Tulle backdrops - Introduction


The effect is obtained by projecting the frame of the TV and the character that circles in the air on two big backdrops made of BGO - Gobelin installed a few meters away from each other.The first is a white backdrop and reacts to the projection in quite a sharp way, the second is black and, because of the light absorption of black colour, it creates a more evanescent projection.In addition, the projection reaches it after being filtered through the first backdrop.The rearward black backdrop also contributes to reinforce the effect of screening on the first white backdrop, increasing the contrast. Teatro San Carlo, ''Candide''
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The BGO - Gobelin backdrop is illuminated here with red light that puts in evidence the painted subjects. Behind the choir, thanks to a blue illumination, the same zodiacal subjects appear painted on a backdrop made of ASC600S - Sceno width 620 cm - Flame retardant. The transparency of the tulle creates a auperimposition of the images that have been painted on the two layers. Teatro La Fenice, ''Otello''
Some very representative pictures that illustrate the possibilities of interaction of the tulles with the light.This backdrop manufactured with BGO - Gobelin here is frontally illuminated and, as it can be noticed, in this lighting situation the tulle doesn't give any impression of transparency, rather, the aspect doesn't differ really much from that of a ASC - Sceno backdrop. Teatro Verdi, ''Madama Butterfly''
Here is the backdrop on the stage, with a use of the light that exploits the characteristics of the fabric in a way that could be taken from a manual.A frontal light aims at the great painted face provoking in this area a screen-effect, that the painted subject underlines reducing at the maximum the transparency of the fabric.The two characters on the left, Madama Butterfly with her attendant Suzuki and the parasols, are standing behind the backdrop and they are framed by a projector that illuminates them in an accented way. Teatro Verdi, ''Madama Butterfly''
This closer view underlines the passage from the illumination of the area behind the backdrop to the frontal one.Notice, about this matter, as the stylized Japanese landscape, that can be seen in transparency, because it is painted on a backdrop made of ASC1000S - Sceno width 1.000 cm - Flame retardant set behind the characters, dissolves when you move the look towards the big face painted on the backdrop, that takes a frontal illumination. Teatro Verdi, ''Madama Butterfly''
The backdrop made of black BGO - Gobelin has a width of 16,5 m and a height of 11,4 m. The symbols of the zodiac have been painted by Paolino Libralato. Teatro La Fenice, ''Otello''
Projections on a backdrop manufactured with BRL - Rexor silver colour. Teatro Regio di Parma, ''La damnation de Faust''
Projections on a backdrop manufactured with BRL - Rexor silver colour. Teatro Regio di Parma, ''La damnation de Faust''
With unmistakable and irreplaceable scenographical and decorative effects.

The wide range allows to find the tulle with the most proper characteristics for one's own needs.
transparency effects
original effects in frontal projection and rear-projection
great sensibility to the illumination
scenographical dimensions
optimal for painting

Colour chart

Sharktooth tulleBGO-TulleGobelin980BSU-TulleSupergobelinBGOP - Gobelin Teatro (made of polyester)BSUP - Super Gobelin Teatro (made of polyester)The rectangular mesh of sharktooth tulle is less deformable and less elastic than those of bobbinet tulle.The polyester composition is more suitable for outdoor use than cotton.
Bobbinet tulle BVN - BreraBVE-TulleVenezianoBIT-TulleItalianoBSC-TulleScalaBOP-TulleOperaBRL-TulleRexorLamé850The mesh of bobbinet tulle is endowed with a certain elasticity.
Bobbinet tulle with small mesh and fine wireBCI-TulleCinecittàBMS-TulleMicrostretchBHO-HologramScrimThanks to their extreme transparency when backlighted they are used for holographic projection effects.
Bobbinet tulle made of elastic yarnBSV-TulleSprinklerVDSBEX-ExpancyBMS-TulleMicrostretchThey are often used in exhibition and commercial settings, where they are stretched on special frames to create semi-transparent panels with highly elegant decorative properties.
Fabrics that can be used for projection and transparency effects in imitation of tulleBZT-TulleTramanet34BZQ-TulleTramanet15ASL-TelaScenoLeggera
Tulle - The choice of the meshThe smaller meshes made with a particularly thin wire, such as those of the BCI - Cinecittà and the BHO - Holo Scrim, in situations of optimal lighting are difficult to perceive even from an observation distance of a few meters.From a greater distances, in any case, even the widest meshes built with the largest section wire become invisible, in situations of optimal lighting.Sharktooth type tulles have a slightly deformable structure, while bobbinet type tulles have a certain elasticity even when they are not woven with an elastic yarn.All the meshes, indifferently, are suitable to be painted, the wider ones are more suitable for more evanescent and poorly detailed subjects.For reasons of stability of the structure and of dragging in the printing plotters, the tulles suitable for digital printing are those of the sharktooth type.
Tulle - The choice of the colourWhite is the most reflective and sensitive to variations of chromatic lighting and, when the environment on the public side is perfectly darkened, it is the optimal choice.In such situations, white tulle has maximum reflection when it is illuminated from the front and, in any case, it becomes totally transparent against the light.In situations where there isn't a total control of the lighting on the public side, however, it is more appropriate to use grey or, when frontal light interference is particularly annoying, dark grey (holo grey).In situations of not perfect darkening, grey allows tulle to maintain a better contrast in projection, but it is advisable to use a lighting power higher than that which would be used with white, because a part of it is absorbed.Above all, the backlight transparency effect is more effective because grey collects less frontal light interference.In general, grey is a more versatile choice than white, which allows the use of tulle with optimal performance even when the environmental darkening is not perfect and it is not constant.Black absorbs light, it is normally not used for projection and transparency effects, but to filter the light light or create a separation voile.With black, the projections are not very bright, they are evanescent, dimmed.Despite these apparent disadvantages, black is irreplaceable on certain occasions and is used in a quantity of situations not inferior to those of the other colours.The silver and gold of the BRL - Rexor are used when a particularly high reflection is required and a certain metallic and unnatural effect does not disturb, if it is not even sought after. And, in the case of gold, a certain toning in the colours of the the projection is accepted or sought.
Meshes that can be used for projection and transparency effects in imitation of tulleBDP-TullePolietilenePWM-WhiteMeshPLU-LucePLI-Light
Films that can be used for projection and transparency effects in imitation of tullePMI-BiancoOtticoMicroforatoPBM-BlackoutMicroforato

Video & Documentation

Teatro Carlo Felice of Genoa: ''Werther'' by Beni Montresor

Projections on grey BGO - Tulle Gobelin

Göteborgs Stadtsteater, ''The Danton Case''

Kazan 2013, BRL - Tulle Rexor Lamé

This material was used for...

C.N. de Teatro Clásico, ''La entretenida''

Prose theatre

EUR, ''XI Quadriennale d'Arte''

Museums, art, architecture

Grand Hotel

Public places

Lighting seminar


Summer concerts


Teatro dell'Opera dei Pupi

Curtains for historical theaters

Teatro Español, ''Electra''

Prose theatre

Teatro La Fenice, ''Otello''

Lyric opera

Teatro Regio di Parma, ''La damnation de Faust''

Lyric opera

Teatro San Carlo, ''Candide''

Operetta, zarzuela, musical

Teatro San Carlo, ''Gustavo III''

Lyric opera

Teatro Verdi, ''Madama Butterfly''

Lyric opera