An Introduction to What a Costume Designer Does.

Transcription

1 An Introduction to What a Costume Designer Does.

2 Examples of the Psychology of Dress

3 During the first four minutes of contact with a stranger, our understanding of that person s nature and personality will be based on three primary factors: 1. Appearance: 55% 2. Tone of Voice: 38% 3. What the person is saying: 7% Think about what you or the character wears!

4 They ask the same question about each character that every person asks themselves before they go off to school, work, a date, to an important life event, or just hanging around ---- What are your clothing choices communicating to all of us?

5 Costuming is not just about finding some clothes for an actor; it is about helping to tell a story, providing insight for the audience about the character and the production.

6 Where are they geographical location? Indoors or Out? Specific room in the house? When are they exact time period? time of the year? time of the day? What is the character s gender? character s age? socio-economic status? rank or social status? Occupation? (i.e. The basic Functions of a Costume) What is/are the character s Function? Relationships? Evolution or Progression? What is the character s Psychology/Personality? Optimistic/Pessimistic Honest/Dishonest Gregarious/Shy Responsible/Irresponsible Compassionate/Selfish Lazy/Driven Courageous/Spineless Affectionate/Distant Cultured/Uncouth Etc.,etc.,etc.

7 (i.e. The basic Functions of a Costume) Where are they geographical location? Indoors or Out? Specific room in the house?

8 (i.e. The basic Functions of a Costume) When are they exact time period? time of the year? time of the day?

9 (i.e. The basic Functions of a Costume) What is the character s gender? character s age? socio-economic status? rank or social status? Occupation?

10 (i.e. The basic Functions of a Costume) What is/are the character s Function? Relationships? Evolution or Progression?

11 (i.e. The basic Functions of a Costume) What is the character s Psychology/Personality? Optimistic/Pessimistic Honest/Dishonest Gregarious/Shy Responsible/Irresponsible Compassionate/Selfish Lazy/Driven Courageous/Spineless Affectionate/Distant Cultured/Uncouth Etc.,etc.,etc.

12 Where are they geographical location? Indoors or Out? Specific room in the house? When are they exact time period? time of the year? time of the day? What is the character s gender? character s age? socio-economic status? rank or social status? Occupation? (i.e. The basic Functions of a Costume) What is/are the character s Function? Relationships? Evolution or Progression? What is the character s Psychology/Personality? Optimistic/Pessimistic Honest/Dishonest Gregarious/Shy Responsible/Irresponsible Compassionate/Selfish Lazy/Driven Courageous/Spineless Affectionate/Distant Cultured/Uncouth Etc.,etc.,etc.

13 Personality Traits Negative Personality Traits Adventurous Affable Conscientious Cultured Dependable Discreet Fair Fearless Observant Impartial Independent Optimistic Intelligent Keen Gregarious Persistent Capable Charming Precise Confident Dutiful Encouraging Reliable Exuberant Helpful Humble Suave Imaginative Meticulous Obedient Trusting Valiant Laziness Picky Sullen Pompous Dishonesty Finicky Sarcastic Pompous Arrogant Cowardly Sneaky Rude Quarrelsome Impulsive Slovenly Self-centered Boorish Surly Unfriendly Unruly Thoughtless Stingy Bossy Vulgar Malicious Conceited Obnoxious

14 Playwright provides THEME Director provides the PRODUCTION CONCEPT The emotional feeling that pervades the experience of the play is the MOOD

15 The Theme, Concept, & Mood are supported by the costumes through: Style: manner or mode the costumes are created in to best interpret the mood & concept. Color: overall color scheme, including the individual characters and how all the characters look together. Scale/Shape: relationship to other objects; realistic or exaggerated, as well as historical period.

16 The Theme, Concept, & Mood are supported by the costumes through: Texture/Pattern: proportion of one texture to another or juxtaposed in groups; communicating emotion & status. Line: real or implied; historical reference and proportions. Light: reflective qualities of the fabrics or costume pieces

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18 Factual Research History supporting character personality Ms. Cheveley An Ideal Husband

19 Art & Artist inspiring shape, line, color of design Evocative Research Sarah Chandler The Living

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23 Taming of the Shrew: Commonwealth Shakespeare Company Dramaturgical Research Inspires Costume Concept All the male lovers after conversion in their found costumes backstage.

24 LOVE S LABOUR S LOST Costume Design 2010 Inspirational Costume Design Collage for Armando

25 LOVE S LABOUR S LOST Costume Design 2010 Katherine Before Curse Berowne Before Curse Katherine After Curse Berowne After Curse

26 Before After

27 Specifically how do Costume Designers manipulate the costume to support character? Fabric Choices Trims & Notions Anatomy of a Costume Construction Details Fit Hair & Makeup

28 Drape & Hand of Fabric Texture of Fabric Cutting Direction of pattern Using the wrong side of fabric Painting & Dyeing Other Fabric Manipulations: Distressing Texturing Movement of Trim Implied line of Trim

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30 Company Duet

31 Understructures Collars Neckwear Bodices/Shirts Sleeves Vests Skirts/pants Dresses/Suits Outerwear Headwear & Hats Shoes Tights/hose/Socks/Stockings Gloves/Gauntlets Belts/Sashes Eyewear Jewelry Hair Accessories Armor/Weapons Hand Props: fans, muff, handkerchief, walking sticks/canes, bags, purses, umbrellas/parasols

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33 Seams Pleats Tucks Gathers Zippers Buttons Padding Out Hems Lining Necklines Fabric Choice Drape Alterations Pressing

34 A Funny Thing Happened on the way to the Forum

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38 Period Movement Period Modes & Manners Manipulation of costume to communicate personality

39 Period vs. Functionality Accuracy Actor comfort (fit) Staging & Choreography Fabric Choices Period accuracy Staging Laundry & Maintenance Laundry and Maintenance Actor s True Body vs. Character or Period

40 Arsenic & Old Lace Research Board

41 Research Board Fabric Swatches for Funeral Dress

42 Thumbnail Funeral Dress Arsenic & Old Lace Abby Final Line Drawing Funeral Dress

43 The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume 2. Sell the design through character stance and facial expression 3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design 4. Clearly communicate construction information & details (seams, specific fabrics, trims, & accessories) 5. Include fabric swatches on each rendering 6. Have director sign-off on final designs

44 The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume

45 The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume 2. Sell the design through character stance and facial expression

46 The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume 2. Sell the design through character stance and facial expression 3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design

47 The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume 2. Sell the design through character stance and facial expression 3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design 4. Clearly communicate construction information & details (seams, specific fabrics, trims, & accessories)

48 The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume 2. Sell the design through character stance and facial expression 3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design 4. Clearly communicate construction information & details (seams, specific fabrics, trims, & accessories) 5. Include fabric swatches on each rendering

49 The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume 2. Sell the design through character stance and facial expression 3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design 4. Clearly communicate construction information & details (seams, specific fabrics, trims, & accessories) 5. Include fabric swatches on each rendering 6. Have director sign-off on final designs

50 Rendering Techniques: Chose best media to communicate production style & mood Water color Photoshop & Corel Painter Collage Marker & Colored Pencil

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52 Lysistrata: Athenian Men

53 The Costume Bible is your voice when you are not present in the shop & contains all vital information relevant to the production. It should include: Cast List Contact Info Schedules/Deadlines Budget Info Costume Plates Research Fabric Swatch Sheets Costume Paperwork Actor Measurements Fitting Notes Wardrobe Info Rehearsal Reports Additional Paperwork

54 Preliminary Costume Plot

55 Examples of paperwork for Costume Bible Detailed Character Costume Plot Millinery/Character Breakdown

56 Husband Rashomon Fabric Modification and use information for Costume Shop

57 Fabric, Dye, & Pattern information for Costume Shop

58 Mock-up with similar fabric, approve & fit on performers

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60 Have you ever put on a costume and said, Now I feel like my character? That is because the costume designer did their job! They asked what would this specific character wear?