Class Exercises

Facial Hair:

To do the facial hair activity, we first had to build the application before putting it on.

We were each given a template to go off of and we put the template in a plastic sleeve so we could put the latex directly over it.

Then we got the rest of our supplies which included crepe hair (made from wool) and "wig lace" substitute. We each had to pick 2 distinctly different colors so we could blend them together and make a more believable hair color.

Our first step to begin blending the hair together was to cut an inch and a half from each braid of hair and divide it into at least 10 tiny piles of hair.

After dividing the hair, we out some liquid latex on our forearm to start testing for an allergy.

Then we placed the lace over our template and outlined each of the shapes with a thin layer of liquid latex, then set it aside to dry. (The outline helped to keep the lace in place over top of the template.)

Then we had to hold one clump of each color of hair in one hand, pull part of it out with the other hand, put them back together in one hand, and repeat until the hair was sufficiently blended.

Showing the two colors separate and then mixed together in the center.

We had to make at least six piles of this new color to get us started.

Then we had to start laying in the hair, one thin layer at a time. The mustache had to be added from the bottom up and the eyebrows from the outside in

Coming along.....

Completed!

Then it came time to put them on our face. As a base, we did some very basic old makeup, using the eyebrow pencil to shade in small wrinkles around the mouth and eyes.

And then we glued on the appliances!
To do so, we lightly coated the inside of the appliance with spirit glue, and then lightly coated the area it would be placed on with spirit glue. (You have to be careful to not get spirit gum in your eyebrows! Place the glue above the brow, so the appliance has an anchoring point without needing to be glued to your hair.)

Cuts and Bruises: (Happy Halloween!)

First step was to do some research (please visit the research page!) 

Then, of course, onto basic corrective, including green and yellow stick...

...base...

...highlight...

...and shadow. All added with a brush, makeup sponge, q-tip, or combination for proper coverage and blending.

Then it was time to practice making a bruise on our arms. The first step (not pictured) was to make an irregular "donut" shape using the shadow we used on our face. Then (shown) we added the brown from the bruise wheel in an even more sporadic pattern and then blended it in.

The next steps were first, to add a crescent of the highlight color to the center of the donut, and then to stipple on red with the stippling sponge. After applying minimal red to create the broken capillaries, we added patches of purple from the wheel to add depth to the bruise.

Finally, on our arm bruise we added green and yellow stick to the edges to make it look like it was starting to heal.

Then came facial application. First the donut of shadow around the eye, then the random brown patches, blended.

Add slight highlight around edge of eye (I also left a small spot on my cheek bone kind of empty to allude to a point of impact).

Then we added the purple to create more depth, and blended as before. (I used my fingers and wiped them off frequently to not muddy the color.

And finally the broken capillaries (they are hard to see in this image) with the stippling sponge. (Tap very lightly on the skin, testing on your hand or arm first to make sure it does not have too much makeup on it.)

Then we practiced dripping the blood on our arms before we put it on our faces. The first step was to make small piles of highlight makeup to create a wall for the blood to rest on and to show swelling.

To apply the blood, take the end of a q-tip off and gently dip it into the bottle of blood to get some on the tip. Then drag it across the line of makeup you drew.

Added the line of highlight makeup.

Then I dripped the blood. To make it look more natural, you have to let it fall on its own. I ended up doing several weird dances to get the blood to drip down my face. Also be sure to lean so the blood does not run in your eye.

Happy Halloween!!

Paperwork

Asymmetry of the Face:

Right side of the face: The younger side

Description words:

-Longer, thinner face, oval shape

-Larger "doe" eyes

-Curved eyebrows

-Strong hollows

-Thinner eyelid

-Skinny nose, gawky bulb at end

-Ears stick out more, youthful

-Strong lips, deep curve/dip in top, upturned corners

-Larger top of head, childish

-Eyes too close together

Left side of the face: The older side

Description words:

-Eyebrow has less curve, a little less expression

-Broader nose adds some age

-Eyelid slopes down a little, sad

-Lips curve down in upside down U

-Fuller hairline

-Fuller cheek, rounder face, suggests some age

-Flat expression overall

-Flat eyebrow ridge

-Thicker eyelid

-Rounder ear

Weight Gain and Weight Loss:

First, we used our Fatify app and tranferred the image it gave us to a tracing sheet over our headshot.

Generally, we made our lips shorter and added round shapes over and under the cheeks, at the corners of the eyes, and a higher line to create a new chin.

Then to put it on our face. We only did half of our face because the activity was to compare weight gain and loss.

So we started by putting basic corrective and base on the right side of our face. (The base also covered the corners of our lip to expand the main plane of the face.)

Then we drew in the lines to emphasize weight using a light hand and the brown eyeliner pencil.
We also carefully blurred the lines to make them look less like lines and more like thin areas of shadow.

Profile view.

It looked slightly better when I smiled because it helped to raise the lines out from my face.

Front view of smiling.

Somewhat easier to see with other side of face covered.

Paperwork

Then we started on the other half of our face, the starving side. Instead of using an app, we based this drawing on our knowledge of our bone structure combined with research images. This sketch turned out to look more interpretive than literal because I marked out the areas where there needed to be more shading.

After putting some base on the left side of my face (very lightly so the massive amounts of shadow didn't  get muddy), I started blocking in the base layer of the shadow with a brush.

To add more intensity to the shadows, I layered tones leaving the darkest to fade out into the jaw, and the lightest to blend into the base at the cheek. I did the same for the eyes, setting the darkest in the deepest part of the hollow.

Then I added highlight to contrast the distinct areas of my emaciated looking face. I focused the highlight on the top of the cheek and eyebrow.

Paperwork

The two looks together smiling (better displays the weight gain with a fuller cheek).

The two together frowning (better displays the emaciated side with a deeper hollow in below the cheek).

Aging:

After looking at the ageify app and comparing it with research, we made a sketch over top of our face on tracing paper. We kept in mind the affect gravity would have on our skin as we aged and tried to draw accordingly.

We started with Basic Corrective including green stick, base, and highlight/shadow. (We omitted the yellow stick so as to use our natural eye hollows to our advantage.)

Then, using a brush, I made my lips a little narrower by painting on some of the base over the outline of my lip.

With the addition of the age lines in brown pencil, the process advanced quickly. (This shows the lower half of the face lined.)

Then I blended the lower lines and started adding the top lines (around the eyes and forehead).

Then I blended the rest in (using my finger to lightly smudge them).

I started over-blending and lost some pigment.

So I lightly drew it back in and reblended.

Different angles:

Final touch: a little white to the edges of the hair, painting on with the brush on the cap of the hair white.

Paperwork

Basic Corrective Plus Glamor Makeup:

We did this the same day we did our full face of basic corrective. So, starting with the end result of the last section:

We then added extra shadow and more rouge to the hollow of the cheek.

I opened my mouth crazy to check to make sure it was in the right spot.

Then came additional eye makeup. We added some brown to the edge of the hollow of the lid, making sure to leave an empty spot at the very top of the lid to serve as a highlight.

Detail:

Then to bring out the top of the eye, we added highlight where the empty spot had been.
Afterwards (not shown) we combed our eyebrows in one direction and made small points at the taper. Then we added eyeliner (pencil) and extra mascara.

Then we made our lips bolder by adding some of the red from the abrasion pot, that is, after first lining the lip with the pink lip pencil.
Finally, the addition (or darkening) of a mole (or two) completed the look.

Sassy poses:

Paperwork

Basic Corrective Including Highlight and Shadow: (2 Days)

Our next step with the makeup was to apply the "basic corrective" which covers imperfections and evens out the features without looking too much like the person is wearing makeup.

Before starting, we created a facial chart that showed where shadow and highlight would fall.

Then, the first step is to start with a clean face and apply green and yellow stick. (We started with only half the face so that we didn't waste a whole lot of makeup with experimentation.)
To apply the green stick, you use a q-tip to put the green on only red spots (I find the pointed makeup q-tips to be the most effective - the point to apply the green and the round end to blend it in). Yellow is applied similarly to purple areas (eye bags, glasses marks, bruises on blemishes).

Then we added the base color to half of our face, sponging it on lightly. (At first glance, this looks too light for me, but really it's just that my face is naturally red and looks ruddier without makeup.)
(We also drew a line to keep us on one half of our faces.)

Then you use a brush to add in shadow (according to the highlight/shadow chart), and blend with a sponge or fingertips.

Highlight should then lie directly against the shadow to create a contrast, also brushed and then blended in.

Then we lightly powdered our face with translucent powder to set the makeup.

Finally we added rouge very lightly to the cheek in a sort of triangular shape echoing the cheek shadow. Because this is basic corrective, it should not be very dark, but rather just enough to add color. 

Then we added light eyeliner (also not too dark) with the brown pencil and some brown mascara.

And we combed our eyebrows to create a more pleasing shape with a stronger taper.

Day 2:
Start with a completely clean and clear face.

Apply green and yellow stick as before.

Add base with sponge.

Brush in shadow (making small, close together lines as shown).

Blend with fingertips (by patting makeup and dragging slightly - wash fingers frequently to prevent build up).

Add highlight in a similar manner.

Powder lightly (using large fluffy brush, pulling powder from powder puff).

Apply rouge (with bottom of makeup sponge, making sure to clear off extra on wrist before dabbing on face). Also apply eyeliner using pencil and mascara using brush in tube.

Paperwork

Experimenting with Ben Nye Makeup: Figuring out Consistency, Color, and Tools:

This was our first real time using our Ben Nye makeup kits. Instead of applying them straight to our faces, we made pyramids of color combinations on paper using our brushes.

It was not long after this that I realized it took me entirely too long to clean the makeup out of the ferrel of the brushes and bought plastic palette knives to mix the pigments. 

Our first set of mix was the variety of foundation/shadow/highlight wheels in our kits. This included a range of five colors. The first step was to put them in order, and then we painted them into the boxes. I did all of my mixes half and half.

Next, we did the same thing with the "contour wheel" which includes lip and cheek coloring, but this only had 4 colors.

Finally, we did the same thing with the abrasion and bruise wheel which also had 4 colors.

Clowns: Tramp

October 3

The third and final day doing clown makeup. This time, instead of doing makeup on our own faces, we put our designs on a classmate's face. I was paired with Adele.

I went first and started by drawing the design on with her brown pencil. This was a little bit difficult because I was at a different angle than I was used to. I eventually got everything drawn on, after redoing some of it to correct the spacing. (Woops, forgot to take picture.)

Then I covered her face in white paint, around the design, as the skin base. This took a long time, as usual. However, it was very easy to cover her eyebrows and her upper lip. At first, I'd had the beard drawn in, but then I realized it was silly to try to leave the outline visible when I wouldn't be painting a straight line there. So I covered the beard, but left the rest of the design uncovered so that the paint wouldn't muddy.

After applying the white base with a brush, I applied a mix of half orange and half brown with a sponge. It took a while to get enough mixed to apply it evenly. Even then, the sponge made it difficult to get the color layer even. I had to lift some of the paint, and apply more in other areas. I left the area around the eyes white.

Then I painted in the details with a brush, using blue, red, pink (half red, half white) and black for the eyeliner. I also lined the lips with the black pencil because I painted the upper lip on her natural bottom lip, thus leaving no natural distinction between the lips.
Finally I added the beard using a coarse sponge that came in the kit. Up close, the beard looked really good, but I think it could have been a lot bolder (in retrospect). 

Here is a picture of the makeup Adele put on me:

Paper Work

Clowns: Whiteface

October 1

The second day doing clown makeup. After the initial practice and experimentation of the previous class, we worked to figure out timing for everything. 

Prep: 15 minutes.
This included putting my moisturizer on (my contacts were already in) and also applying my Rimmel London foundation primer. 

Drawing on designs: 15-20 minutes.
Next I used my brown eyeliner pencil to lay down the outline for my design. I drew in every shape so that I could leave it blank when I applied the white makeup. (This also included marking the edge where the white would end, rather than extending it into my hairline.)

 Adding the white base: 35 minutes.
It took a very long time to apply the white on my face because I used a brush. This was, however, better because I got better coverage. I also blended with a dampened sponge to keep the coverage even. One problem I ran into was getting the coverage even around smaller details in the decoration. Next time, I think it would be beneficial to remove the makeup in the small areas rather than try to paint around them. For one side, I ended up painting over my drawing and removing the paint with a Q-tip. 

Filling in red: 5-10 minutes.
There were not very many areas that required red, so this went very quickly. I used a brush to accomplish this step as well. Something I realized after putting the red on my upper lip was that I had not put any lip balm on before doing so. Fortunately I have a habit of keeping my lips pretty moisturized. 

Filling in black: 25-30 minutes.
This was a little more detailed and expansive, so required more time. I used a brush again, but for the small circles on my cheeks, I used a Q-tip. Although it isn't visible in any of my pictures, I covered my entire eyelid in black.

I absolutely loved how this design turned out.

Paper Work

Clowns: Auguste

September 26

The first day doing clown makeup and working with water based makeup. It was a slow start getting everything set up. I had to prepare my face, choose brushes, put contacts in (it was nice to see!), etc. Also, before actually putting the makeup on my face, I tried some of it on my arm (by recommendation) to see how it would look on skin rather than on white paper. 

I started by painting my lips in. The good thing about doing this first is that in trying to make a hard line of white around the red, I discovered that the brush gave better coverage than the sponge. (Also, it made covering my eyebrows a lot easier. I piled on the white over my eyebrows and they disappeared.)

Also, as a result of trying this first instead of the conventional method of laying down my white, I discovered that with this paint, there couldn't be white below the red, else it would turn pink, and that I was in fact able to lay them next to each other without them bleeding into one another.
So I covered the rest of my face in white using the brush, and also the sponge to get a good blending to the brush strokes. After covering my face in white, I added in brown lines with the pencil to mark where my eyes and mouth would need to remain white. Afterwards, I lightly sponged on orange to create a skin tone on the rest of my face. (In the future, I want to try a different method so the skin tone doesn't turn out so yellow looking.)

As I went to add in the red for my nose and cheeks, I found that doing the red straight on skin was a much better idea. I ended up having to use Q-tips to remove the white paint. After adding the red, I drew around the white areas with the black pencil to really separate the orange and the white. I also used a Q-tip to add a small highlight to my nose to make it look more like a false nose.

My final step was to add my blue eyelashes above and below my eyes as well as blue paint as eyeliner to the top lid.

(The nose looks better from some angles than others.)

 Paper Work

Transferring Renderings onto Real Faces:

The first step was to take our head shots, place a blank piece of paper over them, and trace the outlines of our faces and facial features. After doing this three times, we used the grids (as we did before) to copy over the design to life-like images. These did not have to be painted.

Starting Template

Auguste

Whiteface

Tramp

Enlarging Thumbnails into Renderings:

Our enlargements were 1:2, with our rendering being twice the size of our thumbnails. This made the grid work simple because we drew 1/2" boxes for the thumbnail and 1" boxes for the rendering. The basic idea was to break the image down into manageable pieces and copy the shapes over bit by bit. We first chose one face from each type to do an enlargement of. Then we placed the small grid over the  thumbnail and the large grid under the rendering sheet (so it could be seen through the paper, but not block the drawing area). After being copied larger, each of the renderings had to be painted.

Grids

Auguste

Whiteface

Tramp

Work with Clowns: Designing Many

After discussion about three different categories of clowns (Auguste, Whiteface, and Tramp), and their qualities, we made several thumbnails using the different qualities as guidelines. Drawn first in pencil and then painted.

Auguste

Emphasis placed on the eyes with white paint, rest of the face painted a skin tone.

Whiteface

Entire face always painted white as a base. Variety of other adornments added, depends on type.

Tramp

Always has a beard, and usually, but not always, sad.

Color Wheel:

White Paper: Color wheel expressing primary and secondary colors.

Mixing the green and purple was difficult because they kept turning out very dark. Adding a little bit of water to thin the pigment greatly helped.

Gray Paper: Getting hues to appear similarly despite colored background

Adding a little more water helped to keep the secondary colors more consistent since there was additional color behind them.

Tint and Shade:

My rendering:

Getting the gradation even was very difficult. I was frequently tempted to mix the color on the page rather than setting it up before hand. Shading was more difficult than tinting because the paint kept wanting to turn green when it was mixed with black. So instead, I ended up mixing all of the primaries together to create a brown/ochre tone. 

From example:

Tint and Shade, Black and White

Using black and white pencils to make a similar gradation.

Getting them to meet in the middle at a middle gray was more difficult than having them fade from one another. I'm not totally sure why. I guess it was easier to have each of them at their maximum then fading because it gave me more leeway as to how quickly each faded. Fading into one another involved getting a balance.