#Stage Backdrop Printing

[universalprinting]

Large Foam Board Printing

Are you looking to give your event or presentation a boost? With the right tools, you can craft an environment that captivates and energizes your audience. And one of the key ingredients to creating this sense of awe is stage backdrop printing in Singapore.

Whether you’re hosting a product launch, fashion show, or stage performance, having an eye-catching backdrop is an excellent way to get people excited and engaged. But how do you find the best custom printing service in Singapore? We have the answer—here's your guide to everything stage backdrop printing in Singapore.

From PVC banner printing t o large foam board printing, you'll learn everything from where to find the best printers in Singapore as well as how to use backdrop prints in events and presentations for maximum impact.

Benefits of Stage Backdrop Printing

Do you need to make an impact at your next event? Using stage backdrop printing in Singapore is an excellent way to capture attention and make a lasting impression. Printed backdrops not only create a visually stunning backdrop for events, but they’re also the perfect way to promote a company or product.

When it comes to stage backdrop printing, there are several services available in Singapore. PVC banner printing is ideal for short-term use or events that don’t require a long-lasting display. For more permanent displays, large foam board printing is often used. Both options can be printed with high-quality graphics and designs that offer durable and eye-catching results.

Stage backdrop printing can be used for conventions, conferences, trade shows, promotional events, product launches and more. With the right printer in Singapore, you can get your custom printed backdrops quickly and easily without sacrificing quality or design elements. Investing in stage backdrop printing may seem costly up front but when compared to the benefits of getting noticed at events and reaching new potential customers—it’s worth every penny!

Types of Backdrops

When it comes to capturing your audience’s attention, stage backdrop printing in Singapore is the way to go. In order to make the most of this technique, there are several different types of backdrops that you can use.

PVC Banner Printing: PVC banner printing is one of the most popular forms of stage backdrop printing, and for good reason—it’s lightweight, durable and relatively affordable. Perfect for outdoor events and festivals, PVC banners allow you to make big statements with ease.

Large Foam Board Printing: If you’re looking for something that has a bit more structure and a professional finish, large foam board printing is an excellent option. They’re printed on high-quality board material that ensures your design stands out in any environment.

Stage Backdrop Printing: Finally, if you’re looking for something truly unique and eye-catching, then stage backdrop printing is the option for you. These backdrops provide a huge canvas which can be used to deliver inspiring visuals with impact. Perfect for large scale events such as concerts or conferences!

Ways to Use Backdrop Printing for Events

Are you looking for a way to make your presentation or event more unique and impressive? Backdrop printing can help you do that! Here are some ways you can use backdrop printing in Singapore to capture attention:

Business events

You could consider using PVC banners or large foam board prints to create an eye-catching backdrop for your business presentations. These prints are durable and can withstand any weather conditions, making them an ideal choice for outdoor events. Plus, they boast vivid colors that will capture everyone's attention and emphasize the message you want to convey.

Theater performances

If you're hosting a theater performance, backdrop printing is essential. Investing in quality stage backdrop prints will make your production stand out from the rest and draw in audiences from all over Singapore. Whether it’s an opera, play, or musical performance that’s coming up, colorful backdrops help set the scene and increase engagement with the audience.

Trade shows

Having a visually appealing booth with vibrant graphics and text is important when showcasing products at trade shows. Backdrop printing allows you to produce print material on demand in a quick turnaround time so you won't miss valuable exposure opportunities. This way, it'll be easier for people to learn more about your brand and what they can expect from you during the exhibition.

How to Choose the Right Backdrop Printing Company

When it comes to choosing the right backdrop printing company in Singapore, there are a few factors you should take into consideration. You want to make sure the company you choose is experienced and reputable.

In addition, you should look for a company that specializes in large-format prints and offers high-quality products. It’s also recommended that you ask for samples before making your final decision.

Here are some additional guidelines to help you choose the best backdrop printing company:

Research: Start by researching several companies online and look for reviews from customers to get an idea of the quality of service they offer.

Knowledge & Experience: Make sure the backdrop printing company has extensive knowledge and a wealth of experience when it comes to printing large-format images.

Equipment & Printing Technology: Check if the backdrop printing company uses modern equipment and latest printing technology for producing high-quality products.

Customer Service: Look for a company with excellent customer service and one that is willing to work closely with clients throughout the project.

Tips and Tricks for a Successful Backdrop Printing Project

If you're looking to capture attention with a stage backdrop printing in Singapore, there are some helpful tips and tricks you can use. By taking the time to follow through on these helpful suggestions, you could end up with a stunning backdrop that's sure to leave an impression.

Research Printing Companies

First and foremost, do your research when it comes to finding a good printing company for your stage backdrop printing project. Compare services, pricing and quality of work from each company before making your decision. It may even be worthwhile to ask for a sample before making any commitments.

Choose High-Quality Materials

One of the keys to success when it comes to stage backdrop printing is choosing the right materials for the job. This means selecting materials that will be lightweight yet still durable enough for long-lasting use. For example, PVC banner printing or large foam board printing are both great options.

Select Your Design & Get Ready to Print

Once you've selected your printing company, you'll need to pick out the design that you want printed onto your backdrop. Make sure that it's high quality and ready for print before submitting it to the company.

By following these tips and tricks, you can ensure that your stage backdrop printing project will be a success!

Sourcing Quality Materials for Backdrop Printing

When it comes to printing stage backdrops, the quality of the materials used is just as important as finding a good printer. After all, you want your backdrops to look great and stand the test of time. And that means finding a printer in Singapore who uses high-quality materials.

So what kind of materials should you be looking out for?

PVC Banner Printing – PVC banner printing is a popular choice for backdrop printing because it's lightweight and waterproof, making it ideal for indoor or outdoor use. Plus, PVC banners are durable enough to withstand regular use and reuse without tearing.

Large Foam Board Printing – Large foam board printing can give you an eye-catching backdrop that won't sag or warp, making it perfect for settings with multiple people or lots of movement on stage. This material is also lightweight and cost effective, making it perfect for both large projects and smaller budgets.

Stage Backdrop Printing – For stage backdrop printing, there are a few different materials available including fabric, vinyl, canvas and more. Depending on your specific needs and budget, one of these options may work better than another.

No matter what material you choose for your stage backdrop printing project in Singapore, always check that the printer offers quality control measures such as regular cleaning of their production equipment and testing of the inks they use before they begin any job. With a good printer behind you—and quality materials at hand—you can create stunning backdrops that will capture attention like nothing else!

Conclusion

In conclusion, stage backdrop printing in Singapore is a great way to create stunning visuals that will capture the attention of your audience. Whether you’re looking for large foam board printing, PVC banners, or stage backdrop printing, there are a variety of services to choose from to meet your needs.

By choosing the best printers in Singapore, you can be sure that you’re getting top quality printing services with quick turnaround times. With these services, you can create vibrant visuals that will give you the edge over your competition, and capture the attention of your customers.

#Large Foam Board Printing #PVC Banner Printing #Stage Backdrop Printing #Backdrop Printing Singapore

[werkzproductionss]

In Singapore, the hoarding sticker becomes an integral component of the city-state's urban fabric, mirroring its relentless pursuit of innovation and urban renewal. From iconic skyscrapers to bustling MRT stations, Singapore's hoarding stickers animate construction sites with a kaleidoscope of colors, images, and narratives. Seamlessly blending safety guidelines, cultural motifs, and brand messaging, these stickers transform construction barriers into immersive storytelling platforms, enriching the urban experience and fostering a sense of connection amidst the flux of development.

#event backdrop singapore #exhibition booth dress up #stage backdrop singapore #backdrop printing #exhibition panel printing singapore #exhibition panel printing

[vehiclestickersingapore-blog]

Event Backdrop Printing in Singapore | u expo

U-Expo International Pte Ltd is a multi design, quality, client take out change to mission and core value in the event industry, we possessed the skills and knowledge to help every client boost their company awareness in their industry and for a one-of-a-kind business experience.

#backdropprinting #singapore #stage banner printing #vinyl sticker printing #banner printing services singapore #uexpo #Event Backdrop Printing in Singapore #Vehicle Wrapper Sticker Printing Singapore

[zigncraftt]

Elevating Events with Stunning Backdrops: The Art of Crafting Unforgettable Stage Backdrops

Behind every captivating event lies a well-crafted stage backdrop that sets the tone, engages the audience, and leaves a lasting impression. Event backdrops, particularly stage backdrops, are an integral part of event planning and design, adding a touch of magic to any occasion. Whether it's a concert, theatrical performance, corporate conference, or a wedding ceremony, the artistry of stage backdrops plays a crucial role in elevating events to extraordinary experiences.

The Power of Stage Backdrops:

Event backdrop serves as the visual centerpiece of an event, creating a focal point that draws attention and sets the atmosphere. They act as a canvas to showcase themes, brand messaging, or artistic representations that align with the event's objectives and ambiance. The power of a thoughtfully designed stage backdrop lies in its ability to:

Captivate the Audience: A striking stage backdrop immediately captures the audience's attention, creating a sense of anticipation and excitement even before the event begins.

Enhance the Theme: Whether it's a whimsical wonderland, a futuristic galaxy, or a corporate branding showcase, stage backdrops complement the event's theme, reinforcing its message throughout the proceedings.

Create Immersive Environments: With the right use of lighting, colors, and graphics, stage backdrops can transport attendees to a different world, immersing them in the event's narrative.

Boost Brand Recognition: In corporate events, customized stage backdrops prominently featuring a company's logo and branding elements reinforce brand recognition and leave a lasting impression on stakeholders and clients.

Designing Stage Backdrops: A Harmonious Fusion of Creativity and Technology

Crafting mesmerizing stage backdrops requires a seamless blend of creativity and advanced technology. Professional designers collaborate with event organizers to conceptualize and bring their vision to life. Here's how the process unfolds:

Conceptualization: Designers work closely with clients to understand the event's theme, objectives, and branding elements. They then develop a concept that aligns with the event's essence, using sketches and digital renderings to illustrate the proposed design.

Material Selection: The choice of materials is essential in achieving the desired visual impact. Fabric, vinyl, or mesh are popular options, each offering distinct textures and printing capabilities.

#Backdrop Singapore #Backdrop printing #Event backdrop #Stage backdrop #Exhibition booth

[zignprintsg]

Backdrop printing is an artful process that fuses imagination with precision. It all starts with a well-thought-out design concept that aligns with the event's theme and purpose. The chosen design is meticulously transferred onto carefully selected materials, such as fabric, vinyl, canvas, or paper, using state-of-the-art printing technologies. The process ensures vibrant colors, sharp details, and exceptional quality. Backdrop printing allows for limitless customization, enabling clients to create unique and memorable event experiences that set the stage for success.

#Backdrop Singapore #Backdrop printing #Event backdrop #Stage backdrop

[printera]

Affordable Backdrop Printing for all your shows and events in Singapore. Our backdrops are delivered quickly at the best price with a fast turnaround time. We provide eye-catching backdrops for any event in SG. Everything from banners to bunting to stickers to LED signboards to 3D box lettering is covered by us. Get in touch today.

#Backdrop Printing #Stage Backdrop #Stage Backdrop Singapore

[lemony-snickers]

1 - Naruto / Kakashi Hatake

when the party's over - billie eilish.

Kakashi felt the hard wood of the the auditorium chair digging into his back and adjusted. It was dificult not to roll his eyes as families settled into their seats, turning to talk excitedly with one another about the show.

His eyes flitted to the decorations fixed to the front of the stage, the hand painted banner with "A Time to Remember" scrawled on the front.

Kakashi had never participated in a recital like this. Even in his youth, because of who his father was and what he did for a living, Kakashi's education in movement had been exceptional. Professional from the very start.

He had taken adult workshops instead of classes with children his own age, and he had featured in a few of his father's residency works before his death - had been taken under the wing of Sakumo's friends and contemporaries thereafter.

Kakashi was grateful he had never had to demean himself in such a way, wearing cheap costumes and trying to bend and break some artistic vision into a malformed box that suited A Time to Remember.

What did that even mean? What was it supposed to convey to the audience?

Kakashi huffed, rolled his neck from one side to the other to quell his irritation. An unfamiliar hand tapped him on the shoulder and he turned to look at the person attached, seated behind him, with only the thinnest veil of social politeness pulled over his natural expression of annoyance.

"Hi," a woman said, pointing toward the curtained stage with a hand-folded program printed on too-bright green paper, "who are you here to see?"

That was the questions, wasn't it? Becasue the person he was here for was not even performing, likely had done almost as few of these types of recitals as he had himself.

But Saya Tsunematsu was a peculiar thing, a person he still did not have a good read on, despite his proclivity for undrestanding people at a glance, in most cases.

The woman behind him, for example, leaning too close and hoping desperately he too was a single parent - something they could bond over before she inevitably asked him to help with some ridiculously small home repair project in a bid to finally seduce him.

"No one," he said flatly, turning to face the stage again. He heard the woman's half-shocked sound of confusion, felt the warmth of her hand as it crept toward his shoulder again before retreating. Kakashi closed his eyes, breathed through his nose. An hour and a half, one twenty minute intermission, and he could lay to rest whatever questions he had come here to answer.

Or, at least, if he didn't, he would forcibly bury them and move on. He had spent too much time already on trying to understand Saya; her determination to challenge him at every turn.

He had originally dismissed her when she auditioned for him with a piece of his father's choreography and she had snidely retorted that he was an egotistical fraud who could never live up to his father's legacy.

The remark had stung, the fear of inadequacy which Kakashi so easily pushed down most days writhing its way up his esophagus, curdling in his mouth.

Perhaps it had been a good thing - he'd never admit it - because it had forced Kakashi to truly think about the path he had set himself upon, the goals he wanted to achieve by reviving the White Fang Dance Company. To rewrite his childhood, to bring closure to a part of his past which had remained until recently an open, festering wound.

Saya had helped with that, had challenged him repeatedly as they reworked his father's choreography. He'd never met anyone who knew the movement as well as he did until Saya. It was strange, to find someone so devoted to Sakumo's work who had never known him.

The lights of the auditorium dimmed and Kakashi settled into the familiar darkness, the hush before the curtains pulled apart to reveal another hand-made (and similarly nonsensical) set piece - a backdrop painted with a mountain range in the distance, a field of flowers in the foreground; neither of which seemed to evoke a time to remember.

The first half of the recital was devoted mostly to the youngest children, few of whom knew their places or their steps, several of whom froze mid-stage, terrified of the lights and the sea of shadowed faces. One who cried, and three who tried to climb off the stage shouting, "Mama!" or "Papa!" with delight.

Kakashi had to forcibly unclench his jaw several times.

Intermission brought headache-inducing fluorescent lights and the opportunity to buy cookies and brownies and boxes of sugar water masquerading as juice in the hallway to support the dance studio's competitive endeavors. Kakashi purchased a single red carnation, unsure why except that it gave him something to do with his hands.

When he returned to his seat, the one behind him remained vacant and Kakashi wondered despite himself whether the woman had moved on his account or if her child was one of the young ones permitted to leave early so as not to miss their bedtime.

The second half of the recital was at least slightly more interesting. The children were older, more dedicated to their burgeoning craft. And while none of them danced to a professional level, several of them showed promise, and Kakashi found himself clapping a little louder, hoping it would encourage them to keep going.

And then, finally, the last piece of the night was all that remained. Kakashi straightened in his seat as a familiar person took the stage, standing in the center wearing a simple black dress and sensible heels.

"Good evening," Saya said, smiling, the long earring she wore catching the spotlight and reflecting it back in sharp refraction. "My name is Saya Tsunematsu and I'm a performer with the White Fang Dance Company."

Kakashi felt his pulse quicken a little at the mention, the acknowledgement that she was tied to him in some way. Professionally, of course.

"I am honored to have been invited to collaborate with some of the senior students on a piece for tonight's recital. When considering the theme A Time to Remember," Kakashi almost laughed but quickly converted it to a cough before anyone noticed, "I thought back to my own childhood, to the joy that dance brought every day, even when it hurt or when I didn't get the part I wanted and my parents listened to me cry the whole way home."

Several knowing chuckles erupted from the audience and Kakashi found himself, not for the first time, slightly jealous that Saya seemed so capable of connecting with the people around her, even if they could never attain her level of talent.

"I wanted this to be a truly collaborative effort and I'm so proud of the work these students have put forth to create this piece. I will admit, their choice of music was outside my usual realm, but that only made the challenge more fun for me, and - I hope - for them. Thank you and enjoy."

Applause followed Saya into the wings and the curtain pulled open again. A single performer stood on the darkened stage, wearing a loose sleeveless top and tightly fitted shorts, all a dull grey.

When the music began, it was a soft harmonic humming until a cracking voice joined.

Don't you know I'm no good for you?

The lights slowly came up, soft blue washing over the stage as the dancer at the center began a measured adaggio - as close to a hallmark of Saya's work as Kakashi had ever been able to pinpoint.

The girl's foot trailed from her ankle to her knee, and then higher - her thigh pulling tight to the side of her body as her foot extended overhead. Even Kakashi had to admire the control and flexibility the movement required. Her leg trembled only a little as she stared blankly forward, mouth parted slightly, hands soft at her sides.

I've learned to lose you can't afford to.

Her foot flexed but she remained otherwise still as two other dancers joined her, falling from the wings with a soft flourish, pulling at their shirts as if trying to escape their confines.

Tore my shirt to stop you bleeding.

More dancers, suddenly, running swiftly onto the stage as the dancer at the center released her leg extension and joined them in a cluster, disappearing as she melted back into the sea of grey; no longer alone, but no longer special, either.

The lights flashed from blue to red, the whole ensemble moving together as one entity - expanding and contracting, lifting up onto the toes of one foot, leaning preacriously to one side until they nearly toppled over.

But nothing ever stops you leaving.

They all tugged the shoulder of each other's shirts, appearing to try and stabalize one another before it became apparent they were trying to pull each other off balance.

Kakashi did not notice he was leaning forward, perched on the edge of the uncomfortable auditorium chair as he watched.

The cluster dispersed, dancers flying in every direction, some cascading to the floor while others leapt through the air, each face painted with an expression of anguish, remorse, fear.

They all stopped suddenly, swaying on their feet; turned away from each other, staring at the floor, solemn.

The lights cut out.

Quiet when I'm coming home and I'm on my own.

Bright yellow lights burst across the stage like the flashes of cameras, the music swelled.

One dancer fell to the floor, clambered forward from one knee to the other, rolling over each pointed foot, clutching their chest. Another fell on top, resting his head on their shoulder, wrapping his arms around them as if to cradle and reassure.

But the first dancer struggled against it, tried to pull themself free.

I could lie, say I like it like that, like it like that.

Kakashi watched as the piece evolved, as moments of sadness and anger were punctuated by joy, by love. The lights wavered back to blue, ripened to orange and then rotten purple.

Slowly, those better moments overwhelmed the others, quelled the upset and the regret and replaced them with exultation. The dancers saw one another struggle, helped one another overcome. Rather than separate and isolated, they moved together again, one dancer propping another up as they fell.

The music crescendoed.

Let's just let it go, let me let you go.

The first dancer took her place at center stage again, but this time, instead of alone, the others joined her, all sweeping their leg up, up, up. Some weren't as steady, some not as flexible.

They all smiled.

I could lie, say I like it like that, like it like that.

They flexed their feet as one as the music ended with a soft tinkling of piano keys.

The lights faded to nothing, darkness swallowed their beaming faces.

The audience erupted in applause, parents and friends and family all celebrating as the lights came back and the performers took their bows. Some in the crowd stood, many shouted. The dancers all laughed, giddy and pleased with themselves, as they beckoned Saya on stage to take one final bow with them.

Kakashi was the first to leave, the excitement of the crowd trailing behind him, falling quiet as the heavy door swung closed in his wake.

He smiled the entire way home, the carnation still clutched carefully between his fingers, and he finally understood why Saya did not find recitals or their preparation to be a waste of her time or talent.

#kakaoc #kakaoc fanfiction #oc: saya #modern au #dance au #lemony scribbles #music prompt #oh shit lem wrote something??????????????????????????????? #spotify wrapped fic-o-rama #took me forever to figure out what tag i designated for this BACK IN DECEMBER and when i saw it all i could think was REALLY as;dfjasd;f

[wromwood]

So, the production of The Importance of Being Earnest that I was in is now over. Honestly, it was kind of a mixed bag of an experience. It definitely wasn't the most positive experience I've had as an actor in a show. I won't get into all of my frustrations here (and if anyone from that show happens to see this post, I had no issues with my fellow actors! They were all awesome and I'm glad I got the chance to work with them), but I want to vent about something that I was reminded of today.

Our production put a modern spin on the show. While we didn't change any of the dialogue, the director chose to frame the play as a reality TV show. The manservants of the show (Lane, whom I played, and Merriman) were turned into directors and sound guys for the production. We added in a few silent roles as well: a cameraman, an assistant, and a makeup artist. It was a cool idea, and I like how it worked with the old material.

Sadly, this meant that Lane, Merriman, and the silent roles were overlooked at times. In some ways, this makes sense. Lane and Merriman only have a dozen or so lines each, with Lane originally absent in acts 2 and 3 and Merriman absent in act 1. The silent roles are, of course, silent and were invented specifically for our production. They couldn't be highlights in the original show either.

But our version of the show actually increased the workloads of myself and the actor who played Merriman. We sort of switch roles throughout the show. In Act 1, Lane is more of a director while Merriman is a boom operator. In Act 2, Merriman is more of a director while Lane is the boom operator. In Act 3, Lane and Merriman are constantly present on the sidelines, watching everything in a slightly offstage spot while one of the silent roles is the boom op. This means that for at least one act, someone is almost CONSTANTLY onstage as the boom op, walking around with arms raised and calculating where to stand so that they don't get seen by the camera guy.

Speaking of which: the cameraman. Our camera guy might have been a silent role, but his work was honestly one of the biggest parts of the show. He was constantly on stage throughout ALL three acts, his footage was streamed live on three different monitors, and the director made him do so much kneeling that his knees literally started to hurt. He may not have had lines and was invented especially for our show, but I see him as at least as important as Lane or anyone else in the cast.

... which makes it even more frustrating how overlooked our roles were. The actors for Lane (that's me), Merriman, the cameraman, and the other silent roles weren't shown on our flyers. The entire "cast" is present, but only the cast of the reality show (i.e. named roles who aren't "crew"). They aren't even really in costume! But because they're the stars of our show, they're the ones who get to be featured in our advertising. The crew don't even get a small reference of any kind. This was especially frustrating because we ALL did a picture day shoot. I dressed in black for that just like everyone else! We all took an actual group photo together (which was only used for a few seconds at the end of our shows), and then took individual photographs before a blank backdrop. Those individual photos were then edited together to make the group flyer photo, so it was a surprise to all of us that not everyone was included.

Well, it could've been worse, I hear you saying. After all, at least they can make up for it by featuring our photos next to our names in the program, right?

THINK AGAIN! Not only did they not put photographs next to our program bios, but they didn't even print our BIOS either. Instead, they provided a QR code in the program that you had to scan to get to the bios in the first place. Yes, technically, this means that the bios were accessible, but only if you had a phone on you and could be bothered to take the extra steps. We were also not informed about this and were unpleasantly surprised when we saw the programs finally printed out. One of my fellow actors even remarked that they printed everyone's bios in a previous show that this establishment put on, and that was a director's showcase.

Finally, something happened today that I couldn't help but think made this situation feel all the more heartless. (I am dramatically paraphrasing the show here, but my point still stands) Today, we were sent a surprise: the footage that the cameraman took during one of our shows was actually saved, and now it's being shared with all of us. We can actually see the footage that was broadcast to the three monitors we had set up. There was no true "pro-shot" scheduled for our show, nothing that saved the show in its entirety. This is, aside from anything the audience recorded on their own devices, the only saved footage we have of our acting.

... and I already know that it excludes nearly all of the crew and silent roles.

Like all reality shows, the cameras aren't on all of the time. There are moments in the show where the camera gets put down or covered. While I've only skimmed through some of the footage so far, I already know which moments involve the cameras going dark. Guess which moments those are.

Yup, they're the crews' moments! Without going through all this footage myself yet, I know that there's MAYBE one moment where crew members are certainly visible: one part in act 3 where some of the crew is running in and out of a doorway. When it comes to visible acting, nothing else - when we're setting up, working, or speaking - is truly documented. There's only muffled audio from a covered camera. This may be better than nothing, but compared to all of the camera time that the reality show "cast" got, it really stings.

I don't want to sound petty. I know why the "crew" doesn't show up in the video, and the production did provide us all with ONE decent memento: someone came in during a dress rehearsal to photograph us doing a run, so I and the other "crew" have some good shots of us doing our stuff.

But I think the rest of our treatment, of us being overlooked, stings so much because, well... this isn't the first time I've been a "background" or "chorus" role. I've been a sailor in HMS Pinafore. I've been Franz in Sunday in the Park with George. I've been a small contributor before. But in those productions, I still felt valued. If we could film our entire show, we did our best to do so. When we printed our programs, everyone's bios were listed. When we made flyers or pamphlets, we either just used a logo, or put a cast picture (with EVERYONE) on the other side. I was a small piece, but I was a piece nonetheless. I was a star in a constellation. I was tiny, but I was seen.

In The Importance of Being Earnest, I felt like I did a job. I got onstage when I needed to, did my best to make an impression, and then left it to the people that the audience came to see. When we told you "Come see our show!", we only showed the big faces. Yes, I promise I'm also in the show. Yes, I promise I matter to the story. I'm Lane! You know, Lane?

... I know, I'm ranting. The experience wasn't all bad. I do think people liked my performance. Hell, this probably isn't the first time an actor played Lane and was therefore promptly excluded from advertising and hype. But I do think that a well-run theater group can make everyone feel celebrated and important, no matter how small their role is. I think it's telling that I didn't feel like that in this group.

#this is me #rants #the importance of being earnest

[smuppetshowmovie]

date: September 29, 2022 caption: first backdrop project: The Smuppet Show

The next step after finishing the stage was to print out and assemble all the backdrops. I did this one first, printing out the color image in 4 sections on matte photo paper (I have a big printer, but it's not that big!) and using spray adhesive to stick it down to a big supportive piece of poster board.

#smuppet bts

[brooklynmuseum]

Against a backdrop of policing, censorship, and gay liberation in early 1970s Atlanta, DeSana staged photographs of his mostly queer friends, including the notorious drag performer Diamond Lil, nude in suburban environments. While other Conceptual artists using photography like Dan Graham were focused on the architectural homogeneity of suburbia, in “101 Nudes,” a portfolio of 56 photolithographic prints, DeSana penetrated the veneer of seriality and conformity.

Both his subjects’ poses and his halftone reproduction techniques mimicked images from mass-market, soft-core pornographic magazines that emerged during the artist’s youth. The title sends up that of the wholesome 1961 Disney animated film 101 Dalmatians, which was rereleased in 1972. 

DeSana eventually sent copies of the portfolio through the mail, which served as an alternative channel for sharing Conceptual art and challenging the privileged spaces of museums and commercial galleries during these years. He embraced “correspondence art” in part to connect with other gay artists and construct identities that defied mainstream standards of “respectability” for gay people.

📷 Jimmy DeSana (American, 1949-1990). Untitled, from the series 101 Nudes, 1972. Offset print, 12 3/4 × 8 1/2 in. (32.4 × 21.6 cm). Courtesy of the Jimmy DeSana Trust and P·P·O·W Gallery, New York. © Estate of Jimmy DeSana. (Photo: Allen Phillips)

#Brooklyn Museum #brooklyn #museum #art #exhibition #Jimmy DeSana #JimmyDeSanaBkM #photographs #photography #lgbtq+ artists

[universalprinting]

Backdrop Banner Printing in singapore | universal printing

Universal Print is the preferred choice of many individuals and organizations in digital printing services for Corporate Apparel, Designing through high quality printing, affordable pricing and reliable delivery.

#outdoor sign board design in singapore #Backdrop Print Services in singapore #Stage Banner Printing in singapore #Backdrop Printing Singapore #best Signage One in singapore

[werkzproductionss]

In Singapore, the exhibition panel serves as a dynamic medium for showcasing creativity, knowledge, and innovation across diverse industries and disciplines. From cutting-edge technology expos to art exhibitions, Singapore's panels radiate with ingenuity, presenting a tapestry of ideas, products, and experiences to captivated audiences. Crafted with precision and aesthetic finesse, these panels provide a curated canvas for brands, artists, and innovators to engage, inspire, and forge meaningful connections in Singapore's vibrant exhibition landscape.

#event backdrop singapore #exhibition booth dress up #stage backdrop singapore #backdrop printing #exhibition panel printing

[supersonicart]

William Basso.

Distinct, haunting visions from artist William Basso who says of his work:

"My work is a combination of various artistic disciplines including drawing, sculpture, photography, collage and painting. Used together, these allow me to create images of mystery, wonder, delight, sorrow and fear, which often take place in intimate stage-like settings.

The characters in my work exist in a distant, half-remembered, autumnal place where even Halloween can last forever. Images emerge through a cross-referencing of many artistic influences, memories and ideas. Ancient and flickering, monochrome films of the fantastic and macabre play continuously, running through rusted projectors. Long, silent corridors are hung with varnished, cracked paintings and brittle prints from another age, while rows of tall, wooden cabinets display bones and other arcane specimens behind panes of misted glass. In a lonely field of dry grasses under an overcast sky, sits an abandoned theater where puppets, props and painted backdrops are quietly waiting with peeling paint and thick dust. Up in a darkened attic, an antique trunk contains time worn books and comics, richly illustrated. It is here in this world of my subconscious that a childlike sense of fantasy and imagination can mingle with adult anxieties or dreams."

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#art #painting #william basso

[arecomicsevengood]

TRIP REPORT: SPX 2023

I went down to the Small Press Expo in Bethesda, Maryland this past Sunday. While I lived in Baltimore for a number of years, and it was essentially a local show, this is the first time I've been since moving to Philly in 2019. It took a year (or two?) off on account of COVID. I don't have much to say about the show itself, I enjoyed walking around talking to people, I probably didn't see all the stuff I would've liked, I'm not really in a good place to judge trends. I missed some people I would've liked to have met, like Drew Lerman, who left before I got there. He won an Ignatz though, and good for him. I do believe that the thing about SPX and the Ignatzes is that everyone essentially occupies very different spheres of interest and sets of influences. As I walked around, seeing little cards on people's comics saying they were nominated for an Ignatz, I would ask them if they had heard of or were familiar with the thing that won, they almost never were.

At the one panel discussion I attended, about drawing detailed backgrounds as a way of of establishing worldbuilding, Rosemary Valero-O'Connell cited Taiyo Matsumoto's approach as an influence, and as I sat in the audience thinking "Yes! Let's talk more about that!" everyone else on stage, quite reasonably, talked about their own influences instead - which for Daria Tessler, who I came to see, included Mark Beyer and Jim Woodring. The panel was generally good and interesting, and it's not meant as a slight to the moderator Rob Clough to point out that the best questions came during the Q+A from the audience. One member asked the question, how do you handle tonal shifts when you are using detailed visuals for plot purposes, and everyone agreed that that at emotional climaxes or at moments of more interiority they reduce the level of background detail.

Daria Tessler was the artist I was most excited to meet of anyone at the fest. Since my local shop, Partners And Son, is on top of it, I had already read her newest comic, volume 2 of Cagelessness, which absolutely rules, and so I had to shell out the big bucks for a copy of her fully-silkscreened book Dust, that uses multi-color collages as a backdrop for the cowboy characters who, in Cagelessness, move through ornately designed drawn worlds. Her work is beautiful, another high point of the panel discussion was her talking about how Marc Bell calls the tiny details cluttering up the backgrounds of his comics "chicken fat," and while Clough cited the term as originating from Will Elder, Tessler described chicken fat as "what you put in the soup to make it taste better, if you're not vegan," perfectly capturing what makes these artists work such a delicious meal for the eyes.

A similar "I already have all of these" experience was behind my purchase of Tales Of Old Snake Creek, by Drew Lerman, which collects his anthology contributions from recent years and adds watercolor to them. I love these comics in their original formats but I'm not going to say no to the convenience of this, which is also printed at a size larger than the digests in which some things ran.

Shout-out to Bread Tarleton, who pointed out to me the Paradise Systems table, where everything looked good and lavish, but what I picked up was Cry by Yan Cong. I believe Paradise Systems to be a reprinter of self-published comics from China. Cry features cartoony figures in a charcoal textured world, and follows a man having a sexual experience with a prostitute with a weird visual punchline.

Adam Szym directed me to the Strangers Fanzine table, where I picked up Shony Glassware 2 by Manning Coe, which is in some ways probably the sort of zine a lot of people go to SPX to get. Pretty funny stuff, maybe Ben Jones influenced, by a 26-year-old who lives in Osaka. Drawing himself in a Beat Happening shirt but with a bio where he talks about listening to 100 Gecs, there is a definite vibe at work here and while I don't remember the price point of this one I feel like it had to be cheap because it's that kind of comic. If you're ordering the new printing of Bhanu Pratap's Dear Mother from Strangers and want something else that's not too genre-y make sure you throw this in there.

Adam Szym's Their Use Continues is a horror short about the current trend towards reviving dead actors as CGI phantoms in movies currently in the news. Feels nice and relevant, I think I would've liked this to be a little bit bigger (it's printed digest size) and hi-res. Adam uses some digital collage elements for backgrounds and borders that I mostly felt was making the book smaller and fuzzier still.

I nonetheless liked it better than another horror comic I picked up, issue 1 ofJenna Cha and Lonnie Nadler's The Sickness, published by Uncivilized. Both people are more mainstream-comics, which I think is fine, but this does something I really associate with the dumbest kind of attitude that can be present in horror stuff, the kind of tonal miscalculation the comics I like avoid: Presenting a mid-century American setting where characters nonetheless are using a high degree of vulgar language, of a sort that would be stylized and off-putting if it were depicting the modern era but really just completely pulls me out of something set in the past. The second printing changes the color palette on the cover in a way that makes the drawing better, but this is not the sort of thing I would recommend anyone track down, which is sad, because it's likely far more readily available than anything I liked.

Tim Lane's Happy Hour In America 1, from a few years ago, was available at the Fantagraphics table. Presumably because Tim was signing, but I never saw him. I haven't read the big books collecting his short stories, but I like his contributions to anthologies. He's a guy who can really draw, in a way that you don't often see at small press shows, or that feels more appreciated by a mainstream-comics crowd. If his stories aren't as psychotically involved on a plot level as Mack White, he's nonetheless interesting as like a Gen X'er talking about American masculinity and what animates it. I would gladly read it in single issue comics format, though I missed these the first time because it wasn't what I felt I was in the mood for.

Another thing I picked up as a half-off copy of David B's Incidents In The Night, volume 2, from Uncivilized. I think volume 1 did pretty well, and is now sold out, but now that that's unavailable, volume 2 is a harder sell. David B is one of those dudes, like Joann Sfar or Christophe Blain, that got the big bookstore push like fifteen years ago but now no one wants to put out their books in the U.S. David B is also a guy, like GIpi, who had a comic put out by the Ignatz line Fantagraphics had. I bought issue 1 of Babel at the time and didn't care for it, and would've told you I didn't iike David B's work. But lately I've been tracking down books in the Ignatz line I skipped the first time (along with the First Second books of Gipi and Sfar from roughly the same time) and enjoying them, and this fits into that trend as well. A pretty involving plot, involving booksellers, the occult, criminal organizations. I both want to track down a copy of volume 1 and am frustrated that the volume 3 advertised at the end of this book was never translated into English.

Yasmeen Abediford's Death Bloom won an Ignatz, for best minicomic. All of the Ignatz awards are really ill-defined categories, and this is one is a $25 risograph thing, which to me seems like it should exist in a different category than cheapo xerox stuff, but whatever. Anyway, I believe Abediford will also be in the new issue of Freak, which I have seen Instagram posts indicating contributors got an advance copy of but have yet to be for sale online. Abediford is from the Bay Area, but this book was printed by Lucky Pocket Press, based in Baltimore, but from people who either moved there or didn't have the press going until after I left there. They sold me the comic in a little printed bag, which included a family tree for their little mascot guy, citing the "onion peow guy" as "(father, deceased)" and "(comics legend)," which is interesting to me insofar as I don't think of any of the Peow stuff as being interesting to me, though I'm happy it found its audience and made a mark. I don't really get this one either but whatever, I'll reread it tos ee if my opinion changes.

I would also put the output of publisher Silver Sprocket in a similar category to Peow - Not for me, seems like it's for younger people, in a way that dominates SPX as it's currently constituted. I have the deepest sympathies for them not being able to dominate SPX this year though, due to a misplaced/inaccessible pallet of books that they didn't get until halfway through Sunday. They had flown out Leo Fox from England, to debut his new book Prokaryote Season. I had seen Fox's stuff on Twitter last year and thought it looked good/interesting, but was also frustrated by the fact that he had apparently released a comic that was only for sale for 24 hours - maybe a way to create demand so that people actually order a thing, but in an artificial scarcity kind of way I resent. Anyway, I bought one of his self-published things, My Body Unspooling, and yeah I think it looks really cool and interesting, though the approach taken, a sort of simple narrative about the notion of the self rather than something that seems interested in having characters interact is again the kind of trend I blanch at in work made by people younger than me. I nonetheless liked the comic, and thought it was cool, and am going to read his book soon.

I bought issue 9 of Mike Centeno's Futile from the Radiator Comics distro booth. It is explicitly labeled as No Previous Readin' Necessary, so while there were two older issues of Futile at the table, printed at smaller dimensions, I didn't pick them up. This was cool, a mostly black and white (but with pages in the middle in color) comic about a musician taking mushrooms . It looks great on a flipthrough, though Audra Stang, working the table, tried to close the center-spread of my flipthrough so that the burst into full-color I was admiring didn't spoil the story's progression and surprises. Format and cartooning kinda reminded me of Nate Doyle's series Crooked Teeth. (Nate had a larger-formatted barbarian fantasy comic available from Strangers Fanzine, which I passed on.)

I also bought Beth Heinly's Girls Named Meghan from her, though Heinly is Philly-based and I've had plenty of chances to pick it up before. It's a memoir of her teenage years, growing up in Delaware County, which is where I went to high school, and the friendships she had that veered into rebellion and her apprehensions about being around people more "troubled" than she was. It is basically black and white but there's little red-pencil edits throughout, like maybe the wrong PDF was sent to the printer or something, sourced from a file where she was noting what she wanted to fix. I don't think of the other copies I have seen were like this though. Again, I think this is the sort of self-published autobio thing that many people go to SPX to find. I can see the places there this could be stronger or more impactful but there is still a fine sense for who all the characters were, and what the era was like.

I got a few other things but this is all I have read so far, at this moment when I felt like writing. Andrew White gave me a copy of the new Yearly, and a name I recognized from his writing for The Comics Journal, Henry Chamberlain, gave me a copy of his book George's Run, a biography of a Twilight Zone writer published by Rutgers University Press. I also got issue 3 of a comic called Cat Scratch Fever by a woman named Emily Zullo, and Soumya Dhulekar's Flash Valley. Both of these are in the classic digest sized minicomic format with black and white throughout, though Dhulekar opted for a a cardstock cover. This is the sort of thing I am most happy to buy from a stranger at a show and basically not even care about the quality as long as the price is right, though of course the price for both of these is higher than it used to be. I also bought and haven't yet read Leo Fox's Prokaryote Season, the theoretical "book of the show," although another contender for that title, the collection of Liam Cobb comics, What Awaits Them, looked great but I will pick it up when it comes into my local shop.

[printera]

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[groovyruckus]

Michonne's Resilience - DIGITAL PRINTS - The Walking Dead - Fan Art

In this inspired digital print, the silhouette of Michonne from "The Walking Dead" takes center stage against the backdrop of a breathtaking sunset. The artwork captures the essence of Michonne's fierce and enigmatic character, combining her iconic silhouette with the captivating beauty of a setting sun.

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