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ART OF AKIHITO Master Of Special Effects Make-Up Artist
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Halloween look
Cosplay Competition In MonsterPalooza
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Number 100
$6.99 U.S. / $6.99 Can
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Brushmag.com BRUSH May-1
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Sigma has tons of affordable brushes with exceptional quality, but they also have brushes that are on the more expensive side of the price spectrum
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Real Techniques Real Techniques brushes is a breeze. Originally, the makeup brush brand was created by beauty bloggers
He Mountain View Inn in Cleveland, Tenn., with its stucco ceilings, track lighting and plastic orchids, is a long way from the $1,500 a night suites at the Beau Rivage Palace Hotel in Lausanne, Switzerland, where U.S. and Iranian diplomats struck aprovisional nuclear deal on April 2. But five days after the deal was announced, Tennessee Republican Bob Corker, chairman of the Senate Foreign Relations Committee, found himself engaging in a debate in the motel’s restaurant that could, in it own way, determine the shape of the Middle East. The 40 odd attendees at the Bradley County Republican Party meet –and–greet that rainy April morning were mostly older, well- informed business people, with a
few local politician and retirees mixed in, and their questions were almost all about the Iran deal. Could the Iranians be trusted? Why wasn’t the U.N. doing more? Corker, who had woken at 3:30 that morning to go running so that he could be “fresh” for the day’s meetings with constituents, paced and gesticulated, answering their questions with minute detail about centrifuges, uranium stockpiles and shifting strategic interests. The Jane Rumbaugh, the 76-years-old vice president of the Bradley County Republican Women, piped up. Corker had said the Bush and Obama Administrations had developed a “bunker-busting bomb” that could take out the hardest Iranian nuclear
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Which is why Corker argues that the threat of a skeptical Congress hanging over the talks between now and the June 300 deadline will once again help negotiators limit Iran’s expectations for what it can get. More important, he says, if the deal ultimately has Congress’s blessing, it is more likely to last. “If we can pass this bill,” Corker told the members of the Kiwanis Club of Maryville later in the day, on April 7, the all-important details “will be stronger, more enforceable, more accountable, more transparent,” and the U.S.
BRUSH May-2
CINEMAMAKEUPSCHOOL
Hollywood’s professional makeup school
Beauty Makeup Character Makeup Prosthetic Makeup Special effects Makeup Creature Marquette Sculpting Airbrush makeup Digital FX ZBrush
Find out more:
CinemaMakeup.com 213.368.1234 BRUSH May-3
The
Greatest Apes On The BRUSH May-4
Costumes for Kogenkai Taiko Projects
Earth
Photography by Tomoko
Written by Akihito Ikeda
BRUSH May-5
Photo by AKIHITO
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AKIHITO IKEDA BRUSH May-6
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Simple is the BEST.”
n 2002, I was lucky to get a scholarship allowed me to move to the U.S. I felt that I had reached a plateau n Japan, and if I wanted to proceed as an artist, I had to make the move. I felt there was a huge gap between what I wanted from my career and what the reality was at that time. At the time, I had won three consecutive seasons of a TB competition called Special-Effects Makeup King Competition on a major network, TV Tokyo. I was also the main designer for the television series Ultraman Cosmos, but I could not garner the big budgets that would take me to the next level. I had to change my environment for reason. Imagine, I was in the United States of America with no connections and I could not speak English. Looking back, I am still amazed at my actions. It was at that point that I started to create a life sizes Gallimimus dinosaur by myself. I was frustrated by my situation and angry at the school because I had nothing to do. I had no crew and, at the time, did not even know how to use plaster. I just did it. I worked at the school and asked every adult every question I could think of. In two and half months, I finished dinosaur. The Gallimimus was huge. It was H137.8 inch W137.8 inches. I was 5’9” tall and weighed 138 pounds. I lost 17 pounds. I spent all my money on the creation of the dinosaur and only are once a day. I ended up looking like a Filipino boxer. The teachers at the school were impressed with my skill and my dinosaur. That was my first step into the SFX industry. He was planning on staying with a relative as I attended the special effects school. He called to tell me that the school burned down. A fire grew out of control and soon took over. The choice was made for me. I do not remember how I felt at the time. I did, however, go. I am not sure why. There was not much the school could do. The teachers did not show up. There were no materials and there was nothing to learn. I wasted my time for a few months. The school did pull something together for 3 days, but it was too little, too late. People still ask me why I did not leave the school. It is one of the biggest great mysteries of my life. I made the decision to take that bad experience and renew my drive to propel myself into the film business as a special effects artist in Japan. We moved when I was 3 months old to my father’s hometown of Hokkaido Prefecture. It is the northernmost island. It is also the 2nd-largest of the 4
ELEGANT MEDUSA
VIO-VERONCA
Photo by AKIHITO
Makeup by Akihito Photo by Akita Yahunari
/////////////////////////////////////////////// Japanese island. We moved because of my father’s work and stayed in Hokkaido until I was 3 years old. We then moved to the Fukuoka Prefecture on Kyushu Island. I spent the rest of my extremely happy childhood there until I graduated from high school. I am still friends with my kindergarten teacher, Mrs. Momoyo. She remembers that I was good at drawing when I was young. She said I was noticeably better than the other children. I remember drawing animals and characters in order to get girls’ attention. As I grew older, I always doodled on my papers while I was in class. For some reason, I stopped drawing in high school.
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No see Evil No hear Evil No speak Evil
Photo by AKIHITO
BRUSH May-7
Giger and Syd Mead. My dream is to see my art in museums and have it be recognized everywhere. One thing is certain: I will enjoy my future. The turning point was when I was 15. There were a special-effects makeup artist on TV and it changed my life. I decided at that point that that is what I wanted to be. The TV show was called Chikyu ZiguZagu, and it introduced a Hollywood Makeup-effects artist to a Japanese audience. There was really no way for me to learn about special effects at that time. We could not afford a makeup-effects course of my father’s work. I decided to take a design course at the junior college in Okayama because it cost less and I could focus on design. I decided to save money for the special effects course. I really enjoyed studying design. Sculpting a car with industrial clay was a lot of fun. It gave me a unique experience and valuable skills that I used in sculpting later. I soon received bad news, though. I took a great leap of faith and completely started over. I started sending resumes and making cold calls to studios. I was terrified of calling them because I couldn’t understand what they were saying. Once day, though, my life changed. Howard Berger, one of the owner of KNB Effects Group Ink., Called me and gave me a job. Howard changed my life. He gave me the chance I needed: the opportunity to work in the U.S. I owe him a great deal. I worked as a sculptor for him at KNB Effects Group Inc. For 6 years as he supported my visa. Since then, I’ve worked with shops such as Amalgamated Dynamics Incorporated and Legacy Effects. I want to thank those studios as well as the many friends I’ve made, and the American community who adopted me. Giger and Syd Mead. My dream is to see my art in museums and have it be recognized everywhere. One
thing is certain: I will enjoy my future. The turning point was when I was 15. There were a special-effects makeup artist on TV and it changed my life. I decided at that point that is what I wanted to be. The TV show was called Chikyu ZiguZagu, and it introduced a Hollywood Makeup-effects artist to a Japanese audience. There was really no way for me to learn about special effects at that time. We could not afford a makeup-effects course of my father’s work. I decided to take a design course at the junior college in Okayama because it cost less and I could focus on design. I decided to save money for the special effects course. I really enjoyed studying design. Sculpting a car with industrial clay was a lot of fun. It gave me a unique experience and valuable skills that I used in sculpting later. I soon received bad news, though. I took a great leap of faith and completely started over. I started sending resumes and making cold calls to studios. I was terrified of calling them because I couldn’t understand what they were saying. Once day, though, my life changed. Howard Berger, one of the owner of KNB Effects Group Ink., Called me and gave me a job. Howard changed my life. He gave me the chance I needed: the opportunity to work in the U.S. I owe him a great deal. I worked as a sculptor for him at KNB Effects Group Inc. For 6 years as he supported my visa. Since then, I’ve worked with shops such as Amalgamated Dynamics Incorporated and Legacy Effects. I want to thank those studios as well as the many friends I’ve made, and the American community who adopted me.
////////////////////////////////////////////// Demonstration for Make-up class
BRUSH May-8
Princess of Demons
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Fire Skull
Giger and Syd Mead. My dream is to see my art in museums and have it be recognized everywhere. One thing is certain: I will enjoy my future. The turning point was when I was 15. There were a special-effects makeup artist on TV and it changed my life. I decided at that point that that is what I wanted to be. The TV show was called Chikyu ZiguZagu, and it introduced a Hollywood Makeup-effects artist to a Japanese audience. There was really no way for me to learn about special effects at that time. We could not afford a makeup-effects course of my father’s work. I decided to take a design course at the junior college in Okayama because it cost less and I could focus on design. I decided to save money for the special effects course. I really enjoyed studying design. Sculpting a car with industrial clay was a lot of fun. It gave me a unique experience and valuable skills that I used in sculpting later. I soon received bad news, though. I took a great leap of faith and completely started over. I started sending resumes and making cold calls to studios. I was terrified of calling them because I couldn’t understand what they were saying. Once day, though, my life changed. Howard Berger, one of the owner of KNB Effects Group Ink., called me and gave me a job. Howard changed my life. He gave me the chance I needed: the opportunity to work in the U.S. I owe him a great deal. I worked as a sculptor for him at KNB Effects Group Inc. For 6 years as he supported my visa. Since then, I’ve worked with shops such as Amalgamated Dynamics Incorporated and Legacy Effects. I want to thank those studios as well as the many friends I’ve made, and the American community who adopted me. Giger and Syd Mead. My dream is to see my art in museums and have it be recognized everywhere.
Photo and Written by Akihito
Akihito’s Studio
Akihito’s booth at Monsterpalooza
Raijin BRUSH May-9
Corker has already played a role in shaping the Iran deal. On Jan. 19, he arrived in Jerusalem with six other senators on a Middle East mission to see what U.S. allies in the region thought of the talks. Senate republicans, and some Democrats, were rallying behind a bill that would impose new sections on Iran to try to force Tehran to make concession in the nuclear negotiations. U.S. and Israeli intelligence believed the bill, Mark Kirk of Illinois, could blow up the Iran nuclear talks before they had a chance to succeed. Corker agreed with the spooks and had arranged for the head of the Israeli spy service, Mossad, to brief him and his colleagues in hopes of spreading the word about the dangers of Kirk’s believes in directory confronting Iran, had canceled the Mossad briefing. Corker, who can be impatient and demanding and was once described by a Chattanooga radio host as “a hothead,” responded by saying he was cancelling the rest of his meetings, including one with Netanyahu, and returning to Washington. The trip was salvaged, but only after Ron Dermer, Israel’s ambassador to the U.S., personally intervened with Netanyahu. When the senator finally received their briefing from the head of Mossad, Tamir Pardo, he told them bill would be like “throwing a grenade” into the talks. On the plane home, Corker pressed his case for sidelining Kirk’s bill. The event overseas put the legislative ball squarely in Corker’s court, and he quickly began to dribble. His strategy is complicated but ital. To the conduct of foreign policy in a politically divided era: he wants to lay down a specially designed legislative road map for getting Obama’s Iranian deal in front of – and potentially through – congress. That means letting every side have a chance to be head without letting a tiny minority shut it down. He started by dusting off a year-old bill that
Monsterpalooza is paradise on earth for Monster Kids. This is the convention I used to dream about while poring over Famous Monsters of Filmland. I vow to be there every year for as long as I live. I love it!!” ---Guillermo del Toro---
BRUSH May-10
would have imposed new sanction on Iran. Tim Kaine, a Virginia Democrat who had been with Corker on the Israel trip and has close ties to the White House, wanted to join forces with Corker. Senior Administration officials, including the President, urged Kaine to oppose the Tennesseean’s efforts. But Kaine thinks Congress should weigh in on the deal sooner rather than later. The revised bill would require Obama to submit the Iran deal to Congress and would
block him from lifting sanctions for 60 days. Congress could then vote to oppose the deal, support it or take no action. Either of the last two options would allow the deal to go ahead. Though the Administration publicly decried Corker’s bill and has said Obama would veto it, White House officials respect Corker’s effort to play a productive role. In fact, in private, Administration officials concede that his efforts have already helped American negotiators force the Iranians to meet the
Monsterpalooza event booth self-imposed March 31 deadline for an oral agreement. Not that the Iran deal is done or is even guaranteed to get done. The framework that emerged from Lausanne was sparse in its written version but detailed in what the Administration said it would ultimately be able to deliver. Iran would cut its enriched-uranium stockpile from 10,000 kg to 300 kg. It would take its operating centrifuges from 19,000 installed centrifuges to a little over 6,000. But it was maddeningly vague on other details. It was not clear when the Americans and their international allies had promised to lift European, U.N. and U.S. sanctions, and the Iranians muddied the waters by claiming they would get immediate and full relief. In the key area of inspections, which are crucial to preventing Iran from secretly pursuing a bomb, the Administration’s talking points did not say how intrusive surprise checks of suspicious sites could be, and the White
House dodged questions on the subject in the days after the deal. The reaction to the Lausanne announcement has been mixed. Netanyahu said a deal based on the April 2 framework would “threaten the survival of Israel.” House Speaker John Boehner said it would
“pave the way for a nuclear-armed Iran in the near future.” But the Saudis, Iran’s implacable regional foe, said it was a good deal, as did Democrats and most world powers. For their part, Iranian hard-liners appear to be supporting the deal too, issuing statements in praise of the negotiators and tamping down their normally confrontational rhetoric. Even so, in private, White House officials say they’ll believe they have a deal if and when the Iranians actually sign one. Which is why Corker argues that the threat of a skeptical Congress hanging over the talks between now and the June 300 deadline will once again help negotiators limit Iran’s expectations for what it can get. More important, he says, if the deal ultimately has Congress’s blessing, it is more likely to last. “If we can pass this bill,” Corker told the members of the Kiwanis Club of Maryville later in the day, on April 7, the all-important details “will be stronger, more enforceable, more accountable, more transparent,” and the U.S. “ will have a greater chance of ensuring whatever deal is done is one that will stand the test of time.” Flip through the latest fashion advertisements and you might be fooled into thinking that mature beauty is this season’s must-have item. Helen Mirren, 69, is the face of L’Oreal U.K. (She also stars in the new film Women in Gold.) NARS cosmetics ads feature 69-year-old actor Charlotte Rampling, and 66-year-old Jessica Lange is modeling for Marc Jacobs. New ads for the cooler-than-cool fashion label Celine showcase 80-year-old writ-
Monster mask booth
BRUSH May-11
Baby Head er Joan Didion, fearsomely tiny in a black turtleneck her face hidden by giand black sunglasses. And 71-yearold singer-songwriter Joni Mitchell, who was recently hospitalized after being found unconscious in her Los Angeles home, shows up in print ads for Yves Saint Laurent. No list of silver foxes is complete without Carmen Dell’Orefice, who began modeling as a teenager. Now 83 and still working, Dell’Orefice happily claims the title of the world’s oldest supermodel. For women facing the dye-or-go-gray dilemma, Dell’Orefice’s silber-white mane and haute cheekbones make the case for the glamour of gray. For older women who are not already well known but do possess dramatic “me being me” style, the current moment offers a particular opportunity to get noticed. And the timing is ideal, says Lynn Dell, the 82-year-old owner of Manhattan’s Off Broadway Boutique—a mecca for women who are proud to be the opposite of invisible. “We’re all living longer,” she says. “We are enjoying our lives. We have a sense that I can do what I want now. I can make a statement now.” Dell’s panache is regularly featured on Advanced Style, a popular site run
BRUSH May-12
by 33-year-old Ari Seth Cohen that showcases all sorts of beautifully put together seniors, from impeccable traditionalists to silvery bohemians from the Carole King School of natural woman. Cohen regularly returns to a core group of muses who have never met an outfit that was too architecturally ambitious. Their hats tower and tilt, their wraps engulf, and their color combinations demand attention. Its daily fashion as a form of public theater—and it requires the confidence of a life well lived to pull off. Such sartorial swagger seems to be rarer in older men. Cohen shoots occasional photos of stylish senior men, but they are often part of a couple whose outfits are coordinated to enhance their shared presentation. These men tend to be the beneficiaries of spouses with more adventurous tastes. That’s certainly the case in Iris, where Carl Apfel looks game enough to wear the patterned trousers and studded cap his wife picks out for him, while Apfel seems genuinely excited to buy them. Perhaps it comes to down to Apfel’s simple maxim: “It has to feel right.” Flip through the latest fashion advertisements and you might be fooled into thinking that mature beauty is this season’s must-have item. Helen Mirren, 69, is the face of L’Oreal U.K. (She also stars in the new film Women in Gold.) NARS cosmetics ads feature 69-year-old actor
CMS booth Makeup demo Charlotte Rampling, and 66-year-old Jessica Lange is modeling for Marc Jacobs. New ads for the cooler-than-cool fashion label Celine showcase 80-year-old writer Joan Didion, fearsomely tiny in a black turtleneck her face hidden by giand black sunglasses. And 71-year-old singer-songwriter Joni Mitchell, who was recently hospitalized after being found unconscious in her Los Angeles home, shows up in print ads for Yves Saint Laurent. No list of silver foxes is complete without Carmen Dell’Orefice, who began modeling as a teenager. Now 83 and still working, Dell’Orefice happily claims the title of the world’s oldest supermodel. For women facing the dye-or-go-gray dilemma, Dell’Orefice’s silber-white mane and haute cheekbones make the case for the glamour of gray. For older women who are not already well known but do possess dramatic “me being me” style, the current moment offers a particular opportunity to get noticed. And the timing is ideal, says Lynn Dell, the 82-yearold owner of Manhattan’s Off Broadway Boutique—a mecca for women who are proud to be the opposite of invisible. “We’re all living longer,” she says. “We are enjoying our lives. We have a sense that I can do what
Don Lanning booth I want now. I can make a statement now.” Dell’s panache is regularly featured on Advanced Style, a popular site run by 33-yearold Ari Seth Cohen that showcases all sorts of beautifully put together seniors, from impeccable traditionalists to silvery bohemians from the Carole King School of natural woman. Cohen regularly returns to a core group of muses who have never met an outfit that was too architecturally ambitious. Their hats tower and tilt, their wraps engulf, and their color combinations demand attention. Its daily fashion as a form of public theater—and it requires the confidence of a life well lived to pull off. Such sartorial swagger seems to be rarer in older men. Cohen shoots occasional photos of stylish senior men, but they are often
part of a couple whose outfits are coordinated to enhance their shared presentation. These men tend to be the beneficiaries of spouses with more adventurous tastes. That’s certainly the case in Iris, where Carl Apfel looks game enough to wear the patterned trousers and studded cap his wife picks out for him, while Apfel seems genuinely excited to buy them. Perhaps it comes to down to Apfel’s simple maxim: “It has to feel right.”
Photo by Yusuke Written by Ian Bremmer
Jordu Shell sculpting demo
BRUSH May-13