Making Flats?

[Light-er_12]

Hey, is there anyone out there who can give me some info on how to construct flats?

I am interested in canvas covered (I believe they are called "soft") flats.

We need to build a 12'x6' flat with a window in it for an upcomming show and no one at my school has ever buit one before.

Any info or directions to where I can find info would be helpful.

Thanks
-Ben

[ship]

This is a prime candidate for the other members and silent majority - especially the students out there to answer.

Think Wolf, I and others doing this sort of thing for a living would be best off PM'ing you with our own thoughts if any, and only adding a post in here to correct info. Agreed?

[Light-er_12]

Works for me ship.

-Ben

[wemeck]

Chech out http://hstech.org/utility/contents.htm

[the_marching_penguin]

Well Im a high school student and have only used soft flats once and that was a play in 8th or 9th grade. I would start out my getting four 1 by 4 boards. Two that are 11' 9 and a half " and two that are 5' 9 and half ". The reason being is that dove-tailing the frame will give it more strength. By dove-tailing the boards the dimensions of the smaller cut boards will give you the full 6' by 12' dimension. (dove-tailing is when you place one board on the inside of the board that is at the top of it and perpindicular and on the outside ot the board that is on the bottom and perpindicular to it.) Place the two longer boards on the wide side parallel with one another then place the two shorter ones perpindicular to the longer ones. Place one of the 12' boards on the inside of the 6' boards and screw it in with 1 to 1 and a half inch screws. On the other side of the 6' boards place the 12' board on the outside and screw them in the same way. (you might want to predrill where you want to screw to prevent the wood from splitting.) Then go to the other side of the 12' boards and on the one you put on the outside of the 6' board now put on the inside of the other 6' board. Then place the other 12' board on the outside of the other side of the 6' board and screw them in. Now you have the basic frame.

Now you will want a 6' 1by 4 board to screw in across the middle of your frame. Simply place one end square on top of one of your 12' 1 by 4's and then put the other side of the 6' 1by 4 on the other 12 footer and screw them in with one or one and a half inch screws.

Now get your canves, cut it about 6' 2" by 12' 2" and paint it how you want it and draw the window where you want it. ( the extra two inches is to hold it in place and fold over the edges.) You can cut the window out with either a box cutter or sharp scissors. Now stretch the canvas over the front of your flat ( the side that doesnt have the 6' one by four board going across it.) The best way to do this is to screw one corner of the canvas into the matching corner of the frame and then do another corner and screw that corner in. Then do the other two corners the same way. When you have the canvas stretched take the sides and about every six inches or so screw in another screw throught the canvas into the one by four boards.

Now you will want to get half or 3 quarter inch ply wood. Get two 1' by 1 foot pieces and cut them in half diaganoly. This can me done with a jigsaw or a radial saw. you will end up with four pieces of this. One piece goes on each corner. Square the edges of the playwood with the square edges of your flat. Now screw the ply wood through the canvas and into the 1 by 4 boards. Do this on all corners and your flat will be much sturdier. You should have you flat now and it should be ready to go. You can paint the canvas after you put it on the frame if you wish. Any questions email me at

[ship]

Not a bad start to explaining things. Think that it could have used some editing, checking of terms and stuff, but definately you are in the running and extra credit will be given for it amongs the judges I am sure.
And thus the first one in the running for the swag, and only 10 days left post your answers.

More important, you attempted to help someone to the best of your ability, who asked a question. Given that, I'll send you a prize anyway win or not. Wait until the contest is over, than directly PM in sending either me Brian Ship or DVS Dave a address to mail the freshly swiped swag that is sitting on my desk at work, and I will send it to you that shirt if you win, and at least the first person prize if not both. Don't know what I'll send you yet, if it's not a winner's prize yet, but might be something better yet. At least, heck what bands do you listen to and want the crew shirt for, that's easy tour swag to get in most instances.

Dave, Wolfe, JoJo and I have all been talking about bribes for tech people and how easy it is for us to get swag, and how nice it is to get it while in school. Me thinks this is just the start. Agree Dave?

[dvsDave]

Originally Posted by ship

Dave, Wolfe, JoJo and I have all been talking about bribes for tech people and how easy it is for us to get swag, and how nice it is to get it while in school. Me thinks this is just the start. Agree Dave?

Definitely... swag is good stuff and you don't get virtually any swag at the high-school level...

Great post, the_marching_penguin!!

I look forward to reading how our other members would go about making flats!!

[ship]

the_marching_penguin, as your prize, I just snagged the fresh out of the box Matchbox 20 Fall 2003 Tour/Upstaging Lighting & Transport shirt. It's grey/blue with red writing on it. And long sleeve which makes it more valuable. Will this suffice as prize in being the first person to post a reply?

I trust that you are about a Large??? or are you X-large, XX-Large or super huge nightgown for normal people large?


Unlesss a few more people post a very late - how to answer in helping Light-er_12 with his question soon, it looks like you will also get the Martin Swag shirt. Cut off time is 10PM EST Sunday Night. I have now written 32 pages that will be posted later on how to do this step by step citing 10 sources from 1931 to 1995 on the subject. Certainly some college student that had to build a soft flat in class could whip out a page of directions in a few minutes.

[ship]

The following will be a preliminary "how to" and guide on building soft flats. It's a week in the making, and over three days in editing.

In posting it on the forum part of the website, I hope to get comments on changes, other ways to do things, details I leave out, etc. Anything will help in making this guide as thorough as possible for the greater good of all.

Yes it is long, but in reading hopefully you will understand why.

[ship]

Making the Frame for a 12'x6' Soft Flat with a window:

Starting Materials:
(2)1x4x12' #2 or better Pine
(5)1x4x6' #2 or better Pine
(2)1x2x4'-3"' #2 or better Pine
(X)1x4xUnknown length #2 or better pine for window supports
(1)1/4"x2'x4' grade BC or better Plywood
(1)Wood Glue
(1#) #6x3/4" Narrow Profile Flat Head Phillips Wood Screws
Asstd. Tools: Sand Paper of at least 80 grit, a 16' tape measure, Speed Square or try-square or both, pencil, framing square, safety glasses, & power tools including a table saw capable of accurate cuts in making the plywood keystone and corner block shapes with a miter gauge, another saw capable of 90° and 45° cuts in lumber and the plywood, a belt sander using at least 60grit paper, and a cordless screw driver/drill capable of clutch settings, with a #6 countersink bit and driver bit.

Layouts of where to install fasteners and general guidelines for keystone/corner block sizes is based off the sizes listed in the Backstage Handbook 3rd Ed. By Paul Carter. The book and description posted here for building flats is meant to be a supplement to what other books and live instruction on scenery will offer on this most basic unit of stagecraft subject, and not as a replacement for either. All colleges offering basic stagecraft classes should require every person attending the class to learn how and build at least this one item. There is a reason for both the instruction and the hands on. An excellent text on this subject that is still on the market is The Stagecraft Handbook by Daniel A. Ionazzi. This will present one way of doing this but certainly not the only way. Scenery for the Theater c.1971 is the most well known and respected text on the subject and is still published also but very expensive. Another text on soft flats to look for and is recommended by the above book would be Philip W. Barber’s “Scene Technician’s Handbook.” For every one book on the subject, there is uniformly at least one different technique of doing this but some main commonalities and goals to it. Almost no two books on, much less programs teaching the subject even those written within the same period of time or geographically in the same area and using the same materials such as glue type, recommend or use the exact same techniques. Nor will I. “Not only do they differ in details, but methods recommended by some authors are denounced by others as serious errors. To relate in detail all possible variations would require multiplying the length of discussion many times.” (Stagecraft c.1978) This is the reason why most texts on the subject only present one or two methods out of simplicity but recognize that there are more.

I will attempt to provide an overview of techniques and tips used from 1931 to today or at least the differences in them as an overview plus my own steps unique to my experience for the best overview of options, results. Changes presented follow differences over the years in technology and materials used. Because of this, the subject I present instruction on is going to be longer than normally presented due to the amount of things covered in detail. Such detail should help supplement that which is normally covered in person or during a proper training course on stagecraft. In my view, while long, the details will provide better training and instruction in adaption of the reader’s own skills and style and hopefully understand the reasons for the methods and goals common to all similar construction. Try to keep up with it for details even if more in depth than might be wished for the best understanding of what to watch for and other methods to consider. After consideration and experience with the technician’s own method and style developed over time and experience, some things I present and devote more time too such as the care taken to get all edges sanded and very flat can be done differently or left out. All texts would agree upon such a goal. There are many ways to do this. Once you learn and understand a base style of doing it, your own style can use as much or as little as presented.

The layout of materials and size of the lumber making up this flat specified, is specific to this 6x12 flat in addition to being meant to be a set of in-general standards, and in details about constructing soft flats. The tips posted here hopefully will act as a base for constructing other flat sizes and constructions off of this general size and type. Such advice and techniques I present are meant to supplement, but can never replace real world construction needs for the project or supervision and training for it especially where the use of tools is concerned. In other words, while all attempts to be very thorough in describing ways of soft flat construction, what to look for and notice, it is no substitute for trained eyes on the project giving personal instruction.

There are a hundred other ways to join lumber and build scenery, and many of the tips outlined here do not follow or at least cite differences to standard techniques such as not using 1x3 lumber for the flat which is the main industry standard. Instead and out of simplicity, I advise switching to using 1x4 lumber in being readily available as a precut size in long lengths and providing a larger surface for the back set keystone and corner blocks to fasten to which will not weaken the joint’s strength. A second reason I present in the use 1x4 lumber is, short of ripping clear sections of it down from 1x12 stock, finding good structural sections of 1x3 sufficient in length and strength much less cost will be more difficult today than in times past. In general the grade of lumber used today is not what was used in the past. C-select (that is advised for construction in the old days) is not the #2 construction grade pine currently very available and cheap. With the advent of the home center that supplies most theater shops today, and the industry in general using a 1x4 construction grade as stock sizes of lumber. It is easier to conform to that standard. Given this cost effectiveness and less strength overall on the lower grade of lumber, the size of the lumber needs to compensate for it to get the same results in my opinion.

Another difference in style which can be contested about but is presented, is how the fabric is trimmed on the flat. In general, most books giving more detailed and professional instruction on the subject will advise the fabric to be back set from the edge of the flat. Some others will recognize that method and also support wrapping the fabric all the way around the side of the flat as an alternative with its own advantages. For the most part, only manuals that are providing a superficial look at the subject will advise the fabric to be trimmed directly to the trimmed edge. I on the other hand was taught another different style early on with its own advantages and disadvantages. I will try to present four ways of attaching and trimming the fabric and present the benefits and shortfalls of all so they are all known about and considered.


Terms:
A Rail is the 1x3 or 1x4 top and bottom board on a soft flat. It is the only board that is the true length in an overall dimension of the flat. It prevents the stile from coming loose due to locking it into place, and provides a smooth one-piece/no seam surface to slide or “skid” the flat across a floor without damaging the end grain of a stile in doing this. It also provides a lumber joint free edge at the top of the flat to end the wall with.

A Stile is the 1x3 or 1x4 side board on a soft flat in providing the height and support for the mid-section of the flat. It is installed between rails and supports the toggles. This is one of the most important framing members on the flat to ensure it’s not using warped wood due to its overall length. It is joined to the rail by way of corner block. Normally this joint is a butt joint to the rail - top and bottom with a corner block, but it can also be a half lap or mortise and tenon with perhaps even pegs locking the tenons into place for ease in disassembly should the flat be desired to be collapsible. Such a flat should otherwise be glued into place for a very strong construction. Other joint techniques and details of joints will be presented below.

A Toggle is the 1x3, 1x4 or even a 1x6 ladder rung like inner support and structure of the flat for hanging molding, pictures and windows on the flat in addition to supporting and spreading the stiles. The Toggles are installed between the stiles on a flat with keystones but sometimes corner blocks. Toggles often are installed at approximate 36" to 42" on centers between them for extra strength. Most texts state distances between four and six feet between toggles, and for minimum serviceable strength on a 10' tall flat, only one is required. - Theatrical Set Design c1969 I do not recommend this especially was 1x3 lumber to be used. The toggle is joined to the stile with a keystone in a butt joint. Mortise and tenon, or half lap joints dependant upon the type of scenery and construction needs for the longevity can also be used especially for double-sided flats.

A Diagonal Brace is a 1x2 or 1x3 diagonal framing member similar to a toggle which acts as a sway brace for flats over 3' in width. One each is installed between the stile and the top rail and the same stile and bottom rail. Both share the stile of one side in common. Their normal location is starting at about the middle of the flat running on a 45° angle diagonally to the stile. There is normally only one set of them installed on the flat, as opposed to one set per each of the corners. It is very important not to install diagonal braces on opposing corners because it will only prevent sway in one direction not both. If there is a door, both diagonal braces are placed on the top rail, otherwise, there should be one each above and below the flat and off the same stile.

If well attached, the diagonal brace is a lumber member in compression or tension that will prevent force to the flat that would send it out of square above the support that a corner block would provide. This is a very important framing member, and one that are frequently left out, thus why soft flats develop some wrinkles or fall out of square. That in addition to problems with the wakening of corner joints in such a case, the only thing preventing sway. The brace must be both cut properly and supported properly, if not in this case installed into the stile and rail with alternative joint. This member since it is not used for cross dimensional strength, only tension and compression is allowed to be of smaller lumber to cut down on space and wight. The smaller dimension will also make it easier to be accurately installed

A Window brace/stile or “Lintel Toggle” (for lack of an actual term for it), is a 1x3, or 1x4 vertical rail is a sort of toggle running between two toggles or toggles and rail plus saddle/sill iron in the case of a door. It is used as vertical support for the rough framing of a window of a door opening in a flat. It is installed in the same way as toggles, but depends upon the window size needed. Keystones or straps back set 3/4" from the opening are the usual means of attachment. Glueing of such toggles used for window support is dependant upon needs for its future adjustment in accommodating other window sizes.

A Window support brace is an optional support of 1x3 or 1x4 having no proper term but is a supporting member or post for the frame of a window to pick up some of the window’s weight. It should not cut thru a toggle in going to a rail, or it will cause support problems to the flat’s structure. This vertical load-bearing member can be installed on the center of the window or opposing/frame sides of the window and in line with the lintel toggle. How many and where they are located depends upon window size. The support brace on high windows can be run between toggles so as to have both toggles below a window carry the weight of a window, but is normally run between toggle and bottom rail. The window support brace does not take priority over a toggle and should if there is a toggle between it and a bottom rail, never allow the toggle to run all the way thru the flat’s toggle. This will be explained further below.

A Keystone is a 1/4" plywood support for attaching the toggle to the stile and frequently also used for inner toggle or brace supports. This support block is similar in shape to the top stone in a Greek archway, and gets its name from that shape. The block as referenced in “The Backstage Handbook” has dimensions’ 1/4" thick x8"x3.1/2"x2.3/4" using 84° Angles for its sides. The purpose of this block’s sides in being sloped are so that on the stile, attachment fasteners attaching the keystone to it are more dispersed. This decreases the chances for splits in the stile from fasteners too close together. The smaller dimension of the keystone attaches to the toggle part of the joint. It’s more narrow so as not to have the block gets hung up on or snagged on scenery given the needs of the opposing side large enough to distribute fasteners. The grain on this plywood should be cut so the grain is running lengthwise with the 8" length opposing and perpendicular to the seam in a butt joint.

Plywood like lumber is strongest in the direction of its grain on the outside surface. Some texts specify that a keystone is best not glued to the lumber to leave it possible for the toggle to be moved as needed. - Theatrical Set Design c.1969. On stock non-window flats, toggles should be glued into place out of strength and rigidity requirements, any extra supporting toggles needed for attachment of pictures for instance, when they fall outside of the normal position of a toggle can be temporarily attached to the frame later without need for moving the main toggles in the frame. Other texts such as Stagecraft c.1978 note that use of a keystone proper is not necessary. As a variation to the traditional design, corner blocks can be used throughout. This on small lumber such as 1x3 or 1x2 for the diagonal sway, will provide more surface area to fasten the splint with especially when the block is back set from the edge - see below. Stagecraft also notes that corner blocks are easier to manufacture, and easier to keep in stock. A problem with a flat without keystones is, in modifying and cutting the flat for a window or installation of a second toggle near to one that is already installed. At this point, the corner block would have to be removed which could damage the flat, or at least cut away to make a flush edge. A corner block, to its benefit is not only easy to keep back from the outside edges of the flat, but also still support the toggle properly even if back set from the window or door opening edges of the toggle should a reveal need to be mounted directly to the flat. Both keystones and corner blocks used to attach toggles have advantages and disadvantages. A corner block attaching a 1x4 toggle to a 1x4 stile is unnecessary, there is enough surface area to attach to. On smaller frame lumber, the corner block on its butt joint will have the advantage but possibly be in the way at times.

A Corner Block by the “Backstage Handbook” is of 1/4" plywood and 9" on its short legs, thus a little more than 12.11/16" on the long length of the isosceles triangle. Sizes ranging from 12" to 8" are the size range frequently used. The larger the block on smaller sizes of lumber frames, the more support it will offer. It’s grain when installed needs to be perpendicular to the butt joint. It is also normal on all splints/blocks to put the best face of the plywood outboard so as to reduce chance for splinters or damage to it. An alternate and otherwise recommended way of cutting corner blocks is to cut and install them so that plywood grain is at a 45° angle to the joint. This 45° will provide more both vertical and horizontal support to the corner, provide more strength in attaching to the stile and provide a bit more strength to the plywood part of the block that is not attached directly to the lumber. This would be especially advantageous if the corner block has a hole for lash line in it. Cutting a corner block on an angle will require more lumber and more thought in cutting it, but is a better method overall. Installation of corner blocks is best done with a traced pattern of the rail and stile atop it so it is assured that fasteners will not be placed too close to an edge or end of the board. Like with all splints/blocks, follow the nailing pattern well published in most books on the subject including The Backstage Handbook with details about how close to the edge to apply them below.

A Strap is a replacement for a keystone block for the inner flat supporting members best to be attached with. It’s a rectangle instead of keystone shape of 8"x2.3/4" size. The purpose of the equal sided support as opposed to just using keystones for everything is to allow reveals and other window or door supports to be installed without the edge of the plywood getting in the way. Also if wrapping the edge of the frame and its back with fabric, the fabric being wrapped around the inside of the flat might develop a wrinkle when it got to the wider 3" part of the block as it crosses the seam. The width dimensions of this 2.3/4" block have been weighed against dispersing the screw’s fastening it in deciding that maintaining a ½" to a 3/4" gap between block and edge of the frame for the fabric is best. A corner block if properly installed and back set can frequently be used in place of a strap for extra support.

A half strap is similar in width and length to that of a strap, except that it is used for attaching a diagonal brace to the rail or stile of the flat and thus needs its ends clipped off at a 45° angle. It’s a trapezoid in shape. The inner dimension of this otherwise 8" x 2.3/4" strap is 4" after cutting the corners of the strap for use as a half strap. This is sized 1x3 diagonal brace board. A 1x2 brace would need a more narrow strap. Substituting corner blocks for normal half straps, especially the 6" legged scrap from cutting corner blocks with the grain diagonal or 45° is a stronger solution. It will provide more than enough support with distributing the fasteners and providing enough surface area to the seam, especially for thinner say 1x2 lumber.