(Purple Masque) Scenic Design Checklist
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Program Map: Certificate of Achievement for Costume Design and Technology
Arts, Media, and Technology Career and Academic Pathways (CAPs) Program Map: Certificate of Achievement for Costume Design and Technology Total number of units: 23 units Top Code/Academic Plan: 1006.00 Updated on April 25, 2021 Fall Odd Course Code Course Units Notes Advising Notes Semester Program TECTHTR 366 Fantasy Costume 3 This course is an elective course. Another This course is a weekly morning Course Sewing and Pattern option is TECTHTR 365. course. Making Program/GE TECTHTR 367 Costume and 3 This course counts as a GE Area C Arts course This course is a weekly morning Course Fashion History for LACCD GE and Area C1 Arts for CSU GE. course. Program/GE TECTHTR 345 Costume Practicum 2 This core course is offered every Fall and This course is a weekly Course Spring. afternoon course. Total Units 8 Spring Even Course Code Course Units Notes Advising Notes Semester Program TECTHTR 363 Costume Crafts, 3 This is a core and milestone course. This course is a weekly morning Course Dye, and Fabric course. Printing Program TECTHTR 342 Technical Stage 2 This core course is offered every Fall and This lab course is scheduled on Course Production Spring. a per show basis. An orientation will be held to discuss schedule and requirements at the beginning of the semester. Total Units 5 Fall Even Course Code Course Units Notes Advising Notes Semester Program TECTHTR 305 Orientation to 2 This is a core and milestone course. This course is a Friday morning Course Technical Careers course. in Entertainment Program TECTHTR 365 Historical Costume 3 This course is an elective course. -
Scene Shop Foreman/Instructor
Scene Shop Foreman/Instructor Department: School of Creative and Performing Arts Type: Full-time, 10 months Reports To: Director of Production This 10-month position serves as shop foreman/stage supervisor for all SCAPA productions. Manages scene shop including the construction and installation of all scenic elements, manages inventory and student crews. Working knowledge of VectorWorks. Responsible for following and promoting all safety procedures and practices along with problem solving technical issues that may arise in the scene shop or stage areas. Teach introductory stagecraft and in other areas of expertise (eg: sound, scenic, projections) Responsibilities: Essential duties and responsibilities include the following. Other duties may be assigned. 1. Manage the daily operation of scene shop 2. Leads or assists construction, load-in and strike of all theatre productions (6 mainstage and 4 student productions annually) 3. Order and maintain supplies at required levels 4. Responsible for general and basic maintenance of scene shop 5. Works in concert with the Director of Production on all scene shop assignments and scheduling 6. Manage scene shop, coordinate construction schedules to meet production deadlines; organize and supervise student workers and scene shop techs to meet deadlines set by Director of Production. develop construction drawings; procures supplies for set construction; coordinates with outside vendors and other duties as assigned by the Director of Production 7. Collaborate with design team to plan, install and ensure proper operation of scenery and stage equipment, manage and train student crews, adhere to safety standards in the mounting, operation and strike for each production. 8. Teach 7-8 credit hours per academic year including stagecraft and scenic design 9. -
GRAPHIC DESIGNER [email protected] +1(347)636.6681 AWARDS + HONORS SKILLS ASHLEY LAW EDUCATION WORK EXPERIENCE UNIQLO GLOBAL
ASHLEY LAW GRAPHIC DESIGNER [email protected] http://ashleylaw.info +1(347)636.6681 linkedin.com/in/ashley-law instagram.com/_ashleylaw EDUCATION AWA RDS SKILLS SCHOOL OF VISUAL + GRAPHIS (GOLD) SOFTWARE ARTS (New York) NEW TALENT ANNUAL InDesign HONORS BFA Design Editorial Design “Zine”- Illustrator 2017–2019 2018 Photoshop PremierePro AfterEffects SCHOOL OF THE SVA HONOR’S LIST Sketch ART INSTITUTE OF 2017–2018 CHICAGO (Chicago) Fine Art + Visual CAPABILITIES & Critical Studies SAIC MERIT Branding 2013–2015 SCHOLARSHIP Content Production 2013–2015 Identity System Interactive/Digital Design Print + Editorial Design Typography WORK EXPERIENCE UNIQLO GLOBAL Junior Graphic Design for the GCL team focusing on CREATIVE LAB Designer creative direction of special projects, 06. 2019 - Present (New York) under the direction of Shu Hung and John Jay. Campaigns include collaborations (i.e. Lemaire, JW Anderson, Alexander Wang) and new store openings. MATTE PROJECTS Design Intern Designing client proposals, print, 01. 2019–04. 2019 (New York) digital & social collateral for marketing agency. Worked on projects for Cartier, The Chainsmokers, Moda Operandi & MATTE events (FNT, BLACK-NYC, Full Moon Festival, La Luna). PYT OPERANDI Creative Project Associate for artist management & creative 03–06. 2016 Associate project development company with emphasis (Hong Kong) in film, photography, exhibitions, project & business development consulting. CLOVER GROUP Intimates Design Designed for leading global manufacturer INTL LIMITED. Intern of intimate apparel, emphasis on the 08–10. 2015 (Hong Kong) Victoria’s Secret account. Visually detailed creative direction, identity & design of project pitches. Similar work for clients including Wacoal, Aerie, Lane Bryant. GIORGIO ARMANI Menswear R&D Shadowed Manager of R&D department OPERATIONS Intern for Menswear at HK Armani Corporate 06–09. -
Costume Design ©2019 Educational Theatre Association
For internal use only Costume Design ©2019 Educational Theatre Association. All rights reserved. Student(s): School: Selection: Troupe: 4 | Superior 3 | Excellent 2 | Good 1 | Fair SKILLS Above standard At standard Near standard Aspiring to standard SCORE Job Understanding Articulates a broad Articulates an Articulates a partial Articulates little and Interview understanding of the understanding of the understanding of the understanding of the Articulation of the costume costume designer’s role costume designer’s role costume designer’s role costume designer’s role designer’s role and specific and job responsibilities; and job responsibilities; and job responsibilities; and job responsibilities; job responsibilities; thoroughly presents adequately presents and inconsistently presents does not explain an presentation and and explains the explains the executed and explains the executed executed design, creative explanation of the executed executed design, creative design, creative decisions, design, creative decisions decisions or collaborative design, creative decisions, decisions, and and collaborative process. and/or collaborative process. and collaborative process. collaborative process. process. Comment: Design, Research, A well-conceived set of Costume designs, Incomplete costume The costume designs, and Analysis costume designs, research, and script designs, research, and research, and analysis Design, research and detailed research, and analysis address the script analysis of the script do not analysis addresses the thorough script artistic and practical somewhat address the address the artistic and artistic and practical needs analysis clearly address needs of the production artistic and practical practical needs of the (given circumstances) of the artistic and practical and support the unifying needs of the production production or support the the script to support the needs of production and concept. -
LED Lighting in a Performing Arts Building at the University of Florida
LED Lighting in a Performing Arts Building Host Site: University of Florida, Gainesville, Florida July 2014 Prepared for: Solid-State Lighting Program Building Technologies Office Office of Energy Efficiency and Renewable Energy U.S. Department of Energy Prepared by: Pacific Northwest National Laboratory PNNL-23514 LED Lighting in a Performing Arts Building at the University of Florida Final report prepared in support of the U.S. DOE Solid-State Lighting Technology Demonstration GATEWAY Program Study Participants: Pacific Northwest National Laboratory University of Florida NJ Miller SM Kaye1 PM Coleman2 AM Wilkerson TE Perrin GP Sullivan3 July 2014 Prepared for the U.S. Department of Energy under Contract DE-AC05-76RL01830 Pacific Northwest National Laboratory 1 Professor of Lighting Design, Head of the Graduate Lighting Design Program, University of Florida, Gainesville FL. 2 Graduate Assistant, Lighting Design, University of Florida, Gainesville FL. 3 Principal, Efficiency Solutions, Inc., Richland WA Preface This document is a report of observations and results obtained from a lighting demonstration project conducted under the U.S. Department of Energy (DOE) GATEWAY Demonstration Program. The program supports demonstrations of high-performance solid-state lighting (SSL) products in order to develop empirical data and experience with in-the-field applications of this advanced lighting technology. The DOE GATEWAY Demonstration Program focuses on providing a source of independent, third-party data for use in decision-making by lighting users and professionals; this data should be considered in combination with other information relevant to the particular site and application under examination. Each GATEWAY Demonstration compares SSL products against the incumbent technologies used in that location. -
Volume 2: Ptolemy II Software Architecture)
Heterogeneous Concurrent Modeling and Design in Java (Volume 2: Ptolemy II Software Architecture) Christopher Brooks Edward A. Lee Xiaojun Liu Stephen Neuendorffer Yang Zhao Haiyang Zheng Electrical Engineering and Computer Sciences University of California at Berkeley Technical Report No. UCB/EECS-2007-8 http://www.eecs.berkeley.edu/Pubs/TechRpts/2007/EECS-2007-8.html January 11, 2007 Copyright © 2007, by the author(s). All rights reserved. Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. To copy otherwise, to republish, to post on servers or to redistribute to lists, requires prior specific permission. Acknowledgement This work was supported in part by the Center for Hybrid and Embedded Software Systems (CHESS) at UC Berkeley, which receives support from the National Science Foundation (NSF award #CCR-0225610), the State of California Micro Program, Rome AFRL, and the following companies: Agilent, DGIST, General Motors, Hewlett Packard, Infineon, Microsoft, National Instruments, and Toyota. PTOLEMY II HETEROGENEOUS CONCURRENT MODELING AND DESIGN IN JAVA Edited by: Christopher Brooks, Edward A. Lee, Xiaojun Liu, Steve Neuendorffer, Yang Zhao, Haiyang Zheng VOLUME 2: PTOLEMY II SOFTWARE ARCHITECTURE Authors: Shuvra S. Bhattacharyya Department of Electrical Engineering and Computer Sciences University of California at Berkeley Christopher Brooks I T Y • O F S • C R A http://ptolemy.eecs.berkeley.edu E A L V Elaine Cheong I I F N O U R • L John Davis, II N E E L T IG H T T I H H A E T R E BE • Mudit Goel Document Version 6.0 • •1 8 6 8• Bart Kienhuis for use with Ptolemy II 6.0 Edward A. -
C U R R I C U L U M G U I
C U R R I C U L U M G U I D E NOV. 20, 2018–MARCH 3, 2019 GRADES 9 – 12 Inside cover: From left to right: Jenny Beavan design for Drew Barrymore in Ever After, 1998; Costume design by Jenny Beavan for Anjelica Huston in Ever After, 1998. See pages 14–15 for image credits. ABOUT THE EXHIBITION SCAD FASH Museum of Fashion + Film presents Cinematic The garments in this exhibition come from the more than Couture, an exhibition focusing on the art of costume 100,000 costumes and accessories created by the British design through the lens of movies and popular culture. costumer Cosprop. Founded in 1965 by award-winning More than 50 costumes created by the world-renowned costume designer John Bright, the company specializes London firm Cosprop deliver an intimate look at garments in costumes for film, television and theater, and employs a and millinery that set the scene, provide personality to staff of 40 experts in designing, tailoring, cutting, fitting, characters and establish authenticity in period pictures. millinery, jewelry-making and repair, dyeing and printing. Cosprop maintains an extensive library of original garments The films represented in the exhibition depict five centuries used as source material, ensuring that all productions are of history, drama, comedy and adventure through period historically accurate. costumes worn by stars such as Meryl Streep, Colin Firth, Drew Barrymore, Keira Knightley, Nicole Kidman and Kate Since 1987, when the Academy Award for Best Costume Winslet. Cinematic Couture showcases costumes from 24 Design was awarded to Bright and fellow costume designer acclaimed motion pictures, including Academy Award winners Jenny Beavan for A Room with a View, the company has and nominees Titanic, Sense and Sensibility, Out of Africa, The supplied costumes for 61 nominated films. -
Theatre (THEA)
Kent State University Catalog 2021-2022 1 THEA 11724 FUNDAMENTALS OF PRODUCTION LABORATORY II: THEATRE (THEA) PROPS AND SCENIC ART 1 Credit Hour Practice in theatre production techniques in the area of properties and THEA 11000 THE ART OF THE THEATRE (DIVG) (KFA) 3 Credit Hours scenic art. Using the life-centered nature of theatre as a medium of analysis, this Prerequisite: Special approval. course is designed to develop critically engaged audience members Corequisite: THEA 11722. who are aware of the impact, significance and historical relevance of the Schedule Type: Laboratory interconnection between culture and theatre performance. Contact Hours: 2 lab Prerequisite: None. Grade Mode: Standard Letter Schedule Type: Lecture Attributes: CTAG Performing Arts, TAG Arts and Humanities Contact Hours: 3 lecture THEA 11732 FUNDAMENTALS OF PRODUCTION II: COSTUMES, Grade Mode: Standard Letter LIGHTING AND PROJECTIONS 2 Credit Hours Attributes: Diversity Global, Kent Core Fine Arts, Transfer Module Fine An introduction to professional theatre production principles and Arts practices in the areas of costumes, lighting and projections. THEA 11100 MAKING THEATRE: CULTURE AND PRACTICE 2 Credit Prerequisite: Special approval. Hours Schedule Type: Lecture Overview of theatre practices through creative experiential learning. The Contact Hours: 2 lecture focus and course content combines practical and cultural experiences Grade Mode: Standard Letter and culminates with a performance event that provides a solid foundation Attributes: CTAG Performing Arts in the artistic process and an identity for the first-year theatre student. THEA 11733 FUNDAMENTALS OF PRODUCTION LABORATORY III: Prerequisite: Special approval. COSTUMES 1 Credit Hour Schedule Type: Lecture Practice in theatre production techniques in the area of costumes. -
Bsc-Costume-Design-And-Fashion.Pdf
PERIYAR UNIVERSITY PERIYAR PALKALAI NAGAR SALEM – 636011 DEGREE OF BACHELOR OF SCIENCE CHOICE BASED CREDIT SYSTEM Syllabus for B.SC. COSTUME DESIGN AND FASHION ( SEMESTER PATTERN ) ( For Candidates admitted in the Colleges affiliated to Periyar University from 2017 - 2018 onwards ) PERIYAR UNIVERSITY REGULATIONS I. CONDITION Candidates seeking admission to the first year degree of Bachelor of Science in Costume Design and Fashion shall be required to have passed in any higher secondary course examination of the state board/CBSE/ICSE. Pass in any Fashion/ Costume/Textile/Apparel related Diploma course is eligible to admit in direct second year of this UG Course. II. DURATION The course for the degree of Bachelor Of Science Costume Design and Fashion shall extend over a period of three academic years - 6 Semesters and each semester normally consisting of 90 working days or 450 Hours. III. ELIGIBILITY FOR THE DEGREE A candidate shall be eligible for the degree of Bachelor Of Science Costume Design And Fashion, if he/she has satisfactorily undergone the prescribed courses of the study for a period not less than 6 semesters in an institution approved by the university has passed the prescribed examinations in all the 6 Semesters. IV. SUBJECT OF STUDY The subjects of the study for the B.Sc., Costume Design and Fashion and the syllabus for the subjects are given in the annexure. V. REQUIREMENT OF EXAMINATION The theory examinations will be conducted for 3 Hours by the university in the subjects prescribed for all the semesters in the month of November & April every year. The practical examinations will be conducted for 3 Hours by the university in all the subjects prescribed in every semester. -
PH-PAC Technical Specs
Port Huron High School Performing Arts Center 1 Technical Information Contact info…………………………………………..………….. 3 General………………………………………………..…………. 3 Stage…………………………………………………....………… 3 Dressing rooms/green rooms……………………..…………….. 4 Scene shop……………………………………………………….. 4 Load in………………………………………………...…………. 4 Rigging………………………………………………...…………. 4 Line set schedule……………………………………...…………. 5 Sound…………………………………………………...….…….. 6 AC power………………………………………………...……… 7 Lighting…………………………………………………....…….. 7 Video……………………………………………………….…….. 11 2 SpecialSpecial effects effects……………………………………………………………………………………………………………………………………………………………………….……………..……………… 11 MMiscMisc………isc……………….......…………………………………………………….…………………………………………………………………………………………………………………..…………………………………………….. 1111 StaStagege diagrams....diagdiagrams....………………………………………………rams....……………………………………………………………………………………………………………………………..………………….. 1212 CoContaContactntactct infooinf PortPort HuronHuron HighHigh SchoolSchool PerformingPerforming ArtsArts CenterCenter 2215 Court Street, Port Huron, Michigan, 48060 Phone: (810) 984-2611 x281 PortPort HuronHuron AreaArea SchoolsSchools AdministrationAdministration Jamie Cain – Superintendent Web: www.phasd.us 2720 Riverside Drive, Port Huron, Michigan, 48060 Phone: (810) 984-3101 Dee nnii ssee SSeeell b y,y, P A C GGeeennneeerr alal M anananageageagerr E-Mail: [email protected] Brandon Kovatch, PAC Technical Manager E-Mail: [email protected] General The Performing Arts Center is a conventional proscenium auditorium built in 2005, with a capacity of 640 seats in two sections. The -
Introduction to Scene Design COURSE SYLLABUS: Spring 2014
THE 366.001 – Introduction to Scene Design COURSE SYLLABUS: Spring 2014 Instructor: Michael G. Knight, Jr., Assoc. Professor of Theatre Design & Technology Office Location: PAC rm. 104 Office Hours: by appointment Office Phone: 903.886.5311 Office Fax: 903.468.3250 University Email Address: [email protected] COURSE INFORMATION Materials – Textbooks, Readings, Supplementary Readings: Textbook(s)/Materials Required: 1. (1) package printer paper 2. 3 ring binder (2”) 3. Plenty of pencils 4. Plenty of paper (notes) 5. White card stock paper (8.5 x11) 6. Black foam core (5 sheets) 7. Vellum drafting paper (will be provided) 8. Balsa wood/Model wood 9. Art supplies 10. Acrylic Paper (8.5 x 11) Course Description: The basic techniques of the principles and practices of scenic design for stage. Included are design functions, construction, painting, modeling, history and theories of design. Pre-requisite THE 215 or instructor approval. Student Learning Outcomes: 1. The student will be able to understand the basic skills and theoretical practices involved in scenic design. 2. The student will be able to identify and understand the use of scenic design equipment and tools associated with design. 3. The student will be able to practically apply the skills learned in a completed scenic design (conceptual). COURSE REQUIREMENTS Instructional / Methods / Activities Assessments: Students will be graded on a series of quizzes, exams, type-written/hand written assignments, drafting projects, model projects, painting projects, and theoretical essay responses. Grading: Quizzes: 5 20 pts. 100 pts. Topic Assignments: 10 10 pts. 100 pts. Final Project 1 100 pts. 100 pts. -
Jigs and Fixtures for the Scene Shop
Jigs and Fixtures for the Scene Shop By: John McCullough A Thesis Submitted to the faculty Of the Yale School of Drama Department of Technical Design and Production In Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Drama From Yale University May 2009 ©2009 by John McCullough. All rights reserved. Contents Introduction 1 Jigs and Fixtures for the Scene Shop 2 What are Jigs and Fixtures? 2 Adding Jigs to a Manufacturing Process 3 How to use this Book 9 Jig and Fixture Construction 11 Safety 15 Fences and Guards 17 Featherboards 20 Push Sticks 22 Table Saw 23 Zero Clearance Plate 25 Dado Blade Width Guage 26 Template Jig 27 Multi-Angle Miter Guage 29 Tenon Jig 30 Cross-cut Sled 32 Radial Arm Saw 37 45° Miter Jig 39 Stop Block 40 Band Saw 41 Band Saw 42 Band Saw Template Jig 43 V-Block Splitter 45 V-Block Cross-cut Sled 46 Band Saw Circle Jig 47 Routers and Router Tables 49 Circle Edging Safety Board 51 Circle Jig 52 Fractionating Baseplate 53 Routing Guide 54 Circular Saw 55 Rip Fence 57 Belt-Disc Sander 59 Dowel Pointing Guide 61 Chamfer Sanding Guide 62 Jigs Around the Shop 63 Pocket Miter Box 65 Jig Blocks 66 90° Stop Block 67 Board Bender 68 Story Stick 69 The Next Step 71 Appendix A 73 Bibliography 75 INTRODUCTION 2 Jigs and Fixtures for the Scene Shop Jigs and Fixtures for the Scene Shop This thesis seeks to promote safety and effi ciency in the scene shop by presenting commonly used and popular jigs and fi xtures for the scene shop.