Claudia and Quentin in the flesh.

A lot of the time when I create make-up looks I have an idea in my head and I try so hard to re-create it on a model but it never translates properly. After I had finished my Claudia I was so happy with the result. I found that the image I had of her in my head was conveyed so well through my model.
I found there were some variations to my original design though.
Firstly, the model that I had originally chosen was absolutely perfect and was also slightly intertwined in the drawing of my model. She absolutely loves horror and had the perfect features and skin for my look but was not available when it came to doing the look. So I chose a different model who usually has long hair so I was worried the short hair would not suit her but she ended up being really responsive to the poses I was giving her and really understood the role.
When creating my burn there were several items such as spirit gum and red gelatine that I didn't have so I had to compromise and use duo glue instead of spirit gum and red jelly instead of gelatine. I was so worried that they weren't going to look the same but they came out really well, if not better.
I also found that with the wig I wanted to have a short bob but there weren't any available to me so I had to get a longer one and then cut it. But by cutting it unevenly it made the look work so well.
Lastly, I wanted to have the writing on Claudia to be small type writing but I couldn't get hold of a stencil that was the right text so I ended up using random script letter all over her and it looked really effective.
It taught me to have a positive outlook on my idea despite their being hiccups because the look was so exact to my original plans.

Quentin's design was already simple to begin with so there wasn't much room for change. However I wanted my model to convey sadness, although he was just part of Claudia's imagination I still wanted him to play the victim but have a sense of handsomeness about him.

I wanted my Quentin to have a beard, but the model I chose had a mixture of blonde and black hair so creating a stubble that look realistic was particularly hard, therefore, the beard looked slightly ginger. I managed to cover most of it up with the burn as well as the sprayed writing but I was still disappointed with that.

One thing I would have liked was to be able to shoot my models together because that would have really added to the storyline. However, I couldn't get them together at the same time but it would have really emphasised the dynamics between them.

Other than that I found my Quentin was again so exact to my original drawings so it has really worked well with my storyline.

I think if I were to improve both images it would have been to make the shoot warmer in colour. I feel the colour of the images doesn't match the idea of a fire so I would have used light better in my images.

Claudia and Quentin on paper.

The idea behind Claudia's look was that I wanted to show the physical representation of the two sides of her. So one side of her face is a fresh burn that Quentin gave her by starting a fire to destroy the stories that she was writing.

The burn will be created the same way I created it in the practical lesson.

The contact in her eye is to show that the demon is inside of her and can't escape but obviously only in one eye because only half of her is consumed by the demon.

I intend to buy a ginger/strawberry blonde wig and cut it unevenly to show that she cuts her own hair but also since the demon has entered her body she doesn't take much pride in her appearance.

Her face make-up will be simple with just a neutral foundation and a blush on the left side of her face. I will apply fake eyelashes to make them seem thicker because I wanted to create the idea that she is beautiful but damned.

The final touch will be to spray her hair with water to make her look wet.

I will then spray her upper body with a grey spray and then use a stencil to paint on random letters because although she writes words on Quentin she also has gone so mad that she has resulted to drawing on herself.

Quentin on the other hand is meant to play the victim because although he is a figment of Claudia's imagination. 

I will apply a small amount of foundation to Quentin's face just to even his skin out.

I will also style his hair to be young and fresh but also messy from the treatment of Claudia.

I will use the same technique of spray and stencilling down one side of Quentin's face to emphasise that he is just a piece of paper to him and that although she keeps him captive he is just part of her game.

I will also add a small burn to his lower cheek to show that he has been caught in the act of starting a fire and she has punished him.

I wanted to emphasise how long she had kept him captive by giving him a small stubble.

The

Introduction to Claudia and Quentin...

Claudia is a girl in her 20s.
She has had little parental guidance.
She has developed an unhealthy relationship with horror movies.
Genuinely believes they are real.
Agrophobic- stays inside.
She models herself on a variety of girls from horror films.
Her neighbours give her essential things that she needs.
Danger is always lurking.
She seems normal and has a cheerful disposition.

Quentin is her imaginary boyfriend.
His appearance changes depending on what mood she is in. i.e Beckham, coach potato chav, literally anything she imagines.
He doesn't live with Claudia, he visits her sometimes. Or calls.
He is really into horror movies too.
Claudia thinks he is cheating her.
She retrains him so he can't cheat.

Having studied gothic horro during English Literature A Level so many ideas sprung to mind when given the initial brief.
My first inspiration was Disturbia- by Rihanna because it's the idea that she has been possessed.

I then decided to go home and watch, dare I say it, Evil Dead. Now I hate horror films because they scare the living daylights out of me but I thought it was all in the name of my course. So after several reviews on how scary it was I watched it. I was expecting so much more! But having spent the whole term learning about special effects and gore I could see how most things were done so I thought RIGHT bring on more horror films. So I proceeded to watch Sinister, The Conjouring and some of Insidious 2. And although they weren't horror I began to have a better perspective of evil spirits and being possessed.
I also researched into schizophrenia because I wanted my Claudia to have no idea she was doing such evil things when she was back in her original state- So I look into The Shining because main character gets taken over by the house and has no idea what he is doing, knowing that he hurting his family.

Which is when I created a new storyline for my Claudia...
She believes that she has a split personality. One side of her is evil and is taken over by a demon who tortures Quentin.
The other side of her is the classic protagonist of the story.
The inspiration was initially taken from Evil Dead. The idea that the girl has been possessed by a demon.
There is an amazing scene in Evil Dead where the demon has reached the girl and she has been consumed by it and she rises from the water and it's pouring with rain and she is drenched.
I saw amazing imagery from this and thought the moment I was capturing these images of Claudia would be just after Quentin has tried to escape Claudia and has run out into the rain and she is so angry but calm that she has had to leave her house in order to bring him back. So she too will be soaking wet.
I wanted to add a twist to my horror story in that part of Claudia's normal state she writes her own horror stories and then when she goes into her other personality she plays out these horror stories because she thinks they are real.
I then thought of a way I could represent this so I watched the film Inkheart in which the characters are pulled from a book but those specific characters have writing on them of the stories in which they were pulled from.

Man oh Man!

Creating a male comb-over with a female dummy. Impossible right? Exactly what I thought but it's not, you just have to seriously smooth the hairstyle out.

We were given George Clooney's classic comb over as inspiration because it showed his hair in a fairly high side quiff and a perfectly neat side parting.

Begin by brushing all of the hair and section the hair so there are two side partings that stop at the crown of the head.
Prepare the hair by creating the French pleat shape.
But when you come to clipping the hair into place try and create a big cone around your hand and then clip it as flat as you can. By creating a larger cone it means that when you clip it against the hair it won't stick out. It should clip fairly flat to the head, therefore not making a big shape at the back.
You then back comb the front section of the hair but making sure there is a side parting on one side.
Once it is back combed pull each side to the back of the head and clip it, trying to make sure the clips aren't visible.
Smooth the hair out by applying hairspray to your hands and lightly combing over the frizzy areas.

I found that the front that I created was really good but my French pleat shape was too big which made the hairstyle look too feminine. If I were to do it again I would make it flatter and conceal it more with the front sections of hair.

Smoothing out.

One class task that was set was to smooth out and straighten hair without using straighteners. Which sounds easy but it is far from.
The model we were given had naturally curly hair so we put some smooth product on the hair to give it a greasy texture, making it easier to smooth.
Then using a hair-dryer and rounded brush we applied heat to the root of the hair and pulled outwards. We had to do this several times on each strand of hair because the curl started at the root so we had use the heat to smooth it out.
We then tied the hair into a low ponytail by wrapping the hair tie around the hair, quite tight.
We then took part in a class evaluation in which we compared the looks of our models and the outcome was that we had not applied enough heat and pressure to the hair therefore it was not smooth enough.
So we returned to our model and applied the right amount of pressure and heat and found that we had a smoother hairstyle.

Dirtttttyyyyy.

One thing that is hard to create is a face of make-up that makes the actor or client look like they aren’t wearing any make-up at all. For this look it is best to use grease products as it reflects the natural oils in a person’s skin.

Use a cream blusher because it blend into the skin rather than sit on the skin like a powder would.

Make sure you don’t apply lipstick or if you do make sure it is a natural colour and that it isn’t too shiny.

When it comes to eyelashes it is best to use brown mascara because that is the usual colour for a client’s eyelashes. An alternative is to get your client to have eyelash extensions. A lot of female actors have begun to wear permanent eyelashes because it means they don’t have to worry about applying eye-make-up.

One of the most important parts of any look that you are repeating is CONTINUITY. If your look is not consistent throughout the shoot or the film you are doing then it is no longer convincing and makes the whole look and storyline look fake.

If the look you want is meant to look like your model has been out in the rain or got wet then don’t use waterproof mascara because adding water to the face will naturally give you the running mascara look which looks more realistic.

When creating a dirty look you have to make sure you get every little detail, for example if the character you are creating is dirty from being in the woods you need to dirty the hands and arms.

When doing the nails, if your character is meant to be wearing nail varnish then chip the nail varnish so it looks worn down by whatever the character is doing in a scene or shoot.

Use a moisturiser and work it into the hands and arms.

Once you have done that use your Supracolour palette and choose browns and blacks to mix together and work into the hands and arms.

Remember- when you are doing this to get your model to claw their hand so you can get the colour into the creases of the hand.

When working in the colour push it under the nails and on the palms because the colour has to be consistent.

You must also remember when doing these make-up looks to make sure your model’s clothing is covered because a lot of it is grease based and can’t be removed easily.

Also if there are any rips in the costume your model is wearing then you need to make sure that the showing flesh is covered with the make-up, this also applies with the back of the neck.

When doing the hair you don’t want to over-do it but the best thing to use is brill cream because it makes the hair greasy at the roots.

To dull down the hair it is best to use dry shampoo because it makes the hair look dry and dead.

For the teeth you need to use tooth enamel-using black will erase the tooth and make it look like there is a missing tooth. The nicotine colour is meant to discolour the teeth so the teeth appear to belong to a smoker or a person that doesn’t brush their teeth.

The application of the tooth enamel has to be on a dry tooth so use a cotton bud to wipe any excess saliva off the teeth of your client.

Use another cotton bud to dip into the tooth enamel and then wipe it on the tooth you wish to colour.

You have to use Methylated spirit to remove it.

For the face there are several things you can do such a sunburn or creating a stubble.

To create a sunburn look it is a lot like the fever, you have to pick redish colours from the Kyrolan Supracolour palette and lightly dab and blend into the skin in the t-zone area.

For the stubble you need to use a stipple sponge and again use the Supracolour palette, the colour you use depends on the models hair colour because it is meant to look natural and match the models hair colour.

      You gently dab the sponge around the chin area, make sure you go onto the neck but not             too far down. But make sure the stubble line doesn’t go higher than the cheekbone.

Estella the finished product.

To create the Estella look it was very simple because she didn’t wear a lot of make-up.

After I researched into Victorian make-up I saw that it was a very provocative thing to wear make-up. I was trying to create an adolescent Estella which, in the book, was a time when she started to show a higher interest in men.

I began by applying a foundation base that was pale mixed with a neutral base colour.

I blended the foundation out so it made it look like my model didn’t have any make-up on.

I then concealed under the eyes of my model because I wanted her skin to look flawless.

I then chose a grease based blushed and applied it to my model using a contouring brush- I didn’t apply it too heavily because I wanted it to look natural.

I then powdered the skin to set the make-up.

Using the same blusher I applied this to the lips with a lip brush so it was a natural but pink colour.

I wanted to add something a little different so I used my brown eyebrow pencil to dot small freckles around and over the nose to make my model look a little quirky.

One thing that made this shoot particularly difficult was the fact that it had to be in black and white. Which doesn't sound difficult but because the images are monotone the detail can be lost. So any make-up that was done had to be emphasised, which I didn't take into consideration. I used my eyebrow pencil to add freckles to the face and I didn't want them to look too harsh and unrealistic so I didn't do them very dark so when you look at the images you can't see them very well. Another thing that I was disappointed with was the fact that I had to change the hairstyle last minute because the hair was too heavy for my original design which meant the sponge didn't sit in the right position. Other than that I feel I achieved a good Victorian look with a good concept of the age of my Estella.

Light scar and cuts with moulds.

Light scaring is a very simple process that can be done anywhere on the body.

Begin by drawing a line on the skin with the tuplast, you can do more than one line or shape depending on what effect you are going for.

It will be slightly raised above the skin, let it dry.

Once it is dry you can again use the Supracolour palette to apply a little pink and red around the scar, try and match a colour to the skin so it blends in more.

Finish the scar off with a light powdering as it will make it look more natural.

When it comes to using moulds you need to prepare the mould beforehand, you do this by heating up liquid latex or gelatine into the mould tray- leave it to set in a cold or room temperature place depending on how quickly you need it to set.

To prepare the skin just use a cleanser to clean the skin.

Then carefully peal the latex or gelatine scar from the mould and place it on the area of skin you wish to use.

Then use a cotton bud and dip it in the acetone or nail varnish remover and gently pull at the edges of the mould- this will make the edges blend into the skin and seem more realistic.

Once this is done you can either add powder so it is a plain scar or you can make it fresher by applying colour.

You can either do this by painting in fake blood or a variety of colour from the Supracolour palette.

If I were to do this practical again I would use more colour to blend the wound into the skin and perhaps mix some colours into the wound so it wasn't just blood.

Creating Estella

Based on the Victorian research I had previous done I decided to include the hair piece that wrapped over the centre of the head in my drawings. I feel like this was my most complicated hair design because it involved creating different shapes with different sections of the hair. 

Brush all of the hair.

Part the hair so it is in the centre of the head.

Following that section the hair into 3 parts:

First section- is the fringe and is all hair in front of the ears (with a pintail comb draw a line from the ear upwards to the centre of head and then repeat it on the other side of the head).

Second section- is in the middle of the head and should be roughly 10cm wide (this will be wrapped over the head at the end of the hair-do.

Third section- is the back of the hair which is basically all of the hair that is left over.

With the back section of the hair curl it using the tongs.

As you roll each piece of hair try and keep it in the ringlet shape and curl it all the way to the root and then pin it in place with a Kirby grip or if you have enough use plain hair pins.

The reason you do this section first is to give the curls long enough to set so they hold for longer.

With the fringe (first section) you want to follow the steps for barrel curls. You want to work the tongs close to the scalp. So each time you wrap the hair around the tongs you want to pull the tongs tight to the scalp. Make sure you curl each piece of hair under.

You want to make sure the curls follow a waterfall like effect from the centre of the head to just in front of the ear.

Repeat this step as many times as you need to making sure the entire fringe is curled and pinned into place.

You then remove the curls from the back of the head and start combing the hair gently towards the root. Don’t backcomb to vigorously because you still want to keep the definition of the curls.

Then brush the hair to the right as you would if you were creating a French pleat and place Kirby grips up the centre of the head to keep it in place.

Then place a sponge or small piece of padding in the centre of the head.

Using wig pins push them through the sponge and into the scalp. This will help keep the hair and sponge in place.

In my case the model I was using had very thick, heavy hair so the original idea I had of creating a whole up-do didn’t work. But this was down to trial and error.

After I decided that the hair was too heavy I did some more research and found a similar Victorian look which I could create without having to re-think the whole design.

So the hair so far has the whole back section of the hair big because of the stuffing but elegant and feminine by having the curls coming down over the shoulder.

Feel free to use any extra pins to hold the back section in place.

Then move to the front section of the hair and once again remove all of the pins.

Once you have done this use a paddle brush to brush out the curls.

Then spray the hair with a high shine spray.

Use a pintail comb to gently backcomb the fringe upwards so it sits in a natural wave.

Then scoop the fringe section slightly back on each side and pin it just behind the ear and pin it into place.

You then are left with the middle section which should be completely straight, you need to comb these pieces of hair down and then comb it from the root upwards so you are holding one side of the hair up in the air.

You then need to wrap it over the top of the head and pin it tightly on the opposite side. Repeat the same on the other side.

Try to conceal the pins as best you can because the hairstyle is meant to replicate a Victorian look.

You may spray with hairspray just to hold the hair into place.

Curling the fringe... Victorian style

One thing that was important this term was bold hair, one technique we learnt was how to curl the fringe into one big wave because it was a common look during the Victorian period.

Start by brushing the hair through so that it is smooth.

Take a small section of hair in front of each of the ears.

Section the hair so it is in a middle parting.

Then begin to curl the hair into to barrel curls, start at the centre of the head and work down and outwards. Make sure the curls roll under.

When curling the hair you want to work the tongs close to the scalp. So each time you wrap the hair around the tongs you want to pull the tongs tight to the scalp.

Each time you do a barrel curl use a plain sliding pin to clip the hair into place.

Once you have done both sides go back to the first barrel curl and start taking the pins out.

Then use a paddle brush to comb out the curls so there is a deep wave left.

Spray the hair with a high shine spray as it will give the look a better look.

Then use a pintail comb to slightly backcomb the hair but not from the root, just the middle section of the hair.

You will be left with a strong Victorian wave with the fringe.

My Silhouette

When thinking about a character in fashion shows, theatre, film and television it is important to think about how you want light to manipulate them. Using a silhouette to define a character is so dramatic because all you see is the outline. So no intricate details in the face can be seen. It is purely down to the outline.

This is why the task of designing a look based around the word decay was tricky. The idea behind my style was to take a classic ‘Audrey Hepburn’ French pleat and giving it a decaying personality. The plaits and ratty straggles of hair are meant to emphasise neglect and death. Texture is also a big part of a hair style so the spikiness and untidiness of the fringe and nest of the up-do show mess. This is meant to contradict the smoothness and elegance of the original hairstyle.

The way I created the hairstyle was by using a pintail comb and extensively backcombing the hair.

I began by sectioning off the hair. I wanted a large fringe section so that I could create height with the hair style using more depth.

I was fortunate to have a model that had multiple layers in her hair so I could use her fringe as well as her baby hair at the front of her hair and underneath her hair to create the more intricate parts.

So with the larger section of the hair I followed the steps to create a French pleat, however I didn’t pay too much attention to making it neat because I wanted to add to the decaying and messy look.

Now that my French pleat is in place I pulled out small sections of the hair-do and created small, ratty plaits. The method behind these plaits is that they are so fine that they don’t need to be tied up with a hair-tie (this is where the idea of decay and neglect comes in because it’s the idea that no matter how long you leave the plaits for, they will stay in, maybe even become matted).

With the fringe I backcombed it in stages so that I was able to manipulate the shape more easily.

When arranging the hair to be photographed I wanted to make sure that texture was visible so by backcombing the excess hair right to the root it showed the gradual blend from thick to thin.

The feathered effect made the hair look tatty and mistreated which is how I wanted to portray the word decay.

Burn baby Burn

To create a burn effect it involves lots of layering of products. Just before the practical we had a look at some images of burns to help us have a better understanding of how to make it look realistic.

Begin my getting a bowl filled half way with cold water.

You then place it in the microwave- This is because it will heat the gelatine from the inside out which makes the gelatine expand.

Leave it in the microwave for 1 minute, stopping it every 20 second to shake it.

Once it is done you are ready to use it- make sure it isn’t too hot before you apply it to your models skin. If it starts to dry out you can re-heat it but you can leave it up to 10 minutes without that happening.

Then get a tissue and tear it up into small pieces and place it onto the skin, scatter and overlap them- making sure there are no straight edges of the tissue.

Apply a little amount of spirit gum over the tissue so all or some of the tissue is submerged (when it comes to removal the only product that can get spirit gum off is spirit gum remover).

You can then begin to apply clear and blood gelatine in areas of the wound.

Once that has dried you can add fake blood. But also remember to fade the edges into the skin by using the Supracolour palette to create a skin colour.

You can also create more blood and wound like colours within the burn area.

Miss Havisham came to life...

I intended to post the Miss Havisham images two weeks apart, however, I felt that if I put them in the same post you could see the difference between the two.

Despite my face chart I thought I would add in a step by step instruction of how I did the actual Miss Havisham look...

I began by giving my model tired eyes, with bags. Using a mixture of red, green and yellow I created the perfect brown to discolour the bags under her eyes.

I then used the dark red and moisturising and dapped this mixture onto the cheeks, chin, forehead and nose.

I then mixed together the rich liquid foundation and some powder and applied this to the eyebrows with a mascara wand.

I then padded the same mixture onto the lips and then dusted the lips with a light powder blusher.

I then applied Calomine lotion to areas of the face using a cotton pad to dry the skin out and make it look white as if it had been attempted to cover up or treated.

Once this had dried I applied latex to a couple of areas on the face- as it dried I pulled at it to try and make it gape and move.

I then applied duo glue around the nostrils and onto the lips and in the corner of the mouth, again, as they were drying I moved them around to make them appear dry.

I added glycerine to the forehead and nose so that my model appears sweaty.

I then sprayed water around the hairline and stick pieces of the hair to the face.

Creating this look again but two weeks apart seemed like a difficult task but I took lots of images and stuck to my face chart so it made it easy to follow.

The outcome was very much the same.

First attempt

Two weeks later

As you can see from the two images I managed to re-create the same look pretty well with two weeks apart. I had the disadvantage that my model was being used by another artist just before me so I had to rely on her re-creating her hair exactly the same because I didn't have enough time to clean the hair. I noticed that in the images I had placed the veil further forward in my second image. One thing that is noticeably different in both images is the lighting but that is due to the photographs being taken in different locations on each of the weeks. I feel that I followed the face chart and copied the images from the first week as well as I could and they had a similar outcome. If I were change anything it would have been to note down any changes I made in the first week because I know I changed or added some things in the first week which were difficult to remember when it came to doing the look two weeks later.

I also took some images of the hair that I created in the first week just to show how the French pleat inspired my look...

By curling the hair and backcombing the hair I managed to give it height and buoyancy which is what I wanted. But I also left strands hanging loose so that it looked untidy. I felt this style was perfect because Miss Havisham is meant to be in the same clothes and style as she was on her wedding day but just withered. So this hairstyle suggests elegance. 

Miss Havisham Hair

Combining the idea of the Victorian hair with my original French pleat is how I came up with the idea for my Miss Havisham look. I wanted something simple but classic at the same time. Obviously I came across the difficulty of using short hair but I covered most of the back of the hair with a veil anyway. I found this exercise of practising Victorian hair aided me in the Miss Havisham designing process.

Miss Havisham final face chart.

Having loved creating the fever look so much I thought it would be perfect for Miss Havisham. It is a contrast to my original ideas on Miss Havisham being dusty and old. I wanted to create something completely different because it is quite a living illness that it full of colour. So I need to contrast it even more with perhaps the hair.

I will follow all of the same steps as the fever look, but I will use calomine lotion to whiten some areas of the face to perhaps show how it has attempted to be treated but not worked. Other than that I think the feverish look is perfect to show how neglected Miss Havisham is and that she has grown ill but shows no attempt to make herself better.

Feverish... I think so!

This is one of my favourite looks to create because it involves lots of elements of the face and different products that I had not used before.

To begin this look start with the eyes area- to create a tired look use the Supracolour palette.

Using a small pointed brush apply a little yellow, a little red, green and brown- to make the eye area darker use black.

If you mix moisturiser with the palette colours and apply it to the skin then it will look like a more realistic colouring because it appears to be under the skin.

Make sure you apply similar colours on the lid as well as under the eye- blend any hard edges away with your finger.

Use a tiny bit of red along the lower lash line because this will make the eyes look sore.

To create the feverish skin you need to mix red with a small bit of blue on the back of your hand with moisturiser.

Use either a stipple sponge or 3 fingers to dab the skin with the colour- you are creating a patchy effect (keep in mind which areas of the face commonly show fever).

When doing this process do not use foundation first because the grease products will mix together and look like rouge and the desired effect will be lost.

Make sure you go onto the neck and into the hairline.

For lips you can make them dark and discoloured but not a gothic look.

Apply duo glue onto the lips and when it begins to dry get your model to hold their lips together so it separates or brings together parts of the glue.

This can be layered up as many times as you wish.

To create a cold sore apply a blob of the duo glue in the corner of the mouth and while it is dry you can pick at it and manipulate it.

You can then use a cotton bud to dab blood onto it.

You can also apply a little blood to the lips to give a cracked and bleeding effect.

If you wish you can apply powder to the mouth area so it looks dry.

Latex is the perfect product to create that dry skin effect.

Apply a little latex to a certain area of the skin and as it dries you can pick at it and move it around. You can keep adding layers to this if you want to make the skin look thick.

If your character has a fever they will also have sweats so you can apply glycerine to the skin to make the skin look sweaty.

This is also a good product to apply just under the tear duct with a pipet and let it run down the face. This will give the effect of tears.

You also have to remember that if your model is sweating then their hair will stick to their skin so pull bits of hair forward and just press it against the face onto the glycerine and it will stick.

I feel if I were to do this again I would go even more blotchy with the red because I would want my character to have the worst case of fever. I feel like my coverage was very good as I know it can be hard when placing the red to apply it to places that you were unrealistic. I really enjoyed creating this look because it is made up of several techniques that when you put them together they create a whole look.