Analysis of Estella

Estella Havisham, Great Expectations 

Estella may be beautiful, but she's as chilly as Frozone, freezing the hearts of everyone around her—including her adopted mom, Miss Havisham. She's "proud and refined" (33.4) as an adult, and "beautiful and self-possessed" as a child" (8.25), and for some reason Pip falls desperately in love with her, even though she's really, really rude. She's hardly known him for five minutes before she's telling him that he has "coarse hands" and "thick boots" (8.67).

But we can't hate Estella, either. Can you imagine living in Satis House with a mother who wears her wedding dress everyday and who only cares that you grow up to break boys' hearts? Can you imagine having to deal with relatives who only want your mother's money? Can you imagine sleeping in that run-down house every night, hearing Miss Havisham's low moaning and mouse-like shuffling all over the floor boards?

Yeah, it sounds pretty bad. No wonder she claims she "never had any such thing" as tenderness (29.75), and that she has "no heart […] no softness there, no—sympathy—sentiment—nonsense" (29.66-68).

She knows just who to blame, too: Miss Havisham. We never really get to know Estella, which makes sense, since we're in Pip's perspective and she's always out of his reach, just like the star she's named after. But at one moment, she kind of blows up at her adopted mom and we get a peek into the mind of Estella. Miss Havisham gets mad at her for pushing her away, and she points out that it's totally Miss Havisham's fault for making her unable to love:

Do you reproach me for being cold? You? […] I am what you have made me. Take all the praise, take all the blame […] All I possess is freely yours. All that you have given me, is at your command to have again. Beyond that, I have nothing. And if you ask me to give you, what you never gave me, my gratitude and duty cannot do impossibilities. (38.69-77)

No wonder Estella chooses the meanest, roughest, cruelest man she possibly could pick to be her husband. There's something inherently self-destructive about this choice, making her not so dissimilar from the self-destructive Pip, choosing the one thing that's guaranteed to make her miserable. Perhaps they're meant for each other after all.

Estella characterising:

I think through creating the make up for Estella you could portray her in many ways through her emotion and time throughout the book. You could start with styling Estella as a young innocent girl who is purely doing what she is told by her mother and sometimes as child forgot to give no mercy to anyone. Another portrayal could be Estella when she has grown up into a elegant beautiful young woman, very knowledgeable to who she is and how she has no heart, the hairstyle would be a later Victorian period as she has grown up. Her social class is very high and from a wealthy background. Later on Estella get together with her husband who beats her, however she shows no emotion yet again. Estella looking high class with a slightly messy elaborate Victorian hairstyle with simple make-up yet bruises and cuts covering her body and face. The make-up is very important through a character as is gives a visual effect of the character such as happy, sad, tire or bruised and beaten. 

Pip and Estella (Great Expectations 2011):

https://www.youtube.com/watch?v=2Txg5yu5fWA
http://www.shmoop.com/great-expectations/estella-havisham.html

Creating Miss Havisham in Contrast

Emotion through make-up in contrast-

Me and another peer started working on a model by both creating a
different emotion/period of Miss Havisham on the face. This would the show the contrast between the looks and the effect make-up can give on the face. We started with creating a small mind map of ideas in our group of three and then decided between me and the other make-up artist who would create which look. We started with looking at sorrow, making mend, caring and wanting forgiveness, then old, broken, tired Miss Havisham and also the cruel and selfish. We was trying to figure how we could portray this through make-up and show a contrast. Jamie, the other make-up artist decided she wanted to create very old and broken Miss Havisham and I wanted to do younger however a little crazy just after being stood up by her future husband-to-be.


I started off my design with the base foundation, as Miss Havisham is very pale and white I mixed my models normal colour foundation (which is very pale anyway) and a mix of Illamasqua skin base foundation which is pure white, this gave the pale complexion.

Next I started with the contouring on the cheeks, I wanted it to be a very deep colour which contrasts against the pale skin. I used a mixed of grey and brown and followed the cheek bone line. I then added a hint of pink to the skin as Miss Havishams character here is still young and isnt long after her husband to-be left. I wanted my half to look a little crazy in the eyes as she clearly went mad after what happened, so I applied a red powder under the eyes and blended it round to the crease of the eye. I then mixed a grey eyeshadow over the eyelid to give the eye depth and darken them. For the lips I purley went over them with the white base foundation to make them appear cold and slightly lifeless as I didnt want them to pouty. Due to stress your hair can turn white or even start falling out, so for the eyebrows and eyelashes instead of highlighting and defining them I used white supra paint and a disposable mascara wand to paint the brows and lashes white.

On the other side of the face my partner Jamie had created Miss Havisham a little older, still very pale however much older so the skin is wrinkled and looking much more tired. I think our practical session to creating Miss Havisham in contrast went very well. You can really see the difference make-up can do when trying to create a character. I think the difference between the old and younger crazy Miss Havisham really portrays well next to each other and how make-up can change the face.


Products:
Illamasqua white base foundation
charles Fox Foundation palette
Charles Fox Blush Palette
Charles Fox eyeshadow palette
Illamsqua white loose powder
mascara wand
Charles Fox white supra colour

Make-up products I used to create the look.

The brushes I used.

Face Chart:

Miss Havisham face chart in contrast. Half a face

Close up on the face chart

Mini mind map I created, gathering ideas.

Above is the face chart I created for Miss Havisham for the contrast look. I only created half the face as the point was to make-up half the face and the other make-up artist create the other half of the face so the look contrasts against each other and the comparison between the looks. Mine was quite a subtle look and concentrated on the application of the colours and the contouring and highlighting of the skin to show Miss Havishams look. I really enjoyed creating this look and getting to compare the difference between the looks and showing how make-up can effect the face and the emotion its portraying. It was fun working on half a face and the model enjoyed feeling the difference between brush strokes.

Developing Miss Havisham

Miss Havisham mind map 

In my own time I started trying to think of different ideas and ways I could portray Miss Havisham through the years of her uncanny character. I started with stating different times of her existence from the day she was getting married to the day she burns to her death. I also starting expanding ideas on her described look in the book and what known features and clothing she has. In the upcoming weeks I will have to explore Miss Havishams character and finalise my idea to one look and how I want to portray her through make-up. 

Miss Havisham Face Chart-
When thinking of what period I want to portray Miss Havisham I started getting ideas about her character at the end of the film when she sets on fire and starts burning. I thought really cool idea I could create would be Miss Havisham with a part burnt face and the rest her normal old pale face. This would show the contrast between her natural complexion of white, old skin, tired eyes and dried lips and the partly burnt face. During the end of Miss Havishams life when all she felt was sorrow and hurt due to the life she led slowly died while she burnt. 



Make-up Inspo:

https://s-media-cache-ak0.pinimg.com/236x/bb/8d/2f
/bb8d2f79bd62b2da19dec74a5d61cfff.jpg
I want to create an aged look through make-up which
will be mostly on one side of the face however
also under the burn. I've got inspiration from this 
photo on creating my Miss Havisham.

http://cdn.instructables.com/F6J/EPDX/G0KQK10E
/F6JEPDXG0KQK10E.MEDIUM.jpg
For the other half of the face I want to create burns,
this photo is quite similar to how I want to create the burns 
on the character.

I want to give myself options with the look I can create therefore I will be practising different looks and creating different face charts on how I can portray Miss Havisham. With most of the looks I will definitely have to give myself time to practise what I want to do as Its quite hard to create ageing and burns that would look realist. For the first character we're creating it's for continuity therefore when I create it once I will have study the look hard, document what I did, take photographic evidence and then recreate the look again. I will explore her age and experiment with the look as I will have to create this on my chosen partner. 

Gothic/Horror in Fashion

| Givenchy FW 2015 |

Was it a Gothic dream or a romantic ball? During Paris Fashion Week, Italian designer Riccardo Tisci pushed the masquerade theme to its paroxysm when he delivered Givenchy’s Fall/Winter 2015 Fashion Show. In a swirling dance around the glittered-red catwalk, Tisci delivered the new head-turning collection mingling ambiances, genres and genders.

Givenchy’s collections are often punctuated with references to sacred texts and passion with a slight touch of aristocratic atmosphere: all in all, the Fall/Winter 2015 menswear offering was no exception. Red blood, displayed all over the Persian patterns coats and short-sleeved shirts was a reminder of the East grandeur. Besides, the Italian make-up jewellery enhanced the wealth of the menswear collection.

This time, accessories definitely joined in the voodoo art, overthrowing the rest of the outfits. A small range of silver thorns dramatically sealed the models lips, long golden ties adorned black and red ensembles in a reminiscence of Tisci’s dark daydreams. In an uncanny game with shadowy make-up, the show was all about skulls, bones and crucifix. Glittering faux tattoos and dramatic pearl masks added a finishing decorative touch. Women with cherry lips walked along the stage, their long dresses adorned with delicate lace. For the love of the now famous Rottweiler teeth necklace, they seemed to be like grand duchesses forsaking their tiaras.

Once again, the Givenchy man was captured in-between streetwear influences and impeccable silhouettes. On the top of the head, two braids framed models’ face and plastered temples illustrated the double-sided personality of the modern men. Whilst he was animated by a wild passion, he remained peaceful in a world of dreams and dark fantasy.

Here I have selected a few of my favourites from the collection. I personally think theses are the most Gothic looks throughout the show. I think this is because of a collaboration of  the garments and glitter horror make-up really makes my skin crawl in a beautiful way. You cant help but look at these creepy Givenchy looks without looking deep into the glitter and thinking its amazing, I think I'm in love. Now that's what you call Gothic horror. 

I think this FW15 looks states Gothic horror in a unique fashionable way. From the black dresses to the red and black suits portrays the Gothic colour combination, including the fur (reminding me of death) to the jewellery. Each look has been made to look individual and is know as Tisci's dark daydream. 

Backstage Photos:

Backstage after the show, people congratulated Pat McGrath as much as they did Tisci. It was a stunning feat of skill and creativity as some of the models’ faces were smeared and smudged into ghoulish characters, inspired by a mix of skulls, cultures and tribes. On the girls, flakes of paint coupled with crystals adorned their faces and bodies, as if to reflect a beauty in the decay of objects. The biggest feat was the face of a bejewelled creature, dripping with shells, rhinestones, metal discs and pearls, stuck directly on to the skin. She was an otherworldly being leading this eclectic crew. Like the show, there wasn’t anything uniform, symmetrical or even sensical about the make-up, which made it all the more breathtaking to witness.

http://www.scoopnest.com/user/i_D/559984428886159360

http://www.dazeddigital.com/fashion/gallery/19165/2/givenchy-aw15

Video caption from the official Instagram of Pat McGrath
the well-known make-up artist who created the amazing
looks. 

https://www.youtube.com/watch?v=9WTRq6wLO8Q

http://www.dazeddigital.com/fashion/article/23295/1/givenchy-aw15-livestream

http://www.thessfw.com/givenchy-fw-2015-menswear/

The Gothic, Great Expectations

How is Gothic depicted in Great Expectations?
Great Expectations is not a Gothic novel in any simple sense. Like all of Dickens’s writings,

http://i.telegraph.co.uk/multimedia/archive
/02378/Great1_2378781b.jpg

and perhaps all writing, it belongs to more than one genre. At times it resembles a fairytale, at other times a realistic or a comic novel, at others a melodrama: most commonly, it blends together the qualities of several genres. But gothic is a persistent thread in the book and at times, particularly moments of psychological transformation and crisis, the whole book seems charged with the force of the Gothic through the characters and the setting of Satis House. In the very first chapter, for example, when Magwitch leaves the graveyard, he looks to Pip ‘as if he were eluding the hands of the dead people, stretching up cautiously out of their graves, to get a twist upon his ankle and pull him in.’ What is true for Pip is also true for us as readers of the book; at certain moments, the dead seem to reach up to grab you. Miss Havishams description made from Pip was very Gothic like, her looks, clothing and house was mostly compared to grim deathly things and her look is very strange to Pip.

"dressed in rich materials -- satins, and lace, and silks -- all of white. Her shoes were white. And she had a long white veil dependent from her hair, and she had bridal flowers in her hair, but her hair was white. Some bright jewels sparkled on her neck and on her hands, and some other jewels lay sparkling on the table. Dresses, less splendid than the dress she wore, and half-packed trunks, were scattered about ... I saw that everything within my view which ought to be white, had been white long ago, and had lost its lustre, and was faded and yellow. I saw that the bride within the bridal dress had withered like the dress, and like the flowers, and had no brightness left but the brightness of her sunken eyes ... Once, I had been taken to see some ghastly waxwork at the Fair, representing I know not what impossible personage lying in state. Once, I had been taken to one of our old marsh churches to see a skeleton in the ashes of a rich dress that had been dug out of vault under the church pavement. Now, waxwork and skeleton seemed to have dark eyes that moved and looked at me. I should have cried out, if could." (ch. 8)

Miss Havisham is haunted by her own dead past and when Pip first sees her, she seems almost to have willed herself into becoming this uncanny, haunting figure, through a performance in which she stages her own Gothic misery and draws others into her dead-alive world. She has become the living corpse of her own happiness. This self-destructive (but also self-preserving) staging of herself as a bride on the threshold of her wedding arrests her in time, at the moment of traumatic revelation. Unable to let the past go, unwilling to move forward or back, she is a figure simultaneously powerful and powerless. Miss Havisham is both the victim of her abandonment and the dominant, powerful, even seductive, oppressor of Pip and Estella.

What are the specifics elements of the uncanny?

Uncanny means strange or mysterious, especially in an unsettling way.  In relation to the quote in the previous paragraph when Pip describes Miss Havisham, the eeriness and uncanniness of the passage stem a good deal from its repetitions, in which some simple words – hair, dress, bride, white, brightness, waxwork, skeleton – repeat over and again. It’s as if Pip can’t let go of what he sees as its so strange, and that what he has seen is destined to return over and again, however hard he tries to escape it. His description resembles a strange incantation, suddenly punctuated by the simple words of his impossible exclamation: ‘I should have cried out, if could’.

How is the grotesque depicted in Great Expectations?

Grotesque is known as comically or repulsively ugly or distorted. The grotesque instills fear of life

http://graphics8.nytimes.com/images/2012/03/31/arts
/JP-EXPECTATIONS/JP-EXPECTATIONS-popup.jpg

rather than death. Structurally, it presupposes that the categories which apply to our world view become inapplicable. Which in the case of Great Expectations it is to scare the reader. One of the literary modes Dickens employs is the grotesque. Many scenes throughout the story utilize the grotesque although it is particularly apparent in the opening chapters, where the protagonist Pip encounters the escaped convict Abel Magwitch. The grotesque in literature generally refers to a style of writing which presents the world in an exaggerated and fantastical manner. Unlike the fairy tale, the grotesque has a distinctly dark and ominous aspect. It runs contrary to literary realism which attempts to portray the world from an objective perspective. Critics have often interpreted Pip and Magwitch's relationship as being typified with conflicting emotions. They consider it to be grotesque or 'tragicomic'.I think the grotesque moment between Pip and Magwitch is when they first meet in the graveyard. I think how Dickens gives the uncanny a unique twist within the novel in terms of characterization is when Pip meet the character  Miss Havisham, her character is so unique and different that even the character in the novel are made to think of her as strange, odd and queer.

"Hold your noise!" cried a terrible voice, as a man started up from among the graves at the side of the church porch. "keep still, you little devil or i'll cut your throat?" 

"O! Dont cut my throat, sir,"I pleaded in terror "Pray don't do it, sir" Pg 4

I think the meeting of the two was quite an impact to the start of the story when Pip first meeting Magwitch and being utterly terrified of him. I think this part of the book so early in struck me and scared me a little wondering what Magwitch would do to do as he was such a unfamiliar character to begin with. 

http://www.bl.uk/romantics-and-victorians/articles/the-gothic-in-great-expectations#sthash.vAdkJQo6.dpuf
http://www.sooperarticles.com/art-entertainment-articles/grotesque-great-expectations-pips-early-encounters-magwitch-652194.html

Victorian Hair in TV or Film

The Young Victoria (2009)

http://www.imdb.com/title/tt0962736/

Dominated by her possessive mother and her bullying consort, Conroy, since childhood, teen-aged Victoria refuses to allow them the power of acting as her regent in the last days of her uncle, William IV's rule. Her German cousin Albert is encouraged to court her for solely political motives but, following her accession at age eighteen, finds he is falling for her and is dismayed at her reliance on trusty Prime Minister Melbourne. Victoria is impressed by Albert's philanthropy which is akin to her own desire to help her subjects. However her loyalty to Melbourne, perceived as a self-seeker, almost causes a constitutional crisis and it is Albert who helps restore her self-confidence. She proposes and they marry, Albert proving himself not only a devoted spouse, prepared to take an assassin's bullet for her, but an agent of much-needed reform, finally endorsed by an admiring Melbourne.

Written by don @ minifie-1




Hairstyles throughout the Film-

The film was set during the first few years of Victoria reigning the country therefore the hairstyles throughout the film should be of the period of around 1840's. In this photo from the film Queen Victoria is having a casual stroll in the garden so she wearing a day dress with a bonnet sitting at the back of her head with cap framing the fame. The Hairstyle is parting in the middle and sleek at the top, the bottom half is curled into ringlets and as for the top part which is covered by the bonnet its either probaly in a high bun or gripped up to fit in the bonnet as it was very unlikely for women to have there hair completely down.

This hairstyle is very beautiful and I love the detail in the bun and at back. At the front of the hair its sectioned into a middle parting and the font, side fringe is in the ringlet together. The back of the hair is in a high bun and parts of it is plaited and twisted up. You can see the part that is sticking up is plaited and has a support for the design.




 

In this beautiful shot of Queen Victoria and Prince Albert, Victoria's hair is parted down the middle and the fringe is straight and sleek. The fringe is then pulled back into the bun, the ends of the fringe is either twisted or plaited to meet the bun. The bun is one plait twisted around to create the bun itself. . e hair is then decorated with flowers at the front of the hair and around the bun, 











I chose this Film because its purely about the life of Queen Victoria when she first reigned the country. I thought no film could be any better to reference the Victorian era than a film about Queen Victoria herself. This film has many hair designs that you could reference to from the era. This film is set on the early life of Queen Victoria from being a Princess to becoming the Queen of England and getting together with Prince Albert in 1840. Queen Victorian and women throughout this film demonstrates a wide range of hairstyles from the mid Victorian era.


https://www.youtube.com/watch?v=ttdndRyoehM
http://www.aceshowbiz.com/images/still/the_young_victoria03.jpg
http://images2.fanpop.com/images/photos/4800000/The-Young-Victoria-the-young-victoria-4872517-468-489.jpg
http://fortuneandglorykid.com/wp-content/uploads/2014/11/The-Young-Victoria-Emily-Blunt-Rupert-Friend.jpg





Daniel Deronda (TV mini series 2002)


Set in Victorian London, Gwendolen Harleth is drawn to Daniel Deronda, a selfless and intelligent gentleman of unknown parentage, but her own desperate need for financial security may destroy her chance at happiness

It is across the roulette table that Gwendolen Harleth first locks eyes with the enigmatic Daniel Deronda. Gwendolen is beautiful, vivacious, and a gambler, but desperate for financial security; something that possessive Henleigh Grandcourt would be able to provide for her. Daniel is the adopted son of an aristocratic, but doubtful of his own identity. He pours his energy into selflessly helping his friends, including poor Jewish singer Mirah Lapidoth. As Gwendolen's situation becomes dire, and Daniel seeks to uncover the mystery surrounding his own birth, their lives become intertwined...

• - Written by L. Hamre

Hairstyles throughout the series-

This hairstyle is obviously very late Victorian as

the ringlets are further at the back of the hairstyle

as the early-mid Victorian period the ringlets were

at the side of the head falling down the side of the

ears. One of the main characters in the mini TV

series is Gwendolen Harleth, here Gwendolen has

thick ringlets at the back of her hairstyle with

multiple curls in a large up-do with a hat slanted

forwards on the right side of the head. At the top of

the hairstyle the stylist had probably used padding

to heighten the style and then placed the ringlets on

 top to cover and then gripped all the curls into place. The sides of the hair is scraped back in the do and

the top part under the hat looks curled. The style it very elaborate which definitely portrays the late 

Victorian era. 

On the left side of the photo the style looks as if its very short however if you look close the hair design is all gripped up into a pattern tight to the bottom of the head. It either looks like its been plaited very loosely and put up or pleated together and gripped to the head. The top part has a slight wave to the hair and the sides are scraped back to meet the waves at the top. It looks as if the top part is a hair piece and had been gripped into place. The fringe is curled however not into a ringlet a looser curl and had been brushed out and gripped to meet the back of the hair and flow to the wave at the top of the style. On the right hand side the hair has been completely pulled back into what looks like a very elaborate bun. The top part of the bun has a plait going over the top and the bottom looks like large curls have been twisted and gripped into places to create the full bun look. The bottom half of the hair has been put at separately than the top half and has joined together with the curls.  

This design and overall look is very elaborate. The curls at the sides are very tight ringlets however is pulled off the face so its sitting just behind/ next to the ear, and the early Victorians are very much the side of the face. The curls have been nearly all gripped up tight to the top while the bottom half of the hair is down in very thick ringlets. There is probably only around 5 ringlets at the bottom half as they are so thick and again the ringlets are to the back of the head. The hat is placed on top in the centre of the head and attached is feathers on the top. The hairstyle is probably worked around the hat so it all fits into place and looks right.

I chose to this TV mini series to represent the hairstyles in the era as it has a wide variety of characters to reference. This TV series is set in the late Victorian era so between the film and TV series it shows a variety of hairstyles ranging from early- mid Victorian to mid-late Victorian and how the hairstyle change through the decades and become more elaborate.

https://www.youtube.com/watch?v=mtk6xuWDpBg
https://s-media-cache-ak0.pinimg.com/236x/37/8e/da/378edadd55872be447b1fe240ed714a5.jpg http://demodecouture.com/wordpress/wp-contents/uploads/2013/01/paradise2.jpg

http://image.guardian.co.uk/sys-images/Film/Pix/gallery/2007/03/05/BarbaraSpooner3.jpg

Creating Late Victorian Hairstyle

Add caption

Equipment:

• Hair brush
• comb 
• hair band
• curling tongs
• grips 
• supra colour palette 
• mascara wand 

In our recent Victorian hair practical lesson we were looking at creating a hairstyle during the late Victorian period. Our lecturer Helen first gave us a demonstration of what were were expected to produce in the lesson.

We starting with first parting the hair in the centre then parting the fringe area (around about where the ear is) and gripping it up out of the way. Then we halved the hair so half was up in a pony tail while the other half was down. Next was curling the ponytail, I pre heated my curling tongs and starting curling individual sections of the ponytail until it was completely curled in all directions. Next I went onto the fringe and curled 4 sections into ringlets going down the side of the face. For the last sections (which there was 3 left) I curled them but curling them away from the face as this will be gripped backwards. Once all the fringe section was curled I brushed the curls through with my finger and gathered the whole fringe together and gripped it back to meet the ponytail curls. 

Once the top half of the head was completed I moved onto the bottom half which was untouched so far. I used small tongs and curled individual sections to create ringlets below. In the Victoria era they would either leave the curls hanging down or grip parts up and let the curls drop over. In this case we were gripping all the hair up so I used brown grips and clipped the bottom half up and pulled the ringlets down to drop slightly. Unfortantly my Kate dolls hair isn't very long so it doesn't give the full effect of the ringlets dropping down as her hair isn't long enough. However in the Victorian era the women would grow there hair very long and would easily be able to pull of this hair design. 

Back of my hair design 

Side view of the hairstyle

Next Helen showed us how to make the hair look older and how to create grey streaks through the hair. Firstly our lecturer showed us with a certain palette she had which was particularly used for ageing the hair. However in this case we would use our supra colour palette to create the ageing in the hair. For the colour we mixed white with a dash of yellow and if you wanted to make it a darker grey then use a little bit of black. 

This is a Victorian curling iron that would of been used in the
19th century. These metal tongs would of been placed hovering
over a hot fire to be heated up and then used on the hair, which
in some cases the hair burnt off. 

Overall I think my late Victorian hair design went very well and I really enjoyed the practical session. I think my curls all came out very neat and together and was well placed. I think my grips could of been secured a little better in the hair to keep the curls up, and I think would of looked better if her hair was longer so the curls dropped down further than looking like an up-do hairstyle. Overall I'm pleased with my design, I think I could manage my time a little better so I could get the whole design finished in a reasonable pace. 

Gothic Landscape Photography

Cemetery and the Church...

In relations to my current unit I felt it was important to go out myself and venture for the Gothic landscape myself. I felt this would set my mood and visually give me ideas and a physical feeling of the Gothic horror. Last weekend when visiting my home town 'Swindon' in Wiltshire, I decided to take photographs of a local church and burial grounds in Swindon. The buildings are taken in Lawns Park which is in old town and the same for the church and grave yard. The day of exploring I took my I Phone out and changed the settings to black and white to give the dramatic contrast effect of colours through the monotone effect. The day was dull and the sky was completely grey which gave a very Gothic atmosphere to the grounds I was on. The sun was unseen as it was covered by a thick layer of grey, the air was ice cold and the grass was frozen on the tip. The air was wet and cold, the day couldn't of been any moodier to fulfil the setting of the cemetery. 

Old Storage/refrigerator that used to be used for storing meat and food.
Now half the door entrance is buried underground so you cant get into it.
The Unknown.

Old burial Church in Swindon with memorial writing
on the stone grave from the Victorian Era.

Overgrown and locked away, places and gates
you cant access which is overgrown with weeds
and plants.

Burial grounds. Locked away, private area. The
unknown and strange places. 

Victorian people lay.

Old flat stone graves, built on the ground. Gothic Writing and
the fear of dying young.

Cracked Stone and gothic patterns within the cold
stone. 

Church, crosses on each point of the building. Crisis

A world of Doubt. Detailed gravestone, old and crooked. 

Gothic Churches. Walking through the dead.

Abandoned building. Terror Verses Horror. 

Entrance to the Christ. 

Gothic Archtecture, shapes, the unknown. 

Victorian period gave, 19th century joint with 20th century. Overgrown.
Sexual Power.

Locked up old church. Noone can pass. 

This particular Photograph reminds me of the gate
to Miss Havishams Mansion 'Satis House'. The plants
are overgrown and stretching out clinging onto the gate.
The gate is chained up so noone can get inside. It gives a sense
of mystry and the unknown of not being permitted to walk on the grounds. 

A video collage of all of the Photographs...
http://flipagram.com/f/Q9gIUBcIs4

| Paris Notre Dame |

Gothic Church

Inside Notre Dame and also photos of the development of it being built through the centuries.