Final Storyboard Design

Inspired to begin the storyboard process as soon as possible in, order to complete it before the project deadline, I used an A5 sketchbook, assigning a single frame to each page. I sketched basic shapes and positionings for each character with a pencil, still designing them with the appearances for a Classical Greece depiction of the story. 

As a storyboard should always portray the perspective of the audience for the performance, I positioned each frame to appear as though it were static as to fit the idea of the audience being seated in rows of chairs. Through these rough sketches I was able to determine the minimum number of frames required to depict the entire performance clearly, portraying the story within a single storyboard. 

Once the transposition of the text was complete and the costume designs were finalised, I returned once again to developing the storyboard, this time with the intention of updating the designs within to depict the performance more accurately. To achieve this, using a set of art pens, I coloured over the original pencil sketches before adding lines and details with a fine-tipped, black art pen. Each image of the storyboard features the scenes' characters, stage lighting and a short caption explaining what is happening in the scene.

01. Storyboard frames 01-04a

02. Storyboard frames 04b-06a

03. Storyboard frames 06b-08a

04. Storyboard frames 08b-10b

05. Storyboard frames 10c-12a

06. Storyboard frames 12b-12e

07. Storyboard frames 13a-14b

08. Storyboard frames 14c-14f

09. Storyboard frames 14g-15c

10. Storyboard frames 15d-15f

Final Costume Designs

Using the research collected on fashion and subculture from the 1950s, and after experimenting with different types of media, it was time to create the final costume designs for each character within the play. These images were created on an A1 sheet of paper divided into four sections. I began each sketch with a simple pencil sketched figure, each in their own distinct pose and style, before using Docrafts Artiste watercolour art pens to fill them with colour. Once this had been achieved, I used black Faber-Castell art pens to create their outlines and specific details.

In each image, the inspiration from the 1950s research is clearly visible, with Aegeus' costume inspired by the appearance of 'Teddy Boys', the Nurse as a house-maid and several characters dressed in the general styles from that decade. With the play featuring a wedding between Jason and Kreusa, the designs within image number #02 are inspired by the types of clothing that would have been worn during such an occasion from that period. The Chorus' costumes (image #03) are designed to reflect the appearances of typical 1950s housewives, and the Boys (image #04) that of 1950s children.

The costume change depicted for Medea in image #01, is to reflect her change of circumstance and character within the play's text. At the beginning of the story, Medea is perceived as a down-trodden and mistreated housewife, whose husband, Jason, has left her and their children, the Boys, to marry another woman, Kreusa. This is why her costume has been designed in such a ragged way, to reflect this situation. Although this may be the case at the beginning of the story, this situation changes when she kills their children and leaves to live a new life away from the society she has now rejected. This is why her second costume is inspired by the appearance of 1950s greasers/bikers as they are viewed as being rowdy and rebellious, going against the social hierarchy of the 1950s.

01. Final costume designs for Aegeus, Nurse & Medea

02. Final costume designs for Jason, Kreusa, Kreon & Attendant

04. Final costume designs for the Boys

03. Final costume designs for the Chorus