Digital Costume Design and Collaboration : Applications in Academia, Theatre, and Film (Hardcover)

TABLE OF CONTENTS

ACKNOWLEDGEMENTS

PREFACE

INTRODUCTION

PART I: FOUNDATIONS

• CHAPTER 1

• The Design Process, A Digital Approach

• First Reactions
• Compiling Information Digitally To Create Web Based Shared Archives
• A New Look: Updating Research Methods
• Talking To The Director

• The Aristotelian Model
• Historical Context: Using Human Geography as a Framework
• The "W" Questions or the "Nuts and Bolts"
• Stage Directions: The Spoken Word And The Playwright’s Notes
• The Importance Of A Good Dramaturge

• Talking With The Actors

• Obtaining Basic Information
• Establishing The Character’s "Spine": Underlying Motivations, Back-Story, Secrets, etc.
• Establishing Digital Collaboration With The Actors Prior to Fittings

• Testimonial

• Interview: Shawn LaCount, Artistic Director and Director
• Design Gallery: Edith Can Shoot Things And Hit Them, Company One Theatre, 2015

• Sources and Citations

• CHAPTER 2

• Preparing Your Digital Costume Bible And Design Studio

• Digital Costume Bible

• The Digital Costume Plot
• The Digital Costume Piece List
• The Budget Specs: Including Builds, Bought and Pulled Items
• Sharing Files With Wardrobe Department: Google Docs, Dropbox, Etc.

• Digital Costume Design Studio

• Digital Studio Basics
• File Sharing Options
• Drawing Tablets And Digital Rendering Software

• Wacom Tablets
• Photoshop

• Basics Digital Rendering Tools

• Layers
• Levels And Curves
• Flatting
• Burn And Dodging
• Dissolve
• Brushes
• Patterns
• Fonts
• Special Effects: Bevel, Emboss, Inner And Outer Shadows

• Other Resources: Free Croquis

• Testimonial

• Interview: Spiro Veloudos, Artistic Director and Director
• Design Gallery: Sweeney Todd, Lyric Stage Company of Boston, 2014

• Sources and Citations

PART II: APPLICATIONS

• CHAPTER 3

• Drawing The Character’s Spine; Black And White Drawing Basics

• Scanning And/Or Copying Black & White Files

• Scanning Steps and Tips

• Tracing With The Wacom Tablet
• Tracing Over Existing Images: A Sample Process

• Using Fashion Croquis
• Using A Pre-Existing Image
• Creating A "Croquis Banks"

• Preparing and Saving Black and White Images for Painting With Photoshop

• Preparing Black and White Drawings
• Prepping B & W Sketches on Templates
• Fixing Line "Leakages"

• How To Make A 300 To 600 Dpi File?

• Testimonial:

• Interview: Carrie Ann Quinn, Actor and Director
• Design Gallery: Polaroid Stories, UMass Boston, 2016

• Sources and Citations

• CHAPTER 4

• Contextualizing The Character
• Photoshop Painting Basics Part 1

• Photoshop Color Palettes: The Color Picker
• Creating A Basic Sketch Template For A Specific Show
• Choosing Specific Photoshop Color Swatches For Costume Rendering
• Creating Fabric Yardage and Adding Prints

• Testimonial

• Interview: Davis Robinson, Producer, Actor, Director, and Author
• Design Gallery: The Remarkable Rooming House of Madame LeMonde, Beau Jest Moving Theatre/ Provincetown Tennessee Williams Theatre Festival, 2009

• Sources and Citations

• CHAPTER 5

• Costuming The Character: The Preliminary Sketches
• Creating Multi-Layered Costume Renderings in Photoshop

• Inserting And Manipulating Costume Pieces Or Elements
• Inserting A Pre-Existing Or A Previously Saved Pattern
• Resizing Patterns In Photoshop
• Adding Layers Such As Facial Details, Skin Tones, And Accesories

• Painting Assembly Line Sketches
• Testimonial 1

• Interview: Ilyse Robbins, Actor, Choreographer, and Director
• Design Gallery: Marry Me A Little, New Repertory Theatre, 2013

• Testimonial 2

• Interview 2: Danny Gidron, Director
• Design Gallery: Twelfth Night, UMass Boston, 2014

• Sources and Citations

• CHAPTER 6

• Costuming The Character: The Finished Sketch
• More Photoshop Painting Techniques

• Burn and Dodge Modalities in Photoshop Costume Renderings
• Painting Eyes
• Touch Up Work
• Painting Hair And Adding Real Hair Images
• Creating a Realistic Hair Layer
• Adding Patterns With Movement
• Adding Floor Shadows
• Using Bevel and Emboss To Add Dimension To The Character’s Silhouette

• Testimonial 1

• Interview: Bridget Kathleen O’Leary, Artistic Director and Director
• Design Gallery: Doll’s House, New Repertory Theatre, 2011.

• Testimonial 2

• Interview: Carmel O’Reilly, Artistic Director, Director, and Actor
• Design Gallery: The Seafarer, SpeakEasy Theatre Company, 2008.

• CHAPTER 7

• Archiving the Project As A Digital Portfolio

• Costume Design And Manufacturing for PBS/WGBH

• Testimonial 1

• Interview: Cathleen O’Connell, Film Producer
• Design Gallery: God In America, PBS 2010

• Testimonial 2

• Interview: Michael Fennimore, Film and Theatre Actor, and Theatre Director
• Design Gallery: You Can’t Take It With You, UMass Boston 2014

• Sources and Citations

PART III: DIGITAL DESIGN PRACTICE

• CHAPTER 8

• An Unforgettable Affair With Photoshop
• About Digital Design in Collaboration

• Testimonials: Designer Interviews and Design Galleries

• Final Words
• Sources and Citations

INDEX