Body Painting Women For Men

Since the beginning of time, humans have always had the desire to create art. Through this desire body painting was born, making the human body the first canvass. The history of this craft stretches so far back that historians consider it to be the earliest form of art. Compared to other types of body art like tattoos or piercing, this is impermanent. It lasts only for a few hours at most.

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During the ancient times, tribes would often use this during celebrations and important ceremonies. Each color had its own corresponding meaning. Chieftains and warriors commonly had their own styles to indicate their status in the tribe. Around the 12th century, a new kind of body painting known as the Mehendi became popular. The Mehendi is an extremely old ritual that originated from Egypt. It is the art of using henna to paint the body. This type of dye usually lasts a little longer, about a 1-2 weeks before fading. Natives of South America also had their own methods of ornamenting their bodies. They would use wet charcoal also known as huito. Like henna, huito is also semi-permanent lasting for a few weeks. 

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In today's modern era, this has become a way of self-expression. This has been spurred on by the liberality of modern society. If before nudity was deemed by society as inappropriate and improper, now it is something to be flaunted. In the guise of self-expression and the practice of human freedom, this has become a means of grabbing the public's attention. This is especially effective during protests and rallies. Instead of bringing placards and sign boards, the protesters would instead paint on themselves. 

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The art of body painting can morph a human being into a beautiful work of art. It can make a statement that words alone cannot express, create a more appealing presentation, and add meaning and significance to an important occassion. It is used not only for the living, but also to preserve the dead. Truly it has attained world wide significance that will last till the end of time.

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I'd like to describe for you my own process of making an expressionist watercolour painting, starting with a drawing sketched from life.

Drawings, sketches or mark-making often seems to show the artist's personality more than their paintings.

The way the pencil or pen is used to describe the landscape are very revealing and show the kind of processes that are at work within the artist.

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Most of my drawings involve summing up my direct feelings about whatever it is I am going to paint.

Visually summing up a view from an artist perspective for me, means drawing those lines essential to your understanding of what makes up the view.

Establishing a composition, I draw those lines as they strike me, according to their visual importance, making some lines heavier than others and emphasizing certain lines.

What I end up with is a guideline for a painting - an interpretation of the view, with important lines shown within a balanced structure.

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Normally, I am after only the essentials and will add more to a sketch if there are details I have seen which will add something to a painting.

Very often, I will attempt to remember colours and textures of a view and use them later when it comes to painting, sometimes I will take a photo of the scene to remind me of all the details.

Once I have a drawing I am excited by, represents my true feelings about what I have just seen, I will usually return to the studio, content that I have a drawing to go on for a watercolour painting.

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The sketch is put beside me on my table and I will select my paper, materials etc. I usually start by mentally reminding myself of the experience of being back at the scene, using the sketch to prompt me.

Then I will start painting, working on whatever I have the most certainty about in the picture.

The brush marks I make are personal responses to what I have seen and also take into account what is happening within the watercolour - to end up with a balanced picture.

Colour, texture and varieties of marks then take the sketch much further to create a fuller statement about the subject.

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In essence, the watercolour painting has a life of its own and the foundations of the drawing are fleshed out by marks coming from personal memory, experience and knowledge of what I have seen in the view.

All the qualities of painting are used to serve a subjective, personal response to reality, prompted by a drawing.

I hope to make the watercolour painting as fresh, new and lively as possible, sometimes abandoning many attempts, working until what I am left with is strong enough to be left - where it feels right.

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