BODYPAINTING

KIT COLLECTION AND INFLUENCIAL ARTISTS

Products:

Fixer spray by kryolan sets the make up in place when you are finished with the painting. Be careful with hair, which has bleached highlights when using fullers earth mixed with paints.

Airbrushing kit and bodypainting brushes are requires, flat ended, paintbrushes are good to use. Aqua colour by make up forever is a good quality products and vibrant in colour. Kryolan aqua colour isn’t as effective and can look patchy.

. Paradise products are around seven pounds and work just as effectively. Head and shoulders shampoo is useful for stripping the paint from the models skin after a bodypaint with MAC water based products. Kryolan body and face have a shimmer range (good for a metallic body paint)

Make-up Kit:

Make up whipes- tissues- cotton buds

Towels and shower items

Razors

Derma shield/ Primer

Vaseline

Duo Adhesive

Glitters- Adornments- Sequins

Iridescent colours

IPA

Hydro MASTIX washable spirit gum or Pros-Aid

Below Text: Townend, J. (2015). BA Hons Make-up for Media and Performance. Arts University Bournemouth. 12 March.

PREPARATION AND BUDGETING:

-Colour prep is important, choose your colours carefully, airbrushes are used a lot in industry and it is important to know how to clean an airbrush. G-strings in polyester and cotton are both good materials to work with.

-Design and mood boards are required, understand where the paint will be situated on the body and work out which products will be used on the day beforehand. Work out what you are going to do with the hair, you can add styling implements and a head dress to speed up to process.

-Care of the model: look after the model, they will be cold and communication is important for both of you. They will be stood for a long time and are the base for your painting

-Theres colours you vcan add into fullers earth to create a vibrant colour, ready made child proof paint (poster paint) could be mixed with the fullers earth and applied on top of layers of paint.

-Hot pens cut through plastic are easier to use than a cutting knife for creating templates used in bodypainting.

-If you are working on something high profile, you can contact the company and sometimes they will send you some free products. You have to be forward with the company and careful in the way you present the question in hand. Be polite and respect the company you are representing.

-Seek inspiration from children’s mythical books for fantasy style bodypaints, film is a good source for creative bodypaintings along side pinterest and instagram.

KYLA MORGAN

Studied fashion design in her early life, she went back to university in 2006 to study costume and set design for theatre, film and television at the Western Australian Academy of performing arts.

In 2008 the first ever wonder down under convention for face and body painters and entertainers took place in Victoria. Both Suzanne and Kyla attended and Kyler remembers the excitement of meeting some of the biggest names in the business including Lynn Jamieson, Mark Reid, Jinny and Erika Harrison.

In 2009 Kyle was asked to collaborate with a third-year photography student- Natalie Davy - on her final assignment. "I really enjoyed designing something to paint on a body without following a brief. We could do anything we wanted and enjoyed bouncing ideas between us. It became clear to me that body painting involves the perfect mix than me. It combines all the things I have studied and love: fashion, costumes and working with textiles."

USEFUL TERMS:

Triadic colours are equally spaced from each other on the wheel.

Split-complimentary colours either side of a complementary colour.

Tetradic (rectangle) are two sets of complementary colours together in a rectangle formation.

Tetradic (square) are two sets of complementary colours together in a square formation.

The colour wheel also tells us about warm or at advancing colours (reds, oranges and yellows) and cool or receding colours (greens, blues and violets).

A monochromatic colour scheme is one where tints or shades of just one colour are used.

BASIC PAINTING TECHNIQUE CLAW MASK

With a medium-sized round brush, paint five metallic green finger shapes radiating out from under each eye. Add an extra curve shape sweeping up towards the forehead.

Sweep lime across the eyelids and blend and blend with the metallic green. Also with the lime, highlight each of the finger shapes.

Still using a medium-sized round brush, paint white pointed fingernails at the end of each finger shape.

With a small round brush loaded with black, outline the nails, finger shapes and the curves above each eye. The fingers and claws look better if the black outline is uneven.

With a fine round brush add details in the black to the fingers and close. Paint the lips with a blend of metallic green, lime and green should shimmer powder. Finally add black shimmer or pressed powder to the curves above each eye and with a very dry brush at black shadows below each claw.

We all have artists whose work we admire and recognise straight away. Often part of what we are admiring-even if we don't realise it-is their distinctive use of colour. Colour differently, however physically quite unconscious. However, we can all challenge our current use of colour to make our creations more dynamic and visually appealing.

The colour wheel is a circle with different coloured sectors used to show the relationship between colours. It's an incredibly useful piece of kit when experimenting with colour and can be bought from any art shop.

It shows the three primary colours red blue and yellow. Then it chose the secondary colours that are created by mixing two primary colours together-green, purple and orange. Finally it shows the tertiary colours that are created by mixing one primary colour within adjacent secondary colour, resulting in red-orange, yellow-orange, green-yellow, blue-green, blue-violet and red-violet.

All images ant text: Magical Make-up. (2014). Illusion Magazine. Issue 26. U.S. Page s 49- 51.

Above and below: Butterfly and Flowers. (2010). Illusion Magazine. Issue 12. U.S. Page s 20 and 21.

BLACK AND WHITE

you won't find black and white on a colour wheel. Colour is defined as being the property possessed by an object producing different sensations on the eye as a result of the way it reflects or emits light. As black is the absence of light, and white is pure light, you’ll find that many scientists do not consider black and white to be colours.

A chemist may say that black and white are both colours when they exist in pigment or molecular form. Whichever way you look at them, black and white are essential.

White is used to highlight certain areas and to lift a design, while black is often used to lend drama and definition. As a dark colour, it is said to recede.

SKIN TONES:

Col skin tones tend to have a pink or rosy undertone. Warm skin tones tend to have a golden or apricot undertone. If you have fair skin, you can determine your skin tone by looking at your arm. If your veins are blue, you have a cool skin tone. If they’re green, you have a warm skin tone.

All images ant text: Magical Make-up. (2014). Illusion Magazine. Issue 26. U.S. Page s 49- 51.

CREATING SUSTAINABILITY

-Be the best assistant you can be, do not use your mobile phone unless it is required and necessary. Be a part of the team as their assistant and make a not of their personal preferences and communicate.

-Re invention, there will be new techniques on the market often and you will need to look at your personal profile and business cards often, do they fit the market? And look at new inspirations, constantly portfolio build.

-Keeping well informed and updating your portfolio: When you are going to work on something do not post it on social media instantly, respect the company or individual you are working for. Read the make-up artists magazines as there is a lot of useful information in them, they are up to date magazines with what is happening in industry at that time. Always show your portfolios with other people, have other peoples opinions and take this on board, is there a story behind the image? A concept? Make it interesting.

Below Text: Townend, J. (2015). BA Hons Make-up for Media and Performance. Arts University Bournemouth. 12 March.

HIGHLIGHTING AND RECEDING

USING BLACK AND WHITE PAINT

Above: MAKE-UP ARTIST. (2013). ONMAKEUPMAGAZINE. Spring. U.S.:. Pages 60 to 65.

RELEVANCE OF ABOVE IMAGES:

The concept: Mike Ruiz and pretty masculine, all taken from ONMAKEUP magazine. I chose these bodypaints in particular because the artists have used black and white paints to highlight and recede the models natural features. It is interesting to see how clearly the paint distorts the models face and body, making them appear faceless in two of the three. The first of the three is fascinating and the viewer is forced to look for the artificial face across the models torso, which appears to be a floating head at first glance. On the third image the artist has cleverly used black paints to create shadows, similar to the explanation by Kyla Morgan (see top of the page) where she gives a visual explanation of how to create a 3D shape- mask on the models face. The artist has used this technique to create a second skin illusion and the model appears to be robotic on the ‘inside’. The technique works very effectively against a black background and would not stand alone against any other colour, if I were to practise the technique then I would need to take this into consideration.

DEMONSTRATION: JULIA TOWNEND 12.03.15

Begin by prepping the area with dermashield and keep the stroke direction downwards. think about your colour choice and how they will compliment the bodys natural shape with contouring and sculpting areas. Nail art is popular and will work effectively along side the bodypaint. Mix Fullers earth with childproof paint and apply to the skin with a latex sponge cut off. A small travel sized hairdryer may be needed to speed up the drying time of the product.

Aquarelle is highly pigmented water colour and can be used to outline definite shapes and lines to

Townend, J. (2015). BA Hons Make-up for Media and Performance. Arts University Bournemouth. 12 March.

IN PRACTISE

I wanted to combine the Fullers Earth techniques demonstrated by Julia Townend and the use of colour to highlight and recede areas of the face. The exercise was to practise with blending colours relevant to the individuals natural skin tone and create a sunken effect or a cut out section. I want to focus on developing my skills in colouring the skin and prosthetics and felt this was a relevant make up experiment for my current project.

I used the AQUA palette by Kryolan for the highlighted and shadowed areas and a MAC studio fix foundation (NW20 and N35 mix) as a base, matifying powder was applied before adding the water based paints on top of the base to create the desired shape. A mixture of white, black, brown and some primary colours were used for the outline and the cut out but white was the focus colour for the face paint.

I laid on fullers earth, thick over the models scraped back hair and mixed the primary colours with brown and white from the AQUA palette to paint over the drying material, the result worked effectively for the make up as the hair was a distraction to the highlighted area. A mix of soft round brushes and flat square brushes were used to define and blend the edges of the cut out, creating a fading effect.

DEVELOPING A RELEVANCE

ILLUSION ARTISTS: VERONICA AZARYAN, TIM WALKER, VERA LEHNDORFF AND HOLGER TRULZSCH

I began searching for artists whose work would inspire my current project ideas, relating to facial recognition and identity. By using colour, they create an illusion on the face and body, highlighting certain features whilst withdrawing other features with the use of black. The techniques used by the artists have influenced my designs and encouraged me to experiment with paints to diminish individual features.

Barros, A. (2014) ‘Veronica Azaryan’, Splendid Make-up Art from Russia, 6 May. Available at: http://illusion.scene360.com/art/59700/splendid-makeup-art-from-russia/.

The above images are from an artist named Veronica Azaryan, she informs the viewer that the middle photograph is a study and the two either side are final images for various campaigns promoting branded high-end jewellery. She uses block colour to form shapes and diminish the models facial features whilst bringing them back to life with splatters of metallic paint or pigments, creating contrasted textures with the wet and dry materials combined.

She explains that each make up can take up to four hours and sometimes invited other hair and make up artists to assist with the application. She states that her art works: “simply come from the soul.”

These images are relevant in a sense that they highlight the ability to recognise the facial features through careful scrutiny. The models almost look like mannequins and the expression is lost behind the paint. Photoshop has been used to recede areas of the body further and contrast the vibrant colours running through the hair and this is a technique I may have to practise to ensure a finished photograph of my work. I like how high class these images are, the statueesk look suits the make up and jewellery, the artist has executed the brief to an incredibly high standard.

TIM WALKER PHOTOGRAPHY

Walker, T. (no date) timwalkerphotography. Available at: http://timwalkerphotography.com/ (Accessed: 28 March 2015).

Analysis:

These photographs have been taken from his Portrait collection for their unique individual qualities relating to the separation of facial features. The photographer has cleverly used photographic overlay and collage to create memorable portrait stills, which confuse the viewer. I chose the photograph to the left because at first glance the scene is confusing. After analysing the photograph you can see that the eye is looking through a spy hole and the second half has been taken with a fish eye lens (as a spy hole is designed in shape) reflecting ‘peeping eyes’, the image is what the person on the other side of the door can see. I like how the artist has thought about the concept and not just the context. The other two images are influences to my project where I will be swapping an individuals facial features around and I will use paper cut outs to visualise this transition before the sculpting process.

Tim Walker’s photographs are mesmerising, story tellers in the form of stills and have been seen in VOGUE for over a decade. He has extraordinary style and this is reflected in his elaborate staging and scenarios. From his Bio: At the age of 25 he shot his first fashion story for Vogue, and has photographed for the British, Italian, and American editions, as well as W Magazine and LOVE Magazine ever since.

VERUSCHKA LEHNDORFF & HOLGER TRULZSCH

Lehndorff, V. and Trulzch, H. (1989) ‘ Veruschka’ , Transfigurations. United Kingdom: Thames & Hudson.

Notes taken from book:

…no one is ever truly alone, or wants to be. (Indeed, characters are usually defined principally as members of a family.) Sentimental art requires the presence of a witness, for whom the stories of woe or images of desolation provide a training in pure feeling- one who does not witness desolation but is desolation- and whose complete identification with the deescalate scene precludes feeling (its exemplary form: tears), whose gaze is unresponsive, withdrawn.

Notes continued:

Lehndorff explains she is a self-invention and tht she invented herself as an object in the 1960’s when she became Veruschka. She argues that she can't be exploited, an object in the conventionally gendered sense (“… It has been I myself using myself as an object and I have therefore never felt that I was being used by others”). The intentional argument is a matter of autobiography and she explains further… “I have always used myself and my body as an instrument to express my ideas”)

To be only one sells, alone, carrying the whole world inside one's head; or to be only an image, something inside the world's head-these seem like opposites. In fact, the intersect in the characteristic yearnings enacted in these images. They are detached, contemplative. Depicting a yielding to the environment, letting go, being correctly passive. Their aim is to perform new feats of fooling the eye.

(Lehndorff and Trulzch, 1989)

RELEVANCE:

The above image has highly influenced my design choice for a face and body paint, it can be interpreted in many ways but I see a hidden identity, an alter ego inside of the model and she is made to look like an illusion, a fake being or living doll. I also like the way the photographs have been laid out visually for ease, allowing the viewer to truly take in the image of her undressing and finally removing her skin and disappearing into blackness.

All of the artists that have influenced my work have used black paint and black backdrops to create illusion for their face and bodypaints and this is something I will recreate myself in a series of images were the body will gradually fade into the background, leaving only the eyes as reference.

DISAPPEARING

ACT

CASTING:

I took Inspiration from Tim Walker photography and Verushka Lehndorff for the final bodypaint and wanted to create a distorted image of a human face, mimicking an illusion of two faces or mouths.

I used techniques taken from all of the above artists (black to recede) and highlighted areas of the models face to create a cracked effect, this way, the model gradually looked as though she was disappearing into nothing, leaving the viewer to question her existence.

The concept was to understand the importance of facial features and placement of the features on the face. I took two separate alginate casts of the models mouth and filled the moulds with gelatine to create the illusion. Afterwards, I sealed the gelatine pieces with Kryolan sealer and painted them with ScreenFace grease paint, both differing in colour slightly to distinguish a difference in both positives.