Animals On Faces — #animalsIDIC Facepainting Gallery

#AnimalsOnFaces #animalsIDIC — Approaching the face as a canvas and placing an image of the animal onto the face using the inherent shapes of the face. In creating designs to use the curved, living canvas that is a face, I start with exploring where can I place the key element(s) of the animal to create a design that fits the shapes of the face I’m painting and/or allows the wearer to animate the design by using their eyes or mouth. Years of turning people into animals at the Bronx Zoo gave me lots of opportunity to experiment with creating a variety of different faces for the same animal: moving animal images around the face to see where they fit; changing the scale of the images; applying different artistic styles; thinking about creating scenic designs, paintings and graphic images rather than mask-like faces. I’ve collected examples from the past couple decades, starting with my favorites in the top block.

Combinations

Multiple images of animals. Taking a graphic approach in the first examples to confuse the perception of the underlying face and create illusions.

Examples from Transformations

For my book,  Transformations, I drew on years of events at the Bronx Zoo , including special thematic weekends such as Spots and Stripes, or Hidden Animals, that I could use to develop new designs. Working as teams of artists at those public events in which we’d paint hundreds of people, I saw the value in developing a wide range of design techniques, to create different faces for each participant so that each face remained interesting in a crowd of painted faces, and each person painted had their own unique experience. Photos mostly from 2000-2006, a few are older:

Additional Designs

Up through 2016. I’ll be posting a separate Gallery of Animals On Faces 2017 as the photos start coming in.

Learn more all we do at: agostinoarts.com

 

40 Years of #FunOnFaces

My Anniversary Gallery of 2016

Christopher Agostino     updated 1/12/17 

2016 was my 40th year of painting faces, from a start as an apprentice with a theatre company painting volunteers as clowns for a bi-centennial parade in 1976, and it’s taken that long for me to begin to figure out how to really have some #funonfaces by incorporating cartooning and pictures of people on their own faces. The recent cartoon explorations have been driven by my need to add comedy to my StoryFaces performances (see  The Amazing Face Video ), and also to develop new design tools for creating theme-specific faces, which we do to keep the facepainting an adventure while giving clients a reason to hire us for interesting events (see galleries: Science On Your Face and Winter Olympics ). Here’s 2016 in faces, starting with a group of some of the more playful, #funonfaces ones, plus groups of new StoryFaces images, continuing explorations of  Art On Your Face and other types of faces. Fotos first, at the bottom some more text.

Learn more about StoryFaces and all we do at: agostinoarts.com

 

Faces from StoryFaces performances 2016:

Art On Your Face and other themes 2016:

This year included more fun on faces than usual, as I experiment with cartooning to make faces people can play with at events, and to animate faces in my StoryFaces shows. We surprise people with what we paint on them at events, usually just asking the participant if they want to be “nice or spooky” and then surprising them. To accommodate these kind of faces we are offering a new, third option of becoming funny-looking, and then put a cartoon of them on their face. We also had a few Art On Your Face events this year, including painting faces for a Red Grooms exhibit at the Hudson River Museum and at the Sculpture Center’s LIC Block Party, plus a number of circus themed promotional events.

The animation of the face designs is entering my new StoryFaces pieces also, both in the faces I paint on stage and in the performance style. I started the year working on “Monkey King, Yo!” for performance at the StoryCrossroads festival in Utah, and ended the year premiering a new story called “The Storyteller and the Magic Fish” in which I paint a picture of myself onto an audience volunteer.

Special thanks to the participant/victim who let me use his face for the general amusement of the crowd at First Night Morristown, to create the Happy New Year “FaceCard” ™ at our final gig of the year for the gallery’s final image.

See also galleries by theme:   Christopher’s Faces Gallery;   Christopher’s BodyPainting Gallery;  Art On Your Face — Gallery;  The Amazing Face GalleryDia De Los Muertos ; Science On Your Face ; Halloween 2015 ; Christmas in New York ;  Winter Olympics 2014

Learn more about StoryFaces and all we do at: agostinoarts.com

 

 

Li Chi Slays the Dragon — from Bodies Alive!

 

 

See the video: Li Chi Slays the Dragon from Bodies Alive! 

An ancient Chinese legend brought to life on painted bodies.

LIChiSlaysTheDragon-2015_BodiesAlive_title1

Li Chi Slays the Dragon is one of the stories I tell most frequently. Mostly as a StoryFace, illustrating the tale on the face of one volunteer as I tell it, but, once upon a time, I had the chance to expand the story onto a cast of performers as a tale told with painted bodies. This video is from that performance at the Face and Body Art International Convention in 2008, as part of the Bodies Alive! show we presented there. I was joined in the painting by Christina Davison, Sara Glasgow, and Jennifer Wade, with help from some volunteers, and in performance by Blair Woodward, Cully Firmin, Rebecca Reil and Chloe Agostino. See my StoryFace version of Li Chi live at PIFA. Learn about the Bodies Alive Show. Learn about BodyStories.

My specific inspiration for how to take a legend like this and turn it into a sequence of images on painted bodies came from a puppet show I saw at the New Victory Theatre by Ping Chong, adapting to the stage Japanese ghost stories from the classic movie Kwaidan. Ping Chong’s stage design re-created a cinematic style, varying the size of the puppets and the perspective of the settings he placed them in to do closeups, or long shots or tracking shots, to tell the story sequentially — like in a movie.

The development process included sketches of the body designs which I scanned and then moved around in photoshop to create a rough storyboard, plus some color and design tests done in the course of my regular facepainting gigs. To help the performers understand the visuals that their painted bodies would create on stage, I sketched the designs onto T-shirts for them to wear during rehearsals. Included here are the studio photos taken at FABAIC by Rich Johnson, plus some of the other images created during the process, and since.

learn about all that we do at: agostinoarts.com

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Art On Your Face — Gallery

matisse_purpledress1_artface_text_150328-master-r

 

Henri Matisse The Cut-Outs — Transformations Gallery

Matisse - The Circus, 1947

Matisse – The Circus, 1947

Matisse — Jazz

It is easy to be inspired by Matisse. Seeing Henri Matisse the Cut-Outs exhibit at MOMA, the exuberance of color, the freedom of forms — you want to be able to paint like that. The later rooms with the wall-sized works, and especially the photographs of how his studio was so full of this art as he created it — you want to live in rooms like that. I walked out of the exhibit wanting to play with color, to hold it in my hand and create pure forms with it as he did. Even if you don’t like Matisse, you have to be inspired by the absolute passion he had for creating art, so undeniable that it that led him to invent a new way to make art when he could no longer paint. MatisseCat_6g-fhd4--040727_agostinoartsChapter 10 of my book is titled “Matisse’s Cat”, in reference to the inspiration I draw from these struggles of great artists to find a way to satisfy that passion, and Matisse particularly because he spoke of the struggle, and left us evidence of his explorations and battles with line and form and color. I was writing about my own struggles to develop new cat face designs, particularly one based on a statue at the Bronx Zoo of a puma coming down a cliff, and in this iteration I had simplified the puma shape so much that it reminded me of a Matisse cut-out, and that encouraged me to loosen my hold on the realistic image and pursue it’s essence instead. This is the encouragement I take from Matisse: aim for the essential.

Matisse — Blue Dancer

We paint faces mostly with pure color. You might do blending in the sponge work, but then the imagery on top is usually solid colors with minimal shading — so the Cut-Outs relate directly. In adapting the Cut-Out figures to a face you have the additional playfulness of trying to fit his forms to the shapes of the face, which becomes an exercise in the fundamental skill of placing a flat image over the curves of the face. And I do mean “exercise” — I learn more about painting faces when I try to imitate the Cut-Outs.

Matisse - The Rumanian Blouse 1940

The Rumanian Blouse 1940

Matisse_RoumanianBlouse_artface_140920_agostinoartsMatisse’s painted portraits also adapt well, as he worked often with flat areas of pure color and precise linework. Strong colors and clean linework make for effective faces.

 

 

Face Gallery (Body Paintings below) ——————————————

at FABAIC 2011

at FABAIC 2011

Matisse-Icarus 2011

Matisse-Icarus 2011

Matisse-Icarus 2011

Matisse-Icarus 2011

Matisse Remix 2008

Matisse Remix 2008

Portrait of the Artist's Wife, 1912

Portrait of the Artist’s Wife, 1912

Red Fish 1911

Red Fish 1911

Matisse Remix 2008

Matisse Remix 2008

Matisse Remix 2008

Matisse Remix 2008

Matisse Inspired bodypainting by Raphealle Fieldhouse

Matisse Inspired bodypainting by Raphealle Fieldhouse