A summary of the key findings of my Research
Following, the methods I originally planned, I have found that the ethnographic approach has enabled me to be flexible. Further developing methodological approaches when necessary, has supported the evolving nature of this investigation. My objective has been to investigate the potential of digital illustration for costume design. However, my inquiry has also investigated the core characteristics of costume design illustration. I have found that these two areas are integrated and that one intrinsically informs the other.
By investigating both the illustration style and techniques used by other designers I have gained further knowledge of the general subject area of costume design. However, it was correspondence with the designers, featured in chapter 2, which I found to be the most relevant to this inquiry. Due to the locality and availability of these designers, some of the interviews took place either over the phone or by e-mail, but where possible face to face interviews have been the main source by which I gathered primary data. At times, email prevented me from obtaining the in-depth answers that I had hoped for. However, it did open an interesting platform for debate and enabled the easy exchange of images.
A response to the research questions presented in chapter one:
Revisiting the questions presented in chapter one I presents a conclusive response based on the findings of this research. I have drawn from a tapestry of different sources and used these to inform my answers. What has been most prominent throughout this study is the amount of unexplored terrain on this subject, therefore, I have highlighted in my responses some potential areas for further investigation.
What results can be achieved when experimenting with digital mark making to support the rendering of costume design illustration?
In chapter one I proposed that, ‘my intention was to find techniques in digital illustration which could offer up the computer as a more attractive option for costume designers’ (Keeley, 2008 p 3). Chapter 8 goes on to explain my examination into digital mark making. Through these explorations, I was able to discover and expose techniques which could be used in costume illustration. Various methods were investigated including an investigation into the re-creation of costume illustration by other costume designers. By trying to reproduce illustration styles which were created by analogue methods, I have shown that digital techniques can produce similar results. In addition, the practice of copying designs allowed me to study in detail the motion of making ‘analogue style’ marks digitally. This process was greatly enhanced by the use of a graphic tablet and electronic stylus, without which, these results would not have been achieved. By using this equipment a designer can exercise control over the digital canvas. However, a physical shift needs to take place for a designer to be able to do this. Through the public trial, conducted as part of this investigation, and by reflecting on my own personal experience, I found that it takes time to get used to the correspondence between the motion of the stylus pen on the tablet and the marks that appear on screen. However, this is a small hurdle and once mastered the graphic tablet and stylus offers a freedom within the computer which I believe would be attractive to most costume designers, as it closely replicates a traditional approach to drawing. There is scope here for further research. A prolonged study of a group of costume designers using the graphic tablet for their practice may reveal more information on how this tool can best be used.
In addition, I have found from both teaching CAD, and through personal experience, that, the mindset of learning new computer packages first requires an individual to learn the technical processes needed to master the technology. Though this is important, the hardest part is to translate the technical knowledge and use the software creatively. Through the freedom gained from using the digital drawing equipment, I have discovered techniques which have developed both my technical competencies on the computer and my ability to draw in general. In particular, the method of drawing using different opacities has developed my sense of light and shade. Time and again throughout the study I found that, once I had overcome the technical learning curve, my creative results were enhanced through direct interaction with the technology. This may suggest that if computers are to become an essential tool for costume designers, the teaching of CAD should feature strongly in educational programmes. This would, therefore, give new designers the technical knowledge early in their development, allowing them to integrate this technology more naturally into their creative practice.
Throughout this investigation, I have enjoyed the experience of discovering new effects through happy accidents. Whether experimenting with collage, drawing with the graphic tablet or rendering scanned fabrics, the digital platform seems to have endless possibilities and it is often these accidental discoveries which, at times, produce the most interesting results. In particular, while exploring artistic approaches in digital collage I stumbled across a process which created a hand drawn effect on the skin of the character giving the collaged image a more stylistic representation.
There will always be more tools, filters and techniques needing further exploration, not only because each design project offers something new to discover, but because the technology continues to develop. Since starting this investigation a new version of Adobe Photoshop has been launched, offering new options to the digital designer. Keeping abreast of these developments has a cost implication. People in education, whether studying or teaching have the advantage in accessing these new software packages because of funding and educational discounts on offer. However, when talking with theatre designer Martin Morley, he shared his concern that the cost implications for individual freelance designers may put people off using digital techniques (Morley, 2008). This is easy enough to appreciate when you consider the cost of the new Adobe Photoshop CS3 is £569.88; an extensive cost for a designer to absorb (Adobe, 2008). However, once set-up, a designer then has the flexibility to be able to access the facilities available. Cheaper, less advanced software is available on the market which may be suitable to achieve similar results but a comparative exploration would be needed to confirm this. Though this investigation has not been concerned with the cost implication of using the digital platform, a further study into this would be useful and provide perhaps the most valuable information for a freelance costume designer. Discovering cost efficiency may be one of the key drivers in the future of digital costume design.
2. How can digital rendering inform my approach to designing costume?
There are many different technical elements to digital illustration that can benefit a costume designer. Indeed, one in particular, which I have experienced with some success, is the digital rendering of fabric. By sourcing the actual fabric of a costume I have been able to scan-in and render an illustration with the actual motif or pattern required. This has vastly developed my ability in effectively communicating the style of fabric for a costume. However, a great deal more research work could be done in areas such as the correct portrayal of the weight of fabric and the texture in the weave. Also, creating libraries of different fabric could be a effective tool for a future research based project.
Using libraries of sources, in fact, is a helpful tool, not only for fabric but for visual references and can be used to store drawings of different body shapes. Over a few years a costume designer could create an extensive personal resource library. When corresponding with costume designer Laura Crow. She mentioned that, ‘as a research bank, I use the computer all the time…I have over 25,000 photos archived for research’ (Crow, 2007). This method of saving images in this manner is an effective time-saving device for a designer.
Another benefit of using the digital platform is the ability to develop and edit your own drawings. As Ingham and Covey point out:
Following, the methods I originally planned, I have found that the ethnographic approach has enabled me to be flexible. Further developing methodological approaches when necessary, has supported the evolving nature of this investigation. My objective has been to investigate the potential of digital illustration for costume design. However, my inquiry has also investigated the core characteristics of costume design illustration. I have found that these two areas are integrated and that one intrinsically informs the other.
By investigating both the illustration style and techniques used by other designers I have gained further knowledge of the general subject area of costume design. However, it was correspondence with the designers, featured in chapter 2, which I found to be the most relevant to this inquiry. Due to the locality and availability of these designers, some of the interviews took place either over the phone or by e-mail, but where possible face to face interviews have been the main source by which I gathered primary data. At times, email prevented me from obtaining the in-depth answers that I had hoped for. However, it did open an interesting platform for debate and enabled the easy exchange of images.
A response to the research questions presented in chapter one:
Revisiting the questions presented in chapter one I presents a conclusive response based on the findings of this research. I have drawn from a tapestry of different sources and used these to inform my answers. What has been most prominent throughout this study is the amount of unexplored terrain on this subject, therefore, I have highlighted in my responses some potential areas for further investigation.
What results can be achieved when experimenting with digital mark making to support the rendering of costume design illustration?
In chapter one I proposed that, ‘my intention was to find techniques in digital illustration which could offer up the computer as a more attractive option for costume designers’ (Keeley, 2008 p 3). Chapter 8 goes on to explain my examination into digital mark making. Through these explorations, I was able to discover and expose techniques which could be used in costume illustration. Various methods were investigated including an investigation into the re-creation of costume illustration by other costume designers. By trying to reproduce illustration styles which were created by analogue methods, I have shown that digital techniques can produce similar results. In addition, the practice of copying designs allowed me to study in detail the motion of making ‘analogue style’ marks digitally. This process was greatly enhanced by the use of a graphic tablet and electronic stylus, without which, these results would not have been achieved. By using this equipment a designer can exercise control over the digital canvas. However, a physical shift needs to take place for a designer to be able to do this. Through the public trial, conducted as part of this investigation, and by reflecting on my own personal experience, I found that it takes time to get used to the correspondence between the motion of the stylus pen on the tablet and the marks that appear on screen. However, this is a small hurdle and once mastered the graphic tablet and stylus offers a freedom within the computer which I believe would be attractive to most costume designers, as it closely replicates a traditional approach to drawing. There is scope here for further research. A prolonged study of a group of costume designers using the graphic tablet for their practice may reveal more information on how this tool can best be used.
In addition, I have found from both teaching CAD, and through personal experience, that, the mindset of learning new computer packages first requires an individual to learn the technical processes needed to master the technology. Though this is important, the hardest part is to translate the technical knowledge and use the software creatively. Through the freedom gained from using the digital drawing equipment, I have discovered techniques which have developed both my technical competencies on the computer and my ability to draw in general. In particular, the method of drawing using different opacities has developed my sense of light and shade. Time and again throughout the study I found that, once I had overcome the technical learning curve, my creative results were enhanced through direct interaction with the technology. This may suggest that if computers are to become an essential tool for costume designers, the teaching of CAD should feature strongly in educational programmes. This would, therefore, give new designers the technical knowledge early in their development, allowing them to integrate this technology more naturally into their creative practice.
Throughout this investigation, I have enjoyed the experience of discovering new effects through happy accidents. Whether experimenting with collage, drawing with the graphic tablet or rendering scanned fabrics, the digital platform seems to have endless possibilities and it is often these accidental discoveries which, at times, produce the most interesting results. In particular, while exploring artistic approaches in digital collage I stumbled across a process which created a hand drawn effect on the skin of the character giving the collaged image a more stylistic representation.
There will always be more tools, filters and techniques needing further exploration, not only because each design project offers something new to discover, but because the technology continues to develop. Since starting this investigation a new version of Adobe Photoshop has been launched, offering new options to the digital designer. Keeping abreast of these developments has a cost implication. People in education, whether studying or teaching have the advantage in accessing these new software packages because of funding and educational discounts on offer. However, when talking with theatre designer Martin Morley, he shared his concern that the cost implications for individual freelance designers may put people off using digital techniques (Morley, 2008). This is easy enough to appreciate when you consider the cost of the new Adobe Photoshop CS3 is £569.88; an extensive cost for a designer to absorb (Adobe, 2008). However, once set-up, a designer then has the flexibility to be able to access the facilities available. Cheaper, less advanced software is available on the market which may be suitable to achieve similar results but a comparative exploration would be needed to confirm this. Though this investigation has not been concerned with the cost implication of using the digital platform, a further study into this would be useful and provide perhaps the most valuable information for a freelance costume designer. Discovering cost efficiency may be one of the key drivers in the future of digital costume design.
2. How can digital rendering inform my approach to designing costume?
There are many different technical elements to digital illustration that can benefit a costume designer. Indeed, one in particular, which I have experienced with some success, is the digital rendering of fabric. By sourcing the actual fabric of a costume I have been able to scan-in and render an illustration with the actual motif or pattern required. This has vastly developed my ability in effectively communicating the style of fabric for a costume. However, a great deal more research work could be done in areas such as the correct portrayal of the weight of fabric and the texture in the weave. Also, creating libraries of different fabric could be a effective tool for a future research based project.
Using libraries of sources, in fact, is a helpful tool, not only for fabric but for visual references and can be used to store drawings of different body shapes. Over a few years a costume designer could create an extensive personal resource library. When corresponding with costume designer Laura Crow. She mentioned that, ‘as a research bank, I use the computer all the time…I have over 25,000 photos archived for research’ (Crow, 2007). This method of saving images in this manner is an effective time-saving device for a designer.
Another benefit of using the digital platform is the ability to develop and edit your own drawings. As Ingham and Covey point out:
‘it is probably safe to say…that most costume designers, no matter how well
they draw, would like to draw better than they do, not just to have their
sketches look better but to facilitate the design process itself’ (Ingham and
Covey, 1992 p. 70 ).
Undoubtedly, the computer has given me the confidence to hand draw more freely because I now work in the knowledge that I will eventually scan the drawing into the computer and amend any mistakes. This process could be beneficial to a designer who struggles to illustrate their ideas effectively. Within my own teaching I have witnessed students rejoicing from the discovery that the computer can assist them to visually communicate exactly what they had imagined for a character. This reinforces the term ‘Computer Aided Design’ as it highlights that the computer can be used as a tool to ‘enhance’ or ‘aid’ design illustrations. As discussed in chapter 4. ‘it is the content of the design; the garments selected in the image and not the artistic skill applied to create it, in my opinion, which is indubitably the artistic skill of costume design’ (Keeley, 2008 p. 17). Therefore, the computer can be used to aid the process and benefit those who choose to engage with it.
Though this thesis is specifically about digital costume design, during its progress a secondary discussion arose, which explored the characteristics of a successful costume illustration. This thesis has been clear in stating that a costume illustration is just one step in the production process. The final design outcome is seen on stage in performance. Although certain elements of a design are essential in aiding communication, a designer must be eclectic in their approach. Indeed, during this study I have stated that consideration as to how a costume may be realised is crucial in this eclectic choice. Despite it being likely that no definitive conclusions can be drawn on the characteristics of a successful costume illustration, I have found it extremely rewarding to have generated and engaged in a discussion of this nature with a variety of practitioners, students and educators. It has allowed me to expand my own knowledge of how costume designs are read by those how use them. Gathering the data has informed my understanding of visual communication and my practice as a costume designer and educator.
What are the current practices of costume designers who use this tool and what can I learn from their experience?
Engaging with other practitioners has been fascinating because when embarking on this investigation my knowledge into other practices was limited. I have been most surprised by the amount of designers using the digital platform and in particular the array of computer generated images on display at both the SBTD and the PQ exhibitions in 2007. Though the medium did not dominate these exhibitions it was evident that there was a distinct move towards using the digital tool to enhance costume illustration. Asking theatre designer, Bec’s Andrews what effect CAD has had on her as a designer, she commented on how it has raised her profile. ‘I think … people respond to them because they are quite unusual’ (Andrews, 2008). This positive reaction presents a change in attitude towards digital rendering and perhaps will result in further developments in this field in future exhibitions.
Personally corresponding with different designers has confirmed many of the technical advantages that I have experienced with CAD. The most prominent response from the designers I spoke to was the ability to edit and revise designs with ease. This process adds options for a designer, which may not be possible otherwise. Indeed, in my own work I have found this method useful. I have also found that the ability to edit images, not only offers the possibility of presenting several costume options, but by making a few subtle changes, a costume designer can depict a costume change without starting the image from scratch. Many other time-saving factors were identified by the practitioners and chapter 2 gives a detailed explanation of their practice. An analysis of these practices has informed my own technical approaches and confirmed some of the methods I use.
One outcome of this research is the exposure of current practice in digital costume design. I have found that little has been written on this subject and the most interesting discoveries have been in the practice of designers currently using this tool. Looking at and discussing practical work with the costume designers I corresponded with has highlighted how diverse this tool can be. In particular, it has been interesting to discover Nic Ularu’s unique approach of using the computer as just a stepping stone in the illustration process. As discussed in chapter 2, Ularu continues to develop an image with analogue methods once a design has been printed out. This notion could be further investigated to see what results could be achieved when costume illustration is created by combining digital and analogue methods in a mixed-media approach. For example, it would be interesting to see the fusion of inks over a digital drawing produced in the same fashion as the designs for Mary Barton. The combination of analogue and digital methods may add an aesthetic factor, which I have not yet discovered.
What can I learn about the practice of digital costume illustration from the responses gathered from directors, actors and wardrobe personnel?
The case study as discussed in chapters 9 to 14 gave me the platform on which to interact with theatre practitioners in a way that I had not previously considered. I have endeavoured to focus my analysis on the response to digital illustration, but have also been able to observe the nuances of the relationships within a theatre production team. These interesting observations have developed my general approach as a costume design practitioner. In particular, by working with three different directors simultaneously, I have observed how the personality of a director can influence the approach taken when designing costumes. Adapting the style of illustration or the mode of displaying visual information was greatly influenced by the relationship that I developed with each specific director. Though this did not change the media I used, it did influence the clarity of line, depiction of historical accuracy and the layout of the concept and design pages.
By showing the majority of the development work to the directors in a virtual format I was able to monitor responses to this mode of presentation. Though little negativity was expressed by any of the directors, I did note more interaction by the production team when one of the presentations was presented in hard copy as opposed to on the screen.
Using digital media when developing ideas and integrating it at the conceptual and realisation stage of the process has scope for further investigation. This could include looking into the psychological response of the viewer when the digital approach is used or whether or not the digital tool can further aid the visual realisation of a production by introducing a 3D element? How useful would it be for a director to see digital representations evolve as their ideas for the character develop and could the process of digital drawing impact on design solutions? Is there mileage in producing designs in digital format only, providing the wardrobe supervisor with the opportunity of switching off layers to reveal underclothing? Are there environmental and cost benefits for not printing a digital costume design and could a design, which remains virtual be realised effectively? It would also be interesting to analyse when and where it would be more effective to present designs digitally and if it affected their function. These questions are just some that have been sparked from using this tool in a live situation.
Final Statement
This study presents strong ideas and practical discoveries about digital costume design. It also reveals areas for further investigation. The pragmatic approach makes it distinctive but also complimentary to other research in this subject.
While undertaking this study I have developed both artistically and technically. The knowledge I have gained will continue to shape my practice. I now have a deeper insight into the theatre design community, both nationally and internationally which has opened up a spectrum of opportunities. Most noticeable has been the development of relationships with other practitioners using the digital platform. Before embarking on this investigation I was unaware of how diverse the practice in digital illustration for costume design was. This study has exposed a number of practitioners and further highlighted established designers who are using this tool.
The technical exploration has further stimulated my curiosity and this inquisitiveness will continue to grow after this specific investigation is over. Extracting valuable evidence from this investigation had been essential in drawing attention to new discoveries and technical processes. As a Higher Education lecturer this Masters Study has been a giant stepping- stone in my academic career and the transfer of knowledge is already benefitting my students through the content of my pedagogic practice. This, in turn, has led to further integration of digital processes into the curriculum I teach.
While a great deal has been gained from learning how directors, actors and wardrobe supervisors respond to costume design in general, little was extracted about their specific response to designs produced by digital media. As long as the final product, the printed design, fulfils its function as a communication tool it is of little interest to the viewer how a design is created. This was not surprising. I can recognise that a costume designer must choose the media which best suits their ability to communicate effectively. I have found computer aided design to be the most suitable tool for my practice. Nevertheless, this study presents ideas and approaches to promote the digital platform as an option for other designers in creating illustrations. Methods have been discussed which could save time when revising and editing images, offering the designer more flexibility in their working practice. In addition, various artistic representations have been presented encouraging a notion that there are different results to be enjoyed from designs, which are created on the computer. Though hand rendered techniques will continue to be used, I have found that the digital platform is emerging as a valuable tool for costume designers. This thesis is only the start of exploration in this area.
