Character Sketch [1st edition.] 9781138891968, 9781138891951, 9781315709413

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Character Sketch

Character Sketch outlines a theory of costume rendering that explores how a designer conceptualizes and creates a character on the page. Beginning with how to develop a sense of character through active, gestural poses, this book explores and explains the process of drawing and painting from rough sketch to finished rendering. Helen Q. Huang 黄其智, an award-winning costume designer for more than 25 years, breaks down her process, from understanding body proportions and active poses to applying research and color concepts to renderings. Her step-by-step watercolor painting techniques cover mixing skin tones, blending colors, and applying paint in different methods for a variety of fabric textures and patterns. Showcasing how to capture a character on the page, Character Sketch is a must-read for any costume designer looking to communicate their artistic vision. Helen Q. Huang 黄其智 has designed costumes for theaters throughout the United States and abroad. The recipient of both the Helen Hayes Award for Outstanding Costume Design and the Ivey Awards, she is also a professor of the MFA Costume Design Program in the School of Theatre, Dance, and Performance Studies at the University of Maryland, College Park. Helen’s design work has been exhibited as part of “Costume at the Turn of the Century” at the A.A. Bakhrushin Museum in Moscow; in the exhibition “Curtain Call: Celebrating a Century of Women Designing for Live Performance” at the New York Public Library and Lincoln Center; and the Prague Quadrennial. She has designed internationally for the China National Opera House, and China Central Television. Nationally she has designed for Oregon Shakespeare Festival, The Guthrie Theater, George Street Playhouse, The Classic Stage Company New York, Milwaukee Repertory Theater, The Children’s Theatre Company of Minneapolis, Syracuse Stage, Seattle Repertory Theatre, Utah Shakespeare Festival, The Wilma Theater, Philadelphia Theatre Company, Playmakers Repertory Theatre, The Arden Theatre, Disney Creative Entertainment, and Boston Lyric Opera. Her designs in the Washington, D.C. region have included work for The Washington Ballet, Woolly Mammoth Theatre Company, Studio Theatre, Folger Theatre, Ford’s Theatre, Round House Theatre, Signature Theatre, Arena Stage, Shakespeare Theatre Company, and Olney Theatre.

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Character Sketch A Drawing Course for Costume Designers

Helen Q. Huang 黄其智

ROUTLEDGE

Routledge Taylor & Francis Group

LONDON AND NEW YORK

First published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Taylor & Francis The right of Helen Q. Huang 黄其智 to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data A catalog record for this book has been requested ISBN: 978-1-138-89196-8 (hbk) ISBN: 978-1-138-89195-1 (pbk) ISBN: 978-1-315-70941-3 (ebk) Typeset in Gill Sans by Florence Production Ltd, Stoodleigh, Devon, UK

To my parents 黄翔 and 张琴 To Li Qiang 李强

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CONTENTS

Acknowledgments

INTRODUCTION: THE ACT OF DRAWING IS THE ACT OF DESIGN

CHAPTER 1

CHAPTER 2

CREATING THE SKETCH

ix

xi

1

Proportions of the Figure

3

Gesture Sketches

6

Core Masses of the Figure

11

The Head and Face

18

Arms and Legs

26

Hand

27

Feet and Shoes

28

The Costume Sketch: Step-by-Step

31

Finding the Pose for the Character

36

The Expression of Pencil Strokes

44

WATERCOLOR TECHNIQUES

55

Tools: Paint

57

Tools: Brushes

58

Tools: Paper

61

Techniques: Painting Skin

63

viii

Contents

Techniques: Flat Wash

82

Techniques: Wet-on-Wet

83

Techniques: Dry Brush

84

Techniques: Painting Wool

86

Techniques: Painting Black Costumes

88

Techniques: Painting White Costumes

91

Techniques: Painting Patterns

94

Watercolor Techniques in Practice

CHAPTER 3

CHAPTER 4

PUTTING SKILLS INTO PRACTICE

100

107

Doodling

109

Gestural Poses

118

Grouping

122

Incorporating Research

128

Color Concepts

141

COSTUME SKETCH GALLERY

151

List of Key Terms and Techniques

189

ACKNOWLEDGMENTS

I first and foremost want to dedicate this book to Ming Cho Lee, who has inspired and supported me at many stages in my career in ways both small and large. The critique that Ming gave me when we met in the mid-1990s on how to “draw an imperfect body for the perfect character” completely changed my way of approaching costume rendering and the way I approach teaching. For that and many other moments along the way, thank you.

To costume designer Kelsey Hunt, my co-author both here and on Elizabethan Costume Design and Construction, for helping me to expand on ideas in that book in the pages you see here. To costume designer Heather C. Jackson, for her deep understanding of my methods and her ability to help me translate my work in the classroom to the page for new students and designers.

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INTRODUCTION THE ACT OF DRAWING IS THE ACT OF DESIGN

Costume rendering is not the final step in a design process; it is not exclusively a means of communication. Rather, I believe, rendering is an essential tool throughout the full process of design. It is the means by which I search, build, and shape a character. In my design philosophy, the act of rendering is the act of design. This search for character continues even off the page. Over the course of my career I have had the good fortune to work with a number of incredible artists that have shaped my understanding of art, theater, and design. Directors Tim Bond, Joy Zinoman, and Peter Brosius have been particularly influential collaborators. Each of them has been relentless in their search for character throughout the design process, refusing to let go until they wholeheartedly believe in the person I have presented on paper. I have adopted this fierce and relentless approach to the search for character in all of my work, and I bring this same perspective to my students at the

University of Maryland. My students know that it is not enough to simply render well, that success in costume design means capturing the essence of character on the page. However, I realize that the search for character can often be hampered by a lack of fundamental skills and techniques. With this book I hope to provide young designers with a guide to developing those foundational skills, from drawing a dynamic human body in motion to creating layered and textured clothing through paint. Proficiency in rendering is developed through hours upon hours of practice, and I encourage any young artist seeking to develop their rendering ability to commit themselves to a routine of daily sketching. This text can be a helpful guide in developing and deepening that routine. It is my sincere belief that dedicated rendering practice utilizing this text can provide a young designer with the skills and insight necessary to open themselves up to a greater exploration of character.

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CHAPTER 1

C R E AT I N G THE SKETCH

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CREATING THE SKETCH

PROPORTIONS OF THE FIGURE One common way to understand the proportions of the body is to map out key points in the figure using the length of the head as a unit of measure. By comparing the length of the head to other distances on the body we begin to train our eye to see the proportions of the figure. The height of the head then becomes a “ruler” by which we can begin to understand and compare the rest of the vertical measures in a body. Many figure drawing texts declare that the human figure is typically 8 heads tall. In my experience, this results in a long and

F I G U R E 1 . 1 Male 7 1⁄2 Head Division

idealized figure appropriate to fashion illustration. I prefer to utilize a more realistic sense of proportion and work with a figure that is 7 1⁄2 heads of vertical space. Here you can see the relative measures of both the male and female form. You can use the length of the head to find the placement of the nipples, the navel, the crotch, the mid-thigh, the base of the knee, and the ankle. Note that the feet will take roughly a 1⁄2 head of vertical space.

FIGURE 1.2 Female 7 1⁄2 Head Division

4

Creating the Sketch

Let’s look at the proportions of the 7 1⁄2-head figure as seen in real people. You will notice there is some variation among individuals, which is natural. You should view the 7 1⁄2-head standard as a guide rather than as an ironclad rule. Regardless of how tall a person is, you can observe how parts of the body relate to each other similarly in different statures; for example in most people the wrists fall at the crotch level and the elbows generally land at the navel. Take time to observe people around you to get comfortable gauging these proportions.

FIGURE 1.3 Actor Biko Eisen-Martin in Mock-up Fitting Photo by author.

Creating the Sketch

F I G U R E 1 . 4 Actress Brynn Tucker in Mock-up Fitting Photo by author.

5

6

Creating the Sketch

GESTURE SKETCHES

Example 1

Once you have an understanding of the proportions of the human form, begin working towards capturing the entire body in a few quick strokes. This is called a Gesture Sketch. By practicing these quick sketches you will become comfortable in capturing the energy of an active body, which in turn will make your renderings feel like real people on the page. This is incredibly beneficial when sharing your ideas with a director or design team.

In this example, I began by clearly marking out the head lengths. Then I made a quick gesture sketch to find the proportions relative to those head lengths. I then worked on top of that gesture sketch to find the rough dimensions of the torso and the finer details of the body, which we will look at further in this section.

I encourage my students first to figure out what the pose or posture of the character is. An active pose helps to contribute to the realness of the figure, and makes the difference between a flat drawing and truly capturing the character. Poses should relate to a key moment in the play or focus on the physical and emotional traits of the character, such as age, status, stress, or joy, and so forth. (For more examples of this, see ‘Finding the Pose’ at the end of this chapter.)

Here I marked out the appropriate head lengths before I began working. You can also check your work as you go by measuring the head lengths after you capture the rough shape of the figure.

FIGURE 1.5 7 1⁄2-Head Lengths

Creating the Sketch

Example 2 Again, you can lightly mark out the appropriate head lengths before you begin working, or you can check your work as you go by measuring the head lengths after you capture the rough shape of the figure. The goal of a gesture sketch is to feel out the action of the figure, to plan the layout of the figure on the page, and to find the general proportions of the figure. All of this is done while retaining looseness in your rendering.

F I G U R E 1 . 6 Step 1: Capture the General Proportions

FIGURE 1.7 Step 2: Sketch Out the Action of the Figure

7

8

Creating the Sketch

Example 3 Capture the whole figure in a few quick strokes before moving on. Do not focus on details. Rather, your aim is to quickly mark out the space your figure will take up on the page.

F I G U R E 1 . 8 Step 1: Capture the Proportions

FIGURE 1.9 Step 2: Sketch Out the Whole Figure

Creating the Sketch

Example 4 Just as the head measurement marks were a guide for finding the gesture sketch, the gesture sketch becomes a guide for placing the lines of the costume.

FIGURE 1.10 Gesture Sketch

9

10

Creating the Sketch

The gesture sketch can be used to find the placement and proportions of interacting figures. By drawing the male figure’s limbs, which would otherwise be obscured by the female figure, I am able to find a more accurate placement for all the major points of the rendering.

FIGURE 1.11 Gesture Sketch: Step 1

FIGURE 1.12 Gesture Sketch: Step 2

Creating the Sketch

CORE MASSES OF THE FIGURE All motion of the human body originates in the torso and has a direct relationship to the hips and head. Understanding and accurately depicting the relationship between these three large masses will give your renderings a sense of natural movement. To begin, think of these three masses—the head, torso, and hips—as three simplified cylinders. Reducing these masses to their simplest shape allows you to see the relationship between them. Imagine that these three cylinders are joined together on a flexible spring or spine. Because these three forms are connected, one cannot move without affecting the others.

FIGURE 1.13 Costume Design by the Author for Les Blancs, Oregon

Shakespeare Festival

FIGURE 1.14

11

12

Creating the Sketch

If you need help visualizing this relationship, stack a set of tumblers on top of each other. Where they connect is your waist. If you were to bend to the side, your waist would expand on one side—tipping the two tumblers towards each other on one side and away from each other on the opposite side. If any cylinder tips, the cylinder above it will react by tipping in the opposite direction.

These cylinders are building blocks for your final figure. Once you establish how they are arranged, you can work to find the more specific contours of the human figure.

FIGURE 1.15

FIGURE 1.16

Creating the Sketch

The examples on this page show how the three core masses can be used to create bodies in motion.

FIGURE 1.17

FIGURE 1.18

FIGURE 1.19

13

14

Creating the Sketch

Here we see how to think of the limbs as well as the core masses as simplified cylinders. In Figure 1.21 we begin to flesh out those cylinders. Note how the line of the shoulders and hips tilt towards each other on one side and away from each other on the opposite side.

FIGURE 1.20

FIGURE 1.21

Creating the Sketch

In Figure 1.22 we see how to visualize the skeleton within the figure. This text is not intended as an anatomy reference, but artists will benefit from an ability to visualize the placement of the ribs, hip bones, and spine. Figure 1.23 shows this same figure mapped out with 7 1⁄2 heads. Utilizing these various ways of thinking about the figure helps an artist establish, confirm, and correct the proportions of their rendering.

FIGURE 1.22

FIGURE 1.23

15

16

Creating the Sketch

In this example we see again how visualizing the skeleton, thinking of the core masses and limbs as simplified cylinders, and utilizing a 7 1⁄2-head measure leads to a three-dimensional and realistic figure. Rendering the costume is a joy when you have an accurate figure to work with.

FIGURE 1.24

Creating the Sketch

FIGURE 1.25

17

18

Creating the Sketch

THE HEAD AND FACE The head is divided into two parts, as the green lines indicate in Figure 1.26; the eyes are halfway between the top of the head and the bottom of the chin. The face is divided into three parts: the eyebrows are 1⁄3 down from the hairline, then there is 1 ⁄3 to the base of the nose, and then again to the chin (as shown in red). Using the eyes as a guide, the width of the face should be divided into five sections (as shown by the blue lines) with each section an eye-width.

FIGURE 1.26 Basic Face Proportions

Creating the Sketch

The profile has the same proportions as those from the full-face view. The ear is positioned between the eyebrow and the base of the nose, and is behind the center vertical line.

FIGURE 1.27 Basic Profile Proportions

19

20

Creating the Sketch

Step-by-Step Drawing the Head and Face When drawing the head, always start with an egg shape, as the egg shape is used in all views. Sketch a simple set of featureplacement lines on the shell of the egg shape.

Sketch in the eyes, eyebrows, nose, mouth, and the ears on the placement line; fill out the hair over the skull. Keep sketching lightly at this point. You may need to correct some errors.

FIGURE 1.28A Drawing Face: Step 1

FIGURE 1.28B Drawing Face: Step 2

Creating the Sketch

Features are explored gradually and you are ready to draw the finished result.

F I G U R E 1 . 2 8 C Drawing Face: Step 3

The following four examples show how I use these steps to draw heads and faces in my renderings.

21

22

Creating the Sketch

Step-by-Step Example 1

FIGURE 1.29A Step 1

F I G U R E 1 . 2 9 B Step 2

F I G U R E 1 . 2 9 C Step 3

Creating the Sketch

23

Step-by-Step Example 2

FIGURE 1.30A

FIGURE 1.30B

FIGURE 1.30C

24

Creating the Sketch

Step-by-Step Example 3

FIGURE 1.31A Steps 1 and 2

F I G U R E 1 . 3 1 B Step 3

Creating the Sketch

25

Step-by-Step Example 4

FIGURE 1.32A

FIGURE 1.32B

FIGURE 1.32C

26

Creating the Sketch

ARMS AND LEGS You can visualize the arm as two modified cylinders. These cylinders are narrower and longer than the ones used for the torso. When drawing the basic shapes that make up the body, it is important to “draw through,” which means drawing the back of the form as well as the front. Doing this allows you to see how the shapes connect and intersect—allowing you to capture the three-dimensional quality of the human form.

Just like with the arms, the legs can be thought of as two cylinders. Remember to “draw through” in order to see how the ellipses of the two cylinders connect. These modified cylinders will be longer than the ones you used for the arms. Refer to the vertical measures you marked out earlier, using the head as a unit of measurement.

FIGURE 1.33

FIGURE 1.34

Creating the Sketch

HAND The hand is an incredibly complex machine. It helps to break it down into rectangular boxes. You can think of the palm of the hand as one box, and the fingers as a second box. Another way to approach the complex shapes of the hand is to think of it as a mitten first. The individual fingers can be worked in once you find the overall shape of the hand.

FIGURE 1.35

FIGURE 1.36

FIGURE 1.37

FIGURE 1.38

27

28

Creating the Sketch

FEET AND SHOES Similarly to the hand, the foot can be reduced to a series of boxes—one for the heel, one for the middle of the foot, and one for the toes.

FIGURE 1.40

FIGURE 1.39

Creating the Sketch

Once you establish the shape of the foot, you can begin to understand how shoes fit on the foot.

FIGURE 1.41

FIGURE 1.42

FIGURE 1.43

29

30

Creating the Sketch

FIGURE 1.45

FIGURE 1.44A–C

FIGURE 1.46

Creating the Sketch

THE COSTUME SKETCH: STEP-BY-STEP The following two examples will help you see how a costume sketch develops. Each step builds the sketch as a whole rather than focusing on perfecting a single part.

31

Example 1 Lightning in The Last Firefly at the Children’s Theatre Company, Minneapolis First, I establish the vertical proportions of the figure by marking out the head lengths and use a free-flowing line to find the movement of the character.

FIGURE 1.47A Step 1

32

Creating the Sketch

I create a quick gesture sketch using the proportions established, with my free-flowing line as a guide.

Now I begin finding the basic forms of the figure and experiment with the contours.

F I G U R E 1 . 4 7 B Step 2

FIGURE 1.47C Step 3

Creating the Sketch

I further define the costume, darkening areas that I know exist in shadow and removing any lines I no longer need.

In this final stage I add in any final costume details and assess the final rendering for any necessary adjustments.

FIGURE 1.47D Step 4

FIGURE 1.47E Step 5

33

34

Creating the Sketch

Example 2 Blake as Eileen in The Walworth Farce at Studio Theatre, Washington, DC I begin by marking out the head lengths and finding the movement of the figure with a gesture sketch.

I further develop that gesture sketch, deepening the lines I find helpful as the rendering develops.

FIGURE 1.48A Step 1

FIGURE 1.48B Step 2

Creating the Sketch

As the sketch reaches the final stages, I can erase lines that I no longer need and add in smaller details.

F I G U R E 1 . 4 8 C Step 3

35

36

Creating the Sketch

FINDING THE POSE FOR THE CHARACTER For each sketch I always begin by searching for a pose that will best describe the character. To do this I must imagine the scene as I see it and take note of how the character holds themselves. Working this way allows my sketches to serve in the larger collaborative conversation. It is enormously valuable in helping both a director and a performer “see” the character as I do.

Example 1 Melville from Schiller’s Mary Stuart at Milwaukee Repertory Theater In this example I’ve rendered him stooped over at the shoulders, a sense of resignation and remorse in his posture. In my rendering I am conscious of the gravity pulling on his neck and torso and the weight of his arms rounding his shoulders, and those thoughts are reflected in my line quality.

On the following pages you will see several examples rendered in poses that help capture and communicate character.

FIGURE 1.49A Step 1

Creating the Sketch

Once I had loosely captured his figure, I roughed in the dimensions of his costume. Working quickly and lightly, I began building the foundation of the rendering. The curve of the chest informs the curve of the doublet. The centerline of the body, which I found in my gesture sketch, informs the centerline of his doublet and the angle of the front edges of his open coat. The folds of this outermost layer fall in a straight line from his sloping shoulders. If these folds followed the contours of his body, it would be an awkward misrepresentation of reality. Finding the body under the clothes first helps you avoid these

missteps. It gives you a form upon which to “hang” the costumes.

F I G U R E 1 . 4 9 B Step 2

FIGURE 1.49C Step 3

37

As my rendering develops, my strokes become darker and more confident—I am willing to commit to what I am building on the page. I can begin erasing the body underneath the clothes and removing some of my working marks. However, I try not to focus too much on “cleaning up” the rendering. I find the renderings are most effective when the artist’s journey remains present on the page.

38

Creating the Sketch

Example 2 Sean from The Walworth Farce at Studio Theatre, Washington, DC To create this character, I want to render him with his hands shoved deep into the pocket of a pair of oversized pants. To do this I begin with a gesture sketch to find the placement of the hands and how that affects the hunch of his shoulders.

Working from my gesture sketch, I fill out the masses of the body—finding the relationship between the shoulders, chest, and hips as I go. I begin roughly working in the features of the face.

FIGURE 1.50A Step 1

FIGURE 1.50B Step 2

Creating the Sketch

39

With the figure and pose in place, I begin finding the contours of the costume. This is a very slim man who is enveloped by his clothing. Therefore, I have rendered the pants as hanging from his hips. His hands are shoved deep into his pockets and this affects the curve of the waistline on the pants. Deepening my lines at the base of the figure helps his clothing feel like it is hanging off of him.

As I complete this rendering, I add in details such as the plaid pattern on the pants. I can eliminate some of the guidelines that helped me find the figure at first. I’ve added more detail into the face and deepened the lines at the back of the skull to emphasize the thinness of his neck and the visible angularity of this character’s jaw.

F I G U R E 1 . 5 0 C Step 3

FIGURE 1.50D Step 4

40

Creating the Sketch

Example 3 Vera from 4000 Miles at Studio Theatre In this example, the character is a 91-year-old political activist. I begin with a quick gesture sketch. The lines of the shoulders, chest, and hip are all running at roughly the same angle because the character will be resting her weight upon a laundry cart.

This is an older woman and this is reflected in the stooped quality of her shoulders and the caved-in abdomen—there is fragility to how she is standing. The facial features have begun to droop, showing the age of this character.

FIGURE 1.51A Step 1

FIGURE 1.51B Step 2

Creating the Sketch

41

Working lightly, I begin finding the general shape of her costume in relation to her body. The cardigan will hang straight down from her shoulders and away from her body. The trousers are not baggy but the folds in them show us where the weight is resting in the body.

When I begin laying in the details of the costume, my focus is on communicating the overall texture rather than an exact pattern. Too much attention to rendering each and every precise detail can sometimes get in the way of seeing the character as a whole.

F I G U R E 1 . 5 1 C Step 3

FIGURE 1.51D Step 4

42

Creating the Sketch

Example 4 Clara from The New Electric Ballroom at Studio Theatre In this example, a quick sketch helps me find the scale and pose of this plus-sized woman.

As I begin finding the contours of her figure, there is no need to fill in every detail, rather I need to find the key points that the garment will rest upon.

FIGURE 1.52A Step 1

FIGURE 1.52B Step 2

Creating the Sketch

43

Here I begin working with the costume for the character. Many of the lines of the figure have been removed. However, finding those lines was critical to finding the proper drape for this seemingly simple nightgown. I’ve begun working in the details of her face and slippers. I am always endeavoring to bring the rendering forth as a whole rather than in parts.

In the finished rendering I have been able to finalize my ideas and add in key details, such as the gathers at her bust line and the ruffles at her shoulders.

F I G U R E 1 . 5 2 C Step 3

FIGURE 1.52D Step 4

44

Creating the Sketch

THE EXPRESSION OF PENCIL STROKES Your pencil is a multi-purpose tool. By varying your strokes you can achieve a wide range of effects that give texture and dimension to your sketches. On the following pages you will find examples of renderings where I utilized hatching, scribbles, and smooth shading to give texture and dimension to the rendering.

Hatching involves using short directional strokes to build up layers of depth in a rendering. The direction of these strokes is important and should generally follow the grain of the costume or figure. These strokes can be soft or dark, depending on the effect you want to achieve.

In this drawing from The Caretaker at Studio Theatre, I have used multiple techniques to express the aged and shabby quality of the character’s costume.

FIGURE 1.53A Costume Design by the Author for The Caretaker,

Studio Theatre

F I G U R E 1 . 5 3 B – C Hatching

Creating the Sketch

Scribbles are swirling lines that often change direction. I use these to add moments of distortion or distress to a rendering. These chaotic lines can be enormously descriptive if used correctly. Smaller, more delicate marks can be made with the tip of your pencil, while more decisive scribbles can be worked in with the side of your pencil.

45

Smooth shading involves using the side of your pencil to add shadow and depth to your rendering. Make sure your pencil is well sharpened so that you get the maximum lead exposure to work with.

FIGURE 1.53D Scribbles

FIGURE 1.53E Smooth Shading

46

Creating the Sketch

Soft and smooth shading, made with the side of the pencil, helps to create depth in the folds and shadows of fabric. In this sketch I used this technique to show the texture of a traditional British wool or tweed suit.

FIGURE 1.54A Costume Design by the Author for The Bright and Bold Design,

Studio Theatre

FIGURE 1.54B–C

Creating the Sketch

This rendering used charcoal, which gives a more textural quality to my lines. The shadows can be made much darker, and the shading helps to emphasize the weight and curve of the folds in the gown. Soft, swirling lines give the impression of pattern, without being too specific.

FIGURE 1.55 A Still Life Drawing

47

48

Creating the Sketch

Charcoal allows for quick changes in line weight, creating both strong lines and shadows, as well as softer curves in fabric draping. These shifts in line weight are created by using varying amounts of pressure in quick, decisive strokes.

FIGURE 1.56 A Still Life Drawing

Creating the Sketch

FIGURE 1.57 A Still Life Drawing

49

50

Creating the Sketch

A combination of scribbles and smooth shading helps to give this drawing a feeling of soft, worn fabric. Lines are loose and rough, and the haphazard feeling of the line work contributes to the feeling of an old, worn garment. I used heavier smooth shading around the pockets and folds of the dress to show where it is stretched and drooping with age.

FIGURE 1.58 Costume Design by the Author for Unchanging Love, Studio Theatre

Creating the Sketch

Quick, loose squiggling lines are used in this drawing to capture the feeling of many layers of lace and ruffles. I varied the pattern of each layer, but was not too specific in the detailing of the lace design. This gives it a much lighter and more energetic feeling than a more labored drawing with accurate details.

FIGURE 1.59 A Costume Sketch by the Author

51

52

Creating the Sketch

A quick, loose, and light pencil line is good for drawing dancers. The sweeping gestures are airy, and capture lightweight dance fabric and a feeling of movement.

FIGURE 1.60 A Costume Sketch by the Author

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CHAPTER 2

WAT E R C O L O R TECHNIQUES

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WATERCOLOR TECHNIQUES

TOOLS: PAINT My primary color media for costume sketches is the Pelikan transparent watercolor paint box. I have been using this product for more than 20 years with excellent results. I find the Pelikan watercolors provide fine-grain quality pigments that are easy to dissolve and apply, in addition to being highly lightproof after drying. Watercolor paints come in both transparent and

F I G U R E 2 . 1 Pelikan Watercolors

opaque varieties. Transparent watercolors allow light to shine through the pigment, whereas opaque watercolors reflect light entirely off the pigment. The ultimate goal of my renderings is to illustrate a living character. I find that renderings done with transparent pigments appear crisp, glowing, and full of life.

58

Watercolor Techniques

TOOLS: BRUSHES I work with a wide variety of brushes. For beginners I recommend investing in a 3/4 size filbert brush, round brushes in sizes 6, 8, and 10, and angle brushes in sizes 3/8 and 1/2. I work primarily with good quality synthetic brushes. Synthetic bristle brushes tend to retain their shape better than natural bristle brushes and are more economical. However, natural bristle brushes hold more liquid and

F I G U R E 2 . 2 Brushes

release pigment more evenly than synthetic bristle brushes. I find beginners to watercolor painting often struggle with not overloading their brush with water. So, depending on your experience level, you may find synthetic brushes actually help establish control in your brushwork. High quality brushes should be able to maintain a nice precise point and be capable of holding a full load of color.

Watercolor Techniques

59

Round brushes are the most versatile and widely used shape for watercolor painting. The brushes are great for flat washes of color throughout your renderings, as well as for adding soft detail.

Angled brushes are great for texture detail work and adding interest to your brushwork. The sharp edges you can create with this brush are particularly helpful in expressing structure in a garment.

F I G U R E 2 . 3 Round Brush

FIGURE 2.4 Angled Brush

60

Watercolor Techniques

A large filbert head brush allows you to cover a sizeable area of your renderings quickly and in a single stroke. The sloped end of the bristles allows you to finish your brush strokes smoothly and gracefully.

F I G U R E 2 . 5 Filbert Head Brush

Watercolor Techniques

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TOOLS: PAPER Watercolor paper may be purchased by the sheet, roll, or block. I typically work with high quality sheets. The best watercolor papers contain 100 percent cotton fiber and are acid free (having a neutral pH of 7). Acid-free papers resist deterioration and yellowing over time. Watercolor paper is rated according to its weight. A paper’s weight refers to how much a ream of 500 sheets of 22" x 30" paper weighs. A common watercolor paper weight is 90lb. A heavier weight

F I G U R E 2 . 6 Papers

paper absorbs more water without buckling. This allows the student to apply many strokes of water without damaging the paper. I recommend that students practice their renderings and perform study work on 140lb paper. So much of watercolor is about timing and developing a swiftness and precision in your stroke. Once this improves you can begin to use 90lb paper. 90lb paper is what I use for my own rendering and what my students learn to use in their work.

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Another advantage to 90lb watercolor paper is that most printers that feature a rear feed readily accept it. This is important because I prefer to scan and print out my pencil drawings prior to painting them. This preserves my original pencil drawing in case I wish to makes changes later. It also allows me the freedom to experiment with various color combinations in my painting, so I can be more responsive and flexible in my artistic process. I also find this practice relieves a great deal of stress for new students of costume design and

F I G U R E 2 . 7 90lb Paper

rendering. Many a young artist labors over their drawings only to freeze with fear at the prospect of “ruining” their work while painting. Knowing that their original is preserved allows my students to be bold with their strokes and to take risks in their painting. If you don’t have access to a scanner and printer that can handle watercolor paper, you can use a light board/light box or carbon paper to transfer your drawing to watercolor paper in order to preserve the original.

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TECHNIQUES: PAINTING SKIN Painting skin can be intimidating because it requires a nuanced understanding of undertones. In the following section I will show you the colors I use when painting a variety of skin tones. Begin by drawing your face. Note the guidelines I used to help align the features on the face. The age and character traits of your model are established here in the drawing and expanded upon in the painting. I use the same collection of colors to achieve a wide range of skin tones. The key difference is in the proportions in which

F I G U R E 2 . 8 The Range of Skin Tone Colors

you mix your colors. Slight changes can make a large difference. Critical observation of your reference model will reveal skin tones with greater quantities of red, yellow, or even blue in them. I typically start with Yellow Ochre and Burnt Sienna. This combination serves as the foundation for most skin tones. I then add any combination of Indian Red, Vandyke Brown, Lamp Black, or Cobalt Blue to achieve exactly the color I need.

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Example 1 Mac For this painting I used Burnt Sienna, Indian Red, and Yellow Ochre from my watercolor palette. I used a fair amount of water to keep the colors translucent and applied the paint in short dabbing strokes.

F I G U R E 2 . 9 A Mac

F I G U R E 2 . 9 B Mac Skin Mix

Watercolor Techniques

Lightly sketch out the egg shape and feature-placement lines.

Continue to refine the detail of the face.

F I G U R E 2 . 9 C Step 1

FIGURE 2.9D Step 2

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I lay my lightest value around the eyes, at the temples, under the hollow of the cheeks, and down one side of the nose depending upon the direction of the light source in the sketch.

I finished the rendering with deeper values on the inside of the eyes, down the shadowed side of the face, and along the hairline.

F I G U R E 2 . 9 E Step 3

FIGURE 2.9F Step 4

Watercolor Techniques

For the hair, I used Lamp Black and Vandyke Brown, along with some Raw Umber for added warmth. I applied my lightest color first and returned with the deeper colors at the roots and in the shadows.

F I G U R E 2 . 9 G Mac Hair Mix

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Example 2 A Rendering from a Production Photo Quick light strokes begin to define the features of the face. These strokes will continue to be visible in the final painting.

FIGURE 2.10A Derrick Lee Weeden as Doaker in The Piano Lesson,

Directed by Timothy Bond for Syracuse Stage. Costume and photo by the author.

FIGURE 2.10B Step 1

Watercolor Techniques

This step is focused on revealing the structure of the face through deepening the shadows. This unpainted area is the light falling across the face. The white of the paper remains unpainted.

Because the reference photo has a strong red undertone, I used a little more Indian Red on the cheeks. I used a bit of blue in his hair because it made for a lovely warm/cool contrast.

FIGURE 2.10C Step 2

FIGURE 2.10D Step 3

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FIGURE 2.10E Colors Used for Example 2

FIGURE 2.10F Mixing the Colors Used for Example 2

FIGURE 2.10G Mixing the Colors Used for the Hair

Watercolor Techniques

Example 3 A Rendering Inspired by a Nicolai Fechin Drawing I begin by finding the shape of the head and the placement line for the features. I continue adding more lines to show age and texture. As my pencil strokes darken they begin to add dimension to the rendering, which helps me plan out where I will place my paint.

FIGURE 2.11A

FIGURE 2.11B

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I paint with a small dab of Yellow Ochre and Red Ochre watercolor paint. I lay my lightest value skin tone around the eyes, at the temples, and under the hollow of the cheeks.

FIGURE 2.11C

FIGURE 2.11D

Watercolor Techniques

I continue adding my paint, placing my deepest values at the base of the rendering, around the woman’s chin and under her cheeks. This gives the skin a sense of weight and age; the entire face seems to sag. Small amounts of gray are used on the skin as well as the lightest touches of green from her scarf. Lines are reinforced with pen or pencil, particularly around the eye sockets.

FIGURE 2.11E

FIGURE 2.11F

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Example 4 Further Example of Painting the Face

FIGURE 2.12A Stephen Tyrone Williams as Boy Willie in The Piano

Lesson, directed by Timothy Bond for Syracuse Stage. Costume and photo by the author.

Watercolor Techniques

FIGURE 2.12B Step 1

FIGURE 2.12C Step 2

FIGURE 2.12D Step 3

FIGURE 2.12E Step 4

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Example 5 Further Example of Painting the Face

FIGURE 2.13A Erika LaVonn as Bernice in The Piano Lesson, Directed

by Timothy Bond for Syracuse Stage. Costume and photo by the author.

Watercolor Techniques

FIGURE 2.13B Step 1

FIGURE 2.13C Step 2

FIGURE 2.13D Step 3

FIGURE 2.13E Step 4

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Example 6 Further Example of Painting the Face

FIGURE 2.14A Step 1

FIGURE 2.14B Step 2

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F I G U R E 2 . 1 4 C Step 3

FIGURE 2.14D Step 4

FIGURE 2.14E Step 5

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Example 7 Further Example of Painting the Face

FIGURE 2.15

Example 8 Further Example of Painting the Face

FIGURE 2.16

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Example 9 Bringing It All Together

FIGURE 2.17A Steps 1 and 2

F I G U R E 2 . 1 7 B Step 3

F I G U R E 2 . 1 7 C Step 4

FIGURE 2.17D Step 5

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Here are several basic painting techniques that I have relied on for over 20 years of teaching and designing. Each technique produces a slightly different result in terms of value and texture, and I encourage you to experiment with each to find out which techniques work for you and the desired effects you wish to create in your renderings.

TECHNIQUES: FLAT WASH A simple wash is the foundation technique in watercolor rendering. The key to this technique is painting with foresight and intention. Begin by identifying the direction of the light in your painting. In the example below the light is coming from the right side of the page, and therefore I will leave the areas on the right side of the figure white to show where the light is falling. The area of the upper arm in Figure 2.18B was painted with a single brushstroke. I began by placing my brush at the top of the shoulder and followed the natural folds of the fabric as I moved down the arm. I did not move my brush in a straight line; instead, I focused on painting the shadows of the figure. If you begin your painting with a good sketch, you will find you do not need spend much time painting to bring it to life. The goal of a simple wash is just to enhance the drawing.

FIGURE 2.18A Costume Design by the Author for University of

Maryland’s Amadeus

FIGURE 2.18B Detail

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TECHNIQUES: WET-ON-WET Wet-on-wet is a technique that involves applying pigment to wet paper as opposed to dry paper. I dampen my paper with a wet brush and clean water. I let my paper dry ever so slightly while I set up my paint colors on my palette. Again, begin by putting individual colors on your palette and loading your brush from here, allowing them to mix on your brush. By the time my colors are ready the paper has reached the perfect level of dampness—I apply the paint and allow it to feather out across the page. I used multiple colors in this rendering, allowing them to blend into each other via the water. I was then able to use a dry brush to pick up areas of paint before they dried completely, creating areas of highlight. This rendering is of a costume built out of weathered leather that will need to be distressed and overdyed. I can give this rendering to the costume shop and they will be able to use it as a reference for the placement and color of their distressing and dye work.

FIGURE 2.19B

Detail

FIGURE 2.19A Costume Design by the Author for Les Blancs, Oregon

Shakespeare Festival

FIGURE 2.19C Detail

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TECHNIQUES: DRY BRUSH Dry brushing is a way of adding detail and quality to your costume rendering. With this technique you load a brush with pigment but with very little water and drag it over completely dry paper. The resulting effect is a series of crisp, hard-edged marks scattered within the field of the brush. These tend to pop out of your painting and are best utilized in areas of texture and interest.

FIGURE 2.20A Costume Design by the Author for Anna Karenina,

Milwaukee Repertory Theater

FIGURE 2.20B

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In order to achieve an appropriately dry brush, you can load your brush with paint as usual and wipe it off onto a towel or spare piece of paper. It is always a wise idea to create a few test strokes on a separate piece of paper to gauge the wetness of your brush.

I am using an angle brush to show how the direction of brush strokes can give form to the rendering. Also, consider the angle of your brush and the pressure you apply to your stroke. Holding the brush perpendicularly to the page and using light pressure will create graining. Holding the brush so that it is almost parallel to the paper will create a sort of stippling. You may find that while applying a simple wash your brush loses liquid and eventually becomes ideal for dry brushing. With some practice you can time your strokes so this moment of drying out works to your advantage.

FIGURE 2.20C

FIGURE 2.20D

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TECHNIQUES: PAINTING WOOL Wool is a favorite choice for costume designers because it can display so much texture when it is aged and distressed. I began this rendering with a simple wash applied using a round brush. I have preserved the white of my paper in the areas where light would naturally fall and have indicated shadows on the left with a deeper value of green.

FIGURE 2.21A Costume Design by the author for The Vibrator Play, Woolly Mammoth Theatre Company

Watercolor Techniques

I used an angle brush to add texture and detail to the rendering. In this rendering, I am imagining not only the fabric of the coat but also the level of distressing I desire. This is communicated by the many directions of the brush strokes and the variety of colors concentrated in the shadows.

F I G U R E 2 . 2 1 B Basic Wash

FIGURE 2.21C Painting Wool Texture

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TECHNIQUES: PAINTING BLACK COSTUMES Painting all-black costumes can be a challenge. Often, new students of watercolor will obliterate a perfectly lovely drawing by applying layers of pitch-black paint. The key to a successful painting of black costumes is a judicious use of highlight and shadow to reveal the structure of the garment. Retaining the highlights throughout the painting is critical, as is placing the deepest shadows, with great precision, in the final stages of the process.

FIGURE 2.22A Costume Design by the Author for The Rivalry, Ford’s

Theatre

Watercolor Techniques

From my experience, it is best to begin by working in the weton-wet technique. Place a pale gray in the folds and shadows of the rendering, being mindful to preserve the white of the paper where highlights and shadows would naturally fall.

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When the page is half dry, work quickly to add deeper values into the folds of the garment. Let the rendering dry completely before returning to add a few moments of true black using the dry brush technique in the shadow areas of deep folds. Remember, the key to rendering a black garment is expressing the structure. Carefully selected moments of a true black will reveal this structure, so plan the placement of this value before you begin painting.

F I G U R E 2 . 2 2 B Basic Wash

FIGURE 2.22C Painting the Deeps

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FIGURE 2.23 Costume Design by the Author for The Sun Also Rises, The Washington Ballet

Watercolor Techniques

TECHNIQUES: PAINTING WHITE COSTUMES When painting white fabrics you continue to leave your paper unpainted for the lightest values and focus on painting the shadows. These shadows will not be a hard black or gray. Rather, they will have a slight tint of color. White fabrics reflect the light around them and will take on the color of the nearby world ever so slightly. In this sketch I have used pale blues and grays to paint the shadows.

FIGURE 2.24 Costume Design by the Author for Secret Love in Peach Blossom Land, Oregon Shakespeare Festival

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This costume will be built out of layers of lace and light, crisp cotton. After painting my shadows with a light wash of blue and green, I have gone back with a pencil to illustrate the details of the trim. By keeping my lines light and delicate, I am in turn able to communicate the light and delicate quality of the fabric itself.

FIGURE 2.25 Costume Design by the Author for Much Ado about Nothing, Oregon Shakespeare Festival

Watercolor Techniques

There is an aged and ghostly quality to this white costume. I have used earth tones to paint the shadows of this rendering and showcase that quality. There is color variation in all of the paint but the color generally gets more gray-green as you travel down the body.

FIGURE 2.26 Costume Design by the Author for Rosencrantz and Guildenstern Are Dead, The Ford’s Theatre

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TECHNIQUES: PAINTING PATTERNS It may be intimidating to imagine painting patterns, or too time consuming, but I find it doesn’t have to be labored. Patterns feel more natural when approached lightly, and you usually only need the gesture of a pattern to get your idea across. It is a good idea to map patterns out first in your drawing, but think about how they morph with the folds of the fabric and try not to be too specific—particularly with floral patterns, polka dots, or less geometric designs, like lace.

Example 1 Painting Plaid Patterns Always draw plaid patterns out before painting them. It takes less time than you think and is enormously helpful in maintaining the accuracy of your final pattern. It is critical that the lines follow the cylindrical shape of the human body. The vertical lines quite often appear shifted and broken due to the folds of the fabric. Remember you do not need to paint everything to communicate the pattern.

FIGURE 2.27A Costume Design by the Author for 4000 Miles,

Studio Theatre

Watercolor Techniques

F I G U R E 2 . 2 7 B The Steps

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Example 2 Painting Floral Patterns When painting floral patterns I use quick, abstract strokes to capture the general proportion of colors in the fabric. I feel no need to duplicate floral prints exactly in my renderings. This is largely because I believe in rendering before I shop for fabric. In my work, I endeavor to paint the feeling of the fabric I will be looking for. In my 20-plus years of experience I have found that 95 percent of the time I can find the fabric I have rendered.

FIGURE 2.28B Detail

FIGURE 2.28A Costume Design by the Author for The Walworth Farce, Studio

Theatre

Watercolor Techniques

The next three examples will show you how I paint fabric patterns.

Example 3

FIGURE 2.29 (right) The Fabrics; (below left) The Drawing;

(below right) Costume Design by the Author for Fickle, Olney Theatre Center

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Example 4

FIGURE 2.30 (right) The Fabrics; (below left) The Drawing;

(below right) Costume Design by the Author for Fickle, Olney Theatre Center

Example 5

FIGURE 2.31 (right) The Fabrics; (below left) The Drawing;

(below right) Costume Design by the Author for Fickle, Olney Theatre Center

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WATERCOLOR TECHNIQUES IN PRACTICE

Step-by-Step Example 1

An excellent sketch is the foundation of an excellent watercolor rendering. When your pencil work already communicates depth and dimension, you do not have to work very hard to add color to the image. I always begin with the skin. It is the foundation of the rendering and I find it helpful to “see” the person I am painting appear on the page before I begin working on the clothes. In this step, I add a very light wash to a few key areas of this character’s coat. Using a fully loaded (but not dripping) brush, I begin finding the shadows and contours of the garment while preserving as much white of the paper as I can. Strokes follow the folds of the clothing rather than moving in stiffer motions. The goal is not to fill in the lines but to reveal the play of light across the form.

FIGURE 2.32A Step 1

Watercolor Techniques

In this step, I begin adding layers of color using the wet-on-wet technique. This costume will be built of aged leather, and the wet-on-wet technique helps me communicate the soft and supple quality of the material. Because watercolor will dry a few shades lighter than color when wet, I always mix a tad darker than my desired finish color. I am continuing to leave room for the white of the paper to show through.

When working with a muted palette, I use a mix of Warm Sepia, Payne’s Grey, and Burnt Sienna. I often find myself returning to this combination of colors to communicate muted and worn fabrics.

FIGURE 2.32C Color Mix

F I G U R E 2 . 3 2 B Step 2

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In this final step, I add in my darkest values using a controlled wash, continuing to sense the dimension found in the rendering. I used the dry brush technique to place some of my darkest values. I used this technique in combination with an angled brush to create the angular strokes indicating patches of fabric on the coat.

After the rendering is complete and the paint has dried fully, I scratched the work with an exacto knife. This rendering is of a deeply distressed and tattered garment. These scratches allowed very fine streaks of white and lighter values to come through, giving a deeply worn appearance.

FIGURE 2.32E Step 4

FIGURE 2.32D Step 3

Watercolor Techniques

Step-by-Step Example 2 The rendering begins with a pencil sketch. Notice that I have used darker pencil strokes along the center of the figure to help the viewer see the depth of the ruffle detail and to guide the eye down the center of the performer’s body. I have suggested the contours of the lace with my pencil without over-illustrating the specific pattern.

I begin by mixing the skin tone and defining the body within the clothes. Notice that I paint the skin that lives under the lace, since we will be able to see it through the sheer fabric. I have used several tones of blonde to define the hair. I am beginning to find the distinction between light and shadow in this painting.

FIGURE 2.33A Step 1

FIGURE 2.33B Step 2

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In this next step I have laid in the colors of the garment itself. This is a very light and airy gown, and leaving a large amount of white on the paper helps me communicate that general sense of delicacy. The floral pattern of the gown’s fabric is suggested by the placement of the paint without becoming overly specific and heavy. There is a greater contrast in the values used in the hair now as well.

I now begin adding deeper values to the painting to give it shape and to define the pattern of the gown itself. Notice that the deeper values are concentrated at the waist and down the center front of the gown. These are places where a natural shadow would occur. Also notice that I do not simply trace the front edge of the gown with my brush, but rather use several short strokes to define the shadows along those edges. This is a much more effective way to use your brush.

FIGURE 2.33D Step 4

F I G U R E 2 . 3 3 C Step 3

Watercolor Techniques

The finished version of the rendering has more detail present in the floral pattern of the gown but still communicates an overall sense of airiness by letting those details fade out towards the hem. I have gone back in with my pencil to draw out some of

FIGURE 2.33E Step 5

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the details that may have been lost during painting. This includes strengthening the lines of the lace at the hem and the lace at the collar, as well as revisiting the details of the face.

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CHAPTER 3

PUTTING SKILLS INTO PRACTICE

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PUTTING SKILLS INTO PRACTICE

DOODLING Drawing is a method for finding and developing your design. I begin drawing straightaway, working through my ideas on paper. I call this process “doodling”. These are not finished renderings but quick little sketches that help me experiment with different silhouettes and proportions. This “doodling” is a key step in my process. The following example follows the development of my design through “doodling” for Glendower from the 1996 Utah Shakespeare Festival production of Henry IV, Part One.

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I began by sketching out some ideas for Glendower. I experimented with the collar style, the shape of the shoulders, and the overall proportions of his costume.

FIGURE 3.1

Putting Skills into Practice

As I continued experimenting with the shoulders, I also tested out different styles of headwear and trim placements.

FIGURE 3.2

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Next I began to experiment with a longer cape over the shorter garment. This idea was abandoned as I moved forward to the final rendering.

FIGURE 3.3

Putting Skills into Practice

This is what I initially believed to be the final design. However, in conversation with the director, my design began to evolve, and we began to explore longer silhouettes for Glendower.

FIGURE 3.4

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In this series of sketches, I continued to experiment with a different, longer silhouette and headwear.

FIGURE 3.6

FIGURE 3.5

Putting Skills into Practice

FIGURE 3.8

FIGURE 3.7

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I continued to work with my ideas, trying out my ideas through “doodling” until I found my design.

FIGURE 3.10

FIGURE 3.9

Putting Skills into Practice

Once I was fully prepared, I began the final sketch.

FIGURE 3.11 Costume Design by the Author for Henry IV, Part One, Utah Shakespeare Festival

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GESTURAL POSES When beginning a rendering, I first search for the gestural pose of the character. I consider key scenes in the play, unfolding them in my mind, until I find the defining moment of a character. I then attempt to capture that scene on paper. My figures are not standing still on the page, nor are they composed as if they are modeling the clothes. Rather, I try to create a snapshot of the play as I see it in my mind.

FIGURE 3.12 Costume Design by the Author for The Lost Boys of

Sudan, The Children’s Theatre Company, Minneapolis

FIGURE 3.13 Costume Design by the Author for Rosencrantz and

Guildenstern Are Dead, Folger Theatre

Putting Skills into Practice

FIGURE 3.14 Costume Design by the Author for Taming of the Shrew, Folger Theatre

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Using gestural poses is particularly helpful in rendering for dance productions. With dance, the way the fabric will move in performance is of particular importance. Not only will rendering the figure in motion will help you communicate this, I find the act of rendering the costume in motion helps me think through the design in full so that I make more informed choices in the realization of the design.

When rendering for dance it is key to know the choreography of the piece or the nature of the movement the performer will engage in. Sometimes I will take photos of the performer as they move through the choreography so that I can refer to them as I work. If this is not possible, I will consult with the choreographer so that I understand the spirit of the dance.

FIGURE 3.15 Costume Design by the Author for Kua Fu, ShenPei Dance

FIGURE 3.16 Costume Design by the Author for The Monkey King, The

Company

Children’s Theatre Company, Minneapolis

Putting Skills into Practice

FIGURE 3.17 Costume Design by the Author for The Sun Also Rises, The Washington Ballet

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GROUPING Sometimes it is helpful to capture pairs or groups of characters together in a scene. The defining moment of a character may happen with other characters or in opposition to other characters. In these moments, I can reveal the most information by rendering them together.

In this rendering of Orlando and Rosalind for Shakespeare’s As You Like It, Rosalind is attempting to disguise her identity by dressing as a man. Her pose is full of false bravado while the as-yet-unaware Orlando communicates confusion and even suspicion with his pose. By rendering these 2 characters together in gestural poses I am able to assist my collaborators in creating the fullest vision of the play possible.

FIGURE 3.18 Costume Design by the Author for As You Like It, Guthrie Theater

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Over Hear and Over See are a comedic duo from The Monkey King. By rendering them together I can explore the impact that their matching costumes will have on the production.

This group of Bandits from The Monkey King always functions as a single force. Because of this, I rendered them together— almost as one character. By doing this I can see how the variations in their looks will interact with each other.

FIGURE 3.19 Costume Design by the Author for The Monkey King, The

FIGURE 3.20 Costume Design by the Author for The Monkey King, The

Children’s Theatre Company, Minneapolis

Children’s Theatre Company, Minneapolis

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This grouping of courtiers from Shakespeare’s A Midsummer Night’s Dream allowed me to communicate what the stage will look like when filled with an ensemble of black and gray costumes. In the production there were more than four courtiers, but by rendering several figures together I created an image that communicated my idea for the whole group.

FIGURE 3.21 Costume Design by the Author for A Midsummer Night’s Dream, The Shakespeare Theatre Company

Putting Skills into Practice

A group rendering also helps to show the contrast between different characters onstage, such as this image of Bottom with the fairies in A Midsummer Night’s Dream. When rendering, I often try to picture an important scene in my head, and how the characters interact, to help bring the character to life as they will appear on the stage.

FIGURE 3.22 Costume Design by the Author for A Midsummer Night’s Dream, The Shakespeare Theatre Company

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Large ensembles, such as Fortinbras’s army from Hamlet, or villagers from Anna Karenina, are useful to show as a group. This allows me to demonstrate the variations and similarities among the group, and to show the energy of them as a whole, which is more powerful in larger numbers than in stand-alone figures.

FIGURE 3.23 Costume Design by the Author for Hamlet, Utah Shakespearean Festival

Putting Skills into Practice

FIGURE 3.24 Costume Design by the Author for Anna Karenina, Milwaukee Repertory Theater

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INCORPORATING RESEARCH

Showing Research with the Rendering

Research is an important part of the designer’s process in many ways. In addition to informing us about the world of the show, it is often a point of inspiration. There are many techniques to collecting and sorting research, but I would recommend gathering as much visual research as possible before you start rendering. Print it out and keep it nearby as you render to stay focused on what inspired you originally.

I often place key pieces of research or sourcing images directly on my final renderings. Doing this helps to communicate the full picture for both the performer and the director. In this rendering of Neasa for Shining City at Studio Theatre (see facing page), the additional images give an idea of the quality of the individual items that make up the costume. In the rendering for Autolycus in The Winter’s Tale for Oregon Shakespeare Festival (below), you can see how many different elements combined to create the Bohemian character, and how I selected key images to share with the rendering to help convey the design.

F I G U R E 3 . 2 5 Costume Design by the Author for The Winter’s Tale, Oregon Shakespeare Festival

Putting Skills into Practice

FIGURE 3.26 Costume Design by the Author for Shining City, Studio Theatre

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Painting on Research For Measure for Pleasure and Marie Antoinette at Woolly Mammoth Theatre Company, I found my design by painting on top of key pieces of research. These new images let me see how the research could be incorporated into the rest of the design, and I was then able to develop the costume sketch in my usual style. I continued to refer to both images throughout the process because I found the painted research to be so informative.

Example 1 Lady Vanity from Measure for Pleasure

FIGURE 3.27A Exploring the Design Idea Through Painting on Top of a Research Image

Putting Skills into Practice

F I G U R E 3 . 2 7 B Costume Design by the Author for Measure for Pleasure, Woolly Mammoth Theatre Company

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Example 2 Sir Lustforth from Measure for Pleasure

FIGURE 3.28A Exploring the Design Idea Through Painting and Drawing on Top of a Research Image

Putting Skills into Practice

F I G U R E 3 . 2 8 B Costume Design by the Author for Measure for Pleasure, Woolly Mammoth Theatre Company

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Example 3 Blunt from Measure for Pleasure

FIGURE 3.29A Exploring the Design Idea Through Painting on Top of a Research Image

Putting Skills into Practice

F I G U R E 3 . 2 9 B Costume Design by the Author for Measure for Pleasure, Woolly Mammoth Theatre Company

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Example 4 Marie Antoinette for Woolly Mammoth Theatre Company Rendering on top of the research provided me with the freedom to blend together both contemporary style and period elements. By painting the period details on top of contemporary figures I was able to quickly access the sort of aggressively anachronistic blend I was searching for. As I have mentioned before in this text, I believe the act of rendering is the act of design and it was through the process of painting that I was able to find this design.

FIGURE 3.30A Costume Design by the Author for Marie Antoinette,

Woolly Mammoth Theatre Company

FIGURE 3.30B Production Photo by the Author of Kimberly Gilbert and

Gavin Lawrence in Marie Antoinette, Woolly Mammoth Theatre Company

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Incorporating Elements in Photoshop Technology has expanded the costume artist’s capacity to communicate visually. Photoshop and other digital mediums should not be ignored. However, I still find much value in the expressive nature of traditional rendering methods. I’ve found blending the two mediums to be most helpful. Example 5 Fortinbras from Rosencrantz and Guildenstern Are Dead For my renderings for this production of Rosencrantz and Guildenstern Are Dead, I used Photoshop to combine research ideas and then hand drew and painted on top of the composite.

FIGURE 3.31

Costume Design by the Author for Rosencrantz and Guildenstern Are Dead, Folger Theatre

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Example 6 Chimerica For Chimerica at Studio Theatre, when designing for the character Joe, I was able to Photoshop both actor Ron Menzel’s headshot and the images of particular costume elements from my research onto the page. Once their features were scaled and inserted into the rendering I went back with my watercolors and pencils to add in the details and shading. This gave my renderings a sense of specificity that was fitting to the style of the production itself.

FIGURE 3.32 Costume Design by the Author for Chimerica, Studio

Theatre

FIGURE 3.33 Costume Design by the Author for Chimerica, Studio

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Example 7 Render for The Whipping Man—Inspired by the Cast For The Whipping Man at George Street Playhouse, I used Photoshop to incorporate the actors’ headshots into my renderings. This helped to truly realize the characters, and to bring them to life as we would see the production on stage. Actors are excited to get to see themselves in the renderings, and it helps both them and the director to better envision them in the role.

FIGURE 3.34 Costume Design by the Author for The Whipping Man, George Street Playhouse

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FIGURE 3.35 Costume Design by the Author for The Whipping Man,

George Street Playhouse

FIGURE 3.36 Costume Design by the Author for The Whipping Man,

George Street Playhouse

Putting Skills into Practice

COLOR CONCEPTS Color is one of the most powerful elements that a designer can harness in their work. A designer should seek to develop an eye that takes in all the variations and nuances of color in the world around them. Being able to accurately see color is paramount. With this skill, a designer can begin to successfully control and direct the use of color in their renderings. A color concept can be found in many ways. Usually I discover it in the research process; sometimes in the work of other artists, in paintings, or photographs. One or two strong images that combine colors in an interesting way and that resonate with the energy and themes of your production will help you shape how you use the colors throughout your design. On the following pages you will find examples of how I worked with color in two of my previous designs: The Winter’s Tale and Twelfth Night at Oregon Shakespeare Festival.

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Example 1 The Winter’s Tale For Shakespeare’s The Winter’s Tale, I began by gathering and editing research images to create a tight color palette. The image shown here is an inspiration board that guided my color choices throughout the show. I kept this image with me as I painted, so that the quality of my colors never strayed outside these parameters.

FIGURE 3.37 A Collection of Color Inspiration Research for The Winter’s Tale, Oregon Shakespeare Festival

Putting Skills into Practice

FIGURE 3.38 Costume Designs by the Author for the Court of Leontes in The Winter’s Tale, Oregon Shakespeare Festival

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FIGURE 3.39 Costume Designs by the Author for the Court of Leontes in The Winter’s Tale, Oregon Shakespeare Festival

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Here you can see how my research and renderings translated into fabric for the realized costumes. The samples in Figure 3.40 show the range of grays that one can find in my renderings and the specific tones of yellow I used. When working in a tight color palette, it helps add dimension and variation to the designs by finding the many diverse shades and values within each color. As you can see, there are many different types of gray fabrics that made up the finished designs. A tight color palette was particularly successful in The Winter’s Tale, as it created a sense of formality and uniformity that suited the court of Leontes. By keeping things constrained in this way, it added increased contrast to the overly colorful world of Bohemia later in the play.

FIGURE 3.40 A Selection of Fabric Swatch Inspirations for the Color Palette of The Winter’s Tale, Oregon Shakespeare Festival

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Example 2 Twelfth Night For Shakespeare’s Twelfth Night at Oregon Shakespeare Festival I referenced one painting: The Druids Bringing in the Mistletoe by George Henry. As usually happens in my work, I found myself referencing not only the color of this painting in my work but also its general quality and overall mood. Finding a color inspiration that has rich patterns allows you to see how numerous colors can work together, sometimes in unexpected combinations, when used in balance with each other.

FIGURES 3.41 Color Research Inspiration for Twelfth Night, Oregon Shakespeare Festival

Putting Skills into Practice

FIGURE 3.42 Costume Designs by the Author for Twelfth Night, Oregon Shakespeare Festival

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FIGURE 3.43 Costume Designs by the Author for Twelfth Night, Oregon Shakespeare Festival

Taylor & Francis Taylor & Francis Group http://taylorandfrancis.com

Taylor & Francis Taylor & Francis Group http://taylorandfrancis.com

CHAPTER 4

COSTUME SKETCH G A L L E RY

Taylor & Francis Taylor & Francis Group http://taylorandfrancis.com

COSTUME SKETCH GALLERY

This gallery includes a wide range of samples of my work throughout more than 20 years in my career as a costume designer. These have been carefully chosen to show different ways that the skills and techniques I demonstrated earlier in this book are put into practice. It is not uncommon for an artist’s style to develop and shift over time, but I feel each of these is a strong example of my style of rendering. You can see how different techniques are more prominent at different stages in my career, or adapted to different styles of productions. As you move through your career, don’t be afraid to continually explore these tools as a means of capturing the true energy of your design.

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FIGURE 4.1A Costume Design by the Author for Stunning, Woolly Mammoth Theatre Company

Costume Sketch Gallery

F I G U R E 4 . 1 B Costume Design by the Author for Stunning, Woolly Mammoth Theatre Company

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FIGURE 4.2 Costume Design by the Author for Much Ado about Nothing, Oregon Shakespeare Festival

Costume Sketch Gallery

F I G U R E 4 . 3 Costume Design by the Author for Much Ado about Nothing, Oregon Shakespeare Festival

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F I G U R E 4 . 4 Costume Design by the Author for Much Ado about Nothing, Oregon Shakespeare Festival

Costume Sketch Gallery

F I G U R E 4 . 5 Costume Design by the Author for Much Ado about Nothing, Oregon Shakespeare Festival

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F I G U R E 4 . 6 Costume Design by the Author for Anna Karenina, Milwaukee Repertory Theater

Costume Sketch Gallery

F I G U R E 4 . 7 Costume Design by the Author for Anna Karenina, Milwaukee Repertory Theater

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F I G U R E 4 . 8 Costume Design by the Author for Aladdin, The Children’s Theatre Company, Minneapolis

Costume Sketch Gallery

F I G U R E 4 . 9 Costume Design by the Author for Aladdin, The Children’s Theatre Company, Minneapolis

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FIGURE 4.10 Costume Design by the Author for Aladdin, The Children’s Theatre Company, Minneapolis

Costume Sketch Gallery

FIGURE 4.11 Costume Design by the Author for Aladdin, The Children’s Theatre Company, Minneapolis

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FIGURE 4.12 Costume Design by the Author for Two Trains Running, Syracuse Stage

Costume Sketch Gallery

FIGURE 4.13 Costume Design by the Author for Two Trains Running, Syracuse Stage

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FIGURE 4.14 Costume Design by the Author for The Monkey King, The Children’s Theatre Company, Minneapolis

Costume Sketch Gallery

FIGURE 4.15 Costume Design by the Author for The Monkey King, The Children’s Theatre Company, Minneapolis

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FIGURE 4.16 Costume Design by the Author for The Monkey King, The Children’s Theatre Company, Minneapolis

Costume Sketch Gallery

FIGURE 4.17 Costume Design by the Author for The Monkey King, The Children’s Theatre Company, Minneapolis

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FIGURE 4.18 Costume Design by the Author for The Monkey King, The Children’s Theatre Company, Minneapolis

Costume Sketch Gallery

FIGURE 4.19 Costume Design by the Author for Necessary Sacrifices, The Ford’s Theatre

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FIGURE 4.20 Costume Design by the Author for Necessary Sacrifices, The Ford’s Theatre

Costume Sketch Gallery

FIGURE 4.21 Costume Design by the Author for The Covert, Woolly Mammoth Theatre Company, Wilma Theater

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FIGURE 4.22 Costume Design by the Author for The Covert, Woolly Mammoth Theatre Company, Wilma Theater

Costume Sketch Gallery

FIGURE 4.23 Costume Design by the Author for Oak and Ivy, Arena Stage

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FIGURE 4.24 Costume Design by the Author for Rosencrantz and Guildenstern are Dead, Folger Theatre

Costume Sketch Gallery

FIGURE 4.25 Costume Design by the Author for Rosencrantz and Guildenstern are Dead, Folger Theatre

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FIGURE 4.26 Costume Design by the Author for Unchanging Love, Studio Theatre

Costume Sketch Gallery

FIGURE 4.27 Costume Design by the Author for Kua Fu, Folger Theatre

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FIGURE 4.28 Costume Design by the Author for The Sun Also Rises, The Washington Ballet

Costume Sketch Gallery

FIGURE 4.29 Costume Design by the Author for The Sun Also Rises, The Washington Ballet

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FIGURE 4.30 Costume Design by the Author for Intimate Apparel, Guthrie Theater

Costume Sketch Gallery

FIGURE 4.31 Costume Design by the Author for Intimate Apparel, Guthrie Theater

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FIGURE 4.32 Costume Designs by the Author for Finding Nemo: The Mu-SEA-cal, Disney Creative Entertainment

Costume Sketch Gallery

FIGURE 4.33 Costume Design by the Author for Anna Karenina, Milwaukee Repertory Theater

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FIGURE 4.34 Costume Design by the Author for Shining City, Studio Theatre

KEY TERMS AND TECHNIQUES

Numbers in bold indicate related figures. C character poses in dance 52 (1.60), 120–121 (3.15–3.17) finding the pose 36–43 (1.49A–1.52D) gestural 118–121 (3.12–3.17) color blending 63 (2.8), 64 (2.9B), 67 (2.9G), 69–70 (2.10C–2.10G), 101 (2.32C) concepts and inspiration 141–148 (3.37–3.43) skin tones 63–81 (2.8–2.17D) D doodling 109–117 (3.1–3.11) F figure proportions 3–5 7 1⁄2 head division real people 4–5 (1.3, 1.4) sketches 3 (1.1, 1.2), 6 (1.5), 7 (1.6), 8 (1.8), 15–16 (1.23), 31–32 (1.47A, 1.47B), 34 (1.48A) core masses of the figure 11–17 (1.13–1.25) G gesture sketch 6–10 (1.5–1.10), 31–33 (1.47A–1.47E) grouping characters 122–127 (3.18–3.24), 148 (3.43) H head and face proportions 18–19 (1.26, 1.27)

how to draw: arms and legs 26 (1.33, 1.34) fabrics 46–52 (1.54A–1.60) gowns 47–49 (1.55–1.57), 51 (1.59) lace 51 (1.59), 103–104 (2.33A–2.33D) old clothes 50 (1.58) tweed 46 (1.54A–1.54C) wool 46 (1.54A–1.54C) feet 28 (1.39, 1.40) hands 27 (1.35, 1.36) head and face 18–19 (1.26–1.27), 20–25 (1.28A–1.32C) older figures and faces 40-41 (1.51A–1.51D), 81 (2.17A–2.17D) shoes 29–30 (1.41–1.46) whole figure 31–35 (1.47A–1.48C) how to paint: black costumes 88–90 (2.22A–2.23) fabrics lace 51 (1.59), 103 (2.33) leather 83 (2.19A–2.19C), 101 (2.23B) old clothes 50 (1.58), 101–102 (2.32C–2.32E) tweed 46 (1.54A–1.54C) wool 86–87 (2.21A–2.21C) faces 64–81 (2.9A–2.17D) hair 67 (2.9G), 69 (2.10D), 103 (2.33B) patterns 94–99 (2.27A–2.31) florals 96 (2.28A, 2.28B), 104 (2.33C, 2.33D) plaid 94–95 (2.27A, 2.27B) skin 63–81 (2.8–2.17D) white costumes 91–93 (2.24–2.26)

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P pencil techniques 44–52 charcoal, use of 47–49 (1.55–157) hatching 44 (1.53B, 1.53C) scribbling 45 (1.53D), 50–51 (1.58, 1.59) smooth shading 45–46 (1.53E–1.54C), 50 (1.58) R research, incorporating 128–140 (3.25–3.36) in paintings 130–136 (3.27A–3.30B) in Photoshop 137–140 (3.31–3.34) S scanning images 62 (2.7) T techniques brush strokes see watercolor techniques pencil strokes see pencil techniques tools brushes see watercolor tools charcoal see pencil techniques paper 57 (2.1) pencils 44

W watercolor techniques see also how to paint dry brush 84–85 (2.20A–2.20D), 102 (2.23E) flat wash 59 (2.3), 82 (2.18A, 2.18B) in practice 100–105 (2.23A–2.33E) texture and detail work 59 (2.4) wet-on-wet 83 (2.19A–2.19C) watercolor tools brushes 58–60 (2.2–2.5) angle 58–59 (2.2, 2.4), 85 (2.20C, 2.20D), 87 (2.21B, 2.21C) filbert 58 (2.2), 60 (2.5) natural vs synthetic bristles 58 (2.2) round 58–59 (2.2, 2.3), 86 sizes 58 (2.2) exacto knife 102 (2.32E) paint 57 (2.1) paper 61–62 (2.6, 2.7) water 58