1. Costume Design and Makeup 9743043 Stella Huang

2. 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

3. 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

4. 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

5. 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

6. 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

7. Well grounded in social and cultural history (including the visual arts, dance, and theatre) • Be able to analyze characters that actors do

8. 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

9. 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

10. costume chart • Communicate the broad organization of the characters costumes a a single glance • Costumes in each of the scenes

11. dressing list • Remind actors • Tools that communicate the designer’s intentions and help keep the costumes organized for running the production efficiently

12. 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

13. 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

14. 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

15. In the Broadway theatre, the producer contracts with a costume house to make the costumes

16. 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”

17. 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

18. Makeup • Traditionally, makeup has been considered the actor’s responsibility http://www.youtube.com/watch?v=L47tSnjX61w

19. function • Makeup characterizes • Makeup aids expressiveness • Makeup restores color and form • Makeup may indicate performance style

20. 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

21. type • Painting • Added plastic, prosthetic, or three-dimensional pieces

22. 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

23. materials • Beards and moustaches are usually made from human hair-ventilation • Prosthetics • Hair whitener-oiling and aluminum metallic powder • Wigs

24. 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

25. Thank you for your attention