CREATING VOLUME IN HAIR.
Beforehand, to create extra volume - Wash and blow dry hair, apply mousse and dry hair upside down.
Make time for your rollers to heat up.
To create volume and large curls - Use Blue and Red rollers.
Applied to the very root, this will create volume and movement throughout the hair.
Before applying the rollers, take into consideration the hair type, length and condition.
Having a consultation with your client will ensure that you deal with the hair type in the correct way.
Section of hair for accurate application.
Can work upwards if needed and apply the rollers in the same direction using a brick like method.
Also make sure you hold the hair up at an angle, keeping tension throughout the hair at all times. When applying the rollers to ensure you get right into the root - This is where we want the most volume.
Use your comb to tuck in any ends - ensuring the ends aren't folded under as this will create a fish hook at the end. Once the hair is wrapped around correctly and smoothly, apply your clip around the roller to keep it in place. Be careful this is not too tight and throughout this process, ask your client whether they are comfortable or not.
Apply your rollers to the middle of the back of the head. - Then tong your bottom layer and pin the curls up to cool and set.
Example from practical lecturer.
Section the hair in three parts.
Part the front into whichever parting you wish, depending on the style.
Apply the heated rollers to the fringe parting, in the direction of where you would like the fringe to fall.
For the crown section, apply the rollers in a brickwork pattern in a downwards direction.
Finally, apply rollers to the bottom layer of hair, however in an upwards motion, this is to ensure your up do flow and create volume.
Start removing the rollers from the bottom upwards - carefully backcomb together to ensure all curls flow together. Also backcomb at the root to create extra volume, this will also help mould the shape upwards.
pin into place and use and finishing pins to hide and gaps. - Use your pintail comb to pull the barrel out a little, in case you need it lifted slightly. Or use a finishing comb. Try not to use your fingers in case you ruin any shape.
Next, with your middle section - the smaller sections which were in rollers, backcomb slightly at the root to create a sturdy shape.
Roll each small section up into a barrel to create a range of pin curls throughout the section. This will create a variety of shapes and texture. Try to hard your pins when doing so.
As for the top section, backcomb carefully underneath at the roots to mould into shape. - style into your chosen parting and style round the face, gripping the hair into the sides, ensuring you blend this in, so everything flows together.
Above is the hairstyle we created after demonstration.
This type of style, will depend on what hair type you work with. If you work with straight hair, it can be harder to create, whereas naturally curly hair will able you to create more texture.
Taking thin sections of the hair, using a crimping hot tool - ensuring the hair is at a straight up angle, crimp the roots of the hair. MAKE SURE YOU DO NOT BURN YOUR CLIENT. (Hold comb underneath crimper to protect the scalp.
Hold for a few seconds (Also depends on hair type, condition)
Crimping certain parts of the hair will help create volume when back combing.
Crimp the crown of the hair, to about quarter of the way down the head (depends on hair length)
Then crimp from parting and the sides of the hair, again quarter of the way down, - again repeat other side.
Ensure you have enough hair over the top of the crimped sections, so you can hide these areas.
Once you have crimped all the sections you want, backcomb the crimped hair, this will help hold your back comb and create extra volume.
SCRUNCHING.
Using a hair dryer with a diffuser, ensure the hair is damp and apply mousse over the hair, not too much otherwise the hair will appear to sticky and crunchy. With the diffuser, pick the hair up and do this method until dry, keep scrunching the hair with your hand.
If possible ask your client to tip their hair upside down. Creating more volume and easier for you to scrunch the whole head.
This is great to do before crimping the roots. Creating a mass of volume and natural movement throughout the hair.
STRUCTURED HAIR UP DO.
Section hair around the front evenly (pin bottom section out of the way for now)
Brush all back and crimp root sections but leaving top layer to straighten and so it can be smoothed out and remove any kinks, back comb smoothed out front layer.
With a dressing out comb, comb into desired height, shape ensuring not to brush out any volume, pull back gently twist near the top still keeping symmetrical shape and grip into place using special technique.
Split the bottom section into two parts down middle, the side section opposite to twist - pull across head horizontally and grip in criss-cross formation to hold securely.
With the other half, back comb inside to help create volume so it is easier to shape - roll over to meet the top twist to create one large roll (French Pleat) round the back of the head
Grip securely once smooth and even - Use pins to hide an lumps or other grips.
Finally hairspray hands and gently smooth over final design to flatten any fly away hairs to produce a perfect symmetrical silhouette as you want a perfect shape from every angle for photographs.
NATURAL BEAUTY HAIR. - BLOW DRYING AND CURLING
Wash and Blow dry. For more volume use mousse before blow drying. Ensure you use a nozzle, this helps the heat in once direction.
Blow dry with a large barrel brush, this helps volume from root to end.
Depending what direction you want, you can use your barrel brush towards the face or away.
In this case, blow dry the hair downwards, firstly lifting from root and bringing the hair with the brush in a downwards motion, to ensure all the hair is smooth and all in the same direction.
with your barrel brush, apply this to the underneath of the hair and whilst the hair is elevated, blow dry the underneath first to ensure all parts of the hair is dry, otherwise this can wet the hair underneath in which we have already blow dried.
When blow drying, using your barrel brush, brush through
the hair with your hair dryer (with nozzle) and once you start to feel tension, using your hair dryer, move it underneath the hair so you don't loose the section, again apply the brush underneath the hair and do this motion until the section is thoroughly dry.
After you have blow dried the hair, using a reasonably sized curling tool. Curl all the away from the face. All curls in the same direction.
Once you have curled the hair from about the mid lengths of the hair. using a paddled brush holding the hair brush the underneath and tops of the hair and using your hand, mould the curls together.
OR you can tossle the hair together.
ADVANCED PLAITING.
STANDARD PLAITS - Using three sections of the hair, firstly with either side (left or right section) cross the section over the middle section, holding them away from each,
Next using the other section, cross that over the middle section again and repeat this all the way down the hair. Making sure each time you use the left section over the middle section, then the right section over the middle section again and so on.
This can be created the opposite way, which is called the DUTCH PLAIT. Using the exact same method, with three strands, however instead of applying the side sections over the middle section, cross them underneath, meaning you are crossing one section underneath the middle, then the other section under the middle again.
FRENCH PLAIT.
At the top of the head, start with three small sections, crossing over the outer sections over the middle, like a regular braid. Instead each time you cross your outer sections add a small piece of hair from the sides each time you cross it over. Keeping adding under there is no more hair to add. Either stop and using a band secure the braid so you are left with a ponytail or carry on with a regular plait.
Can be created all over the head in small sections.
WATERFALL -
each time you add a piece of hair from either left/right depending on the side of the head, drop a piece of hair out of the plait to look as though there is a constant flow of hair entering and exiting the plait. Therefore, once you drop a piece of hair add another from which ever side you are dropping the section
FISHTAIL - take two sections of hair, and taking a small section from the back of one side cross this over and add it to the opposite section, next take a small section again from the other side, again cross that over and so on until there is no hair left.
FOUNDATION - DIFFERENT TYPES AND APPLICATIONS.
In our practical, we were given a specific base to apply to our models. There are 100's of foundations to chose from and it is extremely important to make sure we chose the right foundation and apply it in the right way. Creating the perfect base is vital as it can make or break any make-up look! So practicing these techniques in class was really helpful!
Example of various bases:
- Full coverage matte
- Natural Dewy
- Glossy
- Natural Matte
I was asked to create a glossy base, However I feel creating the right base also depends on your models naked face and the skin within, if the skin is looking quite dull then I believe it is our job as a make-up artist to work with what you've got. Exfoliating to get rid of the dead skill and even a splash of cold water can awaken the skin and using an hydrating moisturiser.
My model suffered from a couple of small breakouts, nothing major. Although with the foundation I used it was obviously hard to cover those blemishes. I wanted to keep the base glossy and natural. Attempting to keep the products to a minimum. So keeping the skin natural, I tried to go in with a concealer to cover up just those blemishes. Honestly, it was hard to completely cover up the spots. The products I used didn't suit my models skin, which seemed to be a little dry in areas.
To complete the glossy effect, I decided to use MAC's glossy product to the cheeks which created a subtle 'wet' gloss when caught under the light. To finish I applied a loose powder through the centre to get rid of any unnecessary shine.
Overall I feel I met the desired glossy base, however I do now know it is absolutely vital to treat the skin before applying any makeup to avoid any products sticking to dry areas, etc.
BLUSHER AND HIGHLIGHTER.
Blusher is used to create a natural, flushed effect. If applied in the correct place.
Applying blusher to the apples of the cheeks can create a youthful look.
If blusher is applied too heavy, this may look cheap and over the top.
To apply blush, it can be easier to ask your client to smile and apply to the apples of the cheeks.
It is best when applied with little amount first then build up if needed. Use a small brush, either tapered or rounded depending on what you prefer, and ensure everything is blended out to create a natural finish.
Blusher can come in a series of colours and textures. From cool tones blushers to warm and cream to powder finishes.
HIGHLIGHTER -
Highlighter is used in a way to enhance the high points of the face and also catches the light beautifully. Perfect for photography.
You can get a range of highlighters, from powder, to cream to matte and shimmering. Obviously shimmer is more obvious and matte more natural. Highlighting can also be used to with contouring to help compliment the contoured areas. Depending on your skin tone, any one can use highlighters, ensuring you use ones with the right colour undertone. Cream highlighters is sometimes best applied using fingers. (ASK YOUR CLIENT FIRST WHEN USING HANDS)
OR a small brush to apply to the correct areas.
EYEBROWS AND LASHES.
You can use a range of products to fill in the eyebrows.
Follow the natural shape of the brow.
Depending on what kind of look you're creating, fill in areas that are spars or just the areas that are needed.
With light strokes, apply the product throughout the eyebrow.
The front of the brow should be the lightest, softest area to create the most natural look.
Use a cotton bud to smudge the product if too harsh.
Eyebrows should start from the end of your nose (depending on how wide your nose is) bring eyebrow in further if you have a wider nose to create the illusion of a thinner looking nose. The arch should line up with your pupil.
Finally the end should be in line with the outer corner of the eye. Try to stick with cool tone products, otherwise you will end up with a red tint. Unless your client has red hair, you can match up mixing a cool tone brown and a red tone.
EYELASHES.
Always curl the lashes, ensure your client is comfortable and you are not hurting them. Curl them in
three sections - Root, mid and the ends. This will ensure the curl will hold and the lashes are curled to the maximum and prepped for mascara or if you are creating a natural look, this will help open the eyes.
Using a mascara wand (ENSURE YOU USE CLEAN WANDS FOR EVERY CLIENT) in a zigzag motion, wiggle the wand from root to end, and on top of the lashes to coat the mascara all over.
Use the tip of the wand to get to the inner and outer lashes.
To create a dolly effect, apply mascara all over and with the wand move them in a fan like direction, from inner to outer lashes, creating a wide eyed effect.
For a cat eye effect, apply to ends in an outward direction.
FALSE LASHES.
BEFORE APPLYING, ENSURE YOUR MODEL IS NOT ALLERGIC TO LATEX, if so use a latex free false lash adhesive.
For full strip lashes, measure the lash to your clients eye beforehand to make sure they fit perfectly, otherwise they can feel very uncomfortable. Always cut from the outer part of the lash.
Apply liner on the top lash line if needed, this can help hide the stem of the false lash, especially if you are using lashes with a thick base.
Apply a thin layer of glue on the stem of the lash. wait 15-20 seconds for glue to get tacky. This prevents the lash from slipping around when the glue is too wet. Using tweezers pop the false lashes right on top of the natural lashes, be careful and take your time. tuck in the corners with the tweezers.
If the glue is tacky, the lashes will be very easy to apply. With the other size of the tweezers, use this to ensure all parts of the false lashes are stuck down.
Apply mascara to blend natural and false lashes together.
EYELINER
Following the bottom outer line of the eye - Draw a line at an angel towards the end of your brow.
Then draw a line from the centre of the lid following the natural shape of your eye and connect it with the outer line.
You will be left with a gab, fill that gab in - which will create a triangle like shape.
Can be as thick as you want.
then from the inner corner fill in the gab connecting with the middle of the line.
Can do this beforehand with a pencil, then go in with a liquid or gel eyeliner for more hold and a darker line. When applying eyeliner on clients, always remember.
LIPS AND APPLICATION
Beforehand, ensure the lips are well moisturised, if not apply a moisturising lip balm, let it soak in
and use a tooth brush or cotton bud to exfoliate the lips.
Using a lip pencil, (MAKE SURE THIS IS SANITISED AND SHARPENED) Line round the natural lip, there can be two lip lines, line to the first natural lip line. Penciling in also prevents the lipstick from bleeding.
Line the second if you want fuller looking lips, or slightly over draw, but not over the top.
You can alter the lip shape if needed, for example some cupid bows aren't symmetrical.
You can colour the lip in with the pencil for a base or colour the corners in slightly and blend out with a lip brush. Depending on the look you want to create or whether you want fuller looking lips you can use a shade lighter than the lip pencil.
Or use a touch of gloss in the centre of the lips.
Take into consideration how big the lips are naturally - If you use a glossy lip product, this will enhance the lips even more. Or big lips can pull of matte lips very easily. Again if the client has smaller lips, applying light shade and gloss in the middle can enhance the lip shape.
For one of this unit we were also asked to complete a timed assessment which was inspired by Illamasqua.
My idea was not to go all out with the typical Illamasqua theme. I wanted to keep it quite subtle, as far as subtle goes with Illamasqua anyway. They are obviously well known for their outrageous, theatre influenced make-up and I wanted to keep that in mind. I chose to create a simple smokey eye, however when thinking of Illamasqua, I first thought red/plum tones. So create a smokey eye with a subtle colour on the lip.
Illamasqua was originally influenced by the 1930's Berlin scene. However I wanted to evolve the time scale, by using their make-up techniques and looks into consideration, but then using a make-up style through the ages as an influence.
I love the style of 60's make-up and want to create an eye look that incorporates the shape but use colours and techniques that I've researched and learnt from illamasqua.
Their make-up is known to be quite heavy and dramatic. I wanted to keep the eyes quite dramatic, with a pop of pink/plum.
Again, sticking with my 60's theme, I was inspired by the 60's beehive and want to create a more subtle beehive with half up half down.
When planning my time assessment I said I obviously want to keep it quite subtle, but still keep various aspects influenced from Illamasqua. I didn't want anything too crazy.
I am extremely happy with how the make-up came out and the application. However, I slightly regret not going that little bit more crazy/quirky. Maybe added some bottom lashes, to add more drama. But that is obviously down to the design process. I knew what products to use and what worked and what didn't.
In conclusion, the application of make-up was successful and I knew what products worked and how to use them, however it seems the design I created wasn't as successful to fully portray the style of Illamasqua.
LONDON VISIT.
Our london trip abled us to see our brand in person and research how our brand promotes their products, the way their counter is laid out, etc.
This was a massive help as I was able to see the products in person and see the different textures and colours.
