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An entity of interior design that develops and turns a space into an effective conceptual project and enters significantly in relation with its form: the lampshade.
Telaio Cilindro – Drum Frame
The frame is the backbone of the lampshade, the efficient adaptation to its modern function. It is composed by a set of elements making up the skeleton of a rigid supporting structure with which some parts of less resistance are connected.
Telaio Pagoda Quadra – Square Bell Frame
A lampshade has a metal structure with two or more orders of straight wire supports holding up the upper and the lower edges; the frame has a central socket to attach the light bulb and is made of a metallic wire, galvanized or covered with plastic, usually painted white to prevent oxidation and rust.
Telaio Cinese – Round Chinese Coolie Frame
The lamp saddle and socket can have different sizes: the small E14 or the large E27 wire fitting, eventually with a reducer or an adapter ( i.e. a white plastic ring, or a converter plug, that goes between the socket and the bulb), permanently attached to the shade which is directly installed to the lamp socket (EC European or BC British fitting system).
A rotary cutter is a tool used to cut fabric and mainly composed by three parts: a circular rotating blade, an ergonomic handle and an open/shut safety latch.
A rotary cutter combines the high-cutting efficiency and balance technology of the needlework scissors with the unique manufacturing process to the functional need to cut contemporaneously out multiple layers of light-or heavyweight fabric materials to straight lines, as well as curves, into shapes and pieces for craft projects. Quilting and patchwork become easier and time-saving, as it avoids working exhausting up to mark and cut single fabric patches every time and speeds certainly up the quilt assembly.
The Olfa Company introduced the first rotary cutter in 1979 for garment making. It was handy in place of scissors and quickly adopted by quilters who began the patchwork-revolution!
The blade. Circular and rolling, sharp and precise, swift and all-purpose: there is a blade to suit every need. The blade is made of high-quality carbide coated tungsten steel or titanium for an unparalleled sharpness; as well as it is double-honed for extra cutting capacity and durability.
It is available in several different sizes and diameters, from mm. 18 to mm. 60. Usually the larger the blade the easier is to slice through the fabric’s layers. More than a single rotary cutter will be necessary for some tasks than others. To cut out smoothly and easily through multi-layers, the blade mm. 60 in diameter is perfect and exact. Versatile and accurate for quilting, sewing and craft projects, the basic blade mm. 45 creates a safe and comfortable cut. As well, the small blade mm. 18 is a good solution to cut around sharp curves.
The vinyl glue is one of the most used adhesives, often known by its trade name Vinavil, but there are several brands and manufacturers on the market. The most commonly used vinyl synthetic resin is polyvinyl acetate (PVAc) in an aqueous emulsion, which has a variety of use in industries, in art and hobby, in handcrafted works, in book-binding and book arts, due to its flexible strong bond and non-acidic nature, usually without need for primers. However, there are also the related polymer polyvinyl alcohol (PVA) adhesives diluted in solvent solutions. Polyvinyl acetate belongs to the polyvinyl esters family and is a type of thermoplastic; these glue types are also referred to as wood glue, white and school glue, or carpenters glue and so on. The vinyl glue looks like a white liquid, milky, with a characteristic slightly acidulous smell, and remains consistent in its quality to conform specific standards. The advantages are low price and toxicity, simple use, and good sticking efficiency. The main disadvantage is the average long drying up time.
Colla Vinavil NPC (www.vinavil.com)
I use the vinyl glue to bond the fabric (linen, cotton or silk, gobelin and batiste) to the polystyrene lampshade panel, as well as to the wooden or metal bases, diluted in water in the required amount according to the material resistance and porosity (well-finished or unrefined, smooth and waterproof, thick or thin). The usually needed percentage glue-water is in the ratio of 1 to 2. But it is necessary to test the materials’ characteristics, to adjust the water measure. Thanks to the decoupage technique, I also paste art-paper, decorative cardboard, silk or soft-paper, tissue and vellum paper, Japanese washi-paper to lampshades and bases. When the glue is dry, it gets an elastic consistency and is transparent, smooth to the touch: so it can easily stick and protect all decorative elements.
If the material is porous, or fine and delicate, I apply a thin glue coat with a flat brush; on the contrary, I apply on the surface a good glue coat if the support is particularly porous. To hold the fabric, or paper, I use one or more plastic binder clips.
Once the gluing process is over, the finished shade has to rest for up 12 hours, to allow the adhesive the ability to completely bond. The best tips for gluing vinyl include adequately cleaning the project area, working in small sections at a time, and following proper safety precautions; such as, wearing gloves while working with vinyl adhesives to stick silk-fabric and delicate art-paper. A clean area provides an easier surface for the glue to attach to, as well as a longer hold between two different materials. I avoid not properly aligned edges and air balls beneath the surface of fabric, or paper, by working in small sections; as well, I clean immediately dripping glue with a damp cloth.
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