1324 - Interior Design Projects Continued
February 10-16, 2003 | August 11-17, 2003
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HI, I'M BOB VILA.
WELCOME HOME AGAIN
TO OUR COLONIAL HOME
PROJECT HERE.
TODAY WE'VE GOT A GUEST
ON THE SHOW WHO'S GONNA
GIVE YOU A FEW POINTERS
ON HOW YOU CAN CREATE
A BEAUTIFUL, 19th CENTURY
FEELING MURAL.
WE'LL VISIT WINTERTHUR,
WHERE WE'RE GOING TO LOOK AT
SOME ANTIQUE CHINESE WALLPAPER,
AND WE'VE GOT A BRAND NEW TYPE
OF KITCHEN ENTERTAINMENT SYSTEM
THAT IS WATERPROOF.
STICK AROUND. IT'S GOOD
TO HAVE YOU HOME AGAIN.
CAPTIONING MADE POSSIBLE BY
SEARS
WE'RE WORKING WITH POLLY FORCIER
FROM MB HISTORIC DECOR,
AND WHAT WE'RE DOING HERE IS
CREATING A MURAL ON THE WALL
RIGHT OFF THE KITCHEN
THAT WILL HEARKEN BACK
TO EARLY COLONIAL ERA.
AND EVEN EARLY
19th CENTURY MURALS.
THERE WAS A FAMOUS
MURALIST, RIGHT, POLLY?
THAT'S RIGHT.
HIS NAME WAS RUFUS PORTER.
HE TRAVELED AROUND
IN NEW HAMPSHIRE,
MASSACHUSETTS, AND MAINE.
AN ITINERANT PAINTER.
AN ITINERANT PAINTER.
AND HE DID MANY MURALS--
HUNDREDS OF MURALS ON WALLS.
AND A LOT OF WHAT YOU DO
IS INSPIRED BY HIS WORK.
EXACTLY. I'VE STUDIED HIS WORK,
I'VE BEEN IN HOUSES.
I'VE TAKEN PICTURES AND
I'VE TAKEN TRACINGS.
NOW BEHIND YOU WE
ALREADY HAVE THE
BEGINNINGS OF A SCENE.
THE SKY. IT'S A SUNRISE,
AND THAT'S WHY YOU
HAVE THE PINK,
AND THEN YOU HAVE
A HORIZON WHICH
INVOLVES WATER,
AND, AGAIN, IT'S
ALL BASED ON THIS.
RUFUS PORTER CHOSE
A SOURCE OF LIGHT,
A WINDOW THAT WAS
CLOSE TO THE WALL,
AND HE USED THAT AS
HIS SOURCE OF LIGHT,
SO EVERYTHING THAT
WOULD BE--THE LIGHT
BEING FROM THAT DIRECTION
AND EVERYTHING ON
THE LEFT HAND SIDE
OF THE MURAL
WILL BE HIGHLIGHTED WITH
YELLOW OR LIGHTER COLORS.
SO NOW WE'RE PAINTING
RIGHT OVER THE BLUE.
RIGHT OVER THE BLUE.
TO CREATE
THE HILLSIDE EFFECT.
THIS WILL BE
THE HILLSIDE.
NOW EARLIER
YOU TOOK CHARCOAL
AND PLOTTED OUT THE LINES
OF THE DIFFERENT FORMS.
THE HORIZON LINE,
THE MOUNTAINS THAT
WILL BE IN THE DISTANCE,
THE HILLS THAT ARE
IN THE FOREGROUND,
AND THEN IN THE MIDDLE
YOU'RE GOING TO BE
USING STENCILS
TO PUT IN A VILLAGE
OF HOUSES, RIGHT?
THAT'S RIGHT.
NOW CLEARLY THIS IS
NOT THE KIND OF PROJECT
THAT YOU'RE GOING TO GET
DONE IN 5 OR 10 MINUTES.
THE NEXT PART OF IT
INVOLVES GETTING THESE
2 WHITE HOUSES IN PLACE.
AND HERE YOU'RE GOING
TO BE STENCILING, HUH?
THERE ARE 9 OVERLAYS
TO THIS VILLAGE.
9?
9.
OK, LET'S GET STARTED.
OK. WE'LL GET RIGHT
INTO THE PAINT.
THE WHITE PAINT HERE.
WE'RE GOING TO DO THE SUNNY
SIDES OF THE BUILDINGS FIRST.
SO WE'RE GONNA DO THE WHITE,
THEN WE'LL DO THE SHADED
SIDE OF THE WHITE
BY ADDING JUST A TINY BIT OF
BLACK TO IT TO MAKE IT GRAY.
NOW, WITH MY STENCILING,
AS WITH RUFUS PORTER'S
STENCILING,
YOU ARE GOING TO SEE
SOME OF THE BACKGROUND
THROUGH.
YOU WON'T SEE MUCH OF IT,
BUT WE WILL KIND OF BLOT
IT OUT AS MUCH AS WE CAN.
WHY IS IT IMPORTANT
TO USE THAT KIND
OF A BRUSH?
WELL, THIS IS A SPECIAL
STENCIL BRUSH.
IT'S FAIRLY SOFT,
AND I PREFER THE METHOD
OF ROTATION
TO THE STIPPLING METHOD,
ALTHOUGH ON OCCASION I DO
USE THE STIPPLING METHOD.
BUT THIS IS A FASTER
WAY OF GOING
AND GETTING IT
ACCOMPLISHED.
THIS IS A LITTLE SCHOOLHOUSE
WITH A DOME ON TOP.
THIS IS ACTUALLY
NUMBER 3 STENCIL,
WHICH WILL ADD YELLOW.
OK. NOW SEE THIS LITTLE
DOT HERE, BOB?
GOT IT, RIGHT THERE.
IT'S VERY IMPORTANT THAT
THESE BE EXACTLY LINED UP.
OK.
OK.
THIS IS OUR YELLOW HOUSE.
AND IT GOES RIGHT
OVER THE GREEN.
IT DOESN'T REALLY
COVER ALL THAT WELL
BUT YOU WON'T NOTICE THAT
WHEN WE'RE THROUGH
BECAUSE THERE ARE LOADS
OF WINDOWS AND...
DETAILS.
DETAILS THAT
GO OVER IT.
AND THAT COMES IN
IN THE NEXT SUCCESSIVE
OVERLAYS, RIGHT?
YES, IT DOES.
NOW ALL OF
THESE STENCILS,
THEY'RE SPRAYED ON
THE BACK WITH A FIXATIVE
SO THAT THEY STICK
TO THE WALL.
YES, THEY ARE.
THESE STENCILS HAVE
BEEN USED BEFORE,
AND THAT'S WHY--
WAIT A MINUTE.
THE STICKY SIDE
IS FACING US.
THERE YOU GO.
RIGHT ON.
AND THESE ARE THE BRICK
CHIMNEYS COMING IN?
NO, THIS IS GOING
TO BE THE HOUSE.
THE BRICK CHIMNEY
I'M GOING TO DO WITH--
A BRIGHTER RED?
A BRIGHTER RED, YES.
AH, POLLY,
THIS IS GOING TO BE
ABSOLUTELY GREAT.
LOOK AT THAT.
IT'S GETTING THERE.
WE'LL CHECK BACK WITH
YOU A LITTLE BIT LATER.
COMING UP NEXT,
WE'LL BE BACK AT WINTERTHUR
FOR A LOOK AT SOME
ANTIQUE CHINESE WALLPAPER.
WE'RE IN DELAWARE'S
BRANDYWINE VALLEY,
HOME TO HORTICULTURALIST
AND ANTIQUES COLLECTOR
HENRY FRANCIS DUPONT.
HE SPENT 65 YEARS
AND QUITE A FORTUNE
METICULOUSLY
DESIGNING AND LANDSCAPING
THESE ROLLING HILLSIDES
AND FOREST GLENS
ON THE 900 ACRES THAT'S TODAY
KNOWN AS WINTERTHUR,
AN AMERICAN COUNTRY ESTATE.
THE GROUNDS ARE
TRULY SPECTACULAR,
BUT WE'RE HERE TODAY TO VISIT
ONE OF THE 175 EXTRAORDINARY
HISTORIC INTERIORS
COLLECTED BY MR. DUPONT.
THEY'RE OPEN TO
THE PUBLIC TODAY.
LET'S GO INSIDE
AND MEET PAULINE EVERSMANN.
OK, SO PAULINE,
TODAY YOU'RE SHOWING US
THE CHINESE PARLOR.
THE CHINESE PARLOR.
AND I DON'T THINK
IT TAKES MUCH IMAGINATION
TO FIGURE OUT WHY IT
WAS NAMED THE CHINESE PARLOR.
NO DOUBT ABOUT IT.
BUT IT'S A HUGE ROOM.
IT'S PROBABLY 30 X 25,
OR EVEN BIGGER.
SOMETHING LIKE THAT.
NOW IT'S NOT AN HISTORIC
ARCHITECTURAL ROOM
FROM SOMEPLACE ELSE.
NO, IT ISN'T.
THIS ROOM WAS CREATED
OUT OF 3 ROOMS
IN THE ORIGINAL HOUSE
SPECIFICALLY TO HOUSE
THIS WALLPAPER, BOB.
WHEN DUPONT WAS EXPANDING
THE HOUSE IN THE 1930s,
HE WAS FORTUNATE ENOUGH
TO BE ABLE TO BUY
A COMPLETE SET
OF CHINESE WALLPAPER.
HE GOT IT FROM A DEALER,
AND THE STORY IS,
IN POINT OF FACT,
IT HAD PROBABLY
NEVER BEEN USED
UP UNTIL THE TIME
THAT DUPONT BOUGHT IT.
BUT IT'S ANTIQUE.
IT'S FROM THE--
OH, YES. IT'S FROM
THE LATE 18th CENTURY.
NOW HAD HE PLANNED
ON MAKING THE ROOM
HAVE THIS KIND OF COVE
UP AT THE TOP?
WELL, IN ORDER TO
ACCOMMODATE THE FULL
LENGTH OF THE PAPER
HE NEEDED TO
RAISE THE CEILING,
AND HE DID IT BY
CREATING THAT COVE,
SO THIS ROOM REALLY WAS CREATED
SPECIFICALLY FOR THE PAPER.
AS A MATTER OF FACT,
IF YOU LOOK OVER,
FOR EXAMPLE,
OVER THE CUPBOARD HERE,
YOU'LL SEE THAT THE AREA
DIRECTLY OVER THE CUPBOARD
IS ACTUALLY IN PAINTED,
IT'S NOT WALLPAPER.
HE DID THAT TO PRESERVE
AS MUCH OF THE FULL LENGTH
OF THE WALLPAPER AS POSSIBLE,
SO HE DIDN'T HAVE
TO CUT IT RIGHT THERE.
SO HE HIRED AN ARTIST
TO REPLICATE THE DESIGN,
AS IT WERE.
NOW THERE'S A GREAT
DEAL OF DEPTH TO THIS.
LET'S GO LOOK AT
THE BIG WALL THAT'S
UNINTERRUPTED OVER HERE.
THERE'S A GREAT DEAL
OF DEPTH AND PERSPECTIVE.
WHAT ARE WE LOOKING AT?
ACTUALLY, THIS IS A VERY
GOOD EXAMPLE OF A CHINESE
VERSION OF PERSPECTIVE.
ESSENTIALLY WHAT YOU
HAVE IS 3 LAYERS HERE,
BUT THEY'RE GOING
UP VERTICAL.
THE LARGE AREA
IN THE FOREGROUND
IS A DEPICTION OF SCHOLARS
AND THEIR SCHOLARS' LIFE.
FOR THE CHINESE,
THIS IS THE HIGHEST
FORM OF OCCUPATION,
TO BE A SCHOLAR.
SO THIS WHOLE LOWER
SECTION OF IT IS
ALL ABOUT THE ELITE.
THE ELITE, THE SCHOLARS.
THEN IF YOU LET YOUR EYES
GO UP, YOU'RE GONNA COME
TO THE NEXT LAYER
WHICH IS THE LAYER
WHICH ADDRESSES THE LIVES
OF THE MERCHANTS
AND THE ARTISANS.
AND THEY'RE ALONG
THE EDGES OF A RIVER.
THAT'S RIGHT,
AND YOU'LL NOTICE
HOW THEY'RE
SMALLER IN SCALE
THAN THE SCHOLARS,
AND THEN IF YOU KEEP GOING
ALL THE WAY TO THE TOP,
YOU'LL COME UP
TO THE WORKING CLASS,
IN THIS CASE
THE PEASANT CLASS.
SO, ESSENTIALLY, IT'S
A COMPREHENSIVE VIEW
OF CHINESE LIFE,
BUT IT'S VERY CLEARLY
HIERARCHICAL.
YOU CAN SEE WHERE
THE VALUES ARE DEPICTED
IN THIS WALLPAPER.
SO AT IT'S
SIMPLEST LEVEL,
THE HIERARCHIES ARE
DEPICTED BY SIZE.
THAT'S RIGHT.
THE MOST IMPORTANT
BEING THE LARGEST
AND THE LEAST IMPORTANT,
BEING THE PEASANTS,
BEING THE SMALLEST.
THAT'S RIGHT.
NOW PORCELAIN
IS A BIG PART OF
THE WHOLE STORY, TOO.
DIDN'T MR. DUPONT
COLLECT ENORMOUS,
VAST QUANTITIES
OF CHINESE PORCELAIN?
WELL, HE DID.
HE HAD OVER
5,000 PIECES
OF CHINESE
EXPORT PORCELAIN
IN HIS COLLECTION.
THIS IS JUST A
VERY SMALL SAMPLE OF
AN UNUSUAL PATTERN.
WE CALL IT
ENCRE DE CHINE,
OR CHINESE INK.
IT'S A BLACK
AND WHITE DESIGN.
BUT PROBABLY
THE REAL STAR
OF DUPONT'S COLLECTION
IS HIS COLLECTION
OF THIS ORDER OF
CINCINNATI SET,
OWNED BY
GEORGE WASHINGTON AND
WASHINGTON'S RELATIVES.
AFTER
THE REVOLUTIONARY WAR,
GEORGE WASHINGTON
CREATED THE ORDER
OF CINCINNATI.
IT WAS A FRATERNAL
ORDER DESIGNED FOR
THE OFFICERS
WHO SERVED
UNDER HIM IN
THE REVOLUTIONARY WAR,
AND AS PART
OF THAT SOCIETY,
THEY ORDERED A SET
OF CHINESE EXPORT
PORCELAIN FROM CHINA
THAT HAD THE EMBLEM
OF THE ORDER OF
CINCINNATI ON IT.
IT'S THE ANGEL OF FAME,
HOLDING A MEDAL.
IN THE COURSE
OF HIS COLLECTING,
DUPONT WAS ABLE TO
COLLECT 150 PIECES
FROM THE WASHINGTON SET,
AND IT IS PROBABLY
THE LARGEST HOLDING
OF WASHINGTON PORCELAIN
IN ONE HAND.
SO THAT'S THE STAR
OF THE COLLECTION.
WHAT ABOUT CHINESE-
INSPIRED FURNITURE?
IS THIS CHINESE IMPORTED
OR IS IT SOMETHING MADE
IN THE COLONIES?
IT ACTUALLY WAS MADE IN
THE COLONIES. WE THINK
IT'S A SOUTHERN PIECE.
AND IT REALLY DOES
HAVE CHINESE MOTIFS.
IF YOU LOOK VERY CAREFULLY
AT THE FRET WORK HERE,
AND THEN YOU GO ON
UP TO THE WALLPAPER,
YOU SEE THAT SAME
KIND OF FRET WORK
REPEATED IN THE TOP
OF THE PAGODA.
FABULOUS. PAULINE,
THANKS FOR GIVING
US THE TOUR.
YOU'RE WELCOME.
THANK YOU FOR COMING, BOB.
ABSOLUTELY.
NEXT WE'LL MAKE SOME DRAMATIC
PAINTED CUT AND PIERCED
LAMPSHADES
BACK AT OUR BUILDING SITE.
NEXT TIME ON...
WE CONTINUE WITH
THE FINISHING TOUCHES
AT OUR CENTER-ENTRY
COLONIAL PROJECT.
WE'LL BE CREATING
A BEAUTIFUL MURAL
OFF THE KITCHEN AREA
THAT HEARKENS BACK
TO THE EARLY 19th CENTURY.
WE'LL SHOW YOU A WATERPROOF
KITCHEN ENTERTAINMENT SYSTEM,
AND WE'LL MAKE PAINTED
AND PIERCED LAMPSHADES.
ALSO, WE'LL BE BACK
AT WINTERTHUR,
IN DELAWARE'S
BRANDYWINE VALLEY,
TO LOOK AT SOME
ANTIQUE CHINESE WALLPAPER
AND A COLLECTION OF
CHINESE EXPORT PORCELAIN.
DON'T MISS IT.
THAT'S NEXT TIME ON...
NEXT TIME ON...
IT'S A WATERPROOF
ENTERTAINMENT SYSTEM,
A KITCHEN MURAL, AND PAINTED
AND PIERCED LAMPSHADES.
DON'T MISS IT.
BRENT THOMPSON IS WITH US
NOW IN THE KITCHEN.
HE'S GONNA TELL US
ALL ABOUT THE ICEBOX--
AND IT'S NOT
JUST ANY ICEBOX.
YOU CALL IT THE ICEBOX
BUT IT'S REALLY
AN ENTERTAINMENT CENTER.
HI, BOB.
HI, BRENT.
WHAT'S IT STAND FOR?
ICEBOX STANDS FOR
INFORMATION, COMMUNICATION,
AND ENTERTAINMENT BOX.
OK, SO THERE
IS A LOGIC HERE.
AND THIS IS IT.
THIS IS ALL THERE
IS TO IT, RIGHT?
IT'S ALL WRAPPED UP
INTO ONE PIECE.
IT'S NOT A COMPUTER,
THOUGH.
NOT A COMPUTER.
WE'VE INCORPORATED
A BUNCH OF DIFFERENT
FEATURES.
IT STARTS OFF BEING
A TELEVISION SET,
BUT WE'VE ALSO
INCLUDED OTHER THINGS
THAT MAKE SENSE
IN THE KITCHEN,
HAVING INTERNET
BROWSER ACCESS,
SO YOU CAN GET ONLINE
AND CHECK YOUR E-MAIL
OR SOMETHING LIKE THAT.
SO YOU CAN GO ONLINE,
CHECK YOU E-MAIL,
VISIT A WEB SITE.
LOOK UP A RECIPE,
FIND THE NEWS
FOR THE DAY,
A LOT OF DIFFERENT
THINGS THAT MAKE SENSE
FOR QUICK ACCESS
TO THE INTERNET.
CAN YOU PLAY
A DVD?
CERTAINLY.
DVD FUNCTIONALITY.
THERE'S A TOUCHSCREEN
OVERLAY HERE,
SO FOR THE INTERNET
YOU'D BE ABLE TO USE
THE TOUCHSCREEN,
BUT ALSO FOR DVD
MENU CONTROLS,
YOU CAN USE
THE TOUCHSCREEN AS WELL.
AND I JUST LOVE
THE FACT IT FITS IN
LIKE ONE OF THESE
MODERN APPLIANCES
UNDERNEATH THERE.
DOES IT ALSO SWIVEL
AROUND AND DISAPPEAR?
SURE. THE SCREEN PIVOTS
AROUND AND CLOSES
SO WHEN YOU'RE NOT USING
IT IT'S OUT OF THE WAY.
OK. NOW THE MAIN THING
I HEARD ABOUT THIS,
THERE'S A FEATURE
THAT'S VERY INTERESTING
IS THAT IT'S WATERPROOF.
RIGHT.
AND THIS, OF COURSE,
NO WIRES ATTACHED TO
THE CONTROL PANEL HERE.
IT'S A WIRELESS
KEYBOARD AND REMOTE
THAT ARE WATERPROOF.
IT'S DESIGNED FOR
THE KITCHEN SPACE.
AND I ASKED FOR A BOWL
SO WE COULD ACTUALLY
DUNK IT INTO WATER.
AND THIS WHOLE THING--
YOU CAN WASH IT OFF,
SPONGE IT OFF,
AND DON'T HAVE TO WORRY
IF THE KIDS THROW IT
INTO A TUB OF WATER.
IF YOU GET A LITTLE BIT
OF PEANUT BUTTER ON THERE,
YOU CAN JUST RUN IT
UNDERNEATH THE FAUCET.
HOW ABOUT THE REMOTE.
DOES THE REMOTE--
OOP!
SORRY.
[LAUGHING] YES,
OF COURSE IT IS.
THEY BOTH ARE.
THAT'S VERY COOL.
THANKS VERY MUCH.
YOU BET.
NOW LET'S SAY HI
TO LINDA GAVIN,
WHO'S GOING TO SHOW US
A LITTLE BIT ABOUT
A REALLY SPECIAL CRAFT
THAT HAS TO
DO WITH PIERCING
AND PAINTING LAMPSHADES.
AND YOU'VE ACTUALLY
GOT A LITTLE BUSINESS
IN--WHAT TOWN IS IT?
IN YARMOUTHPORT.
IN YARMOUTHPORT,
MASSACHUSETTS.
AND THESE ARE SOME OF
THE THINGS THAT YOU DO.
LET'S TURN SOME OF THESE
ON SO WE CAN REALLY
APPRECIATE THE WORK.
THIS IS LILY OF THE VALLEY.
AND HOW DO YOU--
THIS IS KIND OF
LIKE ON PURPOSE, RIGHT?
IT'S CUT SO
IT'S 3-DIMENSIONAL.
YES. IT'S CUT AND
PIERCED AND PAINTED.
WHAT KIND OF PAPER
DO YOU USE?
WE USE
A WATERCOLOR PAPER.
SO IT'S A STURDY
WATERCOLOR PAPER,
AND THEY HAVE A LONG LIFE,
THIS TYPE OF A SHADE?
THEY'LL LAST
UP TO 20 YEARS IF
THEY'RE TAKEN CARE OF.
REALLY? AND THIS ONE,
NO PAINTING,
JUST THE PIERCING.
JUST THE CUTTING.
VERY, VERY BEAUTIFUL.
AND THEN OVER HERE,
WHAT HAVE YOU GOT?
THIS ONE IS A FABRIC
SHADE THAT WE'VE MADE.
THIS IS A MINI TOILE,
AND IT HAPPENS TO BE
ON A BEAUTIFUL
SANDWICH GLASS.
THIS IS SANDWICH GLASS.
YES, IT IS.
SANDWICH OIL LAMP.
AND YOU'VE CONVERTED
IT TO ELECTRICITY
AND PUT A LITTLE
CLOTH-COVERED SHADE,
SO THAT'S NOT
PAINTED OR PIERCED.
AND THIS ONE BACK HERE?
THIS IS A HAND-PAINTED
AND CUT PIERCED.
TELL ME ABOUT
THE DESIGN HERE.
WHERE'D YOU GET THE IDEA?
WELL, THE DESIGN
WAS ON THE BASE,
AND IT'S REALLY
QUITE PRETTY,
AND LESLIE AND I
FELT COPYING THE
PATTERN ONTO THE SHADE
WOULD BE
VERY, VERY DRAMATIC
AND IT TURNED OUT
VERY NICE.
IT'S A GREAT IDEA.
ALL RIGHT, SO HOW DO
YOU DO SOMETHING LIKE THIS?
WELL, WE START
WITH AN ARC.
WE CUT AN ARC TO
THE SIZE THAT WE NEED.
SO THIS SHAPE, THIS ARC,
WILL BE THE ACTUAL SHADE.
THIS WILL BE
THE ACTUAL SIZE SHADE
THAT WE'RE WORKING
ON RIGHT HERE.
IT'S A 16-INCH,
AND WHAT WE DO
FROM THERE
IS WE COPY THE PATTERN
ONTO THE ARC.
NOW, THIS PATTERN.
DID YOU DO THIS FREEHAND?
YES, I DID.
SO THERE'S A FAIR
AMOUNT OF ART HERE.
THERE'S A LITTLE BIT
OF WORK TO BE
DONE ON IT.
FROM THERE WE START
OUT WITH JUST LINING
THE BASIC LINES THAT
WE'RE WORKING WITH.
IN PENCIL.
IN PENCIL.
AND THEN WE GO
INTO THE PAINTING.
AND THE PAINTING
IS STANDARD WATERCOLOR.
THIS IS WATERCOLOR
PAINT THAT I USE.
JUST KIND OF LINE
EVERYTHING UP.
I DON'T WORRY ABOUT
THE DETAIL UNTIL LATER.
NEXT STEP IS TO
GO BACK AND LINE.
THE REASON I LINE
THINGS IS TO MAKE
IT SHOW UP
A LITTLE BIT MORE
ONCE IT'S BEEN CUT.
SO WHAT I DO IS GET
A LITTLE DARKER
COLORING.
AND THIS,
I'VE TRIED TO MATCH
THE CELADON GREEN
AS BEST AS I CAN.
SO YOU REALLY ARE MIXING
YOUR GREEN AND YOUR BLUE
TO GET JUST THE RIGHT
COLOR HERE.
I SURE AM.
AND IF IT COMES UP
JUST A LITTLE
TOO BRIGHT
I ADD A TEENY BIT
OF BLACK TO IT
JUST TO TONE IT DOWN.
AND THAT WORKS
PRETTY WELL.
I GO IN WITH MY--
WITH A FINER BRUSH.
FINE-TOOTHED--
VERY, VERY FINE
BRUSH HERE,
AND WHAT WE DO IS WE
GO IN AND WE OUTLINE.
OH, YEAH. THAT IS
THE CRITICAL PART OF
THE EQUATION, ISN'T IT?
IT IS, BECAUSE THIS
DOES ACTUALLY SHOW UP.
WELL, IT GIVE IT
THREE DIMENSIONS.
IT GIVES IT THE
DEFINITION THAT
YOU'RE LOOKING FOR.
ESPECIALLY
WHEN IT'S CUT.
IT GETS THE EDGES
A LITTLE BIT DARKER.
AND YOU'LL
ACTUALLY SEE THIS
A LITTLE BIT...
WHEN WE DO THE CUTTING.
YOU DON'T HAVE TO
BE TOO FUSSY,
BECAUSE THOSE LINES
DON'T SHOW UP ALL THAT
WELL WHEN IT'S CUT.
BUT THAT'S PRETTY MUCH
THE WAY IT'S DONE.
FROM THERE, ONCE
IT'S BEEN PAINTED,
AND IT'S ALL SET
AND READY TO GO,
WE HAVE A LITTLE PIERCER
THAT WE WORK WITH.
AND THIS WE DO
OUR OUTLINE WITH.
AND NOW THAT'S JUST
LIKE A LITTLE PUNCH.
IT'S LIKE A LITTLE
NEEDLE ON A PUNCH.
THAT'S WHAT IT IS.
AND SHOW US THE TECHNIQUE
INVOLVED IN THIS ASPECT OF IT.
YOU JUST PUT
A TOWEL UNDER IT.
GO UNDERNEATH IT SO
WE CAN GET A LITTLE
BIT OF DEPTH ON IT.
AND THIS IS KIND
OF CRITICAL,
BECAUSE YOU'VE GOTTA
DO THIS FIRST BEFORE
YOU DO ANY CUTTING.
YOU TRY TO GET YOUR
HOLES PRETTY EVEN...
SO THEY SHOW UP
CORRECTLY ON
THE FINISHED PRODUCT.
AND FROM THERE, WE
TAKE AN EXACTO KNIFE--
THIS IS A REAL FINE KNIFE.
THIS IS THE HARD PART,
BECAUSE YOU HAVE TO
DO IT EXACT--
AND I DON'T KNOW
IF I CAN DO IT
ON THIS WOOD BASE,
I HAVEN'T DONE IT
ON WOOD BEFORE.
I USE GLASS
AT THE SHOP.
OH, REALLY?
YOU CUT IT ON TOP
OF A GLASS SURFACE.
I CUT IT ON TOP OF
JUST A PANE OF GLASS.
AND THEN YOU GO
THROUGH HERE.
BUT HOW DO YOU KNOW
WHAT TO CUT?
WELL, IT TAKES A LITTLE
BIT OF KNOWLEDGE TO KNOW
HOW FAR TO GO
AND HOW IT'S GONNA
LOOK WHEN IT'S DONE.
USUALLY IT POKES
THROUGH LIKE THAT.
USUALLY I'LL WAIT
TILL I'M DONE DOING
THE WHOLE FLOWER,
AND THAT WAY I'LL
POKE IT RIGHT THROUGH
AND EACH PETAL--
GOTTA LEAVE A LITTLE
BIT ON FOR THE PAPER,
BUT YOU TRY TO GET
3/4 OF THE PETAL OUT
SO IT'LL FOLD IN
LIKE THIS HERE.
RIGHT, AND 1/4 SO
IT STAYS HINGED TO--
ATTACHED. YOU CAN'T CUT
IT ALL THE WAY THROUGH.
HOW LONG WILL IT
TAKE YOU TO DO A
WHOLE SHADE LIKE THIS?
UM, THERE'S A COUPLE
OF HOURS INVOLVED
IN JUST THE PAINTING
AND THE PIERCING
PART OF IT.
AND THEN YOU HAVE
TO ASSEMBLE IT.
YES, WHICH WE HAVE
WIRES WE PUT IT ONTO,
AND WE HAVE CLIPS
THAT WE USE
TO ATTACH THE WHOLE
THING TOGETHER.
AND THEN WE FINISH
IT UP WITH
A GROSGRAIN EDGE
HERE AND A SUTASH.
THERE'S A LOT MORE TO IT
THAN MEETS THE EYE.
LOT MORE TO IT
THAN MEETS THE EYE.
PRICE TAG?
PRICE TAG ON SOMETHING
LIKE THIS WOULD
PROBABLY BE $125.
THANKS A LOT,
LINDA.
THANK YOU.
IT'S BEAUTIFUL.
WHEN WE COME BACK
WE'LL SEE THE PROGRESS
POLLY FORCIER HAS MADE
PAINTING THE KITCHEN MURAL.
WELL, POLLY, THIS IS GONNA
TAKE YOU A FEW MORE HOURS.
YES, IT IS. THERE'S
A LOT OF DETAIL WORK
THAT HAS TO BE DONE.
CONGRATULATIONS, THOUGH.
IT'S BEAUTIFUL, BEAUTIFUL WORK.
IT'S JUST
THE BEGINNING.
YEAH.
WE'RE RUNNING OUT OF TIME.
COME HOME AGAIN NEXT WEEK
WHEN WE'LL BE
INSTALLING APPLIANCES
AND PLUMBING FIXTURES.
ALSO, FURNITURE MAKING AT
THE NORTH BENNET STREET SCHOOL.
TILL THEN, I'M BOB VILA.
IT'S GOOD TO HAVE YOU
HOME AGAIN.
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