Over the course of my stay at University at Buffalo, I’ve worked on several class projects and conceptual work that, while never reaching the stage, have helped immensely to help figure out my design style, or practice developing research, organization, and artistic methods that I use to this day.
44 Plays for 44 Presidents
University at Buffalo Department of Theatre and Dance, TH440
For this concept, the ‘presidential coat’ is passed from one president to another over a multitude of short skits of a satirical nature about their respective presidencies.
As such, it follows that the Presidential Coat should be emblematic of America in general, and for mine in particular, the american dream.
My original sketch, above, was a sort of patchwork blazer. representing the American dream, blue-collar ascendance, and the patchwork layering of much of American culture.
After some thought, and more than a bit of discussion, I came to the conclusion that while the previous sketch was emblematic of a certain kind of America, I think that the blatant ‘we’re American and we’re the best’ feel represented by the above was more accurate to the satirical roots of the play.
This coat, rendered in Photoshop, is cut in the classic blazer/sport coat style, and formed of a denim material with an American flag layered over it.
Merrily We Roll Along- Asst. Scenic Design
University at Buffalo Department of Theatre and Dance, Spring 2020
For Merrily We Rolled Along, the Scenic Designer and the Director agreed on a set that consisted of a singular structure, mounted atop a rotating deck.
This was to be UB’s first foray into stage automation, so we wanted to make a set that made the most of it, allowing for each scene to be in a new position, to reflect the changing nature of the characters all the better.
My work for this show was in a supporting fashion, such as creating the the above rotation schedule for use in preproduction prior to the deck actually being created.
My other main goal was to produce an effective 3D rendering of the model for usage by the LD and for use when discussing the set with the director.
To that end, I used AutoCAD Inventor to model the set from the Scenic Designer’s ground plans, and then exported it as both a PNG and JPG file for ease of use.
Unfortunately, COVID-19 hit in earnest just after we had finished constructing the rotating deck, so we never got the chance to build the rest of the set, or put on the show in its entirety.
Portions of a Costume Armor, Kolman Helmschmid, (c.1525)
Killing It
University at Buffalo Department of Theatre and Dance, TH 390
Armor Garniture of George Clifford, Third Earl of Cumberland (c.1586)
I’ve said it before, but I love fantasy. Knights in shining armor, dashing heroes and terrible villains. Despite the sometimes outlandish nature of my preferred genre, I generally believe that fantasy is at its best when its realistic, grounded to what we know and understand. To me, a flashy sword duel (cough cough, Star Wars) is less impressive than the ones in reality- over in a few short strokes, where each combatant needs to be at their peak in order to come away.
To that end, I love it when arms and armor from the past come to the fore of stories. It makes it feel more real, and helps maintain a sense of versimiltude even if a dragon is burning the village down.
Killing It is a research presentation I followed over European armor of the gentry as it related to the fashions of the time.
Sir Robert Dudley, artist unknown (c. 1575)
What I found most interesting was how closely intertwined the two facets are. You would imagine that on the battlefield, function mattered above all. To an extent, this is true- no costume armor would make it to a real battle.
But on the other hand, the armor worn into battle by nobles of all stripes could be just as ostentatious as any crown or tapestry, inlaid with gold filligree or even plated in it. The dichotomy of the mud, blood, and horror of a 1600s battle and the shining gold and steel of a noble is an interesting one, I think.
And on top of all of that is the idea that armor follows fashion, so as the coats and leggings of fashion become more pointed, as the collars become wider and more impressive, the armor follows those intentions, slimming down or becoming more pointed- following the rage of the peascod, or the ballooning things of the pants.
So Bento Monastery in Rio de Janeiro, Brazil
A Transition: Renaissance to Baroque
University at Buffalo Department of Theatre and Dance, TH 390
Portrait of a Man, Corneille de Lyon Corneille de Lyon (c.1550/60)
This project served as my final presentation for Design Resources, and fittingly for such an endeavor, was the culmination of my interests and other projects in the class.
To that end, this research presentation explores the juxtaposition of these two iconic eras, through portraiture and clothing, architecture, and the design of common (or less common) artifacts of the past.
Following the example of previous research, I also explore the change in stylistic trends in lands far from Europe- the middle east, in this case, as they parallel the artistic choices of Europe without adopting either Renaissance nor Baroque trends outright.
A Man in Military Costume, Rembrandt Harmensz. van Rijn (c.1631)