Solick Issue 01 by Solick Magazine

No 01

Contents 04

Editorâ&#x20AC;&#x2122;s Note

Contributors

So you want to be an MUA?

Cover Story / Bianca Raffella

Beauty Feature Artist / Eoin Whelan

SFX Feature Artist / Ali Gordon

Emerging Talents

Make Up T.Elliot • Photography Táine King • Model Rachel Hastings

EDITOR’S LETTER

Hi all, I would like to begin by thanking everyone that has worked so hard to get this magazine up and running. I always strive to improve my skills and technique as a makeup artist. Recently, social media has become flooded with beauty influencers and celebrity endorsements. I think that on a daily basis we, as makeup artists, tend to be restricted in our field; mainly contouring, smokey eyes, blocked eyebrows and big pouty lips to name but a few! It can’t continue this way, we shouldn’t limit ourselves; we are creative Best Wishes,

T. Elliott

and artistic! So I would like you to embrace your artistic style, explore different techniques and styles, think outside the box, create something new and have fun doing it. This magazine is created to reignite your passion/spark for makeup. We face a lot of obstacles but in the end we have a lot of opportunities to create something beautiful. Enjoy reading (our first issue) and please return for our next issue, which will be bigger and packed full of interesting interviews, articles and stories. You won’t want to miss it!

CONTRIBUTORS ISSUE 01

PAUL CANNING Internationally published Photographer, Digital Retoucher and Post-Production Specialist. Specialises in advertising, editorial, fashion, portrait, landscape and urban photography. www.PaulCanningPhotography.com

DEBBIE HOPKINS Debbie is Itec Qualified with fashion, theatre, media and lecturing diploma. Sales experience working with natural skincare company. She also lectures in various colleges, and works as a freelance artist specialising in beauty, special occasions and bridal.

MEGAN BEA TIERNAN

NIAMH COSTELLO

Actor and Model Niamh is an EFL english Instagram @meganbeatiernan teacher and a makeup artist.

MICHELLE WALSH Michelle is a graphic designer who has worked for a number of years in Dublin. She was the previous Art Director and Online Editor of MFI Magazine. www.michelleannwalsh.com

GRACE COAKLEY Grace is a Dublin-based graphic designer who likes to create the best visual solutions to problems. www.gracecoakleydesign.com

D o I want i t as my c are e r o r am I j ust i nte re ste d i n make up?

Makeup artists seem to be popping up everywhere at the moment, the industry is very competitive with the ever growing popularity of makeup. Now don’t get me wrong, it’s amazing for our industry to be growing at such a rapid pace and to see the new and upcoming talent that we have in our country, in our industry, but before joining the crowd, do your homework, do your research and find out if this industry is for you!

First things first, you need to ask yourself a series of questions, and be honest with yourself. Why do I want to be an MUA? Is it the glamorous life that I want? That’s what it looks like on the outside, but the reality is quite different, don’t be fooled by the glamorous life you see on social media. It takes hard work and determination.

SO YOU WANT TO BE AN MUA? DEBBIE HOPKINS

ARTICLE 09 Do I want it as my career or am I just interested in makeup? If it’s merely an interest then you could take it up as a personal interest or hobby. Do I like applying makeup? If the thought of trying to apply eyeliner/ mascara to someone else terrifies you then maybe makeup artistry is not for you. Do I have enough passion to keep on top of trends? It is necessary to be learning new things on a continuous basis if you want to be on top of your professions. Am I ready? Working long hours, including weekends and on special occasions all year round. If you have been honest with yourself answering all of the questions above and you still want to fulfil your dream of becoming an MUA, you need to read on. It’s really important to gather information before paying a large amount of money to the college you choose. Now that makeup artists are becoming so popular, we are also seeing a rise in makeup colleges. Makeup training is an education just like any other course. If you are looking to have a makeup qualification that will help you get a job on a counter or if you want work in fashion, TV, film or theatre - you will need to find course/qualification that will cover those skills.

Research the different colleges that offer the course you want and don’t choose any college simply because of their popularity. Do in-depth research of what are they offering, such as what qualification you will receive. Remember you could be paying a lot of money, you want to make sure you walk away with a qualification that is recognised, not just a certificate of attendance. Some questions to ask might be: Will the college provide work experience? Can they help me find a job? Do their past students now work within the makeup industry? Who teaches the course? Are the tutors qualified to teach? You could also ask if you can sit in on a class and meet the tutor before you commit to anything. Try and get a feel for the college, how the classes work and get some recommendations from past pupils. It’s also great if you can attend one of college’s open days. No matter what course you decide to take part in, whether it is full or part time, you need dedication and time to practice your techniques and do a lot of research. Studying makeup is not easy, it’s not playing with makeup all day long. You will learn about the anatomy of skin, so you have a better understanding of what products work on different skin types. Colour theory will help you to understand what suits different skin tones and eyes colours. Studying lists of ingredients used

in products to learn how products work, as well as customer/client care, hygiene standards, identifying skin conditions and diseases, lighting effects on makeup, trends, decades and theatrical looks. The list goes on and on.

favourite MUAs on social media sites and how well they can do a look you need to keep yourself open to all styles and techniques. Since you are still in college, don’t limit yourself to one style, as we all know a style won’t last forever.

After all your extensive research, congratulations on choosing the right course and college for you!

In the following issues I will be giving advice on “where do I go from here?”, after leaving college; this is the scary and exciting part.

As a makeup student you should be eager to learn. Makeup is similar to fashion in that it is ever-changing and you will need to keep up to date with new products, new techniques and new materials. You should be reading makeup books, going to art galleries, practicing new techniques, following trends but don’t just copy other people’s work, you should find your own inspiration. You should look, listen and be influenced by your surroundings and, most importantly, never ever stop learning. If you do something you love it becomes your passion. Don’t spend your time drooling over your

Makeup does not stop at counter or freelance work. You can work on short films, in theatre, magazines, editorial, fashion shows. You can collaborate with other people within the beauty and hair sector, try blogging, teaching or anything else that interests you. I’m also going to give you advice on what to look out for when doing “TFP” (time for print) work. So don’t miss our second issue.

BL•NK C•NV•S

Make Up Bianca Raffaella • Photography and Design Paul Canning • Model Megan Bea Tiernan • Concept T. Elliott

ON THE COVER BIANCA RAFFAELA

Bianca Raffaela is a painter, illustrator and make-up artist based in Dublin, Ireland.

INTERVIEW 19

Bianca was born in London and graduated from Fine Arts Academy in Rome. Bianca’s inspiration comes from fashion photography, 80’s music, bright images of surrealist Magritte and the works of Caravaggio. Her art using acrylics, oil paints and ink often features women wearing abstract or futuristic outfits, featuring clean lines, intricate details, abstract settings and contrasting colours are the techniques that make Bianca’s works instantly recognisable. After graduating in 2007, Bianca participated in various arts projects in Italy. In summer 2009 one of her art exchange projects brought her to Ireland and the Fashion Illustration series was born. While actively creating artworks Bianca also started working as a professional makeup artist.

Hi Bianca, first of all thank you for sharing your stories. Tell us more about your background; how you first started and what made you want to take up makeup artistry? I have always been interested and fascinated by art and beauty while continuing to study at University in Rome as a set designer and costume designer. During my free time, I used to love face painting and body painting, mixing art and make up was second nature. When I arrived in Ireland seven years ago, I decided to study make up artistry and pursue it as a career. _ Were you formally trained?

I trained in the LA Make up Academy and in Mac Cosmetics where I have been working for 3 and a half years. Last year I took part in the online make up course “Mastered” with Val Garland. _ Having graduated from Fine Arts Academy in Rome, how do you incorporate your love of art into makeup? I am constantly inspired by art. It can be a simple beauty look or a more ‘Avant Garde’ but my model’s face is like my canvas on which I can express my creativity and bringing art to life. I am always inspired in different ways

and by many things; it can be the music playing in the background, the surroundings, the model’s personality, the mood on set etc., inspiration is everywhere. What I do is not just painting a face, because there is always an element of beauty, so the model will always look beautiful and unique. The make up looks I love to create are a combination of abstract lines, textures and vivid colours. _ You seem very drawn to clean lines, intricate details, abstract settings and contrasting colours. It is shown in the makeup that you created here and your painting /illustrations have a little bit of an 80’s music influence in it. Did you blast 80’s music while you’re creating your artwork? If so, what your 80’s favourite artist and song? Being born in the 80’s, I was definitely influenced by the music. I would listen to The Cure, Kate Bush, Kraftwerk and many more. Another artist that has always inspired me has to be David Bowie, an artist for over five decades, constantly changing and reinventing himself. _ Tell us a bit about your creative process creating these three beautiful makeup looks on Megan?

I was so excited to collaborate with Megan on this project for Solick Magazine as I think it is a brilliant idea! It felt so easy and organic to recreate my illustrations on Megan, she was perfect for the three looks. It felt really natural to play with the colours, patterns and her features. I wanted the final looks to feel playful, abstract and intrinsic. We chose three of my illustrations that work well together and are quite vivid using the three primary colours “blue, red and yellow”. _ You took the online course makeup ‘Mastered’ last year, what was it like? Last year I took part in the online ‘Mastered’ Val Garland school of make up. Over 1,000 make up artists from all over the world participated, professionals from the industry set us exciting briefs. This year ‘Mastered’ organised a collaboration event in Iceland with photographers, hairstylists, fashion designers and nail artists creating new concepts and looks together. It was a really great opportunity to learn from the best and network with incredible people in the industry. _ Is there a look or style that you would say you’re particularly well-known for?

One of the briefs set by Vivienne Westwood for her show “Politicians are Criminals” was included in Val Garland’s top ten looks from the course and was chosen by Vivienne Westwood as her favourite look! It’s amazing that the photo got industry approval. _ Where do you see yourself in five years? I see myself doing what I love most; painting and creating amazing make up looks for fashion shows and magazines like Dazed and confused, i-D and Love.

_ And your dream job? I would love to run my own make up studio or art gallery. _ If someone reading this article is interested to buy your artwork where they can reach you? I have an Instagram page @biancaraffaela and a website www.biancaraffaela.com showcasing my illustrations and make up. My email is: bianca.raffaela@gmail.com Thanks Bianca, We wish you bright future in the makeup industry!

FEATURED ARTIST Make Up Eoin Whelan, Client Toni&Guy BHA 2016 Finalist Rachel Bartlett, Photographer Kevin Luchmunn, Stylist Stefanie Nieuwenhuyse, Hair Rachel Bartlett

INTERVIEW 25

_ Make Up Eoin Whelan, Client Liberty London, Model Georgia @ Models1, Photographer Jessica Gates, Stylist Rebecca Hale, Hair James Carthy

EOIN WHELAN Eoin is a freelance Makeup Artist living in London.

Eoin was born in the west of Ireland. After completing a course in makeup in 2004 he started to work full time as a makeup artist after moving to London in 2005. Eoin has worked for several top fashion and creative make up brands such as Nars Cosmetics and Giorgio Armani Beauty. In recent seasons he has assisted some of the industries top artists backstage in London, Paris and Milan. Working in the industry for 12 years, his clients include brands such as Antipodium, Kit Neale, Electronic Sheep and Liberty London.

Hi Eoin, first of all thank you for agreeing to talk to us and sharing your story. Tell us more about how you first started and what made you want to get into makeup artistry?

mine who was modelling at the time, everything kind of fell into place.

I started out studying graphic design. I spent my final year at college in Dun Laoghaire Institute of Art, Design & Technology. I had come to get my degree in Production Design, which is design for theatre, film and TV. We collaborated with students from the film and TV production class and the makeup and special effects class. We shared a studio space with them and I just loved how they could really transform someone. It was certainly why I stayed working as a counter make up artist for so many years. It’s amazing to watch a client’s whole demeanour change, the way they hold themselves, you can feel their energy change between the time they sit in your chair and the time you finish.

Yes the move to London was very difficult. I expected it would be but it ended up being difficult in ways I didn’t expect. When I moved in ‘04/’05 the industry in Dublin was even smaller than it is now, there was no social media, people still shot largely on stock film and digital cameras were still not particularly advanced. I knew I wanted a career in fashion and I realised really quickly that I would have to wait a long time for opportunities in Dublin. Some friends had moved to London the year before I did so I followed.

From an artistic perspective, my favourite way of working as a design student was through illustration and photography. I really didn’t enjoy working too much on the Mac. When I was encouraged to do a weekend course in make up by a good friend of

_ What made you move to London and was the transition difficult?

_ Tell us the worst makeup jobs you have done in the past? There have been a few, but luckily not too many! I’ve had a few unpleasant situations on bridal jobs, some nightmare customers on various makeup counters in various stores. A couple of times working on backstage teams for prominent designers. The worst, or the most

_ Make Up Eoin Whelan, Client Toni&Guy BHA 2016 Finalist Rachel Bartlett, Photographer Kevin Luchmunn, Stylist Stefanie Nieuwenhuyse, Hair Rachel Bartlett embarrassing, was being booked to do make up on a shoot for Italian GQ for a big British recording artist. When I got there he had his own ‘Glam Squad’ who he always works with and I had been double booked, they were pretty awful to me and I got out of there as quick as I could, mortified with embarrassment and very disappointed. _ And the best makeup jobs you have done in the past? I think my favourite shoots are some of the lookbooks I have done for

Irish knitwear designers Electronic Sheep and Tim Ryan. I love being able to work on projects that are linked to home. I have a few clients in the hairdressing industry with whom I’ve been doing some exciting work too. I did a show once for Giorgio Armani in Milan, I was waiting at my station with a model and I was waiting for the head artist to come to check my work. I turned around to find Mr. Armani standing right next to me examining the model’s face. I think I actually stopped breathing for about a minute. Luckily he was very happy, it’s not every day a huge

_ Make Up Eoin Whelan, Client - Taylor Taylor London, Photographer Gianluca Pantaleo, Stylist Maria Galati, Hair Taylor Taylor Art Team

designer personally gives your work the thumbs up. _ Does makeup still excite you? Absolutely. I feel like I’m still learning and developing as an artist. _ You’ve worked in fashion a lot, covering runway, editorial and adverts. What areas do you like the most? I do love editorial because it allows

you the freedom to be really creative but I also really enjoy catwalk. With editorial I really enjoy the process of collaborating with a team of other creatives. I’ve been lucky to do quite a bit in the way of men’s editorial and catwalk in the past year and it’s an area that is really beginning to push the boundaries of creative make up. The men’s shows I have worked on have been some of the most technically challenging work I have done in a long time. It’s a real skill to do men’s skin and not make it too pretty or too much like makeup.

ARTICLE 29

_ If your kit got lost in transit, what would be the first products that you would re-purchase? First thing would be a brown-black creamy eye pencil, you can pretty much define and contour a whole face using just that. Favourites are Nars creamy eye pencil in Mambo, Giorgio Armani eye pencil no.12 and Mac eye pencil in Coffee. I love Giorgio Armani High Precision Retouch concealer it’s kind of a make up safety blanket for me I always tend to instinctively reach for it for under eyes, around the nose, around the mouth, gentle highlighting anywhere and I have used it for over 10 years. Finally I would buy a really great red lipstick. Again because you can do so much with it; lips, cheeks and eyes. Favourites are Giorgio Armani Rouge D’Armani in rouge 400 and Nars audacious lipstick in Carmen. _ What are your thoughts on the rise of social media and how MUAs can use or abuse it? I have a love/hate relationship with social media, but it really can make you quite insecure if you focus too

much on the amount of ‘likes’ or followers you have. From a PR perspective, so many brands look at social media as a means to validate how relevant an artist or model is before they hire them. I also really dislike the whole instamakeup vibe that’s going on. It’s totally unoriginal and it’s becoming a case of make up by numbers. Hundreds of photos of brows, cut-crease, winged liner, lashes, highlight, and contour each one identical to the next. I think it’s important to remember that there is a big difference between someone who can apply make up well and someone who is a make up artist. A makeup artist is as much of an artist as any other, make up is our medium of choice and our canvas is the body, not just the face. Make up artistry is not necessarily about making someone look pretty. It actually took me a few years until I had the confidence in my work to call myself a make up artist. I’m not saying that works for everyone. There are so many great young, self-taught artists out there using social media to build their profile and develop their craft, not everyone has the means to do a professional course and that’s what is great about this platform

everyone should have the opportunity if they want it. I do have a problem with some artists and bloggers and how they are advising people about products without educating themselves properly, not making it clear that they are speaking from a personal perspective, or not making it clear that a company is actually paying these people to speak favourably about their products. My experience working on counter is that clients will research online because they want an honest unbiased piece of advice before they go to the counter. It was part of my job to introduce new launches to bloggers at one point and I was genuinely appalled by how little some of these ladies knew about make up and these people are giving make up advice to thousands of women online. It’s a huge responsibility that so many people are not taking seriously. There are some amazing bloggers that I follow who are really well informed and passionate about skincare and makeup. Caroline Hirons who is an Aesthetician (@carolinehirons) and Ruth Crilly (@modelrecommends) who is a former model.

_ Where do you see yourself in 5 years? Would you move back to Ireland? That’s a difficult one. The one thing the past few years have taught me is: if you hold on too tight to your dreams you end up strangling them, so even though I have goals, I’m trying not to focus too intensely on them because I might just miss a great opportunity if I’m not paying attention. I would love to continue on the path I’m on, doing more editorial work, building my profile maybe internationally, so that would definitely mean looking to do more work in Ireland and that would be amazing. Also finding time in there somewhere to do some personal projects. _ What is the best piece of advice you’ve received? That everyone has the potential to be the next ‘big name’, but your success in this business will have very little to do with your talent. The artist who gave me this advice is someone I still work with and respect a lot. It might sound a bit harsh but it can be so disheartening and frustrating to watch people with “better chat” get

_ Make Up Eoin Whelan, Client Metal Magazine, Model Sol Goss in Louis Vuitton, Photographer Jeff Hahn, Hair Jody Taylor at Premier Hair and Makeup

opportunities you want before you do so it has really helped me let go of that and because of that advice, I’ve always held the belief that you need to have the goods to back it up if you want those opportunities to amount to anything. You can never take any opportunity for granted or depend on it happening again so you need to make the most of it every time. _ What advice would you like to pass to on to new makeup artists? Knowledge is power, soak up as much as you can. Research not only those who are the hot artists right now, but who came before them. Look to art, nature and anything else that inspires you and make yourself a complete visual library reference. There has been a lot of talk about creative collaboration recently and you can see it in all areas of the industry. From our perspective as artists, I think it’s really important to learn how to do this because an established relationship with the people you are working with is really reassuring. We all know how fiercely competitive this industry can be, no matter how much you want success someone else always seems to want it

more. I feel that level of competition is at odds with creativity. By being part of a ‘squad’ it means you have people who have your back and you can bring work to each other so it’s mutually beneficial. It allows you to find like minded people with a similar approach to work. When that happens, things just click. When you want to work on your own projects you then have a team already in place. A team of people who work together regularly tend to be more productive and clients are definitely starting to take notice. _ Any makeup tips? Whatever new technique you learn take it and adapt it, change it, make it your own, don’t just follow what you see online or in a book. That’s the really fun part of what we do, playing with products and pushing them to the limits of what effects they can achieve, then mixing them with other textures. You can reach Eoin at: whelan.eoin@gmail.com +44 795 5209 948 eoinwhelan.net instagram.com/eoinmakeup

_ Make Up Eoin Whelan, Client Metal Magazine, Model Sol Goss in Louis Vuitton, Photographer Jeff Hahn, Hair Jody Taylor at Premier Hair and Makeup

ALI GORDON

Ali Gordon is an Irish makeup and special effects artist based in Sligo and Dublin. He found a gap in the Irish makeup industry that was desperately in need of good quality, Hollywood-standard special effects using up to date methods and materials.

SFX ARTIST

36 Thanks Ali for taking the time to talk to us. Firstly let’s talk a bit about your background, tell us how your first started, what made you to take on FX? Coming from a retail background, my interest grew from watching Rick Bakers’ work on Michael Jackson’s thriller video as well as Steve Johnson’s work on ‘Ghostbusters’. Similar to many FX artists I started out by creating Halloween makeup at a young age which evolved from a huge interest in makeup and movies. I’m a qualified makeup and SFX artist, over the years I did a makeup course at Dick Smith’s make up school and Stan Winston School of Character Arts. Since I am the owner of Somedevil FX Workshops and Director of Ill Willed FX Workshops, I got to refine my skills through the artists who teach classes with me. _ What influenced your decision to open Somedevil sfx/Illwilled workshops? Since my early teens I wanted to learn to do SFX and work on TV and movies but there wasn’t a lot of choice in Ireland particularly in the north west and places generally only taught basic SFX using old-school materials and methods that were also out of my price range. This lead to my decision to develop my own workshops. _

Tell us more about Somedevil SFX and when the idea to open Somedevil SFX/Illwilledworkshops come about? Tate Steinsiek and I became friends through our mutual interests. We both had a similar experience so our idea was to provide some crash courses in SFX at a much lower cost, and it grew from there. We hold courses all over Europe. _ Is it hard to establish a makeup/SFX business at the beginning, what main obstacles have you faced and how did you overcome them? It was definitely challenging to get up and running, however the passion and the feedback from students during the workshops were everything. We set a standard pretty high for ourselves which we have exceeded. We are passionate and full of determination because we love the SFX industry. In Ireland the industry is pretty small with little or no exposure but there is some great talent here. In my opinion one of the main obstacles we encounter is limited budgets for films and a lack of knowledge regarding the amount of work that goes into special effects makeup. We got a lot TV and film offers with minimal budget but then it will affect the quality of pieces, which reflect back on the artists’ image/portfolio. As an artist you need to be careful of what you sign up to.

_ Tate Steinsiek and Ali Gordon with their Rotten pumpkin creature at IMATS last year

_ Tell us about your most recent exciting projects? At the moment we’re in talks about a big budget movie which includes multiple pieces of old-age makeup which is due to be shot in Cairo, Egypt in early 2017. _ What was the biggest lesson you’ve learned in your years as an FX artist? I have learned to know materials, how they react with each other and how they react in certain climates. The day you stop learning is the day you start failing. Alway use references. _ What has been your favourite project to work on and your favourite things to create?

Honestly my favourite projects and creations are my workshops. It’s an incredible thrill to see students develop their ideas and get to play in that process. Often within a workshop you will have students who question themselves and their talent or someone who has never done any kind of special effect makeup before. Seeing their ideas come together and come alive boosts their confidence and interest. One of our past students won a scholarship to go to LA and others have been cast for movies/theatre/television series. It’s an absolute pleasure to witness the success of our students. _ Tell us about your most challenging project? There’s been a few challenging projects but one which is a well-

_ Ali Gordon student creations

known character and stands out is the ‘Pumpkin Lady’ from IMATS 2015. We decided to sculpt hands for the look just two days before the event, which isn’t impossible. But after hours of sculpting and moulding, I arrived in London and both hand pieces were damaged and couldn’t be used. It left me reacting on the spot, which is actually a common situation in SFX but this was on stage in front of upcoming artists, my peers and of course Steve Johnson who was on stage with us and talking through the process and he wouldn’t be shy of saying what he thought of what was going on. In the end it all worked out. _ As we know the Irish SFX industry is really small, what do you think of the industry here and what advice you like to give to people that just started and interested in learning SFX? The industry is prosperous, it may appear small but there is a lot happening in Ireland. Vikings, Games of Thrones, etc. I would advise people looking to get in to SFX, to do a bit of research on the person that’s teaching

the courses and if they’re teaching materials and techniques that are up to date. _ You often invite guest tutors and some people that are “Hollywood worthy” like Steve Johnson and Tate Steinsiek. It is great to see an industry expert teaching Irish talents. Tell us more about your courses and if anyone is interested in taking the course where/ how they can reach you. I run a number of workshops during the year ranging from 1 to 7 days covering: Life Casting, Prosthetic Application, Gore & FX Gags, Zombie 101, Sculpting & Monster/ Creature Creation to name just a few. Anyone interested can see our previous courses on youtube under Ill Willed fx workshops or visit Somedevil SFX Workshops Europe on Facebook. You can reach Ali Gordon on Instagram @somedevil_fx Facebook @IllWilledFXWorkshops Twitter @illwilledsfxeur

EMERGING TALENTS

Emma Wright

Photographer Daniela Rom

Cintia Kiss

Photographer Fely Cayaban

Emma Wright

Ă ine Cassidy

Photographer Fely Cayaban

Lauren Cooke

Photographer Fely Cayaban

Lauren Cooke

Kellie Doyle

Ă ine Cassidy

Photographer Fely Cayaban

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