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FLOWER POWERED SUGAR SKULL BUG 5 Simon Murray
Inthis epic step-by-step, loaded with top tricks and tips, including advanced use of Createx
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CLASSIC SKULL, SNAKE, & SWORD 8 Rod Fuchs
Our resident skull master Rad Fuchs strikes again with an amazing step-by-step onatireless
theme that also pays homage to Vernon Courtlandt Johnson
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PARADISE ON AT-SHIRT 5 Ken Johnson
The beach scene, around since the beginning of F shirt airbrushing is still highly popular and
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PAINTING CAPTAIN AMERICA 8 like Hoekstro
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Iwata’s Triple Action Handle allows forthe easy and rapid removal ofthe airbrush needle."
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FIRE HYDRANT TABLE By Chris Johnson
Learn howto convert fire hydrant into the coolest table onthe blockwith the use of grinding,
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ART BASEL MIAMI COVERAGE
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Ce eee tee a eaeSKULL, SUAIKE, &
‘ometimes st down to my sketchbook to develop an existing concept or proposal,
but more often it’s just to relax, It has become habit to have it on my lap at any
siven time and | often feel awkward when it isn't at hand. | typically rough out
several designs and just move on without knowing when or even if they might be
developed further. Then, at a later date, can just skim through my sketchbook and
pick and choose which ones catch my attention and might be worth continuing. This can
dive you quick head start for an intended design or help clear away the mental blocks we
all occasionally run into when you have to get the ball rolling on a project.
In this case, Id previously roughed out an
animated skull in my sketchbook that | fig
lured would be agood basis fora new panel.
'dplayed with several ideas spanning from
‘ahorned, more devilish look to everything
from a clown or pirate theme. Ultimately,
itwas the addition of a snake that pointed
this in the right direction,
| was confident enough with the base design
toproceed, and drewthe supporting elements
of the snake and dagger directly onto 16.
by 24-inch enamel-coated masonite board
(including a lightning element, a nod to the
«great Vernon Courtland Johnson, a strong,
early artstcinfluence of mine). Although Im
not too concerned about pentillines at this
Point, did clean up any loose or extraneous
‘markings.I started the painting by better establishing
and developing the pencillines. Attempting
‘awarm-hued skull, useda wellreduced mix:
ture of Createxillustration Burnt Umberand
a few drops of Sepia mixed directly into the
cup of an Iwata HP-CH airbrush. The snake,
though ultimately intended to begreen, was
Initially painted with amixture of Cobalt Blue
and Black,
The scales were all defined and further
detailed with the help of Artool’s Tex:
ture FX stencil by Gerald Mendez. It's
an incredibly effective way to quickly
add random and organic looking detail
throughout the design.
The snake shifted to green by a misting of hus-
tration Yellow, which was also used for the eyes
‘of the skul. This is when the decision to use a
blue mixinstead ofa straight blackon the scales
‘comes into play. fa straight black had been
Used, the transparent yellow would have taken
‘onataxic, muddied look. The blue base allows
{orsubtevaiationsin the green white maintain
ingabrighter,more ime-tke' look. Burnt Sienna
‘was broughtintothemouthandlighty mistedto
‘warm up some ofthe snake's belly scales.
Atthis point the design began to get alittle
evenly toned.and confused looking over the
light, white background, making it little
difficult to envision the finished project and
the necessary shadows/shading. To maintain
the crispnessofthe overall design, covered
itwith a clear masking paper and sprayed a
black basecoat on the surrounding areas.
With the masking tillin pace, ladded a back
ground element, some color some visual bing,
andi marbleized the background with Createxs
Auto-Alrridescent Electric Blue blotted with
a plasticbag. Ina matter of seconds the back
grounds transformed froma flat dead surface
toadynamic color shifting design element that
complementsand supportsthe colorschemeof
the mainimage.
(Once the background was marbleized, |
‘masked off the supporting lightning design
andairbrushed the red. Upon removing the
masking, however, it became immediately
apparent that did notallow the surrounding
paint to dry sufficiently and noticed several
areas of delamination.Challenges like these arise from time to
time and the experience gained from fix
ing accidents often prove to be incredibly
valuable. In this case the fixis a quick and
‘easy one, Aliner brush quickly replaced the
black base, and the mottled nature of the
background makes matching the metal-
lic blue a breeze. In the grand scheme of
things that can go wrong with a painting,
this ultimately proved to belittle more than
Having the background established makesit
much easier to see what areas need further
attention and shading. Using Sepia(thistime
straight from the bottle), started strengthen-
ing the existing lines and added detail and
shadows where necessary. Adding the pupils,
tothe skull and snake also helped to bring
The same idea was applied to the snake. A
‘mix of Cobalt blue and black were used to
strengthen the lines and add details and
shading (not straight black!) This mix was
alsoused on the blade of the dagger. Yellow
‘was again misted over the snake, dagger,
skull, and rings
out some ofthe character. Thisall aids to bet:
ter and continually direct one to areas that
require more attention,
Aneraserstickwas used forsomefinaltouches
and overall cleanup. Areas on the hilt of the
dagger were highlighted, and the snake's and
skul’steeth and the blade ofthe dagger were
tightened up with just afew passes of an ag
gressive eraser.
Professional freelance artist Ro-
‘dick Fuchs has been an increas
ingly popular and sought-after
talent for original custom painted
‘artwork since 2000, From the very
beginning, Rod's unique vision
land designs earned numerous
awards, acclaim, and industry
recognition. The opportunity to
‘expand into licensing has served
him well to broaden the appeal of
his sometimes dark and ominous
subject matter His decals are dis-
tributed internationally by various
local and international etalers,
including AutoZone, Wal-Mart, Ca:
radian Tire, and PartSource, and
his artworkis reproduced on T-shirts, guitar straps, puzzles, beach towels, posters, and more
Rod and his wife and partner, Cherie, have proudly achieved a lengthy and distinguished
lientlst that includes MTV, CMT, Harrah's the Federal Bureau of investigation, The Univer-
sity of Tennessee, Endless Games, Lethal Threat Designs and D'Addario. Currently, Rod is
honored tohave tribute painting on display in the NationallLaw Enforcement Museum in
Washington, DC. In fact, Fuchs was recently commissioned to create a formal unit design
and insignia for a newly founded division ofthe US. Miltary.
Rod's work has been published in magazines, including Easyriders (cover, Hot Bike (cover,
Biker Inthe Wind, American ron, The Horse, Airbrush Action, Aitrush Technique (cover), and
Pinstriing & Kustom Graphics.
Mr. Fuchs sa head instructor ofthe esteemed Airbrush Getaway hands-on workshops
program.
Based in Edmonton, Alberta, Canada, Rod has enthusiastically expanded his fine art
aspirations into traditional sculpture, metal sculpture, and wood carving.The Best Things in Life
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AGE UC nao rolFLOWER-POWERED
Nr SKULL au
‘
BY SIMON MURRAY
bout eight years ago | stopped taking on commissioned artwork so could focus more on teaching
Se ace ee cena eee eal
Oe eee a Rene eRe et nee nek
eee eat ans
Se eRe eC e e e Ce
re ae Ee cae ue Tas
A few years ago | painted a themed show car, which was featured in the January-February 2006 is-
sue of Airbrush Action, and was really excited to have had free reign on that design as well. Instead of going all lower
power" I decided to give it a more edgy feel, hence the Sugar Skull theme.
Prana Ba ecSTEP1 STEP 3
I started by masking everything with one- The was prepped using a DA _ Icleaned the surface with anon-water
and two-inch m ape and masking (dual-action) grit sandpa-
1e 600-10 800:
CH sda 3Mred
Scotch-Brite™ pad for the areas the sander
couldn't reach.
STEP 4 STEPS
Using a ta any surface | was ready to begin s s
contaminai needle in my spra than previous AutoAirsealers, and complete
of two coats of th coverage is achieved much faster.
(Twoto three coat
manufacturer)
STEP7 STEPS
Notice the difference in color before the _PostLlac sealer application, age in just two coats!
sealer was applied,
wwwairbrushaction.com | 23STEP 10
Any imperfections may be dry-sanded after
just twenty minutes.
STEP 13
| was ready to begin the graphics.
STEP 16
After bac
start spraying,
Er ncn
Patna
masking the area | was ready to
STEP 11
For best results
sandpaper.
400-grit wet and dry
STEP 14
began to lay out the design using a
combination of 3-mm and 6-mm fine
line tape.
STEP 17
With 20.8 mini spray gun, at 35-psi, began
spraying AutoAir Metallic Charcoal Viola,
STEP 12
used a tack ag toremove any surface dust.
STEP 15
Hocked down the fine linet
and two-inch masking tape. This is par:
ticularly important if you intend to leave
the design overnight because the fine line
tape can lift after time.
ye with one:
STEP 18
Full coverage was achieved after three to
fourcoatsSTEP 19
‘Any imperfections were dry-sanded
400-grit wet and dry sandpaper. Howeve
i’simportant that you apply at least one:
after thisto cover up the sanding marks and
toachieve metallic orientation,
STEP 22
Here, | weeded the 6-mm times t
STEP 25
Happy with the overall look, | switched to
‘Autor transparent white reduced approx:
‘mately 30% with 4012 reducer.
STEP 20
Because
a desired 12-mm be
ly conte
fine line wouldn't prop
rm tothe curves, lused 6-mn
STEP 23
I quickly back-masked the dé
ready to spray.
ign and was
STEP 24
With a 0.5mm airbrush | spr
transparent Smoke Black to establ
shadows.
1d Auto)
th the
STEP 26
Itemoved the tape to inspect the prog
Witha proj
time to ove
‘ofthis scale don't really ha
ingineer my light sources and,
shadows, so just used an imaginary light
source. What's important is that the whi
meets the black, giving mea different gr
scale value than the surface. Otherwise, |
would lose basic form.
ee)STEP 27
After removing all the masking | noticed a
little underspray on the Lilac sealer.
With my 1.3mm spray gun at 35-psi, and the
paint reduced 10% with the 4012, applied
approximately fourto ive coats. Please note
that the Sparklescents are by nature very
transparent and require a level of confidence
to apply, especially on larger areas.
STEP 33
Before removing the masking, established
the shadows with transparent Smoke Black.
STEP 28
‘Again, using the 400-grit sandpaper | re
moved teasly Please note that you can sand
the new AutoBore sealers much more ag
‘gressively than with AutoA\r
STEP 31
Once dry, | removed all the masking and.
reverse-masked the other side,
STEP 34
Atthis tage I clear-coated the entire car. Al-
though this may seem excessive, my teaching
commitments required thatthe carbe left for
long periods, soan ounce of prevention.
STEP 29
Using a 0.8 mini spray gun for the more awk-
ward areas! began to apply the Sparklescent
Fine Wine directly over the sealer.
STEP 32
I repeated the process this time using Spar-
klescent Lilac.
STEP 35
After the car sat a few days | used the DA
sander. Alternatively, you may use 1000-grit
wet sandpaperSTEP 36
The surface was ready for the artwork.
STEP 39
Using my 8-Fast stencil as a drawing aid, |
layed down a couple strips of one-inch mask:
ing tape and drew directly onto them.
STEP 42
Talrbrushed the vine with an unreduced
semi-opaque black. The reason | didn't use
reducer at this stage was because | wanted
‘quick and complete coverage. Also, there-
ducer could promote paint creep.
STEP 37 STEP 38
went over the design with 3-mm fine _Icut my flower designs from frisket film and,
line tape leaving the colored edge slightly secured them to the car with refrigerator,
‘magnets so I could move them around eas-
ily itneeded to change the layout.
STEP 40 STEP 41
Teutout the design with a new razor blade, The vine was now ready to paint.
taking great care not to cut through the
‘masking and damage the surface.
STEP 43 STEP 44
{came in with transparent white, reduced —_Usinganegative stencil got ready to “flood-
about 30%. At this stage I'm not too fussy _ fill the shape of the flower.
withthe highlights, and wouldn't finish them,
until could see the shadows.STEP 46
To avoid shrinking the frisket in any way, |
sed cold air to dry the paint. (lonly use cold
air if have alot of frisket film in place).
STEP 45
Three or four light coats of semi opaque
bright white, again un-reduced, should be
enough.
STEP 47
Ready to begin|
positive stencil into workable sections.
iting the flowers, Ieutthe
STEP 49
added a second color, transparent purple.
used my B-Fast stencil to save time in having
to re-mask the previous area,
STEP 48
‘began with transparent red violet reduced
approximately 20% with 4012 reducer.
STEP 52
Happy with the overall look, | began to re-
‘move all masking.
STEP 51
Here, | used my stencil to sharpen/darken
the edges of the petals.
Poca
JANUARY-FEBRUARY 2
STEP 50
Progress with the transparent purple.
STEP 53
{placed the backing of the frsket over the
flower design with the fridge magnets.STEP 54
began the shadows with my original Smoke
STEP 57
I cut my Victorian designs witha plotter, and
made pencil rubbing over the transfer pa~
pertoaidin seeing the design more clearly
STEP 60
After removing the application tape, all gaps
‘were masked, and |was ready to paint.
STEP 55
With the shadows now visible | could finish
the highlights.
STEP 58
Hayed outthe stencils until achieved afairly
balanced look.
STEP 61
Although I was to paint the design metal-
lic Elegance, when | use a mini spray gun,
and with this much stencil complexity,
always resort to my last color, frst in this,
case Sparklescent Fine Wine. | do this be-
cause there's a good chance I'l get paint
creep with the second color, and using the
Fine Wine again acts asa sealer along the
stencils edge.
STEP 56
With the floral design complete, | was ready
for the next graphic
STEP 59
To ensure even spacing on bothsides used
a rubber ruler. Aplastic flexible ruler tends
to mark the base paint. Rubber rulers are
available in most art shops and will not
mark even a fresh base paint.
eeSTEP 62
‘Again, | used cold air to dry the paint.
STEP 65
Fortunately, I noticed no paint creep after
removing the negative stencil. However, a
slight build-up may occur sometimes on the
ledge of the design.
STEP 68
Using an overhead projector Iprojected the
image onto the frisket applied to my spray
booth. fl were to project directly onto the
carthe image would be distorted.
Pot ns eee ces
STEP 63
I began laying down the metallic Elegance.
STEP 66
This s easly remedied with a tack rag, and.
is recommend doing immediately after the
stencil is removed,
STEP 69
Then, | began to cut around the outside of
the image. At this stage 'm only concerned
with a negative and positive stencil
STEP 64
Full coverage was achieved in three coats.
STEP 67
With the graphics complete, Iwas ready to
start the iner airbrushing.
STEP 70
| applied the positive stencil onto the carSTEP 71
| married the negative stencil tothe
STEP 74
Using a combination of stenciland freehand
airbrushing, | began to add texture.
STEP 77
[nearly always use transparent tan for my
first skin tone. I's probably Createx’s most
transparent color so| use it straight out of
the bottle,
STEP 72
ned off the areas | wanted to paint.
STEP 75
More of the texturing progress.
STEP 78
STEP 73
Beginning with her clothing, | used ser
‘opaque black reduced 30%
STEP 76
lLused semi-opaque white reduced 1096 for
the skin tones. 10086 coverage is very im
Portant so, on a sunny day, you won't see
the metallic under the white, which is why!
Use semi-opaque versus transparent colors.
{cut the positive stencil where her arm will be and applied several more layers of tan. Note
that | used the stencil as aloose mask because | didn't want too sharp of an edge.
Pe ees)STEP 79
I started to airbrush some basic form. The
‘areas that look white actually have several
coats of tan! Don't underestimate just how
transparent this colors.
STEP 81
Progress so far
STEP 80
I came in with a darker tone. Inever make a
new color from scratch, preferring to add to
the last color working from light to dark. In
this case ladded some Beige and Root Beer.
STEP 82
For the final tone | added more Root Beer,
Red Oxide, and just a drop or two of Smoke
Black. When rendering skin tones | nearly
always use transparent colors because the
‘mid-tones give me the complexity Ineed
without having to make up many different
tones. Also, | painted quite a few portraits
Cn this particular job so | needed speed.
Note the skin tones look a litte too dark at
this stage, but that’s just an llusion because
| positively masked the black alongside i.
STEP 84
Using the previous mix of semi-opaque
white, I began to “chisel out” the face,
Paihia
STEP 85
Tegan to cut out the features on her face.
STEP 83
(Once | removed all the masking, the darker
skin tones looked fine. They will change sig
nificantly once the cars cleared.
STEP 86
applied the loose stencil with the fridge
magnets.C7 Me) ee LG
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Instructor:
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cost *150
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ACHIEVING
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‘This hight intensive course reveals the se
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You'll also lear:
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Transparent vs opaque techniques
Understanding white and the impact it has
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CREATING
KILLER SKULLS
This completely hands-on workshop
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master Rod Fuchs, you'll learn:
+ How to render eye sockets, teeth,
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Skill Level:
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Instructor:
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Here's the ultimate gateway course that
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Instructors:
Gary Worthington
Chery! Vaughn
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AUTOMOTIVE CHEAP’
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This 4-day hands-on workshop teach:
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Realistic fire, chrome, skull murals,
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Jason Brookshire
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If you own a plotter and you're not get
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Vector Basics
Mutlayer Masking
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ESRDAIRBRUSH GETAWAY
HANDS-ON WORKSHOP
AUTOMOTIVE NIURALS:
ON STEEL
pao asg
PORTRAITS:
Aaa)
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Murals on Steels the hottest and most ht
crative of kustom applications. Conducted by
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teach you the top pro tricks for creating high-
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‘Aso, ou wil be introduced toa system to
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work, and multiple photos of images that you
woud ke to paint for your fal project
PREREQUISITE: Beginners must tke the
Day Intro to Murals class.
Skill Level:
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Instructor:
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PINSTRIPING:&
LETTERING MASTERY
SS AE
AIRBRUSHING
Learn the secrets and master the
techniques to create the female
form as a classic pin-up in this,
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Las Vegas dates only!
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This intensive hands-on course taught
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teach taping tricks, dagger designs,
designs that sell, color use, how to
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work bike events, car dealerships, car
shows, fairs, and other venues.
Pinstriping & Lettering Mastery also in
cludes instruction on sign design,
layout, color combos, gold and silver
leaf, cartooning on cars, many styles
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Skill Level:
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Instructor:
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creme Ae)
ii
This dynamic and completely hands-on
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‘and maximize their earning power. De-
signed for the serious beginner to profes:
sional shirt artist who wants to improve
in all areas, this class lets you work at
your own pace.
You'll also learn:
+ Designs that sel
+ Pricing guidelines
+ Professional lettering and stenciling
+ The business side of Tshirt airbrushing,
+ Custom portraiture, cars, logos.
+ Shortcuts for fast turnaround & high volume.
Skill Level
Beginner to advanced
Instructors:
>> Gary Worthington
> Cheryl Vaughn
cost *575
a Ges =mith the coldweather we'vehadso
far, it looks ike we may bein store
fora long winter. For me, nothing
soothes the soul better than the
thought of a nice warm beach and
the sound of crashing waves.
The beach scene has been
around since the beginning of T-shirt airbrushing.
Still highly popular, the beach scene continues to be
TACTICS
Me Mencel
a big seller, even in the Midwest! My inspiration for
this painting is derived from pinstriping, commonly
seen in automotive and tattoo artwork.
This scene requires the extensive use of dagger
strokes and soft color blending. Also, | tried and
tested Jacquard Airbrush Colors for the first time.
So, without further ado, take a trip to “Paradise” with
me, and follow along with my twist on the ultimate
classic beach scene. »STEP 1
‘Aproperly prepped shirt isa must in order to achieve clean artwork
For custom work, | spray a liberal coat of transparent base over the
entire area to be painted, followed by heat-setting to flatten the
shirt’ fibers and to provide a very smooth surface on which to paint.
This process is too time-consuming for everyday airbrushing, but
as long as time permits, I will have my counter help iron each shirt
prior to painting,
STEP 2
‘cut stencil out of poster board using an X-Acto razor knife. 1
Cut thin slits in the stencil at key reference points to aid in the
freehand airbrushing. | then applied a light mist of spray adhesive
to adhere it to the shirt.
STEP 3
Using transparent blue, | sprayed alight semi circle as a boundary
for the sky. Aheavier coat was applied just behind the wave, along,
with a light mist across the horizon.
STEP 4
Tobegin the pinstriped-style clouds, | used transparent red to free-
handsome wil, | airbrushed some arced daggers along the horizon,
and then faded the red into the sky.
STEPS
Using a small aerosol can asa stencil, aitbrushed fluorescent orange
aroundit to make the sun. Als, I blended the orange up from the red
and added some stripes next tothe red ones,
STEP6
Fluorescent yellow was airbrushed from the orange up. I left some
white of the shirt exposed at the top of the sun.
Emenee)STEP7
Using fluorescent raspberry, continued the pinstriped-style clouds,
followed by alight blend of the same color up from therred pinstripes.
STEPS
To finish the pinstripes in the sky used fluorescent pink to airbrush
stripes under the raspberry ones, along witha blend ofthe same color.
STEP 9
To create some depth to the painting, | arbrushed a small island of
palm trees along the horizon using transparent violet.
STEP 10
With the stencil removed, the faint guidelines are visible where I cut
the slitsin the stencil
—
STEP 11
Returning to transparent blue, | airbrushed the wave and water
pinstripes.
EEG
STEP 12
| mixed some transparent white into transparent blue to create a
lighter blue. | used this color to complete the blend in the sky and
water. lalso added some pinstripesin the lower section ofthe water.mT TH eS
FT HIBS |
ert ed
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MMESTEP 13
At this point, Fluorescent Green was added to the wave.
STEP 14
There are different methods to create a palm tree, but most begin
with abasic shape like this using a few dagger strokes.
STEP 15
‘Tofinish the palms, | continued with dagger strokes to fillout the top
ofthe trees. lalso added some wispy weeds atthe base ofthe trees
anda couple birds in the sky.
STEP 17
For the final step, | airbrushed "Paradise" in a tattoo-style script,
which is fitting for the scene, You could also airbrush a name or two
Inthe same area.
EE Se
STEP 16
So ar this painting has consumed only afew minutes. you're going
todisplay this asa standard stock design, you could add a few quick
highlights with opaque white and call it complete, Ichose to spend
extra time to slowly build some dramatic white effects, especially on
the wave. This extra step really helps the painting stand out.
CONCLUSION
Jacquard Airbrush Colorsare super vibrant and ready to spray straight
from the bottle. | typically airbrush T-shirts at 80-psl. However, be-
cause of Jacquard's thinner viscosity alower air pressure—45-psiin
this case—may be used. The paint performed very well, and I was
especially impressed with the Opaque Black. My final test with any
paint isa wash, and Jacquard met my expectations and remained
super vibrantafter laundering, m
aoMORE EXAMPLES OF
KEN JOHNSON’S
BEACH SCENE DESIGNS:
BRUSH-ACTION
SIZES: MENS M,1,xL-$21.95
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source painting, and a fun outlet for me.
Dest cate
On eR React
rately touts this kit as “..the end product of ex-
Done Dae RUS ee 5
with an eye to perfect accuracy and authenticity” LG
Sue Un eeu PCL)
Drea EDT Ua Eek an
create a fantastically detailed 1/9-scale replica of
SCAM cony
eed ecmSHIELD PAINT 8
oe
PAINTED SHIELD
STEP1
First, | assembled the figure in its entirety
(16 pieces total, including the shield parts)
The kit includes two heads; one with and
without the mask. The one without shows
the accurate detail in the moulding and
likeness to actor Chris Evans, who plays Cap
in the movie. | chose the masked version.
After assembling the kit, | coated the entire
‘model with Createx Auto Air Sealer mixed
with a 1:1 ratio of white and black. Then, |
nder-shaded with black and highlighted
the model with white Auto Air Sealer, This
helps the base color coat have more dimen
sion to start.
STEP 2
happen to be red-green colorblind, so mix
ing colors isa challenge. Ihave found an in
valuable app, True Color from Snickerdoodle
Software, that | used to assist in mixing the
Wicked base color for Captain America’ sult.
STEP3
After the base color was applied notice the
effect Step 1 has on the blue,
STEP 4
Next, | used Scale 75's flesh paint set to
get all of the skin tones in place. | then
used Citadel brand Chainmail color to
paint the silver parts of the suit and other
metallic details, such as the back harness
and belt, followed by brown and black
for the other suit's base colors. Captain's
shield posed a unique challenge because
it had to be colored and retain the reflec
tive metal quality of the shield. | turned
to Alclad Il colors for this part. Basing the
shield in gloss black, and lightly building
up the Alclad aluminum color over the
black gave me the metallic quality I need
fed. As you continue to build the Alclad
it gets brighter, 0 | put reflection streaks
from the center to the outer part of the
shield as well, It's a subtle difference, but
really comes alive when the light catches
it. Ithen used Wicked Blue and Red mixed
with transparent base to color the shield.
The transparency allowed the reflective
metallic quality of the shield to show
through and achieve the look | wanted.
NOTE: For the brush-painted parts of
the model, | used some new miniature
sable brushes from Solo Horton. With the
‘embargo on Kolinski sable brushes, these
brushes are a good and much more afford
able alternative to the Windsor & Newton
Series 7 miniature brushes.
orSTEPS
Following up the base colors, used Grum-
bacher blue and black oil paints to make
‘a midnight blue and gave the entire suit a
wash to pull out recessed details. | use oil
washes exclusively because oils give me
a lot more control over color saturation,
working time, and the ability to clean up
excess versus acrylic paints. At this point |
also turned to my Solo Horton brushes and
added the darker suit detail
STEP 6
used a hair dryer to accelerate the drying
of the oll wash, and returned to my airbrush,
Using my base blue color and mixing with
black and white, | went in with a2 needle
and blended the shadow and lighted ar
eas with consideration to my light source,
which was from dectly above,
Ca
STEP 7
Next, | used the Solo Horton brushes, Pri
vateer Press P3 and Citadel paints to add
the highlights and shadow area details to
all ofthe brown leather parts. lalso added
secondary highlights and shadow tones
to the silver stripes of the uniform. Again,
always be mindful of your light source.
The leather harness straps were layered
and wet-blended from the top using Cita
del Snakebite Leather for the upper part,
and Scorched Brown for the darker and
shaded areas.
STEPS
T moved my focus to the head piece and
mixed a slightly darker and heavily re
duced blue, | gradually built the mesh
parts of the mask on the sides, eye, and
ose areas with five passes of painting,
and dried them until satisfied with the
subtle contrast. To avoid the look of the
thousand-yard stare, | painted the iris and
pupil to the top of the eye, and added a
single white highlight to the upper right
of the pupil. Here, you can also see the
finite 3D printed detail in the mask that
includes the mesh pattern, and leather lip
below the eyehole portion of the mask,
STEP 9
Returning my attention to the body por
tion of the model, | used Privateer Press
P3 and Citadel paints to clean up edges
and overspray from any airbrush painting
Then, | went over the entice model with a
black-blue oil mix and gave a pin wash to
any small areas, such as the pads on the
forearm, legs, etc. | also moved on to the
boot detailing. Using P3 Coal Black, | reduced it to make the initial highlight on the
tops ofall ofthe boot folds. | then used my
airbrush and an over-teduced white to add
alight source to the top of the boot and to
catch the folds’ edges. Last, I created a f
nal highlight color with the Coal Black and
white and just picked out the edges of up:
per parts of the boot for definition, The
leather straps on the boots were given the
same treatment as the harness in Step 7.
T mixed a highlight color using the base
color again with some white added. Using
a dry-brush technique and the tip ofa size
O paintbrush, | picked out any edge details
that would catch light with consideration to
the source, Using the same concept, | used
[Mithril Silver asa highlight color to the si
ver parts ofthe uniform on the chest, the A
fon the helmet, harness, and belt details. A
final white highlight was added to the very
top edges of the metal belt buckle, back
harness, and pocket pouches.
sprayed the entire figure with a lat clear
Coat to eliminate any glossy sheen. Then, |
mounted the shield to Cap's arm, and called
him done!* AIRBRUSH ACTION | TECH COLUMN
Aiea
MADE BY IWATA-MEDEA atari
ww. -
sy]
tevery Airbrush Getaway Workshop, and almost everywhere |
paint in front of other airbrush artists, they ask “where did you get that
airbrush?" "What does it do?
These are artists that have been painting for years and have never
seen this product or know what it does.
So, here itis! lwata’s Triple Action Handle allows for the easy and rapid removal
ofthe needle. | have found this to be a huge time saver. Also, the crown cap can be
screwed to the back of the airbrush so you don't lose it. | modify my barrels with a
laser engraver to personalize them, and press the crown cap intoa dice soit's easily
found if dropped. Oh, and it looks cool
(64 | AIRBRUSH ACTION | JANUAISTEP 1A, 1B, and 1¢
To install, fst removed the barrel and needle chucking nut and needle,
STEP 2
Next, installed the new barrel | modified
with a laser engraver
STEP 4A, 4B, 4C, and 4D
Then, | installed the needle knob. This is
where most people run into a problem
because the hole that the needle slides
into is much deeper than it needs to be.
The set screw, in my experience, should
only bite the very end of the needle. Ifit's
installed too deep, you will experience
constant paint flow when the trigger is
depressed. To guage the proper depth of
the needle, use a piece of inch masking
tape, and lay it down adhesive side up.
Then, line up the needle knob with the
edge of the tape, position the needle to
barely cover the rear portion of the set
screw, and then fold over the tape. This
prevents the needle knob from sliding
past the correct point.
STEP 3A and 3B
Linstalled the new funneled chucking nut, tightened until snug, and loosened one -halfturn
toallow the needle to slide in easily
STARS
PROPER DEPTH* AIRBRUSH ACTION | TECH COLUMN
STEP5 STEP 6A and 6B
Approximately 0.080
removed to accomplish
good needle seal
FINAL
BENEFITS TO THIS KIT:
Typically, ll remove the needle from my airbrush three to five times for cleaning, With a
stock gun in skilled hands, this takes about ten to fifteen seconds to perform versus only
three seconds with the Triple Action Kit.
If you paint five days a week, and you remove your needle four times a day, that's one
minute versus twelve seconds witha Triple Action handle. Note: This doesn’t
include the time I spend crawling around the floor looking for my stock crown caps!
With a stock gun, you'l spend roughly four hours and twenty minutes yearly removing
and replacing your needle, compared to less than one hour with the Tiple-Action
handle. f your shop rate is $80 per hour, you saved roughly $280.
Needless to say, ths far offsets the $39 cost ofthe kit
CST
Once the proper depth was established, | Agreat advantage to the Triple Action Handles that you no longer have to be careful or
I tightened the set screw. Then linserted | gentle inserting the needle. The funneled chucking nut allows you to insert the needle
the needle knob chucking spring, which | | from many angles without incident. Simply apply slight pressure to the needle knob
believe gives a more balanced tension to | and turn the funneled needle chuck clockwise to lock the needle in place.
the trigger.
STEP7
To test, | usually add a little water into the
airbrush color cup and depress the trigger
for air only, If nothing sprays, the instal
lation is complete and your gun should
operate perfectly
TROUBLE SHOOTING:
(On rare occasion, if you encounter a stub-
born airbrush that won't seal properly,
here's the fix: Pictured isa stock (bottom)
and modified needle knob. With a bench
grinder, | removed approximately 0.080
‘material from the leading end of the needle
knob where the chucking spring fits. have
installed close to a hundred Triple Action
Kits and have only run into this problem a
few times.HOW TO MAKE A DICE CAP
STEP 1A, 1B, and 1C
Tom: dice cap, you'll need a drill bit approximately 20 to 25-thousandths smaller than the outside diam
clamp, and one dice. like to use the side ofthe ¢
er than the length ofthe crov
STEP 2 STEP 3A and 3B
Iplacethecrown capintothehole, threaded | Note:The db
side up. easly and test on the
MMIISY3aTIaS dOL
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EET eee TIPS & TRICKS FROM THE PROS!
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SAINT CLAIRCALL TOLL-FREE 1.800.232. eee
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change without notice.ometimes the coolest ideas
come about by a customer's
description of what they want.
When | was commissioned to
build a table out of a fire hy-
drant, | instantly saw it done.
That got the creative cogs turn-
ing, and I was excited to get started.
Luckily, | had complete artistic license—my
favorite kind of job—and received approval
from the customer that | could make it a tall-
top table as you'd see in a bar. >>
STEP 1
The customer-supplied fire hydrant
blasting
tom painting
STEP 2
Tomakeitpaint-ready had:
me from,
as\ couldSTEP 3
Also, | ground off the mould's
the best wood grain
the footrest.
STEPS
‘After mark
dles with e
the outside
9 each ax, | number-punched the corresponding han:
head and then drilled, tapped, and bolted together
STEP 6B
Afterall the ax heads were drilled, | tapped the rest of the holes to
accepta 1/4-inch #20 bolt.
Ihad to figure outa way to attach thea
igh to withstand the human feet, so first
the end ofthe handles witha bandsaw so the head of each ax would
the handle.
ach other and
EP 6A
I made them square
to the metal on the other side, and no further.
jain and drilled through each ax head dow
STEP7
I meditated for awhile on how
hydrant. Ulimat
d mount the ax footrest to the fre
that the h
lyatthe trimb
ould be b
nd ergonom
base, and determined that welding supports
home-made cont
to.cut into the sides of the square tubing.
ur gauge (pictured) toachie| cut the tubing to match th
hydrant. Cast iron must prehes
STEP 9B
{drilled mounting hi anarchon both
of the tub
torch and hammered
STEP 11
Applying the template to ant/B-inch steel plate
ts with a plasma cutter
ack, Icut out the
STEP 9A
1 yee they looked even, and marked the
STEP 10
Becaus ld stand the
made a gussets,
STEP 12
Nith all four pieces cut and ground smooth, | welded them to the
lower side of the supports, giving it a cleaner look. fm sure it will,
hold most of the weight for years just by resting on the basenpleted
rind, grind, and grind some more.
n the base,
STEP 15
Time to fabricate the top half of the hydrant, the section that will
hold the table top. My original plan was to use a brass pipe to ex-
snd upwards to the table top, but couldn't Ic
enough to work. So, for Plan B | u nd just lft it.
‘ground metal. Doing it this way left me to make some mounting
tabs and do some more diling and tapping,
brass pipe thick
STEP 17
Iwas very ple
red, so | sprayed four coats of Auto-Air Rockstar Red Sparklescent:
The next day, | sprayed three coats of an intercoat clear to prote
the base and to provide a safeguard in
any mistakes when | pinstriped or airbrush
nin the next
ything in my art box, along
STEP 14
scuffed the base and the ax heads
flipped the base upright and applied th
STEP 16
With everything primed, I spa
Rocketman Red, reduced 1-to-10% (4012) high performance re-
ducer, and itlaid down like silk
Chis Johnson’ interest in aie
Se eer
after receiving an airbrush, com
pressor, and paint for Christmas
cree etal
ed)
Pee ear
Se
atter watching some Airbrush Ac
tion videos, Johnson “got the guts"to finally attend an Airbrush
CSE ea
eee en tae tay
Porter a friend, ands the current instructor ofthe Plotter Mastery
class atthe Airbrush Getaway workshops and a contributing ed-
tor for Airbrush Action. Chis resides in Lumberton, New Jersey,
Re erIrbrush Action attended the 2014 Act Basel Miami, December 4-7, one of the world’s most prestigious art
shows. Leading galleries from North America, Latin America, Europe, Asia, and Africa showed historical work
from the masters of Modern and contemporary art, as well as newly created pieces by emerging stars, in over
500,000 square feet of exhibit space, Paintings, sculptures, drawings, installations, photographs, films, and
editioned works of the highest quality were on display at the main exhibition hall, while ambitious artworks
and performances became part ofthe landscape at nearby beaches, Collins Park and SoundScape Park.
This year’s show attracted over 73,000 attendees over the five show days. Art Basel takes place at the
Miami Beach Convention Center (MBCC), Miami Beach, Florida,
‘Art Basel stages the world’s premier Modern and contemporary art shows, held annually in Basel Switzerland, Miami
Beach, and Hong Kong. Founded by gallersts in 1970, Art Basel has been a driving force in supporting the role that galleries
play in the nurturing of artists, and the development and promotion of visual arts. For more information on future shows
go to https:/wwwartbasel.com.Dae
BEFORE YOU BEGIN
Here is alist of some of the supplies youll need to start your new
career as a pinstriper: Any olL-based paint, sword striping brush
(any size), any type oil paint thinner, and a piece of glass.
The nice thing about prinstriping is that it's not just limited to
bikes, cars, or any other “stereotypical” surface associated with
the art. Substrates for pinstriping are endless
\o )
STEPA
Trim your brush and square
that it's easier to make
STEPD STEPE
On a sheet of glass, apply lines over and After youget pretty
dat making straight
‘over. When you finish covering the glass, lines, attempt curved ones left and right
Pe RE ace ed
either wipe it offor wait untildry and scrape At this point you've probably done 10,000
itoff lines. f you think the
'@ design and put it under the glass,
‘3 l give you a pretty good feel
for doing designs. Now start adding line
celements until y
u've run out of ideas.CREATING A GREAT PINSTRIPING DESIGN:
STEP1 STEP2
When starting 2 panel, | begin with a Start at the top and
center line design even.
cE)BETWEEN THE LINES
3a
STEP3
[After yout satisfied with a design, add as many colors as you wish until you believe the design is done.
PEGESTEPS STEP6
your brush with thinner, Putoilon your brush to prevent any leftover
paint from Sh has
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