Airbrushing in the Classroom

IN THIS ISSUE:
• Airbrushing in the Classroom
with Roger Scovell
• The History of the Airbrush Part 1 - The Early Years
• Artist Interview - Alan Pastrana
• Lesson Plan 2 - Circle Exercise
• Workshop Program for Schools
Spring 2014 | Issue No. 2 | www.AIRBRUSHtalk.com
Airbrushing in the Classroom
with Roger Scovell
A New Age
Things have really changed since I started
teaching airbrush. In the last 10 years people
have finally come to grips that in order for
an industry to thrive it has to have a future.
Now you have books, magazines, classes
and YouTube videos. How can you decipher
what is helpful and what is a hindrance? Do
they tell you enough so you can truly learn
or give you just enough information to keep
you wanting more without really teaching
you? Teachers want knowledge but they
don’t have the time to sort through all the
mass information. So I am going to try to
help by giving some information about how
it is in my classroom. Hopefully, you may
be able to set up one or more airbrushes in
your classroom. Be warned, once students
get familiar with the “magic tool” (airbrush),
they are going to be hooked.
Roger Scovell currently lives in Kansas and teaches Intro and Advance Airbrush / Pinstriping at
USD# 260 Derby High School. He has been airbrushing for over 30 years.
Daunting?
My name is Roger Scovell. I am the Airbrush
instructor at Derby High School in Derby,
Kansas, the land of “Oz”, which is an
appropriate segue to teaching airbrush since
we often find that road to be daunting, full
of unknowns and often scary. But with the
right assistance and knowledge, airbrushing
can open a whole new adventure.
Using an airbrush can be a bit intimidating,
especially if you have no experience with the
tool or do not know where to turn. I know,
I had the same feelings when I started 30
years ago with a double action airbrush my
parents bought me. Unlike today, back then
no one wanted to share any knowledge of
what this “magic tool” was and why it was so
secret. So I taught myself. I struggled, failed
and succeeded. It was a challenge. (I love
challenges and problem solving.) I vowed
that if I could become proficient with this
“magic tool” I would share any knowledge
I acquired. So after becoming a teacher I
brought the airbrush into my curriculum.
Time does not allow me to get into what
happened from then until now, suffice it
to say, lots of work, lots of fun, and lots of
knowledge, all very fulfilling. As teachers,
that is what we strive for after all, isn’t it?
Welcome To My World
When I first started airbrush in my classes,
it consisted of using one small 2.5 hp 25
gallon compressor. I wrote my own airbrush
curriculum since none existed. I made an
eight station manifold out of PVC and quick
disconnect connections (material found at
any hardware store), eight double-action
siphon-feed airbrushes, 10 foot hoses, easels
I made from scrap wood and used framing
nails for airbrush holders. All was good
with the world and it was a great way to
start (maybe not with the PVC though).
We produced some really cool pieces and
students loved it. I was teaching beginning
and advanced drawing, computer graphics,
commercial art and airbrush, all at the
same time every hour, with clay and acrylic
painting in there as well. I thought everyone
had that many preps each hour!
All Airbrush
Soon after the school counselors said that
they had to turn lots of students away that
couldn’t get into my airbrush classes, so
I was asked if I would be willing to just
teach airbrush. Hurt me some more! The
rest is history. At present I teach airbrush to
approximately 300 students a year with over
a hundred on a waiting list! My classes are
one semester long with Intro and Advanced
classes. A student may take Airbrush all eight
semesters of their High School career. I have
had many students go to jobs and careers
using the knowledge of Airbrush. Some even
have their own Custom Airbrush business
and are doing very well. Some of the fields
which include airbrush are; Transportation
(custom paint, body shops, aerospace, etc.)
Commercial Art, Architectural Rendering,
Theatrical Make-up and Set Design, Special
Effects Movie Make-up, Sign Craft, Murals,
Tanning, Cosmetology (fastest growing
field), and the list goes on.
Our present set-up at Derby High is larger
now. The space is approximately 30’ x 38’,
with an industrial compressor, 24 airline
drops, 24 stations, homemade airbrush
holders (that are student proof ), easels with
back boards and 24 Iwata double-action
Eclipse HP-CS airbrushes with 10’ hoses.
We use German-made hot press illustration
board, Ultra Mask and vinyl transfer tape
(light and medium adhesive), along with
hand made shields for free-hand work. We
use Medea Com-Art paint for the illustration
work and are testing another paint for metal
work. Over the years I have fought for ways to
make it easier for my students to learn in my
airbrush room. We have three HD monitors
strategically placed so all students can see the
demonstration, a video camera to tape and
show the demonstration on the monitors, a
sound system so students can hear me (as if
that is a problem for little o’ me, lol). There
is an upright easel, silent compressor and
airbrush in the demonstration area. Yes, it
has taken awhile for others to see my vision,
and I am still working on it. I hope to tape all
of my demonstrations so that students that
miss them for whatever reason can watch
them when they return or so that students,
at any time, can reconnect with a technique
we used. There is a whole lot more that could
be said about how we start the semester,
holding the airbrush, triggering, stance, easel
placement, different control exercises for
Intro and Advance, cleaning and caring for
the airbrush and equipment, etc. but that
may be for another time.
The History of
the Airbrush
Part 1 - The Early Years
by Robert Paschal
As A Teacher
I believe I am a good listener, very much an
observer and live to problem solve anything
that will make it easier for my students to
succeed in my classes. Having a working
Advertising, Design and Commercial Art
background along with a screen printing
and vinyl background helped round out my
knowledge and is used on a daily basis for
problem solving new techniques and ideas.
All that I do is student-driven. I have all walks
of life in my classes: ELL, LD-HD, ADD,
Special ED, deaf, color blind, physically
impaired, and so on. Typical High School
students, but not a typical High School class.
I am a firm believer that not all students
learn the same way. In order to reach all my
students, every lesson is taught for Auditory,
Visual, and Kinesthetic learning. I also try to
present only three steps at a time. I believe
that if you give a student more than the three
steps, they will remember the first and last
but maybe not all of the middle. They get
lost and you lose them. The lessons must
also make sense and be relevant to them and
prepare them for the future. You have to
excite them into learning and above all, you
must make it fun! I do crazy things all the
time in my classroom — that's just me and it
cuts the tension.
Before I go, I must reiterate how important
it is to stay positive and try new things. You
do not have to know everything. You can
learn with the students. And don’t be afraid
to make a mistake! Above all, have fun with
it. Use the airbrush to change the students
outlook on life... like it has mine.
Abner Peeler, of Webster City, Iowa,
invented the airbrush in 1878. Peeler was
a professional inventor and held patents on
over 100 items, including the typewriter and
the screw machine. The first airbrush was
actually called a "paint distributor" and did
not even remotely resemble the airbrushes of
today. An oscillating airbrush in principle, it
was made primarily out of wood and sprayed
paint in what would now be considered
a crude manner. It is known that the first
airbrush was sold to S. M. Thomas for the fee
Photo courtesy of ARTtalk.com
of ten dollars. One month after the invention
of the airbrush, the first painting was
completed with it--a self-portrait of Abner
Peeler done on an enlarged photograph.
At the time, retouched photographs were all
the rage. The availability of photography to
the masses brought about the development
were the instability of chalks and pastels and
of an industry that produced hand-rendered
the time required to execute them. With the
portraits of practically every man, woman
invention of the airbrush, which sprayed a
and child in North America. Prior to the
dot pattern that looked very much like the
invention of photography, to have a picture
grain of a photograph, the portraitist could
made of you or of a loved one took time
work faster and in more permanent mediums.
and money and was available mainly to the
leisure class. The subject had to sit for the
Early airbrushes were propelled by a very
portrait painter plus, of course, pay a fee,
primitive air source, also invented by Peeler.
thus requiring both time
The
air
compressor
and money. With the
was
foot-operated,
and
A Tale About Abner Peeler
availability of a photograph,
the airbrusher would
After having heard about the
you needed only to send it
pump the pedals of the
invention of the bicycle (invented
to a specialty house that
compressor that were
in 1879 and refined in 1885) but
would produce from it
attached underneath the
never having seen one, Peeler went
a portrait done in either
drawing table. The air was
back to his workshop and built one.
pencil, charcoal, chalk,
pumped into a storage
On its maiden ride, Peeler buzzed
around his hometown, terrifying
pastel, watercolor or oil,
chamber where it was
man
and
beast.
Upon
being
depending on your budget.
compressed, and a hose
horrified by the negative response
Most of these portraits
connected the storage
to his new creation, he took it back
were done on enlargements
chamber to the airbrush.
to his workshop and chopped it up
of
the
photographs,
In some instances an
with an ax.
which were fuzzy and
assistant would treadle the
out of focus, but gave the
pedals to deliver air.
portrait painter the essential drawing and
information needed to complete a likeness
Although an eccentric inventor, Peeler was
that would satisfy the client. Remember that
not a businessman. Three years after he
during this time, images weren't as tight as
invented the airbrush, he sold the patent
those today, so the consumer was satisfied
for $700 to a man named Liberty Walkup.
with lower quality.
Over the next few years Peeler would refine
the airbrush twice, making $150 for both
In Chicago, a mecca for portrait shops,
refinements, and then move on to bigger and
hundreds of people were employed to paint
better things. Walkup, on the other hand,
and draw on enlarged photographs. Two
was a promoter. Within the next ten years,
problems presented with doing the portraits
he would propel the airbrush into the hottest
art tool ever seen.
Iwata-Medea Interview With
Alan Pastrana
Alan Pastrana is a highly regarded and well-known artist in the custom airbrush world. He’s
been airbrushing for fifteen plus years and has built up a highly successful custom art business
at Pastrana Unlimited Airbrush Studios, LLC, in Plainville, Connecticut. He specializes in
automotive airbrushing & custom graphics on choppers, hot rods and cars in addition to
doing beautiful illustrations and portraits on canvas. Alan was born and raised in Queens,
NYC, and attended the Fashion Institute of Technology (F.I.T.) in Manhattan where he
majored in Illustration. He’s also skilled in traditional media such as oils, watercolors, acrylics
and pen & ink. Alan uses his background in life drawing, painting and portraiture to create his
automotive artwork and fine art commissions. His work has been seen in many publications: Extreme Motorcycle Art, the book by Merrel publishing, Easyriders magazine (October 2007),
European magazine Custom Motorruder (January 2008), V-Twin magazine (October 2007),
and, of course, the cover of Airbrush Action magazine (July 2007). His many clients include
companies such as: Nike SB, Old Navy, Arts in Architecture, Jennifer Adams Interior Design
Group, Indian Motorcycle, O.C.C., Rock City Motorcycles, Brothers Harley Davidson,
Patrick Baker and Sons Church Restoration. In addition, he has a very popular instructional
DVD, Hip Hop Art with Alan Pastrana, and he’s currently teaching for the world renowned
Airbrush Action Getaway Workshop Program as head instructor of the Dynamic Kustom
Painting class.
Q: When did you first pick up an
airbrush? And what did you think
after your first try?
A: I think I was Fourteen years old, after
watching some airbrush artist in Manhattan,
I asked my dad to buy me my first airbrush
for my birthday. Before airbrushing I was
using markers to paint on clothes, so when
I first gave it a try I was blown away and
hooked immediately!!!!!
Q: How did your art education
prepare you for an art career where
your main choice of artistic tool
is an airbrush?
A: My art education was crucial and
absolutely essential to me as an artist, it’s
where I honed my skills. The airbrush
was simply just another tool, just like a
paintbrush, pencil, or computer. However,
the airbrush just happens to be my favorite
tool, hahahaha!!!!!!
Q: You work on all these different
surfaces and in all these different
genres… Did you ever imagine
yourself where you are now in your
artistic career?
A: Never could have imagined it! Art was
always a personal hobby of mine, never
took it serious till I majored in Illustration
in college. Furthermore, never thought
I could make a living on it because jobs
were so scarce, that’s why I fell back on my
airbrushing, just followed the money.
Q: How did you get the opportunities
to paint on all these different surfaces?
A: I put myself out there by attending
shows, networking, offering my services very
economically. Pretty soon my career just
took off and I was in high demand.
Q: What are your artistic influences
now? What sort of things do you read,
watch, pay attention to for inspiration?
A: My influences now are my peers and
renowned illustrators and artists such as
Justin Bua, for example. Usually I can
find interesting articles and pictures on
the internet these days. I’m always paying
attention to what these artists are doing and
hopefully learn from them so I can pave my
own way.
Q: If you could go back and give your
18 year old self some advice what
would that be?
A: Interesting question, not so easy to
answer. I would tell my 18 year old self to be
more serious and focus on a strategy.
Q: How do you think your creative
career is different than other artists
who work with more traditional
tools and surfaces?
A: I guess it’s different because I get to pick
and choose my own projects, I’m not dealing
with art directors and having to conform
to their expectations. I have more freedom
to do what I want, when I want, and how I
want, I am my own boss.
Q: You’ve had a lot of experience
teaching airbrush to all ages of
students. What advice do you always
give them? What’s one thing they
should always remember?
A: To keep the air on at all times!!!! Just
kidding hahaha!!! I tell them to practice every
day and not just only on workshop days. If
you want to be successful at airbrushing, it’s
like any other sport, you should train every
day. I also tell them, “Do it for the love of it
and not for anything else”.
Q: How do you incorporate your
traditional art techniques into your
current work?
A: I always incorporate my traditional
Q: What are the benefits to having
airbrush skills in life and in your
artwork?
A: The benefits are vast, first of all you get
to meet a lot of great people, and it’s a tool
that many folks want to learn so teaching
opportunities are available. Jobs definitely go
much faster and there are many opportunities
to be diverse, such as traditional jobs to
custom automotive work, fine arts and
mural painting. But most of all, you get the
opportunity to represent great companies
like Iwata!!!!!
techniques into any job I’m working on.
I usually focus on many aspects such as,
creativity, drawing and anatomy, balance and
composition, layout, color theory, etc.
Q: Is there something you haven’t
airbrushed on yet that you’d like to?
Or is there some specific concept
you’ve yet to paint that you’re dying
to do?
A: I think I’ve airbrushed on almost anything,
well mostly everything. However something
that I would like to do is to create a series of
my own original pieces and open up a gallery
where I can exhibit and sell my own prints.
See more of Alan Pastrana's work at :
www.PastranaUnlimited.com
From the book, “Basic Airbrush Techniques: A Complete Course” by Robert Paschal
L E S S O N
P L A N
T W O
4
Circle Exercise
S H A P E
E X E R C I S E
U S I N G
F R I S K E T F I L M
Geometric shapes have always been used to teach the basics of art. It is said that all objects brought down to their simplest
visual levels are made up of basic geometric shapes—circle, cube, cylinder, etc. The airbrush, because of its ability to spray
soft dots, can make flat geometric shapes look three-dimensional.
STEP FOUR
When airbrushing a shape such as a circle, move the airbrush in an arcing motion when
applying paint. Remember that the light source is coming from the upper left-hand corner,
so the top left of the rendering will be the lightest. The bottom right-hand side will be the
area that receives the shadow. It’s this area that you airbrush along, allowing the spray to
drift and give a gradation. Slowly build up the opacity of the paint in overlapping airbrush
passes. Remember that sometimes “less is more.” Don’t apply the paint too quickly. It’s
easy to put on, but very difficult to remove.
When a circle is rendered with an airbrush using black ink and frisket film, it ends up looking like a black/white photograph
of a ball or sphere with a 3-D appearance. In this exercise the light source is coming from the upper left-hand side. Remember
that highlights will be on the upper left-hand side and the darks on the lower right-hand side.
1
5
STEP FIVE
Once the rendering is developed to your satisfaction, gently remove the frisket film that
covers the background. Slowly peel the frisket film until entirely off the artwork.
STEP ONE
Tape exercise #1 to your drawing board using drafting tape on all four corners. Apply a sheet
of frisket film over top of the exercise sheet. Remove the backing paper down only 1-2" from
the top of the film and attach the adhesive side of this strip of film to the top of the exercise
sheet. Smooth out the strip of frisket film with your hand. Reach underneath the frisket film
and grab the loose sheet of backing paper. Pull down on the end of the loose sheet of backing paper to apply the frisket film over the entire exercise sheet. Save the backing paper to
put pieces of cut frisket onto for future use.
6
2
STEP TWO
Use your hand to work out to the edges any air bubbles that may appear underneath the
frisket film. Be sure to rub gently. Now you are ready to begin cutting out the circle with
your frisket knife. Using the frisket knife with a #11 blade, begin to cut around the circular
shape. Using the frisket knife with a #11 blade, begin to cut around the circular shape. Learn
to cut friskets in one continuous motion without removing the frisket knife blade from
the cut. This ensures a smooth, continuous line around the perimeter of the circle with no
“sawtooths.” Don’t press too hard with the knife; it’s sharp and you don’t want to cut into
or through the exercise sheet.
3
STEP THREE
Gently slide the tip of the frisket knife underneath the cut of the frisket film. Use the tip of
the knife to lift the piece of film covering the circle. Once the edge of the frisket film covering
the circle is lifted, grab the edge with your fingers and begin to peel it off. Slowly peel the
frisket film completely off the area to be airbrushed so that you don’t tear the paper surface.
Place the piece of frisket film just removed onto the backing paper for future use. Now the
entire surface of the circle is open and ready to receive paint.
STEP SIX
Now the rendering of the circle is complete. It appears as a circle or ball with an exact hard
edge line around the perimeter and no overspray on the background. All the paint that had
drifted onto the frisket film is gone with the film that was removed.
Learn more fundamentals of airbrushing from Robert Paschal in a foolproof, easy and straightforward method. The Basic Airbrush Techniques Exercise Kit has the necessary materials
needed to complete the exercises in Robert Paschal’s book, Basic Airbrush Techniques (book sold separately).
Iwata-Medea Wants to Give Students a Chance to Airbrush
by Choosing Classrooms to be Outfitted with Iwata!
Iwata's Workshop Equipment Program for Schools
Anest Iwata-Medea, Inc. is committed to extending the opportunity for students to learn about an amazingly creative tool not
normally available to them in school art programs: the airbrush. This is our way of helping enhance the skill set of students, getting
them engaged and creating the awareness of airbrushing. Iwata is the premier brand widely known for quality, performance and
durability, which makes it the best choice for student use.
• Do you have the classroom space for airbrushing? It only takes a desk or a corner.
• Do you have the time to feature airbrushing in your curriculum or allow students to incorporate it into their projects?
If so, then ask for an information packet with details and application.
We want to outfit your classroom with Iwata!
Call or email for details and an application.
joannam@iwata-medea.com • 503-253-7308
In the next issue of Airbrushtalk for Art Educators:
• The History of the Airbrush Part 2
• More Student Exercises for Gaining Airbrush Control
• Working Artist Interviews
• And Much More!
This publication is made possible by:
ANEST Iwata-Medea, Inc.
1336 N. Mason St., Portland, OR 97217
tel 503-253-7308 • fax 503-253-0721
info@iwata-medea.com • iwata-medea.com