‘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.

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.

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

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.

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.

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

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

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

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.

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.

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

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

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.

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.

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.

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.

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.

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

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.

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.

  
  

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.

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.

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.

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

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 .

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

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

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.

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.

- 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.

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

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

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.

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

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.