Group A - Upholstery Techniques - Jodi

Upholstery Techniques

Step 1: The first step no matter what technique is being used is Talking Down and Inspecting The Frame
Talking Down is done so that the frame can be inspected so that the technique which will be used to re-upholster the furniture can be determined.

Process 2: 
Every piece of upholstered furniture will have webbing applied to create a strong seat and firm base, which supports the rest of the upholstery. Webbing is also used on the arms and back to reinforce padding and stuffing.
Black & White English Webbing is one of, if not, the strongest upholstery webbing and is traditionally used to support double cone springs. This webbing is especially recommended for seating due to it’s strength, which comes from the cotton herringbone weave.
Jute Webbing is the most common webbing used and is made of a strong fibre grown in India. Jute webbing is widely used for supporting the back and arms but not recommended for use as a base under sprung seats.
Pirelli Webbing is a rubber webbing mainly found on Ercol, Parker Knoll and Cintique furniture. Pirelli makes a firm base for a seat cushion and is usually fixed with a metal clip that then slots into a groove in the frame rather than being stapled or tacked.
For un-sprung upholstered furniture, Base Hessian is applied straight over webbing to enforce this strong foundation. If springs are used, they are tied down on top of the webbing before hessian is applied. Similar to webbing, there are various types of hessian. Mainly differing in weight for use on specific parts of the frame or when layered over springs.

Process 3:
Springs used in upholstered furniture, not only give additional comfort and strength but also help return seats, backs and arms to their original shape. Various types and sizes of springs are used for different purposes.
There are four main types of springs; Double-Cone Springs, Tension Springs, Serpentine (or also commonly known as Zigzag Springs) and Mesh Top Spring Units.
Double-Cone Springs form part of a piece of furniture’s foundation and are usually placed in-between webbing and base hessian. Depending on their size and gauge they can be used for seats and backs with the smallest and thinnest being generally used to support arm pads. It is vital these springs are applied in the correct way so that they do not buckle. The springs are secured to webbing, to each other with lashing, to the frame, and then covered in a layer of hessian. This technique keeps the springs in the best position allowing them to absorb and distribute weight evenly.
Tension Springs & Zigzag Springs are mainly used in the upholstery of more modern pieces of furniture. These springs also come in different gauges and sizes depending on their use and are usually secured to the frame with hooks rather than the more intricate techniques used with Double-Cone Springs.
Mesh Top Spring Units have become more popular with the arrival of mass-produced and pre-fabricated furniture. Spring units are composed of single-cone springs riveted on to a base of thin steel laths. These are then held in an upright position by a wire mesh with a heavier wire around the edge. This is all then covered with a layer of hessian.

Process 4:
Techniques applied in stuffing & padding upholstered furniture are largely determined by the style but also by the kinds of materials used. Depending on how upholsterers are trained, they will generally favour certain types of materials. There are many different types of materials used in the stuffing & padding process, each with their own role to play
There are several types of webbing, all of which are suitable for different applications. Three of the most common include Black & White English, Jute and Pirelli webbing.
Once the upholstery foundation (of webbing, base hessian and possibly springs) has been attached to the frame, the first layer of stuffing is put down. Horsehair would traditionally be used for this but is now difficult and more expensive to obtain. A fibrous fire-retardant substitute or foam is now used as a modern equivalent.
Hair or fibrous stuffing is secured by bridle ties, which are stitched into the base hessian and looped to hold the fibres in place. Another layer of hessian is then applied over the stuffing.
Any stuffing that is more substantial than a thin pincushion pad will need to be supported. Along the edges of the second layer of hessian, rows of stitches are used to keep the edges firm, which improves durability and helps define the contours of the furniture. This technique is called ‘Stitched Edges’ and can be applied to seats, arms and backs.
Around the 1970’s more modern upholstery techniques of using foam started to replace the traditional first layer of horsehair and fibre stuffing. No stitching techniques are required when using foam as the foams edges are already well supported.
There are many various densities of foam, each used for different purposes. The denser and hardwearing foams are mainly used on the seats as an initial layer of padding. The less dense and softer foams are used more for secondary layers and on the arms and backs.
Cotton Felt and Wadding are other materials used as second and third layers of padding on seats, arms and backs. These layers can give an extra comfort and final shaping under the top-cover.

Process 5:
Deep buttoning is a very time consuming process that requires the patience and skill of an experienced upholsterer. Once the technique is mastered, the creativity of the upholsterer is what really makes the furniture stand out.
Deep buttoning is an exaggerated version of buttoning. This technique consists of buttons being compressed at regular intervals through a deep filled upholstery pad, and then stitched under tension at the back. A pattern of deep stuffed, padded pockets is then formed, often in a diamond configuration.
Buttoning was a further development of Tufting, which came about in the 18th century. Tufting, unlike buttoning, is stitched onto the surface rather than being cut into the pad. Tufts are traditionally made of short strands of silk, linen or wool but cotton embroidery is now the modern equivalent.
Many believe these methods were developed as a way of fixing stuffing within the upholstery pad. However, contrary to this popular opinion, buttoning is purely a way of styling features that excelled to satisfy the then Victorian tastes of opulent and voluptuous upholstery.
Any style of furniture can accommodate deep buttoning providing its frame allows for an upholstery pad with enough depth. Buttoning is generally found on the inside backs of furniture but can be used on seats, arms, padded borders and rails. Traditional Chesterfields are a great example of this deep buttoning effect.
Great care and attention is needed in the planning stages of deep buttoning, particularly when using floral, tartan or any intricate styled fabric. It is very important to get the fabric in the right position in relation to the buttons, folds and seat fabric. Any pattern mismatches will be intensified by this technique, which is why plain fabrics are a far better choice.

Process 6:
Applying the top cover makes all the hard work worthwhile. To see a piece of furniture take shape and come to life gives the upholsterer tremendous satisfaction. However, just as the icing on a cake can hide any imperfections, on upholstery applying the top cover can reveal them, which is why so much effort and attention to detail is applied in the earlier stages.
What really makes furniture come alive is the choice of fabric and finishes.
There are many finishes and trimmings available, to enhance the top cover and final look of the furniture but they are also widely used to hide tack lines and stitching. Finishings come in all manor of colours, textures and designs. The more common types include; piping, braid, cord, studs, gimp and valances (pleated, tasselled & skirted).

Upholstery Techniques - Group A

Top Cover & Finishing

With all upholstery foundations in place, applying the top cover and finishing is the most exciting process. The top cover and finishing is the icing on the cake and where the furniture really starts to come alive.

Applying the top cover makes all the hard work worthwhile. To see a piece of furniture take shape and come to life gives the upholsterer tremendous satisfaction. However, just as the icing on a cake can hide any imperfections, on upholstery applying the top cover can reveal them, which is why so much effort and attention to detail is applied in the earlier stages.

What really makes furniture come alive is the choice of fabric and finishes. Plumbs can offer thousands of different fabric colour, pattern and finishing combinations. It’s definitely no mean feat deciding with this much choice around.

You need to consider a number of key factors when making these decisions. Firstly, how your choice of colours will coordinate with the surrounding décor. Think about the shape and features of the furniture; is it elegant, heavyset, small or tall? Does it have show wood? All these factors have an impact when deciding whether to choose plain, textured, patterned or floral fabrics.

How the furniture is used should also be considered. Is it an everyday or just occasional piece? Occasional chairs, for example, are often regarded as being more decorative than practical, so delicate silks or suedes would suit. On frequently used furniture more robust fabrics would be a better choice.

There are many finishes and trimmings available from Plumbs, to enhance the top cover and final look of the furniture but they are also widely used to hide tack lines and stitching. Finishings come in all manor of colours, textures and designs. The more common types include; piping, braid, cord, studs, gimp and valances (pleated, tasselled & skirted).

-Jodi

Upholstery Techniques - Group A

Deep Buttoning

Deep buttoning requires the greatest amount of patience and accuracy of all the re-upholstering techniques. The effect of deep buttoning can easily define a piece of furniture and make it into a visual and sensual drama.

Deep buttoning is a very time consuming process that requires the patience and skill of an experienced upholsterer. Once the technique is mastered, the creativity of the upholsterer is what really makes the furniture stand out.

Deep buttoning is an exaggerated version of buttoning. This technique consists of buttons being compressed at regular intervals through a deep filled upholstery pad, and then stitched under tension at the back. A pattern of deep stuffed, padded pockets is then formed, often in a diamond configuration.

Buttoning was a further development of Tufting, which came about in the 18th century. Tufting, unlike buttoning, is stitched onto the surface rather than being cut into the pad. Tufts are traditionally made of short strands of silk, linen or wool but cotton embroidery is now the modern equivalent.

Many believe these methods were developed as a way of fixing stuffing within the upholstery pad. However, contrary to this popular opinion, buttoning is purely a way of styling features that excelled to satisfy the then Victorian tastes of opulent and voluptuous upholstery.

Any style of furniture can accommodate deep buttoning providing its frame allows for an upholstery pad with enough depth. Buttoning is generally found on the inside backs of furniture but can be used on seats, arms, padded borders and rails. Traditional Chesterfields are a great example of this deep buttoning effect.

Great care and attention is needed in the planning stages of deep buttoning, particularly when using floral, tartan or any intricate styled fabric. It is very important to get the fabric in the right position in relation to the buttons, folds and seat fabric. Any pattern mismatches will be intensified by this technique, which is why plain fabrics are a far better choice.

-Jodi

Upholstery Techniques - Group A

Stuffing & Padding

The Stuffing & Padding of upholstered furniture not only provides comfort and longer life but also shapes the furniture into it’s own unique style. Modern techniques are equally as good as traditional when attaining a high standard of durability.

Techniques applied in stuffing & padding upholstered furniture are largely determined by the style but also by the kinds of materials used. Depending on how upholsterers are trained, they will generally favour certain types of materials. There are many different types of materials used in the stuffing & padding process, each with their own role to play.

Once the upholstery foundation (of webbing, base hessian and possibly springs) has been attached to the frame, the first layer of stuffing is put down. Horsehair would traditionally be used for this but is now difficult and more expensive to obtain. A fibrous fire-retardant substitute or foam is now used as a modern equivalent.

Hair or fibrous stuffing is secured by bridle ties, which are stitched into the base hessian and looped to hold the fibres in place. Another layer of hessian is then applied over the stuffing.

Any stuffing that is more substantial than a thin pincushion pad will need to be supported. Along the edges of the second layer of hessian, rows of stitches are used to keep the edges firm, which improves durability and helps define the contours of the furniture. This technique is called ‘Stitched Edges’ and can be applied to seats, arms and backs.

Around the 1970’s more modern upholstery techniques of using foam started to replace the traditional first layer of horsehair and fibre stuffing. No stitching techniques are required when using foam as the foams edges are already well supported.

There are many various densities of foam, each used for different purposes. The denser and hardwearing foams are mainly used on the seats as an initial layer of padding. The less dense and softer foams are used more for secondary layers and on the arms and backs.

Cotton Felt and Wadding are other materials used as second and third layers of padding on seats, arms and backs. These layers can give an extra comfort and final shaping under the top-cover.

-Jodi

Upholstery Techniques - Group A

Springing

Springs take a very important role when used in the upholstery of furniture. They can be used to give added resilience, depth and comfort to the seat, inside back and arm pads. Springs in certain styles of furniture also help create shape.

Springs used in upholstered furniture, not only give additional comfort and strength but also help return seats, backs and arms to their original shape. Various types and sizes of springs are used for different purposes.

There are four main types of springs; Double-Cone Springs, Tension Springs, Serpentine (or also commonly known as Zigzag Springs) and Mesh Top Spring Units.

Double-Cone Springs form part of a piece of furniture’s foundation and are usually placed in-between webbing and base hessian. Depending on their size and gauge they can be used for seats and backs with the smallest and thinnest being generally used to support arm pads. It is vital these springs are applied in the correct way so that they do not buckle. The springs are secured to webbing, to each other with lashing, to the frame, and then covered in a layer of hessian. This technique keeps the springs in the best position allowing them to absorb and distribute weight evenly.

Tension Springs & Zigzag Springs are mainly used in the upholstery of more modern pieces of furniture. These springs also come in different gauges and sizes depending on their use and are usually secured to the frame with hooks rather than the more intricate techniques used with Double-Cone Springs.

Mesh Top Spring Units have become more popular with the arrival of mass-produced and pre-fabricated furniture. Spring units are composed of single-cone springs riveted on to a base of thin steel laths. These are then held in an upright position by a wire mesh with a heavier wire around the edge. This is all then covered with a layer of hessian.

-Jodi

Upholstery Techniques - Group A

Webbing & Base Hessian

Webbing & Base Hessian are commonly used as a foundation on most traditionally upholstered chairs and sofas. Webbing in particular helps the frame to become a strong weight bearing structure.

Every piece of upholstered furniture will have webbing applied to create a strong seat and firm base, which supports the rest of the upholstery. Webbing is also used on the arms and back to reinforce padding and stuffing.

There are several types of webbing, all of which are suitable for different applications. Three of the most common include Black & White English, Jute and Pirelli webbing.

Black & White English Webbing is one of, if not, the strongest upholstery webbing and is traditionally used to support double cone springs. This webbing is especially recommended for seating due to it’s strength, which comes from the cotton herringbone weave.

Jute Webbing is the most common webbing used and is made of a strong fibre grown in India. Jute webbing is widely used for supporting the back and arms but not recommended for use as a base under sprung seats.

Pirelli Webbing is a rubber webbing mainly found on Ercol, Parker Knoll and Cintique furniture. Pirelli makes a firm base for a seat cushion and is usually fixed with a metal clip that then slots into a groove in the frame rather than being stapled or tacked.

For un-sprung upholstered furniture, Base Hessian is applied straight over webbing to enforce this strong foundation. If springs are used, they are tied down on top of the webbing before hessian is applied. Similar to webbing, there are various types of hessian. Mainly differing in weight for use on specific parts of the frame or when layered over springs.

-Jodi

Upholstery Techniques - Group A

Taking Down & Frame Inspection

Taking down is a processes of removing layers of upholstery right down to the frame. Taking down in this way allows for each layer to be inspected and upholstery techniques noted so re-upholstering can be performed in the same manner in which it was made.

Every piece of furniture Plumbs re-upholster is inspected to determine which layers of upholstery can be kept and which needs to be replaced. The top layers of upholstery are generally discarded while springs, padding & stuffing, if in good condition, can easily be repaired or tightened.

We start the process by removing all the bottoming, which includes all old tacks, staples or studs. The utmost care is taken to ensure the frame is not damaged. This allows us to start stripping the old top cover.

The top cover, if removed carefully, can be a great guide when it comes to measuring replacement fabric. Once the top cover is removed we can assess the quality and take note of the type of padding & stuffing used.

At this point, on more modern pieces of furniture we may be able to start the re-covering process. If, however, the stuffing and padding is too worn, or the springs (if any) and frame need attention, we continue the taking down process.

With most materials now stripped down, we are able to fully inspect both springs and frame for damage.

-Jodi

Upholstery Techniques- Group A

Upholstery Techniques

 Foam cushion replacement project 

Sofa foam cushion replacement project

This particular foam (in green) is 5" thick and is the exact thickness needed to duplicate the existing sofa/couch cushions. We took the sofa measurements to a local fabric store and the clerks were very helpful in determining which type of foam would work best for our replacement cushion project and how much to purchase. Once we brought the foam home it was time to pull the covers off, remove the netting (netting holds the batting in place), peel away the batting (batting is a soft pillow-top liner for the foam cushions) and trace our outline of the old cushion onto the new 5" foam.

 

Following the line we made with a colored marker, we used ( recommended by the experts ) an electric knife, the kind your mom used to use to carve the turkey or ham. I've always said to do any job correctly all you need is, " the right tools and a little bit of time". The electric knife cut through the foam like "butter", not to mention how easy it was to keep the knife at a near perfect right angle for the sides of the new sofa cushions. 

 

Here is a shot of the old and the new foam (left) cushions side by side. 
 

Next I took the batting and wrapped it around the top, front, bottom, and back of the new cushion. Then I trimmed off any excess so it was the same size as the foam piece. 
 

The original netting I used again to hold the batting in place. I assume this is for two reasons. The first is that it will be easier to put the cover back on if the batting stays conformed to the cushion. The second is that the batting, over time, could move around as you use the sofa or chair creating lumps in the cushion if it weren't for the netting to hold everything in place. 
 

Notice how the netting controls and conforms the edges and corners from their original right angle cuts.

 

Tucking the cushion into the fabric sleeve was not as easy as I thought it would be, but with a little effort.... The trick is to have the cover inside out and start with the extension of the seat cushion first and work the cushion to the back. As you are inserting the foam, adjust and even out the batting as you go. 
 

Before you zip it up, butt the two ends of the batting together and adjust the netting for an even finish.
 

Compare the old with the new. First the old. This sofa needed the cushions replaced. 

Not a huge visual difference, but when you compare the two by sitting on each of them, you can feel a major difference. The total time spent on the three cushions was about an hour and a half. Here's the finished product. 

 

-Jodi

Upholstery Techniques - Group A

Upholstery Techniques

Want to redo a beat up piece of furniture? Or simply create your own unique piece? Here are step by step instructions on how to upholster.

The example we will use is of an old chair

Start by stripping off the original fabric. Save and label them accordingly.
If needed, staple an additional layer of batting to the frame.

Use the old fabric and a pattern for the new fabric. Lay the pieces right side down onto the new fabric to cut out. Then pin the new pieces to the chair using the wrong side out. Take off the pinned slip and sew it together. Use welting to reinforce the seems. Put the newly sewn piece back on the chair.

Pleats are created to help hide excess material around curves. To hide the staple that holds the pleats together, a good option is gluing down a button to hide it.

To attach the back, tack strips are stuck through the wrong side of the fabric at both long edges, about an inch in.

The tack stripes are then flipped over to pull the back panel taut and make clean, straight edges. The tacks are then hammered into the frame with a hammer that has a piece of batting secured around the head.

A sleeve is sewn together and put on. The back edge of the cover is pulled through the opening between the seat and back and stapled to the frame.

The seat cover is pulled tight and tacked to the bottom of the chair frame on the front and sides.

A lined, box-pleated skirt is sewn with welting is sewn. To assemble the skirt, layers are arranged on the chair, pinned in place, and sewn together at the top.
The skirt is then stapled to the frame on the wrong side of the fabric, just below the seam.
All done!!

The chair went from drab to fab with just a simple re-upholstery!

How to create a Tufted Wall:
Tufted Wall

A padded wall feels cozy in a bedroom, keeps the room warmer, and muffles sound. We used an electric staple gun to attach quilt batting to the wall and then stretched 54-inch-wide fabric panels over it, stapling at the edge of each panel.

How to create your own upholstered headboard:

How to Make It

1. Decide on the size of your headboard; our headboard is wider than the mattress. Referring to the photograph, draw the headboard shape onto kraft paper and cut out. Trace around the paper template on each MDF or plywood panel with a pencil.
2. Cut on the traced lines, using a circular saw for straight cuts and a jigsaw for curves. Sand the edges to remove splinters. Screw the shapes together.
3. Place the template on the 1-inch-thick foam. Use a pencil or marking pen to draw a line about 2 inches beyond the edges of the template. Cut out the foam shape and attach it to the headboard base with spray adhesive. Roll the excess foam over the edges and secure to the sides of the base with the adhesive. Trim the foam even with the back of the base.
4. Draw two template shapes on the muslin. Cut out 1 inch beyond the side and top edges to allow for seam allowances and ease. Cut out 3 inches beyond all the other drawn lines to allow for overlap along the bottom and inner legs. Cut enough 3-1/2-inch-wide boxing strips from muslin to reach from one lower edge of the headboard to the opposite lower edge along the top line, plus 6 inches.
5. Sew the short ends of the strips together to make a long strip; press the seam allowances open. Use T-pins to secure a muslin piece on the headboard front. Pin the boxing strip to the front muslin shape and then to the back one. Check the fit of the muslin cover on the foam-covered base, adjusting as necessary.
6. When you are pleased with the fit, carefully remove the muslin cover. Use a pencil to mark the side and top cutting lines 1/2 inch outside the pinned lines to allow for seams on the front, back, and boxing strip. Cut along marked lines as you remove pins.
7. Use the muslin pieces as patterns to cut a front and back from upholstery fabric, watching for straight of grain and for the placement of large motifs. Depending on the size of the headboard, it may be necessary to seam the fabric to achieve the needed width.
8. Use the width and length of the muslin boxing strip to cut boxing strips from the upholstery fabric. Sew the short ends of the strips together to make one long strip. Press the seam allowances open.
9. Sew welting (see instructions below) around the side and top edges of the front and back upholstery shapes. Pin the boxing strip to the front upholstery shape, sandwiching the welting between the fabric layers; sew the boxing strip to the front. Sew the opposite long edge of the boxing strip to the back upholstery shape in the same manner. Clip the corners and curved seams.
10. Turn the cover right side out. Slip the fabric cover over the foam-covered base. Beginning at the center bottom edge of the main headboard section and working outward toward the legs, pull the excess fabric from the back toward the front and staple in place on the underside of the base, positioning the staples close to the front of the headboard.
11. Trim the fabric that reaches beyond the staples. Pull the excess fabric from the front toward the back. Neatly fold under the raw edge of the fabric from the front and staple in place, covering the previous staples. Continue with the inner legs, trimming the fabric as needed and clipping carefully at the corners. Wrap excess fabric around the bottoms of legs and trim. Cut felt for the bottom of each leg; glue in place.

How to Make Welting

1. Cut 2-inch-wide strips of fabric on the bias.
2. Sew them into lengths.
3. Wrap them around cotton cording.
4. Machine-sew the seam using a zipper foot.

 

-Jodi