EXTRActs
In conjunction with A&C Black, The Stage is please to present a chapter from the publication 'Scenery: Draughting and Construction' by John Blurton.
Permission to reproduce the material from the following title is kindly granted from A&C Black publishers
The title listed below can be purchased from the A&C Black website.
Scenery: Draughting and Construction
by John Blurton
© 2001 John Blurton
Chapter Two - The First Principles of Drawing
Listing first principles, or golden rules, is a potentially dangerous process - since, by definition, the implication is that there are lesser rules which can be safely ignored, and that is not the case. However, we have to define the issues that must be kept uppermost in the mind of the draughtsman. Some may appear self-explanatory, but I make no apology for their inclusion; when investigating the cause of an error with the benefit of hindsight, it can often seem obvious how the error occurred - clearly, it was not that obvious at the time! Other points may have been touched upon earlier and some may be further developed later.
1 Clarity and precision
A) All drawings must be clear to those who will read them. A faxed sketch to a set-builder may be mumbo-jumbo to the sound department, but, as long as you know that the set-builder understands the technicalities of the sketch and it is only for his or her use anyway, then this may be adequate. Conversely, if a drawing is to be for the benefit of all and sundry, then go to greater lengths to ensure that an idiot could read it - many idiots will read it! In the trade-show world, some producers possess no understanding of anything technical and cannot read drawings (it may be their first show). Of course, their ignorance is not your fault, but you must 'go that extra mile' to attempt to make the drawings as clear as possible. In other words, know your readership.
B) Some drawings are inherently complicated and resist simplification. This does not present a problem as long as those who will use the drawing are experienced and professional enough to be able to read them (again, know your readership).
C) If a drawing is in danger of being too difficult to read, then attempt to break it up into layers - each drawing being representative of a horizontal layer of one area (I am referring to a plan view here). For example, layer one can be a drawing showing the mathematical setting-out of an object at ground level; layer two can show the construction details of that object at that level; layer three can be the setting-out of the object at ceiling level; layer four can show the construction at ceiling level, and so on. CAD drawings are ideal for this kind of work because they allow for easy 'copy and paste' procedures.
D) Having made the above point, my personal opinion is that it is usually more convenient for all concerned to have as few drawings in a package as possible. Certainly, for carpenters and engineers who are working 'on the bench,' it is far more convenient to have one A1 drawing to work from than to be given three drawings - which they must then cross-reference, etc. amid the dust and mess of a workbench. In many instances, this is very easy to achieve: simply give sections at 1:5 scale, instead of 1:1 or 1:2 scale. Plainly, different jobs bring different circumstances, but in general, I feel it is more professional to keep the number of drawings down to a minimum.
E) Clarity can often be introduced into a drawing by simply adding a human figure, at the correct scale, to one side of the elevation. This is most useful to clients who are not experienced at reading drawings - they find that they can suddenly 'see' the scale. A stylised human figure is adequate.
F) Precision in drawings should be taken for granted. Always draw to scale as accurately as is possible - even though people should never have to scale from the drawings, because everything should be given dimensions. Scaling from drawings is unwise because the very act of copying drawings can slightly stretch or shrink the paper, rendering the scale irrelevant. When drawing by hand, if you draw accurately, scaling acts as a rough double-check when you are wrestling with complicated maths in order to arrive at a given dimension. For example, at 1:25, I can be sure that if my calculator gives me an answer that is more than, say, 30 mm different from that which I scale-off with the scale rule, then I ought to re-check my maths on the calculator. Do get into the habit of checking your maths against the scale of your drawing!
It is surprising how often somebody will mention that they found your drawing to be 'dead to scale' (accurate), even though you know that they need never have had to scale from the drawing because all dimensions were given. The point I am making here is that it is simply a better thing to remain accurate; it has universal human appeal. It is almost instinctive in human nature to want drawings to be completely to scale; people trust scale (even though they shouldn't). So, draw to scale.
G) CAD drawings are easier to produce on an accurate basis. But there are still a myriad reasons why/how even CAD drawings can be drawn wrongly ('garbage in, garbage out' is the familiar cry when such errors are found). I frequently check all the important dimensions with the measuring tool before going too far with a drawing. This also applies to angles - it is fairly easy to draw what one thinks is a perpendicular line, only to discover that an inaccurate assumption has been made. Precision cannot be taken for granted in CAD drawings - it has to be achieved by the draughtsman.
H) Precision leads to clarity in drawings. If you are drawing a section through tubular steelwork, for example, it is normal practice to draw the wall thickness of any steel tubes that the section is slicing through; if that is not done then the drawing will appear as a jumble of lines. The second that you do ink in the wall thickness, then all becomes clear.
2 Mathematical precision
A) All maths shown on your drawings must be precise. All dimensions, angles and working data must be accurate. This is the single most important aspect of our sort of drawing work. Always double-check all the maths. It is infuriatingly easy to fall into the trap of double-checking the difficult maths, but forgetting to check that a simple column of dimensions add up correctly. It is expected that anyone using the drawing will follow the dimensions given - so give the right ones! Inexperienced draughtsmen are frequently over-concerned with the look of their drawing and do not give dimensioning enough thought.
When drawing in CAD it is easy to think that the maths can be forgotten - because one simply draws what one wants and 'asks' the machine for dimensions. However, it is still very easy to 'pick' your required dimension from the wrong point without realising the error. Equally, in CAD one should use geometry to set-out the drawing in the first place, so accurate maths is still of major relevance.
B) Never write a dimension on a drawing without having first confirmed that the dimension shares a mathematical logic with the rest of the drawing. You will often see drawings by untrustworthy draughtsmen who pluck some figure out of the air (they may have scaled the dimension from their drawing) that is completely at odds with other dimensions given. The reason for this is that, sadly, so many draughtsmen are simply unaware of basic maths. Learn the maths, or give up now.
C) Beware of 'number dyslexia' - this is the cause of most of the mistakes that I have made! By this I mean simply writing a number down in the wrong order - for example, intending to write '2420', but actually writing '2402'. Daft, but we all do it! Try checking for this when the drawing is completed (that is when a final check should be made, just prior to issuing the drawing). CAD tends to eradicate this problem, as it 'reads' and prints the dimension for you, but your CAD drawing may still be based upon your hand-sketched, on-site survey - and that is where the dyslexia is most likely to occur.
D) Try not to give 'information overload'. Provide the dimensions and geometry necessary to the drawing, without needless repetition. In other words, show enough maths, but no more.
E) Only show maths that is practical to use. It is of little benefit to a scenic carpenter to be told that a particular angle is 53.78657°: it is unreasonable, as well as idiotic, to expect them to fetch a calculator in order to decipher what that angle really means. In this particular case, it is simpler for all concerned to draw and dimension the three sides of a triangle (whose relevant angle is that given - i.e. 53.78657°), so that the carpenter can physically set out that triangle. The carpenter need not know what that angle is; but is expected to know how to set out a triangle when given the lengths of the three sides. It is often the case that it is useful to the draughtsman to indicate the exact angles of a triangle on the drawing (to make checking-back an easier task); there is no problem with doing this, but do give the other, more simple, information that is required by others.
F) When drawing large objects - a show's floor, for example - be aware that most workshops have limited floor space on which to do their setting-out. It is of little use to the contractor to be told that they must set out a curve of radius 9 metres if their workshop is only 6 metres long. Always consider this thorny problem and attempt to break down the maths of the whole job into smaller, more manageable sections if necessary.
G) It is quite acceptable, and on some jobs vitally important, to produce a 'maths and setting-out only' drawing. Normally, this drawing would be the first to be done; it would lay down the maths of the key pieces of the set (usually in plan view) and establish an entire mathematical framework within which to work.
This drawing may not necessarily be used by the carpenters or engineers as a bench drawing, but is more likely to be used by other draughtsmen who may be working on the show. An example of this is when more than one contractor is involved in a job and each has their own piece of set to draw: it is obviously preferable for everyone to be working within the same mathematical framework. ('So that we are all wrong together' is a familiar, and wise, comment amongst contractors. The overall dimensions could be inaccurate, but all internal parts will fit together.) This drawing becomes the hymn sheet from which everybody sings.
At early meetings, try and establish who is best suited to provide this drawing (whom do we all trust?). Often, it is whoever can start the work first - so it could be you. I frequently draw a maths-only drawing merely for my own convenience, as a point of reference; if others want it, they can have it.
H) When checking the accuracy of the maths on completion of the drawing, try to do so by approaching the problem from a fresh viewpoint. In other words, don't use the same approach that you employed to establish the maths in the first place. This helps because, when one is working on a difficult job, the mind tends to become stuck in a particular groove of thought and so, if a mistake has been made, it will tend to be made again and again. In short, try to use different sorts of maths, based on different criteria, to check your work prior to issue.
I) When checking the drawings, try to clear your mind of what you already know and imagine being the person who has to pick up that drawing for the first time and begin setting it out. If you do this, it is surprising how often you will find that key dimensions have been left off in error.
3 Have a clear title block (see figure 2-01)
Figure 2.01 An example of a title block. NTS (Not To Scale).
A) The title block is very important in maintaining clarity and neatness. Its exact position on the drawing is a matter of individual choice, but try to ensure that when the drawing is folded the title block is still uppermost - and therefore in view. Do bear in mind that many paper copiers automatically fold the drawings as they leave the machine, and that if the title block is either in the top or bottom right-hand-side of the drawing, then it will be uppermost when the drawing is folded.
B) In our business, I would recommend that the title block contain the information that is listed below (point 'C' onwards), although many productions like to show a 'cast list' of the designer's name, director, production manager and so on. I find this a pointless exercise - it is the intended use of a title block to communicate vital information and, if useless information is included, people will ignore it and will therefore miss vital notes as a consequence.
A small but useful point: I prefer to see drawings which have a line drawn as a border around all four sides of the sheet, as well as around the title block. Firstly, it looks better (and that is a good enough reason), because it frames the drawing regardless of tatty or dog-eared edges that may appear on the copies. But more importantly, it proves to the recipient of the copies that they do indeed have the whole of the drawing copied in front of them. This last point is of growing importance because production managers will often copy a drawing and then slice it up for faxing, or, even worse, for distributing in separate pieces to those whom they feel do not need the whole drawing. It is sheer folly to do this of course, but it happens. A border will indicate to the receiver of copies that they have the whole of the drawing, or not.
C) 'Drawing number' should be prominent within the title block. Be meticulous in ensuring that drawing numbers are not duplicated on a production. Large jobs can have hundreds of drawings, and a rogue drawing number can cost plenty of money! Always add a letter to the end of the drawing's number if you have revised that drawing. For example, 'Drw.005' becomes 'Drw.005A' when first revised, and 'Drw.005B' when next revised.
Drawing numbers may frequently include a 'job number', a 'client number', a 'part number', an 'area/zone number', etc. - as well as the actual number of that drawing. So, the full number may be '4562/Brown/13/Z4/001A' - which is awkward to the eye, to say the least! Try to separate the drawing number off to the right (as in '4562/Brown/13/Z4/ . . . 001A'). Make it as easy as possible to find the drawing number.
D) A 'See also. . .' box is a good idea to include in, or near, the title block. It indicates the drawing numbers of other drawings relevant to the one in question.
E) 'Revisions' is an area that contains details of how many times the drawing has been altered. As pointed out above, remember that if a drawing is altered, you place a letter after the drawing number; if it is altered again, you replace that letter with the next letter in sequence. Many title blocks include printed lines that you can fill in with the revision letter, the revision date and some details of what has been revised. I tend to put this information in my 'Notes' box (see below). Whatever the case, ensure that these details are shown somewhere on the drawing.
F) 'Scale'. Remember that when designing a title block, you may have to enter three or four scales into this box. It is a good idea to add, after the scale, 'at A1' (or whatever paper size you are using). This ensures that all future recipients of the drawing can see if the drawing has been reduced - or not - by a copier.
G) 'Drawing title' is self-explanatory. However, if you are designing a title block, ensure that there is ample space for this as some titles are necessarily wordy.
H) 'Name of production' is again self-explanatory. Qualify the name with the location if the production will have separate drawings for different venues; e.g. 'Hamlet, Glasgow'.
I) 'Client' will be the name of whoever is paying you, or your employer, to produce the drawings. (Whatever you do, spell their name correctly!)
J) 'Date' should be the date that the drawing was completed and first issued.
K) 'Notes': leave a space in the title block for notes that pertain to that drawing. In this box, when relevant, give the fire classification of materials that are to be used in the construction of whatever your drawing represents, e.g. 'All Class 1 Materials To Be Used'. Strangely, people quite often do not even glance at what is in the 'Notes' box, so if there is something that you most certainly do want them to notice, then highlight it in some fashion (pencil shading, triple underlining, etc.).
L) Personal details are a matter of choice, in the sense of how much you include. It is always prudent for the name of the draughtsman to be in the title block and a contact telephone number to be included (and fax/mobile/e-mail, if desired). You may live to regret giving your home number here, unless you have an answering machine to protect you.
M) Legal jargon: most companies have some sort of legal jargon pre-printed on their drawing sheets. These qualifications - for that is what they are - are normally an attempt to stress to the client that liability is limited in some way. They may also mention copyright ownership. It is good and common practice to include the phrase, 'Do not scale from this drawing.'
4 Ensure that drawings are current
A) Whenever your drawings are revised, ensure that all relevant parties have and know about the new revision. Nothing is more infuriating than to find that one department or company has been working from the original drawing while the rest of the production team are working from revision 'E'.
B) It is the responsibility of the draughtsman to ensure that revised drawings are distributed correctly, either by posting them off directly or by nagging the production manager to do so. Do double-check this matter. E-mailing is perfect for sending these messages and drawings together, although many people tend not to read the e-mail message properly. Always telephone recipients of revised drawings to let them know that they exist.
5 Keep a drawing record
A) It is important to keep a list of drawings that pertain to a production. A simple A4 (portrait) list containing columns with the following headings is ideal: Drawing Number; Title; Scale; Revisions; Date Issued/e-mailed; No. of copies; and Issued To. An example of a show's drawing list is below.
B) Each time new or revised drawings are issued, photocopy the list and highlight the numbers of the drawings that are enclosed with the list.
6 Know the type of drawing that you are producing
A) The types of drawings used in our industry are dealt with in Chapter 3. The point made here is that you should always be aware of the type of drawing that you are being paid to produce. A drawing provided for a producer - illustrating an overall scheme, for example - will not require the detailed information that a set-builder would expect. It is bad practice, as well as inefficient, to muddle the objective of the drawing.
7 Be consistent with dimensions
A) Always ensure that dimensions are written in a standard form. In the UK, use millimetres only - do not use centimetres or metres. Do conform to this convention - '10 metres' is written as '10000 mm' or simply '10000'. You will often witness risible attempts at dimensioning in centimetres/millimetres, with wild guesses being taken as to where to place the full stop (or comma) that separates the two. But if millimetres alone are used, this error cannot occur.
B) When drawing for overseas clients, find out their local convention for dimensioning. Frequently, a comma is placed after the centimetre digit - just ahead of the millimetre digit - or a full stop is placed after the metre digit. (Once, while drawing in Madrid, I found that my local clients could not read my drawings because I had only used millimetres - and had no commas or dots. Obviously, I quickly changed and used their conventions - the drawings are a means to an end, so always adapt to suit that end.)
C) Feet and inches should not be used in Britain - be adamant about this! Just because someone in the team still thinks in imperial, that is no reason why everybody else should suffer. Everybody knows where he or she is with millimetres. We've all got calculators and know from experience that it is easier to calculate using one unit of measurement, one number: millimetres.
D) If asked to draw American shows (or work from American drawings), then feet and inches are inescapable. CAD drawings are easy to dimension in metric or imperial, or both. If drawing manually, good luck with the maths! An imperial scale rule is very useful, as are the scale rules that show imperial and metric.
E) When asked to draw a UK show from American drawings (often a show is first put on in the USA, then transfers), always convert everything to millimetres and - if necessary - place approximate imperial equivalents in brackets after the millimetre dimension. This will help the Americans to check your drawings.
F) Being consistent with dimensions also means retaining consistency in how those dimensions are written down. Overall dimensions may be stencilled, for example, and lesser dimensions hand-written; height dimensions may be preceded by a '+' sign and underlined or placed within an ellipse, whereas other dimensions remain unadorned; major dimensions may be written with a thick pen, others written with a thin pen. Whatever visual aids you employ to improve clarity, be consistent on that drawing, or set of drawings.
8 Drawing paper and copying
A) When drawing with CAD, no paper is involved until such time as a 'plot' (a print) is wanted. At that point the drawing can be plotted to any paper that the plotter will handle - most types imaginable, that is. I prefer to issue the drawings on white 90g/m2 paper - lesser weights of paper are thinner and, in my view, too flimsy.
B) When drawing manually, it is usual to draw on tracing paper: this original drawing is known as 'the skin'. (Other types of paper may be used, but always ask about the properties of that paper - in relation to your pens, for example - and check that it is ideal for copying.) Tracing paper is semi-transparent, easy to work with, easy to erase and re-ink upon and easily copied. It is available in all the main sizes (metric: A4, A3, A2, A1 and A0) and in varying weights (thicknesses). I find that 90 g/m2 is too thin and insubstantial; try using 110 g/m2 only. Erase ink lines with a Stanley knife blade or scalpel, and over-rub with an ink rubber which has been injected with a solvent (as are the yellow Rotring ink rubbers). Damp weather conditions or damp hands on a warm day will cause the paper to shift and buckle upon your board: this is a nuisance, but keep on smoothing it out and re-taping it down, and consider wearing white cotton gloves (minus the fingers) during hot, clammy weather when drawing.
A drawing left on the board for several hours will gather dust and cause the pens to skid about or to clog up, so either rub down the drawing frequently with a clean cloth or protect it when not in use - in fact, do both. Humidity in the air will cause the paper to stretch or shrink at an alarming rate and, of course, likewise for copies (which is why one should never scale from a drawing). An A1 piece of paper, when folded in half along its shorter axis, becomes size A2; an A2, when similarly folded, becomes A3; and so on. Use masking tape to stick the drawing down to the board.
C) Polyester drawing paper (or draughting film) appears to be similar to tracing paper, but is easily recognisable by its waxy, silky feel, its high static electricity content, and its foul smell and higher cost. It has the advantage of being strong and virtually tear-proof, as well as being resistant to water (which tracing paper certainly is not!). Many venues have their ground-plans drawn on polyester because its natural durability will keep the skin pristine for far longer. However, when drawing on polyester, remember that special ink needs to be used (Rotring type 'F' for example) because ordinary ink will take much longer to dry and be non-permanent. Also, ordinary pen-nibs will wear out very quickly on polyester paper and so tungsten-tipped nibs are required (which are far more expensive, but are still better value over time).
D) Dyeline copies are cheap and attractive (but smell rather strongly of ammonia: I've seen trade-show producers, not always familiar with drawings, literally gag as the drawings are unrolled - not good for one's confidence). A dyeline copier is designed to copy drawings that are drawn on tracing paper - it needs the transparent nature of that medium in order to function. A square of white paper stuck on the original skin will print as solid black - the copier reads lines through the skin. The lightness and darkness of the copies can be controlled (dark copies do have a habit of revealing all the scratched-out lines). Dyeline copies are excellent at copying pencil shading or any other subtle toning methods. The copies do fade in sunlight.
E) Plain paper copies are more expensive, although rapidly becoming cheaper. The copiers are simply large photocopying machines. The copies replicate on to white paper (and it is very white, compared to dyeline paper), and will copy whatever is on the surface of the original - therefore you can stick bits of paper on to the skin and what is on those bits of paper will also be copied. The copier will also reduce or enlarge, which is its main advantage. Unfortunately, some shading will not copy as well as on dyeline paper; pencil shading will look very 'muddy'; and some people dislike the 'black or white' nature of these copies. Plain paper copiers can copy a skin on to another skin, but I have yet to see this done well enough to use with confidence.
F) Be prepared to use the advantages of photocopiers when producing drawings. What I mean here is that one can often reduce or enlarge something on a photocopier in order to trace over it on to an original skin. Company logos spring to mind: it can be very tiresome to have to draw logos of different sizes on a trade show drawing, so simply copy them on a photocopier at the size required and trace through. (CAD users can easily 'import' the logo from the client.)
G) Paper copies or plots of drawings may have to be faxed to people in order to save time. If this involves cutting a copy of the drawing into strips of A4 width (210 mm) in order for it to pass through the fax machine, then always send a full, uncut copy by post as well. Fax machines and their operatives (us) can be unreliable and I have seen many mistakes occur because someone never had sight of a whole copy of a drawing. Obviously, if you are aware that a drawing will have to be faxed in this fashion, then draw it in such a way that suits being divided into strips 210 mm wide. Remember too that when faxing anything, the very edge of the paper (3-4 mm) does not print. Ideally, use A4 drawing paper - with title block and a border, say, 10 mm (3/8") in from the edge of the paper. Draw within that border and all should be well.
9 Use correct and consistent terminology
A) Using correct terminology or jargon is important in our industry. There are numerous conventions for naming areas of the stage or auditorium, some of which are indicated in figure 2-02 (see below). The theatre convention is quite an old system and is based on the idea that, when describing a position on stage, you are standing on the stage facing out to the audience: therefore, 'prompt side' (PS) is to your left and 'upstage' (US) is behind you. The American system has become very popular in recent years; this adheres to the same principle except that 'stage left' (SL) replaces prompt side, and 'stage right' (SR) is the term used instead of opposite prompt (OP) - a more logical system, in my opinion.
Just to confuse the issue, the convention used by film and television is different again: they use 'camera left' or 'audience left', and that is established from the viewpoint of the audience, not from the stage. Therefore, 'prompt side' (PS), 'stage left' (SL), 'camera right' and 'audience right' are all the same place!
You will not go far wrong if you adopt the American system (of SL and SR) when drawing for theatres, trade shows or conferences, etc., but adopt the 'audience left' convention for television work and museum work. As with all jargon, there will be some purists who may disagree with my summary, but few would misunderstand your meaning if you do as I suggest.
B) Construction materials have a terminology of their own - each according to its industry - and there is not enough space to cover this ever-shifting topic here. You will learn as you go along, and if you become a collector of brochures (see also page 38), all will be revealed. Manufacturers of materials tend to produce clear brochures which amply describe their product. Try to be placed on the mailing lists of the companies whose brochures you use regularly.
One tip worth remembering is the convention of naming timber, which does tend to cause confusion at first. Timber sizes are given as a cross-section of that timber - e.g. 100 x 50 (4" x 2") - and are based upon the notion that the timber is still rough-sawn. In other words, it is still coarse and not planed smooth; it is in its raw, cut, 'hairy' state. Normally, you will be nominating timber as being planed smooth, known as 'par' (planed all round). When describing this on the drawing, you can either write '100 x 50 par' (4" x 2" par), which is the normal convention, or '95 x 45 fin' (3I" x 1I" fin) which is describing the actual, finished size of the timber to be used after it has been planed smooth by the mill. The carpenters would also understand '95 x 45 par'. Tubular steel is similarly described as a cross-section through the tube, with the addition of further information describing the thickness of the steel 'wall' and the type of steel tube described. Steel suppliers' brochures illustrate this rather well. Examples are:
- 50Ø x 1.5 erw = 50 mm diameter round tube with a wall thickness of 1.5 mm (2"Ø x 1/16"). The type of material is 'Electric Resistance Welded' - 'erw' - a cheaper type/grade of steel which is adequate for most light steelwork.
- 50 x 50 x 1.5 erw = 50 mm x 50 mm square tube with a wall thickness of 1.5 mm (2" x 2" x 1/16"). Again, it is erw, and one should note that the outer four corners of erw are slightly more rounded and less 'sharp' than are other types of square/rectangular steel.
- 50 x 50 x 3 shs* = 50 mm x 50 mm square tube with a wall thickness of 3 mm (2" x 2" x 11/8"). The type of material is 'Square Hollow Section' - 'shs'.
- 50 x 30 x 3 rhs* = 50 mm x 30 mm rectangular tube with a wall thickness of 3 mm (2" x 11/4" x 1/8"). The type of material is 'Rectangular Hollow Section' - 'rhs'.
- 60.3Ø x 5 chs* = 60.3 mm diameter (round) tube with a wall thickness of 5 mm (23/8"Ø x 1/4"). The type of material is 'Circular Hollow Section' - 'chs'.
Note: the three types of steel marked above with an asterisk - shs, rhs and chs - are called 'Structural Hollow Sections' - a better class of steel than is erw and preferred by engineers when building structural steelwork. (I understand that their 'calcs' - structural calculations - are geared more towards using this, than erw.)
10 Maintain neatness when writing or dimensioning
A) Handwriting proficiency is a nightmare for many people and can cause much anxiety when first attempting to master the art of technical drawing. (Plainly, CAD drawing removes this problem - see 'C' below.) It is obvious that the writing on a drawing (including dimensioning) should be clear enough to be read by all and that to stencil every word and number manually would simply take too long to be efficient. There are jobs where this is requested, which is no problem as long as the client is told of the time implications. My personal solution to the problem of my own appalling handwriting has been to write only in upper case lettering on drawings: I, and others, have found this to be an easier route to take than to attempt to alter or improve handwriting that has evolved over the years into an indecipherable mess. Try working in upper case and you may find that it is easier to control than is your 'natural' handwriting. It can be useful to slip a piece of lined paper beneath the drawing paper when writing a paragraph - your hand feels less exposed on the bare paper having the reassurance of lines beneath it. But if you do have difficulties in this area ... practise.
B) Letraset and other types of sticky-backed, peel-off-and-apply lettering or shading are very attractive and can greatly add to the 'first impact appeal' of a drawing. However, these things are expensive and very time-consuming and so should be used with restraint. Use these only when they would be appropriate for the type of drawing that you are working upon - and remember that stencilled writing looks just as professional, but is quicker and cheaper.
Letraset shading (and other patterns) are stuck on to the drawing, and trimmed to shape with a new scalpel blade on the drawing. Be careful that you are not cutting through both the Letraset and the drawing. I prefer to add these things to the back of the drawing - it will still read when copied, but can be ripped off the back, avoiding causing damage to the face of the drawing. Just experiment.
C) Computers have come to the aid of us all in helping to produce attractive calligraphy. Obviously, if you draw on CAD then the letters and numbers are no longer a problem for you. However, you can still use the computer to help in this regard even if you do not draw on CAD. It is possible to write whatever you require on the computer, print off onto sticky-backed acetate or similar, and stick it on the drawing. You can also do this with ClipArt and other programmes to add scaled human figures to the drawing.
11 The scale of the drawing
A) There are no rules in our business regarding which scales to use for drawing. It is true that there are some general conventions, but they are not rules: the theatre world does favour 1:25 for ground-plans and elevations; the museum world seems to prefer 1:20. I believe that the sole criterion for choosing scale should be the question: 'Which scale(s) will fill the drawing in the most attractive/clear fashion?' I tend to draw only on A1 paper and therefore choose a scale that will fill that drawing in the best manner.
B) Having stated the above, do try to establish a visual logic to a series of drawings, simply to make them more user friendly, e.g. ground-plan and elevations at 1:25, further detail at 1:10, detail at 1:5.
C) In the trade-show world I am frequently cursed for using 1:75 (not a common scale), but my defence is that I often need (not want) to have the ground-plan, long section and short section all on the same drawing (in order to establish the sight-lines in three dimensions). I then detail at more conventional scales. I mention this in order to stress that the drawings are practical, flexible tools used as a means to an end. The drawings themselves should not be restricted by rules and regulations that are merely cosmetic and owe more to etiquette than to practicality. For those who worry about such matters, the common scales used are: 1:200, 1:100, 1:50, 1:25, 1:20, 1:10, 1:5, 1:2, and 1:1. (I like 1:15, but few do.)
D) To save your own time, do give some thought to the scale you will use on a particular job. It is very annoying to begin elevations at, say, 1:25 scale, but later realise that you need more detail than that scale can give and so have to repeat yourself at another scale, say 1:15.
E) As previously stated (see also point 1F), never draw with the intention that people will scale off the drawing - but do draw in the knowledge that people will do it anyway! Therefore, be accurate.
F) CAD drawing eases the problem of scaling because one can plot drawings at any scale - the actual drawing in the computer being 'full size'. However, it is most irritating when companies issue CAD drawings at 'no' scale - they are to scale, but to a 'mad' one, such as 1:34.758. This happens when they have instructed the plotter to just 'scale to fit', i.e. reduce the drawing to fit a named size of paper. This is annoying when, for example, the drawing is being generally discussed at a meeting and people would like to be able to 'ball-park' a dimension by scaling from it, but realise that they are unable to do so.
12 Try to spell accurately
A) I am not 'holier than thou' in this matter: my own spelling leaves much to be desired (thank goodness for spell-check!), but I do feel that it is worth checking the dictionary before becoming a laughing stock. Put simply, why look an idiot? Your drawings become an extension of yourself sent forth into the world. Bad spelling puts you in a poor light. The commercial world can be less forgiving of this sin than the theatre world.
B) If working abroad, you may have to draw in a foreign language - that is, label in a foreign language. This is not as difficult as might be imagined, just ensure that you have a list to hand containing translations of all the relevant materials, etc. and ask a friendly local to check it all for you. This last point is crucial because you may be using a word in its wrong sense. On a Spanish drawing, I once wrote a word that I thought meant 'the ground' or 'the soil', but later found that it meant specifically wet earth - so I had written 'swamp'. (So what? you may think, but the drawing was describing a scene within an exhibition and soil is not swamp. A wrong word can cost money!)
13 Be consistent with line thickness and line type
A) Again, there are no strict conventions relating to the thickness of drawn lines. However, consistency is an obvious visual aid to those reading the drawings. Like most draughtsmen, I tend to draw with a .35 nib, but draw my dimension lines with a .25 nib. I use other pens to add effect. Dimensioning lines certainly need to be visually different from the rest of the drawing.
Again, CAD drawing eases this problem as one is given far more choice of line types. It is all the more irritating, therefore, to be presented with a CAD drawing where the lines have not been defined by a style - simply because it could be drawn so much more clearly. I tend to have the dimensioning lines as dotted, thereby accentuating the 'solid' lines of the item drawn.
14 Be aware of the budget
A) When drawing any production, the budget for that show must be kept uppermost in the draughtsman's mind: however unpalatable it may sound, budget is king. Clearly, the draughtsman must be aware of approximate material and labour costs and he must gain an understanding of which construction methods are quick (cheap) to use. A theatre show which is to undergo a gruelling tour must be built to withstand the rigours of touring, so mortise and tenon joints will be used in the construction of flattage, whereas a trade-show set which will stand up for three hours and then be 'trashed' only requires its flattage to be of 50 x 25 mm par (2" x 1" par), on edge, nailed together. The former is more expensive to build, but not in the long term; the latter is cheaper to build and is adequate for its purpose.
B) Remember to 'translate' a set design (when possible) into a form that suits available material sizes, in such a fashion as to avoid wastage. For example, if by trimming 80 mm (31/4") off the size of the show's floor, it can all be made of 2440 x 1220 mm (8' x 4') sheets of ply, then do this - check with the designer if you think that it may matter to him. Similarly, if a designer has drawn a flat which appears to be 2490 mm high by 1260 mm wide (8' 2" x 4' 11/2"), discuss changing those dimensions to 2440 x 1220 mm (8' x 4') so that only one sheet of 4 mm (1/8" or 5/32") facing ply is used. Otherwise, those extra few millimetres will waste another sheet.
C) Do not consider wastage in terms of timber/ply/steel only, because many flats will be cloth-covered and cloth can be expensive, especially if it has to be sewn-up into larger pieces. Therefore, when deciding how to break a set down into its component pieces of flattage, do find out the width of covering cloth to be used.
Having made the above point, remember that cloth can be a far cheaper material than timber/ply/steel and so it is more economic to have a 'wall' of cloth (sewn-up as one piece) than a 'wall' of flattage. Use your knowledge of materials and their prices to decide how best to tackle each problem.
D) Remember to discuss with the production manager how best to break a set down into its component parts. Sometimes, by leaving a piece of scenery as one large, unbroken unit, the truck space that it takes up may be greater - but it may save time on the fit-up to leave it as one piece. The PM is the one to decide.
E) Be aware of the fact that certain items are far more expensive than others - this is not always obvious at first glance. On many occasions the cost of castors can be the greatest single material expenditure of the whole set (and they are not even seen). Only specify castors that are adequate for the loads carried (heavy-duty castors are more expensive) or, even better, find out if there are any castors available from past shows (all theatres should keep castors). Lift-jack castors are expensive. Polycarbonate is expensive, PVC less so. Formica-type laminates are expensive, but some makes are far cheaper than others. Fibreglass is labour-intensive and therefore can prove to be expensive. Birch ply is expensive.
F) Finally, you are expensive. The drawings are expensive, so they must 'earn' their money by producing savings wherever possible.
15 Maintain consistency within a set of drawings
A) Visual consistency within a set of drawings (dimensioning conventions, scales, etc.) has been mentioned, but do ensure that drawings do not contradict one another in their factual content. Again, this sounds so obvious, but it is very easy to make such mistakes: by the time you are working upon drawing No. 15 you may well have forgotten an important point made on drawing No. 2. I always keep relevant drawings pinned on walls, so that a mere glance upwards can confirm what was drawn before. (This is when you occasionally discover that your early drawing was wrong! But better now than later.)
16 Place the set's break-points with care
All sets break down into component parts for travelling. Deciding where those break-points are is a key skill that must be acquired. When deciding, the following points must be considered:
A) The design's aesthetic qualities are prerequisite, so ensure that break-lines are disguised by the natural architecture/artwork of the design.
B) Road haulage truck size can vary from tour to tour and country to country. This information will often be a deciding factor in determining where the scenery has to break. Find out from the hauliers the internal dimensions of the truck type that will be used. The standard 40-foot articulated truck used for the transportation of scenery in the UK tends to have internal dimensions of approximately 2340 mm (7' 8") wide x 2650 mm (8' 8") high. It can be simple for the production manager to ask for higher-sided vehicles - up to approximately 3050 mm (10') high. Remember that an articulated truck has a 'kingpin' arrangement that forces up the floor level of the trailer at the front end, by the cab. This raised floor within the trailer is known as 'the dance floor' - it effectively reduces the height of the trailer by about 350 mm (1' 2") for about 3000-3600 mm (9'10"-11'10") at the front, not the door end. Of course, scenery can be transported 'at an angle' (leaning within the trailer), thereby utilising the diagonal size of the trailer's doors, but bear in mind that this does waste valuable truck space.
C) Shipping containers, rather than articulated trailers, are often used for 'long haul' tours. They have smaller internal dimensions! So ask if these are likely to be used for any show that you are drawing. One example of the internal dimensions of a 20-foot shipping container is 2337 (7' 8") wide x 2387 (7' 10") high x 5890 (19' 4") long (doors are 2337 (7' 8") wide x 2286 (7' 6") high). Various shipping companies use various containers, so some may differ from this example - 'jumbo' containers are taller, but rarer.
D) Air cargo containers can be bizarre shapes (largely ill-suited for set transportation), so always obtain a sketch of them from the freight handlers. In most cases, sets will not travel comfortably in these containers and so are flown 'loose', either in the hold of an aircraft or in a chartered cargo aeroplane. Theatre sets are usually complex and delicate items to transport and require skilled labour (stage crews). Therefore, when a set is flown and is handled by other types of crew, damage often occurs. I have known sets to be greatly damaged by being flown to their destination; in essence, the production manager can lose all control of the handling of the scenery at airports.
E) The get-in size tends to dictate the sizes of manageable lumps of set (along with truck sizes, see point 'B' above.) Theatres suffer fewer problems than most in this regard, whereas trade shows run the whole gamut of nightmare venues and their get-ins. Remember, when surveying the get-in, do not just measure the clearway into the building, but walk the whole route through to the stage - checking for the existence of low ceilings, ducts, pipes or stairs and, very importantly, bends in a corridor.
F) The manageability of pieces once the set has been broken down for travel must be considered. Do not expect the crew to have to manhandle awkward or dangerous pieces. Experience helps here, of course, and it can be gained by watching the stage crew handle a set that you have drawn - it soon becomes apparent as to what is an awkward piece (they let you know). A heavy item is not so much of a problem if many men can get around it and have places to lift from. Consider having 'dollies' made - 25 mm (1") birch ply, 1000 mm x 600 mm (3' 3" x 2') plus hand-holes + four bolted 75 mm (3") swivel castors. These can be pin-hinged or bolted to particularly awkward pieces of set for travelling (and are re-used many times). Consider secreting castors into the set at break-points, for use only while the set is being travelled. Consider too whether the use of flying bars or hoists can assist in a break down or build of a set - if so, add flying irons/attachments to the pieces in question. Consider the use of travelling battens/travelling braces/travelling frames - all of which serve the purpose of stiffening lumps of scenery that become awkward or ungainly upon being broken away from the rest of the set, i.e. they are used for travelling only, not for the show.
G) Fragility of the set. It is not sensible to break the set into pieces that have fragile edges exposed, as these will be damaged in transit. Breaking across vac-form is always a bad idea for this reason (also, when the set is put together, vac-form tends not to hold its shape and will produce ugly gaps). Heavy, large items with fragile edges are not desirable. Sometimes, there is no other obvious place to break the set but along a fragile edge: in these cases draw some sort of strong pin-hinged/bolted travelling protection. The set and the crew must be protected.
H) Sheet sizes. As discussed on page 16, promote economy by remembering the sizes of sheets of ply when deciding the placing of break-points. A wrongly placed break-point could result in having to waste a sheet of ply in order to obtain a thin sliver. (For ply, of course, read also cloth, laminate, polycarbonate, etc.)
I) Structural integrity is clearly of vital importance when deciding the positions of set breaks - yet this point has been left until last. The reason is that in so many cases, the break-points are a given, dictated by some of the reasons above (get-in, artistic/aesthetic reasons, etc.) and our job is to make it structurally sound. Most designers are aware of the fact that their sets will have to break down and have already considered and solved the problem, if necessary, by designing-in a suitable line or moulding that will disguise a join. Discuss all break joints with the designer and production manager and, if the impossible really is being requested, explain your structural doubts to them. After all, some things are impossible - or, more likely, too expensive - to achieve. But do not be too hasty: give the whole problem a lot of careful thought. We are asked to re-invent the wheel each week; after all, it is part of our job. Just look at all the 'impossible' shows we have seen in theatres! Therefore, in most cases, a satisfactory design is achievable, despite the technical problems.
17 Obtain correct logo references
A) When producing drawings for trade shows/conferences/exhibitions, you will need to include company logos. Companies can be rather precious about their logos, so never underestimate the care with which the logo will be studied. On the drawings, a reasonable interpretation is acceptable (trace them from copies made to size on a photocopier); but on the actual set, the logo must be perfect. Therefore always ask for a 'logo pack', or 'PMT', from which the actual logo can be produced. The majority of companies have specifically designed logo packs, including disks.
18 Be aware of Health & Safety issues
This important topic has already been raised (see page 5) and the draughtsman's responsibility has, I hope, been made clear. I have listed below some crucial points, but, in truth, this subject is too large to cover comprehensively. Each venue will have its own peculiar rules, so find these out, but also discuss your work with the appropriate fire officer and/or Health & Safety representative.
A) Museum work obviously involves sets sharing public space and is therefore very strictly controlled. It is usual to have Health & Safety and/or fire consultants representing the client's interests involved in the whole process. These consultants exist to advise upon all aspects of the production and will thoroughly discuss and check the drawings and the work. They have absolute authority, as they should do, and it can save time and money if you work with them and discuss issues before you draw. I have seen sets condemned, at the contractor's own cost, simply because the relevant consultants had not been consulted - this would be a draughtsman's fault as he could not have sought their opinion. (Note the verb 'sought'; the draughtsman has to be proactive, not reactive. Reactive, in this case, meant reacting by re-building the set!)
B) Fire classification. Establish whether materials are to be 'non-flameproof', Class 1, or Class O. Some materials are 'inherently flameproof' - meaning that in their natural state they simply will not spread flame. Steel and concrete are good examples; wool is another, surprisingly - hence the occasional requirement for expensive, real woollen carpets. 'Non-flameproof' is simply untreated and carries no fire rating. 'Class 1' materials, if not inherently flameproof, have been treated with chemicals to conform to Class 1 classification of 'spread of flame' and is the usual UK standard required in theatres. 'Class 0' is a higher classification and can be insisted upon in public areas (e.g. in museum work), causing many problems to the contractor simply because so few materials can reach that standard. Always obtain certification from the manufacturer of materials that require classification - these will be requested by the client.
Remember that different countries adopt different fire/safety regulations. (France has a 'Class M' - similar, but not identical to the UK's Class O. UK contractors working for EuroDisney had to import Class M plywood in order to build the sets because the correct certification was prerequisite.)
In most types of work, a small percentage of non-flameproof material may be allowed - remember that it costs nothing to ask for dispensation.
The iron curtain in a theatre is a moving fire barrier, separating the auditorium from the stage. Upstage of the iron curtain is often a non-flameproof zone; downstage of the iron, Class 1. If a show's floor passes below the iron curtain, then the area of the floor immediately below it needs to be filled in solid to maintain the effect of the iron. The iron curtain must always have a clearway through which to pass - no fixed settings may be placed in its path. This occasionally necessitates the use of sprung traps, etc. within a large piece of scenery, which allow the iron to pass through unhindered. The fire officer will ask to see these ideas demonstrated onstage as a test.
Timber thicker than 25 mm (1") can usually be non-flameproof (untreated with fire-retardant chemicals). Hardwood can be non-flameproof (including balsa wood, surprisingly). Plywood floors that lay directly on the stage can often be non-flameproof.
Raised floors or rostra in public areas should have solid sides (no feet cut out of rostrum gates on the outside edge of the structure) to prevent lit cigarettes from rolling underneath. Open risers on stairs may be disallowed for the same reason - any fire compartment needs to be sealed off. These points rarely apply to theatre sets that sit on a stage and are separated from the audience.
Doors may have to be 'half-hour' or 'one hour' fire-rated. They may require intumescent strips - strips of material, housed into the edge of the door or door frame, that expand in heat and fill gaps between the door and the frame. Fire-rated doors need to be purchased, not built in a workshop. It is possible to buy 'door blanks' - these are simply very large flush doors that are cut down to the size required and, if necessary, have their edges re-lipped. Fire-rated doorframes require solid door stops that are at least 25 mm (1") thick and not 'planted on', but are inherent to the door frame - the section is machined from one piece of timber.
Structural steel may require fire protection in permanent structures - clad with mineral fibreboard, for example - to give time for egress before the steel would buckle and collapse in intense heat.
C) Escape routes must be maintained and the necessary clearway indicated on the drawings.
D) Fire or safety equipment within the venue must never be moved (without permission) or blocked in with other gear that might prevent its effective use. Extra fire or safety equipment specified for use on your particular show/project must be clearly labelled on the general arrangement drawings.
E) Manageability of the set, or pieces of the set, must be considered, as previously mentioned (see '16F' above). Make some considerable effort to solve the problems of handling the set. The safety of the crew, cast and public is paramount: unmanageable pieces of set will cause accidents. Our job is to consider these problems, solve them... and then be allowed to sleep at night! Nobody wants to carry the guilt of having caused an accident.
F) No dangerous materials, or potentially dangerous materials, are to be used. Never use glass on stage (use PVC, polycarbonate, sugar glass, etc.). Arris the edges of all timber-work to prevent splinters: i.e. have all corners slightly rounded. If water or other liquid is to be spilled during a show, test the flooring to establish how slippery it becomes. Ensure that all flame effects are passed by the fire officer (the production manager, pyrotechnics person, and/or stage electrics - LX - department usually have responsibility for this, but still be involved in the decisions taken - they may affect the set in other ways).
G) Scenery that moves needs care. Fit steel cable 'dead lines' to moving trucks that could possibly crash into the audience due to mechanical failure. Avoid finger traps and toe traps. Paint offstage edges with white lines for easy identification in the darkness of show conditions - use luminous tape where necessary. Add 'kicker' rails to platforms that are above the floor level in order to prevent items rolling off and falling onto anybody below. In essence, try to visualise in each case what could possibly go wrong and try to eradicate the problem.
H) Flown scenery should have no doors or windows that could fall open while being flown (fit locks or latches). Do not fit lift-off hinges to items on flown scenery, thus avoiding any danger of the item catching something while flying and simply lifting off and falling. Fit 'crash bars' to LX bars that may be brushed by passing scenery (to prevent 'barn doors' from falling from the lamps). Be aware of the problems of paging electrical cables. The main lifting cables should be steel with 'bottle-screws' ('turnbuckles' in the USA) fitted to each to allow for line length adjustment. Ensure that the piece can hang 'true' (level and perpendicular) by having adjustment in front elevation - the bottle-screws - as well as an adjustment in side section near the top (to move the cable up or down stage in order that it can hang perpendicularly, allowing for its centre of gravity). Fit deadlines or safety cables where possible to act as a back-up should the main cables fail. Ensure that the flown piece cannot 'turn turtle' and roll over while being flown.
Flying irons on timber scenery need to be bolted using M10 bolts and usually fitted to the bottom of timber flattage. Do not use knotty timber for flown scenery. Fit grommets (see fig. 16-16) with machine screws, not wood screws; likewise for crucial pin-hinges - the machine screws should be 3/16" or 4 mm. Fit enough stiffeners to the back of flown scenery to prevent buckling and warping, and fit bolt-plates to flown timber flattage that bolts together, to prevent the M10 bolts pulling through the timber. Flown steel flattage/frames may be flown from the top. Consider also fitting bolt-plates to tubular steel to prevent bolts pulling through or buckling the wall of the tube (a simple square of steel, say 3 mm thick, welded where bolts pass through - acting as a stiffener to the wall of the tube). If worried, never be afraid to ask for the input of a genuine structural engineer who can 'prove' a design with calculations. Flown flats containing neon should have that neon encased, for example in clear PVC or polycarbonate, and a fireman's switch placed near stage management's desk.
I) Handrails in public spaces should be 1100 mm (3' 71/2") high and meet the necessary local requirements of side loading, etc. Public balustrades must obey the '100 mm (4") ball rule': this dictates that a ball of diameter 100 mm must not be able to pass through, anywhere. Splinters and finger traps must be avoided. On a staircase that rises more than 600 mm (2'), handrails must be between 840 mm (2' 9") and 1000 mm (3'3") high above the pitch-line (measured vertically). If the stair is more than 1000 mm (3' 3") wide, it requires handrails both sides. Sets that do not involve the public having any access, such as an onstage theatre set, frequently break these rules to suit, say, an historic design - that is fine, provided that common sense prevails.
J) Staircases for public use must comply with the following rules: minimum headroom of 2000 mm (6' 7") measured vertically above the pitch-line, 1500 mm (4' 11") measured at 90 degrees to the pitch-line; tread length plus twice the riser height should be between 550 mm (1' 10") and 700 mm (2' 4"); maximum riser of 190 mm (71/2"); minimum going of 230 mm (9"); maximum pitch of 38 degrees; no more than 16 risers per single flight; all risers to be equal and all goings to be equal, between consecutive floor levels. (Private stairs may have a rise of 220 mm or 81/2".)
K) Kick-boards (raised edges to the sides of platforms - for example, 75 x 25 mm par or 3' x 1" par, on-edge) should be fitted to any raised area that may contain objects which could roll, or be kicked, and fall off the side. Also fit them to the back edge of rostra which contain loose chairs, to prevent someone shifting their chair back and toppling off.
L) Headroom should not drop below 2000 mm (6' 7"). As a visual aid, remember that a standard door is 1981 mm (6' 6") plus clearance, equals 1990 mm (6' 61/2"). Ceilings below 2100 mm (6' 11") high are not recommended. If something is to be moving about just above headroom, then be extra-cautious - 2500 mm (8' 3") is a safe clearance for most applications.
However, be alert to all potential danger: on an Expo project some years ago, a visiting father placed his young daughter on his shoulders in order to secure a better view for her. The designers had not allowed for this possibility and she was killed by moving equipment that had been thought to be - and was, in a sense - above head-height. Try living with that on your conscience. This last sombre point is an apt place to end our glance at a topic which none of us can afford to ignore.
19 Accept responsibility
A) When drawing, one is taking decisions at every turn and accepting the responsibility for those decisions. It is just not possible to discuss every tiny query with the designer or production manager, it would drive them mad; you are being paid to make decisions and draw. The buck usually stops with the draughtsman, fairly or unfairly, and the confidence that is required to accept responsibility can only come with experience. Try to let it happen naturally (we all wake up in the night occasionally and suddenly think that huge errors have occurred in drawings done that day - that is just healthy paranoia!). Never stop asking questions, in that way you will gain the knowledge that allows confidence to grow.
B) Accept responsibility for telling whoever is paying you, how long certain jobs may take to draw. Only a draughtsman can know this and so it is your duty to inform others. Remember that it takes a similar amount of time to draw, say, a model of a shop-front at 1000 mm high, as it does to draw the same shop-front at 4000 mm high. Don't underestimate the number of clients who fail to realise that simple fact! A perspective set may contain a collection of buildings - a small village, say - constructed of 12 mm (1/2") ply and positioned upstage, that are actually only 1200 mm (4') high. If those small buildings are in 3D, then each can take nearly as long to draw as if the buildings were 'full size'. (The reason for this is that most of the work is in: a) absorbing the information from the design drawing or sketch; b) drawing the finished elevations and plan; and c) establishing and drawing the true views and any bevels, etc. of each part of the piece. Having done all that, it would then take very little longer to draw as flattage as opposed to the plywood used for smaller items.) Bear in mind also that sometimes it may be your responsibility to admit that it would be quicker to set something out at full size, on ply in the workshop, rather than draw it and then have someone else set it out from your drawing. Some prop items fall into this category. Occasionally, there are jobs that would result in horribly complex or messy drawings that few would understand or read, whereas the job could be quickly modelled (in ply or modelling polyboard) and labelled. Drawings can then be made of each labelled part. As long as all is clear to those who have to build what you draw, how you achieve it is immaterial.
20 Admit to your mistakes!
Having accepted responsibility, one must adopt an adult response to the inevitable fact that mistakes will occur. 'I shall be the cause of mistakes,' is a difficult sentence to utter with conviction, especially for those of us who could be described as 'control freaks'. Nevertheless, live with it.
Always own up to making errors: 'He who makes no mistakes, makes nothing' can be your defence here. We all make mistakes and have to deal with the consequences. The sooner your mistake is spotted and broadcast to those who need to know, the less damage will have been done. When an error is noticed, telephone those who need to know, alter the drawing(s) to suit, and reissue as a revision. Strangely, the quicker that an error is admitted, the quicker everyone forgets about it - but if you uselessly try to deny the error, everyone will remember the incident forever. (My personal favourite? I once spent four days unaware that my young son had changed the mode on my calculator. Cold sweat time! I spent two days retrieving and altering drawings.)
From Scenery: Draughting and Construction, by John Blurton,
© 2001 John Blurton
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