The first step in any design process is research — and by that I mean, both the reading of the source material (usually, the script) as well as the subsequent historical, anthropological, and visual research we traditionally think of. For Hoppla, I began by researching Weinmar Germany, then revolutionaries and revolutionary causes throughout history, then moving on to subcultures and then images that matched the mood of the play overall or of individual characters and their relationship with their world.

Next comes the preliminary sketching phase. For Hoppla, there was actually an earlier set of sketches I cannot lay my hands on that featured each character from a different revolutionary time period — each featuring stripes prominently in their costumes. I then did a set of sketches in which every character was in undergarments. This struck some sort of note with both the director and me, though we struggled to put our fingers on why. Not all ideas are successful, but some elements of those early sketches held over. Eventually, it was suggested to me to try collaging. My research images had a vitality to them that was missing from the sketches thus far, so I spent a few hours at a photocopier with scissors and tape until I had some non-descriptive costume sketches that gave a sense of mood and direction for most of the main characters.

Once the director and I are on the same page as to the direction of the overall design, I begin the rendering process. It's important that all sketches and renderings be treated as a step in the process — imperminent, living documents. The needs of the show change the design. The design is not something on paper. It is the intellectual amalgamation of physical items and performance, of clothing and actors.

For Hoppla, I decided to follow the concept of collaged images through into the renderings. I personally prefer to change my rendering style to fit the show, so I rarely do the same style more than once. It helps me to maintain the aesthetic through my process.