Costuming As an Art Form the Creative Process from Script to Stage
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COSTUMING AS AN ART FORM The Creative Process from Script to Stage Lindsay Keiko Hinz Arlington, Virginia BA Major: Theater & Dance: Design/Technology, Minor: Studio Art Christopher Newport University, 2011 A Thesis presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Master of Fine Arts Department of Drama University of Virginia May, 2014 iii Table of Contents Page Table of Contents ......................................................................................... iii List of Figures ...............................................................................................v Introduction .................................................................................................. xi Chapter 1 ~ The Fundamentals of Art and the Creative Process .................1 1.1 ~ The Elements of Design ......................................................................1 1.2 ~ The Creative Process ........................................................................18 1.2.1 ~ The Individual Creative Process .....................................................21 1.2.2 ~ The Creative Process Based on the Vision of Another ...................27 Chapter 2 ~ The Design Process: From Script to Rendering .....................41 2.1 ~ The Stages of the Design Process ....................................................41 2.2 ~ The Design Process within the Classroom ........................................48 2.3 ~ The Design Process for a Realized Production .................................76 Chapter 3 ~ The Technical Process: From Rendering to Stage ............... 113 3.1 ~ The Steps of the Technical Process ................................................ 113 3.2 ~ The Stages of Creativity for Historical Costume Construction ......... 117 3.3 ~ The Stages of Creativity for “Departure from Reality” Costume Construction .....................................................................................130 3.4 ~ The Stages of Creativity for Fantasy Costume Construction ...........134 Conclusion: In the Audience .....................................................................143 Appendices ...............................................................................................145 Bibliography ..............................................................................................187 v List of Figures Page Figure 1-1: Wrath line abstract (pencil) ...........................................................................10 Figure 1-2: Wrath color abstract (paint) ...........................................................................10 Figure 1-3: Wrath first sketch (pencil) ..............................................................................10 Figure 1-4: Wrath second sketch (pencil) ........................................................................10 Figure 1-5: Wrath final design sketch (watercolor, colored pencil, sharpie) .................... 11 Figure 1-6: Lust line abstract (pencil) ..............................................................................12 Figure 1-7: Lust color abstract (paint)..............................................................................12 Figure 1-8: Lust first sketch (pencil) ................................................................................12 Figure 1-9: Lust second sketch (pencil)...........................................................................12 Figure 1-10: Lust final design sketch (watercolor, colored pencil, sharpie) .....................13 Figure 1-11: Greed line abstract (pencil) .........................................................................14 Figure 1-12: Greed color abstract (paint) ........................................................................14 Figure 1-13: Greed first sketch (pencil) ...........................................................................14 Figure 1-14: Greed second sketch (pencil) .....................................................................14 Figure 1-15: Greed final design sketch (watercolor, colored pencil, sharpie) ..................15 Figure 1-16: Envy line abstract (pencil) ...........................................................................16 Figure 1-17: Envy color abstract (paint) ..........................................................................16 Figure 1-18: Envy first sketch (pencil) .............................................................................16 Figure 1-19: Envy second sketch (pencil) .......................................................................16 Figure 1-20: Envy final design sketch (watercolor, colored pencil, sharpie) ....................17 Figure 1-21: Getzels’ Model of Creativity (Drawing on the Artist Within, by Betty Edwards) ................................................................................................18 Figure 1-22: Variations of lengths in the stages of creativity (Drawing on the Artist Within, by Betty Edwards) ...........................................................................18 Figure 1-23: The Spiral Model of Creativity .....................................................................21 Figure 1-24: Self-Portrait Spiral Model of Creativity ........................................................22 Figure 1-25: Chosen reference image for self-portrait.....................................................24 Figure 1-26: Self Portrait, Charcoal Pencil, 18”x 23”, 2012 .............................................26 Figure 1-27: Story of Orpheus and Eurydice with keywords highlighted .........................29 Figure 1-28: Orpheus and Eurydice research collage .....................................................30 Figure 1-29: Orpheus and Eurydice thumbnail sketch collage (pen) ..............................31 Figure 1-30: Orpheus and Eurydice cover and title page ................................................36 Figure 1-31: Orpheus and Eurydice first two-page spread ..............................................36 Figure 1-32: Orpheus and Eurydice second two-page spread ........................................36 Figure 1-33: Orpheus and Eurydice third two-page spread.............................................37 Figure 1-34: Orpheus and Eurydice fourth two-page spread ..........................................37 Figure 1-35: Orpheus and Eurydice fifth two-page spread ..............................................37 Figure 1-36: Orpheus and Eurydice sixth two-page spread ............................................38 Figure 1-37: Orpheus and Eurydice seventh two-page spread .......................................38 Figure 1-38: Orpheus and Eurydice eighth two-page spread ..........................................38 Figure 1-39: Orpheus and Eurydice Spiral Model of Creativity .......................................39 Figure 2-1: Abstract world research image for A Midsummer Night’s Dream: An Opera in Three Acts ........................................................................................50 Figure 2-2: Abstract research image for Puck and the fairies..........................................55 Figure 2-3: Line abstract for the group of fairies..............................................................55 Figure 2-4: Color abstract for the group of fairies ............................................................55 vi Page Figure 2-5: First line sketches for the group of fairies .....................................................55 Figure 2-6: Line abstract for the fairy Peaseblossom ......................................................56 Figure 2-7: First line sketch for the fairy Peaseblossom..................................................56 Figure 2-8: Final line sketch for the fairy Peaseblossom .................................................56 Figure 2-9: Line abstract for the fairy Cobweb ................................................................56 Figure 2-10: First line sketch for the fairy Cobweb ..........................................................56 Figure 2-11: Final line sketch for the fairy Cobweb .........................................................56 Figure 2-12: Line abstract for the fairy Moth....................................................................56 Figure 2-13: First line sketch for the fairy Moth ...............................................................56 Figure 2-14: Final line sketch for the fairy Moth ..............................................................56 Figure 2-15: Line abstract for the fairy Mustardseed .......................................................57 Figure 2-16: First line sketch for the fairy Mustardseed ..................................................57 Figure 2-17: Final line sketch for the fairy Mustardseed..................................................57 Figure 2-18: Final design sketch for the fairies................................................................57 Figure 2-19: Line abstract for the character Puck ...........................................................58 Figure 2-20: Color abstract for the character Puck..........................................................58 Figure 2-21: First set of line sketches for the character Puck .........................................58 Figure 2-22: Final line sketch for the character Puck ......................................................58 Figure 2-23: Final design sketch for the character Puck .................................................59 Figure 2-24: Abstract research image for Oberon and Tytania ........................................60