Brave New World: 2014

Wednesday, 10 December 2014

Bibliography

Anon, (2014). [online] Available at: http://asoutherngirlinsouthafrica.com/2011/12/01/are-you-going-to-have-to-wear-those-rings-around-your-neck/ [Accessed 10 Dec. 2014].

Anon, (2014). [online] Available at: http://www.fanpop.com/clubs/lady-gaga/images/20977615/title/born-way-photoshoot-nick-knight-photo [Accessed 10 Dec. 2014].

Brentstirton.com, (2014). Brent Stirton. [online] Available at: http://www.brentstirton.com/index.php#mi=2&pt=1&pi=10000&s=27&p=27&a=3&at=0 [Accessed 10 Dec. 2014].

Cervantes-Altamirano, E. (2014). Solidarity with Palestine means supporting local struggles, too. [online] Aquila Style. Available at: http://www.aquila-style.com/focus-points/global-snapshots/solidarity-palestine-means-supporting-local-struggles/76423/ [Accessed 10 Dec. 2014].

Designerzcentral.com, (2014). Complete Collection - Daryl van Wouw Catwalk Fashion Show 2011,. [online] Available at: http://www.designerzcentral.com/fashion-shows/amsterdam/review-388-daryl-van-wouw-catwalk-fashion-show-2011/complete-collection/51/ [Accessed 10 Dec. 2014].

Epicweird.com, (2014). Weird and Unexplainable Customs of Ancient Mangbetu Tribe. [online] Available at: http://www.epicweird.com/weird-and-unexplainable-customs-of-ancient-mangbetu-tribe [Accessed 10 Dec. 2014].

Flickr, (2014). beautiful facial scarification in Yoruba area of Benin. Travel to Benin. [online] Available at: https://www.flickr.com/photos/61727647@N03/5617684314/?rb=1 [Accessed 10 Dec. 2014].

Four Mommies, (2014). Beauty is Our Birthright - Four Mommies. [online] Available at: http://fourmommies.com/beauty-birthright/ [Accessed 10 Dec. 2014].

imgfave, (2014). Coilhouse » Blog Archive » Face Corsets by Paddy Hartley on imgfave. [online] Available at: http://imgfave.com/view/739743 [Accessed 10 Dec. 2014].

IslandMix, (2009). PICTURES of AFRICAN TRIBES/CLANS/PEOPLE - Page 4. [online] Available at: http://www.islandmix.com/backchat/f6/pictures-african-tribes-clans-people-205280/index4.html [Accessed 10 Dec. 2014].

Klimt02.net, (2014). Klimt02.net Tiffany Parbs. [online] Available at: http://klimt02.net/jewellers/tiffany-parbs [Accessed 10 Dec. 2014].

Lamutamu.com, (2010). Lamutamu.com – For Everything Exotic. [online] Available at: http://lamutamu.com/2010/10/06/mangbetu-hair/ [Accessed 10 Dec. 2014].

Layoutsparks.com, (2014). Yin Yang Wallpapers and Pictures | 17 Items | Page 1 of 1. [online] Available at: http://www.layoutsparks.com/pictures/yin-yang-0 [Accessed 10 Dec. 2014].

Le Monde.fr, (2013). L'artiste française Orlan attaque Lady Gaga pour plagiat de son univers. [online] Available at: http://www.lemonde.fr/culture/article/2013/06/13/l-artiste-francaise-orlan-attaque-lady-gaga-pour-plagiat-de-son-univers_3429988_3246.html [Accessed 10 Dec. 2014].

LongRider, (2014). The Sari and Chinese Foot-binding. [online] Available at: http://vizdom44.wordpress.com/2014/06/24/the-sari-and-chinese-foot-binding/ [Accessed 10 Dec. 2014].

Luftig, R. and Nichols, M. (1991). An assessment of the social status and perceived personality and school traits of gifted students by non‐gifted peers. Roeper Review, 13(3), pp.148-153.

National Geographic, (2014). Tattoos, Piercings, and Scarification Photos -- National Geographic. [online] Available at: http://travel.nationalgeographic.com/travel/countries/tattoos-piercings-scarification-photos/ [Accessed 10 Dec. 2014].

Pellatt, M., Pellatt, M. and profile, V. (2011). PH1001 Exercise 1; Curate an Online Exhibition. [online] Markpellattexercise1.blogspot.co.uk. Available at: http://markpellattexercise1.blogspot.co.uk/2011/02/omo-valley-tribes-of-southern-ethiopia.html [Accessed 10 Dec. 2014].

Pinterest, (2014). Skin. [online] Available at: https://www.pinterest.com/pin/340162578076142516/ [Accessed 10 Dec. 2014].

Randafricanart.com, (2014). Luba pipe - RAND AFRICAN ART. [online] Available at: http://www.randafricanart.com/Luba_pipe.html [Accessed 10 Dec. 2014].

Randafricanart.com, (2014). Scarification and Cicatrisation among African cultures - RAND AFRICAN ART. [online] Available at: http://www.randafricanart.com/Scarification_and_Cicatrisation_among_African_cultures.html [Accessed 10 Dec. 2014].

SodaHead, (2014). Stretching Ears Fast. [online] Available at: http://www.sodahead.com/living/stretching-ears-fast/question-863193/ [Accessed 10 Dec. 2014].

Streetnewsservice.org, (2014). Oil threat to survival of Amazon tribe - INSP News Service. [online] Available at: http://www.streetnewsservice.org/news/2013/july/feed-384/oil-threat-to-survival-of-amazon-tribe.aspx [Accessed 10 Dec. 2014].

stretching", C. (2014). Redefining the Face Of Beauty : Cultural Beauty: Mystery behind "neck stretching". [online] Redefiningthefaceofbeauty.com. Available at: http://www.redefiningthefaceofbeauty.com/2012/12/cultural-beauty-mystery-behind-neck.html [Accessed 10 Dec. 2014].

style.com, (2014). Alexander McQueen Spring 2010 Ready-to-Wear - Collection - Gallery - Style.com. [online] Available at: http://www.style.com/slideshows/fashion-shows/spring-2010-ready-to-wear/alexander-mcqueen/collection/39 [Accessed 10 Dec. 2014].

Stylenoir.co.uk, (2011). Alex Box for Stylist Magazine. [online] Available at: http://www.stylenoir.co.uk/alex-box-for-stylist-magazine/ [Accessed 10 Dec. 2014].

Terminalterminus.co.uk, (2011). matis indian photos. [online] Available at: http://terminalterminus.co.uk/l/16eb2965b7 [Accessed 10 Dec. 2014].

Voyatzis, C. (2014). Design Faction | Yatzer. [online] Yatzer.com. Available at: http://www.yatzer.com/Design-Faction [Accessed 10 Dec. 2014].

Wire, A. (2014). More stolen beauty from photographer Brent Lewin | Applied Arts Wire. [online] Appliedartsmag.com. Available at: http://www.appliedartsmag.com/blog/?p=10169 [Accessed 10 Dec. 2014].

Mould Design Three and Chosen Design

Design three is my chosen design. The design focuses on the concept of yin yang across the cheekbone and the supraorbital ridge. To create this use;

- Prosaide

- Prosaide remover

- Dermashield

- Illamasqua Matte Primer

- Kryolan Ultra Foundation

- Kryolan Dermacolour Camoflague Concealer

- Moulds

- Vichy Setting Powder

- Acetone

- Alcohol

- Student colour palette

Cleanse, tone and moisturise the skin.

Apply Dermashield to protect the skin from the products.

Use Illamasqua matte primer all over the face.

Apply prosaide to the face in order to stick the mould to the face. Make sure the client has their eyes closed at all times.

Attach the mould by sticking the edges to a card, apply the centre of the mould onto the prosaide.

With acetone and a baby bud gently blend out the edge of the mould. The card will remove at this point.

Blend the edges thoroughly so that it is invisible.

Using foundation and the student colour palette try and get the same skin tone as your client. The student palette is activated by alcohol so it is important that your client closes there eyes at all times.

Powder to set.

To remove the mould use a baby bud and prosaide remover to blend away the mould.

Mould Design Two

Design two takes four moulds and places them over the cheekbone and the supraorbital ridge. The moulds are coloured to the skin tone. There will be no other colour on the face. The products needed for design two are as follows:

- Moulds

- Prosaide

- Prosaide Remover

- Dermashield

- Illamasqua Matte Primer

- Kryolan Ultra Foundation

- Kryolan Dermacolour Camoflague Concealer

- Vichy Setting Powder

- Student colour palette

- Alcohol

- Acetone

Cleanse, tone and moisturise the skin.

Apply Dermashield to protect the skin from the products.

Use Illamasqua matte primer all over the face.

Apply prosaide to the face in order to stick the mould to the face. Make sure the client has their eyes closed at all times.

Attach the mould by sticking the edges to a card, apply the centre of the mould onto the prosaide.

With acetone and a baby bud gently blend out the edge of the mould. The card will remove at this point.

Blend the edges thoroughly so that it is invisible.

Powder to set.

Mould Design One

Mould Design One focuses on the exaggeration of the cheek bones. The moulds will be coloured to the skin tone so that it looks like a natural part of the face. The following products are used to create this look:

- Dermashield

- Kryolan Ultra Foundation

- Kryolan Dermacolour Camoflague Concealer

- Illamasqua Matte Primer

- Prosaide

- Prosaide Remover

- Silicone Mould

- Vichy Setting Powder.

- Student colour palette

- Alcohol

- Acetone

Cleanse, tone and moisturise the skin.

Apply Dermashield to protect the skin from the products.

Use Illamasqua matte primer all over the face.

Apply prosaide to the face in order to stick the mould to the face. Make sure the client has their eyes closed at all times.

Attach the mould by sticking the edges to a card, apply the centre of the mould onto the prosaide.

With acetone and a baby bud gently blend out the edge of the mould. The card will remove at this point.

Blend the edges thoroughly so that it is invisible.

Powder to set.

Anthropological re-design three

Design three is an extension of design one with the use of a bald cap introduced. This will make it appear as if the branches are working there way up into the head. For this design the products used are:

- Dermashield

- Illamasqua Matte Primer

- Kryolan Ultra Foundation

- Kryolan Dermacolour Camoflague

- Pritt Stick

- Illamasqua Rich Liquid RF100

- Bald Cap

- Gel

- Illamasqua Translucent Powder

- Kryolan Supracolour Palette.

- Cotton Pad

- Latex

- Tuplast

Cleanse, tone and moisturise the skin.

Apply dermashield to the skin to protect from the latex and tuplast used.

Take the eyebrows out by smoothing the hairs down with glue. Make sure all of the hairs are covered and then powder to seal. Apply Illamasqua Rich Liquid and stipple over the brows. Apply the chosen skin colour foundation, blend and powder.

Apply Illamaqua Matte Primer over the face.

Create the base using Kryolan Ultra Foundation and conceal any imperfections using Kryolan Dermacolour Camoflague.

Powder to seal.

Apply the vines to the face by breaking up cotton pads. Use latex to stick this to the skin. Test the latex on the clients skin before use. Once the latex has dried, cover in tuplast.

Allow to dry and colour with foundation to match the skin tone.

Highlight with Supracolour so that the 3D effect will come off on camera.

To apply the bald cap:

Cape your client to protect their clothes.

- Brush the hair thoroughly to free of any knots.

- Make sure to not use any pins in the hair as this will be seen through the bald cap.

- Spray the hair thoroughly with water asking the model to close their eyes.

- Use a lot of gel covering all of the hair. Rub the gel through your hands to work through the hair. Thick hair will require a lot of gel.

- If any gel gets on the forehead, remove, as the spirit gum will not stick to this.

- Make sure the roots are well gelled and wet otherwise the cap wont stick.

- Half the hair down the centre.

- Wrap the hair around the head making sure it is smooth and bump free. Take the left section and wrap around to the right. Take the right section and wrap around to the left. Smooth down with more gel.

- Make sure the model is sat straight on and looking forward.

- Get your model to help with the application of the cap. Get the model to hold two finger up each side of the head to help with pulling the cap down straight.

- Do not just cut out the ears. Feel where they are with your own fingers underneath the cap. Make a small cut and place back down, Repeat until you have cut away enough to pull the ear through.

- Do not cut the cap in a straight line. It is easier to blend away with a wriggled cut line.

- Peel the front of the cap back making sure that there are no hairs on the forehead.

- Place spirit gum on the edge line of the folded back cap. Pull the cap back down and stick to the forehead.

- Using a wet sponge, roll around the recently glued cap to press in.

- Cut away the cap around the edges and back and repeat the gluing process by pulling the cap up, gluing the edge, sticking back down and pressing in with a wet sponge.

- Do not pull the material when cutting as you may over stretch it and cut too far. Also never cut the cap before putting on.

The mood board above shows my inspiration for the third design. The lines have inspired me to create branches to represent the boys branching out into manhood which is taken place during the scarification process. The bald cap was introduced so that the branches could be taken around the head and neck, furthering the scarification.

Anthropological re-design two

My second design for the revised shoot focuses on the print making used to create scarification in African cultures. The scars created remind me of print making to create multiple textures. The idea is to create a pattern around the lower half of the face using tuplast.

To create this design, the products used are:

- Dermashield

- Kryolan Ultra Foundation

- Dermacolour camoflague

- Illamasqua Matte Primer

- Pritt Stick

- Illamasqua Rich Liquid Foundation

- Illamasqua Translucent Powder

- Kryolan Supracolour

- Tuplast

Cleanse, tone and moisturise the skin.

Apply Dermashield to the skin to protect from the tuplast.

Apply Illamasqua Matte Primer

Take out the eyebrows by smoothing the hairs down with glue. Powder and then stipple over Illamasqua Rich Liquid Foundation in RF100. Then apply the chosen skin tone foundation base colour. Powder to seal.

Use Kryolan Ultra Foundation to create the base, using Kryolan Dermacolour Camoflague to conceal any imperfections.

Powder to seal.

Apply tuplast across the lower face in little dots. Make sure these are even on both sides of the face.

Allow to dry and then colour with Kryolan Supracolour.

Powder once more to seal in the colour.

The mood board above shows my inspiration for design two. The inspiration comes from the scarification mark making created in African cultures. The scarification can be played with to create interesting designs and patterns. The idea is about texture therefore the tuplast needs to be off the face and highlighted so it doesn't look flat on camera.

Anthrolopological re-design one

My first design for the revised shoot for body modification is based around the idea that scarification in African cultures is the branch into manhood. Therefore, I am using materials to create branches up the face to create a second skin. This will alter the profile of the face. The colours are neutral to make it seem that the branches are part of the face and belong there. The branches are created using cotton pads broken up to get the fibres inside. The fibres are then stuck on using latex and covered in tuplast to smooth the fibres over. Foundation is then added to the cotton to make it skin colour. The branches are then highlighted on one side to make sure they look 3D.

For this the materials you need are:

-Cotton pads

- Tuplast

- Latex

- Dermashield

- Kryolan Ultra Foundation

- Kryolan Dermacolour camoflague concealer

- Illamasqua matte primer

- Illamasqua Translucent Powder

- Kryolan Supracolour Palette.

- Pritt stick

Cleanse, tone and moisturise the skin.

Apply Dermashield to protect the skin from the latex and tuplast.

Apply the base, foundation, concealer if needed and then seal with translucent powder.

Take the eyebrows out using pritt stick. Brush the hairs upwards so that they stick down flat to the skin. Once the glue has dried you can cover the hairs with foundation to blend into the skin.

Take the cotton pads and pull apart to reveal the fibres inside. Roll the fibres into a thin sausage shape.

Apply latex to the skin, and place the cotton fibres over the top.

Dry with a cool hairdryer and continue.

Once you have created the branch shape, cover the fibres in tuplast to create a smooth effect.

Dry with a cool hairdryer.

Use the same foundation used to create the base over the tuplast cotton. Blend this in until it looks compatible with the natural skin tone.

Powder over the top of the foundation to seal.

Use Kryolan Supracolour in lightest red to highlight around the cotton. The aim here is to make the cotton look more 3D.

The mood board above shows the idea behind the design above. The scars look like the lines created by branches. Therefore I have based my idea on nature. I also thought that the scarification methods used lead the young boy into manhood, like the branches of a tree lead into ever changing life.

Problems experienced when making moulds

During the mold making process I experienced many problems. The beginning part creating the positive silicone mold went well and I didn't experience anything problematic there. When making the negative I experienced a lot of things that made me gain more knowledge about the mold making process. I made the negative mold multiple times as I found that it didn't set in my positive mold. There could be many factors that contributed to this:

- The petrolease may not have been dry properly. Ensure that this is completley matte before applying your accetone and baldez mix.

- The acetone and baldez mix may not have been dry properly before adding the silicone mixture. The inner mould could have been swamped with acetone and baldez which strips away at the silicone. If this is not dry it will not create the correct base which allows the silicone to dry.

- The silicone mixture itself may be contaminted. This is why is is so important to constantly change gloves so that nothing can become contaminated. My box where I kept all the products was contaminated by parts of silicone which meant my cups and wooden sticks were also contaminated. It takes a small part of either silicones to begin activation. A grain of anything can ruin this. Therefore lids should be kept on everything at all times, gloves need to be changed constantly. The work surface should be changed and cleaned after each negative mold is made.

- The silicone mixture may not have been dry. It can take a long time for the mold to set in the positive mold. Therefore you need to be patient and allow some time for this to fully set. Make sure it is on a flat surface to allow even drying out.

- The mold may not work if it is removed from the positive mold too soon, which is what happened to me multiple times.

Thursday, 4 December 2014

Mould Design Inspiration

My inspiration for the design of my mould comes from yin yang and the idea that opposites attract. The yin yang is about balance and that together they create a whole. For my chosen design I have broken up the symbol to create an imbalance on the face, the opposite of what the yin yang represents. Creating an imbalance on the face will alter the profile creating an opposition of what is the norm.

Yin Yang. Viewed 26/11/14

Creating a Mould

Creating a mould.

In order to sculpt and preparing your mould you will need:

- Sulphar free clay

- Non Porous surface

- Hairdryer

- Sculpting Tools

- Glue Gun

- Plastic Cup

- Gloves

- Silicone A+B

- Silicone Deadner C

- Fixer Spray

- Petrolease

- Prosaide

- Baldez

- Make sure you are wearing gloves.

- Cut a small section of sulphur free clay and place on to a non-porous surface. For this I used a small cut out of plastic. If the clay is tough to cut away, heat first with a hairdryer.

- Mould the clay into a chosen shape using sculpting tools.

- Make sure the edges are completely smooth.

- If creating a lump, use right angle motions to smooth the clay into a manageable shape.

- When you have finished sculpting your mould, spray with fixer spray. Allow to dry.

- Then spray with Petrolease and allow to dry.

- Take a measuring cup and cut in half.

- With a glue gun, glue around the top of the cup where the ridge is and stick around the clay mould. Glue around the cup to make sure it is completely secure.

- When using a glue gun make sure the gun is standing up in the right position. Make sure it is hot and therefore be careful as to not burn yourself whilst using it.

- Once the glue is dry you can begin making the silicone mixture.

- Take two measuring cups and two wooden sticks labelled A and B.

- In the A beaker, add 50ml of silicone A.

- In the B beaker, add 50ml of silicone B.

- Make sure to not cross contaminate the liquids as they will activate.

- Ensure you are wearing gloves at all times and have protected any surfaces. Any spillages should be cleaned up straight away.

- Mix the A liquid into the B beaker until bubbles are formed.

- Pour the mixed substance into the cut cup where your mould is. Cover the clay completely.

- Allow to dry. You will know when the substance is dry by touch.

- To remove the mould from the container, cut away the cup until the piece becomes free and can be carefully pulled out.

- Be careful at this point because it is very easy to cut yourself on the plastic cup holding the mould.

- Clean the silicone mould with IPA brush cleaner. Ensure that the entire surface has been wiped clean.

- Then spray with Petrolease all over the mould.

- Allow to dry.

- Make sure you are in a well-ventilated room.

- Next create a protective surface over the mould by mixing 10ml of baldez with 20ml of acetone. And 40ml of IPA brush cleaner. Mix altogether and use a brush to paint the mixture onto the silicone mould.

- Make sure the whole mould is covered. Place on to a level surface to even out the mixture. Use a stick to scrape away any excess.

- When dry the mixture will go matte. Make sure there are no holes in the silicone mould.

- Cover again with another layer of mixture, you can add up to 6 layers. Allow the piece to dry.

- Next mix together A,B and C to create the final piece.

- So using 3 measuring cups and 3 sticks labelled a,b,c measure out 40ml of A and B silicone. And then 80ml of C silicone. Mix the a and b measures together and then pour into C. Mix together.

- Next add powdered colour to colour your mould. Add a pinch into the silicone mix and mix together thoroughly.

- Pour slowly onto the silicone mould.

- Wipe over with a wooden stick to remove any excess. Pour more mixture in to make sure the depth of the mould is covered.

- Smooth away the edges with a baby bud.

- Allow to dry for 20 minutes.

- Powder over the top of the mould with baby powder to stop the silicone from sticking.

- Test to make sure the mould is dry by touching it, it will be dry when a fingerprint is not left.

- Work at the edges of the mould with a pin. Start lifting the edges up.

- Using a brush use translucent powder to help release the mould from the cast. Keep adding powder as you release more of the mould.

- Once the piece has been released stick to a piece of card that has been cut in a square with the centre free. Stick to the card by using prosaide.

- Apply dermashield to your clients face to protect their skin from the mould and products used.

- Prosaide the chosen part of the face and stick the mould to the skin.

- Start taking the excess edges away using acetone. This will release the mould from the card.

- Using a baby bud blend the edges into the skin by using acetone. Make sure the client has their eyes closed at all times.

- Once the mould is lying flat to the skin, use the new student colouring palette to create the skin colour.

- The palette is activated by using IPA brush cleaner.

- Flick the colour onto the mould using a fanned brush.

- Make sure your client has a cape on and has their eyes closed at all times as the brush cleaner is alcohol based.

- The skin has many tones of colour therefore multiple colours will need to be added.

- Once you have started to build up colour you can add foundation to blend into the skin.

- Powder to seal once happy with the mould.

Wednesday, 3 December 2014

Body Modification Design Two

The second design incorporates almonds to add to the shape worked on in design one. The almonds are added to the cupids bow up to the nose and also in the lower halves of the shapes created. Tuplast is once again used to build up the look. The skin tone will this time be white. For this design, the following materials will need to be used:

- Dermashield

- Illamasqua Satin Primer

- Illamasqua Rich Liquid Foundation RF 100

- Illamasqua Translucent Powder

- Almonds

- Kryolan Tuplast

- Duo Glue

- Kryolan Supracolour Palette in Gold.

Cleanse, tone and moisturise the skin.

Apply dermashield to protect the skin from tuplast and duo glue.

Apply the satin primer to create the base.

Use Illamasqua Rich Liquid Foundation in RF 100

Seal with translucent powder.

Using the back of a spoon, draw the outline using tuplast. Build this up until sticks out of the skin. Dry with a cool hairdryer.

Use Kryolan Supracolour in Gold on the tuplast and through the lip from the cupids bow to the base of the lip.

Next apply the almonds in the lower halves of the shapes created.

Use Duo Glue to stick these to the skin. Cover in foundation when applied.

Body Modification Design One

Design One consists of Tuplast shapes on the forehead which are then painted gold. These will be built up so that they stand out more, creating texture and the sense of the skin rising up. For this design the materials needed are:

- Dermashield to protect the skin

- Illamasqua Cream Foundation in CF 135

- Kryolan Dermacolour Camouflage Concealer

- Illamasqua Translucent Powder

- Kryolan Supracolour in Gold

- Kryolan Tuplast

Cleanse, tone and moisturise the skin.

Apply Dermashield to protect the skin from the tuplast.

Apply the foundation base and conceal any blemishes.

Seal with Illamasqua Translucent powder.

Using the back of a spoon, draw around the shape with tuplast. Use a cool hairdryer to set.

Continue to create the desired shape and build up each shape of tuplast until it sticks out.

Once completely dry, apply Kryolan Supracolour in gold across the shape created and through the cupids bow and centre of the lip.

Tuesday, 2 December 2014

The Application of Bald Caps

To apply a bald cap you will need:

- Bald Cap

- Hair Gel

- Pintail Comb

- Scissors

- Spirit Gum

- Spirit Gum Remover

- Hairbrush

- Sponge

- Cape your client to protect their clothes.