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2DCostumes Online version of the Exhibition | History of Fashion Design

2DCostumes Online version of the Exhibition

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2DCostumes, Costume Design Renderings

Online Exhibit

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Artist’s Statement

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1. Poster design and costume renderings for The Threepenny Opera, Theatre UAF/Opera Fairbanks, 1997, Uniball pen, drawing ink and watercolor.

 2. Wig renderings for the Beauty School Dropout scene in Grease, Theatre UAF, 1992, Prizmacolor marker on printer paper.

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3. Costume Renderings and roughs for Jack, Gwendolyn, Lady Bracknell, Prism, Cecily, and Algernon for The Importance of Being Earnest , 2000 .Theatre UAF, Photos, pencil and marker sketches processed and altered in Adobe Photoshop.

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4. Costume Renderings for the Tourists and the Narrators for Naam/Gen Eehu, Tuma Theatre/Theatre UAF, 1995, Uniball and Sharpie pen sketch copied onto cardstock, colored with watercolor.

5. Costume Renderings for Mamka’s on-stage transformation in A Russian Christmas Tale, Theatre UAF, 1991, Prizmacolor pencil on colored cardstock.

6. Costume Renderings for Shakespeare/Grumio, Katherina, Bianca, and Baptista for The Taming of the Shrew, Theatre UAF, 2004, Uniball and Sharpie pen sketches Copied onto cardstock and colored with watercolor.

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7. Costume Renderings for Don Juan, Donna Elvira and Sganerelle for  Don Juan, Theatre UAF, 2003, Uniball and Sharpie pen sketches Copied onto cardstock and colored with watercolor.

8. Costume Renderings for Jezebel, The Beast, Liberty, Uncle Sam, and Columbia for Yahoo Nation, Theatre UAF, 2001, drawing ink and watercolor on watercolor paper.

9. Costume Renderings for Tessie Tura, Mazeppa, Electra, Louise, a Showgirl, and a Chorus Girl for Gypsy, Fairbanks Light Opera Theatre, 1997, Uniball pen, watercolor and drawing ink on drawing paper.

10. Costume roughs and rendering for Slime for Kartasi, Theatre UAF, 2003, pen, pencil and marker on sketch paper.

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11. Costume Renderings for Sorath, the Law Sayer, Nasty Suit, Virgo and Lucy for Kartasi, Theatre UAF, 2003, pen, pencil and marker on sketch paper.

12. Costume Renderings for The Mikado, Piti-Sing, Pish-Tush, a member of the Male Chorus, and Ko-Ko for The Mikado, Theatre UAF/Opera Workshop, 1999, Uniball pen sketches Copied onto decorative rice paper, colored with watercolor and drawing ink, reverse-collaged with origami paper & Japanese newspaper.

13. Costume Renderings for Pooh-Bah, Katisha, Nanki-Poo, Yum-Yum, and a member of the Female Chorus for The Mikado,, Theatre UAF/Opera Workshop, 1999, Uniball pen sketches Copied onto decorative rice paper, colored with watercolor and drawing ink, reverse-collaged with origami paper & Japanese newspaper.

14.  Costume Renderings for Mme. Merteuil, Mme. Tourvel, M. Valmont, M. Danceny, and Cecile in Les Liaisons Dangereuses, Theatre UAF, 2002, Uniball and Sharpie pen sketches Copied onto cardstock, colored with watercolor and fabric swatches.

15. Costume Renderings for Mme. Rosamond, Mme. Volonges, Emelie, M. Valmont and Mme. Merteuil in Les Liaisons Dangereuses, Theatre UAF, 2002, Uniball and Sharpie pen sketches Copied onto cardstock, colored with watercolor and fabric swatches.

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16. Costume renderings for The Sphinx, The High Priestess, Death and The Hermit for The Grand Tarot, UAF Student Drama Association, 1997, Uniball pen, drawing ink, and watercolor on cardstock.

17. Costume renderings for The Empress, The Fool, The Hierophant and The Gypsy for The Grand Tarot,, UAF Student Drama Association, 1997, Uniball pen, drawing ink, and watercolor on cardstock.

18. Concept Statement and Costume Renderings for Claudio/Ensemble actor Sven Holmberg for Much Ado About Nothing,Theatre UAF, 1991, Uniball and Sharpie pen sketch, copied onto parchment, colored with drawing ink and gouache.

19. Omnigarment Diagrams and Costume Renderings for actors Rudy Silva and Robert Aronow who rotated the roles of Don Juan/Ensemble in Much Ado About Nothing, Theatre UAF, 1991, Uniball and Sharpie pen sketch, copied onto parchment, colored with drawing ink and gouache.

20. Unrealized Costume Renderings done in 1996 for The Bacchae, Theatre UAF, 1997, Uniball pen and watercolor on sketch paper.  This set of drawings was made while the director was on sabbatical in Korea and there was no way to contact him to see if the sketches were what he wanted.  On his return his wants were clearer and were satisfied with the next set of renderings, which we used.

 21. Costume Renderings for Pentheus, the Messenger, Dionysus, Tieresias, Cadmus and Agaue for The Bacchae, Theatre UAF, 1997, Uniball pen, watercolor and Prizmacolor marker on sketch paper.

22. Costume Renderings for Aemelia, The Courtesan, Antipholus of Ephesus, Dr. Pinch, and the two Merchants for The Comedy of Errors, Theatre UAF, 1995, Uniball pen and marker, copied onto cardstock, and colored with watercolor and markers.  Early silent movie comedies and the works of Russian Constructivist designers like Lyubov Popova, Sonya Delaunay Telk, and Alexandra Exter inspired our production of Comedy. Their painted costume styles mixed with the clichés of early screen comedy, allowed us to make a show that required almost no sewing.

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23.  Costume renderings for Touchstone and Rosalind from As You Like It, Theatre UAF, 1988, gouache on matteboard.

24. Costume Renderings for Candy, George, and Curley’s Wife in Of Mice and Men, Theatre UAF, 1989, Uniball pen, Prizmacolor pencil and gouache on paper bags.

25. Costume Sketches for Mere Ubu, Queen Rosamund, Ubu’s Coronation and The Disembraning Machine for Ubu Roi, Theatre UAF, 1991, Prizmacolor markers on posterboard.

26. Color copies of unrealized Costume Renderings for The Man and Members of the Crowd for Kiosk Man, Theatre Metamorphose (St. Petersburg), 1995, Uniball pen and watercolor on cardstock.

27. Costume Renderings for the Caterpillar, the King and Queen of Hearts, the 3 of Hearts, the Mad Hatter, and the March Hare for Alice in Wonderland, Theatre UAF, 1999, Aquarelle watercolor crayons and Uniball pen on watercolor paper.

28. Costume Renderings for Qayaq, Qimmiq, Qayaq’s Uncle, Raven, and Eagle for Qayaq the Magical Man, Tuma Theatre/Theatre UAF, 1991, Prizmacolor pencil on cardstock.

29. Color copies of Costume Renderings for Cat Timothea, The Clouds, Nina, the Mouse as Star, Uncle Petya and Cat Tsunami in Kolocochik Prostotak (The Bell that Rang for Itself), Theatre “Paris” (St. Petersburg), 1995, Uniball pen and watercolor on cardstock.

 30. Unrealized Costume Renderings for Maribelle, Pflufft, Mother Ghost, Uncle Ghost, Pegleg, Juan and Julian in Pflufft; The Little Ghost for Theatre “Paris” (St. Petersburg), 1997, Uniball pen and watercolor on cardstock.

31. Concept drawing and Costume Rendering for the Coulmier Family, Costume Rendering for the Marquis de Sade for The Persecution and Assassination of Jean-Paul Marat as performed by the Inmates of the Asylum at Charenton Under the Direction of the Marquis de Sade,  Theatre UAF, 1989, ballpoint (concept drawing), Prizmacolor pencil and fabric swatches (renderings)

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32. Concept drawings for Charlotte Corday, Jean-Paul Marat and the Marquis de Sade for The Persecution and Assassination of Jean-Paul Marat as performed by the Inmates of the Asylum at Charenton Under the Direction of the Marquis de Sade, Theatre UAF, 1989, collage & ballpoint on grocery bags and roll paper.

33. Costume Renderings for the Duperret and The Herald for The Persecution and Assassination of Jean-Paul Marat as performed by the Inmates of the Asylum at Charenton Under the Direction of the Marquis de Sade,  Theatre UAF, 1989, research Copy, Prizmacolor pencil and fabric swatches on roll paper.

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34.  Costume Renderings for Adelaide, Nathan Detroit, Scranton Slim, Brandy Bottle Bates and Honey for Guys ‘n’ Dolls,Fairbanks Light Opera Theatre, 1995, Uniball and Sharpie pen sketch, copied onto colored cardstock, colored with Prizmacolor marker.

35. Costume Renderings for Adelaide, Nathan Detroit, Society Max, Mimi, Brannigan, and Big Jule for Guys ‘n’ Dolls,, Fairbanks Light Opera Theatre, 1995, Uniball and Sharpie pen sketch, copied onto colored cardstock, colored with Prizmacolor marker.

36. Costume Renderings for George and Martha in Whose Afraid of Virginia Woolf?, Theatre UAF, 1997, Uniball pen and watercolor on watercolor paper.

37. Costume Renderings for Nick and Honey in Whose Afraid of Virginia Woolf? Theatre UAF, 1997, Uniball pen and watercolor on watercolor paper.

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38. Costume renderings and roughs for Pamina and Tamino from The Magic Flute, Theatre UAF, 1998, Uniball pen, drawing ink, watercolor, copied reference material collage, and fabric swatches on colored cardstock . The hieroglyphics on the flap on the front of the armor read “Tamino”. All the hieroglyphics used on any of the costumes in this show, including the hundreds spray-painted onto the chorus that only showed up under black-light, say things that make sense in the context of the show and the character wearing the costume.

39. Costume renderings and roughs for Slave Girls and Boy from The Magic Flute, Theatre UAF, 1998, Uniball pen, drawing ink, watercolor, copied reference material collage, and fabric swatches on colored cardstock.

40. Costume renderings and roughs for Monastatos and the Airy Spirits from The Magic Flute, Theatre UAF, 1998, Uniball pen, drawing ink, watercolor, copied reference material collage, and fabric swatches on colored cardstock.

41. Costume renderings for Pappagena and the Chorus from The Magic Flute, Theatre UAF, 1998, Uniball pen, drawing ink, watercolor, copied reference material collage, and fabric swatches on colored cardstock. The Chorus costumes were painted with “The Instructions of Phahotep” an Ancient Egyptian text similar in content to the song they sing in the scene where they test Tamino while wearing horrible masks.  The paint used was UV sensitive but translucent and similarly colored to their robes, so the text was invisible until the test scene lighting included black light.

42. Costume renderings and roughs for the Queen of the Night and her Ladies in Waiting from The Magic Flute, Theatre UAF, 1998, Uniball pen, drawing ink, watercolor, copied reference material collage, and fabric swatches. on colored cardstock.

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43. Costume Renderings, Poster designs and Sun Star clippings all relating to the Lysistrata Controversy, Lysistrata, Theatre UAF, 2002.

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44. Various poster designs for theatre classes and UAF campus events.  Most of these were designed, copied, and plastered across lower campus in 1-2 hours when it appeared a class or event would be under-attended.  They are a highly effective and cost-efficient form of advertising for our Department.

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45. Sketches, copies and renderings from Oedipus Rex, 2005, showing the steps used to create renderings in multiples.

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A process for making renderings in multiples: It is often advantageous to have two or more sets of costume renderings available during the production of a play. However, when doing costume renderings I find the most difficult part of the process is drawing the original sketches, with water-coloring the sketch taking only a small fraction of time.  Over time I have worked out that I can make sketching faster, by working with layers of tracing paper to twiddle a sketch till it is satisfactory, then use the copy machine to complete the graphic layout and make multiples of the sketch.  The final versions are copied onto cardstock, which accepts watercolor easily, and can be discarded and replaced if the painting step of the process goes awry.

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Special Online Only Extras: 

Some Items that were cut from the exhibit for space considerations:

Costume Sketches for Popova and Smirnov for The Bear, UAF Student Drama Association, 2004, Uniball pen on sketch paper.

Costume Renderings for Tim Timko and the Spokesmodel for Reckless, Theatre UAF, 1997, Uniball and sharpie pen colored with markers and watercolor on watercolor paper.

Costume Renderings for Miss Julie and Christine for Miss Julie, Theatre UAF, 2000, Uniball pen, watercolor and drawing ink on drawing paper.

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Costume Rendering for the three Alices in Alice in Wonderland, Theatre UAF, 2001, marker on drawing paper.[This was a different production than the 1999 Alice].

Costume Renderings for Mrs. X and Miss Y for The Stronger, Theatre UAF, 2000, Uniball pen, marker and drawing ink on drawing paper.

Image Map Of the Gallery: 

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 Scale Plan of the Gallery Layout

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