AirbrushTalk©  
Volume 5, Number 6, March 2004

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
 

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Scrapbooker's Airbrush Set - WOW!

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

Iwata's Scrapbooker's Airbrush Set
The Scrapbooker's Airbrush Set complete with instructional video, Revolution CR Airbrush, Iwata Studio Series Air Compressor and much more.

There is a new set from Iwata-Medea that gives the innovative and creative scrapbook artist a completely new way to decorate her scrapbook pages-The Scrapbooker's Airbrush Set. The set includes everything you need to start airbrushing the minute you get it home and open the neat storage unit/carrying case. With what is included in the kit, you are ready to hit the page painting!

Airbrush Ideas for Scrapbookers:

Pages in scrapbooks can be very clean and clinical or they can be jazzy and full of interest. That choice is yours. If you decide to do a little or a lot to give each sheet not only a unique look but also a look that invites frequent viewing, use an airbrush to add color, texture and drama.

Use stencils to help create unique and decorative sheets. Here a soft-edged area is being created to showcase a photo.

One of the fastest ways to add pizzazz to a scrapbook page is to use the template designs included in the kit. They offer a selection of compact designs that will dress up any appropriate photos or collection of mementos. You can also collect other stencils for special occasions and be ready for their inclusion on your pages. Don't forget to consider the use of nail art stencils and templates. Their tiny size can be just the thing to add impact in small spaces.

For beginning airbrush artists, one way to add color is to tint the outer edges of your scrapbook pages. The best way to do this is to remove individual sheets from the book. Lay them out on a protected surface and lightly cloud the outer perimeter with a tone complementary to your collection of items that will occupy the page. It's fast and easy, yet very effective--especially as the book is viewed, page after edge-toned page.

Soft-edge paint application is an easy technique and one that adds a lot of interest on scrapbook pages. Also see the use of airbrush color to cover busy background details.

For adventurous artisans, more broad-spectrum use of color might be just the thing. When planning a large sheet layout, use tones of paint to focus on different areas. Do this by airbrushing patches of color where you want to place photos, theater tickets, found objects, etc. Then set the items in the colored field or, better yet, cut contrasting frames of paper and add them around the items. This will result in a softly colored background cloud with a photo (or other item) framed in a contrasting color. Real impact! Real interest!

Finished scrapbook pages using found object textures (rose photo) and random paint airbrush patterns and stenciling on the birthday photo.

When you've had a bit of practice with your airbrush, you can use it to add textures and fine detailing to a scrapbook page. Using your airbrush to add decorative details is easy with the infinite control spray pattern of the Revolution CR Airbrush. This is a really neat way to create textures and give dimension to your pages. Also, learning to control the spray pattern will help with shading and photo touch-up/cropping. You can use the airbrush to cover distracting backgrounds from photos or to add background colors that better complement the photo and your scrapbook. Just mask off the subject and paint out the background.

FriskFilm, the masking material that is included in the kit, is very helpful in protecting adjacent areas from overspray and for creating original shapes and designs. Just pull off a length of mask and lay it on the cutting mat. Use the stencil knife to remove the shape that is to be painted. The larger section of mask is then ready to lay over the page and make possible the painting of the cutout shape. With this method, any shape can be added to your designs.

The sky's the limit with this complete kit and you'll have fun using your creativity in your scrapbook. See "New Products" below for more information on Iwata-Medea's new set.

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

A Call to Arms
(Silicone arms that is!) - Part 2

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

Welcome back! Let's start right where we left off last time, shall we? Once the piece is cleaned, I thin out some of the Shinitsu caulking with D-Limonene and, using my Iwata HP-C, I spray a few super thin layers on, covering the area I am about to paint. I pre-mix my colors for speed by combining Daler-Rowney oils to get my desired color, thinning them with Naphtha or D-Lim., and then vigorously mixing in the Shinitsu caulking using a handheld electric paint mixer. You need the caulking to get the paint to stick, but too much (or if under-mixed) and you will never get a steady flow through your airbrush. Keep in mind that Shinitsu caulking is air cure, so once you have mixed up your paints you must keep them sealed in a jar (the kind your Ma uses for jelly are perfect) or they will coagulate. For flesh I generally mix up a master mid-tone (that closely mimics my silicone's intrinsic color), some light reds, light and dark red-brown, light and dark brown-red, a more translucent dull purple and translucent dull blue as well as a thin, translucent yellow ochre flesh tone. The family of colors and the amount I use of each depends completely on the overall skin color I am trying to match or create.

I apply each using my HP-C and a spatter effect--no solid color sections. I start with some mottled break-up patterns and then do some stippling spatter over that. Keep it all really light and step away often to look at the emerging color scheme. Also go into it knowing that it is necessary to move slow and purposefully through the paint job. Take all the time that you need, paint slowly and subtly. Mood has a mystical way of affecting your artwork; endeavor to keep your environment as completely comfortable for you as is possible in the given situation. Some music helps immensely; I often use my favorite horror movie scores (I love the old Hammer Studios soundtracks) as ambient background noise and mood setting. I also find it incredibly important to have a quiet air source; it is shattering to the nerves to listen to a grunting, churning, heavy-duty air compressor rattling the earth beneath one's feet while you try to concentrate on diminutive veining patterns. I have used many quiet air sources in the past, including a scuba diving tank with an airbrush regulator set up on it, but today I am lucky enough to have the smooth-as-silk Iwata Studio Series Power Jet Lite 2x at my side. It is, in my opinion, the best available because it combines silent compressor technology, plenty of pressure (you can run two brushes off of this baby with a splitter), and lightweight portability (a must when you're hopping from shop to shop as FX artists do) while managing to remain affordable to the artist.

Be consistent while keeping in mind that certain areas of the skin will actually be very different colors. For example, look at the arms in the pictures and notice how light the palms and fingertip interiors are. Also notice how red some of the creases in the wrinkles are. In some areas you can leave a lot of the unpainted silicone showing through with very little spatter over it to break it up, like on the inside of the forearm for instance. Once the skin tone is finished I go back in, and using my Iwata Custom Micron I add very subtle, translucent veining. If a color goes on too thick, keep a cotton swab in some thinner handy to blot at it and break it up. You may often be very pleased with the resulting pattern as opposed to wiping the excess paint off, which will (often disastrously) remove all of the layers of paint beneath it as well. You should also keep a very delicate rag or cloth with thinner on hand for the same purpose.

I finish off the paint job by loading my HP-C again and misting an extremely thinned out color or two to correct if the overall tone is too warm or too cool or a mist of the base/mid-tone color to tie the whole piece together. The final step is to go back in with the Micron one more time with slightly more potent red-brown/brown/brown-red colors to add sporadic moles and freckles. This must be done sparingly, but it never ceases to amaze me just how much this final step adds to the paint job and brings it to life. Lastly, I seal the whole thing with a thin mist of the thinned out Shinitsu mixture in my HP-C. I then proceed to punch the hair in; one by one…but that is a story for another time.

In the first part of this article that ran in the previous issue, I mentioned that I will be further focusing on many of the issues in my articles here with greater detail in my upcoming book on Professional Three Dimensional Fabrication and Painting Techniques, which you can look for (tentatively) late next year. The book will focus on designing, creating, and (very heavily on) painting three-dimensional art projects such as Special Fx make-ups, props, models, etc. If any of you have any requests or suggestions, I would love to hear them. Let me know what you would look for in this type of book, what techniques and information are important to you, what you feel is the most unavailable information on these topics, and even what you don't want to see! Just shoot me an e-mail at mr.crowley@hauntedmansion.com. Your input will be most appreciated!

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.

Getting Started with Airbrushed Nails

by Laura Morgan
(Click on any image for a larger view!)

Using an airbrush for nail art allows the artist unlimited design potential and custom color-mixing capabilities. Water-based acrylic paints are sprayed from the airbrush gun and sealed between layers of enamel paint-on base coat and enamel paint-on topcoat. When properly applied, the results are dazzling AND durable!

Areas of study:

  1. Equipment - How it works and what maintenance is required for long-term service.
  2. Designing - Shading, stenciling, and masking combine to create unlimited designs.
  3. Durability and Wear Ability - Produce durable artwork with properly prepared nails, precise spray technique, and correct top coating/sealing.

Before you begin…

  • Carefully study and keep all owner's manuals, parts diagrams, and videos that come with your equipment. Refer to them often for user tips and warranty information.
  • Follow all manufacturer recommendations.
  • Have lots of airbrush cleaner on hand. Be generous when using it.
  • Never leave paint sitting in your airbrush. When you are finished with a color, immediately flush with cleaner.
  • Do not put nail polish, base or topcoat in your airbrush.

Spray Technique…

  • Getting a feel for paint flow is vital. It takes practice to get a feel for how far to pull the lever back. If you pull too far back on the lever, your spray will be heavy and wet.
  • Mist paint on in light layers, slowly building the color. It should look matte finish during the entire application process. Any wetness or excessive paint build-up during application will compromise retention and design.
  • If you are having problems with wet or runny paint, you are not ready to move on to advanced work yet. Before moving on, master the dry, light mist by practicing simple color fades.
  • After you are able to spray a light dry mist 90% of the time, begin to experiment with stenciling and masking techniques to create imaging.
  • Practice regularly.

If you see wet, shiny paint…

  • Besides spraying too heavily, you may be too close to the nails. Hold your airbrush 1-2 inches from the surface. As your skills improve you will be able to get closer and still maintain control.
  • You may be spraying in the same spot for too long. Keep the airbrush moving.

Allow time and patience to develop skills. Practice on nail tips, friends, and yourself. It generally takes a few weeks of practice to develop control of the paint flow and get a feel for the airbrush. After this is established you are ready to move on to simple designs.

In the next issue of AirbrushTalk (May) we will discuss preparation, base coating, and topcoat techniques.

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.

Graveyard Reunion

by Wes Hawkins
Start Over/W.A.D. Productions
(Click on any image for a larger view!)

Hi everyone! Wes Hawkins here again. This time around I'll be reviewing Gothic Haus' wonderfully macabre piece entitled "Graveyard Reunion!"

I used Iwata's Revolution SAR single action airbrush to paint this kit. The needle adjustment is stiffer than the competition, meaning you can count on keeping your spray setting for as long as you use the brush without having to readjust.

 

Here you can see the piece primed and a base coat of white added to the grave robber and mom. The reason behind this is so the flesh tones I will add will look paler and the transparent paints and washes I will use on mom will look even more disgusting.

The grass was painted with the following transparent Com-Art Colors by Medea in order: Emerald Green in the deepest recess, Forest Green midway through the grass, and Moss Green to highlight. Next, I wanted to add some dead colors, so I sprayed Sienna Brown, Burnt Orange, and Ochre (all transparent).

The flesh tone began with a coat of Model Master Light Flesh. For shadows, I mixed my flesh tone with Model Master Shadow Tint to make a darker shade of my base color. I wanted to make the shadows very subtle, so I tilted the piece and sprayed the shadows from underneath. This caused the shadow color to adhere to the jaw line, eye sockets, and brow. Next, I mixed my flesh tone with white to make it lighter and sprayed from above the figure. I continued gradually lightening the flesh tone to build up colors until I achieved the depth I was looking for. This gave the illusion of moonlight shining on the gravedigger. His suit is Freak Flex Dead Guy Grey with shadows of Transparent Smoke.

 

Mom was painted by airbrush and by hand using Com-Art transparents. To start I shot Com-Art's Transparent Burnt Orange. Next I applied washes of the following colors: Transparent Smoke, Ochre, Sienna Brown, Forest Green, and Ultra Marine. This gave mom the decrepit rotting look we're wanting. It isn't important to be neat with the washes since Junior dug her up and pulled her from her earthly bed. His suit is bound to have gotten nasty in the process.

The gravestone was base coated in gray, with lighter shades of gray dabbed on with a sea sponge. White was dry brushed to bring out the details. The tree was painted with a light tan, and then shaded with brown, black and green pastels.

The spade handle was painted with the same techniques used on the stone except various shades of browns and a black wash. The blade was painted with Aluminum and weathered using "Rust All" washes. Simply follow the directions to achieve rusty textures.

The soil was sprayed with Raw Umber, Burnt Umber, Black, Ochre, and Barn Red. This gave me the rich reddish soil I was looking for. Remember, there's lots of organic matter in the soil in this cemetery.

I had a blast painting this kit. Using Com-Art's line of Transparent Colors helped me achieve better results than I had expected. If you're looking for a product that will give you depth and lifelike (or dead like) results, Com-Art Colors by Medea is the way to go. "Graveyard Reunion" can be purchased from The Doll & Hobby Shoppe or direct from Earthbound Studios. Tell 'em Wes sent ya!

See http://www.geocities.com/startoverwad/index.htm.

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

New Products

The Iwata-Medea Scrapbooker's Airbrush Set

Iwata-Medea's Scrapbook Airbrush SetIwata-Medea, Inc. is pleased to announce the availability of the Scrapbooker's Airbrush Set! When you open the kit, you immediately see an array of neat things: a compact and powerful yet quiet Iwata Studio Series Smart Jet Air Compressor, an Iwata Revolution CR Airbrush, 10 bottles of airbrush acrylic paints, a bottle of Medea Airbrush Cleaner, an Artool self-healing HOT MAT, Cuttingrail and stencil knife for cutting, a roll of Artool FriskFilm masking material, an award-winning how-to airbrush video, and as a bonus, 3 Artool Scrapbooker Airbrush Stencils. With the Scrapbooker's Airbrush Set, innovative and creative scrapbook artists will now have a completely new way to decorate their pages!

The new Iwata-Medea Scrapbooker's Airbrush Set is now available at your favorite Iwata-Medea-Artool supplier. For a complete listing of the Iwata-Medea-Artool catalog on the Web, go to www.iwata-medea.com

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

Airbrush Workshops

Basic and Intermediate Airbrush Workshop Complete
With Robert Paschal
6hrs - $120 - Saturday, June 12, 2004

At Bulldog Studios - Creative Community Center (Old High School)
211 Fishkill Ave., Beacon, NY
(60 miles north of New York City and home to DIA:Beacon)

For more info, click here.
(http://www.arttalk.com/workshop/workshop.htm)


2-Day Advanced Airbrush Workshop
Special Effects and Techniques
With Pamela Shanteau
April 24-25 2004 • Saturday and Sunday • 10:00am - 5:00pm
2-day class, 12 Hours - $300

At Bulldog Studios - Creative Community Center (Old High School)
211 Fishkill Ave., Beacon, NY
(60 miles north of New York City and home to DIA:Beacon)

For bio and class description click here.
(http://www.arttalk.com/workshop/Pamela Shanteau Airbrush Workshops.htm)

 

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 2004!