ALL-OVER DESIGN
A rug with a repeating pattern that fully covers the rug edge-to-edge, with no contrasting center or border.

ARABESQUE
A popular motif of intertwining vines, flowers and leaves.

AUBUSSON
An influential center of French carpet production from the mid-17th century through the 19th century. Aubusson-style typically feature rugs with floral and architectural motifs.

AXMINSTER LOOM
A popular choice for replicating antique rug designs because of the flexibility it offers in color and design.

BACKING
Heavy protective fabric secured to the back of hooked rugs.

BORDER
A contrasting design of color surrounding the rug field.

BRAIDED RUG
Reversible rug made of yarn or fabric that is braided and then sewn together in a spiral pattern.

CARVING
A method of emphasizing rug pattern details by hand-carving certain areas, creating a dimensional effect.

DENSITY
A combination of the number of yarns and the height of the pile in a specific section of a rug; higher density denotes higher quality.

FIELD
The portion of the rug surrounded by the border.

FLAT WEAVE
Kilim, soumak, and other no-pile rugs woven without knots; the weft strands are passed through the warp strands.

FRINGE
Warp yarns extending from both ends of a rug.

GROUND
The color that forms the rug's background, surrounding and setting off its pattern.

HAND-KNOTTED
The process in which weavers loop and secure the pile yarns around the warp fibers; they are tied individually, one row at a time, and then cut. The higher the KPSI (knots per square inch), the finer the rug.

HAND-TUFTED
The process in which weavers use a single-needle tool to push yarn through the back of cloth (such as canvas) that has been stenciled with the rug pattern. A secondary backing protects and anchors the yarn.

HEIRLOOM WASH
A special process that gives a new rug an antique look by reproducing the sheen that is otherwise acquired over time.

KILIM
A flat-weave rug with a tapestry-like design, originally used as a protective wrap for finer hand-knotted rugs, such as wool rugs.

MEDALLION
A large motif set off from the field, usually in the center. Typical shapes are round, diamond, octagonal, or hexagonal. A small flower or bouquet motif at the top and bottom of a medallion is called a pendant.

NEW ZEALAND WOOL
The whitest wool, so dyes produce truer, cleaner colors. Wool offers the greatest durability and develops a lovely patina while retaining its softness. It is also naturally flame-resistant.

OUSHAK
A rug characterized by large motifs in earthy colors with reddish accents. Inspired by the weavings of Turkish nomadic tribes, who used limited colors, simple designs, sturdy yarn and large knots.

PILE
The surface of the rug, sometimes called the "nap" or "face." Pile height is determined when the yarn is cut after knotting or tufting, and is measured from the backing to the tip of the yarn. A hand-knotted rug has a lower pile than a hand-tufted rug.

SAVONNERIE
A style of hand-knotted rug with a floral medallion, open field, and broken borders. The original 17th-century Savonnerie workshops in Paris created weavings for royalty and visiting dignitaries.

SOUMAK (SOUMAC)
A technique for creating a flat-weave carpet in which wefts are pulled over, then wrapped under, a series of warps.

TABRIZ
A major weaving center for centuries and the term for a double-weft rug with Turkish knots. Typical Tabriz patterns include medallions, hunting motifs, and pictorial rugs.

TRANSITIONAL RUGS
A broad category between traditional and contemporary. Many floral patterns are included in this category.

VEGETABLE DYES
Natural dyes produced from berries, roots and bark. Their subtle colorations give rugs an antique look.

ABOUT OUR CURTAINS

• Width refers to a single curtain panel, even when they are solid in pairs.
• Rod-pocket curtain length is the distance from the top of the rod pocket to the bottom of the hem. It does not include top ruffles or other decorative treatments above the pocket
• Tie-top and tab-top curtain lengths are the distance from the top of the panel to the bottom of the hem. It does not include the ties or tabs.

HOW WIDE?

• Measure the width of the window, including any architectural molding or trim (if you want those to be covered by the curtains).
• For a relaxed but tailored look with curtains loosely gathered, multiply the window width by 1.5 or 2. Divide that number by the width of a single curtain panel to get the number of panels you need.
• For a full, luxurious look with curtains tightly gathered, multiply window width by 2.5 or 3. Divide that number by the width of a single curtain panel to get the number of panels you need.

HOW LONG?

• For a traditional look, mount the curtain rod 4" above the top of the window. The distance from 4" above the window to about 1/2" above the floor is the length of your curtains.
• For a grand, glamorous look with curtains "puddle" on the floor, measure from 4" above the window to the floor, then add 3" to 4".
• To make the room look taller, mount the curtain rod 2" to 3" below the ceiling. This may expose the top of the window and some of the wall above it, but the longer curtains will draw the eye upward and create the illusion of a more spacious room.

HOW HIGH?

• In hallways and entries, hang wall art at average standing eye level, about 5' 6" from the floor.
• For a large piece, hang so the center of the piece is about 5' from the floor.
• In living and dining rooms you are likely to be seated, hang wall accents closer to sitting eye level.
• Allow at least 6' when hanging art directly above a sofa or dining table. It should be high enough to avoid crowding the furniture, yet low enough to enjoy the full effect.
• When hanging two or more works together, such as tapestries and figurative art pieces, mentally divide the wall vertically in thirds and position the art within the lower two-thirds.

PROPORTIONAL REPRESENTATION

• Generally, large works of art balance large pieces of furniture and vice versa, but don't be afraid to mix things up.
• A straight line isn't always desirable: Try hanging several works above a sofa with a curved back, following the curve in positioning the art.
• When grouping , wall art separate them by at least 2".
• An odd-numbered grouping (3, 5, etc.) tends to be more pleasing to the eye then a symmetrical even-numbering arrangement.

HAMMER TIME

• Decide where you want to hang the wall decor.
• Measure artwork to locate its center.
• Mark the wall where you want the hanger, and don't forget to account for the "drop" of the wire.
• For a grouping, arrange all the pieces first on a table or floor, then sketch an outline to follow in hanging them.
• Use hangers specifically designed for the weight of the wall art. A large or heavy piece may require two hangers, so use a carpenter's level to make sure they are aligned. Use wall studs or special drywall hangers for added strength and security. Use masonry screws for brick walls, and molding hooks for plaster walls. To hang art from picture-rail molding (near the ceiling, typically in older homes), use molding hooks, S-hook hardware, and a decorative chain or cording.