Scene changes

Initial plans for scene changes using the boxes with different painted sides to depict scenes - these can be moved around by the Narrator whilst it is just him on stage telling the story. As it is his story this will work nicely as he sets the scene for the different parts of his tale  - moving the story along both visually and verbally. Obviously these are subject to change as they practice the performance and see how they work in the space but I shall show them my suggestions as I think it will work well with moving the play along swiftly and succinctly. 

Weekly Work Plan of 24/10/11

Final Fabric choices

Narrator

Devil

Princess

Soldier

As a result of extensive fabric searching via London, the web and our fabric archive these are the final fabrics purchased for the costume designs.I feel they all reflect the character and textures I portrayed in my final designs and look forward to seeing the costumes they will be used to construct. I had to be decisive and very aware of each character/ have knowledge about fabrics to inform these choices. 

Weekly Work Plan of 17/10/11

Soldier Fitting

The Soldier's costume fitting went extremely well and minimal changes were made with the Toile Emily had made. The shirt fitted extremely well yet the collar was slightly too large, this was reduced by half and now looks much more in proportion to the rest of the shirt.

The trousers were taken in slightly at the waist but otherwise are a good fit and resemble the design well yet also look historically accurate. The waistline edge was also taken up slightly so when worn with a belt there will be some trouser showing above the belt which is seen in the design. I also like the affect as when discussing it with Emily she had found that uniforms were made in standard sizes then were altered to fit the wearer by a company. His trousers being slightly too large add to the suggestion of him being uncomfortable as a Soldier and it not suiting him, hence his attempted desertion.

The strapped on putties worked well in the calico and were the right length and created the right shape in the trouser. As they will be made from a wool fabric they will hopefully stick together quite well and stay in place as the wool will attached to itself slightly as the putties are bound. Overall, I love the silhouette of the costume at this stage for its relation to my design and its historical relevance. I am very excited to see its next appearance in top fabric. (Images courtesy of Emily Manning)

Front view prior to alterations

Back view prior to alteration

Puttie 

Reduced collar size

Developing Cubist set

From my research into Cubism I then worked with my research and my existing set model experimenting with creating a fragmented proscenium arch but also seeing if I could incorporate aspects of the different locations throughout the Soldier's journey into the silhouette and decoration of the Pros.

On showing Doug these sketches he favoured the arch that involved on one side a very materialised pros involving materials from the trenches and on the other more foliage and tree silhouettes to represent the countryside aspect of the journey. From our discussion we decided that the Pros space will act as, in affect, the Devil's Lair which then makes sense of the two acting spaces that will be created. Combining the box idea and Cubism also gave the opportunity of creating odd geometric boxes (rather than perfect regular ones) that could be manoeuvred around to create set but also contain costume/items such as hats/jackets as the Soldiers circumstance alters throughout the play. Another idea he had was that we needed a back cloth of some kind to project upon, but rather than a stretched cloth perhaps sculpted heaps of fabric that are dirtied to look like sheets/tarpaulins used in war time. However, although I agree that it would be good to have something to project upon I feel these will look 'un-designed' and not read well. I will have a look into it and think about alternatives that would give a similar effect. He also suggested that a subtle sense of death be introduced throughout the set and make up to relate to the war time context. From this discussion I created this white card model:

However, on showing Rebecca this model she said that I should go much bolder with the Cubist feel as the shapes were still far too naturalistic. I agreed and looking at the model I felt it didn't evoke the drama and harshness that Cubism involves -if I am going to use it as an aesthetic it needs to be bold and brash and doesn't need to explain to the audience. It can have hints of silhouettes of trees/ grass like painting rather than being completely obvious. I also think that making the set very suggestive and almost surreal will contrast nicely with the quite traditional costumes. The setting will be a surreal environment fit for the fairytale it is but the traditional costumes will ground it and give it a sense of realness allowing the viewer to relate to the story and see how it is still apparent today. Rebecca suggested that I look more at the collage style Cubist pieces and also work from a drawing board rather than doing sketches. Tracing the dominant lines from the art work (with a ruler so their definition and angles are not lost) and seeing how I can create a pros from them. We also looked at the materials used in the War such as corrugated iron, wood planks and wooden pallets. I shall use these textures in a collage style to create the arch and give a sense of setting context. I will also make lots of pallets to see how they can be used within the set to create levels/ the backdrop that Doug was after. Hopefully as I plan to make the colour scheme of the Pros lighter than my original model this will also provide a canvas to be lit as well.   

Fabric for Soldier

Sourcing for the fabrics for the soldier has been one of the trickiest tasks as firstly we have been trying to match the fabrics from black and white photographs from the era (quite difficult) as well as photos from hire houses to compare colours but also getting it to match my perception of the war. A lot of the shirt fabrics I have found are either too thin but have a lovely texture or look too much like a daily shirt, my feeling is that the shirt would have been quite rough and have a slubby texture as they were mass made and worn day in day out. However, Rebecca who knows a lot about shirts agreed on the latest shirt fabric  we liked which was a white cotton twill - although this is quite uniform and neat it is thicker than other samples we had found and has a lot of potential for breaking down and possibly dying to give a 'worn' colour.

The Putties have also been quite difficult as they were obviously made for purpose at the time and no such thing really exists any more. However, from discussions and looking at historical sources from Emily we decided upon a wool serge that is cream in colour, again having a lot of scope for dying. It has a slight texture but will work well with the trouser fabric chosen. Emily's sample from a visit to 'History in the Making' gave us a good weight and colour to work with, as luck has it we found a sample book from Hainsworth's who sell fabric to make Historical re-enactment garments which had a sample almost identical. On inquiring the fabric was £20.65 per meter plus VAT which is still slightly under our allocated budget. We will get Amy to order these fabrics asap...success!

The fabric books including samples of the cotton twill (shirt) , wool serge (putties) and wool (trouser fabric) as well as Emily's original sample.

Narrator first fitting

This morning the Narrator came in for his first fitting and I was pleased with how well it went. The shirt Grace and I found from the costume store fitted him perfectly and John found it very comfortable as it is roomy but also a lovely fabric.

Shirt from costume store

There were quite a few changes needed for the trousers to raise the crotch but also to shape the trouser legs so they match the style of the era and my design. The trouser hem was also shaped and raised so it fitted over the shoe in the correct manner.

Trouser fitting

The waistcoat fitted well overall and only minor changes were needed; the design line along the waistcoat bottom edge and also taking some fabric off the shoulder at the neck. The fitting was also used to mark up the checks for when the waistcoat is made from top fabric.

Waistcoat back view

Waistcoat checks being matched

The jacket fitted extremely well at its current stage, the bottom edge was raised again to suit the design line and pockets moved around slightly to concur with the research images from the period. The armholes were opened as John felt quite restricted by them and it was made so he had plenty of movement which is essential.

View after all alterations have been made

Close up of jacket and tie combination

Overall, John said he found the outfit very comfortable and was surprised by the amount of movement he had which will be necessary in his role as Narrator. This is an excellent result for this point in the process. I felt the really looked great despite my original doubts it flatters John and looks far better made up and on the body than it did on the role. The colours are characterful and warm relating well to his character but definitely gives a feel of the era. While he was in the outfit I tried out various coloured ties, the colour I settled on was a burgundy red which worked well with the green toned fabric, more so than the blue I originally intended in the design. This tie had a subtle spot design but I think a plain tie will be best so it won't be too overpowering when combined with the suit check.

Fitting with Kokoro

Today Grace, Emily Hudson and Emily Manning and I met with some members of Kokoro as the Lighthouse in Poole. We were there to gather their measurements so we can order in hire costumes that are likely to fit them well allowing us to perform minimal alterations at a later date. Taking four of us to perform the fittings was definitely a wise move as this meant we could perform the task very swiftly, and use up the minimum amount of their lunch break during rehearsal as possible, as requested. It was a great opportunity to meet the musicians and  be able to visualise them in the costumes and in the production as a whole. In addition to this it also meant we could ask about any concerns/requirements they have when playing their particular instrument and how we can manipulate their costume to make sure it is as comfortable and practical as possible. Meeting Nick again also gave me a chance to resolve a few queries I had about the set such as any sound implications from the rostra and the positioning of the conductor in relation to the orchestra and actors. I was very proud of my costume team for being professional, efficient and friendly, really putting the musicians at ease who were clearly not used to such measurements being taken. It gave us all a surprise to find out we were being filmed as part of the documentary! We await our film debut!

Emily adding cotton tape to one of the musicians to define the waistline.

Site visit

Spent this afternoon revisiting the Ocean Room which was extremely beneficial being able to see the space with people in it rather than just using my model box. I used this opportunity to discuss the pros arch size with Doug and the use of playing space; using the pros space to act as the Devil's domain. From this visit I decided that the pros I have currently built is too big and I shall reduce the height of it so it isn't quite so dominant in the space. The width and arrangement however I am still happy with within the space and investigated the sight lines while I could by taking photographs and viewing the acting space from different points in the seating. There may need to be some playing around with the positioning of the conductor so he is able to communicate with both the orchestra as well as the actors. Putting him at a slight angle was one idea, not only due to technicality so the audience can also clearly see Mark and the work he's doing as well as the other orchestra members, especially in their uniforms.

The Director and Sarah within the space with the pros arch and  orchestra space roughly marked out from my model box measurements. Having people in the space is really helpful to establish sight lines and perspective for the audience.

Mask influence

These images were found in Wombell's photography book of the WWI years and they are quite sinsiter and saddening. I showed these to Doug as an idea for the Soldier's mask once he is taken over by the Devil to maintain the war reference. Sarah Lee of make up said it would be possible by using a face cast of Josh then working into it. 

Location visit: Stream

Photographs from my visit to the stream in Bournemouth town center which was encouraged by Gareth. The visit did help as I definitely felt I understood the atmosphere and movement that I need to re-create in my set to portray a stream. The key elements that I felt made the stream were:

• The rippling water
• Reflection
• Silhouette of the stream bank
• Its meandering nature and shape
• The sound of trickling water

Reflection: This was definitely of huge benefit to my set ideas and is something I will definitely carry out in future to fully understand the scene I am to create and the key features I need to suggest so it is clear to the audience without necessarily being obvious or too naturalistic.

Meandering shape

Reflections

Bank edge

Masks 1

Had a meeting with Doug today and as well adding a new twist to the set design by dipping it in cubism he also had an excellent idea for the changing indentification of the Devil... masks. This is something I touched upon in my early costume designs but it didn't evolve much further at that stage. However, Doug has a collection of masks made originally to represent alternative aspects of humor. They are beautiful and it is possible to manipulate them which will be done by Sarah. It was also suggested by Doug that a new 'cubist inspired' mask could be made to be worn by the Soldier for his final descent with the Devil, to illustrate his power and defiance over the Soldier. My inclination so far is to class them as follows:

Old man/ Cattle Merchant due to facial hair, prominent nose and colouration of the mask. The nasal hair makes my more inclined to place it as the old man as this is an obvious feature we all associate with old age.

Virtuoso Violinist - this mask has something quite snide and peculiar about it, this would look better later on in the play when the audience have their suspicions that it is in fact the Devil. 

The Old Man/ Cattle Merchant. Again the large eyebrows and bulbous nose suggest a male and of a certain age which is why I feel it would be appropriate for one of the characters.

Reflection: Using these masks will provide a fairly swift and significant change for each character which will make the new character obvious to the audience when combined with the costume. The masks distinctive features will really aid the clarification of each character and will also mean that during the quick changes the possible complications with facial hair/make-up etc can be avoided. This will hopefully result in an efficient, smooth quick change yet promote the new character successfully. From here I will speak with Sarah about the relation of the masks to the costumes as well as discuss how these masks could be linked to the Devils final headdress.

Cubism

The set has taken a drastic turn after a suggestion yesterday that it revolved around Cubism.... I actually feel relieved and extremely excited for this proposition as this provides a clear aesthetic for my design to follow plus I love the work of the Cubist movement! I looked into Cubism for my set design at level 4 and loved working with the textures, shapes and colouration they use. The colour schemes tend to be fairly grungy and muddy which tones in quite well with the WWI context as well as including textures such as wood affect, paper and paint effects. The harsh lines and juxtaposed angles are a great representation of the angst of the era as well as the Devil's cunning presence. Furthermore, Picasso being particularly relevant as he was a contemporary of Stravinksy's, both pioneering in their own art form at this time, connecting the music with the set aesthetic.

From this decision I went and researched into artists of the Cubist Movement, looking particularly at work that relates to the different locations throughout the story eg. The native village, but that also involve painting/collage techniques that I like and I feel could be incorporated into my set.

Set Tutorials

Have been struggling to get back into my set work on returning to the course, I think due to the costume that has issues that need immediately resolving and also panicking about the time available I have to complete my set. However, today the tutorials I have had with Will and Rebecca today made it all much clearer. I have resolved the confusion about whether the orchestra are to be upon a rostrum or not and also have been given time so I can think through why exactly I have made the design choices that I have. Will questioning the aspects of my set design such as the uses of space, reason for pros arch etc have really got my brain ticking about what I want the set to portray. Along with the tutorial with Gareth Corke who provoked my thinking and ideas - commenting on how there were both naturalistic and suggestive elements to my set and which I wished to be most prominent. Furthermore he spoke about the Naivity that runs through the piece in the set design, and humanity represented by the soldier's character and how I can link this is into the entire design. He liked my box idea to show the moving seasons and time passing but suggested I could take it further by making a bolder statement with them and  to demonstrate the river bed of the stream rather than my bullrushes  as well as use them as containers within  the set. Which I think are both great ideas. He also suggested visiting my settings to get a better idea of the feel I need to recreate.

Existing set design that needs some serious rethinking. Set to the first scene - 'banks of a stream' this representation is quite naturalistic and straight forward where as I want to create something more suggestive and surreal. 

Reflection:
These tutorials have given me the spark I needed to rethink my set design and make it much more intelligent. I plan to visit the stream in bournemouth town center and make observations and take photographs of it to pin point how to demonstrate a stream in a naive format. I will use this research to play with the box idea and see what can be created from them.

SP First Week and fabric sampling

A week that couldn't have been any crazier! Great to meet my costume makers and extremely excited to get things underway although I have found rereading through my sketchbook very helpful as it is rather a long time since I finalised my costume designs! The girls are all extremely talented and already are very enthusiastic, I am very lucky to have such a knowledgable team. Having had our first meeting where I described the designs ans the textures/silhouettes I want Grace (my costume supervisor) and I decided to jump in and search for fabric samples in London on Thursday as the suit fabric particularly needs to be found asap. Having scrutinised the collections of both Berwick Street and Shepherds Bush  we found some fantastic polyester chiffons that were as perfect as the silks we initially found and a third of the price. Overall it was very successful as we gathered a variety of textured fabrics for Emily to start experimenting with for the Devil costume as well as added bits such as iridescent feathers, leather and fur trimmings that will add to its magnificence. The dress fabric search was also fruitful with the correct colours found in the right textures at reasonable prices. The suiting was less so with the absence of Textile King we struggled so plan to ask Anushka's opinion of their appropriate weight etc. on our samples to aid the decision. (Sadly our final choice was gone when Amy went to purchase it so we have continued to look in the archive, online and with local suppliers.) As for the Soldier we found some apropriate shirt fabrics but will see if we can find the equivalent at a lower price.
Reflection: I can see that as a designer I will need to learn to make some compromises, especially where fabric is concerned, but also be resourceful to ensure any I do make won't effect the overall character of design. I am happy with our first sampling visit, how we managed our time, did thorough research and kept our focus on the task in hand. Having these samples to hand with company names and prices will make it much easier to order efficiently and be aware of the fabrics available when we come to order.

Textures seen in London!

Here are a selection of fabrics from our visit to London displaying textures that I really liked but that weren't quite appropriate for the textural element of the Devil costume. I plan to show these to Emily who is making the Devil Costume and see how could she could create these textures herself in the fabrics we did buy through fabric manipulation and dyeing.

 The texture of the above fabric I loved for it's leathery feathered look - gives great bulk and texture and would catch the light subtly yet beautifully.

I loved the feathery organic nature of this fabric given by the frayed edge. We purchased a fabric of a similar texture so Emily could create a similar effect but in the correct colour scheme as this is quite garish.

This fabric is quite bold but the laser cut technique could be applied to a fabric for the Devils leaves/feathers but in the correct shape. It would mean that many could be cut at once then added in strips to the costume itself which may save her much time. 

Love the hairiness of this fabric and the subtle yet animal print like pattern that is enhanced by the texture. This hairiness could be created by fraying the fabric edges to give a wispy, stand up edge. I would also like to see whether a ripple affect like this could be recreated in the dye room.