Putting the “art” in a craft business

When most people think about sewing (whether it is custom stage drapes or handmade quilts or apparel), they generally think of it as a craft rather than an art.  And I think that is generally a valid way to categorize sewn goods.  But you would be surprised at how much “art” actually comes to play in the creation of what is known in the entertainment industry as “soft goods.”

When a major music tour is being planned, much more is involved than simply the music itself (the set list, the rehearsals, etc.).  Concerts today are  more than musicians on a stage, singing and playing.  Sound, lighting, special effects, pyrotechnics, and set design all work together to give the audience an experience for the ears and the eyes.  And soft goods are often a major part of that.

The role of the Production Designer is to design a set (which may include both soft goods and hardscape) that provides a stunning visual backdrop to the music.  Once the design is created (the “art”), the Production Designer brings in all of the crafts (sewing, stage builders, etc.) and charges them to make his artistic vision a reality.

That is where we come in.  The Production Designer presents us with his vision (it may be in the form of an artistic drawing, a technical drawing, or even a verbal sketch), and it is up to us to figure out how to best achieve that vision through stage curtains, painted or digital backdrops, and even mixed media pieces.  The Production Designer relies on us to recommend fabrics and construction methods that will carry his design from paper (or just his head) to the stage.

At times, it is relatively straightforward – perhaps an Austrian Drape or a series of Swags.  Other times, however, it takes skill and ingenuity (and, dare I say, art?) to figure out the best way to manipulate fabrics (and other materials) to achieve the look. 

One example that springs to mind is the project we did for Mariah Carey last fall.  The designer knew the look he was after, but it was up to us to find a way to achieve that look.  Gwen Winter, the Senior Sales Rep on the project, knew that traditional stage fabric, such as velour, was out of the question.  The solution?  Clear vinyl, hundreds of silk flowers, and sheer net, along with the experience and skill of our manufacturing staff, turned the designer’s vision into reality.

Another example is the Maxwell 2009 project, in which Sew What? and Rent What? joined forces to help the production designer achieve his vision through the use of fabric (Black Mirror Sequins and ”tattered” White Voile) and other media (mirror shards), with Rent What? bringing more drapery to the table (including Silver Satin Austrian Drapes and Swags and an LED Star Drop).

These are just two examples (out of many), but I think they are great illustrations of how closely connected “craft” is with “art.”  We may be a craft, but part of that craft is taking the “art” and making it a reality.  And I am so proud of the way our team accomplishes that reality.

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Digital Backdrop Tips

So, you’re the manager of an up and coming indie band about to start their first club tour.  Or you have a trade show booth and you want your booth to stand out from the crowd.  Or you are with a church or school about to debut a new production.  You think you want a digitally printed backdrop, but you’re feeling a little intimidated because you don’t know much about the process of purchasing a custom digital backdrop.   Well, I hope this post starts you on the path and relieves that intimidation just a bit!

Substrate

The first thing to consider is how the backdrop will be used, as different fabric substrates work better for different applications.  Will it be frontlit or backlit?  Will you be using it indoors or outdoors?  Do you want it opaque or sheer? Do you plan to use it as a kabuki?  Are you planning to project on it?  Are you looking for a traditional fabric substrate, or something along the lines of a vinyl or vinyl mesh?  Think about these issues, and then discuss your needs with us so that we can recommend the substrate that is most appropriate for your project.

Print Method

There are two basic methods of digital printing – direct print and dye sublimation.  Some factors to consider when choosing between the two methods are: fabric feel (stiffer or softer), maximum seamless width, image resolution, color saturation, and budget.    I’ve posted about the difference between the two in a prior post, so I won’t repeat myself here, but this is definitely a item to consider.

Pricing

Because traditional stage backdrops and custom stage curtains are priced on an individual basis, according to a variety of factors including size, face fabric, lining fabric (if any), fullness, design complexity, and much more, it is difficult (if not impossible) to give a “ballpark” on the price of a stage curtain.  There is not an “average”, because there is no such thing as an “average” theatre drape – there are just too many variables.  

However, digitally printed backdrops tend to have much fewer variables.  Nearly all of them are sewn flat (unpleated), and the number of available substrates is relatively limited.  For that reason, digitally printed backdrops are typically priced by the square foot, based on the substrate and print method.  This allows you to have a rough idea of the price as you make decisions on size and substrate.  

One substrate and/or print method might have a higher price per square foot, whereas another substrate and/or print method might have a lower price per square foot.   If budget is an issue (which I think it is for everyone these days – even though the budget may be higher for some than for others), then you should keep in mind the

Artwork

Other than a small number of “special offer” stock digital backdrops, the custom digital backdrops that we produce are based on print-ready artwork provided by the customer (though we do offer limited graphic services to assist in preparing or repairing your file).  You may purchase the image from a stock image source (there are a number on the Internet), you may create it yourself, or you may utilize the services of a commercial graphic designer.  Keep in mind that, due to copyright laws, you must be the copyright owner (or have permission from the copyright owner) to print an image.

Typically, you will be asked to provide the artwork to Sew What? in a digital file.  At Sew What, we work with Windows PC-based files only (rather than Mac files), and we prefer that files be saved as an EPS or a PSD file, as we work primarily in Adobe Illustrator and Adobe Photoshop.  All files should be in layers, in CMYK color mode.  We can also work with Vector art that is delivered as an EPS or .AI file.  Files may be delivered in a variety of methods, including floppy disk, Zip disk, CD/DVD, e-mail, or FTP, depending on the size of the file.  More detailed information may be found in our File Preparation Guidelines.

Well, I hope this post gives you the information that you need to start planning your digital backdrop.  Feel free to call us with any questions  - we’d be happy to help.

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Stage Backdrops

I realized today that I have posted a number of times about digitally printed backdrops, but I haven’t spent much time on the other types of backdrops that we make – specifically theatrical backdrops, painters backdrops and painted scenic stage backdrops.

Theatre Backdrops

Theatre backdrops are typically made flat (unpleated) utilizing flame retardant natural muslin.  Depending on budget and the size of the backdrop, the stage backdrop may be made seamless or with horizontal or vertical seams.  Typically, a stage backdrop will have webbing, grommets and ties on top, with a pipe pocket on the bottom (which allows a pipe to be inserted to pull the backdrop flat and taut).

Painters Backdrop

A painters backdrop is basically the same as a theatre backdrop, but is provided as “ready to paint.”  Most often chosen by schools and colleges, these are usually scenically painted in-house by members of the theatre or art department.   Because the addition of paint will render a flame retardant muslin backdrop as non-flame retardant, painters backdrops are typically made with non-flame retardant muslin.  In order to ensure that the finished painted backdrop is flame retardant, special flame retardant chemicals are added to the paint, and the back of the painted backdrop is also sprayed with flame retardant chemicals.

Occasionally, flame retardant muslin is chosen for a painters backdrop (even with the knowledge that it will no longer be flame retardant once painted) to reduce the possibility that the backdrop will shrink once painted.  The addition of flame retardant chemicals to the surface of the raw fabric helps “size” the fabric, thereby reducing shrinkage once painted.  However, the painted backdrop will still need to be treated for flame retardancy in the manner described above.

Scenic Stage Backdrops

A Scenic Stage Backdrop starts out as a regular stage backdrop or painters backdrop, but is handpainted by an artist at the time of manufacture, according to artwork supplied by the customer.  Scenic artists use a variety of techniques and paints to achieve just the right look as desired by the customer, will apply all the necessary flame retardant chemicals and will provide a Certificate of Flame Retardancy for the completed piece.  With this option, the customer receives a “turnkey” piece without needing to find an artist or worry about applying flame retardant chemicals.

As you can see, there are a variety of types of theatrical backdrops available to choose from – plain and ready to paint and painted (and, of course, digitally printed, as I’ve posted on before) – and something for just about everyone’s budget.

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Speaking of Portfolios…

Recently I posted about our new Digital Printing Portfolio, and in writing that post, I took a few minutes to review our other portfolios.  It seems that I don’t get the opportunity to review our portfolio pages as often as I like, so there is always something new to see.

The page that really impressed me this time was the Video Portfolio.  Since I last looked, a number of really cool videos have been added.  One that stood out was the video of the Alice in Chains Poly Silk Kabuki.  Not only does the video show how terrific poly silk is as a projection surface, but at the end of the video, it shows the kabuki dropping.

In prior posts, I have explained how a kabuki works, but it can be difficult to understand in a written explanation.  I think this Alice in Chains video is a great visual demonstration of the operation of a kabuki.

There are a number of other videos in the portfolio as well, highlighting a variety of custom stage drapes (including an Austrian curtain), stage backdrops, and much more.  Check it out!

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Focus On: Side Finishes

Periodically, I have been posting on the mechanics of stage drapes – fullness, top finishes and, most recently, bottom finishes, where I promised to post on side finishes next.

Initially, one might wonder, “What is there to talk about in regards to side finishes?  It’s just a hem, isn’t it?”  Well, yes, in most cases, the side finish is a hem.  But not always.  And even when it is a hem, there are different styles and sizes of hems, depending on the drapery style, the fabric used, and how the drape will be used.

Selvage

In some cases, the fabric itself has a clean edge (selvage).  As a result, for some drapes utilizing those fabrics, no side hem at all is required.  This is often the case for simple one-width drapery panels (such as Exhibit Booth drapes or special event drapes).  Encore Velour is one fabric that, when sewn into single-width exhibit drapery, is generally made with a selvage side finish.  Voile drapes are also made with a selvage side finish, especially when sewn as single-width panels for special event usage.  However, selvage sides are virtually never used for traditional stage drapes and are rarely used for multi-width panels (i.e. drapes that are unioned together to create a drape that is wider than the width of the original fabric).

Standard Double-Turned Hem

The standard side hem for most custom stage curtains and backdrops is a 2-2.  This means that 2″ of fabric is folded in on the side, and then another 2″ is folded over and then the hem is sewn.  This creates a clean finished edge to the hem with no chance of fraying.  In some cases, the hem may be slightly different, such as 3-3 or 1-1, but the standard is 2-2.

Half-Width Turnback

Another option for a side finish is a half-width turnback.  This involves folding the side edge back 1″, folding it again so that approximately half the width of the fabric is used for the side hem, and then sewing the turnback in place.  For example, if the fabric is 54″ wide, then 27″ of the fabric would be used for the side hem.  This side finish is typically used for the onstage edge of bi-parting traveller curtains (where the curtains meet in the middle).  If the onstage edge of the curtain should flip open slightly while the curtains are being opened or closed (thereby exposing the back of the curtain), the audience will see the “good” side of the fabric rather than the back of the fabric.  This side finish is also more durable due to the double thickness of fabric - the center point where bi-parting curtains meet is often subjected to more wear and tear, especially if the curtain is a walk-along (hand-operated rather than rope operated). 

Often a traveller curtain will have different side finishes on the two sides - the onstage edge will have a half-width turnback and the offstage edge will have a standard 2-2 hem.  However, in some cases, a half-width edge is designated for both sides of  bi-parting traveller curtains.  The benefit to this option is that, if the onstage edges of the two traveller curtains becomes frayed, the curtains can be reversed – the stage right curtain becomes the stage left curtain, and vice versa.  Suddenly, the frayed edges are on the offstage edges (and are therefore less noticeable), with the more pristine edges now on the onstage edges (more visible to the audience in the center of the stage). 

Twelve Inch Turnback

A 12″ turnback serves the same purpose as the half-width turnback – but is sometimes selected due to budgetary concerns, as this option saves a little money as less fabric is needed (just about 1/4 of a width of fabric vs 1/2 a width).

Baby Hem

A very small hem (usually 1/2″ – 1/2″) is generally used for very delicate fabrics, especially sheers, when it is important that the hem be clean and finished but not noticeable.  This side finish is often used for special event drapery that may be seen close-up (as opposed to traditional stage drapery that is generally seen from a distance).

Marrow

Marrowing is a technique in which the actual edge of the fabric is sewn to provide a finished edge and prevent fraying, without actually folding back the fabric.  This finish is often used for table linens.

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Focus On: Bottom Finishes

Recently, I blogged on fullness and top finishes - today I thought I’d give a little insight into bottom finishes.

The most common bottom finish for stage curtains is a lined hem with raised chain.  A 6″ bottom hem is sewn to the bottom of the curtain.  This hem is lined with a 4″ pocket (generally of muslin).  Jack chain is then threaded into the interior pocket.  Because the interior pocket is 2″ shorter than the hem, the chain floats above the bottom edge of the curtain hem.  This prevents the chain from dragging on the floor when the curtain is opened or closed and also helps make a “seal” between the bottom edge of the drape and the (often uneven) stage floor.

A standard hem (2″, 4″ or 6″) is used primarily for drapes that will not travel, especially smaller drapes in doorways and drapes used for exhibit booths.  This hem is similar to the previously mentioned hem, but does not include the interior pocket or the chain.

Theatrical backdrops and cycloramas are generally made with either a lined pipe hem or a pipe pocket with skirt front as the bottom finish.  Both allow for a metal pipe to be inserted in the bottom of the backdrop, which allows the piece to hang “flatter.”  The pipe hem appears very similar to a standard hem, but is open on both sides to allow the pipe to be inserted. 

In the case of the skirted pipe pocket, the skirt hangs 1″ to 2″ below the pipe pocket.  Like the Lined Hem with Chain, this bottom finish helps seal the drop to an uneven stage floor.

Next up – Side Finishes…

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Focus On: Top Finishes

When new clients contact us for a quote on custom stage curtains, often they are unfamiliar with (and perhaps even a little overwhelmed by) the many decisions that need to be made to ensure that the stage curtains meet their specific needs.  Fabric, fullness, and top / bottom / side finishes are all factors to be considered.  I’ve posted previously on fabric and fullness, so today I thought I’d go over top finish options (I’ll cover side and bottom finishes in future posts).

There are a number of different top finishes, depending on how the curtain will be hung (and used).  For a drape that will be hung from a pipe or batten and is not intended to travel (i.e. will be stationery rather than moveable), the industry standard top finish is webbing, grommets and ties.  Heavy duty polypro webbing is sewn on the top back side of the drape.  The grommets (strong eyelets with washer backings) are then set mechanically through the face of the drape and the webbing, at the center of each pleat.  Grommets are generally set every 12″, but that may vary depending on the fullness of the drape.  A continuous 36″ length of heavy duty tieline is then doubled over and threaded through the grommet, leaving ample room to tie onto the pipe or batten.

When a stage curtain will be hung on a traveller track, to allow the curtain to open and close, one of the most common top finishes is webbing, grommets and S-hooks.  The webbing and grommets are set in the same manner as previously mentioned.  However, rather than utilitize ties, metal S-hooks are instead inserted through the grommets.  To hang the curtain, the top of each S-hook is threaded through the track carriers.  

Both of these top finishes are generally used when the top of the curtain will not be visible to the audience, generally because it will be hidden by the proscenium or by a valance or border.  In some cases, however, the top of the curtain will be visible to the audience, and therefore a hidden top finish is preferred.  With Hidden Flush Sewn Snaps, a self-closing snap is attached to the back of the webbing first.  The webbing is then sewn onto the top of the drape, leaving a clean appearance on the front of the drape.  The snaps are then attached to the track carriers to hang the drape.

Another hidden top finish, one which is quite durable, is hidden grommets and ties.  In this instance, a double set of grommets is inserted into the webbing.  The webbing is then sewn onto the top of the drape, and tie lines are threaded through the grommets.  Again, the front appearance of the top of the drape is unmarred.

Hidden sewn ties are a great way to not only give a finished appearance to the front of a drape, but also to hide the pipe or batten to which the drape is tied.  Strong cotton twill ties are sewn to the back of the webbing, which is then sewn to the drape.

There are a few more top finishes, primarily used for temporary installations.  For a border or teaser that will be stapled directly to a roof beam, a top finish of webbing only is used.  For drapes that will be threaded onto a pipe (most commonly used in exhibit booths), a pipe pocket open hem is typical.  This allows the user to create fullness from a flat drape, by making the drape wider than the pipe and then pushing the full width of the drape onto the pipe, thereby creating natural fullness.

I hope this post clarified top finish options a little bit.  If you’d like to see more photos and get more information, please visit the Top Finishes page on our website.

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Upstage..Downstage…Where am I?

You hear terms like “upstage” and “stage right,” but if you are a novice to the theatre, you may not understand exactly where those locations are on the stage.  Well, here is a brief primer on stage location terms.

Areas of the stage are based on if you are facing the audience.  So, if you are an actor, standing in the center of the stage facing the audience, stage right would be on your right  (the audience’s left).  Downstage would be in front of you, Upstage would be behind you.  Still confused?  Take a look at this diagram.

So, Stage Right and Stage Left make sense.  But why Upstage and Downstage?  The terminology comes from the days in which the audience seats were on a flat floor and the stage was tilted (razed) toward the audience, so that everyone on the audience floor could see the performance.  So, the area of the stage closest to the audience was the lowest part of the stage (hence, “downstage”), and the stage floor gradually angled upward toward the back wall of the stage, to the highest part of the stage (“upstage”).  Today, of course, the audience floor is angled and the stage floor is flat, but the terms “downstage” and “upstage” remain.

Hope this clarifies things a little for you! 

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Wondering about fullness?

When a customer calls us to request a quote on a custom stage curtain, there is certain information that we need in order to provide that quote – size, fabric, finishes and fullness.  Today, I thought I’d give you a little information about fullness.

The term “fullness” is used in relation to the amount of pleating in a curtain, and is typically described with a percentage.  A flat (unpleated) curtain is said to have zero fullness.  A pleated curtain would typically have anywhere from 50% fullness up to 200% fullness.

The fullness percentage refers to the amount of additional width of the drape in its flat condition, prior to pleating the curtain down to its finished width.  A curtain with 50% fullness will initially be sewn flat at 50% wider than the desired finished width, a curtain with 100% fullness will start out as an unpleated curtain that is 100% wider, and so on.  The extra fabric on the width is used to make the pleats.

Let’s say that you want a box-pleated drape, 20 feet wide, with 50% fullness.  Our sewing staff would start by sewing together widths of fabric until they have a flat drape that is 30 feet wide.  They would then pin the fabric to create the pleats. The top finish is then sewn and, with it, the pleats are also sewn in, and the finished width of the drape ends up at the desired 20 feet.

The percentage of fullness determines the size of the pleats.  With 50% fullness, the pleat is usually about 3″ wide.  With 100% fullness, the pleat is usually about 6″ wide.  In both cases, there is typically 12″ from the center of each pleat to the center of the next pleat.

The amount of fullness that is recommended depends on several factors, including budget, fabric type, and desired appearance.  Budget is a consideration because the lower the pleating percentage, the less fabric that is used on the drape, and therefore the lower the cost of the drape.  Fabric type and appearance also affect the choice in fullness.  Traditional theatre curtains made from velour are typically made with anywhere from 50% to 100% fullness, whereas specialty drapes made from voile (or similar lightweight fabrics) are usually made with between 100% and 200% fullness.

Want to find out more about fullness?  Check out the Pleating and Fullness page of our website, where we have photos and drawings for you to review.

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Focus On: Voile

Have you ever wondered what “voile” is?  I am sure you have seen this fabric many time, but you may not have known that you were looking at voile.

Voile is a fine plain weave (no nap) lightweight sheer fabric, similar to organza.  It is used for both apparel (typically women’s blouses and dresses) and drapery.  The name “voile” is a French word meaning “veil,” and so the name describes the appearance of the fabric – sheer and filmy like a bridal veil.  Voile may be made from a variety of fibers, including silk, cotton, rayon and polyester.

Drapery voile is typically made from polyester fibers, including Trevira ®, Avora ® and other polyesters.  It is a wide fabric, typically measuring 118″ wide.  Often, residential window sheers and canopy bed draping are made from voile, but voile is also used in professional applications. 

One professional application of voile is as custom stage curtains in music tours, selected by production designers for its beautiful romantic feel (especially when pleated) and the way it lights so beautifully.  As a matter of fact, we made voile drapes for the Rod Stewart Tour, and they were gorgeous – with the colored lighting, it is hard to believe that these drapes are actually white.  Surprisingly enough, it can also be used as a projection surfac, such as in the Beyonce tour, or even as a Twinkle-Light Drape.

Due to its terrific draping qualities, voile is frequently used by event planners to line and drapes tents and otherwise decorate venues, especially for weddings.  We have also seen it used for exhibit booths – a few years ago, we provided voile drapery to Heaven Hill Distilleries, for use in their exhibit booths in a major trade show event. 

Voile comes in a wide variety of colors, though we find that shades of white are the most requested, as the fabric lights so well.  Voile can also be digitally printed, and is particularly effective with an ethereal image such as shown in the Luna Guitars booth.

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