#Ornatrix weave tv

#Ornatrix weave tv

“If I had been able to re-create it using hairpins, I could have gone on my merry way and just watched TV for ten years,” said Stephens. Determined to figure out how it worked, Stephens began researching historical references, experimenting with a mannequin head in her basement laboratory at night like a Dr. The back is tied in a geometric knotted bun comprised of concentric braids forming a perfect spiral.

The front is curly but appears to be brushed back smooth, resulting in deep waves. Domna, a late-second century/early-third century empress, had a bewitching, gravity-defying hairstyle. On that day at WAM, Stephens developed an obsession with the back of Julia Domna’s head. If you can’t see the back of the head, you’re never going to figure out the hairstyle.” “Since I’m a hairdresser, I stand behind people’s heads all day,” said Stephens. But at WAM, the ancient busts sat in the middle of the room, so Stephens was able to get a good look at the back of their heads. In most museum setups, portrait busts line the walls elevated above eye level, as if they’re looking down at visitors.

Stephens wasn’t particularly interested in antiquities before a 2001 visit to Baltimore’s the Walters Art Museum. She doesn’t have a Ph.D., she doesn’t read Greek or Latin, but she’s blown the academy’s collective mind with historical discoveries made in her basement. Her revolutionary observations about women in antiquity are the result of pure grunt work. In her videos, Stephens plays the part of ornatrix for her hair models, using as-authentic-as-possible hair tools like horn combs and bone needles. No evidence exists that public, for-pay hair salons, like the one where Stephens works, existed in ancient Rome. Poor women likely employed friends or sisters to do their hair.

She focuses mostly on the hairstyles of Roman women in the first century A.D.įew examples of ancient women’s hairstyling practices remain - given their feminine and quotidian nature, few were ever even recorded - but it is known that slaves called ornatrices styled rich women’s hair at home. Stephens styles hair at Baltimore’s Studio 921, but she’s better known outside of her hometown for tutorials faithfully re-creating historical updos on YouTube. You can tell that hairdresser/archaeologist/YouTube personality Janet Stephens is an unusual woman by her choice of reading material: “I read Vogue and Bazaar for work, and I read scholarly work for entertainment,” she says. The main purpose behind Ornatrix is to make it as much fun for the user to explore the art of virtual hairdressing as possible.Hairdresser-archaeologist Janet Stephens is known for styling ancient updos, like Faustina the Younger’s pictured here. So leave your skepticism and frustrations behind, put on your hairdresser hat (if you have one), and let your imagination and inner stylist roam free. The purpose of Ornatrix is to bring you (the user) as close to achieving perfect results as possible with putting the technical side of things inside. Since then many strives have been made in simulating realistic hair. Hair and fur has been one of the biggest problems in CG since the problem was first studied in 1980’s. This is a great introduction for any uninitiated Oxer! In this crash course video we explore the basics of Ornatrix and go through the steps of creating, editing, and finally rendering out hair on an object. Ornatrix 101: Creating, Styling & Rendering Hair If you are new to Ornatrix for 3ds Max, this crash course takes you through the steps of creating, editing, and rendering hair on an object.