Lisa Berczel wrote:
The Palmers that I have is very flexible... but very thick.
Mind also separates and needs to be thoroughly mixed.

If this is the 3rd project with the same colors - it is possible that bottom of the bottle was more settled with the "dryer" components of the body paint - which may lead to cracking.
Good possibility a couple of bottles that I haven't opened yet showed separation- I've tried standing them upside down and will try shaking them on a regular basis, see if that helps.

Also, thickness of application can make a difference - which again could be exasperated by the settling of the product.

I'm wondering if thickness may be a contributor - is that why the hairdryer?
No, more to speed drying to facilitate overpainting.  But the product is very thick.  I've been loathe to thin it to keep it opaque--probably should try experimenting with thinning it and see how far I can go without getting it too thin.

Depending on the heat setting of the hairdryer, the model may have gone from cold/goosebumps to hot/sweaty back to cold. This is no good for any paint longevity.  A very real possibility--my space is a cellar and heat is a problem--might try setting the boiler room up for this purpose when doing a project--At least it's kept at a consistently warm temperature.  Model will probably appreciate it even if it doesn't make any difference to the paint

Model's sweat is not created equal. Tanning products also can make a difference.

The skin prep you describe is typical for most body paints regardless of product.

I note that you work with an airbrush whereas I'm using traditional brushes--could this be a factor in the adhesion?

Thanks for your help-- It is appreciated.

Sweet Loretta wrote:
Frankly, most face and body painter won't touch Plamers. I'd throw that stuff out and get some quality body paint. Palmer will always crack and peel. It's kiddie craft paint not meant for paint bodies. .....

While I wholeheartedly agree that pros don't use Palmers Face Paint.

However it IS face paint.... not craft paint. And the cheepest face paint I know at $4 for 8oz.

I would rather see those trying out bodypaint use Palmers than nontoxic craft paint. It is a good choice for certain techniques such as dripping paint.

The product has its place... albeit a limited one.

When artists reach the limitation of the product they can move up to better quality products and know they're entered the field the right way... by showing respect for their model with their product choices.

BTW.... it has not cracked and pealed for me. But perhaps theyve changed formulation. Or my application style avoided the issue.

Sweet Loretta wrote:
I think if one starts with a quality product they are far better off, having not wasted money on lessor paints and wasted time with a failed project.  Spend $4 and all your time or spend $8 and get what you wanted from your photo shoot.

Sweet Loretta
www.sweeet-loretta.com
www.extrememakeupfx.com

Mostly Agree. But historically on MM.... photographers have often been a very hard sell when it comes to using cosmetic paint in the first place.

Better to put palmers on a model than craft paint.....

Lisa Berczel wrote:
Mostly Agree. But historically on MM.... photographers have often been a very hard sell when it comes to using cosmetic paint in the first place.

It is interesting, I do a lot of work with bodypaint in fine art here in the studio.  I teach classes on it.  I've always gone out of my way to use quality products.  Heck, we have Kryolan right here in the city.  It used to be just blocks from my old studio.

No matter how many times I tell students what to use and not to use, they always come back to rent the studio with craft paint or some other low cost, non-toxic substitute.  The results are never the same.

Your point is well taken and I don't understand it.  If one is going through all the effort to hire a model and book the studio, I have no idea why they want to save $20 on paint just to ruin the shoot.

Lisa Berczel wrote:
The OP had a serious question - he has had success with Palmer's and now needed to troubleshoot. I'd hate to see him feel diminished because his product choice is being "poo-poo'd". There's a diffidence between using the wrong product, or using a product in a manner it's not suited to, or going cheep.

For the record, I am not arguing that Palmers doesn't have a place.   I am arguing that craft paint, although non-toxic, does not. 

My problem is when someone spends a lot of money on a shoot only to have it shot because they pick the wrong product, just to save a few dollars.

Obviously Ray has had success using Palmers for certain things, and I give him credit for using a product intended for body use.  In this thread, I think the issue is why does it work for him sometimes and why is it cracking now?

My purpose was to agree with your basic point, but maybe I just stuck my foot in my mouth.

GPS Studio Services wrote:
...   I am arguing that craft paint, although non-toxic, does not....

No worries.
We are in 1,000+ agreement.

You will NOT see me recommend Craft Paint - even though that's where I started waaaay back when.

There is SO much more in the way of good information... Cosmetic products are easier than ever to get access to - with many options and prices.

Drew Smith Photography wrote:
I came here to read a story about Body Paint that fail to show up.

Grrrr.

What information are you looking for that's not covered in this discuasion?

GPS Studio Services wrote:
It is interesting, I do a lot of work with bodypaint in fine art here in the studio.  I teach classes on it.  I've always gone out of my way to use quality products.  Heck, we have Kryolan right here in the city.  It used to be just blocks from my old studio.

No matter how many times I tell students what to use and not to use, they always come back to rent the studio with craft paint or some other low cost, non-toxic substitute.  The results are never the same.

Your point is well taken and I don't understand it.  If one is going through all the effort to hire a model and book the studio, I have no idea why they want to save $20 on paint just to ruin the shoot.

Gee, guys, I didn't mean to start a war!

A little bit of additional information may be in order here since the thread may be seen and of use to others as well.

First, I fully agree with those who've said, essentially, that working with an inferior product is the short road to Hell, and I also agree fully with those who've said that, again essentially, the important question is "inferior for what? "  A product that's terrible for one application may be just the thing for another, and vice versa.  Most of my earlier work as a painter was as a scenic artist in my own and other small theaters, where budgetary and physical limitations often require a certain amount of creative "making do".  I remember one crusty old TD who had a mantra, "Just do it!  If it works, it works!"

My use of Palmer's is predicated partly on poverty (you don't build up a lot of retirement savings in 50 years of acting, and producing small theater companies) and partly on trying to familiarise myself with the difference between painting on a living, breathing, multiply-curved model and painting a 10 X  20 foot drop.  While there are similarities there are some pretty substantial differences as well.  As I go along, I do expect to graduate in my choices of material to better fit the medium.

And yes, the consistency of the paint was certainly part of the problem.  Someone said that painting with Palmer's is like painting with peanut butter.  That gave me an idea---it may be the perfect material for troweling on textures with a palette knife.  I haven't quite decided how to explain the technique to a model, though.

Thanks again for all the help, suggestions and kind words.