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THE Art of Decorating
Dry Goods Windows and Interiors.

By L. FRANK BAUM.

A Complete Manual of Window Trimming, designed as an Educator in all the Details of the Art, according to the best accepted methods, and treating fully every important subject.

FULLY ILLUSTRATED.

CHICAGO:

The Show Window Publishing Company,

1900.

COPYRIGHTED

1900

BY L. FRANK BAUM.

INTRODUCTION.

The peddlars, or packmen, of ancient days, who were the first recognized merchants, realized fully the advantage of displaying their wares before prospective customers. Gaining entry to a castle, a palace, or a mansion, the packman spread his goods upon the floor to best advantage and then awaited patiently while the assembled bevy of women gazed enraptured upon the treasures at their feet. If he could not obtain permission to open his pack his visit was fruitless of result.

In old Bagdad arose the custom of open booths built before the entrances of houses, wherein was attractively displayed the merchandise offered for sale. This custom is still extensively followed in Eastern countries.

At Cheapside, in London, the method was to hang upon iron hooks along the front of the building such articles as might induce the observer to buy, or entice him to enter the shop.

The same custom was prevalent in the Colonial days in America, and is not yet fully obsolete.

Thus from the earliest days merchants well knew the value of display, and the modern show window is the logical outcome or development of that knowledge.

Careful research fails to determine where the show window was first utilized as an adjunct to merchandizing. It is probably a gradual development from the small, many-paned front window of the merchant shop, following the natural transformation of shops into stores and of crude green-glass panes into clear plate-glass fronts.

However it came about, the modern mercantile establishment, whether located in a retired village or upon the main street of a thriving city, is to-day deemed incomplete without a front of the clearest and best plate-glass. These windows are not intended to light the interior of a store, although indirectly they may serve such purpose. Their prime object is to sell goods.

Without advertising the modern merchant sinks into oblivion. The busy world forgets him, and he is left to himself—to rust, to vegetate, or to fail ignominiously.

Merchants of olden times stood in front of their shops and cried “buy!—buy!” in imploring tones. Modern merchants still cry “buy!—buy!” but they do it in a different way. They advertise in newspapers and display their wares in their show windows.

These are the three grades—the three developments in advertising. The street crier, the newspapers, the show window. The last mode of inducing trade is the modern one, and therefore the best. More goods are sold through window display than through newspaper advertising. It is more direct. The newspaper advertisement says: “We have goods to sell.” The show window says: “Here they are!”

But the judicious use of advertising through newspapers must not be discouraged. Every man, woman and child in town does not pass your windows. Those who do not may read in the newspaper of your attractive display of goods, and so be induced to pass your way.

The most successful of modern merchants use the newspapers to announce their window displays. This combination of the two greatest forces in advertising has been found to succeed beyond any other method.

To make a display of goods in your window that is most attractive, that will sell readily the articles exhibited, is to-day acknowledged an art.

Many things are to be considered. There are the technicalities to be learned, judgment and good taste to be exercised, color harmony to be secured; and, above all, there must be positive knowledge as to what constitutes an attractive exhibit, and what will arouse in the observer cupidity and a longing to possess the goods you offer for sale.

It has been said that a window decorator is born, and not made. Yet we find that those “born” decorators must acquire knowledge of technicalities and detail work before they can succeed. Who shall determine which are “born,” and which are “made” decorators? The “born musician” must, unfortunately, learn to play the fiddle, and the “born blacksmith” must be taught to shoe a horse. And the worldly cynic will tell you that under proper instruction and with a desire to learn, any son of Adam can play the fiddle or shoe a horse.

I have never known a man who desired to learn the art of decorating fail to attain skill and subsequent success. Perhaps it is only those “born” ones who desire to learn.

It is true that a clumsy man, a man without judgment or taste, a man destitute of knowledge of the requirements of modern merchandizing, might prove a lamentable failure as a store decorator. But I have never known such a man desire to learn the art.

The object of this book is to place before the novice the instructions necessary to fit him for successful work. The author believes that this volume contains all information necessary to enable a student to acquire proficiency in the Art of Decorating Dry Goods Windows and Interiors. The field of merchandizing is so broad that this work is confined to dry goods decorating, although many of the chapters will be of service in decorating windows with other lines of goods.

Much of the information offered has been gained by personal experience, yet I am greatly indebted to many brother decorators, and especially to prominent members of The National Association of Window Trimmers of America, for assistance in my attempt to place clearly before my readers the many details of the art.

Practical methods have in every instance been preferred to theoretical. The simplest and easiest way of accomplishing any work is always the best.

I am hopeful that those desiring to attain skill in decorating will find much useful information in these pages, and if this book proves of real assistance to its readers my object in writing it will have been accomplished.

Most Sincerely,

L. FRANK BAUM.

THE ART OF DECORATING.

CHAPTER I.
HOW TO PLAN STORE FRONTS.

In building a store on modern principles the front is more important than any other detail. For, a store being intended for the sale of merchandise, the front is the first thing that meets the public eye, and by its appearance the entire establishment is judged.

The size and shape of the windows depends, of course, upon the size and location of the store, but the principle consideration is to obtain as large an expanse of window as possible, and convenient entrances.

In single store fronts, which we shall use as examples, the ordinary arrangement is similar to that in diagram A, having the entrance, with double doors, in the center. This gives two good sized windows, if the front is of fair breadth, and admits the customer to the central aisle.

To avoid dividing the expanse of window, and to render the display more impressive, a popular arrangement is that in diagram B, having the entrance at one side. Which side to place the entrance is determined by the trend of traffic, the entrance being placed nearest to the busy portion of the street, as more convenient to the customer. Exception.—It is argued by some merchants that it is better to place the entrance furthest from the crowded portion of the street, as in this case the people must first pass before the window.

It will be noted that people intending to enter the store will not be influenced by the window display, in which case the location of the entrance is immaterial.

Diagram B shows the bevelled entrance, slanting diagonally from the front window to the door, and thus giving the public a glance at the small side window in passing or entering. In diagram D we show the curved front, in which the side window is a curved or semi-circular pane. This style is very attractive, but more expensive, and is more liable to be broken than the flat pane.

Diagram C shows one of the most popular arrangements of store fronts. This allows for a double entrance, with a broad expanse of window between. In wide fronts these entrances are double doors, in narrower fronts a single door is sufficient. Variations of this front which has bevelled entrances, are shown in diagrams E and F. The first has the semi-circular end panes, which are recommended as especially imposing, and the latter shows a square perfectly rectangular turn for the side panes. The advantage claimed for this method is that it attracts the attention of those approaching the window more quickly than will the slant or curve, but this does not appear likely unless the front projects beyond the line of the building.

The large central pane, with double or single side entrances, is a very successful style of front, and is strongly endorsed by those who have used them.

It sometimes happens that thick pillars of masonry obstruct the front, as shown in diagram G. In this case the window panes should be set at the outer edge of the pillars, rather than against the inner edge, as much of the effect of the front would be lost by the projecting pillars. The entrance, however, should be set at the inner edges of the pillars, as indicated.

Posts are always to be avoided in window spaces, and there is seldom an occasion where they are really necessary. But where a front is rebuilt or altered and posts cannot be avoided, they should invariably be set directly back of the window frames, as shown in diagram H. When they are placed in this manner each window has a clear space back of the pane, and the decorator has an opportunity of putting one distinct trim in each window. But if the posts occupy the center, or even the sides of the window, no decorator on earth can trim the space properly or effectively.

Diagram H also illustrates the continuous front, where many windows are placed side by side. Any of the fronts previously described can be so extended indefinitely.

There are many other styles of store fronts, but most of them come under the head of “freak fronts,” and are only appropriate for the special buildings for which they were designed.

The main points to consider in building a front, are, (a) to get as large an expanse of glass as possible; (b) to use iron framework, occupying the least space where the panes join; (c) to avoid the use of posts back of the panes, but where they are necessary to place each post behind the point where two large plate-glass panes are joined together.

A new idea in show window fronts is to allow the two sheets of glass to come together at the corners, where they are held by brass braces and set screws so that there is no corner space at all. This arrangement looks well and has several advantages. The glass is less liable to break than when set against a post or frame; and all shadows in the window are avoided.

Last, if you have an old-fashioned front, get your landlord to take it out and replace it with a modern, plate-glass front. If he refuses, move elsewhere. You cannot afford to be in the mercantile business without good windows to back up your enterprise.

CHAPTER II.
THE SHOW WINDOW.

In attempting to explain the fundamental principles of successful store decoration, the window is the first thing to be considered, and there are all kinds of windows, little and big, upright and oblong, cramped and spacious. Some are hard to get at; some have big, awkward posts in them; but no matter what they are or how undesirable they seem, remember that anything with a pane of glass before it may be made a show window.

Build a window floor on a level with the lower edge of the glass; build it strongly and make it as deep as you are able. Three feet is a fair depth; six feet is not too deep.

BOXING A WINDOW.

In order to produce a good window there must be a proper foundation to work upon. An open-backed window is an impossibility as considered from a window trimmer’s standpoint, save in very few cases where articles are small and only require a window shelf to display them.

All windows should have a substantial board backing and sides extending about one-half the height of the window itself. A door should be made in this at one side, to permit the trimmer easy entrance and enable you to reach any goods you may wish to withdraw from the window. Above this backing it is desirable to have a sash reaching to the ceiling, which will serve to admit light and prevent dust reaching the trim.

The distance of the backing from the glass is a matter of choice. Some prefer very deep window embrasures, and for furniture, carpets, stoves and like bulky articles, they are undoubtedly best. For displays of light, small articles, a shallow window is very desirable, and furnishings, notions, etc., may be effectively arranged in thirty inches space. For the general window, however, where various classes of merchandise are required to be exhibited, a depth of from four to five feet is best; and even six feet, especially for a clothing or cloak trim, is not considered too deep for good effects.

The floor of the window embrasure should be made perfectly level, as this will admit of more substantial framework than an incline. A removable, sloping floor may be provided for use when desired.

Against the solid backing brackets and shelves may be secured, their arrangement being altered as occasion demands. It also admits of tacking the draperies in a substantial manner, and there is a satisfaction in knowing your window is solid and that any fragile articles displayed are perfectly safe.

HOW TO WASH WINDOWS.

A clean window pane is a necessity in a show window. Nothing destroys the attractiveness of a really good display so readily and effectively as a streaked, flyspecked glass in front of it.

Many merchants dread window washing day. It shouldn’t be a bugbear when a simple method like the following is understood. Wait until the sun is off the window, for if the sun is shining on the glass it will look streaked after drying, irrespective of the amount of muscle expended in the rubbing. Dust the window thoroughly, inside and out, and don’t touch the glass until after the inside woodwork has been cleansed. Use nothing but warm water, mixed with sufficient ammonia in washing the glass. Steer clear of soap. Dry the windows with the rubber cleaner or soft cotton cloth. Linen leaves lint on the glass. Polish with paper; that’s all that’s necessary.

TO PREVENT WINDOWS FROM FROSTING.

One of the merchant’s greatest trials is the sweating and frosting of windows in cold weather, rendering them useless for display purposes at the very season when they are most valuable.

Much has been written concerning methods of prevention of frost, but most of them are theoretical, and, while they work well in some instances, are absolute failures in others.

THE CAUSE.

Scientists will tell you that the reason a window sweats is because there is an uneven temperature on the opposite sides of the window pane. The cold air outside chills the pane, which condenses the moisture in the warm air inside as it strikes the glass, and the moisture is deposited in the form of “sweat” upon the inner surface of the glass. It then freezes, producing “frost.” Occasionally, when there is moisture in the outer air, a deposit is also made upon the outer surface of the glass, but in either case the frost arises from the uneven temperature of the air inside and outside the window glass.

THE REMEDY.

The foregoing cause of the evil being understood, it is also plain that any arrangement which will render the temperature of the air the same on both sides of the pane will remedy the difficulty. Any other method is obviously imperfect and ineffectual. If the temperature within and without the window is the same the glass cannot sweat or frost.

To obtain an even temperature it is absolutely necessary to box the window. It must be cut off entirely from the other part of the store.

FIG. 1.

The space under modern show windows is used largely for ventilating cellars. Our sketch shows half of this space used for ventilating cellar, and other half as a cold air passage to allow the outside air to pass through the double perforated window floor, thereby keeping the air within the window enclosure approximately the same temperature as the outside, and thereby preventing the sweating and freezing, so annoying to the trimmer.

FIG. 2.

A A, open space between double perforated bottom, to be filled with loose cotton to permit the air to pass, but dense enough to keep back the dust from the street.

The floor of the window should be made of boards, perforated and made to fit in snugly without fastening down, so they can be taken up occasionally to clean out the dust that will accumulate in time.

FIG. 3.

Fig. 3 shows how boards may be used without being perforated. Small pieces of wood are nailed on one edge of each board, say about one-eighth inch thick, so as to keep the boards about that distance apart.

C is a small door that opens into the store room to reach the cold air space, for cleaning occasionally.

B, opening for lighting and ventilating the cellar. A trap door may be arranged to fit over the opening B, but a better arrangement is to have two sashes of glass to fit the front of the openings immediately back of the wire screens shown in Fig. 2. If hinged at the top, they can be opened by pulling back with a cord or chain from the inside of the room.

Fig. 2 shows a wire screen now much used instead of the more expensive iron grille work formerly in vogue.

When possible, a glass roof should be used to inclose the window, in which case the lights may be arranged above the glass. This prevents heating the window. In using floor drapings, employ only cheesecloth, or some light material that will allow air to pass through.

All this may seem to require considerable trouble and alteration of your windows, but wherever this method has been used it has been found thoroughly practical and an absolute prevention of frost.

OTHER METHODS.

(1) An electric fan kept constantly in motion in a corner of the window is said to avoid frosting by keeping the atmosphere in circulation, and thus preventing condensation upon the surface of the glass. In a large window there should be two fans, in opposite corners, and these may be easily concealed from view.

(2) Electric Heaters.—As almost every store is now provided with electric light service, and electric heaters can be purchased in all sizes on the open market, the interest in this new application of electric heating is universal. All that is necessary is to place a small electric heater in the window in any concealed position, and to connect it with the lighting mains.

(3) Several washes for the window glass have been recommended, but our observation has been that these usually fail to prevent frosting.

It is true that one method will succeed with a merchant, and fail when utilized by his next door neighbor. It is hard to explain this fact, save for the different atmospheric conditions of the two rooms. It is not unusual to see one window as opaque as a sheet of felt and another loom up as transparent as a crystal, when both are apparently under the same conditions. One sees a window free from frost where it is entirely enclosed, and that seems to explain the reason. But a few doors further on another window similarly enclosed is covered with ice. Some windows that have a half-length enclosure inside are clear and others are frosty, and some that are entirely open to receive the heat of the store room are clear while others are not.

Among the various washes are pure glycerine, in which a flannel cloth is dipped, ammonia and salt, and alcohol and water. As said before, these are seldom effective in preventing frosting. The safest and best remedy will be found in ventilation, as above described.

CHAPTER III.
SOME PRACTICAL HINTS.

Those who are inexperienced in window decoration will need a few general instructions before attempting to trim in a practical and successful manner. Experience has taught us several things which apply so forcibly to the art of decoration that they may be considered in the nature of rules, and must be studied carefully and thoroughly by the novice.

SUGGESTIONS.

The trouble with most window trimmers and beginners is that they ignore all suggestions offered, from the fact that they are window trimmers, and are supposed to know it all, which is a grave mistake (for no man knows it all). From experience, you will find that by listening to any and all suggestions offered, there will be a time when you will be glad to accept them. If you do not take to the suggestion, pass it up, but in all cases it pays to listen and act accordingly.

SIMPLICITY.

There is nothing more “fetching” in a window than the simple artistic arrangement of a few attractive goods. Simplicity has been urged by almost every writer upon window trimming, yet it is generally disregarded. More err in crowding a window than in displaying insufficient goods.

A good background, throwing out a few articles that are good values or distinct novelties, may be relied upon to arrest the attention of the passing shopper. It is poor policy to display expensive and inexpensive merchandise in the same window, or to exhibit what is called a “mixed” window. A crowded window bewilders the beholder, and while he may admire the general arrangement and wealth of color, no one item will sufficiently attract him to induce him to enter the store, or will impress his mind so far that he will recollect it when occasion arises to purchase. The most successful show windows are those where a few goods are well displayed.

It is bad advertising to display too many lines in one window. The most effective window usually contains but one line of goods. Dress goods never show to advantage when mixed with other articles, and silks and calicos, in the same window, each detract from the other.

Special windows always win more attention, and are more easily trimmed and more quickly changed when they have served their purpose.

DETAIL AND WORKMANSHIP.

I will here say a few words upon the subject of detail work in window trimming. I have always found that anything which was worth doing at all was worth doing well. It may take a little more time and cost a little more money, but you will obtain the desired results in the end, and your window will be the means of increased sales of the goods displayed.

I have had a great deal of experience with window trimmers, and have found that the great majority of them do not pay that strict attention to detail which is so necessary in a perfectly dressed window. They will say, “Oh, that is good enough,” “No one will notice that,” etc., when they detect some omission in the detail of the work. But they are wrong, for a great many of those whose attention is attracted to the display will as quickly note the defect as the skilled window trimmer himself.

One of the greatest troubles the window trimmer has to contend with is the lack of time necessary to do complete and perfect work. The house wants the window changed, and wants it immediately, ignoring the fact that it requires time, both to take out the old and put in the new display, and on that account it is absolutely necessary that a great deal of the work should be done in the workshop before going into the window at all. You may find a picture or model that would make a good subject for a novelty window of certain kinds of goods, and it could be worked out in fine style if only sufficient time were given for detail work, that is, making all of the different parts of the subject in their proper place, and leaving out of the work not the slightest detail necessary to make the finished work identically like the picture or model. This would, necessarily, require considerable time and labor, but when the trimmer gets advanced in the work he will become so interested that he will not be satisfied until he has it complete in detail.

The special efforts of the most successful window trimmers are directed toward the carrying out of the small details, without which there can be no perfect specimen of the window trimmer’s art, and for lack of which so many windows present a crude and unfinished appearance.

WHAT TO DISPLAY.

The mission of the show window is not to display unsaleable goods, but to sell goods. If you can’t make a pretty picture and sell goods at the same time let the picture go, but make a display that will sell the goods. But don’t forget that if you can make the window attractive enough to arrest the gaze of the passerby your goods are half sold. This may appear to you ambiguous at first, but a little thought will teach you never to lose sight of the fact that goods must be sold, and that an attractive window will help sell them. But a “picture window,” in which the value or utility of the goods is sacrificed to make the picture, is not art, but foolishness.

In the selection of goods for your window two classes are best. First, new goods, of which there is ample stock; for, being new and seasonable, they are in demand and can be sold with profit and the money reinvested. Second, old goods which must be disposed of, probably at a sacrifice, in order that the money tied up in them may be used to better advantage. These last are “bargain” windows and each article must bear its price ticket. Cut the price sufficiently to interest people. Bear in mind that these goods might lie on your shelves years without moving if there was no show window to dispose of them. Properly displayed and properly priced, the show window will sell them like hot cakes, even though they are old enough to have gray whiskers. People dearly love bargains.

Don’t make the mistake of selecting a variety of goods for your display. Confine it to one line as much as possible, and when that is impossible confine it to kindred lines. You don’t need so very many goods if you know how to display them. Some of the best windows I ever saw contained very few goods; but, bear in mind, every piece stood out as distinctly as a wart on a man’s nose. At the same time a well-filled, or “stocky” window, as it is called, frequently is quite as effective as any, and a reputation for carrying a full stock is a desirable thing for any merchant. Unto them that have goods shall be given trade. You can’t sell what you haven’t got.

ROBBING WINDOWS.

Frequently a merchant finds his stock so reduced that the only size, color or style of a certain article remaining is that displayed in his window trim. When you have a call for such an article do not rob your window display, but take the customer’s name and address and agree to send the article C. O. D. when you change your window.

This method has been adopted by all the large stores, and has proven very satisfactory. The effectiveness of your window remains unimpaired, and usually a customer is willing to wait in order to secure the desired article. In rare instances, when there is danger of a good sale being lost, this rule may be abrogated, and the article taken from the display; but if it is understood by your patrons that no goods will be removed from your windows until the trim is changed, they will readily see the advisability of such action, and be willing, in most cases, to wait a reasonable length of time.

WINDOW TRIMMERS’ ROOM.

Every window trimmer should have a fair sized room for the sole purpose of keeping his fixtures, wax figures, a work bench, etc. It should have plenty of light, with one portion set aside for ticket writing; a place with a door to keep out the dust, in which to keep his cardboard, cut in the desired sizes for his use; a place to keep wax figures when they are not in the windows (dust proof stalls, large enough for each figure, are best); a sign in the room to read, “A place for everything and everything in its place.” Keep your room locked and carry the key in your pocket.

TOOLS.

A proper outfit or kit of tools is a necessity. For carpenter work, such as building your own framework, you will require cross-cut and rip saws, chisels, screwdrivers, awls and a hammer. Don’t attempt to make very fine joints; it is unnecessary, since the frame will all be covered. But be sure your work is substantial and will not pull apart. In order to preserve your lumber for future use and to obtain strength in your structure, use screws wherever possible, first boring a hole with a small bit, or, if the material is thin, using an awl to make the holes for your screws. In your tool box have partitions for all sizes of screws, nails and tacks, and keep each size separate.

For upholstery work, such as pleating, puffing, draping and covering the frame with cloth, you will need a large pair of shears and an upholsterer’s hammer, which has a long, extended head. Also provide yourself with a small pincushion, 3 or 4 inches square, and put a loop of tape on opposite corners. These loops can be placed over two buttons of your vest, to hold it firmly in place, or you can pin the cushion by the loops to any part of your person. Don’t loan your tools to anyone. Keep them locked up in your tool box. Carry the box into the window with you, for then you have everything at hand you will be likely to need. Keep a supply of screw eyes and hooks, wire and cord in your box, for you will often need them. Tools for electrical work will be explained in the chapter on electrical designs.

THE SCREEN.

Professional window trimmers prefer usually to work during the night or early morning, when they are uninterrupted by either employes, customers or curious groups who delight in watching them from without.

It is, however, often necessary to work during the day, and in this case a screen of muslin or cambric is stretched across the window to insure privacy. This screen is almost a necessity to the merchants in smaller cities, where all work is done in daytime, and may be utilized to good advantage in attracting the curiosity of passers-by.

One merchant we know of has painted across his screen in big, black letters, “Watch This Window!” Another uses the following: “We are Getting Ready to Surprise You.” And still another: “This Window is Dead To-day, but will be Alive To-morrow!” Many texts may be selected, but a sign of some sort upon the window screen is certainly a good advertisement.

OPEN WINDOW TRIMMING.

Many decorators of late have found a distinct advantage in leaving shades up and dispensing with screens. They work in plain view of the crowds that congregate to watch them. This would be embarrassing to the beginner or the modest man, but its advantage lies in being an added attraction for the store. People are often curious to know how a window display is built up and arranged, and enjoy watching the workman. Often the people attracted are the loafers of a town, and those who, having no business of their own, would not be likely to bring business to the store. But in cities where the streets are crowded, the open window may be considered a distinct attraction to the casual observer and the general public.

The last three chapters are preparatory to the real work of decorating, and should be read with care by the student of the art.

CHAPTER IV.
FRAMEWORK.

The beginning of any work is always its most important period. Begin right and you may succeed; begin wrong and you are certain to fail.

When a window display is conceived in the fertile brain of the artist, his first work is to erect the framework for his creation. He must have something to build upon. Many trimmers—even some experienced ones who ought to know better—go to the wood pile when they wish to erect a framework. I advise every one to carry on hand a stock of standard pieces for frames. Almost any one who can handle a saw can make them himself, but a carpenter may be employed where necessary. Not a great variety of pieces are required, and the number of them depends on how many windows you have to trim. But with a supply of the regulation standard pieces you may construct an endless array of arches, pillars, shelving, centerpieces, pedestals, etc.

The trimmer who is driven to attack the wood pile when he starts to make a display is not only to be pitied, but is badly handicapped in his work. The amount of time consumed in building each special fixture in your window is detrimental to profitable trimming, and annoying to yourself and your employer. A well equipped fixture room is a money maker, as well as a time and labor saver.

The first system of standard pieces I will explain is that adapted and invented by the veteran decorator, Charles W. Morton. It is very simple. In many cases these fixtures for framework may be covered and trimmed in your room, in sections, and afterwards taken to the window, where they are easily put together. This is a wonderful assistance in making a rapid change.

These standard pieces are mostly made of half inch wood, and are covered with black cambric or painted. They are light in weight, strong and durable.

Each piece represents a useful stand in itself, and there is no limit to the variety of designs obtainable. The following is a brief description of the pieces:

Nos. 1, 2 and 3 on the first illustration are pedestals (or boxes). The size of smallest is one foot square (or a cube). The second size is one foot square and two feet high. The largest size is one foot square and three feet high.

No. 4 is a circle, two feet six inches in diameter, and made of 1-inch board.

No. 5 is a half circular stand, three feet high and one foot six inches in diameter, and covered with heavy paper.

No. 6 is what I call a cap. It measures one foot square at small end, three feet square at large end, and one foot six inches deep. It is a good fixture for laces, embroideries or notions.

No. 7 is a 1-inch pine board, one foot wide and eight feet long, or any length suitable for the window to be trimmed.

No. 8 is a round pillar, eight inches in diameter, and three feet six inches high.

No. 9 is a cap, eight inches in diameter at bottom, twelve inches at top, and ten inches high.

No. 10 is three half circles, each made one foot square, and boxed in, the small one measuring three feet six inches in diameter (outside measurement). The second one is five feet six inches in diameter, and the largest half circle seven feet six inches in diameter.

No. 11 is a half circle box, one foot high and two feet in diameter. The pyramid is one foot square at the base, and two feet high.

The second illustration shows a few devices, made of ½-inch wood, and measure about three feet high, and will suggest themselves for showing many lines, such as notions, jewelry, cutlery, hardware, etc.

The other illustrations give you a few examples of the many designs obtainable from this modern combination fixture.

Another set of standard pieces which has been quite largely used and is recommended by many decorators, is illustrated below.

The first illustration shows how to make pillars, stands, etc. They will need little explanation, but I will mention, for example, that A is made from two circular pieces of wood, 1, joined together by strips of wood, or lath. These circular pieces are very useful. The cone, C, is made by connecting the pieces 5 and 3 by strips or lath. D is a standard having 3 for its top. F is a useful stand employing the pieces 1 to 5 connected by short standards.

STANDARD PIECES FOR FRAMEWORK—FIRST ILLUSTRATION.

STANDARD PIECES FOR FRAMEWORK—SECOND ILLUSTRATION.

STANDARD PIECES FOR FRAMEWORK—THIRD ILLUSTRATION.

One thing is important. Do not use nails larger than is necessary to hold the structure together. Many novices spike their pieces together as firmly as if they were to endure to the end of time, and the consequence is that many pieces are broken and destroyed in taking the framework apart. Temporary security is all that is required, and by the exercise of a little care the frames will last for years.

The second illustration shows the use of circles for arches, domes, etc., which may be built into a bewildering variety of effects. The stock pieces required are the full circle, A, the half circle, B, and the quarter circle, C. These should be sawed from 1-inch lumber, in a variety of sizes, and in connection with the uprights, for pillars, will enable you to make any sort of arch or dome you may desire.

The third illustration depicts the most useful centerpieces and fixtures known in window trimming. The stairs, or shelves, may be taken down and used in a variety of windows, and the same will apply to the other fixtures shown.

All the frames described are best made of pine, as soft wood is easier to tack or pin to. Provided they are perfect in form, they need not be well finished, as they will be covered with puffings, pleatings and draperies.

These pieces may be added to by the preparation of smaller ones to be used as shown in the fourth and fifth illustrations. These can be used in almost endless variety and occasions will often arise when a corner or section of your window will appear bare, and may be furnished with some small, attractive design made from your stock pieces.

However, the first set of fixtures described is recommended as the most perfect and therefore the best for general use.

CHAPTER V.
HARMONY OF COLORS.

After erecting the framework the decorator proceeds to cover it, in order to complete his background. But before doing this the harmony of color must be considered, as the real success of his window will depend upon the good taste and arrangement of the colors employed.

No man need be frightened at facing this frequent bugbear to the novice:—color harmony. Any one will readily understand it after reading this chapter.

“What is color?” you ask.

Nothing but common daylight deprived of some of its wonderful properties.

When this is understood the subject is robbed of its terrors, for we know we are facing a natural effect, and nature is simplicity itself.

When light strikes any object, such as a blade of grass or leaf, the rays of white light are separated or decomposed; part are absorbed by the grass or leaf and the others reflected to the eye, causing the sensation of color; in this case green, the grass or leaf having reflected the blue and yellow rays and absorbed the red. To understand this thoroughly a little scientific experiment will demonstrate clearly. Go into a dark room, shutters, doors, etc., closed tight. Now make a very small hole through a shutter to the outer daylight, when a fine pencil of light will penetrate the darkness. Into this ray of light place a prism of glass, when the ray, after passing through the prism, will be diverged and separated, showing the solar spectrum in all its beauty.

The colors thus shown are the elementary colors of white light, commonly called the “primary” colors. The red, blue, and yellow are the most dominant in the spectrum, and in consequence always understood when we speak of “primary” colors; the intermediate rays shade into the various colors of the spectrum and are called “complimentary colors.” They show all the tints of the rainbow, which is in fact a gigantic solar spectrum.

The blade of grass has appropriated the red rays of the spectrum (or light) and leaves us only the blue and yellow, which, being reflected and blended, give us the sensation of green instead of white.

Every color affects the eye (or optic nerve) with a different vibration, which enables the optic nerve to inform the brain of the color. In this way we get the sensation of color. Black is the absence of all color; that is to say, it absorbs all the rays and returns none. White is the reflection of all the rays, none being absorbed.

The “primary colors,” red, blue, and yellow, have their “secondary colors,” which is the combination of any two primaries; as a mixture of blue and red make purple, the complementary (or contrast) of yellow, blue and yellow make green, which makes red the complementary or contrast. Yellow and red make orange, the complementary of blue. The secondary colors are therefore purple, green and orange.

The tertiary colors are those obtained by a mixture of all the primary colors (one proportion of which produces black), making what are called “broken tones.”

The “secondary colors,” produced as above, make the perfect contrast or complementary colors of the primary set, and the “tertiary colors,” or “broken tones,” produced as above, enable us to carry out harmony effects.

No harmony of color is perfect unless it contains all three primaries in some proportion or other. Thus, green (blue and yellow) and red are correct, having the three primaries in the composition. For simplicity I will not go into shades, which are simply lighter tints of the primary colors; but I may add that in harmony of color the color value or intensity of the shades must be carefully noted, to be effective; that is, a brilliant orange (red and yellow) will not be complementary to light blue, but would be correct with blue of same intensity. All the innumerable shades or tones are produced from the three primary colors, by reducing the strength of tint; that is, making it lighter, and the tones are produced by admixture of black, etc., or, rather, the admixture of the three primary colors, in different proportions, lowering the tone, and making lighter. Thus all the shades are made, each having its proper complementary color or contrast.

All colors, when brought into close proximity, affect each other by reflection or absorption, and the nearer they are in tone the more they will suffer. The difference in tone should be considerable, or a neutral line of black, white or gray placed between them; otherwise you have reds in proximity to blue appearing yellow, the complementary of red and blue. Red in proximity to green (its complementary) is purer and brighter. Red in proximity to black becomes duller. Red in proximity to white appears lighter (pink). Red in proximity to gray becomes brighter; so that the same red will appear of different shades according to its arrangement with regard to other colors adjacent. The same law governs the arrangement of all colors. If red and white are placed in contact, the white becomes tinged with the complementary of red (green), and the red appears deeper and brighter. White placed beside a color strengthens its tone. Black dulls it. Black surfaces appear faintly tinted with the complementary of the adjacent color, because of its low reflective power.

Black and white are commonly said to be complementary to each other, and to harmonize with all the other colors.

THE WINDOW.

Our first consideration is the background. White is too harsh for general work, but is good when the window is so dark that it makes much glare and reflection. In this case it will heighten the light, render the display more distinct, and assist in avoiding reflections. Black (flat or gloss) painting of the interior, or a black cloth background, is objectionable because it makes the window a veritable “camera obscura” and reflects everything. It also renders the colors of the goods dull or broken. Something between white and black will therefore be found better, such as a warm French gray (if painted, flat of course), not light enough to appear nearly white, but as nearly “neutral” as possible. A background like this will brighten up most colors to some extent, and will not interfere with any adjacent color. It also assists in avoiding reflections and glare.

In the arrangement of your window there are two points to keep in mind, the “near view,” which takes in only one window, or part of it, and the “further view,” which will embrace the entire trim, making all the windows as one. In the front part of the window take care of the harmony, or contrast, and only use such colors as are not a light shade of compound color, such as lavender, etc., which are easily faded. For the second row arrange it so that when viewed over or between it and the first row, you get a proper contrast, harmony or broken tone, that will act as a “neutral” and avoid “killing” the three colors at once. The arrangement by contrast is usually the best and easiest.

The “further view” should not have any startling color effect at one end, and nothing to balance it at the other, but should have a similar effect of harmony or color. When the center is of lower or broken tones, usually esteemed neutral, or if there be three color effects, make them one of harmony and two of contrast, or vice versa. Relieve them with neutral colors, and add a touch of ribbon, flowers, etc., of the complementary neutral, to arrest the eye a moment.

To decide the color of a fabric, study what colors it is composed of. Then it becomes easy to find the complementary. For instance, a fabric of dull green (broken tone) with an allover pattern of black, covering 25 per cent of the surface will amount to very dull green; but if the black covers 75 per cent of the surface, it will be a greenish black, although the green will appear more prominent than it really is, the black being non-luminous, or a poor reflector.

In light shades care must be taken to define the color, as pink, yellow or rose cast, light blue, green or purple cast. Inattention to this will mar the color effect, as the complementary selected will most likely be incorrect.

It is well always to remember that there are but three primary or elementary colors (red, yellow and blue-green), and that there cannot be harmony of color arrangement if either one is wanting. Also that the distinction of harmony depends on the predominance of one, and the subordination of the other two.

A COLOR CHART.

In order to be sure that your color combinations are harmonious, the accompanying diagram of a “color scheme” will be a safe guide. Color combinations are governed by set laws, and, as is the case with all other natural laws, it is both foolish and disastrous to ignore them. The center of the chart is white, for white harmonizes with any color. The most distinct combinations are found by consulting the extremities of each straight line, whether dotted or plain. But every dotted line will harmonize with every other dotted line as well, and these are the combinations of strong colors. The triangle connects the three basic colors, blue, red and yellow, which are distinct contrasts. The other plain lines show the tints which harmonize together, but not with strong colors. If ever in doubt as to a suitable combination, consult the chart. By following the directions of its lines you cannot fail to be right.

MATCHING CHART.

The following color chart is used by some trimmers for matching colors. As already explained, the modern window calls for a variety of colorings, and it is in the matching of these colors, such as the compound shades, drabs, buffs, sages, with their different hues, that considerable work and patience is called for. With such colors as these a number of points are to be considered before a definite conclusion can be obtained. Some of the shades, for example, are very sensitive to the various qualities of daylight. A dark, cloudy day, a sunny, bright day, a hazy day, etc., all have their effect upon the colorings in the window design. There are other conditions which come in to interfere with the proposed color adjustment of the window trimmer.

Colors may appear so and so to the eye when placed in the design with certain other colors. A blue setting, for instance, may match each other if the combination includes several shades of blue. When the design is placed in its place in the window, alongside of a yellow, for example, the yellow offsets certain of the blue shades, producing tints of a yellowish green of some of the blues, while blueish greens are developed in others. This, of course, disorders the proposed color plan and the result is discouraging unless it is known how to overcome or avoid such troubles. Furthermore, certain colors which match by daylight are made quite the reverse as soon as the electric light or the gas light is turned on in the window. All this is perplexing to the window artist, but there are remedies. Use charts 1, 2 and 3. In the first are the standard color chart line, A, B, C, D, E, F, G and H. These represent the color lines of the solar spectrum. Along the side of the chart are figures 1, 2 and 3. The first indicates the absorption spectrum of yellow color. By following the chart lines it will be seen that this yellow absorbs violet and blue, while it transmits red, green and yellow. In 2 we can see that the blue which this division represents absorbs orange red, yellow green and yellow, and transmits blue, violet and part of the green. Division 3 represents green, which results as a combination of the two former divisions.

In Fig. 2 is a chart for representing the absorption of ruby glass and a single green shade. In this it can be seen that division 1 involves transmission of the red in A to the orange red in C, and the remaining colors are absorbed. In 2 is an absorption of all the colors except green, yellow green, blue and blue violet. In 3 is the result of combining the colors, in which case this setting permits no rays to pass, resulting in full black or darkness. In chart 3 is another plan for color setting in which 1 indicates the absorption spectrum of yellow, 2 in which violet shows the absorption in yellow and yellow green, 3 the compound of green rays with the absorption of the remainder of the spectrum.

AN EYE FOR COLORS.

A window trimmer who has an eye for color is usually able to group colors quite satisfactorily without the assistance of charts and regulations, but there are very few who possess the qualification, although perhaps many think they do. The reason that many suppose this is because the color plan of their window is pleasing to their own eyes, though it may be distasteful to others. Hence the necessity of applying to color charts, etc., to avoid discords to the eye of the practiced colorist. If you seek to produce white light from any of the color rays, add thereto the complementary ray. If yellow be absorbed the resultant color will be violet. If blue and yellow rays are absorbed the reflected ray will be red. If red is absorbed then we get green. If yellow and red be absorbed the result will be a blue. In window trimming two colors of striped goods placed in juxtaposition will always heighten each other’s color effect. Suppose that two stripes of a certain color fabric are arranged parallel with two stripes of another color it will be seen that the color of the four stripes differ if we look at them from a certain distance. This is because the coloring of the two inside stripes serve as terms of comparison to judge the modifications of these two interior stripes in their juxtaposition. For example, it will be found that red will be modified, inclining to violet, and orange is modified inclining to yellow, when the stripes are made up of red and orange. If we use a combination of blue and violet in a window design we will find that the blue will be modified to a greenish blue, and the violet to a reddish color. It is a good idea to cut out some four-inch wide strips of fabric and experiment, before going ahead with your color scheme.

CHAPTER VI.
MATERIAL FOR BACKGROUNDS.

Not less important than the framework is the background and the decoration of your framework. Indeed, many trimmers regard the subject of backgrounds as the most important in window trimming. There is a distinction between framework and background, although the frame often constitutes the backing of a portion of your window. Thus, a step, a table, or anything that supports the goods, is a part of the framework. An arch, puffed and pleated to make up your picture, is part of your background.

A background may be upholstered in any fabric from cheesecloth to velvet, or it may be a painted scene, or an imitation of nature, or simply covered with wall paper, or panelled to represent a room. It is the frame to your picture, and all pictures cannot be framed alike.

Of fabrics, cheesecloth is most in vogue. It is pretty, easily worked, and cheap. Whatever color or combination is selected, you must use to cover your floor, your framework, and the backing wherever it is visible from the front. It may be simply spread over your woodwork, or pleated, or puffed; and the same material may be used for draperies where they are required. The best effect is obtained by using light color or even plain white, and edging with a darker color that is harmonious, or a darker shade of the same color. White goods require a dark backing as a foil; dark goods of all kinds require a light backing. Of course there are exceptions. Pure white goods are effectively shown on a backing of cream or any other delicate tint.

Some people have said that cheesecloth is not appropriate for backgrounds, and recommended richer fabrics. A few trimmers for large and wealthy concerns have obtained permission to use expensive drapery in the place of cheesecloth, and are covering their backgrounds with plushes, raw silks, satins and upholstery goods. These make the windows appear rich, but not especially attractive. They are stiff and unpliable and must hang loosely in draping. The risk of loss in soiling will not allow of using light colors, and the dark shades and figured goods soon become tame to the spectators. They are not nearly so effective a foil to merchandise as cheesecloth. Only the richest goods can be used with such backgrounds, for ordinary goods would look very cheap by comparison.

It is true cheesecloth is a flimsy, cheap material, looking very coarse upon close inspection, but it is an ideal cloth for decorations. It lends itself to puffing, pleating and all modes of draping with great pliability. It is made in every tint and color. It has a way of rendering itself unobtrusive while serving as a capital foil for almost any grade of merchandise. And it is cheap. Find any other material which has these qualifications, and trimmers will readily adopt it. Many houses cannot afford more expensive material. Cheesecloth has figured prominently in the evolution of show windows. Had merchants been forced to adopt a more expensive material for backgrounds and floor coverings, it is probable that many of them would not be decorating their windows even to-day.

Then, its bright and varied colorings allow of many combinations and perfect harmony. It makes a window attractive enough to stop pedestrians, who, glancing at the display, unconsciously note that the goods on exhibition are thrown prominently into the foreground, while the coloring that made them pause has modestly retired, and serves only as a foil for the articles of merchandise.

Jewelry, bric-a-brac and silverware assuredly need a richer background to display them harmoniously; but cheesecloth is appropriate for nine-tenths of the window trims throughout the country, and there is absolutely nothing to take its place.

FIREPROOF DECORATIONS.

Not infrequently we hear of a bad fire occasioned by draperies or decorations catching from a lighted match or other similar cause, the inflammable nature of the material used causing a rapid spread of flames and consequent damage to property. Whether this occasions great loss of life, as was the case at the great bazaar in Paris, or is a minor blaze, such as often occurs in a window when a lighted gas jet approaches too near the trimmings, such accidents are desirable to avoid.

Quite recently a method has been discovered of treating material used to decorate halls, booths and windows, which absolutely precludes the possibility of a blaze. The material is simply dipped into a solution of tungstate of soda and allowed to dry. Bunting, cheesecloth and other material so treated are slow burning when ignited, and never blaze up. Therefore they are easily extinguished and cannot readily set fire to woodwork or other substances. No hall or booth where people congregate should be decorated without using this simple and effective precaution against fire, and all loss in a show window may be avoided in like manner. The solution does not injure the fabric.

CHAPTER VII.
PLANNING A WINDOW.

There are two ways to plan a window. One is to draw on paper a diagram of your framework and lay out your plan as carefully as an architect will design a house. Another is to plan as you build, and gradually add to your window until it is completely trimmed. Both ways are practiced by the best trimmers, and each method has been defended by its votaries as the best.

At first thought it would seem best to make a plan of your window, but sometimes it will not look as well when completed as the plan would seem to indicate. And, again, if you build up a window without any forethought, it is just as liable to be a disappointment as a success. Perhaps it is best to have some plan formulated if only in your mind, and then work as closely to it as your window and your material will allow. If you see a chance to improve it as you work, you may easily do so. Often I have carefully thought out a window, and, after fairly starting, changed its plan by degrees until it was totally different from what I had first intended.

For a symmetrical window a centerpiece is always necessary. It may be an arch, a pair of steps, a circular recess, or whatever you choose, but the center is always the most important point of your trim. Good windows are sometimes made by building out the sides uniformly and drawing them toward the center, but it requires much skill to do this successfully, and even then you cannot ignore the center, where the eye of the observer rests first and most frequently. This is the reason a small window is often as effective as a large one. A large window can, of course, show more goods and more detail, but all this is accessory to the centerpiece, and the main idea of any big window can always be reproduced in a smaller one by leaving out some of the details and accessories, and, perhaps, reducing the size of the centerpiece. Circles or sections of circles are best for frameworks, as nothing is so graceful as a circle. Squares, triangles, etc., are stiff as compared to circles, and are difficult to trim. Even steps, or series of shelving, are best made in circular form. Pillars are useful in many ways. They support arches or platforms, and may be used independently for many lines of goods.

Aim to have the heaviest part of your trim in the center. The extreme sides, or ends, of your window may be next heaviest or fullest. Between the center and the ends the trim should be lightest; but this depends considerably on the shape of your window and the character of the trim. If you have no judgment don’t attempt to trim windows. Aside from an artistic eye and deft workmanship the only other requisite of a successful trimmer is common sense.

Do not place your trim too near the window pane, as it destroys the effect of the best display. Unless goods are very small indeed they will look better the farther they are removed from the pane. The floor space in front of the main trim may always be utilized to good advantage.

And, speaking of floors, I am not in favor of what are called “floor trims” in any line of merchandise. They do not attract one unless he deliberately stops to gaze into a window, and few people do that in this busy age. Raise your trim to the center of the window, even if it is composed of small wares, and then it will arrest the gaze of the passerby.

The suggestions I have offered are of necessity general in their scope, and I advise you to study all the good windows you may see. Don’t be content to copy them, however, but improve upon them. Some other man’s idea will frequently give you an idea of your own that is vastly better. Originality alone does not always win. It is better to copy a good window than to originate a poor one. And to originate a good window is better yet.

Where the window dresser is required as a salesman during the day, the decorating is done late in the evening, when a screen is not at all necessary.

CHAPTER VIII.
SHOW WINDOW UPHOLSTERY.

HOW TO DRAPE.

Unless a window dresser is thoroughly conversant with the art of draping he will not be recognized as accomplished. Yet there are many professional trimmers who, it must be admitted, create wonders in their line while unable to put up an effective drape. This statement may be denied by many trimmers, and it surely sounds rather strange. However, I wish to argue on this subject and shall at the same time endeavor to give those not fully posted on the knack of draping some practical hints and suggestions.

If a man in a smaller town who takes care of the show windows is not acquainted with this branch of trimming, you need not feel surprised, as he has little or no chance to see and learn. It is naturally easier for him to learn pleating, puffing, and to make his wooden fixtures, than to put up an artistic drape, simply because he can acquire great ability and skill in these lines of work without being instructed, while many men will never learn how to drape until they are shown how to do it.

Draping is the foundation of the art of window trimming.

There is no window in which some kind of a drape could not be applied to good advantage. It gives the window an artistic and pleasing effect and is always appropriate. Draping is as old as the history of decorating itself, and it will never become old fashioned.

While the prettiest and most artistic effects are produced by draping, it is simple in itself, and, as in some tricks, “easy if you know how.”

PLAIN FESTOON DRAPERY.

One edge of the fabric is first pinned along the line to be draped, the distance being spaced equally, and it is an advantage to have little wooden spindles projecting a few inches, where each rosette would come, so that the material hangs clear of the wall instead of flat against it. Whatever the distance is between the pins, two or three times the same length of cloth should be allowed to make the festoon. About eight or ten inches below the pin the material is tied together tightly with a piece of string, the surplus material thus gathered together being for the purpose of forming the rosette. Removing the pin, the cloth is lifted up and the pin inserted at the same place again, but in such a way as to hold the fabric just where the knot was tied. Tacks may be more easily managed than pins. The rosette finally almost forms itself, as the bunch of surplus fabric is simply turned inside out, and pulled or patted into shape. The process is quite simple, and should be clearly understood by an inspection of the drawing, which shows at one end the fabric pinned up; the next loop has the string tied around it, and the third is finished with a neat rosette, the folds of the fabric hanging in a graceful cascade.

Quite recently a drapery hook has been invented which forms the rosettes automatically, thus simplifying the above process.

COMBINATION DRAPERY.

The drape shown in the first illustration consists of cheesecloth and is constructed in the following way: Take a thin bendable strip of wood, perhaps ¼ to ⅛ by 1½ inch, fix the lengths according to the size of your window, puff it with cheesecloth, bend it into the shape of a semi-circle, and place it in the center of your window. You may place it horizontally, vertically or slanting, to suit your fancy. If your window measures 3 yards, take from 9 to 12 yards of cheesecloth and allow 1 to 2 yards extra on each side to hang down. The festoons as shown in the sketch require about 3½ times as much cloth as the distance from one rosette to the next one. If you desire to drape deeper, allow about four times as much cloth instead of 3 or 3½ times as much for the festoons. Take the piece of cloth, divide it in two equal parts and pin it up at the middle by the edge, on the center of the semi-circle. After this form the festoons one after the other, one to right and one to left. The rosettes are made in this manner: After the cloth is pinned up and divided as indicated, take hold of it at about one foot below the pins, fold it into many pleats, each about 1½ inch wide, lift the cloth up to the pin and drive a second pin through the pleats, thus pinning it against the background. This leaves a bunch of cloth for the rosette, which you turn inside out, pull it apart and form it into the shape of a rose. After you have made the second rosette the festoon has formed itself almost to perfection, and if not your fingers must help out and complete the process by pulling and pushing the folds into proper shape, which is then easily done. The other part of the drape in our first sketch is like the one No. 3, and will be treated later. The sections No. 1a and No. 1b are made of separate pieces of cloth thrown over a short piece of curtain pole, which is projected about a foot from the background. These sections are more adaptable to silk drapery and require a square piece of very wide cloth, not narrower than 36 inches. To construct No. 1a this piece of cloth is laid upon the counter in diamond shape—like a napkin—and the cloth turned over from either end into wide pleats to and fro until the extreme points are thus folded. No. 1b is the same with the only difference that the diamond shaped piece of cloth is folded or cut into triangle shape and folded only from one side. These pieces, thus prepared, are folded again in the middle and thrown over the fixture, showing only one-half of their entire length. If you wish to have them reach down lower take a longer piece of cloth, cut the ends into diamond or triangle shape and proceed the same way. The effect of this style of draping is greatly increased by trimming the edges with tassels or fringes.

Drape No. 2 is one of the most effective, and consists of two pieces of cheesecloth, silkaline or light silk. Two contrasting but harmonizing colors are very desirable. It is the plain festoon and rosette drape projected from the wall by heavy knitting needles. These you drive in first and start with pinning up your cloth at one end (right end first) and continue with it until the left end is reached. When commencing with the second bolt of cloth do not unroll any more of it at the time than necessary to push the bolt alternately through the loops of the first piece. After you have thus covered your background, proceed to form the rosettes; pull, push and pat the folds of the drape into proper shape and you have produced a pretty and artistic effect.

Drape No. 3 can only be constructed with heavy plush-velour or rich drapery silk or any goods with two right sides—as both sides are shown—unless you cut the goods. It consists, like No. 2, of two pieces, and an endless variety of different designs may be formed with this style of drapery. The sections No. 1a and No. 1b are very appropriate with this drape, and separate rosettes, heavy silk cords, tassels and fringes will greatly enrich it. To put up this drape requires more skill and taste than the former two, as, unless it is executed to perfection it is unattractive. Throw your goods over a curtain pole projected from the background and let the first end drop down to the floor. Then fold the goods carefully into about 4 to 7 folds and form the loops as shown in illustration without ever letting the folds become uneven or irregular, something which is more difficult to avoid than the sketch exposes.

All in all, draping is easily learned, and no ambitious amateur will rest until he has acquired full ability to put up an artistic drape.

HOW TO PUFF.

It will take about four times the length and width of cloth to puff any given space. If your background is 12 feet long and 3 feet wide it will require four strips each a yard wide and 48 feet long. Very coarse puffing may be made by using as little as three times the amount of cloth that will cover the space, but for puffing such as is shown in our illustration four times the amount is required.

There are two ways to puff. For large spaces it is quicker and cheaper to cover the backing with bookbinder’s paste, and puff upon that. Always begin at the left-hand upper corner. Turn the edge of your cloth, to start with for, raw edges always look badly. Support the cloth with your right hand, and with the left spread out your thumb and fingers and claw the cloth together into an irregular puffed effect. Do not be too particular about each handful—the total effect will be all right. Work quickly and your puffing will be more uniform than when done cautiously and slowly.

If you are not covering a very large space it is best to pin your puffing. Start the same as directed for pasted puffing. Fasten a small pincushion, well covered with pins, to your vest, and use a small upholsterer’s hammer to tack with. Keep the hammer in your right hand. Push up the cloth and pin it, driving the pin in lightly with your hammer. Be sure to puff close enough to hide the pins.

PUFFING FOR HEADINGS AND ORNAMENTAL DESIGNS.

First take cloth or bunting, fold into 9-inch strips, fasten end to wall or counter by small wire nail (with head filed off and pointed), take other end, pull tight and fasten at first; next take sharp knife or scissors (knife preferable) and cut along folds to end. (This will give you a straight, clean edge.) Take 9-inch strips, pleat into small pleats and fasten as in beginning, step back eight or ten feet, place pin into pleats, then start at beginning or end and pin every five or six inches apart and so on full length of cloth.

This may be made day previous to using in window. Now to apply it to design, start at right hand corner and tack pins every three inches apart, or according to size of puffs desired, continue until all is on, then start at beginning and pull out puffs. When completed you will find that your puffs are even and of a uniform size, and the time taken will be a great deal less than anticipated.

This puffing can be used on every shaped design imaginable and with very best of results.

THE SHOGRAN PUFFING.

This wonderfully popular and useful puffing is named after its inventor, Leonard Shogran.

I feel confident the usefulness and labor saving qualities of this idea, together with the neat and artistic effect which can be obtained by its use, will be appreciated by all my readers. In connection herewith I wish to state, that the value and usefulness of this decorating device is becoming so pronounced that many decorators have begun to use it almost exclusively to give a finished effect to their decorations, where cheesecloth is used. The reason of this popularity is no doubt due to the fact that with it a display can be beautifully finished in one-tenth the time consumed in puffing the old way.

This puffing is the result of a great deal of scheming as to how to lessen the time and labor in finishing up a job of cheesecloth work. It is generally done by taking the cheesecloth loosely in the hand and pinning or tacking it in position, representing small rosettes, the tiresome and tedious operation of which every window trimmer will admit.

I have used this puffing with telling effect in building booths and floats and decorating halls, etc. In short, it has become an indispensable article with me, as well as all who have learned to use it.

In preparing this puffing, tear a length of ten-cent cheesecloth into eight strips or, if wider puffing is desired, tear it into six strips, according to width wanted. Sew them into tubes, or what I would call long sleeves, and turn them on a thin stick or rod, so the ragged edges will be on the inside. Then full them over a strip of muslin about one and one-half inches wide, and thus the article is made.

If you wish to use it in covering the ragged edge of some pleated work, where tacks and pins are usually in plain view, fasten one end of the muslin strip at a point where you intend to begin, then draw the puffing back about two feet from where you fastened the muslin; then we draw the puffing over it nicely, not too full, and fasten the puffed part in place; next, draw the surplus puffing back another two feet, and repeat the operation; and so on until finished. An illustration of this will be found in the accompanying sketches. Should the strip of muslin prove too short, pin another to it, and draw the puffing over. The sketches will give an idea of how easily it can be draped and festooned, or worked into any artistic scroll or design the inventive mind of a decorator may dictate.

Decorators who try this idea will be surprised to see how quickly the goods can be made and applied. The seam is sewn very rapidly on a sewing machine, and it is a pleasure to work with this ever ready and very pliable material.

EDGES.

Pleated backgrounds with puffed edges are very popular. To puff an edge use about one-third or one-half the width of your material, and puff and pin as before directed, taking care to turn under all the raw edges, or better yet, use the Shogran puffing.

There is upon the market a prepared puffing of colored and white cheesecloth, sewn upon strips of heavy paper. It is sold at a small advance over the cost of raw material. When you wish to put in a window in a hurry this prepared puffing is valuable; but I advise everyone to learn the art of puffing, for only by being able to do all the detail work yourself can you become a successful trimmer, and wholly independent of the supply houses.

TO MAKE SUNBURSTS.

A “Sunburst” is the effect created by a form of pleating radiating in all directions from a central point.

Sunbursts, while they look difficult to make, are comparatively easy. It matters not what shape you wish to construct, whether round or square, the system is always the same. First measure your outside edge of frame, then cut off your strips of cheesecloth the different lengths required, pleat in center of them all and tie firmly with string, nailing them to the center of the frame. Then stretch them to the outer edge of the frame.

SMOCKING.

One of the prettiest effects in backgrounds is made by “smocking,” or catching the material into little squares, as is shown in the illustration. I have used this method in many windows, and always with good success. For paneling, pillars, etc., it will be found very desirable and attractive.

First cut your goods one-fifth larger than the space you wish to cover, sewing breadths neatly together. Then lay the cloth in even folds, and on each fold make dots with colored chalk or pencil, to show where the squares are to be caught up. These squares show plainly in the picture. They should be caught together with a needle and thread of a color to match the cloth. If the work is neatly done it will more than repay you for your trouble; and, indeed, once you have caught the knack of doing it, you will find it easy and quick work. So little material is used that it is the least expensive of any fancy background. I generally use bleached muslin, but the light shades of bunting or surah silk are equally adaptable.

HOW TO PLEAT.

Pleating is more of a trick than it appears to the uninitiated. Good pleating is very beautiful, but poor pleating is worse than none at all. The secret of good pleating is uniformity.

I will acknowledge that pleating was one of the most difficult things for me to learn; but I finally invented a little scheme that assisted me wonderfully.

It was nothing more or less than a clothespin, but it accomplished the work accurately. Start at the left-hand upper corner, first turning under the raw edge. Then place the slot of the clothespin over the edge and turn it half around to the right. Place your finger against the fold thus made, pull out your clothespin and tack or pin in place. Move your clothespin a given distance to the right, turn again and pin as before. The pleating will be absolutely uniform. In single pleating the folds are all one way; box pleating is made by turning first to the right, then to the left, as in illustration.

SINGLE PLEATING.

If you have a good eye for distances you won’t need the clothespin, but beginners may use it to good advantage.

Where you have a pleated background the edges of your framework may also be pleated closely, and then, say every six inches, pull out the pleating into the form of a rosette. The effect is very pretty.

BOX PLEATING.

CHAPTER IX.
THE BACKGROUND.

A good background is a necessity. It is the frame of your picture. Many goods, desirable in themselves, need a color effect to throw them out properly. Practical window trimmers devote much study to designing their backgrounds, frequently relying upon them to arrest the eye of the passing throng and so direct attention to the goods themselves.

No matter how artistic a window display may be, it loses more than half its attraction if not suitably backed. The background affords relief to the trim, and is as necessary as the scenery to a stage setting or the sky line to a landscape. It completes your picture, and, frequently, attracts the eye sooner than the goods.

Therefore too much attention cannot be given backgrounds, and were there a school of window trimming, the proper use of the background would be one of the first things taught.

STOCK BACKGROUNDS.

Many trimmers construct their backgrounds in the windows, which takes considerable time, and when completed, they hurry in the goods to be shown, not giving themselves time to show them properly, feeling they have spent too much time on the background. Consequently, the window is not what it should be. To obviate this I would advise the using of portable stock backgrounds. They are not expensive, and are easily constructed. The time saved in trimming a window is a very important factor. A few frames made of light strips, covered with cheap muslin, forms an excellent groundwork. They can be decorated with cheesecloth in sunbursts, pleating—or, in fact, there is no limit to the variety of ways to treat them. The frames can be made in convenient sizes to fit your windows, so that they can be easily handled and put together quickly in the window. Both sides of the frames should be decorated, so that after you have used one you can turn your frame, showing a different style and color entirely.

These backgrounds are also to be commended as examples of good taste and elegance of design without being elaborately ornate. A very great mistake is not infrequently made in trying to gain a great effect by using an overdone and complicated background which results in distracting the eye from the rest of the display, just as an extremely simple and beautiful picture is often killed because it has been put into a huge gilded Rococo frame.

There are almost countless materials which may be used in making backgrounds, which will give just the finishing touch needed to complete a harmonious window; for instance, Japanese Grass Cloth, which can be procured from most of the large wall paper houses. This is a combination of thread and fine straw, woven together, and backed with tough paper. It comes in just the colors which will harmonize with any other color without predomination,—rich olive green and golden browns, or even beautiful dull reds.

The Oriental mattings and cloths of unique weave and pattern may also be used.

The accompanying plates illustrate how quickly these backgrounds can be put together.

STANDARD BACKGROUNDS—PLATES 1 AND 2.

STANDARD BACKGROUNDS—PLATE 3.