The Welkin Design Process

the Welkin, directed by Hannah Noone/ costume by Olivia Gough/ set by Siyi Qian

Research and Moodboard



Sketching All drawings start on paper, my process is heavily influenced by drawing.
For these particular drawings, oil pastels, charcoal and watercolour worked well for the style and approach.


Only after working on paper will I transfer them into photoshop and render them fully. 
Fred and Sally Poppy

Mr Coombs

Elizabeth Luke

Charlotte Carey

Judith Brewer

Sarah Hollis, Ann Lavender, Peg Carter

Hannah Rusted, Emma Jenkins

Mary Middleton

 Kitty Givens

Sarah Smith, Helen Ludlow

The Doctor, Lady Wax, Katy, Alice Wax

2061 scene, Housework and Kate Bush


Trial and error; alot of fun.

Charcoal aprons

The brilliant costume team hadnmade 24 aprons, 12 clean and 12 sooty.
After Act 1 the women are covered in soot after a fireplace explodes, without destroying the hired costumes we needed to show this destruction with the aprons. 

Bloody Dress

The aim was the dress for a fresh ‘sticky’ bloodied dress. This was achieved with pre-set paint stains and before each show stage blood added.

The stage blood was also added to the actors hands and face.

the blood on this dress was painted by Jana Lakatos


Effectively finding a way of slowly revealing blood on our antagonist’s skirts; trial and error with the stage mangement team. 
Settling on a catheter bag that can be locked and unlocked, strapped to the actor’s leg with a harness. Demonstrated by Amy, our stage manager, below.

Discovered that stage blood, charcoal powder and washing up liquid was the best mixture to create the dark blood, whilst being able to wash it out after each performance.

In the space

Constantly problem solving throughout the 4 weeks of production, more so when the cast got in the space. 

Editting costumes, fixing holes, adding bonnets, taking bonnets away etc.