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Rehearsal skirt suggestions wanted

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  • catslave54
    Any ideas on building rehearsal skirts to keep in stock,use over and over, and yet fit any number of potential sizes and heights? I m waffling between gored
    Message 1 of 13 , Feb 9, 2008
      Any ideas on building rehearsal skirts to keep in stock,use over and
      over, and yet fit any number of potential sizes and heights? I'm
      waffling between gored panels with a lot of hooks and eyes on a long
      waistband, and a straight panel with a drawstring tie. Heavy muslin?
      Midweight? Polyester? Should I label them Small, Medium or Large,
      Short or Tall? What say you all? Elizabeth
    • Rich Carla
      I teach in a high school and I actually have a costuming class. We made rehearsal skirts lst year and did some of both, gored and gathered. We did waistbands
      Message 2 of 13 , Feb 9, 2008
        I teach in a high school and I actually have a costuming class. We made rehearsal skirts lst year and did some of both, gored and gathered. We did waistbands on the gored skirts and drawstrings on the gathered skirts. They work really well and fit most all our girls. They are very handy. We used a cotton/poly blend. If you use all cotton, they wrinkle too badly. We did them all in black.



        catslave54 <zimmermanel@...> wrote:
        Any ideas on building rehearsal skirts to keep in stock,use over and
        over, and yet fit any number of potential sizes and heights? I'm
        waffling between gored panels with a lot of hooks and eyes on a long
        waistband, and a straight panel with a drawstring tie. Heavy muslin?
        Midweight? Polyester? Should I label them Small, Medium or Large,
        Short or Tall? What say you all? Elizabeth






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      • Anne Redish
        I did one skirt a while back to add to our rehearsal skirt collection with our biggest ever student in mind. I did a gored or panelled skirt, with hooks at the
        Message 3 of 13 , Feb 10, 2008
          I did one skirt a while back to add to our rehearsal skirt collection
          with our biggest ever student in mind. I did a gored or panelled
          skirt, with hooks at the centre back zipper closure but in the back I
          made the waistband into a casing, and inserted a wide sturdy twill
          tape on either side. The wearer can then custom set the back pleats /
          gathers, by tying the tape first, then doing up the hooks, zipper
          etc, so it looks like everyone elses. The fullness just adds a
          'faux-bustle' area, while allowing it to be used by a 'wide' range of
          sizes. for regular use by on size, the tape could be stitched (or
          pinned) at the right length for easier use.

          I recommend making skirts from a wide range of colours and textures,
          since these can be used in class projects to represent the costuming
          moods and social classes more expressively than black. ( Mine are
          mostly muted 'elizabethan' and 'Victorian' colours, not garish
          primary colours, though there are a few brighter ones. )

          I have also worked on figuing out a system for varying the length of
          skirts, but that remains un-perfected. Maybe one of you has it figured out!

          Years ago, I did a boned 1700's-esque dress that is adjustable from
          size 6 ladies to 42 men's for a play where it was worn at different
          times and put on and off onstage by a female and male actor of those sizes.






          " Mix a little foolishness with your serious plans. It is lovely to
          be silly at the right moment." Horace 65 - 08 B.C., Roman Poet
          (If only I could get the RIGHT moment, more often!)

          Anne Redish
          Department of Drama,
          Queen's University,
          Kingston, Ontario
          613-533-6000 x75359
          483-3245 cell
          ar11@...
        • Curtis
          ... I d recommend a poly-cotton blend (doesn t wrinkle as much, AND is less likely to develop static problems if worn around certain other materials--also
          Message 4 of 13 , Feb 10, 2008
            --- In TheCostumersManifesto@yahoogroups.com, "catslave54"
            <zimmermanel@...> wrote:
            >
            > Any ideas on building rehearsal skirts to keep in stock,use over and
            > over, and yet fit any number of potential sizes and heights? I'm
            > waffling between gored panels with a lot of hooks and eyes on a long
            > waistband, and a straight panel with a drawstring tie. Heavy muslin?
            > Midweight? Polyester? Should I label them Small, Medium or Large,
            > Short or Tall? What say you all? Elizabeth

            I'd recommend a poly-cotton blend (doesn't wrinkle as much, AND is
            less likely to develop static problems if worn around certain other
            materials--also relatively durable), mid-weight (after all, it's
            easier to adapt from a heavier rehearsal skirt to a lighter
            performance skirt, and less of a shock to adjust from a mid-weight to
            a heavy skirt if you happen to be doing something Elizabethan with a
            heavy brocade). It sounds like kind of a pain, but I'd actually do a
            few of each style (though I think the drawstrings would be faster and
            easier...) I'd also keep them in a neutral shade...white/off-white
            has been the default for all of them I've seen.

            As far as sizes, I would do short and tall in each of the S/M/L
            sizes... you can weight the numbers as you see fit (you're not likely
            to see a lot of performers in the Small/Tall category, or the
            Large/Short...but you should anticipate the fact that they will, at
            some point, show up. The fastest way to guarantee that you get one
            right away is to do the project without making a rehearsal skirt in
            either of those sizes...Fate being what it is, you'll need one right
            after you pack up all the supplies and sweep up the shop...)
          • geneiak
            we used to save mock ups of long skirts to be used for rehearsal skirts-
            Message 5 of 13 , Feb 12, 2008
              we used to save mock ups of long skirts to be used for rehearsal skirts-

              --- In TheCostumersManifesto@yahoogroups.com, "catslave54"
              <zimmermanel@...> wrote:
              >
              > Any ideas on building rehearsal skirts to keep in stock,use over and
              > over, and yet fit any number of potential sizes and heights? I'm
              > waffling between gored panels with a lot of hooks and eyes on a long
              > waistband, and a straight panel with a drawstring tie. Heavy muslin?
              > Midweight? Polyester? Should I label them Small, Medium or Large,
              > Short or Tall? What say you all? Elizabeth
              >
            • m d b
              ... My multipurpose skirt (which is now...somewhere) is made of panels of gores with a drawstring waist. Best of both worlds, and you can direct the fullness
              Message 6 of 13 , Feb 14, 2008
                > Any ideas on building rehearsal skirts to keep in stock,use over and
                > over, and yet fit any number of potential sizes and heights? I'm
                > waffling between gored panels with a lot of hooks and eyes on a long
                > waistband, and a straight panel with a drawstring tie. Heavy muslin?
                > Midweight? Polyester? Should I label them Small, Medium or Large,
                > Short or Tall? What say you all? Elizabeth


                My multipurpose skirt (which is now...somewhere) is made of panels of
                gores with a drawstring waist. Best of both worlds, and you can direct
                the fullness towards the back if you need to get an actor used to the
                feeling of a bustle type skirt. I do prefer a narrow cotton tape for
                the drawstring.

                Michaela de Bruce
                http://costumes.glittersweet.com
              • Trim Fairy
                They might want to switch to print work. There, shading is more important than color. Even a colorblind person can usually tell the difference between light
                Message 7 of 13 , Mar 14, 2008
                  They might want to switch to print work. There, shading is more important than color. Even a colorblind person can usually tell the difference between light and dark.


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                • ~lisa.s
                  lol...YOU try telling a 19 year old who thinks he s the next Olivier, and who, just yesterday, WOWed and nailed a scholarship audition allowing him to go from
                  Message 8 of 13 , Mar 15, 2008
                    lol...YOU try telling a 19 year old who thinks he's the next Olivier,
                    and who, just yesterday, WOWed and nailed a scholarship audition
                    allowing him to go from our community college and join the undergrad
                    acting company of a prestigious university...

                    Actually he's doing rather well in class. We worked out which
                    colors--highlights, mid-tones, shadows are "normal" for him and the
                    applications he'd most likely to run into. And he starts out each
                    session by asking the question "are these the right pots should I use?"
                    His blending skills are probably the best out of all 15 students. We'll
                    see how his animal project goes on Monday.

                    Now, if I could just do something for the kid who's afraid of cotton
                    balls and Q-Tips. Really! He's a big, strong guy who's been near to
                    tears just working next to someone using cotton balls or pads...then
                    there's the young man who's loosing his eyesight, wears Coke bottle
                    glasses and has to work with his nose almost touching the mirror. To say
                    it's been an interesting semester is an understatement!

                    ~lisa.s



                    Trim Fairy wrote:
                    >
                    > They might want to switch to print work. There, shading is more
                    > important than color. Even a colorblind person can usually tell the
                    > difference between light and dark.

                    --
                    ~lisa.s * llsturtsATgreatlakesDOTnet
                  • Curtis
                    ... A little first-aid tape on the base of the makeup pots will give him a spot where he can label each pot so he knows he s got the right
                    Message 9 of 13 , Mar 15, 2008
                      --- In TheCostumersManifesto@yahoogroups.com, "~lisa.s" <llsturts@...>
                      wrote:
                      >
                      > Actually he's doing rather well in class. We worked out which
                      > colors--highlights, mid-tones, shadows are "normal" for him and the
                      > applications he'd most likely to run into. And he starts out each
                      > session by asking the question "are these the right pots should I use?"

                      A little first-aid tape on the base of the makeup pots will give him a
                      spot where he can label each pot so he knows he's got the right
                      shadow/highlight/base/etc...double-checking is fine in class, but when
                      he gets into a more professional environment, there may or may not be
                      people who will be willing to coach him on his color selections. In
                      my experience (in this region, at least), actors take care of their
                      own makeup unless there is some kind of specialty makeup needed...then
                      the theater may or may not provide a makeup artist, depending on what
                      skills they have available with their existing personnel. So (in
                      practical terms), he should really only need a good grasp on the basics.

                      > Now, if I could just do something for the kid who's afraid of cotton
                      > balls and Q-Tips. Really! He's a big, strong guy who's been near to
                      > tears just working next to someone using cotton balls or pads...then
                      > there's the young man who's loosing his eyesight, wears Coke bottle
                      > glasses and has to work with his nose almost touching the mirror. To say
                      > it's been an interesting semester is an understatement!

                      Sorry, when it comes to cotton-phobia, I've got nothing...that's a
                      totally new one for me. I've worked with people that didn't like
                      cotton, but never anyone that feared it.
                    • Cat Devereaux
                      ... glasses and has to work with his nose almost touching the mirror. I can speak to that one... given I ve had that problem since 2nd grade. Instead of
                      Message 10 of 13 , Mar 15, 2008
                        >> there's the young man who's loosing his eyesight, wears Coke bottle
                        glasses and has to work with his nose almost touching the mirror.

                        I can speak to that one... given I've had that problem since 2nd grade.

                        Instead of staining to reach the mirror, he needs one of those circular
                        mirrors that's magnified on one side and standard on the other. Apply
                        all eye makeup and details with nose practically touching the magnified
                        side. Teach him to tilt it to take advantage of the best light
                        (different for each eye when you're that close). For blending check,
                        it's too hard to see enough of your face in the magnified side. Flip it
                        to regular and back off another inch or two. Even though it's blurry,
                        blending is about shadows and highlights working together. I blend in
                        the blur farther back and then check final to make sure no details
                        around the eyes are messed up.

                        Anyway... my two cents with sights at 750+ on each eye.

                        -Cat-
                      • llsturts@greatlakes.net
                        Oh, yeah, Cat. Because of the College being a State funded institution and ADA, we were able to a real nifty lighted/magnified mirror. Plus he sits in front of
                        Message 11 of 13 , Mar 15, 2008
                          Oh, yeah, Cat. Because of the College being a State funded institution and
                          ADA, we were able to a real nifty lighted/magnified mirror. Plus he sits
                          in front of a full length mirror too, and is able to swivel around on a
                          stool to make use of what ever mirror works best that day. I allow a
                          friend who sits next to him to help out more than I might another student.

                          I had another strange occurrence with the class too--

                          I have a friend, who does Civil War Reenacting as a medic come in and give
                          the wounds and bruises lecture. Then the next class period the students
                          practice the techniques. One of the students, a "non traditional" (read:
                          older) I could tell that she was not real comfortable with what was going
                          on during the demo lecture, but seemed okay. Then, about 20 minutes into
                          the next class, when some of the kids were doing quite horrific makeup (I
                          told them there was no extra points for grossing out the instructor!) she
                          came up to me and quietly said she wasn't feeling well. So, I let her go
                          early. I got a feeling, which was later confirmed, that at one time she's
                          been battered.

                          As I said, it's been an interesting semester...

                          ~lisa.s

                          >> there's the young man who's loosing his eyesight, wears Coke bottle
                          >> glasses and has to work with his nose almost touching the mirror.
                          >
                          > I can speak to that one... given I've had that problem since 2nd grade.
                          >
                          > Instead of staining to reach the mirror, he needs one of those circular
                          > mirrors that's magnified on one side and standard on the other. Apply
                          > all eye makeup and details with nose practically touching the magnified
                          > side. Teach him to tilt it to take advantage of the best light
                          > (different for each eye when you're that close). For blending check,
                          > it's too hard to see enough of your face in the magnified side. Flip it
                          > to regular and back off another inch or two. Even though it's blurry,
                          > blending is about shadows and highlights working together. I blend in
                          > the blur farther back and then check final to make sure no details
                          > around the eyes are messed up.
                          >
                          > Anyway... my two cents with sights at 750+ on each eye.
                        • llsturts@greatlakes.net
                          Like Grrr Animals kids clothes, from back in the day. That s a very good idea, Curtis. ~lisa.s
                          Message 12 of 13 , Mar 15, 2008
                            Like Grrr Animals kids clothes, from back in the day. That's a very good
                            idea, Curtis.

                            ~lisa.s


                            >> Actually he's doing rather well in class. We worked out which
                            >> colors--highlights, mid-tones, shadows are "normal" for him and the
                            >> applications he'd most likely to run into. And he starts out each
                            >> session by asking the question "are these the right pots should I use?"
                            >
                            > A little first-aid tape on the base of the makeup pots will give him a
                            > spot where he can label each pot so he knows he's got the right
                            > shadow/highlight/base/etc...
                          • Curtis
                            ... Actually, if your visions a little blurry and you re close to the mirror, you re probably seeing things about the same way your average audience member
                            Message 13 of 13 , Mar 16, 2008
                              --- In TheCostumersManifesto@yahoogroups.com, Cat Devereaux
                              <CatDevereaux@...> wrote:
                              >
                              > to regular and back off another inch or two. Even though it's blurry,
                              > blending is about shadows and highlights working together. I blend in
                              > the blur farther back and then check final to make sure no details
                              > around the eyes are messed up.

                              Actually, if your visions a little blurry and you're close to the
                              mirror, you're probably seeing things about the same way your average
                              audience member would from about halfway (or further) back in a
                              'standard' theater. I just finished a production of Will Rogers
                              Follies that took us three rehearsals to get Clem's age makeup dialed
                              in...the first night, it looked fantastic from right up close...but I
                              was watching rehearsal from a third of the way back in the house and
                              couldn't see anything. So we went darker and bolder...and then darker
                              and bolder again before we finally had it right.

                              I tell kids, when I do makeup demonstrations, that they have to
                              realize their audience isn't going to see the makeup from up close,
                              like they (the kids) are...if they want an idea of what the audience
                              is going to see, they need to stand on the far side of a large room
                              and look at themselves in the mirror...*laugh*
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