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I believe that my preparation leading up to the show week could've been more efficient. I say this due to the few days that I have had to not attend lesson due to personal issues or issues out of my own control. However, despite this, I believe that I was consistently determined to complete any work due or necessary when time was taken off. Regarding my designs, I believe that they were suitable and adhered to the character needs and the directors wants, especially when applied in rehearsal to a live model. The reason that I only made single face charts for both characters was due to the fact that both myself, the lead make-up artist and the director was happy with the design and I did not want to waste time that could be spent more efficiently, improving the designs created, on more that would most likely not be used.

During rehearsal of the application, I believe that I had a professional attitude and standard within the working environment, even consulting with another tutor to use a room in order to complete this application. I also found that I was quick-thinking when developing solutions to problems that occurred within the process, such as the white eyeliner not being used, and me creating an alternative almost immediately. I believe that I showed management and leadership skills within the working environment.

Despite having worked closely with the make-up team and having always ran my ideas and work with the lead make-up artist beforehand, I know that I could've worked more collaboratively with the team. I say this due to the fact of the time taken off, I did not want them to think that I had slacked in that department, and had worried about their thoughts on this. However, in my personal time, I had amended this by discussing the process and my ideas alongside their own, with the team, and then creating backstage and general plans for the upcoming show week.

Furthermore, I approached every lesson with a positive mindset, always bringing my equipment and resources with me in order to complete work, and this allowed me to work productively within the lessons, and with me bringing my laptop with me most of the time, I was able to make notes on document to use both within the portfolio and within the plans made for show week, which allowed me to understand what the expectations of my work were and how to tackle this as such.

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Whilst in the duration of the application of Pantomime make-up, I will be taking on the role of a “make-up artist”. This role involves several responsibilities and preparation in addition to the final application of my research and rehearsal to create final looks and results that will be previewed to a live audience during three evening performances and two matinee performances. An example of the preparation that will take place is ensuring that the actors/characters that I will be transforming are tested for allergies according to the products that I will be applying to them in order to abide by health and safety regulations within a working environment. Moreover, I will thoroughly research the characters that I will be using to influence my final decision and application of make-up; this research will enable me to have a clear image to refer to and know what I will be creating. To further endorse this, I will practice the look on a model, under specific time limits according to the schedule that will be in the place for the event – doing this will allow me to understand what methods worked when in practical application and develop my own skills, as well as being able to work under a time limit.

As we already know, the hair & media make-up department/team are a prime component of a show, despite the efforts made being backstage. We are responsible for not only creating and then preparing appearances for performers but also applying these for a live audience to view – these looks are created based upon design, script and directors notes. The make-up team are also required to work additional hours throughout productions in order to apply ‘top-ups’ and maintain appearances due to performers make-up being removed during practical use and natural removal such as perspiration under stage lighting. These top-ups are applied so that characters are always accurate representations of the script and as effective as possible.

The hairdressing role consists of working closely with the chief make-up artist in order to understand the requirements of the work itself and design. The hairdresser/s will then continue to apply their skills in order to create these looks that the chief make-up artist has requested, as well as the casting crew and director. I will be undertaking not only the role of a make-up artist but also as a hairdresser, however, this is a Pantomime production, not a film production. (1)

(1)  Beverley Braisdell (2011). The hair and make-up artist’s handbook. England: City and Guilds. 384 – 392.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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When designing the look, I used my research collated (images and information) as a reference for my rehearsal of application. To begin, I used these images to take concepts from and applied the make-up, analysing what worked and what didn’t, in order to create my design; it was very much a trial and error process. Within this exploration, I used face paints primarily as I believe that the colours in paint are a lot more prominent than those in make-up palettes, and also, I am more skilled with face paint due to my experience during ScreamFest and practice in my personal time. An issue that did occur during this process was the fact that my sponges used were not textured and so the colour applied was quite one dimensional, to which I did improve by cutting a sponge up, but this still not being my desired texture. To amend this for the actual performance and final application, I will have purchased several various textures of sponge in order to diversify the pattern applied and create a mystical, almost scale like skin texture, to enhance the characteristics of an ogre. Moreover, I found that with the character being mythical allowed me to not use a guideline and be able to completely follow my artistic vision and then assess what could/needed to be changed.

To start with, I began working on my external model (who I had previously patch test according to the products being used). I used cotton pads and micellar (sensitive skin) water to remove any excess dirt or product from his face and then continued to prime his face. I then used a spray bottle (containing water) to dampen my face paints and then used a sponge to begin creating a green layer of paint to the models skin, although, the green did not cover the whole of the models face as this is something that the director asked me to steer away from when applying the make-up, as she didn’t want the ogre to look like ‘Shrek’. After this, I started layering colours on top of the green, in various different places on the face and neck, using mostly earthly colours to do so (green, brown, black), and even mixing the green and black together to create different shades of green and contour the face. After doing this, I decided that the colours used were not bright enough and that on stage, the face may appear too dark and hardly visible, and so I decided to use a wider variety of colour. Following on with this, I used neon paints to create a nuclear radiation type effect, as ogres are mythical creatures, it would not matter to even further expand on this unrealistic design. The style of performance and acting within Pantomime is unrealistic as it is. I additionally sprayed my sponges used with water in order for the paint to apply densely and thicker.

After applying these layers, I began to think that the application was a bit basic for my liking and proceeded to use a method to which I had used during ScreamFest. During ScreamFest, I used a black paint and a brush, flicking the brush (covered in paint) to create a splatter effect on the face, to represent dirt within the ‘Hillybilly Joes Zombie Zoo’ attraction, as characters had been working in ‘mines’. I instead used white face paint on my model and this displayed my skill and techniques as an artist within my field.

Furthermore, I used a mixture of 3 eyeshadows, being purple, brown and red, to apply to the eyes, using the darker shades in the crease and underneath the eyes to create a tired and aged effect as the character is. I applied this with a fluffy blending brush.

I debated filling the eyebrows on the model, but then thought this over and came to the decision that I would not do this as it would appear too groomed and an ogre would not be, and this would not reflect in the character.

Moving on, I styled the hair using a gel and fine tooth comb to backcomb the hair and create a messy and wild look, additionally applying hairspray to ensure that the style is durable and would hold up on stage.

When showing this design and outcome with the director, the only issue mentioned was the eyes being too dark and she worried that they wouldn’t be very visible on stage, which would be a problem as facial expressions would not be as obvious to an audience. To alter this, I did attempt using a white eyeliner on the waterline but with the model being uncomfortable with this, and also the eyeliner always fading after blinking or after a short amount of time, I decided to instead use a lighter shade of eyeshadow and also black mascara, applied using a disposable wand, in order to make the eyes more prominent.

I also added a fake cut to the lip, using a mixture of red and black paint to add depth to the character, showing that he had previously been involved in some sort of violence or trouble. I applied this using a thin paintbrush. I used a mixture of the two colours to create a realistic portrayal of dried blood using the equipment that I already owned.

When again showing this work to the director, she was happy with the final outcome. However, she said that the hair may be too neat for the character choice and so I continued to discuss pathways to achieve this style and I approached the director with the idea of using the face paints within the hair, to which she agreed. An issue that I intend to work around within final application is the two different actors for this character having a different style, texture and length of hair, to which I will use product necessary to the requirements of their hair to achieve the same aesthetic.

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Whilst in the duration of the application of Pantomime make-up, I have undertaken the role of a “make-up artist”. This role involves several responsibilities and preparation in addition to the final application of my research and rehearsal to create final looks and results that will be previewed to a live audience during three evening performances and two matinee performances. An example of the preparation that will take place is ensuring that the actors/characters that I will be transforming are tested for allergies according to the products that I will be applying to them in order to abide by health and safety regulations within a working environment. Moreover, I will thoroughly research the characters that I will be using to influence my final decision and application of make-up; this research will enable me to have a clear image to refer to and know what I will be creating. To further endorse this, I will practice the look on a model, under specific time limits according to the schedule that will be in the place for the event – doing this will allow me to understand what methods worked when in practical application and develop my own skills, as well as being able to work under a time limit.

As we already know, the hair & media make-up department/team are a prime component of a show, despite the efforts made being backstage. We are responsible for not only creating and then preparing appearances for performers but also applying these for a live audience to view – these looks are created based upon design, script and directors notes. The make-up team are also required to work additional hours throughout productions in order to apply ‘top-ups’ and maintain appearances due to performers make-up being removed during practical use and natural removal such as perspiration under stage lighting. These top-ups are applied so that characters are always accurate representations of the script and as effective as possible.

The hairdressing role consists of working closely with the chief make-up artist in order to understand the requirements of the work itself and design. The hairdresser/s will then continue to apply their skills in order to create these looks that the chief make-up artist has requested, as well as the casting crew and director. I will be undertaking not only the role of a make-up artist but also as a hairdresser, however, this is a Pantomime production, not a film production.

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During both the rehearsal process and final application, I will personally manage aspects of my own work in order to produce the best result and work cooperatively as a team member.

An example of this would be, being punctual to all lessons and also the schedule for the show week. With lessons, it is important to be punctual and to always attend as it allows me to use the time to alter and rehearse the application of my designs and also complete research which aid this; with little personal time to complete these things, it is mandatory that I do this in the time that I am allocated. Doing this also means that I am working closely with the make-up team, to liaise and discuss any possible issues, any adjustments and also feedback our own thoughts on each others work, in order to learn and improve. As for show week, it is quite obviously necessary to be punctual and present as there are many cast members to apply make-up to and as well as this, style hair. With the ratio of cast being a lot larger than the team of make-up artists, it is so important to work effectively and quickly to ensure that all cast are complete in the time given, to our best potential. As spoken about in another learning outcome, I have requested that the actor playing 'Grimgrab the Ogre' should arrive at the studio for 9:00am instead of 9:30am, in order for me to take my time ensuring that the complex make-up is applied and according to the design.

Requesting my actors to arrive early, as well as myself, allowed me to manage any stress as I did not feel as though I had to rush due to the additional time I had due to this request.

An example of my organisational skills consisted of me using two tables for my products and equipment to be placed on, with one table being occupied by the Ogres make-up and the other, with the Kings make-up. This was especially useful as it meant that when changing over actor, and applying the Kings make-up after the Ogres, I did not initially have to clean my station or waste time looking for certain products and/or tools as it had been neatly laid out on another table, enabling me to just swap these.

I did however have to use skills such as decision making; during the application of make-up to Dylan Evans, I began to worry as his hair, despite practising beforehand, would not hold in position, despite the amount of product used, and this is when I use my initiative to grab a hair clip that I had been previously using to hold his hair whilst applying product to his face, and then paint over this with the same paint used on his hair in order to disguise this and also hold the hair in place. Not only did I do this, but I found some loose and spare leaf decorations and secured these within the clip to add to the character design, to represent that this Ogre had been living in such conditions.

Despite the few struggles, I felt confident within myself and my actors. With me arriving to the studio and also lessons each day, having a plan of action and design to refer to, as well as previously rehearsing the look. With each day within the show week, I also became more content with the process as I began to realise the time I had spare and how I could use this efficiently.

I had the upmost confidence with my actors too due to their early arrival to each show day and willingness to sit in the chair and allow me to apply the make-up without a complaint, despite them not always feeling comfortable with the make-up applied or styling of their hair.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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When referring to my research to create this look, I focused on male grooming. As I did with the previous character look, I used a micellar water and cotton pads to remove any excess dirt and then primed the face. After priming the face, I compared shades of foundation to the models neck in order to find a match to the models skin tone and use as a base (I also previously patch test the model beforehand, of all products being used). When applying the foundation, I used a flat brush to apply it to the face and then a damp beauty blender to blend the foundation itself. After doing this, I used a translucent powder to set the face and prevent the make-up from being transferred or removed during performance. I applied this with a large powder brush.

Following on from this, I used a bronzer and angled contour brush to apply this to the hollows of the cheeks, the nose, forehead (anywhere that would naturally tan in the sun) and also the jaw. I applied this to the jaw to define the bone structure of the model and sculpt it to appear masculine. After applying this, I decided against using a blush on the cheeks as most of the ensemble had, and I wanted the principle role to be visually different to them; as well as this, the look is overall masculine and from my research of male grooming, it does not consist of the use of blush.

Moving on, I decided to not fill the eyebrows but instead use a tinted brown mascara to sculpt the eyebrows and add shape and colour to the less prominent hairs. Doing this created a fuller, bushy look which coexisted with the masculine aesthetic, as filling the brows could’ve appeared feminine.

When applying make-up to the eyes, I only applied a black mascara with a disposable wand in order for the eyes to be more visible, but decided not to use any other product on the eyes as the character was not one that is eccentric or needed so. However, I did add a trademark feature to the models face, that being a mole/beauty mark on the bottom of the models left cheek. This separates the character from others and also symbolises wealth and power.

Lastly, I applied a light shade of pink lipstick to the models lips, using a disposable lip brush, having them rub their lips together after doing so, in order to create a natural lip shade, but darker than their own. This added dimension to the face. I also used a highlighter product to accentuate areas of the face, such as the cupids bow, chin, forehead, arch of the eyebrows and tips of the cheekbones.

Afterall, I set the look with a setting spray and continued to style the hair.

I used again, a gel and fine toothcomb to neatly part the hair into a ‘combover’ look, slicking the excess hair to the side and gripping it tightly, as I knew a crown would need to sit on top of the actors head. I also used grips the same shade as the models hair and hid these within so that they would not be visible to the audience. With any stray hairs or baby hairs, I used the gel to comb to lay these to the face, displaying not only my skill as an artist but also representing the fact that this character would have the luxury of a team that can style his hair and create fancy looks. He has the time to be groomed and the money and power to do so.

I finished this up by using hairspray and applying this to the hair to ensure that it would stay in place throughout the performance.

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During the show week, and the process as a whole, my backstage etiquette was highly professional. Each day, being prepared in every sense (refer to LO5), I focused on the task at hand, and when having completed this, decided to further assist others in their own application in order to complete the cast in a shorter amount of time, and this also helped the team as it enabled them to stress that little bit less as now they could see that there were people who had finished their set characters, and were able to help assist them if they had seemed to be running short of time. This is an example of myself working collaboratively; I did not see the value in sitting around whilst others worked, if there were still actors who needed make-up applied or hair styling. In some cases, I did not know which designs were needed to be applied to which student and so I liaised with the lead make-up artist to find out and then after a quick briefing, continued to apply said design.

After completing the cast and being given a break, I would clean and organise my station, and also the area around it, including the floor. The floor would often be cleaned by myself due to the paint I had used having dispersed on it, and due to the information that I already withheld, which was the floor being expensive and in use for dancers, I decided that it would be disrespectful to leave until the end of the process to clean up, in case of staining or use beforehand.

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When at home, before the show week arrived, I cleaned all brushes, tools and sponges in order to ensure that they were clean to use on the actors, and then checked all products to ensure that I had the correct items and also that they were not expired as this would be a risk to the actor if used.

I then continued to use separate bags to store my brushes, tools and sponges, make-up and hair products. An example of why it is important to separate these products is because if a hair comb is in the same bag as my eye brushes, then stray hair may catch on the brush and when used, this stray hair could cause infection or even become caught in the actors eye if not spotted.

Doing these things allowed me to abide by the health and safety/risk assessment as well as ensure that I knew where my equipment was at all times, and remain organised throughout the show week. If I needed a sponge, I would easily navigate and find it due to the separate bags.

Another reason why this is a clever way to stay organised is because due to me using paints on one of my characters, I would want to separate a sponge that may have product on it from a brush that I use to apply foundation to the other character with. This is because excess product will transfer.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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Creating the look (final application): Grimgrab the Ogre.

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Creating the look (final application): Grimgrab the Ogre.

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When applying the final look, I used the same plan and method as I had in the design, however, instead of trial and error, I knew what I would be doing. As well as this, on the day, my director pointed out that the legs and arms of my character would not be covered by costume, which meant that I would need to apply paint to these as well as the face. I used the same base paints as I did with the face (yellow, orange, green, brown and black) and used a textured, damp sponge in order to create a scale skin effect; this texture and the colours used were consistent throughout all of the actors body and so the make-up applied seemed realistic due to there not being gaps of skin shown to the audience. Another element of the look that altered throughout my final application was the fact that I covered the entirety of the face with paint. I decided to do this after discussing it with my director as I had used various colours and so the character would not appear too green or have much similarity to that of ‘Shrek’. There was also no need to leave a gap that was not covered with paint, as it may have looked like I ran out of time to complete my application, when that wasn’t the truth at all.

I found that having to apply paint to the legs and arms was very time consuming and I began to stress, fearing that I would not have time to apply make-up to my other principle character, but in the working environment, I concentrated on the task at hand with no distraction and discovered that I actually had spare time after creating both looks, which allowed me to clean my area and equipment.

Another issue that arose during the process was the difference in hair style, length and texture of both actors playing the role of Grimgrab The Ogre. With Ben, one of the actors playing this character, he had short, easily tameable hair, to which I found easy and quick to style and also to hold on in place during performance, but with Dylan, since his hair is so long and of a different texture, not only was it time consuming to style, but during performance, the weight of it meant that the style did not hold up, no matter how much product used. To fix this in time for the next performance, I used a clip, which I disguised within the hair, and painted and decorated the clip with leaves so that the hair would hold up, and out of the actors face, but the support would not be visible to an audience member. This appeared successful.

Other than this, I found the application to be successful. No issues occurred despite those mentioned and the rehearsal allowed me to apply the final application to my best ability, within the time schedule.

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As stated in LO1, the techniques used were rehearsed and used within final application and did not change. They were techniques that I had trialled or had experience with, which allowed me to use them efficiently and also faster than I would've if I hadn't been confident within the use of them.

With using paints being more comfortable for me than make-up due to most of my live make-up application experience being within ScreamFest and the focal use of face paints, the Ogre design did not take as long as it could've possibly taken as I had not only practised the design multiple times beforehand, but because I have become so used to working within a fast paced environment with the use of said product. A technique I had used within the final application had been the mixing of two different paints, one being red and the other being black; mixing these two colours created a more realistic portrayal of blood/flesh wound when used on the character, instead of using just red. This added depth to the character and a more believable representation of their back story.

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When preparing my station before each day, I would ensure that despite having cleaned all equipment, tables and chair the night before, that I would do this again. I would then use two clean containers and fill these with luke-warm water for the use of paint product and brushes. I would do this beforehand to ensure that I wouldn't waste time doing so when in the application of make-up. I would then gather clean towels for the use of protecting the actors clothing from becoming stained or from product fallout.

After this, I would check my bags for my equipment and products so that I could be sure that I had everything needed. I needed to do this as I had allowed other members of the team to use my products within their designs as often, they would not have their own and so I would make sure that I had received these back; with the week being so busy, it isn't difficult to forget to return products when you are rushing about.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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Creating the look (final application): King Morrissey.

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Creating the look (final application): King Morrissey.

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When in the final application of make-up to this character, there were no issues that came about, just alterations made. An alteration made included the change of foundations during the switch of two actors playing this role. Due to the two actors being of different ethnicities and me having prior knowledge of this, I had already purchased the shades of foundation that matched both actors and so this was an alteration that was made beforehand.

Another change of plan was the hair look, with one of the actors having long hair that could be styled a certain way, and the other having a small amount of hair to work with, I decided to not style the actors with little hair’ hair. I chose to do this as not only was it not possible to work with, but it also appeared neat and relevant to the character as it was.

Moreover, instead of applying the powder to the face before the contour, with Joshua, since I used a cream contour for the sculpting of his face, I applied powder after. I believe that putting a pressed powder on his face before a cream product would’ve not applied as normal and feel heavy on the actor.

I found that this make-up application was very fast due to the little make-up that the actors needed and so I always applied this make-up after applying the previous characters, as I know that I am able to apply this in a short amount of time.

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Character: King Morrissey.
Name: Joshua Dixon-Muir.
Make-up artist: Victoria.
How do you feel the overall process went?: A bit slow, but not too slow.
How would you rate your make-up look? (from 1-10): 9.
Did your make-up help you get into character?: Yes it did.
Do you feel your make-up artist was consistent?: Yes.
Did you face any issues? (such as having to re-do your look): There were no issues with the make-up process or the look.
Did you get any audience feedback regarding to your look?: I received no audience feedback for my look.
Is there anything you would change and why?: I wouldn't change anything as it was a simple look.
Did you feel like your make-up artist was professional during your make-up application?: She was very professional and focused.
On a scale of 1-10, how did you feel the media make-up students performed?: 8.
Did you feel like the media make-up students were professional and why?: Fairly professional as they seemed to get on with it.
Did you feel your make-up was completed within the time limit?: Yes.
Do you feel like the media make-up students were consistent?: Yes.
Were you pleased by the performance overall?: I was very pleased with how it went.
Additional comments: N/A.

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I believe that my performance was successful within the production as my output and contribution met the goals and demands of the production team.

With my checking with the lead make-up artist and director after each application, and being given the all clear, I knew that my designs were satisfactory. As well as this, my performance was efficient; from the requesting of early arrival of actors to assisting other members of the team within their own application of designs, I wasted no time completing the task at hand, which was to complete the full cast' hair and make-up ready for the Pantomime.

Throughout this process, I was also extremely professional, whether this be throughout my time management or my willingness to jump in with orders after finishing my own characters application, and help others in their own application due to the time limits and large amount of cast members.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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Garnier Skin Micellar Cleansing Water

Maybelline Baby Skin Instant Pore Eraser

Snazaroo Classic Face Paint (Green, Brown, Black, Orange, Yellow, White and Red)

Benefit Roller Lash Mascara

Schwarzkopf got2b Glued Blasting Freeze Spray

Vo5 Mega Hold Styling Gel

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Character: Grimgrab the Ogre.
Name: Dylan Evans.
Make-up artist: Victoria.
How do you feel the overall process went?: Yes.
How would you rate your make-up look? (from 1-10): 8.
Did your make-up help you get into character?: Yes.
Do you feel your make-up artist was consistent?: On the last night it was darker.
Did you face any issues? (such as having to re-do your look): Hair. The glue and spray wouldn't hold.
Did you get any audience feedback regarding to your look?: I was green, so yes.
Is there anything you would change and why?: Slick back the hair and maybe add some grey.
Did you feel like your make-up artist was professional during your make-up application?: Yes.
On a scale of 1-10, how did you feel the media make-up students performed?: 4.
Did you feel like the media make-up students were professional and why?: They sort of kept to themselves.
Did you feel your make-up was completed within the time limit?: Yes.
Do you feel like the media make-up students were consistent?: Yes.
Were you pleased by the performance overall?: Yes.
Additional comments: N/A.

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Backstage plans were discussed by the production team and the lead make-up artist within various meetings. With a schedule for the show week being created and an order in which the characters make-up would be applied. This proved to be efficient as every actor had no reason or excuse to be late or to not arrive, had the schedule been pinned to the noticeboard and also stuck to the studio door, weeks prior. The students were also informed of this in advance. However, we didn't have any issue with performers not arriving on time to the said schedule, which we would've if their arrival time changed each day, or if it was just spoken, due to the confusion it may have caused. This was productive for us make-up team to have in place as it allowed us to stick to a schedule and be confident within our actors abiding by this schedule, allowing us to work efficiently.

Another plan which worked in our favour was the booking of room FS004 for the duration of the show week for a studio for us to apply the designs in. With the room being located next to the performance venue, actors were able to rehearse if they were not needed yet in the studio, to be productive, and then only have to travel a matter of steps to come and have their design applied, which was very convenient. As well as this, having had the room in previous years for this use, it is spacious and allows all make-up team members to have their own allocated stations to work within, which allows us to distribute our equipment and product easily, without sharing or the risk of bumping into the team member next to us, which could pose the risk of injury or even damaging the make-up applied to an actor if budged when in the process of applying this.

Furthermore, with the knowledge of this room being ours to use for the duration of the week, we did not need to travel to and from the venue with our kit each day, and this was locked every night to ensure that all property was secure. This caused a lot less hassle for the make-up team and also proved less time consuming as we did not need to set up as thoroughly each day.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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Garnier Skin Micellar Cleansing Water

Maybelline Baby Skin Instant Pore Eraser

L’OREAL Paris True Match Liquid Foundation (Shade 3.5N – Peach)

Rimmel Stay Matte Pressed Powder (Transparent)

Benefit Hoola Matte Bronzer

Benefit Roller Lash Mascara

Rimmel Brow This Way – Brow Styling Gel (Dark Brown)

Rimmel Soft Kohl Eyeliner (Jet Black)

Rimmel Lasting Finish Lipstick (Sugar Plum)

Maybelline Lasting Fix Setting Spray

Schwarzkopf got2b Glued Blasting Freeze Spray

Vo5 Mega Hold Styling Gel

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Character: King Morrissey.
Name: Connor George-Davis.
Make-up artist: Victoria.
How do you feel the overall process went?: I think it went smoothly and well.
How would you rate your make-up look? (from 1-10): 7.
Did your make-up help you get into character?: Yes.
Do you feel your make-up artist was consistent?: Yes.
Did you face any issues? (such as having to re-do your look): No.
Did you get any audience feedback regarding to your look?: No.
Is there anything you would change and why?: No.
Did you feel like your make-up artist was professional during your make-up application?: Yes.
On a scale of 1-10, how did you feel the media make-up students performed?: 7.
Did you feel like the media make-up students were professional and why?: Because they didn't argue or anything like that.
Did you feel your make-up was completed within the time limit?: Yes.
Do you feel like the media make-up students were consistent?: Yes.
Were you pleased by the performance overall?: Yes.
Additional comments: N/A.

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Risk: Actors running late.
What problems may occur: Make-up may not be applied to the performer in time for the show.
Severity: High.
Contingency plan: To complete the other actors make-up whilst waiting for the actor in question to arrive. If this is finished beforehand, then I plan to assist other team members in the application of their designs.

Risk: The loss of product/running out of product.
What problems may occur: The application not being according to design.
Severity: Mild.
Contingency plan: Always check my kit after and before each show to ensure that I have the right, and enough of the products that I need.

Risk: Contamination of kit.
What problems may occur: Infection (actor) and health risks.
Severity: High.
Contingency plan: Use disposable equipment for one time use on each actor, and wash equipment regularly.

Risk: Actor leaves the building and has to travel in weather conditions such as rain.
What problems may occur: Make-up may be transferred or removed.
Severity: Mild.
Contingency plan: Always reinstate the fact that a principle character should not leave the building, with peers collecting anything they need, and that if they do, and the make-up application has been damaged, that this is corrected within make-up touch up.

Risk: Hair styling products not sterilised.
What problems may occur: A performer may have lice and this may be spread if the use of the same comb on various other students hair. It is unhygienic.
Severity: High.
Contingency plan: After every use, sterilise any hair styling product in barbecide and then clean after.

Risk: Make-up team not arriving/running late.
What problems may occur: A large amount of cast members not having make-up applied in time for the show.
Severity: High.
Contingency plan: If this happens, we will narrow the time spent on our own characters in order to complete others, and work efficiently and quickly to apply make-up, assisting each other.

Risk: Actor is allergic to certain products.
What problems may occur: Allergic reaction.
Severity: High.
Contingency plan: To ensure that a patch test and risk assessment is taken out before the rehearsal of make-up application and show itself to check for any allergies, and if so, use this information to use specific products safe for the actor at hand.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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Garnier Skin Micellar Cleansing Water

Maybelline Baby Skin Instant Pore Eraser

L’OREAL Paris True Match Liquid Foundation (Espresso)

Rimmel Stay Matte Pressed Powder (Transparent)

Sleek MakeUp Cream Contour Kit (Shade Dark)

Benefit Roller Lash Mascara

Rimmel Brow This Way – Brow Styling Gel (Dark Brown)

Rimmel Soft Kohl Eyeliner (Jet Black)

Rimmel Lasting Finish Lipstick (Sugar Plum)

Maybelline Lasting Fix Setting Spray

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Post-performance, I will have cleaned my station and the area around it, and then collected my equipment and products ready to take home. When I have arrived home, in my own time, I will clean all of my equipment used to ensure that all risks are covered.

I will wash and return the towels used within the application and sterilise all hair styling products within barbecide. Not only will I do this for my own equipment, but I will collect all of the hair styling equipment that belongs to college and sterilise this before returning it, alongside the brushes with a cleanse.

Moreover, I advised the actors on how to remove stubborn make-up and the make-up in general so that they would have an easier process of removal after a show.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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King Morrissey.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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https://www.youtube.com/watch?v=AYR9aKtCuek

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King Morrissey.

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Grimgrab the Ogre.

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https://www.youtube.com/watch?v=-0jFZAmewXg

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King Morrissey.

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Grimgrab the Ogre.

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https://www.youtube.com/watch?v=pBX7xjouNck

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King Morrissey.

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Grimgrab the Ogre.

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After looking at various images/footage, I have analysed both the application of make-up and design of these and used this to aid my own design of 'Grimgrab the Ogre'.

After speaking to my director, I discovered that she wanted to avoid the character appearing similar to 'Shrek' at all costs (refer to research for pictures/clips of 'Shrek') - due to this, I decided that I would avoid using a vibrant shade of green and instead, use a darker colour pallette. With Shrek being a character that appeals to a child based audience, the colour scheme is very light and simple, but with me steering away from this, I will use a darker palette and a variety of textures within the products and application used.

Although Pantomime is also a child based audience, 'Grimgrab the Ogre' is a 'bad' character, a villain, whilst Shrek is a hero, so I will show the contrast in character also throughout the design.

An element that I decided to incorporate into my design from my research was the use of wax/prosthetic to create a larger face structure for the character and also use this to exaggerate the under-eye and maybe the ears too. After using a scar wax product on my hand to mould how I would like it to look on the face, I found that it would be too time consuming to attempt for each performance, and with the bright lighting design and physical activity on stage, the wax would not promise to hold up and so I did not want to risk this moving or falling from the face, on stage. Despite this, I knew that I could use a prosthetic piece, and quite quickly and easily, but we were unable to patch test the students until the month of the show and with the prosthetic I had seen online, it was not guaranteed to arrive on time and I didn't want my entire design to rely on this component.

In addition to this, fake teeth are often used with ogre roles, and although I believe that this would look effective in relation to the character, it would be difficult for the actor to move their face and speak during performance, which is mandatory for them to characterise, and so I decided not to develop this interest.

As you can see from the images (refer to research) ogres are man-like in appearance, but not human in nature and this supports my idea that is to exaggerate the inhumanity  and lack of realism of the character.

Ogres are also commonly noted as having an excess of hair. Which is why I plan to focus on the hair, creating a dishevelled style. This only adds to their fearsome appearance and makes them look even more animalistic. The majority of these creatures are also noted to have a skin tone that is not similar to that of humans. The most common colors mentioned are usually green and blue - I plan to use green in the base of my characters design, but incorporating other colours, in order to avoid the character being similar to 'Shrek', as mentioned previously.

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King Morrissey.

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Grimgrab the Ogre.

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Playing - Grimgrab the Ogre.

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Cast List - Assigned Roles with Make-up Team.

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Cast List - Assigned Roles with Make-up Team.

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Grimgrab the Ogre.

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Playing - Grimgrab the Ogre.

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Cast List - Assigned Roles with Make-up Team.

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Cast List - Assigned Roles with Make-up Team.

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Grimgrab the Ogre.

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Playing - King Morrissey.

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Cast List - Assigned Roles with Make-up Team.

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Cast List - Assigned Roles with Make-up Team.

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Grimgrab the Ogre.

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Playing - King Morrissey.

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During show week, both the lead make-up artist and the rest of us team would like the process to be smooth and uninterrupted as there is a large cast to apply make-up to and also style their hair, meaning that the process will already be running with a tight schedule with no time for distraction. On the final show day (Thursday), we also have to complete this, but double. This is due to both casts performing on the same day.

When our lead make-up artist had a meeting with the production manager, they discussed the schedule and they had both agreed on us make-up artists arriving to the studio at 9:00am each morning to set up our stations and then be briefed on the task at hand.

As the working days were very busy, we all agreed to take breaks when we had finished applying the designs to the entire cast, and then would be told as to when we would need to return to our stations for touch-ups on characters make-up.

Time of arrival: 9:00am
Start time: 9:30am
Return time after break: 17:00pm

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Grimgrab the Ogre.

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Initial Sketch

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In attendance:
- Leo Harvey (Production Manager)
- Ben Ganley (Stage Manager)
- Lee Maher (Lead Make-up Artist)

Points raised:
- Call sheet times
- Venue
- Design time period
- Rehearsal time
- Show calender
- Feedback time

Call sheet times:

Both Leo (Production Manager) and Lee (Lead Make-up Artist) decided that it was important that they sat together to discuss the call times for the rehearsal period leading up to the show and the production run itself. This is something that they plan to discuss in greater detail as the production run is closer. They have estimated that each design should not exceed a 40 minute application for principle characters and a 20 minute application for ensemble members. This ensures that checks can be completed and make-up reapplied if necessary before both the matinee performances that start at 13:00pm and the evening performances that start at 19:00pm. They also came to the decision that this was a good time to aim for in regards to the ratio of cast members to make-up team.

In regards to the call sheet times, this will be discussed in a seperate meeting that will take place in November, with Leo, Lee, the Director (Catherine Palfreyman), and also technical staff to ensure that there is enough time for make-up application, vocal and physical warm-ups and the necessary checks to take place.

Venue:

After reviewing last years Pantomime performance as a whole, Lee pointed out the usefulness of having the room FS004 for the purposes of make-up application; this is something that Leo said that he would like to try and gain again this year for the same purpose. His only concern was the floor (specialised Harlequin sprung dance floor) and the potential damage that excess product could cause if dropped. However, given the other points raised in this meeting, and in the review of the show last year, the needs outweigh the greater risk to the floor.

Room availability in the Fleet Street building is generally limited and there will be 5 other classes needed to be run on the same week as the performance. This is something that will need to be brought to attention in a separate meeting with the rest of the teaching staff, however, Leo is confident that we are able to have FS004 for the purposes of make-up application for the production period.

Design time period:

Lee was very insightful in this section, describing in great lengths what goes into the research and development of make-up designs, however, given that we have a limited time scale and costumes that need to be gathered, made and brought, we have decided that November would be the cut off point in terms of the general design. Whilst alterations could still be made afterwards, the general design and colour scheme could not. This enables the designs to be passed straight to the rest of the production team.

A further meeting may be called between the production team and the lead make-up artist in regards to costuming the performance, however, this is something that Leo will not be involved with.

Rehearsal time:

The production team need to know the design by the November cut-off point as aforementioned, but the team will need to practice applying those designs. Therefore, in regards to this, Leo proposed a timetabled slot for cast members to roll through the make-up room after this cut-off point; this, as Lee pointed out, would ensure that designs fit the actors facial structure and that the cast (especially first year actors) became accustomed to and knew their make-up artist before the production run.

This is something that needs to be arranged between Heather Jones (Curriculum Leader of Hair and Beauty), Lee Maher (Lead Make-up Artist), and Performing Arts Staff.

Feedback time:

Lee has requested that the make-up students have feedback time after the performance. This is something that can be arranged during another meeting between Leo, Lee and the rest of the teaching staff in the Performing Arts department. Lee and Leo both agreed that this should take place no later than the end of January (2020). This will either be face to face in a working environment or through the use of written questionnaires, which will be decided by the make-up team.

Points to work on:

- Organise meeting between make-up students, Heather Jones and the Performing Arts staff for a make-up rehearsal period.
- Put the make-up team in contact with the rest of the production team for us to discuss costumes.
- Request feedback time from the Performing Arts staff.
- Schedule a time to hold a meeting between Leo, Lee and the production team to discuss call sheets.
- Organise a venue (potentially FS004) for make-up application for the week long production.

To be completed before the November cut-off point.

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Grimgrab the Ogre.

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Initial Sketch

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Grimgrab the Ogre.

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Initial Sketch

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Grimgrab the Ogre.

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Initial Sketch

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Grimgrab the Ogre.

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Initial Sketch

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Grimgrab the Ogre.

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Grimgrab the Ogre.

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King Morrissey.

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King Morrissey.

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King Morrissey.

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King Morrissey.