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haisla-land-acknowledgment · 4 years

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LYLE WILSON: KITAMAAT HAISLA ARTIST.

Lyle Wilson is a Haisla artist from British Columbia: born at C’idax (Butedale Cannery); spent his early years in Kitamaat Village; moved to the town-site of Kitimat from grade 4-9; then moved back to Kitamaat Village from grade 10-12; after graduating from Mount Elizabeth Secondary School, he worked at Alcan for a year before eventually moving to Vancouver to seek a post-secondary education at the University of British Columbia and the Emily Carr College of Art and Design.

The Haisla people are often referred to as Northern Kwakuitl, however their historic artistic style is, mainly, influenced by the Kwakuitl, Tsimshian, Bella Bella and Bella Coola. The name Kitamaat means “People of the Snow“; which refers to the large snow-fall during the winters. Tsimshian guests who visited the Haisla in mid-winter arrived to see people emerging from traditional bighouses that were completely buried by the snow. Thus, the name Kitamaat was given to the Haisla.

The Haisla Clan system was originally matrilineal and, although he was born into the Beaver Clan, Lyle was formally adapted into his father’s Eagle Clan. Due to high death rates at that time, his Eagle grandmother adapted both Lyle and his sister to bolster the numbers of the Eagle Clan (his sister has now returned to the Beaver Clan).

“I was always aware, and appreciative, of Haisla art after seeing a few old carvings at village places/events. My first living artistic influence was my uncle Sam Robinson — a full-time carver who carved at a time-period when everyone assumed Pacific Northwest Coast carving was a dying art-form consigned to the past; consequently, there was no wide-spread recognition of Northwest Coast art as there is now.

I watched Sam and occasionally whittled to the best of my ability. I didn’t really seriously consider art as a profession until after attending the University of British Columbia — I enrolled, & completed, 5 years of the N.I.T.E.P. and Secondary Art Education programs.

I found time in the studio more interesting and eventually left UBC for further studies at the Emily Carr College of Art and Design (now the Emily Carr University of Art & Design). I graduated with a print-making diploma and began to try develop an individual artistic style — using my life experiences, formal education at UBC and ECUAD as the roots in all my art work: prints, wood carvings, paintings, drawings and gold/silver jewellery.

I also prefer working by myself, because I believe that the individual personality shows itself in the finished work — so I’m reluctant to involve others in my artistic projects unless absolutely necessary. Even the extra large carving I try to do mostly myself so I can keep my personality in my work.

I’m one of the few Pacific Northwest Coast artists fortunate to have an extensive formal, post-secondary education. I’m a life-long student/carver who has interests in numerous areas that — hopefully — enrich whatever work I produce.”

LYLE WILSON. (c) 778-846-3520

SELECTED GROUP & SOLO EXHIBITIONS

2016: “HAISLAKALA: SPOKEN FROM THE HEART”: Nov. 5; solo jewellery exhibition at the Coastal Peoples Fine Arts Gallery, Vancouver, B.C.

“PAINT: THE PAINTED WORKS OF LYLE WILSON”: this solo show was shown at the following venues:

2016: Museum of Northern BC, Prince Rupert, B.C. 2014: Whatcom Museum’s Lightcatcher Gallery; Washington State, U.S.A. 2013: Kitimat Museum & Archives, Kitimat, B.C. 2013: Bill Reid Gallery, Vancouver, B.C. 2012: Maple Ridge Art Gallery, Maple Ridge, B.C.

2009: “CHALLENGING TRADITIONS: CONTEMPORARY FIRST NATIONS ART of the NORTHWEST COAST”: group exhibition at the McMichael Canadian Art Collection, Ontario.

2009: “NORTH STAR: THE ART OF LYLE WILSON”: solo exhibition at the West Vancouver Museum, West Vancouver , B.C.

2004: “TOTEMS TO TURQUOISE”: group exhibition at the American Museum of Natural History, New York. ~ this exhibition also travelled to the Vancouver Museum in 2005

2004: “TOTEMS: SILENT MESSENGERS OF THE WEST COAST”: group exhibition at the Coastal Peoples Gallery, Vancouver, B.C.

2003: “NORTHWEST COAST COLLECTIONS”: group exhibition at the Inuit Gallery, Van., B.C.

2001: “RAVEN STORIES”: group exhibition at the Inuit Gallery, Van., B.C.

2001: “NORTHWEST INNOVATIONS: TRANSFORMING TRADITIONS”: group exhibition at the Evergreen Cultural Centre Art Gallery, Coquitlam, B.C.

2000: “TIME & TIDE”: group exhibition at the Inuit Gallery, Vancouver, B.C.

PUBLIC COMMISSIONS

2007: “ORCA CHIEF“ ~19 foot by 17 foot, water-jet cut, powder painted layered aluminum wall-sculpture at the Vancouver International Airport, Van..

1999:1) “KILLER WHALE“. 2) “DANCE FOR THE FIRST CATCH“. 3) “COASTAL SCENE“: 4 separate panels that make one whole scene. ~6 foot by 9 foot canvas screens at the Museum of Anthropology at UBC, Van..

1995: “THE PADDLER“. ~ 10 foot red cedar totem sculpture at the BC Sports Hall of Fame, Van..

1994: “EAGLE, FISH & BEAVER“. ~ 12 foot red cedar totem-sculpture, Canadian Consulate @ Osaka, Japan.

1993:1) “NOOMIS, THE BLIND MAN”. 2) “THE LOON”. 3) “SALMON“. 4) “SALMON“. 5) “GRIZZLY BEAR“. ~ 5 high relief carved, yellow cedar panels @ the Canadian Institute for the Blind, Vancouver, B.C..

1992: “GRIZZLY BEAR DANCER“. ~ motor-animated tranformation mask with costume for the B.C. Pavillion at Expo 1992, Seville, Spain. ~ now on display at the University of Northern British Columbia, Prince George, B.C..

1992: “EAGLE & BEAVER“. ~ 12 foot red cedar house-post sculpture @ the UBC First Nations House of Learning, Vancouver, B.C..

RELATED PROJECTS

1995: “HAISLA HOUSE-POST“. ~ 6 foot red cedar replicated carving of old artifact @ the Museum of Anthropology @ UBC — artist donated the carving to the Haisla Community School, Kitamaat Village, B.C..

1992: “EULACHON: A FISH TO CURE HUMANITY“. ~co-curated this catalogued exhibition documenting the historical & contemporary usage of the eulachon fish; opened @ the UBC Museum of Anthropology , Vancouver, B.C. .

1988: “IMAGE RECOVERY PROJECT“. ~using an infra-red camera, historical images were photographed, archived & replicated; this is the most intensive documentation of painted images of historical work undertaken to this date .

1987: “NORTHWEST COAST TRADITIONAL BIGHOUSE PROJECT “. ~ assistant co-ordinator/liaison for the planning, building of 6 different Northwest Coast Bighouses @ the UBC Museum of Anthropology; the bighouses were installed @ the Canadian Museum of Civilization, Quebec .

EDUCATION

1987: 5th Year, Secondary Art Education Department at the University of British Columbia, Vancouver, B.C..

1988: Graduated with diploma from the 4 Year Print-making Department at the Emily Carr College of Art and Design (now the Emily Carr University of Art & Design, Van., B.C..

1976-1979: Native Indian Teacher Education Program at the University of British Columbia, Van., B.C..

PUBLICATIONS

2012: “SEEKERS and TRAVELLERS: CONTEMPORARY ART of the PACIFIC NORTHWEST COAST” Gary Wyatt.

2012: “PAINT: THE PAINTED WORKS OF LYLE WILSON” Lyle Wilson.

2010: “THE TOTEM POLE: AN INTERCULTURAL HISTORY“ Aldona Jonaitis & Aaron Glass.

2004: “TOTEMS TO TURQUOISE: NATIVE NORTH AMERICAN JEWELLERY ARTS of the NORTHWEST and SOUTHWEST“ Kari Chalker, Lois S. Dubin, Peter M. Whitely; eds. .

COLLECTIONS

~ Royal British Columbia Museum. ~Museum of Anthropology at UBC. ~UBC Faculty of Education. ~First Nations House of Learning. ~Vancouver Art Gallery. ~Vancouver International Airport. ~Burnaby Art Gallery. ~Toronto Dominion Bank. ~Canada Council Art Bank. ~Imperial Esso. ~West Vancouver Museum. ~BC Sports Hall of Fame. ~Canadian Institute for the Blind. ~Kitimat Museum and Archives. ~ Haisla Nation Council. ~ Haisla Community School. ~ Museum of Northern BC

All information is from the Haisla website.

#haisla #haisla art #art #carvings

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pbpress · 4 years

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Fire and Ice: Chapter 7

by Brooklyn N. Dottin

AUSTIN JULIUS

Well, it was the week before the day of the dance. I drove over to Alessandra’s house on Wednesday afternoon, because she wanted me to help her find some jewelry to go with her outfit. She wouldn’t let me see the outfit, though, which I didn’t get. I mean, if I’m gonna help her pick out matching jewelry, I gotta see the outfit to know what to look for. But when I pointed this out to her, she just shrugged and said, “You’ll know,” then climbed on the motorcycle behind me, wrapping her arms around my waist. Taking off, the wind blowing in our face, I suddenly had a somewhat disloyal-at least to Alessandra-thought. It was at the corner of my brain for weeks, gathering dust, but I never realized it until that moment.

I wish Blanchard were riding behind me instead of Alessandra.

As we pulled into the mall parking lot, Alessandra hooked her chin over my shoulder. “Let’s go, baby.”

I squirmed inwardly when she said that. Never has anyone ever called me “baby” like that. It made me very uncomfortable. And made me half-wish it were Blanchard calling me that, not Alessandra. I shook my head of such disloyal thoughts and said, “Alrighty, off we go.”

Shuffling my feet, I followed Alessandra into Pandora. I hate to shop, especially if it’s for jewelry. All the gems, bracelets, and such sending off their blinding reflections into your eyes, and making you a little cross-eyed by the time you exit. Alessandra didn’t seem to have any problem with it, though. She spent the better part of our time in the shop looking at the amethysts and emeralds. Pretending to be way into it, I enthusiastically said, “How about this one?” pointing to an amethyst amulet in a glass case. Alessandra took one look at it, frowned, and said, “Too simple. How about this?” pointing to an overly intricate diamond-rose-gold necklace.

“Way too expensive.” I found a simple silver locket. “This?”

“Hell no. I wouldn’t be caught dead in that!” she exclaimed.

Maybe Ben was right, I thought. Maybe she is quite shallow and cold.

Finally, after two painful hours of searching and browsing, we settled on a rose-gold choker that wasn’t too expensive. Alessandra tried it on, and loved it. I was just glad she found one she liked, so I could get out of there.

After paying for it, we headed to my bike. I planned to drop Alessandra off at her house quick, then go straight home.

Alessandra, however, had other plans.

As soon as we mounted my bike, she leaned over my shoulder and said, “Can we drive to the park?” I said sure, ‘cause a bit of fresh air was exactly what I needed. After getting there, I parked my bike by some trees that sort of sheltered us from the rest of the park. But before I could climb off my bike, Alessandra literally yanked my head around and, with no warning, crashed her lips into my own. My mind immediately went into flight-or-fight mode. I quickly flipped through every outcome of any possible reaction: Push her away, risk her getting mad at me, perhaps wanting to hurt me later. Let the kiss continue, and risk not being able to-dare I think so?- get together with Blanchard, who, until around then, I hadn’t realized was the only one I actually loved. But now here was Alessandra, on my lips, with me not knowing what to do. I decided I didn’t want to continue this kiss any longer. I pushed her off me. She looked at me, a little confused, and for a split second, I wished I’d just sucked it up and let the kiss continue, but that second passed, and I said to her, “I’m taking you back to your house now.”

I half expected Alessandra to be all mad and stuff, but she just went, “Sure thing, Austin. Let’s go.”

Huh.

As we coasted towards Alessandra’s house, I began thinking of what I should do about the dance situation. It was too late to refund the tickets, and I’m not the type of guy to stand people up. I was seriously thinking of just faking a cold or whatever and telling Alessandra I couldn’t go. I was so wrapped up in my planning that I didn’t realize we’d passed Alessandra’s house until a couple minutes later.

“Um, hey, Austin? Are you forgetting someone?” she asked. I snapped out of it quick and realized where we were.

“Oh, my gosh, so sorry!” I gasped, making a sharp U-turn in the road, Alessandra gripping my waist as I did so. I almost exceeded the speed limit racing toward Alessandra’s house.

Dropping her off, I said, “Well, that was an interesting afternoon.”

“And rather hot,” said Alessandra.

What? Hot? On what basis was this boring-as-hell afternoon hot?

“I mean, hot as in it was hot outside, y’know?” she said quickly.

Now, I knew for a fact that it wasn’t even 60 degrees outside, and even she was wearing an autumn jacket. Something told me that she meant “hot” as in “sexy”, which made even less sense.

Waving to her as I drove off, I blasted over to Blanchard’s. I was gonna ask her if she were going to the Masquerade, in the hopes that we could go together, unbeknownst to Alessandra. Yeah, I know. Totally cheap. But at this point I was willing to do anything to avoid having to go to the Masquerade with Alessandra. But I also needed to talk with someone less provocative at that moment.

Turning into the driveway, I saw Blanchard on her front porch. She saw me and immediately got up from the chair in which she was sitting. I parked my bike-without any fancy maneuver this time-yanked my helmet off, and smiled at Blanchard. She didn’t smile back. Instead, she bolted for the front door.

“Hey, wait, what’s wrong?” I shouted after her. But she was already inside. I ran up and knocked on the door. But Blanchard’s mom answered the door.

“Oh, hi Austin! What a nice surprise,” she said. She looked rather frazzled, with more No. 2 pencils in her messy, unkempt bun and behind her ears than I cared to count.

“No good material, huh?” I asked.

“No,” she responded. “Can I help you?”

“Uh, yeah. Well, Blanchard acted a little weird when I pulled up, and she seemed a little nervous when I smiled at her,” I said. “Do you happen to know what’s going on with her?”

Ms. Schwartz gave a teasing smile and shook her head.

“Well, she seems to fancy you, rather,” she said.

“Huh?”

“She won’t stop talking about you. She’s always going on about “Austin” this and “Austin” that. I even heard her mutter your name in her sleep a couple nights ago.”

“But then, why doesn’t she want to see me?”

“Perhaps she’s nervous, or she thinks you don’t like her back, or she’s just trying to figure out how to talk to you.”

I was rather flattered at the idea of her saying my name in her sleep, that would imply she’s been dreaming about me. I suddenly remembered that she’d been dropping subtle hints the whole time. I just hadn’t noticed, mostly thanks to Alessandra’s seduction.

“You should try to talk to her,” said Ms. Schwartz. “You guys clearly like each other. She’s just a little nervous now. She’ll soon warm up to you.”

I blushed at the term, “warm up to”. I shook my head before any dirty thoughts dared to creep their way into my head. Looking up at Blanchard’s window, I smiled at the dark-haired personage, who I realized was looking out the window at us. She quickly shrank back out of sight. In the split second before she was out of sight, I could swear I saw her face turn red. I inwardly smirked.

“I guess I should go now,” I said to Ms. Schwartz, turning towards my motorcycle.

“Alright,” she responded. “I should get back to my writing anyway.”

“Bye, Ms. Schwartz,” I called back as I revved up the motor.

“Bye, Austin,” she responded, turning back to her house.

#BROOKLYN N. DOTTIN #poetryfiction

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thisispoetryproject · 5 years

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Respawn

The sand was gold and our hearts were close; the ocean blue with clouds like ghosts. You pulled me in to let me go and I left, chasing the emptiness beyond the stone wall, drifting aboard the first boat into the Isles Off the Coast. But I was not blind with lust like most and as the ship’s motors began to push us further apart I felt my heart grow cold and numb like the toes of a winter traveler. To this day I don’t know whether I was frost-bitten or simply lost. As we approached the canopy of trees covering the Isle’s rivers I waited patiently for my stop. One by one the boat’s passengers were engulfed by the river, moving as though they walked through air on her dirt and pebble floors, her waters refusing to acknowledge the presence of those who belonged. As each traveler moved effortlessly through the Doors I felt the pebble in my throat graduate to a stone and the emptiness in my stomach balloon into a void as the pain of my frostbite was fully realized— this place was not meant for me, my destiny was with you and as the captain began swimming in the river I realized that he knew it too. I followed him under and met his eyes, the tears streaming down my face masked by the tides. “Take me back” and he agreed but I knew it was lie. His silence on the boat explained that once you travel down this path you either live with your mistakes... or die. Down the river and back into the ocean we sailed, slowly approaching the exposed island hut home to all those who failed. My legs struggled to hold the weight of my regrets the thought of living without your warmth became too great a burden to bear and the vision in my eyes was filtered with red behind the error messages that’s said: YOU SHOULD HAVE DONE ALL THIS BUT NOW YOU ARE DEAD. And as I resigned to my fate the last one read: RESTART right before I woke up next to you in our bed.

#thisispoetry #poetry #poem #poets on tumblr #spilled ink #spoken word #spilled thoughts #spokenword #poems #tumblr writers #Respawn

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darlingpetao3 · 7 years

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For Asgard (Chapter 20/?)

A loud crash of thunder roars, closely followed by a thud on Stark's terrace. Thor wears the most irritated looking face known to any man.

“Loki!” Thor calls out in fury. “I bid you to relinquish your hold on these mortals!” Did Loki just roll his eyes at his brother? Thor stomps his way into the apartment. There are shrieks of despair and blasts of alien lasers coming from down below. A gut feeling tells you that you should be down there, aiding the people of New York to safety. Fighting these things. Anything but being caught in a family quarrel between your former psychotic lover and his roided avenging brother.

“I cannot.”

“You will be defeated,” Thor vows. “Mark my words.” Loki aims and shoots a blast at his brother, missing him by a hair.

“You come with me,” Thor says, grabbing you around the waist as Loki tries to lunge for him. Loki wasn't fast enough and you now find yourself flying midair, swerving around buildings, while Thor injures flying Chitauri lowlifes with his lightning charged hammer. There, down below, is the rest of your team in a defence formation. Thor sets you down quite gently, which you appreciate.

“Any luck up there?” Birdman asks. You shake your head solemnly.

“Not even close. Gah! This whole thing is one giant shit show and I'm just so, so- angry!” The engine of a dying motorized vehicle gets closer as a man rides over to your team through a cloud of dust. He looks pretty rough and seriously dirty, but he walks up to Cap like he knows him, so he must not be a threat. Wait... his face. This was the same man Loki was smiling like the Cheshire Cat at through the lab window on the helicarrier.

“Did someone say 'angry'?” he says lightly. The man gestures to you. “Who's this?”

“Long story, but she's with us.” Cap keeps it short and sweet, you like that. “Stark, we got him,” he says with a hand to his earpiece. Stark's voice interjects over your com system.

“Banner? Tell him to suit up. I'm bringing the party to you.” Mere seconds later, a gargantuan, dragon/whale-like, alien monster floats its massive self from around the corner of a building, with Stark leading it your way. Off of it jumps even more Chitauri soldiers who grapple onto buildings on both sides of the street.

“What are you staring at?” Banner wonders.

You point a shaky finger behind him. “That,” voice wavering.

Cap instructs Banner to get angry, but how could that help? This Banner guy is smaller than the rest of the men on this team. What could he possibly do? Banner makes a crack about always being angry. The moment he turns to face the monster, he- what fresh HELL-? First, he's this calm, little white man and when you blink he's a huge, green, enraged and bulging thing making this machine-whale keel over with the power of his fist. Incredible. You thought you'd seen it all. You were sorely mistaken.

Cap covers you and Redhead with his shield from the debris the beast spit forth upon hitting the pavement. It lays unmoving on the ground, but up above, hanging from the buildings is the Chitauri army. They squawk their unnerving voices. Stark touches down next to a hulking Banner and you all stand in a circle, covering all their possible angles of attack. Like total badasses.

As the Avengers.

Another daunting whale-machine descends from the portal in the sky. Great. Cap starts dishing out instructions to each member of the team, but in your head, the volume of his voice dims. In its place, the sound of a child's whimpers catches your attention. Trying to locate the sound, you scan the destroyed area around you. And then you see him. A young boy about age six or seven cowers under a smashed up car. Something inside you kicks in and you high tail it to the boy, leaving your crew behind, all the while smashing and kicking gross Chitauri faces that happen to get in your way. And of course, they do get in your way. Finally, when there are no more obstacles to defeat, and thinking it best to proceed slowly so as to not frighten the little guy even more, you cautiously approach him and crouch down to his level.

“Hey, it's okay. It's okay, the coast is clear.” You extend your hand to him. “Come with me. I'll get you somewhere safe.” The child's bright eyes shift back and forth, checking his surroundings. He takes your hand (after some deliberation), as you help him out from under the wrecked vehicle.

“Where's your mom? Where did you see her last?”

The little boy's face twists in thought as he scratches his head. Shaggy black strands fall in his face. He doesn't answer you (which you can understand because you were taught not to talk to strangers when you were young, too), but he points down the closest street heading east. “Come on, I'll take you to her.” He takes your hand again while you lead the way. Suddenly you feel a surge of more responsibility than you've ever felt before.

You ask him which way next, and he points down an alley. On the other end of it, you can make out the sign of a cafe, where you assume awaits his rightfully frantic mother. Behind you at a distance, an alien garble of words grows louder. The boy's eyes are watering. He gives you a big hug and you think he shoves something haphazardly in your pocket. In a split second, his little legs carry him like he's the fastest boy alive. Now two Chitauri have spotted you and are hurtling your way. You quickly check to make sure the boy made it out of the alley to the cafe, but you no longer see him. Surely he's not that fast... You pray he made it out safely. You pick up a trash can lid just in your reach and let out a huff.

“Bring it, scumbags.”

You pant and smear the blood from your victorious cuts as you scan the interior of the cafe for the little boy's face. He is nowhere to be seen. Even when asking around in a small frenzy, no one here knew of any missing child. That left you uneasy, to say the least.

Out the cafe's window, Cap and Thor stand staring up at the sky in disbelief. You hurry out the door to their side and follow their upward stare. “What'd I miss?”

“Stark redirected a missile into the wormhole,” Cap explains. “Nat's closing- He's not out-”

“No, look!” You point out the falling red and gold sliver from above. The three of you exchange triumphant glances and back to the sky. “Wait, he's not flying. Stark's falling!” Thor winds himself up to fly, but the hulkish Banner luckily catches his colleague like a fly ball.

Banner sets him down, but Stark remains unmoving as the four of you form a huddle around him. The tabloids may have been right about him being a genius, billionaire, playboy, philanthropist, but he was more than that. He was the real hero today. The world will miss him greatly-

Stark's body on the ground gasps violently. “What the hell? What just happened?”

“We won.”

If one could believe it or not, it didn't actually feel like you had won, no matter the amount of praise and gratitude received from the people of New York. You smiled through the 'well done' pats on the back. You obviously had been through so much, so fast, with plenty of different and complicated emotions vying for the top spot in your brain.

Maybe you should see a therapist.

After all, upon reflection, you have come to realize the Asgardian witch's prophecy had come true.

“I see a blackness in your future. You will be consumed. Terror. Darkness. Sadness. Death.”

The blackness and darkness, you imagine, was falling through the hole eventually leading to the Otherworld. Terror – the havoc upon New York; Sadness, well that was obvious, and coincides with 'death,' Coulson's in particular. The 'consumed' part is trickier, and the only thing you could pinpoint to it would be how consumed with love you were for Loki that it blinded you...

At the present, you find yourself in Central Park trying to be inconspicuous behind the trunk of a tree. You pull your dark shades up onto your head and peer around the trunk, watching the exchange go down. Tony Stark walks with two briefcases while Thor escorts Loki to the undisclosed meeting place designed by Eyepatch. Since you were not originally and officially a part of the Avengers Initiative from the get go (and being on the wrong team in the beginning, though he never explicitly referred to it), Eyepatch thought it best for you to not be involved with the goings on taking place today. But that sure as hell didn't stop you from spying.

From catching one last glimpse at Loki.

He bears scratches all over his beautiful face and is bound in chains, cuffs and a muzzle. Even after everything, you still fight the urge to run to him. To kiss him. To say a proper goodbye.

Banner takes the Tesseract from one of Stark's briefcases and sets it in a cylindrical glass container. He hands it off to Thor, who then offers the other end of the container's handle to Loki. Loki grabs it roughly like he wants this shit to be over with. In the last moment, before the Tesseract is activated, Loki manages to spot you, like he knows.

He always knows, doesn't he?

His eyes are pleading. Please forgive me, they seem to say. You're not sure if you're ready for that step yet. The blue glow of the Tesseract envelops them and in a second, they vanish from this world and presumably back to Asgard.

And just like that, the deal is done, and the rest of your teammates disperse. Redhead and Birdman joke on their way to an awaiting cab. Banner and Stark laugh as they drive off in Stark's multi-million dollar Acura. And Cap, ever the cool guy, rides off into the sunset on his Harley.

Now that just leaves you. Alone. Sitting at the base of a tree trying to hold in your tears. Someone clears their throat. Looking up, it's Eyepatch. You put your shades back on so your eyes won't betray you in front of him.

“His proposition still stands. I can still make it happen,” he says, a little uncomfortable at your all too apparent sadness. “He would have wanted that for you.”

“Coulson?” His name almost wouldn't leave your lips. “I could really go home after everything?”

He nods. “I think it would be in all our best interests if you did.”

“Okay.”

You remain frozen on your doorstep to your apartment. It feels like the weirdest thing in all the worlds to be back here. To be back at the place you once called home. Strangely enough though, you felt homeless now. Your hand shakes a little while reaching for the doorknob. You brace yourself, but for what, you don't even know. Peeking through upon opening it, you notice the entire place is in complete disarray. Not only from the battle with the Frost Giant on the night you were last here, but an extra mess. Speaking of the Frost Giant, its body was no longer lying lifeless on the floor (thank goodness). You assume you could thank S.H.I.E.L.D. for all of this.

I mean really, would it kill S.H.I.E.L.D. to clean up after they tear my house apart? Automatically you throw your body onto the couch where the cushion is not overturned. In the process a piece of folded paper tumbles out of your pocket. The page is blank after unfolding the paper, but then words magically begin to materialize:

My darling,

I hope this note finds you well and is able to shed some light on a murky subject. I never did discuss much with you the plan I so foolishly kept to myself.

I struck a deal with the Other, telling him what he wished to hear, and developed an alliance with him in order to free us from under his hold in his strange realm. We agreed that if I were to take over New York, then eventually Midgard with his supplied army, he would reward me. Naturally, he was never specific, and I was wary of course. My plan was never to take control of New York City, nor Midgard for that matter, though my outward intentions seemed as such. No, my plan was always to return home to Asgard, to claim what was (and is) rightfully mine, and my hopes that you would be with me still when the time had come. In saying this, I do admit to faking my defeat by the so-called "Avengers" in order to have their agency send me home. To send us home. It is unfortunate that before this was seen through, our ways had parted. I will have returned to my realm by the time you read this message. The only thing missing here is you, my dear.

From the beginning, I have always wanted for you to be happy and safe, please understand this. But now I realize I have caused the opposite effects in my withholding of this information. I lost my way. I lost myself. I committed acts I regret. I caused you great pain and that is something I never wanted to bring to you, but I suppose I should accept my true nature as a harbinger of miserable disaster. I do not deserve your forgiveness, so I do not ask for it, though I hope with all my heart I might be blessed with it one day. Whatever my fate may be, I pray to lay eyes upon you again someday, a sight that will always and forever put me at ease.

I would say 'take care of yourself,' but we are both aware of your capabilities and skill set and I fear your lethal gaze at the very mention of the phrase. Ha, a joke.

Please know this: I love you past, present, and future in every sense, in every way, and with every fibre of my being.

Always yours,

P.S. The small boy you helped that day is in awe of your kindness and bravery. He always had been...

You let a breath go and the words disappear from the page. The piece of paper floats to the ground out of your hands. In your direct line of vision is a familiar worn book on the coffee table.

Norse Mythology, the cover reads.

You echo the words of the man who changed your life and your world:

“They are not merely myths.”

Part 21

Tag List: @gerardwayisapotato , @theloneavenger1995 , @magellan-88

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eduardoqwxa595-blog · 5 years

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Decorating With Wall Tapestries

"Just recently, we invested some time speaking about the useful, solar control aspects of window treatments: sheers, solar tones, venetian blinds, plantation shutters and so forth.

That's all well and good, and a prime need, specifically here where the sun can be so intense. But there is another reason to treat windows, which is rather less functional and considerably more design oriented. Which, of course, is involving the embellishment of windows.

Fabric treatment of windows can be stark and extreme, or it can be exuberant, lush and over the top. Both have their location and depending upon the nature of the area, the architecture, the client and the spending plan, each can be suitable.

youtube

A few of the simpler treatments, and ones which quickly lend themselves to the more casual aspects of living here on the Florida coast, are roman tones. These treatments include panels of material which are supported by a (typically) flat valance at the top, and after that a series of horizontal pleats supplying an ornamental aspect when in the raised position, and a (typically) flat panel when lowered. The panel can be truly flat, or it might be fabricated (pun meant) to have irreversible pleats stitched into the face material, or a series of ribs stitched into the face material. All of them have a pattern of rings connected to the back panel or lining. This material not just secures the face material from direct exposure to the sun, but permits the more resilient backing fabric to offer a surface to attach the rings which in turn allow passage of the cording, which raises and reduces the shade.

The material for the face material can be practically anything that appropriates for the space interior. In a lot of cases, we look to utilize muted and neutral materials, to not accentuate the shades, however rather have them be more background to the other more significant and dominant style components in the space.

We however, often supply subtle components on these sorts of tones. The usage of fabric banding, cutting tapes with subtle contrast embroidery can add good information touches to otherwise plain treatments.

Roman shades work particularly well on windows that do not descend to the flooring. We often install them with a valance that extends over the window casing. If the home is modern and does not include cases on window openings, these tones work well to provide some richness to an otherwise plain opening.

For full-height openings and french or moving glass doors, we often like to use a remarkable and well-scaled decorative pole with finials. From this rod we then hang complete and voluptuous drapery panels. These can be either fixed panels or ones that can really close, for both sun protection along with personal privacy.

The variety of poles, rings and finials readily available today runs quite a range. They can vary from basic iron or metal rods, with wrought finials, to elaborately sculpted or turned wood poles. We typically call these to be completed with colors and patinas to harmonize with the other woodwork or furniture pieces in the room. In some cases metal leaf is used, either silver or gold, and provided a stunning glaze to make it appear to have grace and age, rather than be glaringly bright and new looking. We want them to blend rather than shout out their existence.

The materials suspended from this armature then is really what we desire to concentrate on. When once again, the fabric here might be subtle and abundant, maybe linen or silk, but elegantly wrought, utilizing almost dress-making information. Edge trims, contrasting hem fabrics, can be part of the finishing combination.

Additionally, the fabric itself can be an effective and vibrant damask, a significant print, or maybe a colorful woven to make a considerable declaration in the room.

The fabric can be pleated at the top, where the rings are connected, or can be folded over to make a hem, with a decorative trim element at the bottom edge. There are simply a million ways to offer variation and originality to one's interiors.

Another way to provide passing through panels is to provide an ornamental valance at the top of the panels. These can be easy, flat fabric-covered ""boxes"" to protect the traversing rod and systems from view, or they can be elaborately shaped at the bottom with scallops and curves. Another treatment is to supply a simple material valance, with perhaps box pleats at the center or 3rd points, or possibly a series of box pleats at intervals, just as texture or for interest. One can go on and on in the varieties and possibilities.

If we belong to the early planning process of a new home, or are embarking on a grand restoration, we often have a drapery pocket built. This includes configuring the crown molding out about 10"" to 12"" far from the exterior wall surface, which allows the setup of the drape tracks for sheers and the decorative drapery panels on the ceiling. This allows the systems and the tops of the pleats to be concealed, so the fabric simply comes down straight from listed below the crown molding. It is a tidy -looking and tailored technique when the customer does not want fancy decorative drape rods. This treatment works particularly well in bed rooms, however not so well in multi-storied spaces, where the drapery panels would become awkwardly long.

All of the above drape treatments can be motorized, and in the case of our big homes, we always recommend having this done to simplify the procedure of leaving your house for a prolonged duration.

Other treatments in our vocabulary of design possibilities are more sophisticated treatments that we use in standard homes, such as boodles, jabots, heavy bullion fringe, and big passementerie tassels and tie-backs. These are such enjoyable to do, but typically are not required in our more relaxed Sarasota places."

#interior decorator #interior design

0 notes

franciscocwdz182-blog · 5 years

Text

Create the Perfect Haven With Custom Made Furniture

"Recently, we invested some time talking about the practical, solar control elements of window treatments: sheers, solar shades, venetian blinds, plantation shutters and so forth.

That's all well and good, and a prime requirement, particularly here where the sun can be so extreme. But there is another reason to treat windows, which is somewhat less practical and significantly more style oriented. And that, obviously, is involving the decoration of windows.

Material treatment of windows can be stark and severe, or it can be abundant, rich and over the top. Both have their place and depending on the nature of the space, the architecture, the client and the budget, each can be proper.

Some of the simpler treatments, and ones which easily lend themselves to the more casual aspects of living here on the Florida coast, are roman tones. These treatments include panels of material which are supported by a (typically) flat valance at the top, and then a series of horizontal pleats providing a decorative component when in the raised position, and a (normally) flat panel when lowered. The panel can be genuinely flat, or it may be made (pun intended) to have irreversible pleats stitched into the face fabric, or a series of ribs sewn into the face material. All of them have a pattern of rings connected to the back panel or lining. This material not just protects the face material from direct exposure to the sun, however enables the more durable backing fabric to offer a surface area to attach the rings which in turn permit passage of the cording, which raises and lowers the shade.

The fabric for the face product can be practically anything that appropriates for the room interior. Oftentimes, we look to utilize soft and neutral materials, to not draw attention to the shades, however rather have them be more background to the other more significant and dominant design components in the space.

We however, typically provide subtle aspects on these sorts of tones. Using fabric banding, trimming tapes with subtle contrast embroidery can add great information touches to otherwise plain treatments.

Roman tones work particularly well on windows that do not descend to the floor. We often install them with a valance that crosses the window case. If the house is modern and does not consist of housings on window openings, these tones work well to offer some richness to an otherwise plain opening.

For full-height openings and french or sliding glass doors, we frequently like to utilize a significant and well-scaled ornamental pole with finials. From this rod we then hang full and voluptuous drapery panels. These can be either repaired panels or ones that can really close, for both sun protection as well as privacy.

The selection of poles, rings and finials available today runs quite a range. They can vary from simple iron or metal rods, with wrought finials, to elaborately carved or turned wood poles. We typically call these to be finished with colors and patinas to harmonize with the other woodwork or furniture pieces in the room. Often metal leaf is applied, either silver or gold, and provided a lovely glaze to make it appear to have grace and age, rather than be glaringly brilliant and new looking. We desire them to mix instead of shout out their existence.

The materials suspended from this armature then is actually what we wish to concentrate on. Once once again, the material here may be subtle and abundant, maybe linen or silk, however elegantly wrought, utilizing practically dress-making information. Edge trims, contrasting hem fabrics, can be part of the finishing scheme.

Additionally, the material itself can be a powerful and strong damask, a significant print, or possibly a vibrant woven to make a significant declaration in the space.

The material can be pleated at the top, where the rings are connected, or can be folded over to make a hem, with a decorative trim component at the bottom edge. There are just a million ways to offer variation and uniqueness to one's interiors.

Another method to supply traversing panels is to provide an ornamental valance at the top of the panels. These can be simple, flat fabric-covered ""boxes"" to shield the passing through rod and mechanisms from view, or they can be elaborately formed at the bottom with scallops and curves. Another treatment is to offer an easy material valance, with perhaps box pleats at the center or third points, or maybe a series of box pleats at intervals, just as texture or for interest. One can go on and on in the ranges and possibilities.

If we become part of the early planning procedure of a new house, or are starting a grand restoration, we often have a drapery pocket built. This consists of configuring the crown molding out about 10"" to 12"" away from the exterior wall surface area, which enables the setup of the drape tracks for sheers and the ornamental drapery panels on the ceiling. This enables the mechanisms and the tops of the pleats to be concealed, so the fabric simply descends straight from listed below the crown molding. It is a tidy -looking and tailored method when the customer does not desire fancy decorative drapery rods. This treatment works particularly well in bed rooms, however not so well in multi-storied spaces, where the drapery panels would end up being awkwardly long.

youtube

All of the above drapery treatments can be motorized, and in the case of our large homes, we always suggest having this done to simplify the procedure of leaving your home for an extended period.

Other treatments in our vocabulary of style possibilities are more sophisticated treatments that we use in conventional houses, such as swags, jabots, heavy bullion fringe, and big passementerie tassels and tie-backs. These are such fun to do, however often are not called for in our more relaxed Sarasota places."

#interior decorator #interior design

0 notes

johnathanjlrm600-blog · 5 years

Text

Interior Design - The Right Touch

"Just recently, we invested a long time talking about the practical, solar control elements of window treatments: sheers, solar shades, venetian blinds, plantation shutters and so on.

That's all well and good, and a prime requirement, specifically here where the sun can be so extreme. But there is another reason to deal with windows, and that is rather less functional and substantially more style oriented. And that, of course, is pertaining to the decoration of windows.

Fabric treatment of windows can be plain and serious, or it can be exuberant, rich and over the top. Both have their location and depending upon the nature of the space, the architecture, the customer and the spending plan, each can be proper.

Some of the easier treatments, and ones which easily lend themselves to the more casual elements of living here on the Florida coast, are roman tones. These treatments consist of panels of material which are supported by a (generally) flat valance at the top, and after that a series of horizontal pleats offering a decorative aspect when in the raised position, and a (typically) flat panel when lowered. The panel can be truly flat, or it may be made (pun intended) to have irreversible pleats sewn into the face fabric, or a series of ribs stitched into the face fabric. All of them have a pattern of rings connected to the back panel or lining. This fabric not just secures the face fabric from direct exposure to the sun, but allows the more resilient support fabric to offer a surface to connect the rings which in turn permit passage of the cording, which raises and reduces the shade.

The material for the face material can be practically anything that appropriates for the space interior. In a lot of cases, we want to utilize muted and neutral fabrics, to not accentuate the tones, but rather have them be more background to the other more remarkable and dominant style elements in the room.

We however, frequently supply subtle components on these sorts of tones. The usage of material banding, trimming tapes with subtle contrast embroidery can add good detail touches to otherwise plain treatments.

Roman shades work particularly well on windows that do not come down to the floor. We typically install them with a valance that extends over the window housing. If the house is contemporary and does not consist of casings on window openings, these shades work well to provide some richness to an otherwise stark opening.

For full-height openings and french or moving glass doors, we typically like to utilize a dramatic and well-scaled decorative pole with finials. From this rod we then hang complete and voluptuous drape panels. These can be either repaired panels or ones that can really close, for both sun defense along with personal privacy.

The selection of poles, rings and finials available today runs rather a gamut. They can vary from basic iron or metal rods, with wrought finials, to elaborately sculpted or turned wood poles. We frequently call these to be ended up with colors and patinas to harmonize with the other woodwork or furnishings pieces in the room. In some cases metal leaf is used, either silver or gold, and provided a gorgeous glaze to make it appear to have grace and age, instead of be glaringly bright and new looking. We desire them to mix instead of yell out their presence.

The fabrics suspended from this armature then is actually what we wish to focus on. As soon as once again, the material here may be subtle and rich, possibly linen or silk, but elegantly wrought, using almost dress-making details. Edge trims, contrasting hem fabrics, can be part of the finishing combination.

Alternatively, the material itself can be an effective and bold damask, a remarkable print, or perhaps a colorful woven to make a considerable declaration in the room.

The material can be pleated at the top, where the rings are attached, or can be folded over to make a hem, with a decorative trim element at the bottom edge. There are just a million ways to provide variation and individuality to one's interiors.

youtube

Another way to provide passing through panels is to supply an ornamental valance at the top of the panels. These can be simple, flat fabric-covered ""boxes"" to shield the passing through rod and mechanisms from view, or they can be elaborately shaped at the bottom with scallops and curves. Another treatment is to offer a basic fabric valance, with perhaps box pleats at the center or third points, or possibly a series of box pleats at periods, simply as texture or for interest. One can continue in the ranges and possibilities.

If we are part of the early preparation procedure of a brand-new house, or are embarking on a grand renovation, we often have a drapery pocket built. This includes setting up the crown molding out about 10"" to 12"" away from the exterior wall surface, which allows the installation of the drapery tracks for sheers and the decorative drape panels on the ceiling. This allows the systems and the tops of the pleats to be hidden, so the fabric just comes down straight from listed below the crown molding. It is a clean -looking and tailored method when the customer does not desire fancy ornamental drapery rods. This treatment works particularly well in bed rooms, however not so well in multi-storied spaces, where the drape panels would end up being awkwardly long.

All of the above drape treatments can be motorized, and when it comes to our large homes, we constantly recommend having this done to streamline the procedure of leaving the home for a prolonged duration.

Other treatments in our vocabulary of style possibilities are more sophisticated treatments that we utilize in conventional homes, such as swags, jabots, heavy bullion fringe, and big passementerie tassels and tie-backs. These are such fun to do, but frequently are not called for in our more relaxed Sarasota places."

#interior decorator #interior design

0 notes

collinkiib736-blog · 5 years

Text

Designing a Room Around Art

"Just recently, we invested a long time speaking about the practical, solar control elements of window treatments: sheers, solar tones, venetian blinds, plantation shutters and so forth.

That's all well and good, and a prime requirement, especially here where the sun can be so extreme. But there is another factor to deal with windows, which is rather less functional and considerably more design oriented. Which, naturally, is pertaining to the embellishment of windows.

Fabric treatment of windows can be plain and extreme, or it can be exuberant, rich and over the top. Both have their place and depending upon the nature of the area, the architecture, the client and the budget, each can be suitable.

A few of the easier treatments, and ones which easily lend themselves to the more casual aspects of living here on the Florida coast, are roman shades. These treatments consist of panels of material which are supported by a (generally) flat valance at the top, and after that a series of horizontal pleats providing an ornamental aspect when in the raised position, and a (normally) flat panel when reduced. The panel can be genuinely flat, or it might be fabricated (pun intended) to have permanent pleats sewn into the face material, or a series of ribs stitched into the face material. All of them have a pattern of rings attached to the back panel or lining. This fabric not only safeguards the face material from direct exposure to the sun, but allows the more durable backing fabric to provide a surface to attach the rings which in turn allow passage of the cording, which raises and lowers the shade.

The material for the face material can be practically anything that appropriates for the room interior. In most cases, we look to use muted and neutral materials, to not draw attention to the shades, but rather have them be more background to the other more remarkable and dominant design aspects in the room.

We however, frequently offer subtle elements on these sorts of shades. Making use of fabric banding, trimming tapes with subtle contrast embroidery can add nice detail touches to otherwise plain treatments.

Roman shades work particularly well on windows that do not descend to the floor. We typically install them with a valance that extends over the window housing. If the house is modern and does not include cases on window openings, these shades work well to provide some richness to an otherwise plain opening.

For full-height openings and french or moving glass doors, we often like to use a dramatic and well-scaled ornamental pole with finials. From this rod we then hang complete and voluptuous drape panels. These can be either fixed panels or ones that can actually close, for both sun security along with privacy.

The range of poles, rings and finials offered today runs rather a range. They can range from simple iron or metal rods, with wrought finials, to elaborately sculpted or turned wood poles. We typically call these to be ended up with colors and patinas to harmonize with the other woodwork or furniture pieces in the space. Sometimes metal leaf is applied, either silver or gold, and offered a stunning glaze to make it appear to have grace and age, rather than be glaringly bright and brand-new looking. We want them to mix rather than scream out their existence.

The fabrics suspended from this armature then is actually what we desire to concentrate on. Once again, the material here might be subtle and abundant, perhaps linen or silk, but elegantly wrought, utilizing nearly dress-making information. Edge trims, contrasting hem materials, can be part of the completing combination.

Additionally, the fabric itself can be an effective and strong damask, a dramatic print, or possibly a colorful woven to make a significant declaration in the space.

The material can be pleated at the top, where the rings are connected, or can be folded over to make a hem, with a decorative trim element at the bottom edge. There are simply a million ways to offer variation and originality to one's interiors.

Another way to offer traversing panels is to supply a decorative valance at the top of the panels. These can be easy, flat fabric-covered ""boxes"" to shield the traversing rod and mechanisms from view, or they can be elaborately formed at the bottom with scallops and curves. Another treatment is to offer an easy fabric valance, with perhaps box pleats at the center or 3rd points, or perhaps a series of box pleats at intervals, just as texture or for interest. One can continue in the varieties and possibilities.

If we become part of the early planning process of a new house, or are embarking on a grand renovation, we typically have a drapery pocket built. This consists of setting up the crown molding out about 10"" to 12"" far from the exterior wall surface, which allows the installation of the drapery tracks for sheers and the decorative drape panels on the ceiling. This enables the systems and the tops of the pleats to be hidden, so the material simply descends straight from below the crown molding. It is a clean -looking and customized technique when the client does not want fancy ornamental drapery rods. This treatment works particularly well in bedrooms, but not so well in multi-storied spaces, where the drapery panels would become awkwardly long.

All of the above drape treatments can be motorized, and in the case of our large houses, we constantly advise having this done to simplify the process of leaving the home for an extended period.

Other treatments in our vocabulary of style possibilities are more elaborate treatments that we utilize in conventional houses, such as swags, jabots, heavy bullion fringe, and large passementerie tassels and tie-backs. These are such enjoyable to do, but frequently are not called for in our more unwinded Sarasota locations."

youtube

#interior decorator #interior design

0 notes

scorpioblinds · 7 months

Text

What types of awnings in Gold Coast are used?

Are you looking for a way to brighten up your outdoor space while soaking up the sunshine on the Gold Coast? Awnings are here to help! In this blog, we’ll answer some burning questions about the most popular awnings on the Gold Coast, as well as how they can enhance your outdoor living experience.

What Are the Most Popular Types of Awnings in Gold Coast?

Gold Coast residents love their outdoor spaces, and for good reason! Whether you’re looking for a retractable or fixed awning, you’ll find something that’s perfect for your deck, patio, or entertainment area. Awnings come in a variety of styles and features, so you’ll be able to find the perfect one for your needs and style.

What Is a Pull-Up Awning?

A pull-up awning is like a magic wand for your outdoor space. When the sun is at its peak, you can pull it up to provide shade, or pull it down to let the sun in. It’s great for decks and patios, but it’s also great for stargazing at night. Pull-up awnings

Is Fixed Awning a Permanent Solution in Gold Coast?

Fixed Awnings are a permanent solution in Gold Coast. They stick to the structure and provide constant shade. They are perfect for creating covered outdoor areas. They are durable and can stand up to the sun and occasional rain in Gold Coast.

How can café blinds transform your outdoor dining areas?

Café blinds are a great way to add a bit of European flair to your outdoor dining area. These blinds, which are either clear or tinted, provide protection from wind, rain and bugs while keeping you in clear view. They are popular for outdoor dining spaces in the garden.

Are folding arm awnings the best way to provide stylish shade solutions for your Gold Coast home?

Folding awnings are a great way to add a touch of style and functionality to your outdoor space. Folding awnings have retractable arms that fold away when not in use. This allows you to enjoy unobstructed views while still maintaining a sleek look.

Are outdoor shade sail awnings suited for the beachy vibe of Gold Coast homes?

Shade sail awnings are perfect for adding a touch of beachy vibes to your Gold Coast home. Their sail-like design allows you to create artistic shade solutions for your garden, pool area, and courtyard.

Can window awnings improve your energy efficiency?

Yes, window awnings can help keep your home cooler by blocking direct sunlight and keeping out excessive air conditioning.

Can Louvre Awnings Adapt to the Changing Weather on the Gold Coast?

Louvre awnings can be the chameleon of outdoor shading. Adjustable louvres give you control over how much sunlight and airflow you get. This makes them ideal for the ever-changing weather on the Gold Coast, so you can enjoy your outdoor space in comfort.

Is Freestanding an Awning Suitable for Your Gold Coast Backyard?

Yes, you can create shaded areas in your backyard with a freestanding awning. Whether you’re covering a barbecue station, a lounge area, or a reading nook, you can create shade without having to build a new structure.

Is Polycarbonate an Awning a Good Choice for Durable Shade on the Gold Coast?

The Gold Coast’s coastal conditions demand durability, and polycarbonate is the perfect material for this. It’s strong and weather resistant, so you’ll have plenty of protection against the elements. Plus, it allows natural light to shine through, making your space bright and sheltered.

Are solar powered awnings a sustainable choice for your Gold Coast home?

Solar powered awnings are a great way to take advantage of the sun’s natural energy. Solar powered awnings harness the power of the sun to power motorized functions using solar panels. Not only does this provide shade, but it’s also in line with many Gold Coast homeowners’ eco-friendly lifestyle.

Conclusion

There’s no one-size-fits-all when it comes to awnings in Gold Coast. Whether you’re looking for a flexible option with a retractable one, a long-term solution with a fixed one, or something a bit more elegant with a folding arm awning, there’s a style for every outdoor space you’ll need.

Here’s our ultimate guide to awnings on the Gold Coast!

#awnings #awnings in Gold Coast

0 notes

jaidenzkmx134-blog · 5 years

Text

With a Murphy Bed Get the Benefits of a Room Addition Without Spending the Money

"Recently, we invested some time speaking about the useful, solar control elements of window treatments: sheers, solar shades, venetian blinds, plantation shutters and so forth.

That's all well and good, and a prime need, specifically here where the sun can be so extreme. However there is another reason to deal with windows, and that is rather less practical and substantially more style oriented. And that, obviously, is pertaining to the decoration of windows.

Fabric treatment of windows can be stark and severe, or it can be abundant, rich and over the top. Both have their location and depending on the nature of the space, the architecture, the customer and the budget plan, each can be suitable.

youtube

Some of the simpler treatments, and ones which easily provide themselves to the more casual aspects of living here on the Florida coast, are roman tones. These treatments include panels of fabric which are supported by a (generally) flat valance at the top, and after that a series of horizontal pleats providing a decorative component when in the raised position, and a (generally) flat panel when reduced. The panel can be really flat, or it may be fabricated (pun planned) to have permanent pleats stitched into the face material, or a series of ribs sewn into the face material. All of them have a pattern of rings connected to the back panel or lining. This fabric not just secures the face fabric from direct exposure to the sun, however permits the more durable backing fabric to supply a surface area to attach the rings which in turn enable passage of the cording, which raises and decreases the shade.

The material for the face material can be almost anything that is ideal for the space interior. Oftentimes, we aim to use muted and neutral materials, to not draw attention to the shades, however rather have them be more background to the other more remarkable and dominant design elements in the space.

We nevertheless, frequently supply subtle elements on these sorts of shades. Using fabric banding, cutting tapes with subtle contrast embroidery can include good information touches to otherwise plain treatments.

Roman shades work especially well on windows that do not come down to the floor. We often install them with a valance that crosses the window casing. If the house is contemporary and does not include cases on window openings, these tones work well to supply some richness to an otherwise stark opening.

For full-height openings and french or moving glass doors, we typically like to utilize a dramatic and well-scaled ornamental pole with finials. From this rod we then hang complete and voluptuous drape panels. These can be either fixed panels or ones that can actually close, for both sun security along with privacy.

The range of poles, rings and finials readily available today runs rather a range. They can vary from basic iron or metal rods, with wrought finials, to elaborately carved or turned wood poles. We frequently call these to be finished with colors and patinas to harmonize with the other woodwork or furniture pieces in the room. In some cases metal leaf is used, either silver or gold, and offered a beautiful glaze to make it appear to have grace and age, instead of be glaringly bright and brand-new looking. We desire them to blend instead of shout out their existence.

The fabrics suspended from this armature then is truly what we desire to concentrate on. As soon as once again, the material here may be subtle and abundant, perhaps linen or silk, however elegantly wrought, using practically dress-making information. Edge trims, contrasting hem materials, can be part of the completing palette.

Alternatively, the material itself can be an effective and strong damask, a remarkable print, or maybe a vibrant woven to make a considerable statement in the space.

The material can be pleated at the top, where the rings are attached, or can be folded over to make a hem, with an ornamental trim aspect at the bottom edge. There are simply a million methods to provide variation and uniqueness to one's interiors.

Another way to provide passing through panels is to provide an ornamental valance at the top of the panels. These can be easy, flat fabric-covered ""boxes"" to protect the passing through rod and systems from view, or they can be elaborately shaped at the bottom with scallops and curves. Another treatment is to supply an easy fabric valance, with possibly box pleats at the center or third points, or maybe a series of box pleats at periods, simply as texture or for interest. One can go on and on in the ranges and possibilities.

If we become part of the early preparation process of a new home, or are starting a grand restoration, we often have a drapery pocket built. This includes configuring the crown molding out about 10"" to 12"" away from the outside wall surface area, which allows the setup of the drape tracks for sheers and the ornamental drapery panels on the ceiling. This permits the systems and the tops of the pleats to be concealed, so the fabric simply comes down straight from below the crown molding. It is a tidy -looking and customized method when the customer does not desire fancy decorative drapery rods. This treatment works especially well in bedrooms, however not so well in multi-storied spaces, where the drape panels would end up being awkwardly long.

All of the above drape treatments can be motorized, and when it comes to our large houses, we always advise having this done to streamline the procedure of leaving the home for a prolonged duration.

Other treatments in our vocabulary of design possibilities are more intricate treatments that we utilize in standard houses, such as boodles, jabots, heavy bullion fringe, and big passementerie tassels and tie-backs. These are such enjoyable to do, but frequently are not called for in our more relaxed Sarasota places."

#interior decorator #interior design

0 notes

ricardoeyuz349-blog · 5 years

Text

Does It Count If I'm Wearing Pajamas?

"Just recently, we spent a long time discussing the useful, solar control aspects of window treatments: sheers, solar shades, venetian blinds, plantation shutters and so on.

That's all well and good, and a prime need, particularly here where the sun can be so intense. However there is another factor to deal with windows, which is somewhat less practical and significantly more design oriented. And that, of course, is pertaining to the decoration of windows.

youtube

Material treatment of windows can be stark and serious, or it can be exuberant, rich and over the top. Both have their place and depending upon the nature of the space, the architecture, the client and the budget plan, each can be appropriate.

A few of the simpler treatments, and ones which easily lend themselves to the more casual elements of living here on the Florida coast, are roman shades. These treatments include panels of fabric which are supported by a (generally) flat valance at the top, and after that a series of horizontal pleats supplying an ornamental component when in the raised position, and a (typically) flat panel when decreased. The panel can be really flat, or it may be fabricated (pun intended) to have long-term pleats sewn into the face fabric, or a series of ribs sewn into the face fabric. All of them have a pattern of rings attached to the back panel or lining. This fabric not just secures the face material from direct exposure to the sun, however permits the more durable support fabric to supply a surface to connect the rings which in turn permit passage of the cording, which raises and decreases the shade.

The material for the face product can be practically anything that appropriates for the room interior. In most cases, we seek to utilize soft and neutral fabrics, to not accentuate the shades, however rather have them be more background to the other more dramatic and dominant design aspects in the space.

We however, often supply subtle aspects on these sorts of tones. The use of material banding, trimming tapes with subtle contrast embroidery can add nice detail touches to otherwise plain treatments.

Roman shades work particularly well on windows that do not come down to the flooring. We frequently install them with a valance that crosses the window case. If the home is modern and does not consist of housings on window openings, these shades work well to provide some richness to an otherwise plain opening.

For full-height openings and french or sliding glass doors, we often like to use a significant and well-scaled ornamental pole with finials. From this rod we then hang complete and voluptuous drape panels. These can be either fixed panels or ones that can really close, for both sun security along with privacy.

The variety of poles, rings and finials available today runs rather a range. They can vary from easy iron or metal rods, with wrought finials, to elaborately carved or turned wood poles. We frequently call these to be ended up with colors and patinas to balance with the other woodwork or furniture pieces in the room. Sometimes metal leaf is applied, either silver or gold, and given a beautiful glaze to make it appear to have grace and age, rather than be glaringly brilliant and brand-new looking. We want them to mix rather than yell out their existence.

The materials suspended from this armature then is really what we wish to concentrate on. Once once again, the fabric here might be subtle and rich, perhaps linen or silk, however elegantly wrought, utilizing almost dress-making details. Edge trims, contrasting hem materials, can be part of the ending up scheme.

Additionally, the material itself can be an effective and bold damask, a significant print, or maybe a colorful woven to make a considerable declaration in the room.

The material can be pleated at the top, where the rings are connected, or can be folded over to make a hem, with an ornamental trim aspect at the bottom edge. There are simply a million methods to provide variation and uniqueness to one's interiors.

Another way to supply passing through panels is to supply a decorative valance at the top of the panels. These can be simple, flat fabric-covered ""boxes"" to shield the passing through rod and systems from view, or they can be elaborately formed at the bottom with scallops and curves. Another treatment is to offer a basic fabric valance, with maybe box pleats at the center or third points, or possibly a series of box pleats at intervals, simply as texture or for interest. One can go on and on in the ranges and possibilities.

If we belong to the early planning process of a new house, or are starting a grand renovation, we frequently have a drape pocket built. This includes setting up the crown molding out about 10"" to 12"" away from the outside wall surface area, which allows the installation of the drape tracks for sheers and the ornamental drape panels on the ceiling. This permits the mechanisms and the tops of the pleats to be hidden, so the material just descends straight from listed below the crown molding. It is a clean -looking and customized approach when the customer does not desire fancy ornamental drape rods. This treatment works especially well in bedrooms, however not so well in multi-storied spaces, where the drape panels would end up being awkwardly long.

All of the above drapery treatments can be motorized, and in the case of our big houses, we constantly suggest having this done to simplify the process of leaving your home for an extended period.

Other treatments in our vocabulary of style possibilities are more fancy treatments that we utilize in conventional homes, such as swags, jabots, heavy bullion fringe, and big passementerie tassels and tie-backs. These are such fun to do, but typically are not called for in our more relaxed Sarasota places."

#interior decorator #interior design

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ricardorfgb527-blog · 5 years

Text

Budget Friendly Interior Looks You'll Love

"Recently, we invested a long time talking about the useful, solar control elements of window treatments: sheers, solar shades, venetian blinds, plantation shutters and so on.

That's all well and good, and a prime requirement, particularly here where the sun can be so intense. But there is another factor to deal with windows, which is somewhat less practical and significantly more design oriented. And that, obviously, is relating to the embellishment of windows.

Material treatment of windows can be stark and severe, or it can be abundant, lavish and over the top. Both have their place and depending on the nature of the space, the architecture, the client and the budget plan, each can be proper.

A few of the easier treatments, and ones which easily provide themselves to the more casual aspects of living here on the Florida coast, are roman tones. These treatments include panels of fabric which are supported by a (normally) flat valance at the top, and then a series of horizontal pleats supplying a decorative aspect when in the raised position, and a (normally) flat panel when reduced. The panel can be genuinely flat, or it may be fabricated (pun intended) to have long-term pleats stitched into the face material, or a series of ribs stitched into the face material. All of them have a pattern of rings connected to the back panel or lining. This material not only safeguards the face fabric from direct exposure to the sun, but allows the more resilient backing fabric to supply a surface to connect the rings which in turn permit passage of the cording, which raises and decreases the shade.

The fabric for the face product can be nearly anything that is suitable for the room interior. In lots of cases, we seek to use muted and neutral fabrics, to not draw attention to the shades, but rather have them be more background to the other more remarkable and dominant design aspects in the room.

We however, typically supply subtle components on these sorts of shades. Using material banding, trimming tapes with subtle contrast embroidery can add good information touches to otherwise plain treatments.

Roman tones work particularly well on windows that do not descend to the floor. We typically install them with a valance that extends over the window housing. If the house is contemporary and does not consist of cases on window openings, these tones work well to provide some richness to an otherwise stark opening.

For full-height openings and french or moving glass doors, we often like to use a dramatic and well-scaled ornamental pole with finials. From this rod we then hang complete and voluptuous drape panels. These can be either repaired panels or ones that can in fact close, for both sun defense in addition to privacy.

The range of poles, rings and finials available today runs rather a range. They can vary from basic iron or metal rods, with wrought finials, to elaborately sculpted or turned wood poles. We frequently call these to be completed with colors and patinas to balance with the other woodwork or furnishings pieces in the space. Sometimes metal leaf is applied, either silver or gold, and offered a lovely glaze to make it appear to have grace and age, instead of be glaringly brilliant and brand-new looking. We want them to mix rather than shout out their presence.

The fabrics suspended from this armature then is really what we want to focus on. Once again, the fabric here might be subtle and abundant, maybe linen or silk, however elegantly wrought, utilizing nearly dress-making information. Edge trims, contrasting hem fabrics, can be part of the ending up scheme.

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Additionally, the material itself can be a powerful and strong damask, a significant print, or possibly a vibrant woven to make a considerable declaration in the room.

The material can be pleated at the top, where the rings are attached, or can be folded over to make a hem, with an ornamental trim element at the bottom edge. There are simply a million ways to provide variation and originality to one's interiors.

Another way to supply traversing panels is to offer an ornamental valance at the top of the panels. These can be easy, flat fabric-covered ""boxes"" to shield the passing through rod and systems from view, or they can be elaborately shaped at the bottom with scallops and curves. Another treatment is to provide a simple material valance, with maybe box pleats at the center or third points, or possibly a series of box pleats at periods, just as texture or for interest. One can continue in the varieties and possibilities.

If we are part of the early preparation process of a brand-new house, or are starting a grand remodelling, we often have a drapery pocket built. This includes configuring the crown molding out about 10"" to 12"" far from the outside wall surface area, which permits the installation of the drapery tracks for sheers and the decorative drapery panels on the ceiling. This allows the mechanisms and the tops of the pleats to be hidden, so the material just descends straight from below the crown molding. It is a clean -looking and customized approach when the customer does not desire elaborate decorative drapery rods. This treatment works especially well in bed rooms, however not so well in multi-storied areas, where the drape panels would become awkwardly long.

All of the above drape treatments can be motorized, and when it comes to our big houses, we constantly recommend having this done to simplify the procedure of leaving your house for a prolonged duration.

Other treatments in our vocabulary of style possibilities are more intricate treatments that we use in conventional homes, such as swags, jabots, heavy bullion fringe, and large passementerie tassels and tie-backs. These are such fun to do, but often are not required in our more unwinded Sarasota locations."

#interior decorator #interior design

0 notes