Bibilography

1. Wikipedia - (Emotional Abuse): https://en.wikipedia.org/wiki/Psychological_abuse
2. NSPCC - (Emotional Abuse): https://www.nspcc.org.uk/preventing-abuse/child-abuse-and-neglect/emotional-abuse/what-is-emotional-abuse/
3. Wikipedia - (Schizophrenia): https://en.wikipedia.org/wiki/Schizophrenia
4. Wikipedia - (Psychosis): https://en.wikipedia.org/wiki/Psychosis
5. NHS - (Psychosis): http://www.nhs.uk/Conditions/psychosis/Pages/introduction.aspx
6. Wikipedia - (Bipolar Disorder): https://en.wikipedia.org/wiki/Bipolar_disorder
7. NAMI - (What is Mental Illness?): https://www.nami.org/Learn-More/Mental-Health-Conditions
8. stylisheve - (60s Mens Hairstyles): http://www.stylisheve.com/1960s-hairstyles-for-men/
9. slickedbackhair - (60s Mens Hairstyles): http://www.slickedbackhair.com/classic-hairstyles-for-men-1930-1960s/
10. American Horror Story: Asylum (2012)
11. American Horror Story: Murder House (2011)
12. Wikipedia - (AHS Asylum): https://en.wikipedia.org/wiki/American_Horror_Story:_Asylum
13. Wikipedia - (AHS Murder House): https://en.wikipedia.org/wiki/American_Horror_Story:_Murder_House
14. thetelevixen - (Women In Horror): https://thetelevixen.wordpress.com/2011/11/28/female-archetypes-of-american-horror-story/
15. telegraph - (Women In Horror): http://www.telegraph.co.uk/culture/halloween/11200852/Horror-the-film-genre-where-men-dont-have-all-the-fun.html
16. offscreen - (Women In Horror): http://offscreen.com/issues/view/volume-18-issues-6-7
17. horrormoviesandfeminism - (Women In Horror): http://horrormoviesandfeminism.tumblr.com/
18. bust - (Women In Horror): http://bust.com/movies/15093-horror-films-and-feminism-women-who-don-t-run-from-danger-but-step-up-to-it-thank-you-mary-shelley.html
19. Wikipedia - (Women In Horror): https://en.wikipedia.org/wiki/Misogyny_in_horror_films
20. YouTube - (Women In Horror): https://www.youtube.com/watch?v=yZ-HqozfQ5M
21. IMDB - (Rick Baker): http://www.imdb.com/name/nm0000711/
22. Wikipedia - (Rick Baker): https://en.wikipedia.org/wiki/Rick_Baker
23. victorianweb - (Victorian Men Hairstyles): http://www.victorianweb.org/art/costume/nunn21.html
24. Wikipedia - (Vampire): https://en.wikipedia.org/wiki/Vampire
25. Wikipedia - (Werewolf): https://en.wikipedia.org/wiki/Werewolf
26. Wikipedia - (Ghosts): https://en.wikipedia.org/wiki/Ghost
27. fearof - (Zombies): http://www.fearof.net/fear-of-zombies-phobia-kinemortophobia/
28. psychologies - (Zombies): https://www.psychologies.co.uk/self/why-are-we-scared-of-zombies.html
29. Wikipedia - (Fictional and Modern Monsters): https://en.wikipedia.org/wiki/Monster
30. Wikipedia - (Gothic Horror): https://en.wikipedia.org/wiki/Gothic_fiction
31. Frankenstein (1931)
32. Wikipedia - (Frankenstein): https://en.wikipedia.org/wiki/Frankenstein
33. Frankenstein (1818)

Evlauation

During this project we explored the history of gothic horror though out book and film history, whilst also learning about past and present interpretations of gothic horror. As this is a personal interest of mine I found this project very enjoyable and interesting to do as I got to express my work though a completely different way from our first semester.

   During this project I have gained a large amount of knowledge of special effects make-up such as handling products like; gelatin, latex, wax, and creating realist effects on the skin such as bruising. Along with learning these techniques we was also shown how to handle certain products in a safe environment. Although I have found these techniques interesting to learn they haven’t always been easy to perfect. One material I really want to perfect more is using gelatin, but more importantly my skill in blending this material into the skin as I’ve found that quite difficult to get right. Overall the most enjoyable parts of this project was the practical sessions where we learnt some of the basic skills and techniques of special effects make-up, which is something I’d love to be able use in my future career. Another element of this project that I loved, but was also one of my most successful areas of this project, was creating Claudia and Quentin, as I love being able to tell stories though my work and create interesting concepts about characters with my newfound skills in special effects make-up.

   One artist I have looked into throughout this project was Rick Baker. This was mainly due to him creating the iconic bride of Frankenstein look, which helped inspire my Frankenstein design at the very start of this project. Baker had gave me some inspiration on placement of the scars of my characters face, it’s not a complete exact copy of his work but I felt that placement of the joining of the skin on the face would give my monster an interesting twist.

   Looking back at all my work I have achieved throughout this project I’m rather proud of everything that I have put out, although if I could change anything about anything I’ve done this project it would be making my Claudia design a lot more intense. I felt like Claudia’s designs didn’t always match up to Quentin’s design, purely because she wouldn’t always be as effected like in my storyline of Claudia and Quentin, however I felt I could of shown a lot more skills when creating her.

Quentin

   For my Quentin shoot my aim was to make my model look a beat up as possible, and as you'll be able to see during creating my design I decided to a bit off track and add another facial wound to my model. I started off by adding different textures to the face such as irritated eyes and under eye bags and broken capillaries around the cheeks and wounds. I also added other discolouration around the face to give my model a tired, textured look to his face. 

   Now for my favourite part, yet also the scariest part, the gelatine wounds! I was slightly nervous when using gelatine as it can be very uncertain when using this material and I also have a slight issue with blending edges when using gelatine, but I found when using gelatine this time round none of these issues came up! I'm so pleased with how textured and gross looking both my facial wounds turned out on the face and also how blending the gelatine wasn't an issue at all which saved me a lot os hassle during the shoot. After applying the gelatine and setting it with powder I then coloured the wound, adding dimension in holes or in any textured part of my wounds to make them look more realistic and as if blood had been sitting in the wound for a period of time. And lastly, it was time for to add the blood. To get the dripping blood over the wounds and on the face, I used a cotton bud to get some of the product and laid it on the wound where I wanted it to drip/sit on the face.

   Overall I'm so happy with how my Quentin turned out and I can't wait to learn more techniques in the second year and hopefully be able to improve on some of my skills I have now. 

Claudia

   For my character Claudia I wanted to keep her quite plain and simple, but also have an element of special effects in my design and that's how I came up with my busted knuckles effect. To start off my character I wanted to make her look slightly greasy, so I added highlighter over my models face and concentrating the highlight in areas where people would naturally show sweat/grease on the face. I also added texture to my models face, such as bruising and tiredness to the face by building up various blue, purple, green and yellow eye shadows and water activated paints on the face where people would naturally hallow out.
   For the knuckles I painted different shades of red paint to my models knuckles along with also adding bruising around the wounds and on knuckles that wasn't cut open. I next took a cotton bud and lightly tapped latex around the paint and started to layer the latex more towards the wound instead of having it thicker throughout that whole area. Once the latex had dried I dusted it with translucent powder and using some tweezers, I started to pick at the latex and lift it up away from the paint to create a loose skin effect which I then added darker shades of red under the latex to create the effect of dried blood.
   Lastly the hair, which was rather simple for me to achieve as due to Claudia being in a mental hospital she wouldn't have the classic 1960s hairstyles, so instead I just added texture to my models hair by using various sprays and gels. I also wanted to give the effect of having dirty/greasy hair to my model so I concentrated one of my gels towards the roots of her hair, yet sadly this didn't really show up on camera.
   Overall I'm rather pleased with my character Claudia design, although sometimes I wish I had added more interesting make-up to my design, I believe that if I had done that then she wouldn't of captured what I had my vision of Claudia to be like.

Contemporary Victorian Hairstyles Inspired By 'American Horror Story'

   In todays hair session we was shown how to recreate Victorian inspired hairstyles from the hit TV show 'American Horror Story'. Today we was shown Moira, a maid that used to work at the house and was murdered by the pervious owners. Moira's hairstyle embodies aspects of a late Victorian hairstyle.
   To create this we used hot rollers over the whole head, using the brick method over the whole back of the head and stacking the rollers on the remaining bits of hair (the front and side sections). After the rollers had cooled down I removed the back section and pinned the very bottom curls up and together to create a lift to the hair, next I started to pin the rest of the hair, following the way the curls wanted to move and exaggerating the design of it and making it look more stylised. Lastly I took down the front rollers and did exactly the same as the back curls by pinning them into more stylised curls on the sides of the head and parting the hair into a middle parting.
   When trying to recreate this design I did stumble across some issues. I do not see myself as being good at hair, so trying to get my head around pinning curls in places and learning how the hair moves once you curl it or put it in rollers. However looking at my design now, I can see where I can improve this look but I'm also very happy that I managed to complete this in a somewhat successful way.

Storyline Idea: Being Hurt By Words (Emotional Abuse)

   In my background story of Claudia and Quentin, even though Quentin is imaginary Claudia is still able to effect him emotionally and physically but also physically hurt Quentin with her words either towards him or any derogatory words she says during her emotional outbursts. When I figured out this idea I thought of way I could show this concept, and what sprung to mind was the idea of emotional abuse. But instead of the words not leaving a visible mark on Quentin, you see every scratch, bruise or cut on his face and body.  

   Psychological abuse, also referred to as psychological violence, emotional abuse or mental abuse, is a form of abuse characterised by a person exposing another person to behaviour that may result in psychological trauma, including anxiety, chronic depression, or post-traumatic stress disorder. This abuse is often associated with situations of power imbalance, such as abusive relationships and bullying.

   In a review of data from the Dunedin Multidisciplinary Health and Development Study (a longitudinal birth cohort study) Moffitt et al. report that while men exhibit more aggression overall, sex is not a reliable predictor of interpersonal aggression, including psychological aggression. The study found that no matter what gender this person is, aggressive people share a cluster of traits, including high rates of suspicion and jealousy; sudden and drastic mood swings; poor self-control; and higher than average rates of approval of violence and aggression. Moffitt et al. also argue that antisocial men exhibit two distinct types of interpersonal aggression: one against strangers, the other against intimate female partners, while antisocial women are rarely aggressive against anyone other than intimate male partners. Male and female perpetrators of emotional and physical abuse exhibit high rates of personality disorders, particularly borderline personality disorder, narcissistic personality disorder, and antisocial personality disorder. Rates of personality disorder in the general population are roughly 15%-20%, while roughly 80% of abusive men in court-ordered treatment programmes have personality disorders.

TW: Schizophrenia

   Schizophrenia is a mental disorder characterised by abnormal social behaviour and failure to understand reality. Common symptoms include false beliefs, unclear or confused thinking, hearing voices, reduced social engagement and emotional expression, and a lack of motivation. People often have additional mental health problems such as anxiety disorders, major depressive illness or substance use disorder. The cause of schizophrenia is believed to be a combination of environmental and genetic factors. Diagnosis is based on observed behaviour and the person's reported experiences. During diagnosis a person's culture must also be taken into account. As of 2013 there is no objective test. Schizophrenia does not imply a "split personality" or "multiple personality disorder" a condition with which it is often confused in public perception.

   Individuals with schizophrenia may experience hallucinations (most reported are hearing voices), delusions, and disorganised thinking and speech. The last may range from loss of train of thought, to sentences only loosely connected in meaning, to speech that is not understandable known as word salad. Social withdrawal, sloppiness of dress and hygiene, and loss of motivation and judgment are all common in schizophrenia. Impairment in social cognition is associated with schizophrenia, as are symptoms of paranoia. Social isolation commonly occurs. Difficulties in working and long-term memory, attention, executive functioning, and speed of processing also commonly appear. About 30 to 50% of people with schizophrenia fail to accept that they have an illness or their treatment.

TW: Psychosis

   Psychosis refers to an abnormal condition of the mind described as a "loss of contact with reality". People experiencing psychosis may display some personality changes and thought disorder, depending on its severity, this may be partnered with unusual or weird behaviour, and difficulty with social interaction and in carrying out daily life activities.

   The term "psychosis" is very broad and can mean anything from relatively normal aberrant experiences through to the complex and catatonic expressions of schizophrenia and bipolar type 1 disorder. In properly diagnosed psychiatric disorders, psychosis is a descriptive term for the hallucinations, delusions and impaired insight that may appear. Psychosis is generally the term given to noticeable deficits in normal behaviour (negative signs) and more commonly to diverse types of hallucinations or delusional beliefs, especially as regards the relation between self and others as in grandiosity and paranoia.

Hallucinations

Hallucinations are different from illusions, or perceptual distortions, which are the misperception of external stimuli. Hallucinations may occur in any of the senses and take on almost any form, which may include simple sensations (such as lights, colours, tastes, and smells) to experiences such as seeing and interacting with fully formed animals and people, hearing voices, and having complex tactile sensations.

   Auditory hallucinations, particularly experiences of hearing voices, are the most common and often prominent feature of psychosis. Hallucinated voices may talk about, or to the person, and may involve several speakers with distinct personalities. Auditory hallucinations tend to be particularly distressing when they are derogatory, commanding or preoccupying. However, the experience of hearing voices need not always be a negative one. One research study has shown that the majority of people who hear voices are not in need of psychiatric help.

Delusions

Delusions are false beliefs that a person holds on to, without adequate evidence. It can be difficult to change the belief, even with evidence. Common themes of delusions are persecutory, when the person believes that others are out to harm them, grandiose, when the person believing that they have special powers or skills, etc. Karl Jaspers has classified psychotic delusions into primary and secondary types. Primary delusions are defined as arising suddenly and not being comprehensible in terms of normal mental processes, whereas secondary delusions are typically understood as being influenced by the person's background or current situation e.g., ethnicity; also religious, superstitious, or political beliefs.

TW: Bipolar Disorder

   Bipolar disorder is a mental illness characterised by periods of depression and periods of elevated mood. The elevated mood is known as mania or hypomania depending on its severity or whether symptoms of psychosis are present. During mania an individual behaves or feels abnormally energetic, happy or irritable. The person may often make poorly thought out decisions with little idea of the consequences. During a period of depression, the person may be crying, have a negative outlook on life, and poor eye contact with others. The risk of suicide among those with this illness is greater than 6% over 20 years, while self-harm occurs in 30-40%. Other mental health issues such as anxiety disorder and substance use disorder are commonly linked to bipolar disorder as well.

   The cause is not clear, but both environmental and genetic factors play a part in why someone could develop bipolar disorder. Environmental factors include a history of childhood abuse and long term stress. It is divided into bipolar I disorder if there is at least one manic episode and bipolar II disorder if there are at least one hypomanic episode and one major depressive episode. In those with less severe symptoms of a prolonged duration the condition cyclothymic disorder may be present. Other conditions that may present in a similar manner include attention deficit hyperactivity disorder, personality disorders, schizophrenia and substance use disorder as well as a number of medical conditions.

What Is A Mental Illness?

   Mental illness is a condition that can affect the way you think, feel and behave and can also effect that persons way to function on a daily basis, and everyone reacts differently to their mental illness even people with the same diagnosis. They affect around 1 in 4 people in Britain, and range from well known mental health problems, such as depression and anxiety, to more uncommon problems such as schizophrenia and bipolar disorder. A mental health problem can feel just as bad, or worse as any other physical illness only you cannot see it.

   A mental health condition isn’t always the result of one life event. Research suggests that multiple, interlinking causes are more likely to effect the person more compared to one life event. Genetics, environment and lifestyle also influence whether someone develops a mental health condition, as well as a stressful job or home life makes some people more vulnerable, as do traumatic life events like being the victim of a crime. Biochemical processes and circuits as well as basic brain structure may also play a role too.

Quentin Hair Design #3 - Final

   For my final (and my chosen) design, I decided to make a mixture of both my first and second hair design in combining the messy 'rock-n-roll' vibe with the classic 60s heartthrob hairstyle, with created this messy, slept in quiff. This design will also fit my final design so much better due to it being very care free and messy looking, which will fit with my scene I want to capture Quentin in. I have also considered putting some fake blood within the hair, again to tie in the whole look. To achieve this I would follow the same as my second look, with slightly curling the top of the hair but not being too neat with it and not curling as much hair as the first look, then backcombing the hair to loosen the curls and create messy knots within the hair to make it look like it has been tugged at. Lastly using texturising gel and sprays to make the hair even more messy and undone.

Quentin Hair Design #2

   This second design was truly inspired by the heartthrobs of the 60s, which is when Asylum is set in. I thought I'd do a design inspired by the 60s male hairstyles purely because the 60s had some of the best hairstyles for men and was also worn by some serious heartthrobs which is what Quentin is meant to embody, true beauty. Although, again, this may not be my first chose for my final design as I want Quentin to be shown when he is at his worst, bloody and gory, so to show him with a neat and tidy hair design wouldn't work well for my final outcome.
   Parted at the side with messy, curly/wavy hair styled on top and to the side of the head. I'd achieve this by slightly curling my models hair (if he hasn't already got naturally curly/wavy hair) then add texturising products to help bring volume and texture to the hairstyle, as this hairstyle is all about texture.

Quentin Hair Design #1

   This first Quentin hair design was inspired by Nirvana's lead singer Kurt Cobain. My idea was to have semi flat long, messy curly/wavy hair that embodies the 90s grunge theme, as this was one of my final ideas for how I wanted Quentin to look like. To achieve this look I would flatten my models hair, yet still keeping a tiny bit of texture in his hair to make it look very slept in, again another vibe I wanted to go for Quentin. Although this may not be my final design, I felt I had to design a hairstyle that would show off a rock-n-roll version of Quentin.

Claudia Hair Design #3

   For my final hair design I just wanted a simple centre parting, slightly knotted, messy pony tail. Again keeping with the messy and rather simple theme, I just wanted to show another side to Claudia, a more relaxed version of her. Still rather textured and loose hairs falling across her face, but I imagine her being so much more relaxed compared to my other designs the situation she would of been in would see her in distress and not comfortable, whereas now she's a lot more content, most probably around Quentin or taking her mind off her own thoughts. Unlike the other two, this design wouldn't really fit with my chosen design, as I wanted to show her while she's coming down from her emotional outburst.

Claudia Hair Design #2

   For the second design I wanted to go the opposite from the first design and make Claudia seem a little more tidy, but still embodying a 90s grunge vibe with messy, knotted hair thats been flicked over to the side. Again, I want this look to be very textured and almost knotted/slept in by using various texturising sprays and gels to scrunch though the hair, paired with backcombing to really get a lift to the hair. Another thing I wanted to keep from the first design is the hair falling over the face. I think this idea really makes the look, look very messy and undone which fits with Claudias whole aesthetic and I think this hairstyle would work really well with my 3rd face chart that shows her for 'natural' side to her.

Claudia Hair Design #1 - Final

   My first hair design I wanted to show Claudia in distress, and untidy due to the environment she's in but also to suit her emotional outburst. To create this I would have my models hair rather straight and over textured, to do this I would use a mixture of sprays and gels to keep the hair big and rough. Another element I wanted to add to this design was strands of hair covering the face, again to show her distress but to also show her own movement with her hair, to show how she must have touched and grabbed her own hair whilst having an outburst and this was the finished result of that. Looking at my design now, another finishing touch for this design would to make the hair slightly dirty/greasy to again add to the overall effect of her being untidy and not really taking care of herself whilst she's in the mental unit.

60s Mens Hairstyles

   The 1960s era had been considered to be as the completing piece of what the 1950s had produced concerning the hair industry. In the 1950s era, men’s hairstyles had been hugely transformed. The 1960s era, had transformed the 1950s men’s conservative hairstyles into more stylish hairstyles. The 1960s era had produced very stylish and elegant hairstyles for men, one of the most seen and worn 1960s mens hairstyles are; the crew cut hairstyles. Those hairstyles had been worn by many men with different ages from the young boys to the business men. The men in the 1960s also had worn the other forms of that crew cut hairstyles like; the buzz-cut hairstyles and the flattop hairstyles. Those hairstyles had been, and still are, very trendy among those conservative men with any age. Another trendy men’s hairstyles in the 1960s, were the Rockabilly hairstyles, those hairstyles had been worn by many celebrity for example; Johnny Cash and Elvis Presley. Another very trendy 1960s men hairstyles were the Mop-top hairstyles. Those hairstyles had been introduced and popularised by the Beatles band and also the Herman’s Hermits rock groups. The mop-top had the fringes which covered the men’s eye brows and hit the shirt collar in the back.

Quentin Face Chart #2 - Final

   For my second Quentin design I wanted to kick it up from the first design, making this one a lot more gory and intense to show what Quentin could look like after being involved in Claudias outbursts. As you can see I would have a lot of open wounds across the face that are dripping blood, partnered with scars across his body to show old fights the two have had. Red, sore eyes and eye bags are going to be a big feature of this look as well, the whole aim is to make him look as gory and ugly as possible. Again, to create these wounds I would use gelatine to create the raised and irregular texture along with possible use of wax to create raised scars.

Quentin Face Chart #1

   For Quentin, I wanted to show the effects of when Claudia has an emotional outburst which can lead to him being psychically effected by her actions, even though he is imaginary she can still touch, feel and smell him. For this design I wanted to show that he had been recovering from an episode, so he would have a few large and small scratches and scars across his face and body along with a rather large wound on his forehead. For all these wounds I would either use wax or gelatine, gelatine especially for the head wound to create the irregular and raised texture a wound can have. When creating the scars I want to make them look raised and pale which I could create using gelatine and a stipple sponge to add the pore texture of skin, also once the mould is created and you've powdered the mould it starts and have that skin texture. For the rest of his face I would have his eyes looking tired and irritated a long with a few bruises in different healing stages, scattered around his body and face focusing it around wounds and hallow areas of the face.

Character Profile: Quentin

   Quentin is Claudia’s imaginary boyfriend, who has been in Claudia’s life since she was in her teens. Quentin is in his mid twenties and doesn’t age like a normal human, as he is imaginary. At the very start when Quentin would ‘visit’ her, he would only show when sh was in distress and needed comfort or a friend, however Claudia has since then fell in love with Quentin and they now see each other regularly, even though she has been in an asylum  for the past few months, he can just appear whenever she so desires him. To Claudia Quentin is very much real, as sh can see, hear, touch and feel him whenever he is around which means he can be affected by her emotional outbursts, which could be though psychical or emotional. As he is part of her imagination his appearance can change to suit her mood. In his normal state, he is a tall with messy dirty blonde hair, almost a Kurt Cobain look alike, with a dashing smile.

Claudia Face Chart #3

   Inspired by 90s grunge make-up, this is the kind of 'natural' vibe I wanted to achieve, although asylum isn't set in the 90s I thought this hollowed out grungy look would still fit within the 1960s theme just like when Girl, Interrupted. Although this isn't a very bright and cheerful look that someone would have as there 'natural' face, I wanted this look to be very natural and minimal but still sticking with the theme of hallowing out the features on her face. Again, she will still be rather pale, however that is also to do with the fact she probably hasn't been outside in a while or not been outside for very long if she has gone outside. This kind of look would also be how Claudia would look when she's with Quentin, so at her happiest.

Claudia Face Chart #2

   This second design I wanted to keep a little more subtle than the first look but still have a few elements of the first design such as the red, irritated eyes and hallow face. I decided to do this because I wanted to try and show different stages to Claudia, as she has many different stages to how she feels and they all have different looks to match. In this look this isn't her everyday, happyish self, she's a bit upset/down about being in the unit and wants to see Quentin, hense the irritated eyes. She will sill be very pale and with very extreme bone structure and possibly a few scratches, switches or bruises on her yet not as intense as my first design.

Claudia Face Chart #1 - Final

    For my first face chart for Claudia, I wanted this design to be the one when Claudia has had one of her emotional episodes towards Quentin or another patient and this is her in the come down from that. I wanted to show how distressed she can get by hallowing out her face and her having irritated eyes to make her look like she has been crying for a long period of time. What was a huge inspiration for this character was Angelina Jolie's character in Girl, Interrupted (Lisa Rowe) which is set in a mental unit in the 60s. One scene that Jolie performed was when she got bought back to the unit after escaping for a period of time where she looks completely drained and, some could say not even alive looking, like something has taken over her body and left her in a venerable state. For this look also, I was considering having bruises and scratches/scars down her body and to then have busted knuckles to show her outbursts and how physical she can get when she has one.

  

Character Profile: Claudia

   It's 1964 and this is Claudia a girl in her twenties and is a patient in a mental unit. Claudia has a very worn-out, 90s grunge vibe about her, with her unbrushed hair, pale skin, hallow cheeks and eyes and her oversized, miss matched fashion choices. As a child she was left alone to develop with little parental guidance and through her relationship with T.V movies developed an unhealthy relationship with Horror films, believing this to be the way life really is. This relationship with horror movies and her distant parents has also impacted the way she has future relationships, making her lash out and have emotional outbursts causing anyone around her and also herself to be possibly harmed. However another big factor of these outbursts are due to an imaginary boyfriend Quentin which is mainly why Claudia has been put into a mental unit. Claudia started to see Quentin when she was in her teens and he has stayed with her since. He only used to appear when Claudia was distressed and needed comfort, however in the recent years Claudia has became madly in love with him and has figured out how to make Quentin stay almost permanently.  

   All the scenes take place in various parts of the mental ward, including the common room, Claudia's room and work rooms. She is diagnosed as psychotic due to her creative imaginary of Quentin, but also receives treatment for her antisocial behaviour. She is kept in touch with the outside world by her neighbour in the asylum who is 100% sane but was wrongly accused of a crime 15 years ago. 

Busted Knuckles

   For Claudia, due to the nature of her character I wanted her to have busted knuckles to show distress and her violence when she has her emotional outbursts so I thought I'd try and see if I could create this effect. Looking at my final outcome, I'm rather happy with the result considering it was my first trial, however I also see rooms for improvement. I felt I could of trimmed/ripped the skin more around the knuckles as when my fingers are stretched out the 'skin' just looks like theres too much than what should be around the knuckle, and also when colouring under the 'skin' I felt I went a bit too dark for what I was looking to have.

Method:

1. I started by painting the knuckle area in different tones of red until I was happy with the intensity
2. apply tin layers of liquid latex around the wound and build up latex closer to the wound
3. wait for latex to dry but continue to move your fingers to help the latex move a lot better when you pick it up and helps you move your fingers better
4. powder latex to take away the shine
5. carefully pick the edges of the latex up to create the broken skin effect, whilst ripping edges to make it look more realistic
6. colour slightly under the latex and consider going a few shades darker to show dried blood
7. finally add some vaseline to the centre and if you desired so, some fake blood

Sticking & Colouring Wounds Made Out Of Moulds

   In our most recent make-up session we went back and revisited on how to colour wounds, but we also covered how moulds are made and how we apply them to the skin. Using moulds is a great way to keep up with continuity as you're guaranteed the same result every time you use moulds, the use of gelatine for these kind of moulds (wound shapes) works best due to once the gelatine has set and you've applied powder to the mould you'll see that it looks and feels rather flesh like. Another tip we was taught was about using adhesives when sticking these to our skin and more importantly the type of adhesive that works best with these kind of moulds, which is a glue called pros-aide. Unlike spirit gum or latex, pros-aide is said to move with the skin and gives it a lot more flexibility which helps make the wound look a lot less fake if it's being placed on someones face.

Method:

1. stick your chosen mould onto your skin with pros-aide (make sure you wait for the pros-aide to go clear)
2. blend edges using witch hazel or vaseline until you get a seamless blend from mould to skin
3. power wound to remove any shine
4. start colouring your wound, keep in mind to start light and build up colour to create a more realistic effect. It also helps to dap colour instead of rubbing/painting the colour on
5. once I was happy with my colouring I then added some vaseline to the centre to add depth
6. and for some extra gore, add fake blood to the centre and slightly outside the wound 

American Horror Story: Asylum

   The story takes place in 1964 and follows the patients, doctors and nuns who occupy the Briarcliff Mental Institution, located in Massachusetts and founded to treat and house the criminally insane. The wardens who run the institution include the stern Sister Jude, her protégé Sister Mary Eunice and the founder of the institution, Monsignor Timothy Howard. The doctors charged with treating the patients at the asylum include psychiatrist Dr. Oliver Thredson, who is a psychiatrist assigned to evaluate Kit Walker, who believes his wife Alma was kidnapped by aliens. It is revealed that Thredson actually committed the murders, and got himself assigned to Walker’s case to make sure he could pin the murders and Alma's disappearance on him. Kit is duped into taping a confession and is arrested for the murders but later escapes custody. Thredson also tries to "reform" the patient Lana Winters, the lesbian journalist who attempts to expose Briarcliff’s for their mistreatments of patients. Winters is in a relationship Wendy, who was blackmailed by Sister Jude into committing Winters to stop her from exposing Briarcliff, which she is then later on murdered by Thredson. Thredson agrees to help Winters escape the asylum, but she finds out about his dark secret and that he sees her as the mother he never had. He keeps her prisoner and tries to turn her into his mother figure. He rapes her, and is later going to kill her for his "indiscretion". Winters later escapes, only to end up back at Briarcliff, but it is then she learns that she is pregnant with Thredson's baby.

   The sadistic scientist Dr. Arthur Arden, which you later figure our that Arden is a former Nazi whose experiments have produced "Raspers", mutated former patients, who lurk in the woods surrounding the institution, and who are fed the flesh of dead patients.

   The patients, many of whom claim to be unjustly institutionalised, include lesbian journalist Lana Winters, accused serial killer Kit Walker, nymphomaniac Shelley and alleged murderer Grace Bertrand. Briarcliff's inhabitants are routinely subject to supernatural and scientific influences, including demonic possession and extraterrestrial abduction. The season primarily takes place throughout the 1960s with flash-forwards to 2012.

   Sister Jude was once a flirty nightclub singer who unintentionally killed a young girl in a drunk driving hit and run accident in 1949. This led her to become a nun and then work at Briarcliff. Sister Mary Eunice is a shy and innocent nun who fears Sister Jude. Later, she becomes possessed by the Devil during an exorcism of another patient and becomes cruel and evil. Sister Jude is terrorised by the memory and goes to see the family of the dead girl. When is when she learns the girl survived the accident with only a few broken bones. Sister Jude figures that God had a plan for her all along, and decides that it is her job to destroy all the remaining evil at Briarcliff. A possessed Sister Mary Eunice is able to get Sister Jude deposed and committed. Mary Eunice takes over Briarcliff, with Dr. Arden's help. She nurses the weakened Monsignor Howard back to health and he tries to perform a failed exorcism on her. But later Howard kills her by throwing her off the third floor balcony which also realised the demon inside her.

   Meanwhile, believing his wife is dead or missing, Kit takes a fancy with inmate Grace Bertrand, who had murdered her family after her father sexually abused her. She and Kit got caught having sex in the kitchens before his arrest which they’re then separated with the idea of them to be sterilised. However, she is abducted by the same aliens that had taken Alma but is later returned back to Briarcliff, heavily pregnant and about to give birth. He negotiates with Monsignor and arranges for Grace, himself, and their baby to be released. However when they arrive at his old home to find his wife Alma and with her own baby.

   Lana captures a confession from Dr. Thredson admitting to his crimes, but corners him in his house to say she has turned the tape over to the police and hopes he rots in jail. He states, because he is insane, no jury will convict him, grasping for a gun in a drawer she shoots him in the head. In the present, she has become a famous television reporter and gets Briarcliff closed down for its treatments. Lana reveals that Monsignor Howard committed suicide after she threatened to expose his neglect of the patients. She also goes on to say that Kit took in Sister Jude, after Alma was committed to Briarcliff for killing Grace. Jude's dementia worsens and she is taken into the woods by the children. Her mind is healed for a while but she later grows frail and dies. Kit is later abducted by the same aliens that took Grace and Alma after he is diagnosed with pancreatic cancer.

American Horror Story: Murder House

   The story takes place in 2011 and follows the Harmon family: psychiatrist Ben, his wife Vivien, and their teenage daughter Violet, who move from Boston to a restored mansion in Los Angeles after Vivien has a miscarriage and Ben had an affair with one of his students. Soon after moving they encounter the home's former residents, the Langdons – Constance and her two children, Tate and Addie and the disfigured Larry Harvey. Ben begins seeing patients out of his home office. One in particular, a possibly psychotic teenage boy named Tate Langdon, takes interest in kindred spirit Violet, who suffers from depression. Ben is unaware that Tate is both a ghost and the son of Constance. As they settle in, weird and wonderful events begin to occur increasing regularity. It is soon revealed that there have been upwards of 20 violent deaths in the home over the course of its history, and is known to be haunted by anyone who has ever died on the property. The season is primarily set in the modern day, with flashbacks to the 1920s, 1940s, 1960s, 1970s, 1980s, 1990s and 2000s.

   During the series, while exploring the attic, Vivien discovers a latex bondage suit that was owned by the previous gay couple who was murdered in the house. She later is raped by a man wearing it, who she believes is Ben, but is actually Tate. Vivien's rape results in the rare condition that the womb can hold twins by different fathers. It is later revealed that the reasoning behind Tate's actions was to conceive a baby for Nora, a ghost in the house who lost her own child.

   On Halloween, the only day the the dead can walk among the living, Violet learns that Tate is an infamous school shooter, who murdered a library full of his classmates, as well as crippling a teacher and setting Larry Harvey on fire to punish his mother Constance for having Tate's younger (and deformed) brother murdered. Trying to come to terms with the monster Tate is, and her own romantic feelings for him, Violet then commits suicide, however she doesn't realise was successful until weeks later when she discovers she cannot leave the house and Tate shows her, her own body. After many poltergeists, Vivien is committed to an insane asylum, while Ben is convinced that the second twin was fathered by Luke, a neighbourhood security officer but then later finds out Vivien was actually assaulted by Tate and has her leave the asylum.

   During Vivien’s birth she later dies and as a result Ben contemplates suicide to be with them. Instead, Vivien shows herself after not wanting Ben to see her, and convinces Ben to leave the house immediately for the protection of the baby. As Ben is leaving the house, he is caught and murdered by Hayden, who hangs him to simulate a suicide. Now trapped in the house, the Harmons team up with Moira and the other spirits to keep other families from moving in by scaring them away. Meanwhile, Tate is now living with Hayden as they have both been blocked out by the Harmons. Three years later, Constance returns to Los Angeles, but finds that her grandson, Michael (the Antichrist), has murdered his nanny. She slowly walks towards the smiling child as he rocks back and forth. She then smiles and whispers, "Now what am I gonna do with you?"

2nd Continuity Assessment

   This week it was time for the last assessment on continuity, so naturally I was slightly stressed on how I would preform and recreate my design exact like the first assessment. Surprisingly, when recreating this look a second time round I wasn't as nervous and took my time a lot more to make sure I was 100% correct in recreating it as when creating this look the first time round I rushed incase I couldn't recreate the look within the desired time, but ended up with half an hour to spare.
   Looking at both sets of images side by side I think I did pretty well to get my design pretty much exact to my first look, my only flaw I really see with my second design is that the scar wasn't as red compared to my first try. I was rather pleased with myself when  I saw that I got the scar pretty much in the same place on the face, as this was the part of the look I was nervous about the most because if the scar was slightly out of place you'd be able to see straight away.

1st Continuity Assessment

   Last week was the first part of our continuity assessment where we had to complete both our make-up and hair design in 1hr 30 minutes and then repeat the same process exactly the same the following week. I'm so happy to looking over these images now and seeing my design on someone as I feel that they turned out better than I expected my final outcome to be. If I had something to pick about my design it would be how my final hair turned out, as I wanted my hair to look like a controlled mess however my model had a lot of short layers in his hair so it was slightly harder to make his hair look messy instead of just styled that way. Although to give a hint of victorian male into my design I used the well known trait of a side parting.

Women In Horror

   Misogyny in horror films is the degrading view of women who fight to survive in a male world within the horror genre. Specifically in slasher films, misogyny is apparent. There is no doubt that there is a sign of gendered specific violence towards women as well as; "the proportion of time spent watching young women cower, scream, or run in terror" compared to male roles. Males are pretty much never seen running away from the attacker, but they are killed quickly with no chase involved or scene of struggle.

Final girl

   The slasher film was the first genre that allowed gender norms to take a different path. The role of the final girl confused audiences with the portrayal of a female being a violent hero. However, there was finally a possibility that the heroine who defeats the monster is a female and is categorised as the final girl. The final girl is the “first character to sense something amiss and the only one to deduce from the accumulating evidence the pattern and extent of threat; the only one, in other words, whose perspective approaches our own privileged understanding of the situation.” The only way the final girl is able to kill or escape the monster is by taking on male characteristics. However, Clover cautions audiences against seeing "final girls" as products of feminism. Final girls are still seen like the other women who have been killed after taking part in sexual activities by being a part of "the chase". Clover concludes that the final girl is “an agreed upon fiction [for] male-viewers’ use of her as a vehicle for his own sadomasochistic fantasies.”

The female monster

   Shelley Stamp Lindsey states “Carrie is not about liberation from sexual repression, but about the failure of repression to contain the monstrous feminine”. Audiences are not supposed to identify with Carrie whilst she becomes the monster, instead they are supposed to be scared of her ability and destructive potential. Carrie is purposely portrayed in this manner because she demonstrates what happens when women gain power and are no longer repressed. Carrie ultimately tells its audience that they must live as a patriarchal world and if they do not then this is what will come of it.

   Aviva Briefel states that menstruation is the start of monstrosity. Once a girl has reached her puberty she is seen to be monstrous. Horror films feed into the female monsters identity through her menstruation. This then states that having your period makes you weaker. The overall objective in Briefel’s article, Monster Pains: Masochism, Menstruation, and Identification in the Horror Film, is that the female monster is unable to control their emotions when pain occurs whereas male monsters are unable to feel pain.

The repressive patriarch

   In every horror film the repressive patriarchal form of a monster is either “symbolically castrated, pathetically lacking…or he is overly endowed and potent.” The real sexual interest that occurs in horror films comes from the monster. “The monster’s power is one of sexual difference from the normal male. In this difference he is remarkably like the woman in the eyes of the traumatised male: a biological freak with impossible and threatening appetites that suggest a frightening potency precisely where the normal male would perceive a lack.”

   Men only stay on the screen long enough to show their inability, unless they are seen to be a true form of patriarchy. The repressive patriarch is often dressed as a female and because he does not represent patriarchy at its finest, the final girl is his “homoerotic stand-in”.

   The “masochistic monster” revels in acts of self-mutilation before the audience sees the harming of others being done. Briefel looks at films like Dr. Jekyll and Mr. Hyde (1931), The Fly (1986), Hellraiser series, Nightmare on Elm Street (1984), and Freddy’s Dead: The Final Nightmare (1991). All these horror films show examples of masochistic monster’s that take pleasure in the pain they inflict on themselves. It is something they must endure to be monstrous.

Dirt & Dirty Teeth

   In last weeks session we was taught of different ways of creating dirt on the skin. The first method we was shown was by using fuller's earth which is a dry material which can be used dry to create the effect of dirt or dust, but if you add a small amount of water to fuller's earth it comes a paste or clay like consistency which can act as mud on the skin. Another good thing about using fuller's earth is that you can colour it, just add a small amount of super colour and your mud will look a lot more realistic compared to the images above.
   We was lastly taught how to colour teeth and make them look rotten or dirty. Start by drying the teeth you're going to colour by wiping a cotton bud over the teeth, also making sure that your model doesn't shut their mouth during this or the drying period of the teeth colouring product. Once teeth are dry, apply colour using a cotton bud wherever you so desire to have the teeth colouring, building up the colour from a light wash to a darker colour will help this look a lot more realistic and leave mouth open to dry. To remove this product still using a cotton bud and a small amount of surgical spirt, rub the teeth until all colour has been removed.  

Practicing My Design

   After deciding my final make-up look, I decided that it would be best to practice my design as if I was to face any difficulty when achieving my final outcome I'd much rather face them now while practicing and be able to fix them. 
   For this practice I decided to just make up the face, but when doing my assessment I will make up every bit of skin that I plan to be on show in the final images. In my previous skin undertone post I decided that I did want my character to have more of an undertone to the skin instead of having a thick or theatrical effect, and I found on my arm a way of achieving this was to use my Kryolan aqua colour palette, however when it came to practicing it on someones face the outcome wasn't quite what I expected. The product wasn't staying on the face and would move previous product on the skin and making my base look very dramatic. After thinking of other ways to apply my off green base I came to the idea of adding foundation to my chosen colour mix which applied so much better compared to the water activated paints before. Sadly, due to the lighting in these images make my model looks very green, however in person it created a very sallow and sickly effect to the skin which is the overall effect I wanted to create for my character.
   Carrying on with working on the skin, on my design I had my character have very tired/black eyes, to achieve this I started off by using my grease paint in yellow and green with a cosmetic sponge that I had taken random chunks out of which create the effect of broken capillaries and a more realistic bruising effect. I then went in and added depth to the bruising with my Kryolan bright eyeshadow palette by using various blues, purples, greens, yellows and pinks to create the tired/bruising effect I want. When doing this, I kept in mind to keep it very controlled and be mindful when placing different shades, I also had a few reference photos of bruises to see the different stages of bruising and what different colours do the different stages of bruising have for me to keep in mind how old or new I want my bruises to be. After I had finished around the eyes I then applied some vaseline around the area to attract light, therefore making that area look more raised and swollen. I didn't just stop at the eyes with this bruising technique, I applied it around my models face in a contouring application which I felt made my character look more beat up, as he was put together so naturally there would be bruising in areas of the body and face. 
   Lastly, I then moved on to creating the huge scar around one side of the face. I started off by laying down a guideline of a red lipliner to show me where the scar will be placed and how it was going to look on my models face, but also to show me where to apply the product as my chosen product to create this indented scar is clear. My chosen material to create this scar was Kryolans collodion, which I found very easy to work with and remove from my model. Out of all of my work so far, creating the scar was by far the most time consuming part of my whole design, this is due to the fact of you have to layer the product on the face or body to create deeper scars and for my design I wanted a very intense scar on the face. After layering the product a few times I started to notice a difference in the skin and saw that the product was working, however I did notice that no matter how much I layered up the collodion it wasn't getting as deep as I would of desired it to be. An idea came to mind to help with the illusion of my scar being deeper than what it is, was to add shadows and highlights to my scar. Adding darker shades of red or my off green mixture to the inside of the scar will help make the scar look a lot deeper, and adding white highlights around the top of the scar on the skin without the collodion will make the shadows pop and look a lot more realistic and raised.
   During my assessment, I plan on doing so much more to this design, such as dirtying up the face and body and adding so much more texture to make my character to look as realistic, yet so unappealing to the viewer. Unfortunately I won't be able to go too overboard when adding texture to my character due to having to recreate my character the next week and make him identical to my first creation, but I will view my added texture in a mindful way and create a controlled manner. I have also thought about adding more scars around the face, some raised and some sunken into the skin, I will experiment with this idea during my second practice for time wise and if it works with my character.

Rick Baker Research

   In a pop culture world bursting with science fiction and fantasy, theres no special effects makeup artist more respected, admired than Rick Baker. From humble beginnings cooking up monster masks in his mother's kitchen, Baker's talent and enthusiasm to make-up and special effects catapulted him from his first Hollywood job as a makeup assistant on "The Exorcist" (1973) to supervising the creation of a bevy of cantina aliens in "Star Wars" (1977) and creating the scariest post-modern wolfman in "An American Werewolf in London" (1981). Thanks in part to his work on Michael Jackson's 1983 music video "Thriller," in which he turned the pop star and his backup performers into the dancing undead. He soon found himself creating creatures for "Harry and the Hendersons" (1987), "Men in Black" (1997) and Tim Burton's "Planet of the Apes" (2001). Baker's career then went into a comedic direction with his work with comedian Eddie Murphy, who he transformed into a bevy of characters, including the portly Sherman Klump in "The Nutty Professor," (1996) and its sequel.

   Baker announced his retirement on May 28, 2015: "First of all, the CG stuff definitely took away the animatronics part of what I do. It's also starting to take away the makeup part. The time is right, I am 64 years old, and the business is crazy right now. I like to do things right, and they wanted cheap and fast. That is not what I want to do, so I just decided it is basically time to get out. I would consider designing and consulting on something, but I don’t think I will have a huge working studio anymore.”

Fever, Sweat & Tears

   This weeks practical session we was taught how to create a fever, sweat and tears using our super colour by Kryolan and glycerin. Whilst working on my partner and looking at my final product I found that when I was applying the redness around the face I was being semi heavy handed, which made the paint show up so much more intense and harsh against the skin. In the future I would make sure I didn't have a lot of product on my sponge, but to also go in with a cotton pad dipped in make up remover to help soften the redness and blend nicely into the skin.

Fever & Fever Eyes Method:

1.  start off by mixing the reds in this palette with some moisturiser to dilute the colour the applied it to the face with a black textured sponge and be very light handed/don't load up the colour onto sponge
2. stipple around the face where you'd get redness e.g. around the cheeks, forehead, nose, neck etc
3. to add more texture get a paint brush and flick colour onto models face
4. make sure edges aren't harsh and are almost translucent
5.  to create fever eyes use red shades from your super colour palette and apply on corners of the eyes and under eye

Sweat & Tears Method:

1. using a black textured sponge dipped in glycerin apply a small amount to the forehead, top of the lip, back of the neck etc
2. for tears apply using cotton bud but do NOT get inside the eye

Continuity And Its Importance In Film

   As for our final project this semester we are being judged on our continuity when we create our monsters/characters, so to put us to the test we was told to create something on our partner whether that be a bruise, black eye, dark lip, or even an eyeshadow look just something small to get us to learn about the importance of continuity especially in film or TV.
   In this lesson I chose to create a bruise of the forearm of my partner by using my aqua colour by Kryolan. I started off by stippling on different colours, layering up as I go along until I had reached my desired intensity of the colours and shape, then wiped it off and repeated my process. As you can see my second attempt at my bruise looks nothing like my first bruise and this is because I won't looking at my original image as much as I should have when recreating this. Hopefully after much practice on my model when it comes to my second final outcome my continuity will have improved quite a bit in that you won't be able to tell the difference between the first and second exam image.

Examples of continuity fails in movies: 

Design Influence: Skin Undertones & Practice

   As for my character I decided to go with more of an undertone of colour rather than a flat, thick layer of paint all over the face and body I thought it would be a good idea to test out colour schemes that I could use for my monster. I thought the most natural way of creating a new undertone to skin and still show skin texture though would be using my aqua colour palette from Kryolan as you can really water down the pigment with these paints creating a kind of water colour wash effect.
   I started off by using the green in this palette and a lot of water and applied it to my skin using cosmetic triangle sponges. I decided to use sponges as it really helps to blend the colour into the skin and not create brush stroke marks which is something you want to avoid when painting a face, arm, body etc. After playing around with the colour by stroking the sponge up and down my arm to remove any unnecessary colour I thought the effect was very realistic, by realistic I mean that you can still see my natural skin texture though the paint and it isn't overly noticeable on the skin.
   My next go at creating undertones I decided to try and achieve a greyish green effect to the skin, I created my colour by using the left over green from the previous application and mixed the slightly amount of black. When applying this onto the skin I noticed that it really clung to hairs and showed a lot of skin texture that I didn't really want to be shown on camera, I also noticed that the colour that I had got wasn't the colour I wanted to achieve in the end result. If I was to ever come back to playing around with colours I would defiantly be looking at mixing white into my mixture and also try and find a solution to unwanted skin texture showing though paint.
   My final colour scheme test I thought mixing the tiniest amount of yellow into my green would create a rather sickly effect which is also something I want to achieve with my monster. After mixing the colours together and applying it to my skin I noticed that this mixture gave a lot of depth to my skin as the green was showing though in a kind of blotchy, bruised way but also defining features like my knuckles which I rather liked the look of.
   In conclusion the my third trial at undertones seems to be a strong candidate for being my overall skin tone for my monster, however I do plan on mixing up more colours before my exam to make sure I get my final and favourite colour combination.

Design Influences: Scars

   Another design influence for my designs has been scars on the face and body, this has been due to again my characters background as he was made from old body parts found in a graveyard so there would naturally be some form of scaring, stitching or cuts on his body and face. I was also very inspired by Rick Baker's bride of Frankenstein to do something like this on the face for my final design and thought to have the placement of one big scar across the face would be a nice twist to his original idea.
   Whilst designing my designs I was torn between making the scars on the face raised or an indent in the skin, but came to the conclusion of having the extremely long and deep scar to be indented into the skin and to possibly have raised smaller scars around the neck or body.

Design Influences: Bruising

   Throughout my designs I have used bruising or some form of irritation to the skin, this is because due to my characters background there is bound to be some kind of bruising or irritation in large, concentrated patches or around his whole body in general. A big reasoning for me using bruising around my monsters face and body is for me to show off hallowed out features such as cheekbones, temples, collarbones and neck tendons. I decided to use a bruising colour scheme for when I add shape and definition to my monster as to me, having a more undead approach to these things instead of using what is considered a "normal" contour will have a more realistic look compared if his skin has a greyish green undertone. I have also decided to use bruising in my designs as a way of showing tiredness around the eyes which is where a lot of the bruising is on my designs.

Hair Design #3 - Final

   After looking at both my two hair designs, I decided to strip back all other elements from my first two designs and just have the focus on having messy hair with a side parting. I chose to go with this much similar design because I felt like having facial hair/sideburns would really cloud my overall look, if you look at my make-up designs you'll see that I have a lot of things going on, on the face and I decided that I wanted that to take full attention. I also felt that this hairstyle would be the easiest, but also the quickest to recreate within our short time scale yet still be effective to my character. To create this look, like all my other designs I would use my rat tail comb to section the parting then use hair gel to slick and stitch down the hair but also give texture and volume to the much larger section of hair by running my fingers though the hair.

Hair Design #2

   For my second hair chart I wanted to still see what facial hair could look like on my overall design, but try the classic side parting with a controlled mess of hair. I'm a much bigger fan of this design compared to my first design as I believe in the situation my creation is in, that having messy hair would really fit the look a lot better plus look more realistic if my design had messy hair. I decided to go for the messy hair on top as because my chosen character, Frankenstein's monster has been created out of different body parts and put back together I thought having untidy hair would pull the whole character that is meant to look untidy, messy and disgusting together. Although this is one of my favourite hair designs, I'm still unsure on the sideburns, purely because in the situation the monster is in would he have facial hair at all? This is still something I'm thinking about for my final design, however it is defiantly an option this early on in my design period.