Abi Sievers MUA

  Midsummer Night's Dream meeting two: 24/11/20 Started - 13:00 Ended - 16:00 Those who attended: Charlotte Francesca  Abi  Stephen Kassie Hannah Isabelle Leah Eleanor Emily  During this meeting, we discussed moodboards and designs.  We talked about the clown's makeup / designs and how the fairies might look - each fairy’s look is linked into their names (e.g: peaseblossom is seen as having flowers and pink contour). Francesca described her design for Robin. Hannah had a good design for Cobweb - grey and dark with cobwebs on the eye(s). Leah described her ideas for Mustardseed - discussed how the eyes would look (yellow colours and a mustard seed as eyeshadow etc). Abi likes the idea of earthly colours for Moth, Stephen likes natural colours. Eleanor described the look of the queen fairy - pinks, greens and purples with some gold (‘royal’ colours). Hannah had a design for Thesis and described how she pictured him. Abi described Hermia - long, black, braided hair...

  Midsummer Night's Dream meeting one: 17/11/20 Started - 14:30 Ended - 16:30 Those who attended: Charlotte Francesca  Abi  Paige Stephen Kassie Hannah Isabelle Leah Eleanor During this meeting, we were each given different character profiles, discussing each one whilst filling out a character chart for each of them. We also discussed the script (quotes) and decided jobs for next Tuesday (24/11/20): moodboards and design ideas for the characters.

  Leeds University meeting: During the meeting we had with Leeds University over teams, she discussed with us information about the extra courses we could take, alongside the makeup course, such as the short courses specialising in hair which would run through the holidays and are delivered by industry experts. These courses are: Ladies hairdressing Barbering Colouring Hair up courses The two different semesters of the course (for both level four and level five) were discussed: Semester one, level four modules include: special effects makeup, historical influences in hair and makeup and professional development. Semester two, level four modules include: principles of flat mould appliances and creative hair and makeup design 1 and 2. Semester one, level 5 modules include: 2D and 3D body art, prosthetics and casting and creative postiche. Semester two, level five modules include: work related learning and managing the creation of a showcase. They also mentioned the opportunities and ...

  What I like about this look is how I used leftover hair from the crepe wool to create bushy looking eyebrows to go with the character. I also like how I managed to cut the beard to the ideal shape. However, to improve this look I would try and soften out the edges of the beard on the face using a comb to make it appear more realistic. I would also cut the beard shorter as in comparison to the design I made, it was too long. I would also change the beard colour to match his hair colour, or vice versa. This technique is used for both stage and screen.

  Daily MUA’s: Daily makeup artists are brought in for crowd scenes or days with a tight schedule. They usually bring their own kit and will either be allocated a workstation in the makeup room or be working out in the holding area. A typical working day will include long, and unsocial hours throughout the week, especially if they are working on a big budget set as there will be a lot to get through, not only doing the makeup itself, but also checking the makeup in between shots. Juliette Tomes, a crowd room supervisor on an ITV show, states how daily makeup artists help to “make a production more powerful and exciting but also more believable”. It is also mentioned how the job is exhilarating for those involved, however, it does take a lot of planning beforehand in order to have everything organised by the time they begin filming as those working on set will need to be told about what they are doing and the kind of things they will need with them weeks before shooting starts in or...

  For the ageing makeup for stage, I like the detail of the wrinkles on the forehead, around the eyes and the smile lines as they look realistic enough from afar, especially with the added white. I also like the greyness that has been added to the eyebrows and the eyelashes. However, to improve I should make sure I add enough powder in the hair so that it shows up well enough, and if that doesn’t work, add grey watercolour instead. Another way in which I could improve would be by darkening the jaw contour as it isn’t easy to see from far away.

  For the pantomime dame makeup, I like the outcome of the eye makeup, the orange especially, because I like how it has been blended from dark to light. I also like the eyeliner both on the eyelid and below the eye, including the white, as it enhances the eye shape and size. However, I need to improve on being able to cover up my eyebrows and raising the drawn on ones further up my forehead as they were too far down. I also need to darken the contouring on the cheeks and the jaw. I also think I should darken the outline of the lips too as it isn’t as visible as it should be. This makeup would be suitable for a small and medium sized stage and audience as it can be seen from far enough away. The colours could also work underneath certain stage lights as they wont be blended together. edit: 23/05/2021

  For the missing finger design, I like how the blood drip down the finger and the blood in the wound itself adds more depth and realism to the wound. I also like how the wax lines up well with my finger. However, to improve this design, I should’ve used a darker colour of foundation to cover up the edges of the wax and blend it into the skin better as it shows up to be much lighter in comparison to the rest of my hand. This would only be used for stage by wrapping the finger first, and then applying the wax, foundation, colour and blood. Whereas, for film and TV, a green screen wrap would be placed around the finger and a prosthetic would be created over the wrap where the finger will be removed, then CGI would be used to erase it. Edited: 04/02/2021 Edit 2: 26/05/2021

This makeup was ageing makeup done for screen by Paige Goodings and myself using latex and contour. To create this makeup, one person had to pull the skin in the direction that wrinkles are formed, whilst the other person applied the latex and dried it using a hairdryer. Paige and I took turns in using these techniques on each layer until we reached the result we were looking for. We then both worked together to use contour to deepen the look of the wrinkles, as well as applying white powder to make the eyebrows grey. However, we should have applied grey to the hair to finish off the look as well as using less contour to prevent the face from looking orange. We also should have applied the latex to the neck area. This would help make it look more realistic on screen.

  This laceration was created using scar wax, Vaseline and a bruise wheel (colours: red, purple, yellow and blue). This method could be used for both TV and film and theatre. I was able to make this wound look as realistic as possible by making sure the wax was blended out evenly into the skin, and a generous amount of powder was applied once the cut had been created to make the mix of wax and vaseline look less shiny. The realistic outcome of the laceration was also due to the different colours (red, purple and blue) used both in and partially around the wound to add depth. The yellow was used to create an ‘infected’ look. To add to the realistic effect, I added in a small amount of fake blood. However, if I were to create the infected laceration for TV and film, I would need to add a little bit more yellow to the wound to make the infection more apparent.  If I were to create this laceration for theatre, I would need to make it slightly bigger and add in more colour, dependi...

Ageing makeup for screen is done in a slightly different way in comparison to ageing makeup for theatre. This is because for theatre, the makeup is mainly composed of grease paints and cream contour, whereas ageing makeup for screen consists of latex, grease paints and cream contour. Ageing makeup for screen: To complete this look, it is important to have two people on hand that can help (whether they are another makeup artist or the model themselves). This is because to be able to get the wrinkled effect on the latex, it will take one person to stretch out the models skin and one person to apply the latex, dry it and apply the powder to keep it secured in place all whilst the other person is still keeping the skin stretched as much as possible as this is what causes the wrinkled effect in latex. Then, use grease paints and cream contour to add a deeper effect to the wrinkles  and change the shape of the face. Ageing makeup for theatre: Ageing makeup for theatre is much more simple...

  The sugar skull makeup was created using watercolour, a contour pencil and a lip palette. This makeup was created for a Halloween party. When creating this makeup, I took into consideration the maintenance of the makeup and the lighting. For the maintenance of the makeup, I made sure to apply the makeup in layers to prevent it from smudging / fading away, considering the person would be moving around quite a bit and eating and drinking. To do this, I used translucent powder in between layers. Since the lighting could be dim, I used blacks, reds and purples contrasted against a white base to make it stand out.

This makeup was created using a bruise wheel, latex, coffee and gelatin. For the burns makeup, I went through the stages of creating first, second and third degree burns on my wrist caused by sunburn, as well as a third degree burn on my cheek. This makeup was originally created for screen. However, to make the burn on the wrist more believable, I should have used a more accurate lining to make the area that was covered more obvious as well as using less coffee lumps and purple colouring, or even spreading the coffee and latex mixture more evenly across the wrist. The burn on the cheek could have been made more realistic by blending the colours out more and using less, or spreading the coffee and latex mixture more evenly across the burn area.

  For the bruising makeup, I like how the makeup shows the point of impact on the face / around the eye and the severity of the injury. I also like how, when applying the makeup, it was through the steps in which a bruise would form on the face. However, to improve I should've made the red makeup darker as otherwise it doesn't really show up too well around the purple and blue. This bruise in particular was made for screen. The bruise was suitable for this as it looks realistic due to the use of the different colours combined as well as the blending techniques used, not to mention it would stand out when lit up from both natural daylight and lighting they use for filming. However, if bruising was to be used for theatre, it would need to extend further out of the eye socket, as well as using much more bold colours to make it stand out depending on the audience and stage size, as well as lighting. Edit: 23/05/2021

  For the emaciation makeup, I like how the makeup shows the cause of emaciations (for example: for the makeup shown in the image, I chose the cause to be an eating disorder, whereas if the cause was sickness, for example, the skin would have a greenish tone.). To improve, I should try out emaciation but make the cause different to be able to understand fully what the effect would be for different causes (such as emaciation as a result of malnourishment). Another way in which I could improve would be to make sure the shaded areas look 'evened out' and add a little bit more depth to the eyes. Considering this makeup was meant for screen, it would have needed to be a bit more subtle on the cheekbones, as the makeup appears to be too obvious. I would also have had to add some shading to the neck to show how other areas of the body are affected by this disorder. Edit: 23/05/2021