The last meeting with my tutor proved to be very successful and motivating. After seeking advice and resolving some unforeseeable personal problems that had affected my work I was determined to get back on track.
I have gotten straight onto my first task set last week, confirming models for the 4 main characters.
I have successfully achieved this goal confirming a friend of my photographer and professional model, a performance student and two willing friends;
CELIA - Marta Chudzińska
MARCO - James A Trinder
PROSPERO THE ENCHANTER - Sam Humphris
MR A.H - Alex Hewison
Next, taking inspiration from the
Moulin Rouge book mentioned in my
Week 3 post I have begun sketching out a storyboard of my initial ideas for the layout of my pages.
With my project focus being on character makeup and my ambition being to work in the Film and TV area of the makeup industry I settled down to do some face chart designs for my 4 main characters while watching the Oscars (I was very pleased that the award for Achievement in Makeup this year went to Les Miserables)
Face charts
Using my file compiled of notes from the book about each character and vital points in the story I have begun to construct these face charts for the 4 main characters; Celia, Prospero The Enchanter (Hector Bowen, Marco and Mr A.H (The Man in the Grey Suit). To suit my style and the type of story these character come from my makeup will be quite theatrical. So far I have managed to create 3 looks for the characters of both Celia and her father Prospero The Enchanter, 2 looks for the character of Marco but only 1 for the character Mr A.H.
1. This look is a simple makeup as in the Victorian era cosmetics were considered the devil's making, associated with prostitutes and women of questionable morals. Women of this time period wanted to keep a pale skin as it was seen as a sign of wealth in that they could well afford not to work outdoors and be exposed to the sun and therefore tanning. So I will create a pale skin tone, heavily powdered with a slight rosy blush and a natural lip using a nude pencil, with contouring of the cheek bones and enhancement of the eyebrows and use of mascara purely to enhance the eyes to show up well on camera with studio lighting.
2. This look is to represent the point in the story where Celia is overworked and purposely undernourished "After months of it she is
exhausted from the travel and the strain and the fact that her father barely
lets her eat, as he claims looking like a waif makes her seem more convincing" (Morgenstern, 2011, p.39) I will create an even paler skin with heavy, dark contouring to make the face look thinner and more gaunt and I will create dark circles around and under the eyes to create a tired, exhausted appearance still making sure to enhance the eyebrows and eyelashes to stand out and withstand the studio lighting.
3. The third look is Celia's stage/performance makeup and therefore much more extreme as even in the Victorian era actresses were allowed to wear makeup. I will use strong blush to stand out against the still pale skin with contouring of the cheek bones to enhance the face structure. I will create a dark smokey eye look to make the eyes stand out and a statement red lip to tie in with the colour scheme of the story which is; Black and White with hints of Red.
1. This look will consist of pale skin with natural contouring to shape the face so as best to show up on camera. I will create theatrical aging on my model following the natural frown lines and around the eyes and darker circles under the eyes. Using a mixture of Black and Dark Brown crepe hair with hints of Grey I will be laying on a beard and moustache, with spirit gum, in the style shown above.
2. This is Prospero's stage/performance makeup. Heavy foundation using greasepaints and less aging as his makeup would be used to mask the signs of natural aging. Strong rosy cheeks and a reddened lip with strong enhancement of the eyebrows and eyes to withstand my studio lighting and as if he was performing in a theatre so that the people at the back of the audience would be able to clearly see his facial features. Paying close attention to style the moustache.
3. "What is left of Hector Bowen" (Morgenstern, 2011, p.63) This look is pale and ghostly, one of Prospero's tricks has gone terribly wrong and he is close to death (the public believing he is dead). Extremely pale skin with extreme aging and dark contouring, a pale, Blue tint to the lips and only wispy remains of a very grey beard and moustache. Overall a very theatrical look.
1. This look will be simple as it is for a young man. He spends most of his time inside reading and studying, so I will create a pale skin as he does not go outside often. He is described as a handsome young man so I will use contouring and highlighting in appropriate places to best enhance my model's facial features, It will be fairly strong contouring to show up best against the studio lighting and fit in with trying to achieve theatrical looks with all my characters.
2. This look is to show the character's exhaustion and lack of human contact. I will make the skin appear paler with heavier contouring making him look more gaunt and darkness underneath the eyes to give the impression of tiredness and stress.
1. The character is to look ghostly and very serious. I will achieve this by using a pale base with aging lines where a person would normally frown to give him a stern look. Dark contouring and eye sockets to make him look ghostly and to make you feel uneasy and slightly scared of him.
Knowing that my 4 main character models were confirmed and getting creative designing my face charts gave me back the confidence I had recently been lacking in myself. Overall I am pleased with my achievements in moving forward with my project this week after the personal set backs of the previous week.
