Bibliography

Bibliography:

 ('The Beautiful Necessity, The Dark Side of Hair' (online)(8th March 2008) viewed 21st January 2015. 

available from: http://thebeautifulnecessity.blogspot.co.uk/2008/03/dark-side-of-victorian-hair.html)

 ('Early Victorian Era Makeup; Cosmetics and Embellishments'. Kate Tattersall, 2011, (online) viewed 21st January 2015, available from http://www.katetattersall.com/?p=3735)

(Victoria's Marriage, Wikipedia. Viewed 21st January 2015. Available from:  'http://en.wikipedia.org/wiki/Queen_Victoria#Marriage')

(Robert Harris, 20th December 2013, 'Elements of the Gothic Novel' (online), [viewed 21st January 2015], available from Virtual Salt)

(SparkNotes, 'Great Expectations:Context' (online), [viewed 28th January 2015], available from: SparkNotes.)

(Charles Dickens, 'Great Expectations' (paperback), Wordsworth Classics, (edition published:1992))

(Wikipedia, (online), 'Great Expectations 2012' [viewed 30th January 2015] available from: http://en.wikipedia.org/wiki/Great_Expectations_(2012_film)#Release)

(IMDB (online), Great Expectations 1998, [viewed 30th January], available from:http://www.imdb.com/title/tt0119223/)

(Wikipedia, Great Expectations 1999, (online) [viewed 30th January 2015], available from: http://en.wikipedia.org/wiki/Great_Expectations_(1999_film))

(Wikipedia, 'Great Expectations 1989', (online) [viewed 30th January 2015] available from:http://en.wikipedia.org/wiki/Great_Expectations_(miniseries))

(IMDB, 'Great Expectations 1981', (online), [viewed 30th January], available from: http://www.imdb.com/title/tt0196254/)

(Wikipedia (online), 'Great Expectations 1974' [viewed 30th January], available from: http://en.wikipedia.org/wiki/Great_Expectations_(1974_film))

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(Wikipedia (online), 'Great Expectations (1934) [viewed on 30th January] available from:http://en.wikipedia.org/wiki/Great_Expectations_(1934_film))

(The Pragmatic Costumer, 'The Myth of a Myth: Brushing your Hair 100 Times', (online), 17th September 2014. [viewed 3rd February 2015] available from:https://thepragmaticcostumer.wordpress.com/2014/09/17/the-myth-of-a-myth-brushing-your-hair-100-times/) 

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http://www.tate.org.uk/art/artworks/turner-death-on-a-pale-horse-n05504)

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Pednaud, T. J. (2014) American Horror Story: Was Pepper Real? - Circus Freaks and Human Oddites. Available at: http://www.thehumanmarvels.com/american-horror-story-pepper-real/ (Accessed: 4 May 2015)

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Evaluation of Gothic Horror

Overall, I am really pleased with the progress I have made this year. From beginning the course, with no knowledge of Makeup and Hair, to leaving first year having completed these units, and being proud of the outcome. Gothic Horror has so far been my favourite unit, mainly due to the fact that I am a horror fan, and I haven't found it a task to research, I have enjoyed it. I am proud of both my Miss Havisham and Estella outcomes, as well as Quentin and Claudia. I have found working to both briefs easy and enjoyable, especially being able to manipulate the brief to create our own story for the characters. I feel in this unit, I have managed my time-keeping skills a lot better, which has resulted in me being less stress, and able to handle the work-load. The biggest difficulty I came across was when I was practising with the prosthetic pieces to create Quentin, and when they didn't stick to the face I became very stressed and frustrated. Rather than keeping with the prosthetics and creating a not-so-good outcome, I retraced my steps and began to think of other ways to create the same look. I have begun to think outside the box, creating original characters, and finding other ways to create horror without the blood. I am excited for what the next year of the course will bring, and am proud with how far I have come.

Moodboard for American Horror Story

This is my moodboard for American Horror Story: Asylum. I created this on Photoshop, using various tools. This, for me, represents the main themes in Asylum, Psychoticness, Demonic, Dark, and Desperation. I have used the woods as a background, to portray not only the setting, but the unknown that lies there. The woods could go on forever, or they could stop behind the next tree. I particularly liked how the forest created a cold, blue tone, which is harsh and send chills down your spine. I chose an image of a person wrapping their arms around their head, clutching at themselves in horror. The wide-eyed man, scared of the unknown, is another theme in Asylum. The patients are scared not only of themselves but the doctors who torture them, and the evil ex-Nazi who experiments on them. The next image is of the door, scratched by human nails. This represents the desperation the patients have to get out of the asylum, especially those who are wrongly institutionalised. The clutching hand is reaching out for help, but there is no one to hold him. The last image is of the demonic-looking character, who's skin is cracking off, revealing their inner self. I think this moodpboard accurately represents not only the setting, patients, or themes, but the emotions that are being faced in American Horror Story: Asylum.

Claudia Final Shoot.

These are my final images for Claudia. I am really happy with the outcome of my final shoot. I dressed my model in a plain, long-sleeved white tee-shirt, which I made a straightjacket from. The hair looks greasy and uncared for, from the water I sprayed her hair with. This is backed up by the dirt that is on her face and top, showing she is unclean. In these images, she has a slight smirk on her face, making her seem truly psychotic. 

Claudia Practise

This is my practice for Claudia. I am really pleased with the outcome of this, and will keep the makeup similar for my final shoot. 

Lucy Bowler - 19

Pale Skin with yellow undertones

Combination Skin

No allergies

Products:

Cleanser, Toner and Moisturiser. 

Kryolan UltraFoundation Palette

Illamasqua Skin Base

Illamasqua Translucent Powder

Coastal Scents Palette

Duo

MAC Satin

Fuller's Earth

Fake Blood

Water

Method:

1. Cleanse, Tone, and Moisturise the Skin.

2. Apply a light base, using the Kryolan UltraFoundation Palette and the Illamasqua Skin Base in White.

3. Set using the Illamasqua Translucent Powder.

4. Lightly contour the Face using the Brilliant Colour Palette, hollowing out the cheeks and the eyes. 

5. Work into the eye socket under the eye with a blue shadow (I used Coastal Scents), and grey from the Brillian Colour Palette. Blend out.

6. Line the eye with a red shadow, to recreate soreness. 

7. Apply Duo to the lips to recreate dry, chapped lips. 

8. Apply MAC's Satin to the cheekbones, and forehead to create sweat. 

9. Pat Fuller's Earth onto the face. This can be done roughly. 

10. With fake blood, create a few cuts to the face. 

11. Spritz the face with water, and the hair. 

I feel this is exactly how I wanted to recreate Claudia. I believe it really conveys Claudia's abuse, and psychoticness. I am really happy with this outcome, although I would like the hair to be more wet, to show the sweating a little bit more. 

Quentin's Shoot.

These are my final images for Quentin's Shoot. Luckily for me, I live very close to Ashridge Woods, where many films such as Harry Potter have been filmed. Prior to the shoot, I bought smoke bombs, as I imagined where Quentin emerges from the woods, it would be foggy and eerie. I dressed my model in all black, so that the focus would be on her face, rather than her clothing. I don't think an exuberant costume would have changed anything, as I feel it would take away from the makeup.  

These two unedited images are my favourite, as I feel I have captured Quentin's character well. He is the focus to both of the images, with the fog slowly smothering him. I feel I have followed the brief, as well as manipulating it to how I want it to be. I wanted to create an original look, and be horrific without having to use blood and guts. I believe that both the hair and makeup works together well, and that I have created an alien character, without having to use prosthetic pieces. 

Below are some of the other images I took on the day. I really like the images shot where the smoke is in the foreground, as it distorts Quentin as he is behind it. He appears as a figure, which I find quite eerie and uncomfortable as you cannot quite identify him. I shot from a range of angles and distances, in order to capture the true essence of Quentin. 

Quentin.

This was my final look for Quentin. I am really pleased with how my look turned out, after having to take a few steps back to rethink about the prosthetics. I believe the look without prosthetics looks better, simply due to how I have managed to create the illusion of high cheek bones, as they're so smooth and straight. I worked on a light base, using the Brilliant Colour Palette to contour, and colour around the eyes. I am happy with the blending around the eyes and the nose, making the face look deeper and more shallow in various places. 

Consultation

-Laura Day

-19

-Pale, Freckled Skin

-Combination Skin

-No Allergies

Products:

Cleanser, Toner, Moisturiser

Smashbox Photo Finish Primer

Kryolan UltraFoundation Palette

Illamasqua Skin Base

Illamasqua Translucent Powder

Kryolan Blush Palette

Kryolan Brilliant Colour Palette 

Masking Tape

Illamasqua Reflections Palette

MAC LipMix Black

Black Wool

Duo

Black Contact Lenses

Method:

1.Cleanse, Tone and Moisturise the Skin. 

2. Prime the Skin with the Smashbox Photo Finish Primer. 

3. Mix a light base using the UltraFoundation Palette, and Illamasqua Skin Base in White. 

4. Powder with Illamasqua Translucent Powder. 

5. Apply masking tape to the cheekbones, then begin to work into the cheekbones with the Brilliant Colour Palette, and Kryolan Blush Palette. Build up the colour. 

6. Remove the masking tape to reveal a sleek line on the cheekbone. 

7. Work into the edges of the forehead, nose and eye sockets with the Brilliant Colour Palette.

8. Use Illamasqua Reflections Palette Black Shadow to make the eyes darker. The colour should conceal the brows. 

9. Apply MAC LipMix in Black to the lips. This should be patted on using a finger, to create a distressed look. 

10. Apply White from the Brilliant Colour Palette to the tops of the cheekbones, above the brows, ridge of the nose and jawline. 

11. Apply Skin Base to the Lashes.

12. Tear apart black wool into small strips, varying in length and thickness. 

13. Using Duo, apply a small amount to each end, and stick onto the face from the forehead down, and from the bottom eyelash line. 

14. Finish by putting in black Contact Lenses.

15. Brush through the hair, ensuring there are no knots. 

16. Apply Gel, starting at the hairline, and combing through the hair. 

17. Twist the hair together, and let it fall over the shoulder. 

I am really pleased with the final makeup look for my representation of Quentin. I feel the makeup contains a sense of demonic possession and darkness, as well as very much alien. By slicking back her hair, it makes my model's head shape very prominent, and you are drawn to the eyes which are staring back at you. The wool creates vein like structures that squirm across her face, seeping black darkness into her skin. It seems that the wool is coming from her hair, and seeping from her eyes, which I am really happy with this effect. I am proud of the contouring, as originally I was going to use prosthetic pieces on the skin to raise the cheekbones, but I feel I have accomplished this without this. The eyes draw the viewer into them, because of their sheer darkness. I really enjoyed creating this look, as I am fascinated by horror and darkness. This was much more of an activity I enjoyed rather than a task.