#lacquer paint for cabinets

[johnben01]

Elevating Culinary Spaces: The Art of Luxury Modern Kitchen Design

In interior design, the modern kitchen has evolved into more than just a practical space—it has become a showcase of luxury and innovation. This comprehensive guide explores the intricacies of luxury modern kitchen design, delving into the nuances of style, functionality, and the collaborative efforts of industry experts. From understanding the cost of a luxury kitchen remodel to seeking inspiration from renowned designers like Pedini Miami, we embark on a journey to transform kitchens into sophisticated culinary havens.

A luxury modern kitchen design is a symphony of aesthetics and functionality, creating a culinary space that transcends the ordinary. In this guide, we explore the key elements that define luxury in modern kitchen design, from high-end materials to cutting-edge technology.

Luxury Kitchen: 

The term "luxury kitchen" embodies opulence and sophistication. We delve into what defines a luxury kitchen, exploring the use of premium materials, unique design elements, and state-of-the-art appliances.

Luxury Modern Kitchen Designs:

Luxury modern kitchen designs represent the epitome of contemporary elegance. We explore various design styles, layouts, and innovative features that define the modern luxury kitchen.

Kitchen Remodel Ideas:

Transforming your kitchen into a luxurious haven often involves remodeling. We provide creative kitchen remodel ideas that embrace both modern aesthetics and practical functionality.

How Much Does a Luxury Kitchen Remodel Cost:

Understanding the costs associated with a luxury kitchen remodel is crucial for planning. We break down the factors influencing costs, including materials, appliances, and design complexity.

Luxury Kitchen Designers in Brickell:

Brickell, known for its upscale living, is home to expert luxury kitchen designers. We explore the influence of Brickell's urban lifestyle on luxury kitchen designs and showcase the work of local designers.

Kitchen Remodel Cost:

The cost of remodeling a kitchen varies based on several factors. We provide insights into the average costs, considerations, and tips for managing the budget during a kitchen remodel.

Pedini Miami:

Pedini Miami, a trailblazer in modern kitchen design, has left an indelible mark on the industry. We highlight Pedini's innovative approach to luxury kitchens, showcasing designs that marry form and function seamlessly.

Exploring Luxury Modern Kitchen Design:

Premium Materials and Finishes:

Luxury modern kitchens often feature premium materials such as quartz countertops, custom cabinetry, and high-end flooring. We explore how these elements contribute to the luxurious aesthetic.

Sleek and Streamlined Aesthetics:

The hallmark of modern luxury kitchens is sleek and streamlined aesthetics. We discuss design elements that create clean lines, open spaces, and a minimalist look while maintaining a luxurious feel.

State-of-the-Art Appliances:

Integrating state-of-the-art appliances is key to a luxury modern kitchen. We explore the latest in kitchen technology, from smart refrigerators to advanced cooking appliances.

Innovative Storage Solutions:

Luxury modern kitchens prioritize efficient storage. We provide ideas for innovative storage solutions, including pull-out pantry shelves, hidden cabinets, and customized organizers.

How Much Does a Luxury Kitchen Remodel Cost:

Factors Influencing Costs:

The cost of a luxury kitchen remodel is influenced by various factors. We break down these factors, including the choice of materials, design complexity, and the inclusion of high-end appliances.

Material Costs:

Premium materials come at a price. We explore the costs associated with luxury kitchen materials, providing insights into the expenses related to countertops, flooring, and custom cabinetry.

Design Complexity and Customization:

The level of customization and design complexity significantly impacts costs. We discuss how intricate designs, unique layouts, and custom features contribute to the overall investment.

Professional Services:

Engaging the services of professionals is a key component of a luxury kitchen remodel. We explore the costs associated with hiring designers, contractors, and other professionals for a seamless remodeling process.

Luxury Kitchen Designers in Brickell:

Urban Elegance in Design:

Luxury kitchen designers in Brickell understand the demands of urban living. We explore how designs are influenced by the urban lifestyle, emphasizing efficiency, functionality, and a sophisticated aesthetic.

Local Expertise and Influences:

The local expertise of designers in Brickell brings a unique flavor to luxury kitchens. We showcase designs that incorporate local influences, making kitchens not just functional but also reflective of the community.

Kitchen Remodel Cost:

Average Costs and Considerations:

Understanding the average costs of kitchen remodels is essential for homeowners. We provide a breakdown of average costs, considerations, and tips for managing expenses during the remodeling process.

Cost-Saving Strategies:

We offer practical cost-saving strategies for those looking to remodel their kitchen on a budget. From choosing cost-effective materials to prioritizing essential upgrades, these tips help homeowners make informed decisions.

Innovative Approach: Pedini Miami:

Avant-Garde Designs:

Pedini Miami is synonymous with avant-garde designs. We explore how Pedini pushes the boundaries of luxury kitchen design, incorporating cutting-edge concepts and creating kitchens that redefine modern aesthetics.

Functional Artistry:

Pedini kitchens are not just functional spaces they are works of art. We showcase specific design elements and features that set Pedini apart, emphasizing the marriage of functional design and artistic expression.

Choosing the Right Luxury Modern Kitchen Design:

Aligning with Personal Style:

A luxury modern kitchen should align with the homeowner's style. We provide tips on defining your style preferences and incorporating them into the design.

Collaborating with Design Professionals:

The collaborative effort between homeowners and design professionals is crucial. We discuss the benefits of working with experienced designers and the value they bring to the design process.

Balancing Aesthetics and Functionality:

A successful luxury modern kitchen design achieves a balance between aesthetics and functionality. We provide insights into how homeowners can prioritize both aspects to create a kitchen that is both visually stunning and highly practical.

Conclusion: Transforming Kitchens into Luxurious Havens

In conclusion, the journey to a luxury modern kitchen involves a harmonious blend of design, functionality, and collaboration with industry experts. Whether exploring kitchen remodel ideas, understanding the costs associated with luxury kitchen remodels, or seeking inspiration from renowned designers like Pedini Miami, each step contributes to the creation of a culinary space that transcends the ordinary. By embracing modern aesthetics, incorporating high-end materials, and collaborating with professionals who understand the unique demands of urban living, homeowners can transform their kitchens into sophisticated havens that elevate the culinary experience to new heights of luxury and innovation.

[kimberlaylk]

Lacquer paint holds a distinct allure in the world of interior design, especially when adorning cabinets and furniture. This comprehensive guide unveils the elegance and versatility of lacquer paint, from enhancing cabinets to revitalizing furniture, along with essential insights into lacquer thinners and their constituent ingredients.

Lacquer paint stands as a versatile choice, not just for enhancing the aesthetics but also for protecting surfaces. This comprehensive guide dives into the world of lacquer paint, exploring its use in cabinets, furniture, and beyond. From lacquer cabinets to furniture, understanding its composition and broader application possibilities provides insight into its growing popularity in modern home design.

[giftiaa]

Home Office Freestanding Chicago Inspiration for a mid-sized zen freestanding desk medium tone wood floor study room remodel with beige walls and no fireplace

[daecopainting]

Interior & Exterior Painting Services / Interior Designer

Business Hours: Mon — Fri: 8 am-5 pm | Sat-Sun: 10 am — 2 pm Payment Methods: Credit Card | Cash | Check Year Est.: 2003

Contact Info: DAECO PAINTING COMPANY Address: 4301 Clayton St, Denver, CO 80216 USA Phone: +1 303–999–8864 Mail: mydaecoproject@gmail.com Website: https://daecopainting.biz

Follow On: Instagram: https://www.instagram.com/daecopainting/ Facebook: https://www.facebook.com/mydaeco/ Pinterest: https://de.pinterest.com/denverpainters/ Google Maps: https://maps.app.goo.gl/scG3CAnTgWop9mSu6 YouTube: https://youtu.be/4Gwab-0ZESQ?si=PtbApin_QjK38ckK

[puppixel]

Home Bar Wet Bar New York A small transitional single-wall wet bar with a glass front cabinet, blue cabinets, quartz countertops, glass tile backsplash, and white countertops is shown. It also has a medium tone wood floor and brown floor.

[veshkashaw]

Home Bar Wet Bar New York

A small transitional single-wall wet bar with a glass front cabinet, blue cabinets, quartz countertops, glass tile backsplash, and white countertops is shown. It also has a medium tone wood floor and brown floor.

[charleytakeabow]

Transitional Home Bar in New York

A small transitional single-wall wet bar with a glass front cabinet, blue cabinets, quartz countertops, glass tile backsplash, and white countertops is shown. It also has a medium tone wood floor and brown floor.

[m-mihalyiova]

Contemporary Home Bar Austin

An illustration of a mid-sized modern single-wall wet bar design with flat-panel cabinets, black cabinets, marble countertops, and brown floors, as well as an undermount sink, is shown.

[almostarts]

Gaetano Pesce (8 November 1939 – 3 April 2024)

Moving against the stream of rational, functional modernism in the 1960s and early 70s, Mr. Pesce experimented with materials and production methods to create furniture pieces imbued with political or religious meaning for brands from Cassina to B&B Italia.

Many would go on to become icons of Italian design including the Up5 chair – an innovative vacuum-packed chair designed to resemble a female prisoner – which he designed for B&B Italia precursor C&B.

Pesce moved to New York in 1983 and began to move away from mass production to create "standardised series" in everyday materials like resin, adapting conventional production techniques to create varied and imperfect outcomes.

The result are pieces such as the 1884 Pratt chair, which toe the line between functional design and decorative art, helping to create a new category that would later become collectible design.

Mr. Pesce was born in the Italian city of La Spezia in November 1939, only two months after the start of world war two.

As was common at the time, he trained in both architecture and design, studying first at the University of Venice and later at the Venice Institute of Industrial Design.

Among his architecture projects is the Organic Building in Osaka from 1993, with its plant-covered facade made of orange fiberglass that served as a precursor to today's vegetation-covered green walls.

But Mr. Pesce's most pioneering and well-known work happened in the world of design. In the late 1960s, he became one of the leaders of Italy's Radical Design movement, rejecting modernism's rigid focus on forms dictated by function.

Instead, Pesce focused on the idea that functional objects, much like art, could carry a deeper message.

One of the most famous examples is the controversial Up5 chair from 1969, which manufacturer B&B Italia describes as "the first product of Italian design with a political meaning".

Rest In Power !

"Up 5 & 6" Dressed Up Chair & Ottoman, 1969 – 2014, Polyurethane foam, fabric, Height: 40.5 in (102.87 cm)Width: 47 in (119.38 cm)Depth: 51 in (129.54 cm)Seat Height: 16 in (40.64 cm),

“Square Airport Lamp” (1986/1994). Photography by Elizabeth Carababas/The Future Perfect. Light sculpture consisting of a flexible rubber membrane studded with small light bulbs. Although made from a mold, no two lamps are alike, due to the imperfections that arise from the hand-mixing and pouring of colored urethane. H 92 - W 65 Cm,

"Feltri" Armchair for Cassina, 1980 -1989, Felt, Fabric, Resin, Width: 156 cm, Depth: 80 cm, Height: 129 cm, Seat height:42 cm, Courtesy: Oldera,

"Pratt Chair #7," 1984 2018 (purple), 2018, Transparent polyurethane, :93 x 53 x 53 cm. (36.6 x 20.9 x 20.9 in.),

"The Cabinet of The Tired Man," 2018, Photo: Courtesy of Salon 94 Design and Gaetano Pesce,

"Tramonto a New York" three-door screen, for Cassina, Made of coloured resin, hinges and feet in burnished brass, Width: 221, Height: 199,

"Organic" Building, Osaka, Japan, Completed in 1993 to embody the corporate ideal of Oguraya Yamamoto Co., Ltd,

"La In-Portante" Modular Bookshelf from the "Abbraccio" Series, 2010. Comprising 57 adjustable polyurethane resin shelves. Produced by Le Fablier, Italy. Polyurethane resin, painted wood, lacquered metal, 86½ x 118¾ x 16⅞ in. (219.7 x 301.6 x 42.6 cm) Courtesy of Sotheby's,

La Michetta Modular Sofa,Compostion of 8 by Meritalia, Structure in Lacquered Wood Seat with Elastic Belts, Flexible Polyurethane & Fiberfill Padding, Dimensions: W370 x D245cm,

Unique 'Ireland' table, Made of polyurethane and metal. The table was made and exhibited in 1996 by Gallery Mourmans, Knokke-Zoute, Belgium. It was part of a series of 'EU tables', where all 15 member countries were represented as a table, in this case Ireland. The top of the table has the shape of the outlines of the country and it stands on legs in the shape of question marks. W.80.71 in;H.28.74 in;D.57.09 in; (W.205 cm;H.73 cm;D.145 cm), Courtesy: Incollect.

[leibal]

Residence HDC is a minimalist house located in Gent, Belgium, designed by Ville Design. This spacious townhouse exudes an atmosphere of serenity and tranquility, with a primary focus on maximizing space and natural light. To achieve this, the design incorporates light and warm materials, including a light oak parquet floor, white lacquered cabinets, and a unique fireplace finish using a special painting technique

[thegoldensanctuary]

Louis XV's royal clutter

Castles opened to the public tend to put a great emphasis on furnitures, paintings and panellings. This focus often occurs at the expense of smaller every day items, such as tools, services, boxes and so on.

Even as far back as the 18th century, inventories of the garde meuble- the administration in charge of the French royal furnitures and collections- often omitted those smaller items, in favour of a greater focus on the furnitures themselves.

Several exception that that rule do exist for instance : When King Louis XV died the 10th of May 1774 in Versailles, his Versailles private cabinets were opened and searched, all the cash and the precious items contained in his cupboards were listed and described in an inventory made 27 days after his death.

Said inventory isn't located in the documents of the House of King(O1 series of the french national archives) like it is usually the case, but in the King's papers, namely in the K series of the national archives, more specifically the K 153.

The document in question was never published nor translated to this date.

I decided to publish it for the first time and translate it entirely to give an idea of the of the kind of clutter that was present in the king's private cabinets in Versailles at the time of his death :

Here is the translation of the provided text into English:

1: Four gold snuffboxes, three enameled, one guilloché,

2: A black lacquer snuffbox mounted in gold,

3: A snuffbox of black tortoiseshell.

4: An ivory candy box.

5: Two watches encrusted with diamonds with their chains also adorned with diamonds

6: An enameled watch with diamond hands and button, a gold cord, and two seals encrusted with diamonds,

7: A garnet box watch adorned with diamonds, attached with a blue ribbon,

9: A large rock crystal flask with a gold stopper, and two seals encrusted with diamonds

10: A small crystal flask

11: A large enameled gold flask

12: Two plain gold flasks in a roussette box

13: A shell flask

14: A rock crystal flask in a roussette case

15: Seven math instrument cases, some in plain gold, others enameled, and some encrusted with diamonds

16: A side case with an enameled gold chain but with diamond buttons

17: Two pocket cases, one enameled gold adorned with diamonds and rubies, and one in jade

18: Four lorgnettes - two in gold, two in silver, and one in copper

19: Two pencil cases, one enameled gold adorned with diamonds, the other containing a compass

20: A Baradel in gold

21: A small portable silver barometer

22: Four tablets in gold, lacquer, or Burgos, one of tortoiseshell with diamond cyphers

23: Three souvenirs, one of enameled gold

24: A hunting knife with a gold handle

25: A dog collar with diamond initials.

26: A large lacquer tablet containing eight portraits of the royal family adorned in gold

27: A lacquer tablet with a portrait inside

28: Four portraits in three plain boxes

29: An ivory barrel adorned with gold

30: A piece of jade from the Amazon River

31: A Sèvres porcelain lorgnette

32: A gold and Magellan telescope

33: A porcelain Sèvres eyewash basin

34: A small red leather writing set adorned with gold, with a gold seal and pencil

35: A damask pruning knife

36: A double-bladed mother-of-pearl knife with a gold fleur-de-lys

37: Three glasses cases, one of tortoiseshell adorned with gold

38: An approaching eyeglass adorned with silver

39: A watch with its chain and seals, all in rubies and diamonds

41: A mathematics case in yellow lacquer with diamond buttons

42: Two almanacs mounted in silver and marcasites in their roussette cases

45: Three seals, two in gold, one in stone

47: Four rings, three with diamonds or coloured stones, one with an engraved stone

48: An English lorgnette

49: Four canes - one with a gold handle, one with a porcelain crutch, one with a gold apple adorned with diamonds, one with a golden apple-wood handle and parasol

50: Six watches - one in gold, enameled with a steel chain and chime, two other enameled, three other guilloché gold

51: A steel mirror

52: A gold egg cup in a roussette case

53: A gold writing set with Charlier paintings, in miniature in a roussette case

54: A very beautiful crystal vase, measuring 9 inches in height

55: A gold breakfast set consisting of a Sevres porcelain tray, two identical cups, a gold teapot and sugar pot, two spoons, a strainer, and a sugar tong made of the same metal

56: A gold-enameled punch pot with a pump, and a second pot of Saxony porcelain

57: A small enameled gold punch pot with a pump and a crystal basin

58: Two gold-enameled candlesticks with their bobeches

59: A crystal breakfast set surrounded by gold, consisting of three goblets

60: Another crystal breakfast set consisting of two carafes and a covered goblet, with the tray of enameled gold

61: A red leather box, edged with gold, containing 12 gold spoons and 12 gold forks, two roast oval plates, two appetizer plates, two dessert plates, and six dishes, all made of the same metal, with one missing, which is in the possession of Mr. de Fontanieu.

62: A set in a red leather box containing a lacquer box with a marabout, a teapot, a spirit lamp, six coffee spoons, all made of gold, three cups, a sugar pot, and a milk jug made of Sevres porcelain

63: A set in a walnut wood box containing 12 gold tableware, twelve knives with rosewood handles, gold cup and rosette, steel blades, twelve knives with Sevres porcelain handles adorned with cup rosette landau, plus four gold plates

64: A red lacquer box reinforced with gold, containing a Sevres porcelain bowl adorned with gold, two gold spoons, a covered crystal goblet adorned with gold, two porcelain pasta pots from Sevres

65: A wooden case enclosed in a black lacquer box containing a marabout made of gold with handles made of Sevres porcelain, two large sugar pots, two saucers, and two chocolate cups made of porcelain, a spirit lamp, adorned with gold, a square crystal flask adorned with gold, two coffee spoons, and a large gold spoon

66: A gold-plated copper microscope in its pyramid case

Dom Noël, Planche 19 Microscope tripode.

67: A writing set with 12 zodiac signs

68: A wooden box reinforced with silver containing a pharmacy adorned with silver

69: A yellow lacquer box enclosed in a red leather box

70: A graphometer in a red leather case

71: A gold compass with its stand and a level in a sharkskin case

72: A black lacquer box

73: A breakfast set consisting of a painted sheet metal tray and two porcelain cups

74: A writing set made of silver-reinforced roussette

75: Supplementary gold tableware, three coffee spoons, one tea spoon, a gold set in a roussette case

76: A small black lacquer box

77: A small oak chest, we weren't able to find the key

78: A box of tools with wooden handles and silver ferrules

79: A box of Kingswood,but the key wasn't found

80: A gold-braided telescope

81: A coffee pot for four gold cups with jasper handles and six gold coffee spoons, in a leather case made to contain 12.

[johnben01]

Elevate Your Home with a Touch of Luxury in Walk In Closets

A luxury walk-in closet is more than a storage space a sanctuary of style and organization. From wardrobe closet design ideas to the intricate process of planning a custom walk-in closet, the journey to create a luxurious haven for your clothing and accessories is a captivating one. In this in-depth guide, we explore the elements of luxury walk-in closets, offering insights on custom closet design, remodeling costs, and the expertise provided by luxury custom closet designers, with a special focus on Pedini Miami's innovative approach.

A luxury walk-in closet is the epitome of opulence, combining functionality with aesthetic appeal. We delve into the world of wardrobe closet design ideas, exploring how to elevate your closet space into a personalized haven.

How to Plan a Custom Walk-In Closet:

Planning a custom walk-in closet involves thoughtful consideration of your storage needs, style preferences, and available space. We provide a step-by-step guide on how to plan and execute a custom closet design that caters to your unique requirements.

Custom Closet Remodel Designer:

The role of a custom closet remodel designer is crucial in bringing your vision to life. We explore the qualities to look for in a designer, the design process, and how their expertise can transform your walk-in closet into a luxurious retreat.

Custom Closet Remodel Cost:

Understanding the cost implications of a custom closet remodel is essential for budgeting. We break down the factors influencing costs, from materials and design complexity to the expertise of the remodel designer.

Luxury Custom Closet Designers in Miami:

Miami, known for its chic and vibrant lifestyle, is home to luxury custom closet designers who understand the city's unique design preferences. We explore the local expertise available in Miami and how it contributes to creating closets that resonate with the city's flair.

Pedini Miami:

Pedini Miami, a renowned name in innovative design, goes beyond traditional custom closets. We explore Pedini's approach to luxury closet design, blending functionality with avant-garde aesthetics to create closets that redefine the concept of organization.

Exploring Wardrobe Closet Design Ideas:

Bespoke Cabinetry and Shelving:

Luxury walk-in closets often feature bespoke cabinetry and shelving. We explore design ideas that maximize storage space while adding a touch of sophistication to the overall aesthetic.

Integrated Lighting Solutions:

Illumination is key in a luxury closet. We delve into wardrobe closet design ideas that incorporate integrated lighting solutions, enhancing visibility and creating a visually appealing atmosphere.

Luxurious Materials and Finishes:

The choice of materials and finishes plays a pivotal role in luxury closet design. We explore ideas that utilize high-end materials, such as marble countertops, rich wood finishes, and custom hardware.

Seating and Vanity Areas:

Elevate your closet into a personal dressing room with the inclusion of seating and vanity areas. We discuss design ideas that create functional and comfortable spaces within your walk-in closet.

How to Plan a Custom Walk-In Closet: Step by Step

Assess Your Storage Needs:

Understanding your storage requirements is the first step in planning a custom walk-in closet. We guide you through evaluating your clothing and accessory collection to determine the necessary shelving, hanging space, and storage features.

Consider Your Style Preferences:

A custom walk-in closet should align with your style. We provide insights into various design styles, from minimalist and modern to classic and opulent, helping you define the aesthetic that resonates with you.

Evaluate Available Space:

The available space in your home dictates the layout and design possibilities. We offer tips on measuring and assessing your closet space, ensuring that the custom design optimizes every inch.

Collaborate with a Custom Closet Remodel Designer:

The expertise of a custom closet remodel designer is invaluable. We discuss the importance of collaborating with a professional, including how to choose the right designer and what to expect during the design process.

Understanding Custom Closet Remodel Cost:

Material Selection:

The choice of materials significantly impacts the overall cost of a custom closet remodel. We break down the costs associated with different materials, such as hardwood, laminate, and custom finishes.

Design Complexity:

The complexity of the design, including features like built-in cabinetry, customized storage solutions, and integrated lighting, influences the cost. We discuss how design intricacies contribute to the overall investment.

Professional Labor and Installation:

Hiring skilled professionals for the installation is a crucial aspect of the remodel. We explore the labor costs associated with custom closet installation and why investing in professional services is essential.

Local Expertise: Luxury Custom Closet Designers in Miami

Miami's Design Aesthetic:

Miami's design aesthetic is characterized by a blend of modern sophistication and vibrant colors. We explore how luxury custom closet designers in Miami infuse these elements into their designs, creating closets that resonate with the city's energy.

Tailored Solutions for Urban Living:

Miami's urban lifestyle demands closets that are not just luxurious but also tailored to urban living. We discuss how local designers understand the unique challenges and opportunities presented by urban spaces.

Innovative Approach: Pedini Miami

Avant-Garde Closet Designs:

Pedini Miami's approach to luxury closet design goes beyond conventional norms. We explore how their avant-garde designs incorporate innovative features, transforming closets into functional works of art.

The blend of Functionality and Aesthetics:

Pedini Miami prioritizes the seamless blend of functionality and aesthetics. We delve into specific design elements and features that set Pedini apart in the realm of luxury custom closets.

Choosing the Right Luxury Walk-In Closet Design:

Reviewing Portfolios:

When selecting a luxury walk-in closet designer, reviewing portfolios is crucial. We provide guidance on what to look for in a designer's portfolio to ensure that their style aligns with your vision.

Understanding the Design Process:

A transparent and collaborative design process is key to a successful custom closet remodel. We discuss what to expect during the design process and how effective communication contributes to a satisfying outcome.

Budget Considerations:

Setting a realistic budget is vital in the custom closet design process. We offer tips on how to establish a budget, including considerations for materials, labor, and any unforeseen expenses.

Project Management and Timelines:

Luxury walk-in closet projects involve multiple steps. We emphasize the importance of project management skills in ensuring that the design is executed seamlessly and within the established timelines.

Conclusion: Elevating Your Closet Experience

In conclusion, the journey to a luxury walk-in closet involves a careful blend of design, functionality, and collaboration with skilled professionals. From exploring wardrobe closet design ideas to understanding the costs associated with a custom closet remodel, each step contributes to the creation of a personalized sanctuary for your clothing and accessories. Local expertise, such as that provided by luxury custom closet designers in Miami.

Source:- https://blogstudiio.com/designing-dreams-elevate-your-home-with-a-touch-of-luxury-in-walk-in-closets/

[kimberlaylk]

Exploring the Versatility of Lacquer Paint in Home Design

Exploring the Brilliance of Lacquer Paint in Cabinetry and Furniture Design

Lacquer paint holds a distinct allure in the world of interior design, especially when adorning cabinets and furniture. This comprehensive guide unveils the elegance and versatility of lacquer paint, from enhancing cabinets to revitalizing furniture, along with essential insights into lacquer thinners and their constituent ingredients.

Lacquer paint stands as a versatile choice, not just for enhancing the aesthetics but also for protecting surfaces. This comprehensive guide dives into the world of lacquer paint, exploring its use in cabinets, furniture, and beyond. From lacquer cabinets to furniture, understanding its composition and broader application possibilities provides insight into its growing popularity in modern home design.

Unveiling Lacquer Paint :

Defining the Appeal of Lacquer Paint

A detailed overview of lacquer paint, its composition, and why it stands out in the realm of finishes for cabinets and furniture.

Unlocking the Charm: Lacquer Paint in Cabinetry

How lacquer paint elevates the aesthetics and durability of cabinets, creating a sophisticated appeal.

Transforming Furniture with Lacquer Paint

Exploring the versatility of lacquer paint in refurbishing and adding elegance to various furniture pieces.

Lacquer Paint for Cabinets :

Enhancing Cabinets with Lacquer Paint

The process and benefits of using lacquer paint on cabinets, impart a glossy and durable finish.

Selecting the Right Lacquer Paint for Cabinets

Insights on choosing the appropriate lacquer paint types and finishes for different cabinet materials.

Understanding Lacquer Thinner :

The Role of Lacquer Thinner

A comprehensive look at lacquer thinner, its significance in the application of lacquer paint, and its impact on finishes.

Using Lacquer Thinner Safely and Efficiently

Guidelines and precautions for the safe and effective use of lacquer thinner in paint applications.

Essential Lacquer Ingredients :

Deconstructing Lacquer: Key Ingredients

Understanding the components that form lacquer paint and their individual roles in achieving desired finishes.

Exploring Lacquer's Formulation

Insights into the chemical composition of lacquer paint and its relevance in obtaining desired finishes.

Lacquer Paint for Furniture :

Revitalizing Furniture with Lacquer Paint

The transformative effects of lacquer paint on various types of furniture offer a sleek and modern appearance.

Choosing the Right Lacquer Paint for Furniture

Tips for selecting appropriate lacquer paints suitable for different furniture materials and styles.

Conclusion :

Embrace Elegance with Lacquer Paint

Lacquer paint, with its versatility and protective qualities, has emerged as a preferred choice in modern home design. From cabinets to furniture, its transformative properties redefine spaces, offering a blend of elegance and durability. This guide has offered an in-depth exploration of lacquer paint, its applications, best practices for application, and insights into related elements, empowering homeowners and designers to leverage its benefits and embrace its brilliance in elevating home aesthetics.

The allure of lacquer paint extends beyond aesthetics, redefining cabinetry, and furniture by imparting a glossy, durable, and sophisticated finish. From cabinets to furniture, lacquer paint elevates the elegance of interiors. Understanding lacquer thinners, their constituent ingredients, and the tailored application for different surfaces ensures a seamless and refined finish. Incorporating lacquer paint into design endeavors brings a touch of sophistication, transforming ordinary surfaces into exquisite statements of style and durability.

Source:- https://techmoduler.com/lacquer-paint/

[the-whumpening]

The Pet Tiger, #2 [nsfwhump AU]

Prev | Masterpost | Next

CW: Noncon touch (bathing and non-sexual touch), forced enema (no graphic descriptions of fluids, but the event is on-page), reference to future noncon, restraints, “it” as a pronoun

————————————————————————————

2: Bath

Ozmund leads Ash up a few dizzying flights of stairs and through a maze of halls until they reach a luxurious bathroom. Two servants greet Ozmund as he enters, Ash still being led by the chain joining his hands. With practiced hands, the servants take hold of Ash’s chain and pull him along.

“Clean him up for me, please,” Ozmund instructs them. “He shouldn’t give you any trouble; I presume he knows better by now.” He gives Ash’s hair a firm tug in reminder before retreating from the room.

The servants quickly and efficiently scrub Ash down in the warm bath water; it almost would’ve felt relaxing and soothing, if not for the too-firm pressure of too many hands all over his body. His hair is washed and his beard shaved clean, his eyebrows trimmed and plucked into perfect form. Even his nails are cleaned, trimmed, and painted with a shiny lacquer. He tries not to protest—after all, it’s only a bath—but he can’t help the occasional sniffs and whines that slip through. The petite female servant pats his head affectionately, as if he’s an anxious dog, and offers soothing words.

“There, there. It’s okay. No need to fuss,” she murmurs. After she towels him dry, she begins to lead him to a vanity, but the other servant reprimands her.

“It’s not finished yet,” the older servant says, tugging Ash to a separate room. “If you do its makeup now, it’ll cry and ruin it.”

The younger one smiles apologetically and pats Ash’s arm. “Oh dear, she’s right. Most pets don’t like this part at all.” Most? Ash thinks. They’ve done this before? How many slaves has Ozmund kept? “But Master Greenthorn has very high standards, so it’s necessary. You’ll get used to it.”

The room Ash is led to is much smaller than the bath, clearly meant for more private use. One wall features a tall cabinet and a washbasin with a tap. On the opposite wall are the toileting facilities. In between the two is a low bench, barely off the ground, and a mat.

“Knees on the bench, arms on the floor,” the older servant commands as she heads to the cabinet. Ash’s stomach twists in knots; though he’s not entirely sure what’s happening, he knows it can’t be good. The younger servant gives him a nudge, holding his elbow to help him balance as he kneels. His muscles shake as he presses his forearms to the mat, realizing far too late what his position must be for.

“You’ll be good and still for us, won’t you?” the petite one asks sweetly, brushing his hair out of his face. “I’d hate to have to hold you down or restrain you.” When he doesn’t respond, she pinches his rear. “Say, ‘Yes, ma’am,’ when you’re asked a question, pet.”

He swallows hard, fighting back the urge to scream and slash his claws. “Y-yes, ma’am.”

She perks up immediately. “Oh, what a good boy! Such a quick learner! I do hope you’ll be this obedient for the Master; I’d hate to see such a pretty thing covered in ugly bruises and scars. Then I’d have to spend all my time fixing you up instead of playing with you!”

“Yes, ma’am . . .” he whispers, wetness already beginning to form in his eyes.

“Don’t get too ahead of yourself, Faye,” the older servant warns. “I’ve been told this one is special; it and the Master have history or something. I doubt you’ll get to play with it.” She hands the petite one—Faye—a pair of gloves and a bottle of some liquid. From his position so close to the ground, Ash can’t see what the older one carries, but he can feel her footsteps approach him from behind. “Let’s just finish this before the Master gets impatient.”

Faye gives an exaggerated sigh and begins her work. After putting on the gloves, she applies a dab of the liquid to her finger and spreads it over Ash’s entrance. It’s cold and slimy; Ash’s skin erupts in disgusted goosebumps. Her gloved finger just barely dips inside of him, swirling the substance along his walls before popping out. He tries to catch his breath, but before he can, the other woman swiftly slips a thin tube into him.

Instinctively, without thinking, he yelps and bucks his hips away. His body stops short, though—a warm tingle of magic locks his muscles in place, holding him against his will.

“Shh, shh, shh.” Faye’s voice is thick with disappointment. “I really hoped you’d be a good boy and not cause us any trouble. Now we have to do this the hard way.”

The other servant huffs impatiently, then presses a foot down on Ash’s back, as if the magic isn’t enough to hold him still. Faye retrieves several leather belts and hooks from the cabinet, then swiftly binds his legs to one another and to the bench. The chain connecting his wrists is hooked to a ring in the floor, stretching his arms to their limit and pinning his chest close to the ground.

Faye continues to pat his hair and give encouragement, but as she releases the magic hold, he realizes he is truly immobilized. Humiliation burns deep in Ash’s skin. The other servant has barely begun to replace the tube before tears slide down his nose and drip onto the cold stone floor.

“It’s okay, precious,” Faye coos. “Just a few more minutes, and then you’ll feel nice and empty.”

Empty? What does that—?

The urge hits Ash, his trembling only intensified with the spasms threatening his body. Faye continues to chatter to him, attempting to distract him by rubbing his skin with perfumed oils and combing his hair, but he can’t process anything she’s saying. By the time they set him loose of his restraints and guide him to the chamber pot, he hardly takes note of their presence at all. His body is wracked with cramping pain and cold sweat. When his gut is empty and his head finally clears, the shame and embarrassment crash violently back around him.

“There we go,” Faye says as she guides him back to the bath, quickly cleaning any remaining offense before bringing him to the vanity. “The worst part is over! Now Aggie can go on her way, and I can make you even prettier for the Master.”

With a name finally attached to the grizzled face, Aggie gives a half-hearted wave over her shoulder. “Should you need me, Faye: don’t need me. I’ve got a dozen more important things to do than give an enema to the new boytoy.”

“Oh don’t mind her, the old curmudgeon. Now, where to start . . .”

[mcalhenwrites]

Oct 10: A Scary House

[Hazel and Ferdinand, Rascal]

The front door is green.

Ferdinand takes that as a welcoming sign. He has toured over a dozen houses with Hazel, and they’ve been incredibly picky about what they want. Hazel has the income to buy something nice and spacious without purchasing a mansion to rival his parents’ home.

They want something cozy. A house with a decent yard for gardening, a garage to fit a car and store their bicycles, and room enough to expand their family. This seems reasonable to Ferdinand, who grew up with fewer accommodations than Hazel.

Hazel’s certain they’ll have lots of pets in a quieter future. It doesn’t matter how many children they might have, either. Hazel talks about having a pair of kittens all the time. He’s just as fond of dogs. That means having the space for this growing family. Hazel’s also certain his father will insist on getting him a car if he doesn’t purchase one himself soon, because what kind of Raston doesn’t own a car? That will require a garage.

Then there’s the garden Ferdinand dreams of keeping.

Ferdinand wants this next house they’re touring to be the one. He’s tired of looking at disappointment after disappointment.

This one seems promising. He loves the potential of the front flower beds—which are oddly empty—and the paint job on the exterior. It seems bright and inviting and natural.

Then the realtor, Nina, opens the door for the couple, and Ferdinand is both pleasantly surprised and suddenly intimidated.

It isn’t that large of a house. It might be one of the smallest they’ve toured during their search for a permanent residence. There is no second floor. The walls have delightful nooks with shelves. There are built-in bookcases and cabinets with glass fronts, all of it gorgeously matched with the woodwork of every room. The floors are freshly lacquered.

Everything would seem homey if Ferdinand didn’t have a strange feeling in his gut.

Hazel is barely in the dining room when he crinkles his nose at the doorway leading to the kitchen.

“What happened in this house?” he asks in a whisper, and it seems as if he’s not directing that question at anyone. Then he turns to Nina expectantly.

Nina’s fingers curl around the borrowed keys as she peers around apprehensively. “I’ve never been in here. A different company is selling this house. I asked if we could look at it, since it has three bedrooms, a garage, and lots of storage space. The backyard is massive.”

“I don’t think we’ll be seeing the rest of it,” Hazel declares. He catches Ferdinand’s eye. “I have a bad feeling about this place.”

Ferdinand feels it too. Part of him is curious to go deeper into the house and understand what it is that sets him on edge, but all three of them don’t move from the dining room.

Then they hear a banging in another part of the house, followed by chilling laughter.

Nina jumps at the noise.

Hazel hurries to Ferdinand’s side, grabbing his hand and tugging him toward the door. “No, something’s wrong here. We’re out.”

Ferdinand doesn’t budge. It’s that innate nosiness—the same one that always got him into trouble as a child for eavesdropping on conversations he shouldn’t have. He wants to know where the laughter is coming from.

“Ferdinand, please.” Hazel is no match against him, but he still attempts to drag him away.

A cabinet swings open in the dining room suddenly.

Nina screams and backs away, bumping into Ferdinand.

“Let’s go,” Ferdinand agrees. Only because he doesn’t want to see anyone hurt or sustain any injuries from whatever is going on. The house is telling them to leave in as clear as terms as it possibly could.

He takes Nina’s hand with his free one, since she is frozen to the spot, and allows Hazel to lead the way back to the front door. The hairs rise on the back of his neck as he hears whispers.

The green front door no longer seems inviting as Nina hurries to lock it behind them. Hazel crosses the yard briskly and waits on the sidewalk impatiently, hands in pockets and eyes fixed on Ferdinand.

“There’s someone looking at us from the window.”

Ferdinand turns and sees a fleeing dark figure retreat back into the shadows of the house.

“That’s not the house for us,” Hazel declares.

“I won’t be showing that to anyone else,” says Nina. “Would you like to look at another one?” She shudders. “I can show you one that isn’t haunted.”

“Please do.” Hazel smiles anxiously at Ferdinand. “What do you think?”

Ferdinand nods. “Let’s put this one out of our mind and see another.”

Hazel takes his hand again, and they walk back to Nina’s car, ready to forget what they witnessed in a house that most definitely will not be selling any time soon.

[chanoyu-to-wa]

The Chanoyu Hyaku-shu [茶湯百首], Part III:  Poem 58.

〽 Usucha-ire maki-e hori-mono moji araba          jun-gyaku oboe atsukau to shire

    [薄茶入蒔繪彫物文字有らば          順逆覺え扱うと知れ].

    “If the usucha-ire [is decorated with] maki-e, it it is carved, [or] if there are written characters [on the underside], understand that [you] should remember and practice handling it the right [way versus] the wrong [way when closing the lid].”

    It seems that the distinction between utensils that were suitable to use when serving koicha, as opposed to those that were adjudged more appropriate for the service of usucha, dates back to the earliest days of Jōō’s tea gathering¹.

    Maki-e [蒔繪] is a lacquer technique where a design is painted on the surface of a finished lacquered piece, usually with lacquer (to make the design more obvious to the lacquer artist).  After allowing the lacquer to become tacky², gold powder is sprinkled on top and immediately swept away using a small feather brush, leaving the design in gold against the black lacquered background, as seen above.

    Utensils decorated with maki-e should be handled so that the design on the lid and the body are kept in alignment.

    Hori-mono [彫り物] is referring to a carved piece.  Sometimes multiple coats of lacquer are applied, after which the thick skin of lacquer is carved (the above example, called tsui-shu [堆朱], is representative of this technique³); in other (usually less expensive) versions, the underlying wood base is carved, with one or two coats of lacquer painted on top to create the same sort of effect⁴.

    The piece should be handled in such a way that the pattern on the lid and the body match.

    Moji [文字] means characters (or, by extension, other writing).  This usually refers to a name (originally designating the owner -- such as a temple or other institution -- but later a signature, called a ka-ō [花押], indicating approval⁵ written by a respected master).

    The point here is that the name (which was sometimes written on the underside of the lid, on the bottom of the foot, or on the back of the object⁶) should be oriented properly when the guest turns the utensil in order to inspect it.

    There are a number of variations, but the differences are trivial���, and actually have no real impact on the meaning of the poem -- which essentially remains the same throughout.

_________________________

¹In the early days, utensils made on the continent* were preferred when serving koicha, while those made locally were more commonly used for usucha (assuming that the host had a collection that permitted this kind of discrimination). ___________ *With the focus being on the dai-temmoku and karamono-chaire.

²Lacquer “dries” by incorporating atmospheric moisture into its chemical structure.  This is why, in premodern times, lacquer work was primarily done during the rainy season.  At other times of the year, a cabinet lined with damp towels could be used, but the results were usually less predictable.

³In addition to the example, where the thick skin was created by many coats of red lacquer, black or other colored lacquer can also be used.  And interesting effects can also be created by alternating the colors layer by layer, or by painting a different color on top.  Carving lacquer was primarily practiced in China, though Japanese imitations did occasionally appear over the course of the Edo period.

⁴While also known on the continent (the technique gained some prominence during the Ming period), this kind of product -- where a wooden blank is carved before several coats of lacquer are applied -- became a specialty product of the area around Kamakura, and so came to be called Kamakura-bori [鎌倉彫] in Japan.  Below are shown a Kamakura-bori isshaku-bon [一尺盆], and a jikiro [食籠]

    The technique is said to have been introduced commercially as a way to mass-produce the various lacquered altar implements for the rapidly-expanding Buddhist market around the middle of the thirteenth century, during the Kamakura period (1185 –1333).

⁵The ka-ō [花押] is a type of written signature used, during the middle ages, in place of a stamped name-seal.

    In the case of the example shown above, this ka-ō was written by Riky�� on the underside of the lid* of an ordinary black lacquered natsume.  This mark certified that the tea contained in the natsume had come from one of Hideyoshi’s personal tea jars.  This tea, which was of the highest quality available in Japan, was not to be sold, but was free to anyone who chose to apply for some (since a certain quantity of matcha was ground every day, whether or not Hideyoshi and his courtiers were in residence; the unused tea was sent off the next morning to the names on the list of applicants, ostensibly on a first-come first-served basis -- though “thank-money” could, and often was, secretly given to one of the tea officials in order to move one’s name to the top of the list).

    The tea was packed into an ordinary black-lacquered natsume (that was signed by one of Hideyoshi’s eight sa-dō [茶頭], tea officials), tied in a small purple-dyed furoshiki†, and then sealed into a wooden box using a paper tape that was also marked by the tea official who had packed the box (so that the contents could not be tampered with).

    In other contexts, the ka-ō originally indicated ownership (temples, for example, usually marked their bowls and other utensils in this way to discourage theft); but by the sixteenth century (if not earlier) a tea master sometimes so-marked utensils that, in his estimation, possessed the qualities‡ that made them suitable for use in chanoyu. ___________ *When the ka-ō was written on the underside of the lid, as here, the tea was intended to be used for usucha; when the ka-ō was on the bottom of the natsume, the tea was supposed to be used as koicha.

†Purple was one of the most difficult colors to produce using natural dye-stuffs, for which reason it was used to dye the finest locally produced silk cloth, and this is why the little furoshiki [風呂敷] (wrapping cloth) was dyed that color (the variations of this color are shown below, with the classical hue on the left).

    Originally it was just a wrapping cloth, measuring 8-sun by 8-sun 2-bu.  Furuta Sōshitsu (Oribe) is the person responsible for using this cloth as a substitute fukusa -- on an occasion when, while hosting a gathering, he received a box of Hideyoshi’s tea from Rikyū, and wishing to share the tea with his guests, used the furoshiki as a fukusa (since he did not have a second fukusa prepared, though the rules declared that a new fukusa was supposed to be used for each new variety of tea served during the chakai).

    Doing this caught on, and soon people were using Rikyū’s furoshiki as a pattern for making their own temae-fukusa (originally the fukusa was made by cutting a length of silk twice as long as it was wide, folding it in half, and then stitching the three edges).

‡These were not only aesthetic considerations, but also focused (perhaps more importantly) on whether the object agreed with the rules of kane-wari.  Rikyū, for example, is known to have certified utensils in this way the he would not have personally used when serving tea because they did not match his aesthetic, if they fulfilled the demands of kane-wari.

⁶During the Edo period, perhaps inspired by this poem, occasionally poems and the like were actually written on the objects as part of the original decoration.  Naturally the host would have to be especially careful to keep the lid and body aligned in cases such as this.

⁷Considering the versions of this poem in their historical order (with the English translation following the quoted text in each case):

1) Matsu-ya (Jōō) version [松屋・紹鷗]:

〽 usucha-ire maki-e hori-mono kore araba, jun-gyaku oboe-tatsuru-mono nari [うす茶入まきゑほりものこれあらば、順逆おぼえたつるものなり]:

    “if the usucha-ire has either maki-e or carving, this is something that you should practice using correctly.”

2) Mokuhan (Rikyū) version [木版・利休]:

〽 usucha-ire maki-e hori-mono kore araba, jun-gyaku oboe miro-mono zo kashi [うす茶入まきゑほりものこれあらば、順逆おぼえ見るもの 見るものぞかし]:

    “if the usucha-ire has either maki-e or carving, shouldn’t [you] practice aligning it properly by sight?”

3) Kyūshū-hon (Sansai) version [九州本・三齋]:

〽 usucha-ire maki-e hori-mono moji araba, jun-gyaku oboe atsukau to shire [薄茶入蒔繪掘もの文字あらば、順逆覺えあつかうとしれ]:

    “if the usucha-ire has maki-e, carving, or characters [written on it], understand that [you] should practice handling it properly.”

4) Oda (Omotesenke archive) version [小田・表千家]:

〽 usucha-ire maki-e hori-mono moji araba, jun-gyaku oboe atsukau to shire [薄茶入蒔繪掘もの文字あらば、順逆覺え扱ふとしれ]:

    “if the usucha-ire has maki-e, carving, or characters [written on it], understand that [you] should practice handling it properly.”

5) Iguchi (Urasenke archive) version [井口・裏千家]:

〽 usucha-ire maki-e hori-mono moji araba, jun-gyaku oboe atsukau to shire [薄茶入蒔繪掘もの文字あらば、順逆覺え扱ふとしれ]:

    “if the usucha-ire has maki-e, carving, or characters [written on it], understand that [you] should practice handling it properly.”

6) Sekishū (Jōō) version [石州・紹鷗]:

〽 usucha-ire maki-e hori-mono kore araba, jun-gyaku oboe-tatsuru-mono nari [薄茶入蒔繪掘物これあらば、順逆覺えたつるものなり]:

    “if the usucha-ire has either maki-e or carving, this is something that you should practice using correctly.”

7) Sekishū (Rikyū) version [石州・利休]:

〽 usucha-ire maki-e hori-mono moji araba, jun-gyaku oboe atsukau to shire [薄茶入蒔繪掘物文字���らば、順逆覺えあつかふと知れ]:

    “if the usucha-ire has either maki-e or carving, understand that [you] should practice handling it properly*.”

◎ In all of these instances, “using” or “handling” it properly means that the decoration on the lid and the decoration on the body should be kept in alignment.

    Notice that the Sen family versions conform to the version handed down by Hosokawa Sansai (i.e., the Kyūshū manuscript version).  This is generally true throughout the entire collection. __________ *This version is an amalgam of the Rikyū and Hosokawa Sansai versions, showing how influential Sansai’s opinion was among his contemporaries.

==============================================

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