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)