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.
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