Importance of Continuity

In the production of films and TV programmes, the scenes are often shot out of sequence. This can be due to the availability of actors, the weather, or access to locations. It is not unlikely that a makeup artist will be recreating a look that was shot a year ago, when the director feels this is necessary. Members of the crew, including the makeup artists, could be working on other projects by the time the director chooses to re-shoot specific scenes, so people will be hired to replace and complete the looks once again. It is essential to take continuity notes when the film is played back, so that the looks are exactly the same. The actors must be dressed in the same clothing, complexions must be the same tone, same makeup and same hair. If this is not completed exactly the same as the time shot before, it will be very noticeable when the film is edited. It is up to the individual working to take notes and pictures of the looks. If anything has to be changed, it will be logged, with a scene number, and day number of the film sequence. Continuity is clearly very important to the TV and Film Industries, as if there re continuity errors, they make the production seem less believable, which is ultimately the most important part of a production. Here are a few examples of continuity issues:

(Delaware Academy, 'Film Continuity And The Make-up Artist' (online), [viewed 22nd February 2015] available from: http://www.delamaracademy.co.uk/the-make-up-artist/film-tv-make-up/makeup-continuity)

Assessment Part 1

I am really pleased with the outcome of the first half of the assessment. I am content with taking part in the second half, and the continuity side. I worked within the given time frame, showing that my time-keeping skills have developed. 

Practising My Final Look

Here I have practised my final look. This was in the session before our timed assessment, so my nerves were running high. I don't particularly like the wrinkles on the forehead, as I did not concentrate on the natural lines on my model. The rest of the face is exactly what I am hoping for in the assessment.

Here are some of the images taken on my iPhone of the final look after the assessment. I am really pleased with the outcome, and how the assessment went. I feel I am fully prepared for the continuity part of the assessment, as I have taken notes on how to create both the hair and makeup, and I have noted all the products used on my face chart. 

Miss Havisham Final Design.

For me, Miss Havisham seems to mirror a lot of characteristics of Queen Victoria, in her mourning period. Miss Havisham mourns the loss of her fiancee when he jilts her, and spends the rest of her life in the wedding dress, whilst Queen Victoria spent the rest of her life in her mourning dress. In my design, I want to communicate this deep sense of emotion that both these women have, and the utter sadness that has swallowed them up. Both women's whole lives revolve around one event, Miss Havisham being left at the alter, and Victoria's husband dying. Both women's lives drastically change due to the loss of a man, which to me shows how both women relied on and lived for their partners. I want to express the desperation of Miss Havisham through my design, the neglect of her own body and the result of this. Miss Havisham would be suffering from malnutrition, I picture her with dark, hollowed out eyes and cheeks. As well as malnutrition, another factor of her appearance would be how she keeps herself enclosed in the darkness of Statis House. This is very similar to how Victoria retreated from the public eye, although the novel was written in 1860, and Albert died in 1863, I can see a direct link between the two characters. Both women are obsessive with the loss of their loved one, with Miss Havisham keeping the dining room decorated with rotting food and dying flowers, and Queen Victoria instructing her servants to lay out Alberts clothes and medicines ready for his morning routine. I want my design to communicate the desperation of Miss Havisham, but also portray the horror with what she lived in. I want there the be an aspect of death about her, as if she is a ghost. 

Final Facechart

Practice 1

Practice1

Practice 1

I want to communicate the idea that Miss Havisham is rotting away inside her own body, she is close to giving up on everything that she has. Her whole life is now dedicated to using Estella as a weapon against all men, and after that is complete, it is her time to go. She is essentially waiting to die. I have used a dark palette to create this look, to portray the element of Gothic in the design. I have enhanced the natural wrinkles of the face using dark greys and warm browns, to keep them as natural as possible rather than theatrical. I have used a contour brush to softly blend out the hollowed eyes and cheek bones on my partner, which also makes the look more realistic. By ageing her further with white eyelashes and eyebrows, this helps to place her in the timeframe. I am going to spritz her hair with dry shampoo to make it dusty, as well as backcombing and letting the curls drop. 

Practice 2

Practice 2

Practice 2

Here I practised the look as a whole, including the hair. By doing this, I know now how the hair ties the look altogether. I have pulled some strands of the hair out of the bun to make it look messy and uncared for. I am really happy with how my idea is moving forward, and am very happy with my final design. I have been able to communicate the Gothic and the emotions faced by Miss Havisham through this look, as I want people to empathise with her. 

Death Masks

In our seminar with Sharon, we created our own death masks. I found this really interesting as we had to enhance the shadows on our faces in a photo, which made us look rather dead.

After taking these photographs, I saw the oppurtunity to adjust them, and create my own 'Victorian Style Death Mask', alongside my own 'Spirit Photograph'.

Changing this photograph to black and white and then adjusting the levels makes such a difference to the effect the viewer gets. This image is much more dark, in both senses. The shadows look much more realistic, whilst the actual black and white image ages it. Completing the makeup was a lot more difficult than I expected it to be, as you don't pick up the subtle shadows, and you miss a lot. 

Spirit Photography

This is my attempt at a 'Spirit Photograph', where I have placed another image onto of another, and adjusted the placement and opacity. I feel this is effective as its not the same photograph placed on itself, but another at a different angle, which makes it seem as if it's another person. I am happy with the outcome of this image, as it was initially just a play around on Photoshop.

Memento Mori

Perhaps the most significant time in Queen Victoria's reign was the period of mourning her husband's death, in December 1861. As I have already studied, disease was the most common cause of death, no one was immune. Albert's disease came and took its toll quickly. In November 1861, he contracted typhoid fever, sick in bed for his remaining days, until he succumbed to his fate and died on December 14th, at 42 years old. Victoria mourned Albert's death deeply for the forty remaining years of her life, rarely appearing in public, and only wearing black.

"How I, who leant on him for all and everything—without whom I did nothing, moved not a finger, arranged not a print or photograph, didn't put on a gown or bonnet if he didn't approve it shall go on, to live, to move, to help myself in difficult moments?" - Queen Victoria in a letter to daughter Victoria, following Albert's untimely death. 

The Prince's room was maintained as if he were still alive, each day the servants were instructed to put out his clothes on his bed, medicine on his bedside table, to bring hot water by his bedside for his morning shave, as they had formerly done in the many years they lived together. Statues were made of him, so his presence would therefore continue living there, and be part of her life still. Memento's were placed throughout Windsor Castle, were she spent majority of her days. After a year of her mourning, it was looked on by the public as obsessive, and an unease about their monarchy rose. This was constantly aggravated by the refusal of the Queen to appear in public. It took almost 2 years for her next public appearance on October 13th 1863, only to reveal a statue of her beloved Albert in Aberdeen, Scotland. The following year was to be her next appearance, riding through the streets in a horse drawn carriage in June, 1864.

Mourning Dress obtained very strict rules. A widow, would be expected to wear a full-length, black crepe dress, with white crepe collars and cuffs, for six months after the death.  On her head she would wear a crepe bonnet with a veil, or a widows cap and veil. The use of fur an seal-skin was also often worn. After these six months, the crepe dress could be removed, and changed to silk, crepe trimmed cashmere or plain black grosgrain. The widows cap would be removed after three months, and the heavy black veil could be changed for a much lighter one. The crepe veil however, carried many concerns by doctors. Being worn for such a long time over the eyes and nose, this could lead to cataracts and blindness, and the dye could lead to a catarrhal disease. Although there was a high risk of this, no woman had the courage to do so. The men however, had it easy, and wore black suits and black cravats. 

Victorian Mourning Dress.
http://karissa8n.livejournal.com/185023.html

Death brought many superstitions and rituals, including mementos of the deceased. Some of the superstitions that I found very interesting are below:

-Stop the clock in a death room or you will have bad luck. 

-If you hear a clap of thunder following a burial it indicates that the soul of the departed has reached heaven.
-If you don’t hold your breath while going by a graveyard you will not be buried.
-If the deceased has lived a good life, flowers would bloom on his grave; but if he has been evil, only weeds would grow.
-If you smell roses when no one is around, someone is going to die.
-If you see yourself in a dream, your death will follow.
-If a sparrow lands on a piano, someone in the home will die.
-If a picture falls off a wall, there will be a death of someone you know.
-A single snowdrop growing in the garden foretells death.
-Mirrors were to be covered so that the spirit of the dead would not get trapped in the looking glass. 

Woman can be seen propping up the body of a deceased infant.
http://www.huffingtonpost.co.uk/2013/01/30/memento-mori--victorian-mourning-photography-immortalising-loved-ones-death_n_2580559.html

Mementos of the deceased were obsessively collected by their families. Rings, brooches and even locks of hair were collected to remember the dead. Although photography was still a new concept, families would gather up all their money to have photographs taken of their dead up to 2-3 weeks after the death, and placed usually in living scenes, such as a family portrait. They would even paint the eyes on the dead to make them seem alive. 'Memento Mori' meaning 'Remember your mortality' took form. The deceased would be propped up, either standing or sitting. If, for example, they were a carpenter, they would be photographed in a woodshed, or if they were a priest, a church. Babies and children would be photographed with their families. Some families would even wait until the child had mummified, and dress the body and display as a piece of art. 

Man is propped up for his photograph.
http://www.huffingtonpost.co.uk/2013/01/30/memento-mori--victorian-mourning-photography-immortalising-loved-ones-death_n_2580559.html

Victorians became to get really excited about the afterlife, with the 'Spirit Photography' taking flight. This was a double exposure photograph of the deceased joining the family, in a translucent form. The Victorians were not allowed to cry, so they created new ways to grieve. Many families found peace by obtaining mementos, photographs or even taking part in seances. Another way to grieve, was the rise in the park cemetry. A family would go to the cemetry, sit at the grave of the deceased, with a picnic and entertain. These spaces were used as a place for reflection and remembrance, as well as a status of wealth.

Spirit Photography.
Man and woman are joined by the deceased in a double exposure photograph.
http://i.kinja-img.com/gawker-media/image/upload/s--rIu4FQ6t--/c_fit,fl_progressive,q_80,w_636/18m0bflvqpa88jpg.jpg

Death masks would also be made out of bronze, wax or plaster. These death masks would be a token to remember their loved one, and became quite popular. The images of the dead were popular within art, and became a normal image to see. 

Making a plaster death mask, New York circa 1908, George Grantham Bain Collection, Library of Congress https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0deAmxdUL8F_jl9p3BCM0SMo4uvmF54jn6EOaTusKKtUBcnN1C-4Rz4y6ZMfwS3zMloEydXON4e6J7sGB08g3C4rTX6lpkTFccYeAyyMC9xE7zBvTIExumcIfVRSw4P73AajG8hBijZoS/s320/Make+a+Death+Mask.jpg

Duke Of Wellington Death Mask

(Sparknotes, 'Queen Victoria: The Years of Mourning' (online) [viewed 22nd February 2015], available from:http://www.sparknotes.com/biography/victoria/section5.rhtml)
(Elaine Furst, 7th February 2013, '10 Fascinating Death Facts from the Victorian Era' (online) [viewed 22nd February 2015], available from:http://listverse.com/2013/02/07/10-fascinating-death-facts-from-the-victorian-era/)
(Sarah C Nelson, 30th January 2013, 'Memento Mori: How Victorian Mourning Photography Immortalised Loved Ones After Death', [viewed 22nd February 2015], available from:http://www.huffingtonpost.co.uk/2013/01/30/memento-mori--victorian-mourning-photography-immortalising-loved-ones-death_n_2580559.html)
(History, 'Victorians and the Art of Dying' (online), [viewed 22nd February 2015], available from:http://www.history.co.uk/study-topics/history-of-death/victorians-and-the-art-of-dying)

Consumption and Deathliness

The Victorian Era is renowned for excelling in their telling of ghost stories, a revolt against new scientific technology. But why were the Victorian's so good at telling ghost stories? The popularity of ghost stories was highly related to the industrial revolution, many people were escaping the rural land, and entering cities, creating a new middle class. The houses often had servants, taken on in early October/November when the nights drew in quickly, and were expected to be seen and not heard. The bigger houses, contained concealed corridors especially for servants. Many of the servants were not used to their surroundings, so often became frightened with the creak of a floorboard, as they became the ghost-like figures roaming the hallways. The houses never felt completely empty, there was always a presence in their homes. Another element to the rise of the ghost stories were the gas-lamps. The carbon monoxide emitted from the lamps often caused hallucinations, and many people became sure of seeing ghosts roaming their homes, by the middle of the 1800's, it was very common to encounter a spirit. Spiritualists were at an all time high, and seance's became very popular - the only way to communicate with the dead, whether it was their loved ones, or not. The Victorian's interest with the supernatural connected with the rise of the scientific technology, particularly photography. 
'Spirit Photography' became more and more popular within a short space of time, with many people charging enormous fees and using various tricks to show sitters with their deceased. William Mumler is one of the most prolific spirit photographers of the 19th Century. His photo, 'Mary Todd Lincoln with the ghostly hands of her dead husband, Abraham Lincoln', is one of the most famous pieces. 

'Mary Todd Lincoln with the ghostly hands of her dead husband, Abraham Lincoln'
William Mumler
1872

Mary Todd Lincoln was the wife of President Abraham Lincoln, and immediately became interested in the Spiritual world after the death of her son Willie, in 1862. Her and her husband reportedly held seances in The White House, in a desperate attempt to contact their beloved. After the assassination of her husband, Lincoln travelled around America, visiting mediums. Her period of deep mourning led her to Boston, where in one particular sitting, using the name 'Mrs. Tundall', the spirit of Abraham came to her and told her to visit William H. Mumler. Seven years after the death of Abraham, she visited Mumler, under the name Mrs. Lindall. She was sure that Mumler did not know her true concealed identity, keeping her mourning veil on right up until the photo was taken. Mumler also claimed that he believed the identity of the woman to be Mrs Lindall, when infact it was the deceased president's mourning wife. Three days after the image was taken, Lincoln came to collect the photos off Mumler's wife, who asked if she recognised the man with his hands resting on her shoulders, and the boy standing behind. After weeping at the sight of her beloved Willie and Abraham, she asked how long it would be until she could join them in their spirit home. 

(Kira Cochrane, 23rd December 2013, 'Ghost Stories: Why The Victorians were so spookily good at them' (online), [viewed 22nd February 2015], available from: http://www.theguardian.com/books/2013/dec/23/ghost-stories-victorians-spookily-good)

(Museum of the Macabre, May 14th 2011, 'Mary Todd Lincoln' (online), viewed 22nd February 2015, available from: http://macabremuseum.com/mary-todd-lincoln-and-spiritualism/)

Victorian Living

Surviving the Victorian Era was an unlikely occurrence. Infant Mortality and Childbirth were a common death within babies and toddlers, with most people experiencing atleast 1 sibling die. The causes could have been anything from malnutrition, disease, complications during birth etc. Babies were often subject to mistreatment, often being silenced with a concoction of opium and alcohol. 

Upper class areas of Liverpool, 1899.

-136 newborns out of 1000 would die before they reached the age of one. 

-Working class districts maintained a rate of 274 infant deaths per 1000 births.

-Impoverished slums had a horrifying 509 infant deaths per 1000.

-One half of all children of farmers, laborers, artisans, and servants died before reaching their fifth birthday.

Child in Coffin, circa. 1850.
http://thechirurgeonsapprentice.files.wordpress.com/2013/10/cd31.jpg

This is the shocking reality for the Victorian Era, which led to many, many children from one set of parents. One Child had the average of 10 siblings. Fatal Diseases, including multiple influenza outbreaks, diphtheria, scarlet fever, measles, whooping cough, polio, tetanus, and typhoid were the most common cause of death.

-Only 25% of people survived smallpox.

-Most people died from lungs deteriorating when suffering with tuberculosis.

-Cholera spread quickly through the unsanitized water systems, due to the over-population in the cities and towns. 

-In Manchester, 40% of children survived childhood. The Working Class were lower, 22 was the average life expectancy.

Anyone could be victim to these diseases, Charles Darwin lost his 10 year old daughter to tuberculosis in 1851. At the end of the 19th century, tuberculosis accounted for 60,000 child deaths per year. No one was immune.  

However, if one child was lucky enough to survive to the age of 4 or 5, they then had the odds against them due to Industrial Death. A child's life was extremely contrasting, dependent on the class. Wealthy Children had little parent-child communication, with an overwhelming sense of boredom, being constantly reminded to be prim and proper. Toys consisted of nothing but homemade dolls and wooden blocks. Whilst the wealthy seemed to have a good life, they were subject to an affectionless existence, only communicating with their nanny, living a lonely and monotonous routine. The working class children, on the other hand, lived in small houses with many of their family, even living in one single room. This left the families to be more close-knit, but this did not always lead to affection. Many parents would have 10-12 children on the reason alone that they would be able to help pay for bills. These children were made to work hard for long hours, in filthy and dangerous conditions. Health and Safety did not exist, the children had to do this work to help pay the bills, they had no say in the matter. Mining, factory work, street sweepers, chimney sweepers, clothing and hat makers, farming, textile mills, servants and sadly even prostitution were on the list of jobs for children. 

Victorian Chimney Sweep
circa. 1880's.
http://www.victorianchildren.org/wp-content/uploads/2012/12/Victorian-Children-Chimney-Sweeps.jpg

-Chimney sweeps would be sent up chimneys and come out covered head to toe in soot, only to be washed in cold salt-water, and sent up another, grazes and cuts still bleeding. 

-Children working in factories worked from 14-18 hours a day, every day of the week. Their small size led them to have to crawl in and under machines, often when they were still on.

Street Children were in abundance in Victorian England. They were found in alleys, often orphans or runaways from alcoholic or neglectful parents, were abuse was the norm. Some children fell prey to prostitution or thieving to stay alive, whilst some worked normal jobs like other children. 

 

(Paxton Price, 11th December 2011, 'Victorian Children in Victorian Times', [Viewed 22nd February 2015], available from: http://www.victorianchildren.org/victorian-children-in-victorian-times/)

Effects on Miss Havisham's Health

The effects that Miss Havisham caused herself by secluding herself from reality would have been great. Statis House, Miss Havisham's large home, is undoubtedly spooky, with Dickens referencing he Gothic throughout the description. "We went into the house by a side door - the great front entrance had two chains across it outside - and the first thing I noticed was, that the passages were all dark, and that she had left a candle burning there. She took it up, and we went through more passages and up a staircase, and still it was all dark, and only the candle lighted us." This lack of sunlight would have taken it's toll on Miss Havisham's health. She has barricaded all of the light out of her home, so that the only lighting is candles. The sun helps our body produce Vitamin D, which helps too keep bones and teeth healthy. It also has a vast effect on our mood, with Vitamin D deficiencies leading to SAD, or season affective disorder. This disorder leads to depression in the seasons that lack sunlight, particularly at the north and south of the world. Spending just 6 days in casual sunlight will make up for 49 days spent without any sunlight. Miss Havisham would have been very emotionally unstable at the time, so with taking away another source of light from her life will have significantly lowered her mood. "Saving for the one weird smile at first, I should have felt almost sure that Miss Havisham's face could not smile. It had dropped into a watchful and brooding expression - most likely when all the things about her had become transfixed - and it looked as if nothing could ever lift it up again. Her chest had dropped, so that she stooped; and her voice had dropped, so that she spoke low, and with a dead lull upon her; altogether, she had the appearance of having dropped, body and soul, within and without, under the weight of a crushing blow."

Another factor that would be effecting Miss Havisham's health would be her severe malnutrition. Her body's immune system would be significantly at risk of attack, whilst her muscles would be fading away, at risk of pressure ulcers and blood clots. It can effect the kidneys, where they become unable to regulate salt, which can lead to over-hydration or dehydration. Heart failure is at a substantial risk due to malnutrition, and just a few parts of the body that it can effect. Malnutrition has an impact on the brain, leading to depression. Miss Havisham puts herself at risk to all of these serious effects, because she has lost a love one, she has lost her meaning of life. She would have a hollowed out face, dry, upset skin, be very thin, with wiry hair. Not one part of her body would be looking healthy. Ultimately, Miss Havisham is setting herself up to die, and I believe that Pip can see this instantly. In his first visit to Statis House, he sees Miss Havisham hanging, and for me, this is his mind showing him what Miss Havisham wants, and Dickens implying to the reader that Miss Havisham is depressed and suicidal. "It was in this place, and at this moment, that a strange thing happened to my fancy. I thought it a strange thing then, and I thought it a stranger thing long afterwards. I turned my eyes - a little dimmed by looking up at the frosty light - towards a great wooden beam in a low nook of the building near me on my right hand, and I saw a figure hanging there by the neck. A figure all in yellow white, with but one shoe to the feet; and it hung so, that I could see that the faded trimmings of the dress were like earthy paper, and that the face was Miss Havisham's, with a movement going over the whole countenance as if she were trying to call to me. In the terror of seeing the figure, and in the terror of being certain that it had not been there a moment before, I at first ran from it, and then ran towards it. And my terror was greatest of all, when I found no figure there."

(Bapen, 'Introduction to Malnutrition', (online) [viewed 19th February 2015], available from: http://www.bapen.org.uk/about-malnutrition/introduction-to-malnutrition?showall=&start=2)
(Shelagh Braley & Kate Clark, 'How Does Sunlight Affect Your Mood?' (online) [viewed 19th February 2015] available from: www.life.gaiam.com/article/how-does-sunlight-impact-your-mood)

Burns

In this practical, we practised creating burns, using Gelatine. Gelatine can be bought in various forms, we practised with Block Gelatine from Kryolan, Gelglyk in a bottle form, and Food Gelatine by Dr.Oetker. You can decide how fresh the burn is, whether it be weeping, old, new, or shiny.

This is a burn created by my tutor on my arm. 

Kit: 

Gelatine

Microwave

Palette Knife

Supra Colours

Powder

Small Brush

Glycerine

Pus

Health and Safety - Do a heat test before applying to the client.

1. Heat the Gelatine. I used Block Gelatine, testing every 10 seconds.

2. Using a palette knife, spread over the area of the skin that will be burnt. It is crucial to blend it out on the outside, or you will get harsh lines. 

3. Pat the Gelatine using the palette knife. This will grab the Gelatine, and pull it up creating lumps, which is the burn effect. 

4. Dry with a hairdryer. 

5. Powder the burn,

6. Start applying the supra colour, using the depth you already have with the Gelatine. Use the supra colours to enhance this, making the burn seem deep. 

7. Fake blood, Pus and Glycerine can now be added to create a weeping blistered burn. 

I am really happy with the outcome of this practical. I need to work on the hard lines on the right side of the burn, but apart from the blending I really enjoyed this and am pleased. 

Trip to the Graveyards

On a recent trip to a graveyard nearby where I live, I took some photos that focused on the idea of Decay and the Gothic. The Gothic is all around us and I have learnt that studying this unit. I wanted to capture the sorrow but intimidation of the Gothic, which I feel I have really captured. In some images I came down to the level of the graves, as this makes them seem larger and daunting upon the viewer. I particularly like the close ups, as you can see every little detail in the markings on the graves, and the moss and algae that is slowly concealing them. The weather heightens the sorrow, as it conveys tears from the mourners. 

Joseph Mallord William Turner - Gothic in Art

Death On A Pale Horse (1825-30) – Joseph Mallord William Turner

'My son, sir, is going to be a painter.' But William Turner, was not expecting his son to become one of Britain's most loved and respected English Romantic artist. Joseph Mallord William Turner grew up in Brentford, a small town that was then by the River Thames, with his uncle Joseph Mallord William Marshall, after a family illness had struck his parents. He began experimenting with art, creating a few simple colourings, that sparked his passion for creation and expression. After moving to Margate, he generated a series of drawings of his new enviroment, which began to be sold in the window of his father's shop. His early works show his development of his independent style, and contrasting his more recent works to these show his struggle with perspective. At the tender age of fourteen, Turner was working under draughtsman Thomas Malton, who is described by Turner as 'my real master'. Turner joined the Royal Acadamy of Art, and continued to focus on architecture, when in 1790 his work 'A View of the Archbishop's Palace, Lambeth' was admitted to be shown in the Royal Academy summer exhibition. This was his first watercolour painting, reflecting the sheer talent that Turner posessed at the age of just fifteen. Building on his skills which were widely sought after, Turner took life-drawing classes, drawing the human form from nude models. He continued to exhibit his work at the Royal Academy exhibition, and began to travel England in search for inspiration, often visiting Wales. He travelled in the summer season, and painted in the winter. Turner's work ranged from simple sketches, to studies, to watercolour paintings. In 1796, 'Fisherman at Sea' was exhibited. This was Turner's first oil painting, but there was no doubt in the public's opinion as Turner received much praise over this piece. The heavy glow of the Fisherman's lamp illuminates the nocturnal scene, in which the Needles, just off the Isle of Wight, linger in the shadows, untouched by the mountainous waves which hammer into the delicate fishing boat. His career soared as he travelled around Europe, painting his surrounding landscapes in a variety of materials. There is a heavy focus on how the landscape is manipulated by the weather, especially storms, which occur throughout his work. The increasing use of light led him to be named 'the painter of light', as he used eccentric and vivid colours in his landscapes and seascapes. Towards the end of his career he had few friends, Turner had taken in his father who lived with him for thirty years until his death in 1829. This unavoidable subject had a heavy impact on his, leading Turner to be diagnosed with bouts of depression. Turner died in his mistresses home, in 1851. His funeral, arranged by the son of his tutor Thomas Hardwick, was attended by many who had respected his work with all their entirety, such as Henry Harper IV, Henry Scott Trimmer and George Jones.
Slumped across the back of the white horse is the body of the last of the Four Horsemen of the Apocalypse, Death. Often seen as a triumphant character, this is not the case, as the submissive posture of the largely skeletal form hangs, arm outstrecthed in hope of savouir. The figure emerges from blustering mists, contrasting the fragile corpse-like figure that drapes over the horse's back. The colours used are striking; the red-hot, angry, thunderous sky bellows above the gray stallion, who rears upwards towards destructive clouds. The dream-like mist swallows the subjects, the turbulent fog encroaches upon them. The pale horse and it's dark rider contrasts eachother, the horse represents innocence, whilst the reaper is callous in it's entirety. Such movement is captured within the piece, the viewer is invited to watch the scene unfold before them. The blend of Turner's harsh, wild brush strokes with the menacing colours reflects the feelings of the artist, who at this time was suffering from depression in the wake of his father's death. The unpleasant sight of the skeletal, caped figure is somewhat sublime, as death is simply dying himself, he has inflicted it upon himself. Turner embellishes his work with the fine pencil marks, which seperate the infusion of colours and tone, and to detail his work. Death is wearing a small crown, which to me reflects, however much the viewer hates Death and what he causes, he must be respected in his own way. This small embellishment has a deeper meaning, which is important to Turner after the loss of his father. I generally admire Turner's work as a whole, due to the seemingly effortless brush strokes to create such a harsh and dramatic world. Turner's work is before it's time, as his work is extremely abstract, which was totally unusual at the time he exhibited it. I feel Turner evokes a sense of the Gothic within his work, especially this piece, 'Death on a Pale Horse', one of my favourite pieces by this very talented artist. I wanted to glance at his work to show how the Gothic had influenced him to create his dark and mysterious work, that is eerie and sinister to the spectator.

Joseph Mallord William Turner

Death On A Pale Horse - c.1825-1830.

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

Dry and Dirty Skin

In this practical, we focused on dry skin, as well as dirtying the skin. 

Kit:

Old Age Stipple

Duo

Blood

Barrier Cream

Supra Colours

Consultation Notes:

-Lucy - 18 - Female

Combination Skin

Pale complexion with yellow tones.

Allergy to facepaint (Snazaroo). 

1. Prep the skin. 

2. Apply barrier cream to the skin where the Old Age Stipple. NOTE: You only have to use barrier cream under Old Age Stipple, not Duo. You apply makeup after Stipple, but can apply under Duo. 

3. Pour the Stipple into a bowl. Using a sponge, pat onto the skin. Feather the edges so that you do not get a harsh line. Feather around the eyes especially. 

4. Cool with a hairdryer.

5. Layer if needed, as many times as you wish. NOTE: Make sure the stipple is dry before applying another layer. 

6. Rub the stipple so that the latex comes off. You can pull parts of the stipple off to produce a drastic flaking look. 

7. Mix your base to desired colour. For a really pale base, white and yellow into the base will drastically lighten it. 

8. Work into the flaking skin with the Supra Colours from Kryolan. By patting the colour into place gives a sense of realism to the look, use small amounts of black to give depth. 

NOTE: By removing the colour with a baby bud, this can also work in your favour to make the look more real and less obvious.

9. Add vaseline or 8 Hour Cream to the cuts to look as if they are weeping.

10. Talcon Powder can be used to make the skin look dry. 

I am really happy with the outcome of this look on my partner Lucy. As I am new to prosthetics, I am surprised I am enjoying it so much. I feel this look is realistic, although I could have worked into the Old Age Stipple with the Supra so that the skin looked sore. I could also dirty the skin around the flaking skin to make the skin look more neglected. 

Dirtying the Skin. 

Kit:

Kryolan Hairspray

This look is simple and easy to create dirty skin. Spray the hairspray colour from around 30cm away, and rub into the fingers and around the nails. Make sure the models hands and fingers are bent, so that the colour can be worked into the wrinkles of the knuckles. Fullers Earth can be used for a dusty effect.

Fever.

Kit: 

Vaseline, Bryllcreem, Glycerine

SupraColours

Base Foundation

1. To create a feverish look, mix a pale base using white and yellow, as well as a light foundation. 

2. Make sure the whole face is covered, right up to the edges of the eyes. 

3. For tired eyes, use blues and browns to make the skin look more translucent. 

5. Do not powder someone who is ill, you want them to look sweaty, so use a water spray, or Glycerin, Bryllcreem or Vaseline for sweat that stays. 

Rashes.

Kit:

Alcohol

Supra (red)

 1. Mix the alcohol and colour and ask model to close eyes. 

2. Rub into the skin to create a soft look with no hard edges. 

This can be used to create freckles, if the mix is flicked onto the face.