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CONTENTS
[ MAYJUNE 2008 ]
24.
THE HUGH HEFNER INTERVIEW
Why is Playboy mogul Hugh Hefner important to airbrush artists? Because he has continually
promoted our style and the market for our work. Hef speaks at length with Airbrush Action for
the occasion of our 23rd anniversary issue.
40.
DEPARTMENTS
9. AIR NEWS
10. KUSTOM Q & A
12. READER GALLERY
42. AIRBRUSH ACTION DIGITAL
43. GETAWAY INFO
60. BACK ISSUES
68. DVDs
77. CLASSIFIED ADS
78. BOOKS / ART ESPRIT
COVER ARTWORK OF HUGH HEFNER
BY MARK FREDRICKSON
72.
By Deborah Mahan
A Marilyn Monroe portrait is painted, step-by-step, with House of Kolors new 6-color
urethane flesh tone kit. Youll learn all the nuances and tricks using this paint system,
including the proper use of toners, color pitfalls, and more.
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www.airbrushaction.com
MAY JUNE 2008
VOLUME 24, NUMBER 1
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AIR NEWS
>> AIR NEWS HELPS YOU DISCOVER NEW EVENTS
AND PRODUCTS OF INTEREST TO AIRBRUSHERS.
CREATEX
KUSTOM SHOP
SATA
LETHAL THREAT
www.airbrushaction.com 9
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Q
KUSTOM Q
Q&A
the smallest needle and nozzle are for fine lines and detail. This is only
true when using the thinnest material.
Paint characteristics can also wreak havoc on your settings. If
youre using a paint thats designed to dry very quickly, it can actually
dry on the needle and cause tip dry, where the paint dries so fast that
it builds up on the needle and disrupts the flow of air and paint. This
happens because the lack of airflow prevents the siphoning action
needed for the paint to spray properly. When this happens, many
perceive the airbrush to be clogged, but it isnt. To avoid this, simply
wipe the needle clean as soon as you notice any build-up.
The final consideration is the relative absorbency of the
substrate or object youll be painting on. Hard surfaces are nonabsorbent and therefore require lower air pressures. Automotive
surfaces, helmets, illustration board, surfboards, skateboards, etc, all
fall into this category, and typically use a range of 5- to 30-psi.
Absorbent surfaces, such as T-shirts, require higher pressures of
40- to 100-psi. Because textiles are so absorbent, the higher air
pressures are perfect for forcing the paint into the fabric without the
danger of spidering that a higher pressure would cause on a hard
surface. I personally prefer to work at 60-psi on T-shirts, and find that
an extreme pressure of 100-psi tends to cause an excessive amount of
overspray. Higher psis require greater speed of airbrush movement
and are more useful when the airbrush is gauged much farther back
from the surface; for example, when fast coverage or extremely high
volume production is required. The tradeoff, however, can spell
disaster if you dont know what youre doing.
So, the proper formula is really a delicate mix of all these
variables. As long as you achieve proper atomization of the material
at a pressure that is comfortable and controllable in your given
situation, youre using the right pressure.
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Simply connect the USB to your computer,
pan through features and functions on the
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banners, signs, and more!
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READER GALLERYY
>> WHAT DEFINES A MAGAZINE BEST?
WE THINK ITS THE TALENT THAT READS IT!
DEAN DUBOIS
Haileybury, Ontario,
Canada
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I wanted to learn more about using big guns, and I enjoyed the oneon-one instruction from Brian. He got into so much detail and
information about the paint technology, and that alone was a huge
resource. The class helped me to become a better custom painter. I
painted some cars before and ran into some problems. I have a job
lined up in a week or so, and after taking HOKs class, Im extremely
confident that Ill be able to lay down the paint perfectly. You can read
it in a book or watch a DVD, and just attend the Getaway, but if you
combine all three, you really have a three-way punch going on.
Students were just as passionate about Automotive Art and
Illustration Techniques with Alan Pastrana, Honorio Reynolds, and
Darryl Strader. Student Thomas Puentes, found that the three
instructors fit together very well. Alan had the business background,
Honorio had experience and knowledge of airbrushing, and Darryl
had quite a bit of technical advice. I thought it was a really good
class. Ive been to about 12 Getaways, and this course changed the
way I worked, primarily in rendering shadows and shading. A lot of
people use a transparent black for their shadows, but with Alans
color theory showed how to use complimentary colors to bring out
more of the gray tones and present more realistic shadows. At the
Getaways, you always learn something new. No questions about
that. I recommended the class and Alans Hip Hop Art DVD.
Anthony Negreta agrees. I really liked it a lot it. Alans class was
very well organized and structured; everything was outlined. I learned a
lot more about the color wheel exercises, and even things I learned
previously all came back. This was my third Getaway and every time I
learn more, and each time is more beneficial than the last. In fact,
Pastranas class made me more motivated than ever after a Getaway,
and Ive been painting every day since. The project we did with the
eagle and Hip Hop character was really along the lines of what I
wanted to do and I achieved it. Hope to see you next September! Its
great to be in an atmosphere with all these great artists, too.
Alan Pastrana, the lead instructor, was very proud of the
outcome. The students were very receptive to what I was teaching
them, and they enjoyed it very much, Pastrana stated. They
actually seemed surprised that they learned so much in such a short
amount of time. In fact, they reminded me of how eager to learn I
was when I started 20 years ago. Well continue to evolve the course
and change it up a bit, so each time well bring something new to
the table. I really look forward to continuing to teach the class.
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Overlapping
Ghosted Flames
By Russ Gerner
Paint Master Art Studio, Las Vegas, Nevada
NEXT PAGE
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too hard and cut into the base paint. This step
can be difficult, so using a sharp, new blade is
important.
applied a catalyzed, urethane clear with a hightemperature reducer. Working with water-based
paints, a slower curing clear adheres better than
a quick curing clear and has an even flow over
the pearl flakes to help eliminate an orangepeeled finish.
NE
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S!
S
A
L
C
NEW
FOR MORE DETAILS OR TO SIGN UP, SEE THE COMPLETE PROGRAM FOR THE AIRBRUSH GETAWAY STARTING ON PAGE 43
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By Craig Fraser
1
1. Using waxed 1/4-inch crepe tape (vinyl works,
too) I masked off the edge of the metal face and
the bottom of the club. You need a non-feathering
tape to keep the edge clean when its prepped.
Any paint that gets onto the metal face risks
delamination or chipping.
2
2. With the polished metal surfaces masked and
protected, I sanded and prepped the surface with
600-grit dry sandpaper, and then applied KC-10
precleaner. Any engraved logos may be sanded
and filled at this phase, but I prefer to leave them
because they may mean something to the owner,
and they dont get in the way too much.
3
3. After giving the club a nice coat of AP-01
adhesion promoter, I sprayed three light covering
coats of BC-26 basecoat white. The TH-3 Iwata is
perfect for this application because its small
enough to work in and around the club, and the
fan head option produces a good covering spray
pattern.
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10
10. Of course, what would a pile of skulls be if their eyes were not all
glowing? So, time to clean out the Micron and add a little hyperreduced BC-26 white (always test your detail white on a scrap surface
when tweaking your reduction ratio. Nothing messes up a bunch of
skulls like white paint spit!)
22 AIRBRUSH ACTION | MAYJUNE 2008
6
6. Using Artools new Ultramask, I masked off the
skull area I just roughed in, and cut the edge with
an X-Acto knife. This allows me to paint around
the skull for the background and come back later
to finish it. The masked edge will emphasize the
separation, and give it a cool 3-D effect.
9
9. With the stenciling complete, I performed
freehand work. Triple reduce the BC-25 black, add
a little SG-100, and youre good to go for detail
work. An excellent trick to spraying small detail
areas is to keep the air pressure low. The higher the
pressure, the more the tip dry.
11
By Craig Fraser
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13
12
12. To complete the airbrushing, I used the same hyper-reduced
BC-26 white. Remember, white can make or break a design. For
highlighting, use as little white as possible for the most effect.
FINAL.
If youve never painted a golf club, you
should give it a swing sometime (get it?).
Although they create a challenge for tight
detail, theres relief in knowing you wont
be working on it for days. Who knows,
you might even like working on them. As
for the new minis and Nano stencils from
Artool, theyre not designed just for golf
clubs, of course, but for all small areas. In
fact, theyll likely pay for themselves after
the first job. Heck, how many tool
manufacturers can guarantee that?!
Paint to live, live to paint. Fraser
13. I used the TH-3 to clear the club (I added some FA-01 flattening agent to the
clear for a satin finish, and to actually make it more durable and scratch-resistant.)
Heres a trick from Brian Lynch, of House of Kolor, for using the flattening agent: mix
the FA-01 to equal parts RU-311 reducer first, and set aside. Then, mix UFC-35
clear with KU-150 catalyst as usual, but dont add any reducer. Then combine
equal parts of the clear and the FA-01 reducer mix. This formula is killer.
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Presents
THE
HUGH
H HEFNER
INTERVIEW
Q HEFNER
HUGH
Why is Hugh Hefner important to airbrush artists?
Many people will immediately get the connection. However, if the link isnt clear, heres
some history to consider.
of our heroes aircraft reinforce the Americanness and wholesomeness of the style. Its a
style everyone recognizes and identifies.
1945. Then the war ends. America is flooded with ex-servicemen getting educations on
the GI Bill, and many choose photography
as a field of study. Some pursue it professionally; many keep it as a hobby.
The 1950s come, and public morals
change and slip. A young woman named
Bettie Page becomes a model for a photographer named Irving Klaw. Dozens of photography clubs meet, sometimes on the sly, to
photograph more-and-more willing models
wearing less-and-less. Photography is somewhat easier than airbrush art, faster, and one
can make multiple prints quickly. Advances
in offset printing make color pinup photographs the rival of airbrush art.
1931. George Petty, a commercial advertising man in Chicago, picks up the tool, the
airbrush, and begins his own concept of
pinup paintings. Pettys paintings fold out
from the center staple of the magazine, and
are often yanked out and pinned up to
inspire red-blooded males. Many other artists
follow, some still using traditional brush-andoil paints. But many take advantage of the
airbrushs smooth gradients, fast application
and drying time, and correctability. Vargas
labors during the 1930s largely in obscurity.
1941. Vargas begins replacing Petty at
Esquire. The pinup goes to World War II. Air
crews adapt sultry images by Vargas, Petty, et
al. to the sides of airplanes using whatever
paint and brushes they can scrounge. Photos
24 AIRBRUSH ACTION | MAYJUNE 2008
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Hef and his girls next door, (left to right) Bridget Marquardt, Holly Madison, and Kendra Wilkinson
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Hefner: That is true. I was very much influenced by pin-up art when I was growing up. I
was raised in a very typical mid-western
Methodist home and a very orthodox family;
not much hugging and kissing. Esquire was
not allowed in my home, and I saw Esquire
for the very first time in the basement of a
girlfriend when I was in 8th grade. Her
father was a commercial artist, and they had
copies of Esquire there and that was the first
time I actually saw Esquire magazine and the
Petty girls. That made a big impression on
me and I started collecting the Petty girls
and hanging them on my wall. Even though
she didnt really approve, my mother let me
hang them. And that was the beginning of
that interest in terms of pin-up art and then,
of course, the photo pin-ups were very popular when I was in service. Clearly, that good
girl art and the whole tradition of pin-up
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Airbrush Action: Hef, you have a background as a journalist. Did you ever get any
formal or informal art training?
Hefner: Yes, my minor. Because I was
interested in cartooning, and always interested in graphics and art, I took one course
at the Art Institute in the summer of 46
right after I got out of the Army, and then I
minored in art at the University of Illinois. I
majored in psychology and minored in creative writing and art.
Airbrush Action: Thats an interesting link
to get you into the career you ended up in.
Hefner: Well, you will find that before I
started Playboy, my wife and I lived in an
apartment on the Southside of Chicago and
I decorated everything in it, and I had a
very real eye and a real sense for design, and
it was done in a very contemporary way.
The furniture was Knoll and Eames, all very
high line contemporary.
Airbrush Action: Did you ever use an
airbrush?
Hefner: (laughs) No. I never have.
Airbrush Action: You had a hands-on
involvement in the production of your
magazine and one of the things that kind
of intrigues people who started with airbrush is the notion of airbrushing or
photo-retouching. How did you go about
hiring people and whats the real story
behind how you started doing your photoretouching to evade the censorship laws of
the age?
appealing about the original airbrush illustrations is that an airbrush can give you a perfect
paint gradient; it can give the painted woman
the idealized skin and features and so on, and
I just wondered if that was a conscious influence in the way you continue to present the
women in your magazine?
Hefner: Well, theres no question. I cant
overstate the impact that I personally had,
and continue to have on the art, illustration,
and photography that appears in Playboy. It
is the part of the magazine that I am most
intimately interconnected with, and that I
am a lifelong lover of airbrush pin-up art is
obvious, and it began with Petty and then to
Vargas, and then Olivia. The Olivia illustrations come to me directly and I have to figure out captions for them before we decide
what were going to schedule. Olivia and her
husband are very good friends of mine.
Airbrush Action: How much original
illustration do you still purchase for pin-up
or for editorial?
Hefner: Well, we run seven full-page cartoons every month and I would say, even
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Olivia, Hef, and Airbrush Action publisher Cliff Stieglitz at Olivias invitation-only gallery opening
other kind of almost illustrated look, particularly that can create very attractive girls.
Airbrush Action: Would you be accepting new pin-up artists? If somebody were to
submit a portfolio for your consideration, to
whom would they do that?
on all kinds of subjects. Superheroes, murders, horror, etc., and then in my senior
year of high school, 1943, I started doing a
comic autobiography of my life and put it in
little binders and added photos. It was really about my friends and myself. I created a
little world in which I was kind of the center of that world. And I added clippings and
photographs to the front of it, and I continued to do that after I graduated, and I continued to do it though the Army, and then
into college and right up until the time I
got married. That then morphed or turned
into a scrapbook that I continue to do
throughout the years and it still exists today
with almost two thousand volumes.
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Jennifer Janesko
PART TWO
This
28
26
27
STEP 26
STEP 28
Another darker opaque gold color established the shadows on the calves and feet.
The shadow of the calves will eventually be
covered with an even darker color. Opaque
paint tolerates darker colors over lighter colors without consequence, but not lighter
colors over darker colors.
STEP 27
The next darkest opaque color began to
establish the form of the legs and feet.
The edge of the arm was moved a little
to the right to make the arm thinner.
29
STEP 29
An even darker green-brown opaque color
was used to render the shadows in the feet
and calves. The opaque color also helped
establish some background elements.
STEP 30
An opaque brown and red-violet mix
defined the boundaries on the right side
of the legs and feet.
30
BY DRU BLAIR
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31
32
STEP 31
STEP 34
STEP 32
I used the opaque dark brown from Step 29
to cover the light green area, but some of
the green still bled through.
STEP 35
The second brick color was applied with a
little more red and white in the mix.
Varying the hues will create a more convincing image.
STEP 36
34
35
STEP 33
33
REFERENCE AREA:
Taken from final image
36
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STEP 37
An overall view reveals a continuation of the
brick color from the previous step applied
across the painting to the left of the head. I
added opaque white to the brick color to create more variety in the values. I then added a
few dark accents with transparent sepia.
Afterwards, I sprayed small amounts of transparent yellow and red to shift the hue in
some areas.
STEP 38
The highlights on the fabric above Jennifers
shoulder had become too dark due to overspray from the surrounding areas. There are
two options to correct this: A: remove paint
with an eraser or sandpaper. B: spray a
lighter opaque color on the dark area.
Option A would introduce texture, which
would obliterate the blurry, soft focus look I
am trying to achieve, so I decided to use a
light opaque color to correct the problem.
37
STEP 39
A light yellow-orange opaque color was
applied to create highlights in the fabric,
and I prepared to remove the bruise on
Jennifers shoulder.
STEP 40
Mixing an orange-red opaque color, I covered the dark gray spot on the shoulder. I
kept my distance from the surface of the
board to avoid a blotchy look to the repair.
STEP 41
The red color on the shoulder seemed too
intense, so I used opaque white mixed with
yellow to lighten and reduce the intensity of
38
39
STEP 42
Next, I used a dark brown opaque color to
further enhance the shadow of the leg and
foot, carefully keeping my airbrush away
from the board to keep the edges soft.
STEP 43
40
41
Starting with the lightest color, I established the background area to the left of the
feet. As the background takes form, other
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STEP 44
A medium value golden color was then
added over parts of the background. The
calf color was adjusted to a more golden yellow, and a transparent red was used to further develop the feet.
STEP 45
The red color was used to balance the overall fleshtone of the feet and calves.
42
43
44
45
46
47
46
48
46
STEP 46
Before too much paint was applied, I
taped a piece of open mesh cloth to the
board. I will continue spraying through
this mesh to create a subtle light pattern.
A previous pass through the fabric is visible below the mesh.
STEP 47
An opaque green was used to render the fabric to the left, but at this point, I felt that I
had added too much green.
STEP 48
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THE PROBLEM
WITH FRISKET
Chances are, if youve recently purchased frisket
in the United States, youve experienced pain
and frustration due to the excessive adhesive
qualities of the product. If you were lucky, the
frisket was just difficult to remove, and didnt
destroy your painting in the process.
Perhaps you even tried alternative brands of
frisket, searching for something with a little less
stickiness, all to no avail.
What is the problem with frisket, and why did
all brands of frisket suddenly go bad all at once?
49
50
STEP 49
I decided to return to green because it
seemed more pleasing to the eye.
STEP 50
The answer is simple. Only one company in
the U.S., Grafix, manufactures the frisket and
sells it to various companies who re-brand it
using their own name. Whether the name on the
label is Grafix, Badger, Artool, or The Original
Frisket Film, you are basically getting the same
product, so its quite useless to search for other
brands as alternatives here in the US.
When Grafix produced a large run of frisket
three or so years ago, too much adhesive was
applied which caused problems with glue residue
and an extra amount of undesirable stickiness.
Many artists, including myself, have damaged
paintings because the sticky frisket tore the
paper off the backing of the illustration board.
I corresponded with a Grafix representative who politely indicated that the company
was aware of the problem, but did not yet
have a solution.
Several companies who private-labeled
Grafix frisketIwata/Mede/Artool, Coast
Airbrush, et alhave pulled the bad frisket out
of their inventory in order to protect their clients.
Other companies weve contacted have denied
that a problem even exists.
Since it doesnt look like anyone is going to
be fixing the problem soon, my assistants and I
devised a workaround. We found that oil from
ones skin helps to neutralize the sticky nature
of the frisket. By placing and removing the sticky
side of the frisket on an arm, a leg, or other parts
of the body a dozen or so times, you can reduce
the tack to acceptable levels (and exfoliate at the
same time).
Other methods for reducing tack that did not
seem to work as well were dusting the sticky
frisket with baby powder and pressing the
frisket against cloth.
Until the manufacturing issue is resolved, the
only other alternative is to locate frisket that was
manufactured more than three years ago, or seek
imported frisket. In the meantime, you may want
to consider contacting the companies that still
sell faulty frisket and share your sentiments.
STEP 51
A close-up reveals the scale of the mesh fabric. It can be purchased in varying sizes from
a fabric store.
STEP 52
I applied paint to the background area. The
fact that there was already existing paint on
the background helped keep the pattern created by the mesh fabric subtle.
52
51
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STEP 53
On the left side of the illustration board the
frisket pulled away some of the paper surface, leaving a damaged area that was highly textured (see sidebar on Frisket). Some
light sanding removed some of the texture.
It is important to sand in small circles to
avoid straight sanding marks that would
otherwise stand out as unnatural.
STEP 54
Using gesso and a squeegee, I applied the
gesso much as one would add joint compound to a damaged wall. All that was left
to do was some light sanding in small, circular motions.
53
55
56
54
STEP 55
Now it was time to turn my attention to the
sheets on the right side of the figure. As
always with opaque colors, I began with the
highlights first.
STEP 56
The next darkest color was then applied, an
overall view shows the large amount of bedding material that needed to be addressed.
57
STEP 57
I removed the frisket from the sheets below
the hair, and then using the same sequence
of light to dark, I established the sheets to
the right of the hand. I then placed frisket
on the areas surrounding the arm and hand
to contain overspray as I prepared to render
the forearm and hand.
58
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STEP 58
Using opaque flesh tones, I established the
forearm and hand. I didnt quite finish this
part to make room for later tweaks and
adjustments.
STEP 59
I removed the frisket from the sheets above the
hand and forearm, then covered the hand and
forearm with a piece of frisket to protect them
from overspray. I then rendered the sheets
59
60
61
STEP 60
I moved forward with the sheets, taking
note that the shadows were not simply
shades of gray, but rather a variety of hues
reflected from the surroundings.
STEP 61
Darker opaque colors were applied to further
establish the folds in the sheets. To keep
overspray off of the arm, it was necessary to
re-use the same frisket that I had used earlier for the arm.
STEP 62
An overall view shows the continuation of
the sheets toward the left of the figure. I
wasnt sure where I wanted to crop the
image, so I painted beyond the original
intended borders of the painting to give me
the option to crop larger if I so desired.
STEP 63
After evaluating the image, I decided that the
sheets were too blue, and too light in the shadows. I warmed them up by adding a bit of burnt
sienna to the opaque colors, and mixed a dark38 AIRBRUSH ACTION | MAYJUNE 2008
62
STEP 64
After correcting the rest of the sheets, I
determined that the right foot was too thick,
63
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64
65
STEP 65
After completing the background, it became
more apparent that the face was lacking
contrast, so the final tweaks are simply a
matter of deepening the shadows in the
face. In this case, I used a mixture of trans-
Its probably important to note the giveand-take interaction with this painting that
became a process of applying, and then tweaking the colors as the painting progressed. With
airbrush being so cerebral, the usual method is
to plan well ahead of the painting process.
Jennifer and I decided to make prints of
this painting available, and more information about this painting may be found at her
website: www.janesko.com.
www.airbrushaction.com 39
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BY JOHN MAURAD
STEP 1
OR THIS BODY ART APPLICATION,
STEP 2 & 3
Using Iwatas Revolution gravity-feed airbrush, I rendered the fur with a lot of
quick strokes. Caution: the airbrush is often gauged closely to the surface, so be
very careful not to scratch or poke the skin with the needle of the airbrush.
Because I use very low air
pressure for this process
about 10- to 12-psiI
constantly go over each
stroke until I reach the
desired intensity of color.
Although this is more
time-consuming than, say,
painting a T-shirt, its the
recommended way to go.
1
4
STEPs
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STEP 4, 5 & 6
Here, I began adding color, starting with the
white of the tigers fur. I continuously go
from white to brown, and back to white for
the fur. This layering leads to greater realism.
To achieve extra fine hairs, I switched to
Temptus SP-35 airbrush. Once the white is
completed, I apply the orange color (a
combination of Dura yellow, orange, and
red) using the same layering effectgoing
from light to dark, then back to light. To
make some areas brighter, I use white, which
is opaque, and then layer the other
transparent colors over it. For the shadow
areas, I used my original base color.
Next, I painted the teeth and tongue,
also using custom mixed colors. Highlights
to the tongue, teeth, and eyes are done last
with the SP-35 airbrush. I also used it to
outline the whiskers and to add any fur that
I felt needed to stand out.
STEP 7
I added grass and a sponged rock effect to
the surrounding areas to not only increase
the size of the painting but to blend it in
better to the models back.
For the final step, I added the companys
logo to the painting, and completely
powdered the tiger with talcum powder.
This painting took about 3 hours to
complete and held up for a few days.
About the Artist
John Maurad is a self taught artist with 24
years of airbrushing experience. A New York
native, John began airbrushing on T-shirts at
16. Today, his portfolio also includes
automotive painting, canvas, murals, and
body painting.
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101011001010010001011010110101001101010010101101011001010010001011010110101001101010010101101011001010010001011010110101001101
010010101101011001010010001011010110101001101010010101101011001010010001011010110101001101010010101101011001010010001011010110
1010011010100101011010110010100100010110101101010011010100101011010110010100100010110101101010011010100101010011011101101101011
101011001010010001011010110101001101010010101101011001010010001011010110101001101010010101101011001010010001011010110101001101
010010101101011001010010001011010110101001101010010101101011001010010001011010110101001101010010101101011001010010001011010110
1010011010100101011010110010100100010110101101010011010100101011010110010100100010110101101010011010100101010011011101101101011
101011001010010001011010110101001101010010101101011001010010001011010110101001101010010101101011001010010001011010110101001101
01001010110101100101001000101101011010100110101001010110101100101001000101101011010100110101001010110101100101001000101101011
010100110101001010110101100101001000101101011010100110101001010110101100101001000101101011010100110101001010100110111011011010
111010110010100100010110101101010011010100101011010110010100100010110101101010011010100101011010110010100100010110101101010011
01010010101101011001010010001011010110101001101010010101101011001010010001011010110101001101010010101101011001010010001011010
11010100110101001010110101100101001000101101011010100110101001010110101100101
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AIRBRUSH GETAWAY
HANDS-ON WORKSHOPS
CHARLOTTE, NC-MAY 14-MAY 18, 2008
LAS VEGAS, NV-SEPT. 22SEPT. 26, 2008
CLASSES
4-DAY CLASSES:
---
HOUSE OF KOLORS ART OF PAINTING
ACHIEVING PHOTOREALISM
AUTOMOTIVE GRAPHICS,
CHEAP TRICKS AND MORE
Automotive Murals
On Steel
T-shirt Airbrushing
Pin-Up ART
1-DAY CLASSES:
---
IntRo to Airbrushing
Intro to Pinstriping
800-232-8998
International: 732-223-7878
www.Airbrushaction.com
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AIRBRUSH GETAWAY
HANDS-ON WORKSHOPS
CHARLOTTE, NC LAS VEGAS, NV
ACHIEVING PHOTOREALISM
(Four-Day Class)
Dru Blairs groundbreaking course reveals the secrets of painting
photorealistic fire, ice, metal, water, glass, fur, and many other subjects that
often challenge artists. Students will learn to quickly match colors with
extreme accuracy and precision through Mr. Blairs Color Buffer Theory. Class
projects offer a variety of subjects designed to heighten a students visual
perceptions and serve as a springboard to the mastery of photorealism in the
media and field of ones choosing.
In this course youll learn:
Mastering color through the application of Dru Blairs
Color Buffer Theory
Transparent vs opaque techniques
Understanding white and the impact it has on
your images
Drus 8 rules of photorealism
The 12-point photorealism checklist
How to really understand light
How to survive catastrophic painting errors
How to automatically discern problem
areas in your paintings that might otherwise
go unnoticed
How to develop observation techniques that
allow you to expand your visual discrimination
*Students without prior airbrush experience are required to take the one-day
Intro to Automotive Airbrushing class.
WHAT TO BRING
Your creativity, a note pad, dual-cartridge respirator (also available at the
Getaway), and a digital camera (optional). All equipment (Iwata airbrushes, air
hoses, air supply, art materials, etc) are provided. Students may bring their
own airbrushes.
Instructors:
CRAIG FRASER, RYNO,
JASON BROOKSHIRE
Locations and dates:
CHARLOTTE, NC: MAY 15-18, 2008
(THURS-SUN)
LAS VEGAS, NV: SEPT 23-26, 2008
(TUES-FRI)
Instructor:
DRU BLAIR, MELANIE ALEXANDER, AUGIE SACCOCCIO
Locations and dates:
CHARLOTTE, NC: MAY 15-18, 2008 (THURS-SUN)
LAS VEGAS, NV: SEPT 23-26, 2008 (TUES-FRI)
BLAIR
ALEXANDER
FRASER
SOTO
SACCOCCIO
REYNOLDS
PANTALEON
CROSS-EYED
RYNO
TRAIN WITH THE TOP GUNS NETWORK WITH YOUR PEERS BECOME WHAT YOU DREAM
* Instructors are subject to change without notice
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BECOME
BRING YOUR
IMAGINATION
LEARN THE
ICE PEARLS
TE
CHNIQUE
FEATURED IN
JAN/FEB 2008
T-SHIRT AIRBRUSHING
(Four-Day Class)
This dynamic and completely hands-on course is a must for anyone wanting
to master the secrets of T-shirt airbrushing and maximize their earning
power. Designed for the serious beginner to professional shirt artist who
wants to improve in all areas, this class lets you work at your own pace.
What youll learn:
Designs that sell
Pricing guidelines
Professional lettering and stenciling
The business side of T-shirt airbrushing
Custom portraiture, cars, logos
Shortcuts for fast turnaround & high volume.
Instructors: TERRY HILL, KENT LIND,
JENNIFER JORSTAD
Locations and dates:
CHARLOTTE, NC: MAY 15-18, 2008 (THURS-SUN)
LAS VEGAS, NV: SEPT 23-26, 2008 (TUES-FRI)
Seminar Cost: $575
LIND
JORSTAD
STRADER
CROSS-EYED
DRISCOLL
ARMSTRONG
HILL
SPERLONGA
JENSON
TRAIN WITH THE TOP GUNS NETWORK WITH YOUR PEERS BECOME WHAT YOU DREAM
* Instructors are subject to change without notice
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AIRBRUSH GETAWAY
HANDS-ON WORKSHOPS
CHARLOTTE, NC LAS VEGAS, NV
Seminar Cost: $150 (Or, $100 if you also enroll in a 4-day program)
PIN-UP ART
(Four-Day Class)
Learn the secrets and master the techniques to create the female form as a
classic pin-up in this one-of-a-kind class. Pin-Ups provides instruction on
opaque and transparent color use, flesh tones, how to render many textures,
various surfaces to paint on for use in automotive applications, illustration,
canvas, mural work, and more. Youll also produce a professional-caliber
portfolio piece using the latest stencils, masking material, freehand work, and
a variety of mixed media. With pin-up art and its profits at a fever pitch, this
is a class you dont want to miss! Step up to the next level.
Instructors:
LORENZO SPERLONGA, STEVE DRISCOLL
PASTRANA
MONNIG
AVERY
PANTALEON
FURIATO
CROSS-EYED
SOTO
FRASER
SUTHERLAND
TRAIN WITH THE TOP GUNS NETWORK WITH YOUR PEERS BECOME WHAT YOU DREAM
* Instructors are subject to change without notice
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BECOME
BRING YOUR
IMAGINATION
INTRO TO AIRBRUSHING
(One-Day Class)
Explore the different types of airbrushes, maintenance, air sources, safety
issues, painting surfaces, preparation, and airbrush media. This one-day
course accelerates the skills of new airbrush artists and provides
excellent preparation for the four-day classes.
Locations and dates:
CHARLOTTE, NC: MAY 14, 2008 (WED);
LAS VEGAS, NV: SEPT 22, 2008 (MON)
Seminar Cost: $150 (Or, $100 if you also enroll in a 4-day program)
INTRO TO PINSTRIPING
(One-Day Class)
Designed for beginners, this course provides detailed information on
product knowledge, including paints, brushes, solvents, tapes, and more.
Hands-on instruction will guide you through surface prep, practice
strokes, and completion of basic designs with and without a pattern.
Youll learn both primary styles: nostalgic dagger and scroll. This course
establishes an important foundation toward striping mastery.
Seminar Cost: $150 (Or, $100 if you also enroll in a 4-day program)
Seminar Cost: $150 (Or, $100 if you also enroll in a 4-day program)
LIND
JOHN HALL
RYNO
CROSS-EYED
DRISCOLL
ARMSTRONG
HILL
SPERLONGA
JENSON
TRAIN WITH THE TOP GUNS NETWORK WITH YOUR PEERS BECOME WHAT YOU DREAM
* Instructors are subject to change without notice
REGISTER NOW
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Hotel Reservation:
The Charlotte Getaway
is held at:
The Ramada Inn
212 Woodlawn Road
Charlotte, NC 28217
$150
$150
$150
$150
$150
Room Reservations:
Call The Ramada Inn,
800-847-7829
704-525-8350
4-Day Courses:
Dru Blairs Achieving Photorealism
Automotive Graphics,
Cheap Tricks & More
Automotive Art &
Illustration Techniques
Murals on Steel
Pin-Up Art
Pinstriping & Lettering Mastery
T-Shirt Airbrushing
HOKs Art of Painting
May 15-18, 2008
Thurs.-Sat, 9 a. m. to 5 p.m.
Sun. - 9 a.m. to 1 p.m.
$575
$575
$575
$575
$575
$575
$575
Hotel Reservation:
The Las Vegas Getaway
is held at:
South Point Hotel & Casino
9777 Las Vegas Blvd, South
Las Vegas, NV 89183
Room Reservations:
Call The South Point Hotel
& Casino,
(866) 796-7111
$150
$150
$150
$150
$150
Address
4-Day Courses:
Dru Blairs Achieving Photorealism
Automotive Graphics,
Cheap Tricks & More
Automotive Art &
Illustration Techniques
Murals on Steel
Pin-Up Art
Pinstriping & Lettering Mastery
T-Shirt Airbrushing
HOKs Art of Painting
September 2326, 2008
Tuesday - Thursday, 9 a. m. to 5 p.m.
Friday - 9 a.m. to 1 p.m.
$575
$575
$575
$575
$575
$575
$575
$575
Register Today!
Company
City
State
Email Address
&
$595
Registrant Information
SPONSORED BY
WORKSHOP SCHEDULES
Expiration Date
Zip
By Mail:
Send this form to:
Airbrush Action, Inc.
P.O. Box 438
Allenwood, NJ 08720
By Fax:
Fax this form to:
732-223-2855
By Phone:
Call Toll-Free:
800-232-8998
732-223-7878 (Intl callers)
Signature Required
Courses are Tax-Deductible! Expenses for registration fees, travel, and lodging are fully deductible if the instruction is to maintain or improve
professional skills, or required by your employer.
043_ABA_0806_GETAWAY.qxd
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N
O
S
D
N
HA
Page 49
OME!
AWES
595
575
575
575
575
575
575
575
575
575
575
575
575
575
575
575
y!
ers)
ove
050_Airbrush0806_T-SHIRT2.qxd
By Terry Hill
4/8/08
11:38 AM
Page 50
PARTY A n imal
A* P PE
AL*
W
WHAT COULD BE A MORE FUN AND POPULAR CATEGORY THAN PARTY DESIGNS? Im
not talking about ice cream, cake, or pin-the-tail-on-the-donkey kind of partying;
Im talking beer bongs, kegs and naked Twister! But the question is, just how far can
you take it without offending your more family-oriented clientele? In my case, I work
with a group of four other artists at Airbrush Headquarters in Destin, Florida, and our
personalities run the gamut from ultraconservative to very liberal. Each new design
has to be well thought out in order to strike a balance between these differing viewpoints. Because our business is located inside a Wal-Mart supercenter, we must present an image consistent with the worlds largest retailer! Our store happens to be
located near the beach and has a hip dcor. The management is very supportive of
our efforts as long as we create and maintain a fun and exciting environment, and
remain an asset to the store.
>>
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choice to show people. With todays technology its so easy to combine elements
from different designs to form something
totally new, that the possibilities become
endless, and almost effortless! All of our
designs stencils are created on the computer using SignLab software, and cut with a
plotter. As a result, our artists have more
time to be creative and productive, which
in turn increases our profits. If youre not
already using a system like this in your
business I highly recommend it. Airbrush
Action has worked in conjunction with
CadLink, the developers of SignLab, to produce StencilBoss, an inexpensive version of
their program. This software has everything youll need to go digital with stencil
making. Add a plotter, which is capable of
producing 500 grams of down force, and
youre ready to go!
TOASTED!:
IMAGE 1 Jo Roberts, one of our fabulous
and talented artists assistants, worked in
SignLab to combine elements from Scott
Wilsons martini glass design with my
brain graphic. Scott Wilson, artist and
owner of Airbrush Headquarters, had
IMAGE 6
IMAGE 3
IMAGE 7
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10
11
IMAGE 15
12
IMAGE 16
BRAIN CELLS:
IMAGE 13 The stencil was applied to the
shirt with spray adhesive.
IMAGE 14
14
17
15
13
16
18
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IMAGE 17
Page 54
IMAGE 20
IMAGE 21
the results.
28
19
20
21
30
22
23
24
25
27
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NEW
Design on
Back
(Shown)
Sweatshirts
also
available!
Design on
Back
(Shown)
Sweatshirts
also
available!
AIRHEAD SKULL
AIRHEAD BIKE
SIZES: Mens S, M, L, XL / Womens L - $24.95 Toddlers (14-16) - $21.95
(Please add $2.00 for 2XL, & 3XL sizes) Plus shipping and handling
www.AirbrushAction.com
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TEXTURE AIR
BY MICHAEL CACY
STEP 1
Reference photos, initial hand lettering,
pencil tracing, and marker sketch.
STEP 2
I positioned the pencil drawing on a lightbox and placed a sheet of smooth, hot-press
paper on top. The contours were drawn with
a blue technical pen. The highlights were
drawn lightly in pencil. This paper drawing
was then mounted to a piece of rigid
illustration board with an aerosol adhesive.
STEP 3
Please note that the highlights and
background are masked with frisket film in
this photo. The larger mass of water (the
areas with the exception of the highlights)
has been revealed, and I sprayed the contours
away from the lit side with a mixture of
Com-Art transparent ultramarine, royal blue,
and black.
STEP 4
A little overall tone was added by spraying a
few passes of royal blue (the highlights and
background remained concealed.)
STEP 5
2
56 AIRBRUSH ACTION | MAYJUNE 2008
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STEP 6
FINAL PAINTING
I caressed a few linear edges along highlights with a blue pencil before calling it quits.
www.airbrushaction.com 57
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By Deborah Mahan
AST YEAR,
HOUSE
OF
program invited 15 artists to submit their favorite arsenal of custom mixed colors. Because of my fascination with pin-up art and
portraiture, I contributed my boutique palette of flesh tones. As a
result, Dave Monnig, of Coast Airbrush, agreed to market a premixed kit of those colors, and Airbrush Action asked me to write this
step-by-step on how to use them.
These flesh tones work simply and can be used to create any flesh tone type.
The kit consists of 6 colors: Flesh Base, which is the beginning of all flesh tones;
Dark Shade is the darkest shading color; Pinky Flesh Tint is used for the lips,
around the eyes, and for any area that requires a rosy tint. Gold Shade adds a
golden tone to the skin. Dark Flesh Shadow (green shade) and Dark Flesh
Shadow (red shade) are used to create shadows and ethnic tones.
An important trick to rendering flesh tones with automotive urethanes is
to be careful not to overdo some of the toners, such as House of Kolors KK
Kandy Koncentrates. For example, if you use too much of the gold tones or
orange tones, the colors may become too dominant once the art is clear-coated, and may make your subject appear jaundiced, or that they dieted on too
many carrots!
For this article, I rendered one of my favorite subjects, Marilyn Monroe, and I
used all House of Kolor products, including the flesh tone kit, RU311 reducer,
BC26 white base-coat, BC25 black base-coat, and SG104 Euro Red base-coat.
Also, I used an Iwata Kustom CH airbrush, and a white powder-coated aluminum
panel for my substrate. I reduced the colors, 1-to-1, with the RU311.
THE FINISHED PROJECT. Even if you paint someone with a darker, or different, skin
tone, youll still begin with the Flesh Base and use the other colors to shift everything.
Good luck with your adventures in skin tones, and I believe this kit will make it easier.
58 AIRBRUSH ACTION | MAYJUNE 2008
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CORRECTION
KUSTOM
CROSSWORD
SORAYAMA
MERCHANDISE
TOLL-FREE 1-800-876-2472
In error, the below clues were ommited from the March-April 2008 issue.
ACROSS
DOWN
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OR 2 FOR $10!
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TOP QUALITY!
LOGO ON BACK
Online: www.AirbrushAction.com
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APRIL 1989 / $6
OCTOBER 1990 / $6
APRIL 1991 / $6
OCTOBER 1991/ $6
DECEMBER 1991 / $6
FEBRUARY 1992 / $6
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AUGUST 1992 / $6
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FEBRUARY 1993 / $6
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APRIL 1994 / $6
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OCTOBER 1994 / $6
DECEMBER 1994 / $6
FEBRUARY 1995 / $6
APRIL 1995 / $6
JUNE 1995 / $6
AUGUST 1995 / $6
OCTOBER 1995 / $6
FEBRUARY 1996 / $6
APRIL 1996 / $6
JUNE 1996 / $6
AUGUST 1996 / $6
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DECEMBER 1996 / $6
FEBRUARY 1997 / $6
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TO
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Page 61
JUNE 1998 / $6
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DECEMBER 1998 / $6
FEBRUARY 1999 / $6
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DECEMBER 2007 / $6
FEBRUARY 2008 / $6
APRIL 2008 / $6
Annual Projectors Buyers Guide, Marcus Annual Paint Buyers Guide, Skull
Pfeil, Mastering Diamond Plate, Morphing Masters Kustom Kulture Stencils, Fantasy
Body Art by Craig Tracy
Metal, Heatsetting Fabric Paint.
Science Fiction issue. Marc Gabbana. Paint Body Art Spectacular. Vargas Awards Gala
Buyers Guide. Psycho Clown Mask. Alex
2000. Playboy paint party. Emilio
Seminara. Airbrush Italian style. Mike
Sheikhan. Meinrad Froschin. Sturgis photos
Lavallees 38 Chevy.
Compressor Buyers Guide. David Fishers Vargas Awards. Scott Jacobs Exclusive:
Saucerman. Jane Choi body artist. Kustom Harleys 100th Anniversary image. Matt
nitro R/C cars. Jason Janes ostrich eggs. Slapes Fat Boy. Chip Bruzzeses RC car
body. Build your own T-Shirt kiosk
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STEP BY STEP
Jeff McCanns
AUTOMASK
ESSENTIAL
PHOTO 1
PHOTO 2
PHOTO 3
The residue from the Stabilo pencil
has transferred cleanly to Automasks
white surface.
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PHOTO 4
PHOTO 5
An X-Acto #11 blade is used to cut the Automask. Always use a new,
sharp blade so only light pressure is needed to cut through the mask.
The trick here is to not cut into the paint and/or surface.
PHOTO 6
PHOTO 7
Here, you see the negative and positive components of the Automask.
The parts were first painted with PPG Kandy Red, clear-coated with
DCU2055, and then wet-sanded with 800-grit 3M sandpaper.
PHOTO 8
PHOTO 9
The masked areas were sprayed with PPG Coarse Silver basecoat thats
been tinted gold with House of Kolors Pagan Gold, Apple Red, and
Violet kandy concentrates. Most of the colors I custom-mix are unique
to each job so that when multiple paint jobs are on the same sales floor,
no two will have the same color.
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STEP BY STEP
PHOTO 10
PHOTO 11
The Arlen Ness logo is airbrushed on each rear fender. I open the facets
of the mask in order of light to dark. Spraying over the entire mask each
time makes the previous revealed areas lighter. Interestingly, the lighter
areas of the hologram pigment reflect a slightly different color making
the facets more pronounced.
PHOTO 12
Two coats of PPG DCU2055 Urethane Clear
were applied and allowed to dry. Notice the
clean edge produced with this masking
method. In my shop, the parts are again wetsanded with 800-grit paper, allowed to dry
overnight, and then pinstriped.
FINALS
The finished job pinstriped in Molac Silver, Peacock Blue, and Red
Gold, and again clear-coated with PPG DCU2055 Urethane Clear
with DCX61 catalyst and DT870 Reducer.
www.CoastAirbrush.com 1-(888)-KOLOR-IT
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GET A
LL 5
$134DVDS FOR
.95
www.airbrushaction.com 65
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NEW
HIP HOP ART
ALAN PASTRANA
This is the most intensive and indepth instruction on how to illustrate
a Hip-Hop image ever. Alan Pastrana
demonstrates advanced airbrush,
paintbrush, and stencil techniques,
and use of employing cutting-edge
vinyl applications while creating this
one-of-a-kind image.
NEW
SORAYAMA:
SECRETS REVEALED
MEDICAL EXPENSES
HAJIME SORAYAMA
This is an extroardinarily rare and
exclusive opportunity to witness,
step-by-step, the creation of a
painting by Sorayama, one of the
greatest living illustrators of our
time, and perhaps in history.
Commentary by Dru Blair.
MORE AUTOMOTIVE
AUTOMOTIVE
CHEAP TRICKS &
AIRBRUSH CHEAP
TRICKS & SPECIAL F/X SPECIAL F/X
CRAIG FRASER
Learn all the top pro tricks to help
you get the job done more quickly,
easily, and effeciently, including
pinstriping, surface preparation,
masking, freehand techniques, and
mixing.
CRAIG FRASER
This is the hot sequel to Craig
Fraser's original Automotive Cheap
Tricks & Special F/X. In this video,
Mr. Fraser demonstrates four topselling designs in a clearly
presented step-by-step format.
MICRO AIRBRUSHING
LORENZO SPERLONGA
Learn to render a sexy and complex
pin-up portrait that includes a
variety of textures, professional
and groundbreaking paintbrush
and airbrush techniques, and an
overall approach to painting that
will alter the way you work.
ROBERT BENEDICT
Airbrush in the smallest possible
scale, including the painting of 23
skulls the size of a dime! The ability
to micro airbrush is important for
achieving great detail in
photorealism, small-scale hobby
applications, micro-sized embedded
images into your artwork, and
sharper and enhanced airbrush skills.
CREATING KILLER
SKULLZ
CROSS-EYED
Learn how to make stock, modified,
and hybrid skulls stand above the
rest with form, dimension, shape,
and personality. As a bonus, this
DVD presentation includes a review
of 12 examples of skull paintings.
AUTOMOTIVE CHEAP
AUTOMOTIVE CHEAP
TRICKS & SPECIAL F/X 3 TRICKS & SPECIAL
CRAIG FRASER
F/X IV
CREATING KILLER
DRAGONS CROSS-EYED
CLEARCOATING CHEAP
TRICKS & SPECIAL F/X
CRAIG FRASER
Kar kustom guru Craig Fraser takes
you step-by-step through a complex
and high-end automotive graphic.
This advanced video includes top pro
airbrush techniques, pinstriping,
layout, textures, and more!
CRAIG FRASER
Realistic flames are heating up the
auto and motorcycle kustom market.
In the first video of its kind, Vargas
legend Craig Fraser reveals all on
how to render killer regular and blue
flames. For beginners to advanced
artists.
COMPLETE PAINTING
MOTORCYCLE TANKS
COMPLETE PAINTING
MOTORCYCLE HELMETS
COMPLETE GUIDE TO
MOTORCYCLE MURALS
HOT
PIN-UPS MADE EASY
DEBORAH MAHAN
Pinups are the latest trend in
kustom painting. This
groundbreaking 5-stencil system is
designed to fast-track you to render
sexy, pinups on cars, motorcycles, Tshirts and more. Youll learn how to
use these stencils most effectively.
(Stencils not included)
REALISTIC FLAMES
CRAIG FRASER
Dont miss this incredible video on
helmet airbrushing and pinstriping
featuring Craig Fraser. Watch as
Mr. Fraser takes you step-by-step
through the painting of two helmet
designs using freehand masking
and loose-shield techniques.
JOHN HARRIS
This title is a must for anyone
wanting to master realistic flames
the most sought-after and trendiest
of custom painting techniques
John Harris, one of the best realistic
flame painters in the World shows
how realistic flames are painted on
a 180-inch Hummer Stretch Limo.
VINCE GOODEVE
Vince Goodeve, VQs 2001 Painter
of the Year, demonstrates how to
prep, paint, and finish a
motorcycle tank, including prep,
design layout, airbrush techniques,
advanced highlighting, clear
coating, and much more!
VINCE GOODEVE
VQs 2001 Painter of the Year shows
you the top pro ways to produce two
hot-selling designs. Prep, layout,
painting, clear coating, and more
are included.
VINCE GOODEVE
Goodeves inner demons are
unleashed as he shows you how to
render the most complex imagery,
including textures, color theory,
airbrush techniques, professional
tricks, special f/x, and tons more!
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800-232-8998
HOT
HOT
TOP PRO STENCIL
TECHNIQUES
KILLER KLOWN
JAVIER SOTO
The rendering of clowns,
particularly of the killer or
psycho variety, are a growing trend in
kustom painting, Theres something
for everyone in this instructional DVD,
including how to employ brilliant
color, how to render a variety of
textures, use of kandies, realistic fire,
highlighting, and much more.
CROSS-EYED
During the painting of a dramatic
& evil skull, Cross-Eyed demos all
you need to know about hand
cutting stencils for faster execution
of artwork, special f/x, flexibility,
design accuracy, and precision.
CYBER GIRL
JAVIER SOTO
In this exclusive step-by-step
presentation, youll learn how to
master flesh tones, chrome and
many more of Mr. Sotos most
sought- after and unmatched
textures and effects.
BIKER SKULL
ROBERT BENEDICT
With more than 30 years of
airbrushing experience, Robert
Benedict shows you loads of cuttingedge tips and techniques. Some of
these methods have never before
been captured on DVD. This is an
absolute must-own for any kustom
artists library!
ROBERT BENEDICT
Mr. Benedict demonstrates and
unlocks one of the most
misunderstood and important aspects
in art: lighting. Mr. Benedicts
innovative style, rich use of color,
and ground-breaking techniques
make this a must-have DVD for your
reference library.
BASIC PINSTRIPING
TECHNIQUES
KUSTOM FLAME
TRICKS & TECHNIQUES
CRAIG FRASER
Heres the complete video
instruction on pinstriping from
Craig Fraser, one of the top
kustomizers in the world.
Recommended for beginners and
intermediates, this is a must for the
auto painters video library.
CRAIG FRASER
Kustom master Craig Fraser
introduces this incredible new paint
system with detailed, step-by-step
instruction on flat and curved metal
surfaces using a spraygun and
airbrush.
HOT
ASS KICKINAIRBRUSH
ADVICE WITH CROSS-EYED
HOT
CROSS-EYED
In the first video of its kind, kustom
sensation Cross-Eyed reveals how to
produce an amazing photo-realistic
image using pro airbrush,
paintbrush, and ink pen techniques.
WIZARDS DAGGER
PINSTRIPING
WIZARDS
SCROLLBRUSH
PINSTRIPING
AUTOMOTIVE
GOLD LEAFING
BUEGLER MASTERY
GARY JENSON
This world-class pintriping master,
reveals the secrets of gold-leafing
for automotive applications as
demonstrated on metal panels and a
motorcycle tank. In-depth product
instructions & top pro tricks make
this the only video of its kind.
GARY JENSON
Learn how to conquer the Buegler
striping tool from Gary Jenson, one
of the worlds best Buegler pros and
pinstriping masters. In this
instruction, Mr. Jenson demonstrates
the use of the Buegler on a semitruck, a Chevy Tahoe, and practice
exercises on metal blanks.
PINSTRIPING
DYNAMICS
HOT
GARY JENSON
Heres the ultimate guide for
beginning to intermediate
pinstripers and artists alike.
Featuring Gary Jensonone of
the Worlds bestas your guide!
#D9GJ03 53 min. $39.95
WIZARDS
PINSTRIPING BASICS
VANDEMON
In this cant-miss instructional video
youll learn simple and complex
flame layout and design, multicolor
execution, masking, pinstriping,
airbrushing, and tons more as
demonstrated on a motorcycle tank
and fenders!
VANDEMON
Flame master Vandemon demystifies one of the trendiest and
profitable flame styles in an easyto-follow instruction on a black
Dodge Ram. Learn advanced
taping techniques, how to create
symmetrical designs and a 3-D
look, mixing ratios for ghost
flames, and much more!
GHOST FLAMES
COMPLETE GUIDE TO
MOTORCYCLE FLAMES
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HOT
AIRBRUSHING
ON CANVAS
INTRO AUTOMOTIVE
AIRBRUSHING
BASIC PORTRAIT
TECHNIQUES
ADVANCED PORTRAIT
TECHNIQUES
NOAH
In this highly-detailed step-by-step,
NOAH shows how to render this
larger than life black and white
portrait on canvas. Hosted by David
Monning of Coast Airbrush.
CRAIG FRASER
Heres the ultimate video guide for
aspiring automtoive kustom painters.
Geared for artists with no prior
experience in kustom painting, this
instruction includes airbrush drills,
introduction to materials, paint,
hardware, and much more!
STEVE DRISCOLL
In this video, Steve Driscoll shows
you how to use airbrush techniques
to render eyes, teeth, and hair for
perfect portrait paintings every
time.
STEVE DRISCOLL
Learn to render incredible and
advanced photo-realistic
portraiture! Includes working with
reference photos, formulas,
advanced highlighting, and more.
ILLUSTRATION CHEAP
TRICKS & SPECIAL F/X
MICHAEL CACY
Vargas Award winner Michael Cacy
reveals timesaving and innovative
cheap tricks and special effects
from his 30 years of experience.
Learn how to render orange peel
texture, wisps of smoke, hair,
feathers, fur, and more.
BODYWORK BASICS
AND TECHNIQUES WITH
K-DADDY
HOT
KUSTOMIZING
BOWLING PINS
INTRODUCTION
TO AIRBRUSH
BEGINNING AIRBRUSH
CARTOONING
DEBBIE EASTLACK
Debbie provides the best beginning
airbrush instruction ever seen on
video. This presentation is a must
for beginning airbrush artists.
The techniques and principles
demonstrated here can be used
for all airbrush applications.
TERRY HILL
The perfect video for beginners!
Terry will show you all of the
basics you need to get started,
including freehand control,
airbrush assembly, rendering
clouds and chrome, doing
dagger/flare/rat-tail strokes,
maintenance, and much more.
KENT LIND
For beginning and advanced
airheads, world-class artist Kent
Lind shows you step-by-step how
to tap into the very lucrative
business of cartooning for T-shirt
airbrush operations. Includes Linds
detailed demonstrations of five
hot-selling designs.
KANDY PAINTING
TRICKS & SPECIAL F/X
KUSTOM SNOWBOARD
GRAPHICS
HOW TO AIRBRUSH
T-SHIRT ACCESSORIES
FOR GREATER PROFIT
VINCE GOODEVE
Painting bowling pins is one of the
hottest kustom kulture trends.
Watch as Vince Goodeve, VQs
2001 Painter of the Year, renders
2 hot-selling pin designs in this
first video of its kind! Includes
prep, layout, and clear coating!
RYNO
Let Ryno show you how to create
bling-bling boards of the slopes
in a fun and fast-paced
presentation that includes bonus
techniques for applying flakes and
pinstriping.
INTRODUCTION TO
T-SHIRT AIRBRUSHING
KENT LIND
Take your T-shirt business to the next
level with world-famous airbrusher
Kent Lind, as he shows you how to
paint killer wristbands, key chains,
license plates, and other T-shirt
accessories for maximum profit.
KENT LIND
In this information-packed video,
Kent Lind shows you invaluable
practice drills, such as the zebra
and dagger strokes, rainbow and
pinwheel exercises, lettering drills,
tips on paint blends, fades,
shadows, and more!
TOP 25 T-SHIRT
DESIGNS, PART I
TOP 25 T-SHIRT
DESIGNS, PART II
KENT LIND
Kent Lind helps you build a highpowered T-shirt design arsenal in
this information-packed video.
Learn from the master and get on
track for higher dollar profits than
you ever imagined!
KENT LIND
Join world-famous T-shirt
airbrusher Kent Lind for Part II of
this exciting series. In this
revealing video, Kent kicks it up a
notch with 10 high-end designs for
advanced airbrush pros.
HOW TO AIRBRUSH
CARICATURES
KENT LIND
Caricatures are an important
attention-getting device for
attracting bigger crowds and
bigger profits! Join T-shirt guru
Kent Lind for a highly detailed
step-by-step on how to create
these top-selling masterpieces!
TERRY HILL
Terry Hill reveals his bag of tricks
for airbrushers of all levels. Learn
timesaving and money-making tips
with a hot new T-shirt twist design,
marble and granite techniques, and
more. This video covers a broad
array of useful techniques.
S!
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800-232-8998
MOTORCYCLE TANK
SCULPTING
DENNIS MATHEWSON
Motorcycle tank sculpting is a
sensational new trend and a powerful
profit center. Mathewson shows all
the stepsfrom carving, to
adhering your molded shape, to full
completionto create a one-of-akind 3-D object on a tank or fender.
SKULLMASTER II
SKULLMASTER III
CRAIG FRASER
The art of the skull landscape, and
much more, to new heights in this
continuing DVD series about the
best, most innovative stencil line
available. This DVD guides you stepby-step through Skullmaster IIs 5stencil solvent-proof system.
(Stencils not included)
CRAIG FRASER
A continuation of Skullmaster I (the
most successful stencil set ever) will
elevate your work-flow, artistic
range, and earning power! Stencils
demonstrated include Return of
Skullmaster, Frontal II, Screaming
Skull II, Multiple II, and Lucky 13, a
bonus stencil. (Stencils not included)
MASTERING
SKULLMASTER
CRAIG FRASER
Craig Fraser shares his top pro tricks
using Artool's Skullmaster stencil
series. Mr. Fraser developed
Skullmaster for T-shirts, automotive
work, tattoos, and more! Create
top-flight, professional designs with
Skullmaster and this video!
ADVANCED METAL
SHAPING
GROUND METAL
PAINTING
MARK REMLING
This highly detailed step-by-step
shows you how to grind and paint on
metal for one of the hottest kustom
kulture applications and art crazes.
This instruction culminates with a
bonus trendy tiki image.
DAVID MONNIG
After viewing this program, youll
never again want to throw away
your airbrush! David Monnig, one
of the leading authorities on
airbrushes and compressors,
demonstrates critical airbrush repair
and maintenance techniques.
HOT
BODY LEADWORK
STEVE FRISBIE
Steve Frisbie, considered one of the
premier custom hot-rod builders in
the world, demonstrates top
professional leadwork techniques
on a 1934 Ford 3-window coupe
with repairs on the windshields
apiller, dent on the fender, and the
sealing of a welded body seam.
MIRRACHROME,
GHOST CHROME &
CRYSTAL F/X
CRAIG FRASER
Chrome is in! Alsas amazing
MirraCrome and GhostChrome
paint systems are in strong
demand, and Craig Fraser
introduces you to their uses and
nuances for bigger shop profits and
competitive edge.
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FISHING,SO-CALSTYLE
FISHING,SO-CAIRBRYSHKSLLSS:ALSTYLE
lthough youve seen flames on
old hot rods, Harleys, and race
cars, have you ever seen them on
a 9-foot blacktip shark! I have to say that
painting sharks is a little bit more of a
challenge than painting flames on
automotive surfaces. The shark is awkward
to handle, and all of the contours of the
body make it difficult to paint and lay out
flames. But, the end result is something
else. Follow along step-by-step as I show
you how to paint a shark and have a cool,
or should I say HOT, piece of art for all
your friends to envy. >>
1. This shark was made of fiberglass, and is ready for some hot licks.
LSTYLE
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3
3. I base-coated the shark with PPG black. Because the base coat
is not a single-stage paint, you need only enough to cover the
surface. The clear will bring out the gloss, but thats a few steps
away. You must allow the base coat to dry completely before
moving to the next step. If all else fails, read the instructions on
the back of the can for mixing and drying times.
5
5. The flame pattern is taking shape and using
up a good portion of the shark. Its also
flowing with the shape of the shark.
4. When laying out flames I use 3M blue fine-line tape. On jobs like this, and
Harley tanks and fenders, I prefer the 1/8-inch variety because it makes turns a
lot tighter than 1/4-inch tape. Typically, I study the entire surface and mentally
lay out the flame pattern in my head. This really helps me with my approach to
the project. If you have trouble with this step and just cant lay out the flames,
commission a local pinstriper to do it for you. I do this for a lot of custom shops.
6a
6b
6A & B. With the flame layout complete, look it over carefully because nows the time to make any
changes if necessary. Now comes the fun part: masking. I use 1/2-inch and 3/4-inch masking tape
for this step. The 1/2-inch tape will stretch and contour to the curves better than 3/4-inch tape, and
then you can use the wider tape to fill in the gaps. This takes time, and make sure you take your time.
If you miss an area and experience bleed-through, you can fix the problem later after unmasking.
7
7. Only the areas to be painted are showing. In this step I painted
a flame-tip crossover.
8
8. I masked the rest of the shark and started painting the flames. For this
shark the customer wanted silver with charcoal-silver flame tips.
www.airbrushaction.com 73
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BETWEEN
THE LINES
9a
9b
9c
9d
10
10. The silver fade on the tips is subtle. You can use any color for your
flames: single color, multiple color fades, pearls, candies; the skys the limit.
11. Unmasking is my favorite part because you finally get to see what
your job will look like!
11
13
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FOR YOUR
PINSTRIPING NEEDS.
CALL FOR OUR CATALOG
517-849-9272
NEW BRUSH OFFERINGS
COMING SOON!
TAKE A LOOK AT OUR WEBSITE
FOR A DISTRIBUTOR NEAR YOU:
WWW.MACKBRUSH.COM
INFO@MACKBRUSH.COM
N!
AREsIsue
S
W
E
EVI
this i
THE Rpage14 in
See
ideal air pressure specific to any application. Youll be able to recognize if your
gun is working properly and adjusted to its targeted purpose under any
climatic condition (high humidity, arid climates, cold conditions, and more).
You'll learn the various critical air supply topics, including compressors,
valves, and piping requirements.
DAY TWO: Surface preparation, including safety, mixing, sanding, blocking,
cleaning, and body filler and primer applications. Non-isocyanate products
will be used in this workshop environment.
DAY THREE: How to achieve a variety of effects using kandies, metallic sealer,
a variety of iridescents, MBC metals, use of different flake types, including
how to apply bigger flakes over smaller flakes, pearls over big flakes, etc.
Start of the class project, and more.
DAY FOUR: Project continuation, including taping for design, masking, spraying
against masks, layering, drying, fading, clearing/flow-clearing, and polishing..
BIO: Brian Lynch, Training Manager for House of Kolor, has been involved in the
automotive kustom painting industry for 35 years in the capacity of painter,
chemist, sales, and training. The opportunity to work with chemists in paint
manufacturing really bolstered my knowledge, Brian explained. After spending 20
years with three major refinish manufacturers, Mr. Lynchs unique and massive
experience will provide students with the fantastic opportunity to learn from a
technical wizard and accomplished professional who stresses consistent project
performance while preserving the creative ability kustom painters need.
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BETWEEN
THE LINES
14A & B. Time to make it shiny. First, I used a
tack cloth to remove any dirt or dust. Dont skip
this step, because itll save you in the long run to
make sure the whole surface is dust-free before
14a
14b
clear-coating. Please, take your time with the
clear coat; this step can make or break the job! If youve never painted, read the directions on the back of the
can. They tell you everything from mixing ratios, drying times between coats, overall drying times, etc. If you
follow the directions, and with a little practice, you can apply the clear coat flawlessly. Good Luck.
Styles www.socalpinstriper.com
15a
15b
15c
15A, B & C. Finally, after the beautiful clear coat has been applied and is dry, its time to get down
to business with the pinstriping. This step is also one that you might want to commission a local
pinstriper to do. But, give it a shot anyway; you can always wipe it off with some mineral spirits.
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ADVERTISING
INDEX
GET NOTICED!
EXCLUSIVE
Order Toll-Free
800-232-8998
International Orders: Call 732-223-7878
PLACE A CLASSIFIED AD
IN AIRBRUSH ACTION
CALL NOW!
1.800.232.8998
NEW!
Airbrush Action
T-Shirts
Large logo
on back
*Front of shirt
has small logo
on pocket
S,M,L,XL $20.
XXL, XXXL $23.
CLASSIC KUSTOM CULTURE LOGO
T-SHIRTS ALSO AVAILABLE
Tag Blanks: White or Black Aluminum Fast Drying No Prepping No Sanding Ready For Paint
Acrylic Mirror European Half Highs Motorcycle Colored Aluminum
Acrylic Bubble Covers Metal & Plastic Frames Clear Plastic Shields
Phone: 888-810-8247
CUSTOM-MADE
VINYL STICKERS!
Moseart.com
NEW
Liquid Silver &
Night Glow pigments available
SpectraFlair
800-628-2194
11-11
Est.
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4:08 PM
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GET EVEN MORE STEP-BY-STEP HOW TOS ON JUST WHAT YOURE LOOKING FOR!
NEW! HOW TO DRAW
NEW!
UP IN FLAMES
The Art of Flame Painting
By Tim Phelps With Yosemite Sam Radoff
TOP CHOPS
MASTER CHOPPER
BUILDERS
Several of the most popular
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Learn step-by-step how to apply the base coat & add incredible
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ATLAS OF HUMAN
ANATOMY FOR
THE ARTIST
By Stephen Rogers Peck,
remains unsurpassed as a
manual for students
exploring human design.
Includes sections on bones,
muscles, surface anatomy, proportion, equilibrium, and locomotion.
Plus many unique features such as physique, age and race.
#BAHAA - $19.95
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ART esprit
WELDERS HANDBOOK
ADVANCED CUSTOM
PAINTING TECHNIQUES
By Jon Kosmoski
NEW!
AUTOMOTIVE UPHOLSTERY
HANDBOOK Don Taylor
In this revised edition, learn how to
make and install complete interiors.
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078_ABA_0806_ART ESPRIT.qxd
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Wizards
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