Important color

Sometimes getting a particular color is very important. Most people who deal with printing on a regular basis or that are in control of their corporate logo I.D. are familiar with the PMS or Pantone Matching System. What some of you might not know is that Pantone has several books in what I call its ”Bible” to help you dial in just the color you are looking for. The one book I go to on a regular basis is the Pantone to CMYK conversion book.

Some people think just because you assign a Pantone color in Photoshop it will automatically print that Pantone color on press. Actually, if you want to give your logo the best chance of printing correctly, get a conversion book, look up your desired pantone color and dial it in by the numbers based on what pantone conversion book tells you.

Get your gray on!

In a world of high impact graphics, vibrant colors and over the top visual/video effects at shows, I’ve found over the last few years that the color gray and shades of gray are my favorite colors to work with.

For most people, gray evokes images of battle ships and gloomy days. From my perspective, it’s a lighting directors dream. A gray backdrop lets the lighting designer take control of the mood and drama of the stage.
Add the texture and sweep of a complex swag to your drapes and you can achieve beautiful effects that will transcends your stage to a whole new level. It’s not the only color of course, but something to consider when your planning your tour. Get your gray on!

Korn Mixed Media Cut Drop

Such a nice surprise to find Sew What? recognized in the November 2010 issue of Projection, Lights and Staging News (PLSN).  The industry mag included a terrific article by Steve Jennings on this past summer’s 2010 Mayhem Festival in Dallas, TX, in which Steve interviewed several people at the festival, including Jim Lenahan, Set Designer for Korn.  In speaking about the set design, Jim mentions the mixed media backdrop constructed by Sew What? according to Jim’s design.

It really was a fantastic theatrical backdrop, including black netting, digitally printed elements, and smoke tubes, and looks great as part of Jim’s complete “industrial oil rig” set design.   We really enjoyed working on it – thanks for the shout out, Jim!

Want to see photos of the show?  Steve has included several terrific photos in the article – just scroll to the bottom.

The Art of the Kabuki

The Drape-Dropping Art of Kabuki

Kabuki. To the non-roadie, it brings up images of exaggerated dance steps, white face paint and notes sung so shrill they can shatter glass – if not the audience’s nerves.

But if you are on the road or work behind the curtains, you know just what I am talking about: making a drape magically (at the flip of a switch or pull of a cord) drop from the top and land gracefully (we hope) on the stage floor, if at all possible without any injury to the band or the band gear.

So let’s talk about the art of kabuki, what works and what doesn’t – and why sometimes a little Velcro and a piece of string may be all that’s needed to dramatically drop the drape.

Solenoid System – Just Push the Button

It takes but one finger to pull off this magic act. This system comes pre-wired with the solenoids attached to cheeseboroughs (pipe clamps) ready for installation right onto the truss. When the cue comes, you just fire the solenoid at will and viola! Several soft good suppliers now offer solenoid system rentals that are ready to go. The best bet is to get it from the same vendor as the draperies so you will know that the solenoid system is compatible with the fabric that you plan to use with it. If you are touring, be sure to have this system maintained regularly and checked before each show. Of course most kabuki drapes should be made with a built in “manual break-away” in the event of a misfire. Make sure that your sewing shop has experience and is able to help manufacture for a successful drape drop no matter what.

“Po-band” Manual Kabuki – Tug Here

Every band can afford to have a kabuki drape. With a pre-made webbing header that ties to the truss, you can use a variety of interchangeable drapes that will tear away when manually pulled via tie-lines or ropes. Of course there’s a trade-off: this requires more than one person, as you will want to pull from both ends, if not also from the center. Some coordination is required too if you don’t want it to look like a primary school production of a Christmas Carol.

Double Kabuki – Double the Fun

It’s twice the drama. Use a double-fire solenoid system or a combination of solenoid and manual to achieve a “double drop” from the truss. The drape will rest in a “diaper” that runs the full width of the drape (or stage). At first fire/release, one side of the diaper will drop, allowing the drape to fall into its hanging position. Upon second fire/release the drape will drop to the floor. Perfect for mid show set or band changes. Drop it in after the first act so your set change is in privacy, and then drop the drape to the floor to reveal the second act.

Fabric Choices

The perfect kabuki fabric will be lightweight, durable and inherently flame retardant. Our recommended fabrics are IFR (inherently flame retardant) polyesters that can be sewn with minimal seams and are durable and ready for some rough and tumble treatment. Aside from the obvious color choice of “black,” a wide range of color choices are available and these fabrics take airbrushed designs well, so go ahead and personalize it!

Better yet, why not consider a digitally printed kabuki? Get all the benefits of a flame retardant fabric with your giant graphic (artistic or photographic) digitally printed right onto it. With the ability to present picture perfect images on a grand scale you can’t help but want to consider this option. Choose a supplier who does quality work and understands the needs of a tour. Stay away from outdoor signage manufacturers and keep clear of vinyl unless you are having an outdoor gig.

Flame Certification for Certain

Last but not least… Let’s all repeat together: a flame cert is a must, or leave it in the truck.

No matter how you try to argue it, the liability does, at least in part, rest with you when it comes to providing the fire marshal with a valid and current flame certificate for your touring draperies. So know your soft goods, know your soft goods provider, and carry valid flame certificates with you at all times. Without valid certification the local fire marshal could demand that all the fabrics on set be removed – and I am not referring to after the show. The best bet is to choose a soft goods supplier who offers digital storage of your flame certificates and can deliver them to you day, night or weekend if you get caught on the road without them.

So come to think of it, drop-drape kabuki, like Japanese Kabuki, is kind of a dance too, between choosing the right technology, the right fabric, the right certification and the right provider. But done right, it’s a lot easier to orchestrate!

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.

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!

Focus On: Single Kabuki Drapes

Picture this.  You are at a concert.  The opening act has just finished playing, and the crew has removed all of the band’s instruments and equipment, leaving only the drape that the band played in front of.  The music starts, signalling that the main act is about to appear.  Suddenly, the headlining band appears on stage, as if from nowhere.  What just happenned?  Another piece of stage magic, called the Kabuki. 

There are two types of Kabukis, the Single Kabuki and the Double Kabuki, but they both work on the same principle – the use of electrically-powered magnetic systems called solenoids.  A solenoid resembles a small box with a pin sticking out.  A series of small solenoid boxes are attached in a daisy-chain row on a truss.  At one end, this chain of solenoids is plugged into electricity and attached to a controller switch.

For a Single Kabuki, the drape is sewn with loop velcro on the top, on both front and back.  D-Ring Velcro attachments are then made by taking a single piece of hook velcro, looping it through the flat edge of the D-Ring (with the hook side facing in), and then sewing the Velcro together tight to the edge.  This leaves a D-Ring with an upside-down V-shaped piece of Velcro attached.

The D-Rings are then attached to the top of the Kabuki Drape by sandwiching the top of the drape, with its loop velcro on both front and back, with the hook velcro on the D-Ring.  (Think of the Velcro on the D-rings as the bread and the top of the drape as the filling).  The result is a drape with adjustable D-Rings across the top.  Adjustability is key as solenoid placement on the truss can vary, and it is essential that the drapery D-Rings line up to the solenoid.  This is why this velcro system is generally used, rather than sewing the D-rings directly to the top of the Kabuki.  The best thing about using a Velcro D-ring is that the drop can be manually pulled down if a solenoid fails to release.

The Single Kabuki is then hung on the solenoid pins, appearing to the audience just the same as any other drape.  However, when the time comes to reveal to the audience what is behind the drape, the crew pushes a switch.  The switch causes the pins to retract and, as a result, the pins release the D-rings and the Kabuki drops to the ground.  And the band appears as if from nowhere.

So that’s a Single Kabuki.  I’ll tell about two other similar pieces, the Double Kabuki and the Poor Man’s Kabuki (also called a Tear-Away) in a future post.

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.