Of the physical painting...

THE PHYSICAL PAINTING IS THE FIRST SHAPE OF EXPRESSION PLASTIC USED BY OUR ANCESTORS. IT IS A TRADITION ANCHORED IN OUR ROOTS. SINCE THE AUBE OF THE HUMANITY, HER(IT) IS PRESENTED ON ALL THE CONTINENTS. BEFORE AS THE LANGUAGE OF THE WORDS EXISTS, AND WELL BEFORE THAT THE FIRST STONE IS ENGRAVED(BURNT), THE MAN AFFIXES PIGMENTS Straight from HIS BODY TO ASSERT HIS PERSONALITY AND BE SITUATED COMPARED TO HIS CIRCLE OF ACQUAINTANCES.

One uses(employs) colours on the body, by conferring them magic, symbolic powers and defenders, during the mystic ceremonies which mark the important events of the life in a community. Every mark(brand) has a sense(direction) known and respected by all. Each displays decked out by the colours of the tribe to which it(he) belongs. Inside the same clan, every member expresses on its body its role and its social position. The physical painting occupies the function(office) of the current ID card. When two groups of individuals meet, they know, by an immediate reading of their appearances, interpret the intentions of the opposite group, peace-loving persons or warriors.
Every important test of the life finds a pictorial continuation. The big holidays(name-days) organized in tribes are releases where, in state of trance and transformed by the paintings which protect him(it) from harmful spirits, the man allows himself all the exorcisms and all the madnesses. The former(ancient) watch to limit the excesses, they are responsible for the safety(security) of the group and channel the frenzies of the youngest. These rites are still practised in certain countries of the planet. It is the most ancient(former) shape of therapy and certainly also one of the most effective. The modern civilization ate away at the spiritual universe and at the living space of these surviving peoples of another age.

In the painting - make-up

THERE Is not A MORE MAGNIFICENT SUPPORT FOR THE PAINTING THAN THE HUMAN BODY. THE NATURAL RELIEFS WHICH THE MAN PUTS IN MOVEMENT OF A GESTURE OR A SMILE ANIMATE(STIMULATE) THE MULTICOLORED MOTIVES WHICH TAKE SO ALL THEIR DIMENSIONS.

These alive tables(pictures), dressed in fantastic and in unreal, reveal more that they hide. In the fact of distancing itself, and of becoming identified with the other one, overlaps the idea to carry(wear) a decoration thought for itself, a decoration which comes to prolong the garment and to stress the desire of seduction. The unusual and the exceptional pass in the daily. During some hours, prohibitions are suspended, one dares situations which attract(entice) and hold attention. In this context, the paintings - make-ups take all their sense(direction) because it is their reason to exist that to be seen the others Š
Please , walk in the street the " curiously made up " face, the reactions activated(started) on your passage will be multiple, from the simple smile to the stunned glance, by way of the mockery, the surprise, the admiration or the fear.
A FORMULA Has TWO CONSTITUENTS:PEINTURE-MAQUILLAGE
This original and new art needed a term to define him(it) exactly. The English term of " body painting " did not adapt itself to the French language. The professionals always use(employ) this term, but for needs of understanding the French term painting - make-up was imperative itself.
She(it) aims at modifying the lines(features) of an individual and at acting on the circle of acquaintances of this one. She(it) provokes at the protagonist's the act of theater. Everywhere where it(he) is the glances concentrate on him, the anonymity and the discretion are impossible, the model is propelled on a scene the centre of which it is.

Claude Giordano (Being extracted from book(pound) Painting - make-up)

The main precautions to be observed:

The numerous and various natures of skins can sometimes put problems. By guaranteeing a good hygiene of your material you will avoid propagating the diseases and provoking irritations. Here are some advices to allow you to react positively in front of the most common(current) cases.
You can paint without risk scars and the other former(old) marks(brands), brûlûres, the depigmentations also the sick skins of type: eczémateuses, dry or acnéiques, but you deevez then isolate toweling and paintbrushes which you used(employed) on these persons to avoid every risk of contagion. You will attach(fasten) a particular attention to the cleaning of this material (household soap and possibly a little alcohol for paintbrushes).
You will paint on the other hand on no wound, that she(it) is opened, purulente, in the course of coagulation, very recent and in the course of healing.
You will avoid getting(touching) a skin presenting patches relief bousoufflées accompanied with blushes where a multitude of small red buttons.
On skins strongly reddened by the sun, products can provoked by the sensations of démangaisons which are unpleasant.
Please , distrust irritated, swelled, reddened or wet eyes: they suffer maybe from conjunctivitis, please , do not touch it it is a very contagious disease. In the slightest doubt, please , isolate your paintbrush and please , clean him(it).
As a general rule, please , always work on a very appropriate(clean) skin.
You can paint on a classic foundation cream or an already made up skin, but indicate well to your model that she(it) should remove make-up at two times, and to remove first of all colours in the clear water before using her(its) usual make-up removing milk. Please , remind regularly to people that you paint that it is necessary to remove colours with some clear water and not savoneuse.

" I do not know how to draw "

THIS ASSERTION IS OFTEN SENT TO US WHEN WE PROPOSE To AN ADULT OF ESSAYER THE PAINTING - MAKE-UP. THE MEMORIES(REPORTS) REMAIN MARKED BY THE DIFFICULTIES MET In THE SCHOOL DURING the CLASSES(COURSES) OF DRAWING. THE ABSENCE OF SATISFACTION DURING THESE REALIZATIONS WAS TRANSLATED BY THE DEFINITIVE DESOLATION OF COLOURS AND the OTHER PENCILS. DAMAGE, BECAUSE IT IS NOT NECESSARY TO BE BRIGHT IN DRAWING TO REALIZE A PAINTING - MAKE-UP.

The contact with the human body modifies everything and, be that as it may, your painting will live. The common points among an individual and the paper are rare. The face is, for the plastics technician, a supple(flexible) and inhabited volume. It(he) looks at you, speaks to you and the graphics(handwritting) is always amplified by the mobility of the person. To create on the skin, it is to cross(go through) with the fingertips forms. You will appreciate these sensations, they are pleasant. It is enough to dare this other approach of the painting and you will erase of your recollection the past laborious attempts. The painting - make-up is the bridge which is going to reconcile you with the graphic arts.
Please , use the techniques of this book. Please , be inspired by images which we present you, but do not take them as models, avoid any reproduction. Please , think that the peculiarities of your model are the sources of your choice. Please , be allowed go to enjoy this enjoyment and begin on your face.
Please , observe under your fingers the progressive evolution of this familiar face which you indeed thought of knowing. It is the new glance which you concern yourself by modifying your appearance. You never saw each other as it.
The children understood well him(it), they are naturally attracted(enticed) by the manipulation of colours. They act on them as of powerful magnets(affectionates). This spontaneity is to set in example

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