Tag Archives: performance

Reflection and Photography

3 May

I dream of travelling the world, meeting people from every corner and widening my reality.

I want to understand people’s faces, I want to learn about people not just from their words, but from what I see and experience. I feel through excessive use of media my senses have become dulled to the world around me. I have spent hours and hours in from of my laptop, often living what I see as an almost purely synthetic existence. Don’t get me wrong – the internet is a vast melting pot of useful information and inspiration to be seized, but what and I really gaining from the experience? Could I be spending my time on this earth better?

Being an individual who’s every action depends upon intensive gut feelings, I think perhaps the reason my life sometimes feels so empty, is because I am not listening to what my mind and soul are asking for. Vivid, interactive personal experience.

Day 01. PHOTOGRAPHER: Victoria Stansfield

Day 01.
PHOTOGRAPHER: Victoria Stansfield

When considering my art, within the fashion industry I have found makeup can be quite passive – and is often dictated by someone else. I myself am a result of media contortion and am often incredibly self objective, as are many other women (and men). I do not want to be part of an industry in which women are made to feel uncomfortable with themselves and their lives. I watched a great Ted Talk my friend Steph posted up and it summarises these issues well. Take a look….

https://sftimes.co/?id=17&src=share_fb_new_17

Whilst working within the fashion industry, we feel are creating something beautiful, but in actual fact we are producing only destruction. We are crushing the self confidence of millions of women, debilitating their daily lives and increasing self hate and jealousy. Why are we doing this to ourselves? Is this really how we think we should be acting and feeling? Is there not something better for us out there?

I feel by doing any kind of fashion makeup, I am tearing myself away from the path towards my mountain (thanks for the advice Gaiman!) – both morally and artistically. I feel I have been easily led into fashion by the promise of instantaneous reward, particularly in monetary terms. However, despite the draw, I am to stop taking part in this game and follow what is true to myself, now focussing on my workshop practice (the SFX discipline I most enjoy), along with performance work.

Day 02. PHOTOGRAPHER: Victoria Stansfield

Day 02.
PHOTOGRAPHER: Victoria Stansfield

Back to the photography side of this post.

I want to really focus on life, I want to get out there, see it, do it, capture it. I have decided to get back into photography. My main interest is within documentary, journalistic and portraiture photography – but I’m not going to focus on that too much whilst I learn to use my camera again. I feel by doing this I will train myself to look closer into what is around me and re-connect with people – or even just learn to connect as I am a child of the social media technology era and have grown up plugged in.

From now on, you shall be getting more mini-updates, as I invite you to share in my life adventure, one photo at a time.

I cant promise they’ll all be wonderful, but everyone starts somewhere. It’s just where it takes you along the way that is what matters.

I implore you do do something that will take you to new places, and fill your heart with light and happiness.
Look beyond your computer screen and reach to the world outside.

Day 03. PHOTOGRAPHER: Victoria Stansfield

Day 03.
PHOTOGRAPHER: Victoria Stansfield

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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: 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

Alginate Casting

11 Mar

Over the past couple of weeks I have been creating a plaster cast of my own hand, in order to then transform it into a fibreglass core, ready for sculpting onto for my final special effects project.

ALGINATE CASTING

YOU WILL NEED

  • Tepid Water
  • Mixing Bowl
  • Alginate
  • Drill with Squirrel attachment
  • Plaster

METHOD

  1. Mix together the alginate with tepid water until you have a porridge like mixture.
  2. Pour 1/2 of this mixture into the casting receptacle. Then place the body part you wish to cast into the mixtures, in this case. the hand. It is important to remove and bubbles that will be attached to the hand, we need to rub out the areas around and under the nails in particular, rubbing the fingers together to rid ourselves of any bubbles that may cause imperfections.

    Hand in Alginate

    Hand in Alginate

  3. Continue to pour the rest of the Alginate in, until the hand is covered and part of the wrist.Leave a 0.5-1″ gap at the top of the receptacle.
  4. Leave the mixture for about 5minutes until it has gone off, then slowly wiggle your hand and finders until the suction is released. Be careful not to carry out this process too quickly as the suction strength may cause the interior to fold in on itself.image62
  5. Mix up the plaster in a ventilated area, until the consistency of double cream. Pour a thin layer into the mould and rotate around the mould, ensuring the plaster coasts every orifice, then pour this plaster out again.
  6. Pour in another layer of plaster, again coating the whole mould, allow to settle in the bottom, tapping gently to release any bubbles. repeat this process until the mould is filled to the brim and then leave for two hours to set.image63
  7. Once the plaster has set, remove the receptacle and use a blunt wooden tool to carve away the alginate, ensuring the plaster mould is not touched.

image65

Voila.

Voila.

 

This method is particularly good as it picks up fine details very easily and efficiently. For information on the next step of this process, please look out for my “creating a fiberglass core” post.

Eyebrow Blocking

29 Jan

Today as a class, in broken down groups we demonstrated to each other different ways of blocking out eyebrows; discussing the process, products and uses within the professional industry. The purpose of this task was not only to learn the obvious, but stretch our experimental abilities; questioning what was being asked of us and trying to formulate specific ways in which brow blocking worked for us personally.

I was in a group with Leanne and Emily, we split the task between us, sharing research, display and practical task. Prior to the presentation day, we did a trail run.

Despite our mistake in the size and cut of our eyebrow piece, we concluded that our process was the most successful in terms of visibility when done correctly. However, cap plastic application may not be required if dealing with a theatre production, as the detail will not be visible from far away. In reality, if dealing with a HD production, the actor would need to shave off or wax their eyebrows; as such small details would easily be recognised on the screen, rending coverup redundant.

Cap Plastic Application

Cap Plastic Application

Below you can see examples of the other groups’ work.

image48

Soap Application

image50

Wax Application

image49

Pritt Stick Application

image51

Pro-BOndo Application

2014 – Y2S2

28 Jan

It seems not so long ago that I was filled with excitement to start this course, now it is almost over!

So, as previously mentioned, this semester I will be focussing on technical processes in the special effects workshop, whilst still paying attention to design and artistic development.

During the first two weeks, we will be doing casts of hands and ears, as well as recapping (excuse the pun…) our wig cap and eyebrow blocking processes. Today we started with the ears…

EAR CASTING

YOU WILL NEED:

  • Tepid Water
  • 2x Mixing Bowls
  • Alginate
  • Blue Roll/Thick Tissue
  • Cotton Wool
  • Thin Plastic Sheeting
  • Vaseline
  • 2x Strong Card Cups
  • Clay
  • Modrock
  • Crystacal Plaster
  • Your model, and a helper!

METHOD:

  1. Follow PPE! Get your overalls on and ensure your model is also covered to protect their skin and clothing.

    I need overalls of my own.

    I need overalls of my own.

  2. Lay the model down on their side comfortably, with support for their head/neck, ensuring the ear is level. Now Vaseline the hair away form the area, keeping it smooth.
  3. Next, cut a 2-3″ slit in the thin plastic, positioning over the model’s ear, again making sure all materials around the ear as as flat and smooth as possible.
  4. Insert cotton wool into the ear – not too deep, just enough to ensure no alginate mixture is able to get inside the body.unnamed
  5. Place the larger half of the up over the ear (with both ends exposed, not covered). Place the blue roll around the  base of the cup to ensure that the Alginate does not seep onto the face and body and out of the protective wall.
  6. Mix half a cup of tepid water with Alginate, until a porridge like mixture is formed. You have 2-3min until this mixture goes off so you need to work quickly. The hotter the water temperature, the quicker the mix will go off. Use your hands to combine the mixture and squeeze out any lumps. Now pour this into the cup slowly, aiming behind the model’s ear.DO NOT pour excess down the sink – it will block it! Instead, wait for it to dry and peel it out of your mixing bowl and place in the bin.unnamed-2
  7. Once the Alginate has set, carefully release the suction by working around the base of the cup (removing the supportive blue roll), then working with the direction of the ear, peel away the mould case. Make sure to leave the cotton wool attached to the Alginate. Remove the plastic sheeting if you are sure it will not effect the mould shape.unnamed-4
  8. Now, position the second cup over the top of the first, again leaving both ends exposed. Create a clay/modrock bandage to attatch the cups together.unnamed-1unnamed-3
  9. Create your plaster, working in a ventilated area and adding the plaster to half a cup of tepid water slowly until islands are made on the surface.  Once all dissolved, mis with the hands to ensure consistency is even and of a double cream thickness. Now pour this into the flood walls, ensuring to tap out the bubbles. Again do not pour any excess down the drain, wait for the plaster to sediment and pour away the water, wiping out as much of the plaster as possible and placing in the bin. Now we wait!!
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    please excuse the bad pictures!

    Shona's Ear Cast

    Shona’s Ear Cast

Tomorrow we shall be working on eyebrow blocking. Stay tuned!

Ah! PS. I also received this amazing book in the post, to help me with my creature design!

BOOK! :D

BOOK! 😀