Technical File Sign Off

Here is signed technical file sheet by Lottie Davies, signed on 02/05/2013 as part of the MFS109: Styling for Television, Film and Theatre Unit submission.

Evaluation

When beginning to research this project I was keen to use both a male and female model as other units have limited me with model choice.  Initially I always thought it would be a harder task to create a look for a male model; however I have seen this task as an excessive learning curve and feel motivated to continue to push myself out of my comfort zone in the future.

I believe that the whole of the research and blog work I have done for this project has been my strongest throughout the academic year due to being more technologically capable than to begin with. I also think that my second look has been one of the strongest created and am extremely pleased with the outcome. Also I have taken more consideration into the styling in the photographs to make a more defined shot where before I would have not spent equal time management on this aspect.

If I was to re-create or alter anything upon reflection of this project it would be that I would have considered either an alternative model for my first look or altered the design a bit more as I spent a majority of my research and time looking into and developing the second image and so was slightly unprepared with the other look – which I believe shows in the images.

Finally while reflecting on the images I believe that they could both be used for the target audience of the band that I created the look for and with the research and design development I personally have fully enjoyed this unit brief.

Final Shots: Look 2

 

 These are some close-up shots and the submitted images of my final adaptation for Look 2 of:

 "Aren't You Glad You Didn't Turn On The Light?"

Final Shots: Look 1

 These are some close-up shots and the submitted images of my final adaptation for Look 1 of:

 "Aren't You Glad You Didn't Turn On The Light?"

Test: Look 2

The key feature I wanted to create in Look 2 was the aspect of how the darkness - which in itself is a character in the urban legend - was reaching out and trying to ensnare. I began to think of ways to represent this and came up with the use of not just including the face/hair in a look but also to incorporate the hands.

I then tried to get my test model to try out several poses to see which would show off this aspect of my design the most and discovered through several shots that making the hands reach up and around the neck made the darkness seem dangerous.

                                                 
                                                    

FallOut Boy: Reference 2

In their latest music videos "The Phoenix" and  "Young Volcanoes" through the use of SFX the lead singer Patrick Stump has had created his surname. After considering the use of this amount of SFX in their latest video I have decided to create in one of my look's the use of scratches on the model to incorporate the use in my possible idea for the music video. 

     

This part of the story - before they are captured individually which is depicted in 'The Phoenix' video it portrays when initially only Patrick is taken after carrying a briefcase of importance...                                              

 ... while in the phoenix it shows the band being individually captured and displays Patrick being tortured/ having his hand cut off to show as a form of the fact that they have captured him ..

               

... and to free the briefcase from him they cut off his hand - literally portraying his name: Patrick Stump.

                                                     

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This idea of injury and torture is again impacting in the video for "Young Volcanoes" as it displays a form of torture at a meal table but also using drugs to influence their view on reality of the captured band members which the audience perceive and then registers what is fiction and what is reality at the end.

TEST LOOK 1

FOB reference 1 - basing on artist because..talk about thwir new 'sound' and how the video's currently tell a story

My Song's know what you did in the dark

The Phoenix

Young Volcano's

Moodboard & Face Chart: Look2

Through research and referring to the above moodboard, I have designed this as my facechart for the second look:

Moodboard & Face Chart: Look 1

Through the research and relating to the moodboard I have created this make up look for my primary look:

Face charts: Initial Ideas and Development of both looks

Through the initial ideas of deciding to base my two looks on the urban legend "Aren't You Glad You Didn't Turn on the Light?" I have decided on some key aspects I wish to involve.

The first initial face chart shows this through the use of taking out facial features, as it is often an instant way of recognize individuals, despite sometimes the darkness not allowing you to fully see, to here it was in my mind to begin distorting this as a reference to the killer in the dark.

Another initial idea I've had is to incorperate another legend into the look, this would allow the design to grow. Here I have chosen to incorperate "The Clown Doll/Statue" legend as a link - using the facial detail disguised in the way a clown often looks, however using the darkness from "Aren't You Glad..." as a way to display this legend. However on looking at the brief it was only needed that one legend was used for both looks.

Finally instead of just a black and white colour oriantated look I discovered how I was to incorperate the use of the colour that represnet both danger and anger, which is reference to the killer - Red. I thought that it was best to use this in a way to cover the eyes as this is where people are more expressive so encourages those thoughts. Through this look I also began thinking of a way where not just the face  was included in the look, but also the darkness "reaching out and consuming" the model, by using the neck.

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Look 1

These looks were designed for male model, and SFX was the key element here so combining the darkness and anger into the distinguished and accentuated eyebrows with key elements of contouring to balance the SFX rather than an extreme make up look too, which would fight with it for attention in the photograph and in the music video (as the look is required to be suitable as seen in the brief).

Look 2

This look for a female model would be more extreme as the design is an airbrushing technique based one -  needs to involve the initial element of disguising the model's facial features, just the eyes to begin then more of the face, contain a red lip as a reference to the initial designs to incorporate the colour due to its link with death (blood), anger and danger - all keys aspects in the "Aren't You Glad..." legend.

Airbrushing Technique

relate to as it would be used in video's/ editorials to showcase the precsion needed for the impact and the HD technology used to capture.

RESEARCH: Eternalux

Through online research I discovered a small look book collaboration between photographer Charis Talbot & hair and make up artist Tony Arts and what I found appealing and relevant was how they again used a minimal colour palette to create the shots, but that through the use of styling they were able to subtly display a gothic horror initiative to the looks. 

Link to: Eternalux - Charis Talbot Photography

    

 

RESEARCH: CAROLINE SAULNIER

As part of my research into existing adaptations of Gothic Horror in Fashion I discovered the "teaser's" from Make Up Artist Caroline Saulnier's latest beauty book - on which she has collaborated with the esteemed photographer Rankin -  which references aspects included in our unit brief. 

 Through these images it's clear that when using a limited colour palette but adapting the hue's to shade and highlight areas can create a more dramatic image than one with a variety of colour as the eye has less to take in visually so it can almost create an illusion and distort the face.

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As recorded by Hunger TV - I have discovered how it is possible for fashion/editorial look's to also be just as impacting to an audience as a still photographed image.