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Is conceptualisation the section that you put all the research thats inspired your work etc or is it development and actualisation
Thanks

Hiya,
The concpetulisation section should outline your research into your chosen area of specilism and how that influenced the design of your practical project as whole (so why you chose to do a book/ portflio/ which area of specialism/ industry proffesionals working within your chosen area etc).
Within the development and actulisation section we would expect to see detailed reserch relating to your designs themselves- so work that has insipred that design, or consideration towards anatomy/ products/ techniques.

Hope this helps, please dont forget to listen to the podcasts for additional help and guidence relating to CW1.

Kind regards,
SIan

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Attached is the step by step for the degassers- please ensure if using the degassers you are ensuring you do not leave traces of silicone if there has been an overspill as this can result in the lids not sealing properly.
Included

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Hi Folks,
Attached is also a video explaining the purpose of the degassers- just to clarify we do not double degas our silicone, we only degas once and that is after we mix our silicone.

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How (and Why) to Vacuum Degas RTV Silicone Rubber and Casting Resins in a Degassing Chamber

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Buy Online from http://www.easycomposites.co.uk/products/vacuum-equipment/complete-vacuum-degassing-system.aspx Video tutorial demonstrating the benefits of degassing materials like RTV silicone rubber and casting resins (like Fast Cast polyurethane or water-clears) to improve your moulds and castings. We use our Complete Vacuum Degassing System and demonstrate how simple the process is and why we do it at various stages such as during silicone mould making, before pouring casting resins and also in-mould degassing.

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It was brought up by your year rep in subject board that you would like some documentation detailing adaptations that have been made within advanced prosthetics and casting this semester for consideration when undertaking your FMP.

Below I have attached a document comprising of the developments made and reasons for these, please take the time to have a read through and familiarise yourself with the products and equipment.

Also please be aware that the GTA’s also have knowledge of developments that have been made and will be able to offer advice and guidance within the workshops that would relates to this.

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Sian on the ethics form where it says name of tutor is that the name of our project tutor that goes in there or our group tutor?
Hiya,
Yes that's the name of your Project Tutor.
Thanks,
Sian

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Please make sure you check UCB Online under the announcements tab for your Project Tutor details

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Look under the 'Assessment Information' tab and you will see the assignment podcast- CW1 Reflective Account I have separated it up into individual sections relating to the sections in your campus pack. Hope this helps!

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After speaking to the resocue centre we have confirmed that you are able to submit your FMP within a portfolio case as long as that case is A4.

Check out the link below for portfolio suppliers!

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prat pampa spiralbook black (inc. 20 cristal laser sleeves)

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PRAT Pampa Spiralbook Black (inc. 20 Cristal Laser Sleeves) - Best Sellers | London Graphic Centre

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Shop PRAT Pampa Black Spiralbooks in sizes A3 and A4 online now. Includes 20 PRAT Cristal Laser Sleeves. Satisfaction guaranteed. Next day delivery available.

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You can write in 1st person throughout your whole account including conceptulisation

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Round up of the SS17 trends to emerge from the fashion weeks across the globe

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So many shows, so little time. If you've been a little too busy to keep an eye on the multitude of fashion shows across New York, London, Milan and Paris, don't worry - we have you covered. We've gathered together some of our favourite looks from each city, and pinpoint some of the trends which made an appearance next Spring/Summer.
NEW YORK
While New York is normally known for its edgy, lived-in liner looks, we were surprised to see how many shows featured some form of shimmer, or glitter, or iridescent pop of colour which is so unlike the usual aesthetic - we love it!

The usual edgy looks were present, although the inventive graphic eyeliner looks seem to be taking a backseat for bold use of colour and cool, grungy eyeliner in the waterline instead.
LONDON
With London the looks tended to fall into one of two categories - healthy English Rose looks or wild pops of colour to clash and merge with the designs. Keep your eyes peeled for the new NARS lipstick launching in Spring - the shade 'Kiss Me Stupid' was used at a number of shows, including JW Anderson and Erdem to combine blush, contour and lip colour all in one.

We also had a shot of supermodel era glamour from the likes of Julian McDonald and Topshop unique. Val Garland channelled Cindy Crawford for the Julian McDonald show, going for 'full-on glam' with the full works - eyes, lips, contouring, highlighting.
MILAN
The eyes most certainly were centre of attention in Milan. From graphic blocks of monochrome to a touch of stardust on the inner corners, mesmerising eyes will most definitely be in fashion next season. Pat McGrath teased her next product at the Versace show, creating super-reflective inner corner silver highlights.

There were also some interesting takes on traditional looks - whether it was changing the shape of the usual smokey eye or incorporating vivid colours.
PARIS
Barely there make-up is the look of Parisian summer next year. Polished, pretty and natural - if any of these words float your boat then you're in luck!

There were a couple of risk-takers; we love the smokey aubergine lip from Acne Studios and Val Garland's variety of characters from the Vivienne Westwood show. Each girl had a completely different make-up look, including this 'snogged' messy lip look.

Pops of purple and pink were found at Louis Vuitton and Chanel, while soft smokey eyes and kitten flicks completed the polished perfection of Paris.

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So many shows, so little time. If you've been a little too busy to keep an eye on the multitude of fashion shows across New York, London, Milan and Paris, don't worry - we have you covered. We've gathered together some of our favourite looks from each city, and pinpoint some of the trends which made an appearance next Spring/Summer.

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Pamela Smyth's guide  on how to break into the industry

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(Image: Helen Sloan / HBO)

Pamela Smyth is at the top of her game.

She's worked with A listers like Jamie Dornan and Liam Neeson and runs a team of more than 50 make-up artists on Game Of Thrones - including Belfast Live's very own beauty expert Katrina Doran.

And if that's not enough, she even bagged an Emmy in LA last week for her outstanding work on the landmark Battle of the Bastards episode of Game Of Thrones.

"It was absolutely fantastic," says Pamela, who has been in the business more than 25 years. "I was delighted. There's a huge team of us and it was great to get such wonderful recognition."

So who better to offer some expert insight into how the TV and movie make up game really works.. and explain exactly what it takes to make it.

MORE: Jamie Dornan looks delighted at red carpet screening of new film The Siege of Jadotville

Here's Pamela's guide to breaking into the business

1. Realise make up isn't all about beauty

"In most cases, the work of a TV or film make up artist is NOT making a stunning Hollywood celebrity look even better," says East Belfast-born Pamela.

"The problem for professional beauty make up artists is they tend to blend blend blend. They make people look beautiful, that's their aim.

"But in this job, you could be transforming an ordinary-looking guy into a Dothraki. You could be making making an 80-year-old man's feet look like they're dead because he's in a morgue scene.

"Beauty artists often struggle to make the switch because they're trained so much in that one area of make up.

"But to me, doing beauty make up alone is not making the most of the whole arsenal professionally. It's like saying you work in the bank but only work with 5ps. You've got to be able to do foreign exchange and help people with their mortgages too.

"To do this type of make up, you've got to be truly flexible and imaginative with it, and be happy to leave people looking bad - or even worse than when they came to you."

2. Be tough - and grow a thick skin

"This is not a job for the faint-hearted," says Pamela. "You need serious stamina. You could be standing freezing in a field at 2am night after night for a fortnight in the p*ssing rain. And you can't moan about it.

"As well as that, you've got to be there on time, full of beans and fully on top of your work because there's a whole cast and crew relying on your work. You need to know what you're doing before they've even had their coffee.

"There cannot be make up inconsistencies between scenes, there cannot be mistakes within a sequence.

"And there's no time for complaining or letting it get to you.

"The worst thing is I see some girls pushing a couple of bits of lettuce round their plates looking tired and shocked by it all.

"A lot of people want to do this work. I had around 2,500 applications for my classes last year, but there are only a few dozen places. And not everyone who wants to do it could handle the reality.

"You've got to be seriously tough. You need stamina to work long hours, to work on one person after another after another even when you're exhausted. You can't be a wimp, that's not an option."

3. Be flexible and learn to juggle

"Anyone who wants to do this work has to be realistic about what they're getting into," says Pamela. "The reality is, we've got a lot going on here in Northern Ireland at the moment in filming - Game of Thrones, The Fall, different TV shows and films.

"But it isn't regular work. It's not an ordinary nine to five, and the work can come and go.

"The artists I work with often have other work outside filming to make sure they've got money coming in all the time, but they make an effort to be flexible when the time comes.

"Some have their own nail bars or beauty salons. One of the women is also a plumber."

4. Be a people person

"In Game of Thrones, I run the 'crowds' unit - so the people in the background, the extras. We could be dealing with 500 people here in Belfast, and another 300 over somewhere in Spain.

"That's a huge number of people - but remember, it's a huge number of individuals. And these aren't A listers, these are ordinary people, ordinary looking people who could be overweight, have bad skin or thinning hair.

"Our job is to make them feel at ease. When we're rubbing dirt up into their armpits for a battle scene, or asking them to take their trousers off to paint cuts and sores on their legs, a make up artist can't make them feel awkward or embarrassed."

4. Never count yourself out because of age or background

"You don't have to be 22 and stunningly beautiful to be a make up artist," says Pamela, who now lives in Crawfordsburn, Co Down with her husband Mark and two kids.

"In fact, in lots of cases it helps if you're not really young. Some of the best people I work with are the women in their 40s who are confident, relaxed and make people feel at ease.

"They've got their egos in check and they've mastered diplomacy."

One of Pamela's favourite part time recruits was a woman who had her first make up class as she was heading for 50.

"This woman came along to one of my classes just to keep her daughter company," she recalls. "And she just got on with it. She was great, followed instructions and did a fantastic job.

"So when I needed someone for Game of Thrones, I called her up and she came to work. She did brilliantly. She did exactly what was needed of her, and when she was finished, she wiped down her counter, tidied away her make up, cleaned the mirror, and kept busy.

"With the younger ones you'll often see them just chilling out the second their brushes are down, messing about on their phones.

"This woman has the proper, serious work ethic that's needed to do this job. She comes in, does the work well, gets paid, and that's it. No drama."

5. Get experience - and make some contacts

"I run classes through the year with some of the biggest names in the industry, friends I've worked with over the years," says Pamela.

"But I've got to be honest, very often it is down to peer to peer recommendations, word of mouth. So you've got to get yourself known really. That's it.

"If I'm struggling to get someone, I will take the advice of someone I know and trust, if they tell me they've got a great person who could do a good job, I'll call them up rather than wade through a load of CVs."

6. Stop saying you're passionate

"If I hear one more person telling me they're passionate about this work, I'll go mad," laughs Pamela.

"The whole point of the creative industry is that everyone is massively passionate about what they do. If you weren't, you wouldn't do it. So please don't go on about it. People presume you're passionate, so that's enough."

For more information on Pamela's classes visit www.themakeupdept.com

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Game Of Thrones make up artist explains how to crack the industry

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Pamela Smyth is at the top of her game. She's worked with A listers like Jamie Dornan and Liam Neeson and runs a team of more than 50 make-up artists on Game Of Thrones - including Belfast Live's very own beauty expert Katrina Doran.

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Thinking about Prosthetics.. remember its all about refinement!

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Creating good edges is kind of like personal hygiene...
if you do it properly it goes unnoticed.
Thus, by definition ' good' edges are not noticed - if you do a good job of blending them, then they are not there to be seen. It's only when you stop washing that it attracts any attention!
This post is inspired by a great email I had from someone who emailed asking how one gets great edges on a prosthetic.

I love this kind of question because it is simple, direct but makes me really think about the answer. After much deliberation, my answer to you, Howard, and anyone else who is interested in great edges on prosthetics is in this post!

===============

The point at which a prosthetic appliance stops on the skin creates an unavoidable edge ( if it does not then it is not a prosthetic any more, but a mask!) and the ideal situation is to blend that edge to nothing so you can't see it. That is where 99% of all prosthetic issues occur once the thing is applied.

Getting a flawless blend between the 'fake' of the appliance and the 'real' of the skin is where most of the work is in prosthetic makeup. This can be hampered by an unintentional thicker edge and a noticeable colour difference between the skin and the appliance after application.

Whether visible edges are important or not depends on what the makeup is for. If the makeup is for a theatre production for example where close scrutiny is not so likely, then less than perfect edges are not so much of an issue. However, most situations require for the best blend possible and that is what we are concentrating on here.

For great edges that need to get close to a camera lens, here are the things that need to happen to get great blending edges on appliances...

If making a custom appliance, you need to get off on the right foot, so to speak.

It needs to be an accurate copy of the original, without distortion, major air bubbles or serious imperfections.

Small air bubbles etc can be filled and the seam line can be shaved down. However, large discrepancies are harder to fix and may require a re cast!

Make sure your sculpted edge is tapered well.

Ensure the form of the sculpt shifts naturally to the surrounding anatomy

of the skin surrounding it. Match the texture of the surrounding skin right up to the edge.

The illustration to the left demonstrates how the angle of the appliance approaching the skin must be sculpted to taper naturally.

Decide where to put your edges carefully.

Consider carefully where exactly the edge finishes. For example, if a cheek appliance is made a little larger so that the bottom edge finishes beneath a jawline where it is less noticeable. In fact sometimes you may need to...

Larger scale prosthetic makeups were often broken down into smaller, overlapping appliances. This was a technique developed by Dick Smith to counter the shrinkage that occurred with Foam Latex, the main appliance material of the time.

Nowadays, almost all large scale prosthetics are achieved using silicone which does not shrink - quite the reverse, actually - and consequently larger, single appliances that cover more of the face or even a whole head or body part have come back into use.

This technique requires more skill to handle such a large appliance but can cut down application time considerably.
Not all situations warrant a huge appliance, so this needs to be weighed up and a balance struck.
Edges can finish under costume or the back of the neck and there are fewer of them.

A good mould is essential, so that you get an accurate copy of the sculpture in reverse. In the case of a two-part mould with a core and a mould, the two must fit together perfectly, with no warping or distortion of the two parts to fit together. Making sure any location keys work properly and avoiding undercuts is important too.

Cast good appliances from your good moulds.

Casting well from your moulds is also important. No good having a great, accurate and durable mould and then not actually getting a usable appliance out of it. Carefully getting the appliance out of the mould (de-moulding) is also an important skill to avoid damaging the edges.

Often, an edge known as flashing will still be attached by a thin membrane ( see image above - also note how the skin texture and bumps etc go right up to the edge as mentioned above). Preserving this edge until the last possible moment before application will enable you to handle the piece for painting or even application. This will reduce damage to the 'live' edge ( the actual edge that will finally be applied to the skin and blended) before the piece is needed.

Good application is essential as you can obviously make a bad job of applying a great prosthetic. If the super fine edges necessary for a natural blend should roll under themselves or get stuck badly then it will need to be fixed so the edges are not obvious.

Fine edges by their nature are beautifully thin but also difficult to handle and are easily damaged. I once had a makeup artist complain that the edges were too thin and she could not actually apply them. She was complaining that the edges were too thin which is precisely what you need to get a great blend.

This incidentally is why appliances are rarely reused, as the edges on an otherwise useable appliance become easily damaged during removal. A new set is usually required for each day.

Once the appliance is glued down flawlessly, then the colouring is the next stage. There are a few things that need to be considered when making up appliances that do not happen during conventional makeup.
Below, you can see two makeups halfway through colouring. The foam latex makeup on the left is much more work as foam is naturally opaque, and much of the work goes into getting a translucent effect. The image on the right is painted only on one side so you can clearly see how the absence of a red stipple on the wolf nose is missing.
The way colour grips skin and an appliance may differ, so 'wiping' colour on with a sponge is not likely to work. Instead stippling, flicking, airbrushing or dabbing of colour is much better for prosthetics.

Also, conventional cosmetics do not work well on appliances as they appear differently on skin that prosthetics, sometimes soaking into the appliance material and not the skin.

This is another way in which edges can be unintentionally revealed so using the right kind of makeup ( PAX paints, Rubber Mask Grease Paint or Alcohol Based colours for Silicone etc) will help prevent this issue.

Edges do not remain unchanged throughout a shooting day. Mrs Doubtfire lied to you!

If an actor is sweating all day in action scenes, then edges will start to degrade and need maintenance pretty swiftly. I spend most time on set watching the makeup gradually deteriorate and respond to this by eating cakes, drinking coffee and fixing them with glue on a cotton bud. After meals there is usually a big mess to attend to - especially if someone had a pile of fried chicken for lunch and the mouth appliance is hanging off like a dogs ear in the wind.

Re-gluing, patching holes and fixing any colour which has been damaged is what you will do all day, and hopefully, the result is a makeup which looks the same on camera in every take.

Hi Def is a new issue for prosthetics for TV shows given that traditional TV images and screens were not so large and detailed. For movies the bar was always high as close ups on a cinema screen leave little to hide behind. Consequently, the level of attention to detail and quality given to movie projects now needs to be given to TV also. This means working to a higher standard and maintaining best practice at all times. You were going to do that anyway though, right?

Practice screwing it up, then try fixing it.
Regardless of what you learn, whatever course or workshop you attend or any book you read or Video you watch...none of the information will be retained or made relevant to you unless you perform the actions repeatedly. Just because you know something does not mean that you can actually do it.
Doing this well requires the experience gained from practice, and practice remains the most crucial element to being capable in any field of expertise. I seriously recommend slapping something on badly so you can then practice dealing with folded edges etc.

Document everything to ensure this is recorded so you and others - me even - can review your work honestly. Always take photos or video if possible. The images remain the same regardless of your fleeting emotions about how you feel towards them.

Flashing around the edge can be used to preserve the 'live' edge you want too use later. This can be used to handle the appliance prior to use, and be pinned etc when pre painting etc.

Never cut the flashing off with scissors as this creates straight lines which are rarely seen in nature or the human face.

Instead, tear the edges along the thinnest point where it should naturally create a feathered and slightly irregularly shaped edge which is easier to blend into the skin.

Material softness matters, because if the appliance is stiffer than the skin it is applied to, then when the skin moves, the appliance becomes apparent as it cannot move the same way. It is relatively easy to adjust the softness of silicone in a consistent manner but foam latex requires more experience with mixing 'rise' time.

Confused? Foam is strange animal that confuses even the experienced - it can even sense your fear!

You can fill edges with a filler sometimes known as bondo or cab-o-patch. It is made by mixing togther Pros Aide with Cab-o-Sil ( Fumed Silica* - an inert filler used in many resins and other casting materials to bulk it out and thicken).

This material is then carefully applied to the areas which need to be filled, and dries clear and plexible, working with the makeup (usually foam latex or gelatine).

For silicone appliance makeups, you can also use a silicone paste such as Sculptgel or a thickened mixture of the silicone used to make the original appliances for the best colour match.

This is a last resort as it also can create a border of smooth, texture free skin which is just as noticeable as a step or thicker edge - in an ideal world you shouldn't need it, but hey...whatever works!

*You should be able to get hold of this wherever you buy casting resins and materials. Always read and understand the health & safety material and ensure you have adequate protection when using materials .

Creating prosthetics involves a series of procedures - each one building on the last - and each one provides fresh opportunity to damage what has been does so far. Treat each stage with the presence of mind it deserves, and you have done all you can to get the best edge.
Well, there you go. That is what happens when I get emailed a great question that sets my mind thinking. Thanks Howard - that was about a week of spare time but it's my own fault...I can't resist!
================================================

I had a blast putting this together. If you have any technical questions that I might be able to shed 2275 words on, please pop a comment below and email me at mail@learnprostheticmakeup.
-Stuart All material, images and text © Stuart Bray 2011
Seriously, I'd love to know if this was any use to you and what you think.

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Thus, by definition ' good' edges are not noticed - if you do a good job of blending them, then they are not there to be seen. It's only when you stop washing that it attracts any attention! This post is inspired by a great email I had from someone who emailed asking how one gets great edges on a prosthetic.

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What's your thoughts of Nykhor Paul's and more recently Leonie Anderson's views on make up artist within the fashion industry being unprepared?

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Warpaint has some of the best articles in all areas of make up artistry, its important to keep updated in new trends, artist, products and techniques.

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Warpaint Magazine, the original UK magazine for the professional MUA is back - big and bold and online every week. Independently run, Warpaint champions makeup pros and students alike - bringing you the work of both internationally-acclaimed artists and homegrown starters, as well as keeping you updated with the latest in cosmetic launches and new collections.

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