Alix Stone was unusual among designers in producing long 'scrolls' on which she drew groups of related costumes. Theatre designs are usually seen singly, and it is difficult to get any idea of the complexity of creating designs for a large number of individual characters that, for instance, make up the chorus in an opera, or extras in a play. The designer has to create a total picture, in which the principal characters stand out against the moving background of a big chorus while not destroying the whole stage picture. The 'scroll' allowed the designer and the costume makers to see the overall shape and pattern of individuals within the group, or how the principals related to each other or the chorus.
Designing variations on a single theme, like 18th century street vendors or everyday costumes for people in a small fishing community, as in Peter Grimes, is a greater test of a designer than creating grand individual costumes.
Although theatre designs are often considered works of art and are sought after by museums and private collectors, their artistic worth or decorative qualities are secondary to whether they 'work' on stage. The success of a costume design cannot be judged until it is translated into fabric, texture and decoration by the costume makers and seen as part of the whole stage picture. Some designers are very knowledgeable about costume making and produce very detailed designs, with notes on fabrics and making techniques, others create an 'atmospheric' drawing, which gives the feeling of the costume, and they then either work closely with the costume maker to realise their concept or have trusted makers who know their work and can create the effects they have in mind.