To keep the project running smoothly, it is always better to communicate dimensional and construction information in writing and to get confirmations back the same way. A little effort up front saves time and money in the long run.
We love sewing cotton velour nap up. Colors, especially black, are richer and darker and many of the faults found in today’s weaving and dyeing are well hidden. With Inherently Flame Resistant (IFR) fabrics like Prestige, we find the same is true. Charisma, however, seems to work well in either direction. Serge has no real nap, so for up and down it’s much the same. Even though it is more expensive, many Broadway designers are starting to use Serge (wool – which is common in Great Britain) over velour (cotton – which is a big US product). US customs tacks on a 25% import duty on Serge to protect the American cotton industry.
Today’s safety tip . . . know how the pipes in your venue are hung. Connections with couplings are no longer accepted in the industry. Regularly check lift lines for proper terminations, frayed cable and the like. If your purchase lines are still hemp, check that the hemp is not rotting or splintering. When in doubt, contact an iWeiss ETCP professional to schedule a complete safety inspection.
A client came to iWeiss Theatrical Solutions with a concept for their production, but wasn’t quite sure how to execute it. Their original concept was to make fabric panels, with a gingham design, that stretched over frames at least 5’ wide. After some research it was concluded that gingham fabric widths would not extend that far, so I then asked how they intended on using the panels. The client stated they were looking for the panels to be slightly translucent in order to aid in silhouetting and creating shadows during a “comedic chase” scene during the performance.
Loving to think outside of the box, I suggested that they paint NFR Natural Sharkstooth Scrim with a gingham design. As scrim comes in larger widths, creating multiple panels per width of material would also save on the required yardage. These panels could then be stretched over the frames and essentially travel on a track for the chase.
The client loved this idea and has informed us that it has worked marvelously from both a technical and a comedic aspect. The painted gingham design can be seen from lighting the front of the panel, while lighting the scrims from the rear allows an actor to be revealed at just the right time. Check out the production if it’s traveling to a theatre near you.
Got a concept you would like to brainstorm?
Daniel Douress recently joined the iWeiss sales team as Jr. Project Manager. With a B.F.A. in Theatrical Design & Production, and from his work as a touring stage manager and as a master carpenter, Dan offers the knowledge and experience to assist with your projects.
In the process of providing an accurate quote, Dan will ask the appropriate questions to understand your specific space needs and suggest the iWeiss products and services that will provide the best solution. Once you award iWeiss the job, Dan will then handle the details through to your complete satisfaction. Contact Dan directly at 201-402-6474.
Designers are always looking to understand the effect of gravity on drapery – what shape it takes when it moves, how much space it requires, etc. By using one quarter scale models we not only are able to demonstrate these things visually, it also provides us with a lot of information prior to building in full scale. A great example is when we built a tab curtain for Celine Dion’s Vegas show, where each half measured 65’ wide X 82’ high with more than 100% fullness. This would have been very difficult without the scale model and definitely helped us craft a beautiful curtain for the performer and the venue, Caesars Palace.