Jigs and Fixtures for the Scene Shop
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Matchfit 360 System Workbench Plans Project Overview
MATCHFIT 360 SYSTEM WORKBENCH PLANS PROJECT OVERVIEW The MATCHFIT 360 System Workbench is an all-in-one multifunctional workbench. Using MATCHFIT Dovetail Clamps and Dovetail Hardware, it allows you to go beyond the edge and clamp anywhere on the surface for hassle-free assembly. TOOLS & MATERIALS - Table Saw - 3/4” MDF, 32”x72” - Router table - 16’ 1-1/2” thick hard maple - 5” wide - MATCHFIT Dovetail Router bit, or comparable - Adjustable Locking Router Guide - free plans HERE 14º, 1/2” diameter dovetail router bit - Vertical Edge Routing Guide - free plans HERE - 1/4” diameter straight router bit - 3/4” diameter forstner bit - 1” diameter forstner bit - 1-1/2” 10-32 panhead screws and washers - 1/2” diameter forstner bit - MATCHFIT Dovetail Hardware - 45 degree chamfer router bit - 3/4” good quality plywood, 32”x72” FREE DOWNLOADABLE JIG PLANS Scan this QR code for access to our library of free jig plans and for more information about the MATCHFIT 360 System. microjig.com/matchfitplans INSTRUCTIONS STEP 1 - CUT THE STOCK TO SIZE To create the top and vertical side of the 360 workbench, cut a sheet of 3/4” plywood to 45-1/2” x 29-1/2”, and another at 29-1/2” x 18-1/2” on the table saw. Next, cut a sheet of 3/4” MDF to 45-1/4” x 29-1/4”, and another at 29-1/4” x 17-1/4”. INSTRUCTIONS STEP 2 - LAMINATE PLYWOOD AND MDF TOGETHER Glue MDF and plywood together leaving 1/8” reveal on all sides. This is to ensure that you have a flat edge to run along the fence when cutting laminated pieces to final size on the table saw. -
Scene Shop Foreman/Instructor
Scene Shop Foreman/Instructor Department: School of Creative and Performing Arts Type: Full-time, 10 months Reports To: Director of Production This 10-month position serves as shop foreman/stage supervisor for all SCAPA productions. Manages scene shop including the construction and installation of all scenic elements, manages inventory and student crews. Working knowledge of VectorWorks. Responsible for following and promoting all safety procedures and practices along with problem solving technical issues that may arise in the scene shop or stage areas. Teach introductory stagecraft and in other areas of expertise (eg: sound, scenic, projections) Responsibilities: Essential duties and responsibilities include the following. Other duties may be assigned. 1. Manage the daily operation of scene shop 2. Leads or assists construction, load-in and strike of all theatre productions (6 mainstage and 4 student productions annually) 3. Order and maintain supplies at required levels 4. Responsible for general and basic maintenance of scene shop 5. Works in concert with the Director of Production on all scene shop assignments and scheduling 6. Manage scene shop, coordinate construction schedules to meet production deadlines; organize and supervise student workers and scene shop techs to meet deadlines set by Director of Production. develop construction drawings; procures supplies for set construction; coordinates with outside vendors and other duties as assigned by the Director of Production 7. Collaborate with design team to plan, install and ensure proper operation of scenery and stage equipment, manage and train student crews, adhere to safety standards in the mounting, operation and strike for each production. 8. Teach 7-8 credit hours per academic year including stagecraft and scenic design 9. -
Because There Are Few Things More Satisfying Than Making Something Yourself the Right Way by James Schadewald
POPULAR MECHANICS STUDIO PRESENTS BUILD A BAR BECAUSE THERE ARE FEW THINGS MORE SATISFYING THAN MAKING SOMETHING YOURSELF THE RIGHT WAY BY JAMES SCHADEWALD In Paid Partnership with KNOB CREEK® KENTUCKY STRAIGHT BOURBON WHISKEY 50% ALC./VOL. ©2019 KNOB CREEK DISTILLING COMPANY, CLERMONT, KY. BUILD A BAR NO SHORTCUTS Look for our pointers throughout the plans to ensure you cut no corners in your bar build. E DIAGRAM OF PARTS FOR ASSEMBLY G H C I D J Y Z Z 3 B L P Z O Z Q K N Y O M L J R X O K T U W V F A S MATERIALS Part Description Size Qty Part Description Size Qty Part Description Size Qty A Side panel 3/4” x 37” x 20-1/4” 1 K Frame 3/4” x 2” x 17-1/4” 3 U Steel pipe T fitting 1” 2 B Front panel 3/4” x 37” X 58-1/2” 1 L Frame 3/4” x 2” x 58-1/2” 3 V Steel pipe foot rail 1” x 34” 1 C Side panel 3/4” x 37” x 46-1/2” 1 M Edge band 3/4” x 2-1/4” x 36-1/2” 2 W Steel pipe nipple 1” x 2” 2 D End panel 3/4” x 37” x 24-1/4” 1 N Edge band 3/4” x 2-1/4” x 26-1/4” 2 X Steel pipe floor flange 1” 1 E Bar Top 1-1/2” x 55-3/4” x 64” 1 O Plywood shelf 3/4” X 18-3/4” x 36-1/2” 2 Y Support block 3/4” x 1-1/2” x 17-1/2” 1 Note: Maximum length, width. -
Chamfer Plane
Chamfer Plane Christopher Swingley Introduction These plans are for a wooden chamfer plane modelled after the chamfer plane shown in Making Traditional Wooden Planes by John M. Whelan. My plans differ slightly because I used a two piece laminated plane body instead of the single block used by Whelan. My plane iron is a bit wider than his, so my plane body is also slightly larger. Detailed instructions on plane making appear in Whelan’s book and should be consulted as a supplement to these plans. Plans The first set of plans show the body of the plane. Two pegs through the body will strengthen the connection between the halves of the body. Constructing the plane this way is much easier because we can saw and chisel the mortise. 6 3/4" 2 1/2" 2" 1 7/8" 2 7/8" 1 1/4" Left half Left half Right half Interior side Heel Mortise 2 3/4" 2 3/4" 7/8" Heel Toe 1 3/4" 3 7/8" 1 7/8" 1" 3/8" Left half 7/8" Bottom side 1 1/4" 3/8" The following diagrams show the dimensions of the stop that forms the throat in front of the iron. It rests at the front of the mortise in the body, in front of the wedge, and iron. (Insert figure here) Construction Notes *Construction begins by sawing the two halves of the plane body to size. Next, the interior surfaces need * Some images appear at http://www.frontier.iarc.uaf.edu/∼cswingle/woodworking/jigs.phtml 1 Cut List Qty Description T W L Notes 2 Plane body halves 1 1/4 2 3/4 6 3/4 Mortise cut 7/8 inches deep, bottom in- ner edge planed to 45◦. -
LED Lighting in a Performing Arts Building at the University of Florida
LED Lighting in a Performing Arts Building Host Site: University of Florida, Gainesville, Florida July 2014 Prepared for: Solid-State Lighting Program Building Technologies Office Office of Energy Efficiency and Renewable Energy U.S. Department of Energy Prepared by: Pacific Northwest National Laboratory PNNL-23514 LED Lighting in a Performing Arts Building at the University of Florida Final report prepared in support of the U.S. DOE Solid-State Lighting Technology Demonstration GATEWAY Program Study Participants: Pacific Northwest National Laboratory University of Florida NJ Miller SM Kaye1 PM Coleman2 AM Wilkerson TE Perrin GP Sullivan3 July 2014 Prepared for the U.S. Department of Energy under Contract DE-AC05-76RL01830 Pacific Northwest National Laboratory 1 Professor of Lighting Design, Head of the Graduate Lighting Design Program, University of Florida, Gainesville FL. 2 Graduate Assistant, Lighting Design, University of Florida, Gainesville FL. 3 Principal, Efficiency Solutions, Inc., Richland WA Preface This document is a report of observations and results obtained from a lighting demonstration project conducted under the U.S. Department of Energy (DOE) GATEWAY Demonstration Program. The program supports demonstrations of high-performance solid-state lighting (SSL) products in order to develop empirical data and experience with in-the-field applications of this advanced lighting technology. The DOE GATEWAY Demonstration Program focuses on providing a source of independent, third-party data for use in decision-making by lighting users and professionals; this data should be considered in combination with other information relevant to the particular site and application under examination. Each GATEWAY Demonstration compares SSL products against the incumbent technologies used in that location. -
Owner's Manual & Safety Instructions
Owner’s Manual & Safety Instructions Save This Manual Keep this manual for the safety warnings and precautions, assembly, operating, inspection, maintenance and cleaning procedures. Write the product’s serial number in the back of the manual near the assembly diagram (or month and year of purchase if product has no number). Keep this manual and the receipt in a safe and dry place for future reference. 20c ® Visit our website at: http://www.harborfreight.com Email our technical support at: [email protected] When unpacking, make sure that the product is intact and undamaged. If any parts are missing or broken, please call 1-888-866-5797 as soon as possible. Copyright© 2018 by Harbor Freight Tools®. All rights reserved. No portion of this manual or any artwork contained herein may be reproduced in Read this material before using this product. any shape or form without the express written consent of Harbor Freight Tools. Failure to do so can result in serious injury. Diagrams within this manual may not be drawn proportionally. Due to continuing SAVE THIS MANUAL. improvements, actual product may differ slightly from the product described herein. Tools required for assembly and service may not be included. table of contents Safety ........................................................................2 Maintenance .............................................................14 Specifications ............................................................6 Parts List and Diagram .............................................17 Setup .........................................................................7 Warranty ...................................................................20 Sa Operation ..................................................................10 FE ty ® WarninG SyMBOLS anD DEFinitiOnS This is the safety alert symbol. It is used to alert you to potential S personal injury hazards. Obey all safety messages that E tup follow this symbol to avoid possible injury or death. -
Series GRM Workholding Clamps
Best Price Best Design Best Delivery SERIES GRM Workholding Clamps Sizes 1, 2, & 4 GRM124A PHD Series GRM Clamps Workholding Clamps The Series GRM Clamp continues to be the industry-leading pneumatic actuator of choice for material handling solutions worldwide. Its simple Size 4 design and rugged construction have proven customer satisfaction and loyalty since 1998. Three standard sizes (25, 32, and 40mm bores), 13 standard jaw styles, and countless options and accessories, make the Series GRM Clamp the most versatile and modular clamp in the world. Each and every aspect of the Series GRM Clamp was influenced by you, our customer. We pride ourselves in providing a product that suits your specific application needs. The Series GRM Clamp is a product that is meant to work for you and not a product that you make work. Contact your local distributor or PHD to learn more about Series GRM Clamps. Size 2 Size 1 1 6 Greater Clamping Forces, Flexibility, Durability, & 2 3 Low Cost 4 5 7 8 Product Features Major Benefits • Simple design 1 Fixed or spherical mounting brackets for side or rear mounting • Compact envelope size • Long life 2 Cam design locks clamp in the closed position ensuring part • High grip force retention if air pressure is lost • Fast field maintenance 3 Adjustable rotation stop allows for multiple jaw openings in • Jaws lock in the closed position ensuring part retention if air pressure one clamp (Sizes 2 and 4) is lost due to line rupture or power loss 4 Interchangeable hardened-steel jaws minimize costly • Lowest cost of -
PH-PAC Technical Specs
Port Huron High School Performing Arts Center 1 Technical Information Contact info…………………………………………..………….. 3 General………………………………………………..…………. 3 Stage…………………………………………………....………… 3 Dressing rooms/green rooms……………………..…………….. 4 Scene shop……………………………………………………….. 4 Load in………………………………………………...…………. 4 Rigging………………………………………………...…………. 4 Line set schedule……………………………………...…………. 5 Sound…………………………………………………...….…….. 6 AC power………………………………………………...……… 7 Lighting…………………………………………………....…….. 7 Video……………………………………………………….…….. 11 2 SpecialSpecial effects effects……………………………………………………………………………………………………………………………………………………………………….……………..……………… 11 MMiscMisc………isc……………….......…………………………………………………….…………………………………………………………………………………………………………………..…………………………………………….. 1111 StaStagege diagrams....diagdiagrams....………………………………………………rams....……………………………………………………………………………………………………………………………..………………….. 1212 CoContaContactntactct infooinf PortPort HuronHuron HighHigh SchoolSchool PerformingPerforming ArtsArts CenterCenter 2215 Court Street, Port Huron, Michigan, 48060 Phone: (810) 984-2611 x281 PortPort HuronHuron AreaArea SchoolsSchools AdministrationAdministration Jamie Cain – Superintendent Web: www.phasd.us 2720 Riverside Drive, Port Huron, Michigan, 48060 Phone: (810) 984-3101 Dee nnii ssee SSeeell b y,y, P A C GGeeennneeerr alal M anananageageagerr E-Mail: [email protected] Brandon Kovatch, PAC Technical Manager E-Mail: [email protected] General The Performing Arts Center is a conventional proscenium auditorium built in 2005, with a capacity of 640 seats in two sections. The -
Study Unit Toolholding Systems You’Ve Studied the Process of Machining and the Various Types of Machine Tools That Are Used in Manufacturing
Study Unit Toolholding Systems You’ve studied the process of machining and the various types of machine tools that are used in manufacturing. In this unit, you’ll take a closer look at the interface between the machine tools and the work piece: the toolholder and cutting tool. In today’s modern manufacturing environ ment, many sophisti- Preview Preview cated machine tools are available, including manual control and computer numerical control, or CNC, machines with spe- cial accessories to aid high-speed machining. Many of these new machine tools are very expensive and have the ability to machine quickly and precisely. However, if a careless deci- sion is made regarding a cutting tool and its toolholder, poor product quality will result no matter how sophisticated the machine. In this unit, you’ll learn some of the fundamental characteristics that most toolholders have in common, and what information is needed to select the proper toolholder. When you complete this study unit, you’ll be able to • Understand the fundamental characteristics of toolhold- ers used in various machine tools • Describe how a toolholder affects the quality of the machining operation • Interpret national standards for tool and toolholder iden- tification systems • Recognize the differences in toolholder tapers and the proper applications for each type of taper • Explain the effects of toolholder concentricity and imbalance • Access information from manufacturers about toolholder selection Remember to regularly check “My Courses” on your student homepage. Your instructor -
(Purple Masque) Scenic Design Checklist
SECOND STAGE (PURPLE MASQUE) SCENIC DESIGN CHECKLIST MANDATORY ATTENDANCE AT: All director/designer meetings Minimum of two meetings with Faculty Scenic Designer: one prior to preliminary deadline, and one prior to final deadline. All production meetings Minimum of one run-through rehearsal prior to crew watch Crew watch All technical and dress rehearsals Strike Any conflicts with attending the above meetings/rehearsals must be cleared ahead of time with the faculty designer and the director. IMPORTANT INFORMATION There is a very limited time frame for installation and painting of scenery in the masque. Therefore, it is extremely important for you to be organized prior to your load in date. Some things to consider: You will be working late nights/weekends during load in and tech, so plan ahead to have papers/homework/studying done ahead of time. “I had to write a paper so the set didn’t get done until opening night” is not a valid excuse. EVERYTHING needs to be built prior to load in. It is best if you can paint pieces beforehand, also. If you are building a large unit, make sure it will fit through all doors. Large units in pieces should be “dry fit” in the scene shop to make sure they assemble as planned. Make sure you arrange for help ahead of time. People will be more willing to assist you if they know a week or two beforehand. This is not just your show. Having the scenery unfinished not only affects the actors, but the lighting and costume designs as well. ROUGH DESIGNS Rough designs will include research image boards of conceptual, architectural and detail inspirations for the set. -
Jig Guide This Guide Should Be Read in Conjuction with Your Operating Manual
can make it with Jig Guide This Guide should be read in conjuction with your Operating Manual. It comprises plans and specifications of the seven most useful jigs to assist you in working more safely, or more accurately, or more conveniently. Included are hints to help you in the construction and use of each of the jigs. Note: 1. Use good quality, close grained wood - dressed all round - for the construction of your jigs. 2. All dimensions given on the plans are in mm. The Jigs and theit r-!Ses are as follows: LENGTH GAUGE Useful for quick and accurate repetition cutting to length in the crosscut mode. END GRAIN JIGS HOLD.DOWN JIG Use these when working on Used to hold long narrow pieces end grain. when narrow ripping and it also can be used as a side restraint. BEVEL CUTTING AND ROUTER PLATFORM Needed whenever you are bevel cutting COMBINATION REPETITION AND TAPER RIPPING JIG with your saw or cross trenching with a A two-in-one jig that facilitates repetition ripping of narrow workpieces router. and is essentialfor alltaper ripping. BEVEL RIPPING JIG OUTBOARD WORK SUPPORT lf you need to cut bevels on material wider than This jig is helpful when you need to support large 45Omm, this jig is useful. panels when ripping in the table saw mode, or when crosscutting long material. Jig Guide Length Gauge A length gauge is usefulfor quick and accurate repetition cutting to length in the crosscut mode. MAKING THE JIG VIEWED FROM THE BACK D Screw a single long straight piece of wood onto both work-stops. -
Production Handbookfinaldraft
PRODUCTION HANDBOOK SCHOOL OF THEATRE AND DANCE KENT STATE UNIVERSITY 2010-2011 TABLE OF CONTENTS INTRODUCTION 1 Mission of The School of Theatre and Dance 1 PROFESSIONAL BEHAVIOR 1 A Code of Ethics for Theatre Professionals 1 PRODUCTION FACULTY AND STAFF 3 Contact Information 3 ORGANIZATION OF THE SCHOOL OF THEATRE AND DANCE 5 The Faculty and Staff Production Organization 5 Faculty and Staff Production Positions 5 Producing Director/School Director (Administrative Staff) 5 Managing Director (Professional Staff) 5 Production Manager (Professional Staff) 5 Director 5 Artistic Director (Dance Concert) 6 Choreographer (Dance Concert) 6 Choreographer (Theatre Production) 6 Vocal Coach 6 Fight or Movement Coach 6 Resident (Faculty) Designers 7 Resident (Faculty) Set Designer 7 Resident (Faculty) Costume Designer 7 Scene Shop Supervisor 8 Costume Shop Supervisor 8 Lighting and Sound Supervisor 8 Marketing Coordinator (College of the Arts Administrative Staff) 9 School Administrative Assistant (Classified Staff) 9 SCHOOL OF THEATRE AND DANCE PRODUCTION POLICIES AND PROCEDURES 10 Participation Policies 10 Auditions 11 Casting Policies 11 Conflicts 11 Computer Lab Policies 12 Key Policies 12 Theatre and Rehearsal Space Policies 12 Rehearsal Policies 13 Theatre and Dance Space Policies 13 Matinee and Touring Production Policies 15 Purchasing Policies and Procedures 15 School Charge Accounts 15 Production Spread Sheet 15 Petty Cash 16 Expense Reimbursements 16 School of Theatre and Dance Box Office Policies 16 i School of Theatre and Dance Complimentary