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Theatre Tech Examples
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Christina Holland
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There's no doubt that it's all a show, but trust me: it works. The craftsmanship on display in these props and costumes deserves this display. While marvelling at everything from spoiled little Joffrey Baratheon's gleaming suit of armor and Jon Snow's travel-worn cloak to Jaime Lannister's severed hand, I couldn't find a fault. There was no zipper or seam that revealed it all to be a sham.
The exhibit is very intentionally laid out just like a museum
Costume designer Michele Clapton has said that 99 percent of the armor and costumes are made at the show's studios in Belfast, Northern Ireland by a team of armorers, embroiderers, weavers, dyers, leather workers, and more. They mostly use authentic materials like chain mail, hand-weaved fabrics, custom-made leather, and metals like brass and steel when making the show's wonderful clothing and armor, and it shows. But all of that effort would be for naught if the costumes and props looked brand new. There's a separate team with the sole task of wearing down the clothing made for the show. As Clapton told The Hollywood Reporter last year, "You spend two weeks breaking down, patching, dying, repatching. Then you trash it, age it, then trash it again and repair."

Beyond the truly intricate embroidery, the natural wear is perhaps what impressed me the most. Dyes were faded, armor looked as if it had gone through the toils of war, and even the wildlings' tools looked as if they had spent an eternity in the snow-swept plains beyond the Wall. Fittingly, however, Joffrey's armor looks hardly used at all.

Considering the effort put into all of these details, I couldn't help but think of the nameless artists who carved the backs of their sculptures even though they were destined to sit atop the Parthenon, out of sight. With these costumes and props, which are so easily overlooked, there's a similar sense of pride in doing the job right. Even if we can't see every link of chain mail and each incredible embroidery on screen, that attention to detail is what makes Game of Thrones what it is.
Game of Thrones: The Exhibition will stop in Mexico City, Austin, Rio De Janeiro, Oslo, Toronto, Belfast, and Vancouver. The exhibit left New York last week, but following stops on the tour will be much larger. For more information, visit HBO's website.

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Museum pieces: the props and costumes of 'Game of Thrones'

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There's no doubt that it's all a show, but trust me: it works. The craftsmanship on display in these props and costumes deserves this display. While marvelling at everything from spoiled little Joffrey Baratheon's gleaming suit of armor and Jon Snow's travel-worn cloak to Jaime Lannister's severed hand, I couldn't find a fault.

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If you want to use this image commercially and we've indicated* that Alamy doesn't have a release, you might need additional permission from the model, artist, owner, estate, trademark or brand. More information.

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Stock Photo - Berlin, Germany. 12th May, 2015. 'Children's bones from Meereen' and 'Dragon eggs', props of the US television show 'Game of Thrones' are on display during the opening of the

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Download this stock image: Berlin, Germany. 12th May, 2015. 'Children's bones from Meereen' and 'Dragon eggs', props of the US television show 'Game of Thrones' are on display during the opening of the exhibition on the US television show 'Game of Thrones' in Berlin, Germany, 12 May 2015.

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http://www.tomspinadesigns.com/

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One of the best, worst pies in London! A custom display for one of the Sweeney Todd movie prop pies.

We love creating themed displays to give props context and enhance how our clients can showcase their collection! We created one such display for one of the screen used Sweeney Todd movie prop pies used in the Tim Burton film. Sweeney Todd is Tim Burton's take on Stephen Sondheim's chilling musical about a barber (Johnny Depp) who decides to take revenge on all of those people who had wronged him in the past. He uses the barber shop to lure in his victims and then Mrs. Lovett (Helena Bonham Carter) helps him dispose of the bodies, by baking them into meat pies.

When faced with the question of how to display one of the movie prop pies, we decided to create a place setting you might see at Mrs. Lovett's meat pie shop. We started with a real wood base made to look like an aged table. Since her shop is not exactly in the best part of town and nothing about this film is pristine we chose to age and distress the wood. Several techniques were used to create a natural, well used look, then stain was added and paint for further weathering. We sourced the plate and silverware but then modified and distressed them to fit the Sweeney Todd look and the era in which the movie takes place. We also a subtle blood splattering because it is, Burton's Sweeney Todd after all! Instead of a typical metal plaque you might find in a movie prop display, we went with clipping of an advertisement for the pie shop. We aged the paper and the post so that every thing looked as if it came right out of the film. Bon Appetit!

Want to turn your original movie costume into a life-sized statue or museum display? Email or call today and let's discuss your project!

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Sweeney Todd Movie Prop Pies - Tom Spina Designs

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We love creating themed displays to give props context and enhance how our clients can showcase their collection! We created one such display for one of the screen used Sweeney Todd movie prop pies used in the Tim Burton film.

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Diary of Anne Frank - Set Design by Richard Finkelstein, Stage Designer

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The work of stage designer, Richard Finkelstein is profiled on this site

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http://www.rfdesigns.org/wiz.htm

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Wizard of Oz set Design by Richard Finkelstein, Stage Designer

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Wizard of Oz - The work of stage designer, Richard Finkelstein is profiled on this site

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Medea - Set Design by Richard Finkelstein, Stage Designer

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Medea. Lighting and scenery design by Richard Finkelstein. The work of stage designer, Richard Finkelstein is profiled on this site

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d3 Technologies | Showcase - American Idiot New York, 2010-€"2012

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d3 - the visual production suite for video professionals

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http://special-effects-makeup.tumblr.com/post/109498324414/joel-harlow-source

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The Joker.

No job for a big screen makeup artist faces more scrutiny. The first look at Heath Ledger's Joker sparked pandemonium when it was revealed in 2007. Jared Leto's first image as the Clown Prince of Crime in Suicide Squad was dissected even more so, as he had the impossible task of following up Ledger's Oscar-winning work in The Dark Knight.

Now, in their own words, the makeup artists behind Ledger and Leto's iconic looks look back on how they saw each actor transform before their eyes.

Heath Ledger in The Dark Knight (Courtesy Warner Bros.)
JOHN CAGLIONE JR.
John Caglione earned an Oscar for his work on Dick Tracy (1990) as well as a nomination for The Dark Knight.

You read the script first and you try to understand the character. Then I started doing some sketches - overlays of Heath's headshot. I did five or six different clown makeups, painted hair, with the scars, the whole thing.

I flew to London and started to talk with Chris Nolan, and we started playing with some makeup. We wanted something very worn, lived in. We wanted to make it blurry, distorted and disturbing. Chris wanted everything to be organic in that film. Everything had to be plausible. This Joker, he doesn't change his clothes. Does he sleep in his makeup? Does he wash his hair?

Heath and I started playing around with things. As a makeup artist, you are trained to seek perfection. The first few stabs at it for me - it was too clean. And I had to force myself to turn a corner and realize that imperfection was perfection in this design. I had to let my hand go and let things blur and drip and be craggy.

And Heath really helped me find that, the great actor he was. You can only hope in some small way to help his performance. So when he looks in the mirror, he can believe what his reflection is. Heath was amazing. Incredible.

Heath would contort his face while I was laying makeup on it so it would look like it was lived in. It created cracks and crevices. It was kind of like a dance in the makeup chair. He knew where I was going with a certain brush and a different color, and he'd squint his eyes and raise his forehead and make these facial gestures and I would just paint over it to create all of those crevices.

As shooting goes on, you both know where you're going and how to help each other. That was the case with Heath. That makeup took maybe an hour at the start of shooting. By the end of the film, we had it down to 25 or 30 minutes.

[Cinematographer] Wally Pfister just shot the hell out of it. I love the shot where Heath's in the interrogation room and it looks like there's a floating head in black. That was a great image. It's just this crazy clown face in black, with this light source coming from nowhere. It's incredible.

I was nominated, but I didn't think I would win the Oscar for clown makeup, and I was right. But I'm glad that Heath won. Because to tell you the truth, I was just gilding the lily. That performance was amazing. I think this will be the work that will be in my obituary. "The guy that did the Joker makeup died today." Looking back, now that I'm 57, it's a cornerstone, definitely. I was glad I was born at the right place and the right time for that. Because it sure was a blast.

Jared Leto in Suicide Squad (Courtesy: Warner Bros.)
ALESSANDRO BERTOLAZZI
Alessandro Bertolazzi worked with Suicide Squad director David Ayer on his previous film, Fury, and his many other credits include Skyfall, where he worked to create Javier Bardem's distinctive look.

I was surprised when David Ayer called me. I said, "I'm not the right guy for this movie. I don't know anything about comics." I like comics, but I'm not a superfan. David said, "I want you, because you can give me a different point of view with this job."

Joker is the guy with the green hair. This is what I knew. Then I started looking around, and I saw Heath Ledger, Jack Nicholson, and everything else. I wanted to do something that was not the same, and Warner Bros. said, "OK, do your Joker." Usually with a big movie studio, people suggest things, have an opinion or give me guidance. With this, nothing!

They give me Jared Leto, a guy with hair and a long beard. A month before starting, I studied The Man Who Laughs, the 1928 film from which the Joker was inspired. It's so beautiful.

I ask David, "Who is this guy? What is his story?" David says to me, "He's also a poet." He's in love. It's a sick love, but still love. I tried to find something to make him super scary, but at the same time, a romantic. I always loved that contrast. I want a guy who is a poet, a romantic, and a devil all at the same time. He is completely sick.

Then we start painting in the face. And we do the skin. We work a lot on the skin, because the skin is the most important. I wanted it to look like a really dirty, really sick. It's three hours of makeup, with six or seven layers. With the pale skin and the veins and a wound - I make it dirty. He's a guy who hasn't taken a shower in forever. This is The Joker.

Then he needs something else. David said, "Why don't we give him a scar?" That's interesting. Then I decided to do seven scars. This guy is completely crazy - I imagine him in front of the mirror in the morning, where he never brushes his teeth, but instead he might take a blade and he cuts his face. Just for fun.

This is my process.

During the shoot, every day, every single shot, we changed something. I have more details or I have less, depending on the moment.

What was incredible, Warner Bros. and DC Comics are obsessed about everything, but they never asked me to change anything in my makeup. Not one single thing. They let me do everything I wanted.

Jared had to be completely in connection with me. Jared was amazing. We had a special makeup department only for Jared. When he arrived in the morning, he'd come straight to the makeup department without seeing anyone else and we'd start the process of the transformation. The Joker's part of the film, it's like another movie inside Suicide Squad. So we decided to keep him completely separate. He had the whole makeup department and it was just me and him alone for three hours.

It started in silence. During this process he slowly, slowly he started to act like the Joker. And then ... "Oh my god!" He becomes the Joker for real.

For a month, Jared had no contact with any actors except as the Joker. You know how actors go to the lounge and get coffee? Not Jared. Never. He was the Joker, 100 percent. Margot Robbie and everyone saw him only as the Joker for the whole shooting. This makes the difference.

People look at me and say, "Oh my God. It must have been so tough for you." No. It was amazing. Because I made the Joker.

Jared Leto Suicide Squad

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Making the Joker: Heath Ledger and Jared Leto's Makeup Artists on the Job of a Lifetime

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The Joker. No job for a big screen makeup artist faces more scrutiny. The first look at Heath Ledger's Joker sparked pandemonium when it was revealed in 2007. Jared Leto's first image as the Clown Prince of Crime in Suicide Squad was dissected even more so, as he had the impossible task of following up Ledger's Oscar-winning work in The Dark Knight.

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Twitter / GirlOnFire2000: EFFIE IN CATCHING FIRE. ...

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EFFIE IN CATCHING FIRE!!! She's orange and beautiful!!!!!! I LOVE how much detail goes into the makeup in THG movies!!!

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Q&A with Black Swan Makeup Department Head Margie Durand and Makeup Designer Judy Chin Q: How does a makeup artist prepare to work on a film? Do you re

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Catherine Martin for 'The Great Gatsby,' 2014 - Photos - Oscars picks for best costume design

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One of her favorite scenes from the film features a lavender dress worn by Daisy Buchanan (Carey Mulligan) that is described by Fitzgerald as being accessorized with brass buttons and a Tricorne hat. To offset the military details, Martin decided to make the headpiece so big, everyone on set called it the "Flying Nun" hat.

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Imgur: The most awesome images on the Internet

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Imgur: The most awesome images on the Internet.

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When it comes to the movies, sometimes a costume speaks louder than words. The severe silhouettes of "The Tempest" reveal the time period before the film's actors utter their first lines of Shakespearean verse. Helena Bonham Carter's topsy-turvy " Alice in Wonderland" gown had to define her deranged Red Queen.

Here's a look at how the five women nominated for the Best Costume Design Oscar faced the challenges.

Trying to satisfy a star-studded cast and director Tim Burton's creative eye - as well as the expectations of fans of both the earlier Disney film and the Lewis Carroll classic - designer Colleen Atwood had her work cut out for her. The toughest character she had to dress may have been the Red Queen (Helena Bonham Carter).

Her over-the-top appearance not only required the help of Atwood, but an extensive team of hair and makeup experts and some much-needed technology.

Atwood made Bonham Carter's head seem much larger by outfitting the actress in an Elizabethan-inspired dress with a cinched waist and high collar. Bonham Carter then wore a prosthetic forehead that pushed back her hairline, as well as a 3-pound, heart-shaped wig. Her head was then digitally enhanced to appear three times normal size.

(Mary Zophres/Paramount Pictures)

To re-create the perfect look from the 1870s, costume designer Mary Zophres stayed away from present-day fashion magazines and instead dived into old catalogues for research.

Zophres told Vogue that she wanted Rooster Cogburn ( Jeff Bridges) to look "heroic and iconic" but kept in mind that he was also "a drunk who lives in the back of a Chinese grocery."

Instead of showcasing the divide between good and evil, Zophres had Cogburn wearing the same dark palette as his enemy Tom Chaney ( Josh Brolin), in order to have viewers question the characters' morals equally.

During a portion of the film, young Mattie Ross ( Hailee Steinfeld) wears her father's large coat with the sleeves rolled up and tied at the waist with a knotted belt.

(Lois Dearmond/Weinstein Company)

The film's designer, Jenny Beavan, had fun experimenting with the different looks of Queen Elizabeth (Helena Bonham Carter). Due to the film's limited budget, Beavan creatively changed the look of an entire outfit with the help of some vintage accessories.

"We couldn't afford huge amounts of different outfits, but changing the hat changed the look," she told The Seattle Times. "Every single one we put on her just looked wonderful."

To mask Colin Firth's bulky build, Beavan used tailored heavy coats to make him appear more slender on screen as King George VI. She still regrets letting Firth go without a suit jacket under his coat. "To me it looks wrong round the neck," she told GQ.

(Sandy Powell/Chartoff Productions)

In the script, Prospera ( Helen Mirren) wears a cape described as being made from "shards of glass and light."

Designer Sandy Powell sewed pieces of painted, vacuum-formed plastic onto a strong mesh in a pattern created to look like flowing lava.

"Each piece was incredibly light, so I thought it would work, but after all 3,000 pieces were sewn on, the cloak was incredibly heavy," Powell said.

David Strathairn didn't just show up on set for his scenes - the actor who plays King Alonso also spent two days attaching hundreds of metal studs to his own costumes. "We had so little time and budget that the only way we achieved it all was to accept all offers of help," Powell said.

(Antonella Cannarozzi/Magnolia Pictures)

Cannarozzi enlisted the help of Raf Simons at Jil Sander to create the evolving wardrobe of Emma Recchi ( Tilda Swinton).

The modern looks, which mirror the character's shifting mental state, range from muted tones to vibrant, eye-catching hues.

"She had to be an iconic image, solemn, like in Russian art," Cannarozzi told the fashion website Nowness.

ceverett@nydailynews.com
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And the best costume design Oscar goes to...

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When it comes to the movies, sometimes a costume speaks louder than words. The severe silhouettes of "The Tempest" reveal the time period before the film's actors utter their first lines of Shakespearean verse. Helena Bonham Carter's topsy-turvy " Alice in Wonderland" gown had to define her deranged Red Queen.

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Costume Design -- Bob Mackie -- Carol Burnett

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Costume Design -- Bob Mackie -- Carol Burnett

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queen of the fairies. costume design for "a midsummer night's dream" produced by robert courtneidge at the princes theatre

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C. Wilhelm Titania, Queen of the Fairies. Costume design for "A Midsummer Night's Dream" produced by Robert Courtneidge at the Princes Theatre, Manchester Reproduction | 1st Art Gallery

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Handmade oil painting reproduction of C. Wilhelm Titania, Queen of the Fairies. Costume design for "A Midsummer Night's Dream" produced by Robert Courtneidge at the Princes Theatre, Manchester - on canvas and available in any size or choose another work from more than 250,000 different oil paintings and 25,000 artists.

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geri spencer - costume designer & stylist: A MIDSUMMER NIGHT'S DREAM - HIPPOLYTA

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A Midsummer Night's Dream. OSF 2013 Designer Linda Cho

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Dyer and Painter for A Midsummer Night's Dream at The Oregon Shakespeare Festival 2013. Designer Linda Cho

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The Metropolitan Museum of Art, i.e. The Met Museum

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Percy Anderson | Costume Design for 'Madame Trentoni', Act II | The Met

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Design for the costume for 'Madame Trentoni' for the second act of the play 'Captain Jinks of the Horse Marines'. 'Madame Trentoni' is displayed in profile view facing left. She is wearing a black bodice and white ruffled shirt combined with a yellow and black Victorian bouffant skirt

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broadway tony award winner winning nominee nomination new york city nyc broadway musical shakespeare gregg barnes something rotten costume design designer art design rendering sketch construction rare behind the scenes master expert aladdin kinky boots

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The Costume Design of Something Rotten! on Broadway - Tyranny of Style

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A look at the brilliant Tony Award-winning costume designer Gregg Barnes' process on his latest Broadway production, Something Rotten!

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Guys and Dolls (Adelaide). 5th Avenue Theatre. Costume design by Gregory A. Poplyk.

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Florence Klotz’s amazing Butterfly Showgirl design for the original broadway production of Follies.

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There's a lot to love about AMC's "Mad Men," not least of which is the fashion. Since 2007, the critically acclaimed television series has dazzled viewers with its attention to period detail, bringing the 1960s back to life with an extensive wardrobe of nipped-waist dresses and longline bras, fedoras and skinny ties. The show has become a modern style guide, launching fashion trends and even a popular tie-in clothing line from Banana Republic. "Mad Men"'s fashion takes us, as Don Draper would put it, " to a place where we ache to go again."

The person behind this style revival is Janie Bryant, the show's costume designer. Bryant researches, designs and curates all the looks on "Mad Men," from Joan Harris' curve-hugging sheaths to Bob Benson's beach-ready shorts. Bryant has won numerous accolades (including six Emmy nominations and one win) for her period work on "Mad Men" and the 2004-2006 HBO series "Deadwood," and frequently collaborates with brands and retailers to create contemporary fashions. She will be interviewed by historian Amy Henderson at a Smithsonian Associates seminar next week.
How much of the fashion on "Mad Men" is vintage, and how much is your original design?
We caught up with the designer to talk about her work on "Mad Men," her personal style, her upcoming reality show and, of course, the shorts that launched a thousand rumors and a parody Twitter account:
How do you get inspired?
It's always a combination. I design garments for the principal cast, and that always depends on the episode and the characters that are in the script and how much time and money I have. I buy vintage and I do a lot of rentals from the amazing costume houses here in Los Angeles. I will also buy vintage and redesign it, depending on what needs I have for each particular character.
Walk me through your design process for Joan's purple suit (sketch below) from the first episode of "Mad Men" season six.
It really starts with the script. It's inspirational to read what the characters are saying to each other, what actions they're taking, where each scene is being set, so the script is really the beginning place for the costume design. From there, I start my research process by going through catalogs, old photographs, all different kinds of magazines-anything from a Sears catalog to a Vogue fashion magazine from the period and everything in between. That's why I particularly love old photographs, because you truly get a sense of what people were wearing and how they wore it and where each wrinkle was. I will research newspapers. I'll watch old movies. I do a lot of research because it's always that visual inspiration of, "Oh! This reminds me so much of the character Betty," or "This photograph reminds me so much of Don."

Season five was such an interesting character arc for Joan because she had a new position in the office and came into a new position economically. I felt like that was a great opportunity for Joan to have a little bit of an update. She's been stuck in that late-fifties wiggle dress, hourglass look for many, many seasons. Joan will always wear clothing that totally accentuates her curves, but at the same time I felt like she could use a little fashion update. I wanted to incorporate a more A-line skirt. The vest and skirt combination was a very modern thing at this point in time, and the ruffled blouses were really coming into style as well, so I wanted to incorporate those elements for Joan, especially in the first episode of the season.
Do you have a favorite character to design for? A favorite garment that you've created?
But Christina and I still laugh-we're like, "Oh, Joan, she buys clothes and then she takes it to her seamstress and has it tailored two sizes too small!" It's a funny little character thing that I love about Joan. Joan wears her clothes too tight-it's fabulous.

favorite characters, it changes so much because it really depends on what's happening in the script. The fun thing about being the costume designer of the show is that there is such variety. Probably one of my favorite costumes of all time is Harry's costume from last season, when the guys go to California. He's in his long dramatic scarf, the yellow double-breasted sports coat. I love that costume so much! I love the whole aspect of the show moving along in time, and that was just one of those moments that you can really see things changing. . . . If stayed at 1960 for six years, I think that I would grow tired of that.
You mean the Princess Leia look, from when she and Roger took LSD?
I also loved the blue brocade gown that I designed for Betty in season two, with the blue silk organza overdress and the inset pearls and rhinestones. I love that dress. There's so many! I hate choosing favorites-it's so hard. I can't even decide because it has varied so much. Megan was one of my favorite characters last year and Jane was one of my favorite characters in season five. One of my favorite costumes of all time was Jane's ivory silk crepe jumpsuit with the rhinestone cutout.
How much input does the showrunner, Matthew Weiner, have on the costume design?
That's the one, but it's funny that you call it Princess Leia! She was over-the-top, dramatic Princess Leia then.
How much interaction do you have with hair and make-up to create a character's complete look?
I talk with him about what I'm thinking and sometimes he will have specific desires for a character, but I never feel like he's micromanaging me. We've always had a great, creative working relationship. I run my department and I have my creative discussions with him, and that's how we work together. I have always felt like it's very balanced and there's a lot of independence.
It's usually the women's fashion that gets the most attention. What are some of the subtleties of men's fashion that we should note?
We have lots and lots of discussions. I show them what the costume is going to be for each character and hopefully we have time to talk about it. They are very creative too. They see the costume, the color, the design of it, what I'm going for, and then they can do their thing.

I pay huge attention to the men. They all have different shirt collars and different cuff links, or may not have cuff links-like Roger Sterling, each one of his shirts is embroidered with his initials on the cuff. They each have a different color scheme. Each of the male characters wears a different kind of suiting. The variation really is endless, and I do love to make each one of those characters different. I think it's really important for them to be very character-specific and character-driven.
I want to ask you about one men's look in particular: Bob Benson's shorts from this past season. How did you settle on those shorts?
The obvious way of seeing that is Harry. He's so different from the rest of the male cast. But Pete is too, and his costume design has changed a lot over all the different seasons, which has been really fun-from his menswear being mostly made up of different hues of blues to his palette being much more refined and somber and serious as he has gotten older. That has been very interesting-the transition for that character, to go through all the different character arcs with him.
Was it a challenge for you to dress Betty as the character gained and lost weight? How did you deal with that?
There were several details about those swim trunks that I loved. One, it was a fish print, which I thought was really important because he's a character that everybody was sort of like, "Hmm, we don't really know who this guy is." I felt like the fish print gave that sort of slippery accent to his character. Also, his color palette was always just a little off. The shorts have an interesting color scheme going on-the fish are a little odd in color. just really spoke to me as far as "OK, that's a Bob Benson swim trunk." And it was also kind of nerdy too. I loved all those things about them.
How has Sally Draper's style evolved as she has become a teenager?
Yes, that is always challenging. It's also an aspect of the show that I wanted to look perfectly flawless and natural to the audience. For season five, I designed 90 percent of her costumes and had them made, just because it was like designing for a totally different, new character. This season, her weight loss was very challenging too-to go through all those different periods. We had a lot of fittings to figure out the proper amount of weight loss how the costumes were going to fit with the weight loss. And not to mention, her hair color changed too. All of those factors went into the different costumes. I love that part of the show as well-the challenges that come up within the show.

I loved researching teen fashions for this period. It's been really fun to go through the character changes with Sally. I always felt like when she was in the Francis home, it was very preppy, very east coast, almost like Sally dresses like Betty. But since she's had the influence of Megan, she's more fashionable, she's into the go-go boots, the miniskirts, the hippie chic. All of those aspects have been really fun to play with with her character. I think it's been fun for the audience too.
Does the fashion on "Mad Men" reflect your own personal style?
I got an email from a fan of the show who sent me a picture of herself in 1967 wearing the same exact dress that Sally Draper wore to the Thanksgiving dinner. It was amazing! I couldn't believe it. I do a lot of research and so does my team-it is pretty extensive. But to have that visual confirmation of being so spot-on, that was a beautiful moment.
You're now known as a vintage designer. Would you like to branch out into more contemporary fashions?
No, it doesn't. I am all about sexy, modern glamour. I love pretty with an edge.
Do you raid the closet at "Mad Men"?
I am obsessed with period costume design. I love it. I guess I am known for vintage, but I really see it more as period costume design, as opposed to vintage. As far as my own brand, there are definitely aspects of vintage in my design. I am inspired by vintage, for sure.
When do you start working on the next (and final) season of "Mad Men"?
I have a couple of times, but not always. If I wear vintage, I like to wear one dramatic piece and not be in a costume. I'm obsessed with brocades, I'm obsessed with laces. A lot of those fabrics were very popular during the sixties. There are a lot of things that I truly love about the period, especially in the winter time. There's nothing like going to New York City in a full-length leather cape with a fur trim.
"Mad Men" is ending soon. Do you have a dream project that you would love to work on?
I haven't gotten anything official yet, but I think I'll go back probably sometime in the fall.

I am working on my own TV show, and that is my dream right now. It's a reality design competition that merges costume design with fashion design. I love this whole idea because fashion designers are truly inspired by costume designers. I wanted to bring costume designers more to the forefront, but also about how the garments that we see in film and TV really do show up on the runway. It's a competition show that really merges those two worlds together, and I think as time has gone on, the two career paths have become more and more closely linked to one another.
How have you been influenced by other costume designers?
We are in the process of getting it sold, which is really exciting. I'm working with the amazing producers from "Fashion Star," and that's where we are right now. We are working with the title of "Janie Bryant's Hollywood."
I loved Sandy Powell's work on Far From Heaven.
I've always been obsessed with Gone with the Wind, My Fair Lady, Gigi, Sound of Music, An American in Paris, Jezebel. I really got into watching classic movies because I loved the costume design so much. But other designers like Sandy Powell, Catherine Martin, Colleen Atwood amazing and I love their work.
Janie Bryant will speak at the Smithsonian Associates seminar, "Mad Men Style: Janie Bryant on Fashion and Character," on September 9, 2013. Tickets are available at smithsonianassociates.org.
I'm obsessed with Orlando. I could see that film a million, trillion times. Her work on that is just breathtaking!

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Go Behind the Styles With Mad Men's Emmy-Nominated Costume Designer

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There's a lot to love about AMC's "Mad Men," not least of which is the fashion. Since 2007, the critically acclaimed television series has dazzled viewers with its attention to period detail, bringing the 1960s back to life with an extensive wardrobe of nipped-waist dresses and longline bras, fedoras and skinny ties.

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Great Site-- Post is called "A Design with 25 angles"

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Posts about Set Design written by Sean Malmas

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Set Design ground plan (set designer Mike Winkelman). From the 2008 Celebration Series season Eclipse Theatre Company Chicago, IL

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A scenic ground plan is the bird's eye view of the set in relation to the theater space. Ground plans are essential tools for directors during the early stages of the production. The ground plan is...

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Renderings by HARLAN D. PENN - SCENIC DESIGNER at Coroflot.com

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Renderings by HARLAN D. PENN - SCENIC DESIGNER at Coroflot.com

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A group of theatre students is getting ready to bring an Oscar Wilde classic to the stage.

The Importance of Being Earnest is being presented by the Douglas College departments of Theatre and Stagecraft & Event Technology March 7-14.

Wilde's comedy, first performed in the 1890s and set in the Victorian era, tells the story of stylish Algernon Moncrieff and gentlemanly John Worthing, close friends who each encounter romantic conflict while masquerading under the name of Ernest.

"For beginning actors, this can be a challenging play to take on," director Thrasso Petras says. "The world of the Victorian era can be unfamiliar and difficult to connect with."

"Our theatre students had to immerse themselves in the period's culture, aesthetics and even etiquette, until it became second nature."

The Importance of Being Earnest runs March 7-14 at the Studio Theatre, Douglas College, 700 Royal Ave., New Westminster. Tickets ($10-$12) are available through Massey Theatre, 604 521 5050.

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Douglas College students to stage The Importance of Being Earnest

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A group of theatre students is getting ready to bring an Oscar Wilde classic to the stage. The Importance of Being Earnest is being presented by the Douglas College departments of Theatre and Stagecraft & Event Technology March 7-14.

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Site with Several Sketches

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2020 Other | Images: Stage Design Sketches

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Galileo Stage Design Sketch (2007)  Posted by Eray Bintas

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douglas gilpin sketch theatre - Cerca con Google

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Original concept drawing for The Canterville Ghost set by Jeff Lowe: The set for the Canterville Ghost was more than 80 feet long! With a clearance of only11 feet from stage to proscenium, this set at the Fetterly Playhouse had to be designed with "sprawling" in mind in order to give the appearance of a large castle-like interior. There were disappearing witches, a winding staircase, flying luggage (we made a fly system where there was none before) and a rotating portrait of 'The Bard.'

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A Funny Thing Happened on  the Way to the Forum : Preliminary Drawing >  Mill Mountain Theatre  Jere Hodgin, Director  John White, Costume Designer  Genny Wynn, Lighting Designer  Production Photo by Clinton McLaughlin

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Sherlock's Last Case - Set Design by Richard Finkelstein, Stage Designer

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Sherlock's Last Case - Set Design by Richard Finkelstein, Stage Designer

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Set Design Stage Sketch Set design sketches on

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Bay Area Stage Live Productions Home Page

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Bay Area Stage Productions serves the people of Solano County and surrounding areas by providing locally produced theatrical productions and opportunities for participation. Our goal is to entertain, educate and enrich the culture of our community.

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Executive Producer: Paul Blake Production Direction: Matt Lenz Set Design: Steve Gilliam Costume Design: Robert Fletcher, Kansas City Costumes Lighting Design: Mitch Dana

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©2007-2008 Gregory Hill The images in this site are the property of the designer unless otherwise specified, and may not be used or copied in any way without the consent of the artist.

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The Vikings at Helgeland (H. Ibsen) Set Design by E. Gordon Craig

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Set Design Sketches For Plays stage set design : canyon moon theater ...

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Waiting For Godot. Sheffield Crucible. Scenic design by Simon Daw.

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TONY CISEK scenic design - INTIMATE APPAREL

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INTIMATE APPAREL. Indiana Repertory Theatre. Scenic Design: Tony Cisek. 2006

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Site with Several Set Models

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The collection stage design and architecture models ranging from the 18th to the 20th centuries numbers nearly 1,000 items. The basis of the collection is formed by 400 models having to do with performances at the Hofburg Theatre between 188 and 1910-a period during which new aesthetic programmes and technical achievements such as electric stage lighting made necessary the re-conception of the stage area.

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Showcase and discover the latest work from top online portfolios by creative professionals across industries.

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Site with Several Set Models

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Valeria Rios - Scenic Designer, Art and Theatre Educator

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Site with Several Set Models

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Derek Miller is a Scenic and Lighting Designer. This is a portfolio of his work.

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Lez Brotherston: Bourne and beyond - in pictures

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Designer Lez Brotherston is central to Matthew Bourne's cutting-edge choreography, the creative collaboration between the pair encompassing every facet of story

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Site with Several Set Models

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Miss Saigon. 1/4" Scale Model. Set Design by Michelle Tracey. York University THEA 4143. 2013

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Designer Pages «  The Society Of British Theatre Designers

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Crossings. Julie McNamara Productions. Set design by Chris de Wilde.

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The Lark - Set Design by Richard Finkelstein, Stage Designer

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The Lark - Set Design by Richard Finkelstein, Stage Designer

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Parade Cygnet Theatre Set Design Model by Sean Fanning

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Simple enough but with great detail opportunities!

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6 Questions with Resident Scenic Designer, Tony Ferrieri

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Stuart: Tony, as City Theatre’s resident scenic designer you’ve designed an incredible number of shows. Do you even know the exact number? Tony: Actually, as a 

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Pique Dame - Act II, Scene I – Design Richard Hudson

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Boris Vian's Les Bâtisseurs d'Empire, directed by Jean Négroni, set by André Acquart, 1960 - Theatre

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April 2011 - Opera Insider - 'All the inside information on Opera in Australia from The Insider. Reviews, Gossip, Scandal' Opera AustraliaOpera Insider – 'All the inside information on Opera in Australia from The Insider. Reviews, Gossip, Scandal' Opera Australia

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Wiley and the Hairy Man by Mauri Anne Smith, via Behance

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The Piano Lesson (Mo - The Piano Lesson (Model). McCarter Theater. Scenic design…

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Men Should Weep. (Model) Scenic design by Elliott Squire. 2015

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Set design model for Theatre Alibi's latest show