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How to choose the best colour for an armoire?

Furniture Ferret: The two things to consider when it comes to colours is balance and associations. Balance simply means that the colours in your home should be coordinated, so that the space looks like a unit. This can be achieved by using a colour wheel, and going for colours that are either quite close to each other, or relatively far, like on opposite sides of the wheel (giving you complementary colours like red and green). Associations with and emotions connected to colours are equally important. It is quite probable that these associations are cultural and learnt, which means that they can be quite different for different individuals. The associations can even be contradictory, which makes it even more difficult to use them as a guide. Blue is often associated with productivity, but also calmness, stability and even sadness. Green is undoubtedly the colour of nature, and is considered to be connected to safety, luck and envy (though in other cultures envy is yellow). Yellow is always a shouty colour and can mean brightness, warmth, energy and attention (likely because of the sun), except when it is dark and becomes brown, when it is said to be a sign of comfort and relaxation. Red is regarded as the colour of friendship, energy, leadership, desire and anger - a very wide range of emotions. But it is clear that in nature, it signals danger or importance, so you probably need to put it next to a neutral colour to allow the eye to rest. These emotions are so different that these guidelines seem to boil down to just one piece of advice: pause and think what the colour means for you.

Questions and answers

How much space is needed in front of an armoire?

So that an armoire would be usable, it requires more space on the floorplan than its proper size. One needs to be able to access it and be in front of it to access papers and other items stored on an armoire, and if it has doors, it should be possible to open them fully. Double doors will require an additional depth of half of the width of the piece, while in general, you will need at least 40-60 cm in front of an armoire for access. This means, for example, an armoire that is 50 cm deep needs at least 90 cm space. Fortunately, this extra space does not need to be exclusive: access spaces of two or more pieces of furniture can overlap as long as this is not expected to lead to people bumping into each other in, for example, an office.

Is it possible to search for armoires using their width, height and length?

Finding armoires in search engines on the Internet by size is difficult as search engines are best at finding text only. Also, when searching for armoires to fit a given space, slightly narrower pieces would also be suitable. Even if some webshops allow searching for armoires by measurements, searching many shops at the same time is time-consuming. Furniture Ferret scan many outlets on the web and index thousands of products so you can find the one that fits perfectly.

How do I measure the space to fit an armoire in?

Measure both the width and the depth of the area where you'd like to place an armoire. The easiest way is to use a measuring tape. Hold the beginning down at the edge of the area, and let it run to the opposite edge. If the distance is larger than what you can stretch to with your arms, ask someone else for help, or divide the distance into multiple parts. You can do this by either holding the tape down halfway and continuing running it while letting the first end go, or by marking how far you measured on the floor or wall, and start a new measurement. If you would not like to draw on your floor, you can position a pointy object like a pencil there instead. Make sure to avoid dead places where the piece of furniture won't be able to go like decorative strips. Also don't forget to measure how high the space is wherever the ceiling is low like spaces under the stairs.

From the history of furniture: English Pottery And Porcelain Part 3

Their stings have played Old Nick with me." As might have been expected, when it was found that this china brought such large prices, counterfeiters set to work and made spurious copies of " Dr. Syntax telling the Bees," " Dr. Syntax painting a Portrait," "Dr. Syntax taking a Gentleman's House for an Inn." This has, of course, made collectors very chary of buying any of these patterns, since it has lessened even the price of the genuine ones.

At Liverpool there have been potteries since 1600, and the first wares were, of course, excessively crude, and A\'ere blue and white, in imitation of the Dutch, who in their turn copied from the Chinese.

Very little of the " Liverpool Delft," as it is called, can be found here, and it is chiefly in the form of tiles. There is, however, much other Liverpool pottery, com monly known as " black-printed ware." It is very decorative, of small cost, and good to have in a col lection or for ornament merely. Printing on china was a Liverpool invention, perfected about 1752 by a man named John Sadler. By this process the production of decorated china was materially lessened in cost, since, previously, all the decoration had been done by hand. The body of Liverpool pottery, that the pasteis, itself, fine cream colour, very even in tone and very is a light in weight. Figure 43 shows an exceedingly popular pattern, and have found these plates all over the country, sometimes even set up in museums with high-sounding names applied to them. Although they are nice and interesting, they are not worth more than one dollar and a quarter.

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