dramatic contexts
portraits
I wanted to start of at looking at a range of portraits from differant artists and earas. ones i had dont this i found that i would like to do my piece as a femail portrait as i found them more interesting and chalanging with pradominant nose shapes and bone stucture. alot of the mail potraits had facial alot of facial hair i think this would be a good example for using posteche however i wanted to look more at the bone structure of the face and alot of this would be covered over in a mail portait. i also found the portaits that were more interesting to me had more abnormal or large features that i could re-create and exsperiment with.
After my anitial research of the potraits i was interested in i also wanted to wait and keep my mind open to any other portraits that could be of intest at the national portrait gallery as well as any others i might come accross in my ferther research.
national portrait gallery:
on our trip tot the national portrait gallery their was a huge range to look at but for me their were a few that stood out as more interesting pieces of iconic figures through history.
alberecht durer
self portrait, 1498
oil on pannel
madrid, museo nacional del prado
jacopo pontormo
lady in a red dress, 1532/33
oil on panel
frankfurt/m, stadelsches kunstinstitute
piero della francesca
frederigo da monterferltro and his wife battista sforza
terpa on two pannels
florance, galleria degli uffizi
Ilooking at these images also i founf that i could have chosen any of them and their would be interesting aspects of the face and hair that i could focus on but non of them struck me as beying as stricking as i would like for the portraite that i would like, i did however like the direction of the faces that are to the side i think a profile portraite would be quite interesting to see the changes you have made it would be more noticable from this vue.
these portraits i picked out because of their abnormal and large features such as the nose as a focal point because i wanted their to be a visable differance between the before and after images. looking back at this i think the key to this beying successefull it subtalty and maybe if i chose a nose that was to differant from the original it might look to obveouse in the other respect if i have a portraite that is to similar to the original than the prosthetics may not be needed so i will have to get the balance right between the two.
after our trip to the national portraite gallery i noticed the paintings that i found most interesting and apropreate for this unit where the ones from the elizabethen and tudor eara. because of this i wanted to look ferther in to more paintings of that time to see if any stood out to me as the one i wanted to do for my make-up. i found alot of the portraits of women had reseading hair lines as it was the fashion of the time and i thought this would be an interesting thing to look at in terms of wigs and knotting as i would like to include this to practice and demonstrate the techneque.
out of the ones that i looked at i found a few that i think i might use one of. they all have indavigual aspects of the portraits that i fine interestingbor abnormal that i likes such as the noses are elongated and the skin is pale and it will be challanging trying to decide whitch to choose depending on these aspects.
portraite of mary stuart queen of scots:
François Clouet (1516-1572) He was a pupil of his father, Jean Clouet (ca.1485-1540/41), whom he succeeded as ‘painctre et varlet de chambre’ to Francis I in 1540. François Clouet produced a number of portrait drawings, paintings and miniatures of the members of the Valois court but also produced allegorical landscapes. He ran a large and successful studio whose members included many of the most prominent artists of the next generation: Jean Decourt (1572-1585), Marc Duval (ca.1545-1581), Etienne (ca. 1540-1603) and Pierre Dumonstier (ca. 1545-1625), François Quesnel (1543-1619) and Frans Pourbus (1545-1581).
This portrait of Mary Stuart, Queen of Scotland, is a copy derived from a miniature preserved in the Royal collection, Windsor. It portrays the young queen at the age of 16 while she was still in the French court where she was brought up. She wears a lavish red dress embroidered with pearls, characteristics of the French fashion of the 1650s. This portrait enhanced her beauty and dignity for which she was renowned since her young age.
portraite of lady anne:
He served as a court painter to James I of England, where his portraits became known for their faithful rendering of the textiles, embroidery and jewellery that were fashionable among Jacobean courtiers. This portrait shows Lady Anne Clifford, Countess of Dorset and later Countess of Pembroke, who was best known for her widely publicised campaign to claim her rightful inheritance from her father. George Clifford, Third Earl of Cumberland, had bequeathed money to his daughter, but left his extensive land and properties to Anne's uncle. Anne Clifford would ultimately inherit most of the disputed estates following the death of her uncle and cousin, becoming one of the wealthiest women in England. Today, she is seen as a proto-feminist because, in a society dominated by men, she refused to settle for less than she believed was her due. While mentioned in literary references, this portrait was thought to be lost until it was rediscovered by Mark Weiss, director of the Weiss Gallery, in a private collection in Europe. It is one of two portraits produced by Larkin when Lady Clifford sat for him during the summer of 1618. This painting was sent to Anne's cousin, while the other stayed at Knole, the Cliffords' house in Kent. Larkin's portrait of Lady Clifford will join his depictions of George Villiers and Frances Howard in the National Portrait Gallery's collection. This work was acquired with assistance from the Wolfson Foundation.
painting analysis :
looking at this portrait of mary queen of scots i wanted to look at the intirety of her face to see what i will be doing to alter my model to look like this.
it is important to look thuraly at the face as there might be small as subtal things that you dont realise at first glance that can make all of the differance when it comes to recreating this on another person.
her face has a very distinkt pale white tone to it with some undertones of blue around the cheek bones and for head , it does have some more pinky tones to the lowwer part of the cheeks as well as the chin and around the bottom of the nose.
she has a very defined cheeek bone and crease obove her chin as well as below the eyes.
the areas that stand out to me is the nose is quite large and tilts down slightly at the end, the lips have a strong cupids bow but still are quite small with a more peachy tone to them.
the brows are light with a similar shade as the hair. with the colouring of the face i have noticed that their are some small ares of yellowy orage surounding the eyes and small undertones of it around the nose and chin .
while i was lookjing at the hair in this portarite i noticed that she sas a dark red hair tone with a fine curl to it that gives an ormost frizzy but still neat and in place look, like she has combed through tight curls.
the back of the hair is less easy to see in the way of stye, i can see that the hair is up at the back but i will have to look ferther in to how she would have worn her hair at this time in her life at the age of 16.
onother thing that i had noticed is that she is wearing a row of pearls on the centre of her hair as well as more embelishmants at the back of the hairstyle, i would like to add this to the hair in my makeup to give it a more overall finish more like the portraite.
at the front of her hair the hairline is quite far back so much so that it is nearly ear to ear across the head with a centre parting that is not to prominant.
because of this i will have to look at creating a bald cap to ccover over the models existing hair line to re create this much ferther back one.
research on the character and painting:
i also wanted to look at this portrait that is very similar to the one i am looking at because the painting is almost the same so i can compare the shape of the feature on the face as well as the colouring of the skin and the hair.
the most helpeful thing for me about this portrait is the hair styling as in the portrait that i have i can not match the style so i didnt know how to style to corectly.
i can see looking at this that the back of the hair consists of a plat styled with pearls placed in it as well as a row of pearls the go around the front of the hair .
becaus ethe style of this painting is alot lighter than the one i am looking at the hair also lookes alot lighter but still with the same centre parting and texture than the first.
looking at the shape of the face it has a very oval shape to it becaus eof the hailine this also gives her a longer face.
it looks to have more weight under the chin below the jaw line and also around the cheek area.
the nose is also quite elongated with a thin aperance down the centre.
her chin also stands out to me as it is rounded and protrudes slightly from the face but not so much so that it is as noticable as the nose.
her eyes are quite small with an almond shape and more of a circular lid.
mary queen of scots hair:
with this image it was of mary queen of scots in perticular so i thought that it would be quite helpefull to see how she was portraide in waring her hair, but after looking at this it is not to similar to the hairstyle in the portraite. she does still have a central parting and the most of the hair it at the back in a flamboyant intricate style, however comparing this to the hair style in the portraite even the hight of the hairline is differant so i think i am gaing to stick to the original sorce for my point of referance.
sixteeth century women 1500-1600:
a. 1500 italian
b. 1500
c. 1512 italian
d. italian
e. 1515 italian
f. 1530 stlye of elinor of austria
g. second quatre french
h. before 1545
i. 1550 french
j. 1550 italian
k. 1560 english
l. last half italian
m. 1575 french hair dressed over pads
a. elizabeth1st 1533- 1603 queen of england
b. 1560
c. mid-century
d. german peasant
e. german peasant
f. probably french
g. german
h. german peasant
i. mid-centry italian
j. italian dutches renata of ferrara
k. mid- century probsbly french
l. 1560
m. elizabeth 1st wig
n. 1579 french hair dressed over [pads or a wire frame
o. english hair dressed over pads
p. german hair dressed over pads
q. 1570
r. 1597 italian hair dressed over a wire frame
s. 1597 italian with a cone shaped head dress
t. 1597 italian horns of hair dressed over wire frame
u. 1597 italian without a cone dressed over wire frame
sixteeth century women 1500-1600:
a. early
b. 1520 italian
c. 1510-20 flemish
d. 1500-10
e. early possible french
f. early french
g. italian 1480-1519
h. before 1520 italian
i. french queen of navarre
j. 1543 mary 1st 1516-58 queen of england
k. italian probabaly mid- century
l. italian
m. 1525
n. 1530-40 french
o.very early italian
p. very early italian
q. 1529 german luthers wife
Research on mary queen of scots:
i wanted to look more at the charcter of the portarait mary queen of scots and the story behind her and the painting. i think this will help me to further understand the persone i am trying to recreate. also in doing thisi can also look at her aperance and the thinkgs that made her look as she does and how she was persived to others to give a more acurate replication of her.
my model:
these are some pictures that i have taken of my model to look at her face shape and how this compares to the portarite of mary queen of scots. i chose meg as my model because she had similar features to the portraite such as her eyes and mouth and chin however these are still some changes i will have to make so that it is more of a chalange rather than having someone that looks exactly like them and no changes would have been needed.
looking at megs face the things that i will need to look in to changing are the nose as the one in the portaite is a lit longer and tucks under slightleigh, also the hairline is a lot ferther back and her face is a little bit longer im hoping that exstending the hairline back will help to elongate the face and make it look longer. also the eyebrows are a lot thinnner and the hair will also have to be change substanchally.
but the most important thing for me was that the feature that i couldnt change or that might be the hardest to like the eyeees and lips dont need to be changed, also the fact that meg has shorter hair makes it easyer for my to wrap if i was to apply a bald cap or wig i8n the time we are given.
developing designs:
looking at the diferances and symalarities between the model and the portrait and developing an idea of what i will have to do and the features that i will have to change i wanted to start to look at designing where the changes will be and to what exstent as well as the colouring of the face and the way i will style and create the hair to look as much like the painting of mary queen of scots as possable.
research on the artist; François Clouet
Jean was appointed painter to the court of Francis I in 1516, the year of the monarch's accession to the throne. Though Jean was never naturalized, he became the chief court painter in 1523, a position he held until his death. In France he developed his own courtly style to comply with the French preference for decorative elegance and sophistication. The problem of attribution of his works is difficult, but it seems likely that eight oil portraits and nine miniatures known today are by him. He is recorded as having painted altarpieces at Tours, but these have disappeared, probably destroyed during the religious struggles of the mid-16th century.
Jean's chief claim to fame lies in his establishment as a medium in its own right of chalk (or hard crayon) drawing in hues of red, white, and black. About 130 examples are attributed to him. Typical is the drawing of Admiral Bonnivet (1516), with its fine feeling for the placement of the head in the usual quarter-turn to the right and the delicate system of shading in diagonal lines that he learned from Leonardo da Vinci, whom Jean would have met at Francis I's château of Amboise, where the great Italian died in 1519.
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Date painted: c.1559
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Oil on oak panel, 31.7 x 23.5 cm
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Collection: Victoria and Albert Museum
http://commons.wikimedia.org/wiki/File:BLW_Portrait_of_Mary_Queen_of_Scots.jpg
looking at other pieces of his work you can see his traits in the colouring of the paintings and the style of his work. for example they all have very rounded eye lids and area below the ayes as well as light fair kin tone with a tinkt of yellow which i have also noticed on the painting that i am re creating.
it was interesting to see other pieces of his work and it has helped me to determine areas of the style of painting that made me pick up on in the portrait that i am looking at.
recreation of mary queen of scots:
Few doubt that she was the most beautiful and the most tragic monarch Scotland ever had.
But the question has persisted for centuries – what did Mary, Queen of Scots actually look like?
Now a team of experts at Dundee University has recreated an image of Mary during the period of her reign in Scotland in the 1560s
Read more: http://www.dailymail.co.uk/news/article-2350483/Not-classic-beauty-Scientists-recreate-true-face-Mary-Queen-Scots-3D.html#ixzz3JqF5T3yW
Follow us: @MailOnline on Twitter | DailyMail on Facebook
Digital: Is this image the real Mary, Queen of Scots? It was created by a team of experts at Dundee University
They were commissioned to recreate a 3D virtual sculpture of Mary’s face for a major exhibition on her life that opens at the National Museum of Scotland in Edinburgh today.
Scientists say the result – a digital image of a careworn woman with a large nose, jutting chin and reddish hair – reveals she was ‘not what you would call a classic beauty’
n. last quartre french hair dressed over wire frame
o. mid-centure french
p. last quarter french. marie touchet, hair dressen over pads or a wire frame.
q. lst quarter french wig
r. 1595 french wig
s. marguerite de vslois 1553-1615 queen of france, wig
sixteeth century women 1500-1600:
sculpting the nose:
sculpting the nose to match the one from the portraite it was chalanging to make it big enough so that it could give the slightly downward facing look like in the paonting but no to much so that it look un natural or fake on the face.
the first sculpt that i did of the nose i made the nostril area to large and once this was applied it looked out of perportion. looking back at this and then the portraite and comparing the nose shapes ferther you can see that that part of the nose is the same shape and that the only changes that really needed to be made was the ridge of the nose down the centre was slightly thinner and the tip of the nose was also a little bit bigger and slanting downward.
looking at these changes that needed to be made and afer applying the nose and seeing that it did not work because it was to big i desided to sculpt another this time making more subtal changes, this i thing gave a much more acurate and less noticable obveouse change to the nose.
applying the nose:
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silicone eye brow covers:
starting the eyebrow flat pieces i took a template of the size of my models eyebrows ising cling film and take and then drawing them on with a morker i then when over the ped again and then placed the cling film on to the tile this transfered the shape of the brow on to the tile so i went over it again and i could see how much i would have to cover to conceal the brow.
ones i had started to sculpt the brow i blended the edges and then added the walls. i thn asked for feedback on this to see if any changes should be made before i made a mould of it; the feedback was that i have to move the walls closer to the sculpt so i can use less product and it will be better to handle, i also had to cut down the size of the eye brow covers as they were to big and would have gone to fare in to the face when applied.
i made these changes and then made a mould of the brow and ran a silicone piece.
this came out well and it looked like the edges were nice and thin for blending however the silicone section of the piece were verry thin i was worried about this at first but ones i had placed them against eyebrows you could see that the coverd them enough that you could not see them through.
formative:
I'for my formative assessment i cose to practice the aplication of the nose and eyebrow flat pieces as well as the colouring of the face as i felt like these were the main aspects of my makeup and the parts that i was most worried about and felt needed practice and testing more.
i didnt feel the need to practice putting on the bald cap as we had dont this before and the wig only needed to be stuck and pinned in to place.
this gave me more time to focus on these two pieces as well as the eyebrows whitch i cose to paint on the individual hais with a fine brush and then using mastix lay on some of the same hair i used to knot the eyebrows to give them more of a texture. i feel this worked better than the knotted eyebrows would have as they are so thin and this way i can still have the look i wanted without having to glue lace to the eyebrow covers whitch i feel would have been more noticable and harder to conceal.
.i stuck on the eyebrows covers firt using prozade and then blending it out with ipa
. i then stuck on the nose the same ay and then tried to blend it out as much as i could but the silicone piece wasnt very good.
. after this i coloured the face using skin illustartor first on the prostheticas and then grease paints blening them and building up the colour to mach that of the portraite.
. i then whent back to the brows and painted them on and layed on the hair using mastix.
in my formative assessment i feel like aspects of it went well and others did not and i wanted to disus what i think did and did not go well and how i am thinking abour resolving these problems.
the flat piece eyebrows:
i was really pleased with the way these looked they went on easally and covered the eyebrows quite well. you could see some of the colour of the brows comming throufgh but that was easaly covered over. the covers were smooth and i think that the bland of them was alot better than i exspected so thair was nothing i really wanted to change about this aspect of the makeup.
the eyebrows:
paiting them on seamed to work well and i got the shape and thicknes i wanter and ones i had added the hair to the brows it gave them more of a dimention and i was also happy with this and would not change this aspect of the make- up.
the close mould nose:
this part of the makeup i was really not happy with i think that the silicone nose didnt blend well at all and the edges were clearly noticable. i think the reason for this was that the silicone piece did not come out of the mould as well as i would have liked and i didnt realise that the silicone had spred out to where the blending edge was so it wouldnt blend. i will need to add more preasure to the mould if i was to use this again to ensure that the piece has a thinner blending edge.
the colouring:
i think the colouring of the face went ok i was happy with the overall colouring and i thought it matched the portraite however where i had tried to blend the ared that were coloured with skin illustrator with grease paints the didnt blend well and it gave the skin a strange texture. so i think i will have to use grease paint for the hole makeup for my summative to give a more even skin tone and texture.
feedback and self evaluation:
constructive feedback:
the feedback that i recieved was:
"overall a reasanable attempt, there is some work needed to improve edges of your pieces,also i think you would benifit from more application exsperimentation, good start but a little finessing."
i agree with these comments and i to feel like the edges was the main problem of this, also that i would benifit from exsperimentation so i will look at trying to use differant material to create the nose that was the biggest problem.
after talking and getting verbal feedback we agreed that the eyebrows and the covers was the strongest point of the makeup and i didnt need to change anything about that. but the nose didnt work well and he sugested that i try to see if i can use latex to create the nose and see if that works any better than the silicone. so befor the sumative i will have to do this and see if i can improve on the paints that were discust to create a better outcome.
lace eyebrows:
i chose to knot the eyebrows as i thought that it would look the most realistic for the portraite and give a more natural look and finish to the make up. before i chose to do this i did think about painting on the brows and maybe laying on the hair . i plan to try these techniques in my run through to determine whitch will work best for the final make up.
creating the lace eyebrows i started by taking a template of the brows and then drawing on with a darker colour the shape of the brows i wanted to make on top.
after this i then pinned this with the ;ace on top on to a cution and started to knot the brows starting from the outer edge so that the hairs would be going away from the next area as i was knotting.
i then knotted one hair at a time using real human hair and vereying between to similar colours one of light brown and the other a more red toned strawberry blond colour to give the brows more depth and realism.
the direction i chose to knot the brow to make it look the most natural and like the portrate was away fron the centre und upwards.
after compleating the browas i combed through some wax to help set the direction of the hair in the right way. i then cut the hair to the lenth of the brows in the painting and waxed again as the hairs were starting to spike up ones cut. this did not work so i also tried to set the hair agin in the right direstion with more product and brushing to the desired style.
colouring of the face:
the colouring of the face has a really pale almost blue undertone to a white skin with some areas of yellows and light brownd surounding the eyes nose and chin area, other than that the cheekbone has a grey toned shadow and that is all for the colouring of the face. it seamed quite simple at first but it was quite hard to find the best product to created that pale of a skin ton.
inthe botton right image i have used foundations to rty and crate the look , this gave nore of a natural texture but the colours were not pale enough for the coulour i wantes.
because of this i chose to use grease paint but before i applied it w concealed more blue ares of the face in the portraite with a light green conceler stick to give that bluey undertone to the skin, this also helped to pale down the face and stoped any warmness from the skin coming through. i think this worked alot better than the foundation
i was looking on to using the knin ilustrator for the face but the colours dont go as light as needed and i didnt wast to irritate the skin to much as i would have to go close to the eyes and it would not be comfartable for the model.
so i think that the best option woukd be to use the grase paints and powder well as they crate a high shine on the face and then build up the layers of colour to match the painting.
my design:
this design that i have done is to show the intirety of both the faces overlapping in the same position as the portraite so that i can see the whole thing as i am doing my formative assessemant.
i think this a simple way of over laying the images to see how much i have to change and as i have said the things that are differant between the two my model and the portait are clear to see and by how much they will be changed.
gelatine nose:
I exsperimented with using gelatine and crating the nose; for this i tried to add diferant colours of foundation to cover the clear almost see through aspect of the gelatine and also to make it a closer colour to the skin to make it easyer to colour and blend.
these turned out well and the blending edges were quite thin. i feel that the more pink toned foundations were closer to the colour of my models skin. also some of the foundations gave the gelative a harder and differant texture i think this was because i may have added to much foundation.
gelatine nose aplication:
the first gelatine nose i applied to my model and even though i had glued the nose down ones i started to blend it out with whitch hasel on a cotton bud the edges started to come away from the face so i had to glue them back down.
ones i had dont this i started to blend the sides of the nose and they went ok but was not as smooth as i would have liked. when i tried to blend the top of the nose i fould that the gelatine was to thick for it to melt through so i was left with a harsh edge.
the part of the nose between the eyes when i started to blend the sides of this the gelitine started to take even though i was only using a small amount of the witch hasel, it did this a couple of times and i tried to melt the edges of these rips down to blend them out but they were to think and it just created more tares.
because of this i think i will have to try this again and next time i am going to add les foundation to the gelatine when making the piece and even less witch hasel when trying to blend it as well as using mor eglue when sticking the nose to the face.
silicone nose:
here i created the silicone noses to see if i could make one and it woukld be more succesful than the one i used in my formative as i think if the piece is made well enough with good edges it will look and blend alot better than the gelatine ones did for my sumative.
i had to try this a couple of times first using vasaline as a relese agent, this worked quite well but as you can see it still stuck a little bit to the plaster and tore the cap plastic layer.
because of this i then tried using onother relese agent that you put on in layer aplying one letting it dry and then buffing and repeating this three times then adding the layers of cap plastic and then silicone.
this worked alot better and did not rip the cap plastic so i made two in this way so that i had a back up incase anything whent wrong with the first one in my sumative.
i think because they came out better than before and i feel more comfatable and think using silicone would look better i am going to use these as the final product for my sumative.
bald cap:
i had to create a bald cap to exsted the hairline back and create a new one using a wig, so for this i chose to use cap plastic bald cap and not i latex one because i think they blend better and with enough layers on a cap plastic cap it can still be thick enough to suport the wig and pin through without ripping it .
i used my red head and then made a template of my models hair line and i also measure the dimentions of her head so that i could check that the size is right ones i had drawn the outline on to the red head.
i covered the red head with vasaline and then rubbes some of it of, after this i went over with ten layers of cap plastic powdering between the layers and gradually bringing the hairline back so it has a thin blending edge.
the problems that i had with this was that the cap plastic was drying to fast and dragging on itself as i was applying it because of this in some area that were meant to be thin like around the ears were thicker than i would have wanted, i think this is due to us having the cap plastic for to long and it may have to be thrown away.
despite the bald cap being quite thick the are around the front was still thin and that for me was the most important are as it will be seen the most so i think the bald cap is still ok to use.
i think it would have been better to use the new ipa desolvable cap plastic but i dont think i would have enough and because you can desolve it with ipa and so do my eyebrows i think i would have a problem with them being so close together the ipa might blend areas i didnt want it to leaving bad edges.
re-fronting the wig:
the wig that i am using was the tird wig that i had looked at the first ones that i had ordered didnt get delivered and the secont was to curly and ones brushed to style was un managable. so the final one that i am using is a slightly differant colour to the painting ,in the painting the hair was a lot mor eof a ginger tone at the front.
because of the trouble i have had with the wigs this did not leave me with much time to re-front it so i had to cover much les of the are than o would have wanted but because the hair on the wig when up from undernath as it was quite a good wig it covered the frame and looked quite natural already but still needed some re-fronting done.
i put the template of my models head with hear hair line and the desired on on to the block and then added the lace and the darts and attatched it to the wg before i began knotting.
for the closest areas to the wig i bulk knoted it with more than on hair at a time and ones i got ferther way i made it one hair at a time gradualy to look more sparse and natural.
i was quite happy with the amount of knotting that had done in the time i was given but i would have liked to have done a bit more if given the time.
styling the wig
for styling the wig i found that the book on historical wig styling was quite usefull as it shows how to create a more rushed through frizzy tight curl that i was looking for. looking at the portraite and the style of the hair she hads a tighter curlled texture to her hair at the front , i wanted to create this so i tried to do this using the same techneque.
for this i had to but the front section of the hair in to small tight twist buns and the sections of hair behing it in to tight plats. after i had done this i then sprayed with hot water and let dry over night, i also then hair dryed it for 10 minuits and left to cool.
when i took the plate pout it made the hair quite wavy so this was fine as more of a balk as the hair at the front would be covering it. when i took the front sections out the then brushed through the hair it went nice and frizzy as i had wanted but the curls werent quite as tight as the portrait, but as you can not see the hair to well in the painting i didnt think it was a bad attempt of the texture so i dressed the front of the wig out to look more curled and started on the back of the hair.
Cosmetics and make-up
Make-up was widely used, certainly more than it had been since Roman times. The basic colours of the make-up were red and white to complement the fashionable red hair. The face was whitened with a lead mixture that was painted onto the skin. This withered the eyelashes and eyebrows, and also, because of the lack of dental hygiene, discoloured and rotted the teeth relatively quickly. The Queen herself suffered. Powdered borax, which was not so harmful to the skin, was sometimes used instead of lead.
Whitened skin was a symbol of refinement and many women tried different inventions to achieve it. One concoction involved gathering dew-drenched peach blossom at dawn. This then had to be crushed with oil of almonds by the light of the moon. Another was to wash one's face in one's own urine or to wash with rose water and wine.
i looked in to the types of makeup that would have been used at this paoint in history to see haw i could recreate the look to match the portraite better with more of an understanding of what it would have looked like and the textures in real life.
i found this artical about mary queen of scots and i found it quite interesting to see how this damadged her skin and the fact that it would be quite thick to cover these inperfections. so the use of grease paint whitch itself is a thick product will suit quite well the feel of the makeup of this time.
feedback and self evaluation:
i think the anition knotting of the eyebrows went well and i was happy wiht the shape and thickness as well as the colour of the brows.
ones i had cut the brows i was not happy witht the results the brows just sprung back against all of the product that i had used to keep in in place and i dont understand why the hairs were spicking in differant directions when the hair was all knotted in the same direction. i think one of the reasons might be for this is that the brows were so thin and spacse becouse thats how i wanted them to look that their was not enough balk to the brows for them th form a natural brw.
because of this i dont think i will be using these in my assessments i will however see what they look like on the face ones i have covered the eyebrows but i dont think they are neat enough for what i am looking for so i will have to try other meathods of this to determine which will work better.
nose and eye brows:
these are the first small designs that i have done just to see how the sizes of the face compare when overlaped with each other.
i drew my models nose and eyes and then i also drew the nose and eyes of the portraite on to tracing paper and overlayed them to see the size differance.
i thought that this would be an important think to do before i started to sculp as i could see by how much they are different when in the position of the portraite as it will be in the same way for my dinal image.
after looking at this you can see that the main shape of the nose is the same but when it gets to the tip of the nose the one on the portraite slants downward and is bigger. as well as this i noticed that the centre bridge of the nose is slightleigh thinner and more pronounced on the portraite. so these are the thinkgs i will have to concider when doing the sculpt to make it as similar as possable.
with the eyebrows the ones in the portraite were alot smaller than my models, because of this i will have to cover the eye brows and re create them on top of the eye brow covers.
the brows are a similar shape and in the same place so the shape of the brow bone will line up well and help the new brow look more natural.
the face:
i then looked at the shape of the face along with both the eyes and nose as well as the other aspects of the face such as the chin and forhead.
when lined up the face shaped were not that differant, my models face was slightly widder in the cheek area but as you can see they lined up quite well, because of this i dont think i will be making any changes to the shape of the actual face as they are this similar and any changes that would have to make would be taking away from the models face whitch i can not do.
the main differance between the two face shapes id that the portrait had a higher, bigger forhead but i think that idf i have to take the hairline back anyway this will elongate the face and give a higher forhead.
aplication attempt 2:
the second attempt at applying the gelatine nose went alot better than the first but still not as well as i would have liked, a few things went wrong with the application
i used more glue and less whitch hasel and for the most of the blending it was ok but still wouldnt blend perfectly, but in some areas it started to tare again a lot smaller tares than before but sill making it harder to blend in to the skin.
at the top of the not the piece didnt blend as well as the rest of the nose so i tried using some warm water to desolve it more as it was quite thinck this helped to a degree but not enough so that i was happy with the blend to the nose.
because this did not work well enough that i would use it in my summative i want to look back at using silicone as it is easyer to blend and see if that would be a better option even though it didnt work for my formative i could try to thin the edges by putting more preasure on to the mould when drying.
health and safety check list:
1. make sure that your model has been patch tested for all of the glues and materials that you are using on them
2. lay down couch roll and a bowl for dirty brushes and rubish at your station
3. clean you hands before you start the makeup
4. put a kape over the model to protect their clothes
5. prep their skin to protect it from strong products
6. when using chemicals near the eyes such as mastics get the model to cover their eyes with a towel to provent irritation
7. ones finished with the makeup take of with care and make sure the model is left clean and everything had been removed
8. clean all of your brushes and the station, making sure to turn of all electrical apliances, check the floor and mirror is also clean
9. make sure that all products have the lid on ones you have used them
10. ( make sure all of your coats and bags that you are not using are put away before you start your practical)
time plan 2:30
1. prep station and model by putting on the cape taking of the makeup and brushing through her hair.
2. start by wraping the hair rreaddy for the bold cap and let dry under a hood dryer.
3. apply the bald cap and blend out the edges
4. apply the eyebrow covers and also blend
5. apply the nose piece to the face and blend out use latex to any of these pieces if needed to help blend.
6. cover the bald cap with red grease paint where the hair shows through, then colour it to match the pale skin of the portraite
7. colour the rest of the face using knin illostrator over the silicone pieces and blending out in to the grease paint matching this to the colours of the portraite.
8. add in aditional colours and contouring to the face
9. powder the face ones sure that the colouring is correct and finished
10. paint on and lay hair to create the new eyebrows
11. place the wig on to the head ancoring it at the back using pins and going through the bald cap to secure in place
12. pull the bald cap forward and stich the lace front to the head using mastix
13. dress out the wig making sure that the hair is all in place and neat
14. look at the overall look and make any alterations needed in the time remaining
feedback and self evaluation:
overall i was happy with the setting of the front of the hair and how it turned out but if i was to do it again or had more time i would have made some small changes.
i would have done smaller sections of hair for each of the buns as well as the plats to create tighter curls and waves.
i think another way that i could have made the hair more of a frizzy texture was to have taken the hair out on the buns and then brushed through and put in to buns again as this woulfd have given more volume to the hair.
styling the back of the hair:
when styling the back of the hair i looked at the portraite in depth and at others of her to see how the hair was styled some of it i had to make an educated guess as i could not see the back of the head but looking at other hairstyles of this time helped me to recreate something that she might of had.
i combed through the hair and put in to a low ponytail at the bottom of the head and then parted in to three sections, ones i had done this i then platted the outter two sections and the central one i combed up covering the hairband and neetaning the back of the head. i brought the two plats up and around the head creating a circle and pinned in to lace making sure that all of the pins where hidden. all that was left to do after this was to dress the hair and add all of the pearls and decoration to the hair. for this i added a row of pearls closer to the front of the head and placed pearls that i had put on to wire throught the plate like it shows on the portraite painting.
feedback and self evaluation:
I'i was quite happy with the styling of this wig and felt that the back went well and felt secure and in place.
their are a few changes that i want to make by adding more pearls as i had looked at the portraite aggain and it shows more pearls at the bottom of the hair near the neck as well as it looks like some coming away from the hair as if in a metal head band or crown like head dress.
i did stugle with trying to get the hair style to be symetrical at first i had to take it down a few times and re style it to make sure it was right before i started to decorate the hair with the pearls.
sumative assessment:
in this design i wanted to colour code the sections of the face so u could clearly see what i would be adding to it and where.
exept from the nose that i have re casted and made numorouse amounts of to create one i was happy with their had not been any changes from the original designs.
from the feedback that i was given and the way the formative went i didnt feel that i needed to amend the design as the shapes and aspect that i am changing are still the same as before to make it as much like the potraite as possable.
wrapping the hair readdy to apply the bald cap with mastix.
step by step:
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adding on the prosthetic pieces and blending themout with ipa, starting to colour the bold cap with a red bace.
Iadding the colour to the face using grease paint and drawing on the brown and laying on the hair
I was quite plesed with the result of the eye brow flat pieces and if i was to do this again then the only changes that i would change is the depth of the brow could have been slightly thicher.also i would have sculpted the brows under each other on the tile to reduce space and materials needed for this.
the colouring of the pieces also went well maybe because they were as thin as they are i could have added some nore pigmant to make them even more translusant.
sandro botticelli
profile of a young woma, after 1480
oil on panel
berlin, staatlichi museen
rohier van der weden
portraite of a lady c 1460
oil on oak pannel
washington national gallery of art
andrew w.mellon collection
leanardo da vinci
ceceilia gallerani,c. 1484
oil on pannel
krakow, muzeum narodowe
pisanello
young lady of the este family 1433
tempera on panel
paris, musse du louvre
agnolo bronzino
laura battiiferri,c. 1555/60
oil on canvas
florance, palaazzo vecchio, loeser collection
amended design:
putting the wig on to th model and sticking down the lace with mastix and going over with grease paints.
Title. Double click me.
looking at how my summative assesemant went their are a few things i would have changed if i was to do this agin:
things that went well:
the things that i felt went well wher the eyebrows and the eye brow covers. the eyebrow covers did not go as well as they did the last time i appleid them but they still blended quite well and covered the brows. the eyebrows that i drew in also went well i tried to add in a veriety of colors to make them look more real with a really fine brush and then laying on some hair to give them better texture and dimention.
the bald cap went on well at the front the blending edge melted away well at the front, this was the most important place for th wig to work so i was pleased at this.
the stle of the back of the hair however not seen much of on the portraite i was quite pleased with. the style held in place well and stayed secure on the head and the front of the hair also linned up well to give a hairline like the one in the painting.
things that did not go well:
as the nose piece went on i managed to line it on well but i still had problems with the edges, which i didnt understand because they were thin and should have blended better in to the skin then they did. but i found that some of the silicone had seaped out to far just under the nose and i must have blended to much of the cap plastic away that it couldnt blend ferther.
the sides of the bald cap near the ears came out to thinck due to the cap platic not working well so this ment that i couldnt blend the area around the ear as i had wanted to . this showed up in the final pictures as the head is to the side that i was a bit disapointed about.
the lace front to the wig i had to rush to put on becaue=se i spent to much time focusing on how to blend the nose better so it was not a neat as i would have liked. because the lace was put on quickly and the mastix was not dry when i placd on the colouring some went in to the wig this loked slightly messy and i would have liked to have had some more time to correct this.
at the sides of the face where i had used mastix to apply the bald cap after adding on the grease paint it started to peel and gave a strange texture to the skin in these areas.
things that i would change if i had more time:
. i would have planed my time better, i did have aplan but when something whent wrong i should have came back to it at the end.
. i would have also used the spare silicone nose that i had with me ones it didnt blend as well as i wanted but i didnt think that i would have had enough time.
. i would have brought the hairstyle fearther up on the haed so it could have been seen more in the portraite.
. i would have sealed the edges of the bald cap so that the mastix would have not interfeared with the texture of the face.
self evaluatio of summative assessment:
final image (photoshoped) :
here i have tried to add the image from my summative assesemant pjotoshoot in to the portraite painting of mary queen of scots. i dont think this worked as well as i had hoped it would, ist was important to me to do this to see how it would lookin context with the costume and background compared to the original. however my lack of skill in photoshop have meant that the head i think was slightly to large and the colouration of the face i strugles to get right and mach to the portrait as it had a dark and more yellow undertone to it. i am glad i have done this to comare the to and what i would have canged and the aspects that didnt match up as well stand out more. so this was a productive exsperiance but i still think i will have to gain more skills in photoshop before i can do the affectively.
looking at these images there are aspects of them all that i find interesting and would make a good makeup but not as a hole. for example in the first image i like the hair line and how her head is slightly patrooding but the rest of the face is quite plain. with the second image the chin and the nose would be an interesting combination to look at re creating. the third o thought had a strong jaw and face shape, i dont know how i would re create this but i like the individual elements in all of them.
mary was Queen of Scotland and reigned about 460 years ago. She was one of the most tragic queens in British history. Born in Linlithgow Palace in the year 1542, (7th or 8th of December)*, Mary was the third child (two young brothers had previously died) and the only daughter of James V of Scotland and his second wife Mary of Guise, a French noblewoman. Her father James V died six days after her birth and with his death Mary became the infant queen. On 23 July 1543, she and her mother were moved to the safety of Stirling Castle where she was crowned Queen on the 9th of September. The young queen was then entrusted to the care and protection of Lords Erskine and Livingstone. *Note: The 7th is the date recorded in the Register of Lothian (Chalmers, i 2)
Read more: http://www.dailymail.co.uk/news/article-2350483/Not-classic-beauty-Scientists-recreate-true-face-Mary-Queen-Scots-3D.html#ixzz3JqF5T3yW
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looking at the context of the image and that i will be for a photoshoot i ahve to consider that it will be taken with lighting on a good camera and this means that you will be able to see all of the problems and in profections in the makep unlike if it was for theatre or something that will be looked at from a distance.
the good thing about this is that i can eddit it later in i photoshop and make some changes to any of the problems that may have accoured as long as i declare this in my blog.
self evaluation:
In this project we have been looking at turning a portrait in to a person and trying to re-create this using makeup, postiche and prosthetics.
At the start of this project i had to determine the portrait that i would be creating, i looked at a lot of paintings and found it hard to chose what i wanted to do. After going through and looking at the feature and which i would find challenging but realistic to do, with interesting features. The painting that i chose in the end was one called portrait of Mary queen of scots by Francois Clout. i chose this painting as she had an interesting face with a slanting nose, thin eye brows, pale skin and far back hair line. After choosing this and looking in to the character and the painter i then started to look at my model and how i will create this look and the aspects that i will have to create and make to give a realistic adaptation of the painting.
looking at the experimentation that i had done to come to the conclusions on what materials and product i will be using as well as the pieces i will be adding to the face and hair, i feel that i could have done more and came to a better conclusion. i think this because i was not completely pleased with the final result of my summative assessment and i feel that i could have done more to make it work better. i did experiment with the eyebrows and the nose changing the material and testing to see what worked better but i would have liked to have looked at more of a range of methods that i could have used. I did not do much experimenting with the wig and how i have styled it because e i no what i wanted to do and how i was going to do it and with the wig i can tot brush through and knot it as it is synthetic and gets ruined easily.
When it came to the formative assessment i thought it would be a good opportunity to practice the prosthetic pieces as they were the aspects of the make up that i was most concerned about and needed to practice. i thought this went well and i took allot away from the feedback i was given. Some parts of the makeup went well such as the eyebrows and the overs and the colouring of the face so i did not have to change anything about this but the nose prosthetic i had allot of problems with as i would not blend well and ones coloured you could see the edges. so i went away and looked at using gelatine but this also did not work with this piece however ones i had practice using the silicone and felt more confidant in using this i managed to make a piece i was quite happy with using for my summative assessment.
When it comes to the research on the practice sessions of the class work i feel that i did look at a range of techniques and materials however i would have liked to had looked at more and done some experiments using some of them to developed my work further. The reason for me not doing this i think would be time management i need to look more at how i am going to give myself more time to look at the other aspects of the project and not just the section we are aiming to do for our assessments.
Finally my summative assessment; looking back at how i did my summative and the pieces that i have made and the way i had approached the task their is many things that i would have change and aspects of the makeup i would keep the same. i would have looked at other ways of creating and blending the nose piece so it would blend better. i was however happy with the shape of the nose and how it looked on camera.
i would have not changed the eyebrows or the covers as i think they worked quite well, better in by formative than my summative but i was still pleased with them. The colouration of the face was as shown on the portrait but as a makeup it looks quite shocking and bold, i would have liked to have done this in skin illustrator rather than grease paints if i had the correct colours as i think this i could build up to give a more natural looking skin. The whole makeup together i thought worked well when i placed on the bald cap and the wig it was only the edges of the pieces and how this affected the colouring of the face along with the position of the hair styling that i would change.
English: Portrait of Mary Queen of Scots
About 1559
Oil on oak panel
Painted in France by a follower of Francois Clouet (born, possibly in Tours, France, about 1516, died in Paris, 1572.
Oil painted portraits of royalty were frequently made. There are various versions of this particular picture, as is often the case where favoured courtiers, or those seeking to win royal favour, would commission or be given images of the Sovereign. Possession of an expensive royal icon was a direct way to signify loyalty and devotion.
François Clouet was court painter to four Kings of France in succession and this is a close and almost contemporary copy of his drawing now in the Bibliothèque Nationale in Paris. Mary, Queen of Scots had married the Dauphin, son of François I, King of France, in 1558. His own reign was to be short-lived, as François II died in 1560. In a related miniature, probably by Clouet himself, now in the Royal Collection, Mary is shown wearing a wedding ring.
The Queen is not shown in mourning, but richly dressed in the height of fashion, her bodice embroidered with pearls. This painting depicts her as she appeared before François II died and her subsequent return to Scotland.
http://commons.wikimedia.org/wiki/File:BLW_Portrait_of_Mary_Queen_of_Scots.jpg
all images above from:
joanna woodall (1997). portraiture facing the subject. manchester and new yourk: manchester university press. p1-289.
images above from:
Field,C. (2010) hairstyles: ancient to present, china: seng lee press
