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THR361W, COSTUME DESIGN SYLLABUS fall 2011McIver 159PROFESSOR: DEBORAH BELL 12A Taylor Building, 334-4076
OFFICE HOURS: Tues/Thurs 9:30-11am or by appointment OFFICE PHONE with machine for 24-hour notice meetings: 334-4076. HOME PHONE with machine for 24-hour notice meetings: 299-3409 Email: deb_bell@uncg.edu Web page: http://www.uncg.edu/~dlbell/
COURSE GOALS:
TEXTS: The Costume Designer's Handbook by Ingham and Covey BOOKS ON RESERVE: Historic Costume for the Stage by Lucy Barton 20,000 Years of Fashion by Boucher The Book of Costume by Davenport The History of Costume by Blanche Payne Stage Costume Design by Douglas Russell The Chronicle of Western Fashion by John Peacock Tartuffe, by Moliere The Dramatic Imagination Robert Edmond Jones
COURSE REQUIREMENT BREAKDOWN16 pts: 8 written responses to the assigned eight chapters from Ingham that manage to highlight the important points of the chapter 10 pts: ***Well-organized essay comparing costume design to art and fashion. 5 pts: ***Written play analysis or outline (complete sentences) for Tartuffe revised using course Writing Tips page 5 pts: ***Initial Concept drafts 4 pts: Studio exercises (in preparation for research book) Color exercises—2 points 1 texture exercise—1 point Line exercises—1 point 10 pts: 10 examples of historical paintings (can place two to a page if desired—should be color photo copies) 10 pts: 2 full body costume examples for each character in Tartuffe, based on definitions of historical terms introduced in class for 17th century fashion, identify
definitions on the examples. Must use photo-copied examples from the Books on Reserve and/or other books in Jackson library for at least 70 % of the
collection. Internet sources from approved sites may constitute the final 30% of the collection.
20 pts: Tartuffe research book with 2 costume renderings presented in 17th century fashion
(including all previous drafts of play analysis, design concept statement, color, line, texture exercises) 20 pts: Final Design Project: 8 swatched and rendered sketches of characters from Tartuffe based on Research Book ideas
5 pts: ***Extra Credit: Written response to Robert E. Jones The Dramatic Imagination _____ 105 pts total *** designates formal writing ultimately expected that incorporates Writing Tips page
ACADEMIC HONOR CODE: Each student is required to sign the honor statement on all major work submitted for the course. Refer to the UNCG Academic Integrity Policy at the Dean of Undergraduate Students website.
ATTENDANCE: Attendance is expected and is taken into consideration when determining the overall course grade. You are responsible for making up missed course work and lectures.
ART SUPPLIES NEEDED: #2 pencil and eraser at all class periods. Old magazines for tearing out pages. A cheap watercolor set with brush is required. You may borrow someone's brush, share one with several other people, or buy your own, but it is your responsibility to have access to one.
OPTIONAL SUPPLIES: For renderings—I suggest a #10 watercolor brush, watercolor paper, colored pencils, pastels, felt-tips, inks, paper dolls.
PLAY ANALYSIS FORMAT: There are two versions for you to use. (Outline form is fine but use complete sentences.) 1. The play analysis found in the text by Ingham and Covey—uses an outline form. 2. The play analysis found in Douglas Russell's book on reserve (which bases his format on that found in Aristotle's Poetics) Genre, Plot, Characterization,
Theme, Spectacle, Musical Devices (rhythm), Dialogue.
ASSIGNMENTS DUE COURSE SCHEDULE
Aug. 22: intro./ photograph course members Aug. 24: dramatic tension/rhythm in characterization dramatic tension in magazine page Aug. 26: art/design/craft/fashion realism vs. abstraction
essay/Costume Design Compared to Aug. 29: scheduled 15-minute interviews with first draft of essay Art and Fashion Aug. 31: writing tips essay due Sept. 2: research book for designing Tartuffe introduced; expectations
Sept. 5: LABOR DAY read Tartuffe Sept. 7: Tartuffe Sept. 9: Tartuffe
chapter 1 Sept. 12: Tartuffe revised essay Sept. 14: Tartuffe play analysis in class Tartuffe play analysis Sept. 16: the production (Chapter 2) explorations for Tartuffe in class
chapter 2 Sept. 19: costume research Tartuffe production format Sept. 21: writing the concept statement/ examples concept statement for Tartuffe Sept. 23: group work on concept statements
revised play analysis Sept. 26: texture/rhythm/focus revised concept statement Sept. 28: collected swatches in costume shop texture swatches Sept. 30: line theory/rhythm/focus
chapter 3 Oct. 3: line exercise with partner (accessories for characterization) Oct. 5: sketch demo ½ class line exercise due Oct. 7: sketch demo ½ class
chapter 4 (first half) Oct. 10: FALL BREAK Oct. 12: color theory/rhythm/focus/color wheel chapter 4 (last half) Oct. 14: color exercise in class, introduce three color system exercise for research book chapter 6 Oct. 17: three color system exercise and identifying color systems in magazine advertisements color system exercise Oct. 19: color collage for Tartuffe – will be the research book cover) characters and mood as inspiration for color/line/texture
exercise to visually describe your production’s ambience and concept statement. Does a piece of music help identify a sense
of rhythm for you? Explain.
collage Oct. 21: color demo ½ class
revised three color systems Oct. 24: color demo ½ class chapter 5 Oct. 26: pre-production period and revised costume plot Oct. 28: Tartuffe considerations in 17th century fashion
10-17th century historical paintings Oct. 31: show and tell paintings—review historical terms Nov. 2: show and tell character samples ####Note: At least 70 % must use examples from costume history books in the Jackson library or reserve in library Nov. 4: review color, line, dramatic tension focus in classic paintings—review research book assignments
Nov. 7: studio work—work on two sketches to be included with research book Nov. 9: studio work for work on two sketches to be included with research book research book and preliminary 2 sketches
Nov. 11: studio work of 17th cent costumes for Tartuffe characters to be included in research book
Nov. 14: studio work—strive to complete first rendering for final design project chapter 7 Nov. 16: studio work— strive to complete second rendering for final design project Nov. 18: studio work—strive to complete third rendering for final design project
Nov. 21: studio work—strive to complete fourth rendering for final design project Nov. 23: THANKSGIVING Nov. 26: THANKSGIVING
chapter 8 Nov. 28: studio work—strive to complete fifth rendering for final design project Nov. 30: studio work—strive to complete sixth rendering for final design project Dec. 2: studio work—strive to complete seventh rendering for final design project
Dec. 5: cancelled for student reviews Dec. 6: READING DAY
FINAL EXAM, Dec. 12 at noon to 3pm—10 FINAL RENDERINGS (revisions of first two included previously in research book optional) SUBMIT RESEARCH BOOK AGAIN (with any desired revisions) WITH RENDERINGS
NOTE: MUST PRESENT DESIGNS TO QUALIFY FOR FULL CREDIT
DRAMATIC TENSION IN ADVERTISEMENT using line, color and texture to create focus and tension
Part A. Imagine yourself as one of the figures in a selected magazine advertisement. Describe briefly what you are doing in this “story” and why you personally are in it (masquerading as the figure at-hand).
Part B. What small details in the advertisement picture let the viewer clearly see the dramatic tension of your masquerade? Concentrate on color, line, and texture elements in the picture. Are there any elements that become rhythmic and/or contrast with others to aid in focusing the viewer’s attention and interest? Why should a viewer care to look at this masquerade? What is in it for the viewer?
In this masquerade, do you and the viewer hear music? If so, what type of music?
How specific is actual location for this scene? How specific is the season and time of day? How can you tell? Is season/climate important for this scene? Why?
Who else is with you? Or are you alone? Can you identify the other(s)?
What are you saying or thinking? What are other people in the picture saying or thinking?
If you were the creator of this advertisement, what would you want to change—if anything?
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