Bruegel Costume Project

Bruegel Costume.

The brief for the Bruegel costume project was to create one of the costumes of one of the characters in the The Wedding Dance, 1566 by Pieter Brue. My group picked the man, we chose is the one in the bottom right hand corner in the red box which I added to identify him easier.

The project involved us forming groups of four or five and anaylising the picture to determine what the material would have been, the placement of the seems and the shapes of the garments.

The pattern laying proved to be very time consuming and at times, difficult. 

The fabrics were already coloured and where made from a cotton/wool fibre. We only had twelve lessons to construct this costume and therefore didnt really have the time to use for dying the fabric ourselves. 

Making the costume went fairly well, it didn't take too long to put together once all of the pattern pieces were drawn and cut out. 

Zoe was our model so all the measurements were taken from her at the beginning of the project. After the garment body was put together we then had to fit the trousers to her. The fitting went well and didn't take very long to do.

The finish costume involved a doublet, Jerkin, Hose and a codpiece and all the garments fitted well together. 

This is the final outcome.

3D Model Making.

Brief: To create a model in white card that is a 3D conceptual response to a piece of text. This is not a set design; it is a conceptually inspired sculpture. The model should include at least one cut 1:25 scale figure and for that scale to relate to the rest of the model. The whole sculpture should not occupy more than a cubic 40cm. It can be viewed from any angle that you choose.

The script that we were given was of a small section of the play 'A Midsummer Night's Dream' act II scene 1 where Oberon and Titania are in the forests talking about the happenings around them.
The section that stayed in my mind about the script was the forest in which the characters are stood in. In my mind before actually analysing the section of the scripted I saw a picture perfect scene with fresh tall green trees and the entire scene very quaint. However after spending a lot of time working as a group our analysis depicted a very different scene. 
The brief was for us to take a surrealistic approach to creating a 3D model taken from the small but very detailed section of the script. I thought that the trees were the most interesting feature and I found that they stuck in my head. 
Because of the time of year that we were given this project, the sun stayed low in the sky and depicted this silhouette of the tree outside my window onto my wall. 

The Construction: 

I decided to go with the imagery of trees. The idea was to show both worlds, the human world and the land of the fairies. This picture to the left shows the tree the right way up. 

Constructing the whole thing took around 36 hours to make and dry. 

The main body of the tree was made by cutting two shapes out of mount board, making sure that the top of the trees are flat and even for a better surface for it to stand on. 

The main body of the tree was constructed out of mount board. I cut one of the trees in half and stuck the two pieces onto either side of the other tree. By using news paper I bulked out the tree and used tissue paper to finish it off. 

The roots took the longest to bulk out, the card could only be layered with tissue paper and every layer had to semi-dry before adding more. 

Below are two images of the finished project. The idea of two world linked together by  the roots of the trees. Ideally a full scale piece would fit for two levels showing two different perspectives, however with the ability to only see one side of the world or the other. 

Saturday Night & Sunday Morning pt.1

Saturday Night & Sunday Morning pt.1 Research.

Film...
Brenda's sister -Major missing character.
Burt's mate - Major added character.
Scene added - Goose Fair

Big changes...
Aim: You get a different sense for Arthur
   > More of a bastard in the film.
   > Warmed more to Arthur's mannerisms. 

Arthur treats Brenda worse in the film than in the book
Less anger about society and marriage in the film. 


Research into...

• Socially realistic film
• Pub culture
• try and watch at Sporting Life
• try and watch Loneliness of a long distance runner 
• Cathy come home (documentary drama) 

First time ever viewed in such a way of working class life.

Historically - End or WW2, huge expectations from people about social and ergonomically.

Labour Gov - Create health system

Economy began to bloom 1950's virtually full employment

Young people with money in their pocket but very bored.

Young people didn't want to be like their parents.

1960's political problem

1968 Student revolt?

People being wealthier but bored out of their minds.

• Rise of youth 
• Music
• Fashion
• Environment - cinema
• political

> Womens position

> 1967 abortion 

     > Backstreets

> Trade union

> Communist and Labour party

> Geography Notts

> Rayleigh Factory

> Factories

> Political, social and economic backgrounds.

Designing with Light.

Designing with Light.

Chris Ellis.

Masterclass.

An insight into how Lighting Designers works with the rest of the creative team.

First impression are very important. 

    The lighting of an auditorium before the performance can be influenced to create a scene. 

Design approach:

• Script/music/director
• Scene desgin
• Camera work
• Stars - 'jewel like'
• Pace

Side light is important because it can make the performer stand out against a fabulous background.

Look at...

Maria Bjornson's model - stalls view, Prison camp in Siberia.

George Souglides' costume design.

- Projection can be the answer to a lack of scenery.

Front cloth - used to do scene changes. (CCTA)

Scottish Opera,

Tim Hetley > Ariadne

CGI is where things are right now! Always have someone who knows how to use it.

Working with Light.

Working with a Light Designer.

Masterclass.

Notes.

• Lighting is crucial to any composition.
• Think what effect or feeling the lighting needs to be

"I never saw an ugly thing in my life; for letting the object be what it may - light, shade and perspective will always make it beautiful" 

   John Constable 1776-1837

Q: How does the physical set influence the lighting?

A: An example of a situation where a problem has been solved ... 

     A naturalistic play had windows in the side wall. For the main lighting to illuminate the stage, but the problem was that the audience could see the lighting source and people off stage. They solved these problems by replacing the glass in the windows with an old looking frosted perspex, this worked well because it made the windows look naturally old.

Q: Does the play require the lighting to convey certain information, and if so, does the set allow for this?

A: ?

Q: How would you describe the aesthetics?

A: If you have a small room > set with a small window. it makes the light very naturalistic as it bounces around the room, off the walls and ceiling.

Q: Are specific materials required to achieve certain effects?

Gause: A material to help make BP more 3D. You can project or dry wash onto it.

Dry Wash: Doesn't clog up the holes in the gause meaning the light can not pass through.

BP Screen: Fabric that takes light very well. Reflects light really well so if you don't want it to  reflect the light as much just put a piece of black gause in front of it.

Strobe Lighing: Flashing lightning effect.

White takes colour very well, sometimes too well.

Q: How will costumes work with the light?

A:?

Q: How might the lighting be used to define space, or suggest location?

A: ?

Q: How does colour send emotion?

A: ?

Q: Does the design already incorporate elements of light?

A: ?

Q: How might lighting influence the design?

A: ?

Practical lights, light up everything so you have to have them on a low level.

Q: Is there scope to introduce alternative light sources?

A: ? 

Masking: is to hide the light source.