8 The Costume Designer Fall 2017
EDITOR'S NOTE
This is our second annual illustration issue, and I con-
tinue to be wowed by the skill of our illustrators. We
celebrate their sophistication and scope in a special
section. Contemporary costume illustration not only
captures the garment, it has become a visual blue-
print, which is brought to life in the final product.
On our fall cover, we feature illustrators Lena Lollis and Greg Hopwood.
Not only were they willing to strike a pose, they also undertook the cover
drawings which range from the 16th century to modern day in order to dem-
onstrate how a line can say so much. In a few strokes, they rendered period
and personality expertly and explicitly. This is the power of costume illustra-
tion: the ability to evoke a time period and personality in a drawing, be it
simple or complex.
Costume illustration is an essential part of the history of Costume Design,
but it also has continued to transform and thrive. A sketch commands your
attention. It is more than just a visual experience. It comes alive on the sur-
face of the page as the image clamors with clues to the psychology of the
character. A great costume illustration is as much a work of art as a finished
costume can be. Beyond storytelling, an illustration also has to function as a
roadmap to the costume builders. I believe this critical functionality is part
of the reason why they are so captivating.
In the article "The Working Sketch," we speak to Eduardo Castro, Julie
Weiss, Mary Vogt, and Mary Zophres, Costume Designers for whom drawing
is an integral part of their process. I find their illustrations inspirational
because of the vision they convey with great simplicity. As someone who
draws and paints, I want to encourage our members to use illustrators, and
when you can't, hone your own skills with the pencil, brush, and computer.
Illustrating a project becomes a way of outlining thoughts and developing a
character concept that will resonate throughout the production and into the
final cut. What's more, 21st-century audiences are fascinated by the work
behind the finished product, and as we draw characters, we also draw in that
audience. As in art, fealty to reality is trumped by confidence and emotion.
When you pick up the pencil or stylus, if you know the feeling you want to
convey, the lines will follow.
Anna Wyckoff
awyckoff@cdgia.com
EDITOR IN CHIEF
Anna Wyckoff
ASSOCIATE EDITORS
Bonnie Nipar
Christine Cover Ferro
PRESIDENT
Salvador Perez
sperez@cdgia.com
VICE PRESIDENT
Cate Adair
cadair@cdgia.com
SECRETARY
Ivy Thaide
ithaide@cdgia.com
TREASURER
Nanrose Buchman
nbuchman@cdgia.com
EXECUTIVE BOARD
Mary Vogt
mvogt@cdgia.com
Christopher Lawrence
clawrence@cdgia.com
Julie Weiss
jweiss@cdgia.com
Mona May
mmay@cdgia.com
Phillip Boutté Jr.
Costume Illustrators Representative
pboutte@cdgia.com
Kristine Haag
ACD Representative
khaag@cdgia.com
LABOR REPRESENTATIVES
Betty Madden
Sharon Day
BOARD ALTERNATES
Kristin Burke
kburke@cdgia.com
Jennifer Soulages
jsoulages@cdgia.com
Lyn Paolo
lpaolo@cdgia.com
Terry Gordon
tgordon@cdgia.com
BOARD OF TRUSTEES
Jacqueline Saint Anne
jsaintanne@cdgia.com
Cliff Chally
chally@cdgia.com
Barbara Inglehart
binglehart@cdgia.com
ALTERNATE TRUSTEE
Dorothy Amos
damos@cdgia.com
EXECUTIVE DIRECTOR
Rachael M. Stanley
rstanley@cdgia.com
ASSISTANT EXECUTIVE DIRECTOR
Brigitta Romanov
bromanov@cdgia.com
MEMBER SERVICES ADMINISTRATOR
Suzanne Huntington
shuntington@cdgia.com
RECEPTIONIST/SECRETARY
Cecilia Granados
cgranados@cdgia.com
PUBLISHER
IngleDodd Media
ADVERTISING
310.207.4410
cdg@IngleDodd.com
www.IngleDoddMedia.com
costumedesignersguild.com
