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. 

Assessment - My Design 1st Practice (Group B) - MUA Grace Donnelly (Group A)

I think it is safe to say that the first practice of my makeup design was not a successful one in regards to application but did provide a number of talking points for development of product use and placement of makeup on the face. The first element that caused a number of problems within this practice was that of the contouring which I felt was applied too heavily at first and therefore resembled more of a stripe across the cheekbones than a gradual bruising effect. The temples however were applied effectively and I was satisfied particularly with the left side where the colour intensified towards the hairline and blended out nicely into the sides of the forehead to create a soft transition.  The skin tone was also a successful element within this practice and I felt the chosen foundation colour by Grace complemented my skin tone and the purples used nicely as it featured a warmer golden/yellow undertone, this made the purples pop and allowed the foundation to blend nicely into my neck which is also yellow toned. This foundation was an Illamasqua as opposed to using the Kryolan ones in our kit which gave to much shine on the skin compared to the Illamasqua foundation. We also discussed about how the eyes would need to be hollowed out slightly around the socket and then nose using an ashy brown eyeshadow, as I had designed the look to be a darker take on Elizabethan beauty and reflect the suffering undergone by the women accused of witchcraft within the 16th-17th century. 

For my final look there will be few changes from the way the makeup appears within these images, the first of which will be my eyebrows which I am hoping to bleach. I feel that by bleaching them it will create a more authentic appearance to the overall design as white supracolour creates a somewhat sloppy and unrealistic essence in my opinion. In addition to this there will be white makeup or paint (dependant upon testing) that will be painted like an artistic ruff up the hands and around the neck onto the jaw. This white makeup will be what makes the design and tied together the Elizabethan influences of thick white bases with the contemporary purple contouring. 

                           Probably the most unsuccessful element of the whole look within this practice was the application of the lips which as you can see just did not work with the original products. In this image the blue and red MAC lip mixes were combined to create a purple however this purple was to thick to smudge out on the lips surface when blotted. Within my design the lips are created by blotting a satin purple lipstick into the centre of the lips and allowing it to bleed out. Due to the thick and matte nature of these lip mixes it meant that the product did not smudge as desired, in future we discussed using the lavender eyeshadow which is violet in tone and mixing it with the MAC Satin lilmix to create a soft sheeny lip colour. When we tested this on the skin we found that it bled much nicer and created a more vibrant tone. 

Assessment - Grace's Design 1st Practice (Group A) - MUA Charlotte Logue (Group B)

These image are taken from the first practice of applying Grace's makeup design, at the point of this practice I had not yet received Grace's facechart and therefore had to work purely on what was described to me. Although this meant that the process took slightly longer as we had to pause to enable Grace to explain the next step I felt it was beneficial in the early stages of our practice and development of her final design. Originally Grace was unsure about how to apply the bold copper metallic pigment that covers her neck and ears, I suggested using the colour to shape the bottom of the face into a heart bringing the point of the copper up into the dip of the chin. By creating a heart shape we were able to strengthen the connection between Grace's design and the Elizabethan influence of the heart shape which was a popular design feature within the 16th and 17th century. In future applications this copper pigment will be continued down then neck of the model to act as a metallic ruff almost, completely detaching the face from the rest of the body. 

A key feature of Grace's design was focused on the use of a bold highlight that went down the centre of the face emphasising areas such as the centre of the brow, cupids bow of the lip and chin. This was an element that she had been inspired from the Illamasqua demonstration where a similar look was created. The creation of this highlight was the most challenging element of the whole look as Grace's skin texture on her nose meant that certain products had a problem remaining on the skin. One product that we tried originally was a Kryolan liquid highlight however using this alone was ineffective as the texture of the product took away the foundation which was grease based underneath. I attempted to counteract this problem by using a powder and then applying the highlighter but this was ineffective, the solution I then came up with was to apply the highlight delicately with a sponge ensuring not to smudge the foundation underneath and then seal the whole nose with additional highlight from the Glam and Glow palette. I found this method was far more effective and created a far more dramatic highlight especially on the centre of the brow and cupids bow where the light hit most. 

In addition to this Grace and I also discussed how we could go about adding a little more product to areas such as the eyes and brows to create subtle shadowing. In future a small amount of white eyeshadow will be run through the eyebrows to bleach them out more (adding a further link to Elizabethan beauty) and also a small amount of eyeshadow to enhance the eyes. Regardless the whole focus of the makeup look is to remain on the metallic neck and highlight. 

Assessment - (A) Notes From Grace of Products & Instructions

Equipment List:

• Gown
• Sectioning Clips
• Cleanser/Toner/Moisturiser - Sensitive skin 
• Cotton Buds/Pads
• Foundation Brush x2
• Contour Brush
• Buffing Brush
• Triangular Powder Puff
• Small Blending Brush
• Angled Lip Brush
• Small Flat Square Brush
• Disposable Mascara Wands
• Flat Eyeshadow Brush 
• Fluffy Eyeshadow Brush
• Welled Mixing Palette
• Metal Spatula and Palette 

Products:

• Mehron Metallic Powder - Copper
• Matte Primer
• Ultracolour Foundation Palette - Alabaster
• Dermablend Concealer
• Illamasqua Skinbase - White
• Illamasqua Contour Palette
• Glam & Glow Contour Palette - Pale Tan Highlight
• Translucent Powder
• Kryolan Shimmering Event Foundation
• Kryolan Blusher Palette - 101
• Kryolan Metallic Rainbow Wheel
• Mini Rouge Palette - Nude (bottom left)
• Kryolan Viva Palette - Colour: Fennel & Ginger

Step by Step:

• Set up work station.
• Cover model with gown and remove hair from face with grips.
• Fill out consultation form for model.
• Cleanse, tone and moisturise the face to remove all makeup.
• Apply matte primer to the whole face concentrating on areas such as the nose, forehead and chin.
• Apply foundation to the whole face working up into the hairline, buff thoroughly into the skin.
• Conceal any imperfections, around the nose, mouth creases and eyes. 
• Powder the face with translucent powder.
• Extreme highlight the face by dabbing Kryolan shimmer foundation to the centre of the nose, forehead, cupids bow and chin. 
• Powder over the highlight using pale tan from Glam & Glow palette to enhance shine.
• Contour the cheekbones with Illamasqua contour palette, blend up into the hairline.
• Deepen the contour using Kryolan blush palette - colour: 101(deep brown) up into the hairline and hollows of the cheek. 
• Brush through eyebrows with Fennel from Viva palette to slightly lighten.
• Apply Ginger from Viva palette lightly to the eyelids and blend out well.
• Take Illamasqua Skinbase - white OR L'oreal mascara - white onto a disposable mascara wand and whiten the lashes on both the top and bottom.
• Mix Metallic powder with solution to create a copper paint, apply this all over the ears and to a heart shaped point on the chin. 
• Continue down the neck to the t-shirt.
• Apply nude lip colour all over the lips using a small angled brush.
• Dab metallic solution onto lips to create bleeding affect. 

Image of Layout

Illamasqua Reflections Palette and Supracolour palette were not used within this makeup look and will not be present within final look.

Assessment - (B) My Notes For Grace, Products & Step By Step

Equipment List:

• Protective Gown
• Hair Clips
• Cleanser, Toner & Moisturiser 
• Cotton Buds/Pads
• Foundation Brush
• Contour Brush
• Buffing Brush
• Large Square Brush
• Triangular Powder Puff
• Flat Concealer Brush
• Flat Eyeshadow Brush
• Small Blending Brush
• Disposable Mascara Wands
• Fluffy Eyeshadow Brush
• Metal Spatula and Palette 

Products:

• Matte Primer
• Ultracolour Foundation Palette or Illamasqua Foundation
• Dermablend Concealer
• White Acrylic Paint
• Glam & Glow Contour Palette - Glamour Tan
• Illamasqua Translucent Powder

• Kryolan Viva Palette - White Pepper, Caraway, Lavander, Shallot 
• MAC Satin Lipmix

Step by Step:

• Set up work station.
• Cover model with gown and remove hair from face with grips.
• Fill out contraindications form for model.
• Wash hands thoroughly and ensure all hair is tied back.
• Cleanse, tone and moisturise the face (take extra care around the brows).
• Apply matte primer to the whole face.
• Apply foundation to the whole face working up into the hairline and buff into the skin until glowing.
• Conceal any imperfections. 
• Powder the face with Illamasqua translucent powder.
• Taking Eyeshadow in Lavender, contour the temples, cheek bone and jawline. 
• Deepen this contour using Shallot.
• Soften with a mix of Glamour Tan and White Pepper.
• Apply White Pepper into the socket of the eye blending out over the lid to create a shadowed, hollow illusion.
• Bring this under the eye.
• Deepen this with a small amount of Caraway (grey). 
• Brush through eyebrows gently to remove any excess colour.
• Apply white acrylic paint in bold strokes up the neck and onto the jaw using a square brush.
• Continue down the neck towards the chest.
• Mix together Lavender with the satin lip mix and dab onto the centre of the lip with clean hands. 

Assessment - Grace's Final Design Face Chart (Group A)

Assessment - Final Makeup Design

This is my final design for my Elizabethan makeup look inspired by Elizabethan anti-beauty conventions and superstitions surrounding witchcraft. I wanted to create a design that didn't truly embody the aesthetics of Elizabethan beauty such as the rouged lips, cheeks and porcelain white skin but rather the opposite while maintaining certain elements that linked the design back to the period. The main link between Elizabethan regality and makeup is that of colour choice, for example the use of red is immediately associated with Renaissance youthful beauty and this was a connection that I wanted to avoid therefore I went for a colour similar to that but different enough to remove those connotations. Because of my desired link to witchcraft and superstition I opted for purple and grey tones which were close to red but not youthful looking, I wanted the look to appear darker and carry an illusion of age. The skin tone would be a normal colour to that of my own face which is a golden/yellow undertone, the direct opposite of the beauty standards of Elizabethan England. The facial structure would then be enhanced through contouring of the temples, jaw and cheeks using a mixture of deep purples, violets and grey browns to hollow out the face. This would also be used in the eye socket to hollow out and depend the eyes. I want the whole face to appear somewhat ghostly yet pretty to capture the sense of darkness and fear that took hold of so many women within the period accused of witchery. 

Although the whole purpose of my design is to break away from the conventions of Elizabethan beauty I felt that it was important to maintain some more versatile elements that reconnected the makeup look to the features of the period. This included the bleached eyebrows, white paste makeup on the face and small lip, by including bleached eyebrows instead of blocked ones I feel it creates a more authentic feel to the whole overall design. Blocked brows appear to theatrical for my liking. In addition to this I wanted to recreate the effects of white makeup that was used during the time and also featured within the portraits. I feel that by using white acrylic paint instead of supracolour will create a more authentic effect as it will cause the white to crack on the skin once dry, much like the makeup used within the period would have done. This was something I had also noticed within the portraiture upon close examination and was an element that I really wanted to include. 

Makeup Designs (1st and 2nd Idea)

One of my original designs was one which featured a colour combination of golds and purples as well as ashy contouring of the face and eyes. The main focus of this look was the design on the lips which featured a purple heart shape with pressed gold into the centre of the lip, the heart shape links back to the traditional shapes used within Elizabethan design enhancing the fashion of a petite mouth. Although this design is effective I have decided not to use it for my final makeup look as I feel it is too simplistic but also stereotypical of Elizabethan beauty standards with the pale skin and gold tones. Although the purple links to my witchcraft theme I felt that the gold was so conventional and the whole purpose of my design was too create an Elizabethan look that didn't appear cliche in its choice of colours. One element that I did want to keep from this design was the use of bleached white eyebrows as I felt that it added an authentic element to the makeup design and I do not like the way white makeup appears on the eyebrows, also I felt the process of blocking the brows was to theatrical for the editorial look I was aiming to achieve. In my final design I will definitely carry the purple elements and bleached eyebrows over as I feel the work better than conventional tones such as red. 

This design most likely won't be used within my final design as I feel it is too stereotypical of Elizabethan beauty conventions and doesn't link to my intentions to include a witchcraft theme into my design. The lip was intended to be a gradient of reds with a bright pillar box red on the top lip and deep burgundy on the lower with a gold pressed into the centre. One element of this design that I did like however was the use of the white over the centre of the face and this is definitely something that I would like to incorporate into my final design as it adds an artistic Elizabethan edge. Dependant on how the testing of products works out this will be achieved either through white supracolour or acrylic paint, however I feel that the use of paint may be more effective in recreating the cracked effect of th paint found within Elizabethan portraiture. 

Max Tan 'Stripped' Spring/summer 2011 Campaign - MUA Lindsey Rivera

https://www.notjustalabel.com/collection/maxtan/stripped-springsummer-2011-campaign

Lindsey Rivera's makeup designs for the Max Tan 'Stripped' collection is another big inspiration for my final Elizabethan makeup design as I feel the look really embodies that witchy element that I wanted to include in my final makeup design. The elements of this design in particular that I adore it the use of the hollowed eye socket and bleached eyebrows which is so creepily quintessential Elizabethan and an element that I want to embody within my own design. These images to me are perfect examples of the counter beauty of Elizabethan standards as her hair is long straight and black in contrast to the fashionable red curls of the period. In addition to this is the full lip which despite being a shade of rouge is dark, is bordering almost on purple/black, the use of a full lip is another unconventional Elizabethan standard as it was a small mouth that was considered most beautiful. 

However it is Rivera's creation of the eye makeup that stands out to me most from this design as it is so simple yet creates such as dramatic impact on the face by hollowing the socket, creating a ghostly and somewhat dead feel to the face. The pale skin is enhanced by the use of greys around the eyes and the bleached eyebrows further enhance the skeletal features of the model, the combinations of greys and purple within this makeup styling connotes to me a darker theme resembling an almost bruising effect. It could therefore be interpreted also from the collections title 'Stripped' that the makeup is reflective of the removal of a woman's dignity within the eyes Elizabethan beauty standards and how a woman's looks alone could distinguish her from woman or witch. 

In all I find the images from the collection both dark and delicate, reflecting an effortless ghostly Renaissance beauty and this is an element I would like to reflect also within my own final work. 

Image Ref: 'Stripped', Max Tan, Spring/Summer 2011, https://www.notjustalabel.com/collection/maxtan/stripped-springsummer-2011-campaign

Witches - Korean Vogue October 2012, 'Gothic Elegance', Hyea W. Kang

Kang's collection of photographs taken from his 'Gothic Elegance' editorial work for Korean Vogue is a large inspiration for my final design, in particular the use of white makeup around the face and edgy purple contouring. Although Kang's work is an inspiration I feel it is important to stress the differences that my design will feature compared to his work as despite a similar colour scheme, my design will be much simpler with a nude eye and dark purple lip as opposed to the gold and pink tones featured within Kang's images. The style of contour featured within the makeup design for this editorial was another inspiration to me for my final look as it is almost bruised in effect, the soft purple is blended over the whole of the side of the face connecting the temples with the cheekbones. This is also continued into the sockets of the eyes and down the nose, the use of the purple creates a unique twists on the conventions of beauty contouring hollowing out the face creating a dark gothic twist. The use of this purple contour is an element I would like to take forward into my final design. However what stood out to me most from Kang's work was that of the white painted makeup that frames the face, the use of the white connects the image to Elizabethan design as thick lead makeup was applied to the skin to create a youthful pale complexion however due to the consistency the makeup would crack much like the paint featured here. These images supply examples of how alternative products can be used effectively to achieve certain effects and by using a paint the skin would appear cracked much like the paintings themselves. Hyea's collection is a perfect example of how by changing slight features and colours chosen within the makeup design, the essence of a style can change. The use of deep purples and bold whites creates a dark twist on Elizabethan beauty standards, an element I would like to achieve in my own design which focuses on witchcraft connoted by the use of blacks and purples. 

Image References: 'Gothic Elegance', Hyea W. Kang, Korean Vogue, October 2012, http://www.eyeshadowlipstick.com/13216/beauty-editorial-gothic-elegance-for-vogue-korea-october-2012/

Practical - Contemporary Elizabethan Makeup

Contemporary Elizabethan Makeup & Blocking Brows (2nd Attempt)
Health & Safety: Apply apron around the neck of the model to protect clothes from makeup.
Secure all hair away from the face using hair grips/pins.
Run a consultation with the client/model to check for any allergies, medication or contraindications.
Ensure hands are washed and that all cuts are covered.  
Products Used: 

• Metal Mixing Palette and Spatula 
• Disposable Makeup Sponges
• Round Fluffy Brush 
• Angled Contour Brush
• Flat Eyeshadow Brush
• Small Angled Brush
• Fluffy Blending Brush
• Triangular Powder Puff
• Ultracolour Foundation Palette - Light
• Dermacolour Concealer Palette
• Illamasqua Skinbase - White
• Illamasqua Matte Primer
• Illamasqua translucent powder
• Pritt Stick
• Kryolan White Supracolour
• Glam and Glow Contour Palette - Glamour Tan
• Illamasqua Reflections Palette 
• Mini Lip Rouge Palette - LC010 

Process of Blocking the Eyebrows 

1. Ensure the face has been thoroughly cleansed, toned and moisturised.
2. Taking a small amount of toner re-wipe through the brows to ensure all dirt has been removed. 
3. Using a metal spatula take a small amount of glue and warm onto the back of the hand to create a smooth consistency. 
4. Using a spatula push the glue into the brow and comb through the first layer with a disposable mascara wand to ensure all hairs are covered fully. 
5. Using a clean finger gently press onto the glue after a few seconds to ensure it has gone tacky.
6. Then apply a second layer of glue using the same method.
7. Repeat this for 4-5 layers or until all texture of the brow has been removed. 
8. Before the glue dries onto the brow take a cotton bud dipped in warm water and wipe around the brow to remove any rough edges or overhang of glue.
9. Once dry powder the whole brow with a translucent powder and puff. 
10. At this stage if using a skin toned foundation a darker concealer may be applied to knock out the dark tones of the hair still visible beneath the glue, however for a white makeup this stage is not necessary. 
11. Taking a heavy white makeup and using a sponge apply thickly to the brow area and blend out to hide the colour of the brows.
12. Continue with the rest of the base makeup and powder. 

Application of Contemporary Makeup

1. Wash hands thoroughly before touching the clients face/skin.
2. Begin by blocking out the eyebrows of the model as explained above. 
3. Apply Illamasqua matte primer all over the face. 
4. Ensure all blemishes are concealed fully using Dermacolour Concealer
5. Taking Illamasqua white skinbase foundation mixed with Ultracolour foundation and a disposable makeup sponge begin blending and dabbing the base makeup all over the face, working into the colour of the blocked brows. 
6. Ensure the ears and neck are also fully covered. 
7. Taking the translucent powder onto a puff press gently into the face to seal the base.
8. Using a angled contour brush and powder in glamour tan heavily contour under the cheekbones of the face. 
9. Using the copper/bronze shade from the Illamasqua reflections palette  apply to the inner corner of the eye socket and blend upwards over the brow bone and out to the edge of the socket using a fluffy blending brush. 
10. Deepen the inner edge of the socket with the deeper grey/brown tone from the same palette.
11. Using a small angled brush line and fill the lips with LC010 (red toned purple), blot with tissue and reapply. 

Reflection on Class
I found this look far easier to create than that of the historical Elizabethan makeup however I feel this may be due to practising techniques such as base application and brow blocking between classes. The process of blocking the eyebrows went significantly better than my previous attempts and I was able to remove most of the texture of hair from the brow area. However I did encounter some problems with using the cream eyeshadows over the top of the powdered brow makeup as if blended to hard the glue underneath began to become visible. This problem was easily fixed with a light reapplication of the foundation and using a soft fluffy brush. I have also learnt that I need to improve on my lip application as I still find I am making errors and slips either resulting in uneven lip shape. Although I am sure that this is a technique that will develop over time my struggle with lips is becoming a reoccurring issue and something that will be needing correction before the final assessment. Regardless I felt the overall makeup look was relatively successful however my lip application and focus on covering areas such as the ears still needs correction.  

Jean Paul Gaultier Haute Couture Fall/Winter 2014/15 - Elizabethan Witchcraft

Book Ref: 'Witchcraft in England, 1558-1618', Barbara Rosen, University of Massachusetts Press, 1991

http://en.vogue.fr/defiles/fall-winter-2014-2015-paris-jean-paul-gaultier-2/11680/diaporama/defile-4275/16020/pag

http://www.elizabethan-era.org.uk/
elizabethan-superstitions.htm 

This catwalk by Jean Paul Gaultier was inspired by Elizabethan superstition and the fear of witches and vampires. The Elizabethans believed that a witch was identifiable as an 'old crone' or 'hag' who spent her days alone with the company of an animal such as a toad, cat or raven etc who were believed to be the forms adopted by evil spirits known as a Witches Familiar. Their duty was to protect the witch and assist with evil deeds and malevolent tasks however the more evil deeds committed by a witch the more her beauty would deteriorate. When looking at Elizabethan beauty conventions it is also important to read into the periods contexts of ugliness. Identifiers of a witch included darker hair or skin, features such as beauty spots, moles and warts or even the most basic of marks that could vary from a bruise to a birthmark. All of these 'identifiers' are clearly the most ridiculous of evidence to have a woman tortured or killed for witchcraft, however within a period of female repression as was the Elizabethan period for most women (especially of the working class) the slightest evidence of 'witchcraft' would offer the means to seek revenge or dispose of a women of who you disliked. Often these allegations were against young, beautiful women who were disliked by others for the fear they would seduce their husbands. Therefore it is clear how this desire to find the ugliness within even the most beautiful women accused of witchery came to shape the representations of witchcraft within the 16th century. Indeed even the elderly were often persecuted for their un-youthful appearance caused merely by age, not evil. Within Elizabeth's period the witch was the ultimate sign of female vulgarity, repelled by men due to her withered skin and warts. This is a contrast to the representations of witches that are seen within film, photography and even fashion within the modern period. Modern interpretations while maintaing some elements of disfigurement and fear, do so in a more appealing format. Often displaying a witch with both an ugly and beautiful side for the art of seduction. The styling for this catwalk reminded me of the pure insanity that deemed those women of beauty and unmarried status the devil's witches through nothing more than their neighbours fear and hatred. We see these standards of Elizabethan beauty through the pale skin and red lip, however when combined with the dark clothing and almost blackened deep set eyes the sense of darkness and pain within the period comes through beautifully therefore embodying that darker sinister representation of Elizabethan beauty. This idea of witchcraft is something that I would like to develop within my final project piece as I feel it is an key area of Elizabethan history and superstition that could be interpreted effectively to represent a modern historical association with Elizabethan beauty.

http://en.vogue.fr/defiles/fall-winter-2014-2015-paris-jean-paul-gaultier-2/11680/diaporama/defile-4275/16020/pag

Dark Elizabethan/Witchcraft & Regality - Mood Board

Mood Board 

Image Ref:
- http://media.paperblog.fr/i/397/3977139/vogue-russia-december-2010-by-sharif-hamza-L-vcRAYf.jpeg
- http://nomadicsonglines.com/journal/2014/05/01/celebrating-beltane.html
- http://www.pinterest.com/outofthefire/ruff/
- http://ontv.ws/post-39461143_2300
- http://nancyherrmann.com/sketchbook/2014/4/19/mini-mood-board-black-magic
- http://www.theaglaworld.com/2013/05/laa-diosa-la-bruja-la-brujeria-la-luna.html
- http://fiercerthanyou.com/2012/11/15/gothic-elegance/

Witches and Wicked Bodies

Book Ref: 'Witchcraft in England, 1558-1618', Barbara Rosen, University of Massachusetts Press, 1991

Book Ref: 'The Devil in the Shape of a Woman', Carol Karlson, New York Vintage Books, 1989

Exhibition and Internet Ref: 'Witches and Wicked Bodies', The British Museum, 25 September 2014 – 11 January 2015, http://www.britishmuseum.org/whats_on/exhibitions/witches_and_wicked_bodies.aspx

'The Witches Rout', Agostino Veneziano, Engraving, 1520http://www.britishmuseum.org/whats_on/exhibitions/witches_and_wicked_bodies.aspx

A key focal point within my personal development for the Elizabethan brief is that of 'counter beauty' and the features of the period considered ugly or undesirable within Renaissance beauty. For this my interests have been turned more towards the 'Darker Elizabethan' focusing on the representation and identification of women, in particular as witches. This was a concept I first came across within my research into the fashion show of Jean Paul Gaultier and contemporary take on Elizabethan beauty by Hyea W. Kang who both explored common Elizabethan elements of beauty but merged them amongst the unconventional colours and features of the Elizabethan period to convey a darker tone. This included simple tweaks such as dark hair, heavy eyes and deep set contours within the face while maintaining conventional Elizabethan elements of youthful beauty such as the pale face and rouged lip.

The above image is perhaps the perfect embodiment of all things considered sinful and signs of Elizabethan witchery, the engraving entitled 'The Witches Rout' depicts the classic conventions of a muscular, aged 'hag' riding a creature of evil through what appears as the route to Hell. Alongside her are her numerous monsters and pets, plus the children and men that she has tainted and used to commit her evil deeds. The whole image is a beautiful homage to the superstition of witchcraft and truly exercises the dramatic beliefs that surrounded the fear of sin within Elizabethan England.
The depiction of women as witches is a common element within both historical writings and visual artistic representations for the Elizabethan and Renaissance period, this fixation with the portrayal of evil and youthful beauty have much in common with often the most haggard of women, or most youthful beauty resented for being so, condemned to burn for witchcraft. Often the portrayal of these women was sexualised with them depicted as dancing naked through woodlands committing sexual and sinful acts to heighten the sense of evil around them. Otherwise they were regarded as dwelling in cave like homes committing acts of torture on both young children and animals for the purpose of raising demons from the fires of hell. These women were seen as solitary temptresses who would prey on the weak, such as men and children through the use of shapeshifting and seduction. In an era obsessed with virginal purity any women caught making engagements out of wedlock or entertaining adultery may have been immediately punished as a witch, even natural occurrences such as menstruation if seen out of wedlock or childbirth was regarded as a signifier of being tainted by the devil. The whole concept of witchcraft became an obsession with the punishment of the feminine nature and maintenance of a female society based on absolute virginal purity.

The Taming of the Shrew - Character Analysis

"We know that no woman can be well and truly tamed" - Will Kemp

The BBC version of 'The Taming of the Shrew' is a modern take on the Shakespearean classic. Within the film there are a number of references to Elizabethan regality and the issues that faced the women of the period (in particular Elizabeth) such as marriage and power struggles.

Catherine

Catherine
http://users.livejournal.com/katys_/364896.html

The character of Catherine represents a key female role within the production and has a number of features reflective of Elizabeth I to enhance her stature as a dominant feminine influence, if by feminine of corse you mean rather masculine and cruel. Upon entry into every scene her character is followed by dramatic choruses of deep string instruments, this creates an essence of importance around her character but also reflects her aggressive nature. As the play goes on we witness this music soften as her character undergoes the influence of love and stability and the level of bitter loneliness that once consumed her life subsides. In the settings around Catherine are more signifiers of her status within the play, for example her work place is that of the Houses of Parliament which feature the marbles halls depicted within many reconstruction's of the Elizabethan period within film, in addition to this is the colour of her office which is blood red. The choice of this red signifies royalty and authority, therefore her placement within the centre of this room reinforces her status as leader.

Catherine is presented predominantly in a sleek cut black suit and flat shoes, the use of the black symbolises her figure of importance and has historical connections to regality as it was the most expensive and rare fabric to produce within Elizabethan England. Only worn by the Queen and her top most advisors. The jacket itself is reflective of the corsets of the time with a synched in waist and wide open necked collar, the choice of neckline of this jacket is crucial to the opening scene as it draws attention to her neck and face therefore symbolising the flamboyant ruff collars worn by Elizabeth herself. The creation of a small waist through the use of a belt adds to the Elizabethan influence of the garment with its fitted structure reflecting both the fashionable corsetry and her own uptight personality. The use of a suit continues throughout the whole film where even on her wedding day she is dressed in a long white suit/gown, the use of the colour white emphasises her virginal status at wedlock but also how awkwardly she adapts to this concept of marriage.

However the biggest signifiers of Catherine's character is done through that of her hair. At the beginning of the production it is slicked back tightly into a bun with a wonky centre part apparent down the right side of her head. The use of an off centre part is significant as it depicts her mental imbalance and inability to fit into the society around her, as the film goes on we see this uptight bun slowly fall down to a french twist and then to completely loose at the back. This is done to demonstrate her sense of belonging becoming apparent as she allows herself to fall in love, but regardless the wonky centre part remains. Although content at the end of the production Catherine's character is permanently intended to be a figure of female dominance and imbalance as in the words of Kemp, "we know that no woman can be well and truly tamed".

Petruchio

Petruchio in female dress
http://afariswrites.files.wordpress.
com/2010/10/rs31.jpg

The character of Petruchio within The Taming of the Shrew is that of a penniless, drunken aristocrat who at first appears to desire Catherine for nothing more than her wealth but soon finds himself desperately in love with her. Petruchio is portrayed in a full length fur coat throughout most of the first half of the production, the fur is visibly dense implying that he has a lot of wealth behind him (or indeed had at one point) as fur is a signifier of higher class within Elizabethan England as only those who could afford to hunt may obtain it. However in addition to the use of fur, there are also a number of verbal indications of his status such as that of his Tudor home where he was raised as the 16th Earl of Charlbury. It is apparent that he is a figure who has come from wealth and lost it all but in seeking profit through selfish desires finds love.
Perhaps however what is most recognisable about the character of Petruchio besides that of his obsessant alcoholism is his choice of attire for his own wedding. The use of colour within his costume reinforces his status of autocracy as deep greens and purples are commonly associated with that of regality however it is his choice of feminine attire in the form of knee high velvet boots, mini skirt and flamboyant velvet shirt are both comical and shocking to the audience. But this is too another signifier of the unbalanced state of the two key figures within this production and the inequality of the female gender explored through the concepts of marriage.
It may be interpreted that Petruchio's character is nothing more than bullying, materialistic and dictating throughout his relationship with Catherine as he attempt to tame her into becoming a suitable wife, however despite its comical nature this behaviour is accurate in its presumption. Petruchio's whole aim is to lower his wife down to a status of which is suitable to a woman of the Elizabethan period, therefore although we as an audience laugh at the comical way he surrounds his comments with words or romance he does in actual fact create the very female depression that is so disproved by Catherine at the beginning of the film. Unlike Elizabeth I, Catherine allows a man to put her 'in her rightful place' as it were seen.