Archive for the ‘Do it Yourself’ Category

The celebration of Christmas is deeply woven into the fabric of home and family life.  Much of the activity is centred on the kitchen which, as the culinary preparations get under way in the run-up to Christmas, more than ever becomes the heart of the home. The smooth running of the Christmas catering program calls for a fair amount of advance planning and, as the day draws nears, meticulous timing, particularly if you have guests staying with you.

Entertaining over the Christmas period is a special pleasure, but there is no denying that it involves extra work and responsibility, as you will want to ensure that guests not only enjoy the highlights of their stay, but the quiet moments too.

For your own busy schedule and peace of mind, prepare guest bedrooms well in advance. Check that there are plenty of basic requirements such as fluffy towels, tissues, cotton wool (absorbent cotton) and guests soaps.

If you have the facilities, it is a good idea to take a leaf from the hoteliers’ book and provide coffee and tea making equipment, something that is especially welcomed by those who wake up at unsociably early hours of the morning. Arrange a tray with an electric kettle, a small caletiêre and a jar of ground coffee (or just supply instant coffee, if it is easier), a teapot and a choice of two tea blends. Add wrapped sugar and a decorative tin of biscuits (cookies), with milk and fresh fruit to be replenished daily.

A bright wreath of evergreens, holly and berries gives a traditional sign of welcome.

Make a small selection of books and magazines for friends who like to travel light. Check that there are bulbs in the reading lamps, and provide an electric torch (flashlight) or plug in extra night lights to help with night-time navigation to the bathroom.

Flowers help to make a room more welcoming.  If there are plenty of Christmas decorations in the other rooms, flowers can bring a breath of spring or summer to the guest rooms. Dried-flower arrangements are a pretty option that also have the advantage of being long-lasting, thus preventing the need for last-minute preparation.

When your guests arrive, be sure to show them such essentials as, where the light switches and sockets (receptacles) are to be found, and which cupboards (closets) are available to them. Such extra thoughtfulness has an advantage for you too, as it will give you a chance to get on with household tasks while guests enjoy the warmth of your hospitality.

Sugared Flowers and Fruits

Sparkling under a light dusting of sugar as though tinged with frost or snow, sugared sweet meats are a Christmas delicacy that add a lovely touch when displayed in bowls in guest bedrooms or in a living or dining room.  You can prepare them several days ahead of the festivities and, once they are dry, store them in an airtight tin.

Edible flowers can also be served as a beautiful Christmas treat!  Not all flowers are edible, although many are.  Consult a reliable source if you are in any doubt.  Marigolds, nasturtiums and pansies were all favorites in Victorian times and offer an attractive variety of color and shapes. Sugared fruits also look beautiful.  Use small fruits, such as cherries, cranberries, strawberries and raspberries, whole.

Fruit will help you add lovely accents to any decorative welcome bowl. Peel and segment larger fruits such as oranges and tangerines, halve or quarter figs according to their size, and halve and stone (pit) plums and apricots. You can also use sugared leaves with fruit and flowers, if you wish, to add contrast.

The first involves finishing off apart-riled wall with a band of narrow tiles in a colour or design that complements or contrasts with the main riled area, to form a decorative border. These tiles are available in lengths that match standard rile widths, and are usually 50-75 minimum 2-3 in wide. They are cur and fixed just like any other tile.

The second method is to incorporate a group of patterned tiles as a feature panel within a larger area of plain riling. The group may simply be contrasting patterned tiles, or may be a multi-tile motif a group of four, six or more tiles that fit together to form one large design when they are fixed in position. Tile manufacturers offer a range of mass-produced designs you can choose from, or a motif panel can he commissioned from a specialist tile supplier. Plan the motif’s position on the wall carefully, and build it in the usual way as tiling progresses.

I. Use a tiling gauge to mark the position of the first row of tiles on the wall surface. Put up a support batten (furring strip) if necessary then spread some tile adhesive on the wall, and place any plain tiles that will be below the decorative panel. Start placing the first tiles that will form the decorative panel. Here the tiles are being laid at an angle of 45°, so half-tiles are placed first.

2 .Continuous adding whole and half-tiles to build up the pattern, checking is you work that the edges of the panel are uniformly horizontal and vertical.

3. Here the panel is being surrounded by slim border tiles. Add whole border riles to the top of the panel first, working from the centre line outwards.

4. At the corners of the panel, fit an over-long horizontal border tile and hold another vertically over it so you can mark a 45° cutting line on each tile.

5. Make the 45° cuts on the end of each corner tile, then bed the horizontal tile in place. Check that the CUE end is precisely aligned with the panel comer. Repeat the process at the other end of the horizontal section of the border. The pieces should be the same length, as the border is centred.

6. Fit the border riles up each side of the decorative panel, then mark the position of the mitre cut on the final tiles, cut them and fit them in place.

Until recently, to have individually designed china in your home usually meant paying a lot of money for hand-painted pieces from well-known craftspeople. With the introduction of specialist china paints however, everything has changed: you can now paint on whatever you like and be sure that your designs will last. A quick and easy decorative technique, with the added advantage of the large amount of inexpensive white china available. This is a wonderful way of adding a splash of colour to everyday items.
There are three different types of paint that you can use for decorating china. Not all of these are non-toxic so if you are making pieces to give away, remember to mark them accordingly.
Enamel paints are not made exclusively for china and ceramics. They are available in a range of colours and dry to an extremely hard finish. These paints contain lead and should only be used for decorative purposes.
Solvent-based ceramic paints come in a huge range of colours and lend themselves well to varied painting styles such as wash effects. White spirit (paint thinner) can be used to dilute the paint and to clean brushes after use. Protect the finish with varnish.
Water-based ceramic paints are specially made for painting glazed ceramics. They produce a strong, opaque, flat colour and can be diluted with water. Do not attempt to bake them until they are completely dry o the colour may bubble. Baking the painted item will make the colour durable enough to wash in a dishwasher. It is a good idea to do a test first as over-firing can run the colour slightly brown.

BASIC EQUIPMENT

Low-tack adhesive tape: use to hold templates or stencils in place on the china if masking tape is not available.

• Masking fluid: watercolour art masking fluid is used to mask off areas of the design while colour is applied to the surrounding area.
• Masking tape: useful for holding stencils in place or to mask off areas when painting straight lines. Can be removed easily without damaging the painted surface.
• Paintbrushes: choose sable watercolour paintbrushes in a range of sizes, including a fine brush for painting lines and details, and a broad soft brush for covering larger areas. Good synthetic brushes are adequate and affordable.
• Pencils and pens: a hard lead pencil such as a 2H is good for transferring designs with carbon paper. For marking the ceramic surface directly, a softer 2B lead pencil or a fine felt-tipped pen would be more suitable.
• Ruler: a good-quality metal or plastic ruler makes measuring and cutting easier and more accurate.
• Scalpel or craft knife: scalpels with disposable blades are the most accurate cutting tools, especially for cutting stencils. Craft knives are a good alternative.
• Sponges: use to produce interesting effects. Natural or synthetic sponges can be used.

DECORATIVE TECHNIQUES

• Sponging: Load a sponge with paint and test the print on a scrap piece of paper first. The first print or two will be too saturated with paint to achieve a pleasing effect, so it is best to make a few.
• Sponging variations: A stencilled design can be made more interesting by varying the density of the sponging within the image or by adding more than one colour. Allowing the first coat of paint to dry partially before applying the second will mean that there is more contrast and less blending of the two colours.
• White lines: If you want to leave thin lines of china showing through areas of colour, paint them first with masking fluid. This can be gently peeled off when the paint is dry to reveal the white china beneath. Use a sharp-pointed instrument such as a craft knife or compass point to lift off the dried masking fluid.
• Printing blocks: When using printing blocks, roll the block lightly on to the surface to ensure you get a good even print. Test the print on scrap paper before printing on the china.
• Using masking fluid: Add a drop of water-based paint to masking fluid before use when working on china that is completely white. This will help you to see where the masking fluid has been applied, enabling you to wipe it off easily when you are ready to do so.
• Watery effects: You can achieve subtle watery effects in oil-based colours by diluting paints with white spirit (paint thinner). Water-based paints are diluted by adding water.

HINTS AND TIPS

Before painting any white china, always clean it thoroughly to remove any invisible traces of dirt of grease. The most effective cleaning agents are cleaning fluid, methylated spirit (denatured alcohol), white spirit (paint thinner) or lighter fuel. Make sure there are no naked flames around when using these materials.
To ensure that there is no possibility of any paint being swallowed when drinking from a mug or glass, adapt designs so that any colour you paint is at least 3 cm/11/4 in below the rim of drinking vessels. Otherwise the piece should be fired in a kiln.
Always test out a technique that you have not tried before. Apply the new technique to a spare piece of china, which can be cleaned up easily, rather than a piece you are already in the process of decorating.
Use tracing paper and a soft pencil to transfer designs directly on to the surface of china. First, trace the template or the design you wish to use, then fix the tracing paper to the china with masking tape. Gently nib over the traced design with a soft pencil to transfer.
Pencil or pen guide marks on the china can be easily wiped off once the paint is completely dry or has been baked. Use a damp cloth and take care not to rub the paint too hard.

It is a simple matter to repair minor damage to walls and ceilings and then to cover it up with a fresh coat of paint. With wall coverings, patching damage or curing paperhanging defects requires a different approach.

The most common form of damage to a wall covering is an impact that leaves a jagged tear. If the torn part is still attached, brush some paste on to its rear face and press it back into place. Use a seam roller to apply pressure to the flap and roll it flat.

If the torn part is missing it will be necessary to patch the damage. If there are some off cuts from the original papering job, cut a patch from them. If not, cut and dry strip a patch from an out-of-sight area behind a piece of furniture to use for the repair. Tear around the edges of the patch, holding it face-down, to create a thin ‘feathered’ edge, then paste it, place it over the damaged area and flatten it with a seam roller. If the paper is a thick two-layer duplex type, try to peel away the backing paper to reduce the thickness of the patch and make it less noticeable once it is in position. Feather the edge and paste in position.

Another common problem, blistering, is the result of in adequate pasting during paperhanging. It is a relatively simple task to slit blisters opens and soft dry seams to apply a little fresh paste and stick the covering firmly back to the wall. With fragile printed or flocked wall coverings, take care not to get paste on the surface.

If a carpet becomes damaged in one area and you cannot remove the mark, trim back the pile of the carpet with a razor blade. If this does not work, the answer is to patch the mark with a new piece of carpet. Use a spare off cut if you have one available, or cut the patch from an area in the room that will not be visible such as under a sofa.

If a seam has failed to stick flat, lift it with a filling knife (putty knik) and use a slip of abrasive paper to sand off the dried paste behind it. Use the filling knife to hold the edge of the wall covering away from the wall, and brush it little paste on to the back of the paper and also on to the wall surface. Leave to soak. Press the scam down flat with a seam roller, then use a sponge or damp cloth to remove any paste that has oozed on to the face of the wall covering before it dries.

Patching Damaged Wallpaper

1. Cut a repair patch from an off cut of the original wall covering or strip one from behind a piece of furniture. Check that the patch will cover the damage and match the pattern.

2. Carefully tear along the edges of the patch to reduce its thickness and create a thin feathered edge. Check that not backing paper is visible.

3. Some 2-layer duplex papers are too thick to use as a patch. Try to separate backing paper at a corner of the paper at a corner of the patch and peel it off.

4. Paste it back of the patch and place it over the damaged area, aligning the pattern carefully. ‘Iron’ it into place with the aid of a seam roller.

Curing a Dry Blister

1. If a dry blister appears after wallpapering, use a sharp knife to make 2 cuts through the blister at right-angles.

2. Peel back the triangular tongues formed and apply a little paste to the wall surface and to the back of the tongues. Leave to soak for a few minutes.

3. Press the triangles back into place and run a seam roller along the cuts to bond the paper firmly to the wall and leave an almost invisible repair.

PATCHING A CARPET

1. First remove as much of the dirt as you can by vacuuming, placing the nozzle down over the dirt rather than sweeping it back and forth to avoid rubbing in the mark.

2. If the mark is only fairly light, try carefully trimming back the carpet pile, using a razor blade.

3. If the mark is ingrained, lift the carpet and place a piece of hardboard on top of the underlay, beneath the damage. Cut a matching piece of carpet, slightly larger than the damaged area, and place over the damaged area with the pile running the same way. Cut right through both carpets, then replace the old patch with the new.

A well-fitted door should have a long and trouble-free life. If it does start to misbehave, the problem is likely to be the door binding against its frame and, in extreme cases, failing to shut properly.

There are 3 possible causes:

1. A build-up of paint on the door and frame surfaces after years of re-painting, expansion due to atmospheric conditions – the door sticks in damp weather as moisture causes it to swell slightly, but shrinks and closes freely in dry weather; and hinge faults caused either by wear and tear or had fitting.
2. Where a paint build-up is to blame, the remedy is quite simple: strip off the old paint from the door edge back to hare wood, and re-paint from scratch. If atmospheric conditions are to blame, the solution is to plane down the door edges slightly to increase the clearance between door and frame. You will have to take the door off its hinges to do this unless it is only the leading edge that is binding.
3. Hinge faults that can cause binding include hinge screws standing proud or working loose, and hinge recesses being cut too deep or too shallow. In each case the cure is relatively simple; the biggest problem is often trying to undo the old hinge screws, especially if they have become encrusted with paint over the years. Clean out the slots in the screw heads thoroughly before trying to remove the screws; paint remover is useful for this. Then position the screwdriver in the slot and give the handle a sharp blow with a hammer in order to help free the grip of the threads in the wood.

How to Repair a Door

1. If the hinge screws show signs of pulling out, remove them, drill out the screw holes and hammer in glued dowels. Then drill new pilot holes.
2. If the door is sulked in the frame because it has expanded over time, close it and mark a pencil line on the door face against the edge of the frame.
3. Take the door off its hinges, remove the handles and the latch mechanism, and plane down the leading edge of the door until the pencil line has disappeared.
4. If the door is binding either at the top or bottom, take this opportunity to plane oft a little wood there too. Plane inwards from the corners to avoid causing splits
5. If the door binds on the hinge side of the frame, the hinge recesses may be room deep. Remove the hinge and pin some packing into the recess.
6. Drill fresh pilot holes for the screws through the packing piece, and drive the fixing screws back into place. Make sure that their heads fir in the countersinks.
7. Alternatively, re-locate the hinges in a new position. Chisel out the new recesses and re-fit the hinges.
8. If the hinge recesses are too shallow, the hinge leaves will hind and prevent the door from closing. Remove the hinges and chisel the recesses slightly.

If the wall or ceiling to be given a new covering is painted or wallpapered, preparing the surface for its new finish is quite straightforward. However, if it was previously covered with materials such as texture paint, ceramic or polystyrene (plastic foam) riles or wall panelling, more work will he needed to remove the old finishes and return the surface to its original condition.

Textured finishes are tackled indifferent ways, depending on their type. Texture paints arc basically thick water-based (latex) paints, normally used to create relatively low-relief effects, and can be removed with specially formulated paint removers. Some textured effects formed with a powder or ready-mixed compound are best removed with a steam wallpaper stripper, which softens the compound so that it can he easily scraped away from the wall.

Never attempt to sand off a textured finish. There are two reasons. The first is that it will create huge quantities of very fine dust; the second is that older versions of this product contained asbestos fibres as a filler, and any action that might release these into the atmosphere as inhalable dust must be avoided at all costs.

For tiles and wall panelling, complete removal or a cover-up with plasterboard (gypsum board) are the two options available. The former will leave a surface in need of considerable renovation, while the latter will cause a slight loss of space within the room, as well as some complications at door and window openings.

Removing Textured Finishes

1. Strip texture paint by brushing on a generous coat of proprietary texture paint remover. When the paint has softened, scrape generous coat of a proprietary texture off with a broad-bladed scraper. Wear paint remover. Stipple it well into the paint and leave it to penetrate.

2. When the paint has softened, scrape it off with a broad bladed scraper. Wear gloves, and also safety goggles if working on a ceiling.

3. Once the bulk of the coating has been removed, use wire wool dipped in the paint remover to strip off any remaining fleck of paints

4. Remove powder-based or ready-mixed types using a steam stripper, which will soften the finish. Never try to sand off this type of finish.

Removing Ceramic Tiles

1. On a completely riled wall, use a hammer to crack a tile and create a starring point for the stripping. On partly tiled walls, always start at the tile edge.

2. Use a broad bolster (stonecutter’s)chisel and a club(Tailing) hammer to chip the old riles off the wall. Have the wall replastered afterwards rather than trying to patch the surface.

Removing Polysterene (Plastic Foam) Tiles

1. Lever the tiles away front the ceiling with a scraper. If they were fixed with a continuous coat of adhesive, consider temporarily covering the tiles with heavy lining paper. Fur the best finish, fit a new plasterboard(gypsum board)ceiling, nailing through to the ceiling joists.

2. If the tiles were fixed in place with blobs of adhesive, use a heat gun to soften the old adhesive so it can be removed with abroad-bladed scraper.

Removing Wall Paneling

1. The last board to be fixed will have been nailed to the fixing grounds through its face. Use a nail punch to drive the nails in and free the board.

2. The other boards will have been secret-nailed through their tongues. Use a crowbar (wrecking bar) to prise them away from their grounds.

3. Finally, prise the grounds off the wall, and use a claw hammer or crowbar with some protective packing to lever the fixing nails out of the wall

Through the centuries, wreaths have been regarded as symbols of protection, love, friendship and welcome. Most are composed of a central core, although you can twist and weave stipple stems of foliage such as clematis or hops into wreaths that are decorative in their own right, or construct a simple wreath base from supple grass or other stems and then decorate it with flowers.
With the revival of interest in decorative rings, it is now possible to buy a wide variety of wreath bases from florists and department stores. Dried-stem rings, vine wreath forms and twisted willow rings can all be adorned with posies of fresh flowers and foliage, or with dried plant material for long-term display. Pre-formed rings of absorbent stem-holding foam encased in a plastic base provide fresh flowers with a moisture source and can be used throughout the year for wall hangings or table decorations. They are, however, unattractive to look at, so you must plan your decoration to include an all-concealing cover – a handful of ivy leaves or other foliage would be ideal.

HOW TO MAKE A FRESH FLOWER WREATH

1. Gather up your materials: a pre-formed foam ring of 25 cm/10 in diameter, a selection of flowers such as sweet peas, roses, spray carnations, Peruvian lilies, and gypsophila, evergreen foliage such as ivy, and florist’s scissors. Arrange a ring of ivy leaves around the inside and outside of the ring form to frame the flowers. Cut each sweet-pea flower on a short stem and arrange at intervals around the ring.
2. Complete the ring of sweet peas and arrange more ivy leaves between the flowers, to give the design a natural and ‘countrified’ look.
3. Cut individual roses, Peruvian lilies and spray carnations and arrange them between the sweet peas. Insert short sprays of gypsophila around the ring.
4. Use the floral circlet to decorate a tabletop, a low shelf or a buffet table, where it would make an unusual centrepiece.

HOW TO MAKE A POTPOURRI WREATH

1. Gather up the materials you will need: a dried-stem ring of 20 cm/8 in diameter, about 115 g/402 potpourri, a hot-glue gun, dried flowers such as rosebuds and sea lavender, a roll of florist’s silver wire, half a stub wire (floral pin), satin ribbon and a pair of scissors.
2. Spurt the glue on to the ring a little at a time, and press the potpourri on to it. Take care not to burn your fingers when using hot glue. Allow to cool for a few seconds before pressing on the petals.
3. Work all around the ring, gluing and pressing on the petals until you have covered the form on top, both inside and outside. If there are any gaps, spurt on a little more glue and add more petals. Glue some of the most colourful petals on top to give the ring a bright appearance.
4. Arrange the dried flowers to make a small posy. Cut short the stems and bind them with silver wire. Bend the stub wire in half to make a U-shape, loop it over the stems and press the ends of the wire into the ring to secure the posy.
5. Tie the ribbon around the ring form, bringing the ends over the top, where they will cover the posy stems and binding wire. Tie the ribbon into a bow and then trim off the ends neatly.

IDEAS FOR FOAM RINGS

Outline a foam ring with periwinkle leaves, fill it with some short-stemmed daffodils, tulips and pansies, and then embellish it with a cluster of lighted tapers for an Easter table decoration. Cover a small ring with lady’s mantle and cornflowers, and then stud it with strawberries pierced with cocktail sticks (toothpicks) for a midsummer party piece. Or, define a large ring with ivy leaves, fill in with sweet peas, Peruvian lilies and roses, and cover it with delicate gypsophila.

Fresh fruit can be presented in unusual ways to make a table look very attractive, and will be a real talking point at a party. The ideas shown here take very little time to carry out. Pineapples, for example, can be prepared in many decorative ways in addition to rings, spears and cubes. Melons make attractive containers for salads, both sweet and savory. Small melons can be used for individual servings, while large watermelons will hold salads to serve a crowd. Special tools, including melon cutters and melon ball scoops, make decorative preparation easier.

Sorbets and fruit ices are most refreshing desserts. A fruit ice is made by freezing a sweetened fruit puree,whereas a sorbet is made from fruit juice or purée mixed with a sugar syrup. In addition, there are sorbets based on wine or liqueur. The Italian granita uses the same mixture as a sorbet, but it •is stirred during freezing to give it its characteristic coarse texture.

MAKING PINEAPPLE BOATS

Trim off any browned ends from the green leaves of the crown; trim the stalk end if necessary. Using a long, sharp knife cut the pineapple in half lengthwise through the crown. Cut a thin slice from the base of each half so that it has a flat, stable surface and will not rock about. Using a small, sharp knife cut straight across the top and bottom of the central core in each half, then cut lengthwise at a slant on either side of the core. Remove the core, then using a curved, serrated grape fruit knife, cut out the flesh from each half. The boats are now ready for filling with a salad, a dessert, or with ice cream, fruit ice or sorbet.

PREPARING MELON

First cut a line around the circumference of the melon and insert a sharp knife on the line at an angle. After this make a cut 5 cm/1/2-2 inches long, according to the size of the melon, right into the centre. Insert the knife again at the top of the angled cut, and cut back to the line at a right angle, forming a V shape. Continue in this way all round the melon, then lift the 2 halves a part. Remove the seeds and scoop out the flesh.

WATERMELON BASKET

Cut a watermelon basket as directed on the right, but leave a strip for the handle. Scoop out the flesh using a melon ball scoop and nick out the pips. Mix the melon balls with balls of honeydew melon, blueberries and strawberries. Pile the fruit into the basket.

STRAWBERRY ICE

Place 500g (1 lb 2 oz) of strawberries with100g (31/2oz) caster (superfine) sugar and 1/2cup orange juice. Ensure that the sugar has dissolved completely then add I 5 m1/1 tbsp lemon juice. Taste the mixture and add more sugar, orange or lemon juice if required. The mixture should be highly flavored. Chill well, then transfer to an ice-cream machine and freeze until firm. Makes about 600 m (1 pint).

VARIATIONS

You may use raspberries or blackberries instead of strawberries, or, if you wish 700g (1 ½ lb) peeled and sliced peaches or nectarines. Add 15-30 ml (1-2 tbsp) of fruit liqueur to match the fruit used.

STILL-FREEZING FRUIT ICE

If you do not have an ice-cream machine, you can ‘still-freeze’ the fruit juice or sorbet in the freezer. Pour it into a metal tin (pan) or tray, cover and freeze until set round the edge. Turn it into a bowl and break it into small pieces. Beat with an electric mixer or in a food processor until slushy. Return to the tin and freeze again until set round the edge. Repeat the beating twice more, then freeze until firm.

MAKING A SORBET

Prepare the fruit by removing peel, stones (pits), hulls, stalks. Purée the fruit with sugar and liquid in a blender or food processor until very smooth and ensure that the sugar has dissolved completely. If you are using citrus fruit, peel off strips of zest and squeeze the juice from the fruit. Alternatively, puree fruit in a blender or food processor (cooking it first if necessary). Add additional flavorings as directed in the recipe (alcohol or herbs, for example). If using berries with seeds (raspberries, blackberries, etc.), press the puree through a fine mesh nylon sieve. Chill the puree well.

After, transfer to an ice-cream machine and freeze following the maker’s instructions. Put the strips of zest (or other flavoring such as a vanilla pod or spices) in a saucepan with sugar and water and bring to a boil, stirring to dissolve the sugar. Leave to cool. Stir in the fruit juice or puree, then strain the mixture into a bowl, if necessary, and chill well. Transfer the mixture to an ice-cream machine and freeze following the maker’s instruction.

Austrian Blinds are best described as a cross between blinds and curtains. This is so because they act like blinds but in terms of texture are closer to curtains. Austrian blinds have a number of cords that when pulled on will draw the bottom of the blinds up creating a scalloped look. It is this folded and unique look that differentiates them from other window treatments. Making these blinds is not an exceptionally difficult do-it-yourself task; however, the process is one that takes a lot of time and is best left until you have enough to complete the project.

Instructions

1. To start, use a batten or Austrian blind track to take measurements. Hang it by the window, measure the distance from the top of it to the bottom of the window then add 20 inches. This addition is necessary so that the scalloping at the bottom of the fabric is present when closed. Batten is a thin strip of material, usually made from wood, steel or plastic but almost any solid material can be used. The width should be measured and doubled so that the blinds can be full. All materials will use these measurements.
2. Frills are a popular feature of any classic design. Use strips of a ruffled fabric 4 inches wide to achieve each strip. These should be able to go around the bottom and sides of the blinds so make sure they are long. Use twice the length of the fabric and one time the width to arrive at a final number. You can determine the amount of strips needed by dividing the ruffle’s total length by its width. The shade material’s width should also be divided using the fabric’s width to determine how many panels are needed. Times the total length by the number panels needed and the figure received is the total length of fabric the job requires.
3. Cut the ruffles then follow with the fabric and lining materials as is necessary. Stitch together your panels to form the total width of the blind, seams should be pressed open. Make one big ruffle but joining all the ruffles cut together.
4. The seams for the body and ruffle can be a standard ¼ inch. Press ruffle seams flat with an iron. While pressing it down (with your palm), fold it under by another ½ inch, press with iron and sew.
5. Place 2 rows of gathering threads at the top of ruffle and bring the size down around the sides and bottom of the blinds. Make sure the size is the right fit.
6. With the main fabric stretched out on a flat surface and laying right-side up, pin ruffle onto fabric. Start 1 inch away from the top right hand corner and make sure main fabric’s right side is facing the ruffles’ raw side. Use the gathering stitches to make sure ruffles are even.
7. Once the entire ruffle is pinned, use a machine to sew the areas between the gathering stitches and remove them (stitches) when done. Return material to the flat surface right side up, ruffles should be to the inside of the main fabric, wrong side up. At this point, place lining on top with the right side facing ruffle, the lining’s wrong side should be showing.
8. Pin raw edges of ruffles, blind fabrics and lining together and stitch around bottoms and sides. Turn it right side out and use and iron to remove wrinkles.
9. When hanging, double the length and add the width of the blind measurement to cut blind tapes from nylon cords. Attach the bottom right blind tape to the loop of the tape on the right-hand seam. Weave the cord through all the loops in the tape. Repeat the process with all the tapes. Use grip tape to fasten the blind to the batten. Screw-eyes should be fastened under the batten for blind tapes to be run, cord should be threaded left to right and gathered with an acorn. At the halfway point a cleat should be installed to the side of the window. (Reverse the instructions of blinds if it will be hung from the left side).

Tablemats and napkins make the perfect table setting for an informal meal. They are simple to make and can be a good way of using off cuts and remnants of fabric.
Tablemats can be made from plain or patterned fabric and are most effective when machine quilted with a layer of wadding (batting) sandwiched between the top and bottom pieces of fabric. The layers help to protect the table surface beneath the plates. Bind the edges with matching or contrasting fabric or ready-made bias binding. Alternatively, choose ready-quilted fabric and follow the instructions for binding given here to finish the edges.
Napkins are simply a hemmed piece of fabric, usually square and made in a cloth which coordinates with the table mats or a tablecloth. Give some thought to the practical purpose of napkins and always make them from fabric which is washable. Polyester and cotton blends are a popular choice for informal napkins, but nothing beats the look of pure, crisp linen for a formal occasion.

1. Decide on the size of the tablemat and cut out two pieces of fabric. Along the short edge of one piece, mark evenly spaced points 25 mm/1 in apart using a ruler and a sharp pencil. Join the points to make lines running across the fabric.
2. Cut a piece of wadding (batting) to the same size as the fabric and sandwich it between the two fabric pieces, with the wrong sides together and the marked piece on top. Pin together then tack (baste) between alternate pencil lines.
3. Lengthen the stitch on the sewing machine, then work parallel rows over the pencil lines using a matching or contrasting thread. Round off the corners by drawing around a cup or small plate, then trim away the surplus fabric.
4. Cut out and join the bias strips until it is long enough to go around the tablemat. Fold the strip so that the raw edges meet in the middle and press. Open out one folded edge of the binding and pin it around the tablemat with the right sides facing and raw edges aligning. Fold back the raw edges where the binding meets.
5. Fold over the binding to the wrong side of the tablemat. Pin and stitch the binding in place by hand as shown. Turn the tablemat to the right side and strengthen the edge by working one row of machine stitching around the edge close to the inside fold of the binding.