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Subject: Stagecraft Digest #732
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #732

 1. Re: Construction of Stage Flats
    by "Brian Munroe" <bpmunroe [at] gmail.com>
 2. Re: Construction of Stage Flats
    by "Alf Sauve" <alf.sauve [at] mindspring.com>
 3. Re: Rental Elevator
    by "Delbert Hall" <delbert.hall [at] gmail.com>
 4. Re: Flicker Camp Fire   [was Props List]
    by "Andrew Nikel" <anikel [at] citytheatrical.com>
 5. Re: Construction of Stage Flats
    by Cosmo Catalano <Cosmo.A.Catalano [at] williams.edu>
 6. Re: Construction of Stage Flats
    by Clive Mitchell <bigclive1 [at] ntlworld.com>
 7. Re: Fall Protection in Boise
    by Clive Mitchell <bigclive1 [at] ntlworld.com>
 8. Re: Construction of Stage Flats
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
 9. Re: Construction of Stage Flats
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
10. Re: gates (Re: bored actors was Re: dry techs)
    by Charles Fraser <charlie [at] charliefraser.com>
11. Re: gates (Re: bored actors was Re: dry techs)
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
12. New Jersey (was re: gates/bored actors/dry techs)
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
13. Re: Construction of Stage Flats
    by Steve Larson <tiptd [at] theatreinthepark.com>
14. Re: New Jersey (was re: gates/bored actors/dry techs)
    by SS <cueonego [at] gmail.com>
15. Re: Construction of Stage Flats
    by CAPTF53 [at] aol.com
16. New Jersey (was re: gates/bored actors/dry techs)
    by "LES LIND" <lindl [at] nesd.k12.pa.us>
17. Re: AutoCAD Question
    by SS <cueonego [at] gmail.com>
18. Re: Construction of Stage Flats
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
19. Re: New Jersey (was re: gates/bored actors/dry techs)
    by IAEG [at] aol.com
20. Re: New Jersey (was re: gates/bored actors/dry techs)
    by "Peter Scheu" <peter [at] scheuconsulting.com>
21. Re: Construction of Stage Flats
    by Jim Hyslop <theatre [at] dreampossible.ca>
22. Was: construction of flats, NOW: wall seams
    by BKHAIN [at] aol.com
23. TEST
    by PatrickMcCreary <vze2gmht [at] verizon.net>
24. Re: Construction of Stage Flats
    by "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu>
25. Re: New Jersey (was re: gates/bored actors/dry techs)
    by SS <cueonego [at] gmail.com>
26. Re: New Jersey (was re: gates/bored actors/dry techs)
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
27. Re: techniques for painting transparent SCRIM
    by Maia Robbins-Zust <Maia.Robbins-Zust [at] williams.edu>
28. painting a scrim
    by b Ricie <b_ricie [at] yahoo.com>
29. Re: Was: construction of flats, NOW: wall seams
    by SS <cueonego [at] gmail.com>
30. wall seams
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
31. Re: TEST
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
32. OT: Greater Generation (Was NJ/FL)
    by "Peter Scheu" <peter [at] scheuconsulting.com>
33. Re: Was: construction of flats, NOW: wall seams
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
34. Re: painting a scrim
    by Steve Larson <tiptd [at] theatreinthepark.com>
35. Re: TEST
    by PatrickMcCreary <vze2gmht [at] verizon.net>
36. Re: Was: construction of flats, NOW: wall seams
    by Steve Larson <tiptd [at] theatreinthepark.com>
37. Re: New Jersey (was re: gates/bored actors/dry techs)
    by Greg Persinger <greg [at] vividillumination.com>
38. Re: Was: construction of flats, NOW: wall seams
    by Michael Drury <MSDRURY [at] peoplepc.com>
39. Re: Construction of Stage Flats
    by "Ken Romaine" <ken.stagecraft [at] gmail.com>
40. Re: Was: construction of flats, NOW: wall seams
    by Pat Kight <kightp [at] peak.org>
41. Re: Construction of Stage Flats
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
42. Re: OT: Greater Generation (Was NJ/FL)
    by "Peter Scheu" <peter [at] scheuconsulting.com>
43. Re: New Jersey (was re: gates/bored actors/dry techs)
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
44. Deconstruction. 
    by Dale Farmer <dale [at] cybercom.net>
45. Re: Was: construction of flats, NOW: wall seams
    by Dale Farmer <dale [at] cybercom.net>
46. Fwd: Maroon Distress Rockets
    by Jerry Durand <jdurand [at] interstellar.com>
47. Re: Was: construction of flats, NOW: wall seams
    by "Delbert Hall" <delbert.hall [at] gmail.com>
48. Re: Deconstruction.
    by SS <cueonego [at] gmail.com>
49. Re: Fwd: Maroon Distress Rockets
    by Jeff Holt <jdholt [at] american.edu>
50. Re: Was: construction of flats, NOW: wall seams
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
51. Re: Was: construction of flats, NOW: wall seams
    by SS <cueonego [at] gmail.com>
52. Scene Design Textbook recommendations
    by Tom Grabowski <tomgrab [at] utpa.edu>
53. flat construction
    by "Alan Bryson" <alan.bryson [at] furman.edu>
54. Re: techniques for painting transparent SCRIM
    by "Alan Bryson" <alan.bryson [at] furman.edu>
55. Re[2]: Deconstruction.
    by "Frank E. Merrill" <Lamplighter [at] tcon.net>
56. Re: Re[2]: Deconstruction.
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
57. Re: Construction of Stage Flats
    by FrankWood95 [at] aol.com
58. Re: New Jersey (was re: gates/bored actors/dry techs)
    by FrankWood95 [at] aol.com
59. Re: Was: construction of flats, NOW: wall seams
    by FrankWood95 [at] aol.com
60. Re: New Jersey (was re: gates/bored actors/dry techs)
    by FrankWood95 [at] aol.com
61. Re: Construction of Stage Flats
    by "RD" <doomster [at] worldnet.att.net>
62. Re: Construction of Stage Flats
    by "RD" <doomster [at] worldnet.att.net>
63. Re: New Jersey (was re: gates/bored actors/dry techs)
    by "RD" <doomster [at] worldnet.att.net>
64. Re: Construction of Stage Flats
    by "RD" <doomster [at] worldnet.att.net>
65. Re: Big Balls
    by "RD" <doomster [at] worldnet.att.net>
66. Re: Construction of Stage Flats
    by "Idaho Scenic" <idahoscenic [at] earthlink.net>
67. Re: Article of fall protection
    by CB <psyd [at] cox.net>
68. Re: Construction of Stage Flats
    by "RD" <doomster [at] worldnet.att.net>
69. Re: Article of fall protection
    by CB <psyd [at] cox.net>
70. Re: Construction of Stage Flats
    by "RD" <doomster [at] worldnet.att.net>
71. Moving/touring a show
    by CB <psyd [at] cox.net>
72. Re painting a scrim (hopefully a non garble version!)
    by "Michael Powers" <mptecdir [at] gmail.com>

*** Please update the subject line of your reply to use the subject
*** line of the message you are replying to! Please only reply to
*** one message subject in each reply.

----------------------------------------------------------------------

Message-ID: <b7aa28010603160327o1796c934qe8a21433c4966a7a [at] mail.gmail.com>
Date: Thu, 16 Mar 2006 06:27:30 -0500
From: "Brian Munroe" <bpmunroe [at] gmail.com>
Subject: Re: Construction of Stage Flats
In-Reply-To: <list-28521745 [at] prxy.net>
References: <list-28521745 [at] prxy.net>

On 3/16/06, Zirngibl, Ryan John <ZIRNGIRJ [at] uwec.edu> wrote:

> So... What you're saying is that your TD has recently seen a production o=
f "Laughter on the 23rd Floor", huh?  I guess that since it opened in 1993 =
and it is a fairly common show, sheetrock walls may be becoming more popula=
r by current trends.

I toured with the original production, and we had the Broadway set,
modified to fit smaller theatres.  The set was mostly 5/4 x 3
Hollywood flats, hardcovered.  The punched out section of wall was
2'x4' ceiling tile covered with wall paper, pre-scored on the back to
break-away.

During act I Max, the Sid Ceasar character, would punch the wall in
anger.  During intermission I would punch the second hole in the wall.
 A fun way to get out some aggression.

Brian Munroe
bpmunroe [at] gmail.com

------------------------------

Message-ID: <04e201c648ec$f837dc50$6501a8c0 [at] ALFOFFICE>
Reply-To: "Alf Sauve" <alf.sauve [at] mindspring.com>
From: "Alf Sauve" <alf.sauve [at] mindspring.com>
References: <list-28515336 [at] prxy.net>
Subject: Re: Construction of Stage Flats
Date: Thu, 16 Mar 2006 06:24:44 -0500

I second the Luan covering.  More durable than muslin and you can attach
things to it anywhere. (Things like set decorations....pictures, wall
mounted lamps, mantles....etc.)

I use 2"x2" for most flats.  This allows me surface area to clamp them
together side by side.   I use QuikClamps and can load in/out a set in a
short period of time.  Most of productions in my facility, a church, overlap
with other events, so a set might be loaded 3 or 4 times during final
rehearsals and performances.  Quick assemble and transportability are a
must, preferably by one person.

For flats with working doors, I go to 2x4 frames. (Think Noises Off.)

Alf

----- Original Message ----- 
From: "Connie Breding" <breding [at] nmsua.nmsu.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Wednesday, March 15, 2006 7:01 PM
Subject: Construction of Stage Flats


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I was recently informed by my tech. Director that muslin flats are old
> fashioned and no longer used.  He builds walls using 2X4s for framing, and
> then covered in sheetrock.  Needless to say, this creates a ton of dust on
> stage, that gets into the masking curtains.  What do people build "stage
> walls" out of these days?
> Many thanks,
> Connie
>


------------------------------

Message-ID: <b7318c480603160339l5315b2a4qabcc42b345d73d78 [at] mail.gmail.com>
Date: Thu, 16 Mar 2006 06:39:52 -0500
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Subject: Re: Rental Elevator
In-Reply-To: <list-28522212 [at] prxy.net>
References: <list-28503312 [at] prxy.net> <list-28522212 [at] prxy.net>

Steve,

If you can live with about a 3' drop, look into a lift table.  The WWW
can knell as she is lowered to further enhance the illusions of her
melting into the ground.  A lift table is always a good tool to have
around the shop.

-Delbert

On 3/16/06, Bill Nelson <billn [at] peak.org> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> > Am seeking to rent or borrow a smallish single person elevator for our
> > production of Wizard of OZ.  Max vertical travel is 8'-0".  Depth of
> > opening in deck is 32", and the width could be up to 42" or so.  Will
> > consider any mechanization method.  If we have to build it ourselves, w=
e
> > would do a hand operated winch but motorized is fine too.  Have access
> > to 110 and 208 nearby.
>
> I assume this is for the "melting" of the Wicked Witch.
>
> We did that musical here a few years ago. We built our own elevator using
> a bleed-off hydraulic setup. Before the performance, a bypass valve was
> opened and the elevator raised to the top position by hand, then the valv=
e
> was closed. The surface was then quite solid and could be walked on. When
> it was time for the witch to melt, she stood on the platform and the
> bleeder valve was opened to slowly lower her out of sight. She wore a
> loose robe and hat, and left them behind as she melted away.
>
> We used water as the hydraulic fluid, since we didn't have to worry about
> high pressures or pump cavitation problems.
>
> Bill
>
>
>


--
Delbert L. Hall
ZFX Flying Director
Phone: 714-585-7070

------------------------------

From: "Andrew Nikel" <anikel [at] citytheatrical.com>
Cc: Rees [at] fredonia.edu
Subject: Re: Flicker Camp Fire   [was Props List]
Date: Thu, 16 Mar 2006 07:30:47 -0500
Message-ID: <JNEMKLCHNOMOHOGEILMLKEIDCPAA.anikel [at] citytheatrical.com>

Dear Steve -

I wonder if it would be possible to use an inverter to drive your
fluorescent starters. We've been playing with inverters here to drive Source
4's from a large battery source.

You could also use our WDS gear using a WDS Transmiter, Receiver and
multiple 15A Dimmers to drive some number of 12V MR-16 or MR-11 sources from
a battery(ies) depending on what you need. That's a really common
application used on most Broadway shows and tours. Check with your favorite
lighting rental shop, they may have our WDS equipment in their stock.

Best,

Andrew

Andrew Nikel - Sales Manager
City Theatrical, Inc.
752 East 133rd Street, Bronx, NY 10454
Voice:  718-292-7932 x23, Fax: 718-292-7482
email:  anikel [at] citytheatrical.com
web:    www.citytheatrical.com

> My props head needs to create a small, portable, campfire not
> wired to AC power.




------------------------------

Date: Thu, 16 Mar 2006 07:32:11 -0500
From: Cosmo Catalano <Cosmo.A.Catalano [at] williams.edu>
Subject: Re: Construction of Stage Flats
In-reply-to: <list-28525910 [at] prxy.net>
Message-id: <b2f388e2c37f9dcf0428358adea8d31a [at] williams.edu>
References: <list-28525910 [at] prxy.net>

We use sheet rock (5/8", two layers) when we have to put a fire break 
in a raked stage or platform that goes past the plaster line.  I 
remember one time when a carpenter for the Tony Award Winning summer 
tenant we host was not familiar with the score and snap method of 
making a 4x8 sheet into smaller pieces and decided to use a skill saw.  
Pretty nice haze effect for a while....

Cosmo


>
> Message-ID: 
> <f23a0f840603151841pa8660d7gd388d767c6577fcf [at] mail.gmail.com>
> Date: Wed, 15 Mar 2006 21:41:54 -0500
> From: "Paul Schreiner" <paulschreiner42 [at] gmail.com>
> Subject: Re: Construction of Stage Flats
> In-Reply-To: <list-28515336 [at] prxy.net>
> References: <list-28515336 [at] prxy.net>
>
> FWIW, I don't think I've EVER used drywall on a set.  I've used
> muslin, lauan, masonite, blue foam, pink foam, bead foam, clear
> acrylic sheeting, and various other lumber and fabric treatments...but
> never sheetrock.  Used to do mainly Hollywood-style, have switched
> over to standard flats with pocket hole screw joinery lately.
>
> And about the only time I ever build walls outta 2x stock is if they
> are being used as supporting structure for something above.
>
> ------------------------------
>
> Message-ID: 
> <f23a0f840603151845u29b98ac6gfc8320310d573486 [at] mail.gmail.com>
> Date: Wed, 15 Mar 2006 21:45:17 -0500
> From: "Paul Schreiner" <paulschreiner42 [at] gmail.com>
> Subject: Re: Construction of Stage Flats
> In-Reply-To: <list-28518149 [at] prxy.net>
> References: <list-28515336 [at] prxy.net> <list-28518149 [at] prxy.net>
>
>> Personally, I set forms, rig rebar, and pour concrete for my flats.
>
> Remind me never to volunteer for one of your strikes!
>
>> Ok, not really, but if we're talking about "overkill" for theatre 
>> sets...=
> ..
>
> (Well, unless you wanna do some overkill here, too, and set some
> explosive charges or something to bring it all down...that'd be cool.)


------------------------------

Message-ID: <nyjwwGE5pVGEFwsY [at] ntlworld.com>
Date: Thu, 16 Mar 2006 12:30:49 +0000
From: Clive Mitchell <bigclive1 [at] ntlworld.com>
Subject: Re: Construction of Stage Flats
References: <list-28515336 [at] prxy.net> <list-28518149 [at] prxy.net>
 <list-28518948 [at] prxy.net>
In-Reply-To: <list-28518948 [at] prxy.net>

In message <list-28518948 [at] prxy.net>, Paul Schreiner 
<paulschreiner42 [at] gmail.com> writes
>> Personally, I set forms, rig rebar, and pour concrete for my flats.
>
>Remind me never to volunteer for one of your strikes!
>
>> Ok, not really, but if we're talking about "overkill" for theatre sets.....
>
>(Well, unless you wanna do some overkill here, too, and set some 
>explosive charges or something to bring it all down...that'd be cool.)

Embedding explosives in the concrete foundations of temporary sets is 
actually fairly common theatrical practice.

You do have to be careful where you put the detonator though.  Once on 
our first night of opening one of the chorus girls sat on it and blew 
the entire audience out of the theatre.

-- 
Davie Dimmers.
Super top head theatre techie and inventor of the one second strike.

------------------------------

Message-ID: <8SR2YyFzvVGEFwsj [at] ntlworld.com>
Date: Thu, 16 Mar 2006 12:37:07 +0000
From: Clive Mitchell <bigclive1 [at] ntlworld.com>
Subject: Re: Fall Protection in Boise
References: <list-28518405 [at] prxy.net>
In-Reply-To: <list-28518405 [at] prxy.net>

In message <list-28518405 [at] prxy.net>, Stephen E. Rees <Rees [at] fredonia.edu> 
writes
>I happened upon a CNN live report of a construction worker whose 
>scaffolding apparently collapsed and left the man about 60 feet above 
>the ground.  His fall arrest appeared to work fine but I was surprised 
>to hear that the guy had been suspended for about an hour before it was 
>figured out how to lower him.  Lots of fire and rescue folk about but 
>it seemed to take quite a while.  Eventually, someone rappelled down to 
>him and cut him loose while he was on the edge of a basket on a fire 
>truck snorkel and he got lowered that way.  Can't imagine how 
>uncomfortable that must have been.  Plus, it was snowing too.

If you read the data about people who have been left in harnesses for 
that long, then unless he did manage to get the weight off the thigh 
straps and pump his legs then he may have suffered complications later. 
I presume that there must be a medical procedure followed for this 
scenario now.

-- 
Clive Mitchell
http://www.bigclive.com

------------------------------

Subject: RE: Construction of Stage Flats
Date: Thu, 16 Mar 2006 08:27:50 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B9F [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> We use sheet rock (5/8", two layers) when we have to put a fire break=20
> in a raked stage or platform that goes past the plaster line.=20

Thank you!  You've reminded me about this particular use for sheetrock,
which I have used (only not in a very long time). =20

------------------------------

Subject: RE: Construction of Stage Flats
Date: Thu, 16 Mar 2006 08:29:14 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9BA0 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> Embedding explosives in the concrete foundations of temporary sets is=20
> actually fairly common theatrical practice.
>=20
> --=20
> Davie Dimmers.
> Super top head theatre techie and inventor of the one second strike.

LOL!

Is it to be assumed that the one second for strike only ignores cleanup
cuz there's precious little left of the theatre anyway once it's done?=20

------------------------------

Message-ID: <44196C14.6020606 [at] charliefraser.com>
Date: Thu, 16 Mar 2006 08:45:56 -0500
From: Charles Fraser <charlie [at] charliefraser.com>
Subject: Re: gates (Re: bored actors was Re: dry techs)
References: <list-28479362 [at] prxy.net> <list-28520713 [at] prxy.net>
In-Reply-To: <list-28520713 [at] prxy.net>

Welcome to the State of NJ :-) I think it is a state thing I sometimes
feel like Get Smart getting to my University office.


Charlie


Kate Daly wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Chris wrote:
>
>> NJPAC has more locks with keypads than Langley!  I got so used to being
>> unable to get throughn a doorway that I was trapped in the stage left
>> light
>> lock off the pit until one of the locals helped me out ('pull',
>> Chris, not
>> 'push'...)  Really nice place to play, other than that.
>
>
> That was you??  Good to see you again! No-but-seriously, the number of
> one-way doors there is mind boggling. The light lock I think you're
> referring to, in Prudential Hall at NJPAC, leads to three more
> doorways -- one goes to the stairs to the boxes and tiers, one goes to
> the SL wing, and one to the loading dock.  Without a guide, anyone
> could wander for days without ever finding daylight.  The place is
> like a maze, and I'm sure it's bigger inside than out.
>
> One time, I was working an event in the Victoria theater at NJPAC
> featuring very young (middle school age) musicians. One of them had a
> medical situation which his mother had to monitor at intermission. The
> green room, where she waited, was off left, and his spot in the pit
> was stage right. There was no crossover. The only way for her to reach
> him without being seen by the audience was to go up the staff elevator
> to the corporate offices on the fifth floor, walk the length of the
> building up there, and walk down (no elevator on that side) five
> flights through the inner fire-escape stairwells, give the kid his
> meds, and walk back up five flights, back through the offices, and
> back down to the green room just in time for his bows. What a nightmare.
> -Kate
>
>
>


------------------------------

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: gates (Re: bored actors was Re: dry techs)
Date: Thu, 16 Mar 2006 08:49:56 -0500
Message-ID: <000201c64900$82866030$6501a8c0 [at] Dell>
In-reply-to: <list-28528775 [at] prxy.net>


> Welcome to the State of NJ :-) I think it is a state thing I=20
> sometimes feel like Get Smart getting to my University office.

Remember that when our state government recently asked for suggestions =
for a
new state slogan, someone suggested, "New Jersey: You got a problem wid
dat?"


------------------------------

Subject: New Jersey (was re: gates/bored actors/dry techs)
Date: Thu, 16 Mar 2006 09:00:17 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9BA1 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>
Cc: stagecraft [at] jeffsalzberg.com

> > Welcome to the State of NJ :-) I think it is a state thing I
> > sometimes feel like Get Smart getting to my University office.
>=20
> Remember that when our state government recently asked for=20
> suggestions for a new state slogan, someone suggested, "New=20
> Jersey: You got a problem wid dat?"

Jersey highway signage is exactly the same way.  I had a friend there,
and when I'd go to visit her and have to be heading out to leave, I was
struck by how--unlike most other states--instead of two signs for an
upcoming intersection with a highway (with the first a couple hundred
yards ahead of time to give ample warning for the approaching turn),
there'd be only one.

*At* the intersection.

Especially if you had to get into a special lane to make the turn.

If you were lucky.

It was like once they had you there, they were bound and determined to
make sure you never left.

------------------------------

In-Reply-To: <list-28515577 [at] prxy.net>
References: <list-28515577 [at] prxy.net>
Message-Id: <E51781A8-C7A6-4AE1-956E-795E2597464F [at] theatreinthepark.com>
From: Steve Larson <tiptd [at] theatreinthepark.com>
Subject: Re: Construction of Stage Flats
Date: Thu, 16 Mar 2006 09:09:37 -0500

The days of covering flats with muslin are nearly gone
by the wayside.  I buy good 1x6 and rip it to 1x3.  Cover
with 1/8" luan.  The 1x3's are laid flat, not on edge.
Hollywood (movie) flats place them on edge and also
add toggles about every two feet.  In Hollywood, you
can get luan 4 x 10.  Haven't seen it anywhere else.
I was told at one of the studios, that the west coast
supplier of 4 x 10 orders a boat load, literally.

Anyone who wants to build flats out of 2 x 4 and drywall,
is in the wrong profession.

Steve

On Mar 15, 2006, at 7:16 PM, Connie Breding wrote:

> For info, archives & UNSUBSCRIBE, see <http:// 
> stagecraft.theprices.net/>
> ---------------------------------------------------
>
>
> Thank you for confirming that I am NOT crazy.  I have always been  
> taught to
> use 1X3 or 1X4 for framing, and then cover the frame with muslin,  
> which is
> treated with a glue mixture.  Or, you can make the "Hollywood" flat  
> with
> luan covering the frame.  When I told the TD that I was really  
> unhappy with
> this sheetrock as a flat material, I was completely dismissed as  
> not being
> up-to-date on what is currently used for box sets these days.
>
> Thanks,
> Connie
>
>
>
>
>
>
>
>
>
>
>
> On 3/15/06 5:06 PM, "Mark O'Brien" <marko [at] email.arizona.edu> wrote:
>
>> For info, archives & UNSUBSCRIBE, see <http:// 
>> stagecraft.theprices.net/>
>> ---------------------------------------------------
>>
>> WTF?
>>
>> This is _NOT_ how one builds scenery.
>>
>> Perhaps a drug test for your TD is in order.
>>
>> (did I mention) This is _NOT_ how one builds scenery.
>>
>> Well, it is not how I build scenery.
>>
>> Mark-O
>>
>>
>> Mark O'Brien
>> Opera Technical Director
>> University of Arizona, School of Music
>> 520-621-7025
>> 520-591-1803 Mobile
>>
>> Quoting Connie Breding <breding [at] nmsua.nmsu.edu>:
>>
>>> For info, archives & UNSUBSCRIBE, see <http:// 
>>> stagecraft.theprices.net/>
>>> ---------------------------------------------------
>>>
>>> I was recently informed by my tech. Director that muslin flats  
>>> are old
>>> fashioned and no longer used.  He builds walls using 2X4s for  
>>> framing, and
>>> then covered in sheetrock.  Needless to say, this creates a ton  
>>> of dust on
>>> stage, that gets into the masking curtains.  What do people build  
>>> "stage
>>> walls" out of these days?
>>> Many thanks,
>>> Connie
>>
>>
>>
>>
>


------------------------------

Message-ID: <8231e7ea0603160623g6b2ed654lcebe58cac9a31f57 [at] mail.gmail.com>
Date: Thu, 16 Mar 2006 09:23:36 -0500
From: SS <cueonego [at] gmail.com>
Subject: Re: New Jersey (was re: gates/bored actors/dry techs)
In-Reply-To: <list-28529024 [at] prxy.net>
References: <list-28529024 [at] prxy.net>

>>>>Jersey highway signage is exactly the same way.  I had a friend
there, and when I'd go to visit her and have to be heading out to
leave, I was struck by how--unlike most other states--instead of two
signs for an upcoming intersection with a highway (with the first a
couple hundred yards ahead of time to give ample warning for the
approaching turn),
there'd be only one. *At* the intersection. Especially if you had to
get into a special lane to make the turn. If you were lucky. It was
like once they had you there, they were bound and determined to make
sure you never left.<<<<


One word for ya':   JUGHANDLES.

You Jerseyites and NYC'ers who frequent NJ totally know what I'm
talking about here!!
(hey, you have to, like it or not, if you're heading to PA, or 4th
Phase, or PRG, or whatever they call themselves these days!!)

What's with the "no left turns"? Traffic lights are not a difficult
concept to master. Especially since by the time you wind you're way
around the jughandle, you typically have to stop at a traffic light
anyway. Seems like a lot of extra work, and a waste of time. Although
I imagine it provides nice job security for the DOT and what not!!

:)

-SS
TTS-EKU

"Just for the record...The weather today is slightly sarcastic with a
good chance of
A) Indifference  and  B) Disinterest in what the critics say"
 --BU

------------------------------

From: CAPTF53 [at] aol.com
Message-ID: <285.760e620.314ad002 [at] aol.com>
Date: Thu, 16 Mar 2006 09:28:18 EST
Subject: Re: Construction of Stage Flats

In a message dated 3/16/2006 8:10:32 AM Central Standard Time,  
tiptd [at] theatreinthepark.com writes:
Anyone who wants  to build flats out of 2 x 4 and drywall,
is in the  wrong profession


This is nuts IMHO. To me the purpose of flats is to  be functional, 
affordable, reusable, storable, transportable, easy to maintain,  flyable, safe to 
handle and play well with others. Flats of 2x4 with a  drywall are simply for home 
construction or for a more  permanent project not for a stage presentation, 
unless, of course, it is a  building trade show.
 
        Bill U
 
 
 
 

------------------------------

Message-Id: <s4192be6.050 [at] AC3.nesd.k12.pa.us>
Date: Thu, 16 Mar 2006 09:11:39 -0500
From: "LES LIND" <lindl [at] nesd.k12.pa.us>
Subject: New Jersey (was re: gates/bored actors/dry techs)

I had a friend years ago tell me a story of her scuba diving expedition
off the coast of New Jersey somewhere. While under water she said her
breathing valve malfunctioned and the only thing she could think of was,
"Please Lord, don't let me die in New Jersey".


Les Lind
Northeastern High School
Manchester, PA



>>> pschreiner [at] rmwc.edu 3/16/06 9:00 AM >>>
For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
---------------------------------------------------

> > Welcome to the State of NJ :-) I think it is a state thing I
> > sometimes feel like Get Smart getting to my University office.
> 
> Remember that when our state government recently asked for 
> suggestions for a new state slogan, someone suggested, "New 
> Jersey: You got a problem wid dat?"

Jersey highway signage is exactly the same way.  I had a friend there,
and when I'd go to visit her and have to be heading out to leave, I
was
struck by how--unlike most other states--instead of two signs for an
upcoming intersection with a highway (with the first a couple hundred
yards ahead of time to give ample warning for the approaching turn),
there'd be only one.

*At* the intersection.

Especially if you had to get into a special lane to make the turn.

If you were lucky.

It was like once they had you there, they were bound and determined to
make sure you never left.

------------------------------

Message-ID: <8231e7ea0603160636o21a33147tda9eb23eb34e0b7d [at] mail.gmail.com>
Date: Thu, 16 Mar 2006 09:36:52 -0500
From: SS <cueonego [at] gmail.com>
Subject: Re: AutoCAD Question
In-Reply-To: <list-28515377 [at] prxy.net>
References: <list-28511598 [at] prxy.net> <list-28511984 [at] prxy.net>
	 <list-28512329 [at] prxy.net> <list-28512541 [at] prxy.net>
	 <list-28515377 [at] prxy.net>

>>>>Have you tried using the dimaligned command rather then dimlin?
Dimlin dimensions parallel to the x or y axis, but if your line is
skewed to the axis, it will give you the x or y dimension rather then
the true length, if I recall correctly<<<<


Ahh. See, I knew eventually someone would come to the rescue and point
out my folly.

Kyle, you so smart!!

(slapping self in forehead--->hanging head)
Yeah, so if I had bothered to enter the right command in, I probably
would not have wasted Noah's precious bandwidth and all y'alls time.
My lines were not on a horizontal/vertical axis, they are angled, and
I was not using my noggin' when DMing. Just being stubborn and
apparently refusing to click the button on the toolbar just right of
the one I kept using!!!  :) :)

Thanks to everyone who tried to help. I appreciate it.
And again, sorry about the eating of the BW (and not bushmeat, Clive). <g>


-SS
TTS-EKU

"Just for the record...The weather today is slightly sarcastic with a
good chance of
A) Indifference  and  B) Disinterest in what the critics say"
 --BU

------------------------------

Date: Thu, 16 Mar 2006 04:47:43 -1000
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
Subject: Re: Construction of Stage Flats
Message-id: <00ea01c64908$95e24d80$0202a8c0 [at] HUNKACRAP>
References: <list-28518490 [at] prxy.net>

>>>I was recently informed by my tech. Director that muslin flats are old
>>>fashioned and no longer used.  He builds walls using 2X4s for framing,
and
>>>then covered in sheetrock.  Needless to say, this creates a ton of dust
on
>>>stage, that gets into the masking curtains.  What do people build "stage
>>>walls" out of these days?
>>>Many thanks
>>>Connie

I used 2x4 and drywall when I was young and stupid.

Now that I am old and stupid I use 1x3 and lauan... either 1/8" or 1/4".

Nobody who knows technical theatre uses 2x4 and drywall. I've also never
seen it used for TV or production. It's for houses and stuff.

Kinda makes you wonder what else he's an expert on.

Laters,

Paul

"How come my clock only makes 'toc's?" Tom asked mystically.



------------------------------

From: IAEG [at] aol.com
Message-ID: <2b9.689ae10.314ad545 [at] aol.com>
Date: Thu, 16 Mar 2006 09:50:45 EST
Subject: Re: New Jersey (was re: gates/bored actors/dry techs)


In a message dated 3/16/06 9:33:55 AM, lindl [at] nesd.k12.pa.us writes:

<< Jersey highway signage is exactly the same way.  I had a friend there,
and when I'd go to visit her and have to be heading out to leave, I
was
struck by how--unlike most other states--instead of two signs for an
upcoming intersection with a highway (with the first a couple hundred
yards ahead of time to give ample warning for the approaching turn),
there'd be only one. >>


I think I am spoiled here in Florida,  I guess because of the significant 
quantity of tourists on the roads, our signage here seems to be way more 
comprehensive than most places I visit.

New Jersey is bad, , PA is bad  (some entrances to the PA TURNPIKE are marked 
once, with small residential area type signage, directly at the entrance ramp)

I always recall driving out of the Memphis TN airport for the first time, 
headed for a downtown venue, I assumed when I hit the Interstate clearly visible 
from the airport that there would be a sign that said MEMPHIS or DOWNTOWN 
MEMPHIS indicating which ramp to take.

Imagine my surprise as a first time visitor when the two choices I was 
presented with were

ST LOUIS

or 

NASHVILLE

how was I to know ?   what were they thinking ?   at the ramp that serves the 
Airport ? 

compare this to Florida,  where I think you can get from any city or 
attraction to another without a map whatsoever by following the signage.

best regards,

Keith Arsenault

International Arts & Entertainment Group
Tampa, FL

------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: New Jersey (was re: gates/bored actors/dry techs)
Date: Thu, 16 Mar 2006 09:57:33 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAACz1BDZxGj0e45/1smzbRfwEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-28529480 [at] prxy.net>

>Seems like a lot of extra 
>work, and a waste of time. Although I imagine it provides nice 
>job security for the DOT and what not!!

With the decline of the Mob, I suppose NJ has all that extra concrete...

Peter Scheu
 
Scheu Consulting Services, Inc.
Syracuse, NY
www.scheuconsulting.com


------------------------------

Message-ID: <44197DBA.2050606 [at] dreampossible.ca>
Date: Thu, 16 Mar 2006 10:01:14 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: Construction of Stage Flats
References: <list-28528489 [at] prxy.net>
In-Reply-To: <list-28528489 [at] prxy.net>

Paul Schreiner wrote:
> Is it to be assumed that the one second for strike only ignores cleanup
> cuz there's precious little left of the theatre anyway once it's done? 

Cleanup? That's the other local's job. We just strike 'em.

-- 
Jim Hyslop


------------------------------

From: BKHAIN [at] aol.com
Message-ID: <31b.2cef27.314ad82a [at] aol.com>
Date: Thu, 16 Mar 2006 10:03:06 EST
Subject: Was: construction of flats, NOW: wall seams

Hi, 

So what sort of ways are people covering wall seams / joints? I've seen 
joints covered with masking tape, gaffers tape, newspaper/muslin glued on with 
paint or even drywall compound that when sanded made quite the mess as well.  I've 
heard but haven't seen covering the entire wall with muslin.  

Anyone like one over the other or have better ideas? 

Thanks-


Benjamin Hain 
Freelance TD / LD / General Theater Guy
Rochester, MN

------------------------------

Date: Thu, 16 Mar 2006 10:02:57 -0500
From: PatrickMcCreary <vze2gmht [at] verizon.net>
Subject: TEST
In-reply-to: <list-28530055 [at] prxy.net>
Message-id: <6.1.2.0.0.20060316095952.019a3860 [at] incoming.verizon.net>
References: <list-28529480 [at] prxy.net> <list-28530055 [at] prxy.net>

Just testing a new account.

Patrick


------------------------------

Date: Thu, 16 Mar 2006 10:05:23 -0500
Subject: Re: Construction of Stage Flats
From: "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu>
Message-ID: <C03EE8E3.4417%raypf1mg [at] cmich.edu>
In-Reply-To: <list-28515336 [at] prxy.net>

Connie,

As you may have gathered from the responses to your post there are a LOT of
ways to build flats.  I just finished building a false proscenium old style,
Theatre with cornerblocks and keystones, 1x3 & muslin to save on the weight
factor and the thickness in a tight fly space.

I would question the experience of anyone in this industry that says there
is only 1 way that ANYTHING is done.  Every show is different and while we
have some standard practices we all have different situations.  Those of us
who have been around for a while tend to be pretty flexible.

We also tend to get excited about new ideas that are good.  2x4 and
sheetrock ain't new and unless it has a pretty specific need for the show I
would not call it good.

If there is dust on the curtains it is also in the audience and it could
create breathing problems for audience members.  Not to mention the students
building it ( I am assuming that from your address you are at a school.)

I hope all this helps you feel empowered to deal with him.

Merel Ray-Pfeifer
Technical Director

On 3/15/06 7:01 PM, "Connie Breding" <breding [at] nmsua.nmsu.edu> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I was recently informed by my tech. Director that muslin flats are old
> fashioned and no longer used.  He builds walls using 2X4s for framing, and
> then covered in sheetrock.  Needless to say, this creates a ton of dust on
> stage, that gets into the masking curtains.  What do people build "stage
> walls" out of these days?
> Many thanks,
> Connie
> 


------------------------------

Message-ID: <8231e7ea0603160717r3cb27779h25b1860c75a15978 [at] mail.gmail.com>
Date: Thu, 16 Mar 2006 10:17:54 -0500
From: SS <cueonego [at] gmail.com>
Subject: Re: New Jersey (was re: gates/bored actors/dry techs)
In-Reply-To: <list-28529945 [at] prxy.net>
References: <list-28529945 [at] prxy.net>

>>>>compare this to Florida,  where I think you can get from any city or
attraction to another without a map whatsoever by following the signage.<<<=
<<

Nevermind all the other obstacles;
Blue hairs, no one using blinkers, some people driving 30 under the
limit, some people driving 30 over the limit, folks making left turns
from right lanes, folks making right turns from left lanes, TOURISTS,
Bob's Barricades being all over the damn place, cops who pull people
over IN THE MIDDLE of the road rather than the shoulder, the general
oblivion of most behind the wheel....

Having spent a huge portion of my life residing in Florida I will
agree with you, Keith, on the signage. It just all the other perils of
driving in Florida (in specific, SO FLA) that perturb me. I spent
another huge portion of my life in NYC, and could count the amount of
traffic accidents I witnessed on one hand. When I lived in the greater
WPB-Miami area ('cause it's really all one huge housing
development/strip mall :),  I'd see that many on my way to work, which
was a 5 minute drive, including traffic signals!!


-SS
TTS-EKU

"Just for the record...The weather today is slightly sarcastic with a
good chance of
A) Indifference  and  B) Disinterest in what the critics say"
 --BU

------------------------------

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: New Jersey (was re: gates/bored actors/dry techs)
Date: Thu, 16 Mar 2006 10:23:14 -0500
Message-ID: <000301c6490d$8b3d4a10$6501a8c0 [at] Dell>
In-Reply-To: <list-28530517 [at] prxy.net>


=20
> Nevermind all the other obstacles;
> Blue hairs, no one using blinkers, some people driving 30=20
> under the limit,

It's a little-known fact that "Sarasota*" is the Seminole word for =
"20MPH in
the passing lane".

On the other hand, whenever I was in the supermarket, stuck behind a =
pair of
80-year-olds creeping down the middle of the aisle, I told myself, "This =
man
stormed ashore at Normandy; this woman built B17 bombers."  They really =
were
the last generation to achieve -- as a group -- something great.

* When people retire, they move to St. Petersburg...to be near their =
parents
in Sarasota.


------------------------------

Date: Thu, 16 Mar 2006 10:31:06 -0500
From: Maia Robbins-Zust <Maia.Robbins-Zust [at] williams.edu>
Subject: Re: techniques for painting transparent SCRIM
In-reply-to: <list-28518490 [at] prxy.net>
Message-id: <441984BA.1020209 [at] williams.edu>
References: <list-28518490 [at] prxy.net>



I need to paint a brick wall onto a sharktooth scrim  - snip -

Ruth Neeman
www.setbyruthneeman.com


Ruth:

The trick to painting scrim is to make sure the paint doesn't stay in 
the 'holes' between the scrim threads.  There are several ways to do 
this depending on if you are working on a vertical or horizontal paint 
surface.  If you're doing it on the floor, lay down bogus paper first to 
help absorb the extra paint then stretch out the scrim.  For the brick 
pattern you are going to have to take a LOT of extra care in the 
stretching process to make sure all the weave of the scrim is absolutely 
straight.  Scrim doesn't need to be stretched too tight - just firmly. 
Once this is done, paint with a watery paint mix.  After you get paint 
on the scrim, but before it totally dries, use one of those cheap, 
soft-bristle, house-hold brooms to brush the excess paint out of the 
scrim's 'holes'.  This brushing technique requires that you only work 
with one color of paint at a time.  You may need a smaller brush to work 
the paint for the morter lines in the brick wall to keep it from 
spreading into the brick areas.  Or you can use towels/rags to mop up 
excess paint for the detail areas.  If some of the 'holes' get plugged 
up, it won't affect the scrim effect too much - you just want to keep 
the majority of them open.

Good luck!

Maia Robbins-Zust
Technical Director
Williams College Dept. of Theatre









------------------------------

Message-ID: <20060316152738.88852.qmail [at] web50606.mail.yahoo.com>
Date: Thu, 16 Mar 2006 07:27:38 -0800 (PST)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: painting a scrim
In-Reply-To: <list-28525910 [at] prxy.net>

If the Scrim is properly stretched, straight lines
should not be a problem. You should put some bogus
paper between the scrim and the floor before painting.
The paint will work its way through all those tiny
holes in the scrim and the paper will help to absorb
the excess. Even though there is less material it
seems it takes more paint than a regular drop. Lay out
the scrim in charcoal first using your straight edge,
or chalk line, then paint with a brush.
A Hudson sprayer will work nicely for the base coat.
As for the bricks, I would be more inclined to use a
stamp rather than a stencil. Stamps can be easily
made, and used a number of times to build up a
texture. I also find stamps to be faster than
stencils. If you go the stamp route, experiment on
something other than the scrim so you can get the
right saturation of the stamp, when you get the feel
stamp away.


>> I need to paint a brick wall onto a sharktooth
>>scrim that is supposed  
>>to
>> maintain itıs transparency. With the scrim
>>material being 
>>dimensionally
>> unstable and  very hard to control in order to
>>paint straight lines ­ 
>>any
>> thoughts about the appropriate methods and type of
>>paints?



Brian Rice 
508-685-0716
b_ricie [at] yahoo.com
"Blessed are the cracked: For it is they who let in the 
light."

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

------------------------------

Message-ID: <8231e7ea0603160729j53350f46wd345bb7eafecfa19 [at] mail.gmail.com>
Date: Thu, 16 Mar 2006 10:29:21 -0500
From: SS <cueonego [at] gmail.com>
Subject: Re: Was: construction of flats, NOW: wall seams
In-Reply-To: <list-28530191 [at] prxy.net>
References: <list-28530191 [at] prxy.net>

>>>>So what sort of ways are people covering wall seams / joints? I've seen
joints covered with masking tape, gaffers tape, newspaper/muslin glued on w=
ith
paint or even drywall compound that when sanded made quite the mess as
well.  I've
heard but haven't seen covering the entire wall with muslin.<<<<


Depends on the type of flatage and paint scheme.

Things I've most commonly seen/done:
If we're talking Stage, usually dutched seams. Muslin & glue/paint. If
the walls are to be painted a nice dark color, Gaff will work in a
pinch.
If we're talking Hollywoods, joint compound, or Gaff again.

Masking tape, IMO, is a poor choice. It looks tacky (no pun), and
doesn't have the "stick" of gaff. There's nothing quite like going to
a show and seeing the walls peel (been there, done that, got the
swag!)   :)

Honestly can't say I've seen a hard flat RE-covered in muslin.


-SS
TTS-EKU

"Just for the record...The weather today is slightly sarcastic with a
good chance of
A) Indifference  and  B) Disinterest in what the critics say"
 --BU

------------------------------

Message-ID: <4419849B.4070106 [at] fredonia.edu>
Date: Thu, 16 Mar 2006 10:30:35 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: wall seams
References: <list-28530191 [at] prxy.net>

Two products come to mind.
First, brush grade Jaxsan 600 applied with a flexible taping knife works 
real well.  Attack the seam at a diagonal, fill well, strike off excess.
Second, M-D Patch (made by GE) Stiff like putty, but works quite well. 
Same application as Jaxsan.  Sandable.

I REALLY have to stay on students not to overapply any fillers. I try to 
get them to strike off excess so you can see the LAUAN :) through a 
light haze at the joint line. Hate sanding!
Steve Rees

BKHAIN [at] aol.com wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Hi, 
> 
> So what sort of ways are people covering wall seams / joints? 


------------------------------

Message-ID: <441984BE.8010409 [at] fredonia.edu>
Date: Thu, 16 Mar 2006 10:31:10 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Re: TEST
References: <list-28529480 [at] prxy.net> <list-28530055 [at] prxy.net> <list-28530227 [at] prxy.net>

You passed.

PatrickMcCreary wrote:
> 
> Just testing a new account.
> 
> Patrick



------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Cc: stagecraft [at] jeffsalzberg.com
Subject: OT: Greater Generation (Was NJ/FL)
Date: Thu, 16 Mar 2006 10:31:41 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAYi+nWUu2F0ODxQV2I08BIwEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-28530721 [at] prxy.net>

Jeffrey E. Salzberg wrote:

>I told myself, "This man stormed ashore at Normandy;=20
>this woman built B17 bombers."  They really were the last=20
>generation to achieve -- as a group -- something great.

I'm sure y'all have hear about Leonard Steinhorn's book/commentary about =
how
this really isn't the case. I copied the following from an Amazon review

<<<The so-called "greatest generation," he says, imposed a cultural
complacency whose worst elements included racism, sexual inequality and
anti-Semitism. Boomers rebelled against their parents' values, striving =
to
create an inclusive society that would recognize the contributions of =
all of
its members. Defying and denouncing authority, the baby boomers =
protested
against an unjust war and challenged an unethical political system. Even
after the clamor of the 1960s quieted down, boomers refused to tolerate
environmental violations, continued to challenge racial and sexual
discrimination, rejected religious intolerance and defied racial and =
sexual
taboos. And despite an apparent conservative turn in America, boomer =
values
have in fact permeated our society to the point where a *****er =
generation
takes them for granted.>>>

Sumtin' ta think about, and be proud of... Being a boomer myself...

Peter Scheu
=20
Scheu Consulting Services, Inc.
Syracuse, NY
www.scheuconsulting.com


------------------------------

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Was: construction of flats, NOW: wall seams
Date: Thu, 16 Mar 2006 10:35:05 -0500
Message-ID: <000501c6490f$3355dcc0$6501a8c0 [at] Dell>
In-Reply-To: <list-28530951 [at] prxy.net>


> Masking tape, IMO, is a poor choice.

..But better than nothing.  "Nothing" being what I'm seeing more and =
more of
these days, as if pretending that the audience can't see the seams is =
the
same as masking them.
=20
> Honestly can't say I've seen a hard flat RE-covered in muslin.

I used to see it a lot.  Scenic artists (of  which group I most =
emphatically
am *not* a member) told me that the muslin gives a more uniform surface =
that
takes paint better.


------------------------------

Date: Thu, 16 Mar 2006 10:42:58 -0500
Subject: Re: painting a scrim
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <C03EF1B2.AB19%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-28530884 [at] prxy.net>

I believe the real secret to scrim if you are
going to use paint is the consistency of the
paint.  Thin, thin, thin.  We had a large scrim
professionally painted and the paint was too thick.
Too thick means that after folding the scrim and
storing it, the fold lines are a problem when
rehanging the following year, or whenever.

Thinner paint is better.

Steve

> From: b Ricie <b_ricie [at] yahoo.com>
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Thu, 16 Mar 2006 07:27:38 -0800 (PST)
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: painting a scrim
>=20
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>=20
> If the Scrim is properly stretched, straight lines
> should not be a problem. You should put some bogus
> paper between the scrim and the floor before painting.
> The paint will work its way through all those tiny
> holes in the scrim and the paper will help to absorb
> the excess. Even though there is less material it
> seems it takes more paint than a regular drop. Lay out
> the scrim in charcoal first using your straight edge,
> or chalk line, then paint with a brush.
> A Hudson sprayer will work nicely for the base coat.
> As for the bricks, I would be more inclined to use a
> stamp rather than a stencil. Stamps can be easily
> made, and used a number of times to build up a
> texture. I also find stamps to be faster than
> stencils. If you go the stamp route, experiment on
> something other than the scrim so you can get the
> right saturation of the stamp, when you get the feel
> stamp away.
>=20
>=20
>>> I need to paint a brick wall onto a sharktooth
>>> scrim that is supposed
>>> to
>>> maintain it=B9s transparency. With the scrim
>>> material being=20
>>> dimensionally
>>> unstable and  very hard to control in order to
>>> paint straight lines =AD
>>> any
>>> thoughts about the appropriate methods and type of
>>> paints?
>=20
>=20
>=20
> Brian Rice=20
> 508-685-0716
> b_ricie [at] yahoo.com
> "Blessed are the cracked: For it is they who let in the
> light."
>=20
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com=20


------------------------------

Date: Thu, 16 Mar 2006 10:43:39 -0500
From: PatrickMcCreary <vze2gmht [at] verizon.net>
Subject: Re: TEST
In-reply-to: <list-28531021 [at] prxy.net>
Message-id: <6.1.2.0.0.20060316104147.0198e420 [at] incoming.verizon.net>
References: <list-28529480 [at] prxy.net> <list-28530055 [at] prxy.net>
 <list-28530227 [at] prxy.net> <list-28531021 [at] prxy.net>

At 10:31 AM 2006-03-16, you wrote:
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>You passed.
>
>PatrickMcCreary wrote:
>>Just testing a new account.
>>Patrick
>

Thanks, Stephen - I was really insecure about it - those mid-term grades 
can be very telling.

P. 


------------------------------

Date: Thu, 16 Mar 2006 10:45:44 -0500
Subject: Re: Was: construction of flats, NOW: wall seams
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <C03EF258.AB1A%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-28530191 [at] prxy.net>

I use water putty.  A thin coat to cut down
on sanding later.  Most of my paint jobs have
at least some kind of subtle texture on them.
I can count on one hand the number of scenic
paint jobs that did not have at least some
texture painted in.  In a bind, gaff tape.
It will be visible if the audience is close
unless there is some painted texture.  For
painted texture, I use a feather duster or
a textured roller.

Steve

> From: BKHAIN [at] aol.com
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Thu, 16 Mar 2006 10:03:06 EST
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Was: construction of flats, NOW: wall seams
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Hi, 
> 
> So what sort of ways are people covering wall seams / joints? I've seen
> joints covered with masking tape, gaffers tape, newspaper/muslin glued on with
> paint or even drywall compound that when sanded made quite the mess as well.
> I've 
> heard but haven't seen covering the entire wall with muslin.
> 
> Anyone like one over the other or have better ideas?
> 
> Thanks-
> 
> 
> Benjamin Hain 
> Freelance TD / LD / General Theater Guy
> Rochester, MN


------------------------------

Date: Thu, 16 Mar 2006 09:47:29 -0600
Subject: Re: New Jersey (was re: gates/bored actors/dry techs)
From: Greg Persinger <greg [at] vividillumination.com>
Message-ID: <C03EE4B1.8D18%greg [at] vividillumination.com>
In-Reply-To: <list-28529945 [at] prxy.net>

Keith,

As a first time visitor us Tennesseans were just trying to help you out and
let you know that you should just skip Memphis and go directly to a real
city like Nashville or St. Louis instead. :-)

Greg Persinger
Vivid Illumination
NASHVILLE, TN


on 3/16/06 8:50 AM, IAEG [at] aol.com at IAEG [at] aol.com wrote:

> Imagine my surprise as a first time visitor when the two choices I was
> presented with were
> 
> ST LOUIS
> 
> or 
> 
> NASHVILLE
> 
> how was I to know ?   what were they thinking ?   at the ramp that serves the
> Airport ? 



------------------------------

Message-ID: <44198943.6090507 [at] peoplepc.com>
Date: Thu, 16 Mar 2006 10:50:27 -0500
From: Michael Drury <MSDRURY [at] peoplepc.com>
Subject: Re: Was: construction of flats, NOW: wall seams
References: <list-28530191 [at] prxy.net> <list-28530951 [at] prxy.net>
In-Reply-To: <list-28530951 [at] prxy.net>

I still see this quite a bit.  It is some designer's preference as it 
seems to take paint better, their word not mine.  It does make hiding 
seams fairly easy with an "old school" style dutchman.  You can feather 
the edges just as if it were a soft-covered flat.

For non-muslin covered flats I usually use joint compound/spackle.

msd

>Honestly can't say I've seen a hard flat RE-covered in muslin.
>

------------------------------

Message-ID: <ce2084ad0603160753s2c6ad9edi26d7f858f2c32718 [at] mail.gmail.com>
Date: Thu, 16 Mar 2006 10:53:55 -0500
From: "Ken Romaine" <ken.stagecraft [at] gmail.com>
Subject: Re: Construction of Stage Flats
In-Reply-To: <list-28515336 [at] prxy.net>
References: <list-28515336 [at] prxy.net>

Just my $.02 here..

<belly up to bar, order pint>

Many moons ago, I was a volunteer with a community theater on Long
Island, and we were doing "The Man Who Came To Dinner".  One set - a
living room - with two or three doors and a staircase (3 or 4 steps)
to nowhere.

Small theater, small stage.  The stage was about 25'w x 15'd x 12'h.=20
No real wing space or flys - real simple and low tech.

And, as if you couldn't guess, very low budget.

So - how to build the living room?

Seems that we knew where to liberate some long unused steel studs and
sheetrock.  It had been sitting on a vacant floor of an office
building for several years.  Still fine and useable (well - we did
pick the best that was there).  Worked great.  Set built and painted
in 1 week, and under budget!

<musings>
Ahh...to be young again.
<\musings>

Louie "Lightfingers" Soprano
Midnight Scenery Supplies
"You got a problem wid dat?"

On 3/15/06, Connie Breding <breding [at] nmsua.nmsu.edu> wrote:
>
> I was recently informed by my tech. Director that muslin flats are old
> fashioned and no longer used.  He builds walls using 2X4s for framing, an=
d
> then covered in sheetrock.  Needless to say, this creates a ton of dust o=
n
> stage, that gets into the masking curtains.  What do people build "stage
> walls" out of these days?
> Many thanks,
> Connie

------------------------------

Message-ID: <44198B19.7030102 [at] peak.org>
Date: Thu, 16 Mar 2006 07:58:17 -0800
From: Pat Kight <kightp [at] peak.org>
Subject: Re: Was: construction of flats, NOW: wall seams
References: <list-28531162 [at] prxy.net>
In-Reply-To: <list-28531162 [at] prxy.net>

Jeffrey E. Salzberg wrote:

>>Masking tape, IMO, is a poor choice.

> ..But better than nothing.  "Nothing" being what I'm seeing more and more of
> these days, as if pretending that the audience can't see the seams is the
> same as masking them.

Masking tape can work - if the flats are flush, if it's applied 
carefully, and if the ensuing paint job has sufficient texture to 
camouflage the tape edges.

It looks like crap if it's just slapped on without attention to getting 
it smooth, but that's true of most seam-hiding techniques.

-- 
Pat Kight
kightp [at] peak.org

------------------------------

Subject: RE: Construction of Stage Flats
Date: Thu, 16 Mar 2006 11:08:42 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9BA2 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> Those of us who have been=20
> around for a while tend to be pretty flexible.

In our choices of materials/techniques, yes.

But trying to put my palms on the floor while leaving my knees straight
usually leaves me sore for a few days.

------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Cc: ryan.bible [at] gmail.com ('Ryan Bible')
Subject: RE: OT: Greater Generation (Was NJ/FL)
Date: Thu, 16 Mar 2006 11:10:13 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAdY5uIdUm9UGPzHp8z/0h2AEAAAAA [at] scheuconsulting.com>
In-reply-to: <16956f6b0603160757j71f2de45va6893d3163a5ce5a [at] mail.gmail.com>

Ryan,

Thanks for your e-mail.

First of all, you misread my post. The *****er is "********* e r", not
something you assumed to be insulting.

Secondly, I am just offering up another perspective that someone much
smarter than me about these this has made. I agree with you that one =
should
not "judge an entire generation on the actions of a few of our members." =
But
some people, like Mr. Steinhorn, also don't like their generation judged =
the
same way (that Boomers are whiney, ungrateful, and "me" oriented").

Just a different perspective that many people share. I'm sorry that you =
took
my post so personally, and apologize if I didn't make myself clear. No
offense was indented or should such intent be implied.

Peter Scheu
=20
Scheu Consulting Services, Inc.
Syracuse, NY
www.scheuconsulting.com


>-----Original Message-----
>From: Ryan Bible [mailto:ryan.bible [at] gmail.com]=20
>Sent: Thursday, March 16, 2006 10:58 AM
>To: peter [at] scheuconsulting.com
>Subject: Re: OT: Greater Generation (Was NJ/FL)
>
>
>Excuse me Sir, but i happen to be a member of that *****er=20
>generation and i find it incredibly inulting that you would=20
>j, not all of us take our elders for granted. I for one=20
>do appriciate both of the great generations before me, and i=20
>can only hope that my generation could come somewhere close to=20
>achieving great things like both of the generations of ww2 and=20
>vietnam. Just wait, the Iraqi generation will soon stand up to=20
>the political idiocy that our nation is currently facing. I=20
>remember the sacrifices...
>
>
>Ryan Bible


------------------------------

Subject: RE: New Jersey (was re: gates/bored actors/dry techs)
Date: Thu, 16 Mar 2006 11:12:27 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9BA3 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>
Cc: stagecraft [at] jeffsalzberg.com

> It's a little-known fact that "Sarasota*" is the Seminole=20
> word for "20MPH in the passing lane".

*Chucklesnort*

(Which, btw, according to Jeopardy, is where the word "chortle" comes
from.)

Ahh, glad I already finished my coffee.

------------------------------

Message-ID: <44198F64.5090903 [at] cybercom.net>
Date: Thu, 16 Mar 2006 11:16:36 -0500
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Deconstruction. 
References: <list-28528489 [at] prxy.net>
In-Reply-To: <list-28528489 [at] prxy.net>

Paul Schreiner wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
>> Embedding explosives in the concrete foundations of temporary sets is 
>> actually fairly common theatrical practice.
>>
>> -- 
>> Davie Dimmers.
>> Super top head theatre techie and inventor of the one second strike.
> 
> LOL!
> 
> Is it to be assumed that the one second for strike only ignores cleanup
> cuz there's precious little left of the theatre anyway once it's done? 
> 
   A friend of mine was doing a trade show in Tokyo a few years ago. One 
of the oddities he noted was that all the booths were constructed on the 
floor, and glued and nailed up.  He wondered how they were going to get 
them all down, so he stuck around to watch.
   When the show closed on the last day, all the booth people scurried 
about removing all the computer equipment. (It was a computer show) and 
then the wrecking crew arrived. . . More specifically, it was all the 
students and staff of the nearby sumo wrestler schools, equipped with 
these huge wooden mallets...
	They started at one edge of the show floor and reduced each booth as 
they reached it to a pile of rubble.  The phrase he used was that it 
looked like a bombed out city at the end of WW2. Then the little 
bulldozers came out and pushed everything out the loading dock door and 
onto waiting trucks to be taken away.  He said that after seeing this, 
certain scenes in Japanese anime became a little more understandable.

	--Dale

------------------------------

Message-ID: <44199332.1040500 [at] cybercom.net>
Date: Thu, 16 Mar 2006 11:32:50 -0500
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Re: Was: construction of flats, NOW: wall seams
References: <list-28530191 [at] prxy.net>
In-Reply-To: <list-28530191 [at] prxy.net>

BKHAIN [at] aol.com wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Hi, 
> 
> So what sort of ways are people covering wall seams / joints? I've seen 
> joints covered with masking tape, gaffers tape, newspaper/muslin glued on with 
> paint or even drywall compound that when sanded made quite the mess as well.  I've 
> heard but haven't seen covering the entire wall with muslin.  
> 
> Anyone like one over the other or have better ideas? 
> 
> Thanks-
> 
> 
> Benjamin Hain 
> Freelance TD / LD / General Theater Guy
> Rochester, MN
> 
> 
> 
   I saw someplace recently a catalog that had scenery paints, and 
matching colored tape for quick covering of joints in the scenery. 
Fairly limited color selection, but great idea.
   --Dale


------------------------------

Date: Thu, 16 Mar 2006 08:38:23 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Fwd: Maroon Distress Rockets
Message-id: <7.0.1.0.0.20060316083655.01ff4178 [at] interstellar.com>

 From another list (this list knows where to find anything), you can 
contact him directly:

From: Newman.RD [at] forces.gc.ca
Subject: MAROON DISTRESS ROCKETS

Good day.

We were wondering if you might be able to assist us.

Our museum is searching for maroon distress rockets of World War One
vintage, including pieces of rockets and artefacts about the rockets.
(Naturally, by virtue of its vintage, we don't expect to find an active
maroon from that era.)  The purpose is for an exhibit our museum is building
about the German Zeppelin and airplane air raids against Great Britain in
World War One -- maroon distress rockets were used in London, fired by civil
authorities to warn the populace to take cover, the enemy raiders were
approaching.

Could you suggest where we might find a maroon, pieces of maroons and/or
artefacts of maroons, from the World War one era?

Thank you for your time.

Doug Newman
Captain
Canadian Forces Museum of Aerospace Defence
Canadian Forces Base North Bay
Hornell Heights, Ontario (about 250 miles north of Toronto)
Canada  P0H 1P0

-- 
Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
219 Oak Wood Way, Los Gatos, California 95032-2523 USA
tel: +1 408 356-3886, USA toll free: 1 866 356-3886
Skype:  jerrydurand



------------------------------

Message-ID: <b7318c480603160839j6a605737k1be7de016890cc22 [at] mail.gmail.com>
Date: Thu, 16 Mar 2006 11:39:51 -0500
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Subject: Re: Was: construction of flats, NOW: wall seams
In-Reply-To: <list-28532609 [at] prxy.net>
References: <list-28530191 [at] prxy.net> <list-28532609 [at] prxy.net>

NASCAR crews use colored duct tape that matches the color of their car
to do "repairs" on the car's body during a race.  Of course it is a
little harder to see that tape on car that is going 190 mph.

IMHO, the problem with doing this for sets is the wide vareity in
color and textures on a set.

>   I saw someplace recently a catalog that had scenery paints, and
> matching colored tape for quick covering of joints in the scenery.
> Fairly limited color selection, but great idea.
>   --Dale
>
>


--
Delbert L. Hall
ZFX Flying Director
Phone: 714-585-7070

------------------------------

Message-ID: <8231e7ea0603160857u41180deby1c64d3d5e076359c [at] mail.gmail.com>
Date: Thu, 16 Mar 2006 11:57:50 -0500
From: SS <cueonego [at] gmail.com>
Subject: Re: Deconstruction.
In-Reply-To: <list-28532290 [at] prxy.net>
References: <list-28528489 [at] prxy.net> <list-28532290 [at] prxy.net>

>>>>A friend of mine was doing a trade show in Tokyo a few years ago.
        <snip->
        When the show closed on the last day, all the booth people scurried
        about removing all the computer equipment, and
        then the wrecking crew arrived
        <snip>
       They started at one edge of the show floor and reduced each booth as
       they reached it to a pile of rubble.  The phrase he used was that it
       looked like a bombed out city at the end of WW2. Then the little
      bulldozers came out and pushed everything out the loading dock door a=
nd
      onto waiting trucks to be taken away.  He said that after seeing this=
,
      certain scenes in Japanese anime became a little more
understandable. <<<<<


I once had the great pleasure of doing some work for a touring
Japanese company
(can't recall their name, plus it was some odd years ago). Anywho, I
was highly impressed with their way of handling load in, prep, run,
and strike. It was truly amazing.

Two guys came into the space, and with broken english had a brief
conversation with us (house crew). Then magically outta thin air,
about 20 people all wearing white and Getas (open toe shoes are a
no-no, but who was to argue with them?!) stormed the stage, all with 1
or 2 (what seemed random) tools on their person. Seriously, one guy
had a hammer, another a mag-lite, another a wrench, another tape....it
was odd.

I tell you what though. They had the set loaded in, installed, and
were teching in.......like......an hour!!  We were in awe at the
incredible professionalism, efficiency, and "team player" mentality
they all possessed. They were courteous, safe, fast, and smart. If
only we could all have crews like that...minus the sandals of course
(again, not safe!)  :) :)


-SS
TTS-EKU

"Just for the record...The weather today is slightly sarcastic with a
good chance of
A) Indifference  and  B) Disinterest in what the critics say"
 --BU

------------------------------

In-Reply-To: <list-28532776 [at] prxy.net>
Subject: Re: Fwd: Maroon Distress Rockets
Message-ID: <OFD998C65F.A499189B-ON85257133.005CFAD8-85257133.005D6104 [at] american.edu>
From: Jeff Holt <jdholt [at] american.edu>
Date: Thu, 16 Mar 2006 11:56:39 -0500

Yeah, I gotta coupla' maroons working for me now!!

Couldn't resist, back to lurk...



Could you suggest where we might find a maroon, pieces of maroons and/or
artefacts of maroons, from the World War one era?

Thank you for your time.






------------------------------

Subject: RE: Was: construction of flats, NOW: wall seams
Date: Thu, 16 Mar 2006 12:05:26 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9BA4 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> NASCAR crews use colored duct tape that matches the color of=20
> their car to do "repairs" on the car's body during a race. =20
> Of course it is a little harder to see that tape on car that=20
> is going 190 mph.
>=20
> IMHO, the problem with doing this for sets is the wide=20
> vareity in color and textures on a set.

Nah, just hook the set up to a turbocharged racing engine, and *voila*
problem solved, texture or no.

------------------------------

Message-ID: <8231e7ea0603160916y63a2d121se21eed055c3a9e76 [at] mail.gmail.com>
Date: Thu, 16 Mar 2006 12:16:31 -0500
From: SS <cueonego [at] gmail.com>
Subject: Re: Was: construction of flats, NOW: wall seams
In-Reply-To: <list-28531162 [at] prxy.net>
References: <list-28530951 [at] prxy.net> <list-28531162 [at] prxy.net>

>>>>> Masking tape, IMO, is a poor choice.
..But better than nothing.  "Nothing" being what I'm seeing more and more o=
f
these days, as if pretending that the audience can't see the seams is the
same as masking them.<<<<<<


Good point. I was taking for granted the fact that some folks actually
do things the correct way, and follow through with a task.


>>>>Honestly can't say I've seen a hard flat RE-covered in muslin.
I used to see it a lot.  Scenic artists (of  which group I most emphaticall=
y
am *not* a member) told me that the muslin gives a more uniform surface tha=
t
takes paint better.<<<<


I should rephrase. I have a habit of wording things poorly (I think
the brain moves quicker than the mouth/fingers can keep up, plus, it's
not like you guys are mind readers (although sometimes it seems like
it  :)
Tis' true. I have on occasion seen that technique used, and for the
reason you gave.
It's just not something I have (italics here..) commonly seen. I hail
from the "hard flat" generation bracket, more so than the old-school
"animal glue/water/lysol" sizing crowd.

Thanks for putting me in my place though!!

:) :)

-SS
TTS-EKU

------------------------------

From: Tom Grabowski <tomgrab [at] utpa.edu>
Subject: Scene Design Textbook recommendations
Date: Thu, 16 Mar 2006 11:35:47 -0600
Message-ID: <20060316113547623.00000003976 [at] TGRABOWSKI>

	It is time for textbook requests for next fall and I am =

Looking for recommendations for a scene design text book for a =

beginning class in scene design.  It will be used in conjunction =

with _From Page to Stage_ by Rosemary Ingham.  I have used in the =

past D. R. Payne's _The Scenographic Imagination_ but I am looking
for something that was more on the beginning level.  The students
already have the Parker, Wolf,&  Block text from the beginning =

classes in technical production.  It would be nice to find
something along the lines of the long out of print _Theatrical
Set Design_ by David Welker.  The students are either taking or
have taken the Drawing and Rendering class so that aspect is
covered. Any ideas?  Thanks =


-- =

Tom Grabowski			University of Texas-Pan American
Designer				Communication Department
Tomgrab [at] UTPA.edu			Edinburg, Texas 78541
956/381-3588			FAX 956/318-2187


------------------------------

Message-id: <fc.00802ed7062f160100802ed7062f1601.62f17b2 [at] furman.edu>
Date: Thu, 16 Mar 2006 12:42:22 -0500
Subject: flat construction
From: "Alan Bryson" <alan.bryson [at] furman.edu>

Correct.  For some long-term and unforgiving lenses, your TD's 2x4 method
is correct. . 
I can think of few more expensive, heavy, and cumbersome ways. . .granite
slab-
work, perhaps?  or, he may be considering actors' propensity for slamming 
into any and all set-peices?

We use 1xs and muslin for most of our flats. . .cheap, quick, easily
portable,
and cam be re-used many times b4 re-covering or re-cycling.  Luan is also
our mat. of choice when we need more ,durability. . .
hope alll your replies give you coulnsel to trust your practical
knowledge. . .

alan bryson
Technical Director
Furman University Theatre Arts Department



------------------------------

Message-id: <fc.00802ed7062f1a1c00802ed7062f1a1c.62f1a6c [at] furman.edu>
Date: Thu, 16 Mar 2006 12:49:49 -0500
Subject: Re: techniques for painting transparent SCRIM
From: "Alan Bryson" <alan.bryson [at] furman.edu>


Ruth-you're on to the right track. . .
it's easiest to spray your designs onto the scrim. . .
take some time to create some masking patterns, and work like you would
with 
"Wallpaper" painting techniques. . .if you don't have a HVLP or the like, 
depending on what size scrim you're talking re:, reg. spray-cans could
work. . .

alan bryson
Technical Director
Furman University Theatre Arts Department
alan bryson
Technical Director
Furman University Theatre Arts Department



------------------------------

Date: Thu, 16 Mar 2006 12:58:05 -0500
From: "Frank E. Merrill" <Lamplighter [at] tcon.net>
Reply-To: "Frank E. Merrill" <Lamplighter [at] tcon.net>
Message-ID: <1301732625.20060316125805 [at] tcon.net>
Subject: Re[2]: Deconstruction.
In-Reply-To: <list-28533219 [at] prxy.net>
References: <list-28528489 [at] prxy.net> <list-28532290 [at] prxy.net> <list-28533219 [at] prxy.net>

Howdy !

Thursday, March 16, 2006, SS wrote:

> I tell you what though. They had the set loaded in, installed, and
> were teching in.......like......an hour!!  We were in awe at the
> incredible professionalism, efficiency, and "team player" mentality
> they all possessed.

We...are...the...Borg.

Best regards,
  Frank E. Merrill
  MERRILL STAGE EQUIPMENT
  Indianapolis
  Established 1946
  www.merrillstage.com 

  Running THE BAT!  Natural e-mail system v.3.65.03          mailto:Lamplighter [at] tcon.net

   



------------------------------

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Cc: Lamplighter [at] tcon.net ('Frank E. Merrill')
Subject: RE: Re[2]: Deconstruction.
Date: Thu, 16 Mar 2006 13:21:56 -0500
Message-ID: <000001c64926$8207ec20$6501a8c0 [at] Dell>
In-Reply-To: <list-28534637 [at] prxy.net>



> We...are...the...Borg.

Striking is futile.  Sets will be assimilated.


------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <88.36abcb95.314b0e8e [at] aol.com>
Date: Thu, 16 Mar 2006 13:55:10 EST
Subject: Re: Construction of Stage Flats

In a message dated 16/03/06 07:57:35 GMT Standard Time, billn [at] peak.org writes:

> > It'd be easier in the long run to train the actors not to slam doors on
>  > the set.
>  
>  A well constructed door unit will stand such abuse. And if it is properly
>  anchored, it will not cause noticeable vibration of the other flats.
>  
>  The door frame itself should be constructed out of 2x4s or 2x6s.

We had such a problem in one show. The trouble was that the door had to be 
slammed. It also had glass panels and a visible corridor behind it. To brace it, 
we rigged scaffold poles either side of the frame, and braced them with a 
bridge structure of scaffold over the corridor and back down to the stage floor. 
It worked.


Frank Wood

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <305.4af5f6.314b133c [at] aol.com>
Date: Thu, 16 Mar 2006 14:15:08 EST
Subject: Re: New Jersey (was re: gates/bored actors/dry techs)

In a message dated 16/03/06 14:51:25 GMT Standard Time, IAEG [at] aol.com writes:

> I always recall driving out of the Memphis TN airport for the first time, 
>  headed for a downtown venue, I assumed when I hit the Interstate clearly 
> visible 
>  from the airport that there would be a sign that said MEMPHIS or DOWNTOWN 
>  MEMPHIS indicating which ramp to take.
>  
>  Imagine my surprise as a first time visitor when the two choices I was 
>  presented with were
>  
>  ST LOUIS
>  
>  or 
>  
>  NASHVILLE
>  
>  how was I to know ?   what were they thinking ?   at the ramp that serves 
> the 
>  Airport ? 
>  
>  compare this to Florida,  where I think you can get from any city or 
>  attraction to another without a map whatsoever by following the signage.

French signage is rather like this, once you are off the autoroutes 
(freeways, except that they seldom are free). You will get a small sign saying "Paris", 
or whatever the next large town is. After that, all you get is signs for the 
next village. Since my wife is a very bad map-reader, and trying to read a map 
and drive at the same time is dangerous, this involves comitting the route to 
memory.

Frank Wood

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <45.38d034fa.314b151f [at] aol.com>
Date: Thu, 16 Mar 2006 14:23:11 EST
Subject: Re: Was: construction of flats, NOW: wall seams

In a message dated 16/03/06 15:03:58 GMT Standard Time, BKHAIN [at] aol.com writes:

> So what sort of ways are people covering wall seams / joints? I've seen 
>  joints covered with masking tape, gaffers tape, newspaper/muslin glued on 
> with 
>  paint or even drywall compound that when sanded made quite the mess as 
well. 
>  I've 
>  heard but haven't seen covering the entire wall with muslin.  
>  
>  Anyone like one over the other or have better ideas? 

We have always found TORN newspaper strips and emulsion glaze or size glue to 
work well. But they must be torn, rather than cut. This gives a soft, 
irregular edge.

The best way is to design the set so that there are no butt joints, 
particularly if it has to be set and reset. 6" or 1' returns make this easier, and the 
whole set more stable. They are often architecturally plausible.


Frank Wood

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <2e6.364015f.314b16a6 [at] aol.com>
Date: Thu, 16 Mar 2006 14:29:42 EST
Subject: Re: New Jersey (was re: gates/bored actors/dry techs)

In a message dated 16/03/06 15:25:05 GMT Standard Time, 
stagecraft [at] jeffsalzberg.com writes:

> * When people retire, they move to St. Petersburg...to be near their parents
>  in Sarasota.

Careful! For we right-ponders, St. Petersburg is a city in what remains of 
Russia, built by the Czar Peter the Great.

Frank Wood

------------------------------

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Construction of Stage Flats
Date: Thu, 16 Mar 2006 12:30:34 -0700
Message-ID: <01e301c64930$191bd4b0$f5ee0918 [at] doom1>
In-Reply-To: <list-28527630 [at] prxy.net>

Golly, that could be somewhat painful .... blowing the entire audience at
once, out of the theater. Placing the charges might be interesting .... and
long fuses. Well, what do I know? Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Clive
Mitchell
Sent: Thursday, March 16, 2006 5:31 AM
To: Stagecraft
Subject: Re: Construction of Stage Flats

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

In message <list-28518948 [at] prxy.net>, Paul Schreiner 
<paulschreiner42 [at] gmail.com> writes
>> Personally, I set forms, rig rebar, and pour concrete for my flats.
>
>Remind me never to volunteer for one of your strikes!
>
>> Ok, not really, but if we're talking about "overkill" for theatre
sets.....
>
>(Well, unless you wanna do some overkill here, too, and set some 
>explosive charges or something to bring it all down...that'd be cool.)

Embedding explosives in the concrete foundations of temporary sets is 
actually fairly common theatrical practice.

You do have to be careful where you put the detonator though.  Once on 
our first night of opening one of the chorus girls sat on it and blew 
the entire audience out of the theatre.

-- 
Davie Dimmers.
Super top head theatre techie and inventor of the one second strike.


------------------------------

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Construction of Stage Flats
Date: Thu, 16 Mar 2006 12:34:30 -0700
Message-ID: <01e401c64930$a570d190$f5ee0918 [at] doom1>
In-Reply-To: <list-28523123 [at] prxy.net>

As has been mentioned numerous time, the dust can be and is a health hazard,
and you cannot get away from that. It also accumulates everywhere in the
stage house and elsewhere. There are other hazards as well, including
slipping, gumming up electronics, etc. Dust is to be avoided at all costs
... he said, knowing most theaters and houses, and stages have over 100
particulate on and in them anyway, and people inspire the particulate
regularly. You ought to see some lungs ..... well, maybe not. Too scary.
Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Nelson
Sent: Thursday, March 16, 2006 12:21 AM
To: Stagecraft
Subject: Re: Construction of Stage Flats

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

> I was recently informed by my tech. Director that muslin flats are old
> fashioned and no longer used.  He builds walls using 2X4s for framing, and
> then covered in sheetrock.  Needless to say, this creates a ton of dust on
> stage, that gets into the masking curtains.  What do people build "stage
> walls" out of these days?

We use the standard old flat construction technique, but replace the
muslin with luan skins. The skins provide a bit more stiffness, so not as
many gussets are needed at the joints.

Bill


------------------------------

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: New Jersey (was re: gates/bored actors/dry techs)
Date: Thu, 16 Mar 2006 12:35:16 -0700
Message-ID: <01e501c64930$c0b0d4f0$f5ee0918 [at] doom1>
In-Reply-To: <list-28537048 [at] prxy.net>

And a lovely city though now a tad chilly, politically and otherwise. Doom

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
FrankWood95 [at] aol.com
Sent: Thursday, March 16, 2006 12:30 PM
To: Stagecraft
Subject: Re: New Jersey (was re: gates/bored actors/dry techs)

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

In a message dated 16/03/06 15:25:05 GMT Standard Time, 
stagecraft [at] jeffsalzberg.com writes:

> * When people retire, they move to St. Petersburg...to be near their
parents
>  in Sarasota.

Careful! For we right-ponders, St. Petersburg is a city in what remains of 
Russia, built by the Czar Peter the Great.

Frank Wood


------------------------------

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Construction of Stage Flats
Date: Thu, 16 Mar 2006 12:41:43 -0700
Message-ID: <01fc01c64931$a7c2e270$f5ee0918 [at] doom1>
In-Reply-To: <list-28520431 [at] prxy.net>

Probably, but not "fresh enough!" doom

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Sapsis
Sent: Wednesday, March 15, 2006 9:20 PM
To: Stagecraft
Subject: Re: Construction of Stage Flats

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Or 85 years old.


On 3/15/06 10:51 PM, "Jim Hyslop" <theatre [at] dreampossible.ca> wrote:

> BTW, how old is this guy? That sounds like the kind of attitude of
> someone fresh out of school.



------------------------------

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Big Balls
Date: Thu, 16 Mar 2006 12:42:31 -0700
Message-ID: <01fd01c64931$c42f7ef0$f5ee0918 [at] doom1>
In-Reply-To: <list-28520279 [at] prxy.net>

And this is not for the "haves" and Have-nots". Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Greg Bierly
Sent: Wednesday, March 15, 2006 9:10 PM
To: Stagecraft
Subject: Re: Big Balls

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

> create a clear "crystal" ball.  Needs to be about 20"-24" in diameter.

Rose Brand 24" diameter $99.50.comes in two halves.


------------------------------

Message-ID: <001501c64933$091d4230$6401a8c0 [at] amd2200>
From: "Idaho Scenic" <idahoscenic [at] earthlink.net>
References: <list-28515336 [at] prxy.net> <list-28518149 [at] prxy.net> <list-28518948 [at] prxy.net> <list-28527630 [at] prxy.net>
Subject: Re: Construction of Stage Flats
Date: Thu, 16 Mar 2006 12:51:36 -0700


Hmmm... could be utilized to clear the house at end of show.

 Robert Riddle
Will Disagree for the Sake of Discussion
Will Discuss for the Sake of Learning
>
> You do have to be careful where you put the detonator though.  Once on
> our first night of opening one of the chorus girls sat on it and blew
> the entire audience out of the theatre.
>
> -- 


------------------------------

Message-Id: <3.0.6.32.20060316130352.00d46708 [at] pop.west.cox.net>
Date: Thu, 16 Mar 2006 13:03:52
From: CB <psyd [at] cox.net>
Subject: Re: Article of fall protection

>No Australian city has regular 
>or persistent snow.

Nor any other 'civilised' city, AFAIAC.
For those of you that are metrically challenged, the easiest conversion is
to addthe figure in C to itself, and then subtract a tenth of the sum.  Add
thirty-two to the result, and viola, Farenheit!  1.8C+32=F, or: Fifteen
times two is thirty, minus a tenth (three) is twenty-seven.  twenty-seven
plus thirty-two is fifty-nine.  Fifteen C is fifty-nine F.  Forty-five
times two is ninety, minus nine is eighty-two, plus thirty-two is one
hundred and thirteen, so forty-five C is one hundred and thirteen F!
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

------------------------------

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Construction of Stage Flats
Date: Thu, 16 Mar 2006 13:03:09 -0700
Message-ID: <023101c64934$a6043b20$f5ee0918 [at] doom1>
In-Reply-To: <list-28518149 [at] prxy.net>

AND HOW ABOUT THE SOLID STEEL FLATS .... SEEN IN SOME FLORIDA THEATERS.
EGADS. MAYBE THEY ARE THE TERRORIST DETERRANTS FOR THEATER. WHO KNEW? DOOM

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jon Ares
Sent: Wednesday, March 15, 2006 7:01 PM
To: Stagecraft
Subject: Re: Construction of Stage Flats

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

> I was recently informed by my tech. Director that muslin flats are old
> fashioned and no longer used.  He builds walls using 2X4s for framing, and
> then covered in sheetrock.  Needless to say, this creates a ton of dust on
> stage, that gets into the masking curtains.  What do people build "stage
> walls" out of these days?


Personally, I set forms, rig rebar, and pour concrete for my flats.

Ok, not really, but if we're talking about "overkill" for theatre sets.....

     - Jon Ares
www.hevanet.com/acreative 


------------------------------

Message-Id: <3.0.6.32.20060316130654.00d46708 [at] pop.west.cox.net>
Date: Thu, 16 Mar 2006 13:06:54
From: CB <psyd [at] cox.net>
Subject: RE: Article of fall protection

>Whats the relevance of snow we have had snow the 2 years in the Emirates
>which is 90% desert

Skiing man, skiing.  What did it cost them to make a ski resort in Dubai?
If ya needs ta ski, the Kiwi's have figured it out.  You can ski there all
day, and a short drive (or so I'm told) will take you to the beach for the
lafternoon surf.
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

------------------------------

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Cc: Rees [at] fredonia.edu
Subject: RE: Construction of Stage Flats
Date: Thu, 16 Mar 2006 13:04:20 -0700
Message-ID: <023201c64934$d080d930$f5ee0918 [at] doom1>
In-Reply-To: <list-28516563 [at] prxy.net>

I THINK THAT IS SOMETIMES THE PROBLEM ... LOTS OF PEOPLE IN MY NEIGHBORHOOD
STICKING TO THEIR "GUNS." DOOM

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen E.
Rees
Sent: Wednesday, March 15, 2006 5:59 PM
To: Stagecraft
Subject: Re: Construction of Stage Flats

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

You are right. Your "TD" is wrong.  Stick to your guns.
Steve Rees, TD
SUNY-Fredonia

Connie Breding wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
> Thank you for confirming that I am NOT crazy.  I have always been taught
to
> use 1X3 or 1X4 for framing, and then cover the frame with muslin, which is
> treated with a glue mixture.  Or, you can make the "Hollywood" flat with
> luan covering the frame.  When I told the TD that I was really unhappy
with
> this sheetrock as a flat material, I was completely dismissed as not being
> up-to-date on what is currently used for box sets these days.
> 
> Thanks,
> Connie
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> On 3/15/06 5:06 PM, "Mark O'Brien" <marko [at] email.arizona.edu> wrote:
> 
> 
>>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>>---------------------------------------------------
>>
>>WTF?
>>
>>This is _NOT_ how one builds scenery.
>>
>>Perhaps a drug test for your TD is in order.
>>
>>(did I mention) This is _NOT_ how one builds scenery.
>>
>>Well, it is not how I build scenery.
>>
>>Mark-O
>>
>>
>>Mark O'Brien
>>Opera Technical Director
>>University of Arizona, School of Music
>>520-621-7025
>>520-591-1803 Mobile
>>
>>Quoting Connie Breding <breding [at] nmsua.nmsu.edu>:
>>
>>
>>>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>>>---------------------------------------------------
>>>
>>>I was recently informed by my tech. Director that muslin flats are old
>>>fashioned and no longer used.  He builds walls using 2X4s for framing,
and
>>>then covered in sheetrock.  Needless to say, this creates a ton of dust
on
>>>stage, that gets into the masking curtains.  What do people build "stage
>>>walls" out of these days?
>>>Many thanks,
>>>Connie
>>
>>
>>
>>



------------------------------

Message-Id: <3.0.6.32.20060316131202.00d46708 [at] pop.west.cox.net>
Date: Thu, 16 Mar 2006 13:12:02
From: CB <psyd [at] cox.net>
Subject: Moving/touring a show

>Box trucks are fine - we don't want to be the drivers.

I work with a coupla guys that do this quite often.  They get a plane
ticket and a perdiem to the load-in from where they live, a day rate and a
per diem for each day of driving, (not to exceed eight hours) and either a
per diem and a hotel for teh duration or a round trip ticket home until the
out.  I've done it myself on gigs that weren't too far, required a six hour
a day drive, and had an interesting location to hang out at during the
show.  You do want to get guys that have done this sort of thing, though,
ot just the kid from the local fast food joint that wants to travel. Check
with th local corporate AV providers, as they have to use this sort of
person often.
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

------------------------------

Message-ID: <58f67b0f0603161221o42dbe4c1n1688ae5c5a29e0b2 [at] mail.gmail.com>
Date: Thu, 16 Mar 2006 14:21:59 -0600
From: "Michael Powers" <mptecdir [at] gmail.com>
Subject: Re painting a scrim (hopefully a non garble version!)

Ruth,

If the scrim is moving as you paint, I would think that you have not
sized the scrim and/or you do not have it fastened to the floor or
paint frame(I personally I dislike painting a scrim UP or on a frame
rather than a floor).  The first step is to get a copy of Lynn
Pectal's Designing and Painting for the Stage and follow the
directions for starch sizing the scrim.  It involves HOT boiling ARGO
laundry starch, not the kind that comes in a bottle or spray can.  The
starch stabilizes the scrim as well as sealing it so the paint/dye
does not have a tendency to"bleed".  Even if the starch fills some of
the scrim openings, it is translucent to transparent.  The starch size
is IMHO the best method of sizing a scrim.

For the painting, dye is still the absolute best but in today's world
of chemical/safety responsibility most traditional scenic dyes are
rarely if at all used anymore.  Rosco supersat mixed in a dye like
consistency or I believe Rose Brand has a new dye product out, are
possibly your best bet for painting.

The method I learned and used for years and which I still tend to
think is, if not the best, is "one of the best" methods of scrim
painting.

If the picture is not highly detailed or if you do not have access to
a high power projector or a way to project on to your paint floor, I
would suggest the following:

First layout bogus or butcher's paper on the paint floor.  Staple or
tape it down so it is stable.  Draw your picture on the paper,
starting with light charcoal lines and finishing with dark magic
marker lines for the finished cartoon.  The next step has two
different schools of thought. 1. Fasten the scrim down directly over
the cartoon. OR 2. lay clear plastic over the cartoon and then fasten
the scrim down on top of this.  The first lets you see the cartoon the
best and has the least tendency to pool or bleed.  The second prevents
any of the paper from sticking to the back of the scrim, needing to be
peeled off later, but one has to be careful not to work too wet.  The
main thing is that you can see your cartoon and the scrim is fastened
down in a true right angle square or rectangle.  It should be smooth
and slightly taut, but NOT stretched.  Next comes the starch coat, let
dry overnight, especially if the humidity is high, you want the starch
to be VERY dry when you start the paint job. You want it to be a lot
like paint by the numbers in that the color needs to be right and in
the right place the first time.  You can't over paint or paint out an
error. You can blend adjacent colors while wet or damp, wet blending
is fine as is scumble or other wet blend techniques.  Over painting
techniques like sponging, rag rolling, and spattering tend not to read
as strong as when painting on an opaque drop or flat.    Final line
work, hard shadows etc. need to be generally darker and heavier than
you think.

Hope this helps a bit.


--
Michael

Michael Powers
Director of Operations
Central Lighting & Equipment
1720 Fuller Rd. Suite 150
West Des Moines Iowa 50265
515-277-4190   877-977-4190
Fax  515-277-2295
515-557-0178  cell
michael [at] clelights.com

------------------------------

End of Stagecraft Digest #732
*****************************