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FACE PAINTING PDF

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1 pixia-club.info Face Painting Ideas for Kids. Contents. 1. How to Care for your Face Paints. 2. Easy Face Painting Ideas. Princess. Face Painting Menu- 4 Page Bundle- Digital Download PDF and Individual PNG Files. When you think about face painting designs, you probably think about. How many faces can you paint in one hour? This will depend on the design. Complicated or full face paintings take longer than cheek art. Typically each artist .


Face Painting Pdf

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face painted before, the most difficult part of this for you will be to paint your first face or you gain the confidence to paint a face one face, ten faces, one. make sure the child's face is clean and dry before starting to paint. Provide all face painters with their own palette of face paints and brushes. Place paint, water . I painted all of the faces in this b. – Lilly Walters rofessional Tools and Tricks. Lilly Walters Schermerh not duplicate in any way without written permission.

I was impressed to see how, after retiring, he continued to retain his international connections as an artist and showman with his various dance and choir groups.

In June , I had the honor to be present at his 90th birthday party and witness his large group of friends and admirers from different parts of the world, many of whom had their own Basque connections. A few days later, he attended the opening of my solo show at the Biarritz Historical Museum, where I showed his freshly finished portrait see Figure 2b. Filipe appeared to me then to represent the richness that can come with feeling both rooted and international or, more precisely, transnational as he seemed to shift at ease from one context, language and culture to another Levitt ; Totoricaguena Like Nestor, Filipe is not a conventional member of the Basque diaspora if that term is restricted to people who have a personal and kin relation to the Basque Country but live outside it, as both had been based now for many years in the Basque Country.

Both seemed to me to still identify strongly with the diaspora as a community and an extension of themselves. I already knew Maria s artwork from exhibitions in the Basque Country. Her pictures looked to me like zoom-in shots of a surface, texture or edge of something, re-worked with a sensitive touch that I was immediately drawn to.

They are strongly chromatic while at the same time subtle, emanating what to me seemed an ethereal quality. Maria seemed to me well settled in Berlin, where she shares a flat with her German partner, Philipp, in the neighborhood of Friedrichshain.

She speaks fluent German and, when I met her, she had just completed her studies at the Berlin New School for Photography. Her and Philipp regularly volunteer at the nearby church, helping out with the needs of homeless people, new immigrants and refugees. Occasionally Maria would come to help Philipp with his work in the factory, and we would meet in the common area for coffee. In between this and all her other work, I asked Maria whether she could fit a couple of posing sessions.

Maria kindly accepted and we arranged for her to come to the studio four times. We opted for a seated position and so I found a chair in a nearby dump and a wooden platform on which to place it so that our eyes would be at more or less the same level see Figure 3a. Maria chose to pose in her usual clothes, blue jeans and a plain cozy sweater.

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During our sessions, we talked about our personal lives and about art, what interesting exhibitions were on in Berlin and in the Basque Country. We spoke Spanish with each other. Although Maria grew up in Hondarribia and understands Euskara, she said she does not speak it often as it was not the main language in her family. She attended school on the other side of the Basque Franco-Spanish frontier, in Donibane Lohitzune, and so French was her main language for primary and secondary education.

She then went back onto the Spanish side of the border for further studies, attending the Basque university in Gasteiz.

In , Maria left for Germany to work as an au pair with a family in Cologne. It was there that she met Philipp and they moved to Berlin two years later.

Unlike some other people of Basque origin that I met in Berlin, she did not actively seek contact with the Basque community of Berlin. She tries to return at least twice a year to Hondarribia, and hopes to exhibit more in the Basque Country. In , she showcased her Nocturnal Series at the Photomuseum of Zarautz, in the Basque province of Guipuzcoa, a collection of what I found to be very powerful and evocative pictures of nature, which she photographed at night illuminated only by her hand-torch.

Before vacating my studio in June and preparing to leave Berlin for Reno, Maria helped me organize a finissage in which I showed her freshly finished portrait see Figure 3b , together with the other paintings I had done during these three months in Berlin.

At the lessons, there were about twenty of us, many in their late twenties and newly arrived in Berlin from the Basque Country. Amid the economic crisis that hit Spain as of , numerous young people were leaving Euskadi and Navarre to seek work in Germany.

On arriving in Berlin, their first action in many cases was to contact the Euskal Etxea. Unai, originally from Lekeitio and then in his early thirties, had arrived in Berlin less than a year ago.

Previously, he had been living in Bilbo where he had worked amongst other things as a Basque-language teacher. He had decided to embark on the new adventure of living in Berlin, where he was teaching himself German while working as a waiter.

In contrast with Maria, who thanks to her established relationship with a German national possibly felt less need to seek out other Basques, Unai mixed with other Basques. He helped out with activities at the Euskal Etxea, including organizing the Korrika for the first time on German soil. But Unai was also actively branching out, making new German and international friends. When not involved with the Berlin Euskal Etxea, Unai spends more of his time in the local gay and rock scene.

Unai came to pose in my studio about seven times. He was happy to pose standing, with his hands just hanging down see Figure 4a. We spoke to each other in Basque. As he spoke the Euskara of the southern part of the Basque Country, which differs in sound and form from that of the north, with which I am more familiar, I often had difficulty following him.

At times I wished we could switch to Spanish so that I could be sure I understood him and that I could better express myself to him German was not an option as I had zero knowledge of this language at the time , but it was clear that speaking Euskara with each other was also a question of principle: he is an euskaldun zahar, or first-language Basque speaker, and a self-declared abertzale and euskaltzale,1 and me, as a person from Iparralde and an euskaldun berri new Basque speaker who needed to practice, it was only normal that Basque should be our default language with each other.

Unai introduced me to a left-wing bar in Kruezberg where Basque alternative and abertzale bands would play, its grubby walls covered with now-vintage Basque separatist posters.

One of our conversations touched upon nationalism. In Germany, Unai said he had to confront the fact 1 These terms in Euskara translate as a Basque nationalist and a Bascophile, committed to speaking the Basque language and invigorating Basque culture. More discussions on these terms can be found in Chapter 3 of Living Boundaries Unai had to figure out how to make the case for Basque nationalism as a different kind of nationalism, that could be inclusive and civically-based.

With the Berlin Euskal Etxea, Unai could focus with what he felt was most important, organizing events that celebrated Basque culture in its diversity without getting caught up in politics.

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What he also likes about the Berlin Euskal Etxea is that it was originally an association created by a group of Germans who wanted to commemorate the bombing of the Basque city of Gernika by the German Legion Condor and to strengthen relations between Germany and the Basque Country today and promote Basque culture; And many of its members are German, although since it became officially an Euskal Etxea in , membership increasingly consists of Basque newcomers to Berlin.

There are also in Berlin more politically-oriented groups, such as the Euskal Herriaren Lagunak, Basque for Friends of the Basque Country , which organize more separatist and militant-type of gatherings.

Unai is not involved with them, happy, in Germany, he says to have left behind this political noise in the Basque Country. At an exhibition of my paintings at the Historical Museum in Miarritze a few weeks later, I showed Unai s portrait see Figure 4b.

Unai helped me to write up the exhibition pamphlet in standard Euskara. A year later, he told me of a new opportunity that had come to him in Germany: through the Etxepare Basque Institute, he had got a position as lecturer in Basque Language and Culture at the University of Leipzig. An important aspect of what Unai s identity seemed to me to be is his abertzale commitment.

Many of my conversations with Unai revolved around Basque-related topics, which was less the case with Maria. Unai also eventually managed to find new professional opportunities in Germany specifically thanks to his Basque connections.

I would thus describe Unai as a particularly active member of today s Basque diaspora, with a more explicitly nationally defined sense of his Basque identity at the same time as including further strong identifications as he defined himself a gay male migrant in his thirties, and many other things. Basque Bar and Dining Room, in Gardnerville. The occasion was the famous annual Basque picnic bringing together families and individuals from locations across the Western United States.

Those who wanted to have dinner, including myself and some colleagues from the Center for Basque Studies, gathered next door at the J. From the outside, J.

Inside, it was impressive to me to hear so much Basque being spoken; it was almost like being back in the Basque Country at a village festivity.

As I looked at pictures on the wall, I realized that the owners, the Lekumberry family, originally came from Ortzaize where, as a student in the late s, I had done anthropological fieldwork and lived with a family with the same name in their farm, Indarborda, up in the hills.

As I was soon to discover, when Marie-Louise, smartly dressed in her working uniform of white shirt and black dress, came to our table to greet us, the family of Indarborda were her first cousins. I was moved to learn that her father Jean was the brother of Battita, the old man whom I remembered sitting by the hearth in Indarborda s kitchen just fifteen years earlier. Battita would speak to me in English, having learnt it whilst working in the American West in his youth.

At the time, I was not used to the American accent, and I couldn t quite understand him. Marie-Louise explained that Battita had gone to the U. They first worked in sheepherding and then Jean and Piarres bought the J. Battita and Piarres eventually returned home, while Jean, who had married a local woman, stayed on.

When Jean passed away in , Marie-Louise took over the J. A few weeks later, Marie-Louise and I bumped into each other in Reno, and I asked whether she would pose for me. I hardly expected her to say yes, given her busy schedule running the restaurant, but she agreed to make the one-hour journey from Gardnerville a couple of times a week to pose in my studio at home. We considered portraying her in her restaurant uniform but in the end decided on her more personal casual clothes.

It was interesting for me to note that her casual look was a clearly American Western one: rancher boots and bootleg jeans, with her personal touch of a floral top and light shawl see Figure 5b. Many of our conversations were about the Basques of Nevada. I was curious about them and asked her many questions. I told her that my great grand-father had come here also to work as a sheepherder but that my family didn t know much about his time here other than that, at one point, he was kicked in the head by a horse, which left him blind in one eye.

Marie-Louise was born in Nevada. Her mother Shirley is American, not of Basque descent. From what I gathered, Marie-Louise and her brothers J.

As a former sheepherder, Jean knew his natural surroundings intimately and Marie-Louise told me that she and her brothers grew up in close contact with ranching and the wild outback of Nevada and nearby California. They knew the places where Jean had roamed with the sheep and where he had carved his name on the aspen trees, like so many other lone Basque sheepherders. When Jean bought the J. Growing up, Marie-Louise often helped out serving the customers.

When she and her brother decided to continue running the restaurant after their father passed away, she said she was aware that they were handling an important part of the local Basque heritage. As she explained, the restaurant played a crucial role in the community, not just as a social place to gather, but as a beacon of their identity and a place of security. For many years, they continued to provide a home to those sheepherders who had not settled with a family or returned to the Basque Country.

Jean was very present in my conversations with Marie-Louise, and so we decided to include him in the portrait. Marie-Louise brought with her pictures of her father, many of which hang in the restaurant.

In all of the photographs, I could get a sense of what a jovial character Jean must have been. He is grinning, with a smile that is, I think, very evocative of the Basque humor with which I am familiar, especially with older people in the rural hinterland of Iparralde, teasing in a friendly good-natured way. As Marie-Louise recounted amusing anecdotes about the American Basques, I could see that she had inherited this sense of humor and playfulness.

English is her mother tongue, and also the main language that she spoke with her father. Marie-Louise kept up-to-date on the current affairs of Ortzaize and the Basque Country. She posed for me for a total of about eight days over the course of a couple of months Figure 5c. In the context of the Basque diaspora, it seems to me that Marie-Louise exemplifies in many ways the second generation of Basque immigrants to the American West.

At the same time, I found Marie-Louise very Nevadan in her attachment to the region and its way of life. As such, she also confirmed to me the strong existence of an autonomous Basque-American identity. This stands I think in contrast to the next person I was privileged to paint in Reno who also has Basque origins but who I think is also especially Nevadan in her own way and for whom links to her Basque heritage seem to be a small detail in her sense of self.

We would then bump into each other at local events, and so one day I asked her if she would pose for me. She was surprised by the proposal but we agreed to meet at her home to discuss further. Visiting Joan s house, an old building for Reno dating from , was an enchantment. Her artwork and that of her artist friends adorned every bit of space, from the walls and the furniture to the ceilings, where she had even painted her own fresco decorations in the style of Venetian palazzos.

We wandered around her house, where every detail was as fascinating as Joan and her conversation. They were all people she had worked with during her time as wardrobe master for Harrah s Casino, which was the center of high-class entertainment in Reno up until the first years of the 21st century — and where Joan collected discarded objects such as fabric from old gaming tables, dices, cards and slot machines for her artwork.

We discussed her art, which I found not only powerful but humorous. I was particularly impressed by the sculptures of Nevadan wildlife, which towered above us hanging on the walls. They were noble, like the animals themselves, and fun, made from old material from the casinos. More recently, she had got into raku, making sculptures from such things as slot machines, each with a personal comic twist, like having a sound-box inside with a detector that would make the chink of coins falling every time you walked past.

She was fascinated, she explained to me, by the human obsession with the idea of luck and the thrill of gaming, how some people were ready to put their whole life at stake for the narrow possibility of a win.

To discover Joan in her personal and artistic universe was inspiring. We agreed that I would paint her in her home, rather than have her come to my studio. After working on a small sketch, we set up the big portrait in her living room. As with Nestor, Filipe and Maria, it was clear that her artwork is a fundamental part of who Joan is and I needed to fit it in somehow in the portrait. Fortunately, this came naturally as her artwork was literally all around us see Figure 6.

As we worked, we chatted, often about art and art history. She was interested to hear about the research I was doing at the time on art in the Basque Country.

A few times, I gave public lectures in Reno, and Joan came to listen. We also exchanged common observations about politics and current affairs. As a keen drawer, Joan was also curious about my technique and was attentive to my step-by-step process.

We got together a few times to sketch together. I had recently given birth to my first child, and we used him as a model. Another time, Joan took out an old skeleton she kept in a closet. We propped it up in the middle of her sitting room and stood around it with our easels.

For the birth of my son, Joan restored the lace of a crib she had used for her children in the s and passed the crib on to me. It also served as model for our drawing projects. I had originally told her that the big portrait project would only require about four or five days of her time. I depicted her sitting in the sofa, wearing a simple shirt and pants, as she is normally dressed.

But as our friendship developed, and she could grant me more time, I became more ambitious with the painting. In total we must have worked over three weeks more.

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Joan s Basque connections were only a very small subject of our conversations. It was only later, when I knew I would be writing this article, that I asked her to explain more about her Basque side of the family. Joan was born in Ely, Nevada, and grew up in Fallon, a small desert town close to Reno.

His parents had come from somewhere in the rural parts of Araba — Joan isn t sure exactly where — to find work in the USA. His parents then moved to Fallon where they opened the Grand Hotel. Joan recalls visiting her grandparents in their hotel, where there was a clearly Basque atmosphere. Her father spoke Spanish - rather than Euskara - with his parents, and English with Joan and her brother. He didn t continue with the hotel, which closed after her grandparents retired.

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It now no longer exists, like so many Basque hotels in the area. Joan studied Fine Arts at the University of Nevada Reno and, in the s, went to live in London with her two small children for three years. There, she worked in a vintage clothing store off the King s Road. She later went to Florence to learn Italian and immerse herself in the city s art history.

During visits to Europe, the Basque Country wasn t a destination. Joan chose to not take on her American ex-husband s name but to keep her maiden name, not a usual thing to do at the time; I love the sound of my name, Arrizabalaga! Joan once said to me. We also exhibited together in various local group shows. All done and ready to dart off to face paint land? Not so fast! When I first started face painting I used a backpack to put all my supplies in.

But I was the one crying. Thankfully I graduated to a more professional kit. First things first. Mine has wheels and an extendable handle.

Dragon Face Painting

I bought it on discount woohoo! There are a million brands out there. Some are good, some… not so much. They are both top notch, high quality, and get the job done nicely. A plastic case to hold your face paints. I keep these in a canvass container that has separators for the brushes. I keep these in a gallon size Ziploc bag.

I also keep an empty Ziploc bag with me for dirty sponges. I prefer black triangle makeup face painting sponges that you can get from the dollar store. I also use the Martha Stewart brand round sponges for circular designs. A container of baby wipes. A container with several choices of glitter.

Glitter is a must have! I have a variety pack of glitter in jars that I apply with my finger. I also have a translucent glitter poofer.English is her mother tongue, and also the main language that she spoke with her father.

And so in January , when I was again in the Basque Country, we met for a few days to continue with more painting projects. Marie-Louise kept up-to-date on the current affairs of Ortzaize and the Basque Country. Nestor visited my village, Izura, in the northern, French part of the Basque Country, when he exhibited some of his sculptures there in Refrain from painting any sharp lines here; rather, make use of a softer Paintbrush and paint shadowy blobs.

MALORIE from Marina
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