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Academic literature on the topic 'Face painting'
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Journal articles on the topic "Face painting"
1
Zhan, L., Z. Wang, X. Zhao, Z. Liu, and G. Liu. "THE MONITORING AND ANALYSIS OF THE CHINESE TRADITIONAL ARCHITECTURE PAINTING DECAY – THE CASE OF JILAN PAVILION IN THE SUMMER PALACE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 23, 2017): 737–41. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-737-2017.
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The painting is one of the most decorative elements of ancient Chinese architecture and it is sensitive to the natural environment. The outdoor painting is very easily to be affected by the natural environment and its color is easily to decay. In order to study the relationship between the painting decay and the physical environment, the two paintings on both east and west inner eaves of Jilan Pavilion beside the Kunming Lake in Summer Palace are taken as the research objects, because these two paintings are painted at the same period but their decay degrees are greatly different. Since 2013, the research group regularly monitors the color decay of these two paintings. Meanwhile, the physical environment around these two paintings has been monitored. Based on the analysis of the monitor data, it can be seen that the illumination is the major factor that causes the decay of the painting. Meanwhile, by using the ECOTECT software to stimulate the light environment around the Jilan Pavilion, it can be seen that it is the mirror reflection of the lake that causes the result that the illumination of the west eave (face east) is stronger than that of the east eave (face west).
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Schenk, Astrid, and Jeroen Stumpel. "Facial Types in Painting and Recognition Skills: Laymen as Connoisseurs." Art and Perception 5, no. 2 (2017): 143–67. http://dx.doi.org/10.1163/22134913-00002063.
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The history of art attribution in painting demonstrates that connoisseurs compare faces and facial features in their efforts to ascribe paintings to regions, schools, workshops and specific artists. Connoisseurs do not generally reflect on their application of face recognition or its importance. Since connoisseurs apply both specialist perception skills (recognising a brushstroke technique, for instance) and generic perception skills, an experiment was performed aiming to eliminate a connoisseur’s specialist skills. The experiment was performed using laymen observing faces, derived from paintings, that were stripped from all contextual information (i.e., cut-out faces). Thus, only generic skills could be applied in order to categorise these pictures. The results show how laymen arrive at the same categorisation of paintings as connoisseurs do, without prior training in matters of artistic connoisseurship.
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Ramanda Syah Putra, Erlina Novianti, and Silviana Amanda Aurelia. "TEKNIK PENCAHAYAAN BEAUTY SHOT GLOW IN THE DARK FACE PAINTING DENGAN KONSEP REOG PONOROGO." Jurnal Dimensi DKV: Seni Rupa dan Desain 8, no. 2 (2023): 185–202. http://dx.doi.org/10.25105/jdd.v8i2.18396.
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The Beauty Shot Glow in The Dark Face Painting Lighting Technique with Reog Ponorogo Concept. Beauty shot photography is based on the idea that everything in the photo must look beautiful, attractive, and have an aura. Face painting is a face painting process as a medium to be painted. Along with the times, face painting has experienced a creative modification in the use of paint, namely glow in the dark painting which can light up or refract its color in the dark. Glow in the dark face painting is to paint using special paint media that cannot cause irritation and damage to the skin. Besides using special paints for human skin, the type of paint used is also required to contain a mixture of phosphor substances to emit light in the dark. Glow in the dark has a similar concept to solar power because the power source is light. It aims to get the glow in the dark effect on face painting, by using low key lighting techniques. During the photoshoot, ultraviolet reflector lighting enhances the ultraviolet light emitted from the lighting to its maximum extent, aiming to bring out the glow in the dark effect on the face painting model. In this study, the authors raised the concept of Reog Ponorogo. Singo Barong is the main character in the Reog ponorogo performance and one that will be applied to the creation of the author's work. Singo Barong is a combination of Barongan and Dhadak Merak. The research method used by the author is observation, namely systematic observation by observing photo workshop of Martha Suherman. The result of creating a glow in the dark face painting artwork with the concept of Reog Ponorogo is the production of glow in the dark photos using low-key lighting techniques.Keywords: beauty shot, face painting, glow in the dark, photography, Reog Ponorogo
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Peers, Glenn. "Real Living Painting: Quasi-Objects and Dividuation in the Byzantine World." Religion and the Arts 16, no. 5 (2012): 433–60. http://dx.doi.org/10.1163/15685292-12341234.
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AbstractThis article examines an issue that has troubled Byzantine art historians: what Byzantines meant by “living painting.” It attempts to simplify the problem by accepting the sources at face value (painting was indeed alive) and to complicate our understanding of painting (painting occupied a subject-position just as fully as humans did). It uses the notion of ‘dividuals,’ which are opposed to discrete entities like individuals, and of ‘quasi-object,’ so that painting, metal work, stones, and people all appeared in some fashion as objects, but only superficially so. The cases used to establish this position include: Michael Psellos on paintings of Christ; Eucharistic chalices, divine geology and bloods of Christ; and the miraculous stories of interchanging identities among icons and persons. In this way, this article argues for an understanding of Byzantine materiality as relational; it assumed a participatory aspect among all things and persons in that world.
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Suhandi, Noverainsy Millenia. "Sunset Pura Ulun Bali Sebagai Inspirasi Dan Aplikasi Tata Rias Face Painting." JURNAL RUPA 7, no. 2 (2022): 91. http://dx.doi.org/10.25124/rupa.v7i2.3801.
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Face painting is a kind of art that use a face to be the media; it is included in the art of makeup because it changes the face of some people to get the purpose of art. For now, face painting has grown into makeup and makes a face look more glamorous in any event, such as a Halloween party, carnival, UV glow painting, and fashion art wear. Many artists or influencers in cosmetology apply new techniques to get unique makeup. One of them is the grading color technique, a color transition gradually, combining some elements of change with exciting unity. Beautiful view of nature in Dewata Bali Island, exactly the sunset at Pura Ulun Danu Bratan has no doubt anymore. Hill views distributed the typical Bali architecture of Pura, and rivers have become a source of face painting makeup. This research uses the Project Based-Learning method to produce a product in the form of face painting by applying color gradation techniques; the technique is quite simple and makes the makeup look more natural. This study’s results can motivate artists to develop face-painting makeup ideas.
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Downing, Crystal, and Frances E. Dolan. "Face Painting in Early Modern England." PMLA 109, no. 1 (1994): 119. http://dx.doi.org/10.2307/463017.
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Mengham, Rod. "thurnauer: vt and vi, to paint in the second person." Text Matters, no. 5 (November 17, 2015): 221–30. http://dx.doi.org/10.1515/texmat-2015-0016.
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Many of the figures in Thurnauer’s paintings who fix us with their gaze have been borrowed from the work of Manet, the artist who organized so many of his paintings around a face-to-face confrontation of viewer and work. The painting returns the viewer’s gaze with total impartiality, making us see our own motives and investments more than the illusion that the figure in the painting will accommodate them.
 Issues of language often surface literally in paintings by Thurnauer; written language appears sometimes as part of the material fabric in which human figures move or recline. The textual elements are not superimposed on the figures but appear to exist in the world they inhabit, requiring the painter to relate figure to ground in a process of interlacing. When the viewer’s eye traverses the painting it falls under the magnetic influence of the text to the extent that viewing must succumb in some degree to the operations of reading with its specific rhythms and expectations.
 In these paintings, visual and verbal languages provide us with different maps of the same territory; and Thurnauer’s hybridized representations argue that the world can only be rendered through a dialogue, an interlocution of different forms, genres, media. We approach her work, not as viewers whose function is predicated through a gaze regulated according to the distorting demands of consumption or control, but as readers engaged in a critical activity seeing around the edges of historically produced versions of the self.
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Paramita, Divia Indri, and Hayatunnufus Hayatunnufus. "Perbandingan Hasil Face Painting Menggunakan Teknik Manual Dan Teknik Airbrush Pada Makeup Karakter." JURNAL PENDIDIKAN DAN KELUARGA 11, no. 02 (2020): 219. http://dx.doi.org/10.24036/jpk/vol11-iss02/648.
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Prias is not only required to enhance the appearance of the face and hair, but also a total appearance complete with supporting appearance that can reinforce one's character. This study aims to determine the results of face painting using manual techniques and airbrush techniques on character makeup and determine the differences in face painting results between manual techniques and airbrush techniques on character makeup. The type of this research is Quasy Experimental. The study population was 45 students with 4 samples. T test test analysis technique. Based on the research results obtained face painting cosmetology using manual techniques that the highest value is found in the aspects of time efficiency and color sharpness of 3.88 has very good criteria and the lowest on flatness with an average of 2.25 good criteria , the results of face painting make-up using airbrush technique flatness aspect average 3.81 on very good criteria, and at an average time efficiency of 3.88 very good criteria, the lowest on color sharpness with an average of 3.44 good criteria and there are differences in the face painting results between the manual technique and the airbrush technique in the aspect of flatness (p <0.05) and there is no difference in the face painting results between the manual technique and the airbrush technique in the aspect of time efficiency. solid or creamy because the results of cosmetics that are applied can be more flat and directly attached.Keywords: face painting, manual techniques, airbrush techniques, clown character makeup
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Abdul Rahim, Rosliza, Mumtaz Mokhtar, and Ishak Ramli. "A Review Of Alternative Ways Malaysian Artists Approach Self-portraits Painting." Idealogy Journal 8, no. 1 (2023): 152–58. http://dx.doi.org/10.24191/idealogy.v8i1.415.
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Painting for presentation Self-portraits have been revolutionised on several occasions. To achieve different effects in their portrait painting, the artist experimented and manipulated various media. Portraits are commonly defined in art as a likeness of a person, particularly a face till shoulders, but there are other ways to define a portrait and a painting. There is a lack of comprehension and interpretation of the topic. As a result, the purpose of this research is to trace the history of the self-portrait. From the 1940s to the 2000s, reviews were written in the form of a year-by-year chronology, identifying the approach used by local painters. Conclusion: The shift in the art movement from naturalistic approaches to a variety of styles resulted in new interpretations and opportunities for artists to create exciting portrait paintings. The development of a new understanding of the term "portrait painting" resulted in new interpretations and suggestions for a new way of presenting self-portraits, contributing to an alternative and creative way of practising portrait painting for Muslim artists.
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Darmawan, Andreas James. "Visual Design Face Painting: Language Expressions Stylized for Wayang Punakawan." Humaniora 8, no. 1 (2017): 57. http://dx.doi.org/10.21512/humaniora.v8i1.3696.
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On this research, the author focused on the scope of Punakawan face painting that expected to become a starting point from the first step in making the visual standardization proposals, which the visual variety of face painting Punakawan was not consistent yet. The research objective was to become one of the methods to re-popularizing by building a visual consistency in Punakawan face painting so that it became more modern and simple without losing the original characteristics of it. The method was performed in the visual design, from visual references research, visual analysis and matching with the characteristics of each character in Punakawan, visual sketching, and computerization process, up to become final visual artwork. The benefits of the research were to be a next visual research comparison, as well as a contribution in the form of visual work; face painting Wayang Punakawan in the further development of the creative economy entered a new era. This research finds that visually, it is the necessary continuation of the design, such as attribute, proportion, gestures, and other visual elements in Punakawan face painting and it is good for Punakawan studies and other Indonesian wayang figures.