CDG - The Costume Designer

Fall 2017

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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 EDITOR IN CHIEF Anna Wyckoff ASSOCIATE EDITORS Bonnie Nipar Christine Cover Ferro PRESIDENT Salvador Perez VICE PRESIDENT Cate Adair SECRETARY Ivy Thaide TREASURER Nanrose Buchman EXECUTIVE BOARD Mary Vogt Christopher Lawrence Julie Weiss Mona May Phillip Boutté Jr. Costume Illustrators Representative Kristine Haag ACD Representative LABOR REPRESENTATIVES Betty Madden Sharon Day BOARD ALTERNATES Kristin Burke Jennifer Soulages Lyn Paolo Terry Gordon BOARD OF TRUSTEES Jacqueline Saint Anne Cliff Chally Barbara Inglehart ALTERNATE TRUSTEE Dorothy Amos EXECUTIVE DIRECTOR Rachael M. Stanley ASSISTANT EXECUTIVE DIRECTOR Brigitta Romanov MEMBER SERVICES ADMINISTRATOR Suzanne Huntington RECEPTIONIST/SECRETARY Cecilia Granados PUBLISHER IngleDodd Media ADVERTISING 310.207.4410

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