Saturday, 12 December 2015

Biblography

Books
  • Aileen Ribeiro. 2011. Facing Beauty, Painted Women & Cosmetic Art. Published by Aileen Riberio (U.S). Chapter: Renaissance 78-82.
  • Fenja Gunn. 1973. The Artifical Face, A History of Cosmetics. Published by David & Charles (London). Chapter: Late Fifteeth and Sixteeth Centuries 70-88
  • Jana Ririalli & Lan Nguyen. 2009. Makeup is Art. Published by AOFM (UK). Chapter: Primers, Eyes, Highlighting and Lips. Pages 10-12, 16-26, 34-36, 44-55
  • Kevyn Aucoin. 1999. Making Faces. Published by Little, Brown and Company (New York). Chapter: The Innocent. Pages 106-108
  • Rae Morris. 2010. MAKEUP The Ultimate Guide. Published by Apple Press (UK) Third Edition. Chapter: Eyes. Pages 92 – 102
  • Richard Corson. 2003. Fashions in Makeup, From Ancient to Modern Times. Published by Peter Owen Publishers (London.) Third Edition. Chapter: Elizabethan Days 101-113
  • Susan Doran and Norman Jones. 2014. The Elizabethan World. Published by Routledge (Oxfordshire) Chapter: Society – Women. Pages 335-349



Websites



Films/Television
  • Elizabeth 1998 (Film) Directed by Shekhar Kapur

Queen Elizabeth films (referenced in one blog post):

  • Anonymous, 2011 (Film) Directed by Roland Emmerich
  • Mary of Scotland, 1936 (Film) Directed by John Ford and Leslie Goodwins
  • Shakespeare in Love, 1998 (Film) Directed by John Madden
  • The Tudors, 2007- 2010 (Television Series) Created by Micheal Hurst with various directors
  • The Virgin Queen, 2005 (Film) Directed by Coky Giedroyc
  • The Virgin Queen, 1955 (Film) Directed by Henry Koster


Exhibitions/Trips
  • Tudor and Elizabethan Portraits – National Portrait Gallery (15th October)
  • Backstage Tour – National Theatre (27th November)

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Technical File Sign Off

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Evaluations

Technical
Since the beginning of the project, my skills have grown massively within makeup application. I have never been involved with makeup professionally or been taught it properly before but I have always had a huge interest. I feel learning the basics like base application, contouring and lip application has been a huge help to start my skill set. I have really enjoyed learning these and tips like feeling the face to contour are aspects of makeup application that I will practise and use throughout my career. 

 A difficult area for me is working around the eyes as I have not had practise of this before, other than on myself. After weeks of practise and having a partner to advise me of my skills, this difficulty has become easier to overcome. I also have grown a lot in confidence working with a model and communicating throughout to make them feel comfortable. It can take me time to become confident in front of people so to show a new level of confidence on a professional level was a challenge. However, overall this first term of learning new skills has been very beneficial and a great start for the next three years and beyond. 
Peer Review
As a team, Tara and myself worked extremely well together making the assessments for both of us much easier. We had great communication throughout the process, used each other to gain technical skills and developed our creative designs together. Having many practise sessions gave me the confidence to put into a professional environment and complete a design within a set time - much like the industry will be. As it is my first time ever completing such a task I was apprehensive but being organised and well-rehearsed have been my strong points. 

I feel I was at a slight disadvantage never having been taught makeup or having the professional practise before and I found it difficult to adapting to creating someone else’s idea as opposed to applying my own. Interpreting and applying it in the way your partner pictures it to be is a challenging skill to learn and I have gained a new level of confidence to go for it and gain from my mistakes. It was tough for me initially to apply the products in the exact place or correct intensity but I was lucky to have a great partner who aided me with my technical skills and kept me calm! 

Final Evaluation
Since beginning this project, my skill set has massively improved in makeup application and design. Before starting at Solent, I have never applied makeup onto someone else in a professional context or have been taught it so I was extremely nervous about all the new information I would learn! However, I have enjoyed this term a lot and the skills I have been taught are invaluable. I am pleased that I have been able to grasp the basics of makeup application through learning things from how to apply bases to cream contouring, which are aspects in the world of makeup that will stick with me forever. 

I found it difficult adapting to working on many different faces. Before beginning this course I knew a major portion of my desired career is variety and having the opportunity to experiment, make mistakes and improve now has been extremely useful. It has taken me time to learn the correct ways of applying various products and recognising skin types but I have found the technical sessions with Sue very helpful. One aspect I have throughly enjoyed is being able to create a character through makeup and I cannot wait to experiment more with design over the next year.
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Peer Review


Peer Review of my partner Tara Page

  • Practical and professional skills: B2. Tara is very competent with her practical skills and demonstrated a great amount of creative thinking for the application of my design. Her ability developed over the period of working together to adapt to my desires and she extremely professional throughout.
  • Transferable and key skills (working effectively as part of a team): B1. Within our pairing, Tara gave me great communication with help and constructive criticism for me as artist and listened very well as the artist herself.
  • Transferable and key skills (problem solving): B2. Her work and designs were always clearly presented for me and she applies herself to resolve issues within our work together.

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Wednesday, 9 December 2015

Assessment: Me as Designer and Tara as Makeup Artist



Following myself being the makeup artist, my partner Tara took over the role and completed my New Elizabethan design. We have had many practises to perfect the look and I was very confident in Tara that she would bring my idea to life. The final photos show the New Elizabethan bridal character I wanted to be created and shows Tara's technical skills she has quickly built up over this term.

To begin her assessment, she had a clean station with well organised products and tools and images of my makeup, face charts and instructions taped to the mirror. Tara took her time with applying and blending my base but this was the one of the most crucial elements of my look as I wanted it to be glowing and flawless. She created the right shade to mirror my idea of having a natural looking pale complexion. She applied the blush in all the correct places but because of the pigmentation of the product it took Tara some time to blend it all out. Tara also made sure to blend the colour into the hair line and jaw after my feedback on previous attempts so the blush looked great in the final photos.

Tara then tackled the most challenging and time-consuming section of my design – the eyes. Although, because of all our practise sessions Tara was very confident in the steps to complete the design and plotted the shape, filled it in and layered on the copper pigment. At one point, the shapes were not symmetrical on both eyes but that was
quickly solved by Tara correcting it with concealer. Tara did not panic and remained calm throughout the whole process! The completed eye look was exactly how I imagined and Tara had remembered to layer lots of powder under my eyes to make sure the rest of the look was not ruined by fallout. She lightly coated my eyebrows with the white skin base quickly and finished the look by completing the lips. Tara wanted to perfect the glitter that was layered on top so in the images they were not cracked or patchy. This did mean a lot of layering and a lot of not moving my mouth until the photos were shot! But I love the lips and I feel like Tara taking the extra time to perfect them really finished the look off well.

As a few of the sections of my design were fiddly and more complicated to perfect, it did affect how much time Tara had in the assessment. She finished at the end of the time limit to make sure she perfected the look and I feel she had great time management to make sure she had enough time for each step. The only thing I would potentially advise Tara next time is to really get stuck in with buffing products onto my face to get the desired look quicker but as it is both our first times doing this she really did her best! Tara was a great artist and completed my look exactly how I wanted it and we really bonded as artists and designers through lots of communication and extra practise sessions.  


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Assessment: Tara as Designer and Me as Makeup Artist


Following many trials and practise sessions, the time running up to the final makeup assessment was filled with stress! However, thankfully the extra sessions with my partner Tara did fill me with confidence when it came to applying the look on the day. I am very pleased with the final outcome in the photos as Tara explained they were very much how she pictured and I believe it was my best application so far.

To begin the hour and ten minutes, I set up my station with Tara's face chart, step by step and photos from our previous practises. For health and safety, I covered my model, checked for any skin complaints that had not been present before this trial and checked for contacts. I had all my products and tools set out and began on the base. Tara wanted a very glowing and dewy pale complexion that had a flawless finish. As I applied the primer quickly and then took more time to buff in more satin primer and the combined skin bases over the top, I produced a base much like Tara described. Applying the silver liquid metals as a highlight was one of the time consuming details to learn and apply as Tara was particular in where she wanted the shine and how blended it was. After the trials, I felt confident in my placement and managed to complete this stage in good timing with a successful results with an symmetrical placement around the face that was obviously silver and shining but blended. For the lips, I added some white and dabbed silver into the centre carefully to not distract from the rest of the look.

In Tara's design, for some reason the eyes always took the longest!! In trials I often put the shadow too high before blending or the shape became too angular and not blended. But after Tara's help and good communication I found a technique of adding the layers of lipstick then lots of powder and then blending just in the socket of her eye to get the softness she desired. I was very relieved when Tara was pleased with this aspect as it was one that frustrated us both! I proceeded to fill in her eyebrows evenly with a grey shade and brushed silver through the hairs at the end of her brows. The most challenging aspect of this design was the blood tear. Previous attempts were too thick, too long or we did not have the right product to create Tara's design. In the final assessment I mixed bright red shadows with a fair amount liquid mixing medium to create a substance that will drip enough for me to deepen the colour in the natural tear drop shape. This was the most successful attempt of the tear and Tara was happy with the finish. I did find it challenging to work around the eyes so much but it is great practise for my future career.

The most challenging aspect of this assessment was the time limit. In the beauty world there is always going to be a time limit, whether I will be on a set or a wedding, and this project has really aided me with getting to grips with this crucial aspect of being a makeup artist. I did complete the look with seconds to spare as I really wanted to finish the look perfectly, however, I wanted to finish a little early to go over everything one more time. If I were to do this look again on my partner, I would get the basic look done in good time and perfect after. Also, this time the hand print was less defined as the previous attempts and this was unfortunately something that is hard to control as I was using my hand to print the colour so it could smudge definitely each time.


Tara was a great partner to have as she was always prepared to let me practise on her inside and outside lessons. She had great commitment to our work and always helped me with constructive criticism and technical skills I could adapt to fit her design. We also worked well with choosing and mixing the correct products to achieve her ideal look. Overall, I would love to work with her again and will miss having her to practise on as she is a fabulously patient and happy model!


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Tara Page's Consulation Notes


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Tuesday, 24 November 2015

3rd Makeup Application Practise Session (Tara's and My Designs)

Tara's Design (Me as Makeup Artist)
For our final practise sessions we wanted to perfect the looks in the allocated time slot of an hour and 10 minutes. When I did Tara's makeup I applied the makeup following her step by step and list of products to create the look with the techniques I have used in our previous sessions and Tara gave me her feedback after. 

 I completed just in the timeframe (almost the full hour and 10 minutes) and Tara was pleased overall. In this trial run Tara felt the eyeshadow came to high and wasn't round enough. We agreed that for the assessment I will just apply the colour on her eyelid and blend out from the crease to have more control on the shape and softness. I feel the eyes are the most time consuming for me to do so now we have found a quicker technique I should be able to achieve the look much quicker. She was much happier with the tear drop this time as it was thin and delicate and we also used fake blood in the tear duct to add wetness to make it look more realistic. The silver glow was in all the right places, however, I think that the chin and underneath the cheekbones needs a bit more blending to make sure there are no lines or too much product built up in one place. Overall, I am confident I will be able to complete the look in the allocated time and apply the look how Tara designed it to be.

Also, for Tara's hair we decided to have her hair in milkmaid braids with loose curls framing her face to leave the focus on her makeup but the style will be messy to incorporate her New Elizabethan lady-in-waiting character design.

My Design (Tara as Makeup Artist)
In Tara's practise session she completed the makeup with about 20 minutes to spare. However, in this lesson we did not have all the products to complete the lips so we left this step out and Tara was confident with the amount of time left to apply the lip products. 

 Tara perfected the base by buffing it into the skin a lot to leave a flawless base and applied the glistening blush in all the correct places. I noticed that it needs to be blended further into the hairline on my forehead so there isn't a line (the two photos on the left show the difference after she blended it more). Tara has also got to grips with the shape I designed for my eyes and completes the eye process much quicker than before. She also applied more cream highlighter on top of my cheekbones but also on my cupids bow, forehead and nose which I feel perfects the skin more to add to the glowing 'bridal' look I designed. This was a very successful final trial before the assessment and I am very confident that Tara will create the look beautifully on assessment day.

We also decided after this practise that instead of having my hair scraped up and away from my face, I would have my hair curly with two plaits on each side to pull away the hair from the face to frame the makeup. We want to have it down and curly to embrace the bridal aspect of my New Elizabethan lady-in-waiting.
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Sunday, 15 November 2015

2nd Practice With My Design (Tara as Makeup Artist)

Following my second attempt of Tara's design in our second practise session, Tara then had another go at perfecting my New Elizabethan makeup design. As I am extremely pleased with the outcome, there are lots of photos from my phone and also on a Canon 550D with a 50mm lense to see the outcome in a photograph  that will be taken on the assessment day.
The same process was used from our first attempt but there were some additions to really make the skin glow and the lips pop:

  • Tara used two products in her own kit to make my skin and cheekbones glow even more than the first attempt - a cream highlight from Topshop called Glow and a powder highlight from MAC called Soft and Gentle. These were layed on top of each other to get the glow that is obvious and beautiful in both types of photos (on mobile and in the 550D).
  • Tara did not powder until the very end to avoid trouble blending the cream products
  • The blush we used was more iridescent and sheeny (Illamasqua - Ambition) to add to the glow-from-within look I want in this bridal look. Tara also worked it in a lot more so it was blended but still obvious in photos so the flat didn't look flat
  • A lipstick from Nars was used (Decanso) instead of mixing the colours in our kit to get the perfect colour I wanted
  • A lot more of the multi gel was used on the lips to create an opaque finish
  • Eyelashes were curled before the application of the white
Tara completed this look within the time limit and I feel this attempt is amazing! All the parts of the skin I wanted to be dewy are, included the sheen on the eyes, and the blush is much more obvious in the camera and added more dimension to the skin - making it a more interesting look. Tara has perfected her technique to apply the eye makeup - which was the most time-consuming aspect - which has made her much more relaxed about the whole thing! The only step that was missed by accident was concealing under the eyes which will be included to finish off the flawless base. Overall, everything went to plan but the only thing I would change is that the blush applied on the forehead needs to be blended a bit more as in the 550D photos it is quite an apparent line up close.

Above are some close ups of the complexion and the eyes (which look beautiful I think!!!). The next set of images were poses Tara asked me to do to portray my character more through the photos. The first was to indicate my love on my wedding with my hand on my heart. The second was more of a 'dreamy' look and the third image shows that I would be wearing a white fur collar (which I discussed in my character design) which I would be holding and would try and convey a flirty look with a smirk or open and glossy eyes looking directly at the camera.
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Saturday, 14 November 2015

My Makeup Notes for Tara as the Artist

Consultation Notes for Ellie Nevill's Makeup Design –
Makeup Artist Tara Page

Equipment list:
  • Gown
  • Cleanser, Toner + Moisturiser
  • Cotton Buds and Pads
  • Expert Face Brush
  • Kabuki Brush
  • Rounded Brush
  • Small Foundation Brush
  • Blusher Brush
  • Contour Brush
  • Flat Top Brush x3
  • Blending Brush x2
  • Foundation Brush
  • Powder Puff
  • Powder Brush
  • Duo Fibre Powder Brush
  • Angled Brush
  • Small Lip Brush
  • Disposable Mascara Wands

Products:
  • Illamasqua Satin Primer
  • L'Oreal Lumi Primer
  • Illamasqua Skin Base in 001
  • Illamasqua Skin Base in 5.5
  • Kryolan Camouflage Concealer Palette
  • Topshop Cream Highlighter in Glow
  • MAC Highlighter in Soft + Gentle
  • Illamasqua Sculpting Duo
  • Illamasqua Liquid Metals Palette
  • Illamasqua Pigment in Beguile
  • Illamasqua Loose Powder in Translucent
  • Mac Pigment in Copper
  • Illamasqua Blusher in Ambition
  • Nars Lipstick in Descanso
  • Kryolan Multi Gel in Pink

Method:
  • Set up work station and check all needed products and equipment are out
  • Cleanse, tone and moisturise the model's face
  • Apply a mixture of both the primers all over the face with the expert face brush to buff it in fully
  • Mix both skin base shades to make a foundation colour a shade lighter than the models and apply with the same brush as the primer to make sure it is glowing
  • Apply a concealer shade that matches the base and apply.
  • Buff all the base into the skin to achieve a flawless finish
  • Use a small foundation brush to apply the cream highlight on the tops of the cheekbones, on the nose, chin and cupid's bow and go over this application with the powder highlight to intensify
  • Plot out the shape of the copper shades of eyeshadow with a flat top brush and the copper liquid metal shade and fill in
  • Blend the edges to make sure there are no lines
  • Apply loose powder heavily under the eyes to catch any fallout of the eyeshadows
  • Apply the copper pigment with a flat top brush onto the eyes
  • In the middle of the eyes and under the lash line, apply the silver shade from the liquid metals palette in the centre of the eyes
  • Over the top of the silver, apply the Illamasqua pigment with a flat top brush and blend to create soft edges
  • Powder the forehead and under the cheeks to these areas
  • Apply the blush heavily on the cheeks and blend
  • Spread this colour onto the temples and under the jaw and blend
  • Apply the lip colour with an angled brush
  • Layer on the multi gel onto the lips to create an opaque layer of glitter
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2nd Practice with Tara's Design (Me as Makeup Artist)


Tara and I took the oppotunity to use the studios on friday evening to get an extra practise session. The image above is my finished photographed second attempt of Tara's makeup design. We have been using a Canon 550D and a 50mm lense after our makeup application to test how the makeup appears under the light and in the images that will be taken in the assessments.

 I followed the same procedure I used on oru first attempt, which I explained on this blog post, but some things were added to give the finish Tara wanted. These changes are as follows: 

  • Use a mix of the Illamasqua Satin Primer and L'Oreal Lumi Primer to create a very glowy base that prevails through the base
  • Add a shimmery eyeshadow over the silver highlight to amplify
  • After applying the red lipstick as a base for the eyes, use translucent powder to set so there are no creases on the eyelids
  • Blended the white lips more into the skin around it so they do not look too obvious
  • The tear was create with red eyeshadow and mixing medium instead of water (it was still painted on). Fake blood was added in the tear duct and dripped down slightly to add more dimension to the tear
I feel this attempt was much more successful in regards to what Tara designed and wants in the final photos. The skin is much more visibly dewy and the silver is more striking in the completed look. The eyes are nicely blended and were not creasing when photographing and the tear is less bold and flat. I do feel it still is completely how Tara wants it as it is still slightly too thick so I will try and perfect this in another practise before the assessment. She was also happier with the placement of the bloody hand so I will repeat this next time. I feel that in this second attempt the whole look ties together a lot better and I am very pleased that overall Tara is happy with it. Next trial session I will be able to practise this exact process and perfect the blood tear.
We also tried out some more ideas for poses for photos we want to have for portfolios in the future. I asked Tara to have more emotion when placing her hands on her head to look distressed and upset (to go along with her character). The other two images we wanted to portray her subtly as sorrowful and lost.
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Tara's Makeup Notes for me as Artist

Step by step for Tara's makeup design

Tools

• Flat foundation brush
• Kabuki Brush
• Fluffy powder brush
• Flat eyeshadow brush
• Fluffy blending brush
• Small blending brush
• Very fine artist brush
• Angled brush

Products

• Luminous primer
• Foundation pallet
• Illamasqua skin base 001
• Illamasqua loose powder
• Illamasqua liquid metal pallet
• Colour Infallible eyeshadow by L’Oréal in the colour 001
• kroyaln lipstick pallet
• Kryolan Bright’s pallet
• Mixing medium
• Fake blood
• Matt grey toned eyeshadow

Method

• First using your flat foundation brush apply the luminous primer all over the face.
• Next apply your foundation to the face and lips with the same brush, a couple shades lighter than the natural skin tone, mix some primer into the foundation to make it super luminous.
• Now buff in using your kabuki brush.
• Apply concealer in the same shade as the foundation to the under eyes and any blemishes.
• To highlight the face mix the two silvers from the liquid metal pallet together and apply to high points of the face concentrating on the cheekbones.
• To intensify this highlight you can put a colour infallible eyeshadow by L’Oréal in the colour 001 time resist white on top using a fluffy powder brush.
• Use loose powder to matt down the areas where you haven’t used the silver.
• Place allot powder underneath the eyes to catch any fall down.
• For the eyes first start by using a flat brush and apply a red lipstick from your kroyaln lipstick pallet in a round shape just above the crease and under the eye.
• Blend with a fluffy brush.
• Set the lipstick with a loose powder.
• Now to intensify this colour apply a red eye shadow from your Kryolan Bright’s pallet with a flat brush only to the mobile lid.
• Now buff the edges using a blending brush so that the colour fades from dark on the lid to light around the edges.
• Use a small flat brush to push the red on the bottom lash line and blend out, take the colour all the way to tear duct.
• Blend the colour slightly, but not to low down.
• For the eyebrows fill then in using a matt grey toned eyeshadow and an angled brush. Using a mascara wand brush through the brows with a small amount of silver from the Liquid Metals pallet.
• For the lips on top of the foundation apply a small amount of sliver in the centre.
• Now to create the tear mix red eyeshadow with mixing medium from Ilammasqua and paint on using a very fine brush. In the tear duct area place a small amount of fake blood and allow to dribble down slightly.
• Finally for the Hand print cover your hands in red supra colour, now place the hand on to your models neck to make the print.
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1st Practice With My Design (Tara as Makeup Artist)


In this practise session, I handed my design over to Tara and she was able to have her first go at translating my design to my face. 

 Tara began by applying my base. As described on my face chart, I wanted to mix a foundation shade that matches my skin with Illamasqua skin base in shade 001. In Tara's kit she has another Illamasqua skin base in 5.5 that suited me and had a lovely dewy finish so we decided to mix the two together to create the pale complexion I wanted. Tara then concealed under the eyes with a mix of concealers from the Kryolan Camouflage palette to finish off creating the flawless base. 

 The next step was to create the heart-shape eye makeup with coppers and silvers. The illamasqua liquid metal copper shade was used as a base for the eye makeup for Tara to map out the shape and create a layer for the pigment to sit on and be amplified. Copper Pigment by MAC is used to create the final colour on top of the base and I chose this product as it is very opaque, leaves a beautiful sheen and is easy to blend. In the middle section of the eye look, the silver shade from the liquid metals palette is use. Beguile pigment by Illamasqua is placed on top and on the bottom lash line to finish off the eye shadow. A small amount of Skin Base in 001 was applied onto the eyebrows with a mascara wand to subtly colour and shape them and the eyelashes (top and bottom) were coated in this colour. 

 A small amount of contour was added from the Illamasqua Sculpting Duo in the hollows of the cheeks to shape my face. Following that, the light pink from the Classic Blush palette
from Kryolan was usedd on the apples of my cheeks to added to the complexion and was placed in that way to reflect back to the trend in the Elizabethans. To complete the look, Tara applied the light pink shade from the Kryolan Lip Rouge palette all over the lips. The shade was not right for my look as it had blue undertones and was almost to 'barbie' like for a bridal look. A nude shade was added on top but we were going to look for a lipstick to use alternatively next practise session. Tara applied the multi gel glitter in a heart shape onto my lips. We both agreed it looked a bit out of place so it was applied all over quite heavily to create an opaque layer of glitter. 

 Overall, I was extremely please with the finished look for the first attempt. The eyes are almost perfect. The shape is exactly how I wanted it apart from a little more blending needed and the corners by the end of the brow are too angular - both of these point I passed onto Tara for next time. The base was lovely too, however, I do feel it does need to be a bit more glowy so more products may be needed for highlighting or more dewy primers. Also, after showing Sue the finished look she advised us both that something was needed on the forehead so the blush was blended up onto the temples and jaw line which was more effective in the images. However, I would like to make this change much more obvious in the makeup look to show up more dramatically in the final photos. I would also ask Tara to make my lips more defined next practise session. Finally, we both agreed that the eyelashes will need curling to be more visible. 

A few snapshots of the steps included in the design 
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Thursday, 12 November 2015

1st Practice with Tara's Design (Me as Makeup Artist)

Today was my first try-out of Tara's makeup design. Her character has been accused of killing the queen and is dreadfully distraught following this event as she was a loyal lady in waiting. Tara included a pale base to reflect the Elizabethan trend, silver as a highlight to make the skin very dewy as well as being ghost like and the eyes are red to reflect sadness and anger with a blood tear drop to finish the look.
1st stages of the makeup design
To begin this attempt, I mixed the Illamasqua satin primer with Illamasqua Skin Base in 1 and Kryolan Ultrafoundation in Ivory to create a pale complexion that isn't completely white. I concealed by mixing D3 Camouflage Concealer with the skin base under the eyes and on any blemishes. Following the base, I used a combination of the Liquid Metal colours Surge and Phenomena to create Tara's desired finish for her glowing skin. I added this colour to the tops and sides of her cheekbones, on the brow bone, nose, cupids bow and forehead. The next step was the eyes. I started by applying LC007 and LC008 from the Kryolan Lip Rouge palette all over her eyes and above the crease to create a base. I blended the base out to have very soft and rounded edges. I then applied the deep red shade from the Kryolan V2 palette just on the lid and packed on lots to create an opaque layer. Again, I blended the powder to keep the soft finish that has a strong intensity of colour. We created the product to produce the tear with the red eyeshadow and water and painted it on with a thin brush. I painted Tara's lip with the Skin Base in 1 and dabbed silver into the middle. The eyebrows were filled in with a grey shadow and I brushed the silver liquid metal colour on the ends to have them defined but more subtlely and less contemporary (the silver is almost to blend in the eyebrows with the rest of the silverly dewy skin). Finally, I painted my hand with the bright red Supracolour and pressed the colour onto her neck to resemble someone grabbing her neck.

The rest of the process

I am pleased with the base, eyes and neck for my first attempt. I feel the base is full coverage with a glowy base - which Tara asked. The silver highlight took me a while to postion correctly and have the right density on her face. As I have now had a practice, hopefully my next attempt will be much quicker as I will be confident in my placement and application. Tara was happy with the softness of the blending on her eyes as it was much like her trials. Again, it took me some time to get the right rounded shape that she desired. I would powder after applying the lipstick base on the eyes to reduce creasing that was apparent in the photos at the end. The lips were neat and have a subtle sheen which works well as it does not distract from the rest of the look but is in-keeping. 


Close-ups!
Following this attempt, I would like to improve the tear drop. As it was my first time using the combination of water and powder I was not sure what consistency we needed it to be to be runny enough to drip. I had trouble as when I put too much water the colour was too transulcent and if there was not enough water I had to paint the tear on and it did not look realistic. In our next trial, I will use more water than I did in the images to let it fall naturally and paint in any faintness. Also, as it was my first go it took me over the hour and ten minutes limit so I will speed up the process now I know what I'm doing!
Trying some angles and poses for the final photoshoot
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