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Costume Design and Makeup. 9743043 Stella Huang. The Functions of Costume Design. time and place character’s social and economic status Occupation or lifestyle Gender and age Reflect a character’s atypicality through dress that departs from the norm. - PowerPoint PPT Presentation
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Costume Design
and Makeup
9743043Stella Huang
The Functions of Costume Design
• time and place• character’s social and economic sta
tus• Occupation or lifestyle• Gender and age• Reflect a character’s atypicality thr
ough dress that departs from the norm
• Metaphor, symbol or allegorical concept
• Mood and atmosphere• To establish a particular style• Reflect conventions or a level of
exaggeration• Enhance or impede movement• Establish or clarify character
relationships
• Establish the relative importance of characters in the action
• Underline the development of the dramatic action through costume changes
• Create both variety and unity• Alter an actor’s appearance
The Costume Designer’s skills
• Keep in mind gender, social and economic class, activity, climate, and season, stylistic qualities
• Work within circumstances dictated by the script, director, performance space, and budget
• Fashion designers establish fashions; costume designers use fashions
• Create garments not only for present-day fashions but also for those of other eras
• Skills of a visual artist• Need to envision the garments as tailors a
nd seamsters would• Costume sketches should indicate how gar
ments are shaped, the location of seams, darts, and other features that create visible lines and affect cut and fit
• Need to be familiar with various fibers and the characteristics of each
• Be knowledgeable about weaves, textures, and other qualities
• Well grounded in social and cultural history (including the visual arts, dance, and theatre)
• Be able to analyze characters that actors do
Working Plans and Procedures
• Studied the play and met with the director and other designers to discuss the production concept
• Make numerous tentative sketches and examines them in various combinations
• Series of design conferences• Rendered in color and in a manner
that conveys a clear impression of the final product
working drawing
• Color sketch for each costume• Shows the lines and details of the
costume as seen from the most distinctive angle
• Unusual features, details are shown in special drawings and usually in the margins of the sketch
• Samples of the material
costume chart
• Communicate the broad organization of the characters costumes a a single glance
• Costumes in each of the scenes
dressing list
• Remind actors • Tools that communicate the
designer’s intentions and help keep the costumes organized for running the production efficiently
Realizing the Designs
• Borrow and rent costumes from a existing wardrobe
-Less than idea -Only allow slightly alteration -Restricted primarily to
nonprofessional theatres and short-run productions
• Newly made
rental houses
• Buy costumes from a Broadway or road show when it close and rent these costumes as a unit
• Employ staff designers • Variety of costumes for each
period
newly made costumes
• Permanent theatre organizations that make their own costumes usually maintain a wardrobe of items from past productions
• Can be remade or altered to fit new conceptions
• In the Broadway theatre, the producer contracts with a costume house to make the costumes
standard procedures
• Accurate measurement • Materials must be bought• Patterns must be drafted as guides
for cutting and shaping the materials
• First fitting usually takes place before stitching is completed
• Some new costumes need to be “distressed”
The Costume Designer and the Actor
• Actors are responsible for exploring the potentials and limitations of the costumes they will wear
• The designer can also aid the actors by proper attention to shoes and undergarments
Makeup
• Traditionally, makeup has been considered the actor’s responsibility
http://www.youtube.com/watch?v=L47tSnjX61w
function
• Makeup characterizes• Makeup aids expressiveness• Makeup restores color and form• Makeup may indicate
performance style
the make plot
• A chart recording basic information about the makeup of each character
• As a guide for applying makeup and as a check on how the makeup of each actor relates to that of all the others
• Sketch of each actor’s face
type
• Painting• Added plastic, prosthetic, or
three-dimensional pieces
painted makeup
• Age groups-not only on face but also concerned with hands, arms , and other visible parts of the body
• Straight or character makeup-character makeup markedly changes the actors own appearance
• Racial/ethnic types-skin coloration, eye shapes, hair color and texture
• Special painted effects-clown makeup, distortions for stylistic reasons and decorative designs painted of the face as in a tribal ritual
materials
• Beards and moustaches are usually made from human hair-ventilation
• Prosthetics• Hair whitener-oiling and
aluminum metallic powder• Wigs
The Costume Parade, Dress Rehearsals, and Performances
• Dress parade-allows the designer and director to evaluate the costumes without the distractions of a performance
• Dress rehearsals-allow the costumes to be seen under conditions as nearly like those of performance as possible
Thank you for your attention