Treatment Boards

Treatments; Fashion Makeup

This was an in-depth look at treatment boards, and how to interpert them correctly for a job. Also how to fully-prepare for a fashion job, how to read and breakdown a call sheet and how to read the shoot as a story.

Different industry professions: TV, soaps, commercial, drama, music shows, live entertainment, celebrity red carpet, awards ceremonies, personal MUA to an artist

Film, SPX, shorts

Fashion, fashion commercial, fashion editorial, beauty editorial, advertising, celebrity, kids, runway shows, fashion weeks, celebrity, red carpet, global artistic director

Catalogue (very secure, travelling, often exotic locations, easy work, not much designing)

Music Promos. (long days, well paid. Agency and networking)

Theater. (friendly, not too long hours, can just odo hair )

Hair stylist only

Body art (agencies,

Bridal makeup artist/proms (seperate website for it, good starting makeup job. Starting to work with many ages, skin

tones and temperments.Get used to tricky personalities

Mortuary MUA

NHH clinical MUA (Katie Piper, skin pigmentation correction or burns victims. Stable)

Makeup tutor

Fillers: corporate, festivals, special events, photographic makeup, counter

Phonecall or email: always say yes, as jobs will go really quickly and someone else will be asked. STOP WHAT YOU ARE DOING AND REPLY AND SAY YES.

- They will then ask your daily rate. Until you know how many looks/models etc, you can't know how much to charge. Ask and then say how much you charge. You may need an assistant. Some clients will put you up in a hotel if the travel distance is too far.

- Jewellery campaign shot over 2 days; (receive concept boars from director of photography). Come up with references, sketches and mood boards to make this work. Talk to stylist, get boards etc.... Make ideas work together.

- Send the ideas off for approval. Ideas will be talked about in some kind of meeting.

- You may be involved with the model casting.

- Figure out timings so shot list can be figured out. Find out if they need both potential models at once

- Call sheet emailed the night before; clothing sheet, costs, times, budgets, equipment. Are there light sources, heats, facilities...???? Catering.???

These are the different briefs we could choose from for our interpretated look;

- Music video

- Fashion jewellery campaign

- Cruel Britannia; image for the season of horror. Horror/fashion, blood and gore

- Dowton Abbey (no mood board needed. Get images of shoot location)

- 20's campaign look

get referencing right for design.....

Read through once, then as a makeup artist and then go through and highlight...

Figure out where to park, what time you'll need to be in (half an hour early) from call sheet...

I chose the fashion jewellery campaign which had a slightly vintage, English rose feel, with the emphasis on the jewellery and makeup. The treatment was a real board that Jenny Dayton had been given as a job, and consisted of only 4 images.

I interpreted it as dewy skin, neutral tones with soft eyes and dark, central stained lips. I modernised the look by incoporating a fishtail braid into a soft updo but pulled it slightly loose to keep the vintage feel. We didn't have a piece of jewellery to add as an accessory, but I think one could have been incorporated into the look quite easily. (unfortunately I couldn't find my photos from this look).

These are examples of treatment boards i've been sent in the past and the final images showing the makeup I created by interpreting the treatment board.

This was a shoot for a costume student. She send me a pinterest board with lots of bronze makeup images featuring a lot of gold leaf. She supplied copper leaf on the day to match the costume. We talked about creating a texture in the hair that would match the ruffled fabics on the outfit so I twisted strands of hair and pushed it down, pinning it into place. I created a very bronzed skin tone using warm tones and brown contouring colours to create a more beautiful approach to the makeup. I did a heavy bronzed eye with gold, brown and copper shades. I then also stuck some copper leaf to the temple area. Obviously the makeup isn't the standout part of the final image, but the makeup was more supposed the complement the costume, as that should be the main focus for the image and I think I did produce a complimentary makeup.

This treatment was also sent to me via pinterest. This was more of a fashion editoiral themed shoot, where the inspiration was beetles, their bold shapes and iridescant qualities.

I didn't have much time to plan for this shoot, as I was only contacted about it the day before, but I had a couple of ideas which I thought could make the makeups more unique and interesting.

First, to create a high fashion look, and also to keep with the smooth, shiny theme of the beetles, I blocked out the model's eyebrows using the glue-stick method and covered them with foundation to match her skintone. I then cut out large defined brows out of iridescant craft paper that I had bought awhile ago and stuck them on with mastix. I created a soft blue eye look to go with the brows and a heavy black lip with pink iridescants.

I then built up the eye makeup further on in the shoot, changeing the lip colour slightly as well.

These are the images in edit, I don't have the finished images yet. I think my decision making with the brows was a good idea and that the iridescant effects I created within the makeup show a link the the colours and shapes in the treatment I was given. I'm really pleased with the way the images are looking, as they show my creative makeup abilities in high quality images.

This was a horoscope themed shoot I worked on that was also fashion editorial based. I took on the looks of aquarius and capricorn. As I knew very far in advance about these shoots, I drew up designs for them based off of the treatments i'd been sent.

Aquarius was quite a simple, slicked back sporty look which I designed to have slicked back hair going down into 2 fishtail braids. I planned very dewy skin, navy liner and some gold scales to be painted onto the temple area. I designed her to be very bronzed looking with a healthy glow.

For Capricorn, I discussed with the photographer about creating prosthetic horns. I'd initially planned to attatch them to the skin, but then thought that securing them into the hair area and making a hairpiece would adhere more to the fashion ediotiral criteria, as she was meant to still look pretty. Capricorn has a fish element to it, so I designed blue lips to incorporate this. I designed to have heavy brown shadow descending onto the cheeks with white dots, as I thought this would hint at a deer pattern, which I thought would work well with the horns.

The photographer sent me an image of the type of horns she wanted, which I tried to stick to as much as possible. I sculpted them out of le'beau on a board and then used platgel 10 silicone to create a mould around the clay. I layered this up many times. Looking back on it, using thixo would have helped a lot in this process in cutting down on time, as I did about 5 layers. I then made a 2-part plaster mould around the silicone to have a supporting wall so the shape of the horns wouldn't get distorted when I poured in material. I then cleaned out the silicone mould and filled it with fast cast to create the horns, which I then painted with acrylics and stuck to a headband.

On the day, as it was the last shoot, my time for aquarius was limited and consequently I dont think the final image looks very good - I wouldn't use it in my portfolio.

Capricorn on the other hand is one of my favourite images I have in my portfolio. I'm so happy with how the horns fit her and how I manageg to work the hair around the horns.

Conway, J. (2004) Makeup Artistry for Professional Qualifications. London: Heinneman Publishing. pages 185-187

I couldn't find any research with regards to how to interpret a treatment, but there was information on how to prepare and plan for a shoot. This book talked about interpreting a brief and creating a design to meet the brief, which is a similar concept to interpreting a treament. It also mentioning researching the concept which I think is an important step that I don't usually consider. I generally just use any artistic freedom i've been given to create an image that I think will work, but researching contexts and themes is also important.

It also talked about the consideration of aspects like budget, timescales and the other members of the team, and how you should consider them in your design process. I always try and find out from the photographer how much time I have in advance, but if I can't, then I generally plan to do the look in an hour or less.