Theatre Design & Technology - Summer 2011 - 68

fabric is draped in order to create believable clothing. Garments that were once rendered in low
resolution, two-dimensional forms are now becoming increasingly intricate, showing seam lines,
stitching, and small decorative details that were not
even attempted in earlier video games. In order to
effectively render details like these, the concept
artist's ability is greatly enhanced by knowledge of
garment cut and construction. The concept artist
creates the style in a 2D rendering, and the character modeler then creates the 3D version. Technological advances are allowing for increased image
quality, with the advent of high definition (HD).
This makes the level of detail possible but also
makes accurately rendered detail desirable. Theatre artists who also work in film have felt the same
emphasis on detail. The first time that I worked as
wardrobe manager on a television series shot in
HD, I noticed a huge shift in emphasis on minute
details, particularly those that might be seen in a
close-up camera view.
There is an internal logic to the way that
things are made, which is best understood by
spending part of one's life manipulating actual
materials such as wood, metal, and fabric. This
gives believability to renderings of metalwork,
carpentry, and dimensional sculpture of all
sorts. Accurately rendered details like mitered
corners and realistically textured materials lend
believability and integrity to the work, even in
the virtual world. When details don't work, the
player's suspension of disbelief is disrupted. Believability is the key to immersion in the created

world. Whether the design aesthetic has a more
retro feel, or is hyper realistic, the consistency
of internal logic and functionality is key.
Other skills inherent in theatre design
are also vital in the digital arena. It is routine
practice, for instance, for theatre designers to
analyze scripts in order isolate important details
and concepts which translate into set, prop, and
character design. Interestingly, this gives the theatre person a valuable skill that is not covered in
most video game design training programs. As a
costume designer, I see the ability to visually convey plot elements as a way of making the story
clear, which ultimately makes the imagined world

have resonance and a logical flow.
Another critical skill that crosses over
from theatre is the ability to manage deadlines
and plan out work flow. Both fields have similar
work flows that go from concept to realization,
integrating teams of people with varied skills to
create a unified world, whether tangible or virtual. In video game design, time management is
vital to keeping a project on schedule. The pressures of working under deadlines are similar, as
is the attitude of doing whatever it takes to get the
job done. One difference that might be a positive one to the travel-weary theatre practitioner
is that collaboration can take place in virtual

Crusaders in Medieval II: Total War, © SEGA. The Creative Assembly

Hoop skirt costume in Soul Calibur IV, © 2011 NAMCO BANDAI Games America Inc.
66

theatre design

& technology

summer 2011

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2011