#painterly dabblings || media

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[izzy-paints]

I should probably introduce myself

Hey y’all, I’m Izzy. I’m a freelance illustrator working primarily in the TTRPG space, designing creatures and characters for creators, GMs, and players. I’ve deiced to shift focus to posting more on Tumblr, so I wanted to take a minute and say hello!

I also dabble in game design, and have a new project in development I hope to announce soon (stay tuned for more info on that, coming soon).

My visual art tends to lean towards American comics and animation styles:

 but I’ve also worked in painterly/semirealism: 

...and like many of us, I have a healthy dose of anime influences, too.  

If any of this interests you, please say hi! I’m fleeing the inevitable garbage-implosion on twitter and starting from scratch, and finding a community can be difficult in the hellscape of modern social media. 

Thanks for reading, here’s my face (my septum ring is always crooked):

[gwynfydolion-artist]

Joan Eardley

She is a renowned international artist who practiced during the post war British art scene.  Her work can be described as an interaction between realism and abstract art.  She was known for creating work which invoked the life forces of the environment whether it be Glasgow’s urban children (social realism through the use of photographs) or the forces of nature on the north eastern landscape (insitu) where she dabbled in abstract expressionism also known in Europe as Tachism.

Today, her work in urban Glasgow could be seen as historical documents depicting the lost communities of tenement living in the style of 1950’s painting.  The low privilege children had adult expressions in her work showing the maturity of the children because of their hardship.

She used vivid colours and form showing the artificial side to city living.  Her work has emotion and shows the philosopher in Joan.  She is known for her work to be grounded in reality.  Even her Catterline landscape paintings pick up the emotion of the weather such as the changing light and stormy seas.  She said that her work captures the changing of time by painting on location never two glimpses of the scene are the same as the clouds dance about the sun and the air changes.

Born in 1921 on a Farm in Sussex and the daughter of a military captain.  Clearly a middleclass family upbringing.  Although her father was ill from the first world war and died whilst she was a child the women in her family were able to provide her with a private art education in London.  She was privileged.  Her mother and her aunt supported her career as an artist.  In 1938 she had a London art school education prior to moving to Scotland at the brink of world war 2.

Her first work Rush Hour got her noticed as her work had personality about it.  Her friend and she used to go to Arran on painting trips and later became friends with a photographer and musician.  She was interested in Stanley Spencer’s resurrection paintings especially his sense of detail.

She was back in England for a while as she was commissioned to created mural in Lincolnshire and then studied at Hospitalfield in London prior to moving to Arbroath where she studied at Patrick Allan Fraser School and had a ropey relationship with James Cowie the principal art teacher at the school.  She did respect his different style of a linear approach.

She briefly travelled to Italy and France heading straight for Florence and this is where here interests emerged in the hardship and archaic life of the peasants of Italy.  Her confidence was strong and stayed away from the fashionable Italian scene concentrating of the peasants.  She was particularly amused by the most superb church in Assisi the richness and artistry of the building juxtaposed with the foreground of beggars.  During her time here she homed her clean pure colours drawing from the Mediterranean vistas.  In Venice she concentrated on her compositions.

This led to her first exhibition at RSA Edinburgh called “Good Show”.  She worked in pastels, conte, charcoal sketches on patches of paper clipped together, oils and her work Beggar in Venice 1948-9 being recognised.

Her friend’s photographs aided her with her work on urban children.  She thought of her subjects on painterly terms and built up a relationship with 12 children from one family.  She got used to working with them and they were amused and flattered by Joan.  She just watched them play and observed their energy and personality in their natural interactions.

She used chalk and blue distemper in some of her paintings and also highly colourful oils.  She was influenced by Picasso when she saw his work in Paris during her Europe trip.

Her two identities of Scotland could be described as capturing the feral nature of Scottish life.  Hugh Adam had said to his students ‘you need to feel the painting in your bodies’ in relation to sea and sky expanses.  She became fascinated by the sea and the land in Catterline.  She painted on great sheets of hardboard using boat paint with artists paint and included mixed media such as grasses, newspaper and sand.  Paint dribbled down her foreground and scraped with the end of a paintbrush.

She died at 42 of breast cancer in 1963.  She said “the more I know the particular spot ..the more I find to paint in that particular spot”’

[jessicakehoe]

For These Three Canadians, Eyeliner is More Than Just Makeup

Eyeliner is, without a doubt, a runway mainstay for makeup artists each season. Just look to the Spring 2020 shows and you’ll discover a playground of framed rims ranging from the reinvented cat-eyes at Moschino and 3.1 Phillip Lim to the smoky liner looks at Ann Demeulemeester and Celine. But trendsetting beauty aside, for many of us, eyeliner can be a go-to source of identity and self-expression and, sometimes, our strongest weapon. Here, a Canadian YouTube star, a musician and a publicist explain their emotional bond to their signature liner looks.

The Publicist

Photography by Porus Vimadalal. Creative direction by George Antonopoulos. hair and makeup, Anna Nenoiu for p1m.ca/Bareminerals. Top, Thin chain and ring, Macedo’s own; Earrings, $55, KRWNd; Thick Chain, $115, Cuchara.

Being a first-generation Canadian with parents who emigrated from South India, Edmonton-born, Toronto-based Talya Macedo says that her smoky kohl-rimmed eyes are a connection to her family. “My mom wears [kohl], my aunts still wear it and my cousins wear it,” she says. “We’re all split up, and it’s crazy to me that this is a look that binds us.” The trademark gaze is also how she embraces her heritage. “I do feel that adornment and beauty are really great ties to my culture,” explains the 34-year-old brand and image strategist. “I feel like I look like my mom, or my aunts and cousins in India, when I wear a lot of gold, have my hair parted down the middle and wear a red lip and tons of eye kohl.” Macedo had her first experience with makeup at age 10, when she would perform Bharatanatyam, a popular form of Indian classical dance. She wasn’t fond of the full face of makeup she had to wear, but when it came to her inked waterline, she was instantly hooked. “I remember looking in the mirror and being like, ‘Whoa, I always want my eyes [to look] just like this!’” By the time she was 16, traditional black kohl liner had become an integral part of her everyday look, even if that meant challenging Western beauty ideals. “I remember reading [in a magazine]: ‘Never line your waterline. It instantly makes your eyes look smaller.’ I was so confused by that because I lined mine every day, and it made my eyes look beautiful and big and made me look like myself,” says Macedo. “That was the first piece of Western beauty advice that I learned to ignore.” And whether she’s zeroing in on her waterline or going for a more dramatic, smudged-out look, Macedo’s longtime kohl signature is all about confidence. “It’s equal parts power and sensuality, and I don’t apologize for sensuality in my day to day,” she says. “I make a point to be sex-positive in the greatest way possible.” 

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Talya’s Hero Formulas

Caviar Stick Eye Colour in “Khaki”

($38, Laura Mercier)

“If I want a little something more, I’ll put this on top and underneath the rim and smudge it all over.”

Buy Now

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Talya’s Hero Formulas

Eyeconic Kajal in “Deep Black”

($17, Lakmé)

“Whenever my aunts come from India [to visit] and they’re like, ‘What do you want me to bring?’ that’s the only thing I ask for. It’s actually produced there.”

Buy Now

  The Front Man

Photography by Porus Vimadalal. Creative direction by George Antonopoulos. Hair and makeup, Anna nenoiu for p1m.ca/Bareminerals. Top, Ramsay’s own.

For Marianas Trench lead singer Josh Ramsay, makeup knows no gender. “I think it’s a stupid gender stereotype if people think that only girls can wear it,” says the 34-year-old Vancouver-based rocker. In showbiz, men slapping on makeup is nothing new. “Literally everyone you see on camera—male, female, whatever—is in makeup. I just choose to be noticeably in makeup versus a nude look.” Ramsay happened upon his signature liner back in 2006, when a makeup artist made him up for his band’s first photo shoot. After working with the artist repeatedly, Ramsay couldn’t get enough of the look and eventually asked the pro to show him the ropes. “I didn’t grow up playing with makeup or anything,” he shares. “I needed someone to show me how to do it.” So how does he define his trademark? “First of all, I never want to look like Captain Jack Sparrow!” he jokes. “I usually apply it on the waterline and then go smoky and rubbed out on the top eyelid.” It’s an inky look that rotates colours, and that’s crucial to Ramsay’s onstage persona, he says. “I think of other male artists who have been makeup-forward, like Bowie, and it really is a transformation into somebody else when you’re onstage. It helps me be larger than life when I’m up there.” Society may still adhere to exaggerated macho concepts about masculinity, but Ramsay unapologet­ically blurs the lines by never veering from his true self. “I’m straight, but I am very androgynous and always have been. It’s not a decision; it’s just how I’ve always been.” 

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Josh’s Hero Formulas

Jumbo Eye Pencil in “Slate”

($6, NYX)

“I prefer a crayon-style liner for my top lid because it’s easier to smudge.”

Buy Now

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Josh’s Hero Formulas

Kohl Power Eye Pencil in “Feline”

($23, M.A.C)

“For my waterline, I definitely use a pencil.”

Buy Now

The Youtuber

Photography by Porus Vimadalal. Creative direction by George Antonopoulos. Hair and makeup, Anna Nenoiu for p1m.ca/Bareminerals. Necklace, $180, Vitaly; styled by Anand Gopaul.

Stef Sanjati is the definition of an open book. For over a decade, the 24-year-old Toronto-based YouTube star, transgender activist and Rimmel brand ambassador has been vlogging about her most intimate experiences. Her channel, which has amassed hundreds of thousands of subscribers, started with simple makeup tutorials but morphed into raw, unfiltered videos chronicling everything from the procedures of her feminization surgery back in 2016 to her inherited genetic trait, Waardenburg syndrome—a condition that causes her to have wider-set facial features, hearing loss and pigmentation loss in her hair, skin and eyes. For this candid social media buff, her first dabble in makeup was a vivid one. When Sanjati was 13 and identifying as a young gay man, her mother took her to buy her first makeup kit, which consisted of black and gold eyeshadow and liquid liner. Little did Sanjati realize at the time that “that was an extension of [her] experimenting with gender,” she says. Her initial looks of “wild, graphic, painterly” makeup were purely for fun—until she watched one game-changing tutorial on how liner could create the illusion of closer-set eyes. Sanjati began creating a double-wing look by drawing an extended solid line down the inner corners of her eyes to match the outer wing. It was a bold, graphic look rooted in self-doubt. “I was very insecure about the space between my eyes,” she recalls. “I couldn’t leave the house without [eyeliner].” And growing up in a small town in southern Ontario, Sanjati felt anything but ordinary. “There was one kind of person, and that was all you were allowed to be,” she says. “It’s extremely alienating not being able to see yourself or anybody else who is different from the majority.” After her medical transition and facial-feminization surgery, Sanjati’s approach to makeup shifted. “Earlier in my transition, before any surgery, before my hormones were really kicking into high gear, I still used makeup to create a different face,” she says. Today, it’s all about enhancement through a “softer and more romantic” smudged-liner look. But she keeps her exaggerated cat-eye in her back pocket for nights out. “I’ve entered a time in life where I’m more content and more confident with who I am at my core without any makeup on,” she says. “I don’t use it in the same transformative way. My approach to eyeliner is no longer about hiding my eye shape; it’s now about how cool that shape is.”

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Stef’s Hero Formulas

Wonder Ink Eyeliner in “Black”

($11, Rimmel)

“This is the liner I’ll use if I want to create a more dramatic double-wing look. I like it because it’s got that pen shape and it’s easy for me.”

Buy Now

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Stef’s Hero Formulas

Exaggerate Waterproof Eye Definer in “Rich Brown”

($8, Rimmel)

“I use this for my daily look,” says Sanjati. “I tightline my eye with it and apply a thin layer on my lid with a small wing. Then I smudge it out to create that soft look.”

Buy Now

The post For These Three Canadians, Eyeliner is More Than Just Makeup appeared first on FASHION Magazine.

For These Three Canadians, Eyeliner is More Than Just Makeup published first on https://borboletabags.tumblr.com/

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