Theatrical Design and Production Chapter 17: Costume Construction © 2006 McGraw-Hill. All right...

Theatrical Design and Production

Chapter 17: Costume Construction

© 2006 McGraw-Hill. All right reserved.

Costume Construction –

Making the design ‘live’Responsible for building the designer’s creationsKnowledge of the processes, materials ,and techniques of construction

Costume Design –

Explains the play’s charactersCues to emotional states / social rank / financial statusAwareness of line, color, fabric, etc.




Concerns for costume construction…

Costumes must be more durable than street clothes Capable of dealing with / expressing heightened emotional extremes Must accommodate a wide range of motion and rigor




Specific knowledge:

The hand of fabrics

Techniques of making and adjusting patterns

Sewing

Fabric painting

Dyeing

Distressing

Specialty skills – making of jewelry / shoes / boots / wigs / armor

Hand: The quality and characteristics of a fabric that can be evaluated or

defined by a sense of touch




Organization of Costume Shops

In process

Costume Designer

Shop supervisor

Shop crew or staff

In performance

Costume Designer

Wardrobe supervisor

Wardrobe crew or staff




Costume Shop: Equipment

Cutting Tables

Used for laying out patterns and fabrics

Surface needs to be smooth and also easy to push pins into

Height – average person standing won’t need to bend to work





Dress Forms

Used for draping and pinning material

Used for adjusting patterns

Available in men’s and women’s sizes





Fabric Storage

Storage should be easily labeled

Organize by fabric type and color

Often use ‘scrap’ pieces or use original fabrics to make alterations

Need space for bolts of fabric and large rolls of brown paper as well





Washing Machine and Dryer

Used for standard purposes as well as dyeing fabrics

Requires a heavy-duty machine – lots of wear and tear

Continual cleaning to ensure that dyes do not remain in washer or dryer and ruin other clothing!





Dye Vat

Commercial = expensive

Soup kettles = cheap and workable!

Needed to heat large quantities of fabric and liquid to achieve an even coloring of dyed fabric





Hot Plate

Smaller alternative to a dye vat

Works well with smaller amounts of fabric





Stove

Residential stove will work

Can be used for heating water

Also useful when dealing with plastics or other materials for accessories





Irons

Need heavy-duty irons to work with many fabrics

Last longer if industrial as well

Steam irons are also used

Use distilled water – prevent mineral build-up and possible stains





Ironing Boards

Once again – heavy-duty, industrial versions are preferable

Specialty boards for sleeve boards and/or needle boards are also good to have in the shop





Steamer

Use to take wrinkles out of heavy materials such as velvets, velour, and corduroys..

Also used for millinery





Sink

Need hot and cold water!

Variety of uses





Mirror

Full-length, three-way mirror needed for fittings

Want to see costume from all directions to insure correct fit





Racks

Useful for transporting clothing from shop to various locations in the theatre

Provides mobile hanging location





Tables & Chairs

Needed for hand sewing and detail work – often requires many hours in sitting position

Consider the comfort of your workers and craftspeople!





Sewing Machines

Straight-Stitch Sewing Machines

Zigzag Sewing Machines

Walking-Foot Machine(a.k.a. power machines)

Serger (a.k.a. merrow machine or overlock)

Blind-Stitch Machine




Costume Shop: Sewing Equipment

Common hand tools

Measuring devicesHand needlesMachine needlesThreadThimblesTracing wheelsTracing paperTailor’s chalkShears & ScissorsSeam RippersSingle-edged razor bladesHot Glue Gun




Costume Shop: Sewing Equipment

Common fasteners

Straight pinsSafety pinsPush pinsSnapsHooks & EyesZippersVelcroSeam-Binding TapeButtons




Fabrics

Each fabric has its own intrinsic characteristics

The hand of the fabric is used to determine a fabric’s suitability for a particular costume

Hand of the fabric =

Type of fiber Weave or structure of fabric Treatment of fabric Finish of fabric




Fabrics

2 types of textile fibers

Natural

CottonLinenSilk

Wool

Synthetic

AcrylicNylon

PolyesterRayonAcetate




Fabrics

Cotton

White natural fiber contained in the seed pod, or boll, of the cotton plant

Breathes (ability to transmit heat, air, and water vapor) well – good for performers

Accepts dyes well

Wrinkles easily

Large number of weaves and blends available

Mercerization – soda treatment applied to cotton which swells and straightens fibers

Blend – combination of more than one type of fiber, blends are created to take advantage

of the best properties of all fibers in the blend.




Fabrics

Linen

Oldest textile fabric known

Comes from flax

Stronger than cottonSilky luster

Good conductor of heat Lint-free Hard to dye and/or stain Washes easily Shrinks and creases easily




Fabrics

Silk

Silkworms spin cocoons – creates silk

Expensive / StrongLightweight / PliableGood elasticity / LustrousHolds heat / Dyes well

Wild silk – brown with a rougher textureCultivated silk– Smoother texture and grayish-yellow color

Cultivation 1.Reeling – stronger & more lustrous2.Spinning – Shorter and twists the fibers more




Fabrics

Wool

Made from the fleece of sheep

2 main types

1.Woolen: Loosely twisted, soft, and weak / fuzzy textured surface / works as an insulator – traps heat

2.Worsted: Tightly twisted, stronger, and smoother surface / breathes well

Absorbs moisture & dyesShrinks!!!Wrinkles will disappear if the material is hung up – will hang outCan be shaped with steam




Fabrics

Synthetic Fabrics

Chemical compounds changed into hardened filaments through patented processes

Tend to be slick, smooth, and denseDo not breathe like natural fibers – tend to trap body heatDurableResistant to wrinkles

Often costume designers will use blends of synthetic and natural fibers to create garments that have the best of both worlds (50% blends of natural and synthetic tend to breathe well but hold up to theatrical demands!)

Important to know the fabric type & blend to care for the garment once made!!!




Fabrics

Synthetic Fabrics: Acrylic

Compound based on coal, petroleum, & other materials

Soft & lightweightDoes not dye well in shops but factory dyed acrylics are colorfastWrinkle-resistantLittle ironing needed

Common trade names: Acrilan, Orlon, Creslan




Fabrics

Synthetic Fabrics: Nylon

A slurry of air, water, and coal produces the continuous-filament fiber known as nylonLight, strong, elastic, & resistant to abrasionVirtually no wrinklesGenerally does not conduct moisture or heat wellVarious weaves – smooth, tight (Trap heat) – loose, open (Don’t trap heat) – Some dye well some do not

Common trade names: Antron, Capriolan, Qiana




Fabrics

Synthetic Fabrics: Polyester

Petroleum-based productHighly resistant to wrinklingExtremely strong, commercially colorfast, reasonably stain-resistant (Does not dye well in shop surroundings)Used in a variety of fabrics and blends

Common trade names: Dacron, Kodel, Quintess




Fabrics

Synthetic Fabrics: Rayon

One of the 1st synthetic fabricsRegenerated cellulose – cotton linters and wood pulp…Dyes easily, excellent colorfastness, bends well with other fabrics, & very absorbentSimilar to silk (low-cost alternative)

Common trade names: Avril, Celanese, Fibro, Zantrel




Fabrics

Synthetic Fabrics: Acetate

Similar to rayon – regenerated cellulose solutionLittle strength, require low heat iron, don’t hold crease wellGood draping characteristics & wrinkle resistanceTriacetates – better than acetates – have virtues with less issues




Fabrics

Weaves

How the fabric is created – generates a variety of different textures and patterns

Threads running the length of the fabric = warp

Threads running the width of the fabric = weft / woof / fill




Fabrics

Weaves

Types of weaves…

Plain

Basket

Twill (most durable weave)

Satin (appears lustrous)

Pile (plush texture)

Plain Knit (interlocking loops)




Fabrics

A variety of fabrics are used in costume construction – a basic list…

Brocade – Slightly raised pattern – various weights – reflexive surface

Buckram – Foundation for millinery and other stiff garments

Canvas – Used mainly for lining or when durability is focus

Chiffon – Sheer – Soft diaphanous draping qualities

Corduroy – Has ridges – does not drape – low-cost sub for velvet/velour

Crepe – Low luster, soft drape – lingerie, blouses or flowing gowns

Crinoline – Has permanent sizing for stiffness

Denim – Blue-jeans and working clothes

Drill – smoother & more luster than denim

Felt – Primarily used for hats and trimming

Flannel – Men’s & women’s suits, trousers, & shirts

Gabardine – Inexpensive suits & outerwear




Fabrics

A variety of fabrics are used in costume construction – a basic list cont…

Jersey – Knit fabric with draping qualities

Linen – Nubby, soft-luster surface – tropical suits & sportswear

Muslin – Plain, durable cotton – lining material & making patterns

Net – Stiff, very-open-weave – Ballet skits & veils

Pellon – Non-woven stiffening material - petticoats

Sateen – Satin-weave lining material

Satin – High-luster satin-weave – evening gowns to draperies

Taffeta – Used extensively in 18th & 19th century gowns

Moiré taffeta – Taffeta with a nonrepetitive pattern pressed into the surface

Velour – Pile-weave fabric – Heavy weight (upholstery & drapes) Light weight (sportswear)

Velvet – Drapes well, lustrous – evening gowns to capes




Fabrics Finishes

Functional Finishes

1.Permanent-press – reduces wrinkles in fabric and puts in permanent creases2.Mercerization – adds strength & shine to cotton thread3.Flameproofing – chemical process – prevents cloth from supporting flames4.Preshrunken – has been bathed in water5.Anti-bacterial agents – reduces stains from natural substances such as sweat

Decorative Finishes

Alter the appearance of the fabric – bleaching, dyeing, printing, texturing…

Finishes are applied to fabric before they leave the mill although some finishes are applied in costume shops!




Nonfabric Materials

Leather

Used for hats, shoes, & period pieces such as vests, armor, and belts

Usually treated cowhide (in U.S.)

Smooth & rough side

Can be dyed & stitched

Tools for leather working – awls, leather punches, etc.




Nonfabric Materials

Sculptural Arts Coatings

Made in North Caroline – water-based, low-emissivity craft products, paints, & finishes - bonds materials together to create anything needed!




Nonfabric Materials

Plaster Bandage

Plaster-impregnated gauze – make items from forms such as masks, small armor pieces, etc.

Same material used to make casts

Water soluble – no toxic or noxious fumes – forms easily

Once dry, can be sanded or painted




Nonfabric Materials

Thermoplastics

Stiff plastics that soften in hot water to then be molded

Pellet, mesh, and fabric forms

Masks, armor, etc.

Can be finished with most paints




Nonfabric Materials

Fiberglass

2 Forms:

1.Glass fibers in form of mat or woven cloth2.Resin coat that cures into hard plastic

Used to make armor and helmets

Resin can be used alone in production of jewelry




Nonfabric Materials

Metal

Aluminum, copper, and brass appliqués and jewelry are often used in construction of bodices, gowns, armor, buckles, etc.

Metals are often attached using pop rivets or special adhesives…




Garment construction

Theatre costumes vs. the garment industry

Single, perfect fit version vs. multiple copies of one garment

Built to last for production vs. built to last as long as possible

Costume design is geared around creating character – not creating a ‘saleable’ garment




Garment Construction: Patterns

Patterns

3 Main goals…

1.Manipulate a flat piece of cloth by cutting and shaping so it conforms to a specific three-dimensional body2.Accurately translating the costume designer’s rendering3.Creating a costume that serves the needs of the script, actor, production, etc.

2 Main methods…

1.Flat patterning (drafting)2.Draping





Flat Patterning

Get actor measurements Use measurements to develop basic pattern – a.k.a. the body block / blockTransfer paper pattern to muslin and stitch garment togetherActor comes in for fittings – Adjustments are madeCostume pattern developed from the modified blockMuslin mock-up fitted to the actor for more adjustmentsConstruct final garmentFinal fittings for performer

Cutter of the pattern must be familiar with the designer’s concepts as well as historical patterns for clothing –

has to be able to translate research into practical application





Actor Measurements

Measurements include:

Traditional clothes sizing

Specific measurements that involve various segments of the performer’s body –

Arm length to wristBicepArmseyeUnderbust to waistEtc. – See book pg. 439!





Draping

Process of pinning fabric directly to the tailor’s form and creating pattern pieces or a garment by manipulating the fabric until the desired look is achieved

Requires a dress form that is padded/altered to match the performer’s exact measurements

Traditionally used to create non-tailored elements

Sometimes creates a mock version but often works to build the garment without mock version as fabric drape is essential to this type of creation process





Pattern-Drafting Software

With computers, cutters can use software to develop patterns

Cannot be used for draping

Learning curve with the software – cutter must know how to really use the software for it to be useful!

Sample software: Custom Pattern Maker

Requires a plotter to print adequately




Special-Effects Treatment of Fabrics

Fabric Dyeing

Safety 1st! Look at the MSDS information to be sure you are handling any and all materials correctly!

Types of dyes must know setting agent as well as time, saturation, & heat needs

Union Dyes – Household dyes such as RIT – made to be moderately effective – not particularly effective on synthetic materials

Aniline Dyes – a.k.a. unified aniline dyes or acid dyes – Strong colors w/ light to full saturation – good with natural fibers & some synthetics

Disperse Dyes – Intense colors – almost colorfast if dyed when dye is at boiling point – designed for use with synthetics

Fiber-Reactive Dyes – Most useful for fabric painting with natural fibers – Uses cool or lukewarm water





Fabric PaintingPainted to add texture / enhance 3D qualities /

Age Fabric / Create or reinforce a pattern

Fabric painting can be done with a variety of materials

– dyes, fabric paints, spray enamels, French enamel varnish, shellac, bronzing powders, etc. –

and a variety of applicators – brushes, sponges, spray guns, air brushes, stencils,

hot glue guns, etc. –

Read MSDS to make certain you know safety procedures for application and later treatment of the garment!!!





Costume Aging

Sometimes, it is necessary to distress a garment – showing its age, abuse, and wear-and-tear

Distress appears where fabric receives greatest stress – elbows, knees, seat, etc.

Distress can be created by overstretching a garment, painting it, ripping or shredding the fabric…

Experience is the best teacher! Experiment!!!




Accessory Construction

Wigs…

Allows designer to achieve correct hair style – especially important with period costuming

Rent or make – wigmaking is a difficult craft!

Restyle contemporary wigs to look like period is also a low-cost alternative

To make a commercial wig appear more natural, 1/3 of the hair is removed and is then used to ventilate a piece of netting attached to the wig’s foundation – this creates a more realistic hairline…

Also hair extensions and pieces are used to supplement a performer’s natural hair





Wigs…

Some period styles that require the use of wigs, extensions, or pieces to create…





Millinery…

Hats often provide the completing element for period costume…

Many hats can be created from a basic broad-brimmed, deep-crowned felt hat

Steaming allows hats to be shaped and molded as needed – using a hat mold or hat block…

Also buckram is used to help create hats





Millinery…

Some period styles that require hats or headpieces to complete the ‘look’ of the particular period…





Footwear…

Appropriate footwear makes a costume complete…

Ideal solution is to contract with a cobbler or shoe company but that is not cost effective

Usually shops add elements to existing shoes to create the illusion of a period piece

Soft- and hard-soled house slippers are a common base for building shoes – usually leather additions and other accessories provide the rest of the illusion…





Footwear…

A progression of footwear styles over the course of history…





Jewelry…

Simplicity and exaggeration combine to create stage jewelry…

Know your research to create something that looks correct

Wood, plastics, metals, and more can be used to create jewelryAttaching cording and trim, painting the object, and applying

rhinestones adds to the illusion

All shops should have a collection of ‘junk jewelry’ – rings, brooches, necklaces, and similar pieces that look gaudy up close often look rich and elegant from stage…





Armor…

Breastplates and helmets are often made from Fabric Form, fiberglass, thermoplastics, leather, etc.

Most armor requires a form or armature that is made of clay & wire…The form is covered with foil or some other no-stick material…The material making the armor is applied to that, making a rigid shellThen apply decoration to suit the character

If using thermoplastics, insulate the actor and mold directly on the body to ensure a good fit…





Masks…

Another major element of design, masks can be made in a variety of ways…

Papier-mâché – plaster bandages – Fabric Form – fiberglass – Thermoplastics…

Often, molds are made of the performer’s face and then the mask is formed from that ‘cast’

Once built, masks are decorated and/or painted to express character as needed





Masks…

Papier-mâché process

1.Life-mask made and covered with aluminum foil

2.Apply glue-soaked strips of paper to mask

3.Allow to dry for 24-48 hrs.

4.Finish as desired

1 2

3 4

Theatrical Design and Production Chapter 17: Costume Construction © 2006 McGraw-Hill. All right...

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Transcript of Theatrical Design and Production Chapter 17: Costume Construction © 2006 McGraw-Hill. All right...