Browsing by Subject "Costume design"
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Item Business jacket design: preferences of working women(Texas Tech University, 1999-12) Yoo, SeulheeConsumer evaluation of apparel is believed to be affected by three factors: the aesthetic quality of apparel, personal characteristics of the viewer, and the environment. The majority of empirical studies document design factors influencing the aesthetic quality of apparel. A limited number of investigations have focused on individual characteristics of the viewer. Since individual subjectivity may influence the aesthetic evaluation process, this research investigated consumer characteristics in relation to aesthetic preference of apparel, the business jacket in particular. A national cross-section of 1,500 working women was drawn for the study through a random sampling technique by National Demographics & Lifestyles. Nine hypotheses were formulated to address the relationships between consumer design preference and: (a) design attributes, (b) personal characteristics, (c) psycho-social identity, (d) job-specific-situational characteristics, and (e) physical characteristics. The research instrument consisted of two parts: visual stimuli and a self-administered questionnaire. Visual stimuli were 18 black-and-white computer-generated drawings of business jackets developed to measure design preference. The questionnaire assessed design attributes and preferences utilizing Likert-type scales adapted from previous investigations. Questions were developed to determine physical characteristics, demographics, and consumer characteristics. Dillman's mail survey technique was utilized for collection of the research data. The final data base was comprised of 265 female respondents who wore business jackets to work at least once a week.Item Costuming for Shakespeare's Romeo and Juliet(Texas Tech University, 1964-08) Webb, Jesse EdgarNot availableItem Creating the costume history digital archive(2006-05) James, Sarah Helen; Glavan, JamesThe Costume History Digital Archive was created to sustain the costume history 35mm slide collection from the department of Theatre & Dance, and make it accessible to the University community at large. It is a flexible, living archive that I leave as my legacy to the University of Texas at Austin. Following are instructions of both how to use it and how to maintain it.Item Digital craft : handmade craft meets digital design(2011-05) Miller, Rebecca Leah; Glavan, James; Mickey, Susan E.; Sawyer, MargoDigital Craft is a project that explores the interface between three-dimensional (3-D) computer technology and costume technology. I combine seasoned millinery techniques with modern methods of object construction and design to diversify the costume artisan’s toolbox and encourage practical and useful ways of moving between the virtual and physical world. Through a series of theoretical projects the dichotomy of modern artistic process is explored. The task of this thesis project is to explore the impact of 3-D imaging software on design and construction methods by applying them to the sculptural process of hat making. I collaborate with designers and technicians to develop methods of hat making for performance culminating in an exhibition presented at the University Co-op Cohen New Works Festival, April 2011. This research is applied to cultivate new methods of hat making, by exploring new media and expanding creative possibilities. Craft objects are created directly through the hand of the maker; it is thorough technique that the hand informs the craft object (Risatti, 108). Furthermore, the traditional notion of tools and craft objects is that they are conditioned, controlled and limited by the hands. In order to update and improve methods of object construction, this project will expand the traditional concept of craft, combining hands-on methods with machining. I hope to improve efficiency and decrease the cost of realizing authentic and original hat designs by exploring alternative digital spaces that can be used to communicate, develop and actualize ideas.Item 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 Portfolio images(2006-05) Gritzer, Kimberly Marie; Schmidt, Robert N.This is a compilation of selected set and costume designs from my past three years as a MFA candidate in theatrical design at the University of Texas at Austin. I hope this portfolio will help launch my career as a theatrical designer. My primary focus is set design and my secondary interest is costume design. This portfolio represents my best work as a costume and set designer. Each design will include a number of images that range from production photographs to preliminary sketches.Item Scenic and costume design for "The Kentucky Cycle"(Texas Tech University, 2000-05) Greene, Yvette WeaverThis thesis describes the design project for the Texas Tech University Theatre production of The Kentucky Cycle, written by Robert Schenkkan. Texas Tech University Theatre produced this play 5-18 February 1996 as part of their Mainstage Season. The purpose of this paper is to demonstrate the development and execution of both the scenic and costume design processes as applied to this specific production. Although research plays an important role in the design process, the intent of this thesis is a demonstration of the design process rather than a demonstration of the scholarly research required by some degree programs.Item Sunyata : transfigurations in silk(2010-05) Schwartz, Ariana T.; Mickey, Susan E.; Isackes, RichardSunyata: Transfigurations in Silk was a live-process art event featuring silk painting, costume creation and dance. The event took place in the B. Iden Payne Theatre Lobby on the University of Texas at Austin campus over the course of a week, during which I endeavored to paint 560 square feet of white silk suspended in the space. The images I painted formed a personal creation narrative, inspired by the lived experience creating and archetypical themes from creation mythology, cosmogony and human development. Throughout the event, a steady stream of visitors passed through the installation, contributing inspiration to the process in the form of images, ideas, quotes and stories, and witnessed the active creating unfold over time. On the seventh day of the event, upon the completion of the painting process, the silk was cut into pieces and transformed into costumes on live dancer’s bodies. Inspired by ritual wall painting and sand painting from Indian, Tibetan and Navaho cultures and the temporally bound work of contemporary action-based artists, the project was an assay into the transitory nature of the artistic process and an exploration of transformative properties of silk (a material that is central to my work as textile artist and costume designer). The event also explores how a personal creative process can become public, performative and participatory.