Dedications |
|
6 | (1) |
Foreword |
|
7 | (1) |
Introduction: The Story We Wear |
|
8 | (3) |
|
|
|
11 | (16) |
|
|
11 | (1) |
|
|
12 | (1) |
|
|
13 | (1) |
|
Exercise: Plotting Your Design |
|
|
14 | (1) |
|
|
15 | (5) |
|
How Viewpoint Impacts Design |
|
|
20 | (1) |
|
Exercise: Levels of Realism |
|
|
21 | (1) |
|
A Take on Midsummer Night's Dream |
|
|
22 | (5) |
|
|
27 | (24) |
|
|
28 | (1) |
|
|
29 | (3) |
|
Asserting Power Through Fashion |
|
|
32 | (7) |
|
|
39 | (5) |
|
|
44 | (1) |
|
Fitting In: Character and Context |
|
|
45 | (1) |
|
Tailored Example: A Nobleman |
|
|
46 | (5) |
|
|
51 | (40) |
|
|
51 | (4) |
|
Tailored Example: The Young Orator |
|
|
55 | (5) |
|
|
60 | (2) |
|
The Value of Live Research |
|
|
62 | (1) |
|
Exercise: Mood Board Explorations |
|
|
63 | (3) |
|
Exercise: Creating a Material Language |
|
|
66 | (1) |
|
Fantasy Material Tutorial: The Sugar Sentinel |
|
|
67 | (5) |
|
|
72 | (2) |
|
Tailored Example: A Noblewoman |
|
|
74 | (2) |
|
|
76 | (4) |
|
A Story in Three Acts: The Spanish Dancer |
|
|
80 | (11) |
|
|
91 | (32) |
|
|
93 | (2) |
|
Exercise: Flipping Stereotypes |
|
|
95 | (2) |
|
The Nine Enneagram Type Descriptions |
|
|
97 | (4) |
|
Exercise: Personality Extremes |
|
|
101 | (7) |
|
Tailored Example: Virtue/Vice |
|
|
108 | (3) |
|
Exercise: Problem-Solving Styles |
|
|
111 | (3) |
|
Exploring the Five Senses: The "Ghosting" Technique |
|
|
114 | (4) |
|
|
118 | (1) |
|
Incorporating Basic Instincts |
|
|
119 | (4) |
|
Chapter 5 Passage of Time |
|
|
123 | (14) |
|
Honoring Period Dress and Norms |
|
|
124 | (2) |
|
Exercise: Silhouettes Through the Ages |
|
|
126 | (1) |
|
Exercise: Personal Costume Journal |
|
|
127 | (1) |
|
|
127 | (2) |
|
Status Effects (FX) Are Plot Effects |
|
|
129 | (3) |
|
Exercise: Script Breakdown (Visual Development) |
|
|
132 | (1) |
|
|
133 | (1) |
|
Tailored Example: Story Circle |
|
|
134 | (3) |
|
Chapter 6 Styling and Surface Design |
|
|
137 | (28) |
|
Costume Design vs. Styling |
|
|
137 | (1) |
|
Developing a Character's Style |
|
|
138 | (1) |
|
|
139 | (1) |
|
Playing with Proportions and Fit |
|
|
140 | (3) |
|
Exercise: "Ugly Duckling" Transformation |
|
|
143 | (1) |
|
Exercise: Exaggerate Your Silhouette |
|
|
144 | (1) |
|
Exercise: Stretch Your Silhouette |
|
|
145 | (1) |
|
|
146 | (2) |
|
|
148 | (1) |
|
|
148 | (2) |
|
Storytelling through Surface Design |
|
|
150 | (3) |
|
Using Surface Design to Distinguish Groups |
|
|
153 | (1) |
|
Transformation through Motifs |
|
|
154 | (2) |
|
Exercise: Reimagining a Character's Costume |
|
|
156 | (1) |
|
Tailored Example: Cloud Atlas |
|
|
157 | (8) |
|
Chapter 7 Practical Knowledge |
|
|
165 | (47) |
|
|
165 | (3) |
|
|
168 | (4) |
|
|
172 | (1) |
|
Exercise: Folds in Action |
|
|
173 | (1) |
|
Exercise: Range of Motion |
|
|
174 | (2) |
|
|
176 | (1) |
|
|
177 | (1) |
|
Mocking up a Scale Pattern |
|
|
178 | (4) |
|
|
182 | (3) |
|
|
185 | (1) |
|
|
186 | (1) |
|
Costume Illustration for Live-Action Film |
|
|
187 | (1) |
|
|
188 | (1) |
|
Exercise: On-Screen Illustrations |
|
|
189 | (1) |
|
|
190 | (2) |
|
Live Puppet Theatre: Hand Puppets |
|
|
192 | (2) |
|
|
194 | (2) |
|
Stop-Motion Feature Animation |
|
|
196 | (2) |
|
|
198 | (2) |
|
When Does the Costume Specialist Come In? |
|
|
200 | (2) |
|
Tackling a Video Game Character Concept Brief |
|
|
202 | (2) |
|
Working with a Specialist: A Case Study of Costume Collaboration in Animation by Gwyn Conaway |
|
|
204 | (7) |
|
Letter from a Character Artist |
|
|
211 | (1) |
The Stories We Tell |
|
212 | (1) |
Take Aways |
|
213 | (1) |
Biographies |
|
214 | (5) |
Index |
|
219 | (3) |
Resources and References |
|
222 | |