body painting that will help you

body painting that will help you

One of the very first decisions you must make when you start painting is what sort of paint (also called medium) to use. The following information is intended to help you decide between the most commonly used paints.

What is paint and what is the difference between each type of paint?

The brief technical bit!

Paint is a dispersion of pigments, resins and fillers in a liquid carrier. By varying the basic ingredients the different types of paint can be created.

Oil Paints

Oil paints as the name suggests contain oil. This is usually a natural vegetable oil such as linseed or a synthetic hydrocarbon made from oil.

The oil is the carrier used for the pigment and resins (alkyd). The pigments provide the colour which can be in the form of a soluble dye or an insoluble powder finely dispersed in the liquid. The various colours are produced from one or several pigments mixed together. By varying the different amounts, not only the different colours, but different shades and hues can be produced.

The resin is dissolved in the oil and acts as a binder for the different ingredients and to, and also binds the paint to the surface that it is applied to.

When the liquid evaporates after application, the resin and the pigments remain and form a skin which sticks to the painting surface.

Acrylic Paints

Acrylic paints are similar in make-up to oil paints, i.e. they are similar in appearance and contain a liquid carrier, pigments and resin. However, the liquid used is water.

The resin is not the same type as in oil paints, because it has to combine with water. The acrylic resin does not dissolve in the water but forms an emulsion (forms globules). When the water evaporates the globules of resin stick together to form a skin. The pigments used must also combine with water and so are chemically different than oil pigments.

Watercolours

Watercolours consist of pigments, filler and water if they are in liquid form, or just pigment and filler in they are solid. As they have no resin component to bind the pigments and form a skin, they rely on the surface they are applied to, to be absorbent. A filler is a fine powder which can be used as a carrier for the pigment and provides texture/body.

Pastels

Pastels are a solid paste form of water-colour. Far less water is used in their manufacture (when compared with liquid paints), and water soluble binders are used to maintain their solid paste form. Oil based pastels are similar with far less oil used than used in making oil paints.

What are the practical differences between the different types of paints?

Oils:

~ dry slowly allowing time to work and to blend colours. The temperature of the air you are working in, and the proportion of thinner used dictates the drying time

~ can be used to produce texture by building layers

~ once dried sufficiently, can be over-painted without disturbing underlying layers

~ rich, deep colours which maintain their intensity when dry, so can be left unfinished and returned to later without a change of colour

~ can be used thickly or in thin, smooth washes increasing the scope for different painting techniques

~ colours are resistant to bleaching by sunlight and surfaces can be cleaned of dirt with methylated spirits

~ completely water proof and resistant to the elements

~ require brush cleaner/white spirits to clean brushes

~ usually applied to non absorbent surfaces including board, wood, coated paper and canvas

Acrylics :

~ dry fast but still allows time to work and to blend colours. Can be a disadvantage when working with thick applications in hot environment

~ less viscous than oils so easier to mix but tend to produce less texture and brush strokes

~ can be mixed with water or other mediums/gels which are compatible with water

~ can be used thickly (impasto) like oils, or in thin washes, like waterclours, so can be used on both absorbent and non absorbent surfaces

~ once dried can be over-painted without disturbing underlying layers

~ water resistant when dry

~ colours dry darker than when applied so can give problems with colour matching if left

~ less resistant to sunlight that oils, surfaces can be cleaned of dirt with methylated spirits

~ requires water to clean brushes, but can give difficulty if brushes dry prior to washing

Watercolours :

~ mixed with water giving transparent colour

~ dries fast and requires pre-wetting of the surface in hot environment

~ strong tendency to bleed so good for general wash techniques but can be difficult for fine definition

~ transparency makes it hard to rectify or hide mistakes

~ colours dry lighter than when applied so can give problems with colour matching if left

~ no white in watercolour painting, the white comes from the paper you are working on. So can be difficult to produce prominent white high-lights without preplanning or masking

~ paint can be lifted off by rewetting so can be useful in some techniques, but can be difficult to use in wet conditions or in hot/dry conditions where rewetting is necessary

~ brushes are cleaned easily with water and paint is reusable when dry by adding water

~ colour intensity is less when compared with other media and tends to bleach in direct sunlight. Problems with dis-colouration to the support and the media can occur in damp conditions

~ very difficult to clean the surface without damage so has to be protected from the elements under glass or other suitable material

Pastels

~ colours are mixed on the paper/support by over-laying or blending so no drying time

~ easily used and require no brushes

~ oil based pastels can be thinned and blended with turpentine, or scrapped off to reveal colours underneath, known as sgraffito

~ a wide range of colour are available, however, usually a greater range of colours are required to create a picture when compared with other media

~ different brands and pigments tend to vary in softness so difficulties can arise when obtaining supplies from varying suppliers

~ soft pastel works tend to be liable to smudging and the colour coming off the support unless precautions such as fixatives or mounts are used to keep the surface away from frame glass

Other considerations

Cost:

~ Watercolours are the cheapest to set yourself up with and most budding artists start this way. However, watercolour requires different techniques to other media and can restrict development

~ acrylics are not as expensive to buy as oils and can bridge the gap between oil and watercolour

~ oils are more expensive to buy initially; however a little goes a long way when painting thinly. Several paintings can be produced from a single tube of each of the base colours

Hazards

Oil Paints

Some people are put off by oil paints because of the solvents involved; they may be allergic to the solvents or may not want solvents lying around when young children are about. However, oil paints themselves usually contain linseed oil as the carrier which has low odour and is essentially non toxic.

The pigments themselves are bound by the oil and are not available to cause hazards. White spirits and turpentine used as thinners or brush cleaners are flammable and should be used sparingly. However the volume used is very small and the hazards are many times less when compared with the use of domestic household paints. Saying this, low odour versions of paints are available.

Acrylics

Acrylics are the least hazardous as there are no solvents used and the pigments remain bound in the paint.

Watercolours

Can be hazardous if traditional pigments are used because they are not bound by resin and dry to a fine powder. However the quantities used are so small that hazards are very minimal.

Pastels

Similar to watercolours, however soft pastels can produce a lot of dust so care should be take to minimise the amount you inhale. For example, do not blow on your work to remove loose pastel.

Your choice of paint

Choose whatever paint suits you. Try them out and you will soon discover whether you enjoy working with it and the results you get or not. If you like certain properties of different paints, you can try working with a mixture of paints (known as mixed media) in one painting. The variation is both challenging and rewarding.

The advice and information above is meant as guidance to the properties of the different paints. The only way you will know if you like a particular paint is to try it, and enjoy the results

Henna -tattoo -painting -art - body painting. photo: WN / Jelly Clam

Henna -tattoo -painting -art - body painting. photo: WN / Jelly Clam

Body art or tattoo is a way of expressing the inner emotional desires of the soul through the decorations with intricate shapes and colors applied to various parts of the body. This article discusses mehndi designs as a body art technique.

Beautiful Wedding Henna Design From The Past

The popularity of designs of mehndi henna body art is growing as a new temptation and sensational trend in the world of tattoos. Indeed this way of designing body has been quite prevalent for past few centuries in many eastern cultures especially during the wedding ceremonies.

This is why wedding mehndi designs are becoming more popular every other day. With the growing demand to tattoos in recent years, mehndi henna designs are gaining popularity in many other countries besides the native cultures.

Traditional mehndi tattoos, as a self decoration product, has been proved to be quite beneficial for the health and is now being demanded more than any other tattoo techniques that are prevailing in the world right now.

There are two benefits of using mehndi or henna as a body art technique against the other ways of decorating the body: the hazard and pain comes with other techniques versus the completely natural henna with a painless easy method. Because mehndi is the only natural herb and a tattoo technique with possibly no side effects if consumed in the pure form.

Learn To Create Your Own Henna Designs

Mehndi: Learn to Create Your Own Body Paint and Cultural Abstract of Today's Wedding eBook by Oleg Lizantsuk offers a perfect chance to impress everyone with your own style and intricate body art. This downloadable pdf has been prepared as a guide for people who has the desire to decorate themselves according to own specifications by following the step by step instructions revealed in this comprehensive tutorial. You will be able to make up your own mehndi tattoo designs easily.

Inside this eBook you will not only to get the special wedding mehndi designs for hands and patterns which are quite common amongst the brides, but also will get all the techniques to create your own individual style.

Advantages of Henna Mehndi Designs on Body

The most important element of this body art is the natural shrub called henna. This book contains a comprehensive study about henna mehndi which outlines its usefulness, utilization and also an easy to follow tutorial for effective mehndi application for the best results along with the positive health prospects allied to the regular and careful use of Mehndi.

For these reasons mehndi is a rather safe and healthy formation format of tattoo art. For people having trouble for choosing the best tattoos for themselves, this henna mehndi designs eBook shows the determinants and guidance regarding the choices of tattoos for one's self. And of course the beautiful mehndi designs and patterns for people looking for the best mehndi drawings for wedding.

Download Henna Designs eBook To Learn All About Mehndi Tattoos

This mehndi designs PDF is great for people looking for downloadable information on

• how to make mehndi henna designs
• pictures of popular bridal mehndi
• how to apply mehndi
• traditional mehndi designs photos
• wedding mehndi patterns
• Hand mehndi designs
• Other tattoos vs henna mehndi tattoos
• Mehndi tattoo ideas

This mehndi tutorial is not a physical book but a downloadable electronic book which can be downloaded to any computer after the purchase. You can learn more about this mehndi tattoo pdf called Mehndi (Henna): Learn to Create Your Own Body Paint and Cultural Abstract of Todays Wedding by clicking on the link below

Body painting materials and equipments at Clarkfield, Pampanga

Body painting materials and equipments at Clarkfield, Pampanga

Painters must be aware of all the intricacies of painting but for the novices, we bring a snapshot of certain technical aspects of painting which will help them out in developing this art.

Media
This refers to the medium used in paintings. It is the color type which is applied on the canvas. The choice of media depends on the solubility, viscosity and miscibility of the fabric or base used. Some examples of painting media include oil paints, pastel paints, spray colors, water colors, enamel paint and wax paint.

Styles
Styles of painting vary from person to person. It depends upon the comfort and interest of the painter. It may also include the use of brushes and paints. In fact, every painter is famous for a particular style of art. Some common forms of painting styles are:
Western: folk, graffiti, body painting, abstract figurative, Oriental and primitive.
Eastern: ink and wash, Persian miniature, madhubani, samikshavad and mughal.

Modern forms
Paints are a thing of past. Now, almost each and everything is used in painting. Be it paper pieces, sand, dust, cement, wood or any other material, they are widely being used in giving texture and extra look to the paintings.

Digitization has also brought various software in the market like Adobe Photo shop, corel draw, image maker and many other which can insert any design, shade or style which you can ever imagine of.
Recent time applications

Gone are the days when painting was done on canvas through brush and paints, exhibited, sold and over. Now it finds its applications in a host of other fields also. The basics and studies of painting are being used in interior designing for decorating houses. Painting provides an insight onto various color combination s and contrasts which enables interior designers to make heaven out of homes.

Another application of painting is in fashion designing where designers create aesthetic and graceful dresses of beautiful color combination s. Here also, the fundamentals of painting come handy in deciding which color or shade suits best on a particular complexion and figure.

A final word
Painting is a universe in itself and you will get more engrossed in it if you will delve deep into it. There are treasures to be found in this area but it requires patience and long years of hard and sincere work. It can be opted both as a hobby and as a profession. The difference lies in the commitment and pursuit.

Cosmetics, Body paints. photo: Public Domain / Dean Kane. Cosmetics, Body paints

Cosmetics, Body paints. photo: Public Domain / Dean Kane. Cosmetics, Body paints

A special kind of body art is the body painting and makeup. This is the easiest and most common kind of body art. There are thousands of events where body is painted. Whether you are cheering for your team or just watching a live parade body painting makes you look perfect. People prefer painting their body and makeup for many reasons which include portraying their thoughts and feeling or just expressing their creativity. The process of body painting and makeup requires skills which take years to master. Many people paint their bodies just for fun. Clown put on makeup and painting to make themselves unique and funny. Similarly other people prefer body painting to make them look special and exceptional.

Painting the body and makeup requires special kinds of cosmetics and paint. These are easily available online on many websites. Be sure to use the right product which is approved by the FDA. For getting your body painted the first step is to imagine the painting that you want on your body. It is a better idea to draw the painting so that it is easier for the professional painter to easily paint your body. Although most people prefer painting on their face and chest but there are some who want their body to be completely painted. The next step is to get the right products and cosmetics for the body painting and makeup. In case if you are going to professional body painter, than the previous step is not required. Clean your body before getting it painted as it will help remove the dust and create a uniform film of paint on your body. Now be patient while the professional paints your body. After the process is complete than the part of drying the paint comes. The paint can be dried by a dryer or by standing under a fan. Once the drying process is complete so is the process of body painting.

There are some events in which people are naked and their bodies are painted and they have makeup on their face. One such event is Fremont Solstice Parade. In this event cyclist are naked with their whole bodies covered in paint. Although this event may seem bizarre but people really enjoy this exciting event. Body painting and makeup is a way of expressing thoughts and feeling. It makes people unique from others. Many people paint their bodies during protests to help other people and the government understands their true meaning. Body painting is truly exquisite.

shots session with typical filipina model wearing a body paint

shots session with typical filipina model wearing a body paint

shots session with typical filipina model wearing a body paint

shots session with typical filipina model wearing a body paint

shots session with typical filipina model wearing a body paint

Let's face it; Halloween is about seeing and being seen. And you can't do that comfortably from behind a mask, so why bother. Face painting is fast becoming the family favourite way to complete any Halloween look. Face paints also have the benefit of being body paints and are great where little ones don't want to wear gloves.

And as a final safety point, if you are planning to take children 'trick or treating' face painting is the safer option than a mask as there is little or no restriction in visibility and also less scary and intimidating to a homeowner opening the door to a youngster in a mask. And don't forget, face painting is a great way to achieve a low budget finishing look for your costume.

Here are a few simple steps to help you achieve the desired result this Halloween and every Halloween from now on.

1) To prevent a tearful occasion, it's important to read all of the manufacturer's instructions before you start, not even the cutest of devils to be will sit still whilst you read instructions 'on the go'.

2) Practice and then practice some more. It's always advisable to practice your designs before applying make-up for the actual event, not only will you get quicker - quicker painting less fractious child (and that's a very definite link), you will also start to adapt the design to your own style as you become more positive with brush and sponge.

3) When painting on a large area of face or body, for example a background colour wash, use a sponge rather than a brush. This allows you to blend the colour better and will be smoother and more comfortable on the face. Keep the sponge fairly dry to avoid runs and streaks.

4) When colour washing a face take the colour up to the hairline and just under the chin. For adult models painting the neck and nap may produce a more complete result but for children around the chin is fine.

5) It is vital that brushes and sponges are clean before each change of colour. If this is an art form you are likely to continue, it maybe worthwhile investing in one sponge to be used exclusively with a colour or colour palette. This would avoid the need to continually be cleaning a single sponge during application.

6) Ensure that you have everything you will need close to hand before you start. Quick checklist would be; face paints, sponges, brushes, water bowls, clean water as well as a pack of paper towels or kitchen towel roll. A good roll of plain kitchen towel will be invaluable as face painting can be messy at times.

7) Face paint should always be applied in thin layers as this makes it less likely to crack and will also increase the overall comfort. Thin layers of paint dry quicker which is important given that as each layer of paint should be dry before applying the next layer avoid runs and inadvertent colour mixing on the face/body.

8) Create a series of templates for often repeated shapes, or find suitable stencils to use as cheats when creating a face pattern. These speed the overall process and are a great aid if you are not confident in your ability to paint the shape accurately in freehand.

9) Do not be afraid to deliberately mix your own shade of face paint from others in your kit or collection. Face paints come in a variety of colours and are suitable for mixing allowing you to create a unique shade as required.

10) For some most occasions manufacturers have pre-assembled collections of face paints for sale. These are either available suited to a generic theme, Halloween, Christmas etc or to a character, witch, ghost, devil etc. These make a perfect introduction to face painting and usually come with simple to follow instructions and step-by-step guides.

So some simple steps to get you started in this fascinating art form which will almost certainly mean that you have an unending procession of eager models once you've mastered the basics. And don't forget, you'll be the star parent at any party for years to come.

Aslan - Body painting

Aslan - Body painting

Aslan - Body painting

Aslan - Body painting

Body art Handicraft art oil painting

Body art Handicraft art oil painting

Body art Handicraft art oil painting

Body art Handicraft art oil painting

Body art Handicraft art oil painting

Artist Gerardo Navarro Gómez lives in lush, tranquil and delightfully simple surroundings with his mother and three sisters. One would not expect to encounter art ranging from the mildly erotic to pieces that test the sensibilities of the most liberal among us. But yes, accompanying paintings which express religious imagery and childlike carefree scenes, are those of quite another theme, carefully tucked away from view.

The women in the Navarro Gómez family weave cotton textiles on their back strap looms, while Gerardo is busy painting all manner of contorted body parts spewing the lifeblood of humankind. On this day they all, matriarch included, lightly laugh and joke in response to this writer's pointed and arguably embarrassing questions, sloughing it all off. No subject is deemed taboo, nor provokes shame. Perhaps the Eden-like environment is the key to the harmony between such seemingly different forms of creativity in one family. Gerardo, a bachelor, lives in the very Catholic and rural world of Santo Tomás Jalieza, sharing daily chores as well as workspace with three spinster sisters and their mother.

Santo Tomás Jalieza is a small town about a 35 minute drive from the South Central Mexican city of Oaxaca. Oaxaca is tucked away in a series of central valleys in the state of the same name, surrounded by the Sierra Madre del Sur mountain range. The region is a popular destination for travelers seeking a cultural vacation - rich in pre-Hispanic ruins, impressive Dominican churches dating to the 1500s, and museums and galleries. The area is also known for its gastronomic greatness, with arguably the best cuisine in all of Mexico - and of course its broad diversity of quaint craft villages, including Santa Tomás Jalieza.

Residents of Santo Tomás have been weaving cotton textiles for generations, more recently for primarily the tourist trade - tablecloths and bedspreads, table runners and placemats, napkins, purses, leather-trimmed belts, change purses, eyeglass cases, embroidered blouses, and more. In the case of the Navarro Gómez family, proficiency in this cottage industry dates back only a couple of generations, since Gerardo's parents didn't move to the town until they married. They then made it a priority to learn to weave, and with the assistance of relatives in the village, teach their children.

Through ranching and agriculture the inhabitants of Santo Tomás remain to a large extent self-sufficient, relying if not on sheep, goats or cows, then certainly upon chickens - and of course subsistence crops such as corn and beans, supplemented by squash. The vagaries of tourism in Oaxaca require it.

Navarro grew up rejecting formal education, whether by design or circumstance: "I never did finish public school. I didn't think I was learning anything, and in fact spent about four years languishing in first grade. Finally, when I was 14 I packed it in for good."

But there was one teacher, Maestra Lupita, who did impact his future: "She was the only one, I now realize, who saw something in me that was different from the rest. She gave me crayons and a drawing book, and left me to work. I never asked her why she centered me out, and she never offered an explanation. She just left me alone most of the time, to draw."

After school Navarro would tend his father's goats, while sometimes doing a bit of leatherwork, and regularly jotting down his thoughts, even making little verses. Twice the government sent instructors to the village, initially to teach about working with animal skins, and then to show the townspeople how to combine textiles and leather to make purses and belts. Gerardo became proficient at making leather belts decorated with narrow strips of cotton textile produced by his sisters and mother on their looms.

But once again, he rejected convention: "I didn't like doing that kind of work. I always felt under pressure and like I wasn't really creating anything. I had no freedom. For someone to say, 'I need 20 belts just like this in two weeks,' just reinforced that I had to do something else and remove myself from the lifestyle of those around me."

While Navarro enjoyed the freedom of tending the herd - his father even bought him two cows when he was 21 - he became very ill, and was hospitalized. When he eventually recovered he found that he could no longer tend the livestock. His body's defenses never returned to their former level of functioning, and thus he lacked the energy and fortitude required for herding.

In January, 1994, he left for California, intent upon beginning a new life: "I wanted to leave behind everything from my past, so I even burned all of my little writings from those afternoons out in the fields." He returned in May, having found the Los Angeles lifestyle even worse; people were always rushing around and seemed to be under an undue amount of pressure.

Within three months of Navarro's return, his life had indeed changed, dramatically.

Over the years the women - mother Mariana and daughters Margarita, Inés and Crispina - developed a reputation for fashioning cotton textiles of extremely high quality, by and large setting them apart from most others in town. Crispina in particular found a niche for herself, weaving fine thread into the most intricate of designs. Her notoriety spread to such an extent that she began to receive praise from craft aficionados even outside of Mexico. She's been in the company of four Mexican presidents, most recently visiting former President Vicente Fox at his ranch.

The family had become accustomed to hosting dignitaries at their modest, yet spacious and immaculately kept homestead. Frequently artists would attend at their home to buy handicrafts, and to just chat and spend a couple of hours with the family. And who wouldn't be so drawn to the family, residing within one of the most welcoming environments imaginable.

Acclaimed Oaxacan artist Juan Alcázar and his wife Justina Fuentes, a talented painter in her own right, was one such couple. Of course Navarro knew nothing of Maestro Alcázar at the time, other than that he was a man from the city who appreciated quality textiles. One day in early August, 1994, a visitor of German extraction, Helmut Kohl, came by to mire Crispina's artistry. He noted Navarro's fine leatherwork, and suggested that he might want to consider taking art classes with a friend, Juan Alcázar. Of course it was the same Juan Alcázar with whom Navarro had been acquainted for some 15 years, never knowing that Alcázar was an up-and-coming master of contemporary Mexican art. Within days Navarro was in Oaxaca to meet with Alcázar; on the 15th of the month he began being mentored by Alcázar and Fuentes

Over the next four-and-a-half years, day in and day out, from nine to six, Navarro would visit the Alcázar / Fuentes workshop, Taller Libre de Gráfica Oaxaqueña, working initially with pencil, then ink, and eventually watercolors. While others were in groups taking courses and otherwise learning to be artists, Gerardo would be off in a corner, his back to them, working away independently.

"Don't even look at art books until you've been painting for ten years," Alcázar counseled; no matter, since Navarro had not previously cracked a book, and never had any intention of doing so. In fact to this day, Navarro maintains, he has never looked in an art book, nor read about theory or technique, and is oblivious to the art of Chagall and Picasso - aside from the fact that some of his patrons have likened his work to that of such Grand Masters.

Navarro has never taken an art class, and even though he credits Alcázar and Fuentes with the development of his work and his success, they did not really "teach," in the everyday sense of the term: "I've never been able to tolerate a classroom environment, and in fact have never studied or worked in a group. I think it probably dates back to my years in the fields. My father always warned me against socializing with others who were tending their own herds, for fear that I would become distracted. Of course I received guidance from Juan and Justina, but no, there were no lessons."

Navarro had his first exhibition in 1995, after Kohl had advised him that he wanted to display his work in a gallery in Ajijic. Gerardo had no idea what to expect. When he accompanied Kohl to the framer the day before the inauguration of the exhibition, he was taken aback at how different his work then looked. But Kohl kept him grounded: "If you sell one piece you'll be lucky; with two sales consider yourself a master; and never expect to sell three." He learned that a gold star beside a piece meant it was sold. By 6 pm that first evening of the show, 15 of 16 pieces had gold stars.

None of those initial works offered for sale was erotica, though from the outset Navarro had been creating art with sexual content. He's always feared exhibiting such pieces, even in his own workshop: "I still keep the erotica apart from the rest of my work, in a separate plastic sleeve, face down. I won't show them unless people ask to see them; and besides, sometimes children come to our home, so I have to be careful. Even my larger works are on the floor facing inward." He points to a large framed piece hidden behind another.

Narvarro has been painting more erotic art in recent years. But he has never simply decided "I'm going to do erotica starting today." In fact he doesn't start out with a particular idea when he begins working, erotica or mainstream. The brush just takes him where it wants to go: "My mind seems to flow like a river; and so I just follow it, and if it keeps flowing after I'm finished a piece, then a sequence of pieces will emerge."

Many of Navarro's pieces include prose or poetry relating to the image represented. Sometimes words come to him when he begins a piece, thereby inspiring content, and other times what he writes comes about once a work has been completed. He embarrassingly acknowledges: "I know that because I'm not educated, there are always errors in spelling and grammar." Such works remind of the Mexican votive painting style, or ex - voto tradition.

In Navarrós lighthearted La rubia negra (2006), the message is clearly conveyed without the use of prose: a lover's teary upset and her boyfriend's rejecting dismay upon his realization that she's not a natural blonde. The title's double entendre alone is sufficient poetic rhyme; the work's familiar imagery serves to dispense with the need for more explicit eroticism.

In 1996, Fuentes told Navarro it was time to try working with oils. She gave him a canvas and frame, and told him to buy a couple of tubes of paint. After he sold his first oil, he went out and spent 1,000 pesos on as many tubes of paint as the money would buy. Everyone laughed, never having heard of anyone spending all their money on so much paint. But he was filled with excitement and ambition, so much so that within the next four months he had created 18 oils, exhibiting them for the first time in 1997. Oils are amongst the erotica in his workshop, on the floor, facing the wall.

"You just never know what people's reactions will be, or how receptive they'll be to that kind of art. A while ago a woman from the city bought one of my eroticas, a mermaid having oral sex with a mortal. She took it home and her husband wouldn't let her hang it in their house. So they came back together, and exchanged it for a painting of a couple making love, with a crucifix on the wall above them, and an angel passing over, covering Jesus' eyes."

Navarro doesn't perceive inconsistency between being Catholic and producing erotica, but then again he attends church infrequently: "I have my faith, and I believe in Jesus." He continues: "What initially turned me off going to galleries to see other art or even my own, was when there was an exhibit of my work in one room, and religious art in another. The crowds were looking at my display, and hardly anyone was staying to look at the religious art. Someone came up to me and said 'you're the devil.' My response was simple; at night we all lie down and spread our legs, so what's wrong with that kind of portrayal in my art."

For his oils and watercolors Navarro works in the most brilliant of colors. And with his ink drawings he uses sepia tones. Curiously, it's more in his pieces done in shades of blacks and browns where he appears to let loose and enable bizarre sexual metaphors to predominate.

"I'm not interested in exhibiting my work in other countries," Navarro readily indicates, then explaining his reasoning: "People come from far away to see me, not just my art. So what happens if I'm not here? It's not fair to those who admire what I do, if they come by or contact me to make sure I'll be around, and I'm away."

The sisters echo the identical sentiment. They've only traveled out of the country to exhibit on two occasions. And when it comes to fiestas and other family obligations in Santo Tomás or Oaxaca, generally one family member will remain at home at all times. Being available for those who appreciate their artistry is a priority.

The division of labor in the Navarro Gómez household is wholly consistent with Gerardo's personal worldview as represented in his art. Each family member has morning household tasks; sweeping the exterior hardened earth or the interior concrete floors, making tortillas, cooking meals, tending to the animals. And most are subject to weekly rotation. Gerardo does not begin his artistic day until all the rest of the work has been completed. And so equality between the sexes in the household spills over to his erotica - one sex does not dominate the other, and women appear to be just as active participants as men in the eroticism portrayed.

Much of Gerardo Navarro's erotica speaks to his personal philosophy regarding monogamy and marriage. He has not been in a long-term relationship since beginning his career as an artist some fifteen years ago. He sees marriage as a compromise he's not prepared to make. "Marriage is like a grave," he maintains, then continues: "It kills love. In the world I know, the men aren't around all that much. They're off in the US under the guise of earning for their families, with the women and children left at home to fend for themselves. What do the women do?" Silence ensues, leading one to imagine what actually transpires behind closed doors in Santo Tomás Jalieza. Gerardo Navarro Gómez then returns to painting one of his favorite themes - the apple tree in the Book of Genesis, with Eve firmly in control.

one for just the body paint.

one for just the body paint.

one for just the body paint.

Did you ever want to be a cowboy? Maybe a rain forests? What about trading your skin in to become a seductive tigress ready to pounce on fresh meat? Well, whatever your adult fantasy may be, adult body painting may be the temporary and fun solution.

Though this art form has been around for centuries, many people haven't tuned-in to this creative outlet. Some people claim that body painting is actually the oldest art form (Considering that people were painting their bodies pre-anno domini. Just think of early century Egyptians). And, with adult body painting companies and artist all around the globe, one would probably have little difficulty finding an artist close by.

Adult body painting is an art that uniquely transforms your everyday skin into a beautiful picturesque scene or life form. How? Glad you asked. By using safe, FDA approved make-up, oils, and other various paints and applying it directly to your skin. Any part of your skin. Oh yes, that's right, any part. Body painting artists are extremely professional and willing to cover any part of your body that you so desire, from head to toe. Or, if you can't make your mind up on which body part to paint, you can have your entire body brushed with a plethora of colors that completely disguises the real you underneath. Unless, of course, you really are Smokey the Bear. Which can be done. By method of airbrushing, painting, and drawing, your body can soon be entirely transformed into your fantasy.

Depending on the piece of art you choose, the process can take from a few minutes to a few hours. The Hanging Gardens weren't grown in fifteen minutes and either is the mastery of adult body painting when given the task of turning you into a fire-breathing dragon. Which can also be done.

However, don't misunderstand. Not all body painting means having to get nude. In fact, any small portion of your skin can be painted into a beautiful piece. For instance, many people who want to see what a tattoo would look like on the arm, hand, foot, shoulder, neck, or elsewhere often choose to have their body painted first to make sure they will like it for the rest of their lives. Others just appreciate the art and have paintings done on parts of their body for display or to be kept private. Whatever the case may be, there really is not a limit to what a person can have painted on their body. A butterfly or the Sears Tower, or anything in between.

Body painting typically will last for a couple of days and can easily be removed. Because body painting is not permanent, you have the option to become many things over the course of time. The only thing that should be holding you up from getting painted is choosing what you want to be next!