Look Thou to the Heavens!

Festival Friday. It's always a strange day; skeleton cast, closed shops, school children roam free like uniformed, little squealing beasts. After our educational presentation about the masks of commedia dell'arte dispensed to exactly six people, I had arranged to change into street clothes and photograph on site.

In tandem, I tailed one of our most oft-harassed characters; who does not have the advantages of speaking or facial expressions. Last year my troupe had to chase off a pack of wild things playing "let's-kick-the-person-with-no-peripheral-vision". This year, I told my cast member I would be watching and guarding, no argument. As the character traveled around the village, I would have the chance to capture interesting shots on the way. So I did, and my colleague survived unscathed (although I think someone snuck in an ass-grab as they passed).

Following is a compilation of the roof decorations of various structures around the MN Renaissance Festival. I liked using my telescope lens to view them up close, as they go unnoticed by the dusty crowds below them. Image and marketing copyrights belong to MNRF.

Weather vane atop the Renaissance Museum and pub.

Unicorn impaled above a jewelry shop and pub.

Sassy fairy tempts you to buy glittery hair-thingies.

Jousting knight weather vane crowns a rooftop of a glass booth and pub.

On the same booth and pub, a dragon. Perhaps hiding from the knight.

Upper level of a crafter booth and pub.

Gable with myriad-colored shingles. Above the Greek food booth and pub.

Forbidden upper level of the Pavilion. And pub.

This knot inspired the whole series. Texture, symmetry, and utility all played parts.
A hanging sign for the Ice Cream booth and pub.

I bet this gable is painted *especially* for people to notice. I love nerds.

A tiny dragon issues forth above a leather shop and pub.

This crest of indeterminable provenance. Posted above a gypsy scarf shop and pub.

One of the many peaks of Bad Manor and pub.

A flower bed near the door--does a tiny gnome live above this crafter booth and pub?

Gargoyle on a pedestal. 

Upper levels of Bakery Stage and knife-throwing booth and pub. 

A rather odd species of booby has nested in the eaves. 

Interior, exterior, and water wheel at the Paper-Making establishment and pub.

Hand-laid mosaic on the upper level of a glass booth and pub.

The darkened upper level of a garden ornament shop and pub.

An inspiring spire atop a children's costume shop and pub.

Slightly washed-out view of the cupola above the wooden sword booth.
...there's no pub, because who would sell mead in a place filled with weapons?!
That's dumb.

Rambling Ren Fest Recollections

Alliteration is clever.

Top Ten List of Bestest Things That Happened Last Weekend

10. Dregs in the Dark show--now with 45% more liquor! The band plays an all-request after-hours show for cast & crew. Maggie & Mike Heck soak the audience with booze-laced jello and pudding shots.

9. Learned a new dirty joke from ladies at the Mead Social. These women knew how to rock a mead social. Ask me about "the Southern ladies". 

8. A friend lost a sweater with great sentimental value 2 weeks ago. This weekend it returned. 

7. Babybel cheese red wax wrappers make good clown noses. Taught this to a 4-year old wizard in what was probably my first one-on-one interaction with a child on street.

6. Ate a cinnamon roll with progressively more and more frosting getting on my face. Wound up with massive sugar high. I scared the Welshman.

5. Roma & Captain Clifton give me money for a second cinnamon roll. Chaos ensues.

4. For the first time, I didn't feel like crawling into a hole and dying after bombing a Vil Ten insult. I bomb quite often, but this is the first time I bounced and recovered.

3. Free-play with commedia masks. The Lord High Sheriff dueled Capitano for Isabella's honor, Arlecchino and Columbina fought, Isabella threw a tantrum. These things may or may not be related.

2. Lots of comforting, sincere hugs from many cherished friends. When I make a public statement about needing hugs, I really need hugs.

And the number one spot for Bestest Things That Happened Last Weekend goes to...

1. Organized by the Original Manna, my friends raised enough money to replace my leather mug stolen the weekend before last. More than enough, because I got to pick out a cork-top lid, too. People had been passing money to Manna right under my nose, and I never picked up on it because I can't fathom being treated as special by so many friends. Total astonishment.

I give very heartfelt thanks to everyone who donated money, everyone who stopped to give me a hug, and everyone who looked into my face to sincerely ask how I was doing. I felt True Love.

Coffee is My Co-Pilot

I have skipped weekly postings about the awesome things going on at the MN Renaissance Festival, and now it's 4th weekend! What was I thinking?

Oh, right. I was thinking about the costuming projects I have to finish, my own costume to finish, and like 74 other things about performing and preparing for Fest every Friday. Because of Labor Day ("don't mourn, organize!"), this was only a 4-day week, too. Shit just got real.
...well, as real as Fest things go, anyway.

Lists are fun! Here is a list of things I have learned about costuming this summer:

-Always buy enough fabric for the project on the first fabric run. If you're not using a pattern, as I am wont to do, buy twice as much.

-Making clothes for children is fast and adorable. I complain that I can't find female-sewing-bloggers who aren't making clothes and crafts for their spawn--now I understand why they choose to phone it in by just making baby clothes (that's right, I said it).

-Cats eat string. Then your roommate has to pull threads out of Spaz's butt, which is icky. He's a stanky cat. So clean that shit up.

-Overlock machines are a gift from the gods.

-Overlock machines are possessed by the devil.

-Electronica/hip-hop/breakbeat/alt-rock/hardcore (specifically Mindless Self Indulgence) music is the very best for inspiring momentum to buckle down and sew all day.

-Finding the energy. the confidence, and the courage to continue sewing even though you're depressed and stressed and sad and you really need to curl up on the couch and stare at the wall for 9 hours...that is fucking difficult.

That's exactly what I had to do this week, though. Deadlines cannot wait for me to get my shit together. People cannot attend the Renaissance Festival naked because I couldn't make their clothes. They would be shivering.

If you know of any female-sewing-blogger who isn't making clothes and crafts for children--please post the link! I would love to find more creative people's work to read!

Lots of Big Words Are In Here.

My previous entry discoursed on how fucked up snack-food flavor combinations are. My example being those little peanut-butter & cheese-flavored crackers of sin you can get from a vending machine.

When asked, a number of my cherished readers also divulged in their strange, food-combo guilty pleasures (Names have been changed to protect my whereabouts on the night in question):


Mrs. Sassy-pants- "I get a small mac & cheese with meatballs and a side of pot sticker sauce at Noodles and Co...I dip the meatballs in the sauce, then pour it over the pasta to finish it. It's more dinner than snack...a guilty, weird, pleasure." (Damn, lady. You are a rockstar of weird foodstuffs. I tip my hat to you.)

Tiny elf woman- Peanut butter on apples. (Newsflash: this is a perfectly acceptable and non weird way to consume peanut butter. I still included it because peanut butter.)

Distant pen-clown- Jelly on grilled cheese. (I fully support this one, for the same reasons that jelly sammiches dipped in chicken noodle soup are amazing.)

Mad Max Jr.- Grilled peanut butter and bacon. (How, in my tedious 32 years on this world, did I never discover this?! What promises did you make to some arcane, dark god to receive the knowledge of such a combination?!)

Original Manna- Grilled cheese with ketchup. (Is this an east-coast thing, you weirdo?)

***Cheers, everyone. You have successfully lived up to my expectations of having unusual friends.***

Now on to the actual blog post: 

...eh, fuck it. I'm hungry now.

Humble Pie Tastes Crap.

It's ok, Meatloaf says, "Two outa three ain't bad".

You know how the saying goes, "You can have it good, fast, or cheap; you can only pick two". Last week I had to drop the "good", and the result was "bad". Quite bad. I was frantically making costumes for a show; my first attempt at professional costume design. Now, I do judge my work harshly, but calling it "bad" wasn't a product of my hyperbole. My client straight-up told me how awful these costumes were; told me how my lack of professionalism and shitty time-management screwed over the show. That sounds kind of mean--except for the fact that it's all true. If I manage to book any future clients, I owe it to them to learn from this clusterfuck. I owe it to myself to break my bad habits.
Working really hard to get something done and knowing that it's still not going to be good enough sucks balls.

MICE can do it better than I can?! RAGE QUIT

Okay, pity-party is over. Who likes reading list articles? I love me a good list article. Throw in some fun pictures, cussing, and plenty of kitties--click-throughs shoot right up. Writing about this embarrassing, devastating experience as a light-hearted list hopefully will take away the sting of failing so miserably. So here is my list of

THINGS I LEARNED WHILE FAILING AT COSTUME DESIGN

1) Sketch, sketch, sketch. To get a solid idea of how a costume will be built and how it will look, you must sketch. A lot. Because how a costume looks effects several other factors; lighting, set design, costume changes, movement, combat (if you're lucky), and overall theme. The director has an idea of how the show will look, your costume ideas had better line up with that. 

There's crazy in my creativity? It's more likely than you think.

2) Make mock-ups for large costume pieces first. When somebody puts on something you made; something that matches up with all the measurements you carefully took, and it doesn't fit, is really discouraging. Having to take the costume back, disassemble it, adjust it, rebuild it, or even...kinda
fudge it into looking better burns up your time and is just fucking frustrating. Make adjustments
at the beginning of the process. Do the largest/most complicated pieces first; to make sure they
get done even if you run out of time. The actors need as much time as possible to rehearse with
large-slash-complicated costumes. Because...

Even Dior had to make mock-ups

3) It's hot on stage. Yes, the costumes have to look good, but they also have to be some degree of comfortable for the actor inside them. This actor is embodying somebody else; remembering script, cues, choreography, costume changes, exits, and entrances. All of that is ever harder to do if they are roasting under the cans. Simplify and fake the structure at every possible opportunity. It also cuts down on the amount of work you'll have to do. Back to your Sketches!

She burst into flames, but they gave her a standing O for it.

4) Meet a deadline? Tell director. Miss a deadline? Tell director. Directors love communication. They have to keep pretty much the whole production in mind while they are directing. The stress of juggling all of those balls (heh, juggling balls) is exponentially multiplied if you can't add your ball in when it's expected. Keep the director up to date, in the loop, whatevs; so they won't have to waste time chasing you down to check in. If you're running behind, they need to know that, too. Swallow your fucking pride and tell them what you can do to make up for lost time; the director may even shuffle some crew around to get you more help. There is nothing wrong with accepting help (as long as they can manage to not sew their fingers to the costume). 

I drew a blank for a helpful picture. So here's a kitteh.

5) Efficiency throughout costume changes; a mixed bag. If you plan the costumes changes carefully, you may be able to streamline your workload. Reusing or concealing pieces means less things to make, and less time to change. However, building the costumes to be changed in a hot minute takes some clever engineering. Also, testing. A lot. of testing. You don't want a snap popping open or a velcro strap giving out at the wrong time.

Even Dame Edna's wardrobe malfunctions were classy.

6) Collaboration happens, whether you want it or not. The director will give you feedback (because they're the director). The actors will also have feedback; because they have to wear whatever monstrosity you've created. It's important to not take it personally, because it's about the costume, not your skill. Feedback is not about just the costume; directors and actors discuss entrances, exits, costume changes, accessories, props, character development, and script--and you have to be there for all of it. Maybe a costume gets cut, or ensemble is changed; it's still not personal. It's part of the job; listen to
everything laid out so you can glean the info you need to improve the costumes.

"Hm...not what I had in mind for Rum Tum Tugger..."

7) I should probably get some training. When it came to the actual process of designing costumes for a show; I was in over my head. I wasn't even aware I was about to drown. The job isn't just designing and sewing costumes; it's about you helping the director to create people. The show is a world inside the theater, the costumes become possessions of the characters; stains, patches, tears and all.

The day-to-day process of designing costumes isn't a piece of cake, either. You've got to use your resources to procure all the correct clothing to be used. Sometimes you build it, sometimes you buy/borrow/rent it. Sometimes you delegate certain tasks to other people. You must stick to the deadlines for each phase of building; making sure every actor is has a complete costume. You also have to keep track of costume changes, when they happen, how they happen, and make sure the director is on board with all of it. Sounds exhausting? It is, and I didn't even do it right!

Tim Gunn be like- Corduroy? Really?

I didn't know any of that shit. I had hoped I could just pick it up as I was doing it; by way of osmosis for the routine of costume design. Pretty sure it doesn't work like that. If I can assist a real costume designer to watch and learn what is actually done, I'll be way more comfortable trying to design for a show again.

DONE