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

 

Winter Olympics 2014 — Face Painting Gallery

 

Photos from a couple of Winter Olympic’s sponsor events in New York, February 22 and 23. Some very fun, and different, sports to explore through images.#transformationsny

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How to do Zombie Make-up — Quick, Step-By-Step Face Painting Instructions

Our Transformations technique is to create bold face designs that look exciting both from across the room and up close, based on our studies of theatrical makeup and world mask concepts. We work fast to paint as many people at an event as possible — a face like this zombie would take 3 minutes — so we do take shortcuts and simplify techniques (such as shading), and are less concerned about how a face looks in a foto as we are about it’s effect seen live. At a recent event I took these step-by-step fotos on a guest as I painted him.

zombiehowto_1base_131016c_agostinoarts  STEP 1: BASE — With a sponge, put a solid base color over the whole face (except the eyelids). Use any medium shade: grey is classic zombie, but can be green, blue or others. (See below for info on the makeup, brushes and sponges we use — and also for a pdf of a green zombie and other variations)

 

 

 

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zombiehowto_2shading_131016c_agostinoarts STEP 2: SHADING — Add shading to exaggerate the sunken parts of the face: the eye sockets, the sides of the nose, the lines from the edge of the nose going around the mouth, the hollows on the cheeks and chin. Generally with horror make-up, you want to make the face more dramatic looking by putting shadows into the sunken, fleshy parts of the face and highlights on the bony parts (step 3). I do my shading by painting thin lines with black liquid make-up, then “pulling” those lines with a large soft brush to blend them into the grey base. You can also do your shading with the edge of a sponge — a triangular sponge works well for that.

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zombiehowto_3highlights_131016c_agostinoarts  STEP 3: HIGHLIGHTS — In this step I use a sponge to lightly put white makeup onto the bridge of the nose, the cheek bones, chin and forehead, to increase the sculpting of the face.

I also put a bright color (yellow in this case) onto the eyelids to begin to make his zombie eyes.

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zombiehowto_4eyesmouth_131016c_agostinoarts  STEP 4: EYES & MOUTH — I add a red spot for the eyes and black to create the open mouth shape. It’s part of the style that I work in that the mouth is kind of loose and jagged — I like my monster faces to look “ill-formed”, not too precise.

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zombiehowto_5details_131016c_agostinoarts  STEP 5: FINAL DETAILS and EXPRESSIVE LINES — In this case I gave him small pointy teeth with some red dots for blood. I used what I term “expressive lines” to give his eyes an angrier look — they same kind of line techniques a cartoonist would use to change the expressions of an illustration can create the modern, fast type angry zombie or, with different eye lines, the old-fashioned shambling type zombie (in this case, I modeled off of those furrowed brows they always give the Hulk when he’s angry in comic books).

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zombieeyes_131016c_agostinoartsZOMBIE VARIATIONS —  Starting from this basic formula of using shading and highlights to make the face dramatic, using bizarre colors, and adding playful details like a gory mouth and zombie eyes, you can make a whole range of zombies, monsters, and other horror make-ups. The blue shaded zombie here was also painted at the same event. See the 3  previous posts for galleries of Halloween faces and variations.

Click here for a printable pdf of the step-by-step for a green zombie, and some examples of variations:

Halloween_ZombieHowTo_agostinoarts

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Kit-060507eMAKE-UP AND TOOLS — There are a  lot of good face painting make-ups available today, so please be sure to get a safe, comfortable make-up product for any facepainting. Never use paint on someone’s skin, even paints that say they are non-toxic — always use make-up.

The brand we prefer is Kryolan’s Aquacolor because of the vivid colors, ease of application and removal, and how comfortable they are to wear. Learn more on our web page http://agostinoarts.com/AboutTheMakeup including where you can get quality make-ups in the NYC area and online. And check out my book: Transformations! The Story Behind the Painted Faces

I apply the Aquacolors with sponges and brushes. I prefer the round craft-type sponges and synthetic sable watercolor brushes.

Learn about all that we do at: agostinoarts.com

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2012 Transformations — Face Painting Gallery

by Christopher Agostino

Faces, and a few bodypaintings, from 2012. Mostly by me and some by our company members.With the exception of the bodypainting models, all of these are photos of regular people painted at events around New York. The photos are arranged by name, rather than chronologically, so this year it starts with aliens and ends up with zebras and zombies. The names I give designs help me sort and find them, and also help me remember new ideas while I’m working. It’s very rare these days that I ask someone what they want to be before I paint them. Almost always I’m surprising them, which means I need to have lots of my own ideas ready, so I bring a list of names  as a reminder of design concepts. And it’s very helpful to have a name for what you’ve just turned somebody into, especially when you are being inventive. Part of the fun of surprising someone is talking to them about what they are becoming to build the anticipation, giving them the story.

2012_slideshowTitle

Click here for the slideshow:  2012 Transformations Video  music by Jeremy Agostino

The 2012 Transformations Gallery:

click on the photos to see the names of the images

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BodyStory Video Experiment 1 — Peacock and the Sun Goddess

BodyStory Video Experiment 1 — Peacock and the Sun Goddess

The Peacock and the Sun Goddess BodyStory was an experiment for a class presentation at the Face and Body Art International Convention in 2012 (FABAIC). For my class on storytelling I tried out a new idea (new for me – see below) of taking the methods I use for telling a story via facepainting onto a painted body — using a fully painted body in choreographed movements to accompany my narrative. I had done this with several performers and much assistance to perform the story Li Chi Slays the Dragon as part of our Bodies Alive! production at FABAIC 2008, but that felt more like a theatre piece and this was meant to stay closer to the stylistic quality of storytelling.

The Peacock and the Sun Goddess BodyStory was conceived and presented as a live performance. As the concept seems well designed for video I took the fotos and video we’d made as documentation and created this video in iMovie. (The wonderful music is Indian Fever by David Starfire, which I found on the album “Six Degrees Free Indian Music Sampler” on Amazon. The model was a non-professional, so I’ll withhold her name) The next step in the video experiment will be to create a BodyStory design specifically for video, and explore what is possible without the design limitations inherent in a live performance.

See the BodyStories Page to learn more about other BodyStory projects, including “Is This the First Story?” based on an 18,000 year old cave painting.

To be clear, nothing in art is ever truly new—especially in an art form as ancient as bodypainting. In saying that these experiments feel “new for me” I’m not saying that I’ve invented something here. Aboriginal Australian bodypainting may go back 40,000 years in a continuous line and in some cases, particularly in the context of ritual initiations, their bodyart tells complex mythological tales (to name just one precedent). Nothing is new.

To learn more about our programs and performances:  http://www.agostinoarts.com

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