Showing posts with label research. Show all posts
Showing posts with label research. Show all posts
You know when you go into a room feeling really confident and it becomes painfully clear that in actual fact you haven't got your act together? That was me today.

I had book a session with Sharon previously and not shown up due to an unforeseen circumstance. So I made my way in on my 'free' Tuesday to see what I could gain from this 10 minute window.

Sharon's first meeting had over run so she asked me politely if I minded coming back at another time and I had no problem with this. At the newly appointed time I return and Sharon still isn't finished. I just sit outside and wait. Thinking about how much of an improvement I've made on this blog recently. I make a list of things I'd like to bring up otherwise I would forget them.

My Questions and Queries:
  •  Minimum amount of posts for New Elizabethans
  •  Length of Blogs?
  •  Do we blog about shoots?
  •  Attendance 16th/23rd 
  •  Good habits for make up assessments


I get called into the office. The opening question is:

"How are you getting on?"

 Now, normally I just answer this with the typical "Oh I'm fine" because that's what I'm used to doing, but this time I just answer honestly and said that I was struggling and I feel as though it's impossible. Just saying that out loud was in itself the biggest relief because it feels like a demon I've kept hidden for ages.

Sharon just smiles, and asks me to put my blog on the Mac. I comply and hold my breath as she begins to scroll. It was an absolute relief when I heard her say how she loved this and that, calling Kat over to look at my work and just chatting to me about things I've done.

I decided I'll bring up 'Length of Blogs' to start with. So it turns out that one of the points of having this blog is to reflect on things I've done, find inspiring and to record my journey from the research to the final result. Sharon likes how much I write and says I seem to be a naturally reflective person. The only thing that I can improve on in that sense is that it is really easy to make a list at the end of a practice session or an outcome of things to beat myself up about. Instead of doing this I need to make sure that I use points like this to be the driving force for improvement.

 So instead of doing this:

  "I didn't like that result"

 Do this

 " I wasn't happy with the result, so next time I'm going to....and why..."

 It turns the negative into something with potential to be positive and have a better result for the next time.

What Sharon wants to see more of in my blogs:
  • Reference and Visuals of what I find inspiring
  • This ^^ but consistently throughout my posts
  • Photos of practice outside the class. Stuff I've done in my own time and a reflection to go with it
  • Links/Drop in YouTube videos of things that are relevant to my studies.
  • Photos of when other people practice on me and how this will help me
  • USE BOOKS as references, there's more to life than internet references
  • Tidy up my blog, she really likes the layout. (I knew my gut instinct was right about a simple and clean layout BOOM) DONE
  • Complete missing blog posts.
I'm feeling great at this point and i'm feeling fairly positive and then the cartoon style 10 tonne gets dropped on me from a great height:

30-35 BLOG POSTS FOR THIS ONE ALONE

It's at the point i'm pretty certain I have an outer body experience and I know my poker face failed. As I come back down into my body I can hear Sharon telling that it's going to be OK and it's still doable. 

T
I
M
E

M
A
N
A
G
E
M
E
N
T

IS THE KEY.


What I need to do:

  • BIG DIARY OF DOOM. Or just you know, 2016. The A4 one seems like a good idea.
  • A mini version with a week to view. That way I can plan my week
  • Spend an hour a day blogging and then leave it.
  • Make a super list and bring it with me to my next tutorial (Tomorrow at 12pm or 1pm
  • Plan everything. It makes it easier to do.
  • Become more proactive in seminars to see what needs to be made into a blog post.
  • Make sure I have a black outfit for tomorrow, my notes and everything I need for my assessment tomorrow.
Is this doable? Hell yeah.

So far I've already thought of 5 new blog posts for this one alone. I've made the drafts already and put a bit of blurb in them so I don't forgetful when I get home/when I next open up blogger.

After practicing on Sophia tonight, I'll take photos and evaluate them and prep some notes for tomorrow.

Sharon is ace.


xo
One of the Elizabethan Ideals that we have shied away from is how we view pale skin. In the Elizabethan times, pale skin was proudly worn by the nobles and royalty because tanned skin that may have had freckles on it were marks of the poor and those who worked in the sun.

As I've mentioned in previous posts, the extremes many women went to to achieve white skin was unhealthy. Concoctions that were mixed up were based with poison and surely it must of become visible that they were bad for the skin? But nonetheless they kept on applying these pastes to achieve the pale status.
THE SIEVE PORTRAIT

Throughout the 2000s, fake tan has become the 'in' thing. I've seen boards in Essex that advertise the shade 'terracotta' So where did this fixation of not being pale come from?

 "No celebrity would dream of gracing the red carpet without one and the vast range of products to turn us every shade of the colour-chart from gentle gold to deep teak means that self-tan is a staple part of not just our beauty regimes but of the economy." (Hart-Davis and Debenhams 2013)

Ah ha. Our new 'Royals' we look to as our forefathers once looked to Elizabeth I, are setting the trends. It was in the 1920s that tanned skin became associated with luxury.  

 How much do actually pay attention to this? £100 million. That's how much this article is a few years old, and I'm scared to think of what it would be now. Let's let these figures speak for themselves:
According to a lively radio programme Tanning Tales, going out on Radio 4 tomorrow, the self-tan business now has a retail value of more than £100million in the UK. It is one of the fastest-growing sectors of the cosmetics industry, which itself is thriving in a positively unseemly way compared to the rest of the economy. “The beauty and cosmetics industry as a whole brings £17billion to the UK economy,” says Caroline Neville, president of its trade body, Cosmetic Executive Women. “It has held up well during the recession because the last things women want to give up are their small treats. Beauty is about confidence and these products help to give women that confidence.” (Hart-Davis and Debenhams 2013)
So due to celebrities we worship, we copy them and we've made a huge increase on how much we put into this newly found niche within the beauty industry. 
If you google 'fake tan gone wrong' You get some comical results. When it first became acceptable to have a really heavy fake tan, you can see that the results aren't the greatest:




It just makes me sad that it's acceptable for people to say:

The CEO of St Tropez is Michelle Feeney. “A tan makes you walk a little taller and although you can’t say, legally, that self tan makes you look thinner, white cellulite certainly looks worse than brown cellulite,” she says. (Hart-Davis and Debenhams 2013)
"Today all those worries have been banished by the miracle of fake tan, says beauty salon owner James Read. "When I apply my tan I feel and look healthy. If I haven't done it I feel I can't go out." (de Castella 2011)
 
What I find fascinating is how fickle society is. Elizabethans saw a tan as lower class attribute, whereas now:Nowadays the tan is "no longer a class definer", York argues. It takes in both footballers' wives and the well-to-do. Sporting a tan is now part of a move towards showing off more skin and making a statement, he believes. (de Castella 2011)

Personally, I am pale and freckled. I don't tan and I don't use fake tan, I don't feel the need too. I don't look down on or judge anyone who choses to wear tan. I do however have a problem with young dancers (children) who compete and are fake tanned to the high heavens. I think surely now in a time were we are more accepting to new ideas of normal, that we could just accept that beauty can be found with along all skin tones.

Maybe one day, but for now there's a rise of mitt using fakebakers.
What a pretty rose. Throughout the Elizabethan research I've seen it come up at least a million times. Of course I knew why. It's one of the very few parts of primary school I remember. So I'll give you a brief history lesson.

Once upon a time...

'The War of Roses
The Wars of the Roses were a series of civil wars fought in medieval England from 1455 to 1487. For thirty - two years, a bitter struggle for the English throne was waged between two branches on the same family, the House of York and the House of Lancaster, both descended from Edward lll.
The War of the Roses began in 1455, when many barons resented the way that the Lancaster family had seized the throne in 1399 and felt that Henry V, IV or VI were not the rightful kings. (Henry IV, the first Lancastrian King, came to the English throne by force. He made his cousin Richard ll, abdicate, and then seized the crown himself.) According to the barons, the York family, cousins of the Lancasters, were truly entitled to reign.
The Battle of Stoke is considered by most people as the final conflict in the Wars of the Roses.
Each house was represented by a rose.

The Struggle for power was know as the War of the Roses because the Lancaster emblem was a red rose and the York emblem a white rose.
The Battle of Bosworth 1485

The battle of Bosworth is one of the most important battles in English history. It led to the War of the Roses, and planted the Tudor house on the throne of England.
What happened the battle of Bosworth?
Henry Tudor, (Henry VII), earl of Richmond and a Lancastrian, defeated King Richard III, a Yorkist, at the battle of Bosworth Field on 22 August 1485.

Battle of Bosworth saw the death of Richard III
Richard III was the last English monarch to have been killed in battle.

Henry Tudor landed at Milford Haven on 7 August in an attempt to claim the throne of England. He gathered supporters on his journey through Wales, and by the time he arrived in the Midlands, he had amassed an army of an estimated 5,000 men. Richard III, on the other hand, had an army of nearly 8,000.

After the battle, Henry Tudor was crowned as King Henry VII, marking the beginning of the 118-year reign of the Tudor dynasty in England.
Henry Vll (representing the Lancaster family) married Elizabeth of York (representing the York family). This marriage united the two families. Henry created the Tudor rose, containing both the White Rose of York and the Red Rose of Lancaster. It symbolized the end of a struggle between York and Lancaster.' (Burrow 2013)


Why have I droned on endlessly about something that doesn't even mention Elizabeth and happened before her time? It's simple. The Tudor Rose is her family's claim to the throne. It's what gave the Tudors their power. It's used effectively as their trademark.

Within the stonework on the architecture of London, you can see the roses. They are everywhere. On the railings, on ceilings, in stained glass windows, even on our currency.

'The Tudor Rose EmblemThe Tudor Rose emblem was used a badge, a distinctive device which is displayed as a mark of recognition by an individual or family and worn as a symbol of loyalty and allegiance. The emblem became part of the British heraldic tradition. The Tudor Rose Badge is still evident on the uniforms of the Yeomen Warders at the Tower of London.
The Tudor Rose of England
The Tudor Rose emblem can be found on many old buildings in England. Hampton Court Palace built by Thomas Wolsey and 'acquired' by King Henry VIII has many examples of the Tudor Rose. The most notable examples can be seen on Anne Boleyn's Gate. The ceilings of many old English houses are also adorned by the emblem. Wherever it was feasible, a Tudor rose would be carved. A Tudor Rose was found carved on to a gun on the Mary Rose ship. The tradition and emblem is still used in modern day England. Even the current 20p coin displays a Tudor Rose.' 

  • (Anon., n.d.)



    • If you look closely at her dress, the jewels are sat in the middle of a flower which looks remarkably looks the Tudor Rose.


    In this portrait the rose is not in the fabric, instead it is in the crown/headpiece that she is wearing. It was used a constant reminder of her power and the peace that Tudors supposedly brought over England.
    I want to include some kind of reference to this in my final design, it might have to be subtle though but I'll work on it. Here are some references to the Tudor Rose within portraits of Elizabeth I
    One of my favourite things in life is getting a new sketchbook, or notebook. It's just a really comforting ideal for me. To me, it means I get to start a fresh and have a blank canvas. So when I picked up my facecharts I was secretly over come with joy. I couldn't even begin to explain to my classmates because they just wouldn't get it.
    I take them home and I instantly get artist block. This sucks. So I re-read my Lady in Waiting post and see where I can find the inspiration for a make up design. I decided to focus on the story of her being taken to the Tower of London. I mean, it wasn't cliché and it just gave me the opportunity to make a really cool and quirky look.

     Design one:

    I had watched some YouTube videos on FaceCharting (I have just totally coined this word as my own) I thought I'd give my first design a go using cream based products. HA! Mr.YouTube made it soooo easy. How wrong was I? I used the lightest pan stick I had and suddenly my facechart looked like she'd spent the last 4 months in St.Barts soaking up the rays.




    Products used:
    Illamasqua Satin Primer (Not used on the paper)
    Kryolan UltraFoundation
    Illamasqua Transluscent Powder
    Kryolan Youth Red Blusher
    Illamasqua Cream Blusher: Seduce
    Urban Decay Primer Potion
    MAC Eyeshadow: Silver Fog
                              French Clay
    Illamasqua eyeshadow: Obsidian
    Black Mascara
    Derma LipColour in Berry shades
    Kryolan Aqua Colour Brown
    Design Two:
    I felt like my first facechart was a disaster. So I looked through my references and realised that I needed a white base. It wasn't optional. I liked the idea of the same eyeshadows, so I pretty much used the same products witha  few 'swap outs'  On the paper I contoured it witha  neutral skin tone eyeshadow because I didn't like just a plain white face, it looked weird. I've put this kind of overthinking down to my arty background. During one of lessons with Sue, she was really supporting us trying out new techniques to get different textures. So I changed how I did the brushstrokes on the Mud Splatters.





     Products used:
    Illamasqua Satin Primer (Not used on the paper)
    Illamasqua Skin Base: White
    Illamasqua Transluscent Powder
    Kryolan Youth Red Blusher
    Urban Decay Primer Potion
    MAC Eyeshadow: Silver Fog
                                        French Clay
    Illamasqua eyeshadow: Obsidian
    Black Mascara
    Derma LipColour in Berry shades
    Kryolan Aqua Colour Brown


    Design Three:
    So it was at this point at 2am I had a meltdown. My two designs looked shocking and I felt embarassed to show anyone. So somehow, I managed to create this design. I feel proud of it. I think it was simple and edgy. It's something I could see on a runway or a photoshoot for someone like McQueen. It's not too much but it's enough. I wasn't a fan of the smudged lip. So I look at the Tudor Rose for inspiration. It was everywhere in the painting and it's still everywhere in the archutecture in London today. I wanted to include the mud splatter but I didn't want to ruin the facechart (I'm still precious about them) and I hadn't decided how I wanted to do them. I'm pretty sure this is going to the design I use.





    Products used:
    Illamasqua Satin Primer (Not used on the paper)
    Illamasqua Skin Base: White
    Illamasqua Transluscent Powder
    Kryolan Youth Red Blusher
    Urban Decay Primer Potion
    MAC Eyeshadow: Blackberry
    Matte Purple Eyeshadow Revolutions.
    Illamasqua eyeshadow: Obsidian
    Black Mascara
    Derma LipColour in Berry shades

    Queen Elizabeth I had many ladies in waiting. It is said the most she ever had at once was 24. Loyalty was something that was very important to the Queen as it was one of her main principles. Ladies in waiting could have been chosen since the Queen was a child. More often than not if there was a reagent looking after the royalty, they would oversee the selection process. The position held a very powerful place in court, the Queen would eventually source a marriage for each of her Ladies. Their well being was the responsibility of the Queen. Elizabeth stayed very loyal to people who were loyal to her regardless of their station. 

    The Lady in Waiting I've chosen to do my research on is Anne Vavasour. When reading about her she seemed to have a fairly colourful past and I thought this would make for an interesting make up design.  

    So here's a little about her:
    photo ntiv_hach_1166065_large_zpsu6eiow6b.jpg
    - Soon after arriving at court, Anne became the mistress of Edward de Vere, Earl of Oxford (1550-1604). Edward de Vere had been married to Anne Cecil (d.1588), the daughter of William Cecil, on the 16th December 1571. However, the couple did not enjoy a happy marriage and the couple separated in 1576, although they did reconcile in January 1582 and remained together until her death in 1588.

    - She hid her pregnancy successfully for nine months before giving birth.

    - The Queen ordered her to the Tower of London because of the illegitimacy of her child.

    - this relationship ended swiftly. Before 1590 Anne was married to a sea captain named John Finch, alias Freeman. However, around the same time she became the mistress to another nobleman; Sir Henry Lee (1533-1611), his wife Anne Paget died in 1590. Anne Vavasour gave birth to Henry's illegitimate son Thomas Vavasour in 1589. Anne and Henry lived openly as a couple at his manor of Ditchley. It appears that Queen Elizabeth did not disapprove of this relationship of Anne's as she visited the couple at Ditchley in September 1592. Henry gave a pension to Anne's husband John Finch starting in 1605; he was to receive £20 a year. The couple received another royal visit in September 1608 when Queen Anne visited them at a lodge near Woodstock. Anne and Henry remained together until his death in 1611. In his Will, Henry left Anne £700 a year and properties, as well as instructions for their joint tomb burial in St Peter's Chapel in Quarrendon. The epitaph for Anne on the tomb read;
    "Under this stone entombed lies a fair & worthy Dame
    Daughter to Henry Vavasour, Anne Vavasour her name.
    She living with Sir Henry Lee, for love long time did dwell
    Death could not part them but here they rest within one cell"
    photo 800px-AnneVavasour_zpsjluxpxsw.jpg
     http://cupboardworld.blogspot.co.uk/2014/09/the-loves-of-anne-vavasour.html

    Anne Vavasour hasn't been popular in TV and Film, So I've found some contemporary depictions of classic ladies in waiting. It's from my favourite TV show called Reign. It's set during Elizabethan times but it's about Mary Queen of Scots. I really like the contempary twist on the ladies in waiting. I've looked to it for inspiration for my final designs.



    photo costumesreign_zpso7c2wox5.png photo Riegn0106Tutus_zpsrhzppsyh.jpg photo reign_zpsvbfmzpue.jpg




    Face:


    Primer: Illamasqua satin primer
    Foundation: Kryolan foundation palette
    Concealer: Dermacolour palette
    Powder: Illamasqua translucent
    Blush: Baby Pink, blended up onto the temples lightly.
    Bronzer: shimmer bronzer. Rimmel Sunkissed

    Eyes


     Eyeshadow Base
    Kryolan Eyeshadows in: Yellow, Lilac, Bright purple
    Mascara: Black
    Eyeliner: Black
    Lashes: None

     Lips:

     Mac Lipstick: Patisserie
    Tesco DB beauty stick in raspberry


    Face:


    Primer: Illamasqua satin primer
    Foundation: Kryolan foundation palette, mixed with white skin base
    Concealer: Dermacolour palette
    Powder: Illamasqua translucent
    Blush: None
    Bronzer: Metallic Green eyeshadow mixed with metallic black eyeshadow


    Eyes


     Eyeshadow Base
    120 Pro Palette Eyeshadows in: Metallic Green, (Dark, Medium, Lighter)
    Mascara: Black
    Eyeliner: Black
    Brows: Brushed back on themselves and then a sealing gel.
    Lashes: Illamasqua

    Lips:

    Metallic greens eyeshadows mixed with sealing gel

    Face:


    Primer: Illamasqua satin primer
    Foundation: Kryolan foundation palette
    Concealer: Dermacolour palette
    Powder: Illamasqua translucent
    Blush: None, red eyeshadow blended down from temples
    Bronzer: None

    Eyes


     Eyeshadow Base
    Kryolan Eyeshadows in: Yellow, Orange Red
    Mascara: Black
    Eyeliner: Black
    Lashes: Sleek - Bengal


    Lips:

    Black Gel Liner 

    Colour Theory


    Colour theory is something that can be overlooked. When you hear those two words together people just instantly assume it's an 'arty thing' that has no relevance to anything but painting or drawing. I cannot stress how much this isn't the case. Colour theory is something we think everyday, sometimes without even meaning to.
    The first time we get taught about colours is normally during our younger years. Primary colours and Secondary colours. I can reminisce fondly at my colour lessons we had at school. They were my favourite because you got to mix colours to make Secondary colours.



    (Basic color schemes: Color theory introduction, no date):

    Complementary:

    Complementary color scheme
    Colors that are opposite each other on the color wheel are considered to be complementary colors (example: red and green).
    The high contrast of complementary colors creates a vibrant look especially when used at full saturation. This color scheme must be managed well so it is not jarring.
    Complementary color schemes are tricky to use in large doses, but work well when you want something to stand out.
    Complementary colors are really bad for text. 

    Analogous:

    Analogous color scheme
    Analogous color schemes use colors that are next to each other on the color wheel. They usually match well and create serene and comfortable designs.
    Analogous color schemes are often found in nature and are harmonious and pleasing to the eye.
    Make sure you have enough contrast when choosing an analogous color scheme.
    Choose one color to dominate, a second to support. The third color is used (along with black, white or gray) as an accent.

    Triadic:

    Triadic color scheme 
    A triadic color scheme uses colors that are evenly spaced around the color wheel.
    Triadic color schemes tend to be quite vibrant, even if you use pale or unsaturated versions of your hues.
    To use a triadic harmony successfully, the colors should be carefully balanced - let one color dominate and use the two others for accent.

    Split Completmentary

    Split-Complementary color scheme 
    The split-complementary color scheme is a variation of the complementary color scheme. In addition to the base color, it uses the two colors adjacent to its complement.
    This color scheme has the same strong visual contrast as the complementary color scheme, but has less tension.
    The split-complimentary color scheme is often a good choice for beginners, because it is difficult to mess up.


    Tetradic:
    Rectangle (tetradic) color scheme 

    The rectangle or tetradic color scheme uses four colors arranged into two complementary pairs.
    This rich color scheme offers plenty of possibilities for variation.
    Tetradic color schemes works best if you let one color be dominant.
    You should also pay attention to the balance between warm and cool colors in your design.


    Colour is essential in creating make up looks. When design make up looks it's important to be aware of the colour palette you are using because you need to make sure the colours work together to enhance your look.

    We also rely on colour theory heavily when it comes to corrective make up. It has become really easy in recent years to get a hold of corrective products in drugstore brands. You can buy bases in the individual colour that you need but I personally prefer having a palette or a colour wheel. I just think the simple theory behind these is great.











    Bibliography:
    Basic color schemes: Color theory introduction (no date) Available at: http://www.tigercolor.com/color-lab/color-theory/color-theory-intro.htm#complementary (Accessed: 10 November 2015).






    Make Up is something that we use to accentuate features and we also use it to 'correct' other parts of our faces that we may be somewhat unhappy with. There has been a sudden boom with contouring. Lots of people aspiring to have a sculpted face like the Kardashians, however what many people seem to think this is a new technique. It isn't and it has been used for many, many years. These are just really helpful references.
    Anon. N.D
    (Conway 2004)


    (Conway 2004)

    (Conway 2004)
    This was an exciting prospect. I enjoy working with colour and this looked like it was going to be a lot of fun. We had been given the task of designing a Sugar Skull face chart to be applied in class. I jumped at this opportunity because the whole concept of this festival as always entertained my curious side.
    I'd cleared the desk in my room and I got out my notepad and trusty mechanical pencil and began to research this holiday. I had first heard of it on an episode of a TV show I would watch as a child, Lizzie Mcguire. It was during the Halloween special episode and her best friend was Mexican and wanted to celebrate it her way.

     The Research

    photo 12197235_10153266877356313_913348321_o_zpswpfbkl34.jpg photo 12190580_10153266877311313_1407085359_o 1_zpscjhzt7r0.jpg photo 12190307_10153266877371313_1947241763_o_zpsz9tiwycq.jpg photo 12194411_10153266877331313_538314821_o 1_zpsbywkfq6e.jpg photo 12185815_10153266877346313_35290965_o 1_zpsi3ymcbar.jpg


    Reflection

    At first I felt really confident with this design. I applied my illamasqua skin base in white mixed with moisturizer, I'd learnt from previous work with Billie that she has really dry skin.

    I applied white supacolour ontop to smooth out the patchy parts 

    Working with grease based problem was something I found rather difficult because I couldn't seem to get sharp lines.

    I'm not overly happy with my line work.

    I'd like to spend more time doing linework.

    I'd probably change everything to facepaint or use normal make up products ontop of the base.

    The girl next to me created an absolute masterpiece and made me feel pretty crappy about mine. I guess I've got to learn to not compare myself to everyone around me and instead try and learn from them.
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