young body paint

hi

women in body paint

(light upbeat music) (whooshing and squeaking) - my name is pashur and i ama professional body painter. we're gonna be paintingjulie in a t-shirt and jeans. to me, body painting is avery interactive art form, your work comes alive ona canvas that is alive. - my name is julie and today i am trading my clothes for body paint. i have never been body-painted before.

i'm definitely nervous. growing up, i never really had much of an issue with my body image until probably late high school. i was in musical and i hadto wear a leotard on stage. the next day at school, i heard someone talking aboutmy cellulite on my legs. i was always really concerned with if i looked skinny enough,

that kinda planted a seed in my head. by wearing body paint i feel like i'm taking off a shield andi'm putting myself out there. i'm really scared buti think it's gonna be a positive step forward. - so, the first thing we need to do is put on the pasties, outline the design, and then we can go in with out base coat. (light electronic music)

and, after that, we will goin with some tiny details and some shading and highlights. the very last thing that we'll do on julie is we'll put sealant on her, to make sure that thepaint is more durable and doesn't come off. - [voiceover] check yourself out. - oh my god. ah!

it's so cool. i'm not as scared now because it looks like i'm wearing clothes. i think i'm ready to show everyone. let's just do it. we're about to go and walk around and see if anyone notices. here we go. - [julie] you didn't notice?

- i didn't even notice. - that... (laughing) - do i notice anything? uh... - wait, what?- [jordan] jen's noticed. - woah, i would not have noticed. - but the sandals are real? - yes, those are real shoes.

i came into this feeling scared, but i feel like i conquered a really huge fear that i've had. going outside wearing only body paint is really similar to having insecurities. you feel naked or you feel all these negative things about yourself that no one else sees, andno one else understands. sometimes you over-think things

and you don't wanna dothings because you're scared of what other people are gonna think. be strong and (inhales shakily) to not listen to what other people say. and to not let it matter somuch, because it doesn't. what matters inside isthat counts the most and that's where your strength and your beauty comes from, first.

that's what i wouldsay to my younger self. (breath catching emotionally) (whooshing and squeeking)

women body painting

hi there, i have a job interview in an hour and i desperately need a pedicure okay. um, i guess i can help you take a seat, but be careful just so you know, i'm gonna have to charge you a service fee because how do you say it you're a big girl the same kind of body shaming reportedly happened at a salon in memphis, tennessee it's this picture of a sign sparking discussion on facebook saying sorry, but if you are overweight pedicures will be $45 excuse me, but what does my weight have to do with my toenails? come on, you know it's a much bigger job

if you saw a woman being insulted and treated unfairly simply because of her weight try not to move so much. it's an expensive chair what would you do? we've taken over the pedicure chairs at stephanie nail salon in kenilworth, new jersey so the service charge is double so you'd be at 40, okay? that grabs the attention of this customer because you're too big it's it's just one of those things like it doesn't cover all of our costs and she decides to weigh in that's very free someone like her size came in last week. they broke our chair oh

okay, it was it was really bad. that's not anyone's problems but it's like extra work for me. so i need an extra tip you understand she has a different understanding i get extra work a lot at my job and you get compensated for it well, i'm a teacher. i don't think compensating for anything. i don't mean it in any disrespect. it's just like facts you know what? i mean? that's not a fact. it seems to be like an opinion in a very rude one at that yes - would you ever somebody talk to your child? i? just want to tell the students about this. the first thing you said was the right thing. no, you wouldn't you don't have to say anything after that your first instinct right? there was no now it's time to let her know her instance. all right on

your approach is different as a teacher, what do you hope your students learn from this you know, what's right and what's wrong and how to treat people, you know when somebody's sitting next to you that they're hurting and if it doesn't sound right say something and try to change it we're back in the salon careful getting on that chair gentle just so you know, there is a service charge for what? for people your size what do you mean? like larger people like yourself

wait, i'm confused why this man and his brother over in the waiting area are also confused cuz the chairs are really expensive and we don't like to be broken not to mention i have to do extra work on these feet okay, so so how much more will it be double your a double in the size? you made a little bit. it's normal don't worry about it. i have to get more solution from the back just a minute but when our nasty nail tech steps away his confusion turns to action it doesn't matter this is your job you do your job now you go apologize they're not talking i don't care if you're not talking about me that disrespectful very well. you're like nice and skinny

it does it don't that's not that's you should have worried about that. that doesn't matter you go apologize, sir do you apologize you just walk out and not come back? that's it. is your very disrespectful very disrespectful you demanded that she apologize to her. yeah, she deserved the apology. make no matter what size you you gotta respect she's beautiful you no matter what size is ematic size doesn't matter it's a sentiment we hear all day long from a fellow beautician can't believe i'm listening to this. i'm really cannot i'm a hairdresser. i have never heard the man i've done feet i've done nails. this is ridiculous. you wouldn't be ashamed of itself she and the human beans shame on you. you better pray to god. you better go to church shame on you

from a nurse. you know what i rehearse 45 years some patients were small and very easy to measure other patients were not as small and and from this outspoken woman singing stop it i've just read. yes. no, no, no, no, no. no do your job and stop. why did i talk to you this way? do not cry and don't mention people don't do you this way thank you so much. you're so right. oh, i'm john kim jung you have tears in your eyes no, i just felt so bad for her and i never judge people for this sizes. and i hate them

i hate those people we roll one last time just be careful moving around so much please. okay. i'm sorry, you know how much it costs to replace these chairs it's like we're very nervous when people your size come in the building they cost a lot jessica more struggles to contain her disgust like this is a workout i hate when my boss makes me do fat people's legs, but that comment finally tips the scale i'm very sorry. that is very safe years old and i think that's disrespectful. you should not be doing that just see how much work pisses

yeah, but it's a lot complaining you are yourself everyone in this room can hear you're saying misleading like but really why are you getting involved anyway? you're making me upset former you upset the whole place you see what you do it's not read it was you i'm very sorry i've been waiting. hi. i'm johnny honest okay tell us what was going through your mind it took a lot of units the editor first couple times you don't know how people feel about themselves like people have that much self-esteem and you could be destroying it by doing this your message to people who would think like her mouth shut

keep within your head got nothing nice to say don't say it

women body painted

00:06comm: a human tarantula crawls across the stage on all fours. 00:19comm: the arachnid is the handiwork of body artist emma fay. who spent five hours transformingtwo models into realistic animals. 00:29comm: using water based paints, the 27-year-old's detailed designs, which included a giraffeand a seahorse, were brought to life by contortionists lawri thomas and beth sykes. 00:50comm: emma from leicester, has been body painting for three years, and created the series ofimages to celebrate the marvels of the natural

world.

women body paint

*dramatic music begins* *hero theme by mk2* *music continues, no dialogue* *music fades out*

woman body paint

[ ♪ ♪ ]

what to use for body paint

hi i'm cinnamon cooney, i'm the art sherpa, and in today's quick quest, i'm gonna talk about how to mix three very easy skin tones, so that when you're painting along with me in tutorials, you can paint your figures to reflect a sense of beauty that is closer to your heart and your reality. these are gonna be easy, they're gonna be direct i'm gonna unlock a lot of stuff for you, that you might not have heard before

so get your paint, get your brushes, get a pallette knife, and come back and meet me at the easel right now we're gonna do fast skin tones. so let's start with the first skin tone that i'm gonna show you today, which is a fair skin tone you've seen me do this a little bit before on my channel but i'm gonna give you a couple more tips to make you even more successful, in your arting let's go to the pallette and check this out

so i have titanium white, yellow ochre, and quinacridone magenta so basically what you're looking at is white, kinda a yellow, and a red. one of the things that you can do to help you get a good skin tone when you're painting, is to mix a master recipe which just means, that you're going to create the basis of your skin tone in a slightly larger quantity, so that you can highlight or add shadows very easily without changing skin tones during the mix. now you'll notice i took about one of the quinacridone...

one little pearl of quinacridone over to at least 2-3 little pearls... i'll have to add a little more yellow ochre, because i got a little more quinacridone on my knife but i'm just trying to make kind of a warm peach right here. is what i'm looking for keep in mind that these are three very recipes and artists might collect a hundred skin tone recipes

as they're painting. now the next skin tone i can add here, is i need to have a bit of a shadow and a good way to make a shadow is with burnt umber, and a little bit of ultramarine blue you don't need a lot of it, at all and i'm gonna take a little of my ultramarine blue and mix that with some of my burnt umber and now i have this ready to create shadows

and then the next thing that you can like on an easy skin tone recipe, is a highight, and i have some nikel or naples yellow here any really light yellow is what you're looking for, if all you have is cad yellow light, or cad yellow, it will work and i'm gonna take just a smidge can you see that smidge? and i'm gonna add that to my white. because i don't want to just put necessarily straight white

in my skin tone recipe so now, i have these three values i can pull out my brush, and i'm gonna get let's pick a fun one , i'm excited about today i will take this number 6 bright i'm using a synthetic bristle brush that's not gonna hold a lot of water , it's not gonna get too much water going and i'm gonna start the basis of my skin tone so i'm gonna take a little of this master recipe

and add my highlight to it, to lighten my skin tone i'll do that, until i get a color that i feel i like, and you can see that we're definitely in that skin tone range so i'm gonna jut paint this in i have pre-sketched in these figures for you, so you can see me doing the three values in skin tones and i'm going to go ahead and paint this all in now again, keep in mind, that artists can maintain hundreds of skin tone recipes that they tend to paint

and this does not represent in any way, the diversity that we as human beings have, but this gives you a starting place so that you can talk more accurately in your art, about the things that are important to you right? so i'm gonna paint her whole body, with this basis right here just to give this the first layer and you can see this is quite light, i relate to this

as a very fair person, who sunburns from the moon ya know, what this is i don't necessarily like to work from the tube of paint like, to buy a skin tone tube of paint because i feel like people don't have even skin tones they are not like a plastic barbie doll, ya know different parts of our bodies are exposed to more weather and more sunlight, we have areas that have more blood flow

than others and that really impacts ya know, our skin. so it's just ridiculous to think that we're just completely one anything once i have this value here, what i can do is i can get a little of my lowlight, look at that this is my shadow and i can come and add under the jaw or anywhere i need to have a shadow

this easy, easy shadow, that way i'm not struggling i'm not just adding black to my skin tone because if i just added the color black to my skin tone, it would gray it out and in fact, i don't actually think i've ever even really added black that often to a skin tone mixture i'm just creating a little shadow here

just showing you how working from this fair recipe and i'm gonna need some glazing liquid this is acrylic glazingliquid gloss (by golden) and it helps slow down the drying time of my paint it can also help me blend and glaze so it's a really good tool to have in the studio you can just use water it's all fine but you'll notice, like right here, where i've got this,

that way i can kinda create a nice, more subtle blend around my figure and then if i wanted to have a little bit of a rosier color it's really easy for me to get my ... whatever your skin tone mixture is... it's really easy then to go to your red, to pick up a little blushing so you can super easily create a blush

this is gonna work, ya know, on any, any of the girls that we teach on the channel so, you can take them to that next level glaze that out a little bit... i'm just showing you how you can do this this also, works incredibly well ya know, just anywhere you're painting a figure and you're just really new and you're like, "i just don't really know about the skin tone thing" right?

see how she's starting to have a little bit of a blush to her? and another thing that i can do, is i can also use i'm gonna get even a little more of the yellow the yellow and the white to easily show sunlight or highlights it just makes short and easy work to figure painting and gives me a basis ... to start thinking about these things even though i might be new... in a better way so let's, do our next girl and i'll show you a medium skin tone

all right,, i'm ready to mix my next skin tone value i think you're gonna really like it the colors are gonna change up a little bit, but many of the principles that i just showed you will still apply here. let's go to the color pallette and see what we're gonna do next. now you can see this has changed up a little bit i have raw sienna, yellow ochre, cad orange, burnt umber, ultramarine blue, and again naples yellow and titanium white

and my glazing liquid, so that i get nice flow now, i'm gonna go ahead and mix out my base recipe so, the biggest amount of paint that i'm gonna pull out is, of course my raw sienna, and then i'm gonna take my yellow ochre and make a nice mix there and you're gonna see that i'm getting a nice golden color but i'm missing my red... right, we have blood, we have circulation, so i need something to warm that up a little bit i'm gonna take, actually surprisingly enough, the cad orange over here

isn't that interesting? it might not be something that you were thinking of you might have gone for red, and again, in some formulations, depending on, if somebody has a blue undertone to their skin, people can have purple undertones, or green hundreds of skin tone recipes is in no way exaggerating. this is just three simple ones you could do to get started so there's our base, master recipe let's mix that highlight again, all right.. a little of our soft light naples yellow into our white

i don't really in general like putting just straight titanium white in to lighten a skin ... it just... it can really make it look grayed out and washed out so adding that little bit of yellow to warm this up, i think it is super helpful let's offload that off the pallette really well and then of course, this base graying recipe look, some recipes will call for a purple, some will call

for just a blue, right this is just one that you know you can do throughout three different values and i'm just kind of almost doing a one to one on the burnt umber to the ultramarine, so now i have enough paint, to paint my figure it's not gonna be drying out and changing on me so that i can't get the mix again

i'm gonna take a little of my little highlight out but not too much because i still want a pretty rich skin tone let's come in here and you can see this is just a warmer, richer skintone just coming in here, and you can see that this is darker than this. these are both from the same mix so all i'm saying to you here, right, is if you don't add any of the highlight to the master recipe,

than you can have a fairly rich skin tone but if you add white to the master recipe, it will lighten a lot. so, in each skin tone that i'm showing you , believe it or not, there's a lot of value changes that you can get for each one i'm just kinda coming around her ear here so, if i were to get back into this,

where we have this highlight, and highlight here just don't want to gray this out just bring this around... see that see the different possibilities that each of these recipes even as simple as they are, give you ya know, and start to see your subjects and really start looking at people

you want to observe how uneven their skin is and that that's beautiful i think that's something, that because of the cosmetic industry having such an investment in evening out our skin tone is that we really really start to think that an even skin tone is what we're looking for when in actuality, if you start being very observational that it's an uneven skin tone that's quite beautiful

it's the freckles or it's the kinda ruddiness around a nose, where it gets real red these things are actually what makes the beauty weirdly it's our imperfections and it's something that you'll see more and more as you paint um, ya know... and you'll find people can have a lot of opinions on the subject really really want to impose those opinions on you

and what i'm gonna say is, you need to paint what your inner reflection of beauty is not the world's and you need to respond to what your inner reflection of beauty is so i'm putting this in, this is very nice against this dress notice how this is still pretty warm and not washed out i think this is something that troubles a lot

of new artists and even some experienced artists is getting these base recipes in ya know, obviously in portraiture, you spend a lot more time working at that and painting that in let's get our shadow in so, i'm gonna wipe my brush off and i'm going to bring a little of my graying color over

to my skin tone here... see that right there, it doesn't take a lot and i'm gonna come and add this shadow under my jawline let's go around our ear get my glazing liquid really helps me blend ya know, water does this too, but i really like it the other reason why it's nice, to mix up your skin tones in larger batches, is so that you can do very ...

...when you do get ready to do portraiture, having these mixed up so you can just work on values and not be worrying about micro-mixes is is incredibly helpful micro-mixes, is that kinda little mixing of a bit of paint, mixing of a bit of paint, mixing of a bit of paint gonna add a shadow right here and you've just gotta be careful ya know,

ya know, if you want to add a little sunny highlight it's pretty easy to do you can even, at this point, i think you can even sometimes come in with just the yellow ochre and the naples create a little sunlight on the shoulder so a lot of people might go for white, but i think here sometimes it's better to avoid that, and lighten the value perhaps in another way

we're just gonna do a little bit right here cheek, interesting maybe i'll get a little of my cad orange, just a touch i'm gonna get a little glaze, add some color isn't that fun? and maybe not what you were thinking or expected but what you're trying to do, is paint

ya know isn't that nice how the yellow just does that all right, so we have a nice middle range here i'm gonna make sure, one of the things that can happen is that, ya know you want to make sure that your paint is rich, and not streaky so, like, it got a little bit there, and i want to add a little more of the base recipe right here, then come back with like, just the base recipe

maybe add that ... you see how it suddenly starts giving you possibilities in your painting, also how having the pre-mixture allows you to work out values even on a simple figure that make your painting look better now see, i'm getting into painting, is what i'm doing so, we've gotta move onto the next skin color, but hopefully, this is giving you some thoughts

some perspectives on some different ways that you can paint let's do our final skin tone all right, let's do our last and darkest skin tone, and there's a lot that i have to say here so if this is where you're focusing, come along, this is gonna be a revelation for you i've got some stuff you might not have ever heard before so over here, you're going to see burnt umber,

cadmium orange, yellow ochre, burnt sienna ultramarine blue, and i've included a cool red, this is alizirin crimson hue i definitely want to keep using my glazing medium and i have naples yellow you'll notice that i'm refraining from putting out any white and i have a very good reason for that when you're adding white to a very rich and dark skin tone it takes the skin so gray,

as to make the skin appear lifeless and ashey and therefore, it will never, ever read true and i think this is the foundation why sometimes artists have a harder time with darker skin tones because all the basic formulations that you see, kinda pivot around the idea that you're lightening with a white. but here, we're not going to now, i'm gonna pull out at least one of my burnt umber and i'm gonna get some of my burnt sienna, and i'm

gonna start making this rich base value this is gonna be a warmer skin tone, this isn't gonna be cool, so if you were looking to make a cooler dark skin tone, it won't do as well there but i think you're gonna be surprised at how nice this actually is, right, so we're getting that now i've got to warm this up a little bit, guess what i'm gonna take, i'm gonna take cad orange beautiful, isn't it?

all right, so we have a great base i don't believe that this can just be achieved with a tube of paint ya know,, i think getting in here and mixing that with a pallette knife that's a big deal and makes for a much better basic skin tone now this time, because i have my burnt umber over here, i'm gonna go with my alizirin crimson and my ultramarine blue

and this is where my shadow is going to come from see that? gorgeous, right? leaving me some alizirin crimson if i need to create a blush somewhere in the skin this, is how i'm gonna highlight i am not gonna be using white highlight so the first thing i'm gonna do, is i'm gonna paint in my base skin tone

if you've been trying to paint darker skin tones and really been struggling, this whole part here will be almost a revelation as you go through it i know it was for me and i think you're gonna find it very, very freeing and you're gonna start getting some good results if you have not before and again, just one skin tone recipe

there are many, many skin tone recipes that artists have and if you were to, say, think of about like portrait artists, really famous world famous portrait artists, well those recipes are a big deal oftentimes, they keep them very secret one of my very favorite portraits on earth, was done with three colors looks like it was painted with thirty

i am always stunned when i see it, and i always find it humbling when i see that i'm just pulling this out here now, one of the things that you'll run into as a painter when you're painting darker, deeper, warmer skin tones is browns can have a tendency to be a titch streaky right? and transparent this is something that you're challenged by but there are a couple of tricks to this

you can do an underpainting base first right? like an acrylic color ground can help with that or just knowing that in this case,, you are really really going to need to get away with layers my fair skin i don't need as many layers but here, i will the darker my skin tone is notice that i am refraining from using any white or any black

just bringing the arm through here, because i think i sketched it through here touch that up later and perfect that for the next what we're just gonna generally say, arm goes through there we don't want to i just want you to see how the paint is laying down for me ya know, understand that yes, the browns can be get my glazing medium out to improve my flow the other issue, to glazing medium here, is again

it causes the paint to be even more transparent, so yes it improves my flow, but i'm gonna need a couple coats all right, here we go some nice work happening here we're just not afraid to put our paint down that's what's gonna be our major, major goal now i need a little light so i'm gonna take my graying color, look at this

look at what this does, totally different than what you might have expected i'm gonna put this shadow down little too much paint on there wipe my brush off, whenever your brush has too much paint, just wipe it off see now my shadow sometimes when we're new to painting the temptation is to use black to create the shadow

you can do that that is not always the right choice here, make sure your paint is good and dry because sometimes when you're using glazing medium it can actually fight you on the drying time and make your job just significantly harder then you might have wanted it to be so i'm just trying to run a nice shadow here, and i need to put a little shadow under

under the arm a shadow under the dress there's just a lot you can do and when you have the right kind of bases, it gets easier to do i'm gonna show you a couple of things about highlighting i'm gonna rinse this out so my first highlight that i can do is just with my yellow ochre and this basic recipe

i want to create a highlight,, that's how i'm gonna do it right there and this is gonna make a big difference in even your simple paintings whatever simple paintings that you have, to not just put the white in the paint, or the black in the paint but to use yellows, like yellow ochre, to create the feeling of light on skin

see how different that is? got a little too much on my brush there i got a little too excited ... it happens ya know, you're just creating a lighter value and because the master recipe has ochre in it give a highlight to the ear, you can come right up here on top of the head see? you can see how this then, just isn't graying out the skin in any way

if you really, really had to, you've got your naples yellow right? just a little bit of naples yellow to say there's a very, very, what if there's a very strong highlight you could do that and it's still less graying to the figure and then the other thing you could do, if you want to create a blush is you bring a little of this crimson to your master recipe

look at that, isn't that beautiful? it's just a gorgeous color and you can easily come and create a really healthy, rosy glow even across the shoulders here's a little rosy glow getting that second layer of skin tones in again, on the browns, i generally find it's a bit of a longer

paint for me, because of the transparency of the paint unless i'm doing an acrylic color ground but at the beginning level, you're just trying to paint along,, and maybe customize some of these tutorials to ya know, reflect your world a little more and your sense of beauty mine is big ya know it is big

there we are just making sure this arm is come back into my shadow ... it's fun i can get into this and be at this forever it's like ... even though these are simple, every layer adds something to what i'm doing and once i got over what was making my paintings not work for me it was really fun then,

to change these things up and hopefully this kind of illuminates some of what the artists are talking about, when they're talking about master skin tone recipes, how you create different values in figures, and it's really not just about taking the same skin tone recipe, and lightening and darkening it, but it's thinking about all those little variables within all of us and trying to represent that in the paint i hope this has opened your mind

i hope this has made this a little bit easier in your art journey i hope you enjoyed your quick quest and i'm gonna see you at the easel really soon okay, bye-bye (closing music)

skin painting

hi, my name is aaron westerberg and i'm apainter living in los angeles and i'm gonna show you guys how i paint. so my process is basically i'll have an idea you know, i'll hire a model, do a photo shoot,do a color study from the pose that i like the best. working from life is thebest and i've worked a lot from life so i kind of know the the pitfalls ofworking from a photo. the color study criteria is i have to do it fast, no fingers no toes no detail just the big statements. big value statements,proportion is important, but detail is not.

then from the color study i'll go to thelarger painting. these are the steps i do that have led to the most success for mepainting. okay so i'm mixing my flesh colors right now and making basically agradation of the flesh color so kind of a dark a middle and a light and i'mgonna do that with kind of a yellowish color kind of a greenish color and kindof a reddish color and with her skin tones you know i see a lot of kind ofolive and there's a lot of reflected light bouncing back from the wall, also a lotof blue in there, just kind of getting an idea of what's up there in terms ofcolors and mixing them down here first

and then i'll test them as i go uphere, but first i want to put down are the dark half tones basically thecolors that are in between the lights and the darks. this is called opening upyour pallet and i'm opening up basically you know, these colors that i'm mixing,these flesh colors and a lot of them are just basic red, yellow, and blue so theyellow, a lot of times like the base is gonna be yellow ocher and then i'll putit like either quinacridone violet or quinacridone rose and then maybe likecobalt blue in there to kind of mute it a little bit but like this oneis yellow and red, dominant on the yellow side. this one is yellow andred, dominant on the red side. so i get a

little bit of both. like this is a reallynice mix terrarosa... cobalt blue it's a nice mix for a dark underneath,well like it could be anything you know but a warm dark somewhere around the earmaybe but two colors with a nice nice little mix. you want to grade out alittle bit you can either put like some of this green in there, some of thatgreen. i wouldn't want to put this green in there because that isphthalo green and that will kill it. so if i want to lighten it up alittle bit i'm gonna use yellow. i'm not gonna use white because white isgonna cool it down tremendously so i

want to add a little bit of yellow inthere and it just lightens it up a little bit and warms it up a little bitof white, a little bit of yellow and this, a really nice green that i use a lot is cobalt blueand yellow ochre. another one that i use a lot that i just i don't have black onmy palette but yellow ochre and black. that's a really nice green too, a really nicegray green. i like that color a lot so this is a cobalt blue and yellow ochreand then i just muted it a little bit with some transparent oxide red notice here i'm not blending any of the tilesi'm putting down, i'm just putting

similar colored or similar value tilesnext to each other and progressing forward and moving on to the next shapeonce i have the correct color and tile established. i want to keep my colors asclean as possible. the more times i blend or if i thin out the paintit's gonna be harder to put other colors on top of it so in general, withthe whole head, i want to keep the thickness of the paint it's kind of likea medium thickness. not real thick, not real thin, and that's because i want tobe able to render with the with the paint if it's too thin it's gonna slideaway and it's gonna be hard for the

the separate notes to stick. if it's toothick the paint will glob up and and be harder to work with so it's kind of amedium thickness of paint right now so one by one i'm starting to insert thetiles and progress across the face. one of the things i really try to do morethan anything on a painting is really get nice transitional colors in thereand really... if you use more transitional colors that's more color, so there's not a lot of really strong colors on the face. all thecolors are going to be really... somewhat muted so a bunch of variation of mutedcolors actually looks colorful so that's kind of what i'm going for rightnow is just a bunch of variation of

muted colors so if you're kind of new to color andyou're not really comfortable painting with a lot of color i would say paintwith a lot of color. set up a still life or a model or a figure or whatever andand put a lot of color in there. put reds, yellows, oranges, pinks, purples,whatever and try to make all those work together. a lot of times people that areintimidated by color are intimidated because they don't push thecolor enough. they don't try things that have a lot of color in therebut the more you try to paint things with more color the easier it is tounderstand color and see how it

interacts with the other colors. you'd be surprised at how much reflected light there is when you're painting. you can even just paint like a fabric, like a yellow fabric and forexample, if you painted a yellow fabric under cool light, the shadows are so warmyou know the shadows... they're just they're brilliant and onceyou start seeing color like that then you start believing it and you'llunderstand how color exists and that it does exist in powerful form so the moreyou can you know play with color the better and i guess i'd recommendstill-lifes you know, i think those are one ofthe easiest things to do because you can

sit there and paint a bunch oforanges or whatever forever. you could spend a long time painting thembut for sure i would paint something with a lot of color in it andi would use a lot of paint. don't just blend the paintaround to get your edges- really try to use color to transition fromyour lights into your darks or vice versa the more you start seeing those colors it kind of compounds. you'll see more andmore color and you'll start to realize how much color there actually is outthere but it's just like anything. the more you start to understand somethingthe more you'll see it's just like with

music the more you understand howsomething is composed the more you'll hear. it's the same exact concept so setup a still life with way more color than you're comfortable and you'd besurprised at how much you learn and how much you grow

skin paint

in this video you will learn how you can createsuch a soft looking skin with watercolors. you will learn how to mix your own skin tones,chose the right paper and which techniques you need, to work on delicate gradients likethese. >> laovaan: using watercolor to color skinis one of the harder subjects, especially if the skin should look realistic and clean. because with watercolor you can only go fromlight to dark, mistakes are hard to undo and we need to be certain of what we are goingto do. the key is to use the wet in wet techniqueat the right time, that is: when to work on wet paper when applying color.

but before we can do that, let’s have alook at the skin tones. mixing skin tones from scratch requires 4different components: red, ochre, brown and white. instead of ochre you can also go with yellow,but the key is to get the right mixing ratio. since there is no single skin tone, it isup to you. if the color seems too reddish, add more yellowand vice versa. use brown to darken it and white to lightenit. the benefit of mixing your own tones is thatyou are free to change even the tiniest nuances which makes it useful for any character youwant to color.

the disadvantage on the other hand is, thatit’s really hard to get the same tone every time, so you might also want to work witha fixed tone for skin. my favorite tone for this is naples yellowreddish. when you are using a fixed skin tone likethis, it’s a lot easier to focus on combining your tone with other colors for various typesof shading. you don’t have to mix your base tone againevery time you want to try out a new variation. it will also be a lot more consistent whenyou can always rely on the same base tone. an important aspect when mixing skin tonesand the matching shadows is to not limit yourself to only 2 or 3 different fleshtones.

depending on light situations you can addall colors to your basic skin tone to match with the overall scenery. a sunset would obviously require a differentpalette than a rainy day. giving our skin more variations than justbrown tones is important to give our image atmosphere. so i made a color wheel to give us a littleoverview. on the left i put the spectrum of fleshtoneswithout any other added color but brown. i chose a base tone, in my case naples yellowreddish, to use as an example for the rest of the diagram.

of course you can use any other color forthis. on the very right i used just the color itselfand dulled with black. in the middle i mixed all the other colorsin to get an overview of my possibilities. personally i really like the purple shadow,because it goes with a lot of different sceneries, adding more vividness to the skin. to pick the right colors for your drawingjust experiment, for example by practicing with using movies or photos as reference. a tip for darker tones: use an acrylic foundation. the color won’t lift off of the paper theway watercolor does and that makes it more

comfortable to paint shadows and highlightson top. you don’t have to worry about the whiteof the paper shimmering through while shading. last but not least the choice of paper willhave an impact on your painting. i recommend strong paper, because for thetechnique that i am going to show you we are going to push the colors around a lot. the texture of your paper will also have aneffect on the appearance of your painting. there is rough paper and there is paper withalmost no visible texture. let me tell you right away: both kinds ofpaper work, as long as they are strong enough, but they do have different benefits.

rough textured paper will make your picturemore grainy and your painting clearly identifiable as a work of watercolor. but it is also easier to hide tiny flaws,since they can merge with the texture. compared to that, on fine paper every stainor edge stays visible like on a plate and it’s very unforgiving. nevertheless, choosing paper that has no textureenables a more softly rendered and 3 dimensional look. it conceals the typical watercolor look completelyand makes it appear almost like digital art. before i start painting i look at my sketchor lineart and divide it into tiny pieces

in my head that will need individual attention. skin, lips, eyes, neck, hair, background etc. then i plan the order that i am going to workin. keep in mind, with watercolor you can onlywork light to dark. so start with the light areas. occasionally the face is covered by darkerhair. when that’s the case you can paint overthe lines with skin color without any regret, because it will be covered by the darker colorof the hair afterwards. so the order of this piece will be:skin of the face, lips, white of the eye,

eyes, eyebrows, neck, hair, background, beanieand clothes, hand. it won’t be that strict and i most probablywill jump around between the steps when i am not satisfied with details, but this isthe rough plan basically ;) with this painting i work with a digital referencei made previously. you can use the color wheel to help you choosethe right color. in my case i can find the base tone aroundthe orange/red spectrum, the darker ones seem more in the reddish brown area. first i wet the area of the face. normally i use plain water for it, but ifthe painting is darker, you can already add

a tint. the neck will follow up later, i only careabout the face at this point. i am going to wet it with a brush thoroughly. we need to wet the surface because soft colorgradients can only be achieved when the area is wet then i start placing a mixture of naples yellowreddish and saturn red to determine the basic light situation. this mixture is going to be my base color,because it covers most of the face. carefully put the base color down.

as long as the paper is wet we can push thecolors in the right direction. don’t paint where the highlights are supposedto go. once covered they would be hard to lightenup again. because the highlights aren’t plain whiteas well i applied a light wash of rutile yellow to mute them down a bit giving the skin awarmer appearance. once everything really dried down the grainytexture has disappeared. the colors are now set and should be fixedwith the paper. we can now carefully add another layer ofwater,without lifting any color off of the paper.

so we wet the whole surface again. we will repeat the process of letting thepaper dry and wetting it all over again every time we add another layer. when the surface is carefully wetted, i applyanother layer of my mixed base color. (naples yellow reddish + saturn red). it’s about deepening and refining the shadowswe previously did. again i avoid using the base tone on the highlightsso they stay light. the damp paper will help carrying the color,so we can softly blend it with the first layer. let it dry

time for the next layer. i carefully wet the paper with clear wateragain. this time i add the brown shadow tones witha mixture of (burnt sienna mars brown and naples yellow reddish). these are not placed on the whole face buton the areas where there is the least light. first i carefully draw a line with the shadowtone and then blend them with the rest. a tissue helps to regulate the colors thatare left in the brush. this way you can work with the color on thepaper without adding any new color to it. this is the key to smudging the already placedcolor and to create soft shadows.

here's a tip: if you painted over lines ,wherethere is no possible darker color to cover the mistake, you can take some water and yourbrush and try to lift them off by carefully rubbing it off with your clean brush. once again let the colors dry completely andwet it again. this time we are going to deepen the shadowwith the next layer and also we add a more saturated tone compared to our base color.(naplesyellow reddish + transparent orange + saturn red) this will be our transition tone that definesand blends the places where the shadow and the base tone meet.

this makes the painting more vivid and interestingbecause now the skin looks like it consists of more than just a highlight a base and ashadow tone. i add more depth by adding more layers ofcolors the way we did before. i defined the nose and the nostrils by usingeven darker colors on the wet paper (green umber, mars+brown) and lifting it off witha clean brush at those places where i want harder shadows i have ignored the lips so far, because idon’t want them softly blended in to the skin just like the shadows. so this time after everything dried, i won’twet the face all over again but carefully

paint the basic shape of the lips. i used potters pink + mars brown and burntsienna. at this point we don’t want to paint overthe line. it would ruin the soft skin, since we couldn’tlift off spilled color without lifting off the color of the skin. so be very careful with this part. when the lips are wet i fill them with shadows. i let the lips dry down completely and thenwet the whole face again. at this point i try to blend parts of thelips with the skin, so they won’t look like

sticked on. also i used the occasion to add more shadowsto the lips. time for the eyes. i wet the area of the eyes with a light greyto give the white of the eye some shadows, making them appear like a sphere. when it dried down we can start with the restof the eyes. just as with the lips i am very careful, becausei don’t want to paint over the lines when drawing the lash line or eyebrows . i used phthalo sapphire blue and indigo for the eyes.

because the face is almost done i start workingon the neck. it’s just my personal preference, so youcan do it differently. but i feel the neck and the face fit togetherbetter when they are done directly one after the other. nothin much to say on how its painted. it works just like how i did the face, wettingthe area, placing colors, letting it dry and repeat :). back to the eyes. at certain points i feel the need to use apencil for single lashes, when brushes give

me a hard time to draw delicate lines. so i really recommend switching media whenit’s for the benefit of the picture. if the pencil stands out we can also wet itand add color again. this way we can merge everything togetheror add more depth. last but not least we add highlights on eyesand lips with a covering white. this is what the picture looks like when everythingelse is done. you can see that the areas where we paintedover the lines are covered by other details like the hair or her shirt for example. there will be a full video of this picturevery soon on my channel, so make sure to subscribe

so you don’t miss it ;) also tell me in the comments what you wantme to cover next. thank you very much for watching and i hopeto see you again next time. if you are interested in other videos thatfeature a soft rendered skin click here. if you are interested in more tutorials watchthe playlist here.

safe body paint

hey good morning tony here from learnautobodyandpaint.com body in pain and a quick video on alittle tank project that i'm working on rightover here i and let me tell you a little bit moreabout this thing home so you you understand what's going onhere let me show you the tank we have i yamaha whites are $50 gas tankhere this is the final stage of the project ii decided to do a two-tone graphic on it and here's what i did: okay initiallyand here's what you can do to its just ideas for you

i and you know i will break this downeven more detailed step-by-step within the vip course if you're interested inthat i took up the vip course atlanta body inpain but here's what happened i paid it i didsome body work we had a big chance right over here that the bodywork we based it ok'd green know first we did a silver base okay soare greenwood came out nice and light and this is the silver base rate there right then i got some fine line tape i'massed out the graphic

alright taped it up and i sprayed ourdream okay relate the green over the wholething then we took the tape off then our sober was revealed right after that igot some black pinstripe and we did this little pinstripe hereall along the painted edge okay along the painteda cheer black pinstripe and then i put two coatsof clear on top ovett emeriti have video this thingdone up before okay so to go to clear one on top ofthat now

i wanted i decided later that i wantedto put a detail on it okay and if you have decals right you could clear right over them andthat's what i did with this pinstripe right it was this the final sticker decals that i put on the nightcleared right over its if i had this learn all about campaign d-calif i would put that on the same time andthen put to quote the clear on it okay but i didn't have this detail and iended up clearing the whole thing okay clear the whole thing so it wasbasically done without this loan auto

body in pain decals here so now when i'm doing sanded the whole tankdown with 1200 great you don't want to go coarser than that like a thousand or6 under a hundred because its you gonna show your sanity scratchesgonna be too much to you too much sense scratches for your clearto cover alright that's that's important so if you wanna reclear anything you want it clear over 1200 grit somepeople say thousand but in my mind i think that'sto course

alright 1200 is safe 1500 is a littletoo fine now let's break into another sectionright now okay so if you if your paving a regular basis go clearcoat paint job you do not wanna paint your base over1200 great 1500 grit 1300 you wanna paint over 400grit because you need your pain to stick tosomething right and with cleared so it's a littledifferent alright clear-cut with based qos you have no partner unless it's a yearthing and now more that you're using

there's no partner alright so it's justgoes on to your primary issue or whatever you have underneath your undercoat okay so and then youwould lay your clear coat on top of that great not findyou'll have to send a clearcoat goes right over base coat youknow the day that you're painting alright but that now that we have clearcoat here you're probably thinking hey isn't 1200 little too smooth to paint oversorry got a parrot outside for a cocktail isn't 1200 a little too

fine too not not the answer is not when it's clear cover alright clearcoatyou have additive in it you have activator you know heart nearlyyou share with the clear coat and it will stick to it and it's notgonna peeler chip off as long as you have it sanded like this like a flat like this alrightyou're good to go all right then you could call it soundedbut that later if you want but today what i'm going to do right nowis waxing greece remove it clean okay andyou can waxing grease over clear coat

right it's not going to hurt you don'twanna waxing grease over base coat because you just gonna meltthat of right and don't worry if this is that like getting your getting mixed upi know i'm packing a lot of information in one video but in the vip course you know i havestep-by-step videos you know this do this do this do this to guessyou know this is like i'm covering a lot of things in this one video as wanna put out a lot of goodinformation here so well i'm gonna do right now

and i'll show you some other son videois summit wash it down with waxing grease remover tack it downso i have no dust on it and then lead to more coats of clear on top of this by to seal my learn autobody in pain dot com d-calif okay in my tank why do i want to do thatbecause i'm gas tanks you have the most wherealright you're leaning against that you got your body on it you know and a lotta motorcycles comewith clear coat on the gas tanks over

the details if you if you notice the rest to thebike the decals are just on it another reason why is if you still gasspilled fuel it's not you not gonna have a problemmilt of your d-calif the blue and all that you know it's going to be sealed in theclear coat and it'll be fine as long as you white wipe it off no big deal it'll beperfectly sealed right so that the two reasons whyyou want to clear over decals

on gas tanks i plus i like it i you know if i had by the rest my graphics on mybike i would have put them on and then cleared over everything the the entire bike with could grow becausewhen you wash it afterwards you don't have to worry about your clawyou know snacking up on the corners are the corners of your i lettering coming off a know that youknow you know they say i'm pretty well but once it's clear coated in seal then stays on forever alright so its tonyfrom an auto body in pain i hope you

like the tips on this video in my next video we're gonna show youare basically wash wiping it down clearing it two times and showing youthe finished product i it's again it's tony from an auto bodyin pain if you want to learn more check out more auto body in pain doc commongiving away free a five-page autobody manual as well as a90 minute dvd an autobody i think you gonna like it pick those items up right now and i willsee you at the site have a great day shower

i'll show you exactly step by step howto get these kind of results every single time alright thanks tonywhat's really going to miss soviet on that went do june do huh

painted body

body painting is a form of body art whereartwork is painted directly onto the human skin. unlike tattoos and other forms of body art,body painting is temporary, lasting several hours or sometimes up to a few weeks (in thecase of mehndi or "henna tattoos" about two weeks). body painting that is limited to the faceis known as "face painting". body painting is also referred to as (a formof) "temporary tattoo". large scale or full-body painting is morecommonly referred to as body painting, while smaller or more detailed work can sometimesbe referred to as temporary tattoos.

painted bodies

>>music playing >>john cherevka: hi, i’m john cherevka. >>jamie grove: i’m jamie grove. >>john cherevka: and welcome to our lessonon body painting effects. today we’re going to be going over bodypainting, with the airbrush and using a variety of techniques. we’re doing scales, some alien patches, some lava cracks, predator spots and veins,

little gore. this is important to know because you neverknow when something like this may be called for, just on the set. you might just be there for something else and be “hey we got a guy back there, weneed to get a body painting done.” and if you can do it, you might really geta great opportunity. >>jamie grove: believe it or not, this isused in film quite a bit. anything from print ads, to some of the zombiesthat you see

in some of the big shows out there, to enhance it and make it look gross, and to us, irresistible. all right, you guys ready? >>amanda franchini: i am. >>jamie grove: let’s do this.

paint for skin

okay, hello! um, i have gotten a lot of requests,um, for a tutorial because speedpaints are kinda hard to follow sometimes and i totallyget that. um, problem is that this is very hard to do. um, because this video is goingto be very, very long and i really don't feel like writing everything out so i'm just gonnatalk to you and you're gonna listen to my horrible voice for about, aahh, probably thirtyminutes to an hour. sorry! so, we're drawing john--john egbert--today. you know, homestuck?the only thing i draw. um, so, i have this weird mute color of blue and my sketch toolon multiply circle. the beginning to every face--the circle, your line of whatever. so,i'm just gonna sketch this real quick. and speed it up a little bit.

okay, now that we have our super duper roughsketch down i'm gonna at least try to clean it up a little bit. oh-hoh my gosh! 'causethe more weird lines you have in places you don't want, the muddier your painting partis going to beand the more hard it's gonna be to, like, navigatearound all these stupid lines. so, just, it doesn't have to be perfect, just try to cleanit up a little bit. okay, that's--that's good enough. we're gonna have to do with that'cause i don't have a lot much time actually. okay, so, get your reference picture out ofthe way and set your sketchy layer to shade. lower the opacity--o-pah-city? o-pace-ity.i don't know. don't quote me on that. um,

and start your coloring underneath on a normallayer with preferably really opaque. *quietly* alright, a little bit darker, come on. *slightlyless quiet* there we go. *normal volume* and your coloring part doesn't have to be perfecteither because you're gonna be putting other things over it. it-it's fine, just don't worryabout it. *whispering* just don't worry about it, it's cool. okay, now, flat color's down, we got it howwe want it. whatever. um, we're not quite going to merge this down yet. we're gonnakeep it there at about 20% opacity. that's fine. and i'm gonna get...mmm...tinted darkblue on weird desaturated blue. my acrylic brush with these settings...you can probablysee them in the video if you full screen.

and just start--just go at it. this is--ourfirst pass is going to be like just general shadow like don't even--yeah--...disregardall that. it's whatever. this is just gonna be where most of the shadows are. it's very,very faint, this-this layer is going to be, oooerrhh, not very visible. but it's fine'cause it's just to give an idea of shadow. just--and i like finding colors that you canuse on the entirety of your canvas and not have to keep switching around or use blackbecause black is not generally a good thing to shade with. just try to avoid black. don'tdo it. (with worry) just don't do it. okay, then we shut--set--this layer to shade and..hnn..aboutright there again. about 20%. yeah, that's good, and then put it down on your lineartlayers so it kinda looks like that. and now

we're going to do it again. except we're goingmore localized shading..like little...*squeak*...smaller places! and this is going to be a lot darker.there we go. lil' bit more localized. set shade aaand...let's say...aaahh..seventy.there we go. that's good. i actually--i want to change this one to, um, hmmm..red or something.'cause his skin's starting to look a little bit..weeeird. there we go. a little purpleyred. whoa! *incoherent mumble* okay, that's good. aaand...merge down. that's good. andone last time, i wanna make another one of these layers..hm..ah..*very subtle fireworknoises*..let's use red again and do just a really, really big sweep in places that aregonna have a pretty big gradient. okay, heheh, he looks like he has a beard, so what i do,um, on these layers--shade of course--i get

my water tool on these settings so it doesn'tactually make a mark. it just blends. ahhm, kinda, you know, blur out the edges here sothat the gradient is smooth and not--you don't have too many choppy strokes because it'sgonna be kinda choppy 'cause, you know, we're painting. it looks, well, like paint, kindof. but we're gonna make those ourselves. we don't need all this crap in here. get out.mmkay. there we go. close enough and then again. there we go, we got a nice gradienthappening. and now we're totally done with the shading, i think. for the most part. we'rejust--we're going to ignore it for now. then, i use more toward yellow for the highlightsand we're pretty much gonna do the same thing. um...oh, these are kinda hard to see so igo ahead and put it on those. there we go.

this is going to be the--the general. likewe did with the first shading layer. it's just the general light areas. mmkay, now yougot that and it looks suuuper weird, but it's cool. we're going to lower...ehhss...i dunno...how'bout right here? naaahh..it's too gray. just a little bit of light going on. ah! don'tmerge your luminosity layers and your shading because it, ya see, it doesn't--it doesn'tkeep. if you're going to merge, uh, any layer onto another, make sure the bottom layer isnormal. see like, that would stay, but we're not going to merge that yet. we're gonna keepit. and then, like we did with the shading layers, we're gonna add more. *laughter* so,this time it's more localized. and i don't--i don't use as many luminosity passes as i doshade passes but that's just--that's just

me. who's calling me? someone's call--oh!that's--hang on a second! mmkay, anyway, like i said we're gonna do the localized lightor whatever. you just put it at the end of the nose. aaahh..about right here. underneaththe edge of the mouth, hnnn..the apple of the cheek..eaaehha...it's funny how they'recalled apples. they don't resemble apples at all. they're just part of your face. aaand..thecorner of the eyes. tch..on the eyes. this weird thing right here between your eyebrows.aand..that--there we go. that's a base. pretty simple. near chin..lots of stuff. okay, that's--that'sa face. aaand..the rest of it. 'kay, this--lower that--it's gonna be a little bit brighterthan the other one. see, that one's at 11%, this one's gonna be at, ehn, thirty. that'stwenty. i said thirty. okay. there we go.

very pretty! and i think we're pretty muchready to start the actual painting. yay! fun, right? sheet layer down onto the color. i'mgonna merge my luminosity down and if you try to put the luminosity on the shading layer,you're gonna, it's not gonna be fun. 'kay? it's not gonna take. so, now that you haveyour one layer, and also your reference here--hello!--uh, you can start painting. and i usually onlypaint with one layer for the majority of the time. so, i got my acrylic and i use the colorpicker tool on my, uh, on my tablet a lot. it will really, really help you. so you don'thave to keep going, "huhhuh, it's uh..that with the stupid tool." just your color picker,please, just do it. and if your tablet doesn't have a color picker then i-i-i don't knowwhat to tell you. it's this uh, hang on let

me just draw my pen. here's the pen. eh. gota little button right here and a little eraser. the nib. there is this weird long button onit and it's--it's that part right here. ding, ding! it's a bamboo..pen..tablet..whatever.uh. i'm just gonna mess around with this for a little bit. mmkay. i, uhhehh, i cleanedit up a little bit because it was lookin'--it was looking a little bit rough. so, use yourcolor picker tool and you just start going at it. start blending, color picking, justover and over and over again. and it's going to take a long, long time. but you know what?i-i actually find this part kind of relaxing. 'cause, you know, kinda a mindless task atthis point. and sometimes, you know, i very rarely actually use the color wheel thingafter i have all my colors laid down and shaded

and everything but sometimes it does callfor a, you know, using a little bit more saturation or a little bit darker. it's cool. just dowhatever you think looks good. it'll be fine. i'm sure it'll be awesome actually. y'know,if--if you wanna show me some of your drawings, y'know, just send them to me. send me a link.i'll look at 'em. i'll be like, "yeah, yeah that's awesome." you know, if you want a littlebit of critique, i can do that too. okay, you know, just, fuck, i'm just gonna *humming,leading into a song* adjust the hue, a little bit more red, a little bit more saturated,doo, doo, doo, doo, doo, doo, luminescence down, and since i turned down the luminescence,i'm gonna have to put another, uhh, little luminosity layer on there. oh, my voice justcracked. you hear that?! holy shit! wow! i--i

try to use the biggest range of colors i possiblycan, like, total black, total white, at least somewhere on my paintings. also, did you noticei have a lisp? because it is--it is there! and you're gonna listen to it. i mean, youcould click off the video, but, whatever. you know, i don't think you should. i thinkwe could have a great time. *begging* don't leave me. uhh, alright, err..that's good fornow. ehyeh, there we go. and also, i forgot, gonna get my color picker somewhere betweenthis weird pink color and red. right there. just...bright as you can fucking get it. juststart doing this. i usually put it on cheeks, on the nose, and on the ears. beautiful, beautifullipstick. it's gorgeous. you look so pretty, john. you look so pretty. i also do it onthe shoulders, but you can't see them here.

so. and set that shade and get away that weirdcolor. there we go! what do you think? it's adorable. now we have another color to workwith and blend in! and, just, okay, i'm gonna fast forward now. okay, um, it got prettysmooth as you can see. i just now spent like, thirty minutes doing that. um, but i thinkin this tutorial all i'm gonna do is the face because that was the main concern people hadand i don't have enough time all this junk. so, we're just gonna focus on the face rightnow. it's good. it's cool. it's whatever. so, now that all we have all the...all theweird blending and i also gave him eyelashes, um, we're going to just deepen the shadowsa little bit and give him some beautiful little eyelights. highlights in your eyes. eyelights.i'm like a genius, c'mon, that was a good

joke. (you should be laughing.) 'kay, so there'sthat. um, what else was i gonna do? oh yeah! uh, i like to make the noses shiny. *squeaking*it's comforting. i like it. and like, right underneath here, and here. right here. righthere. right here. okay. and of course, shiny lips. i'm gonna smooth out the--that shinya little bit. it's a little bit too shiny. c'mon. okay. uh, lip's gotta be shiny, uh,little splee right here and right here. there we go! look how shiny and beautiful he is.i'm gonna put a little bit of highlights back here because when you're painting they tendto disappear. just a little bit. we're back. there we go! and i, i usually don't give theprospect kids freckles, for some reason, i think that's just a thing i save for the dersekids, um, i will give him freckles just because

someone was asking about that. so i get, um,tchh, weird brown color here. why not?um, and there is this, uh, this brush i have calledb-plats, i don't remember where i got it from honestly, i googled sai brushes and this cameup. i think it was in like a grunge pack, you're welcome to look for it but i--i haveno idea, i'm sorry. maybe i'll look for it. i'll see if there's the name of whoever madeit, but right now i don't know. and this just makes a bunch of, like, dots. so i gotta,like, erase the bigger ones, split 'em up, and take 'em, put 'em over here and deformthem until they, uhh, they look like they fit the face. right there. there we go, that'sgood! and then, lower the opacity on the eraser and just kinda blend around 'em. and thenset that to shade and *brief pbbbbt*. there

we go! there's some faint freckles, you know,not too much. i usually, uh, go back over it with a regular simple circle and put abunch of big weird dots like "hoh...these don't look like freckles, kiwi!" i know, iknow. it just kinda gives texture. like the-the opacity on these is gonna be so low, you'renot gonna notice. it won't matter. so just, just go nuts. just go nuts. here we go, herewe go, whatever. shade. hahahewa..real freckles....aaand put this about..nine-ten opacity. i'd sayten at the very most. so there we go, kinda gives more texture. woot, woot. and then forthe final touch, we do the same thing again. ehh..i'm gonna use the sketch brush for this.put the freckles that you're gonna see the most. these are black just so you know. andthen do the same thing--shade. there you go!

and there's ya some freckles! that's juston one cheek. i don't know what would cause you to only have freckles on one cheek. thereit is! there it is. that's usually what contributes to the face texture are these. then there'salso, um, there's all my freckles, i'm gonna make a new folder, put 'em all in there. ah,no, that's not what i wanna do. here get in there. okay. now that we have all our frecklesin a neat little, uh, thing, folder, we can..okay. i get my, uh, my really light color up here.try not to use white or black on anything except, mm, highlights and the very, verydarkest places 'cause like if you shade with white or black, it's just, you know, it'snot gonna look good. don't do that. i, i don't know when to stop, i just keeping messingwith things. my mom always told me a good

artist always knows when to stop, and i ambad at that. so, anyway, um, i get my b-plats again, do the thing, then luminosity. heck,i, left a little of this. do the same thing you did to the freckles. that's good. gonnaerase a little bit. i usually, i put these on places that are really shiny like, mm,probably on nose, cheeks, sometimes uh, shiny part of the arm. but, i didn't do the arm,so we're not gonna worry about it. then lower. that kinda...i don't know. i don't know whatit's supposed to be but it feels right. kinda like pores maybe. i'unno. could also layerthose with the darker ones. then it makes this kinda neato texture going on. yeah. so,yeah. there it is. this has been-wait no-i forgot his eyebrow hairs! that's the mostimportant part! no it's not, but i really

like eyebrow hairs. aaaahhh! i gotta changemy brush. make sure to never forget your eyebrow hairs, kids. never. ever. mm..put some overhere too. okay. this has been my tutorial, um, i'm not gonna put credits, i'm just gonnatalk to you. um..i drew this with paint tool sai, as you can see right up here. no, i donot know where to get it. this has been a program i've been using, like, this exactsame one for, like, five years now? i dunno. it's been a long, long time. just been transferringit back and forth on my computer so whenever i need to get a new one. um, recorded withdebut video capture software. ah..professional. you get a free trial, but other than thatyou have to pay for it. this took about tsshh, hour and a half? nah. probably about fortyfive minutes. i'll check. anyway, thank you

so much for watching, um, and if there's anyquestions you have, anything you wanna show me, anything you need critiques on, just feelfree to send them to me. um, here's my tumblr. i'm gonna write it down. nooo, that's a bigbrush. c-a-t-dash-p-u-n. there it is. tumblr. and i might make another tutorial soon. so,just tell me what you think, um, thank you for watching! bye-bye!

paint for body

hi! this is christina mendocino at thehennagirl.com.we are giving tips and techniques for body art. so now what i am going to do is showsome more brush techniques that we are trying to get used to using the brush. lay the tipof your brush down and practice some lines. lift up, now right here where i did the lineit is getting a little drippy so what i did was i did not make enough paint, so the paintis watery. so what i do is i grab my palette there is a wetter area and move to the drierside and i reload my brush on the side that’s a little too wet i want to make it dry soi move over and then we resume. you are practicing lines and stripes. as you get to the end youcan either stop and lift your brush up or you can lift your brush up slowly to stop.this is good to get used to the tool. you

really want to get used to the tool that youare using before you start to use it on people.

paint body

these surreal stop-motion films are the workof hikaru cho, a chinese national living in japan whose inspiration came from an unusualplace. it all began when i wanted to paint somethingat home, and i looked around for something to paint on. i couldn't be bothered to lookhard so i used my hand and painted an eye on it. that turned out to be be quite freaky,so i took a picture and when i showed that to people they were very shocked - more shockedthan i thought would be possible. people tend to judge others just by theirappearances, the colour of their skin, their eyes. i think that is really stupid. so icreate these pieces of work with a message to others that not all is what it seems onthe surface.

hikaru cho's social conscience has been presentthrough out her work, but most poignantly perhaps when it used by amnesty international,but lucrative advertising deals have also followed in what looks to be a long artisticcareer.

paint body art

so these are the brushes that i told you thatwe should not been buying and these are the brushes that you should be buying. now howto tell a good paintbrush when you go to the art store. you do not have to pay that much.you can get may be one or two brushes and a good paintbrush should probably cost about$4 for a decent one. and you notice this when i put it to my skin, the tip remains pointed,so that is good. this one is a larger brush, when i put it to the skin, the tip remainsalso, you can see a point at the end. that is the way when you go to the store to tellwhat you should be using. another way is to put it on the skin and move it side to sideto see if the brush fans out when you press them on the skin. as we see that this fansout a little bit but it comes back to a point

so that is okay. these are two very good brushes.as long as you wash and take care of these when you done with them these will last toa very longtime and you would not have to throw them out.

nude body painting

well in the human connection arts we don'treally deal with hate we deal with love and so it's really important that we allkind of understand that because there's so much hate to go around but instead ofusing the word hate i'm gonna stop using the word hate and i'm gonna say there'sso much walls up between us and other people that what we really need to do iswe need to find ways of opening ourselves up to as many people as we canat least as vulnerable and it means that you're going to get hurt sometimes butit's something that it's what we're already doing and so we need to sort ofreally be dedicated to it...... humanconnectionarts.org we would love to have you celebrate..

seeing that i think he's pretty cleverwe're calling it a protest and we're protesting against the divisiveness sowe're doing this we're getting large numbers we people to get together to get nuden public you know to the sake of unity and we're calling it a protestgood words we're obviously in unity and divisiveness that's gonna be all the way in june but if you really cool for everybody to participate..

how to body paint

hi, my name is athena zhe, and i am a body painter and makeup artist of special effects. originally i'm ukrainian. i came here when i was fourteen years old, and started pursuing a career as a body painter about six or seven years ago. you can see my work on vh1, mtv, fox news, many, many publications, magazines, music videos, and i am a recent contest on the show face off on syfy. i teach classes, i travel around the world,

demoing my work. today, i will be painting on a beautiful model. a body paint that's inspired by a blue poisonous frog, and a couple of touches of my own my best friend its probably google, because you can find any type of design there that can inspire you. i am fascinated by prints on animals, on lizards... i can do any type of design, anywhere from jeans, t-shirts, bathing suits them to outrageous 3d movie characters.

i work a lot with different companies who want to have their logos painted on the models and promote their brand this way. thank you so much for watchingthis video i hope you like my work and for moreawesome pictures and videos you can visit mywebsite at at athenafxstudios.com

girls body painted

- alright guys, what's up? how's it goin'?hey, what's up? hello, hello, alright anyway,let's get on with the video. i really wanna get moreinstagram followers so why don't you guys follow me? that's the whole video. it's just a little vlog of measking you guys to follow me. no, for real, i really wannaget more instagram followers. right now i have about8,000 on my instagram page

which may seem like a lot but compared to othersocial media people who have millions and millions andmillions and millions and millions of followers, it really isn't that much. so i've been doing some research and it seems like what's really popular on instagram right now is body painting. which is basically just female models getting painted in clothes andit looks like they're dressed

but they're actually naked. so all i have to do is get one of these accounts touse me as their model. i spent the next fewhours trying to contact every single body paintinginstagram page i could find. guys, jen the body painter, who get millions and millions of views on each one of her posts justagreed to use me as her model. i am super excited to do this.

i hope i get a bunch offollowers out of this. let's go. hey, how's it goin'? - good, good, good. is there anything i cando to prepare for this? - wax the whole body? do it for the instagram followers. so i'm heading downtownto get a sugar wax. sugaring's supposed to hurt alot less than regular waxing.

it's just lemon, water, and what the (bleep)was the last ingredient? - oh sugar, there we go. (laughing) so it's not hot, you'renot gonna get burnt, and they pull in the directionthat your hair grows. i don't know why i'm doing this. i got to the salon andi was really nervous. so was the lady.

i had a lot of chest hair and i asked her if maybe i could have a localanesthetic or something. she gave me some baby powder. (groaning) oh, man. (heavy metal music) (screaming) hurt so bad i ended up passing out. when i woke up and looked down i realized

i have a 13-year-old bar mitzvah bod. i took my hairless bod to gobuy some very little underwear because i can't be naked in the shoot. i met jen the body painterand her whole family but before we started shooting, i wanted to learn a little bitabout how they got into this. it stemmed from like usingbodies to advertise things? - pretty much 'cause when i got painted as a cheetah i got so much attention.

- is it very differentthan regular painting? - oh yeah because the person moves. so with like a canvas, you justcan just sit there for hours and play your music whatever,feel really relaxed. - so how long does it take usually? - captain america wasseven to eight hours. for you, right now whatwe're getting ready to do it's gonna take us two and a half hours. - so you guys are likea family who just...

- does really weird things together. so i would literally come home from school and as soon as i'd walk in the door, like our kitchen is in sight, so i would see like toplessgirls just walking around. - my mom never paintednaked models in my house. it was just like my dadwalking around naked. anyway, time for me to get naked. it was awkward becausei realized i'm at work.

- what the (bleep) is happening right now? we then had to take a bunchof pictures for the thumbnail. being an instagrammer isn't easy. then they gave me so pre-painted shorts, so they didn't have to paint my, you know. looked at their phone tofind pictures of clothes and started painting. (electronic music) she also had to paintinside my belly button.

that was a big no-no. time for the big reveal. oh dude! holy (bleep)! wow! oh my god. yo, it looks so good! if anybody watches friends,when bruce willis talks to himself and he's like"who's a sex machine?" i'm a sex machine right now.

i said that and nobody laughedso it made me uncomfortable. this painting is insane. you did that on me while iwas like talking and laughing? - [jen] yeah. - how's my butt look? - [jen] great.- [second artist] amazing - [jen] never looked better. - it's time to go out, see if people notice,see what people think.

buzzfeed, get ready for naked eric. (acapella singing) at first people didn't even notice. and when they did, theydidn't know what it was. - are those leggings?- [eric] yeah! - are they even pants orare they just leggings? - that feels like your skin. is it your skin? - [eric] it's my skin.

- wait. what the (bleep)? - oh wait. oh my god it's paint. - this is... - i'm naked. (laughs) - it looked like a real shirt. i'm like that is a small, tiny shirt. - are you a little cold? it's a bit nipplely in here.

- you're wearing underwear because... - no, no, no. my penis is taped to my leg. no, no, no, i'm kidding. it's not, i'm wearing underwear. - oh thank god, thank god. - how would it be taped? to what? - it's also blizzarding outside

so maybe not the wisestchoice today but... - not at all, i have to go outside - i cannot stop staring at your penis. i am so sorry eric, i just can't do it. - look at my eyes, that's who i am. - now you know how i feel all the time. - so this was super fun. most people had no idea. it took a lot of peoplea long time to realize

i was painted and oncethey realized, they were so impressed with the paint job. so i think that's the coolestthing about this video was like how good theseguys are at what they do. body painting truly is an artform, it's really impressive. now i'm gonna head home, figureout how to wash this off. getting home sucked becausethere was a blizzard outside and well, paint doesn'treally keep you warm. my nipples are so hard right now.

showering was fun though, ilooked like a human bath bomb. it looked pretty cool. i've been in the shower for 45 minutes, and it's still not coming off. and my whole shower is bleached black. so i just finishedediting, it's been a week. and here's the update: jenthe body painter has posted my post, she tagged me in it. it currently has over 500,000 views.

and my instagram page (drum roll) i only got 100 followers. i waxed my whole body for 100 followers. i've been itchy allweek for 100 followers. everyone just caredabout the body painters, and not about me. i'm not giving up, though. i'm gonna keep making these videos

till i get a million followers. (soft jazz music)

full body painting

hi, my name is athena zhe, and i am a body painter and makeup artist of special effects. originally i'm ukrainian. i came here when i was fourteen years old, and started pursuing a career as a body painter about six or seven years ago. you can see my work on vh1, mtv, fox news, many, many publications, magazines, music videos, and i am a recent contest on the show face off on syfy. i teach classes, i travel around the world,

demoing my work. today, i will be painting on a beautiful model. a body paint that's inspired by a blue poisonous frog, and a couple of touches of my own my best friend its probably google, because you can find any type of design there that can inspire you. i am fascinated by prints on animals, on lizards... i can do any type of design, anywhere from jeans, t-shirts, bathing suits them to outrageous 3d movie characters.

i work a lot with different companies who want to have their logos painted on the models and promote their brand this way. thank you so much for watchingthis video i hope you like my work and for moreawesome pictures and videos you can visit mywebsite at at athenafxstudios.com

full body paint

- yes! - for today's flash challenge we returnto the legendary coney island. since the coney island freak show opened in 1880, contortionists have been one of the most popular acts, and this week they'll alsobe your canvases. let's meet them. - they're ripped as [bleep]. any challengewith half-naked women

is an awesome challenge with me. - contortionists combine artand science by bending their bodies into creativeand sometimes shocking shapes. today you must once againwork in teams of two. each teamwill be randomly assigned a pair of contortionists. you must firstpose your canvases, and then use body paint

to transform theminto something else completely. this week you are beingjudged on color theory. - color theoryis taking different colors and makingthem complement each other so that in the end they look great. - you must usea dynamic color palette to distract and direct the eye, creatinga mind-blowing illusion. cleen, you wonthe last elimination tattoo.

that means you getto assign the teams. advantagesare few and far between, so make the most of this one. - the only one i'm tryingto help right now is myself. i'm gonna try and screw over as many of these guys as i possibly can, 'cause i need all the advantage i can get. - cleen's headstrong, man, and i know he's here to win. - every single oneof those skulls

got a bullet in it. - okay, guys,please read the number on the bottom of your skullto determine your team. - one. - four. - cleen chose me because he wants to win, and i'm a winner. winner, winner, chicken dinner. - team three.- three.

- i'm pairing up megan with sausage, because i'm trying to help her out today. he's a good artist. if i paired megan upwith alex, she would kill me. - alex, really, cleen? this guy has checkedout of the building. - number two.- two. - this could be an absolute disaster. anthony and i both primarilydo black and gray,

and this challenge is all about color theory. it's one of the firstsmart moves cleen's made. - the winnersof the flash challenge will have the powerto assign all human canvases in the elimination tattooas a team. you have four hours to use color theory to createa jaw-dropping illusion, and your time starts now. ♪ ♪

- hey, how's it going? - this is a hard,creative challenge. - that would be freaking awesomeif i knew what to do with it. - first of all, you have to figure out how to position these contortionists. - we need somethingthat's gonna be stable too. - stable. - second of all, they have to disguise these human figures by using the right colors

to make it something amazing. - maybe putyour two legs together there. - not only are we dealingwith weird-ass contortionists... - that's a little better.- what could it be? but i've never, everairbrushed before in my life. - yeah, i can seea face right there. what do you think aboutthe idea of a snake? what about an adamand eve theme? oh, dude, her boobsas an eye?

is that a ship? - as an eye? we are talking way too muchand losing valuable time. - that's an awful little headfor a great big swan, brother. - if we don't win this challengeand get a skull pick, i don't see us turning the tideat all in our favor. - i'm just at a [bleep]loss here on this one. - we can do, like,an alligator head. i was thinking, like, a swan.

- every idea falling outof alex's mouth right now is absolutely horse [bleep]. we should try to dolike a macaw. - i have no ideawhat that bird looks like. - oh, it's fine.i got it. - okay.- don't worry about it. i have to take the leadin this challenge because alex doesn't haveanything to bring. this is the one, dude.this is the winner.

if we get that skull pick,we could [bleep] totally take over. i've got 99 problems,and they're all alex. - i'm imagining it's likesome body styles, like, say, like,she's bent over. - yeah, yeah.- her head's here. i started to get some sort of,like, a clown face. - the clown idea is [bleep]killer. - we're at coney island.

a laughing clownseems perfect subject matter. - we're gonna have ourcontortionist actually twerk, so it's gonna make the clown laugh. this is gonna be awesome. - i think, like, a spider would be, like,a really badass-- - or what i'm thinking is,like, one arch this way and one arch this way. would that not give youkind of a scorpion shape?

- i need to see themin their positions again. - that was a scorpion. - yes. - because thennow it's the body. - yeah, look at the legs,dude. we should sketch out where they are real quick,take them apart, and then figure outwhere we're painting them. ♪ ♪

- two more hours. two more hours. - if we put herin front of him, maybe the legs out, then we've got some kind of,like, facial structure where it's--you know what i'm saying? something with horns. - like a [bleep, murmurs]or something? - do a demon, like an oni.

yes, yes.- nice. all right. we wasted a lot of timetrying to figure out what the hell we're gonna do. now that we got it,it's gonna be a sprint to the finish line. - we've got two airbrushes. let's start painting, dude. - yours can be really lighton the back. it doesn't haveto be really solid.

- sausageseems like a really sweet, little, jolly dude, but he's starting to act like a dick. - what do you think,white highlights? - i don't knowif it needs white highlights. they have, like, yellow popshere and there. that's what we should usefor a highlight color. - i'm just trying to dosomething that's gonna pop out, because if this is gonna bethe front of him,

then it's gonna bethe main focus of it. - he won't listen to my ideas. - i had a bottle of white. i think that i havea stronger stake in this challenge than she does. i especially need to do well, because i need to get control of this game and show my presenceas a fierce competitor. - how you feeling?

- this is not exactly howi would have used color theory, but it's a coolsubject matter we got. - we got to win this one, marq. this one's for the veterans. - it's the badassesversus the non-badasses. - cleen and st. marqare painting buttholes all day long, and they'relaughing their ass off. - [laughs] - i'm taking the [bleep] serious.

if this ass clown wins the challenge, i will punch everybodyin the face right now.

full body art

1) draw curves 2)fill the outside of the arm in black i use make-up pencils reduce the luminosity to finish: add of the white on edges (paint or pencil) thank you drawing by tutodraw an important question is in description

female body photography

- today we have a special treat for you. where did i put that? (squeaking) you guys asked us for a tutorial on how to pose solo portraits, so today my sister meganis gonna help us show you how to pose clients and friends who aren't necessarily models. we're gonna draw on a lot of tips

that we've show you in previous tutorials to show you how you can apply these to almost any genre of photography. let's get started. (funky space indie rock music) (rattling) remember when we toldyou that straight lines provoke feelings ofbrashness and masculinity and s-curves provoke feelingsof softness and femininity?

well, that applies toposing people as well. depending on the mood and look you want, have your subject keep his or her limbs and torso straight andjagged or bent and curved. two, direct instead of pose. if you remember from ourtutorial on shooting couples, we would recommend directing over posing. so after you've chatted with your subject about the shape of her limbs and torso,

don't give her any more direction on where to place herhands or chin, et cetera. instead, give her a role toplay or an emotion to act out. here, i've told megan to imagine that i've just given heraccess to any of the clothes in my childhood bedroom closet. it's funny to her, becausei would never do that. here, i've told her that myparents had her on accident. before you start shooting,figure out the story

you want to portray in your image. determine the emotion thatwill help convey that message, and help your subject feeland act out that emotion. this will give your photos a more lifelike and interesting quality. a great way to naturallycapture a candid moment is to give your subject(camera snapping) an action to portray thatcreates motion in your photo. this could be as simpleas having your subject

shake out her hair orrepeat a stride in place. capturing the photo mid-action can bring life and interest to the shot. recap. 1, use straight lines & s-curves. 2, direct your subjectinstead of posing him or her. 3, utilize motion to add interest. - we hope you guys enjoyed that tutorial. this week, when you post your portraits,

use the hashtag#mangostreetportraits on instagram so we can check out your work. and as always, please like and subscribe if you haven't already,and i'll see you next week. ♫ we the stars we the stars ♫ we all stars we all stars