspondence of 2 sides of an item or area which has been divided vertically by an imagery vertical line eg natural objects and forms such as human figures animals etc have body masses that are symmetrical. Asymmetrical balance is also known as informal balance, it is achieved when part of an area shows difference in size, shape, number, colors etc. the sides are different but they will still look balanced eg balancing on a seesaw, painting. In this sense, balance is seen as the equal distribution of weight in design around a vertical axis. Radial balance occurs when elements radiate out from a central point. The visual weight is distributed equally. This type of balance creates a straight focal point. Radial balance may be symmetrical or asymmetrical. If symmetrical the elements on one half of the sphere are balanced by identical elements on the other half eg radius of a circle, clock. 6  2. Proportion Proportion refers to the relationship between parts within a whole and with other items. The feeling of unity is created when parts of a whole relate well with each other eg when drawing the human figure, proportion can refer to the size of the head in relation to the rest of the body. 3. Unity Unity is the fundamental principle of design which is supported by all the other principles. In other words, it is the feeling of harmony between all parts of the work of art, which creates a sense of completeness. It creates an integrated image in which all the elements work together to support the design as a whole. A unit is that which is home to all elements of design. A unified design is created by applying the principles of design to come up with one whole product. When things look good together, you have created harmony. Lines and shapes that repeat each other create harmony. Colors that have the same hue create harmony. 4. Contrast Contrast is the state of being sharply different. It can also mean disparity, contradiction, disagreement, and opposition in the appearance of design. It is a result of comparison between effects eg it could be bright-dull, thick-thin, simple-complex, high-low etc. 5. Harmony Harmony means the relationship between elements. It also refers to the total appearance we get when looking at an item that make it appear as a single unit. Harmony together with unity could be achieved through rhythm, balance and contrast and orderly and pleasing arrangements of parts. 6. Rhythm Rhythm is the movement which we feel when looking at a design. It can be illusionary or real. It results from repetition of forms which flow in a given direction. There is usually similarities in lines, color, texture, shapes, and even space to create eye movement. When rhythm is created using repetition by means of similar lines, shapes, color, texture and value it is called static rhythm. This is because it has no variety. It is used to attract attention, hold attention or even lead the attention of the human. 7 Rhythm can be created by: Repeating a color, shape, texture, line, or space when designing. Varying the size of objects, shapes, or lines in sequence (small to large). Using a progression of colors from tints to shades (light blue to dark blue). Shifting from one hue to a neighboring hue (yellow to yellow-orange to orange to red-orange to red). 7. Space Space in 2D design is essentially flat. It has height and width but no length. However, certain visual hues can create an illusion of space in the mind of the viewer. By use of hues designers create images that can now be interpreted as 3D. The size is one of the easiest ways to create an illusion. A larger image will appear closer than a small one. Overlapping of images, suggests depth. 8. Emphasis Every design needs an accent –a point of interest. Emphasis is the quality that draws your attention to a certain part of a design first. There are several ways to create emphasis: Use a contrasting color. Use a different or unusual line. Make a shape very large or very small. Use a different shape. Use plain background space 9. Repetition Repetition involves the use of similar elements throughout a design. Repetition works with pattern to make a work of art seem active. The repetition of elements of design creates unity within the work. 10. Variety Variety is the use of several elements of design to hold the viewer’s attention and to guide the viewer’s eye through and around a work of art. Variety can show contrast. Variety can be found in nature or made. 8 TYPES OF SOFT FURNISHINGS *Loose covers *Cushions *Bolsters * Quilts *Bed spreads *Pillows *Bean bags *Beds *Rugs * Blankets e.t.c * Upholstery covers * Curtains etc. Soft furnishings may also be categorized by area of use or room in interiors e.g.; * Draperies/Curtains * Cushions * Bed + Bed linen * Upholstery/Covers e.g. slipcovers * Rugs and Carpets * Table linen * Other interiors accessories FUNCTIONS OF SOFT FURNISHINGS; - Giving character to a space or home. -Add comfort to interior space. -Express the personality of the homeowner. 9 -They soften bare / hard interiors. -Are decorative and functional. -Soft furnishings add character and mood to a room. SOFT FURNISHINGS FOR WINDOWS / WINDOW TREATMENTS These include;  Curtains / draperies  Sheers  Blinds  Shades  Valances  Pelmets  swags & Tails (cascades, jabaots) etc.  Tie backs TYPES OF CURTAINS / WINDOW DRAPES a) Lined curtains b) Curtains without lining ( unlined) c) Cafeteria curtains (light of fabrics) d) Priscillas (curtains with frilled or ruffled edges) e) Casements/ sheers f) Blinds ( Roman, wood, metallic, roller, etc.) g) Shades SUPPLIES REQUIRED FOR CURTAIN MAKING 10  WINDOWS FITTINGS SUPPLIES  Curtain tracks / Rails  Sewing notions  Fabrics( main & lining)  Poles/ Rods and Rings  Tape  Wrought iron rods  Eyelets (if required)  Hooks & runners & ( trim track )  Stiffeners (interfacing)  Spring rod etc  Tie back holders TYPES OF CURTAIN HEADINGS  Headings with Tape; - Pencil pleat tape (regis tape) - Deep pinch – pleat (kirsch) tape (held with four prolonged hooks) - Rufflette tape – (standard rufflette tape) is narrow in size. - Two pocket rufflete tape is wider – with 2 pockets for hooks.  Other heading variations; French pleats. (3 pleats) ………… (drawing) ……. Goblet pleats ………… (drawing) ……. Pencil pleat Heading with ties or loops (tabs) Ruched heading or casing heading/ or rod pocket heading/ looped heading has gathering with a (ruffle) at the top of rod. Smocking Grommet/eyelets TAKING MEASUREMENTS FOR CURTAIN MAKING Points to note when taking measurements; Windows are always measured first horizontally, and then vertically. (horizontal = width, vertical=length or height measurement). Never allow anyone except a drapery installer to take measurements for you (to avoid errors and mistakes e.g. recording reverse measurement e.g. length first and then width last). 11  Always measure window treatments in inches, not feet plus inches (or cms only, not ms + cms)- this is to avert errors. Always record a measurement as it is taken. Avoid taking 2 measurement at ago and then record them later. If you forget a measurement, you just took, measure it again. If the width is longer than your arm span, ask someone to hold the tape end at 0 inches while you read the measurement. Avoid measuring and recording while chatting with e.g. visitors. Give it full concentration to avoid errors. WINDOW MEASUREMENTS There are three basic levels (lengths) at which to measure as shown bellow; Sill , bellow sill & floor lengths. Sill length Ss. Sill length 12  6–8” Just below sill length Floor length FORMULAR FOR CALCULATING AMOUNT OF CURTAIN FABRIC REQUIRED FOR A WINDOW a) To establish the fabric width: - Take the basic width of window or length of rail {i.e. space between the curtain box including the stock back... Basic width x required curtain fullness / width of fabric = Number of panels, (widths or drops) required (for the finished curtains (2)} b) To establish the fabric length; - Take finished curtain length + 25cm (10”) hem allowance x Number of panels (widths or drops) established allowance in ‘a’ above , divide by 39” (to establish the no of meters required = Total quantity or amount of fabric required to complete the (2) curtains for a given window. 13 Example: Basic window curtains width = 60” W Finished length = 68” L Required fullness (for tape) = 3 (i.e 3 times of basic fullness) Fabric width = 60” W (fabric available in shop) TO WORK, THE AMOUNT OF FABRIC REQUIRED: a) 60”W X 3 (required fullness) = 180” divide by 60” (fabric width) = 3 panel or drops or width b) 68”L + 10” ( hem allowance) = 78” X 3 panels = 234” divide by 39” (39”= 1m) = 6ms( or 68” L + 10” = 78” divide by 39” = 2ms X 3 panels = 6ms)... The amount required to make a curtain or 2 curtains for the given window = 6 meters NB: The amount of lining fabric required will be the same as that of the main fabric. SUPPLIES REQUIRED;  Main curtains fabric  Lining fabric (if applicable)  Curtains tape  Hooks/Runners (if applicable)  Sheer fabric for casements (sheers)  Sewing supplies MAKING UP PROCEDURE; Curtain without lining; -Cut out the curtain pieces as per the dimensions required. -Work side seams first, then the bottom (lower) hem – (double fold, tack, press & stitch),- and finish the top heading last based on the type of heading used. (refer to hand out provided.) (Remember to miter corners of the lower hems.) - Standard bottom hem size is = 4”(inches) double fold (8”) + 2” for top hem.Total hem allowance = 10”. - Side hem = 1 ½” x 2 ( double) = Total 3” per side of each curtain. - Bottom hem = 4” x 2 (8” total) - Short and sheer curtains may have shorter hems of. 3” to 2” doubled. - Top hem ( when tape is attached= 2”). N.B The size may vary based on the type of curtain heading used. - Rod pocket with a ruffle at top or ruched top above rod = 1 ½” x 2 ( 3” total) for the ruffle. Refer to drawing/ on hand out ; (DRAWING) ……. 14  Allowances; - 3” for headers - + Rod circumference - +1” allowance for rod pocket opening - + ½” hem for filing casing.... Total = 6 ½ + Rod circumference Lined curtains; N.B. Basic making up procedure is similar to that of the unlined curtain however the lining and the main curtain are worked separately first prior to joining them together at the side seams and working the top heading. …Ref. to hand out. PRACTICAL EXERCISE 1. Make an unlined curtain 2. Make an unlined curtain with rod pocket heading 3. Make an unlined curtain with tabs/ loops/ 4. Make an unlined curtain with frilled/ruffled edges (Priscillas) 5. Make a lined curtain. 6. Make curtains with the following headings; Pleats (pencil, box, inverted ,French) Grommet FORMAL SWAGS & TAILS Def: These may be formally or informally made fabric to drape above windows or doors There are formal & informal swags & tails Formal swags are made from separate pieces of fabric to form separate swags & tails -/ they are made by pleating Informal swags are made by use of a single piece of fabric shaped to create it’s own swag or tails – and are usually gathered. 15 Swags and tails can be used on their own around windows or doors or they could be used to enhance blinds (e.g. roman blinds) or with full length curtains. The designation style of tails may vary but they should hang a third (1/3rd) to half way (½) down the length of the curtain. The finished depth of a swag should be in proportion to the total length of the (full length) curtain i.e. no more than one-fifth of the length. Swags & tails may be lined or unlined according to the effect one weed to produce. Select fabrics that have a natural tendency to drape well( for good results with swag & tails). Material required: Main fabric Lining (optional) Panel pins or staples Hammer Pelmet shelf(board) or curtain box/ track / rod. Sewing tools. Fabric estimates; Swags; 1. Measure the length of the pelmet box(shelf) which will equal the length of the existing curtains rail( track) - Establish the number of swags required (N.B. A swag should not be wider than 2ms (78”), or it will be too long or cumbersome to handle. 2. Establish the finished depth of the swag at the lowest point. ( Should not be more than 1/5 th the total length of the finished curtain). 3. Establish the amount of fabric required for the swag using the following fomular. - finished length width of swag x 1.5 = required width of fabric. - Finished depth of swag x 2 to 2.5 ( depending on required fullness) = required length of fabric. 4. Cut out a pattern of these dimensions out of paper or calico. i.e. (Width of top board (box) X 1.5 - 2.5 x finished depth of swag 16  1.5 x finished length of swag 5. (Mark 15cm (6”) on each side of the pelmet shelf) – On the pattern make corresponding marks and then mark ( 4” – 9” from the bottom corner on each side). - Then draw a straight line on each side joining the top marks to the side ones - Gently and evenly, draw a curve from the side marks to the centre bottom. - Then cut along the marked lines and the curve leaving a seam allowances N.B. Swags may be cut on the straight grain or on the bias. Width of top board (box) 15 cm (6”) 15 cm (6”) Total depth =Swag depth x 2.5 4” – 9” 4” – 9” 1.5 x finished length of swag 6. Cut out main swag fabric in this pattern. If lining is involved cut one similar size and stitch them together Right sides facing. Trim the corners & snip the curves. - Turn right sides out and pres well. - If the swag is unlined, double turn and hem all raw edges except along the top. - Mark 5” – 6” deep pleats on both sides of the swag piece ( starting at the top edge ). - Fold a series of pleats overlapping each other the entire side lengths, pin tack and stitch to hold them in place. - Ensuring that the pleats are well aliened on both sides. - Secure the swag on the pelmet ( curtain) box or shelf with panel pins or staples. Tails; Establish the required size of the tail. – A tail in usually at from the full width of the fabric – The finished length of the tail should be a third to halfway down the length of the window -The short side of the tail is usually one- fifth to one – eighth the finished length of the tail 17  To calculate the cutting length of the tail fabric – Measure the required finished length and add 8cm( ¾ “) for the top and bottom hem allowance - Double this length so that you have enough fabric to cater for both tails ( do the same for lining if used)... Total amount = full fabric width by the total length - Make a tail pattern as per the desired shape e.g... Drawing…………. - Stitch tail around all edges learning the top seam open ( to turn it inside out) for lined ones. - Mark in pleats as per the desired width, pin, tack or stitch them up. - Press and hung in box at the designed areas. BED LINEN These include: - Bed spreads, Bed covers, Comforters, duvet & duvet covers, Quilts, coverlets/skirts, or bed valences, bed throws/scarves/runners, bed sheets, (pads), pillows, pillowcases etc. Difference between bed covers vs. bed spreads; 18  - Both bed spreads and bed covers sit on top of a bed- but differ in the amount of bed that they conceal. - Bed covers partially cover the bed, ( top part + mattress). - Bed spreads extend to the floor at the sides and foot end of the bed. - Bed covers include duvet covers, comforters & coverlets. (A duvet cover is a decorative covering that you can insert a duvet into). - A bed spread, comforter and coverlet have a padding or an insert sewn or quilted between their top and bottom layers. COMFORTER;  Is typically a decorative part of a bedding set used in a bedroom e.g. a comforter set with coordinating separates – e.g. pillows hams, or a few throw pillows.  Is a thick, quilted, fluffy blanket that is used to keep the bed occupant warm.  It is usually filled with synthetic fiber filler – which is quilted or stitched to secure the filling and keep it evenly distributed.  Comforters were traditionally filled with other natural fibers e.g. cotton or synthetic fibers like polyester.  Comforters are sometimes referred to as continental quilts. A DUVET;  A duvet, sometimes referred to as a comforter ( especially in the USA) – Is a type of bedding that is a soft flat bag filled with down feathers.(wool, silk or synthetic alternatives are in use as down substitutes today). What is Down? ; Down are the soft, fluffy undercoat feathers of water fowl. They are the washed, quill less feathers from the breasts of geese and ducks.  It is protected with a removable cover (the duvet cover).  The duvet cover is a protective layer that slips over duvet and has a closure ( opening). It functions more like the pillowcase for the pillow. - with duvet covers you can easily keep your duvet clean by removing the cover to clean occasionally. - You can also change the look of your room & bed without having to completely redecorate by only changing the duvet cover. - You can also change your style & color scheme of the bedding by changing only the duvet cover. - The duvet should fit snugly inside the duvet cover.  The term “Duvet” comes from an old French word that means “ down” in reference to the down feathers often used to stuff this type of bedding.  Duvets are usually plain white as they are meant to be used with a decorative duvet cover.  They originated from Europe due to their extreme warmth or thermal insulative qualities in extremely cold climates.  Duvets may be used singly without top bed sheets where the duvet cover serves the function of the bed sheet. Difference between Comforter & Bedspread: Bedspreads, comforters & duvet are all top covers of the bed.(similarity) Comforters and bedspreads both cover the bed sheets & any other traditional blankets on the bed.(similarity). 19  Comforters are designed to cover just the mattress (therefore it requires a bed skirt to cover the box springs). The bed spread is designed to cover the entire bed ( + mattress) and hangs low enough to cover the box spring. Comforters are designed to stay on the bed during the night for their warmth( or thermal insulation to user). Bedspreads are mainly ornamental (decorative ) through may be used as extra cover on cold nights. Comforters are quitted and reversible while bedspreads are not reversible. N/B – Sometimes the two may be used together at the same time – through one is used at a time based on one’s preference ( e.g. Keep away duvet & use bedcover alone when the weather is warm) or bed cover during the day to adorn/decorate the bed, and use only comforter at night for warmth. A bedspread is a blanket of medium thickness- primarily used to decorate the bed though can be used as a functional blanket while the comforter is thick. PRACTICALS 1. Bed sheet – fitted/flat(top sheet) 2. Pillow/ cases – 1 piece/ 3 pieces - With facing - (With flap + cushions cover) 3. Duvet/ cover ( comforter) 4. Bed covers – Basic bedspread - Quilted - Patch worked 5. Finished with- frill/pleated or gathered (with piping) 6. Bed skirt/ valance/bed runner 7. Fitted sheet 8. Duvet 9. Pillow case/ cushion covers 10. Bolster/cover DUVETS/COMFORTERS Filling material: - Synthetic/ polyester fiber fill - Polyester micro fiber - Wool - Down/ feathers Advantages of Down/ Feather filled duvets: o Can be custom made to suit the needs of individuals o Feel comfortable in sleeping o Are light in weight and assure excellent climate regulation o Have a pleasant warmth o Easily spreads during sleep o Absorbs and easily eliminates perspiration o Have excellent thermal insulation capacity as they trap large pockets of air o They feel soft to body contact 20  o Down offers excellent drape around one’s body o They have a luxurious feel of cover. o Down filled duvets feel lighter, loftier & super soft ( compared to other materials) o Have excellent warmth and beautiful drape around the use’s body. Duvet covers: / functions ( Refer to previous notes) Class assignment; Synthetic/ polyester fiber fill, micro fiber& wool -(students to read and make notes ). BED SKIRT/ OR BED VALANCE: I s a piece of decorative fabric that is placed between the mattress and the box spring of the bed. The purpose is to give a stylish appearance to a bed without exposing the sides of the box springs or any space under the bed that may be used for storage. Historically bed skirts were used to block drafts which could chill the undersides of beds, and to prevent dust from accumulating under the bed. It is used to enhance the beauty of the bed in relation to the rest of the room. It may drape straight, be gathered, or pleated. Used with the duvet to complement each on the bed and the other bed accessories. PILLOWS/ CUSHIONS:  A pillow is: A support for the head or other parts of the body, used while sleeping on a bed, or, ( in the USA) , for the body as used on a couch or chair.  A cloth case stuffed with something soft, such as down, feathers, or foam rubber, used to cushion the head, especially during sleep.  A decorative cushion.  A bag filled with soft material that is used as a cushion usually for the head of a person who is lying down.  A cushion is; A pad or pillow with a soft-filling used for resting, reclining or kneeling. Or  A soft bag of some ornamented material, stuffed with wool, hair, feathers, polyester staple fiber. e.t.c.  A bag made of cloth, plastic or leather that’s filled with soft material-often has an attractive cover, and is used especially on chairs for sitting or leaning on. Functions of pillow/cushions.  Used to support the neck/head/body (while sleeping or sitting).  They make sitting, sleeping or kneeling comfortable.  Add a decorative touch to a room.  Make rooms look cozy.  Used by patients (for therapeutic benefits) e.g. to support neck, back, legs, E.t.c.  Accessorize beds, sofas, and floors. 21   Add cheer to a room and warmth to bedding/bed. Points to bear in mind consider/look for when choosing pillows 1. Type of pillow/cushion and the materials they are made of (filling/case) 2. Function of pillow/cushion e.g. for sleeping, back support, decoration, etc. 3. The user’s sleeping style i.e. are you a side sleeper, back sleeper or stomach sleeper. 4. Location- where to be used- e.g. hospital, residential (on floor, seats, beds, etc.) Considering your sleeping style; The goal of using a pillow is to help keep the users head and neck relaxed in what is called “neutral alignment”- meaning - your head is sitting squarely on your shoulders without bending back too far or reaching too far forward. Expert advice is that; a) If you often sleep on your side - i.e. side sleepers need to use high pillows as your neck and head require more support. -Firm pillows would also be good to fill the distance between the ear and outside shoulders. b) Back sleepers (if you prefer to sleep on your back); -medium size (thicker) pillow is not thrown too far forward. -Also consider looking for pillows with extra loft in the bottom part of the pillow to cradle your neck. c) Stomach sleepers; Low pillows or very thin almost flat pillow- (or no pillow at all for your head) -but consider tucking one under your stomach to avoid lower back pains. N.B: wrong pillows may not be the cause of certain medical problems, but may worsen problems e.g.headache’s, neck pains, shoulder and arm hardness, discomfort, sneezing or wheezing. The general rule is to buy a new pillow every 12 to 18 months. Do not use a pillow beyond 2 years. -as a pillow used beyond this time may contain skin cells, mold, mildew, fungus, dust and mites which make up more than half of an old pillows weight- and these may be detrimental to one’s health. TYPES OF PILLOWS/FILLING MATERIALS 1. Foam; -These go buy density - the higher the density, the less breakdown and the more support you get without breakdown. 2. Memory foam; -popular because they reduce pressure points by continuously molding and adjusting to the shape of your body as you move through the night. Pros  Provide most comfort and support especially for people with neck, shoulder and back problems.  Cons 22   It is combustible/may get hot.  Emissions from memory may cause respiratory irritations.  Some gives off distinct chemical odor that’s unpleasant to some users. 3. Latex;-  Latex Pillows are made from latex rubber harvested from rubber trees grown on plantations in tropical countries  It is the finest type of pillow.  Resists molds and dust mites.  Good for neck or back alignment as they are contoured for neck support. Pros  Biodegradable  Flame-retardant  Long lasting  Resists mold and mildew  100% natural, organic material  Insect resistant so it wards off bed bugs or dust mites.  Free of harmful chemicals and non-toxic even when burned.  Moulds to your head, neck under to your weight, providing a firm but cushioned sleeping surface. cons  Costly 4. Polyester Pillow; pros  Cheap  Washable  Extremely tear resistant. Cons  Poor ventilation  Poor neck support  May be vulnerable to dust and mites  Gel filled pillows may emit odor. 23 5. Syntheticfiber;  made from synthesized polymers. Pros  Cheap  Durable  Resilient  Waterproof  Allergy free  Easy to wash  Flame resistant. Cons  Highly static  Non-absorbent  Doesn’t contour well to the head and neck. 6. Wool/Cotton;  Are hypo allergic & resist mold and dust mites.  Both tend to be quite firm  Not soft/squishy. 7. Down/feathers;  Recommended as one of the best pillows -it is soft - Light - Loft -Absorb or eliminate perspiration etc. * (Read further on- other filling material). Refer to handout for the following;  How to choose good pillows -e.g. press center -if bounces back = good pillow.  Read on how to care for pillows/ cushions.  Types of cushions -e.g..neck rolls, bolsters, throw cushions/pillows  Pillow sizes/covers 24 BED LINEN These include; 1. Bed sheets; fitted/ top flat sheets. 2. Pillows/cases 3. Bed covers/duvets(covers) / bed spreads 4. Bed sheets: fitted/top sheets 1. Bed sheets: Fitted /Top sheets 6” or 7” 6” or 7" 60 L+d W+d 72 6” or 7” 6” or 7” Calculating the amounts of fabric width; To determine the width of sheeting ,- measure the width of the mattress including the depth then add 12”-14” (i.e. 6”-7” on each side) tuck-in allowance for a double bed & 10” for a single bed (add 1”hem for allowance) Fabric required= (round up to the nearest width of the sheeting fabric available and use the entire width so as to avoid side hems). Length; Measure length of mattress, plus depth -add 10” -(12”-14”) for hems and tuck in allowance (1 “5” -(6”-7”) e.g. For a 72” Long & 60” wide mattress , and 6’ depth + 6” tuck in allowance, + 1” hem allowance. =72” + depth = 6” (x2) for both sides of mattress) + 12” +6” (x2 tuck in allowance to cater for both sides of mattress) =96” L + 2” hem allowance = 98(Cut fabric). 60” w + 6(x2”) depth 12” + 6”(x2) tuck in allowance =84” w + 2” hem allowance =86 (cut fabric.) Cut two fabric pieces of similar size for both the fitted and flat top sheet. For a fitted bed sheet Shape the cut piece of fabric to construct the fitting; …draw here…(ref to handout) 25   Cut out the depth + tuck in allowance +minus seam allowance from the four corner of the fabric=12 ½ “  Join the cut out corners; -you get a shaped piece to fit the mattress; W L D Before hem is neatened &elastic incerted. - Neaten the hems, inserting elastic along the top & bottom hems of the sheets-beginning 12” along the side hem around the corners to 12” along the other side hem. The elastic creates a shaped tuck in allowance to fit (grip firmly onto the material) to the mattress on the underside. …………….DRAW HERE (ref to handout)……………….  Top sheet; this is worked straight  Hem the top (wider hem) bottom or side hem hems, (side hems may be left un hemmed based on nature of fabric’s edge finishing). 2. Pillows/cases  For pillow cases, measure the length & width of the pillow and add ¾” all around for seam allowance. (NB. for a one piece pillow case add seam allowance only on two sides). ref. to hand out.  You will need two pieces , this size for each side (top & bottom) of pillow, plus one piece the width measurement (including seam allowance) by 8”.-(this piece caters for the under lap (overlap) for the pillow case opening. Add 2” to the overlap and 2” to the bottom pieces for hem allowance. 2” hem all ¾” 8” 2” hem 26 To make, work the upper or lower hems first, fold up the pillow sections as Per the pillow measurements(with the under lap above the two pillow sections and stitch. Neaten the two side seams. N/B - Some pillow cases have an allowance of 2 to cater for a loose fit. - There are a variety of pillow case and designs. (see hand out) - Pillow sizes - 20 x 26 (small) - -20W x30”L (queen size) - - 20 x 36(king size) - Others available sizes; - -20W x 28”L - -22W x 28W……. - -22W x 30L - 26 x 26(sq pillows) -18W” x 28 L (18” x 30”) 3. BED COVERS: Measurements are similar to those for bed sheets -however, in place of the tuck-in allowance, the drop from meters to the floor length are taken for only 3 sides of the mattress. 2 sides and the lower end of bed not the head side. Work out the fabric required according to the design of the bed cover desired e.g.  A frilled/pleated head cover  A quilted bed spread (without frills)  Patch worked  Underlined etc.  Throw over cover L W 27  Drop to floor Frill length N.B. for frilled bed covers- calculate fabric required as for curtains i.e. Length around mattress on three sides x fullness required (e.g. 2 or 2.5) divide by the fabric width = number of drops(panels) required or joined to make the entire frill. Then multiply the no of drops by the frill length(+ hem allowance) i.e. number of drops x length of frill divide by 39”(i.e.to get meters required) = total amount of meters required for frill. Add the top of mattress size for the total fabric. (ref. to handout for procedures.) DUVETS/COVERS Measure the size of the duvet to be covered giving seam allowance depending on the type of opening used -e.g. Zip, Button, Tie strings(ribbons), Press studs, overlap (as pillow case) e.t.c. Edge seams can be finished with pleats, frills (gathered ) pinning, binding, etc. The procedure for making up duvet covers is similar to that of making up pillow cases. (Ref to hand out for making up procedures) TABLE TOP ACCESSORIES - These include table cloths, runners, placemats, and napkins. - They are used to cover table tops for both aesthetic functional purposes e.g. camouflage table top defects. - The items are available in square, round, oval and rectangular shapes etc. - TABLE CLOTHS;  Average size should be cut or selected to cover the table top and drop from 5” to 10”to 16” for strictly formal occasions on all sides (otherwise measure overhang to seat or floor as desired).  Runners are approximately 12” wide and they too should drop from 5” to 10”.  Placemats are generally rectangular, round or oval. Rectangular placemats are; - Averagely are 12” by 18” or 10” by 14”  Small cocktail napkins are 5” square. -larger napkins are 12” to 22” square. Variety of fabrics and materials used e.g. Damask and sateen or twill woven, rib waves, plain weaves, patters. For table cloths , fabrics/medium to heavy weight fabrics e.g. linen + cotton are used. MATS 28 Place mats may be made from woven fabric-or by use of foam or synthetic or cotton paddling, -quilting and finishing the edges by binding with bias /-cut fabric. - Cut out the required size + seam allowance - Cut underlining and interlining of same size as top fabric’-mark pattern on fabric, quilt-attach binding. HOW TO CALCULATE TABLE CLOTH SIZE; - Take the width and length of the table (for square and rectangular tables) + (add) the drop to each side = the size of tablecloth you need. -The standard recommended drop for all tables is 8” (i.e. The amount that will hang over each other side of the table.) -add hem allowance. E.g. a) A 36” square table; 36” wide + 16” (8” drops x 2 sides) =52” wide square (x 52” wide) (i.e. 52” by 52”) - then add hem allowance. 8” (drop) Total= 52” 8” 36” 8” 36” 8” 52” b) For a 60” around table; 60” diameter x 16” (8” drop x 2) =76” round -add hem allowance 8” 8” 60” 8” = 76” round 29  8” c) conference table cloths / banquet;  These have one side open and the other side covered.  The open side should have an 8” or 10” drop - and 28” to 30” fall, almost to the floor on the other sides. E.g. a 10” long (70 + 56(28 x 2 sides)] = 126” + 2” hem =124” 18” wide + 38” (10” drop + 28” drop) =56” + 2” hem =58” 58” wide cloth x 128” long cloth 18” wide 10”(8”) drop 28” drop GENERALLY:  The drop of the cloth may range from the arms of the chair, to the top of the chair seat - or all the way to the floor.  Always add the hem allowances.  For light weight fabrics and curved edges-use ½” to 2” wide hems.  For heavier fabrics and straight edges, use 2” to 4” hems.  Use double folds and mitered corners for a professional look.  Ensure that hems are well finished and pressed.  For curved edges, use bias binding/or add other trimmings e.g. lace, fringes etc.  Sizes; Standard “drop” or overhang for a table cloth = 8” - 10” to 12” overhang reaches lap level - For banquet tables =15” drops recommended - 29” to 30” drop reaches the floor. 30 FABRICS -Range from light, medium to heavy weight. -High thread counts + natural fibres & their blends are best for table cloths. Fabrics used (popular for table cloths);  Cotton  Linen  Polyester (or poly-cotton blends)  Vinyl.  Silk (for functions e.g. weddings)-satin  burlap/hemp like (Read further on advantages and disadvantages of each fabric) Ideal fabrics for table cloths / their properties; -Spun polyester -cotton -Damask - cotton blends /poly-cotton -woven fabrics -linen -Crinkle taffeta -vinyl -Burlap (like hem/jute -lesion fabric)  Polyester; -Is wrinkle and stain resistant. - It washes well/easy  Cotton - Durable - Lasts long - if not colored can be hot washed and machine washes well. Polyester-cotton blends -complement each other (in their weak points) E.g. - Polyester washes and cleans well - It does not shrink and does not stain easily and releases stains well - Does not fade (Qualities that pure cotton lacks)  Linen (though wrinkles easily) is strong and lustrous. Has a rich look. 31   Silk and rayon – (have shrinkage issues and ideal for events )  Vinyl -convenient to use coz only needed to wipe spills off with a damp cloth/are cheap in price.  Silk and organza -best for wedding and events coz they offer a luxurious look /but require delicate washing and care  Vinyl -is good for informal dinning/picnics and outdoor dinning. N/B Fabrics used for table cloths may be used for napkins and tablemats (to complement each other.) TABLE MATS (PLACED MATS) - Can be made out of fabric - Quilted - Woven / knitted / crocheted /macramé etc - Made from a variety of materials. - Tablemats are used to add vitality and drama to a table. They also add interest attraction (aesthetics) and are functional i.e. to protect table surface from hot plates or items used to serve food at table. Mats may also be coordinated with the table cloth to define the place setting or cover. - drama and vitality may be added to a table setting by using contrasting colors and patterns - or set off attractive table with plain simple table mats. Whatever style you choose, ensure that the fabric and matching trims are fully washable, color fast and pre- shrunk ( if making mats out of fabric). NB.Table mats may be made out of other materials that are not necessarily fabric - (16” x 16” standard round) a small size rectangular tablemat is 20cm x 30cm - ( 8” x 12” round table ) mat may have a diameter of 25cm – 30cm. If the table is large make larger mats e.g. 12” x 18” / or 12” – 14”W.……………………………………………………………………………………………………. A) Simple Quilted Table mats. - Since mart table need protection from hot plates, it is practical to insulate table mats by quilting them within wadding/ padding or interlining. - For a reversible mat, use a suitable lining or contrasting fabric on the underside. Material required: - Needle ( or sewing machine) - Fabric ( top, bottom lining, interlining or waddling) - Sewing thread - Procedure; i. Establish the size of the tablemat and add a 1.5 cm seam allows all around. - Add another 2cm (1”) all around to accommodate the padding – cut the top fabric piece, lining or contrasting fabric for the underside and the wadding to this size. ii. With right sides together and raw edges aligned, place the top piece and the lining / contrasting fabric together. - Place the waddling on top of both pieces - Pin and tack in place 32  …………………. DRAW HERE…………….. iii. Stitch around the tablemat through all three layers but leaving a small opening at one end( see fig) - Trim any corners and excess fabric and snip any curves. ………………….. DRAW HERE ……………………… iv. Turn the mat right side out lightly press the seam to form a neat edge. v. Fold in the raw edges of the opening and pin all around the sides to hold the seam flat. -Top stitch around the tablemat, being sure to stitch the opening closed. Press lightly N.B. An attractive way of finishing off these simply qualified table mats is to hand-quilt a small design in the middle or to one side of the mat. B). Quilted table mats with bound edges.  The materials required are as these for the simple quilted mats, however bias binding is additional.  Draw pattern outlines on the top fabric along which you will stitch. -patterns printed on the fabric can also be emphasized by stitching along them to produce interesting quilts.-You may also draw simple diagonals, lines, straight lines or square as simple substitutes for complex quilt designs.  Procedure; 1. Establish the size of the tablemat and add 2cm (1”) all round to accommodate the quilting. - Cut the top piece of fabric, the lining or contrasting fabric for the under side, and the waddling to this size. 2. With wrong sides together and raw edges aligned, place the top and bottom pieces together. Insert the wadding or quilting pieces between them. ……………….DRAW HERE …………………… 3. Using tailors chalk; mark the quilting pattern of your choice on the top piece (if not done before). 4. Working along the marked patter, pin and then tack through all three layers of fabric. –stitch along the tacked lines, working from the center of the mat outwards the sides. ………………DRAW HERE …………………….. 33 5. Trim any skew edges that may have been formed by the quilting and round off the corners of the mat, using a small plate as a guide. 6. Bind the raw edges of the mat with the bias binding. NB: When quilting increases your stitch length to prevent puckering. Activity-Get the relevant material and make the two types of table mats using hand quilting/ machine quilting. TABLE NAPKINS  These are both functional and decorative. - These are functional in that they act as feeders or aprons to protect the user’s garments from spills and food crumbs as they dine. (They may be hung around the individuals neck or placed on the lap). They may also be used as serviettes to wipe hands or the mouth as one dines. - They are a decoration as they add to the aesthetic appeal of the place or cover the setting at the dining table especially when folded in various interesting patterns. N.B. When using them at a cover setting, they are often placed to the left hand side of the place setting (main plate) towards the left end of the cutlery arrangement next to the fork -(or can be on the cover plate).  Table napkins can be of any size ranging between 30 cm (12”in )o r 6” to 22”) square to very large (22”) 45 cm (18”in) square (i.e. smaller nor bigger than the stated dimensions) –It is therefore important to consider the size of napkins you require prior to purchasing your fabric to prevent wastage.  The fabric should be washable and color fast  The basic napkin has a 1 cm (3/8 “) or smaller double- turned hem.  However you may employ different methods or techniques of finishing hem or edge. – 1cm hem e.g. 1. Use of different trims such as lace, braid, bias binding e.t.c 2. You may scallop the corners using a circular devise such as a plate, then satin stitch or loop stitch the raw edges. 3. You may stitch just inside the edge, and then fray the edge all around to form a fringe. 4. Or applique a design onto a corner of each hemmed napkin. 5. Or cut out a facing from contrasting section, scallop its edge, then attach to the napkin edge and finish the scalloped edge of the facing with button hole stitch as you attach it to the napkin. 6. Or hem the napkin edge then employ the drawn thread technique along the end that’s close to the inner fold of the hem. 34... Cut the napkin piece the required size plus 2cm (1”) or extra allowance to cater for the hem allowance or the desired type of the edge finishing.(you may double fold or miter the corners). Activity;  Get four pieces of cotton fabric 30 cm square or 12 inches square and employ any four edge finishing techniques of your choice to finish them.i.e. use one technique on one napkin. N.B: Table cloths may be finished in the same design as napkins. TABLE RUNNERS  Can be used with table cloth or alone to protect table or for decorative value.  Standard width =12 “to 18” wide.  -the drops vary as for the table cloth (from 5” to 10”).  Different edge finishing techniques may be applied. 35