Review: Generation Q – Where beauty has no age limits

Illamasqua is one of those brands where every time I go to a new event I think they can’t do better than the last collection.

Once again they’ve proven me wrong, this collection is AMAZING!

What I love about this is it’s celebration of age. Some of the models were older women and they were not trying to hide their age, rather celebrating it and just that in it’s self blew me away.

“Generation Q – is generation YOU! It’s what they tell you not to do; it’s what you see your true self through. It’s what’s old and what’s new”

Mostly every brand I can think of always uses young teenage models, heavily airbrushes them and then likes to portray age as the most disgusting beauty crime you can commit. I think this is the first time I’ve seen a brand dare to challenge this disgusting taboo.

I was lucky enough to get a sneak peak of the collection (or rather a super sneak peak as it isn’t coming out till September).

“Generation Q is a clear message to everybody, everywhere that beauty is not old, black, white, male or female, but anything, everything and everyone”

At the moment I can only show you these rough shots of the collection but as soon as the collection is released I want to do a video review, the photos just don’t pick up all the gorgeous undertones these eye shadows have.

The empower palette is pretty much a collection of duo-chromes in mint pink and yellow and the lip gloss in Opulent (described as rainbow beige) really is a flecks of the rainbow in beige.

The eyeshadows are so creamy and pigmented! These are not eyeshadows that you will have to drag and layer on the skin so that it shows up.

This collection is perfect for people who love bold and subtle makeup, for the more daring the pallet in Empower is perfect, and for the more natural makeup inclined Compliment is the perfect pallet. Makeup for the old, young bold and subtle. Love it!

As for the blushes Gleam Cream is back! This time in a cream blush rather than a liquid form called Gleam: Aurora. Being an absolute sucker for coral blushes Sophie is a blush I think I may have to get my hands on…

Personally I cannot wait for the collection! I love the products, the idea behind it, everything.

What do you think about the idea behind this collection?

Tutorial Props: Baby Dragon Skull

For one of my upcoming looks (Dragon Slayer) I’d had this idea in my head of having a dragon skull resting on the end of a sword, I’d already decided to to paint a large background for that tutorial so a little dragon skull wouldn’t be so hard…right?

It ended up taking around 4 days to make and I have to figure out a new way of making a mold because I nearly broke the final piece several times from trying to get it off the base, that was till I accidentally knocked it off the table and it snapped in half :(

What I used:

  • Children’s Modeling Clay
  • Cake Decoration sculpting tools
  • Liquid Latex
  • Talk powder
  • Fimo Air Light Air-Drying Modelling Clay
  • Air Brushing on a mixture of brown ink and water to “age” smokey jr.

First thing I did was make the “base”, a rough mold of what I wanted the skull to look like. I didn’t want to go for the chunky heavy looking skull that a dragon would have in Western art, rather I decided to go for something that looked like a cross between a reptile/crocodile and an Asian art dragon with a long thin snout and long thin teeth.

Once I had made the base I covered it in about 3 coats of latex so that once it had dried it would create a protective layer between the Fimo Air clay and the modeling clay, making it less likely to stick to it.

While it did make it easier to remove it wasn’t easy to get the clay off once I had sculpted the final skull on top. What I ended up doing was cutting it out one section at a time so than I didn’t break anything, got to find out a better way to do that…

One thing that occurred to me that once I’d finished making it was that I could have taken a stipple sponge over the whole thing to add a bit of texture instead of smoothing it down a bit by blending it with water and my fingers, but hey, lesson learned for next time :)

Here is my video showing what I did:

And at the end of this tutorial I’ve also included a rough draft of how I want the intro clip that I made this skull for to look like.

What do you think?

Chart Me: A present for you ALL!

It’s taken me a while to finally make these but now they’re here and I’m so happy to be able to give you guys some free face charts for ANY eye shape.

The reason I decided to make these was after it occurred to me that face charts are always the same eye shape (almond eyes) and always on white paper which, if you are doing a look for someone with brown or black skin, is a problem.

This is my way of thanking all my lovely subscribers for watching my videos. As lovely as giveaways are for who ever wins there are always so many people who don’t win I thought this would be a good way to give everyone something :)

For the moment I will just be releasing the white face charts but each month I will be releasing all the ones I’m offering today but in a darker skin tone till I get all the way to ebony.


  • 5 different layouts

  • 4 different eye-shapes

  • Free!

  • Just download and print

You can print these, copy them, share them with friend, anything you want! The only thing I do ask is that you do not upload them on a another website. If people want them they will always be on this website to download.

And you can download the first batch of these face charts here bellow.


TOAM: Snow White and the Huntsman

* TOAM= Thoughts On A Movie

I’ve been looking forward to this film for a while now! I absolutely love it when people take old fairy takes and “un-disneyfy” them and make them dark and gritty. Plus Charlize Theron as the bad guy…I just had to watch that!

Charlize Theron plays queen Ravena who manages to enchant her way into marrying the King (Snow White’s father) and killing him on their wedding night and taking control of the kingdom.

Theron was absolutely awesome as the evil queen, a tad bit too scream happy at parts but I loved her! The ultra cool bad guy who you’re just not sure what she is going to do next and the costumes were pretty awesome too.

The thing that let the whole movie down I thought was picking Kirsten Stewart to play Snow White. Just a bad, bad, decision! I felt like I was watching twilight again but with Bella swan in a dress with a sword.

It is the same awkward breathing, slow stares and staring at the camera with her eyes welling up with tears. I was just 20 minutes into the movie and I was already thinking “why did you pick Kirsten Stewart!”

Chris Hemsworth I thought was good as the huntsman but the character I liked the most (aside from Charlize Theron) was the Prince played by Sam Clafin. I just wish they’d explored his character more. Since he’d thought he’d lost his childhood sweetheart Snow White, he’d turned into a kick-ass queen-hating fighter who I think could compete with Legolas in archery.

You can tell he still really loves Snow White and regrets having left her all those years ago, but he also realizes that Snow White loves the Huntsman and dose not question it. There’s no “she’s mine!” fights between the two it’s all just a bit too mellow.

Overall I think the film was just a bit too long with scenic shots which were just un-necessary, when they could have explored so much more of the characters like the Prince and the Dwarfs.

And the ending just plain annoyed me. Snow quite kills the evil queen and gets crowed, que slow stares at the camera and teary eyes for no apparent reason and then boom, the end! We don’t know what happens with the huntsman or the prince, nothing.

As usual the girls get a wimpy heroine. Ugh!


This really makes me sound like I hated the movie. To be fair I didn’t, some parts of it were awesome. The queen, the costumes and the backgrounds are what made this movie. But it just felt like they could have done so much more with it and didn’t.

I’m back! :D New video and plans…

*Happy dance* I’m back!

I was hoping to do a much more dramatic video for my first upload in over two months but it’s taking me a lot more time than I planned to make all the props I need for that tutorial so I had to upload a far less spectacular tutorial.

But don’t worry, that tutorial will still be uploaded!

Seeing as everyone liked it so much in my previous blog posts when I showed how the makeup would look with different eye colours I’ll still be doing that.

And the lovely thing about this look is that if the mint green dosn’t work with your eye colour you can just swap it with a colour that does!

So what are my plans for videos now?

Well…I will be uploading regularly now, on my KlairedelysArt channel it will be once a week on a Friday and then pretty much randomly on my Klairedelysdotcom channel but generally for that channel I’d like to keep it to the beginning of the week.


Yes I have a second channel! What’s it for? Mainly for reviews (I’m not a fan of mixing tutorials with reviews in my channel as they tend to appeal to different people), How-I-Made/Painted-That videos, tutorials which are not makeup related such as DIY beauty and just random stuff.

Keep an eye out on that channel cause you know that present I’ve mentioned a few times that I was making for ALL of you? Well the video for that will be uploaded on that channel.

As I’m sure I’m going to get flooded with questions about THOSE wing earrings these are the gorgeous pair of earrings I bought from the lovely Aranwen. You can buy them here.

Oh and Aranwen was kind enough to give me a code to get a 10% discount for you guys, so if you any of you are planning on buying one of her pieces don’t forget to use the code KLAIRE10 at the checkout.

And I hope you like the video :D


Artist Interview: James Gurney

I know a lot of you have heard me raving on about Drew Struzan, but another one of my favorite artist which you have not heard me rave on about so much is James Gurney. Where Drew Struzan is the master of posters James Gurney, in my opinion, a master of imagination!

I first stumbled across his book Dinotopia in the library a few years ago, since then I’ve bough all of the series except for Dinotopia: First Flight and I recently went ahead and bought Colour and Light: A Guide for the Realist Painter and Imaginative Realism: How to Paint What Doesn’t Exist.

Both books are utterly fantastic! There is honestly more information in these two books than anything I was ever taught through my A-Levels AND University.

For one of my projects at Uni we had to interview working professionals and James Gurney was one of the artists I wrote to.

Now to be perfectly honest I didn’t expect him to reply to some random student from the UK, but he did, and I hope you find this interview as interesting as I found it :)

Did you study art in college?
I went first to UC Berkeley and majored in archaeology, a subject I that always fascinated me. I then went to school for a couple of semesters at Art Center College of Design in Pasadena, where I learned some very helpful material about perspective. However, most of what I have learned has been self-taught.

How did you teach yourself?
I developed my own curriculum of self-teaching based on The Famous Artist Course from the 1950’s, Andrew Loomis‚ book Creative Illustration, and the teaching methods from the 19th century French academy, which involved fairly detailed anatomy and cast drawing. The best book for learning about French academic painting methods is The Academy and French Painting in the Nineteenth Century by Albert Boime, 1971.

I had never really painted up until this time, so I felt like I was starting from square one. All this self-teaching from books was combined with daily outdoor sketching, which became such a passion that I ended up coauthoring a book on the subject for Watson-Guptill called The Artist Guide to Sketching in 1982.

Who were your main influences?
Norman Rockwell was my childhood hero. I also always loved MC Escher. Both artists really succeed in pulling viewers into their work. I also greatly admire the Dutch book illustrator Rien Poortvliet. Other artists I admire: Frederic Church, William Bouguereau, Sir Lawrence Alma-Tadema, Tom Lovell, and Howard Pyle.

What were your first jobs like?
As a high school student, I learned how to do hand-lettered calligraphy, and made my first income from designing wedding invitations. I got a job doing engraved line illustrations for ring ads in the newspaper. It wasn’t paying the bills. My big break was getting a job painting backgrounds for an animated film called Fire and Ice, co-produced by Ralph Bakshi and Frank Frazetta, and released in 1983. It was a marathon of painting, because I had to paint about 600 paintings in a year and a half.

How did you break into the illustration field?
I didn’t really start in the freelance illustration business until I was about 20, when I started doing paperback covers for science fiction and fantasy books. I never used agents or sourcebooks, instead sending samples directly to art directors.

How did you get hired by National Geographic?
I sent them samples and went in for an interview. They didn’t like the samples at first (because they were fantasy-related), but liked my attention to detail, and gave me a chance. They work with their illustrators on a freelance basis, though in the past they used to have artists on staff.

How did you get the idea for Dinotopia?
I traveled to Jerusalem, Athens, and Rome on assignment for National Geographic, and it was a huge inspiration to see those famous old cities. I spent time with Rick Bronson, an archaeologist who was just like Indiana Jones. He led me through overgrown jungles to find little known Etruscan ruins, and we descended down ladders into newly-discovered tombs. Sitting around the campfire at night, Dr. Bronson and I would talk about dreams of discovering a lost city like Machu Picchu or Troy. I realized that I could always make a painting of such a lost city, and that led to Dinosaur Parade and Waterfall City. After that, I drew a map of an unknown island and came up with the idea of a Victorian explorer who discovers this island and reports about it in his journal.

Can you describe your working environment?
My studio is part of my house, right above the garage. There’s a four-foot square skylight above the painting area, flanked by color-balanced fluorescents. The countertops are covered with dinosaur models and toy robots and the closets are full of costumes and props. I have a pet parakeet named Mr. Kooks who hangs out on a big playground right next to my painting area. My window looks out past a bird-and-butterfly garden to an oak forest, inhabited by pileated woodpeckers, a flock of wild turkeys, and families of foxes. I typically work from 8:30 to 5:30 five or six days a week, listening to classical music and books on tape as I paint and draw. I usually sit down when I paint indoors, but stand up when I paint studies outdoors from nature.

How long does it take to make a picture?
Some pictures only take a day. Most take a week. Big ones with lots of people take about a month. Most of the time is spent in the preparatory stages. Each Dinotopia book takes me about three years to write and illustrate.

What is your favorite medium?
All the pictures are painted in oil. Oil is my favorite. I often use oil in transparent washes over a line drawing that has been sealed with acrylic matte medium. I’ve been using just turpentine and Liquin for the painting. All the Dinotopia paintings are done in oil. Sometimes I’ll start with a pen and ink drawing or an acrylic wash-in. I often work on heavy weight illustration board, and sometimes on oil-primed linen canvas.

Could you describe the research and reference process?
I start with small thumbnail sketches in marker or pencil, sometimes dozens. If the painting requires scientific or historical accuracy, I consult with experts at every stage of the process and incorporate their suggestions. If it’s an architectural subject or a dinosaur, I’ll often build a little model or mockup to establish shadows and angles.

If necessary I enlist models to pose in costume, usually friends or neighbors. I either take photos or do tone paper sketches of the models. I have a large mirror mounted in the studio and often develop tone paper studies of myself posing in costume to get the basic action. I also have a scrap file of color magazine photos that I use for texture and form ideas.

After all these studies, I work up the line drawing—and sometimes a full charcoal drawing and finally begin the final painting. The place to really see the process is in my book, Imaginative Realism.

Are there moments of struggle in most paintings?
I find that the early stages of the painting, when the major areas are being established, are generally the hardest to get through. The reason is that the actual painting is very far from the original vision in my head. When this happens, I try to take one area to finish, and build from there.

You mix real and fantastical elements, often to make an impossible scene look believable. What is your thought process in this kind of work?
Some people have called this kind of work reality-based fantasy, but I think it’s really what artists have always done through history in portraying scenes from myth, literature, and the Bible. Basically what I am trying to do is to create a realistic image of a scene that could never be photographed. My guiding philosophy is the old Latin saying “Ars est celare artem” which means that true art conceals the artifice of its making. For me, creating depth and illusion is one of the most exciting goals of painting, but it’s just a first step, because the higher goal is to select, accentuate, and subordinate all the elements of the picture to communicate a particular mood or feeling, and that goes beyond mere illusionism.

What is your advice about style?
Forget about style. Try to learn from nature with close observation and humility. Don’t model your work after any living illustrator (including me). If you must study the work of other artists, pick ones from the distant past, and look at many different ones, not just one.

What is your feeling about computers in art?
I’m personally committed to traditional painting and drawing. I have a deep love of the tactile quality of brushes and pigments and the physical presence of framed paintings. Nevertheless, I am fascinated by the new visual ideas that digital artists introduced, and I have enjoyed working with digital artists who have helped translate Dinotopia into other realms. Of course image-making is always in a time of transition. Traditional painting will always be around, but it will constantly evolve to fill new niches in the art world.

What is the nature of the art business these days, and what advice would you have for aspiring artists?
It is competitive but not cutthroat. Nearly everyone I’ve met in the field has been congenial and welcoming to new talent. Of course there is always a surplus of young (and older) artists who want to be working in the field, but there is always room for a new voice with a new song. Keep in mind that desire and hard work are worth more than talent. Genius, as Thomas Carlyle once said, is the infinite capacity for taking pains.