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1952 Theatre Catalog, 10th Edition, Page 170 (136)

1952 Theatre Catalog, 10th Edition
1952 Theatre Catalog
1952 Theatre Catalog, 10th Edition, Page 170
Page 170

1952 Theatre Catalog, 10th Edition, Page 170

AN OUTSTANDING EXAMPLE OF MODERNIZATION was achieved in the Strand Theatre. Fall River. Massachusetts. Glass doors oitset the beautifully colored Formica paneling and transom bar.

Since the physical appearance of the theatre is just as important as personal appearances of actors and actresses, cleanliness and beauty are of prime importance in maintaining repeat patronage. Nothing so sours a patron as a dirty, unkempt atmosphere. Dirt and untidiness should be driven out of the theatre before patrons are driven out because of it. A good reputation and good repeat businesssis built on the foundation of neatness, cleanliness and comfort, in addition to good entertainment.

Thatis where Formica enters the picture. Just as ftclothes make the man," so Formica helps make a building a Showplace, not just a theatre. It has eye-appeal equal to any decorative medium in the house. From ticket booth to the lobby with its refreshment counters, to the lounges and restrooms, Formica is equally and readily adaptable. Its usefulness is not confined to surfaces where there is apt to be great and constant Wearing. Architecturally, its smooth attractiveness and easy cleaning qualities make it also desirable

EXPANSIVE as the state itself are these floral Formica inlays oi the Muiestic Theatre, Dallas. Texas.

for door and wall panels, and table and vanity surfaces in restrooms.

Many Colors and Patterns

Functionally, the plastics and testtube fibers have proved to be wonders indeed, and their future seems even brighter. But until lately they have rarely been notable for their good looks. Besides being generally brash in color, they had an alien, glaring slickness, and a look of obvious practicality that might be tolerated in a kitchen but not in a theatre. Now, colors are more subtle and textured and matte finishes are replacing the old dazzle.

Formicals many colors and patterns lend themselves to a variety of decorative schemes. Whatever the dominant color motif, therels a Formica color and a pattern to blend or contrast with it.

Among the newer patterns are the Picwoods, presently available in various wood grains and in color tones ranging from platinum through the ublonds" to deep, rich browns and reds. Costing no more than standard patterns, Picw00d is available in simulated wood grains of mahogany, oak, walnut, primavera, and maple. Also available is the Realwood series of patterns, which actually have a thin veneer of wood.

Rising in popularity with the perennial pearl and linen finishes are the mellow Surfglo colors, having a run of 12 different colors. Moonglow is another of the Formica patterns which has gained wide commercial acceptance.

Should an unusually distinctive effect be desired, Formica inlays can be made to suit any artistic taste. Bold floral displays and informal drawings have been used to beautify the doors and walls of many theatres.

Formica Inlays

A novel technique pioneered by the Formica Company protects pictures and designs for theatre lobbies, lounges, and foyers against damage by embedding them under a transparent layer of tough, mar-resistant plastic. Called "Artlayfl the new development permits illustrations to be painted either by oil or water color techniques, or reproduced by standard silk screen methods. The specially treated paper on which the design or illustration is painted is laminated by the same method employed in the production of decorative Formica sheet material. The top layer of the laminate is melamine resin, which turns transparent in the process to reveal the dosign or pictorial matter. At the same time, this top layer prevents damage by moisture or abrasion.

When silk screen processes are employed, as many as three different colors can be reproduced from a single screen by blocking off and printing each color separately. With multiple screens, as many as 12 colors have been used, and there is virtually no limit to the number possible.

If the painting is done by hand, shad< ings and colorings of infinite variations are possible, with the only restriction being the one against the "palette knife technique," which builds up paint to an undesirable thickness.

In either case, the medium used is standard silk-screen ink of the opaque


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1952 Theatre Catalog, 10th Edition, Page 170