Backstage

Republish this old guide on how to make a nice makeup feline, always in vogue for those who want to deal with a little carnival’ of joy. E’ You can also change the colors proposed (blue and blue, Pink and rosso) to give the mask a touch of originality !

First of all applied with a sponge, a white light enough on the face (I used the acquacolor) , including the eye, and softening the neck. Then start drawing with the black nose cone, as shown, about respecting the limits given by the vertical line of the eyes and ears of the mid face (red lines).
The mark must be decisive and firm, starting off from the edges of the mouth to get thin and faded face up to the half way line.

E’ important to taking a nose-shaped inverted triangle, the upper lip and a double curve, typical facial feline. In the rest of the face I made a trick based on triangles and curves, to remember a bit’ the stripes of the coat brindle.

In this case, to remember the effect of the hair, I left the poorly defined bodi, created with many small irregular pennellatine.

Finally I marked with a white nose and chin more cargo, I called contornadoli black eyes and stretching a bit’ out, and I scored a mustache with many small dots blacks.
Another effect you can give with sponge (little!) gray / black part of the face remained between the white stripes; This will help to create chiaroscuro effects and make the most basic trick of living.
Accessories such as ear, vampire teeth and colored contact lenses with the eye of the cat will make the mask even more attractive ! =)

As promised a few days ago, here are some simple steps to achieve in a short time and with materials readily available from a nice trick Zombie, On the subject saw the carnival imminent or partner if you want to remove some’ troppo assillanti 🙂

Materials needed:

• White base for facepainting (excellent even in the clown makeup cream)
• Black pencil make-up
• Color fire red (well only a lipstick)
• Pre-vulcanized liquid latex (alternatively a layer of toilet paper and PVA glue)
• possibly a correction / economic foundation

How to proceed:

Apply with a sponge in the liquid latex to the cheeks and make it dry using a hair dryer. In the event that you do not have the latex (mesticheria or sell it in stores a few colors €) can be done as follows:

Separated by a piece of toilet paper (or a paper towel) two-ply, tear so that it follows an approximate outline of the cheeks (you could get two more or less oval) and paste to the face, one cheek, using PVA glue as a bonding agent diluted in a bit’ d’acqua, being careful to apply the glue to the side of oval, and not in the middle.

When finished you can proceed to slightly whiten his face, as the most preferred white forehead, the nose and cheekbones.

Apply now some’ black eyes: over the entire upper eyelid and lower eyelid, surrounding the whole eye.
Wait for it to dry out a bit’ (in case you're using water colors) then mix it with a bit’ sfumatelo on lipstick and white: the objective is to achieve a dark purple.

Now, with a pencil or black color on the cheeks create a chiaroscuro: the goal is to give an idea of emptying, then you can proceed to break the latex or toilet paper in vertical strips, coloring the underlying skin with red lipstick, To give an idea of the flesh.

Finally, color the tip of the nose and lips with black.
If you're using a pencil ol'eyeliner can score some interesting cross line, thin lips, not too long, giving the idea of ​​a lip that is breaking.

The concealer or the foundation may be useful at this point if we realize that we have exaggerated with the white or black and white will fade further (apply it to lighten the black, then fade to white).

If we want to add some more details, We can draw two parallel lines on the forehead and round, by then fade out, to give an idea of the passage of a large vein or the skin is breaking.

A red halo around the mouth and stains like blood spatter made will make it more gruesome and terrifying your creation..

Neck and hand colored the same color of the face , and uncombed hair properly and fixed with a bit’ spray or foam to make you worthy of revival from death …

Animating a party, attract the attention of visitors at an event at the fair, make a special night at the disco, create unique photos of a painting that will not live a few hours… these and many more are the reasons why the bodypainting in recent years is galloping on a wave of success. Today it is increasingly easy to witness bodypainting where to find artists at work on some exciting new creation. The mere production of a naked body color to the true art form that is supported by a model as a canvas for a painting.

But what lies behind? What’ is the argument for the models to pose buildings several hours and pay for their naked bodies wearing only a thin layer of color?

The bodypainting today has nothing to do with the ancient tribal customs that gave birth, but rather, intrinsically change of meaning, going from artifice to change a body (distinguish the degree of a warrior, help frighten the enemy), a real subject of the work, where the non-painted model of almost loses interest.

The creation of the work of bodypainting can develop in several ways, depending on the subject, the complexity of realization and of the 'modus operandi’ dell’autore.

You can start with a sketch on paper to be proportioned spaces and the size of the drawings, but there are also those who already have everything in mind and during the sudden realization.

Even painting techniques can be very different, as well as the tools used: sponge, brush, airbrushed with stencils and templates or freehand.

And maybe that is the beauty of this art form: interpretative freedom, in which the artist has the ability to use any tool at their disposal to transform the subject according to its most liberal interpretation of the theme.

Così se un investimento base di un centinaio di Euro tra colori e materiali può già essere sufficiente per poter realizzare i primi lavori, the true value of bodypainting is given by the artist's ability, by formal refinement, its ability to unite and use techniques and materials in the creation of his work.