The Taming Of The Shrew

Shakespeare Retold is the title for the series produced by BBC in 2005. It consisted of 4 short films, 'Much Ado About Nothing', 'Macbeth', 'The Taming Of The Shrew' and 'A Midsummer Night's Dream'. These traditional Shakespeare plays are rewritten and set in present time, making them more relatable to the modern day public.

The Taming Of The Shrew stars Shirley Henderson (commonly known for Moaning Murtle in the Harry Potter Series) as Kate Minola, Rufus Sewell as Petruchio, Jaime Murray as Bianca, Kate's international model sister, Steven Tompkinson as Harry, Bianca's manager, and Twiggy as Kate's mother.

Kate is horrendously psychotic, but equally as hilarious. Her opening scene is complete with a Jaws-like soundtrack and the image of quick-paced feet stomping through parliament. For me, Kate resembles the Elizabethan's the most out of the cast, not just for her looks, but her personality too. Her hair is styled in an just off-centre middle parting, and is seen in an up-do right until the day of her wedding, the opposite of how the Elizabethan's wore theirs. Her makeup is very plain and pale, unlike her sister Bianca's. The eyebrows make this look contemporary, as they are bold and thick. The costume always fashions a large collar which resembles a ruff, or statement, similar to the Elizabethan styling of the time. On her wedding day, she wears a pearl-coloured satin gown, which I believe the stylist has chosen, as Queen Elizabeth always wore pearls to represent purity. The style of her wedding dress also fashions a large collar, which makes her look more superior. Her hair is styled in a high hairstyle, complete with a pearl hair accessory at the back.
There are many resemblances to the Elizabethans in the styling, as well as her strict personality, and staying unwed and pure until she reluctantly falls in love.

Petruchio is another character that for me is a New Elizabethan. He wears fur, a costly fabric which also shows superiority. He even has a title, the 16th Earl of Chartbury, which shows that he is an important character, even though he doesn't particularly show this side of him. His home is vast with heavy wooden doors, high ceiling, large, arched windows and even a chandelier, but when Kate is first introduced to the home, it is ageing, dusty and tired. Petruchio is described as 'big, eccentric, overwhelming... he hits people when they get in his way', which to me resembles that of Queen Elizabeth, as she was very eccentric of her time, and had the superiority for people to move out of her way with a click of her fingers if she wanted them to.

There are many similarities to the Elizabethan Era in this short film, from the scenery of the offices being red, black and white (the main colours of the Era) to the clothes and personalities of the characters.

Reference: (Wikipedia, 1st May 2014, 'ShakespeaRe-Told- The Taming Of The Shrew (online) [viewed 07/11/2014] available from ://en.wikipedia.org/wiki/ShakespeaRe-Told#The_Taming_of_The_Shrew)
(Duncan and Ennis Macleod, June 2008, The Taming Of The Shrew, Shakespeare Retold (online), [viewed 07/11/2014], available from: http://www.shakespearefilms.com/the-taming-of-the-shrew-shakespeare-retold/)

Where Have All The Surfing Cowboys Gone?

In a seminar with Sharon and Dr Carina Buckley, we spoke about blogging, and describing and investigating images. We were told how to pick apart the image, starting with who, why, what, where and how. The seminar was very informative, and we were set a task, to analyse an image from fashion blog 'fashiontoast'.

I chose to study this image, as it is my favourite from the set, due to the composition, and the lighting effect. This was the first thing I noticed, as the flare protrudes from the image, straight from the sun, through the model, and to the viewer of the image. My eye followed the flare of light, which led me to notice to model herself, standing in a street, looking down to her shoes. By her looking down, the viewer is led to follow her stare, which then focuses upon the bright white shoes. As a fashion blogger, it is clear why her shoes and dress stand out of the picture; to simply sell them. There are many leading lines in the image, particularly towards the model, so I know the photographer knew he/she had to sell the clothing through the image. The photograph is real, but there are aspects of surrealism; to me the model is enjoying a slice of time which has paused for her, whilst the rest of the world continues. The lighting flare almost cuts her apart from the busy everyday life of the passing cars, so she is in that moment by herself, but is content with this. The setting is very normal and an everyday scene to many people across the world, making this image less staged than it probably was. It is a portrait but is a long shot, as it focuses on the model but includes the scenery behind her. The photograph is more about a feeling, for me this suggests that wearing these clothes will take you to that happy and content place, where the sun is shining and you have confidence and no care in the world. The photographer has purposely made you feel in a dream world due to the lighting, there is a sense of utopia in the image. It reminds me of a summer's day, watching everyone go about their day-to-day business and not have any qualms. I have discovered how much staging goes into a photograph like this one, as the photographer has had to wait for a certain time of day to capture the light as it does, and has thought about how to create a perfect composition. The image is all about selling the clothes, and making people want to feel this good wearing them, which I believe the photographer and the model has achieved. 

Reference:

(Rumi, 2013, 'Where Have All The Surfing Cowboys Gone (online), Full Date: 07/03/2013, [viewed 03/11/2014], available from: http://fashiontoast.com/2013/11/where-have-all-the-surfing-cowboys-gone/)

Face Charts

In our practical with Kat, we began creating our own designs for our final Contemporary Elizabethan look. We looked at the work of many makeup artists and fashion designers, who have included the Elizabeth inspiration in their work.


Kirsty Mitchell
Mitchell is a photographer that I have referenced much of my work to through my education. In A-Levels I studied her work, in connection to my fairytale theme. This image is derived from a collection from 'Wonderland', which is created in memory of her mother Maureen. When her mother died in 2008, she escaped her desperation through her camera. She was still a fashion designer at the time, and with the help of makeup artist Elbie Van Eden, used this project as a positive, working on the weekends in the woodland that surrounded her home. She created masterpieces that are undeniably magical, making her fantasies real. 'Wonderland' is an ongoing project the Mitchell works on, and she has been producing these images for 5 years. This is a piece named 'The White Queen', produced in 2012. There is a clear influence of the Elizabethan Era through the costume, and hair and makeup. Her hair is in the typical heart-shaped style that Queen Elizabeth wore herself, with curls at the front of the head for decoration. There is a modern twist of the hair being weaved as a pattern over the decoration, and sprayed white, as if her cold look is producing waves of ice. The makeup is also inspired by the Elizabethan era, her eyebrows have been removed or hidden by the makeup artist, as the Elizabethans would do this to convey intelligence. I particularly like the use of bold eyes contrasting the pale white stare.
(Kirsty Mitchell, Published 2012, 'The Story Behind Wonderland' (online), [viewed on 03/11/2014], available from: http://kirstymitchellphotography.com/galleries/wonderland/the-story-behind-wonderland/)

I created two face charts that are influenced by the Elizabethan Era. On one, I focused on having the model very very pale, no eyebrows, and blue lips. I decided that the model would be very pale as that is how Elizabeth herself wanted her skin, and the no eyebrows as many women plucked theirs out but had drawn them back on. My modern twist was to not draw them back on, and instead of a bold red lip, I chose blue. I would like to try this out on a real face to see how I liked the look on a real person. My other look was a more contemporary version, with straight, high arched eyebrows, black blusher and red and black ombre lips. The application of the blush would be very Elizabethan, having spots of colour rather than lines of colour. I would keep the face pale, and the eyes very plain. This look is more of an Asian influence, the model slightly resembles a Geisha, which I was not wanting to convey.

Drawing Skills

In our practical with Kat, we focused on our drawing skills. Drawing develops your analytical skills, and your understanding on form, colour, texture etc. We started with the basics, holding the pencil towards the end, and drawing straight lines and shapes. You have to move your arm to create a straight line, if you move more with the wrist than the line will curve.

We began to experiment with the shades of each pencil we had, creating a shading scale. Each pencil can create a range of tones, the B's creating darker whilst the H's create lighter shades. The B's are better for drawing and sketching, the HB, F, B are better for everyday use, whilst the H's are better for Graphics, as they produce a very clean line. After experimenting with each pencil, and seeing the shades it could make, we began looking at form. We started shading different shapes to create the three-dimensional effect that is needed for accurate drawings. 

I prefer portraiture to any other drawing, as I like to convey the sitter's personality through my work. The sitter for this piece was a 1 year old boy, drawn on A3.

I have completed another piece of a monkey, an image I found on the internet.

In both pieces I used a full range of tones, using not only pencils but rubbers to create highlights. The B pencils were used for the shading and creating that much-needed depth, whilst I used H's in particularly 4H to create the definition, which makes the pieces more realistic. 

Halloween!

In our practical with Sue we practised Day of The Dead Makeup, also known as Candy Skulls. The aim of the lesson was to complete a look as symmetrical as possible! 

Dia De Los Muertos (Day of The Dead) is a Mexican Holiday, celebrating those who have passed on to the afterlife. The Candy Skull makeup is inspired by the sweets that are sold in Mexico during this holiday, skulls decorated in vast, extravagant colours, sequins and glitter. They are gifts for both the dead and living, they are not morbid, as the aim is to celebrate the dead, and remove the fear of death itself. People decorate their own faces in the same way, and from it's roots has spread around the whole world.

(Thaneeya LLC, 2010, Dia De Los Muertos History (online), [viewed 02/11/2014] available from:http://www.celebrate-day-of-the-dead.com/dia-de-los-muertos-history.html)

 I'm happy with the outcome of my Candy Skull, but I do need to work on the symmetry of it. I used the Supra Colours by Kryolan for this piece, which are grease paints. I used Illamasqua Skin Base in White to create the pale look, then used the blue grease paint to create bold eye sockets, and then used my fingers to create the blue contouring, blending as I went. This inspired me to create my own look for halloween that night, so I decided to be a skeleton, using just black and white Kryolan Supra Colours. Halloween is one of my favourite days of the year, as you can go all out to create a fun look, that you can't really fashion the rest of the year!  I have previously been Avatar, which was also a very fun look to create, painting my whole body blue!

Reference: http://www.celebrate-day-of-the-dead.com/sugar-skulls.html

Symbolism

Elizabeth had her portraits completed many times over the years of her reign, and although many were painted, little survived. The Queen was obsessed with her overall image, not just vanity, and she needed these portraits to convey her beauty, purity, and power, and those that didn't, were destroyed. Her early portraits focused on her right to reign, asserting her legitimacy as the rightful heir, as well as her purity, chastity and her undying love for the people. Throughout her life as Queen, the portraits began to convey the success of her reign, and the strength and power she had. In the 1570's, she began to be very aware of what it meant to have her portraits adorned with symbols of power and wisdom, to celebrate her as the Virgin Queen. These portraits played a large part in the 'Cult of Elizabeth', the idea of celebrating Elizabeth as 'the sacred one', essentially becoming a piece of propaganda and winning her loyalty of the people. The Queen did not commission one artist to complete her portraits, but used a handful of skilful artists. Other artists would then create their own portrait from these, which is why so many similarities occur within the paintings. The portraits also differ in style, due to the painting skills of the painters changing throughout the years. The Renaissance bought a new change of painting, more lifelike and elaborate in style. However, this was not the only change in the paintings. The size of portraits would range from large to small, and it was a great privilege to own own. The Nobility kept miniature portraits on themselves, so that the Queen would be close to them at all time. Images of Queen Elizabeth were also worn as jewellery by the upper classes to show their loyalty.

Queen Elizabeth I, c. 1572
Miniature by Nicholas Hilliard.
© National Portrait Gallery, London

All of the portraits completed during and after the Queen's reign contained a significant amount of symbolism.

The Rainbow Portrait, c.1600
Isaac Oliver
Hatfield House

This is 'The Rainbow Portrait', by Isaac Oliver, which now stands in Hatfield House, UK. This is considered one of the more elaborate and inventive Tudor portraits, due to the use of symbolism. Elizabeth is standing in the frame, elaborately dressed and decorated. Her gown is embroidered with English wildflowers, allowing the Queen to pose as the virginal heroine Astraea, the Greek Goddess Daughter of Zeus and Themis. She is associated with innocence, purity and justice, a celestial virgin that was one of the last immortals to live with humans. According to the myth, she will return and bring with her 'The Golden Age'. As well as this goddess reference, the cape is decorated with eyes and ears, implying that she hears and sees all. This is added in very subtly to the design of the covering, which further implies that even when she takes the cloak off she will still hear and see all, just alike God. On the arm of Her Majesty's gown, sits a serpent holding a ruby in it's mouth. This symbolises how wisdom has captured the Queen's heart, and wisdom controls her emotions and her ruling. To support this, there is a celestial sphere, which echoes the queen's power over nature. Elizabeth would have been ageing when this piece was created, and her hair is worn in long ringlets, which gives the illusion of youth, and to hide her ageing skin. The headdress that sits upon her hair is adorned lavishly with jewels, pearls and rubies in particular. The pearls symbolise her utmost purity, whilst the rubies convey her royal blood. At the top of the crown is a crescent shaped jewel, referring to Cynthia, the God of the Moon. Elizabeth loved her hands, and in every portrait it is important to suds what she holds, as it is there for a reason. In her right hand, she holds a rainbow, with the inscription 'Non sine sole iris' upon it. This means 'No rainbow without sun', the rainbow symbolising peace, only the Queen's wisdom brings control. The image conveys youth, with implies that the Queen is therefore ageless. Like the Queen's dresses, hair and headdresses were adorned with jewels, the Queen's portraits were similarly adorned in symbolism.

Other symbols include:

Gloves represent elegance,

Olive branches show peace,

Crowns, orbs and sceptres’ signify the power of the monarchy

Dogs represent faithfulness – The greyhound in particular was associated with the Tudors

(Marilee Cody, 2006,  'Portraits of Queen Elizabeth I (online)[viewed 17/10/2014], available from: http://www.marileecody.com/eliz1-images.html)

Nowadays, the symbols for power and status are items such as big cars, designer accessories, small dogs, and expensive jewellery. We were set a task to find an image of a contemporary portrait, and take our own. I chose to look at Nicki Minaj, a top female celebrity of the modern day.

(Nicki Minaj, July18th 2013, Instagram [viewed 17/10/2014] available from http://instagram.com/nickiminaj)

I chose this holiday portrait that Nicki had taken of her, overlooking the hot landscape, by the cool of the swimming pool. She wears a hat in this image, that covers her eyes from the viewer, implying that  the audience do not have any relevance to her life, she does not need to acknowledge them. This is supported by the pose, she is looking away from the camera. Nicki Minaj is renowned for her bum implants, which in this image is not hesitant of flaunting them. The idea of a 'big booty' has swept the world, with woman all over embracing their curves. The designer Louboutins that Nicki wears are definitely not a necessity by poolside, but they are conveying her celebrity status. The three bottles of 'MYX' are an alcoholic drink that Nicki promotes, which is the reason they are included in this portrait. The setting is idyllic, she is surrounded by trees and mountains bathing in the sun, with a private pool to cool down in. Celebrity status is rife in this image, with every detail documenting her wealth, and promoting her image, just alike Queen Elizabeth.

My image is a portrait taken by my sister on my holiday. I feel it conveys my personality well, my bright coloured hair, and quirky jewellery contrasting the calm of the sea behind. I thought this image was similar to Nicki Minaj's portrait, as I am enjoying the sun high above the sea. 

Colour Scheme Looks

For our practical with Kat Vogart, we were asked to complete two face charts and looks on the face in  certain colour schemes. I chose to complete two face charts, one in monochromatic purple, and the other in analogous greens and yellow. I used 'ProChart' face charts, and used makeup from M.A.C, Charles Fox and Illamasqua. I wanted my face charts to be experimental with looks, and imaginative, which I believe I have achieved.

In the practical with Kat, we were paired up and asked to complete our monochromatic look on our parner. I worked on Lucy, using my face chart to work from. I prepped the skin, cleansing and toning to remove any oils and dirt on the skin. I used Illamasqua Matte Primer to prime the skin, then using the Foundation Palette and Camouflage Palette from Charles Fox to create a clear and even skin tone. I used the Brilliant Colour Medley Matte palette in Shallot, Lavender and Sage Blossom for the eyes. To achieve this look, I used the darkest shade Shallot in the corners and for the line down the nose, then blended it out with a rounded brush and Lavender, then Sage Blossom, the lightest tone to blend out into the skin tone. I contoured the face in purple, starting with the lightest tone and building up using the darker tones. I lined the eyebrows with Shallot, for next time I need to focus on making them completely symmetrical, as here they are not completely even. Finally, for the eyes, I mixed M.A.C Lip Mix in the red and blue to create a deep purple to finish this look off. I am pleased with the outcome of this look, and I now know that I have to focus on making the look symmetrical, particularly the eyebrows. 

The makeup look that I completed on myself was in complementary colours, blue and orange. As I am more interested in high fashion and editorial makeup, I wanted it to be striking and capture the eye instantly. I used the Foundation Palette by Charles Fox as the base, alongside the Camouflage Palette and Powder by Illamasqua to set this. I then contoured the face using Turmeric from the Charles Fox eye colour palette, and also a dark blue from the Coastal Scents 252 Palette. Using a blue eyeliner pencil, I worked into the eyebrows to create a striking and clean look, and then the same with the lips. I then used the Turmeric orange to highlight the lips, and outline them. I achieved the look on the eyes also using Turmeric, and by wetting the brush achieved the sharp and clean point. I enjoyed being able to design my own look using this complementary scheme, as the brief for this task was so vague, we could be as imaginative as we liked.