Theatre Design & Technology - Spring 2013 - 68

book

review

birth to ho-hum garments, and everything in between."
Early in the book, Landis has an illustration for Animal House (1978),
one of her first films; the costume illustrator is Kelly Kimball. Landis goes on
to tell us about her professional relationship with Kimball, revealing much
along the way about making movies, which includes coping with a magnitude and scale considerably different from the stage, including Broadway
musicals. We quickly understand how difficult it would be for a designer
to create full color renderings for each and every costume in a movie. Her
collaboration (and friendship) with Kimball continued for many years, and
the book also reveals much about how careers in costume design and illustration for the movies develop. The book includes additional examples
from their work together on 1941 (1979), Coming to America (1988), for
which Landis was nominated for an Academy Award, and Oscar (1991).
As Landis explains, "Kelly and I never confused the unique roles of
costume designer and illustrator. The role of the costume designer is to
fully realize, in three dimensions, the people in the screenplay, based on
conversations with the director. Costume illustration is an intermediary step,
an artistic response that is born of that dialogue." She provides an example
of another way to work, citing Theadora Van Runkle (Bonnie and Clyde,
The Godfather: Part II, Peggy Sue Got Married) who told Landis that she
"needed to draw to 'see' the character." For Landis, however, "My creative
process starts with research, continues with finding the right fabric, and fol-

66

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& technology

lows by draping on the dress form. Handling the fabric and shopping for the
trim are key. For me, drawings (combined with substantial research) help
to illuminate the milieu of the entire movie and serve as a point of discussion with the director. Costume designers fall into these two groups (drawing and nondrawing), and both processes are of equal value."

When to hire an illustrator
One of the interesting facets of the relationship between costume designers and costume design illustrators is who hires them: "It is up to the
costume designer to determine whether or not to hire a costume illustrator when starting a new project. Among the factors driving this decision
are the size of the cast and the production, and the length of the preproduction and production schedule. On modestly budgeted films, hiring a
costume illustrator is out of the question. Designers may decide to do (or
not do) their own drawings and/or assemble mood boards, which include
picture collages of drawings, research, and inspiration. On larger motion pictures projects of every genre and period, including modern films,
the designer may have the opportunity to hire a costume illustrator-or
a team of illustrators-for the length of the preproduction and, in rare
cases, for the length of the production."
The relationship between an illustrator and a costume designer, according to Landis, does not diminish the contribution of the designer at all;

s p r i n g 2013



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2013

Contents
Theatre Design & Technology - Spring 2013 - 1
Theatre Design & Technology - Spring 2013 - 2
Theatre Design & Technology - Spring 2013 - 3
Theatre Design & Technology - Spring 2013 - Contents
Theatre Design & Technology - Spring 2013 - 5
Theatre Design & Technology - Spring 2013 - 6
Theatre Design & Technology - Spring 2013 - 7
Theatre Design & Technology - Spring 2013 - 8
Theatre Design & Technology - Spring 2013 - 9
Theatre Design & Technology - Spring 2013 - 10
Theatre Design & Technology - Spring 2013 - 11
Theatre Design & Technology - Spring 2013 - 12
Theatre Design & Technology - Spring 2013 - 13
Theatre Design & Technology - Spring 2013 - 14
Theatre Design & Technology - Spring 2013 - 15
Theatre Design & Technology - Spring 2013 - 16
Theatre Design & Technology - Spring 2013 - 17
Theatre Design & Technology - Spring 2013 - 18
Theatre Design & Technology - Spring 2013 - 19
Theatre Design & Technology - Spring 2013 - 20
Theatre Design & Technology - Spring 2013 - 21
Theatre Design & Technology - Spring 2013 - 22
Theatre Design & Technology - Spring 2013 - 23
Theatre Design & Technology - Spring 2013 - 24
Theatre Design & Technology - Spring 2013 - 25
Theatre Design & Technology - Spring 2013 - 26
Theatre Design & Technology - Spring 2013 - 27
Theatre Design & Technology - Spring 2013 - 28
Theatre Design & Technology - Spring 2013 - 29
Theatre Design & Technology - Spring 2013 - 30
Theatre Design & Technology - Spring 2013 - 31
Theatre Design & Technology - Spring 2013 - 32
Theatre Design & Technology - Spring 2013 - 33
Theatre Design & Technology - Spring 2013 - 34
Theatre Design & Technology - Spring 2013 - 35
Theatre Design & Technology - Spring 2013 - 36
Theatre Design & Technology - Spring 2013 - 37
Theatre Design & Technology - Spring 2013 - 38
Theatre Design & Technology - Spring 2013 - 39
Theatre Design & Technology - Spring 2013 - 40
Theatre Design & Technology - Spring 2013 - 41
Theatre Design & Technology - Spring 2013 - 42
Theatre Design & Technology - Spring 2013 - 43
Theatre Design & Technology - Spring 2013 - 44
Theatre Design & Technology - Spring 2013 - 45
Theatre Design & Technology - Spring 2013 - 46
Theatre Design & Technology - Spring 2013 - 47
Theatre Design & Technology - Spring 2013 - 48
Theatre Design & Technology - Spring 2013 - 49
Theatre Design & Technology - Spring 2013 - 50
Theatre Design & Technology - Spring 2013 - 51
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Theatre Design & Technology - Spring 2013 - 60
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Theatre Design & Technology - Spring 2013 - 67
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Theatre Design & Technology - Spring 2013 - 69
Theatre Design & Technology - Spring 2013 - 70
Theatre Design & Technology - Spring 2013 - 71
Theatre Design & Technology - Spring 2013 - 72
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Theatre Design & Technology - Spring 2013 - 76
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