Tag Archives: facepainting

Tribal Facepainting Concept

by Christopher Agostino

STEP 1 – Basic Tribal Facepainting Transformation

Above are re-creations in black and white on one model of patterns you can find in traditional tribal facepainting. The first four are from Amazon examples depicted in the book Body Decoration by Karl Gröning. The next eight are basic patterns of the Southeast-Nuba of Sudan, Africa, from  a set of analytical sketches in the book Nuba Personal Art by James C. Faris. They illustrate what I see as the first step to painting a tribal face: divide the face into areas of color with bars, stripes or strong shapes like triangles.

The quickest way to alter a human face is to put a hard line on it. Human faces have no inherent hard lines or edges, so lines or strong geometric shapes immediately make the face “nonhuman” and ready to become “other”. They disguise the face. They change the shape of the face. They turn the face into a mask. In his analysis of the “underlying raison d’être” for all tribal body painting, Michel Thévoz in “The Painted Body” states: “the skin decoration is functionally designed to dehumanize, depersonalize,…to baffle identification. That is why…it makes play with anti-natural elements such as straight lines, triangles, circles and all rigid geometric figures which stand in conspicuous contrast with the mobility of facial features [and] the organic curves of muscles.”

Notice how these designs effect the appearance of the eyes, how the model’s identity seems to change from design to design. Just as in the approach of any modern makeup artist, the designs center around the wearer’s eyes because our eyes control the perception of our identity. By placing patterns to bring attention to their eyes, you give the wearer control over their new identity. Their eyes turn the design into a living mask.

From a modern facepainter’s perspective, think of all the different things you can turn designs like these into. Whereas the first goal of tribal makeup is to disguise the wearer, or more precisely, to remove his individual human identity, the ultimate goal is to create another identity — to turn them into something new.

That identity might be a social one, conveying one’s membership within a specific tribe, as in the face of a Kayapo child of the Amazon, or one’s achievement of a certain step within a social hierarchy. In such a case, in conjunction with the “dehumanizing” geometric shapes, symbols or graphic markings might be used that could be read like a written language within the tribe.

Signs, symbols and icons might also be used to expand the human identity to include supernatural or animal elements. Some face art, for example, is designed to turn the wearer into a mythic character like a god, so the wearer can impersonate them in ritual. Some face art allows the wearer to acquire animal attributes and powers, as in this photograph of a Mayoruna woman wearing markings around her mouth and whiskers signifying a powerful animal like the jaguar, in addition to the red shape across her eyes — a color which also symbolically represents power and vitality.

STEP 2- Tribal Approach to an Animal Face

Using colors, symbols, icons and design elements over a basic tribal geometric pattern to “signify” an animal.

Click on this link for a pdf handout of the Teacher’s Guide for this “Totem Animal Mask” design project:   TransformationsSchoolProgram_TotemMaskProject_agostinoarts

The anthropological study of masks and tribal art by writer’s such as Franz Boas and Claude Lévi-Strauss explain that in “primitive” art, the aim is not to imitate the appearance of an animal (in the way a photograph does) but rather to SIGNIFY the animal through symbology (in the manner of a visual language). The actual appearance of the animal is subservient to the imagery that signifies it. So to design a tribal animal face (or mask) you need to determine what features or symbols will make the face “mean” that animal — the distinctive signs that make it that animal and no other — rather than trying to draw a picture of the animal. We will use a snake design as an example:

Begin by creating a background that transforms and disguises the face by dividing it into areas of color using horizontal or vertical stripes, and/or strong geometric shapes; choosing the background colors for symbolic content (like red and white for a dangerous snake).

Over that background, add symbols and imagery to signify the animal. Pick a few simple images that make you think of that animal. For a snake it might be fangs, forked tongue, snake eyes, the s-curve of the snake body – in any combination and in any place on the mask. If it is a very poisonous snake, for example, you might choose the fangs as the primary element and you might make them larger than usual, or repeat them in several places on the mask. (Lévi-Strauss points out that it is also important not to put elements on a mask that may confuse it with other animals, so you wouldn’t put feet on a snake mask or fangs on a bird mask).

Finally, add decorative elements or linework to unify the face as a complete design. Boas points out that decoration and aesthetic appeal is as important as interpretation in primitive art, so the final step is to make the design look good. Decoration can be achieved by taking things like the pattern of the snake’s skin (spots, stripes, etc.) and repeating it, or adding additional line work in support of the imagery (like multiple fangs). Overall, keep it simple.

Here are some examples: For these first two examples I created a background with geometric divisions based on the triangle. The first (A) began with a basic Nuba pattern of triangles over the eyes, the second (B) uses the bright  coloring of the Papua New Guinea faces, with an “abstract” snake coming down over the eyes. Then I turned them into distinctive snakes by adding a graphic representation of fangs and eyes. For the next three I divided the face with vertical or horizontal stripes to start. Over that I added black line work or simplified imagery to indicate “snake”. One (C) is a sinuous line style loosely inspired by Maori face patterns that is meant to “feel” like a snake. On the other two (D + E) I used simple iconic representations of a snake.

This approach leads to endless creative ways to make face/mask designs – without requiring complex painting or drawing skills, thus it is an effective approach for getting students to move beyond realistic depictions of animals in mask designs. The use of strong colors in an interesting pattern for a background makes almost anything you put on top look good. It presents an experiential understanding of abstract and symbolic art – how to make a work of art that isn’t intended to look realistic.

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Facepainting Event – NCAA Basketball Hoop Fest

Painting faces for a family event celebrating the NCAA Basketball Playoffs gave me a chance to do a few more face designs working with putting human figures onto the face, something I’ve been focusing on this past couple of years. Two of us were at the Prudential Center in Newark, NJ on March 26, 2011. We were outside, during the day, and it was unseasonably cold – really, really cold – but they still got a good crowd and we stayed busy. The Prudential Center was hosting a playoff game the next day, so we offered everyone the chance to get a face for their favorite team – however most of the kids didn’t know any college teams. So if they didn’t want a basketball face we just asked if they’d like to be nice or spooky and surprised them.

Of the few basketball faces I got to paint, these 3 were my favorites, more for the direction I went in regarding placement on the face than for the execution. At 45 degrees or so, I was just happy my makeup didn’t freeze and had to accept that it wasn’t going on the way it might have under better conditions.

 

The Prudential Center is home to the NJ Devils, so we got some hockey fans, too.

One of our "logo" designs, which I painted on this kid early at the event to draw attention and get more kids interested in coming over.

Moon and Stars is a favorite motif of mine.

This girl asked to be "very spooky" - the Vampire Night Queen

We'll be painting a whole day of penguins soon for the Bronx Zoo, so I am looking for new variations. This one came from a foto of a few standing on the edge of an ice flow, with one looking over the edge.

The gallery on our company website talks about some of  ways we think of face designs to be able to generate variation within familiar motifs like penguins and vampires: http://www.agostinoarts.com/face.htm

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From the Beginning

celebration of the animals- facepainting 1992

We were our own first works of art. That is a profound way for a facepainter to view what he does: it was here from the very beginning. Anthropologists say that we humans painted and marked ourselves before we ever began to alter the world around us.

Transforming ourselves is a fundamental human art. We take control of ourselves, we differentiate ourselves from being merely animals, when we mark ourselves. We prove that we are aware of our place in the world and that we can affect it when we transform ourselves. It is part of being human.

Face and body art is a universal art. Every culture uses makeup, body art, masks or costumes to change human appearance.  The reasons for the transformations in different cultures are as varied as the images they create. In traditional cultures, tattoo and scarification can mark an individual’s place in their society and their accomplishments. They can signify a change in status such as an initiation completed or a marriage. Face and body painting are more transient and can convey a wide range of meanings, from ritual and celebratory to the purely aesthetic. Facepainting can disguise the wearer and allow an individual to create a new identity. Theatrical makeup and masks allow a performer to become anything, even living gods that bring a mythical world to life in a physical form. In tribal rituals gods and spirits are also brought to life by masked dancers so bizarrely disguised they are unrecognizable as human. The possibilities for transformation are as limitless as the human imagination.

This is the way I approach a face when I paint it. I can do anything. The person I paint can become anything. There is an endless wealth of imagery from thousands of years of human history. There are the thousands of faces I have painted through my own history. And there is the face before me. Each face is very new and very old.

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