This Master Bedroom had a number of things going for it.

It had dramatic height and an unusual ceiling line.

The finish on the walls and ceiling  and the furniture were as they are shown.

My job was to work with the "givens" and make the room beautiful

As it was the room was dark and somewhat gloomy.

I suggested a Canopy to play up the dramatic height.<br>

.Three original sketches were created as suggestions.  My client chose the Neo Classic design.<br>

The canopy had to be mounted 11 feet high to give the room much needed drama and a focal point.

A pattern was drawn on paper, traced onto 3/4" plyboard and cut out.   To cut down on weight a second pattern was marked on the plyboard and marked about 6" in from the edge.

Keeping in mind that I needed to screw the ceiling piece of the canopy on the top circle piece, a 4" strip running from front to back was planned.  The others were to keep it stable.

A second circle was cut with the same outer image as the first.   This piece was cut down to be 2 1/2 to 3" wide.

1 X  8" wood was used to attach the two pieces together.   Notice that the back and straight side pieces were kept as long as possible to add to stability.  Also look closely and see the 1/4" space that was cut out of the back board to allow space for the angle irons needed to attach it to the wall.   Because you can't be certain  of the positioning of the studs I made the opening about 30"along the back.  This would allow me to mount the angle irons to the studs, slide the canopy frame over the angle irons and then slide the frame left or right until it was centered on the wall. Even with all the cut outs to reduce weight it is still heavy enough that it should be attached to the studs and not with drywall anchors.  The triangle shaped piece was integrated into the frame to help keep it flat on the wall and true.

Keeping in mind that there would be a "crossed arrow" attached to the front center a 1" X 8" piece was glued and screwed to the front center.   Two other pieces were attached in the round part.

It is not necessary to fill the entire space of the circle part.  Only  just enough to make it stable and give you a place to screw in a hook if needed.<br>

Next use a strong fabric, canvas is best: Stretch it taunt as you staple it to bridge the space between the two main frame parts.

Once that is done a layer of furniture batting is added and the final fabric cover is stapled over it all. Be sure to pull the finish fabric around the top and around the bottom and staple it there not on the face of the canopy.<br>


Here you can get a good look at the frame and see where the 1" X 8" spacer pieces were put.

You can also see the final fabric has been attached along with a rope cord trim.<br>

In this picture a strip of finish fabric about 5" wide has been stapled face down to the frame.

Paper Strippiing has been stapled in place to hold a clean edge.  When you strip the rounded part it is necessary to keep the outside edge smooth and let the striping crease as you go around.

With the stripping in place the strip is pulled tight completely around the bottom piece and stapled underneath where the staples will not be seen.  This gives you a finished edge on the inside of the frame.<br>

Next a stip of fabric is cut about 10" wide.  This fabric is laid face to face with the fabric covering the inside edge of the canopy frame.  Stape this fabric on top of the edge you just finished.  Staple it onto the the 5/8" thickness of the frame.   Come back and staple a cardboard stripping even with the edge of the  5/8" thickness.  Now pull the fabric over the stripping and into the frame.  Staple the other edge onto the inside top of the frame.  Be sure to staple about 1" in from the edge so the staples won't show when you install the "ceiling" panel..

Unfortunately I did not take pictures of how to make the inside "ceiling panel" which is screwed into place after the canopy is mounted on the wall.  If you refer to my blog on how to make a unique wooden cornice board, you will see how to make the "ceiling" on a small scale.  The way I work the fabric on the cornice insert pieces is how the ceiling panel is made.

For the "ceiling" panel a piece of luan is cut about 1/2" smaller that the dimentions of the inside top of the finished canopy.  The fabric is applied as shown in the cornice blog.

When all this is done and the frame is mounted securely on the wall and the :"ceiling" panel iis installed it is time to plan the drapery.

A panel 2 1/2 times the width of the back of the canopy frame will need to be made to reach from the canopy to the floor or at least long enough to be hid behind the headboard.  Hem the bottom and hem the top as you would a simple curtain with a 2 1/2" double fold hem.  Leave a 1" header when you sew the rod pocket in the top.  Since the back will not be seen iot is not necessary to line this piece.

The two tie back panels (one for each side) should be a full width of fabric(54") They should be lined in the same fabric as the back panel.    When the two pieces are sewn up the back remember to leave enough open to cover the triangle shaped wall support in the frame.

Gather the tops of the panels to about 18 or 24" .  Fold the tops down and sew the velcro 1" down from the top so the header will look the same as the back panel.  This velcro will be used to attach the Lining of the panel to the inside of the frame and the outside part of the panel to the outside of the frame.  This will ensure the triangle support part is covered.

Cut a piece of oval rod about 2" shorter than the inside measurement ot the back of the canopy frame.

Screw a cup hook in the "ceiling" panel and possibly through the laun into the frame.  Gather the back panel fabric evenly on the rod and hook the ends with the cup hooks.

NOW the Neo Classic

To drape the outside of the canopy in the neo classic style I found a good size round finial intended to go on a wooden curtain pole.  4 holes the size of the dowels I used for the shaft of the arrows were drilled in the finial.  The holes were drilled in a way to make it appear the arrows went through it.

4 12" lengths of dowel were cut.  On two I attached a wooden arrow head made from a soft craft wood.  The soft wood allowed me to cut some detail into the heads and feather ends.  All four and the ball finial were sealed, painted red and gold leafed.

With the canopy frame attached to my workroom wall I draped and marked the silk to look like it was draped over the arrows.  The swag panels were cut selflined and sewn together with velcro at the joining points.  Velcro was glued and stapled to the back of the arrows to hold the swags in place,

The larger swag that ended next to the wall was velcroed to the canopy frame as were the jabots on each side.

In order to further play up the shape of the wall and to make the windows look larger and more in proportion to the wall.  Larger poles and arrow heads were hung to follow the ceiling line. The swag and jabots were designed to hang on that angle and camouflage the lower corners of the windows.


I hope this was helpful.  If you have any questions I'll be happy to answer them.


Decorating a Home Library in Black and Gold

My clients had a small room across the foyer from their dining room we had just finished.  While I was flattered that by this time I had enough of their confidence, they said just decorate it and make it look good.  I suggested they let me think about the room and get back to them with ideas.<br>


To my way of thinking every room should have a purpose.  I came back to them with four suggestions.  A music room, a library, a dressy intimate dining area, or a room to serve all three purposes.  We settled on the fourth.  Essentially it is a library that can serve the other purposes.<br>

On the right is the rough sketch I provided for what I hoped the back wall of out library would look like.

The clients had seen a black and gold neoclassic room set in my studio. The husband had particularly liked it, so we decided to do that theme in the library.

The first thing that came to mind for seating in this small room was a pair of swan arm settees.  When I contacted the company I had gotten them from before I learned that they had discontinued them.  I then remembered I had used them for a bachelor client's living room.  He had since married and had told me his wife didn't like them.  He still had them in the navy and red stripe we had ordered them in.  I bought them back redid the gold leaf trim striped them and recovered them in the black and gold stripe.<br>

We selected Fabrics and wallpaper for the room.

I then sketched three original window treatment designs.  Two had round cornices the shape of the window tops and one had a square top with the shape of the window cut out of the bottom.<br>

The square top one was chosen by my clients.

We decided to upholster the cornice in black velvet with inserts of a black and gold trellis like pattern that the wife was especially fond of.  Black silk was selected for the swag and jabots

and tie back panels.     Black gold tassel fringe and rope trim was used as well.<br>

While I worked constructing cornices, drapes and recovering settees, my client worked with my sketch and a cabinet maker to get the back wall finished.>br>

A beautiful neoclassic pair of sconce lights were ordered from Decorative Crafts.  My client and I went to a bookstore on Third Street, Midtown Harrisburg and found good buys on several old books.

An internet search produced necessary neoclassic art prints.<br>

The large and heavy porcelain bowl with bronze ormolu makes a bold statement under the framed print in the center of the wall.   The shelves were arranged with books and various mementos and accessories new and old.  It is a room I and my clients are proud of.<br>

Tie backs echo the insert in the cornice boards


I hope you enjoyed sharing this experience with me.<br>

Bill Gantt

Making an elaborate wood and fabric cornice board

1/2" scale drawing for Window Treatment

As with all my projects a 1/2" scale drawing was done of the proposed window treatment.


Inspiration was drawn from an interesting antique bed that was to be used in the room.  The panels in the headboard have fabric inserts.  I suggested we repeat the fabric insert idea in the upholstered cornice and echo the dark wood finish of the furniture.  The idea was well received and the project begun.

The main part of the cornice is constructed out of plyboard.

I have shown basic construction on other cornice blogs so I will not here.  The only difference between this basic construction and others is that the top is cut to extend beyond the front and ends about 2 1/2" to accept the small crown molding to be added.

A circle pattern was made on paper.  The paper was folded double, evened out , placed on the  front, traced with a marker and cut out with a sabre saw.

Small crown molding was added to the top, a sash bead molding and 1" square wooden strip to the bottom.  The square strip covered the plyboard edge on the bottom.

Small crown added to top and stained

1" bottom finish strip ans sash bead molding

 Nail holes were filled.  All wood that would show was stained and given a satin finish.

A layer of polyester furniture batting is spot stapled in place.

Relief cut made at corner

The velvet is pre cut to a few inches longer and wider than the surface to be covered.

I mark the center front top and bottom and staple the fabric tight from middle to end both directions.  When going around the corners with moldings it is necessary to cut "relief" cuts.

They are cut from the edge of the fabric up to the corner you are rounding.  They keep the molding from preventing the fabric from fitting snugly.

Turn the cornice face down.  Cut the outline of the  circled part out.  Keep your cut about 3" from the


Nex cut relief cuts about every 2 or 3 "apart.

Start in the top part of the rounded shape, pull each "tab" tight and staple.  As you do this watch how the front is looking.  You want the front to look smooth and even.

On the center strip cut off excess fabric.

The edge will either need a welt cord to finish it or a trim as shown here.  Note:  The ends of cording must be taped before cutting to prevent unraveling.  I also secured the end with a staple.

The white edge "lip" is stapled so that it is concealed in the thickness of the plyboard when the next step is completed.

Cut 2' bias strips of fabric.  Put the face of the bias fabric against the "lip" of the cord and staple it in place.

Now come back with 3/4" cardboard furniture stripping.  Staple the stripping so that it aligns  with the outside edge of the board.  The purpose of the striping is to give you a smooth edge.

Once the stripping is on come back, pull the bias fabric snug around to the back and staple.  You will need to cut relief cuts in it as well.

Now it is time to make double welt cord.  This will be used to cover staples and finish the edges.

making a double welt

Second cord laid next to covered one

First cover one cord. Using the zipper foot stitch close to the cord.  Be sure to keep the fabric tight on the cord. I like to keep the edge the width of the foot.

Second cord is being stitched over stitch of first cord

Next lay the second cord next to the covered one.

Keeping the fabric flat, roll the covered cord to the

right and over top of the uncovered cord.

Using the straight stitch foot stitch on top of the stitch from covering the first cord.

It will look like the picture to the right.

Carefully trim off excess fabric.

Fabric is stripped back before ends of cord are removed

White fabric glue is put on the back of welt.

Before starting to attach the double welt I peel back the fabric and pull about an inch of cord and cut it off.  I then fold over the end and staple on the seam for a clean start.

With the end anchored with a staple white fabric glue is used to help attach the double welt.

It is good to staple at corners and every 12" or so to help hold the weld while and after the glue dries.  The double welt covers the staples .  I could have used gimp or trim.  On this design I wanted the emphasis on the open part so that was the obvious place to use the multi color trim.

If you look closely you can see where I put a cautionary staple.

When the project is complete it will hardly be noticeable.

Now that the double welt is in place top and bottom, it is time to work on the fabric insert.

A piece of luan  (1/4") ply board is cut to fit the inside of the cornice front.  It is the inside dimensions except that it is cut 1/2" shorter top to bottom. 

The outline of the circles are traced on the board.  Then another line is drawn parallel to the first 2" farther out.  This margin will assure that no edges show when the panel is put in place.

Check the length from center to the line. cut a piece of fabric the longest length and 3 times the fullness of the bottom width.

Measure the circumference of the half circle.  If for example it is 30" divide by a number you think will give you an answer of somewhere between 2 and 3.  That will be the number of folds you will have.  Thumbtack the center of the fabric to the center of the circle top and bottom.  Start at the center top and tack the fabric at the pre planned points.  At the bottom center you will pull the fabric to create the center pleat.  You will keep adjusting the amount of fabric in the fold until it stands up as shown.  Do the same til the end.  You will have to adjust the folds periodically until it looks good.  Then put some long staples to be sure it is attached.  Repeat the process on the other half.  When the bottom is done, use 1/4" staples and attach the fabric where the thumb tacks are.

There is no professional way to say this, but when all the fabric is stapled and secure, knall of the wad at the bottom with your scissors.

When both fans are finished I attached a strip of fabric that covered the bottom inch of the fans and the laun wrapped it around and attached to the back of the laun.  This way the bottom edge is covered and neat.

The panels are fit inside the cornice, the inside is lined in fabric lining and it is


How to make fancy reversible pillow shams

Other side of sham

No well dressed traditional bedroom should be without beautiful pillow shams.

I always make mine reversible and as fancy as my client will allow.  They really are the most important decorative item on the bed.


This embroidered linen floral is what the room scheme is built around, but the shams are the only place I used it.  I know that is all the exposure it will need in the room.

Because my plans called for silk to be pleated around the outer 4" of the sham it was necessary to have the lining to pin and sew it to.

lining cut the finish size of the sham

8" long corner pieces cut.

A 4" margin is measured and marked on  the lining.  When the lines intersect it becomes obvious that the corner fabric will have to be longer than  the rest.  Pleating requires 3 times the length the finished piece is to be.  Accordingly several 6" pieces of silk were cut equivalent to three times  the length of the sides and ends of the pillow.  All lengths were sewn together.

4 pieces of silk were cut 8"  wide and about 12" long. One for each corner.

Starting in the corner with the 8" piece the silk is pinned on both sides and the pleating begins.  To fan the fabric out around the corner it is necessary to use hardly any fabric in the outside pleat and very much more on the inside pleats. I planned for my pleats to be about 3/4" wide.  Once the corner piece is pinned you can simply slip about 4" of the 5" wide silk under the corner piece, pin and continue to pleat.  Always fold the fabric in the same direction as you pleat.  I don't often have the patience to measure things like this but go by sight.  If you are more comfortable measuring do so.  

first side pleated , tieing into the corner

To measure for a 3/4" pleat, pinch your first pleat so that it's fold has 3/4" inches of fabric on both sides.  Pin it flat to the table.  Place your ruler's 1 1/2" mark on the outline of the fold under the pleated fabric.   Fold your fabric to the 3/4" mark, hold in place pull out the ruler and pin top and bottom.  Repeat the process until reaching the next corner.   Cut the fabric about 4" longer than the last pleat.   Fold the first pleat of your corner fabric and pin it over the 4" of 5" pleating fabric.

Also pin the fabric even with the guide line drawn on the lining.  Let the excess go beyond

the lining. Repin all the pleats to the lining.  Sew the top edge 1/4" in from the edge of the silk.  Flip the lining and silk over and sew the outer edge of the lining to the pleated silk.  Sew it also 1/4" in from the edge.

Measure and cut the main-center piece of fabric.

It should lay about 5/8" over the pleat top on all sides.  Make a 1/4" welt cord or use a lip cord trim.  

Sew the welt or trim piece to the edge of the fabric with a 1/2" seam.

Position the trimmed center piece of fabric on top of the pleated fabric.  Pin in  place and with your zipper foot stitch it as close as possible to the edge trim.  Be careful that the lip of the cord stays folded under.

If you want more now it's time to start the other side.

Other side of the reversible sham.

Initially my plan was for the other side of the pillow sham to be covered in the main floral fabric only.  But I had a little of the drape and dust skirt fabric left and couldn't stand the thought of one side being so fancy and the other side plain.

This time there is no lining needed because there is no pleating.  I cut the center the same size as used on  the other side, covered a 1/4" cord in velvet left from the bed cover and sewed it to the main fabric.  The stripe was cut with a total of 1" seam allowances.   The amount of stripe left only allowed me to cut the pieces with the stripes running toward the center of the pillow.  There is a reason you don't see stripes done this way often.  The reason is that for it to look right the corners must be mitred.

All strips were sewn together end to end.  Care was taken to be careful to get a perfect pattern match for an almost invisible seam.

To do this you do one side at a time.  Sew the first strip allowing about an inch more than the width of the strip on each end.  Place it on the sewing machine with the center piece on top and the stripe strip on the bottom, so you can stitch over top of the trim seam on the center piece.

Here the second strip is being aligned to the first one sewn

If you look closely at this particular stripe, each stripe has a grosgrain type on one side only.

Because of the grosgrain stripe it is necessary to turn the next strip of fabric upside down to get the mitre.  In the picture you can see that the grosgrain stripe next to the blue stripe is on the left of the blue and on the right of it on  the other strip. 

Turning the strip would not be necessary if each stripe was balanced(the same on both sides).

While I am not showing it in this picture, aligning the corner mitre would be easier if the

top of the strip were turned down 1/2" (your seam allowance).   The easiest way to check the angle of the corner fold is to be sure the edge of the strip is perpendicular to the stripe seen on the underside of the fabric.

Stitch the two pieces together on crease made by ironing.  

Corners pressed for seam mark

ready to be folded and pinned for sewing

Once you are sure the corners are properly matched, press a crease on the fabric.  Carefully pin the crease of each fabric face to face being sure the creases and pattern line up.  Sew with a medium stitch from the outside corner toward the center.  As you get to the center piece trim, sew as close a possible to the corner of the trim and LOCK your stitch by sewing in reverse a few stitches.  Most likely you will have to redo corners a few times until they are acceptable.   All the years I've been doing this I usually have to rework some until I am satisfied.  Don't get frustrated.  Pick out the stitch and consider the first time as creating reference points that will help you get it right the second time.

Under side of mitre after sewn

All this works well until you get to the 4th corner.   How do you make it miter correctly?  With some bold or simple 2 color stripes you may actually have to cut the strips first, lay them out in  a rectangle or square depending on the pillow you want to finish with.

Center is checked for square before corner is pressed, pinned and sewn

As you can see once you have the strips laid out you can adjust for size by adjusting all four corners.  This of course means if all corners are going to be the same the size and repeat of the stripe will dictate the sizes possible.

Repeat of 9" allows for a 27"

 square or a 18" x 27" rectangle

As you can see this stripe has a 9" repeat so the pattern allows for a 27" x 27" square pillow.  If I want a rectangle it would have to be 27" by 18".

That is the big disadvantage of bordering a pillow with a large stripe running perpendicular to the edge of the center piece of the pillow.

Final stripe pieces is readied to finish pillow.

With a small multi color stripe not having the 4th corner match the other 3 is not as important as with a large bold stripe.  It is important, however that the corner be mitred.  With this kind of stripe it is possible to remove some of the stripe in the middle of the piece.  As you can see in the picture the corner is first matched for the final mitre.  Then it is determined what part of the stripe can be removed to shorten the piece to achieve the final mitre.  The piece standing up was pressed each direction to create a marking crease.  A tight stitch was used to sew crease to crease.  It was then cut and seam pressed open.  The final mitre was done.

Brush fringe is attached to one side of the pillow.

Brush fringe was attached to one side of the pillow.

The final step is to sew both sides together.

Both pieces were pinned face to face.  The pleated silk edge is not even, but it was stitched 1/4" from the edge of the lining.  Since it was easy to watch edge with the brush fringe sewn on, that part is put down and the side with the silk is watched.   Start on a long side that you determine will be the bottom.  Start about 6" from the corner and sew toward the shorter side.   Continue around the edge until you reach the long side you started on.  Only sew in 6" again. Lock the stitch well.   The space not sewn is where you will sew velcro for an invisible closure which allows the sham to be reversible.   Always sew the hook side(more plastic side) on the edge the brush fringe is sewn to.  Sew the loop side on the opposite side.   The fringe trim is less apt to get caught on the hook velcro if it is sewn this way.


I hope this was helpful and understandable.

Bill Gantt

How to make a corner upholstered cornice board

As far as I am concerned, corner windows were a perverse invention.  They are also difficult to dress.  In this case I decided to make an upholstered cornice board and gantt roman shades do the job.

You probably can't  understand how many ways making a corner treatment messes with your perception.   Before I began work, I measured and drew the outline of the cornice board.  I made a template of what the top should be and then went to the client's house and literally held it up against the ceiling to be sure it was right.

Once I knew I had a good outline of the top I could cut out the pieces and glue and screw the pieces together.  I didn't want it to be too deep and take space out of the average size room.

The form is shown on the right.


The structure is then covered with furniture batting and the fabric is attached as with any upholstered cornice board.

In this case a gold braid was added to the top to accentuate the metallic gold in the fabric.

The bottom was kept flat with no shaping.

The design of the plaster decorative elements allowed me to trim one down to the scale of the small window and keep the original size for the larger one.

The plaster elements were attached as a part of installation.  They had to be positioned over the center of the actual window which means they are not centered on each board.

The stripe of the roman shades help add the needed vertical effect under the very horizontal top treatments.

I hope this was useful. Please let me know what you think.

Bill Gantt

Window treatments- Topper or topless

For those of you who are unfamiiar with the term


let me explain.  It is a skimpy little treatment of fabric stuck at the top of a window.  No matter how tall the window may be "toppers"

are usually no more than 12" long. They are disproportionate little dabs of fabric often sold as "add ons" by people who sell shading systems. The sales pitch is, "You need a little something else to finish off the window."   or "We need something to add a little color." There is no shame in not being able to afford to dress a window properly or completely.  The shame is in

wasting money

on something that is so skimpy it shouts to your guest, "They couldn't afford to do the whole window!"

If form follows function, What are the functions of a proper window treatment?


Make the window aesthetically  more pleasing by:

Softening the lines

Adjusting the proportions ie making it seem taller or wider

Accentuating the good points while playing down the bad

       for example, a round top window should always get a round top


Control the amount of light entering the room

Possibly save on heating or cooling

Provide privacy if needed

Create an architectural effect

Help create a stylistic theme for the room

Applying these standards tells the tale on Toppers.

If you need a privacy treatment do it .  Don't forget there are many styles of custom shades that can be made in many fabrics.  A custom shade in the right fabric can give you privacy, save on heating and cooling and decorate the window properly.  If you don't need privacy wait until you can do it properly.  A bare window at least looks intentional.  A topper looks at best like you lost the rest of

your window treatment in the move.

My advice , if you're thinking of spending money for a topper is DON'T!  

             JUST GO TOPPLESS1

Bill Gantt


Magic! Making doors disappear

We all have rooms that seem to have too many doors.   Doors interrupting the flow of walls,  creating sometimes jarring contrasts that make small rooms even smaller.   Sticking to my rule that sharp contrasts in a room are not good.   Wall colors should be warmer with natural or stained wood.

Painted trim should blend with the colors selected for the room.   Sometimes even following those rules,  doors can create a visual disturbance.

In many homes without the luxury of walk in closets,  bedrooms have a wall of doors covering closets.   In almost every case home owners wish these rooms were bigger.   Making those closet doors disappear will at least give the illusion the room is bigger.   In situations where it may not look good to put furniture so close to a door,  camouflaging the doors can allow more visual space for furnishings.

Wallpapered doors and moldings make these doors disappear 

Upholstered wall and doors.  Pictures on doors complete the illusion.

In some rooms too many doors may not be the problem.  A lack of architectural interest  or the style of the windows may be the problem.   In this case treating a door more like a window may help.    For example,  a room with small casual windows with sills four foot above the floor make it difficult to create a grand effect.     If the room is to be casual work with what you have.   However if you want something more elegant,  treat the windows  very simply.   Sheer set inside or a roman shade the same pattern and color of the walls.  In this case you are making the


disappear.  Instead of trying to force the windows to accept a treatment too fancy for them, give the door the attention.   The door after all has the proportions needed .   Too many people, unfortunately some who call themselves  decorators will dress these little pig windows  in great  ball  gown window treatments.                                                                                                                                                  

How much more can this little window stand?


How much more can this little window take?

A bit much don't you think?

They will make a pathetic attempt to hide the short little "pig"  behind behind a sheer treatment.

Of course no amount of sheer can camouflage what is behind it.   Then to ad insult to injury, they add  a large formal treatment often with tie back panels to the floor.   The whole thing looks like a toddler playing dress up in mommies prom gown.    As Christopher Dresser said, referring to things like wicker


or pottery made to look like


"One element should not stoop to do poorly what another does well."   Wicker has qualities that make it desirable.   It is flexible, it allows air to circulate; but it certainly does not hold water.   Holding water is why we have



The same holds true with windows.   A little window is intended to be inconspicuous.   It is to simply let light and air into the room.   Forcing a small window to carry the load of a much larger looks unsettling and is


Draped interior arch ads detail by framing entry to next area

Draped interior door adds architectural detail

To summarize, if you have a room with casual windows and want casual work with what you have.

If however,  have little windows but want a grand room; take attention away from the windows

and focus on something imposing,  a work of art,  a great piece of furniture or even a door.

If you have a room with too many doors blend them into the rest of the room as much as possible with color, pattern or"

make them disappear"

As always I hope you find this useful.   Please tell your friends .

     Let me know what you think.

Bill Gantt

3319 Derry St



Don't forget Holiday Decorating starts October 20!