How to make curtains, curtains design, curtain needs, curtain styles

Sunday, October 28, 2012

How to Design Valances and Curtain Edgings, Part 2


There are many attractive ways to edge curtains. Straight 1-inch to 2-inch bindings of a plain material give a finished look and are rather in vogue. Silk ribbon bindings similar to that used on dress seams may be stitched on flat. This is easy, inexpensive, and washes well.

If the pattern of the cretonne has some black, the binding may be of black with a very chic effect. Thin cream curtains bound with color sunfast are very pretty. A little ruffle of taffeta ribbon gathered on to thin mercerized material is dainty. A sunfast, shading pink and silver, with a tiny taffeta ribbon ruffle, is a sweet idea for a child's room. The combination must always be in two tones of one color, or else very soft tones of contrasting colors, unless one goes in for such combination as a thin orange material with a binding of black taffeta. The same edging effects may be had by using a taffeta ribbon about 1 1/2 inches and gathering it on either edge and applying it to the curtain edge. This is more formal in effect and may be used on damask or taffeta.

Outlining a shaped valance, this makes a very complete and graceful finish. Silver and gilt or both mixed make a good finish on certain materials. It is a little stiff, however. New gilt galloon may be antiqued by dipping it into stale beer. Used with reproduction of old damask the new gilt looks rather too tawdry. Wide gold bullion fringe makes a striking finish for the bottom of a silk curtain. It is not wise to use it on the side edges.

Countless fascinating cotton edgings with or without fringe come for cotton hangings. If we feel that the colors in the material need strengthening a plain colored edging serves to bring out the colors. Imitations of netted fringes come, and they are as useful for bedspreads as curtains.

The valance may be trimmed with a wide guimpe or fringe, and the edge of the curtain left plain. This is an inexpensive and attractive treatment.

For thin silk under-curtains narrow edgings of silk come in stock colors. All colors and combinations may be made to order, but at considerable more cost. It is always wise to keep the same textures with edgings, i.e., do not put a silk edging on a cotton material unless the cotton is mercerized to appear like silk. Curtains should be left to hang straight and not loop back with cords or tassels. Sometimes, however, it is necessary, and then a simple band of the material or a suitable size simple cord is used. Old fashioned glass and colored curtain rosettes are coming back, to fasten the curtains on. They have a place, no doubt, but the straight folds of the curtains more than offsets any of their decorative charm.

Saturday, October 20, 2012

How to Design Valances and Curtain Edgings, Part 1


Valances which extend across the entire width of the window tend, by their horizontal lines, to make a room look lower. Long straight curtains without valances tend to make a room look higher. Both these methods of window treatments may be used to attain the desired effect in a room.

Fitted valances may be lined with a heavy cotton material similar to canvas : buckram is apt to crack and damp weather loosens the gum and the valance loses its shape. Heavy compo board is also used, but this requires a workshop and an experienced upholsterer.

If we are very ambitious and want to make a fitted valance we should go at it carefully. First cut a heavy paper pattern, the desired shape; do not make too many curves, as it will make the process of applying the edging difficult. See that the pattern just fits the window top and comes over the side the depth of the trim so as to conceal the rod that supports the curtain. Then cut the heavy cotton lining. Put this on the goods, being careful on a figured goods that the middle design is well proportioned and well spaced. Cut the goods an inch larger than the cotton lining, pin it over and sew it down, taking care that the stitches do not show through. Then put on the edging, guimpe or fringe, as the case may be. Guimpe may be put on 1 inch or so from the edge, forming an insertion. With metal galloon this gives a good effect. With velvet or velour do not sew the galloon too tight, as it will sink below the nap. After the guimpe is sewed on, being particularly careful that neat corners are turned, lay on the sateen lining and blind-stitch it down, leaving a half inch margin. If the material permits pressing, press the valance and the guimpe, and then tack on to a thin board, 3 inches wide by 1/2 inch thick, and attach this board to the top trim. This allows for the free  play of the curtains hung on a separate rod underneath. Valances of plain velvet are very handsome when combined with curtains of a harmonizing damask or brocade. Other valances may be made of plain toned linen, blending with the vari-colored linen curtains. This brings out the color desired accented in the curtains. Keep the valance dark in tone.

Velvet valances may be used with linen hangings, but the linen must be very handsome to warrant the combination; otherwise the contrast in the two textures cheapens the linen. With deep tones of mulberry and old blue this combination is strikingly successful. The headings of valances are similar to those of curtains. They may be simply shirred or pleated, box-pleated or French headed. The latter consists of taking 3 small tucks about 3/8 inch deep, depending upon the weight of the texture of the material, and about 2 1/2 inches or 3 inches from the top. The pleats should be sewed at the top and also at the point where the hook is attached. Long French hooks may be bought at 30 cents a dozen, and these should be attached firmly at the top and bottom of the heading. The hook then fastens into the ring attached to the rod.


Box-pleats should be as wide as the space between that which separates them. The pleats should be tacked top and bottom and then sewed on to the hook. A flat tape may be sewed on to the heading where the hook is attached to save wear in the goods itself. Pleats are more professional than shirrs or gathers, but they must be measured exactly, sewed firmly and pressed well. Fancy draping should be left to the professional curtain-maker or, better still, be dispensed with altogether.

Wednesday, October 10, 2012

Different Kinds of Curtains for Different Kinds of Windows


There are several kinds of windows, JL and each must, of necessity, be differently treated. Always see to it that the curtains do not prevent the window being readily and easily opened. Curtains that have to be pushed, hauled and shoved aside every time we want a breath of air are an unforgivable nuisance. They should be hung far enough back on the trim, not to allow a shaft of light to show between the curtain and the casing. They should protect from prying eyes, mitigate cold draughts, and last of all be an adornment. Curtains properly made and hung should fulfill all these requirements.

There are French windows, casement windows, sash or hung windows; and transom windows combined with all three. French windows are usually nothing more or less than doors, but should be curtained as windows if there are other kinds of windows in the room. If all the windows are French, they should be hung as doors are hung, i.e., the portieres and hangings should match.

Over the glass some thin material should be stretched, attached to a rod top and bottom. An excellent rod to use is flat, Ys inch thick and about % inch wide. This is better with thin curtaining than a round rod as it keeps the curtains close against the pane. The side edges should be very carefully adjusted else the edge will bulge. Always hem the edge, even if it is selvage, so that there will be a firm and secure edge to stretch. These thin curtains may or may not have a heading. They should not cover the trim of the window casing itself. The top panels may be left exposed, the curtain only reaching the bottom of the top pane. This is an informal treatment and permits more light into the room, at the same time protecting us from the outside. Such curtains should never be permitted to hang loose, as they would flap each time the window was opened.

For over-draperies on French windows a heavy material is suitable. It should be hung on the outside trim on strong rods, as the pull is severe. Plain long hangings may be used wide enough to pull together at night. The hangings should be lined to give them body, also because the outside as well as the inside is seen. If a valance is hung between the curtains, the curtains must remain stationary. A fitted or French pleated valance, hung across the entire opening on a separate rod, permits the curtain being easily pulled back and forth. If the windows open out, either of these methods are adaptable: if they open in, with no depth to the casing, the doors would catch in the valance. Therefore, the only practical hanging is plain straight folds on either side placed well on to the casing at the top. If the window has a stationary transom above, a valance may be hung all the way across, or better still, one-third on each side, permitting the light to come through the center of the transom and giving the decorative effect of a valance. The valance should be shirred or made with a French pleated heading. The method of doing this is treated in a later chapter. The depth of the valance varies from one-third to one-half yard.

Casement windows allow of a variety of charming treatments. The shirred thin curtains may be stretched across the window casing and attached firmly at top and bottom, otherwise when the casement window was thrown open, the curtains would flap in the wind. If the lights are small in casement windows, it is best to leave them uncovered. Pots of plants arranged on the window-sill give the necessary protection from the outside. Chintz or casement cloth curtains may be hung on the outside of the trim and should be made wide enough to come together when pulled. Hung with rings and rods adjusted to slip easily back and forth, these curtains may be pulled at night. If a valance is used it must be hung on a separate rod completely across the curtains. This window arrangement is extremely picturesque.

When thin curtains are used against the glass, the over-curtaining may be hung with a valance between, thus making them stationary. The former method, however, is preferable. Casement overhangings should not come to the floor but should end at the sill. As the sill usually stands out from the window trim, it is best not to have them come below the sill. A window seat below the casement should be upholstered in the same material as the hangings.

If the sill is broad, a good effect may be had by hanging the thin curtains directly under the heavier ones on the outside of the trim, that is, leaving the window pane itself uncovered, but softening and enriching the effect of the over-curtains by the soft thin ones directly underneath. These should be extended 6 inches or 8 inches beyond the heavier curtains. The color contrast should not be too sharp. For example, the casement window in the bedroom or dining room might be hung with yellow and green flowered chintz, and thin curtains could be of a soft muslin or madras with yellow dots or small figures. Such a treatment needs above all to be fresh and picturesque. Imagine at such a window yellow daffodils or chrysanthemums!  A large bowl of gold fish and on either side a box tree, pyramidal in shape make a good window decoration for the winter.

Casement cloth is the traditional material for casement windows. The colors are rather somber and the texture very smooth and plain; therefore it were better to use in a living or dining room or hall, than a chamber. The curtains should be edged with a simple cut fringe of the same tone. Casement cloth always needs some finish in the way of fringe or guimpe.
With equally good taste it may be hung as an under- or over-curtain at a casement window.

In a casement window in a library or living room, an unusual effect may be had by inserting one or three panes of stained decorative glass. The design must be excellent and the color good: otherwise the effect will be cheap and tawdry. These decorative panes give a note of interest and also may be very lovely with the light shining through them, laying splendid splotches of color on a polished floor. Be careful that the color does not fall on a vari-colored rug or a piece of furniture, else half the effect will be lost.

A group of casement windows set in a deep embrasure gives opportunity for handsome and unusual effects. Each window may be hung with casement cloth, and at the entrance of the embrasure, heavy curtains reaching to the ground may be used. This creates an alcove. If, instead, we wish to make the embrasure part of the room itself, the thin under-hangings may be put directly against the windows and the heavy draperies hung at either end, connected with a valance over the entire group of windows. Or else, one heavy curtain may be hung between each window and at the end, valances hung between them. Any or all of these treatments will give an excellent effect, provided the curtains are well made and evenly hung.

With ordinary hung windows, which of themselves are not decorative, we should make a distinct decorative feature of the hangings. A large unbroken expanse of plate glass certainly needs some softening and surrounding decoration as to curtaining. The day has past for the draped and festooned and over ruffled hanging.

Once everything was done to disguise a window as such. Simpler methods have come to replace these offenses against simplicity and health.

Sash or under-curtains are made to be hung from the top of the upper window frame reaching to the sill. These are hung with rings and rods and are easily adjusted. The objection to them is that when the lower sash is opened the thin curtains fly out of the window, get dirty, and their fabric is impaired. Another method is to attach one pair of curtains at the top of the window casing. These reach the top of the lower window. A second pair are hung from the top of the lower casing and left free or attached at the bottom. This makes raising the window a little difficult, as the lower sash has to be raised up under the top curtain. A third method is to stretch a pair of curtains on the lower sash only. Thus we get a good share of light from the top uncovered glass, and at the same time we are protected from the outside by the lower sash. Any sort of a thin lace which, in the trade, includes nets, scrims, muslins and laces, answers the purpose.

For over-draperies many suitable materials may be used. The curtains should be hung on the trim, exposing as much as is desired of the woodwork. This is more a matter of choice than taste. If the woodwork is very fine and tones in well with the sidewall, it is well to leave it exposed, as it makes an architectural feature of the window opening. On the other hand, if the casing is poor in construction and color, the over-draperies may be hung at the outside of the trim and as high up as possible, thus concealing the entire woodwork. In a room where the woodwork is white and the paper dark, the use of a lighter toned hanging effectually conceals the woodwork and avoids an effect which otherwise, on account of the too sharp contrast of woodwork and paper, would be disastrous.

If we wish to make a room appear higher, we can hang curtains at the top of the trim. If the curtains come to the floor, this tends to make the room look much higher. This forms a succession of vertical lines in a room. On the other hand, should we wish to make the room look lower, hang the curtains low on the trim and almost the full width of it. If the trim is exposed at the top it must be exposed on the sides, but not in its entirety.

In some old houses, built in the period of solid mahogany doors and beautifully carved mantels, we find really exquisite window and door trims, finely proportioned cornices and side pilasters with hand carving which it would seem a pity to cover. To carry out their exquisite feeling use net curtains trimmed with real lace and repeating, if possible, something of the design of the woodwork. I have in mind one such treatment. The casings have in the side-panels roses and in the lace of the curtains the same motif is used. The curtains reach just to the perfectly proportioned paneling below the window. A valance is hung between each curtain and the color tones perfectly with that of the woodwork. It gives to this drawing room a lightness and refinement that suits the period in which the room was conceived.

It is always a question of dispute whether or not draperies should come to the sill or to the floor. If they come to the floor they should be made to just clear. The weight of hanging will always tend to make them longer. For formal rooms, these long curtains are best. They add to formality and richness. Curtains planned to come only to the sill should better come to the bottom of the window casing. It is more consistent with the idea of outlining the entire window opening. Moreover if they just top the sill, there is nothing to hinder them from blowing out every time the window is opened, but coming below the sill helps to keep them inside. Such draperies may be hung as a pair of straight hangings or with a valance between, or with a full width valance.

A valance is preferable in every instance because it serves as a connection for outline and color. If the curtain, for instance, is rather dark and hangs in straight long folds, the room, with many openings, has the effect of a succession of dark divisions. If, on the other hand, the line and color is carried across by a valance, we have the horizontal line to break the continuous vertical effect. Also without it, there is usually an ugly empty space at the top, disclosing a rod or two. The work and expense of a valance, particularly one hung between the curtains, is well worth the effect. The manner of cutting, making and applying valances will be taken up in a later chapter.

Any of these various types of windows may have a transom overhead. This may be treated as part of the window opening, as a distinct window, or as a group of windows. If the first is the case, it can be hung with a valance all the way across or part way across, pleated or shirred. The curtains themselves should start underneath at the top of the valance; in fact, the transom should be treated merely as an extra window casing. If a separate window or a group is made of it, thin curtains to match the under-curtains should be shirred and attached top and bottom. Heavy curtains may be hung at either end, the height of the transom, but this is rather an unfortunate arrangement. It were well either to have thin shirred curtains entirely covering the glass or else put a valance over the transom forming one unit with the window below.

Tuesday, October 9, 2012

How to Select Curtains Color and Design


It is well to choose a vary-colored pattern, as we may select one color from it and form our color scheme for the room around that. The next season, select another. For instance, with a chintz having rose and green, blue and mauve, we may make our room rose to blend with the curtains, repeating in the upholstery and small accessories the rose tones. Another year we may have tired of the rose room, or the plain rose may not have worn well; we still have our perfectly good chintz draperies and from them can select the green shades and repeat in our furniture the green tones, thus transforming the entire room. Even the curtains themselves will seem changed, since by the use of the plain colors we accent or bring out the same color in the chintz or linen. If the curtains have been rather costly of imported chintz or linen we may be glad to make use of this transforming color scheme.

Plain, broad-striped curtains have come into vogue. They are restful and dignified, but they miss the engagingness of flowers and birds and lattice and boughs. They serve to make the window openings appear high and narrow, whereas the effect usually desired is breadth. Also one gets the effect, if there are many doors and window openings, of a picket fence, a continuous succession of lines marching round and around the room.

This may be somewhat counteracted by using a valance with the stripes going across. If the valance is plain fitted, the effect is that of too sharp a cutting off. If gathered, the lines serve to further the upright appearance. Broken stripes cut by geometrical or floral designs are preferable. Particularly charming are the stripes combined with vines and trellis, which give the appearance of lightness and avoid the messiness of an all-over design.

The objection often held against linen curtains is that they crush. However, curtains are not so placed that they have much opportunity to be crushed. The texture is richer than cretonne and linen always outwears cotton. They are more expensive per yard, but the colors and designs are superior. As the better linens come 50 inches wide they permit of a more striking design with the repeat farther apart. If the repeat, for instance, is a yard apart, you can get a most stunning effect when the curtains are hung. This is conspicuously true when the design has large birds, branches and foliage, and also with the matchless Chinese designs where the community life of an entire village is so enchantingly depicted. In dyeing linen the plain background surface is always unevenly dyed, adding much to the depth and the texture of the cloth. Were it a perfectly flat, even color, the surface would lack interest. This rough texture renders the outlines uneven and thus softens and enriches the design. A hard unbroken line is always trying.

There come several 50-inch cotton materials which permit the same design as the linen. The weight of the goods is heavier and they give excellent service.

There is an endless variety of plain materials for window hangings. One excellent, inexpensive material is cotton Jaspe, which has a smooth, agreeable texture and comes in various colors broken by tiny uneven lines. It can be had guaranteed sunfast. Rep, cotton or woolen, give good service and the plain color may be relieved by a colored guimpe or cord at the edge.

Rep hangs well, and for an inexpensive material is the best on the market for plain curtains. It is apt to show spots readily, so it is better for hangings than upholstery. It is remarkable what richness is immediately given by the use of velvet or velour. The texture has a glow and depth of richness. For the city house, velour curtains are a wise choice. Used with deep cream under-draperies, the windows have an effect of elegance that woolen or linen curtains fail to give. They require careful making and lining and they crease and mark easily, but by careful brushing they may be kept in perfect condition. Velvet curtains also need brushing, as they gather lint. The latest striped velvets are a revived fashion. They are both inexpensive and striking, especially when used with deep toned paint.

Velvets suitable for curtains come in all grades and prices. Some are cut, some brocaded. When we reach the point of this initial expense we should turn over the making of our hangings to a professional curtain maker. The same is true of damasks and brocades. Taffeta curtains, while the material is costly, may be made by the amateur. The quality of the trimming must be of the best, as well as the workmanship. The stripes are as varied as they are enchanting. Taffeta curtains are appropriate for bedrooms as well as dining and drawing rooms.

With this gamut of curtain materials before us we have only to choose that one "which will give us the best service and make our rooms most attractive.

The problem of how to cut and how to hang is before us, and in that also much choice lies. Luckily, elaborately festooned and trimmed curtains have long since been relegated to the dust heap and that without regret on the part of every sensible decorator and housewife.

How to Select Curtains Durability and Texture


In purchasing curtain materials we must consider their durability, texture, color and design. Sometimes the cost of the fabric itself is not large, but the trouble and expense of making up warrants getting a substantial material.

With thin materials to be used against the glass, do not get too coarse a mesh. It will shrink so much at the first washing as to be useless. Get an even weave, else the curtain will be difficult to hem and will not hang straight. To use with linen overhangings, buy a weave similar to the weave of the linen. A hard thread evenly woven will give the best service. If the material is to be used with linen, a scrim is preferable to a net or marquisette, as the texture of the weave is a better match. With overhangings of silk, a fine soft cream scrim is best. The scrim should have the texture consistent with a rich material. With velour and damask, an excellent quality of net should be used, preferably with a lace edging.

In over-draperies there are several things to be considered. Never hang two thin materials at the same window. If the undercurtains are thin, the texture of the over-draperies must not be transparent. If we want to hang thin, transparent, colored curtains at the windows, it is best not to put anything else at the same window. Often one pair of curtains, thin and colored, are sufficient, particularly in a bedroom. Two pairs would be enveloping.

Attractive, thin, sunfast materials in various weaves and in beautiful colors make up into excellent hangings. They are semi-transparent and thus give a pretty glow of color in the room, and they are decorative as well. The finish is mercerized, giving an appearance of fineness, and the colors are well toned and refined. Certain of these sunfast materials are finished with a soft cottony fuzz which makes up badly, as it clings. The same objection is found against madras.

Brushed aside, it sticks in an untidy fold. Sometimes this may be avoided by adding a row of tiny weights in the hem; the curtains then fall in straight folds. However, with the windows open and the curtains blowing, the weights thrash about noisily and give hard wear to the curtains. A flat fold of wool may be stitched in the hem to give the desired weight and thus overcome somewhat the clinging quality. It were best, however, not to purchase such material.

Another important feature to avoid in thin materials is a weave with a black warp. In the hand it is pretty enough, but with the light through it, it is dingy, and if the colors fade you have nothing more than a grayish thin covering at your window, which is distinctly homely.

Cretonnes are always an attractive window hanging. These may be used with or without under-curtains. The background colors should match the colors of the scrim. If the cretonne is white with flowers, the scrim should be white; if tan, or any other color, an ecru or beige-colored scrim is advisable.

Cretonne is best unlined, as the texture allows the light to come through, leaving the pattern distinct and giving the color full value. In most linens or loosely woven fabrics it is the reverse, and they require lining. The light coming through obliterates the pattern and we see only the texture and indistinct masses of color.

When the light does not show through, as at night, we get, of course, the flat pattern of the material in all its color and design. The cretonne or chintzes of foreign make have the best texture. It is finely and evenly woven, and therefore takes and retains the dye color. The design is often historical and the colors are carried out true to the tradition of the best design.
Foreign chintzes, therefore, are preferable to those made in America.

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