Ellis Faas, Identity Revealed

This short film was created by the makeup artist, photographer and film maker, Ellis Faas. Ellis was asked to create this film for the new exhibition, "Magical Africa - Masks and Sculptures from Ivory Coast. The artists revealed.", at De Nieuwe Kerk, in Amsterdam. She was asked to get inspiration from the traditional masks of Ivory Coast.

When I first watched the video clip I thought it was to do with African tribal makeup and also maybe torture, with some of the wires and restraining masks. I really liked how every makeup look was so different, some being very minimal and some being very complex and colourful. I liked how the background was black as it added a sense of mystery and made the model's stand out. I thought it was clever how three model's were shown at once as it kept my eye moving and kept me interested and intrigued. I think my favourite look was when one of the girls with a deeper skin tone, applied gold makeup on her forehead and then down the centre of the face because I loved seeing the simple transformation come to life in a very calming and beautiful way. The end result reminds me of the makeup look used for the Sorapol SS15 catwalk in London Fashion Week, with the golden shade to highlight the centre of the face on the deeper skin tones.

My favourite look from Ellis' film. 
https://softlysometimes.files.wordpress.com/2014/10/unnamed.jpg?w=960

Ellis explains her approach:
"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?"

However, after reading Ellis' explanation of her piece I realised that it was about masks, but more the generalisation of the meaning behind masks. It really made me question how people present themselves on social media and even in public and whether you ever really get to see the true person or whether you just see what they are trying to portray of themselves. Some people consider 'everyday' makeup to be a mask of what they really look like, but I see that as more of an enhancement, but I guess you don't really know where the line is crossed from enhancement and transformation. 

Sources:
http://vimeo.com/109956784
http://softly.nothingspaces.com/2014/10/29/identity-revealed-a-filmed-triptych-by-ellis-faas/

Val Garland: The Use of Freckles

Val Garland is a very well established make-up artist and is MAC's go-to makeup artist for any high profile shows. She has worked with big names such as Kate Moss, Georgia Jagger and Taylor Swift and also names such as Vivienne Westwood and Alexander McQueen. She is known as a rebel when it comes to makeup and isn't afraid to break the rules or make mistakes.

Val Garland took inspiration from the makeup look she had created for Mary Katrantzou's AW14 runway show. She exaggerated the 'realness' of the look by adding freckles all over the face. In an interview with Dazed magazine, Garland said she liked 'that heightened sense of nothing and everything'. I love the use of freckles in this look because it stopped the makeup from looking so perfect and made it seem a lot more real and fresh looking. Garland used all MAC cosmetics in this transformation.

Val Garland's transformation.
http://www.dazeddigital.com/fashion/article/22239/1/val-garland-amplified-realness

This isn't the only time Val Garland has incorporated freckles into her makeup designs. Val Garland created Taylor Swift's makeup for the November 2014 Vogue cover, shot by Mario Testino, and freckles were used to give her a different look from her usual perfected porcelain skin. The makeup look is very different from Taylor's signature look in general, but the freckles were the main talking point. In an interview with Vogue, Garland says about the look, 'Taylor has really gorgeous skin and these really sparkly eyes so I thought it would be great to play up her healthy complexion. After a massage and moisturiser, I used very little concealer or foundation, wanting to feel her skin texture'. Garland continued to explain how the freckled look was created, 'Taking five assorted brow pencils I lightly traced freckles across her face where her skin may have caught the sun - this is a great modern trick to look young and sun-kissed. A little hint of blush and highlighter on the cheekbones gave off that radiance that Mario loves for photographs'. I am a great fan of this more sultry look as it it sexy and sultry, but still very young and fresh.

Taylor Swift's November 2014 Vogue cover.http://www.vogue.co.uk/beauty/2014/10/06/taylor-swift-make-up-and-freckles-on-british-vogue-cover

Val Garland also used freckles again in his makeup design for Preen's SS15 show, by Thornton Bragazzi, to give the model's that "fresh-from-the-gym rosy flush". Garland used pencils of different tones of brown to make them look as natural as possible, including the colour Stone which is a dirty blonde shade. The rest of the face was kept very neutral and minimalist, with a rosy blush brushed over the cheeks and through the eye sockets.

Garland's makeup look for Preen's SS15 show.
http://www.stylist.co.uk/fashion-week/london-fashion-week-ss15...

Sources:
http://www.stylist.co.uk/fashion-week/london-fashion-week-ss15-beauty-make-up-artist-val-garland-reveals-giseles-unusual-make-up-trick-to-looking-young-at-preen

http://www.vogue.co.uk/beauty/2014/10/06/taylor-swift-make-up-and-freckles-on-british-vogue-cover

http://www.dazeddigital.com/fashion/article/22239/1/val-garland-amplified-realness

Carina Buckley Analytical Review, The Danger Dress

When I was first told I had to write a review on this blog I was a little concerned because the blogger had given us hardly any information or idea of what her thoughts were or why she had named the post 'where have all the surfing cowgirls gone'. I do follow some fashion bloggers who inspire me with my outfits and makeup looks, but they always tell me about why they think the outfit works and where everything is from, so this was very different to what I was used to. I have taken some photographs from the blog post and I will try to come up with a concept for the photo shoot in relation to the blog post's name.

When I looked at the title of this blog post it confused me straight away and without an explanation of why it was called 'where have all the surfing cowboys gone'. The post shows photos of a teenage girl wearing a white mini dress and white slip-ons leaning and posing against a blue wall. I really like the lighting in the last image with the sunlight creating rainbows, but without any explanation it all seems a waste. Below is a paragraph that I would write if I had uploaded these images to help explain what I could have been thinking if these were mine.

My Blog Post

Hi guys! So today I have come up with an all white outfit that I think is perfect for a hot summer's day with the girls and I think it would be great for getting your crush's attention!

I was walking round Venice Blvd and I found this really fun looking wall with the words 'SURFING COWBOYS' on it. I thought it was the perfect place to shoot my next blog post as the bright colours of the background would contrast with my all white outfit. I was thinking how amazing it would be if a guy could surf and also ride horses which are two of my favourite hobbies! I was wondering to myself if a guy could ever be both so I thought it would be perfect to name my blog 'where have all the surfing cowboys gone' as I would love to find my own some day! Or at least one or the other!

I have always thought that wearing an all white outfit was quite risky as it isn't the most flattering colour! So I wanted to show my confidence by putting together an outfit to win that perfect guy over. Wearing all white can be very tricky to get right, but I think this simple white dress, from Missguided.com works really well. I really like how the dress has an almost sporty feel, with the tight shirt sleeves and skort looking skirt. I really like that it shows off my legs but doesn't show off any boobs, because remember girls, it'e one or the other! I paired the dress with some white slip-ons, Harajuku, to add to the sporty look. You could easily dress this outfit up with white, strappy heels and a gold or silver clutch, or dress it down even more by adding a hoodie round the waist. I love that this outfit is very comfortable but still edgy, and it doesn't look like you tried to hard!

If you do end up wearing this outfit or an outfit similar then definitely tag me in your pictures on Instagram or Facebook and I will check them out! Thank you so much for checking out my page and I can't wait to see you in the next one!

Becky
xx


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

Seven Photographs that Changed Fashion

Seven Photographs that Changed Fashion is a BBC documentary showing how Rankin interprets and recreates seven classic fashion photographs that he felt had the biggest influence of fashion photography. In some of these recreations he use the old fashion techniques that the photographers would have used themselves and then in some he used modern techniques to try and get the same effect. Rankin explores how each of the fashion photographers influenced the next and so on and explaining why fashion photography looks how it does today.

Cecil Beaton's 'White Panama Hat'

Cecil Beaton's image on right, Rankin's recreation on left.
http://1.bp.blogspot.com/-R2V-IrCCvbQ/UuQJhvA6scI/AAA
AAAAAQH4/jbru1tBPi5o/s1600/White-Panama-Hat.jpg

The first photograph Rankin looked into was Cecil Beaton's 1934 photograph for Vogue, 'White Panama Hat', featuring model Elsa Schiaparelli. Rankin recreated this image with model and artist Sophie Ellis-Bexter as he thought she had a very 1930s look. Rankin experimented with using a very similar camera to what Beaton used, the 10x8. This camera showed the images upside down and also didn't show the images instantly, taking a lot more time, which Rankin found challenging and frustrating. Rankin reverted back to use a digital camera so that he could instantly see what results he was getting, instead of doing guessing work. I really like the recreation because of the very similar lighting, makeup and model positioning. However you can see that Rankin's recreation is in colour and not black and white which is different, however I really like this modern twist. I think that a smaller white box could have been used and it could have been on more of a slant and obviously the hat is very different to the original. Another thing that I noticed was that the emotion in each photo was very different and I don't think Sophie Ellis-Bexter captured the sadness of Elsa Schiaparelli.

Rankin's recreation using a 10x8 film camera (left)
and a digital camera (right).

I much prefer the photograph made by the 10x8 film camera as it has the same old fashion, vintage look. I also think that Sophie's expression is a lot closer in emotion to Elsa's. I noticed that the box looks more on a slant than in the digital image which is also closer to the original. I love that this photo came out in black and white, again adding to the 1930s look.

Erwin Blumenfeld's 1950 Vogue cover

Rankin next recreated Erwin Blumenfeld's January 1950 Vogue cover of model Jean Patchett. Even though this image was very famous for it's use of colour, the original image was actually taken in black and white and then the colour was added in afterwards in the printing stage. Rankin chose Heidi Klum to be the model and he used a digital camera. Digital manipulating was used, as in Blumenfeld's, to add colour and erase anything unnecessary, just to leave the lips, beauty spot, eye and eyebrow.

Heidi stuck her tongue out in one shot and Rankin thought it worked perfectly, giving a cheeky interpretation of the classic and iconic 1950 cover.  Rankin also adjusted the composition of the image and kept the nose in the shot, which in my opinion, completely changes the concept of the image. I think both images give a different emotion. In Blumenfeld's image, the model is looking more snobby and composed as she looks down at the camera, whereas in Rankin's interpretation, the model looks more playful and cheeky. I really like how the colour was painted on afterwards in both shots because it gives a very similar, almost pop art, look.

Richard Avedon's 'Dovima with Elephants'

Left: Original Dovima with Elephants,
right: Rankin's recreation.http://4.bp.blogspot.com/_KXpco01V5Gc/S409f9_VyBI/AAA
AAAAABF8/gYkwwFzJDaE/s1600-h/rankin_doc_03.jpg

The next recreation was of Richard Avedon's 1955 image, 'Dovima with Elephants' with model Dorothy Horan. Rankin recreated this image using model Erin O'Conner. Rankin and the model were nervous to work with such big animals, but as the shoot went on they got more and more comfortable until they got a shot they were happy with. The elephants in the original look a lot more chaotic and like they are trying to escape from their chains, whereas the elephants look a lot more relaxed and stable in Rankin's recreation. I think I prefer the original shot as the model look like she has been caught in the moment, instead of looking like she is specifically posing for photograph. The original is brighter and the lighting looks very even, in comparison to the more directed, almost spot light, effect of Rankin's image. However I do like how much Erin O'Conner stands out, with her very pale skin against the dark background.

David Bailey's 1963 Vogue image

Left: Bailey's 1963 Vogue image,
right: Rankin's recreation.http://3.bp.blogspot.com/_m6Q76YjVNho/TKkREZqikAI/AA
AAAAAAALI/3OCCRgv0KE8/s400/Rankin+%3D+4.jpg

This 1963 Vogue image was taken by photographer, David Bailey, of his former lover, Jean Shrimpton. David Bailey was the first photographer to bring 'sex' into his images in Britain and started a new fashion photography movement. Rankin recreated this image with this girlfriend, Tuuli. I thought it was really interesting how the photographer and model had the same relationship at the time of the photograph. I really like the movement of the hair in both these images because it makes the image more fun and flirtatious. I also like that a lot of skin on the model is showing because it adds a sexiness to the image that was very 'Bailey'. The model's looked very different in person, however I think they look very similar in the image because of their strong jawlines, long, toned arms and accurate positioning. I think the fact that Rankin highlighted the model's side boob give the image a sexier look.

David Bailey was present during the recreation of his 1963 Vogue image and so helped and gave advice on the shoot. For example, Bailey said that he used a piece of card that he wafted to get that hair movement and so Rankin used the same technique. Bailey said he used a Rolleiflex camera, so Rankin experimented with and used this camera for his final shot. It was interesting to hear when Bailey said that he thought fashion photography was very sexual and that he felt love for the model he was shooting and I think that love came through in his Vogue shot.

Helmet Newton's 1975 Vogue image

Left: Newton's 1975 Vogue shot,
right: Rankin's recreation.
https://lh5.googleusercontent.com/-Yrn3d_aR3Ds/TX5bqMz-l2I/AA
AAAAAAAvY/4BNZjSQcLKI/s640/Newton-1975.jpg

Rankin next recreated Helmet Newton's 1975 Vogue shot of model, Vibeke Knudsen, on Rue Aubriot Street. Rankin went to that same street to shoot his recreation and the original model, Vibeke Knudsen, was present in the shoot to help and give more of an insight of how the shoot came to life. Rankin used the model Jade Parfitt, who was a great fan of his work, but had never got to work with him. The street looked very similar all those years later, with only slight changes, like the pillars and the state of the road surface. I really like the recreation, however I think the styling could have been closer to the original, with high-waister trousers and a bigger suit jacket. I also think that the model looked a lot more relaxed in the original, almost as if she was caught off guard, whereas in Rankin's image, the model looks very stiff and staged. The model's hand was not placed inside the trouser pocket, which it was in the original, giving a more awkward and unnatural look. This would have to be my least favourite recreation of Rankin's as I just don't feel like the model or the styling was quite right.

Guy Bordin's 1970 Vogue image

Top: Guy Bordin, 1970 Vogue,
bottom: Rankin's recreation.
http://4.bp.blogspot.com/_FG3cl6d8QkE/TS8AZM0bo5I/AA
AAAAAAAC4/pVkki8LFnEs/s1600/pink-rankin.jpg

This 1970 photograph was taken by Guy Bordin of a model for Vogue. Rankin recreated this shot using model and fashion designer, Daphne Guinness. Rankin's biggest struggle with this recreation was getting the lighting right and, in my opinion, I don't think the correct lighting was achieved in his final image. In the original there is more of gap between the leg and the leg's shadow and the light was very harsh around her hip, almost looking like it is reflecting off the wall. Whereas Rankin's light is a lot less concentrated in one area and instead the image looks a lot brighter. I think this is the least similar recreation because the model looks completely different with different styling. The model in Rankin's image looks very powerful and confident, whereas the model in Bordin's looks a lot more vulnerable. 

Herb Ritts 1984 'Fred with Tyres'

Left: Herb Ritts original, right: Rankin's recreation.
http://3.bp.blogspot.com/_KXpco01V5Gc/S41BQL6r2QI/AAA
AAAAABGU/t6ZNzPE_XDo/s1600-h/rankin_doc_07.jpg

Rankin's last recreation was of the 1984 photo, 'Fred with Tyres' by photographer, Herb Ritts, advertising jeans. Rankin used the very famous male model, David Gandy and used the same film camera that Ritts' would often use himself, but first tested out the shots on a polaroid camera. I really like the recreation, even though Gandy's body isn't quite as 'ripped', because the male model really stands out against the darker background in both and the positioning of the model's are very similar. I do, however, think that the original looks more sexual and erotic than Rankin's, because Gandy looks a lot more relaxed and doesn't look like he's tensing as much. 

I really enjoyed looking at how Rankin interpreted all these iconic images and how he recreated them. I love that it inspired him to create some of own iconic images as it has also inspired me to push the boundaries and be inventive when creating artwork.

Source:
http://vimeo.com/60749359

My Sugar Skull Makeup

https://www.makeupgeek.com/wp-content/uploads/sug3.jpg

In class today, we were given 3 sugar skull makeup looks to recreate and I chose this one. I really liked how deep and intense the eyes looked and I thought the blue colour would really bring out my model's blue eyes. When recreating this, I didn't have any sequins which would have been the cherry on top, however I am still really happy with how my look turned out.

My design, front view. 

My design, side view.

If I were to do this look again, I would add shading round the spider's web to make it look more 3D and not so flat looking. I would white the lips out even more and I would bring the cheek colour a little further in so it is more visible from the front. I would work on making the nose a little more even on both sides and I would also obviously have fun with the sequins! I do really like the soft edges of the colour and I am happy with the stitching on the lips. I think the makeup look would have looked more complete it I had extended the colour to the hairline and ears.

My Own Portrait/Selfie

My Self Portrait

This is my self portrait. The first thing I notice when I look at this image is my face. I have full eye contact with the camera a gentle smile showing that I feel happy and confident in my surroundings. The next thing I notice are the ballet shoes as they are central in the image. The ballet shoes represent my love for dance and performing, which was a big part of my childhood and still is today. My laptop is in the background because it is so important to me as it has all my work and photos on there! There are lots of photos of my friends and family in the background, showing how important they are to me and how I always want them around me for love and support. There is a calendar with hot rugby players on it because, lets face it, we all enjoy a bit of eye candy! The Nando's receipt represents my love for my boyfriend as it is where we went for out years anniversary. The red card is a letter my sister wrote to me for going away to uni. It is central and there is attention drawn to it because it is the same colour as my lipstick, this is because my sister means so much to me and I couldn't I've without her being so close to me. The Chinese, Subway and Bella Italia takeaway leaflets simply some my love for food! I put a map of Southampton up because I have only just moved here for uni and I still don't know my way around. The huge display of makeup shows my love and passion for makeup! You can see I am a university student from the desk and the pin board background and you can tell I'm not very tidy either!

The photo looks real to me because the background is very busy and everything it not perfectly in place, making it believable that it is a student's desk. It also looks very realistic because the photo has been taken with an iPhone. The camera angle is looking down at the model as it is more flattering. I think this portrait expresses that I am feeling comfortable and happy at university, but that there is a lot going on in my life that I need to work on organising! I think my facial expression shows my feelings clearly and the fact that there are loads of different things and different colours in the background shows that I am not very organised. This photograph makes me think about how just seeing a photograph of somebody at uni usually only shows their happiness that they want the viewers to see, but actually that there are a lot of things that aren't always as they seem. It also makes me think of all the things and people you take for granted when you are at home and that when they are all taken  away from you how much you really need them in your life.

The context of this portrait is that I have been at uni for about a month and I am just settling into the new chapter of my life. I am 18, in a happy and loving relationship, I have friends and family at home that I love and miss. I am studying Makeup and Hair Design at Solent university and I am really enjoying it so far! When I look at this photograph it makes me really think how important my friends and family are to me and who much I appreciate that they are in my life and I have learned how lucky I really am to have all that support and love from them all. When I was taking this photograph I was feeling very happy, content and reflective. In this image I was trying to convey that you can be happy and confident if you surround yourself with things that you love and things that make you happy. I think I have succeeded in portraying this message.

Kevyn Aucoin

Kevyn Aucoin was an American makeup artist, photographer and author. He was said to be the very first celebrity makeup artist. He dies at the young age of 40 from kidney and liver failure in 2002 but is still remembered now for his great work. Aucoin received the CFDA Award from the Council of Fashion Designers in America in 1994 and is the only makeup artist to the this day that has received one. 

Self Portrait of Kevyn Aucoin.
http://softspoken.softsurroundings.com/wp-content/
uploads/2012/07/T_KevynGold1_PRESS-SHOT.jpg

Kevyn found his love of makeup from as a young child and realised he was gay at the tender age of six. He was bullied in school and in high school for his sexuality and even his adopted parents wouldn't accept he was gay. He got a job,  at 18, at one of the counters in an exclusive ladies department store were he charged $30 for a makeup lesson; however the women felt uncomfortable with a man doing their makeup. He decided to move to Baton Rouge in Louisiana, hoping to start his makeup career, however he got assaulted by security guards in a local department store where he was hoping to have a look at some new makeup. The fear got the better of him and so he decided to move to New York City to get his makeup career going.

When he first moved to New York, Kevyn worked for free, applying makeup on models for test shoots. This helped him build up his portfolio and he eventually got discovered by Vogue. He worked with photographer, Steven Meisel, for a eighteen months and continued on do his own Vogue cover. After this first cover he did eighteen more in the space of three years! The brand Revlon hired him at the age of 21 as Creative Director for their prestige Ultima II line of cosmetics and only one year after he was hired, he launched his own line called The New Nakeds. This new line was thought be groundbreaking and changed cosmetics forever. It was the first line to really focus on all different skin tones. There were new shades of foundation, blush, lipstick etc. created that were more flattering and more neutral toned. The editor of Allure magazines, Linda Wells, was quoted in saying, "It may not seem like it, but it was a powerful moment. Before, there were makeup lines for white women and others for black women. But he worked to design makeup for all skin tones. The idea was to empower a woman by revealing her natural beauty, and not to cover her up with layers of product." This new line of cosmetics was seen to be very influential to even very well known brands such as Mac, Laura Mercier and Bobbi Brown.

Kevyn Aucoin's 1986 Vogue cover with model Cindy Crawford really got his career going. He did nine Vogie covers in a row between 1987-1989 and also seven Cosmopolitan covers on top of that. At his peak he was one of the best paid celebrity makeup artists in history. He would need to be booked months in advance and would charge $6,000 for a makeup session. He began writing a column for Allure magazine that turned out to be very popular and went on to write and publish his own books, The Art of Makeup, Making Faces and Face Forward, all about makeup application and makeup tips and tricks; these became New York Times best selling books.

Kevyn Aucoin's New York Times best sellers.http://www.themakeupshow.com/the-makeup-show-blog/
wp-content/uploads/2014/01/vVuv6cVGWC92wjF.jpg

Kevyn Aucoin worked with countless A-list celebrities from music videos to Vogue covers. He worked with Janet Jackson, Madonna, Cindy Crawford, Tine Turner and the list goes on. He was not only loved for his amazing talent when it came to makeup, but also for his fun loving, truthful personality. Gwyneth Paltrow once said of Aucoin, 'The best thing about hime doing your makeup, is that it allows you to spend time with him'. Kirsty Hume also spoke of him, 'He was one of the loveliest people I have ever met. He always made me feel like my best self.' He was very honest and wasn't scared to voice his opinion which earned him a lot of respect but was also quite controversial at points and he got into trouble with the press when he'd use his high status to talk about issues he has strong opinions about. Aucoin publicly said he thought there should be more coloured women on the Vogue magazine covers, saying 'I want to see more black women inVogue. We live in America, not Sweden'. However his personality was what won so many celebrities and fans over. He was very confident with his makeup skills; he didn't think he needed to follow any makeup 'rules' to be successful. Kevyn Aucoin always believed in himself, even when others would put him down, and I really respect and look up to him for that. 

In 2001 Kevyn Aucoin launched his own luxury makeup brand. On the official website for the brand in states, 'Kevyn Aucoin believes beauty is always in fashion; trends come and go, but true beauty transcends time. Our products are created to bring out the true beauty in every woman. Using the highest quality ingredients, innovative new formulas, and exciting seasonal twists on timeless staples, Kevyn Aucoin is a must-have for the modern woman'. 

Examples of his work:

September 1994 issue of Harper’s Bazaar
http://www.themashidip.com/.a/6a014e8644c126970d014e88125a47970d-800wi

Backstage shot of Barbra Streisand for Vogue, 1993.
http://www.beautylish.com/a/vxgza/kevyn-aucoin-history

Karen Elson before transformation.
http://www.themakeupgallery.info/various/photo/history/kastars.htm

Karen Elson after her transformation into Elizabeth I.
http://www.themakeupgallery.info/various/photo/history/kastars.htm

In this project we are looking at Elizabethan beauty and how they did their makeup and hair. I was so excited to find that Kevyn Aucoin had actually done a transformation to make Karen Elson into Queen Elizabeth I! I think his work is absolutely beautiful and perfectly polished. Seeing his work has really inspired me to capture the beauty of the Elizabethans and that sometimes less is really more.


Sources
http://kevynaucoin.com/the-brand
Kevin Aucoin: A Beautiful Life by author Kerry Diamond.
http://www.anothermag.com/current/view/4039/Remembering_Kevyn_Aucoin

My Monochrome look

For my monochrome makeup look I chose the colour pink. I decided I wanted to do an abstract, contoured look, only using different shades of pink!

Equipment:
- White super colour
- Pink super colour
- Foundation brush
- Translucent powder
- Powder puff
- Dark pink blush
- Blush brush
- Red blush
- Small flat brush
- Small angled brush
- Red lip mix

After pink base had been applied. 

Showing stage 3.

Final look, front view.

Final look, side view.

Step by step:
1. I first applied a mixture of the white and pink super colours as the base all over the face and slightly down the neck. I used a foundation brush for the application.
2. I next powdered the whole face with a powder puff and some loose translucent powder.
3. I then took a dark pink powder on a brush brush and started to contour the model's face. I applied the darker colour under the cheek bones, on the temples, under the chin, down both sides and under the nose and under the bottom lip.
4. I then decided this contour wasn't dark enough, so I used a red powder and made the contour more dramatic.
4. I next brought the red contour into the eye crease and extended it to join the temple contour.
5. I added just a hint of red through the eyebrows to draw them into the look.
6. I applied the red lip mix with a small angled brush to the lips to complete the look.

I am happy with the look and I think it helped me develop my contouring skills. If I were to do this look again, I would have used my foundation brush to clean up under the cheek contour to give a stronger, more harsh look. I would have also tried to make the angle of the cheek contour and the angle of the line extended from the eye, parallel with each other. I would consider making the base a bit lighter, by adding more white, to make the contouring look more dramatic.

How to: Lips

Equipment:
-Small angled brush
-Lip moisturiser
-Lip colour or Lip mix

Step by step:
1. Apply a lip prep to the lips to moisturise, ask the client to apply this themselves.
2. Blot the lips to remove any excess product.
3. Using the end of the small angled brush, scrape the lip colour out of the container and warm it up on the back of your hand with the brush bristles.
4. Ask the client to stretch out their lips.
5. Start on the bottom lip corner and bring the lip colour into the middle of the lip, do on both sides.
6. With the point on the top of the bow, bring the colour from the bow to the corners and from the point of the bow to the middle of the bow on both sides.
7. Blot the lip colour with some powder and reapply the lip colour to make it last longer.

Lip before lipstick application.

Lip after lipstick application.

I am happy with how the lipstick application turned out, however I need to practise getting the outline perfect! I also want to experiment with mixing different Mac lip mixes and different finishing gels and applying them to the lips.

How to: Basic Eyes

Equipment:

-Eye shadow palette

-Eye shadow primer

-Cotton pad

-Medium rounded brush
-Loose translucent powder
-Water (for mixing)
-Small angled brush
-Cotton buds
-Disposable mascara wands
-Mascara tube
-Powder puff

Step by step:
1. Hold eye up by pulling slightly above/on eyebrow with a cotton pad.
2. Apply the translucent powder all over the lid with a rounded brush.
3. Apply loads of loose powder under the eye, as close to the lash line as possible, to catch any fall out.
4. Apply the lightest colour all over the lid, with the same rounded brush.
5. Press the medium colour on outer edges and brush into the crease and blend well.
(Press the eyeshadow on the back of hand first to avoid excess fall out.)
6. Build up the colour in the crease and add the darker colour if desired and bring some colour under the lower lash line.
7. Mix the black eyeshadow with a tiny bit of water to create a paste like mixture.
8. Using a small flat brush, on its side, apply the black paste along the lash line, with the eye looking down.
9. (Optional) Apply tape next to the eye to use a guide for eyeliner wing.
(If needed, touch up with a cotton bud.)
10. Wipe the powder under the eyes away with a powder puff.
11. Get some mascara on a disposable wand and apply on top of the lashes first and then under neath to lift them and colour all of the lashes.
12. To clean the brows, sweep a natural colour through them lightly.

Before eye makeup application.

After eye makeup application.

Close-up, with eye open.

Close-up, with eyes closed.

I am happy with the end result, however if I were to do it again I would make the crease a bit darker and I would bring a darker colour along the lower lash line. I was not used to using the rounded brushes as I am used to using fluffier brushes, but I liked the way the brush applied the makeup because I get I had more control over the shape. I really like how the eyeliner looks and I really like how long and separated her eyelashes look.

Queen Elizabeth II Diamond Jubilee Portrait

Formal Royal Portrait

This is the official Diamond Jubilee portrait of the Queen, taken by photographer, John Swannell. When I first looked at this portrait, the first thing I noticed was her jewel encrusted dress and blue sash. Her red lipstick also caught my eye, which then led my eye to the red tones in the background.

The portrait is front on and very formal, with the Queen not smiling and having eye contact with the camera. It is in celebration of her 60th anniversary as Queen. She is standing with her right side touching a giant mirror, with her face pointing towards the camera with eye contact; there is a clear reflection shown of her side profile, down to her hips. Queen Elizabeth II is wearing a white and silver embroidered state dress and the State Diadem crown of jewels and pearls, which she worn on her Coronation Day in 1953, showing just how important and iconic this photo will be. Her hair looks permed and is then tucked up her crown. Her makeup is natural looking, but flawless and with a red lip. She looks very formal and put together. She is a picture of wealth with her expensive jewels and pearls and her crown. She is also wearing her great-great grandmother's, Queen Victoria's, Collet Necklace, which is the same one as she wore for her 1897 Diamond Jubilee photograph to keep the tradition going. The silver tones of her beautifully embroidered dress and the rich red and gold tones of the background suggest royalty and luxury.

The setting of the portrait, Buckingham Palace's Centre Room, oozes wealth, luxury and royalty, with the exquisite furniture with gold decoration, expensive looking painting, giant mirror and decorative pottery. The rich wooden floor matches perfectly with the table. There is a proud, detailed fire place under the mirror with gold accents.

This photo reminds me of my grandma and when she used to dress up in her best dress and shoes and jewels. I remember her letting me try on her sparkling necklaces and bracelets and feeling like a million dollars! The photo looks real because of the Queen's wrinkles and old skin showing through. The photo looks unreal because of the grand backdrop; it is so perfect looking that it looks like a painting. As a diamond jubilee portrait, it makes me think of how this now elderly lady in her 80's has devoted nearly all of her life to serving her country, especially the fact that she is wearing the crown she wore for her coronation at the young age of 25, and how sad it was for her to be thrown into that position when her father died unexpectedly when she was so young and has had to live her life under constant scrutiny from the press and the public ever since. 

The portrait shows her royal status, with her expensive clothing and background, but it also shows her more human side, as a great grandmother, with the hint of a smile on her face. This portrait celebrates her achievement of being queen for 60 years, but it also shows us that she is just a fellow human and really just one of us. This more relaxed side to the image, wish her soft facial expression, makes the public feel like they can relate to the queen more, instead of her being completely out of reach.

Personally, I celebrated the queen's Diamond Jubilee at a street party and this reminds me of how 10 years ago we also celebrated her Golden Jubilee in our local village with all our friends from the local school at my first ever street party. I think this portrait makes me feel proud of our royal family and what it stands for in this country, but I also feel I can appreciate the Queen as a great grandmother and family woman, as well as a great symbol and ambassador  for her country.

I think the photographer, John Swannell, would have felt a huge sense of responsibility to produce a photograph which was going to be circulated throughout the world to mark such an important and historic occasion.  He had to achieve the right tone with the image, work with the Queen, showing her suitable respect, but being able to capture her and work with her to achieve a picture which was what both of them wanted.  I think he wanted to capture this historic moment of her 60 year reign, but also to capture the human side of the Queen. I think the photographer achieved the look of the portrait he was going for.

I think this portrait emphasises to me how an initial glance at a photo can give an immediate first impression, but it is often worth looking further into it to understand the full story.  My first impression would be of a Queen in her splendour for a royal portrait to mark an official occasion.  The Queen is clothed in expensive clothing and wearing the same beautiful crown she wore for her coronation, as well as amazingly expensive jewellery, including a necklace worn by Queen Victoria.  The image is very expensive and royal.  However, looking further into the photo, I can see the more human side of the Queen, by the way she is hinting at a slight smile and almost allowing you to see a little into her world, as your eye moves from the Queen across the photo to the image of the Centre Room at Buckingham Palace, her home. 


Casual Royal Portrait

I have chosen to look at the portrait, taken by photographer Jason Bell, of the Duke and Duchess of Cambridge with Prince George and their family dog, Lupo, in the Mother's Day photograph from the DailyMail.

This portrait is set in the casual setting of a window and not in the formal throne room, showing that they're not trying to show off their wealth or power and giving a much more relaxed feel to the image. The portrait is a lot less formal than many others prior to this as the royal family are trying to make themselves feel more approachable and more like the 'everyday' family. They are all in casual clothing, with their hair not formally styled and with no sign of any royal jewels, again suggesting they're not trying to push their high status. The royal family are trying to portray themselves as far less formal and remote, especially following the death of Princess Diana, when people felt the royal family didn't understand the views of the people and the concerns of how much it costs the taxpayer to have a royal family. The fact that Prince George isn't looking at the camera again adds to the relaxed feel and I think the main aim of the portrait was to show that Kate and William are enjoying their life as a young married couple with a child, with both parents looking very happy and stress free. 

Modern Elizabethan look

This image is an example of how the Elizabethan styling and makeup have influenced the current makeup of today. This is an image from Vogue, a top fashion magazine, which highlights just how influential the Elizabethan era is to the modern fashion industry. This look is going to be my modern Elizabethan inspiration along with The Rainbow Portrait and I am excited to incorporate different features from both images to create my final makeup look.

Vogue Italia September 2005
Model, Lily Cole
Photographer, Richard Burbridge
Makeup artist, Osvaldo Salvatierra
http://2.bp.blogspot.com/_vgXE8mFTzAo/TBzi5Q9iWSI/AAAAAAAAA-Q/vwz7xFWIQEs/s1600/2h55s21.jpg

This image screams Elizabethan to me, from styling to makeup and hair. Lily Cole's skin is very pale, almost white, and her eyebrows and eyelashes are very fair, almost blanked out; both these features were very popular amongst the Elizabethan women and are shown in my chosen portrait, The Rainbow Portrait. Eye shadow was not worn in the Elizabethan times, however a light pink/peach shade has been used on the eyes to tie in the cheek colour. I like how, instead of matching the lip and cheek colour, the makeup artist, Osvaldo Salvatierra, has decided to match the eye and cheek colour. I think this is a very clever, but subtle, way of modernising the Elizabethan look. The cheek colour looks very blotchy and uneven, almost making her look like she has scraped her face on something rough. This could be a representation of how the makeup applied to the skin was infact poisonous and caused skin irritations that would then be covered with more makeup, but how the painful skin would always remain, no matter how much the women tried to cover it. The lip colour is not the traditional red stain, but instead a glossy taupe/brown colour. I like how a statement lip has been used because it really modernises the look and gives it a fun edge. The colour isn't very bright or artificial looking, its still within the neutral palette, but it still stands out in the image. 

The heart shape of the headdress, with the point falling down the centre of the wear's forehead, was very popular with Elizabethan women with hats such as the attifet and Elizabeth has this shape in her headdress in The Rainbow Portrait. I like how this shape has been exaggerated to come all the way down the middle of the eyebrows. Elizabeth I wore a very extravagant headdress and statement earrings and both there elements are present in this Vogue image. Lily Cole's red, long, frizzy hair is a big statement in the image and is very similar to young Queen Elizabeth's hair, especially in her Coronation Portrait. The only major difference is the extreme volume, giving it a more editorial look. It is also interesting her the model's hand is in the image, as Elizabeth I was very fond of her hands and she often incorporated her hands into her portraits. 

Extreme Contouring

Extreme contouring uses the same basic rules as the subtle contouring, but it is more dramatic and used more for editorial work. I researched the human skull to get more familiar with the convex and concave parts of the face so that  understood where to contour and where to highlight on the face.

http://ic.pics.livejournal.com/0kasan/13917527/4958/4958_original.jpg

http://media-cache-ec0.pinimg.com/236x/f5/59/f4/f559f4c02580a50facd4fc57e7358c9c.jpg

To slim the face down or to add dimension to the face you should follow where the natural contours and hollows in the face are and highlight where the high points of the face are. You can see these points more easily with a skull, because you highlight the bones and contour the sections between the bones. 

How to: Extreme contouring

Equipment:

-Matte primer

-Foundation brush

-Super colour in white or off white

-Stippling brush

-Loose translucent powder

-Powder puff

-Contour powders

-Big fluffy brush

-Medium rounded brush

-Highlight powder

Step by step:

1. Apply the matte primer all over the face using a foundation brush.

2. Apply the white super colour on all high points of the face using a foundation brush. These areas include the middle of forehead, bridge of nose, upper lip, centre of chin, brow bone, under the eyes, tops of cheek bones and under cheek contour.

3. Once all the white is applied, blend out using a stippling brush.

4. Powder the whole face with the translucent powder and powder puff.

5. Starting with a lighter colour, contour the face with a powder contour and both the big fluffy brush to blend or the medium rounded brush for precision. These areas should include the temples, down both sides of the nose, tip of the nose, under lip, round the nose cleavage, under the jawline and under the cheek bones. 

6. Apply a powder highlight where the white super colour was added, concentrating it on the tops of the cheek bones. 

Only highlight applied.

Extreme contouring

Here I added more black to make the look more intense.

I am really happy with the overall look and would love to experiment with some colour! If I were to do this again, I would have blocked out the pink colour in the cheeks to give it a more flawless look and I would have tried to make the cheek contour and temples contour parallel to each other. I may also not bring the cheek contour so close to the mouth. However I am really happy with the contour along the nose and think it would look really effective if done on both sides and I am also happy with how well the colours are blended into each other as there are no harsh lines that were not wanted.

Colour Theory and Makeup Looks

Colour Theory - The colour theory is almost like a fact file with different rules and guidance to help artists understand how different colours go or don't go together and how colours are mixed together.

Colour Wheel - The colour wheel is a chart, shaped as a circle, with different sections of colour and it is used to understand the relationships between each colours.

Colour Wheel
http://3.bp.blogspot.com/--76GA5xvmfs/UWfhqdUe3qI/AAAA
AAAAAcg/YkKPfmZmTXg/s1600/colour_wheel.jpg

Colour Complex - This is when the same colour can be interpreted differently by the eye when compared to different colours. The example below shows how the purple square on the left looks more pinky and brighter when compared with the blue, but when compared with the dark purple, it looks much more lavender.

http://facweb.cs.depaul.edu/sgrais/images/Color/Untitled-2a%20copy.gif

Makeup Looks

Analogous colours - One colour and the two colours either side of it. 

http://peppermintcreative.com/blog/wp-content/uploads/2007/08/ct_8.jpg

Below is a face chart I made with a makeup look using the analogous colours red, orange and yellow. I did a smokey eye with yellow on the inner corner and on the inner third of the lid, I then faded this into orange in the middle of the lid and then finally red on the outer third, into the crease and along the lower lash line. I kept the contour neutral with brown contour and slightly red cheeks. I then finish the look off with a bold matte red lip.

Complementary colours - Complementary colours are the two colours directly opposite each other on the colour wheel.

http://willkempartschool.com/wp-content/uploads/2011/08/colourwheel01.gif

Below is my makeup look I did on my model using complementary colours. I chose the colours yellow and purple as they are opposite on the colour wheel. I chose to put yellow on the centre of the lid, the centre of the lower lash line and the inner corner. I then put purple on the inner and outer thirds of the lid and lower lash line, I also put purple in the crease. I made the contour colour dark purple and then added a hint of purple to the apples of the cheeks. I gave the lips an ombre effect with yellow in the centre fading out to purple. 

If I were to do this look again I would make the bottom eyelash colours more defined and possibly add some purple false eyelashes. I would also make sure the lips were blended further, giving a smoother transition between the colours. I really like how the eye is highlighted with the yellow in the middle and how well the purple in the crease is blended out. 

Achromatic colours - White, black and all shades of grey.

Achromatic scale
http://theslideprojector.com/images/art200/thelanguageofart/achromaticvaluescale.jpg

I did a makeup look using only achromatic colours and below was my result. I gave my model a black smokey eye with white inners corners and white eyelashes. She had black eyebrows, black contouring and a white lip. 

I ram really happy with the effect of the white eyelashes over the black smokey eye because of the high contrast and I am happy with the shape of the eye shadow and how its blended. However I think the lips could have looked better as the outline doesn't look crisp enough. I think that having a black outline fading into the white centre could look fun or I could have used a lipliner to get a presses edge. I also think that the contouring makes her look a bit muddy so I would experiment with using more black and not using grey as a blush colour, but instead leaving it bare or with a white highlight. 

Monochromatic colours - All shades of a single colour. 

Monochromatic scale of red.
http://upload.wikimedia.org/wikipedia/commons/thumb/1/1a/CPT-
Websites-monochrome.svg/201px-CPT-Websites-monochrome.svg.png

I made a face chart of a makeup look using monochromatic colours, shown below. I used the scale above for red, focusing more on the lighter half than the deeper reds. I will mix a white super colour with a bit of red to make a very light pink and apply that as the base all over the face and down the neck. I will then add a red powder contour colour in the usual places and add white to the high points of the face. I will add red powder to the eyebrows and contour the eyes with a red eyeshadow in the crease and along the lower lash line and then add white eyeshadow to the inner corner and brow bone. I will then make the lips red.