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Bio: I'm Lucy and i'm studding in level 2 in creative makeup. I applied for this course because of my love for makeup but also to work practically as a makeup artist.  

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For my Final Project, I am going to be taking part in a ‘Glow-up’ style competition.

‘Glow-up’ is a BBC reality competition that showcases amazing transformations and stunning creations from aspiring artists competing to become Britain’s next makeup star.

Progressing on with my final major project, i'm aiming to showcase all my skills and knowledge I have gained over my time being on this course from September. How I am going to do this is by having a digital portfolio (Padlet) documenting my research, my development, testing different designs and my progress throughout the 9 weeks. i am also going to have a sketchbook containing initial ideas plus designs, experiments,sampling,face charts,technical notes and reflections. Once we have democratically selected a certain theme, i will begin planning a group timeline with my class featuring key tasks and dates then moving onto creating my individual timeline focusing on my independent work towards this project. I will do some research on our chosen concept providing some background knowledge which will then help aid me to create some initial ideas, before moving onto some influential makeup artist research which will help me further develop my ideas and go over some techniques i can incorporate into my makeup. from this point i can start working on a mood board, collecting my reference images and any other skills/techniques to experiment with. Attending group meetings for feedback and sharing ideas will be some i will need to partake in since working collaboratively for this final project is dire. I will also be attending a Harvard referencing session so I can use this method in my research.

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Continuing on from our collaborative timelines. I also made an personal timeline to help me organise my workload over the next 8 weeks and reach my goals for the project.

week 1:

group tasks-

deciding the theme

breaking down the brief

creating a timeline

Individual timeline-

initial ideas

breaking down he theme

create a padlet and bio

week 2

Group tasks-

Tuesday catch-up meeting

Harvard referencing session

Deciding theme title

Body painting session

Individual tasks-

Research of initial designs

Artist research

Week 3

Group tasks-

Tuesday catch-up meeting

Individual tasks-

Research techniques

'character' design research

competition

week 4

group tasks -

Tuesday meeting

feedback on design ideas

individual tasks-

create mood board

develop ideas

week 5

group tasks -

Tuesday meeting

reviewing our progress

individual tasks -

design face chart

practice glass skin technique

practice fake chart

week 6

group tasks -

set production

designing the layout

individual tasks -

practice latex webbed hands + practice

individual budget

updated mood board

week 7

group tasks -

production meting

Group tasks -

Health and safety / professionalism

Individual tasks-

costume design

hand + chest makeup practice

technique research

week 8

A3 moodboard

hair styling

week 9

arm and leg body paint

research techniques

week 10

finish all work theory + practical

evaluate makeup

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Today as a class we all voted on what type of theme we are going to be focusing on for the next 10 weeks. We did this by each picking a random prompt of a board and with our partners prompt we each had to merge them together to create an overall theme. My partner that I was sat with was Cordelia and she chose the theme nightmares and my prompt was alien apocalypse. We had to overall summarise both prompts and we came up with 'evil creature.' The rest of the class each did this with their prompts and then we all had a vote on which one would liked best, which was fantasy. We named the theme 'A land far far away'

The theme was originally 'Grimm's Fairy Tails' with the name being 'Once upon a time' but after some discussion we decided we wanted the theme to be more open with room for interpretation, since Grimm's fairy tails gave us limited ideas and was hard to experiment with.

Individually we all create a timeline of work based of the brief of what we where going to work on each week, Then as a class we produced a group work plan setting clear goals of what we where going to achieve this week overall whereas individually we still need to manage our work load creating our own timelines. To help us stay on track out tutor provided us with some sheets that have different collums where we can write notes on what we are going to be working on in the lesson and how long we are going to do that for.

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In today meeting we had a session going over Harvard referencing and how to correctly reference information in your work. The reason it is called Harvard referencing is because it was first used by a professor at Harvard uni as a simple way to cite sources by using the authors name and the year it was published. This session was useful because wider reading whilst working on my project is very beneficial- wider reading helps me gain new knowledge and it can also help with research so being able to insert this information from books, websites or journals correctly shows I can provide evidence from the text that i'm using and also am giving credit to the original source. Using references can also be used to back up your point and shows we have efficiently done research.

Different types of referencing used:

citation, paraphrasing, direct quotes and reference lists

EXAMPLES:

Citation - Vinther,J (2002) special effects makeup-up, Routledge

Paraphrasing - Original text "the ageing effect is best suited for events such as theatre and parties where it can be viewed from a distance of at least a couple of meters"

Paraphrased text - For theatre and parties a ageing effect is best because of the viewing distance ( Vinther 2002 page 52)

Direct quotes - "this method requires good ventilation, as the cold-cure acrylic gives off very strong fumes" page 36

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As far as today I have two initial ideas of what I want to base my work of responding to the brief. Alien or a siren, when working on these I want to design it in the style of editorial/avant-garde because I love the type of unusual/abstract ways you can portray the makeup and I think creating an alien or siren will allow to do so. On this makeup i would like to incorporate some body painting and a range of different textures.

SIREN

In ancient Greek mythology a siren is a half-bird half-woman creature who lured sailors to their deaths with irresistible songs. Historically sirens where more commonly portrayed as bird like creatures with tails and talons not fish tails but over time in later depictions sirens began to be shown with a fish tail similar to mermaids. This shift is evident in later sources form the 9th-century. I think if I where to decide on siren I would want to combine both versions of a 'modern' siren and an older variant.

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ALIEN

the word alien first appeared in the middle English period (1300-1500) from Latin "alienus" meaning "belonging to or affecting someone else"

The use of alien to describe beings from another planet emerged in the context of science fiction 1953 with words such a foreigner being used.

When thinking about aliens ‘little green men’ is the stereotype for extraterrestrial life and it has endured as a staple of science fiction, appearing in many sci-fi stories, movies and TV programs. For me alien fantasy gives me a range of different ideas that work really well with Avant-Garde makeup styles since then are usually depicted as strange/weird looking I could really push the style further but also I could portray this character in different way such as glamorous/enchanting or more of a frightening horror character.

SIREN

This can also be said about the siren as they are alluring and desirable as first but then use their beauty to captivate sailors to their doom.

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In today's session we were practising body painting. For my final piece body painting is something I am wanting to include so having time to develop this skill was useful. Learning how to begin a design by sketching the outline and mapping out where you want colour also different under painting techniques this inspired some ideas of how I’m going to include body painting in my final piece. Using watercolour is something that I’ve been confident in and enjoy working with. This is because in past projects I have done a lot makeup that includes mostly face paint, also I think the application of watercolour is easy to do when having to cover a large surface as it paint on really smoothly. Additionally using face paint is something I have been doing for the longest and in the past have had a face painting stall set up on halloween doing peoples makeup. All though I only have some brief ideas of what I want to working on I want to hone in on my skills and try and develop them.

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Pat McGrath - glass skin technique

Pat McGrath first debuted the glass skin look at the Maison Margiela couture spring 2024. This glass skin effect was created for John Galliano's show during fashion week. The products she used to create this effect where multiple peel-off masks combined mixed in with some distilled water which then dries down to create a high shine finish Pat McGrath stated "with each layer, you got a vivid brightness". Because of the makeup underneath often when applying the mask with a brush the makeup gets patchy, A way which you can prevent this is by using an airbrush to apply the mask, due to budget this will have to be something i experiment with and sample to figure out what works best.

How I'm planning on including this in my makeup is I'm wanting to use some on the collar bones, hands, arms and on the face. For the face I'm wanting the glossy skin effect because sirens are known for their enchanting beauty but also it can make the model look wet and slimy because of the underwater environment. Whereas on the other parts of the body the glass skin effect still be used but this time breaking it apart or creating rips in the 'mask' making the skin look like its peeling away. My reasoning behind this is when referring back to Greek mythology there is themes of temptation and desire. On the surface sirens seem captivating and appealing but as you look more you soon find out that they are dangerous and deadly creatures

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Dominic Skinner research - Glow Up series 

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Dominic Skinner research - Glow Up series 

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Dominic Skinner is a English makeup artist, judge on the BBC's GLOW UP competition and is also a director of makeup artistry at MAC cosmetics. He started out working at art school and had gotten into photography, his love for makeup started when he saw a magazine cover styled by Judy Blame which inspired him to explore makeup "as a extension of his artistic vision" He claims that "the leap from art to makeup was very easy" because of colour theory and the application tools used. With over 25 years of experience in the industry. He has build an impressive portfolio working with a range of, designers, artists, photographers and celebrities - creating looks for magazines and beauty along side Vivienne Westwood and Jean-Paul Gautier.

The way he utilised his skills in art and used them to aid his transition into makeup. This interests me because of my personal situation that I am in currently. In college I studied art for a year which taught me lots of skills which are also used in makeup such as: blending techniques, light and shadow having attention to detail, colour theory and lastly it has improved my critical thinking. This also shows he’s adaptable which is a key skill a makeup artist should have reasons for this being- the makeup industry is constantly evolving which requires staying up with trends, it's also needed for dealing with clients since people have preferences. Having adapaptability allows a makeup artist to change their approach based on individual needs. Similarly Val Garland and other professional artists use previous life experiences, knowledge and trends to help them create unique and inspiring makeup looks.

When talking to the BBC (2024) Dominic describes his journey of working his first fashion week. With determination he started knocking on agents doors every season attempting to get an opportunity. Until he eventually got the chance he went back and tried again before he got the job. On the first day of his first show he talked about how he had to travel at 4am to make it with little experience and a ‘less than adequate kit” but with lots of determination and perseverance he took lots of opportunities to push his way into the industry, improving his skills to get to the level he is currently as now .

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As of today we spent an hour and 30 minutes discussing what jobs need to be done as a group and designated a ‘leader, for each task, also we communicated our ideas to the group giving us opportunities for any feedback and ideas anyone had, helping each other out.

Jobs that us as a class are sorting out are: health and safety, social media, production and set design, budget and having some sort of program. My designated job is production design, what this includes is planning out where the final makeup is going to be presented and the timescales within the showcasing of makeup. I am also taking control of sorting out the order in which the models are going to be stood out in. I am going to make a plan and go round each of my class mates and discuss with them about any preferences they have with their models and where they would want them to be stood and also if they want any backdrops or decoration around their designated area to further portray their character. Moving on to the other jobs we all chose which responsibility would be best suited for one another and discussed the different parts that would go into a job. Social media for instance Paige my class mates chose to take the role of setting up a Instagram to post our makeup processes, when as a class we suggested each of us having a separate highlight for our own personal makeup processes.

The next part of this meeting we reviewed our progress, sharing our ideas and how we plan to bring our characters to life. During this as a class we all actively listened to each other asking questions and providing feedback sharing our opinions. Talking about my current plan I was explaining my design and wanting to include webbed hands. Sophie suggested I use latex instead of use a clear craft paper which was what I was thinking of doing originally. Having this time to talk with the class introduced me to different perspectives and new ideas.

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This is my mood-board that I have put together focusing on the main elements of my makeup so far.

I have also researched techniques and make-up artists to help me to progress with my ideas.

Ira Gracheva is a makeup artist based is Moscow and something that i enjoy about her makeup style is how surreal and unusual the makeup is while also looking very pretty.

Her art includes different textures and facial 'accessories' morphing the way her natural face looks. A reason why this inspires me is because of the context of my 'character' I'm aiming for which is a frightening and shocking creature, but i still want there to be some beautiful elements about it.

I want my final look to create feeling of uncertainty, as i researched before, working at the globe for the ghost light tours production I designed some clown makeup that centred around the psychological phenomenon called 'uncanny valley' and this concept is described as:

'A humans negative reaction to almost-but-not-quite- human agents’

Urgen, B.A, Kutas, M and Saygin A.P Neuropsychologia 114 pp. 181-185

A reason this can happen is because of mismatched elements and inconsistencies in portraying a human. For my makeup i would like to alter the shape of my models face mainly around the eyes/bridge of their nose area to make my character look inhuman and otherworldly linking back to the theme ‘In a land far far away’

To achive this i could use l wax or latex

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This is my mood board that I have put together focusing on the main elements of my makeup so far. aTo provide inspiration I have also researched multiple techniques and makeup artists and will continue throughout these 9 week to help me progress and develop my ideas.

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While doing research I found this video which is a in depth tutorial of how to create a webbed hand using latex and some powder from the channel AquaMermaid

https://youtu.be/F9Njj2sEzv0?si=NB9SFJVrEoerY2SA

In this video it goes through the different stages of making the webbed hand the steps being: what materials you need, preparing your hands for the application, drawing the webbing how to begin the application, the techniques of applying the latex, how to correctly trim the edges of the latex and how to attach the webbing.

Using the video as a reference when working helped me stay on track and made the application easy to understand. For future reference while watching I also made a few key notes on this video to use when I next make the hand webbing.

These notes included:

How many layers of latex worked for me which was 6

To start of latex application with a brush and end with a sponge for a even application

use greasepaint for the colour application on the latex

constantly powder the fins plus the colours

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This technique was new to me when working i closely followed the webbed hand tutorial. Because i am going to be applying the webbed hands onto my model i am will be using a outline of her hands so the latex will be a better fit.

My process: To begin I started of with drawing around my hand with my fingers spread. Having your fingers spread while drawing round your hands allows enough room for the latex to be stretched out and visible. After this was done i then began to apply the latex onto the wooden board i was working on, because i was applying the latex straight onto the board and not on my skin whatever the latex was being applied on needed to be non porous surface. This means a surface that does not allow liquids (the latex) to absorb into anything. i started of with using a brush, drawing where the webs will be between my fingers with latex using my hand shape as a quide. After the first layer was on and dried i then used a sponge to apply 4 more layers of the liquid latex. When i was happy with the thickness i powdered over the top and to remove the latex from the board i pulled back gently on a edge powdering the underside of it. i had to be cautious while removing it because latex sticks to itself when its not powdered, resulting in tears. Since this was a practise i drew a rough outline and i didn't fully stick it to my palm. Ways in which you can stick the finn down is latex or prosaid. Prosaid is a medical adhesive that acts as a contact glue, you would apply it on the palm and fingers where the latex covers in and wait for it to dry down and get tacky before sticking the latex over. Additionally if the inside of the hand is going to be visible camouflaging the edges of the prosthesis using latex for a better transition then finish with powder. As for colour cream products works best when they are silicone/water based because it adheres well and oil based products can degrade the latex.

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Budgeting as a makeup artist is necessary as it allows you to plan and track where you money goes. Things that are needed to be included in a budget are disposable products, reasons for this is because they are essential for maintains hygiene - preventing the spread of bacteria. This especially important when working professionally with multiple clients. You also should include any thing you need to complete the look that may not be makeup products.

Budget

Kryolan- liquid glass £6.80

long press on nails £2.50

Bird like wings £5.30

liquid latex £13.45

Coloured fake sea moss £3.00

Fake water droplets £1.00

Athena pallet £5.65

Fake pearls £1.20

Peel of face masks × 6 £6.54

Total= £45.44

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This was my first attempt at the Pat McGrath glass skin technique, doing test samples is very important when trying unfamiliar techniques. It helps you gain a deeper understanding of product knowledge and ensures its compatible with your desired results.

How i started this of is by applying some foundation to my arm and dotted a range of different colours and half of the colours where cream products and the other half where powder. A reason why i did this was by using different textured products i could compare the final finish between the different formulations. I know from my previous research that mixing oil based products with water based products can cause the mixtures to separate. The main ingredient in the 7th heaven cucumber peel of face mask is hyaluronic acid which is a water based ingredient

"the ingredient is know to hold 1000 times its weight in water"

Nast, C. (2024) What Is Hyaluronic Acid? Understanding Skincare’s Most Popular Ingredient, Vogue.

As where the colours and the Graftobian foundation that i used where all water based. Additionally this is why i also tested it with lots of different colours/shades. In my finished look i am not going to be including all these colours but before i finalise my design i wanted to test out if any of the colours reacted badly with this technique. After the colours were applied with a flat foundation brush i brushed over a peel of cucumber face-mask. After 2 layers the grease paint started to get really streaky and it was difficult to brush on without the colours smudging together furthermore the mask itself was thick and was taking a long time to dry out and when working within a timescale waiting for a mask to dry is detrimental. This is because as I’m taking part of this competition I need maximum time to perfect various aspects of this makeup

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Learning from my first sample something that I did different this time was I diluted the face mask down with a small amount of water so the mask wasn't so thick. I used the same foundation and colours (some cream and powder) Another thing I changed this time was I set the colours down before applying the mask with a translucent powder, solving the problem with cream products going streaky and dragging. Next I started applying the mask with the same flat foundation brush in small sections ensuring i was applying a shear layer but also covering the entire sample evenly. I kept on doing this for another 6 layers each time drying them down with a hair dryer to speed up the process.

The end result was something i really liked and definitely want to include in my final piece. The mask didn't feel too thick on the skin, which is ideal for the model as I don’t want her to be uncomfortable but also the mask had a light appearance and a really nice gloss over-the top. The colours remained vibrant/pigmented with no uneven patches. As this completion is getting judged the audiences perspective needs to be took into consideration while practicing. The final look needs to look good from a distance but also up close ,with previous projects from working in film and theatre this same rule applies.

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This is my face chart that i have designed for my final makeup look. A reason why face charts are used is so that a makeup artist can plan and execute makeup looks. Before drawing out the makeup i took a picture of my models face and traced around the outlines of her face and features so that when I was drawing my design on the placements of my application will be accurate to my models face.

What i'm planning on including is some graphic liner with the colours blue,black and green. Blue and green are complementary colours and work well put together. A reason for this is that blue and green are Analogous colours. In colour theory this is groups of colours that are next to each other on the colour wheel. Blue and green also reminds me of the ocean and the sea life. For the eyelashes i am going to be using fake lashes and painting a streak of white in them and using some glitter gel on the lashes giving them a sparky look. As for the bottom lashes I am also going to be using some cluster lashes to replicate the look of wet lashes, when they are stuck together after coming out of the water. On the bridge of the nose for decoration i am going to be using four fake pearls, 2 big ones and 2 smaller ones on the outside. Lips i'm going to be applying a back and white ombre. Then moving into the chest area doing some body painting making the neck look sunken in and like her flesh is rotting away.

As for the arms and the hands i'm going to create the latex webbed hands and purchase some long white false nails and paint over them, And for the arms i am going to paint some scales in patches all over the skin and where the patches of scales are, just in that area use the glass skin technique. Over the full makeup on the face i'm going to be using the Pat McGrath glass skin technique as i have tested out for a slimy wet finish.

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Thinking about costume design my I am wanting to layer different parts of the outfit, a reason for this is I wants the outfit to look flowy and long, how I'm aiming to do this is incorporating mesh into the costume as a underlayer of the main staple piece which is going to be a black silk dress. Along with this outfit I am also going to be using a range of accessories to add to the overall look.

I have created mood board for my ideas on my costume designs, and have scheduled a date for me to visit my model and show her my desired outcome for costume. I am doing this so I can talk through with her about my ideas and also ensure my model is comfortable with my design choices.

"Using visual aids (such as a mood board or digital images) is a great way to communicate with models or clients"

Stokes, Kelly, et al. The City and Guilds Textbook: Theatrical, Special Effects and Media Make-Up Artistry.

Additionally it will give me the opportunity to see if she already owns some clothes that may give me some inspiration or add to my initial costume.

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As a team we decided that my role was sorting out the set design. How I began planning this was asking in the 'GLOW UP' makeup group chat and asking if anyone had any preferences to where they would want their models to stand. I had drew out a plan of the corridor and marked it with the front, middle and the back, also drawing 13 evenly spaced boxes to represent each class member. Somethings that I took into consideration was, the themes of the makeup and models hair colour. When having class discussions we had talked about ours designs and a little bit about costume and hair and it was mentions that two of the models had red hair I explained that when the makeup pieces are being displayed models with a similar themes within fantasy and same hair colour should be split up if possible. This is because we don't want there to be a pattern within the models and to keep the colours balanced when it comes to viewing the models.

After I had filled all the boxes in with peoples names and any requirements they shared with me I sent a picture into he group chat to ensure everyone was happy with their position for the competition,As a group we collaboratively communication with one another to reduce feelings of unfairness and effectively plan the showcasing of your finished makeup.

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After I had spoke to my model she had shown me a long black dress with two slits up the side. The dress was useful because it would showcase the leg body paint really well and all the places I was planning on painting would be on show but the dress was plain and didn't have that silky material that I had envisioned. I spoke to my tutor about my models dress and she suggested she could provide me with a little black underdress. This would add to my character + theme better as I have used this underdress to create a layered outfit which I wanted to do, also the material of the dress is stretchy and it clings to the body which gives it a sort of wet look. After I had the main item of the outfit this allowed me to plan around it. Adding a mesh underskirt with sequins on, golden pearl waisted belt. Other parts of the outfit are including lots of accessories in the hair the fake bird wings and black heels. A reason I have chosen this outfit is I liked the idea of using the skirt to represent a siren tail whilst also doing leg makeup.

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After establishing my design, I needed to practice the eye makeup.

As a base for the makeup I stared of with some foundation. When working on my model I am going to be using a lighter shade of foundation to make them appear washed out but for this practice I didn't, I wanted to focus on the eye makeup instead. To begin the eye look using a black watercolour I drew out the outlines of the graphic liner. After this was done I then moved onto the eyeshadow pigment, on the inside I used a light blue shade then gradually blended towards the outside ending with a green colour. For lashes using some tweezers and lash glue I made the lashes stick together making them look spikey then also added some lashes on the lower lash line.

As this was a rough practice something I need to work on is the gradient blend between the eyeshadows, I do believe a factor which contributed to a uneven application of colour and noticeable transition between colours was the brushes I was using. I shall improve my skills by doing some research on blending techniques then practically test this out.

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When creating these latex hands for my final piece I had asked my model to trace around her hands and for her to spread her fingers out so I could have the exact measurements of her hands. I cut out the hand prints and using the same wooden board I drew around her hands. For the application this time I marked out where the webbed parts where going to be with a pen so when applied the latex I wasn't going over my starting line, which in tern prevented a uneven thickness to the edge of the latex. From my initial practice I believe my technique has improved, the first time I tried making the webbed hands the final result looked rounded and not sharp/pointed edges liked webbed hands should look whereas now since I had marked out where the webbed edges should be. Additionally i think the thickness of the latex has improved, because of my model wearing this on their hands it needs to be thick enough to withstand some movement and when i removed the latex from the board it had some elasticity to and and was easy to be removed.

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AHT stands for association of hairdressing and therapists and this is a competition that was "founded in 1963 by a group of hairdressing teachers as a national network of like-minded specialists who exchanged good practice and support. Members are teachers, trainers or assessors of hairdressing or therapy subjects, who hold or are working towards teaching/assessing qualifications" aht-uk. (2025). aht-uk. [online] Available at: https://www.aht-uk.com/

As makeup team we attended this competition to gain hands on experience competing in a makeup competition but also it gave us a incite on what the judges are looking for. At the beginning of they day event staff had given each table a copy of what the judges are looking for E.g precision/ artistic and original designs. Although I didn't partake in doing any makeup on that day as I was model for my class mate Catherine, I was still there to give her support throughout the day. Having this experience also was beneficial being when competing you are having to work within a time scale and for our final project

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The week back from college we all caught up with each other about our developed ideas which we worked on during the 2 weeks of and explained to out tutor how we have collaboratively worked together on our set tasks, mine being the set production. Talking about what we had been focusing on, a lot of it was to do with their costume and the practical side of our project. Others where still unsure about certain elements of the makeup so as a class we provided some suggestions on different elements people could include in there work. Millie was speaking about her design and needed some ideas for the face makeup I had some input on how she could include some unusual/funky eyelashes and a bold lip. Millie wanted to keep the makeup looking 'natural' since the character she was working on is young but still wanted to include some strong parts of the makeup.

Having this time to talk through our progress has allowed us to collaborate more effectible and make adjustments as needed and ensured everyone is on the right track with their on personal work load.

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Beginning this makeup I started of with some white and a small amount of blue from the Athena pallet and mixed them together to create a base colour. For this practice I had only applied the colour to the face where as when I do the whole makeup design the neck and some of the shoulders will be painted also as I am wanting to paint on the neck to make my model look scrawny. From my previous practice I have slightly changed the design I have added another line above the browns and filed it in with colour. A way I would change the design again is on the bottom half of my models face where the line has only the green colour on, where the top line is I would do the same with the colour blue. This would improve the proportions of the makeup as I think full colour on the top but not the bottom makes the makeup look top heavy and by doing the same to the top and bottom will even the face out. A reason I changed the initial makeup was because I wanted more of the face to be covered with colour so that when the glass skin technique is applied it will really catch the light and highlight the design on my models face. Also with the long lashes on the top lid but also the lower lash line I don’t want the lashes to be overpowering the makeup, the lashes should go along with the makeup and add to it instead of taking away from it. For the lips my initial idea had also changed, I did have a few ideas in mind and played around with different colours and shapes for the lips, first tried the a turquoise and pink lip combo. The turquoise colour lining the outer corners of the lips and the pink being blended from the middle to outer corners of her lips. The colours didn’t really work well together but also didn’t tie in with the eye makeup. Additionally my model has pale skin and a cool undertone this means that light colours can wash out her appearance. when I have purposefully created a lighter complexion with paint I don’t want the lip makeup to take away from that making the whole face look unbalanced with the colours. To combat this using a black liner I had lined her lips emphasising the Cupid’s bow as I want to create a sharper bold look. For the middle of the lip I used a pink grease paint mixed with some Vaseline to provide a smoother application then over the top using a darker purple shimmer. I chose this lip colours because I think it complements the makeup well but the purple/pink colour tied in with the fake sea moss I am going to include in the hair the colours being: Green, Blue and pink.

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When practicing my makeup look something I needed to work on is the gradient blend between the eyeshadow colours. Dry mixing starting of with a dry base when using pigment powder before adding liquids to prevent clumping, for the blend use circular motions with a clean brush to achieve an even distribution.

This information is from the book creative makeup by Rachel Duffy pages 48-49 creative staples limelight deep smoke

1. once the colour is saturated across the eyelid, use a small rounded blending brush to lightly disperse the pigment in a upward circular motion. by using small circular motions you will have more control over the blend.

Different types of blending brushes ; large soft fluffy brush, a medium fluffy brush, and a small dense brush

The fluffier and larger the brush the less precise of the placement of the product is going to be, for more precision use a smaller brush for a denser more tightly packed brush to apply product.

The city and guilds book of Theatrical, Special Effects and Media Makeup Artistry page 90

When I was applying the eyeshadow I used a flat dense brush instead of a medium fluffy brush and this is what lead the application to be patchy. On Thursday I am going to be practicing my face chart with the correct technique, to improve the final finish.

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As I have been developing my ideas and working on my project through research and practical skills my initial ideas has changed. This is my updated mood board which represents my final look more accurately compared to my previous one. A reason why I first made a mood bored was so that all my ideas when grouped together which helps me visualise a desired outcome, looking back on my mood board now weeks later after some experimentation i now know what makeup look I want to convey.

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This technique I was working on is called amaciation. This is used in theatre, movie and TV productions and photoshoots/ art projects. It's aim is to create a appearance of thinness or gauntness

To work cohesively with the webbed hands

and the neck body paint I've designed this look. How I started of this body painting was some white and blue mixed together for the base. As I did with the neck I used my own hand structure as a guide to where I should add the darker shades. In between 3 of the metacarpal bones I used the same dark blue shade and outlined them. In your hand you have 5 metacarpal bones when when applying the greasepaint I only focused on 3. My reason for this is because I wanted to make the hand look deformed for when I apply the latex webbing to the underside of her palm. When painting the lines onto the hands using a clean small brush I slightly blended some if the edges creating some shadow. Another way I created some shadows after I had set the greasepaint with some translucent powder (to avoid the paint creasing and transfer onto clothes) I used some gray eyeshadow and applied this in-between the base of each finger and also around the groves of my metacarpal bones. For the nails I have purchased some pointy long black nails to also add onto the final looks. As for the webbing I am going to colour it when it is attached to the palm of the hand so I can ensure it matches my models hand paint.

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This Tuesday we had another class meeting which revolved around out progress on our designs and our digital portfolio. I updated my class mates on where I was with my design process. That I had practiced my face chart with evaluation, and what I'm planning on doing also.

Collaboratively speaking we chatted about the promotion of our 'glow up' final project and what needs to be done with the profile. Millie suggested that for the each individual artist there should be a picture of their work and a photo of them working on the model. With everyone working on their model and only taking pictures of their individual work that they has produced there was no pictures of anyone working on their model in the moment, to help with this for support I will go round when people are working on something that they wanted to be shown on the Instagram profile and take a picture of them applying the makeup showing the working progress of the makeup.

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I started of this makeup with the same shade that I used for the face and hands, applying it all over the neck and collarbone area. when practicing this makeup the placement of the dark shaded areas was really important because I wanted it to be accurate to the skeletal system.

Makeup artists tasked with creating designs relating to the human body will examine circulatory, muscular, and the skeletal systems to accurately execute the makeup or appliance.

The makeup artist handbook second edition Gretchen Davies + Mindy Hall page 18 - the body

Using my models body as a guide I applied a light grey to clavicle area just above and under the bone. I repeated this again using the same technique underneath the second marking. Using the same grey I drew a thing line of where the interclavicular joint is and extended the lines up towards the neck. Using a small clean brush I blended the grey lines out so they would appear softer to give them more of a shadowed look. Using the Athena pallet I mixed some white, dark blue, turquoise and a small amount of black to create a very dark blue shade. Using a small brush on the bottom on each 'bone' I drew a thin line with the darker shade to create some depth in contract to the white paint I applied underneath each line to highlight them areas. After I was please with the grease paint I set the paint with a translucent powder and moved onto using eyeshadow. I used the grey shade out of the illumasque pallet to blend out from the initial grey line using circular motions as I have learnt from my past research. I did this on the interclavicle joint and the upper clavicle area shading in the area to create the illusion of a sculpted and skinny body. Lastly using some white eyeshadow in the middle of her neck I added some highlight to further extenuate the shadows of her neck.

Overall I believe my technique was very effective and look good from up close but also from a distance, furthermore it matches with my hand makeup I practiced which means the whole makeup look should correspond with eachother.

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Image from Rudy Grazziani instagram account @rudy

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https://www.instagram.com/p/DIo3Sj1zuHP/?igsh=dzNnaDZtdnc0empx

For the hair someone that gave me inspiration was Rudy Grazziani who is a creative director. On his Instagram he had photographed the picture which is linked up top. His Instagram consists of contemporary art and Avant Guard designs. Something that sparked inspiration is the wired appearance the 'hair' has but also the shininess, a way I was thinking I could replication this sort of style is using some silver and blue mesh fabric with a some thin wire in the fabric and platting it into a small section my models hair. Because of the wired been in with her hair this ideally will let me mould the hair into some different styles. Something I also want to include is some pearls as they represent having a connection to the sea and a have a symbolic representation of beauty and the allure of the unknown.

As for the rest of her hair I am wanting to use my chopstick curlers to create some tight curls. My models had long hair meaning although I am tightly curling her hair there will still be some length left. I have some coloured fake moss to include throughout my models hair also

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Experimenting with the leg body paint I tried two different paint designs. Since this was an experimental I didn’t have an exact plan in mind. How I started of my first look was I pained the leg grey with some water colour diluting it so the colour wasn’t to harsh and dark, then using a small brush I done some thin, black line work going up to the thigh using some grease paint. My aim for this was to look like seaweed wrapping around the legs. Something I didn’t like about this look was is it looked more like a Forrest/woodland design. Additionally the legs paint didn't match the rest of the body paint like on the hands and neck, for the shadows/darker colours I used a darker shade of gray mixed with some blue whereas on the legs i used a black paint and it looked miss matched. Overall I think my line work was really good but doesn’t fit my theme as I had planned.

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For hair I am going to be using alot of accessors in it. Sirens are alot of the time depicted with long hair and my model has long black hair and I want to use it. Sirens are portraid like this because hair can be seen as to "visually enhance the sirens deception while lurring in sailors"

Mermaids of Earth. (n.d.). On the Origin of Mermaids. [online]

First I braided two plaits down the side of her head with a string of pearls in each side then clipping the remaining bit to the middle of her hair. For the competition I wont be doing this as I want the pearls to be in the braid only. I need to check how long my models hair is and cut the string on pearls to match her hair length. I also have bought some light blue mesh fabric which is slightly glittery, like the pearls I am going to do a few hair braids and hair twists with the fabric in the hair. I also have some fake coloured moss which the colours tie into the face makeup nicely.

The rest of her hair I will be loosely chopstick curling it, then separating the curls to achieve a hair style which looks bouncy. My thoughts behind this style is that I want the hair to replicate how it would look underwater.

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For my second design I still used the same colour and painted the entirety of the leg in grey. This time I was thinking about trying to do a pattern which looked like it was coming from the back of her leg around the front. Thinking back to my last design I used the same colour pallet that coordinates well with the whole body- using some blue shades I drew some uneven lines around one side of her leg. This picture was taken before I did the bend between the greasepaint and eyeshadow but after I had bended out the lines creating more depths and adding some lighter highlights with white powder I still wasn't happy with the outcome. I need to improve on the shapes of the lines and the structure they are going to be set out on the skin. After some thought I have decided I want the leg design to be my characters actual skin which to me means some of the edges of the painted on lines where they are being buffed out will have to have a gradual transition between the colours, the grey being the base colour and the darker grey/ blue colours being the patterns.

To progress on with my design I will have a look for some reference pictures to zoom in and focus on certain elements and techniques of the makeup I want to include that are similar to my design

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After some experimentation on the leg body paint I found this picture on Pinterest while looking for a reference picture and really liked the design on the body and wanted to incorporate this on the legs and some of the arms. Things that I like about this design is that it looks similar to fish skin which links in with my siren design, I also like the irregular shapes and patterns on the body. I had spoken to my tutor to get some advice on how to achieve this look on different parts of the body and she mentions that the makeup in this pictures has been airbrushed on. Due to budget restrictions airbrushed makeup isn't available to be using on my character meaning I will have to adapt the makeup in a way that is accessible to me.

In this picture the edges of the lines are buffed out and look like they fade into the skin, from my previous airbrushing research I know that to achieve this look the artist would have applied the pigment from a distance which creates a gradient blend. To get this desired effect without a airbrush my technique would be to use multiple products. Starting of with my base colour for the leg the grey watercolour, the over the top of it using a grease paint and buffing this out with a clean brush or maybe a lighter shade of what colour I originally used. Then setting the greasepaint down and going over with some powder pigment to further create a shadowed smoky look.

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(All information is from The complete make-up artist third edition Penny Delamar pages 107 - 113)

- Has been written in my own words

Air brushing can be can used for fantasy but also for contouring shadows on the human body as it gives a fast coverage and delivers a finer film of colour then using a sponge or a brush. The distance that the brush is held from the surface governs how wide the spray pattern will be. To get a fine line, hold the brush very close to the surface and hardly pull back the trigger at all. On the other hand to achieve a wide coverage hold the brush quite far away from the surface and pull the trigger as far back as possible. The speed of which you apply the airbrush effects differs the amount of product that settles on the surface, therefore lingering in one spot wile spraying a line means that area will be darker and if you speed up the airbrush motion the area will become lighter.

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For the leg and the arm makeup I had decided that I wanted the arms and the legs to have the same design as I want my character to be symmetrical like how the face makeup is designed. How I started off the arm makeup was a grey watercolour as the base. Then using some greasepaint I mixed the white and a light blue to use first to get the initial lines down, then using a darker blue shade I thinly drew some darker lines on top of the blue, to try and add highlights (like I did with the hand makeup) using a shear white grease paint around the edges of the Blue to try and add dimension. The end result was something I wasn’t happy with as the pattern on the arms looks very messy and the colours don’t blend together well, I also don’t like the grey base as it is to dark and it’s application is patchy. To improve this makeup I need to light base colour that matches with the rest of the body like the neck hands and face and have a lighter application with the lines as they are messy, something that also affected the application was the watercolour as it made it difficult to properly blend out the greasepaint without the grey colour cracking and the greasepaint completely rubbing of. Whilst working on this I had been using my reference image to try and recreate the effect but something that I was struggling to do was replicate the unusual shapes the lines formed and at the same time trying to make them look blended and more part of the skin.

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Making sure our makeup room was prepped for our models and competition tomorrow was the last step. Having a comfortable and organised work space is essential for a makeup artist as it can increase productivity and concentration and can make communication and collaboration easier to do. Together we did this by sorting different parts of the room making sure everything is cleaned down and tidy, I wiped down the sink thoroughly making sure there was no left over paint or makeup stuck to the sides and de-cluttered the area. We also had to rearrange the room to make space for everyone working on a table each, working as a team we all moved the tables and chairs around so we could make space for an extra table to be moved into the room since we where one spare. The order of tables had been previously been discussed as a class and was planned out by a class mate Neve who had drawn out a table plan, something that had to be took into consideration whilst sorting this was the equipment people where using, such as hair tools. To reduce the risk of harm people who are going to be working with hot tools have been separated as much as possible maintaining safe working conditions. As for the models creating an calm and functional environment can help them feel more at ease and relaxed; As a class a way in which we have adhered to the models is that we have bought food and water in for them and individually I have made sure my model knows what the plan is always letting her know whats going on this also includes forward planning. Together we have pre-planned our journey to ensure that i'm not late starting the makeup and that my model is sat comfortably without feeling rushed. Page - 24 the book of Theatrical, Special effects and Media makeup it is states that

"having good time management is important when working around a scheduled, never rush in exactly on time or late"

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Over the past week I have been working on making a A3 moodbord. Whilst I have made 3 mood boards online, having one physical mood board with my design on is helpful for many reasons. One reason being it can help the judges understand what our final result is going to end up looking like. This moodbord also displays my thought processes, it includes my face chart that I had designed in the beginning weeks of the project and some of the reference pictures I have used that have inspired parts of my work. This mood board should reflect my finalised makeup look and also the theme of the project being " In a land far far away"

I really enjoyed working on my mood board as it was different to the way we normally work on them, it was also fun having the time to decorate it and make it look unique to work with the aesthetic of character design

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This is a PowerPoint I have created to showcase my final major project that I have working on for the past 10 weeks! Throughout these 10 weeks I have been developing my makeup through research, test samples, feedback with my tutor and my teammates so I can produce the best work to my ability. Today's I began working at half 8 giving me 7 hours to fully complete this look, we each individually chose what time we wanted to arrive due to the diversity of our makeup designs but as I was doing some of body painting I wanted to make used of the time as much as I could. Before starting anything I wanted my model to have her outfit on just to make it easier for me and my model - I didn't want any of the makeup to end up smudged or transfer onto the clothes but also I didn't want my model to feel discomfort trying to change with full body makeup on.

Hair

After she was changed if began styling the hair like I had practiced. I braided the string on pearls either side of her hair and then did the same with some of the mesh fabric that I had brought. On the top of her head I added some coloured moss and intertwined this in her hair securing it with some hair pins. I really liked this element of the hair because the hair style was quite simple but I think having some adornments through the hair style added to the overall look. For the rest of her hair I used some chopsticks curlers to create a tight curl. To finish the hair of I had brought some spray on shimmer and sprayed this all around the hair which left a subtle sparkle.

Face makeup

Before starting the makeup look I had moisturised my models face as she had really dry skin due to eczema and made sure she had a clean and prepped skin ready for application. Using my Athena pallet I mixed some white with a small amount of blue and applied this all over her face blending as much as I could down her neck (for when I start on the neck/chest makeup) Then using some black watercolour I began the line work. A difficult part of this makeup was the symmetry because it was on the face even if a line was slightly off you could tell so I had tried my best to keep each side of the face symmetrical. A reason I had drew the lines in watercolour first was because of how easy it is to remove; when trying to make the lines in each side of my model face match up on multiple occasions I had have to wipe a line of and start again and because watercolour is activated with water this make the removal easy and didn't effect a large area of the makeup. After I was happy with the line work I moved onto the colour using a dense fluffy brush using the same technique I had used when I did my research and doing my practices I patted the colour into the skin - this worked really well as the colours share pigment because green and blue are "harmonising colours, when placed next to each other they appear to blend" additionally complementary colours that are place together "produce a strong contrast had a smooth application and each colour looks more vivid" page 18 The Complete Makeup Artist Third edition Penny Delamar. Like I had said when I did my last practice I had changed the design so that the top line corresponded to the bottom line with little colour on. After the colour was applied the black lines had became faded so I went back over then with the Ben Nye cake liner to make the lines sharper and more vibrant. For longevity purposes I left the lipstick till towards the end to apply as throughout the 7 hours we where eating food and talking and I wanted the lipstick to be fresh.

Chest makeup

Next I started on the neck and chest area using my past practice as a reference photo, because I was going of bone structure I had to slightly change the way the paint was applied. I used the same base as I did for the face then used a gray colour to outline the clavicle above and under the bone and repeated this again using the same technique underneath the second marking. Where the interclavicular joint is I drew a line around it and extended the lines up towards the neck. Using a smaller brush I blended the line out up towards the neck to give it a shadowed and sunken in look. For a darker colour I mixed some black,white dark blue and a small amount of turquoise to add some depth and contrast to the white paint applied underneath each line to highlight the area. After I was done using greasepaint I powdered the area then using some grey eyeshadow from the Illumasque pallet I blended the out from the initial grey lines and added some white eyeshadow to areas I wanted to highlight. Because I used the same steps and techniques from my first practice this makeup went well and looked good from up close but also far away which was important as the makeup is being judged and this makeup will be viewed from multiple perspectives by the judges.

Hand makeup

When I then moved onto the hand makeup I used my practice as a reference photo also, I did the same steps as I has when I practiced on myself. In between 3 of the metacarpal bones I used the same dark blue shade and outlined them. When painting the lines onto the hands using a clean small brush I slightly blended some if the edges creating some shadow. Another way I created some shadows after I had set the greasepaint with some translucent powder I used some gray eyeshadow and applied this in-between the base of each finger and also around the groves of the metacarpal bones. As for the latex webbing this was going to be one of the last steps towards the end of the makeup as it would be restricting and uncomfortable for my model and as its a long day of getting makeup done keeping them comfortable is a priority as a makeup artist. I think hand makeup and the neck makeup worked well with each other because of the colours matching. Something I was going to add was the long nails but I didn't have the nail glue so instead I ended up just using some back grease paint for the nails

Arms

When doing the arms I started of with the base colour the same as the rest of the body, When I began painting the patterns and lines on the arms I wasn't happy with the outcome, I had used a thin brush and a light gray colour and copied the way the lines where set out in my practice but it wasn't looking like how I wanted it to. I had wiped the paint of and tried to redo the pattern but it still wasn't looking correct, a reason I didn't like it was because the pattern on the arms didn't match the the rest of the body but also the application and the blend between the light and dark colours became patchy and some parts of the greasepaint had rubbed away. Something that was affecting this was the timescale I had to work within - I was feeling the pressure and this in turn was effecting the application. I didn't want this to affect my overall makeup so I changed my working technique. Using a stipple sponge I lightly patted the blue across the lines that where already drawn on. This ended up creating more of a airbrushed effect than what I originally was trying to do. Something that I also thought that looked good was the darker lines that you could see through the stippled on colour, This accurately replicated the pattern of fish skin better then what I was first aiming to do. Solving this issue then helped me gain back time as this technique is simple but effective and I could move onto the other arm sooner. After both arms where covered using a small craft brush I used a dark shade of grey and went over the lines again, because this brush was sparse when I dotted the colour over the blue it didn't have to much coverage which added some depth within the colour and created texture. Something I would have added if I wasn't so time conscious was the pattern all around the back of the arms and on the legs. For the legs I did have a backup plan of bringing in some fishnet tights that had a similar pattern on, I would have wanted to do this same design on the legs but unfortunately I didn't have enough time.

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Learning from my last attempt I had taken into consideration the problems from my first practice and changed my application process and techniques. Starting of with the base colour I mixed some white and a light turquoise colour and applied this with a foundation brush in circular buffing motions which left the colour evenly applied without any streaks. Another problem which concerned the base colour was part of my outfit, because I’m doing the same design on the arms and legs, the skirt which my models is wearing is a mesh material and it’s black meaning the legs from under the skirt look a lot darker. This will affect the way the leg makeup looks from under the outfit. A reason I tired with watercolour is as I’m colouring the whole of my models legs - trying to blend out greasepaint on a large area of the body will take a lot of time as it’s much easier to applying watercolour quickly but because of the skirt and the darkness of the paint I’ve decided to colour wash the whole the leg applying a thin layer of white all around using a large clean sponge so the application is quick but will ensure the patterns will stand out through the skirt because of the contrast in brightness. Another thing that I changed was the brushes I was using. To create more fine lines I used a thin angled liner brush which worked nicer not only with the blue shades but also helped with the highlights. When working on the hands and neck using shading and highlighting was the way I used light and dark to emphasise the design but also add depth to the skin; making certain areas of the body look receded or withdrawn. As it states in the book of special makeup effects for stage and screen Todd Debreceni - page 207

"Using shading and highlighting techniques add depth to any design and creates three-dimensional effects"

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Finishing touches

After I had the main elements of the makeup done I had a hour and 30 minuets left and I moved onto the things that needed to last such as: Lips,webbed hands and the glass skin technique. For the webbed hands I applied a thin later of latex all over her palm and carefully fitted the webbed hand and flattened it down. 5 mins later the latex was falling of her hands and wasn't sticking down so instead of latex I tried to secure it down using pros aid which worked better and didn't come lose for the rest of the time. To colour the latex I used the same colour as I did for the rest of the body and using the same stipple brush added a few dark spots on the webbed part of the hand. For the lips I stuck with the same combo as last time; this being black lipliner with some pink greasepaint as a lip colour with some purple/pink shimmer over the top, then bringing the black up in the middle of the bottom lip. I think this colour tied in well with the hair accessories also adding a bold and different colour into the makeup evened out the appearance of the makeup as a whole since the majority of the makeup has the same colour pallet. The last part of finishing this makeup included adding the glass skin effect. As I was planning on covering the face,chest and arms I had doubled the amount of water to face mask ratio and mixed till it was the same consistency as it was for my first practice, Using a flat foundation brush I brushed the mask on her arm first, this was because I was worried in case the mask smudged the face makeup. I applied the 6 layers like I did for the practice and after each coat I dried it with a hair dryer. After 4 coats the mask didn't have the same shine effect as it did when I applied it on my arm for practice. To try and make this work I added half of another cucumber mask to make the solution thicker then added another 2 layers. After I had added the usual amount of layers instead of the glass like appearance I was aiming for the colours on the arm began to pill up and some areas started to peel. At this point there was 25 minutes left as a set myself a time to be done for and to have time to end with the glass skin, I tried 2 more coats just to see if I could get any amount of shine but after I dried it down it just absorbed into the skin. Unfortunately I couldn't manage to achieve the glass skin effect in time for our deadline half 5 for when the judges came to observe our work. I was quite disappointed with this outcome because this technique was a main part of my makeup being the final touch and from the beginning of planning I knew I wanted to include this technique. As a last resort I dusted the arms with the shimmer I used for the hair and when the model moved the powder caught the light which did make the skin lightly glisten. Despite this issue I used the remaining time to perfect each segment of my makeup and prepare my model for the judge.

Overall judgement

Reflecting over the whole of the competition there was something that I could have improved on, one being my time management. Although I completed my makeup application on time, having to restart cut into my time. This issue caused me to not be able to do work on areas of the body that I had planned such as the legs. In response to this though I had adapted my approach to work within my timescale. This flexibility then led to a better application - This being the stippling technique with a sponge then going over it with the craft brush with darker tones as it provided that airbrushed effect that I wanted which in turn effectively matched my theme better then my previous design.

"You need to be flexible as a make-up artist. The location, the model, the make-up application or all three may change at the last minute, so aim to be versatile and adaptable"

Stokes, Kelly, et al. The City and Guilds Textbook: Theatrical, Special Effects and Media Make-Up Artistry

Throughout the competition I regularly checked upon my model during the makeup but also in the run up to the competition - through these 10 weeks I talked my model though my refence images, these being my mood boards and face charts and during the competition checking she she was comfortable providing her with water and snack breaks while talking her through the steps of the makeup. Meanwhile, I also supported my teammates offering encouragement when they needed it. This communication is a key skill as a working makeup artist as it offers a supportive atmosphere and shows my respect as my model was very patient with me sitting for a whole day getting there makeup done. Staying hygienic while working was something I tired to maintain, at each break I rounded up all my brushes and put them in a pot to stop my working area from getting cluttered keeping the greasepaint and powder brushes separated. After every break we had I sanitised my hands with some hand gel to prevent bacteria spread, and every time I was done with colours on my pallet I wiped my spatula and pallet clean with a makeup wipe to avoid mixing of unwanted colours. When working maintained a professional appearance by wearing all black clean clothes, my hair tired up out of my face and ensuring my nails where short and clean with no varnish. I also kept my makeup to a minimum.

On a whole I am proud of this fantasy makeup look I had designed to fit the theme "In a land far far away" Although things didn't go as panned like the glass skin and leg makeup I managed to turn it round and kept calm working though my problems.