Full Bibliography

Books

Agius, M (2009). 'The Art of Makeup'. USA: Author House. p53.

Aucoin, K (1999). 'Making Faces'. London: Little Brown. 

Dickens, C. (2003). Chapter 8. In: Charlotte Mitchell 'Great Expectations'. 2nd ed. London: Penguin Classics. p89-99.

Dickens, C. (2003). Chapter 11. In: Charlotte Mitchell 'Great Expectations'. 2nd ed. London: Penguin Classics. p129.

Dickens, C. (2003). Chapter 38. In: Charlotte Mitchell 'Great Expectations'. 2nd ed. London: Penguin Classics. p207.

Dickens, C. (2003). Chapter 49. In: Charlotte Mitchell 'Great Expectations'. 2nd ed. London: Penguin Classics. p586-593. 

Dickens, C. (2003). Chapter 59. In: Charlotte Mitchell 'Great Expectations'. 2nd ed. London: Penguin Classics. p489.

Draznin, Y, C. (2001). The MCMW's Background. In: 'Victorian London's Middle-Class Housewife: What She Did All Day (Contributions in Women's Studies)'. Westport: Greenwood Press. p36-37.

Hobday, R. (1999). Your Body And Mind In The Sun. In: Brochel, P The Healing Sun. USA: Findhorn Press. 17-37.

Janson, H.W (1977). 'History of Art: A Survey of the Major Visual Arts from the Dawn of History to the Present Day'. New York: Prentice Hall. p141.

Marsh, M. (2009). Chapter 2, 'The Unpainted Lady'. In: 'Compacts and Cosmetics: Beauty from Victorian Times to the Present Day'. South Yorkshire: Remember When. p21-27.

Milady. (2014). Chapter 1 History and Career Opportunities. In: 'Milady Standard Cosmetology 2016'. Boston, USA: Cengage Learning. p9.

Mulvey, L. (1975). III Women as Image, Men as Bearer of the Look. In: Mulvey, L 'Visual Pleasure and Narrative Cinema'. London: Oxford University Press. p808-809.

Nicholson, M. (1999). The Scene of Male Envy. In: Nicholson, M 'Male Envy: The Logic of Malice in Literature and Culture'. United States of America: Lexington Books. p30.

Owen, P (1965). 'Fashions in Hair: The First Five Thousand Years'. London: Peter Owen Publications. p524-544.

Paquette, J (2012). 'Respecting The Stand: A Critical Analysis of Stephen King's Apocalyptic Novel'. North Carolina : McFarland & Company. p162.

Prol, F (2014). 'Sugar and Dirt: Memoires of a Tortoise'. USA: Wheatmark Inc. p90-91.

Sherrow, V (2006). 'Encyclopedia of Hair: A Cultural History'. London: Greenwood Publishing Group. p156-157.

Shelley, M. (1818). Chapter 4. In: 'Frankenstein'. London: Harvey Mavor & Jones. p53.

Steel, A (2009). Painful in Daily Doses: An Anecdotal Memoir. South Australia: Wakefield Press. p141.

Watt, J. (2004). Gothic. In: Thomas Keymer and Jon Mee 'The Cambridge Companion to English Literature 1740–1830'. Cambridge: Cambridge University Press. p120.

Essays

Weiss, Z (2009). 'Seeing Double, Double Seeing'. United States of America: Brown University.

Webpages

Alopecia Areata: 'Questions and Answers About Alopecia Areata. National Institutes of Arthritis and Musculoskeletal and Skin Disorders (NIAMS)'. January 2012; http://www.niams.nih.gov/Health_Info/Alopecia_Areata/. Accessed: 6th April 2015.

Couldrophobia Facts. (2013). 'Are You Afraid of Clowns?'. Available: http://www.coulrophobiafacts.com. Last accessed 1st April 2015.

Czerwinski, M. (2011). 'Female Archetypes Of American Horror Story'.Available: https://thetelevixen.wordpress.com/2011/11/28/female-archetypes-of-american-horror-story/. Last accessed 23rd March 2015.

Laerdal. The Girl From The River Seine. Available: http://www.laerdal.com/gb/docid/1117082/The-Girl-from-the-River-Seine. Last accessed 10th Feb 2015.

Mosey, R. (2012). Tv to Stream 24 Channels for Digital Olympics. Available: http://www.bbc.co.uk/blogs/legacy/rogermosey/2012/04/since_the_start_of_our.html. Last accessed 30th Jan 2015.

NHS. (2009). 'Seasonal Affective Disorder'. Available: http://www.nhs.uk/conditions/seasonal-affective-disorder/Pages/Introduction.aspx. Last accessed 3rd February 2015.

The Twickenham Museum. (N/A). Edward Harris Donnithorne. Available: http://www.twickenham-museum.org.uk/detail.asp?ContentID=417. Last accessed 9th Jan 2015.

West, D. (2008). Confirmed: ITV HD is Freesat Exclusive. Available: http://www.digitalspy.co.uk/digitaltv/a95312/confirmed-itv-hd-is-freesat-exclusive.html. Last accessed 30th Jan 2015.

Woodbridge, J. (2012). Tips: Make-up for HD. Available:http://www.bbc.co.uk/academy/production/article/art20130702112136285. Last accessed 30th Jan 2015.

Winchester Cathedral. (2014). Art and Architecture. Available: http://www.winchester-cathedral.org.uk/our-heritage/art-architecture/. Last accessed 2nd Feb 2015.

Wright, B. (2011). Grotesque in Great Expectations - Pips First Encounters With Magwitch. Available: http://www.sooperarticles.com/art-entertainment-articles/grotesque-great-expectations-pips-early-encounters-magwitch-652194.html. Last accessed 30th Jan 2015.

Online Articles/Essays

Gubar, M. 'Historical Essays: The Victorian Children'. Available: http://www.representingchildhood.pitt.edu/victorian.htm. Last accessed 14th Feb 2015.

J. S. Ryan, 'Donnithorne, Eliza Emily (1826–1886)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/donnithorne-eliza-emily-3426/text5211, published first in hardcopy 1972. Last Accessed 20 February 2015.

Longenecker, L. (2010). Alexander McQueen: Horns of Plenty.Available: http://fashionpassionpdx.blogspot.co.uk/2010/01/alexander-mcqueenthe-horn-of-plenty.html. Last accessed 3rd February 2015.

Yatman, B. (2015). Sydney Eccentric: Eliza Emily Donnithorne. Available: http://www.smh.com.au/nsw/sydney-eccentric-eliza-emily-donnithorne-20150105-125oqs.html. Last accessed January 9th 2015.

Films

Alexander McQueen (2001). ‘What A Merry Go Round’. Fall/Winter Collection. Film. 

BBC. (2014). 'The Art of Gothic' . Film.

Mike Newell (2012). ‘Great Expectations’. Film. 

Tom McLoughlin (1991). 'Sometimes They Come Back'. Film.  

Evaluation

In all I feel that the second part of the ‘Gothic Horror’ unit was significantly more successful than the previous despite us having a much shorter time frame to complete it. I found working towards the brief an exciting thing to do as although we had a structure for which our character designs had to follow there was a much greater level of creative freedom in regards to what we could do with our character designs. As we only had a short about of time to work on this unit I kept my research very focused, mainly on concepts that would help me understand my character ideas further such as phobias and medical conditions. The main issues that I faced within this part of the project included developing my makeup designs for Quentin and Mrs Laderman. In regards to Mrs Laderman the main issue I faced was that of no hair, to overcome this I decided to create a before and after concept whereby I would show on my blog what she looked like before. In regards to Quentin it was a case of going back and re-evaluating my work to analyse how I could develop my character better towards my concept and the brief. Overall I feel that the unit was successful and I was pleased with the final outcome of my characters. 

Final Images - Quentin

Creating Quentin

These images are taken from my second attempt at creating my Quentin character to which I had made a number of changes including to the makeup, the hair styling, facial hair and costume. Reflecting upon my first attempt at creating my Quentin character there were a number of elements that I felt were lacking from the imagery such as a more gothic undertone of evil, the 1950's styling and more importantly a costume of some description. Overall I felt that my images were bare looking and did not in force the same amount of story realism as my Mrs Laderman, the overall concept of my Quentin was not believable. This was something that I really needed to work on as I felt it had not expressed my work to the best of my ability, that being said I think the initial creation of my character provided me with a good base on which I could build and develop my concept.
The first changes that I made was to that of the makeup from which I had analysed where I had gone wrong on my first attempt and what I needed to do to make the look more disturbing to the audience, as would be fitting with the horror genre and in particular my chosen show of American Horror Story. The colours that I had used previously had been very bright and therefore didn't quite create the dirty look that I wanted to create for my character, instead it looked a little to well polished and artsy as opposed to disturbing. As a result I took the original colours that I had used and mixed in a small amount of black so that they became more grungy and desaturated. I feel this was effective as it completely transformed the makeup. Another change that I made in regards to the makeup was to take the colours down the neck and arms so that the whole body matched what was happening on the face, this means that my Quentin was more tied together as opposed to just focusing on the face.
Secondly I also made changes to the hair styling making sure that it was more slicked backwards against the head in a 'greaser' style, this added a charismatic element to my Quentin as I wanted the concept of being able to fall in love with the monster a key element to his look. By tidying up his hair and styling his facial hair he appears a little more manly therefore appealing to a female demographic. For the moustache I complemented the drawn on smile by curling the edges of the facial hair upwards into a smile like curl, I did this by using a lot of hair wax and holding it in place while it set. To enhance the look of the hair I then added dashes of blue and black to the ends of the moustache as accent colours to complement the eyes.
Within my final photographs I also added a costume so that the makeup would be more of a focus and no large areas of unpainted skin would be exposed. For this I used a tea stained shirt that I had previously coloured and cut the sleeves off of, on top of this I also added a pair of braces to link the overall look back to the 1950's 'greaser boy' styling that was a key element to Quentin's design. Overall I was really pleased with how my final photographs turned out and I think that both the disturbing clown elements work nicely alongside the masculine 'greaser boy' pose and styling to create an overall believable character. In addition I feel that this is some of the best makeup that I have done this year and was really pleased with what I achieved and how my look had developed from my first attempt.

Outside Work - Winchester Fashion Week

One of my main ambitions within my makeup degree is to develop myself to the ability to work as a makeup artist both within the art world but also that of high fashion and catwalk. Due to this I was fortunate enough to be chosen to participate in a local catwalk show in Winchester on the 23rd April, unfortunately this did mean missing a day of university however I felt that the experience would be valuable to me as I have never before experienced working in a high pressure environment, getting models ready for a show. 

The experience was definitely eye opening as it was very chaotic with a lot of things to be done all at once, I did however find the experience so very enjoyable and I really learnt a lot about myself too. There were four makeup artists including myself that were chosen as part of the team for the show and between us we had 10 models to get ready, 8 who needed their full makeup done and 2 for touch ups. I found that I am able to work very quickly under pressure and still to a good standard as both my models were ready within the first hour of the two hour time slot that we were given for makeup. This meant that I had time to clean my kit a little and organise myself ready for any touch ups. During the next hour things got a little manic as I was asked to touch up some of the other models makeup looks, nothing major just adjusting eyeshadow and brows so that all the models were fairly uniform. The look for the show was really simple consisting of a flawless skin and gold/brown smokey eye, because the look was so simple I think this is what aided me in being able to complete the looks so quickly. 

Once the models makeup was complete I stayed on as part of the team to help dress the models and deal with any last minute touch ups before they went on the catwalk. I must admit that trying to organise a room of 10 models all rushing around with their own agendas was a real challenge but I think that I coped well as they were rarely late to the runway were all dressed in their appropriate clothes. Overall I found the experience really enjoyable and discovered that I certainly work well under pressure, but also well in a stressful environment as despite the moods of others I remained upbeat and thoroughly enjoyed the experience of being there. Furthermore the designers were really pleased with how I worked and completed the makeup look for them and that made my job there even more worthwhile as I was doing something worthwhile for someone else's company. 

MODEL FROM THE CATWALK - GOLD SMOKEY EYE

Final Images - Mrs Laderman

Inspiration - Quentin / Betsy Vanlangen

IMAGES SOURCE: 

Betsy Vanlangen - http://www.betsyvanlangen.com/gallery.html?folio=Portfolio&gallery=Image%20Constructions

One issue that I faced in the development of my designs for Quentin was that of making the makeup itself look more disturbing and grungy. As my concept for this character is heavily based around the concept of dirt e.g. motor oil and the dark associations of phobia and the circus the makeup itself needed to reflect this concept of fear and hostility that many feel when exposed to clowns. For inspiration I took to looking at the work artist Betsy Vanlangen who is renowned for the shocking and uncomfortably beautiful nature of her work. In regards to developing the look for my Quentin design these two images are what stood out to me the most and have me a great deal of inspiration for how I could develop the look of my photography.
A key element to how the mood of Vanlangen's work is created is through how the image is photographed but also the choice of colour used within the image. All the colours are high contrast but mixed with darker tones so that they appear almost desaturated slightly, this gives the makeup a grungy and dirty undertone that creates a mood of disturbia. In addition to this is the way that lighting is used within the images, they are all shot under a harsh light which creates dramatic shadows across the face and also the background itself becomes fully darkened to the point that nothing else is visible behind it. The only elements that stand out are the ones we need to see and this creates that dark nature that is so beautiful about Vanlangen's work. Through adopting a similar method I will hopefully be able to install the same amount of horror into my own work and develop the disturbing nature of clown phobias that has inspired the concept for my Quentin.

Dirtying Down & Facial Hair - Enhancing the Horror of the Greaser Boy

The Beard

http://www.thefashionisto.com/
portrait-bearded-italian-gianluca-
di-sotto-candy-kennedy/

Another element to Quentin's character is not only the Clown makeup and 'greaser boy' styling but also the use of beard. Facial hair was considered extremely unpopular during the 1950's often being associated with unruliness and bad hygiene, through creating my Quentin character with a fully grown beard and moustache he is going against the social norms of 1950's society. A key aspect to a villain within modern horror who defies conventions to create an evil appearance. In addition this lack of personal grooming is what will enhance the dirty nature of the greaser boy image and also allow me to shape the facial hair to enhance elements such as the clowns smile. In addition it will give my character a rugged, manly look that will enhance his allure to female viewers particularly as recently within the 21st century beards have reinstated themselves as a fashion statement. 

Dirtying Down - The Tshirt 

To enhance my character of Quentin I felt it was important to include an element of styling as at the moment my first attempt at my Quentin character is to focused on the makeup and lacks any kind of character construction. For this I am going to add a dirty cut off sleeve t shirt that I have stained with coffee and tea bags to create the same look as oil stains which will link the clothing back to my concept of the greaser  boy, in addition to this I will add braces to enhance that element of 1950's sophistication. 

Process of Creation:
1. Take a plain white t shirt and lay it out on a flat surface.
2. Cut off the sleeves from in front of the sewing seam 
3. Place the t shirt into plastic washing up bowl and cover with hot water. 
4. Place into the bowl a few tea bags.
5. Sprinkle the rest of the t shirt with coffee. 
6. Leave to soak for a few hours.
7. Take out of the bowl and rinse in cold water.
8. Ring out the t shirt and hang up to dry either in an airing cupboard or window. 

Final Images - Before: Conservative Mrs Laderman (Early 1940's)

PLEASE NOTE BLOGGER BLEACHES OUT PHOTOGRAPHS - FINAL IMAGES APPEAR DARKER THAN THOSE UPLOADED HERE.

An important concept of my whole character design for Mrs Laderman was the before and after as you can follow her decent into the world of madness and clairvoyance. For the storyline behind my character of Mrs Laderman is that of the contrast between her past and present. Previously my version of her character is that of a happily married, conservative early 1940's housewife who is every bit the cliche of the 1940's that is perceived within modern recreations. As my final version of Mrs Laderman has no hair as a result of Alopecia I felt it was important for me to include a version that contained a hair design, therefore my before version of Mrs Laderman provides me with the opportunity to create a contrasting look between the two versions of her character. By creating a before version I am able to tick off the box for hair design by demonstrating how a character can develop and change through styling alone. For this look I created a simple hairstyle that was common of the era with ringlet curls brushed into large waves at the the front of the head and the hair rolling underneath itself at the back of the head. I then clipped the hair away from the face on one side of the head as was popular to do so in the era. As my version of Mrs Laderman for the before images is a heavily conservative woman I wanted to keep her costume very respectful and modest. The high neckline is concealing of her figure and therefore enhances that idea of middle class conservatism.

In regards to the makeup I wanted to keep it very classic of the era but also age appropriate, as my model is within her late 40's - an age appropriate to reflect that of Mrs Laderman, it was not essential to add heaps of makeup onto my model. I began by applying a light, moisturising base as my model did not require heavy foundation and it would not have been reflective of the era as heavy foundations were rarely used in day to day life. The eye makeup was also kept soft and natural with a subtle cut crease but maintained the classic flicked eyeliner. To do this I kept the line as thin as possible so that it would not look to heavy on the eye, when applying eyeliner onto an older model obviously the skin around the eye is not a tight as on someone in their teens therefore I had to adjust my technique and apply the liner with the eye open so that it would appear even. This means that when the eye is closed the liner appears more like a crisp lightening bolt as opposed to a smooth line. The key focal point to the makeup look was that of the red lipstick (again another convention of the period) and for this it was important that I made the lips as neat as possible so that the line was crisp and clean. Overall I was really pleased with how the overall look and styling turned out as I feel that it gives off that conservative aspect that makes Mrs Laderman's transformation so dramatic.

Quentin (Version 1.0)

This was my first attempt at creating my Quentin look, in particular focusing on the makeup alone as opposed to the styling. The concept behind my Quentin character is that of a clown like persona however only in regards to the makeup. The rest of his look will be constructed like that of a 'greaser boy' from the 1950's with a dirty wife beater style top and braces, this was not included within these images as I wanted to see how the makeup translated onto camera before I did my final photos due to the fact that my previous assessments for the Great Expectations unit had not gone as well as I had hoped in many ways. I wanted the main element of the clown to be focused just on my models face as the key word I had chosen for him was 'face' therefore I felt that by making the edges of the makeup patchy and almost fading away it would enhance the concept of the face being the main focus. The reason I chose this was due to the nature of the character relationship between himself and Claudia that I had constructed. His character is that of a joker, constantly mocking his girlfriend for her inability to step outside of her Agoraphobic condition. 

Changes:
For my final character there are a few changes that I want to make to the styling and makeup to develop my character further. The first of which is to address the makeup itself which I feel is far to bright and colourful for the grungy/dirty nature of my Quentin creation therefore I am going to add a more grey and brown tone to the reds, blues and yellows to create that darker connotation that is associated with figures of evil. I think the only colour that I will keep bright is that of the nose as I want it to be a focal point of the face. I feel that the most successful element of the whole look is most defiantly that of the eyes, my favourite side is that of the red as I feel it works well with the soft flicking brush strokes that I used to create the classic diamond frame seen on a clowns eye makeup. For my final makeup look I also want to add more white tones to the mouth area, blending it up into the beard as I feel that this area of the face is missing some attention in regards to the makeup look. Furthermore I want to change the makeup around the neck area so that it is more smeared as opposed to neatly applied all around the neck, to do this I will most likely use the same paint brush I used for the face or my hands to create that 'self applied' look. I will also continue the makeup down the arms which I want to be visible in my final photographs.
In regards to the styling of the character look there are a number of tweaks that I would like to make, the first of which is definitely adding a costume so that the whole concept of my Quentin is tied together. At the moment I feel that my image is lacking that element of realism whereby my character is a believable person despite how successful my makeup design was. For this I am going to add a dirty cut off sleeve t shirt that I have stained with coffee to create the same look as oil stains, in addition to this I will add braces to enhance that element of 1950's sophistication. I also want to add more styling to the hair and the beard by slicking the hair back on the head and brushing the beard upwards so that it appears more untamed. Furthermore to enhance the idea of the 'painted smile' I am going to straighten the ends of my models moustache with gel so that it mimics the makeup beneath it. Commonly straightened moustaches are connoted with evil villains so I feel that it would add more again to the darker elements of my character design.

Quentin - Makeup Experimentation

Health and Safety: If using a model place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Wash hands thoroughly before touching the clients face.

Products Used:

- Nivea Rich Moisturiser 

- Illamasqua Matte Primer

- Illamasqua Foundation White

- Supracolour Palette

- Kryolan Matte Eyeshadow Palette

Process of Creation:

1. Apply a moisturiser to the face to prep the skin.

2. Apply a matte primer to the skin to remove any unnecessary shine on the skin. 

3. Taking a flat paint brush and the white foundation begin stroking the colour across the face ensuring to flick out the edges. 

4. Apply colour to both the ears and neck. 

5. Taking a fluffy eyeshadow brush work a mixture of blue eyeshadow and supracolour into the inner socket of the eye. 

6. Repeat on the opposite side with red and also apply to the tip of the nose.

7. Add yellow to the eyebrow bridge.  

8. Using a fine paintbrush begin flicking colour from inside the eye socket upwards to enhance each individual colour. 

9. Using the same brush flick colour out from the corners of the mouth to create a smile.

10. Finally taking a black supracolour create the cross on the eye with the blue shadow. 

11. Any remaining colour can then be dragged down the neck. 

Quentin Facecharts

Idea No 1. - FINAL DESIGN

All of my looks for my Quentin character are very similar in the styling that they are created as I know I wanted to create the clown makeup through a series of artistic flicking motions therefore I am using the face charts more to experiment with colour changes and the styling of the mouth. For this first look the makeup is focused heavily on the eyes which are dramatic in how they express the clown makeup but also through the use of dirty colours as opposed to crisp pastels embody that gothic element. For the mouth and nose I have kept the makeup relatively simple only subtly creating the painted smile that is so common to clown makeup. This is due to the fact that the moustache is also mimicking the shape of a clowns smile and therefore to fully paint on a smile I worry I would loose the definition of the facia hair. Furthermore by pulling back elements such as the smile it means that the human elements of his character are able to leak through more prominently as the whole concept is that he is still a human being and desired to be attractive to audiences. 

Idea No 2.

This second look is very much the same as the first but in this version I decided to experiment with the shape of the mouth to see what a painted smile would look like. For this I chose to paint a black upper lip and a white lower lip as the black smile is more disturbing than a red and I like how this looked in the Alexander McQueen show which became a key source of influence for my design. Although I like the painted smile I feel that by using it I will loose the shape of the facial hair. 

Idea No 3.

This version is far more gothic that my previous styles in respect of the use of colour, for this look the makeup shape is relatively the same however the colours are mostly black and white as inspired by 'White Clowns' and McQueen. The smile is also very dramatic for this look featuring a heavily painted black mouth, the only colour is that of the nose. I feel that the use of the black however might be to heavy and due to the rest of the costume being rather black and white the lack of colour may ruin the overall character concept. If the costume featured more colour then it would be perfect for my Quentin design however I do feel that the combination of dark colours in the makeup and facial hair of my design would cause the look to become a heavy blur as opposed to a visually interesting character design. 

Quentin Hair Designs

Idea No 1. - FINAL IDEA

My first idea is a very simple take on the 1950's greaser boy look and would be good as my model has shorter hair than I would have liked due to him getting a hair cut just before! Regardless I was able to still come up with a hair design that would suit the look of my character but also work with my model, for this look the hair is slicked backwards to one side so that it is visibly wet looking. This means I am still able to include the 'greaser' elements in the hair design. The main focus of this look will be on the beard and moustache which I am going to comb through to thicken and then style with wax and spray so that the moustache curls upwards to reflect a smile. This is classic of the 'greaser look' but also compliments the clown makeup that will feature on my model and is the main concept of the whole character.

Idea No 2.

My second hair design for Quentin would be ideal if my models hair was slightly longer on top as it would allow me to mould the hair backwards into a conventional Rockerbilly/greaser style. The moustache has been left out of this design as there would be a flick in the hair however the beard remains neatly brushed and puffed outwards. This hairstyle is very classic of the era however as my model cut his hair it would be difficult to achieve the flick at the front.

Idea No 3.

The final hair design is a classic take on the vintage pompadour with all the hair being slicked to the back of the head, it is however given some volume by combing the two sides to overlap one another. This hairstyle would be perfect if my model had longer hair, this design also features the styling of the moustache as the hair is all pulled backwards it adds an extra element to the look and again allows the models hair to mimic the clown look further. Through experimenting with how to style the beard I definitely think that curling up the moustache is the way to go. 

Mrs Laderman - Hair Experimentation & Final Design

Final hair design for Mrs Laderman (before image)

Health and Safety: If using a model place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Products Used:

- Small Curling Tongs

- Sectioning Grips 

- Tail Comb

- Bobby Pins

- Paddle Brush

- Hairspray 

Process of Creation

1. Divide the hair into a side parting using a sectioning tail comb.

2. Starting at the front of the head divide the crown into three one inch sections from the side with the parting over the centre of the head. 

3. Curl each of these sections away from the parting making sure the hair covers the whole tong. 

3. Repeat a second row behind the first and secure each curl with a grip as you go to form a standing pin curl. 

4. Divide the hair again at the sides of the head following the back of the crown downwards. 

5. Create another two rows of pin curls on either side of the face, ensuring that the curls face inwards.

6. At the back of the head divide each layer by roughly one inch and proceed to create sets of curls at the back of the head all facing downwards.

7. These curls should sit like brickwork with a row of two, then three, then two so that no continuous divide is visible.

8. Allow all the curls to sit in place once pinned and cool. 

9. Taking a paddle brush hold out large sections of curl and gently brush the hair in an over and under motion to form larger, softer waves.
10. Repeat this motion across the whole of the hair. 
11. On the front sections of hair push them slightly forwards on both sides so that the curls are more defined around the face. 
12. Ensure to play around with the shape of the curls, moving the sections as required to break up any gaps. 
13. Take the section on the opposite side to the fringe and pin the hair behind the ear.

Setting up the hair:

The Finished Look

Evaluation

I feel that this hairstyle will work really well for my Miss Havisham creation as it is a nice classic hairstyle of the period that retains elements of the glamour seen within images of Lauren Bacall who was famous for her long bob length hair that curled elegantly around her face in a soft wave. The hairstyle is very conservative and feminine and feel that it would work before for my conservative Mrs Laderman. The only problem that is going to face me when recreating this look on my model will be that of my models hair type which unfortunately is a lot thinner than the dolls as a result of her age. That being said I feel this would be beneficial to my characters story as her hair would be thinning anyway as a result of the onsets of Alopecia Universalise  ideally I would have like to try this look on my model before the shoot but as she is travelling a distance to help with my character creation this is something I am unable to do. Therefore by choosing a simply style such as this I think my characters hair will turn out as I designed.  

Mrs Laderman (Before) - Hair Designs

AS MY MRS LADERMAN (FINAL LOOK) HAS NO HAIR I TOOK IT UPON MYSELF TO INCLUDE A BEFORE IMAGE WHICH FEATURES A HAIR DESIGN AND MAKEUP LOOK. THIS NOT ONLY DEMONSTRATES THE STORYLINE OF MY CHARACTER DEVELOPING BUT ALLOWS ME TO SHOW MY SKILLS IN HAIR DESIGN FOR MY FINAL LOOK.

Idea No 1. - FINAL HAIR DESIGN

My first hair design is a very basic and simple 1940's hairstyle that would have been worn day to day by the housewife. This style will be created using the technique that we had learnt in a practical session earlier in the term by position rolls of hair across the head so that they can be brushed out afterwards into a number of curls and waves. This hairstyle is heavily inspired by Lauren Bacall a hollywood starlet who was an icon within the era for her beauty and hairstyle that was very simple but elegant. As my Mrs Laderman before character is very sophisticated and conservative I want a hairstyle that reflects that. 

Idea No 2.

This hairstyle is a development from my first design in which the front of the hair will be taken and pinned back into two victory rolls. One on the top of the head and the other to the side. The rest of the hair will then be pinned back leaving the bottom layer to curl underneath. This hairstyle is another example of a classic 1950's hairstyle but that could easily be worn by a practical housewife and therefore would be fitting for my Mrs Laderman character. This hairstyle however does depend on how much hair my model has as if my models hair was not thick enough it will not allow me to create the volume needed across the back of the curl. 

Idea No 3.

This idea is inspired by actress Rita Hayworth, although it is a hairstyle from the era it is not necessarily very exemplarily of the well known cliche and therefore I feel it would confuse audiences of the show who may associate it with a 1980's reference. Therefore it is unlikely I will use it in my final design. This hairstyle would of been created using the same set up for the curls as the previous two designs only instead of smoothing the hair with a paddle brush the curls will be shaken out and adjusted as needed to create the final look. The front may also be combed into shape to create the waves that frame the face.