Inside The Wall - What is it?
'Inside the Wall' is a project I have created for my Final Major Project. Using the creative nature of Tim Burton's take on the classic Alice in Wonderland, I have combined his stylings with the psychedelic progressive rock band Pink Floyd. In 1982, Roger Water's took their award winning album 'The Wall' and adapted it into a feature film, displaying a person's individual descent into madness fuelled by insecurities, social pressures and exploration of one's mind. Combining these two, I have created my own idea of idea of what it's like falling down the rabbit hole into the darkness only surrounded by the wall.
Tim Burton
Timothy Walter "Tim" Burton was born August 25, 1958 is an American film director, producer, artist, writer, and animator, notoriously known for creating some of the best fantasy films of all time. His films are often dark and gothic with macabre like elements and characters that when compiled together they create a unique, beautiful quirky type of horror that is original and timeless.
Born in the city of Burbank, California, to Jean Burton (the owner of a cat-themed gift shop) and Bill Burton, (a former minor league baseball player) Burton began his career as a preteen making short films in his backyard on Evergreen Street. Using crude and basic stop frame animation techniques or shoot them on 8 mm film without sound. His oldest known juvenile film made in this way is 'The Island of Doctor Agor' that he made at 13. He studied at Burbank High School, but he was not a particularly good student. He was a very introspective person, and took more pleasure in being creative; painting, drawing and watching films. It came to be that his future work would be heavily influenced by the works of such childhood heroes as Dr. Seuss and Roald Dahl. After graduating from Burbank High School with Jeff Riekenberg, Burton attended the California Institute of the Arts in Santa Clarita, California, where he studied character animation.
As a student in CalArts, Burton made the shorts 'Stalk of the Celery Monster' and 'King and Octopus' and he graduated in 1979. 'Stalk of the Celery Monster' then attracted the attention of Walt Disney Productions' animation department, who then offered Burton an animator's apprenticeship at the studio, where he worked as an animator and storyboard artist and concept artist. He worked on films such as The Fox and the Hound (1981), The Black Cauldron (1985). However, Burton's natural uniqueness and personal style clashed with Disney's standards, longing to work on his own projects.
While at Disney in 1982, Burton made his first short, Vincent, a six-minute black-and-white stop motion film which was based on a poem the filmmaker had wrote. The concept considers of a young boy who fantasises that he is his hero Vincent Price, with Price himself providing narration. The film was produced by Rick Heinrichs, who worked alongside Burton in the concept art department at Disney. The film was shown at the Chicago Film Festival and released for two weeks in one Los Angeles cinema. This was followed by Burton's first live-action production 'Hansel and Gretel'. This was a Japanese-themed adaptation of the Brothers Grimm fairy tale for the Disney Channel, with the climax taking form in a kung fu fight between Hansel and Gretel and the Witch. Having aired once in 1983 at 10:30 pm on Halloween and then swiftly hidden and somewhat shelved, prints of the film are extremely difficult to find which then lead to rumours that the project did not exist. The short would finally go on public display in 2009 at the Museum of Modern Art, and again in 2011 as part of the Tim Burton art exhibit at LACMA. Burton's next live-action short, Frankenweenie, was released in 1984. Filmed in black-and-white, it features Barret Oliver, Shelley Duvall and Daniel Stern. After Frankenweenie was completed, Disney fired Burton, under the pretext of him spending the company's resources on doing a film that would be too dark and scary for children to see.
In 2012, Frankenweenie was re-releases as a 3D stop-motion-animation. In this remake the voice cast includes four actors who worked with Burton on previous films: Winona Ryder (Beetlejuice and Edward Scissorhands), Catherine O'Hara (Beetlejuice and The Nightmare Before Christmas); Martin Short (Mars Attacks!) and Martin Landau (Ed Wood and Sleepy Hollow).
Frankenweenie is still made black and white but it is also the fourth stop-motion film produced by Burton and the first one of these not being a musical. In the film, a boy named Victor loses his dog Sparky, and uses the sorts to use electricity to bring him back from the dead. With the success of Sparky's resurrection, Victor is then blackmailed by his peers into revealing to them, how they too can reanimate their deceased past pets and other creature which naturally results in mayhem. This tongue-in-cheek film contains numerous references and parodies related to the book, past film versions of the book and other literary classics.
Burton has worked repeatedly with Johnny Depp, a now close friend ever since their first film together. He is also known to work closely with musician and composer Danny Elfman, who has composed scores for all but two of the films Burton has directed. Actress Helena Bonham Carter, Burton's former domestic partner is also a reoccurring face in most of his films, often portraying strange and unusual characters with mad eccentric characteristics. He also wrote and illustrated the poetry book The Melancholy Death of Oyster Boy & Other Stories in 1997, and a compilation of his drawings, sketches and other artwork, entitled The Art of Tim Burton, was released in 2009.
Born in the city of Burbank, California, to Jean Burton (the owner of a cat-themed gift shop) and Bill Burton, (a former minor league baseball player) Burton began his career as a preteen making short films in his backyard on Evergreen Street. Using crude and basic stop frame animation techniques or shoot them on 8 mm film without sound. His oldest known juvenile film made in this way is 'The Island of Doctor Agor' that he made at 13. He studied at Burbank High School, but he was not a particularly good student. He was a very introspective person, and took more pleasure in being creative; painting, drawing and watching films. It came to be that his future work would be heavily influenced by the works of such childhood heroes as Dr. Seuss and Roald Dahl. After graduating from Burbank High School with Jeff Riekenberg, Burton attended the California Institute of the Arts in Santa Clarita, California, where he studied character animation.
As a student in CalArts, Burton made the shorts 'Stalk of the Celery Monster' and 'King and Octopus' and he graduated in 1979. 'Stalk of the Celery Monster' then attracted the attention of Walt Disney Productions' animation department, who then offered Burton an animator's apprenticeship at the studio, where he worked as an animator and storyboard artist and concept artist. He worked on films such as The Fox and the Hound (1981), The Black Cauldron (1985). However, Burton's natural uniqueness and personal style clashed with Disney's standards, longing to work on his own projects.
While at Disney in 1982, Burton made his first short, Vincent, a six-minute black-and-white stop motion film which was based on a poem the filmmaker had wrote. The concept considers of a young boy who fantasises that he is his hero Vincent Price, with Price himself providing narration. The film was produced by Rick Heinrichs, who worked alongside Burton in the concept art department at Disney. The film was shown at the Chicago Film Festival and released for two weeks in one Los Angeles cinema. This was followed by Burton's first live-action production 'Hansel and Gretel'. This was a Japanese-themed adaptation of the Brothers Grimm fairy tale for the Disney Channel, with the climax taking form in a kung fu fight between Hansel and Gretel and the Witch. Having aired once in 1983 at 10:30 pm on Halloween and then swiftly hidden and somewhat shelved, prints of the film are extremely difficult to find which then lead to rumours that the project did not exist. The short would finally go on public display in 2009 at the Museum of Modern Art, and again in 2011 as part of the Tim Burton art exhibit at LACMA. Burton's next live-action short, Frankenweenie, was released in 1984. Filmed in black-and-white, it features Barret Oliver, Shelley Duvall and Daniel Stern. After Frankenweenie was completed, Disney fired Burton, under the pretext of him spending the company's resources on doing a film that would be too dark and scary for children to see.
In 2012, Frankenweenie was re-releases as a 3D stop-motion-animation. In this remake the voice cast includes four actors who worked with Burton on previous films: Winona Ryder (Beetlejuice and Edward Scissorhands), Catherine O'Hara (Beetlejuice and The Nightmare Before Christmas); Martin Short (Mars Attacks!) and Martin Landau (Ed Wood and Sleepy Hollow).
Frankenweenie is still made black and white but it is also the fourth stop-motion film produced by Burton and the first one of these not being a musical. In the film, a boy named Victor loses his dog Sparky, and uses the sorts to use electricity to bring him back from the dead. With the success of Sparky's resurrection, Victor is then blackmailed by his peers into revealing to them, how they too can reanimate their deceased past pets and other creature which naturally results in mayhem. This tongue-in-cheek film contains numerous references and parodies related to the book, past film versions of the book and other literary classics.
Burton has worked repeatedly with Johnny Depp, a now close friend ever since their first film together. He is also known to work closely with musician and composer Danny Elfman, who has composed scores for all but two of the films Burton has directed. Actress Helena Bonham Carter, Burton's former domestic partner is also a reoccurring face in most of his films, often portraying strange and unusual characters with mad eccentric characteristics. He also wrote and illustrated the poetry book The Melancholy Death of Oyster Boy & Other Stories in 1997, and a compilation of his drawings, sketches and other artwork, entitled The Art of Tim Burton, was released in 2009.
Alice In Wonderland
Originally titled 'Alice's Adventures in Wonderland' to which it became shortened to Alice in Wonderland, is an 1865 children's novel written by English author Charles Lutwidge Dodgson aka Lewis Carroll. The story tells of a young girl named Alice who falls through a rabbit hole into a fantasy land where she has several adventures and meets all kind of peculiar, strange, anthropomorphic creatures. The popularity of the story is ever growing because of it's ability to interfere with logic. The whole narrative and structure of the story and the combination of the characters and imagery, have since been massively influential in both pop culture and literature.
There have been several adaptations of the story both in film and on stage. The first adaptation was a black and white silent film with a short running time of only8 minutes, made in 1903 by British directors Cecil Hepworth and Percy Stow. The film became memorable for its use of special effects which included Alice's body shrinking when in the Hall of Many Doors, and in her larger size whilst stuck inside the home of the White Rabbit. Only one copy of the original film is known to exist with parts now being lost. In 2010, The British Film Institute partially restored the film and its original film tinting and released it back out.
In 1951, Walt Disney made a cartoon adaptation, creating one of the most iconic images of Alice. The theme song from it has since become a jazz standard. On original release, the film was substantially criticised, but it just proved to be ahead of its time and is now regarded as one of Disney's greatest animated classics, as well as one of the biggest cult classics in the animation world. Too many, it is considered of the best film adaptations of the novel.
Other versions include various life action films such as the 1972 version starring Fiona Fullerton and Micheal Crawford. This version sticks more closely with the book and includes several more original characters like the Mock Turtle and the Gryphon played by comedic wordsworth Spike Milligan. Personally, this is my favourite version of the film because I love the naivety and simplicity of the filmography. In this version I think the characters have some of the most creative and elaborate costume choices and make -up for the time it was made and the set design has a playful childish feel to it whilst remaining accurate and effective.
There have been several adaptations of the story both in film and on stage. The first adaptation was a black and white silent film with a short running time of only8 minutes, made in 1903 by British directors Cecil Hepworth and Percy Stow. The film became memorable for its use of special effects which included Alice's body shrinking when in the Hall of Many Doors, and in her larger size whilst stuck inside the home of the White Rabbit. Only one copy of the original film is known to exist with parts now being lost. In 2010, The British Film Institute partially restored the film and its original film tinting and released it back out.
In 1951, Walt Disney made a cartoon adaptation, creating one of the most iconic images of Alice. The theme song from it has since become a jazz standard. On original release, the film was substantially criticised, but it just proved to be ahead of its time and is now regarded as one of Disney's greatest animated classics, as well as one of the biggest cult classics in the animation world. Too many, it is considered of the best film adaptations of the novel.
Other versions include various life action films such as the 1972 version starring Fiona Fullerton and Micheal Crawford. This version sticks more closely with the book and includes several more original characters like the Mock Turtle and the Gryphon played by comedic wordsworth Spike Milligan. Personally, this is my favourite version of the film because I love the naivety and simplicity of the filmography. In this version I think the characters have some of the most creative and elaborate costume choices and make -up for the time it was made and the set design has a playful childish feel to it whilst remaining accurate and effective.
Criteria 1
Facial Anatomy
As a make-up artist, knowledge of the facial bones, muscles and tissue is highly important within the application of make-up, especially in special effects and prosthetics. It's important to one; know the correct terminology and two; the placement and use of the bones and knowing what areas of the face move more than others or if creating injury, where bruising is more likely to appear etc. Just like all of your bones, your facial bones all serve an individual purpose.
The facial skeleton main function is to protect the brain, in the same way your rib cage protects your heart and other organs. It also houses and protects the sensory organs and provide a frame on which the soft tissues of the face which contribute to movement such as eating, facial expression, breathing, and speech. The primary bones of the face are:
The mandible
The maxilla,
The frontal bone
The nasal bones
The zygomatic bones
The temporal bone
The mandible is the U-shaped bone that forms the lower jaw. The horizontal part is called the body, and contains alveolar processes that form the sockets for the teeth. The mental protuberance is the part of the lower anterior body that juts forward or your chin. The body also has two small openings called the mental foramina. The vertical portions (pictured the 'ramus of the mandible') are called the rami. The angle of the mandible shows the transition between the body and ramus on each side of the head. Each ramus is in two parts that project upwards: the coronoid process is at the front and the condylar process is at the back.
The maxilla is made up of two maxillae which form your upper jaw with alveolar processes once again forming sockets for the teeth. The palatine bones form the back portion of the roof of the mouth, part of the orbits (the bony sockets of the eyes), and part of the inferior wall of the nasal cavity. Medially, they surround the piriform aperture, which is the pear-shaped anterior portion of the nasal opening. They then meet each other at the intermaxillary suture and join the zygomatic bones below the eyes at the cheeks.
The facial skeleton main function is to protect the brain, in the same way your rib cage protects your heart and other organs. It also houses and protects the sensory organs and provide a frame on which the soft tissues of the face which contribute to movement such as eating, facial expression, breathing, and speech. The primary bones of the face are:
The mandible
The maxilla,
The frontal bone
The nasal bones
The zygomatic bones
The temporal bone
The mandible is the U-shaped bone that forms the lower jaw. The horizontal part is called the body, and contains alveolar processes that form the sockets for the teeth. The mental protuberance is the part of the lower anterior body that juts forward or your chin. The body also has two small openings called the mental foramina. The vertical portions (pictured the 'ramus of the mandible') are called the rami. The angle of the mandible shows the transition between the body and ramus on each side of the head. Each ramus is in two parts that project upwards: the coronoid process is at the front and the condylar process is at the back.
The maxilla is made up of two maxillae which form your upper jaw with alveolar processes once again forming sockets for the teeth. The palatine bones form the back portion of the roof of the mouth, part of the orbits (the bony sockets of the eyes), and part of the inferior wall of the nasal cavity. Medially, they surround the piriform aperture, which is the pear-shaped anterior portion of the nasal opening. They then meet each other at the intermaxillary suture and join the zygomatic bones below the eyes at the cheeks.
The frontal bone forms the front portion of the skull. It forms above the eyes and includes the forehead, the roof of the nasal cavity, and the roofs of the orbits ( pictured above) of the eyes. On the upper side of each orbit, the frontal bone is marked by a supraforamen (or supraorbital notch in some skulls), which is where blood vessels and nerves pass through to the tissues of the forehead. Within the frontal bone are two frontal sinuses, one above each eye near the midline.
The nasal bone is one of two small, oblong bones that vary in size and form depending on the individual. They lie parallel to one another between the frontal processes of the maxillary bones and then join together to create the bridge of the nose. These bones serve as attachments for the cartilaginous tissues that are responsible for the shape of the nose. Throughout you're life, your nose doesn't stop growing as well as your ears.
The zygomatic bone is one of two bones (also called malar bones) that are form your cheekbones, both below and to the sides of the eyes. These bones also help form the lateral sides and bottoms of the orbits . Each bone has a temporal process, which leads down the back where it joins with the zygomatic process of the temporal bone. Together, these two processes form a zygomatic arch. The smooth prominence between the eye and the eyebrows extending from the zygomatic is called the glabella.
The temporal bone is one of two bones that form part of the sides and base of the skull. The temporal bones hold the internal structures of the ear and have depressions and what is called the mandibular fossae, which join the processes of the mandible. Below the ears (auditory meatus) are two processes; The mastoid process provides an attachment for certain neck muscles whilst the styloid process provides an anchor for muscles in the tongue . The mastoid foramen is a prominent opening in the temporal bone, which is found behind the mastoid process. It mostly provides an opening through which a vein and artery pass. A zygomatic process is found at the front of the temporal bone and joins the zygomatic bone to create the prominence of the cheeks.
Colour Theory
Generally, colours affect our lives in numerous way, with us making both conscious and subconscious decisions involving colour that we might not even realise until prompted. They affect us both mentally and physically too; whilst a strong red colour lipstick may leave you feeling sexy and good, the red colour itself has been shown to raise the blood pressure and in reverse a blue colour has a calming effect.
As a make -up artist, being able to use colours more consciously and harmoniously can really contribute to you creating spectacular looks.
Colour is split up into 3 main sections: Primary, Secondary and Tertiary colours. The primary colours are red, yellow and blue, and secondary colours are the colours you create when mixing two primary colours, which result in orange, green and purple. Tertiary colours are created by mixing the primary and secondary colours
As a make -up artist, being able to use colours more consciously and harmoniously can really contribute to you creating spectacular looks.
Colour is split up into 3 main sections: Primary, Secondary and Tertiary colours. The primary colours are red, yellow and blue, and secondary colours are the colours you create when mixing two primary colours, which result in orange, green and purple. Tertiary colours are created by mixing the primary and secondary colours
The colour wheel (or colour circle) is the basic tool for combining colours and was first designed by Sir Isaac Newton in 1666. It is designed so that virtually any colours you pick from it will look good together. Over the years, many variations of the basic design have been made, but the most common version is a wheel of 12 colors based on the RYB (red, yellow and blue or artistic) version.
There are a number of combinations that are considered to be aesthetically pleasing. These are called colour harmonies or colour chords. Colour harmonies are split up into 6 series of combinations; Complementary, Split-Complimentary, Analogous, Triadic, Tetradic and Square.
There are a number of combinations that are considered to be aesthetically pleasing. These are called colour harmonies or colour chords. Colour harmonies are split up into 6 series of combinations; Complementary, Split-Complimentary, Analogous, Triadic, Tetradic and Square.
Complementary Colours are opposite each other on the colour wheel (example: red and green).
The high contrast the complementary colours can create an especially vibrant look when used at full saturation.
Complementary colour schemes are tricky to use in large doses, but work well when you want something to stand out. In a creative make-up example, highlighting and contouring with bright contrasting colours can have a really good effect. Also when creating pop art style kind of eye look, or how red shadow look beautiful on vivid green eye.
Analogous colour schemes use colours that are next to each other. They usually match well and create calm and comfortable designs. Analogous colour schemes are often found in nature and are transitional which makes them pleasing. Contrast is still important when choosing an analogous colour scheme. Choose one colour to dominate, a second to support and a third is used as an accent. This is a typical colour scheme used as a make up artist, especially in more fashion based make up, because harmonising colours, especially natural tones is more appealing. |
Triadic colour scheme uses colours that are evenly spaced from one another.
Triadic colour schemes tend to be quite vivid and bright, even with a low saturation.
To use a triadic harmony successfully, the colors should be carefully balanced - let one color dominate and use the two others for accent.
Split-complementary colour scheme is just a variation on a complementary colour scheme. In addition to the base colour (green) you then combine the two colours opposite that are next to one another (magenta and orange).
This colour scheme has the same vibrancy as the complementary colour scheme, however it is slightly softer which can make it more appealing.
Tetradic (rectangle) colour scheme uses two complementary pairs. This offers several possibilities for variation and combinations. Tetradic colours work best if you choose one more dominant colour, but allow for the balance between warm and cool colours to remain in your design.
Square colour schemes are similar to the rectangle but instead the four chosen colours are spaced evenly around the colour wheel. In the same respect as the rectangle scheme where having a dominant colours helps keep the design effective.
The colour wheel can also be split into warm and cool colours. Warm colours tend to be richer and brighter whilst cool colours are softer and more calming. On the colour wheel, the warmer colours are mostly the reds, oranges and yellows down the mid yellowy-green, whilst the coolers colours are the blues, purples and the darker greens.
Tones, Tints and Shades of colour appear when more black, white and grey is added to a colour hue. A tone is created when more grey is added, a tint is by adding more white and a shade is by adding more black.
Lighting Techniques
As a make up artist, it is important to understand the effects that lighting can have on your make up and how artificial lighting and natural lighting can heavily affect a persons skin tone and can improve or ruin the make up you have created.
Studio Lighting
Studio Lighting equipment can fall into one of three major categories; the light source, modifiers that control the spread of light, and grips or stands that support the lights.
Professional studio lighting generally falls into one of two categories: a flash head and a power pack, or a monolight. A flash head and power pack kit consists of a small power pack that is basically the generator that supplies the power to the flash head. There are two kinds of power packs, symmetric power packs and assymetric power packs. Symmetric power packs divide the power equally between multiple flash heads, whereas assymetric power packs allow the photographer to control and vary the power supply to different or a single flash head(s). A flash head contains flash tubes that emit light once when injected with high voltages creating the flash.
Monolights, on the other hand, are compact alternative for a power pack/flash head combinations. Their size limits their power, but they are often use on location shoots because of their portability but both can be used with add on modifiers to change the light. Most lights provide heads that come in the form of a strobe surrounded by a reflector.
Studio Lighting
Studio Lighting equipment can fall into one of three major categories; the light source, modifiers that control the spread of light, and grips or stands that support the lights.
Professional studio lighting generally falls into one of two categories: a flash head and a power pack, or a monolight. A flash head and power pack kit consists of a small power pack that is basically the generator that supplies the power to the flash head. There are two kinds of power packs, symmetric power packs and assymetric power packs. Symmetric power packs divide the power equally between multiple flash heads, whereas assymetric power packs allow the photographer to control and vary the power supply to different or a single flash head(s). A flash head contains flash tubes that emit light once when injected with high voltages creating the flash.
Monolights, on the other hand, are compact alternative for a power pack/flash head combinations. Their size limits their power, but they are often use on location shoots because of their portability but both can be used with add on modifiers to change the light. Most lights provide heads that come in the form of a strobe surrounded by a reflector.
Softboxes are usually square or rectangular. They are lightweight boxes and have a reflective inside and a translucent front. Softboxes come in various sizes and are attached to the front the strobe over the light source. The light from the strobe head gets reflected inside the walls of the softbox and diffused through the box's translucent front which in turn creates a more soft, but more focused light source evenly illuminating the model or scene.
Reflecting umbrellas produce a more diffused and soft light due to the larger size of the reflective surface. They are mounted in a way that the strobe light actually faces away from model. Light travels from the strobe head, hitting the inside of the umbrella to then bounce back towards the subject. You can get various types of reflective umbrellas that are silver-lined, white, and gold tinted. Silver-lined umbrellas are the most efficient and can focus light more narrowly than the other types. White umbrellas offer a wider range of reflected light, and gold umbrellas add a warm tone.
Reflecting umbrellas produce a more diffused and soft light due to the larger size of the reflective surface. They are mounted in a way that the strobe light actually faces away from model. Light travels from the strobe head, hitting the inside of the umbrella to then bounce back towards the subject. You can get various types of reflective umbrellas that are silver-lined, white, and gold tinted. Silver-lined umbrellas are the most efficient and can focus light more narrowly than the other types. White umbrellas offer a wider range of reflected light, and gold umbrellas add a warm tone.
Natural Lighting
Natural Lighting refers to an non-artificial light source like sunlight or daylight. Sunlight is a portion of the electromagnetic radiation given off by the Sun. . On Earth, sunlight is filtered through Earth's atmosphere (daylight) but when the direct solar light is not blocked by clouds, it is sunshine; a combination of bright light and heat. Daylighting is the when placing windows and other openings or types of reflective surfaces provide effective internal lighting without the need of artifical lighting.
On a location shoot, guaranteed control of the light source is difficult however you can still manipulate the light by means of a reflector or portable studio lighting can still be used.
Natural Lighting refers to an non-artificial light source like sunlight or daylight. Sunlight is a portion of the electromagnetic radiation given off by the Sun. . On Earth, sunlight is filtered through Earth's atmosphere (daylight) but when the direct solar light is not blocked by clouds, it is sunshine; a combination of bright light and heat. Daylighting is the when placing windows and other openings or types of reflective surfaces provide effective internal lighting without the need of artifical lighting.
On a location shoot, guaranteed control of the light source is difficult however you can still manipulate the light by means of a reflector or portable studio lighting can still be used.
Criteria 2
Make -Up For Performance
Creating a make-up look for a performer is affected by several different environments and factors. Dependent on the brief for the make up look, certain elements may have to be taken into consideration depending on the production itself; Types of TV and Film, Stage and Catwalk and Commercial make up, like bridal.
Audience (Tv and Film)
There are several genres of TV and Film with these genres comes audience which can leave limitations to make up application; a children't tv horror series make up would be every different from the make up effects in an adults series. To show what I mean lets look at two vampire based series, My Babysitter's a Vampire and True Blood.
My Babysitter's a Vampire made in 2011, is Canadian television series, based on the television film of the same name and was aired on Disney Channel. The show follows Ethan Morgan (Matthew Knight), who, in the television film, learns that his babysitter Sarah (Vanessa Morgan) is a vampire. In the film, he learns he is able to have visions and his best friend Benny Weir (Atticus Mitchell) is a spellmaster. From the film into the series, the three young kids take on supernatural forces and have adventures, with occasional help from fellow vampires Rory (Cameron Kennedy) and Erica (Kate Todd), while dealing with the troubles of regular high school life and trying to fit in with modern day society.
True Blood is an American television series produced and created by Alan Ball. The series centers on the adventures of Sookie Stackhouse (Anna Paquin), a telepathic waitress with an the power to vision things and the mysterious stranger Bill Compton, a 173-year-old vampire who has returned to Bon Temps to take up residence in his former home following the death of his last remaining relative. The fictional universe in the series is suggests that vampires exist because of the creation of synthetic blood ("Tru Blood") by Japanese scientists allowing vampires to live amongst society without the need of human blood. However this leaves two separated groups; Those who wish to integrate into human society and campaign for citizenship and equal rights, and those who think that human-vampire co-existence is impossible because of conflict with the stereotypical violent nature of vampires. Throughout the series, the characters encounter several other supernatural including werewolves and shifters, whilst still remaining to hold onto their relationships and what humanity they have left.
Even though both series have similar plotlines, the character designs and make up effects are very different. In True Blood, the make-up has the right to be as hyper-realistic as possible because it's designed to make it believe to an adult audience member. Whereas, in My Babysitter's a Vampire (MBAV), even though there is mild violence, the blood and guts has to be more toned down and all most fake looking too make it appropriate for children's viewing meaning it can be aired at 6pm on a tuesday evening rather than at 11pm on a Saturday night. However television will always have the advantage of touch ups on set and afterwards in editing. The characters in True Blood can also be more sexualised than the characters in MBAV who have to remain with that tween highschooler vibe even though the girls have womanly qualities to their make-up, which can be achieved by the quick and easy application of red lipstick and eyeliner.
Audience (Tv and Film)
There are several genres of TV and Film with these genres comes audience which can leave limitations to make up application; a children't tv horror series make up would be every different from the make up effects in an adults series. To show what I mean lets look at two vampire based series, My Babysitter's a Vampire and True Blood.
My Babysitter's a Vampire made in 2011, is Canadian television series, based on the television film of the same name and was aired on Disney Channel. The show follows Ethan Morgan (Matthew Knight), who, in the television film, learns that his babysitter Sarah (Vanessa Morgan) is a vampire. In the film, he learns he is able to have visions and his best friend Benny Weir (Atticus Mitchell) is a spellmaster. From the film into the series, the three young kids take on supernatural forces and have adventures, with occasional help from fellow vampires Rory (Cameron Kennedy) and Erica (Kate Todd), while dealing with the troubles of regular high school life and trying to fit in with modern day society.
True Blood is an American television series produced and created by Alan Ball. The series centers on the adventures of Sookie Stackhouse (Anna Paquin), a telepathic waitress with an the power to vision things and the mysterious stranger Bill Compton, a 173-year-old vampire who has returned to Bon Temps to take up residence in his former home following the death of his last remaining relative. The fictional universe in the series is suggests that vampires exist because of the creation of synthetic blood ("Tru Blood") by Japanese scientists allowing vampires to live amongst society without the need of human blood. However this leaves two separated groups; Those who wish to integrate into human society and campaign for citizenship and equal rights, and those who think that human-vampire co-existence is impossible because of conflict with the stereotypical violent nature of vampires. Throughout the series, the characters encounter several other supernatural including werewolves and shifters, whilst still remaining to hold onto their relationships and what humanity they have left.
Even though both series have similar plotlines, the character designs and make up effects are very different. In True Blood, the make-up has the right to be as hyper-realistic as possible because it's designed to make it believe to an adult audience member. Whereas, in My Babysitter's a Vampire (MBAV), even though there is mild violence, the blood and guts has to be more toned down and all most fake looking too make it appropriate for children's viewing meaning it can be aired at 6pm on a tuesday evening rather than at 11pm on a Saturday night. However television will always have the advantage of touch ups on set and afterwards in editing. The characters in True Blood can also be more sexualised than the characters in MBAV who have to remain with that tween highschooler vibe even though the girls have womanly qualities to their make-up, which can be achieved by the quick and easy application of red lipstick and eyeliner.
Theatre and Stage and Catwalk
In theatre and when producing a look for on stage, the make up must be able to be seen by the audience whilst remain realistic and true to the character and with uphold underneath the heat of the stage lights.
From up close, the make up may appear heavy and inaccurate, especially on the terms of skin tone. Due the brightness and harshness of theatre lighting, a performers skin tone is very much saturated from how they would normally appear, which means their 'natural' skin tone has to be recreated by using make up which is actually a few shades darker than there skin, so that the lightening will not wash them out but actually make them appear more natural. Stage make up (such as Leichner and Kryolan) are designed to be a lot heavier in terms of coverage to withstand the heat of the light as well. Contouring and Highlighting as well may appear more heavy but is crucial for defining facial features that may be lost.
It's important to know the age of the character you're creating because you may have to make someone look 10yrs older/younger than they're real age and special effects techniques like 'stretch n stipple' will go unnoticed on stage. When working on the stage production 'Our House' this was one of the many factors I faced in my character make-up. I had to turn a woman of about mid 30's into a young 16 yr old girl but still leaving her face looking natural. In order to achieve this, I had to apply a lot of heavy contour on the cheekbones in order to try and slim down her face, I also did this on the forehead to make it appear smaller. On her eyes, I had to make her eye crease very dark and lining underneath her water line and her lid but not creating a wing but more of a rounded eye. This helped to bring her eyes forward making them appear bigger an therefore more youthful. Under her eyes, and on the temples and apples of the cheeks, I applied a very light highlighter so that the light would bounce off leaving her with a natural youthful looking appearance. Lastly I finished off the look with a rosey cheek to add some colour and depth back into her face and left her with a warm nude lip.
In theatre and when producing a look for on stage, the make up must be able to be seen by the audience whilst remain realistic and true to the character and with uphold underneath the heat of the stage lights.
From up close, the make up may appear heavy and inaccurate, especially on the terms of skin tone. Due the brightness and harshness of theatre lighting, a performers skin tone is very much saturated from how they would normally appear, which means their 'natural' skin tone has to be recreated by using make up which is actually a few shades darker than there skin, so that the lightening will not wash them out but actually make them appear more natural. Stage make up (such as Leichner and Kryolan) are designed to be a lot heavier in terms of coverage to withstand the heat of the light as well. Contouring and Highlighting as well may appear more heavy but is crucial for defining facial features that may be lost.
It's important to know the age of the character you're creating because you may have to make someone look 10yrs older/younger than they're real age and special effects techniques like 'stretch n stipple' will go unnoticed on stage. When working on the stage production 'Our House' this was one of the many factors I faced in my character make-up. I had to turn a woman of about mid 30's into a young 16 yr old girl but still leaving her face looking natural. In order to achieve this, I had to apply a lot of heavy contour on the cheekbones in order to try and slim down her face, I also did this on the forehead to make it appear smaller. On her eyes, I had to make her eye crease very dark and lining underneath her water line and her lid but not creating a wing but more of a rounded eye. This helped to bring her eyes forward making them appear bigger an therefore more youthful. Under her eyes, and on the temples and apples of the cheeks, I applied a very light highlighter so that the light would bounce off leaving her with a natural youthful looking appearance. Lastly I finished off the look with a rosey cheek to add some colour and depth back into her face and left her with a warm nude lip.
When creating a look for Catwalk, even though a performer or model is technically 'on stage' the make up application should not be as heavy as it is for stage but should still be bold enough to be picked up by an audience but it may be picked up by a photographer as well so all of these things need to be taken into consideration.
Normally on a runway, the model has to be viewed from 360 degrees and normally has more than one outfit change. Unless directed or given a set make-up design or a brief on the models make-up, it's important as a make up artist to create a design that will match all the outfits the model will be wearing. Also take in accountability the obvious elements of your model like eye colour, eye shape, face shape and type and skin tone. When working on a charity catwalk, I was asked to create a make up look for a model of mixed origin. After taking into consideration her outfits, I decided that I was going to give her a soft smokey eye using silvers blacks and golds teamed a bold liner and lip rather than heavy contouring and false lashes. As she had very dark skin, I used a palette that cream based foundation palette designed for african american skin. The only contouring I did was with a cool dark powder just to add a little depth and used a tiny bit of the same gold I used on the eyes as a highlighter. Overall, I felt that the make up worked exceptionally well with all the outfits and I had no complaints or negative feedback from her or the director.
Normally on a runway, the model has to be viewed from 360 degrees and normally has more than one outfit change. Unless directed or given a set make-up design or a brief on the models make-up, it's important as a make up artist to create a design that will match all the outfits the model will be wearing. Also take in accountability the obvious elements of your model like eye colour, eye shape, face shape and type and skin tone. When working on a charity catwalk, I was asked to create a make up look for a model of mixed origin. After taking into consideration her outfits, I decided that I was going to give her a soft smokey eye using silvers blacks and golds teamed a bold liner and lip rather than heavy contouring and false lashes. As she had very dark skin, I used a palette that cream based foundation palette designed for african american skin. The only contouring I did was with a cool dark powder just to add a little depth and used a tiny bit of the same gold I used on the eyes as a highlighter. Overall, I felt that the make up worked exceptionally well with all the outfits and I had no complaints or negative feedback from her or the director.
Commercial Make-Up
Bridal (typical)
Even Bridal make-up has its limitations and as a make up artist, especially in bridal ensuring your client knows exactly what they want is vital. Even if it's not what you would personally, your job is to do what they want however, that doesn't mean you can't offer your professional advice.
For most women, being a bride is the most important day of they're life and its your job as a make-up artist to make them feel as beautiful as possible. For some brides, the typical Kim Kardashian look whereas some might not wear make up at all so may have no idea. To really get to know you're bride, you should ideally see them 2 or 3 times before they're big day. First arranging a consultation with them so you can find out about them but also acknowledge what make up they like and what skin type or any complications they may have. The next time you see them for a trial, where the make up you have designed for them can be tested out and any adjustments can be made in the session or in another session prior to there big day. Airbrushing is a very popular with bridal make up because it is lightweight but with a great long-lasting coverage, however some brides may prefer to use their own foundations or products because its what they are used too. I personally have never worked on a bride however I have worked on bridesmaids where the make up was all relatively the same.
Bridal (typical)
Even Bridal make-up has its limitations and as a make up artist, especially in bridal ensuring your client knows exactly what they want is vital. Even if it's not what you would personally, your job is to do what they want however, that doesn't mean you can't offer your professional advice.
For most women, being a bride is the most important day of they're life and its your job as a make-up artist to make them feel as beautiful as possible. For some brides, the typical Kim Kardashian look whereas some might not wear make up at all so may have no idea. To really get to know you're bride, you should ideally see them 2 or 3 times before they're big day. First arranging a consultation with them so you can find out about them but also acknowledge what make up they like and what skin type or any complications they may have. The next time you see them for a trial, where the make up you have designed for them can be tested out and any adjustments can be made in the session or in another session prior to there big day. Airbrushing is a very popular with bridal make up because it is lightweight but with a great long-lasting coverage, however some brides may prefer to use their own foundations or products because its what they are used too. I personally have never worked on a bride however I have worked on bridesmaids where the make up was all relatively the same.
Asian Bridal
Asian Bridals are much more extravagant and vibrant than a traditional wedding. There are 3 parts to a asian bridal make up too that are split up into 3 days. In contrast to a british white wedding, in traditional asian weddings, the brides skin is always made slightly lighter than her skin tone, as they still see pale skin being associated with royalty and wealth. The Mendhi ceremony takes place on the first night of the three-day wedding and usually the most festive part of the event, it's filled with noise and colour. Nikah is the main wedding day is less eventful than the preceding days. The bride typically wears a bright-red ghaagra, a heavily pleated skirt with a long blouse embroidered in gold with gold and red make up to match. Valima is the third day that the groom's family hosts. I have recreated two asian bridal looks, both typical day and night looks.
Asian Bridals are much more extravagant and vibrant than a traditional wedding. There are 3 parts to a asian bridal make up too that are split up into 3 days. In contrast to a british white wedding, in traditional asian weddings, the brides skin is always made slightly lighter than her skin tone, as they still see pale skin being associated with royalty and wealth. The Mendhi ceremony takes place on the first night of the three-day wedding and usually the most festive part of the event, it's filled with noise and colour. Nikah is the main wedding day is less eventful than the preceding days. The bride typically wears a bright-red ghaagra, a heavily pleated skirt with a long blouse embroidered in gold with gold and red make up to match. Valima is the third day that the groom's family hosts. I have recreated two asian bridal looks, both typical day and night looks.
Criteria 3
Product Choices
From the start I knew that I wanted to body paint for my Final Major Project and I wanted it to be centred around psychedelics/abstract art using Alice in Wonderland as my Tim Burton theme. Coming from an artistic background anyway, working with paints is natural to me and previously being a face painter has made my interest in body painting more dominant.
I knew that there were many different kinds of body paints used in the industry, however I knew that as a student some of them would of been out of my price range, which is why in the end I decided to stick with what I knew and used face paint. However, price of body paint wasn't just the reason I chose to use face paint, I feel when used properly, you can create as just a good pigmented outcome as non-water activated or ready mixed body paint. However, I did look at some other alternatives incase face paints wouldn't be enough.
I tried using the Mehron water-activated paint palettes in class. Using the paradise palette, I wanted to see the consistency control and pigmentation and came up with a psychedelic pattern across one side of the face. This was my end result:
I knew that there were many different kinds of body paints used in the industry, however I knew that as a student some of them would of been out of my price range, which is why in the end I decided to stick with what I knew and used face paint. However, price of body paint wasn't just the reason I chose to use face paint, I feel when used properly, you can create as just a good pigmented outcome as non-water activated or ready mixed body paint. However, I did look at some other alternatives incase face paints wouldn't be enough.
I tried using the Mehron water-activated paint palettes in class. Using the paradise palette, I wanted to see the consistency control and pigmentation and came up with a psychedelic pattern across one side of the face. This was my end result:
Although I really like the colours in the Mehron palette, because they are in a powder from to begin with, I felt like they didn't have the same smooth creamy consistency that I desired. Also, I didn't like I guess chalky-ness of how the paints dried on the skin. Also I found then when using the paint on the skin, it kept dragging and the brush strokes were really prominent on the skin and it would of probably been necessary to paint several layers before getting the vibrancy I wanted. I also found that colour transferred to easily off the skin, which meant it didn't have the durability either. I also knew I would be doing quite a large area of the body (mainly the back, so transferring of the paint was something I needed to avoid.
I was going to try making my own pax paints by mixing Prosaide with Acrylic paints. However, I knew that the problem would be blending the pax paints because of the prosaide's drying time, it would mean I would've had very little movability once the paint had dried. Also the area of skin would have to be free of any hair because the PAX paint would catch onto them. I would of liked to use pax paints because I think the acrylic would have gave more of the painting I wanted to achieve however, on the basis of the blending being super important for this look, they just weren't suitable enough.
So going back to basics and as I said, to what I know, I decided to use Snazaroo face paints as well as my Kryolan Aquacolour palette. The reason I chose these two particular types of brands is because I like the creamy based thickness they have and they blend so well and are easy to work with. I find that painting with artist paintbrushes is the best rather than face painting or make up brushes because the hair really pick up the paint and the smaller thinner brushes work great for detailing. I knew that Snazaroo was a good choice for creating the vibrancy whilst keeping the softness I wanted from previous make-ups I had done as shown below.
I was going to try making my own pax paints by mixing Prosaide with Acrylic paints. However, I knew that the problem would be blending the pax paints because of the prosaide's drying time, it would mean I would've had very little movability once the paint had dried. Also the area of skin would have to be free of any hair because the PAX paint would catch onto them. I would of liked to use pax paints because I think the acrylic would have gave more of the painting I wanted to achieve however, on the basis of the blending being super important for this look, they just weren't suitable enough.
So going back to basics and as I said, to what I know, I decided to use Snazaroo face paints as well as my Kryolan Aquacolour palette. The reason I chose these two particular types of brands is because I like the creamy based thickness they have and they blend so well and are easy to work with. I find that painting with artist paintbrushes is the best rather than face painting or make up brushes because the hair really pick up the paint and the smaller thinner brushes work great for detailing. I knew that Snazaroo was a good choice for creating the vibrancy whilst keeping the softness I wanted from previous make-ups I had done as shown below.
Beside body painting I knew that I wanted the to use some special effects in the look too. Upon deciding I was going to incorporate The Wall into my piece I wanted it be exposed from out of her skin, like it was tearing through her back like the rabbit hole. To do this I would need her skin to appear ripped, and I decided that latex and tissue would be the best for creating this type of skin texture. I would be using other products such as bruise gels, fresh scratch, woundfiller and fx blood too, but I didnt use them in my original practise test.
The one thing that vital to my look was that I needed the product to stay on. I knew that you could get a lot sealant sprays and fixing sprays, like Ben Nye Final Seal and All Nighter fixing spray by Urban Decay. However, I needed something for holding on body paint. `After researching and reading a lot of product reviews, I decided upon buying the Kryolan Fixing Spray, which was said to create a waterproof barrier over the skin. However, as I only got this a few days before the show, I was unable to test it.
I did like the effect I had when I removed the latex from the skin on the finished painting however, I didn't rip the latex so I thought it probably look better once it was coloured.
I did like the effect I had when I removed the latex from the skin on the finished painting however, I didn't rip the latex so I thought it probably look better once it was coloured.