Body Painter: BodyPainter Rich; Model: Sabrina Maree
Photographer: Hoodlum; Makeup Artist: Holly Berry

Long before our human ancestors were painting houses, we were painting ourselves and each other. Evidence of bodypaint/cosmetic use is among the oldest evidence of any creative effort by human kind. We are meant to do this; it’s practically in our DNA! We have painted each other for rituals, for battle, for parties, for courtship, for all sorts of good and exciting reasons… so why not get a little primal for National Painting Week?

Body Painter: BodyPainter Rich; Model: Fembot
Photographer: Hoodlum; Makeup Artist: Holly Berry

Forget the living room – paint your wife! Paint your boyfriend! Want to join our movement but not sure where to start? I can help you.

• When painting on human skin, you should probably be using cosmetic products. Sure, your kids’ acrylic set is labeled “non-toxic,” but so are lots of things you wouldn’t want rubbed on the more sensitive parts of your body.
• You don’t need fancy brushes. Just find some that are inexpensive and decent. If you are the sort of person who has no patience, consider using a small foam roller.
• Find a WILLING model. They exist. It’s probably easier to start with someone you know. Moving targets get difficult and tiresome. Get one that can stand still.
• Make sure you protect the carpet/floor/furnishings in advance. (Trying to explain that butt print on the hallway wall may get embarrassing.)

So bust out the brushes and join me. Start out with a basic finger painting on the arms of your friend, or work your way up to a fine art masterpiece. Paint your lover for fun, or paint your kids and help them let loose their inner circus animals.

It’s National Painting Week, so get primal and get painting!

Model: BodyPainter Rich; Photographer: Hoodlum

Moxie Glam recently won the Gold Medal, as voted for by members, in the Model Mayhem Makeup Artist of the Year contest.

Makeup Artist: Moxie Glam

Check out Moxie Glam’s Model Mayhem portfolio and personal website to see more of her work.

ShowMe Make-Up recently won the Silver Medal, as voted for by members, in the Model Mayhem Makeup Artist of the Year contest.

Makeup Artist: ShowMe Make-Up

See more of ShowMe Make-Up on Model Mayhem; follow her on Facebook, Twitter, Tumblr, and check out her personal website.

DJ recently won the Bronze Medal, as voted for by members, in the Model Mayhem Makeup Artist of the Year contest.

Makeup Artist: DJ Griffin

See more of DJ’s work at www.modelmayhem.com/ParaN0ir and follow him on Facebook.

Photo: Hoodlum Model: Miss Leila Bodypaint: BodyPainter Rich

Now, this will vary from artist to artist, but here are some general guidelines to go by:

• Arrive well hydrated and well fed. If you starve yourself you won’t have enough energy to get through what will likely be a very long day; and if you are dehydrated you are likely to pass out or lose vital energy before you even hit the stage or shoot.
• Avoid lotions, oils or any tanning products for a day or two before your shoot. These put a barrier on your skin that can really interfere with getting nice coverage.
• No deodorant or anti-perspirant the day of the shoot. Bring some with you if you are concerned, but again this could create a coverage problem. Many pro painters have clear products that will work for you AND take makeup coverage.
• Basically arrive with clean skin and hair. No makeup products unless otherwise directed. If you are doing a “glamour style” bodypaint that leaves your face exposed you should ask whether a Makeup Artist and/or hairstylist will be available. To be extra prepared, bring your own small kit if you have one.
• Bring a nice LIGHT robe that fits loosely, for if you need to leave the painting area before your design is done.
• An old and comfy pair of flip-flops will save your legs and feet if you need to stand while you are painted. Don’t bring anything that might be ruined if you get paint on them. Trust me on this one, you will thank me!
• Bring hair rubber bands or other method to get your hair up and out of the way during the painting process.
• Bringing your own flesh colored thong and/or pasties is a good idea, just in case modesty or legal issues come up.

Realize that good bodypainting is a very time consuming and tiring process. If you are posing in a large space or outside, you will likely get cold. The good thing is, you will be basking in the glow of all the attention!

Photo: Hoodlum

During the painting process there are a few things to remember:

• Try to hold still, dancing and gesturing with your arms can make things difficult for your painter, even moving your head can affect the way your legs are painted.
• DON’T LOCK YOUR KNEES. Standing rigidly is a great way to eventually pass out.
• Let your painter know if you need a stretch or break. Very often we are concentrating on our work and we forget sometimes that there is another human involved who may be on a different schedule.
• Also, let your painter know if anything they are doing is making you uncomfortable. They may or may not be aware, but if you feel that something inappropriate is going on, it is your right and responsibility to SPEAK UP!

So, finally you are finished and ready to go, there are a couple last things to make your experience better.

• Bring some loose fitting old clothes to put on for your trip home. If no shower is provided you will want to protect your car seat with an old towel.
• If you have some baby shampoo handy, this often works very well for removing water based makeup from your face and hair without irritating your skin and eyes.
• If your painter used a long lasting temporary tattoo makeup, you will need to remove it using rubbing alcohol. Do this in a WELL VENTILATED AREA!
• Keep some good hydrating lotion handy for afterwards, you’ll need it.

Roshar generously took time out of his busy schedule during New York Fashion Week to talk to us about his life and work.

– MM Edu

MM Edu: How did you get started as a makeup artist?

Roshar: I used to draw and paint a lot when I was younger. I mostly drew women. Even as a child I wanted to know how to make a face on a piece of paper dimensional; how to play with gradients.

I grew up in a small Texas town in the 80s, and I really did not fit in. Eventually I ended up moving away from home at 15. I was a punk kid with a pierced nose and dyed hair. When I moved away I always lived with girls. I would do their makeup and that’s how I paid for my rent, since I was really too young to work. At the same time I was immersed in the underground club scene. So the makeup I did was more to change the person into a character. I learned how to look at people as that blank canvas and form them not just into characters, but ideas and walking concepts.

Eventually I moved to NYC in the mid-90s, focused on being involved in the underground club scene. However, at that time most of the clubs were shutting down, so I needed to come up with a new plan. I thought, “I seem to be decent with makeup, so I’ll do that.”

I was a sophomore dropout so college really wasn’t an option. My family wasn’t financially supporting me either. Really any school or training was out of the question.

So, in 1998, I got hired by a cosmetic company to do retail.

Photographer: Justin Hyte; Hair Stylist: Linh Nguyen

MM Edu: How did you move from retail to becoming a fulltime makeup artist? At what point did you realize this could be a career?

Roshar: At the time of working for that company, being a freelance artist really wasn’t in my head yet. After 9/11 I left New York and moved to Hawaii, still working for the cosmetic company. It wasn’t until a couple of years later that people started coming to book me for jobs outside of the counter. That is when I realized that there was something else out there for me. I was exposed to the world of freelance, and never looked back.

I quit my job and moved to Singapore. I figured since Singapore has its own magazines I’d be able to base myself there and work through Asia.

So it really was a natural progression.

MM Edu: That sounds like quite a natural progression, but moving to Singapore must have been a huge decision. Why did you think it would be easier to make it in Asia and what was the experience like?

Roshar: It’s not necessarily that it would be easier, but more that I’d always wanted to live in Asia. I love immersing myself in different cultures and experiences, so it was an attractive thought. However, I had been working on my portfolio in a smaller market (Hawaii). Going to a major market with a small market book was a learning experience. My makeup was fine. But the models and the photography were not what were considered up to par there. So I learned that I would have to completely redo my book in order to be taken seriously. I knew I had the talent. But with a weak book people wouldn’t even flip to the next page. I was lucky though. I met people on a personal level that believed in me and put me in contact with their friends that happened to be good photographers, and slowly my book became more polished. I think at that time I learned some very important lessons that I wouldn’t have if I just stayed in a smaller market.

MM Edu: What challenges did you have to overcome?

Roshar: My first challenge was getting a presentable portfolio together—developing an eye to know what type of photographers and models I needed in my book (to be taken seriously). Sure you can do great makeup, but if the photography and model isn’t up to par, the image isn’t valid for your book.

I learned that when someone looks at your photo it goes like this:

First they look at the photography, second they look at the model, third they look at the wardrobe, and fourth they look at the makeup. If any of those are off before they get to the makeup, you’ve lost the viewer.

But getting to that point you have to start somewhere and each time you test it has to be with better and better teams.

Photographer: Mark Gong

“My first challenge was getting a presentable portfolio together—developing an eye to know what type of photographers and models I needed in my book (to be taken seriously).”

MM Edu: What’s the best thing about being a makeup artist? And, what’s the worst or least enjoyable thing?

Roshar: The best thing is being involved with creation. That’s what makes me like this job—being able to have something in your head come into existence by the whole team. There are different artists out there. There are artists that are given the reference and they have to build on that. Sure I get that, but I’m lucky to have people trust me to come up with something.

The other thing I love is traveling. And, the thing I like the least? Traveling!

MM Edu: What career achievements are you most proud of?

Roshar: I think the thing that I can be proud of is that people can look at an image, even with no name credit, and know it’s my work.

Photographer: Christel B

MM Edu: When and how did you realize that your work had a unique, recognizable quality? How do you think you developed such a recognizable style?

Roshar: I found out when people started telling me. At first I was surprised. But then everyone said the same thing. I didn’t realize I had a style until people pointed out a common denominator with my images. It’s funny when people start with their craft and say what their style is. My situation was others ended up telling me what style they saw. Then I sat back and looked. I ended up realizing later in my career what my style was. Beforehand I made the conscious decision to not look at the makeup in fashion magazines—the makeup that others did. I didn’t want to subconsciously have someone else’s work burned in my head. I think that, as an artist, it really helped my work and style grow into my own. Sometimes a photographer will show me a reference on what they want. But I ask questions to find out the basis of the elements they want and make it my own, while delivering is expected of me.

But it made sense. Your personal experiences…who your best friend was when you were 8 years old, your favorite song when you were 12, the street you lived on when you were in High School… they all dictate your style. It even dictates how you have a line. That’s why if you do a creative and, three months later, you are asked to do the same look, it’s not quite the same. You have had experiences in between those months and they have changed you.

I just kept working hard, giving 110% on each gig, and before I knew it people knew my name and my work. Of course, having your work visible helps—utilizing the tools that are available like social media. When you are working freelance and don’t have an agent, so you have to do your own marketing, accounting, management, all that. Really, if you want to get 100% out of it, you need to put in a 110%.

Photographer: Christel B

“I made the conscious decision to not look at the makeup in fashion magazines—the makeup that others did. I didn’t want to subconsciously have someone else’s work burned in my head.”

MM Edu: What was it like working for Kabuki? What did you learn and how has the experience influenced your work?

Roshar: I love working with Kabuki. He is kind and humble. We came from the same underground scene, are around the same age, and like the same music. So our references are similar. He knows that he can say something and I can get it. It’s felt like two friends working together.

I was already a working artist when I got the call to assist. But really, who would say no?

We worked together on Italian, American and French Vogue, Marie Claire, W, ELLE, Kylie Minogue “ALL The Lovers” and Katy Perry’s “ET” videos.

MM Edu: Who else has influenced your style?

Roshar: It’s not really “who” as much as “what”. Light is my major influence. It may sound odd, but I really get excited by the way light affects things. I’ve always been that way from an early age. I’ll give an example. One of my favorite movies is Blade Runner. I remember being a child and noticing that the entire movie is back lit. I was so intrigued by how something backlit could ride a delicate line between being beautiful and being scary.

MM Edu: Take us behind the scenes and explain the work involved in creating your art.

Roshar: The way I work can be described as “being on a fine line”; if I add one additional thing it throws it into something that I’m not aiming for. So sometimes by editing me it gives it more strength. At the same time I’m very mindful of what the rest of the team is doing. How will it be shot? How will the lighting affect it? Is post going to go cooler? What is the hair and wardrobe? Can the model’s face work with this makeup look? I analyze everything.

MM Edu: Select one of your favorite images and tell us about the work involved to create it.

Roshar: One of my favorite images I’ve done is probably the most visually minimal, “The twins with the red lips”.

I was working with a great photographer that booked these twins and they let me come up with the idea for a beauty story. When they came in they had big bushy brows. So I thought that if I take away this brow, I take away their identity and now have a clean canvas. I contoured and sculpted their faces, but chose the type of color that you would see in a shadow, a cool grey brown. To me, keeping such minimal color, but including a punch of a primary red lip color, gave strength to the image. If I had added lashes, more eye color, etc., it wouldn’t have been as impactful.

Photographer: Jamie Nelson

MM Edu: You’ve been at the top for a long time now, how has the industry changed and has it got better?

Roshar: Diva attitudes are looked down on. Being an artist on set doesn’t make you a superstar. You are a team player. You are only an equation of a bigger picture. So really, if you have an attitude you probably won’t get booked again. So I’d say it’s gotten more politically correct. But that’s also how our society has changed as well. Social media has also changed the playing field. Clients will Google you. They will research you. It’s easier to put yourself out into the world but it can also work against you if you are not in control of what you put out there. The thing is that you aren’t in control. So it does keep the pressure that all your work has to be the best you can do.

MM Edu: It seems like more and more work is done in post-production now. Do you feel this trend will continue, and how has it affected the makeup artist’s role? Are makeup artists being taken for granted now?

Roshar: I’ve noticed that a trend has been going on where there isn’t much retouching at all. It’s like a pendulum effect where we’ve come away from glossy retouched images to minimal retouch—more of a raw look. This can be a problem for artists that depend on retouching since it may not be guaranteed that the image will be retouched. So, I’ve always said, just get it right in the lens. That way, less time and money is spent on retouching, and you can do your work without a crutch.

I don’t believe that makeup artists are being taken for granted at all. A good photographer understands the value of their team. Look at most of the top fashion photographers in major magazines and campaigns. They aren’t working with run of the mill artists. I think that when an artist understands their value, others will too.

Photographer: Jamie Nelson

“I’ve noticed that a trend has been going on where there isn’t much retouching at all. It’s like a pendulum effect where we’ve come away from glossy retouched images to minimal retouch—more of a raw look.”

MM Edu: You only recently returned from the Philippines, give us a glimpse into your work/travel schedule?

Roshar: That’s correct. I actually had a busy schedule that month. I was in Moscow, then Ukraine, and then Toronto, where I was Keynote speaker at IMATS, then New York for two days, then Manila for a month, Los Angeles a month, and now NYC for four months.

Most of it was shooting, some was presentations and seminars. I’m based in NYC and Los Angeles, so I’m in LA during winter and summer. Most of my editorial work is done in NYC and internationally.

MM Edu: It’s easy to see why you have a love/hate relationship with traveling. What else do you have in store 2012? What are you most looking forward to?

Roshar: I’m going to be in Japan for a month working with some Japanese designers that I’m excited about.

MM Edu: Name your top five makeup products.

Roshar: MAKE UP FOR EVER Flash Pallet, Kevyn Aucoin Sensual Skin Enhancer, YABY Eyeshadows, Ben NYE Firework Wheel, MAKE UP FOR EVER HD Foundations.

MM Edu: What’s your best makeup tip?

Roshar: Don’t powder until AFTER you are done with everything. That way if you make a mistake it’s easier to fix or clean up.

MM Edu: If you could do makeup for anyone, who would you choose and why?

Roshar: Kristen McMenamy. She is one of my all-time favorite models even from the early 90s to now. Her bone structure with her long silver hair is just dreamy.

MM Edu: Finally, you’ve been a Model Mayhem member since 2005, what does MM mean to you?

Roshar: It’s served well on several levels. When I first came on in 2005 it put me in contact with other industry people. It helped me test and build my book, and to learn and converse about issues with other artists.

Years later it keeps me in contact with old friends as well as keeping my work visible. I also present at IMATS and the MAKE UP FOR EVER boutiques in LA and NYC, so it keeps me in contact with people that may be interested in those events.

Makeup, hair, and styling: Mary Erickson, Photo: MEMEphoto, Design: Carla Manuel

Women

• a few business suits
• a little black dress
• a few skirts (Current style is best, not too short.)
• scarves and accessories (Cheap costume jewelry is fine—the more the better. A ring to look like a wedding ring often comes in handy.)
• nice black slacks and tan pants
• 5 or 6 tops (Colors are fine, but no black, no crazy colors or prints, and no logos.)
• a turtleneck
• jeans (no holes, not too worn-looking)
• black and tan low-heeled shoes
• tennis shoes without prominent logos (obvious branding)
• black high heels (not too stripper-looking)
• sandals
• shorts (not too short)
• ball cap with no logo
• strapless bra, nude
• nude undergarments
• tube top
• socks
• a one-piece bathing suit and a two-piece if you have the figure for it
• a jean jacket
• a blazer, current style
• push-up bra and cutlets if you are small on top

Makeup, hair, and styling: Mary Erickson, Photo: MEMEphoto, Design: Carla Manuel

Men

• a nice suit (not cheap—This is a good investment in your career.)
• jeans (not too worn-looking)
• black shoes
• tan shoes
• tennis shoes (no obvious branding)
• socks—black, tan, and white
• dress shirts for suits (4 or 5 in different colors)
• 2 or 3 ties to coordinate with shirts
• polo-style shirts (3 or 4 in different colors)
• Dockers-type pants in navy and khaki
• belts (dress and casual)
• swim shorts
• shorts, cargo in tan or khaki and one dark color
• T-shirts (white, black, a few colors, no logos)
• dress slacks, dark and light (no white)
• turtleneck
• pullover sweaters in a few colors
• dress and sports watches
• ball cap with no logo

My biggest pet peeves are worn-looking clothing. Take clothes to the dry cleaner to avoid fading and wrinkled clothing. I like to see models arrive with clothing on hangers in a garment bag. I hate seeing a wardrobe wadded up in duffel bags.

Obvious branding should be avoided on all clothing. If you can recognize a brand, we probably cannot use it on the shoot. Small logos on polo-style shirts normally will not show up, but anything larger may.

Products used:

• URBAN DECAY Naked Palette
• EYEKO skinny liquid eyeliner
• COVERGIRL lashblastfusion mascara
• MAYBELLINE Fit Me Foundation in 310 (sun beige)
• MAC blot powder

I start off with foundation, targeting problem areas that need evening out, such as around the mouth, nose, forehead, and set it with powder. I use just a minute amount, giving the face a clean fresh look.

With the eyes I’m using my favorite Naked Palette from Urban Decay, that Dom from belledemoiselle managed to grab for me when Sephora Malaysia opened up (thanks girly!), to create a “my eyes but better” look. Base layer is Naked, a neutral light brown color, which I sweep all over the lids up to the brow. Follow it with Buck, which is darker than Naked, and contour lightly with Hustle, a kind of purple brown, concentrating this along the crease and over corner of the eyes. I then press Sidecar, a shimmery light taupe just on the balls of the lids. I am more than happy to leave this as an everyday look. I use it fairly regularly and pair it up or down with any of the other variations offered by the palette. I also love using a colored liner for a bright pop. For this particular look I went in with the EYEKO liner, carefully staying close to the lash line, tapering in at both the inner and outer corners, followed by a good dose of mascara. I left the lower lash line alone except for mascara.

I have forgotten what I used on the lips… probably NYX’s round lipstick in tea rose followed by gloss.

On my hands I am wearing five different polishes at once! This is super fun and great for trying out different colors- MODE’s Funkadelic, Jaded, Fresh Melon, Midas Touch, and Blue Steel.

Because I shoot beauty I get to work closely with many talented makeup artists. I love watching them create their magic and transform skin and faces into art. I also love the bright colors and various bottles and palettes and tubes. MUAs can attest to the fact that the moment they open their kit I’m right in there, hovering over all the pretty goodies. It is only recently that I’ve gotten the opportunity to apply some of the tips and techniques I’ve picked up on my own face. Here’s a quick tutorial for a glamorous smoky eye with green accents!

Products used

• NYX jumbo pencils in Yoghurt and Black Bean
• NYX black label lipstick in Debutante
• COVERGIRL lashblastfusion mascara
• URBAN DECAY eyeshadows in Loaded, Haight, Midnight Cowboy Rides Again, and Smog (Book of Shadows III)

Eyes

I start with using NYX’s jumbo pencil in Black Bean as an eye base, roughly lining the outer corner to middle of the top lid, and doing the same along the lower lashes, creating a black semi raccoon eye. There is no need to be neat at this time because it’s going to be blended and smoked out. Just be aware that the color will migrate if you open and close your eyes, because it hasn’t fully dried (but if it happens it’s easily fixed with a cotton bud).

Then I took a small round fluffy brush (in this case NYX’s smoky brush) and applied UD’s Loaded over the top lid as the main color, blending it with the black and removing any rough edges. The color should not go past the crease (for Asian eyes) or the orbital bone (for European eyes). By layering Black Bean under Loaded it immediately creates a mysterious smoky eye, without being too dark or covering up the green shadow.

I then took Haight and applied that just above Loaded, or along the crease to lighten up the look and smoke it out further, then along the lower lash line. The iridescent blue provides a fantastic complement to the green smoky eye on the top lid.

NYX Yoghurt and UD’s Smog is applied in the inner corners of the eyes, with Midnight Cowboy Rides Again (or as an alternative Sin) swept across the brow bone as a highlight.

That’s it for the eyes. It is a really simple and easy take on the traditional smoky eye, and green really complements most eye colors. For the lips I gently dab on NYX’s Debutante for a sheer coral pink wash, but a super nude or a bright red lip would also do to make this look pop!

On my nails I’m wearing ZOYA’s Ivanka. This rest includes PORTMAN’s kaftan dress, DIVA’s square rings and large diamante pearl ring, and JOOLZ obi ring.

Bodypaint art is becoming extremely popular lately, and many people want to try it. I encourage people to try it, because it can be an incredibly satisfying art form for all involved.

Model: cMicaWOW; Photographer: Hoodlum

However, I have noticed a problem recently, and that is the fact that there are many people out there claiming to be professional body paint artists that really should not be making that claim. It is GREAT if you want to work with an amateur, and help them gain experience, but if you are doing this I would at least like to be sure that you know what you are getting into.

Whether you are hiring an artist, posing for one, or looking to establish yourself as one, here are a few things to help you decide whether you are dealing with (or working as) a body painting professional.

A professional body paint artist will use professional tools and professional materials

A professional will use makeup, not paint. The makeup should bear a seal stating that the product is safe in your country to use on skin. Many products will be labeled “non-toxic”, this does NOT mean SAFE FOR USE ON SKIN!  Also, pens made for writing on paper, are not okay for marking on skin.

A professional should have an array of brushes, sponges, airbrushes, or other pro grade equipment. A professional will not suggest that they dip their hands in some bright color and then leave handprints on your breasts as an “artistic statement”.

Artists who do not use professional grade materials and/or equipment are taking chances with your health and should be avoided.  It is also unlikely that you will get good images from such a person.

A professional body paint artist will have some form of liability insurance, which covers body painting

IF something should go wrong, your painter should be prepared to deal with the consequences. Many photographers have liability insurance that would cover their studio, but would not cover their activities if they are body painting.

This is important, because body painting carries a small, but serious risk. If the makeup being used is contaminated and causes you to get an infection of some sort, the painter will need to be able to cover your hospitalization. If the painter accidentally stabs you with a brush, ruins your cell phone with spilled water, or causes some other mishap, you will want them to have the means to deal with the problem.

This is also just something that an amateur would never think to get, but a pro would NEED to have if they are dealing with professional level clients.

Model: cMicaWOW; Photographer: Hoodlum

A professional body paint artist will be able to give you references

A professional will have worked with others in the field. You should (no excuses) contact a couple people from the artist’s portfolio and ask them point blank: “Did (artist in question) do a good job, were you comfortable, and were there any problems or concerns?” PLEASE, for your own good, DO NOT SKIP THIS STEP!

Personally, I also tend not to trust artists who do not have other artists (from their field) in their “friends list” or among their tags.

A professional artist will have professional grade images

Just as in other fields on Model Mayhem, the proof is in the pudding. If a person is claiming to be a professional body paint artist, they should have some good images in their portfolio. Images should be clean, crisp, and not have the appearance of being overly “fixed” in post-production.  A variety of images helps as well. Do not expect an artist who has a full portfolio of people painted gold to be able to pull off a realistic clothing illusion, and don’t expect to get a decent graffiti style image from someone who has a portfolio full of leopards and tigers.

Once again, working with beginning or amateur artists is fine, as long as you know what you are getting into, but if you want to be sure you are dealing with a professional, consider the information I have provided you with as a good place to start.