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CONTENTS September– October 2012
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40
JOHANNES WESSMARK: TRENDING PHOTOREALIST
European airbrush sensation Johannes Wessmark has been painting and drawing most of
his life and is completely self-taught! Winner of several art competitions, Johannes’s star
is quickly rising on the international art scene.
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20. LEON RAINBOW By Sheri Lynn Meyers
o
er
The urban wall has long symbolized limits and ghettos, restraint, seething rebellion, degradation and captivity, but here on its surface is its renaissance in symbols of hope and a climb
upward. With a whole lot of color and style, Leon Rainbow is giving back to the community
with his special brand of urban art.
e
24. GETTING GRUNGY By Mike Lavallee
Because many textures—stone, sand, rust, and metal pitting, to name a few—can be difficult
to pull off convincingly with an airbrush, Mike Lavallee recently developed one of the most
useful and easy ways to produce tons of various effects with Artool’s new Killer Grunge FX. For
alien skin, bone texture, acid-eaten surfaces, certain wood textures, aged aluminum, imitation
galvanized steel, alien skin patterns, detailed flower patterns, pitted skin, pores, zombie flesh,
cool camo patterns, and more, this stuff is, well, killer.
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28. RHIANNA’S POWER PORTRAIT By Javier Soto
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Javier Soto’s intense step-by-step of pop singer Rhianna includes instruction on color theory,
how to render facial features, flesh tones, use of an electric eraser, fiber pen and razor knife for
highlighting and detailing, how to render skin pores, use of the Artograph LED digital projector, Wicked Colors, and tons more. To learn the process in its entirety, the 3 1/2-hour, 2-disc
DVD set is now available.
36. STURGIS MOTORCYCLE RALLY 2012
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DEPARTMENTS
9.
12.
18.
46.
52.
58.
66.
80.
83.
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Air News
Reader Gallery
Strokes of Geniuses
Getaway Info
T-Shirt Tactics
Back Issues
DVDs
Books/Art Esprit
Classified Ads
Airbrush Action hired Don Kates, of Shooters Images, Inc., to photograph a pictorial on the
beautifully custom painted motorcycles of Sturgis 2012, the world’s largest motorcycle rally.
52. 1973 CORVETTE STINGRAY ON A T-SHIRT By Luc Boivin
To render a car onto a T-shirt with any success is a big challenge for most airbrushers. But, to
render a car with the superior photorealism that Luc Boivin has is a whole other story. And,
best of all, Mr. Boivin shares how he does it!
60. 2013 PAINT BUYER’S GUIDE
This year’s Paint Buyer’s Guide is loaded with all the information you need to choose the correct paint for your application.
72. AMERICAN SIGN MUSEUM IS SERVED! By Wade Swormstedt
The American Sign Museum officially opened the doors to its new home in the Camp Washington area of Cincinnati on Saturday, June 23. Here’s a VIP look at the triumphant culmination of
years of hard work, a true labor of love, and indefatigable fund-raising efforts.
74. WEATHERED SIGNAGE By John Hannukaine
With popular TV shows such as American Picker and resurgence of the rat rod movement, the
weathered sign and lettering look is trending strong. Sign master John Hannukaine demonstrates the finer points of creating vintage-looking signs with relative ease.
AIRBRUSH ACTION
SEPTEMBER– OCTOBER 2012
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Cover image by Peter Maier
P.A. Barney, 38"x 44" aluminum panel
®
Cover Photo by Don Kates, Shooters Images, Inc.
September–October 2012 | Volume 28, Number 3
OFFICE
AIRBRUSH ACTION MAGAZINE
P.O. Box 438, Allenwood, New Jersey 08720
(732) 223-7878; Fax: (732) 223-2855
PUBLISHER
Publisher and Executive Editor Clifford S. Stieglitz
ART & DESIGN
Art and Production Director Brian J. Woodruff
EDITORIAL
Contributing Editors
Luc Boivin, Bethany Duvall, John Hannukaine,
Don Kates, Mike Lavallee, Sheri Lynn Meyers,
Wade Swormstedt, Javier Soto,
Johannes Wessmark
ADMINISTRATIVE
Customer Service Linda Furiato
Circulation Jaclyn Caffrey
Social Media Gerry Lacuarta
ADVERTISING
Advertising Director Clifford S. Stieglitz
SUBSCRIPTION INQUIRIES
Send all remittances, requests,
and address changes to:
Airbrush Action, P.O. Box 438,
Allenwood, NJ 08720.
Subscription rates:
One year $26.95, two years $42.95.
Canadian orders: One year $42.00,
two years $75.00.
All other foreign orders:
One year $50.00, two years $88.00.
NON-US RESIDENTS: ALL PAYMENTS
MUST BE MADE PAYABLE IN US FUNDS.
STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION. 1. Publication Title: Airbrush Action. 2. Publication No. 1040-8509. 3. Filing Date: 11/3/11. 4. Issue Frequency: Bi-monthly. 5. No.
Of Issues Published Annually: 6. 6. Annual Subscription Price: $26.95. 7. Mailing Address of Known
Office of Publication: 3209 Atlantic Avenue, Allenwood, NJ 08720. 8. Mailing Address of Headquarters or General Business Office of Publisher: Same as 7. 9. Name and Address of Publisher, Editor, and Managing Editor: Clifford Stieglitz, PO Box 438, Allenwood, NJ 08720. 10. Owner: Clifford
Stieglitz, PO Box 438, Allenwood, NJ 08720. 11. Known Bondholders, Mortgages, and Other Security
Holders Owning or Holding 1 Percent of More of Total Amount of Bonds, Mortgages, or Other Securities. None. 13. Publication Title: Airbrush Action. Issue Date for Circulation Data: September-October
2011. 15.(a) Total Number of Copies: 37,267*, 32,499** (b) Paid Circulation: 1. Mail Subscriptions:
3,926*, 3,352** 3. Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and Other
Paid Distribution Outside USPS®: 31,449*, 23,104** (c) Total Paid Distribution: 35,375*, 26,456**
(d) (1) Free or Nominal Rate Outside-County Copies included on PS Form 3541: 42*, 43** (4) Free
or Nominal Rate Distribution Outside the Mail: 850*, 5,000** (e) Total Free or Nominal Rate Distribution: 892*, 5,043** (f) Total Distribution: 36,267*, 31,499** (g) Copies not Distributed: 1,000*,
1,000** (h) Total: 37,267*, 32,499** (i) Percent Paid: 97.5%*, 88.9%** 16. This Statement of Ownership will be printed in the March–April 2012 issue of this publication. 17. I certify that all information furnished on this form is true and complete. Clifford Stieglitz, Publisher. *Average number of
copies each issue during the preceding 12 months. **Number of copies of single issue published
nearest to filing date.
008_Airbrush1210_MASTHEAD.indd 8
Return postage must accompany all manuscripts,
drawings, and photographs submitted if they are
to be returned. No responsibility will be assumed
for unsolicited material. All rights in letters sent to
Airbrush Action will be treated as unconditionally
assigned for publication and copyright purposes
and is subject to Airbrush Action’s unrestricted
right to edit and comment editorially.
Airbrush Action (ISSN 1040-8509) is published
6 times per year: January-February, March-April,
May-June, July-August, September-October, and
November-December by Airbrush Action, Inc.,
3209 Atlantic Avenue, Allenwood, NJ 08720.
Periodicals postage paid for at Allenwood, NJ
and additional entry offices.
Postmaster: Send changes to Airbrush Action,
P.O. Box 438, Allenwood, NJ 08720.
Contents copyright 2012 by Airbrush Action.
All rights reserved. Nothing may be reprinted
in whole or in part without written permission
from the publisher.
Manufactured and printed in the United States of America.
8/22/12 8:03:19 PM
AIR NEWS HELPS YOU DISCOVER NEW EVENTS AND
PRODUCTS OF INTEREST TO AIRBRUSHERS.
ARTOOL PRODUCTS COMPANY, INC.
ARTOOL® FREEHAND®
KILLER GRUNGEFX™
BY MIKE LAVALLEE
Artool’s Killer GrungeFX™
GrungeFX (FH GRFX) by Mike Lavallee, is now
available. This revolutionary new product is a freehand® airbrush template in a can that enables you to lay out random
organic patterns for creating natural backgrounds at the press
of a finger. Simply shake GrungeFX™ and press either the Fat
Splat™ or Fine Splat™ tip (both tips are included) to achieve a
myriad of one-of-a-kind textures on your surface of choice.
Transform your motorcycle, hot rod or hobby project into a
killer creation instantly. Killer GrungeFX™ is now available at
your favorite Iwata-Medea-Artool supplier. To view the complete Iwata-Medea-Artool catalog online, go to www.ArtoolProducts.com.
PLOTTER MASTERY
NE
If you’re still taping off, remasking, and risking damage to your
automotive projects by making surface cuts, this class is for you.
INSTRUCTOR SCOTT MACKAY
Automotive artist Scott MacKay, owner of Thin Air GraFx, rolled out
the new Plotter Mastery class this spring in Orlando, and students
and professionals are already lining up to take Plotter Mastery in Las
Vegas this October. If you’re still taping off, remasking, and risking
damage to your automotive projects by making surface cuts, this
class is for you. MacKay uses the plotter in his own shop to enhance
hand-work and production at all levels. In Plotter Mastery, he demos
digital design, manipulation, and merging of artwork, and takes
students through two complete start-to-finish projects. MacKay addresses work flow, improved quality control, instantaneous design
duplication, elimination of surface cuts and re-masking, and many
other tricks with the potential to cut costs and production time by
up to sixty percent!
Plotter student and Disney artist Brian Brimmer said, “You think
you know everything until you talk to Scott.” Brimmer uses a plotter
in his work on a daily basis and is excited that he will now be able
to significantly lower costs and production time. Brothers-in-Law
Terrance Phillips and Quincy Russell of Cenla Customs were taking
the Automotive Cheap Tricks & Special FX and Kustom Paint Lab workshops. When their instructors brought them over to see a quick plotter demo, Phillips immediately decided to sign up for Plotter Mastery
at his next Getaway. Russell said, “It makes me realize how far we can
go. I’m going home, tearing down my bike, and redoing it.”
The next Airbrush Getaway takes place Monday-Friday, October
8-12, 2012 at the NEW Tropicana Las Vegas, 3801 Las Vegas Boulevard
S., Las Vegas, NV 89119, www.troplv.com. For room reservations, call
800-634-4000, and mention “Airbrush Getaway Workshop, group
code SAIR10.” The four-day Plotter Mastery workshop runs Tuesday
through Friday. For more information, call 800-876-2472 (international callers: 732-223-7878), or visit www.airbrushaction.com.
M
NEW! RENEW OR SUBSCRIBE TO AIRBRUSH ACTION ONLINE
Now you can manage your Airbrush Action subscription simply by visiting www.airbrushaction.com/subscription-status-renewal.html. Once
online, you can not only subscribe or renew, but also check on the status of your subscription to find out when your subscription expires.
AIRBRUSH ACTION
www.airbrushaction.com
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AIRBRUSH GREAT JAIME RODRIGUEZ HAS DIED
Airbrush Action is very sad to report that Jaime Rodriguez, one of
our great airbrush artists, died the night of August 17, at his home
in Phoenix. He was 32. “I knew Jaime for many years, and was a
big fan of his work on automotive surfaces and T-shirts. In fact, he
possessed one of the best, most intricate of lettering styles in the
industry. In this regard, I considered Jaime a true innovator with his
approach to art and inimitable style,” says Airbrush Action publisher,
Cliff Stieglitz. Rodriguez is survived by his wife, Crystal, and their two
children: Andrea, 9, and Davian, 5. Airbrush Action requests that in
lieu of flowers or gifts, to please send donations to the family:
Darrell Brown, 7815 S. 5th Drive, Phoenix, AZ 85041
Memo: Crystal Rodriguez
Correspondence of condolences may be sent to Crystal at the above
address as well.
A gallery of Jaime’s work can be seen on page 64.
CREATING UNIVERSAL HAND-HELD MASKS
HERE’S A FABULOUS TOP
PRO TIP FROM ILLUSTRA
TION GREAT RICK LOVELL:
There is a huge variety of pre-made,
hand-held masks for airbrushing on the
market. Some specialty masks with specific shapes are worth paying for, but I’ve found that I can
make my own masks very inexpensively that work for most
day-to-day applications.
French curves are templates made out of rigid materials
like metal, wood or plastic that draftsmen used to use to create a variety of smooth, precise curves. A Burmester set consists of three different templates that when used together,
can create almost any compound curve you can imagine.
They aren’t cheap, and they are usually found in a set of one
particular size. They are also relatively thick and inflexible.
Wouldn’t it be great if you could have a wide variety of sizes
of French curves that were really cheap, and that could be
bent and lifted off the surface for crisp-to-soft edges, or
just thin enough to allow for really sharp edges that thick
materials don’t allow?
Here’s how to do it. If you have a set of French curves
already, use a photocopier to make copies at various sizes: 25%, 50%, 100%, 150% and 200% of the original sizes
which will give you 5 sets to work with. Or, you can just go
online and search for images of French Curves. Download
the highest resolution graphic you can find and print it at
the sizes listed above. This variety of sizes should provide
you with just about any curve you will ever need to paint,
large or small.
Finally, tape .005mil acetate over the photocopies or
prints and carefully cut out the curves with an x-acto knife.
With acetate, you don’t have to cut all the way through the
material; just score it with a sharp knife, gently bend the acetate at the score line, at it will snap along the score creating
a nice, clean edge. You can use Mylar, but it’s harder to cut
and you have to cut all the way through; it won’t snap like
acetate will. I have the 5 sets I made years ago out of acetate,
and they are still good as new. I store them in a regular file
folder in a flat file drawer, and when they get too opaque
from lots of painting, I clean them with rubbing alcohol
and a paper towel.
SEND US YOUR PRESS RELEASES!
Airbrush Action wants to know about your product or event. Please mail a disc (including high-resolution images for print) to:
Airbrush Action / Air News, 3209 Atlantic Ave., P.O. Box 438, Allenwood, NJ 08720.
AIRBRUSH ACTION
10 SEPTEMBER–OCTOBER 2012
8/21/12 5:51:51 PM
8/21/12 5:51:54 PM
READER GALLERY
DENNIS L.
GRAHAM, II
PENSACOLA,
FLORIDA
SCOTT
PETERS
A LUMNUS
DOTHAN, ALABAMA
12 | AIRBRUSH ACTION | SEPTEMBER–OCTOBER 2012
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READER GALLERY
DANNY BABCOCK
CINCINNATI, OHIO
HIGHERLEVELART.COM
F
MARLON NAVARRO DURAN
BOGOTA D.C.,
COLOMBIA
8/22/12 3:14:06 PM
JASON PREKER
CHICAGO, ILLINOIS
WWW.VOODOOPAINT.COM
FRANK PACHECO
PATERSON , NEW JERSEY
WWW.SILKCITY507.COM
www.airbrushaction.com | 15
8/22/12 3:14:23 PM
READER GALLERY
JOHN
SHOOK
PITTSBURGH, PENNSYLVANIA
WWW.GRAPHICCELLAR.COM
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GARY WORTHINGTON
TIPS, TRICKS, & ADVICE FROM THE PROS!
Locale: Destin, Florida
Specialty: T-shirts
Cred: Gary Worthington is one of the top T-shirt artists in the world. He began learning his craft
in the Ft. Walton Beach airbrush artist’s community in 1989. His how-to articles are a staple in
Airbrush Action. Createx Colors and Chicago Airbrush Supply feature Worthington’s work, and
his instructional video Fierce Fur demonstrates pro airbrush techniques and color usage. Worthington works out of the beach store Sunsations and teaches the T-shirt Lettering Bootcamp
and Airbrush Mastery courses at the Airbrush Getaway workshops.
Beginners’ bottom line: “Push yourself to grow, but don’t let high expectations get the better of
you. Give yourself room to breathe. When you practice, work with images and surfaces that you
love. If you’re doing what you love, it’s easier to stay motivated when things get frustrating.”
Pro pointers: “Look outside the airbrush community for inspiration. I look at traditional portraiture, contemporary art, comics, and modern illustrators. I gravitate toward resources like High
Fructose magazine. Finding outside influences that are meaningful to you will push you further
as an artist and will help you define your own niche.”
“Finding outside influences that are meaningful to you will push you
further as an artist and will help you define your own niche.”
SAM NEWTON
“Try to learn to do the same thing
Locale: Manhattan, New York
Website: www.airgraphics.biz
several different ways.”
Specialty: Entertainment airbrushing
Cred: Sam Newton paints for Airgraphics Entertainment, offering airbrushed T-shirts, favors, and
body art for special events. Newton gained his expertise working at Propane and later at Pearl
Paint. Newton regularly donates his time and artwork to New York’s public schools and is a new
assistant instructor for the Airbrush Getaway.
Beginners’ bottom line: “Don’t try to airbrush the end effect at the beginning of a project.
It’s about subtlety. Work softly and build up to the finished look. Look to the basics. People get
lost when they try to paint something that has a face and bone structure, but it’s still the same
strokes as you would use for simpler images.”
Pro pointers: “Try to learn to do the same thing several different ways. For example, how can
you mix orange when you have yellow but no red? There will come a time in the middle of the
night or at an event when your equipment or supplies fail you. Knowing alternatives can help
you stay flexible and still meet your deadlines and obligations.”
CLIFF JETTE
“Don’t undersell yourself. If people can’t
Locale: Fort Walton Beach, Florida
appreciate
high-quality work, don’t let that
Contact: Kustom Auto Graphix
Specialty: Automotive airbrushing, pinstriping, and gold leafing lower your standards.“
Cred: With 30 years’ experience, Cliff Jette, owner of Kustom Auto Graphix, uses his mastery of
subtle color combinations to build an edgy mood into his automotive murals. Auto Graphix
Graphix,
Lowrider Magazine, and other publications have featured his work, and Hogs on the High Seas
commissioned Jette for their biker cruise event. Jette is a new assistant instructor for the Airbrush Getaway.
Beginners’ bottom line: “Don’t get discouraged or judge yourself by someone else’s work,
especially if they’ve been airbrushing for a long time. Compare what you’re doing now to what
you did six months ago, a couple years ago. Keep practicing. No one person knows everything,
so there’s always something you can learn. Our techniques are always evolving, but we all started
in the same place.”
Pro pointers: “Don’t undersell yourself. If people can’t appreciate high-quality work, don’t let
that lower your standards. Sometimes a customer wonders why I charge a high hourly rate. What
I can do in one hour took me thirty years to learn.”
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8/23/12 11:23:09 AM
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compressed air user.
8/17/12 12:12:41 PM
BY SHERI LYNN MEYERS
M
AYBE IT’S A ROUGH NEW JERSEY NEIGHBORHOOD, a tough nut to crack, and there in the
heart of it there’s a very plain wall. You’d think anybody going at that wall with rattle cans
was looking for trouble, but you’d be wrong. His name is Leon Rainbow and he’s earning his
bread by the sweat of an artist’s brow. With a whole lot of color and style, he gives back to his community.
The urban wall has long symbolized limits and ghettos, restraint, seething rebellion, degradation and
captivity, but here on its surface is its renaissance in symbols of hope and a climb upward.
Artists like Rainbow pull together a art is the transformation of urban spaces
Thus the street paracosm behind graflittle bit to celebrate their diversity and by artists intent on giving back to their fiti culture is growing up and finding itself
common love of beauty. They nod to the communities. Their talents are commis- a place in today’s popular art. Rainbow
traditions and style of taggers, but Leon sioned and compensated. An artist gets defines tagging as just making one’s swift
Rainbow and his partners work hard in permission, obeying ordinances. For a mark on a territory. Graffiti can’t really
the heat and they are wearing respira- reward Rainbow has enjoyed museum become art until it has something more
tors. They shake their cans with permits in exhibition, good publicity, and word of complicated to say, more time to plan and
their pockets. They spray a bit of the First mouth that leads to the next project. of course permission to work where the
Amendment over Trenton, D.C., inside Art like his remembers its roots in urban public can see it.
and outside the original 13 U.S. colonies squalor, recalls once oppressive condiToday there is no good excuse for
for today’s citizens and city fathers alike tions and the rebellion of creative but bad graffiti—premium paint comes in
to enjoy. Graffiti is painting and a perfor- misunderstood youth. Rainbow paints the humble old rattle can. Leon Rainbow
mance art, too, whether on rotating solid something exuberant, celebratory, uplift- likes Liquitex, Montana 94, and Belten
prism displays at the Folklife Festival at ing and still honest.
Premium from Europe, sprayed on along
the Smithsonian, the side of an induswith markers or even a brush for
trial lunch truck, at Trenton’s Ellarslie
detailed work. Today’s spray paint
Museum, or a city swimming pool.
dries in seconds, covers earlier coats
completely, escapes the can in safer
Other city centers suffer from
, solvents than yesterday’s paints.
frankly ugly tagging, sprayed on in
ten frantic seconds, perhaps while RAINBOW SAYS, AND THESE DAYS Lower can pressure gives the artist
an accomplice distracts law enforce- THAT IS JUST UNCOOL. TIME IS THE a power of subtlety the tagger-vanment. Vandalism is vandalism, Rain- QUALITY THAT AN ARTIST ADDS dal couldn’t appreciate. Graffiti as a
bow says, and these days that is just
TO THE ELEMENTS OF THIS SELF- grown-up style goes on to a baseuncool. Time is the quality that an
coated wall and follows a unified plan
EXPRESSION TO TAKE TAGGING and composition.
artist adds to the elements of this
self-expression to take tagging to TO A HIGHER PLANE WHERE IT
Graffiti artists in the Trenton area
a higher plane where it becomes a BECOMES A GIFT RATHER THAN have energized the local art scene.
gift rather than an annoyance. City AN ANNOYANCE.“
Artists collaborate frequently on big
“VANDALISM
IS VANDALISM
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projects. Rainbow has worked with brush
painters, mural painters, and even with collagists. As many as 5 to 10 artists can work together on one project, especially with the help
from the qualities of quick-drying spray paint,
new materials, and communication via the Internet, Twitter, Facebook, MySpace and email.
It is easier than ever to plan big projects and
schedule big exhibits. Sometimes the “canvas”
is a wooden or even corrugaged steel fence,
a brick wall, or thin panels of wood to make a
portable museum exhibit. New and exciting
art paper (see sidebar) supports mixed media
designs like never before. This is teamwork
way beyond gang sign on a hopper car. “Be
ready to bend a little bit to make everything
come together when you work with other artists. Be open to lots of different ideas and don’t
have too firm a vision of the outcome like you
have when you work by yourself.”
One of Rainbow’s biggest solo projects
was an autobiographical set of 49 wooden
panels that looked like four permanent walls
in a museum exhibit at Ellarslie, Trenton’s
Museum of Art. “It’s a loose interpretation
of my own life story,” he says, “set up in the
museum for the exhibit. Now I have it in
storage and I’d love to set it up permanently
somewhere. You see the baby in the spray
can and my Native American ancestry. That’s
where I come from and what I’m born to be.
You see me as a little kid having fun in the
urban life, but as I get older I made some
bad choices. You see me half-dead due to
drugs, through negative things I thought
about myself, and the darker life, the razor of
8/21/12 1:57:43 PM
CRESCENT’S NEW RENDR PAPER!
BY MAYS MAYHEW, ARTIST AND INVENTOR OF
RENDR NO SHOW-THRU PAPER
Like most artists I use a sketchbook to brainstorm, conceptualize,
and come up with ideas for my larger work. My sketchbooks are very
important to me. I want to use the best materials in my work. One of
the most annoying problems with sketchbooks is using heavy media/mediums that soak through the page and make the reverse side
useless. Or worse, just finishing a meticulous drawing and then using
media on the other side that ruins it. I’ve heard other artists complain
about this, too, but since it was always like this, artists accepted it.
But as a product developer for Crescent I have the unique ability
to invent new products. I don’t have to accept annoying problems.
And as an artist, I wanted a sketchbook that I could ink up one side
and then use the other side of the page. The goal was that every page
was a clean slate, a blank canvas. I wanted a sketchbook that allowed
every page to matter.
My team and I worked with several paper mills to develop the
perfect paper that not only prevented inks to bleed through but
also didn’t have any show-through on the other side—not even a
ghost image. It took a year. It wasn’t a simple task.
There were several challenges creating a paper with no bleed-through, an
artist-grade paper and one that artists
could afford.
The result was a phenomenal paper
that exceeded all of our goals. RENDR
paper is smooth enough for marker
and inks with a slight tooth for pencil.
Now you can get a sketchbook with full
confidence that every page will start as a
clean one. A sketchbook documents an
artist’s journey. It’s important to respect
that journey by using quality materials.
Take pride in your work. Use RENDR – No
Show-Thru Paper sketchbooks.
self-destruction, the pills. But then through
art I get to climb out of that, up to a billboard,
out of negativity. I found a different way of
life, books and learning, and then giving back
what I learned. This set looked like a whole
room, windows masked off and everything.
I’d love to find a place for it. A large corporate
office maybe, a non-profit? Somewhere to
keep it visible but safe.”
The business of art has been transformed
by the computer and the internet and this is
also helping to change the perception of graffiti and graffiti artists. Leon Rainbow tries to
be professional at all times, working always to
strengthen his relationships and improve his
social networking. He stays as active as possible in different projects. One project tends
to lead to another and another, friends and
customers tend to lead Rainbow from opportunity to opportunity almost as a side-effect of
networking. “Answer email promptly,” he advises, “and send biweekly updates and pictures
of current projects to anyone who inquires
and to previous customers as well. Keep your
presence known in the art business world and
be willing to try new things.”
In the studio, Leon uses Crescent Cardboard’s new RendR Paper. “It’s very smooth,
not much tooth to it, and you can use whatever medium you like including acrylic
spray or even paint markers, on both sides.
It doesn’t dry out the markers we use. You
can treat both sides like canvas and it’ll take
a full mixed-media approach. For some design stuff, I use Prismacolor markers, or that
type of marker, colored pencils and ink pens.”
Leon thinks that this paper couldn’t be better
for designing walls, planning murals, or just
sketching and playing.
“The paper can be rolled up and transported to a bigger project, or framed and
hung as a finished painting. The piece actually
is a painting.” ■
8/21/12 1:57:56 PM
BY MIK E L AVA L L EE
Working in a custom paint shop, you get all kinds of requests—from the simple to the extremely complicated. I’m
always looking for ways to take the things, which are very
difficult to paint, and make them easier.
Because many textures can be difficult to pull off convincingly with an airbrush—stone, sand, rust, and metal pitting,
to name a few—I recently developed one of the most useful
and easy ways to produce tons of various effects that I’d like
to share with you.
It’s called Killer Grunge FX special effects masking spray
and, interestingly enough, it comes in a can. You simply
spray Killer Grunge onto a surface, apply any automotive
base coat over it, let the paint flash, and, using a paper towel,
simply wipe away Killer Grunge’s residue. You may repeat
the process endlessly to achieve various looks and effects.
The can comes with two nozzles, Fat Splat (shoots big, flat
splats) and Fine Splat (for finer patterns, and for a very cool
effect I like to call “alien skin” or “frog skin.”)
Following is a step-by-step on how I employed Killer Grunge on a project using a metal panel, paint, a tack rag, a roll of
soft paper towels, and a can of Killer Grunge FX Spray.
024_Airbrush1210_ARTOOL-LaVallee.indd 24
8/22/12 8:51:01 PM
1
2
3
4
5
6
7
8
I cut several pieces of aluminum blanks—
commonly used in the sign industry—8-inches
by 24- inches, scuffed them with a red ScotchBrite pad to establish a tooth to the surface,
and applied a black automotive base coat with
a spray gun.
I prepared an Anest/Iwata LS 400 Super
Nova spray gun with red.
Using the Fat Splat nozzle (shake the can
well to maximize the full effect) I sprayed
the panels. You can hit your target with fairly
good accuracy, so point, aim, and shoot with
impunity! To better spread the pattern I like
to shake the can while spraying. Have paper
towels handy at this point. Now, here’s the
tricky part: without hesitation, I sprayed the
red over the Grunge application. Have no fear;
it’ll be perfectly fine. Just don’t use too much
air pressure or you’ll disturb the pattern. I applied the red more to one end and let it just
fade to the other.
Then, soon after the paint flashed, I wiped
off the Grunge with paper toweling.
Each paint type—urethanes, acrylics, etc.—
carries a different flash time, so be careful. If
you wipe too soon, you’ll smear your paint
and make a mess. Conversely, if you wait too
long, the paint will dry on the Grunge spray
leaving little paint skins on your project requiring repair. Test first before committing to, and
possibly ruining, a client’s surface.
Next, I faded the red directly over the
panel’s pattern.
Although typically I like to repeat the pattern over and over to achieve some really
cool depth, I only did it twice for this article. I
encourage you to experiment with different
colors—pearls, candies, etc.—to fully understand the range of this fabulous technique.
The application of wax-and-grease remover
simulates how the piece will look clear-coated.
Pretty cool, right?
I shot black base coat over the bottom area
to darken it a tad.
9
8/17/12 12:07:58 PM
10
11
12
13
14
15
16
17
18
Next, I took a skull pattern, which I love
to paint, placed it over the lower, darker area
of the panel, and sprayed a glow line of red
around the edges, in the eye sockets, and the
nose area. Also, I decided to add a few fire licks
coming off the skull and up the panel.
Then, using an Iwata Custom CM Micron
airbrush with red, I sprayed highlights to the
skull to build shape and the light source (notice
how I used the black of the panel for the dark
areas of the skull? Work smarter not harder).
Next, I switched to the Fine Splat nozzle
(when changing nozzles, please be sure to
point the open end of the nozzle away from
your face to avoid shooting yourself in the
head!) and made sure it sprayed correctly.
I readied my airbrush with orange, a contrasting color.
Next, I painted the bone texture of
the skull. Again, I shook the can well, and
sprayed a wide, even mist over the skull.
Then, I watched until the Killer Grunge FX
Spray began to separate into cool little patterns. When they reached the desired size, I
airbrushed the orange over the skull, only in
the previously highlighted areas, and wiped
off the FX Spray.
The really cool thing about Fine Splat is
that its patterns maintain their general shapes
as they continue to expand until, ultimately,
they break apart. To achieve a smaller version
of the Fine Splat pattern, simply depress the
nozzle half-way.
Then, I airbrushed orange to the flames,
followed by candy tangerine over the skull
and fire licks.
I repeated the Fine Splat over the previous
layer using a slightly different pattern. This
was accomplished by waiting for the desired
shape to form. Timing can be everything with
this stuff.
I airbrushed a fine mist of yellow over
the highlighted area, just a bit smaller than
the first layer, to help build the roundness
of the skull. Then, I wiped off Killer Grunge’s
residue.
Again, I hit all the fire licks with the yellow
and airbrushed a few highlights on the skull
and eyes. Then, I sprayed all the yellow that
I just painted with gold candy.
I finished by adding shadows and more
highlights to the fire and skull, drips to the face,
and cracks to the upper part of the panel for
greater dimension to the Fat Splat pattern.
8/17/12 12:08:12 PM
MIKE LAVALLEE
19
CONCLUSION
You’ll soon discover the distinct advantages Killer Grunge has over many of the
Texture F/X templates out there, including its ability to marry rounded and threedimensional surfaces. I use Grunge FX on
practically everything. In fact, it becomes
quite addicting when you begin to experiment with it and realize the unlimited killer
results. Here’s a list of effects I’ve rendered
with Grunge: Bone texture, sand and stone
FINAL
textures, rust, pitted metal, acid-eaten surfaces, certain wood textures, aged aluminum, imitation galvanized steel, alien skin
patterns, detailed flower patterns, pitted
skin, pores, zombie flesh, cool camouflage
patterns, wicked backgrounds, awesome
patterned bases for candy colors, and the
list goes on.
Good luck with your Killer Grunge FX
painting, and remember, if you’re gonna
put your name on it, keep it killer! ■
After earning a degree
in Sign Painting from
Boston’s Butera Art
School in 1979, it would
be a few years before Mike Lavallee pursued his passion of working on bikes. In
1999, Lavallee opened his shop, Killer
Paint in Snohomish, Washington, and
has become renowned for his realistic
fire technique and cutting-edge style.
California was set ablaze when Mike’s
signature flame jobs burst onto the
scene, instantly branding his technique
a hot commodity. Cliff Stieglitz, Airbrush
Action’s publisher recommended Lavallee to Jesse James, of West Coast
Choppers, which landed Mike his first
spot on television. Appearing as a guest
artist on The Discovery Channel’s Monster Garage, Lavallee attributes a significant portion of his success to both
Chip Foose and Jesse James. Since his
appearances on Monster Garage, Lavallee, has since participated in TLC’s
Overhaulin and RIDES. To see more of
Mike’s work, visit www.killerpaint.com
8/17/12 12:08:23 PM
T
028_Airbrush1210_RIHANNA.indd 28
his article, based on the new and long-awaited DVD from master Javier Soto, instructs
on color theory, how to render facial features, flesh tones, how to use an electric eraser,
fiber pen, and razor knife for highlighting and detailing, how to render skin pores, the
nuances of rendering teeth and hair, use of the Artograph LED digital projector, use
of Wicked Colors, and much more.
8/22/12 4:15:29 PM
1
STEP 1
I projected a digital image of the popular singer Rihanna from the Artograph LED300 digital projector. onto a metal blank. This projector
accepts many different digital sources and comes with an SD-to-USB adapter for easy transferring from digital cameras. Replacing the
LED200, the LED300 also projects the image so brightly that it maintains visibility even in a lit room.
2
3
STEP 2
STEP 3
Here are the pencil lines traced from the projecting.
I toned down some of the darker pencil lines with a kneaded eraser.
I didn’t want to erase them completely, just enough to lighten mainly
the dark lines in areas where the color tones need to stay light.
4
4
5
STEP 4
STEP 5
For this project I used Wicked Colors by Createx, Iwata HP-CH and HPCMC airbrushes, mixing cups, a Faber Castell pencil eraser (not shown),
Helix electric eraser, and X-Acto razor knife, all for texturing.
I averaged out the flesh tone with a mix of Wicked Driscoll flesh,
violet, opaque white, transparent base, and reducer, and airbrushed
a test swatch at full saturation.
8/22/12 4:15:38 PM
6
7
STEP 6
STEP 7
I began by painting the eye with the flesh tone mix from the previous step,
trying not to get too dark because I wanted to have a little cushion for any
correcting. Remember, It’s always easier to darken than it is to lighten.
I started creating texture by erasing with a Faber Castell white-tipped
pencil eraser. The fact that erasing works better with thinner layers
of color is another good reason to stay light at first.
8
9
STEP 8
STEP 9
I suspended painting the mid tones to the eyes, nose, and cheeks
until the darkest colors are applied later, where I’ll be able to better
measure how much further I need to go with the middle tones.
The lips were accomplished with the same erasing technique used for the
eyes; some freehand light layering, followed by erasing, and then more
freehand layering again to soften the abruptness of the eraser.
10
11
STEP 10
STEP 11
After completing most of the face for this color stage, I worked on
her neck and also erased any dark pencil lines that I missed earlier.
Before moving on to more layering, I built up the facial pores with
a Helix electric eraser. A quick dab is all it takes. This tool is faster for
more tedious applications but very aggressive too, so be cautious
and experiment off to side first.
8/23/12 9:27:23 AM
12
13
STEP 12
STEP 13A
At this stage the image should not have much contrast because
that will happen in the next stages as we begin to build the darker
values. In fact, sometimes I lightly dust the color from this stage
over the entire image to reduce the contrast.
I added the darkest point using a black-brown mix for reference
and gauging purposes. I mixed black, brown, and about 50% of
transparent base to counteract the density of the black.
13
14
STEP 13B
STEP 14
I also thinned it by adding about 20% to 30% reducer. TIP: you may
also use smoke grey, which is already weaker out of the bottle.
I added some brown to the dark color from the previous step that resulted
in a slightly darker brown than the Wicked brown straight out of the bottle.
My goal here was to get a color tone somewhere between the flesh tone
and the black-brown mix. I used it to shadow the eye lids, eyebrows,
nostrils, corners of the mouth, and to start building the hair.
15
16
STEP 15
STEP 16
With much of the dark colors applied, I could better gauge my target
tonal values. I returned to my original flesh color, deepened it with
Driscoll flesh, brown, and a little yellow ochre, and finished applying
the middle tones with more certainty.
I dusted a light tint of red (a mix of magenta and red mixed into
the original flesh tone to closely match the lip color in the photo
reference) over the lips and added some freehand texture, closely
following the photo reference. I also used this color for any areas
that needed a reddish tint, such as the tear ducts, eyelids, and the
cheeks (a light tinting here).
8/22/12 4:15:53 PM
17
18
STEP 17
STEP 18
I defined and darkened the retinas and added some shading to the
whites of the eyes with a mix of detail smoke gray, violet, and blue.
I also added it lightly to areas that needed cooler shading, such as
the jaw, the areas above her lip, and lower eyelids.
I used a mix of Wicked white, transparent base, and reducer to establish the light points and soften some of the texture created by
the erasing. I also cleaned up any overspray and sharpened light
areas; the whites of the eyes, for example.
19
20
STEP 19
STEP 20
I added white to the lips to achieve a glossier sheen. Although most
of the texture and highlights were established in step 9, they were
muted by some of the color layering, which this white will fix.
I started airbrushing, lightly, some of the darkest parts of the hair with a
weak black (mostly black, a touch of brown, plenty of transparent base,
and reducer), with some erasing and scratching between the layers.
21
22
STEP 21
STEP 22
I intensified, or darkened, the color of the hair with the same mix. Once
the colors were layered to a fairly dark point I used less scratching
and erasing and more freehand airbrushing for the texture.
White highlights were airbrushed into the hair and also used to
detail single strands.
8/22/12 4:15:58 PM
23
24
STEP 23
STEP 24
The hair was tinted with a transparent reddish-brown mix of red
oxide, red, and violet. Also, I mixed a golden brown color for the
golden highlights in the hair.
Red oxide was used to add shadows to and enhance the lips, nose,
and nostril areas. Also, I added a transition shadow on the left side
of the jaw’s edge and darkened the shadows above the left eye.
25
26
STEP 25
STEP 26
I darkened and defined the eyes.
The iris was tinted with hazel, a mix of yellow and brown. I also applied this color near the edge of the pupil, and airbrushed a grayish
aqua (black, white, and teal) near the outer edges of the iris.
27
STEP 27
I liked the background color in the photo reference, so I simply
matched it as close as possible with a mix of black (the main ingredient), white, and blue. Then, I tweaked the color a little with yellow
crimson and more white. I used handheld shields and freehand
airbrushing, always being careful to direct the overspray away from
her face by angling the airbrush appropriately.
28
STEP 28
The final image. ■
8/22/12 4:16:06 PM
JAVIER SOTO’S
A R T I S T G A L L E RY
8/22/12 4:16:21 PM
8/22/12 4:16:30 PM
BORN TO BE WILD
AND PHOTOGRAPH
TONS OF BIKES
■ PHOTOGRAPHY BY DON KATES,
Shooters Images, Inc.
A
t press time the estimated traffic count for the 2012 Sturgis Motorcycle Rally, South Dakota, was approximately
450,000+, ahead of 2011 and nearly double the population of the entire state! Airbrush Action hired pro photog Don Kates,
of Shooters Images, Inc., to record the world’s largest motorcycle confluence, and many of its beautifully painted motorcycles, for this pictorial. For info on next year’s rally (you should really attend at some point in your life!) go to www.sturgismotorcyclerally.com, where you’ll find tons of information on future event dates, lodging, concerts, restaurants, important sites (Mount
Rushmore, Devil’s Tower, Deadwood, etc) statistics, historical data, and much more.
036_Airbrush1210_STURGIS.indd 36
8/22/12 11:48:52 AM
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CONTINUED ON PAGE 62.
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8/22/12 11:49:31 AM
Johannes Wessmark
TELL ME ABOUT YOUR TECHNIQUE.
BORN IN K ARLSTAD, SWEDEN IN 1962, EUROPEAN ART SENSATION JOHANNES WESSMARK
When I started painting and drawing many
years ago the colored pencils were my favorite tool and I still use them a lot. Now, the
bulk of my painting is done with an airbrush,
employing masks and freehand spraying.
However, I still do the final detail work with
colored pencils and a small paintbrush. My
paintings are about 75-90% airbrush with the
rest being pencil and traditional paintbrush.
In the beginning I airbrushed with gouache.
It was easy to clean with only water but kind
of porous and fragile on the surface. Today I
use acrylics. They’re not as fragile and there
are many good cleaning liquids to use.
has been painting and drawing most of his life. After working at an advertising agency for a
number of years (where he learned airbrushing), he launched his own company, Wessmark Illustration, in 1993 as a freelance illustrator. Scania Trucks and Bofors were among his esteemed
clients. Wessmark started exhibiting his work by the mid 1990s, and by 2006 he decided to live
his dream as a full-time artist specializing in photorealism.
Completely self-taught, Johannes has won several art competitions and is a member of
the International Guild of Realism, The Swedish Artists National Organization, and others. Mr.
Wessmark is also a sought-after lecturer and teacher of photorealism, and is currently planning
to conduct a four-day course at the Airbrush Getaway in February 2013. For more images please
visit www.johanneswessmark.se
WHAT PAINT, AIRBRUSH, COMPRESSOR,
ART SURFACE, ETC. DO YOU USE?
My main airbrush is an Evolution from Harder
& Steenbeck. Currently, the paint I use is Createx Wicked Colors. It’s very good. I also like
Daler Rowney´s FW Acrylic Artist Ink because
it works fine right out of the bottle and has
a very intense and strong pigment. My compressors are a Silentaire 15/D and 15.
SELF-TAUGHT
PHOTO-
REALIST
040_Airbrush1210_JOHANNES.indd 40
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8/20/12 2:54:01 PM
My surface of choice is Schoellershammer
4G paper. I have done some paintings on canvas
too, but then I have to attach the masks with
tape. It works but it’s a bit tedious.
As I mentioned I also use colored pencils and
fine brushes for detailed work. Then of course
I use a razor knife and eraser for removing and
lightening color. I also have an electric eraser
from Derwent. It works good but in the beginning I found it awkward to use because it turns
the wrong way for me, a right-hander.
HOW LONG HAVE YOU BEEN
AIRBRUSHING AND PAINTING?
I have been painting for most of my life. That
is fifty years this fall. A couple of my earliest
drawings are back from when I was about 5
years old. Already then more detailed than
kids normally draw.
When I started working in an advertising
agency in the mid 1980s, I stumbled upon an
airbrush in their cellar, and I loved it immediately. I
still have my first terrible attempts in a drawer.
8/20/12 2:54:13 PM
r
s
h
d
e
d
r
s
t
t
5
n
g
n
I
WHAT ARTISTS, IF ANY, INSPIRED YOU?
Back then, the first airbrush-artist I was inspired
by was Hajime Sorayama and his robot girls.
Then, a few years ago, I saw the oil paintings of
photorealist Ralph Goings. His paintings inspired
me to try to paint more photorealistic.
WHAT SUBJECT(S) DO YOU
PREFER TO PAINT?
I don’t really have a favorite subject but if I look
at what I have done the past couple of years,
portraits and models dominate. Another is glass,
water, and stones. And if I find a nice, shiny car
it’s hard not to pick up the airbrush.
WHAT IS YOUR KEY TO ACHIEVING
PERFECT FLESH TONES?
A lot of people ask about what the colors I use
for perfect flesh tones. I would say there’s no
miraculous formula for this. Roughly you could
use some yellow and a litte red to get orange.
Then a little blue to shift to a brownish tone.
Then add some white to lighten the brown and
get closer to the target flesh tone. In fact there
are so many things that influence how the color
of the skin looks. One person can have more or
less of a suntan. She or he can be from different parts of the world. When you photograph
your model she can be lit in hundreds of ways.
Outdoors or indoors. With colored light or not.
Then your reference photo can look very different depending on what printer you use, and so
on. Therefore you must mix a new set of flesh
tones for every new painting. Look carefully at
the reference photo and try to mix something
you think could work. Paint a test on scrap paper and hold it next to the photo to see if it
matches. If it doesn’t (and, likely, it won’t), then
add some drops of a color you think could get
you closer and try again. It’s tricky but there are
no shortcuts if you want a realistic result.
IS YOUR WORK COMMISSIONED?
When I was working freelance I did commissioned work, but some years ago I closed my
illustration company. Now, as a full-time fine
artist I rarely take commissions, unless it’s something very interesting.
WHO ARE YOUR CLIENTS?
When I was freelancing my clients were mainly
from the technical field. I did cutaway illustrations of motors, buildings and machines,
bird’s-eye views of industries and stuff like that.
Now most of my clients are art collectors and
ordinary private people that want something
nice on their walls.
WHAT ADVICE WOULD YOU
OFFER BEGINNING ARTISTS?
Here I have a lot to say, and I do so in my book,
Johannes Wessmark - Photorealist: The Paintings
8/20/12 2:54:25 PM
tearing it in different directions gives much
different results. Spread some coarse salt on
your paper. Spray paint over that and remove
the salt. There are thousands of ways to make
interesting patterns and textures. Use your
imagination.
WHERE DO YOU GET YOUR
INSPIRATION?
The best way for me to get inspired is to get out
of my studio. When I take a walk or drive to town
or being somewhere else were I can not paint,
the most inspiration to paint comes to me. Then
I can think and plan what to work with when
I get back. When that doesn´t work I normally
sit down by my computer and go through my
reference photos. I have built a huge collection
of all kinds of motifs over the years and there
is almost always something that catches my
interest. If I dont find something there I search
the internet and check what my colleagues
have done. That is very inspiring.
and How It’s Done, but if I had to choose the
most important advice when painting realisticly it would be: Never paint what you think
you know; only paint what you see in your
reference! As soon as you take a shortcut and
paint what you beleive is right, instead of really taking a close look at your
reference and paint it how it
actually looks, you will take a
step away from realism. Never
push the trigger on your airbrush unless you are very sure
of what to do.
try spraying through a mosquito net or similar
fabric. For clouds, spraying the edge of a piece
of cotton works fine. Torn paper gives a good
edge for all kinds of irregular things. Try to tear
the paper in different directions. The fibers in
the paper are often facing the same way so
WHERE ARE THE BEST PLACES TO
FIND REFERENCE ON THE INTERNET?
I don´t use reference from the internet at all.
Primarily because I want to make my own thing
from scratch. I create all my sketches and take
all my reference photos. Using photo references
from the internet can also mean you violate
WHAT TEXTURE
EFFECT WOULD YOU
BE WILLING TO SHARE
WITH OUR READERS?
All textures of course depend
on the material you try to
mimic. If I paint a rock or stone,
a sponge gives me some really nice, irregular textures. Be
careful to rotate the sponge
so you don’t end up with
some repeating patterns.
You can also add small
dots by splattering paint with
a toothbrush. Works fine for
sand, stone, rusty metal and
other rough and dotted materials. If you paint something
with repeating patterns, like
the fabric of a shirt, you could
8/20/12 2:54:34 PM
someone’s copyright. Look on the internet
for inspiration and ideas but don’t use other
peoples stuff for your own paintings. A great
source of inspiration for photorealistic paintings
is http://designmobius.blogspot.se/2009/11/
hyperrealistsphotorealists.html
IS YOUR WORK REPRESENTED/SOLD
THROUGH GALLERIES? HOW CAN
PEOPLE BUY YOUR WORK AND WHAT IS
THE BEST WAY YOU MAY BE REACHED?
There are a couple of galleries here in Sweden
and Denmark that sell my work, but the best
way to get in contact with me is through my
website, www.johanneswessmark.se, where
you can find most of my paintings and my
contact info. ■
“IF I HAD TO CHOOSE THE MOST
IMPORTANT ADVICE WHEN PAINTING
REALISTICLY IT WOULD BE:
NEVER PAINT WHAT YOU THINK YOU
KNOW; ONLY PAINT WHAT YOU
SEE IN YOUR REFERENCE! “
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8/22/12 5:25:06 PM
‘73 TSHIRT
AIRBRUSHING A STINGRAY CORVET TE ON TSHIRT
BY LUC BOIVIN
T
HE 1973 CORVETTE STINGRAY was the 6th production year of the C3
generation. It came with many firsts, such as the 5 mph front bumper cover
that matched the body, a 40% quieter ride compared with previous versions
(some with radial tires), deadening material applied to the body panels, and
a fiberglass pad installed on the underside of the hood, just to name a few.
It also marked the end of the rear chrome bumper.
I was commissioned by the car’s owner to airbrush his Corvette Stingray onto a T-shirt.
Unfortunately, none of the small, 4-inch by 6-inch photographs he provided had a clear,
front view of the car. At first, I thought this wouldn’t be a problem because I believed I
could easily find good reference photos on the Web. However, into my research, I soon
realized that in 1973 the Corvette had only ten exterior colors to choose from, and black
was not one of them!
This meant I was forced to work from the provided photos. I selected the rear view of
the car because the owner really liked its chrome bumpers.
PHOTOSHOP
LAYOUT OF
TSHIRT
From one of the
photos, I created
an overall composition of the design using
Photoshop, which was approved by the client. From this layout, I was able to precisely
determine the real scale and position of
each element I needed to paint.
052_Airbrush1210_CORVETTE LUC.indd 52
8/21/12 11:11:45 AM
1
2
PHOTOS 1 AND 2
I chose a 100% cotton, light gray shirt because I felt it would make the color of the car stand out more. On the down side, this also meant I would
have to pay extra attention to the nasty overspray.
The shirt was fitted over a ¼-inch-thick Masonite board that was sized to slightly stretch the fabric. This also enabled the paint to be absorbed
deeper into the fabric. Notice that I angled the top portion of the panel and rounded the corners to obtain a better fit, and to prevent creasing.
The shirt was prepped with Createx Wicked Transparent Base W200. I saturated the front of the shirt, and then heat-set the base, giving me a
canvas-like surface. The Createx Web site (www.createxcolors.com) contains helpful information and videos explaining this important step in working with T-shirts. For this project, I used Createx Wicked paint.
Then, I positioned the main subject using a black-and-white print that was scaled to the exact size. The Photoshop layout guided my placement.
Then, I marked it with tape.
1
2
3
4
PHOTOS 3 AND 4
To help prevent overspray, I used the aid of a self-adhesive transparent vinyl from Avery. Prior to applying the vinyl to the T-shirt (the vinyl
was still on the paper backing), I used a cutout of the black-and-white print to transfer the outline of the car onto the vinyl. I then cut the vinyl
with an X-ACTO knife and reset the paper cutout of the car onto the shirt. This allowed me to accurately place the transparent vinyl over the
shirt and to ensure the car was in the correct position. I was then ready to paint.
5
6
PHOTOS 5 AND 6
I began by blocking some of the main shapes and components of the car, such as the rims, roof, window lines, bumper, and taillights,
and the sharp transitions in the paint color from the reflections. For this, I used detail black and white paint with some Createx Wicked
W100 reducer. On this project, I mostly used an Iwata HP-CS airbrush. However, for the very small details, I used a Custom Micron CM-SB
airbrush. To locate all the shapes on the shirt, I used the paper cutout of the car and cut according to the shapes I wanted to transfer.
Essentially, I created my own custom, handheld shields. For a project such as this, working with handheld shields is an absolute must in
order to obtain clean, hard edges.
8/21/12 11:11:55 AM
7
10
8
11
9
12
PHOTOS 7, 8, AND 9
PHOTOS 10, 11, AND 12
Because the car was black I didn’t have to work with too many colors.
Except for the taillights, all of the other colors were reflections in the
chrome and paint surfaces from either the ground or the sky. For
the ground reflection, I used a bit of Wicked Sepia mixed with some
Wicked Yellow Ochre. For the sky, I used some gray with a very small
amount of Wicked Laguna Blue. Once the light colors were painted,
I started adding the basic, black paint of the car. I paid close attention to the various shades of black in the reflections. Because I used
transparent paints, I needed to work from light to dark.
When that was completed, I focused on the rear of the car, which had
quite a few details. Once the sky reflection on the bumper was done,
I added the black and red reflections. Here again, it’s very important
to pay close attention to all of the small paint lines and dots that are
visible. If they’re there, you have to paint them! At times, this might
seem long and tedious, but if you’re going for realism, these details
are important—especially the bright highlights. Paint what you see
on your photo reference, not what you think you see. In the end,
you’ll be rewarded with a sharp-looking chrome effect. All of this
type of work was done with a combination of handheld shields and
freehand airbrushing.
8/21/12 11:12:08 AM
13
14
PHOTOS 13 AND 14
The next phase consisted of the rims, tires, and license plate. I sketched the license plate lettering with a blue Stabilo pencil, using just enough
pressure to leave guidelines for the airbrushing. Then, I completed the colors on the side of the car.
Next, I removed the lower half of the masking film to expose the finished and clean outline of the car. This enabled me to make some
final adjustments.
15
16
PHOTOS 15 AND 16
A mixture of Wicked Sepia, Yellow Ochre, and Raw Umber was used to paint the ground. I made sure not to create a hard outline where the
ground ended. Also, to avoid getting overspray on the almost-finished car, I used the cutout portion of the transparent vinyl mask. The driver
window and mirror were a bit tricky to do because of the size and the amount of the details. Again, while working from light to dark color, I
was able to achieve a realistic look. With the black paint completed on the side of the car, I warmed up the reflections a bit with a slight mist
of an over-reduced mixture of the earth tones, and then I hit the white highlights once more.
17
18
PHOTOS 17 AND 18
Using a vinyl cutter/plotter, I generated lettering masks to match the original design. I began with the“73” using transparent white. Before
applying the mask for “Corvette,” I heat-set the T-shirt to ensure the adhesive mask didn’t lift the material, or worse, remove fresh paint. You
can never be too careful! For heat-setting, I apply parchment paper over the design followed by a small, handheld iron that I also use for
waxing my snowboard, which is a good size and maintains a sufficient temperature. Then, “Stingray” was added. Last, I completed the very
small “Corvette” lettering on the rear of the car. Once again, I used a Custom Micron airbrush.
8/21/12 11:12:19 AM
Final
Detail
FINAL IMAGES
The entire shirt was sprayed one more time with Wicked W200 Transparent base and then heat-set. Now, I was done!
This was my very first attempt at painting an automobile on a T-shirt, and, at first, I was a bit apprehensive because of the many small
details—especially the reflections and chrome surfaces. But, in the end, I realized it was really no different than any other subject. You just
have to take your time, study the subject, and break it down into phases by defining what needs to be done and in what sequence. And,
of course, have some fun! I know I sure did.
If you have any questions regarding this project, please don’t hesitate to contact me at luc@lucboivin.com. ■
Luc Boivin, a self-taught illustrator, hails from Laval, Québec, Canada. His fascination with the airbrush began in 2005. Amazed at the detail artists were able to
achieve with paint sprayed onto a surface, Boivin began researching the subject
through books, the internet, and Airbrush Action. “My greatest strengths are
tremendous patience, perseverance, and the ability to visualize the numerous
steps required and the final product. Client satisfaction is first on my priority
list, closely followed by simply having fun.” To see more of Luc’s work, visit
www.lucboivin.com
8/21/12 11:12:31 AM
8/21/12 11:12:33 AM
GET SOME BACK!
HERE’S YOUR CHANCE TO BUILD A VALUABLE LIBRARY OF AIRBRUSH
REFERENCE MATERIAL OR FILL THE GAPS IN YOUR OWN AIRBRUSH ACTION ARCHIVE!
TO
DECEMBER 1985 / $10
FEBRUARY 1986 / $10
APRIL 1986 / $30
JUNE 1986 / $10
OCTOBER 1986 / $10
DECEMBER 1986 / $10
JUNE 1988 / $10
2nd Airbrush Competition. Caricature
artist Robert Risko. Airbrushed guitars.
Paasche AB Turbo. Photographing art.
Steve Knitch lifesize celebrity cutouts.
Mouse & Kelley. Jerry Lofaro,
commercial artist. Illustrating water.
OCTOBER 1988 / $20
AUGUST
APRIL 1989 / $6
APRIL 1990 / $30
OCTOBER 1990 / $6
APRIL 1991 / $6
OCTOBER 1991/ $6
DECEMBER 1991 / $6
FEBRUARY 1992 / $6
APRIL 1992 / $6
JUNE 20
AUGUST 1992 / $6
OCTOBER 1992 / $6
Illustrator Chris Hopkins. Student artists.
Creating full-color logos. T-shirt design
solutions. Paint Buyer’s Guide.
FEBRUARY 1993 / $6
Lettering king Jozef Sumichrast. Barry
Jackson’s Cool World. 5 lettering HowTo’s. Prepping art surfaces.
JUNE 1993 / $10
DECEMBER 1994 / $6
JUNE 1995 / $6
Comedian & fine artist Martin Mull.
Caricature artist Ken Westphal. Ceramics
guide. Airbrushing cosmetics.
Kim Whitesides, commercial artist. Movie
poster magic of B.D. Fox & Friends.
Automotive. Taxidermy.
Don Coen, pastoral painter. Commercial
artist Nick Gaetano. Painting on drums &
guitars. Buying paintbrushes.
Commercial artist/designer Stanislaw
Fernandes. Photo-retoucher Louis Grubb.
How airbrushes are made. Taxidermy.
Fine artist Gary Prettyman.
Tim Mitchell’s T-shirt art. Sign painting
How-To. Colored Pencils.
T-shirt whiz Ricky Patrick. Keung Szeto.
Fingernail art. Illustrating glass. Troubleshooting the Paasche AB. Air sources.
David Kimble: Airbrush master &
cutaway king. 50 years of the Varga Girl.
Screen printing from A to Z.
Fine artist Michael Gallagher. Ceramic
artist Kevin Osborn. Model locomotives.
Illustrating/airbrushing on glass.
Airbrushed activewear. Pinup illustration
How-To. Truck mural. Successful selfpromotion. T-shirt lettering.
Fantasy art of Richard Corben. Painting
lips & eyes on fabric. 7th Airbrush
Competition. License plates.
Airbrushed glass sculptures of Virginia
Gabaldo. Patricia Doktor. Bus murals.
Picture mats. Classic car illustration.
FEBRUARY 1995 / $6
Illustrator Andrea Mistretta. Robert Rodriguez.
Carlos Torres. Jeff Lefever. Cool snowboards.
Hockey masks. Model planes.
APRIL 1995 / $6
AUGUST 1996 / $6
OCTOBER 1996 / $6
DECEMBER 1996 / $6
Andrea Mistretta, Jack Moore, Janet
Woolley, Carlos Cartagena. Suede jacket.
Snowboard. Airbrushing family portraits.
Rocky stamps by Shannon. Medical
illustrator Teri McDermott. Fine artist
Ricardo Chavez-Mendez. Guitars. Helmets.
DECEMBER 1997 / $6
FEBRUARY 1998 / $6
JUNE 1998 / $6
Scott Jacobs: Harley Davidson’s official artist.
Helmets. Leather airbrushing Custom-painted
motorcycles. Temporary tattoos.
Editorial illustrator Gary Smith. Artist Tim
Jacobus. Edward Reed demonstration.
Portraits on leather. Bruce Parrish’s digital
art. Airbrushed fingernails.
Illustrator Broeck Steadman. Superman:
The Animated Series. Tin toy fine art of
Cesar Santander. Hood mural. Models.
Illustrator Anita Bice. Digital airbrushing
of Ken Westphal, Jeff Haynie, Jack
Moore & Steve Shamburger. Custom
airbrushed snowboards.
056_Airbrush1210_BACK ISSUES.indd 56
Steven Driscoll, T-shirt portrait whiz.
Automotive mural How-To. Heat presses.
Cosmetic & fingernail airbrushing. Lettering.
Vargas Awards. 13th Airbrush Excellence
Competition. Richard Sturdevant. Craig
Fraser. Working on leather. Fingernails.
Creating texture. Selling T-shirts at fairs.
Commercial artist Todd Schorr. B&W photo
retouching. Graffitti art. Doll restoration.
Legal guide for visual artist.
Thomas Blackshear. Illustrator John Ceballos.
Electopounce. Rendering chrome. Abstract
art. Airbrushing signage.
Artist H. N. Han. Illustrator Robert
Anderson. Step-by-step architectural
rendering. Medical illustration.
Fine artist Don Eddy. Scenic painting. Air
compressors. How to paint car wheels.
T-shirt marketing strategies.
16th Annive
2001. A.D.
15th Airbru
Terry Hill’s T-shirt art. Painting dark
surfaces. Bicycle frames. Opaque
Projector Buyer’s Guide. Leather jackets.
Dean Mitchell Paints from the soul.
Airbrush Excellence competition winners.
How to build a low-cost T-Shirt work station
JUNE 1994 / $6
AUGUST 1994 / $50
OCTOBER 1994 / $6
APRIL 2
APRIL 1996 / $6
JUNE 1996 / $6
DECEMB
AUGUST 1997 / $6
OCTOBER 1997 / $6
AUGUST
APRIL 1999 / $6
JUNE 1999 / $6
APRIL 2
APRIL 1994 / $6
10th Anniversary Issue. Marc Greeblum’s
anamorphic art. Cake airbrushing. Windshield logos. 9th Airbrush Competition.
Brian Fujimori. Noah’s Art. Corvette
illustration demo. Surface preparation and
priming. Airbrush license plates. Jet skis.
AUGUST 1995 / $6
FEBRUARY 1996 / $6
FEBRUARY 1997 / $6
APRIL 1997 / $6
JUNE 1997 / $6
AUGUST 1998 / $6
DECEMBER 1998 / $6
FEBRUARY 1999 / $6
Automotive Annual Airbrush overview.
Surrealist Robert Williams. Artist Punz
Wolfe. Rat Fink artwork. Airbrushed
clocks. Pinstriping details.
Sorayama. Exotic muralist G. Byron Peck. Jurek. Sign art by Mr. J. Fine artist Ralph
Sanders. Illustrators Jerry Lofaro &
Rendering woodgrain. Lighted signs.
Andrea Mistretta. Leather airbrushing.
Airbrushing T-shirt stencils.
Second skin
Special hot
Guide. Artis
George Bar
Body airbrushing by Linda Love. T-shirt art of
Michael Astrachan. T-shirt portraits. Leather
jackets. Easter eggs. Mobil home mural.
Kruger’s artwork. Alan Rogerson’s
sculptured fantasies. Santa’s airbrush
workshop. Airbrushed tile work. Ceramic
magic of Douglas Kenney.
Fantasy art of Luis Royo. Process-color
portraits. Water-based murals. Models
and taxidermy.
Fine artist Andrew Kong Knight. Sonia Hillios.
Airbrush Competition winners. Airbrushing
racing helmets, canvas, & ties.
Harley Issue! Scott Jacobs: Master of the
motorcycle. Airbrushing temporary
tattoos. Flaming skull tank. Airbrushing
leather jackets.
Jim Henson Creature Shop. Spray Booth
Buyer’s Guide. How to airbrush on license
plates, surfboards, & swimming pools.
Sorayama, renowned illustrator. Andreas
Nottebohm’s cosmic creations. T-shirt stencil
techniques. Fingernail airbrushing.
Artist Von Franco. Steve Stanfordís. David
Kimble’s Corvette cutaway. Jurek’s
airplane mural. James Gucwa.
International spotlight featuring work of
Duncan Gutteridge. Airbrushing quill
portraits. Air Compressor Buyer’s Guide.
Creating dinosaur hide effects.
Fantasy illustrators Fastner & Larson. Bill
Mayer. Face painting. Monster model kits.
Steve Driscoll & Michael Astrachan.
Muralist William Lazos. J. K. Potter’s
terrifying photo retouching. Graffiti art.
Saving Wyland’s whales. Mural graphics.
The Petty Girl revisited. Fine artist Jennifer
Janesko. Henry Ascencio’s work on canvas.
Symbolism of Richard Montoya. Tim Cox.
H’art Creations. Hockey mask how-to.
Artist Henry Asencio. Vargas Awards.
14th Anniversary Issue. Airbrush
Excellence Competition Winners. Broeck
Steadman. Mastering Murals.
7/25/12 3:09:17 PM
House of Ko
Awards. Va
Sonny DePa
helmets. Ku
Annual Airb
Vandemon
How-To, Fra
Comic Art M
of Liberty. F
Carpal Tunn
Texture. T-s
Master Rea
Deadliest C
Tattoo Flash
Perry Caric
Pinstriping
Buyer’s Gu
20
cutouts.
,
water.
artist Ralph
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brushing.
6
Larson. Bill
model kits.
han.
otter’s
affiti art.
graphics.
tist Jennifer
k on canvas.
. Tim Cox.
how-to.
Awards.
ush
ers. Broeck
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ASK ABOUT OUR SPECIAL BACK ISSUE OFFER!
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Second skin swimsuits by Joanne Gair.
Special hot rod issue. Projector Buyer’s
Guide. Artist James Gucwa. Kustomizer
George Barris. Tiger T-shirt
Sci-fi/fantasy art issue. Artist Boris
Zlotsky. Paint Buyer’s Guide. Doug
Stewart’s movie posters. Robert
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OCTOBER 1999 / $6
JUNE 2000 / $6
AUGUST 2000 / $6
OCTOBER 2000 / $6
Science Fiction issue. Marc Gabbana. Paint Body Art Spectacular. Vargas Awards Gala
Buyer’s Guide. Psycho Clown Mask. Alex 2000. Playboy paint party. Emilio
Seminara. Airbrush Italian style. Mike
Sheikhan. Meinrad Froschin. Sturgis photos
Lavallee’s ‘38 Chevy.
DECEMBER 2000 / $6
FEBRUARY 2001 / $6
Vargas Girls. Andy Wenner’s bottom time.
Craig Fraser’s kustom briefcases. Les
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APRIL 2001 / $6
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FEBRUARY 2002 / $6
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FEBRUARY 2010 / $6
APRIL 2011 / $6
JUNE 2011 / $6
AUGUST 2011 / $6
16th Anniversary Edition. Vargas Awards
2001. A.D. Cook’s Indian Summer sequel.
15th Airbrush Excellence Competition.
House of Kolor’s Prestigious Painters
Awards. Vandemon layer flame exclusive.
Sonny DePalma’s Rat Fink. Baseball
helmets. Kustom King Rod Powell.
Annual Airbrush Buyer’s Guide,
Vandemon Flames a Plane! Caricature
How-To, Fraser’s Sacrved Heart stencils.
Comic Art Megastar Alex Ross! Kiwi’s Statue
of Liberty. Fraser’s Camo Skateboard.
Carpal Tunnel Syndrome. Master Fur
Texture. T-shirt competition winners.
Master Realist Peter Maier. LaVallee’s
Deadliest Catch Tribute. Ryno’s Airbrushed
Tattoo Flash. Lowrider Suoer Show. Katy
Perry Caricature. Tattoo Art T-shirt.
Pinstriping By Wizard. 2011 Compressor
Buyer’s Guide.
Tank art mania with Chris Cruz. Projector
Buyer’s Guide. Jack Giachino master
‘striper. Daddy-O. Tanks by Ponno. Big
Daddy tribute.
Vince Goodeve’s grinning demon tank
mural, part 1. Queen of kustom bike
painting, Dawn Holmes. RC car how-to.
Wizard’s pinstriping basics.
21st Anniv. Isuue. House Of Kolor’s
Prestigious Painter Awards. Pinstriping
Masters 2 Sneak Preview. How to Render
Clouds. Dave Perewitz’s Guide to Flames.
Dru Blair’s Verry Merry X-MISS! Soto’s
Dirty F/X. Lee Rocker’s Kustom Bass.
T-shirt Airbrushing Survival. Freddy Sicoli.
Annual Airbrush Buyer’s Guide.
26 Anniversary Issue! $40K Paint Job on
a Truck. 2 Easy Special FX: Carbon Fiber &
Rust. HD Makeup. New T-shirt Airbrushing
Techniques. How To Clean Your Airbrush.
Lowrider Coffee Table. Micro Airbrush on
a Razor Blade.
056_Airbrush1210_BACK ISSUES.indd 57
15th Anniversary. Vargas Awards 2000.
14th Airbush Excellence Competition.
Mark Daehlin. Kent Lind caricature.
Fanasty Issue. Hung Mac’s fantasy
dreamscapes. Sci-fi art of Stephen Youll.
Paint Buyer’s Guide. Terry Hill’s beach
scene. Craig Fraser komputer.
Jonathan Pantaleon’s kustom showcase. House
of Kolor’s Painter Awards. Michael Cacy’s water
droplets. Snowboard kustomizing. Hill’s T-shirt
Viper. Ground metal painting.
Super-illustartor Mark Fredrickson. Biker
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Pinstriping perfect circles. HOK’s Kosmic
Krome paints reviewed.
Kustom Kulture Extravaganza. Hot!
Fraser’s New Book! SEMA Show 2009.
Wicked Pin-Up by Pastrana. Elvis
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Automotive issue. Scott Jacobs paints Scott
Parker. Alberto Ponno’s realism. Projector
Buyer’s Guide. Ed Newton. Steve Driscoll.
Craig Fraser’s plane.
Vince Goodeve hog kustom master. Kim
Black visionary images. David Chang’s
wheel of fire. Fraser/Matthewson’s tiki
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Mike Learn’s motorcycle murals. Dennis
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Saucerman. Jane Choi body artist. Kustom Harley’s 100th Anniversary image. Matt
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body. Build your own T-Shirt kiosk
Kustom Kulture issue. Patrick Ceo paints the
Austin Powers ride. Pinstriper Willis Dormer.
Vince Goodeve’s kustomized bowling pin. Jeral
Tidewell.Weathering trains.
Compressor Buyer’s Guide. A.D. Cook’s
Indian How-To, Part 1. Naoto Hattori.
Claudio Stabile. Tobi Britton body
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Cook on canvas prep. Airbrushing finescale models. Airbrush Buyer’s Guide.
House of Kolor’sPrestigious Painter
Awards, Remling’s Ground Metal Mastery,
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JUNE 2005 / $6
AUGUST 2005 / $6
OCTOBER 2005 / $6
Annual Projectors Buyer’s Guide, Marcus Annual Paint Buyer’s Guide, Skull
Pfeil, Mastering Diamond Plate, Morphing Master’s Kustom Kulture Stencils, Fantasy
Body Art by Craig Tracy
Metal, Heatsetting Fabric Paint.
The Arresting Art of OLIVIA! Dru Blair’s
Skeet Technique. Fraser Paints a Drum
Kit. SEMA 2006. Pam Shanteau’s Queen
of Hearts. How To Shade & Blend.
SORAYAMA Exclusive! Hip Hop T-Shirt Art;
New Airbrushes Revealed; Helmet
Airbrushing How-To; Plotter Basics; Render
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FEBRUARY 2011 / $6
DECEMBER 2011 / $6
FEBRUARY 2012 / $6
APRIL 2012 / $6
JUNE 2012 / $6
AUGUST 2012 / $6
FEBRUARY 2007 / $6
Lorenzo Sperlonga How-to and Gallery.
Render Hot Chrome. Compressor Buyer’s
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Paint This Hot Cover with Dave Nestler!
Airbrush Buyer’s Guide! Awesome T-shirt
Lettering with Kent Lind. Pastrana
Motorcycle Mural. Vinyl Plotter
Techniques. Woodgrain and Pinstriping.
Go Under the Hood of an Airbrush!
25th ANNIVERSAY ISSUE!
Marc Gabbana! World Class Body Art. ‘56
Chevy Photorealism. Graffiti’d Out Ford
Flex. Porsche T-shirt. Earn $5K/Month!
SEMA COVERAGE 2011. Power Portraits!
Recycle a T-shirt Design. Painting a Classic
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2011 HOK Prestigious Painter Awards.
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Template. Chor Boogie: Aerosol Artist.
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2011 SEMA Show. Jurek’s Animal Fur
How-to. Make $ Airbrushing T-shirts.
Kustom Painted Skateboards. Mardi Gras
Mitch Kim’s Incredible Skinstriping.
Motorcycle Week in Laconia, NY. Airbrush
Undercover: A Secret Priesthood? Paint a
Model Tank. Kustom Painted Mailbox.
2012 Projector Buyer’s Guide.
7/25/12 3:09:23 PM
This year’s Paint Buyer’s Guide is loaded with all the information
you need for choosing the correct paint for your application.
If you’re a beginner, you may wonder what types of paints are best suited to
your chosen surface. Although many airbrush experts stress that becoming a
pro means lots of experimentation, our charts will help steer you in the right
direction and hopefully eliminate much of the frustration new airbrushers encounter. For each paint product featured in the guide, we’ve checked off a list
of manufacturer-recommended surfaces on which to use the paint. Simply
find your desired painting surface at the top right of the chart and see which
paints are best for that surface. In the charts, you’ll also find information on
paint base, thinning, additives and finish. We’ve also included a directory with
phone numbers, addresses and Web sites for all the paint makers included
in the guide.
There are roughly five types of paint—acrylics, inks and dyes, oils, urethanes, and watercolors. Each one has its own set of pros, cons and recommended surfaces, so before you start a project, take a moment to review your
needs and choose the correct paint.
Acrylics: Of all the paint options for airbrush, these are the most versatile
and easiest to use. You can use these paints on just about any surface, including fabric, canvas and acetate. They spray evenly through an airbrush and
have short dry times, which means you don’t have to wait long between
coats. If you thin acrylic paints properly, you can even use them to achieve
a transparent effect. Some brands make this even easier by offering readymixed transparent paints.
When acrylic paints dry, they are very strong. The pigment in acrylics is
bound with plastic, allowing the paints to stand up to just about anything,
including water. The notable exception to this, however, is alcohol. The good
news for frisket lovers is that acrylic paints are hardy enough to withstand this
type of masking, especially when compared to watercolors or gouache.
Be sure to shake acrylic paint before using; it can separate if not homogenized. Also, when spraying acrylic textile paint, you need to use a relatively
high air pressure (40 to 60 psi) to more effectively force the color into the fabric. Another way to ensure that you’re getting the most from your acrylic paint
is to heat-set your fabric after painting. Tip: Acrylic paints can be very difficult
to remove from the inside of your airbrush, so make sure you clean up right
away. The longer you wait, the harder it will be to clean your airbrush.
Inks and Dyes: Another great choice for airbrush use. These thin pigments are easy to spray with an airbrush and require a low psi. A top choice
of commercial illustrators, inks and dyes provide brilliant color on paper and
illustration board. If you use paper, it should be extremely fine-grained because any textures will show through your paint. A small drawback to using
inks and dyes is that your ready-to-use color choices are relatively limited, but
you can easily mix them, allowing for creative custom colors. In fact, most
jars come with an eyedropper on the lid, giving you the ability to precisely
fine-tune your color mixtures. Caution: although your colors will be vibrant,
exposure to light causes fading.
With inks, you should always shake the bottle first, because the pigment
can separate. As with acrylics, we recommend that you clean your airbrush
immediately after working with inks. Tip: Avoid letting your hands come in
contact with the art. The oil in your skin can wreak havoc on your work, turning a first-rate paint job into a splotchy nightmare. We recommend using
cotton gloves when you work with inks.
Oils: Oil paints provide intense and durable colors, but using them with an
airbrush can be tricky. Oil paints predate the airbrush by hundreds of years,
so they weren’t exactly designed with our tool in mind! But it is certainly possible to airbrush with oil paints. The first step is to thin the oils with turpentine or mineral spirits at about a 60/40 paint-to-thinner ratio. Add the thinner
working from the bottom and don’t shake the mixture.
Because of their slow dry time, oils are difficult to use with frisket. Make
sure your paint has dried thoroughly between coats and when applying any
masks. Thinning helps speed up drying times. As with any paint, clean your
airbrush thoroughly and promptly after spraying use.
Urethanes: Unlike many other types of paint, urethanes are extremely durable. They are designed for heavy-duty work on cars, motorcycles, boats and
other such surfaces, and can withstand the elements. These tough-as-nails
paints can be covered in clearcoat, sanded and polished. Urethanes contain
much more pigment than lighter-weight acrylics, which helps explain their
rugged strength. Because they do not dry by water evaporation, urethanes
require a catalyst or hardener to dry them.
Urethanes came in two varieties: single-stage and two-stage. Single-stage
urethanes combine their pigments with a clearcoat material, eliminating the
need for a separate clear finish application. Although single-stage urethanes
have lengthy dry times, you can sand and polish them as soon as they’re dry.
Two-stage urethanes have a dull finish when applied and need the addition
of a clearcoat to provide luster. Your color options with two-stage urethanes
are plentiful with opaques, pearls and transparents. Although you will have
the extra step of applying clearcoat, your dry time is much shorter.
Urethanes require special caution when sprayed. Use a respirator and
good ventilation to minimize your exposure to fumes.
Watercolors: Watercolors are perfect for airbrush because their thin
makeup allows for very even and easy spraying. The con: watercolors lack the
durability of acrylics and urethanes. Watercolors won’t hold up when exposed
to the elements, especially moisture; the same water that binds the pigments
will destroy the paint once it’s applied to a surface. This is why watercolors are
generally limited to illustration and fine art.
Since watercolors are transparent, you should apply them in thin coats,
building layer upon layer until you achieve your desired depth. Remember
that hints of earlier coats will show through the layers. This makes it especially
difficult to paint over a mistake when using watercolors. However, gouache,
an opaque version of watercolors, is suped up with white paint to achieve
opacity. Gouache has all the airbrush-friendly traits of watercolor, but it effectively covers mistakes, and because it’s thicker, you don’t need to apply
as many coats.
You can purchase watercolors in tubes or cakes, or you can get them premixed and ready to spray. Simply add distilled water to the cakes or tubes,
and you’re ready to airbrush. Frisket poses some challenges when working
with watercolors. The adhesive can easily pull your paint off the surface. Also,
once dry, watercolors can crack if forced to bend, so keep your completed
artwork as rigid as possible.
Watercolors dry quickly. One of the best parts of working with watercolors
is their easy clean-up. A good soaking will remove just about all the paint.
The complete guide is available for viewing online at www.airbrushaction.com
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IN MEMORIAM
J AIM E RO D R I G U E Z G A L L E RY
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DVDs
POWER PORTRAITS
WITH JAVIER SOTO
This long-awaited DVD from
master Javier Soto includes stepby-step instruction on color theory,
how to render facial features, flesh
tones, skin pores, the nuances of
rendering teeth and hair, how to
evaluate the progress of your
painting, and tons more!
#D1JS03 210 Mins $29.95
AIRBRUSH MASTERY
WITH TERRY HILL
Here’s the ultimate course on
airbrush mastery taught by the
legendary Terry Hill. Highly
recommended for beginning and
advanced artists of any airbrush
application. Learn freehand control,
drills, maintenance and tons more.
#D1TH01 102 mins $39.95
ULTIMATE AIRBRUSH
EFFECTS & TECHNIQUES
WITH TERRY HILL
Learn over 30 amazing airbrush
special effects and more than 50
top pro tips and tricks by the
legendary artist Terry Hill. Learn
to airbrush onto virtually any
surface and/or application!
Plus tons more.
#D1TH02 3 Hrs 30 Mins $29.95
066_Airbrush1210_DVDS.indd 66
HYDRO SHOCK
WITH EDDIE DAVIS
LEARN TO PAINT A SURFBOARD!
Using Createx and Wicked Colors,
Eddie covers all phases of the
process—from surface prep to
clearing. You’ll learn an intro to
3D modeling software, along with
advanced techniques you can use
on any surface!
#D1ED02 132 Mins $29.95
AIRBRUSH ACTION
SILVER COLLECTION
1985 – 2008
23 Years of AIrbrush Action
Magazine on one disc! Contains
searchable PDFs of all 136 issues.
Works on both PC and Mac.
#D1SILVER
FIERCE FUR
$99.95
LEARN TIPS & TRICKS FROM THE PROS!
T-SHIRT LETTERING
BOOT CAMP
WITH GARY WORTHINGTON
This highly-anticipated DVD comes
with the demonstration of 11
cutting-edge fonts and their
alphabets—plus 22 name
designs—sure to add thousands to
your bottom line. Learn scratch,
bubble, box, graffiti, and more!
#D1GW03 115 Mins $29.95
AIRBRUSH DIGEST
MAGAZINE
RARE! COLLECTOR’S ITEM
For the first time in 25 years, the
12 ‘lost issues’ of this pioneering
airbrush publication are available
as PDFs on one disc. PC or Mac.
#D1ABD1
HIP HOP ART
$49.95
ALAN PASTRANA
This is the most intensive and inLearn how to paint remarkable TShirts.This great presentation reveals depth instruction on how to illustrate
the tricks to achieving realistic animal a Hip-Hop image ever. Alan Pastrana
demonstrates advanced airbrush,
fur, advanced use of color, pro
airbrush techniques, and much more. paintbrush, and stencil techniques,
and use of employing cutting-edge
How to bleach a shirt and render a
vinyl applications while creating this
bear with stunning results. These
methods can be used on any surface. one-of-a-kind image.
#D1GW02 54 mins $39.95 #D1AP01 4 hrs 45 mins. $39.95
PANTALEON’S TIGER
WITH JONATHAN PANTALEON
In this long-awaited DVD from
automotive custom master and
long-time Getaway instructor,
Jonathan Pantaleon, learn to paint
this highly popular image of a
tiger using SEM’s Color Horizon
line of paints.
#D1JP01 75 Mins $29.95
SATA’s
ARMED & FABULOUS
WITH EDDIE DAVIS
In this two-hour presentation, rising
star Eddie Davis demonstrates how to
render unrivaled skulls on T-shirts (or
any surface) with amazing results.
This course includes detailed
anatomical descriptions, dynamic
lighting, micro airbrushing, how to
electrify your image, and much more.
#D1ED01 120 mins $39.95
Anest Iwata’s
DeVILBISS’s
WITH BRIAN LYNCH
WITH KEVIN TETZ
#D1BL02 48 mins $29.95
#D1KT01 40 mins $29.95
SORAYAMA:
SECRETS REVEALED
ADVANCED PORTRAIT
TECHNIQUES
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.
#D1HS01 3 hrs. $49.95
POWER SKULLS
WITH DAVE NESTLER
World renowned pin-up artist Dave
Nestler reveals all of his tricks in
detail while creating this stunning
pin-up. Learn tons of textures,
effects, and Dave’s favorite: the
10% rule. Paintbrush ONLY.
#D1DN01 118 Mins $29.95
SPRAY GUN HANDLING SPRAY GUN HANDLING
TECHNIQUES
TECHNIQUES
Learn the complete line of Sata
sprayguns, including the inner
workings of spray guns, how to
adjust them, how they’re made,
design features and much more!
P
F
Learn the complete line of Anest
Iwata sprayguns, including the new
and dynamic Supernova gun Century
Series guns, robotic, and fluid
handling equipment.
CORY SAINT CLAIR
Groundbreaking instruction from
one of the world’s top realistic
portrait painters. For intermediate
to professional artists seeking to
take their work to the next level.
#D2CS01 140 mins $39.95
SPRAY GUN HANDLING
TECHNIQUES
WITH BRIAN LYNCH
Learn the complete line of DeVilbss
sprayguns, including the inner
workings of spray guns, how to
adjust them, design features and
much more!
C
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#D1BL01 48 mins $29.95
WICKED KISS
Learn how to paint remarkable
T-Shirts. In Wicked Kiss Gary
Worthington demonstrates how he
achieves dynamic color, flesh
tones, textures, and how to
successfully bleach and airbrush
onto black fabric. Intermediate to
advanced artists.
#D1GW01 82 Mins $39.95
8/17/12 2:48:10 PM
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CALL TOLL-FREE
PHOTOSHOP TECHNIQUES TRIBAL & METAL
FOR ILLUSTRATORS
AIRBRUSH F/X
CREATING ARCTIC KISS
In the ground-breaking new DVD,
world-class artist Jerry LoFaro
renders a professional illustration in
Adobe® Photoshop from start to
finish sharing some of his top pro
tricks along the way.
Beginner to professional
KIWI TERRY
Add more depth, dimension and
believability to your work. Follow
this comprehensive how-to clinic on
rendering tribal, metal, and various
textural effects on five projects using
Auto-Air colors.
INTRO AUTOMOTIVE
AIRBRUSHING
CRAIG FRASER
Here’s 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!
#D1JL01 2 hours 15 mins. $39.95 #D1TS01 120 mins. $39.95 #D9CF07 90 min. $39.95
KUSTOM FLAME TRICKS KANDY PAINTING
& TECHNIQUES
TRICKS & SPECIAL F/X
FRASER, GIULIANO, K-DADDY
Learn from the kustom masters how
to create flames on all auto
surfaces. Clearcoat prep, tribal
flames, layout, troubleshooting,
pinstriping techniques, and much
more are included.
#D9FDG1 45min. $39.95
PRO AIRBRUSH
& PAINTBRUSH
TECHNIQUES
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.
#D1BM01 99 min. $39.95
FRASER & GIULIANO
Kustom painters are often judged
by their ability to spray Kandies.
Kar Kustom masters Fraser and
Giuliano demonstrate the top pro
tricks of spraying Kandy urethanes
on cars, trucks, helmets, motorcycle
tanks, and more.
#D9CF02 33 min. $39.95
ASS KICKIN’
AIRBRUSH ADVICE
CROSS-EYED
Tips to be a better,more successful
artist. Gain revealing, in-depth and
comprehensive pro advice on the
business and technical aspects of
kustom painting from one of the
world’s best. This is a must for your
reference library.
#D1BM02 47 min. $39.95
SKULLMASTER II
CRAIG FRASER
The art of the skull landscape, and
much more, to new heights in this
continuing series about the best, most
innovative stencil line available. This
DVD guides you step-by-step through
Skullmaster II’s 5-stencil solventproof system. (Stencils not included)
#D8CF05 75 min. $39.95
TOP PRO STENCIL
TECHNIQUES
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.
1.800.232.8998
AUTOMOTIVE
AIRBRUSH CHEAP
MORE AUTOMOTIVE
CHEAP TRICKS &
SPECIAL F/X
CLEARCOATING CHEAP
#D7CF01 115 min. $39.95
#D8CF01 83 min. $39.95
#D9CF03 41 min. $39.95
SKULLMASTER III
REALISTIC FLAMES
FOR AUTOMOTIVE
PAINTING
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
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)
#D8CF06 48 min. $39.95
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.
#D1BM03 51 min. $39.95 #D1BM04 74 mins. $39.95
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.
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.
FRASER & GIULIANO
Clearcoating is one of the most
misunderstood phases of kustom
graphics. Craig Fraser & Dion
Giuliano demonstrate the top pro
tricks of clearcoating on flat and
curved surfaces, pearls, ghost
images, repairs, and much more!
KUSTOM STENCIL F/X
CRAIG FRASER
Fraser strikes again! Learn an
array of dazzling, highlyprofitable stencil f/x from the
most sought-after line of stencils,
including Flamorama, F/X I,
and Patriotica.
#D9CF08 70 min. $39.95
#D9CF06 30 min. $39.95
CREATING KILLER
DRAGONS
CROSS-EYED
Learn how to render the many
components of a dragon, including
horns, scales, fins, beard, claws,
wings, teeth and more! Find the best
reference materials, airbrush
techniques, how to add dimension to
your work, use of stencils, how to
pose your dragon, and much more.
#D1BM05 82 mins. $39.95
REALISTIC FLAMES
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.
#D1JH01 68 min. $39.95
8/17/12 2:48:17 PM
DVDs
KUSTON CASH
CHARLES ARMSTRONG
Premier automotive custom painter,
Charles Armstrong generously
shares his advanced micro-airbrush
and vinyl techniques for rendering
paper currency and fire photorealistically onto any hard surface.
#D1CA01 84 mins $39.95
WIZARD’S
PINSTRIPING BASICS
Become a master pinstriper with
Wizard’s revolutionary 10,000stroke training method. The 10
basic strokes are broken down in
complete detail. This is the most
thorough video on the
fundamentals of pinstriping!
#D1SC01 76 min. $39.95
COMPLETE PAINTING
MOTORCYCLE TANKS
VINCE GOODEVE
Vince Goodeve, VQ’s 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!
#D9VG02 84 min. $39.95
HOW TO USE PLOTTERS MACK BRUSH REVIEW
& VECTORIZE IMAGES
World-class custom painter Alan
Pastrana unlocks the “mystery” of
how plotters work and his secrets for
eliminating hours of tedious cutting
with a knife. Perfect for all airbrush
applications, including automotive,
T-shirt airbrushing, hobby, fine art,
body painting, and many more.
#D1AP02 140 mins$29.95
GARY JENSON
World-class pinstriper Gary Jenson
guides you through the array of
Mack brushes from sword stripers to
lettering quills to scroll brushes and
more. Over 20 years of trial and
error is shared with you in this oneof-a-kind instructional DVD.
Over 25 designs demonstrated!
WIZARD’S DAGGER
PINSTRIPING
WIZARD’S
SCROLLBRUSH
PINSTRIPING
Learn all the strokes necessary to
make beautiful dagger style
striping designs. This video includes
paletting techniques, how to roll the
brush, how to pinstripe a circle,
painting without a grid,
asymmetrical and symmetrical
designs, and tons more!
#D1SC02 105 min. $39.95
#D1GJ04 45 mins. $29.95
Scroll style pinstriping is the fast
track to big profits and Wizard
reveals all about how to master this
intricate art form through a series
of designs on panels and a gas
tank. This highly detailed step-bystep course is geared toward
beginning to advanced artists.
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.
#D9GJ01 58 min. $39.95
COMPLETE GUIDE TO
MOTORCYCLE FLAMES
VANDEMON
In this can’t-miss instructional video
you’ll learn simple and complex
flame layout and design, multicolor
execution, masking, pinstriping,
airbrushing, and tons more as
demonstrated on a motorcycle tank
and fenders!
#D9VD01 89 min. $39.95
#D1SCO3 89 min. $39.95
COMPLETE GUIDE TO
COMPLETE PAINTING
MOTORCYCLE HELMETS MOTORCYCLE MURALS
VINCE GOODEVE
VQ’s 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.
AUTOMOTIVE
GOLD LEAFING
VINCE GOODEVE
Goodeve’s 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!
#D9VG03 82 min. $39.95 #D9VG04 113 min. $39.95
KILLER KLOWN
JAVIER SOTO
The rendering of clowns,
particularly of the killer or
psycho variety, are a growing trend in
kustom painting, There’s 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.
#D1JS01 59 min $39.95
BUEGLER MASTERY
GARY JENSON
Learn how to conquer the Buegler
striping tool from Gary Jenson, one
of the world’s best Buegler pros and
pinstriping masters. In this
instruction, Gary demonstrates the
use of the Buegler on a semi-truck,
a Chevy Tahoe, and practice
exercises on metal blanks.
PINSTRIPING
DYNAMICS
GARY JENSON
Here’s the ultimate guide for
beginning to intermediate
pinstripers and artists alike.
Featuring Gary Jenson—one of
the World’s best—as your guide!
#D9GJ03 53 min. $39.95
#D9GJ02 21 min. $39.95
GHOST FLAMES
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!
KUSTOM PINSTRIPING
TECHNIQUES
CRAIG FRASER
Here’s 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 painter’s video library.
#D9CF04 90 min. $39.95
#D9VD02 35 min. $39.95
CYBER GIRL
JAVIER SOTO
In this exclusive step-by-step
presentation, you’ll learn how to
master flesh tones, chrome and
many more of Mr. Soto’s most
sought- after and unmatched
textures and effects.
#D1JS02 73 mins. $39.95
ILLUSTRATION CHEAP
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.
#D7MC01 120 min. $39.95
8/17/12 2:48:23 PM
CALL TOLL-FREE
HOW TO AIRBRUSH
T-SHIRT ACCESSORIES
FOR GREATER PROFIT
1.800.232.8998
HOW TO AIRBRUSH
CARICATURES
INTRODUCTION TO
T-SHIRT AIRBRUSHING
CARTOONING
#D9KL02 45 min. $39.95
BEGINNING AIRBRUSH
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.
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/rattail strokes, maintenance, and
much more.
#D4TH01 83 min. $39.95
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
artist’s library!
TOP 25 T-SHIRT
DESIGNS, PART II
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!
#D8KL03 68 min. $39.95
#D9KL01 62 min. $39.95
#D8KL04 62 min. $39.95
#D8KL01 135 min. $39.95
#D8KL02 100 min. $39.95
CHEAP TRICKS AND
SPECIAL EFFECTS
BASIC PORTRAIT
TECHNIQUES
ADVANCED PORTRAIT
TECHNIQUES
MEDICAL EXPENSES
AIRBRUSHING
ON CANVAS
#D7SD01 55 min. $39.95
#D7SD02 140 min. $39.95
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.
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.
DYNAMIC LIGHTING F/X
ROBERT BENEDICT
Mr. Benedict demonstrates and
unlocks one of the most
misunderstood and important aspects
in art: lighting. Mr. Benedict’s
innovative style, rich use of color,
and ground-breaking techniques
make this a must-have DVD for your
reference library.
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!
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.
#D1LS01 160 mins. $39.95
#D2TH07 82 min. $39.95
#D1RB01 70 mins. $39.95 #D1RB02 56 mins. $39.95
TOP 25 T-SHIRT
DESIGNS, PART I
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 Lind’s
detailed demonstrations of five
hot-selling designs.
MICRO AIRBRUSHING
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.
#D1RB03 90 mins. $39.95
KUSTOMIZING
BOWLING PINS
PIN-UPS MADE EASY
#D9VG01 89 min. $39.95
#D1DEB01 58 min. $39.95
VINCE GOODEVE
Painting bowling pins is one of the
hottest kustom kulture trends.
Watch as Vince Goodeve, VQ’s 2001
Painter of the Year, renders 2 hotselling pin designs in this first video
of its kind! Includes prep, layout,
and clear coating!
DEBORAH MAHAN
Pinups are the latest trend in kustom
painting. This groundbreaking 5stencil system is designed to fast-track
you to render sexy, pinups on cars,
motorcycles, T-shirts and more. You’ll
learn how to use these stencils most
effectively. (Stencils not included)
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.
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.
#D1NE01 51 min. $39.95
HELMET CHEAP TRICKS
& SPECIAL F/X
CRAIG FRASER
Don’t miss this incredible video on
helmet airbrushing and pinstriping
featuring Craig Fraser. Watch as
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8/17/12 2:48:28 PM
DVDs
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RYNO
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charges, and NJ residents, please add 7% sales tax.
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8/17/12 2:48:31 PM
8/17/12 2:48:34 PM
IT’S OPEN!
THE AMERICAN SIGN MUSEUM OFFICIALLY OPENED ITS NEW HOME IN THE
CAMP WASHINGTON AREA OF CINCINNATI JUNE 23, 2012.
A
t the VIP Sneak Preview,
June 1, United-Maier Sign
Co. (Cincinnati) was honored with the first annual
Extra Mile Award for its extensive donations of time,
labor, and storage in the
retrieval, repair and installation of numerous
signs. Similarly, David and Suze Butler (Butler Design, Syracuse, Indiana) were given an
Extra Mile award for having organized and
coordinated the 29 U.S. and Canadian signpainters who spent the week of March 19-23
donating their services to paint “old” signs
that significantly compliment the actual vintage signs on Main Street (See page 73).
The event marked a triumphant culmination of efforts that museum founder and
president Tod Swormstedt began in 1999.
THE AMERICAN
SIGN MUSEUM’S
PERMANENT
HOME UNVEILED
■ BY WADE SWORMSTEDT
None of it would have been possible without the exceedingly generous contributions
of Jim and Sharon Weinel (Gemini, Inc., Cannon Falls, Minnesota).
The museum had called the Essex Studios
facility in Cincinnati its temporary home since
Spring 2005. The new space is more than four
times larger, and the 28-foot ceilings now allow
the full-size McDonald’s and Howard Johnson’s
signs to dominate Main Street. The museum
also boasts more than 4,000 artifacts.
The museum’s regular hours are
10:00am to 4:00pm, Wednesday through
Saturday, and Noon to 4:00pm on Sunday. Guided tours are conducted twice
daily at 11:00am and 2:00pm, and
2:00pm on Sunday, at no extra charge.
Private group tours are available. For more
information visit www.signmuseum.org. ■
(Top right) Elaine Wallis and Noella Cotnam—part of the Canadian contingent—carved and lettered this fascia
sign in 1950s V-6 corrugated plastic style to compliment the pan-face, backlit, plastic vintage sign on the TV/radio
repair shop. (Below) A greatly expanded “Timeline History of 3D Letters” is the first stop on a guided tour.
072_Airbrush1210_SOTT.indd 72
8/17/12 12:01:38 PM
(Clockwise from upper left) Looking
down “the history of electric signs”
corridor to the beginning section
of the “Pre Neon or Lightbulb Era of
1900-1930; Doc Welty created this
mascot for the late 1940s Rohs Hardware storefront, the porcelain panels
of which were rescued from the original Rohs storefront in Cincinnati’s
Over the Rhine area; Detail to a 1920s
era Coca-Cola wall that became
a group project; Rusty, porcelainenamel classic sign? Not really, the
sign was created in lettering enamel
for a porcelain-like finish, and then
distressed with faux rust; Scenes
from the “Trade and Early Painted
Signs” area; The 1920s shoe store
began with a vintage, opalglassletter sign, but became much more
through the magic touch of Dave
MacDonald, who handcarved the
dimensional shoes and boot, handlettered the windows, and carved,
gilded and distressed the “Shoe” letters in Spanjer Brothers-style.
072_Airbrush1210_SOTT.indd 73
8/17/12 12:01:41 PM
B E T WE E N
TH E
CRACK IS lEGAl IN ART
W
ith popular TV shows such as American
Picker and the resurgence of the rat rod movement, the weathered sign and lettering look
is trending strong. I’ve been pinstriping and
making signs since I was a teenager, and until
20-plus years ago, prior to computer generated signs, all my work
was hand-painted. Everybody did! In fact, my love for hand lettering
has not wavered one bit. For years I have admired the old-looking
sings produced by Dennis Gerathy, owner of the Colonial Sign
Shop, Redford, Michigan, and other gifted sign painters around
the country. Recently, I was inspired by an excellent article in the
March, 2012 issue of Signs Of The Times magazine written by Mark
Fair, owner of Mark Fair Signs and the Flying Biscuit Sign Company,
Montgomery, Alabama. He did a great job explaining the materials
and process for weathered signage, and I just had to try it. My first
one was “Joe’s Hot Rod Shop.” I had fun doing it and even sold the
sign! Since then I’ve made about a dozen versions, experimenting
with different shapes, routed edges and constructed borders.
lI N ES
BY JOHN HANNUKAINE
The possibilities seem unlimited, and you never really know how
they’re going to turn out.
I used a fictitious name and logo for this project. I routed the
edges of the sign panel (made from 3/4-inch A/C plywood), sanded
it, and applied a heavy coat of white latex paint using large brush
strokes. After sketching my concept on paper I transferred the image to the panel. The lettering was done with acrylic house paint
and acrylic paint using show-card brushes. After it dried I sanded
the surface with an orbital sander to weather the lettering. This is
a touchy and creative step. You want to sand just enough, but not
too much. The crackle effect was accomplished by brushing on
a coat of Elmer’s school glue right out of the bottle, letting it dry
almost completely, and then brushing a coat of satin water-based
varnish. You want the glue to be at least fairly tacky to almost dry
before applying the varnish. The dryer it is, the smaller the cracks.
After allowing it dry overnight, I rubbed burnt sienna acrylic color
into the surface to accentuate the cracks. By burnishing the surface
with a damp cloth you can fine-tune the final results.
074_Airbrush1210_PINSTRIPING.indd 74
8/21/12 10:39:17 AM
STEP 1
STEP 2
I sanded the surface and edges of a 3/4-inch-thick cut-out panel
with routed edges.
Next, I applied a generous coat of latex paint to the back, front,
and edges. I try to leave big brush strokes that will enhance the
weathered effect later in the process.
STEP 3
STEP 4
I refined my rough charcoal layout with a Sharpie pen.
I flipped the pattern over and rubbed charcoal on the back side
and then wiped off the excess with my hand. This is actually a
form of carbon paper.
STEP 5
STEP 6
After positioning the pattern right-side up, I re-drew it to transfer
the image to the sign’s surface.
I used a sable show-card brush to letter the logo using acrylic
paint. There are many good synthetic brushes available that
will work great for this job.
8/21/12 10:39:27 AM
B E T WE E N
STEP 7
TH E
lI N ES
STEP 8
I finished the petite lettering using a small synthetic script liner
brush. I tried to letter this sign fairly accurately, hoping to create
something that looks like it might have been silk-screened way
back when.
With 100-grit sandpaper on an orbital sander, I sanded just enough
to create a realistic weathered look. This can get tricky.
STEP 9
STEP 10
This panel shows the Elmer’s school glue, brush, and panel.
I applied a generous coat of glue right out of the bottle For large
cracks, allow it to dry until it’s tacky. For small cracks let it dry
almost completely.
STEP 11
STEP 12
Here’s the Ace Hardware Poly-Finish satin varnish I used.
After the glue dried enough, I applied a generous coat of satin
varnish.
8/21/12 10:39:37 AM
STEP 13
STEP 14
After the glue and varnish dried overnight, I rubbed the sign
surface with burnt umber acrylic artists color.
Here, I rubbed the surface with a water-dampened cloth to achieve
the right look.
FINAL IMAGE
DETAIL
SAMPLE 1
SAMPLE 2
Here’s my fishing buddy Rick with his repair shop sign.
I made this sign for Howard, my duck carver friend.
8/21/12 10:39:47 AM
B E T WE E N
TH E
lI N ES
SAMPLE 4
Here’s a fictitious Maine Lobster sign I made.
SAMPLE 3
I left room for someone’s
name on this
speed shop
sign.
ABOUT THE ARTIST
For the past 36 years, John Hannukaine has operated
a commercial sign and vehicle graphics business in
Tumwater, Washington. He gives full credit to Bonnie, his wife of
40 years, who manages the books and raised their three children,
Rachel, Adam and Alison.
Hannukaine has painted commercially for 49 years, and enjoys
his craft today as much as he did in his youth, if not more. When
asked about retirement, he answers, “I plan to paint as long as my
creator blesses me with the ability to do so. After all, I hear tales of
people who retire to do what I’ve been doing most of my life.”
8/21/12 10:40:02 AM
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8/21/12 10:40:07 AM
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SHIPPING & HANDLING (CHARGES MAY VARY DUE TO POSTAL INCREASES) CONTINENTAL U.S.: $7.50 FIRST ITEM; $3.00 EACH ADD’L ITEM. POSTERBOOKS: $7.00
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IS PRINT DEAD?...
THE STATE OF THE AIRBRUSH UNION
T
BY CLIFF STIEGLITZ
he key to keeping the longest running airbrush magazine in
history alive is a constant reinventing of ourselves, guerilla marketing
tactics, the sheer will to survive, and, especially in these print-challenged times, luck.
About 17 years ago, the advent of computer graphics and art
spelled the end of photo-retouching by hand, and all but decimated hand painted
illustration, Airbrush Action’s flagship application. Yes, for those who didn’t know
us back then, we were primarily an illustrator’s magazine. Our advertising universe
was quite respectable, we boasted about 116 pages an issue, and Airbrush Action
showed continual growth in its first 10 to 12 years. Then followed the enormous
attrition of art stores.
sories, etc) are committing a big mistake ignoring the relevance and importance of print, and
clearly missing an important and fresh parade
of readers associated with each issue. Clearly.
As much as we’re involved in the internet,
you may be surprised to know that most of
our Airbrush Getaway registration, and other
response that leads to revenue, comes from
Airbrush Action! We have spent thousands on
pay-per-click campaigns on the net with only
modest returns, and print subscriptions continue to be the champ over iPad and Web digital versions of Airbrush Action.
Although most of the feedback we
When I entered the art industry in
receive is very positive, there are those
1983, there were more than 5,000
who take issue (no pun intended) with
art retailers. Today, there are about
our house ads, and I fully empathize
500, if that! Many of these retailers
with them. But please understand
just couldn’t rebound or react quickly
that if Airbrush Action cannot rely on
enough to the personal computer
industry support, it must use other
boom. It got so bad one year, in fact,
means to survive. Folks, even in good
that the difference between profit and
times an airbrush magazine is more
loss for Airbrush Action was the rent.
difficult to sustain than you could ever
We then redirected our focus to a
imagine. In fact, two former competinew market: automotive custom painttors shared the same sentiment with
ing, the last frontier of airbrushing as I
me: “Cliff, I have a new respect for you,
saw it at the time. To compensate for
and would never attempt to publish
the substantial loss of ad support, I rean airbrush magazine again! I don’t
alized that I had to step up our ancillary
know how you do it.” For those who
efforts by expanding our video library,
may believe that publishing is glamfurther grow the Airbrush Getaway
orous, let me assure you that there’s
workshop program (more courses,
absolutely no romance in the mineetc.), publish more books, and explore
field of magazine ownership.
any other products that wouldn’t comUnfortunately, I know I cannot
pete with our advertisers.
please everyone all the time, yet I’m
Then, by the early 2000s the intercommitted to my nearly 30-year pasnet devastated print publishing across
sion to continue to publish Airbrush
the board, including major magazines
Action. I don’t think anyone can arand newspapers. The New York Daily “I FIRMLY BELIEVE THAT MANY OF THE
gue that, ultimately, we have made
News, Time magazine, ad infinitum, COMPANIES IN THIS INDUSTRY ARE COM- one of the largest contributions to
are all in financial trouble. In fact, I MITTING A BIG MISTAKE IGNORING THE
promoting and helping to sustain
recently learned that Newsweek may RELEVANCE AND IMPORTANCE OF PRINT, the use of airbrush. However, the
cease printing. The classified sections AND CLEARLY MISSING AN IMPORTANT
tradeoff for readers and enthusiasts
of newspapers are on the brink of ex- AND FRESH PARADE OF READERS
desiring Airbrush Action’s continutinction because of free posting on ef- ASSOCIATED WITH EACH ISSUE.”
ation is being a little more underfective websites such as Craigslist.
standing of our very necessary fund—CLIFF STIEGLITZ, AIRBRUSH ACTION’S PUBLISHER
Do I believe print is dead? Not yet.
raising efforts. t
Our distribution remains strong and
Your generous support in the form
niche and mainstream magazines are still in technologies. Airbrush Action certainly does its of Airbrush Getaway registration, subscripdemand. And as long as there are airports, fair share of social media, PPC (pay-per-click) tions, the purchase of our books and DVDs
bookstores, and special interests, there will be campaigns, and even launched its website in is greatly appreciated and vitally important.
print. The big problem is that many advertisers 1996, before most in this industry.
I anxiously await your suggestions on how
But, I firmly believe that many of the com- we can make Airbrush Action a better experibelieve that all their eggs should be in one basket, the internet. I certainly believe in the inter- panies in this industry (airbrush and paint ence for you, so please feel free to e-mail me
net, and I most enthusiastically embrace new manufacturers, and those who make art acces- at ceo@airbrushaction.com. ■
082_Airbrush1210_CLIFF LETTER.indd 82
8/22/12 8:48:54 PM
Place a classified AD in
S,M,L,XL
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Plus shipping & handling
CALL 800.8762472
(international 732.223.7878)
$20
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www.airbrushaction.com
Classic Kustom Culture logo
T-Shirts also available.
Flat finish blank auto tags &
license plate accessories.
Airbrush Action Back Issues ............ 58–59
Airbrush Action DVDs ...................... 66–71
Tag Blanks: White or Black Aluminum • Fast Drying • No
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PHONE: 888.810.8247
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Airbrush Getaway ........................... 46–51
Free Shipping on all Airbrushes!
Over 100 Airbrush Models Available!
1-800-YES-4-ART
www.chicagoairbrushsupply.com
info@chicagoairbrushsupply.com
Airbrush TV ..........................................57
Anest Iwata ..........................................39
Art Esprit ....................................... 80–81
Artool ..................................................27
Chicago Airbrush Supply ......... 6–7, 17, 83
Createx/Wicked Colors ...........................5
Crescent................................................3
Dru Blair School of Art ............................2
Harder & Steenbeck .............................11
Hot Plates............................................83
Iwata-Medea.........................................13
Rippin’ Clipz Animal Prints .....................11
Sata ........................................Back cover
SEMA ..................................................61
SilentAire .............................................19
Alberto Ponno is the world’s leading Formula 1
artist, and this Ferrari-commissioned painting
is now available exclusively through
Airbrush Action Magazine.
These signed & numbered limited-edition fine art Giclées are printed on
140-pound Somerset Velvet Fine Art Archival stock.
Size: 28 1/2” x 20”. $295! (Plus shipping & handling).
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8/22/12 11:36:19 AM
2
8/20/12 11:19:42 AM

Click here - Airbrush Action Magazine

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