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male speaker: it's my pleasureto introduce jean penicaut from lumiere technology whogoing to describe their work in advanced digitizationof fine art. jean penicaut: thank you. thank you for coming. my name is jean penicaut i amthe ceo of lumiere technology. we are originally a manufacturerof rgb and gis high definition scanningsystems. and we sell cameras with a resolution of 240 millionpixels and with a

geometry certification of 12microns for [unintelligible] format for digitizingarchives. that was our former business. and we have customers as thewestern michigan university, the french [unintelligible] authority. or for rgb we have the libraryof congress in washington, the washington state archives inolympia, and we deliver some machines in museums, and somenewspapers too, and

prestigious institutions asarchives of canada in ottawa, and the canton of genevein geneva. so we send now a service whichis totally different over a new technology with amultispectral scanner. we scan in public and privatecollections with the highest definition ever obtained before,240 million true pixels, an accuracy neverobtained, never, never before, with a special technique. digital public and privatecollections with the highest

resolution. so we come to museums and wescan with this jumbolux and jumbolite patented systemdigital artwork. this is the scan of is la viede picasso at the cleveland museum of art. and you see is white true raywho is passing 13 times of the canvas and we share the lightand the answer of the pigment from uv to infraredas its definition. so we obtain 13 files and thatgives us, by reconstruction

and resizing amazing images with1.6 gigabytes of data. and we obtained this onewith this definition. and because we have ameasurement and not just a representation, we have alsobehind this image, the knowledge of this imaged withinfrared with the same definition, and the staff ofart before the restoration, and the cracks, and the varnish,and the pigment, and the [unintelligible],et cetera. so this is the most powerfultool for studying

the history of art. so we can also browse thesekind of images online. so i want to show you now whatwe made with mona lisa. so we obtained with this camera13 pictures from uv to infrared sharing the lightall of the 14 nanometers. we have uv, it is invisible hereand you have the infrared here, which are alsoinvisible. and we reconstruct after thatthe images to give you the perfect color of the painting.

that gives you thisresolution. so that was the digital can ofmona lisa in the louvre two years ago we with a researchlaboratory of french museums. and so you have the ability tosee each detail and in each pixel you have the spectrum ofthe pigment of the bind and of the varnish usedby the painter. so it is an incredible toolfor knowledge, studying, reproduction, curating,and as you want. and it is a measurement so wecan follow the evolution for a

very long time off all thescreens and the printing process in papers, et cetera,to obtain perfect gamut. the gamut is a memory you havein your mind of the perception of the color. and we cover 97% of thegamut as rgb 55. rgb is just a representationbecause when you digitize something with rgb in photoshopafter that you adjust the digitization asyou feel at this time. with our measurement, neverwe correct, it's always a

scientific measure. and we can compare on samebasis paintings. so this is mona lisa as you cansee her actually behind the glass in the louvre. but also we have the knowledgeof this painting with all its restoration. and you can see by this infraredfalse-color process, totally automatically generatedwhen we construct the painting, you have theexact ability to see the

differences of the pigment. this here is azurite andhere is lapis lazuli. you can see with a very goodprecision all the cracks and all the restoration in violet. you can see also theunder drawing under the infrared here. she has moved her hand. and you can see also a cover,a [unintelligible] cover she has on her knee.

i'm sorry, i am unable, as acanadian explained to us, i am unable to tell you is thatshe was pregnant. i don't know, it's impossiblefor me to give you this information. but what can i do is give youanother information, very interesting, the truecolor of mona lisa. we have removed the varnish. and i will show you now how fromthis information we have removed the varnish totallyvirtually from the

painting like that. sorry, i have to find. so the pixels give us on theentire surface the pigments, the bind, and the varnish. and we have that on the entiresurface of the painting. so for this painting we have86 million pixels. and in each pixel we havecertain information which give you the exact spectrumdefinition of the painting and the varnish.

so we have decided to removevirtually the varnish by first an aging process with equivalentvarnish used by leonardo da vinci. so we aged it for 500hundred centuries by a special treatment. and we make, after that, thespectrum in each pixel. this is the blue one. and the spectrum of the varnishis a pink one, so we subtract the pink onefrom the yellow one.

mathematically, it's not exactlysimple, but we obtain the result of the yellow one andwe verify it with the pure pigment here on theblue light one. and the average of that givesyou this information from the original color to the virtualrestoration of mona lisa. so what is totally new is thatwe can make that for any paintings we have digitized. and this is the ultimatedigital capture system for fine art.

so the experts and actuallythe first report in a news magazine in france explained topeople that now we have the dna of any paintingwe digitize. so here you see we have 80million pixels of this information and each pixel hasthis curve and the curve gives you the exact measurementof a painting forever. so now we are coming tosee more paintings. this one is from john-jamesaudubon at the new york historical society.

so you can see all the detailsof the royal eagle of the watercolor as acquired fromjohn-james audubon and with very interesting details. and now here is the drawing,et cetera. so what is able now is wecan browse inside a painting and online. so i can show you more, thegreat egret from also the new york historical society. i can show you also the famouspink flamingos that every us

family has at home, i think. sorry? male speaker: that'sonly in florida. jean penicaut: but it'sinteresting that we have the true color and i have never seenin a shop the true color. and so you can seelots of details. i can show you now this onewho is [unintelligible] that give you lots ofinformation of the technique with the verdaccio.

so you can see with thisprecision how he put his stroke with pink and green. you can also lots ofdetails in this canvas, or it is a panel. there is a little guy here orsome ghosts here, boats here. and you have also wonderfulred and gold details very difficult to obtainby a simple rgb. we can see also thisinteresting georges de la tour.

and what we see from thispainting from the museum of cherbourg is that we discoveredwith our system some little, not mushrooms, buti think behind the bind and the varnish which was verydamaged for the painting. so that was very easy to find. male speaker: fungus,you mean? jean penicaut: fungus, yes. this is a [unintelligible] from a private collection.

we can see also more fromhere with details. this is a panel from mycollection, quattrocento period, so the sameage as mona lisa. and we can see the false color,so all the restoration and the state of this paintingand also the infrared in back and wide. but you know, false color givesyou more information because that gives youdiscrimination. i can show also how weunvarnish a painting.

so this is a panel froma dutch painter, his name is van delen. and you have the false colorinfrared will give you details of the correction of thepainting at the same time. and also we can simulate theunvarnished painting before restoration to just evaluate therestoration and the work you' have to make. but if you just see the underdrawing you see details from the original.

i can show you nowa fragonard. this fragnoard is in a familycollection in paris before to be donated to the louvre. and i have the infrared too. i love this painting becausei hit in front of i think a hundred times in my life andi've never seen as i see now with detail like here, thelittle nuance of red here and also the details on the hands. so this is the new wayfor studying art.

we can see more then. another one here ismarie-antoinette. this is an interesting pasteland the study of this pastel with the infrared gives youdetails of the original of this pastels and confirms thatfrom the uv and infrared you have a difference. and the difference reveals thatwas the first pastel ever made by ducreux at theaustrian court. and we know that the mother offin fact marie-antoinette

refused the first one becauseshe considered the first one too young. so it was not the idea of afiance that she wanted to give to the old king of france. so the infrared gives youthis is information. you compare it is notthe same portrait. so that gives you all theidentification of the painting, and we have also someinteresting discovery.

a guy came with this niceangelus by millet. he considered after a littlestudy, he was a plumber in the south of france, a lovingheart, as you and me. and he both that for,i think, $20 or $40. and in his mind, he said, it isa nice copy of millet, who has copied millet? and van gogh was on the toplist. so he sent a picture to the van gogh museum and, ofcourse, the van gogh museum answered no.

so he came to visit us and saidcould you please scan this nice painting because i amsure that perhaps we will discover something. so details of this paintinggive us some answers. here you have somethinglike millet. and if we have the first colorthat gives you d'apres millet. and the d'apres milletthe exact scripturation of van gogh. and we know that he made thispainting and later he

mentioned that he made it. so the guy now is coming to thevan gogh museum with the perfect file we made for him itwith his brother inside and with a nice copy, a printedcopy, and lots of information about the pigment definitionof the painting and of the varnish. so for expertise it isan incomparable tool. lots of nice thingsi can show you. this one too is supposedto be van gogh.

it was from van gogh's sisterjohanna's collection, but once an expert told the signaturewas not from van gogh. so this painting was sold for$100, i don't know where in the netherlands. and we scanned it and thedetails it's totally incredible here. this is a glaneuse, i don't knowthe name of a woman who was in the countryfor that, but you know, look at the detail.

also, we can scan just[unintelligible] or [unintelligible] this is a picasso. and you have uv and infraredwith the same knowledge. and i can show you more. a difficult littlepanel to see. it is a painting overanother painting. it's difficult just by your eyeand you can go inside this panel and you have thefalse-color, which reveals

that the portrait of the womanis over the little man. and the infrared will give youmore information for the under drawing and how he madethis painting. it is perhaps a picasso from thevery early period in the bateau-lavoir. and it is perhaps thesister of picasso. we can see this isamazing chagall. the most difficult for us is tocan red because to give you the nuances of red, that isthe main difficulty for

photographs. and so here you can see theamazing nuances that this prince of color whowas chagall made. and we have also behind that allthe infrared and all the study of the painting. and just to finish, this is anice renoir you can see at the musee de l'orangerie. and you have also thefalse-color that will give you lots of information.

another big one, renoir,where is it? so we are online too. so it is totally new because wecan share this information with everybody online,and that's the reason why i'm here. because now we can have thisis kind of visit of museums with the same acuity, and thesame accuracy, and the same definition. so the main difficulty for usis to come in museums for a

digitization. and we have now online from ourwebsite lumiere technology the ability to go and to browseexactly with the same definition as two minutesbefore on my computer. it's very easy. it is actually just forpc and with explorer. but inside this nice paintingyou have details as this signature inside thebody of the central detail of the painting.

so you can see and consultthat on our website. for us, the analogy with googleearth is evident. we use the same sensor tocapture the image from satellites. we have the same approach, theteam that we visited in purdue university, we invented themultispectral scan just to see the state of art of the growthand culture of corn paid and sponsored by kellogg's. so we made them and theywere totally amazed by

the result of this. and they made lots ofverifications and to say you are at the top off yourtechnology too in front of a canvas. i was, last week, in pasadena atthe 34th conference of the museum computer network. and i met around 40 museums. icame also to the getty and the studio department last mondaywith the top of the technique of digitization.

and what they saw andwhat you see now has changed their minds. now we have to come in museumsto digitize their entire collections, hanging and stored,on more or less a long period, it depends on the timeof the museum and the time of a museum is not our time hereon our business company. so the most difficult to take apainting, to unframe it, to put it on a roll, and to bringit in front of the scanner. so we want to install in museumsmultispectral rooms.

and in 20 to 40 minutes we willdigitize a painting and we have the equivalent time to reconstruct on our quad computers. and we deliver at the sametime this result on any luminance you want because thebeauty of that is that we have achieved the dreamof bill gates. we have now the abilities toput on your wall the exact color of a painting underany luminance you wish. if you want the luminance ofthe candlelight as leonardo

saw his painting in his roomor if you want to see that because you are [unintelligible]and you have trouble for red and green, wecan give you this information on the screen as we want. so the data is stored on oursever in the museums for studying with equivalence withour pigment databases because we made also lots of researchabout pigments, and also to be sure that the data will be keptsafely and with always the same scientific protocol.

so when we talk with museums,they all explain to us that they don't want to make as theydid with corbis five or six years ago. because corbis was founded bybill gates just in this goal to puts on the wallsmasterpieces of art. they want to keep the copyrightof the image and i understand, i agree with that. because the knowledge of thisimage we just have this knowledge, not the museum.

because we have the equivalence with the pigment databases. so what is important now isnot the image, but the knowledge of the image. and we can provide forcomparison study or producing, with the best quality,these images. and this data, nobody except uscan create value from it. what we want to do is to createworldwide databases of pigments of the digital palateof painters around the world,

by period, blue one, pink onefor picasso, et cetera. and we think we can make thatin less than three years. after that, we will have suchinformation that these next 20 years will not suffer to studythem with all the art departments in universities. yes? audience: surely, the copyrightson these things are old enough where they wouldbe expired by now. jean penicaut: i'll explainfor the copyrights after.

in fact, actually, we have nolegal statutes for the pixel and the knowledgeof the pixel. we know for the image but wedon't know behind the image. so it's empty, we have to createthis new paradigm for legacy and copyright. audience: but you are allowedto freely redistribute the pictures that you take? jean penicaut: we want to createa network with the museums to follow this knowledgeand to share this

knowledge with the museums. wehave in each painting the dna of the painting. we have the truth ofthe paintings. so we can make lots of profitsfrom this knowledge and partly from this image, but alsofrom something that doesn't exist now. identification, comparison,epublishing, poster, insurance, certification,ratings for sales, et cetera. we can create, first, apay-per-view, the perfect

pay-per-view system fordigital images as its to visit virtual exhibitionsafter an event around a [unintelligible] ora new painter. you have actually exhibitionsaround the world, three months in chicago, three months inlondon, three months in madrid, or in ottawa. and after that you just have adirty book with dirty colors to remember this amazingexhibition. imagine the second life of thisexhibition online with

this accuracy, pay-per-view, youjust have to pay and you can go in this amazing tizianoexhibition, da vinci exhibition, and we cancreate this memory. we can also from this virtualexhibition create lots of derived products, posters, etcetera, with [unintelligible] certification as the bestprinted posters and you can order that on the illuminanceyou want. it is an occasion to open thevalue of such exhibitions for people who can't travel and thistime and would appreciate

to visit it. instead of having 300 visitors,imagine the audience on the web in two or three yearfrom china, from africa, india, or here, america, forpeople who never will go to chicago or to paris tovisit an exhibition. such digitization should alsodecrease the insurance rates from shipping by a betterknowledge of the state of the paintings. i think the masterword for this

knowledge economy is sharing. we have to share, we have toshare, we have to share. and we can reinvent a new accessfor fine art and a new way for also sponsoringexhibition. and it's not here, i am in themecca of the profit by advertising. and it's not here, i haveto explain to you that. but imagine a visit of a museumwith all the paintings like that and with localadverts and publishing

adverts, et cetera. we can also change the mannerof patroning an exhibition. for google, it will be thefair manner to patron, i think, a new way for a digitalart and for the knowledge about fine art. given another impression thatyou are in europe and, i think, everywhere as a cultural predator sometimes, sorry. if you listen to just thereaction of the local chairman

of the french library, etcetera, you see that it's very difficult for them tounderstand, in fact, the amazing work you do. last week at the mcn conferenceyou had at station about google and thumbnailsissued from the museum's collection. what a pity to see suchdistinguished persons arguing on the intellectual propertyof a vignette just because they don't value the shareof [unintelligible]

expected from googleof such its age. so i have a dream, perhapswe can create together google art. in three years, to sponsor thedigitization of all the masterpieces for art in storageand on the walls of museums, i think it concerns 100museums and the budget of that could be around$35 to $40 million. it is the price of avery bad picasso. but, from that you couldencourage this innovating

vision of studying picturesof artworks. and it is a very profitable[unintelligible] at term around all derived products,which don't exist yet, but which will generate revenuesand income. if you think to apply the goldenrule in this matter, sharing, sharing, sharing, withall people, institutions, museums, estates involved inor by the diffusion of the image and the knowledgearound them. and it's the reason why all thislegacy problem will be

resolved because if you pay, ifyou share, you can make a large consensus of the diffusionof the image with lots of security systems,watermarked, et cetera. audience: you're talking aboutsharing it, but you're still going to charge peoplewho access it. jean penicaut: yes, but theincome will be shared. for high resolution, if you wantto use these images for a university, for a pitch, aconference, et cetera, you can pay $10 or $20 for that.

it is easy and also you canenter in this knowledge with lots of adverts aroundthe event or around this museum, et cetera. what is the value? i just want to open your mind ofsome new business possible. look, this is a fragonard. what is the value of the nuancesof this painting for a woman who wants to change thedecoration in her flat from this portrait of fragonard, theyellow for the chairs, the

gray for the carpet, thered for the curtains? by just giving to the paintmaker, the guy who the paint, the idea of the nuances andthe luminance she wishes, because in fact, she wants thisyellow, but in a dark room, without windows,without daylight. so she wants the same nuancewith a halogen lamp. she will obtain a perfectrestitution or her sensible perception of this artwork andshe can pay $50 for that and it is pure margin.

what is the value of the advertsaround this painting or this artist automaticallygenerated by amazon on printed fine arts or last minute whowants to propose a trip to a museum with lots of fragonard. what is the value of the newbooks, like getty books, i explained that to the getty. a nice cube as you can see inthe getty, you go inside this little cube and you have arelaxing massage armchair, an ice cream, and you can go insidethe painting, listening

to, because it is renoir, themusic of faure or ravel, and have lots of fun and enjoymentjust to see what you have seen in the reality. and you can pay for that $5. or you can have some moreadverts around this consultation. audience: disneylandand gettyland. jean penicaut: yeah, what isthe value of a digitization pay-per-view for the aredepartment of a library or a

university? last year i came to visit theart department of stanford and they explained to me that, forthem, just to pay $10,000 each year to have access to 18thcentury painting databanks with such resolution isnot wrong for them. they think it is interestingto pay for such access of such quality. what is the valueof movie-making? from this data we can make onemovie about fragonard with two

or three experts. every image from thismultispectral scan has a value, a certification,a usage to generate in common pleasure. so to build this amazing projectwe needs a strong partnership. the reason why i'm here is totell you that we can together make the best, largest, andrevolutionary research image portal for museums' collectionsabout ancient and

contemporary artists, tobecome the real leading basement of historyof art studies. once we will have digitized10,000 paintings, it will be very profitable. with your patronage, googleart, as louis vuitton made that for the big exhibitions inchicago and in paris, but here are on the web it would bevery easy and acceptable by the majority of museums. itwould be a perfect answer to those who claim against google,showing also your

ability to encourage andpatron art research. beyond images, to manage theknowledge of paintings of their history, two open theminds of people always constrained, actually, by poorreproductions so far from the reality, it is now, i think,in the digital age, a knowledge economy absolutelyunacceptable. the reason why i'm here also isto find investors, so it's the reason why i come in thevalley, who could easily understand the development ofour project from acquisition

to research, from diffusionto creation of value, from promotion of a norm as dolbyfor the sound, but here we have dolby for the color and wecan make the standard for printing and for research. we have the perfecttool for that. and we can also give the rulesfor the best definition for screens, for printing,and for choosing ink. we have, next year, orderedprint machines with 24 inkjet specification to obtain thebest printed and the best

gamut, the best definitionof colors of the reality. we have supplied the bestdigital capture system in the world of art. and for a long time, asmeasurement, we have supplied the smartest browser on pc formuseums to communicate, merging documents, mpeg,pictures, like that. you can put beside any paintinga video very easily. and so a curator canexplain a painting just beside the painting.

we can merge these documentswith mpegs, with links, with comments, sounds, et cetera,and adverts at the highest definition possible. and behind the painting givingyou the invisible and that is really impressive. and this knowledge, passionatepeople who love art, just to see behind the painting, how wasthe painting, et cetera. so we have proven our abilitiesand we have to deploy our service.

of course, we will new legalstatutes of the pixel to argue, copyrights arenow not sufficient. at the famous picture agencyvisited last year in seattle who told me-- corbis-- jean you changed ourbusiness forever. i answered, no, i go furtherin the unlimited way of digital knowledge ona scientific basis. it is time to share knowledgelaboratories and publications

letting ignorant, nice peoplediscovering at home, or on the fair market, wonderfulmasterpieces of art as i showed you two minutes before. each week we have requestsabout people and such paintings supposed to be a vangogh, or picasso, or chagall, always recused on littlepictures without any element of comparison just bymail to say, no. and you have seen the result. we don't want to be experts,we want to deliver the most

complete files to experts,increasing their expertise. it is time also online to buildthe bureau veritas for pictures of artwork. you know the bureau veritas hasall the ships around the world and the boats andthey have a central authority for that. and insurance companies willbe very interested by collecting this informationto, with all security and confidentiality processes,of course.

it is time to give to ourchildren and students the exact reason why renoir painted without dark and black. you don't have any dark in thispainting, only with blue. by letting our children discoverby themselves this new matter about impression,they will enjoy in its true dimensions, this incomparablemovement of art in art history. we can now study, as never,browsing inside the image and

enjoy with unique pleasure howthis painting was made, strokes, color palate of thepainter, et cetera, on site and online. i think after seeing this kindof painting online, you change your mind when youenter a museum. it is another way forunderstanding and your next visit to a museum will be moreenjoyable because you will also share this pleasurewith people around you. and i think if we succeed wewill have made something that

will further us and this is thereason why i'm happy to work in this company. what i know is thati will make it. i don't know with authoritiesor patrons, but i will make it. and i wish to create a strongpartnership, perhaps with you, i hope so, to create this googleart vision from europe, to new york, and here to buildsomething that will further us in the universal peacefuldomain, beyond all our

differences, art. so that was what i wanted totell you this morning. i'm sorry because it's not ingood english, because i am french and that's notall the time easy. but just a detail, this ismona lisa, and we have discovered just by our softwarethat here you have a minium drop. minium is an orange, modernpigment that you pout under the iron to avoidthe oxidation.

perhaps is was the guy who stolethis painting in 1911, he was a painter. and we think that taking thepainting in his house, he some minium on his coat, somethinglike that. so we have discovered that. it's passionate for people. mona lisa is like agoddess in japan. so imagine the day we will opena website with mona lisa, with the louvre, onpay-per-view.

we will have great success. all the experts involved in thismatter of mona lisa, art, et cetera, italians from firenze[unintelligible] are totally amazed by thismanner to study. so now, how can we change theworld of art together? that's my question. thank you. [applause]


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Big 5 Classic Furniture Restoration In UK


eric: this video is brought to you by sailrite.visit sailrite.com for all your project supplies, tools, and instructions.in this video we’ll be reupholstering this armchair with brand new decorative fabricfrom sailrite to bring it back to life and give it an updated, fabulous new look. theprocess may seem daunting, but it’s really not too difficult, especially after watchingthis video. every step will be clearly shown. so if you can do a little sewing and use astaple gun, chances are you can also reupholster a chair. this tutorial video will show reupholsteringof the frame with new fabric. a second video will show pattering and sewing the chair’stop and back cushions. a link to that video will be provided in the description and atthe end of this video.

let’s get started and show you how to reupholsteran armchair. here’s cindi, an expert seamstress and upholsterer, to show you how it’s done. to evaluate the integrity of the chair, it’san easy thing to do to just shake the corners and see if the chair is wobbly. this one isnot. it feels very strong and sturdy. the other thing that you can do is lift up thecushion and feel the springs and see if there’s anything broken in there or anything thatlooks saggy or out of place. the next thing we can do is open up the cushionthat has a cover on it. it’s a foam base wrapped with some sort of dacron. it startedout as a quality cushion, but i did notice that the front right here is broken down.so something is wrong in there. we may have

to replace this foam, but we need to takeit apart and check that. it feels like it’s probably poly-fil, andif it is poly-fil, we can add more to that to beef it up a little bit, if necessary.these can be opened up at the seam to see what exactly is inside and how we need tohandle it. eric: as we continue, knowing these termsmay be helpful as you watch the video. we will now concentrate on removing the old upholsteredfabric from the chair. when you take apart a chair, the first partthat comes off is the underneath down here, which is usually a black piece of fabric,then the skirt, then the outside back. so we’re going to number that number one, thenthe outside arm number two, inside back is

number three, inside arms number four, andthis piece right here is all one piece, so it’s going to be number five. and actually,these come off first also. this will come off with a staple puller, andall you have to do is get behind it and pry it. in order to update this chair, we arenot going to put the skirt back on it. we are just going to leave the legs bare, sowe don’t need to save any of these pieces. but if you were going to put the skirt backon, you would need to save the pieces so that you could measure your new skirt from yourold one. if you are going to reuse your skirt, it might be helpful to mark that this is thefront, this is the side, and this is the back. it will just save a little bit of measuringwhen you get ready to cut your new one.

we’re just taking the bottom off, and iam going to pull these staples because if i don’t pull them now, i have to pull themwhen i get underneath there because it’s on top of the fabric. eric: using the tack and staple remover isgreat, but you may also need to use needle nose pliers. we have the dustcover all the way off so thisis the piece that we’re going to start with that we numbered number one. this is the outsideback. these nails will come out first, and then we should be able to pull this off prettyeasily. eric: you’ll notice here she’s using wirecutters.

this part you can pull the fabric off thestaples and then pound the staples in later. you don’t have to pull out every singlestaple. this part is held down by a metal tack strip. it’s a metal strip that goesfrom here to somewhere around here. so it comes up all in one piece. you just need toget your tool underneath and pry. be really careful with these; they are very sharp whenyou take them out. there’s the metal tack strip.this piece here is padding the wood so that you don’t feel the wood when the chair isupholstered. i would take this off and reuse it when you put the chair back together.this is the top of the outside back, and it’s put on with a cardboard tack strip. it keepsit nice and straight across the top when you

put it on up next to the piping. we just haveto take the staples out of that, and we’ll be ready to take the back off. i’m goingto take this metal strip out of here so that i don’t hurt myself on it. that we willthrow away. eric: in most situations, you do not wantto use the metal tack strips over or the cardboard tack strips. sailrite sells new ones thatyou can purchase from us. there’s a few staples holding this on. there’snumber one! this white piece is protecting the wood at the bottom so you don’t feelit so we’ll take this off also, and reuse it. then the next thing that comes off isthis cording that goes around the outside back.next piece that comes off is the outside arm,

which we labeled number two. so that’s whatall these staples are from. we’ll start with the back here since we already have thechair here in this position. i pulled out most of the staples here, but there’s stillsome that are sticking out so to save my fingers, i’m going to just pound down that wholelength of that area to get rid of those sharp edges. we need to take off the bottom edgeof this piece, and this cording is connected underneath there; that will come out at thesame time. so we’re just going to remove the staples along here on piece number two.this part right here has a metal tack strip from here to here. so it will come up likethe back did, just by prying. the metal tack strip right there gives it a nice clean finishalong that piping edge.

eric: cindi has just removed the front armstump panel. do not discard that. we’ll reuse it. this is going to fall apart so i don’t thinkthat i’m going to reuse this, but we do want to put some padding underneath this armwhen we put it back on. we may have to turn the chair over to get to that. but that wouldbe the next thing that would need to come out before we take apart this up here. justremoving the staples at the front of the arm. this is also held together with just a cardboardtack strip, which makes this edge nice and smooth and clean. pull that off, and thereis your outside arm. the next piece that comes off is the insideback underneath here; that would be all of

these staples and then it’s also tackeddown here. this piece right here is attached to the inside back so it will need to comeoff next. there’s some staples i’m going to pound in so we don’t rip our hands apart. eric: in some situations, the most difficultpart about reupholstering a chair is removing the old panels via the staples. so this isthe time consuming part. putting it back together is really not as difficult. this piece here is also holding the insideback in so we’re going to yank that off. it is okay to rip these pieces as you’retaking them off. we just need a pattern, not an exact replica of what we’re taking off.a basic idea is good. the next piece that

comes off is the inside arm, and while we’rehere taking off the inside back piece, we’re just going to rip off the inside arm alsoand get it unhooked. so when we turn the chair over, both of these pieces are ready to pulloff. eric: you’ll notice that cindi does notremove every single staple. sometimes she just pulls the fabric away from the staple,and then removes it if it’s sticking out. this is what your inside back looks like.okay, i’m just pulling this up so it’s out of the way so we don’t tear it apartwhen we’re taking the rest of these pieces off. you do want to save this; it’ll gettucked back down in there when we put the back back on.so the inside arms are next and they need

to come apart here, and here, and down here,and then at the front. we’re about ready to take the arm off, and we want to try asbest we can to keep this intact. you don’t want to have to replace all this. we may adda layer on top of it to smooth it. but there’s nothing wrong with this, and we’re goingto keep it there just like it is. these staples right here will need to comeout because this is what’s holding the inside arm and the deck on. we can just pull thisout, and you just want to try and be careful not to mess up the padding too much. piecenumber four…the inside arm. the last piece that comes off is the deck,and it’s attached right here and underneath here, and then it’s probably stitched acrosshere. so we’ll take out the staples first,

and then see what’s happening up here. atthis point it’s a good idea to look at the bottom of your chair and make sure everythingis in good shape, not broken, not unhooked, if these strings are still all tied the waythat they should be and connected to the sides in the back and the front of the chair. i’mgoing to lift this up, and try the best you can to keep all of this intact. right in here,where these two pieces are seamed together, this is sewn to the base of the chair. soyou just need to clip that. it feels like we’ve got a couple more staples right inthis area on both sides. they’re actually under here. there’s a stretcher holdingthis off to the side. try not to demolish this when you’re taking that out. it’sattached all the way down here, actually.

that releases it all the way. so there’llbe one of those on the other side also. this looks pretty messy, but it’s all going togo back together. we’re just going to pull the deck out from underneath all of there.this is what the deck piece looks like. the last piece to come off the chair. and we’reready to put it back together. eric: in the following six segments, we’llbe patterning and installing each one of the panels. we’ll start with the deck piece.these are going to have to be out of the way to do this piece. that’s what i’m tryingto accomplish so that you can see what’s going on down there, and that we’re notpulling any of these pieces down before they should be pulled down. you want this to beopen so you can work on it.

this is the last piece we took off the chair.it’s the deck piece. it goes right here. remember those stretchers that were attachedright here? that’s what this is, and it’s actually an extension of this piece. so eventhough it looks like it’s not very useful, it is very useful so don’t cut it off whenyou cut your fabric for this piece. sometimes it’s helpful to just make hash marks ofwhere things go together so that you know when you put it back together this belongsright here and this belongs right here. sometimes this is done with the same fabric as yourchair; that’s an option- totally personal option. it doesn’t really matter. eitherone works well. the next thing we’re going to do is takethe stitching out of this so we can make a

pattern for both of these from our new fabric.so here’s our two pieces separated from one another. we still have some stitchinghere and here, which goes here on the corner, so we also need to take that out. that’swhat it looks like when you’ve taken that seam out. i’m not going to take the otherone out because i’m going to fold this in half, match up the two seams, and then cutthis in half. i only have half a pattern so when i lay this on my fabric for the chair,i’m going to have exact pieces on both sides. this one i won’t cut in half because it’stechnically just a rectangle and it’s sewn here and here to take the shape of the chair,but there’s no special cuts on this one. you’ll do this cutting after you start puttingit on the chair. you can give yourself a guideline,

but don’t cut this exactly like it is nowbecause yours is going to want a little bit different than theirs did.okay this is the fabric that we chose to cover the chair and when we roll it out, we seethat this direction is up, and i also see that this is the dominant pattern of thisprint. so i would like this to be centered on the chair. when i lay out my half pieceon it, i see that i’m going to be missing some fabric over here. the solution to thatis to seam this together, and these seams will show. that doesn’t sound very appealingto me. i think it will be distracting. so i’m going to flip this fabric around andsee if there’s another way that i can use it. when i look at it this way, it looks upsidedown to me because there’s too many flowers

heading down. let’s try it the other wayand see. going this way, the majority of my leaves and vines are going up…and this one.so i think it’s useable if we do it this way. when we use a fabric, laying the piecesout this way, and this being the up and down of the piece of furniture, that’s calledrailroading. since i want to center this on as many partsof the chair as i can, i’m going to find the center of this pattern, or the approximatecenter of this pattern, and put a pin there. its 12 inches. i’m going to put a pin at6 inches. that’ll be my center of all of the pieces that i want centered. since i cutthis piece in half, i want to lay that cut right here at my pin. when you look at thefront of the chair, that’s how much is actually

going to show of this pattern. this part herewill become the cushion when this turns down onto the deck of the chair. so if i startat the bottom of this flower at the bottom of my piece, when i make the cushion, you’regoing to see this whole flower on the front of the chair. eric: here’s a look ahead, and you can definitelysee that flower! we just need a few pins, and i’m ready tocut. eric: when cutting any of the patterns forthe chair, anywhere that the fabric is stapled onto the frame, it can be slightly oversized.however, anywhere that the seams are sewn into place on the panel, those edges shouldbe cut to size, as cindi is doing here.

we’ll put a clip here at the center, andalso leave my pin in. i’m not going to cut this out right here, yet. you can make a guidelinehere, but you don’t want to cut this out just like it is because your piece will bea little different than what this piece was. a guideline is good enough and then you canclip the rest of it as you’re putting it on the chair. i’m going to take my originalpiece off and fold this in half at my clip and my pin, and cut out the other half. thisis the other half of the piece that i cut off. this seam right here is this seam righthere. so the next thing to do is to pin this togetherand stitch it. i’m going to stop stitching about a half an inch from the edge so thatit’s able to make this corner when i sew

it onto the deck piece. and i’m going todo that on both sides. i’m going to start stitching at the dot that i made about a halfan inch from the edge. i want to back stitch here, and back stitch here. eric: here is cindi sewing the opposite side. before i attach the other piece of the deckto this piece, i’m going to check and make sure that it fits well. i’m not staplinganything on. i’m just pulling it around to check my corners, and it looks pretty good.since this is just the decking, and it’s always going to be underneath the cushion,i’m not going to worry about centering that flower. i’m just going to lay it on here-no pins- and cut a rectangle; giving myself

a little bit of extra all the way around.i’m ready to take that off and mark the center of this so i can match it to the centerof the other piece that i marked earlier, and that’s just done with a clip.these two pieces will go together- right sides together. here’s my clip on my first piece,and my clip on my deck piece. you just need a few pins. i’m going to sew from wheremy stitching stopped at this edge to where my stitching stops at this edge. that’sall i’m going to sew right now. i want to start this stitching right here where my otherstitching stopped. i will also do a few back stitches right there. eric: cindi is using a half inch seam allowanceso all the stitches are approximately a half

inch from the raw edge of the fabric. and i’m going to stitch right up to wherethis other stitching stopped and stop right there with a few back stitches.the next seam we’re going to sew is from here to here. and in order for you to seethat easily, i’m just laying this up here as my pattern. this seam has already beensewn. after i take this piece out, i’m going to pin this down and sew from here to my dotright here. and i’ll do this same thing on the other side. eric: for this project, we recommend usingan upholstery thread or a v-69 nylon thread. our stitch length around 4 to 5 mm.

there’s a square corner, and then this seamgets top stitched. eric: for this edge, cindi pinned in a singlehem. she’ll top stitch it now. that same procedure is repeated for the other side.we’ll not be showing all of that. right now i’m going to take this pin outthat’s marking the center, and move it to the center of another flower just so i don’tstab myself, and i still do know where the center’s at. so when i come back to cutanother piece, i know that that’s the center of my flower. eric: up next…installing the deck. the next step is to sew this decking pieceback onto the chair, and we need twine for

that. it needs to be about 10 inches longeron each side of the chair. so we’re just going to cut it that long. then we need toflip the chair over to attach it to the bottom before we start sewing. that piece of twineneeds to go down to the bottom of the chair, pretty close to the same area where you’regoing to be stitching straight across. and we’re going to secure this twine down onthe bottom of the chair. and then turn the chair over and start hand sewing it across.before i sew, i’m going to get it all in position, just the front part, because i’mgoing to flip this back and sew right down here. eric: because we’re working at sailrite,it’s business as usual. so you’ll hear

all kinds of strange noises in the background.jeff frank is plotting sail kits for our customers. he just turned on the vacuum table. that vacuumtable sucks the fabric onto the 50 foot plotter bed, as the plotter cuts and also marks thesailcloth. this piece of fabric is what i want to sewto, and if i can catch a spring, that’s awesome. if i can’t, it’s okay. eric: the type of twine that’s used hereis not too important. it just needs to be rather strong. cindi is ensuring that thecover is in the right position before she starts to stitch it in place along this frontedge. now i need the curved needle.

eric: a curve needle is used in an applicationwhere the user cannot get to the backside of the needle to push it back through thefabric. it is true in this situation we could actually access the needle from underneath,but a curve needle makes this job much easier. cindi will create a stitch about every inch.she will also pull out the dual line so that it’s a single line. there only needs tobe a single line across the entire length of the chair here. so she pulls the excesstwine out as she continues to sew. i’m catching this piece of fabric, and ican catch this spring also as i go right there. i’m going to stop here at the corner wherethe corner that i sewed was so i can send the rest of the twine underneath and tackit underneath like we tacked the beginning.

you can see that that’s nice and snug andthat’s going to hold this front piece in place, and then we’re going to turn thispiece back this way to cover up all of this. eric: at the bottom of the chair, she securesthe twine in place with the stapler. now we’re going to pull this back up kindof on top of that seam. i’m going to lay the original piece back on so that you cansee where we made this little snip, and i said don’t snip it too far, but that’swhere it is right there. so we’re going to start snipping a little bit at a time untilwe get this to fit around the arm nicely. i’m going to remove this piece and startcutting. what we want to achieve is we want this cut to come down to this part of thearm so that this back piece fits around under

here and this front piece fits around nicelyhere. i don’t have it cut quite far enough because we have too many folds right in here;we want that to lay nice and flat. so i’m going to pull it back out and cut it justa little bit more and try it again. that actually looks pretty good. you don’t want to cuttoo much, or you’ll have a hole right here. notice that i haven’t stapled anything yet.i’m still trying to get everything in place so that it looks nice and neat and finished.this piece right here i’m going to shove down so that i can tack it up under here tokeep everything around this arm area nice and tight. we need to do the same thing onthe other side. eric: and since we’ve already shown this,we’re going to skip ahead.

that looks like enough. it’s nice and smooth,and there’s no hole there. we have to make a similar cut to go around this area. it’sbetter to snip just a little bit and try it then to snip a whole bunch and have a hole.i can see we have this in place, and we can start stapling. this is part of the stretcher,and i’m going to push it straight down and attach it underneath after i turn the chairover. and it’s just going to keep everything nice and secure in this area. when we turnthe chair over, you’ll be able to see where it ended up. you see how it pulls on thatcorner? it’ll make it nice and tight after we get everything else secured.now we’re ready to start attaching our piece with the stapler. you want this to be smoothso i’m going to pull it down from the top.

in this fabric i can kind of see the weaveso i’m going to kind of use that as my guideline to make sure when it’s all pulled, it’sstraight across, and you want it to be snug. i’m going to shove that piece down likei did on the other one. i’m going to pull it to the side now and secure it over herebefore i cut around the leg. put these staples in, you need to stay behind this area becauseyou’re other piece will only come to here. so you don’t want to staple up to here.you need to pull it back beyond the arm; otherwise, you’ll see your staples. i’m going toput one or two staples under here before i cut around the leg. you can just follow theedge of leg right up to the bottom of the chair. we don’t need to turn under all ofthis. i’m going to trim it off to make it

a little bit easier to turn it under and finishthat edge. eric: once the fabric is cut beside the leg,cindi will take the fabric and tuck it up underneath the main body fabric to createa nice pleasing look. in a future step there’ll be piping that goes around the entire bottomperimeter of the chair, including this location. we’ve got those cuts made, and we’re justgoing to pull the fabric down underneath, and secure it under here, and on this side. eric: cindi will repeat that process for theother side. we’ll move ahead. the upholstery work table we’re using here, which is onwheels, is easy to make. a separate video link at the end of this video will show youhow to make your own.

i’m going to put the chair back up on itslegs so we can pull down the back and sides. i’m going to staple this to this edge righthere, and not this edge. if i staple it to this edge, you may have lumps in the backpiece when it comes down. if i staple it to this edge, it will be completely hidden. eric: we are using the eze tc-08 pneumaticstapler for this job. it uses an 80 series 21 gauge staple with a ⽠inch crown. themain advantage of this staple gun is not only the low price, but the fact that it shootsa ⽠inch crown staple, which is much wider than the industry’s standard 3/8 inch. thiswider crown staple plays an important role as it helps to prevent cutting through vinylfabrics or lighter upholstery fabrics. the

eze tc-08 features quick cycle times for rapidfiring rates, which results in maximum productivity. sailrite sells a short nose version and along nose. we’re using a long nose here. get yours today at sailrite. and here also i’m going to staple up hererather than down here. eric: we’ll show cindi stapling only a coupleof the staples, but it needs to be secured all across its length. that same process isrepeated on the other side. this piece right here, i can snip a littlebit more to make it go around the corner a little bit better. i’m going to flip thechair up one more time, and attach these underneath. eric: coming up…the inside arms.

the next piece that goes on is the insidearms so i’m going to flip the chair back up and get ready to cut those pieces. i’mjust going to tuck everything back down in where it belongs, now that we’re finishedwith that first piece. and if you wanted to add more padding, this would be the time todo that. our chair does not need extra batting on the arms, but if you did need extra batting,i would just take a rough measurement from underneath the arm down to the top of theseat, which is 27 inches on this chair, and then the width of the arm is about 24 to 25inches. so we would cut a piece 25 inches wide- and this doesn’t have to be exact-by 27 inches tall. that’ll add a nice new layer to your arm, and you can give it a coupleof staples under here, and then it’ll just

pull down right here when you put your newfabric on. it doesn’t have to go down inside. it won’t serve any purpose down inside soit doesn’t have to be that big. but it does make this nice smooth finish if you have roughspots in your arms or you just need extra padding.the next piece to go on is the inside arm, which was number four. we numbered the pieces,we took them off, and we’re going backwards. so we’re at number four now, and it goeslike this with the tucks in the front. and again i want to center my flower so i’mgoing to lay this on the flower. to kind of make sure this is where i want it to be, i’mgoing to fold it back about halfway. visually i think i want it to be up a little bit higheron the arm so i’m going to just tug this

down a little bit. there’s also a back cushionthat is not attached so some of this area is going to be covered up with the back cushion,so i want the flower to be a little closer to the front than the back. if you want tocheck where that flower’s going to fall, you can measure down from here. it’s about8 or 9 inches. i can look at the chair, from under here, 8 or 9 inches is going to putthe top of my flower way up here. i don’t think i want it there. i think i want it overhere. so i need to move that down to about 13 or 14 so the flower sits here instead ofup here. i think that’s a little closer to where i would like it. now when i cut this,i’m not going to cut that off so i have a little bit of leeway to move that floweraround if i choose to. and i’m actually

just going to cut a big rectangle. i’m notgoing to choose to add those pieces on. i’m going to use my fabric and cut all the wayaround this. give yourself a little bit of extra so you have plenty of leverage to pull.and once again, i’m going to move this center pin to another flower. eric: moving the pin to the center locationis a good idea. our flower is rather easy to find, but on some patterns, it’s moredifficult. on this piece, i’m not going to mark theseslits because if i choose to move that flower to a different spot, these slits are not goingto be in the right place. so i’m going to cut these pieces as i put it on, instead ofcutting them ahead of time. i’m going to

remove this piece now, and cut my other armwith this flower in the same spot on the other arm. it doesn’t matter that the other piecesare going to be in a different spot. this is the focus of the fabric so we want thisto be in the same place on the other side. the other thing i’m going to mark on thisbefore i move it again is the top, just in case i get confused. and i’m going to markthat with an arrow. before we staple or cut anything, we needto make sure, since this has this flower that needs to be in a pleasing spot, we’re justgoing to lay it on there and see where we would like it. you want the grain of yourfabric to be straight across the top of the arm, and this one is really easy to see. aswe have an extra back cushion on this chair,

i’m going to pull this a little closer tothe front so we don’t lose too much of the flower when that cushion is sitting back here.make sure that we still have plenty of fabric to pull it everywhere that we need to pullit, and it looks like we do. eric: the yard stick was placed on the backof the chair to keep the polyester batting out of the way as the patterning was donefor the inside arms. i’m going to start by putting a couple staplesup underneath here just to hold it in place as i make my cuts and get ready to fit itin. this was stapled right here. you can see where the holes were. so we’re going tostaple it there again. and this is just a couple staples to hold it in place.now we can go back and look at where the cuts

were. we’ll need one cut up here to go aroundthis arm again in the front. we need a cut back here to go around this piece. and there’sa cut up here that goes around this piece. to make this fit around the arm, we’ll makea cut here, which will let this slide down underneath like this piece did, and then thispart of it will go down so that you can secure this part of the arm down. we’ll make anothercut back here to go around this so we can pull it this way and this way. and there’llbe another cut up here that will let you pull it around this part of the frame towards theback. i’m going to start at the front because we want the front to look the best. my armframe is right in there so i’m going to head towards there with my cut. once again,i don’t want to cut too much; i want to

cut and try it. and that is not enough soi’m going to pull it back out and cut a little bit more. still not enough. okay, i’mgoing to leave that part and go to the back. before i make any more cuts back here, i’mgoing to secure this a little bit more. this part of the frame is right here so i wantto cut out from that part of the frame. you can see that that’s all bunched up so idid not cut far enough yet. i’m going to cut this at an angle to go around that squareboard. i’m going to leave that as is for now and go down and do the cut at the bottom.the board i’m going to go around down here is way down here so i want to cut in towardsthat board. i’m going to pull that back out and cut a little bit more there, but letthat go back.

now that we have everything pretty much inplace, we’re going to start on the front of the arm because that’s the part thatwe want to look the best so we can adjust the rest of it later. we need to secure this.i’m going to put a couple staples down here to make this tight on the front side. keepin mind that you can always take these staples out and move them if you need to. i am goingto take these staples out so i can pull this piece down underneath here. i’m going totrim some of that out so we don’t have so much bulk in there. eric: now it looks like there’s still toomuch fabric there, and she’s going to snip some of it away. when she makes this snip,it looks like she’s cut way too much fabric

off. but that’s not the case. as soon asthe front of the arm is put on, it’ll hide all of that cut that she just made. here cindiwill explain it. when this all goes back together, this piecewill sit over here, and this cording will come straight down here. so this will allbe covered up. now i’m ready to start doing the tucks that go around the front of thearm and those i’m just going to eyeball where these are and just start working myway around. i probably will need to trim some of this out. it’s going to be too much towork with, and it’s going to get in my way. so i’m going to trim that off. you mightwant to just put one staple in each of these because you may need to go back and adjustthem. i’m just tucking it all in towards

the center. you want to kind of make themeven spaced; it does not have to be perfect. then just step around to the front and seeif you like the way that looks, and then when you do the other arm, you’re just goingto mirror that as closely as you can. i think i’m happy with that so i’m going to puta few more staples in. i’m going to put a few more staples underneaththe arm now that we have the front secured. this will get another row of staples on itwhen we put the outside arm in so you don’t have to go crazy with the staples on here.i’m going to pull this back and get it nice and snug. right down here i’m just tuggingon that to pull everything to the back and make sure it’s smooth before i put morestaples back here. i’m just making sure

that i have this flower in the same spot thati put that one- as high up from the bottom and as far back from the front. when you’redoing these on the second arm, you want to make sure you have the same number on botharms. so i’m going to count… 1, 2, 3, 4, 5, 6, 7. eric: the process for installing the secondinside arm is the same. let’s move on! next piece is number three, which is the insideback, and we’re just going to tuck all this back in where it belongs. this is the insideback piece, and i’m going to just cut a big rectangle again, making sure that thisflower is situated near the center, and give myself a little bit of room so i can moveit around if i need to. and i’m not going

to cut the cuts again, here or here, untili get it on the chair and decide where i want that flower to land. just like with the arms,i’m just going to lay this on here and get the flower where i want it before i cut anything. eric: once in position, cindi steps back totake a look. on this piece i’m going to start staplingat the top back. and again, just a few staples to hold it in place so you can work with therest of it, and then you can come back later and put more staples in. we have to make thesame cuts on this that we made on the inside arm to go around this area and around thisarea down here- around the wood frame pieces. the piece that i need to go around on thisis this frame piece over here. when a piece

of the frame on this part is way down hereat the bottom, and that’s what i need to cut around for this side. probably going tohave to cut that a little bit more, but i want to cut this side first. this is justa process of going from side to side and corner to corner, until you get it where you wantit. eric: when cindi is pulling this fabric, rightabove the arm, a single hem or a fold of fabric is there because that fabric will be exposed. i have most of my cuts made where i want themso i can start to tack this down. i’m going to make a tuck up here so that has a nicefinished look. i’m tucking part of it this way to get it out of the way. then i’m goingto tuck the rest of it and make it a nice

clean edge there. now we have the front allin place so we’re going to tack the bottom and the sides down here on the back. i’mgoing to go ahead and trim some of this off. we don’t really need all of this. it’sall going to be inside when the chair’s finished. eric: we’ll be tackling the outside arms.that’s coming up next. this piece is the outside arm, which willbe right here when we put it on. once again, we’re going to center the flower, whichis actually going to take up most of this piece. i’m just going to cut a big rectanglearound this one also. i’m going to move up to this other flower again, give myselfan arrow for the top so i don’t forget.

just center the flower. to make this areamore stable when you put your fabric on it, we’re going to actually use the old piece,turn it upside down so we don’t see any of the print, and just tack it on here. andit makes a base for your other piece to go on. then we’re ready to put the outsidearm on. eric: we’re going to use some protectivepadding on the floor since it’s easier to install the outside arm while the chair’son the floor. we’ll also be using cardboard tack strip. it’s available from sailriteto install this portion of the chair. i’m going to lay this upside down here sowe can get this straight edge across here. it’s what we’re going to attach first.make sure you have enough left to pull around

to the front over here and around to the back,back here. i’m going to push that tack strip. i’m going to check it before i put too manystaples in it. now i’m going to pull it down to the bottom and staple it; a few staplesare down here. here at the front, we need to clip. and this part gets stapled towardsthe front. this part we’ll come back and use a metal tack strip to finish this edgeoff right here. so we’re not going to tack this down yet because we need to be able tofold this. come around to the back and staple the back down. cut around the leg. i’m goingto staple underneath here with a few more staples in it, and then finish off this backpart. now i need the metal tack strip up here. weneed this to be about that long. so we’re

going to hold it with pliers and bend it.then you want to trim off these very sharp corners. you’re not going to get a realsmooth edge like that, but you want it to look similar to that. i’m going to kindof make a crease there so i can see where my straight line is. i’m going to put theedge that we cut towards the bottom. you want to use a hammer that’s not going to harmthe fabric when you do this because you’re going to be pounding right on top of yourfabric when you do this. you set the nails all the way down and just keep going backand forth until you get it all the way. we’re just going to finish stapling the bottom edgehere towards the front. eric: follow that same procedure for installingthe opposite side of the outside arm. let’s

move on! this is the first piece we took off- the lastpiece to go back on. it’s the outside back, and we’re also going to center it on ourbig flower. perfect! i’m going to trim some of this extra fabric out of our way. i’mgoing to add this back piece back on, just for support, underneath our fabric. acrossthe top of this, we’re also going to use the cardboard tack strip so i’m cuttingit to size. i’m going to lay my fabric up like this, making sure you have enough onboth sides to turn it under. it’s going to end up like this so my arrow is actuallypointing down right now. but this is the top of the fabric so i want the top of the fabricat the top of the chair. i’m going to start

in the center, and i want this edge to beup close to the square edge at the top of the chair. put a few staples in and pull itaround and check it and make sure i’ve got it straight. straight with the top of thechair is what i’m looking for. it looks pretty good!this piece was on the chair originally, and it makes a nice smooth edge across the tophere when we pull this fabric back so i’m going to reuse it. it just takes a few staplesto hold that in place. we also had a piece like that down here at the bottom that i needto add back in, and it takes the edge off of this just a little bit. eric: these polyester strips at the top andbottom edge here add a little bit of a touch

of class. they are not required. now i’m just going to put a few staplesat the bottom until we get these sides turned in and then i will finish the bottom. thisis where the metal tack strip will go. i’m just pressing a crease into it with my fingersso i can see where i need to put the tack strip. this one’ll have to be cut again;it’s just a little bit too long. i’m going to lay that along the line that i just pressedin with my fingers and carefully push the fabric through the nails. at the top, it’llhelp to trim off a little bit of this extra fabric so you can get it tucked underneaththere. you’re going to make a square corner up there, as square as you can get it. ifyou don’t have the tack strip all the way

up to the top, and you have a little bit offabric there, you can always hand stitch that with a curved needle to finish that off. nowagain, i’m going to tap it lightly all the way down. before i put that one all the waydown, i’m going to go over and put the other one in.we don’t want this to stick out after we put our fabric down so i’m going to trimit off a little bit closer to my staples. you want to pull this snug.eric: cindi’s lining up the outside edge of the tack strip along the creaseshe just created in the fabric. this looks like it’s where i want it, soi’m going to start tapping it down also. then i’m going to go back and tighten theother side down and make sure everything is

snug. now i’m ready to cut around the legs and pull it snug thisway to the bottom. i’m going to snip right up to the leg again and get rid of some ofthat extra. eric: coming up next we’ll cover the frontarm panels. the next step is to cover the stump panelsthat go on the front of the chair. these have these nails in them, which are sometimes possibleto use again- hard to use again- so we usually don’t use them again. i’m going to takethe cording off. the other thing we’re going to do is make the cording wrap around thebottom of this so it doesn’t have to go down the side of the chair, which makes theprocess easier. i have to take this off to

get to these to take them out. that’s whyyou don’t want to use them again. eric: could they be straightened? we’ve tried all that. eric: oh…okay! when you apply these back on the chair, we’regoing to nail right through the front of these so you don’t have to put anything back inthere. on this i want to use narrower staples so my staples don’t come through the frontfrom the back. i’m going to change to a ⼠inch staple.this piece isn’t big enough to center our big flower on so i’m going to look for somethingelse in the fabric to center on this area

of this piece so it looks pleasing. i’mgoing to try this one right here. the way i try that is just by pulling it around andsee what it looks like after i’m going to staple it, and i think that works becausewe have this one centered at the top and this one falls in the center down here. so i wantto find another one of these flowers for the other side and do a mirror image of it. makesure it’s in approximately the same place and, even though i’m a little short there,that should be big enough because i allowed quite a bit around the sides when i cut thefirst one. since this piece was a little bit narrowerthan this one, i’m going to put this one on first and then i can place this one whereverthis one lands over here so i don’t run

out of fabric on either side. and again, i’mjust going to put in a few staples and turn it over and see what it looks like beforei completely staple it down. you will have to make a cut to go around this corner. snipit a little bit and see if you like it, and snip it more if you need to. that’s goingto need to be snipped more to get rid of that little bubble right there. so when i pullthat the other direction, it’ll pull out the rest of that little spot. make it niceand smooth. you want to also look at the weave of your fabric and make sure that the weaveis going straight up and down on this piece and doesn’t go off to the side. check to make sure you’re staplesaren’t going through the front of your piece. i’m just pulling these out

because they didn’t go in all the way. soi’m going to take them out and put another one in there.on this piece i’m trying to make sure that i’m the same distance from here to herewith this little point of the flower. it doesn’t have to be measured; it’s a visual. i’mgoing to finish off the bottom of this just by folding this edge up and stapling it. eric: next we’ll be installing piping aroundthe stump panel. before we do that, we need to make piping. that’s coming up next. we’re ready to cut the cording that goesaround this piece. we want to cover it with the same fabric so we’re going to cut somebias strips of our fabric, and bias we’ll

put it at a 45 degree angle. this cutter reallymakes this easy to do. make sure you use a cutting mat underneath. eric: the first cut of fabric will be discarded. i cut these strips at 1 â¾. eric: we’ll need to cut enough length ofpiping to go not only around the front arm panels, but also around the entire perimeterof the bottom of the chair. i’m going to fold this back on itself, onlyso it fits on this cutting board. eric: simply keep cutting out strips untilyou have the length you need to accomplish your project. the clear acrylic ruler is perfectfor making accurate cuts as you can see through

it nicely. i’m cutting this on the bias because it’llgo around this curve nicer and smoother, and it also makes the fabric so the edges do notravel when it’s cut on the bias. when i seam this together, i want two bias cuts.i’m going to lay one on top of the other, right sides up, and cut another 45 degreeangle here. i’m going to remove the ruler and flip them over like that. i’m only goingto put this pin in to show you where i’m going to stitch. i’m going to take it outand turn it the other way. i’m going to stitch from where these angles meet to righthere where those angles meet. but i want my pins to be this way. so i’m going to dothe same thing to seam the whole thing together-

a right side up and a right side up and a45 degree angle. take the top one and flip it over so you have right sides together.now i’m going to stitch this together from this angle to this angle. i’m going to usea fairly small stitch on this. we’re going to use this cotton cording,and all i need to do is lay it in the center and fold it over, no pins. there is a cordingtunnel in this foot that’s going to carry this cording through. let the machine do thework on this; it will make a very nice corded edge for you. all i have to do is fold thefabric in half and the foot does the rest of the work. when you get to a seam, justtake your fingers and press it open. that eliminates the bulk at that seam.

eric: you may not know this, but cindi adjustedthe stitch length so it is sewing a 5mm to 6mm length for this step. coming up next,we’ll install this cording, or welting, to the stump panel and also to the bottomof the chair. i’m ready to apply the cording to this piece.when we’re finished, it’s going to be right up against the edge, so it looks likethat. we are going to work from the back, and we want to lay it off the edge just alittle bit from the back side. leave a little bit of a tail down here so we can bring thataround and finish it at the bottom. just take time to turn it over occasionally and seeif it’s where you want it to be. fold the corner there and tack it down. corner on theother side, and just a couple staples at the

corner so that we can finish this off. todo that, i’m going to open up our stitching and pull this back so i can trim out thisextra cording. i fold the finished edge here and tuck the cording’s in together so itlooks like that on the back and that on the front.before i made my cording, i just pulled the piece of cording around the chair half way,doubled it up, and then put a pin in the cording so i would know about how much cording tomake so i didn’t make way too much or too little. i’m going to start at the back toput the cording on, and use the cardboard tack strip because it’ll give a nice firmedge on the cording. start a little bit back from the end of it so that you can finishthis end off when you come back around. i’m

going to cut a snip in the cording right upto the stitching- don’t cut the stitching- so that i can go around this corner withoutcutting the cording completely. pull it around and snip it over here, right up to the stitching,and tuck that down underneath with a screwdriver. if you don’t feel like that’s secure enough,you can take a few hand stitches in there, or put a little finishing nail through thereto hold that fabric in place. start the cardboard tack strip again at the edge of the leg. i’mgoing to trim this off about 4 inches longer so i can overlap it just to get it out ofmy way right now. when i get to the end, where the ends meet, i’m going to open up oneside of my stitching so i can pull it back away from the cording, and then i’m goingto snip the cording off even with the other

cording right here. i’m going to fold thatback and nest one inside the other so that you have a nice clean edge. eric: only a few more steps are left. next…thedust cover. i’m ready to put the dust cover on the bottom,and that is this black fabric. so i’m going to measure my chair, which is about 30”x 32”, so i’m going to cut my piece 34” x 36”. i’m just going to center this onhere and turn the edges under so it’s a nice finished edge. put it right up next tothe cording, cover up the majority of your tack strip, and staple it. before i cut cornerson this, i’m going to secure it on all four sides.

eric: secure all four sides as cindi said,except keep about six inches away from each leg. do the front then the back and then the twosides. i’m pulling this all up towards the leg, and i’m going to cut actually rightdown the line of this leg, and then fold all this under and finishing stapling. eric: all that’s left to do is apply thestump panels to the arms. the next step is to put these front stumppanels on. to do that, we’re going to use some small finishing nails. i have two sizeshere because i’m not sure exactly which size is going to work. i’m hoping the smallsize is going to work. i’m going to push

that down in place and put the finishing nailkind of twist it right through the weave of the fabric, and tap it in with the hammer.i’m going to take a pin and pull the fabric out away from the head of the nail. if youcan find a spot in the fabric where it’s a little less conspicuous then right there,it’s a good idea to do that; maybe this grey area. it may take four or five of theseto hold one on. eric: the armchair is now reupholstered. comingup next is a material’s list and tools we used to reupholster this chair. you’ll findhundreds of great indoor decorative fabrics at sailrite that work great for jobs likethis. you can also find the tools at sailrite that will make this job a great success. asecond video showing how to make the seat

bottom and back rest cushion is coming soon.be sure to watch for that video on the sailrite website or the sailrite youtube channel. formore free videos like this, be sure to check out the sailrite website or subscribe to thesailrite youtube channel. it’s your loyal patronage to sailrite that makes these freevideos available. thanks for your loyal support. feels pretty cozy!! eric: i’m eric grant, and from all of ushere at sailrite, thanks for watching.


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**you can turn these captions off and on using the cc button below. it's funny how things happen. i didn't even want to go to that party that night. little did i know my entire life was about to change. yo yo yo party people! the talk dance is next. and the spotlight randomly falls on this dude! and also on this girl who reads with her fingers in the middle of a party! eh?

no, hey guys. no you can't just grab people. huh? come on... you'll like it listen, i don't know how to talk - go away! i just ate a peanut. what? why don't you say your age? are you mocking me? yeah

okay why you gotta do that? oh you know mm ha ha ha ha sounds like you got the wrong guy ah we could both play outside- nuh uh ooh hey oh gross you're so smiley! but i don't mind girl bah bah black sheep

ha ha nursery rhyme! hey i love good nursery rhymes and i just happen to be here? ohhh-kay you're so rad - did you bring a camera? i think, yeah ha ha ha ha ha i need that camera so - oh oh ayo! hey i missed you so much

huh? i can't really hear you, huh? oh hey let's do this i'm ready alright i thought i could feel a bug it isn't a bug you just thought it was something, girl oh i just thought it was something

coooooool...? i'm chorky. lumpkinella. hey. lumpkinella: it just sounded beautiful. dude i gotta tell you about my plant in the forest. you'll see it, right? sure, i guess, just as long as you don't get crazy. what? you won't die. are you sure? for all i know you could be a horrible evil psycho!

you're so rude! well, you know i have a fireman friend when lumpkinella laughed it felt like fireworks were going off. also fireworks were going off. oh no! maybe she wouldn't notice... she noticed. uhh- i'm cool! i'm like a cool bomb. a water bomb. a-a-and i ate an egg... oh no, dude, are you bored?

yeah! oh then i'll show you um - check out one of these bowls that i found in the dollar fun section. so, um, what do you thi- and just like that she was gone. i guess she wasn't interested in conveniently priced dishware. that was a pretty great bowl though. by the time school started again i had pretty much forgotten about her. i don't wanna grow up to be like a dinosaur 'cause everyone will try to scratch me.

yeah, that probably won't happen. there you go, like a lot of people, just being judgy. wait a minute. i recognize that hair. hi chorky! hey. it couldn't be her, could it? lumpkinella? listen up y'all. i need cheesey sandwiches and a gummy fruit, and do your eyes even see, chorky? hmm? okay, well i got some phone chargers for the irish students.

my lips are germy and salty 'cause weird bugs run behind chorky. hey guess what? now you owe me fifteen bucks for your doo doo and shenanigans. any questions? ugh, this kid? yeah, why are worms on me? whatever! my friends all congratulated me on my cool hallway stance while i waited outside the classroom. and then there she was. nyah!

awkward! i'm leaving! what do you mean? your hair... is brown? well it's probably 'cause of my transferal clickometer. wait what's this transferal thing? wait, are you a simpleton? what? oh. uh well my friends think i'm just normal, um, but i'm really the pretzel king. i'm quite a guy.

sup, chorky. hey, richmond. you should look behind you. yeah, well i used to. but i'd see my friends and, um, i don't want to. i'm kinda feeling like macaroni a- oh i like when they put glitter on these signs. i wanna do that. i know, right? glitter is so cool. i put fruit in a basket and it was dope. gnyack gnyack! you should put it in a bathroom.

which bathroom, chorky? oh, hey, new girl. i think you have a spoiled roach in your shoe. no, i was going to take an old person to prison.do you hear that? wow! that's a baby sheep. chorky, i'm your new friend now. i'm about to burp. oh, just like me! mm-hmm. i like burps. mmm.

oh. mm-hmm. mm-hmm. and loogies! too gross. yeah... so you know, i talked to that new girl, and um, i was really weird around her. how? oh, you know, feeling nauseous. chorky, i'm pretty sure you got a problem walking. you need a scooter.

not me. you, buddy. right then, there was only one thing that could make me feel better: here we go! basketball, basketball, we love basketball it's the best game that we play every day it's my bouncy ball, it's your bouncy ball yeah it's my bouncy ball

pretty little basketball wow my feet are so raw (raw feet!) my ears are scared and the baby ostrich is cold and now that makes you feel like you know karate (yes sensei!) you're kicking your friend (don't kick him!) oh, why must i just - dance (hey!) yeah this is my dance here in the gym, in the gym and this is my best dance

and i can do this now now walk it around, do it, yeah na na na na hey i gotta clean my teeth and get some sleep and then we take the shot! once a week my coach would come to the locker room to try to convince me that he was an animal of some kind. yeah, it got pretty old. now don't run away from me, okay? i'm here.

hey did i tell you i'm a rodent? yeah, i'm one of them rodents without fur. you see my snout? hey now, you look me in the eyes, kid, cause i wanna dump a junk pile on my face when i don't have to. you know what i'm saying? um yeah? now see, you get it. yep, good talk, chorky. yo. can i pinch your shrimps? mm, awkward. look my shrimps aren't around. seriously?

yep. um hey. well what is it? well i was just, um, it looks like you ate a 26-year old man. mm-hmm i did, you're right. oh, and a wild boar. one thing people didn't know about me was that i had an invisible cat named corville. he was from space. he'd been missing for a few days and i thought i had heard him in the auditorium.

corville? are you in here? hey! oh - hey! looks like you're looking for something. uh, no? are you? no. i haven't lost anything. though i'd like a bike pump. corville! hold on buddy! he's adorable.

you tripped over corville, he's my space cat. he's invisible. and now you know. uh huh wanna see something real cool? hand: i gave it to you so you could hold it. oh, you're quite a special bear. i'm not a bear. oh yeah? how do you know? think about this: can you play piano like the bear at the mall?

easy. come on, but you gotta sing. the dog took my leaf the cat took the seat and the human arm was stapled on a pig the doll wears your clothes but the goat wears your robe i'm sure there were always rabbits inside me i think your feet stank so much like corn wash your toes

and i've never had someone gross me out like you do like a rotten tooth and i've never had a dumb wart until you came along yeah, i owe that to you and don't go get a big fork and fix the ceiling fan cause that could ruin the fork a-hooo-ooooo well, missed class now. chorky! you have huge bangs,

and you and your friend are gonna be in the talent show on monday night. work on your rhythm. and that's how i ended up in the talent show. oh, great. i couldn't shake the feeling that there was something strange about lumpkinella, but i just couldn't put my finger on it. maybe it was because she - no not that. or maybe it was the way she - no, not that either. and then it hit me like a ton of pounds- well it's probably 'cause of my transferal clickometer.transferal clickometer... clickometer... clickometer... clickometer oh, it had been right in front of my face this whole time!

she'd probably just been waiting for me to figure it out dear lumpkinella, i know you're a robot. and the secret's safe with me. i'd never been very good with electronics, but this i could handle. the horse head is terrifying this could cause nightmares in the night clink-a-chockle-chocka-bee this is good! and i'm gonna be the sunshine duke cause i'm making that weekend wish

i couldn't decide if lumpkinella was technically alive or not, but what i did know is that she made me feel more alive. and that's what really mattered. i also knew that she was having a hard time adjusting to lunch at our school, which, to be honest, i could understand. let's go bang on furniture and then for no reason everybody's gonna walk around the tables and we stop - tummy ache and this and this and this and wheee then we point and yell at the wall!

y'all burping is my passion i'm all like burp, burp, burp, burp ugh, is that veal? oh, nope, nuh uh, that's no no that's nas-tay! like tuna on a stick! i like to burp, alright? no no no shh tom lee's dad ran away - quit it

and freeze yeah so after the scientists made me, i slapped the guardian and escaped from the lab. and i'm just trying to be human now. hmm, i don't know how to take that. could you ever forget that you're totally a mischievous android and you have to run on batteries? you never drank that milk. i'm gonna go. oh so if there's a dog in the bushes that's funny? no no no. dagavochu. a sweema tabba dabba jumble.

oh that's good. hey you guys should clap.clapping! delicious. hey let's yell chorky's name. chorky! mousy! derf called you mousey, but that was just derf being derf. he's a jelly head! take this, you'll want it. it's pretty cool.

a potato? yeah that's correct. okay today i want to show you this really old laptop. as you can see from the photo, somewhere out there is a squirrel who has fingers. um, but, i mean, you know, i could get some of them from the woods. lumpkinella! you look like a human, but that is not what you are. guys, can i have some water? oh that's fancy, a water? why don't you just tell us about the girl? is she an alien?

of course she's not, don't be ridiculous. guys, she's a robot. okay, her hair is synthetic fiber. you know what? she wanted my cat and i think she stole him. yeah, lumpkinella's not a real girl. she's just a machine. we can switch her off in a dungeon, and then we'll go out and get bagels. but we'd have to find a dungeon first. do they even still have them now? oh dear, you're busted, robot. it's for the best, lumpkinella. chorky needs a regular girl, with no hum.

by the way, do all robots cry this much? hey chorky, do you like oxygen? i have to have it! yeah, i know, right? woo, i got an owie. hilarious. i heard what you just said to all your little boy friends. but i'm n- now everyone's gonna talk about us. they'll be like "here comes fleshy and his mean old robot. how do those two stay together?"

turns out, they don't. lumpkinella! lumpkinella's android brain must have somehow misinterpreted what i'd said. when she cut herself out of my life, i lost my best friend, my talent show partner, and the cutest free tech support agent ever. hello? i've been looking for you. who is this? why don't you turn around and see?

i just wanted to say: "i saw a beaver jogging over the top of that dune and his feet looked so wet adorable little wet dude oh beaver jogger in the night how did you get so wet? if you're in my yard i'll get you socks or something soon"

i wrote that for you. it's about us. you know if we leave now we could still make the talent show. then let's go. ...what you say cause i am about to drink from the popular cup! we're here! hey, we're here! ahhhh! we made it!

don't start it without me. don't worry. hold on, i'm gonna get the mics. lumpkinella may have been a machine, but that night she displayed one very human emotion: stage fright. um, ahhh wait, what are you doing? i can't do it. not when all these people are scared of me. hey hey, wait wait. remember the night we first met? remember talk dance?

let's do this. move those feet girl, come on get ready mm, hey, i need fries yeah i want a monkey friend mm, monkey friend mm hmm hey, can you feel the breeze today? mm i gotta go around like oh woop woop oh sho i like trash bags oh oh ee ooh

like owww and i'm very soft i'm sure oh hey oh ho hee i need a rooster charm i don't have any pockets mm mm so you want a monkey friend hmm? a monkey friend? yeah! and i already know what's gonna happen that weekend when you buy a piranha

yeah it will bite your feet say uh step step yeah like that mm mm - ohhh hey and i'm maybe gonna walk down to that plant store but only on weekends because that's when they get new plants and we can say ewie ohh we bought a new ficus

yeah and the old one uh the older one is just sitting in the house and it gets in the way like it's a - (i forgot to add on the "whee") ahhh! despite the crowd's reaction, we were definitely the worst act that night, and we came in last place. ha ha still though, i felt like a winner. it was finally time for everyone to perform the song and dance routine we'd been rehearsing for weeks.


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**you can turn these captions off and on using the cc button below. it's funny how things happen. i didn't even want to go to that party that night. little did i know my entire life was about to change. yo yo yo party people! the talk dance is next. and the spotlight randomly falls on this dude! and also on this girl who reads with her fingers in the middle of a party! eh?

no, hey guys. no you can't just grab people. huh? come on... you'll like it listen, i don't know how to talk - go away! i just ate a peanut. what? why don't you say your age? are you mocking me? yeah

okay why you gotta do that? oh you know mm ha ha ha ha sounds like you got the wrong guy ah we could both play outside- nuh uh ooh hey oh gross you're so smiley! but i don't mind girl bah bah black sheep

ha ha nursery rhyme! hey i love good nursery rhymes and i just happen to be here? ohhh-kay you're so rad - did you bring a camera? i think, yeah ha ha ha ha ha i need that camera so - oh oh ayo! hey i missed you so much

huh? i can't really hear you, huh? oh hey let's do this i'm ready alright i thought i could feel a bug it isn't a bug you just thought it was something, girl oh i just thought it was something

coooooool...? i'm chorky. lumpkinella. hey. lumpkinella: it just sounded beautiful. dude i gotta tell you about my plant in the forest. you'll see it, right? sure, i guess, just as long as you don't get crazy. what? you won't die. are you sure? for all i know you could be a horrible evil psycho!

you're so rude! well, you know i have a fireman friend when lumpkinella laughed it felt like fireworks were going off. also fireworks were going off. oh no! maybe she wouldn't notice... she noticed. uhh- i'm cool! i'm like a cool bomb. a water bomb. a-a-and i ate an egg... oh no, dude, are you bored?

yeah! oh then i'll show you um - check out one of these bowls that i found in the dollar fun section. so, um, what do you thi- and just like that she was gone. i guess she wasn't interested in conveniently priced dishware. that was a pretty great bowl though. by the time school started again i had pretty much forgotten about her. i don't wanna grow up to be like a dinosaur 'cause everyone will try to scratch me.

yeah, that probably won't happen. there you go, like a lot of people, just being judgy. wait a minute. i recognize that hair. hi chorky! hey. it couldn't be her, could it? lumpkinella? listen up y'all. i need cheesey sandwiches and a gummy fruit, and do your eyes even see, chorky? hmm? okay, well i got some phone chargers for the irish students.

my lips are germy and salty 'cause weird bugs run behind chorky. hey guess what? now you owe me fifteen bucks for your doo doo and shenanigans. any questions? ugh, this kid? yeah, why are worms on me? whatever! my friends all congratulated me on my cool hallway stance while i waited outside the classroom. and then there she was. nyah!

awkward! i'm leaving! what do you mean? your hair... is brown? well it's probably 'cause of my transferal clickometer. wait what's this transferal thing? wait, are you a simpleton? what? oh. uh well my friends think i'm just normal, um, but i'm really the pretzel king. i'm quite a guy.

sup, chorky. hey, richmond. you should look behind you. yeah, well i used to. but i'd see my friends and, um, i don't want to. i'm kinda feeling like macaroni a- oh i like when they put glitter on these signs. i wanna do that. i know, right? glitter is so cool. i put fruit in a basket and it was dope. gnyack gnyack! you should put it in a bathroom.

which bathroom, chorky? oh, hey, new girl. i think you have a spoiled roach in your shoe. no, i was going to take an old person to prison.do you hear that? wow! that's a baby sheep. chorky, i'm your new friend now. i'm about to burp. oh, just like me! mm-hmm. i like burps. mmm.

oh. mm-hmm. mm-hmm. and loogies! too gross. yeah... so you know, i talked to that new girl, and um, i was really weird around her. how? oh, you know, feeling nauseous. chorky, i'm pretty sure you got a problem walking. you need a scooter.

not me. you, buddy. right then, there was only one thing that could make me feel better: here we go! basketball, basketball, we love basketball it's the best game that we play every day it's my bouncy ball, it's your bouncy ball yeah it's my bouncy ball

pretty little basketball wow my feet are so raw (raw feet!) my ears are scared and the baby ostrich is cold and now that makes you feel like you know karate (yes sensei!) you're kicking your friend (don't kick him!) oh, why must i just - dance (hey!) yeah this is my dance here in the gym, in the gym and this is my best dance

and i can do this now now walk it around, do it, yeah na na na na hey i gotta clean my teeth and get some sleep and then we take the shot! once a week my coach would come to the locker room to try to convince me that he was an animal of some kind. yeah, it got pretty old. now don't run away from me, okay? i'm here.

hey did i tell you i'm a rodent? yeah, i'm one of them rodents without fur. you see my snout? hey now, you look me in the eyes, kid, cause i wanna dump a junk pile on my face when i don't have to. you know what i'm saying? um yeah? now see, you get it. yep, good talk, chorky. yo. can i pinch your shrimps? mm, awkward. look my shrimps aren't around. seriously?

yep. um hey. well what is it? well i was just, um, it looks like you ate a 26-year old man. mm-hmm i did, you're right. oh, and a wild boar. one thing people didn't know about me was that i had an invisible cat named corville. he was from space. he'd been missing for a few days and i thought i had heard him in the auditorium.

corville? are you in here? hey! oh - hey! looks like you're looking for something. uh, no? are you? no. i haven't lost anything. though i'd like a bike pump. corville! hold on buddy! he's adorable.

you tripped over corville, he's my space cat. he's invisible. and now you know. uh huh wanna see something real cool? hand: i gave it to you so you could hold it. oh, you're quite a special bear. i'm not a bear. oh yeah? how do you know? think about this: can you play piano like the bear at the mall?

easy. come on, but you gotta sing. the dog took my leaf the cat took the seat and the human arm was stapled on a pig the doll wears your clothes but the goat wears your robe i'm sure there were always rabbits inside me i think your feet stank so much like corn wash your toes

and i've never had someone gross me out like you do like a rotten tooth and i've never had a dumb wart until you came along yeah, i owe that to you and don't go get a big fork and fix the ceiling fan cause that could ruin the fork a-hooo-ooooo well, missed class now. chorky! you have huge bangs,

and you and your friend are gonna be in the talent show on monday night. work on your rhythm. and that's how i ended up in the talent show. oh, great. i couldn't shake the feeling that there was something strange about lumpkinella, but i just couldn't put my finger on it. maybe it was because she - no not that. or maybe it was the way she - no, not that either. and then it hit me like a ton of pounds- well it's probably 'cause of my transferal clickometer.transferal clickometer... clickometer... clickometer... clickometer oh, it had been right in front of my face this whole time!

she'd probably just been waiting for me to figure it out dear lumpkinella, i know you're a robot. and the secret's safe with me. i'd never been very good with electronics, but this i could handle. the horse head is terrifying this could cause nightmares in the night clink-a-chockle-chocka-bee this is good! and i'm gonna be the sunshine duke cause i'm making that weekend wish

i couldn't decide if lumpkinella was technically alive or not, but what i did know is that she made me feel more alive. and that's what really mattered. i also knew that she was having a hard time adjusting to lunch at our school, which, to be honest, i could understand. let's go bang on furniture and then for no reason everybody's gonna walk around the tables and we stop - tummy ache and this and this and this and wheee then we point and yell at the wall!

y'all burping is my passion i'm all like burp, burp, burp, burp ugh, is that veal? oh, nope, nuh uh, that's no no that's nas-tay! like tuna on a stick! i like to burp, alright? no no no shh tom lee's dad ran away - quit it

and freeze yeah so after the scientists made me, i slapped the guardian and escaped from the lab. and i'm just trying to be human now. hmm, i don't know how to take that. could you ever forget that you're totally a mischievous android and you have to run on batteries? you never drank that milk. i'm gonna go. oh so if there's a dog in the bushes that's funny? no no no. dagavochu. a sweema tabba dabba jumble.

oh that's good. hey you guys should clap.clapping! delicious. hey let's yell chorky's name. chorky! mousy! derf called you mousey, but that was just derf being derf. he's a jelly head! take this, you'll want it. it's pretty cool.

a potato? yeah that's correct. okay today i want to show you this really old laptop. as you can see from the photo, somewhere out there is a squirrel who has fingers. um, but, i mean, you know, i could get some of them from the woods. lumpkinella! you look like a human, but that is not what you are. guys, can i have some water? oh that's fancy, a water? why don't you just tell us about the girl? is she an alien?

of course she's not, don't be ridiculous. guys, she's a robot. okay, her hair is synthetic fiber. you know what? she wanted my cat and i think she stole him. yeah, lumpkinella's not a real girl. she's just a machine. we can switch her off in a dungeon, and then we'll go out and get bagels. but we'd have to find a dungeon first. do they even still have them now? oh dear, you're busted, robot. it's for the best, lumpkinella. chorky needs a regular girl, with no hum.

by the way, do all robots cry this much? hey chorky, do you like oxygen? i have to have it! yeah, i know, right? woo, i got an owie. hilarious. i heard what you just said to all your little boy friends. but i'm n- now everyone's gonna talk about us. they'll be like "here comes fleshy and his mean old robot. how do those two stay together?"

turns out, they don't. lumpkinella! lumpkinella's android brain must have somehow misinterpreted what i'd said. when she cut herself out of my life, i lost my best friend, my talent show partner, and the cutest free tech support agent ever. hello? i've been looking for you. who is this? why don't you turn around and see?

i just wanted to say: "i saw a beaver jogging over the top of that dune and his feet looked so wet adorable little wet dude oh beaver jogger in the night how did you get so wet? if you're in my yard i'll get you socks or something soon"

i wrote that for you. it's about us. you know if we leave now we could still make the talent show. then let's go. ...what you say cause i am about to drink from the popular cup! we're here! hey, we're here! ahhhh! we made it!

don't start it without me. don't worry. hold on, i'm gonna get the mics. lumpkinella may have been a machine, but that night she displayed one very human emotion: stage fright. um, ahhh wait, what are you doing? i can't do it. not when all these people are scared of me. hey hey, wait wait. remember the night we first met? remember talk dance?

let's do this. move those feet girl, come on get ready mm, hey, i need fries yeah i want a monkey friend mm, monkey friend mm hmm hey, can you feel the breeze today? mm i gotta go around like oh woop woop oh sho i like trash bags oh oh ee ooh

like owww and i'm very soft i'm sure oh hey oh ho hee i need a rooster charm i don't have any pockets mm mm so you want a monkey friend hmm? a monkey friend? yeah! and i already know what's gonna happen that weekend when you buy a piranha

yeah it will bite your feet say uh step step yeah like that mm mm - ohhh hey and i'm maybe gonna walk down to that plant store but only on weekends because that's when they get new plants and we can say ewie ohh we bought a new ficus

yeah and the old one uh the older one is just sitting in the house and it gets in the way like it's a - (i forgot to add on the "whee") ahhh! despite the crowd's reaction, we were definitely the worst act that night, and we came in last place. ha ha still though, i felt like a winner. it was finally time for everyone to perform the song and dance routine we'd been rehearsing for weeks.


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