Sunday 16 May 2010
Saturday 15 May 2010
Final Touches
Final Touches:
More Stringing done, Found the extra stringing hard as the outer strings where blocking the way to get into the middle and tie it properly.
Bias Binding around the plate and the net seam allowances, attached to the basque with back stitch.
Satin stitch around the edge of the net, right on the edge of the scallops:
Cut the motife in half for the placket so when it is done up, it looks as one.
More Stringing done, Found the extra stringing hard as the outer strings where blocking the way to get into the middle and tie it properly.
Bias Binding around the plate and the net seam allowances, attached to the basque with back stitch.
Satin stitch around the edge of the net, right on the edge of the scallops:
Finished Bodice, Front and Back, including decoration:
Cut the motife in half for the placket so when it is done up, it looks as one.
Completed Bodice and Tutu attached. Showing how rigid the bodice is, that it stands up right.
Friday 14 May 2010
Please note:
Please Note:
Bibliography differs to the bibliography in my file (due to the research pictures.) I have tried to keep the bibliogrpahies relevant to the blog/file.
Bibliography differs to the bibliography in my file (due to the research pictures.) I have tried to keep the bibliogrpahies relevant to the blog/file.
Thursday 13 May 2010
Bibliography
Bibliography
Kassing, Gayle, 2007, History of dance: an interactive arts approach, United states Sheridan Books
Carter, A (2005) Music in 19th Century Dance and Dancers in music hall Ballet, Hampshire, Ashgate Publishing Limited
Clarke, M (1978) Ballet in Art, London, Balding
Cooper, B, (2002) Royal Opera House, London, Royal Opera House and Oberon Books ltd
Davis, J (1978) Royal Ballet History (Classics of the Royal Ballet) London Macdonald’s and Jane’s publishers
Greskovic, R, (1998) Ballet 101: a complete guide to learning and loving the ballet. New Jersey Limelight Editions (an imprint of Amadeus Press, LLC)
Grosser, J (1990) ABC Ballet, Canada, General Publishing Company ltd
Kassing, G, (2007) History of Dance An interactive Arts, Approach US Sheridan Books
Miggelow, V, L (2007) Reworking the Ballet: Counter Narratives and Alternative Bodies, Oxon, Routledge publishers
Strong, R, (1989) Designing for the Dancer, Great Britain, M& A Thomson Litho Ltd
Skoog, M, (2004) The Nutcracker (Programme), English National Ballet
Rebecca, (2005) http://www.classacttutu.com/ballet-costumes, Class Art Tutu, America, Thrive Marketing May 2010
David H. Koch Theatre (2002) http://www.becomearealballerina.com/ Become a real ballerina, New York, The George Balanchine Foundation, May 2010
Kassing, Gayle, 2007, History of dance: an interactive arts approach, United states Sheridan Books
Carter, A (2005) Music in 19th Century Dance and Dancers in music hall Ballet, Hampshire, Ashgate Publishing Limited
Clarke, M (1978) Ballet in Art, London, Balding
Cooper, B, (2002) Royal Opera House, London, Royal Opera House and Oberon Books ltd
Davis, J (1978) Royal Ballet History (Classics of the Royal Ballet) London Macdonald’s and Jane’s publishers
Greskovic, R, (1998) Ballet 101: a complete guide to learning and loving the ballet. New Jersey Limelight Editions (an imprint of Amadeus Press, LLC)
Grosser, J (1990) ABC Ballet, Canada, General Publishing Company ltd
Kassing, G, (2007) History of Dance An interactive Arts, Approach US Sheridan Books
Miggelow, V, L (2007) Reworking the Ballet: Counter Narratives and Alternative Bodies, Oxon, Routledge publishers
Strong, R, (1989) Designing for the Dancer, Great Britain, M& A Thomson Litho Ltd
Skoog, M, (2004) The Nutcracker (Programme), English National Ballet
Rebecca, (2005) http://www.classacttutu.com/ballet-costumes, Class Art Tutu, America, Thrive Marketing May 2010
David H. Koch Theatre (2002) http://www.becomearealballerina.com/ Become a real ballerina, New York, The George Balanchine Foundation, May 2010
Evaluation
Evaluation:
This unit has challenged me in all aspects of costume construction; it has developed my understanding of dancer wear costume construction. I have learnt a lot about my strengths and weaknesses which will enable me to improve my professional aspirations. It important to take extra time on certain areas, this would have improved the finished product.
I have found the workshops really useful; they have advanced my understanding of the technical side of dance wear construction. It has made me recognise why the construction techniques are changed and fundamental rules have broken to improve the flexibility in the dance wear. For example some of the seams are on the outside, and bodices not being lined.
I have enjoyed learning a completely new area of construction. I was apprehensive at first because I was throwing myself into the deep end. I am glad I took on this challenge as the new skills I have learnt will further my development in third year and provide me with an alternative way to flatter the movement of the body.
Good time management skills have really helped with this project. It has been really important to get each weeks workshop completed for following week’s workshop.
Sometimes I find myself setting “To do” lists and giving myself a few spare days in case of anything that may go wrong. This made me rush and sometimes make unnecessary mistakes. I need to trust my ability and not give myself such big le-ways. Extra organising and preparation will help my future progress, such as having one note book for each project. I have found myself jumping from one to another which has caused only problems and confusion on what is in which note book.
I find myself ploughing through my “To do” and not thinking about how steps may have side affects on my next construction. I.E I constructed and attached basic piping for hem and neck, but hadn’t been taught how this bodice was to be done for the client. As the costumes are going to be used next year, we are leaving the side seams for any future alterations. We needed to conceal the binding inside at the side seams.
In future I will make sure I know how the areas of the costume is needed to be constructed before I go ahead, and I ensure this doesn’t happen again by doing extra research from books, internet or tutor.
My research has broadened my knowledge of the various styles ballerina tutu and their origins and also history about classical ballet which will support my knowledge to achieve and further my professional aspirations.
I found the pleating hard to keep consistent, which is really important, I found as I was trying to put more of the net underneath the pleat it ended up looking as if the pleats where on top of each other looking gathered. I will practice on scrap net so I can fully grasp the technique for any future work in the professional environment.
I had patterns for the bodice provided for me so all bodices would be exactly the same, as it was for a client it was important. I had to show that I understood how I would have created a pattern; I really enjoyed drafting my bodice on the stand. Previous lessons had really helped me understand how to manipulate the fabric to my advantage-to get it as a “second skin.” I was really pleased with how my bodice patterns looked. I would have improved them by marking alternative markings in different colours to make it as clear as I could.
Working with a client and producing a group of costumes is difficult as it is so import to keep the costumes exactly the same. A group of 6 with alternative style of working and working in alternative areas, it was difficult to keep the costumes the same; it was important to have good communication skills.
My fitting went really well, I only had to change a few minor sections, for me, it was a conclusion that I had grasped the unit and understood the construction of a ballerina’s costume. I was pleased I adapted my patterns correctly.
I have really enjoyed this brief; it has been challenging and very rewarding. At times it was very difficult as it was an area I had never done before, but that’s to be expected. Working for a client was interesting, and showed what the profession would be like, and for that I have learnt a lot, design, shape, colours all have to be checked with the client. I have learnt a lot about how I work and the faults in what trips me up on creating a strong garment along the way. I will take everything I have learnt form this project into my final year and to help achieve my professional aspirations.
This unit has challenged me in all aspects of costume construction; it has developed my understanding of dancer wear costume construction. I have learnt a lot about my strengths and weaknesses which will enable me to improve my professional aspirations. It important to take extra time on certain areas, this would have improved the finished product.
I have found the workshops really useful; they have advanced my understanding of the technical side of dance wear construction. It has made me recognise why the construction techniques are changed and fundamental rules have broken to improve the flexibility in the dance wear. For example some of the seams are on the outside, and bodices not being lined.
I have enjoyed learning a completely new area of construction. I was apprehensive at first because I was throwing myself into the deep end. I am glad I took on this challenge as the new skills I have learnt will further my development in third year and provide me with an alternative way to flatter the movement of the body.
Good time management skills have really helped with this project. It has been really important to get each weeks workshop completed for following week’s workshop.
Sometimes I find myself setting “To do” lists and giving myself a few spare days in case of anything that may go wrong. This made me rush and sometimes make unnecessary mistakes. I need to trust my ability and not give myself such big le-ways. Extra organising and preparation will help my future progress, such as having one note book for each project. I have found myself jumping from one to another which has caused only problems and confusion on what is in which note book.
I find myself ploughing through my “To do” and not thinking about how steps may have side affects on my next construction. I.E I constructed and attached basic piping for hem and neck, but hadn’t been taught how this bodice was to be done for the client. As the costumes are going to be used next year, we are leaving the side seams for any future alterations. We needed to conceal the binding inside at the side seams.
In future I will make sure I know how the areas of the costume is needed to be constructed before I go ahead, and I ensure this doesn’t happen again by doing extra research from books, internet or tutor.
My research has broadened my knowledge of the various styles ballerina tutu and their origins and also history about classical ballet which will support my knowledge to achieve and further my professional aspirations.
I found the pleating hard to keep consistent, which is really important, I found as I was trying to put more of the net underneath the pleat it ended up looking as if the pleats where on top of each other looking gathered. I will practice on scrap net so I can fully grasp the technique for any future work in the professional environment.
I had patterns for the bodice provided for me so all bodices would be exactly the same, as it was for a client it was important. I had to show that I understood how I would have created a pattern; I really enjoyed drafting my bodice on the stand. Previous lessons had really helped me understand how to manipulate the fabric to my advantage-to get it as a “second skin.” I was really pleased with how my bodice patterns looked. I would have improved them by marking alternative markings in different colours to make it as clear as I could.
Working with a client and producing a group of costumes is difficult as it is so import to keep the costumes exactly the same. A group of 6 with alternative style of working and working in alternative areas, it was difficult to keep the costumes the same; it was important to have good communication skills.
My fitting went really well, I only had to change a few minor sections, for me, it was a conclusion that I had grasped the unit and understood the construction of a ballerina’s costume. I was pleased I adapted my patterns correctly.
I have really enjoyed this brief; it has been challenging and very rewarding. At times it was very difficult as it was an area I had never done before, but that’s to be expected. Working for a client was interesting, and showed what the profession would be like, and for that I have learnt a lot, design, shape, colours all have to be checked with the client. I have learnt a lot about how I work and the faults in what trips me up on creating a strong garment along the way. I will take everything I have learnt form this project into my final year and to help achieve my professional aspirations.
What would i change?
What Would I Change?
When i was trying to put the leg frill into the channel on the knickers i found it really hard to thread it through as i had sewn the leg frill on over the channel before i re-did it, there was stitching in the channel that prevented me from putting the elastic through; again this was due to my problem that i went on ahead and hadn't checked where to sew. i didn't know where to sew it i just thought i knew where it went.
To prevent this from happening i should have looked on the example that Dexter had provided us or spoke to someone that has done the ballet workshops before and knew where it went. I checked too late and then i was told that i had sewn partly over my channel.
To prevent bulk in the seam allowance in the piping i cut the bodices seam allowance down above the design line, on the CF and a SSF seam, i cut away the seam allowance too much and when i put the piping over the seams, it didn't reach to where i had cut it too, so therefore it looks messy, and I'm really not happy with it.
Next time to prevent this from happening again i will measure how much seam allowance i will have from my piping and i will cut to the length that i will be able to conceal it.
I overlocked my bodice and facing in black overlock, i thought the tones worked better than the white, i hadnt thought that the drill was white and it would look better. Also the facing would be better in white so it didn't show through the net. If i could i would overlock it in white as it would look better.
I also used grey thread on my piping as i thought it would work better than white, as the white stood out too much, the black was too dark so i went in the middle with the grey. I would do it in the gold that i have been sewing my fastenings on with and use a consistent thread colour throughout to improve my finishing standard.
When i was trying to put the leg frill into the channel on the knickers i found it really hard to thread it through as i had sewn the leg frill on over the channel before i re-did it, there was stitching in the channel that prevented me from putting the elastic through; again this was due to my problem that i went on ahead and hadn't checked where to sew. i didn't know where to sew it i just thought i knew where it went.
To prevent this from happening i should have looked on the example that Dexter had provided us or spoke to someone that has done the ballet workshops before and knew where it went. I checked too late and then i was told that i had sewn partly over my channel.
To prevent bulk in the seam allowance in the piping i cut the bodices seam allowance down above the design line, on the CF and a SSF seam, i cut away the seam allowance too much and when i put the piping over the seams, it didn't reach to where i had cut it too, so therefore it looks messy, and I'm really not happy with it.
Next time to prevent this from happening again i will measure how much seam allowance i will have from my piping and i will cut to the length that i will be able to conceal it.
I overlocked my bodice and facing in black overlock, i thought the tones worked better than the white, i hadnt thought that the drill was white and it would look better. Also the facing would be better in white so it didn't show through the net. If i could i would overlock it in white as it would look better.
I also used grey thread on my piping as i thought it would work better than white, as the white stood out too much, the black was too dark so i went in the middle with the grey. I would do it in the gold that i have been sewing my fastenings on with and use a consistent thread colour throughout to improve my finishing standard.
Wednesday 12 May 2010
Blog Tutorial 2
Blog Tutorial 2
My second tutorial was to reflect on my blog so far. I am pleased with my feedback. Graham and i discussed how my reflection pieces are looking; he was pleased with how i evaluate my errors and how i find solutions, this is a good point that i will focus on trying to keep up with as it is a mature reflection on my work.
I will include my bibliography when i have published all my posts and put in all of my information.
I will select some of the key points in my reflection posts to include in my evaluation, and further them more. Go more in depth with the solutions, as that is a key point to focus on.
My second tutorial was to reflect on my blog so far. I am pleased with my feedback. Graham and i discussed how my reflection pieces are looking; he was pleased with how i evaluate my errors and how i find solutions, this is a good point that i will focus on trying to keep up with as it is a mature reflection on my work.
I will include my bibliography when i have published all my posts and put in all of my information.
I will select some of the key points in my reflection posts to include in my evaluation, and further them more. Go more in depth with the solutions, as that is a key point to focus on.
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