WHAT WENT WELL AND HOW DID I ACHIEVE IT?

• Plaiting the hair from the nape of the neck and winding it around the hair was an effective method because it reflected the shape and formation of a tornado which reflects the back story behind my character successfully.

• The hair reflected an 'unruly and wild' appearance with lots of volume. I achieved this by backcombing the hair at the root and then teasing into position and securing with grips. I also used heated tongs to curl front sections of the bun allowing me to achieve a more messy texture. I selected a model with naturally ginger hair so there was not need to spray the hair ornage to reflect key characteristics of my creation. Luckily, my model had naturally thick hair which also emphasised the volume of the hairstyle as there was more hair to back comb.

• The cupid's bow lips stick create a youthful appearance to the character which expressed her youth. I achieved this by neutralising the lips with white foundation to emphasise the cupid bow shape to make it look more realistic and defined. I was also happy because the lips were neat and even in shape - this was achieved through carefully placement of product and by outlining the lip with a lip liner prior to lipstick application to ensure it was symmetrical. I also applied corrective techniques by exaggerating the bottom lip outwards so that the top and bottom lip were even in shape.

• The make-up includes various textural elements which translates successfully as a 3-dimensional make-up. This includes the thick layering of white of the cheekbones to suggest a pale complexion and the use of liquid to create the tear drops which is more effective than simply painting the tears on which would look flat.

• The deep undertones of colours used on the eyes, such as purples and blues, works successfully in relation to the deep plum used on the eyebrows, waterline and lips ensuring that the make-up works well as a whole. I achieved this by referring to colour theory and selected colours which complement one another.

• The colouring on the eyes was also successful as midnight blues and plums reflected a stormy sky, the yellow and orange represented a sunset and the flashes of metallic represented lighting. It also usefull to experiment with shimmer and matte finishes to achieve a more 3-dimensonional make-up.

• I was careful to ensure the pigment product did not drop out onto the models face which would ruin the foundation. I achieved this by not overloading the eyeshadow brush with product and by placing a tissue under the eye which caught any excess product as I carefully patted the product onto the eyelid.

WHAT DIDN'T GO WELL AND HOW DID I OVERCOME IT AND WHAT DO I NEED TO IMPROVE FOR NEXT TIME?

• The plait could have been made thicker as it was not visible from the front angle of the hair. This was caused as the hair thinned towards the end of the plait, so that when it wrapped around the front of the hair, the end (thinnest section) was postioned at the front. In future, to overcome this I would take a larger section at the nape of the section to ensure the plait is thicker.

• On close inspection, the redness of some blemishes is evident through the make-up. To overcome this, I should have applied my knowledge of colour theory to the make-up by appying a green corrective product over the blemishes to counteract the redness.

• I should have applied more white contouring and colouring to the neck area to intensify the pale colouring of my character.

• To emphasis the sad facial expression of my character I should have drawn on the eyebrows in a more downturned angle.