Hunters Makeup - Peter and the Wolf - Ms Trono

MY INSPIRATION

My Pinterest board for makeup

WHAT I DID

To create the hunters' look, I simply added some dark browns and blacks in splotches on their faces.  This was to make them look muddy and dirty.

 

Wolf Makeup - Peter and the Wolf - Ms Trono

MY INSPIRATION

My Pinterest board for the makeup

WHAT I DID

I went around the outside of his face with a black liner on a brush making lines and stripes as I went. I also extended this under his cheek bones and added it onto his eyebrows.  Then I lined his eyes and extended that down to the inner corner.  Under that, I added another line and filled in the gap with white.  I then added the lines and stripes coming off of the lowest line.  After that, I filled in his nose and added the line down his cupid's bow.  I then finished it off by added white lines wherever I had the black lines.  For the actual performance, I will apply the liner closer to his hair line so it doesnt look as disconnected.

Peter Makeup - Peter and the Wolf - Ms Trono

MY INSPIRATION

My Pinterest board for the makeup

WHAT I DID

For Peter, I liked the idea of rosy cheeks and freckles.  I added a lot of blush onto the apples of his cheeks in a circle.  I then scattered some freckles over his cheeks.

Grandfather Makeup - Peter and the Wolf - Ms Trono

MY INSPIRATION

My Pinterest board for the makeup

WHAT I DID

I made Seth do different facial expressions to see where the natural contours and wrinkles would be on an old man.  I first made him make an angry face, causing two lines between his eyebrows.  I then made him raise his eyebrows to form the wrinkles on his forehead.  After that, I made him scrunch up his eyes to get the wrinkles around there.  I lastly made his smile to get the smile lines.  I blended these lines a bit and then added some concealer to his eyebrows and eyelashes.

Duck Makeup - Peter and the Wolf - Ms Trono

MY INSPIRATION

My Pinterest Board for the makeup

TIMELAPSE

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WHAT I DID

First I applied a bronzer to her crease and dragged it outwards slightly.  I then took a darker brown and darkened the crease.  After that, I concealed her eyelids then applied a yellow, shimmery eyeshadow over the top.  The reason I concealed before was to brighten that yellow colour, however, the eyeshadow I have isn't very bright or pigmented so I will need to find one that is.  I then blended the yellow eyeshadow into the brown in the crease.  I then added a dark brown/black to her outer corner to give more dimension.  After that, I applied a shimmery, teal blue under her waterline and added a subtle blue highlighter to her inner corner and over the teal blue eyeshadow.  Finally, I added black eyeliner with a wing.  I think that the eyeliner would possibly be better without the wing as Georgia's eyes suit it more.  For the actual production, I would give her stage makeup as well.

 

Cat Makeup - Peter and the Wolf - Ms Trono

MY INSPIRATION

My Pinterest board for the makeup

 


As head of makeup, I have made a pinterest board for the looks I would like to do on each of the characters.  I even tried out the cat makeup on myself to see what would look good.

WHAT I DID

For the eyes, I did a brown, light smokey eye and dragged the darkest shade under my waterline and then pulled that down to create an animalistic look.  I put white highlighter in my inner corner and dragged that down till it reached the brown line.  I did winged eyeliner to add to that cat eye effect.  I believe contacts would be a good idea.
For the face, I added a lot of bronzer (which is quite hard to see in these photos) and also contoured my nose to be wider than normal.  I put a black liner on the tip of my nose and pulled that down my cupid's bow to my top lip.  I extended my top lip out and put 3 dots on each side of my cupid's bow.  I then finished off with adding 3 whiskers on each cheek.

 

Assignment 1 questions

Sound Designer/Technician 

• Who is this person most likely to be in contact with the most and why?
• The sound designer and technician is most likely to be in contact with the director the most.  This is because the director will share their vision with the sound designer and technician and they will then have to create what the director wants.  There will most likely be quite a few different drafts of these sounds and the sound designer and technician will work together with the director until it is all up to standards and portrays the message the director is trying to make come across.

Set and Props Designer

• Why must this person read the script in detail and do contextual research before beginning a job? In a larger scale production, can you tell me 3 different roles in the props team and what they do?
• The set and props designer must read the script in detail and do contextual research before beginning a job to make sure that they are prepared.  The script will usually give a large amount of clues to the set and props used within the play.  Doing other contextual research will help make it more factually correct and/or accurate.  For example, if a play is set in the Victorian times, the set and props designer would need to do a lot of research on the items used in Victorian times and what houses looked like, otherwise the audience wouldn't be immersed in the experience.  In a larger scale production, in the props team there will be a prop master, prop maker and prop storeman.  The prop master is responsible for purchasing, acquiring, manufacturing, properly placing and/or overseeing any props needed.  The prop maker physically makes each prop and they make a large variety of different props from jewellery to furniture.  They also may alter already existing props, such as distressing an object to make it look older or worn.  The prop storeman deals with organising the delivery, transport and storage of all hired and bought props for the production.  They must also organise the the props storage area in accordance with the production schedule. 

Director

• List 3 people that the director needs to collaborate with pre-production and what needs to be said.
• The director must schedule rehearsals with the actors to make their acting/tone/objective/movement completely portray what the director had envisioned.  The director will give the actors advice and different exercises to help them create the piece of work that the director wants to convey to the audience.  They will also collaborate with the sound designer and/or technician.  The director and sound designer/technician will discuss the sounds that the director wants throughout the play.  The sound designer/technician will then go off and make these sounds in creative and practical ways.  If the director doesn't like what the sound designer has come up with, the director will arrange another meeting and discuss the areas to improve on and give constructive criticism.  The director will also meet with the lighting designer/technician for the same reason, however, this time with lights instead of sound.