One of the easiest ways to add softness and romance to a bedroom is to cover a headboard with fabric.
The bed is usually the focal point in a bedroom, so adding extra softness by padding it with fabric brings about a luxurious feel and atmosphere.
This project is quick, easy, and cheap…you just can’t go wrong! The only hard part is deciding on just one fabric, when so many gorgeous fabrics are available!

SUPPLIES NEEDED:
A headboard
Fabric to cover the headboard
About 3 yards of sheer fabric or netting
Artificial flowers
Tape measure
Glue gun

TIME NEEDED:
About 30 minutes.

THE STEPS:
1. Drape the fabric over the headboard (photo #1). Sturdy upholstery fabric was used in this project, but any kind of fabric will work just fine.

2. Starting at one end of the headboard, pull the fabric so that it is taut across the front of the headboard, and attach the fabric to the back of the headboard (photo #2).
There are several ways to attach the fabric to the back of the headboard, and the method you choose will largely depend on whether the headboard will be set right up against a wall, or not. If the headboard will be flush against a wall, and you don’t care if you ruin the back of the headboard with glue, gluing with a glue gun is the easiest way to adhere the fabric to the back of the headboard. You can release lines of glue directly on the headboard and glue the fabric so that it adheres smoothly to the surface.
If the back of the headboard is going to be exposed, or if you don’t want to glue the headboard, consider using small nails or – even easier – thumb tacks or push pins.

Another option for attaching the fabric to the headboard is to glue ribbons or small pieces of fabric to the edges that hang at the bottom when you drape the fabric over the headboard. Use these ribbons or fabric pieces as “ties” to tie the fabric together to close it snugly around the headboard.

4. After you have covered the headboard with fabric, tie one end of about 3 yards of sheer fabric to one post (photo #4).
Drape the sheer fabric in a way that looks pleasing to you. You may want to wrap the sheer fabric diagonally all across the headboard (photo #4a). Or, perhaps, drape the fabric in swags to meet a bouquet of flowers at the top center of the headboard (photo #4b). Don’t forget to add flowers to the where the fabric is tied to the posts
(photo #4c)!

And that’s it! Now all you have to do is just lay back and have some sweet, sweet dreams…

note
Many headboards have special cut designs that present unique challenges. For example, a large piece of wood is cut out between the small support beams of this headboard, right where the head
board joins the posts.
To highlight a cut design like this one, cut slits in the fabric on the inside of the “cut out “ area
(photo #2a), and then press the excess fabric to the back of the headboard and glue it in place
(photo #2b). 2. 2a. 2b.

Article from
How to Create Rooms of Radiance (e-book)
credit: How to Create Rooms of Radiance

Materials

    * Fabric
    * batting
    * Craft weight fusible interfacing such as Pellon Craft Fuse
    * Double fold bias tape
    * All purpose zipper (will need to be shortened)
    * 2" of hook & loop tape (1 1/2" to 2" wide- narrower tape can be joined to make the width you want)
    * Print out of pattern

Cutting Instructions

    * Cut two of the entire pattern piece A. Interface one piece of the cut fabric. Quilt the other cut piece with batting.
    * Cut and interface pattern piece B on the fold (eliminating the top part which is part of pattern piece A)
    * Cut and interface four of pattern piece C on a fold.
    * Cut four of pattern piece D
    * Cut and interface 2 of pattern piece E

Full Instructions from

Debbie's Sewing Blog

The Basics
Home decorator sewing requires the same basic equipment as dressmaker sewing, with the addition of tools for measuring windows and furniture. Using the proper equipment makes the work easier and the results more satisfying.
1) Needle threader eases threading of hand and machine needles.
2) Pins with plastic or glass heads are easier to see and handle.
3) Thimble protects your middle finger when you sew by hand.
4) Needles for general hand sewing are Shil1PS. Buy a package of assorted sizes for various sewing tasks.
5) T-pins are long, sturdy, broad-headed pins which are used to anchor fabrics to solid surfaces.
6) Quilting pins are extra long and useful for working with heavy or thick materials.
7) All-purpose thread is used for hand and machine sewing on most fabrics. Choose all-cotton, cotton Wrapped polyester or all-polyester thread, depending on the fiber content of the fabric.

Measuring Tools
The most important consideration in home decorator sewing is accurate measuring. The following measuring aids help you make correct calculations for buying and cutting fabric.
1) Carpenter’s square is an L-shaped ruler, used to determine the perfect right angles and square corners that are essential to the fit of curtains, shades, tablecloths and pillows.
2) Wood folding ruler is used for measuring large areas. Because of its stability, this ruler is more accurate than a tape measure.
3) Yardstick is used for measuring long, flat lengths of fabric, and for marking and squaring grain lines. The surface of the yardstick should be smooth so it does not snag fabric.
4) Spring-return metal tape measures windows and other large areas. It is also handy for measuring around curves.
5) Seam gauge makes quick, short measurements such as those for hems. The 6″ (15 em) metal or plastic ruler has a sliding marker for accuracy in measuring.

Marking & Cutting Tools
After making careful calculations and taking accurate measurements mark and cut the fabric in preparation for sewing. Have on hand an assortment of marking tools for various fabric colors and textures. Good quality cutting tools are also a smart investment.
1) Cutting board is marked with horizol1t.al and vertical lines, and is useful for laying out and cutting lengths of fabric up to 2 yards (1.85 meters). It is made of heavy cardboard so fabric can he pinned in place. Two boards may be necessary for large items such as floor-length curtains.
2) ‘Tailor’s chalk is specially designed to mark directly on fabric and rub off easily.
3) Trimmers have straight handles and are used for trimming and straightening edges. A lightweight, slim blade aids accuracy,
4) Seam ripper is used to remove stitches. Use it with care to avoid ripping fabric.
5) Bent handled shears allow fabric to remain flat during cutting. Shears should be lightweight, easy to handle and 8″ or 9″ (20.5 or 23 cm) long.
6) Liquid marking pencils make sharp, defined lines on firm fabrics. One type of pencil makes a mark that can be removed with dear water; the other makes a mark that disappears in 18 hours. Test marking pencils on a fabric scrap before using. Ironing permanently sets the markings; if markings are on the right side of the fabric; do not press until they are removed.

Notions
Notions serve three purposes in home decorator sewing. Some, such as the rings used on Roman shades, are essential to the construction of an item; others, such as fusible web and fabric glue, make sewing easier. Notions such as braids, trims, pipings and ribbons are simply decorative.
1) Decorative trims such as bias tape (la), piping (lb) and ribbon (1c) are available in a wide range of colors and styles to complement the items you sew. Select trims with the same care requirements as the decorator fabric.
2) Cords, tapes and rings (2a) have specific uses on certain projects. These notions are described in the directions for projects which require them.
3) Fusible web is used for hemming or for bonding two layers of fabric together; It is available in narrow strips for hems, or in 18″ (46 cm) widths for fusing larger areas.
4) Fabric adhesives such as glue stick (4a) and craft or white glue’(4b) may be used for temporary basting, or for permanently applying batting or trims to items which will not receive much handling.
5) Liquid fray preventer dries invisibly and prevents the raw edge of fabric from fraying. Use it as a temporary agent to prevent raveling while working with fabric, or as permanent finish oil exposed seams and edges.
6) Stain-resistant spray can be used on many home decorating items to prevent spills from soaking into fabric. To apply, follow instructions on the container.

Posted specially for viewers of pattern-making who write and asked for this information, hope this help, good luck

{Credit}
Singer Sewing for the Home
Copyright 1984-1988

CANVAS: PENELOPE is the classic canvas which is used in Traditional Needlepoint. It is a double woven fabric with pairs of horizontal and vertical threads which form the mesh. When doing regular needlepoint, the stitches are worked diagonally over two horizontal and two vertical threads. For Petit Point, the double vertical thread is separated and all the meshes are worked. In Traditional Needlepoint the canvas measures 10 meshes to the inch or 20 Petit Point meshes. It is usually Antique Tan in color, but is also available in White and Off-White.
MONOPOINT is a single weave canvas in which every mesh is of equal size. It is not as firm as Penelope and generally is not recommended for furniture pieces or any item that will receive hard wear. Monopoint canvas is usually White and, therefore, is suitable for hand painting. It is made in sizes ranging from 10 to 16 meshes to the inch (and even finer for Petit-Point) but 12 to the inch is the popular choice.
INTERLOCKING canvas (Iino weave) is a monopoint construction made of vertical and horizontal double strands which are woven together at the intersections. The strands are permanently set and cannot be separated as in Penelope. This construction gives more stability than a simple monopoint weave, though it sacrifices something in strength

YARNS AND THREADS: TAPESTRY WOOL is the Traditional yarn for needlepoint. It is made of long fibered, tightly twisted wool, which because of its quality and construction resists fraying and wear while it is being worked. A single strand of tapestry yarn can be used on 10 mesh penelope or 12 mesh monopoint canvas, or it may be split in half for working Petit Point. Tapestry Yarn,  It is permanently mothproofed.
PERSIAN YARN is actually a Crewel Embroidery yarn but it is also used for needlepoint. It is constructed of 3 loosely twisted strands of 2-ply yarn and it is interchangeable with tapestry wool. It is very easily separated into 1 or 2 strands for use on finer mesh canvas. Needlepoint and Crewel Wool, are packaged in 10 or 40 yard skeins and are also available by the strand.
COTTON THREAD is used in working needlepoint for various special effects.  Six Strand Cotton in multiple strands can be worked on regular mesh for highlight areas or on Petit Point canvas as a background for evening bags and purse accessories. It has more gloss than wool, which makes it suitable for dressier items.
METALLIC & RAYON THREADS may be used for highlighting small areas or for complete pieces such as Belts, Jewelry, etc. Spotlight  in Silver or Gold and Rayon are recommended.
ACCESSORY ITEMS: NEEDLES. The blunt tapestry needle is recommended for all needlepoint. For standard Gross Point (10 and 12 mesh canvas) use size 18 or 19 needle; for Petit Point, size 21 or 22.
NEEDLEPOINT FRAMES. Large panels of tapestry can be worked more conveniently on a needlepoint frame. Even for smaller pieces, the use of the frame keeps the canvas in shape so that it requires a minimum of blocking when it is completed. Most frames are of a rotating type and they come in many sizes to be used in the hand or on tables.
TYPES OF NEEDLEPOINT TRADITIONAL NEEDLEPOINT is usually done on 10 mesh to the inch Penelope canvas. The design is pre-worked and only the background needs to be filled in with the color and stitch of your choice to complete the piece.
TINTED NEEDLEPOINT is like painting on canvas. It is screen printed rather than hand painted, though some are retouched by hand. The canvas may be white Monopoint or Antique Penelope. Sometimes these are packaged in kits with yarns and other materials needed to complete the item such as pillow backings.
AMOUNTS OF YARN REQUIRED
The amounts of yarn required may vary considerably depending on how many color changes there are within an area, the mesh count of the canvas and which stitch is being used. The following is given as a rule of thumb:
HALF CROSS STITCH requires approximately 4/5 of a yard of tapestry or persian type yarn for 1 square inch of 10 mesh canvas.
CONTINENTAL STITCH requires approximately 1-1/4 yards for 1 square inch of 10 mesh canvas.
DIAGONAL TENT STITCH (basket weave) requires approximately the same yardage as the Continental Stitch.
For other kinds of stitches or different meshes of canvas, it would be necessary to work a 1 inch square to see how much yarn is required.
TO BEGIN WORKING
Tape the edges of the canvas with masking tape. This prevents raveling and protects the yarn from catching in the raw edges’. Measure and mark the area to be worked. If it is to be a picture, select the frame and work only the part that will show. For a furniture piece, measure the Chair Seat or Foot Stool across the widest part, then plan to work one additional inch on all sides.
Allow 2 inches of unworked canvas all around to facilitate blocking and finishing.
Work with a strand of yarn not over 18″ in length. If a strand is too long, it becomes frayed and does not cover the canvas. To end a strand, run the needle under a previously worked row for about an inch and clip closely. If the yarn becomes too frayed to cover properly, fasten off and begin a new strand.
For best results, work your piece in a needlepoint frame. If you prefer to work it in the hand, use the “Frame” or “Punch” method. This is done by bringing the needle straight up from the back to the front, then straight down from the front to the back in two stitches instead of sewing through in one stitch. This method prevents the yarn from wearing, makes stitches that are even, and keeps the canvas from pulling out of shape. Pull stitches taut but not tight. If the yarn becomes twisted while working, drop the needle and let it unwind. Although there are no set rules, it is usually recommended to work the design first then the background.
Work the stitches in numerical or alphabetical order as given in each illustration. Bring yarn up at the odd numbers and down at the even numbers. If both numbers and letters are used, work numbers first, then letters. Where numbers or letters are upside down or sideways, turn canvas and diagram to correspond and continue work. Some stitches are photographed in several colors. These are shown to illustrate different effects which can be obtained by alternating colors. The same stitches may be worked in one color only for textural effects. When there is not room to work a complete stitch, work as much of the stitch as is necessary to cover the canvas.

BLOCKING
Blocking is necessary for most completed pieces because the diagonal direction of the needlepoint stitch pulls the canvas out of shape. Even when the use of a frame serves to keep the canvas in shape, blocking refreshes the yarn and brightens the colors.
BLOCKING: Do not wet embroidered piece; it needs only to be somewhat dampened so that it can be stretched into shape. Wet a terry towel that is larger than embroidered piece and wring so that it is just damp (not dripping wet). Center piece flat on damp towel and roll up, being sure that towel keeps embroidered piece from touching itself and leave overnight. Remove slightly damp embroidery and stretch into shape by tacking or pinning to a board (wrong side of embroidery up) using rustproof pins or nails. Cover with a slightly damp cloth and let dry COMPLETELY before removing.

Ruffled curtains add a charming, warm touch to any room of the house, and the weight of ruffles helps curtains hang better. The ruffle on a curtain usually extends along one side and across the bottom. In the directions that follow the curtain is hemmed after the ruffle is attached, and the ruffle extends into the casing and heading. A coordinated shirred valance may be added for a decorative touch. Ruffle fullness depends on fabric weight and ruffle width. Sheer fabrics usually need triple fullness; crisper fabrics need only two or two and one-half times fullness. Wide ruffles should be fuller than narrow ruffles. You will usually need to purchase less additional fabric when ruffles are cut on the crosswise grain. If ruffles are cut on the selvage, use the selvage edge in the seam. Hem the edge of the ruffle before gathering.
Single ruffles are one layer of gathered fabric with a hemmed edge. Narrow ruffles should have a hem no wider than 1/4″ (6 mm). Double ruffles require a double width of fabric which is folded in half, wrong sides together.
The folded edge eliminates the need for a hem. Because of the extra bulk created by two layers, it is best to make double ruffles from lightweight fabrics. The zigzag stitch, the ruffler and the narrow hemmer can speed up the task of making ruffles. Begin by cutting the fabric the appropriate width for a single or double ruffle. Then seam sections together at the short ends to make a continuous length, using plain seams for double ruffles and French seams for single ruffles. Hem one long edge of single ruffles, either by machine-stitching a double-fold 1/4″ (6 mm) hem, or by using a narrow hemmer.

Zigzag over a strong, thin cord on wrong side of  fabric to make long ruffles easier to adjust into even gathers. Use cord, crochet cotton or dental floss, placed 3/s” (1 cm) from raw edge. Use wide zigzag stitch so cord does not get caught in the stitching Use a ruffler attachment to tuck or gather as you sew. Make a test strip and adjust ruffler to desired fullness. Measure the test strip before and after stitching to determine length of fabric needed. Omit steps 1 through 3 (opposite) when using ruffler.

1) Divide curtain edge into equal segments; mark with pins. Divide ruffle strip into same number of segments. Allow extra fullness in segments to be placed at corner, so uffle will lie flat in finished curtain.
2) Pin the ruffle strip to the unhemmed edge of the curtain, right sides together; match marking pins on the ruffle strip to marking pins on the curtain edge.
3) Pull up gathering cord until ruffle is same size as edge of curtain. At lower edge, release gathers the depth of hem. At upper edge, release gathers the depth of casing and heading
4) Pin in place as necessary to distribute gathers evenly. Stitch a ‘/2″ (1.3 cm) seam, gathered side up, controlling gathers with fingers on each side of the needle.
5) Trim seam allowances and over edge using zigzag stitch, or encase seam with double-fold bias tape (b), or encase seam with lightweight bias tricot strips
6) Press seam toward curtain. Topstitch on curtain side 1/4″ (6 mm) from seam so ruffle will lie smooth and even. Stitch hem and casing. Ruffle is gathered on right side, but flat on wrong side.

Tab Top Curtains
Fabric tabs are an attractive alternative to conventional casings or curtain rings. Tab top curtains used with
a decorative curtain rod create a traditional country look, a contemporary tailored look or a casual cafe look. They are also ideal for stationary side panels. Tabs give top interest to a curtain, and can be made with contrasting fabric, decorative ribbon or trim.
Only one and one-half to two times the fullness is needed for tab top curtains. Allow 1/2 (1.3 cm) seam allowance at the upper edge of the curtain instead of the usual casing allowance. When determining the finished length, allow for the upper edge of the curtain to be 1 1/2” to 2″ (3.8 to 5 cm) below the rod. This determines the length of the tabs. Determine number of tabs needed by placing a tab at each edge of the curtain, and space the remaining tabs 6″ to 8″ (15 to 20.5 cm) apart.

How to Sew Tab Top Curtains
1) Cut a 3″ (7.5 cm) facing strip equal in length to the width of the curtain panel. Press under 1/2″ (1.3 cm) on one long side and each short end. Press double-fold lower and side hems of curtain. Stitch lower hem only.
2) Measure tab length by pinning a strip of fabric over the rod and marking the desired length with a pin. Add 1/2” (1.3 cm) for seam allowance. Cut tabs to measured length, and two times the desired width plus 1″ (2.5 cm).
3) Fold each tab in half lengthwise, right sides together. Stitch 1/2” (1.3 cm) seam along cut edge; sew from one tab to the next, using continuous stitching (arrow). Tum tabs right side out. Center seam in back of each tab; press.

4) Fold each tab in half so raw edges are aligned. Pin or baste tabs in place on right side of curtain, aligning raw edges of tabs with upper edge of curtain. Place end tabs even with side hem fold line of curtain.
5) Pin facing to upper edge of curtain, right sides together, so raw edges are aligned and tabs are sandwiched between facing and curtain. Stitch 1/2′ (1.3 cm) seam, with curtain side hems extended.
6) Press facing to wrong side of curtain so tabs extend upward. Fold curtain side hems under facing, covering seam allowance; grade. Stitch side hems. Slips titch facing to curtain. Insert curtain rod through tabs.