Discovery Times SquareGallery Guide for Educators

Discovery Times SquareGallery Guide for Educators

TABLE OF CONTENTS

About the Exhibition ................................................................................................................................... 2

Introduction for Educators ......................................................................................................................... 2

Educational Goals ........................................................................................................................................ 2

Educational Standards ................................................................................................................................. 3

Introduction to Character Archetypes ...................................................................................................... 3

Costume Design Process ............................................................................................................................. 4

Suggested Subject Area Explorations ......................................................................................................... 5

Selected Exhibition Walkthrough .............................................................................................................. 6

Additional Resources ................................................................................................................................... 9

Costume Design Vocabulary ...................................................................................................................... 10

Archetypes in Science Fiction and Fantasy Stories .................................................................................. 11

Gallery Activity Sheet .................................................................................................................................. 13

PRESENTED BY: GALLERY GUIDE CREATED BY::

226 44TH ST. NEW YORK, NY | DISCOVERYTSX.COM

Rebel, Jedi, Princess, Queen: Star Wars™ and the Power of Costume was developed by the Smithsonian Institution Traveling Exhibition Service in partnershipwith the Lucas Museum of Narrative Art and in consultation with Lucasfilm Ltd. © & ™ 2015 Lucasfilm Ltd. All rights reserved. Used under authorization.

ABOUT THE EXHIBITIONPresenting over 70 hand-crafted costumes from the first six blockbuster Star Wars™ films, Rebel, Jedi, Princess, Queen: Star Wars™ and the Power of Costume uncovers the intricate processes and the remarkable artistry of George Lucas, the concept artists, and designers—and reveals the powerful connection between character and costume.

Through nine presentational “chapters”—Introduction: Dressing a Galaxy; Jedi versus Sith: Form, Function and Design; Concept and Design for Royalty and Beyond; Symbolism and Military Power; Outlaws and Outsiders; All Corners of the Galaxy: The Galactic Senate; After the Throne: Padmé’s Journey; Darth Vader: Iconic Villain; and Droid™ Design: C-3PO and R2-D2—visitors will be able to explore the creative process behind the names and faces that would come to shape the timeless story of a hero’s journey.

Rebel, Jedi, Princess, Queen: Star Wars™ and The Power of Costume was developed by the Smithsonian Institution Traveling Exhibition Service in partnership with the Lucas Museum of Narrative Art and in consultation with Lucasfilm Ltd.

The exhibit marks a 12-city national tour that begins at DTS, where it will be on view November 15 through September 5, 2016.

INTRODUCTION FOR EDUCATORS“For the first Star Wars™ films, I wanted the costumes to be simple but timeless…Costumes modeled on the archetypes that audiences would find understandable and familiar.”—George Lucas

As educators we are always striving to create meaningful content connections for our students. Student motivation and interest play a crucial role in predicting achievement. The Star Wars franchise has spent more than 35 years in the popular culture spotlight, and remains relevant today through various iterations—film, literature, television, gaming, and more.

Focusing on English/Language Arts and Visual Arts themes, this guide will help you make curriculum connections to the artistic process of character design and development, literary character archetypes, and costume creation in an effort to help to bring your subject area to life by tapping into the phenomenon that is Star Wars.

EDUCATIONAL GOALSThe purpose of this guide is to help you engage your students in creative new ways through English/Language Arts and Visual Arts lessons focused around decoding the concept of archetypes in legends, myths, and fantasy and science fiction; studying the hero’s journey; and exploring the process of character design and development applied to both creative writing and visual art representations.

It is our hope that through attending the exhibition and studying the associated lessons presented in this guide students will be able to achieve the following goals:

• Apply knowledge of character archetypes to better analyze multiple texts across genres.• Identify underlying aspects of character archetypes as found in cinematic costume design.• Describe aspects of the creative and collaborative process of costume design.• Demonstrate an understanding of the wide variety of elements that go into character design.

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EDUCATIONAL STANDARDSA selection of applicable standards for lessons related to the exhibition topics:Common Core State Standards for English and Language Artscorestandards.org/ELA-Literacy

• Key Ideas and Details: ◉ Determine a theme of a story, drama, or poem from details in the text, including how characters in a story or drama respond to challenges or how the speaker in a poem reflects upon a topic; summarize the text.

◉ Describe characters in a story (e.g., their traits, motivations, or feelings) and explain how their actions contribute to the sequence of events.

◉ Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the text (e.g., a character’s thoughts, words, or actions).

◉ Compare and contrast two or more characters, settings, or events in a story or drama, drawing on specific details in the text (e.g., how characters interact).

• Integration of Knowledge and Ideas: ◉ Explain how specific aspects of a text’s illustrations contribute to what is conveyed by the words in a story (e.g., create mood, emphasize aspects of a character or setting).

INTRODUCTION TO CHARACTER ARCHETYPES“Costume is not separate from character design.” –Sang Jun Lee, Star Wars concept artist

Star Wars stands apart from other science fiction stories in many ways. One of the most apparent is the story’s use of a narrative structure that in many ways reflects the classic hero’s journey (a term often used to describe a protagonist’s story of self-discovery). In creating the story of Star Wars, George Lucas drew heavily on the rich tradition and history of fantasy stories. The Star Wars world is populated with creative new takes on traditional character archetypes.

Archetypes can be viewed as roles characters play in a story. Across stories these archetypes have many different faces, but share certain important character traits. Some common character archetypes include: hero, fool, rogue, mentor, and villain. These familiar archetypes are often used to help orient the reader/viewer in new and sometimes fantastical settings. A list of twenty of the most common character archetypes and examples from the genres of science fiction and fantasy can be found at the end of this guide.

Costume designers draw on the prior knowledge and expectations of the viewer about these archetypes to add immediately recognizable elements to a character’s costume. An excellent example of this is the design for the roguish smuggler Han Solo as seen in Star Wars™: Episode IV A New Hope. His costume includes a low-slung gun holster and tall leather boots both reminiscent of a cowboy or gunslinger from the Wild West. Additionally, his decorated pants, off-white long-sleeved “Custer” shirt, and loose black vest may bring to mind the image of a pirate. Before the character even speaks on screen, the viewer begins to develop their impression of what type of person this new character might be.

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COSTUME DESIGN PROCESS“I was hired to give George Lucas a chance to get as close as he could to the ideal look for things he had been dreaming about getting into his films…Science fantasy allows me to create realities that have never been seen before... I’ve done a lot of dreaming in my life—and now I’m getting a chance to put it all to work.”—Ralph McQuarrie; concept artist; Star Wars™: Episode IV A New Hope, Star Wars™: Episode V The Empire Strikes Back, Star Wars™: Episode VI Return of the Jedi

A large-scale production such as the Star Wars™ films requires a dedicated team of professionals to create the hundreds of costumes necessary for filming, and to translate the vision of the writers and directors into reality. For the prequel trilogy of the saga, costume designer Trisha Biggar created a wardrobe facility which employed nearly 100 people. Some of the arts-focused jobs involved with costume design and development in film include: cutters, tailors, sewers, printers, dyers, beaders, milliners, leatherworkers, mold makers, and jewelers.

The costume design process starts with collaborative production meetings with the writers, directors, and concept artists. Through these discussions concept artists create a series of preliminary sketches that try to capture the character descriptions, culture, setting, feelings, and ideas found within the script and the filmmakers’ imagination. Costume designers work from the approved concept art and start the process of making those designs a physical reality. Designers must make numerous choices about what fabrics to use, color, materials, textures, and how a character’s body type and personality will influence their costume. After finishing the initial costume, the process continues with actor fittings and screen tests before the costumes are finally ready for filming.

One of the unique ways costume design for a film such as Star Wars differs from design work for theater is the need to work closely with concept designers, visual effects supervisors, and the production art department to make sure that the costumes exist harmoniously with digital sets, cloth simulations, and computer-generated aliens!

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SUGGESTED SUBJECT AREA EXPLORATIONS“In order to create a future, we looked into the past, and drew inspiration from history and nature in order to give our fictional creations a realistic foundation.”—Doug Chiang; design director; Star Wars™: Episode I The Phantom Menace, Star Wars™: Episode II Attack of the Clones

English/Language Arts Archetype Identification Activity: Display on the board a selection of characters. These can be drawn from a current story you are reading in class, or from the list at the back of this guide. Have your students try to come up with groupings for the characters based on their appearance and what they know about the characters from the stories in which they appear. These groupings might be cursory at first, such as “These characters are all women,” or “These characters are all old.” Use these observations to guide them towards more meaningful distinctions related to the character’s role or function in the story, for example, “These characters help the hero,” or “These characters always say things that are funny.”

Venn Diagram of Archetypes: Have your students each choose two characters and have them create a Venn diagram that expresses the similarities and differences between them.

Personae Dramatis: Have your students choose a text (literary, film, theatre, etc.) and have them create a list of each of the main characters in the work, writing a short sentence about how each fits into the plot, what function they serve in moving the story forward, and how they function as archetypes.

Character Creation: As part of a writing assignment have students choose a popular character from a text they are familiar with and have them create their own character using the original as inspiration. Have the students discuss the similarities and differences between the character and their model.

Creative Book Reports: As part of a book report project, instead of having students write a paper, have them create a visual representation of the characters in the book. For example, they might choose to create a sculpture, computer animation, costume sketch, or puppet based on the characters in the story.

History, Social Studies Costume Fact vs. Fiction: Have your class choose a film in the historical fiction genre that interests them and takes place in a time period apart from our own. Have the students research the clothing and fashion trends popular during this time period and report on the historical accuracy of the film’s costume design.

Visual Art Character Design: Design character sketches of each of the main characters from a chosen book, incorporating elements of the character’s personality and the book’s setting into the design. Compile a portfolio of sketches and final designs along with a paragraph about each design explaining your choices using visual arts/design vocabulary.

Book Cover Redesign: Have students choose a literary text then have them redesign the cover of the book with their own artwork. They should incorporate visual portrayals of the characters in an important scene and write a paragraph about the style of each character and why they chose a particular scene to portray.

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SELECTED EXHIBITION WALKTHROUGH

DRESSING A GALAXYQuote: “George wanted him to look part monk and part Samurai warrior, and I did some sketches for Obi-Wan Kenobi, which he approved. He was apparently having difficulties getting (actor) Alec Guinness to agree to do the part and suggested that I go see him and show him some of the costume sketches, which I did. For whatever reason this seems to have done the trick.”—John Mollo; costume designer; Star Wars™: Episode IV A New Hope, Star Wars™: Episode V The Empire Strikes Back

ARTIFACT SPOTLIGHT: OBI-WAN KENOBI, STAR WARS™: EPISODE IV A NEW HOPE; QUEEN AMIDALA, THRONE ROOM GOWN, STAR WARS™: EPISODE I THE PHANTOM MENACE

Discussion questions: • In what ways does the form of Obi-Wan’s costume suit the activities of his character?

• Compare and contrast Obi-Wan Kenobi’s outfit to Queen Amidala. What similarities and differences can you think of?

• What other characters can you think of that wear similar clothing?

• What examples can you think of in the real world where people might wear similar clothing?

Behind the Seams: When The Phantom Menace was filmed in 1999, the lights at the foot of the Throne Room Gown had to be powered by a car battery, which was carefully hidden between the actor’s legs during filming.

JEDI VS. SITH: FORM, FUNCTION, AND DESIGN“I saw this Jedi costume, and I was so ecstatic I ran out of breath. At last I had an idea of who I was, how to carry myself, and I had a way of being. And I had a reason for being.”—Samuel L. Jackson, actor, Mace Windu

ARTIFACT SPOTLIGHT: MACE WINDU, STAR WARS™: EPISODE III REVENGE OF THE SITH; EMPEROR, STAR WARS™: EPISODE VI RETURN OF THE JEDI

On its most basic level, Star Wars represents a conflict of Light versus Dark; Jedi and Sith. While both are students of the mystical and all powerful energy source known as “the Force,” they have very different agendas and philosophies about the use of power.

To visually communicate this information, Lucas and the Star Wars designers drew inspiration from historical and cultural references from around the world. The resulting costumes creatively convey both a sense of familiarity while at the same time an otherworldliness befitting of a galaxy far, far away.

The simple color palette and textures of the Jedi costumes project a sense of simplicity, simple living, and suggest hidden wisdom. This is in contrast to the Sith costumes done in sleek black. While dissimilar in color palette and textures, the overall form of them alludes to a similarity of origin.

Behind the Seams: The brooch Ian McDiarmid wears as Darth Sidious in the prequel trilogy is the same one worn by the Emperor in Return of Jedi in 1983, which had been carefully stored in the Lucasfilm archives.

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ROYALTY“I very scrupulously avoided fashion in the other movies. I made Princess Leia very very simple. No design, no fashion, no nothing. This time (in the prequels) we are walking right into a fashion statement.” –George Lucas

For the prequel trilogy, George Lucas and costume designer Trisha Biggar created a wardrobe facility that included nearly 100 people who spent thousands of hours creating the fantastic costumes seen in the films.

Interactive Activity: Don’t miss the chance to flip through samples of various fabric materials used to create these amazing costumes, and feel the unique differences for yourself.

Many of the royal costume designs are meant to reflect the inspirations of different international cultures. The designers creatively mixed themes to present a royal and exotic look without seeming to be tied too closely to a particular fashion tradition.

Fabric look and texture were particularly important to the designers in the prequel trilogy. When they found clothing samples they liked, designers would often track down manufacturers from around the world to acquire materials for their costumes.

Behind the Seams: The Phantom Menace costumers were inspired by the art of the pre-Raphaelites—19th century English painters—who had particular visions of heroines and female beauty. Their use of rich color influenced the fashions of Padmé’s handmaidens and the citizens of Naboo.

OUTLAWS AND OUTSIDERS

ARTIFACT SPOTLIGHT: HAN SOLO, RETURN OF THE JEDI

Han Solo’s costume design is rich in heroic symbolism and is inspired by the American Western as well as military clothing. The design evolved over several iterations by Ralph McQuarrie and John Mollo as they found the right balance of Wild West gunslinger and outer space smuggler.

“Chewbacca was a fascinating one, because he had to look nice, though he could be very ferocious when he wanted to be. It was fun making a monster that looked friendly and nice for a change, instead of being menacing. I had seen a sketch [by Ralph McQuarrie] and I based it on that because it was very good, and it looked just right to me.”—Stuart Freeborn; make-up and creature Design; Star Wars™: Episode IV A New Hope, Star Wars™: Episode V The Empire Strikes Back, Star Wars™: Episode VI Return of the Jedi

ARTIFACT SPOTLIGHT: CHEWBACCA, RETURN OF THE JEDIChewbacca’s costume also went through several iterations as the designers found the right balance of ferocity and friendliness. It was George Lucas’s intention that Chewbacca be a combination of a monkey, a dog, and a cat. Designed by concept artist Ralph McQuarrie and produced by Stuart Freeborn, this expressive costume is made from yak hair and mohair

Behind the Seams: In one of the original designs by Ralph McQuarrie and Joe Johnston, Boba Fett’s costume was pure white, similar to that of the Stormtroopers. This design made it as far as being produced in a full scale screen test before being changed to the familiar design seen in the films.

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MILITARY“George wanted the Imperial people to look efficient, totalitarian, fascist; and the rebels, the goodies, to look like something out of a Western or the U.S. Marines.” –John Mollo; costume designer; Star Wars™: Episode IV A New Hope, Star Wars™: Episode V The Empire Strikes Back

The Star Wars saga features conflict on a galactic scale. This setting provides the opportunity to showcase a wide variety of military-styled costumes. For the original trilogy George Lucas enlisted the help of military historian and costume designer John Mollo to help realize his vision. Many of the costumes worn by the Imperials and the Rebel Alliance were inspired by American Navy pilots, World War I and World War II-era German troops, and Japanese fighter pilots.

ARTIFACT SPOTLIGHT: X-WING PILOT CLASSIC COSTUME, RETURN OF THE JEDI AND IMPERIAL OFFICER, RETURN OF THE JEDI

The rough and ready look of the X-wing pilots were based on the outfits of early aviators, complete with a series of straps similar to the parachute harness used by U.S. Navy pilots. The outfits of the Imperial officers include several direct references to uniforms worn by the German military including their tunics, tall boots, and hats—modeled after the elite Alpine troops of Nazi Germany.

Behind the Seams: The X-wing helmet mold was taken from a U.S. APH-6B pilot helmet, used in the Vietnam War, which designer John Mollo provided the manufacturer.

DARTH VADER: BIRTH OF AN EPIC VILLIAN"He’s more machine now than man. Twisted and evil.” –Obi-Wan Kenobi, speaking of Darth Vader

Darth Vader, previously Anakin Skywalker, is both the tragic hero and dark villain of the Star Wars saga. Vader’s sleek black armor and skull-like mask serve functionally to protect what is left of his burned body. His villainous shift in character are reflected in both his actions and his imposing black outfit.

Behind the Seams: Concept artist Ralph McQuarrie combined inspiration from the Japanese kabuta (samurai helmet) with a space age respiration system to produce Vader’s iconic look. You can find several preliminary drawings for Darth Vader’s costume in the Inspiration and Design section of the exhibition.

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ADDITIONAL RESOURCES

The below resources are provided to help you research and plan lessons related to the exhibition, costume design, and character archetypes.

Alinger, Brandon. Star Wars Costumes: The Original Trilogy. Chronicle Books, 2014. Print.

Showcases more than 200 detailed photographs of iconic Star Wars costumes from the original trilogy with commentary offering a fresh perspective on the creation of the clothes and costume props that brought these iconic characters to life.

Biggar, Trisha. Dressing a Galaxy: The Costumes of Star Wars. New York: Insight Editions in Association with H.N. Abrams, 2005. Print.

The accompanying volume to the exhibition at the The Fashion Institute of Design & Merchandising (FIDM) Museum & Galleries at FIDM in Los Angeles, this unique book provides commentary and exploration of costume design from each of the six Star Wars films.

Costumes the Wearable Dialog resdencodak.tumblr.com/post/2413085571/costumes-the-wearable-dialog

Art Blog by Portland based graphic novelist Arron Diaz about the essentials of character design, with illustrated examples.

Landis, Deborah Nadoolman. Hollywood Costume. Harry N. Abrams, 2013. Print.

Featuring many of the most iconic costume designs from the past century, and published in conjunction with an exhibition of the same name at the Victoria and Albert Museum in London, Hollywood Costume takes a close look at the conventions of what is considered “costume” and the role of the designer in creating a film’s characters and helping to shape its narrative.

Patterns in Writing: Character Archetypesbyrdseed.com/patterns-in-writing-iv-character-archetypes

Lesson ideas for incorporating a discussion of character types into your classroom instruction.

Secret Life of Costumes: Canada’s National Arts Centreartsalive.ca/collections/costumes

Online costume exhibition featuring educational activities and resources related to character design, sketching, and costume production.

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COSTUME DESIGN VOCABULARY

A selection of definitions of terms in the context of costume design from the Canadian National Arts Centre. The full list can be found at: artsalive.ca/collections/costumes

Aesthetic (noun) - a particular theory or way of looking at or thinking about beauty and art.

Avant-Garde - usually used to describe an artistic endeavor or group regarded as advanced or daring in terms of ideas, technique, or practice.

Characterization - development of a character through acting.

Crisis - a crucial turning point in a plot; the event that changes the direction of the plot.

Cutter - skilled wardrobe craftsperson who creates the patterns and is responsible for the construction of the costumes you see on stage. Cutters create costumes for female roles. (Tailors create costumes for men’s roles.)

Design - to plan, conceive, fashion, or preliminarily sketch one’s ideas; also the product of these activities.

Designer (costumes, sets, lighting, sound) - the artist who, after discussion with the director, creates the desired onstage look or sound, through costumes, sets, lighting or sound.

Form - the unified visual elements of a work of art.

Function - the purpose or utility of a thing.

Fittings - the process of adjusting the costume to the actor’s body.

Icon (iconic) - having the characteristic of an icon (small devotional depiction of Christ and the Virgin Mary, a venerated picture); i.e. a small and often potent symbol of something larger and more general, like the red maple leaf on the Canadian flag, which immediately signals “Canada,” national pride or a mental image of the country.

Linear Style - anything that proceeds along a line; linear style in storytelling occurs when one event follows another in chronological order.

Maquette - a model of the set or costume sketch intended for use by the builder as a guide to construction.

Milliner - a specialist in making hats.

Minimalism - describes movements in art and design, especially visual art and music, in which expression is reduced to its fundamental features.

Mock-Up - a full-scale model of a costume, used as a test-run.

Muslin - a simply woven cotton fabric used to make the costume mock-up, also called factory cotton or unbleached cotton.

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Palette - the colors found in a work of art, can also refer to the unified color scheme of a work.

Silhouette - a figure whose outline indicates the shape of clothing in a particular historical period.

Tailor - an expert in building men’s clothing: historic costumes, military costumes, and formal wear. A tailor would create the patterns for jackets, trousers, and shirts using the actor’s body measurements.

Texture - the visual and or tactile quality of surface.

Visual Metaphor - the visual accounting or description of something in a way that is imaginatively, but not necessarily literally, applicable; for example, an onstage tree might be seen by the audience as a simple tree on one level, but it might also carry associations with growth, family tree, reaching for the sky, etc.

Wardrobe - the costumes of a theatre or theatre troupe, also the room or department in which they are made, and in some cases, stored.

ARCHETYPES IN SCIENCE FICTION AND FANTASY STORIESWhile not an exhaustive list, the following character archetypes serve as a good representation of those commonly found in science fiction and fantasy texts. You may find this chart useful in supporting many of the Subject Area Explorations mentioned earlier. For more information on character archetypes see our Educator Gallery guide for Fantasy: Worlds of Myth and Magic (empmuseum.org/galleryguides).

Archetypes Examples in Fantasy Examples in Sci-Fi

The Maiden Warrior: Tough, willful, and wild, the maiden warrior abides by her inner compass, regardless of the conventions others try to push on her.

Artemis (Greek), Freyja (Norse), Hua Mulan (Chinese legend), Éowyn (Lord of the Rings), Xena

Princess Leia, Padmé Amidala, Katniss Everdeen, Meg Murry (Wrinkle in Time), Art3mis (Ready Player One), Buffy (Buffy the Vampire Slayer), Trinity (The Matrix), Beatrice “Tris” Prior (Divergent)

The Fool: The fool enjoys a unique perspective that allows him to see what others overlook, and a perpetual light-heartedness that seemingly dissolves dangerous situations. He is odd, yet wonderful.

Sir Dagonet (Arthuriana), Don Quixote, Ning Choi-san (A Chinese Ghost Story), Luna Lovegood (Harry Potter), Pinkie Pie (My Little Pony: Friendship is Magic)

Arthur Dent (Hitchhiker’s Guide to the Galaxy), Hurley (LOST), Jar Binks (Star Wars), Philip J. Fry (Futurama), Wash (Firefly/Serenity), R2-D2 and C-3PO (Star Wars)

The Knight: The knight is a master com-batant, born leader, and trusted guard-ian whose devotion to duty sustains him on seemingly hopeless quests.

Characters: Sir Lancelot, Aragorn (Lord of the Rings), Carrot Ironfoundersson (Discworld), Steiner (Final Fantasy IX), Alanna of Trebond (Song of the Lioness)

Duncan Idaho (Dune), Cyclops (X-Men), Shepard (Mass Effect), Master Chief (Halo), Superman, Captain America (Marvel Comics), Captain Kirk (Star Trek)

The Damsel: Known for her beauty and virtue, the damsel is at the mercy of villains until she finds her hero.

Andromeda (Greek), Briar Rose (Broth-ers Grimm), Suldrun (Lyonesse), Buttercup (Princess Bride), Sansa Stark (Game of Thrones)

Dejah Thoris (John Carter of Mars), Newt (Aliens)

The Iron Woman: The iron woman main-tains a position of high leadership, and is a brave and trusted guardian of her people. She is steady and disciplined, even in times of crisis.

Athena (Greek), Hippolyta (DC Comics), Lady Eboshi (Princess Mononoke), Min-erva McGonagall (Harry Potter), Sethra Lavode (Dragaera)

Mon Mothma (Star Wars), Catherine Janeway (Star Trek Voyager), Ripley (Aliens), Laura Roslin (Battlestar Ga-lactica), President Alma Coin (Hunger Games)

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Archetypes Examples in Fantasy Examples in Sci-Fi

The Companion: A hero’s companion is often easier to relate to than the hero. The companion is loyal and can provide a practical and optimistic point of view, even in the darkest of times.

Patroclus (Iliad), Sancho Panza (Don Quixote), Gabrielle (Xena), Samwise Gamgee (Lord of the Rings), Annabeth Chase (Percy Jackson)

Chewbacca (Star Wars), Ford Prefect (Hitchhiker’s Guide to the Galaxy), Peeta Melark (Hunger Games), Aech (Ready Player One), Martha Jones (Doctor Who)

The Trickster: The trickster is a force of chaos and a catalyst of change whose power stems not from physical size or strength but from craftiness, adaptabili-ty, and constant disobedience.

Loki (Norse), Anansi (W. African), Raven (NW Native), El-ahrairah (Watership Down), Mary Poppin

Zaphod Beeblebrox (Hitchhiker’s Guide to the Galaxy), Rygel (Farscape)

The Shadow: The shadow mirrors the hero, expressing qualities that the hero cannot. He may be mean-spirited, with-drawn, or deeply insecure, but can also offer balance and insight.

Shadow (Earthsea), Gollum (Lord of the Rings), Severus Snape (Harry Potter), Eeyore (Winnie-the-Pooh), No-Face (Spirited Away)

Agent Smith (The Matrix), Haymitch Aber-nathy (Hunger Games)

The Wise Wizard: The wise wizard is just that—a brilliant conjurer and valuable teacher. He is a source of sage counsel for those in need and a chief authority on the ways of the universe.

Thoth (Egyptian), Odin (Norse), Merlin (Arthuriana), Gandalf (Lord of the Rings), Dumbledore (Harry Potter)

Obi-Wan Kenobi and Yoda (Star Wars), Artie Nielsen (Warehouse 13), Mrs Whatsit, Who, and Which (Wrinkle in Time), Ogden Morrow (Ready Player One), Morpheus (The Matrix), Doc Brown (Back to the Future), Walter Bishop (Fringe)

The Rogue: The rogue believes rules are meant to be broken. He is an outlaw with talents for deception, trickery, and swashbuckling adventure.

Grettir (Icelandic), Robin Hood (English), Goemon (Japanese), the Gray Mouser (Fafhrd and the Gray Mouser), Captain Jack Sparrow (Pirates of the Caribbean)

Han Solo (Star Wars), Malcolm Reynolds (Firefly/Serenity)

The Witch: Gifted with incredible powers at a young age but forced into isolation, the witch usually lives alone and embit-tered. She is deeply misunderstood and feared by others.

Morgana le Fay (Arthuriana), Elphaba Thropp (Wicked), Frau Totenkinder (Fables), Yubaba (Spirited Away), Ursula (The Little Mermaid)

Bene Gesserit Reverend Mother (Dune), Cassandra Nova (X-Men), Borg Queen (Star Trek), GlaDOS (Portal)

The Unlikely Hero: Despite humble origins and modest skills, the unlikely hero’s courage and good fortune triumph over desperate circumstances.

Aladdin (1001 Nights), The Valiant Little Tailor (Brothers Grimm), Dorothy Gale (The Wizard of Oz), Frodo Baggins (Lord of the Rings), Kiki (Kiki’s Delivery Service)

Luke and Anakin Skywalker (Star Wars), Marty McFly (Back to the Future), Lina Mayfleet (City of Ember), Kevin Flynn (Tron), Alex Rogan (The Last Starfighter)

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GALLERY ACTIVITY SHEETInstructions: Choose three costumes from the gallery to focus on. Complete the questions and do a quick sketch of the chosen costume:

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Describe what interested you most about this costume:

What were some cultural or historical inspirations for this costume?

In what way does the costume design reflect important aspects of the character?

What are a few words you would use to describe this costume?

Describe what interested you most about this costume:

What were some cultural or historical inspirations for this costume?

In what way does the costume design reflect important aspects of the character?

What are a few words you would use to describe this costume?

Describe what interested you most about this costume:

What were some cultural or historical inspirations for this costume?

In what way does the costume design reflect important aspects of the character?

What are a few words you would use to describe this costume?

Costume Sketch #1

Costume Sketch #2

Costume Sketch #3