Browsing by Subject "Costume technology"
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Item A queen and her prints : a study in 3D modeling and printing for theatrical costumes(2019-05-08) Lopez, Vanessa Jeanette; Glavan, James3D printing is not new technology. In our current day, it offers us endless design opportunities and manufacturers of 3D printers have made them as user intuitive as possible. Yet even with the exponential growth in accessibility to the mainstream consumer market, 3D printers are still not commonly found in most costume shops around the nation. The exception being larger commercial shops with corresponding larger budgets. Upon having casual conversations with my peers in various costume shops, the common consensus is that the 3D workflow process appears to be overcomplicated, especially for us drapers who are not traditionally trained in vector and modeling software. For my MFA thesis, my objective was to obtain a better understanding of why costumers tend to stray away from 3D printing, and also as a costume technician and crafts artisan, I wanted to know what specific pros and cons 3D printing offered my current existing costume making workflow. I also wanted to understand how easily this technology could be incorporated into my already existing skill set considering I was a novice who had never encountered any sort of modeling software prior. To do this, I designed and built a stylized peacock inspired costume for the character ‘Titania’ from William Shakespeare’s A Midsummer Night’s Dream with the intention that her base garment would be constructed using traditional dressmaking techniques, and her jewelry, crown, and feathers would be fabricated digitally on a 3D printer. I wanted to ensure that this project was for the benefit of the everyday 3D workflow novice specializing in costuming, like myself, so a lot of choices in my project were dictated by ease of use and lower costs. This culminated in me sharing my research and final peacock costume at the annual United States Institute for Theatre Technology stage expo and conference to a room full of costume professionals and enthusiasts.Item Bio light : replicating sea animal bodies and movement through costume technology(2013-05) MacCorkle, Susan Allison; Glavan, James; Mickey, SusanBio Light: Replicating Sea Animal Bodies and Movement is a project that seeks to answer several questions: How much of the human body can be obscured by a costume while maintaining full range of motion? What materials can be used to best affect when building animal costumes with fluid movements? These questions were answered by building two experimental costumes that required systematic testing of materials. The animals designed and built were a Greater Blue-Ringed Octopus and a Leafy Sea Dragon. The animals are as realistic as possible with highly detailed features and skin textures. The shape of the animals is as true to nature as possible while still giving the operator a wide range of movement. Each animal has a distinctly different anatomy, skin quality and locomotion allowing for a broader assessment of materials and experimentation.Item Bloodthirsty fiends : an exploration of puppet fabrication and Beowulf(2017-05) Reid, Alison Jo; Glavan, JamesThis Graduate Thesis in Costume Technology is an exploration of Beowulf through puppet technology. Working with a playwright and a team of composers and designers, I mounted an original play, “Bloodthirsty Fiends,” as part of the Cohen New Works Festival at the University of Texas at Austin in April 2017. For the production of “Bloodthirsty Fiends” I designed and constructed a twenty-two inch tall marionette of Beowulf, a four foot tall puppet of Grendel and a nine foot tall walk-around puppet of Grendel’s Mother. Additionally, I created shadow puppets using a laser cutter. By combining old construction methods, such as sculpting and molding, with new techniques, such as laser cutting, this project aimed to find a better way to create large and small scale puppets. “Bloodthirsty Fiends” reimagined the character of Beowulf by questioning the motives and heroism behind his quest for glory. This was accomplished by creating a new script with original music composed and performed by the string quartet, Invoke. This new script developed the motivation behind Grendel’s Mother’s quest for vengeance, giving her agency and character unseen in the original text of Beowulf. In this play, all monsters and men were presented as bloodthirsty fiends. This new interpretation of Beowulf culminated in a scarier and more sympathetic interpretation of Grendel’s Mother, as portrayed by a larger-than-life walk-around puppet.Item Blossoming - the application of using the Nitinol alloy, - the shape memory wire(2019-05-07) Chen, Chun Kang; Glavan, JamesIn the multiple and huge costume field, any idea will be possible. Costume technicians operate multiple skills to represent the design from the costume designer. This project is using the Nitinol Alloy, the Shape Memory Wire, which changes shape by temperature, in combination with fabrics to represent the blossoming of flowers. The main idea is trying to use the different materials which I never used or which never been used with (theatre) costumes and developing the material to another possibility. The result of this thesis could provide a possibility to the costume designerItem Bolstered : armor and the stage(2016-05) Womble, Kristin Kara; Glavan, James; Ortel, Sven; Habeck, MichelleBy creating three distinctly different suits of armor, I am exploring how lighting and projected media can be used to transform the surface and emphasize the architecture of costumes. Working with a Costume Designer, together we found inspiration in historical research and modern art, from which she created renderings for me to base my work. I have chosen to work with three distinctly different materials for the creation of these pieces: thermoplastic, leather and fiberglass. I chose these materials primarily because crafts artisans in the theatre most often use them to create armor, and secondarily because I have varying levels of knowledge in the use of each medium. I began the project with a vast knowledge of thermoplastic, a base level of comfort with leather and no experience with fiberglass. I have been able to gain training in thermoplastic and leather through the Costume Technology program here at the University of Texas at Austin; for fiberglass however, I have been charged with finding another source of expertise. Through my family’s long history in the automotive collision repair industry, I have had the opportunity to train under an experienced fiberglass/paint technician, as well as having access to the facilities required to generate the pieces. Using music and choreography, I endeavor to create a performance that showcases how each material interacts with lighting, projections, and the mobility, or lack there of, in the pieces. I am studying the dancers movements, while also gathering impertinent information regarding how each piece reacts under different media treatments.Item Costuming across borders : a cultural costuming database(2020-05-09) Gashette, Samantha Jo Lynn; Glavan, JamesGlobalization has increasingly connected societies around the world. This connection has sparked a renaissance within theatre and encouraged designers to take a closer look at representation of cultural dress onstage. Where in the past costume designers and audiences relied on stereotypes to portray a specific culture, we now look for accurate historical information to inform our choices on color, silhouette, fabric selections, and construction techniques. As cultural consciousness grows, there is an ever-increasing need for peer-reviewed research that is easily accessible and reliable. To answer this need, I wanted to explore the methods traditionally used to research cultural costume pieces and how we could improve accessibility and reliability for costumers and the general public. I started by researching what sources existed for cultural costuming research as I took on investigations of the Jalisco ribbon dress from ballet folklórico of Mexico and the South Korean hanbok from the late Joseon Dynasty. I found that what information does exist is scattered across various libraries and web platforms, is often unverified, or is distant from our topic, which may have never been researched. Consequently, many costumers turn to unreliable sources of information. These issues within the research process led me to explore the usefulness of a cultural costume online database which would host peer-reviewed literature, images, interviews, and how-to instructional videos on cultural costumes. I interviewed professionals who identify with the cultural pieces represented and extensively examined the existing literature. I finished my exploration by using my newly acquired knowledge to make a how-to informational video that introduced the construction methods and historical significance of the Jalisco costume. I constructed a version of both costumes myself and documented the experience. The culmination of my thesis exploration was the creation of the web database itself. I tested the effectiveness of the website in two stages. First with cognitive interviews conducted by a costume designer, a costume technician, and a web developer, then with a survey conducted through the website. This data was used circularly to improve the webpage and establish it as an ever-growing source of reliable cultural costume information for theatre professionals.Item Draping digitally : an investigation of digital pattern making for the costume technician(2023-04-18) Dickerson, Emma Rachel; Arevalo, David; Dawson, KathrynThis MFA Thesis in Costume Technology covers the experience of a costume technician investigating and implementing a workflow for digital pattern making using Clo 360, a program developed for pattern making for the fashion industry. In this paper, I have explored the factors that shape the choices that costume technicians and designers make regarding how to drape a garment. Specifically, I compare the workflow of traditional garment draping methods to a digital draping modality using a quasi-experimental design approach. I begin with findings from a series of semi-structured interviews with industry professionals, including Cynthia (Cindy) Settje, Sarah Thornell, and Kathleen Lothringer. Then, I share a brief history of patternmaking in relation to costume making and different roles that exist in the industry. Next, I describe my case study which compares a traditional draping process to a digital draping process while investigating the advantages and possible pitfalls for this new technology. I conclude with my findings that discuss which situations in which the costuming could be optimized by Clo 360 or other digital pattern making software and argue for the progress and integration of new technologies to compliment and enhance traditional methods.Item Homage to handmade : an exploration of pre-industrial needlework(2020-08-17) Harrington, Joseph Henry, III; Glavan, JamesThe idea for Homage to Handmade: An Exploration of Pre-Industrial Needlework arrived during a classmate’s thesis presentation about potential applications of 3-D printing for theatre costuming. A jacket button or textile, for example, could be 3-D modeled, providing a designer with precisely what they want, and a large quantity of buttons or several yards of fabric could be produced quickly and inexpensively. Her presentation was fascinating and I knew she would do well with her study, but my mind began to wander down a path away from my colleagues. “What does the 3-D printer mean for people who work with their hands?” I thought to myself. “If textiles, and buttons can be so quickly fabricated, will the skills of sculptors and weavers be valued in the future? Will those skills be taught or will they eventually become forgotten and obsolete?” I looked around the room and listened to the feedback of my peers and remembered how few people share my perspective on technology. As the discussion carried on I wrote down my new thesis idea in my notebook. My thesis objective is to build a wig, sew a shirt, coat, waistcoat, and breeches in the style of an 18th century gentleman entirely by hand, id est, without the help of a sewing machine. The shirt will have handmade bobbin lace sewn to the neck opening bosom ruffle, and the waistcoat will be embellished with hand embroidery. These garments and hand processes serve two purposes. On the surface they will be pieces for my portfolio and a personal exercise in refining my needlework skills and acquiring additional ones. I enjoy sewing and take great pride in the process of making. But more profoundly, these items will be a physical representation of disenchantment with new technology. They represent a hope to maintain traditional craft while much of the world is in awe of technological progress. Through my needlework not only will I learn about creating historical garments and wigs, but I begin to answer the question, “why would anyone in this century choose to make something by hand?” This project is the beginning of a lifelong explorationItem Playing with masks : an exploration of craft and performance(2014-05) Kurz, Danielle Haskell; Glavan, JamesCollaboration between the playwright, director, designer and technicians is the backbone of theater. Costume designers, after discussion with the director and the other designers, rely on costume technicians to realize their ideas. The technician’s hands then realize the artistic vision. But what would the technicians try if there were no constraints? I am a technician, a craftsperson who is inspired not just by the play, but also by process, by methods. With every new technique I learn, I imagine the new ways it could be put to use, and the objects I would create if time and resources were not a factor. Imagined objects are seldom created. Once made, these objects exist without a performance, without a purpose. A costume not worn is an unfulfilled destiny. But maybe the pieces I want to make can be given a narrative after the act of construction, or during construction. I’m interested in exploring my ability to be a generative artist. How can my inspiration feed back into the theater community? Can a costume technician’s experimentation have a place in creating new theater? My thesis has two components, exploring my two interests. Those two interests are the creation of objects and the creation of a story. The first component, object creation, was an exploratory study of mask and headdress making techniques. I experimented with new techniques, such as 3-D printing, testing the limitations of new technology. The second component, story creation, was a collaborative process. My collaborator, Brian Oglesby, and I worked concurrently. Brian is a playwright, and as he wrote the play, I made the objects. Our processes mirrored each other. The narrative of the play incorporated the masks and headpieces I made. This project created a theater piece based on the experimentation of a costume technician, and presents a new way for future technicians to think about their work and to have their stories told.Item Tailoring for the visual learner : the vest(2012-05) Berthelette, Renée C.; Glavan, James; Otte, CharlesThe foundation of Tailoring for the Visual Learner is the exploration of new and creative approaches to preserve, promote, and pass on the art of individually handcrafted menswear for theatre and film. This project culminated in the creation of an instructional video guide unlike anything currently available on the market. Using high definition cameras and a team of highly skilled professionals, I produced, wrote, directed and hosted an instructional video that takes the viewer through every step of the creation of a hand tailored vest: from fabric preparation and drafting to the final fitting. Instruction utilizes a modern voice aimed at early career sewing professionals who wish to advance, and seek an alternative to confusing drafting books or incomplete online tutorials that avoid the features of a truly well constructed garment. By combining up close camera work with textual explanations, graphics, and verbal explanations, I have created a new approach to tailoring instruction aimed at visual learners, who make up a large majority of costuming professionals. By taking the viewer through the tailoring process up close and step-by-step, the time-honored tradition of tailoring is now available and affordable to countless artisans who seek to advance and/or teach their craft.Item The female trickster puppet project(2023-04-21) Kenyon, Aurora Willow; Arevalo, David; Dossett, Lara R; Glavan, James J; Arevalo, David AIn this thesis I describe the process, from concept to performance, of creating a short, educational play for young audiences that featured puppetry and storytelling. It describes how I collaborated with other University of Texas students to produce a show for young audiences about Lady White Snake, a female trickster character drawn from Chinese folklore and literature. The character of Lady White was embodied by a child sized puppet, somewhat reminiscent of Japanese Bunraku puppets. The Introduction explains my interest in trickster tales as a form of storytelling for children and how Puppets will enhance the story. Chapter 1 I review of the literature that led me to a definition of “Trickster” that includes female and gender fluid individuals. I also talk about the challenges of finding trickster characters and stories suitable to a puppet show for young audiences. I suggest that tricksters, as agents of change, can provide a model for young people to claim their own agency. The second chapter covers the evolution of the project from my original intent to tell three Trickster tales down to one tale. It includes a description of the collaborative process and the setbacks and challenges encountered in the planning phase. The third chapter describes the puppet design and build process in detail, beginning with an exploration of the puppets and performances that inspired the design choices.I describe the techniques and materials used to create a child-sized multi-person puppet. The fourth chapter covers the script, the rehearsal process, and the performances. It includes the author’s thoughts about how the performances were received. The conclusion discusses what I learned about planning and collaboration from the process.