Kat's seminar - The Gothic

In our first seminar with Kat we got introduced to the background of gothic horror and how it’s been carried out through centuries. The term ‘gothic’ includes 4 characteristics:

Sinister:

This means evil, relentless or corrupt which comes from the Italian word ‘sinistra’ meaning left. Reason being is when someone, in particular children touched an item with their left hand they were punished as it was believed left handedness was to be a sign of the devil.

Supernatural:

‘A liking for the strangely eccentric, the magical, and the sublime, sometimes subtly intermingled with the realistic. Supernatural elements influenced the Gothic writing technique the same way it influences us; psychologically.

When a topic is deepened by a mystery, it automatically grasps the attention of the reader, as our minds always need closure. Yet, when you add to that deeper mysteries that involve life, death, fate, the nature of things, and other general questions we consistently pose to ourselves as parts of our existence, the Gothic element comes to life.

Supernatural elements satisfy that paradigm. They instil wonder, respect, fear, suspicion, and they are impossible to proof and to explain. Whether you’re sceptic or not, the influence of the ‘supernatural’ is worth the argument as there’s no evidence of whether it exists or not. That is the magic of it. It is one of those very few things that we cannot explain and allows our imagination to run wild.

Similarly, with Gothic literature, the element of supernatural mystery allowed the writers to let their imagination run wild, while enticing even further those of their readers. It’s a synergism made in supernatural heaven.’

nastasja (2010) In the gothic novel, why are supernatural elements interesting?. Available at: http://www.enotes.com/homework-help/gothic-novel-why-supernatural-elements-intere-395815 (Accessed: 31 March 2016).

Horror:

‘Many modern writers of horror exhibit considerable gothic sensibilities. Examples include the works of Anne Rice, as well as some of the sensationalist works of Stephen King. Gothic is said to be becoming horror, a term properly applied to the most famous late-Victorian example of gothic, Bram Stoker’s Dracula. The opening section of Dracula uses some familiar Gothic properties: the castle whose chambers contain the mystery that the protagonist must solve; the sublime scenery that emphasises his isolation.

Stoker learned from the vampire stories that had appeared earlier in the 19th century (notably Carmilla (1872) by Sheridan Le Fanu, who was his friend and collaborator) and exploited the narrative methods of Willkie Collins’s ‘sensation fiction’. Dracula is written in the form of journal entries and letters by various characters, caught up in the horror of events. The fear and uncertainty on which Gothic had always relied is enacted in the narration.’

Freedman, E. of B. (2014) The origins of the gothic. Available at:

http://www.bl.uk/romantics-and-victorians/articles/the-origins-of-the-gothic (Accessed: 31 March 2016).

Medieval style of architecture:

‘The various elements of gothic architecture emerged in a number of 11th and 12th century building projects, particularly in the Île de France area, but were first combined to form what we would now recognise as a distinctively Gothic style at the 12th century abbey church of Saint-Denis in Saint-Denis, near Paris. Verticality is emphasized in Gothic architecture, which features almost skeletal stone structures with great expanses of glass, pared-down wall surfaces supported by external flying buttresses, pointed arches using the ogive shape, ribbed stone vaults, clustered columns, pinnacles and sharply pointed spires. Windows contain stained glass, showing stories from the Bible and from lives of saints. Such advances in design allowed cathedrals to rise taller than ever, and it became something of an inter-regional contest to build a church as high as possible.’

Medieval architecture (2016) in Wikipedia. Available at: https://en.wikipedia.org/wiki/Medieval_architecture (Accessed: 31 March 2016).

We also got told the key motifs in Gothic:

• Strange places – ‘It is usual for characters in Gothic fiction to find themselves in a strange place; somewhere other, different, mysterious. It is often threatening or violent, sometimes sexually enticing, often a prison. In Bram Stoker’s 1897 Dracula, for example, Jonathan Harker, a young lawyer’s clerk, suddenly finds himself trapped within Castle Dracula. That scene occurs in Central Europe, but often in classic Gothic fiction – in the novels of Ann Radcliffe for example – it takes place in distant, marginal, mysterious southern Europe; and it could just as easily be somewhere like Sati’s House in Great Expectations, a decaying mansion just down the road. 
• Clashing time periods – Just as places are often mysterious, lost, dark or secret in Gothic fiction, so too are its characteristic times. Gothics often take place at moments of transition (between the medieval period and the Renaissance, for example) or bring together radically different times. There is a strong opposition (but also a mysterious affinity) in the Gothic between the very modern and the ancient or archaic, as everything that characters and readers think that they’ve safely left behind comes back with a vengeance. 
• Power and constraints – The gothic world is fascinated by violent differences in power, and its stories are full of constraint, entrapment and forced actions. Scenes of extreme threat and isolation – either physical or psychological – are always happening or about to happen. A young woman in danger, such as the orphan Emily St Aubert in Ann Radcliffe’s The Mysteries of Udolpho (1794) or Lucy Westenra in Dracula, is often at the centre of Gothic fiction. Against such vulnerable women are set the great criminals or transgressors, such as the villainous Montoni in The Mysteries of Udolpho or Count Dracula. Cursed, obscene or satanic, they seem able to break norms, laws and taboos at will. Sexual difference is thus at the heart of the Gothic, and its plots are often driven by the exploration of questions of sexual desire, pleasure, power and pain. It has a freedom that much realistic fiction does not, to speak about the erotic, particularly illegitimate or transgressive sexuality, and is full of same-sex desire, perversion, obsession, voyeurism and sexual violence. At times, as in Matthew Lewis’s The Monk (1796), Gothic can come close to pornography.’

Bowen, J. (2014) Gothic motifs. Available at:

http://www.bl.uk/romantics-and-victorians/articles/gothic-motifs (Accessed: 31 March 2016).

• Sexual power 
• The uncanny 
• The sublime 
• Crisis 
• The supernatural and real 
• Terror and wonder 

Kat played a video from YouTube called ‘The Gothic’ by Professor John Bowen. In this video, he discusses the key motifs in gothic novels such as the uncanny, sublime and supernatural. This video was filmed at the Strawberry Hill House in Twickenham.

The British Library (2014) The gothic. Available at:

https://www.youtube.com/watch?v=gNohDegnaOQ (Accessed: 31 March 2016).

‘John Bowen is Professor of Nineteenth-Century Literature. He joined the Department in 2005 from Keele University, where he was Professor of Modern English Literature. He read English at Trinity Hall, Cambridge and then took an MA and PhD at the Centre for Contemporary Cultural Studies, University of Birmingham. His main research area is nineteenth-century fiction, in particular the work of Charles Dickens, but he has also written on modern poetry and fiction, as well as essays on literary theory. Some of his work includes:

• Other Dickens: Pickwick to Chuzzlewit (Oxford University Press, 2000) appeared in paperback in 2003. 
• Dickens's Barnaby Rudge for Penguin 
• Palgrave Advances in Charles Dickens Studies, co-edited with Professor Robert L. Patten of Rice University. 
• Oxford Reader’s Companion to Dickens, the Cambridge Companion to Willkie Collins 
• Victorian comic and satiric writing for the forthcoming Cambridge History of English Literature. 
• Regular reviews for the Times ‘literary supplement’
• BBC Radio 4’s Front Row 
• In Our Time 
• Open Book 
• Woman’s Hour 
• BBC1’s Inside Out 
• Dickens’s Secret Lover (Channel 4, 2008) 
• Discussing ‘Dickens and debt’ on Radio 4 
• ‘The Phenomenal Charles Dickens (at the British Library)’

John Bowen - English and related literature, the university of York (2011) Available at: https://www.york.ac.uk/english/our-staff/john-bowen/ (Accessed: 31 March 2016).

Reflection:

I found this seminar to be quite confusing. I hadn’t researched into gothic horror beforehand therefore I didn’t exactly know what it’s all about. I knew of gothic horror as two separate things. I thought gothic was completely different to horror. I thought of both of them as genres in the film/book department. To be completely honest I was even more confused after watching the video Kat showed us. I’m not really a fan of gothic horror or special effects as I’ve always been more on the fashion and beauty side. It’s interesting to know, I mean it’s always important to learn new things however it’s not something I’d look into after leaving university. I like the whole period stuff, such as researching into the Victorian era as I have been doing so for a while. Looking back at the video, I sort of understand what John is talking about every now and then but in general the language he used and the topics he was discussing, just doesn’t really get into my head. I did some research, as shown above on the video we watched, and I felt like reading about it helped me a lot more to know where John is coming from.

Makeup for TV/Film

‘The use of makeup is divided into three categories:

• Basic – designed to compensate for undesirable changes in appearance introduced by the TV process.
• Corrective – designed to enhance positive attributes and downplay flaws.
• Character – introduces major changes in appearance.

Although people might think that makeup is reserved for people who just want to look better on TV or in film, in actual fact, makeup may be required to just retain a subject's normal appearance.

This is because the TV and film processes to some degree can introduce undesirable attributes to skin tones and features. Modern digital cameras have skin enhancing setup options that can reduce, but generally not eliminate the need for makeup. In particular, they can appreciably smooth out wrinkles and conceal minor blemishes.

Video engineers may not always want to apply these techniques, however, since they to some degree degrade optimum video sharpness, colour, and quality.

With the advent of HDTV the need for people skilled in the application of effective but subtle makeup has increased. As in most areas of television, makeup is an element that is best when it goes unnoticed. This brings us to our first category.

Basic makeup:

In both film and video work, makeup on the face and possibly even the body is needed especially for people who will be on camera any length of time.

For starters, normal skin contains a certain amount of oil that generally goes unnoticed until viewed in a close-up. This shine can be exaggerated by the heat of studio lights and personal tension. At the very least, subjects should use a face powder that matches their skin tone.

After this, we move to so-called basic makeup. For this, the skin should first be cleaned with mild soap or cleansing cream prior to the application of a makeup base or foundation. Both are available in either oil or water base, but the latter has the advantage of not requiring face powder and being easier to remove. Before these are applied, it's best to use an astringent to tighten facial pores and prepare the skin.

A shade of base or foundation should be selected that matches the normal skin tones, unless the goal is to slightly lighten or darken all skin tones. In this case, it's best not to go beyond two shades lighter or darker than the normal tone. There are about 20 shades available, but if for some reason the proper shade isn't available, shades can be mixed to provide an in-between shade.

A foam rubber sponge, which can be moistened slightly, is used to apply the base or foundation to the face, ears, and neck. With deeply tanned Caucasian skin tones it may be necessary to even out skin tones around the eyes or bridge of the nose by mixing the base or foundation with a touch of rouge. Other evidences of uneven tan, such as the halter strap marks over the shoulders of a woman, should be filled in so they blend with adjacent skin.

Before/After

Celebrities before & after (no date) Available at:
https://uk.pinterest.com/pin/480337116478644982/ (Accessed: 26 March 2016).

Lighting considerations:

Makeup should always be checked, and if possible even applied, under the lighting that will be used in photographing the subject. Even when video cameras are properly colour balanced, sunlight, incandescent, and fluorescent lighting will all affect subject matter in different ways. For this reason, many makeup mirrors have adjustments for each of these types of light.

This consideration is particularly important with standard fluorescent light (if you can't avoid that type of lighting) because these lights tend to be low in red light and high in green.

Because normal skin tones contain a significant amount of green to start with, you may note obvious green skin tones under standard fluorescent light. The problem may be compounded if the makeup, itself, has green elements. This is just another reason that you should use a high-quality, properly colour-balanced video monitor to check the results.

Boris, C. (2016) Creative careers: Interview with film makeup artist Patty Bell. Available at: http://www.payscale.com/career-news/2013/06/creative-careers-interview-with-film-makeup-artist-patty-bell (Accessed: 26 March 2016).

Eyes:

Eyebrows should be brushed with a clean eyebrow brush and plucked of any stray or unruly hairs. Though bushy brows may be acceptable for men, women should carefully shape their brows into a gentle arch that tapers off at the ends.

Making fine delicate strokes use an eyebrow pencil of an appropriate shade to fill in or reshape the eyebrows. For women, a touch of eye shadow is almost always desirable. The dry powder or cake type of eye shadow is preferred over the cream type, since it both lends itself to easier and more subtle blending and holds up better under hot studio lights.

Whether a woman's eye shadow should match her eyes, clothes or neither, is a fashion opinion, which can vary from season to season. Whatever the colour choice, it should be subtle. A darker shade of the same colour used on the eyelids can be lightly brushed into the lid crease to add depth and size to the eye.

Women with heavy-lidded eyes should avoid this last technique because it will probably emphasize the problem. A dot of ivory or pale yellow eye shadow smoothed under the brow bone will lighten and open the eyes.

Eyeliner can be applied close to the top lashes either by using a soft, fine brush or a sharp eyebrow pencil.

An eyelash curler and a light application of mascara will accent eyelashes. Excess clumps of mascara should be removed with a few upward strokes of a clean brush. False eyelashes can be used, but they should be carefully trimmed to fit the individual's eyes.

Lips:

Another aspect of particular importance to women is the proper selection of lipstick. Some types of lipstick and rouge not designed for television have a latent blue hue, which can take on a decided purple appearance when photographed. A pure red lipstick that will harmonize with the skin coloration and wardrobe is best.

At the same time you will not want to choose a bright red lipstick that will dominate the face and create a garish appearance.

Before applying lipstick, lips should be outlined by using either a lipstick brush or a lip pencil. If the lips are well proportioned, this accentuates them. But lip outlining can also be used as a corrective technique.

People with either overly thin or full lips can improve their lip line by first covering their lips with their base makeup and then drawing or outlining a more desired shape. A lip brush should also be used to give colour to the entire lip.

After the application of lipstick, you should blot the lips with a tissue to avoid an unnatural shine. Lip gloss is generally undesirable for TV. Although lipstick is not generally used on men, it is sometimes appropriate to add a touch of a natural-coloured lipstick to smooth out a possible line between the lips and the beginning of the base makeup. A brown shade of lipstick applied with a brush is recommended.

Lips lipstick wallpaper (no date) Available at:
https://uk.pinterest.com/pin/528328600006924005/ (Accessed: 26 March 2016).

Hands, ears and teeth:

If hands are to appear on camera, as when products are demonstrated through close-ups, special care must be taken. Use an appropriate shade of makeup base to ensure that hands match other parts of the body and to minimize wrinkles and colour variations.

Nails should be well manicured. Clear or coloured fingernail polish can be used. The appearance of the hands should be carefully checked on a TV monitor prior to a production. Extreme close-ups will often reveal makeup flaws that are not normally visible.

Because they are often slightly lighter and redder than adjacent skin tones, ears can be a special problem. Added to this is the fact that back lights will often shine through ears to some degree, further raising their tonal value. To control this and bring ears back to their proper tonal perspective, they should be covered with a base makeup that is two or three shades darker than the face. The makeup base should then be covered with a translucent face powder.

Bad teeth can be minimized with an appropriate shade of tooth enamel or dentine fluid. Special coverings are available for this purpose.

The body:

Since more and more skin seems to be showing up in films and on TV, we need to mention parts of the body other than the face and hands. Elbows, knees, and ankles can look unnaturally dark unless you use makeup to lighten these areas.

Using a Q-tip, or the edge of a sponge, stretch marks on the stomach can be painted in to some degree with a liquid makeup two to four shades lighter than the base.

With dark-haired individuals, areas of the body that have been shaved will need the same treatment.

Scars and removed tattoos will take extra amounts of base or foundation. Often, you can use liberal amounts the same shade as adjacent skin.

Corrective makeup:

Through corrective makeup procedures it may be necessary to play down undesirable facial features and emphasize positive attributes through contouring and highlighting.

In corrective makeup we are starting with the base or foundation and then blending in shades or makeup that are either darker or lighter.

In contouring, a darker shade of makeup than the foundation or base is used to downplay features, such as a high forehead or an overly prominent nose. Contouring can also be used to bring out the classic jaw line that's seen as desirable for women. In this case, a darker shade of makeup is carefully blended into the foundation or base. To achieve this look, the darker makeup will go from the chin line up to the earlobes and into the hollows of the cheeks.

In highlighting, the object is to reverse this effect, meaning to emphasize or pull the eye toward certain facial features or areas. In this case, use a shade of makeup that is lighter than the foundation or base. This approach should also be used in shadowy areas under the eyes and under the lower lip to keep them from looking unusually dark on camera. Either use makeup two to three shades lighter than the base, or a translucent white highlighter.

Corrective makeup

Blog, L.S. (no date) Makeup Makeovers: Expert secrets for stunning Transformations -. Available at: https://uk.pinterest.com/pin/480337116478644901/ (Accessed: 26 March 2016).

In the case of both men and women, colour can be added to the cheeks by mixing a very light trace of rouge with the existing base makeup and then blending it in with a sponge. After all this is done, it's often necessary to use some transparent powder to dull down some (but not all) of the facial sheen. This is normally applied with a powder puff or soft bristled brush.

Sometimes there will be light spots on the skin, due to aging or whatever, that can be covered with a tanning spray painted on with a Q-tip. The spray rather than the lotion is best for this.

Since it takes a number of hours, even up to a day before the effect becomes noticed, this is a technique that definitely requires planning ahead. And, since results aren't immediately apparent and last several days, you need to experiment with this technique well in advance of going on camera.

However, once mastered, this represents a relatively inexpensive and convenient way of keeping this type of skin discoloration hidden. Prescription skin dye is also available, for this purpose, but it's quite expensive.’

2013 (1996) Makeup techniques for television and film. Available at: http://www.cybercollege.com/makeup.htm (Accessed: 26 March 2016).

Michael Key

During one of our lectures, we had the honour of meeting Michael Key and getting to know what IMATS is about. Before Michael came in, I didn't know who he was or what he did however after meeting him, I was so glad I had attended that lecture. He motivated me a lot and taught me nothing comes easy. I was feeling very down with the overload of work, coming up assessments and everything however Micheal proved to me at the end it'll all be worth it. He made everyone in the room feel valuable and a character of their own. He also told
us a lot about his life, how he became a makeup-artist, what inspired him and how he runs IMATS. Below is an online interview I found of Michael Key:

'Michael is a musician who was caught in a twist of fate. When asked what started his career in make-up, he replied, “music was my first love, but it wasn’t taking. I’ve always loved movies, and I came across ‘Cinefex’ a magazine that covers behind the scenes movie make-up. It had a step-by-step on how to sculpt, and I thought, `I could do that’. So, I went to a hobby store, purchased plaster and clay and did everything wrong.” It turns out, that after 7 weeks, he successfully sculpted a head. He and his friends used it as a prop to scare people. Then, he got his friends to pitch in to purchase foam latex, so they too could have their own props.

Project after project Michael was able to make somewhat of a portfolio, although, he credits his “gift of gab” for getting him his first make-up effects studio job.Michael’s make-up career includes five Emmy Award nominations, and two wins for Star Trek: Deep Space Nine. His make-up credits include Indiana Jones and the Kingdom of the Crystal Skull, Planet of the Apes, How the Grinch Stole Christmas, Charmed, Batman and Robin and more.

When asked who were his heroes and mentors, Michael replied, “with no hesitation, Michael Westmore, Jack Dawn,Christopher Tucker, Jack Pierce, Rick Baker, and Dick Smith. He credits Michael Westmore for teaching him lessons you don’t learn in a text book, like how to work with a producer and how to present yourself as a class act. He is grateful for Dick Smith for agreeing to be a part of the first IMATS stating that because of Mr. Smith, it was a success.

During Michael Key’s early career, he noticed that there weren’t enough resources for aspiring artists. Everything he learned was from trial and error and knowledge shared by his peers and mentors. Because this knowledge was so valuable, he was inspired to get it in writing and thus Make-up Artist Magazine was born. He admits that he’s shocked it went beyond the first three issues, but today we celebrate 106 issues of a great publication.'

mmartinezatmud (2014) The man behind IMATS and make-up artist magazine: Michael Key. Available at: http://blog.makeupdesignory.com/2014/01/16/the-man-behind-imats-and-make-up-artist-magazine-michael-key/ (Accessed: 25 March 2016).

Michael gave us our own personalised cards to get discounts for the IMATS tickets.

What is the IMATS competition?

'The International Make-Up Artist Trade Show is the make-up world’s biggest gathering. Thousands of make-up artists, exhibitors and enthusiasts discuss, display and collect the best the industry has to offer. Make-up pros from fashion and film (including Oscar, BAFTA and Saturn award winners) provide education and demonstrations at IMATS, and new products often debut there. IMATS also features a make-up museum and the Battle of the Brushes student make-up competitions, where international make-up students race to create winning looks.

Before IMATS, there were no trade shows specifically designed for make-up artists, although cosmetic companies had expressed a desire for such an event. In response, Emmy Award-winning make-up artist and Make-Up Artist magazine publisher Michael Key held the first IMATS in August 1997 in Los Angeles. It allowed artists to customize what they wanted to see and it offered a diverse mix of products, demonstrations and education from industry leaders.

IMATS expanded to Europe in 2002, with the debut of IMATS London. Continuing this commitment to artists around the world, Make-Up Artist magazine acquired the Canadian Makeup Show in 2009 and launched IMATS Toronto. That same year IMATS Sydney launched, and in 2010, IMATS Vancouver, British Columbia debuted (which was previously part of CMS).

Like Make-Up Artist magazine, IMATS continues to educate and connect make-up artists from around the world. The show is held six times annually in Los Angeles, New York, London, Vancouver, B.C, Sydney and Toronto.'

IMATS (2016) About IMATS. Available at:

http://www.imats.net/about-imats/ (Accessed: 25 March 2016).

Technical - burns

‘Burns are among the most common household injuries, especially in children. The term burn means more than the burning sensation associated with this injury. Burns are characterized by severe skin damage in which many of the affected cells die. Depending on the cause and degree of injury, most people can recover from burns without serious health consequences. More serious burns require immediate emergency medical care to prevent complications and death.

There are three primary types of burns; first, second, and third-degree. Each degree is based on the severity of damage to the skin, with first degree being the most minor and third degree being the most severe. Damage includes:

• First degree burns – red, non-blistered skin
• Second degree burns – blisters and some thickening of the skin
• Third degree burns – widespread thickness with a white, leathery appearance 

There is also technically a fourth-degree burn. In this type, the damage of third-degree burns extends beyond the skin into tendons and bones. Burns have a variety of causes, including:

• scalding from hot, boiling liquids
• chemical burns
• electrical burns
• fires, including flames from matches, candles, and lighters
• excessive sun exposure

The type of burn is not based on the cause of it. Scalding, for example, can cause all three burns, depending on how hot the liquid is and how long the skin makes contact. Chemical and electrical burns warrant immediate medical attention because they can affect the inside of the body, even if skin damage is minor.

First degree burns:

First-degree burns cause minimal skin damage. They are also called ‘superficial burns’ because they affect the outermost layer of skin. Signs of a first-degree burn include redness, minor inflammation, swelling, pain, and dry peeling skin (occurs as burn heals). Since this burn affects the top layer of the skin, the signs and symptoms disappear once the skin cells shed. First-degree burns usually heal within three to six days. Still, you should see your doctor if the burn affects a large area of skin (more than three inches), and if it’s on your face or a major joint.

First-degree burns are mostly treated with home care. Healing time may be quicker if you treat the burn sooner. To treat this type, you can:

• soak the wound in cool water for five minutes or longer 
• take acetaminophen or ibuprofen for pain relief 
• apply aloe Vera gel or cream to soothe the skin 
• use an antibiotic ointment and loose gauze to protect the affected area 

Make sure you don’t use ice, as this may make the damage worse. Never apply cotton balls to a burn because the small fibres can stick to the injury and increase the risk of infection. Also, avoid home remedies like butter and eggs as these are not proven to be effective.

Example of a first degree burn

adminnn (2013) ‘BurnFree’, 4 March. Available at:

http://www.burnfree.com/burnfree/burns-101/ (Accessed: 25 March 2016).

Second degree burns:

Second-degree burns are more serious because the damage extends beyond the top layer of skin. This type of extensive damage causes the skin to blister and become extremely red and sore. Some blisters pop open, giving the burn a wet appearance.

Due to the delicate nature of such wounds, frequent bandaging is required to prevent infection. This also helps the burn heal quicker. Some second-degree burns take longer than three weeks to heal, but most heal within two to three weeks. The worse the blisters are, the longer the burn will take to heal. In some severe cases, skin grafting is required to fix the subsequent damage. Skin grafting borrows healthy skin from another area of the body and replaces it at the site of the burned skin.

As with first-degree burns, avoid cotton ball wraps and questionable home remedies. You can generally treat a mild second-degree burn by: 

• running the skin under cool water for 15 minutes or longer 
• taking over-the-counter pain medication (acetaminophen or ibuprofen) 
• applying antibiotic cream to blisters 

However, seek emergency medical treatment if burns affect a widespread area of the face, hands, buttocks, groin and feet.

Example of a second degree burn

Created and 1, A. (2016) FX makeup- 2nd degree burn. Available at: http://www.fashionindustrynetwork.com/photo/fx-makeup-2nd-degree-burn?context=user (Accessed: 24 March 2016).

Third degree burns:

Third-degree burns are the worst burns. They cause the most damage, extending through every layer of skin. The damage can even reach the bloodstream, major organs, and bones, which can lead to death.

There is a misconception that third-degree means most painful. With this type of burn, the damage is so extensive that you may not feel pain because your nerves are damaged. Depending on the cause, third-degree burns cause the skin to look waxy and white, charred, dark brown, raised and leathery.

Never attempt to self-treat a third-degree burn. Call 999 immediately. While you’re waiting for medical treatment, raise the injury above your heart. Don’t get undressed, but make sure no clothing is stuck to the burn. There is no set healing timeline for third-degree burns.

Complications:

Third-degree burns carry the most risk for complications, such as infections, blood loss, and shock. Still, this doesn’t mean that minor first and second-degree burns can’t cause complications. All burns carry the risk of infections because bacteria can enter broken skin. Sepsis, or a bloodstream infection, can occur in the most severe cases. This can lead to shock or even death.

Tetanus is another possible complication with burns of all levels. Like sepsis, tetanus is a bacterial infection. It affects the nervous system, eventually leading to problems with muscle contractions. As a rule of thumb, every member of your household should receive updated tetanus shots every five years to prevent this type of infection.

Severe burns also carry the risk of hypothermia and hypovolemia. Hypothermia is characterised by dangerously low body temperatures. While this may seem like an unexpected complication of a burn, the condition is actually prompted by excessive loss of body heat from an injury. Hypovolemia, or low blood volume, occurs when your body loses too much blood from a burn.

Scars are a complication of all burns. Severe burns may cause keloids, which are discoloured areas of scar tissue on the skin. While keloids aren’t harmful in themselves, they can be bothersome. The appearance of scar tissue can worsen with sun exposure, so be sure to wear adequate sunscreen on any exposed areas.

Example of a third degree burn

Housewife, T.G. (no date) References for SFX makeup. Available at: https://uk.pinterest.com/pin/408138784954099662/ (Accessed: 25 March 2016).

Outlook for burns:

When properly and quickly treated, the outlook for first and second degree burns is good. These burns are also less prone to scarring. The key is to minimize further damage and infection. Extensive damage from severe second degree and third degree burns can lead to problems in deep skin tissues, bones, and organs. Patients may require:

• surgery
• physical therapy
• rehabilitation
• lifelong assisted care
• counselling’

Written and SolanMedically, M. (2005) Burns: Types, treatments, and more. Available at: http://www.healthline.com/health/burns#Complications6 (Accessed: 25 March 2016).

Technical lesson three:

Model name: Simona
Skin type: dry
Skin tone: fair skin with yellow undertones
Natural eyes/contacts: natural eyes
Allergies: none
Medication: none
Any open wounds/scars, cuts etc.: none

Required products/materials: Kryolan supra colour palette, spatula, synthetic pus, Kensington Gore fake liquid blood, stipple sponge, witch hazel, Kryolan translucent powder, clear gelatine nuggets, a microwave, cotton buds, moisturiser, a hairdryer, Vaseline and cheap makeup brushes (don’t use your beauty ones as they’ll get ruined).

Gelatine nuggets:

‘SFX nuggets are re-mixed meltable gelatine blocks that is gently heated in a microwave. It is an ideal medium for gaining invaluable understanding and technical skills for working with 3D l prosthetic media. By its very nature gelatine has inherent advantages not found in latex:

• Economical – gelatine is inexpensive which makes it ideal for experimentation. 
• Reusable 
• Timing – gelatine setting time can be shortened by placing moulds in the freezer. 
• Blending – making your prosthetic appear as natural as possible, with gelatine, the edges can be blended away with witch hazel. 
• Translucency – gelatine enables it to move well on the model. 
• Non-toxic 
• Safety – gelatine is safe to use on all skin types as the ingredients used in gelatine formulas are either food or medical grades.’ It is however a sin to apply gelatine on a Muslim model, therefore ask them for permission beforehand. It’s also unacceptable to apply this product on a vegan so it’s very important for you to make sure your model knows exactly what you’re using. 
• Clear – goes on all skin types/colours. 
• Doesn’t expire once stored in a cool dry place. 
• Nuggets have a very firm texture and can be used on moulds. This is a plus point for continuity as you can create the same shape. 
• Gelatine can be used on the hair, face and clothing.

Dmedia, 2 (2016) Mouldlife Gelatine Nuggets. Available at:

http://www.screenface.co.uk/sfx/latex-gelatine-silicone/mouldlife-gelatine-nuggets.htm (Accessed: 25 March 2016).

Gelatine (leaf) – this is hardened gelatine in leaves used to stimulate burns and for effects on the fingernails. To apply this product, dissolve gelatine in boiling water and apply it directly to the skin when cooled down.

Gelatine (powder) – this is a food product made from the crushed bones of animals used in food and sweets. Gelatine makeup is pork based, low cost, accessible and flexible. It’s also reusable (just needs to be cleaned and re-melted) and a good value alternative to silicone. This product is mainly used for creating effects like burns, open wounds and scars. For use in special effects makeup, the powder must be mixed with boiling water to become thick like porridge. (Food colouring can also be added during this stage to change the gelatine colour). Next, glycerine must be added to slow down the drying process and prevent the gelatine from shrinking and hardening. Little bits of tissue or cotton wool can be added to the mixture also. Once cooled down, apply it to the skin. When the gelatine is dry it can be painted with cream based makeup. Effects made using gelatine aren’t durable as the substance is perishable. This type of gelatine is said to be unprofessional for use in the industry.

What is synthetic pus?

‘Synthetic pus effect is a preparation for special visual effects in a suitable consistency, colour and hygienic cosmetic quality. It is advisable to use this product only in little amounts for a realistic effect. This is glycerine based and safe for use around the mouth and mucus membranes.’

PROFESSIONAL, K. (2016) Professional make-up. Available at:
https://us.kryolan.com/product/synthetic-pus-effect (Accessed: 25 March 2016).

Witch hazel:

‘Gelatine prosthetics may be thinned or dissolved with witch hazel. Warm witch hazel works best but whether witch hazel dissolves or corrodes is debated. Many artists leave a bit of the overflow on the blending edge so that during application they can pull the blending edge out as it is adhered and then use witch hazel to cut away the edge.’

Gelatin (1939) Available at:
http://fx.wikia.com/wiki/Gelatin (Accessed: 25 March 2016).

Step-by-step guide:

Before starting the practical, I set up my station and got rid of any bags, scarves and coats that were in the way for health and safety reasons. I then placed a towel around my model again for hygienic, health and safety reasons. Next, I ensured the area I was working on was clean (the arm). Simona had no product on her arm therefore I was able to start my burn straight away. Sue told us we shouldn’t apply barrier cream when working with gelatine therefore I skipped this step.

Firstly, we got given a chunk of gelatine each and placed it in a bowl. We then put it into a microwave for 20 seconds. (Don’t put anything with metal into the microwave). After it had melted, I tested this on the back of my hand using a spatula to ensure it’s not too hot. I felt like it irritated my hand due to its heat therefore I left it to cool down for a bit before applying it onto my model. It’s always good to ask your model if he/she is comfortable with the temperature of the gelatine before applying it all over the arm or wherever u choose to create your burn.

Once it’s cooled, using your spatula spread this across the arm like you would to Nutella on a toast. If you want to create blisters, plop the spatula on the skin. If you want it to be risen, raise the spatula (upward direction). In order to break up the edges, pick the spatula up and down. In order to get rid of all hard edges, apply witch hazel onto a cotton bud and blend this downwards (toward the outer skin).

Once you’re happy with the application of your gelatine, it’s time to dry it using a hairdryer. Ensure to use cool air as hot will melt it. The gelatine will stay tacky. Your finger will stop sticking to it as much when it’s dry and that’s when you can stop. It’s now time to set it with the Kryolan translucent powder and a powder puff (brush).

You can now begin to colour. You must think about light and shade. I created a third degree burn therefore I went in with a red (079) from the Kryolan supra colour palette using my stipple sponge. It’s best to dab the colour on for a more realistic effect. I also applied some black (071) using a thin brush onto the deeper areas I had picked out beforehand using my spatula. I did this using a cheap paint brush as I didn’t want to ruin my beauty ones. For some areas of the burn I mixed red and the black together to achieve a reddish brown. I rubbed the colour sideways in order to blend it out toward the rest of the skin. It’s optional to use moisturiser to thin out the colours. Sue also told us we can mix supra/aqua colours with gelatine beforehand to give the actual gelatine some colour instead of it being clear. One thing however you shouldn’t do is to colour the burn with foundation. 

Once I was done with the colouring, I applied some of Sue’s Kensington Gore fake liquid blood. I used a stipple sponge to apply this blood around areas I thought needed emphasis. I also used some synthetic pus from Kryolan, again in the deeper areas I had created. Don’t go too over the top with the blood/pus and it’ll take the eye away from the actual burn.

Remember you can use your fingers also to apply any product such as supra colour or blood. To give the burn an extra shine, apply Vaseline.

To remove the burn, you can gently peel the gelatine off the arm. Clean off any remaining makeup from the skin with a cleanser and wash thoroughly with water. Moisturisers can also be used after removal to prevent the skin from drying. In order to clean the bowls, wash them thoroughly with hot water. Dispose of any gelatine remaining in the bowl. 

Reflection:

Overall I was happy with the result of my third degree burn. I thought the colouring was good however I wasn’t so impressed with the edges. I felt like it needed to be softened down a lot more with the witch hazel. I also think I should’ve applied more colour to the outer areas of the burn to make it look more realistic. Other than that, Sue said she was very impressed with my choice of colours and use of sytnehtic pus on my burn. 

Technical - cuts

‘Cuts are injuries in which the outer skin barrier has been penetrated. Symptoms range from narrow tears in the skin (cuts) to superficial abrasions (scrapes) to deep holes (punctures). Usually bleeding occurs, though some puncture wounds may bleed only slightly. Because any such injury leaves you prone to infection, the damage needs to be dealt with immediately.

Cuts - typically caused by a sharp implement with an edge that may be smooth (a knife or a razor blade, for example) or jagged (a piece of broken glass). If the cut is deep, it will bleed profusely, and there may be damage to underlying muscle, tendons, and nerves.

Scrapes - results from skin being rubbed against a rough surface like pavement. The outer skin layer may not be completely broken, but because small blood vessels are ruptured, the skin may ooze blood.

A puncture wound - caused by a nail, pin, or other sharp object with a penetrating point.’

Common injuries (2014) Available at:

http://www.healthcommunities.com/common-injuries/types-of-injury.shtml (Accessed: 24 March 2016).

How do cuts and scratches heal?

‘After getting a cut, scratch, or abrasion, your skin may start bleeding. This happens because the injury breaks or tears the tiny blood vessels, which are right under the skin's surface. Your body wants to stop the bleeding so the platelets in your blood come to the rescue.

At the site of a wound, platelets stick together, like glue. This is called clotting, which works like a plug to keep blood and other fluids from leaking out. Ascab, a hardened and dried clot, forms a crust over the wound. This protects the area so the skin cells underneath can have time to heal.

Underneath the scab, new skin cells multiply to repair the wound. Damaged blood vessels are repaired, and infection-fighting white blood cells attack any germs that may have gotten into the wound. You can't see it under the scab, but a new layer of skin is forming. And when the new skin is ready, the scab falls off. A scab usually falls off within a week or two. If you pick at a scab, the new skin underneath can be ripped and the wound will take longer to heal and may leave a scar. So try not to pick at scabs.

What should I do if I get a cut/scratch?

Stop any bleeding by pressing a clean, soft cloth against the wound. If the wound isn't very bad, the bleeding should stop in a few minutes. Then you'll want to clean the wound, using warm water and a gentle soap.

Most small cuts, scrapes, or abrasions will heal well without any special care. For extra protection, your parent you might use an antibacterial ointment or a bandage. The ointment will kill germs and a bandage will keep your wound from getting irritated and prevent germs from getting inside. If you use a bandage, it should be changed daily and when it gets wet or dirty.

What if a cut won't stop bleeding?

If a wound is very long or deep or if its edges are far apart, then you may need stitches. The doctor will use some type of anesthetic on your skin to numb it. Numbing medicine might be applied directly or through a shot. Then the doctor will suture or sew the edges of the cut together with a small needle and special thread.

For more minor cuts, the doctor might use a special kind of glue to close your cut instead of stitches. This glue holds the sides of the cut together so the skin can begin to heal. The glue will dissolve over time.

If you do get stitches, after the wound heals (in about a week) you will need to go back to the doctor to get those stitches taken out. The doctor will just snip the thread with scissors and gently pull out the threads. Sometimes the doctor may use stitches that dissolve on their own over time and don't need to be removed. Also, sometimes a small scar forms after stitches are removed. If you don't get the proper care for a serious cut, a more noticeable scar may form.’

document (2015) Checking out cuts, scratches, and Abrasions. Available at: http://kidshealth.org/en/kids/cuts.html# (Accessed: 24 March 2016).

An example of a cut

Cuts, general info (no date) Available at:
http://www.utahmountainbiking.com/firstaid/cuts.htm (Accessed: 24 March 2016).

We didn’t actually have a lesson on cuts; however I decided to try some out myself at home with SFX products I had purchased beforehand from Kryolan. I discovered different methods in order to create cuts/scars:

Model name: Fatemeh (myself)
Skin type: combination
Skin tone: olive skin with yellow undertones
Natural eyes/contacts: natural eyes
Allergies: none
Medication: none
Any open wounds/scars, cuts etc.: none

Required products/materials: Kryolan Pro shield barrier foam, rigid collodion, a hairdryer, Kryolan supra colour palette and cheap makeup brushes.

Rigid collodion:

This clear solution is widely used in special effects makeup to stimulate shapes of wounds and scars and works by wrinkling the skin as it dries after application. The more coats applied, the deeper/larger the scar. Colours can also be used to stimulate a fresh wound. It’s often applied with a brush in multiple coatings. Rigid collodion should peel off easily after one day, taking off any layers of dead skin however collodion remover is also available on the market if required. Repeated used in the same area can cause irritation to the skin. This product was originally created during the Second World War, used to restrict open wounds and stop bleeding.

Supply, F.B. (2016) Kryolan rigid Collodion .85oz Frends beauty supply. Available at: http://www.frendsbeauty.com/kryolan-rigid-collodion-85oz.html (Accessed: 24 March 2016).

Step-by-Step guide (rigid collodion):

Firstly I ensured the area I was working on was clean (the arm). I had no product on my arm therefore I applied a small amount of the Kryolan Pro shield barrier foam on the area I wanted to work on. Next, I mixed red (079) and white (070) together from my Kryolan supra colour palette together to achieve a pinky red. Using a thin paint brush, I applied a thin line on my arm. Normally light colours are used to give the impression of a fresh scar and darker colours are used for older scars.

After, I applied rigid collodion on the same line I applied my supra colour on. I did this how I would normally apply nail polish. Next I squeezed this area of my arm and dried it using a hairdryer. I made sure the air blowing is cool in order to not irritate my arm. It’s important to remember the first coat of collodion you’ve applied is completely dry before applying the next. The more coats you apply, the deeper the scar. Don’t apply more than 7 coats.

It’s completely optional to apply foundation around the scar or you may just go in with your supra colours again, with colours such as red to achieve a realistic effect. Do NOT apply translucent powder over this.

Note: do not apply rigid collodion anywhere near the eye area. Also don’t use scarring liquids on areas with hair as it may result in a painful removal.

You can remove this product by just peeling it off however if you have applied a bit too many coats you can use solvents such as acetone or almond oil (both completely safe to use on the skin) with a cotton pad to remove the collodion.

My first attempt at a cut with rigid collodion

Reflection:

I preferred making wounds with cine wax than doing it with rigid collodion as the effect didn't really stand out to me. It's not something that interests me, also was a pain to take off. It irritated my arm and left it red for a while. It's good if you were looking to do a light SFX look, however I didn't think it was that great.

Model name: Fatemeh (myself)

Skin type: combination
Skin tone: olive skin with yellow undertones
Natural eyes/contacts: natural eyes
Allergies: none
Medication: none
Any open wounds/scars, cuts etc.: none

Required products/materials: Kryolan Pro shield barrier foam, rigid collodion, spatula, a hairdryer, Kryolan supra colour palette, Kryolan translucent powder and cheap makeup brushes.

I also tried another cut using Tuplast. This is a thick substance in a tube used to stimulate blisters and create waterproof injuries. For masks, Tuplast is stretched into threads which are then mounted in the mouth to create slime/spit in the mouth. This product is also used for creating realistic scars, cuts and wounds on the skin with the use of tools and cotton buds. To do this, press the skin together around the Tuplast and blow-dry it with cold air. Tuplast is based on the synthetic material used in dental practices. It is available in both tinted and transparent. It can also be applied on easily using a spatula. It must not however be used near the eye area as it contains a strong component of acetone. Makeup can be applied onto Tuplast as soon as it has dried. Before application however, used barrier cream or Pros-Aide to make the removal easier. Removal can be done with Tuplast remover.

Kryolan Tuplast (no date) Available at:
https://www.vanitytrove.com/gb/p/kryolan-tuplast (Accessed: 24 March 2016).

Step-by-Step guide (Tuplast):

Firstly I ensured the area I was working on was clean (the arm). I had no product on my arm therefore I applied a small amount of the Kryolan Pro shield barrier foam on the area I wanted to work on. Next, I mixed red (079) and white (070) together from my Kryolan supra colour palette together to achieve a pinky red. Using a thin paint brush, I applied a thin line on my arm.

After, I applied Tuplast on the same line I applied my supra colour on. I shaped this using a spatula. In one of our practical lessons with Sue, she said we can pick at Tuplast with a hair pin or leave it to dry completely and powder it. I followed this step and used a hairdryer to dry it. I then powdered it using a big fluffy brush.

It’s completely optional to apply foundation around the scar or you may just go in with your supra colours again, with colours such as red to achieve a realistic effect.

Note: do not apply Tuplast anywhere near the eye area. Also don’t use scarring liquids on areas with hair as it may result in a painful removal.

You can remove this product by just peeling it off however if you have applied a bit too many coats you may use acetone or just water.

A scar with Tuplast

Reflection:

I liked working with this product more than I did with rigid collodion. I felt like it had more of a dramatic effect and stood out to me. It was also easy to remove. I'd definitely incorporate a scar similar to this for one of my special effects shoots. If I was to do this again, I'd apply more product around the scar to give it a realistic effect. I sort of left it plain on the arm and this doesn't look natural at all. It'd look a lot better with some liquid blood. 

HD Broadcasting

‘High definition television is a high-quality video standard developed to replace older video formats often referred to as standard definition television. While HDTV's video quality is one of the most noticeable improvements over SDTV, HDTV includes a number of other important improvements as well.

First of all, the HDTV signal is digital. Instead of an analogue signal, used by traditional NTSC broadcasts, HDTV is always digital. This eliminates analogue interference caused by electrical currents and magnetic fields. Secondly, HDTV uses a different aspect ratio than SDTV. While previous broadcasts used a 4:3 ratio (4 units wide for every 3 units tall), HDTV uses a ratio of 16:9. This wider aspect ratio more closely emulates how humans see the world, making the image appear more realistic. This ratio is also better for watching widescreen movies, which are recorded in widescreen for the same reason.

True to its name, HDTV offers a much higher resolution than standard definition video. While a typical analogue broadcast contains a maximum of 525 horizontal lines of resolution, a HDTV signal supports up to 1080. The three formats used by HDTV are 1080i (interlaced), and 720p and 1080p (progressive). HDTV's higher resolution produces images that are much finer and contain more detail and more colour than previous formats. HDTV also provides a higher-quality digital audio signal than SDTV and supports up to six audio channels compared to the two channels allowed previously.

To watch HDTV, you need an HDTV-compatible television and a means of receiving an HDTV signal. HDTVs come in both 16:9 and 4:3 formats (for backwards compatibility). Some HDTVs include HDTV tuners for receiving over-the-air broadcasts, but others require the receiver to be bought separately. Fortunately, most cable and satellite TV companies offer HDTV-compatible boxes with their digital service plans.’

Productions, S. (2016) HDTV (high definition Televsion) definition. Available at: http://techterms.com/definition/hdtv (Accessed: 4 March 2016).

How do I get HD TV?

‘To watch HD TV you'll need an HD television and something to watch in HD format, either an HD TV programme on an HD TV channel (such as BBC One HD), a film on Blu-ray disc, or an alternative HD source, such as HD video streamed over the internet to your TV.

All new flat screen TVs are HD compatible, but they come in two different types: HD-ready and HD-ready 1080p. The difference is to do with the screen’s resolution. Screen resolution is the number of pixels, or lines displayed on the TV, and is expressed as ‘width x height’. Full HD screen resolution, sometimes referred to as HD-ready 1080p, is 1,920 x 1,080 pixels, while HD-ready is 1,024 x 768. Full HD TVs have superior picture quality when watching HD TV broadcasts on Sky HD and Freeview HD, for example, or movies on Blu-ray disc. Cheaper, 'HD-ready' TVs have a minimum screen resolution of 1,024 x 768 required to display HD TV, but cannot show Blu-ray movies in their full picture quality. These TVs tend to be smaller screen models as it’s harder to physically see the screen resolution difference at that size. The best HD TVs are exceptionally crisp with outstanding colours, but buying an HD TV alone is not a guarantee of quality.

What are Blue-ray discs?

These are HD DVDs that almost always display at 1080p resolution. This means that films on Blu-ray are sharper and more detailed than standard-definition DVDs, and even HD TV.

A large number of Blu-ray films are now available, from the latest Hollywood blockbusters to old classics, and nearly all new film releases are made available on Blu-ray, as well as DVD. An increasing number of 3D Blu-rays are also available, though you'll need a 3D TV and a Blu-ray player that supports 3D to be able to watch them.

TV types: 

LED, LCD and plasma are the three main types of TV, and each type has its own unique strengths and weaknesses:

LCD (Liquid crystal display) TVs - a prevalent model of HDTVs, LCDS are flat panel displays through which light can pass or be blocked. The LCD doesn't produce its own light; this is done by additional lighting. These TVs are available in a variety of sizes and have wide viewing angles, making them ideal for almost any size room. They also use a large light source to help make up the picture you'll see on screen. Most manufacturers no longer make the rather bulky LCD TVs, instead favouring newer technologies.

LED (Light emitting diode) TVs - a semiconductor device that produces light from electricity. LEDs are often used to backlight LCD displays, which results in a clearer picture. (They're essentially the next evolution of LCD TVs). They use different backlight technology; tiny LEDs instead of traditional bulbs, enabling them to be slimmer, have brighter pictures and use less power. LEDs are the biggest sellers. Their picture quality is not as good as that of plasma TVs, but still good enough for nearly everyone. They also offer greater practicability and they can get a lot brighter.

The main difference between LCD and LED is that LED televisions are going to look better than other LCD screens. That's not to downplay how good an LCD HDTV can look, since the picture quality can be stunning, but there's no denying that there is, indeed, a difference between them. LED televisions can be considerably thinner than LCDs, even coming as thin as 0.3-inches. This, however, when mixed with the clearer image, means that buying an LED television is going to cost more than an LCD TV.

Plasma TVs - use different technology to LCD and LED. They're beloved by TV buffs for their cinematic picture quality, with deeper black areas on screen and smoother motion have the best picture quality hands down, and are also cheaper. However, they are not very bright, so they are only suitable for dark rooms. They suffer from occasional but not permanent image retention and have a slight buzzing noise on bright pictures. Panasonic stopped producing plasma TVs in 2013; Samsung and LG also announced that 2014 will be their last year.'

(no date) Available at:
http://www.qvc.com/LcdLedGuide.content.html (Accessed: 4 March 2016).

Demers, C. (2014) Plasma vs LED vs LCD TVs. Available at:

http://uk.rtings.com/tv/learn/lcd-vs-led-vs-plasma (Accessed: 4 March 2016).

Laughlin, A. (2016) What is HD TV? - televisions reviews - TV and home entertainment - which? Tech. Available at: http://www.which.co.uk/reviews/televisions/article/what-is-hd-tv (Accessed: 4 March 2016).

(no date) Available at:
http://shoppingclick.blog.com/2012/09/15/samsung-un46b8000-46-inch-1080p-240hz-led-hdtv/ (Accessed: 4 March 2016).

How does it affect makeup and hair artists?

Obviously there are defects in any human face, especially for the elderly. Generally speaking, makeup artists can do miracles on imperfections such as rashes, pimples, facial hairs or any other characteristic defect that may bring about the camera lens to jump, and the group of onlookers alongside it.

In any case, with the appearance of superior quality television, which is quickly turning into the business standard, that pit can resemble a cavity if an artist isn't cautious.

“For middle-aged women, it should be outlawed,” noted cinematographer Bill Roe who has worked often in HD. “You watch a basketball game in HD and then you wonder what a close-up will look like on a 40 year old woman. You gotta go, Wow. You can see the makeup. You can see stuff. That’s the beauty of film. It’s a magic thing.”

John Toll, an award-winning cinematographer quoted: “Film tends to be more kind. Now with HD, they’re doing things like more filtration, or softening of the light, or degrading the image so it’s not so highly defined. It’s sort of what they used to do in movie star close-ups, an over-diffused style to try to make them look glamorous. Now they do it so you don’t see every pore in a close-up on skin.”

Even though numerous motion pictures and TV arrangement are still shot in movie form, superior quality video is spreading. It's even on the arrangement of game programmes.

Numerous artists are taking classes in 'airbrushing', which essentially sprays makeup onto the face or body as opposed to applying it with brushes or sponges. It has turned into a typical practice in Hollywood, particularly where HD is widely used.

Sandy Morris, a Hollywood makeup artist quoted: “I know a lot of soap operas have switched over to airbrushing. It’s a better match for HD. One thing about airbrushing, if you have somebody with bad skin, there are a lot of benefits. Definitely there are concerns, and HD cameras are very unforgiving. But if makeup artists know what they’re doing, it’s not a problem. Artists have few excuses these days for not knowing what they’re doing. Also, many of the major cosmetics companies also put on workshops to showcase their products as they pertain to the HD realm. Still, a star is a star, and an HD camera can be even more intrusive than the most obnoxious member of the paparazzi.”

‘Collateral’ - the 2004 Michael Mann-directed thriller that starred Tom Cruise, was not only shot on HD, but mostly at night. Lois Burwell, a makeup artist who won an Academy Award for ‘Braveheart’ worked on Cruise and said the HD cameras added another layer of difficulty to an already daunting project as the cameras could more clearly pick up the cosmetics used to artificially age Cruise. Lois Burwell quoted, “Normally, it would be a challenge anyway because he was in a greying wig with greying stubble and his look was changed. With HD, you’re at the sharp, pointy end of the artifice. I think it was particularly tough all around.”

Jodi Long is an actress who has appeared on many shows, including ‘Sex and the City’. She quoted “The makeup process for HD is actually easier and quicker. You do less makeup; you don’t want to look too heavily made up. It’s definitely unforgiving, you’ve got to make sure there’s no dust or cat hair on your costume because everything is so clear. But I don’t feel I look any different in HD than in film. Maybe it’s unforgiving. But it’s clear that it’s here to stay.”

Ventre, M. (2008) HD is unforgiving to actors, and makeup artists. Available at: http://www.today.com/id/24581670/ns/today-entertainment/t/hd-unforgiving-actors-makeup-artists/#.VwJ8MPkrLIV (Accessed: 4 March 2016).

HD is digging in for the long haul and it is innovation that is keeping on progressing at lightning speed. Cosmetics systems for this medium should be regularly upgraded to the most current application strategies utilised as a part of the business, and for artists to stay significant in their vocations and have the most a la mode guideline.

Below are some images of makeup gone wrong on HD camera:

Nadine Coyle from 'Girls Aloud'

Crawley, J. (2015) Nadine Coyle suffers a massive make-up fail on live TV. Available at: http://www.dailymail.co.uk/tvshowbiz/article-3323840/Nadine-Coyle-suffers-massive-make-fail-live-TV-yellow-tinged-foundation-contrasts-white-neck.html (Accessed: 4 March 2016).

Nicki Minaj

TheMetaP (no date) Makeup gone wrong. Available at:
https://uk.pinterest.com/pin/497647827544637486/ (Accessed: 4 March 2016).

Concealer a bit too bright maybe?

M, A. (2015) Aparna M. Available at:
http://www.beautyandgroomingtips.com/2015/03/makeup-that-youre-probably-doing-wrong.html (Accessed: 4 March 2016).

HD makeup came on its way in around 1998. ‘The showbiz and beauty industries were fizzing with stories of American televisions actors and news anchors, mortified to suddenly see every pore, blemish and wrinkle amplified by the newly introduced and extremely sharp high-definition picture, throwing hissy fits and demanding better makeup to disguise them.

Clinique launched a special HD range of foundations, powders and concealers to perfect skin even when under such scrutiny, and rolled it out to the public. But as cosmetics technology improved vastly across the board (a foundation in 2015 and its 2000 counterpart are incomparable in terms of comfort, weight, shade selection, coverage and finish), the range was scrapped after a couple of years and HD makeup was confined mainly to professional brands and specialist suppliers (such as Guru and Screenface), who sold niche tools including airbrush guns and their corresponding products to TV and film makeup artists.

This technology (where very thin, liquid foundations are blasted very finely and almost imperceptibly on to the face, neck, hands and limbs) was used as standard on the stars of Friends. It is still the method of choice at news channels, on male and female newsreaders and guests because, as with all HD products, airbrush foundation makes skin flawless without looking made-up.

But the selfie phenomenon has put HD makeup back into the mainstream. Make Up For Ever is launching into the UK retail market this summer, thanks largely to the huge success of its HD foundations and powders in mainstream French stores such as Sephora. It would appear that selfies, Instagram and higher-resolution smartphone cameras have caused us civilians to demand even better, yet undetectable, coverage.

So what does HD makeup offer that normal makeup doesn’t? You could argue that the answer is very little, since normal makeup has come on in such leaps and bounds anyway. HD is certainly, in some cases, merely a marketing tool without real substance. But, broadly speaking, consumers should expect proper HD makeup to have superior light reflection, as demonstrated in Smashbox’s Liquid Halo HD Foundation, which uses gel-covered pigments inspired by lens filter technology to soften and blur fine lines and uneven tone.

Blurring is a key term in HD makeup, the idea being that when the modern camera is so harsh, our makeup needs to step in and recreate the effects of an old-fashioned soft-focus lens for a more flattering and forgiving look. Make Up For Ever’s HD Invisible Cover Foundation is a good example of soft-focus technology.

Another HD non-negotiable is an extremely fine texture and finish, as in ‘Chantecaille’s’ excellent but expensive HD Perfecting Powder, to ensure a non-cakey, almost invisible finish even in close-up. (Despite being bright white in the pot and looking suspiciously like class As, HD powders should blend to invisibility on almost all skin tones.)

Finally, smoothness. HD products usually harness high-grade silicone to smooth any uneven texture on the skin’s surface (imagine your face has been through a virtual laminator and you’ll get the idea). ‘Temptu’s’ HD-proof airbrush foundations, concealers and blushers (all applied with an airbrush gun) are silicone-based to create this effect.

Inevitably, there will be those of us who feel it’s a shame if women have begun to feel as though they must now be camera-ready at all times; that mere “makeup” is no longer good enough; that we should now appear as though fresh from a film set or celebrity dressing room. I fear it is irreversible – the selfie phenomenon is real and advancing daily with new products, better filters, retouching apps and customising software.

But while the advent of HD makeup is certainly a marker for a less innocent time, it also replaces an era when women were forced to accept that foundation was thick and often uncomfortable; that powder was dry, cakey and unnatural-looking; that concealer was hard to colour-match and apply. The new generation of products is a comparative picnic and looks effortless, healthy and real. And you needn’t face the camera to enjoy it.’ 

Hughes, S. (2015) HD makeup: How to look camera-ready at all times. Available at: http://www.theguardian.com/fashion/fashion-blog/2015/jan/22/hd-makeup-high-definition-how-to-look-camera-ready (Accessed: 4 March 2016).

Technical - wounds

‘A wound is any type of injury to the skin. Wounds can be open wounds, in which the skin is broken or torn or closed wounds. Although open wounds can bleed and run the risk of infections, closed wounds can also be dangerous depending on the extent of tissue damage. There are six major categories of wounds; each is distinctive in its appearance and the source of the injury:

Incision – an incision wound is a cut in the skin caused by a sharp object such as a knife, broken glass, scissors or surgeon’s scalpel. Incision wounds are ‘neat’ and the edges of the skin are usually smooth.

Laceration – a laceration is injury to the skin that results in the skin being cut or torn open. Lacerations can be shallow, only injuring the surface skin, or deep, causing injury to the muscles, tendons, ligaments, blood vessels or nerves. Lacerations are most commonly made by some sort of blunt trauma such as being hit with a fist or baseball bat. Unlike an incision wound, a laceration is generally jagged because the skin is torn instead of cut.

Abrasion – an abrasion is a type of wound in which the skin is scraped or rubbed off. When skin is dragged on carpet, the resulting wound, often called a carpet burn, is an abrasion. Abrasions are usually superficial wounds, meaning that only the outer layers of skin are affected. A deep abrasion, one that penetrates to the inner layers of skin, can leave a scar. Parts of the body with thin layers of skin, such as the knees and elbows, are most prone to abrasions.

Contusion – a contusion is a kind of closed wound, meaning that the skin is not broken. Contusions are caused by blunt force trauma to the skin that results in tissue damage. When the blood vessels under the skin are broken, blood pools under the skin causing a bruise.

Puncture – a puncture wound is created when a sharp object enters the skin. These wounds are usually small and do not bleed a lot. Although these wounds tend to close over quickly, they still need treatment as infection is a possibility. Puncture wounds are prone to a tetanus infection, so it is important to seek medical advice for any puncture wound. Common types of puncture wounds include stepping on a nail or bites from animals.

Avulsion – an avulsion is a partial or complete tearing away of skin and tissue. Avulsions usually occur during violent accidents, such as body-crushing accidents, explosions, and gunshots. They bleed heavily and rapidly.’

Chandler, S. (2015) Five types of wounds. Available at:
http://www.livestrong.com/article/101274-five-types-wounds/ (Accessed: 3 March 2016).

Different types of wounds

Admin (2008) Types & causes of open wounds. Available at:
http://nursingcrib.com/nursing-notes-reviewer/types-causes-of-open-wounds/ (Accessed: 3 March
2016).

How are wounds treated?

‘Minor wounds can be treated at home. First, wash and disinfect the wound to remove all dirt and debris. Use direct pressure and elevation to control bleeding and swelling. When wrapping the wound, always use a sterile dressing or bandage (very minor wounds may heal fine without a bandage). You’ll need to keep the wound clean and dry for five days. You should also make sure you get plenty of rest.

Pain typically accompanies a wound. You can take acetaminophen as directed on the package. Avoid aspirin products, since they can cause or prolong bleeding. Apply ice if you have bruising or swelling, and avoid picking at scabs. If you’re spending time outdoors in the sun, use sun protection factor (SPF) 30 sunscreen over the area until it’s completely healed.

Medical treatments:

Your doctor may use different techniques to treat your wound. After cleaning and possibly numbing the area with anesthetic, your doctor may close the wound using skin glue, sutures, or stitches. You may receive a tetanus booster shot if you have a puncture wound.

Other treatments for a wound include pain medication and penicillin. Your doctor may also prescribe penicillin or another antibiotic if there’s an infection or high risk for developing an infection. In some cases, surgery might be needed. If a body part is severed, it should be brought to the hospital for possible reattachment. Wrap the body part in moist gauze and pack it in ice.

When you leave the doctor’s office, you might have bandages and dressings. It’s important to always wash your hands and work on a clean surface when changing bandages and dressings. Disinfect and dry the wound thoroughly before dressing it again. Ensure to dispose of old dressings and bandages in plastic bags.’

Written, Roddick, J. and HigueraMedically, V. (2005) Open wound. Available at: http://www.healthline.com/health/open-wound#Complications4 (Accessed: 3 March 2016).

History:

‘From the Classical Period to the Medieval Period, the body and the soul were believed to be intimately connected, based on several theories put forth by the philosopher Plato. Wounds on the body were believed to correlate with wounds to the soul and vice versa; wounds were seen as an outward sign of an inward illness. Thus, a man who was wounded physically in a serious way was said to be hindered not only physically but spiritually as well. If the soul was wounded, that wound may also eventually become physically manifest, revealing the true state of the soul. Wounds were also seen as writing on the "tablet" of the body. Wounds acquired in war, for example, told the story of a soldier in a form which all could see and understand, and the wounds of a martyr told the story of their faith.’

Wound (2016) in Wikipedia. Available at:
https://en.wikipedia.org/wiki/Wound (Accessed: 3 March 2016).

Technical lesson two:

Model name: Billy Eva Jolly
Skin type: combination
Skin tone: fair skin with pink undertones
Natural eyes/contacts: natural eyes
Allergies: none
Medication: none
Any open wounds/scars, cuts etc.: none

Required products/materials: sculpting wax (cine wax), Kryolan supra colour palette, Kryolan Pro shield barrier foam, wound filler, spatula, cleanser, Tuplast, sealer, fake pus, Kensington Gore a liquid blood, stipple sponge, Kryolan translucent powder, moisturiser, cotton buds and cheap makeup brushes (don’t use your beauty ones as they’ll get ruined).

Blood:

Artificial blood comes in different qualities and colours for different uses. Some are quite easily removed whereas others aren’t. The best ones often tend to look like dry blood once dry, while others look like red paint. Blood comes in different colour intensities therefore it’s important to consider how deep a wound is when making up the model to achieve realistic effects. 

Blood capsules – these are gelatine capsules containing blood. You must place the capsule in your mouth and break it with your teeth to bleed from your mouth.

Blood effect for eyes – this is a product used to make the eyes look bloodshot. In order to achieve this effect you must drip it into the eyes using the eyedropper. It will take about 15 minutes to work. For removal, use normal cleansing eye drops. This product comes in red, black, yellow and blue. It must be used within 25 days.

Thurman-King, L. (2014) Beauty Inspo: Red eyes at undercover fall 2014 -. Available at: http://www.thestylecon.com/2014/04/03/inspo-undercover-fall-2014-makeup/#!prettyPhoto/1/ (Accessed: 3 March 2016).

Blood powder – this is a pale red powder which becomes dark when mixed with water, often rubbed into the skin to create wounds.

Liquid blood – this product usually comes in a tub or tube. Liquid blood can dry up after a certain amount of time, however if a fair amount is used, it will remain wet which is perfect for dramatic scenes. Liquid blood is used to give more of a realistic effect on stage as it looks quite loose and wet. It’s also used in the TV department to replace human blood. Due to its liquid base it creates more of a realistic look.

Gel blood – This is another type of blood which is thick and remains wet when it is dry. It is mainly used to fill in cuts, wounds, rips and other injuries that may occur on the face/body which would require blood. It can be applied on with any type of brush depending on the size of the damage created on the face/body. Due to its glossy texture, it looks very realistic.

What is supra colour?

Supra colour, also known as grease paint is made of oil/crème, pigment, zinc oxide powder. They are very oily in consistency and texture. They are quite similar to aqua colours however much richer. This product is often used to help build character and effect such as bruises/injuries. It is easily applied on with a brush, sponge or the use of fingers and is also durable. Grease paints don’t run with sweat meaning they last long on performers. They blend well before it is set. In order to set it, you must use translucent powder otherwise it can start melting or smudging, especially under hot stage lights. If however you wish for the glossy appearance to remain, you may add a light coat of glycerine on top. Grease paints can also be used to change skin colour with the use of more product. To remove, use oil remover or a cleanser.

Dmedia, 2 (2016) Kryolan Supracolor palette 12 colours 12x3ml. Available at: http://www.screenface.co.uk/face-body-paint/grease-based/kryolan-supracolour-palette-12-colours.htm (Accessed: 3 March 2016).

What is sealer?

This can be a liquid or spray. Sealer is used to seal the makeup and keep it fresh and durable by coating the skin with a weightless and invisible film made from active hydrating ingredients. Beneath makeup, it prevents sweat and internal moisture and over makeup it seals and protects it from humidity, sweat and other environmental elements. A few coats must be applied to prepare a soft surface for brush/sponge application of makeup. This product is very comparable to liquid latex however dries faster. You can also put texture into the sealer by pressing it with a stipple sponge after applying the first coat. This however must be done before the application of primer, moisturiser or foundation. Sealers eliminate shine and prevent makeup from smudging onto clothes or other surfaces which makes them very ideal for heavy production requirements. It also spares the task of renewing powder applications and creates visible depth for close-up shots. This product can be used a non-drying thinner of water-soluble foundations. To remove, use cleanser or water.

Kryolan Sealer - permanent cosmetics (no date) Available at:
http://www.danceshopper.com/permanent-make-up.Kryolan_Sealer (Accessed: 3 March 2016).

What is cine wax?

Wax is used to build up facial areas, block out eyebrows, and smooth the edges on prosthetic pieces. Wax is soft, made from natural waxes such as bees wax. It is flexible and easy to work with as the heat from the hands softens it. It is often used to help build character by transforming the face, creating false bumps, scars etc. Wax is safe to use, durable and easily removed. It can be used to build up any area of the face provided that there is not too much movement of the underlying muscles. Places it has most effect on are the cheekbones, chin and the forehead. This product is widely used due to its moulding ability.

Kryolan Cine-Wax 40 G (no date) Available at: https://www.facepaintshop.eu/en/kryolan-special/2453-kryolan-cine-wax-40-g.html (Accessed: 3 March 2016).

What is wound filler?

This is a thick gel substance used for deep wounds which can be stiff and slow drying. It can be laid on in lumps, smeared or strung out to create quick and easy, yet realistic wounds/scratches. Wound fillers adhere well to the skin and works in particularly well when sealed with a plastic sealer/spray. It is very compatible with liquid blood and has good resistance to water effects. This product is very tacky, yet smooth and easy to use with the help of your fingers, a stipple sponge or a modelling tool. It also dries onto the skin so it doesn’t transfer. It remains flexible, is durable and safe to use on skin. Wound fillers can also be coloured with grease paint or makeup to alter its shade.

Makeup, T.P. (2016) Glynn Mckay wound filler - 60ml. Available at:
https://tiltmakeup.com/products/glynn-mckay-wound-filler (Accessed: 3 March 2016).

What is a stipple sponge?

This is a charcoal coloured web matrix filter sponge used for special effects and face painting. It is a textured sponge with lots of holes that when applied can give you a stubble effect. It can be used to create a variety of textures, bruises, and blood scratches. They also make great looking beard stubble growth. They vary in size. This type of sponge however can be quite rough to use on the face.

Step-by-step guide:

Before starting the practical, I set up my station and got rid of any bags, scarves and coats that were in the way for health and safety reasons. I then placed a towel around my model again for hygienic, health and safety reasons. Next, I ensured the area I was working on was clean (the arm). Billie had no product on her arm therefore I applied a small amount of the Kryolan Pro shield barrier foam (description of this product is written in my previous technical file) on the area I wanted to work on.

To create the wound, I scraped out some wax using a spatula. I rolled this in my hand to give it some body heat as the warmer the wax, the easier it is to work with. I then spread the wax along the area I put barrier cream on in a long line and smoothed the edges out with my spatula. To help me get it extra smooth, I applied some moisturiser to a cotton bud and went over the edges of the wax so that it melts into the skin. (You can also use acetone to smoothen the edges out). Once the wax became invisible, I used the edge of my spatula to cut a line along the centre of the wax. (As I wanted to create more of an open wound, I made sure the line is quite thick). Ensure this line is deep for a more realistic effect.

For this part, Sue told us it is optional to apply a thin layer of liquid latex over the wax with a cotton bud and dry it using a hairdryer until it goes clear. This was to help make the wound appear smoother. The wound I had created already looked smooth enough therefore I skipped this step and went in straight to the colouring. I first coloured the inside of the cut with black (071) supra colour using a thin brush (I had brought cheap paint brushes beforehand as I didn’t want to ruin my beauty ones). It was also optional to use Sue’s bruise wheel from Kryolan which consisted of deep plum colours however I stuck to my supra colours. For the outer corners of the wound I mixed red (079) and the black together to achieve a dark red. Sue said it is optional to mix our supra colours with IPA for a more pigmented look, however I thought the supra colour palette from Kryolan was already pigmented enough. I also applied red just around the cut, using a stipple sponge. I patted this on, as it irritates the skin to swish it around due to its texture. I also used my fingers to apply some of the same red on areas I thought needed colour. Ensure to blend this out for a more realistic effect.

Now this is the fun part. Once you’re done with the colouring, you can go in to apply the fake blood and wound filler. I took some wound filler out from its pot and applied it gently to the centre of the cut (where I applied the black) using the same brush. You don’t want to go too over the top with this as then it’ll just end up looking fake. I also used some of Sue’s Kensington Gore fake liquid blood. I used a stipple sponge to apply this blood around the cut and empty areas of the arm. Using a fan brush, I also flicked some blood onto the cut which Sue had taught us how to in the demo. She also said it’s optional to use a hair pin to apply the blood or wound filler.

‘Kensington Gore (a pun on the London Street) is a trademark for fake blood used in films and in theatre. It was manufactured by a retired British pharmacist, John Tinegate, during the 1960’s in the village of Abbotsbury, Dorset. Many varieties of blood, having various degrees of viscosity, shades and textures are available. Since Tinegate's death, the name "Kensington Gore" has become a generic term for stage blood. Kensington Gore was used in the film The Shining.’

Theatrical blood (2016) in Wikipedia. Available at: https://en.wikipedia.org/wiki/Theatrical_blood#Kensington_Gore (Accessed: 31 March 2016).

To remove the open wound, you can gently peel the wax off the arm. You can use spirit gum remover also to take away all the excess wax. To do this, soak around the edges of the wound with a cotton bud soaked in spirit gum remover and leave it for a minute or two. Work gently around the edges in order to remove the wax off the skin. Clean off any remaining makeup from the skin with a cleanser and wash thoroughly with water. Moisturiser can also be used after removal to prevent the skin from drying.

What is spirit gum remover?

Spirit gum remover is a specifically developed solvent designed to gently remove makeup adhesives such as spirit gum. It is completely safe to use and doesn’t damage the skin.

Reflection:

Overall, I was very proud of my open wound. It was my first time doing a wound like this, as the previous ones I had done weren’t so big. Sue gave me great feedback and said the wax is blended well into the skin. The only thing she said is to apply more colours onto the rest of the arm, so it doesn’t look so stuck on. If I was to do this again, I’d probably blend out the edges using acetone instead of moisturiser. I’d also make sure I stipple red pigment such as blood onto all areas of the arm and not just the wound itself.

Key notes (taken in class):

• In the industry, injuries change over a time e.g. bruising gets lighter. 
• There is also fake glass available to purchase to incorporate into wounds/cuts. 
• You can put fake blood on clothing. 
• When doing work on the arms/hands, don’t forget to apply product on the knuckles.