Cuts, cuts lips and scratches...

Cuts, cut lips and scratches...

Creating old scaring...

• Rub Collodion(scaring liquid) onto the top lip then add derma shield on top and pinch skin together gently and blow dry. (Always check heat on yourself first.)
• Build layer by layer. (Ensure the lids are on both products being used, if anything burns your models skin then remove straight away.)

                                     Model: Nicole Eyres

Creating scaring using Tuplast on the wrist...

• Add Tuplast to your models wrist in lines and blow dry.
• Using supra colours and a fine brush add colours from the supra colours to the scars mainly red, brown and sepia tones. Dabbing the colours on with your finger gives a good more natural effect rather than red lines. (Newer scars are brighter, and older scars are darker.)
• Powder over the top to make it look like its under the skin.
• Its create a good effect if you also pick at the latex so some of it is flaking off or has gaps in-between making it look more grotesque and realistic. 

Creating scaring using Tuplast on the face...

•  I applied the tuplast the same as on the wrist but onto the cheek. (However when using the hair dryer on the face you have to twice as careful with checking the heat.)
• I also added another layer to create a bigger, deeper looking cut. I included darker and lighter tones of red to. The lighter reds mainly in the middle to represent a more raw cut then darker red surrounding it to show healing/scabbing of the wound. (Fixer spray can be sprayed over the finished look to help it stay on the face.) 

Products used:

Collodione- Buy non-flexible.

Tuplast- Clear

DUO glue

Fixer Spray

Derma Shield

Tuplast Duo

Supra palette

Kryolan Concealer palette









Sweaty, Fever look...

Sweaty, Fever look...

• Prep the face as normal, ensuring it is heavily moisturised.
• This look involves adding brown and sepia colours to the skin and subtly following the bone structure of the face. Make sure its taken all the way into the hair line.
• Blend the colours with moisturiser to create an ill looking shine on the face and to help blend. (Using supra colours or concealer palette.)
• Add some of the DUO eyelash glue to the lips to create a dried, cracked look. Blue can also be added to the lips to create an ill look and some added blood will make them look even more dead/pained. The blood can also be taken down the neck as a rash.
• To make the eyes look watery and sensitive add tears to the tear ducts using glycerine. Apply with an ear bud. (Always check if your model wears contact lenses, be extra careful if so.) Glycerine enables people to get a good camera shot of a fallen tear as it slowly falls down the face unlike water. (Glycerine can also be mixed with coloured pigments to create a wet look colour.)

Effects products used:

Black stipple sponge- available at Charles Fox 50p.

Glycerine- Used to create sweaty look, doesn't run off the face like water- available at Boots.

Tear Stick- Applied under the eye to create watery eye look.

Eye drops- Used for effective close up of the eye, actors/ models eyes sometimes dry out under studio lighting, eyes drops are nice to add to wet ten and soften the eyes. (Buy in bulk, separate little bottles to avoid contamination.)
Bottle of water spray
DUO eyelash glue
Supra colour palette
Kryolan concealer palette

(Red can also be added to the inside of the eyes.)

1. Always research different diseases as they look different at different times/eras.
2. Always know at what point the illness is/ what stage so you can for continuity.
3. Consider that everyone looks different ill, some people go pale others go flushed and red.

Sue's example.

Model: Jud Flor

 Model: Ellie Frith

Model: Nicole Eyres

Cuts...

Cuts...

• Prep the skin as normal then apply a base coat.
• Apply a thin layer of wax onto the skin then blend out the edges using moisturiser and a palette knife.
• Use a hair dryer to dry the wax then once the wax is dry use the palette knife to draw a faint line across the wax creating a cut. (Always test the heat of the hair dryer on your own neck or wrist/arm before you use it on the model.)
• Now apply Kryolan Sealer along the wax using a baby bud. (You can double dip with this product because it contains alcohol.)
• Now using a hair pin dip it in the red supra colour and gently drag down the faint line created in the wax, forming a blood cut.
• A stipple sponge can then be dragged down the cheek to form fake scratches. (This is also a good way of creating cut knuckles. Putting blood in a pump dispenser and spraying onto the cuts also makes a good effect.)

Remove the harsh make-up with toner as this will be gentler and more effective on the skin. 

Products used:

Prepping the skin essentials.

Wax.

Kryolan Sealer.

Supra colours.

Skin coloured powder.

Blusher brush.

Moisturiser.

Palette Knife.

Bobby pin.

Stipple sponge.

Hair dryer.

Toner- to remove makeup.

                                         Model: Nicole Eyres







Deep Cuts...

• Roll wax in your hands to create a long cylinder shape.
• Use a palette knife to spread onto the skin and blend edges into skin using moisturiser.

• Mould the wax around the skin to create a more natural look. Play/lift/mould.

This type of wax work is very effective when used on noses to change their shape.





 Anna Garner's work.
Model: Lydia Algar.

Bruising...

Creating a Black eye...

When creating cut and wounds remember fresh blood wounds will be a light red coloured and older wounds will be a darker red. Details like this are vital to remember to that the effect looks as realistic as possible. Plus, always ask what a client specifically wants to ensure you're including the correct details.

If you're creating effects like this on TV or film sets ensure that any body or facial cuts or wounds are applied where the incident took place. This way the blood from the injury will be realistically positioned on set.

Application:

• Moisturise the eye area.
• Use a little, pointy shaped brush when using supra colours around the eye to help you blend easily and reach more delicate, difficult areas.
• When applying this look we kept reverting back to an actual black eye image to help us create a realistic version and to help us see the variety of different shades and colours that appear within it.

• When using the supra colours ensure you take them all the way to the water line.
• Apply the yellow just above the top lash line first to create an almost infected effect and blend in with your finger. Make sure you have some moisturiser on the back of your hand so you can quickly apply some to the face to help naturally blend out the harsh colours.
• A darker red is then added above that more or less over the whole lid of the eye. This creates the swollen/sore look. Also add the dark red to the crease of the eye socked and blend out towards the brow bone. Always lightly apply the colours then build on top of that, its always easier to add more rather than remove excess.
• Keep checking that the colour is being taken right to the lash line using the flat brush. Open and close the eye repeatedly when applying to help you get to the harder reaching areas and to see if both the bottom and top of the eye are similar.
• Vaseline can also be added to the top of the eye to add a swollen look.

Make sure your model is not allergic or has any reactions to the products you're are using especially in this case as a lot of the product is being used around the eye, a sensitive area.

Products used:
Illamasqua flat brush.
Supra colours
Vaseline

Model: Ellie Frith
Ellie has light oily skin and wears contacts lenses.



Shading...

Shading...

Using PVA glue or the DUO eyelash glue you can create a realistic bruise or faint graze or even just an aged look.

• We first prep the skin as usual to help apply the most effective look.
• The PVA or DUO glue can be used on top or underneath the foundation. It sometimes looks more realistic if added before the base application.
• The glue is then applied either underneath or on top of the foundation.
• Once the glue has dried you can then pinch or gently scratch it to create what looks like burns or grazes. (This look is easier to achieve if you used a small pointy brush like the angled brush.)
• Then the supra colours are applied top or alongside the effect to build a realistic colouring.

Test the PVA and DUO glue on models skin before proper application to ensure they don't have any negative reactions to the products.

Products used;

Supra colour palette.

Duo and PVA glue.

Kryolan Foundation palette.

Foundation brush.

Fine eyeliner brush.

Brow comb and brush.

Lip brush.

Angled brush.

This effect in particular was very interesting to create as it was quite quick and easy to apply a good effect to include in my timed assessment when re-creating my interpretation of Miss Havishams look. I attempted this technique underneath my models eye as I thought that would be most effective. Miss Havisham's skin is never see's sunlight therefore it is very pale and malnourished like the rest of her body. This particular effect on the eye defiantly portrays this and also implies that she takes no care of her personal appearance.

                                                          Model: Nicole Eyres

Nicole has quite a dark skin tone with dry skin. She's 18 years of age and shows no contradictions.



                                                                   

 

This was Nicole's attempt. Her technique was definitely much more effective than mine as she added much heavier colours and more of the product. She also began by applying the Supra colours first then applying the glues and then the lighter colours on top, making the graze/bruise look much more like a wound.  



Theatrical ageing/Creping of the skin...

Ageing Make-up...

Using latex- Test on model week before day of application to ensure it safe to use.

Latex can be removed from the skin using warm water. It can also be used around the eyes to create an aged look however make sure the models eyes are closed to avoid any going into the eyes.

• Ensure your models face in clean. Cleanse, tone and moisturise as usual.

• Use moisturiser with the 'supra colours' to help blend them into the face. 

• Take a base coat over the face and lips. (the foundation creates a cracked effect on the lips making them look dry and old.) Don't use a tanned base colour as we want the model to look aged not glowy and youthful, ensure its the same colour as the models natural skin tone to help remove any colour.

• Take a thin brush and add a darker colour either from the supra colour palette or the concealer palette into the hollows of the face to emphasise and exaggerate them.

• Contour the cheeks, the inside of the eye area, outside of the nose near the eye and the smile lines. (Make your model scrunch up her face to find natural creases and lines in the face.)

• Add concealer to lip to exaggerate cracker look.

Products used;

Supra colour palette.

Kryolan Concealer palette.

Kryolan foundation palletee.

Angled brush.

Lip brush.

Fine Eyeliner brush.

Brow comb and brush.

Foundation brush.

Buffing brush.

Sponge.

Using Old age stipple Latex (Available by Pamm/Charles Fox.

Great product to use to create a wrinkled old look.

• Stretch the skin between thumb and index finger.

• Apply Old Age Stipple with a small  sponge. 

•  Allow to dry; you can use a hair dryer to speed up drying. Test hair dryer on your arm or neck to check the temperature before using it on the model. The product is dry when the latex becomes clear.

• Squeeze skin when latex was applied to create a small wrinkle/line. Only a small amount of pressure needs to be added until the latex is dry so the effect stays put.

•  Repeat this procedure until the desired effect is achieved. 3 layers usually builds up a good effect. 

 Products used;

Old age Stipple.

Hair Dryer. 

Sponge.

  

This is my model before and after. I only have images of the ageing effect done using the Supra colours. The Supra colours were quite difficult to use when trying to create heavy bags and wrinkles on the face due to the glossy, greasy texture however the concealer palette was much more effective as the colours were more suitable for the face making the make-up look more realistic and less heavy. I definitely think its a challenge when it comes to trying to create an older look on a very young person as your constantly trying to find and sometimes force the natural lines to appear on the models face. Once I become more familiar with different facial lines and expressions I think it will become much more apparent to me to where natural lines and bags appear on the face and how age affects the skin.   

Model: Chelsea Gowland

Chelsea has a light combination skin. She shows no contradictions.

Before...

After...

Chelsea created the same look on me...

Hair, French pleat...

French Pleat...

• It always easier to style this hairstyle when working with 2-3 day old hair rather than freshly washed hair.
• Dry shampoo the roots of the hair, which adds extra volume.
• Section from behind the ear on each side of the head using sectioning clips.
• Select a piece of hair from the top of the back, top of the head. Backcomb (pull hair down is opposite direction using a comb then slowly push that backcombed piece of hair down to the root.)
• Tong the piece of hair from the top rolling towards the root of the head. This helps direct the hair making it easier to shape and control.
• Tong down the rest of the back of the head in one line down to the nape of the neck in a brick formation.
• Pin the curls as you tong down the back of the head. This will help set them to enhance volume.
• Unpin all the set curls and comb loosely through in one direction, brushing the hair into one main direction making easier to fold as one.
• Pull all the hair over to the right then apply pins down the middle of the head, locking one on top of another. This will act as a structure enabling the hair style to stay in place.
• Now bring the hair back onto itself in the opposite direction so it covers the pins. Wrap the hair around your hand so it all twists into large curl that you can then pin using large grips. slowly push the grips into the wall of grips that was created earlier. This will enable the it to stay sturdy and not move.

• You can now choose to either tong the two sectioned pieces and bring them back to create a bigger structure with more height or you can simply just backcomb and then grip then the back.

Product list;

Dry Shampoo.
Hair protector.
Sectioning clips.
Pin tail comb.
Hair tong.
Grips and wide set pins.

This was Seema's demonstration of how to create the hairstyle. I have to say it looked much easier than it actually is to create. There are a lot of steps in between that you realise are very important in order to establish this end result.

                                     Model: Megan Edwards

This was my partners attempt of doing the hairstyle on me. It was quite difficult to style as my hair is pretty long making it slightly harder to shape and grip.

Creating hair based on the French pleat...

 Since I had no time to try the creating the style during the seminar I practised on a friend in my own time. I'd definitely say it takes a lot of practise to accomplish a perfect finish similar to Seema's. My models hair was freshly washed which definitely made it more difficult to create and pin the shape across the head. The hair at the nape of the head hung to low due to the hair slipping. More dry shampoo used in the hair at the beginning would have helped secure the hair and its shape. The image above shows the hair tightly twisted across the back of the head helping create height where as my image before shows the hair has dropped due me poorly securing it.

Model: Emma Pinchen

Emma's hair is in good condition, it has been previously died and is mid-length.

I also added some flowers to hair to create a more romantic hairstyle. Most of the Romantic images that I added to my Pinterest include flowers, a prop that commonly makes a hairstyle more Romantic.