This tutorial outlines the use of ornamentation and the presentation of ideas.

Transcription

1 Overview This tutorial outlines the use of ornamentation and the presentation of ideas. Skill Level Beginner Technical Skills Animal Hair - Back-Brushing - Back-Combing - Bales of Hair - Bands - Beads - Bow - Braiding - Brief - Chignon - Clipper - Communication - Concepts - Cosmetic - Couture - Cranial Area - Cranial Postiche - Crimping - Elements - Extensions - Feather - Flowers - Glue - Hair Pieces - Hair Postiche - Hair Pull - Hand Sewn - Human Hair - Hypo Allergenic - Image - Lace Wigs - Machine Sewn - Make-Up Artist - Mattress Needle - Medical Conditions - Monofilament Wigs - Mood Board - Ornamentation - Photographer - Plaiting - Ponytail - Pre-Bonded Systems - Presenter - Postiche - Professional Wigs - Ribbons - Rickrack - Scissors - Sewing - Standard Wefted Cap - Synthetic Hair - Techniques - Theatrical - Themes - Threads - Toupee - Videographer - Wefts - Wig Wrap - Wool Page 1

2 1. A mood board is a collection of images, drawings, text, words, fabrics, samples and textures that aids in demonstrating a theme, design or idea to a client. A presentation is also called a pitch or a treatment. This can be presented offline or online. If presenting offline you can rely on the communication skills of the presenter to explain and navigate through the ideas. Be mindful to choose the right personality and someone who is completely familiar with the concept. Often it is useful to have more than one person at the presentation to support the relating of ideas. If presenting online the work needs to be complete and comprehensive. Remember when presenting to a client that often the mood board is a suggestion try to allow space for change, offer alternatives or a variety of concepts. A client will feel comfortable with a presentation if they feel included in the process. A presentation is often the starting point for a creative process. Make sure that you are familiar with why the image is being created what purpose it will serve carefully consider the client s brief and work to show how you have included the client s brief into your presentation. A mood board can also be used to present the themes/ techniques and concept of an image to make-up artists/ photographer or videographer. 2. When creating your mood board consider how it will be curated how the presenter will navigate through the concept this will affect layout. Think about what elements you want to have prominence what is the main point of your presentation and allow it space. - How does each element link together - How do you enhance each element - What detail do you need? - Be accurate - Spell check, a mistake can de-value your presentation - Try not to assume knowledge You may alienate someone who does not understand a reference.. 3. On the other hand try not to be patronising - Research your audience find out what position/job they hold and their history. - Practice your presentation and listen to feedback 4. You can source images from many places there are many online companies and stock photo companies. Use your own catalogue, use magazines, drawings, screen grabs and try to get beautiful aesthetically pleasing images chooses wisely spend your time picture researching remember what you choose needs to explain and inspire and make the client and team feel confident and excited. 5. There exist online sites to create collaborative mood boards. This is great if you are working with others on a project. Musespeak or Moodshare. These sites allow you to search, share, discuss, choose and get your ideas approved. 6. Use save bars or bookmarks to keep references of any online findings there are also sites that can help you keep a record. 7. You then need to work out what techniques and method to use and combine to produce the look. 8. If using extensions, wefts or materials for your ornamentation consider how you might present this as part of your mood board you could present colour swatches prepare your colours carefully and keep a record of your formulas. You could include examples of the hair extensions such as bales of hair, wool or threads. You could bring examples of beads, bands, flowers, feathers, ribbons you can stick or attach them to your board. You could present an idea of a technique on card such as a weave technique. You could present a drawing or structural graphic. You could prepare an example of your technique or texture such as a rickrack texture, a roll, a tendril or a sphere. You could present your idea on a wig or head block. You then need to work out what techniques and method to use and combine to produce the look. Page 2

3 9. Here you can see Ilham Mestour developing a couture session image She prepares the hair by creating a perfect ponytail and a chignon. She then prepares her spherical additions by folding and securing lengths of wefts. She back-brushes and crimps to add volume. She then smooths the top with irons. She wraps the wefts around a padded donut and secures. Ilham then arranges and secures her spherical shapes pinning initially to the base. This is a visual technique that considers face shape, colour and form. Page 3

4 10. In this example X-pressions create two three strand braids in a wave form. They sew between the two braids using anti skid thread considering colour choice and pattern. They then back-comb the top, brush and smooth back and create a ponytail. They then sew across the head then refine and dress the remaining hair. Page 4

5 11. In this example X-pressions prepare the hair by blow drying, they then section and create a ponytail in the back. They back-comb the roots where they are to place their foam flexible structure. This is then moulded and placed taking into consideration facial features bone structure and desired result. Strands of hair are then passed over the structure. Page 5

6 The ponytail is styled to suit. 12. In this example we see Callam Warrington s simple placement of pearls to embellish and enhance a classic bridal curl look. Dry the hair and visually assess for balance and connection. Page 6

7 13. In this example we see Hester Wernert-Rijn using horsehair with a rickrack braiding technique to create flexible tendrils as part of an Avant-garde style. Hester separates the hair evenly in two. She takes a small piece of hair from the left hand side and passes it over the top of the left strand, and then underneath the right then over the right and under the left like a figure of eight. Hester repeats this process four or five times. She then takes a small piece of hair from the right and repeats the same process starting on the right. 14. In this example we see John Vial adding long wefts of hair to the head and applying a rickrack using a pin to create a multi textured look with extended tendrils a dramatic editorial look. Page 7

8 Here we see the same technique created on a wig then brushed out and sculptured using clippers. Page 8

9 15. In this example we see James Rowe create a bow from hair. He sections, smooths and creates a ponytail in the front. Splits this in two, measures, creates and secures loops, uses backbrushing for padding and fashions is a playful, off-centered, classic session bow. Page 9

10 16. In this example we see Callam create two braided ponytails as a base for the additions of textured bales of hair applied with a plastic hair pull and mattress needle. He then refines his shape using a variety of freehand techniques with scissors and clippers. The finished result is a couture spectacle of expanded hair. Page 10

11 17. In this example we see Sophie Dale apply a gold temporary colour using a graphic shape to enhance the image. Page 11

12 18. Whatever your method it is important that the result is creatively linked and relevant to the intended image. 19. It could be that your ornamentation is a made piece for a Milner, fashion show, theatrical event or film. Consider the base how do you prepare a wig wrap, ponytail, chignon. Consider how to place the piece and how it is secured. 20. It is important that the entire image is supported with make-up, clothes styling, set considerations, location, body position, movement direction, wind machines if applicable, lighting, and choreography in a show environment. 21.Wigs are used for three main purposes: - Theatrical - Cosmetic - Professional Wigs are used in the theatre, television and film to indicate and support style, period. Wigs are used by professionals such as judges, lawyers, solicitors and parliamentarians as part of a professional tradition and to indicate status. Wigs are used cosmetically in several situations medically where hair loss has occurred. As a fashion statement or as part of a costume for a special occasion such as Halloween. Some religions use wigs, as people are required to cover their hair. There are many types of wigs with a broad range of pricing. A wig is sometimes referred to as a Postiche. 23. A hair prosthesis or cranial prosthesis is a custom-made wig designed for people who have lost their hair due to a medical condition such as Alopecia Areata, Alopecia Totalis, or Chemotherapy. Due to huge improvements in technology cranial postiches can be made bespoke to an individual. A mold is taken of the cranial area and hypoallergenic material is used to avoid allergies and when used for chemotherapy patients who often have a highly sensitized scalp. The hair is knotted with a technique that avoids touching the scalp. Wigs can be made for human, synthetic or animal hair such as goat or horse. Human hair wigs are: - More costly ranging from a few hundred pounds to thousands. - Look natural - Last longer - Can withstand heat styling appliances Natural hair for wigs are sourced from several places China, Indonesia, India and Europe. Synthetic wigs are: - Cheaper ranging from 50 to a few hundred pounds. - They are colour fast and do not fade - They can be damaged by heat styling Lace wigs have a base made from lace and are attached to the head with glue or tapes They can be full or partial. They give the appearance of then hair coming from the scalp. Hair is tied to the lace by hand. With lace made wigs the wearer can brush or part the hair in any direction. Most wigs are made from wefts of hair or synthetic fiber. A weft is a length material where hair has been sewn closely together in strands. The wefts are machine sewn, hand sewn or hand tied into a cap or cap shape. A standard wefted cap is where wefts are sewn together into a cap shape. Sometimes the crown of the cap has a lace base for a natural look. Monofilament wigs are made of a synthetic material micromesh which then has individual strands tied to it. This mesh gives the illusion of skin by revealing the wearers scalp color through the mesh. These wigs are versatile and allow the hair to be brushed, parted and styled in many ways. Hairpieces hair extensions can be comprised of natural or synthetic hair and can be clipped, sewn or attached with glue or pre-bonded attachment systems. A toupees is a hairpiece or partial wig used to cover bald areas. Wigs are a specialism and can offer a variety of employment opportunities in theatrical or cosmetic industries as a maker, distributor, or retailer or as a wig maintenance specialist. Theatrical wig makers often further their specialism specific to era such as the regency period. Page 12