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Difference between pages "Advice1pagesExtraordinarylife" and "Advice1pagesFaking"

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The Costumer's Manifesto: HOW TO LIVE AN EXTRAORDINARY LIFE
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The Costumer's Manifesto: Faking Creativity
  
'''HOW TO LIVE AN EXTRAORDINARY LIFE
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'''FAKING CREATIVITY:'''
  
'''
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==FAKING==
  
[What follows is a personal diary rant I wrote in 1995 when I was in a depressed state, and was attempting to pull myself out of it. It not only has some great insights for the depressed, ''it worked.''
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IT: Probably the most important set ofskills for a costumer are those various means of faking things, from the simple means ofletting gold paint and hot glue pass for embroidery, to the complex means of"faking" creativity. The latter, is probably the most important skill in acostumer's art and life since she [Sorry I'm being sexist, yes, guys make great costumer'stoo, I've just had a problem with generically using "he" as a personal pronounsince 7th grade English.] has to create on demand, and can't wait for her mood or muse tostrike.
  
My God, how do I do this?I fear I am dull.Dull, both naturally and by habit.I fear, well, I FEAR.And we all know what Roosevelt said about fear itself...I struggle, (and struggle valiantly) against being tedious, but mostly succeed in merely being odd.Yet struggle one must.For if one cannot be happy, one has at least a duty to one's self to be interesting, adventurous, perhaps even amazing.This is the secret that drives people to the heights of fame and adventure:personal misery.When you at last realize with mounting horror that you just lost at the game of life, you have an overwhelming desire to upset the table, scatter the pieces to the wind and run with whatever you can grab.This is when extraordinary lives begin.
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==SAVING==
  
Mine has had two points where I lost the game and ran.The first was as a child.I was one of those mysteriously "untouchable" children whom all the other children hate and revile.Nothing I said or did, or didn't do, seemed to change matters.I tried being friendly, being mean, being indifferent.It changed nothing.I was shoved, insulted, spit at, and tormented, with a hatred that was extraordinary, all without ever knowing why.Naturally, I invented a "why" as I grew by becoming an eccentric.Since I had no friend's or peer group's opinions to consider, I cultivated my own unusual interests:Classical music, costume history, plays.By high school I dressed, in the midst of mid-1970's shag cuts and platform shoes, like a mourner at a Victorian funeral or a debutante at a Regency ball.I was still spit on, of course, but something strange happened.In a high school of 1000 students, I can name perhaps four of those who went there, yet dozens, whose faces are quite unfamiliar to my eye still remember me by name.I was "famous" simply by doing what is natural to the lonely and outcast:I was "myself".
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CREATIVITY FOR A RAINY DAY: Fakingcreativity is, in a way, a misnomer. One can't "fake" a great creative idea, orit simply isn't a great creative idea. However, one can, both induce creativity more orless on demand and save up creative thoughts from a previous day to use at a later datewhen they are needed. Creative ideas, both one's own and those provided by outsideinfluences, can be stored like nuts for winter in the following ways:  
  
Oneshould never underestimate the advantages of alienation.Acceptance, contentment, happiness, they all lead to inertia andhomogeneity.There is nothing wrongwith this, quite the contrary; one is lucky if this is one's lot in life.However, when one asks the central question of life:"Are We Having Fun Yet?" and the answer comes back a resoundingNO with no relief in sight, this is when one is moved to do great things.This is only natural.Whenwe are caught like a fish on a hook of pain, we will wriggle with all ourstrength to escape, and even if escape is impossible the struggles are oftenjustification in themselves.
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==NOTEBOOK==
  
Have you evernoticed how mediocre Romantic novels are all written by prosperous, happilymarried women with children, and how the Great Books of Literature were allwritten by tortured, alcoholic, manic-depressives?This is not an accident.Noris it an accident that all our best film directors were persecuted"nerds" in their youth.Whatis more, the whole computer industry was founded by people who felt so alienatedfrom other humans that they invented machines they could talk to.Yes alienation has its uses.
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S: Take the blank book somebody gave youlast Christmas with the arty cover and the intimidating BLANK pages and stick it in yourpurse. Next time you see something really neat, or think of an interesting idea try to doa drawing of it or write it down. If you never seem to get ideas, just pull it out anddoodle anything when you are stuck places doing nothing: waiting at the airport, inrestaurants, and all those short annoying waits that otherwise make life tedious andfrustrating.I
  
My ultimate alienating experience came less than two years ago.My last, my final hope for a mate, rejected me, very politely, but insuch a firm way that I realized, at length, that there had never really been anyhope at all.I am, no question,simply one of those people who has absolutely no sex appeal, despite fair looks,a nice figure, and a good brain.Itwas, in a way, the same thing as in my childhood:no "reason", but some mysterious invisible sign of beinguntouchable.If, by 35, a woman,despite a healthy sex drive, and tolerable looks, has not ever had a regularboyfriend, she has to face the fact that she most probably never will.I can think of few prospects more depressing in life, for it is a wholeinclusive chapter of disappointments:Nolove, No sex, No marriage, No children, No family, No future.
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f you can't do this try writing your shopping list, or drawing the salt and pepper shakers. Eventually if you keep the damn thing with you, you will begin to put in your
  
What to do?Roll over and die?No,one struggles on the hook, trying to find a way to stop the pain, no matter howextraordinary the measures necessary to do it.I quit my job, I went to Russia to live, I wrote twice as much in thelast six months than I have in my whole previous career, I painted five times asmuch, I photographed till I had to buy film wholesale, 50 rolls at a time tokeep up, I walked in the forest picking mushrooms till my toes grew bloodblisters, I drew, I kept volumes of diaries, I toured every museum, I adopted acat, I painted my clothes, I learned to cook.I even lost 20 lbs without dieting, just from the constant press ofactivity.This, despite the factthat at least half my time is still spent inert and withdrawn in a state ofdepression.
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[[Advice1pagesIdeanote|FAKINGSAVING NOTEBOOKspare ideas]] that you don't need yet. Don't expect to putin finished ideas, just put stuff in as it occurs to you, and these bits and pieces willbe handy later. It doesn't matter squat if these sketches look good, they are just thereto store ideas before you forget them. This is also a great way to work for those peoplewho always do better sketches on paper napkins in restaurants, than they can do completedrenderings. In fact, after you do this for a while, you may want to give in and do yourrenderings in restaurants as well. I do.
  
None of these activities is a "cure" for my broken life.But all of them are good temporary analgesics for the pain.And more importantly, they are productive:I am now constantly getting my writing and photos published, I can eatwhat I cook, mushrooms included, and the starving flea-ridden street kitten ofsix months ago is now a healthy, happy,
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You can support my site by buying products offered by my affiliate sponsors:
  
[[Tara1pagesCat|cat]]From the outside, anyone observing my life would account me moresuccessful than I was when I still lived in hope of everyday happiness.This is the value of misery, it spurs us on to do extraordinary things.
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[[File:h.t]]
  
Happy people must fear action because it may disturb the calm flow oftheir families, lives, and jobs.Theunhappy fear action only so far as they fear their pain will be made worse.Once the point of rock-bottom misery is reached, fear evaporates, actionis escape, and there is nowhere to go but up.Up, and out, and around.Anydirection you go is better than the one you left behind.Anything you do is better than doing nothing.Once that thought strikes you, you can do anything.Fear is the place from which you came, not the place to which you aregoing.An extraordinary lifebecomes easy.It becomes anecessity.
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[[File:AmazonBooks4Costumes_chemistry%20.jpg]]
  
You start by looking for a "cure" for the problem.When that fails, you will try to ignore it, and hope it goes away.You may even try making everyone around you equally miserable, in thevain hope they will fix your problem for you. Noneof these helps.There is only oneoption: Escape.As Noel Cowardwrote "When your life gets too miserable to rise above, sail away, sailaway. When your heart feels as weary as a worn out glove, sail away."You can always return later.Youneedn't go to Russia.Go anywhere.
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[[File:AmazonBooksInstantperiodcostumes.jpg]]
  
Then ask yourself, "what do I, in my wildest imaginings, want tobe?"Don't say "apainter" if you've just been blinded, or "a heterosexual" ifyou've just figured out you're gay, or "married" if you're like me, weare talking about possible, if difficult to attain goals.Pick the thing that you can still feel a passion for, a hard to winprize, a terrifying leap, a crazy dream, long buried.It has to be big, so big, that if you succeed and get it, making do withthis "second best" option may be better than having got what youwanted in the first place.As thesong says "You can't always get what you want, but if you try, sometimes,you just might find, you get what you need."
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[[File:Advice1pagesNotebook.htm| Click here tosee some of my Notebook Pages]]
  
And then, as Nike puts it "just do it."You slog away at it.You addmore goals.You chase after themtoo.You do anything that feels funor good that isn't self-destructive.Youmake a spectacle of yourself.Yousay what you really think.You dowhat you feel like doing.You lookfor new things to do.You say"Why Not?" instead of "No" all the time.You stop caring if people stare.Youlearn to take chances.You riskyour dignity.You may even want torisk your hide.
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==SCRAPBOO==
  
Do not stop.Do not listen to "sensible" advice from happypeople---you are not one of them.Keepat it till you are one of them.Andif you can't ever be one of them, keep at it forever.Don't curl up and quit.Don'thide.On the contrary, be asindividual as you can be and shout it from the treetops.You will find, if you advertise, that there are other folks out thereliving on the edge of humanity, and some of them can accept you for who you are,without reservation.One or two mayeven be a bit like you.
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KS: This is for all those ideas you seein magazines and the paper that you want to stick on your bulletin board but don't havethe room. Buy a cheap "magnetic" page album, cut out the pictures, and stickthem in. Then when you need a creative idea to steal (sorry, "adapt") you justflip through your albums and look for something appropriate. It need not be a picture ofa costume, just pictures that give you ideas: anything from nature photographs to modernart.
  
And if you never find happiness, you will at least find fame, andsuccess, and a productive, useful life.Somany of the people who we admire as "Great" led tortured, frustratedinner lives:George Sand, SergeiProkofiev, Mary Wollstoncraft, Michelangelo, T.E. Lawrence, Catherine the Great,the list is endless.They achievedgreatness by refusing to let the world have the last word.They fought, tooth and nail, for goals that were their substitute forhappiness, and so they succeeded in leading extraordinary lives.
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==IDEA==
  
I no longer have trouble with depression,I'm too damn busy with living. Since coming to the realization you seeabove, my
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BOXES: Same idea only three dimensional. BillJones of San Francisco State used to require his design class to bring in an"object-of-the-week" that they found, to give the other students ideas. Peoplebrought in interesting leaves, nuts and garbage: rusted objects, colored scrap papers andso forth. In an optimum situation you will turn your whole home and work place into giantidea boxes filled with objects and pictures that creatively inspire you. I myself havedone this with my apartment, and a student who saw it was so inspired by it she designed astage set for Dusa, Fish, Stas, and Vi based on it. Milla, a Russian designer friend of mine, collected so many fun metal objects that she foundinspiring, she tied them all to strings on a lamp, and now has a metal chandelier/ musicalinstrument in her studio. The lamp, in turn, inspired a performance piece. Havinginteresting colors and shapes surround you as you work and think, can help to give youideas faster than you can use them.
  
[[Shows100pagesShows|design]] abilities wentinto overdrive, I wrote this
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[[File:TravelRussiaMilalamp.gif|SCRAPBOOIDEA]]
  
[http://costumes.org|huge web site] youare now in a tiny corner of, II bought and
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==COVER==
  
[[AdviceDumpdecorDumpdecor|decorateda house]], and I've turned myself into one of those wild and crazypeople who does all sorts of strange things that come into their heads. Ialways was slightly this way, but it is now so much my normal way to be that Ican't fathom why anyone would settle for living an ordinary life.  
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THE WALLS: To this end I advise all costumeshops to plaster every inch of their wall space with pictures, objects, fabrics and paintof an inspiring nature. Do not limit yourself to bulletin boards. If you have cement walls(who doesn't?) hot glue the stuff to the cement.  
  
This page last edited on  
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[[File:ImagesCostshop77549_07.jpg|COVER]] Oddto say I learned this trick not from a costumer, but from visiting the study of writerAnne Rice, author of Interview With the Vampire. She coats the entire wall oppositeher word processor with pictures she feels are appropriate to her next novel.(No I don't know her, I just knew a former house sitter). Doing thisin a shop is tremendously inspiring. When one is tired and running out of ideas, lookingat blank walls is depressing and counter productive. When ideas are falling off all thewalls around you, on the other hand, it is nearly impossible to give up. In addition, feelfree to decorate the furniture, the lamps, the floor and ceiling to the extent that firecode permits. For more about this see the
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[[Store100pagesShop|Painting the Furniture]]section.
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==MORGUE==
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: A morgue is simply a clipping file ofarticles and pictures on subjects you may later have use for. Newspaper publishers keepthem on noteworthy figures, and makeup designers keep them on different facial features.You, quite obviously, need to keep them on costumes and matters relating to costume. Itypically keep articles on how-to do costume things from magazines like Sunset,that tell you "How to Marbleize Fabrics" and the like. I also keep pamphlets andarticles on the history of costume in these files as well.
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==XEROXES==
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: Many times, you can't cut out the pictureof a good idea since it's in a book. If you can't afford to buy the book you can afford toXerox the important parts for reference. In some places color Xerox is even cheap enoughto use. While in places that don't have Xerox machines, (like
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[[History100pagesStalin|MORGUEXEROXESRussianlibraries]]) use your notebook to copy everything. This will give you drawing practice,as well as allow you to save ideas that you see for later.
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==BUILD==
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YOUR OWN LIBRARY: On the other hand, if youcan afford the book, buy it. Costume books are inspiring, enlightening, and fun. Besideswhich, their resale value usually keeps apace of inflation, so if you ever quit costuming,you can often resell them at a profit. Owning your own library is a tremendous asset intime saved hunting at public libraries at the last minute. However, public libraries andUniversity libraries are great, too. More about library hunting can be found in thesection on  
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[[Advice1pagesResearch|BUILDLibrary Research.]]
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[[File:ImagesCostshop77549_12.jpg]] Part of my hoard of costume books at UAF
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==RICH==
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EYES: '''"I fear you have soldyour own lands to see other men's; then, to have seen much and to have nothing, is to haverich eyes and poor hands...and to travel for it too!"'''--W.Shakespeare, As You Like It, IV. 1.
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'''"We travel not to see new places, but to see with neweyes."''' --Marcel Proust
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This exercise is a simple thing to do in a new, unfamiliar place, but adifficult one to do in one's own backyard. As the above quotations indicate, this is onereason we
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[[Advice1pagesTravel|RICHtravel]]. However, it is possible to do this on one'shome turf, either by sitting at a new perspective (remember in The Dead Poet's Society,when the teacher had students stand on his desk?), like the floor, or on top of a piece offurniture, or simply by concentrating on looking at the world, hard.
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You need to make an effort to stop. Just stop. And look at the worldaround you. Whether it is to look in a garbage can, or at a sunset, or at the room you aresitting in, and mine it for visual information about color, texture, shape, and thatindefinable thing beauty. This is not only a help to you as an artist, but as a person. Ifyou can do this one thing, you will forever be able to see some beauty in any place youare stuck, and therefore forever be able to see your cup as half full rather than halfempty. It is the single most artistically and emotionally valuable talent you can develop.
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I personally think I "discovered" how to do it while travelingto England when I was 21. Some people are born knowing it. For me it took a hellish daythousands of miles from home, to "get" it. I was in the 4th week of a five weektrip in dreadful weather, all alone. I went to York on a one day trip from London, andmissed my train back, just as it was turning dark and I was getting a migraine. I hadalmost two hours to wait for the next train, I had heavy books in a package, a thin coat,and nowhere to sit. I was horribly homesick and cold. Then lightning burst the clouds overhead into rain. I should have cried. But this was England, you don't do that sort of thingin public.
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So instead I looked up at the dirty glass of the Victorian train stationroof, the faded Northern evening light, the sheets of rain, and concentrated on howbeautifully the silver gray of the rain harmonized with the lead gray of the sky and thepale gray of the dirty glass. I concentrated on how the wavelets of rain running down theglass, matched the fish scale shape of the panes in their cast iron frames. And I sniffedthe air until I could smell the scent of wood burning in nearby fireplaces, and strainedmy ears to hear the church bells doing the complicated mathematical dances the Englishcall change-ringing. And suddenly I was in the most beautiful, interesting place I'dvisited all day, and the time passed quickly, and pleasurably. And I can still, fifteenyears later, tell you how it looked and felt.
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You need to open your eyes to all the beauty that surrounds you on adaily basis, and feed on it like a hungry beast. You need to pursue it like a hunter anddevour it with your eyes to memorize every detail. These details can be used later, likeyour notes and Xeroxes, to jog your creativity when needed. They can also feed your soulas you take them in, every day. They are the basic food of artistic inspiration, and youcannot create anything original without them.
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Did you dream last night about wandering down a
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[[UafcostumeshopPagesCostshop|black hall of graffiti]] to a hiddenpalace of
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[[UafcostumeshopPagesCostshop|costume?]]
  
 
==Product Links==
 
==Product Links==
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[[File:AmazonBooksArtoffaux.gif|link=http://www.amazon.com/exec/obidos/ASIN/0823008584/thecostumersmani| The Art of Faux : The Complete Sourcebook of Decorative Painted Finishes]]  The Art of Faux : The Complete Sourcebook of Decorative Painted Finishes
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Revision as of 00:55, 23 January 2014

The Costumer's Manifesto: Faking Creativity

FAKING CREATIVITY:

FAKING

IT: Probably the most important set ofskills for a costumer are those various means of faking things, from the simple means ofletting gold paint and hot glue pass for embroidery, to the complex means of"faking" creativity. The latter, is probably the most important skill in acostumer's art and life since she [Sorry I'm being sexist, yes, guys make great costumer'stoo, I've just had a problem with generically using "he" as a personal pronounsince 7th grade English.] has to create on demand, and can't wait for her mood or muse tostrike.

SAVING

CREATIVITY FOR A RAINY DAY: Fakingcreativity is, in a way, a misnomer. One can't "fake" a great creative idea, orit simply isn't a great creative idea. However, one can, both induce creativity more orless on demand and save up creative thoughts from a previous day to use at a later datewhen they are needed. Creative ideas, both one's own and those provided by outsideinfluences, can be stored like nuts for winter in the following ways:

NOTEBOOK

S: Take the blank book somebody gave youlast Christmas with the arty cover and the intimidating BLANK pages and stick it in yourpurse. Next time you see something really neat, or think of an interesting idea try to doa drawing of it or write it down. If you never seem to get ideas, just pull it out anddoodle anything when you are stuck places doing nothing: waiting at the airport, inrestaurants, and all those short annoying waits that otherwise make life tedious andfrustrating.I

f you can't do this try writing your shopping list, or drawing the salt and pepper shakers. Eventually if you keep the damn thing with you, you will begin to put in your

FAKINGSAVING NOTEBOOKspare ideas that you don't need yet. Don't expect to putin finished ideas, just put stuff in as it occurs to you, and these bits and pieces willbe handy later. It doesn't matter squat if these sketches look good, they are just thereto store ideas before you forget them. This is also a great way to work for those peoplewho always do better sketches on paper napkins in restaurants, than they can do completedrenderings. In fact, after you do this for a while, you may want to give in and do yourrenderings in restaurants as well. I do.

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Click here tosee some of my Notebook Pages

SCRAPBOO

KS: This is for all those ideas you seein magazines and the paper that you want to stick on your bulletin board but don't havethe room. Buy a cheap "magnetic" page album, cut out the pictures, and stickthem in. Then when you need a creative idea to steal (sorry, "adapt") you justflip through your albums and look for something appropriate. It need not be a picture ofa costume, just pictures that give you ideas: anything from nature photographs to modernart.

IDEA

BOXES: Same idea only three dimensional. BillJones of San Francisco State used to require his design class to bring in an"object-of-the-week" that they found, to give the other students ideas. Peoplebrought in interesting leaves, nuts and garbage: rusted objects, colored scrap papers andso forth. In an optimum situation you will turn your whole home and work place into giantidea boxes filled with objects and pictures that creatively inspire you. I myself havedone this with my apartment, and a student who saw it was so inspired by it she designed astage set for Dusa, Fish, Stas, and Vi based on it. Milla, a Russian designer friend of mine, collected so many fun metal objects that she foundinspiring, she tied them all to strings on a lamp, and now has a metal chandelier/ musicalinstrument in her studio. The lamp, in turn, inspired a performance piece. Havinginteresting colors and shapes surround you as you work and think, can help to give youideas faster than you can use them.

SCRAPBOOIDEA

COVER

THE WALLS: To this end I advise all costumeshops to plaster every inch of their wall space with pictures, objects, fabrics and paintof an inspiring nature. Do not limit yourself to bulletin boards. If you have cement walls(who doesn't?) hot glue the stuff to the cement.

COVER Oddto say I learned this trick not from a costumer, but from visiting the study of writerAnne Rice, author of Interview With the Vampire. She coats the entire wall oppositeher word processor with pictures she feels are appropriate to her next novel.(No I don't know her, I just knew a former house sitter). Doing thisin a shop is tremendously inspiring. When one is tired and running out of ideas, lookingat blank walls is depressing and counter productive. When ideas are falling off all thewalls around you, on the other hand, it is nearly impossible to give up. In addition, feelfree to decorate the furniture, the lamps, the floor and ceiling to the extent that firecode permits. For more about this see the

Painting the Furnituresection.

MORGUE

A morgue is simply a clipping file ofarticles and pictures on subjects you may later have use for. Newspaper publishers keepthem on noteworthy figures, and makeup designers keep them on different facial features.You, quite obviously, need to keep them on costumes and matters relating to costume. Itypically keep articles on how-to do costume things from magazines like Sunset,that tell you "How to Marbleize Fabrics" and the like. I also keep pamphlets andarticles on the history of costume in these files as well.

XEROXES

Many times, you can't cut out the pictureof a good idea since it's in a book. If you can't afford to buy the book you can afford toXerox the important parts for reference. In some places color Xerox is even cheap enoughto use. While in places that don't have Xerox machines, (like

MORGUEXEROXESRussianlibraries) use your notebook to copy everything. This will give you drawing practice,as well as allow you to save ideas that you see for later.

BUILD

YOUR OWN LIBRARY: On the other hand, if youcan afford the book, buy it. Costume books are inspiring, enlightening, and fun. Besideswhich, their resale value usually keeps apace of inflation, so if you ever quit costuming,you can often resell them at a profit. Owning your own library is a tremendous asset intime saved hunting at public libraries at the last minute. However, public libraries andUniversity libraries are great, too. More about library hunting can be found in thesection on

BUILDLibrary Research.

ImagesCostshop77549 12.jpg Part of my hoard of costume books at UAF

RICH

EYES: "I fear you have soldyour own lands to see other men's; then, to have seen much and to have nothing, is to haverich eyes and poor hands...and to travel for it too!"--W.Shakespeare, As You Like It, IV. 1.

"We travel not to see new places, but to see with neweyes." --Marcel Proust

This exercise is a simple thing to do in a new, unfamiliar place, but adifficult one to do in one's own backyard. As the above quotations indicate, this is onereason we

RICHtravel. However, it is possible to do this on one'shome turf, either by sitting at a new perspective (remember in The Dead Poet's Society,when the teacher had students stand on his desk?), like the floor, or on top of a piece offurniture, or simply by concentrating on looking at the world, hard.

You need to make an effort to stop. Just stop. And look at the worldaround you. Whether it is to look in a garbage can, or at a sunset, or at the room you aresitting in, and mine it for visual information about color, texture, shape, and thatindefinable thing beauty. This is not only a help to you as an artist, but as a person. Ifyou can do this one thing, you will forever be able to see some beauty in any place youare stuck, and therefore forever be able to see your cup as half full rather than halfempty. It is the single most artistically and emotionally valuable talent you can develop.

I personally think I "discovered" how to do it while travelingto England when I was 21. Some people are born knowing it. For me it took a hellish daythousands of miles from home, to "get" it. I was in the 4th week of a five weektrip in dreadful weather, all alone. I went to York on a one day trip from London, andmissed my train back, just as it was turning dark and I was getting a migraine. I hadalmost two hours to wait for the next train, I had heavy books in a package, a thin coat,and nowhere to sit. I was horribly homesick and cold. Then lightning burst the clouds overhead into rain. I should have cried. But this was England, you don't do that sort of thingin public.

So instead I looked up at the dirty glass of the Victorian train stationroof, the faded Northern evening light, the sheets of rain, and concentrated on howbeautifully the silver gray of the rain harmonized with the lead gray of the sky and thepale gray of the dirty glass. I concentrated on how the wavelets of rain running down theglass, matched the fish scale shape of the panes in their cast iron frames. And I sniffedthe air until I could smell the scent of wood burning in nearby fireplaces, and strainedmy ears to hear the church bells doing the complicated mathematical dances the Englishcall change-ringing. And suddenly I was in the most beautiful, interesting place I'dvisited all day, and the time passed quickly, and pleasurably. And I can still, fifteenyears later, tell you how it looked and felt.

You need to open your eyes to all the beauty that surrounds you on adaily basis, and feed on it like a hungry beast. You need to pursue it like a hunter anddevour it with your eyes to memorize every detail. These details can be used later, likeyour notes and Xeroxes, to jog your creativity when needed. They can also feed your soulas you take them in, every day. They are the basic food of artistic inspiration, and youcannot create anything original without them.

Did you dream last night about wandering down a

black hall of graffiti to a hiddenpalace of

costume?

Product Links

The Art of Faux : The Complete Sourcebook of Decorative Painted Finishes The Art of Faux : The Complete Sourcebook of Decorative Painted Finishes

Secrets of Eskimo Skin Sewing Secrets of Eskimo Skin Sewing

The Costume Designer's Handbook : A Complete Guide for Amateur and Professional Costume Designers The Costume Designer's Handbook : A Complete Guide for Amateur and Professional Costume Designers

The Costume Technician's Handbook : A Complete Guide for Amateur and Professional Costume Technicians The Costume Technician's Handbook : A Complete Guide for Amateur and Professional Costume Technicians

Costume Design : Techniques of Modern Masters Costume Design : Techniques of Modern Masters

The Costume Technician's Handbook 3/e The Costume Technician's Handbook 3/e

Costume Design 101 : The Art and Business of Costume Design for Film and Television Costume Design 101 : The Art and Business of Costume Design for Film and Television

Clean It Fast, Clean It Right : The Ultimate Guide to Making Absolutely Everything You Own Sparkle and Shine Clean It Fast, Clean It Right : The Ultimate Guide to Making Absolutely Everything You Own Sparkle and Shine

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Costume Step-By-Step : The Complete Guide to Designing and Making Stage Costumes for All Major Drama Periods and Genres

Period Costume for Stage & Screen : Patterns for Women's Dress, 1800-1909 Period Costume for Stage & Screen : Patterns for Women's Dress, 1800-1909

Costume Construction Costume Construction

Chemistry : A Comprehensive Guide to Materials and Applications

The Figure : An Approach to Drawing and Construction The Figure : An Approach to Drawing and Construction

Draw Fashion Models! (Discover Drawing) Draw Fashion Models! (Discover Drawing)

Waisted efforts : an illustrated guide to corset making Waisted efforts : an illustrated guide to corset making

Period Costume : How to Make Classic Costumes from Cast-Off Clothing

Fashion a La Mode : The Pop-Up History of Costumes and Dresses Fashion a La Mode : The Pop-Up History of Costumes and Dresses

Period Costume for Stage & Screen : Patterns for Women's Dress, Medieval-1500 Period Costume for Stage & Screen : Patterns for Women's Dress, Medieval-1500

"The Costumer's Manifesto"
by Tara Maginnis