Choosing the Correct Size Oriental Rug for your Living Room

The following wonderful advice on selecting the proper size of an Oriental Rug for your living room is from Azerbaijan Rugs – enjoy!

“A living room rug can be any size, from a 3′x 5′ or 4′ x 6′ accent rug in front of the couch, to a large carpet that nearly fills the room. We can get you thinking, however, with these general considerations…

Will the rug be in the foreground or background?

Do you want the rug to set the visual tone in the room, or is something else visually more important?

If the space is bland and neutral in color and feel, a bold(er) rug design with more saturated colors and stronger color contrasts will add impact and be be the first thing you notice in the room.

If the space is already quite busy with artwork, architectural detail, bookcases, lots of furniture, etc., a larger, more quiet rug will have the effect of knitting the space together and calming the room.

Let Julie Risman help you choose the right size rug for any room.

Multiple rugs define multiple spaces

Sometimes the living room is so large that it seems to lack human scale – you’re sitting here, and your guests are sitting way over there. Several rugs can be used to carve out multiple spaces that feel more intimate and homey in a large room.

Think about how the room is used. Is there a natural focus like a fireplace or gorgeous view? Is there a secondary area that will take a comfortable stuffed chair, side table, and bridge lamp? Spaces like these can be defined with appropriately sized rugs. The effect is to organize a large space into more complex but more human-sized areas.

A long term tendency toward using smaller rugs

Since the 1950′s people have been choosing smaller living room rugs. When wall-to-wall carpeting was in vogue, people so individualistic as to buy Oriental rugs chose big rugs that nearly filled their living rooms. A typical arrangement was a nearly wall-to-wall Oriental with furniture arranged around its perimeter. These days hardwood floors are an expensive and attractive architectural detail, and it seems silly to cover them up.

Living room rugs are commonly sized today so that major pieces of furniture (couches, love seats) abut the rug, but do not sit on the rug. When you sit on the couch your feet are on the carpet. You can appreciate the carpet’s design and colors because it’s not hidden under the furniture.

You can use quite a small rug as the “main” rug in a living room. An arrangement consisting of a 5′ x 8′ rug centered on the fireplace in front of a couch and end tables, and flanked by two upholstered easy chairs, will occupy a floor space of about 12′ x 18′.

How do rugs relate to each other?

san antonio oriental rugIf you use more than one rug in your living room, how do you make them compliment each other?

Think about a 14′ x 24′ living room. The space would comfortably hold two 8′ x 10′ rugs side-by-side, but this arrangement splits the room right down the center and invites psychological disquiet. It would be hard to make this room seem restful.

alamo heights oriental rugA much better arrangement would be to use a bigger rug in one area and a smaller and clearly secondary rug in another.

There is also the issue of how to relate colors and patterns in two (or more) rugs. Basically, rugs can resemble one another in three characteristics: color, design, and texture. The more rugs share the same attributes of color, design, and texture, the better they will “go together.”

Be careful, though! Too much similarity submerges the individuality that makes a particular rug interesting. Better not to try to clone the big rug in a smaller size, but rather to find a smaller rug with an all-over pattern instead of the big rug’s medallion design, or a smaller rug in the inverse color combination of the big rug. The small rug should add something unique to the space.” (Azerbaijan Rugs)

Oriental Rug References:

>> contact Julie Risman

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Art Deco Furniture

san antonio art deco“Art Deco, although its name is derived from the 1925 Paris International Exposition of Modern Industrial and Decorative Arts (Exposition Internationale des Arts Décoratifs et Industriels Modernes), can be traced back to the first decade of the 20th century, especially to the sharply defined geometric forms of the Sezessionstil. The Bauhaus concern with the use of new materials also had its influence.”
(France Era Co.)

san antonio art deco furniture

Bauhaus chair

“Also called Style Moderne, the Art Deco movement in the decorative arts and architecture developed into a major style in western Europe and the United States during the 1930s. Art Deco design represented modernism turned into fashion. Its products included both individually crafted luxury items and mass-produced wares, but, in either case, the intention was to create a sleek and anti-traditional elegance that symbolized wealth and sophistication.

alamo heights art deco

Art Deco clock

The distinguishing features of the style are simple, clean shapes, often with a ‘streamlined’ look; ornament that is geometric or stylized from representational forms; and unusually varied, often expensive materials, which frequently include man-made substances (plastics, especially bakelite; vita-glass; and ferro-concrete) in addition to natural ones (jade, silver, ivory, obsidian, chrome, and rock crystal). Though Art Deco objects were rarely mass-produced, the characteristic features of the style reflected admiration for the modernity of the machine and for the inherent design qualities of machine-made objects (e.g., relative simplicity, planarity, symmetry, and unvaried repetition of elements).”  (Encyclopaedia Britannica)

The most accomplished art deco designers were French: Louis Majorelle, André Groult, Pierre Chareau, and Jacques Émile Ruhlmann. Their pieces have a streamlined richness that owes as much to superb handcrafting — lustrously finished rare woods with inlays of such exotic materials as ivory in angular, abstract designs — as to their daring geometric shapes. The style was rapidly debased, however, by shoddy mass-produced pieces.

Art Deco References:

>> contact Julie Risman

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Measuring for Inside Mount Window Treatments

san antonio window shades, inside mount

Window blinds using an Inside Mount

Inside mounted window blinds require more precise measurements, so always use a metal tape measure or yardstick to ensure the accuracy of your measurements.

First measure the window opening on the diagonals.  If the two diagonal dimensions are not identical, the window is out of plumb (e.g. it’s skewed).

This is frequently the case, so you instead may want to use an Outside Mount if maximum window coverage for privacy and light blockage is an important consideration.

san antonio window treatments

Measuring to ensure that window is plumb

alamo heights window treatments

Result of using an Inside Mount on an out-of-plum window

Step-by-Step Instructions

alamo heights window blinds

First measure width in three places

  1. Since width is listed first when ordering window treatments, always measure the width first to prevent mixing up the two measurements.
  2. Measure the width of the window opening at the top, center, and bottom of the window.
  3. Record all measurements right away, before you forget.
  4. Take the smallest width measurement, and round it down to the nearest 1/8 inch.  This will be your WIDTH measurement.
san antonio window blinds

Measure height in three places

  1. Measure the height of the window opening at the left,center, and right of the window.
  2. Record all measurements right away, before you forget.
  3. Take the smallest height measurement, and round it down to the nearest 1/8 inch.  This will be your HEIGHT measurement.

Repeat the process for each window, even if they are supposed to be the same size – they probably aren’t.

>> contact Julie Risman

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Measuring for Outside Mount Window Treatments

Measuring for Outside Mounts require less precision than for Inside Mounts, although it’s still best to use a metal tape measure or yardstick to ensure accurate measurements.

san antonio window treatments

Window blinds using an Outside Mount

Since Outside Mounts are more “forgiving”, they are the preferred choice for inexperienced DIY-ers. But they also provide more complete light blockage and privacy.

Although each manufacturer may have specific instructions regarding how the dimensions are to be calculated, the following provides a general overview of what’s needed.

Step-by-Step Instructions

  1. Since width is listed first when ordering window treatments, always measure the width first to prevent mixing up the two measurements.
  2. san antonio outside mount window treatment

    Measure width at window center

  3. Measure the width of the window opening at the center of the window, and round it up to the nearest 1/8 inch. This will be your WIDTH measurement.
  4. Allow for any recommended overlap beyond the window molding for the specific window covering to be ordered – a two inch overlap on each side is common.
  5. Be sure to follow the manufacturer’s instructions carefully: some manufacturers want the specified width to include the overlap, while others will add a pre-specified amount to the opening width that you provide.
  6. Record all measurements right away, before you forget.
  1. Measure the height of the window opening at the center of the window, and round it up to the nearest 1/8 inch.  This will be your HEIGHT measurement.
  2. alamo heights outside mount window treatment

    Measure height at center of window.

  3. Allow for any recommended overlap below the window sill for the specific window covering to be ordered – a four inch overlap at the bottom is common.
  4. Be sure to follow the manufacturer’s instructions carefully: some manufacturers want the specified width to includethe overlap and the height of the headrail, while others will add a pre-specified amount to the opening length that you provide.
  5. Record all measurements right away, before you forget.

Repeat the process for each window, even if they are supposed to be the same size – they probably aren’t.

>> contact Julie Risman

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Pre-War American Furniture (part 3)

Grand Rapids manufacturers seized upon these various design elements and began to produce the style cheaply. Stickley had to mark his furniture to differentiate it from what he thought were inferior products. He was particularly angered when his brothers Albert and J. George Stickley began producing their own lines of  ‘Stickley’ mission furniture in 1902. The Stickley Brothers were best known for their bookcases and bedroom furniture, and also for their metalwork latches and hinges that had a hand-hammered look. The Stickley Brothers eventually bought out their brother Gustav’s company after he went bankrupt in 1917.

Grand Rapids Area Furniture Manufacturers, alamo heights furniture

Grand Rapids Area Furniture Manufacturers logo

“Other important companies producing mission furniture in Grand Rapids included the Charles P. Limbert Co. Limbert began as a salesman for the Old Hickory Furniture Co. in Martinsville, Indiana, a company that produced popular Arts and Crafts-era rustic furniture. Limbert learned furniture design while living in Chicago, and moved to Grand Rapids to open his own company. The Charles P. Limbert Co. was at its peak from 1904 to 1906. In addition to the traditional Arts and Crafts influences, Limbert was also influenced by traditional Dutch designs, and often promoted the connection between his company and the Dutch settlers of Western Michigan, many of who worked for his company. Other major Michigan manufacturers included the Grand Rapids Bookcase and Chair Co., which produced the ‘Lifetime Furniture’ line, and the Michigan Chair Company.

Grand Rapids Furniture Record, san antonio furniture

Grand Rapids Furniture Record

Grand Rapids furniture manufacturers produced both high-minded and aesthetically pleasing mission furniture, and cheap, crass commercial knock-offs. Even though most of this furniture was built by machine, consumers felt they were buying quality, handcrafted products largely because of the sturdy joinery techniques and hard oak wood. Much of the furniture, even the cheaper-quality items, lasted for years. But the philosophy of the Arts and Crafts Movement of hand-made products of integrity, utility, and simple style was never a part of why most people bought mission-style furniture.

At its height, the Grand Rapids furniture business was as huge success, largely due to Arts and Crafts designs. ‘Furniture City’ boasted the largest furniture showroom in the world. To protect their interests, the major producers joined together in 1911 to create the Grand Rapids Furniture Manufacturers Association, and published the Grand Rapids Furniture Record, a trade publication.

Its decline as a leader in furniture production corresponded with the decline of Arts and Crafts furniture. After the major forests around the city were depleted of resources, the industry moved to cheaper labor markets in the South. During World War I, fifteen of the Michigan manufacturers joined together to build airplanes, a venture that was far from successful. After the war, neither Arts and Crafts furniture nor its Grand Rapids producers recovered.” (Carlson Library, The University of Toledo)

Donald Deskey table, custom furniture san antonio

Donald Deskey table

“With the exception of the work of Louis Comfort Tiffany, who designed furniture primarily for his own use, the United States produced no outstanding art nouveau furniture. Art deco flourished in the United States, mostly in mass-produced furniture of lesser quality. A notable exception is the work of the studio of Donald Deskey, which in 1932 created the palatial art deco interiors and the furniture of Radio City Music Hall in New York City.

The American architect Frank Lloyd Wright also designed furniture, but its idiosyncratic appearance defies categorization, since the furniture design was entirely subordinated to the design of the building; the same motifs appear in both. Wright consistently favored built-in furniture, which tended to merge with the architecture.” (France Era Co.)

>> contact Julie Risman

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Pre-War American Furniture (part 2)

Roycroft funiture, Fra Magazine, san antonio furniture

Roycroft furniture ad in Fra Magazine

“From its inception in 1894 to its demise in 1938, the Roycroft community produced some of the finest hand-crafted furniture, books, lamps and metal work of the Arts and Crafts Movement. The community reflected the Movement’s ideals of art and craftsmanship as instruments of social reform in its organization as well as in its products. The high quality and unique artistry of the Roycroft creations made them very popular. But it was the business acumen and charismatic personality of its founder, Elbert Hubbard, that made Roycroft one of the most successful artistic enterprises of the Arts and Crafts era.” (The Arts & Crafts Society)

Philistine magazine, Elbert Hubbard, san antonio decorator

Philistine magazine published by Elbert Hubbard

“Hubbard was intrigued by the philosophy of the Arts and Crafts Movement and went to England to visit William Morris and his Kelmscott Press. He returned to East Aurora, NY in 1894 where he set up a print shop and published a magazine called ‘The Philistine’ which contained his interpretations of the craftsman ideals. The magazine, along with other philosophical pamphlets and publications, became popular and helped to bring Hubbard and the Roycroft community to national attention while supporting their activities at the same time.

Roycroft was an artistic community which grew out of the initial success of the print shop. The shop led to the establishment of a bindery where fine chamois and leather-bound books were made. Soon a leather shop, a metal working shop, and finally a furniture shop were added. The Roycrofters, as the craftsmen were called, published catalogs featuring leatherwork, copper wares, leaded glass lamps and their version of the popular Morris chair.” (The Arts & Crafts Society)

Karl Kipp (Roycroft) copper vase, san antonio decorator

Karl Kipp (Roycroft) copper vase

“The artisans and their designs came to embody the spirit of the Arts and Crafts Movement. Roycroft became a guild of some of the finest craftsmen of the time due to Hubbard’s recruiting efforts and the Roycroft community concept. Dard Hunter, an expert in papermaking , started in 1903 designing metal and leaded glass objects and furniture as well as leather book covers. Karl Kipp, a one-time investment banker, began work in 1908 in the bindery, developed a talent for metal work and established the Roycroft copper shop. Other well known craftsmen included Frederick Kranz, who made fine leather goods, and Will Denslow and Samuel Warner, artists whose beautiful illustrations filled the Roycroft books.” (The Arts & Crafts Society)

Roycroft cabinet, alamo heights decorator

Roycroft cabinet

“Roycroft furniture, as advertised in the 1905 catalog as ‘Aurora Colonial Furniture,’ was described as ‘simple, solid, substantial, severe, and rarely beautiful.’ Most of it was made of oak, assembled with wooden pegs, pins and mortise-and-tenon joints and finished with a ‘secret finish’ and wax. All Roycroft products were stamped either with the Roycroft name or insignia which was a cross and orb once used by a medieval bookbinder.” (The Arts & Crafts Society)

… to be continued …

>> contact Julie Risman

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Pre-War American Furniture (part 1)

“The Arts and Crafts Movement in America is probably best known for the furniture it produced. Indeed, many claim that the furniture of the period was the one truly American product of the movement. Most of the furniture was built in the Midwest, particularly in Grand Rapids, Michigan. The golden years of Grand Rapids’ reign as ‘Furniture City’ corresponded with the height of the Arts and Crafts influence on furniture design.

Gustav Stickley bookcase, san antonio interior design

Gustav Stickley bookcase

Roycroft and Gustav Stickley may have conceived of the artistic elements of Arts and Crafts furniture, but it was the large manufacturers in Grand Rapids who translated their artistic designs into affordable items and successfully marketed them to the masses.” (Carlson Library, The University of Toledo)

Gustav Stickley created the Mission style, ostensibly based on old Spanish furniture in the California missions. His carefully constructed oak furniture, made between 1900 and 1913, was rectilinear, simple, and utilitarian, with decoration limited to the handsomely crafted hardware.” (France Era Co.)

“The furniture is distinctive in its design elements, and is not easily confused with other furniture styles. It was plain and simple, with no decoration except an occasional corbel that provided support to heavy chair arms or overhanging table tops. It was built using mortise and tenon joinery techniques, which made it durable. Often the tenons extended through the mortise to make a particularly strong joint.

It was always made with American hardwoods, usually white or red oak that was both plentiful and solid. While it was plain, it was nonetheless beautiful in the techniques used to finish it. The oak was often quarter-sawn, which highlighted the wood grain in a unique way, and it was thoroughly treated with concentrated ammonia fumes to bring out the grain and create a long-lasting finish.

Chairs and tables were made with wood slats, and the legs were usually straight and held together with stretchers. If upholstered, it was covered in dark leather often held in place with hand-hammered nail heads. Pulls, latches, and hinges also appeared to be hand made in copper or pewter.” (Carlson Library, The University of Toledo)

… to be continued …

>> contact Julie Risman

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Reviewing the Interior Design Proposal (part 2)

What should I look for when I review an Interior Designer’s proposal? What’s the best way to make sure that my remodeling gets off to a smooth start?

A brief summary of the timeline – the designer already knows the deadline as well as the budget, but what are some of the significant milestones along the way?

  • What are the key dependencies to bringing the project in on-time?
  • What decisions do you need to make – and when – in order not to delay completion?

It’s not reasonable to expect a day-by-day calendar at this point, but they should have at least some idea of how long the major phases of the project will take – or be able to explain why not.

Be sure that seasonality has been addressed. For example, a project like yours might typically take three weeks. That doesn’t mean that if you start on December 10th, the project will be complete in time for your New Year’s Eve gala. The last ten days of December are generally a total loss – that’s seasonality. Ask what impact – if any – the school calendar will have on your project. Spring Break isn’t only for the kids…

A brief summary of how the decorator will charge for their services – you should already know this by now – but it’s a good idea to have this information in writing, and included in this proposal. This protects the design professional as much as you, and requires that both of you revisit this topic in the context of the work to be done.

A formal acceptance of the assignment – each of you should sign and date the proposal, and be sure that you both get copies.

  • It protects you by verifying that you have read the proposal, and are acknowledging that the designer correctly shares your understanding of the project.
  • It also protects the decorator by ensuring that you have read the proposal, noted any caveats that might have documented, and have accepted their fee schedule.

Is this a contract? Not really. But from this point forward, there really should be no excuse for misunderstandings or mis-communications.

>> Learn more about Working with an Interior Designer

>> contact Julie Risman

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Reviewing the Interior Design Proposal (part 1)

What should I look for when I review an Interior Designer’s proposal? What’s the best way to make sure that my remodeling gets off to a smooth start?

You’ve now had an opportunity to meet with a number of decorators and designers, and you’ve decided that one of them is a perfect match for you and your project – what’s next?

The last step is to request that the selected design professional submit a proposal that provides the following information:

A brief summary that reflects the designer’s take on the project – this ensures that everyone is on the same page at the start of the project. If, when you said “kitchen remodeling,” you meant “updating and refreshing” – but the designer interpreted it as “take it down to the studs, and further if necessary” – now is the time to know it.

A brief summary of the decorator’s ideas – you are hiring them (at least in part) for their ideas and sources – so, what are they bringing to the party?

  • What do they think about your ideas?
  • How will they improve upon them?
  • What closely-held resource(s) will they call upon to make your home décor unique?

There’s nothing inherently wrong with someone who proposes to execute your ideas verbatim – as long as their compensation is appropriately discounted to reflect their lack of creativity. But if you’re expecting an artist of interiors, and they are proposing to be a glorified “go-fer” – now is the time to know it.

A brief summary of the budget – the designer already knows the bottom-line number from your interview discussion, but what are their high-level ideas for using that money?

  • How much for furniture, lighting and artwork?
  • How much for materials?
  • How much for labor and installation?

It’s not reasonable to expect a detailed budget at this point, but they should have at least some idea of where the money will go – or be able to explain why not.

>> Learn more about Working with an Interior Designer

>> contact Julie Risman

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Interviewing Interior Designers (part 2)

What’s the best way to go about interviewing Interior Designers for my home decoration project?

How much is all this going to cost? (Part 2): Designers and decorators are both eligible for “to-the-trade” discounts of 20%-50%. They will typically markup the merchandise or service to compensate them for their time, knowledge, and sources. However, even with their markup, purchases made through a design professional should cost less than the retail amount. Other types of services are charged at an hourly rate or for a flat fee.

Just be warned that if you choose to purchase items yourself, rather than through a design professional, you are taking on all of the risk.

  • If the wrong size or color was ordered, that now becomes your headache to cope with.
  • If items are damaged in transit, you will be the one filing the freight claims.
  • If the delivery or installation date is delayed two weeks, you will be the one wheedling and negotiating with the supplier.

And don’t forget that to a supplier, a decorating professional represents a steady stream of past and future orders, compared to which the negotiating power of a retail customer is virtually nil. If your project ends up not being completed in time for your daughter’s wedding, it’s entirely possible that, as a long-time customer of the supplier, another decorator was able to pull strings and get their client’s project moved to the front of the line.

>> Learn more about Working with an Interior Designer

>> contact Julie Risman

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