Wednesday, June 24, 2009
Test your GFCI receptacles monthly - GFCI, or ground fault circuit interrupters, are the outlets typically located in your bathroom, kitchen and garage that are intended to protect you from electrical shock. These outlets have 2 buttons, one that says ‘test’ and one that says ‘reset’. To test press the ‘test’ button and verify that the electrical current has been stopped by plugging in any electrical device and verifying that it doesn’t turn on. Press ‘reset’ to restore power. Replace them if the don’t work.
Have several well stocked first aid kits – a well stocked first aid kit should be readily available in your home and garage or workshop.
Protect yourself when using power tools - When using power tools be sure you are plugged into a GFCI protected circuit or purchase and use a GFCI protected power cord.
Correct unsafe stairways and landings - Repair treads that are uneven, too narrow, sloped or loose. Install good lighting on landings and stairways. Repair or replace railings that are missing, loose or too low.
Use your ladders safely - ladders are involved in over 100,000 injuries each year. Be sure your ladder is set up properly, is in good working order and that you follow the manufacturer’s instructions for safe use.
Locate your water and gas shut off valves – Look for your main water shut off valve near the wall closest to the street on the lowest level of your home. Individual water shut off valves should be located at each sink and toilet and at your water heater. Individual gas shut off valves should be located at every gas fired appliance (i.e. dryer, stove, water heater, furnace, fireplace, etc.)
Learn all about home maintenance, safety, home improvement and repairs at http://www.workshopforwomen.com/
July 2009 Classes
Basic Home Maintenance Click Here
Wed July 8th 6:00 pm
Thu July 9th 9:00 am
Drywall Repair Click Here
Wed July 15th 6:00 pm
Thu July 16th 9:00 am
Plumbing 101 Click Here
Sat July 11th 1:00 pm
Electrical Basics Click Here
Sat July 11th & July 18th 9 am
Saturday, June 20, 2009
Welcome to the eighth of a series of short articles about color: Learning about color, choosing colors, living with color, and color around the world. This month: Considerations in making color choices – color doesn’t exist independently!
STANDING AT THE ENTRANCE of a room and asking ourselves what color it should be is like sitting in a restaurant and looking at a too-big menu. Why do we think we should know what color to pick without doing some serious perusing first?
Selecting the colors we want for our homes becomes easier when we take into account a few things designers know and other people rarely think about. First, color does not exist independently. It coexists with scale, lighting and overall proportional interconnection, or what is often referred to as a hierarchical system. Let’s consider these three elements one at a time.
Scale is not just how big the furniture should be. It is the sensation our bodies feel in the spaces surrounding us. Lighting, more than a collection of lamps, is the balance of all the sources of illumination—indoor and outdoor, natural and man-made—modulated by pools, shadows and sparkle, adding up to the overall ambience.
A hierarchical system is the proportional underpinning that connects all the elements throughout a house. That includes the ratios among shapes, volumes and planes, of moldings to walls, of hallways to bedrooms, of doors to ceiling heights, of areas of wood to areas of plaster. You might think of a hierarchical system—the rhythm of proportional relationships—as the music of architecture. And it is these architectural elements that help tell us what colors best serve.
In order to make good color choices it is useful to gather information about scale, lighting and hierarchical systems.
Most people think they want every room to be light, failing to comprehend the nest-like pleasure of darkness. But unless you live in a one-room apartment, inevitably you will have both darker and lighter spaces. You might imagine that a darker room should get the lighter color. But by adjusting the paint values to match the actual values and scale ratios of the rooms, an impression of light and space can be created. Paint a small foyer darker than the larger adjoining room, and the larger room will seem even grander. Give a darker room the darker color, and both spaces will intuitively feel right. Astutely distributing color is a great way to play with scale.
A sense of scale is determined in part by intervals of value—that is, by the size of the steps from light to dark. The difference between a light white and a darker off-white, for example, can clarify the relationships between ceilings of different heights. If a house has higher and lower ceilings mixed throughout (usually more of the lower ones are on upper floors), painting all the higher ceilings darker than the lower ones creates a connective tissue and provides a subliminal balance even though we never see all the ceilings at once.
We always need to be on the lookout for the possibility of using colors on common elements throughout a series of rooms. Then the uncommon elements become more telling. Ask yourselves if the house needs more than one great white, neutral, or color. Why have a second or third color - do the rooms and architecture ask for it? Does the trim really have to be lighter than the wall? Exercising discipline makes every color count.
Colors need a reflective surface in order to be visible. This is a phenomenon of nature. In the same way that we see a clear sky as blue because the light is stopped in its path and scattered by air molecules and water droplets, all the color we see in our homes is a result of the way light is altered by the architecture of a room’s walls and trim. The planes, corners, edges of door frames and every high-low difference cause light to be interrupted and to create various shades of color in the shadows. Even if everything were painted the same color, variations would persist.
Identifying where boundaries stop and start provides crucial information. To become more sensitive to the ways these boundaries interrupt light and cause light to reveal its color messages, you might try tracking a surface with your eyes as if they were a brush applying paint. Do this and you may notice how difficult it is to stop a color once it gets started. Trim can be especially hard to contain. Imagine a baseboard in an entry hail heading toward the living room. If the passage is an opening without a door, as is often the case, it’s easier to let the two spaces share a common molding color. Otherwise, you need to decide which of the two different shades belongs on the inner surface of the portal. Does the putty-colored entry trim stay in the entry, for example, or merge into the marigold living room? For better or for worse, “paint break” issues can sometimes control an entire color scheme.
Tracking the surfaces visually as if your eyes were a paintbrush can also tell you a great deal about how spaces work. This exercise is particularly revealing when applied to crown molding. For example, picture the same white paint on both the crown and the door and window frames. That would seem to promote continuity…but, if the ceilings are low and the crown is small and undistinguished, the molding might look too bright and narrow. A subtler and more successful transition could be achieved by carrying the wall color up over the molding.
Everyone has a wide range of tastes and disparate architectural preferences, yet one goal is common is to make spaces feel luminous. In manipulating color to create light, we have to remember that, like color, perceived luminance is relative. It has nothing to do with how much candlepower there is but rather with how we adjust the range of brightness.
Have you ever noticed that darker spaces often seem dingy when painted white?
Most people assume that to make a dark space feel light, they need to paint it white. Actually, though, making a space appear full of light is different from making it light. Have you ever noticed that darker spaces often seem dingy? But paint the same room yellow, and it feels sunny. We instinctively imagine a space is full of light when we are surrounded by yellow. This isn’t only because we’ve come to read yellow as sunshine but because our eyes’ receptor cells need more light to see warmer colors than they do to view cooler ones. Conversely if that same dimly lit room is painted a blue that’s no darker than the yellow, the space automatically feels darker. For that reason, many people rightly believe blue bedrooms induce sleep.
Spaces can be made to feel lighter without using lighter colors. Obviously, light beige creates a lighter room than dark beige would, and because it absorbs more light, forest green makes a library moodier than if it were painted apple green. Yet people are rarely conscious of another dynamic at work: Warm colors appear to be sources of light.
Yellow isn’t the only hue that seems to send out its own light. All warmer colors evoke this sensation. For instance, a dark coral can make a room with scant illumination appear to glow, while a pale neutral in a room with twice as much candlepower may never signal a feeling of brightness.
The essential fact of color is that it doesn’t exist independently. Or to put it another way, color depends on context. If you allow yourself time to notice the elements around you—if you ask yourself, What am I seeing, those elements will reveal the answers. Paradoxically, the most effective and pleasurable way to select colors is to put off your decision-making and just experience the space.
Future topics of interest …
Color and Art
Color around the world
Cynthia Peacock is a professional Interior Designer (member of the American Society of Interior designers, ASID) and Principal of her own design firm, PEACOCK Interior Design, LLC. Cynthia has worked on a wide variety of outstanding projects (residences, offices, hotels, ships) in her 16 year career as an Interior Designer, and finds that color is the constant challenge, joy, and reward. If you are color-challenged, and need gentle guidance, Cynthia may be contacted email@example.com
Wednesday, June 10, 2009
Positioning the Grill
- Position your grill a minimum of five feet away from the house and any flammable objects in your yard.
- Make sure your grill is stable and on level ground, so there is no risk of it toppling over.
- Grills or stoves should be situated far enough from the windows and doors so that smoke from cooking will not waft inside.
- Burning charcoal produces carbon monoxide which is highly toxic, so never burn charcoal in any kind of enclosed area.
Proper Use & Maintenance:
- Check for grease build-up and clean your dripping pan frequently, as excessive grease can cause unexpected flare-ups.
- If you have a gas grill, remember that propane tanks require sophisticated valve equipment to keep them safe for use. To check your hoses and connections for gas leaks, spray them with soapy water and look for bubbling.
- Remember to close the tank valve when you're finished using it.
- Check for rusted and corroded burners. These parts wear out quickly, but they are easy to replace.
- If your grill bottom has vent holes, be certain that it also has an ashcan to catch hot embers that might fall through onto the surface below.
- Embers and coals should be completely extinguished before disposal. Coals can smolder for hours and can cause fires if thrown away with flammable materials.
- Always store propane tanks outside in a well-ventilated area.
Learn basic home maintenance skills and safety in our "The Morning After...Closing" class. Next classes are Wednesday July 8 th 6 p.m. or Thursday July 9 th at 9 a.m.
Visit www.workshopforwomen.com for more information or give Judy a call at 303-284-6354.
To learn more tips on how to keep your home safe this summer, please visit www.pillartopost.com/denver or call 303-456-6789.
Tuesday, June 9, 2009
A portion of this information was excerpted from the Feb 2008 issue of The Family Handyman
DO mock up and measure a row of tile on the floor to determine the layout. Be sure to use the spacers in between tiles before you measure. Make adjustments to get wider tiles in corners.
DON’T leave a skinny strip of tile in the corners or along the edges.
DO treat each of the 3 walls separately.
DO draw level (horizontal) and plumb (vertical) lines on the walls to guide you during installation.
DO adjust your vertical layout (center of the back wall of the tub) to leave the widest possible, same sized, tiles at each corner.
DO locate the starting level (horizontal) line above the tub surface a distance equal to the height of one tile minus 3/4”.
DON’T start the first row of tile by resting it on the tub or shower. This will cause problems keeping your tiles lined up since most tubs and showers surfaces are not level.
DO screw a straight board to the level line and start tiling by stacking tiles on the board.
DO tile above the board then remove the board and cut the tiles for the first row. Leave 1/8” gap between the top of the tub and the first row of tile to allow for caulking.
DON’T stop tiles even with the end of the tub on the side walls. This leaves the wall on outside of the tub vulnerable to water damage.
DO plan the tile layout so a column of tile extends past the end of the tub at least 2 or 3 inches.
DON’T tile directly onto drywall for tub and shower walls. Replace drywall with “FiberRock” or concrete backer board.
# Keep tile clean as you go, don’t let mortar dry on the face of the tile.
# Clean up if you will be off the job for more than 30 minutes.
# Wear gloves when applying grout.
# Use only a damp sponge when cleaning tiles after grouting. Water is not good for grout.
# Wait at 12-24 hours after laying tile to begin grouting.
# Fill your tub with water before caulking; this will prevent cracking of the caulk.
# Use the experts at your local tile shop to answer questions and give advice.