Transcript Costume Design and Makeup

Costume Design
and
Makeup
9743043
Stella Huang
The Functions of Costume Design
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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
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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 and
seamsters would
• Costume sketches should indicate how garments
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=L47tSn
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function
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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 threedimensional 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