My technique for netting is Flexbond glue in dye bottles. In many cases where the painted surface is NOT flat, 1/4″ detailing tape (for cars) works great! The important aspect of this entire process is to hand check EVERY single knot prior to cutting an placing in the drop opening. Contemporary looms allow a small percentage of the netting knots to “slip,” allowing the entire piece to shift the overall distribution of weight once it is hanging. This is fine for some theatrical applications, but not for shows with long runs.
I have yet to find any theatrical supplier that can guarantee netting without slipping knots. Therefore, hand check and individually glue each knot that slips. This is an incredibly time-consuming process, but having to re-net a piece takes even longer!
Original glue dots, I use much small amounts of glue as there is a tendency for the painted surface to “pucker” around the glue dots.
Author: waszut_barrett@me.com
Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.
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