1
Q
SHEARS
A
Specifically designed for cutting fabric
They have larger and smaller handle loop for gripping and a bent handle to sit closely to the table when cutting fabric
Usually six or more inches long
2
Q
PAPER SCISSORS
A
Craft scissors used to cut paper or cardboard
3
Q
SEWING SCISSORS
A
Like shears, but with smaller cushioned handles
4
Q
PINKING SHEARS
A
Have a jagged edged blade that makes a zigzag cut that prevents edges from fraying
5
Q
SEAM RIPPER
A
A small curved blade that is designed especially to rip through stitches without cutting the surrounding fabric
They are used to fix mistakes and get rid of unwanted stitches when doing alterations on costumes
6
Q
CUTTING TABLE
A
A large flat surface, usually cork based, used to draft patterns, lay out and cut fabrics, and provide a clean workspace to build costumes
Ideally they should be 4’ x 8’ or longer to accommodate fabric widths and lengths
The height varies depending on the height of the cutter
Cutting tables generally have a shelf for storage below for fabric bolts and other supplies
7
Q
KRAFT WRAP
A
The brownish paper that is used to draft patterns
8
Q
CUTTING MAT
A
Self-healing mats used with a roller or flat blade to cut textiles, paper, or cardboard
9
Q
TAILORS CHALK
A
Can either be chalk or wax
Chalk is used for fine fabrics, silk, polyester, etc…
Wax is used on cottons and wools and many other fibres
Comes in many colours
White, blue, black, yellow, pink
10
Q
TRACING WHEELS
A
Smooth
Used on sheer fabrics
Makes a fine line
Standard
Makes a small dotted line
Stiletto
Used for marking paper and thick cloth
11
Q
DRESSMAKERS CARBON
A
Coloured waxed or chalked paper that is used with the tracing wheel to make patterns and mark garment lines
Comes in white, blue, yellow, and red
This fades when ironed
Care must be used when using this paper because the colour is intense and may bleed through fine fabrics
12
Q
MEASURING TAPE
A
60” or 120”
150 cm or 300 cm
Coated fabric tape for body measurements
13
Q
RULERS
A
12—48” straight edges
30—120 cm
14
Q
HEM GAUGE
A
Metal plate for accurate hems
15
Q
CURVES
A
French, hip, dressmakers
Various hard curves that are useful for armholes, hip curves, darts, etc…
16
Q
L-SQUARE, T-SQUARE
A
90 degree angle used in drafting and truing fabric
17
Q
TRIANGLE
A
90 and 45 degree angles for drafting patterns
18
Q
STEAM IRONS
A
Domestic or industrial used to get wrinkles out and flatten seams
Can be used with or without steam and has settings for many fabric types
19
Q
IRONING BOARD OR TABLE
A
Flat surface used to press garments and fabric
20
Q
CLAPPER
A
A hard block of wood used to form flat seams and crisp creases
Press fabric with steam and apply firm pressure with the clapper on the hot area until it cools
21
Q
TAILORS HAM
A
A hard rounded cloth shape used to press curves
22
Q
STEAMER
A
Used to rid finished garments of wrinkles
Also used when setting wigs
23
Q
SLEEVE BOARD
A
Narrow ironing board used to get into sleeves, trouser legs, and narrow tubes
24
Q
SLEEVE ROLL
A
Like a tailors ham but cylindrical in shape
25
THIMBLE
Saves fingers from getting blood on the costumes
Makes hand sewing thicker fabrics easier
26
BEESWAX
Run the thread through the wax, sandwich it between muslin and then iron the thread
This smoothes the fibres and makes thread stronger and less likely to knot when hand sewing
27
JUDY/DUDEY
A Canadian thing
Not-so-tiny dress form in various standard sizes used for fitting and draping costumes
28
SHARPS
All-purpose needle for hand sewing
Sizes 1—10
29
BETWEENS
Short and fine for quilting or applying decorative trims
30
BASTING
Easy to hold and thread
Used for basting and decorative stitches
31
MILLINERS
Very long
Good for crafts and hat making
32
TAPESTRY
Heavy with blunt end used for darning and working with yarn
33
CURVED
Used for upholstery
34
GLOVERS
Triangular point used for leather, vinyl, or plastic
35
SELVEDGE
The finished border of a piece of fabric, woven more tightly than the piece it borders and parallel to the lengthwise grain
36
LENGTHWISE GRAIN
Evenly spaced parallel threads arranged lengthwise along the fabric
37
CROSSWISE GRAIN
The threads that are passed through the lengthwise grain from one selvedge to another
It is the width of the fabric
38
BIAS
The direction of the fabric
It is diagonal to the crosswise grain and the lengthwise grain
39
UNDERLYING FABRICS
Fabrics used to hold the shape of a garment and give it a professional finish
40
LINING
Soft fabric cut from the same pattern as the garment inside which it is sewn
It gives body to the garment, embellishes it, hides its seams, and makes it warmer
41
INTERLINING
Fabric used to make a garment warmer
42
UNDERLINING
Fabric used to hold the shape of the garment and make it more opaque
43
INTERFACING
Tear-resistant fabric used to hold the shape of the garment and give it body
44
GARMENT FABRIC
Principal material used for the garment
It covers the underlying fabrics
45
CATCH STITCH
Holds securely while it allows for give in the fabric
Used primarily for hemming garments
The size used varies but 1/4 inch spacing is a standard use in costume shops
Try to only catch a thread or two on the surface fabric to make the stitch blind from the right side of the garment
46
RUNNING STITCH
An even line of stitching that is highly versatile
Can be used for even and uneven basting, gathering, thread marking, or flat mounting
47
BACK STITCH
A secure permanent stitch
In the top side these stitches look like they’re machine stitched, but on the bottom they overlap
48
PRICK STITCH
A variation of the back stitch with only a minute threat caught on the right side of the garment
49
SLIP STITCH
Used for hemming delicate fabrics
50
OVERCAST STITCH
Prevents unravelling of the raw edge of the fabric
51
BUTTONHOLE OR BLANKET STITCH
A decorative and secure finish
52
PAD STITCH
Used in tailoring to hold interfacings in place
53
CLOSURES
Flat button, shank button, hook and eye
54
PRESSING
Pressing is up and down
Put your iron down on the fabric, hold in place for a count of 5-10, then lift up, move over, and place down again
Dragging your iron across unpressed fabric can cause distortion or stretch seams
When constructing a garment, always press a seam before crossing it with another seam
Press a seam flat
This is called “setting the seam” (as it was sewn) before pressing it to one side, then open
It will always lie flatter that way
55
IRONING
Running the hot iron over the surface of the cloth without stopping
This process gets the wrinkles out of yard-goods and clothing
Ensure that your fabric layers are flat and smooth on the ironing surface so you are not creating creases across the fabric
Some fabrics crease easily and the heat and steam will make the crease permanent
56
STAGE HOUSE
The physical structure enclosing the area above the stage and wings
57
FLY LOFT
The open space above the stage where scenery and equipment are flown
58
FLY
To raise an object or a person above the stage floor with ropes or cables
59
ROPE SET SYSTEMS (HEMP HOUSE)
Relative to the counterweight fly system, but is harder to operate
Predate counterweight fly systems
Used for spot lines set up
Spot rigging is easier to do with a rope set system
60
FLY GALLERY
The elevated walkway where the pin rail is located
61
PIN RAIL
A horizontal pipe or rail studded with belaying pins
The ropes of the system are wrapped around the belaying pins to hold the batten at a specific height
62
GRID
A network of steel beams supporting elements of the flying system used to raise and lower scenery
63
BATTEN
A metal pipe (generally 1 1/14 to 1 1/2 inches in diameter) from which are suspended scenery and lighting instruments
64
LOFT BLOCKS
A grooved wheel (sheave) secured between two metal plates to form the block which is mounted over the fly loft
It is used to change the direction of travel of a rope or cable
These blocks are mounted on the grid
65
HEAD BLOCK
A multi-sheave block with two or more wheels (sheaves) used to change the direction of travel of all the ropes or cables that support the batten
The head block accommodates the lift lines and the operating lines
66
COUNTERWEIGHT ARBOR
A metal cradle that holds the counterbalancing weights of the counterweight flying system
67
LOADING GALLERY
A walkway suspended just below the grid where counterweights are loaded onto the arbor
68
LOCKING RAIL
A rail that holds the rope locks for each operating line for each counterweight line set
69
ROPE LOCK
Prevents operating line from moving
Not to be used as a lock for an unbalanced line set
70
LIFT LINE
Rope or steel cable attached to the batten and passed through blocks in the grid to connect with the top of a counterweight arbor or tied off to a pin rail
71
LINE SET
All the lift lines attached to a single batten
Line sets are placed parallel to each other up and down stage approximately 6” to 9” apart
Line sets can be used for scenery, drapery, or electrics
72
OPERATING LINE
3/4” manila or synthetic rope used to move the counterweight arbor of a counterweight system
Pulling the near line will bring the batten in and pulling the far line will take the batten out
73
T-BAR TRACK
Attached to the stage wall and used to guide the counterweight arbor
74
TENSION BLOCK
Used to maintain correct tension on the operating line
| Especially important for operating lines made from natural fibres
75
MOTORIZED RIGGING
Allows for greater precision and simultaneous moves
Removes the “feel” of it
Drum winches
Counterweight-assisted motorized rigging system
Line shaft rigging
Package hoist
76
RIGGING
The process of attaching objects in order that they may be suspended or flown
77
MAXIMUM BREAKING STRENGTH (MBS) / MAXIMUM BREAKING LOAD (MBL)
The point at which a material fails as a result of an ever-increasing force
78
SAFE WORKING LOAD (SWL) / WORKING LOAD LIMIT (WLL)
Is a percentage of the maximum breaking strength of the material from which the component is made
Either the MBS or WLL will be printed on all rated hardware
79
DESIGN FACTOR (DF) / SAFETY FACTOR (SF)
Is the ratio by which the MBS is reduced in order to arrive at the Safe Working Load (SWL) or Working Load Limit (WLL)
Provides a margin of safety for selecting and sizing rigging components
80
NATURAL FIBRE ROPE
Replaced by synthetic rope because it stretches under load, absorbs humidity, and is subject to mould and rot
Hemp — the fibre of the cannabis plant, extracted from the stem
Manila — from the leaves of the abaca plant
Cotton
Jute
Sisal
81
SYNTHETIC ROPE
Made from twisting together or braiding monofilament threads
Nylon
Polyester
Polypropylene
Kevlar
82
KNOT
Fastening made by tying
83
SPLICE
Join rope by interweaving the strands
84
HITCH
A type of knot used to fasten a rope to another rope or something else
85
BEND
A nautical term for attaching a rope by means of a knot
86
CLOSURES - HOOK AND EYES
1840s fastening for corsets
With a crocket and hook
87
CLOSURES - SNAPS
Used in the Terracotta army (210 BC)
Horse halters were attached with a snap
Modern snaps date back from 1885
Used for men’s trousers
88
CLOSURES - BUCKLES
First used by Roman soldiers to strap on armour
89
CLOSURES - LACING
Gromets and eyelets
Date back to prehistoric times to hold skins together
90
CLOSURES - FIBULA
Iron-age safety pin
91
CLOSURES - ZIPPERS
First patented in 1851
Used in 1913 and boots and bags
Added to clothing in 1930
92
CLOSURES - BUTTONS
Dated back to 2800-2600 BC
Most reliable closure
93
CLOSURES - VELCRO
In 1948 George de Mestral and his dog figured it out
Patented in 1955
50 million yards are sold each year
Not used for costumes because they’re loud
94
COSTUMER
Responsible for all aspects of costing, sourcing, and building costumes for the production based on the design renderings provided by the costume designer
Assists designer in sourcing all fabrics, trims, and notions needed to make costumes
Skilled in all aspects of costume construction and coordination from head to toe and inside to outside while maintaining the set budget
Works with the designer, actors, and all shop personnel to make the costumes a reality
Supervises all costumes and accessories from creation to the show’s closing
Responsible for the care, supplies, and maintenance of the costume shop and storages
In large theatres, this can break down into two main areas
The costume shop
All the clothing worn by the actor from stock, shop, and costume builds
The craft shop
All painting, dyeing, fabric treatments, accessories, footwear, millinery, wigs and hair, masks and fantastical costumes or the structures that make magic happen
95
CUTTER/DRAPER/TAILOR
Translates the renderings into costumes by creating flat patterns from the actor’s measurements or draping the fabric on a Judy that is the actor’s size, to create patterns for specific actors in the period, style and techniques required to achieve the designer’s concept
Determines the yardage for fabric and trims
Cuts all fabric for the costumes
Fits the costumes to the actor
Marks alterations from new and existing costume pieces
96
FIRST HAND
Provides guidance to the sewing crew
Assists cutter with any necessary cutting of fabrics
Attends all fittings to assist the cutter
97
STITCHERS/SEWERS
Machine and hand stitch costume pieces together
Fine detail finishing on garments
98
DYER/PAINTER
Does any surface treatments and manipulation to fabrics to meet designers requirements for colour, texture, distress, or age with the costume and accessories
99
WIG MASTER
Makes and/or styles wigs and facial hair
Maintains wigs and facial hair used in a production
Could also apply hair for the run of the show
100
MILLINER
Creates hats and head coverings for actors
This could include any item placed on the actor’s head
101
DRESSER
Organizes all costumes for the run of the show for each actor in a methodical manner
Ensures that the costumes look as they were designed by the costume designer for each performance
Maintains the costumes during the run, including cleaning, steaming, pressing, and minor repairs
Assists the actors with dressing and quick changes
Maintains the dressing room and quick change areas backstage
Assists actors to keep calm and focused backstage
Clean, sort, and re-stock costumes at the end of the production
102
HEAD OF PROPS
Supervises prop shop personnel and the acquisition and construction of decorative and functional props
A collaborative effort with the scenic designer
Must keep personnel on track regarding the appearance and function of the props
Must do research into the time period in which the production is set
103
CONSTRUCTION CREW
Creates the props
Under the supervision of the head of props
Hands-off once the show begins
104
RUNNING CREW
Under the supervision of the stage manager
Responsible for tracking, placing and maintaining all props during rehearsals and performances
105
MEDIEVAL
Theatre venues
Pageant wagons and platform stages
Three parts of stages
Heaven, Earth and Hell
Three types of popular religious plays
Mystery plays
Miracle plays
Morality plays
Most theatre was in direct relation to the church
106
ELIZABETHAN
Enclosed theatre spaces were introduced
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Lighting
Candles
Torches
Lanterns
In 1600 reflectors and footlights were introduced
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Special effects
Cannons
Fireworks
Flowers
Animal parts
```
Sound
Live music/musicians
Actors projecting
107
RENAISSANCE
Introduction of the proscenium arch stage
Most important theatre venue was Teatro Olimpco
A very classical Roman-inspired theatre space, not used for very long
A lot of other Italian Renaissance theatre space was inspired by it
Theatre space was fully indoors (besides commedia)
Painted flats and special effects
One-point perspective was used to create the illusion of depth
Trapdoors
Flying machines
Lighting
Torch
Ceramic/oil lamps
Talot candles
Sound
Live music being used to emphasize action onstage
108
BAROQUE
```
Venues
Proscenium arches
Orchestra pits
Audience in a horseshoe shape
Balconies for big audiences
Deep stages allowed for elaborate painted scenery
```
Special effects
Trapdoors
Sea wave machines
Flying machines
Lighting
Candles
Oil lamps
Sound
Throwing rocks
Props were simple to draw effects to the scenery
109
VICTORIAN
Elaborate costumes
Detailed sets
Emphasis on props and complex scene changes
```
Lighting
Candles
Oil lamps
Gas lamps
Limelight
```
Two theatres in London
Drury Lane and Covent Garden
Licensing act of the early 19th century
110
20TH CENTURY
Era of change
Lighting
First LED in 1927
First laser in 1960
Realism was the most popular genre
Special effects
Fog machines were carcinogenic and a fire hazard until 1990
Venues
Black box became popular
Soho Repertory Theatre was the first black box in New York City
111
FOOTSTOOL - MATERIALS
1 by 12 clear pine
Carpenter’s glue
15 2 inch gauge angle finishing nails
Number 8 1 by 1 round pan head Robertson screws
112
FOOTSTOOL - TOOLS
Marking tools
Pencil
```
Stationary power tools
Sliding compound mitre saw
Band saw
Table saw
Drill press
```
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Hand power tools
Pneumatic nailer
Router
Jigsaw
Cordless 10.8 drill/screwdriver with a number 2 Robertson screw bit
Orbital sander
```
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Hand tools
Sandpaper
16 ounce claw hammer
Nail set
6 inch c-clamp
```
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Measuring tools
Tape measure
Tri-square
Combination square
Framing square
```
113
FOOTSTOOL - CUTTING TOP
Crosscutting a 12-inch long piece of clear pine on the sliding compound mitre saw
114
FOOTSTOOL - CUTTING LEGS
Crosscutting a 19-inch long piece using the sliding compound mitre saw
Ripcutting the 19-inch pieces into two 9 1/2-inch wide pieces using the table saw
Crosscutting the 9 1/2 by 19-inch pieces into two 9 1/4-inch pieces using the sliding compound mitre saw
115
FOOTSTOOL - CUTTING SUPPORTS
Crosscutting 18-inch long piece using the sliding compound mitre saw
Ripcutting the 18-inch long piece into three 2-inch wide strips using the table saw
116
FOOTSTOOL - ASSEMBLING TOP
Mark the location of the handhold and bore two holes using the drill press with a 1-inch spade bit
Mark the tangent lines and cut out the handhold using the jigsaw
Round off the top and bottom edges of the handhold using a router with the round overbit
Round off the top edges of the stool using a router with the round overbit
117
FOOTSTOOL - ASSEMBLING LEGS
Mark portions of the legs to cut off for the rail notches (at a right angle) using a framing square to measure
Cut out the legs and the notches with the band saw
118
FOOTSTOOL - ASSEMBLING EVERYTHING
Attach the outer support rails to the legs using carpenter’s glue and the pneumatic nailer
Mark the inner support rails to the correct length and cut using sliding compound mitre saw
Attach inner supports to legs and outer supports using carpenter’s glue and pneumatic nailer
Round off the vertical outside edges of legs and inner edges of leg cut with the router with the round overbit
Attach legs and support assembly to the top using carpenter’s glue and cordless screwdriver and number 8 1 by 1 1/4 pan-head Robertson screws
Use 100 or 120 grit sandpaper to smooth over rounded edges and remove unwanted pencil marks
Sand with the grain
Do not sand any unrounded edges
