As Australia’s largest flooring retailer, Carpet Court has almost every area in Australia covered with over 200 stores in prime locations nationwide - including regional areas - you’ll find a Carpet Court near you.Jasol offers a comprehensive range products for many industries. Select your industry to see a list of Jasol products.Gone are the days of the simple scratch post for your moggie or throwing sticks for your dog - pet tech is in! Steve Wilson demonstrates this year’s must-have pet gadgets including a self-cleaning litter tray and a fitbit for your dog. Beautifully lined up, cleverly labelled and immaculately organised, Gwyneth Paltrow's perfect pantry has left us all filled with envy. While most of us don't own a pantry, what we do have is a lot of clutter in our kitchen and Gwynnie's inspired us to take action! Vicky Silverthorn is a professional organiser to the stars and she shows us how to make our kitchen cupboards a happy place. 2016 was all about clean eating, but 2017's biggest health trend is all about giving us the rest and recuperation we all deserve and desperately need by clean sleeping.

After Gwyneth Paltrow wrote in her new book about the benefits clean sleeping has on our physical health and mental wellbeing, Steve Wilson's on hand with all the essential gadgets we need to achieve the perfect 40 winks. If you were watching yesterday you will have seen we had an unwanted guest in our studio... a mouse! Well he was back this morning, but the good news is we managed to catch him and release him. Holly and Phillip remain convinced that his buddies are still very much in residence though... Weighing in at a staggering 14.5 stone and being taller than the average man, Freddy has officially taken the title of World's Tallest Dog! It's cost his owner Claire Stoneman £10,000 to feed the Great Dane and his sister Fleur, but she doesn't mind, he's like a baby to her and is far more important than any man. Let's hope Freddy's on good behaviour around our iconic TM sofa - in the past he's chomped his way through 26 settees! What time do you all sit down for Christmas lunch?

Do you serve a starter? And is there a plethora of potatoes being served in various forms? As Christmas Day approaches, etiquette expert William Hanson believes we’re doing it all wrong. las vegas pool party november 2013 From the language we use, to the way we cook it, he explains how to get the Christmas meal right.pool cleaning service euless tx With just five days to go, have you finished all of your Christmas shopping? best upright bagless vacuum cleaner 2011If not, help is at hand as Steve Wilson brings us his top pick of Christmas gifts you’ll find in the supermarket aisles.carpet cleaning services okc

From fantastic presents for the kids to great deals that’ll save you from any last minute gift embarrassment - he’s got it all. There's just under a week to go until Christmas Day - but are you worried about the lingering smell of cooked turkey? professional carpet cleaning perth pricesAnd that pungent stench of sprouts?best canister vacuum cleaners for carpet Never fear as queen of scent Jo Malone is here with ways to make your home smell amazing this Christmas. MORE: How to make your home smell nice for ChristmasThe carpet fragment (784-1905) shown in Figure 1, woven in Southern Spain in the sixteenth century, measures approximately 2m high by 1.25m wide. It is one of almost 95 textiles chosen for display in the Museum's new Medieval & Renaissance Galleries which opened in December 2009.

In the past, the carpet had been displayed in a glazed frame. To examine it, it was removed from its frame and the stitching holding it to its fabric-covered, wooden back board was unpicked. It became apparent the bottom right corner of the carpet was not sewn to the back board but nailed. On close inspection it was evident the corner was in fact missing and the area of loss had been in-filled using plaster, cleverly textured and painted to blend with the original textile. Further investigation showed that this interesting choice of in-fill had been employed in other smaller areas of loss in the bottom third of the carpet and there was also a larger plug in the top left quadrant (Figure 2). Though visually these in-fills worked beautifully, they were not sympathetic to the characteristics of the original textile; they were inflexible, extremely brittle and heavy. The design requirements for the new galleries stipulated that the carpet be on open display, hanging vertically. If this were to be achieved safely the plaster plugs would need to be removed - but what should replace them?

The fragment is relatively small with a complex, busy, highly contrasting, geometric design. In the past textile conservation has been relatively conservative in its use of in-fills; with conservation solutions wishing to be distinct from those of restoration. Rather than reweaving areas of loss, typically, dyed fabric is used, several pieces can be sewn together to give an impression of the missing design. In this case though, there is no dominant colour and attempting to recreate the complexity of the design using blocks of dyed fabric would be clumsy and in danger of drawing attention to the losses, inhibiting the viewer's enjoyment of the original design. A more precise rendition of the design was aesthetically desirable. Fabric patches could be hand-painted but ensuring a crisp, accurate fit of the missing geometric pattern would be both challenging and time consuming. A printed method would be more appropriate but an initial artwork would still be required from which to print.

At this time, Alice Cole, a final year RCA/V&A MA conservation student, had just completed her research project 'Digital Printing for Textile Conservation'1 digital printing appeared to offer an ideal solution for this particular object. The missing areas of design could be accurately recreated and, very importantly, fitted by manipulating digital photographic images of the pattern repeat, using the existing skills of the Photographic Department in the person of Ian Thomas. The idea of using digital printing had first to be agreed on by the curators, both those from the object's 'parent' department and those responsible for the gallery where the carpet is to be displayed. At first the proposal met with some opposition; it was suggested that using so accurate a recreation of the missing areas could be seen as 'hood-winking' the Public. the design could be printed in a lighter shade than the original, fulfilling the six inch/six foot rule (the in-fill is clearly visible at a distance of six inches but blends at a distance of six foot).

The use of stippling to in-fill areas of loss in wall paintings was cited as a similar conservation solution. It was also explained that the patches, which were to be stitched in place, would be separate to the planned overall stitched support and therefore could be removed. The assurances coalesced to result in an agreement. The existing plaster plugs were removed mechanically. The paint which extended beyond the plugs was analysed and the binding medium was found to be linseed oil. Much of it had leached out into the carpet's lining, destabilising the paint, which eased its removal considerably (Figure 3). Two combinations of solvents applied on cotton wool swabs proved remarkably effective: industrial methylated spirit with Stoddard's solvent at a ratio of 1:3 and acetone with Stoddard's solvent at a ratio of 2:1 (Figure 4). From Alice's research the choice was made to use pigment printing; wet fastness test results were good, pigment inks are more resilient to light fading than the dye-based reactive or acid inks and the printing process does not involve any wet or steam treatment, avoiding the risk of shrinkage of the printed fabric.

The printing was handled through Zardi & Zardi , a company familiar and sympathetic to the heritage sector. Several trials were necessary to achieve both the correct fit and a good colour match, the latter being complicated by the impossibility of the object travelling to the printers. A linen fabric from a range used regularly by the printer was chosen as the substrate, a length of which was sent to the Museum for scouring before printing to avoid the danger of shrinkage in the future, should the carpet ever become wet (Figure 5). The time lapse from ordering the print to receiving the final result was several months, with experience this can now be shortened. One important improvement would be to ensure the digital image supplied to the printers is of a sufficiently high resolution. Had a large format transparency been scanned at a very high resolution a quicker outcome would have been achieved. The result of this initial use of digital printing has satisfied expectations with the six inch/six foot rule being fulfilled.