Kamis, 18 Mei 2017

Wildon Home Furniture

Wildon Home Furniture

- all right,y'all gather round. gather round.welcome, gentlemen. what a beautiful and blessed dayfor an auction. all right, y'all,get on up there. - put that whip downand see what happens, though. - straight up. i don't care what plantationi end up on. i'm straight staging a revoltin this mother[bleep]. - hells yeah.

- we have lot a,lot b, and lot c. - uh, $3 on lot a.- $4. - 5! - $5 going once, twice,three times, sold. lot a goes to the manin the black hat. - i mean, good.- yeah. - [chuckles] i'm gladi didn't get sold, 'cause i don't want to be ownedby another human being. - whoever buys me, they betterkill me the first day,

or i'ma go buck-wildon the whole operation. - okaay? - next one,get up on up there, now. - oh, this--okay. both: [inhale] - $6 on lot a. - $7!- eight. - 9! - $9 going once, twice,three times, sold!

both: [exhale] - okay, well,you have to buy that dude. - it's a no-brainer.- i mean, that guy's huge. - a massive individual. - that's two of me.- anybody would buy him. - i'd buy that dude. - my question ishow'd they catch him? - next! - okay. oh, yeah.- yeah.

- $2 on lot a. - $2 going once, twice,three times, sold. - see, now,that surprises me. - that is interesting,to say the least. - i mean, well, it just seemslike at a certain point, it's like, do they even knowwhat they're looking for? - it's likethe whole criteria seems just a littleinconsistent. - i mean, at some point,i want to be on lot a.

- yeah, which--can a brotha get on lot a? - next. - oh, here we go.- here we go. - been a pleasure.- give 'em hell. - all right.- okay. - $8 on lot a. - going once, twice,three times, sold! - how does that happen?- nope, not true. - how does it happen?

- what you just said--that's gobbledygook. okay? that can't be true.'cause what can this dude do? look at him.what could he pick? a cotton plantis, like, this tall. - yes.- i'm say-- no offense, brotha,i'm just saying. - offense taken.- wha--[gasps] am i wrong? is he not short?he's short. but you are actually shortin real life, in the world.

- you're good, man.- enough. i will not havemy reputation tainted, sellin' superficial,bigoted slaves. - superficial? did that reallyjust come out of your mouth? - that's it!this auction's over! - auction's over?- whoa, whoa, whoa. no, it's--it ain't over.it's not over! i'm strong, y'all! i'm very str--i can sleep in a bucket.

- i'm fast, i got stamina,and i know magic. - my worst qualityis that i'm a perfectionist. - let me men--have i mentioned this? docile. i am agreeableto a fault. you should have seen the dudewho asked me to get on the boat when we came over here. - not a violent bonein my body. - i just walked right on,no big deal. never seen a boatin my life.

Wildon Home Furniture

Tribecca Home Furniture

Tribecca Home Furniture

the camden collections by american drew arepart of a line within the line called profiles. profiles was designed to create the perfectblend of lifestyle furniture for your home with great space saving features such as cornerchest in the bedroom, butterfly self-storing leaves in dining room as well as under bedstorage options.

Tribecca Home Furniture

Rabu, 17 Mei 2017

Sweet Home 3d Furniture

Sweet Home 3d Furniture

righty oh, i'm gonna build a floor plan as fast as i can using sweet home 3d i'm going to import a background-image so i've got some kind of guide this is something i created in photoshop and it's the floor plan of my house continue so you have to set the ruler first so it knows how big a meter is. roughly that is 13 meters so i type 1300 in there

continue. i might just set a set an origin point now that's a pretty good place for one. good.zoom in a bit position that right. now i start to draw some walls start down there, wall. go to that point. go to that point. go to that point, go to that point that point that point that point that point and wow, i could've done that a bit better. do some internal walls now

that just won't attach, so i have to hold down the alt key so i can fine tune it. right down to the bottom, press escape start again. start there, go down to there, go down to there go down to there and press escape this wall is a small section that's done. and i should have done that bit aswell. it's done now. that's a chimney. that's another chimney.

now i'm going to set the wall thickness multi select holding down shift that, that, that, that, that n that. not all walls are thick. only some of them are. so i'm going to select the thick ones. control shift e, 25 centimeters and they're all thick now and i can now justfine tune the locations a little bit control z, a few times there, i rotated it slightly that's good, one-two-three-fourone-two-three-four hold down control shift e

make that 40 centimeters. that's howbig the chimneys are tap that in slightly tap that up a little bit little bit more righty oh, i'm going to put some doors in now. open door open door, opens that way another open door, and another open door. this particular door

opens the opposite way to how the model has been drawn let's check out the 3d image pretty good so far. front door one of those opens inwards. make it really big cause it's nice to have a nice big front door. tap it up a little bit so it's centered window. actually i need a rear french door aswell

like a bifold, there we go there it is, put that, opens outwards. i'll just re adjust the size. ago there we go, control e to change the colour.it's a dark grey ok, the front door is also a dark gray so control e, select dark grey ok, zoom out a little bit lets have a look at what we have here.

doors, lots of doors. i'm missing two walls aswell which i'll put in quickly. it's a little bathroom utility room. and a bathroom excellent windows the window i'm looking for is double hung. there it is.on there as well there there and there

lets have a look at that that's nice and quick, look what i have already. excellent, that is the bottom floor. walls, doors and windows i'm going to put in a stair aswell. that one there, is pretty good i am going to adjust the size to match the proper size goes to about there in real life

that's the stairs up to the first floor middle walls these two walls opened so door, door frame door frame door frame, now the other door frame there we go, we can see tap slightly, there we go

we can see all the way through to the other side level one, add a level 0, level 1 lets get that right again, level 0 level 1. let's create some walls there and there escape the walls thickness, these two walls here

hold down control shift e, now 25 centimeters thick that wall just tap out a little bit and adjust that slightly that might tap out slightly aswell inner walls hold down alt again to fine tune that point down bottom, press escape another wall. across there to there. press escape

another wall, from there to there press escape, another wall from there to there doors, inner doors open-doors inner doors which are open doors. open that way another one, opens that way i've got to mirror that because it opens the other way open door goes to the bathroom we don't have the room boundaries

so you'll notice that we can actuallysee from the top right down to the bottom there are no floors so to add those, i use a new tool, for the room boundaries i'll start at level 0. zoom in slightly so i can see it this little blue circle appears just trace where the floor boundaries are that's one double click another room

double click thats the bathroom, the utility room, and nowthe kitchen and living area that's floor one level one, now to add some floors to that aswell start there go around the chimney, which i forgot to do. and then the area above the stairs

excellent, now i just quickly create those chimneys on this level as well and select them both with shift key control shift e so i can change the size to40 centimetres okay so we have now, we have a pretty much the house, we don't have anywindows up here yet. let's get some windows windows there are 3 windows in this room

there are 3 windows in thebathroom there are two windows in this small room here and there are 4 windows in this room here use shift, select them all and tap them all down so they appear to be middle that's pretty pretty good actually. let's have a look. yesgood that's the house i won't build the roofes

level zero and level one let's modify this bottom 3d view a bit to make the walls transparent create a grass texture and create a sky texture ok so that looks a little more interesting i can see that and that's pretty much the floor plan. i can add some dimensions to it.

using this tool here, start there start there, go down should have equalled 1300 i out by 3 centimetres their. 119, 120, that's interesting, i'm not going to bother about that anyway, you can do dimensions of different parts parts of things which is quite cool makes the diagram look professional and once you'vedone that

you are now able to position things throughout the house, for example here this is a bathroom, just adjust that windowslightly so i just get a bath there's one that bath can go there. a toilet, i need can go there and we also have a toilet downstairs which goes there

toilet paper roll, that one is better one, can go there go back up, and we'll give them a toilet paper roll as well now give it a basin. a sink his and hers basins one down stairs aswell and a shower cubicle

with some shower doors which is quite tricky to put on though use the arrow keys now there is a gas water heater there it is. there is a washing machine. goes there there's another washing machine there, older style lets have a look, yeah

here, we actually have a french door a sliding french door kitchen island, make it bigger some stools, some trendy stools copy paste fridge that looks pretty good. copy/paste copy/paste so we've got two of them this one here and gonna reverse

i'm gonna mirror it so that the handlesare together we can just keep going with this for a really long time but the you can see how quickly that was. imanaged to achieve this, and we can even put beds and a couple of beds for the kids one there, one there, one there and there we can chuck

computers stairs and down in the main room i can chuck a grand piano just rotate that around virtual visit let's walk through to the grand piano, turn around and see how it looks yeah

this can take a long time to get itright but as we can see we have a floor plan that we can work with for the ground floor and a floor plan for the top floor i might put some dimensions on this as well. that's nice excellent i'm still in the aerial view now. it 's a bitbetter

see you later

Sweet Home 3d Furniture

Stop Dog Chewing Furniture Home Remedies

Stop Dog Chewing Furniture Home Remedies

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Stop Dog Chewing Furniture Home Remedies

Sears Home Furniture

Sears Home Furniture

can you tell me why you should never rentto own anything? if you miss a payment, they can take everything. that’s why it is called a rental. but itlets me afford to get things in the house now, and that repo won’t land on my creditreport. you pay as much in a year as it would costto buy the darn thing, up to twice as much as new. and a lot of the rental appliancesand furniture are in worse shape than if you bought it new. what can i do then if i can’t afford new? have you considered craigslist?

i’m afraid it has bedbugs, fleas or both. try garage sales. then at least you’ll havethe person’s address in case it’s a piece of crap. that doesn’t work when i need a workingwasher or dryer. the laundromat should fit in your budget,if you’re paying rental place rates. that takes up too much time. go to the sears outlet place. they have scratchand dent appliances for sale. that sounds like the scratch and dent grocerystore, and i wouldn’t dare shop there. the dishwasher motor and washing machine gutsshould work just as well. it’s only the

shiny smooth outsides that are scuffed up. how much do i save? you could save anywhere from 20% to 60% onthe price of a new one, more if it is last year’s model. if you’re really desperate,you could put it on a payment plan or credit card to buy it. i can’t stand credit card interest rates. you pay just as much or more per year if yourent to own and then miss payments, getting assessed with fees. when is rent to own ever a good idea? shouldyou do it if you only need furniture for a

few months? in that case, pay extra for a furnished apartmentor live on a futon and card table until you can afford the furniture. i don’t want to live like a starving student. it’s just until you can upgrade to mid-americangarage sale.

Sears Home Furniture

Selasa, 16 Mei 2017

Rife's Home Furniture

Rife's Home Furniture

'here's a question for you. when was britain at its most elegant 'and most decadent, 'its most stylish and most radical?' orchestral dance music 'i'd argue for the decade of the regency, 'between 1811 and 1820. 'it was a time when people could feel their world 'being totally transformed.' it was one of those rare moments, a bit like the 1960s,

when there were really big changes in culture and society, all coming together in a great burst of energy. the battle of waterloo was won. london was redesigned. turner and constable were painting, and the waltz was introduced. in this series i'll be exploring this fabulous decade through painting, writing, architecture, fashion. and at the heart of the regency is the puzzle that is george,

the naughty prince regent himself. he loved garish excess, yet he presided over an age of elegance. 'he only ever fought his wife, and never set foot on a battlefield, 'yet he beat napoleon! people called him a fat old fool, 'so how did he end up giving his name to an era and a style 'that stand as the high point of british sophistication?' there's a lot more to the regency than just mr darcy, you know. cannons booming

trumpet playing martial fanfare 'my name is lucy worsley, 'and i'm a historian.' 'i have rather an exciting job as chief curator 'at historic royal palaces.' - hello, kew palace people. - hello.- hello, hello, hello. 'today i'm catching up with our new team at kew palace, 'and yes, they do wear these regency outfits on duty. 'this place has close connections to the prince regent

'and his family.' what do visitors know or think about george, the prince regent, then? it's generally negative, i'd say. this little girl came in. she said, - "sad, bad, mad and fat." - they laugh 'it's here that the regency story begins.' if you want to understand the colourful and flamboyant age of the regency, then, you need to look at the prince regent himself. george really set the tone of the age,

and he was a notoriously extravagant character. george was hugely self-indulgent. he had a limitless appetite for food, clothes, shopping and women. now, i think this was in response to his childhood, which was very simple, very frugal, and he spent it partly here at kew palace. # shall i tell you about my life? # they say i'm a man of the world...

'the current furnishings reflect the tastes of george's modest parents, 'for whom this house was a favourite residence.' # i've seen lots of pretty girls # 'little george's father, king george iii, 'preferred plain boiled eggs to lavish banquets, 'and he tried to drum the same sense of moderation 'into his eldest son.' this is a set of tiny little stays. it's like a corset for a baby. and george was put into these so he would grow up

with a straight figure. his father knew that fatness ran in the family, and he wanted george to grow up healthy and strong. it was part of the discipline of the nursery. george had a restricted diet. there were days without meat. sometimes george was served a fruit tart, but he was only allowed to eat the boring fruit in the middle, not the tasty crust around the edge. even george's games had an educational purpose.

you see this jigsaw, made for him to play with? at the same time, he was supposed to learn the geography of ireland. he had a very strict timetable of lessons. they went on till 8:00 or 8:30 in the evening, and although he was quite clever, his great problem was laziness, and his tutors tried to beat it out of him using a long and snaky whip. but this harsh regime had the opposite effect of what was intended. george just grew increasingly wayward

and resentful. by the time he was 15, one of his tutors said one of two things might happen - either he would become "the most polished gentleman", or he'd become "the most accomplished blackguard in europe". as soon as he could escape his controlling parents, the young george went wild. there were numerous discarded mistresses. george wasn't above using the threat of suicide to get a girl to give in to his demands.

there was even an illegal marriage to a mrs fitzherbert - a catholic, no less. the prince set up home and a rival court at carlton house, but he ran up debts of over half a million pounds. in order to pay them off, he agreed to marry caroline of brunswick. they hated each other. george was revolted by her very relaxed attitude to personal hygiene and caroline eventually won herself a racy reputation that rivalled her husband's.

on the top floor at kew palace are the rooms that once belonged to george's younger sisters. they've been left untouched since the time of the regency. george's brothers escaped, into the army and into the arms of mistresses. but his sisters were kept close to their father. 'this is the bedroom of the youngest, princess amelia.' the medieval fireplace is a typical choice for a girl who was fond of fantasy and fairies. amelia was the favourite of her father, george iii.

'like him, she'd had long battles with illness - 'in her case, tuberculosis. 'in a bizarre way, it was this sickly girl 'who was responsible for the birth of the regency.' in november 1810, poor princess amelia died, and this was a terrible blow to her father, george iii. for many years he'd been suffering from these recurrent bouts of what his contemporaries thought of as madness. today we know it was the physical illness, porphyria.

and his grief at amelia's death sent him over the edge. the next day he had to be restrained in his straitjacket. so parliament passed a bill appointing his son george, prince of wales, as prince regent, or acting king, on his father's behalf. george was sworn in as regent on the 6th of february 1811, and the regency officially began. although the term "regency" is often used to cover the period from the late 18th century right up to the victorians,

george's actual regency lasted just nine years, from 1811 to 1820. as regent, george was not quite a king. 'there was no coronation, and his office would disappear 'the moment his father recovered. as for george's personal life, 'it would have been tragic if it wasn't so funny.' 'people called him "the grand entertainment".' george had the misfortune to live through the golden age of british satirical caricatures.

practically as events unfolded, artists sketched them, made cheap prints, and these images went viral. he was brilliant fodder for artists like gillray and cruikshank, because of his weight, because of his difficult wife, and because of his endless procession of matronly mistresses. during the regency, you could catch up on the prince regent's latest antics just by looking in a print-shop window. 'sometimes george even bribed cartoonists 'not to publish images that he found particularly hurtful.'

this one's pretty straightforward. the prince of wales is shown as a whale, and he appears to have seduced this mermaid. they're exchanging glances. being regent must have been like wearing a "kick me" sign. the real king was still alive, meaning george lacked the full props and dignity of monarchy. there's no crown in these caricatures. a red field marshal's jacket identifies george as the pratfalling fat man.

this is the scene outside the prince's mansion, carlton house, just after the huge party he held in 1811 to commemorate the start of the regency. afterwards the grounds were opened up, and it's said that 30,000 people turned up and tried to get in. there was such a crush that one lady broke her leg. here's a lady being trampled upon, and some other ladies accidentally lost their clothes. here we've got a group of ordinary people

who did make it inside carlton house, and they've been confronted with the prince's amazing dining table, laid out for the feast with this dinner service that cost â£60,000. this character is saying, "oh, sue, i don't think i'd like that dry champagne, but if i could have a bit of beer in that there gilded gold thing, that would be dreadfully nice indeed." but there was another side to george.

inside carlton house, he was building up an immense hoard of art and furnishings, a collection that i believe was the great passion of his life. 'carlton house no longer exists, 'and its treasures are long dispersed, 'but in the queen's gallery, part of his collection has been reunited 'for an exhibition.' it gives us an idea of what those revellers at the carlton house fete might have seen.

'kathryn jones, a curator at the royal collection, 'showed me some of george's treasures.' these are some of my favourite objects. they're designed for cooling wine glasses, so they would have been filled with ice, and you could rinse your glass between different wines. - that's brilliant! i need one. - they're fantastic. sadly they've fallen out of fashion. if i put my gloves on, - i can show you the salt-cellar. it's in the form of a...- a merman.

..a mer-man carrying a shell, and if you take out the spoon, that's also in the shape of a shell, and then at the end you have neptune's trident, - so very appropriate for sea salt. - would these pieces have been used at the giant party at carlton house - to celebrate the start of the regency?- that's right. the first delivery was made in 1811, and all these pieces would have been used at that amazing dinner. so it was an extraordinary service,

and it's still used by the queen today. that's brilliant. it looks gold, but it isn't, is it? no, that's right. it's silver gilt, and some of the pieces, when they first came into the collection, were plain silver, and gradually during the regency more and more pieces were gilded, and i think this was partly an aesthetic thing. there were so many disparate elements, he wanted to join them together. but it's also in direct rivalry with napoleon.

funnily enough, at napoleon's imperial court across the channel, the emperor had just bought a silver-gilt dining service. george was setting himself up as a rival ruler and connoisseur. he was waging his own personal war through interior decoration. carlton house was filled with 18th-century sevres porcelain. this was another "up yours" to boney - the firm who made it had been owned by the fallen french royal family. george also collected paintings of the court at versailles, and portraits of cardinal richelieu, and also of louis xiii.

'but his taste wasn't just restricted to this french bling.' so, tell me about this one. this is really the jewel in george iv's collection. it's obviously a rembrandt. it's known as the shipbuilder and his wife, and it was the most expensive painting george ever bought. it cost 5,000 guineas in 1811. do we know where this would have been in carlton house? yes, we do. we have a visual record of it, in fact.

it's in one of the watercolours of 1816 of the blue velvet room, and he displayed it with specific sevres vases of this blue colour. do you think this taste for dutch paintings meant that he was a man who genuinely loved art? - cos they're not showy, are they? - no. it's not really what you expect, and to have something like this in his collection shows that this was the pinnacle of things that were on the market at that time. 'the regency was an age in which art and culture mattered, 'and this agenda was set by the man at the top.

'but there was a practical side to being an art-loving royal patron. 'in your portraits, you could spin an image 'to counterbalance those cruel caricaturists, 'and george's chief flatterer 'was one of the greatest english portraitists, 'thomas lawrence.' when lawrence painted george in his red field marshal's uniform, critics sneered at the way the painter had transformed an overweight, balding 50-something

into a well fleshed adonis. jonathan yeo paints the rich and powerful of the 21st century. 'i showed him one of lawrence's unfinished portraits of george, 'to learn how the idealised images of the regent were created.' i've always thought of this as a really flattering image. - is that how you see it? - er, it is quite flattering. it looks like it's been done for a coin or something like that. he's facing this way, but the perspective is slightly skewed

and he's very side-on. if you cut that out and do it in profile, that's one way of avoiding showing if someone's overweight. you see this skin here? that's the whitest part of the skin. has he highlighted that because that's smooth, and so these wrinkles are more sort of hidden in the eye-socket and in the shadow there? ah, it's a flattering angle. it's sort of hollywood lighting. - yeah.- all the hollywood movie stars would look around to find where the light was in front of you and above,

because it gets rid of wrinkles whichever angle it's coming from. the hair looks quite artfully arranged. - it's quite a contemporary look. - it looks like justin bieber. it does a bit. the lips are very red, - and it almost looks like he's wearing makeup in it.- he was known to.- ah! nowadays we have photography. we know what people actually look like, so people tend not to lean on you to make them look fantastic. in those days, if the painter was the only person to record how you looked, there was nothing to stop you rewriting history.

in fairness to the regent, looking like a leader was really important. 'as the regency was getting started, 'napoleon was at the height of his powers, 'and we'd been slogging away against france, our old enemy, 'almost continuously for a generation.' we'd been fighting the french for the best part of 20 years, and they were winning. the english channel was just the thin blue line protecting us from boney's evil empire. napoleon basically controlled the whole of europe,

through puppet governments, direct rule and favourable alliances, and he'd set up a trade blockade against the british that went all the way from spain in the west to russia in the east. a side effect of the war was that travel and trade with europe became impossibly restricted. the heyday of the grand tour was long gone. 'before, we'd looked up to french and italian culture, 'but now it was out of bounds.'

so we couldn't trade with the continent, and you couldn't visit it either, unless you were going to take your chances as a soldier. instead we looked inwards, into our own little island, to feed our imaginations. britain's enforced stay-cation was made tolerable, though, by the cult of the picturesque. it won legions of followers from the end of the 18th century. regency types could be found with their sketchbooks out

at every ruined abbey and beautiful vista. locals complained that england had become the country house of london. getting back to nature wasn't everybody's cup of tea. this is a very amusing spoof of the picturesque which came out in 1812. it's called the tour of dr syntax in search of the picturesque. it was so popular, it went through five editions in the first year. dr syntax's adventures are told through verse

and beautiful illustrations by thomas rowlandson. syntax is a schoolmaster, and also a bit of a bore. with his horse grizzle, he endures many of the perils facing the regency picturesque-hunter. the story is that dr syntax wants to make some extra money in the summer holidays, so he decides to make a tour of the lake district, and write an illustrated book about it to sell to armchair travellers. he thinks he can make a lot of money. as he puts it, "i'll ride and write, and sketch and print,

and thus create a real mint." "i'll prose it here, i'll verse it there, and picturesque it ev'ry where." in this picture, he's been sketching a ruined castle, but he's slipped over and he's falling back into the lake, and i think his horse is laughing at him. he often seems to be being laughed at by animals. in this one, he's been tied to a tree by some highwaymen,

and he's having to be rescued by some ladies. so it's just one disaster after another for dr syntax, but he takes it all terribly seriously, and in this picture he's telling everybody about his tour, and everybody has fallen asleep, except for one couple who are squeezing each other and having a good time. silly old dr syntax! what a twit. the artists and amateur sketchers longing for the continent found the flavour of southern france and italy

in one particular corner of england. during the napoleonic wars, british artists felt that the southwest was the next best thing to the mediterranean. down here, they felt that the colours were warmer and the light was more intense. one man who certainly agreed was joseph mallord william turner. 'in 1811, a firm of engravers commissioned him 'to paint a tour of the south coast,

'to feed the market for picturesque prints. 'so turner spent that summer journeying around the southwest. 'at ivybridge in devon, 'turner captured a languid late-summer afternoon.' we often think of him as a kind of early impressionist, but he also documented everyday life. the regency turner liked his landscapes inhabited, with lots of dirty detail. his own coach would have changed its horses here at ivybridge,

just like the one in the picture. here's the mail coach about to leave. it's yellow. it's got the red wheels. everybody's getting on board. but this figure here, he's going, "wait for me!" he's about to miss it. now, was he an artist who'd been sketching for too long, or had he spent too long with this mysterious female figure off in the woods? we just don't know.

hang on! wait for me! this image, like the others from turner's tour, was eventually engraved, and filled up the libraries of the regency middle class. 'using the original sketches and watercolour, 'professor sam smiles took me through turner's artistic process.' now, i can hardly believe that these scribbles here resulted in that beautiful completed, finished work of art. and that's because neither you nor i have his acute visual memory.

what turner had managed to produce, over years of training, was a graphic system, a way of drawing, which allowed him to capture the essence of a scene with marks that meant a lot to him, but to you and me, looking at them, perhaps meant considerably less. i'm particularly struck by this christmas tree. it looks like a pictogram, yet here it is, a beautiful-looking thing. absolutely - things he observes that nobody else bothered to record. i mean, the picture we're looking at looks like peaceful england, an absolute idyll of tranquillity and relaxation.

but as he moved along the coastal strip, he found the ports with men of war in them, marines and sailors, the army making preparations... this was a country readying for war. even though trafalgar was a few years in the past, napoleon still represented a major threat. - there was still a real danger of invasion, wasn't there?- absolutely. 'forts like this one protecting plymouth 'guarded many of the settlements that turner visited in 1811.

'and the paintings that came out of his south-coast journeys 'are shot through with the sense of a country at war.' at st mawes in cornwall, turner saw at first hand the effect of the war on the pilchard industry. with the continent closed for trade, much of the industry's market was inaccessible. instead, the pilchards are left to rot on the beach, to be sold as manure. even this innocuous watercolour of the dorset coast

has a sinister undertone. is it me, or does that wagon look a bit like a field gun? 'the landscape around plymouth impressed turner so much 'that he returned several times in the early years of the regency. 'he thought that it hardly seemed to belong to this island. 'and a favourite location was the popular picnic spot 'of mount edgecombe.' turner did the sketch which this watercolour was based on somewhere pretty near to here. you can recognise the river tamar.

here are a great load of ships from the navy. we've still got ships down there, but the really special thing he's shown us is this party of sailors, who are going back at the end of a day's shore leave. they've obviously had a great time. they've met up with some ladies. this gentleman with the wooden leg is playing his violin, and now they're going home, except for this couple, who are going off into the woods to do who knows what. so as well as giving us topography and landscape,

turner's given us a record of an afternoon of enjoyment 200 years ago. the sailors had every right to enjoy their afternoon off. 'for years they'd been fighting napoleon, 'one of history's most formidable warriors.' the same can't be said of the prince regent. george had absolutely zero battlefield experience, but he still thought of himself as boney's opposite number. for years, george had begged his father to be allowed to go and fight

without success. now he was too old to be of any use, apart from ceremonial duties. if he couldn't face boney in battle, george could at least try to outdo him with flashy military outfits. this regimental jacket of his shows that he loved to look like a soldier, if only an ornamental one. george was helped by london's best tailors, including jonathan meyer, who founded meyer & mortimer.

'200 years on, this firm is still going, 'and they're going to let me have a peek 'at their regency account books.' - hi, brian.- hello, there. - can i have a look at your ledger? - yes, of course.- thank you. - here we are.- thank you very much. - there we go.- beautiful! this is a pretty extraordinary book, and this page here lists all the items

which have been bought by the prince of wales, and they just fit in with what you expect of his extravagant, over-the-top character. he is buying quite a lot of rich gold royal cord, i imagine to decorate a uniform, something like that. and here we have... he's bought 54 rich gold fringed tassels to swing off things. over on this page... this is really interesting. here you can see clothes being altered

to suit his body-size and shape. here we have the altering of a yellow waistcoat, "made higher in the neck and adding lace". now, that sounds to me like to disguise the double chins. and here we've got "enlarging a regimental jacket in the breast". it wouldn't do up! and this is a theme. throughout the accounts, things are being enlarged, being lengthened, being made bigger, to fit his rather plump body. as you flick through the pages,

what strikes you is the huge number of things that george is buying. clearly he's a shopaholic. and when i say buying, he's not necessarily paying for them. the debt mounts up. it's â£156 at the bottom of this page. it's not paid off. it's carried forwards. â£300 over here. then, flicking through the book, we get a grand total of â£490 that he owes to the tailors.

that's a hefty tab - the best part of â£30,000 in today's money. i feel a bit sorry for mr meyer. the prince liked to think of himself as a man of style, a leader of military fashion. but for civilian wear, he could be found squeezing himself into the look set by his friend beau brummell... ..the famous dandy. brummell's opinion mattered so much that once, when he criticised the cut of george's coat,

the poor old prince burst into tears. brummell is credited with inventing the suit, and with it the dashing tailored look of the english gentleman. 'i wanted to know what it was about brummell 'that made people spend several hours a day 'watching him get dressed. 'so i asked his biographer, ian kelly.' i'm sorry, but to spend three hours a day preening yourself - seems really effeminate to me. - how dare you?

um, yeah. well, in theory, the clothes are meant to express a sort of uber-masculinity, a more stated masculinity. to be "a dandy" was much nearer the modern american coinage of being "a dude". it was about a new way of being a british gentleman, which was to do with reserve and sang-froid, stiff upper lip, all that sort of thing. well, i don't care if it's supposed to be just for men, because i want to experience a brummell-type suit for myself.

i'm super-keen to channel a bit of butch regency style. so, it's supposed to make me feel cool and masculine? obviously, as a gentleman, i can't possibly watch a lady dress, even if you're dressing as a man. i'll go practise with my canes. you fiddle with your canes. 'for a regency dandy, getting dressed was a performance art. 'but i'm pretty sure it's not going to take me half a day to get ready.' - dah-daah!- hey! i couldn't do myself up at the back. can you give me a hand, valet?

- let me be your man. - thank you, jeeves. ok... now, tell me when you can't breathe any more, - or don't.- mm-hm. that's not too bad. tell me about these trousers that i'm wearing. - these are rather interesting.- it's a footnote in the history of fashion, but a rather important claim to fame of brummell and the regency. brummell is the man who invents trousers, as gentlemen wore breeches and stockings before this period,

he imported these from the hussars. you've got understraps to keep the trouser tight. and these look like girls' shoes, but they're regency men's dancing pumps. yeah! they're a very butch item. - what's next? is it cravats? - it has to be the cravat. this is the key item. chin up! very important. a beautifully tied cravat was the most important part of the dandy's uniform. it had to be scrupulously spotless. brummell sent his to the country to be washed,

so that his laundry wouldn't be tainted by london soot. the trick is to keep it as tight and as high as you can possibly bear, so, when your face begins to turn blue, then we know we've got it too tight. but i'm relatively pleased and proud of that. it's meant to look like a perfect cylinder of white. there we go. we're allowed one declension, as it was known. the valet places his finger here, and you lower your chin.

and that, in theory, stays in place until we tie the next cravat or the next dressing. she laughs it looks better than it feels. it's pretty uncomfortable. on the positive note, though, you're obliged to hold yourself better. built-in hauteur. i feel like my nose is in the air. that, too. it's one of the supposed origins of "toff" and "toffee-nosed", because this obliges you to keep your nose in the air, but especially if you're in any danger

of dribbling anything brown from snuff-taking, - which is a pretty disgusting thought. - that's really disgusting. so the toffee-nose is brown snot from snuff-taking, and you've got to keep your nose up so it doesn't spoil your cravat. so much for the age of elegance. song: "dandy" by the kinks # dandy, dandy # where you gonna go now? # who you gonna run to?

# all your little life # you're chasing all the girls # they can't resist your smile # oh, oh, they long for dandy # london's st james's was dandy central. previous generations of young men had been able to explore europe on a grand tour, but gentlemen of leisure, in the early years of the regency, spent much of their lives within a quarter of a mile

of st james's palace. white's is a club where, it's said, people have died from exclusion, and brummell used to inspect the promenading dandies from its bow window. a stone's throw away, there was gentleman jackson's boxing gym, where a bit of man-on-man action could while away the long idle hours. brooks's, which counted the regent as a member, was famous for its gambling, with fortunes won and lost

at its gaming tables. and this rather forgettable modern building stands on the site of the most exclusive night spot in the whole of st james's. right here is the site of almack's club. this is the holy of holies. this is the most exclusive club in regency london. it's where beau brummell insisted that men were dressed in a strict uniform of white and black, or white and sometimes blue-black,

but certainly a strict monochrome. there's an image here from a contemporary novel of what it would have looked like in those days, a ball at almack's. they're having a dance, and unlike some of the other clubs, at this one, the ladies were in charge. absolutely. it was a series of terrifying dragons, royal and aristocratic ladies, who decided who was allowed in and who wasn't, who was suitable for their daughters or not. and, yes, there's a lot of cartoons and ditties

- on exactly that terrifying issue. - aha! i know one. if to almack's you belong, like a monarch, you can do no wrong. but if you're expelled on a wednesday night, - by jove, you can do nothing right! - he chuckles 'an evening's entertainment could be rounded off 'with a visit to one of the many brothels down the alleys 'just off st james's street.' but syphilis was rife,

and would eventually claim brummell himself. syphilis manifests in all sorts of ways, including a sort of bipolar disorder, and brummell gambles away all his money, - and publicly insults the prince of wales.- he was rude to him? astonishingly, yeah. the prince regent turned up at a party, appeared to ignore beau brummell, cut him, as they said in the regency, and brummell turned to a mutual friend and said, "so, alvanley, who's your fat friend?"

- about the prince regent. - meaning the prince regent?- yeah! and very soon, all the creditors were on his back. he fled to france, spent the last 20 years of his life in penury, eventually insane, and in an asylum. it's a kind of a greek arc of a story. so the story of beau brummell is pride followed by a fall. well, the victorians liked to think so, certainly. actually, i think it's tailoring followed by syphilis. he laughs

'brummell showed that access to the regent's circle 'could brutally be cut short. but those on the outside 'sometimes made the best of it, creating an alternative legacy 'of real value.' at the very start of the regency, and just near here on dulwich common, a dandy fell off his horse. his name was francis bourgeois, and he was an owner of paintings - no less than 370 paintings, and some very, very good ones, too.

a few weeks later he died of his injuries, and his death set in motion a sequence of events that would really change the british attitude to art - not only how it was looked at, but also who could see it. 'bourgeois had considered leaving the collection 'to the british museum, but he wasn't part of the regent's charmed circle, 'and he felt the museum was run by snobs. in a final two fingers to the establishment,

he left his collection to dulwich college, and the architect john soane built a new picture gallery especially to house it. 'bourgeois' will insisted that his paintings be available '"for the inspection of the public", which makes dulwich picture gallery 'the first purpose-built public art gallery in britain.' the bulk of the paintings still on the wall, including rembrandts and raphaels, come from bourgeois' bequest of 1811.

'to ensure the gallery's visitors don't forget his generosity, 'bourgeois is actually buried in the building. 'he's in a mausoleum next to his business partner - 'some say partner in every sense - noel desenfans.' it was difficult for them. people were slightly dismissive. they thought desenfans was pretentious, and they thought bourgeois was a fool, which quite clearly he wasn't. he was a dandy, though, and people laughed at him for his buckskins

and his polished boots and his hair, all modelled, of course, on the prince regent. 'ian dejardin is the current director 'of dulwich picture gallery.' i love the whole idea that this place is a couple of outsiders cocking a snook at the establishment. well, i think that's what it was. i think it's what it was. in francis bourgeois' will, there is just this little tiny snippet of a phrase. he says that the paintings are to be on display

"for the inspection of the public". and you read that, and you think, "well, obviously." but no-one had said that before. this is a really big step forwards, that it's a public art gallery. it's incredibly significant. we're 13, 14 years before the national gallery, so we were it. we were the national gallery for many years, really. the government had long been under pressure

to establish a national public-art collection. 'dulwich showed what could be done. 'the official national gallery was founded in the 1820s, 'encouraged by the arts-loving george as king george iv. 'the columns on the portico were even recycled 'from his palace, carlton house, after it was demolished.' another voice raised in support of the national gallery was that of thomas lawrence, george's one-man pr machine. lawrence knew very well how art could transform the life

of an ordinary boy. painting had taken him from humble beginnings to the very top of society. his meteoric rise started while he was still a child in the market town of devizes. a little town in wiltshire might seem quite a surprising place for a society portrait painter to grow up, but devizes was a key stopping point on britain's busiest coach route from london through to bath. so the whole of fashionable london came here.

if they wanted a meal or a bed for the night, they stopped at this inn, which was run by the young painter's father, thomas lawrence senior. picture the scene. it's the 1770s. you've just arrived here at the bear inn. you've got off a stagecoach. you're tired, you're hungry. but the landlord, thomas lawrence senior, as he offers you a drink, he says, "would you like to see my ten-year-old son reciting a poem

or taking your portrait?" this may have sounded like a bit of a bore, but if you chose the poem, the boy would leap up onto the table, recite from milton. that was pretty good, but if you handed over your guinea for your portrait, you'd have quickly realised that you were in the hands of a genius. the actor david garrick, who'd witnessed both of the boy's party tricks, said he couldn't work out whether the young lawrence's future lay with the pencil

or the stage. 'in 2011, i visited the first exhibition 'of lawrence's work in 30 years, at the national portrait gallery. 'he's long been a neglected artist, 'but in his own time, he was the world's top portrait painter. 'lawrence produced the visual record of the vanished world 'of regency society. 'he particularly enjoyed painting wealthy and beautiful women, 'and the ladies enjoyed his attentions.

'even the regent's matronly sister is shooting us a saucy look.' there's a rather brilliant contemporary review of this painting here, of lady selina meade. it just goes, "ha, it's lady selina meade, very tasty indeed." lawrence was clearly a very attractive, flirtatious, smooth individual. one of his friends said that if you got a letter from him saying, "yes, i can come to dinner," it felt like you were getting a love letter. this is mrs isabella wolff. she became a sort of muse to him,

and he spent the best part of 15 years finishing this portrait. as well as producing an amazing painting together, it's also said that they produced an illegitimate child. there was an awful lot of gossip about what went on at lawrence's sittings. in 1806, he was suspected of getting too friendly with caroline, the princess of wales, during late-night portrait sessions.

lawrence had to sign a written affidavit that nothing had happened, and that the door had been unlocked at all times. 'george himself seems to have had ambivalent feelings 'about lawrence's relationship with his wife, 'but he overcame his misgivings when he realised 'that lawrence could make him look fantastic.' in 1815, with the battle of waterloo, the napoleonic wars finally came to an end.

the allies, with britain in the lead, were victorious at last. george celebrated the end of the wars by commissioning lawrence to paint the allied kings and commanders, and rewarded him with a knighthood. the innkeeper's boy was now sir thomas lawrence. painting the allied leaders would keep lawrence busy for many years to come. the end of the fighting would affect the british profoundly.

'the sense of a closed, isolated island evaporated, 'and slowly the narrow world of the dandies and st james's 'would disappear. it was replaced by a hunger for continental travel.' song: "la mer" by charles trenet # la mer # qu'on voit danser # le long des golfes clairs... 'the later years of the regency would see romantic poets 'darting about europe, and turner discovering the light of venice.

'those who couldn't get away could always read about it 'in the countless travelogues now being published. 'voyagers wrote of the warm welcome they received from everybody 'except the french, who greeted the british 'with vindictive irritation.' so, this is a really exciting moment for the british. they've beaten napoleon, their country is the reigning european superpower. they want to go and see for themselves

what their army has been fighting over. # voyez # pres des etangs # ces grands roseaux mouilles # many tourists made a detour for the battlefield of waterloo itself, a victory described by the duke of wellington as "the nearest-run thing you ever saw in your life". the battle of waterloo was on the 18th of june 1815. by the 19th of june, the battlefield was already a visitor attraction.

an eye witness reports a carriage full of people coming out from brussels. they all got out, and they examined the field. within a few months it had become a regular day-out destination. there were hordes of guides to show you around. there were lots of little boys selling gruesome relics of the fallen, such as hair and bones. 'the main feature of the battlefield now 'is the lion's mound. built in the 1820s,

'nearly 400,000 square metres of battlefield earth 'were shifted to build this observation point.' the contours of the land have been levelled out a bit from what the earliest visitors would have seen, because so much earth was scooped up to make this big hill. as the duke of wellington said, "they've ruined my battlefield!" 'the remains of hougoumont farm were a particular draw 'for the early tourists.' 'this was the scene of some of the most bitter fighting,

'as the french had repeatedly tried to storm the gates 'of the british-held enclave. 'early visitors, in the months after the battle, 'recorded stepping over mouldy human remains 'and patches of charred earth where bodies had been burned.' when the painter turner visited, he carefully sketched the locations where the greatest numbers had fallen. back in england, he painted this - the field of waterloo.

it's the night of the battle, and storm clouds fill the sky. hougoumont farm is in flame. a flare warns that there are scavengers on the battlefield. many of the injured were robbed and then killed by these looters. people are searching for their loved ones. the dying and the dead, the french and the english, are just an intermingled clump of bodies. 'lord byron, the regency's sharpest chronicler, 'made the journey here in 1816.

'a year after the battle, the site had been tidied up.' byron found it really hard to reconcile his imagined visions of carnage with what he actually saw - fertile fields returning to farmland. and this is an idea that he incorporated into the canto of childe harold's pilgrimage that he was writing at the time - "as the ground was before, thus let it be. "how that red rain hath made the harvest grow!" like many other sightseers, byron couldn't resist the opportunity

to buy some souvenirs, and he mailed them back to his publisher in st james's. and these are some of the actual spoils of war, which byron sent back to his publisher, john murray, still here. let's have a look. ah! now, we know that he sent back some cockades, and these are red, white and blue french napoleonic badges made out of leather. oh, look at the little eagle on the top there! and these would have been a very powerful sight

in the early 19th century. to see that would have been like looking at a swastika today. it would have given that sense of fear to a good, respectable english person. this symbolises boney, the enemy. ooh, look! you wouldn't call that a bullet, would you? it's a piece of shot. that could do some damage. i'm just wondering what's on that now.

that could be a bit of french blood. and another badge. these things look like a load of trinkets, and they are, in one sense, but in another sense, these all belonged to real individuals who probably gave their lives on the battlefield of waterloo. there's something quite sinister about them. 'hidden away in a churchyard in plymouth 'lies an odd little postscript to the war with napoleon.'

this grave belongs to one of the strangest casualties of the napoleonic wars. he was killed after the battle of waterloo. the fighting was over. his name was john boynes, and he was a stonemason who worked in the dockyards. and it says here he was "unfortunately drowned" returning from a trip to see bonaparte out in plymouth sound. it was 1815. he was 35 years old. napoleon had surrendered to the captain of the british ship hms bellerophon, then moored off the west coast of france.

the ship took boney to torbay, and then to plymouth sound, where she waited around a bit while the government decided what to do with him. it was supposed to be a secret that bonaparte was on board, but one of the crew put a message into a bottle and slipped it out to a passing ship, so the news was out. once this had happened, bonaparte was allowed to take a walk on the deck at six o'clock in the evening. he could be seen for miles around

up there, and every boat in plymouth got on the water to try to get a closer look. normally there wouldn't have been anything remarkable about a naval vessel in plymouth sound. but this was napoleon, the most famous man in europe! hello! thank you. thanks very much. the commotion made the authorities rather jittery. the captain of the bellerophon, captain maitland,

recorded, on the 30th of july, that there were more than a thousand of these little boats come to see napoleon. the guard boats from the big ship tried to disperse the crowd by ramming them, with such force that some of the smaller vessels nearly capsized. among them were two artists who captured the bizarre scene for posterity. john james chalon gave us a panorama, complete with surrounding boats and the people straining to get a closer view.

they were really excited to see britain's mortal enemy, the man who'd directly affected the lives of everyone in plymouth. he was repellent but fascinating. the artist who gave us the close-up was charles lock eastlake. eastlake was able to get his boat right up close to napoleon. he took a few rapid sketches on the spot, and later he turned them into a full-length portrait. the fallen emperor looks a bit dishevelled, but he still seems to command the respect of a british sailor.

is napoleon looking out at the crowds, or is he thinking about his own gloomy future? this picture made eastlake's name. he would go on to a glorious career, eventually becoming president of the royal academy. there was one person notably absent from napoleon's final public appearance - the prince regent. by this stage, napoleon had been writing him personal letters, it would have been relatively easy for george to come to plymouth,

but he stayed away. i think that, even with napoleon defeated, he still felt he would have been overshadowed. 'napoleon never did get a personal hearing from the regent. 'after ten days, he was sent to permanent exile 'in the south atlantic. 'george, meanwhile, was left with a bonaparte fixation 'from which he never really recovered. 'he set about acquiring objects that connected him with napoleon, 'and some still remain at buckingham palace.'

this amazing cloak was retrieved from napoleon's coach on the battlefield of waterloo, and it ended up in george's clutches. there's a napoleon theme in his commissions. 'at the end of the marble hall in buckingham palace 'is mars and venus by canova, napoleon's favourite sculptor. 'oddly enough, at the end of the wars, 'he became george's favourite sculptor too. 'george secured this particular work

'when he presented canova with a snuffbox 'containing a â£500 note.' but the prize in george's collection was this. this sensational thing here is called the table of the grand commanders. here's alexander the great. here are other generals of antiquity. it's pretty much made out of porcelain. it was made for napoleon,

and a couple of years after the battle of waterloo, it was given as a gift by the restored king of france to george. he treasured it. it was one of his favourite possessions. and when he had himself painted by thomas lawrence, this table appears in the background, in what becomes the definitive image of george as regent, and then as king. with a few slight alterations, this would be the basis of all george's later state portraits.

lawrence reproduced the painting so often that he was still knocking them out even when he was on his deathbed. to george, this isn't just a table. it's a symbol of all his feelings about napoleon. the message is pretty clear - this used to belong to napoleon. napoleon's been beaten. it now belongs to george. george himself is the grand commander. 'when george eventually became king in 1820, 'he would rebuild windsor castle as gothic fantasy.

'and in its design, he included a space 'in which his victory over napoleon could live forever. 'this is the waterloo chamber, 'where the collaboration between george and his spin-meister, 'thomas lawrence, is finally played out. the room was originally a medieval courtyard. it was closed over, to recall the hulk of a ship. but it's what's on the walls that really grabs our attention. now, this has to be one of the most fabulous rooms in europe.

george's big rivals as royal art patrons were henry viii and charles i, but neither of them did anything on the scale of this. there are more than 25 portraits here by sir thomas lawrence, and these are the men who brought you the victory of waterloo. we've got sovereigns, we've got statesmen, we've got the actual commanders of the armies, and they're shown in a really theatrical manner. they're all larger than life, and they loom down at us

from the walls. i'd say it was like being in their presence, but it isn't - it's better than that. 'in the later years of the regency, lawrence travelled around europe, 'hanging out at diplomatic conferences 'and painting everyone on george's wish list. 'he returned laden down with unfinished portraits, 'and he kept polishing them up throughout the 1820s. 'there's something unreal about this room. 'it doesn't reflect the grim reality of waterloo.

'rather, it shows what the man who commissioned it 'desperately wanted to be true. this is george's room.' this is how he saw himself, as a warrior king in a chivalric court. but what's kind of glossed over here is the fact that he wasn't at any of the battles. he was always safe on the other side of the channel. he seems to have forgotten this fact as time went on. he would sometimes amaze people by talking about waterloo

as if he'd been present, and there was another battle, the battle of salamanca, where he claimed to have led a cavalry charge at the vital moment when things were looking very black indeed. wellington's generals, who really had been present, often injured, and in some cases killed, are hidden away in dark corners, as if they're not allowed to intrude upon george's fantasy. this room was only completed after george and lawrence were both dead,

but it captures the high point of george's regency. here the prince regent was working with an extraordinary painter that's really like the regency period itself. it's a unique mix of appearance and reality. they've fused together into something that's not quite the truth but it's spectacular all the same. 'next time, we explore the regency's greatest legacy - 'the rebuilding of britain in the aftermath of waterloo. 'as we'll discover, george wasn't alone

'in wanting to live in a world of make-believe.' subtitles by red bee media ltd e-mail subtitling@bbc.co.uk .

Rife's Home Furniture

Patio Furniture Home Depot

Patio Furniture Home Depot

if you're looking for a safe place to hidesomething precious, the obvious choice would be in a safe. and it's probably just as obvious,to the criminals who wanna steal your stuff. sometimes the best place to hide something,is where people least expect it. so in this project we're making a super secret safe,that only you know about. for this project you'll need one of theseextra long, electrical gang boxes, made for existing walls. you'll also need a blank wallplate, like this. now search around your house for a clean section of wall, and use a studfinder, to locate an area between the studs. when you've found a spot that works, measurea height that matches the outlets nearby, and add half and inch. now line up the markwith the bottom left corner of the box, and

trace around the sides. this is where you'llneed to cut into the wall. go ahead and stick an envelope under the markings, and selectyour cutting tool of choice. you can see that when you begin cutting into the sheetrock,the envelope catches the dust, reducing the mess that you'll have to clean up later. it'simportant to cut carefully, and with shallow strokes, because there could be electricalwires behind the wall, and you don't want to cut them by accident. when it's all cutout, you should find that your blue box pushes in perfectly, and rests flat against the wall.when you adjust the screws in the corners, you can see that it tightens the flaps atthe back, securing the box tight to the wall. at this point you can start loading your safe,with something important. perhaps some stamps

you want to save? a set of spare keys maybe?..what about emergency ammunition? whatever you put in there, when it's all tucked away,simply add the cover plate, and screw it together. chances are, no one will ever guess there'sanything hidden inside. if you wanna go one step further, try pushing some furniture infront of the cover, because out of sight, means out of mind. now, if the time comeswhere you need to open your safe, but you don't have a screwdriver, no problem. justuse the prongs from a plug. the blades fit perfectly into the screw-heads, allowing youfull, and easy access. now there are plenty of modifications you can make to this thing.for example, if you plan on using this a lot, and can't be bothered, with unscrewing itevery time, try drilling out the screw holes

with a 9/64" drill bit. then add a dab ofsuper glue, to where the screws meet the cover plate. this way the screws will be held fastin place, and now you can just line up the holes, and press it together, in an instant.if you want this to blend better with the surroundings, try adding an outlet to thefront of the box, and a finishing plate over that. now your secret safe looks like allthe other outlets in your house. have you got so much stuff that you need a bigger safe?try upgrading, to a double-gang. this gives you nearly twice the storage space, and installsjust as easily as the others. as a final thought, if you don't want to spend the $3 on materials,or cut holes in your walls, just look for one of these cable jacks around the house.the cable's protected, there's plenty of space

inside, and it's a great place for hidingthings, like your list of computer passwords. not only is this option free, but chancesare, you've already got them all over the house. well now you know how to make an easy,secret safe, for hiding important stuff. if you liked this project, perhaps you'll likesome of my others. check them out at www.thekingofrandom.com

Patio Furniture Home Depot

Patio Furniture At Home Depot

Patio Furniture At Home Depot

eric: this video is brought to you by sailrite. visit sailrite.com for all your project supplies,tools and instructions. if you’ve got oddly shaped patio furniturethat needs to be covered, you may want to consider building your own cover since coversare often hard to find when shapes are irregular. patio furniture and the upholstery on it canoften deteriorate quickly if not protected appropriately. so we’re going to show you in this videohow to build protective covers. let’s start by patterning the top. we’re going to make outdoor covers for thiscurved sectional unit.

this actually has three pieces to it. we’re going to start with one. in the first piece i’m going to make isthe piece that goes from here all the way down to here. so i’m going to measure across the backand give myself an extra inch on each side. eric: the extra inch on each side is for seamallowance. that measurement is 54”. then i’m going to measure an inch extraback here and down to here, which would be 34”.

so i need a piece that’s 54” x 34” tostart. eric: we’re going to measure that out onour surlast fabric with marking chalk and obviously a straight edge. then we’ll cut it out with scissors. i’m going to put this piece on with thewrong side out so i can make my marks on the wrong side on this piece. eric: surlast fabric does have a right sideand a wrong side. and then clamp it with these clamps on theframe of the chair to hold it in place while i work with it.

eric: when clamping, ensure the 1” extraon each side is about equal. we’ve chosen to use a surlast fabric fromsailrite. this is a 100% polyester solution dyed material. it’s good for outdoor applications. it’s a very breathable fabric, and yet itis water resistant. excellent for covers like this. i want the rain water, snow, whatever to comeoff of this so i’m going to try to make this as sloped as i can, which is going torequire a couple of darts here. eric: these darts will take up excess fabricso the fit will be slightly tighter, depending

on how many darts are added. so i’m just folding out the fullness inthis front piece with two darts that are approximately even from one side to the other. i’ve put pins in the front corners to holdit in place while i work with it. there’s about 1” here from the pipingon the cushion to the edge of the fabric. eric: the extra inch will be used to joina front piece. i want to maintain this curve in my coverso i’m going to take my chalk and mark where the cording is on the cushion, and it’sgoing to taper out to the end over here. this doesn’t have to be a perfect mark.

just so you can cut. when we cut this, we’ll cut out 1” fromthe mark so we still have that seam allowance there. i’m also going to make a mark up here ofwhere i want this dart to end. eric: covers for furniture should be snug,but not so snug that they’re difficult to install quickly. then i’m also going to come back here andcurve the back. see how much extra there is right there beyondthe frame? i’m going to make a mark on the frame andcurve that also.

so that the back piece, when i attach it,it also curves. eric: sailrite also stocks other great brandsof outdoor storage cover fabrics. be sure to check them out at sailrite.com. i typically like to choose a fabric that iswater resistant, breathable, and also abrasion resistant. that is true of surlast fabric. this edge will stay like it is for right now. so i’m going to take this off and stitchin my two darts and trim it along my lines that i made with the chalk.

i want to have about a 1” seam allowanceon this so i’m going to measure 1” out from my initial mark and trim that extra off. just curve it up to the straight edge, andthe same thing on the other side. eric: if cut with scissors unravelling mayoccur, but surlast fabric is fairly resistant to unravelling when cut with shears. if you want to ensure that this does not happenat all, we suggest using the sailrite edge hotknife to cut the fabric. then on this side, at the front, i’m goingto stitch my darts in, and then i’m going to trim this edge off.

eric: to sew the darts, start on the edgewhere it was pinned together. do some reversing to lock your stitch in place. then sew up to the point where you want tostop the dart. this is where cindi’s finger is now. then do some reversing at that point as well. that dart is complete. now she’ll do it to the second dart forthis panel. you’ll notice that occasionally that cindiholds the trailing threads, as she did here. that is always a good idea to help to preventthe sewing machine from carrying those loose

threads and getting them bound up to createa rat’s nest on the bottom side of the fabric. if it’s not done, not a big deal. but typically rat’s nests on the bottomsides don’t look as good. so try to hold the tails when you start sewing. okay, the curve of the front of the seat onthe cushion is these blue marks, and i measured out 1”, like i did at the back, and justtrim that off. it wasn’t very much, but it makes the curveof the front of the chair. eric: we’ll only be showing patterning andsewing together of one of the three required panels for our patio set.

if you have a set like this, you may wantto pattern the other two or more for yours as you do the first one. so use the first one as a pattern for theothers. it’s your choice. i’m ready to add this front piece on tomy panel that goes across the top. so i need the height of that cushion, andit’s about 18”. so i’m going to cut this at 19”. eric: cindi measured to the floor. along the bottom edge of the cover, we willinstall a sleeve with shock cord.

it is best that the finished cover not actuallybe touching the ground, if possible. that’s why she measured from the floor up,and did not add any extra for the sleeve allowance. the width of it will be the width of thispiece. eric: this is the top panel bottom edge wherethe front will be sewn to. by 51”. eric: now she’ll cut the front panel 19”x 51” for our patio chair set. this is my 19” x 51” piece that goes downthe front of the chair, and this is the piece that we just put the darts in that goes acrossthe top of the chair. eric: this video is brought to you by sailrite.visit sailrite.com for all your project supplies,

tools and instructions. if you’ve got oddlyshaped patio furniture that needs to be covered, you may want to consider building your owncover since covers are often hard to find when shapes are irregular. patio furnitureand the upholstery on it can often deteriorate quickly if not protected appropriately. sowe’re going to show you in this video how to build protective covers. let’s startby patterning the top. we’re going to make outdoor covers for thiscurved sectional unit. this actually has three pieces to it. we’re going to start withone. in the first piece i’m going to make is the piece that goes from here all the waydown to here. so i’m going to measure across the back and give myself an extra inch oneach side.

that measurement is 54”. then i’m goingto measure an inch extra back here and down to here, which would be 34”. so i need apiece that’s 54” x 34” to start. obviously a straight edge. then we’ll cutit out with scissors. eric: when clamping, ensure the 1” extraon each side is about equal. we’ve chosen to use a surlast fabric from sailrite. thisis a 100% polyester solution dyed material. it’s good for outdoor applications. it’sa very breathable fabric, and yet it is water resistant. excellent for covers like this. even from one side to the other. i’ve putpins in the front corners to hold it in place while i work with it. there’s about 1”here from the piping on the cushion to the

edge of the fabric. the cording is on the cushion, and it’sgoing to taper out to the end over here. this doesn’t have to be a perfect mark. justso you can cut. when we cut this, we’ll cut out 1” from the mark so we still havethat seam allowance there. i’m also going to make a mark up here of where i want thisdart to end. then i’m also going to come back here andcurve the back. see how much extra there is right there beyond the frame? i’m goingto make a mark on the frame and curve that also. so that the back piece, when i attachit, it also curves. eric: sailrite also stocks other great brandsof outdoor storage cover fabrics. be sure

to check them out at sailrite.com. i typicallylike to choose a fabric that is water resistant, breathable, and also abrasion resistant. thatis true of surlast fabric. this edge will stay like it is for right now.so i’m going to take this off and stitch in my two darts and trim it along my linesthat i made with the chalk. i want to have about a 1” seam allowance on this so i’mgoing to measure 1” out from my initial mark and trim that extra off. just curve itup to the straight edge, and the same thing on the other side. to unravelling when cut with shears. if youwant to ensure that this does not happen at all, we suggest using the sailrite edge hotknifeto cut the fabric.

eric: to sew the darts, start on the edgewhere it was pinned together. do some reversing to lock your stitch in place. then sew upto the point where you want to stop the dart. this is where cindi’s finger is now. thendo some reversing at that point as well. that dart is complete. now she’ll do it to thesecond dart for this panel. you’ll notice that occasionally that cindi holds the trailingthreads, as she did here. that is always a good idea to help to prevent the sewing machinefrom carrying those loose threads and getting them bound up to create a rat’s nest onthe bottom side of the fabric. if it’s not done, not a big deal. but typically rat’snests on the bottom sides don’t look as good. so try to hold the tails when you startsewing.

out 1”, like i did at the back, and justtrim that off. it wasn’t very much, but it makes the curve of the front of the chair. panels for our patio set. if you have a setlike this, you may want to pattern the other two or more for yours as you do the firstone. so use the first one as a pattern for the others. it’s your choice. i’m ready to add this front piece on tomy panel that goes across the top. so i need the height of that cushion, and it’s about18”. so i’m going to cut this at 19”. eric: cindi measured to the floor. along thebottom edge of the cover, we will install a sleeve with shock cord. it is best thatthe finished cover not actually be touching

the ground, if possible. that’s why shemeasured from the floor up, and did not add any extra for the sleeve allowance. that we just put the darts in that goes acrossthe top of the chair. i’m going to stitch these two right sides together along the 51”length and about a â½â€ seam. eric: cindi will use pins and she will pinthose panels together. you could also use seamstick for canvas, part #129, if you’dlike in lieu of pins. that’s a double sided tape that is left in place as you sew to helphold the panels together. sometimes our customers get confused about which is the right sideand wrong side of the surlast fabric. we have a video on our website that helps explainthis. use this link here if you’d like to

see that video.to sew this panel together, we’ll be creating a semi flat felled seam. this means the firststitch will be about a â½â€ from the raw edge of the fabric, and it’ll be a straightstitch about 5mm-6mm in length. notice that cindi pulls the pins as she approaches them.once this first stitch is done, the panel will be splayed open so the outside surfaceis up. now i’m going to open this up and do a semiflat felled seam in here to make the seam a little stronger. so to do that i’m goingto push both layers of my seam up and top stitch in from the edge. the edge of the presserfoot will be my guide for that. you don’t want to catch anything but your two layersof seam underneath there.

eric: it doesn’t matter whether you sewthe two layers on the bottom side on the right side or left side. we’ve positioned themon the left side so that we could use the right side of the presser foot as a guidealong our first stitch. as cindi sews this top stitch, she pulls the panels apart sothat the center seam is pulled nice and flat. the next piece that i add on is going to bethe piece that goes down the back over here. so i’m going to measure the width of thetop of this piece, and that’s 54 â½â€. then i’m going to measure straight downfrom here to the height that i want at… eric: be sure to measure the highest pointof the chair. eric: 1” was added for seam allowance. nowshe’ll cut a panel to that size. once cut,

outside surfaces should face each other. so this is the back panel that i just cut.i’m going to follow the curve and pin it together- right sides together with the edgeseven. do about a â½â€ seam on this also. then turn it and do the semi flat felled seamon it, and then i’m going to try it on the chair again. eric: the first stitch, about a â½â€ fromthe raw edges of the fabric. after that stitch is complete all along the edge the panelsare splayed open with the outside surfaces facing up. now we’ll concentrate on a topstitch to complete this semi flat felled seam. now i’m going to do this semi flat felledseam here on this side also. make sure everything

is pushed over to one side, and that’s alli have underneath there. i’m not going to catch any other parts of it. eric: we only want to sew through the â½â€seam on the underside- that’s the two layers on the underside- and splay the panels apartas you sew. right side of the foot is up against the first stitch. when that’s done, let’stest it on the chair. i’m going to put this back on with the wrongside out so i can make marks on the wrong side. i want to make sure that i’ve gotabout the same distance off the edge over here as i do over here. so i’m going toline up my seam along the curve of the original cushion underneath and put a couple pins juststraight through into the cushion to hold

it in place. i want this to be somewhat flatacross the front. i don’t need a lot of fullness in there. i want that to fit prettywell. so what i’m going to do is find the leg underneath here, which is way back here,and make a mark approximately 1” out from where that little foot is at the bottom. thenup here, i’m going to make a mark out also about 1” from the corner of my cushion,which is right here. so there’s my mark there. then i’m going to come up here tothis corner and make a mark where the cushion starts to go down at that point. i’m goingto make another mark. so i’m going to draw a line from this mark to this mark to thismark to get the shape of this side of the chair. i’ll do the same thing on the otherside.

eric: once it’s marked, we can take it tothe table and cut off the excess. now on this one i’m not going to mark 1”out because i’ve already allowed that 1” when i was making my marks on the chair. soi’m going to draw a line from my mark at the front of the seat to the mark at the topand then from the front of the seat down to the foot of the chair, or the floor. i’mgoing to trim that out. eric: we’ll put it on the chair yet again.wrong side is out. it looks we’re going to have some extrafullness back here so i’m going to get rid of a little bit of that by angling this piecefrom this seam down in about 1” on each side.

eric: that means it’s about 1” away fromthe foot. you may need to check that on your chair andsee if it needs to be more than that. just because this is three sections, i don’twant it to be billowy in the back when we put it on. so i’m going to take a littlebit off of that first. so here’s where i’m going to get rid ofsome of the fullness in the back. i marked 1” in and i’m going to taper that up tothis top seam. i am going to do this to both sides of this. eric: our chair requires three of those samepanels total. we only showed patterning and sewing of one.

since this is three pieces, while you weren’twatching, i made the two others so that we could seam them all together and make thecomplete piece. after we put these together, we’ll put the ends on. i’m going to pinthese together at these two center seams, and then i’m going to take it to the machineand sew it. i’m going to start right here at the back and match up the back seam, andthen just let it fall where it will as it goes down. pin it at about â½â€, which iswhat my seam will be. then i can pull it to the sides and make sure it’s going to fitbefore i sew it. eric: as she’s pinning this fabric together,let’s talk about some other choices in fabric you may want to consider. if you use a vinylproduct, it’s totally waterproof. but a

vinyl fabric does not breathe. if a fabricis used as a cover that does not breathe, it’s possible that condensation will buildup on the inside, thus promoting mold and mildew to grow. so if you use vinyl, you needto put in some sort of ventilation. if using a breathable fabric, that is typically notrequired. i can see that my seam isn’t going to matchup perfectly here, and that’s okay. this does not have to be exact. i’m also goingto go around to the back and put a few pins in the back seam. okay, i have this all pinnedtogether and i’m just going from one end to the other to make sure it’s going tofit. it looks like it’s going to be a snug fit, which is okay. but this end, i stillhave about my 1” hanging off like i started

with, and the same on this end. so the nextstep is to take it off and i’m going to sew those two seams together that i just pinned. eric: those two seams will be another semiflat felled stitch. we will not show this whole process. you’ll notice that when weget to the end of our sewing, our two panels are not directly on top of each other. thatis not a big deal so do not be alarmed about it. in a later step that edge will be trimmedoff. the next thing is to do a semi flat felledseam on the seam that i just did, which is going to require putting this whole sectionunderneath the arm of the machine. so on this one you’ll have to be especially carefulthat you don’t catch another piece underneath

and just your two layers of seam underneaththere. eric: you can scroll up or roll up the fabricto get it under the arm of the sewing machine, but as you can see, this panel is not thatbig that we can’t just push the bulk of the fabric underneath the arm of the sewingmachine. so sewing large assemblies like this is actually fairly easy, even with underarmsewing machine spaces that are rather lacking. now that those panels are all sewn together,we’ll put it back on the chair. now the last thing we need to do is put theside panels on this and then put the shock cord in. so i’m going to measure my heightat the highest point from the floor, which is going to be, if i add an inch to the 33”,it would be 34”. i’m going to measure

outside the legs for my width an inch so that’sgoing to be 29”. so my piece for the side panel needs to be 29” x 34”. eric: we’ll measure and cut that size. so here is my piece that’s 29” x 34”,and i’m going to start by pinning this back seam together at â½â€ all the way down. thenthis is going to be a straight seam right across here for just this 4”-5” untili slant down. the next part i’m going to pin together is this front seam where it matchesthe front. eric: it will be pinned right on that seamat that corner. so in order to get this angle right here,i’m going to use the blue chalk, and i’m

going to hold my hand behind the fabric withthis folded over so that i can use my hand as a base to make a line all the way down to where it meets the frontpiece. that’s going to be my stitching line for this part of this seam. so this is goingto be kind of a fit as you go thing. i’m going to cut just out from my blue lines,and you’ll be able to see that it has a definite curve to it. it’s not just a straightline like this one is. so i’ll put a few more pins in and then i can take it to themachine and sew it. i’ll do the same thing over on the other side. now before i takethis off to sew those two side seams, i’m going to go all the way around and make amark where i want to cut it for my hem so

i don’t have to put it back on to do thatagain later. so i’m just going to mark where it hits the floor all the way around. eric: the sleeve that we create for the shockcord will take a few inches away from this. however, we don’t really want the coverto be touching the ground anyway. so this is a good thing. that piece is right at the floor so i’mnot going to make any marks on it. but i’m going to go all the way around and do that.now i’m ready to take this off and take to the machine and stitch this end and thatend. eric: a semi flat felled seam again will beutilized here for the sides. at any turns

or corners, the needle is typically buriedin the fabric, presser foot lifted, assembly rolled around, presser foot lowered- she’sactually going to go back a little bit because she believes she went too far- so the needle’sburied again in the fabric, the assembly is rolled, and then she continues to sew. youmust always remember to lower the presser foot before you start sewing. otherwise, you’llhave a jam. here we’re coming to an edge that has a slight curve in it. it’s nota 90 degree, but it is a curve, and she did slit the fabric less than a â½â€ on the sidethat needs to stretch. so a little slit will allow the fabric to stretch around that curvebetter. here we’re coming to almost another 90 degree turn. needle is buried in the fabric,presser foot lifted, assembly rolled around,

presser foot lowered, and then continue tosew. when you’re done sewing, be sure to push all the corners out. this will aid increating the top stitch of this semi flat felled seam. now before i turn it around and go to theother side, i’m going to do the semi flat felled seam on this one also. eric: meaning she’s already done one stitchand this is just the top stitch to complete it. we’re approaching a transition whereit takes a turn. watch what cindi does here. notice she’s rolling the balance wheel aroundby hand. then she lifts the presser foot, turns the assembly around, smooths everythingout being sure that she’s sewing through

that seam on the underside of the fabric,and then continues to sew. let’s move ahead. along the bottom edge we want to install asleeve. first we need to cut off the excess so that it meets the ground. then we’llcreate the sleeve. i’m going to draw a line along the bluechalk marks that i made along the floor so that i can turn my hem up next. then i’mgoing to trim it off on that line all the way around. eric: once it’s trimmed to size, then wecan concentrate on creating the sleeve. but before we do that, we need an opening in thefront to allow us to tension the shock cord. cindi’s going to do that next.

now i need to make a little finished spotin the center of the front for the shock cord to come through. so i’m going to find thecenter of this piece, which its 29”, so it’s 14 â½â€. then i’m going to measureout 3” on each side of that mark for my little cutout. i’m going to end up turningthis up 2 â½â€ so i’m going to mark up 2”, and then the other â½â€ is going tobe taken up with the seam. i’m going to cut this little rectangle out. then i’mgoing to take this scrap piece of fabric and put it underneath and pin it around the rectangleand take it over to the machine. i’m going to sew around the rectangle a â½â€ all theway around the three sides. i want to make sure i don’t have anything else underneathme. i’m going to cut this little rectangle

out of here. then cut to the corners withoutcutting the stitching and turn this piece to the back side. i’mgoing to put a few pins in to hold it in place and put a couple rows of stitching aroundthe perimeter of this and then i’ll trim out all the excess fabric. eric: this helps to reinforce that openingso that shock cord can come through on the backside of the cover. i’m going to do another row of stitchingaround that same edge a presser foot away just to make it a little bit stronger rightthere. eric: we’ll trim off the extra being surenot to cut into the actual cover that’s

on the outside, or underside. i’m just cutting the one layer out thati added in. eric: this reinforced opening will be on theunderside of the cover and allows us to tension the shock cord. i’m going to put the shock cord in as ipin this down so i don’t have to weave it through later. i’m going to turn it up the2 â½â€ and turn under about a â½â€ and pin it. then when i stitch i’m going to stitchright at the top edge of this. eric: as this sleeve is being created, theshock cord is inserted inside of it. so we do not have to pull it through when we’redone.

i’m going to secure this to the edge ofmy piece so that it doesn’t pull through as i’m working with it. i’m back aroundto where i started so i’m going to go ahead and cut this piece off long so it doesn’tslide back inside. then i’m ready to stitch all the way around along this edge. eric: as with all of our sewing, do a littlebit of reversing at the beginning to lock the stitch in place, and then she’ll carefullysew all the way around securing the sleeve down to the cover. now we’ll put the coverback on the chair and tension up that shock cord around the perimeter. to tension thecover, she pulls out the extra shock cord until she gets a nice, tight fit all the wayaround. the wrinkles will be gathered along

the front so she’ll use a pony clamp andtighten it over the shock cord so she can take a walk around the cover trying to distributethe wrinkles in this sleeve more appropriately all around the cover. once she’s happy,she’ll tension up the shock cord any more that she deems necessary and then tie a knot.the shock cord will have a tendency to pull the fabric away from any concave areas likehere along the front. we’ll use ties in the next chapter to bring it into the legs. now because we put shock cord in here, it’spulling this curve where the curve goes in, it’s pulling out like that. we’re goingto take care of that by adding ties at the legs, which will pull that in all the wayaround and helps secure our cover more. in

order to decide how big i want my ties, i’mgoing to take the tape measure, wrap it around the leg. if i overlap 3”-4” of velcro,a 13” tie should be big enough to attach to this and then wrap around this frame. wedon’t need to mark where we’re going to put the ties because there’s a seam at eachleg. we’re getting ready to cut the straps forthis, and i decided they need to be 13” long, and i’m going to cut them 3 â½â€wide to accommodate the 1” velcro. then i want my velcro to be 6” long so it goesalmost to the center of my strap. i’m going to take it to the machine and fold it threetimes- once in and then once on top of that and then stitch down this long edge and applythe velcro. when i apply the velcro, i’m

just going to sew around the perimeter ofthe velcro on all four sides. the other piece goes on the opposite side so that when youwrap it they connect. eric: for our cover, we need to make 8 ties.we have 8 locations, or 8 legs, that we want to install these ties. they will be installedover each seam. when i apply this to the bottom of the cover,i don’t want to stitch the shock cord. the shock cord is down here. i want to make surethat it stays down there, and i don’t catch it in my stitching. i’m going to lay itright on top of the seam so i have all those extra layers there for stability. i’m goingto do one row of double stitching, and then i’m going to scoot over just a little bitand do another row so that all the stress

isn’t on one row of stitching. i did sewit to the inside of the cover. eric: our cover for our outdoor patio furnitureis now complete. simply pull it over your furniture. the shock cord allows for quickinstallation and removal. the ties that are associated with each one of the legs- 8 legson this chair- will help secure it in high winds. to install the cover of this size,it takes approximately 1-2 minutes in total. here’s our strap that we just sewed ontothe inside of the cover, and it’s going to wrap around the leg to give it more stability.it’s a little awkward because you can’t see what you’re doing, but you can feelwith the velcro and make it as tight as you need to and then the cover pulls down overit. we have one of those at each leg. here’s

what happened when we put the shock cord in,it just flew out like a wing. so that was one of the reasons that we decided to putthe velcro on the straps. so look what happens when i strap it to the leg. it makes it muchmore secure, and it looks like it’s going to stay there now. eric: to tension the bottom edge, we pulleda lot of excess shock cord out. just cut it to whatever length you desire. the cover forthis outdoor curved patio set is now complete. here’s the list of materials and tools weused to build our protective outdoor cover for our furniture. you can find other outdoorstorage cover fabric brands from sailrite. if you have a question about what fabric touse, give us a call at sailrite. this gorgeous

patio set is now protected with a cover thatyou can make yourself. if you’d like to see other videos that are related to makinga cover for patio furniture, check these videos out. for more free videos like this, be sureto check out the sailrite website or subscribe to the sailrite youtube channel. it’s yourloyal patronage to sailrite that makes these free videos available. thanks for your loyalsupport. i’m eric grant, and from all of us here at sailrite, thanks for watching.

Patio Furniture At Home Depot

Senin, 15 Mei 2017

Outdoor Furniture Home Depot

Outdoor Furniture Home Depot

eric: this video is brought to you by sailrite. visit sailrite.com for all your project supplies,tools, and instructions. after several years of heavy use, a qualitypatio sling chair’s fabric may need to be replaced. in this video, we’ll show you the propersteps to sew up perfectly fitting sling replacement panels, and how to properly install it inthe sling rail channels of your chair. follow the steps of this video for a “fitlike a glove” sling chair. i’m eric grant, and my wife billie willbe filming this project. let’s get started.

after cleaning dirt and mold off the chair,it’s time to take a few measurements. these measurements will be used to determinehow much fabric is required, and also will be used in the fabrication process for thechair. we will start with the length measurement. we want to start this measurement where wewant the fabric edge to sit. i like to keep mine about 1/8” or more fromthe end of the sling rail. use a fiberglass tape measure and carefullyfollow the contour of the chair, as seen here. when the opposite end is reached, that isyour length measurement. i also like to end my panel about 1/8” orless from the end of the sling rail.

for the width from sling rail to sling railon our chair, we will measure from the outer edge of the channel, which accommodates oursling spline cording to the opposite sides outside channel edge. for us, it’s 19 3/8”. some sling chairs are not rectangular. be sure to take a measurement at the frontedge as well as the back edge along the width. if it is the same or slightly off, it’smeant to be a rectangular sling. use the smallest measurement as your standard. this patio sling chair is slightly different.

the seat portion of this chair is not a perfectrectangle, but is actually smaller in the rear. also take a look at the back rest panel. it does not have sling rails on the sides,but on the bottom and the top edges. it is measured in the same manner from slingrail channel to sling rail channel. but it is also important to measure and writedown the opposite ends size, as you’ll want to duplicate the shape when making the newpanel. now let’s focus on the back rest. the sling rail channels are along the topand bottom edge.

we will measure vertically for our width measurementand horizontally for the length measurement. that is only because the rail channels arenot on the sides for this back rest panel. your chair’s configurations may be different,but the principles are the same for all types of patio sling chairs. with those measurements in hand (yours willlikely be different) we can now figure how much fabric we need to order from sailrite. it’s easy to calculate how much fabric isrequired. typically the mesh vinyl fabric is 54” wide. so panels can be orientated lengthwise alongthe selvage edge of the fabric or along the

width of the fabric. so let’s go over both approaches in detailstarting with #1- lengthwise along the selvage edge. eric: this video is brought to you by sailrite.visit sailrite.com for all your project supplies, tools, and instructions. replaced. in this video, we’ll show youthe proper steps to sew up perfectly fitting sling replacement panels, and how to properlyinstall it in the sling rail channels of your chair. follow the steps of this video fora “fit like a glove” sling chair. i’m eric grant, and my wife billie will be filmingthis project. let’s get started.

after cleaning dirt and mold off the chair,it’s time to take a few measurements. these measurements will be used to determine howmuch fabric is required, and also will be used in the fabrication process for the chair.we will start with the length measurement. we want to start this measurement where wewant the fabric edge to sit. i like to keep mine about 1/8” or more from the end ofthe sling rail. use a fiberglass tape measure and carefully follow the contour of the chair,as seen here. when the opposite end is reached, that is your length measurement. i also liketo end my panel about 1/8” or less from the end of the sling rail. for the width fromsling rail to sling rail on our chair, we will measure from the outer edge of the channel,which accommodates our sling spline cording

to the opposite sides outside channel edge.for us, it’s 19 3/8”. some sling chairs are not rectangular. be sure to take a measurementat the front edge as well as the back edge along the width. if it is the same or slightlyoff, it’s meant to be a rectangular sling. use the smallest measurement as your standard.this patio sling chair is slightly different. rear. also take a look at the back rest panel.it does not have sling rails on the sides, but on the bottom and the top edges. it ismeasured in the same manner from sling rail channel to sling rail channel. but it is alsoimportant to measure and write down the opposite ends size, as you’ll want to duplicate theshape when making the new panel. now let’s focus on the back rest. the sling rail channelsare along the top and bottom edge. we will

measure vertically for our width measurementand horizontally for the length measurement. of patio sling chairs. with those measurementsin hand (yours will likely be different) we can now figure how much fabric we need toorder from sailrite. it’s easy to calculate how much fabric isrequired. typically the mesh vinyl fabric is 54” wide. so panels can be orientatedlengthwise along the selvage edge of the fabric or along the width of the fabric. so let’sgo over both approaches in detail starting with #1- lengthwise along the selvage edge.if when you measured your chair’s width the measurement is 20 â½â€ or less from slingrail channel to sling rail channel and you’re using a 54” wide fabric, then you can gettwo up along the width of the fabric. to make

required fabric calculations, plug your lengthmeasurement and the number of chairs into this equation. then pick and order your meshvinyl fabric from sailrite. for this size chair, we can complete four chairs with onlythree yards of fabric. using the length measurement you made on the chair- this measurement istaken along the sling rails- if the length measurement is 52” or less, you can orientatepanels lengthwise along the width of the fabric, as shown here. if your choice fabric has stripes,orientating panels along the selvage or width will change the direction of the stripes orpattern on the fabric. to calculate how much fabric is required, plug your figures intothis equation. the four chairs still only require three yards to complete them all.now feel free to use these equations for the

required amount of fabric for your chairs.pause the video here if you like. what type of fabric should i use on my slingchairs? the sling chair in this video is using a very tightly woven vinyl mesh fabric calledphifertex plus. it is a very dimensionally stable fabric and does hold its shape almostperfectly. why? because it goes through a tentering process. tentering sets the warpand weft of the woven fabric at right angles to each other and then stretches it and setsthe fabric to its final dimensions. some vinyl mesh fabrics have a blend of other yarns wovenin the batch. often those blended yarns like acrylics and olefins cannot be easily bondedto each other setting the weave firmly in place. a fabric which contains a blend ofpvc and other yarns does make a good sling

chair. but as you can see here, using thattype of fabric may result in a slight sag of the fabric, especially after heavy use.that may be desirable for some. if your goal is to keep the fabric nice and tight avoidingmuch sag, pick a 100% woven vinyl coated polyester like our phifertex plus.one more thing to consider when ordering your fabric from sailrite is the weight of themesh fabric. let’s just look at one brand when discussing the weight of the fabric:phifertex. most of the solid colors and stripes of the phifertex plus brand fabric are between15 oz.-16 oz. per square yard, and they are extremely easy to work with- both in creatingeasy hems and sleeves and also in feeding the fabric into the channels, or grooves,of the sling rails. however, if you get into

some of the wicker weaves, or basket weave,designs, those fabrics are much heavier- between 18 oz.-25 oz. in some cases. those fabricslook great, but do come with one disadvantage. they are more difficult to pull through thechannel, or groove, of the sling rail because they are thicker. with that said, we havedecided to use one of the heaviest- a 24.6 oz. fabric.- in this video to show that itcan be accomplished, especially if you follow the steps in the video. visit the sailritewebsite and pick your fabric. you can use the link at the top left to help narrow yoursearch results. in preparation for the disassembly of thechair, and also to determine the cut size of the new fabric, remove the end caps fromthe end of the chair’s sling rails. do this

very carefully as they may be very fragiledepending on how old your chair is. we like to use a screwdriver and gently pry untilwe can grab hold of it and pull it out completely. we need to know the size of the sleeve thatwill accommodate the sling spline cording. take a measurement from the sling’s railtop edge to the lower edge of the sleeve, as seen here. in most situations, a chairlike this will measure 5/16”. however, not all sling chairs are the same. this slingchair has a backrest where the rails are along the top and bottom edges, and the sling splinecording sits very far back along the sling rails. here you can see that the size of thesleeve that accommodates the cording is 1 â¼â€. however, turn our attention to theseat panel and remove the end cap and take

a measurement of the sleeve that accommodatesthe cording and we get the standard 5/16” there. these measurements should be writtendown as they will be used to calculate the cut size of the fabric. but first we willdisassemble the chair to remove the old fabric. disassembly of the chair is typically rathereasy. usually on the underside of the chair you will find bolts holding the sling railsto the frame. remove these bolts completely. cheaply made chairs are sometimes welded inplace. those welded together sling chairs are used for a season maybe two and discardedwhen the cheap fabric or frame deteriorates. once the bolts are removed, the sling railsshould separate from the frame. these bars on the backside are called spreader bars,or tension bars. they, along with the bolts

that you just removed, apply the tension tothe fabric holding it taut. we are working under our wire hung canopy that has been installedon this pergola. want to see how we build that? check out the link at the top rightcorner of this video. to remove the old mesh vinyl fabric from thechair, simply use a razor blade and cut the fabric down the center. the old fabric willbe rather stiff from years of use. wiggle it side to side a few times before you tryto remove it. this helps aid in the removal of the old fabric. using vice grips or pliers,grab the fabric close to the sling rail and pull on the fabric removing it from the grooveof the rail. do this for both rails. then grab the old sling spline cording and pullit out from the old fabric. our metal frame

and spreader bars are still in great shape.they are made from aluminum. but they need a fresh coat of paint. we will clean any dirtstill on the metal and then remove any loose paint. then we will spray with our favoritespray paint applying several coats as directed. our new fabric and supplies have been orderedand they’ve arrived from sailrite. we’re ready to cut it to size using the measurementswe took earlier on in this video. that’s coming up next.using the measurements taken earlier and written down on paper- the length, the width, andthe slot measurements- those will be used to calculate the cut size of our panels. firstwe will start with the cut width. use this equation and plug the width and the slot sizeinto the figure shown here. we wrote these

measurements down earlier here for our chair.yours may be different. after plugging them into our equations, you can see our examplehere. we should cut our fabric to 24” in width and our finished size should be 20”in width. want to test your figures? using the old fabric from the chair, push the sleeve’sopenings as flat as possible on the ends to be measured. then lay the panels cut sideson the floor side by side and lined up. now take measurements from folded edge to foldededge. is it the same, or very close to your calculated finished size? our calculated measurementswas 20” for our chair, and our old fabric measures that almost perfectly. so our calculationsare correct. if your chair is meant to be rectangular andone measurement is slightly off, use the smaller

measurement as the standard. to calculatethe cut length of our sling fabric, simply take the measurement you took along the slingrail earlier and add 2” for a 1” hem at the top and bottom of the fabric. now we’rearmed with a cut size width in length and a finished size width in length. now we cancut the fabric to size. first, we must be assured that the cut edgesare square. here we’re using an l square to ensure that they are straight. once wedetermine that and make any trimming that’s necessary, we can use our width measurementfor the cut size and measure across the fabric. here we’re marking the phifertex plus fabricwith a pen. once it’s marked at several locations, we can use the yardstick and strikea line through those marks. once that line

is struck down, we can measure for our cutlength. this is the actual length of the chair plus the 2”. again we are marking the fabricat a few locations so we can strike a line across at that location. the phifertex plusfabric can be cut with scissors. edges do not ravel much. no need to use a hotknife.next we’ll create the hems. hems are placed along the edge that does not accommodate thesling rail. for us that’s the short sides, and we need to just measure over 1” andstrike a line. no need for a double hem. a single hem will work perfectly here. we’llcrease the fabric along that struck line and press it firmly creating a slight memory.i’m going to flip it. once it’s pre-creased, i can take a hard object like this here canvaspatterning ruler and crease it down well.

if you don’t have the sailrite canvas patterningruler, you can use something like the edge of your scissors to crease it really well.now we’ll take this, since this is folded this direction, we need to do the same thingon the other short side. a 1” hem on the other short side can be done in the same manner.fold the fabric under since the hem on the other side is under. that hem is folded underso it’s on the same side as the first one we created.we’ll use the deluxe 5 â½â€™ magnetic guide like a table saw’s fence. because it’sfolded, it should stay right where we pressed the crease in place. first stitch then doa little reversing. the reversing locks the stitch in place. we’ll sew a straight stitch,about a 6mm long straight stitch, then when

we reach the other side, we do some reversingthere as well. so far we have only one stitch in this 1” hem, and it’s about 1/8”from the raw edge of the fabric. we will sew one more row of straight stitches about 1/8”to the right of that first stitch we just created- reversing it at the beginning andthe end of our sewing to lock the stitch in place. then we’ll repeat that procedurefor the opposite end following the same procedure. our two hems are sewn in place. up next, we’llconcentrate on the sleeves. flip your fabric so the hems are facing down.we’ll be doing a â½â€ hem so we can mark it there down both sides at a â½â€. thisis the outside surface. hems are facing down. for us, this is our long sides. this is theside that will slide into the sling rail’s

channel. we’re marking a â½â€ and strikinga line there. we’ll do that on both long sides. our â½â€ hem line is here. we wantto mark 2” over and strike another line here. so we’ll measure in a few spots at2”. strike a line through those spots. this will be our finished size when we’re done.we’ll put the final fold here. that 2” measurement was from the edge of the fabric.we have a â½â€, and from this edge, we have 2” here. from this edge â½â€; from thisedge 2”. so now our sides that slide into the channel have a â½â€ line struck downand a 2” line struck down on both edges. once that’s done, let’s confirm. okayif you’ve done it right, from the inside line, which we struck at 2”, to the nextinside line, which we struck at 2”, that

should be your final measurement- from hereto here. our final measurement was 20”. it’s perfect. that’s our finished size.at the â½â€ mark, we’ll crease the fabric by hand, and then we’ll crease it with aheavy object right along that line that we struck on the fabric. this is our â½â€ hem.we’re folding the hem under so that it’s on the same side as the hem on the two shortedges. we’ve creased the â½â€; now we’ll crease it at 2”. once it’s creased, we’llflip it so that the hems are facing up. then we’ll crease it with a solid object justto be sure that it stays there when we sew it. again, you can use some hard object likescissors or you can use the sailrite canvas patterning ruler to crease it along that edge.these folds will create the sleeve for the

sling spline cording.okay, this is their 1/2” hem. we’ll fold it under. we’ll fold on that 2” hem here.so we need to keep that hem under as we sew. so where do we want the first stitch? i’mgoing to move magnetic guide so that we put the first stitch so that the outside of thepresser foot is right along this fold, which will put my stitch about a â¼â€ inside thisfolded edge. that’s my first stitch; we’re going to have two rows of stitches here. soi’m going to set the magnetic guide up right there. this part is chunky. this is a heavyfabric here so we’re going to sew through it, do some reversing there, and then i’mgoing to carefully make sure that my hem is in the right spot. so i’m going to holdmy hand back here and try to feed my fabric

through flat, and keep my fabric up againstthe fence as i sew. sew a few inches, fold it flat. we’re working outside under ourpergola, which has a wire hung canopy installed on it. want to build that? check out the linklocated at the upper right corner of this video. the phifertex plus fabric we’ve chosenhere is the heaviest we stock at 24.6 oz. per square yard. most phifertex plus fabricsare about 15 oz.-16 oz. and are much easier to sew. we’re sewing it with a heavy dutysewing machine. however, if you’re using a home sewing machine, we recommend the 15oz.-16 oz. phifertex plus fabric. a second row of straight stitches should be installedright along that first one approximately a â¼â€-1/8” away from the first. we’lldo that at along both long sides. since we’ve

already sewn the fabric on both sides witha single stitch, this time we can sew right along this rather quickly because we don’thave to worry about folding the fabric. there we go!we’re going to use mclube here. this is sailkote. it’s a lubricant. we’re goingto spray it on our rag. then we’re going to clean the grooves of each one of thesechannels. so we’re going to insert the rag inside there, stuff it in there where thelube is, and then just run it in the groove. this cleans it and it lubes it for the insertionof the sling fabric. next we’ll insert our new sling chair spline cording into the sleeveswe created, leaving approximately 1” sticking out of the ends. it can easily be cut withscissors. this track has two holes on this

side and multiple holes on this side. themultiple holes are for the bar stretchers. so we’re going to insert the fabric in sothat the multiple holes will be towards the inside. this is the outside surface of thefabric so the fabric will go into the channel just like this. the hems are facing under.it’s best to start with a long edge. so here’s how it goes: multiple holes, bottomside of the fabric, top side of the fabric, we start it in like this. because we’reusing the heaviest of phifertex plus fabrics, we’re going to pry the ends open slightly.this will allow our heavier fabric to slide through here at the end where we will insertit. this is not required for lighter phifertex plus fabrics. the end of the panel has a singlehem and also incorporates the sleeve. so it

is the thickest part of the panel and willbe the most difficult to pull through the channel, especially because we’re usingthe heaviest of phifertex plus fabrics. having difficulty pulling your panel throughthe channel? a trick is to cut some of the scrap fabric into a rectangle and fold itover the end next to the sling rail. then lock on a pair of vice grips and use thatto pull the fabric into the channel. remember, what you’re seeing here is the most challengingapplication ever. if you use a lighter phifertex plus, you will not have this much difficulty.because i can no longer reach the open end of the channel, i grabbed one of my sons,silas, to help guide the fabric into the end of the sling rail’s channel. he is ensuringthat the weave of the fabric is not getting

caught on the end of the sling rail’s frameas i pull the fabric using the vice grips. eric to silas: almost there.twisting the fabric as i am here will sometimes make it go through the channel with a littlebit more ease. eric to silas: that’ll help. do it again.for some reason this always seems to loosen it up by pushing it over. now how close areyou to the end? okay, about the same. how close are you? oh, not bad. just wiggle thefabric a little bit. okay so, take a look over here. because weused the vice grips on a scrap piece of fabric, when i release them, any damage is usuallydone to the scrap piece of fabric, and our fabric is still in great shape, as you cansee here. so we have one side done. now we

just need to do it to the other.so you see the holes are on this one- the multiple holes. this side has only two. yourchair may be different. multiple holes go to the inside so it goes on like this. thisis the outside surface. eric to silas: silas could you start guidingthis through there? i notice that i make some great facials wheni’m pulling this fabric through (laughs). wow, we got a lot of distance with that one.we’re going to move on ahead. here’s what it looks like when the fabric is fed in bothsling rails. up next, we’ll re-insert the spreader bars.this is a bar clamp spreader, and the idea is that right now it’s set up to be configuredto be a spreader. but this end can come off

and can be moved this direction on the otherside, and it’s a clamp. in our situation we want it to be spreader. so we’re goingto position it like this and secure it in place. so our first tension bar goes here.as you can see, it is going to be under a great amount of tension so i need somethingto spread it apart. we’ll use this bar clamp/spreader as a spreader, and apply tension very closeto the holes where the spreader bar needs to be inserted. you need to be sure that theclamp jaws are very close to the fabric to avoid it from slipping out when the frameis put under great tension. each of our spreader bars have washers that go on prior to insertioninto the holes at each of the spreader bar openings. so we inserted those washers inplace. yours may not have those. once the

bar is in place, you can release the tensionof the spreader. billie to eric: i jumped (laughs).eric to billie: first one’s in place! here you see two holes. which one does thetension bar go into? well, it won’t fit into that one, for one. but this hole goesall the way through; it’s for a bolt. so the tension bar goes through this hole. we’llfollow that same procedure positioning the spreader very close to the holes where thespreader bar, or tension bar, needs to be inserted into the holes. we’ll keep thejaws very close to the fabric to helpfully avoid it from popping out when great tensionis applied. the bar does not yet fit. we need more tension. but we’re almost to the max.its close, but i can’t spread any more than

that with this tension here. i am so closeto that, but i’m not close enough. so i’m going to bend this bar slightly. i’m goingto go in the middle position. that table is not going to do it so i’m going to do iton my leg. that should shorten it up. let’s check. yep, shortened it up beautifully. infact probably too much, but we can pound that out. so i’m going to position it over thehole here, and then i’m going to release my tension bar (bar spreader; not tensionbar) because it’s going to spring forward. billie to eric: (makes a scared noise)eric to billie: there we go! billie to eric: scary!eric to billie: beautiful. (my wife is filming. every time i do that, she jumps. [laughs])

because this bar was bent, we can take a rubbermallet and a rag to help prevent damage to the paint job. we can pound it down and it’llactually spread it out. there, that makes it nice and stiff. this is the spreader barfor the bottom. you can see this one has a bend outward, and this one’s more of a straight.this is for your butt so wherever the seat is, that’s supposed to accommodate for heavypeople (laughs). okay, looks like we don’t have too far to go. going to put a washeron this. the other one has a washer. need a little bit more tension. now we can getin there. if we use a rubber mallet, we can pound it into place. there we go. now i canrelease the tension. and our last one is here. silas, being young, uses his hand. (laughs)i would use the rubber mallet here instead.

eric to silas: good job! look at that. wegot it. once the spreader bars are in place, all wehave to do is reassemble the chair. for us, it’s four bolts. i strongly recommend insertingall of the bolts and twisting them a few rotations by hand so that several threads are lockedinto position. then after all of the bolts are inserted by hand, use a wrench or socket,as shown here. now the excess sling cord that’s stinking out- sling/awning cord- just takea razor blade and cut kind of at a “v” angle. that should give you enough room toput the end caps back on. our end caps are fairly fragile since they’re old so be carefulwith them. we’ll carefully pound the end caps into place on each of the ends of thesling rails. that’s all there is to it.

coming up next is the materials list and toolsthat we used. eric to billie: another job done! (laughs) you will find many gorgeous high quality outdoorliving sling fabrics at sailrite. they will last for many years, even in the harshestoutdoor environments. as you can see by the list, only three materials are required fora project like this: fabric, thread, and spline cording. sure, you’ll need some tools anda sewing machine, but hopefully you already have those at home. the bar clamp/spreadermay be the only tool you have to purchase, but they are not too expensive. for your convenience,here are the calculations for ordering from sailrite again. our patio sling chair panelswere sewn with sailrite’s profilen ptfe

thread in a clear color. as you can see, thatthread blends with any color fabric beautifully. it’s a lifetime thread that will never rot.however, it’s more expensive than polyester thread, which is uv resistant but not uv prooflike profilen. the choice is yours. sailrite carries both polyester thread and the ptfefor your next outdoor sewing project. it’s your loyal patronage to sailrite that makesthese free videos available. i’m eric grant, and from all of us here at sailrite, thanksfor watching.

Outdoor Furniture Home Depot