"Airbrush Quick Tips"

06/10

Tape for Airbrushing on Paper--Drafting tape has the same physical characteristics as masking tape except that the adhesive is much lighter, which makes it ideal for work on paper surfaces. It comes in a variety of widths and can be left on the surface for long periods of time without concern about tearing the paper. There is no likelihood of adhesive residue on the surface, the tape can easily be cut with a stencil knife, and it is translucent so that a line drawing can be viewed through it. When you order drafting tape, be sure this is what you get and not masking tape, since it is easy to confuse.

Freehand Practice--In freehand airbrushing it’s the dagger stroke that gives the artwork its unique look, unlike that provided with stencils or frisket film. This line starts out extremely thin, widens and then ends thin. It’s evident in the work of renowned T-shirt painter Jurek and in the hair of professional painter Pam Shanteau’s female subjects. To practice the dagger stroke, roll a small round marble between your index finger and thumb, rocking your index finger back and forth as if you were triggering the airbrush. It is this motion that gives you the dagger stroke without “barbells” appearing at the beginning and end of the spray.

Shake It Up—Have you ever poured a pre-reduced opaque airbrush color, e.g., Com-Art, into your airbrush color cup and it was so transparent that you could see through it? While stored, airbrush colors tend to separate, with the pigment settling to the bottom of the bottle. You must shake the color to thoroughly mix the pigment with the medium so that the paint will be opaque. You will notice that airbrush color bottles have a small ball bearing inside so that when you shake the bottle, the paint becomes thoroughly homogenized. This should be done periodically throughout the work day to ensure that the paints spray opaquely.

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04/10

Gesso and Frisket Adhesion--When preparing artist canvas with gesso for airbrush painting in acrylic, you sand the surface to your particular liking—anywhere from smooth to ultra-smooth.  Be aware, though, that the smoother the surface, the more likelihood there is of paint lifting when self-adhering friskets and tapes are removed.  The smoothest surfaces provide the tightest seal for the stencil material; and the acrylic paint might not have the best adhesion because it has likely been thinned with water/medium for spraying, thus losing some of its binding power.  A little tooth on the gessoed surface provides good adhesion.

Photo Retouching History--In the early days of airbrushing (late 1870’s and early 1880’s) when photo retouching was in its heyday, air was supplied to the airbrush via the use of treadle-driven pumps.  These were manned by apprentices in sweatshop environments, where photographs were retouched on a mass production level.  The airbrush was invented in Rockford, IL, and Chicago became the central point for airbrush photo retouching. 

Trigger Pre-Sets—What is the purpose of that knob at the back of the airbrush handle or the screw in front of the trigger?  These are trigger pre-sets that are designed to limit the motion of a dual action airbrush trigger, in essence turning it into a single action airbrush in order to spray a consistent line.  Dual action airbrushes will usually have one of either preset mechanism.  The knob at the back of the handle restricts how far back the trigger can be pulled, while the screw in front of the trigger pushes the trigger back to a set position.  Thus when you depress the trigger it remains at a set place or it restricts how far you can pull back on the trigger, respectively.  So, for example, if you want multiple dots of a particular size, it’s convenient to preset the trigger of the airbrush.  Visit www.iwata-medea.com for a great selection of airbrushes/paints/accessories

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02/10

Beeswax and Leaks--In the early years of the airbrush, beeswax was an essential material in the studio. This was used to seal air leaks in the tip or head assembly or anywhere else where air might escape. It wasn’t until the 1960s that “O” rings were used (first metal and then Teflon) as seals. In today’s airbrushes, solvent-proof Teflon “O” rings are used and self-seating tips are machined. However, in case you get an occasional leak or if you are using an older airbrush, you may find it wise to have beeswax on hand.

Airbrushes for Southpaws--Unlike a spoon, there is such a thing as a left-handed airbrush, where the artist sights down the side of the airbrush as he/she sprays. Anything that projects from the side will obstruct the view. Early airbrushes--such as the Paasche AB, where the color cup that contains the paint is offset onto the side of the airbrush--could be ordered left-handed. Side-feed airbrushes, e.g., the Thayer & Chandler A, also were ordered left- or right-handed. The small funnel in the side of the airbrush plugged into the right-hand side for the left-handed artist and required a special order.

Today, gravity- and bottom-feed airbrushes are popular. And since the color cup or jar is housed in the center of the airbrush, these are ideal for both right- and left-handed artists. Side-feed airbrushes, e.g., the Iwata A, can automatically be adapted to either hand because they have color cup orifices on both sides of the airbrush and a plug to cover the one not in use. The collectability of antique airbrushes is surprising, as evidenced by an e-Bay search. A very rare one would be, for example, a 1906 left-handed Paasche AB with a wooden handle and original instructions in a leather-covered box. See your retailer and visit www.iwata-medea.com.

Realer Than Real—Abstract painting was in the spotlight in the 1960’s when along came sharp focus realism. Paintings in this style were more realistic than a photograph and usually much larger in size. (This was before giclee printing was available.) Among photo realists the airbrush was a preferred tool with which to render. Painters such as Don Eddy, Audrey Flack and Chuck Close painted subject matter from gigantic portraits to still lifes to landscapes in acrylics as well as oils using the airbrush with its innate ability to spray in a manner that mimics a photograph.
Galleries that championed this art form sprung up on both coasts. OK Harris, Lewis K. Meisel and the Nancy Hoffman Gallery still exist in SoHo, New York City, within a few blocks of each other. On the West Coast, exhibits were held at the Santa Barbara Museum of Art and at San Jose State, both in CA, as early as 1971. This sharp focus look in painting was also utilized by abstract painters such as George Green, Michael Gallagher and Paul Sarkisian and was called abstract illusionism. These works are collected by major museums throughout the country and can be seen on a regular basis in Manhattan galleries

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