aging

the proses of aging:

craeting a realistic and convincing age makeup for any indervigual requires understanding the physical mechanics of the facial aging process to project how a particular face will change with age. every indervigual ages at a veriable rate. but in a farely pradictable series of changes seems to accur in a similar order in most people. for example wrinkles will first appear in certain location, then in others, such as first on the forhead and around the eyes, then around the nose and mouth.

here is a guidlene; wrincles apere perpandicular to thhe strech of the underlying muscles, for example lines across a forhead are perpandicular to the vertical pull of the frontails muscle of the face. if you understand the facial muscles, it will be easier to deturmine where to place age lines and wrinkles that look natural.

the first of the wrinkles to arrive are often the transverse lines of the forhead whitch apear in most males at the age of 40 and sometimes sooner. the nasolabial furror from the nose to the outer corner of the lips is also another earl arival. as with all facial characteristics there are of corse broud individual variations. the tisue around the eyes are especially susceptive to wrinkling, crows feet often forming at the sides but this depends on the individuals skin tonus and on the quality of the underlaying tisue.

excess of alchahole is a well nkown couse of skin changes of a more or less permented skin. but even here constitution is all important: individules vary a great deal in their responce to physiological abuse. many heavy drinkers retain fresh, unmarked features until the end of their days where as others get rosy noshes and it can show more in the face.

some people who we might describe as facialisers whoes tensions seem to be reliced to some degree through their facial muscular. it seems to be a combination of this with particular constatutional prosseses which produce the wrinkles in our faces. their are countlas people who have lived happy lives whose face are completely smothered with characterfull wrinkles.

aging with photoshop, stages

i wanted to look at how you could also gae a face using photoshop to get an idea of what the face would look like through the stages, this could be helefull to use before you go in to sculpt the pieces. you could also use this to if the character was aging through out a performance to show gradual aging and subtaltys.

i would have liked to have done this for my aging make-up if i felt more confident in using photoshop,

sculpting an old age make-up:

the most important thin to consider in this section on the project is to look at not just how faces age and the skin and muscle changes but to look at my family to see how they have aged. i will look at patterns in the aging of the femail members of my family to see if any would accour to me as i age. as well as this i would also like to look at the lifestyle of the family and how that could have altered their faces and the aging prosses. because of this i will have to look at my lifestyle and how this is going to change as i get older and the affects this can have of the way my own face ages through time.

aging in my family:

face casting:

1. draw on to the face with eye linner the lime where you are going to go up to for your face cast.

2. put vasaline on all of the hair that will be in contact with the elginate; the eye lashes, eye brows, side burns and the hairline.

3. also put the vasaline on your hands.

4. put the elginate in to a bowl and then add water 2 cups for 2 cups of alginate and mix well, but quickly.

5. if this is to thick or to thin just add more water or more alginate.

6. with finger fulls of elginate place on to the face and smeer over starting at the top and ending on the nose.

7. look out for thinner areas and go over, also have somone looking at the nose to make sure the nostrals do not get covered.

8. when it starts to go hard stop using it and if not finished make more do not try and use.

9. with a bowl of water dip in the bandage plaster and then fold in half.

10. put this around the face layering up to support the alginate when finishing this add some larger strips around the whole of the outside of the face.

11. whait for the plaster bandage to dry and then get the model to lean forward with their hads on the cast and go around the outsid e peeling the cast of.

12. then place wet tisue inside the alginate to help stop it from drying out and miss shaping.

self evaluation of practical:

my face cast:

ones our face ahad be cast in alginate we then went on to getting melted plasterline poured in to it to give us a maluable surfce to work on to, then we filled in the rest with plater and let dry. this gave a more stirdy and useable piece to work on to i liked the fact that we can now sculpt in to the face to give wrincles and skin texture on top of the original cast.

my face cast came out quite well the plasterline made a few lines and gaps in the face but over all the face came out well and most of the feature were in tact, i had to re sculpt the nose as the cast didnt cover my nose but other than that it gave me a correct replicate of my face in witch to age.

before i was able to start to csulpt on to the cast i had to smooth down and correct the lines this got rid of alot of the skin texture on the face but this sould not matter as i will have to change the shape of some of the areas and as long as i have some of the texture left to use as referance as well as the images of family members and aging i should be able to age my face with the right skin texture.

making faces playing god:

I looked at the book making faces playing god to see if it would have anything to do with aging to help with the transformation of my face in my sculpt. i found it quite interesting what i found and this will certanly help with my understanding of how aging works and the effects it can have on the face as well as how a makeup artist should approach the task of aging someone too a realistic and convinsing level.

with the face casting practical i felt ok with the aplication as have done it before, it was a matter of mixing the alginate so that it wasnt so runny that it would run of the face or near thair nose but thick enough to apply and handle but wouldnt set to quickly . i think we got the balance right and as we went on doing all of the cast everyone felt more confident and it went alot quicker and smoother as we all had our rolls and all new what to do.

the way the casts came out also was succesfull as they all mangaed to have minimal air bubbles and covered the intire face getting all of the detail of the features.

the only problem we came across was a couple of the models that we were face casting didnt like the prosses of having the products on their face so we had to keep them as calm as possable and also be as quick as we could and reasuring them throught. we also had to ask if they wanted it to be taken of and if they were ok throught and in the end they managed to finish the prosses without any problems.

one of the most important parts of this prosses was comunication with the model as well as the people your are working with to see that everything is being done and their is always someone looking at the nose and making sure the prossesis safe for the model.

what can influance the way we age:

Aging and Wrinkles

With age, skin cells divide more slowly, and the skin's inner layer, called the dermis, begins to thin. That starts to undo skin's stretchiness and structure.

Aging skin also starts to lose its ability to hold on to moisture, makes less oil, and is slower to heal. That all contributes to the wrinkling process.

Facial Muscle Contractions

Lines between your eyebrows (frown lines) and lines jutting from the corner of your eyes (crow’s feet) are thought to result from facial muscle contractions. Smiling, frowning, squinting and other habitual facial expressions make these wrinkles more prominent.

Sun Damage and Wrinkles

Getting too much sun damages your skin. That leads to wrinkles. To help prevent them, stay out of the sun between 10 a.m. and 2 p.m., and make it a habit to wear a broad-spectrum sunscreen with a SPF 30 every day, even in the winter and when it's cloudy. Wear a large brimmed hat and cover exposed skin with clothing, such as a long-sleeved shirt and pants.

Smoking and Wrinkles

Smoking curbs your skin's production of collagen, which is a key part of the skin's structure. The downturn in collagen paves the way for wrinkles. That's one more reason to quit smoking, or never to start.

skin and the sun:

i wanted to look at the skin all all the aspects of a persons lifestyle that could influance the way we age starting with th sun and waether and how this can change your skin as well as your lifestyle and dieat, this can all have an impact on the way we all age. i think this will also help me to estimate how i will age depending on the way i live to give a more acurate interpritation of my face in old age.

Sun exposure severely wrinkles one side of truck drivers face...

A truck driver who spent over 28 years at the wheel of his vehicle has developed serve skin damage, which has caused one side of his face to age by decades.

section from making faces playing god;

age makeups by contrast, should be utterly persuasive.ideally the intervention of makeup should not even be sugested. age makeup can not disguise the character in to unrecognisability. we must see the resemblance along with the change.

if age makups are subtaler than than other projects, they also project other specialized demands on a makeup artist.the required knowlage of the physiology od aging; of how and why cells deteriate, wrincles apere, cheeks becom holow, hair recedes and coarsends, jowls collaps, and skinfolds form.the requir an understanding of the tragectory of the characters life.of how the adventure cares and adversitys, joys and indulgances of the characters unique history are read a history in a face, prahaps even more effectively and certanly than we can in real life.

doing to little is also a trap as well as to much; the job is aften not simply an exstreame age makeup, it may involve taking a character through stages of their life or simly from youth to midle age. exstreame change can be modifying one feature a hairline, a jawl an eyebag and leaving others alone, infact all our feature age gradualy at the same rate.

what i have taken from this text:

this text has told me alot about how the face will age and the ares that will start to sink and where lines and folds will form.

i found that it is also important to look at the character and what life they will lead as this can also affect the face and the way they age.

it also mentioned how the features age at the same rate so one area of the face wont be really wrinked and some not if you are trying to do a subtal or a middle age.

i will have to take this in to consideration when creating my old age sculpt making each feature age in a similar stage and making sure that i look at the history and pradict how it will age to give a more acurate age sculpt.

skin aging:

You may be surprised to know that every day, each skin cell can be exposed to more than 73,000 damaging assaults. Our skin cells experience even heavier damage because they're a part of an external organ and are exposed to even more harmful elements.

The Free Radical Theory of Aging is particularly relevant to skin cells. The unstable free radical molecules vibrate in the skin, literally poking holes in the collagen fibers (the skin's support structure) of the dermis. After years of this free radical assault, the collagen, which is a critical structural element of skin, becomes weaker and eventually causes the skin to collapse and form wrinkles. The rapid rate at which skin cells divide causes a shorter life span for the cell, and as we mature, the number of skin cells in our bodies decreases. Over time, the process results in our skin becoming thinner and thinner. Essentially, the more skin cells in your body and the thicker these cells are, the healthier your skin will be and the less wrinkles you will have.

looking at this it shows a step by step on how to create an old age makeup, i looked more at the refining the textures and making the textures as well as forming the shapes i we already had the cast of our face in plasterline so that didnt need to be done.

this section i particularly found usefull:

skin texture is like skin colouration, it is multifaced and multilayered. there is texture within texture. there is depth to the wrinkles. some are sharp and some are soft. some are deep, some shallow. skin wrinkles and creases are veried. dont fall in to a trap of making all the wrinkles and folds the same depth or length. the more varied and nonuniform, the better. at this stage of the sculpture youre still using the equivilant of mediun grit sand papaer.

i found this so usefull becouse my anital thoughts on the skin is that you would go over the skin with the same texture and now i think about it and after reading this it is so important to look at a range of wrinkes and textures.

the 60's

.all of the aforementioned lines become exagerated

. the cirumoral striae may cross over the vermillion border of the lips.

. the ears appear to get larger and wrinkles appear in of the tragus

. the jawline is very soft and tissues under the neck sag.

the 70's

. all of the aformentioned lines become more pronounced and defined., accompanied by marked loss of elasticityof the skin and sagging tissue.

arcus senilisis a clowdy greyish or whitish are or circle around the perifery of the cornia. it most commonly occures after the age of 50 and is most frequant in men.

other factors can create an apperance of having aged without much passage of actual time. hair loss and a slight wieght gain can affect the apperance of aging beyond normal chronology. keep in mind that when you are creating transverse frontal lines they can exist beyond the natural hairline. because the corispond to the perpandicular vertical pull of the frontails muscle which stops very near the hair line for most epople.

the things i have noticed in the aging of my family members:

my mum:

after looking at my mothers face and how her face has aged i notices that the skin in the face drouped slightly around the eye area and under the eye as well as her jawls. the lines in her face are mainly also around the eyes ans some around the mouth area and above her lips. looking at her lifestle she exersizes regularly and has an active lifestye but has smoked for many years as well as spending alot of time in the sun. all these aspect have altered the way she has aged and the lines and forms of her face have changed.

my nan:

i then began looking at my nans face and how she has aged and she has formed lines around her outer edg of her eyes as well as some near her eyebrows on her forhead, but most o the lines are above her top lip and surounding the mouth area of her face going down on to her neck.

the most interesting and prominant aspect of her aging to me is her jawls and the folds in her face from the lines around her mouth. these lines and folds are quite deep and still smooth and blend in to the rest of the face, they give the bace of the forms on the face that i would have to loook at when creating my old age sculpt, not going as far as this as she is 80 and the age i am looking at creating is 60-65, i feel that i will age alot more similarly to my nan as she has never smoked and stays out of the sun the same as i do. as well as this i noticed on both of these images that there lips are quite thin so i would also like to thin out my lips slightleigh in my sculpt.

how will this affect my sculpt:

looking at all of the aspects of my familys faces and how they have aged they seam to have the majority of their lines and folds in the same places on their faces whitch is interesting as this will probably be alot more similar to how i will age as they are so similar.

what i have taken away from this and that i will be adding to my sculpt id that i will have the bace construction of the face that will consist of adding in more skin to the jawls as they have sunkan and the under the eye area as they have bags. i would also like to sink in the cheeks creating a more prominant cheek bone and sinking the skin as it has on my nans face.

when it comes to the texture of the skin i will bace this around the eyes and the mouth area as well as between the eye brown and lower cheeks. the deeper lines will be from the nose to the mouth and the jowels as well as the ones on the outer edge of the eyes and bags underneath. i would also like to add smaller and more fine lines surounding these areas and more throught the face to give a more aged skin texture.

looking at my lifestyle and how this will affedt the way that i age; i dont smoke so this will mean that i will not have some of the aging traits that my mother has in her face because of smoking.

i exersize modaratly i walk 40 mins a day but i do not do as much phisican exersize as my mother but more than my nan their for you can see that i carry more weight in my face than my mother but less than my nan.

my skin does have contact with the sun more so when i go on holiday which brings out freckles and can also create wrinkles and lines however i always were sun protection and tend not to sit in the sun for long periods of time. beacuse of my eyes are bad i strighn and this makes me frown creating frown lines when i am not waring my glasses. as my mum and nan did not need glasses until later on in life they dont have very prominant frown lines but i pradict that i will.

my lifestye:

starting my old age sculpt:

when starting the sculpt i wanted to focus on building the ares of clay that i wanted from my designs as well as taking away the clay in areas where i wanted the skin to sink in. i wanted to focus on getting the shapes of this right and blending it out so that it fits in with the shape of the face and doesnt look un natural.

i then started to add some of the more deep lines that i wanted to stand out like the ones on the outer edge of the eyes and the two between the nose and the mouth. to this i added some small worms of cleay to add more bdepth to the wrinkles and lines.

ones i was happy with the shaped and made sure that they worked with the bone structure of the face and flowed well together i steped back and looked at the lines and where i would want to add more lineas and if any needed taking away.

then i added in the finner lines and using small x shapes i went over the whole face with this and a stipple sponge to give the anital skin texture i then added more lones around the eyes and mouth as well as the jaw and nose where their would be the most movemant i the face.

character make- up sculpting - bruce spaulding fuller:

this is one of the dvd's that i looked at to help with my aging sculpt. i feel watching this and it showing a demonstaration with techneques and meathods can really help me to improve learn and develope the skills needed to create a succesfull old age sculpt. i prefer also learning from a dvd and watching them i feel i take alot more in than just from images.

prepping:

he cut the clay in to smaller chunks and in to a tub and then placing it in to the oven, make sure that you always put a tub in when u take one out so their is always warm clay on hand.

. the clay that he used was shavant clay nsp medium in brown.

. prepping cast: using a rast level out and shave down the bace so that it sits flat on the cerface so that it will not move when you are sculpting.

. fill in the aread that need to be fixed by creating a thick paste like plaster to aply to the areas.( wet the clay )

. he used liquitex acrylic paint the same colour as the clay and then painted the plater with this and dried with a hair dryer.

why; he did this so their was not such a harsh contrast between the edges , and if you are showing the sculpt and its only a section of the face that you have to sculpt it doent look un finished.

alcote- seporator:

alcote is a water based seporator and you paint three layers of this on to the plaster cast letting it dry between layers.

dont use a hairdryer to dry the layers let it dry naturaly.

sculpting;

. he quickly placed some of the clay on to the face shaping the main forms making sure that ity follows the natural flow and shapes of the face.

when doing the lipps only go as far as half way down the lips so that it doesnt get to wet and then wont stick to the lip.

blending and refining tools:

for the bogger areas he used a filed toothed large loop tool, for the face he used the same tool but a smaller version.

. he also used a disection tool with a small block of silicone on the end and put in to the clay to see the thickness of it on the cast, he did this to make sure that it was not to thin or to thick that it would be like a mask. the minimum width of the clay should be the same as a sheet of paper and no thinner otherwise it will be to delicate to handle and aply.

intergrating the design:

he sarted to add some of the more major large wrincles and blocking in with the clay.

he also added in the lower and upper eye lid.

anger lines and other wrinkles:

they form in the most used pattern on the face.

. something like this in industy should take between 2-3 days.

ones he had done the main sculpting before he sarted to add texture he put in a central line along the face and then measure from this the dimentions of the face to check that it is symetrical and the size of the ears are the same and the same distance from the central line.

my mum at the age of 47 yeard old:

my nan at 80 years old:

design:

for this design i took inspiration and prodictions on what i was going to age like between the age of 60-65 years old from my relatives and how they have aged as well as looking at my face and where lines are starting to form and folds created.

i noticed in my familt they aged around the eyes so i wanted to sink them back slightleigh as well as adding bags and line under and crwos feet lines on the outer edges as you can see these when i smile now so at this age they would be more prominant as they develope.

i also frown alot because of my eyes so i added in some quite prominant frown lines to the forhead.

after looking at my nan i saw that she carried more weight on her jawls where her cheeks have lost alastisity as she has aged, i thought this would be a good way of aging the face in a more noticable way.

the lines under my nose to my mouth i notice now and i can see so i wanted to deepen these ferther and also both my mum and nan had these so it it most likely that i will to.

i also sunck in the cheek bones as this is something i have also noticed my family have and a lot of older people develope.

the skin texture on the sculpt i would like to create a fine line texture throught and deeper more set lines arounf the eyes and mouth. the porse around the nose and slightly on the cheeks surounding i would also deepen as they will get bigger as i age and this is where they mainly are on my face.

developing my sculpt:

at this stage of the sculpt i went over the skin texture adding more layers of texture and pores. as well as this i also added wrinkes to the eye lids and the lips to make sure that they matched the rest of the age sculpt.

i also had to shape the nostrils a bit as they had got a litte miss shapen in the cast. after this i checked over the sculpt neetaning any lines or dips that might have accoured when mooving it and throught the sculpt.

what i thought went well:

with this sculpt the thinks that i personatly thought worked were the shapes that i had created around the mouth to bring the skin down as if the skin had lost its alastisity and had started to sag. i think they looked quite natural and flowed with the shape of the face.

i was also happy with the texture of the face i didnt think it had enough when i looked back at it but after adding in some more lines and pores i think that it gave it more depth and realim to the sculpt.

what i thought didnt go well:

the areas of this sculpt that i thought didnt go as well as had hoped and that i thought didnt work were the bags under the eyes when i first sculpted them they were more prominant but ones i had added all of the texture i think it took away from the size of the bags and now i dont think that they are as large and deep as i wanted looking at the size of the eye bags in my family they werent enough.

i also thought that i had lost some of the x lines and wrinkes when i built up some of the areas of texture and now wish that i had gone over them and made them deeper so that they wouldnt have faded as much as they did.

i also think that the lines between the eyebrows are to big, i no i wanted to add them and i think they are still needed but they make the face look angry and if the face was relaxed then they wouldnt be as prominant as this.

what i would liked to have changed:

if i was to do this again or had more time to ulte this gae sculpt the changes that i would make would be to focus on the anittal shapes of the face more before adding texture. i would also have added more shapes and bags under the eyes and less froun lines between the eye brows.

when it comes to the texture and the finishing of the face the changes that i would have made would be to go deeper with some of the lines and wrinkes that i wanted to stand out more and i woulnt have blended them as much as i did so that you could see them better because i feel they were lost in the sculpt.

i felt that at this stage of the sculpt that it needed to have nore pore texture and a better knin texture over the entire face i was worried that if i did this to harshly it would look to much.

i thought a good solution to this would be to add and make the texture througha thin sheet of plastic to still give the texture but less harshly.

this worked quite well and wile i was doing the pore texture i also added some skin texture using my stipple sponge and a cut down brush.

i was however happy witht he shapes of the face and the lines and parts that i had added after looking at how i think i would age.

feedback and self evaluation on the final age sculpt:

the texture of human skin varies across the face. the skin on your forhead is differant, thinner than the skin on your cheeks, which id differant from the skin on your nose or your neck. this is why studying skin anatomy is verry important to us as artists. we must work from a foundation of reality to create a realistic, albeit often stylized belevability, in our makeup design and in our sculpture

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images from the book making faces playing god.

images from:

todd derbreceni (2009). special makeup effects. oxford: elsever inc . p23-251.

images from:

todd derbreceni (2009). special makeup effects. oxford: elsever inc . p23-251.

looking at this text you can see how areas of the face age at certine times and how you move and exspress your face had a huge affect on the lines created .

after reading this i would like to look more at where i move my face the most and how this will deepen and create lines as i age.