durability, with white sapwood and a beautiful golden-yellow
heartwood which on seasoning becomes dark brown, mottled with
still browner streaks. The teak tree is native to India, Burma,
and Thailand, and the wood is known to have been used in India
for more than 2,000 years. It is one of the most enduring woods,
and instances are recorded of teak beams which lasted more than
1,000 years.
_Thuya._--Algeria, Africa. (Formerly and properly spelled "thuja.")
This is the botanical name for the arbor vitae, or tree of life,
of the cedar family. In Europe the thuya burl is considered
to share with amboyna the distinction of being the finest
of all woods. The veneer is of reddish brown color, with a
characteristic figure remotely suggestive of the feather crotch,
and speckled with small round "eyes." It is used in Europe
chiefly for fine cigarette and jewel cases.
_Tigerwood._--Africa, west coast. (Also known as African or Benin
walnut.) An inexpensive but handsome veneer wood, ranging from
golden-yellow to dull brown in color, with a wide and pronounced
ribbon stripe. The crotches are large and good.
_Tulipwood._--Brazil. An extremely hard wood of pinkish-red color,
much used since the seventeenth century for marquetry.
_Vermilion wood._--See Padouk.
_Violet wood._--See Amaranth and Kingwood.
_Walnut._--North temperate zone of America and Europe. American
walnut is produced commercially from Wisconsin and Southern
Ontario to Kansas, Tennessee, and the Carolinas. It is widely
used for lumber and veneers.[33]
Its use as a cabinetwood for furniture began in the late fifteenth
century and has continued from that time until the present. The
wood's natural color, within its outer band of creamy sapwood,
ranges through a gamut of soft grayish browns whose deepest note is
pale chocolate sometimes lightly tinged with violet.
Dean S. J. Record, Yale University says: "Walnut is one of the
finest cabinet woods in the world. It has stood the test of time.
Trace its use back through the centuries, and it will be found a
medium of expression for what successive periods have considered
most beautiful and worthy in furniture design. As one lover of
the wood phrases it, 'from the massiveness of the Flemish, the
elegance of the Italian and French, and the balanced beauty of
the eighteenth century English walnut, by its inherent qualities,
has been the one cabinet wood that fulfilled all demands.'" This
record resulted from walnut's unusual combination of physical and
mechanical properties.
It is widely used not only for the most costly furniture, but
for the medium priced as well, because of another important
feature--its great variety of figure types. These vary from the
severely plain straight-quartered walnut, commonly seen on modern
furniture and architectural woodwork, through sliced wood, rotary,
many types of stumpwood, to the swirls, burls, and highly figured
crotches.
In addition to the American species, imported varieties such
as French, English, Italian, and Circassian, are still used
occasionally. However, more than 99 percent of all America's needs
are supplied by our own American walnut, which ranks somewhat
higher in strength properties than the European variety.
_Yomawood._--Burma and the Andaman Islands. (Also known as Burmese
Padouk.) This is one of the most beautiful woods, varying in
color from deep crimson through cherry red, pink and red-brown to
brown. The figure is commonly of the straight ribbon type, but
some veneers show a cross figure, a little like that of figured
satinwood.
_Zebrawood._--Africa, west coast. (Also known as Zebrana.) This
highly decorative wood has been used since the early eighteenth
century. The trees are large, and the veneer logs are imported
in squares 4 to 5 feet square and 20 feet or more in length. The
wood is light in color, and when cut on the quarter the veneers
reveal dark stripes of extraordinary straightness, which makes
the wood a favorite for matched diamond veneers. The name is
derived from the resemblance of this wood to the skin of the
zebra.
Appendix E.--COMMON RUG TERMS[34]
_Burling._--An inspection treatment after weaving, to straighten
up sunken tufts, to clip off long tufts, and otherwise add to
finished appearance of fabric.
_Chenille._--A soft tufted or fluffy cord of cotton, wool, silk,
or worsted, made by weaving four warp threads about soft filling
threads, afterward cut.
_Filling._--Threads thrown across the warp to fill up space between
knots.
_Ground color._--The prevailing color against which other colors
create the motif or design.
_Jaspe._--Broad irregular stripes of two shades, usually a lighter
and darker shade of the same color, used either as an effect in
plain goods or as a ground frame (sometimes in top colors as
well) of figured goods. It is produced by dipping a skein of yarn
twice in the dye, first the entire skein in the lighter shade and
then a portion of it in the darker shade. Various types of fine
or broad jaspes are obtained by the twist given the yarn. From
the French word meaning marbled. Linoleum: A two-toned pattern
resembling marble.
_Jute._--Fiber from inner bark of jute plant, used as base for
cheaper rugs.
_Pick._--The weft thread shuttled through the fabric crosswise of
the loom between the warp threads. The weft serves to tie in
the yarn that forms the surface tufts or loops. The number of
picks per inch is indicative of the closeness of the weave; for
example, a high class Wilton has about 13½ picks per inch. In the
Axminster weaves, the word "row" means the same as "pick." (See
Wires.)
_Pile._--Projecting fibers or tufts on surface of rug; the _nap_.
_Pile weaving._--In which there are two warps one with the weft
forming the base and the other, formed into loops over wires,
making the pile. In Brussels, the wire is pulled out leaving the
loop intact. In Wiltons, there is a knife at the end of each wire
which cuts the yarn as the wire is drawn out, making each loop a
tuft. The pile is closer on Wiltons than on Brussels, as 13 wires
are used to the inch, 8 being customary on Brussels.
_Pitch._--Indicative of closeness of weave, considered in
connection with "pick" or "rows." Pitch means the number of warp
threads per inch measured crosswise of the loom. The warp threads
run lengthwise of the fabric and interlock to bind in the weft,
thus fastening the surface yarn. The closer together the warp
threads the finer the weave; for example, good Wilton rugs are
256 pitch, meaning that there are 256 warp threads to each 27
inches of width of carpet, or 1,024 in a 9 by 12 rug.
_Quarter._--Unit of loom width, 9 inches, or ¼ of a yard. The
standard carpet width is ¾, or 3 times 9 equals 27 inches.
Yard-wide carpet is known as ⁴/₄; 9 feet wide as ¹²/₄; 15 feet
wide as ²⁰/₄, etc.
_Shot._--The number of weft threads (see "pick") considered in
reference to the tufts or loops of surface yarn. Two-shot means
that there is one weft thread between each row of pile tufts.
Three-shot means three weft threads to each row of tufts, one
on the back and one on each side. Three-shot, requiring more
material and more loom motion, adds to the cost, but increases
durability.
_Staple._--The general fibers of wool or cotton, considered as an
index of quality; for example, a single fiber judged by itself as
to length, thickness, and resiliency denotes the quality of the
batch.
_Stuffers._--Coarse yarn (usually jute) running lengthwise of the
fabric that is caught by the weft and warp and bound into the
fabric to form a thick, stiff, protective backing.
_Top colors._--Colors forming the design, as distinguished from the
ground color.
_Tuft._--A bunch of flexible fibers like hairs, united at the base.
Fine Wiltons contain 18,000 tufts to the square foot.
_Warp._--Threads running the long way of rug, between which the
weft, or woof (cross threads) are woven.
_Weft._--Threads running the short way of the rug.
_Wires._--Metal rods inserted between warp at same time weft is
inserted, crosswise of loom. When withdrawn, resulting loops
compose the pile. Number of wires is also used as index of
quality.
_Woof._--Same as weft.
_Worsted._--Selected wool yarn made from long fibers, combed
parallel and twisted hard. Three pounds of raw wool provide one
of worsted.
Appendix F.--AN ADVERTISING CHECK LIST
This advertising check list was worked out by the Chicago Tribune for
appraising the effectiveness of retail advertising. Copy which gets 70
points or better has proved to be satisfactory. Sample checking of your
advertisements against this table occasionally is suggested.
_Rating_
1. Does the headline contain news value? 15
2. Is there a promise to the reader's self-interest? 15
3. Is there an appeal for direct action? 10
4. Is the advertisement of proper size for the importance of the
offer and for its most favorable presentation? 10
5. Is the advertiser's signature clearly displayed? 5
6. Is the merchandise or service mentioned in the headline? 3
7. Does the headline include the name of the firm? 2
8. Does the illustration show the merchandise or service in use? 5
9. Does the illustration invite the reader to project himself into it
pleasantly, profitably, or favorably? 3
10. Does the lay-out locate elements logically and eye-invitingly? 5
11. Is the lay-out exciting or attention compelling? 3
12. Does the copy tell what is new, different, or better about the
merchandise or service, especially from the style angle? 3
13. Does the copy inspire enthusiasm for the merchandise or
service? 3
14. Does the copy have a definite ring of truth and sincerity? 5
15. Does the copy tell the merchandise or service is priced to save
money? 2
16. Does the copy tell that the product is guaranteed, lasting, and
gives good service? 3
17. Does the copy develop and appeal to price? 2
18. Does the copy or illustration imply the merchandise increases sex
appeal? 3
19. Does the copy tell why the merchandise is so priced? 1
20. Does the copy tell of the seasonal appeal of the merchandise? 1
21. Does the copy describe the merchandise or service with reasonable
completeness? 2
22. Does the copy indicate a personal loss for not buying or using
the product? 1
23. Are all negative thoughts connected with the product eliminated
from the copy? 2
24. Does the copy indicate enthusiasm of users, such as
testimonials? 2
25. Does the copy bring out superiorities of the merchandise or service
over competitive products? 1
26. Is the urge to action repeated three times--in the heading,
in first paragraph, and in closing? 5
27. Is the price displayed so it will command sufficient attention? 3
28. Is there a free deal, free offer, free trial, or something free
included? 3
29. Have all details to facilitate action been included? (Phone
number, order blank, store hours, mention of air conditioning,
parking, etc.) 2
Appendix G.--FIVEFOLD SELLING PLAN FOR FLOOR COVERINGS[35]
One furniture store has enjoyed a record of sales increases every month
but one for the last 2 years in the floor coverings department. This is
attributed to a fivefold merchandising approach based upon "style" and
"value."
During the entire year, other than at special "sales periods" this
company promotes oriental reproductions, finer broadloom (tone on
tone) carpeting, washed carpet, inlaid linoleum (yard goods), always
accenting "Style" and the necessity of fine floor coverings in relation
to fine home furnishings.
During the so-called "sale periods" of the year, the store features
"Room-wide floor coverings," "Bound broadloom remnant rugs," low-priced
9 by 12 Axminsters, and, in February and August, oriental reproductions
at reduced prices. The store theme is, "Value in every advertisement."
Customers are always sold the advertised merchandise, and full stocks
make it unnecessary to say--"Madam, we are sold out." These two things
build customer confidence in the store's publicity and in the store
itself.
Here are the fundamentals of the "Fivefold Plan":
1. _Advertising._--Based on 5 percent of the departmental volume,
the floor covering department is represented in the newspaper 52
weeks of the year. _Constant promotion insures results._
2. _Window display._--A window is assigned to the department every
week wherein may be found the advertised merchandise, or new and
highly styled floor covering innovations. _A Window Every Week._
3. _Inner-store displays._--The theme is "Fine floor coverings are
a necessity in the home of today." Every one of the model rooms
features as an integral part of the furnishings a fine rug. The
same holds true in the "Smaller home groupings." These rugs are
not placed on the floor and forgotten. The furniture salesmen
call attention to them daily. The carpet salesmen from time to
time make use of these groupings as selling aids.
4. _Trained salespersons._--New merchandise is sold _first_ to
the salespersons. They are taught also that "truth" is the most
powerful selling argument.
5. _Service._--The customer is not sold to be forgotten. This
company keeps in constant touch with the customer after the sale
is made, both to foster business and to keep her satisfied.
Appendix H.--COLOR AND STYLE IN MODERN ADVERTISING COPY?
For months we have been interested in checking home-furnishings
advertising copy in daily papers. This easily may become more than an
absorbing pastime.
As this is written, there is before us copy of a double-page spread
by a well-known company which sells home furnishings. The copy fairly
shouts color, tapestries, and period styles. Even brief study of
the copy will show how many and varied are the offerings to meet
ever-increasing competitive demands for something new.
This one piece of copy--typical of many appearing in the daily
papers--should convince any home-furnishings salesman that he must be
a constant student if he is to appear at his best as an interpreter of
color and style to his customers.
Look at this parade of 19 different colors, both plain and pebbly
twist, in carpets in 9-, 12-, and 15-foot widths.
_Plain colors_
Reseda green.
Beaver taupe.
Royal blue.
Heather-mist.
Cherry red.
Normandie rose.
Horizon blue.
French peach.
Burgundy.
Maple tan.
Henna wine.
Roseglow.
Dubonnet.
French grey.
_Pebbly textured colors_
Burgundy.
Reseda.
Maple tan.
Roseglow.
Royal blue.
Tango rust.
Jade green.
French peach.
Platinum beige.
Burnt copper.
Deer-tone.
Dubonnet.
Oriental rugs in exquisite blending of colors and native originality
in design are offered in India, Teheran, Garevan, Kirman, Bidjar, and
Ardebil weaves. (See footnote 5, p. 160, unit VIII.)
For the _dining room_ there are _Sheraton-Hepplewhite groups_ of
"genuine mahogany construction rubbed and then waxed to its deep rich
red color." Choice is offered of pedestal dining table, or one of
the leg type; also "choice of the famous Hepplewhite shield back or
Sheraton model chairs." Other offerings include an _Adam_ group in
"genuine Honduras mahogany with beautifully figured swirl mahogany
veneers, delicately carved"; an _English Chippendale_ group; an _Early
American_ group of solid rock maple construction. Separate pieces for
the apartment dining room from which one may create his own ensemble
include offerings of a--
_Sheraton extension console_--genuine Honduras mahogany
construction inlaid with satinwood.
_Duncan Phyfe side chair_ of lyre back design.
_Colonial corner cabinet_--genuine Honduras mahogany.
_Sheraton drop-leaf table_ of the pedestal type.
For the _living room_ are offered "upholstered pieces--sofas, wing
chairs, easy chairs, open armchairs, 'tailored' in effective coverings;
but which may be purchased in muslin and tailored in fabrics of your
own selection." Look at these noteworthy dependable furniture friends:
_Chippendale wing chair_ with handsomely carved cabriole legs; ball
and claw feet. Tapestry tailoring.
_Fireside wing chair._--Colonial Chippendale design; ball and claw
feet of solid mahogany. Tailored in tapestry.
_English easy chair._--Exposed frame solid mahogany covered in a
combination of tapestry and velvet.
_English club chair._--Seat cushions filled with genuine down.
Tailored in damask.
_English Chippendale sofa._--Tailored in damask.
_Eighteenth century easy chair._--Tailored in frieze.
_Barrel-back chair_ of English design.--Tailored in brocatelle.
The occasional pieces include: Secretary Desk in three
designs--American Hepplewhite, Colonial Sheraton, and Early
Colonial.
_Cocktail table._--Hepplewhite design--hand-tooled leather top.
_Cocktail table._--Chippendale period--swirl figured veneer top.
_Tier table_ after the colonial period--each of the tops is square in
shape making an ideal lamp table for the chair side.
_Knee-hole desk._--Eighteenth century English.
_Kidney desk._--Finished in the old colonial red tone.
_Nest of tables._--Sheraton in design--master table has hand-tooled
leather top.
_Book shelf._--Early colonial in design, genuine Honduras mahogany.
For the bedroom are many new interpretations of old periods in
interesting color finishes and a variety of woods, including an
offering of--
_American Hepplewhite_ finished in the new silver green known as
silver-mint.
_American Sheraton._--Honduras mahogany inlaid with satinwood.
_English Sheraton._--Inlays of marquetry.
_Chippendale group_ following the Chinese influence.
_Modern figured oak._--Blond color--trimmed with silver
hardware--hanging mirrors of crystal type.
_Chinese Chippendale group._--Genuine Amazon mahogany with crotch
mahogany panels.
_Early American._--Solid maple finished in the traditional tone.
_French Provincial._--Solid maple, finished in lovely pine color,
each piece effectively proportioned--twin beds of the footless
type with upholstered headboards, covered in chintz.
Appendix I.--CHECK LIST FOR PLANNING A STORE-WIDE PROMOTION
=(Courtesy the National Retail Furniture Association, Chicago, Ill.)=
1. Opening date; closing date.
(NOTE.--The most successful store-wide promotions run 10 days. Two
weeks should be the limit. Make your plan at least a month ahead.
Be all set at least a week in advance.)
2. Name.
(This should include at least a hint of the reason why you are
holding this sale.)
3. Merchandise to be featured.
(See that a good percentage of this is new merchandise, items that
you have never run before. Store-wide events based entirely on old
merchandise are never as successful as they should be.)
4. Total advertising expenditure for event:
_a._ Newspapers.
_b._ Direct-mail.
_c._ Radio.
_d._ Window and store displays.
5. Advertising expenditure by days.
(Start your sale off with a bang and end it with a grand finale.
The middle will take care of itself.)
6. "Presale" or old-customer courtesy days:
_a._ The dates.
_b._ Form of announcing them to customers (letter, folder, phone
calls, etc.).
_c._ Special terms, premiums or other inducements to old customers
who purchase on these dates.
(NOTE.--Sale or no sale, most of your business comes from old
customers. See that they get special attention in any store-wide
event.)
7. Window displays:
_a._ Merchandise to be featured.
_b._ Window streamers.
_c._ Price and description signs.
8. Interior and other displays:
_a._ Aisle banners, post hangers, elevator signs, cashier and
credit department signs.
_b._ General floor arrangement and special merchandise displays.
_c._ Buttons or other special identification insignia for salesmen.
_d._ Truck banners.
9. Price tags.
For any store-wide event, your merchandise should carry special
price tags--not the ones you ordinarily use.
10. Quotas:
_a._ By departments.
_b._ By salesmen.
11. Meetings:
_a._ Special meeting for all employees.
_b._ Meeting for sales employees only.
_c._ Meeting for credit employees only.
12. Special employee remuneration:
_a._ Store-wide sales contest, selling and non-selling help.
_b._ Contest for salesmen only.
_c._ Special "spiffs" on particular pieces of merchandise which you
wish to push.
(NOTE.--It is not recommended that every store-wide promotion
embrace every one of these points, although this is possible. You
should, however, consider all these possibilities in planning
your store-wide sale.)
Appendix J.--READY REFERENCE INDEX
Accessories, 136, 145, 191, 198, 215, 227, 232
Adam furniture and decoration, 58, 66, 67, 72
Adjoining rooms, relationships among, 171
Advertising, 3, 7, 196, 265, 266, 267
All-over carpeting, 171, 181
Aluminum, 73
American styles, 70, 165
Analogous color harmonies, 131, 134
Animal fibers, 153
Antique:
Furniture, 60, 73, 161
Rugs, 160, 161
Apartment living room, 267
Architectural factors in selling furniture, 131, 133
Argument, folly of, 78
Armures, 157, 168
Axminster carpetings, 71, 157, 160, 164, 231
Balance in room arrangement, 142, 147
Basket weave, 167, 168
Beauty:
Nature of, 131
Relation to price, 132
Bedding, 107, 108, 205
Bedroom:
Children's bedrooms, 208
Decorative processes, 61, 206, 237
Draperies, 207
Floor coverings, 172, 207
Relaxation room, 205
Sales of merchandise for, 76, 205, 208, 210
Wall treatments, 206
Bedsprings, 119, 208
Blond woods, 100
Body Brussels carpetings, 154, 164
Book rack, use of hanging, 58, 221
Brackets, 66
Breakfast nook, 217, 221
Breakfast room, 100, 217, 218
Broadloom carpetings, 165, 168, 266
Brocades and brocatelles, 54, 60, 156, 157
Buffets, 54, 196, 235
Bureaus, 51, 94
Burls, 91, 255
Buying habits, 3, 24, 35, 36, 38, 42, 83, 84, 196, 210
Cabinets, 50, 56, 63, 69, 189, 190, 193, 196
Cabriole leg, 41, 69
Calcimine colors, 180, 187
Call trade, 5, 8
Carolean style, 70
Carpetings, 153, 155, 160, 162, 170, 174
Case goods, 51, 94, 210
Cedar chest, 187
Cellulose plastics, 239
Center of interest, 141, 184
Chairs, 51, 55, 64, 92, 94, 192, 194, 231, 237
Chaise lounge, 55, 58, 205
Charles I, II furniture, 61
Check-up, the daily, 10
Chenille carpetings, 154, 160, 162, 263
Chests, 51, 52, 54, 189, 190, 208, 209, 239
Chiffonier, 58
China shelves, 66, 196
Chinese, influence in decoration, 63, 66, 232, 235
Chintzes, 64, 157, 158
Chippendale furniture, 16, 64, 65, 66, 72, 76, 267, 268
Chromatic circle, 139
Chromium, 73, 97, 219, 236
Clocks, 56, 63, 190, 235, 236
Cocktail tables, 157
Coils, 112, 113, 114, 115
Coir, 153, 155
Colonial furniture, 70, 72, 193, 237, 267
Color:
Chart of color combinations, 135, 146
Definitions, 134, 136, 227
Emotional effects of, 133, 134, 136, 145, 218
Management, 135, 136, 139, 140, 235
Means for larger sales, 267
Names and families, 134, 135
Sales talk based on, 133, 136
Color schemes:
General, 133, 136, 139, 171
Bedroom, 171, 206
Breakfast room, 100, 218
Connecting rooms, 195
Dining room, 190, 191
Hall, 171, 186
Kitchen, 219
Living room, 171, 180, 185, 231
Sunroom, 100, 171
Commodes, 36, 235
Competition:
Factor in selling, 36, 197
Forms of, 196
Complementary colors, 134, 135, 136, 176
Confidence:
Destroyed by unproved assertions, 33
Winning the buyer's, 34, 40, 197, 222
Console tables, 54, 67, 143, 189, 237
Construction:
Hidden values, 30, 93, 96
Methods in floor coverings, 162-166
Methods in furniture, 95, 214
Order of in sales presentation, 31, 84, 214
Women's attitude toward, 49, 84, 197, 240
Consumer education:
Wide spread, c, 5, 10, 37, 74, 107
Problems increasing, 5, 197
Service to, 5, 93, 123, 198, 218, 234
Contrast:
As an element of beauty, 139
As a method in showing furniture, 210, 211, 213
Cotton fibers, 116, 153, 154
Couch, studio, 63
Craftsmanship, 78, 92
Credenzas, 54
Cretonnes, 155, 158, 215
Crewel embroidery, 159, 190, 247
Crotch figure, 82, 91
Cupboards, 247
Customer:
Attention to, 20, 22, 84, 108, 199, 209
Buying habits, 35, 84, 209, 222
Influencing the, 6, 40, 108, 123, 198
Meeting the, 24, 199, 241
Psychology of, 23, 42, 85, 198, 200, 209, 241
Types of exceptional, 32, 78
Daily check-up, 10, 36, 241
Damasks, 54, 60, 118, 154, 157
David style, 60
Dining room:
Combined with living room, 193, 195
Decoration of, 190, 237
Dinettes, 194, 195, 237
Floor coverings, 191, 267
Junior dining rooms, 193, 194, 196
Lighting, 190, 192, 227
Relation to connecting rooms, 193
Window treatments, 192