Process: Digital Theatrical Design: Body of Work: Research Question 1

Because of the nature of my project, there were few "conceptual ideas" that had the potential of being cliche. My designs themselves were an amalgamation of many different influences: The Sherlock Holmes design was based on period-specific clothing, the Titus Andronicus set design and costume design both worked around the design influences of haute couture and modern, aggressive, corporate architecture. Because so much of my work represented specific time periods or clothing styles, there was no real "cliche" to deal with. As for the Traveler design and the Ringleader design, each piece of these outfits was symbolic, and each outfit was influenced by a single piece of art. What I initially started with (combining world travel and the world of theatre backstage) I quickly realized was too big to accomplish before artNow. It turned into an exploration of digital theatrical design, a concept so new in some areas (Costume Design) and so standard practice (scenic and lighting design) that there were almost no other examples of it to be found, at least in terms of its artistic quality as opposed to its use as a tool in the creative process of putting on a show.