Practice Look for Miss Havisham - Both Makeup and Hair

Health and Safety: If using a model place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Wash hands before touching the clients skin.
FOR ASSESSMENT - DRESS MODEL IN COSTUME BEFORE APPLYING MAKEUP AND HAIR!
Products / Makeup & Hair:
- Matte Primer
- Mac Pro Full Coverage Foundation
- Concealer Palette
- Illamasqua White Skinbase Foundation
- Kryolan Contour Palette - Glamour Bronze
- Mac Paint Pot
- Kryolan Eyeshadow Palette
- Translucent Powder 
- Supracolour Palette
- Illamasqua Fundamental Palette - Dark Gold
- Satin Lipmix
- Small Hair Tongs
- Paddle Brush
- Segmenting Clips
- Tail Comb
- Hairspray 

Process Of Creation (Makeup)
1. Run a client consultation form to check for any allergies etc. 
2. Cleanse, tone and moisturise the face.
3. Apply a primer to the skin.
4. Mix foundation with white to pale the complexion and apply to the face and neck.
5. Blend!
6. Apply a mixture of charcoal and pepper into the socket of the eye and blend out.
7. Deepen by adding more colour.
8. Taking a dark purple apply and blend into the bottom of the eyes natural fold.
9. Enhance further with violet.
10. Apply a dark gold along the bottom lash line blending out again. 
11. Using white foundation or supracolour run along the brows and apply to the lashes for aged effect.
11. Add paint pot to the lips. 
12. Contour the cheeks, jaw, temples and sockets further with contour powder. 

13. Dap Satin lilmix onto the highlights of the face to create a greasy texture to the skin.

Process of Creation (Hair)
1. Brush exposed hair through to remove all knots and tangles. 
2. Divide the hair up into small sections.
3. Using small curling wand create ringlets facing in towards the neck. 
4. When curls have cooled push them back up the hair to create messy texture. 

5. Spray with hairspray.

Evaluation

Overall I was very pleased with how the makeup turned out for my first proper run through before my assessment. I feel that the makeup followed my design well and the use of the additional purple tones around the eyes had been effective in creating that sunken look to the face but without ageing it. This was an important element to my whole Miss Havisham design as I did not want to portray a haggard, old character as that is not what I felt from reading the novel. Instead I wanted to focus my Miss Havisham on looking tired both psychically and mentally, drained of life and greasy from living in her own filth. A key feature that I felt was highly important from the facts surrounding Miss Havisham is the retainment of the pretty nature of both her appearance and status, although she is a damaged woman her vanity would still retain her beauty and class. For the hair I tried two different styles of ringlets to see which one would be most effective for the final assessment, originally I began with tight ringlets that I pushed upwards to create volume and a tatty backcombed effect. This I felt worked well as it still resembled a Victorian styling but was a slightly more natural and weathered which would be appropriate for a young Miss Havisham as she had not undergone the years of distress yet. The second version I did was far more relaxed with the curls falling more and being less structured, although this was effective I felt I had lost the connection with the Victorian fashion of the ringlets and it resembled "bed hair" more than that of bridal decay. Within the final assessment the look will be slightly different as a costume will be added, regardless I do not feel that this will take away from the makeup and hair and I will keep my styling as simple as possible to follow on from Victorian cosmetic fashions. 

Burns - How To Create With Different Products

Health and Safety: If using a model place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Wash hands before touching the clients skin. 

Products Used:

- Gelatine 

- Microwavable Bowl

- Supracolour palette
- Microwave
- Wooden Spatula
- Hair dryer with cool setting
- Latex Sponge
- Black Stipple Sponge
- Small Brush
- Stiff Painting Brush

- Translucent Powder 

- Fluffy Brush

- Cotton Bud

Process of Creation

1. Place block of gelatine into a microwaveable bowl. 

2. Melt gelatine in the microwave for 10 seconds ensuring to check that the gelatine does not burn and has fully dissolved. 

3. Test the gelatine for temperature on the back of the hand, the gelatine should be warm but not hot enough to burn the skin. 

4. Using a wooden spatula smear the gelatine onto the area of skin where the burn will be created, continue to work the gelatine as it cools to create a blistered effect.

5. Smooth any rough edges with warm water and a cotton bud. 

6. Powder over the gelatine (once set) with translucent powder and a fluffy brush.

7. Using a small makeup brush gently apply supra colour in red, purple and yellow tones to the burn and blend out with your fingers. 

8. Add darker colours where you want to create depth.

9. Using fingers dab some red tones around the outside edges of the burn to create the appearance of soreness. 

10. Using a black stipple sponge apply more red to the burn.

11. Taking a baby bud rub over areas of the gelatine to remove makeup creating the appearance of blisters.

12. Apply blood and puss to areas of infection and dents in the prosthetic. 

Evaluation

I found the process of using gelatine to create burns a relatively simple technique that has excellent results quickly. I was pleased initially with how my burn turned out however I do feel that I overworked the prosthetic and therefore it lost a lot of its realistic elements, in particular I feel that I most definitely have to improve on the application and blending out of the edges of my prosthetic as this is a continuous issue that I seem to be struggling with in effects makeup. That being said the overall look of the burn I was rather pleased with and feel that the texture of the burn itself is satisfactory to what I was trying to achieve. The makeup itself definitely looks better from a distance!

Ageing Hair

Health and Safety: If using a model place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Wash hands before touching the clients skin. 

Products Used:

- Supracolour (White & Blue)

- Dry Shampoo

- Disposable Mascara Wand

Process of Creation:

- If greying out the whole head of hair, spray dry shampoo (Batiste works best for this) onto the head building up the layers until level of greying is achieved. 

1. For ageing hair on fine areas such as the eyebrows, side burns or facial hair a more detailed technique would be beneficial. 

2. Mix a small amount of blue and black supra colour into white until the colour resembles a grey tone. 

3. Taking a disposable mascara wand, roll the wand into the colour.

4. Begin combing the colour through the areas of hair that require ageing. 

5. Taking a clean disposable wand work then colour through again to ensure the hair is fully saturated. 

6. Repeat for eyebrows using a similar method. 

Evaluation

Unfortunately during class there was a shortage of dry shampoo therefore I was unable to show the effects of using Batiste on the hair to create an ageing effect, however because of this I decided it would be beneficial to demonstrate ageing using the supracolour technique. In regards to using the technique of male facial hair I felt that it was highly successful and created an effective image of aged hair, this technique works best in sync with theatrical ageing makeup to create an authentic effect. When applying supracolour to the hair I found it was crucial to ensure that the makeup was fully blended into the hair, this was not achieved by simply combing the colour through once but was much improved through repetitive combing of the colour using another clean mascara wand. Although this technique was successful for male facial hair I think that for longer hair it would be challenging using this method unless it was for a pop of colour/highlight. Therefore dependant on the clients hair type, the most appropriate application would be required. Overall I was very pleased with how this technique turned out and if given the opportunity to produce a male character of age I will definitely be using this technique. 

Late Victorian Hairstyle - Estella & Miss Havisham

Health and Safety: If using a model place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Products Used:

- Small Curling Tong

- Apron

- Kirby Grips

- Sectioning Tail Comb

- Paddle Brush

- Small Hair Tie

- Sectioning Grips
- Decorative Items e.g. jewellery, flowers, ribbon.

Process of Creating Late Victorian Hair
1. Brush the hair through thoroughly to remove all knots and tangles from the hair.

2. Using a sectioning tail comb divide the hair into a middle parting from the front to the very back of the head. 
3. Divide the hair again using the tail comb from ear to ear, the hair will now sit into four equal sections, taking the front two sections secure them away from the rest of the hair using sectioning grips.
4. Create a V shaped section at the top of the back sections and secure with a hairband into a high pony tail, this will become the structure point for the rest of the bun. 
5. Dividing this ponytail into four small sections, curl each section using the smallest curlers into tight ringlet curls. 

6. Taking each curl individually split them and then twist them around to create a messy bun of curls, ensure that the bun does not become rounded or "present shaped" like the modern styles dictate.

7. Now taking the bottom section of hair free from the bun begin to create a number of tight ringlets all around 1 inch in width across the whole back section of the hair. 
8. Begin pinning some of these curls up into the bun ensuring the sides are smooth against the head, this will create additional thickness and shape to the hair eventually creating a waterfall effect of curls. Do this for the remaining lower section ensuring that the ends of each ringlet remain neatly tucked up into the curl.
 9. Then taking the front section of hair divide each side front section in half creating four partings at the front of the head. 
10. Curl each of these sections outwards away from the parting into one large ringlet on each side of the head and pin the lowest of each of these sections into the bun on each side. 
11. Split the upper section into three and curl each section again with a small tong so that the curls fall towards the face. 
12. Gently brush through these curls so that they become one large curl at the top of the face.

13. Pull this curl backwards on each side and pin to the bun, ensure that the curl remains and forms a waving shape at the front of the head. 

14. Repin some of the curls at the side of the head to ensure they sit smoothly against the scalp allowing for the remaining curls to sit visibly away from the rest of the head in a  long ponytail of curls.

15. Decorate with jewellery and flowers as required. 

Evaluation

This hairstyle was more challenging to recreate than the previous style that we had been taught, this is mainly to do with the fact that this style is from later on within the Victorian reign when hair had become far more elaborate and ornate. That being said I felt that this creation went well and I was able to produce a style that mimicked that of the styles of the period, unfortunately the class had run out of flowers and jewellery etc so I was unable to decorate my style once completed however this is something that I can experiment with upon my later creation of characters such as Estella should I choose to place her within the later years of the Victorian reign. Although the final outcome of this hairstyle was highly effective I am unsure as to whether it would be a practical style to create within the final assessment as it did take me the full class time to recreate this look. In future if I was to produce this styling I would need to practice the look consistently to get the timing accurate for the final assessment. Overall however I was pleased with how this hair style turned out and feel it is a very beautiful style to both create and photograph. 

Sickness & Disease

Health and Safety: If using a model place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Wash hands thoroughly before touching the clients face.

Allow liquid latex to breath before applying.

Products Used:

- Cleanser, toner and moisturiser

- Supracolour Palette - Red, Yellow, Purple, Blue

- Isopropyl Alcohol

- Foundation Palette

- Palette Knife

- Foundation Brush

- Small Brush

- Non Latex Sponge
- Glycerin
- Tear Stick
- Stipple Sponge 
- Coloured Hair Spray 
- Kryolan Eyeshadow Palette 
- Duo Lash Glue

Sickly skin with a red rash on the chin. 

Sickly Skin 
1. Ensure the face is fully cleansed, toned, moisturised and free from all makeup on the skin.
2. Begin by paling out the skin using a foundation that is two shades paler than the skin tone, apply evenly to the whole face including the neck and ears and anywhere else that will not be covered by a costume.
3. When paling the face ensure to not use a purely white tone as this can look false and strange, make sure to mix in both slightly pink tones and lots of yellow to create a sallow appearance to the skin.
4. Get the model to look downwards, this will expose the natural hollow and bags of the eye. For sickly skin the eye is often blue in thin areas such as underneath eye socket with subtle yellow/purple tones. However do not overdo this otherwise it will appear more like a black eye/bruise than a sense of sickness.
5. Taking a blue shade from the supra colour palette blend underneath the eye with a small shadow brush. Ensuring the ends are buffed out and the colour is more concentrated towards the inner corner of the eye.
6. Apply yellow tones to the lid and buff out.
7. Add additional purple tones to the rest of the socket and again buff out to gently enhance the hollowness of the eye socket.
8. Using a grey/brown colour that is slightly darker than the skins natural tone hollow out areas such as the cheeks (below the bone NOT a fashion contour) and also into the neck to enhance skeletal features.

Sweaty hair 

Rashes & Sweat
1. Mix a drop of isopropyl alcohol (water will also work if this is unattainable) with a small amount of red supracolour.
2. Add more liquid if required until the substance is watery.
3. Taking a foundation brush (one with stiff enough bristles to flick product effectively) swirl the brush into the liquid.
4. From a small distance and ensuring the models eyes are closed begin to flick the product at the skin to create a patches of small red spots.
5. Allow to dry on the skin.
This technique can also be used to create freckles on the face by changing the supracolour from red to a brown tone.
Sweat:
To create sweat simply apply a thin layer of glycerin to the skin using a stipple sponge, the glycerine will take a while to sink into the skin. Be sure not to apply this to heavy makeup as it will move the product. If glycerine is not at hand baby oil may also be used.
(Water is not effective for long periods of time however it can be used to create sweaty/dirty hair. See image left!)

Chapped Lips

Chapped Lips

1. Ensure that the lips are clean and free from all product including moisturisers and vaseline products.
2. Get the model to stretch their lips slightly to expose all natural lines and creases.
3. Taking a small sponge apply a thin layer of duo lash glue/liquid latex to the area of the lip that requires the appearance of dryness.
4. When tacky gently pull to create the appearance of chapping exposed edges of skin.
5. Stipple red supracolour onto the skin to enhance the appearance of sore skin around the dry areas, mix in natural tones also to avoid a "lipstick" effect.
This technique can also be used on areas such as the cheeks or nose to create the illusion of dry skin elsewhere on the face.

Evaluation
Overall I was relatively pleased with the outcome of my "sickly" makeup however I feel that the creation of the hollowed eyes was far more successful than that of the chapped skin. I felt that the eyes were effective in creating the illusion of sickness however once I had added the chapped lips I feel it made the whole image appear rather fake. I feel that this is because I use to much of a pink toned red in creating the appearance of sore skin and in addition to this brought the colour to far over the lips therefore making the skin appear more like smudged lipstick rather than that of sore skin. In future I will tone down the amount of colour that I apply to the lip area and add more depth through using slightly different tones and maybe even the use of fake blood to enhance the illusion of scabbing. Despite this however I was pleased with how the eyes and skin in general turned out and felt that the effects work much better on camera than in real life. I now know to trust not just what I see but also how the work photographs to get a rounded perspective of the makeups look.

Dirty Skin - Hands
1. Ensure the hands are free from any cream products that may attract powder/spray to clot together.
2. Get the model to spread their fingers as wide a possible on the hand that requires dirtying down.
3. Spray coloured hairspray in a brown shade from a distance over the fingers.
4. Build up the layers until desired dirtiness is achieved.
5. Get the model to bend their knuckles slightly to avoid patchy areas around the natural folds of the skin.
6. If extra dirt is required take a brown eyeshadow and fluffy brush to apply colour onto areas such as the nails and gaps between the fingers to enhance gathering of dust and mud.
7. If required powders can also be wetted to create the appearance of moist earth which can be then rubbed into the hand.

Dirty hands with subtle ageing to the skin - hand age 50