AN AFTERNOON WITH... FANY BELLO

Makeup as a Driving Force: In your work philosophy, you mention that eyebrows or lips convey as much information as a script. What is your process for "reading" a character when you receive a new project? What detail do you focus on first to begin building it?

- Fany: This part of the process is something I absolutely love. It excites me because it's the moment you start to get involved in the project and have fewer limitations to create. As soon as the script arrives, I read it like a novel, letting it leave that initial impression of a freshly read book. I jot down my first notes about what caught my attention, or what ideas about the characters pop into my head, and I study the project's tone without any preconceived notions. I also note down references to other films, music, photographers, or artistic movements that appear in this first rough reading to begin creating a universe. From there, I start talking to the director so they can tell me about the script and the characters firsthand, how they feel about them, how they envision them, what references they're using to build the project. And I absorb everything they tell me.

On a second reading, I start sketching characters even if I don't give them faces yet. I let the characters grow huge. We'll refine them later.

I usually create a playlist or listen to specific music for each project; this helps me stay connected to the film/series. If I have the opportunity, I talk to the scriptwriters to get their perspective on the characters, but this only happens rarely. Once we have the casting and the actors chosen, I begin to study the selected person in detail to find a way to organically fit the character design I have in mind and how it can suit each actor. This is where I start to let go of things that might not fit.

For me, everything has to be organic and natural, both in the character and in relation to the person portraying it. New ideas can also emerge at this stage of the process because the actress's natural inclination, as she studies the character, might suggest them. Then we move on to discussing the character design with the director and the actress, and together we finalize it. Actually, the creative process doesn't end there, because the moment the director of photography and my own team (Bárbara, Lore, and Saray), my partners in adventure and great creators, join the project, it's rekindled and expanded.

The characters grow in detail because we refine many things, such as skin undertones, small marks, or distinctive features that we all contribute to and add to the character. I tend to talk a lot with the team so that the creative process becomes increasingly rich and so that we all feel part of it.

Your background and tastes are influenced by Van Gogh, Modigliani, and the Rococo period. How do you manage to translate the plasticity of classical painting to the techniques of film makeup, where light and movement are so constantly changing?

- Fany: Actually, painting is what has taught me the most about understanding skin tones, undertones, and how to interpret light on skin. If you look at Rococo paintings, you can see the different colors they use on the skin and how they blend together to achieve the final result. Observation is key. Then it's a matter of talking a lot with the directors of photography and the DIT (digital image technician), who teach you a great deal about working with skin digitally. Stick close to that person and observe how they work on the image, and you'll begin to understand how to transform skin tones and achieve the desired effect.

The birth and the truth of the era: How do you work on integrating the characters into these environments so that the makeup feels part of the landscape and the harshness of the climate?

- Fany: In this film, what obsessed me most was finding the truth. Finding the truth of the skin of girls from the 80s in a Spain where cosmetics were very different from today's skincare. The climate and diet were different, and their skin reflected all of that reality. I built up layers of makeup on their skin to achieve that truth with textures and sheens, as the pregnancies progressed and the skin gradually changed. I also wanted to convey the suffering of these girls through small details on their skin: more or less shine, different shades of dark circles, or layers of makeup that altered the skin's undertone. And all of this was done with absolute naturalness. These were skins that didn't need to be made up. It was about showing the truth according to their emotional moments. It was a very beautiful process to create.

The Thriller in "Rapa" and "Hierro": In such dynamic and realistic genres, continuity and naturalness are critical. How do you manage fatigue and skin realism on such intense shooting days so that the viewer never feels the makeup artist's "hand"?

- Fany: I'm passionate about the realism of skin and finding products or techniques to bring that to life. I build my makeup through glazing techniques. First, I prepare the skin for whatever I need to create. If I want to convey nervousness, I treat the skin with plenty of hydration and maintain it with moisturizing mists so it doesn't fade. When working with color, I always look for the truth of each person's skin—those small blemishes, dark circles, or tiny moles and scars—and I always highlight them based on the skin's inherent beauty. In "Rapa," with the character Maite, we decided to show the truth of Mónica López's skin without using foundation, but by taking great care of her skin with treatments and showcasing the maturity of beautiful yet natural skin.

"The Birth" by Pau Teixidor / Sofía Milán ©Aqui y Allí Films

Evolution since '96: You've witnessed the technical transformation of the industry. What tool or product from Fanny Bello's current kit would have seemed like "black magic" when you started studying aesthetics in the '90s?

- Fany: Absolutely undeniable. THE TRANSFERS. I wouldn't have believed we could create a mole, a small scar... with these gems that have made our lives easier and, at least for me, help enrich the characters immensely.

Another thing I think is mattifying papers and creams. Back in '96, I never would have imagined I'd forget all about powder and powder puffs. And that a glowy complexion would become a must-have.

I have to mention the advantage of being able to see everything we're filming immediately. This allows us to know how to improve and refine our work and optimize the editing by seeing high-quality images of rehearsals and everything we're recording. This was unthinkable when we were shooting on film.

What has been the most complex technical challenge you have faced, one where you had to "invent" a solution on the fly on set?

- Fany: Well, I don't consider myself an incredibly risk-taking professional, although my colleagues often tell me that. The truth is, when I feel something has to be done, I do it. If I envision a character a certain way, then that's how it has to be, and I find a way to build it, however I can. This is what drives me to research, take risks, and try whatever it takes to achieve the result I have in mind.

Ah! One wonderful and very fun thing happened in "Yucatán" with my inseparable companion since my beginnings, Raquel Fidalgo . We were constantly adjusting a prosthetic leg from boat to boat in the middle of the sea, with one leg on each boat, so that the sunburn we had applied would stay put. It was great fun.

"Rapa" ©Movistar+

Galicia is experiencing a golden age in audiovisual production. What are your thoughts on the technical and creative level of makeup teams in our industry today?

- Fany: I'm a huge advocate for my home region, Galicia. We have amazing technicians in every department. I've been lucky enough to build my career alongside a generous partner, and we grew together, with an industry that was also evolving. So, I have colleagues in every department who have grown alongside me, and that's been a real advantage for me. The process might be slower, and you take more risks because we didn't have bosses telling us how to do things; it was all trial and error. But we all learned from everything. We talked a lot about lighting, directing, continuity, wardrobe… It's a different way of learning, but working from the provinces has helped me a lot. Now, when I take on any project, I continue to grow from this sense of teamwork and relying on it to make everything work. The best thing about filming in Galicia is that when you arrive on set, you can't stop hugging colleagues you've watched grow for over 20 years. There's so much respect and so much love. It's something that catches the attention of other teams when we combine our talents.

The Brush That Tells Stories: For those who are starting out and who, like you in your beginnings, seek to "tell stories" and not just paint faces, what advice would you give to that Fany who was starting out and who aspires to work in film and television?

- Fany: I'm not much for giving advice, but if you really love the profession of character designer, keep exploring culture, photographers, filmmakers, playwrights, and observe reality closely. The characters you'll create are right there in the world around you. And take advantage of the energy you get from working on any project that allows you to develop what you have in mind and practice. Practice all the time. But always have fun. If you don't enjoy it and approach everything with love and laughter, there's not much point in putting in so much effort.

Talking to Fanny Bello is like rediscovering the romantic origins of our profession: the passion for creation. Her career is a reminder that film makeup is, above all, an act of generosity toward the story and the actor. Thank you, Fanny, for sharing such an artistic vision and for showing us that, with the right technique and the necessary sensitivity, any fantasy can become reality.

We invite you to explore Fany's work through her social media: Instagram , IMDb , and her website www.fanybello.com . Cover photo: Tamara de la Fuente.

See you at the next Makeup Artist shoot.