Explosion of Self - Testing makeup looks

This design is based on the personification of colour vibrancy and how it reflects the vibrancy of fantasy within a dream. In my previous airbrushed design for 'Ascent', I used a Temptu paint which is a cosmetic airbrush brand. The paints are pretty expensive and I find that they tend to clog the airbrush quite quickly. So I have been on the hunt for an alternative, and have come across some amazing water-based acrylic inks in my local art shop. The inks are Daler Rowney and come in lots of different colours and shades, and at £5.25, they are a fraction of the price of cosmetic colours for airbrushing. They are really versatile as they can also be used for refilling fountain pens, used with brushes and put through an airbrush. As it can be seen in the images, they also have a fantastic pigment and they didn't block the airbrush at all.
I used white oil paint to create a blank canvas within the hair which was a great base for the inks to adhere to.

I am pleased with the overall design, the colours blended together very well which made contouring the face a real pleasure. I'm still getting to grips with the airbrush and perfecting my technique however I do feel that I have started to release a new realm of my ability as a makeup artist and am so pleased that I decided to finally experiment with it. I like the colours used as they have an explosive quality to them yet still remain fairly soft and beautiful. I think this is an interesting juxtaposition. Of course, the final images will have much more of an impact as I will be using professional catwalk model, Gina Harrison, as well as styling. I have been making some pieces myself for the Climax shoot which is rare for me! I think I have really embraced the mantra of this chapter of 'letting go' and embracing the 'anything is possible' idea. Experimenting with the airbrush and becoming an amateur dress maker have both been really exciting to add to my skills as a makeup designer and I feel that it has helped in making design decisions within the chapter.

Upon reflection, there are some elements that I would change with this particular design. I am going to change the harsh blue line running down the side of the nose as I think it is a distraction to the soft and blended quality of the overall face. I think I might use a red or blue to softly contour the nose as appose to drawing a line. I have focused on the concept of lines in the past 2 chapters so the Climax is more about the release of such lines and limitations.
I am also not sure on the dark tear-like design down the left side of the face. I think it gives a extra dimension to the design however when discussing it with my tutors, they raised the question of whether I would like the message to look sad or whether I would prefer to be more of an elation. I think I would prefer the latter, however I am still going to use a darker defined left eye and create an overall stronger definition of colour. I feel that I need to release more of a sporadic approach to this design and not think too much when applying the product as this reflects on the overall message of the climatic stage of the dream.

There is no such thing as a straight line -------------

The study of psychedelics linked to altered states perception and feeling within dreams will be the main focus of inspiration and research for the Climax series of the book process. I started to consider how and if I usually remember certain climatic stages of my own dreams and truthfully, I tend to remember parts in a staggered formation as appose to the dream being relayed in a logical way. From the research I have gathered from psychological theorists such as Lucian Freud, Hanna Segal and J. Allen Hobson, this appears completely normal. According to Segal,

'Dream-work is part of the elaboration of unconscious conflict. When we remember a dream we retain communication with symbolic expressions of the unconscious' 

This challenges the idea of whether there could be a true 'climax' to a dream at all; as of course our thoughts and experiences have a beginning and an end, from when we fall asleep to when we awake, but how do we decide where the 'middle' takes place if dreams are so difficult to comprehend? I aim to create a sense of juxtaposed irony in my approach to the book by organising each stage into chapters, creating a disturbed sense of logic.

My focus on psychedelics and LSD began when I started to think about how the climax of a fantasy dream might feel as well as look. According to Cheryl Pellerin, 'drugs mimic natural processes in the brain  in a way that doesn't occur naturally' and enables the mind to find ways to alter consciousness. It is this idea of something unnatural causing the self to be released into a more natural realm of freedom that interests me the most. I believe that colour plays an extremely significant role in defining this theory as many pantones of colour are, effectively, unnaturally produced substances that provide natural meaning and definition to psychological and neurological theories. Pellerin colourfully describes personal hallucinogen experiences in Trips: How Hallucinogens Work In  Your Brain:

'There is no such thing as a straight line; whatever you look at breathes, changes colour faster than Dennis Rodman's hair, and morphs continually into and out of (what looks like) animation...buildings sway and melt into the whole chaotic colour bleed.'

The metaphor of a animated swaying building with ever changing colours to represent the mind is very inspiring for the development in both design for make-up, styling and post production for the Climax chapter. Conveying an altered state of consciousness through the use of colour, texture and application of product is crucial within the context of design. I will be predominantly using airbrushing techniques to blend colours together in the most natural, yet equally unnatural, of ways to mimic the climatic development that a drug-induced 'trip' may have on the unconscious mind. In 1985, psychologist Adolf Dittrich defined LSD-based consciousness as a

"change in thinking- a changed sense of time, a feeling of lost control; intense emotions; a changed body image; a change in visual perception including hallucinations, visions, illusions or synesthesia; and a change in the meanings of some beliefs."

All of this fits into three categories of feelings that Dittrich says make up the altered state -

1. Oceanic Boundlessness, a state like a mystical experience.
2. Fear of Ego Dissolution, an unpleasant state similar to what is known as a 'bad trip'
3. Visual Restructuralisation, which includes pseudo-hallucinations or visions, illusions and synesthesia.

Tom Kerr

I am aiming to create an etherial yet metaphorically powerful impact within the Climax chapter through both make-up, hair and post production. I am going to be working with both Lauren Kaigg, the photographer, and a personal friend and talented illustrator Kayleigh Hand on the post production of the final images which I am really excited about. The editing process for the chapter is a huge process so having myself as creative director and two talented professionals working towards a brief will be rewarding for all involved. 

I have been researching how LSD-induced consciousness has an impact on creative work and have come across some fascinating finds. Psychiatrist Dr. Oscar Janiger conducted an experiment with 100 artists to draw and paint a decorative and colourful portrait before and an hour after taking LSD. The measure of artistic creativity was significantly changed after taking the drug, with an strong emphasis on limitless artistic freedom. Relative size expansion, involution (objects shrunk or imbedded into a matrix) intense colours and light, oversimplication (artists eliminated detail) and fragmented, disorganised shapes and textures were the most prominent changes in the artist's work. These findings are very important for my own project in post production in order to mimic these changes and to try to submerse ourselves into the limitless state of mind that a drug such as LSD can impose.

As wonderful as this state of mind sounds though, I definitely am not planning on trying it for myself any time soon!

‘[Black is] beyond time.Beyond culture.Beyond changing fashions.Beyond the chapters of art history. Let us allow ourselves to be overwhelmed by this mysterious sense of infinity’ Sozzani, F., 1998:61

Ascent: Chapter 2: Dreams reveal the concealed

Richard Avedon Veruschka, March 1972

Richard Avedon, Jean Schrimpton, 1970

Irving Penn, Gisele, July 1999.

Art Nude has been a popular venture for many of the late, great photographers over past decades such as Richard Avedon, Irving Penn and Steven Klein. They are often photographed in black and white which is intriguing. The contours of the body seem to interact with mysterious black shadowing and the iridescence of the light which could suggest that colour is the ultimate form of personification. This is one of the most prominent running themes throughout the book as I feel that colour is incredibly important in conveying emotion and sensation, and creating a sense of power that may only seem possible within a dream.

Steven Klein, Love Covers 2010

The final concept shoot for Chapter 2: Ascent was a mixture of successes and obstacles. I have been frequently practising with the airbrush and familiarised myself with the Temptu range of paints. However for the final design, I was unable to purchase Temptu as it was sold out, meaning I had to trust another brand that I hadn't worked with before. This did make me feel slightly anxious as I always like to test out products first before creating final looks. Evidently, the paint was a disaster! The consistency and depth of colour was much weaker than the Temptu range, causing it to block the airbrush which was very frustrating. However my tutor came to my rescue and allowed me to use the university's supply of Temptu, so eventually my design really started to take shape and I was  pleased with the final outcome. If I had more time, and product, I would have liked to have applied a second layer to create a deeper and darker black however I was happy with my creation as it also allowed the texture of the model's skin to show through.

I hired a professional model/dancer for the shoot which was very evident in the photographs. Her self awareness of her body movement and silhouette was stunning to watch and a joy to direct. This chapter predominantly focuses on the mind releasing itself and being in tune with the dynamics of the body so Gemma was a perfect cast for this role as she has an extensive portfolio of beautifully crafted art nude photographs.


Here are some of my favourite photographs from the shoot:

I really love the composition of the hands in this shot as it feels like the hands and nails are taking over the body. I should have moved the hair from the back as I feel that it is a distraction, however this is something that can be rectified in post production.

I feel that the naked body is the ultimate form of expression in both the art, fashion and psychological world. It moves and communicates in the most obvious yet often the most subtle of ways which is why I decided to keep the styling to an absolute minimum. I bought some interesting netted fabric and was going to make a skirt from it, however I decided that it would be best to not restrain it to one style. I am so pleased that I decided to do this as I was able to use the fabric in lots of ways on the shoot to conceal and reveal the forms and contours of the body. I think it also allowed Gemma to feel more free with her movements and it almost acted as a prop to accentuate every gesture and movement that she created.

I like how the nails softly pierce the jawline in this image

The make-up design for the face was kept very symmetrical to reflect the symmetry and unison of the body's form. I was aware of the boldness of the body painting and as I become more experienced as a make-up artist, I am learning to understand the importance of 'fine tuning'. I felt that the skin needed to be clean and beautiful, however the symmetrical lines just added the extra area of interest and works as a subtle compliment to the body paint.

The dynamics of the shoot didn't just occur from the body, but also from the movement within the hair. I really like some of the last beauty shots of the evening where Gemma really let herself go. The movement of the hair across the face is symbolic in representing self protection however the consumption of the body paint growing across the body suggests that the subconscious self is much more powerful than the conscious will ever be. The movement of the hair also creates the inclination of 'release' which is the direction that I want for this chapter. It is building up to the climatic stage of the dream state where the ultimate fantasy is released unto the mind. 

Ascent: Testing

The second concept within the 'Ascent' chapter has been a great learning curve for my technical skill and ability with airbrushing as a make-up artist. I knew that it was an ambitious task to take on as I don't have a lot of experience with an airbrush but I found the challenge exciting. These images from Nick Knight have been inspirational to the process of designing as I want to continue with the theme of growth  and the progressive mind complex. It becomes increasingly difficult to define black as an aesthetic, with fashion and beauty moving at such a fast pace. It could be analysed instead as a ‘feeling’ (Maclagan). This helps to create a universal understanding about the way in which black filters into daily life, space and time. Black links to the psychological perception of the physical and emotional self which is the reason why I have decided to create a body paint that creeps onto the skin without control.

Nick Knight's series in Dazed&Confused has been a strong point of reference for my ideas as it expresses a sense of internal power yet still remains elegant and delicate.

I have been testing with the airbrush and have come across difficulties with the components becoming blocked due to the consistency of the paint. It has taken a few attempts to improve with my application of the product however I feel more confident now for the final shoot.

I have been experimenting with layering colour to create a deeper and stronger pigment of black, so have used green and blue underneath the black. When analysing the test images, I feel that the result is looking quite 'fantasy' inspired as appose to following the element of realism within the chapter which is something I need to change and develop. I also feel that a full body paint isn't necessary to portray the idea of the ascent of the self into the dream state. I think that by using black to creep from the contours of the shoulder blades down onto the arm and extending right into the finger tips, it would portray a more concise and perfected vision.
I am going to design and create the nails to extenuate from the hands as if they are growing away from the body. I want to give each nail a slanted curve to mirror the body's silhouette and will create opposite curves for each hand (i.e left hand having a slant to the right and the right hand with a left slant) so that the nails are perfectly symmetrical.

Ascent: Chapter 2 : The Reflection of Self

Last Friday has admittedly been the most ambitious shooting days so far, working on both shoots for the Ascent chapter in one day which was a challenging process and very tiring! Lauren is travelling from Northampton to photograph the project so I felt it was best to be super organised by shooting both ideas for the concept in one day.

The first concept for the 'Ascent' chapter focuses on reflection; Reflection of the conscious self through a semi-conscious mind, reflecting on the thoughts and feelings from the day and channelling each through the inquisitive nature of the dream. Dream theorist J. Hobson explores Freudian theory surrounding the 'I' within a dream state. The 'I' becomes a self executive role within the dream, and is driven by instinctive emotional force. According to Hobson,

'Dreaming is a reminder that we have very powerful instincts, emotions and even inclinations of madness that then become suppressed when awake'

Steven Meisel, Form and Function, Vogue Italia, 2009

Steven Meisel, Untitled, February 2009

Steven Meisel has been a strong inspiration for this concept as much of his work focuses on the portraiture of two subjects/models channelling one vision. Often the models he works with have a certain similarity between them which I find to be aesthetically emotive and interesting.

Steven Meisel, Vogue Italia 2011

I have used twins for the first of two concepts within 'Ascent' as they not only convey the obvious mirrored facets of the face, they also address the conscious and subconscious visionary of the self through physical and psychophysical means. The twins are identical however when analysing the images, it was clear that their facial features and expressions were less than identical, which I find quite fascinating. The idea of initial instinct about something or someone becoming blurred is intriguing as it suggests that the eye does not always see what the mind feels and vice versa. 

Make up and hair design for the concept is symbolic of the notion of 'ascending' into the unknown by using hair fibres weaved into the natural brows and into the hair structure. I wanted there to be a sense of subtle infinity within the hair design in particular, which I think has been achieved. Both of the model's hair was very long for me to work with which was great, so I fixed a polystyrene structure to the head and worked with the shape to create a layered 'shell' shape to the hair. My original plan was to fix both of the model's hair together in order to create one hairstyle onto two heads however of course this was something that I had to work with on location. I used flexible wire to do this but it didn't really turn out as well as I had visioned it to look, however being on location was a contributing factor to the height of the hair. Having said that, I am very pleased with how the pre-edited images have turned out as the hair has an unnaturally natural aura about it. 

Make-up design has been kept very fresh for the base with a tinted rose pink blush on the apples of the cheeks to bring the skin to life. The girls have a great youthful glow so I wanted to enhance this in my images. I decided that a white eye line would be most effective in giving the images that etherial look as well as a certain edge for the black and white edits. The concept of LINES is prevalent throughout the first two chapters in symbolising lines of thought and instinctive force  and this is made more explicit through the make-up and hair design.

Lauren has sent me a preview of one of the edits from the shoot which I absolutely love (pictured below). It really captures the sense of encapsulated growth within the concept and the idea that the unconscious self is beginning to take control of the conscious without realisation.

I also set off some coloured smoke grenades which worked quite well apart from some difficulty at the start with setting them off! The directions stated to 'pull firmly, drop and run...don't be a dick with our products' so I took their advice! Although it didn't make a bang and seemed fairly harmless so by the third attempt, I was holding the grenade in place to try and get the perfect shot, maybe not advisable but I'm still alive and well. The used grenades acted as a pair of gloves for the models in between shooting so that was a double bonus. I bought purple, green and blue smoke however the last grenade failed to go off (the blue) which I was saving until the last as I thought the colour would be most effective...so that was a big shame. Nothing that a little bit of PhotoShop couldn't fix though no doubt. I'm really looking forward to seeing the edits now and choosing my favourites to create a mock up layout of my book.

Closing: Chapter 1

Last Thursday evening, Lauren and I worked on the final shoot for the first chapter of the book. I had been thinking ever since testing with Chris for this chapter that I wanted to focus solely on the truth of the model's face to showcase herself and her self identity, as oppose to showcasing my identity and skills as a Make-up Artist. Physically, our anatomical differences are unique to us, the texture of our skin for instance. Our differences help to identify us and by enhancing this it will aim to focus on the reality of who we really are. 

   The shoot went fairly well and I experimented with the skin by maintaining a natural, matt finish contrasted with a glossy and textured finish. This challenges the boundaries of beautiful skin and whether this has an impact into the perception of the aesthetic self.

Quirky directors Lernert and Sander work towards a similar aesthetic of discovering what natural beauty represents, in their surreal short film Natural Beauty. Makeup artist Ferry van der Nat and his assistant Vanessa Chan helped to execute the vision but slathering the face in 365 days worth of product. The final result seemed to contradict the original film title however it creates a fascinating insight into what we are putting onto our faces every day in order to create a facade or improved version of ourselves. I am also focusing on the texture of skin by utilising make-up however I want to let the skin reflect the face as appose to the makeup product doing so. 

Edward Steichen "Beauty Primer" Your Hands, June 1934
I have explored this idea of 'imperfecting' the concept of perfection in the 'Closing' chapter through both the use of make-up design as well as exploring the realms of human anatomy in determining the output of the face. What makes the face, a face? I believe that we have numerous faces. The hands, feet and the unique prints of each finger and toe could be a truer representation of who we represent as appose to identity being solely determined by facial features and textures of the skin. Historical photographer Edward Steichen has been an inspiration to this chapter as his work challenges the emotion of the body through posture, pose and composition. He studied the hands and feet in very interesting ways, this image in particular (above) communicates the idea that the hands can act as a secondary face, a face that can never ever be duplicated or compared to any other.

 The anatomy in this series is a landscape, vast and unique in composition, texture and stance. The images shown are the originals however post production is crucial to create a black and white finish. It has been proven that dreams are rarely recalled in black and white, however this relies on the state of the subconscious. Closing represents the mind about to embark on the journey into the subconscious, therefore it remains semi-aware.

The water in this series metaphorically presents the space and progression of the mind as it prepares itself for the ascent of the dream state. I love the uncontrollable movement of water and how this can be digitally captured in time. Out thoughts and feelings are often just as impulsive and uncontrolled when first entering the mind, and it is only when we are conscious that such thoughts can be controlled.

The Blur of Reality

Her eyes are glazed by the gloss of an imperfect world

Here are some of the edits so far from the series. The main art direction for the finals was to maintain as much natural skin texture as possible and to emphasise every crease or line in the skin and the lips to bring truth and meaning to the photographs. 'Closing' is a focus on the face as a canvas of emotion, and I feel that every external flaw on the face speaks about a certain internal emotion or experience that we may have had. I find this really fascinating as I feel that this is one way of distinguishing oneself from another. Lines are unique, almost sacred to every individual as no two lines can ever be identical. Each time we speak, the lines may move and intertwine with each other, until eventually they disperse onto the skin as we grow older. This series aims to capture such lines in a moment of youthful realism and focuses on the mind losing control of itself, spiralling into the excitement of the unknown.

Some times my heart feels so black, and other times my heart feels like a rainbow: MUGLER S/S 2012

Ascent - The opposition of the self

There are many different kinds of emotional, physical and spiritual meanings to the term 'Ascent', and in this project, I am focusing on all three. Following from the theory within the Closing, I am considering the mind as a transitional output of energy and emotion, ascending into the subconscious.

'Ascent' focuses predominantly on the concept of REM (rapid eye movement) within a dream and how this can create an oppositional state within the self, i.e not being fully part of a reality or a fantasy. According to Hobson in 'Dreaming - The science of sleep' REM is

'animated, dramatic, complex, hallucinatory and delusional'  

The use of black will play a momentous part in this series in conveying a sense of infinity and the dramatic mystery of the unknown. It is important that both Closing and Ascent retain a dark yet etherial quality as this will symbolise how the mind remains semi-conscious. Hobson suggest from scientific research that the mind can only dream in colour, and that the misperception of dreaming in black and white is due to 'poor memory'. I find this very interesting as it may be suggesting that only when our mind is released into the colour of the subconscious, can it be completely free and experimental. It begins to challenge the question,

Can creative ideas only originate from an unaware subconscious (i.e dreaming) if there is a possibility that conscious reality is limited to a 'black and white' vision? It is a very interesting thought, as I often think of my most creative ideas when dreaming as appose to being consciously awake.  Ultimately, the use of black and white in this series will clarify the progression of the conscious self merging into the subconscious, and will follow a seamless link into the colourful extension of the hyperreal.

Movement and reflection is key in this series to convey a sense of the mind beginning an ironic journey of conscious self discovery through the means of unconsciousness. It will show the hallucinatory progression of the mind, symbolised through makeup design, photography and post production. I will be testing frequently before the final shoot with designs that share a similar theme of growth, ascending direction. I want to experiment with airbrushing techniques as I feel this would be perfect in representing the idea of growth and progression.

Inspirations for the series: