Andrew Graham-Dixon, an art broadcaster presents ‘The Art of the Gothic.’ There are three episodes in this series. As part of our directed study, we had to watch all three episodes and write a review. I’m personally not a fan of the Gothic genre as a whole, nor horror movies therefore this programme wasn’t particularly fascinating to me however what I did find interesting was all the information Andrew provided us about the 19th century. I do enjoy learning of history.
The first episode looks more at the mid-18th century England, called the ‘Gothic Revival.’ It also goes into depth about monsters, ghouls, ghosts and gothic pornography. I personally don’t believe in ghosts, or monsters or anything along those lines. I believe it’s all a fantasy however I know as a fact many people would disagree with me.
The second episode looks at the ‘Industrial Revolution’, including literature and art. I enjoyed this episode more than the first. It was interesting to learn of Prince Albert and Shelly’s novel, Frankenstein.
The third episode is quite different to all the above as it explores WW1 and the 20th century. After watching this episode, I realised that many aspects of the Gothic genre still live with us today in the 21st century.
Overall this programme was interesting to watch, mainly because it explored the historical background of the genre. There were some bits however where I had no idea what was going on due to the language used. I'm not so confident with my listening skills, as I do prefer to just read, meaning I had to replay some scenes before I moved onto the next in order to fully understand what's being said.
Monday, 29 February 2016
Sunday, 28 February 2016
Late Victorian hair
‘Women’s hair styles tended to reflect the lines of their gowns. As skirts were drawn back in the second half of the era, the hair was also drawn up and back to reveal the ears, for so long covered, but kept flat on top, with curls or a small twist at the back of the head reflecting the back interest on the dress. With the first bustles in the early 1870’s the hair was lifted higher, sloping upward from forehead to occiput, then cascading to the shoulders in lavish twisted plaits (braids) or curls, or both, or occasionally worn in a chignon.
During this period enormous quantities of false hair were used by the very fashionable, obtained, in Catholic countries, from novices entering convents, and everywhere from prisoners or paupers in workhouses. In 1876 The ‘Englishwoman's Domestic Magazine’ announced that the use of false hair was a thing of the past; the slim straight line of the cuirass body was enhanced by hair dressed to give a smaller, neat appearance, close and high on the head. A few curls might be arranged to fall from the back of the head to the shoulders in the evening, and the increasingly fashionable, closely-curled fringe favoured by the Princess of Wales might often be false; a false fringe would avoid cutting the front hair. These fringes were thick enough to support a diamond clip in the shape of a star or crescent for evening. The small neat hairstyle remained in fashion through the late 1870’s and into the 1880’s, when the hair was scraped up into a bun on top of the head. The curled fringe was reduced to small tendrils on the forehead. By the 1890’s it had disappeared altogether, and the hair was again dressed back from the forehead but fuller and softer, possibly over pads to give a more bouffant style, still with the twist or bun on top of the head.
Throughout the half century, bonnets and hats were lavishly trimmed, and hair was invariably decorated with flowers, jewels or feathers for evening. Indoor caps were gradually discontinued, by the 1870’s worn only; perhaps by elderly ladies, servants and country folk wore them well into the 20th century.
During the 1850’s bonnets became shallower and set further back on the head, developing in the early 1860’s into the spoon bonnet, which had a narrow brim close to the ears, rising vertically above the forehead in a spoon-shaped curve and sloping down behind to a very small crown. Bonnet ribbons were wide, and often not tied but held by a brooch or pin under the chin, occasionally with a tiny bunch of artificial flowers. A curious addition to the bonnet between 1848 and 1864, appropriately called an ugly, was an extra brim resembling the front of a calash, made of half hoops of cane covered with silk and worn round the front as a protection against the sun. The most romantic-looking hat of the 1850’s was a leghorn straw with a very wide brim dipping down at the back and slightly at the front and a high or low crown, trimmed with a lace or tulle veil, ribbons or flowers.
With the massive arrangement of hair at the back of the head in the late 1860’s and early 1870’s, bonnets had to be worn further forward, the front curving front just above the hair-line to behind the ears where the ribbons were attached, the back cut away to allow the hair to flow freely. At this time hats were also perched on the forehead; a pillbox shape is sometimes referred to as a casquette, The Lamballe bonnet or plateau was worn in the same way as the pill-box; it closely resembled it but was more oval in shape and tied on by strings under the back hair or chignon or, when curved down slightly at the sides, would have ribbons tied in a large bow under the chin.
Small-brimmed hats, slightly wider in summer, toques and tiny bonnets set on top of the head above the close, high-dressed hair and fringe, helped to increase height in the late 1870's and 1880's; crowns rose, with a flower-pot shape appearing in the late 1880's.
During the 1890’s, bonnets lost favour with the fashionable although still worn by some elderly ladies, even after 1900, and for mourning with a long crape veil. Hats became wider-brimmed, worn high on the head over the fuller hairstyle; even toques were often quite large, draped or ruched in velvet, silk or tulle. Trimmings, ribbons, flowers and feathers still emphasized a vertical line.’
Victorian women’s fashion, 1850-1900: Hairstyles (2001) Available at: http://www.victorianweb.org/art/costume/nunn10.html (Accessed: 28 February 2016).
1. Preheat the roller set before doing this hairstyle.
2. Brush the hair using a paddle brush to get rid of any knots.
3. Create a centre parting using a pin tail comb.
4. You will need to section the hair into three parts. The front section will be just up to the ears. The second section will be placed in the crown area. You’ll need to create a semi-circle in the crown of the head and tie it with a hairband. The third section will be just underneath the second one. Again, you’ll need to create another semi-circle shape (leave some hair out at the nape and sides) and tie it with a hairband.
5. With the front section you created earlier, roller set this using the WHITE rolls. Roll these away from the face. Preferably 4 on the top, and 2 on each side. It should look something like this:
9. Once the rollers are cool, you may take them out. Pin up the two side bits you rolled into the bun. Make sure this is secure.
10. Now this is the tricky part. What you’ll need to do is build on that bun you created in the crown area. As you’ve already curled the hair, it has a natural wave to it. Follow the direction of the curl you created, taking small sections, and grip them into the bun. Ensure to let the ends go free. You don’t want to be too harsh with this hairstyle.
11. With the front section you rolled, you can either pin it backwards into the bun or create an ‘S’ wave (away from the face). I pinned mine backwards into the back of the hair.
12. With the second ponytail you created, again you can pin it into the bun or just leave it out (curled).
Key notes (taken in class):
During this period enormous quantities of false hair were used by the very fashionable, obtained, in Catholic countries, from novices entering convents, and everywhere from prisoners or paupers in workhouses. In 1876 The ‘Englishwoman's Domestic Magazine’ announced that the use of false hair was a thing of the past; the slim straight line of the cuirass body was enhanced by hair dressed to give a smaller, neat appearance, close and high on the head. A few curls might be arranged to fall from the back of the head to the shoulders in the evening, and the increasingly fashionable, closely-curled fringe favoured by the Princess of Wales might often be false; a false fringe would avoid cutting the front hair. These fringes were thick enough to support a diamond clip in the shape of a star or crescent for evening. The small neat hairstyle remained in fashion through the late 1870’s and into the 1880’s, when the hair was scraped up into a bun on top of the head. The curled fringe was reduced to small tendrils on the forehead. By the 1890’s it had disappeared altogether, and the hair was again dressed back from the forehead but fuller and softer, possibly over pads to give a more bouffant style, still with the twist or bun on top of the head.
Throughout the half century, bonnets and hats were lavishly trimmed, and hair was invariably decorated with flowers, jewels or feathers for evening. Indoor caps were gradually discontinued, by the 1870’s worn only; perhaps by elderly ladies, servants and country folk wore them well into the 20th century.
During the 1850’s bonnets became shallower and set further back on the head, developing in the early 1860’s into the spoon bonnet, which had a narrow brim close to the ears, rising vertically above the forehead in a spoon-shaped curve and sloping down behind to a very small crown. Bonnet ribbons were wide, and often not tied but held by a brooch or pin under the chin, occasionally with a tiny bunch of artificial flowers. A curious addition to the bonnet between 1848 and 1864, appropriately called an ugly, was an extra brim resembling the front of a calash, made of half hoops of cane covered with silk and worn round the front as a protection against the sun. The most romantic-looking hat of the 1850’s was a leghorn straw with a very wide brim dipping down at the back and slightly at the front and a high or low crown, trimmed with a lace or tulle veil, ribbons or flowers.
With the massive arrangement of hair at the back of the head in the late 1860’s and early 1870’s, bonnets had to be worn further forward, the front curving front just above the hair-line to behind the ears where the ribbons were attached, the back cut away to allow the hair to flow freely. At this time hats were also perched on the forehead; a pillbox shape is sometimes referred to as a casquette, The Lamballe bonnet or plateau was worn in the same way as the pill-box; it closely resembled it but was more oval in shape and tied on by strings under the back hair or chignon or, when curved down slightly at the sides, would have ribbons tied in a large bow under the chin.
Small-brimmed hats, slightly wider in summer, toques and tiny bonnets set on top of the head above the close, high-dressed hair and fringe, helped to increase height in the late 1870's and 1880's; crowns rose, with a flower-pot shape appearing in the late 1880's.
During the 1890’s, bonnets lost favour with the fashionable although still worn by some elderly ladies, even after 1900, and for mourning with a long crape veil. Hats became wider-brimmed, worn high on the head over the fuller hairstyle; even toques were often quite large, draped or ruched in velvet, silk or tulle. Trimmings, ribbons, flowers and feathers still emphasized a vertical line.’
Victorian women’s fashion, 1850-1900: Hairstyles (2001) Available at: http://www.victorianweb.org/art/costume/nunn10.html (Accessed: 28 February 2016).
 |
| Late Victorian hairstyles |
TrendH (no date) Y~ 1870-1890 hats and hair. Available at:
https://uk.pinterest.com/pin/449656344019452368/ (Accessed: 28 February 2016).
Madame Patti was born in 1843, in Spain. She began singing on stage when she was seven, and was the undisputed diva soprano of the world for fifty years! At the peak of her fame, she would have been going grey, and hennaed to keep her hair fashionably youthful, thick, long, dark and reddish.
Women longed to be like her; wealthy, beautiful with a mane of hennaed hair. During the late Victorian era, women grew their hair very long, and showed it off in luxurious chignons, rolls, tosades and puffs, to a neck-challenging height. Many used henna to keep their hair sleek and thick, and to cover the grey as needed.
In 1900, the beauty editor for "Queen", London's newspaper for ladies, was surprised at the new fashion for white or pale hair, commenting that grey hair hadn't been seen on fashionable women in the previous decades. Women had auburn or bright blonde hair, (henna and cassia obovata with rhubarb root, often marketed as "blonde henna"). The editor also commented that though hairdressers in Paris and New York claimed they could bleach hair white, it was not done in London, and the process could not be done safely.’
Cartwright-Jones, C. (no date) Henna for hair. Available at: http://www.hennaforhair.com/history/patti.html (Accessed: 28 February 2016).
https://uk.pinterest.com/pin/449656344019452368/ (Accessed: 28 February 2016).
‘Madame Patti, a famous Victorian opera soprano, beauty, socialite and international star, hennaed her dark hair through the late 1800's. She was credited with launching henna into the European fashion mainstream, as fashionable women admired her thick auburn hair, and emulated her. In 1900, she was the second most well-known woman in England, after Queen Victoria, and was the superstar diva of her day.
Madame Patti was born in 1843, in Spain. She began singing on stage when she was seven, and was the undisputed diva soprano of the world for fifty years! At the peak of her fame, she would have been going grey, and hennaed to keep her hair fashionably youthful, thick, long, dark and reddish.
Women longed to be like her; wealthy, beautiful with a mane of hennaed hair. During the late Victorian era, women grew their hair very long, and showed it off in luxurious chignons, rolls, tosades and puffs, to a neck-challenging height. Many used henna to keep their hair sleek and thick, and to cover the grey as needed.
In 1900, the beauty editor for "Queen", London's newspaper for ladies, was surprised at the new fashion for white or pale hair, commenting that grey hair hadn't been seen on fashionable women in the previous decades. Women had auburn or bright blonde hair, (henna and cassia obovata with rhubarb root, often marketed as "blonde henna"). The editor also commented that though hairdressers in Paris and New York claimed they could bleach hair white, it was not done in London, and the process could not be done safely.’
 |
| Madame Patti |
(no date) Available at:
https://upload.wikimedia.org/wikipedia/commons/e/e4/Adelina_Patti...jpg (Accessed: 28 February 2016).
The Gibson girl:
‘The Gibson Girl is widely considered to be the first ‘pin-up girl’. Created by illustrator Charles Dana Gibson in the 1890’s, the images encompassed the ideal feminine beauty of the Victorian times. Gibson based his Gibson Girls on a collective observation of thousands of American ladies. The corseted slim-waisted figures sported soft hair, which was piled upon the head in a soft bouffant/chignon style that exuded effortless beauty.’
journalist, artist, professional make-up, fan-girl, B. and bookworm, resolute (2013) Make up: A history - the Victorian era, Gibson girl style. Available at:
http://hellogiggles.com/make-up-a-history-the-victorian-era-gibson-girl-style/ (Accessed: 28 February 2016).
https://upload.wikimedia.org/wikipedia/commons/e/e4/Adelina_Patti...jpg (Accessed: 28 February 2016).
The Gibson girl:
‘The Gibson Girl is widely considered to be the first ‘pin-up girl’. Created by illustrator Charles Dana Gibson in the 1890’s, the images encompassed the ideal feminine beauty of the Victorian times. Gibson based his Gibson Girls on a collective observation of thousands of American ladies. The corseted slim-waisted figures sported soft hair, which was piled upon the head in a soft bouffant/chignon style that exuded effortless beauty.’
journalist, artist, professional make-up, fan-girl, B. and bookworm, resolute (2013) Make up: A history - the Victorian era, Gibson girl style. Available at:
http://hellogiggles.com/make-up-a-history-the-victorian-era-gibson-girl-style/ (Accessed: 28 February 2016).
 |
| Charles Dana Gibson |
Borri, L. (2015) ‘The Gibson girl’. I disegni di Charles Dana Gibson. Available at: http://www.edizioniriflessi.it/gibson-girl-disegni-di-charles-dana-gibson/ (Accessed: 28 February 2016).
In our second practical lesson with Helen, we did a late Victorian hairstyle. Below is a step by step guide on how to achieve this look:
Required equipment: Katy head, pin tail comb, roller set, grips, a tong, pins, paddle brush, hairband and sectioning clips.
In our second practical lesson with Helen, we did a late Victorian hairstyle. Below is a step by step guide on how to achieve this look:
Required equipment: Katy head, pin tail comb, roller set, grips, a tong, pins, paddle brush, hairband and sectioning clips.
1. Preheat the roller set before doing this hairstyle.
2. Brush the hair using a paddle brush to get rid of any knots.
3. Create a centre parting using a pin tail comb.
4. You will need to section the hair into three parts. The front section will be just up to the ears. The second section will be placed in the crown area. You’ll need to create a semi-circle in the crown of the head and tie it with a hairband. The third section will be just underneath the second one. Again, you’ll need to create another semi-circle shape (leave some hair out at the nape and sides) and tie it with a hairband.
5. With the front section you created earlier, roller set this using the WHITE rolls. Roll these away from the face. Preferably 4 on the top, and 2 on each side. It should look something like this:
6. Now with the second section you created (the mini crown ponytail), create a normal bun and secure it into place using grips.
7. Using a hot tong, curl the hair you left out at the nape and sides away from the face. Hold the tong downwards.
8. Curl the third section you created (the second ponytail under the bun), again similarly to how you did the above step.
7. Using a hot tong, curl the hair you left out at the nape and sides away from the face. Hold the tong downwards.
8. Curl the third section you created (the second ponytail under the bun), again similarly to how you did the above step.
9. Once the rollers are cool, you may take them out. Pin up the two side bits you rolled into the bun. Make sure this is secure.
10. Now this is the tricky part. What you’ll need to do is build on that bun you created in the crown area. As you’ve already curled the hair, it has a natural wave to it. Follow the direction of the curl you created, taking small sections, and grip them into the bun. Ensure to let the ends go free. You don’t want to be too harsh with this hairstyle.
11. With the front section you rolled, you can either pin it backwards into the bun or create an ‘S’ wave (away from the face). I pinned mine backwards into the back of the hair.
12. With the second ponytail you created, again you can pin it into the bun or just leave it out (curled).
Reflection:
Personally for me this hairstyle was very difficult to complete. It was very confusing and had many steps to follow. I filmed Helen whilst she was doing a demo as I knew by the time she'd finish I'd forget all of it. I was able to start off well, however when it got to the stage where I had to incorporate all the sections I rolled/curled into the bun, I struggled. Helen told me that I was being too harsh and I should just let the hair flow itself. She also said the bun I created is too stiff and should've been a looser one. I now know next time I produce a hairstyle similar to this, to be a lot gentler with the hair.
- Diamond pins were worn in the hair during the evenings.
- Curls moved away from the face during the late Victorian era.
- During the American civil war, hairstyles became a lot more practical.
- Rick ragging technique was introduced; women often slept in this.
- There was a lot of height in the hair.
- Marcel (François) – marcel waving happened.
- There was a development in technology.
- Wealthy Victorians often had a collection of ready-made headpieces (handmade).
- Alice Lidl (Alice in wonderland).
- Women weren’t taken seriously when writing novels therefore wrote under a man’s name.
- English and French fought against Russians.
- It was very cold therefore men were allowed to grow hair to keep them warm.
- Charles Dickens had many quotes about facial hair.
- First ever sideburns were tribute to a man.
Saturday, 27 February 2016
Early Victorian hair
‘The typical early Victorian era hairstyle was parted down the middle and tied back, often with ringlets or braids at the sides. A woman’s hair was her “crowning glory” and cherished by poor and wealthy alike; only illness would usually force a haircut, but a tiny fraction would be trimmed or singed off monthly to encourage growth.
Washing hair was infrequent, due to the harshness of the soaps, so constant brushing cleaned the long tresses and distributed naturally occurring oil, along with the application of other oils/perfumes. Women also put puffs under their hair at the sides to give it more volume. This was to create an illusion that their waists were roughly the same size as their heads. Artists made a point of painting their subjects with these proportions. Women also had hair pieces crafted to be fastened to their heads. In the 1870’s curled hair became very popular, because the curling iron was introduced (first patented in 1866) and more elaborate hair styles were expected. Previous to this curling papers or rags would be worn at night (by men too) achieving limited success. Women with straight hair who desired waves or curls could achieve excellent results with this new curling iron invention, but the heat was damaging to their tresses and sometimes burned their hair, so the reasonable alternative consisted of a hairpiece with curls and plaiting, creating the illusion of spending hours on their coiffures. This fad boomed from the late 1860’s to about 1875.
Throughout the 1800’s women bleached their hair with various mixtures. The main ingredients diluted barium, potassium hypochlorite, and lemon juice. Blonde hair was very popular, because it gave young ladies an angelic aura, going nicely with the high moral standards. Brunettes who tried bleaching sometimes ended up with startling shades of red and dry brittle hair. Dying was achieved to limited degrees using organic compounds like henna, but in 1856 the first synthetic dyes were produced from coal tar. This led to cheaper, stable, enduring, and far more varied colours for fabrics, and long lasting black and brownish options for hair through the 1860’s and on. Silver nitrate was utilized to darken hair, and excessive use created a purple shade. It was generally ladies who wanted to hide grey hair who tried the dyes that were available. Bleaching continued with stronger and stronger chemical concoctions. Most of the solutions used for either dying or bleaching were harmful to the scalp, and ingredients included; lead, magnesium, sulphur, iron, glycerine and oxalic acid.
Note: the word shampoo was used throughout the 1800’s. It came from India, as a word for massage. It originally meant to wash and massage the body. By the late 1840’s it can be found included as a sort of scalp treatment, with a vigorous washing and exfoliating. Scurf was a common word for dead skin and dandruff, which would be washed or combed out using oils. By the late 1860’s, shampoo could mean to thoroughly wash with soap and water, and included the hair and scalp, with oils or grease worked in as well, and people would shampoo their teeth with charcoal tooth powder. ‘Hair wash’ was the term used for what we would consider shampoo today, marketed from the late 1830’s onward, to clean hair and remove dandruff.’
Fleming, R.S. (2013) Kate Tattersall adventures. Available at:
http://www.katetattersall.com/victorian-feminine-ideal-the-perfect-silhouette-hygiene-grooming-body-sculpting/ (Accessed: 30 March 2016).
America, F.A. (2012) Victorian Hairstyles. Available at:
https://uk.pinterest.com/pin/400538960580782401/ (Accessed: 30 March 2016).
In our first practical lesson with Helen, we did an early Victorian hairstyle. Below is a step by step guide on how to achieve this look:
Required equipment: Katy head, pin tail comb, grips, pins, paddle brush, hairband and sectioning clips.
3. The remaining hair from the crown downwards can be put into a plait or wrap bun. I chose to do a plait bun. In order to do this, I firstly tied this section of the hair with a hairband and plaited it (a basic plait). I then twisted the plait around in a circular shape. Finally using bobby pins, I tucked in the end of the hair to hold it in place.
4. Moving onto the front section of the hair, I created a centre parting using a pin tail comb. I then plaited both sides of the hair (left and right) from about mid-section (right next to the ears) and incorporated this into to the plait bun I made earlier.
5. This sort of creates two loops on both sides of the head. Alternatively, you can put curls in (sausage shaped ones). The curls must be coming towards the face (about 2 or 3 rolls). Ensure to keep the tong straight. You can also decide to just leave the hair as it is and incorporate it into the bun to create that loop shape.
Washing hair was infrequent, due to the harshness of the soaps, so constant brushing cleaned the long tresses and distributed naturally occurring oil, along with the application of other oils/perfumes. Women also put puffs under their hair at the sides to give it more volume. This was to create an illusion that their waists were roughly the same size as their heads. Artists made a point of painting their subjects with these proportions. Women also had hair pieces crafted to be fastened to their heads. In the 1870’s curled hair became very popular, because the curling iron was introduced (first patented in 1866) and more elaborate hair styles were expected. Previous to this curling papers or rags would be worn at night (by men too) achieving limited success. Women with straight hair who desired waves or curls could achieve excellent results with this new curling iron invention, but the heat was damaging to their tresses and sometimes burned their hair, so the reasonable alternative consisted of a hairpiece with curls and plaiting, creating the illusion of spending hours on their coiffures. This fad boomed from the late 1860’s to about 1875.
Throughout the 1800’s women bleached their hair with various mixtures. The main ingredients diluted barium, potassium hypochlorite, and lemon juice. Blonde hair was very popular, because it gave young ladies an angelic aura, going nicely with the high moral standards. Brunettes who tried bleaching sometimes ended up with startling shades of red and dry brittle hair. Dying was achieved to limited degrees using organic compounds like henna, but in 1856 the first synthetic dyes were produced from coal tar. This led to cheaper, stable, enduring, and far more varied colours for fabrics, and long lasting black and brownish options for hair through the 1860’s and on. Silver nitrate was utilized to darken hair, and excessive use created a purple shade. It was generally ladies who wanted to hide grey hair who tried the dyes that were available. Bleaching continued with stronger and stronger chemical concoctions. Most of the solutions used for either dying or bleaching were harmful to the scalp, and ingredients included; lead, magnesium, sulphur, iron, glycerine and oxalic acid.
Fleming, R.S. (2013) Kate Tattersall adventures. Available at:
http://www.katetattersall.com/victorian-feminine-ideal-the-perfect-silhouette-hygiene-grooming-body-sculpting/ (Accessed: 30 March 2016).
 |
| Example of an early Victorian hairstyle |
America, F.A. (2012) Victorian Hairstyles. Available at:
https://uk.pinterest.com/pin/400538960580782401/ (Accessed: 30 March 2016).
In our first practical lesson with Helen, we did an early Victorian hairstyle. Below is a step by step guide on how to achieve this look:
Required equipment: Katy head, pin tail comb, grips, pins, paddle brush, hairband and sectioning clips.
Step-by-Step guide:
1. Brush the hair using a paddle brush to get rid of any knots.
2. You must section the hair into two parts. The first section will be at the front, till about behind the ears. Secure this with a sectioning clip.
2. You must section the hair into two parts. The first section will be at the front, till about behind the ears. Secure this with a sectioning clip.
3. The remaining hair from the crown downwards can be put into a plait or wrap bun. I chose to do a plait bun. In order to do this, I firstly tied this section of the hair with a hairband and plaited it (a basic plait). I then twisted the plait around in a circular shape. Finally using bobby pins, I tucked in the end of the hair to hold it in place.
4. Moving onto the front section of the hair, I created a centre parting using a pin tail comb. I then plaited both sides of the hair (left and right) from about mid-section (right next to the ears) and incorporated this into to the plait bun I made earlier.
5. This sort of creates two loops on both sides of the head. Alternatively, you can put curls in (sausage shaped ones). The curls must be coming towards the face (about 2 or 3 rolls). Ensure to keep the tong straight. You can also decide to just leave the hair as it is and incorporate it into the bun to create that loop shape.
Refection:
Overall I enjoyed doing this hairstyle as you can kind of do your own thing with it. It’s very simple, quick and looks great. My chosen book is set in the 1840’s and my character is also female. For my timed assessment I think I will be doing a similar hairstyle to this, maybe with sausage rolls. If I was to redo this hairstyle, I’d probably wash the hair beforehand and roller set the hair just to give it a natural wave and soft texture. I felt like my Katy head had too much product in her hair, therefore my overall design didn’t come out exactly how I wished it to.
Key notes (taken in class):
Overall I enjoyed doing this hairstyle as you can kind of do your own thing with it. It’s very simple, quick and looks great. My chosen book is set in the 1840’s and my character is also female. For my timed assessment I think I will be doing a similar hairstyle to this, maybe with sausage rolls. If I was to redo this hairstyle, I’d probably wash the hair beforehand and roller set the hair just to give it a natural wave and soft texture. I felt like my Katy head had too much product in her hair, therefore my overall design didn’t come out exactly how I wished it to.
Key notes (taken in class):
- Coconut oil was highly used during this era.
- This was a moralistic and religious era.
- Centre parting was hard, usually smooth till mid head.
- Magazine plates are great to look at for inspiration.
- Sewing machines were invented in the second half of the era.
- Having baths and washing the hair became more accessible.
- Men also had curly hair.
- Moustaches were very popular for men.
Friday, 26 February 2016
Victorian hairstyling
‘In the Victorian era, a woman’s hair was often thought to be one of her most valuable assets and held huge significance, with strict social codes of conduct regarding how they wore/covered it. The face and hair were the only areas of a woman's body that were always visible at a time when women's bodies were mostly covered. Writers and artists of the time focused on hair, with elaborate description in novels.
It was believed that a woman's personality could be inferred from her hair. Curly-haired women were considered to be sweeter-natured than women with straight hair. Long, thick, loose hair was associated with a woman's sexuality – the longer and thicker the hair, the more passionate the woman's nature.
Perhaps it was for this reason that women began to be photographed from the side or rear with their long hair flowing freely down their backs. It also demonstrated that they did not have to resort to artificial pads or hairpieces to achieve their hairstyles.’
‘Styles varied quite a bit throughout the nearly 7 decades of Queen Victoria’s reign, with everything from simple middle parts to elaborate pieces made from human hair being in fashion. Accessories such as combs, pearls, hats and bonnets each had their time in the spotlight throughout the 1800's. Victorians weren’t as serious as people think they were, but they sure took their hair seriously.
Hair was long in the Victorian age. Haircuts weren’t exactly a thing yet for women. They did occasionally trim split ends, or even singe them, but long hair was viewed as being ultra-feminine and desirable. Loose hair wasn’t something that “respectable” women would wear in public and was mostly a style used for the sake of art. Girls often wore their hair down, but were expected to begin wearing it up around the age of 15 or 16. More often than not the women with long, cascading hair were models and actresses intended to depict intimacy and romanticism.
When it comes to long hair, nobody could top the “Seven Sutherland Sisters”. They became a national sensation in the 1880’s because of their hair (37 feet in total), and made a living doing musical performances with their hair down. They capitalized on it even further by producing a line of hair care products, and became quite rich.
Long hair styled in an updo was the way most women, especially upper class women, wore their hair during this era. Neatness and cleanliness were important. Hairstyles also often reflected dress styles, with the entire silhouette of a woman being taken into account. To create more elaborate looks, women would use false pieces, usually made from human hair. These pieces were much easier to style and also added volume.
1830’s – women usually rocked a clean middle part with their hair tied back in a neat bun, braids, or twist. Occasionally they curled the sides, but bangs weren’t in fashion.
1840’s – women began sporting “barley curls”, long ringlets that were worn mainly by children before they came into style for adults. Chignons moved to the back of the head.
1850’s – hoop skirts took over this decade and hair expanded to match. While still parting it in the middle, many women began padding the sides, creating large wings or rolls.
1860’s – chignons began to move towards the back of the head, mimicking changes in dress style. Huge hoops reached max fullness and women began wearing dresses that were full in the back, giving the silhouette more of an S-shape.
1870’s – bustles burst onto the scene and hair moved even higher.
1880’s – hair got a little weird. Pompadours appeared, sometimes accompanied by bangs. Just like the 80's of the 20th century, frizzy bangs were hot. Middle parts fell out of fashion.
1890’s – introduced a hairstyle that later became an Edwardian icon: the Gibson Girl look. This consisted of a natural, simple bun without much detail. Young women swept their hair into a loose bun at the back of their head. The bun mimicked the more elaborate pompadour style of the 1880’s since it swept hair away from the forehead, but it lacked the height of the pompadour.
Victorian women often had rats in their hair to increase volume. They were usually made from the loose hair collected from a woman’s comb, which would be stuffed into a hair receiver – a small box or dish kept on the vanity table. Rats were used as padding to fluff out the sides or top of the hair, often in order to create a more balanced silhouette in which the head appeared to be approximately the same size as the waist.’
Text and image reference: Harris, K. (2015) Victorian Hairstyles: A short history, in photos. Available at: http://www.whizzpast.com/victorian-hairstyles-a-short-history-in-photos/ (Accessed: 26 February 2016).
Hair decorations:
‘While bonnets and hairnets remained popular hair ornaments and coverings, the practice of decorating a hairstyle with flowers rapidly grew after Elisabeth of Bavaria, empress of Austria during the mid- to late-19th century, first started the practice. Some young women opted to weave flowers directly into braids and curls, while other women wore headdresses with flowers attached. For example, headdress might consist of petunias woven together in a chain, roses tied into a wreath or pansies attached to a comb amongst gold leaves.’
Written and lowe, caitlynn (1999) Simple victorian hairstyles | eHow UK. Available at: http://www.ehow.co.uk/info_8144594_simple-victorian-hairstyles.html (Accessed: 26 February 2016).
(no date) Available at:
http://www.fashion-era.com/images/HairHats/original_hathair_images/3hats1840-58.jpg (Accessed: 26 February 2016).
Men’s hairstyling:
‘This period was an age of energy, with a huge industrial and economic expansion, in which Britain held the position of world leadership, with the biggest colonial Empire. The Victorian moral was of straight and solid principles. Hairstyles were successively changing during different moments of this period. Men, since 1840 until approximately 1865, wore their hair more or less long, and became in fashion big moustaches, sideburns, and beards. Also was "à la mode" the puritan hairstyle of the 19th century, with no moustaches, and sideburns attached to a short beard, like Abraham Lincoln.
After 1860, and until the end of the century, hair was used shorter, but beards and moustaches were constantly used. Gentlemen used different kinds of waxes and oils to keep their hair in shape, including wood frames used at the night time to preserve the form of their moustaches. At the end of the century many decided to use a clean shaven face and short hair. Amongst all the products used to conditioning or fix the hair, the most popular was the Macassar oil. Made with a mix of coconut oil, palm oil and oil from flowers called "ylang-ylang", advertisements promised "to strength and stimulate hair growth". Because of the popularity of this unguent, housewives began to cover the arms and backs of their chairs with an "anti-Macassar" protection, which was a cloth designed to prevent soiling in the fabric.’
The hair at the nineteenth century (no date) Available at: http://thehistoryofthehairsworld.com/hair_19th_century.html (Accessed: 26 February 2016).
It was believed that a woman's personality could be inferred from her hair. Curly-haired women were considered to be sweeter-natured than women with straight hair. Long, thick, loose hair was associated with a woman's sexuality – the longer and thicker the hair, the more passionate the woman's nature.
Perhaps it was for this reason that women began to be photographed from the side or rear with their long hair flowing freely down their backs. It also demonstrated that they did not have to resort to artificial pads or hairpieces to achieve their hairstyles.’
Arbuckle, A. (1900) The Victorian women who never cut their hair. Available at: http://mashable.com/2015/08/25/victorian-long-hair/#hcZB2MKXakqx (Accessed: 26 February 2016).
‘Styles varied quite a bit throughout the nearly 7 decades of Queen Victoria’s reign, with everything from simple middle parts to elaborate pieces made from human hair being in fashion. Accessories such as combs, pearls, hats and bonnets each had their time in the spotlight throughout the 1800's. Victorians weren’t as serious as people think they were, but they sure took their hair seriously.
Hair was long in the Victorian age. Haircuts weren’t exactly a thing yet for women. They did occasionally trim split ends, or even singe them, but long hair was viewed as being ultra-feminine and desirable. Loose hair wasn’t something that “respectable” women would wear in public and was mostly a style used for the sake of art. Girls often wore their hair down, but were expected to begin wearing it up around the age of 15 or 16. More often than not the women with long, cascading hair were models and actresses intended to depict intimacy and romanticism.
When it comes to long hair, nobody could top the “Seven Sutherland Sisters”. They became a national sensation in the 1880’s because of their hair (37 feet in total), and made a living doing musical performances with their hair down. They capitalized on it even further by producing a line of hair care products, and became quite rich.
Long hair styled in an updo was the way most women, especially upper class women, wore their hair during this era. Neatness and cleanliness were important. Hairstyles also often reflected dress styles, with the entire silhouette of a woman being taken into account. To create more elaborate looks, women would use false pieces, usually made from human hair. These pieces were much easier to style and also added volume.
 |
| Long Victorian hair |
1830’s – women usually rocked a clean middle part with their hair tied back in a neat bun, braids, or twist. Occasionally they curled the sides, but bangs weren’t in fashion.
1840’s – women began sporting “barley curls”, long ringlets that were worn mainly by children before they came into style for adults. Chignons moved to the back of the head.
1850’s – hoop skirts took over this decade and hair expanded to match. While still parting it in the middle, many women began padding the sides, creating large wings or rolls.
1860’s – chignons began to move towards the back of the head, mimicking changes in dress style. Huge hoops reached max fullness and women began wearing dresses that were full in the back, giving the silhouette more of an S-shape.
1870’s – bustles burst onto the scene and hair moved even higher.
1880’s – hair got a little weird. Pompadours appeared, sometimes accompanied by bangs. Just like the 80's of the 20th century, frizzy bangs were hot. Middle parts fell out of fashion.
1890’s – introduced a hairstyle that later became an Edwardian icon: the Gibson Girl look. This consisted of a natural, simple bun without much detail. Young women swept their hair into a loose bun at the back of their head. The bun mimicked the more elaborate pompadour style of the 1880’s since it swept hair away from the forehead, but it lacked the height of the pompadour.
Victorian women often had rats in their hair to increase volume. They were usually made from the loose hair collected from a woman’s comb, which would be stuffed into a hair receiver – a small box or dish kept on the vanity table. Rats were used as padding to fluff out the sides or top of the hair, often in order to create a more balanced silhouette in which the head appeared to be approximately the same size as the waist.’
Hair decorations:
‘While bonnets and hairnets remained popular hair ornaments and coverings, the practice of decorating a hairstyle with flowers rapidly grew after Elisabeth of Bavaria, empress of Austria during the mid- to late-19th century, first started the practice. Some young women opted to weave flowers directly into braids and curls, while other women wore headdresses with flowers attached. For example, headdress might consist of petunias woven together in a chain, roses tied into a wreath or pansies attached to a comb amongst gold leaves.’
 |
| Victorian hats and bonnets |
http://www.fashion-era.com/images/HairHats/original_hathair_images/3hats1840-58.jpg (Accessed: 26 February 2016).
Men’s hairstyling:
‘This period was an age of energy, with a huge industrial and economic expansion, in which Britain held the position of world leadership, with the biggest colonial Empire. The Victorian moral was of straight and solid principles. Hairstyles were successively changing during different moments of this period. Men, since 1840 until approximately 1865, wore their hair more or less long, and became in fashion big moustaches, sideburns, and beards. Also was "à la mode" the puritan hairstyle of the 19th century, with no moustaches, and sideburns attached to a short beard, like Abraham Lincoln.
After 1860, and until the end of the century, hair was used shorter, but beards and moustaches were constantly used. Gentlemen used different kinds of waxes and oils to keep their hair in shape, including wood frames used at the night time to preserve the form of their moustaches. At the end of the century many decided to use a clean shaven face and short hair. Amongst all the products used to conditioning or fix the hair, the most popular was the Macassar oil. Made with a mix of coconut oil, palm oil and oil from flowers called "ylang-ylang", advertisements promised "to strength and stimulate hair growth". Because of the popularity of this unguent, housewives began to cover the arms and backs of their chairs with an "anti-Macassar" protection, which was a cloth designed to prevent soiling in the fabric.’
The hair at the nineteenth century (no date) Available at: http://thehistoryofthehairsworld.com/hair_19th_century.html (Accessed: 26 February 2016).
 |
| Victorian men's hairstyles and facial hair |
Fashionisto, T. (no date) In the next room. Available at:
https://uk.pinterest.com/pin/335307134728527091/ (Accessed: 26 February 2016).
https://uk.pinterest.com/pin/335307134728527091/ (Accessed: 26 February 2016).
Tuesday, 23 February 2016
Gothic makeup
‘Gothic makeup and the overall gothic look is not just reserved for Halloween. Initially, Gothic makeup and culture can appear heavy and striking, but the subculture of people who choose to appear gothic is a tight-knit and strong community that is apparent in all different types of cultures and ethnicities. Characters such as Sweeny Todd and Dracula are good examples of some popular gothic characters.
A Gothic makeup look will require a lot of light face makeup. There are different types of Gothic styles which can all express your creativity or channel an era/style that you would like to represent. They include the following:
Base can get interesting when it comes to Gothic looks. The following are a few options:
Eye makeup can do wonders for a Gothic makeup look, and it is an essential feature to incorporate into a look that you want to achieve. The following are a few options:
You may be contemplating using your eyeliner as a paintbrush of sorts and using your eye area as the canvas. All kinds of designs - spider webs and batwings. However, gothic looks aren't costumes for those who favor that style, so it's imperative to exercise caution if you're trying to stand out in a crowd. Chances are that a poorly or lazily depicted drawing near the eyes will not make your eyes stand out the way you imagined. Instead, utilize other types of embellishments, such as finely milled glitter over the lids, bright eye shadows to accent the overall look (acid yellow and vibrant fuchsia are common choices) and false eyelashes spiked with silver or gold tips.
For brows, high arches are the key to achieving something that really turns heads. Once you've plucked those brows into shape, you'll want to fill them in with a dark brown or midnight black brow pencil. Don't be shy or light-handed about it; the key is to create intriguing, shaped brows.
For lips, blood red and black are the most common colour for Goths. Green, blue and purple are also common, depending on the outfit. A suggestion is to emphasise only one feature, so if you’re wearing lots of dark eye shadow, downplay the lipstick or vice versa.'
Gothic makeup - how to wear gothic makeup (2004) Available at:
http://www.hotgothicstuff.com/gothic-makeup.shtml (Accessed: 23 February 2016).
Ng, F. (2014) Gothic makeup: Tips for channeling your dark side. Available at:
https://blog.udemy.com/gothic-makeup/ (Accessed: 23 February 2016).
Schwanke, C. (2006) Dramatic gothic eye tips. Available at: http://makeup.lovetoknow.com/Gothic_Eye_Makeup_Tips (Accessed: 23 February 2016).
Michalak, J. (2006) Gothic makeup ideas. Available at:
http://makeup.lovetoknow.com/Gothic_Makeup_Ideas (Accessed: 23 February 2016).
Oakley, N. (2014) Want to create a gothic glam look this Halloween? Find out how. Available at: http://www.mirror.co.uk/3am/style/3am-fashion-celebrity-beauty/make-up-experts-halloween-tips-gothic-4535044 (Accessed: 23 February 2016).
A Gothic makeup look will require a lot of light face makeup. There are different types of Gothic styles which can all express your creativity or channel an era/style that you would like to represent. They include the following:
- Vampire Goth: this look is reserved for more supernatural and hard-core individuals who don’t mind extremely dark or white shades.
- Romantic Goth: this will incorporate more soft and red tones into their look.
- Edgy: this will have a more metal feel to it, which is more inspired by the heavy metal musical era.
- Natural: natural powder works well with Romantic Goth looks because it will give your face a more sensual and real feel to it.
- White: a white face for Gothic makeup is a whole look in itself. A white face will channel a ghastly and eerie image. This works well with Goths working a vampire or supernatural look. Like dusting is the way to go, because you do not want your look to appear as if you have just caked on a bunch of white makeup – this can leave you looking like a clown.
- Plain: adding no base at all to your face can be a good way to go as well. Just because you do not have an eccentric face colour does not take away from the Gothic feel.
Eye makeup can do wonders for a Gothic makeup look, and it is an essential feature to incorporate into a look that you want to achieve. The following are a few options:
- Unique eyeliner: if regular black eye liner isn’t enough for you, you can always create actual circles around your eyes with liquid eyeliner. You can also mix different eyeliner colours together and draw shapes or wing out your eyeliner for various looks.
- Unique eye shadow: the beauty of eye makeup is that you can experiment with as many techniques and colours as you like to achieve your ideal look. Mix and match dark hues with glittery shades for a haunting appeal.
- Black liquid liner: this is a nice and neat way to make your eyes stand out without looking too overdone. Pair this with dark red lipstick for a powerful look.
For brows, high arches are the key to achieving something that really turns heads. Once you've plucked those brows into shape, you'll want to fill them in with a dark brown or midnight black brow pencil. Don't be shy or light-handed about it; the key is to create intriguing, shaped brows.
For lips, blood red and black are the most common colour for Goths. Green, blue and purple are also common, depending on the outfit. A suggestion is to emphasise only one feature, so if you’re wearing lots of dark eye shadow, downplay the lipstick or vice versa.'
http://www.hotgothicstuff.com/gothic-makeup.shtml (Accessed: 23 February 2016).
Ng, F. (2014) Gothic makeup: Tips for channeling your dark side. Available at:
https://blog.udemy.com/gothic-makeup/ (Accessed: 23 February 2016).
Schwanke, C. (2006) Dramatic gothic eye tips. Available at: http://makeup.lovetoknow.com/Gothic_Eye_Makeup_Tips (Accessed: 23 February 2016).
'When it comes to nails, bloodbath colours look delicious on vamp girls. Keep your nails short and squared and paint them with dark colours. Over a dozen years ago Chanel changed the nail scene forever. After the introduction of Vamp, a blackish brown red, over one thousand women went in waiting just to get that colour on their tips. Avoid pink nails and French manicures. Don't mix pretty nails with Gothic.'
http://makeup.lovetoknow.com/Gothic_Makeup_Ideas (Accessed: 23 February 2016).
 |
| An example of Gothic makeup |
Oakley, N. (2014) Want to create a gothic glam look this Halloween? Find out how. Available at: http://www.mirror.co.uk/3am/style/3am-fashion-celebrity-beauty/make-up-experts-halloween-tips-gothic-4535044 (Accessed: 23 February 2016).
Sunday, 21 February 2016
Technical - Ageing
When were young we don’t have wrinkles as the skin does a good job of stretching and holding in moisture. The dermis has an elastic quality thanks to fibres called elastin that keep the skin feeling young. A protein in the dermis called collagen also plays a part in preventing wrinkles. As we age, the dermis loses both collagen and elastin, so skin gets thinner and has trouble getting enough moisture to the epidermis. This results to the epidermis sagging, therefore forming wrinkles.
Even though wrinkles can give people an aspect of wisdom, most people do not welcome them. Billions of dollars are spent globally on treatments to get rid of them. Some make great claims but have no effect, while others either have moderate, significant or very considerable success. Most basic wrinkle treatments, if they have any effect, tend to help reduce the fine lines. For deeper creases more aggressive techniques are required, such as plastic surgery or injections (fillers).
Most wrinkles tend to appear in the parts of the body which receive the most sun exposure, including the back of the hands, the face, neck and tops of forearms. There are two main types of wrinkles, including surface lines and deep furrows.’
What are wrinkles? (2013) Available at:
http://kidshealth.org/en/kids/wrinkles.html (Accessed: 21 February 2016).
What are wrinkles? What causes wrinkles? (2009) Available at: http://www.medicalnewstoday.com/articles/174852.php (Accessed: 21 February 2016).
Famuboni, D., Wilkinson-Priest, G., Buisson, K. Du and Magee, A. (2015) Anti-Ageing archives. Available at: http://www.healthista.com/category/looks/anti-ageing-looks/ (Accessed: 21 February 2016).
Technical lesson one:
Skin type: combination
Skin tone: medium skin with yellow undertones
Natural eyes/contacts: natural eyes
Allergies: none
Medication: none
Any open wounds/scars, cuts etc.: none
What is liquid latex?
This is liquid rubber used to create wrinkles, ageing effects, burns, masks, casts, wounds and artificial skin. It can also be used to apply crepe hair, theatrical prosthetics and glue appliances made of wax, silicone or foam to the body. Latex must be stored in an airtight container as it dries when in contact with air. When dry, it forms a supple, transparent film. Latex should not be used on areas with cuts and grazes as the latex milk is ammonia-based and gives of strong vapours which can cause irritation and itchiness. If this happens, the product must be immediately removed. It also shouldn’t be applied anywhere near the eyes.
Wet latex can be removed with a cloth/tissue and dried latex can be rubbed off using the fingers. Always use disposable soapy wet brushes to apply latex as it makes the hairs stick together on normal ones. The soap however prevents them from drying. Latex also doesn’t wash off clothes and tends the block the drains when poured into the sink.
We have latex foam which is a multi-component latex compound. It expands into foam when combined, often used for moulding. It also hardens when backed in an oven. The moulds must always be treated with a separator before use. Foam latex is durable, doesn’t dissolve or melt and absorbs sweat. It is very soft, flexible and comfortable to wear as it will move with the wearer’s expressions, meaning the wearer can eat, drink and wear makeup for long periods. Making prosthetic appliances with this material can be very difficult as it requires professionalism, and special tools/equipment in order for it to be done precisely. Foam latex is normally made to be worn once however if you treat it with care, you can reuse, re-glue and re-colour it.
There’s also latex thickener. This is a gel which when mixed with latex, can be used to increase its density to make it thicker and more resistant. It is often used to create masks, prosthetics and moulds. It tends to reduce the elasticity and durability of latex. The compound material dries much quicker into a white colour than pure latex. This product is low cost, simple to use, reusable, strong and resilient. It is also ideal for slip-casting. Only about 10% of the thickener should be used to make a brushing mix. Four layers will make a considerable mould for a mask.
Step-by-step guide:
Moving onto the wrinkles, I first applied the Kryolan Pro shield barrier foam on the eye area and the back of the hands as that is where is I wish to apply the latex. 'The Pro shield is a multipurpose foam protecting the skin from extreme influences. It is meant to be applied before working with affecting materials or applying special effects products. It is formulated with shea butter, almond oil and Aloe Vera to nurture the skin.'
WRITE YOUR REVIEW (no date) Available at:
http://www.alconeco.com/kryolan-pro-shield-barrier-foam (Accessed: 21 February 2016).
I poured a small amount of liquid latex into a bowl, and dipped a black stipple sponge into it to apply where I placed the barrier cream. It’s best to use cheap brushes or sponges when working with latex as you don’t want to ruin any of your favourite beauty ones. When working on the eye area, make sure your models eyes are closed. Stretch the area you wish to apply the latex on using your fingers. Once you’ve stippled one layer of the latex (ensure it’s thin), dry the latex using a hairdryer. Before drying someone’s face, test the dryer on your neck to make sure it’s cool. Also remember to keep a distance when drying your models face as the latex may flood.
After it’s completely dry, (you’d know as the white latex turns translucent) you must release the skin (the area you were stretching). You may want to add translucent powder on top of this however this is completely optional. Repeat the same process again, adding another layer of latex using the same stipple sponge. Remember the skin needs to be stretched in the opposite direction you want your wrinkle to appear e.g. if you want vertical wrinkles, stretch the skin horizontally. In order to get rid of hard edges, I dipped a cotton bud into acetone as this melts the latex and gently went over any harsh areas I wanted to be feathered out.
To remove the latex, you can gently peel the layers off however it’s advised to wash it off with warm water. When emptying your bowl, do not pour it into the sink as it’ll block it. Get a tissue instead, and rub the product out of the bowl.
Reflection:
I wasn't so happy with the results of my work. I found it difficult to stretch the skin whilst applying the liquid latex. I achieved more of a dry effect, than wrinkles. I also found that when I was drying the latex, it was peeling off. It almost looked like dried DUO. Next time I do ageing, I must make sure I stretch the skin as much as I can and apply more layers as I only did three. I could also get my model to help me with the stretching to make the application easier.
Key notes (taken in class):
- Don't apply latex onto hairy areas, as it hurts a lot when removing.
- When working with latex, base makeup often tends to wipe out therefore it's best to apply makeup after you're done using the latex.
- Always cover your model as you may spill latex onto their clothing. Latex does not wash out.
- You can mix latex in with colours e.g. powders or eye-shadows.
- Make sure you place the latex lid back on as the product may spill or dry out.
- It's often advised to use a stipple sponge when working with latex as brushes may give you hard edges.
Thursday, 18 February 2016
Prosthetics
Prosthetic makeup is a type of special effects makeup used in TV, theatre and films. It is the process of using prosthetic sculpting, moulding and casting techniques to build character. It was first introduced by artist Dick Smith in films such as ‘Little Big Man’.
Prosthetic is a form of art. Often latex and foam shapes are used to create new looks and can look very subtle or dramatic. This type of makeup can be very effective for a variety of films and events. Regardless of the shape/size of the prosthetic, when applied professionally it will instantly show an effect. Effects can include ageing, growth, change of shape or the creation of a whole new specie, all through the skill of the makeup artist.
Prosthetic is a form of art. Often latex and foam shapes are used to create new looks and can look very subtle or dramatic. This type of makeup can be very effective for a variety of films and events. Regardless of the shape/size of the prosthetic, when applied professionally it will instantly show an effect. Effects can include ageing, growth, change of shape or the creation of a whole new specie, all through the skill of the makeup artist.
Prosthetic work was seen in the film ‘Frankenstein’ in 1931 and the ‘Creature from the Black Lagoon’ in 1954. Artist, Jack Kevan who created prosthetics during World War II, was the artist of this film. Other films include ‘Edward Scissorhands’ played by Johnny Depp in 1990 and ‘Pan’s Labyrinth’ in 2006.
Prosthetics can take hours to do, depending on the mask/body part being worked on, and the amount of blending required making the final piece fit with the actor’s body. Blending is often achieved through airbrushing or traditional makeup techniques in order to make sure the edges of the prosthetic match the natural skin tone of the actor. As prosthetics has now become a common form of makeup in movies, actors may have conditions in their work contract concerning how much time they can spend to be worked on each day. CGI (computer generated images) also becomes handy when it gets to prosthetics, leaving the artist less work to do. The film ‘Harry Potter’ for example included many computer effects e.g. flattened nose. By putting together the abilities of prosthetic makeup artists and special effects designers, films are able to create characters out of this world.
 |
| Example of Prosthetic makeup |
Tops among prosthetic makeup schools (no date) Available at: http://www.cinemamakeup.com/programs/classes/prosthetic-makeup-class/#&panel1-1 (Accessed: 18 February 2016).
‘By sculpting enhanced body parts that are based on the wearer's actual body, makeup artists are able to achieve very real, believable results. Most prosthetic makeup begins with making moulds and casts of the actor's body. Using traditional sculpting techniques, the makeup artist or sculpture will create a lifelike model of the actor, giving them a base on which to work. This process, called lifecasting, typically is done during pre-production, long before the movie even starts to shoot.
With the lifecast, the makeup artist can then begin to alter and change the form to fit the design needed. Depending on the needs of the production, they can add scarring, wrinkles, veins, or skin discoloration to create age or injuries. The prosthetic makeup process can also give alien features to a familiar form, such as pointed ears, extra teeth, or even additional appendages.
The materials used in prosthetic makeup can pose some difficulty, as the finished product must be worn against an actor’s skin. Moreover, if the completed prosthesis is to appear real, it must move and look like skin. The most common materials used in final prosthetic masks and body parts are compounds composed of foam latex and gelatine. Good makeup artists must always have a backup plan, as some actors may have allergic reactions to one material and need a different choice.’
2016 (2016) What is Prosthetic makeup? (with pictures). Available at:
http://www.wisegeek.com/what-is-prosthetic-makeup.htm (Accessed: 18 February 2016).‘To apply facial prosthetics, Pros-Aide, Beta Bond, Medical Adhesive or Liquid Latex is generally used. Pros-Aide is a water-based adhesive that has been the "industry standard" for over 30 years. It's completely waterproof and is formulated for use with sensitive skin. It is easily removed with Pros-Aide Remover. BetaBond is growing in popularity among Hollywood artists who say it's easier to remove. Medical Adhesive has the advantage that it's specifically designed not to cause allergies or skin irritation. Liquid Latex can only be used for a few hours, but can be used to create realistic blends from skin to prosthetics.’
Facial prosthetic (2015) in Wikipedia. Available at:
http://en.wikipedia.org/wiki/Facial_prosthetic (Accessed: 18 February 2016).
Tuesday, 16 February 2016
Victorian Beauty ideals
‘Queen Victoria’s rule was a time of serious social and economic change, both in Britain and abroad. The industrial revolution had changed the way people lived, offering a tantalizing glimpse of social mobility through the development of a middle class. The American Civil War split a nation in two. And throughout the Western sphere, “The Woman Question” was one that everyone had an opinion about. What was a woman’s place in society? How should she be? How should she live her life? We're still having this debate today.
One thing that most agreed on was that women should be beautiful and married, and landing a husband was still seen as the primary goal for young women.
Nineteenth-century women of a certain class relied on books and publications to teach them the secrets of being beautiful, and therefore of getting (and keeping) a man. Many of these proto-ladymags were co-penned by doctors, while others were written by high-society ladies with helpful hints on everything from personal hygiene to dressing for various occasions.
Bathing:
There is a myth plaguing history that people only bathed once every few years, if at all, until the twentieth century. Doctors of the nineteenth century recommended frequent bathing, and your social class and occupation dictated how often you bathed.
Those who could afford a bath tub would have bathed a few times each month, while the poor were likely to bathe once a year.
Extreme temperatures for bathing were warned against by doctors due to a negative impact on the health and appearance of one’s skin. Tepid water infused with bran was best, followed by a heavy dose of exfoliation with a wash cloth to create bright and smooth skin. Turkish Baths were very popular among the upper classes, and body steams were also encouraged to purge the skin of organic poisons and impurities.
Complexion:
In the Victorian era, the only good complexion was a pale complexion. The “superiority” of upper-class white women was an accepted fact of society, directly promoted in beauty books with advice for achieving the lightest, most ladylike skin possible. The higher class you were perceived to be, the better your prospects for a good marriage.
To achieve the fairest skin possible, women tried everything. Lead-based paints were used, but not ALL women covered their faces with poisonous creams. The rich ones ate their poisons--due to the high price (and resulting languor) ingesting arsenic, chalk, slate, or tea grounds was for only the fanciest of women.
Eating poison was heavily warned against by Victorian beauty writers due to the resulting “sickly” appearance: youthful good health was the beauty standard of the day. Instead of using chemicals or poisons to promote healthy skin, women were advised to sit in well ventilated rooms, get seven to eight hours of sleep each night, take some sun (but not enough to burn), and eat a healthy diet, all advice still touted by contemporary health experts.
The Victorians were also fascinated with zits. Blackheads were sometimes known as “fleshworms” because people thought worms were crawling out of their faces when they were extracted. A nightly steam, alternating with pure steam and sulphur, for two to three months was recommended as a cure to rid the face of blackheads and acne.
But above all else, women were commanded to avoid makeup.
Makeup:
Face paints and other cosmetics were frequently used by performers and prostitutes, so therefore high society viewed these products as deplorable.
No refined lady would be caught dead with the devil’s trickery on her face. This was the line that the beauty guides promoted in theory. In practice, most upper class women wore little makeup. Cold cream was recommended as a priming agent, applied prior to dusting the faintest veil of rouge across the cheeks and finished with a transparent layer of powder to avoid a greasy complexion.
So really, Victorian women weren’t worried about makeup in general; they were worried about wearing the wrong kind of makeup, the kind that would mark them as lower-class.
However, only the young were encouraged to enhance their beauty with cosmetics. According to Lola Montez, author of one beauty guide, “a rouged old woman is a horrible sight, a distortion of nature’s harmony!” Youth was coveted, but makeup was not the way to achieve it. Instead, face masks and other concoctions were advised for women of a certain age to decrease wrinkles and promote a healthy glow.
The root of feminine beauty:
But the most beautiful feature a lady could have? Her mind. Individuality, wit, and the ability to think critically could make up for a poorly constructed face, sallow complexion, or any other physical shortcoming a woman may possess. The previously mentioned Lola Montez was adamant that “a beautiful mind is a necessity for a beautiful face.”
Victorian beauty guides encouraged women to postulate their own ideas on society and politics. Unfortunately, those ideas were not always listened to or respected. A well-educated woman was still considered inferior to men; many men viewed clever women as akin to precocious children.
And few men wanted a wife who was outwardly smarter than he was. Women were meant to ornament men, not outshine them. Many of the Victorian beauty books included chapters on behaving properly in social gatherings, reinforcing the idea that intellect was valued, but so was social grace and etiquette. A lady’s wit was meant to add to conversation, rather than direct it. After all, no matter how clever she was, women were still seen as chiefly ornamental. It would take a few more decades, and the emergence of The New Woman, for this to change.
It’s tempting to look back on the Victorian Era as a remote, alien period of time governed by incomprehensibly sexist, racist, and classist codes of behaviour. But many of the conversations started in this era about a woman’s place in the world, and about the place of beauty in that world, are still happening today.’
Image and quote reference: (No Date) Available at:
One thing that most agreed on was that women should be beautiful and married, and landing a husband was still seen as the primary goal for young women.
Nineteenth-century women of a certain class relied on books and publications to teach them the secrets of being beautiful, and therefore of getting (and keeping) a man. Many of these proto-ladymags were co-penned by doctors, while others were written by high-society ladies with helpful hints on everything from personal hygiene to dressing for various occasions.
Bathing:
There is a myth plaguing history that people only bathed once every few years, if at all, until the twentieth century. Doctors of the nineteenth century recommended frequent bathing, and your social class and occupation dictated how often you bathed.
Those who could afford a bath tub would have bathed a few times each month, while the poor were likely to bathe once a year.
Extreme temperatures for bathing were warned against by doctors due to a negative impact on the health and appearance of one’s skin. Tepid water infused with bran was best, followed by a heavy dose of exfoliation with a wash cloth to create bright and smooth skin. Turkish Baths were very popular among the upper classes, and body steams were also encouraged to purge the skin of organic poisons and impurities.
 |
| Illustration used to teach women how to build a DIY steam box |
Complexion:
In the Victorian era, the only good complexion was a pale complexion. The “superiority” of upper-class white women was an accepted fact of society, directly promoted in beauty books with advice for achieving the lightest, most ladylike skin possible. The higher class you were perceived to be, the better your prospects for a good marriage.
To achieve the fairest skin possible, women tried everything. Lead-based paints were used, but not ALL women covered their faces with poisonous creams. The rich ones ate their poisons--due to the high price (and resulting languor) ingesting arsenic, chalk, slate, or tea grounds was for only the fanciest of women.
Eating poison was heavily warned against by Victorian beauty writers due to the resulting “sickly” appearance: youthful good health was the beauty standard of the day. Instead of using chemicals or poisons to promote healthy skin, women were advised to sit in well ventilated rooms, get seven to eight hours of sleep each night, take some sun (but not enough to burn), and eat a healthy diet, all advice still touted by contemporary health experts.
The Victorians were also fascinated with zits. Blackheads were sometimes known as “fleshworms” because people thought worms were crawling out of their faces when they were extracted. A nightly steam, alternating with pure steam and sulphur, for two to three months was recommended as a cure to rid the face of blackheads and acne.
But above all else, women were commanded to avoid makeup.
 |
| Young Queen Victoria |
Makeup:
Face paints and other cosmetics were frequently used by performers and prostitutes, so therefore high society viewed these products as deplorable.
No refined lady would be caught dead with the devil’s trickery on her face. This was the line that the beauty guides promoted in theory. In practice, most upper class women wore little makeup. Cold cream was recommended as a priming agent, applied prior to dusting the faintest veil of rouge across the cheeks and finished with a transparent layer of powder to avoid a greasy complexion.
So really, Victorian women weren’t worried about makeup in general; they were worried about wearing the wrong kind of makeup, the kind that would mark them as lower-class.
However, only the young were encouraged to enhance their beauty with cosmetics. According to Lola Montez, author of one beauty guide, “a rouged old woman is a horrible sight, a distortion of nature’s harmony!” Youth was coveted, but makeup was not the way to achieve it. Instead, face masks and other concoctions were advised for women of a certain age to decrease wrinkles and promote a healthy glow.
The root of feminine beauty:
But the most beautiful feature a lady could have? Her mind. Individuality, wit, and the ability to think critically could make up for a poorly constructed face, sallow complexion, or any other physical shortcoming a woman may possess. The previously mentioned Lola Montez was adamant that “a beautiful mind is a necessity for a beautiful face.”
Victorian beauty guides encouraged women to postulate their own ideas on society and politics. Unfortunately, those ideas were not always listened to or respected. A well-educated woman was still considered inferior to men; many men viewed clever women as akin to precocious children.
And few men wanted a wife who was outwardly smarter than he was. Women were meant to ornament men, not outshine them. Many of the Victorian beauty books included chapters on behaving properly in social gatherings, reinforcing the idea that intellect was valued, but so was social grace and etiquette. A lady’s wit was meant to add to conversation, rather than direct it. After all, no matter how clever she was, women were still seen as chiefly ornamental. It would take a few more decades, and the emergence of The New Woman, for this to change.
It’s tempting to look back on the Victorian Era as a remote, alien period of time governed by incomprehensibly sexist, racist, and classist codes of behaviour. But many of the conversations started in this era about a woman’s place in the world, and about the place of beauty in that world, are still happening today.’
Image and quote reference: (No Date) Available at:
http://www.xovain.com/makeup/victorian-era-beauty (Accessed: 16 February 2016).
Book – Face Paint: The Story of Makeup:
“The arrival of the 19th century marked yet another shift in attitudes toward makeup, and rouge in particular. The declaration of England’s Queen Victoria that makeup was vulgar meant that a pale, virtuous look now preferred. The resulting backlash against painted faces meant that women who wanted to create a rosy glow could either resort to pinching their cheeks and biting their lips to encourage a natural flush or be very cautious with their use of cosmetics. While pale, unmade-up skin and luxuriant hair were considered ladylike, obvious rouging was seen as belonging to the realms of the theatre or signifying a woman of what was euphemistically phrased ‘low morals.’ At the same time, by the 1850’s the production of cosmetics had become a national industry with its center in Paris. This marked the beginning of commercially available rouge on a scale that had never been seen before, and by the turn of the century rouge was available to buy in dozens of shades and textures. As Victoria’s reign came to an end, the assoication of her son, the future King Edward VII, with some of the most famous stage actresses of the time, such as Lillie Langtry and Sarah Bernhardt, meant that rouge was treated with less vehemence and scorn. As the writer and satirist Max Berrbohm wrote in his ‘Defence of Cosmetics’:
‘For behold! The Victorian era comes to its end and the day of sancta simplicitas is quite ended. We are ripe for a new epoch of artifice. Are not men rattling the dice-box and ladies dipping their fingers in the rouge-pot? No longer is a lady of fashion blamed if, to escape the outrageous persecution of time, she fly for sanctuary to the toilet-table; and if a damsel, prying in her mirror, be sure with brush and pigment she can trick herself into more charm, we are not angry. Indeed, why should we ever have been?”
Reference: Eldridge, L. (2015) Face paint: The story of makeup. United States: Harry N. Abrams.
Book – Fashions in Makeup: From ancient to modern times:
Page 315/316 – Mid-Century Cosmetics:
“Most books and articles of the period confined themselves to discreet, helpful hints on maintaining natural beauty, with or without artifice. Sarah Josepha Hale, shared with her readers one of her own beauty secrets – the nightly application to her temples of brown paper soaked in cider vinegar. This was worn all night in order to keeo the skin around the eyes smooth and free from wrinkles.
An article on cosmetics in the ‘Penny Magazine’ approaches the subject diffidently, pointing out that although readers may not approve of cosmetics, some information about their manufacture might not be uninstructive. The writer then lists the two most imporant objectives of the skin and neck. The various rouges in use, dishes, Spanish wool, Chinese boxes, are described, but pure carmine, manufactured from cochineal, is recommended as the most desirbale rouge of all.
Elder-flower water and rose-water were the most popular washes of the day; but since they did little or nothing to whiten the skin, white powder was used as well. Pearl powder (made by dissolving seed pearls in acid and precipitating the powder with an alkali) was the most desirable and the most costly. Cheaper pearl powder (prepared from mother-of-pearl or oyster shells) could be obtained, but it had an unnatural sheen. Bismuth powder was considered a good imitation of pearl powder, but unfortunately it turned black on contact with sulphur fumes, causing the wearer considerable distress and embarrassment.
Black for the eyebrows was prepared from lamp-back mixed with a cream or ointment and applied with a camel’s hair brush or pencil, as it was called then. Hence, ladies of the period ‘pencilled’ their brows. And in fact, so did some of the men.”
Book – Face Paint: The Story of Makeup:
“The arrival of the 19th century marked yet another shift in attitudes toward makeup, and rouge in particular. The declaration of England’s Queen Victoria that makeup was vulgar meant that a pale, virtuous look now preferred. The resulting backlash against painted faces meant that women who wanted to create a rosy glow could either resort to pinching their cheeks and biting their lips to encourage a natural flush or be very cautious with their use of cosmetics. While pale, unmade-up skin and luxuriant hair were considered ladylike, obvious rouging was seen as belonging to the realms of the theatre or signifying a woman of what was euphemistically phrased ‘low morals.’ At the same time, by the 1850’s the production of cosmetics had become a national industry with its center in Paris. This marked the beginning of commercially available rouge on a scale that had never been seen before, and by the turn of the century rouge was available to buy in dozens of shades and textures. As Victoria’s reign came to an end, the assoication of her son, the future King Edward VII, with some of the most famous stage actresses of the time, such as Lillie Langtry and Sarah Bernhardt, meant that rouge was treated with less vehemence and scorn. As the writer and satirist Max Berrbohm wrote in his ‘Defence of Cosmetics’:
‘For behold! The Victorian era comes to its end and the day of sancta simplicitas is quite ended. We are ripe for a new epoch of artifice. Are not men rattling the dice-box and ladies dipping their fingers in the rouge-pot? No longer is a lady of fashion blamed if, to escape the outrageous persecution of time, she fly for sanctuary to the toilet-table; and if a damsel, prying in her mirror, be sure with brush and pigment she can trick herself into more charm, we are not angry. Indeed, why should we ever have been?”
Reference: Eldridge, L. (2015) Face paint: The story of makeup. United States: Harry N. Abrams.
Book – Fashions in Makeup: From ancient to modern times:
Page 315/316 – Mid-Century Cosmetics:
“Most books and articles of the period confined themselves to discreet, helpful hints on maintaining natural beauty, with or without artifice. Sarah Josepha Hale, shared with her readers one of her own beauty secrets – the nightly application to her temples of brown paper soaked in cider vinegar. This was worn all night in order to keeo the skin around the eyes smooth and free from wrinkles.
An article on cosmetics in the ‘Penny Magazine’ approaches the subject diffidently, pointing out that although readers may not approve of cosmetics, some information about their manufacture might not be uninstructive. The writer then lists the two most imporant objectives of the skin and neck. The various rouges in use, dishes, Spanish wool, Chinese boxes, are described, but pure carmine, manufactured from cochineal, is recommended as the most desirbale rouge of all.
Elder-flower water and rose-water were the most popular washes of the day; but since they did little or nothing to whiten the skin, white powder was used as well. Pearl powder (made by dissolving seed pearls in acid and precipitating the powder with an alkali) was the most desirable and the most costly. Cheaper pearl powder (prepared from mother-of-pearl or oyster shells) could be obtained, but it had an unnatural sheen. Bismuth powder was considered a good imitation of pearl powder, but unfortunately it turned black on contact with sulphur fumes, causing the wearer considerable distress and embarrassment.
Black for the eyebrows was prepared from lamp-back mixed with a cream or ointment and applied with a camel’s hair brush or pencil, as it was called then. Hence, ladies of the period ‘pencilled’ their brows. And in fact, so did some of the men.”
 |
| Page 331 |
 |
| Page 356 |
Reference: Corson, R. (2003) Fashions in makeup: From ancient to modern times. 3rd edn. London: Peter Owen Publishers.
Monday, 15 February 2016
SFX
Special effects makeup is often used in theatre, TV and films, allowing actors/actresses to be transformed into a variety of characters and increase the believability of the different characters. Special effects can be used to make a person look older, younger, injured, alien or abnormal. This type of makeup can be as subtle or dramatic as required.
The first special effects makeup artist was Jack Pierce who created a vampire look made famous by the actor ‘Bela Lugosi’. He used products such as latex and rubber. George Westmore was also another artist who invented techniques currently being used today, including the invention of false lashes.
Tutorials, M. (no date) Special FX makeup. Available at:
https://uk.pinterest.com/pin/267682771579317006/ (Accessed: 15 February 2016).
Frankenstein (1931):
‘Frankenstein is a 1931 horror monster film directed by ‘James Whale’ and adapted from the play by ‘Peggy Webling’, which in turn is loosely based on the novel of the same name by ‘Mary Shelley’. The film stars Colin Clive, Mae Clarke, John Boles and Boris Karloff and features Dwight Frye and Edward van Sloan. The Webling play was adapted by John L. Balderston and the screenplay written by Francis ‘Edward Faragoh’ and ‘Garrett Fort’ with uncredited contributions from ‘Robert Florey’ and ‘John Russell’. The make-up artist was ‘Jack Pierce’. A huge hit with audiences and critics, the film was followed by multiple sequels and became one of the most iconic horror films in movie history.’
(no date) Available at:
https://en.wikipedia.org/wiki/Frankenstein_(1931_film (Accessed: 15 February 2016).
“Frankenstein was an amazing project to work on. We had a great opportunity to create a horde of prosthetic Demon characters, an opportunity that you do not often have in this CGI heavy environment. We also created all the Frankenstein monster prosthetics for Aaron Eckhart’s character.
In previous incarnations of the Frankenstein creature, he is always the antagonist, a monster. In this film, the creature is the protagonist, the hero even, and we wanted a design for the creature that, while consistent with him being stitched together using various body parts from different corpses, while also maintaining Aaron Eckhart’s strong aesthetics, helps allow the audience to identify with him, and accept him as the hero.
There is also a progression with his make-up. In the opening of the film he is heavily scarred and monstrous, but over the course of the next 220 years, his scarring slowly becomes less disfiguring. This is not about making the Frankenstein character look frightening and using his physical appearance to scare people and drive the story – his physical disfigurement in this story is there to identify him as the Frankenstein character – it is his branding. But the purpose of the Frankenstein creature goes deeper ‘than the face value” of the character in this retelling, it is his “humanity” that is important and the centre of the film’s journey. The film studio and production were very hands on in this development and wanted to make sure the look fitted into the aesthetic of the story they wanted to tell.
It did take a few iterations to get the Adam/Frankenstein scarring aesthetically pleasing. We did it all sculpturally on a life-cast of Aaron Eckhart. Because it was such a fine line to work out the level of scarring, we all had to see it 3-dimensionally and do several camera make-up tests at varying degrees to make sure the director and studio were happy.
For the first stage scarring, which was more intense, there were 4 major silicone appliances on the face. For the latter stage of the scarring (220 years later), all the scars were individual transfers that we patterned over his face. There were around 9 on Aaron’s face. When we had to add scars to the body it went up to about 30 transfers.
We also designed and created all of the Demon characters. The focus was to try and evolve a large variety of memorable “Demon looks” but to also make sure they felt that they were all visually balanced in concept and design.
Only a few illustrations were supplied to us by the production, so we had to develop the looks using Zbrush concept drawings and 3 dimensional sculpture maquettes. We had to develop a solid design grounding relatively quickly, so director Stuart Beattie could give us his input on what he liked. We were sculpting madly to try and get as many ideas on the table as possible. There were over 30 different designs in the end.
Our designs are trying to maintain a humanity behind all the Demons – they are not crazy illogical creations totally removed from the Human form, but the Human form guiding how far we can take the Demon aesthetic. It gives the characters a stronger presence and allows the audience to relate to them. Stuart wanted that reality in the designs. Elaborate horn designs also helped us create a sense of hierarchy within the Demon realm, with the larger horns given to Demons of more authority and rank.
The initial 3 dimensional sculpture roughs were a blessing and saved us a lot of time as the production build up was slow, as we did not have any actors to work with. Once we finally did get the actors, it was a matter of transferring the looks onto the new actor’s forms – the 3 dimensional sculpture roughs gave our team a solid direction to move from.
The prosthetics were fabricated with a combination of Foam Latex and Silicone appliances. When you start breaking down sculptures into various prosthetic pieces, your workload doubles: sculpture, mould-making and fabrication techniques become more intricate and costly – but you end up with some seamless make-up applications. Also, contact lenses and Demon teeth were designed, with some frightening looks being developed.”
Powered and Interactive, K. (2014) I, Frankenstein makeup FX by makeup effects group. Available at: https://www.stanwinstonschool.com/blog/i-frankenstein-makeup-effects-behind-the-scenes# (Accessed: 15 February 2016). (The above was written from the film’s special effects makeup team)
(no date) Available at:
http://thepoppingpost.com/wp-content/uploads/2015/11/tpp-frankensteinface.jpg (Accessed: 15 February 2016).
Face Off (2012):
‘This is an American reality television game show in which a group of prosthetic makeup artists compete against each other to create prostheses such as those found in science fiction and horror films. Actress ‘McKenzie Westmore’, a member of the Westmore family of makeup artists, serves as the show's host, with judges being Academy Award-winning makeup artist ‘Ve Neill’ and television and film makeup artist ‘Glenn Hetrick’. Creature designer and director ‘Patrick Tatopoulos’ served as judge for the first two seasons, but he was replaced by creature designer and concept artist Neville Page.
Each week, the artists face a "Spotlight Challenge" that tests their artistry and techniques to create a full makeup character to match a theme over the course of 3 days. The first day allows for concept design and sculpting for five hours, a second day of 10 hours for work in finishing the moulding, and a final day of 4 hours in applying the makeup before a one hour "Last Looks" for touch ups. The judges then have the opportunity to look at the makeups from afar and up close, and decide a series of top and bottom looks for the week. One artist will be deemed the winner, sometimes receiving a special bonus prize and one artist will be eliminated from the running for the grand prize.
The Face Off winner receives US$25,000 of ‘Alcone’ makeup, US$100,000 cash prize, and the opportunity to become a guest lecturer at the "Make up for Ever Academy" in New York and Paris, and the Fiat 500.’
(no date) Available at:
Jack Pierce:
‘Jack Pierce (born Janus Piccoula; May 5, 1889 – July 19, 1968) was a Hollywood makeup artist best remembered for creating the iconic makeup worn by Boris Karloff in Universal Studios' adaptation of Mary Shelley's Frankenstein (1931), along with various other classic monster make-ups for Universal Studios.’
‘Richard Emerson "Dick" Smith (June 26, 1922 – July 30, 2014) was an American special effects make-up artist (nicknamed "The Godfather of Make-Up") known for his work on such films as ‘Little Big Man’, ‘The Godfather’, ‘The Exorcist’, ‘Taxi Driver’, and ‘Scanners’. He won a 1985 Academy Award for Best Makeup and Hairstyling for his work on Amadeus and received a 2012 Academy Honorary Award for his career's work.’
(no date) Available at:
http://en.wikipedia.org/wiki/Dick_Smith_(make-up_artist (Accessed: 15 February 2016).
Rick Baker:
‘Richard Baker (born December 8, 1950) is an American special makeup effects artist known for his creature effects. Baker's first professional job was as an assistant to Dick Smith on the film The ‘Exorcist’. He received the inaugural Academy Award for best makeup and hairstyling for his work on An American Werewolf in London. He also created the "Werecat" creature Michael Jackson transforms into in the music video ‘Thriller’. Subsequently, Baker has been nominated for the best makeup and hairstyling Oscar ten more times, winning on seven occasions, both records in his field.’
‘George Henry Westmore (27 June 1879 – 12 July 1931) was a hairdresser who immigrated to the United States with his family, including several relatives who became prominent in Hollywood. Specializing in wig-making and later make-up, he established the first movie make-up department in 1917. In his youth, he spent 18 months in the British Army cavalry during the Second Boer War.’
George Westmore (2016) in Wikipedia. Available at:
http://en.wikipedia.org/wiki/George_Westmore (Accessed: 15 February 2016).
The different types of special effects makeup include:
Special effects makeup also consists of using normal traditional makeup such as foundations, eye shadows, lipsticks, blushers, grease paints and aqua colours alongside with adhesives and fixatives which can be very heavy, greasy and irritable to the skin. (They also seem to have more colour, sweat and are often waterproof, requiring special products to remove them). Other products used to create special effects are eye enhancers such as contact lenses, false eyelashes and glasses to enhance the eye area and build character.
Special effects makeup is only complete when accompanied with enhancements such as wigs or loose hair added to the face/body to create illusions. An example of loose hair was shown in the film ‘Lord of the rings’. (Ear props with a layer of cosmetics were also used in this film). Wigs often come in a variety of shapes, colours and sizes for specialised characters.
Films known to have
included special effects makeup include:
- Max factor created the first line of makeup to be used for cinematic makeup. He soon after also created waterproof makeup for the film ‘Mare Nostrum’.
- Phantom of the opera and the Hunchback of Notre Dame – created by Lon Chaney in the 1920’s who is considered to be the father of horror makeup. He used products such as fish skin and wigs.
- 1931 – ‘Frankenstein’ – use of collodion-soaked cheesecloths and greasepaint by artist Jack Pierce. Jack also designed the looks of other characters in films such as ‘The Mummy’ and ‘Wolfman’.
- 1939 – ‘Wizard of Oz’ was the first film to use prosthetics.
- 1959 – The first airbrush makeup was used on actors in the film ‘Ben Hur’ using an airbrush mechanism, often of the body.
- 1966 – The film ‘Star Trek’ was known to have fantasy special effects makeup including creatures such as aliens.
- 1973 – ‘The exorcist’ by artist Dick Smith.
- In the 2000’s, CGI (computer generated images) was introduced to assist with special effects makeup, in particular fantasy/sci-fi characters. This technology was used in the film ‘Avatar’. The actors had makers applied for the computer to generate their appearance. Digital technology was also used in the film ‘Forest Gump’.
- 2009 – ‘American Werewolf in London’ by artist Rick Baker.
- 2012 – ‘Face off’
The first special effects makeup artist was Jack Pierce who created a vampire look made famous by the actor ‘Bela Lugosi’. He used products such as latex and rubber. George Westmore was also another artist who invented techniques currently being used today, including the invention of false lashes.
 |
| Example of SFX makeup |
Tutorials, M. (no date) Special FX makeup. Available at:
https://uk.pinterest.com/pin/267682771579317006/ (Accessed: 15 February 2016).
Frankenstein (1931):
‘Frankenstein is a 1931 horror monster film directed by ‘James Whale’ and adapted from the play by ‘Peggy Webling’, which in turn is loosely based on the novel of the same name by ‘Mary Shelley’. The film stars Colin Clive, Mae Clarke, John Boles and Boris Karloff and features Dwight Frye and Edward van Sloan. The Webling play was adapted by John L. Balderston and the screenplay written by Francis ‘Edward Faragoh’ and ‘Garrett Fort’ with uncredited contributions from ‘Robert Florey’ and ‘John Russell’. The make-up artist was ‘Jack Pierce’. A huge hit with audiences and critics, the film was followed by multiple sequels and became one of the most iconic horror films in movie history.’
(no date) Available at:
https://en.wikipedia.org/wiki/Frankenstein_(1931_film (Accessed: 15 February 2016).
In previous incarnations of the Frankenstein creature, he is always the antagonist, a monster. In this film, the creature is the protagonist, the hero even, and we wanted a design for the creature that, while consistent with him being stitched together using various body parts from different corpses, while also maintaining Aaron Eckhart’s strong aesthetics, helps allow the audience to identify with him, and accept him as the hero.
There is also a progression with his make-up. In the opening of the film he is heavily scarred and monstrous, but over the course of the next 220 years, his scarring slowly becomes less disfiguring. This is not about making the Frankenstein character look frightening and using his physical appearance to scare people and drive the story – his physical disfigurement in this story is there to identify him as the Frankenstein character – it is his branding. But the purpose of the Frankenstein creature goes deeper ‘than the face value” of the character in this retelling, it is his “humanity” that is important and the centre of the film’s journey. The film studio and production were very hands on in this development and wanted to make sure the look fitted into the aesthetic of the story they wanted to tell.
It did take a few iterations to get the Adam/Frankenstein scarring aesthetically pleasing. We did it all sculpturally on a life-cast of Aaron Eckhart. Because it was such a fine line to work out the level of scarring, we all had to see it 3-dimensionally and do several camera make-up tests at varying degrees to make sure the director and studio were happy.
For the first stage scarring, which was more intense, there were 4 major silicone appliances on the face. For the latter stage of the scarring (220 years later), all the scars were individual transfers that we patterned over his face. There were around 9 on Aaron’s face. When we had to add scars to the body it went up to about 30 transfers.
We also designed and created all of the Demon characters. The focus was to try and evolve a large variety of memorable “Demon looks” but to also make sure they felt that they were all visually balanced in concept and design.
Only a few illustrations were supplied to us by the production, so we had to develop the looks using Zbrush concept drawings and 3 dimensional sculpture maquettes. We had to develop a solid design grounding relatively quickly, so director Stuart Beattie could give us his input on what he liked. We were sculpting madly to try and get as many ideas on the table as possible. There were over 30 different designs in the end.
Our designs are trying to maintain a humanity behind all the Demons – they are not crazy illogical creations totally removed from the Human form, but the Human form guiding how far we can take the Demon aesthetic. It gives the characters a stronger presence and allows the audience to relate to them. Stuart wanted that reality in the designs. Elaborate horn designs also helped us create a sense of hierarchy within the Demon realm, with the larger horns given to Demons of more authority and rank.
The initial 3 dimensional sculpture roughs were a blessing and saved us a lot of time as the production build up was slow, as we did not have any actors to work with. Once we finally did get the actors, it was a matter of transferring the looks onto the new actor’s forms – the 3 dimensional sculpture roughs gave our team a solid direction to move from.
The prosthetics were fabricated with a combination of Foam Latex and Silicone appliances. When you start breaking down sculptures into various prosthetic pieces, your workload doubles: sculpture, mould-making and fabrication techniques become more intricate and costly – but you end up with some seamless make-up applications. Also, contact lenses and Demon teeth were designed, with some frightening looks being developed.”
Powered and Interactive, K. (2014) I, Frankenstein makeup FX by makeup effects group. Available at: https://www.stanwinstonschool.com/blog/i-frankenstein-makeup-effects-behind-the-scenes# (Accessed: 15 February 2016). (The above was written from the film’s special effects makeup team)
 |
| Frankenstein |
(no date) Available at:
http://thepoppingpost.com/wp-content/uploads/2015/11/tpp-frankensteinface.jpg (Accessed: 15 February 2016).
‘This is an American reality television game show in which a group of prosthetic makeup artists compete against each other to create prostheses such as those found in science fiction and horror films. Actress ‘McKenzie Westmore’, a member of the Westmore family of makeup artists, serves as the show's host, with judges being Academy Award-winning makeup artist ‘Ve Neill’ and television and film makeup artist ‘Glenn Hetrick’. Creature designer and director ‘Patrick Tatopoulos’ served as judge for the first two seasons, but he was replaced by creature designer and concept artist Neville Page.
Each week, the artists face a "Spotlight Challenge" that tests their artistry and techniques to create a full makeup character to match a theme over the course of 3 days. The first day allows for concept design and sculpting for five hours, a second day of 10 hours for work in finishing the moulding, and a final day of 4 hours in applying the makeup before a one hour "Last Looks" for touch ups. The judges then have the opportunity to look at the makeups from afar and up close, and decide a series of top and bottom looks for the week. One artist will be deemed the winner, sometimes receiving a special bonus prize and one artist will be eliminated from the running for the grand prize.
The Face Off winner receives US$25,000 of ‘Alcone’ makeup, US$100,000 cash prize, and the opportunity to become a guest lecturer at the "Make up for Ever Academy" in New York and Paris, and the Fiat 500.’
https://en.wikipedia.org/wiki/Face_Off_(TV_series (Accessed: 15 February 2016).
Lon Chaney:
‘Lon Chaney (April 1, 1883 – August 26, 1930), born Leonidas Frank Chaney, was an American actor during the age of silent films. He is regarded as one of the most versatile and powerful actors of early cinema, renowned for his characterizations of tortured, often grotesque and afflicted characters, and his ground breaking artistry with makeup. Chaney is known for his starring roles in such silent horror films as The ‘Hunchback of Notre Dame’ (1923) and The ‘Phantom of the Opera’ (1925). His ability to transform himself using makeup techniques he developed earned him the nickname "The Man of a Thousand Faces.’
Lon Chaney (2016) in Wikipedia. Available at:
http://en.wikipedia.org/wiki/Lon_Chaney#Career (Accessed: 15 February 2016).
‘Lon Chaney (April 1, 1883 – August 26, 1930), born Leonidas Frank Chaney, was an American actor during the age of silent films. He is regarded as one of the most versatile and powerful actors of early cinema, renowned for his characterizations of tortured, often grotesque and afflicted characters, and his ground breaking artistry with makeup. Chaney is known for his starring roles in such silent horror films as The ‘Hunchback of Notre Dame’ (1923) and The ‘Phantom of the Opera’ (1925). His ability to transform himself using makeup techniques he developed earned him the nickname "The Man of a Thousand Faces.’
Lon Chaney (2016) in Wikipedia. Available at:
http://en.wikipedia.org/wiki/Lon_Chaney#Career (Accessed: 15 February 2016).
Jack Pierce:
‘Jack Pierce (born Janus Piccoula; May 5, 1889 – July 19, 1968) was a Hollywood makeup artist best remembered for creating the iconic makeup worn by Boris Karloff in Universal Studios' adaptation of Mary Shelley's Frankenstein (1931), along with various other classic monster make-ups for Universal Studios.’
(no date) Available at:
https://vinnieh.files.wordpress.com/2015/12/miles-and-flora.jpg (Accessed: 15 February 2016).
https://vinnieh.files.wordpress.com/2015/12/miles-and-flora.jpg (Accessed: 15 February 2016).
Dick Smith:
‘Richard Emerson "Dick" Smith (June 26, 1922 – July 30, 2014) was an American special effects make-up artist (nicknamed "The Godfather of Make-Up") known for his work on such films as ‘Little Big Man’, ‘The Godfather’, ‘The Exorcist’, ‘Taxi Driver’, and ‘Scanners’. He won a 1985 Academy Award for Best Makeup and Hairstyling for his work on Amadeus and received a 2012 Academy Honorary Award for his career's work.’
(no date) Available at:
http://en.wikipedia.org/wiki/Dick_Smith_(make-up_artist (Accessed: 15 February 2016).
Rick Baker:
‘Richard Baker (born December 8, 1950) is an American special makeup effects artist known for his creature effects. Baker's first professional job was as an assistant to Dick Smith on the film The ‘Exorcist’. He received the inaugural Academy Award for best makeup and hairstyling for his work on An American Werewolf in London. He also created the "Werecat" creature Michael Jackson transforms into in the music video ‘Thriller’. Subsequently, Baker has been nominated for the best makeup and hairstyling Oscar ten more times, winning on seven occasions, both records in his field.’
(no date) Available at:
http://en.wikipedia.org/wiki/Rick_Baker_(makeup_artist (Accessed: 15 February 2016).
http://en.wikipedia.org/wiki/Rick_Baker_(makeup_artist (Accessed: 15 February 2016).
George Westmore:
‘George Henry Westmore (27 June 1879 – 12 July 1931) was a hairdresser who immigrated to the United States with his family, including several relatives who became prominent in Hollywood. Specializing in wig-making and later make-up, he established the first movie make-up department in 1917. In his youth, he spent 18 months in the British Army cavalry during the Second Boer War.’
George Westmore (2016) in Wikipedia. Available at:
http://en.wikipedia.org/wiki/George_Westmore (Accessed: 15 February 2016).
The different types of special effects makeup include:
- Stage makeup – highly pigmented makeup is often used on stage for the audience to be able to see. Pancake is mostly used to create dramatic effects and emphasise the performer’s facial features.
- Body painting – this type of art is used to enhance features and create different illusions such as camouflage using products such as liquid latex or rubber. Designs are painted all over the body to resemble tattoos or transform actors/actresses into a specific character.
- Fantasy – mostly seen on TV or science fiction films. Instead of using rubber, makeup and several other products are used to create more realistic appearances. This type of special effects can be focused on a specific area of the body, e.g. the eyes.
- Prosthetic – often applied to the body. Achieved by using products such as foam, silicone, rubber, latex and gelatine that are attached to the body using adhesives to create illusions/effects.
Special effects makeup is only complete when accompanied with enhancements such as wigs or loose hair added to the face/body to create illusions. An example of loose hair was shown in the film ‘Lord of the rings’. (Ear props with a layer of cosmetics were also used in this film). Wigs often come in a variety of shapes, colours and sizes for specialised characters.
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