AirbrushTalk©  
Volume 4, Number 6, March 2003

Published six times a year by The Paschal Group, Inc.
Publisher: Robert Paschal
Editor: Jeanne Paschal
E-mail: arttalk6@aol.com
Also see www.arttalk.com — The Newsletter for Visual Artists
 

CYBERCOPY ARCHIVES BOOKSTORE AIRBRUSH TIPS AIRBRUSHING
PRODUCTS
ARTtalk FEATURED
ARTISTS
ART
GALLERIES
TRADE SHOWS
& WORKSHOPS
AIRBRUSHING
GALLERY
SUBSCRIBE to Airbrush Talk© — It's FREE!!


Dixie Art Supplies since 1935
2612 Jefferson Hwy. • New Orleans, LA 70121
Phone 1-800-783-2612
Order online sage, secure and easy at Dixie Art and Airbrushing
www.dixieart.com
FREE Shipping on Orders over $45 in lower 48 states

CACY’S CORNER

An Unusual Marriage of Airbrush and Other Traditional Media

With Michael Cacy
(Click on any image for a larger view!)

The airbrush finds its way into a variety of other illustration media as an ideal means of fine-tuning value or intensity. I have executed hundreds of storyboards for television and motion pictures over the years in marker. Frequently, I "cheat" into my marker sketches quickly and secretly with the airbrush to go beyond the limitations of markers used in this type of conceptual art. When I paint for fun, especially when I travel, I enjoy painting in watercolor. Here, again, is a perfect opportunity to enhance a piece of artwork with the airbrush without jeopardizing the aspects of the original that make it wonderful in the first place (in the case of watercolor, the stains and spontaneity that give it "life"). In my own watercolor paintings, I doubt that even the most skilled watercolor professional could guess that my art has in any way been affected or fine-tuned by means of airbrushing. Many of you airbrush aficionados out there would recognize the name "Shen," a Bay Area fine artist who frequently renders an underpainting in airbrush acrylics and then layers on a thin glaze of thinned oil paint...to be rubbed out or picked off the surface in the lit areas only while the oil is still slightly tacky. I have worked side by side with illustrators who specialize in pencil rendering who have learned to match the spray pattern of the airbrush (i.e. in this case, a coarse spray pattern or fine stipple, whichever you prefer) to the grainy texture of the pencil work on whatever cold press ground (working surface) is preferred. This saves hours of time when large areas need to be blocked in, and the look of the pencil work and the airbrush work is virtually indistinguishable when done properly. The list of traditional rendering media that works well in tandem with airbrush painting is long, indeed.

The technique described here, however, involves airbrush as a limited but integral part of the creation of a piece of art painted with a conventional paintbrush. This method of working has been around for a long time and is used by fine artists as well as illustrators, but I have no idea if there is a name for this process. I have fielded a number of questions from attendees at my workshops about this technique, so, based upon the interest already shown, I decided to discuss this as a topic for this installment of "Cacy's Corner." For the sake of giving this method a label, I will call it the "Gouache/Ink Wash-off Technique." It is fun, easy, and in a very pleasant way, just a little bit primitive and unpredictable.

Michael Cacy's "Angels in the Dreamtime"

“ANGELS IN THE DREAMTIME” Michael Cacy
An illustration rendered in the “Gouache/Ink Wash-off Technique”

For myself, part of the fun in this technique is that it can look like a number of styles or techniques that it is not. For example, depending upon how the gouache is applied in the first step, the result can look like a linoleum or wood block print, batik, a painting of stained glass, or a number of other interesting things, depending on how the gouache is applied. In the example shown below, done for a brewery campaign, I was after a nostalgic, WPA era poster style, and this method proved to be just the ticket. The art director was so enamored with the style that he convinced his client to expand the campaign to feature several more illustrations of the same genre. Ain't it fun having fun and experimenting at the client's expense? (Ooh...I hope that art director is not reading this.)

Michael Cacy's "Bag Man"

“BAG MAN” Michael Cacy

What you need to get started:

  1. For both of my pieces shown, I started on Crescent 300 cold press illustration board, but I often employ the same technique on cold press watercolor paper, dampened and stretched in the usual way.
  2. Tubes of gouache. Once again, gouache is an opaque watercolor medium. I use the old familiar and widely available Winsor & Newton Designers Gouache.
  3. India ink. I use Higgins Black Magic Waterproof Drawing Ink.

How it works:

Step 1.    Using a paintbrush, paint everything in your design except what is to be black. Even if a shape is to be white (yes, I know you're starting out on a white surface), that shape needs to be painted. Edges or shapes that are to appear black in your finished piece should remain unpainted. Dilute the gouache colors with water to a thick, soupy viscosity and apply the paint to your working surface very thickly. (Colors applied too thinly will not cooperate in Step 2, as you will discover.) Paint your color areas slightly darker and more intense than you intend to see them when the piece is finished. Allow the painted gouache to dry thoroughly.

Note:  If you intend to leave a clean margin around the live area of the painting, that margin area must be protected before going on to the next step. In the example shown entitled "Angels in the Dreamtime," I used drafting tape (not masking tape) and added liquid masking fluid to seal the edge of the tape and create a ragged edge for the live area. In the example "Bag Man," I simply masked the edge with drafting tape.

Step 2.    Load your airbrush with the black India ink and hose the entire piece down. You heard right. In normal airbrush mode, we strive to paint somewhere in between wet and dry, but this time out you need to apply a thorough, heavy, wet coating of ink. Don't let it dry between coats as you spray...just one heavy, wetly applied layer of black ink. Yikes! Scary, isn't it? Your entire painting is now solid black! When taught this technique, I was instructed to lay the ink on as a quick wash using a broad brush, but I have discovered that airbrushing the thick ink layer works even better. When applied with a brush, this ink layer may dissolve or otherwise disturb the gouache colors below (especially if you wash it around too much with the brush). When the ink is applied as I have described with the airbrush, this jeopardy is not a factor. Now, lay your artwork flat and allow to dry completely. It needs to be absolutely dry before going on to the next step.

Step 3.    If you initially stretched cold press watercolor paper as a ground, you are ready to move forward. If you selected cold press illustration board, seal the physical edges of the board by wrapping tape from the face of the illustration board around to the back. The reason: We are about to get the face of this artwork extremely wet, and if moisture were allowed to wick into the edges of the illustration board, the laminations may warp and split. Edges all sealed up? Good. We're ready for the big moment. If you are willing to wipe out your shower stall or tub when done, your shower will work great. Otherwise, go outside and use a spray nozzle on a garden hose. When you take the art to your water source, remember to also take a clean, broad, soft bristled brush with you. Turn on the water to a moderate spray (not full blast), hold the art vertically (not flat) and allow the shower of water to strike the painted surface of your art only (not the back surface). After a few seconds, skins of India ink will begin releasing and cascading off the gouache painted areas. Wherever it made contact with the unpainted surface, the ink will remain. If you need to "nudge" the ink from the painted areas a little, tease the surface gently with the brush as the water is applied. The moment enough ink has been removed to your liking, cut the water spray off so as to not totally dissolve away your gouache colors. In the case of the "Angels in the Dreamtime" example, I removed my art from the spray of water while some unplanned "chunks" or skins of ink still remained on the gouache painted areas. While unplanned, these "artifacts" often add to the charm and mystique of this technique.

Lay your art flat (face side up) and allow to dry.

Note:  This technique requires that your top surface become wet during various stages of the rendering process. When working on illustration board, don't panic if the board warps with a curl when dry. Try making a broad "X" on the reverse side with water (a 2-inch-wide stroke from upper left corner to lower right corner and vice versa) and let dry. If the board still doesn't pull back to flat once dry, apply the "X" again with gesso.

In my illustration "Bag Man," I worked back into the art with airbrush in at least three areas. Notice that the background behind the upper part of the figure has been "fogged" with opaque raw sienna color so that the once-black shapes still remain but are no longer black. I also fine-tuned the value in the shadowed portion of the bag by spraying a slightly darker value through an acetate loose mask. And, finally, I graduated a tone in the arms by spraying on a little more black.

As always, I recommend doing a small test swatch before diving in on your masterpiece.

Funky Jewelry Fun with Artool's Nail Master Stencils

By Janean S. Thompson
(Click on any image for a larger view!)

Nail Master Stencils offer a superb collection of contemporary designs that are easily adapted to creating wearable art. Jewelry can be made of any number of materials, using the template designs to accent and decorate the surface of the item. Base materials for earrings, bracelets and necklaces might include vinyl, leather, and even mat board scrap. Any acrylic paints can be used, but metallic pigments offer a great look with plenty of glitz and shine.

Getting StartedOur project will be to create a pair of earrings, but you could expand the results by including a necklace or bracelet using multiples of the earring components. What you will need to complete the earrings includes: Scrap mat board (at least 2" x 2") any color - for both templates and finished shapes and scissors or a snap-blade knife. You will also need a pushpin to create holes for joining earring parts; ear hooks to attach the shapes so that they will dangle; Artool's Nail Master Stencil; acrylic airbrush paint; airbrush; and compressor. (I use the Iwata Eclipse HP-BCS airbrush with varied siphon jars and the amazing Iwata Studio Series Smart Jet compressor.)

Using the Nail Art StencilFor this project I selected some of the linear designs that could be used in layers to replicate delicate textures. Mask off all but the designs you want to use and lightly airbrush them onto the base coat. Or experiment with the stencil sections for unique designs. Review the look you have achieved. Add more tones for drama and texture and provide interest. The beauty of this method is you can pick and choose just the right area you wish to cut into earring shapes. If you use a piece of mat board as your work surface protector, it will accumulate interesting sections that can be converted to earrings. Some of my favorite earrings were cut from my worktable blotter.

Make the Earring ShapesCreate a template for the shape of earring you wish to make. Style these days leans toward smaller sizes in earrings, so don't make them too large. Set the template over the decorated mat scrap and cut around the template with heavy shears or scissors. After cutting the outside shape, gently trim the corners by nipping off the sharp points. This will make the dangles more comfortable to wear and they will look more finished.

The finished EarringsAssembly of the earrings is quick and easy. A pushpin can be used to pierce holes at the top of the coated shape. If necessary, enlarge the hole so that there is no bind between the small loop at the bottom of the ear wire and the dangle. Open the small wire loop at the bottom of the ear hook with small pliers and slip on the dangle. Be sure to attach it so that the front of the dangle faces outward. Voila! You're done.

To create another original wearable, why not make a bracelet of airbrushed sections, cut and joined together with jump rings or short sections of beads. Mat board can be coated front and back with clear sealer to make it very durable. Findings for closures can be obtained at all hobby and craft stores.

A fast way to create a one-of-a-kind necklace is to attach small dangles of different shapes from a simple chain necklace. Attach decorative shapes to the chain with jump rings. For this application it is wise to decorate both front and back because the pieces will rotate, or use different solid colors on the back of the pieces to coordinate with the colors used on the top.

Whether you want to design and create jewelry for yourself, as gifts or for possible sale, these ideas will get you started. The nail art templates offer a wide variety of designs, sized just right for small areas such as earrings and other jewelry. The templates are easy to use, clean with water or solvent and withstand heavy use. Check out the nail art templates at your local art supply dealer and have some fun!

Iwata Airbrushes
The professional Iwata Airbrush line is imported and manufactured exclusively by Medea Airbrush Products, along with commercial spray guns, Medea Textile Colours and Com-Art Airbrush Colours.

Personal Project 2003: Fantasy Armor

By Glenn Hetrick
(Click on any image for a larger view!)

Clay StencilsHello again art fiends! Let me start by apologizing for my absence. I have been away from my artwork for the past five months while working on a film here in LA. To try to make up for my hiatus, I will be detailing a larger project for you in this article. If you haven't had a chance to read my previous articles, I encourage you to get a hold of them and give them a read because I won't be repeating info in this article that I have already covered in previous ones. This project was rather advanced, so the details may be confusing if you are not familiar with some of the techniques that I have covered in the other articles. With that, let's get started!

Armour DesignsThe whole point to this project was to demonstrate an ability to handle and supervise a major project from design to application. I began with multiple sketch versions of possible designs. I then picked the best sketches and laid them out using Adobe Photoshop to solidify the design ideas (see photos). Once I was set on a basic design concept, it was time to go to work.

Scuplture1Firstly, let's look at the preparation steps necessary for this piece of work. I started by having two of my artist friends help me get a life cast of my entire torso from my mid thighs to my neck just below my chin. We did this using Johnson and Johnson plaster bandages. There was no need for a full alginate impression because we did not need surface detail, just the form. There are many good books and videos on life casting out there if you would like more info on that step. I then fabricated a fiberglass version of my life cast mounted on two threaded pipes and attached to a solid working base. I also took separate life casts of my arms and legs and fabricated stone (Ultracal) positives.

Sculpture2I sculpted the chest piece and cod piece first. I used Wed clay because it is an extremely easy medium to work in when sculpting large pieces due to the facts that it is soft and water-based but can also hold detail and offers some really cool abilities when its surface is heated with a hair dryer. For many of the more complex symmetrical designs I came up with a timesaving shortcut. I sketched out the shape, photocopied it, cut it out, and then laid the finished stencil on a slab of 1/4 inch clay. I then followed the stencil and cut the clay to the exact shape. It is important to note here that I left the paper stencil on the surface of the clay until I applied the shape to the main sculpture! The reason that it is important not to remove the paper is that the Wed clay is too soft to hold its form, particularly the thin, long, sharp points common in this design. The clay would break off and the shapes would fall apart without the paper. However, the moisture of the clay helps the paper to stick to the clay very well and the paper in turn holds the exact shape. Once the piece is applied to the main sculpture, the paper can be easily peeled from the surface without damaging the detail.

When the sculptures were finished, I coated them with a couple of coats of Kryolan Crystal Clear to seal the clay, being careful not to fill in details while building up the coats. Too few and you will never get the clay out of the mold; too many and you find out later that you have lost much of the fine detail that you worked so hard to sculpt.

Armour3I then made Ultracal molds of the two pieces. The reason I went with stone molds as opposed to silicone was quite simply cost. This was a personal project and I financed the entire thing myself. The problem with using rigid stone molding techniques was that I wanted to get rigid armor plates out of the molds; rigid molds are not generally capable of producing rigid positives, but the cost of flexible molding materials is extremely greater than that of stone. By spending a few days on Research and Development (which is the fun part anyway), I found a great new alternative answer to this problem that allowed me to use the more cost-effective Ultracal to make my molds.

Chest Pait Close-UpI found that I could cast my parts in a newer urethane product called 2011: New by Vagabond, Inc. By mixing this product off ratio (increasing the catalyst to base ratio to 1 part catalyst {A} to 1 1/2 parts base {B} as opposed to the normal 1 part catalyst to 2 parts base formulae) and adding cabosil to the mix as a thickener, I found that I could brush the resin up into the molds and still get all of the surface detail without air bubbles. I still had a solid 2 minute working time, and by working with multiple small batches I could get the entire piece, even in very large molds, and all of the material bonded to the previous batches as long as you did not let too much time pass between layers. The trick is to not let any of the layers fully cure before going in to the next batch. Thus, having all of your materials on hand, measured out and ready to use before beginning the casting process is of the utmost importance.

Artool Products Co.
Art bridges for painting and drawing with soft and wet mediums. Safety non-slip rulers, and cutting mats for use with art and utility knives and rotary cutters. Low-tack film for airbrushing, illustration and fine art. Airbrush templates for illustration and graphics. Body art and finger nail art accessories and paint. Manufacturer of innovative art materials, tools and airbrush accessories for fine art, illustration, T-shirt art, body and finger nail art, sign and automotive art and graphics. Artist Bridges, Cuttingrails, Freehand Airbrush Templates, Friskfilm, Artool Cutting Mats, Body Art and Nail Art supplies.

I pulled the piece out of the mold, beginning with the most cured (first poured) area of the piece. Getting the entire piece out of the mold completely while it is all still "green" (a term used to describe the brief time when a material is in a semi-flexible form between it "kicking off" and being "fully cured" into its solid form). The Vagabond 2011: New had a 5-15 minute green time when mixed according to my off-ratio formula. The people at Vagabond are beyond helpful and I encourage you to try their products if you are working on a project that requires solid castings.

Back Close-UpYou really have to watch this stuff and stay on top of it. If it sets up too much you will NOT be able to get it out of the undercuts of the rigid stone mold. If you pull it too soon, you are at serious risk of tearing the piece. *** You must experiment with small amounts of any new material before beginning your casting process or else you WILL waste large amounts of materials.*** While "green," it resembles a thick castable vinyl. I then placed the still very flexible piece back onto its positive form, the life cast of my torso, and using tape "tweaked" (made minor final adjustments to) the piece into its final shape. Within an hour the piece was fully cured to a wonderfully solid, rigid casting.

Using tape, I positioned and attached the cured casting of the chest to the life-cast. I then sculpted the neck/pectoral section of the armor on top of it. This process, which I used on the entire suit, ensured that the final pieces would all fit together and move properly. It was indeed much more time-consuming to do things in this order, but was more than worth the time investment to get the final product to fit and move exactly the way I wanted it to. I find that it is very important to balance your shortcut techniques with detail-oriented techniques in order to produce the best results, it all comes down to basically "picking your battles," if you will.

HelmetI repeated the "sculpting, molding, fabricating and then sculpting the next piece on top" technique for all of the pieces to my suit of armor. Separately I poured up Silcast resin castings of the Vampire Skull and horns for the shoulder piece from silicone molds. Once I had the final pieces cast up, I trimmed and seamed all of the pieces using mainly my Dremmel tool and either 5-minute epoxy or small batches of the 2011 material for patching. Next, I vigorously cleaned all of the pieces first with dish soap and hot water and then with alcohol. Residual chemicals and separating agents on your finished castings will ruin your paint job every time, without fail, and you may not even know it until your paint job is finished and the whole thing starts rubbing off because your base coat did not bite into your material.

ArmourFinally...on to the painting!! The inspiration for my armor comes from fantasy art and the concept of this suit was that it is constructed from the hide of some subterranean monster's exoskeleton and then trimmed and decorated with a mystical metal hybrid. In order to achieve this, I decided on a paint scheme that resembled a reptilian color pattern (spotty and mottled browns, greens and blacks) for the "monster hide" areas and a weathered copper-like finish for the metal areas. To add a mystical feel to the whole thing, I represented the magical quality of the armor by utilizing color shift iridescent paints and high quality ultra realistic metal finishes by AlClad II. I started my paint job by applying a solid base coat of Black Acrylic Spray Paint to everything. I then mixed up all of my colors. Using acrylic paint, Iwata Airbrush Medium, alcohol and water, I mixed up a very Dark Red/Brown, a very Dark Brown/Green, a Light Brown/Green, a Med. Brown/Flesh, a Light Blue/Green, and a Dark Brown/Black.

No Helmet, Chest OnlyI applied a very random and blotchy dry brush layer of the Med. Brown Flesh to break up the surface and create varying areas of differing tones to paint on. This step goes a long way in adding realism to a three-dimensional paint job. Next, I loaded my HP-C with the Dark Brown Green and began to break up the surface even more by using the mottling techniques that I discussed in my previous articles. I repeated this process with the Dark Red/Brown but with a much more conservative approach, only hitting 20%-30% of the surface area of each piece and fading those areas out into the other colors.

UndersuitUsing tiny figure eight patterns (also previously discussed in detail) and my Micron CM-C loaded with the Light Brown/Green I broke up the entire paint job further. I then switched out the color and repeated the process using the Light Blue/Green in the highlight areas. After sealing the paint job to protect it from the very chemically "hot" paint that I was about to use, I loaded my micron with AlClad II Sapphire Prismatic Color Shift Iridescent paint and very sparingly added some blotchy patches to the darker areas of the paint job and even more sparingly all over. The thing to remember with these incredible paints is "easy does it." Too much of this stuff and you risk your paint job looking completely unrealistic. It also looks very different in different light sources, so you have to keep changing your light source and looking at your paint job from different angles while working with it. It is very easy to let these powerful colors get away from you. What looks like a cool shimmering dark purple inside can look like a screaming (almost neon) Aqua Blue under daylight. Check out their informative website for more information at www.alclad2.com.

Boots and WeaponsI switched up colors again to the Med. Brown/Flesh and repeated the tiny break-up patterning all over the painted areas. Lastly, using my HP-C and the Dark Brown/Black, I shaded where necessary and broke up any areas that needed it and faded the "monster hide" areas into the "plated" areas. To tie the whole thing together and dull down any areas that were too contrasty, I misted light coats of the Light Brown/Green and the Med. Brown/Flesh where needed.

Final ArmourI started the plated metal areas by using a rich Red/Brown automotive spray paint (after properly preparing the surface, of course). Then I dry brushed a very Dark Bronze acrylic over that when it was completely dry. Another dry brush coat of a brighter Copper acrylic followed that, sticking to just the highlight areas this time. Next, using a Dark Brown wash I weathered it all down. I then very sparingly applied a patina chemical to enhance the weathering effect and to add some more realism to the overall effect. Finally I used AlClad II Copper metallic and Jet Exhaust paints in my HP-C to detail and punch up the metal. I also applied a few very light mists of these colors to the entire plated areas to tie them together and to add that shimmering metal look.

I sealed all of the pieces with very light coats of spray sealer. I could easily write three more articles on all of the finishing work: the leather work, leather painting, studding, trim, and furring on all of the rest of the armor, weapons and undersuit; but that is a story for another day. All in all I completed this suit of armor over the course of 7 months, working on it nights and weekends when I could.

If you have any questions or comments, as always, feel free to contact me. I hope you enjoyed this article and until next time, stay frosty! Glenn Hetrick - E-mail: mr.crowley@hauntedmansion.com.

R/C Car Painting

By John Hauser
(Click on any image for a larger view!)

In the r/c world, one of the main attractions is the wild custom painted bodies. While painting these bodies may seem daunting, it can be mastered with practice and the right equipment. During this simple tutorial, we'll show you how you can get started in airbrushing your own wicked paint jobs with a simple paint scheme and some basic masking.

Painting your r/c car or truck body successfully requires careful preparation and planning, but this simple program will take you through the basic steps no matter what style paint job or body you are painting.

Body Prep

The first step in preparing the body to paint is to wash and dry the inside of the body. This is done to wash away the release agents used on the body so that it will be free of the molds. The release agents will keep the paint from sticking to the body. Use regular dishwashing soap to wash away the agents and dry the body with a lint-free towel.

Design Planning

Design planning depends on the style of body you are painting. Designs tend to fall into a few basic categories: fantasy, racer replica or street. The design I've chosen is a fantasy design called Molten Rip. In this case, the car looks like it is being torn open with molten lava in the middle of the paint. The best way to accomplish this design is to simply draw it on the body, mask the body and cut it out. A Sharpie marker works well on Lexan R/C car bodies and can be wiped off with rubbing alcohol.

Masking

You may need striping tape, precut masks, vinyl masks or liquid masks to achieve your design. In this case, we will be using hobby liquid mask to create our molten rip design. The liquid mask should be applied in 4 to 5 thick coats and allowed to dry for a few hours between coats. Liquid mask remains flexible, yet seals the body nicely so no leaks drip under the mask.

Once the mask has dried, cut out the molten section of the mask with a stencil knife, being careful not to cut through to the Lexan.

Painting

1. Spray a light, thin fade of red along the jagged edge. Aim your spray pattern half on, half off the masked area. Be sure to spray light; you don't want a heavy coat of red, just red "mist" around the edge.

2. Using a hairdryer, dry the red. You can actually watch the moisture leave the paint. Just get close enough to dry the paint. You don't want to melt the Lexan body. Let the body air dry for 30 to 60 minutes. Now check out the picture. It looks horrible, doesn't it? Don't worry about how it looks through the body (unless you notice obvious mistakes). Since you are painting inside out, so to speak, you can rarely tell how each coat looks until you have removed the next layer of masking.

3. Spray a fade of orange next to the red. The red and the orange should fade together. The orange should fade about two-thirds into the clear molten area. Again, use the hair dryer to dry the paint and let the body air dry for 30 to 60 minutes.

4. Now spray the entire molten area with yellow. You will want to spray two coats of yellow paint, drying them between coats. You now know the routine with the hairdryer, so repeat it and the air-drying.

5. Next we will need to back the molten area with white. Concentrate on spraying two even coats using only the hair dryer in between coats. Set the body to the side to air dry for a few hours. (This time can decrease and you gain confidence, but for your first few bodies, go slow and be patient.)

6. Now carefully remove the rest of the liquid mask from the main body area and see how the molten area looks. It should be similar to this picture. As you can see, the molten area has turned out nicely.

7. Time to spray the main body. You can spray the body any color you like. For this example, I've chosen to paint it pearl purple. To do that, set your compressor to approximately 40 psi, spray a light coat of the pearl purple and allow the body to dry for an hour. The body needs to be evenly sprayed. Continue this for three to four coats.

8. Now back the purple with silver. The silver will allow the pearl purple to "pop" and look brighter.

9. As an optional step, you can take off the window masks and tint the windows with Pactra Acryl Transparent Smoke.

10. We will finish by painting the wing and side plates with chrome paint. Spray the wing and side plates lightly but evenly with three coats, waiting only 5 to 10 minutes in between coats. You can check after the third coat to see if you have enough paint on the car by holding a black shirt behind the body. If the wing and side plates look like a mirror, you have enough coats of chrome on it!

11. Back the whole car and wing with Faskolor Black.

Body Finishing

Finishing the body is easy now that the painting is over. The first step is to cut out the excess Lexan with Lexan hobby scissors. Once the body is cut, remove the window masking. If everything looks good, remove the overspray film and attach the wing and you are done! Admire your masterpiece!

As you can see, painting R/C cars and trucks with an airbrush isn't difficult. It just takes practice and planning; but when you take the time, the results can be outstanding. I've added some pictures of cars I've done and some by Charlie Barnes, one of the premier painters in the R/C car industry. While you may not turn out work like Charlie's, you can create wonderful cars that will be the envy of your track or parking lot!

Silentaire Technology
Silent compressors for use with airbrushes, spray guns, and air tools from Werther International.

Airbrush Workshops

ARTtalk.com Gallery at the Square

Beacon, New York

Saturday, April 12, 2003

The ARTtalk.com Gallery at the Square in Beacon, New York (60 miles north of New York City) will present workshops in airbrush techniques on Saturday, April 12, 2003. These coincide with Beacon's new Second Saturday event, where shops and art galleries-with some providing entertainment or refreshments--remain open until 9:00 p.m. for the convenience of art aficionados and shoppers.

10am - 1pm
Basic Airbrush Techniques - Black and White
3-Hour Hands-on Workshop

WatercolorTalk.com
WatercolorTalk.com features informative articles on Watercolor paints, brushes, paper, techniques, tips and products.

2-5pm
Intermediate Airbrush Techniques - Working in Color
3-Hour Hands-on Workshop

The fee includes the use of equipment and all class materials. Instructor is Robert Paschal, MFA. Robert has taught these classes internationally and is the author of Airbrushing for Fine and Commercial Artists and co-author with Robert Anderson of The Art of the Dot—Advanced Airbrush Techniques. He has received the Vargas Award and American Artist magazine's Art Masters Award for Airbrush Teacher.

Class size is limited and pre-registration is required, so don't delay. For further information, go to www.arttalk.com/workshop/workshop.htm or call 845.831.4458.

Whether you wish to use airbrush in fine art, illustration, hobbies or crafts, tattoos and body art, nails and makeup, cake/pastry decoration, woodcarving or mural painting, a basic knowledge of airbrushing is necessary. Here's your opportunity!

ARTtalk
...the link between you, the visual artist, and the manufacturer of art materials.
ARTtalk is a monthly eight-page newsletter available FREE-OF-CHARGE from Participating Art Material Retailers in the U.S., Canada and Bermuda. Each month you'll find informative articles that deal with a variety of subjects such as painting, printmaking, sculpture, ceramics, arts and crafts, and more. These explain various techniques--how to work and paint with watercolor, oils, or acrylics; use pastels or pen and ink, airbrush, and more. You'll find information on art history, current events and art world news, as well as an occasional "Kids' Korner." Subjects vary and change each month.

Look for your next issue of AirbrushTalk in May 2003!