Initially, reading the project brief I felt overwhelmed and apprehensive because although I am influenced by history and find the subject area as a whole very enticing, I become disinterested very quickly and this frightened me. However, I Unknowingly chose a portrait of Sir Nicholas Poyntz by the famous Hans Holbein the Younger, which not only fascinated me with its arousing professionalism and marbled flesh tones, but later lead me to absorb educational key facts about the social class and hierarchy of the 1500's. I gained knowledge in the field of medicines and found out that the physicians of the time were the only citizens with a degree, and ordered 'handy men' to perform minor and major surgeries on sick patients in unnerving circumstances. I found myself fixated with the era, the black death and their ignorant understanding of nutrition and diet, leading the poor to outlive the Royal Families.

 

I struggled to achieve a marbled skin texture with grease or alcohol activated paints and It wasn't until I looked at other artists work that I understood what paints I needed to use and how to apply the product to project what I was envisioning. I purchased water activated paints in different skin tones and applied the colour in layers to create a colour and texture that I couldn't have achieved using the aqua palette alone. The paint didn't take away any detail from the prosthetics which I didn't necessarily find problematic to sculpt/ mould or apply during the final make-up, they tied the prosthetics together with the postiche and rather the prosthetics ageing or disfiguring my models face, I wanted them to emphasize tiredness, changing his natural expression without looking deliberate and false. 

 

The most challenging aspect of the project for me became apparent when I came to knot the mustache. I had to ensure that the hair was knotted accurately and incorporate directional knotting, otherwise the hair would lay incorrect and unnatural on his face. I previously struggled to perfect the technique which meant the process was very time consuming and discouraging. However, after watching numerous tutorials on knotting the technique became easier, allowing more time to perfect the shape and style reflected in the portrait. I added bulk knotting to the mustache after comparing it to the Sitters and seeing a noticeable difference in the thickness. Although it appeared to be an accurate resemblance, it wasn't until I began styling the mustache that I came to realize it would never be bulk knotted. I unpicked hair from both sides to try and thin it down for styling and the hair became manageable. However, if I had more time I would start the process again, ensuring its accuracy. 

When I came to knot the beard I seeked out advice from 'Sara'. Asking about directional and bulk knotting, to ensure the overall structure and appearance was correct. The technique became naturally easier and I surprised myself with the outcome. I applauded myself during the final application because it appeared seamless in combination with the prosthetics and make-up on his face. Initially, finding the patients to perfect and understand the method was difficult and I gained confidence through forced practice, a skill I wouldn't have encouraged myself to learn otherwise.