My Partner's Final Assessment on Me

 

These are the photos of my partner's assessment on me. She practiced the look on me twice, and there is clear improvement from her first attempt and this attempt. I believe that the base looks much more moisturising and less dry, and the colours are a lot less harsh than the first time. Although I don't think the eyeshadow colours look as soft as when I practiced it on myself, they are the right shade that I wanted. I also am very happy with the blushing and contouring as it is harsher at the bottom and softer at the top; an effect that I desired. I think that the lips were successful as well; I am glad that I practiced this as we may have encountered problems with the dry lips and application of white on the lips. Overall, I am pleased with how the look turned out, and the fact that my partner was able to do it all in time. I would have liked to have more white on the ears and down the neck as I have a rather dark complexion and there is too much of it visible, and so it may detract from the white face.

Practices of my Elizabethan Design

 

This was my partner's first attempt at my makeup look. I was happy with it as a first practice, but I know that I would like softer colours and for the blusher to be brought round onto the apples of the cheeks rather than just extending down from my cheekbone. We encountered difficulty with the white face when using supra colour as I have dry areas on the skin and so the paint clings to these areas, so I believe that using something like Illamasqua skin base will be more moisturising and easier to blend around the face.

 

When practising the look myself, I took the problems that we faced, like the supracolour base, the strong colours and separation of supracolour on the lips. Firstly, I used Illamasqua skin base in 01 instead, and applied multiple layers of this and buffed it into the skin vigorously. Even though this still left patches, I was then able to cover these quite well with the 'Fennel' colour from the Brilliant Colour Medley Kryolan shadow palette, as it is very pigmented and good at covering the gaps and accentuating the white colour. For the eyeshadow, I used a fluffier, less dense brush (the MAC 217 brush) that is not in our kit as it spreads the pigment more lightly and does not pick up as much eyeshadow as the brushes we are provided with. This means I can have the soft edged look that I want, and can layer the colours lightly without accidentally making them too harsh. Lastly, what I did with the lips was avoid them when applying the base to the face. Then when I was ready to apply makeup to them, I wiped any excess base then was on them, then applied lip balm and rubbed this in. Then I wiped the excess lip balm off leaving me with moisturised, even lips, and patted the foundation brush I used to apply the base on my lips as the excess on it meant I could control the amount of white I wanted on my lips and it also did not separate as I had recently moisturised my lips. For the cheekbones and blush, I found the combination of colours that I wanted which happened to be red, pink and orange, and applied it lightly and brought it across to the cheeks as I wanted it to have a contoured and blushed look. I am extremely pleased with how my practice went and believe that this is the exact look that I want, and I have faith in my partner with replicating this look.

Modern Designers with Elizabethan Influence

Elizabethan influence is rife within the makeup world, there are constant allusions to her white face, rouged lips and cheeks and lack of eyebrows. Whether just one of these elements are used or all of them, it is clear when they make reference to the infamous queen.

Alex Box:

 

While looking at a book about Alex Box's work, I came across these two looks. I was immediately drawn to the white face, the pink cheeks, the pink lips and the blocked eyebrows with thin lines drawn over. This is a clear modern interpretation of Elizabethan makeup that Box has beautifully crafted with modern elements that also alludes to a 'doll' type look. I think this look is a strong representation of the fashionable tudor look that is not difficult to distinguish. These shots were also taken by the photographer known as 'Rankin', who is known for his colourful, vibrant but sleek portraits.

Paco Peregrin:
I have found that a lot of the photographer Paco Peregrin's work contains Elizabethan allusions. I am very interested in the Avant Garde interpretations of Elizabethan makeup as they capture my attention the most frequently.

http://2.bp.blogspot.com/_i0sNxtPujxA/SuUDtJF66FI/AAAAAAAAAE4/W9ltvI8uHxQ/s1600-h/paco-peregrin-alien-dolls-2.jpg

Although not explicitly obvious, I can draw Elizabethan elements from this look. Firstly, the ghostly white complexion of the model that extends across the head, the ears and the neck. Although almost artificial looking, this has reference to the pale complexion of Elizabeth. In addition to this, the placing of blush on the cheeks gives me the impression of Elizabethan makeup too, despite it being yellow, it is harsh with soft edges and contrasts with the white face. Lastly, the bald head makes me think of the lack of hair of Elizabethan women who would look like this underneath their headpieces and wigs. Therefore modern interpretations do not have to encompass all elements of Elizabethan makeup but can have slight references and similarities that give the voyeur the feel of familiar signifiers of Elizabethan makeup.

Alexia Sinclair

https://alexiasinclair.com/collections/the-regal-twelve#elizabeth-i

This photograph by Alexia Sinclair, a fine-artist and photographer, is a deliberate modern interpretation of Elizabeth I. When I look at this photo I see holy references from the rays of light behind her head, usually associated with Jesus and God. Moreover, I feel as if there is an 'Alice in Wonderland' sensation when looking at the giant chess pieces and Elizabeth's collapsed position on the floor. The makeup on the model is very similar to the stereotypical Elizabethan makeup, conforming to the beauty makeup norms where the eyes, cheeks and lips are addressed. What makes it modern is the colour around the eyes, however the makeup artist has clearly attempted to stay as close to the historically accurate look as possible, but with elements that draw it in with the bountiful head piece. so that it is not overpowered.

References:
Rankin, 2010. Alex Box, Rankin Photography.

The Taming of the Shrew- Analysis

The modern 'Taming of the Shrew' movie is riveting in the way that it uses modern day actors that we as voyeurs are familiar with, in modern day situations that are combined with Elizabethan situations. It is clear how the directors and makeup artists created a 'New Elizabethan' scenario with Katherine and her family, and we are positioned to recognise this through setting, costume and the plot.

To begin with, it is obvious that Katherine Minola is the main New Elizabethan:

Katherine is the uptight, work obsessed maniac who despises men, treats her family with little respect and holds having fun at the bottom of her priorities. What is apparent in the photo on the left is her skewiff parting that is not in the middle, thus signifying to the viewer from the beginning that she is not completely normal or stereotypical. Her costume is largely similar to Elizabeth I, where she wears suit jackets with a plunging neckline, wide shoulders and no shirt underneath. Her wedding dress is also shaped this way. Most of the time she wears a black suit; black was a colour that only the wealthy wore in the Tudor times.

The rooms that are hers, such as her study in the houses of parliament, are lavished with dark woods and deep reds, which is very Tudor. The dark reds were symbolic of wealth because of their difficulty to obtain, and the places Katherine visits for tea and food scream regality and wealth.

What makes Katherine a new Elizabethan is the fact that she has male advisors, much like Elizabeth, which subverts the stereotype of males always having the higher position and women being subservient. Moreover, she refuses marriage, but because she believes that nobody will marry her. She has a harsh, fiery temper that is essential in maintaining power and control, which despite her not having red hair, is alluding to her similarity to Elizabeth. In addition to this, Katherine is still a virgin despite being well in to adulthood, which shows her purity.

Throughout the movie, Katherine is often drowned in white light. For example when she leaves her sister Bianca's apartment and storms towards the elevator, and when her and Petruchio visit his childhood home. This suggests that she is pure and angelic; something that will boost her like-ability as a leader of the opposition, much like it would have helped Elizabethan as queen. However in the modern day, the fact that she is a virgin is frowned upon and seen as abnormal, and so she has to marry in order to be accepted by society.

While in the airport, Katherine sits in a masculine position while her new husband (dressed like a woman) sits in a stereotypically feminine position. This is an alternate view of an Elizabethans where men and women swap roles.  What is then significant is that they go to Italy for their honeymoon, which was prominent during Elizabeth's time because of the Renaissance. The bedsheets in their holiday home are lavished with red and gold, which is again shows regality and wealth, and the living room is drowned in candles; like they do not have any electricity.

Lastly, Katherine succumbs to Petruchio's advances, and they become a happy couple. Katherine is a new Elizabethan because she balances her career and love life, prioritising neither but taking both in her stride. Unlike Elizabeth I, she lets a male into her life and via her speech at the end of the movie, she talks about inequality and patriarchy but disputes it by letting everyone know that her and Petruchio are of equal stature.

Petruchio:

We are first introduced to Petruchio when he storms into his friend Harry's apartment wearing a large fur coat. This immediately tells us that he is a new Elizabethan as fur was a teller of wealth. Moreover, we learn that he is a nobleman, but has no money, and grew up in a large Tudor house.

Most royal marriages were based on different agendas, such as bringing two countries together and increasing eachother's wealth by using this new coalition. His intention for marriage alludes to this as he wants to marry a rich woman as he has no money. However he eventually falls in love with Katherine, unlike royal husbands who would often have mistresses.

Before he gets married, Petruchio looks like a modern Elizabethan as he wears a black suit and holds a black staff. However he disregards this look and decides to dress as a woman.

During their honeymoon, it is actually him that teases Katherine with sex rather than the other way round, unlike in Elizabethan times when it would be the woman that it revolves around as she is finally letting go of her virginity, whereas in this instance it is Petruchio that controls the situation.

Eventually he becomes the stay at home dad while Katherine continues to strive for her career, which subverts the Elizabethan man who would usually be the breadwinner and most powerful in the relationship.

Harry:

Harry seems to be the advisor of people, namely Bianca as her manager and Petruchio as his best friend. This immediately signifies that in the tudor times he would have been of a lower class, and this is represented throughout the movie through his costume. He is usually adorned in browny, earthy colours which, in the Tudor times, would have been the costume of the lower, working class.








Bianca:

Bianca is the complete opposite of her sister, Katherine. She is also a new Elizabethan, as she picks and chooses the men that she would like to be romantically involved in. Moreover, she has a relationship with an italian man, also alluding to the Renaissance. Bianca often wears gold jewellery, a signifier of wealth and a difficult metal to obtain in the Elizabethan era.

Bianca and Katherine's mother:

Mrs.Minola is much like Bianca, she is focused on marriage, men and reputation. She is often decorated with pearls, a much desired mineral in the Elizabethan era, one that was regularly worn by Elizabeth herself.

My Elizabethan and Modern inspiration

This is my contemporary Elizabethan makeup design. I intend to have a white faced base with blocked out eyebrows so that the eyeshadow can reach further than my eye crease. 

I chose this as my Elizabethan portrait because I love the rich colours of red, orange and gold and the harsh black background. The colours are completely representative of the Elizabethan era and signifiers of wealth and power. The red hair of Elizabeth was her stereotypical appearance, and I intended to incorporate this with the orange areas on my design. Moreover, I incorporated the blacks, reds, oranges and golds (as yellow) into my design aswell, as I wanted to keep the colour scheme as Elizabethan as possible. The white face and blocked out eyebrows also allude to the ghostly pale complexion and fair eyebrows of Elizabeth. The shapes and pattern of the look however is more influenced by my modern portrait. 

This is a photo of an editorial for iD magazine featuring Jessica Stam, with the makeup being done by the infamous Pat McGrath. Features that I drew inspiration from include the messy but cleverly placed coloured powder on the face, with blended out edges but harsh central application. I loved the accentuated blusher as it draws Elizabethan inspiration. What I also found Elizabethan about this photo is the white face, red lips and the glimpse of red hair in the top left and right corners. I was able to adapt some application of this design to my design, disregarding the 1980's bold colours and drawing the colour scheme from the portrait of Elizabeth. What I enjoyed about this task was being able to combine old and new to create a hybrid makeup look.

References:

Jones, T., 2005. Fashion Now 2,  Taschen GmbH.

Elizabethan Makeup in Film

The makeup of the Elizabethan characters in films is either historically accurate or takes inspiration from it and is intertwined with modern elements and the Elizabethan aspects are only alluded to.

Elizabeth (1998)

https://ktismatics.files.wordpress.com/2008/05/eliz-white.png

 Towards the end of the film, Elizabeth becomes queen and gives herself to England, to which she then adopts the conventional desired Elizabethan regal look. The white face, signifying her lack of sunlight due to not having to work in the fields, the rosy cheeks, the fair eyebrows and the rouged lips. This was the stereotypical look of Elizabeth that she adopted for the rest of her life. It is notable that the white is brought onto the ears too to give a more believable look. Moreover, her forehead is not as large as it would be if she was older here as she would still have had a lot of hair and not succumbed to the consequences of lead poisoning fully yet.

Elizabeth: The Golden Age (2007)

http://images5.fanpop.com/image/photos/31700000/Elizabeth-The-Golden-Age-elizabeth-the-golden-age-31785830-500-387.jpg

It is apparent in this movie how the makeup artists have made the white makeup look more natural and blended, which may be due to the fact that this scene is not a moment where Elizabeth is among those who she would need to impress, and so this may be seen as a casual look per se. She is still a ghostly white, however it does not look painted and lathered on unnaturally like the first photo. Moreover, she does not have accentuated red cheeks and red lips. 

Elizabeth R (1971)

http://www.tudorplace.com.ar/Pelicula/ERTV2.jpg

This TV show, aired in the 1970's, gives a haggard and rather scary impression of Elizabeth's makeup. I believe that the whiteness of her face here is more realistic than that of the the previous two movies mentioned as it accentuates her wrinkles here, and is less blended and moisturising. They did not have the makeup utensils we have today, and so this looks more historically accurate. However, in her portraits it does not appear that she has such eccentric blusher of such a vibrant neon pink colour; I don't believe this is a very accurate colour. The fact that her eyebrows are shaven and penciled over however is accurate.

Star Wars Episode I: The Phantom Menace

http://img2.wikia.nocookie.net/__cb20130509175153/disney/images/6/6a/Padme_Amidala.jpg

I believe that the character of Padme Amidala in Star Wars' makeup has a clear Elizabethan influence. Her face is painted white, and her cheeks and lips are rouged in a modern manner, an interpretation of Elizabeth's stereotypical look, but is minimised. The blush is shrunken into small circles, and the lips and only half coloured in. Moreover, her head is adorned with gold decoration, something Elizabeth liked to have too.

Where have all the surfing cowboys gone?

The connection that I made between the title of this post and the photos are confusion, waiting and playfulness. The girl in question impatiently waits for her surfing cowboys, with a movie-type title sequence brandishing the words 'Surfing Cowboys' behind her that is ironically placed as it hides behind her.

I find that her pose in this particular photo conveys impatient waiting and playfulness and she emulates the abnormal positions one would see a toddler or young child making, and the white of her dress can connect with this as white usually represents purity. I love the colour contrast of the wall and the girl here, but her skin and the letter colour is similar and so connects the two. 

The glow of her white dress in this photo radiates beyond her physical being (most likely a result of sunlight and the camera or editing), but has connotations of angels and spiritual beings. This combined with the fact that she is on her own and looking for the 'surfing cowboys' can lead to a narrative of her being a ghost that does not realise she is no longer a human, and is floating around a supernatural realm where she is in these locations at the same time as those that are alive but neither can see each other, hence why she cannot find her surfing cowboys,

Sketching

Unfortunately I was unable to attend Kat's lesson, and so I did drawing of my own at home. Before doing this course I would often draw illustrations that I saw on the internet as a hobby, and so this task was enjoyable for me despite not having drawn for a while.

 

Now looking back at these photos it is obvious I could have added more layers as there are clear gaps in the shading. However I attempted the 'light reflection' look on each of the shapes for some realism. What I enjoy most about drawing with pencil is gradients. Going from dark to light when shading is a matter of layering more in the dark areas and layering less in the lighter areas, which is much like doing eyeshadow on an eye, or contour on a face. Drawing and sketching relates to makeup in that both require skill in symmetry, shading and gradients, and straight or evenly curved lines. Drawing is good practice for makeup without having to use your products and making a mess.

 

This is my example of still life drawing. It is clear that I need some practice with proportions as to begin with I had drawn the circular shade part too big, and so had to re-draw it. Also, when looking at the photo and the drawing, it is obvious that I drew it too wide. However I attempted to replicate the shading and reflections on the white ceramic areas. I will keep practising my drawings and proportions in order to be able to transfer these skills to makeup and hair.

Symbolism within Elizabethan portraits

Queen Elizabeth I was notorious for her well posed, perfect, symbolic portraits. She herself was extremely aware of the power and influenced of propaganda, and so her portraits were a way of promoting herself and invoking loyalty within the public.

She wanted her portraits to show chastity and purity, and her love of peace and the world. This was done through items placed in her portraits, whether that be flowers, globes or snakes. I will be exploring these items and their purposes.

Unfortunately, due to Tudor cosmetics have a detrimental effect on skin and health of those who used it, even people like Elizabeth suffered the consequences. Having endured smallpox, her skin was scarred, and so she used the popular lead makeup to hide this. Her skin then became burned and prematurely aged. This is not apparent in her portraits; she is painted with crisp, perfect skin that had the desired veins on her forehead. This is an example of how she was able to manipulate the portraits to her advantage. In addition to this, the tudors did not have toothpaste or any form of effective dental hygiene, and so they had black teeth as a result of decay. Therefore she did not have her mouth open in any of the portraits, which meant that nobody had to be aware of her unpleasant teeth. It is also known that Elizabeth loved her hands, and so these are shown in her portraits as a focus. They always appear dainty and fragile, which may have been a sign of femininity in the tudor period.

With a review of her portraits, it is obvious how each one served a different purpose in representing sides of Elizabeth that she wanted to be apparent to her country. In addition to this, the styles of the portraits changed due to the rise of the renaissance and the use of different artists.

Armada Portrait:

Elizabeth in this portrait is looking away and not giving any attention towards the viewer which shows she is the most important person, and it represents power and her control. Elizabeth has a globe in her hand, and her fingers are over South America, which where Spain obtained their gold from. In addition to this, the drapes behind Elizabeth represent wealth as they were unattainable for the poor.

Rainbow Portrait:

Elizabeth holds a rainbow in this portrait because it represented peace, which was something that she was a lover of. Her head piece is covered in rubies and pearls; pearls represented purity. There is a serpent on her arm which has a heart shaped ruby in its mouth; serpents represented wisdom and so this symbolises that wisdom has captured her heart. The goddess of the moon is represented by the crescent shaped jewel on her head. Moreover, above her head is a celestial spear which shows how she is controlled by passion and wisdom. What is notable about this portrait is that it was painted 3 years before her death, which is because despite her physical being becoming haggard and aged, her portraits could live forever and her dynasty would be immortal. 

Pelican Portrait:

There is a tudor rose pinned to Elizabeth's chest, which was used to represent her dynasty and the unity it brought to her domain. Moreover, it had religious connotations because the medieval symbol of the Virgin Mary was the rose, and so Elizabeth wanted to be seen as her predecessor. The pelican badge on Elizabeth symbolises love because folklore told that mother pelicans would pluck their own breasts if their babies were hungry and would die in the process. Pelicans were also a representation of Jesus dying on the cross. Elizabeth is wearing fabrics of red, black and gold colours. These were very difficult to keep on fabrics and so shows how wealthy she was. In addition to this, red colours were made of Cochineal (crushed Beatles), and was a trade of the Spanish that England fought for. In addition to this, lace was difficult to obtain. The lace with blackwork on her top is embroidered with little tudor roses. Lastly, Elizabeth has cherries in her ears which shows how her 'Cherry' is still intact. 

Phoenix Portrait:

The symbol of the phoenix, which is attached to Elizabeth's chest in the portrait, represented immortally and uniqueness. The legend is that every 500 years the Phoenix is consumed by fire and reborn again, and only one can ever exist.

Ermine Portrait:

The Ermine (the animal on Elizabeth's arm) was part of the weasel family and prized for its white tail with a black tip. It was a symbol of royalty and even wears a crown here. She also wears her most prized jewel, the 'Three Brothers' jewel. Moreover, Elizabeth wears black and has a black background which signifies wealth and the symbolic gravity of this portrait. On the bottom right is the Sword of the State, which signifies justice, and the olive branch symbolises peace.

Sieve Portrait:

Elizabeth holds a sieve here because it represents purity and virginity. The ancient Roman vestal virgin 'Tuccia' had to hold a sieve with water around to prove her purity, as the water did not fall through the bottom 

Book Portait:

Here, Elizabeth marks a page of her book with her finger. This represented her devotion to protestantism, and was a gift from her half brother. 

There were other items unmentioned here that had significant symbolism. For example gloves represented elegance, and dogs such as the greyhound represented faithfulness. 

Resources:

Notes from class

http://www.marileecody.com/eliz1-images.html

Monochromatic Look in class

     

















Here is my version of my monochromatic look on a person. I also found that blocking out the eyebrows for this look would have benefitted immensely as the colour of the brow is not the colour that I intended; the natural colour of the brow beneath leaves a dirty type look and does not enable consistency of the green across the brow. In addition to this, the ombre effect of the lips is not how I intended either. I think in order to achieve this I should have created a lighter green colour to put between the yellow and the green in order for there to be a slower graduation in colour rather than an abrupt difference. I believe that the contouring went well, and the gradient of the eyeshadow, however I would have liked to make the green underneath the start of the brow darker. This look is again beauty because of the conventional attention towards eyebrows, eyebrows and lips.

The Seven Photographs The Changed Fashion

I thoroughly enjoyed this video, as I had not heard of any of these photographers and was not particularly aware of the evolution of fashion photography and how explicit it had become as early as the 1970's.

My particular favourite photographer that Rankin covered was Helmut Newton. Nevertheless, the other photographers were of great talent, but Newton had photos that really enthralled me and captured my attention on a creative level.

Helmut Newton

http://insideout.topshop.com/images/old/6a01053695b916970c0154348afc22970c-pi.jpg

https://pleasurephoto.files.wordpress.com/2012/08/1976-charlotte-rampling-photographed-by-helmut-newton6.jpg

http://museografo.com/wp-content/uploads/2013/10/Helmut_Newton-9.jpg

http://artichaut.bdarts.org/wp-content/uploads/2014/01/Photography_Elsa_Peretti_New_York_1975_by_Helmut_Newton_edited-1.jpg

These are my favourite Helmut Newton images. When looking at his work it is immediately obvious that he explored the female body while encompassing mystery, shapes and of course fashion. I love the geometric appearances in the first two photos; it gives them an almost futuristic aura that is beyond their time. I believe that his photos give a female empowerment where they are able to bare all comfortably in the name of art, despite negative opinions towards pornography (which his photography was bordering on) and the opinions of feminists. I believe that his photos are a positive testament to the female body, and each photo has a storyline behind it that is left for the voyeur to conjure and create, extending beyond the surface image. The fact that all photos are black and white means that the colour does not detract from the features that Newton wanted you to keep your eyes on such as their clothes, the shadows on and around the body and the distinctive shapes like the rocks in the second photo. Notably, all clothes are black (a result of the black and white filter), which alludes to this 'pornography' theme, and also adds a sleek, monochromatic, authoritative mood which I found the most compelling. 

References:

http://fadedandblurred.com/spotlight/helmut-newton/

Video: 
http://vimeo.com/60749359

Face Charts

We were given the task of creating face charts with specific colour schemes, those being achromatic, monochromatic, analogous and complimentary.

Achromatic:

My achromatic look consists mostly of blacks and greys, and I created a futuristic, geometric look inspired by tribal patterns and characters such as Spock from Star Trek for the eyebrows. I found this difficult to create because of having to make sure that the shapes and lines are symmetrical and making the lines thin and refined. This would have been difficult to create on the face without extreme concentration and a small, thin, dense brush. 

Complimentary:

My complimentary look consists of yellows and purples, as they are opposite each other on the colour wheel. I went for a feline type eye that enables the yellow to be striking as it is surrounded by purple lines and extends out of the end of the eye which makes the eye look elongated. I wanted to dot yellow on the lips because I think that it texturises the look and creates a focus on the lips and not just the eyes.

Monochromatic:

This look is green ivy inspired- a look that is not conventional but a beauty look due to the fact that it conforms to the eyebrows, eyes and lips look. However these are not conventional colours that would be worn everyday and so is more editorial. I have created an ombre brow where it begins on the inside with a light green colour and ends with a dark green colour. I really liked the look of the dark green eyeshadows in the hollow underneath the inside of the eyebrows extending to the eyes because it creates a harsh, shady image. However to counteract the relatively intense harshness of the dark shadow, I made the eyelashes white. This also reduces the femininity of the look. 

Analogous:

This look consists of pinks and oranges. It is feminine as pink stereotypically connotes, but it more exaggerated than a typical beauty look. I wanted the pink to engulf the face and create a romantic, fairy-type look that is more fantasy than reality. I incorporated the coloured eyelashes again, as I find that this creates a fresh look and enables a continuance of pink rather than having black eyelashes that break the pattern. 

Then I re-created two of the looks on a person, thus discovering that looks that you plan on face charts may look good on paper but not necessarily when you create it in person.

I was not particularly happy with the resulting effect of this look. Firstly, I couldn't find a colour that was suitable and similar to the one that I want so was unable to do this, which I think means that the pink of the lip detracts attention from the purple eye as it is more vibrant. I like the eyeshadow on the inside of the eye, but the dots of yellow on the outside gets rid of the lengthening effect that was created by the yellow and purple lines. However I was pleased with the contouring and highlighting of the cheekbones. If I was to do this again I would keep it as a beauty look and get rid of all the yellow dots and just have eyeshadow.

 

I was much more satisfied with how this look turned out. I think that the pink and orange blends well together, and have a sunset effect especially when highlighter is applied to the cheekbones. If the eyebrows were blocked out, the pink that I applied on them would have been much more effective. The fact that the lipstick is matte means that it does not detract from the colours as I think that a shiny lipstick would make the face look too glossy. In addition to this, I like that the eyelashes and lips match in colour because adds colour but does not mean that too much is going on in the face. Overall I believe that this look went much better than the other.