LAURA DICKEY
PROFESSIONAL MAKE-UP PROJECT
10/3/15
JULIA TOWNEND
BODYPAINTING
LECTURE NOTES:
TOOLS & MATERIALS:
REFERENCE IMAGE:
PROCESS 1:
EVALUATION:
BODY PAINTING RESEARCH
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- Use the darkest shade to outline the area you are painting
- Stipple on the pre-pigmented fullers earth
- Carve into the fullers earth and leave to set
![]() Advantage - highly pigmented. Disadvantage - can stain skin, however can be removed with Head & Shoulders shampoo. | ![]() |
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![]() Good for glueing on sequins and glitter. | ![]() |
![]() IMG_0156.JPG | ![]() Good for highlighting and contouring. |
![]() | ![]() Fish skin by Kryolan. |
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Pinterest. (2015). Bodypainting. [online]. Available from: https://www.pinterest.com/laurajdickey/bodypainting/​. [Accessed: 13th March 2015]
At this stage, I was undecided on the theme of my project so I decided to experiment with layering various colouring on the body using different techniques. I found this picture particularly inspiring and enjoy the contrast between the black and bright colours.
![]() Tools & Materials: Nivea cleanser, various brushes, black/red/white/blue/neon pink aqua colours, Kryolan yellow and green foundation, Illamasqua intense lipgloss in red and green, Inglot white eyeshadow powder. | ![]() Model prior to make-up application. |
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![]() Brush translucent powder over to set. | ![]() |
![]() Technique 1: Splatter on colour using a chip brush | ![]() Technique 2: paint large brush strokes onto the face to define feature including, eyes, nose and mouth. |
![]() Technique 3: Mix the green and yellow Kryolan foundation with water to create a runny mixture and dribble it down the model face onto the neck. | ![]() Technique 4: Add the green and red lip gloss over various areas of the face add a shiny texture. |
![]() Technique 5: Use the white Inglot eyeshadow powder and highlight features of the face, neck and collar bone. | ![]() |
![]() IMG_0199.jpg | ![]() IMG_0200.jpg |
![]() IMG_0202.jpg | ![]() IMG_0204.jpg |
![]() IMG_0208.jpg | ![]() IMG_0207.jpg |
![]() IMG_0205.jpg | ![]() IMG_0206.jpg |
WHAT WENT WELL AND HOW DID I ACHIEVE THIS?
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I enjoy the contrast between the black and the bright colours. In effect, the black creates a blank canvas for the colour to be added too.
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Powdering the black aqua colour reduced any shine allowing it to photograph well.
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I successfully explored a variety of techniques - my favourite was the splattering technique because it was quick and effective. I also liked creating brush strokes to define the models features, as well as the highlighting technique as it made the make-up look more 3-dimensional.
WHAT DIDN'T GO WELL AND HOW DID I OVERCOME THIS/WHAT DO I NEED TO CONSIDER FOR NEXT TIME?
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If I were to do this again, I would have lined the inner waterline so that the eyes do not look as harsh on camera.
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I would have also carried the black further down onto the body as it was visible on camera. However, this is something I can cover up in Photoshop.
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The look would of looked more professional if I incorporated a hairstyling, for example a large plait going across the front the face.
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ADDITIONAL NOTES:
PREP AND PLANNING
- Bring a scrubbing mit and shower gel to remove product
- Cheap g-strings
- Fluffy socks, wooley hat and hot water bottle to restore models body heat
- Prep all wigs
- Water to keep model hydrated
MODEL SELECTION
- Preferably flat-chested
KIT AND PRODUCTS
- Children's ready made paints (poster paints)
- Fullers earth
- Latex
- Cut off bra straps and prosaide onto chest
-Stick on glitter and sequins using less harsh glues, such as duo adhesive and hydroglue. For actors likely to sweat use prosaide
- Masking tape or surgical tape for straight lines
BUDGETING
- Hand-made stencils
- Hot pens for cutting through asthetate (creates cleaner edge than cutting knife)
- Contact companies and tell them you are using their products to get free ones