Digital printings for scenography

Backdrops made of fabric ATR - Sceno Poly. Teatro alla Scala, ''Don Giovanni'' The philosophy we use to deal with Digital printing comes from the craft vision that characterizes all our conventional production, applied to a new hi-tech way to realize the traditional scenographical paintings.

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Those that to the spectators seemed some arcades with glasses are actually some backdrops made of BGO - Gobelin digital printing on which were reproduced the geometric motives that imitated the glasses with lead binding. Teatro Real, ''Les contes d'Hoffmann'' This means that, for us, printing is not simply ''to push a button on a machine'', but realizing exactly the plan that the customer requires beginning from a consultation to get a high-definition image, accuracy in the reproduction of colour.We don't have an approach to digital printing like advertising digital printing, but we put in this new technology all the experience and handcraft tradition used in painted scenography.

A big backdrop made of ASC1000S - Sceno width 1.000 cm - Flame retardant with Ultra Wide Ecoprint drawn by a painting of the Spanish '600. C.N. de Teatro Clásico, ''Don Gil de las calzas verdes'' Definition of the image means for us a detail really faithful to the original independently from the distance of fruition; that is because our solutions of printing, born for theatrical applications, don't fear comparisons even if observed really nearby and their use is frequent in events, fashion parades or in exhibitive installations.

A backdrop with Digital printing on PBO - Bianco Ottico. LakméMusic - Opera-lyrique in three actsLéo Delibes (1836-1891) Scenography,costume designTechnical directionStage directionStaging - William OrlandiRenzo MilanArnaud BernardTeatro Massimo of Palermo We value the feedback of our customers: we continually want to be stimulated, looking for new opportunities of development, and we are convinced that one should look inside and beyond the material and the colour, as it has always been in the exceptional tradition of scenographical Italian painting.

The backdrop (15 m wide and 8 m high) made with the rear-projection film RNB - Nebbia on wich the scenographer Francisco Azorín asked to be printed withDigital printing the image of this huge female weeping eye, that is here interacting with the rear-illumination. Teatro de Madrid, ''Samsara'' In theatre, despite the distance that normally happens between the first spectator and the scene, we want to assure the best possible result without qualitative compromises.

A second backdrop made of BGO - Gobelin digital printing with the same size of 15 m of width and 8 of height.The image of the closed eye is also in this case realized with Digital printing. Teatro de Madrid, ''Samsara'' That is the reason why we go ''beyond'', which is why we can obtain colours out of the gamut that is normally reproducible by normal printers and get incredible interactions between support and pigment, leaving that the last limit to test was the imagination of the scenographer.

A synthesis of the stage properties of BGO - Gobelin digital printing: effects of transparency on the characters set behind the backdrop, effects of chromatic illumination, of projection (the airplanes), of Digital printing (the eye). Teatro de Madrid, ''Samsara'' In the design phase, for instance, the lighting and ''how'' the printed backdrop will be illuminated, take precedence in the choice of the best support; often, it happens that the client started from an assumption of a material, and then landed to something radically different, once aware of the results obtained with our supports. They are less conventional of what you might expect to be able to print.

Digital printing on decorative films backdrops on the QSP - Mirofilm, silver colour.Changing the processes and adapting them to the scenographical needs, we want to be the quality to differentiate a simple printing from something capable of amazing the audience.Of course, this requires research and development specifically dedicated to the development of materials, machinery and pigments and their continuous evolution during the time.

Features

possibility to choose the printing support among many scenographical materials in Peroni catalogue (cloths, rear-projections films, decorative films, dance floors, etc.).

higher execution speed than traditional paintings backdrops

printing quality (and therefore costs) proportional to the distance of observation

size of the backdrops virtually unlimited, thanks to the possibility of composition of the printed tesserae

competitive cost compared to the painting of traditional scenography

Digital printings for scenography

See also ...

Arena, ''Carmen''

Booth of a auto house

Booth of a cosmetics house

C.N. de Teatro Clásico, ''Don Gil de las calzas verdes''

C.N. de Teatro Clásico, ''Sainetes''

Eros Ramazzotti, ''Ali e Radici''

Eros Ramazzotti, ''Calma Apparente''

Rossini Opera Festival, ''Semiramide''

Teatro de Madrid, ''Samsara''

Teatro del Canguro, ''Pinocchio''

Teatro Lirico, ''The Oprichnik''

Teatro Real, ''Les contes d'Hoffmann''

Teatro San Carlo, ''Gustavo III''

Teatro Sociale di Rovigo, ''Otello''

Vancouver Opera, ''Stickboy''