Consultation Form

Before doing anything on a model or client it is highly advised to carry out a consultation form. This is to not only cover your own back but also to protect the person you are working with. It always nice to get a model like I have with no problems with the skin, no allergies and a normal skin type but everyone is different and we have to learn how to alter our method. Some pimers and foundations work better on different skin types or may have ingredients in that could cause a reaction to the skin if there is a know allergy.

You must always ask if your model is wearing contacts as this can irritate the eyes whilst make up is being applied. The big question is usually if there is any problems with the skin as we have do not want to cross contaminate brushes or products. We as makeup artists have to be careful too so that we do not come into contact with any kind of contagious infection or disease.

Lady in Waiting

To find our own response to the brief we can't just replicate the Elizabethans, we need to be able to take elements from the era and create a whole new design. How? Well we started off by introducing ourselves to Queen Elizabeth I's Lady in Waiting. A Lady in Waiting was not allowed to marry without the consent of the Queen herself. She was to accompany the Queen and was to wear only what was governed by Sumtuary Laws allowed. The women were typically from noble and high class families however Queen Elizabeth I was a very loyal person and had women she trusted, regardless of their status.

• Katherine Swynford
• Anne Russell
• Kat Ashley
• Lettice Knolleys
• Elizabeth Throckmorton
• Elizabeth Brydges
• Blanche Parry
• Anne Vavasour
• Bess of Hardwick

Out of these women, I chose Lettice Knolleys. I then made a mind map after researching her, however I went on to exaggerate this to create a altered character. 

I decided to take the facts about her previous relationships and also loss of children to turn Lettice into a bitter touble maker. I noticed she had very similar features to Queen Elizabeth so I wanted to try and give Lettice a calm and pretty exterior with a hint of crazy.

I really like the idea of taking my made up Lettice back story and trying putting it into the make up. 

Sugar Skull

So it's Halloween and what better way to practice makeup skills! Also known as a Mexican Death Skull, this type of makeup has been seen in many different variations, colours and styles.

I started off using Illamasqua skin base and applying illamasqua loose white powder. I then contoured the face using Kryolan bright pallet in purple.

I used Kryolan Aqua Colour in purple to put circles around the eyes. I then used the black to make a flower like effect on the circles and blended it into the purple. I used the black to draw detail on the face. I also used a round tip brush to shade the lines by the cheeks using illamasqua obsidian mixed with bright purple.

Next step was to add the gems. I wanted to use larger gems to go around the eyes as well as be central decoration on the forehead.

Once the glue had dried, this was the final outcome!

I am really happy with my attempt at a mexian death skull although I would really like to try the detail using a different brush as it is very hard to get clean likes with a brush that is not quite right. It may be that I need to practice a steady hand or it could be the product and brush I used but either way I still think this is a good way to practice!

Practical: eyes and lips

To get us started, Sue gave us these two charts that show us how shadow should be applied to different eye types. Everyones eyes are different shapes so we have to work around this to make them look presentable.
Sue then showed us how to properly apply make up to the eyes.

I put the two charts on the mirrors in front of me so I could see them as well as seeing my model. I have set up my area and prepared my model to a point where I am ready to apply eye makeup.

Looking at Annabel's eyes, I can see that hers are a round eye shape. I wanted to do a natural colour so I chose a soft brown and golden colour from my mac pallet.

To start with I put a layer of Illamasqua loose white powder underneath the eyes using a triangle powder puff. This is so that any coloured product that was to fall can be easily swept off after.

I used my rounded blending brush to apply the soft brown to the crease of the eyelid and continuously blending. I used a round tip brush to apply a more golden colour on the eyelid to make the colours blend in together.

I learned that holding the brush closer to the fibers allows me to blend the product better. Using a disposable wand, I applied mascara to my models eyelashes.

I then filled in the eyebrows by using an angled brush and the brown from my mac pallet. Gently brushing the product over the hairs in the brow, this creates an enhanced look to a natural brow. Once this is complete, you can brush away the excess powder from under the eye; I used my duo fiber brush to do this.

On to the lips, and Sue has shown us the best way to apply product to the lip. Using a spatula, scrape out some chosen colour product and place on the back of the hand. I used my angled brush to then work the product then apply to the lips starting from the outer corners and working your way to the middle. Again, I chose a very natural colour that is not too vibrant. LC002 and a tiny bit of LC008 from Kryolans lip pallet This was the final look. 

I am happy with how it has turned out and I really enjoyed learning the different ways of applying eye make up. If I was to do this again, I would really like to try stronger colours and also line the eyes so they stand out more. I think I have just about got the right technique, I just need to keep practicing to get confidence and also test with different eye shapes and colours.

London Trip: National Portrait Gallery

Practical: contouring the face

Products used:

• Illamasqua matte primer
• Kryolan foundation pallet
• Kryolan dermacolour concealer pallet
• Illamasqua loose white powder
• Kryolan blusher pallet
• Illamasqua sculpting powder - lumos and heliopolis
• Illamasqua contour pallet

Brushes used:

• Foundation brush
• Kabuki brush
• Small round tip brush
• Blusher brush
• Highlighter brush
• Triangle powder puff

Method

To start off, I did my usual preparation which included tying my own hair back and washing my hands and setting up my area. I then went on to prepare my models skin using cleanser, toner and moisturiser. From here, I applied a standard base to match her skin colour.

The general rule of contouring is as follows:

• Highlight and shade should be 1-2 shades lighter or darker than skin tone.
• Highlight parts of the face that stick out
• Shade parts of the face that suck in

Highlights are usually applied under the eyes on top of the cheekbones, jawline, the brow bone just below the brow, nose and forehead if it is needed. To shade, the best way to make sure the right part is being done it to feel the bone structure with your fingers. This allows you to feel the outline of the cheekbones so you are able to gently apply a shade just below them.

When applying shade, ask your model to suck in their cheeks and slightly curve the product round from the ear towards the mouth being careful not to take it too far. Shade can also be applied to the sides of the head, side of nose, chin and jaw.

As you can see, I did the contour very subtly as I wanted it to look natural. You can see the definition in the cheek bones, jaw and nose. I also think it brings a bit of colour and life to the face once it has been contoured. If I wanted the contour to be stronger, I can gradually build up the product to make it stronger.

I then went on to add a very subtle amount of blusher to the cheeks. Scraping the chosen colour (TO) on to a pallet, dip the blusher brush into it and test on the back of hand to make sure the colour is right and doesn't come off too strong. Gently apply to the cheeks to finish. 

Monochromatic Makeup on Partner

Following on from out colour theory sessions, we are asked to create one of our chosen face charts on a partner. So this was my chosen face chart.

I then went on to create a real life version of my chart. I started off by creating a pale base using illamasqua skin base. I wasn't sure what to do with the eyebrows so I left them naturally. I then went on to do the contour, eyes and lips.

I am actually really suprised at myself for being able to transfer my design on a chart in to a real life creation. I really like how it looks very close to my design on paper. If I was to change anything I would like to try bleaching out the eyebrows and maybe also trying something with the eyelashes.