HOME DECORATION
WITH
FABRIC and THREAD
Wyeth Spears
»«»HiaHiiri


library
of tbe
mniverstt^ of Wisconsin


HOME DECORATION
WITH
fyaJfuc and knead


HOME DECORATION
with fycMuc
and ^IbieadL
ILLUSTRATIONS AND TEXT BY
RUTH WYETH SPEARS
. •
M. BARROWS AND COMPANY NEW YORK
INCORPORATED


Copyright, 1 940, by
RUTH WYETH SPEARS
Ja c k o t 111 u s tra li o n Courtesy of
Window Shade Institute
All RIGHTS RESERVED. NO PART OF THIS BOOK
MAY BE REPRODUCED IN ANY FORM WITHOUT
THE PERMISSION OF THE COPYRIGHT OWNER.
rilNTED IN THR UNITED STATES OF AMERICA
■ Y J. J. LITTLE * IVES COMPANY. NEW YORK


A DICTIONARY OF FABRICS USED IN HOME
DECORATION
artificial leather. New processes of manu-
facture have made leather substitutes both
attractive and durable for upholstery. They
may be obtained in a wide range of novelty
and staple colors, and may be stitched on
an ordinary sewing machine with strong
thread and a coarse needle. This material
has a cotton fabric base treated with many
coatings of Pyroxylin, a nitrated cellulose
solution—a kind of flexible celluloid kept
soft by oil ingredients. After a number of
layers of Pyroxylin have been applied, the
material is embossed under heat and pres-
sure to give it a grained leather surface.
art linen. A linen fabric in plain-weave,
made of round, hard-twisted yarns. May be
obtained in wide and narrow widths. Used
for cross-stitch, drawn work and other fancy
work, as well as undecorated runners and
table linens.
awning material. A heavy cotton fabric of
the duck or canvas type, woven with the
characteristic wide, brilliant-colored awning
stripes.
bobbinet. A net having hexagonal open-
ings but no designs. Originally made by
hand with bobbins from which it is named.
Used for glass curtains, bed springs and
dressing table skirts.
batik. The Javanese process of coloring
fabrics. The design is covered with melted
wax; the material is then dyed, after which
the wax is removed, leaving uncolored the
portions that were waxed.
batting. A thick sheet of cotton or wool
used for padding. Batting is used for the
filling or padding of tied comforters.
bias tape. Prepared bias trimming pressed
in double or single fold to be applied for a
binding or in flat bands. May be obtained
in a wide variety of colors in lawn, percale
or silk. The usual width is Vi-inch.
bias trim. See bias tape.
boucM. French word meaning curled. A
cotton or wool material with a curled nap.
brocade. The name for a variety of silk,
wool and other fabrics woven with raised
figures, often in several colors or with metal
thread used in the pattern. Brocade has an
embossed appearance, while Damask has a
flat effect.
brocatelle. A type of brocade with warp
and filling yarns unequally twisted and an
extra set of yarns for backing. The pattern
stands out in raised or blistered effect.
buckram. A very stiff material made by
gluing two layers of open-mesh cotton to-
gether. Used for interlining valances.
burlap. A coarse, plain-weave low price
fabric made of jute or hemp. May be ob-
tained in a variety of widths and colors for
drapery and upholstery purposes.
calico. A plain-weave printed cotton fabric.
The designs are very small and closely
spaced. A fabric in typical calico pattern
gives a quaint effect for cushions, chair
pads, curtains or slip covers.
cambric. A fine fabric with a glazed finish.
Lining cambric is an inexpensive material to
use for garment bags or for the under part
of a transparent dressing table skirt or bed
spread.
candlewick. A cotton yarn used for hand
tufting on muslin sheeting. The yarn may
be white or in color and the tufted design
elaborate or simple. The muslin sheeting is


A DICTIONARY OF FABRICS USED IN HOME DECORATION
xi
druid's cloth. A basket-weave fabric of
loosely twisted cotton yarn or cotton mixed
with jute. The basket weave is coarser than
in friar's cloth and the texture of the ma-
terial is generally not so rough as monk's
cloth. Used for draperies and couch covers.
duck. A heavy plain-weave cotton fabric.
Sometimes used for outdoor cushion covers.
felt. Most felt is made by pressing wool or
mixed fibers into a compact sheet without
weaving. Felt is also made by weaving the
fiber and then shrinking and pressing it to
give the felted texture.
filet net. A cotton or linen net with square
mesh. Hand netted filet has a distinct knot
at each corner of the square mesh. Used
for curtains, tablecloths, luncheon sets and
scarves.
filling. The woof or cross-wise threads of
the material.
flannelette. A twill or plain-woven cotton
fabric with nap on one side. See canton
flannel and outing flannel.
friar's cloth. Same as druid's cloth except
that the basket weave is finer.
fringe. An ornamental border of pendant
threads, cords, or tassels. Unusual and in-
teresting fringes may be purchased by the
yard in drapery departments to trim cur-
tains and slip covers.
frise". An upholstery material made from
cotton, mohair, or other fibers, in a pile
weave with uncut loops.
gabardine. A cotton or worsted material
in a twill weave showing distinct diagonal
cordings. Used for draperies and up-
holstery.
galloon. A narrow tape of cotton, silk or
rayon, usually in a fancy weave. Used for
a binding or finish.
gimp. Narrow tape used for covering tacks
in upholstery.
gingham. A plain-weave yarn-dyed cotton
fabric often woven in stripes, plaids, or
checks. May be used for curtains, slip
covers, and cushion covers.
glass curtain materials. Semi-transparent
fabrics used next to the window pane as dis-
tinguished from heavier over-drapery ma-
terials.
glazed chintz. See chintz.
habutai. A light-weight silk made in
Japan. Slightly heavier than China silk and
used for the same purposes.
hair cloth. A fabric with cotton warp and
a filling of horsehair. May now be obtained
in colors and a variety of woven patterns.
heavy duty sewing thread. Strong mercer-
ized thread in colors, especially made for use
on heavy drapery, slip cover and upholstery
materials.
Jacquard weave. In 1803 Jean Marie
Jacquard, a Frenchman, invented an ap-
paratus which greatly simplified the weav-
ing of damasks, brocades, and other ma-
terials with a woven pattern. Most fabrics
of this type are now woven on the Jacquard
loom and the woven patterns are frequently
called Jacquard designs,
jaspe. A French term meaning streaked or
striped. Fabrics having warp threads of dif-
ferent colors giving the material a streaked
appearance.
kapok. A soft fiber from the seed pods of
a tree growing in the West and East Indies.
Used for padding and for stuffing pillows.
lame*. A fabric of silk and metal threads
in plain weave or with a woven pattern.
lawn. A slightly starched, sheer, smooth,
soft, cotton material in a plain weave; plain
or printed in small floral designs. Used for
sheer curtains.
metalasse. A French word meaning to
cushion or pad. A fabric with a brocaded
pattern in raised, padded or blistered effect.
marquisette. A curtain material in a gauze
weave of cotton or rayon yarn, often having
a woven figure. Coarser and more open in
texture than voile.
mercerizing. A chemical process used to
give cotton a permanent luster. Perfected
by an Englishman, John Mercer, whose trade
was printing designs on calico.


A DICTIONARY OF FABRICS USED IN HOME DECORATION
xiii
fiber. Caution should be used in applying
heat and moisture to rayon materials.
Handle carefully while wet and press with a
warm, not a hot, iron.
rep. A fabric similar to poplin but woven
of coarser yarns with the cross rib very dis-
tinct. Used for draperies and upholstery.
round-thread linen. See art linen.
sail cloth. A coarse cotton material similar
to canvas. Used for ships' sails. When ob-
tainable, it is found in soft reds, blues and
tans, and in wide widths suitable for couch
covers.
Sanforizing. A preshrinking process used
for cottons, linens and some rayons. Most
materials that have been shrunken by this
method are labeled Sanforized-shrunk.
sateen. A cotton fabric woven in the same
manner as satin. After weaving it is mer-
cerized and calendered to increase its luster.
Used for lining draperies or wherever a
firmly woven lustrous cotton material may
be needed.
scrim. A curtain fabric of coarse two-ply
yarns in a plain, open weave. Frequently
mercerized.
seersucker. A medium weight plain-weave
cotton fabric with lengthwise crinkled
stripes made by different tensions on alter-
nating groups of warp yarns. Often used
for bedspreads and sometimes for curtains.
shade cloth. .A plain-weave linen or cotton
cloth treated with a filler to give it stiffness
and body. Used for window shades. The
quality of the shade depends upon the fine-
ness of the fabric before the filler is applied.
Shantung. A pongee type of silk fabric
made in Shantung, China. It has a slightly
rougher texture than pongee, also being
made from wild silk. May be obtained in
the natural ecru color or bleached or dyed.
Often used for curtains.
sheeting. Muslin, percale or linen material
in widths from 36 to 108-inches. Un-
bleached muslin sheeting is often used as a
foundation for candlewick and other types of
bed spreads.
sheet wadding. A thin sheet of cotton used
for padding quilts or to be placed between
any two layers of material that are to be
quilted together either by machine or by
hand.
shot silk. See changeable silk.
silkaline. A soft, glazed cotton used for
curtains and comforter covers.
Swiss. A crisp, transparent, cotton curtain
fabric. Frequently made with dots or fig-
ures woven with an extra thread. When
this material is made with a low thread-
count it does not hold its stiffness.
taffeta. A smooth, slightly stiff fabric in
plain weave. Used for draperies, bed
spreads and dressing table skirts.
tapestry. Hand woven tapestries are made
with bobbins containing different colored
wool yarn worked over the wrong side of a
cotton of linen warp stretched vertically or
horizontally. Machine made tapestry is
woven on a Jacquard loom with two sets of
warp and filling yarns in different colors
making the partem.
terry cloth. In cotton or linen this ma-
terial is called Turkish toweling. It is woven
with an uncut loop pile on both sides. The
weaving is sometimes in designs of one or
two colors.
thread count. The number of warp and fill-
ing threads or yarns per square inch in a
fabric. The number of warp threads is
stated first. For example, a fair grade of
percale is "68-72". In percale sheeting of
good quality the thread count is "100
square" or more. A material woven of
coarser yarn may be of excellent quality and
still have a low thread count.
tie dyeing. A method of resist dyeing in
which patterns are developed by tying parts
of the fabric, that are to resist the dye, with
string or narrow tape. When the fabric
has been dipped in dye, the string or tape
is removed revealing the undyed pattern.
ticking. Finn, twilled, cotton fabric in
stripes, floral, and herringbone patterns.
Used for pillow and bed ticks and mat-


Whenever I inspect a Model House I think of all the homes
I know which have been furnished by homemakers. How would
these real homes compare with the Model Houses? Could Mrs.
Average Homemaker buy as much or more for the same money?
The first room of a Model House that one steps into is the
living room. Usually an itemized list of the cost of its contents
may be found near the entrance. When the total adds up to a
substantial figure there is a feeling of richness and quality in the
room. When it scales down to a smaller sum, the little things
that give individuality and color take on more importance. If the
individual touches are eliminated the room has the cold, imper-
sonal appearance of a corner in a furniture department. What
is there in all this that Mrs. Homemaker can supply herself?
Slip covers and curtains head the list of things that she can
make. The saving buys some extra comfort or luxury—a better
chair or rug; a smarter lamp; Venetian blinds; or a number of
small things to add charm and interest. Slip covers give color
and a certain crisp freshness to any room, and the homemaker
finds that they have practical uses as well.
The living room is the first and sometimes it is the only room
that the visitor sees. It should reflect the owners individuality.
If she uses her ingenuity and skill her money will go farther and
the room will have the stamp of her personality.
So thread up the sewing machine, bring out the hammer and
screw driver; but first take inventory. There may be hidden
assets in your attic or buried treasure in the basement. Within
the limits of good taste and with one eye focused on what is smart
and new in decoration, many a discarded piece of furniture may
be reconditioned for the living room. New lamp shades may be
created from parts of old ones; modern rugs or quaint old fash-
ioned ones may be made from worn out clothing; and such things
as empty spools, cans and packing boxes may serve a useful
purpose.
1


THINGS TO MAKE FOR THE LIVING ROOM
3
sources for (?0Ja^ CawiAinxduuti
A Piece of Chintz—If you have ever
fallen in love with a fabric you can under-
stand how the colors for a whole room hap-
pened to be planned around a lovely piece
of chintz which was used for draperies and
a slipcover for one chair. These were the
colors in the material:
1. Background. Pale putty tan.
2. Dominant. Wine red.
S. Secondary. Moss green.
4. Accent. Bright peacock blue.
The walls, an old desk and a desk chair
were painted the pale putty color with the
inside of the desk and line trimmings for
the chair in bright peacock blue. A wine
red rug was chosen. The couch and smaller
chairs were slip covered in moss green.
Lamp bases were made of tin tea caddies
enameled peacock blue with putty colored
shades edged in wine red braid.
A Picture—A picture over the mantel—
a fine reproduction of a famous autumn
painting set the color scheme for another
living room. The grey blue of an autumn
sky became the color of the walls. Here is
how the color plan worked out:
1. Background. Grey blue.
2. Dominant. Orange red toning into
brown.
8. Secondary. Deep blue green.
4. Accent. Golden yellow.
All of these colors were repeated in the
Oriental colorings of the room size rug with
the orange red tones predominating. The
grey blue of the walls also blue and deep
blue green appeared in striped material for
draperies and upholstery for brown walnut
furniture. Plain gilt picture frames, brass
fireplace equipment, brass ash trays and
other small ornaments gave the yellow
accent.
A Chinese Vase—This vase had been in
the family for a long time. It was decided
to have it made into a lamp base and use
its coloring throughout the room. This is
the way the color scheme was plotted:
1. Background. Pale grey with slightly
violet tint.
2. Dominant. Neutral rose (ashes of
roses).
3. Secondary. Turquoise.
4. Accent. Coral.
A figured wall paper in the grey, rose and
turquoise was found, and a grey rug was
used. Mahogany furniture toned in with the
rose colorings and the upholstery material
was a greyed tone of turquoise with a tiny
coral figure. Cream glass curtains were
used at the windows and turquoise draperies
with coral pleatings.
VARIATIONS OF THE COLOR PLAN
The background color of a color plot
similar to these may be used in a much
paler tone for walls and the accent color
may be even brighter for your room accents.
The other colors may either exactly match
those of the color plot or may be used in
more neutral shades.
Here is another thing that you may do.
The background color and the accent color
may change places by making the one very
much more intense and the other very much
paler.
In the case of the color plot shown on the
opposite page, the rose-beige would become
brilliant rose, or even lacquer red to be used
for small accents, and the blue would be-
come a pale tone for walls. This would
vary the rug coloring and at the same time
harmonize with it.


THINGS TO MAKE FOR THE LIVING ROOM
UPHOLSTERY FABRIC

TURN
ENDS
AND
TACK
STAIN AND
THEN WAX
NEW USES FOR A
Gamp, Stool
Have you ever wished for a small, low
table that would appear from nowhere and
disappear again when you were through
with it? Have you ever thought it would be
nice if Father's ottoman could be folded up
and put out of the way when not in use? Or
perhaps you have unpacked a suit case in a
guest room and wished for something other
than the bed, a chair or the floor to put it
on during the process?
A camp stool plus a tray to fit the top
makes a very satisfactory small table to
place beside a game table or to set up for
your books or mending basket by your favor-
ite chair. But be sure to dress it up so
that it will look its best either when in use
or when folded up and placed in some out
of the way corner. A remnant of material
and some upholstery braid will do the trick.
Stain and wax are suggested for the base
as paint might be marred in folding the
stool.


THINGS TO MAKE FOR THE LIVING ROOM
11
SAVE CANS FOR A
One thing always leads to another. After
directions for making hanging shelves of
spools were published, someone wanted to
know if we couldn't think of something to
do with empty cans.
We have a long memory. There came
to life a picture of a rather fat little girl
sitting on a small foot stool in a Vic-
torian parlor while her Great Aunt rocked
and visited. And there was something about
Qoot Stool
the foot stool—yes, it had cans inside.
The cans were filled with sand to make
the foot stool heavy. The cover was red
carpet with handles of the carpet material
at the ends. So we saved six cans. A piece
of upholstery material was substituted for
carpet, and here is a step-by-step sketch of
the foot stool that resulted. It is a great
success. Yes, the cover is red, but not
quite so bright as that red carpet.

I r ST ITCH
IJ HANDLES
TN COVER
SEAMS
MUSLIN
CARDBOARD
COTTON
MUSLIN
SEW TO (f^W^%
MUSLIN^J
COVER-y^



CARDBOARD
MUSLIN


12 HOME DECORATION WITH FABRIC AND THREAD

A BRAIDED
RUG THAT WAS C
A certain Grandmother surprized every-
one with the braided rug that she made for
her favorite grandson's wedding present.
It was no hit and miss affair. She used her
best wool rags and dyed them to match the
color scheme of the new house. It is no
wonder that the rug occupied a place of
honor at the bottom of the front stairs.
The center was made of five ovals of the
size shown in the sketch—3 black and 2
blue. These were of braided strips sewn with
carpet thread. The ovals were then sewn
together. Around them were sewn four
braided rows of rust; 2 rows of black next;
then 4 of rust; 1 of black; 4 blue; 2 black;
then 8 of blue around the outside.
If you have difficulty in keeping a braided
rug flat, work with it flat on a table. It will
ripple if you full the strips in too much. If
you stretch them, the rug will cup.


THINGS TO MAKE FOR THE LIVING ROOM
13
A RUG FROM
AN OLD COAT AND
The owner of this rug was so pleased with
it that she took a snapshot to send. I have
shown half of the rug in detail here with
all the colors numbered. The finished rug
is 34-inches long and 23-inches wide.
The foundation part was made from the
back width of a very heavy old coat. An
allowance was made for a hem to add
weight at the edge. Felt purchased by the
yard could be substituted if no old coat is
available. After the foundation was pre-
pared, circles of felt were cut from old hats
and discarded school pennants. The largest
circles were 2'/2-inches in diameter, and
the next size 2-inches. All of the small
circles were 1-inch in diameter. Contrast-
ing circles were sewn one on top of the other
with carpet thread, as shown at A. The
edge of the larger circle was then sewn to
the rug, as at B.

1DARK BLUE
2YELLOW ON GRAY
3 BRIGHT BLUE ON RED
4YELLOW ON
BRIGHT BLUE
5 GRAY ON RED
6 BRIGHT BLUE
7RED


HOME DECORATION WITH FABRIC AND THREAD

lORANGE
2 BRIGHT BLUE
3 YELLOW
4 DARK GREEN
5 BRIGHT RED
6 WINE RED
CROCHET IN A
jb&liyn off QVicUi
This rug is made of %-inch rag strips
crocheted in the single crochet stitch in cir-
cles, squares and triangles. These are
joined with the crochet slipstitch in color 5
as indicated in the diagram. Use a wood
or metal crochet hook with %-inch shank.
The border may be made in single crochet
or braided.
Circlet: 1st row. Chain 3. Join. Make 6 single
crochet stitches in circle. 2nd row. 2 s c in each
stitch. 3rd row. Change colors. Add 1 s c in every
2nd stitch. 4th row. Add 1 s c in every 3rd stitch.
5th, 6th and 7th rows. Add 6 stitches spacing them
differently than in preceding row. Change colors at
beginning of 6th row.
Squares: 1st row. Ch. 3. 1 s c in first ch. Ch. 1.
Turn. 2nd row. 4 s c ch 1. Turn. 3rd, 4th, 5th, 6th
and 7th rows, 2 s c in 1st and last stitch of previous
row. 1 s c in each of the other stitches. Ch. 1.
Turn. 8th, 9th, 1 Oth, 11 th and 12th rows skip 1 st
and last stitch in previous row. Ch. I. Turn. 13th
row. 1 s c in last stitch of previous row.
Triangles: Same as squares through the 7th row.


THINGS TO MAKE FOR THE LIVING ROOM 15
A Knitted R«f
It is the right color arrangement that
makes a rag rug of simple design interest-
ing. This rug is knitted in three strips, each
strip divided into five squares of different
colors. If the color plan indicated in the
sketch is followed the colors will shade from
dark to light diagonally across the rug. If
other colors should be substituted do not
use more than three—medium, light and
dark—and arrange them as shown here.
Wooden knitting needles %-inch in di-
MADE IN
STRIPS
ameter are used for this rug. Cut or tear
the rags %-inch wide and knit them in
strips 10-inches wide changing colors every
10-inches by cutting the material close to
the needle and sewing a new color to it.
When three strips have been knitted with
the colors arranged as shown here, sew them
together on the wrong side with heavy car-
pet thread. Use a crochet hook of about
the same size as the knitting needles for
the edge of single crochet.
1 MEDIUM
GREEN
2 BLUE
3 DARK
SREEN
i


SEW
KNITTED
STRIPS
CROCHET
EDGE-)


HOME DECORATION WITH FABRIC AND THREAD

STITC
CLOSE T©
CORD WIT
CORDING
FOOT
CREASE
DOUBLE FRILL
WITH WARM
IRON
US
,-rii_L.ww ^-^u/CORDING
V BACMNG////FOOT-
RIGHT
SIDE
Si!
/////"'
BASTE TO
RIGHT SIDE
F PILLOW
COVER
SILK SCRAPS
MAKE
Every once in a while there comes a letter
brimming with enthusiasm. One told of a
living room that was completely made over.
'Ten dollars and thirty-five cents was all
I spent," the letter read. "The sewing ma-
chine and I did the rest." When the new
slip covers, curtains and lamp shades were
all in place, it seems that the room still
lacked color. There was no money left but
there were odds and ends of bright silks on
hand. These made cushion covers that gave
just the warmth and glow needed.
Remnants and the best parts of old silk
dresses may be used for this purpose. Con-
trasting pieces should be joined with seams
piped with covered cords, and edge cordings
with neat little frills may repeat the strong-
est tones in the room. The diagrams show
some of the tricks that help to give cushions
a tailored appearance.


THINGS TO MAKE FOR THE LIVING ROOM
17
Plan ^beiiCftU
Here are two suggestions that will start
you thinking of many original ways to com-
bine materials that you have, in smart de-
signs.
For the pillow of striped material, cut
four triangles striped exactly alike, in the
dimensions shown at A. Join these with
the stripes matching. Flowered material
combined with plain green in checkerboard
fashion is also interesting. Cut the squares,
as at B. Be sure to center the flower pat-
tern in each of the figured squares.
WITH FLOWERS
AND STRIPES
This is really a very good way to make
use of odds and ends of old finery. A hand-
some Roman stripe scarf that will never be
worn again will make a stunning pillow top.
A piece of old fashioned flowered taffeta
may seem too light in color for a living room
cushion but if its darkest tone is repeated
in plain squares it suddenly takes on char-
acter and may be fitted into the room color
scheme very nicely. Pieced designs of this
kind also offer endless possibilities for sum-
mer cushions of gay cottons.


20
HOME DECORATION WITH FABRIC AND THREAD
AN UNLINED
SHADE OF
Shantung, crepe, soft taffetas and novelty
weaves are all good for this type of shade.
White, egg shell and the cream tones are
most popular and fit into every color
scheme. Some bright tone often finishes
the edges. Frames that flare require more
material than those with straighter sides.
The average fabric requirement is the depth
of the shade plus 14-yard. You may esti-
mate the material accurately by fitting a
muslin pattern first.
Plain Silk
Wind the wire frame with silk binding
tape as shown here at A. Slip the tape off
the card, bind it with a rubber band and
then work from the inside end. Now, fit
the covering material around the frame, as
at B, smoothing the surplus material toward
the top, the bottom and the seam line.
Sew and then trim, as at C. Whip the seam
and then cover with a bias fold, as at D.
Pin finishing braid over the top and bottom
edges and sew through slanting the needle.


HOME DECORATION WITH FABRIC AND THREAD

I. DRAW
AROUND A
DIME
BLUE GINGHAM

4.
RED CWAIN
STITCH
STRETCH
IOVER CARD-
BOARD
BEFORE
FRAMING
HA^fMBM Ail §

MARY ANN
MADE TWO
Mary Ann was named for the Grand-
mother who, at the age of nine, made an
elaborate sampler of embroidery stitches.
Everyone thought it would be nice if the
modern Mary Ann could also do a bit of
hand work to be framed and kept. Thanks
to a series of rainy afternoons, this was
actually accomplished.
Mary Ann's mother started the project
with a rather large piece of blue gingham,
a pair of embroidery hoops and some odds
and ends of bright six strand mercerized em-
broidery thread. Outlines for flower de-
signs were made by drawing around coins
and the flowers were embroidered as shown
here. Stems were done in outline stitch
and leaves in groups of straight stitches.
From the many attempts, two flower
groups were neatly framed and lend a gay
note at each side of an old mirror.


THINGS TO MAKE FOR THE LIVING ROOM
23
EMBROIDER
A BOUQUET
This colorful embroidered picture is
worked on heavy natural colored linen with
odds and ends of bright wool yarns. The
yarn colors are turquoise, wine red, ma-
genta, old gold and bottle green. A narrow
gold frame with a scalloped mat of dark
green paper under the glass is used.
Plan the picture to be about 10-inches
deep and 9-inches wide finished, but cut
the material large enough so that it may
be stretched over cardboard for framing, as
shown on opposite page. Place thin writing
paper over the flower outlines given here
and trace them with a very soft pencil,
making duplicates of the oval shaped flow-
ers, the leaves and the berries. Cut these
out and arrange them on the material to
make a bouquet, drawing in the stems.
Turn the cut-out flowers pencil side down
and trace their outlines onto the cloth.
Embroider the solid parts in satin stitch and
the more open parts in blanket stitches.
The fine stems are done in outline
stitch.
If you would like to work your flower
picture out in other colors, you might start
with black sateen or colored velvet for a
background. Blue is always an effective
background; then your brightest flower
color could be coral pink or strawberry color
or geranium red; and the scalloped mat,
black.

Trace these outlines and
transfer them to cloth, as
described here. The em-
broidery is done in tur-
quoise, wine red, magenta,
old gold and bottle green.


THINGS TO MAKE FOR THE LIVING ROOM
25
HOW TO DO THE
This chair set is made of heavy cream
colored linen. The diagram below gives all
the dimensions and shows how to pull the
fabric threads for the Italian hemstitching
which is done over two, instead of one open
space, as in plain hemstitching.
The edges are finished with rolled hem-
stitched hems. The threads are pulled
%-inch from the raw edge, and then the
edge is rolled up to the opening. Take
three fabric threads on the needle as at A
in sketch on opposite page. Draw the
needle through, then pass it under the
threads again catching through the rolled
edge as at B. Draw the needle through and
continue as at A. Remember that a moist
thumb is always helpful in rolling an edge.
Pass the needle under three threads of
the lower row. Bring it through, then un-
der the threads again and out in the upper
row, as at C. Now, under three threads
of the upper row, as at D. Bring it through
and repeat, as at C. Hemstitch the other
edge of the lower row, as at E.
The little scroll and diamond design
shown here may be added at all the out-
side corners if desired. Practice drawing
it on paper first and then in pencil on the
fabric. Embroider the scrolls in outline
stitch and the diamonds in satin stitch, as
shown here. Then there are the tassels
at the corners. These are made by cut-
ting strips of the linen 2-inches wide and
6-inches long, raveling one edge to within
Vi-inch of the top of the strip and then roll-
ing it up and sewing the top.
8J/4-
1
8%
6%
PULL TWO THREADS,
SKIP FOUR AND PULL TWO
iiiummmi I I |
MIHIIIIIlll | | |
MORE


THINGS TO MAKE FOR THE LIVING ROOM
27

MADE
OF
Runicufi and Old StocJziHfi
The colorful roughly woven table mat,
chair cover and cushion are made of burlap
sacking with dyed strips of old silk stockings
drawn through.
Dye the stockings before cutting. Cut
the strips %-inch wide and about an inch
longer than the space they are to fill.
Taper one end of the strip so that it will
pull through the burlap easily. If long strips
are needed, cut around and around the
stocking spirally instead of lengthwise.
Now, draw out one thread of the burlap;
then tie one end of the next thread to the
tapered end of the stocking strip, as at A.
Pull the other end of this thread, as at B,
to draw the strip through.


Even though we live with our furniture a long while our cur-
tains may be changed often. The whole mood of a room becomes
different with new curtains and we may have a change of scene
right at home by using less formal curtains of lighter fabrics in
the Summer than those for Winter. With this in mind I have
shown in this chapter a variety of curtains to fit every mood,
season and type of room.
More people write me about curtains than anything else.
Some rooms have what might be called problem windows. I have
shown how some of these problems have been solved. Many ask
about the right finishes and about methods of hanging curtains.
CHOOSING THE RIGHT STYLE
When furniture of different types and periods is combined
curtains of almost any style may be used. If you are furnishing
a period room, study pictures of rooms of that period before
selecting drapery and curtain styles.
Draped valances and tie-backs are used for formal 18th Cen-
tury rooms and rooms of the Victorian period. They seldom
harmonize with ultra-modern furnishings. For simple Early
American rooms, frilled curtains or plain glass curtains and dra-
peries with an informal valance or with a cornice board may be
used.
COLOR AND FABRIC
Most curtains must be planned to be used with things one
already has. If you make a color plot similar to those on pages
2 and 3, you will be able to determine which colors you should
use. Then there is texture and pattern to think about. For
rooms in the ultra modern style, an interesting texture is espe-
cially important. With formal period furniture, use rich plain
fabrics or figured materials that harmonize with the period of the
room. For informal Early American rooms, sheer white curtains
and quaint patterned materials are always right. Here again
you will find much inspiration by studying pictures and actual
rooms of the period. Avoid too many figured materials in one
room. Plain draperies to match some color in figured wall paper,
rug or slip covers generally give a more harmonious effect. If
walls and rug are plain, pattern in the draperies and some of the
slip covers will add interest.
28


LIVING ROOM CURTAINS
29
HOW TO
MAKE A
Window *led
Have you ever had a feeling that there
was something wrong with the size and
shape of your windows and wall spaces? A
small diagram or scale drawing of a wall
will often show with startling clearness
where the proportions are bad.
Just measure the walls and openings and
make a bare outline drawing as shown;
counting 'A-inch as a foot. Use the outside
dimensions of windows and door frames.
Make several tracings of your outline
drawing and then experiment with filling in
curtains of various types to improve the pro-
portions of windows and the spaces around
them. This is the method that was used in
developing the charming window effect
sketched below. Just for fun, try filling
in draperies covering each side of each of
the windows in the diagram, and see the
difference.
AN OUTLINE DRAWING OF WALL MADE TO
SCALE SHOWS THAT WINDOW^ARE^
SHOULD LOOK WIDER

THE TWO WINDOWS TREATED AS A UNIT-
DRAPES EXTEND 6"OVER WALL AT SIDES


HOME DECORATION WITH FABRIC AND THREAD

HOW TO MAKE .1 /}./*<?.
windows l<«f**t h<$4Z
Your heart's desire as to the size and
shape of windows, and the windows you
actually have may be two different things.
Don't let the matter rest there.
If you want to lend dignity with tall win-
dows or give a homey effect with broad ones,
here are some suggestions for changing the
apparent height or width. On opposite page
is still another way to hang curtains to add
width, though the real problem there is to
allow French doors to open when draperies
are used at the sides.
Actually, all three of the windows shown
here are the same size. The one in the
center is made to look higher by screwing
blocks of wood at the top of the window
frame as at A and B, with metal straps from
the hardware store. The window at the
right is made to seem wider with blocks
placed as at C and D for the curtain rod,
and as at E and F to hold the tie-back
hooks.


LIVING ROOM CURTAINS
31
DRAPERIES FOR
USE A CURTAIN
ROD THAT
EXTENDS BEYOND
THE SIDES OF THE
DOOR FRAME —
SEW CURTAINS
TO RIN6S

When there are draperies at the windows
in a room it is often desirable to have them
at French doors instead of curtaining the
doors with the glass curtain material as
shown on page 32.
A wooden curtain rod, a pair of hooks
that will hold the rod and some ordinary
brass curtain rings are needed. The rod
should be about 14-inches longer than the
width of the door frame. This allows it to
extend 7-inches over the wall at each side
of the door.
Be sure to place the hooks for the rod
near the top of the frame so that the doors
may open without interfering. This and
the arrangement of the rings is clearly
shown in the sketch. Make groups of pleats
in the top of the draperies and sew the
rings to the back of them.


32
HOME DECORATION WITH FABRIC AND THREAD
CURTAINS
FOR DOORS
Your front door greets your guests before
you do. Since the curtains should look well
from both sides, net or ninon is generally
used. But if you wish to match your door
curtains to other curtains in a room, and if
the fabric to be used is uninteresting on
the wrong side, you can line it with self
material, or a harmonizing plain color.
Three types of curtains for ordinary doors,
and one type for French doors, are shown.
They are held top and bottom with rods
over hooks, as at A.


LIVING ROOM CURTAINS
35

top, ordinary curtain rings may be sewn to
the back of each group of pleats, as at E.
LININGS AND INTERLININGS
Sateen is generally used for lining dra-
peries, and cotton flannel for interlining.
Cut both an inch narrower than the drapery
material, and hem the bottom of each sepa-
rately. Catch the interlining to the drapery,
as at A; then attach the lining, turning the
material back and sewing, as at B. Hem
the front and back edges down over the lin-
ing, as at C.


HOME DECORATION WITH FABRIC AND THREAD

ADD YOUR OWN
The first curtains of this kind I ever saw
were made of the long pieces of good mate-
rial left at each side of a sheet after the
center part had begun to wear. These were
dipped in dye to make a soft cream color
for the foundation part of the curtains.
Wide stripes of gingham and narrow ones
of prepared bias trimming were then
stitched in place to make stripes. The
chart shows the colors that were used and
gives the widths and spacing of the stripes.
Of course, you will have some ideas of
your own about the stripes and colors. Per-
haps you can copy the color scheme of the
rug in the room or the wall paper.
Whatever the materials used you will
have fun planning the stripes. In case you
should want to use short lengths of goods
for the foundation part of the curtains,
stitch these together with the seam on the
right side; then place a stripe over the
joining.


LIVING ROOM CURTAINS
37
TRIMMED WITH
Try inexpensive cotton fringe in oyster
white for summer curtains and slip covers
of blue or mulberry sail cloth. Applied in
diagonal rows, as shown here, it gives a very
smart and modern effect. Silk or dull finish
rayon fringe might trim plain draperies or
more luxurious materials. The fringe used
here is 3-inches wide for the curtains and
4-inches wide for the chair.
ABOUT HEMMING CURTAINS
For unlined curtains or draperies finish
the front edges and the bottom with hems
1 - or 1 Vi-inches wide. Cut away unneces-
say material at the corners, as at A. If
the selvage edge along the front is woven
tighter than the rest of the goods it will
cause the hem to draw. Cut it away be-
fore turning the hem or clip it every few
inches. If fringe has a decorative top edge,
sew it on the right side, as at B.


38
HOME DECORATION WITH FABRIC AND THREAD
YOU WILL
NEED A
ValcMce Boa/uA
Here, the shelf type of valance board is
shown at A. It is 4-inches wide and Vi-inch
thick and is fastened in place with metal
angles. A double curtain rod should be
screwed to the window frame just under the
shelf. Cut the draped center swag of this
valance 18-inches deep and 6-inches longer
than the valance board, then shape it, as
at B. The dimensions for the end or jabot
sections of the valance are given in dia-
gram C. Pleat the center section and tack
to the board, then add the jabots.


LIVING ROOM CURTAINS

WE MAKE A
Valance
This valance is slightly more complicated
than the one on the opposite page. If you
are making it for a number of windows in
a room you will find it convenient to have
a pattern of heavy wrapping paper.
For the looped sections, cut paper 18-
inches deep and half as wide as the window
measures over the frame. From the upper
right corner to point A is half of the width
of the paper less two inches. Point B is
6-inches below the upper left corner. Draw
a diagonal line from A to B, and a curve
from B to the lower right corner. Place the
edge marked C on a fold of the goods when
cutting. The diagonal ends are pleated and
stitched in a band as at D.
For the end pieces, cut paper 15-inches
wide and 24-inches deep. E is 3-inches be-
low the upper left corner. F is 9-inches in
from the upper right corner. G is 6-inches
down from the upper right corner. Finish
the top, as at H.


LIVING ROOM CURTAINS
41
A DAVENPORT
IN FRONT OF
There were three windows, and the only
space for the davenport was in front of
them. A difficult situation of this sort is a
challenge and many a charming effect is
the result of accepting the challenge and
making an asset of it.
These windows were treated in a group
with the davenport as a center of interest.
It was slipcovered in a soft biege with corded
pipings and bands of turquoise. The glass
curtains were cream color with draperies of
turquoise and biege striped material edged
in matching blue fringe.
A 4-inch valance board was screwed over
the windows with L brackets. The curtains
and side drapes were hung on rods under
this shelf. The plain valance was made
over a foundation of crinoline with a 1-inch
fold at the top. This was thumb tacked
to the valance board.
VALANCE BOARD OVER WINDOWS

THUMB TACK
FOLD TO
WLANCE
BOAR


Wlfff llll 11111111111111



A FULL VALANCE
WITH A
Ruffled curtains with a scalloped valance
and tie-backs of plain glazed chintz make
the smart window shown here. This offers
a simple method of introducing a color ac-
cent. Here the curtains are cream color
and the chintz is a soft mulberry red. The
color used should repeat some strong tone
in the room, and may be bright or subdued.
A double curtain rod will serve for both
valance and curtains.
The valance is made double and should
Scalloped Cdtpe
be about twice as long as the space it is to
fill. Fold the length of material inside out
according to the dimensions in the upper
diagram. Mark the scallops, as at A, draw-
ing part way around a saucer. Stitch as
at B, and trim, as at C, clipping up between
the scallops. Also stitch along the ends of
the folded material. Turn right side out
and fold the top down, as at D. Stitch,
as at E, with two rows spaced far enough
apart to make the rod casing.


LIVING ROOM CURTAINS
45
CONCENTRATED
COLOR WITH
Here is a quick and easy way to get an
unusual color effect for any informal room
or for gay summer curtains. The curtains
in the sketch were made of green and white
striped gingham and used in a living room
with cool plain green slip covers. The
striped material was pleated so that only
the green stripes showed for a space about
4-inches deep across the top of each cur-
tain. This gave the effect of a plain green
Pleated Shlpei
band with the green and white stripes bil-
lowing out beneath.
There should be a strong contrast be-
tween the stripe colors and the fabric should
be in just two tones. Here the stripes were
%-inch wide and spaced 1 Vi-inch apart.
Make a 4-inch hem in the top of each
curtain first, then pleat the material, as
shown at A. The curtains are hung with
bone or brass rings, as at B.


SLIP COVERS ARE EASY TO MAKE
47
ADD COLOR WITH
Figured curtains and a plain chair, both
trimmed in fringe of the same color, make
an unusually harmonious ensemble. The
diagrams show how fringe is applied when
used in the seams of a slip cover and for
an edge trimming.
Use the same fringe trimming through-
out the room. If curtains are of a figured
material, the best effect is generally ob
tained if not more than one slip cover is
figured. Several different colors may be
used for the plain slip covers, repeating tones
in the draperies, the rug or the wall paper.
A new idea now is to cover the seat cush-
ions of chairs and davenports with a con-
trasting color. Here again the repetition
of fringe trimming will soften the contrast
and draw the room color scheme together.


48
HOME DECORATION WITH FABRIC AND THREAD
OTHER TRIMMINGS
AND DECORATIVE
Drapery departments offer an assortment
of fringes and prepared seam welting to har-
monize with any color scheme. Bias trim
may also be used for contrasting seam bind-
ings or to cover cable cord to make seam
welting. Heavy or fine cable cord may be
used according to the effect you wish to
obtain.
Moss fringe offers another interesting
means of trimming slip covers and curtains.
You can make the fringe yourself, with the
aid of a special attachment for your sewing
machine. Still another type of edging is a
narrow pleating of fabric which may be
made with the gathering attachment of
your sewing machine.
Most slip covers have a line of contrast-
ing trim along important seams. If color
contrast is not desired, a French seam finish
is used for seams outlining the structural
lines of the piece of furniture.

WELTED SEAMS ... To cover cable cord
for seam welting, place a bias strip over
the cord and then stitch with the
machine cording foot, which allows
the stitching to come close to the
cord. To make a welted seam,
place the covered cord next
to the right side of the
material between the
seam edges and then
stitch, using the cord-
ing foot as shown.

BOUND SEAMS ... When seams are to be outlined
with contrasting bias binding, stitch the seam first on
the outside of the slip cover with a very narrow seam
allowance, then place the Bias Trim over the seam and
stitch as shown.
FRENCH SEAM FINISH ... Stitch the seam first on the
inside of the slip cover, using half the seam allowance.
Turn to the outside and press the seam in a true line
before making a second stitching near the edge as
shown.


SLIP COVERS ARE EASY TO MAKE
51
We Seat A Slip Gove*
When you pin a shaped piece, as for the
fronts of the arms and wings of this chair, pin
the material to the chair first; then press it
down along the edges to make an outline of the
shape of the chair section. Cut around this
outline, leaving the usual seam allowance. Also
see method shown on page 53.
Fit and pin the top, sides and bottom of the
seat cushion cover. If a zipper is used for
the opening, the method of applying it in the
lower back seam before sewing the other seams
is shown on page 130. The way to bind the
seams for this slip cover is shown on page 48.
Ruffle material for closely spaced box pleats
should be cut three times as long as the meas-
urement around the bottom of the chair. Ma-
terial for a gathered ruffle should be twice the
measurement around the chair. Hem the ruffle
before you pleat it. Stitch the pleats as at D.
Baste the binding around the slip cover as at E.
Stitch ruffle and binding in place as at F.
This chair requires just one rather long open-
ing. Either a zipper or snap fasteners may be
used for it. If snap fasteners are used, add
an extension to the underlap edge of the open-
ing. Here the contrasting binding continues
along the overlap edge, and a stay piece is
added for the fasteners.


52
HOME DECORATION WITH FABRIC AND THREAD
Pattern
IF YOU
MAKE A
There are two ways to make a slip cover.
One is to pin and then cut the actual ma-
terial right on the chair, the other is to cut
muslin or old sheets on the chair and then
use the pieces for a pattern.
Whichever method is used, fit and pin
the pieces smoothly but do not stretch them.
Allow Vi-inch seams and a 4-inch tuck-in
around a spring seat. Notch the seams to
show how they should be joined. When fit-
ting a pattern, mark each piece with an
arrow, as shown, to indicate which way the
grain of the goods should run.
At the bottom of the sketch the pattern
pieces are shown pinned to the material.
If figured fabric is used, be sure to place
the pattern pieces so that the design is cen-
tered for the back and the seat of the chair.


SLIP COVERS ARE EASY TO MAKE
53

TRACE
AROUND
Shaped Sectforui
When cutting a slip cover of striped ma-
terial remember to center stripes in the
back and seat, just as you would any figured
.material. The stripes used crosswise often
make a smart finish or trimming.
For a chair of this type the main part of
the cover is generally fitted right on the
chair and paper patterns are made for
shaped sections such as the fronts of the
arms and the outside of the wings.
Pin the paper in place as at A, then mark
the outline of the shaped section on the
paper, feeling your way along with the side
rather than the tip of the pencil point.
Cut the pattern %-inch outside the marked
line as at B. This allows for the regular
Vi-inch seam and a little ease in the fabric.
In fitting fabric over the rounded part of
arms and wings, a few gathers are often
needed as shown at C.



HOW TO
MAKE A
This zipper is covered by the lapped edge
of the opening. Another method of apply-
ing a zipper in a seam opening is shown
on page 130.
To apply a zipper so that it is covered
by a lapped edge, turn the slip cover inside
out and crease the seam open. Cut a fac-
ing strip 1 Vi-inches wide and 1-inch longer
than the opening. Join the facing strip
to the back edge of the opening as shown
at A. Slash the front of the seam edge
%-inch above the top of the opening and
crease it over the back facing as shown
at B. When the edges of the opening have
been prepared in this way, press the edge
creases with a hot iron. Next, baste and
stitch the zipper in place as at C, sewing
close to the metal. The machine cording
foot is useful for this purpose. Do not trim
away the tape at the ends of the zipper.
Whip the upper ends down as at D, and
cover the lower ones with the hem as at E.


SLIP COVERS ARE EASY TO MAKE
55
A NUMBER
OF NEATLY
Here is proof that almost any type of
chair may be slip covered. A rough sketch
of this chair came with a letter which read,
"I want to make slip covers for the living
room furniture because with three young
ones the furniture is soon going to be
ruined. The job completely baffles me.
Can you suggest any way that a removable
cover can be made for a chair like this?"
For a difficult chair, always fit a muslin
pattern. Snip until it fits perfectly around
arms and other supports. If you make a
mistake in the pattern, stitch a patch over
it and start again. Either bindings or fac-
ings may be used for the irregular edges
of the finished cover.
Before removing the pattern from the
chair, plan the openings so that they will
lap neatly, and be sure that they are long
enough.
FIT COVER AROUND CHAIR.
SUPPORTS, AND FASTEN
WITH SNAPS-
MAKE SIDE OPENINGS
LONG ENOUGH TO
SLIP OVER WIDEST
PART OF BACK


56
HOME DECORATION WITH FABRIC AND THREAD

CUT TIES 5"WIDE,
THEN FOLD
SEW TIES TO
SLIPCOVER
SEAMS, THEN
TIE TIGHTLY
UNDER SEAT

TURN IN EDGES
AND STITCH

ANCHOR FIRMLY
The method shown here for anchoring slip
covers under the seat with ties of muslin or
other strong fabric is often used by profes-
sional decorators. Another way is to fit a
piece of ticking to the bottom; fastening it
to the sides of the cover with zippers of the
type that come apart at both ends.
The slip cover in the sketch is especially
interesting because of its color scheme and
the woven braid used for trimming. In fact,
the whole slip cover was inspired by the
1 14-inch wide braid with a woven pattern
in bright blue, green and red. The material
is a plain blue glazed chintz. Green bind-
ings around the main seams match the
green tone in the braid which is used around
the front of the cushion and to trim the
ruffle. The box pleats at the corners only
are a smart touch.


SLIP COVERS ARE EASY TO MAKE
57
A SLIP COVER
FOR A
Making a slip cover for a davenport is
almost the same as for a chair. It is seldom
satisfactory to try to avoid piecings by cut-
ting the material lengthwise of davenport
back. With figured goods the pattern must
run vertically. A large design is usually
centered in each of the seat cushions and
the back pieces match the cushions. Some-
times the joinings of the back are accented.
Again they are made with plain seams.
Always the design of a patterned fabric
should be carefully matched.
This slip cover has welted seams, so it is
fitted inside out. The arms are rounded,
as at A; making gathers necessary, as at B.
Cable cord for the welting is covered with
bias strips, as at C; and is basted, as at D,
before stitching the seam. Use the machine
cording foot. The seat cushion opening
fastens with snap fasteners, as at E.


HOME DECORATION WITH FABRIC AND THREAD

HOW TO USE
Some chintz chairs are covered in the
same way as any upholstered chair. No
special tools will be needed, other than an
upholsterer's needle (see page 59); plenty
of medium-sized tacks, a tack hammer and
some long, straight strips of cardboard
about %-inch wide. The methods used at
the points numbered on this chair are de-
scribed here.
1. Cover inside of wings by tacking edge of mate-
rial to back through cardboard; then tack outside
edge over top and front of wing.
2. Cover tacks along front of wing with strip of
cardboard inside folded strip of material, as at right.
Tack raw edges to chair, then turn fold edge over
tacks as shown.
3. Tack inside of arm piece in place through Strip
of cardboard.
4. Use a board to hold seat springs down while
tacking sides and back of seat cover.
5 and 6. Tack through cardboard from inside as
in step 3.
7. Pin and then slip-stitch in place, using uphol-
sterer's needle as shown at right of this sketch.
8. Slip-stitch as in step 7.
9. Pleat flounce and tack in place through card-
board strip, as shown.
10. Tack as in step 2.


SLIP COVERS ARE EASY TO MAKE
61
FIX THOSE
Many a chair or couch has been discarded
because it was supposed that the springs
were broken. The twine and the webbing
that hold springs in place break or wear out,
thus throwing the springs out of position. If
you have more time than money to spend
why not fix them yourself?
First, remove the springs and all the old
tacks and webbing. Use new webbing across
the bottom of the seat, turning the ends
over and tacking them, as at A; then stretch
taut, using a block of wood for leverage, as
at B. Sew the bottom of the springs to the
webbing with twine and an upholsterer's
needle, as at C. Next, turn the seat over
and tie the springs at the top with uphol-
sterer's twine, as at D. The tacks are driven
only part way in, as illustrated. The twine
is tied to them and to each side of each
spring. When the position of the springs
has been regulated with the twine, the tacks
are driven in.


Perhaps you don't use the dining room three times a day.
You may have a corner in the kitchen where breakfast is served
and where the children have a quick lunch and back to school.
You may eat your own lunch from a tray wherever you may
happen to be. Let's hope that you eat it some days by the fire
in the living room and that there are many meals eaten out-of-
doors in the Summer.
Wherever meals are served they are more casual than they
used to be. The full length white table cloth often rests in state
from one holiday season to another. I have suggested in this
chapter that you make a neatly inscribed case for it, and then
that you have a perfect spree of designing gay and colorful
table mats.
It seems to me that in many homes the dining room is just
a step-child! New things are purchased often for the living
room and there is little money left to make the dining room
presentable. Yet, no matter how out-of-date your present fur-
nishings may be, it is possible to make this room look fresh and
smart and cheerful.
Start with a color plan. If you have to use an old rug that
is worn or the wrong color, look into the matter of dyeing it with
cold water dye right on the floor. Even faded, scarred wall
paper may be painted if new is not available.
Crisp curtains of inexpensive material may cheer you far more
at meal time than expensive ones that are dull and unimagina-
tive. In this chapter are some curtains that were planned espe-
cially to give good cheer in this room. In the chapter on curtains
for the living room you will also find a number that should add
zest to meals and tone to any dining room.
A scarred and out-moded table often looks more up-to-date
if the varnish is removed and it is then waxed to bring out the
grain of the wood. Even a cheap pine table rubbed down and
waxed is not to be despised. A table painted dull black and
then waxed is good looking and inconspicuous.
As for chairs—inexpensive simple ones may be painted in
colors or old and unattractive ones may be slip-covered. The
quilted chair pads shown in the living room chapter are another
thought. No, there is no excuse for even one meal a day in a
cheerless room.
62


64
HOME DECORATION WITH FABRIC AND THREAD
A FRESH START FOR
DINING ROOM
Give your dining room chairs a fresh start
with seat covers of substantial, firmly woven
cotton material. A plain color in an inter-
esting weave or a fabric with a small figure
is most suitable.
To make a pattern for the covers, place
a sheet of paper on the seat and press it
down along the chair edges to make an im-
print of the seat outline. When using this
pattern add a Vi-inch seam allowance as
at A. A straight band and a frill covers
the wood frame at the sides.
Give the covers a professional finish with
welted seams. The cable cord for the welt-
ing is covered with bias strips of the mate-
rial or with prepared bias trim as at B. This
is basted to the right side as at C, and then
stitched as at D with the machine cording
foot. A finished welted seam appears at E.
Tapes are sewn to the inside of the front
corners to be tied around the legs. Snap
fasteners are used for the closings.


THINGS YOU SEE THREE TIMES A DAY

A 2uai+d Gcw&i
FOR AN OLD
CHAIR
This slip cover for a dining room chair is
of green chintz with a tiny burnt orange fig-
ure in it. The bindings and the amusing
ties down the sides are of orange bias trim.
Place the material on the chair and cut
it to follow the lines of seat and back, being
sure to allow seams. The side sections
should be three inches deep and the ruffles
deep enough to cover the chair rounds.
Where two sections are joined with a tape
binding, baste the raw edges together and
then pin and stitch the tape, as at A. The
sides of the back should be bound first and
then the top may be bound in with the front
binding. The ties are made of the bias tape
stitched double.


66
HOME DECORATION WITH FABRIC AND THREAD
THE RESULT OF
A golden oak dresser, a fish bowl, an old
portier, a chromo in a wide gold frame and
an old piano stool. These were found in
an attic.
Varnish remover and plain drawer pulls
transformed the dresser into a good looking
chest of drawers. A glazier put a mirror
in the oval gold frame. Those are dusky
pink branches in the fish bowl—lovely
against the rose-red brocade hanging. The
Attic Maxfdc
diagram shows how the hanging was made
from a part of the portier. The edges were
finished with dull gold colored braid and
fringe; and it was hung with matching gold
cord, tassels and an ordinary curtain rod.
This arrangement of a chest and a hang-
ing also might be used in a hall. What be-
came of the mirror and the piano stool from
the attic corner? You will find them in the
Bed Room chapter.
I -—I

ATTIC
CORNER
PICTURE
x-HOOK

0
CASING FOR
CURTAIN ROD
j^BRAlD
/—FRINGE

(-TURN EDGES TO
RIGHT SIDE


THINGS YOU SEE THREE TIMES A DAY

COLOR HARMONY
FOR CUPBOARD AND
Knitted (luxj
The shelves are backed with medium blue
fabric and the dishes are in tones of rose
and green. The same colors are repeated in
the rug.
Cut or tear the rags %-inch wide and use
knitting needles %-inch in diameter. Knit
the oval center first. Cast on four stitches
and increase one at the end of each row
until the depth of the work is 4-inches, then
knit evenly for 10-inches. Bind off one
stitch at the end of each row until you have
four stitches left. Bind these off. The dia-
gram gives the dimensions and colors for the
bands that are sewn to this center oval.
Cast on seven stitches to start each band.
For the outside band, start with color 3.
Knit 7-inches, then cut the fabric strip and
sew color 4 to it. Continue. Use a large
crochet hook and fabric strips to crochet
around the oval and the outside edges of the
bands. Sew together with double carpet
thread following directions in sketch.


68
HOME DECORATION WITH FABRIC AND THREAD
DINING ROOM ^ .// j . ,
WINDOWS IN QtdUHi ChUty
These ruffled draperies of plain moss
green glazed chintz make a charming din-
ing room window. The drapery material is
cut 18-inches wide. Pin 4-inch darts at the
corners and cut away the extra material,
as at A. Stitch these bias joinings, then
make your ruffle and apply it with a French
seam. Make the tie-backs next. They
should be straight strips 22-inches long,
made double so they are 1 Vi-inches wide
finished. The drapery material is gathered
along the corner seams and sewed to the
under part of the tie-backs, as in diagram B.
Rings are sewed along the top and are
slipped over hooks screwed into the window
frame, as in diagram C.


THINGS YOU SEE THREE TIMES A DAY
73
TONES OF
PINK FOR THE
Here palest pink linen is embroidered in
darker pink and deep rose. Cut the scarf
the desired size allowing 1 'A-inches all
around for hems. Turn the hems and sew
at the corners. Now, embroider around the
top of the hem with plain catch-stitching in
pink, as at A. Next, interlace these stitches
with the rose, as at B.
Three 1 Vi-inch squares are embroidered
in each corner. Mark each square with a
pencil. The method of laying the pink
foundation threads is shown in diagram C.
Bring the needle out at 1, place it in the
material again at 2, and bring it out again
at 3. Continue, following the numbers and
weaving the stitches over and under, as
shown. Next, interlace these stitches with
rose. Start at D and follow the diagrams
until all the stitches are interlaced, as at E.
I (
8 ? ,12
I5
6
c


74
HOME DECORATION WITH FABRIC AND THREAD
EMBROIDERED
SCRIPT FOR
A case for the table cloth that is brought
out on Christmas, Thanksgiving and other
"special" days is shown here. It is made of
green chambray with white bindings of bias
trim, and the script is embroidered with
white six-strand mercerized embroidery
thread.
You may write the word you wish to em-
broider directly on the goods with a pencil;
however, if you do not feel sure of your
handwriting, do it on paper first and then
trace it. The paper may be ruled with guide
lines to keep the letters even. When the
word has been written, blacken the back of
the paper with a soft pencil, place it black
side down over the cloth and trace, being
careful not to smudge the material.
The script is embroidered by working over
a cord, as shown here at A. For bold writ-
ing such as is used for this case, use heavy
cotton twine and all strands of six-strand
embroidery thread.


THINGS YOU SEE THREE TIMES A DAY

A LUNCHEON
GLOTH WITH A
This luncheon cloth was made of un-
bleached muslin bags with a striking pieced
border in a twisted band effect. One bag
makes the center of the cloth and pieces
from two others are added at the sides and
corners to make it the desired sire. The
Pieced Bostde*
seams are covered with 1 -inch bands of the
red and blue material, as shown here at
the right. The sketch also shows how the
border is applied after piecing. The pat-
terns for the pieces may be traced from this
page.


76
HOME DECORATION WITH FABRIC AND THREAD
A LUNCHEON SET
This exquisite luncheon set will go with
the daintiest china. It is of white organdie
with applique flowers of the same fine ma-
terial in pink, turquoise and pale yellow.
The stems are apple green. The design is
shown here in actual size so that you may
trace the flowers to use as patterns. Add
a tiny seam allowance to be turned under
as at A.
The applique stitch for sewing the flowers in place
is also used for the hem and gives the effect of fine
hemstitching though no threads are drawn. Use No.
90 sewing thread. The steps in making the stitch
are numbered in the sketch. 1. Bring the thread
through and insert the needle four threads to the
right, taking up the applique edge. Bring the needle
through, pulling the threads of the goods together.
2. Insert the needle, taking up the applique edge.
Draw the thread through. 3. Insert the needle in the
hole where the thread was first brought through and
take a stitch 4 threads to the left. 4. Insert the
needle in the first hole to the right and make a stitch,
taking up the applique. Repeat, beginning with step 2.


THINGS YOU SEE THREE TIMES A DAY
77
The design is shown in ac-
tual size. White linen is
used with end facings of
green. Stems and leaves
are also green and cherries
red. The diagram shows
how applique edges are
turned by pressing over a
stiff pattern.

CHERRIES FOR MATS AND NAPKINS
of Jleaay JLinen
Watch any class of kindergartners cut-
ting patterns from colored paper, and your
fingers will itch to pick up the scissors and
try it yourself. Why not? The luncheon
mat and napkin shown here offer a sugges-
tion for a way to use your cut-out designs
for simple but effective applique work.
The long sides of the mats are hemmed
and the ends faced with one-inch bands of
green, as at A. The napkins are also
hemmed on two sides and faced with green
bands on the other two. The stem for the
bright red cherry follows a circular line em-
broidered in green outline stitch. The leaf
is of the green material.
Experiment with cutting the cherry and
leaf in paper. When you have cut a design
that pleases you, make a pattern in light-
weight cardboard. Cut the fabric a little
larger than the pattern, clip the edge as
at B; then press it over the pattern with a
warm iron as at C to make a firm crease.
Remove the pattern, and sew the pieces in
place with fine hemming stitches.


78
HOME DECORATION WITH FABRIC AND THREAD
TABLE MATS BORDERED IN
If you have been following the trend of
Swedish modern handcrafts you realize that
the old Swedish crafts are being cleverly
adapted to modern use. Here is a letter
that shows how easy it is to do this.
"I thought you might be interested in a
luncheon set planned to go with a set of blue
dishes. There are four mats and a long
runner in medium blue linen with bands of
Swedish weaving in darker blue across the
ends. Just two edges of the napkins are
banded with the weaving."
Some of you who have pink dishes might
like to try the same idea in tones of rose.
Use a rather coarse linen. Prepare the work
for the weaving by drawing out the fabric
threads, as for hemstitching. Either linen
or mercerized embroidery thread may be
used; and a dull pointed tapestry needle will
be best. Begin as indicated at the right of
the lower sketch weaving over and under two
groups of threads. When these threads are
half covered, start to work over one new
group as at the left of this sketch. When
the bottom is reached, pass the needle up
to the center, and work over the groups indi-
cated, as at A. When the top is reached,
pass the needle down to the center again.

^ T ~ WIVI/L
/^BUTTONHOLE THE END
PASS
NEEDLE UNDER'STITCHES,
\THEN WORK OVER AND
UNDER THREADS AT A-

Medium blue linen with
bands of Swedish weaving
in darker blue is used for
this luncheon set. Here are
all the instructions for doing
this fascinating type of


THINGS YOU SEE THREE TIMES A DAY
81
Gouge your stitches so that
they are the same size as
the ones in the sketch. The
colors are all indicated here.
If you set a table for four
you will like this combina-
tion of center square with
mats around it.

THESE STITCHES ARE
fam an Old 2*dlt
This luncheon set has a square for the
center of the table and four mats to go
around it. Here again colored linen is used
—this time light blue. The embroidery is
a design taken from a light blue satin patch
of an old crazy patch quilt. All of the
colors indicated here in the sketch are the
same as those used for the quilt patch.
The gay little double house effect is built
upon blanket stitches with chain stitches
flaunting from all the gables.
Use all six strands of six-strand mercer-
ized embroidery thread. Hem the mats
first, then blanket stitch, as shown at the
lower right, running the needle between the
two layers of the hem and bringing It out
at the edge. The method of making all
the stitches is clearly illustrated here in
actual size. For the napkins, the edge
stitches without the little house are used.
It is fun to invent embroidery designs by
combining well known stitches. Our Grand-
mothers were masters at this art. For years
I have been making a collection of sketches
of the stitch combinations that they used
for their quilts. Many of these are shown
on pages 118 and 119. You will certainly
want to copy some of these not only for
linens but for other trimmings.


WE WAVE A MAGIC WAND OVER BEDROOMS
83
SOME BEDSPREADS
NEED A
A smart new house it was, and when we
came to the second floor I was particularly
impressed with the treatment of the beds.
In one room a beautiful old quilt was used
as a bedspread. The spread in the other
room was of bright flowered cretonne. For
each of these beds there was a full valance
of contrasting material that was not re-
moved at night. This full ruffle reaching to
the floor gave the whole room a gracious
appearance, that is very pleasing.
The flowered cretonne spread is shown
here in the sketch. There are accents of
green in the flowered pattern and this color
is repeated in the corded seam, edge bind-
ings and the valance which is fastened to
muslin under the mattress—a clever idea,
my young hostess pointed out, as the muslin
makes a cover for the springs if they are not
the box type.
6YD5. FLOWERED CHINTZ,
5&YDS.BLUE CHINTZ
20YDS BIAS BINDING

MATTRESS

STITCH THE VALANCE
TO AN OLD SHEET OR
MUSLIN CUT TO FIT
THE TOP OF THE
BED SPRINGS -


84
HOME DECORATION WITH FABRIC AND THREAD
REJUVENATION
FOR AN
Betsy was all agog to have a bed with no
foot piece and a padded head to match her
spread. Ingenuity would have to substitute
for money and she was seriously consider-
ing this and that when the plumber was
called to fix a leaky pipe.
As a tiny tot Betsy always said, "Let me
watch", when workmen were coming, and
at sixteen she hadn't grown up much. The
plumber took a fine saw out of his tool bag
and sawed a pipe in two just as if it were
Old Bed
wood. Right then something clicked for
Betsy. That old iron bed in the attic! It
could be cut down. It was cut down, as
shown in this sketch.
The head of this bed is padded with cot-
ton basted to muslin, and then slip covered
with material to match the spread. Betsy
used an old comforter for padding. Her
mind seemed to jump with the greatest of
ease from water pipes to beds and from
padding to old comforters.
MAKE A SLIPCOVER FOR
THE HEAD OF THE BED
MATCH SPREAD -
PAD WITH
COTTON
BASTED TO
MUSLIN-


WE WAVE A MAGIC WAND OVER BEDROOMS

THIS
SPREAD IS
ZcMf, ia J*G444ld&l
This bedspread is as easy to launder as a
sheet. It is made of plain 36-inch-wide
gingham to match the soft, deep rose tone
in the window draperies and rugs. It is
trimmed in straight 1 -inch bands of bottle
green. Flower sprigged cottons are also at-
tractive when banded in a contrasting color
in this way. The lengthwise bands cover
seams where the lengths of material are
joined. The crosswise bands and the ones
at the edge are added to give the trimming
balance and interest.
If the spread is made for a double bed,
the three widths are joined without split-
ting. If the spread is for a single bed, one
of the two widths of material is split length-
wise through the center. You then have one
wide length and two narrow ones. The nar-
row strips are stitched to the sides of the
wide one. The joinings should be made by
lapping the selvages and stitching, as at A.
The trimming bands are stitched over these
joinings, as at B. The edges are turned to
the right side, as at C; and the contrasting
edge band is stitched over the turning, as
at D.


WE WAVE A MAGIC WAND OVER BEDROOMS
87
FROM
Every once in a while I meet an efficient
homemaker with a zest for figuring the costs
of things right down to a split penny. This
is how I know that the material for this taf-
feta spread cost exactly half of what the
spread would have cost ready made. That is
what I call luxury at a saving.
Here are cutting dimensions for the
double bedspread of 39- or 40-inch material.
You will need 9% yards, and this makes the
spread long enough to cover the pillows.
Cut the center panel first, then divide the
material that is left, as shown in the upper
diagram. Join the two pieces of ruffle ma-
terial to make one long piece, then divide
it evenly; for the two ruffles. These cutting
dimensions allow generous seams. Enough
material may be taken from the seam edges
to cover cords for welted seams if desired.
A very narrow machine stitched hem should
be used at the bottom of the ruffles.
RUFFLES
3'UVds.
RUFFLES

NARROW
PANELS

CUTTING
DIMENSIONS
9^YARDS
OF39INCH
TAFFETA
REQUIRED


88
HOME DECORATION WITH FABRIC AND THREAD
n
WW

\5
3 \
\ 5
21 \
21 \«
\6
4\
\ 5
3\
4\
21 \
21 \
n \
n \
~i \
n \
n \
1 BLACK
2 RED
3 HORIZONTAL MIXED STRIPES
4-VERTICAL MIXED STRIPES
5 BLUE
6 TAN
HOW TO MAKE
Why not hook a bedroom rug? A rug hook
such as may be purchased in fancy work
and notion departments and a piece of bur-
lap 4-inches wider and longer than your
finished rug are the essentials. Most rug
hookers also use a frame of slats bolted to-
gether at the corners. They overcast the
edge of the burlap, mark the pattern on it,
and then stretch it over the frame and tack
it. Some like a rather large stationary
frame. Others use a small one, stretching
and tacking two or three square feet of the
Jloohed (lucfi
work at a time. Many hooked rugs are
made without any frame at all.
Wool rags make the nicest hooked rugs.
Cut the strips not wider than %-inch and
fold the raw edges in. Hold the strip with
the left hand under the burlap and use the
right hand to draw loops of it through to
the right side with the rug hook, as shown.
Make the loops very close together. Draw
the ends of strips through to the right side
and clip them. When the rug is finished,
hem back the burlap around the edge.


WE WAVE A MAGIC WAND OVER BEDROOMS
91
A BRAIDED
RUG WITH A
We went to see an old fashioned garden
around a very old house. Inside of the
house we found this braided rag rug with
its quaint scroll border. Rag rugs have
always been used on the wide pine board
floors of that house and the wearing apparel
of many generations has been torn into car-
pet rags before its fireplace.
All of the dimensions of the rug are given
here in the diagram. Always remember
that the first round of the center of an oval
rug is as long as the difference between the
length and the width of the finished rug.
The scrolls for the border are made of
braided strips 2%-yards long. Mark the
center of the strip with a pin, as at A; then
sew, as at B, working toward the center
marking.
The center of the oval part of the rug is
green; then comes a band of mixed braiding
and then one of red. The pairs of scrolls
are alternated red and green.
i


WE WAVE A MAGIC WAND OVER BEDROOMS
93
DUTCH CURTAINS
TRIMMED WITH
The rod for the top curtains is fastened
to the window frame and the lower rod to
the lower sash. When the window is pushed |
up, the lower pair of curtains goes up with
it. A wonderful idea for bedrooms ... no
curtains blowing in the wind at night!
To make the scalloped facings, cut •
straight strips of material AV2 inches wide, <
then follow the three steps shown here.
1. Baste right side down on the inside of
the curtain, taking out extra fullness at 1
fyaced BcaU&pA,
the corner, as shown.
2. Trim away this extra material and
press open the seam. Outline the scallops
starting at the corner, by tracing around a
saucer or tumbler. Stitch over this outline,
then trim a seam's width from the stitching
and slash the points between the scallops
and along curves.
3. Turn the facing to the right side; baste
along the turned edge, and press. Turn un-
der the raw edge; baste and stitch it.


HOME DECORATION WITH FABRIC AND THREAD

A SKIRT
FOR YOUR
If your dressing table skirt is shirred or
gathered, let the material be really full.
Twice the measuremnt around the table is
not too much to allow. For soft matrials,
even more fullness is needed. If the dress-
ing table has hinged arms, the skirt should
be mounted on a strip of stiff buckram
which is thumb-tacked to the arms as at A.
Cut the buckram about 2Vi inches wide,
and cover it as at B.
The heading at the skirt top is just deep
enough to cover the table edge when the
arms are closed. Use '/»-inch cable cord
for the corded shirring at the top; also for
shirring the bottom ruffle. Sew one end of
the cable cord to a safety pin or bodkin;
then run it through tucks in the material,
pushing the fabric back on the cord as at C.
Sew to the buckram as at D; then tack to
the table.


WE WAVE A MAGIC WAND OVER BEDROOMS 97

stems.


98
HOME DECORATION WITH FABRIC AND THREAD
FLOUNCES FOR
A TABLE
A dressing table in front of a window is
well lighted and saves valuable wall space.
Glass curtains must be planned to give pri-
vacy and here they are made in Dutch
style of dotted Swiss trimmed in ball fringe
applied, as at E. The flounced chintz skirt
for the dressing table is designed so that the
top ruffle may be turned back to open the
drawer.
If the table edges extend more than an
jAutk A 2>teuue&
inch beyond the sides, have them sawed off,
as at A. The three bottom flounces are
stitched to a slightly full foundation of mus-
lin, as at B. This is tacked to the table
just below the drawer, as at C. The top
ruffle is narrower than the others though
it gives the effect of being the same width.
It is finished at the top with a half-inch
band which is tacked to the edge of the
table top with colored thumb tacks, as at D.


102
HOME DECORATION WITH FABRIC AND THREAD

PAD WITH COTTON BATTING -
COVER WITH GLAZED &
CHINTZ- USE
UPHOLSTERY
TACKS
FOR
TUFTING
BACK

METAL
ANGLE
METAL
STRAP
YOU CAN
MAKE THIS
There came a letter one day which read,
"... most women can't drive a nail
straight, but I can do that better than I can
sew. I have been thinking that one could
make a chair of lumber and cover it."
The chair in the sketch is the result of
that letter. It would be appropriate for the
living room or the hall, but it looks espe-
cially well when used as a slipper chair,
against the wall in the bed room or for a
dressing table chair. All the dimensions
for making it are given here. The metal
straps to strengthen the back may be pur-
chased at the hardware store along with
the nails and screws.
The back and the seat of the chair are
heavily padded with cotton batting. Here
the box pleated skirt is paprika red and the
back and seat covers a warm tan, bound in
the red. Red upholstery tacks are driven
right through the cover and the padding
into the wood to make the tufting.


WE WAVE A MAGIC WAND OVER BEDROOMS
103
TUFTED TASSELS * I
FOR CURTAINS AND a i>l0<U
A rather dark guest room was a problem
in a certain house where spare minutes were
used instead of expensive materials to ob-
tain smart effects. It was decided to
brighten the room up with yellow, and
touches of brown were used to add charac-
ter. The result was very chic and modern.
Tufted tassels in brown on yellow ging-
ham were used for curtains and the skirt
of the dressing table stool. The stool was
made of a box and the top was padded
and covered in plain brown. The bedspread
reversed the colors with yellow tassels on
brown material. Several rows of tassels
may make a border for a bedspread or cur-
tains instead of using an all-over design.
The diagram at the upper right shows
exactly how the little tassels are made.
They should be spaced about 6 inches apart.
Use a pencil and ruler to mark the material
with dashes where the tassels are to be
made.


BROWM
CANDLEW/CKIWG
i
^YELLOW GINGHAM
FOR CURTAINS
AND RUFFLE -
USE A BOX FOR
SEAT- PAD TOP
WITH COTTON
AND COVER WITH
BROWN GINGHAM


106
HOME DECORATION WITH FABRIC AND THREAD

MAKE YOUR OWN
DESIGN FOR A
This dresser scarf is of deep cream linen
embroidered in tones of blue, rose and
green. Any colors that harmonize with
your room might be used. Here are all the
directions needed for the embroidery.
Cut the linen 17-inches wide and 35-
inches long. Turn and baste hems %-inch
deep. Use a soft pencil and a ruler to mark
squares measuring 3-inches each way just
inside the hem; or draw out threads of
the material to mark them in straight true
lines. Outline these squares in chain stitch
in a light blue, as at A; then back stitch
over each link in a darker blue, as at B.
The chain stitching also sews the hems.
Draw around the open end of your thimble
or a dime to outline the larger flowers, then
embroider in rose, as at C. The loop stitch
used for leaves and the light blue part of
small flowers is made, as at D. Back stitch-
ing is used for stems and slanted stitches
for small leaves. Make the tiny dark blue
chain stitches, as at E.


108
HOME DECORATION WITH FABRIC AND THREAD

THIN MUSLIN

GLAZED
CHINTZ
COTTON SHEET
WADDING
MACHINEI
A y \ x* \
QUILTER h
*/. A • / » >
i.'^1 • y
X A
T • *
X£\ v • /
* u
* s
□ • * *
/ /
™ ft# ft # ft
.1* ■ * 1
s
\ / \ A
BIAS BINDING^
S
v I
■ «—-
\ i \
DRESSER DRAWERS
FITTED WITH
Time was when a clean newspaper was
put in the bottom of a dresser drawer every
so often, and the date of the one removed
proclaimed how long it had been since this
housewifely task had been performed. Now
we make pads to fit the drawers.
Machine quilting is just the thing to give
the pads stiffness and body. Glazed chintz
in plain soft blue with darker blue bindings
of bias trim are used for the pads shown
2udtedPcuk
here. Each pad is made of three layers of
material as shown in the upper diagram.
Before quilting these are basted together
with diagonal rows of basting about 4-inches
apart starting in the center of the pad.
The machine quilter is a foot with a guide
attached. The guide runs along the previ-
ous row of stitching making an accurate
gauge for spacing the rows.


112
HOME DECORATION WITH FABRIC AND THREAD
SAVE SPACE
WITH
2)ooa Pocketi
Have you door space going to waste?
There is always the inside of the closet door
—even in the tiniest apartment. A pocket
like the one shown here gives a place for
shoes, whisk broom, hat brush and even a
dust cloth to have within easy reach when
tidying up the bedroom. The large pocket
at the bottom is used for small pieces of
laundry.
You will need 2V2-yards of material 36-
inches wide and 8-yards of bias trim to
make this door pocket. All the dimensions
and directions for making are given here in
the diagram.
There are other places in every house
where door and wall pockets are useful.
The broom closet door offers a place for
cleaning brushes and bottles of furniture
polish. A large pocket of heavy ticking
makes a good place for old newspapers.


116
HOME DECORATION WITH FABRIC AND THREAD

HOW TO
MAKE A
There is a delectable array of colors from
which to choose blankets to fit any room
color scheme these days, and matching pro-
tectors for the upper edges will not only
make them wear longer but will reduce the
number of times that they must be washed
or cleaned.
A length of washable silk two inches
longer than the width of the blanket will
make protectors for a pair. Any soft cotton
material or a cotton and rayon fabric is also
good to use for this purpose. Cut the mate-
rial lengthwise through the center and use
one piece for each blanket. Turn narrow
hems along the lengthwise edges and sew
with feather stitching or other decorative
stitch, as shown here at A. Now, turn to
the wrong side and stitch a tuck just inside
each hem, as at B and C. Hem the ends
next, as at D and E. Baste the protector
over the top of the blanket sewing through
the tucks on the under side. By sewing
it in place this way it may be removed easily
for washing.


118
HOME DECORATION WITH FABRIC AND THREAD

Catch Stitch with Contrasting
Stitches Added

Variation of Catch Stitch with
Contrasting Stitches

Chain or Loop Stitch
GiajAf, Patch Wonk
IN A MODERN SETTING
This is one of the oldest quilt designs and, when it
is made of silk pieces embroidered along the edges,
it fairly glows with color. These quilts, backed and
bordered with taffeta, are being used now instead of
afghans, in the living room or bedroom; or to make
luxurious bed covers. I have shown corners from two
very old quilts of this type here.
These quilts are much more simple to make than
one in a set pattern for a crazy patch is not quilted
when it is finished but tied like a comforter. The pieces
are always irregular in shape and usually not more than


WE WAVE A MAGIC WAND OVER BEDROOMS
119


Blanket Stitch with French
Knots

Back Stitches Interwoven in
Two Colors

Three Sided Canvas Stitch with
Contrasting Stitches
four or five inches long. They are fitted together on
a foundation of soft muslin, flannel or an old wool
blanket. The raw edges are turned under where one
piece laps over another, as shown in the sketches. A
number of pieces may be pinned or basted in place
before the edges are sewn down with the embroidery
stitches. Plain taffetas and satins, soft pieces of velvet,
necktie silks, small flower designs, stripes, plaids,
changeable silks and ribbons may be used. Avoid thin
silks and modern looking designs.
The diagrams show the old fashioned stitches that
were used for crazy patch embroidery. Here also are
some of the amusing little designs that were used to
fill odd corners. Variations and elaborations of a few
fundamental stitches were invented until some quilts
displayed several hundred different combinations. All
colors of embroidery thread of various weights and tex-
tures were used in a single quilt. Many of these stitches
look quite different in fine and in heavy thread. Fine
floss and rope silk as well as cotton embroidery threads
were used.

Beetle


COME INTO THE KITCHEN
121

RED OILCLOTH
*-MARK
SCALLOPSI
BY DRAWING
AROUND A CUPI
— CUT OUT
AND PASTE
ON THE
WINDOW
FRAME
RED RICK
RACK
CREASE CURTAIN HEMS
/4'WIDE WITH A HOT IRON

STITCH
FROM
RIGHT
O,LCLOTHT0 <hame A Wi«dom
When a kitchen has been fitted with all
the most modern equipment, the windows
seem to call for some strong treatment that
will make them stand out and look smart
and new, and modern, too. In one kitchen
of this kind the windows were framed in
cut-out scallops of red oil cloth pasted to
the window frame. Red and white dotted
Swiss curtains edged in red rick rack and
tied back with bands of red oil cloth com-
pleted the window plan.
If red and white is not your color scheme,
this idea might be worked out in brilliant
blue or green. The whole story of how the
oil cloth scallops and the curtains were
made is told here in the sketch. Wall paper
paste was used to hold the scalloped strips
in place. The scallops for the top strip
were started at the ends of the strip. The
center scallop was made larger than the
others by drawing around a plate. Curtain
tie-backs were made of 4-inch strips of the
oil cloth folded and pasted with the raw
edges to the center of the inside.


COME INTO THE KITCHEN
123
WHITE WITH
These curtains may be adapted to win-
dows of almost any type. The casement
curtains in the center are made of white
dimity with 1-inch heading and a curtain
rod at the top and bottom. They are held
in with 3-inch bands of bright gingham fas-
tened with hooks and eyes. The loops,
made as at A, slip over the hooks.
The side curtains might be used by them-
selves for any type of window. They are
made of white muslin trimmed in bands of
plain gingham. The diagram indicates the
width and spacing of the bands. The top
edge is turned over 1 Va, inches to the right
side and a band of the colored fabric is
stitched over it to form the rod casing.
The colored bands may be green, blue,
red, yellow, or even black if that is what
you happen to be using for accent, in your
kitchen. Bands of a figured print, or a
combination of colors may be used such as
red and blue, blue and green.

7ZZZZZZZZZA
CO


124
HOME DECORATION WITH FABRIC AND THREAD

8WHITE I6 GREEN

QUILT BLOCK
DESIGN FOR
PotJlaldesU
A green-and-white kitchen is as fresh and
crisp as a lettuce leaf. One that I know
has white walls, a green floor and green
organdie curtains. Everything is green and
white and over the stove there hangs a set
of patchwork pot holders like a row of green
and white tiles. The design of them is the
nine pointed star that most of us remember
in old-fashioned quilts. It is made of tri-
angles of two sizes. Here are patterns for
them that you may trace.
The block is made by piecing eight
squares of one green and one white triangle,
then four oblongs of two green and one
large white triangle. These are joined to
make the star pattern. A layer of sheet
wadding is used for padding and the back-
ing is made of the white material. The
three layers are quilted together by sewing
just inside the white pieces of the pieced
top. The edge is finished with a bias bind-
ing and a loop is made at one corner.


COME INTO THE KITCHEN
125
APPLIQUE

The two flower designs used for this pair
of pot holders are made by combining
flowers cut by the patterns outlined on this
page with plain circular pieces and then
adding leaves and stems made of prepared
bias trimming. Slash the seam allowance
of all curved edges as indicated here in the
pattern pieces and then sew the pieces in
place, as at A. It will not be necessary to
slash the edges of the bias strips for stems
and leaves except where the leaves are
turned over, as shown at B. The bias
pieces are folded in four thicknesses for
stems.
i


126
HOME DECORATION WITH FABRIC AND THREAD
DOOR
POCKETS FOR
There can be a place for everything in the
tiniest kitchen. For many things, narrow
shelves are more efficient than wide ones.
Racks with slats on the front are better for
pie tins, pot lids and cake pans than shelves
where they are stacked one on top of the
other.
This sketch shows a kitchen closet that
is less than a foot deep. The twin pockets
on the door are for dish towels—the upper
one for clean towels; the lower for soiled
ones. Over the pockets is a rack for the
towels that are in use.
The pockets themselves are made from
four dish towels with bright red borders. All
the dimensions and step-by-step directions
are given in the sketch. If toweling by the
yard is used, 314 yards will be needed. The
pair of pockets is hooked to the door with
brass rings sewn to the corners.


COME INTO THE KITCHEN
131
HANDWRITING
TO MARK
2>tiA "Mi
There is logic in the idea that glasses,
china and pots and pans should have their
own towels. Here is a simple way to make
that logic work. Write across the corner
of each towel the purpose for which it is
to be used. Use a soft pencil and your
best script with the tall letters at least
two inches high. If you want to trace the
words from paper, blacken the back with
your pencil, place it black side down on the
material, then trace over the outline.
Work over the handwriting with heavy,
bright colored embroidery thread. Chain
stitch, as shown here at the upper right,
gives a good strong outline and may be done
quickly. Use a different color for each kind
of towel. Colored facings of prepared bias
binding used flat as shown at the lower left
make a practical edge finish. If you use
flour and sugar sacks for dish towels, these
suggestions for adding color will be espe-
cially useful.


134
HOME DECORATION WITH FABRIC AND THREAD

n <? . /. ON A BRIGHT
q*f SqudMeli BAcKGROUND
The squirrel shown here in the cross-
stitched design is to be embroidered in soft
grey, yellow and brown yarn, and he will
show up best on cushions and draperies of
some clear brilliant tone such as red, bright
blue, orange or green.
The draperies and the cushion in the
sketch are made of red cotton material.
The number of fabric threads you take up
on the needle for each stitch will depend
upon the coarseness of the fabric. To make
the squirrel 7V2-inches high, each cross-
stitch should be 3/s-inch long. The stitches
slanting in one direction may be made
across the row first, and then the stitches
slanting in the opposite direction may be
made to cross them. Follow the design row
by row counting the stitches. If the mate-
rial hasn't clearly defined warp and woof
threads, baste coarsely woven canvas over
it. Cross stitch through the canvas and
then pull the canvas away thread by thread.


THINGS THE CHILDREN WILL LIKE

AN OLD
FASHIONED
There is a certain store in New York
where parents take their children to see the
marvelous display of toys at Christmas time.
Among all the modern wonders a season or
so ago, a large bandanna doll was a striking
object to behold and the cause of much
comment.
A big doll of this kind requires two hanks
of yarn and the biggest bandanna you can
find. Tie the hanks as at A, then cut across
the bottom. Make the head as at B, then
separate the sides and bind, as at C and D.
Cut these off, as at E. Bind the body, as
at F. Make the eyes and mouth with
stitches of white darning cotton and sew
black beads in the center of the eyes.
Cut a square out of the center of the
handkerchief large enough to be cut diago-
nally to make two triangles—one for the
head kerchief and one for the shoulders.
Gather around the square hole in the ban-
danna and draw it up to make the skirt.


138
HOME DECORATION WITH FABRIC AND THREAD
JOIN SIDES WITH. A 2" STRIP
BETWEEN

FOR A STUFFED TOY
I
Z
3
i
3
A
1
f v>
f
'//f
,\
//'
c
\i
/
'ml
s
\
\
h
/
fl \
ll
1 ^
II
\
II
11
11
\
r
\
\
V

6
FOR
APPLIQUE
ON CUSHION
RULE PAPER
IN SQUARES!
THEN DRAW
SCOTTIE
AS SHOWN
MAKE A
PATTERN FOR A
By far the most admired toy in a gay and
modern nursery was a red and black striped
Scottie with a gleam in his pearl-button
eye. A college girl in the family pilfered
the pup for a mascot. The baby cried, so
it was necessary to make another Scottie.
The same pattern was used for an applique
for Sonny's pillow which met with his en-
thusiastic masculine approval.
You can make a pattern for a Scottie
yourself by following this diagram. Rule
Scottie 2>0f
paper in squares measuring 1 Vi-inches.
Number these around the edge as this will
help you to follow the diagram. Now, draw
the pattern so that the outline crosses the
squares just as it does here. This makes
a dog 7'/»-inches high. Two sides are cut
for the stuffed toy and these are joined
with a 2-inch strip of plain material. By
ruling the paper in either larger or smaller
squares, you may make a dog any size de-
sired.


THINGS THE CHILDREN WILL LIKE
139
DOLLS FOR
Bnxdlt&i and Si&tek
Here is a boy and a girl doll that you
can make quickly. Each body is two tubes
of material made of fabric stitched together
to simulate socks and shoes and then
stitched, turned and stuffed as indicated at
the left of this sketch. The head is a 2-inch
ball of cloth covered first with cotton and
then with tightly stretched cloth sewed in
the back as in steps 1 and 2. The wig is
made as in step 3.
The diagram shows how the tubes and the
head are sewn together. Sew across the
top of the legs to make the doll jointed.
Sew the arms down and the tips of the feet
up as indicated. Sew clear through the
head when adding the bead eyes about half
way between the top and bottom. This
shapes the cheeks. A few stitches in red
make the mouth. The pleated skirt is cut
straight. The trousers are slightly shaped in
the crotch. The sweaters are made from
the striped tops of children's socks.


THINGS THE CHILDREN WILL LIKE
143
THIS IS THE
WAY TO CUT
Socks and slippers are applied right on
the doll. Slipper straps are worked in out-
line stitch. Underwear may be applied in
the same manner. The dress is of straight
pieces.
Rule paper in 1-inch squares and then
outline patterns for the coat and hat as
shown. The piece marked A is the front
of the coat. The lengthwise dotted line
indicates where the front facing is turned.
B is the back of the coat. The dots indicate
that the center back is placed on a fold
in cutting the goods. C is the sleeve. The
notches match the notches in the armholes.
D is the hat. The seam allowances in the
pattern pieces are V^-inch. The pointed
ends of the brim lap over the center sec-
tion of the hat in the back. The coat collar
is a straight double piece of fabric about
Vi-inch wide finished.


144
HOME DECORATION WITH FABRIC AND THREAD

A
*

It is a simple matter to make a yoke and
sleeve pattern to fit any doll. The skirt
of the dress is then cut perfectly straight
with the measurement around the top three
times that of the bottom of the yoke.
The front and back of the yoke pattern
require pieces of paper Vi-inch wider than
half of the doll's chest measurement. Di-
vide these pieces evenly as shown by the
dotted lines in diagrams 1 and 2. Now,
outline the front of the pattern as in dia-
gram 1 and the back as in diagram 2. The
CUT TO FIT
line marked A is placed on a fold of the
goods in cutting. B marks the center back
opening. The sleeve pattern requires a
piece of paper as deep as the yoke and
twice as wide as the measurement around
the top of the doll's arm. Draw a triangle
with the upper point at the center top and
the base one-fourth the depth of the paper
from its lower edge as in diagram 3. Shape
the front of the sleeve top to curve over the
left side of the triangle and the back to
curve out and then over the right side.


THINGS THE CHILDREN WILL LIKE
145
THIS IS THE
WAY TO CUT A
Use the front of the yoke pattern from
the doll's dress as a guide for cutting pat-
tern for the slip. It is shown by the dotted
lines in the diagram at the upper left. The
center front line is flared slightly as at A.
The neck and armhole are cut a little deeper
than those of the yoke, and the underarm
seam is cut to flare. The back of the slip
pattern should be like the front except that
the center back line is straight and the bot-
tom curves up slightly toward the side seam
but not toward the center. Both the center
back and center front are placed on a fold
of the goods in cutting.
The front of the panty pattern is shown
at B. The back should be cut just like the
front except that the waistline is straight
instead of curved. Cut the paper for the
pattern pieces slightly wider than half the
doll's hip measurement. Divide the paper,
as shown by the dotted lines in the diagram,
and then outline the pattern, as shown.


146
HOME DECORATION WITH FABRIC AND THREAD
i
■ %
PASTE-
FACE
on ir» #J
^KNOTJ
SOFT
WIRE

CORD
DRAW
EYES
WITH
USE SOFT-^Mg> WCRAYON
WIRE. DRAW IT
UP TIGHTLY ANI
TWIST ENDS AROUND TAIL CORD

IT'S FUN TO MAKE
Remember that it is only fair to let the
children join in some of the fun of making
toys. They will love to help you make little
Miss Spools and her dog, Bastings.
The two spools for the doll's arms are
strung together with cord. Start with these,
then bend the body wire over the center of
the cord. Run both ends of the wire through
the two body spools, then bend the wires
and run them through the spools for the
legs. Bend in flat loops for the feet. Twist
wire around the bonnet spool and fasten to
body tightly so the bonnet tips up at the
back. Cut a face out of a fashion maga-
zine or draw one and paste it on the front
of the bonnet spool. The dress is of two
straight pieces; the bright sash and bonnet
ribbons match.
One end is cut off the spool for the dog's
head. Bend the wire over the whiskers, then
run both ends through the head and neck
spools. Run one end through the two leg
spools, then both through the body and one
through the back spool.



3><Ul
You can see for yourself how sleepy this
rag baby is. A really companionable bed-
time doll should be at least 24-inches high.
You can make a pattern by ruling a paper
into 2-inch squares, as shown here at the
left; then drawing the doll outline over
them.
Cut the front and back of the doll by the
pattern, using unbleached muslin tinted
flesh color. Stitch together leaving an
opening at the top. Turn right side out
through the opening at A. Use cotton or
bits of clean rags for stuffing; forcing the
pieces in tightly with the blunt end of a
pencil.
Stuff the arms and legs first, then sew
across as at B and C. Stuff the body and

head and sew up the opening. Make yarn
fringe along the bottom of the eyelids and
then sew them in place as at D. Draw the
mouth in a modified heart shape and em-
broider in red as at E. Sew the yarn hair
in place as at F. The doll pattern may
be used as a guide for cutting the pajamas,
making them a little larger than the doll.