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Re: gels vs. dyeing

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  • Curtis
    ... It was, as often is the case with such stories, a university production with several student designers...the comment about repainting the drop was from
    Message 1 of 5 , May 23, 2009
      --- In TheCostumersManifesto@yahoogroups.com, "Linda Scribner" <Linda.Scribner@...> wrote:
      > One comment you made ("The next night, the whole set looked a little wonky because the set designer and scenic artist picked their color palette based on what the LD was planning on using. And trust me, I'm speaking from experience...if you think it's a lot of work to re-dye a suit overnight, try repainting a whole drop...")makes me question where you think the costume designer fits into that picture. Hasn't the lighting designer, set designer and scenic artist made those considerations with the costumes in mind?
      It was, as often is the case with such stories, a university production with several student designers...the comment about repainting the drop was from another experience (one of the shows I worked on saw me serving double duty as a dresser and a scenic artist, and the company that made our drops totally botched three of them and I spent all night one night and most of the night the next repainting stuff...in addition to helping with the costume alterations and such during the day and being in action through the rehearsals. Yes, it was a particularly long week...)

      I've worked with production teams where everyone was willing to make the sacrifice to their design concept in order to make the show work for everyone. I've also worked with production teams where all of the designers considered their design work absolutely inviolable and expected everyone else to concede to their point. You can easily guess which ones I prefer to work with (and probably which shows turned out the best, as well.)

      Yes, ideally, all such issues are addressed during production meetings and design meetings, and everyone gets a chance to see what's going on stage and what the stage coloring is going to be and how the lights are going to affect the colors and all of that. Sometimes, that doesn't happen, though...and the ability to compromise in situations where the designers' visions don't all blend well together can be the difference between a generally pleasant experience and severe stomach ulcers for all involved. I know there are several designers (of all stripes, not just costumes or set) that I've worked with in the past that I never want to work with again. There are others that I'll gladly work with at the drop of a hat. Most of them are somewhere in the middle...but a big factor in how I feel about the prospect of working with any of them is how things went in the last show I did with them. Some of the people I don't want to work with anymore had absolutely brilliant designs...very talented, skillful individuals that could make incredible things happen on stage.

      But they were so agonizing to try and work with that several of them cost themselves recurring jobs with the theater companies in question. NOBODY wanted to work with them again.
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