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Costume & Makeup Design > MidTerm > Flashcards

MidTerm Flashcards

1
Q

What is color?

A

result from light waves which area particular kind of electromagnetic energy

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2
Q

Subtractive color mixing deals with

A

pigment color wheel

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3
Q

Additive color mixing deals with

A

light color wheel

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4
Q

Hue

A

specifically defines the unmodified colors in the spectrum

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5
Q

Color Intensity or Chroma

A

pure hues uncontaminated by combination with other hues black or white

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6
Q

Color Value

A

the scale that indicates the light-to-dark relativity of the tones between white & black

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7
Q

Contrast of Hue

A

most intense contrast of hue employs the 3 primaries- red, yellow, blue-a combination that produces a vigorous effect. The intensity of the contrast of hues diminishes as the hues are removed from the three primaries

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8
Q

Contrast of Value/ Light-dark contest

A

variations displayed in value scale

example: black & white

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9
Q

Cold-Warm Contrast

A

2 poles- blue-green & red-orange.
Warmth & activity: red-orange
Spectrum Coolness, Quietness: blue-green

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10
Q

Complementary Contrast

A

Indicates maximum vivid dress neutralizes each other to gray-black

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11
Q

Simultaneous Contrast

A

Occurs in the eye for when a color is perceived the eye requires the complement any color & will generate it simultaneously if it is not present

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12
Q

Contrast of Intensity or Saturation

A

add white to produce tint:
add gray to move the color to a more neutral tone
add black to darken/deaden color
add the complement: neutralize the color usually in a more interesting fashion that when gray is added

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13
Q

Contrast of Extension

A

relative areas of 2 color patches or contrast between a larger area and a smaller one

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14
Q

Red emotional response

A

warmth activity power passion strength

Variations- satanic bloody warlike deep tones to cherubic pinks

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15
Q

Orange emotional response

A

Festivity active energy earthy vibrancy

Variations-warm restful beige’s to dull withered brown

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16
Q

Yellow emotional response

A

Brightness knowledge youth radiance
Pure Yellows- truth understanding
Neutralized Yellows- distrust & decay

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17
Q

Green emotional response

A

Fruitfulness lush nature contentment reflect the growth in the world but when grayed can become sinister or when mixed with blue take on a colder more aggressive tone

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18
Q

Blue emotional response

A

coldness passivity spiritualism faith introversion
Light Blue: transparent quality
Blue: vibrant -> black -> grayed tones

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19
Q

Violet emotional response

A

Piety mastery menace chaos solitude royalty terror

Variations: lilac lovely spring flowers -> terrifying that might inhibit a nightmare

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20
Q

What is the aim of the costume rendering or final sketch

A

to present a clear design that helps convey and support the character

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21
Q

The costume design presentation (rendering) should include several elements, what are they?

A

swatches of the actual materials and trims to be used or perhaps textures indications so the designer can present as much information as is needed to clarify his or ideas
Completed rendering must include hair, headdress accessories & footware

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22
Q

Water Color

A

transparent glasses made from finely ground pigments combined with gum arabic

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23
Q

Gouache

A

designers colors
opaque watercolors
colors have white incorporated into them

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24
Q

Tempera

A

Medium that contains oils in emulsion and can be used with water

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25
Q

Acrylics

A

Acrylic Polymers- synthetic resins in which pigment is dispersed in an acrylic emulsion

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26
Q

Casein

A

refers to pigments bound with milk curd & is available in commercially prepared tubes

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27
Q

Oils

A

fascinating medium but not easily used for costume renderings as they are most common only applied to canvas and can be very slow drying

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28
Q

Pastels

A

can produce strong true colors because not much medium is mixed with the pigment to create the crayons variety of color is limited

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29
Q

Pencils & Markers

A

colored pencils
felt & fiber tipped markers
excellent for exploring quick color ideas or bringing out details and highlights in a painted rendering

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30
Q

True or False: Designing for film is completely different from designing for stage

A

False

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31
Q

Why is it important that a designer have his concept well established before filming begins

A

the scenes are not necessarily taped or filmed in the order of the script the end may be shot before the beginnings and there is never a final product until months after the wardrobe work is finished

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32
Q

What is involved in the “Scenery/Costume Breakdown”?

A

a costume list & detailed costume list
prices, day, item, actor, scenes certain shots wanted things happen to costume (spill, take off)
scene: day, # what happens in it and what costume -> character -> details (spill, take off, etc)

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33
Q

What is a “Costume List”

A

Breaks out the Wardrobe needs for each of the actors

General type of outfit should be indicated script day & the scenes in which it will be worn

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34
Q

What is the “Detailed Costume List”

A

an expansion of the one before now including all the elements of the costume designer will need to itemize everything that needs to be provided for the actor and will let the wardrobe crew know all the pieces that must be there when the scene is shot

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35
Q

What information is necessary on the “Continuity Sheet?”

A
  1. actors & characters
  2. costume number & a detailed list of all the pieces which should include color, size, marker, and particulars that could help reconstruct the exact look should re-shoots be necessary
  3. scene number shooting day script day location
  4. diagrams & notes on dressing (sleeves rolled, buttons etc)
  5. Polaroid shots of actor including hands & feet a number of shots may be necessary for good documentation
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36
Q

Braccae

A

loose trousers ending below the knees or at ankles & tied in there
Roman Early European

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37
Q

Mitre

A

headdress known in Assyria, Persia, & Greece

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38
Q

Kolobus

A

Greek Tunic

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39
Q

Stephane

A

Greek diadem worn by women

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40
Q

Chiton

A

Greek Tunic

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41
Q

Clavi

A

strips of purple fabric later embroidery in various colors worn on Roman & Byzantine tunics

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42
Q

Dalmatic

A

late Roman & Byzantine gown later a church vestment

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43
Q

Lorica

A

Roman military corset of leather or metal

44
Q

Pallium/ Palla

A

Roman name of himation worn by men

Roman name of himation worn by women

45
Q

Paludamentum

A

rectangular cloak with corners rounded worn in Rome & Byzantium

46
Q

Stola

A

a long loose tunic or robe with or without sleeves worn by women of ancient Rome

47
Q

Toga

A

Roman outer garment

48
Q

Tunic

A

a gown like outer garment with or without sleeves and sometimes belted worn by the ancient Greeks & Romans

49
Q

Fillet

A

band tied around the head Egypt Greece Rome Byzantium and Western Eurpoean Dress to Mid-15th Century

50
Q

Khat

A

striped linen headdress worn by Pharoahs

51
Q

Sari

A

name given in the present day to a woman’s draped gown Egyptian New Kingdom

52
Q

Uraeus (cobra)

A

royal cobra emblem used as decoration on headdresses and ‘aprons’ in Egypt

53
Q

Vulture Headdress

A

cap in the form of a vulture worn by Egyptian Queens

54
Q

Play of 13th & 14th Centuries

A

King John

55
Q

Play of 18th Century

A

Scarlett Pimpernel

56
Q

Play of 19th Century

A

Pride & Prejudice

57
Q

Movie of 20th Century

A

Titanic

58
Q

Bag-Sleeves

A

bag shaped sleeves sewn into bands at wrists sometimes with inner seam open mid-14th to mid 15th centuries

59
Q

Bongrace headdress

A

flat headdress with veil at back, worn by women by late 15th-early 17th centuries

60
Q

Byecocket

A

hat with long peak in front upturned brim at back and long cone-shaped crown 15th Century

61
Q

Bases

A

full circular skirts of padded pleats worn by men early 16th century

62
Q

Baldrick

A

sword-belt later an ammunition belt for soldiers word from shoulder to opposite hip early times onward

63
Q

Bertha collar

A

deep round collar for women’s dresses usually worn below shoulders 17th mid 19th & early 20th centuries

64
Q

Boothose

A

lace or embroidery-topped hose usually white worn inside boots and turned over to show at the top 17th

65
Q

Bucket top boots

A

boots with wide tops mid-17th centuries

66
Q

Bicorne (Chapeau-Bras)

A

a two-cornered cocked hat worn especially in the 18th and early 19th centuries.

67
Q

Caul

A

jeweled net worn as women’s head covering 14th-15th centuries
small cylindrical ornamented cap worn on back of head by women 16th Century

68
Q

Chaperon

A

hat contrived from winding long ‘liripipe’ round cap later made as complete headgear mid 14th-15th centuries

69
Q

Courtepy

A

very short hip-belted tunic latter 14th century

70
Q

Canions

A

upper leg coverings worn usually over complete hose late 16th century

71
Q

Copotain

A

tall crowned hat with moderate sized often flexible brim later 16th-early 17th centuries

72
Q

Canons

A

garters with deep lace frill turned downward worn below knees appearing like frills to the breeches

73
Q

Cassock

A

name given to loose outer wrap or garment 16th-17th centuries

74
Q

Calash

A

folding hood worn by women latter half of the 18th century

75
Q

Cocked hat (Tricorne)

A

3 cornered hat

76
Q

Crinolin

A

petticoat stiffened by bonds of cane steel or whalebone 1850’s-60’s

77
Q

Doublet (pourpoint)

A

man’s garment ending at waist or hips late 15th-early 17th centuries

78
Q

Dutch Breeches

A

loose breeches not caught in at the knees early 17th century

79
Q

Hennin

A

cone shaped or cylindrical headdress for women 15th century

80
Q

Journade

A

very short full beltless tunic mid 15th centuries

81
Q

Nebulae Headdress

A

narrow halo-shaped headdress of gauze 15th century

82
Q

Poulaines

A

very long-toed shoes 15th century

83
Q

Pourpoint

A

under-doublet 15th-16th century

84
Q

Tabard

A

sleeveless outer-garment with open side-seams worn by men mid 15th century and always by heralds

85
Q

Farthingale

A

petticoat stiffened with bands of steel or cane from early 16th century to early 17th latterly in form of bolsters tied on at waist

86
Q

Jerkin

A

outer garment usually sleeveless covering doublet 16th-17th centuries

87
Q

Kirtle

A

petticoat or underskirt 16th-17th centuries

88
Q

Mandillion

A

short tabard-shaped outer garment for men side seams open from armpits late 16th-early 17th centuries

89
Q

Peascod belly

A

padded downward point protruding above doublet-belt late 16th century

90
Q

Rebato

A

large standing collar usually three curved sections framing the head

91
Q

Shoulder Rolls

A

shoulder decoration covering seams 16th-early 17th centuries also called wings

92
Q

Stomacher

A

panel of trimmed or jeweled stuff in form of inverted triangle superimposed on front of bodice 16th-18th centuries

93
Q

Trunk (Round) hose

A

full sleeves from shoulder to wrist diminishing towards wrist

94
Q

Upper-stocks

A

name for early form of breeches late 15th-early 16th centuries

95
Q

Venetians

A

breeches fastening below the knee late 16th-early 17th centuries

96
Q

Golilla

A

lace collar with square-cut base early 17th centuries

97
Q

Marie-Stuart cap

A

cap fitting the head with downward curve or point in center of forehead mid 16th-early 17th centuries

98
Q

Petticoat breeches

A

loose breeches cut to resemble a kilt mid-17th centuries

99
Q

Spanish hose

A

long breeches not fastened at the knees ending at calves usually put on at a high-waist-level mid-17th century

100
Q

Redingote (Garrick)

A

outer coat late 18th-19th centuries

101
Q

Pantaloons introduced

A

a man’s close-fitting garment for the hips and legs, worn especially in the 19th century, but varying in form from period to period; trousers.

102
Q

Pinner

A

flat cap of lawn lace or embroidery worn on the top of the head first half 18th century

103
Q

Polonaise

A

overdress with back pleats and drapery 18th & 19th centuries

104
Q

Spoon Bonnet

A

bonnet with crown sloped away towards the back and short flounce hanging there 1860’s

105
Q

Stole

A

strip of embroidered stuff shaped to put round the neck & hang down in front worn by priests
scarf of silk feathers velvet or gauze
late 18th early 19th centuries

Costume & Makeup Design (2 decks)

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