Face Charts #3 - Final

   Out of all three face charts I feel this face chart is the one that looks more along the lines of "undead" and zombie like. Just like the previous two I'm still sticking with the off coloured skin tone for the face and body but also focusing on making the monsters skin full of different textures such as dirt etc. To achieve this I'll stipple and spray different shades of colours onto the skin to create a muddy, uneven skin tone as he does have a body made up of different people. My approach to the eyes, cheeks and body are to stay within the bruised effect compared to them looking irritated or hallowed out, I decided to go for this design to give the illusion that he's very beat up as after people have surgery (which is what he initially had) people tend to come up in bruises and have irritated skin around the area they was operated on. This is another reason why I decided to add an extremely large scar going across the face, inspired by the Rick Baker's bride of Frankenstein I thought I'd add a different twist to his idea of having the stitching and bolts around both sides of the face.
   Around the mouth and nose I plan on making them areas very dry, yet again adding to the different textures on the face, but to also make him appear ill looking. Paired with paled out lips to match the skin, I think adding the dryness around the corners of the mouth will be a nice touch to my monster.

Face Charts #2

   Just like my first design, with the skin I still want to take the approach of a more "natural" way of showing people that my character is the undead by using washes of colour on the skin. For this design I chose to still slightly stick with the hallow or irritated eyes to give the illusion that maybe the monster has some kind of infection as he is made of different body parts, but to also show off his emotion the monster feels during most of the book which is either angry or sadness.
   Going back to the skin, as you'll be able to see I wanted to hallow out not just his eyes but also the whole of his face and body. I plan on making every muscle and bone even more dramatic to add to the undead feel of this design. On the face as well you'll be able to see I've decided to add broken capillaries on the face to also give him that irritated look to him, but also because I love the kind of spooky effect they can give and I imagine the broken capillaries paired with the off coloured skin and bruised eyes will end up making my model looking very scary.

Face Charts #1

   When thinking about my final look for this project, apart of me wanted to really stay true to the original Frankenstein and use some of it's very famous traits. Unfortunately, as a designer you're constantly having to be better at the game of creating something that maybe hasn't been done before, so whilst I was trying to figure out what I could do I thought about what is seen to people as "dead" or "undead"? To me, undead would have extreme under eye circles or hallow eye sockets so that is where the inspiration for the heavy black and purple smokey eye came from. An idea whilst drawing up this face chart was to add some form of gloss to the eyes to create a swollen effect to the eyes.
   For the rest of the face I wanted to create an overall wash or undertone of colour instead of doing a harsh thick layer of colour that sat on the skin. I chose to do it this way to make my overall creation more realistic and to stay away from a theatrical type of approach to my monster, but to also enforce the idea of the undead, so my character looks extremely sick/not right looking as all normal tones to someone who is alive will have been taken out. Another element of the face is scars, my reasoning behind using scars instead of the typical bolts or stitches on the face is to add a different twist to my monsters appearance. For me, it makes it look as if the monster has been walking for many months or years as the joining of different body parts have healed.

Late Victorian Hairstyle Practice

1.  The first part of creating this hairstyle was using the hot rollers, we started off by sectioning the front two sections vertically behind the ear and then in a middle parting. Then with each of those separate sections we took two horizontal sections starting from the top and two vertical sections of hair under the two above.
2. After that we created two pony tails one under the other at the back of the hair, leaving some hair underneath them. Separate the hair within the ponytail into sections and curl them using the tongs and once they’re curled we pinned the curls leaving some remaining curled hair out of the pin. With the remaining hair at the bottom, lift it to attach the pinned curls on the back of the head and this gave the hairstyle the waterfall look that became very popular in between 1830-1860.
3. Remove the rollers at the front of the head and with the bottom two sections comb them together and bring them to the back of the head and pin them with the rest of the other curls. With the top two sections, comb them together and bring them back to where we pinned the bottom section but just above them. Lastly take the rollers out and let them fall on the face.

Late Victorian Mens Hairstyles Research

   After 1860, and until the end of the century, hair was a lot shorter, but beards and moustaches, mutton chops and side burns were all really popular. Gentlemen used different kinds of waxes and oils to keep their hair in shape, including wood frames used at the night time to preserve the form of their moustaches. At the end of the century many decided to use a clean shaven face and short hair. It was popular for men fighting in the American civil war to grow facial hair because the temperature was so cold that by growing facial hair they could keep their face warmer.

Late Victorian Hairstyles Research

   As the skirts of the dresses were drawn back towards the late 1860's so was the hair with pulling it back to reveal womens ears. The flat top and the curls spiralling down the back of the neck copied the details on the back and train of the gowns.

   The industrial revolution created a massive rise in the middle class which brought a lot more new fashions and hairstyles to the era. By the 1850's department stores became popular meaning that women bought a lot of hair pieces to go in their hair. This depended on their wealth as to what kind of piece they bought. When the civil war was going on during 1861-1865 this brought a new hairstyle for women. It was more to do with practicality during the war rather than extreme hairstyles with hair pieces. The hair was worn off of the face and put tightly into a bun so that no hair was down in the face and bothering the women. It was a lot more practical to have no hair hanging down around the face whilst women was working.

   Towards the end of the 19th century curling irons were introduced which changed Victorian women hairstyles again and they become a lot more influenced by soft waves. However, only those who could afford curling irons would use them. They were introduced by Marcel Grateau and was known as the 'Marcell wave', it was a lot more natural wave to the hair rather than the sausage curls we saw in the 1860's.

Burns

   In this weeks session of SFX we was taught how to create first, second and third degree burns by using gelatine.

1. First degree: sunburn, oven burn ect. When creating first degree burns, keep in mind that you don't want the colour to be too pigmented on the skin. You want the persons natural skin texture and tone to show though the colour. First degree burns are normally the types of burn to create a stencil effect on the skin, as the person why of been wearing clothes and will create a harsh, definitive line.
2. Second degree: textured skin with no hard edges. Blistering is more likely to appear on the skin and have some form of a shine to it. Lots of different tones and ranges in colour to second degree burns.
3. Third degree: no hard edges of colour with interesting texture inside of the burn. Extremely deep so will include a lot of different colour ranges and depth to the burn/skin.

Gelatine:

1. take a small section of gelatine and place in microwave for around 15 seconds or until melted
2. unlike latex, you can use gelatine straight onto the skin and it's less likely for people to have a reaction to it
3. is a good adhesive for onto the skin
4. also good for continuity as you can place gelatine into moulds, however make sure you use something like vaseline around the mould to stop it from sticking to the mould

Method:

1. start by melting the gelatine in microwave until melted
2. before placing it onto skin test on your own to make sure it isn't too hot to handle
3. once cool enough, place onto skin using a palette knife and smooth onto skin in the shape you desire
4. keep working the product and building it up and smooth the sides down as you go to stop raised edges and making it look less realistic
5. once it starts to get tacky, you can dap the knife over the gelatine to create raised skin and different types of texture. This is extremely important if you're creating a second or third degree burn
6. set gelatine with a hairdryer on the COLD setting of your hairdryer as you don't want to melt the gelatine again 
7. powder the skin to take away any tackiness and shine to the skin
8. start painting your burn in light layers of colour, always building up to the darkest colour you wish to go with your wound
9. as important as it was to add texture to the gelatine/burn, it's just as important to show that texture with the colouring. So in any dents or raised areas of your burn add shadows and highlights to your burn to make it seem more realistic
10. lastly, you can add more special effect products into the burn/wound by using wound filler ect to make it even more realistic and gross

    Looking back at my burn, I can see that I needed to do so much more to the wound in order to make it look more realistic. In future I will smooth the edges a lot more either using witch hazel or while the gelatine is still workable, I also would use a lighter hand when going in with colour and get more of a variety of tones and colours in my burn as it seemed quite flat in colour. Another additional effect I wish I could of played around with was the other wound fillers to make the wound seem like it had puss and infected.