Practical - Halloween Sugar Skull

Health & Safety: Apply apron round the neck of the model to protect clothes from makeup. 
Secure the hair away from the face using clips/pins.
Run a consultation to ask about any allergies/medications/contraindications.
Ensure hands are washed thoroughly and all cuts are covered. 
Products Used:

• Metal Spatula and Palette
• Foundation Brush
• Small Angled Brush
• Flat Concealer Brush 
• Thin Eyeliner Brush 
• Disposable Makeup Sponges
• Illamasqua Matte Primer
• Illamasqua Skinbase Foundation - White
• Kryolan Supracolour - Black, Blue, White
• Illamasqua Translucent Powder 
• Triangular Powder Puff

Process of Creating a Sugar Skull

1. Ensure the models faced has been fully cleansed, toned and moisturised. 
2. Apply a matte primer to the whole face.
3. Taking Illamasqua Skinbase foundation in white and a disposable makeup sponge, apply a liberal even layer all over the face to create a solid white base. 
4. Using a small angled brush and the blue kryolan supracolour outline the shapes on the face required to create skull such as hollowing the cheeks, sculpting the chin and around the eyes. 
5. Taking a flat concealer brush and another disposable makeup sponge push black supracolour into the eye sockets, chin and cheekbones, blend out into the blue to create depth. 
6. Using a thin eyeliner brush and black supracolour draw out the skeleton shape on the nose and fill in the lines. 
7. Taking the same brush and black colour draw a cobweb onto the forehead and create a tooth/skeletal outline on the lips/mouth. 
8. Powder the face with translucent setting powder to set the makeup.

Reflection on Class
Due to the creative nature of this class I found it just that little bit more enjoyable but also challenging. The process of creating a sugar skull design fully challenged our ability to produce work that was symmetrical on each side of the face, this was something that we had not fully focused on before in our practical studies and therefore to achieve this is required a higher level of focus and concentration to detail that we had previously focused on. Overall I felt I did well with this look an din class was happy with the level of symmetry shown within my design. However once photographed it became apparent that elements such as the cobweb and the nose were not perfectly symmetrical and would have to be developed on within future projects. By comparing photographs with real lift it makes you aware of how much attention you have to pay to the work you are creating to create a symmetrical makeup look. 

Halloween Makeup - Flapper Vamp

This was my first makeup look for Halloween taking inspiration from artists such as Kevyn Aucoin and the look featured on John Galliano's Runway Paris Fashion Week Spring/Summer 2011 collection. The look is a mixture of 1920's glamour and the 'vampy' influences of the dark smokey eyes and rich purple lips, the period was that of parties and wealth but the thin eyebrows that were fashionable at the time have an almost ghostly element to their design suggesting that gothic element so played upon during Halloween. 

Remembering Kevyn Aucoin

Internet Ref: 'Remembering Kevyn Aucoin - Collections Digest', Mihairi Graham, AnOther, October 24th 2014
Book Ref: 'Making Faces', Kevyn Aucoin, Little Brown and Company, 1 September 1999, 
Makeup artist to celebrities such as Gwyneth Paltrow, Cher and Julia Roberts, Kevyn Aucoin is considered the first makeup artist to the celebrities of the world. His iconic skill with makeup has secured him as the artist of the stars being quoted by Paltrow that "the best thing about him doing your makeup is it allows you to spend time with him". Emphasising this concept that your success as an makeup artist is not simply created through the skill of your work but also how you present yourself as a creative and your ability to work with people. By 1994 Aucoin was the only makeup artist to have ever been awarded the CFDA Award from the Council of Fashion Designers America and onwards into 2001 he had successfully created the 'Naked' collection with cosmetics company Revlon and gone on to develop his own brand under his name 'Kevin Aucoin'.

Aucoin with the icon that is Cher!
http://bandofthebes.typepad.com/
bandofthebes
/images/2008/02/14/aucoin.jpg

Kate Moss by Kevyn Aucoin
http://beautybanter.com/wp-content/uploads/
2012/08/kate_moss_ka-720x720.jpg

Perhaps what stands out to me most about Aucoin's work was that of the makeup he created for Cher, as he was responsible for some of her most glamorous looks for events and music videos such as 'Turn Back Time' where the heavy cut crease eye and bold lip became her statement look throughout her latter music career. Cher being one of my own personal icons made researching his influence into her look and career all the more fascinating, he was a makeup artist who truly influenced those around him and whose work remains iconic of his style and artistic abilities with even his established techniques and advice on base makeup such as contouring being taken and repeatedly portrayed within amateur youtube videos that desire the sculpted face of the Kardashian's. 

Ellis Faas Response - Identity Revealed The Western World

As part of my response to the video 'Identity Revealed' I wanted to create my own makeup piece that drew inspiration from the masks we wear within Western society. As a modern culture we do not possess many iconic masks that represent our society therefore I was lead to consider the types of masks we do wear, this lead me to the concept of cosmetic surgery and changing our appearances so dramatically that we are almost unrecognisable from our original selves. These masks represent our desire to hide our natural selves and permanently remove them from physical view. As a nation our dependance on our cosmetic appearance has become an obsession, it concerns me personally how many cosmetics surgery adverts there are on television, especially at 5 in the afternoon. I don't have any issues with plastic surgery but it seems to becoming to much of an 'easy option' that we can completely alter ourselves at the drop of a surgical knife. As our financial wealth grows so does our greed and we loose focus on our natural state and what makes us human.
The black mask within this look is representative of how we have lost our original selves and that our concept of what true beauty is is blurred and lost beneath the masks we wear. The gold eye is reflective of the black eyes that occur after procedures such as rhinoplasty or eye lifts but also the colour connotes how we are attempting to buy our physical happiness. The masks we create and portray as our own faces are an occurrence that is both painful and horrific when you think of the context of what occurs when we go "under the knife".

Ellis Faas - Identity Revealed/Inspired By All Things African

My response from the video was one of high inspiration, I found both the message and use of makeup within this piece completely eye opening as it made me realise how artistic you can be with cosmetic media and your design is limitless if it works with your message. The objective for Faas video was regarding African masks, but also what defines us as people? This was a concept that made me think about my own identity and the masks that we wear within Western society and whether the person we present to the public is really us or just another mask for the purpose of our own self satisfaction... Where is the line?

Quote from Ellis Faas: 

"Since ancient times, humans have been using masks - in order to express power and authority; to feel self-confident; to stand out or to hide behind; to not be recognised and disappear into the masses. Not only by traditional masks, but also by disguising and ornamental elements such as clothing, jewellery, hair and makeup. But can one truly change one's identity, or is it merely a temporary transformation? And who or what defines someone's true identity? Is it the mask, is it the human being behind the mask, or maybe even the creator of the mask?"

So what about the lady herself?
Ellis Faas originating from the mystical Netherlands has been quoted by Vogue Paris as "one of the most influential makeup artists of her time" working alongside the worlds most renowned fashion designers, models, hair stylists and photographers while developing from a young age a passion for photography, elaborate fashion and portraiture. Faas often using herself as the model for her work would cover herself in makeup constructing highly creative looks and then having them photographed. From leaving school she developed a love of photography desiring to follow in the footsteps of inspirational photographers Yousuf Karsh and Serge Lutens however Faas soon came to dislike the technical side of photography becoming more passionate about the pre production side, mainly the makeup. From there she was discovered by a photographer named Mario Testino who had come to Amsterdam for a Vogue shoot and was seeking a local makeup artist. Soon she was travelling the world with companies such as MAC, L'Oreal and Chanel developing herself as one of the greatest makeup artists of her time. 

Ref:

'Identity Revealed - A Filmed Triptyck by Ellis Faas', October 24th 2014, http://www.beautyfashionadele.com/2014/10/identity-revealed-filmed-triptych-by.html

Ellis Fass Official Website, http://www.ellisfaas.com

Seven Photographs That Changed Fashion - Rankin Film

Rankin's 'Seven Photographs That Changed Fashion' was a highly inspiring piece of film that thoroughly investigated the development from post war conservative beauty into the sexualised  modern representation of 1970s Vogue throughout Europe, Britain and the USA. The first image recreated by Rankin was that of Cecil Beaton's 'White Panama Hat' Vogue 1934 Beaton's work focused on creating something that didn't really loo like a photograph therefore his images were famous for their quirky surroundings. In the 1930's he joined Vogue and set the floor for fashion photography with the concept of "selling a dream" and creating a fantasy state of aspiration. Beaton's 'White Panama Hat' became an iconic fashion photograph through the fact that the clothing piece begin modelled actually became second to the beauty of the image itself, by placing the model as the focus of the image within the hatbox it created a somewhat futuristic artistic essence. A hybrid of fashion and portraiture The image was taken on a 10 by 8 camera which was repeated within the modern image to enhance the level of authenticity, also the fact that the image viewer is upside down meant that the layout of the photo also had to be far more structured and conservative. The process of creating this photograph was also much slower and the image couldn't be seen until fully developed, therefore adding an element of suspense to the piece. Rankin's image was recreated using the model and singer Sophie Elis Baxter and by using the original camera equipment the timeless authenticity and sense of sadness within the original photograph was effectively recreated. Another image featured was that of Erwin Blumenfield's Lisa Forissagives on the Eiffel Tower, Vogue 1950. This image is to this day considered wildly precarious with the model hanging off the edge of the tower hundreds of metres above the city of Paris. Yet within the photograph there is no sense of danger or fear, let alone concern for safety therefore the image has never truly been recreated in the same sense. However Rankin's chosen recreation was actually the January 1950's Vogue cover which embodied surrealism, capturing the essence of a society moving forward into the second half of the century. Heidi Klum was the model for this image as her eye and lip shape almost mirrored that of the original, however Klum's version featured a far more cheeky pose with the mouth adding a modern twist on the original. The use of shadow within both these images was highly artistic with much of the face being whitened out and elements of shadow and colour being painted onto an originally greyscale photograph to add an extra artistic element. Blumenfield described the creation of the image as "art in its own right" as it embodied a mass variety of media from makeup to photography to paint for its final creation. Rankin's version represents a 21st century adaptation of this very same concept, to create an image that despite being a shadow of the original remains "art in its own right". We can see this through the extra element of cheekiness presented through Klum's expression with her mouth.

Devima with Elephants, Richard Avadon,
Harpers Bazaar, 1955
http://iconicphotos.files.wordpress.com/
2009/05/004kctk3.jpeg?w=700

However the image that stood out to me the most was created by Richard Avadon. This photograph entitled 'Devima with Elephants' featured in Harpers Bazaar 1955 is a personal favourite, I find the image both captivatingly beautiful and saddening as the glamour of the model is dramatically contrast against the blatant fear of the elephants. The image remains one of the most iconic photos in fashion as it was the first embodiment of classic elegance and utter creative spectacle, breaking the previous conventions of fashion photography with the city of Paris and the world. Rankin's version featured the model Erin O'Conner who like Devima is tall and sleek in stature, however Rankin's remake lacks that same sense of emotion felt within the image. This image stands out to me predominantly not due to the glamour and sophistication of the model, despite her being positively stunning. But it is more to do within the reaction of the elephants, this photograph was taken during a time period where circus animals were still common place and the concept of 'animal cruelty' was one that was positively non-existent. Therefore to a contemporary viewer the reaction of the animals within this photograph really stand out. The first thing I noticed was not the model but the chains around the elephants ankles, this saddened me as it enhanced the concept of despite the shoot being beautiful there is an underlying element of pain. This was something that also stood out to Rankin. Also the fact that the elements have their trunks and feet raised and are pulling away from the model, these are all behaviours of fear and submission therefore it leads me to question what was going on behind the scenes of this photograph that cause such a dramatic juxtaposition between the beauty of Devima and the fear of her elephants.

By the 1960's fashion photography had changed again with the introduction of energy, life and sex. Photographers such as David Bailey introduced a whole concept of spontaneity into their work producing photographs that captured a mood and sense of narrative, rather than just a pretty image. Bailey's piece 'Jean Shrimpton' for Vogue 1963 is a wonderful example of capturing a sense of life as the model Miss Shrimpton was actually his lover. The image embodies the sense of flirtatiousness and desire that surrounded them as a couple and by working with your partner within an image that sense of unity is apparent within the image. As a result for Rankin's recreation to work as a piece he too had to use his girlfriend Tudy (also a model). Bailey used a Rolliflex camera to take his photographs, allowing him to create that harsh contrast of dark and light within the final photograph. By using old technology it also meant that Rankin like Bailey had to get closer and more intimate with his model advocating Bailey's expression that "photography is sexual.. they are the object of my love for that brief encounter".

Creative Writing Task - 'Where Have All The Surfing Cowboys Gone?'

http://fashiontoast.com/2013/11/where-
have-all-the-surfing-cowboys-gone/

At first glance the link between the painted blue wall reading "Surfing Cowboys" and the clean cut white 'danger dress' is rather vacant. In fact there appears to be almost no connection at all between the two, the apparent 'danger dress' itself appears nothing more than a everyday take on a tennis dress and in combination with the white generic slip ons the overall look would look better placed on the courts of Wimbledon. The only 'danger' surrounding the dress could be seen as the small slit up the thigh of the skirt creating a folded diamond of fabric across the waist, but again this is not an original style and has been seen among many high street stores for the past year. The familiarity of this style within the world of high street fashion completely removes its concept of being a 'danger' especially when the same style is visible on teenage girls from age 16 plus.
The overall concept of the photo is more resemblant of the 'wanna-be' fashion models and look-book creators of social websites such as Tumblr with very minimal explanation of what was actually being thought about the design of the clothing and pose within the images. The reference of the 'Surfing Cowboys' to those without any background knowledge may present a completely un-relatable link that was included purely for the purpose of it looking good against the model.
However despite this initial response upon further research the links between the vacant model and location of 'Surfing Cowboys' are more than originally meets the eye. The wall is actually a building located on 12553 Venice Blvd, Los Angeles, California belonging to a shop of vintage surfboards, quirky furniture and apparel all sporting the concept of the Californication lifestyle and American dream. The shops aesthetic focuses on the minimalism of the surfer lifestyle, embracing youth and teenage freedom. The white and blue of the image is reflective of sea side location that is so prominent within California (surfing capital of the USA) and the sunshine beating down on the models face only enhances that liberation of summer time activities. The overall look is minimalistic and fresh, embracing both the concept of the Californian lifestyle and the mood of the shop 'Surfing Cowboys', perhaps then the question as to "Where have all the surfing cowboys gone?" is an awareness of the minimal surfing lifestyle of the 1970s/80s is being lost in a modern generation of technology, a message advocated by the shops own aesthetic. 

http://fashiontoast.com/2013/11/where-have-all-the-surfing-cowboys-gone/
Internet Ref: http://www.surfingcowboys.com

Juergen Teller - Fashion Photographer

Juergen Teller: Woo! | Collection Institute of Contemporary Arts, 23 Jan - 17 March 2013, https://www.ica.org.uk/whats-on/juergen-teller-woo
Book Ref: 'Juergen Teller: Woo!', Juergen Teller, Paperback, Steidl, 15th July 2013
Youtube: Juergen Teller on Woo! at the ICA, Feb 13th 2013, http://www.youtube.com/watch?v=cn7JxfkO1Ac 

"One of the most important photographers of his generation" - ICA
Juergen Teller was the photographer for my chosen portrait of Vivienne Westwood, he is a renowned German fashion photographer and artist who employs an overexposed and raw style of his work through the use of his Contax G2 camera on which most o this exhibition work is produced. He works predominately in colour using over exposure to create a somewhat edited illusion to his images but maintaining that un-photoshopped sense of realism, his work has been featured in a number of top magazines from Vogue to I-D. His exhibition Woo! which featured models such as Lily Cole and Kate Moss was a homage to the fashion photography of the 1990's presenting classic images of the fashion of the time, nude photography and artistic landscapes. The collection was a raw insight into what created the 1990's as a defining period within modelling and fashion, Teller's photographs in particular of Vivienne Westwood and model Lily Cole explored the relationship between the model and the artist. Through the use of nude modelling he captures the sense of emotional vulnerability and sense of mockery undergone by models within fashion. The collection for this reason is a interesting piece of artwork as it exposes how our sense of humanity is lost through our seeking perfection and the emotional damage we undergo as a result of this.

Within relation to his connections with this project on Elizabethan England upon completing research there is much that links his series Woo! to that of English history. The location of the exhibition itself is representative of this as it takes place at the ICA. The ICA was chosen deliberately as it is located near Buckingham Palace, the centre of British regality but also the centre of London where the culture movement of Punk first began its existence. This is again how Dame Vivienne Westwood connects to the exhibition as she embodies both that sense of reality and punk within one being that Teller admires so much about London fashion.
The exhibition also featured work that was completed for editorial magazines and designers like Marc Jacobs, Yves Saint Laurent and Celine which was pasted into the Reading Room in a wallpaper like display. The room was a collaboration of editorials, portraits and landscapes that explored the concept of life, a sense of producing a photograph of a collaborative meaning of how we view things in life from a unique curious angle.

Contemporary Portrait Suggesting Wealth

Juergen Teller's portrait of Vivienne Westwood at Woo Exhibition 2013
http://coloradomagazine.blogspot.co.uk/?zx=e53a04e2e840d0a0

My chosen contemporary portrait to demonstrate wealth is this image of the infamous Dame Vivienne Westwood. Although this image may not directly portray wealth as it doesn't feature any money, jewels or modern conceptions of financial gain; its connotations of wealth are heavy and the image contains numerous historical references to European Renaissance paintings that all dictated wealth through the presentation of femininity. The subject of wealth depicted within this portrait is also a factor determined by your own interpretation of wealth; most obviously there is financial wealth, however there is also the consideration of wealth being a subject of wisdom and experience, or even beauty as someone can hold a wealth of beauty within their features. 

Connotations of wealth within this portrait include most obviously the colour scheme, within the image the use of golds and red are prominent within the furniture and hair colour. Gold is reflective of  prosperity and regality therefore the highly ornate furniture that Vivienne is laid across emphasises an idea of a classic regal sense of wealth more associated with historical royalty rather than conventional Hollywood prosperity. However the use of gold within this portrait has heavier connotations that simply that of wealth, the bold shade of the hair that is directly matching of the cushion is also a homage to Vivienne Westwood's famed punk essence. The hair is famously garish in colour becoming almost neon orange, linking with the colours of the punk movement as seen on artists such as the 'Sex Pistols'. The image itself is almost resonant of their album 'God Save the Queen' which is a combination of British regality and the anger of an anarchy youth. 

The pose that Vivienne is laid in is itself a symbol of wealth when compared to that of the below portrait the 'Venus of Urbino', within Renaissance art the perfect fair skinned renaissance woman was a symbol of absolute wealth and prosperity to a man. Therefore beautiful fair skinned maidens were often painted nude and laid seductively on a bed or chair, through Vivienne Westwood's pose being reflective of this she is herself connoting her body as a symbol of wealth to anyone worthy to obtain her. However the women within these paintings were often linked to the goddess Venus and therefore unattainable due to their godly beauty, this degree of beauty is again considered the ultimate treasure for both a woman to offer and a man to receive. The pale skin, soft makeup and rouge lip within Westwood's portrait is reflective of the same concepts of godly beauty featured within these Renaissance portraits. 

'The Venus of Urbino'
Titian
1538
Oil on Canvas
http://www.italian-renaissance-art.com/Venus-of-Urbino.html

Self Portrait

This self portrait is not only a depiction of myself now but also how I how I became  to develop myself as a woman. The choice of deep purples and reds within this portrait are representative of my love for gothic literature, classic rock and Renaissance art where the use of deep tones expressed sophistication and wealth as they were both difficult and expensive to create, although I myself and far from wealthy its a element that I wouldn't reject if it happened in the future as I have a fondness for expensive looking things despite my efforts to be non-materialistic.

The use of the candles and rich fabrics is symbolic of my growing up under the influence of gothic literature with authors such as Oscar Wilde, Edgar Allen Poe and Bram Stoker shaping my perceptions of romance and society from a young age. What in particular stood out to me within gothic literature was the freedom of women who embraced their sexuality within a time period of restriction. In particular this focuses on the ability of a woman to supernaturally enhance her beauty for the purpose of both male and female seduction. This is a concept similar to that of modern day makeup whereby we as human beings alter our natural selves to become a more desirable version. Within gothic literature the woman portrays two roles, the stereotypical 'victim' or the predator. The 'predator' has always been a figure I admired, in particular the character of Carmilla by Joseph Sheridan Le Fanu, a beautiful vampire who seduced only the most youthful of women. This idea of untamed femininity within the Victorian era was completely uncommon and any woman inspired by this idea of complete female control and liberation became known as a 'New Woman'. To myself the concept of a woman held back by no one but herself was inspiring and the figure of Carmilla became a personal inspiration.

The black glitter platform heels add a bold feminine edge to my look as often because of my short hair and everyday dress sense it is frequently presumed I am not a feminine person, however I consider my short hair an enhancement of my femininity as it advocates that I don't require long hair extensions to feel like a woman. Shoes are an absolute addiction of mine and my collection of risqué heels is ever expanding however every single pair is black as it is a favourite colour of mine and always looks good. Finally my leather trousers, which are a statement piece within my wardrobe and probably worn to death, are a homage to musicians like Steve Tyler and Guns N Roses guitarist Slash who sparked my love for classic rock during childhood, a passion that continues today as I am far more likely to be found in a Rock 'n' Roll bar than any nightclub given the option. For myself classic rock offered something that was rebellious but original, I view many of todays bands as mere copies of ideas done before them and for that reason classic rock remains timeless. There will never be another Iron Maiden or Meatloaf, they are original to their own identity and recognisable from the first few seconds of guitar riff, much like how one day I hope to be seen within the fashion industry.

Symbolism within Elizabethan Portraits

Book Ref: History of the Kings and Queens of England, David Williamson, January 11th 2011
Information based on notes from lecture
During her reign Elizabeth I was very particular about her portraits, often only wanted portraits that portrayed her as youthful, demonstrated her love for her country, her people and her own strength as Queen. Portraits from within this period are full of Renaissance symbolism and are almost legendary in the narratives that they depict, as a result of this within England their was 'The Cult of Elizabeth', a set in stone celebration of virginity that was heavily structured as the propaganda of her reign. Each portrait carried its own symbolism and narrative that enhanced her position of strength as The Virgin Queen.
The Sieve Portrait 
(1583) Quentin Metsys - Oil on Panel

http://www.thecultureconcept.com/
circle/wp-content/uploads/2013/02/
Elizabeth-1-Sieve-Portrait.jpg

The Sieve Portrait represents one of Elizabeths paintings where the theme of virginal purity is emphasised. The prop of the sieve used within this painting connotes purity through its connection with the Roman legend of Tuccia, a Virgin who proved her chastity by carrying a sieve of water from the Tiber to the Temple of Vesta, a task which was only completely by those unattained by the sin of lust. 
The roundels behind Elizabeth depict the story of Aeneas and Dido, the Queen is often compared to the character of Aeneas as she has been tempted by marriage but refuses and remains a strong female figure ruling her own kingdom. Elizabeths portraits were full of symbolism that drove home the idea of her purity. 
The use of a globe is another prominent feature within portraits of the Queen and was often used to depict defeated countries or allies of the British empire. 
Colour also emphasises her position of power through the choice of black and white, these were favourite colours of the Queen and as a result became highly fashionable to be seen in. Black fabric was highly expensive to produce and rare often corroding on items such as hats and headdresses which featured a significant amount of blackwork. 

The Armada Portrait 

(1603) George Gower - Oil on Oak Panel

http://imagecache2.allposters.com/
images/BRGPOD/68921.jpg

This portrait is one that emphasises the Queens power by depicting her defeat over the Spanish Armada in 1588. Just like her other portraits this painting is full of symbolism and carries a narrative within the fine details, as many could not read within Elizabethan society this was one of the only method of communicating the Queens success with her people. 

Like 'The Sieve Portrait' Elizabeth is depicted with her hand on a globe, if you look closely it is visible that she is covering the country of South America. This country was the main source of Spain's gold but after their defeat during the Armada Elizabeth was able to claim the land and its riches for England. The pearl necklace featured within this painting was the last ever present from Robert Dudley, it could be interpreted that the wearing of the necklace was a stab at her advisors who resented her admiration of Dudley however the pearl is also a symbol of virginity, emphasising her status as the 'Virgin Queen'. 

The Rainbow Portrait 

(1603) - Isaac Oliver - Oil on Panel

http://englishhistory.net/tudor/
monarchs/eliz1-rainbow.jpg

The dress is embroider with English wildflowers which allows her to portray Astraea. The cloak is decorated with eyes and ears implying that she sees and hears all that goes on in her kingdom, an image reused in Kate Blanchett's portrayal in 'Elizabeth' to imply her dream relation with Dudley. The crescent shaped jewel that hangs around her neck is a conniption to Cynthia, the goddess of the moon signifying Elizabeth's connection to other spiritual figures of feminine authority.
On her sleeve is a heavy ornate serpent, a symbol of wisdom. Within the snakes mouth is a heart shaped ruby, the ruby is a symbol of the Queens heart and with it being in the snakes mouth the image connotes how Elizabeth's heart has been captured by her country and her passions are controlled by wisdom. Within her right hand she holds an image of a rainbow,  the rainbow is a universal symbol of peace and prosperity therefore by Elizabeth holding the rainbow it suggests that as long as Elizabeth has hold of her kingdom there will be peace across her land. The rainbow also relates to the latin phrase "Non sine sol iris", which translates as "No rainbow without the sun". Elizabeth is representative of that sun.

Practical - Lip Application

Health & Safety: Apply apron round the neck of the model to protect clothes from makeup. 
Secure the hair away from the face using clips/pins. 
Run a consultation to ask about any allergies/medications/contraindications. 
Products Used:

• Metal Palette and Spatula
• Kryolan Rouge Mini Palette
• Kryolan Dermacolour Concealer Palette
• Angled Brush
• Flat Lip Brush
• Powder Puff
• Translucent Powder
• Flat Concealer Brush
• Vaseline
• Blotting Paper/Tissue

Application of Lip Makeup
1. Get the client to apply a thin layer of vaseline to the lips and blot with a thin piece of tissue.
2. Using the metal spatula take a small amount of lipstick onto the metal palette.
3. Line the lips with either lipstick or lipliner using a clean sharpened pencil or the pointed edge of the angled brush.
4. Fill in the rest of the lip with a matching colour using a flat lip brush.
5. Blot the lips onto a piece of tissue.
6. Apply a thin layer of translucent powder to seal in the lip colour.
7. Repeat overall application of lip colour using flat brush.
8. Taking a flat concealer brush line around the mouth to neaten up any bleeding colour and sharpen the overall appearance of the application. 

Reflection on Class
I found the application of the lips slightly challenging as it was important the lips were symmetrical and within the natural lip line, or slightly outside of it if it is the desired effect. It was also important to choose the appropriate colour that would compliment the skin tone best to avoid the teeth appearing yellow or colour looking to harsh against the skin. However once the initial outline of the lips was completed the process of filing in the rest of the colour was relatively easy, I feel it would benefit me to practise outlining the lips with both a brush and pencil on a variety of lip shapes to become more confident at this application.  

Practical - Eye Makeup

Health & Safety: Apply apron round the neck of the model to protect clothes from makeup. 
Secure the hair away from the face using clips/pins. 
Run a consultation to ask about any allergies/medications/contraindications. 
Products Used:

• Dermacolour Concealer Palette
• Illamasqua Translucent Powder
• MAC Paint Pot in Ochre (beige)
• Illamasqua Neutral Eyeshadow Palette
• Kryolan Matt Eyeshadow Palette
• Kryolan Brow Palette
• MAC Eyeliner Mix Gel 
• 2000 Calorie Mascara
• Disposable Eyeliner Wands
• Metal Palette and Spatula 
• Flat Eyeshadow Brush
• Round Eyeshadow Brush
• Thin Liner Brush
• Powder Puff
• Angled Liner Brush

Application of Eye Makeup

1. Wash hands thoroughly before touching the clients face. 
2. Scrap out chosen colours onto metal palette.
3. Evaluate the eyes to decide the appropriate shape and therefore application.
4. Ensure the eyes are fully concealed to create a smooth base for application.
5. Apply translucent powder liberally to the eyelid and under the eye to seal concealer and create a smooth powder base for eyeshadow. 
6. Taking the palest chosen shade and apply all over the lid.
7. Using the same brush apply a darker colour to the outer corners of the eye and inner if required.
8. Blend the colour up into the crease of the eye.
9. Taking a round eyeshadow brush blend the eyeshadow together to create a transition of colour.
10. Using either an eyeliner of choice or MAC gel eyeliner mixed with chosen pigment draw a thin line along the lashes.
11. If desired this line can also be brought up into a flick. 
12. Using a disposable mascara wand apply the mascara first to the back of the lashes and then work from the root to the tip to ensure the lashes are fully covered.
13. Apply one layer and then repeat if required. 
14. Taking a small amount of brow powder in the appropriate shade feather lightly through the hair.

Reflection on Class
For my first attempt at applying eye makeup I felt that the application was overall decent and I had chosen an appropriate eye shadow style for my clients eye shape. Choosing the eye shape was relatively easy for my client as she possessed conventional round eyes however if the client has a combination of eye shapes you may have to combine eye makeup looks to achieve the desired effect. The initial eye shadow application was moderately successful however I do need to work on my ability to produce an even overall shadow look so that once blended out the eyes harmonise. Once this was done I applied an eyeliner that I found easier to apply with a small thin brush than that of the conventional angled brush, however the most challenging element was definitely the application of mascara. As my client had both long and fair eyelashes it was difficult to get close to the root without touching the rest of the face, this is definitely something I will need to practise within the future.  

Purple Monochrome Face Chart

Part of our colour theory work was to create a monochrome face chart. I chose to create a look featuring the colour purple and as a result had produced a rather dramatic look featuring a defined purple liner and bold lip. For some reason my face charts always end up with a moody expression and  I feel this may have been influenced by the choice of colour within this design, however in future I will attempt to produce a face chart with a more neutral expression. To create the look we had a amount of time that was roughly 40 minutes, twice the allowance of any catwalk look. At first I thought that this would give me loads of time to produce my look however this did not work out and I quickly realised I spend far to much time on base application. Because I was unfortunately only able to complete the base, light contour and eye makeup within the set time I as as a result rather disappointed in myself because of this. As a result of my bad timing the look was a far softer beauty compared to the more dramatic makeup that I had intended. From this I have learnt that I need to not only work on my face charts but also my timing, in particular practising the speed of my makeup application and being less afraid with my strength of colour. 

Achromatic Makeup Look

http://shelbymurphydesign.files.wordpress.com/
2011/05/achromatic2-e1306962841488.jpg

The first makeup look that I created based upon colour theory was using an Achromatic look using pigments of black through to white. For this makeup look I wanted to keep it fairly simple and true to the shades within the selection. The skin I kept natural with a light foundation application that was then buffed into the skin. Areas such as the cheekbones, sides of the nose and jaw were contoured using an ashy grey shadow with a  small amount of black brushed up into the hairline, black lip mix was then added to the lips with a small amount of satin finish to supply a glossy sheen and  then the eyebrows and lashes were combed through with a white supra colour.
Products used:
- Illamasqua matte skinbase
- Ultracolour foundation palette
- Dermacolour concealer
- Kryolan 'Charcoal' eyeshadow
- Kryolan 'Black Pepper' eyeshadow
- MAC Black Lipmix
- Satin Mix
- Kryolan Supracolour - White
Reflecting back on this makeup look it is definitely one of my favourite pieces so far, although the makeup is more basic I feel this works well as it draws the eyes to the areas of intended focus such as the eyes and lips rather than having no centre point of attention. It also made me aware of how the appearance of makeup changes dependant upon the viewpoint, this look in particular was strange from the front as it appeared almost too pale against the background. However when turned to the side the contour on the cheekbone and jaw became more apparent and the highlighted temple added an extra element to the overall look.

Complementary Makeup Look

Products Used:

- Inglot Primer

- Yellow Supracolour

- Purple Supracolour

- Illamasqua White Liquid Eyeliner

- Orange Supracolour

- Lip mix (Blue/Red/White)

- NYX Purple Lipliner

- Illamasqua Translucent Powder

Process of Creation

- Apply Inglot primer all over the face.

- Taking Yellow supracolour and a foundation brush place the colour all over the centre of the face, neck and chest.

- Using a fluffy eyeshadow brush buff Purple supracolour into the contours of the face such as the temples, jaw, and chin. 

- Bring the colour down into the hollows of the collarbones. 

- Ensure the ears are also covered.

- Powder the face with Illamasqua Translucent powder. 

- Using Illamasqua white liquid eyeliner, line the eye with a winged cat eye. 

- Apply orange supracolour to the lashes. 

- Line the lips with a purple lip liner.

- Fill in the rest of the lips with a pale purple made from MAC lip mix. 

Analogous Makeup Look

This makeup look is using Analogous colours from the purple to blue section of the colour wheel. I wanted to create a look that was more creative than conventional so decided to use a series of fine lines using a thin line paintbrush with soft purple contouring into the hairline and jaw. Because this makeup was quite freeing and artistic with its application it was created rather quickly and allowed for a lot of freedom with the technique. Also by applying it to male skin meant that I was able to practise my base application onto a more challenging surface as it is more difficult to cover the areas of redness such as around the nose and sallowness under the eyes.
Products used:
- Matte Primer
- Ultracolour foundation
- Dermacolour concealer
- Supra colour - white
- Supra colour - green/blue
- Supra colour - purple

http://www.color-wheel-artist.com/
images/analogous-swatches.jpg

Colour Theory

Book Ref: 'Contemporary Color: Theory and Use', Steven Bleicher, Delmar Cengage Learning; 2nd Revised edition edition (11 April 2011)
Book Ref: 'Color Theory' José María Parramón, Watson-Guptill Publications, 1989 

What is Colour Theory Context?
Within the visual arts Colour Theory is the process by which we mix spectrums of light and tone to create what we see as colour combinations. The definitions of these colours are based upon a set of three spectrums known as Colour Wheels; these consist of primary colours, secondary colours and tertiary colours. Although colour theory was present within the artistic notebooks of Da Vinci, its actual creation as a theory concept was not established until the 18th century by Sir Isaac Newton in 1704 within his work on visionary science. The way that we as human beings see colour is an experience based upon sensory responses to light rather than a physical creation, this is why some people interpret the colour of objects and materials differently from the next. The most important concept to understand within colour theory is the difference between the colours we see through light mixtures, known as additive colour, and that of pigment mixtures, called subtractive colour. How our eyes absorb colour has a great impact on the final tones that we see through our Iris. 
The visual effects of colours can be described through the following three terms:
1. Saturation (the intensity of a colour or how dull it is)

Newtons Spectrum of Colour
http://www.colourlovers.com/blog/2008/05/08/
history-of-the-color-wheel

2. Lightness (whether a colour is light or dark in tone or black and white)
3. Hue (these are the overall tones of a colour, these can differ from: red, orange, yellow, green, blue or purple.
On the whole it is scientifically believed that the whole spectrum of colour visible to the human eye can be created from the mixing together of the three primary colours yellow, blue and red.

Goethe's Colour Wheel
http://www.dw.de/image/0,,5918676_4,00.jpg

This idea of colour observation was summarised into two founding documents of colour theory: 'The Theory of Colours' by German poet and government minister Johann Wolfgang von Goethe in 1810, and 'The Law of Simultaneous Colour Contrast' by French chemist Michel Eugene Chevreul.

Chevreul Colour Wheel
http://www.holidayclubrecordings.co.uk/post/
michel-eugene-chevreul-science-colour

What is a Colour Wheel?
The first colour wheel was created by Sir Isaac Newton in 1706 a portrayed the spectrum of colour from red through to violet, that he had established within his research of how light creates colour when manipulated through light and dark tones. Newton took his theory of the spectrum created by the passage of light through a prism and formed a segmented circle whereby each colour was organised into a segment according to their position in the spectrum. The two circles opposite are examples from the Traité de la peinture en mignature 1708 which depicts the connection between Newtons theory and the colour pigments used within art. 
However it was Goethe's theory in 1810 of the systematic study of the physiological effects of colour that proved the effects that opposed colours have on the eye, this is what know today as complementary colour theory. 
Michel Eugene Chevreul furthered additional research into the colour wheel developing a theory of how optical illusions are created when two colours are placed close beside one another depending on whether the second colour is lighter or darker in hue. However most famously Chevreul developed the art of how colours are optically combined by the eye to suggest a third colour; for example when red and yellow are merged to create orange.

Analogous Colours
Groups of colours that are adjacent in the colour wheel. One colour often being a dominant primary or secondary colour and two on either side complementing tertiary colours.
Monochromatic Colours
This means that here is one selected hue whereby the colour are made up of the selection of tints, tones and shades all located within the spectrum of that one hue.
Complementary Colours
These colours are commonly a pair that face opposite from each other on the colour wheel, for example purple and yellow. When combined they cancel one another out to create black but when placed side by side are harmonising to the eye.
Achromatic Colours 
Achromatic colours are what is produced when two complementary colours cancel one another out. Often this is left with a greyscale spectrum from black to white.

Practical - Extreme Contouring

Extreme contouring is a much more artistic interpretation of your everyday contouring, often using brighter and more creative colour choices and focusing more on the skulls natural bone structure of the jaw, cheeks, brow, temples and jaw. This is a look far more intense than everyday makeup and therefore is a technique more suitable for avant garde and editorial makeup. The dramatic contour of celebrities such as Kim Kardashian uses a similar technique although is often to harsh for every day and is designed purposely for photography, therefore extreme contouring is a technique that should be used only for imagery.

Process of Extreme Contouring

1. Cleanse, tone and moisture the face to ensure a clean base for application. 
2. Apply a primer to the skin e.g. Illamasqua Matte Primer
3. Taking a pale colour e.g. white supra colour, apply along the natural highlights of the face such as the cheekbones, forehead, nose and jaw.
4. Blend the colour out to soften.
5. If using a powder for the contour use a translucent powder and pat into the skin with the side of brush or puff to remove greasy consistency of white base.
6. Take a darker colour of your choice in either a grease or powder and apply under the cheekbone, close to the nose, sides of the temples and jawline.
7. By taking the contour in closer to the nose and emphasising the natural hollow the expression will appear angrier and more alien.
8. Once powdered you may go over with contour powders and highlighters to add extra dimension.

My version of E.C. using 'Pink & Gold'

Evaluation

Overall I was rather pleased with the final outcome of extreme contouring as it is more an artistic makeup style, and a new favourite technique of mine as it holds significantly less boundaries and is more open to artistic interpretation, although developing an understanding of bone structure and working to enhance the natural contours of the face was rather difficult to begin with and essential. This look was a mixture of pink, white and gold highlight to emphasis the jawline, cheekbones and sides of the nose. This is definitely a technique that I will develop and use in the future work and projects and I feel I can develop myself to be bolder with my colour choices and strength of colour application when completing an extreme contour. 

Queen Elizabeth I Throughout Cinema

Bette Davis - 'Private Lives of Elizabeth and Essex'

Bette Davis - Elizabeth I
Private Lives of Elizabeth and Essex
http://alisonweir.org.uk/books/bookpages/
more-elizabeth-the-queen_6_1187749807.jpg

At the age of 31 Hollywood beauty icon Bette Davis agreed to a role that would change the way her physical appearance was viewed dramatically. The first actress to claim 10 Academy Awards nominations and one of the top actresses of her time Bette Davis was an icon within Hollywood cinema. Her skill as an actress only enhanced further by her sparkling doe eyes and quick whit that remain a iconic association with her career and beauty. However Perc Westmore's recreation of Bette as Elizabeth I in 'Private Lives of Elizabeth and Essex' recreated her as a dramatic historical representation of 'Elizabethan beauty' superbly accurate in her representation of an older Queen.
For the role Bette courageously agreed to numerous changes that would completely alter her appearance for months at a time, this included having her eyebrows completely shaved form her face. But most dramatically the shaving of her hairline a whole three inches from the front of her head. Her brows were replaced with thin pencilled lines and her hair with a tightly curled red Elizabethan wig. Thick white makeup was then added leaving Bette completely transformed from the a Hollywood pin up to a ghastly historically accurate interpretation of an again Elizabeth I. After the shaving of her hairline Davis was quoted as saying "This time woefully my hair didn't all grow back" "They did it because Queen Elizabeth was loosing her hair, and they made sure that I did too". In '5001 Nights at the Movies' critic Pauline Kale stated that "Bette Davis was well painted and dressed for the role of the shrewd queen"and to this day her representation of Elizabeth remains ones of the most refined and aesthetically accurate within cinema representations.
Book Ref: 'Bette Davis - The Performances that made her Great', Peter McNally, McFarland & Co, 2008

Anne Marie Duff - 'The Virgin Queen'

Anne Marie Duff
The Virgin Queen
http://www.themakeupgallery.info/period/c16/
uk/elizabeth/virginamd.htm

The short BBC series followed the life of Queen Elizabeth I from her early twenties up to her death in 1603. It was advertised as a "regal portrait" of the iconic queen and Anne Marie Duff was cast to create that image. Anne Marie's transformation could be argued equally as dramatic as her predecessors for she mimicked the treatments set upon Bette Davis by Perc Westmore through also having her hairline shaved back 3 inches and her eyebrows removed from her face and lashes bleached. Anne Marie stated that: 
"I wanted to be a woman of her various ages and have integrity within it, not be doing an impression of something … I knew that with the makeup and costume I would look good – the prosthetics not only looked amazing but they gave my face restrictions that it wouldn’t normally have – and we worked on obvious things like vocal differences and the physicality … What I wanted to do was to try and find an old brittle bones approach … I hope I’ve achieved that. I kept thinking in my head, ‘Why on earth have they cast one actress, not two?’ but I just went for it and I hope that it works."

Karen Hartley-Thomas was the makeup designer for this production and it was herself and her team of makeup and hair designers Maureen McGill & Anna Morena that went about creating the final makeup look for Anne Marie. However she also underwent body sculpting prosthetics through the craftsmanship of Neil Gorton who sculpted the ageing stomach and breasts of Queen Elizabeth to enhance the sense of realism within the series and embody the true changes that underwent the Virgin Queen throughout her reign. 
Internet Ref: 'C16th Makeups - The Virgin Queen', Makeup Alley, http://www.themakeupgallery.info/period/c16/uk/elizabeth/virginamd.htm


Miranda Richardson 'Queenie' - Blackadder II
Miranda's somewhat unappreciated representation of Elizabeth I differs quite dramatically from other adaptations, instead of the regal majesty that we see within Kate Blanchett's construction, her character design is far more comical and the behaviour reflective much more of a spoilt child. However the makeup design is still a fine example of another adaptation of Elizabethan beauty although slightly more contemporary. Unlike other examples Miranda Richardson's version has a modern rouge lip and clearly visible brows, the hairline is also in its usual place but regardless the makeup still carries a heavy representation of Elizabeth. Victoria Pocock, the original makeup designer for Blackadder II, wanted to maintain the essence of Elizabeth I but bring forward a comical childish nature that is so iconic of Miranda's character. This was done through using an orange blush and bold red lip, which is almost clown like and somewhat exaggerative of the Elizabethan makeup which in essence was so thick it may as well of been circus paint. 

Miranda Richardson 'Queenie'
Blackadder II
http://1.bp.blogspot.com/_8m8QVCa2sC0/THjuiy7
HwpI/AAAAAAAACZo/BJzNrGqvyh8/s400/queen.jpg