Archive | April, 2014

Shoot: Victorian England vs. Día de Muertos

25 Apr

Today I shot with Photographer Martin Beaumont and Lunar Rising (Aka Abi Wright).

The shoot was to be based on Victorian England and  Día de Muertos. Martin had wanted to add the  Día de Muertos element to his portfolio and I was keen on getting some body painting practice so was happy with this option. Martin had found a brilliant location, where we would be able to shoot it old Victoria Carriages… so we thought we would try add a little twist to the Day of the Dead theme.

Our original plans were big, however with such little time for body-painting and shooting, we found we were not able to fully carry out our ideas – so this is a project to be developed. I’m looking forward to the next step.

Special thanks to Sally Stone at West Yorkshire Playhouse Costumer Department for lending us the clothes! 🙂

MUA: Victoria Stansfield, PHOTOGRAPHER: MArtin Beaumont, MODEL: Lunar Rising

MUA: Victoria Stansfield, PHOTOGRAPHER: MArtin Beaumont, MODEL: Lunar Rising

MUA: Victoria Stansfield, PHOTOGRAPHER: MArtin Beaumont, MODEL: Lunar Rising

MUA: Victoria Stansfield, PHOTOGRAPHER: MArtin Beaumont, MODEL: Lunar Rising

Shoot: Graduate Photography with Nisha Clutton

24 Apr

Today I shot with Photographer Nisha Clutton and Model Zoe Harlotti.

The shoot was organised by Nisha, who was looking to build her fashion photography portfolio for university. She found myself and Zoe using the website Purple Port. A website on which artistic professionals and enthusiasts are able to search for others when wanting to offer paid work or work on collaborations.

In the shoot I was asked to do one makeup look, with a slicked back hairstyle. The makeup was to be based on a brief sent by Nisha; which consisted of using dark smokey eyes and metallics. It gave me the opportunity to experiment with eye makeup, something I am less confident with and I was pleased with the results.

I have to say, initially the makeup I did I was great – though once done, I tried to add vaseline for a wet look; it didn’t really work. The makeup blending I had spent so much time on became blurred and wiping the vaseline cause strong lines. I need to look into more methods of creating wet look effects.

Despite this, the final images looked wonderful. Thanks girls!

MUA: Victoria Stansfield, PHOTOGRAPHER: Nisha Clutton, MODEL: Zoe Harlotti

MUA: Victoria Stansfield, PHOTOGRAPHER: Nisha Clutton, MODEL: Zoe Harlotti

Shoot: Graduate Design

13 Apr

Today I worked with photographer Clare Chojnowski and Fashion Designer Sian Gabbidon from Huddersfield University.

The shoot was for a Graduating Designers clothing collection, an orange and white range of oversized garments contrasting with close fit pieces. Along with myself there was a hair stylist – I always love working with hair stylists as they always give great tips and usually are interested in knowing about my makeup work!

The makeup look was to be clean and natural, with an orangey tinge to the eye area – for this I used a beautiful multi-tonal orange form the Nyx Eyeshadow palette I bought form the IMATS last year.

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The models were absolutely stunning, towering over me in heels at around 6″3′. I’m so small. I even tried to take heels with me to offset this usual pattern – it didn’t work. It’s okay, I’m pretty sure being small is going to come in really useful for me one day soon.

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Final images will be up within a couple of weeks!

UPDATE

I have the final edits, I am really happy with the outcome, the girls look great and Clare’s Photography is wicked.

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MUA: Victoria Stansfield PHOTOGRAPHER: Clare Chojnowski CLOTHING DESIGNER: Sian

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MUA: Victoria Stansfield PHOTOGRAPHER: Clare Chojnowski CLOTHING DESIGNER: Sian

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MUA: Victoria Stansfield PHOTOGRAPHER: Clare Chojnowski CLOTHING DESIGNER: Sian

Shoot: Beauty and the Beasts

13 Apr

Today I shot with Photographer Kate Love, we seem to have a love of abusing the beautiful Model; Alix Dent.

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Check out Kate’s site here: http://misskatelove.tumblr.com/post/82509916610/i-shot-this-today-in-my-living-room-would-you

The theme of the shoot was beauty vs. unsightliness, to be created in a fashion/editorial style. I initially wanted to use old aged hands, using latex glove prosthetics; however the appliances had deteriorated by the time we got round to the shoot, so they had hardened and become more opaque.

Not worked!

Not Worked!

I took it off - start again!

I took it off – start again!

I instead decided to use Sculpt Gel for the one handed image, along with liquid latex, greasepaints, wound filler, blood and congealed blood. In my opinion the colouring is pretty shoddy, I’m really not good at this casualty style work and have no patience for it, as much as I continue to try. I just get frustrated with this type of mess. I much prefer the workshop FX. That said, the final images turned out well.

Sculpt Gel

Sculpt Gel

Below is the final image for the one hand shot. I quite like it, although you can’t actually really see the sculpt gel – maybe it needed more colouring. The hand doesn’t looked as strong on camera as it did on real life, it should have been old aged but it was hard to create the ageing in the sculpt gel, so I went for a more decayed but alive zombie look… having had inspiration for a development for a final image…

One Handed Shot

One Handed Shot

It seemed Kate and I were on the same wavelength, as she suggested using multiple hands; something I had been considering on the bus to the shoot! With the old aged thing failing, we decided to go for multiple decaying zombie hands, with Alix appearing to be captured by then. I made up kate’s little sister’s hands (who I had been giving a few quick lesson on FX), both of Alix’s hands and one of my own, before getting into position to take the shot.

Winner. One for the portfolio… I love Alix’s face.

Hair & Makeup: Victoria Stansfield Photography: Kate Love Model: Alix Dent

Hair & Makeup: Victoria Stansfield
Photography: Kate Love
Model: Alix Dent

Happy Slap Boutique @ Rumpus – Shiny!

10 Apr

This weekend I worked with the ever wonderful Happy Slap at Rumpus in London.

The theme was shiny, and oh boy – do Happy Slap Boutique know how to do shiny!!

Ross

Ross

We bought about 17kg of glitter, and by the end of the night, every happy person in the place was covered in the stuff. It’s still happily trailing its way around my clothing, house, housemates, my cat and generally anything I have come into contact within the past few days. It’s a good job I like glitter.

Photography: Michael Marks

Photography: Michael Marks

On the night we had our performers in bald caps (it never ceases to amaze me how good people look in bald caps – particularly glitter covered bald caps.), we also did some collaborative body paints which was a new experience and also lots of fun, it helped eradicate that feeling of getting too intimately obsessed with a piece when on a tight time schedule, moving onto the next person as and when needed.

As usual, I can’t wait for the next one! Find us at Beaverworks for Beaverfest and the Rumpus Mega Event in June!

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Hair & Makeup: Victoria Stansfield

Hair & Makeup: Victoria Stansfield

Glitter Bath

Glitter Bath

Plastaline Sculpting on Fiberglass/Running Foam Latex

8 Apr

Having been to Russia, I have been racing to catch up with my work so I can join the third years in running foam latex.

Well, I made it!

When running foam latex you need to consider the room humidity along with temperature, luckily on this day it was seemingly optimal. We collected out products and got to work!

SCULPTING ON FIBERGLASS

I actually have misplaced the images for sculpting on fiberglass, so the wonderful Leanne Marsh has lent be hers. Sculpting on fiberglass is literally the same as sculpting on the plaster (see past blog post). However we cannot use plaster for foam latex as when cooking it in the over, the plaster will crack and break.

Once we have finished our sculpt, we need to use a moisture seal spray, followed by three layers of release agent spray – leaving 10minutes in between each layer so it can dry. Once this has been completed we can start out fiberglass process again (see previous post for more detail), only this time we need a add an extra layer. Layering is as follows:

  • 1x Moisture Sealant
  • 3x Release Agent
  • 1x Gel Coat
  • 1x Fiberglass Tissue
  • 2x Fiberglass Matt
Image by Leanne Marsh

Image by Leanne Marsh

Image by Leanne Marsh

Image by Leanne Marsh

Image by Leanne Marsh

Image by Leanne Marsh

Once this is all dry and fully set over 24-48hours, we need to smooth down the edges. Once this has been done, we crack open the mould and clean it out using a sculpt tool & brush, along with some lighter fluid and a good amount of elbow grease. Now it’s time to get running!

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RUNNING FOAM LATEX

YOU WILL NEED

  • Base Agent
  • Foam Latex Agent
  • Gelling Agent
  • Curing Agent
  • Colour (we used an fleshy acrylic colour)
  • Electronic Mixer
  • Spatula
  • Fiberglass Core & Negative
  • Fiberglass Oven
  • Bolts & Screws for holes drilled into mould

METHOD

  1. Add base agent to mixing bowl, measure out required amounts of foam and curing agent.

  2. Add the curing and foam agent along with the required amount of colour (in this case it was a large pea sized amount), then set the speed to high.
  3. When the head runner calls, change the speed to low, then measure out and add the gelling agent.
  4. Once this has all been mixed together and the head runner calls, stir manually with a spatula for several minutes before adding to the fiberglass moulds. Put the two half moulds together and secure with the bolts. This then needs to go in the oven.
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  5. Once your piece is out of the oven, allow to cool and then remove the bolts. Slowly take out your piece. As it will be covered in ammonia, it needs to be washed several times in warm soapy water to cleanse it.

    My Squid-Woman Hand

    My Squid-Woman Hand

I was really happy with how mine turned out. No rips, bubbles – nothing! and the foam latex off went off brilliantly.

This was just a taster session and we will be studying foam latex more in the third year. I have further details on this process, so please message me if you would like to know more!

Creating a Silicone/Fiberglass Mould

2 Apr

STEP ONE – CREATING THE NEGATIVE

Step one was very similar to step two: once I has bedded in my hand, added the wall and then poured the silicone into the mould I allowed it to set. Once it has set I removed the clay walls and wiped down the silicone.

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I then added a gel layer, followed by the two fiberglass layers. We shall talk through these processes in Step Two.100_4701

STEP TWO – CREATING THE POSITIVE.

YOU WILL NEED

  • PPE
  • Gel Coat
  • Resin
  • Catalyst
  • Fiberglass strands
  • Small square fiberglass sheets
  • Covered board
  • Clay (to stabilise mould)
  • 2x Paper cups (plastic will melt)
  • 2x Wooden mixing sticks
  • 2x Disposable brushes

METHOD

  1. Remove hand and clay from inside the Fiberglass/Silicone Negative – use water to wet the clay. You may need to remove the Outer Fiberglass shell to enable the silicone to be peeled away from the hand. Clean out the silicone mould – then sturdy horizontally with clay pieces.
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  2. Mix together the gel coat and catalyst, ensuring through mixing. Coat the silicone in this with a disposable brush, ensuring there are no bubbles being trapped in the mould. This should only be a coating, not a full layer. Make sue edges are neat and all areas are covered. Then add fiberglass stands to strengthen this and ensure the fiberglass mat fuses properly.100_4711
  3. We then add the first fiberglass matt layer. After an hour, once it has “gone green” we cut the excess away and apply our second fiberglass matt layer (as second image). Once this has dried, we have our fiberglass positive and we are ready to start sculpting!