Camoflauge trial and error

Image 2 of the major design project is an interpretation of the Green Man inspired by stone carvings, traditionally found in churches as architectural decorations. Originally the design for this image was meant to be a stone sculpture counterpart to Image 1, drawing on the traditional image but with the textures of stonework. However, I decided that only creating a design on the face didn’t show enough skills or originality. When researching into the history of the Green Man, stories of the figure often revolve around him being hidden in plain sight or disguised as something else, becoming a part of the landscape. I decided to alter my design so that the model’s face looked like a stone carving Delamar academy suggest "for a statue effect it's best to use a large, bath sized natural sponge to stipple the appearance of stone." the rest of the body is camouflaged into the background so that it creates the illusion of being hidden but also seen at the same time. Due to current lockdown restrictions, the design had to be adapted to the setting available and the final image had to be produced in a garden. As I had to camouflage the model against a wooden fence (figure 1, 2,), the final effect appears more like a garden wall hanging but still hints at the inspiration from church carvings and grotesques. When doing trial and errors with the body paint for camouflaging, in the first trial (figure 3) the colours and lines was not accurate enough but still gave the illusion of blending into the fence at a distance. With the second attempt painting on the upper body and arms (figure 4), there could have been more details such as extra white paint strokes to help the depth of the illusion. Overall, if this image was to be recreated it would also be done with better weather circumstances, so that the model could be kept outside constantly to help match up up to the fence, instead of constantly moving the model in and outdoors for comfort reasons Iver academy (2020) suggests " Make sure the room I paint in is warm and comfortable for my artist. I would have a heater with me just in case my artist is cold." After a few hours of painting inside the Model started to get cold and uncomfortable at this point a break was needed with heaters added around the model and extra clothing added to places that was not needed to be painted. In industry and while working with any model or client it is important to always keep the model comfortable at all times dure in the makeup process this is important because they will be more relaxed with the process and make it a more pleasant experience and would want to work with the artist again.

References

Na, (Na) Make-up techniques: An introduction to bodypainting {internet] Available at: https://delamaracademy.co.uk/blog/2008/01/make-up-techniques-an-introduction-to-bodypainting

[Accessed 28th march 2021]

Na, (2020) Mona Turnbull: Professional body techniques 101 [internet] Available at: https://www.iveracademy.co.uk/blog/2020/mona-turnbull-professional-body-painting-techniques-101/

[Accessed 28th march 2012]

Figures

Figure 1: Final image of image 2 (Gaylor, 2021)

Figure 2: Final image of image 2 (Gaylor,2021)

Figure 3: Trial of camouflage of image 2 (Gaylor,2021)

Figure 4: Trial of camouflage of image 2 (Gaylor,2021)