Pyrotechnic Magazine issue #7 - March 2016 'Pyro Magazine' This magazine is the first digital only firework publication and will be available via ISSUU and PyrotechnicMagazine.com The magazine has interesting firework articles, written by some of the leading names in the firework industry and guest writers. The articles cover all aspects of the firework industry and pyrotechnic events across the world. Within the articles there are video links to sites such as YouTube and Vimeo. The user are taken to the site to view the video from and when the user closes this video page they are taken straight back into the magazine where they originally were. We hope you download the publication and enjoy every part of it.
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Issue 7 March 2016 pyro technic MAGAZINE FOR FIREWORK COMPANIES & ENTHUSIASTS ACROSS THE WORLD Selling Consumer Fireworks in the Netherlands Since the Seventies, New Year’s Eve has been a very big celebration in the Netherlands. In The Netherlands, people aged sixteen or older are allowed to buy consumer fireworks. The history of Knokke-Heist Jack Suijkerbuijk looks at The Knokke-Heist fireworks festival which is held on a Belgian beach is one of the oldest fireworks festivals anywhere in the world. Sicily & Pyro Tobias Brevé & Robin Harteveld annual fireworks road trip began last summer on the beautiful Italian island of Sicily. Just as in the summer of 2014 they were fortunate enough to see some outstanding Sicilian displays. London calling by Darryl Fleming For 2016 the Mayor of London’s New Year’s Eve Firework display was for the first time partnered with Unicef, providing a spectacular pyromusical display from the Coca Cola London Eye. Piroshow Professional Artistic Solutions by Salvatore Bonfiglio Piroshow has been designed to provide pyrotechnic companies with a complete and articulated system of products that can help compensate for any need that may arise during design, installation, grounding and/or execution of any type of fireworks. + much more This issue is sponsored by
Transcript
Issue 7 March 2016
pyrotechnicMAGAZINE
F O R F I R E W O R K C O M P A N I E S & E N T H U S I A S T S A C R O S S T H E W O R L D
Selling ConsumerFireworks in theNetherlands Since the Seventies, NewYear’s Eve has been a very bigcelebration in the Netherlands.In The Netherlands, peopleaged sixteen or older areallowed to buy consumerfireworks.
The history ofKnokke-HeistJack Suijkerbuijk looks atThe Knokke-Heist fireworksfestival which is held on aBelgian beach is one of theoldest fireworks festivalsanywhere in the world.
Sicily & PyroTobias Brevé & RobinHarteveld annual fireworksroad trip began last summeron the beautiful Italian island of Sicily. Just as in the summer of 2014 theywere fortunate enough to see some outstandingSicilian displays.
Londoncallingby Darryl Fleming
For 2016 the Mayor of London’sNew Year’s Eve Firework displaywas for the first time partneredwith Unicef, providing aspectacular pyromusical displayfrom the Coca Cola London Eye.
Piroshow has been designed toprovide pyrotechnic companieswith a complete and articulatedsystem of products that can helpcompensate for any need that mayarise during design, installation,grounding and/or execution of anytype of fireworks.
Because Tony Gemmink (ourpublisher) made it to this year’sInternational Symposium onFireworks (ISF) in Bordeaux, and I’mgoing to the PGI in La Porte, Indianathis coming August, we appear tohave sorely neglected the AmericanPyrotechnics Association (APA). Justas we’re finishing up this issue, theAPA www.americanpyro.com heldits winter educational conference atCaesar’s Palace in Las Vegas (I know,rough, huh?). Anyway, the APA is agreat organization and they literallydo everything imaginable to insuretheir members are well trained andwell prepared for every upcomingfireworks season. In particular, thisincludes training APA members
about the latest (and often veryconfusing) federal regulationsregarding fireworks. In addition tothis, the APA encourages safety inthe design and use of all types offireworks everywhere. I know JohnSagaria attended this year, and I’msure a great many other pyrotechnicpeople who read our magazineattended, too, so if any of youwould like to fill us in on what wenton during this year’s conference,we’d be glad to include your reportin our next issue.
Also included in this issue is aninterview with artist RosemarieFiore. I interviewed her once a longtime ago for an issue of ’76 PyroMagazine (a magazine some of you
may remember that was publishedby Spirit of ’76 Fireworks inColumbia, Missouri). You know, I even love this woman’s name:“Rosemarie Fiore.” It has an almostItalian resonance when you say it(you have to mover your hands atthe same time). And if you haven’tseen her artwork—created viapyrotechnic smoke andcombustion—then you’re in for areal treat. Rosemarie is a true artisticspirit, and she creates some of thecoolest artwork using fireworks that I’ve ever seen (although DavidSena is still a favorite of mine aswell). Be sure to check her out in thisissue and visit her site, too (the linksare in the article).
If you’re looking for a festival toattend this Christmas, and you wantto make it undeniably memorable,then be sure to read ChristopheBlanc’s account of Christmas inGiouvieux, France. Located in theChantilly metropolitan area justoutside of Paris, I think Christophemay have stumbled upon an actualChristmas wonderland. (Honestly,what could be better than Christmas
in Paris!). And if you want to followthat up with an incredible NewYear’s Eve experience, then howabout New Year’s in London, smackdab in front of the London Eye! Thatmay truly be the ultimatepyrotechnic experience. Julien Batarddid just that and he shares hiswonderful photography with us ashe makes every photographer outthere envious of his prime location infront of Europe’s largest Ferris wheelon New Year’s. Just imagine having afront row seat to watch 400 differenttypes of fireworks create 10,000explosions on the Eye, three bargesand 14 pontoons!).
In addition, we have aninformative history of the Knokke-
Heist fireworks festival held annuallyon a beautiful Belgian beach. This issomething that began modestly backin 1969 and grew in preeminenceand popularity. We also have part 1of a Sicilian trip taken by Tobias Brevé& Robin Harteveld to see fireworks insouthern Italy. Their trips are alwaysfun and fascinating, and this trip toVillafranca Sicula is no exception.They share a lot of interestingfootage with us in their article, so besure to watch the videos!
And if that weren’t enough, wehave also included some technicalarticles for the equipment junkiesout there explaining “Piroshow:Professional Artistic Solutions,” andan in-depth look at adjustablebombettes called “BlackBoxxBULLETS.” Then we have somewhatof a preview of Fallas de Valencia2016 as we take an inside look at thePirotecnia Europla and PirotecniaHermanos Caballer factory inValencia as they prepare for thisyear’s Fallas event. As you’ll see, theyproduce a large amount of very highquality fireworks with CE markings
and have the fireworks for Fallasalready made, stored in bunkers andready to go.
So, another astoundingassemblage of fireworks articles,photography and video. You know, itnever ceases to amaze me abouthow much is actually going on in thefireworks world during any givenmonth. Why the mainstream mediadoesn’t carry more about it alsoastonishes me. Oh they’ll carry anaccident if and when they happen,but they truly fail our industry whenit comes to paying homage to thetechnical skill necessary to designmiraculous pyromusicals (it still irksme that the word “pyromusical” isn’tin most dictionaries) or the truebeauty of fireworks lighting up thedaytime or nighttime skies. THAT iswhy a publication like PyrotechnicMagazine is so important. Don’t justread what’s here, though, but try tocontribute as well. It is the only waythis art form will survive.
Michael RichardsEditor, Pyrotechnic Magazine
pyrotechnicMAGAZINE
Piroshow
Rosemarie Fiore
Cont
ents
4Selling ConsumerFireworks in theNetherlandsby Robin Harteveld & Tobias BrevéSince the Seventies, New Year’s Eve hasbeen a very big celebration in theNetherlands. As we explained in aprevious issue of Pyrotechnic Magazine, inThe Netherlands, people aged sixteen orolder are allowed to buy consumerfireworks. Not that there hasn’t been agreat deal of speculation about thefuture of consumer fireworks here in theNetherlands, but in spite of the dismalprophesies, nationally, fireworks sales—especially of the most beautiful consumerfireworks—are up substantially...
12The History of theinternational fireworksFestival Knokke-Heistby Jack SuijkerbuijkThe Knokke-Heist fireworks festival heldon a Belgian beach is one of the oldestfireworks festivals anywhere in the world.Even though I only started watching thepyromusical productions held there back in2003, it is actually much older than that.The tradition itself actually began inKnokke-Heist back in 1969 when the CityCouncil started searching for some type ofevent to logically extend the summer andmake their summer season end with anemphatic bang (so to speak)...
24Pyrolamasby Jos van der VeenWhen I was in Valencia for the FestivalPirotecnia in 2013, I visited PlasticosGamon in Burjassot (Valencia). This is thehome of the Valencia fireworks museum,and the company that designs andproduces plastic parts used in pyrotechnicsworldwide. While I was there whatimmediately caught my eye was a rackmade of aluminum equipped with X-holders and tube-holders...
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PLEASE BE AWARE that any information you may find in this publication may be dangerous and is some countries depending on their law illegal. Some information within Pyrotechnic Magazine may create a risk for readers who choose to apply or use the information in their own activities.
None of the authors, contributors, administrators or anyone else connected with Pyrotechnic Magazine, in any way whatsoever, can be responsible for your use of the information contained in or linked from this publication.
EDITOR: Michael RichardsART DIRECTOR: Jason MayesADVERTISING: Tony GemminkPUBLISHER: Stichting PyrofanEDITORIAL: Tony Gemmink
If you have an ideas for an article, have any interesting fireworks photograph or have written an article that you would like to see in an upcoming issue of our magazine, please [email protected]
REGULAR CONTRIBUTORS:Nick van der Veen, Marcel Hanse, Leendert van Buren,Christophe Blanc, Michael Richards, Tony Gemmink,Berthold Schwarz ,Tobias Brevé, Robin Harteveld.
ISSUE 7 CONTRIBUTORS:Jos van der Veen, Jack Suijkerbuijk, Julian Batard,Tom Smith, Caput Mortuum Pyrotechnicum &Salvatore Bonfiglio
26London calling Mayorof London New Year’s EveCelebrations with Unicefby Darryl FlemingFor 2016 the Mayor of London’s NewYear’s Eve Firework display
was for the first time partnered withUnicef, providing a spectacularpyromusical display from the Coca ColaLondon Eye.
38The ChristmasFireworks of Gouvieuxby Christophe BlancA Christmas market is an open-air marketusually associated with the celebration ofChristmas in some way. Most of them aretraditionally held during Advent and
contain anything and everything relatedto this exceptionally popular and mostreligious of holidays.
44Pirotecnia Europla“Nit del Foc” 2016by Tobias BrevéLocated in the beautiful surroundings ofBelgida, close to Valencia, Spain, thefireworks company Pirotecnia Europlabegan back in 1977. Ever since itsinception, the company has beendeveloping and improving its fireworksand has since become one of the leadingfireworks producing and exportingcompanies in Europe...
52Hermanos Caballer & Fallas de Valencia 2016by Tobias BreveThe Caballer family name is famousthroughout all of Spain.When you thinkabout traditional Valencian fireworks, theCaballer name is the first to come to mind.
70Piroshow - ProfessionalArtistic Solutionsby Salvatore BonfiglioThe system: Compared to the traditionalfiring method, electronic firing systemsoffer the pyrotechnician a quantity ofadvantages in terms of precision,reliability and security...
88BlackBoxx BULLETSby Caput Mortuum PyrotechnicumA little more than 10 years ago I heardabout a Chinese-made bombette systemwith an integrated, changeable delay thatcould be adjusted simply by turning the head of the bombette. Thispiqued my interest...
92Sicily & Pyroby Tobias Brevé & Robin HarteveldOur annual fireworks road trip began last summer on the beautiful Italian island of Sicily...
Issue 7 March 2016
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F O R F I R E W O R K C O M P A N I E S & E N T H U S I A S T S A C R O S S T H E W O R L D
Selling ConsumerFireworks in theNetherlands Since the Seventies, NewYear’s Eve has been a very bigcelebration in the Netherlands.In The Netherlands, peopleaged sixteen or older areallowed to buy consumerfireworks.
The history ofKnokke-HeistJack Suijkerbuijk looks atThe Knokke-Heist fireworksfestival which is held on aBelgian beach is one of theoldest fireworks festivalsanywhere in the world.
Sicily & PyroTobias Brevé & RobinHarteveld annual fireworksroad trip began last summeron the beautiful Italian island of Sicily. Just as in the summer of 2014 theywere fortunate enough to see some outstandingSicilian displays.
Londoncallingby Darryl Fleming
For 2016 the Mayor of London’sNew Year’s Eve Firework displaywas for the first time partneredwith Unicef, providing aspectacular pyromusical displayfrom the Coca Cola London Eye.
PiroshowProfessional Artistic Solutionsby Salvatore BonfiglioPiroshow has been designed toprovide pyrotechnic companieswith a complete and articulatedsystem of products that can helpcompensate for any need that mayarise during design, installation,grounding and/or execution of anytype of fireworks.
FEATURE | Selling Consumer Fireworks in The Netherlands
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Written by Robin Harteveld & Tobias BrevéSince the Seventies, New Year’s Eve has been a verybig celebration in the Netherlands. As we explainedin a previous issue of Pyrotechnic Magazine, in TheNetherlands, people aged sixteen or older areallowed to buy consumer fireworks. Not that therehasn’t been a great deal of speculation about thefuture of consumer fireworks here in the Netherlands,but in spite of the dismal prophesies, nationally,fireworks sales—especially of the most beautifulconsumer fireworks—are up substantially.
Consumerorks in theetherlands
There are many people who buy only a few cakes orfountains to celebrate the start of the New Year. On the otherhand there are an equally large number of Netherlanders wholove fireworks and spend a lot of money on them. The rules arevery strict here, however, regarding when you can set offfireworks and people are only allowed to shoot fireworksbetween 6:00 PM and 2:00 AM (December 31st-January 1st).Because of this, people want to make certain they get the mostenjoyment out of the short time frame allowed. Some peopleset off fireworks all evening, while others create wonderfulshows for their entire neighborhood. Since Dutch consumer >
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fireworks are generally high quality products, and since there is a wide variety of merchandise to choose from, midnight onNew Year’s Eve in The Netherlands is almost guaranteed to bequite a spectacle.
Despite the short time frame to set off fireworks, people hereare allowed to pick up fireworks they’ve ordered in advance, orbuy additional fireworks during the last three days of December.Actually, people can preorder fireworks all year round, dependingon the store. Most firework stores open their Internet shopsaround the beginning of December and price productscompetitively. Six years ago, Robin began working in consumerfireworks sales for Intratuin Pijnacker. Normally, throughout theyear, Intratuin Pijnacker is simply a large garden center, but theybranched out into fireworks sales and hired Robin to advise themas well as help consumers with individual fireworks purchases. Thismight be as simple as helping someone buy a small package offountains, to directing others about which fireworks cakes are thebest to buy. Two years ago, Robin’s role and responsibilitiesbecame much more intensive, and I also joined Intratuin Pijnackerto help with fireworks sales.
What we’ve found is that selling fireworks is often quitechallenging. Just delivering all the different products to ourcustomers on time within such a short time frame can bedifficult—especially with all of the regulations involved. And if wewant our customers to return the following year, we need tomake certain their sales experience is a good one.
Regarding regulations, the list in The Netherlands seemsalmost endless. Ever since the Enschede fireworks disaster thathappened May 13th 2000, which killed 23 people and injuredover 900 others, the regulations have been sharpened andexpanded. Stores have stringent requirements that must befollowed fastidiously and each store must be licensed. Forexample, stores here that sell fireworks must have qualifiedbunkers. In fact, many fireworks stores here own more than onebunker: one for storage, and another for customers to pick uptheir orders. These bunkers require an elaborate sprinkler systemand a license stating how many kilos of fireworks they areallowed to have within their bunker at any given time (e.g., these amounts range from10,000 to 40,000 kilos/22,000 lbs. to88,000 lbs.). Because of this capacity constraint, it is rarely possibleto have all the required fireworks product delivered all at onetime. Trucks working for import companies oftentimes drivearound The Netherlands from border to border for three days tomake sure fireworks stores have enough product in stock. Overall,this system works very well, but it requires careful advancedplanning from each store.
Planning is critically important so that every customer whopreordered product will have it waiting at a specific time forpickup (e.g., December 30th between 1:00 PM and 1:30 PM). Tosatisfy our customer base, all preordered items need to be in stockand ready for pickup at the allotted time. That’s often difficultwhen you’ve been selling fireworks for several days in a row, so
running out of stock is always a possibility. Having trucks carryingproduct available several times a day helps keep most product instock. Since most delivery times are decided in advance (mostly inNovember), the challenge is to accurately forecast what your salesneeds might be during the last 3 days of December.
As you may have noticed, firework stores here must earn thebulk of their income in just three days. And there is a great dealof fireworks marketplace competition in The Netherlands. In mosturban areas there are an overabundance of fireworks stores. InPijnacker, that number has reached excessive: there are at least sixother fireworks stores located in just one neighborhood. So, thekey to success is preparation and marketing. Digital marketing viaFacebook has become hot recently, but old-fashioned paper flyerssent out in mailboxes are still equally important. People use theseadvertising flyers to easily compare prices on different productsfrom different vendors. Online sales have become much moreimportant as well. Most customers preorder their fireworks fromonline stores because they enjoy viewing videos of the fireworksthen intend to order. Online stores also make sales more enticingby offering free products to customers who order prior toDecember 29th.
At Intratuin Pijnacker we’re busy all year round preparing for December 31st. In January we start all over again with anevaluation, brainstorming about improvement we can make >
What we’ve found is that selling fireworksis often quite challenging. Just deliveringall the different products to our customerson time within such a short time frame canbe difficult—especially with all of theregulations involved.
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for the upcoming season and discussing how we can attract morecustomers this year. It is during the summer months that our finaldecisions are made, and then in September, the fireworks buyingseason begins anew. By the beginning of November we will havealready set up the fireworks shop inside the garden center. Thisgives us a huge competitive advantage over our competitionbecause a lot of people visit our store during the Christmas showat the Intratuin Pijnacker, so many people have the opportunity tosee the fireworks we have to offer very early in the season. It is inNovember that we set fixed dates for deliveries and forecast ofour sales needs. We also have software up and running that helpsus keep our stock numbers up-to-date and better able to fulfillour online orders. In November we also increase our marketingpresence by using social media, online advertising and newspaperadvertisements. By the beginning of December our bunkers arefilled with enough product to make our first deliveries, and wemake certain all products in the bunkers are numbered and inorder. Time really flies in December and before we know it, it’salready Christmas time and the most important three days of our firework year are about to begin.
Many of our employees have fixed roles throughout the salesperiod, and we hire students (who ordinarily work in the gardencenter) to help on the weekends. Our sales team exists of fourpeople, including myself and we work fulltime the final three daysof December. It’s the sales team that “makes it happen” andconvinces our many customers to buy the beautiful fireworks we
sell. With it being so busy and exciting at the store, the sales stafftreats the final three days kind of like a party, and that creates theperfect atmosphere for end of the year fireworks sales. To make itan even bigger Intratuin Pijnacker “event,” we add music, lightsand a spinning wheel of fortune!
Although the sales team is critical, we also have another teamwe couldn’t do without: stock clerks. They make certain thatorders are ready for pickup and that adequate stock exists in thebunker. They are the people who fill the orders and make certainyour order is ready to go when you arrive at the pickup areabehind the store. There our final team checks every order foraccuracy, talks to the customers and makes certain the amount oftime it takes to process the entire order is kept minimal.
We have an oversight team, too, that consists of Robin and thegeneral manager of the Intratuin Pijnacker store itself. In essence,they are responsible for making sure that everything runssmoothly, and that every customer leaves satisfied with the correctstock they ordered. We are in constant communication with thesales team, the stock clerks as well as the team at the pickup point,so that everyone knows what is going on throughout the store.That’s important so the operation runs smoothly. It helps thatwe’ve been in business for quite a number of years and that wehave an excellent team we trust and that cooperates so well.
As a group, our goal is to provide our customers with a NewYear’s Eve experience they’ll never forget and provide them withthe most beautiful fireworks that money can buy. It is achallenging 3 days that take an entire year to prepare for, but it isa celebration we always look forward to doing all over again.
For Dutch pyro lovers, check out our latest news and actions onour Facebook page here LINK. This year will be spectacular somake sure you keep yourself posted. The trailer produced by ToonGemmink for Intratuin Pijnacker can be seen below.
By the beginning of December ourbunkers are filled with enough productto make our first deliveries, and wemake certain all products in the bunkersare numbered and in order.
Written by Jack SuijkerbuijkThe Knokke-Heist fireworks festival held on a Belgianbeach is one of the oldest fireworks festivalsanywhere in the world. Even though I only startedwatching the pyromusical productions held thereback in 2003, it is actually much older than that. Thetradition itself actually began in Knokke-Heist back in1969 when the City Council started searching forsome type of event to logically extend the summerand make their summer season end with an emphaticbang (so to speak). Their plan was simple enough:entice tourists to stay a little longer and enjoythemselves enough to want to return to their citybeach again the following year.
Knokke-HeistT H E H I S T O R Y O F T H E I N T E R N AT I O N A L F I R E W O R K S F E S T I VA L
With the Ledure family already funding fireworks displaysamong several coastal cities along the Belgium coastline, and byusing the highly successful festival at Cannes as an example,Knokke-Heist began to plan and organize their own festival.The first festivals actually weren’t held on the beach like theyare today, but on Zege Lake near the center of the city. Also, itwasn’t a competition either, but displays put on for the city byJacques Quiri, a pyrotechnician out of Paris. In the summer of’69, Quiri shot several big shows off a pontoon on Zege lake >
and entertained more than 80,000 people. Thus, the summerfireworks tradition at Knokke-Heist officially began. First, justfor displays, and then evolving into an internationalcompetition.
The Festival MaturesAfter 5 years of inviting professional pyrotechnicians andfireworks companies from many different countries to shootcompetitively at Zege lake, they again decided to change thefestival somewhat and organize a new competition between all 5 of the winners from the previous 5 years. This turned out to be a brilliant move for two reasons: one, a Belgiumcompany won the first en masse competition there that year,and two, the Knokke-Heist Fireworks Festival gained animmediate international reputation as a serious fireworksfestival. But alas, even though everything had goneexceptionally well, the oil crisis in the 1970s hit the festival veryhard. To counter the festival expenses, they closed off the ZegeLake area and sold ticket to the event. This was not a popularsolution and ticket sales were low. In fact, ticket sales were solow, that the festival didn’t turn a profit that year. Notsurprising, the ticket idea was scrapped.
An Unfortunate MishapPoor ticket sales are one thing, but fireworks accidents aresomething else entirely. In 1976, after an impeccable safetyrecord for years, the festival had its first (and only) accident. An Italian fireworks company was responsible for the mishap,but it had to do more with the lack of technology during thattime period rather than carelessness. You see, there were nodigital firing systems in the 70s like FireOne, Pyrodigital, Galaxisor Cobra. Instead they had a simplistic “manual electronic”system that depended on a wooden plank hammered with arow of iron nails that you connected your wires to. It was ratherarchaic by today’s standards, but the system worked fairly well if you knew what you were doing and wrote the timing beloweach nail (see figure 1 and 2). Unfortunately, an overenthusiasticworker hammered the nails too deep in the wooden plank and the nails touched the metal underneath the plank. When it was time to set off the first set of fireworks, the firsttouch of the nail set off everything wired to it at once in one big salvo. In a matter of seconds all of the fireworks on thepontoon were fired. What was miraculous, however, was thatthere were no injuries or damage to the surrounding buildings.But obviously, it was time to find a bigger location for thisevent, one that would be safer for everyone involved and could handle larger numbers of spectators and offer saferdistances from the pyrotechnics.
The Search for a New LocationRight after the mishap, the search for a new location wasbegun. After trying out several locations over the next severalyears it was finally decided that the best location was on Albert> >
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beach in Duinbergen near Knokke-Heist (roughly 1 kilometerfrom the original Zege lake location). Organizers also decided atthat time they needed fixed dates for the festival, andestablished the following perennial dates: August 19th, 21st,23rd, 25th and 27th (all shows beginning at 10:00 PM sharp oneach date of the festival).
For Glory and FameThe fireworks displays in Knokke-Heist are pyromusicals of thehighest caliber and are shot by some of the best fireworkscompanies in the world. These are some of the most colorfulshows seen anywhere on the North Sea and the festival nowattracts fireworks fans from The Netherlands, France and evenGermany. Each night on Albert beach in Duinbergen during thefestival, approximately 35,000 spectators come to enjoy thedisplays, and each are judged by a jury comprised of localcelebrities, sponsors, artists and professional pyrotechnicians.The judges watch each display from a specially prepared stage,and use the following criteria as their guide:
SynchronizationHow well the fireworks are synched to the music, and how wellthe music melds with the fireworks being presented.
Use of Color and Color CombinationDisplays must include a variety of colors to be interesting.Judges pay close attention to the number of colors used and thequality of the color combinations chosen and used throughout. >
CompositionEach firework show must be a minimum of 18 minutes inlength. Each display must have a clear escalation that reinforcesthe display’s overall inherent design. There must be a clearevolution in the rhythm and flow of the show that leads towardthe finale.
HarmonyIn addition to using the best quality products available, eachshow is expected to offer a clear balance between its music,color and fireworks choice. Winning displays must have balance,innate symmetry and melodious congruity.
OriginalityThe judges are always looking for something new. It may be original shapes formed by the shells used, the use of setpieces and single shot combinations, or an original soundtrackand how it was combined with new colors or shellcombinations. In this festival, new is always a plus—especially if it wows the crowd.
Each season’s 5 shows now include 4 competitors and a localfireworks company that shoots the final show since Belgiancompanies are excluded from competition in the interest offairness. Many internationally renowned companies compete inthis festival, and many return here because of how friendly thetown is and the cordiality and enthusiasm of the crowd.
At present, the company that has shot the most shows inKnokke-Heist is Göteborgs FyrverkeriFabrik, a Swedish >
fireworks factory having shot 6 shows at the festival with 3wins! (2001, 2007 and 2009).
Even after all of my years of attendance, I am still amazed atthe quality of the performances there in Knokke-Heist. I haveseen both big and small companies win there. Creativity andquality is the guiding principal—regardless of the size of thecompany. Overall, many of the shows performed there arestunning and well worth the trip to see.
Oh, and the food there—the wonderful mussels and freshfish from the ocean—are also worth the trip! With 5 dates inAugust to choose from, try to make one of them, or if you areable, stay and enjoy all 5 days!
Ricasa, is a famous Spanish company specialising in manufacturing all types of fi reworks. The company is at the forefront of research and implementation of new features and effects of all kinds fi reworks.
The company maintains and constantly increases its prestige and international recognition for the quality of its products and commercial reliability, being holder of certifi cate ISO 9001:2000 in the Design, Manufacture and Marketing of pyrotechnic material.
Pirotecnia Ricardo Caballer S.A.Partida del Arenal, s/n46169 Olocau, ValenciaESPAÑA
Video 1 Video 2
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For further information about the products and services we provide please contact us using the details below.
After I received a brief explanation fromToni and Fernando about how the systemworks , I was immediately sold on the idea.The design notion for the pyrolamas®
system came to one of the owners ofPlasticos Gamon as he watched a garagedoor function that was made of metallamellae (lamella is a thin plate-likestructure, often one amongst many lamellae very close to one another withspace between). These can be rolled upquite easily and are interconnected, flexible and strong.
What is unique about pyrolamas?What makes this new system so special hasto do with the unique shape of theextruded aluminum making the pyrolama®
sections connect easily to one another.These profiles slide exactly into each slotcreating a 15 degree maximum angle ofbetween the lamas. (See image at top)
When you first get a new pyrolamas®
system it is a good idea to polish the edges alittle because industrial cutting can leavethem quite sharp. You can see this clearly inPHOTO 1. Polishing the edges also makesthem slide much more easily when youconnect them together. To prevent thelamas from moving after they areinterconnected, it comes with a simple clipyou can install in the middle of the lama and easily tighten and lock
Once you put together sets of 5, 7 or 11lamas you can place them in supporting ribs(black plastic holders) that are made toshape a solid rack and hold them tightly.
Of course, you can also choose to lay thelamas flat if you need your single-shotsgoing vertically. Each lamas has a 38mmwide slit where you place the X-holders orthe plastic sliders with the sockets. Thesesockets are designed to hold plastic single-shot tubes made by Plasticos Gamon.
Before the pyrolamas® was invented,Plasticos Gamon produced fixed angle (15°)plastic racks with milled slots in themallowing use of the same parts to slide in.This new innovative system makes the racksmuch stronger, and easier to transport andstore. It also makes it possible to alter theshape and achieve more accurate angles.
The fact that this pyrolamas® system issmall, lightweight and stackable makes itwonderfully flexible. The building blocks fitperfectly together to make sturdy, durablesingle-shot racks.
It is the strength and versatility of thepyrolamas® system that convinces manypyrotechnicians to use them.
Now that this system has been on themarket for two years, some new features
Written by Jos van der VeenWhen I was in Valencia for the Festival Pirotecnia in 2013, I visited PlasticosGamon in Burjassot (Valencia). This is the home of the Valencia fireworksmuseum, and the company that designs and produces plastic parts used inpyrotechnics worldwide. While I was there what immediately caught my eyewas a rack made of aluminum equipped with X-holders and tube-holders.What I didn’t know at the time was that this was Plasticos Gamon’s latestinvention, what they call the pyrolamas® system.
have been developed to make this systemeven more multi-functional: - They’ve added lamas to form an angle
of 30° when connected. This wasdeveloped particularly for one client, but now can be purchased by everyone.These are used in sets of 3 to make a -30 / 0 / +30 rack.
- The 30° lamas have slits 40mm wideinstead of 38mm making it possible to fit single-shots with a base like Ricasa orfor Europla single-shots.
- Pyrolamas® also come with 40mm slitsthat make 15° angles.
- New X-holders have been designed to fit the 38mm and 40mm pyrolamas®.Twisting them quarter-wise will makethem fit in both 38mm and 40mm lama.
- Supporting ribs are now available to fit 3, 5, 7 and 9 lamas at an angle of 15°.9 Lamas make a rack with maximumangles of + or -60°. This is steep enoughfor most displays, but if you really wantthe + or – 75 added you can shape anarch of 11 lamas. To do this I advise youeither buy current stock at PlasticosGamon, or from one of the resellers ofthe 5, 7 or 11 lama supporting ribs.
- Supporting ribs are available for 5 & 3lamas at an angle of 15°.
- Supporting ribs are available for 7 & 5lamas at an angle of 15° or 3 at an angle of 30°.
- Reinforcing supports for arches of 7 or 9lamas are available. If you think you’ll beusing the pyrolamas® system to its
maximum these might come in handy. (I tried multiple rows of Italian 45mmsingle-shots already and the pyrolamas®
handled it easily. If you need to firelarger calibers on the racks like 60mm oreven 75mm these supports should giveyou an extra sense of security).
If all this weren’t enough already, thelatest invention Plasticos Gamon hasdeveloped is a system with angles allowingyou to place one lama perpendicular on twoother lamas to achieve almost any desiredangle you want. You can purchase these insets of 2 for each angle. Here are the anglesyou can achieve: straight (0°), 10°,15°,20°,30°, 40°, 45°, 50°, 60°, and 80° degrees. Thisallows each user to place a great manysingle-shots in a wide variety of positions.
And finally, you can get separate lockingscrews or stoppers to prevent theperpendicular lama from sliding out of its 2supporting lamas.
Visit the Pyrolamas website here >>> www.pyrolamas.com
London callingMayor of London New Year’s Eve Celebrations 2016 with Unicef
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g Written by Darryl Fleming - Director Titanium Fireworks LtdFor 2016 the Mayor of London’s New Year’s Eve Firework display was for the first time partnered with Unicef, providing a spectacularpyromusical display from the Coca Cola London Eye. >
FEATURE | London Eye 2016
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In its current format, firing from the RiverThames and the iconic London Eye, thedisplay is now in its 12th consecutive year,and is produced by Jack Morton Worldwidewho have been involved with the delivery ofthis display since its inception in 2004. JackMorton are responsible for the overall eventplan and production including crowd safety,ticketing, signage, liaison with the manyagencies involved to deliver the event, as
well contract and oversee the creativeelements of lights, sound and of course thefireworks. Titanium Fireworks havedelivered this display for the last three yearsand for me personally it is the 6th year that Ihave designed and project managed thedelivery of this prestigious display.
The display is part of the major nationalcelebrations to mark the midnight momentand see London appear on the roll call ofcities celebrating New Year’s Eve around theglobe. Broadcast live on the BBC to anestimated 13 million viewers and watchedby hundreds of thousands more live alongthe river bank and any vantage point wherepeople can view the display. The Mayor ofLondon New Year Firework Display hasbecome one of the most popular eventsworldwide. Due to its success the event hadto be ticketed for the first time in 2015 tomanage the numbers of people who
descend on the city centre to watch the 11minute show synchronised to Big Ben’schimes and a 10 minute soundtrack.
My initial involvement in 2010 saw thedisplay become a pyromusical for the firsttime, prior to that Groupe F had deliveredsix stunning shows using the fireworks asthe soundtrack creating their own rhythm.Keen to add an extra dimension to thedisplay, Jack Morton wanted to introduce a
separately produced soundtrack to whichthe Fireworks could be synchronised, thesoundtrack would provide a narrative forthe display and to reflect the diversity andmulticultural society of London, the briefwas to create a soundtrack that shoutedLondon and that if taken out of context andput alongside a display anywhere else, it justwould not work, it had to be London centricand quirky.
Planning for the display starts aroundSeptember with a creative brainstorm tocome up with ideas for the soundtrack, thisyear the soundtrack was produced by acompany called Bounce, Nic and Dan wouldmeet up in the studio with David Zolkwer,the creative Director of Jack Morton to playthrough a number of ideas. As soon as theshortlist starts to develop the soundtrack isshared with us to make sure that thestructure and duration can work for a
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FEATURE | London Eye 2016
30
pyromusical. With up to 15 draft versionsflying back and forth we finally get to apositon where we are happy with the music,the final soundtrack is then run past theclient for final approval and the BBC toensure there are no copy right issues, in thepast we have had to remove tracks for thisreason, the final sign off for the music wasmid-November, with just under 6 weeks togo, we start the design process and then gointo full production to deliver this event.
Given that the real estate we have toplay with is very prescriptive, in that thedisplay has to be centred on the Eye andriver Thames, together with a significantaudience who effectively surround the siteon all sides, we have to be very careful withthe selection of fireworks we can use, thisextends to type and calibre. Winter in theUK can be fairly bleak at times and windsblowing towards the audience would causeus potential issues. We always designredundancy in to the display at the earlyplanning stages to ensure the display is asrobust as possible even in unforgivingweather conditions.
The location and number of firingpositions are designed in form the basis ofthe choreography with 32 inner firingpositions from the Eye and 24 outer firingpositions, with a further 16 positions firedfrom a complete 360 degree arc from thehub or central spindle. On the river Thames,we have three large barges each with 11firing positons for roman candles and singleshot effects, a large quantity of shells from75mm up to 150mm and finally a frontageof 15 positions between the outer barges onsmaller floating pontoons and the pier, intotal the position file contains 132 separatefiring locations.
We use FireOne Scriptmaker to designthis display and once complet, we convertthe fire file in to a showsim file to create asimulation of the display. The simulationserves two purposes, the first is to illustrateto the creative team how the show will look,this allows Jack Morton to critique thedisplay and suggest changes wherever theybe required. The second purpose of thesimulation is to share the design with the
BBC so that they can get a feel for thedisplay and reference certain timelineswhere the camera shot needs to be head onto the Eye, or a wider shot to capture theaerial sequence is preferred. We find acouple of meetings with the televisiondirector to run through the display greatlyassists in the final broadcast, it is a verydifficult job to film a live show, especially a firework display which can beunpredictable, varied and cost prohibitive to rehearse.
Alongside the design process weproduce all our documentation, riskassessment and method statement to thevarious stakeholders. One of the significantissues we address before we even turn up to
rig the show, is the scale and size of displaythat will be fired in certain wind conditions.A detailed curtailment plan is producedwhere we scale back the display dependenton different wind speeds and directions.Woking with Tom Smith, we use Shellcalc,which is a useful modelling tool to plot thescenario for debris distribution in a numberof different wind speeds and directions.From this information we draw up a scale ofshow that will be fired for each prevailingwind on the day, ultimately we know atwhat wind speed the display needs to becancelled for any given direction, this is
“The display requires a total of 190 two wire FireOne
modules to fire the 5,800 cues in just under 11 minutes, the
London Eye requires the use ofspecial shielded data cable with
a drain wire. The reason for this is the high interference we get from both radio and
important to agree in advance as a largescale public display such as this cannot be called off 20 minutes before midnight,the decision will be made much earlier inthe day to cascade the information to all the various agencies and to inform thepublic not to travel into the city. In all wedesign 4 separate displays, each one more scaled back than the first where theaerial star shells are progressively removedfrom certain barges until the point ofcancellation.
After a couple of weeks of design and arun through of the simulation the final
changes and tweaks are made to producethe final fire file and the various reports toput the show together. We have threeseparate teams producing the variouselements of the display with one teamconcentrating solely on the London Eye,attaching 1,200 shot tubes and candles tothe 48 props that are rigged to the inner rim of the Eye and Hub, the second teammatch and fuse the aerial shells, numberand label and then re box per position orlocation, the third team work on all thesingle shot plates for the front positions andthe 33 roman candles positions on the
barges. In all we have a production team of10 technicians working for three weeks toprep and label all the fireworks ready forthe rigging on site.
The onsite delivery of the event is splitacross two teams, the first is a crew of 26who rig the three barges and the pontoonsover five days and one day derig and thesecond team work on the London Eyerigging the 32 pyro holders, running thedata cable and networking the modulesready to receive the fireworks which cannotbe loaded until the day of the display. TheEye crew consists of 10 working at height
FEATURE | London Eye 2016
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technicians for 6 days and 2 days de rig.Rigging the Eye is the most challenging andtime critical evolution of the entire display.
The London Eye consists of 32 capsules,one for each borough that makes up theGreater London Authority. At 135m, theCoca Cola London Eye is the world’s largestcantilevered observation wheel. As one ofthe busiest tourist attractions in London,time to work and rig on the Eye is at apremium. Our crew have to work throughthe night when the attraction is closed to rigand attach our bespoke cradles andnetwork all the FireOne modules. The realchallenge comes on the day of the displaywhen the fireworks cannot be rigged untilthe last ride has been completed and themoving head lights are loaded in to eachcapsule for the lighting display. On the NewYear’s Eve, we normally do not get the Eyehanded over to us to start rigging untilnearly 18:00, with the desire for the wheelto be locked down and in show position by22:00 ready for the pre-show, we only havefour hours to load and attach 1,200fireworks to the 32 cradles and 16 positonson the Hub.
The display is fired using FireOne, wehave three separate controls, one on each ofthe Left and Right Barge and a third behindthe London Eye which fires the middlebarge and the London Eye, there are fourseparate systems required to fire the showeach with a primary, back up and tertiarysystem, in all twelve XL4 firing panels aresynchronised using GPS functionality. Inreality we don’t actually fire the display atmidnight, in fact the systems are armed andsynchronised by 23:45, where we fire testigniters at each control panel every 30seconds for the 15 minutes running up tothe midnight moment, that way we knowthat everything is working and runningcorrectly, it would be too excruciating towait until the first chime of Big Ben to knowwhether the display will fire or not. There isa degree of irony using all this 21st centurydigital technology which is in completecontrast to the 200 year old clock whichsignifies the midnight moment with thechime of Big Ben, the timing of the clock
and chimes is monitored daily to make surethey are accurate and the method used toalter the speed of the clock is by adding orreducing the number of old pennies on the pendulum, it truly is digital versusanalogue technology.
The display requires a total of 190 twowire FireOne modules to fire the 5,800 cuesin just under 11 minutes, the London Eyerequires the use of special shielded datacable with a drain wire. The reason for this isthe high interference we get from bothradio and electromagnetic interferencewhich can affect the communication of thefiring panel. With miles of 63amp threephase cable running around the Eye and thepier to operate all the lights required for theshow combined with all the RF interference
from the wireless control of the lightscombined with the very prickly environment in that part of London.
Working on this exciting project is a real privilege and one which offers trulymemorable experiences, being part of a national celebration and delivering aspectacle that will be viewed by millionsaround the world is an honour. For moreinformation please see our A to Z of howwe produce and deliver this display which is available on our website,www.titaniumfireworks.com, we would like to thank all our hard working crew, Jack Morton Worldwide and ourphotographers, Nick Alloway and Cris Mathews for capturing some truly amazing images.
For those of you who aren't familiar with The LondonEye, it is not really an eye at all but a giant Ferris wheelsitting on the South Bank of the River Thames. Thestructure is huge: 443 feet tall (165 m) with a wheeldiameter of 394 feet (120 m). It is Europe’s tallest Ferriswheel and offers one of the best views of Londonwhen you reach the top. On New Year’s Eve theyliterally light up this marvel with fireworksextraordinaire, and if you’re lucky enough to have aticket for one of the “official viewing platforms” (cost£10), you’re in for a real visual treat. This year theysold 113,000 of those tickets, and the total crowd indowntown London there to watch this spectacle wasestimated to be around 250,000 people.
Not that I was a just a simple ticket holder. I wasmuch luckier than that. When I arrived in London, Ihad the opportunity to meet with Darryl Fleming andhis team from Titanium Fireworks. They showed me asimulation of the upcoming New Year’s Evespectacular they had prepared. It was going to beHUGE! Now it was just a matter of securing all of thenecessary access passes I needed to enter my front andcenter location. Finding the perfect spot tophotograph an event like this is always a challenge—especially in a big crowd. My ticket and pass, however,made that much easier. The biggest problem I wasgoing to have on this New Year’s Eve was the longwait until midnight.
What I noticed from my prime spot after I arrivedwas how attached the Londoners were to this show.By late afternoon the banks of the Thames werealready packed with people and more kept arriving allof the time. Why not? Even though the fireworksspectacle would be short (just 11 minutes 15 secondslong), there would be a 400-meter wide display thatyou really have to see and experience to believe.What it lacked in length, it made up for in luster andintensity. 3000 single shots in 11 minutes anywhere is alot of shots!
When the speaker announced the final minutes of2015, the excitement electrified the crowd. Honestly, itwas palpable and you could feel the intensity of themoment run through the crowd like a wave. Finally,the crowd began the final countdown of seconds: 10...9... 8... 7… The long awaited moment had finallycome! It’s hard to describe the happiness andpyrotechnic bliss I felt as Big Ben rang in the New Yearwith 12 chimes accompanied by bursting bombs.
The calm prelude didn't last for more than 13seconds before the madness of the fireworks outsizedthe London Eye itself. The single-shots were magicallyfired to the music and almost instantly the entirefacade became colored blue! The powerful beat ofPop music became the pulse of the colorful shots asthe rhythmic cadence of Queen, Michael Jackson and many more partnered themselves with thepowerful display.
For a photographer like myself, the variation ofthe scene and dynamic designs were a challenge tocapture—especially the shapes and single-shots. To myleft, another photographer danced as he created hisimagery. You go Darryl!
The intensity continued to build as shots filledmore and more of the night sky. Shells blinking andvibrant noise was everywhere, rattling every building,every window and everyone’s bones as well. By thefinale, the London sky was entirely filled with goldand I felt my feet lift off the ground just from theexhilaration of it all. It took me a few seconds to comeback to reality as it dawned on me I had just fulfilledanother dream of mine. Life is good.
The display created by Titanium Fireworks wasperfect. The jubilant crowd roared their approval. Iwould like to send a big thank you to Darryl Flemingand his crew for creating this pyrotechnic wonder.And to the Londoners, well, you haven’t lived untilyou have heard 250,000 people sing a mass renditionof Auld Lang Syne together.
Written and images by Julien BatardWhat could be better than to start off the New Year with an XXL fireworks display? I cameup with that idea last summer and decided I wanted to see some great fireworks in awonderfully picturesque location. London on New Year’s Eve in front of the London Eye fitboth criteria quite nicely.
Written by Christophe BlancA Christmas market is an open-air market usually associated with the celebration of Christmas insome way. Most of them are traditionally held during Advent and contain anything andeverything related to this exceptionally popular and most religious of holidays. Mix that togetherwith the innate beauty of France, and what you get is a wonderfully beautiful Christmas marketripe with diversity and heterogeneity.
GouvieuxT H E C H R I S T M A S F I R E W O R K S O F
Gouvieux is a commune just north of Paris,France, located in the Chantilly metropolitanarea. Their Christmas market is a family-friendly market hosted right in the middleof town at the City Hall square. ThisChristmas market boasts small Christmaschalets exhibiting a myriad of regionalproducts and regional crafts, as well as anabundance of tartiflette (a wonderfulFrench dish made with potatoes), waffles,mulled wine and French hot chocolate.
The fireworks for this event are fireddirectly above City Hall, so as you canimagine, it is very difficult to find somespace—especially amidst a crowd of over10,000 people—to place a tripod. Since I hadalready noticed some beautiful Christmaslights in an area surrounding a nearbychurch, I decided to frame my picture withbeautiful blue lights sparkling in theforeground as the fireworks display lit thesky in the background. The added bonuswas the people walking by, adding life tothis wonderful Christmas scene.
Christmastime in Gouvenieux! Whatcould be better! The French pyrotechniccompany Prestatech-Artifices provided thefireworks for this Christmas market, and dida magnificent job. If you are able, try tomake plans to visit Gouvieux to discover the
magic of this Christmas market someDecember in the future. It is certainly worthbeing there just to marvel at the numerousfir trees heavily laden with colored lights.
FEATURE | Fallas 2016
pyrotechnicMAGAZINE
FALLAS 2016T H I S I S
Pyrotechnic Magazine will be bringing you
the best pictures, news and videos via our
on-line magazine & Facebook page,
of the 2016 Fallas event in Valencia, Spain...
We can’t wait for it to begin!
pyrotechnicMAGAZINE
DATE TIME TYPE OF DISPLAY PIROTECHNIC COMPANY WHERE THE EVENT WILL BE HELD
27/02/2016 18.00h Mascleta Aerial Pirotecnia Valenciana Paseo de la Alameda
28/02/2016 07.30h Classic Desperta Pirotecnia Zarzoso & Pyroshopping Calle de la Paz
28/08/2016 08.00h Desperta Finale Pirotecnia Valenciana Plazal del Ayuntamiento (City Hall Square)
28/02/2016 14.00h Mascleta Pirotecnia Valenciana Plazal del Ayuntamiento (City Hall Square)
28/02/2016 20.00h La Crida Pirotecnia Valenciana Torres de Serranos
01/03/2016 14.00h Mascleta Pirotecnia Peñarroja Plazal del Ayuntamiento (City Hall Square)
02/03/2016 14.00h Mascleta Pirotecnia Nadal-Marti Plazal del Ayuntamiento (City Hall Square)
03/03/2016 14.00h Mascleta Pirotecnia Mediterraneo Plazal del Ayuntamiento (City Hall Square)
04/03/2016 14.00h Mascleta Pirotecnia Alpujarreña Plazal del Ayuntamiento (City Hall Square)
05/03/2016 14.00h Mascleta Pirotecnia Hermanos Ferrández Plazal del Ayuntamiento (City Hall Square)
05/03/2016 00.00h Mascleta Nocturna Pirotecnia Marti Plazal del Ayuntamiento (City Hall Square)
06/03/2016 14.00h Mascleta Pirotecnia Vulcano Plazal del Ayuntamiento (City Hall Square)
07/03/2016 14.00h Mascleta Pirotecnia Maria Angustias Pérez Plazal del Ayuntamiento (City Hall Square)
08/03/2016 14.00h Mascleta Pirotecnia Marti Plazal del Ayuntamiento (City Hall Square)
09/03/2016 14.00h Mascleta Pirotecnia Gironina Plazal del Ayuntamiento (City Hall Square)
10/03/2016 14.00h Mascleta Pirotecnia Alacantina Plazal del Ayuntamiento (City Hall Square)
11/03/2016 14.00h Mascleta Pirotecnia Tomás Plazal del Ayuntamiento (City Hall Square)
12/03/2016 14.00h Mascleta Pirotecnia Crespo Plazal del Ayuntamiento (City Hall Square)
12/03/2016 00.00h Digital Fireworks Spectacle Pirotecnia Piroquiles Plazal del Ayuntamiento (City Hall Square)
13/03/2016 14.00h Mascleta Pirotecnia Valenciana Plazal del Ayuntamiento (City Hall Square)
14/03/2016 14.00h Mascleta Pirotecnia Aitana Plazal del Ayuntamiento (City Hall Square)
15/03/2016 14.00h Mascleta Pirotecnia Turis Plazal del Ayuntamiento (City Hall Square)
15/03/2016 00.00h Castillo Pirotecnia Zarzoso Paseo de la Alameda
16/03/2016 14.00h Mascleta Pirotecnia Zarzoso Plazal del Ayuntamiento (City Hall Square)
16/03/2016 00.00h Castillo Pirotecnia Caballer FX Paseo de la Alameda
17/03/2016 14.00h Mascleta Pirotecnia Caballer FX Plazal del Ayuntamiento (City Hall Square)
17/03/2016 01.00h Castillo Pirotecnia Hermanos Caballer Paseo de la Alameda
18/03/2016 14.00h Mascleta Pirotecnia Hermanos Caballer Plazal del Ayuntamiento (City Hall Square)
18/03/2016 01.30h Castillo Pirotecnia Europla Paseo de la Alameda
19/03/2016 14.00h Mascleta Pirotecnia Europla Plazal del Ayuntamiento (City Hall Square)
19/03/2016 01.00h Crema + Mascleta Pirotecnia Europla Plazal del Ayuntamiento (City Hall Square)
FALLAS 2016 PROGRAM
pyrotechnicMAGAZINE
Issue 7 March 2016
pyrotechnicMAGAZINE
F O R F I R E W O R K C O M P A N I E S & E N T H U S I A S T S A C R O S S T H E W O R L D
Selling ConsumerFireworks in theNetherlands Since the Seventies, NewYear’s Eve has been a very bigcelebration in the Netherlands.In The Netherlands, peopleaged sixteen or older areallowed to buy consumerfireworks.
The history ofKnokke-HeistJack Suijkerbuijk looks atThe Knokke-Heist fireworksfestival which is held on aBelgian beach is one of theoldest fireworks festivalsanywhere in the world.
Sicily & PyroTobias Brevé & RobinHarteveld annual fireworksroad trip began last summeron the beautiful Italian island of Sicily. Just as in the summer of 2014 theywere fortunate enough to see some outstandingSicilian displays.
Londoncallingby Darryl Fleming
For 2016 the Mayor of London’sNew Year’s Eve Firework displaywas for the first time partneredwith Unicef, providing aspectacular pyromusical displayfrom the Coca Cola London Eye.
PiroshowProfessional Artistic Solutionsby Salvatore BonfiglioPiroshow has been designed toprovide pyrotechnic companieswith a complete and articulatedsystem of products that can helpcompensate for any need that mayarise during design, installation,grounding and/or execution of anytype of fireworks.
+much more
This issue is sponsored by
ADVERTISE YOUR EVENTS & PRODUCTS IN
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Written by Tobias BrevéPhotos by Stefan DrukkerLocated in the beautiful surroundingsof Belgida, close to Valencia, Spain,the fireworks company PirotecniaEuropla began back in 1977. Eversince its inception, the company hasbeen developing and improving itsfireworks and has since become oneof the leading fireworks producingand exporting companies in Europe.
Besides its production and export,though, Europla has also become known forits nighttime and daylight fireworks displays.These wonderful displays are characterizedby very precisely timed digital bangers (usedin the inicio of the mascleta) and by themarvelous “rainbow theme” illuminatingthe nighttime sky with a colorfully perfectcastillos. We recently had the opportunity tointerview the current owner of Europla,Francisco Martínez and co-owner SalvadorArmengol, both are veterans of thefireworks industry. Mr. Martínez actuallystarted his career 25 years ago, working asan agent for Sunsong fireworks, but afterseveral years moved over to Europla instead >
Pirotecnia E“Nit del Foc” 2016
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Europla
FEATURE | Nit del Foc 2016
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Pirotecnia Europla“Nit del Foc” 2016
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pyrotechnicMAGAZINE
and ultimately bought the company in 2004.This year Europla was bestowed the greathonor of firing the final castillo during Fallasde Valencia. Better known as “Nit del Foc”and the mascleta ultima at dia San Jose, thisis the most important day of Fallas.
As the director and owner of Europla,Mr. Martínez conveys a clear vision aboutthe future of his company when you talk tohim, a company that is not only determinedto expand production capacity to export hisproducts throughout Europe, but ultimatelyexpects worldwide expansion as well. Todayits modern, well-outfitted factory touts a100,000 square meter area encompassing 11storage bunkers and 10 production bunkers.Despite its very efficient machinery,however, Europla still employs 25production workers who operate themachines and also craft some high qualityproducts by hand. Their latest piece of high-tech equipment is a Roman candle press,which has a capacity of 25 Roman candlesper batch.
As mentioned above, Europla is wellknown for its digital banger sequencesduring their mascletas, so it should surpriseno one that Mr. Martínez is a degreedpianist. Obviously, he uses his musicalunderstanding and temporal skill toproduce what many call the finest rhythmsand timings of digital bangers, whistlers andsalutes in the inicio of the mascletaanywhere. Ever since Europla was scheduledto fire the mascleta ultima during this year’sFallas (this takes place in Valencia fromMarch the 1st through the 19th), Franciscohas used his skill and creativity to design anew, even more harmonic incio for themascleta. The beat should be astounding!
Besides being an accomplished musician,Mr. Martínez has a devout passion for >
chemistry as well, and he usesthis chemical knowledge todevelop formulas that produceabsolutely stunningpyrotechnic colors. These arethe colors used to create thevibrant rainbow theme, whichis the hallmark of Europla'scastillos. As noted, Europla isconstantly improving anddeveloping new products andformulas. In fact, their newestproducts are safer, smokelessand much more eco-friendly.One example of their genuineeco concern has been the
reduction of perchlorate containing saltsused in their pyrotechnics that cancontaminate soil and groundwater. Othermajor improvements relate to theperformance of their products in high andlow humidity. This is critical when yourfireworks have to ignite in a rainy countrylike England or during the hot and humidsummers in Valencia.
More of a challenge today, Mr. Martínezexplains, is chemical consistency. Qualitydepends on the consistency of the chemicalsused and the mixing precision and theprocedures used to make each formulation.Europla’s consistency, especially in theproduction of colored stars, is wellcontrolled now and should be even better inthe future because part of their factory willsoon be devoted to synthesizing their ownmore complex chemicals, which will be usedfor smokeless products. This will be a hugequality control enhancement for Europlaproducts since they will no longer bedependent on the quality standards of theirchemical suppliers. In addition, this will givethem complex chemical capability that theycannot achieve by using a supplier.
As if that were not enough of anachievement, Mr. Martínez also plans tacklethe chemical consistency and quality of theirblack powder. Interestingly enough, themain ingredient for perfect black powder isfound in the wood of grape vines. Thiswood is burned down into charcoal andsubsequently processed for use in blackpowder. 25 years ago the agricultural
environmental conditions were perfect forthe production of just the right kind ofcharcoal necessary. Today that is not thecase, and the change in agriculturalmethodology has resulted in a somewhatdifferent vine wood. Since the wood issomewhat different, the charcoal is as well.This makes it exceptionally difficult toproduce highly consistent, high quality blackpowder. This problem motivated Mr.Martínez to experiment in his laboratory tofind a better formulation and processingmechanism to produce much better blackpowder with higher quality and consistency.
In short, Europla is a continuallyinnovative company. They don’t believe inresting on their laurels regarding any oftheir products. There are exciting new plansfor an entire new line of daylight fireworksproducts now. As mentioned, Europla is wellknown for the brightness and color purity oftheir nighttime fireworks. Currently, Europlais working to develop colored smokeproducts just as intense as their nighttimeline. This is quite a challenge since most dyesused in smoke are not biodegradable andcan harm the environment. Europla isexploring this segment of the pyrotechnicindustry in the hopes of creating anenvironmentally friendly daylight smokeproduct line.
In conclusion, Francisco Martínezcertainly knows what direction he plans totake Europla in the future. By expanding theproduction capability and exporting theirhigh quality products throughout Europe,they have a much better chance ofbecoming a player on the world fireworkmarketplace. Being a man with a passionfor music and chemistry certainly helps, butbeing a man with a vision and the skill andtenacity to make it happen is a true gift.
Along with thanking Mr. Martínez fortaking the time to talk to us and forshowing us around the Europla facility, wewould also like to thank Salvador Armengoland all other employees working at Europlafor their hospitality and willingness toexplain Europla's long term vision to us (as well as giving us a sneak peek at the upcoming spectacle set for Fallas de Valencia).
F O R F I R E W O R K C O M P A N I E S & E N T H U S I A S T S A C R O S S T H E W O R L D
Selling ConsumerFireworks in theNetherlands Since the Seventies, NewYear’s Eve has been a very bigcelebration in the Netherlands.In The Netherlands, peopleaged sixteen or older areallowed to buy consumerfireworks.
The history ofKnokke-HeistJack Suijkerbuijk looks atThe Knokke-Heist fireworksfestival which is held on aBelgian beach is one of theoldest fireworks festivalsanywhere in the world.
Sicily & PyroTobias Brevé & RobinHarteveld annual fireworksroad trip began last summeron the beautiful Italian island of Sicily. Just as in the summer of 2014 theywere fortunate enough to see some outstandingSicilian displays.
Londoncallingby Darryl Fleming
For 2016 the Mayor of London’sNew Year’s Eve Firework displaywas for the first time partneredwith Unicef, providing aspectacular pyromusical displayfrom the Coca Cola London Eye.
PiroshowProfessional Artistic Solutionsby Salvatore BonfiglioPiroshow has been designed toprovide pyrotechnic companieswith a complete and articulatedsystem of products that can helpcompensate for any need that mayarise during design, installation,grounding and/or execution of anytype of fireworks.
+much more
This issue is sponsored by
ADVERTISE YOUR EVENTS & PRODUCTS IN
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Written by Tobias Breve • Photography by Stefan DrukkerThe Caballer family name is famous throughout all of Spain.When you think about traditional Valencian fireworks,
the Caballer name is the first to come to mind. And it is a family affair and a family-run business enterprise dating all the way back to the 1880s. >
Hermanos Caballer today is a relativelynew company established in 2001 andlocated in the surrounding area ofAlmenara, which is close to Valencia, Spain.They specialize specifically in the productionof high quality daylight and nighttimefireworks, as well as firing traditionalcastillos and mascletas. This year HermanosCaballer is scheduled to shoot a castillo onMarch 17th and a mascleta on March18thduring Fallas de Valencia. Lucky for us,we were allowed to visit the HermanosCaballer factory just prior to these Valenciashoots and our visit provided us withgenuine insight into the true traditionalcraftsmanship involved in producing theseupcoming spectaculars.
After a relatively short drive fromValencia, we arrived at the HermanosCaballer factor where the founders, JoseVincente Caballer Villacañas and JorgeCaballer Villacañas, were waiting for us.After a brief conversation, Jorge guided usinto their factory facility. We began byinspecting the main working bunker where
some members of the team were therepreparing bundles of“7 reports” and“serpentinas” (whistlers), which later in theprocess are used in their roman candles.Simultaneously, other team members werepreparing strings of “trueno de avisos”(salutes) including delays between eachsalute, to be used during the salute finale.As we watched the teams work, we couldn’thelp but notice how closely and how wellthe team members worked with oneanother. It was definitely a close-knit,friendly work environment.
We continued our tour around thefactory facility and entered a section where9 production bunkers had been built. Thiswas part of the factory where CE qualifiedfireworks were being produced, likespherical and cylindrical shells, stars whichare used in single shots and shells, Romancandles and “truenos” (Spanish crackers) invarious sizes for mascleta lines. As Jorgeshowed us each bunker section by section,he carefully explained what specific activitywas being accomplished in each one. >
For example, in the first bunker we entered,the bombettes for Roman candles werebeing prepared (in this particular case, for50mm candles). After the batch was finished,it then moved on to the next productionbunker. In the 2nd bunker the candle presswas operated and it filled candles with thenewly produced bombettes.
Out of all of the bunkers we visited, ourpersonal favorite was probably the bunkerwhere approximately 250 plastic single shottubes were being refilled. It was fascinatingto watch as precisely measured amounts oflift-charge was added to each tube,including the thick disk-shaped, kamuro tailstars and multicolored“round star” mines.
Our final destination was a brisk walkaway up to the storage bunkers. Since ourfactory visit took place March 1st and Fallasde Valencia officially starts March 1st,obviously the bunkers were completelypacked with fireworks. In this case, the firstbunker was packed tightly with 200mmdiameter shells. In the next bunker,prepared mainly for the castillos on March17th, there were a combination of 125mmshells and 175mm shells. The mix of candlesand single shots for the castillos were certain
to be a big hit this year. In addition to thecastillos, Hermanos Caballer also wasscheduled to fire approximately 40 mascletasduring the Fallas de Valencia. As we enteredthe next storage bunker, we saw severalkilometers of mascletas lines carefully laidout and knew that everyone attending theFallas de Valencia in 2016 was in for a treat.
As we can attest to firsthand, the newHermanos Caballer factory is a top qualityprofessional production facility designed toproduce CE certified products—handcraftedproducts that are carefully and methodicallyproduced by very skilled workers. In additionto production, Jose Vincente CaballerVillacañas and Jorge Caballer Villacañas alsofocus on something equally important:making certain that traditional Valencianmascletas and castillos continue to be firedthroughout all of Spain.
We would like to sincerely thank both Caballers for taking the time to talk to us (and also for amusing us duringour tour) and for showing us around their exceptionally interesting facility. We are certainly looking forward to theirFallas production during this year’s Fallas de Valencia.
Ricasa, is a famous Spanish company specialising in manufacturing all types of fi reworks. The company is at the forefront of research and implementation of new features and effects of all kinds fi reworks.
The company maintains and constantly increases its prestige and international recognition for the quality of its products and commercial reliability, being holder of certifi cate ISO 9001:2000 in the Design, Manufacture and Marketing of pyrotechnic material.
Pirotecnia Ricardo Caballer S.A.Partida del Arenal, s/n46169 Olocau, ValenciaESPAÑA
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For further information about the products and services we provide please contact us using the details below.
Written by Michael RichardsWhen I first wrote about Rosemarie Fiore back in 2009, she was just
beginning to make her mark as an innovative, groundbreaking artist.As the editor of ’76 Pyro magazine back then, I genuinely loved her beautifulfirework abstractions, and the circles and lines she was able to induce withsmoke and explosives. To put it in the simplest of terms, she created somegreat stuff, and our readers—judging from the emails we received—loved
her work, too. Several times over the next few years I saw where her artwork had been cut out of our magazine and pinned on the walls of
pyrotechnician’s workshops. >
In the Manner of Smoke:
T H E A R T W O R K O F
RosemarieFiore
Smoke Painting Documentation, Art OMI, Ghent, NY, 2012Color smoke firework residue on paper, Smoke Painting Tool: Sting RayCourtesy of Rosemarie Fiore Studio and Art OMIPhoto credit: Ross Willows
Rosemarie Fiore was born in 1972 in Mount Kisco, New York. She currentlyresides in the Bronx, New York where shehas her studio. She received her M.F.A. from The School of the Art Institute ofChicago, and her B.A. form the University of Virginia in Charlottesville. In addition,she’s attended residencies at Art OmiInternational Artists Residency Program,Yaddo, Skowhegan, The MacDowell Colony,Roswell Foundation AIR Program, SaltonstallFoundation AIR Program, Virginia Center for the Creative Arts, and the BronxMuseum (AIM Program).
Fiore has exhibited her work bothnationally and internationally, and she’sracked up an impressive list of awardsgranted through The New York Foundationfor the Arts, The New York State Council forthe Arts, The Sally and Milton AveryFoundation, The Marie Walsh SharpeFoundation, The Lower East Side Print Shop,NY and The Dieu Donne Paper Mill, NY. Shehas also had solo and group exhibitions thatinclude The SCAD Museum of Art,Savannah, GA, SCAD Atlanta; Von LintelGallery, NY; Winkleman Gallery, NY; TheAnderson Gallery VCUarts, Richmond, VA;Grand Arts, Kansas City; The Bronx Museum,NY; Weatherspoon Art Museum, NC; TheQueens Museum, NY; Socrates SculpturePark, NY; The Roswell Museum, NM and TheFranklin Institute of Science, Philadelphia.
Von Lintel Gallery in New York currentlyrepresents Rosemarie. Her work has beenreviewed by The New York Times, New YorkMagazine, Art in America, Artforum, TheVillage Voice, NY Arts Magazine, FLAUNTMagazine, Art Papers Magazine, TheWashington Post, Art on Paper and even ’76 Pyro Magazine. Now she’ll be able to
add Pyrotechnic Magazine to her list, too,which just might be more important sinceour readers definitely understand whatfireworks are all about!
Rosemarie first became interested inusing fireworks as an artistic medium whenshe dropped a smoke bomb onto theground and liked the marks it left in thestreet. This inspiring moment spurred anentire new art form in her mind. In fact,although she is not the only individual artistexperimenting with fireworks and coloredsmoke, you could say she is part of growingnew genre of art I’m going to label“pyrotechnic abstraction.” (Take that, NewYork Times). Rosemarie says it is more like“fumage,” however, which is a surrealist
technique where impressions are madeusing the smoke of candles or kerosenelamps on paper. Salvado Dali called a similartechnique he used, “sfumato” which isderived from the Italian words for smokeand blurred. Regardless of what you call it,or where the technique derived, RosemarieFiore’s large-scale compositions are simplybeautiful to behold. There is an aggressivedelicacy to her work; a kind of pyrotechnicinspired spirituality. I don’t know whether itis the broad swaths of color she intersperseswith recognizable shapes and forms, or thegeometrical elements combined withsmoke-induced color gradations, all I knowis that I love looking at the explosive motifshe creates on paper.
For me, personally, her work isreminiscent of Wassily Kadinsky. She maydisagree, but I find the same innate balancein her paintings, the same inherent harmonyand inner resonance. You can stand in frontof a Kadinsky painting and immediatelysense the structural balance amidst the
T H E A R T W O R K O F
RosemarieFiore
Smoke Painting #40, 2015Color smoke fireworks residue on paper63 X 76 in. (160 x 193 cm.)Courtesy of Rosemarie Fiore Studio
Smoke Painting #36, 2013 Color smoke fireworks residue on paper40 1/4 x 72 1/4 in. (102 x 183.5 cm.)Courtesy of Rosemarie Fiore Studio
Smoke Painting #41, 2015 >>>Color smoke fireworks residue on paper63 X 76 in. (160 x 193 cm.)Courtesy of Rosemarie Fiore Studio
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chaos. I get the same feeling when I look ather work, the same sense of harmonic tonesand congruity. I like it that she describes herprocess as a “meditative dance on top of thepaper, carried out in silence.” I like it becauseher work evolves in layers. She doesn’t just“do it” and she’s done. There’s a rhythmicchoreography involved that creates andchanges and metamorphoses into a finished work.
What I find the most fascinating aboutRosemarie’s artwork has little or nothing todo with the art pieces she creates (althoughlike I said, I love her work) it is the machineryshe has devised to create the artwork. Ofcourse, I’ve only seen pictures of her
marvelous contrivances, but since youobviously can’t use brushes to paint withsmoke bombs, you have to developsomething that will focus the color on paperand give you a modicum of control amidstvolatile combustible spatter. And in additionto these ingenious mechanisms, she mayenlist anything and everything else to satisfyher hunger to create art. It may be a waffleiron, windshield wipers, pinball machines,pyrotechnic debris, an old air freshener oreven a section from an old amusement parkride. She constantly pushes her ownenvelope and forces herself to cross the lineto experiment with a host of new ideas—ideas that may center on experimentalphotography, video or combine all her ideasinto one multi-media sculpture.
We had the opportunity to askRosemarie Fiore a few questions recentlyabout her life, her creative process and her artwork:
PM: Why put your studio in the Bronx?After all, you were born in Mt. Kisco, whichis an awfully pretty little place and onlyabout a 50-mile drive from New York City
(where you’ve worked before). What is theappeal of the Bronx? Is there an artcommunity there we are unaware of?Cheap warehouse space? What?FIORE: Yes, I was born in Mt. Kisco, but mystudio is located in the Bronx where I liveand work now. I’ve had studios in Red Hook,Brooklyn, Long Island City, Queens, Tribecaand the Lower East Side. My family wasoriginally from the Bronx so I moved backthere 10 years ago. Initially, right aftergraduate school, I rented some temporarystudio spaces with friends but was awardedsome great workspace through one of NewYork City’s non-profit organizations, Sharpe-Walentas Studio Program. As time went on,I found it was optimal to set up my studioexactly how it needed to be for the type ofwork I planned, so I moved to back to theBronx where there is much more space for alot less money. The studio setup I have nowallows for greater flexibility and has anoutdoors work area that is wonderfullyhassle free.
T H E A R T W O R K O F
RosemarieFiore
>
Smoke Eclipse Tool: Space Oddity, 2015Altered steel trash can, enamel paint21 x 21 x 4 in. (53 x 53 x 10 cm.)Courtesy of Rosemarie Fiore Studio
Smoke Painting Tool: Sky City, 2013 Mixed media26 x 36 x 36 in. (66 x 91.5 x 91.5 cm.)Courtesy of Rosemarie Fiore Studio
Smoke Eclipse Tool: Fire Star, 2015 >>> Altered steel trash can, enamel paint20 ½ x 20 ½ x 27 ½ in. (52 x 52 x 70 cm.)Courtesy of Rosemarie Fiore Studio
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PM: What fascinates me most about yourartwork—almost as much as the body ofwork itself— are the numerousgadgets/tools you’ve devised to create thepatterns, shapes, and to spread the colors.Do you have a MacGyver-like mind, or areyou mechanical inventions born strictly outof necessity? Which device or devices areyou the most proud of creating? Do youhave a favorite gadget in your arsenal?FIORE: I’ve been working with smoke nowfor over fifteen years. From day one I foundmyself developing my own tools becausethey are necessary to help direct the coloredsmoke downward onto a surface. Sincesmoke naturally floats upward and theburning process generates some heat, myinitial challenge was two-fold: finding toolmaterials that were heat resistant anddiscovering forms that made goodcontainers. At first, I used ‘found objects’such as metal cans and buckets as tools.With them, I would contain the lit fireworkon paper and then cut out the explosions,layering and gluing them together to createa thickly collaged abstract image. I soonbegan attaching smoke canisters to broomsticks using 2 x 4’s to guide my lines as I drewover my pieces.
About 4 years ago I stumbled upon animage of the ‘Green Man holding a FireClub’ in John Bate’s, The Mysteries of Natureand Art, 1634. I realized that the ‘GreenMan’s Fire Club’ was similar in design to thesimple smoke painting tools (smokecanisters attached to broom sticks) I hadbeen dragging across my pieces. I wonderedif I could create more complex tools relatedin concept to the fire club and if they wouldaid me in creating different effects, designs
and marks. I had an opportunity to explorethese ideas during the summer of 2012,when I was working up in Ghent, NY at ArtOMI International Artist Residency. There Ideveloped many tool prototypes usingwood, plaster and resin. Some of the toolswere hand-held, some were pushed, whileothers twirled on wheels. The tool designswere based on function and purpose. Witheach new tool, I tried to achieve specificeffects with the smoke. More recently, I’vebeen working mostly in steel with trashcansand trashcan lids. I’m pretty excited aboutthe new tool “Colossus” that I’ve created formy exhibition at the WeatherspoonMuseum in North Carolina. It’s a 4 ft.diameter galvanized livestock water trough that I transformed into a ‘SmokePainting’ tool with the help of the MFAstudents at the UNC Greensborodepartment of Art. It takes 4 people to workand creates large images on 5 x 5 ft. paper.The tool itself and the paintings createdwith it will be on display at the museumthrough April 17, 2016.
PM: There are several other artistsworldwide who create beautiful artworkusing a variety of fireworks as their artisticcatalyst. David Sena, for example, who weinterviewed and wrote about in PyrotechnicMagazine issue #6. He does amazing workby exploding firecrackers to create burnmarks directly onto paper. Cai Guo-Qiang,the exceptional Chinese artist who workedwith Phil Grucci during the Olympics, alsocreates elaborate art pieces using burns,colored smoke and controlled explosions.When I look at your work, WassilyKandinsky immediately comes to mind. Areyou simply experimenting or attempting tosolidify “fumage” as a permanent gallerycategory? Also, is there a differencebetween “fumage” and “sfumato”?FIORE: As an artist, I am alwaysexperimenting. Part of the reason why Imake art is to expand my understanding ofa technique or an idea. Once I understandthe limits of a process, I try to take it further.I am influenced by many artists, Kandinsky isjust one of them, as well as ‘AbstractExpressionists’ such as Pollack and Yves Klein,to name a few on a very long list. Early on inmy career, I was very interested in‘Automatism.’ Automatism is a method ofcreative production developed by the
T H E A R T W O R K O F
RosemarieFiore
Smoke Eclipse Tool: Colossus, 2015Steel and enamel paint69 inches (175 cm.) in diameterCourtesy of Rosemarie Fiore Studio
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Surrealists in which there is no conscious self-censorship. For example, the artist mightpaint with the flame of a candle (fumage),create surface rubbings (frottage) orrandomly draw. Chance and accident areembraced and movement, mark or line isnot consciously directed. I experimentedwith Automatism by removing my handfrom the work and replacing it withmachines that acted as ready-madepaintbrushes. I created paintings using thewindshield wiper of my car, the brush of thefloor buffer and blade of the lawn mower.The machines painted chaotically andsomewhat randomly with little guidance.
PM: What led you to colored smoke?FIORE: I became interested in color smokefireworks when I was living in New Mexicoin 2001 and 2002 when I was there on afellowship supported by the AndersonMuseum of Contemporary Art. Havingarrived in Roswell, the home of Robert H.Goddard’s early liquid-fueled rocketexperiments (many of which are onpermanent exhibit at the museum), I initiallybecame interested in creating paintingsusing rockets. I eventually gravitated moretoward experimenting with consumerfireworks as paintbrush tools and got
interesting results from working with smoke bombs and smoke canisters. One 4thof July, I lit a blue smoke ball and itaccidently dropped onto the concrete. I wasintrigued as it rolled and created a perfectarched blue dotted line. I discovered I hadfound a way to paint with smoke andgrabbed a piece of paper. I then began todevelop my fumage technique.
PM: So, your technique is more ‘fumage’and not ‘sfumato’?FIORE: Popularized by the Austrian SurrealistWolfgang Paalen, the fumage techniquedefines a work on canvas or paper thatfeatures marks left by a candle or kerosenelamp. Salvador Dalí utilized the technique inhis paintings, and called it "sfumato". He co-opted the Italian word “sfumato” which isused to describe an oil painting technique inwhich paint (with no smoke involved) isapplied so that the image appears smoke-like or vague and blurred. Leonard Da Vinciis famous for this technique. The fumagetechnique I have developed I call SmokePainting. No gunpowder is involved. Whenthe formula is burned, pressure is createdand the dye and pigments are forced out ofthe canister where they condense and hangin the atmosphere. As an artist, I intervene
at the exact moment the dyes and pigmentsexit the canister. By capturing the smoke intools that act as containers of various sizes, I am able to direct the smoke onto paper. I must act quickly because once the smokeleaves the surface and floats upwards, I have lost the color as it quickly dispersesinto the air.
PM: Most of your pyrotechnic work to thispoint has been predominantly two-dimensional using colors, shapes and lineson paper. I noticed, however, that you havealso delved into three-dimensional pieceslike “Smoke Paintings: Sky city” that placesmoke patterns you’ve created behind as 3-dimensional structure. Is this somewhatnew for you? Is this the next logical step, orsimply more experimentation? Are youlooking for a way to tie all of yourexpressive work done in oil, ceramics andvideo into one complete form for yourself?FIORE: The Smoke Painting tools aren’t theonly attempt I’ve made at working threedimensionally. In 2011 and 2012 I created >
Smoke Dome #5, 2012Glass blown with firework smoke10 x 9 x 6 in. (25 x 23 x 25 cm.)Courtesy of Rosemarie Fiore Studio
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sculptural work that spoke about the formof smoke. I researched various castingmethods that would enable me to cast thefirework’s smoke plume. I eventually endedup developing a technique under theguidance of Hotsand Glassblowing Studio inAsbury Park, New Jersey, where I usedsmoke bombs to blow glass. During thecreation of these works, I embedded thesmoke bombs into the molten glass in orderto capture the breath of the firework insidea glass form. The form of the work wasdetermined by the time it took for thefirework to release its smoke and the time ittook for the molten glass to harden. Theseworks are called Smoke Domes. I later tookthis technique to VCU in Richmond, Virginiato work with Jack Wax and his glassstudents in their ‘Hot Shop’ facility. Wedeveloped and refined the technique I wasusing, and I exhibited a few from the seriesat the Anderson Gallery in Richmond.
PM: Is that when you created your amazing‘Sky City’ machine?FIORE: After I developed my moving andspinning Smoke Painting tools in 2012, I took the new tool designs back to myBronx studio. It was there I created Sky City.This large tool actually takes 3 people tooperate. The 30 plus smoke canisters arefitted into the top of the tool and their fusesare tied together connecting them. Whenlit, pressure shoots the colored smoke out of the chambers onto the paper throughthe series of hole designs pierced into thebottom of the containers. The tool itself ismoved with poles. As each section spins,they create large interwoven swirlingpatterns. Over time, the tools becomeclogged, chipped and broken, so I amconstantly in construction, repairing, adding and taking away parts.
Presently, I am working on a series ofmetal tools (of which Colossus is the largest)that I developed last year in Utica, NY usingthe sculpture facilities at Sculpture Space.There, I altered trashcans and lids andcreated new tools to work with.
PM: Unlike other fields, the art world seemsmore like an unpredictable living, breathingcreature. Just when you think you’ve got ahandle on almost every facet imaginable,something new pops up that startles andre-energizes art as we know it. Fifty years
ago, who would have predicted that artistswould someday be using explosives andcolored smoke exclusively to create Modernart. So, what are your predictions? Whatpath do you see your own artwork takingas your techniques logically mature and yougain even greater control over your media?And what are your predictions aboutartwork in general? What kinds of artworkdo you think will manifest itself into thenext century?FIORE: I would guess that work using newmaterials and technology will continue to be very popular into the next century.Technology like 3-D printing seemsupcoming and interesting, but who knowswhat techniques and materials will beavailable for artists to experiment with inthe future. Whether its sculpture, painting,video or whatever is next, one thing iscertain—engaging artwork always rises to the top.
Rosemarie Fiore is currently representedby Von Lintel Gallery in Los Angeles. To see more of her work visit:www.rosemariefiore.comYou can contact the artist at thefollowing email address:[email protected]
PIROSHOWP R O F E S S I O N A L A R T I S T I C S O LU T I O N S
Written by Salvatore Bonfiglio - B3Studio Ragusa
The systemCompared to the traditional firing method, electronic firing systemsoffer the pyrotechnician a quantity of advantages in terms ofprecision, reliability and security. The truth is they have becomealmost a requirement for any company operating in today’sfireworks industry Additionally, this electronic firing technologyallows you to plan, organize and perform exceptionally complexshows using a wealth of choreography and implementations thatpreviously would have been categorically impossible.
We feel Piroshow is a professional firing system that sets newstandards of excellence in the planning and execution ofpyrotechnical displays. Piroshow has been designed to providepyrotechnic companies with a complete and articulated system ofproducts that can help compensate for any need that may ariseduring design, installation, grounding and/or execution of any typeof fireworks.
In short, if you’re a pyrotechnicican, we feel the Piroshow firingsystem should definitely be your system of choice.
The Piroshow system originated primarily out of requests made during our daily dealings with pyrotechnic companies facing a myriad of difficult problems in the field. All our modules and tools have been conceived, designed and manufactured specificallyto ensure the highest quality and dependability.
For companies planning to convert their current traditional firing system to an electronic firing system, or from anunsophisticated firing system to a more professional one, it isimportant to keep the following in mind: purchase a system that is ultimately reliable and will enrich the production of your displays.
Piroshow was designed to be exceptionally reliable in the fieldand intuitive to use.
Requirements Hi fidelity: All of the electronic technology used in Piroshow wasdeveloped directly by our company so we could guarantee itsunmatched accuracy and steadfast dependability. Duration: AllPiroshow products are designed to last. We use only heavy-dutymaterials in their construction and make certain they are waterresistant as well. Fact: all Piroshow products carefully follow strictinternational guidelines.
Simplicity: Our modules have an intuitive operating system, andwe provide detailed guides that fully explain all operation modes.Weight: Piroshow takes full advantage of state-of-the-artmicroelectronics and leads the way in this area. Our modules are farmore compact and weigh less than our competitors, makingtransportation, loading and unloading is much easier.
Reliability: When properly used and maintained, all of our products are guaranteed to work perfectly. We affirm Piroshow will work perfectly even after years of use in the most adverseweather conditions.
Accuracy: Piroshow ensures perfection in all synchronizationactivities and precision in ignitions up to a hundredth of a second.
Completeness: The Piroshow system is a complete system ofmodules, tools and accessories, rigorously designed to meet EVERYREQUIREMENT a pyrotechnician might find necessary during theplanning and/or execution of a fireworks display.
Modularity and Flexibility: All Piroshow system products arecompatible with one another. This makes it possible to create anever-expanding modular system of ignition products that can becombined to produce enormous shows in almost any environment.And because they are a truly modular system, their inherentflexibility makes it possible to manage a wide variety of shows—even if they are on the same date. >
Master Full is the flagship module of the Piroshow system, and asignificant entry into the world of professional electronic firingsystems. Master Full is the first module that allows a pyrotechnicianto actually control all primary and collateral operations of afirework’s show using a single tool. This makes much betterexecution possible and makes it easier to recognize potential errorsduring a show’s preparation and assembly. Obviously, having thecapability to see and solve potential errors immediately before theyoccur has a host of benefits (the safety of your team members, forone). But there is also a great deal of time saved and cost savings as well.
Since its introduction, Master Full has been given the endearingmoniker of “The Monster” by some of the people who use it. Wethink it has something to do with its seemingly infinite number offunctions.
Master Full isn’t really an expense as much as it is an investmentin potential. In short, Master Full allows you to turn fireworks intotrue pyrotechnic art. It makes it possible to create shows thatpreviously could only be dreamed about.
Master Full makes it possible to: • Import (via USB key) shows designed on the simulator. • Create a show directly through its simple interface. • Save shows (created or imported) into its 16GB internal memory,
making it possible to save thousands of shows.• Edit all shows (either in memory or imported) according to the
needs of a specific show. • Export shows from internal memory to a USB key and/or transfer
them to another Master Full system or PC.
Pyromusicals Master Full allows the pyrotechnician to have complete control overthe entire workflow related to pyromusical fireworks productionand to their implementation. With this system you can:• Import a soundtrack • Import or create a firing list • Sync directly on the Master • Run a pyromusical (both fireworks controls and music)
through audio outputs
Master FullTHE MONSTER
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Lights, Flames and Scenic Effects Master Full recognizes and manages the DMX protocol. That wayyou can enhance the fireworks or pyromusical with lights, flames orother scenic effect compatible with the protocol. You can also:• Import lists of stage effects designed on the simulator • Create lists of stage effects directly on the Master Full device
through the same interface used for creating fireworks (very easy to do!).
• Insert stage effects already stored into a current show list • Integrate running of the entire show
Obviously, the management of stage effects may be usedindependently of the pyrotechnic contexts, thereby expanding thebusiness work areas.
Show Simulation In the case of traditional fireworks, pyromusicals, and shows withscenic effects, once the wiring and grounding are completed youmay simulate the final show. This simulation may be viewed with
both its music and lights in order to check its complete operation,and to synchronize it with the firing list (step-by-step on the largeMaster Full screen).
Tests Besides routinely testing the unit’s internal battery charge status,Master Full also carries out a complete test of every module used inthe show. In addition, the unit:• Checks ID status: identifies all modules properly connected
(wired or wireless) to Master Full. • Performs online testing: looks to recognize the correct insertion
of igniters in each channel of the firing modules.
Note: During both the Status ID Check and Online Check the displayonscreen uses specific color-coding information allowing thepyrotechnician to readily view and solve wiring or individual ignitermalfunctions. Color-coding like this also helps identify any errors inthe connections to a specific single channel (e.g., “ch19 yes - ch20no” vs. “ch19 no - ch20 yes”). Whether the connections are doneusing a cable or a radio modem, the total time to perform acomplete test of 126 firing modules takes approximately 4 minutes.A single Slave test takes approximately 1 second to complete.
Incredible as it may seem, any test can be performed while anindividual show is running. In case a minor accident occurs, thepyrotechnician running the display can immediately decide whetherto cancel the show (or only troubled portions of the show) to protectthe safety of the team and general the public. >
FIRE! Master Full mode control: • In Standard mode: up to 126 firing modules/3780 cues. • In EXTENDED mode: UNLIMITED firing modules. The bottom line is, by using Master Full, any kind of show—even anincredibly large show—can be run from a single location!
And the execution of a show can be done in: • Automatic mode • Semi automatic mode • Manual mode (Note: You can switch from automatic to semi-
automatic mode at any time).
Master Full also allows for the simultaneous use of two firing modes:automatic/semiautomatic and manual. As far as we know, thispossibility is an exclusive Piroshow feature. It offers thepyrotechnician the option to manage their shows according torapidly changing criteria and makes it possible to run entire sectionsof a show according to a pre-programmed base.
The Master Manual could be considered “the little genius” of thePiroshow family. Small, compact, lightweight, the Master Manualwas created to manage fireworks fast and easy in manual mode.
Master Manual requires no programming, and after wiringoperations are completed, you only need to select the first ignitionchannel and press “FIRE” to start the show.
Its simplicity, of course, masks the internal highest technologicalcapability of this unit.
Its electronic heart alone makes it possible to manage up to 126firing modules (Slave 30CH 100V or Smart Slave) for a total 3780single ignitions! Also included is exclusive "ghost slave"technology that allows the system to easily manage large and verylarge shows with numerous shooting locations.
Test functions have also been incorporated into all firing modules,giving the pyrotechnician immediate command of both standby and wake-up.
Master ManualTHE LITTLE GENIUS
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Slave 30CH 100V is a professional firing module ensuring the highestpossible precision and reliability coupled with enormous flexibility.Slave 30CH 100V is the crux of the Piroshow system. In fact, it can beconnected either to the Master modules in a totally autonomousway, or used as a sequencer module to manage other Slave 30CH100V modules connected.
Slave 30CH 100V can be used: • For firing shows connected to Master units by wire or by
Radio Modem • As a sequencer (each Slave 30CH 100V is equipped with an
internal software for the programming of sequential ignitions ofconstant/accelerated/decelerated/programmed type making iteasy the creations of extraordinary choreographic effects).
• As an independent firing module used in an autonomousway, or connected to other Slave 30CH modules throughindividual trigger pulses that can execute various intervals andindividual ignitions. They may also be connected to anothersingle channel Slave 30CH with autonomous sequentialprogramming.
There is a full range of tests available for the correct insertion of eachigniter and of each sequences simulation. These tests provideinstantaneous feedback and make error correction immediate.
The electronic circuits and the internal software (designed exclusivelyby Piroshow) ensures a constant firing voltage of 100V for each ofits 30 channels. This makes it possible to connect up to 50 igniters toeach channel and simultaneously execute operations using a singleSlave 30CH 100V. (30 channels x 50 igniters = 1500 igniters!)
Individual ignitions have a minimum interval of 0.01 secondbetween each one. The battery provided is a long-life battery(60h stand-by) and it has the ability to manage a power-on andpower-off directly from the Master (for “standby” and “wake-up”).To further simplify installation in the field, each unit is waterproofas well. It is housed in a case made of ABS (Acrylonitrile-Butadiene-Styrene: an opaque thermoplastic polymer material) with an internalvalve managing pressure adjustment. This provides maximumsafety and resistance for even the most intense usage, eventhough the unit is compact in size and light to carry.
Slave 30CH 100VMULTIFUNCTIONAL • SIMPLE • COMPACT
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The radio modem RTX-500 mW by Piroshow allows wirelessbidirectional communication between all of the modules included inour firing system. Each RTX-500 mW can support the connection ofup to 32 modules simultaneously, making this unit not onlyeconomical, but logistically sound.
The Piroshow radio modem uses our own proprietarytechnology that makes a clear, powerful communicationsignal possible in essentially every possible situation. With arange of up to 12 kilometers in an open field and 1.5-2kilometers in the presence of buildings, our radio modems areindispensable tools for the execution of large shows with firingpositions at great distances from one another.
Radio Modem RTX 500mWNEVER LOSE SIGNAL
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Piroshow’s constant use by pyrotechnicians in the field, and theexcellent feedback we received from them, helped us create a newfiring module alternative to the Slave 30CH 100V. The idea was tomeet the specific needs of show designers and create a unit capableof running in automatic or semi-automatic mode. This ultimate goalwas reached by eliminating the internal battery and all componentsin the module not used directly for firing. What we created was anextremely compact, lightweight module that you could even hangup somewhere at your site.
With 30 individual firing channels similar to its counterpart, the Slave30CH 100V, pyrotechnicians now have essentially the same referenceunit they had when they initially programmed the show.
To keep the unit lightweight this unit’s power is supplied by anexternal power unit: the Piroshow “Power Box.”
This unit can handle up to 16 Smart Slaves simultaneously (only asingle module must be charged prior to a show). Piroshow alsoguarantees a 50V constant firing voltage, allowing the user toconnect up to 25 igniters per channel. (Note: You can test everyconnected Smart Slave From the Power Box module).
Smart Slave & Power BoxHI TECH • PRACTICAL • EASY
Using a PC or any other equipment that functions using theWindows operating system, FU.MU. software and its requisiteConverter allows you to synchronize an audio track directly to alist of pre-programmed ignitions on a pyromusical simulatorin automatic or semi-automatic mode.
Again, the ease of use, the possibility of making immediate changes,the capability of running a show on a tablet or smartphone, makesthe combination FU.MU. + Converter the perfect tool for anycompany creating pyromusicals.
These units are very versatile and an economical alternative tothe Master Full—especially for companies who occasionallyperform multiple shows in different cities on the same day. Similar tothe Master modules, these units have the capability to handle 126Slaves (3780 individual channels), radio communication, as wellas testing and simulation for large shows.
FU.MU. Software + ConverterPERFECT SYNCHRONIZATION AND FIRING
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Easy Fire could be considered the baby of the Piroshow firing system. This unit was designed for small shows and can beused by a single individual to control its management andthe ignition. Easy Fire is perfect for the amateur, but also hasenough capability for a professional as well.
Easy Fire has 12 channels for up to 360 total ignitions, and like our other firing modules, Easy Fire is waterproof. The newest version has an external antenna in a hermetically sealed case that makes it possible to run a show without errors even badweather conditions.
It shares the same professional tear-proof clamps for the insertion of the igniters that the Slave 30CH 100V module uses, andcorresponding LEDs indicate whether or not correct insertion hasoccurred. The new remote control has a range of up to 2 kilometersso safe distances are always ensured.
Written by Dr Tom SmithI have been involved with major firework displays since a very young age,
my grandfather worked for Brocks Fireworks display teams part time, having been at school with Roy Brock in the early 20th century and I worked with him for many years.
Ten things toavoid doing
F I R E W O R K D I S P L A Y S
Having worked part time for KimboltonFireworks for 10 years and full time fornearly 10 years more and then as anindependent consultant working on manyof the World’s major events and also as anexpert witness (and doubtless because of mygrowing age) I have come across manythings which now truly frighten me – eitherbecause they are just out of date, plain poorpractice, or are as a result of thefundamental misunderstandings of theissues involved. Sadly it is often said that thesafest companies are those that have justhad a “near miss” – but no-one wants to getinto that situation.
So here is my current top 10 list of thingsnot to do! They are necessarily personalobservations and are in no particular order. I do sincerely hope that the vast majority of
display companies and individual firersreading this would never do such things –but I am realistic! If this short articleprovokes some into reconsidering the waythey do things, to put in place robustprocedures to improve safety then it willhave been worthwhile upsetting others byappearing to preach.
We've always done it like thisI have heard this so many times and itdepresses me that people can be so naive.The problem is every venue changes fromevent to event and even from day to day. In addition the weather changes for everyshow (or potentially does) – in particular thewind strength and direction. Even in themost settled and predictable climate therewill be exceptional days.
EVERY display plan, irrespective ofwhether it is a new show, a show on a sitepreviously used, or a repeat show on thesame site over, perhaps, several sequentialdays should consider the following FOR THESPECIFIC DISPLAY:-
1. Where is the firing area to be?2. Is there any flexibility in its position
(eg on a barge) which could havepositive or negative implications?
3. Where are the audience, structures (which are being used to fire from orcould be impacted by the display),performers, ancillary equipment (eggenerators), car parking areas, otherhazardous areas (eg flammable things)etc etc?
conditions? (in the UK for instance thewind is predominantly from the South-West and less than 20 kmh-1)
5. What are the worst case conditions?6. What fireworks are therefore
appropriate to the site?7. What should be removed from the
display if conditions change?8. At what point must the display be
cancelled?
We got away with that oneThis is even worse! No-one should ever leavea display and say this – it is an admission thatthere was not sufficient planning. I haveheard display crews say this many times,which is bad enough, but I have heard displaydesigners, display managers and eventorganisers saying it even more frequently –which is unforgiveable.
Planning is the key to a successful show – both from an aesthetic point of view and from a safety point of view. With time comes experience, and withexperience comes an understanding of thepotential issues. If you haven’t got thatexperience then you need to develop it –quickly! Seek out best practice, developrigging and firing methods from working ortalking with others – most establishedcompanies are not particularly precious aboutsuch things, they have long recognised thatany incident potentially affects all companiesin terms of tighter controls or inspections, orloss of business or the treat of banningdisplays completely.
You must aim never to be caught out byconditions or the site – it is far better to agreeobjective criteria for curtailment orcancellation BEFORE the display (and stick tothem) than to be pressured into ensuring“the show must go on” even if you arereluctant to do so. If your insurance (as manydo) has upper wind strength limits – then sayso – otherwise you run the risk of firing ashow with, effectively, no insurance – and inthe conditions that probably makes anincident more likely.
Over the years we have developed withevent organisers and display companiesfallout tables that relate to wind speed anddirection, firing angles and calibres – and usethem to determine these objective criteria.For small shows a simple table used by thedisplay crew is probably best – if the windgets above this strength, then we don’t fireX,Y or Z. For complex shows then a site-specific determination of different windangles and speeds and the effect on theshow (which is probably fired from severalpositions) is more appropriate and can bejustified within the overall planning andwithin the overall budget. It’s not anexpensive or overly time consuming exercise –but it does provide sufficient “due diligence”and give everyone (organisers, the displaycompany and the media) clear informationon what might have to be removed from theshow should the conditions dictate.
Ultimately, and especially for displaycompanies sending out several shows a night, it is important that the display crews make the same decisions as thecompany boss would on site – after all it will be you, the boss, who ends up in Court having to defend the decisions made by your staff.
This show is different to all the restNo, No, No…..it really isn’t! Event producersall too often think that you should deviatefrom normal practices for THEIR show. Everydisplay must be planned seriously, everydisplay presents risks, the basic risks remainthe same – for instance in dropping lit“normal” debris on the audience, or the(much more severe but thankfully verymuch less frequent) consequences of a shell landing in the audience through simple product failure or as a result ofhaving been projected at a low angle as theresult of, for instance, mortar rack failure.
Obviously the depth and extent ofplanning may change according to manyfactors including the following1. The nature of the event2. The budget3. The venue4. The media interest in the display
but smaller, less complex displays may beable to be planned on the basis of welldeveloped (but relatively pessimistic)appreciation of fallout distances andproduct failure distances for the materials tobe used. Similarly relatively simplecurtailment or cancellation procedures maybe appropriate for these displays.
At the other end of the scale, thebiggest, most complex, highest profileevents, there is the opportunity to developexplicit curtailment or cancellation criteriathat relate, for instance, to specific windspeeds and directions.
However, as a professional the samestandards should be applied to every show –do not allow over-enthusiastic organisers totry and either persuade you to cut corners,nor to do things that you would not be ableto defend should an incident occur. Insurerswould take a dim view (as would theorganisers post any such incident) of you not doing it right.
Shells sitting on mortar racksThis is another one which, perhaps due toold age, is worrying me increasingly! Adisplay crew turns up on site, lays out themortars, racks etc, angles them as they wantthem for the show and secures them andthen unloads all the fireworks, unpackingshells and leaving them on the tops of cratesto be loaded into individual tubes.
The point is this – if shells are in tubesand there is an accidental ignition then, yes,the shell will be projected upwards as itwould during the show (and there areobvious consequences of that during therigging phase of an event). But it is unlikelythat the adjacent shells will be fired –presuming they are not fused together –there is no greater likelihood of thishappening during rigging than there isduring the show itself. BUT if there are looseshells perched on top of adjacent tubes,open boxes of fireworks spread around,fuses exposed etc – then the chances of thefire spreading and igniting other fireworks is very very significantly increased. Not only that, but the consequences of such an ignition are increased too – unconfinedshells bursting at ground level, stars beingthrown at ground level to design burstdiameters – into boxes of open fireworks,into vehicles, onto structures or worst of all people…
Loading shells as they come out of a boxinto the relevant tube is not difficult – it may
take a little planning ahead but suchplanning is likely not only to be safer butmore efficient.
Mortar rack designToo many accidents are caused by low angledischarges of shells from mortars (usually inracks) that have fallen over from themalfunctioning of an adjacent shell. I’m notsaying it is commonplace (ie the frequency islow) BUT the consequences can be verysevere. One of the problems is that moderndisplay design and firing methods removesthe operator from the immediate firing area– somewhere down a relatively long pieceof wire! Of course I’m not advocating handfiring over electrical firing – far from it, but itmust be recognised that no sensible handfirer would light a shell in a mortar that waslying horizontally on the ground, but anelectrical firing circuit (or delay fuses) couldcause such a shell to be lit miliseconds,seconds or longer after the original shellfailure – because the problem has not beenrecognised and the display not halted.
A shell firing at a low trajectory willtravel a long way – easily more than thedesign burst height and if it lands in thecrowd, or bursts in or near the crowd thenthe consequences can be very severe indeed.It is certainly not unforeseeable thatmultiple fatalities could result.
The point is NOT to stop electric firing, itis to recognise what the potential risks are
Old style racks and single mortars
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and minimise the possibility of such risksoccurring (see also later to distinguishbetween RISK and HAZARD).
There are several ways to try andmitigate against this scenario – some arerather more tried and tested than others…1. Build mortars that do not disrupt at all if
a shell bursts prematurely within them.Actually this is quite hard to do(especially for larger calibre shells, orthose with a significant flash burst) whileremaining both practical and economic.
2. Build racks that mean that the failure ofone mortar does not affect an adjacentmortar. This can either be by very strongrack construction (which can beimpractical and even introduceadditional hazards) or by separating themortars to such an extent (and by cleverrack design) so that the failure of onemortar does not affect any adjacentmortar. Studies indicate (from a varietyof sources) that separating mortar tubesby their own external diameter in a rackthat allows venting of gasses from a in-mortar burst (rather than confining theblast) is efficient in reducing the risk ofdisplacement of an adjacent mortar very considerably.
3. Preventing any shell from such adisplaced mortar from impacting on thecrown or other areas. This can be doneby putting in place “catchers” or othersuch devices to prevent low trajectoryshells reaching the audience – but carehas to be taken to ensure not only aresuch “catchers” going to catch all therelevant shells (the further away a“catcher” is from a mortar the higher itmust be) but they are robust enough toactually do the “catching”In all of these scenarios there is no
substitute for real testing and in the case ofusing “catchers” modelling of shelltrajectories to determine what angle shellsneed to be caught and hence how high andwhat position the catchers must be placed.
None of these solutions is cheap, but of
the three probably the second is not onlythe most efficient, but it is the most costeffective and flexible.
The perils of IgnitersIgniters of almost any type are sensitivethings! They are, by their very nature,manufactured to convert one source ofenergy (normally electrical) into another(heat from incandescent particles) to start anexplosive train. Igniters are susceptible (likeall explosives) to accidental ignition by avariety of stimuli – not just the design mode(direct current electricity).
Although the effects of Radio Frequency(RF) energy (from handheld radios andmobiles for example) on igniters is probablyoverstated, there is evidence that suchrelatively low powered RF sources can causean igniter to function in certain, quitespecific, circumstances. But high powered RFsources (such as a satellite dish on an outsidebroadcast unit) are much more likely tocause such an ignition – so beware/
Static electricity is a much greater risk – I have seen first-hand a bunch of igniters(thankfully not connected to anything more
powerful) ignite in a person’s hand as theywalked across a cloth covered stage and themost likely explanation was static.
But the one feature of igniters too oftenignored by users is their friction and/orimpact sensitivity, especially in the presenceof something relatively gritty likequickmatch or loose blackpowder. Insertingan igniter into quickmatch, or removing itfrom an unfired firework is probably thegreatest risk – but having an igniter in thepresence of something gritty and flammablelike blackpowder and then crushed (forinstance by dropping a shell with an igniterin the lifting charge) or stapling a fuse to asupport (please don’t ever do this – staple acable tie if you have to and then use this tosecure the fuse) has a very high risk ofaccidental ignition.
Don’t be seduced into thinking a small
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plastic shroud offers much protection either – in fact it can make things worse!The shroud is there primarily to adddirection to the fire NOT as a way ofprotecting the bead.
The best thing to do, in my opinion, is tomake up small quickmatch leaders with anigniter in them – away from the display siteand away from other fireworks. Protectwhere the bead is with a solid card or othertube – this will decrease the likelihood of anaccidental ignition from impactconsiderably. Then use these pre-madeigniters/fuses in shells, mines, candles orwhatever is needed at the display site.
The point is that during theirmanufacture, even if an ignition were tooccur, the consequences of a few ignitersand short lengths of quickmatch igniting aresmall – whereas attaching an igniter directlyto a shell, for instance, carries the SAMElikelihood of ignition – but with much moresevere consequences.
Don’t horseplayDon’t mess around with fireworks.Fireworks are explosives, explosives have adegree of unpredictability almost inherentwithin them. I have seen examples of peoplethrowing fireworks around the display site –from one operator to another – DON’TI have seen people carrying around looseshells by slinging them over their shoulderlike a string of onions, fuses gathered in onehand and shells neatly down their backs –think of the consequences of an accidental
ignition. 100g of loose blackpowder willproduce a fireball sufficient to engulf aworker – and probably have at least a 50%likelihood of fatality from the effects orburns, let alone the effects of bursts a fewseconds later.
At a more basic level treat fireworks with respect. Don’t:• Drag boxes around• Pile up fireworks unsafely so boxes can
fall over• Undo all the boxes immediately you
arrive on site – plan things properly,expose the minimum number offireworks at any one time that you can and
• NEVER smoke (oh how many times have I seen this – even people trying to be discrete – but they are alwayscaught out)Not only is any form of horseplay
dangerous – but it presents a terribleimpression to others – be they your ownstaff, or worse bystanders, observers or eventhe press.
The difference between Risk and HazardI know I could go on about this topic forever (and many of those who have attendedour “Risk Assessment for Firework Displays”courses probably think I already do) but thefact is that most people don’t reallyunderstand the difference (including mostenforcing authorities) and therefore do notunderstand what can be done to managerisks and hazards sensibly and bring overallrisks down to acceptable levels.
In briefA HAZARD is the intrinsic harm someoperation or some firework can do to aspecified set of people (eg operators or theaudience) under, normally, a quite specific setof circumstancesThe RISK is a measure of both the HAZARDand the of the frequency of which thatHAZARD occurs
For example there is an intrinsic hazardof a 150mm shell landing within theaudience area of a show and bursting onimpact causing fatalities and major burns tothose within some distance of the shellburst. If you are firing 150mm shells this is aHAZARD that cannot be reduced – IF theshell lands in the audience then theconsequences will be the same. To reducethe RISKS from a 150mm shell landing in theaudience all that can really be done is toreduce the likelihood of such a shellreaching the audience – perhaps by meansoutlined above, perhaps by increasingdistances from firing point to audience (butreference to a modelling tool AND with anappreciation of the effects of firing angle,wind etc)
The only thing that can be done to reduce the HAZARD from a 150mm shell is to use a different shell (for examplewith lower burst charge etc) or more likelyto use smaller calibre shells (which removesthe problem of the 150mm shellcompletely!) This is why we all work tochoose appropriate sized shells for aparticular display and site – but we often do it in a somewhat arbitrary way (see thenext section).
I now am firmly of the opinion that anyone action to reduce risk can only EITHERhave an effect on the frequency (likelihood)of the risk occurring or on the hazard if itdoes occur – not both. I accept that in theoryat least reducing shell calibre may have aneffect on both for a person standing at alarge distance away from the firing point –but that is why I emphasised in the previousparagraphs the risk from a 150mm shell andnot just shells in general.
Understand what hazards there are(during preparation, transport, rigging, thedisplay and during clear up) and understandhow the risks can be controlled. Make surewhatever control measures are put in placeare both a) actually controlling the risk, andb) are adhered to! Again, if you have put atechnique, operation or cancellation or
Directional sparks from Bickford igniter withshroud in place
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curtailment criteria in place – then makesure your display staff know about it, knowwhy they should do it that way, and thatthey stick to it. If they deviate from your(your company’s) way of doing things then you may have to defend that deviationin Court.
Long burning debris vs blinds “What goes up must come down” – theproblem for us is what is it that “comesdown”, where does it “come down” and how often does it “come down” and what that means for us in determining“Safety Distances”?
The two extremes at a display arebasically these:-1. “Normal” debris from the “normal”
function of a shell – ie card pieces,burning and unburnt stars, bits of subunits etc. The “Fallout” we recognise andaccept, and;
2. Abnormal debris – from shells bursting atlow height, or at an undesirable (andunplanned) angle, and worst of all a“blind” shell reaching the ground andexploding on impactThe problem is that the risks from these
two extremes are quite different.
It can be seen therefore that both havesimilar risks – but too often only “Normal”fallout is considered in determining suitable“Safety” distances and any potential controlmeasures. Please consider ALL of the risks –sadly too many incidents have ignored theinfrequent but catastrophic consequences ofshell failures and have concentrated instead
solely on the lower hazard aspects. Ton anextent this is human nature – don’t over-emphasise the potential problems – but Ican assure you that that argument does notstand up in Court.
Reloading and hand firing of shellsIt is extremely rare for anything but thesmallest display to have any significantelement of hand firing, modern displaydesign and a heightened appreciation ofthe risks to operators means that mostdisplays are electrically fired. However don’tbe seduced into thinking electric firing issafer for everyone – see above.
But it is obvious that people testing newfireworks, or looking at new imported typeswill often hand fire them – purely for
convenience. As such the risks remain and assuch people must appreciate not only whatcould go wrong, but the proper techniquesthey must use to minimise the risks involved.
It’s all pretty simple stuff – but I amamazed how many instances there havebeen of an operator getting their body overa firework at the very moment that it fires!
If you do hand fire anything ever then:-• Use a portfire held at arm’s length
(I’ve never liked portfires on sticks)• Position your body perpendicular to the
item being lit – do if you slip and fall overit won’t be towards the firework
• Don’t lean in towards the firework• Don’t be tempted to return if it does
not light – wait! You know what theproblems are, don’t do something sillyjust to make sure it is lit
ConclusionsFireworks do present hazards, it is essentialthat these hazards are recognised and therisks involved are minimised. This paperhighlights some of the issues I have seenover recent times and, I hope, mighthighlight them to those in the industry who are fortunate enough not to have had an accident or incident (yet).
FURTHER READINGTom Smith “What is the safety distance for a shell?”; JPyro, Issue 29,2010, pp12-31 or www.jpyro.com
Risk and Hazard workshops – see www.pyroworkshops.com
1actually dislike the term “Safety Distance” – it implies that the distance is “Safe” ie NO RISK and far too often thisis simply not the case. In most cases we are managing the risks to ensure that they are at an acceptable (but not azero) level.
2Here we are working on a 0-10 weighted system for both frequency and hazard – giving a risk rating of 0-100
F O R F I R E W O R K C O M P A N I E S & E N T H U S I A S T S A C R O S S T H E W O R L D
Selling ConsumerFireworks in theNetherlands Since the Seventies, NewYear’s Eve has been a very bigcelebration in the Netherlands.In The Netherlands, peopleaged sixteen or older areallowed to buy consumerfireworks.
The history ofKnokke-HeistJack Suijkerbuijk looks atThe Knokke-Heist fireworksfestival which is held on aBelgian beach is one of theoldest fireworks festivalsanywhere in the world.
Sicily & PyroTobias Brevé & RobinHarteveld annual fireworksroad trip began last summeron the beautiful Italian island of Sicily. Just as in the summer of 2014 theywere fortunate enough to see some outstandingSicilian displays.
Londoncallingby Darryl Fleming
For 2016 the Mayor of London’sNew Year’s Eve Firework displaywas for the first time partneredwith Unicef, providing aspectacular pyromusical displayfrom the Coca Cola London Eye.
PiroshowProfessional Artistic Solutionsby Salvatore BonfiglioPiroshow has been designed toprovide pyrotechnic companieswith a complete and articulatedsystem of products that can helpcompensate for any need that mayarise during design, installation,grounding and/or execution of anytype of fireworks.
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For those of you who don’t know, abombette is a small caliber cylindrical shellusually ejected from “cakes” or fromcandles. In Germany, Bombettes are limitedto a maximum charge of 130 milligrams offlash powder in legal consumer fireworks(although obviously more flash powder isallowed for in professional grade fireworksand other countries may have differingregulations). Actually, the only system that Iknew of where you could adjust a delay byturning a ring dated back to 19th centuryblack powder artillery time fuses. Anyway,nearly 2 years passed before I got my handson any actual samples of these bombettes.By then I had received additionalinformation about how the system worked,too. Apparently, although a small Germancompany called Voigt Pyrotechnikdeveloped the idea, they were beingmanufactured in China. To launch thesebombettes, a special mortar system wasnecessary. Now it became clear that it wasnot the breaking delay of the bombettethat could be adjusted, but the launchingdelay between 2 bombettes. The adjustabletime frame was actually very small: between0.4 and 1.8 seconds.
The novelty of these bombettes lies inthe ignition/time ring composition appliedcircumferentially to the surface of thecardboard tube with the use of tape matchas a fire-transfer from the ignition ring tothe lower lift-charge. The HDPE mortars—sold in preassembled rows—can beconnected side by side with a simple “click”to assemble batteries of a limitless size. TheHDPE mortar tubes are all interconnected aswell. They have a small ignition transfer holeabout 60mm from the bottom. The firstbombette can be ignited manually using
any type of fuse or igniter-cord or E-match.The fire spray of the first lift charge passesthrough the small hole in the side of themortar tube, and then ignites the ignitionring of the neighboring bombette.
There have been quite a fewmodifications of these bombettes andmortars since this system came out morethan a decade ago. The following photoswill help explain the transition, function andconstruction of these bombettes. The mostrecent modification can be seen in thephoto entitled “New 2015 BB BULLET.”
(Above) The top of the cylindrical bombettehas a round, white sticky-label pasted on itthat is marked with a horizontal 0-line. The90-degree position is also marked. This is themaximum 1.8-second delay position.
(Above) This is a side view of the completebombette. You can see that the top portionhas a slightly smaller diameter. You can alsodiscern the band of black PE foil that coversthe borderline of the larger and smallerdiameter on the outside surface of the topsection. This is the position where the ignitercomp ring is applied. The thin black PE foilprotects the timing ring from moisture andmechanical damage. The bombette has adiameter of 33mm, a height of 66mm andshould be fired from mortars with a caliberof 38mm. In Germany these are classified asCategory 4 “Professional Fireworks.”
I have been told that in the United States that bombettes like these (I assumewithout a time ring and match tape) aresold with attached fuse cord to be usedduring the 4th of July celebration in sets of12 using only one mortar tube as areloadable. The delay of between 0.4 and1.8 seconds can be adjusted by dropping thebombette into the mortar tube at theapproximate orientation towards the fusehole in the side of the mortar.
Written by Caput Mortuum PyrotechnicumA little more than 10 years ago I heard about a Chinese-made bombettesystem with an integrated, changeable delay that could be adjusted simply by turning the head of the bombette. This piqued my interest.
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(Above) Here the outside label has beenremoved so you can see the grayignition/delay composition. This compositionis probably bonded with plastic becausestoring it underwater for a few days causedabsolutely no optical/mechanical change. Itdid lose its ignitability completely, however.
(Above) In this picture you can clearly seethe match-tape that transfers the firestimulus from the ignition/delay ring downto the lift charge and time fuse. This photoalso shows one of the inherent problemswith this system as well. As an extension ofthe match-tape, above the delay ring, thereis a black pencil line mark. This marks the
0.4-second delay point. This line also helpsguide the Chinese workers during productassembly as an orientation mark for pastingon the top white covering label. The middleline of the label should be directly in linewith this marking. As you can see in thisphoto, that is not the case.
(Above) This is the bottom view of thebombette with a lift-charge of 2.5 grams offine-grained black powder.
(Above) When the match-tape is folded back from the bottom, you candiscern the Chinese time fuse in the middle of the reddish-orange clay plug. The time fuse is covered with pasted-onignition composition.
(Above) Here the end of the Chinese timefuse has been untwisted so that you can seeits construction. As presented, it is made upof a few strands of traditional,gray chinesetissue-paper-fuse that are held together bysome thread wound around the outside. Thistype of fuse is not a precise time fuse, but ismostly used for fire-transfer in batteries.
(Above) The simple Chinese fuse inside thebombette is visible in this photo as it passesthrough the bottom clay plug. Thebombette shown in this photo is chargedwith 57 small, 6mm round stars that weighall together 9 grams mixed with 4.5 gramsof break-charge powder. The powder fills inall the interstices between the stars so acoherent column results.
(Next page top) In this semi-section the rammed-in plug of reddish-orange clay isvisible. Below this a shock absorber has beeninserted, and a paper disc covers the starsand break charge (also called a burstingcharge). The clay has been rammed inmanually using a traditional plunger andmallet. The percussive pressure being
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exerted on the whole assembly when theplunger is hit with the mallet, forming theclay plug, also compresses the pyrotechniccharge. The shock absorber protects thestars from being damaged during thisassembly step. The quite large break chargealso helps protect the stars from beingdamaged.
(Bottom image) This shows the “GoldGlittering Willow” stars. These are pressedstars of 8mm in diameter and a height of10mm. Each bombette contains 19 starsweighing 9.5 grams.
(Below) Here you can clearly see thetolerances that occur because of the simplemanufacturing method used. Hundreds ofthousands of these bombettes are producedby hand and the workers are not givenadequate time to properly align theorientation marks on the top label to theside marking properly. 90 degrees is equal to
a burning delay of 1.4 seconds. Amisalignment of 10 degrees reduces thedelay to 1.24 seconds.
As I mentioned, these bombettes werepart of a 2004 production lot. Quite a fewmodifications have appeared during theintervening years. One of the problems thatoften occurred when using this systemrelated to the small fire-transfer hole in themortar tube. These holes would clog easilyfrom burnt powder residue. I have been toldthis problem has since been rectified.
At a 2004 BlackBoxx productpresentation of Category 2 and Category 4products, I noticed surprisingly that bothproducts used the same type of stars(although the stars in Category 4 were alittle larger and longer burning).
Of all the effects shown, I personallyprefer the Gold and Silver Glittering Willowstars the most. These were the onlybombettes with a reasonably long burningtime. Last December I visited a Category 2BlackBoxx product presentation. Nearlyevery item presented was an improvedversion of Gold or Silver Glittering Willowstars with added light output. Mixed in withthese stars were very small—but modern—compounded colored-effect stars that hadbeautiful electric/metallic colors that wereexceptionally bright. When a bombettecharged like this breaks, for a brief momentyou see the beautiful image of its full-coloreffect. Simultaneously the willow starscontinue to burn for a much longerduration to result in a reasonable overallburning effect duration.
Written by Tobias Brevé & Robin HarteveldOur annual fireworks road trip began last summer on the beautiful Italianisland of Sicily. Just as in the summer of 2014, we were fortunate enough to see some outstanding Sicilian displays in Calamonaci shot by La Rosa
International Fireworks and ZioPiro. After a two-year absence, the committeeof Villafranca Sicula decided once again to organize festivities and fireworks
displays, assigned the major fireworks display to La Rosa InternationalFireworks. ZioPiro and Nino Belardo, Calamita Fireworks andF. Lli Toscano
In the southern regions of Italy, includingSicily,festivals are mainly held for religiousreasons and not just to attract tourists. Thefireworks there are always coming led witha particular region’s heartfelt religiousbeliefs, and designed to add dignity andsolemnity to this distinctive facet of theirculture. Good examples of these types offestivals are: Festa di San Vincenzo Ferreri,which is celebrated in Calamonaci, andFesteggiamenti di Maria SS. Del Mirto,which is celebrated in Villafranca Sicula.Both festivals are held to honor the saintsand this is done with a rigattiate. Therigattiate can be defined as a kind of holywar. It is a mixture of faith and folklore,religion and paganism. During thesefestivals,two important religious statues—San Michele, the Archangel, and SanGiovanni the Baptist—are carried during aprocession that meanders throughout thevillage. Both festivals culminate with severalhuge fireworks displays shot near the townitself, each one dedicated to either SanMichele,Arcangelo, or to San Giovanni,Battista.
The festival held in Villafranca Siculabegan July31st with a fireworks displayperformed by Calamita Fireworks in honorof San Giovanni. This particular show wasthe first one we had watched in a while andthe powerful cylindrical multi-break shellsused to open the show were overwhelming.That may explain why the first minute of thefilm is out of focus (Ha!).After the initialopening the show had a nice build up full ofcolorful themes and quality products. Thehighlights of this show were the marvelouslylarge caliber white rain shells (@7:40 minuteson the video below).
The next day ZioPiro's and NinoBelardo's turn. Their show also honored SanGiovanniand it did so aggressively. Theopening of the show was spectacular with ahuge number of quickly timed single shotsfollowed by powerful cylindrical multi-breakshells. Oftentimes, after a sensationalopening, shows can become somewhattempered. But this was not the case withthis particular show and the tempo andenergy remained high throughout. Even thefinale was incredibly colorful and endedwith a precisely timed single shot sequenceand a massive golden shower!
On August 2nd, the final day of thefestivities, La Rosa International Fireworksshot a huge show in honor of San Michele.Prior to that, a kind of appetizer so to speak,was organized by the central committeeand shot by F.lli Toscano in preparation ofthe for the grande finale.
During the day we visited the immenseset-up of the final show, which consisted ofseven individual launching positions spreadover a 150-meter-wide olivefield. Added tothis already spectacular set-up was a specialelement called the tower of light. This towerwas well over 30 meters tall with two 20-meter-high platforms built to positionadditional racks of single shots.
La Rosa Fireworks’ regular crew teamedup with several members of the San MicheleAssociation in Villafranca Sicula anddesigned the setup for the tower of light.
These men are widely known as the ''Men Of The Tower Of Light'' (above) inVillafranca Sicula and throughout thesurrounding area.
La Rosa’s crew kept itself busy loadingmulti-break shells, positioning candles andconnecting uncountable e-matches, as theSan Michele team started installing singleshot racks on individual segments of thetower. First, they installed the top-segmentthat contained a 360o wheel full of singleshots. Next, a crane lifted the next segment,comprised of single shots attached onebeneath the other. Note: this is a challengingtask for the San Michele team andultimately the complete team has to workvery hard to completely installand preparethe tower of light. All this hard work doesn’t make them unfriendly, however.They gave us full access and allowed us tofilm and photograph every aspect of theirsetup. And you can watch all of this unfoldin our exclusive Behind the Scenes &Highlights movie:
The show was supposed to begin atmezzanotte (Italian for midnight), but thatwould be very un-Italian to actually start ashow at the planned time. No matter, thatgave us time to meet and chat with some ofthe locals there. About an hour and a halflate the first salute was fired and the actualshow finally began! There was immediateintensity with a great many cylindrical multi-break shells fired in rapid successioninterspersed with artistic single shotsequences combined with ground shotscoming from the tower of light. The 16-minute long display was memorable andshowed everyone how mind-blowinglyperfect a professional Italian display can be.
After a few ''pyro-days off' ouradrenaline calmed somewhat and reached arelatively normal level again. Not for long,however, as the festivities in Calamonacibegan once again on the 9th of August!Excitement reigned as we entered theshooting area once again, and just likeVillafranca La Rosa InternationalFireworks,their setup consisted of sevenpositions.This time La Rosa would shoot thedisplay to honor San Giovanni and ZioPirowould honor San Michele. As some Italianfriends told us, ZioPiro wanted to open thedisplay with a staggering 1200 shotsequence shot in less than 20 seconds! Thiswas to be followed by large cylindrical shellsand round shells (up to 16 inches in
diameter). So, we sought this setup outbecause it was something we wanted to see.
Besides the huge number of single shots,the show was richly filled with Italian-madecylindrical and spherical shells. The team ofZioPiro was also very friendly and theyallowed us a unique opportunity to film yetanother Behind the Scenes movie thatshould help everyone better understand thesize and scope of this type of show and theoutstanding Italian pyro skills necessary topull it off.
As evening came, we rested brieflybecause if this was anything like last year the
show might start as late as 4:00 in themorning! So, we planned for this andarrived around midnight in the center of theCalamonaci where the rigattiate wassupposed to begin. The first show wascreated to honor San Michele, and thesecond, San Giovani, and both werecelebrated with beautiful music, greatpassion and noise. After several hours of thisrevelry, the saints returned to the center ofthe village and the citizens gathered in theolive field just outside of town to enjoy amassive fireworks display. Following thecrowd, we positioned our tripods andcameras in the best possible spot for viewingthe spectacle.
The honor of shooting the first showwent to La Rosa. It was well timed andcolorful. Unfortunately, the wind died andLa Rosa’s show became partially obscured bythe smoke. Even so, the show was a greatsuccess (see the “sette per sette” sequence@1:47. “Sette per sette is a sequence of 49large cylindrical shells shot from 7 positionsof 7 shells each). After the break of the 7thcylindrical shell, the inserts of the firstcylindrical shell will explode all together.
Another point in the show worthmentioning occurs @8:25 during the videowhen the huge ghost shells go off.
When it was ZioPiro’s turn to start theirdisplay, a little breeze had come up andcleared away most of the smoke from theprevious show. As we mentioned earlier,their plan was to set off 1200 single shots toopen their show! Wow! Absolutelyfabulous! Not only was it visuallyastounding, but the ardent rhythm ofdetonations was felt intensely by everyone.After their opening, several thematicsections were shot (our favorite themeoccurs @3:55. When you watch it you’ll seebeautiful gold and green cylindrical shellssupported by matching candles). The mostbreathtaking moment of the show (in ouropinion, of course) occurred at the end witha gigantic salvo of white rain shells severalhundred meters wide.
The festivities in Villafranca Sicula andCalamonaci were a unique experience wethoroughly enjoyed. We were able to seesome exceptional displays choreographedpassionately by pyrotechnic professionals attheir best. We would sincerely like to thankLa Rosa International Fireworks, ZioPiro and
the San Michele Association in VillafrancaSicula for their hospitality and for providingus with an unforgettable experience.
In the next issue: Sicily & Pyro Part 2where we continue our Sicilian trip andshare the wonderful imagery of shootinghuge daylight confetti displays!
