Interior Architecture Program
Ohio University
Interior Architecture Program Faculty:
Matthew Ziff, M.Arch, Interior Architecture Chair Vincent Caranchini, MFA Mary Beth Janssen, MID Dan Harper, MID
Fabric issues and information
Problems that can occur with fabrics used to face panels (such as office systems panels)
Bumps in the face of the finished panel
Select a thicker fabric that can cover the irregularities. Anything lighter should be mocked up for inspection before specification.
Air bubbles in the face of the finished panel
Select a thicker fabric or add an acrylic backing. Several of the thinner fabrics need an acrylic backer to create dimensional stability, this backer gives the adhesive something strong to hold on to creating a permanent attachment.
Glue bleeding through the fabric
The thicker fabrics are heavy enough to prevent the glue from soaking through. Jasco has had great results with textured fabrics in the 16-oz/lineal yd weight range. Acrylic backing prevents the glue from even coming in contact with the fabric, which solves both the bleeding and chemical reaction problems.
The yellow of the substrate is showing through the fabric
Select a darker color or have the substrate colored to match. The standard substrate for our acoustical panels is yellow or brown for tackable panels which can make lighter fabric colors, especially white, look off white. To prevent this problem, you can require that the substrate be painted to match the fabric color. It has a negligible effect on the acoustical performance and no effect on tackablility.
Misshapen panels or indentations in the face
Require limits on the length of time that fragile panel products can be on the job site before installation.
Select a smoother tackable substrate.
Changes in temperature will make the fabrics and substrates expand and contract which breaks the attachment and creates bubbles. Ironing the fabric can solve this problem but avoiding it is the best solution.
ACT Performance Guidelines
(http://www.sinapearson.com/products/act-guidelines.html)
The Association for Contract Textiles was founded in 1985 to address a variety of issues related to contract fabrics. The ACT Performance Guidelines were developed to make specifying fabric easier. The 5 symbols give architects, designers and end-users a vast amount of performance information in a succinct, visual way. An explanation of the symbols, application and test method follows below. For more details consult your ACT PERFORMANCE GUIDELINES BROCHURE.
Flame Resistance
Flame resistance refers to a fabric's ability to resist burning.
APPLICATION PASSES
Upholstery California Bulletin 117 Section E
Direct Glue Wallcoverings ASTM E-84 (adhered method)
Panels and Upholstered Walls ASTM E-84 (unadhered method)
Drapery N.F.P.A. 701 Small Scale
Colorfastness to Wet and Dry Crocking
Colorfastness is a fabric's ability to retain color in various conditions. Crocking refers to the rubbing off of color from a fabric when subjected to abrasion.
APPLICATION PASSES
Upholstery
AATCC 8 Dry Crocking, Class 4 minimum
Wet Crocking, Class 3 minimum
Direct Glue Wallcoverings AATCC 8 Class 3, minimum
Panels and Upholstered Walls AATCC 8 Class 3, minimum
Drapery AATCC 8 (solids) Class 3 minimum
AATCC 116 (prints) Class 3 minimum
Colorfastness to Light
Colorfastness to light refers to a fabric's ability to resist fading when exposed to light.
APPLICATION PASSES
Upholstery AATCC 16A or AATCC 16E
Class 4 minimum at 40 hours
Direct Glue Wallcoverings AATCC 16A or AATCC 16E
Class 4 minimum at 40 hours
Panels and Upholstered Walls AATCC 16A or AATCC 16E
Class 4 minimum at 40 hours
Drapery AATC 16A or AATCC 16E
Class 4 at 60 hours
Physical Properties
Pilling is the formation of fuzzy balls on the surface of a fabric. Pilling occurs when loose fibers in the fabric are worked to the surface after the fabric is subjected to abrasion.
Breaking strength measures a fabric's ability to resist tearing or breaking when subjected to tension.
Seam Slippage refers to the condition when fabrics pull apart at a sewn seam.
APPLICATION PASSES
Upholstery Brush Pill: ASTM D3511, 3 minimum
Breaking Strength: ASTM D3597-D1682-64
50 lbs minimum in warp & weft
Seam Slippage: ASTM D3597-D434
25 lbs minimum in warp & weft
Panels and Upholstered Walls Breaking Strength: D5034 Grab Method
35 lbs minimum in warp & weft
Seam Slippage: ASTM D3597-434
25 lbs minimum in warp & weft
Drapery Seam Slippage: ASTM D3597-434 for fabrics over 6oz/sq.yd
25 lbs in warp & weft
Seam Slippage: ASTM D3497-434 for fabrics under 6 oz./sq.yd
15 lbs minimum in warp & weft
Abrasion
Abrasion resistance is the ability of a fabric to withstand surface wear from rubbing.
APPLICATION PASSES
General Contract Upholstery
ASTM 3597 modified(#10 cotton duck)*
15,000 double rubs Wyzenbeek method
ASTM D4966(21 oz weight)
20,000 Martindale method
Heavy Duty Upholstery
ASTM 3597 modified(#10 cotton duck)*
30,000 double rubs Wyzenbeek method
ASTM D4966 (21 oz weight)
40,000 Martindale method
* Per ACT's 2001 revised test method and ACT approved cotton duck specifications.
End use examples of heavy-duty installations where upholstery fabrics rated at 30,000 double rubs should be appropriate are single shift corporate, hotel rooms/suites, conference rooms and dining area usage.
ACT acknowledges that there are extreme wear uses that may require higher levels of abrasion. End use examples that may require higher levels of abrasion than 30,000 double rubs include: 24 hour transportation terminals, 24 hour marketing facilities, 24 hour healthcare emergency rooms, 24 hour casino gambling areas, and such public gathering facilities as theatres, stadiums, lecture halls and fast food restaurants.
Although the level of abrasion testing for extreme wear uses will be left to the supplier and user, it is strongly suggested that double rubs exceeding 100,000 are not meaningful in providing additional value in use and are detrimental and possibly confusing to the education of the specifier.
Fabric Criteria
(http://www.style-source.com/fabric-sales/fabric-criteria.asp)
Knit or Woven?
Your first fabric criteria determination is whether your fabric type is a knit or a woven. A knit is made up of loops. Some knits have loops on one side and a purl stitch on the back, while others look identical on both sides. Knits typically have a lot of stretch in the width direction and some in the length. A woven is made up of interlocking yarns. Wovens have very little stretch in either direction (unless a spandex yarn is incorporated).
Fabric Construction
You next need to determine your fabric construction. Knits are comprised of two categories (weft and warp). Warp knits generally have less stretch than weft knits. Each knit category has a range of fabric construction, each with its own name. If you do not know what yours is, please send a sample to us.
Fabric Weight
It is also important to specify fabric weight. Fabric weight is defined as a weight per unit area. There are three predominant methods for specifying weight (yield). Fabric is measured in ounces per linear yard, ounces per square yard, and grams per square meter. You must know which measure is being quoted. For instance, "8 oz. fabric" is either quite light based on ounces per linear yard (quoted at 60") or quite heavy based on ounces per square yard. If you do not know the weight of the fabric you desire, please send us a sample in the weight you want or tell us how much heavier or lighter than the sample you would like your fabric.
Fabric Content
Fabric content defines the fiber(s) in the fabric. 100% cotton is easily obtainable, as is 100% polyester or blends of the two in 50/50. When you require other fibers or blend levels, consider the availability of these in the market. Certain blends are not common in the United States, so always look at the country of origin. Keep in mind that certain fabric constructions or blends may not be available for domestic production.
Fabric Color
A last consideration is fabric color. Style Source utilizes the PANTONE color formula guide for ease of communication. If you do not have access to a PANTONE book, you may submit a color swatch or a paint chip. Also bear in mind that typical textile minimums per color are 800-1,200 yards, so keep your line tight on color selection in order to keep apparel minimums or inventory exposure low. If you are considering all-over prints, keep in mind that domestically produced screens cost $500 each (one per color in the print) and that the print minimum is 3,000 yards.
Planning and Specifying a Curtain Purchase: The Main Drape
(http://www.limelightproductions.com/tips/main_drape_tips.html)
Theatrical Draperies may be divided into 3 general categories: the front or main drape, masking, and backdrop. In this first of 3 parts we talk about planning and specifying a main drape.
The main drape - also referred to as the front drape, the act curtain, etc - serves as a visual and sound barrier between the audience and the activity on stage that is not intended for the audience experience.
In addition, the main drape is an important part of the auditorium décor and helps set the tone for the evening's performance.
Even for the smallest proscenium opening, the main drape can represent a significant investment and a decision that you will have to "live with" for years.
The appearance of the drape is often among the more difficult decisions that a theatre group may face because of the influence of various interested parties. To a board of directors, an architect or a major benefactor, the main drape may appear to be more of a decorating decision than a technical consideration.
Measuring a Curtain
Determining the finished size of a curtain is not as simple as knowing the dimensions of your proscenium. You will need to give careful consideration to audience sightlines. Since a curtain will rarely be installed precisely inside of the opening, it is the sightlines that you are most concerned with.
To understand the sightlines you will need to determine/consider where the curtain will be hanging. In general the further the curtain hangs upstage of the opening and/or the closer the audience will be sitting in relation to the opening, the larger the curtain will need to be.
The size of a curtain will also be influenced by the size of the center overlap desired. Adequate overlap is essential to assure that light and sound "leakage" are kept at a minimum. Typically, you will want your panels to overlap no less than 18" when closed. Frequently an overlap of up to 3' is used.
You will want to avoid excessively oversizing your curtain. In addition to the unnecessary expense of the extra fabric, this may make the curtain more difficult to handle or impossible to open completely due to limited offstage clearance. A curtain that opens via a traveler track can require significant space as it stacks offstage.
Choosing a Fabric
Cotton Velour is the most commonly used fabric for main drapes. For high traffic, multi-purpose installations, or an excessively damp application, a vinyl product or synthetic velour may be appropriate.
Velour is available in several weights. In general, we prefer working with 25 oz. fabric as a compromise between durability and price. For applications where the curtain will be subjected to less use/abuse, or for a temporary installation, you might consider a lighter fabric, however a lighter fabric might be less effective as a sound and/or light barrier. For premium applications, or where maximum sound absorption is desired, heavier fabric may be worth the premium price.
Choosing a Color
Velour is available in a number of standard and custom colors, but keep in mind that a curtain ideally will last for a number of years outlasting changes in decorating tastes. A more or less "neutral" color may allow the design staff to more easily set an appropriate tone as productions change.
Fullness
Fullness refers to the amount of fabric in excess of the finished horizontal dimension. Fullness may be sewn-in, usually in the form of box pleats, or it may be flat. Flat fullness is not typically used for a main drape, however it may be used for a border or valance, where the fullness is then tied-in as the drape is attached to the pipe.
Fullness is expressed as a percentage. A curtain with a finished size 50' wide, with 50% fullness, will require 75' of fabric.
Fullness gives a drape a richer, classier appearance while also allowing for the vertical seams to be concealed. In addition, fullness may add to the light and sound absorbency of the drape. 50% fullness is most frequently used. Curtains may also be made with 100% fullness.
Finishes
The top edge typically receives sewn-in webbing. Attachment options include grommets and ties (used mostly for curtain applied directly to a pipe batten), grommets with s-hooks (used for attachment to traveler tracks), and sewn-in snap hooks (used when the top of your drape is used to mask the carriers on the traveler track).
Bottom edges typically have a 6" hem with weight sewn-in. This weight may be sewn directly into the hem or may be inside of a canvas pocket which is sewn into the seam at the top of the hem.
Frequently the leading edge of a curtain (the onstage edge of each panel) will receive a larger turn-back. This prevents the audience from seeing the back of the curtain as it moves or when it is "paged." You may want to consider having the same turn-back applied to both sides of a curtain so that the panels are reversible in case of damage. Turn-backs may range from a 6" hem to a full panel (54"). We recommend at least 12".
Backing
Lining or applying a backing to a velour curtain is an option that you might consider if you desire an extra degree of sound or light absorbency. In addition, a lining may help protect the back of the curtain.
Bottom Weight
Typically a main drape will have weight sewn into the bottom. This weight assures that the curtain will hang properly and not billow excessively due to ventilation systems or onstage activity. Most frequently chain is used as this bottom weight. If chain is used, it must be "rustproof" - the bottom of a stage curtain is often exposed to moisture, from mopping, excessive humidity, etc. Rust stains are virtually impossible to remove. An alternative to chain, is lead tape weights. Although more expensive than chain, these are quieter than chain and they will not rust.
Fire Retardant
You will want to make sure that you request that your drapery be flame retardant and that a certificate to that effect be supplied by the manufacturer. (In most cases, local authorities will require that your stage draperies be flame retardant.)
Typically velour used for stage draperies receives an applied flame retardant. For most applications, this is a satisfactory solution. Under certain extremely humid conditions this flame retardant may "migrate" down the fabric of the hanging drape causing some noticeable discoloration. In addition, applied treatments will usually require a new application should you have the curtain cleaned.
Although more expensive, for wet or damp locations an inherently flame resistant synthetic velour (made from threads which are flame resistant, rather than having a flame retardant applied to the finished fabric) may be an appropriate alternative.
Comparing Apples to Apples
Stage curtains, especially main drapes are a major purchase that you will have to live with for a number of years. Always be as precise as possible when requesting pricing for a curtain. Unless you are clear and thorough in specifying your curtains, the prices you receive from various manufacturers may be for widely different products.
If you have questions or would like assistance, we're here to help.
1-800-243-4950 (info@limelightproductions.com).
Introduction to fabric structures
http://www.skyspan.com/download/2004-08-05_Skyfact_fabric.pdf
Facts About Fabric Flammability
http://www.extension.iastate.edu/Publications/NCR174.pdf