Monday 14 December 2015
Sunday 13 December 2015
Eye and Lip Look
During a practical with Sue we were shown how to create the perfect eye and lip look. We started by looking at eye shapes and how to assess what style of shadow is best for each eye shape.
The products I used to create my perfect eye and lip look were:
-Charles Fox Lipstick Palette
-Mac Eye Shadow Pallet
-Rimmel Mascara
- MAC highlighter
Tools I used:
-MAC medium shadow brush
-Charles Fox blending brush
- Charles fox angled brush
After cleansing, toning and moisturising I applied a normal foundation base that I have written step by step for in a separate post on this blog. My model had almond eyes which meant that I shouldn't apply shadow above the crease of the eye but instead pull it out farther than the outer corner to flatter the shape of the eye. I started by applying a nude shade all over the lid and then the lightest shade of brown to the crease. I used a Mac eye shadow brush for this as its a preference of mine, however any eyeshadow brush will do. I then applied the darker shades of brown to the outer corner of the eye and used my blending brush to bring this out just beneath the brow bone on the outer corner. This gave a gradient effect and was flattering to the almond eye shape. I used a Rimmel volumising mascara and a disposable mascara brush to tint my models upper and lower lashes. I then applied a small amount of MAC highlighter onto the brow bone and the inner corner of the eye.
For the lips I used a small angle brush to line to brush some vaseline onto my models lips first in order to make the lip colour application smooth and even. I used a nude colour in order to keep the focus of the final look on the eyes on not on the lips as she had quite thin lips.
I was very happy with the way this turned out and it is definitely a look that I will be doing on myself. My model seemed very pleased with the way she looked also and even wore it home! I didn't struggle with the application and I feel that I did really well.
Saturday 12 December 2015
Evaluation of my partner
The final look that my partner created with reference to my design didn't turn out quite the way that I expected it to. We were only able to complete one practice right before the assessment, which is all I was able to do as well in all fairness. Despite this, I feel that this lack of practice did impact the final outcome of her assessment. She followed instruction really well and was very openly communicating with me however I feel that she panicked during the assessment under the pressure of a time limit and this is maybe what hindered her achieving the look the way that I wanted it. Everything was in the correct place and she understood what she needed to do however it wasn’t carried out the way that I intended it to be. The shadow wasn’t blended into the face it was more of a solid line around the heart shape. The Supra Colour I agree is difficult to work with, so it was smudged where it shouldn't have been. My lips were underlined quite roughly making then an uneven shape also. Despite this, she was lovely to work with and the work she did on the base was flawless as well as the way she had whitened the lashes I couldn't fault. I would work with her again without a doubt and maybe if I worked with her in the future I would feel more confident to give her constructive criticism.
Evaluation
I personally feel that the assignment went really well. Although I did feel quite stressed at times I do feel that I enjoyed most elements of the unit. I was successful in recreating my partners design in the time allocated and with results that I was more than pleased with, despite the fact that I had only managed to get once practice with my partner. During the exam I tried my best to look back on the practice that I did and the steps that I had taken in order for it turn out as well as it had during my trial. I thought the design that I was given to create was really well thought through and impressive. I did my best to make it look exactly like she wanted it to according to her face chart and notes and I hope she feels that I achieved that.
My partner was only able to practice my design once before she had her assessment. I feel that she did her best however its not how the design turned out when I did it on myself and not how I imagined it to look when I had done my face chart.
I feel that I have learnt a lot of very important skills during this unit which I will be able to apply to other units in the future as well as on design and artist jobs. Being able to create someone else's vision is something that will be probably the most valuable when working in the industry that I want to enter into. The communication side of this project has actually helped me a lot more than I thought it would, it has taught me to give constructive criticism with a solution and also to take criticism without being too sensitive about it. I think what I struggled with the most is was the organisation of my blog. Its not that I don't like writing, its just that I never feel motivated to do so, if I’m honest I quite enjoy it when I get into it. Next year I will be trying my best not to leave everything until the last minute as this was very stressful and I haven't performed as well as I feel that I could. Ultimately, I think that this topic was very interesting however I need to become more accustomed to this type of work in order to gain a better grade in future units.
Bibliography
References
Elizabethancostume.net, (2015). Elizabethan Makeup 101. [online] Available at: http://www.elizabethancostume.net/makeup.html [Accessed 11 Dec. 2015].Healthline, (2015). Belladonna: Remedy with a Dark Past. [online] Available at: http://www.healthline.com/health/belladonna-dark-past#3 [Accessed 11 Dec. 2015].
Pinterest.com, (2015). [online] Available at: https://www.pinterest.com/pin/485544403546092875/ [Accessed 11 Dec. 2015].
Policies, D., Me, W., Ingredients, A. and Cabreada, N. (2010). Beauty History: The Elizabethan Era. [online] beautifulwithbrains.com. Available at: http://beautifulwithbrains.com/2010/05/20/beauty-history-the-elizabethan-era/ [Accessed 11 Dec. 2015].
Wikipedia, (2015). Ochre. [online] Available at: https://en.wikipedia.org/wiki/Ochre [Accessed 11 Dec. 2015].
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Practice of my final design
I wanted to make sure I was using the correct products for my final design so I decided to practice on myself as I can almost alway rely on me to be there on time and on form. What I concluded having conducted this practice is that there was definitely an order in which it is best to do things.
Step 1 - Prep skin, apply primer and white base, buff out and apply translucent Illamasqua powder to set.
Step 2 - Use lightest shade of grey shadow to outline the heart shape on forehead and create the shading working into the darker shades of grey and black.
Step 3 - Use the supra colour to create the heart section on fore head and then fill in the brows.
Step 4 - Apply gold to the eyes and starting with the light grey shadow and graduating to the darker shades contour the nose and cheek bones where the heart section will be on the cheeks
Step 5 - Apply the white supra colour to the lashes.
Step 6 - Colour in the section in-between the grey shadow that you created for the black Supra colour.
Step 7 - Add the gold to the lips and then line with the black, smudging in before drying.
Step 8 - Contour the chin with the grey shadows and then highlight with the mac highlighter powder on all white areas.
Step 1 - Prep skin, apply primer and white base, buff out and apply translucent Illamasqua powder to set.
Step 2 - Use lightest shade of grey shadow to outline the heart shape on forehead and create the shading working into the darker shades of grey and black.
Step 3 - Use the supra colour to create the heart section on fore head and then fill in the brows.
Step 4 - Apply gold to the eyes and starting with the light grey shadow and graduating to the darker shades contour the nose and cheek bones where the heart section will be on the cheeks
Step 5 - Apply the white supra colour to the lashes.
Step 6 - Colour in the section in-between the grey shadow that you created for the black Supra colour.
Step 7 - Add the gold to the lips and then line with the black, smudging in before drying.
Step 8 - Contour the chin with the grey shadows and then highlight with the mac highlighter powder on all white areas.
Practice of my partners design
In order to recreate my partners design perfectly I felt that it would be appropriate to practice it at least once. We had planned to have a whole hour and ten minutes to practice the design in order to see if i could do it under the time constraint that I would have in the final assessment, however we ended up with a lot less time due to a fire alarm. Because of this I thought that it would be better to practice doing half of the face than not practicing at all. I really liked my partners design and I thought that it would be quite interesting seeing if I could achieve he vision.
This practice gave me a lot of confidence as I was able to create a step by set guide for myself to follow when recreating the design again to ensure high quality of the final look. I was happy with the control that I was able to keep when under a time limit as well, which made me even more relaxed in the actual assessment which I feel contributed to the way I performed ultimately.
This practice gave me a lot of confidence as I was able to create a step by set guide for myself to follow when recreating the design again to ensure high quality of the final look. I was happy with the control that I was able to keep when under a time limit as well, which made me even more relaxed in the actual assessment which I feel contributed to the way I performed ultimately.
Final Assessment Face Charts
These are the three face charts that I created for my final assessment.
The first design that I created I hadn't planned out before starting. I couldn't think of anything that was representative of the look I wanted to create for my lady in waiting so I just started with the base and created a design while I worked. I knew already that I wanted to use the colours black, green and gold as they all represent power and wealth, something the Bess of Hardwick strived for.
This first design turned out very understand because I didn't want to ruin it by doing something over the top and hating it because i hadn't planned and thought it through. Something that I didn't consider were the techniques that we had been shown during our practical lesson on elizabethan makeup, therefore it had next to no elements of elizabethan makeup within it, other than the colours. I wasn't impressed with this design, I though I was pleased with the overall finish of the chart itself.
That first face chart was a mistake and one that I apparently need to make as it influenced a lot of things that I did differently in this next one. I wanted to incorporate more classic elements of an elizabethan look while still making the whole design contemporary. I wanted to keep the base pale ut not white so i just created a very pale foundation and used the white base alone to contour around the eyes and on the cheek bones. I wanted the eyebrows to disappear so I used a royal maroon/plum colour shadow, continuing from the upper lid all the way onto the brow bone and covering the brow over so it looked as if the eye brows weren't there. I was then able to reposition where it looked like the eyebrow was entirely. I used the Illamasqua metal pallet to draw a line of gold in a lower position for the brow. I lined the eyes with white supra colour as well as whitening the lashes. I used MAC shimmer highlighter to add a dewey look to the cheeks bones and a pink blush to add colour to the apples of the cheeks. The lips I wanted to be an intense shade of gold lined with a sightly darker shade to create depth. I was really happy with the way this chart turned out, there is a better balance of both contemporary and classic elizabethan style within this design however it is not my final chosen design.
When planning this design I was really thinking about my lady in waiting and the story that I created for her. I wanted her to be pale as she is a cold hearted character in the end and because its a classic elizabethan style, therefore I used the Illamasqua white base for her face ears and neck. I wanted to incorporate the colour gold into the chart somewhere and thought that her eyes would be the appropriate place to use this shade representing wealth and power as thats all she saw and all she strived for. I wanted the supra colour heart shape on her face to show how she had been damaged by the ones she loved and this is why I used solid lines in black for this part of my design. I wanted it too look a little bit as though her face was sunken and dead and thats why I blended various shades of grey shadow around the edges of the heart shape in order create depth. I wanted her lips to be gold in the places that they would be highlighted normally, fading out into a black outline that meets the heart shape in the corners of her mouth. I wanted to keep the eyebrows large and contemporary, so I made them dark and thick using black supra colour as well as a black eye shadow. I finished the design off by contouring the face with MAC highlighter and a dark grey shadow from my Charles fox natural palette. I had thought through every little detail of this design and I was very pleased with the way it turned out in the end.
The first design that I created I hadn't planned out before starting. I couldn't think of anything that was representative of the look I wanted to create for my lady in waiting so I just started with the base and created a design while I worked. I knew already that I wanted to use the colours black, green and gold as they all represent power and wealth, something the Bess of Hardwick strived for.
This first design turned out very understand because I didn't want to ruin it by doing something over the top and hating it because i hadn't planned and thought it through. Something that I didn't consider were the techniques that we had been shown during our practical lesson on elizabethan makeup, therefore it had next to no elements of elizabethan makeup within it, other than the colours. I wasn't impressed with this design, I though I was pleased with the overall finish of the chart itself.
That first face chart was a mistake and one that I apparently need to make as it influenced a lot of things that I did differently in this next one. I wanted to incorporate more classic elements of an elizabethan look while still making the whole design contemporary. I wanted to keep the base pale ut not white so i just created a very pale foundation and used the white base alone to contour around the eyes and on the cheek bones. I wanted the eyebrows to disappear so I used a royal maroon/plum colour shadow, continuing from the upper lid all the way onto the brow bone and covering the brow over so it looked as if the eye brows weren't there. I was then able to reposition where it looked like the eyebrow was entirely. I used the Illamasqua metal pallet to draw a line of gold in a lower position for the brow. I lined the eyes with white supra colour as well as whitening the lashes. I used MAC shimmer highlighter to add a dewey look to the cheeks bones and a pink blush to add colour to the apples of the cheeks. The lips I wanted to be an intense shade of gold lined with a sightly darker shade to create depth. I was really happy with the way this chart turned out, there is a better balance of both contemporary and classic elizabethan style within this design however it is not my final chosen design.
When planning this design I was really thinking about my lady in waiting and the story that I created for her. I wanted her to be pale as she is a cold hearted character in the end and because its a classic elizabethan style, therefore I used the Illamasqua white base for her face ears and neck. I wanted to incorporate the colour gold into the chart somewhere and thought that her eyes would be the appropriate place to use this shade representing wealth and power as thats all she saw and all she strived for. I wanted the supra colour heart shape on her face to show how she had been damaged by the ones she loved and this is why I used solid lines in black for this part of my design. I wanted it too look a little bit as though her face was sunken and dead and thats why I blended various shades of grey shadow around the edges of the heart shape in order create depth. I wanted her lips to be gold in the places that they would be highlighted normally, fading out into a black outline that meets the heart shape in the corners of her mouth. I wanted to keep the eyebrows large and contemporary, so I made them dark and thick using black supra colour as well as a black eye shadow. I finished the design off by contouring the face with MAC highlighter and a dark grey shadow from my Charles fox natural palette. I had thought through every little detail of this design and I was very pleased with the way it turned out in the end.
Practical - Halloween
During this practical session we changed our topic completely. We were no longer studying Elizabethan makeup, instead we were looking at Day of the Dead makeup. We were asked to work in partners and create a sugar skull style halloween makeup design on one another. We didn't have enough time to both create a look on each other so I was the model during this lesson and took it upon myself to create my own design at home in order to perfect my own Halloween look.
The products that I used for these looks are:
- Charles Fox Supra Colour Palette
- Illamasqua Translucent Powder
- Charles Fox Bright Eye Shadow Palette
- Charles Fox Natural Eye Shadow Palette
The products that I used for these looks are:
- Charles Fox Supra Colour Palette
- Illamasqua Translucent Powder
- Charles Fox Bright Eye Shadow Palette
- Charles Fox Natural Eye Shadow Palette
Practical - Basic Elizabethan Makeup
For this practical lesson we were shown how to create a very basic Elizabethan look. This will help us to understand some of the techniques that we could use in our designs that we could alter to be more contemporary or keep as a classic element.
The products that I used:
-Illamasqua white base
-Charles Fox Blush Pallet
-Charles Fox Lip Pallet
-Illamasqua Translusent powder
-Charles Fox Supra Colour
The tools that I used for this look:
-Charles Fox Small Angled Brush
-Charles Fox Kabuki brush
-Disposable Mascara wand
-Charles Fox Large Powder Brush
-Charles Fox Stippling Brush
Like any other look that I have created and any that I will create in the future I started off by undertaking the necessary health and safety precautions which you will be able to see on any other practical post on my blog. I prepped the skin with cleanser, toner, moisturiser and a matte primer and then began applying the Illamasqua white base to my model. I applied it to the face, neck and ears using a stippling rush and then buffing it out, I find that the Illamasqua base looks best on the skin as well as being easier to apply. Before I applied the Illamasqua translucent base I used the white Supra colour to white out the eyebrows. I did this using a disposable mascara wand and brushing the hair against the grain first and then smoothing them out by brushing them in the correct direction. I then powdered the face and neck having covered the brows and skin white. I applied a bright pink blush from the Charles fox blush palette to the apples of the cheeks and as well as applying a small amount of lip colour from the Charles Fox lip palette to my mode lips. finally we used the white Charles Fox Supra colour and a disposable mascara wand to colour the top and bottom lashes white.
Once we had done this, we were allowed to play around with the look ourselves, trying out different things to see how they would turn out. I used the dark red and pink Supra colour on the brows to try and create an ombre brow. I think it looked quite effective however I don't think it is something that I will be using in my final design. I also used the supra colour on the cheeks, pivoting my brush over the blusher to make the cheeks more prominent. This did not look good at all, my model looked like the puppet form the SAW movies not like an elizabethan.
I enjoyed this session as it gave us some inspiration as well as an opportunity to play around with our makeup kits in order to understand the effects that certain products will have when on a real person and not just a face chart.
Practical - The Perfect Base
In our latest couple of practical session with Sue we were shown how to create the perfect base for a natural makeup look. I set up my work station by placing each roll over the mirror shelf and laying out all of the products and brushes that I would need for todays lesson and turning on the mirror lights. Once we had tied our models hair back and given them a gown to wear we washed our hands and began by cleansing, toning and moisturising the face and neck. I asked my model if she was wearing contact lenses or if she had any allergies and I was ready to go.
The products we used to create this look were:
-Illamasqua Matt Finish primer
-Charles Fox Foundation Palette
-Charles Fox Contour Powder Palette
-Illamasqua Translucent Powder
-Charles Fox Concealer Pallet
-Mac Shimmer Highlighter
-Illamasqua White Base
The brushes that I used were:
-Charles Fox stippling brush
-Charles fox Small Rounded Eyeshadow Brush (most small shadow brushes will work)
-Illamasqua Powered Puff
-Charles Fox Kabuki brush
Once the skin has been prepped properly, you should begin by applying the Illamasqua satin or matte primer. this depends on the skin the of your model as well as the look you are trying to achieve. If you model has naturally very oily skin then the matte primer is probably better to use as it wont add to the grease that will form on the face. The primer allows the foundation to set on the skin and it won’t allow it to move around during the day, making it last longer. You can apply the primer with your hands like you did with the moisturiser, however it is probably best to use a stippling brush to apply this to get more even coverage and to make your model feel more comfortable also. Not only this but the rush will be moist and will take the foundation a lot easier if it has been used to apply the foundation. Once the face and neck have been primed you will need to mix the correct colour of foundation for your model. Using a wooden spatula you should scrap a small amount of an appropriate foundation out of the palette and apply it to the back of your clean hand. If you need to add other colours or any of the Illamasqua white base then you can do so, mixing it again on the back of your hand. Test this colour by applying a single brush stroke onto your models jaw line and down her neck. If you need to make alterations then do so, if not then you will use the foundation that you mixed on your hand to cover the whole face.
Apply the foundation using the same stippling brush you used to apply the primer, working from the middle of the face and pulling the foundation out. This brush will not create completely streak free finish, so don’t worry about lines in your foundation just yet. You ill need to remember to keep checking you application in the mirror as well as looking at it yourself to avoid any uneveness. Taking the Kabuki brush, you will brush the whole face in small circular motions buff the foundation into the skin. I found that I had lines in my foundation despite me taking a long time trying to get this perfect, but once I had buffed the face my application was flawless and I was very happy with the result. Something that I feel I should add, is that when buffing the face, you are supposed to buff the foundation on the eyelids however you should take into consideration that you will need to be a more careful around this area. When I was being used as a model, during this part of the application, I had a lot of my lashes torn out as they got caught in the brush and this is something that i am very aware of now when working on my models.
When you have perfected your foundation, you will need to start mixing the correct colour of concealer for your models skin tone. It will need to be 1-2 shades lighter than their foundation in order to have the desired effect. I used numerous colours from the Charles Fox concealer palette in oder to create a match with my models skin, again mixing it on the back of had but applying it with a small shadow brush rather than the stippler brush. I applied it to any blemishes that I was able to see and also underneath the eyes. I again took the Kabuki brush and blended the concealer into the skin to avoid having any tide lined been your foundation and concealer. To set all of this grease base product, you will need to use a powder all over your models face and neck. The product that I used was the Illamasqua translucent powder because it is colourless and won’t have any visual effect on what I have done so far. I applied it using a power puff, dipping it into the powder and applying it to the face, pressing and rolling the sponge on the skin.
Finally, we need to contour the face and this means finding the correct places to contour. Ask your model to suck her cheeks inwards so that you’re able to see her cheek bones, gentle feel for the underneath of her bone and draw a faint line to mark this out using the Charles Fox Contour Powder Palette and a small shadow brush. This are needs to be slightly darer than the rest of the face, and so does the tip of the nose, underneath the bottom lip, around the hair line on the forehead and just before the temple on the bone. This needs to be very subtle and blended well, a tip for doing good contouring is to try and make it look like you haven't contoured at all. I finished my look off by applying my favourite highlighter by MAC to the top of the cheek bones and the under neath of the eye socket as well as adding a small amount on the bridge of the nose.
I was surprised at how much difference expensive products, tool and professional lighting can make to the finish of a look and was pleased with my work today. there was nothing that I really struggled with other than finding he correct colour of foundation for my model, which I managed to do in the end.
Lady in Waiting
During our latest session with Sharon we were told about our final fundamentals of makeup project. We were shown each of Elizabeth I’s ladies in waiting and asked to choose who we would like to base our design upon. There were various different girls who had quite interesting backgrounds that I probably could have created designs for. However Bess of Hardwick stood out most to me personally. I’m not sure whether I was drawn to her because I thought she was quite a remarkable woman, the Tyra Banks of the Tudors, working from having next to nothing to be a very respected woman in her field. Sharon asked us to research our chosen lady in waiting and create a background story for them in order to build the character.
Bess of Hardwick, Countess of Shrewsbury - (1521 - 1607)
Elizabeth Hardwick started her life relatively poor, having married four times she became a lady in waiting to Queen Elizabeth and was the second most powerful Elizabethan woman, next to the Queen herself, I already knew this much. What I wanted to know is if there was any scandal involved in her climb to the top, with four marriages under her belt I was sure there had to be.
At the age of 12 she was sent to be a lady in waiting to a couple who worked in court. This is where she met her first husband Robert Barlow who she married at fifteen, their marriage was very short lived as he died no less than a year later. This wasn't all bad news for her though, as he left her with a substantial inheritance meaning she was able to survive without him. In the few years that followed she began working for Henry VIII’s niece, still as a lady in waiting. Through this placement she met her second husband, who at the time was 20 years older than her, William Cavendish. She had 8 children with Cavendish who did when she was still only 30 years old. She was left a very wealthy widow when she entered into her third marriage to Sir William Loe, who was recognised by the Queen. This is how Bess became a lady of the queens privy chamber, moving her into the royal circle and bonding with the Queen herself. Bess’s third husband died after 6 years leaving everything he had to her, making her a very very wealthy woman. However this wasn’t quite enough for her, as it wasn't just wealth that she sought but also status. She achieved this status when she was married off to her fourth and final husband the Earl of Shrewsbury who was one of the most rich and powerful men in the whole of England.
Their marriage wasn’t a happy one in the end as Bess accused her husband of having an affair with the Scottish queen and many others. Their arguments became so bad that Queen Elizabeth stepped in but even she couldn’t not stop their arguing. Bess was so persistent that the word ‘shrew' (short for Shrewsbury) was often used to mean “unpleasant woman who is easily annoyed and who argues a lot”. She stayed away from her husband until his death a few years later. After this event she returned to her childhood home and began the erection of a house to show off her new status and wealth. During Elizabethan times glass was a very extortionate commodity to possess and most windows weren't paned, instead they were covered with shutters. Bess wanted to show just how rich she had become since leaving the small village many years before, so she built her house almost entirely out of diamond shaped glass panels.
She marked her territory by having her initials calved in stone on each of the towers. Her decedents include many of the titled families of Great Britain currently including Prince William and Prince Harry on both their father and their mother’s side. Bess and queen continued to be close friends until their passing and it is said that in some of Elizabeths portraits he is wearing a gown that was given o her by Bess of Hardwick herself as a gift.
I imagine that there was more to her story than what I had researched, those are just the facts. I feel that by the end of her four marriages she was a cold and bitter woman. During her first marriage she was probably a young and naive soul who was open to the idea of being in love. She was too young to understand true love but she was still heart broken when Robert passed. It was when she was with Cavendish that she truly fell in love, he gave her 8 beautiful children and she imagined spending the rest of her life with him. When he died she was mortified, distraught and devastated and swore never to marry again. It was only when she met Loe that she thought maybe there was hope for her to love again. Although its well known that it was the Earl of Shrewsbury that she openly accused of cheating on her I believe that it was Loe who damaged her the most. I image that it was actually him cheated on her and she was too scared of being alone again to leave him. She bottled up her emotions which left her a cold and closed off person. When he died she was relieved and began to enjoy the money that was left to her after his passing. One night after enjoying a banquet and a play, she was walking and was attacked by a man who tried to rape and rob her. He got away with her money but with nothing else. She was shaken by the attack and grew to hate men after everything that she had been through with Loe and now this, they were all animals. She decided that she wasn't going to be treated like a second class citizen just because she was a women and thats why she married the Earl. She never loved him she just needed the status that came alone with the marriage. She used the accusations of him being a cheat to keep him away from he until he died and went on to use the money he left her to seclude herself in Hardwick Hall until her demise.
This research and the story that I have created has given me a few ideas as to the colours and shapes that I plan on using in my final design, I'm inspired and excited to create some face charts.
Colour Theory Facecharts
Having had a session with Kat about colour theory and the colour wheel I have created three different colour theory looks on face charts below.
Anagulous and Monochromatic:
Complimentary:
In a lesson that we had with Sue we were given the opportunity to practice an anagulous, monochromatic or complimentary look on a model of our choice. At this point in time I had created both my my monochromatic and complimentary face charts but I hadn't yet done designed a look using anagulous colours, so I decided to challenge myself to come up with an anagulous look when put under pressure. I created a base using the Illamasqua white base and set it with the Illamasqua transparent powder. I then moved onto her eyes and by this point I had decided that I wanted to use greens and yellows to make up this look. I started at the inner corner of the eye using the yellow from the Kryolan Bright eye shadow palette and worked it out to the outer corner. I then took the lighter shades of green and worked them out starting from a reference point that was further from the inner corner of the eye each time. This created an ombre look on my models eyes, starting with the lighter shades at the inner corner of the eye and gradually becoming a different shade in the out corner of the eye. I was happy with the design itself but my execution wasn't perfect. I felt that I wanted to add something to this design and thought it might be effective to contour the face using colours that matched the eyes as normal colours for contour being pace on top of the white would have created a more complimentary look. I used yellows again to begin with on the cheeks, working darker shades under the cheek bones to create depth. I took various shades of green from the hairline down onto the forehead fading out and blending into the base. Finally I took the gold from the Kryolan Supra Colour palette and lined the eyes with this to add some sparkle and vibrancy. I was happy with the way that I applied these final touches as well as the over all look, I feel that I rushed the eyes as I didn't want to run out of time and have only half of my models makeup finished which left me with a lot of time.
Anagulous and Monochromatic:
Complimentary:
In a lesson that we had with Sue we were given the opportunity to practice an anagulous, monochromatic or complimentary look on a model of our choice. At this point in time I had created both my my monochromatic and complimentary face charts but I hadn't yet done designed a look using anagulous colours, so I decided to challenge myself to come up with an anagulous look when put under pressure. I created a base using the Illamasqua white base and set it with the Illamasqua transparent powder. I then moved onto her eyes and by this point I had decided that I wanted to use greens and yellows to make up this look. I started at the inner corner of the eye using the yellow from the Kryolan Bright eye shadow palette and worked it out to the outer corner. I then took the lighter shades of green and worked them out starting from a reference point that was further from the inner corner of the eye each time. This created an ombre look on my models eyes, starting with the lighter shades at the inner corner of the eye and gradually becoming a different shade in the out corner of the eye. I was happy with the design itself but my execution wasn't perfect. I felt that I wanted to add something to this design and thought it might be effective to contour the face using colours that matched the eyes as normal colours for contour being pace on top of the white would have created a more complimentary look. I used yellows again to begin with on the cheeks, working darker shades under the cheek bones to create depth. I took various shades of green from the hairline down onto the forehead fading out and blending into the base. Finally I took the gold from the Kryolan Supra Colour palette and lined the eyes with this to add some sparkle and vibrancy. I was happy with the way that I applied these final touches as well as the over all look, I feel that I rushed the eyes as I didn't want to run out of time and have only half of my models makeup finished which left me with a lot of time.
The Dangers of Being a Makeup Artist
Having had a lesson with Sue I was aware of the precautions that needed to be taken before working on any individual in order to avoid them being in harms way. From there I thought that it would be helpful to look into the danger that we as artist put ourselves in, in order to work with people. Before working with new clients it important to know what they're allergic to but also if they have any conditions that may prevent you from being able to work on them. If you don't ask, they are very unlikely to volunteer to tell you if they know that they have something that might prevent you from carrying out the design you planned with them. An easy way of finding out this information before the model being on set is by sending them a consultation form and asking them to fill it out and return it you. Consultation forms often cover a large range of questions that allow you to know you client well enough to work with them safely and comfortably. An average consultation form looks something like the one below:
There are various diseases and conditions that can be caught from skin on skin contact and various that aren't contagious at all. Knowing the difference is important as it could prevent you from being at risk and also from putting other clients of yours at risk in the future. In addition to this having this knowledge cold prevent you from losing clients due to confusion as to what you can a cannot catch from someone.
One of the most common contagious diseases that comes from makeup artistry is conjunctivitis.
Conjunctivitis is a common condition that causes redness and inflammation of the thin layer of tissue that covers the front of the eye (the conjunctiva) hence the name. Another name for conjunctivitis is red eye not to be mistaken for pink eye. Symptoms of conjunctivitis include itchiness and watering of the eyes, and a sticky residue on the eyelashes which can stick the lashes together temporarily. It can often affect one eye at first, but usually affects both eyes after a few hours.Its usually caused by a bacterial or viral infection and sometimes can be the result of an allergic reaction. Also it could just be the result of the eye coming in contact with chlorine, shampoo or a loose eyelash rubbing against the surface of the eye.
Ringworm (Tinea) is a common skin disorder which is highly contagious.Its thought to be the most commonly occurring type of fungal skin infection and can affect adults, as well as adolescents.Break outs of tine are often found on oily parts of the body, like chest or back or face. It causes many small, flat spots on the skin which can be flaky or itchy and these small spots can also blend together into larger patches.
Impetigo is found mostly in children however can effect adults, this highly contagious skin condition often happens after a recent upper respiratory infection. Impetigo begins as itchy, red sores that blister, produce fluid, and eventually become covered with a tight crust.
Colour theory
When creating my own looks and designs the colours tabby intend to incorporate are a very important factor. Depending on the theme or style that you are trying to achieve, you will need to choose appropriate colours in order for your vision to come across to others viewing it.
The colour wheel is a tool that can help you to create the look that you desire. Sir Isaac Newton developed the first colour wheel in 1666. Modern scientists and artists have studied and designed more than a few variations of this concept. The colour wheel itself is made up of three different categories, theses being primary, secondary and tertiary. Primary colours are the colours on the wheel that cannot be made up by adding one colour to another. There are three of these and they are yellow, red and blue. A secondary colour is a colour that you can create by mixing two of the primary colours together, for example red and yellow together make orange. Orange, green and purple are all secondary colours on the colour wheel. Finally there are tertiary colours, which are created by combining both a secondary colour and a primary colour together. An example of this would be mixing together green and yellow and creating a shade of lime green.
There are various other ways of sectioning off the colours on the colour wheel. By splitting the wheel in half you’ll be able to see one half has all warm tones within it and the other has cool. Knowing about the tones in colour will be very helpful when working with foundation because all skin types have different under tones. You will ned to be able to identify these tones in oder to create the correct colour of foundation for your model.
As you can see above, reds oranges and yellows are all warm tones, whereas the greens, violets and blue are all cool. This works the same way with tones in an individuals hair, if they have warm tones such as yellow in their blonde then it will be warm, and to cool it down it will need to be counteracted with a violet or blue stain.
Colour Harmony is something that we as artists aim to achieve, creating something that is aesthetically pleasing to the eye. When harmony is achieved it engages the viewer and it creates an inner sense of order and balance however when something is not harmonious, it can come across as chaotic.The human brain rejects what it can not organise and what it can not understand therefore colour harmony is something that we strive for.
There are various theories for harmony in colours and we will be working with the following two.
Anagulous colours are any three colours that sit side by side on the colour wheel.
Monochromatic colours are all of the tints, tones, and shades of a single colour. On a more advanced colour chart you will find the monochromatic shades of a certain colour onto of one another as you look from the outside of the circle into the centre.
Despite the brain striving for colour harmony, it can often work that colours which are contrasting are also appealing to individuals. This is because of nature and the colours that nature itself has put together. This may sound rather far fetched, however if you think about it physically, you never look at a tree and think that the colour of the leaves clash with the bark, nor do you think that the various colours of a flowers petal look like they don't ‘match’. This is a theory that we will also be working with in out designs.
Complimentary colours also create harmony, these are any two colours that are directly across from one another on the colour wheel. These opposing colours create maximum contrast and maximum stability.
All colours have different meanings and symbolisms behind them and this will need to be taken into account when creating our designs.
Red – anger, passion, rage, desire, excitement, energy, speed, strength, power, heat, love, aggression, danger, fire, blood, war, violence
Pink – love, innocence, healthy, happy, content, romantic, charming, playfulness, soft, delicate, feminine
Yellow – wisdom, knowledge, relaxation, joy, happiness, optimism, idealism, imagination, hope, sunshine, summer, dishonesty, cowardice, betrayal, jealousy, covetousness, deceit, illness, hazard
Orange – humor, energy, balance, warmth, enthusiasm, vibrant, expansive, flamboyant
Green – healing, soothing, perseverance, tenacity, self-awareness, proud, unchanging nature, environment, healthy, good luck, renewal, youth, vigour, spring, generosity, fertility, jealousy, inexperience, envy
Blue – faith, spirituality, contentment, loyalty, fulfillment peace, tranquility, calm, stability, harmony, unity, trust, truth, confidence, conservatism, security, cleanliness, order, sky, water, cold, technology, depression
Purple – erotic, royalty, nobility, spirituality, ceremony, mysterious, transformation, wisdom, enlightenment, cruelty, arrogance, mourning, power, sensitive, intimacy
Brown – materialistic, sensation, earth, home, outdoors, reliability, comfort, endurance, stability, simplicity
Black – No, power, sexuality, sophistication, formality, elegance, wealth, mystery, fear, anonymity, unhappiness, depth, style, evil, sadness, remorse, anger
White – Yes, protection, love, reverence, purity, simplicity, cleanliness, peace, humility, precision, innocence, youth, birth, winter, snow, good, sterility, marriage (Western cultures), death (Eastern cultures), cold, clinical, sterile
Silver – riches, glamorous, distinguished, earthy, natural, sleek, elegant, high-tech
Gold – precious, riches, extravagance. warm, wealth, prosperity, grandeur
Friday 11 December 2015
My Self Portrait
Having done research looking into Elizabethan symbolism and how we still use said symbols in the 21st century we were set the task of creating our own self portrait. I found that colours, places and objects all represented different things and they continue to do so today and within our portraits we were to include objects that represent who we are.
Surprisingly I found it quite difficult at first to think of things that would show who I am and what I hold dear. Its like when you join a new club or class and you’re put on the spot to tell everyone something about yourself and you begin to question everything you’ve ever done because you haven't got a straight answer. I started thinking about what I like to do and my hobbies. A big part of my life has been competitive cheerleading. I had been part of the same team for 9 year before coming here and also competed with the all star UK team at the world championships in 2012. This was something that I felt I wanted to incorporate into my image as my uniform shows that I am an athlete and that I am loyal and dedicated to my team. My uniform is purple and black and gold, colours that represent power, wealth and ambition.
I made a lot of friends through joining my team and they are like a second family to me. I have various items of jewellery that have been given to me by some of my closest friends which I rarely ever take off in fear of losing something that means so much. I wanted to include these in my image as although they aren’t symbolic in the same way that jewellery usually would be they hold a lot of meaning to me. I also wanted to incorporate something to do with my love for makeup and hair design despite it being quite obvious due to the course I’m on and thats why I have included my favourite Mac brush into the picture.
Surprisingly I found it quite difficult at first to think of things that would show who I am and what I hold dear. Its like when you join a new club or class and you’re put on the spot to tell everyone something about yourself and you begin to question everything you’ve ever done because you haven't got a straight answer. I started thinking about what I like to do and my hobbies. A big part of my life has been competitive cheerleading. I had been part of the same team for 9 year before coming here and also competed with the all star UK team at the world championships in 2012. This was something that I felt I wanted to incorporate into my image as my uniform shows that I am an athlete and that I am loyal and dedicated to my team. My uniform is purple and black and gold, colours that represent power, wealth and ambition.
I made a lot of friends through joining my team and they are like a second family to me. I have various items of jewellery that have been given to me by some of my closest friends which I rarely ever take off in fear of losing something that means so much. I wanted to include these in my image as although they aren’t symbolic in the same way that jewellery usually would be they hold a lot of meaning to me. I also wanted to incorporate something to do with my love for makeup and hair design despite it being quite obvious due to the course I’m on and thats why I have included my favourite Mac brush into the picture.
Elizabethan Symbolism Research
In order to gain a better understanding of make up that was in fashion during the Elizabethan era I conducted some research so that I could begin to gather a better idea of what would be best to incorporate into my own designs. I started on the internet and found numerous sites focused on Elizabethan fashion and the styles of the era.
The Elizabethans were very big on symbolism and they were very good at creating powerful messages in their imagery through the use of certain objects, fashion and places.
What I found out about the symbolism of certain makeup trends in the Tudors was that having a far back hair line was seen as a symbol of an individuals wisdom, the higher the forehead, the wiser they were. Therefore women often bleached their eyebrows or plucked them out completely in order to look wiser. Having a pale face was also a sign of wealth, as the poorer women who had to complete manual labour in order to earn money had tans form being out in the sun all day. There are various other trends that I was aware of but hadn't found the meaning behind so I started way back looking at images created in Elizabeth I's era. She had many portraits composed of herself as queen though very few created of her when she was only a princess. The few portraits of Elizabeth as a younger woman show her in gowns of red and gold, wearing pearls and with her red hair parted in the middle and sleeked back into some sort of hair piece. She wore very little makeup and i assume had naturally pale skin due to her hair colour. This style is very understated and has very few similarities to the styles that she is shown to have worn in her later life, featured in her more well known portraiture.
Instead of looking at the symbolism of the makeup itself I decided to look at the symbols in her portraits displayed in her clothing and surrounding that I could possibly incorporate into my makeup designs.
The Pelican was thought to be one of Elizabeth's most favoured symbols as it represented her motherly love toward her people. It was believed that in times of food shortages, mother pelicans would pluck their own breasts in order to feed their dying young with their blood, saving their lives but killing themselves in the process. During Elizabeth's rein the pelican went on to represent Jesus sacrificing himself on the cross for the good of mankind as well as the sacrament of communion, feeding the faithful with his body and blood. The pelican can be seen in Elizabeth's pelican portrait, where she is adorned with a pelican broach on her breast. I found that the modern equivalent of this is the Christian cross. Pelicans are no longer worn for the same reason as they are in Elizabethan times from what I know of, they are more of a novelty.
Pearls were a very commonly used symbol in almost every single one of Elizabeth's portraits. Pearls as well as moons were used to present Elizabeth as Cynthia, the goddess of the Moon, who was a virgin, making her pure. Sir Walter Ralegh helped to promote Elizabeth being a moon goddess with a the poem written in the 1580s; The Ocean's Love to Cynthia. Furthermore, The Tudor Rose represented the Virgin Mary and her purity and can be seen in various portraits of Elizabeth. She wore this symbol for the same reason that she wore pearls. Both are still worn today however they aren’t commonly incorporated into makeup designs. Pearls still hold some of the same meaning as they did in the Tudors however roses are now a symbol of romance rather than virginity.
In addition Ermine fur was featured in many portraits of Queen Elizabeth I. It was also a symbol of purity due to the legend that the ermine would rather die than soil its pure white coat. Not only was it a symbol for purity and loyalty it was also a status symbol, as wearing ermine was restricted to royalty and high nobility. Fur is still worn as a symbol of wealth now, however it would be difficult to incorporate into a makeup design without making the model look like an animal, however this would be quite an interesting challenge to take on and I may try incorporating fur to one of my face charts.
Heart shapes are often associated with the Tudors. I have looked into the symbolism behind this and have come to the conclusion that the Elizabethans didn't actual see this shape as 'heart shaped'. This style of heart was introduced a long while after the Tudors period, therefore it is very unlikely that they saw it as anything other than two crescent moons. This would make sense due to the fact that Elizabeth was trying to portray herself as a moon goddess. This double crescent/heart shape is something that we still use today, however it now obviously symbolises love rather than Elizabeth being a moon goddess. Heart shapes aren’t uncommon to see in editorial makeup today and are something that I imagine I could incorporate quite easily into my designs. It would be a matter of using them in a way that hadn't already been done that would be hard.
The Elizabethans were very big on symbolism and they were very good at creating powerful messages in their imagery through the use of certain objects, fashion and places.
What I found out about the symbolism of certain makeup trends in the Tudors was that having a far back hair line was seen as a symbol of an individuals wisdom, the higher the forehead, the wiser they were. Therefore women often bleached their eyebrows or plucked them out completely in order to look wiser. Having a pale face was also a sign of wealth, as the poorer women who had to complete manual labour in order to earn money had tans form being out in the sun all day. There are various other trends that I was aware of but hadn't found the meaning behind so I started way back looking at images created in Elizabeth I's era. She had many portraits composed of herself as queen though very few created of her when she was only a princess. The few portraits of Elizabeth as a younger woman show her in gowns of red and gold, wearing pearls and with her red hair parted in the middle and sleeked back into some sort of hair piece. She wore very little makeup and i assume had naturally pale skin due to her hair colour. This style is very understated and has very few similarities to the styles that she is shown to have worn in her later life, featured in her more well known portraiture.
Instead of looking at the symbolism of the makeup itself I decided to look at the symbols in her portraits displayed in her clothing and surrounding that I could possibly incorporate into my makeup designs.
The Pelican was thought to be one of Elizabeth's most favoured symbols as it represented her motherly love toward her people. It was believed that in times of food shortages, mother pelicans would pluck their own breasts in order to feed their dying young with their blood, saving their lives but killing themselves in the process. During Elizabeth's rein the pelican went on to represent Jesus sacrificing himself on the cross for the good of mankind as well as the sacrament of communion, feeding the faithful with his body and blood. The pelican can be seen in Elizabeth's pelican portrait, where she is adorned with a pelican broach on her breast. I found that the modern equivalent of this is the Christian cross. Pelicans are no longer worn for the same reason as they are in Elizabethan times from what I know of, they are more of a novelty.
Pearls were a very commonly used symbol in almost every single one of Elizabeth's portraits. Pearls as well as moons were used to present Elizabeth as Cynthia, the goddess of the Moon, who was a virgin, making her pure. Sir Walter Ralegh helped to promote Elizabeth being a moon goddess with a the poem written in the 1580s; The Ocean's Love to Cynthia. Furthermore, The Tudor Rose represented the Virgin Mary and her purity and can be seen in various portraits of Elizabeth. She wore this symbol for the same reason that she wore pearls. Both are still worn today however they aren’t commonly incorporated into makeup designs. Pearls still hold some of the same meaning as they did in the Tudors however roses are now a symbol of romance rather than virginity.
In addition Ermine fur was featured in many portraits of Queen Elizabeth I. It was also a symbol of purity due to the legend that the ermine would rather die than soil its pure white coat. Not only was it a symbol for purity and loyalty it was also a status symbol, as wearing ermine was restricted to royalty and high nobility. Fur is still worn as a symbol of wealth now, however it would be difficult to incorporate into a makeup design without making the model look like an animal, however this would be quite an interesting challenge to take on and I may try incorporating fur to one of my face charts.
Heart shapes are often associated with the Tudors. I have looked into the symbolism behind this and have come to the conclusion that the Elizabethans didn't actual see this shape as 'heart shaped'. This style of heart was introduced a long while after the Tudors period, therefore it is very unlikely that they saw it as anything other than two crescent moons. This would make sense due to the fact that Elizabeth was trying to portray herself as a moon goddess. This double crescent/heart shape is something that we still use today, however it now obviously symbolises love rather than Elizabeth being a moon goddess. Heart shapes aren’t uncommon to see in editorial makeup today and are something that I imagine I could incorporate quite easily into my designs. It would be a matter of using them in a way that hadn't already been done that would be hard.
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