Saturday, 25 October 2014

Ellis Faas

https://beautyarmy.com/uploads/eshop/shop/5417/5418--700x700.jpg
Ellis Faas is a makeup artist whom Vogue Paris has called "one of the most influential makeup artists of her time". After she graduated from high school, Faas did a professional course in photography and always used herself as a model. In order to make herself look different every time, she discovered the versatility of makeup. She then decided to move from Amsterdam to Paris so that she could study at Christian Chauveau's school for makeup. 

Faas has worked with the worlds most leading fashion designers, photographers, stylists, hairdressers and models. Her work has been published on the covers of the best-known fashion magazines. She has also worked for makeup brands such as Clinique, Lancôme and M.A.C. cosmetics - and she was even asked by L'Oréal to create a makeup line for their skin care brand, Biotherm. After the contract with L'Oréal ended in 2007, she created her own brand: ELLIS FAAS. 

Information from: http://www.ellisfaas.com/brand/about/ 


Video from: https://www.youtube.com/watch?v=SyDp2ybDTjA


"Ellis Red is Ellis' signature colour, it is based on the natural colour of blood. That colour is the same in all of us, so therefore it doesn't clash with anyone's skin".
http://www.ellisfaas.com/collection/ellis-red/




Remembering Kevyn Aucoin

http://www.premiermodelstyle.com/premier-blog/wp-content/uploads/2014/10/KA-with-Courtney-Love-1.jpg
Kevyn Aucoin is considered the world's first celebrity makeup artist. He worked with Naomi Campbell, Cher, Julia Roberts and Cindy Crawford. While makeup was his trade, it was his charm and charisma that secured him fame. Kevyn started his career at the age of eighteen in New York City doing makeup for a series of amateur test shoots. From this work, Aucoin was noticed by Vogue and went on to work with Vogue photographer Steven Meisel.

His first influential role was creative director at Revlon; where he designed "The New Naked's", the first makeup like to introduce contouring powders. Kevyn decided to launch his own brand "Kevyn Aucoin Beauty" in 2001. 

http://www.premiermodelstyle.com/premier-blog/wp-conten
t/uploads/2014/10/kevyn-aucoin.jpg
By the 1990's Aucoin had become Hollywoods master of makeup, he started publishing his work in books "The Art of Makeup: Making Faces" and "Face Forward" two of which became Time magazines best sellers. 


Information from: http://www.anothermag.com/current/view/4039/Remembering_Kevyn_Aucoin
http://www.premiermodelstyle.com/premier-blog/index.php/2014/10/21/kevyn-aucoin-the-legacy-of-a-makeup-legend/



http://www.premiermodelstyle.com/premier-blog/wp-content/uploads/
2014/10/kevyn-aucoin-sensual-skin-enhancer.jpg







Screenshot from: http://kevynaucoin.com/art-of-makeup#falls-lashes
On his website, you can shop for products, find out about the history of the brand and even find beauty tricks and tips to keep you up to date with the latest fashions and trends. 


Seven Photographs That Changed Fashion

The photographs that Rankin have chosen are his personal choice and all are brilliant examples of fashion images, reflecting the changing desires and aspirations in the world around them.

Rankin often uses original techniques or he'll see if he can do it in a modern way. In this film, Rankin looks at the early years of the last century and explore how each generation of fashion photographers influence the next. He looks at the mix of styles, inspiration and personality behind the great fashion images, all of which will explain why fashion photography looks the way it does today.


Cecil Beaton
First up, Rankin looks at Cecil Beaton, a quintessential British fashion photographer. He was one of the early masters of the art. He was responsible for "My Fair Lady" where his sets and costumes showed off his incredible theatrical flare and flamboyance. It was a style he first developed as a photographer, creating fantastic and elaborate images. He joined vogue in the 30's and was best known for his vivid portraits of society figures in glamorous, and often quirky surroundings. 

White Panama Hat
Vogue
1934
Cecil Beaton

Image from: http://media-cache-ak0.pinimg.com/736x/05/57/be/0557bec775eb47fe884c46761a249709.jpg

It was a simple brief to show off a new hat design, but Beaton brought to it his typical elegance and playfulness. Rankin recreated this image using Sophie Ellis-Bextor as his model. Below is his final outcome.

Rankin 
2008

Image from: http://i.telegraph.co.uk/multimedia/archive/01217/Beaton-1934_1217705i.jpg


Erwin Blumenfeld
In paris, a German emigrate Erwin Blumenfeld was discovering a flare for visual experimentation that would turn him into one of the most innovative fashion photographs of his era. He brought art into his photographs. 

Erwin Blumenfeld
Vogue Cover
January 1950

Image from: http://www.theswellelife.com/.a/6a00e54ef1680988330111688e4d4a970c-pi

What interests me about this photograph is that it was taken in Black and White and then bleached out. The colour was then added at the printing stage and it still looks incredibly modern. Below is Rankin's interpretation, he used Heidi Klum as his model. 

Rankin
2008

Image from: http://www.theswellelife.com/.a/6a00e54ef16809883301127902c24628a4-pi


Richard Avedon
A young American photographer, Richard Avedon was refreshing classic styling with energy and creative spirit. His photographs reflected the optimism of 50's America and turned him into the first celebrity fashion photographer. He took many of his striking photographs in Paris.

Dovima with Elephants
Harpers Bazaar
1955
Richard Avedon

Image from: http://inspire-ipcmedia-com.s3-eu-west-1.amazonaws.com/inspirewp/live/wp-content/uploads/sites/12/2010/11/Dovima_20with_20elephants.jpg

Like many of his photographs, the composition is almost perfect and it is such an unusual scale working with big elephants. Rankin recreated this image using Erin O'Connor, below is his final image. 

Rankin
2008

Image from: http://beccahigginson.files.wordpress.com/2013/10/rankin-5165.jpg


David Bailey
When the 60's arrived, the fashion image was transformed again with the help of David Bailey. He is the perfect fashion photographer, combining technical brilliance with sheet force of personality to create pictures that have a sense of total spontaneity. He created some of the most iconic images of the 60's and many of them were of his lover, Jean Shrimpton. 

Jean Shrimpton
Vogue
1963
David Bailey

Image from: http://laceandtea.com/wp-content/uploads/2009/11/shrimpbig.jpg

Rankin recreated this photograph using his girlfriend Tuuli Shipster, just like Bailey did. And to make matters harder, the man himself watches over him whilst he does the shoot! Below is the image that Rankin created. 

Rankin
2008

Image from: http://neonimages.files.wordpress.com/2012/12/rankin-david-baileycapture.png?w=335


In the 70's Helmut Newton was a popular photographer, his images of strong women in often highly-charged sexual scenarios captured the new mood. His pictures also suggested that fashion photographs could be more than just beautiful snapshots. 

Rue Aubriot
Vogue
1975
Helmut Newton

http://leclownlyrique.files.wordpress.com/2012/12/helmut-
newton-rue-aubriot-french-vogue-white-women-paris-1975.jpeg
http://www.yatzer.com/assets/Article/3039/images/ona
ssis-cultural-center-helmut-newton-yatzer-5.jpg























Taken for Vogue, it has a very 70's sexual ambiguity but also reflects imagery of Newtons Berlin childhood. Its these aspects that give it a timeless look. The model in this photograph, Vibeke Knudsen came down to help out Rankin at the shoot. Rankin used Jade Parfitt to model for him. Newton couldn't resist a more provocative version of the shot, so the next night he took his second image, almost as recognisable as the first. Rankin also recreated this and the naked model was Mollie Gondi.

Rankin
2008

Image from: http://i.telegraph.co.uk/multimedia/archive/01217/Newton-1975_1217719i.jpg


Guy Bourdin
Guy Bourdin is one of the most imitated fashion photographers of them all. His highly saturated look and dramatic scenarios seem to suggest some hidden tension and trauma. His influence is incredible, not just in photographs but throughout pop culture.

Untitled
Vogue
1970
Guy Bourdin

Image from: http://www.phaidon.com/resource/40sb.jpg

This photograph brilliantly captures the sleezy glamour of his work with none of the adoration of women sen in traditional fashion photographs. Rankin used Daphne Guinness to model for him and below you can see his final outcome.

Rankin 
2008

Image from:http://3.bp.blogspot.com/_3fmbmaLi718/TOjX_gNgDeI/AAAAAAAADuw/ba
VaZhUSNo0/s400/Rankin+Guy+Bourdin+2.jpg


Herb Ritts
If the 70's saw women fashion images transformed, when the 80's arrived it was the guys turn to be reinvented. Suddenly it was the mean who were the objects of desire. One of the pictures that transformed the way men were portrayed in fashion was Fred with Tyres. It was a picture that brought home erotic imagery into the mainstream.

Fred with Tyres
Per Lui
1984
Herb Ritts

http://www.christies.com/lotfinderimages/d51650/d5165021l.jpg

The image came from a series of images, originally designed as a simple featural about workers denim. Rankin recreated this design using David Gandy. He shot with film and polaroids to create the final image as you can see below. 

Dave with Tyres
2008
Rankin

Image from: http://i.telegraph.co.uk/multimedia/archive/01217/Ritts_1217754i.jpg


By the 90's the fashion business was changing fast. Models were the new superstars even appearing in pop videos. From the grunge look of the early 90's to the hyperreal possibilities of digital technology. There were plenty of twists on the fashion image.
In Rankin's generation of photographers, you can see echoes of the quirkiness, visual experimentation and sexual daring of the photographs that he has looked at. Although he only chose seven, they all show how fashion imagery is constantly reinventing itself. 

This short video was very interesting and I learnt so much about all the different photographers from different eras and what techniques they used to create their most famous photographs. It was like a journey through time, exploring the amazing pieces of work and I found it extremely interesting watching Rankin recreating these photographs. My favourite images that Rankin has looked at has got to be the one and only Erwin Blumenfeld's Vogue Cover. Being taken in the 50's it still looks so modern and I love how the eyes and lips are the main features whilst everything else has been blanked out. Its unusual why this has been done but you don't question it. I also love Rankin's take it on it, the tongue poking out gives it a different look and I think it works really well. 


Tuesday, 21 October 2014

Contemporary Portraits

We had to find a contemporary portrait that suggests wealth through objects that surround the sitter and the way the sitter is dressed. I struggled to find a contemporary portrait which showed this, I looked through lots of magazines and newspapers and came across this image which I feel is quite powerful.



Left image from: The Sun Newspaper
Right image from: http://images.fineartamerica.com/images-medium-large-5/portrait-of-an-unknown-woman-in-black-william-scrots.jpg

This image stood out to me because it looks so powerful. The way the lady is posed makes her look very confident and quite dominant. I think there are similarities between this photograph and elizabethan portraits because their hair is tied up, they are both standing and wearing the colour black. Black was an expensive colour and only the fashionable and elite would wear it, much like today. Although there are no objects in the image I found to symbolise her wealth, I believe it does show she is wealthy because she is dressed I'm black and the way she is standing. You can see the clear similarities between the two images. 


Self Portrait 


This is my self portrait I have created. My bed is my throne as I need to be comfortable (and I spend most of my time here!) My dog Bailey, is my loyal subject who follows me everywhere I go. My Burger King Crown symbolises my love of food and one needs it so long may I reign. I am pictured with my laptop so I can keep an eye on my social kingdom.
 I have added an effect to make it look like an oil painting and put it in a frame to make it look like a portrait you would find in a museum. 

Monochromatic Look

We had to create a monochromatic face chart and then recreate that look on our partners in lesson. I paired up with Jasmine and we both practised our looks on each other. Below is a picture of my face chart, I chose the colour purple as I hadn't really experimented with this colour before. 




Creating my look on Jas







I am really pleased with how my monochromatic look turned out. I think I copied the face chart well and portrayed the different tones and shades. I am pleased with how the eyes turned out and I like how I have tried to ombre the lips, making them appear lighter in the centre. If I had to improve, I would make my contour come across the cheek more rather than going down vertically. Other than that I like the design and really like how the purple colour turned out. 

Sunday, 19 October 2014

Colour Theory Face Charts

Face Charts

Achromatic Look


This is my achromatic makeup look I have created. I wanted to create a really dramatic effect using black, greys and whites. I wanted the lips to be jet black so they stand out along with the eyes. I have kept the face quite natural to make the features stand out the most. I have made the eyes darker on the outside, getting lighter on the inside to create a smokey effect. I really like this design as I think it shows the achromatic colours well. 


Analogous Look


Here I have created my analogous look where I have used reds, oranges, yellows and purples as they all sit next to each other on the colour wheel. I imagined the eyes as the colour wheel and made the colours flow from red, orange and yellow. Purple sits next to red on the colour wheel and I think adding this under the eye really compliments the colours. I think this look is quite subtle so I didn't want to go overboard with deep colours so I have kept the lips quite natural and light, using an orange colour so it still fits in with the colour scheme. Overall, I am really pleased with how this has turned out. 


Monochromatic Look


This is my monochromatic look, I chose the colour red as I have a few shades of eyeshadow and liners in this colour and I think red is a very bold colour. I put red eyeshadow on with it slightly darker in the corners. I also added a deeper red liner and flicked it off in the corners. I wanted bright red lips and I think this look works quite well. I also contoured with red blusher going up to the eyes but it is quite hard to see in these photos. 


Complimentary Look


I wanted to create dramatic red lips as I think it makes a statement. Green is opposite red on the colour wheel so I used a soft green eyeshadow with a darker green in the corners. I wanted to make the eyes really dramatic as well but it was hard as I didn't have a deep green eyeshadow. Because the eyes looked too soft and simple, I added some red eyeshadow under the eye to make them stand out. I decided there was too much red so I got a dark green/brown eyeshadow and contoured the cheeks but it didn't come out very well and is really hard to see in these photographs. If I had to create this look again I would definitely invest in some more shades of eyeshadow!



Wednesday, 15 October 2014

Trip to London

We visited the national portrait gallery in Trafalgar square on friday to gain inspiration for our Elizabethan project. I was amazed at how many beautiful portraits were there and how big they are! Whilst there, I found an image which really represented what Elizabethan beauty is to me. I tried to take a picture but the guard kept looking at me so I researched into it.



Some sneaky pictures from the gallery (ssh)

The Coronation Portrait



"This painting is known as 'The Coronation portrait', and shows the Queen crowned, wearing the cloth of gold which she wore at her coronation on 15 January 1559, which had previously been worn by Mary I. She holds the orb and sceptre, symbols of her authority. The portrait appears to have been painted in about 1600, and is probably a copy of a lost original of c.1559."

I love the symmetry in this picture, the composition is perfect. The first thing I am drawn to is her pale complexion contrasting her hair, outfit and the background. It is almost mesmerising. To me, this defines what Elizabethan beauty is at is shows her fair hair, high forehead and arched eyebrows and her pale skin with the red cheeks and lips. I am inspired by this portrait and it is something I will always look back on in this project to ensure that I am capturing her signature look right. 

Image and information from: http://www.npg.org.uk/collections/search/portraitLarge/mw02070/Queen-Elizabeth-I?LinkID=mp01452&search=sas&sText=queen+elizabeth&role=sit&rNo=12
http://www.npg.org.uk/collections/search/portrait/mw02070/Queen-Elizabeth-I?LinkID=mp01452&search=sas&sText=queen+elizabeth&role=sit&rNo=12#sitter


Whilst we were in London we went shopping!! We visited M.A.C, Charles Fox and Illamasqua! I spent quite a lot (especially with M.A.C kindly giving us 35% discount!!) but it was well worth it. It was very rushed in M.A.C and I felt I didn't get to ask many questions about the products as there was so many of us but I am pleased with my purchases. 
I had never been into Charles Fox before and I loved it. I could have spent a fortune in there! All of the products are amazing and I particularly love the special fx stuff! The staff were welcoming and helpful.
It was only a 10 minute walk to Illamasqua but it took us half an hour, we just couldn't find it! Again, it was amazing in there. The staff were extremely helpful and friendly. 
Overall I had a really good experience in London and I'm really glad I went. 

Extreme Contouring

When you contour, you need to observe the models face in order to see the shadowing and where the light hits the face. You need to consider the neck, neckline and the hands as you can see the difference between colours.

Contour Demo:
1)Apply primer (Illamasqua Matt) all over the face.
2) Start with highlighting the face (Kryolan TV White) highlight the cheeks, forehead, nose and jaw.
3) Blend the whole face in so there is no lines using a dual fibre brush and make sure you go all the way to the hairline.
4) Using a slightly smaller brush, get under the eyes so there are no creases. Also make sure you get the ears and go down the neck as it catches the light.
5) Press powder into the face (Illamasqua Translucent) over the highlighted areas to set it.
6) You can use matt eyeshadows/blusher for contouring. Make sure you get under the cheekbone, applying the contour in the sunken parts of the face or where the shadows are.  Start with a lighter colour as you can always build it up.
7) Then contour under the jaw, around the nose and brows and around the eyes.
8) You can add more contour and highlights to the face if desired. (We used pure pigment, static by Illamasqua) under the cheekbone to add colour and so it didn't look flat.


Before


Kat's products she used


Kat's finished contouring demo

Contouring with Pink

I am pleased with how this turned out as it was my first time extreme contouring. You can clearly see the highlights and contour and I think the colour works quite well. I could have blended down the neck more to bring out my neck muscles. I would like to
practice this again but maybe using more neutral colours.

Before                                          After

I also practised extreme contouring on my sister at home. I brought the contour up into her eyeshadow and I think this creates and interesting look. I am quite pleased with how this has turned out.







Monday, 13 October 2014

Colour Theory & Charts

What is colour?

The property possessed by an object of producing different sensations on the eye as a result of the way it reflects or emits light.

In arts, colour is the mean of visual/sensuous expression.
In psychology, colours are stimuli influencing psyche and behaviour.

Colour theory is a body of practical guidance to colour mixing and the visual effects of a specific colour combination.
Colour scheme is the choice of colours used in design for a range of media. Colour schemes are used to create style and appeal.
Colour wheel or colour circle is an abstract illustrative organisation of colour hues and a circle that shows relationships between primary colours, secondary colours, and tertiary colours etc.

Relative attributes that define all colours:
- lightness (light vs. dark, or white vs. black)
- saturation (intense vs. dull)
- hue

Sir Isaac Newton developed the first circular diagram of colours in 1666. Since then, scientists and artists have studied and designed numerous variations of this concept.


Analogous Colours - colours that are next to each other on the wheel.














Complimentary colours - opposite the colour wheel (red & green)















Achromatic Colours - black, grey, white & neutrals







Chromatic Colours - the actual colours











Monochromatic Colours - all the shades within one colour - light to dark















Colour harmony - In visual experiences, harmony is something that is pleasing to the eye. It engages the viewer and it creates an inner sense of order, a balance in the visual experience.

Colour context - How colour behaves in relation to other colours and shapes.

Describing Colour - Light, dark, pale, matt, shiny, satin, deep, intense, dull, muted, clear, cool, warm, dynamic.

Images from: http://operationwritehome.org/the-abcs-of-color-basic-color-theory/
http://maydrawingtutorials.blogspot.co.uk/2012/04/final-project-ribbon-drawing.html
http://modernmancollection.com/style/working-with-colors-a-modern-mans-guide-to-different-color-schemes/
http://www.tigercolor.com/color-lab/color-theory/color-harmonies.htm
http://en.wikipedia.org/wiki/Color_scheme