Distressed Washed Wood Crates Cabinet 3 Drawer Chest Quickway Imports

You know that feeling of being caught between lives, when you've outgrown one way of life but haven't comfortably shifted into another? That's been my life for awhile now. It's difficult, sometimes. I'm a person who sees possibilities, all of the many, varied roads that stretch ahead of me. But I'm also old enough to quickly curb some of those possibilities, to instinctively know what won't work for the long haul. That seesawing of possibility and pruning can be exhausting. But as I know from all the other times I've been caught between lives, there's no way out but through.

This feeling of "messiness" in my life has probably contributed to my wanting less, as I mentioned in my last post. I feel nearly obsessed, lately, with stripping away the layers so I can determine what I want to keep or add on for the future. And truthfully, for me, all that psychological clarity has to begin in the physical world.

To that end, I've taken an entirely different approach to purging my workspace and home over the last couple of months. You might wonder how that's any different from the usual spring cleaning one does, but this feels more urgent to me, an absolute needto rid myself of whatever might be holding me back - anything that's taking up too much valuable space in my brain, takes too much effort to deal with on a daily basis, anything that doesn't enrich my life.

I've always given things away; purging my workspace is an ongoing necessity. But I no longer ask if something is too valuable or too good to toss, which implies a level of irresponsibility or wastefulness if I do let it go.  Now, I ask, simply, if I've outgrown it, implying growth and movement, generally a more positive perspective.

Remarkably, that mindset has allowed me to jettison possessions almost without thinking. Think too much and I'll find a distant, far-flung reason for keeping it. Move with my instincts and the separation is so quick it's painless. Honestly, I barely even know what I've gotten rid of, but I'm feeling lighter and lighter. The good news is that once you get rolling, it gets easier and easier to say goodbye.

My creativity is on hold during this time. I'm focusing every ounce of energy I have into paring down, streamlining, clearing the clutter of my inbox, my laptop, my office, my home, my life. There will be clarity when I reach the bottom, that's what keeps me going. It may not be true, but at the very least, there will be a lightness of being. And when I'm all stripped down to a comfortable leanness, I look forward to creating again, from the bottom up.

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Does this resonate with you?  If you need to lighten your load or move into another chapter of your life, you might find the following book helpful,The Life-changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizingby Marie Kondo.

Publishers send me lots of new books, most of which end up at my local thrift store immediately. ButThe Life-changing Magic of Tidying Upcame just at the time I was beginning to purge my belongings, so I took the time to read it before handing it off to someone else.  While I ask myself whether I've outgrown something, Kondo asks you to question whether any particular item "sparks joy" for you.  If it doesn't, out it goes.

At first glance, that seems simplistic. After all, there are plenty of tools in my house that don't "spark joy," but that I still find useful or necessary.  But I had a moment of realization, standing in my kitchen, admiring a container of hand carved wooden spoons in my baking area. They're out, exposed, but it brings me joy just to look at them. So I've resolved to take that approach even with utilitarian items.  If it's simple, beautiful, and well made, it will bring me joy.

My cake tester with the blue plastic top that didn't look good on display, but always got lost in a drawer when it was put away, replaced with this. Next on my list, this pan brush, vegetable brush, and bench scraper.  More expensive than what's readily available in local stores, but strangely calming. (I feel almost insane writing that, but somehow it's true.)

Other interesting tidbits - Instead of folding your clothes and storing them in stacks, Kondo shares a folding approach that allows your clothing to be storedverticallyin a drawer (I tried this in my son's dresser and I can report that it's less messy in there since he can see exactly which shirts and pants he wants to wear, at a glance.) Another idea is to remove excess packaging and labels from bottles and toiletries, even those things stored in cupboards, more to reduce the visual chatter and calm the mind than anything else.

There's more, but I'll let you read for yourself. And if you're not as obsessed as I am at the moment, or more comfortable with 1-minute tips to get you started, there's another book that just came out,Clear the Clutter, Find Happiness: One-Minute Tips for Decluttering and Refreshing Your Home and Your Life by Donna Smallin.

Almost every piece of furniture I own has come from a thrift store, a garage sale, an antique mall, or a curbside. It wasn't my plan, I've just been lucky enough to find a lot of secondhand stuff that I'm happy to live with. But it's rare that pieces end up in my home in the same state that I found them in; most need some sort of rehab from a simple paint job to upholstering. In the end, though, it's a lot cheaper than buying new and I like the eclectic look that my home has taken on. It feels like me.

But most of the time I've had to muddle through on my own, learning through trial and error. After many of these learning curves, I can tell you one thing - it's nice to have a helping hand. Which is why I think you'll love the book Furniture Makeovers by Barb Blair of Knack Studios, from Chronicle Books.

The book covers Barb's favorite tools and materials (most of which I use myself and can vouch for), then gets into prep with solid information on stripping, sanding, repairing, and priming furniture. Then the good (fun) stuff begins - painting, staining, waxing, applying metal leaf, using stencils and vinyl decals, designing with an overhead projector, color blocking, layering paint...26 different techniques in all!

The end result is a remarkable compilation of projects that range from classic to modern, with before and after photos and an explanation of the techniques used on each piece, which you can then turn around and replicate for yourself (yes, you!). Part inspiration, part guidebook, it's a must for anyone who wants to feel more confident in transforming tired furniture, needs fresh ideas, or simply doesn't know how to begin.

Carlton Riffel Photography

Interested?  I HAVE A COPY OF THE BOOK FOR ONE LUCKY READER!  All you need to do is comment below and tell me what you'd like to learn to do or what piece of your furniture could most use a makeover. The giveaway will close at midnight (CST) on Tuesday, July 23.  I will select a comment at random and announce the winner on Wednesday, July 24. You can also follow along on the blog tour for more opportunities to win a copy from other bloggers.

UPDATE:  GIVEAWAY NOW CLOSED

Also, just to get you inspired, here's a sneak peek of two of the thirty projects included in the book -

BEFORE:

AFTER:

BEFORE:

 AFTER:

Photos by J. Aaron Greene, used with permission from Chronicle Books

My 6-year-old son was pondering my upcoming birthday and asked me which birthday I wanted to celebrate this year. I said I hadn't decided yet and he thought a while, then said these magical words, "Well, you can't be that old because you don't have any wrinkles. I think this year you look...25."  Yes!! That boy is going to make some woman very happy one day!

But he's right about one thing. I may not really look 25, but I don't have many wrinkles either. I'm sure I have Retin-A to thank. After two years of regular use, I can say that not only has it seemingly halted any additional signs of aging, it's given me a few years back as well. When your doctor looks surprised by your age, then you know you're on the right track.

Of course it's not all perfect and I could find plenty of things on my face and body to obsess over. But I'm feeling pretty good in my skin, imperfections and all.  That doesn't mean, however, that I'm ready to throw in the towel and let nature take its course. I'll take my help where I can get it. So in that vein, here's what's been working for me over the last year:

SKIN

Cleanser: Aveeno Positively Radiant Brightening Cleanser has been my go-to for several years now. It doesn't irritate my sensitive skin and it removes all of my makeup, which is a plus for me since makeup removers do tend to bother me, even the ones that say they won't.

Sunscreen: Neutrogena has been hitting it out of the park on this one. Last summer I started using Neutrogena UltraSheer Liquid broad spectrum daily sunblock (SPF 70). It's the only sunscreen I've ever used that's felt comfortable under makeup in the high humidity of summer. In the winter, when my skin was drier, I switched over to Neutrogena Visibly Even daily moisturizer (SPF of 30).  I'll continue to buy these two products as long as they're available.

Anti-Aging: In my region, my Retin-A regimen doesn't cost me more than $100 a year. In my book, that's a bargain. But I recently received a sample of DermaLastyl Professional Strength Face Cream, and after using it for a month, I think I'll take the plunge and buy a full size bottle.  It's definitely the priciest product I use and while my skin is already in good shape from the Retin-A, there are a few reasons why I'll continue to use it.

I sometimes have to take a break for a couple of days from Retin-A because of skin sensitivities. DermaLastyl doesn't cause any skin irritation for me. It's hydrating, but so weightless I don't even notice I have it on. I've noticed that my skin isn't as dry and it's really soft. I use it in conjunction with Retin-A, layering it over the Retin-A at night (about 20 minutes afterwards). After I've used it for awhile I'll come back and tell you more about it, but so far it looks promising - enough that I'll make the purchase.

BB Cream: I'm still using Smashbox. It's fabulous and it works for me. I find that I barely have to add any foundation over it. But I do have to use the Neutrogena daily moisturizer under it or it's too drying. Still, I love it, and it's part of my daily routine.

MAKEUP

Foundation: I use Raw Natural Minerals powder foundation in the summer. It's simply the best mineral makeup I've ever tried. But I am finding that my skin is drier on occasion, especially in the winter, which makes a liquid foundation a better choice for me at times. I wish I could say I'd found the magic liquid formula, but I'm still searching. I tried a pricey liquid mineral makeup which looked beautiful but ended up making me break out (something that never happens under normal circumstances), I returned another that looked too heavy, and I'm still on the fence about a couple of others. With summer here, I can afford to take my time. But, if anyone has a liquid foundation they love, I'm open to recommendations!

Blush: This was a big switch for me this year. I started using a cream blush (I apply it over BB Cream, under my powder mineral foundation) and I can't believe it took me so long. It looks so much more natural on me than powder blush. I use Bobbi Brown Pot Rouge for Lips and Cheeks in Powder Pink. Love, love, love!

Eyes: I've been using eyeshadow a little less this year (less time to play and experiment), but I always line my eyes to some extent, day and night. As I get older, the key for me is soft. I use a wet brush with a powder shadow to line my eyes and then I immediately use a smudge brush over the line to soften it. I find that a smudged line is softer and sexier, easier and faster than a precisely lined eye. At night I use Smashbox Layer Lash Primer under Maybelline Volum' Express the Falsies Flared mascara. During the day I use just the mascara.

Lips: After years of neutrals, I suddenly find myself craving red lips, so I've been prowling makeup counters looking for the perfect lipstick. But I still love my Kevyn Aucoin Flesh Tone lip pencil in Medium. It's perfection. One thing I can't live without - some type of lip balm (not too glossy, please). I've been using standard Blistex lip balm forever, but I got an early birthday gift from Sephora which consisted of two Sugar Advanced Therapy Lip Treatment (in clear and rose) from Fresh. The texture is so wonderful. I go through buckets of lip balm, but I might just have to splurge on this next time.

TOOLS AND TECHNIQUES:

Afer years of casual makeup usage, I've made one very important change - I've been investing in brushes. I purchased a concealer brush (to use with Amazing Concealer by Amazing Cosmetics), liquid foundation brushes (flat and a texturizer, both by glo-minerals), smudge brush (Paula Dorf), and an eyebrow brush (Ulta). They make a difference, they really do.

My favorite new technique for applying liquid foundation - Stippling. As a crafter, this actually makes so much sense to me. I can't believe I never thought of it for makeup! But it really works and you're not pulling and tugging at your skin, so it's low-impact. It's takes a couple of tries to get used to it, but once you get the hang of it, you can apply your foundation in seconds. (The tutorial I've linked to suggests a dense, flat-top brush like the Sigma F80, although I've been doing it with the Texture brush and I'm happy with the look I get.)

Another thing I've been doing (something my mother taught me years and years ago, but that I never used) - setting or reviving my makeup with a mist of water. I picked up e.l.f. Makeup Mist & Set at Target for a few bucks and I love it. My mother always used Evian Spray, but really, I can't tell you if there's much of a difference.  A light mist over your makeup and everything just settles into your skin (in a good way).

BOOKS:

My mother-in-law saw all of the makeup books I had listed in my Amazon wish list and asked if I was having a bad day that day, which gave me a good laugh. But I do love books that offer solid techniques and give me inspiration (since being a makeup artist is one of my secret fantasy careers). Two of the favorites from what I purchased this year are Timeless Makeup by Rae Morris and Makeup Makeovers in 5, 10, 15, and 20 Minutes by Robert Jones.

Timeless Makeup focuses on makeup that makes you look younger than your years. What I love about it is that the models are age appropriate, inspiring, and not airbrushed to death (and it helps that they look amazing). Makeup Makeovers has a lot of step-by-step tutorials, with plenty of accompanying photos, for looks that range from 5 to 20 minutes.

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As another year has slipped by, I realize yet again, that beauty comes at every age. I'm reminded of my 90-year-old grandmother who was in the hospital recently. I went to visit and asked how they were treating her. She waved me off nonchalantly, "Oh, I've had so many visitors here. The nurses keep bringing in their colleagues to look at me. All they can talk about is my skin, my hair, and my legs!"  We should all be so lucky.

To some extent, I think I'm cursed with a good eye.  Put 5 pieces of nearly identical furniture in a row and without knowing details, I will fall in love with the most expensive piece every single time. This drives me slightly insane because while I instinctively recognize quality, I rarely (never) have the budget for it. The upside is that it's forced me to be creative in my home. I look for reasonably priced knockoffs I can work with, better pieces at thrift stores, and I mix everything with enough personality that it works, hopefully (which is also an ongoing process).

This chair is a good example of my personal approach. I purchased it from Overstock as a prop for a photo shoot. I didn't have a huge budget, so I focused more on form than finish, figuring I could work a little magic if necessary. The chair in the Overstock photo seemed to fit the bill. I didn't even mind the wood color, though I would have preferred the burnt oak finish that I found at Restoration Hardware. But when it arrived, I discovered that the wood wasn't matte at all. Instead, it was finished with a glossy coating that, while protective, frankly made it feel cheap.

Admittedly, this next part was an experiment, but it worked so well for me that I thought I'd share. I decided to try aging the frame with Annie Sloan Chalk Paint and a very small, flat paintbrush (as in a 3/8-inch brush from Michaels). The reason for the small paintbrush is that I was going to be painting the frame of the chair with the upholstery intact. I thought it might take forever, but it only took me a couple of hours and a single coat. To make it even easier, I didn't even bother waxing it (it was just a prop, after all).  Since then, this chair has lived in my house as an accent chair and it's been used and moved around a bit. The paint has worn very well, even without waxing, and I couldn't be happier with it.

The Chair from Overstock:

The look I was after (from Restoration Hardware):

Recipe for Success:

The reason this worked had a lot to do with the original chair. The carving of the frame, the rough texture of the wood (under its glossy protective coating), and the white streaks in the finish all helped in creating the final version. Don't expect the same results from a perfectly smooth, sanded, polished chair frame! But if you have a chair that's a rough, vintage European wannabe, go for it.

Manage your expectations - You will not achieve a factory finished piece unless you're a whiz with the paintbrush and/or an artist, in which case I'm sure you have a few things to teach me. But if you're like me, average when it comes to faux finishing, you can still achieve an effect that's comfortable and worn without being perfect, and in the overall context of a room, the imperfections are even less noticeable.

Chalk Paints I used:

I probably could have gotten away with using just Graphite and French Linen, but I also included a touch of Paris Grey and Coco because I had them on hand. The trick is to put a little bit of all the colors on the paintbrush at one time, then offload some of the excess on a stack of paper towels before putting your brush to the wood. If your  paint does get too concentrated in some areas, just go back over it with a dampened brush, dragging out the color until you get the translucency you're aiming for. You can also add more of another color over the first layer if you're not satisfied. In that case, offload the excess paint first (until the brush is almost dry), then brush it on with quick strokes.

The beauty of the Chalk Paint is that it dries with a matte finish and it goes on right over the existing finish, no stripping or priming necessary, making the whole process even easier.  In my book, a quick upgrade to the original!

For more product info and inspiration:Annie Sloan Unfolded

Last summer, my husband brought this cabinet home and it's been sitting in my kitchen ever since, waiting for me to do something with it. But I'm slowly and steadily working through overdue home improvement projects this summer and this is the second of my completed paint projects using Annie Sloan Chalk Paint.

I really wanted to create an organized and efficient baking center. Up till now, my kitchen cabinets and drawers have been overflowing with baking supplies mixed in with a million other odds and ends - not a particularly workable situation. I needed a dedicated space, and this cabinet seemed like the perfect solution.

I used a vintage kitchen green as my inspiration and I when I went to buy my paint, the stockist worked with me to create the color I wanted (she painted a paper plate for me, so I could bring it home). I fine-tuned it a bit more when I got home, judging its effect when paired with my wall color and in both existing and artificial light.  (As I've mentioned before, I create colors using very small amounts of paint. Once I get exactly the color I want, I make a larger batch. But the great thing about mixing colors is that you can keep track of all your experiments, painting a little swatch on an index card and making note of the ratios. The color that isn't right for the current project might be perfect for something else down the road.)

I didn't do any special effects this time as I wanted a solid, opaque color. Once I mixed my color and gave my cabinet a general cleaning, I applied two coats of paint directly over the old paint, then finished with two coats of clear wax. And fortunately for me, the original hardware and enameled top were still in good condition, making quick work of the entire job.

I find the finished piece more charming than the original and I finally have a dedicated space to store my baking supplies, with a little working space left over - exactly what I needed!

My Inspiration:

This photograph from The Fisherman's Cottage reflected all of the elments of my kitchen  - wall color, appliances, plenty of silver, white, and glass mixed with black accents. So this was the green I decided to introduce into my existing neutral palette.

Before:

Color Recipe:

2 ounces Antibes Green + 5 ounces Old White + 1.5 ounces French Linen

After:

I have no less than nine painting projects on the back burner - some for more than a year. A lot of it's been psychological because I swore off latex paint on furniture once I discovered milk paint, and using milk paint requires a certain mindset and commitment for true durability - like stripping the furniture beforehand.

I know there are tutorials that will tell you you can forego stripping or sanding when using latex paint, if you use certain primers. I did this with a stenciled dresser, before I discovered milk paint, and it will eventually need to be redone as the latex has started pulling off the top of it, despite the fact that I sanded and used a highly recommended primer. Annoying, to say the least. And milk paint can be used without sanding or priming, but it requires the addition of a bonder and it works, better than latex, but not quite as durable as the finish on the cabinet I stripped first. So I've been sitting around, waiting to get motivated enough to give each piece the care it requires.

But last week I had the pleasure (and luxury) of spending a day with Lisa Rickert at the U.S. headquarters for Annie Sloan Chalk Paint. It was my first time using the paint and I learned lots of different techniques and got plenty of hands-on experience. I know it's just paint, but I left greatly inspired and I couldn't wait to wake up the next morning and start painting (a small miracle in itself!).

So I tackled this dresser project first. It was a curbside find that I put in my dining room and it was in good shape structurally, but I wanted to remove the veneer from the front and give it some color. My inspiration was the cover of a notebook, the subtle variations in the blue background. I thought that would work well in my dining room where the light is moody and picks up nuance very nicely.

To say that Annie Sloan Chalk Paint has changed my view of DIY projects is an understatement. After finishing this dresser, I'm no longer looking at the eight projects I have left, filled with the sense that I'll never get them done. Now I'm just wondering how quickly I can knock them all out. The most tedious part of my dresser makeover was removing the veneer (not difficult, just boring). The painting and waxing were a breeze and the finished piece has the same beauty and depth as my milk painted cabinet. In short, I am OBSESSED and I've already started my second project (another small miracle).

My Dresser Before:

My Inspiration: (the lower left hand side, in particular)

My Process:

My color recipe was 50% Duck Egg Blue and 50% Provence. After I'd painted the entire surface with that mixture, I poured a little bit of Duck Egg Blue on one side of a bowl and Château Grey on the other side. I used a damp paintbrush and dipped the left edge of the brush into the Château Grey and the right edge of the brush into Duck Egg Blue. I then offloaded the excess paint onto a paper towel and dragged my brush over the painted dresser, varying my brush strokes - left to right, up and down, etc. This mixed the colors of paint together, giving me some lighter blue areas and some brownish green areas. If my paint got too dry or the lines too distinct, I just dampened my brush again (without adding paint) and continued going over the painted areas until the paint was blended to my satisfaction.

It's subtle, but you see the difference between the first coat of paint and the light wash I added on top (both are before waxing, which brought out the tonal variations even more):

To finish it off, I applied a thin coat of Annie Sloan Soft Wax (clear) with a brush and after it dried, distressed it lightly with sandpaper, following the indentations and areas that had already been banged up and worn down on the dresser (distressing after waxing gently removes the paint with less dust and general messiness). I waxed the distressed areas again after 24 hours, then buffed the whole piece with a rag when the wax was no longer tacky.

You're likely to hear more about this paint as I work through my projects, but here's every reason I can think of now to encourage you to try it for yourself:

1.No sanding, no priming - Chalk Paint covers virtually any surface you can think of (including fabric) and it doesn't require sanding or priming beforehand. No bonders or additives required, even for fabric.

2.Flexibility- I changed my mind multiple times during the process of painting, from color to technique, and I was able to work with the paint all along the way. One of the things I learned about this paint is that water's your friend. If your brush strokes or color variations are too sharp, a damp brush smooths it right out. And if you change your mind about a color down the road, after it's waxed, you can paint right over the waxed finish (as long as it's been 24 hours after application).

3.Versatility- You can create an opaque, modern finish or a heavily distressed finish. It's suitable for all kinds of applications - color washes, thick gesso like finishes, crackled, cloudy stippled effects, dry brushing, layered, etc. Water thins out the paint or you can leave it with the lid off to thicken up and give you coverage that shows off brush strokes.

4.Easily blended - It's easy to create your own colors with the existing palette, and the paint is sold in sample sizes as well as quarts. Sometimes you'll only need an ounce of a color when you're mixing, so it's nice to have that option. I used a detailed shot glass to create my color recipes (or you can try a kid's medicine dispenser) and once I had the color I wanted, I mixed it in larger quantities.

5.Great customer support- I went to one of my local stockists to purchase a sample size of a paint color I needed. The stockist wasn't just selling it, she was using it (in all kinds of ways) and had lots of insight to offer. We worked on a custom color right there, so I could make sure I had what I needed. She's not an anomaly - all of the stockists have been thoroughly trained in using the product and most offer workshops or demonstrations.

6.Beautiful Finish - The paint dries to a matte, chalky finish (just like milk paint) and is meant to be finished with a coat of wax. The wax deepens the color slightly and gives it a silky, velvety feel. It makes your furniture look better than latex paint does. Period.

7.Quick drying time - It dries incredibly fast and can be recoated within a couple of hours - meaning that you can finish a piece of furniture in a single day, waxing included.

8.Easy cleanup- The paint itself is virtually odorless and you can clean your brushes with water, no soap required.

Resources:

Quick and Easy Paint Transformations by Annie Soan - An invaluable resource that gives great guidance on working with this paint.

Annie Sloan Unfolded (U.S. Distributor)

About the Chalk Paint

See paint profiles (click on the name of each color) for information about the colors, see them on finished pieces, and view color swatches.

Annie Sloan's blog, Paint & Colour

I wanted to share my latest column from the March issue ofFamily Circle, in which I stenciled an inexpensive coffee table that I purchased from Home Decorators Collection (currently on sale for $68.99!). The stencil is the Small Eastern Lattice stencil from Royal Design Studio, which has some of the nicest stencils I've seen on the market.

My technique varied from the norm a bit this time, simply because I wanted a brown base with metallic highlights and that wasn't possible with the configuration of the stencil. So I brought a piece of the table with me to Home Depot and had them match the paint and mix a sample jar for me (which was the perfect size for the tabletop). I also purchased Martha Stewart Living Metallic paint in Vintage Gold, again in a small container.

I coated the base of my tabletop with the metallic paint and let that fully dry. Afterwards, I went back over it and stenciled with the brown paint. Admittedly, it took some time to do this, simply because the stencil wasn't the same size as the tabletop and I had to wait for sections to dry before proceeding with the next area. But if you have a weekend, the actual stenciling of each section doesn't take very long (the other option is to have a stencil cut to the size of your table). The end result is a unique piece at a reasonable price.

Visit Family Circle.com for directions.

Regular readers of this blog and my Family Circle column know I like to paint furniture (thanks to my multiple thrift store and curbside finds). I'm by no means an expert and I'm always looking for ways to improve my technique and create more unique results. So I was excited when I got information about the upcoming Annie Sloan Paint workshop taking place this spring in eight cities, one of which is my own (Yay!).

Here's the scoop (but hurry, space is limited!):

British decorative paint expert, author of numerous paint technique books, and creator of the one and only Annie SloanChalk Paint – will tour America in March and April 2012.   Ms. Sloan will be leading one-day demonstrations and overseeing hands on workshops in eight cities starting in New Orleans, where the north American arm of the company, AnnieSloan Unfolded , is based.

NEW ORLEANS           3/12
DALLAS                      3/16
SAN FRANCISCO        3/19
DENVER                     3/21
CHICAGO                   3/24
NASHVILLE                3/26
A T L A N T A             3/29
LEESBURG, VA         3/31
BOSTON                     4/2

Each event will feature a demonstration by Ms. Sloan, book signings (Creating the French Look and Quick and Easy Paint Transformations have both been recently released in paperback here in the US), and hands-on technique sessions for all attendees.  These will be in smaller groups, led by Annie Sloan and trained stockists who are well versed in all aspects of using Annie Sloan Chalk Paint, Soft Wax, and the myriad techniques and effects that are so easy and fun to create.  Annie Sloan will visit each break-out group to offer advice and recommendations to groups and individuals while they practice. Attendees will end the day with a book signing and social hour with Annie Sloan.

In addition, the 'Antoinette' paint is being launched to coincide with the tour, and $1 from the sale of each can will go to breast cancer research, as will a percentage of the proceeds of the workshops.  There's more information about the tour on the US website:  http://www.anniesloanunfolded.com/event/

Who should attend:

People who love DIY projects, such as old furniture makeovers, and are keen to learn new techniques to use in their home – on furniture, accessories, kitchen and bathroom cabinets, walls, floors – anything that can be painted!

Tickets:  One-day workshops are priced at $350, include all materials, refreshments, and lunch.  Purchase online at: www.anniesloanunfolded.com.

The public is encouraged to attend the event in their home region and there is a limited number of seats per state that will go on a first come// first serve basis.

For a comprehensive list of US retailers for Annie Sloan Chalk Paint, go to http://www.anniesloanunfolded.com/retailers.html

About Annie Sloan
Annie Sloan is one of the world's most respected experts in the field of decorative painting and a key figure in the painted furniture revolution, through her lively and creative approach to painting and 40 years of painting experience. She runs successful workshops at her store in Oxford, England, and throughout Europe. Her numerous books, include 'Creating the French Look', just released in paperback in the US, published by Ryland Peters & Small, and 'Quick and Easy Paint Transformations'.

I picked up this unusual chair during one of my treasure hunts. It was in an "as is" section due to a large split in the top of the frame. Otherwise, the wood was in good condition and it was an incredibly comfortable chair. I was drawn to its unique character, the mix of ornately carved arms paired with the more primitive style of the body and legs, probably a chair from the late 19th or early 20th century. What I wasn't so fond of was the color. Oak just isn't quite my thing. But I did love the grain of the wood and I wanted to preserve that.

After mulling over a number of options, I opted for a pickling stain. I wiped it on in its original state, right out of the can, and immediately decided it wasn't right. Too ashy and pale for this particular chair. What I thought it really needed was a much darker stain, but one that would keep the grain.

I brought the pickling stain back to the paint store with a paint swatch, a seal gray, and asked for it to be tinted. The container kept coming back to me, the kind gentleman telling me he didn't think he could match it. But then he'd change his mind and try again (I love those kinds of people!). Finally, it came back to me almost perfectly matching the swatch. The finish was tackier than the original pickling stain and it took longer to cure (several weeks before it wasn't tacky at all), but it was exactly the look I was going for. Also, it covered the wood filler I'd used to patch the crack, which I'd been a little worried about. The resulting finish allows the grain to show through beautifully and it didn't need to be sealed at all, which was an added bonus.

In the end, I was glad I took the risk. But I wouldn't advise trying this on a pricey piece of furniture, as results can vary from piece to piece (this was the professional advice I was given). If you want to do something like this with an expensive antique, I'd give it to a professional.

Chair Before:

Chair After:

Grain Detail:

Before I move on from milk paint this week I wanted to show you a quick project I did, one that was less labor-intensive because I didn't have to strip the pieces first. I had two of these chairs left over from a project and I thought I'd use them for extra seating in my dining room. I also wanted to try out milk paint on a previously finished surface, using Real Milk Paint's Ultra-Bond.

I started with a quick scuff sanding, just to dull the glossy surface (on the frame, not the cane back) and wiped it down with a damp cloth. Then I mixed a small amount of milk paint for the base, including the Ultra Bond,  and lightened the rest of the milk paint I had left over from my china cabinet by adding white milk paint powder to the existing color. I applied two coats of the paint with a regular 1-inch brush for the frame, but I tried something different for the cane back. I applied the paint to the cane with a damp natural sponge (available at craft and art supply stores) in a pouncing motion.  That gave me just enough coverage without heavy paint buildup.

For the cushion, I used a piece of oatmeal linen to cover the seat but I borrowed from this tutorial and painted stripes along the center of the fabric first. I didn't know what grout tape was (and couldn't find any at my hardware store), so I used good quality, double-sided craft tape and that worked just fine (I used Therm O Web brand, which I found at Michaels). I also mixed my own paint color using regular acrylic craft paint (Plaid Folk Art paints) and turned it into a fabric paint by mixing in a little textile medium (found in the same section as the craft paint). I applied it with a small stencil brush in a pouncing motion to minimize any paint seepage.

And that was it. Minimal effort and I found the Ultra Bond did exactly what the label said it would. Yet another reason for me to love milk paint.

Before & After:

Color recipe for the chair base:

Oyster:

1 cup white milk paint
1/4 cup cream milk paint
1 teaspoon black milk paint
1 cup water (add a little more if too thick)

I picked up a mahogany china cabinet at a thrift store and knew all it needed was a paint job and some new hardware to turn it around. The piece was solid and the drawers intact. The only structural flaw was the back panel, which was nothing more than thin fiberboard anyway. But I will be honest with you. I rescue pieces of furniture and they sit in my house, awaiting their transformation. Sometimes I'm indecisive or afraid to mess something up. Sometimes I'm just plain lazy, which is what happened here. But I was working on my June column for Family Circle and tried out milk paint for the first time. I fell in love with it and knew I'd found my answer for this cabinet.

The cabinet had to be stripped - and needed to be stripped indoors - so we went with an eco-friendly stripper with minimal odor. (Look for brands like Citristrip, Peel Away, and Ready Strip.) After that, I mixed up a custom shade using milk paint powder and water. I gave the cabinet two coats of paint and finished it with Mylands Wax in a clear finish. I replaced the hardware as well as the back panel, using another piece of fiberboard covered with wallpaper remnants left over from another project.

So what do I love about milk paint?  First of all, it doesn't require primer (!!) If the wood is bare or has been stripped, you just apply the milk paint directly to the wood. If you're painting over another finish, you can purchase an additive for the paint that allows it to adhere.  (I used the bonder for some chairs that had a light coat of varnish on them and it worked, though I'll need to be a little more careful with them than the cabinet.) Second, it dries quickly and you can use your piece within a few hours, without having to wait for curing. Third, it's fun to work with.  Apply it with a foam brush for more opaque coverage, a natural bristle brush if you want more texture, or a natural sponge for a more variegated effect. Use the colors straight or mix them to your heart's content. It can go modern or vintage, depending on the application. I also like that it dries to a matte finish. You can leave it that way if you like a chalky finish or you can apply a wax like Mylands, which deepens the color and gives it a nice satin sheen without the slightest bit of tackiness.

I've become a huge fan. I'm using it to paint chairs and I hope to finally tackle the kitchen cabinets and pretty much paint everything I can get my hands on. The brand I used was Real Milk Paint and I find their website to be a wealth of information. You can also email them with any questions and they're quick to respond and very helpful. If you decide to try milk paint, I urge you to read everything on their site first. You'll find out what to expect from milk paint, how to apply it, what products are best for your particular application, etc. Also, if you like more subtle colors, I'd suggest buying a box of white milk paint (quart size) and smaller amounts of colors like Black, Cream, and Raw Umber. I find these colors give me more flexibility when I'm trying to get a color just right. (See below for the color recipe I created for this cabinet. I call it Mushroom. Others might call it Greige.)

Before and After:

Paint Detail:

Note the slightly variegated color, a hallmark of milk paint

Color Recipe:

2 cups white paint powder
3/4 cup raw umber paint powder
1/4 cup black

(Mix with about 2 3/4 cups water.)

Wallpaper Detail:

I thought this wallpaper from Neisha Crosland gave the cabinet some depth and brought a more modern sensibility to a traditional piece of furniture.

This past summer I had finally reached the point where I was contemplating the idea of growing up and getting a "real job."  What that job would be I couldn't even imagine, but I wondered aloud to a friend whether it was time for me to do something more stable. That very afternoon, I received an email asking whether I'd be interested in having my own monthly column in Family Circle. Ummm....YES!!

Shortly after that email, the floodgates opened and just like that, I'm way too busy to consider pursuing another career. Instead, I'll take it as a sign from the Universe that I should just continue doing what I love. It's a reminder that good things do come to those who wait.

I couldn't have asked for a better beginning to 2011 and the fact that my job description now includes a mandate to scour flea markets, antique stores, and thrift shops...well really, I can't think of anything more perfect for me. So a big THANK YOU to Family Circle for giving me this opportunity. I'm loving it!

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Want to follow me on my adventures to see what I find and how I transform those finds? My  DIY column debuts in the January 2011 issue, on newsstands now.

Last week I showed photos of what was inspiring me this holiday season. This is the post where I show how that inspiration manifested itself in real life. What I loved about this little design exercise was how easy it was to work with the items I already owned, and how easy and inexpensive it was to fill in the details.

I already own a decent amount of mercury glass, collected over the countless seasons this particular trend has been going strong. But I didn't have any vases or flower pots, so I took a trip to my local Pottery Barn, where I found small etched pots for $10. A trip to Lowe's yielded paperwhites and small flats of Dusty Miller (both of which, I might add, seem to have a long vase life). Because I don't like to put water in my mercury glass, I used wide mouthed glass votive holders and juice glasses to line my pots and put the flowers in.

The other detail that inspired me was the beautiful gray mirror in the Martha Stewart Living feature. As I've shown you before, I had that heavy, dark frame in place on my mantel, which didn't create the effect I was going for. I decided that I'd take a trip to the thrift store and if I could find a suitable mirror for under $25, I would take it home and give it a makeover.  Success! I found a simple, honey colored wood frame for $15, which I primed and painted a pale gray (Silver Birch by Glidden). But I wanted it to have a slight sheen, so I gave it a coat of Make It Pearl, which softened the color even more and gave it a subtle shimmer. When the holidays are over, it will find a home in a hallway.

I added other bits of nature to my decor, mixing in the embossed velvet holly garland that I made a few years back, a beaded leaf wreath (I spent 80 hours making mine, but you can buy yours at Ballard Designs), my glittered pinecone centerpiece, white flocked snowflake ornaments, and glass acorn ornaments. I think the end result is every bit as serene as I'd hoped it would be.

Remember my easy ornament upgrade? Well, I just couldn't help myself and I kept glittering and glittering...My latest victims were these pinecone ornaments. I love pinecones, but these looked so fake and plastic that I almost passed them up, thinking they were beyond help.

This time around, I skipped the fine glass glitter and went for the coarsest grade of glass glitter. This helped to fill in more of the spaces in the center and add some bulk to the form, which helped a great deal. I even separated some of the pinecone forms and made smaller ones to create a variation in sizes (I know - we don't have to discuss the compulsion that drives me to do these things). Simple, pretty, and it works well with my collection of mercury glass. I'm happy.

Before and After:

To do it yourself, cut the ornament loop off of the pinecone, then coat the ornament with spray adhesive and glitter away. (I like to glitter on a separate scrap of paper so that my glitter doesn't stick to the overspray from the spray adhesive.)  While they're drying, let them sit upright in a mound of glitter. When they're dry, tap off any excess. If one coat doesn't feel like enough, you can even do a second coat (I didn't, but it wasn't necessary for mine).  You can also try this with real pinecones, but I'd suggest spray painting them white first, then glittering.

Resources:

Pinecone ornaments - Walmart $1 each
Coarse Silver Glass Glitter (80 grit) - Meyer Imports
Compote - Martha Stewart Whiteware Collection at Macy's

Every holiday season you'll find me combing the aisles of stores like Target, Walmart, and Dollar Stores searching for inexpensive Christmas decor that I can upgrade or deconstruct. A lot of it ends up being used as gift toppers but I'm always happy to add to my ornament collection as well. The problem with cheap holiday merchandise, however, is that it tends to look cheap - especially the plastic or glittered items. So here's a quick way to upgrade the pieces that show promise but could benefit from a little tweaking.

Glitter:

I'm all about glitter and a lot of the inexpensive, colorful ornaments are just fine the way they are. When it comes to silver or gold, however, I find most of them tend to look cheap and don't mesh with my more expensive ornaments. But if you find a shape you like, it's easy enough to change the look. My secret weapons - spray adhesive and better glitter.

Working with one side at a time, I give a quick spray of adhesive to the ornaments and then sprinkle the new glitter right on top of the old.  The type of glitter to use depends on the look you're going for. If you want to retain most of the color and simply add dimension, try using an iridescent glitter. If you want to keep fine details but tone down the color, use a fine textured, opaque glitter in a lighter shade than the original ornament. And if you want a truly vintage feel, use glass glitter (Though keep in mind that glass glitter tends to soften fine details, so get the finest glass glitter you can find. Coarse glass glitter works better on pieces without a lot of detail.)

Flocking Powder:

When I'm not immersed in glitter, you'll usually find me gravitating toward homier materials, such as felt. Felt ornaments can get a little pricey but plastic ones can blend in effortlessly if you embellish them with flocking powder. For the snowflake shown here, I took a plastic ornament that I found at the dollar store ($1 for two), gave it a spritz of adhesive and sprinkled it with white flocking powder instead of glitter. The finished ornament doesn't even look like plastic, making it a nice complement to these handcrafted felt ornaments.

Before and Afters:

My lighting wasn't the best this weekend so the nuances of color and texture aren't as clear as I'd like them to be, but I think you'll still get the general idea:

Resources:

You can find spray adhesive (a little goes a long way so you'll get a lot of mileage out of a single can), Martha Stewart Crafts glitter (both opaque and iridescent) and flocking powder at Michaels stores, as well as through online sources.

I also particularly like the Powderz line of glitter, available at Confetti.com.  If you're looking for glass glitter, good sources are Meyer Imports, Art Institute Glitter, and D. Blumchen and Company.

I know.  It's another Halloween post (with a few more still to come). I'm the kid who's just discovered the holiday and can't help overdosing on it the first time. But please indulge me - I'm working on a Halloween assignment for next year and it's helping me stay in a festive, and therefore productive, mood.

Today, I bring you some thrift store finds that were begging for transformation.  I tend to find beat up or badly tarnished pieces of metal or silverplate at almost every thrift store I go to. Rarely are any of these finds more than a couple of dollars apiece and they're still serviceable, just not always pretty. I decided to challenge myself with a few of these ugly ducklings and see what I could come up with.  Here's what I started with:

I think the one thing all of these pieces had in common were good bones and nice detailing. I ignored excessive tarnish, broken handles on the silver stand, and thin brass plating. I figured a coat of spray point could mask all of it.

I started off by priming all of the pieces with a spray-on primer (one to two light coats). Anything that was ultimately going to end up black got two light coats of black spray paint in a satin finish. The lone piece that I glittered silver was primed and then went directly to the glittering stage. After that, some pieces were decoupaged, some glittered. Here are the details:

Glittering:

Working with one piece at a time and using a small foam brush, I applied Mod Podge in Matte finish as thinly as possible. If I was able, I worked with a section at a time - for instance, I glittered the pedestal first, set it aside to dry, then came back and gliittered the top segment. This allowed me to hold the piece securely while working with it and because the Mod Podge is applied so thinly, the finished result still looks seamless. I'm sure you could do this with regular white glue, but I'm partial to Mod Podge because it dried to a very hard finish (which keeps the glitter from flaking off) and didn't dry with any kind of film or clouding. I used a foam brush instead of a bristle brush because I found allowed me to work quickly and easily cover the intricate detailing. It also helped me control the amount of coverage, to get the thinnest coat possible. I sprinkled very fine glitter (Martha Stewart Crafts - Onyx & Antique Silver) over the Mod Podge and let it dry for a couple of hours before shaking off the excess.

Decoupage:

I knew the trays called for something other than glitter and I had found the perfect graphics at The Graphic Fairy. I needed a 9-inch round for the tray above and an 11-inch round for the handled tray. I have an Epson R1900 (LOVE!) that allows me to print on large sheets of paper, so I cleaned up both of the images in Photoshop and resized them (I've included the images below for you to resize as needed). Then I printed them directly onto patterned scrapbook papers. I don't know which companies produced these particular papers, but similar types of paper are generally easy to find. One note - I used thinner (cheaper) scrapbook paper instead of the heavier papers as I find them easier to decoupage.  Of course, if you're handy with Photoshop or Illustrator, you can create your own from existing graphics. And if your printer can't handle larger sheets of paper, you can take your file to a copy shop and have them print it for you there.

After I printed my pages, I centered each tray on the chosen graphic, traced around it with a pencil, and cut them out. For the hand tray, I chose to cut just inside my penciled line with pinking shears. After that, I applied an even coat of Mod Podge to the bottom of my tray and placed the graphic in the bottom and smoothed out air bubbles with my fingers. Then I set it aside to dry. (I know that conventional technique is to brush the Mod Podge on the paper instead of the base and then apply a top coat of Mod Podge immediately, but I find this technique gives me smoother results. If there are any air bubbles forming during drying time, I can smooth them out without messing up the top coat.) After my base was fully dry, I applied two or three coats of Mod Podge over the top of the graphic, letting each coat dry fully before applying another.

I like this tray propped up, but I've already decided that it'll make a great tray for serving seasonal cocktails!

Graphics (courtesy of The Graphics Fairy):
Click on the image for a larger version

I'm so pleased with how these pieces came out. If you're out browsing around and see a few orphans, bring them home. Even if Halloween decor isn't your thing, it would be just as easy to transform them into other holiday decor for Christmas or Hanukkah, using different graphics and glitter.

I've started noticing a subtle shift in my design interests. It's not an overnight process and I'm not particularly adept at executing the concept yet, but I find myself being drawn more and more to eco-friendly design and creative upcycling. I know it's almost trendy these days, but it would be better for all of us if it becomes a permanent trend.

I can't say exactly where it's coming from - more enticing designs that capture my attention and encourage me to think outside the box or an understanding that I need to be part of the solution, not part of the problem, or maybe just being the mother of a child who wholeheartedly embraces the idea of recycling and already is more clever with it than I am.

Whatever it is, as I find myself making changes to my home and thinking about what I'd like to add or what I need, I have first begun to question whether there's a way to repurpose something else.  As I've begun to travel down this particular design path, I am constantly inspired and encouraged by the efforts of others. Here's some of what I've found:

The steel shelving system I've had my eye on for the kitchen costs upwards of $400 and I can't say that I like it any more than this vintage fruit crate solution. {via Country Living}

What a clever way to repurpose a carriage seat! {This, and title image of repurposed champagne corks via Poetic Home}

A vintage suitcase turned into a chair {Image via Recreate}

A shipping pallet turned dish display rack {via The Green Children}

Spoons and reclaimed wood turned into a useful coat rack {via Etsy}

I love how effortlessly recycled wood pieces mix with contemporary elements{via French by Design}

Upcycled wooden crate cabinetry {via Web Urbanist}

Yardsticks adorning stair risers {via Design Sponge}

Ruler Tabletop {via Country Living}

A clever way to repurpose old sweaters {via Country Living}

A plaster-dipped floral "sculpture" looks nothing like the artificial floral arrangement it started as {via Daily Danny}

Admittedly, this has nothing to do with the home, but a wedding dress created from repurposed doilies - brilliant! {via Handmade Bits and Pieces}

I need new light fixtures. And I'm finally tired of glancing at them and feeling depressed so the task is going on my list of home projects for the fall. I could spend thousands on pieces I love (not), hundreds on pieces I don't really care about (yawn), or I can try to do it myself which, at the very least, should fill me with some sense of pride.

So I've been researching DIY light options (it's a great way to procrastinate when I'm supposed to be working) and I am blown away by some of the lighting designs, especially the eco-friendly options I've found. It's been very inspiring to me, so I thought I'd share some of my finds with you. (And if you have any lighting designs that are inspiring you, please share them!)

With my love for industrial, this funnel light fixture from Country Home is the perfect accent to warm up a work area, a hallway, even task lighting in the kitchen.

I'm guessing this is Danny Seo's take on Anthropologie's Songbird Chandelier, with a much lower price tag thanks to an Ikea light fixture and chicken wire. (Photo via Daily Danny)

Egg cartons, a light string, and a hole punch. That's all you need to create these lovely flower lights. Charming (and clever)! (Tutorial and photo found on Apartment Therapy)

Water bottle lighting that's perfect for the environment it was photographed in. (Photo found via Cucumbersome)

This floors me. A graceful, feminine design made from...the bottoms of plastic bottles! (Photos via Inhabitat)

I love this. I could easily see this hanging over a kitchen island, especially in a kitchen with lots of stainless steel or white. (Photo via Inhabitat)

I'm not yet tired of this trend for exposed wire lampshade frames. In the right area, with the right shape, I find it refreshing. And with so many Edison style bulbs available now, this is the perfect kind of light fixture to show them off. (Photo found via Made by Girl)

I have saved the best for last. When I stumbled onto ReDesign Technologies' chandeliers made of PAPER CLIPS, I was humbled by genius. What's even better - the designer Penelope Bridge has made step-by-step tutorials available through her Etsy shop. The chandeliers come in four different designs and you can purchase a tutorial for a single design or all four. I've already made my purchase and I can't wait to take this on! And for those who love the concept but not the DIY, there are assembled chandeliers for sale as well. I'm in love. (Photo from ReDesign Technologies)

Photography by James Baigrie

I have loved typography for as long as I can remember which might be why I have so many fonts in my collection. Numbers, letters, they speak to me even if they seem to be saying nothing at all. So you can imagine how much fun I had working on the feature Alphabetical Order, in the September issue of Family Circle.  It should be on the newsstand sometime in the coming week. You can also log onto their website to see more.

Resources:

Plates for decoupage - Behrenberg Glass Co.
"Fragile" decal - Harmonie-Intérieure

Note about graphics used: I've written about my favorite sites to get free clip art (they are ANGELS - all of them!) and indeed, the alphabet tray was made from a piece of clip art found on The Graphics Fairy blog. However, I cannot seem to find the source for the playing card. I am also certain it was from a blog and it was placed in a "free" folder, reminding me that I could use it for my work. However, I would like to attribute the image to the correct blog as well as give readers access. If anyone should happen to recognize it, please let me know so that I can give the appropriate credit.  Thanks!

I find that I'm still etching glass. There's something addictive about it and I continue to find glass sets at thrift stores that are just begging for a little embellishment.  At any rate, I etched a set of plain cocktail glasses for one of my husband's colleagues - a whiskey lover celebrating her 40th birthday. I thought they would be a good reminder that age really is just a number.

I used my Slice (and the numbers from the Seasons card) to make the stencils for these etchings (you remove the number you've cut out and use it for something else. For etching, you use the negative space from the cut-out). However, you can also create stencils by printing out numbers from your computer, cutting them out, tracing them facedown on the back side of vinyl (I use Loomtack™) or Con-Tact paper and finally, cutting the number from the vinyl with an X-acto knife or sharp, fine point scissors. You can visit my previous post for the rest of the instructions.  One note - use inexpensive glassware because you're bound to make a mistake along the way - mainly leakage. Better yet, practice on a piece of junk glass before you get to the better stuff.

I liked these so much that I etched more for myself. Someone please lock up the Armour Etch before I etch everything in my house!

Distressed Washed Wood Crates Cabinet 3 Drawer Chest Quickway Imports

Source: https://urbancomfort.typepad.com/urban_nest/makeover/

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