Theatre Design & Technology - Winter 2024 - 39

umbrella of costume design for performance.
The book fulfilled its claims to
be a compact introduction to costume
design. It is both a clear overview of all
the varied ways to be a costume designer
and has an excellent textbook style
on how to do the job.
The chapters are set up in a clear
and chronological progression of information.
Chapters one through six tell
the reader where to begin and where
the designer's job ends. Chapter seven
covers how and where to get jobs.
This book remains true to its intention
of opening up the possibilities within
costume design and the varied roles
of a costume practitioner. The author
doesn't restrict herself to film and theatre;
she gives insight into the many
design options available to a costume
designer. She frequently mentions the
importance of the costume designer understanding
the reality of the job-from
the day-to-day work to the importance
of choosing projects that are suitable
for the designer. Not all people and all
jobs will be a good fit, and for designers
starting in the field this is invaluable
advice.
The author addresses the oftenelusive
search for creativity in a very
approachable way. Her voice is a champion
for young and seasoned designers
alike. She was trained and works mostly
in Europe, so the resources are not all
U.S.-based. I don't find this to be a drawback,
however, as many of my students
desire to design internationally.
I enjoyed reading this book and
think it has great potential as a university
classroom textbook. Its content pushes
further afield than I normally take
my classes, and I think this is a benefit
to both the student and the professor. I
was trained in the late 20th century and
the books I reference most can be quite
dated. The author has a very current attitude
toward costume design, which is
great for those of us who are more old
school.
I didn't find much to disagree with
in this book, and as every designer has
a unique voice and process, this is a
remarkable achievement. The author
did the difficult work of gathering many
voices together and not losing clarity
or focus. As a university professor in a
small program, I appreciated this book's
singular focus. It would be an excellent
textbook for an introduction to costume
design course, as well as excellent book
for designers teaching themselves how
to do the job.
Heidi Ortega is an associate professor
of costume design at Murray State University.
She spends her summers designing
for Salt Lake Acting Company.
Reach her at hortega@murraystate.edu
Smith provides
a personal and
thoughtful journey
through the world
of theatrical sound
design with its
implications on
the process, along
with the growth
and journey
of the path
with examples
from various
productions.
rical sound design with its implications
on the process, along with the growth
and journey of the path with examples
from various productions.
The book provides wonderful tips,
Innovating the Design Process: A
Theatre Design Journey
By David E. Smith
Routledge, 2022, 164 pages
Hardcover $170, Paperback $42.95,
eBook $38.65
Review by Erin Auble
Innovating the Design Process by David
E. Smith explores the theatrical design
process as a whole, from the early stages
through opening night of a production,
primarily from the focus on sound
design. The content and considerations
within these pages will benefit early career
designers and design instructors.
Smith provides a personal and thoughtful
journey through the world of theattricks,
and insights that are useful to
designers and design instructors alike.
While Smith's approach to the design
process stems from his knowledge of
sound design, he integrates examples
from all areas of theatrical design to
support how his approach to the process
can benefit any design field. Additionally,
Smith emphasizes his process
with previous production experiences,
which are provided to help the reader
perceive his journey through something
tangible. These scenarios fortify his approach
and help push the reader to consider
their own approach to the design
process and how they may integrate
new ideas.
Throughout the book, Smith occasionally
references images, charts, and
ISSUE 1, 2024 | THEATRE DESIGN & TECHNOLOGY | 39
Theatre Design & Technology - Winter 2024

Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2024
