Silver Scrim for Yusuf Islam

This past October, we were selected by Marc Brickman, Set and Lighting Designer for the “Guess I’ll Take My Time” tour of Yusuf Islam (formerly Cat Stevens) to make an interesting piece for the tour, which took place in the UK in late Fall 2009. 

Finding the right material was crucial, and so we sourced a  number of different scrims, nets, and similar fabrics in shades of grey, silver and black, and sent samples out to the tour for lighting tests. 

Ultimately, the material chosen was a metallic silver fabric similar to Sharkstooth Scrim.  From that material, we created a dramatic 35′ h x 57′ w piece, to be used by the tour as a projection surface.  This material was chosen for the combination of its reflective qualities and its tourability.

We were really pleased to be mentioned by Dietrich Juengling, the tour’s video content designer, in regards to this project, in a piece in Total Production International.  It is so rewarding to not only make a drape that we are ourselves proud of, but to also be recognized by the client in such a way!

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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.

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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Stretch pieces for The Shins

Awhile back, we did a project for production designer Stanley Elleflot, for The Shins, and Stanley was gracious enough to recently send us some photos.  It was one of those deceptively simple projects that turn out to be amazing in production.

Using 120″ wide FR White Stretch Fabric (similar to Cambio! fabric), we slit 12 strips of the material to a finished size of 30′ h x 18″ w.  The tops were finished with webbing, grommets & ties, as well as 1″ Velcro, while the bottoms had open pipe hems.  The sides were left unfinished.

Sounds simple, right?  Well, take a look at how dramatic these simple stretch strips look in concert:

Photo Courtesy Stanley Effelot

The strips were hung from truss at with pipes at the bottom for weight.  I think that the impact of the repeating element of the strips, along with the gorgeous lighting of yellows and oranges, is really gorgeous!  Here’s a close up shot:

Photo Courtesy Stanley Effelot and The Shins

I also love the way the lighting designer is able to constantly change the colors of the strips throughout the song in this video - check it out!   This really is a versatile option for set design, whether as the primary design for or as one element in a more complex set design.

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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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2010 Pollstar Awards

On Wednesday, February 17, the 21st Annual Pollstar Awards were held at the Nokia Theatre L.A. Live.  If you aren’t familiar with Pollstar, it is a leading trade publication for the concert industry, publishing both in print and online (I use their website almost daily - it is a great resource for information on music tours / concerts). 

Each year, Pollstar invites a group of industry professionals to provide nominations in a number of award categories, including venues, production, promotion, staging, lighting, and much more.  Once the nominations are finalized, Pollstar subscribers are invited to vote online, and the winners are announced at the ceremony.

This year, our sister company, Rent What?, was honored to be selected as the provider of rental draperies to the event.  Selected as the main drapes for the ceremony were the Moulin Rouge drapes that I have posted about before (part of Rent What’s “Timeless and Traditional” series).  These gorgeous crimson and gold pieces really are dramatic, aren’t they? 

Rent What? Inc. also provided all of the black masking drapes used for the event.  Although masking drapes are most known for onstage masking, they also are quite effective for masking sections of the seating area in larger spaces.  By masking off sections of seating, the space was transformed into an intimate setting that was especially fitting for this event.

I think the rental drapes provided a fittingly opulent and intimate setting for the presentation of these prestigious awards.  Congratulations to all the winners and nominees!

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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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Deadening Sound

While many of our customers revel in loud sound (rock music, anyone?), we also have customers interested in sound absorption.  Now, for heavy duty sound absorption, you really need a professional installation of acoustic products.  There are a variety of products, from acoustic panels to foam products to acoustic insulation.  Commercial recording studios, for example, use a variety of these products (and more), along with specialized building techniques to make sure that sound from outside does not enter the studio (and vice versa).  But there are other instances in which a customer simply wants to minimize the sound transfer a little, perhaps deaden sound a little in confined spaces, and one of the ways to do this is through custom stage curtains.

In some occasions, stage curtains make a lot of sense, both visually and for sound absorption.  For example, a customer may want that “theatrical curtain” appearance but also want to absorb sound.

What are the factors to consider when purchasing custom stage curtains when sound absorption is also needed?  The three main factors are: fabric weight, nap thickness, and curtain fullness (pleating).  The heavier the fabric, the thicker the nap, and the greater amount of fullness (i.e. the greater amount of fabric) that you put in an area, the greater amount of sound that will be absorbed.

For example, I wouldn’t recommend a flat (unpleated) drape in Poly Muslin if the customer is looking for sound absorption.  Poly Muslin has no nap and is relatively lightweight.  It is great for a cyclorama or backdrop, but not for sound absorption.  However, I would recommend a heavy weight velour (such as 25oz Memorable Velour) with 100% fullness.  The combination of the heavy weight and nap of this velour, along with the 100% fullness (with twice as much fabric along the width of the drape than on a flat unpleated drape) allows for greater sound absorbency.  A drape such as this can give you the luxurious look of a theatrical drape along with a pretty good level of sound deadening.

But what if you want to deaden the sound a little, but theatrical drapery doesn’t fit with the look of the space? Well, we recently came upon an interesting product that I thought I’d pass on.  I have never used it myself, but I thought it was fascinating.  It is called PaperForms Acoustic Weave Wallpaper.

Essentially, these are modular 3-D tiles made from recycled paper that you can apply to your walls with wallpaper paste for permanent installation (or with double-sided tape for temporary installations).  You can create a number of different patterns with the tiles (there is a patterns sheet available on the website), and you can even paint them.  Pretty cool - and nice to find a product like this that is do-it-yourself, affordable, and an interesting contemporary design.

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FR Regulations in Australia

Recently I came upon some information sent to me a few years ago by Greg Hooper of FireShield Australia.  I had asked him if he could give me the the scoop on flame retardancy regulations in Australia.  I am obviously quite familiar with FR regulations in the United States, and I also have a smattering of knowledge regarding European requirements, but I knew almost nothing about Australian requirements. 

Flame retardancy of hanging fabric (drapes and curtains) is covered by two standards of the Australian Building Code.  Standard AS 1530.3 covers curtains and drapes that are actually hung (such as on curtain track or a pipe batten).  If a curtain or drape is attached to the wall (such as stapled to the wall), it is considered a wall fixture and would be covered by ISO 9705.

Regardless of whether a curtain or drape is certified flame retardant in another country (such as the United States), in order to be used in Australia, it must be tested to the Australian standard by a laboratory that has been accredited by the National Association of Testing Authorities of Australia (NATA).  There are  a couple of ways that this can be done.  The first option is to contract directly with a testing laboratory (such as AWTA) for testing.  This will cost around $650 US ($720 AUS) per fabric.  A total of 10 samples, each 24″ x 18″, are required.  The average turnaround is two weeks, with results faxed and mailed to the customer.

The second option is to contract with a flameproofing company in Australia.  If it is a type of fabric that they have previously treated and had tested, the flameproofing company may already have lab test results on file; otherwise they will treat the sample(s) and arrange for lab testing.  The cost using a flameproofing company will vary, depending on services rendered, but obviously, if the flameproofing company has to send the samples to a testing lab, the cost will include the lab test fees plus the fees from the flameproofing company.  The process may also be a little different if the fabric is inherently / permanently flame retardant; if a chemical flame retardant treatment has not been used, I am not sure if a flameproofing company (which specializes in topical treatment) can assist or if you would need to go directly to the lab for testing.

Certainly some things to think about if you are taking the tour to Australia…

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Monsters of Folk

Rent What? got a great compliment recently from Marc Janowitz, Production Designer / Lighting Director for the Monsters of Folk tour that I posted about in early November, so I just had to pass it on.

In Morgan Loven’s article, “Monsters of Folk: Lighting from the Bottom Up,”  in the January 2010 issue of PLSN (Projection, Lights and Staging News), Marc specifically thanked Megan for stepping in at the last minute and providing rental drapes to the tour.  Marc even said that the drape provided by Rent What? was “even cooler than the one I had originally envisioned.”

I don’t know what Marc originally envisioned, but I must agree that the contour curtain that Monsters of Folk rented from Rent What? is seriously cool - and Marc’s lighting design makes it even cooler!  Great work, Marc!

The entire article is quite interesting to read, as Marc describes the process of designing a production - check it out if you get the chance.

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Wondering how to clean synthetic fabric drapes?

In reviewing my posts over the last 9 months or so, I noticed that, while I had shared information on how to clean and maintain cotton velour drapes, I haven’t posted about cleaning drapery made from a synthetic fabric, whether it be a synthetic velour or another synthetic fabric.  So, I thought it was about time that I do so!

The first thing to consider is whether the fabric is topically treated for flame retardancy (FR) or is inherently/permanently/durably flame retardant (IFR/PFR/DFR).  Generally, you can find out this information by reviewing the Certificate of Flame Retardancy issued by the drapery manufacturer.  This is important, because some synthetic fabrics must still be topically treated for flame retardancy.

If your drape has been topically treated for flame retardancy, the drape must be dry-cleaned, using the same procedures as my earlier post for cleaning cotton velour.   Do not launder or otherwise clean with liquids!

However, if your drape is from an inherently/permanently/durably flame retardant fabric (such as Avora® or Trevira® polyesters and many other polyesters), you have the option to either launder or dry clean.  Smaller drapery can be machine-washed in any home washing machine.  Larger drapery should be professionally laundered or dry-cleaned.  Be aware that there could be a small amount of shrinkage (generally not more than 1%) when laundering.

Washing

• Wash lights and darks separately
• Hand wash or machine wash (”Delicate” cycle)
• Cold water
• Mild detergent (such as Woolite®)
• No bleach
• Hang dry or tumble dry at low to medium heat
• Once drapes are dry, immediately hang or roll to prevent wrinkling

Dry Cleaning

• Request the use of fluorcarbon solvents under easy care conditions

Spot Cleaning of non-velour fabrics

• For drapes made from fabrics without a nap (such as Poly Muslin), you can also choose to spot clean if the drape is generally clean but has one or two small spots 
• Use a stick stain remover (such as Tide To Go®) to help prevent water stains (which could result through use of spray and rinse type stain removers).

Maintenance

Proper maintenance can extend the life of the drapery.  If drapery is kept hanging (such as in a theatre), dust may accumulate on the drape.  To remove the dust, first brush the back of the drape, working from the left side to the right, using a soft bristled brush.  For non-napped fabrics, next brush the face of the drape in the same manner.  For napped fabrics (such as a synthetic velour), brush the face twice - first brushing the entire face of the drape by going against the nap and then brush the entire face of the drape by going with the nap.

If your drapes do not remain hanging but are instead stored for later use, make to store them properly.  Do not store in plastic as this can cause moisture to accumulate (which could lead to mildew or mold).  Instead, store in a Sew What? drapery bag or in a canvas bag or hamper.  To minimize wrinkling, fold along the width and then roll the drape from the bottom up to the top.  If possible, hang the drape several days before needed so that wrinkles can “hang out.”

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