Showing posts with label Technical File. Show all posts
Showing posts with label Technical File. Show all posts
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.
Final Design
To begin with the base, I have decided to keep a dewy and pale complexion but make sure it's not white. I want it to be contemporary with a nod to the white bases Elizabethan women created. Also, as I am creating a 'bridal' look for her secret wedding day I want the skin to be flawless and fresh. For the cheeks, very little contour will be used just to shape my face and bring out my cheekbones slightly to emphasis the natural 'beauty' for a wedding day. I want the pink blush to be quite heavy to reflect back to ideas behind mixing reds and whites for my Lady in Waiting and to also incorporate the technique used by the Elizabethans to have thick powder on the cheeks. A highlight shade of either a pale shimmery eyeshadow or the Illamasqua highlighter to add to the glowing skin I want.
I chose to have the eyeshadow in unusual placing to emphasise the softness aspect, rather than having an obvious 'smoky' eye, but to also hint towards a heart shape that is very often used as a symbol in Elizabethan hair and makeup. There will be a copper shade placed on the eye to plot out the shape and create a base and then the Copper pigment will be placed on top with a damp brush to intense the colour massively. I want the eyes to be very soft so the edges must be blended a lot. A silver shade (liquid metals palette) would be applied in between the copper sections to make the eyes appear bigger and to finish off the glossy eye look. The eyebrows will have a white colour run through them quickly to not completely block them out but to be styled in an Elizabethan manner. I want to leave a lot of emphasis on the eyes to relate back to my story behind Lettice Knollys, the way her eyes were not always on her first husband as she had an affair and therefore her eyes may have been 'wandering' onto other men or by making the eyes elaborate and glossy it will attract men to her.
Finally the lips will be coloured with a mixture of a pink and nude shade to show a contemporary modern bridal style. Copper glitter will be added to the centre to add to the alluring aspect of my interpretation of my Lady in Waiting.
To finish off the look for the photos, I want to keep my hair off my face completely. I will use this image from Zhang Jingna's shoot in Harpers Bazaar to style my hair into a plaited updo. This will reflect the high hair line and plaits that were incorporated in the Elizabethan style.
Modern Application of Elizabethan Techniques
Products used:
Consulation Notes:
Name: Tara Page
Age: 19
Hair type: Short length, very thick. Dark blonde with highlights - dyed
Skin type: Oily/combination
Skin tone: Light (pink undertones)
Eye colour/shape: Blue/Round + even shape
Allergies: N/A
Contraindication: N/A
Notes: concerned with breakouts - use sensitive products
produce white eyebrows, I rolled a mascara wand in
a mixture of a white Supracolour and the Illamasqua skin base and
brushed the products through Tara's eyebrows. As her eyebrows were
quite dark, Sue advised me to brush the product against the way her
eyebrows sit to get the product to the root of the hairs and remove
all colour. I also applied a white eyeshadow to help this and I am
very pleased with the result. However, as the base is quite light and
I applied a lot of the product in her brows to cover the colour, they
do stand out more so than originally planned (as they are meant to be
hidden). In contemporary terms, this could be an originally aspect to
include as 'feral' brows are a recent trend and having a white
version of this could be a clever mixture of historical and modern
ideals.
The next technique we practised was creating very blushed 'apples of the cheeks'. As opposed to modern trends of light blush blended up the cheekbones, the Elizabethans would place the colour only on the front of the cheeks, or the 'apples'. I chose to mix red and light pink together (Kryolan Blusher Palette) to create a modern peachy tone with this historical technique. The lips were dabbed with a mixture of the peach and nude pink tones from the Lip Rouge palette and were finished off with a dusting of translucent powder to create a soft and perfected look. Each of these skills could be carried across and translated into my New Elizabethan design to show a combination of historical and modern colours and techniques.
- Illamasqua Skin Base in 1
- Supracolour palette
- Illamasqua Eyeshadow in Sex
- Kryolan Classic Blusher palette
- Kryolan Lip Rouge palette
- Kabuki Brush
- Disposable Mascara Wand
- Flat Top Eyeshadow Brush
- Blusher Brush
- Powder Brush
Health and safety:
- Cover model
- Check for contact lenses
- Check for and ask model about any skin complaints or allergies
- When applying shadows or mascaras, ask model to close eyes and work carefully
- Make sure all brushes are clean
- Wash hands
- Do not double dip with products
Name: Tara Page
Age: 19
Hair type: Short length, very thick. Dark blonde with highlights - dyed
Skin type: Oily/combination
Skin tone: Light (pink undertones)
Eye colour/shape: Blue/Round + even shape
Allergies: N/A
Contraindication: N/A
Notes: concerned with breakouts - use sensitive products
This lesson gave us the
opportunity to experiment with contemporary makeup techniques and
ideas to create our New Elizabethan character. We began by applying
the base. For Tara I used the Illamasqua Skin Base in 1 and applied
it with a kabuki brush to buff it into the skin. This left a thin and
glowy layer which is the desired application and finish I would like
in my modern interpretation of my Lady in Waiting. I then proceeded
to re-create the trend of 'no eyebrows' the Elizabethans had through
the Golden Age. To
The next technique we practised was creating very blushed 'apples of the cheeks'. As opposed to modern trends of light blush blended up the cheekbones, the Elizabethans would place the colour only on the front of the cheeks, or the 'apples'. I chose to mix red and light pink together (Kryolan Blusher Palette) to create a modern peachy tone with this historical technique. The lips were dabbed with a mixture of the peach and nude pink tones from the Lip Rouge palette and were finished off with a dusting of translucent powder to create a soft and perfected look. Each of these skills could be carried across and translated into my New Elizabethan design to show a combination of historical and modern colours and techniques.
New Elizabethan Face Charts
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After coming up with these look, I used a couple of books to start thinking of how aspects could be applied to my face and what type of products could help achieve the look I am wanting to have.
Makeup is Art by Jana Ririalli & Lan Nguyen
- Silicon primers will help smooth over fine lines o form a smooth base for foundation to go on more smoothly.
- Lipsticks that are cream or satin textured have a smooth appearance with a touch of sheen that appears almost moist.
- On the catwalks, cream shimmers are often applied to the face first, then a powder shimmer is applied on top to create a strong reflective effect.
- Loose pigment can be applied on the eye like shadow, but will need a sticky surgace to grip onto such as a cream shadow.
MAKEUP The Ultimate Guide by Rae Morris
- [Metallic eyes] Prep the eyes but don't apply a powder and use a wet brush to apply a wash of metallic pigment to whole eyelid.
- Apply a rose-gold pigment over the whole eyelid. Then apply a strong copper pigment over the lid but not as high as the first colour. This will blend the colours beautifully.
- Wetting the brush intensifies the colour and stops fallout.
Making Faces by Kevyn Aucoin
- Outline the lips with a flesh-toned pencil and soften with a cotton swab. With your fingertip, apply lipgloss to center of bottom lip and smack
Eye and Lip Makeup Application
Products used:
- Mac Cool Neutral palette
- Illamasqua Loose Powder in Translucent
- Flat Top Eyeshadow Brush
- Blending Brush
- Cotton buds
- Lip Rouge palette
- Angled Brush
Health and safety:
- Cover model
- Check for contact lenses
- Check for and ask model about any skin complaints or allergies
- When applying shadows or mascaras, ask model to close eyes and work carefully
- Make sure all brushes are clean
- Wash hands
- Do not double dip with products
Consultation notes:
Name: Charlotte Roth
Age: 18
Hair type: Long, dark hair
Skin type: Combination
Skin tone: Light - medium with yellow undertones
Eye shape: Even eyes
Allergies: N/A
Contraindication: N/A
Eyes
In this lesson, I worked on Charlie who's had 'even eyes'. This meant for the application of the eyeshadow I would need to shade the outer edge of the socket line whilst lifting it slightly.
To achieve the final look shown above, I began by applying a base around the eyes to prime the lids. As I was using powder shadows (Mac Cool Neutral Palette), I powdered her eyelids first with loose translucent powder to set the surface. To reduce fallout affecting the rest of the makeup, I also layered loose powder under the eye so any eyeshadow can be brushed away.
I applied the lightest shade all over the lid first (After Dusk) and then went to a darker shade in the crease (Blackberry). After each stage - light to dark - I would add it to the other eye to make sure it stayed even throughout. I also asked Charlie to close her eyes as often as possible to check the shadow application in the mirror in front to make sure they matched. Sue advised us how mistakes can be blended out with a cotton bud which was a tip that will be very useful! After the colours were applied, I proceeded to blend and blend and blend! Until I was completely happy with the finished look.
For the brows I applied Brun with an angled brush and feathered the colour through the natural shape to fill in any gaps. To finish off the eyes, I applied a mascara and curled the lashes. I am very happy with the result as I feel the shadows are well blended and the colours actually suited Charlie's eye colour. In future, I would be more careful with the mascara as I did have to go in with a cotton bud after the clean up the edges! I also think I would applied the deeper shade of shadow along the lash line to smoke out the look further.
Lips
The lips were filled in with LC010 from the Kryolan Lip Rouge palette. Charlie's lips were in good condition so no moisturiser was needed. I applied the colour to the back of my hand and worked the colour into the lips by starting from the middle and blending it out. I used an angled brush throughout to keep sharp lines with the cupids bow and the lip line. I powdered the lips slightly to reduce shine and perfect the look. The technique of using an angled brush made the application very easy and I feel the lips were had a lovely natural finish.
Applying Bases + Contouring Practise
I have created a short film of me practising the techniques we have learnt in our technical file from the start of term on three different people with different skin types.
Shaping the Face - Contour, Blush and Highlight
Products used:
- Kryolan Ultrafoundation palette
- Illamasqua Satin Primer
- Kryolan Camouflage palette
- Kryolan Classic Blush palette
- Illamasqua Sculpting Duo
- Foundation Brush
- Kabuki Brush
- Powder Puff
- Small Blending Brush
- Blusher Brush
Health and safety:
- Cover model
- Check for contact lenses
- Ask model about any skin complaints or allergies
- When applying shadows or mascaras, ask model to close eyes and work carefully
- Make sure all brushes are clean
- Do not double dip with products
- Wash hands
Name: Bronya Leavesley
Age: 20
Hair type: Medium length, blonde hair - dyed
Skin type: Combination/Oily
Skin tone: Light with pink undertones
Eye shape: Even eyes
Allergies: N/A
Contraindication: N/A
At the beginning of our technical session with Sue, we were asked to add the base initally to our partners face to have a blank canvas for the contour and highlight. Bronya has a normal skin type, with tendencies to be dry, that has pink undertones. To approach this, I mixed the lighter yellowy tones from the Kryolan Ultrafoundation Palette and applied it on top of a satin primer. To start highlighting process, I mixed concealer shades D1 + D3 from the Kryolan Camouflage Palette that were slightly lighter than her natural skin tone. With this mixture, I applied it in a C shape from under her brow to on top of her cheekbones. I also applied this shade in the centre of her forehead, on the bridge of her nose and her chin. To further accentuate the cheekbones after contour, I added the highlight shade under her cheekbones as well.
For contour, I used a combination of the medium and dark shades from the Ultrafoundation palette to create the perfect contour shade that would be blend-able and natural looking. I asked Bronya to suck in her cheeks so I could feel her face and place the contour accurately so it only brought out her natural attribute as opposed to changing the shape of her face or distorting it. To apply the colour, I dabbed it with my finger and blended it out with the aid of a small rounded brush. I brought that same colour up to the temples, on the sides of the nose and under her jaw. All those areas are not always necessary to cover but for this practise session I wanted to explore the results.
A combination of the pink shades from the Kryolan Classic Blush palette was used on Bronya's cheeks. To finish off the face, I applied the highlight shade from the Illamasqua Sculpting Duo on the tops of her cheekbones and powdered her face.
I feel like this attempt was successful as her face does not look heavily covered by makeup and the contour does not look 'muddy'. In future, I would apply the blusher less heavily as in real life her cheeks were very flushed before I applied another layer of powder! This skill has been one of my favourites to perfect and will be useful in any makeup look.
Modern Elizabethans Bases
In the lesson with Kat today we were experimenting modern foundations, brushes and techniques to decide on a base that we would find best to work with for our New Elizabethan makeup design.
Products used:
Illamasqua Skin Base
For the first trial, I used a matte primer to ready Beth's face for the application of the Skin Base (in shade 1). I decided to use the matte primer for this application as my research has shown me that often the finish of the complexions were almost dusty and chalky following the concoction of materials that were used of Elizabethan women's faces. After applying the Illamasqua Matte Primer with a foundation brush, I then proceeded to apply the Skin Base with the same brush. As I applied it, the base was quite streaky and sheer but I buffed it in soon after with a kabuki brush to even out the skin and work the base into Beth's complexion. It became a sheer-to-medium coverage, however, it was not build-able at all as I went to put another layer on, the previous layer of white would brush straight off. Finishing the look off, I used the Illamasqua Loose Powder and this helped to achieve the powdery/dusty look I was aiming for and allowed the base to set for further powder products (if needed). I feel like this is definitely an option to use for my contemporary Elizabethan look as the slightly lighter finish is a more modern look I prefer, but I do feel a heavier base would be a more effective way of tying in the Elizabethan theme.
Kryolan Aquacolour
I became the model for the second experiment and we used a water-activated base. Beth used a matte primer to begin with on my face. As Beth started to mix the white colour with water, we both were not sure what the ratio between the two should be. Beth dipped her brush into a small bit of water to mix a reasonably thick consistency. The base was applied with a foundation brush and we found the mixture dried very quickly and became hard to work with. Streaks appeared so Beth attempted to buff the product into my skin, however, as the aquacolour had dried the product started to crumble off. With more practise, this method would become effective, however, the coverage and application was not the best we tried in this lesson.
Kryolan Suprabase
Chloe applied the third chosen base onto my face. We chose to try the Illamasqua Satin Primer as a base for the colour. The application of the Suprabase became difficult for Chloe as the primer had not sunk into my skin and the texture of the satin primer made the grease-based product slide around my face. This left the finish very sheer and glowy. This was not the intended result, so Beth and I attempted it again at the end of the lesson.
For the second attempt, Beth applied the Matte Skin Base to begin with and let it sink into my skin. Beth then proceeded to add the Suprabase with a foundation brush and buffed it in with her kabuki brush. The finish was then medium-high coverage and yet still added a sheen to the skin. This approach became Beth's and mine favourite technique and finish. White dominates the face and adds the Elizabethan complexion to the model but also has the contemporary trend of glowing skin - tying the two together and creating the perfect New Elizabethan base.
The process of trialling and testing base products on each other and becoming the model are both two new things I have never experienced before. The experiments with different bases and their formulas has given me the confidence to judge what type would be suitable for a client and the brief. I also became more familiar with the types of brushes to use and when to use a setting powder to create the desired finish. Being the model for Beth and Chloe gave me the opportunity to understand the pressure that is applied and the help I can give to my peers throughout the process.
Products used:
- Illamasqua Skin Base in 1
- Kryolan Aquacolour
- Kryolan Supracolour
- Illamasqua Matte Primer
- Illamasqua Satin Primer
- Foundation Brush
- Kabuki Brush
- Powder Puff
Health and safety:
- Cover model
- Check for contact lenses
- Ask model about any skin complaints or allergies
- Make sure all brushes are clean
- Do not double dip with products
Illamasqua Skin Base
For the first trial, I used a matte primer to ready Beth's face for the application of the Skin Base (in shade 1). I decided to use the matte primer for this application as my research has shown me that often the finish of the complexions were almost dusty and chalky following the concoction of materials that were used of Elizabethan women's faces. After applying the Illamasqua Matte Primer with a foundation brush, I then proceeded to apply the Skin Base with the same brush. As I applied it, the base was quite streaky and sheer but I buffed it in soon after with a kabuki brush to even out the skin and work the base into Beth's complexion. It became a sheer-to-medium coverage, however, it was not build-able at all as I went to put another layer on, the previous layer of white would brush straight off. Finishing the look off, I used the Illamasqua Loose Powder and this helped to achieve the powdery/dusty look I was aiming for and allowed the base to set for further powder products (if needed). I feel like this is definitely an option to use for my contemporary Elizabethan look as the slightly lighter finish is a more modern look I prefer, but I do feel a heavier base would be a more effective way of tying in the Elizabethan theme. Kryolan Aquacolour
Kryolan Suprabase
Chloe applied the third chosen base onto my face. We chose to try the Illamasqua Satin Primer as a base for the colour. The application of the Suprabase became difficult for Chloe as the primer had not sunk into my skin and the texture of the satin primer made the grease-based product slide around my face. This left the finish very sheer and glowy. This was not the intended result, so Beth and I attempted it again at the end of the lesson.
For the second attempt, Beth applied the Matte Skin Base to begin with and let it sink into my skin. Beth then proceeded to add the Suprabase with a foundation brush and buffed it in with her kabuki brush. The finish was then medium-high coverage and yet still added a sheen to the skin. This approach became Beth's and mine favourite technique and finish. White dominates the face and adds the Elizabethan complexion to the model but also has the contemporary trend of glowing skin - tying the two together and creating the perfect New Elizabethan base.
The process of trialling and testing base products on each other and becoming the model are both two new things I have never experienced before. The experiments with different bases and their formulas has given me the confidence to judge what type would be suitable for a client and the brief. I also became more familiar with the types of brushes to use and when to use a setting powder to create the desired finish. Being the model for Beth and Chloe gave me the opportunity to understand the pressure that is applied and the help I can give to my peers throughout the process.