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- I credit having two older sisters with my falling in love with EVERYTHING BEAUTY. Watching two fashionistas while growing up turned out to be a seduction of my interests. I was quite the tomboy until 8th grade then it began. As a teen, I began to devour every beauty editorial in all of the top fashion magazines: Vogue©, Elle©, Essence©, Cosmopolitan©, Harpers Bazaar© and Seventeen. I could not get enough. I was ever-willing to spend my last $10 on an eyebrow pencil and two fashion rags. I would spend hours at the nearest store to browse the make-up lines and become familiar with every tool there was. I learned to sew at a very young age (Mommy made sure), so this was the time I started designing and sewing my own outfits to wear to school. So of course I had to have nails and eye shadow to match. If my blouse had black and white stripes or a checkered pattern, then so did my nails and eyes. Eventually becoming a NAIL TECHNICIAN & MAKE-UP ARTIST was a natural progression.
Tuesday, January 11, 2011
Shame Shame Shame!!! MUAs - WE ARE HIRED HELP!!! We are hired to do a beautiful job because of our expertise, experience & ...
Without clients - WE ARE NOTHING!
WE OFTEN HAVE NO POWER OVER ART/CREATIVE DIRECTION of weddings UNLESS that is a part of the contract agreement or TOTAL TRUST is established other-wise...as in through a detailed consult or you have an EXTENSIVE BRIDAL PORTFOLIO that gives the client complete confidence in you. When you bring these specialized services to a bridal client, charge adequate fees & still remain mindful that we are hired help.
In bridal situations, RARELY is there an existent opportunity to execute YOUR vision for what a bridal client may desire for herself. The stresses that brides feel when it comes to their planning & ultimately the big day are understandable UNLESS it comes to the point where HIRED HELP, like MAKE-UP ARTISTS are suffering some form of abuse from said client.
When working with bridal clients, use images & do a VERY THOROUGH CONSULT so you are more likely to grasp the client's vision. When the client is ABSOLUTELY CLEAR & CONFIDENT that you are in tune with their vision - you may have the freedom to show more of YOUR technique, expertise, personal make-up philosophy & really put your stamp on the bridal looks.
A MUA being TOLD WHAT TO DO is not abuse. A picky client usually is not stepping on our toes or questioning our expertise...
THEY ARE EXERCI$ING THEIR RIGHT TO BE AN EDUCATED CON$UMER!
We should relish each opportunity to satisfy a very selective client every chance we get,
...most of us cannot rightfully think of it any other way because with our current level of expertise & experience - we have much growth to achieve. Much of that growth may be wisdom.
Jennifer James | MUA Pin It Now!
Monday, January 10, 2011
bc of ur blog post, i decided to go to MUD to perfect skills as a MUA (been in it via retail since '07 n i learned hands-on so no official school). i want to eventually live off of it. do u think there's potential to succeed thru school's network of jobs?
WOW! because of my little ole' blog?! Thanks so much for reading! Was it the post called Cosmetology School? Yea or Nay? NAY!...
Congratulations! I highly recommend MUD Schools & actually plan to attend the SOHO (NYC) location myself in the very near future. More education is always a good look.
I don't particularly have much faith in schools connecting you to work. I do believe that along the way, you have the opportunity to meet people who could aid you in finding work...
Once you have the education & the experience - your confidence to generate career moves for yourself is what you should rely on.
That's my take, you evaluate things further as you go through the educational experience & all the things that come with it.
Thank you, very good question!
Sunday, January 9, 2011
These differences are also evident when working on gigs with other artists - it is only magnified by the Internet because one is able to bear witness to vastly larger numbers of MUAs & their practices. Having embarked on my discovery of myself as an Educator over the past few years - this notion has also crudely slapped me in the face: EVERYBODY is a Make-Up Artist, but where is the commitment to the core principles of the craft.
Most of us cannot even approach the mastery of contemporaries of ours like Pat McGrath, Billy Brasfield, Lottie Stannard, Sam Fine, Viktorija Bowers, Ralph Siciliano, & Shutchai Buacharern. It is no coincidence that these MakeUp Artists have the connections that they do to the art world & its technicalities. Study their backgrounds & you will realize how important that connection is to them, what they do & how they are inspired. It should be important to you as well! You owe it to the industry, its masters, its history & its aesthetics - to give it everything within you while you honor the greats as you honor yourself - WITH EDUCATION & TRAINING.
It's exciting to meet younger & or novice MUAs who seem to truly have passion for EVERY aspect of the craft. Sadly, I find them to be fewer & fewer amongst the masses of us. Most shockingly I have noticed how so many MUAs really take to heart the being considered a true "artist" part, yet...
...knowledge of color theory is either very limited or completely non-existent. This is meant to be a 'call out' of the ones who are guilty of this - so if you are offended, R.U.N, DON'T WALK TO A COLOR THEORY CLASS IN YOUR AREA. A simple Google search can lead you to the possibilities.
Here are just 5 scenarios that argue my COLOR THEORY point:
1) You get a TV gig. It's being shot in HD. On camera, your work does not look like it does in person. Knowledge of COLOR THEORY could have kept you from being in this predicament in the first place & give you the skill you need to rectify it.
2) Your first time in the Make-Up Dept. on a film set. The Key expects you to have many skills under your belt. Like basic corrective make-up techniques needed to keep talent's looks within the vision of the Key's design. You are assigned to cover a specific defect on the talent's face in a very short span of time. No time to test several cover shades, you think you can eyeball it but you have NEVER dealt with this kind/color of skin abnormality. There it is - COLOR THEORY.
3) You're trying to achieve a certain look for a client & the colors are reading one way & the client wants another. Evaluation of client's undertones relative to the palette being used requires applied COLOR THEORY to render the desired result. Period.
4) You get the privilege to work with a very experienced, knowledgeable & talented photographer (for a bridal magazine) who is extremely well versed technically - & ANAL. He says the tint needs to be adjusted in the model's lip color. Your lack of knowledge of COLOR THEORY has you in a state where you don't even know the follow-up question to ask the photog in this instance - so you're completely lost. The definition of TINT in the color theory realm is a need to know, but you aren't sure between TINT & TONE...yikes.
5) An opportunity arises for you to assist an agency represented MakeUp Artist. Part of the job description is 'knowledge of COLOR THEORY a plus'. You have none so you miss an opportunity to get on the roster of assistants at a reputable artists'/stylists' agency. Womp,Womp!
There a dozens more examples I could come up with, but I think the point is well made. Any TECHNICAL KNOWLEDGE RELATED TO ART can be of great benefit to Make-Up Artists. This game is very competitive, so as many advantages as you can give yourself - I ADMONISH YOU TO DO SO! Instinct is very important; refining the technician in you will only make those instincts more keen.
Jennifer James | Schoolmarmish MakeUp Artist
MakeUp & A Racial Divide...in 2010?!?!
Cosmetology School? Yea or Nay? NAY!
"I Love Working at _____!" OH DO YOU? REALLY? REALLY?
Websites on COLOR THEORY:
Beauty Talk w/ Cosmetics Color Expert Trae Bodge