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DART 2P40 > Exam > Flashcards

Exam Flashcards

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

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2
Q

PAPER SCISSORS

A

Craft scissors used to cut paper or cardboard

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3
Q

SEWING SCISSORS

A

Like shears, but with smaller cushioned handles

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4
Q

PINKING SHEARS

A

Have a jagged edged blade that makes a zigzag cut that prevents edges from fraying

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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

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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

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7
Q

KRAFT WRAP

A

The brownish paper that is used to draft patterns

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8
Q

CUTTING MAT

A

Self-healing mats used with a roller or flat blade to cut textiles, paper, or cardboard

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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

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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

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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

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12
Q

MEASURING TAPE

A

60” or 120”
150 cm or 300 cm

Coated fabric tape for body measurements

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13
Q

RULERS

A

12—48” straight edges

30—120 cm

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14
Q

HEM GAUGE

A

Metal plate for accurate hems

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15
Q

CURVES

A

French, hip, dressmakers

Various hard curves that are useful for armholes, hip curves, darts, etc…

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16
Q

L-SQUARE, T-SQUARE

A

90 degree angle used in drafting and truing fabric

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17
Q

TRIANGLE

A

90 and 45 degree angles for drafting patterns

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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

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19
Q

IRONING BOARD OR TABLE

A

Flat surface used to press garments and fabric

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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

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21
Q

TAILORS HAM

A

A hard rounded cloth shape used to press curves

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22
Q

STEAMER

A

Used to rid finished garments of wrinkles

Also used when setting wigs

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23
Q

SLEEVE BOARD

A

Narrow ironing board used to get into sleeves, trouser legs, and narrow tubes

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24
Q

SLEEVE ROLL

A

Like a tailors ham but cylindrical in shape

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25
Q

THIMBLE

A

Saves fingers from getting blood on the costumes

Makes hand sewing thicker fabrics easier

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26
Q

BEESWAX

A

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

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27
Q

JUDY/DUDEY

A

A Canadian thing

Not-so-tiny dress form in various standard sizes used for fitting and draping costumes

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28
Q

SHARPS

A

All-purpose needle for hand sewing

Sizes 1—10

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29
Q

BETWEENS

A

Short and fine for quilting or applying decorative trims

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30
Q

BASTING

A

Easy to hold and thread

Used for basting and decorative stitches

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31
Q

MILLINERS

A

Very long

Good for crafts and hat making

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32
Q

TAPESTRY

A

Heavy with blunt end used for darning and working with yarn

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33
Q

CURVED

A

Used for upholstery

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34
Q

GLOVERS

A

Triangular point used for leather, vinyl, or plastic

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35
Q

SELVEDGE

A

The finished border of a piece of fabric, woven more tightly than the piece it borders and parallel to the lengthwise grain

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36
Q

LENGTHWISE GRAIN

A

Evenly spaced parallel threads arranged lengthwise along the fabric

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37
Q

CROSSWISE GRAIN

A

The threads that are passed through the lengthwise grain from one selvedge to another

It is the width of the fabric

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38
Q

BIAS

A

The direction of the fabric

It is diagonal to the crosswise grain and the lengthwise grain

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39
Q

UNDERLYING FABRICS

A

Fabrics used to hold the shape of a garment and give it a professional finish

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40
Q

LINING

A

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

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41
Q

INTERLINING

A

Fabric used to make a garment warmer

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42
Q

UNDERLINING

A

Fabric used to hold the shape of the garment and make it more opaque

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43
Q

INTERFACING

A

Tear-resistant fabric used to hold the shape of the garment and give it body

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44
Q

GARMENT FABRIC

A

Principal material used for the garment

It covers the underlying fabrics

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45
Q

CATCH STITCH

A

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

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46
Q

RUNNING STITCH

A

An even line of stitching that is highly versatile

Can be used for even and uneven basting, gathering, thread marking, or flat mounting

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47
Q

BACK STITCH

A

A secure permanent stitch

In the top side these stitches look like they’re machine stitched, but on the bottom they overlap

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48
Q

PRICK STITCH

A

A variation of the back stitch with only a minute threat caught on the right side of the garment

49
Q

SLIP STITCH

A

Used for hemming delicate fabrics

50
Q

OVERCAST STITCH

A

Prevents unravelling of the raw edge of the fabric

51
Q

BUTTONHOLE OR BLANKET STITCH

A

A decorative and secure finish

52
Q

PAD STITCH

A

Used in tailoring to hold interfacings in place

53
Q

CLOSURES

A

Flat button, shank button, hook and eye

54
Q

PRESSING

A

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
Q

IRONING

A

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
Q

STAGE HOUSE

A

The physical structure enclosing the area above the stage and wings

57
Q

FLY LOFT

A

The open space above the stage where scenery and equipment are flown

58
Q

FLY

A

To raise an object or a person above the stage floor with ropes or cables

59
Q

ROPE SET SYSTEMS (HEMP HOUSE)

A

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
Q

FLY GALLERY

A

The elevated walkway where the pin rail is located

61
Q

PIN RAIL

A

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
Q

GRID

A

A network of steel beams supporting elements of the flying system used to raise and lower scenery

63
Q

BATTEN

A

A metal pipe (generally 1 1/14 to 1 1/2 inches in diameter) from which are suspended scenery and lighting instruments

64
Q

LOFT BLOCKS

A

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
Q

HEAD BLOCK

A

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
Q

COUNTERWEIGHT ARBOR

A

A metal cradle that holds the counterbalancing weights of the counterweight flying system

67
Q

LOADING GALLERY

A

A walkway suspended just below the grid where counterweights are loaded onto the arbor

68
Q

LOCKING RAIL

A

A rail that holds the rope locks for each operating line for each counterweight line set

69
Q

ROPE LOCK

A

Prevents operating line from moving

Not to be used as a lock for an unbalanced line set

70
Q

LIFT LINE

A

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
Q

LINE SET

A

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
Q

OPERATING LINE

A

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
Q

T-BAR TRACK

A

Attached to the stage wall and used to guide the counterweight arbor

74
Q

TENSION BLOCK

A

Used to maintain correct tension on the operating line

Especially important for operating lines made from natural fibres

75
Q

MOTORIZED RIGGING

A

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
Q

RIGGING

A

The process of attaching objects in order that they may be suspended or flown

77
Q

MAXIMUM BREAKING STRENGTH (MBS) / MAXIMUM BREAKING LOAD (MBL)

A

The point at which a material fails as a result of an ever-increasing force

78
Q

SAFE WORKING LOAD (SWL) / WORKING LOAD LIMIT (WLL)

A

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
Q

DESIGN FACTOR (DF) / SAFETY FACTOR (SF)

A

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
Q

NATURAL FIBRE ROPE

A

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
Q

SYNTHETIC ROPE

A

Made from twisting together or braiding monofilament threads

Nylon

Polyester

Polypropylene

Kevlar

82
Q

KNOT

A

Fastening made by tying

83
Q

SPLICE

A

Join rope by interweaving the strands

84
Q

HITCH

A

A type of knot used to fasten a rope to another rope or something else

85
Q

BEND

A

A nautical term for attaching a rope by means of a knot

86
Q

CLOSURES - HOOK AND EYES

A

1840s fastening for corsets

With a crocket and hook

87
Q

CLOSURES - SNAPS

A

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
Q

CLOSURES - BUCKLES

A

First used by Roman soldiers to strap on armour

89
Q

CLOSURES - LACING

A

Gromets and eyelets

Date back to prehistoric times to hold skins together

90
Q

CLOSURES - FIBULA

A

Iron-age safety pin

91
Q

CLOSURES - ZIPPERS

A

First patented in 1851

Used in 1913 and boots and bags

Added to clothing in 1930

92
Q

CLOSURES - BUTTONS

A

Dated back to 2800-2600 BC

Most reliable closure

93
Q

CLOSURES - VELCRO

A

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
Q

COSTUMER

A

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
Q

CUTTER/DRAPER/TAILOR

A

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
Q

FIRST HAND

A

Provides guidance to the sewing crew

Assists cutter with any necessary cutting of fabrics

Attends all fittings to assist the cutter

97
Q

STITCHERS/SEWERS

A

Machine and hand stitch costume pieces together

Fine detail finishing on garments

98
Q

DYER/PAINTER

A

Does any surface treatments and manipulation to fabrics to meet designers requirements for colour, texture, distress, or age with the costume and accessories

99
Q

WIG MASTER

A

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
Q

MILLINER

A

Creates hats and head coverings for actors

This could include any item placed on the actor’s head

101
Q

DRESSER

A

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
Q

HEAD OF PROPS

A

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
Q

CONSTRUCTION CREW

A

Creates the props

Under the supervision of the head of props

Hands-off once the show begins

104
Q

RUNNING CREW

A

Under the supervision of the stage manager

Responsible for tracking, placing and maintaining all props during rehearsals and performances

105
Q

MEDIEVAL

A

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
Q

ELIZABETHAN

A

Enclosed theatre spaces were introduced

Lighting
Candles
Torches
Lanterns
In 1600 reflectors and footlights were introduced
Special effects
Cannons
Fireworks
Flowers
Animal parts

Sound
Live music/musicians
Actors projecting

107
Q

RENAISSANCE

A

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
Q

BAROQUE

A 
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
Q

VICTORIAN

A

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
Q

20TH CENTURY

A

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
Q

FOOTSTOOL - MATERIALS

A

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
Q

FOOTSTOOL - TOOLS

A

Marking tools
Pencil

Stationary power tools
Sliding compound mitre saw
Band saw
Table saw
Drill press 
Hand power tools
Pneumatic nailer
Router
Jigsaw
Cordless 10.8 drill/screwdriver with a number 2 Robertson screw bit
Orbital sander
Hand tools
Sandpaper
16 ounce claw hammer
Nail set 
6 inch c-clamp
Measuring tools
Tape measure
Tri-square
Combination square
Framing square
113
Q

FOOTSTOOL - CUTTING TOP

A

Crosscutting a 12-inch long piece of clear pine on the sliding compound mitre saw

114
Q

FOOTSTOOL - CUTTING LEGS

A

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
Q

FOOTSTOOL - CUTTING SUPPORTS

A

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
Q

FOOTSTOOL - ASSEMBLING TOP

A

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
Q

FOOTSTOOL - ASSEMBLING LEGS

A

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
Q

FOOTSTOOL - ASSEMBLING EVERYTHING

A

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

DART 2P40 (1 decks)

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