Bibliography

Books

• Aileen Ribeiro, (2011), ‘Facing Beauty - Painted Women and Cosmetic Art’, Yale University Press, New Haven at London
• Barbara Rosen, (1991), ‘Witchcraft in England, 1558-1618', University of Massachusetts Press
• Carmen Bambach, (2003) ‘Leonardo Da Vinci, Master Draftsman’, The Metropolitan Museum of Art
• Carol Karlson, (1989), ‘The Devil in the Shape of a Woman’, New York Vintage Books
• David Williamson, (January 11th 2001), ‘History of the Kings and Queens of England', National Portrait Gallery
• Fenja Gunn, (October 1973), ‘The Artificial Face, A History of Cosmetics’, David & Charles
• Frank Westmore & Muriel Davidson, (March 1976), ‘The Westmores of Hollywood’, Lippincott, 1st Edition edition
• José María Parramón, (1989), ‘Color Theory’, Watson-Guptill Publications 
• Juergen Teller, (15 July 2013), ’Juergen Teller: Woo!’, Paperback, Steidl
• Kevyn Aucoin, (1 September 1999), ‘Making Faces’, Little Brown and Company, 
• Martin Clayton, (2010), ‘Leonardo Da Vinci - The Mechanics of Man’, Ronald Philo, Royal Collection Enterprises LTD
• Peter McNally, (2008), ‘Bette Davis - The Performances That Made Her Great’, McFarland & Co
• Richard Corson, (2010), ‘Fashions in Makeup - From Ancient to Modern Times’, Peter Owen Revived Edition
• Sarah Jane Downing, (July 2012), ’Beauty and Cosmetics 1550-1950’, Shire Books
• Steven Bleicher, (11 April 2011), ‘Contemporary Color: Theory and Use’, Delmar Cengage Learning; 2nd Revised edition edition

Films

• BBC, (21 November 2005), ‘The Taming Of The Shrew’, Shakespeare Retold
• Juergen Teller, (February 13 2013), ’Juergen Teller on Woo! At the ICA’
• Rankin, (28 February 2013), ’Seven Photographs That Changed Fashion’
• Shekhar Kapur, (October 2 1998), ‘Elizabeth’

Articles

• Kathryn M. Moncreif and Katheryn R. McPherson, ‘Embodied and Enacted: Performances of Maternity in Early Modern England’, Chapter One
• Mihairi Graham, (October 24 2014), ‘Remembering Kevyn Aucoin - Collections Digest’, AnOther

Exhibitions

• The British Museum, (25 September 2014 - 11 January 2015), ‘Witches and Wicked Bodies’, http://www.britishmuseum.org/whats_on/exhibitions/witches_and_wicked_bodies.aspx

Internet Sites

• Adele, (24 October 2014), ‘Identity Revealed - A Filmed Triptyck by Ellis Faas', http://www.beautyfashionadele.com/2014/10/identity-revealed-filmed-triptych-by.html
• ICA, (23 January 2013) ‘Juergen Teller: Woo! | Collection Institute of Contemporary Arts, 23 Jan - 17 March 2013’, https://www.ica.org.uk/whats-on/juergen-teller-woo
• Kiri Spirou, (8 April 2014), ‘The Intricate (And Non-Wearable) Fashion of Nikoline Liv Andersen’, http://www.yatzer.com/nikoline-liv-andersen
• L.K. Alchin, (16 May 2012), ‘The Meaning Of Colour - Within Elizabethan England’, http://www.elizabethan-era.org.uk/meaning-colors.htm 
• ‘New 'no eyebrow' Trend’, http://www.dailymail.co.uk/femail/article-2663986/The-bald-beautiful-From-Katy-Perry-Miley-Cyrus-new-no-eyebrow-trend-taking-fashion-world-storm.html
• Westmore Museum Research Library, ‘Z-A Westmore’, http://westmoremuseum.wordpress.com/z-to-a-westmore/

Assessment - Self Evaluation of Role as MUA

Overall I feel the assessment went well as I was able to complete Grace’s design fully within the allocated time limit, with an additional 10 minutes for final touch ups before shooting. Within our practices there were issues finding the right consistency for the liquid metal, however before the final assessment we were able to amend this allowing for a opaque application. I feel that this along with the application of the dramatic highlight were my biggest successes within the final makeup design. The highlight had presented a few issues with its application on the day due to a slightly more oily surface than normal on Grace’s nose, this unfortunately couldn't be corrected by powdering as the liquid highlight would cause a cakey base. As a result I made the decision to switch the liquid highlight on the nose for a powder one and worked on building up the layers to create the same level of shine as the rest of the face. My biggest weakness within regards to this assessment I still feel is that of my application of the lip colour and creating a symmetrical mouth. Within the final images (although improved from my practices) the right side is slightly shorter in width as a result of bringing the lipstick slightly to far over, this is something I definitely need to work on however I do feel that by taking my time on the symmetry of the copper chin line it helped me to align the rest of the makeup to the centre of the face. I definitely feel that by practicing this makeup design at least 3 times before final application aided my ability within the final assessment as I was able to minimise my risk of mistakes on the day.

Assessment - Grace Donnelly's Final Design Images (A) - MUA Charlotte Logue (B)

Assessment - Evaluation of My Final Design (B) - MUA Grace Donnelly (A)

Grade Given - B2

The overall assessment I feel went well and Grace carried out the makeup application sufficiently to my design. Grace arrived promptly with all the makeup products required to create my design including the white acrylic paint which I had supplied her previously and as a result of our practices appeared calm and ready to carry out the assessment. The application of the base makeup was a crucial element to my design and the skin needed to be as flawless as possible as the main focus of the design is on a clean, fair complexion and this was an element that was carried out especially well by Grace. The application of the white acrylic paint was also another element that was effective in my final design and her attention paid to covering the back of the neck and ears gave the makeup a polished finish. Although I was pleased with the final makeup application there were elements that despite our practises could be improved. I felt that Grace could have been slightly bolder with the use of the purple contour particularly around the temples which on my design were blended out further down the forehead. This was something we had struggled with within our practises as I feel Grace may have been slightly worried about overdoing the contour. Regardless the overall look was well executed and her undertaking of my instructions, dedication to practise and participation made for an accurate final design, only her skills of application would need improvement. 

Assessment - My Design Final Images (B) - MUA Grace Donnelly (A)

Assessment - Grace's Design 3rd Practice (Group A) - MUA Charlotte Logue (Group B)

The third and final practice of Grace's design was probably the most successful for combining all the elements of her final look together. At this point we understood what products worked best for creating the highlight and knew the appropriate consistency for producing a opaque copper neckline that did not drip or run when being applied. For the final practice we included the eye makeup which was a light application of Ginger eyeshadow and white lashes, due to Grace having sensitive eyes from wearing glasses the application of the white skinbase using a small brush was slightly challenging however I found by holding a tissue under the eye it made the model more comfortable and also prevented the white imprinting onto the skin when she blinked. I feel it will be important within the assessment to leave a little extra time to ensure the eyelashes are fully covered as due to her eye sensitivity more caution has to be taken when applying the colour. We found that using a small angled brush was more effective than that of a mascara wand for making sure the root was fully coated while avoiding contact with the skin. 

For this practice Grace also wanted to test whether the look would work better without the ears being covered in the copper metallic, after doing so however we both agreed that the whole look was far more interesting with the ears painting as it made them almost like statement jewellery. Also by including the ears a heart shape was more prominent on the face and this element felt slightly lost by leaving them uncovered. For the final look we will definitely cover the ears with the copper as it finished the design off and gave it that extra artistic edge. 

Although a highlight was applied to the face within this practice it is disappointingly less visible on camera, this was something I had noticed across the images from the previous practice also therefore during the final assessment I must up the product used on the highlight so it is almost over dramatic in real life. Makeup is notoriously washed out on camera however from undergoing our numerous practices of the makeup look I am feeling confident that I will be able to produce an effective example of Grace's design within the timed assessment as long as I take on board the information from both our practice sessions and discussions. 

Assessment - Grace's Design 2nd Practice (Group A) - MUA Charlotte Logue (Group B)

The process of filming yourself when practicing a makeup application is a really beneficial tool in the development stages of an assessment. It allows you to reflect not only on the work you produce in a particular time frame, but also you level of professionalism in completing that makeup look. For Grace's makeup design I felt it was important to film myself as it would allow me to improve my professionalism for the upcoming final assessment and from both reflection at the time of application and the video there were a number of points of improvement to consider. For the makeup practice here we wanted to see how the makeup would appear without the Kryolan shimmer foundation underneath the powder highlight as we had encountered a few difficulties with application. As you can see the choice to do this wasn't beneficial to the makeup design as it took away the dramatic intensity of the metallics, in future we will definitely return the use of the shimmer foundation as I feel it created a better base for the powder highlight.
In addition to this is the application of the lips which still needs improvement, the lips are an element that I struggle with quite a bit during a makeup process as what appears even to the human eye often isn't on camera. As you can see here the left facing side of the top lip is slightly taller than the right, this is something that would need to be corrected before I photographed the final makeup look as it makes the overall style appear unfinished. Despite the not so good application the final colour choices for the lips I feel are very suitable to the design, the whole lip is covered first with a pale pink/brown nude shade and then copper metallic is allowed to drip over the top to create a bleeding effect. This creates a subtle statement lip that harmonises nicely with the copper metallic on the neck of the model, this element was continued from the original design and works best with the extreme highlight down the centre of the face which draws attention to the copper elements.
Symmetry is essential to this whole design and it is extremely visible especially on the front facing image that the heart shape of the copper is not even at all. The centre point of the heart needs to sit in the centre of the chin but here is slightly to the facing left side, as a result the bow of the point is also higher causing the right side to sit lower. For the development towards the final design this is a factor that must be corrected as symmetry is crucial for creating a professional final makeup look.

Assessment - My Design 2nd Practice (Group B) - MUA Grace Donnelly (Group A)

By filming the makeup process Grace and myself were able to look back at our professionalism within our makeup application and also how the timing worked out for our final assessment. The total time taken to apply this makeup including the paint was only 45 minutes in total including initial cleansing of the skin and this is the timeframe we would ideally like to stick to with the final assessment, making exceptions for nerves. From the video it is apparent that Grace needs to be slightly more organised in the layout of her kit so that the chosen colours can be easily accessible, however as this was a practise it is a factor that can be taken into account for the final assessment.
I feel that the application of my final design from our second practise was the most successful of all the practises as we had perfected what products would be used within the final design and also improved the method of application which had to be adjusted slightly from the original intention. The white was achieved using an acrylic paint as this gave a better final result than using white supracolour which was almost to greasy on the skin and wouldn't give the desired rough, cracking effect. For the final look the paint will be applied more thickly and carried around the back of the neck whereby my own movements will enabled the paint to appear fractured, reflecting the texture of the paint found on the original portraits. I feel that the right side of the face was applied the best as the contour is blended out more effectively across the cheekbone and sits less like a stripe on the face and the colour itself is more intense across the temples. however the ends do still require additional blending to improve the overall look. In addition to this the lips also need to be more vibrant as the violet tone that I wanted to be on the centre of the lip is somewhat faded and muted, regardless I was sufficiently satisfied with the overall makeup application and feel that with the addition of bleached eyebrows the makeup embodies a sense of dark elizabethan beauty that I wanted to create within my final design and I’m sure through additional practise the final tweaks required for the final assessment will be improved. 

Bleaching My Eyebrows For Final Design

The process of bleaching my eyebrows was an interesting experience but I feel that once done it really benefitted my final makeup look as it added an authentic element to the image. The whole process took around 20 minutes and lifted my brows from a natural dark brown to a pale yellow blonde, I chose to leave them at this stage then go white because I didn't want to risk over processing them and effectively loosing my eyebrows which would mean being stuck for even longer without my natural brow hair. It was important to comb the bleach through the brows using a disposable mascara wand to ensure the roots were also covered otherwise the brows would have been patchy. Once the bleach had been left on my eyebrows for 20 minutes I washed it off with warm water being careful to avoid my eyes and then dried them off with a towel. Within the next 5 minutes they continued to get slightly lighter until they reached the shade seen within the following photograph. This was due to final development through exposure to the light.

What I found most interesting from bleaching my eyebrows was how much it limited my expression ability making frowning especially strange to witness. It made me appreciate just how important eyebrows are but also how strange the concept of no eyebrows being an Elizabethan beauty statement is. Something else that was interesting was peoples reaction to not having eyebrows, especially how angry it made people, it was almost like my inability to show an emotion with my face accurately and the strangeness of having no visible brows really aggravated people. The reason for this I'm not to sure of as I rather enjoyed it and would definitely do it again for the purpose of executing a makeup design to its full potential. 

Development of Final Look - White Acrylic Paint Skin Test

From practicing my final look it became apparent that the white supracolour was not efficient for creating the dramatic white ruff that I had designed to be painting around my neck and up my arms. The grease based formula meant that the product went on smoothly but did not flick out at the ends or crack as I had intended. Therefore I decided that the use of a white acrylic paint would be more effective for my final look as it would ideally dry on the skin like a paste and crack when the body moved reflecting a similar texture to lead based makeup of the 16th century and the same texture seen within Elizabethan portraiture. Because I wanted to use a product on my skin that was not designed for the face as makeup is I had to conduct a test to make sure I would not react. The paint I chose was that of Reeves white acrylic which is a well known brand and non toxic (meaning that if you did eat it you wouldn't get ill or die, not that this was going anywhere near my mouth) this was then applied thickly to my neck, face and hands and left on for at least one hour to test for any reactions. In fact the paint did quite the opposite and left my skin very smooth once removed which was rather unexpected.  

As I had hoped the paint worked very well with my final design and I feel that the cracking texture enhanced the Elizabethan connection to the witchy elements of the purple. This is definitely a product that I will continue into my final assessment design. From the image below you can see how effective the use of the white acrylic paint was against the skin tone and purple but also how by running white supracolour through the eyebrows the look appears slightly less well polished and amateur. Also within this image I changed the products used to create the lip colour from the lip mixes to the eyeshadow and satin which created a softer and significantly more vibrant colour that bled out nicely on the lip.