As more and more facepainters are dabbling with bodypainting, I
think we're not thinking about good treatment of the models. Thus I
offer some food for thought. We all know to use proper paints to allow
safe application and removal. What about the process of painting
someone for hours on end? What can a bodypainter (or facepainter
branching out or just trying bodypainting) do to make it a better
experience for both the painter and the one being painted?
When I was in Austria a few years ago, I went to learn as much as I
could to apply to facepainting. Never having painted a body before, it
was a very tiring, but beneficial, several days with a very fast
learning curve. Between a couple of workshops prior to and some more
experienced Brits and a German taking me under their wings, and full
days of painting my first 3 bodies, I learned so much in a very short
time. Some things I just learned the hard way!
They used a table similar to a picnic table type of setup with a
table and bench. Then you and your model can take turns sitting or
standing, kneeling, leaning over or against on the floor, bench or
table (or even lying down on either the bench or table) depending on
which part is being painted and where you are in the process. For
example, the model can sit in the beginning if you stand while working
on the front or the upper half. He/she can stand on ground level while
you sit to paint the middle. He/she can stand, stand or sit or lean
over the table while you sit or stand. They can stand on the table
when you work on the legs or feet. You can also move your paints to
different levels to be where you need them. This allows variety in
positions and stress on different body parts in different positions.
It's easier on you and your model for circulation and muscles, not to
mention boredom, when both of you use a variety of positions.
Another consideration is something for your model, as well as you,
to stand on for all those long hours that they'll stand no matter how
you plan, especially as you near project completion. An impact
absorbing mat like hairdressers use works very well, but even
something as simple as a piece of cardboard is better than the bare
floor or table (especially in a cold air conditioned room). Having
something for the model to lean against for part of the time or to
hold onto also helps limit model fatigue.
Control the environment as much as you can. You don't want it too
hot for anyone, but also remember not to have it too cold for your
model who's dressed in very little but paint. If working outside,
provide shade for both of your sakes.
Don't forget to eat and drink yourself, and to offer your model
things that he/she can eat and drink without affecting the makeup. A
straw is helpful for drinking. Bite-sized food pieces that can be
popped into the mouth without touching the lips is helpful. More than
one model hit the deck before the end of the day in Austria when
people ignored their needs. Make yourself take breaks as well, so your
best work will be during crunch time when you need to be doing the
final details that make the design pop.
And last but not least, throw a flashlight into your kit to check
your outdoor painting area after you present your model, so you'll be
able to find your favorite brush! Oh and buy some bath salts for that
hot bath you'll want to soak in for about an hour after you've
finished! Just being practical, warn your model that he/she will
probably need someone to wash their back.
Robbie Pack
www.robbiespack.com
ROBBIE'S PACK, home of WAUBBIE the CLOWN & Robbie Pack
29 Cherry Hill Rd, Fairfield, CT 06825-1005 1-203-374-1221
Balloons, Bubbles, Buffoonery, Clown Magic, Extraordinary Facepainting
Sign Language upon request
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