A couple of readers have been at my house recently, and when they walked in the front door and saw a giant moroccan motif printed on burlap hanging by the stairs, they said "oh you DID get this."
Makes me realize I occasionally forget to follow up on these things.
Here's said artwork, which I got for $10 through this local auction site, which I wrote about here.
I'm not sure it's staying in the entry, so it's hanging a bit low to utilize an existing nail hole. Love it with the entry rug, but might be a little dark overall. I also love the scale of it, especially as seen from the top of the stairs.
We'll see.
I also chose a color for the girls room. One step more coral than any of the ones I was originally contemplating. That's right: after staring at paint swatches on the wall for a couple of days, I went to Sherwin Williams and bought a new color, sight unseen.
This scan definitely bumps up the saturation, but pretty, no? We'll see how it all works out. It's called "angelic" which is sort of ironic for the room where the most mischief is made.
Taking tomorrow off from this here blog. Happy Easter!
Showing posts with label girls room. Show all posts
Showing posts with label girls room. Show all posts
Here we go again
It occurred to me that the girls' room should really be pink.
This despite the fact that I chose to put the raspberry colored headboards in there BECAUSE of the pale blue walls. This despite the fact that I have claimed more than once that I love that I have two girls in a room that is NOT pink.
But the room has never really felt finished to me, and I think there might be too much going on in there. Plus, I feel like I want a room that is light and luminous, and a sort of seashell pink seems the way to go. I had a pink bedroom once, and I loved how soothing it was.
So up go the swatches.
They're all in the coral family of pink, picking up on the more salmon tone in the curtains. Feels fresh to me. Now, here's the problem. Sherwin Williams is having a 40% off paint sale that ends today. And I didn't get a chance to look at these swatches on a sunny day, much less paint big swatches on the wall. So I will probably just choose one and barrel ahead despite my own better judgement. Plus, I've never used SW, and despite my recent problems with Behr, I'm still not going back to my trusty Benjamin Moore. (Having this blog and recording my process makes me see how I make things harder and where I go wrong. So that's fun.)
I am most drawn to that middle color, but I think, once expanded over the entire space (it's a BIG room), it might be too saturated. The top one feels like it would disappear. I'm leaning towards the bottom one.
What do you think?
This despite the fact that I chose to put the raspberry colored headboards in there BECAUSE of the pale blue walls. This despite the fact that I have claimed more than once that I love that I have two girls in a room that is NOT pink.
But the room has never really felt finished to me, and I think there might be too much going on in there. Plus, I feel like I want a room that is light and luminous, and a sort of seashell pink seems the way to go. I had a pink bedroom once, and I loved how soothing it was.
So up go the swatches.
They're all in the coral family of pink, picking up on the more salmon tone in the curtains. Feels fresh to me. Now, here's the problem. Sherwin Williams is having a 40% off paint sale that ends today. And I didn't get a chance to look at these swatches on a sunny day, much less paint big swatches on the wall. So I will probably just choose one and barrel ahead despite my own better judgement. Plus, I've never used SW, and despite my recent problems with Behr, I'm still not going back to my trusty Benjamin Moore. (Having this blog and recording my process makes me see how I make things harder and where I go wrong. So that's fun.)
I am most drawn to that middle color, but I think, once expanded over the entire space (it's a BIG room), it might be too saturated. The top one feels like it would disappear. I'm leaning towards the bottom one.
What do you think?
Validation: green and chartreuse
Green keeps creeping into my life.
I didn't plan it, and often I didn't even choose it, but my house has plenty o' green going on. The Danish modern armchair in the living room, a craigslist find by the hubs back in Brooklyn, is upholstered in green, and much as I keep meaning to change it, there it is. Green. Lots of our art features green prominently, from an overscale photograph we got when the bidder backed out at an auction to a small engraving of a tree that my aunt gave me to a watercolor from my dad for my high school graduation. Green finds me.
And this would be fine. Except. I'm really loving chartreuse (as you may have noticed.) And I've never been so sure about green and chartreuse together. In fact, half the reason I wanted to reupholster the Danish armchair was because, from certain angles, you could see it in the same line of vision as the (chartreuse) dining room curtains. They're not even in the same room, just in the same line of sight!
Anyway, one day I was going through some old tearsheets and I stumbled upon this.

It's from the old Cottage Living, and truth be told, there are 1001 things I love about this house. Maybe even more. And it was funny to see it again and notice that the designers used a lot of chartreuse, and in the living room they paired it with green. And what do you know: I like the overall effect.
This got me to thinking about the notion of validation. My first reaction was to think, hey! it's okay for me to have green and chartreuse after all! Lookie here--they did it in a show house! I suppose we look to those who are more "expert" than we are to say what is and isn't okay, what we should, and should not, do. Just tonight I was reading a piece by Mark Bittman in the NY Times about frozen vegetables (thanks to the hubs keeping my reading interests broad), and Bittman, something of a foodie and an expert himself, went looking for validation from someone more expert than he when it comes to his experience with the use of frozen vegetables.
The truth is, others can "show us how it's done," but in the end we have to do what we like. If frozen vegetables taste good to us, we should eat them, no matter what anyone else thinks. If we want to pair chartreuse and green, we should go for it. And by the same token, if we didn't like a color combination before a shiny magazine trotted it out, we certainly don't need to change our minds.
I am not worshipping at the altar of green and chartreuse. But I am allowing it to be where it seems to want to be. In the girls room, the plaid fabric that went on the beds has both hues, and I put chartreuse moire on the bolsters and green trim on another pillow. And guess what? The rug in there happens to combine both green and a metallic chartreuse thread, though I did not know this when I ordered it. In the living room, I decided to treat the green as a proper element, and embrace the chartreuse next door, rather than trying to ignore one or hide the other. And while I have to admit, I would never name this as a favorite color combination, there's something to be said for allowing these things to emerge.
I may be a control freak, but I can also acknowledge that a lot of decorating magic happens when you just let go.
What about you: did you ever make a decorating decision because a magazine said it was "okay"? Did you shy away from something you loved because it broke the "rules"? I'd love to hear about it.
I didn't plan it, and often I didn't even choose it, but my house has plenty o' green going on. The Danish modern armchair in the living room, a craigslist find by the hubs back in Brooklyn, is upholstered in green, and much as I keep meaning to change it, there it is. Green. Lots of our art features green prominently, from an overscale photograph we got when the bidder backed out at an auction to a small engraving of a tree that my aunt gave me to a watercolor from my dad for my high school graduation. Green finds me.
And this would be fine. Except. I'm really loving chartreuse (as you may have noticed.) And I've never been so sure about green and chartreuse together. In fact, half the reason I wanted to reupholster the Danish armchair was because, from certain angles, you could see it in the same line of vision as the (chartreuse) dining room curtains. They're not even in the same room, just in the same line of sight!
Anyway, one day I was going through some old tearsheets and I stumbled upon this.

It's from the old Cottage Living, and truth be told, there are 1001 things I love about this house. Maybe even more. And it was funny to see it again and notice that the designers used a lot of chartreuse, and in the living room they paired it with green. And what do you know: I like the overall effect.
This got me to thinking about the notion of validation. My first reaction was to think, hey! it's okay for me to have green and chartreuse after all! Lookie here--they did it in a show house! I suppose we look to those who are more "expert" than we are to say what is and isn't okay, what we should, and should not, do. Just tonight I was reading a piece by Mark Bittman in the NY Times about frozen vegetables (thanks to the hubs keeping my reading interests broad), and Bittman, something of a foodie and an expert himself, went looking for validation from someone more expert than he when it comes to his experience with the use of frozen vegetables.
The truth is, others can "show us how it's done," but in the end we have to do what we like. If frozen vegetables taste good to us, we should eat them, no matter what anyone else thinks. If we want to pair chartreuse and green, we should go for it. And by the same token, if we didn't like a color combination before a shiny magazine trotted it out, we certainly don't need to change our minds.
I am not worshipping at the altar of green and chartreuse. But I am allowing it to be where it seems to want to be. In the girls room, the plaid fabric that went on the beds has both hues, and I put chartreuse moire on the bolsters and green trim on another pillow. And guess what? The rug in there happens to combine both green and a metallic chartreuse thread, though I did not know this when I ordered it. In the living room, I decided to treat the green as a proper element, and embrace the chartreuse next door, rather than trying to ignore one or hide the other. And while I have to admit, I would never name this as a favorite color combination, there's something to be said for allowing these things to emerge.
I may be a control freak, but I can also acknowledge that a lot of decorating magic happens when you just let go.
What about you: did you ever make a decorating decision because a magazine said it was "okay"? Did you shy away from something you loved because it broke the "rules"? I'd love to hear about it.
Process, a love/hate story
Do you ever do that thing where you take a simple thing and make it ten times harder? No? Well, I do. All the time. In fact, it's kind of my favorite past time. I finished a pair of simple projects today after trying them the hard way first, and, perhaps against my better judgment, I'm going to share all of my mistakes. Fun, right? Fun. Only because I have a finished product that I'm happy (enough) with.
Remember how I was thinking about the styling options for the rattan swing chair in the girls' room? My original intention was to recover the gross brown cushion that came with the chair, but when I settled down to do it, back around New Year's, I discovered that the foam inside was disintegrating. I was feeling all cocky and I decided to use the denser foam left over from making the girls headboards to do something custom, and went to work cutting two half circles, using spray adhesive to attach them to one another, and using a kitchen knife to shave down the edges so they'd be rounded. So far, so good. Next, I traced two circles in the fabric and three long strips the width of the foam, plus a seam allowance.

Look how confident I was feeling: I started taking photos to document the process, for a little tutorial, I suppose. If I had looked for a tutorial in the first place, from someone who knew what they were doing, none of this would have been a problem.
I didn't want to worry about the pattern being mismatched from the circles to the strip along the edge, and there was no way I was piping this thing, so I had the genius idea to gather the strip for a super-cute ruched effect. So I sewed three strips together and hand-basted both sides and created this long worm of a ruched side section.
I pinned it to one of the circles, sewed it together, feeling good. Well, it was when I started to pin the second circle to the whole thing that I realized the problem: there was no way I was getting the foam inside the cushion once it was all put together.
And there was no way I was getting the whole thing stitched closed, with all that fancy ruching. And I wasn't about to inset a zipper.
And then it dawned on me: I wasn't trying to make a little cushion, I was trying to upholster one. It had seemed so clear in my head, you know? Until I realized I had it all wrong.
Okay, weeks pass. Yesterday I finally decided to take the disaster apart and just copy the original cushion, like I should have done in the first place. I pinned the two circles with right sides together, sewed most of the way around, turned it right side out, stuffed it with the leftover batting from the headboard project, sewed the opening closed, and tufted the cushion in four places just like the original. And it took, like, half an hour? Or less? Like what I should have done in the first place.
Only.
I brought it upstairs, feeling all good about it even though the circle was a little lopsided because I got a little sloppy (which can happen on the second go-round), and tossed it into the chair.
And.
It was Too. Small.
I never re-measured! I didn't even think about the different construction of the two pillows, just went ahead making assumptions. It doesn't look so bad in this picture, but I have it centered--if you push it back (and little girls climbing in will inevitable push it back), you have several inches of rattan showing at the front. But there was no fabric left. And, of course, seeing it in there I LOVED that fabric there. And the whole point was to do something for no money, so buying more of the fabric wasn't an option.
Enter project number 2.
One day a while back, Clio had grabbed her pillow off her bed and put it in the chair, reminding me that sometimes function will simply reveal itself. It just so happens that I had a plain white sham that came with the girls' duvet sets, and a huge spool of green grosgrain ribbon that I bought years ago at the Manhattan Antiques show. So I set to work customizing, thinking, again, what a simple little project this would be. I laid out the ribbon approximately how I wanted it to be.
Measured in from the sides for an even line. Drew it all around.
Used a spray adhesive to attach the ribbon. Easy, right?

Wrong! After the 24 hour cure time, the ribbon just fell off the pillowcase, just a bit stiffer, as if the adhesive was starch. That was all around New Year's, too. I guess I was feeling ambitious....and then squelched.
Fast forward back to yesterday, when I realized that the back pillow would solve the problem of the too-small seat cushion, so I dug out my second failed project, determined to do it right. This time around, I got some fabric glue, used for hems, etc, and used that to attach the ribbon. It was a mess to use, and thus no photos, but once I got the ribbon on, mitered corners and all, I covered it with brown grocery bags, put some heavy books on top (oh, the perks of being an art history major!), and when I came back this morning the ribbon had actually adhered. I used the sewing machine to tack down the mitered corners (and only once sewed the case closed), and...done.
This would have been a lot easier to do on a piece o fabric before it was configured into a sham, but then, I suppose, I would have had to make the sham. And nothing slows down a project like changing the thread color on the machine.
I took it to the girls room, threw it on the bed, and liked it so much I thought I was going to have to make another one for the other bed.

Luckily, I also like it in the chair. And I especially like the way the two projects worked out, together.
Cute, right?
I'm slightly less fond of the fact that a 1-2 hour set of projects took 5-6 hours, plus 6 weeks. (Though, to be fair, I might have had less of a problem the first time around if I hadn't been multitasking--er, watching Damages--at the same time.)
But all's well that ends well, and I probably learned a lesson or two, too.
I hope this makes any DIYers out there feel better about their own moments of idiocy (you have had them right?)
Have you had them? Do tell.
Remember how I was thinking about the styling options for the rattan swing chair in the girls' room? My original intention was to recover the gross brown cushion that came with the chair, but when I settled down to do it, back around New Year's, I discovered that the foam inside was disintegrating. I was feeling all cocky and I decided to use the denser foam left over from making the girls headboards to do something custom, and went to work cutting two half circles, using spray adhesive to attach them to one another, and using a kitchen knife to shave down the edges so they'd be rounded. So far, so good. Next, I traced two circles in the fabric and three long strips the width of the foam, plus a seam allowance.

Look how confident I was feeling: I started taking photos to document the process, for a little tutorial, I suppose. If I had looked for a tutorial in the first place, from someone who knew what they were doing, none of this would have been a problem.
I didn't want to worry about the pattern being mismatched from the circles to the strip along the edge, and there was no way I was piping this thing, so I had the genius idea to gather the strip for a super-cute ruched effect. So I sewed three strips together and hand-basted both sides and created this long worm of a ruched side section.
I pinned it to one of the circles, sewed it together, feeling good. Well, it was when I started to pin the second circle to the whole thing that I realized the problem: there was no way I was getting the foam inside the cushion once it was all put together.
And there was no way I was getting the whole thing stitched closed, with all that fancy ruching. And I wasn't about to inset a zipper.And then it dawned on me: I wasn't trying to make a little cushion, I was trying to upholster one. It had seemed so clear in my head, you know? Until I realized I had it all wrong.
Okay, weeks pass. Yesterday I finally decided to take the disaster apart and just copy the original cushion, like I should have done in the first place. I pinned the two circles with right sides together, sewed most of the way around, turned it right side out, stuffed it with the leftover batting from the headboard project, sewed the opening closed, and tufted the cushion in four places just like the original. And it took, like, half an hour? Or less? Like what I should have done in the first place.
Only.
I brought it upstairs, feeling all good about it even though the circle was a little lopsided because I got a little sloppy (which can happen on the second go-round), and tossed it into the chair.
And.
It was Too. Small.
I never re-measured! I didn't even think about the different construction of the two pillows, just went ahead making assumptions. It doesn't look so bad in this picture, but I have it centered--if you push it back (and little girls climbing in will inevitable push it back), you have several inches of rattan showing at the front. But there was no fabric left. And, of course, seeing it in there I LOVED that fabric there. And the whole point was to do something for no money, so buying more of the fabric wasn't an option.Enter project number 2.
One day a while back, Clio had grabbed her pillow off her bed and put it in the chair, reminding me that sometimes function will simply reveal itself. It just so happens that I had a plain white sham that came with the girls' duvet sets, and a huge spool of green grosgrain ribbon that I bought years ago at the Manhattan Antiques show. So I set to work customizing, thinking, again, what a simple little project this would be. I laid out the ribbon approximately how I wanted it to be.
Measured in from the sides for an even line. Drew it all around.
Used a spray adhesive to attach the ribbon. Easy, right?
Wrong! After the 24 hour cure time, the ribbon just fell off the pillowcase, just a bit stiffer, as if the adhesive was starch. That was all around New Year's, too. I guess I was feeling ambitious....and then squelched.
Fast forward back to yesterday, when I realized that the back pillow would solve the problem of the too-small seat cushion, so I dug out my second failed project, determined to do it right. This time around, I got some fabric glue, used for hems, etc, and used that to attach the ribbon. It was a mess to use, and thus no photos, but once I got the ribbon on, mitered corners and all, I covered it with brown grocery bags, put some heavy books on top (oh, the perks of being an art history major!), and when I came back this morning the ribbon had actually adhered. I used the sewing machine to tack down the mitered corners (and only once sewed the case closed), and...done.
This would have been a lot easier to do on a piece o fabric before it was configured into a sham, but then, I suppose, I would have had to make the sham. And nothing slows down a project like changing the thread color on the machine.
I took it to the girls room, threw it on the bed, and liked it so much I thought I was going to have to make another one for the other bed.

Luckily, I also like it in the chair. And I especially like the way the two projects worked out, together.
Cute, right?I'm slightly less fond of the fact that a 1-2 hour set of projects took 5-6 hours, plus 6 weeks. (Though, to be fair, I might have had less of a problem the first time around if I hadn't been multitasking--er, watching Damages--at the same time.)
But all's well that ends well, and I probably learned a lesson or two, too.
I hope this makes any DIYers out there feel better about their own moments of idiocy (you have had them right?)
Have you had them? Do tell.
More botanicals
If you liked my floral botanical tutorial, but want to shake it up a bit more, check out this modern take at designsponge.
Cool, right?
After promising a reveal last weekend, I finally made a decision about mine, and went with the more delicate, leafy ones, traced from the curtain fabric in the girls room. I chose three in different sizes to break up the symmetry of the room, and went with clean white frames.



After MUCH debate, I decided to do a simple white background instead of a color or pattern, for a full black and white look. I struggled with this because really, if color is an option I want color, but I love the way the white allows the room to breathe and highlights the lovely light blue walls. This house is reminding me that white is a color, too!
Cool, right?After promising a reveal last weekend, I finally made a decision about mine, and went with the more delicate, leafy ones, traced from the curtain fabric in the girls room. I chose three in different sizes to break up the symmetry of the room, and went with clean white frames.
After MUCH debate, I decided to do a simple white background instead of a color or pattern, for a full black and white look. I struggled with this because really, if color is an option I want color, but I love the way the white allows the room to breathe and highlights the lovely light blue walls. This house is reminding me that white is a color, too!
Art You Can Make: Floral Silhouette Tutorial
Yesterday I shared the inspiration for the floral silhouettes I'm working on for the girls' room. Here's the how-to.
There are actually thee version with slightly different instructions.
The flowers in a pot are both a straight-up silhouette. I wrote about making these (the traditional ones, of people) on my other blog, here, but I'll give you the rundown. My strategy came from design sponge.
First, trace or freehand the shape that you want on tracing paper.

Next, staple the tracing paper to acid free cardstock. Black is traditional, but if you want to shake things up, go for it. Orange might be nice, but you know me and orange.

Following the lines of the tracing paper drawing, cut through both layers of paper.
Voila. Why bother with tracing paper, you ask? To avoid telltale signs of graphite from the pencil, which WILL show up on cardstock. You could always flip to the other side of the cardstock after cutting it out, but I always find images look a little weird in reverse.

Now go ahead and spray-mount your cut flowers to the background paper of your choice. (Michael's has a HUGE supply of scrapbooking paper that you can buy by the sheet. They come 12" x 12" and cost from $.19 to $.99 depending on the fanciness.)

Looking good!
Now, what if you want a not-quite solid silhouette? I thought the block-print inspired version felt a little heavy and, well, blocky, in full silhouette. So, before cutting the outside line, which would have detached the whole thing from the staples and therefore separated the two layers of paper, I cut a scalloped line inside the larger "flower."

Then I cut another sliver of paper along the same line, to give myself this little channel.

Next, I drew in pencil on the WRONG side of the resulting stem piece to make those three little stamen, and then again cut an extra sliver to make the channel. Voila. Can I say voila more than once in a single post? Well, I suppose I just did.

The third version requires the most work and special tools. Well, one special tool, an exacto knife, though one of those exacto-knife cutting boards would have made my life way easier than cardboard. But hey, if you shop online or at costco, you've got cardboard lying around the house for free.
For this one, I traced the pattern of a leaf and flower from the curtain fabric.

Then, as above, I proceeded to staple it to card stock, and then started to cut out the outline.
Whoa, hold up there! If you cut out the whole outline, how on earth are you going to cut all the bits and pieces from the pattern inside? Good save.
I got out my exacto knife and cut the vein patterns. A tip: when cutting this type of pattern, cut the middle vein first, then cut the branching veins from the edge down into the center vein. Your tracing paper will crumple less.

Also, with some of this delicate work I found it necessary to flip the card stock over and finish the cuts from the back. The results were cleanest this way.

Isn't it pretty?

Then spray mount, frame, and, if you want to accomplish a whole wall like the inspiration shots, repeat.
Total cost of this project, including the Ikea Ribba frame, was less than $22 (with the frame costing $19.99)
Time spent: maybe 2 hours, but that includes experimenting with 4 versions.
Happy crafting!
There are actually thee version with slightly different instructions.
The flowers in a pot are both a straight-up silhouette. I wrote about making these (the traditional ones, of people) on my other blog, here, but I'll give you the rundown. My strategy came from design sponge.
First, trace or freehand the shape that you want on tracing paper.
Next, staple the tracing paper to acid free cardstock. Black is traditional, but if you want to shake things up, go for it. Orange might be nice, but you know me and orange.
Following the lines of the tracing paper drawing, cut through both layers of paper.
Now go ahead and spray-mount your cut flowers to the background paper of your choice. (Michael's has a HUGE supply of scrapbooking paper that you can buy by the sheet. They come 12" x 12" and cost from $.19 to $.99 depending on the fanciness.)
Looking good!
Now, what if you want a not-quite solid silhouette? I thought the block-print inspired version felt a little heavy and, well, blocky, in full silhouette. So, before cutting the outside line, which would have detached the whole thing from the staples and therefore separated the two layers of paper, I cut a scalloped line inside the larger "flower."
Then I cut another sliver of paper along the same line, to give myself this little channel.
Next, I drew in pencil on the WRONG side of the resulting stem piece to make those three little stamen, and then again cut an extra sliver to make the channel. Voila. Can I say voila more than once in a single post? Well, I suppose I just did.
The third version requires the most work and special tools. Well, one special tool, an exacto knife, though one of those exacto-knife cutting boards would have made my life way easier than cardboard. But hey, if you shop online or at costco, you've got cardboard lying around the house for free.
For this one, I traced the pattern of a leaf and flower from the curtain fabric.
Then, as above, I proceeded to staple it to card stock, and then started to cut out the outline.
I got out my exacto knife and cut the vein patterns. A tip: when cutting this type of pattern, cut the middle vein first, then cut the branching veins from the edge down into the center vein. Your tracing paper will crumple less.
Also, with some of this delicate work I found it necessary to flip the card stock over and finish the cuts from the back. The results were cleanest this way.
Isn't it pretty?
Then spray mount, frame, and, if you want to accomplish a whole wall like the inspiration shots, repeat.
Total cost of this project, including the Ikea Ribba frame, was less than $22 (with the frame costing $19.99)
Time spent: maybe 2 hours, but that includes experimenting with 4 versions.
Happy crafting!
Art You Can Make: Floral Silhouettes
I've been using a pair of silhouettes over my girls' beds, but as I mentioned here, they were meant to be temporary. I thought about a number of options, but I really loved the graphic nature of the silhouettes to stand up to the super bold print in the curtain fabric. Standing in line at Home Depot the day we bought the materials for the girls' cornice, I was flipping through some magazine (maybe something like Home Renovators?) and saw an art wall anchored on a silhouette....of a flower pot. So cute! Not as been-there-done-that as a silhouette of a person, but still packing the graphic punch I was looking for.
You know how, once you've noticed something, you suddenly see it everywhere? Well, the floral silhouette has kind of been like that. I've always loved Donal Baechler's large-scale color paintings of flowers (my favorite designer Muriel Brandolini uses them in many of her interiors), and I was delighted to see this black version in House Beautiful.

[via The Decorista]
You know how, once you've noticed something, you suddenly see it everywhere? Well, the floral silhouette has kind of been like that. I've always loved Donal Baechler's large-scale color paintings of flowers (my favorite designer Muriel Brandolini uses them in many of her interiors), and I was delighted to see this black version in House Beautiful.
I love the impact of a whole wall of these flowers, and got tons of inspiration from the different shapes featured here.
[via The Decorista]
I'm also a fan of the simple, graceful leaf versions (and that banana?!) in this arrangement.
[Staghorn Fern by Hugo Guinness, available from John Derian, as featured in Elle Decor]
While these appear to be made by various methods in various mediums, I thought, why not just make it out of cut paper, like a proper silhouette?
I created a couple of versions.
A spiky flower, to pick up on the artichoke lamps and spiky scalloped pillow shams in the room (and had the most "juvenile" effect)

A softer, tulip-y version a la Baechler

A more delicate and intricate version based on the floral pattern in the drapes

And, the biggest departure, a sort of Indian blocked version, which, I will admit, is fully ripping off the Madeline Weinrib logo.

Let me know your favorites--I haven't married a cutout to a background yet, and they will look a lot "cleaner" once they're attached--and I'll share the final product in the room, with a full tutorial, tomorrow.
Okay, total spoiler, here's the Weinrib version in the room to give a sense of scale. I'm not sure if I'll do another one in the same size over Eleri's bed, or something a little less coordinated.

I created a couple of versions.
A spiky flower, to pick up on the artichoke lamps and spiky scalloped pillow shams in the room (and had the most "juvenile" effect)
A softer, tulip-y version a la Baechler
A more delicate and intricate version based on the floral pattern in the drapes
And, the biggest departure, a sort of Indian blocked version, which, I will admit, is fully ripping off the Madeline Weinrib logo.
Let me know your favorites--I haven't married a cutout to a background yet, and they will look a lot "cleaner" once they're attached--and I'll share the final product in the room, with a full tutorial, tomorrow.
Okay, total spoiler, here's the Weinrib version in the room to give a sense of scale. I'm not sure if I'll do another one in the same size over Eleri's bed, or something a little less coordinated.
Flashback Friday: Tiny Toddler Room


Love That Space: Clio's Brooklyn bedroom, 2009
The Vision: Tribal Beach Cottage
The Elements:
wood blinds, painted vintage dresser, 1950s ceramic lamp, ikea toddler bed, graphic cotton prints (Dwell Studio for Target curtains, coverlet DIY from Ellen Tracy shirting fabric), a pile of handmade quilts, sunny yellow wall, "Dreams Are Real" oil painting, canvas laundry and toy bags, and a graphic African embroidered tapestry as wall hanging.
The Huh? Factor:
Royal Blue carpeting. The rest of the upstairs had been re-carpeted in a sort of mushroom color (which I hated, but at least it sort of disappeared.) This tiny, 6x8 room was inexplicably left with the earlier dark, icky carpet. (I have unpleasant memories of lying on the floor to keep then-2-year-old Clio from getting out of bed, and waking up drooling on that horrible blue floor). But I will say this for myself: the strong colors I put in there sure helped balance it out!
The Analysis:
To be honest, I love this little room. It's our first baby's first room (though not the first version), and since we didn't know the baby's gender, I needed to do something that would work both ways. I've always been glad that it isn't pink! I love that you can use pattern with abandon in a kid's room, and had so much fun doing it here.
Sometimes decorating a tiny space can be rewarding because you're forced to get creative and think about every detail. I love the way the floating shelves offer storage in a way that is visually light and compact, and I'm glad I left the floor rug-free (despite the awful carpeting); breaking it up with a throw rug would have just divided up the space.
What Remains:
The tapestry and the ceramic lamp, though neither is currently in use. (The lamp was once part of a pair, which I would TOTALLY use in my current living room, but one of them broke about 3 moves ago. Booooo.) We gave away the dresser and toddler bed to a very sweet-seeming Mexican family when we sold the house, and though I was so glad to have it go to a good home, these are the pieces that almost made me cry as they went out the door.
Our kids rooms are so sentimental. Send me you favorite nursery shot and tell me all about it! Heather[at]gmail[dot]com
Simple Storage Solution
When I re-did the girls' room, there were storage implications. Bringing in a dresser displaced the tiered toy bin, but it also freed up some plastic drawers in the closet. (In Boulder, there was no room for a dresser, so we got these green plastic drawers from Target to hide in the closet.)
Because the girls mostly play with toys made up of smaller pieces when they are in their room, the little drawers were just the right size for some carefully chosen toys. Only problem: while the drawers are plastic, they aren't totally clear, and the girls are used to having their toys where they can see them.
So I took pictures of the items that belong in each drawer, laid out on a white surface. I printed them on my home computer and taped then to the drawers.

Because Clio is learning to read, I also made labels for each drawer. I wrote them in cursive because in Montessori, kids learn their cursive letters first. I just taped those right on, too.

I thought about creating little frames on the computer, or at the very least "designing" the labels, with borders and a cute font, but in the end I decided not to over think it, and to go with something functional and educational for the girls, rather than something all design-y for me. It is all inside a closet, after all, and, perhaps this is sacrilege, but I do think the world has gone a bit overboard in insisting that every last item be adorable, stylish, or both.
What I DID do was make sure the bins were all coordinated, and mixed it up with the green-and-white woven ones on the top of the drawers. Luckily, they also coordinate with the dominant color in the rooms' overall design: green.

And you know what? The system works like a charm. The girls are able to put their toys away where they belong and, miracle of miracles, they actually do.
Because the girls mostly play with toys made up of smaller pieces when they are in their room, the little drawers were just the right size for some carefully chosen toys. Only problem: while the drawers are plastic, they aren't totally clear, and the girls are used to having their toys where they can see them.So I took pictures of the items that belong in each drawer, laid out on a white surface. I printed them on my home computer and taped then to the drawers.

Because Clio is learning to read, I also made labels for each drawer. I wrote them in cursive because in Montessori, kids learn their cursive letters first. I just taped those right on, too.

I thought about creating little frames on the computer, or at the very least "designing" the labels, with borders and a cute font, but in the end I decided not to over think it, and to go with something functional and educational for the girls, rather than something all design-y for me. It is all inside a closet, after all, and, perhaps this is sacrilege, but I do think the world has gone a bit overboard in insisting that every last item be adorable, stylish, or both.
What I DID do was make sure the bins were all coordinated, and mixed it up with the green-and-white woven ones on the top of the drawers. Luckily, they also coordinate with the dominant color in the rooms' overall design: green.

And you know what? The system works like a charm. The girls are able to put their toys away where they belong and, miracle of miracles, they actually do.
Hello!

Just saw this ad for a new line of bedding from Teen Vogue for JCPenney. Funny: the heart and stripes throw pillow is just what I was looking for in an early iteration of my plans for the girls room, inspired by this shirt of Clio's.
(By the way, remember that Domino feature, Can This Outfit Be Turned into a Room? I am so tempted to design a room inspired by Nadia's hippy-chic ensemble.)
While taken all together, the three Teen Vogue collections do indeed read too teen for a grown up room, but there are some great elements at good prices, like this yellow ruffled pillow,
the pink and orange striped sheet set of the Flower Girl collection
or the almost block printed sheet set of the Malibu Surfer collection, with that fun little turquoise trim.
I'm thinking of picking up a pair of the hot-pink edged bedskirts, looking ahead to when the girls' beds get raised off the floor.

If the color is a fairly close match to their headboards, this would make for a very finished look.
It's so interesting to see all the design collaborations coming down the pike, inspired by Target. By the way, Target is having a special promotion in March, bringing back the best dresses of the past 5 years' worth of designer collaborations.
Happy Shopping!
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