The seamless integration of illustration and design

The goal in working with any artist is to capture their essence so well that the design becomes a kind of extension of the artist or the statement the artist is making. I learned the real power of this when I asked a friend of mine who had attended a concert where I had illustrated a huge backdrop what he thought of the art? He replied “What backdrop?.” My first reaction was, “Are you kidding?” it was the biggest thing on the stage. I then realized what he was/wasn’t saying was that what I had created was so “in brand/in sync” with the artist that all thirty feet of the art made a seamless statement.

That moment really showed me the power of what its all about… Enhancing a performance and contributing to the creation of an unforgettable artist/fan experience with every project.

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.

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.

Focus On: Poor Man’s Kabuki

Previously, I told you about the Single Kabuki and the Double Kabuki.  Now, as promised, here is the scoop on what is commonly called the Poor Man’s Kabuki.

Also called a Tearaway, a Poor Man’s Kabuki has two parts – the kabuki-style drape and the header.  The drape is sewn with loop velcro at the top in back.  Then, to make the header, a piece of webbing (usually 3″ wide) and a piece of hook velcro (usually 2″ wide) are cut to the same size as the width of the drape (for example, if the drape is 50 feet wide, a 50 foot piece of webbing and a 50 foot piece of velcro would be used). 

The velcro is then sewn onto the webbing, leaving room at the top of the webbing to add grommets and ties (which are usually spaced every 12″, aka 12″ on center). 

The header is attached to the top of the kabuki-style drape via the velcro and then the drape is hung on truss above the stage.  When it is time to “drop” (remove) the drape, someone from the crew pulls the drape – because the drape is attached to the header by velcro only, the drape releases from the header and falls to the ground.  The crew quickly bundles up the drape and takes it offstage.  At the end of the show, the webbing header is untied from the truss and stuck back onto the drape in preparation for the next show.

When would a Poor Man’s Kabuki be used rather than a traditional single or double kabuki?  Generally when the purpose of the drape is to hide a second band’s equipment while the first band is onstage in front of the drape.  Once the first band has left the stage and their equipment has been cleared, the crew member quickly pulls down the drape to reveal the second band behind it.

Yes, this could be done with a Single Kabuki – however, a traditional kabuki system is more expensive and more complicated to set up, since it uses a solenoid system – and so a solenoid-based kabuki system is generally overkill in a simple “hide the second band” situation.  The Poor Man’s Kabuki isn’t meant to be used for dramatic reveals, but more as a masking piece.

Cycs, Scrims, and Painters Backdrops

Because the terms “backdrop,” “cyc” and “scrim” are often used interchangeably, it can get confusing to understand what each term really refers to in the theatre.  Even I still get confused occasionally and have to stop and think for a minute (it’s been a long time since my days as a high school theatre nerd)  - and so I thought there are probably a lot of folks out there who would like a quick rundown on the differences between these pieces.

A Cyclorama (or “cyc”) refers to a white or natural seamless flat muslin panel.  It is always the piece that is hung furthest upstage (aka at the very back of the stage) and is usually used for sky effects (often through frontlit projection).

A Scrim is made from a very specific type of netting called Sharkstooth Scrim.  Depending on lighting techniques used, its appearance varies from opaque to translucent.  It is nearly always seamless and can be hung in various locations on stage.

A Painter’s Backdrop is a white or natural flat muslin panel (seamed or seamless) that is used in various locations onstage to help create the scene.  Often the scene is painted on (hence the name) – either by the stage crew or by a professional scenic painter.  Other times, the scene is projected onto the painter’s backdrop.  Alternatively, to create a similar effect, a digitally printed backdrop can be used rather than a painter’s backdrop.

And ”backdrop”?  Well, it is just a generic term for something (usually a drape of some sort) that is behind something else – such as behind the orchestra at the Philharmonic or behind the President during a press conference.  It could be muslin, it could be velour, it could be another material.  It could be flat, it could be pleated.  Pretty much, the sky’s the limit. 

Hope this helps.  And keep in mind, if you aren’t sure of what to call something – not to worry.  You can always call us and describe what you need – we can help you out.