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Archive for the ‘Skin Art’

Halle Berry’s Nail Art Is All the Hottest Manicure Trends in One – Us Weekly08.10.17

Halle Berry Dia Dipasupil/Getty

Nailed it! Sometimes a manicure truly stands out above the rest, and that’s definitely the case forHalle Berry’s recent nail art. The 50-year-old actress took to Instagram to share a stunning photo of her decked out digits, and once you have a look, you may just be motivated to run straight to your nearest salon to copy the style.

“My one and only @nettiescrub nailed it #manimonday,” Berry captioned the Monday, August 7, Instagram post, crediting West Hollywood-based manicurist Nettie Davis.

What’s truly special about this particular mani? It combines so many of the hottest nail trends into one beautiful work of art. It plays with mixed metallics in a way that resembles the popular “oil spill” style (as the name implies, it looks like the rainbow of colors that reflect in spilled grease), but it is a much more subtle take on the trend, using only hues of gold, burnt sienna and green.

“The inspiration behind the nail art was a celebration of life,” Davis exclusively tells Us Weekly, noting that the Oscar winner gave no input and let the artist run wild with the design.

Another manicure trend seen in the gorgeous design: negative space. The artist left portions of Berry’s nail completely blank so a skin-tone hue shows through. That “beautiful sheer nude was made just for her skin tone,” adds Davis.

Geometric patterns, which are also very popular at the moment, are present in the Kidnap star’s look. Davis used varying thin, black lines to create different abstract patterns on each of Berry’s nails.

The entire look is set on long, almond-shaped nails, Berry’s favorite shape, says Davis.

Be a trendsetter! Download the Us Weekly app to get celeb fashion, beauty tips and more delivered directly to your iPhone.

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Behind-the-scenes of life as a forensic artist – 9NEWS.com08.10.17

Even with decades of experience, she’s now doing work she’d never thought she’d do.

Chris Hansen and Jane Mo , KUSA 9:42 AM. MDT August 10, 2017

You might not know her name, but you’ve probably seen one or two pieces of her artwork – not in a gallery or a museum, though. It’s usually found pinned on the wall of a police department or plastered on a television screen.

This is some of Cynthia Marsh’s work.

Marsh has been a professional artist for over 25 years, and she recently became a forensic artist for Denver-area law-enforcement agencies, from Denver, to Jefferson County, to Cheyenne.

“It was a total surprising twist and turn in my life,” she said. Marsh is not only an artist but also an educator.

She moved to Colorado in 2010 and stopped by a local Sheriff’s office for a background check to be cleared to teach. It was there where her interest for forensic art was sparked.

“I was taken aback with the positivity in the behind-the-scene sheriff’s department,” she said. As she was leaving, Marsh jokingly told one of the employees to contact her if they needed an artist.

“She [the employee] said ‘have you ever thought about being a sketch artist for the police?’ That really was the moment where it really hit me that there was a lot of meaning behind doing something like that,” Marsh said.

It’s more than just drawing for Marsh.

“It’s a balance of a lot of different skills,” she said. “It’s a balance of working with people, allowing them to talk and gaining their trust.”

Each composite sketch takes anywhere from two to four hours.

“Memory is sort of like a puzzle put together. When there’s a traumatic event that happens, it’s as if you take that puzzle and you throw it up in the air,” she said.

So Marsh spends a lot of her time talking to victims and witnesses to help retrace their memories.

“There’s a huge sense of purpose,” she said. “I feel greatly honored to have that trust and to be given access to these people to try to help out.”

It’s important for Marsh to help the victim remember every detail of a face.

“Like scars…any kind of skin rash or tattoos…piercing…hair,” she said. “Slight variation makes us look like an individual.”

Marsh continues to make artworks outside of her forensic art.

“I’m happiest when I do something creative,” she said.

Know someone else with an interesting job? Or someone who loves their job more than the average person. Let us know: Next@9news.com

That’s a Job: The South Metro firefighters’ athletic trainer

That’s a Job: The guy who paints the backdrops for concerts

That’s a Job: Explaining the role of a closed captioner

That’s a job: Guy in Fort Collins is a ‘cheesemonger’

The Most Colorado Job: Keeper of the Denver bison herd

Southwest baggage handler at DIA provides plane-side entertainmentand loves doing it

2017 KUSA-TV

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Avocado Art Is the Only Art You Need This Summer – The Daily Meal08.10.17

There is a lot you can do with an avocado. It can be mashed and mixed with tomatoes, onions, and lime to make guacamole. It can be smeared on toast and sprinkled with chileflakes. It can go on hair as a hydrating mask. It can go on your face to keep skin supple. Millennials in particular seem to keep finding new things to do with the fruit.

Thats why it comes as no surprise that avocado art has become a thing on Instagram. The fad is positively booming on the photo app, with images of gorgeous carvings etched into the avocados meat. A simple search for #avocadoart” will turn up posts featuring ornate patterns, Minecraft-inspired blocks, and cookie cutter designs of hearts and stars all sculpted from avocado.

It doesnt stop at the avocado flesh however; the carvings extend to the pits, which people are whittling down into gorgeous figurines. Those who are not handy with a paring knife but still want to try their hand at avo-art are gluing little figures to their avocados to create scenes. At the trends simplest, its a photo of the open fruit sprinkled with flowers, glitter, or confetti.

Its almost enough to make us forget that avocados are food. Whether or not you use your avocado as a substitute for marble or plaster in your artwork, click here to find 15 ways to use them as a substitute for unhealthy fats in your food.

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Unsettled by the Dead Animals in Your Paint? Welcome to the World of Vegan Art Supplies – artnet News08.10.17

The next time you see a watercolor paintingmaybe one your child brought home from preschool, or a masterpiece by someone like Georgia OKeeffetry not to think about the all the bile that went into it. (Ox gall, the dried extract of bovine gall bladders, is a wetting agent widely used to give watercolors their famous liquid quality.)

If the painting happens to be on a canvas thats been gessoed, add gelatinthe boiled skins, bones, tendons, and hooves of pigs and cowsto the list of things to forget about. And dont ask how the canvas was sized, either (they probably used rabbit skin glue), or what kind of brush they chose to paint with (chances are good it was made from the fur of a ferret, squirrel, goat, or horse).

Artists dont usually think of their work as a final resting place for animal parts. But from sepia (forcibly obtained from squid) and India ink (more crushed bugs) and to oil pastels (fat + beeswax) and charcoal (specifically Bone Black, which lives up to its name), critters bodies abound in all manner of art supplies. This isnt unusual in the context of 21st-century consumerism; animals pop up in all kinds of products beyond meat and leather, especially if one includes those tested for safety on nonhuman participants.

Its a state of affairs most people and companies prefer not to discuss, with one big exception: vegans, people who refuse to consume or utilize products that cause animal suffering in their manufacture.

As a result of increased awareness of farm animals plights, celebrity endorsements from figures ranging from Miley Cyrus to Morrissey, popular documentaries like Food, Inc., and a cultural shift towards both self-care and Instagrammable activism, vegans are becoming a consumer group to be reckoned with. And the market, as it always does, is shifting to accommodate them. Meatless burgers and cruelty-free shampoo have become commonplace. Now, thanks to dedicated activists and a few canny companies, vegan art supplies are on their way, too.

When it comes to art materials, a spate of new products is slowly appearing in shops, pushed by companies looking to distinguish themselves from the competition and cater to buyers looking to make art without contributing to the animal-industrial complex.

DaVinci and Holbein both produce gall-free watercolors that are available at most artist supply stores and e-commerce sites. These professional, artist-quality paints are considered among the top brands on the market, and they are comparable in price to their competitors based on current prices on theDick Blick Art Materials website. Interestingly, these paints are barely advertised as being animal-freeDa Vinci makes no mention of the fact on their site, and Holbein references it only in passingmeaning that the paints largely stand on their own merits within the marketplace.

Holbein animal-product-free artist watercolors. Courtesy of Holbein.

In contrast, the German art-supply company Faber-Castell markets all their productsfrom colored pencils to jewelry-making toolsspecifically as cruelty-free and environmentally friendly. (According to their website, the one exception is their beeswax crayons; they note that even their childrens craft kits contain naturally fallen feathers and naturally abandoned sea shells.)

The companys India and sepia inks are made with inorganic and synthetic materials rather than shellac (a resin secreted by the female lac bug), gelatin, or squid ink, and their black pigments are produced from oil, coal, and wood in place of animal bones. Faber-Castell supplies are widely available internationally, and range in price and quality from top-of-the-line to cheaper student-quality offerings.

A selection of Faber-Castell crayons made without animal products. Image via Wikimedia Commons.

Susan Coe, an Englishartistand illustrator who grew up next to a slaughterhouse, focuses on animal rights in her searingly graphic drawings and prints and swears by several brands that are vegan and of excellent quality. Shes emphatic about Strathmore Bristol, which she calls the number one paper, in every way, for pencil and is made without the use of gelatin as most artist papers are.

Coe also uses Fabriano papers, most of which are sized with starch. She sticks to Derwent pencils, which do not contain beeswax or pure carbon sticks of graphite in a holder. Rather than using natural sponges for blending the graphite into the paper, Coe says that cosmetic sponges work even better, citing BeautyBlender as her chosen vegan brand. And, of course, she chooses synthetic over real fur brushes, with Raphal Karell synthetic sable leading the pack.

Again, all of these brands are commonly available at larger art supply outlets, and can usually be ordered to a specific store if requested.

Derwents Inktense pencils are vegan-friendly. Courtesy of Derwent.

Jonathan Horowitz, a New York-based multimedia artist known for his explicitly political work, has also highlighted veganism and animal consumer culture in his work. His 2002 Greene Naftali exhibition Go Vegan! (which was restaged in 2010) featured images of celebrity vegetarians from Albert Einstein to Pamela Anderson coupled with ironic send-ups of Americas meat-loving culture.

Horowitz recommends PVA Size by Gamblin as an alternative to the ubiquitous rabbit skin glue used to prime and size canvases for painting, saying that its actually more archivalthanrabbit skin glue [which is susceptible to yellowing over the years] and not terribly expensive. In fact, based on Blicks prices, Gamblins PVA is significantly cheaper than an equivalent amount of their own rabbit skin glue.

Gamblin PVA Sizing, a vegan alternative to rabbit skin glue. Courtesy of Dick Blick Art Materials.

For artists working outside of painting and drawing, vegan materials may hold even more possibilities than their more standard counterparts. Michael Assiff is a Queens-based artist whose conceptual and wide-ranging work touches on environmentalism, animal rights, and other contemporary social issues. His 2015 show Hangry (at the Lower East Sides Shoot the Lobster) focused specifically on the connections between factory farming, state-level politics, and lifestyle apps like Tinder and Seamless.

Assiff categorizes his effort to replace animal products in his work as generative, relating a story about seeking out an alternative to animal hide for use in a recent piece. He landed on mushroom leather, a novel new material not yet widely available, by reaching out directly to its producers (an Italian company called Life Materials) and acquiring samples.

Raphal Karell synthetic sable brushes. Courtesy Raphal Karell.

There are opportunities with these new alternative products to collaborate with the manufacturers, he says. Artists are a reliable lot to invent uses and techniques with new materials, and they can have a symbiotic relationship to new companies by adding to their portfolio. Creating within constraints has long served as a reliable technique for sparking new ideas. At a time in art history where it seems that its all been done before, perhaps the radical recalibration that veganism requires can serve as a new tool for artistic innovation.

Coe echoesAssiffs optimism on the possibilities of vegan supplies. She admits she never thought going vegan was very hardits cheap, and fun, and creative. There are vegan alternatives to nearly everything, and if there arent, we can invent them.

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An artist who summons black faces and bodies at ease in the world – Washington Post08.06.17

NEW YORK One cant call Lynette Yiadom-Boakyes paintings of people portraits, because the young men and women in these images dont actually exist. They are composite figures, worked up from her imagination and from files of images photographs, clippings, drawings that she has gathered. They are, perhaps, invented characters, but she doesnt tell us of what kind, what motivates them or what they are about. The titles of her paintings are poetic and suggestive Ropes for a Clairvoyant and Of All the Seasons, for example but they bear no identifying traces, no clues to the people she has summoned. Stand in a room full of her work, and you have the sense that you have been dropped into the middle of something, in media res. It isnt like being in the middle of a crowd, teeming with energy rather, you feel yourself surrounded by a collection of quietly thoughtful and thoroughly self-contained individuals who are taking a moment from the stream of life to do nothing at all.

The work of Yiadom-Boakye, a London-based artist born in 1977 and a finalist for the prestigious Turner Prize in 2013, is on view at the New Museum, filling the midsize fourth-floor gallery, which has been painted a deep burgundy. The rich color of the background walls contrasts sharply with the standard institutional white favored by most contemporary art galleries, and it flatters the generally earthy tones and deep shadows of the artists oil-on-linen medium. The lights are also kept lower than is often the case in contemporary galleries, and everything seems to have a warm glow. An effort has been made to banish the bustle of New York and allow visitors to exist in a space that is backward-looking, to indulge nostalgic fantasies of the hushed art museums of the 19th century, which were also richly painted and architecturally removed from the everyday world.

Yiadom-Boakye paints most of her works in one day, and this exhibition includes 17 new ones. Several of the figures appear to be dancers (one young woman is seen in a ballet pose wearing a white leotard), and all of them have a casual, lean, athletic grace. The speed with which she paints yields broad, almost sketchy brushwork, paint that is drawn quickly and proximately over the surface of the linen, with streaks and rough edges rather than fine lines and polish. The virtuosity of her work, as well as the physicality of her mostly young subjects, gives a sense that there is something precipitous about the people she has imagined, as though they are about to tip out of the picture space and into the room.

The artist, born in London to Ghanaian parents, focuses on subjects who are of African descent, and her work is often seen as part of a larger project of restitution, shared among other artists who are seemingly working outside the mostly white, Western tradition of figure painting, to people the world of art with new faces, new figures and new subjects who arent uniformly white and European. Western painters only occasionally painted non-Western faces and bodies over the past half-millennium, and often when they did, it was to underscore the supposed exoticism or otherness of African or Asian subjects. They were represented as servants, objects of sexual desire or emissaries of far-flung and deeply foreign worlds that only occasionally encroached on European lands, as in the depiction of Balthazar, one of the three Magi, who was often depicted as a Moor in Renaissance paintings.

[Philip Kennicott on a retrospective of Kehinde Wiley]

But compare Yiadom-Boakye with another artist, Kehinde Wiley, who deliberately inserts black faces and bodies into some of the most mannered tropes of Western art, and its clear something very different is going on. Wileys highly finished images use not just the medium of painting but often the poses and trappings of European elites to create a satire on the exclusion and whiteness of the art world. He inserts a young African American into a heroic and imperial context borrowed from the Napoleonic-era works of Jacques-Louis David or renders the rapper Ice-T as Napoleon, and the resulting work is as bombastically colorful and richly finished as Yiadom-Boakyes work is earthy and improvised. Wiley is creating an ironic indictment of exclusion, whereas Yiadom-Boakye is quietly and steadily remedying the problem. There is something endearingly pragmatic about her work and her method, as if to say: The way one deals with exclusion is to open the doors and let people in.

But the more you look at it, the more you realize this isnt just a matter of increasing the sum total of people with dark skin represented in art galleries or museums. Bodies and faces arent sufficient to get at the idea of race or identity; one also needs poses, gestures and expressions, characteristic ways of standing and leaning and lounging, that have also been excluded from the way people of color have been represented in Western art.

So at least as important as the skin color of these imagined people is the fact that they are so profoundly, even extravagantly, at ease. Perhaps more important than the simple fact that people of color are represented in a traditionally white or European space is that they are entirely comfortable being there.

One might do this with snapshots of people at ease, reproduced, framed and introduced into the art space. Photographic representation captures ease and grace and the lounging frame of mind, but it also introduces real people into the equation and so sends the mind down different paths. Who are they? What do they do?

By painting people who dont, in fact, have real existence, Yiadom-Boakye keeps the focus on their physicality and on the paint and the process whereby they have been created. Sometimes, these things intersect in delightful ways. In Lieu of Keen Virtue, for example, shows a man casually dressed in an orange turtleneck while a cat lounges on his left shoulder. But the left arm isnt quite right and doesnt seem to meet his torso in a natural way. Its tempting to think the cat may have been a painterly inspiration, to divert attention from the slightly awkward arm with the introduction of a draping feline. In summoning the man in a quick and provisional way, the painter has by necessity also summoned the cat, who does indeed help fix the problem.

[30 Americans explores African American art and identity]

The kitty isnt the only interloper in these works. Sometimes birds appear, as well, and often, there is a dark, assertive shadow cast by the human figures, a shadow that takes on more personality and presence than a mere play of light. In creating a character, or painting an imaginary being, the artist may well ask a question we often ask ourselves: What completes us? What makes us whole? When are we ever pulled together as a being? Almost certainly, we experience this coming together as a real being in moments of reflection, inwardness and ease and not when we do our best (as in a grand oil painting) to project a sense of ourselves to the outside world. But does it ever happen? Only the shadow knows.

Lynette Yiadom-Boakye: Under-Song for a Cipher is on view at the New Museum in New York through Sept. 3. For information, visit NewMuseum.org.

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Behati Prinsloo on beauty, skincare, and motherhood — and how she gets that gorgeous glow – AOL08.06.17

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Technology Gets Under The Skin : 13.7: Cosmos And Culture : NPR – NPR08.06.17

The decision of a company to offer its employs the option to hack their bodies to function better in the workplace has raised eyebrows and, no doubt, generated publicity.

But it also gives us a chance to turn a light on hidden attitudes about the nature of the self.

Imagine that you could pay for your morning coffee with the swipe of your hand, or that you didn’t need to have a key on your person to start up your car. Pretty convenient, huh?

And not really that futuristic at all. In principle, you could wear a chip-enabled ring or bracelet that would let you seamlessly navigate the walls and marketplaces of the electronic world.

Well, if that would work, then why not enjoy the extra added convenience of having the chip inserted into your body the way we put finder chips into dogs and cats?

A company in Wisconsin made news last week by offering its employees the option of getting a chip surgically implanted so that they would be able to navigate electronic pathways at the company’s headquarters more easily. The company’s move has gotten tons of attention (including here and here at NPR).

Many concerns have been raised. Health is a big one: Do we know the long-term effects of having something inside of you emit a signal to an external receiver? And then there’s privacy: Assurances to the contrary notwithstanding, how do you know a device like this won’t be used to track you? It says on my Social Security card that it isn’t meant to be a means of identification. But that’s exactly how it is used in our daily life.

And then there are concerns about whether an employee is free to say “no” to a company initiative of this sort.

If we put all that aside, though, I find myself wondering: What’s the big deal? Does it make a difference, beyond shear convenience, that the transmitter is in your hand (like a splinter, say) rather than on your hand, like a ring?

If you think it does, this may be because you take for granted that to put something in you is to bring about a more basic alteration in who or what you are.

But is that really true? Just because something is inside you, that doesn’t make it a part of you. My dental work isn’t part of me, is it? The fact that it is cemented in place and, so, that it is difficult to remove doesn’t make it me. Ditto, I would say, for the grain-of-rice-sized-chip-in-the-hand. It might as well be the stud of an earring as something inserted beneath the skin for all that it forces us to rethink our natural limits.

In fact, it is easier, I think, to find conditions on the outside that more truly get under our skin and change what we are. A blind person and her cane, or even the guitarist and her instrument, these seem to be examples where the true boundaries of a person defined not by the limits of the skin, but by the limits of what a person can do are altered. Consider the way learning a new language, or the way learning to read, can alter a person by, in effect, altering their reality.

The body and the person are different things. Just because something is in me doesn’t mean, really, that it is in me; and just because something is outside me, doesn’t mean that it isn’t, really, part of what I am.

There may be interesting borderline cases. Drugs (e.g. medicines) are technologies that we consume to alter ourselves. This may be why we feel that athletes who use drugs as part of their training are only partially responsible for what they accomplish. What they have done, we some how feel, wasn’t really done by them. We don’t, in the same way, begrudge an athlete the benefits of good coaching, healthy diet, the best equipment and sports science. But is this rational?

Plastic surgery is another borderline case. Although some celebrities have proudly declared that they have had plastic surgery, there remains a lingering idea, I think, that surgically enhanced good looks is somehow inauthentic. Curiously, surgically enhanced achievements in sports is almost normal and is not associated with the stigmas of performance enhancing drugs.

Body hacking is “cool” these days. Despite the widespread practice of piercing and tattooing, the willingness to mark-up and alter one’s body still somehow carries the air of individual freedom and daring. I suspect that one reason the Wisconsin story gets so much airplay is that it is tied to this kind of buzz.

But it is harder by far, and maybe more transformative, to build shared structures tools, technologies, ideas, memes on which we can rely, and thanks to which we can do new things and reach new heights.

Alva No is a philosopher at the University of California, Berkeley, where he writes and teaches about perception, consciousness and art. He is the author of several books, including his latest, Strange Tools: Art and Human Nature (Farrar, Straus and Giroux, 2015). You can keep up with more of what Alva is thinking on Facebook and on Twitter: @alvanoe

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Picasso discovers the art of scratching the itch – WOWT08.06.17

OMAHA, Neb. (WOWT) — Allergies can make a mess of your world and your pets might know the feeling.

They’re not immune from the suffering that allergies can bring. Diagnosing them can be a challenge.

Picasso turned up at the Nebraska Humane Society with irritated skin. The stress of being in a shelter coupled with changes in diet and routine made things worse.

Dog allergies can be caused by different triggers. Seasonal allergies accompany the appearance of pollen and mold in the environment. Contact allergies are also caused by the environment. Picasso’s red paws could be caused by grass or whatever else he’s been walking through.

Food can also be a trigger.

Picasso was introduced to a dermatologist. He has a different diet now and gets a bath every week. A prescription addresses the itching.

The condition is manageable and NHS hopes that with continued help he might be able to ditch the meds.

Picasso needs an owner who can focus on the positives. He’s a little shy and gentle but he can startle so he probably wouldn’t be good around small children.

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Self Care Artist BethKaya’s Coffee Mint Body Butter Recipe Revitalizes, Soothes and Protects Summer Skin – Magnetic Magazine (blog)08.06.17

via Beth Kaya

At a very young age, Jersey Shore-based artist and designer BethKaya knew that art, ancient culture, and holism were elements in life she couldn’t live without. Years spent studying jewelry design and gemology at the Fashion Institute of Technology while nurturing a career in corporate marketing inspired her to begin creating unique crystal infused fragrances, soaps, and other spirited home goods for her own full-time business, an entrepreneurial endeavor she was finally able to actualize once she gave birth to her son.

With an uncanny knack for pairing scents, BethKaya possesses the ability to smell and taste colors and sounds, a superpower called synesthesia. This crossing of sensory wires grants me the ability to cross-create new products, like a perfume or lotion, that recreate a moment in time for someone on a 360 degree level, with a specific energy, shares BethKaya with a sparkle in her cocoa-colored eyes.

For several years, BethKayas found much success growing her business via Instagram and Etsy. But, coming soon, Jersey Shore residents and vacationers will have an opportunity to visit her new sacred retail space, Self Care Cafe, for snacks, sundry items, and sanctuary.

Whether its a hemp and honey soap bar with lavender, sweet orange, and tulsi leaf paired with calcite and dusted with 22kt gold mica or a cannabis flower and fig fragrance with peridot, citrine, salvia, and echinacea, her loyal customers cannot get enough of her mystical offerings. Obsessed with everything BethKaya creates, MAGNETIC asked the intuitive artist to share one of her favorite sacred summertime beauty secrets for our readers. She describes her recipe for Coffee Mint Body Butter as a revitalizing, soothing protectant for sun-kissed skin. Apply liberally after a long day basking in the suns rays or dancing at one of the remaining festivals of the summer like Outside Lands in San Francisco, Lollapalooza in Chicago, and Electric Zoo in New York City.

Geraldine Valecillos.

Coffee Mint Body Butter

By BethKaya

Ingredients:

1/2 ounce botanicals, dried mint leaves and calendula petals

1 bottle of coffee essential oil

1 bottle of peppermint essential oil

4 cups of olive butter

8 – 12 2 oz glass jars, amber or cobalt colored to protect product against UV light

1 heat-resistant, silicone glove (I like The LoveGlove)

1 filter bag (I like Purify Filters)

1 glass Mason jar, large or large pouring Pyrex measuring cup

1 popsicle stick or tongue depressor

1 MagicalButter botanical extractor machine

Directions:

Place the olive butter and dried mint leaves and calendula petals into your MagicalButter machine, and secure the head. Press the Temperature button, and select 160F/71C; then press the 2 Hours/Butter button. Sterilize storage containers by boiling them for 10 minutes. When complete, using the glove and filter, strain out the plant matter and pour the hot material into large heat safe glass. I use a 4 cup and Pyrex pouring measuring cup, which makes decanting easier. While your mixture is hot, add 25 drops of peppermint essential oil. Then, add 25 drops of coffee essential oil. Stir until mixed well with a clean, sterile wooden stirrer. Transfer the body butter into the sterilized containers. Allow the body butter to cool completely on a room temperature countertop at 70 degrees before securing the lids.

Pro Tips:

Connect with BethKaya on Instagram and Etsy.

Presented by MagicalButter.

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Tucson Fire Foundation seeks funds for imaging machine to detect skin cancer – Arizona Daily Star06.26.17

A local nonprofit organization is seeking help from the community to keep firefighters safe from a potentially deadly disease.

The Greater Tucson Fire Foundation is seeking tax-deductible donations to help pay for new skin cancer screening technology called DermSpectra, which can be used to detect the disease early.

The foundations mission is to raise $100,000 to pay for the equipment and its asking for help from the community for $89,000. The money would be used to pay for the equipment that would provide screening at no cost to the Southern Arizona fire departments, according to a press release.

The foundation has been operating since 2010. It works with firefighters to provide them with health and wellness resources.

Foundation chairman Mike McKendrick said Tucsons sunny skies create greater risk for firefighters. A recent FEMA study showed that Southern Arizona firefighters are three times more likely than the general public to get skin cancer.

McKendrick said in the last four years there have been several firefighters who have been diagnosed with skin cancer.

Two firefighters a year get melanoma, thats the skin cancer that kills, McKendrick said. Two doesnt seem like much but when you look at two out of 1,800, thats significant.

When the foundation went through its strategic planning meetings, cancer prevention was an important item.

So then we looked at what we could do as a foundation and what the community could do to help catch these early, McKendrick said. When you catch a melanoma early or any other skin cancer early, the numbers are in your favor to eradicate the cancer and save the life.

The imaging technology will be placed at WellAmerica Inc., where Dr. Wayne F. Peate advised the Greater Tucson Fire Foundation about the imaging system, McKendrick said.

Its technology that was founded here in Tucson, it was beta tested at the University of Arizona and Dr. Peate … came to the foundation and basically said we have this technology, its state of the art and our firefighters are at the most risk of any firefighters in the country.

He said after discussions with DSI Acquisition the owners of DermSpectra they were able to get the technology into the WellAmerica clinic.

Peate said when they found out the risk to firefighters, the decision was made to find a better screening process. We thought we needed to do a better job because 98 percent of melanoma, if theyre detected early can be cured. He said theres a huge payoff to early detection.

McKendrick said in addition to the wellness of the firefighters, there is a business cost to procuring the DermSpectra imaging system. He said that not catching the cancer early is not only expensive but also creates trauma for the patient and time away from work.

The community, the taxpayer, put in a tremendous amount of money for selecting these firefighters, training them and keeping them healthy so when you and I call 911 theyre ready and available to help us, Peate said.

Capt. Andy Skaggs, a spokesman for the Tucson Fire Department, said firefighters are doing their best to combat the extremely hot weather and sunny skies.

Weve got sunscreen at all of the stations, the fire chief has authorized us to use hats, and then a lot of our folks opt to wear a long sleeve T-shirts instead of a short-sleeve T-shirts to help try to keep the sun off.

Fire stations are going through safety training and being reminded about the dangers of the Tucson heat on their bodies and taking all precautions to stay safe.

The firefighters are constantly doing their part to make sure that theyre staying safe so they can keep the citizens safe, Skaggs said. If were not in the healthiest condition, how are we supposed to help the citizens of Tucson.

Shaq Davis is a University of Arizona journalism student who is an apprentice at the Star. Contact him at starapprentice@tucson.com.

See the original post:
Tucson Fire Foundation seeks funds for imaging machine to detect skin cancer – Arizona Daily Star

Posted in Skin Artwith Comments Off on Tucson Fire Foundation seeks funds for imaging machine to detect skin cancer – Arizona Daily Star



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