AB-Mag Issue 4

ROD FUCHS

DENNIS MATHEWSON

| www.AB-MAG.com

MALCOLM MCCRAE

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AB•Mag - 2nd QTR 2007 • Volume 2, Number 2 Cover Art: Rod Fuchs Publisher: Editor: Art Director:

Steve Angers Diana Learn Diana Learn

Contributing Writers:

Gregg Bahrke John Bartevian Lee & Lisa Berczel Don Dennison Rod Fuchs Jake Kobrin Steven Leahy Mike Learn Pete Loran Dennis Mathewson Shane McConnell Malcolm McCrae NUB Terry “Kiwi” Stephens Ryan Young

Advertising Director:

Steve Angers

AB•MAG 20 Hampden Drive #2 S. Easton, MA 02375 888.232.7227 • Fax: 508.230.5891 AB•Mag is published 4 times per year: Summer, Fall, Winter and Spring for $27.96 per year by Orchard Trading Co., 20 Hampden Drive #2, S. Easton, MA 02375.

SUBSCRIPTION INQUIRIES Subscriptions may be purchased online via BearAir.com or at AB-Mag.com. One year $19.99.

SUBMISSIONS Please email submission requests to editor@ab-mag.com.

Include idea, and/or manuscript and at least one image. If your article is chosen for publication, you will be contacted for further info and hi-res imagery.

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All Contents are copyright ©2006-2007 AB•Mag, all rights reserved. Nothing may be reprinted, in whole or in part without prior written permission from the publisher.

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I think that it is a typical trait of us “creative types” to be our own worst critic and to hold ourselves to exorbitantly high standards.

WOW!! Has it been a year already?

I NEED TO KNOW Feedback is essential to the growth and success of anything we do in life. Our magazine is no different. Hearing from our readers and supporters is what will forge the future of this project.

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I would like to encourage you to send me an email, or even a snail mail if you have comments, praise, criticism or just need someone to talk to (ha ha).

What are we doing right? What are we missing? How can we improve?

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As we get ready to move into our second year of AB-MAG, we look forward to a continued expansion, growth and refinement that will allow us to deliver timely and pertinent information. Thank you for support!

Contact me: editor@Ab-mag.com AB-MAG Editorial 300 Center Drive, Suite G-316 Superior, CO 80027

It is hard to believe, sometimes, how quickly time can fly by.

I get dizzy just thinking about it. My daughter, who is 6, is always trying to make time go faster. She watches the clock in great anticipation of the time and day of her next big scheduled event. I often look at her and just think to myself. . . At what point in life does that shift in mind-set occur? When did we go from “I can’t wait ‘til 3 o’ clock” to “where did my day go?”

I suppose it comes with responsibility and maturity, but I think it also has to do with the expectations that we put on ourselves and allow others to impose upon us. I think that it is a typical trait of us “creative types” to be our own worst critic and to hold ourselves to exorbitantly high standards. Maybe that is why we are all a little bit insane! HA! But I digress.

It has been a fun and exhilarating year producing this magazine. As I look back on it, I am proud. I think each issue is better than the last, and I am constantly thinking of ideas, content and new and different ways to grow the book. We have several exciting new changes coming with the next issue, 1st Anniversary Special. I am tempted to tease you, but ... no.

Enjoy the magazine. Get lost in the content and the imagery.

Relax. Take some time to enjoy your family. Take some time to enjoy your passion for art. Brainstorm. Produce something without a time table. Maybe you can re-capture that childlike “great anticipation,” if only for just a few minutes.

WHAT’S INSIDE: 6

24

AB Product and News

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Tips N Tricks

12

Negative Spaces

15

Helmet Head

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Digital Dick

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Born of Reference

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The Anatomy of the Dragon

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Battledress Body Shop

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TIKI TIME

41

V for Vector

46

How To Use Spray Mask

49

Airbrush Review

50

The Chrome Effect

52

The Virgin Voyage

56

Hip Hop Airbrush

60

Young, Eager and Painting

62

Q&A

63

The Stencil Stop

41

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SPECTRUM2000 COLOR CHANGER A revolutionary, quick color changing device which permits the user to not only change colors but also to mix and blend them at the “flick of the wrist” . This eliminates time, clean-up and mess.

FLUSH MOUNTED, INTEGRATED TAILLIGHT LENSES !!

The secrets to obtaining FLAWLESS flush-mounted, integrated taillight lenses and/or accessory lighting have been closely guarded for long enough!! Now, with this new instructional DVD, Mike Learn will show you how he has created some of the most intricate and jaw-dropping integrated LED lighting designs on the market today. Inside this package you will learn EXACTLY what you need to know to incorporate colored lenses into your projects. Materials, prep and step-by-step instruction are laid out in simple terms.

The device has 9 color chambers married to a manifold. One end of the manifold attaches to an air source (most air compressors will work). The other end connects to a “bottom-feed” airbrush via a series of color lines (which correspond to the colors in each bottle) attached to a dialing device that plugs into the airbrush.

Simply dial the color and spray. To mix and blend colors just dial halfway between adjacent colors i.e. mix blue and yellow equals green. For more information contact SilentAire Technology. 1-800-972-7668 or www.silentaire. com.

But wait! There’s more! Each DVD contains 3 popular template designs so you can get started with a project right away. And, as with all Mike Learn products, register your DVD’s unique Serial Number at www.LearnAirbrush.com to gain access to even more resources including additional, downloadable template designs, complete materials resource guide, FAQ and a forum to ask questions and have them answered by Mike himself. Don’t wait! Add some light to your idea today! Call 303.828.0370 or visit www.LearnAirbrush.com to order.

SEM INTRODUCES THE XXX FAMILY OF PRODUCTS SEM is pleased to introduce the XXX family of products which includes: 7770( ) XXX FINISH STRIPPER, 77713 XXX BUMPER STRIPPER, 7772( ) XXX ADHESION PROMOTER and 77743 XXX CLEANING SOLVENT. XXX FINISH STRIPPER (gallon, 16oz. aerosol or quart) is an aircraft grade, nonflammable remover designed to quickly strip the toughest automotive coatings and adhesives from metal surfaces.

XXX BUMPER STRIPPER (16oz. aerosol) has a unique formulation that will not swell or attack most urethanes. The heavy bodied consistency clings to the surface of the bumper without sagging and is designed to remove all refinish material. XXX ADHESION PROMOTER (gallon or 16oz. aerosol) promotes adhesion of topcoat materials when repairing or refinishing interior and exterior automotive surfaces and may be used on a variety of materials including flexible and rigid problem plastics, aluminum and metal. XXX CLEANING SOLVENT (16oz. aerosol) is a heavy-duty cleaning solvent and paint gun cleaner and is also strong enough for removing grease, adhesives, dirt, grime, paint overspray and for cleaning spray equipment! Offering the cleaning power of a paint gun washer with the convenience and portability of an aerosol, 77743 is perfect for any shop! If you are looking for a complete line of adhesion promoters and paint strippers offering superior performance at a great price, try SEM XXX and “Stick It or Strip It!” For more information on SEM products and services, call 1-800-831-1122 or visit us on the web at www.sem.ws.

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The New DAGR™ Airbrush and Accessories from DeVilbiss Offer Versatility & Performance for the Automotive Artist

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The new DAGR Airbrush features the performance and versatility sought by automotive artists. Hairline detail to high paint-flow shading and gradual fades can be achieved with a wide variety of automotive paints or waterbased inks. DAGR’s standard removable 1/3 fl oz gravity cup and available 1/4 fl oz and 1/2 fl oz cups allow the artist to size the cup to the artwork, saving refill time and material. For small areas, the artist can choose to use no cup at all. DAGR features a choice of four trigger buttons, customizing the airbrush fit and feel to the artist’s style. The solvent proof, Teflon® needle packing will not deteriorate with automotive paints.

Each DAGR airbrush is hand tested, and precision-made in the U.S.A. As with the rest of the DeVilbiss product line, service parts are available. A collector’s storage tin is included with every DAGR airbrush. DAGR accessories include the new AirBlade and AirBlade Deuce compressors. These quiet, oil-less compressors have an automatic shut off feature for longer compressor life. Each model includes regulator, water trap filter and airbrush holder.

For more information about the DAGR® airbrush and accessories, visit www.autorefinishdevilbiss.com. DeVilbiss®, FinishLine® and Camair® spray guns, air controls and accessories are manufactured by DeVilbiss Automotive Refinishing, an Illinois Tool Works Company based in Maumee, Ohio.

ONCE YOU GO FLATZ, YOU”LL NEVER GO BACK!!

After thousands of your requests, you asked for it, and now you’ve got it.

KustomShop.com introduces Hot Rod Flatz, Winner of a 3 SEMA 2006 international new product awards HRF is a pre-flattened ready to spray low-gloss color with the desired 30-degree satin primer appearance. There’s no guessing with how much flattener to add; it’s already added for you. Just mix at the 4-parts color to 1 part hardener to 1 part reducer ratio and you’re ready to spray.

Our new urethane system is easier to mix and spray, with much greater durability and chemical resistance. Our gallon kit produces 1 1/2 gallons of sprayable material. Hot Rod Flatz is a fast drying two component chemical resistant urethane finish that provides excellent adhesion to properly prepared steel, aluminum, fiberglass and OEM finishes. Hot Rod Flatz also contains UV inhibitors to protect your finish from fading and chalking like traditional primers.

Now you don’t have to be limited to just primer for your flat look. With 36 traditional to wild Hot Rod solid colors and 20 metallic and pearl colors to choose from, customize your ride with Hot Rod Flatz. Color chart now available at KustomShop.com or Phone 858-909-2188

POCKET GRAFX - Mini Templates Finally, a template that you will actually use everyday. These business card size templates are designed to help any and all types of airbrush art applications. Scott MacKay has developed these templates through the trials and tribulations of a successful working artist and passes on these designs to you. They will make your airbrushing fun and results easy to achieve. For more information visit www.ThinAirGraFx.com

MACK INTRODUCES NEW SCROLL STRIPERS by the Wizard “Wizard Vortex” Blue Squirrel - Grey Handle - Available in 2 Sizes: WV-1 & WV-2: “If you use scroll striping, you’ll love this brush! After 30 years of scrolling we’ve developed what I think is the finest brush available for this style. It gives beautiful controlled lines that respond exactly to your movements without the slightest hesitation, splitting or fraying in the turns. It holds its line throughout the pattern and gives you more response - like the most expensive brushes used for scrolling. I recommend this for beginners as well as seasoned veterans of this style.”

- Steve Chaszeyka

NEW T-SHIRT MASTER HOT KNIFE TIP From the innovative minds at BearAir comes a unique combination of speed and accuracy to make your stencil burner a more versatile tool. The T-Shirt Master Hot Knife Tip gives you the speed of heat with the accuracy of a Number 11 blade. This design is great for the heaviest pellon squares to the thinnest FriskFilm. For more information call 800.232.7247.

The NEW PEAK X-3 BOTTLE FEED AIRBRUSH

“Wizard Typhoon” Kazan Squirrel - Bronze Handle - Available in 2 Sizes: WT-1 & WT-2: “Just a hair’ faster than the Vortex, but with all the quality, this baby moves right along. As fast as you can think of a design, the typhoon seems to read your mind and anticipate you next move. The hair was chosen for quick response time and accurate placement on any surface. I especially like this brush for motorcycle work because of the curved surfaces and the brushes ‘forgiveness’ in tight turns. I am amazed at its performance every time I use it.”

- Steve Chaszeyka For more information on these brushes, check out www.MackBrush.com.

• 0.5mm self centering nozzle for supreme atomization • Smooth, Double Action for ultimate control • Includes a 2oz Fast Blast Bottle Assembly • Lifetime Warranty on Body • Spray Pattern: Hairline to 2” • Micro machined needle to handle all mediums • Needle Cap minimizes turbulence • Uses all manufacturers bottle assemblies • Non Skid Trigger • Sleek Black Finish Available at www.bearair.com.

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This BEARAIR exclusive airbrush offers you these great performance features:

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AIR SKILLZ DVD SERIES CONTINUES WITH A TITLE DEVOTED TO SHOES!!

Airbrushed shoes are HOT HOT HOT. If you are ready to bust into this lucrative business, or just want to paint a pair for yourself, pick up the latest Air Skillz DVD. Inside you will find step-by-step instruction on professional airbrush techniques from internationally renowned urban airbrush artist Malcolm McCrae AKA Airbrush Assassin.

Each technique is illustrated with easy to follow photographs and descriptive text demonstrating the skills necessary for successful creative urban airbrushing. For more information visit HipHopAirbrush.com. Available at fine airbrush supply locations.

EZ AIR PAINTERS RAGS Tough enough for tools and equipment yet mild enough to be used on HANDS. These pre-moistened, perforated towels contain a mild abrasive and have been designed to handle the toughest cleaning jobs.

Unlike other cleaning products, Painter’s Rags’ unique blend of Natural Citrus Cleaners, Plant Extracts, Jojoba Oil, Vitamin E, Aloe Vera and other emollients leaves your skin soft and smooth. No petroleum based solvents makes Painter’s Rags safer for the environment.

SEM INTRODUCES NEW COPPER WELDTHRU PRIMER We are pleased to announce the introduction of 40783 COPPERWELD WELD-THRU PRIMER. 40783 is designed to eliminate the corrosion that forms between welded substrates. The copper enriched formula in 40783 provides superior conductive properties that minimize the heat zone, thereby reducing distortion and welding splatter. Fast drying time and exceptional weldability and sprayability make this a must have product for all body shops! 40783 is a great addition to our primers, corrosion protection and specialty product line.

For more information on SEM products and services, call 1-800-831-1122 or visit us on the web at www.sem.ws.

For more information about this product, visit www.ezair.com.

PRECISIONAIRE PRO APT AIRBRUSH PrecisionAire is proud to announce the newest addition to its line of high quality airbrushes. The Pro APT airbrush has the following features:

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• • • • • •

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.5mm Fluid Nozzle/Needle 1/4oz Gravity Feed Color Cup Double Action Solvent Proof O-Rings Spray Width: hairline to 2.5” Ideal for general purpose with a wide spray range

Ask for PrecisionAire at your favorite airbrush dealer or look for more information at www.airbrushes-compressors.com.

EFBE GERMAN ENGINEERED AIRBRUSHES For centuries the Germanic culture has been recognized for their impeccable attention to detail. Mercedes, Porsche, BMW - when it comes to high quality, the world looks to Germany for the pursuit of perfection. When it comes to airbrushes, we believe that we have found German perfection in the EFBE. EFBE has resisted the temptation of other German airbrush companies who outsource their parts to the Far East and EFBE maintains stringent in-house production and assembly. Every EFBE brush is tested and approved by the SPRITZAPPARTE MEISTER before it reaches your hands. If you are ready to experience German perfection, then purchase an EFBE - the airbrush Germans use. Available in the US exclusively through BearAir.com.

Hair Industry Partners with Habitat for Humanity to Build Homes and Rebuild Lives for Hurricane Katrina Victims Hair industry icon Vidal Sassoon and Mary Rector-Gable, founder of the international beauty industry website behindthechair.com, announce that they have joined forces to create “Hairdressers Unlocking Hope,” an innovative charitable initiative in connection with Habitat for Humanity. The goal, according to Rector-Gable, is to bring together members of the hairdressing community and their clients to reach out and heal the thousands of people who remain homeless post-Katrina by raising funds to build new houses. “More than 275,000 homes were destroyed in the hurricane,” states Rector-Gable. “It’s hard to comprehend the enormity of the loss.”

Over 30 celebrity and industry hairdressers were painted and photographed for this important campaign. Our own Lisa Berczel of Battledress Paint and Body was one of the artists who worked on the hairdressers and actually had the honor of painting Vidal himself during the LA event.

LA Photoshoot for Hairdressers Unlocking Hope After a successful photo shoot for the Hairdressers Unlocking Hope campaign in New York City, the BTC team headed out to shoot our next group of stylists located on the West Coast. (Pictures show left).

The ultimate goal of Hairdressers Unlocking Hope is to build 18 houses in St. Tammany Parish near Slidell in November. Several major companies including PureOlogy, Bumble and Bumble, TIGI and Neill Corporation have each donated $85,000 – the cost to build a Habitat for Humanity home – in support of the campaign. Members from each company will be joining the BTC team and Sassoon in New Orleans for the build. This will be the final stop of the Vidal Sassoon Coming Home Tour, which launches this June at the Stylist Choice Awards in Orlando, Florida. The tour will also have stops in New York City, Los Angeles and Chicago in effort of raising awareness of the campaign.

Licensed beauty professionals log onto www. behindthechair.com for complete information on fundraising and participation.

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“There is so much work to be done to restore housing and hope,” said Vidal Sassoon. “We need to come together to show the world how caring, giving and strong our community of hairdressers can be.”

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A PRESCRIPTION FOR PAINT If you have any old prescription bottles lying around they’re great for mixing and storing paint. The lids normally have an airtight seal that will keep paint from going bad. ~erixink

Do you have a Tip or Trick that has saved you Time, Money or Frustration? Do you have a unique solution to an every day challenge? If you would like to be included in our Tips N Tricks section, email editor@ab-mag.com, or post up at Airbrush.com or LearnAirbrush.com!

EYE OPENER

Old mascara brushes work great for cleaning your airbrush! ~erixink

DRYING TIME GUIDELINES On labels and Pbulletins, most dry times and pot life are given at 70-75 degree Fahrenheit at 50% relative humidity.

When products are sprayed with adequate flash times and appropriate reducer at proper film builds, the following rules apply.

For every 15 degree INCREASE in temperature, the dry time listed can be cut in half. The same applies to the pot life of the product.

For every 15 degree DECREASE in temperature, the dry time will double. The same applies to the pot life of the product.

NOTE: All product cross linking and curing in 2K catalyzed products slows significantly below 60 degrees Fahrenheit, Paint will not dry properly if subjected to cool temperatures during initial cure, resulting in a finish that MAY eventually dry but will exhibit reduced durability, gloss, and repairability.

D.I.Y. AIRBRUSH CLEANER As soon as you finish with your next plastic jar of Mayo (or similar). . .

Cut a small hole in the upper sloped half of the plastic jar. I used a frisket cutter but a soldering iron could do the job. Try to make a clean cut so the hole won’t split or tear later. Insert a 1/4 inch rubber grommet into the opening. I purchased a small variety package of grommets at an auto parts store for under $3.00.

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Next, cut a 1 inch (or smaller) hole in the plastic jar lid. Cut a disc of cloth slightly larger than the opening of the jar and screw the lid on over the top. Fill 1/2 way with water, cram in your brush and blast away. ~Nik Boldrini

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I over reduce the shadow paint. That allows me multiple passes, building the shadow tone slowly. Also, make some “dry passes” with the airbrush before actually spraying, so your hand remembers the right path you plan for the shadows. One more thing, try not to use pure blacks for shadows. They usually don’t look right. Try a mixture of black with blue, violet etc. ~Pilon I found out when I first started airbrushing the easiest way to do a drop shadow is to cover your design with frisket film, cut it out, then spray along the edge. Just make sure you work it light to dark. ~Icewolf0927 To mix a good color for shadowing, take the background color, and a couple drops of black to it until you like the color. It gives a more natural illusion. ~graphicjunkie

EXAMPLE: If the pot life of a product is 3 hours, what would it be at 90 degrees Fahrenheit?

Answer: 1.5 hours EXAMPLE: If the dry time of a product is 16 hours at 75 degrees Fahrenheit, how can I calculate the dry time at a higher temperature?

Answer: Dry time is cut in 1/2 for every 15 degrees Fahrenheit increase.

16 hours @ 75 degrees Fahrenheit 8 hours @ 90 degrees F 4 hours @ 105 degrees F 2 hours @ 120 degrees F 1 hour @ 135 degrees F A 1 hour force dry at 135 is equal to 16 hours at 75 degrees F. Caution: Force Drying some products above 140 degrees Fahrenheit can cause severe die back. Allow proper purge time prior to raising temperature according to product information sheets for specific product used.

Posted by Robert Johnson

MAKE ORIGINAL TRANSFER DESIGNS

KEEP YOUR LOGO IN REACH Wouldn’t it be great to have your logos and other clip art that you use all the time right at your fingertips?? Well, you can!

T Shirt Transfer Tip: Materials: Regular Paper and

Iron-on Transfer Pens and Pencils

Here is a cool fun way to do an

original heat transfer. I got the

pens and pencils from a fabric store. Joanne’s or Wal-Mart’s

fabric department has them. I

draw my design out on regular typing paper starting first with a pencil, then I commit with

the marker. REMEMBER: if you want to do any text it must be mirrored.

When you are happy with your design, heat up a clothing iron.

Use the hottest setting. Be sure

to either turn OFF the steam,

or ensure that there is no water inside. You can also use a heat press if you have one.

In Illustrator, you can keep all your commonly used vector “snippets” in a personal Symbol Library.

Simply bring your object into an Illustrator document. Open the Symbols pallet, and with the logo selected, click on the “New Symbol” button at the bottom. Your artwork will now appear in the symbols pallet.

To use it, simply highlight the object in the pallet and click the “Add Symbol Instance” button. If you need to edit the symbol, no problem! With the artwork selected, simply go click to Object -> Expand, and you will have your editable vector file back!

In order to keep the symbols in the library, you will need to use the fly out menu from the Symbols Pallet and go to Save Symbol Library. You can edit a default library or make one of your own!

Make sure you put a shirt

board in the t-shirt. Iron with some downward pressure. Be

careful not to move the transfer or t-shirt. That can blur the design.

Now make your way over to the easle, and get to airbrushing! You can use what ever

are finished, heat set all the

airbrushing as you always do and it should wash fine.

~Posted by A!RBRUSH

In CorelDRAW you can do something similar. Select your artwork, go to Edit -> New Symbol and a Library Pallet will show up and you will see your Symbol listed.

To use your new symbol, select it from the Library and hit “Insert.” To edit an inserted symbol, hit the Edit Symbol button inside the Symbol Library.

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colors you want. When you

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By Mike Learn If you study great art or great composition you will note that very often the main character or the subject feature is framed or defined by the negative spaces around it. And, as life mimics art, it is your environment and experience that becomes the negative space that will refine your artistic direction and bring your career into focus.

As the main character in my life, I am defined by the negative spaces around me. I grew up riding motorcycles. I had a dirt bike at age 12 and had my first bike on the road when I was 15. I’ve been riding ever since. My cousins and other neighborhood guys had motorcycles too, so I began painting bikes at a very young age. I was not making any money, of course, I was simply guided by my own passion for the motorcycle. That helped propel my interest to the point that I knew I wanted to pursue custom paint. I did not feel solely attached to motorcycles, but it was a medium, a negative space in my life, that controlled my initial direction and gave me an outlet to do what I do.

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“It is your environment and experience that becomes the negative space that will refine your artistic direction and bring your career into focus.”

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Growing up I also had a very strong interest in music. In high school, my wood shop teacher Mr. Barker and my art teacher Mr. Humes, allowed me to work on conjoined projects. I would paint the guitar I built in wood shop in fine art class and would use my art projects in wood shop because they crossed over naturally. I started playing in a band at the age of 14 and pursued music as a career during and after art school. To this day music continues to influence my work and the direction in which my career as an artist is advancing.

As I got older, custom painting motorcycles is what gave me my name recognition. I worked with some very high volume and prestigious names in the industry and was given the opportunity to do some very high end and notable bikes. By sheer volume of work produced, people began to know my art. I have also done a lot of cars and trucks. My art has gone through phases of change as the negative spaces in my life expand around me.

Today I am taking some of the recognition and accomplishment that I have achieved within the motorcycle industry and I am applying it towards illustration in the music business as well as guitar manufacturing and finishing. I have always found that the combination of music and art creates a very strong interest point for me, and because of that, the music has worked its way into my artistic career and allowed me to diversify, mature and evolve as an artist. The negative spaces in my own portrait of life have forged the direction in which my passion and my art has taken off.

The interest level at which you operate as an artist is a determining factor in the per-

ception of your artwork in the eyes of the customer, and in your own desire to pursue and improve. People wanting to get into the field of airbrush art need to realize how broad the potential is as an artist. The airbrush is NOT just confined to automotive and t-shirt application, or even just illustration in general. There are a lot of ways to make money. The thing that is most important is to maintain a passion level. You have to find that niche that keeps your interest and your motivation level at its highest. This is where you need to allow the negative spaces in your life to form and shape your own direction.

Ask yourself what it is that you enjoy about art. What is it that you enjoy rendering?

What are the subjects you like to work with? What is it that keeps your interest level where you can be most creative? Making money is often a by-product of producing work with that mind-set in place.

Luca Pagan has an amazing knack for plant life. He has produced some of the finest work I have ever seen in that category. Through his work, it is obvious that he is doing it because it is a part of his life. It is what he likes to look at. He has an appreciation level that has propelled his abilities. Dennis Mathewson is another great example.

He is famous for his Island Art. His knowledge, his location and his environment are the negative spaces that have helped to define him artistically. Lisa Berczel has found a niche and passion working with body painting. Opportunity and interest in her life has forged a certain niche and ability to be unique and outstanding in her artwork.

Many artists are really motivated by hot rods, cars and trucks. They not only paint on cars and trucks, but will sometimes paint pictures of the cars and trucks. From a masculine standpoint it is a pretty common and broad negative space for us overactive testosterone guys. If it is one of yours, use it. Refine and define that passion with other parts of your life that will create an increasing interest level.

“Financial rewards will come from the application of your passion and the richness of the direction you choose.”

As an artist, look at your life, look at the interests that you have. Do not just base your artistic direction on the thoughts of what will make you the most money. That mind-set will lead you down the path of shear heartbreak and unfulfillment every time. Allow the negative spaces in your life to forge a direction that will be gratifying and will allow you to grow the most as an artist. Financial gain is not necessary to have established some sort of self-fulfillment with what it is that you choose to do artistically. The financial rewards will come from the application of your passion and the richness of the direction you choose, unguided by anything other than the negative spaces in your life.

Look around you and really take to heart what it is that you want to do. It does not necessarily have to be artistic. Based on how your negative spaces have shaped you, find out how you can make whatever it is, happen for you, with the interest level at its highest.

Do not feel compelled to live someone else’s life or direction. Even though one thing was successful for someone else, the unnatural fit of their negative space to your life will skew the focus on your own art. Find things that are unique in your life. Find things that will provide you with a sense of your own being as an artist.

Let the negative shapes in your life become the positive drive in your art.

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As you think back on this article (as I hope you will do), do not take the word “negative”, as we are referring to it in this discussion, as bad. We are talking shape, form and composition. It is a truly ironic metaphor. A negative space, in terms of art, is a positive influence. It is the thing that forms a character and brings focus to the subject matter.

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Custom

painted helmets are much more than random colors thrown at a piece of fiberglass. A good helmet should be an extension of the driver, and lucky for us, most racers are over the top colorful characters with wild, fast personalities and lifestyles.

This allows us as helmet painters to do things that wouldn’t necessarily be seen on motorcycles, automobiles or other forms of custom paint. There are always exceptions, but when it comes to other subjects often times less is more.

Helmets, on the other hand, seem to be the opposite and most customers are looking for as much action and busy graphics you can possibly put on a the surface.

Early forms of this effect were very simple. You simply laid out a grid pattern with 1/8 tape and airbrushed highlights and shadows giving the piece a dimpled look.

You can do this in a standard even grid pattern or use a more aerodynamic rectangular design that gets larger the further you go back on your helmet.

I have seen the effect used in a free flowing abstract layout, as part of a main focal graphic and as backgrounds. It is only limited by your imagination. In this installment we will demonstrate the effect using a three dimensional technique that looks a lot more complicated than it really is. Try it, practice it and you will soon find that you can hammer out an effective grid pattern with little effort in no time.

Good luck and get out there and paint something.

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We at Indocil try to keep solid colored stripes or graphics on a helmet to the bare minimum - opting instead for a variety of tricks and patterns. We use free hand stencils, mesh fabric, computer cut masks among other tools to accomplish this goal. One of helmet paintings tried and true effects is the simple three dimensional grid pattern. Customers seem to really like this effect and think that it is harder to pull off than it really is. Being efficient at producing this effect and being able to modify the formula allows you to give your customer added value and you spend less time on the particular helmet which increases your profit margin. Everyone wins, your customer is pleased and you put more mula in your pocket. Due to its simplicity it remains very popular with helmet painting and has grown and evolved from the simple 1/8 inch fine line grid with highlights to three dimensional prismatic designs.

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ng as lor as lo e any co not to put s u ld u d try ou co care an se but y ven. If it ilver ba sired area. Use centered or e s 2 0 2 s e ectly orizon your d not perf Color H tape of ese are d with a sing 1/8 inch th e t rt a ta th s ss u d. We ill find red a cro your gri es you w to apply r grid by cente use often tim lanced. t n a w at you tart you our work beca ntered and ba w up. S e area th y ks ce g off th colors will sho ntering in e p c re it loo r ta y in b ght cents fo est to make su c a y 1-3 Beg ow and highli d o nts or b is. It is b ad your sh trust in the ve ff, it probably o h s c k u o m lo ut too s right b measure

on of tape eep lots s equally k e W . r shop /8 line re at ou ut our 1 pe or helmet ring he ly lay o u k ta s ic a e u e ge th q m ark on s us to ans of or smud as a me The tape allow . I try not to m issing a mark d n a e . id an m curve as a gu ch at all times tighter worse th e tape need a thing is to 2 in e o ften us y w n o a e e w re s e u W e 4-5 beca all th as wh om 1/8 cult are n the safe side t. hand fr en in the diffi o e e lm b e h to r v rs e . I prefe our custome le spaced ib s s o y er p red whenev you have clea er until aft

et is helm m of th decide o tt o b off the need to . For r taping ray we om 6-7 Afte ut the over sp ming fr as to o c o e is d are e to keep ur light sourc b u c the ld be yo wanted ur light shou ht. where o et we t rig a lm e m th h o lt tt this d and fe left to the bo sign. Do te n e d be in e top our de from th art of y coming r think this p ve Don’t o

| AB•MAG | 2nd QTR 2007

rtical your ve cess on black start ro p is at th and ed repe ou go. ix clear shadow mixture of m inch tape as y n e e b e e 2 es hav ur sam moving your sing yo ontal lin re ur horiz to the right. U d in picture 9 o y t a th ft te 8-9 Now g from your le e left as direc th pin lines ta g from right to in h s ru b air

16

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n ore tha m h c u re m lmets a e h glass. r d e e t b n fi i f a p ce o Custom at a pie n w o r h colors t m o d n a r

All NEW!! www.IndocilArt.com

you f white drops o trol your w fe a h n to co ar wit d shield f mix cle ixture o e or a freehan m a g tly. Usin a piece of tap e ers exac ur corn ach square. Us o y g n . ally hitti e top left of e ly n k o ic g u ia q goes tape d om th ming fr r 2 inch attern it run you ecting light co ur repeated p t h g ri ee yo ottom be refl er you s left to b e that would ing. Aft b om top p u fr lo c e g r v u in e o fy ork rn d 10-12 W ght the areas o ill see a patte hli you w n o can hig o s ray and over sp

f sides o wn both inside o d ly plete on the n it com ht coat e and ru ilver add a lig p ta ½ . Take s 202 s a notch Horizon ick it up ur same Color k y ll a step. u will re hair. Using yo on this evel yo g the b inch tape by a to a minimum in d d a r 1/8 edge t after rlap you ep your paint oint bu t this p wing it to ove e a k d n o a c o looks g l 1/8 lines allo r silver so you u ow this ta 13-15 N l and horizon t to over do yo ra no your late mpletely. Try co squares

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p or er to po s of silv d to your e d a h s e to a g the allowin me to produc ti it alone rt e v o a h s le u can takes a inch. Yo at only your 1/8 grid pattern th g in d inclu ted all tape omplica remove ve it a super c w o n n a a now h you c ver dry s it. You your sil oice but that’ g in tt le h our c After 16-18ndy of y ith a ca w it t a o c icks. bag of tr

17

Digital Dick is Shane McConnell, CEECS, EnCE. He is a member of the law enforcement community and also is a small business owner.

Shane is a computer forensics and data recovery specialist with experience and training originating from local, state and federal

| AB•MAG | 2nd QTR 2007

entities. To contact Digital

18

Dick for Data Recovery services please visit his website at: www.coeus-inc.com or email him at digitaldick@ coeus-inc.com.

Well I am still waiting.

Waiting . . . . . Waiting for what you ask?

I am waiting for the Windows Vista™ horror stories to subside.

No, I have not risked installing it onto any of my systems. Risk you say?? Yes - this operating system should be called Windows Crapola instead of Vista™. Yes, I know it is only in the first 4 months of its initial release, however, I cannot recall this many problems or public thrashings when XP was released.

Every single person that I have talked to face to face or any article that I have read about Windows Vista™ is a sad story. Driver problems, compatibility issues, COST, bugs, data loss, etc - I could just go on.

I send caution to my readers about installing this operating system for now – and spending the hefty dollars! I personally will be waiting at least 6 months. But I digress. On with this issue’s article.

CASE FILE: PC Repair Needed I don’t do much “PC repair” these days - but when my Chief came to me and said his computer couldn’t even run Spider Solitaire I took some interest. Given my Chief’s personality, I knew that this computer lockup wasn’t directly a result of his actions - like peer to peer file sharing, porn surfing, etc. I also know that he doesn’t share his computer with any free porn seeking teenagers or hacker wannabes. So because of this, I decided that its diagnosis and prescription would make a good example of the things we have gone over in past issues.

The culprit - A 2-3 year old desktop running Windows XP Home.

I fired this thing up and oh ya - what a mess.

Nothing wants to run right. What pops up first? A warning from the antivirus program indicating that the “subscription service” had expired, loooooong ago.

Well there’s a case lead if there was ever one.

After checking, I found the anti-virus definitions had not been updated for almost 6 months. Same instance for the anti-spyware application that was running old definition files, no updates. This computer was online and regularly used on broadband Internet connection by the Cheif. Yikes! (keep in mind I have not connected this computer to my network for fear of virus spread and so on).

I uninstall both anti virus and anti spyware programs and reboot.

Next I hit the Internet on one of my other workstations and download the latest versions of AVG Anti-Malware and Anti-Virus. You can find these programs by doing a Google search for AVG Free. I put both applications onto my USB thumb drive and head back to the troubled PC.

system wrong. I delete these buggers and reboot.

This time I let Windows run normally.

I run both full scans separately again and locate viruses and spware. This is typical because a lot of these bastard programs hide themselves deep in the system files and can automatically reinstall themselves. After I delete and clean out the latest viruses and spyware I update both programs.

Now I reboot BACK into safe mode.

Here again I run scans in both programs (separately) and locate just a few suspects.

Reboot, repeat steps above until I stop getting crap to delete.

Things are now back to normal running conditions and the PC was returned.

This process took me about 6 hours of scanning and rebooting. Typically a Windows install takes me about 2 hours. In most situations I would have salvaged and backed up what data I could after seeing what a disaster this system was. After the backup of user files, I would have just formatted

Here is how you get into SAFE MODE. Restart the PC, just after the POST start tapping the F8 key.

You should get a screen like what you see above. If you were tapping F8 and Windows screen starts loading- you missed the point at which you can get to the safe mode screen, so you must restart and try again.

I select SAFE MODE and let it boot up. When Windows eventually loads up, I acknowledge a prompt that Windows is running in safe mode.

Here is where things start to get time involved. I run a virus scan. There are a staggering 13 Virues! So I delete, heal, move to the vault and reboot back into safe mode. Now I run a full Anti-Spyware scan while in safe mode. 63 objects located!! All doing this

the disk and reinstalled the operating system. You cant beat a fresh, clean install of Windows once things have started to turn bad for your PC. Happy Scanning!!

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I install both of the applications and attempt to update them. I am not expecting them to update because a lot of the hijackers and viruses will prevent you from doing this. I reboot, only I am going to boot into Windows SAFE MODE. Safe mode prevents any drivers or programs from loading, so most viruses and all spyware cannot have any affect here.

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Art is born of reference. Whether it is a memory or a reaction to a feeling, all of our art is an expression of something else, it is the way we can pass on to the viewer how we interpret our world. Every artist uses reference material, from the realist to the abstract artist. Vivid and accurate information can create the most powerful images for us. As a realist, accurate interpretation of the reference material is paramount. As an abstract artist, that same reference material is the fuel for our imagination and emotion. It becomes the catalyst for the piece itself.

Reference material can take very different forms so it is important that we learn to be aware of the things that shape our work. Reference that moves us may come from stories, pictures, music or events that happen to us, something that enters our stream of consciousness and moves us to paint. Often it is that straightforward and powerful yet sometimes, it is not. For instance, as an artist that relies on commissioned work like an illustrator or motorcycle muralist, you often have to portray the vision or experience of someone else. In this instance your job is to seek out the material that will inspire you to get the job done.

Finding Reference Material We are fortunate to live in the information age. The Internet has made it possible to browse an amazing amount of material in an instant.

Photographs, news stories, web forums and blogs provide access to information that would have taken months to compile before. Books and magazines are still a great source for reference. Their images are often much higher quality that the smaller jpeg images on the web. Having a catalog of your own personal photographs is still one of your most valuable assets as an artist. These images have already passed the test for inspiration with you and can come to your rescue often. Another great resource for reference material can be professional photographers themselves. You can often times find inspiration in the ‘throw away’ photos in their library. The list goes on and on from here but I think you begin to get an idea on the vast number of resources you can use to get your reference.

Photography is artwork. You must remember this as you prepare to use the material that you have gathered. You would never make a direct copy of someone else’s painting and then claim it as your own, the same is true in copying a photograph for profit. Thousands of dollars are spent on creating a photograph for a product in a magazine. That photographer had traveled the same path as you are on right now in order to capture their inspiration, finding the idea, obtaining reference, composing the image and creating the art (the photograph). For us to stand on top of that effort and claim it

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How To Use

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as our own hurts everybody. You can however request permission of the photographer to use the image. Sometimes there is a fee, which becomes part of the cost to create your artwork and sometimes the photographer will simply grant you permission to use the image. In either case, I have found that this request for usage goes far beyond the legality of using someone else’s artwork. Very often the photographer will be very happy that you showed the respect to them and their work. This contact often leads to professional friendships and opportunities down the road as well.

Sometimes you are able to draw small, yet important elements from an image to use in your own work. Things like dramatic lighting of a specific palette of colors. This type of inspiration often does not violate copyright laws yet I have found that letting a fellow artist know that I have been inspired by their work has always resulted in a great situation.

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Once your material has been gathered, you can proceed to project, sketch or apply it to your own work. Having the right material will add a recognizable element to any work that will allow the viewer to immediately connect with your work. Again, regardless of the type of work that you create, accurate reference material will give your work believability.

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The series of pictures that I have included with this article are the reference photographs and painting of a commissioned painting that was just finished. I always try to take more pictures than I think I will need. This is often done because details like complex colors and reflections are not often seen until the images are printed. In this series, I initially thought that the best angle for this painting would be shot from below on the sunny side. After all the pictures were printed, it was clear that the shaded side was far more interesting and the flames read much better from the top. This is a great example of how the reference material inspired a much better result than the initial vision.

“Every day of our lives we are bombarded with many experiences; so much so, we often miss miracles in the overload. In my artwork, I capture some of those magnificent moments and offer the viewer the opportunity to stop and experience the miracle as I have. The paintings transcend photo-realism in that every work is, in fact, a translation of a small piece of time through my eyes. The resulting compositions fill the surface with detail; the demand, and receive, our attention in a way that is impossible in the actual moment.” ~Steve Leahy You can see more of Steve’s work at StevenLeahy.com

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By Rod Fuchs

Whether painting for a customer or for personal reasons, dragons have always seemed to be a very popular subject that invoke a lot of passion and interest in people. As freelance artists and custom painters, sooner or later, we’ll all inevitably run into an opportunity to render one of these magical creatures.

Unfortunately, more often than not, it seems that most painters will run to reference - and/or simply copy other artists work. We are spoiled with easy access to the works of some amazing fantasy artists and this has continually spilled over into the airbrush world.

So… My real motivation for this article is to try and show how

some easy steps and original thinking can result in some interesting and incredible results. Rather than copy another artists work - find

inspiration within it, combine that with some outside reference and

watch something new emerge. Yes, it’s harder, takes a little longer, and can be quite frustrating at times but this is easily offset by the immense sense of pride that will ultimately follow.

This is not meant to be a ‘how-to’ as much as an ‘option’ or different

approach to consider when wanting to create one of these amazing beasts…

Head Shape 1) Every drawing book seems to have its’ obligatory blocks and shapes

when trying to map out a basic head shape to start from. This seemingly basic approach really does have a place here too. It’ll

help you keep your eyes in line, perspective consistent, accentuated them for photographic purposes - but

a couple quick lines to map out your eyes, nose, and overall contour can save you a lot of erasing

later on when something just doesn’t look ’right’.

Here a fairly typical horse-like shape is a good

starting point.

2) Whether using a profile, ¾, or straight-on viewpoint; the basic drawing

principles still apply. These images could easily be broken down into simple lines, circles and rectangles. Details and accessories will just sort

of evolve from there. It’s amazing how the eyes, teeth, horns, scales etc. can quickly work to compliment a seemingly simple foundation. This is

where innovative reference can really come in to play. Obviously reptiles will play a large part - but so can everything from elephants for skin and tusks, fish for fins, goats/antelopes for horns etc.

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and proportions believable. Obviously I have over

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3) I find that coming up with a powerful and/or imposing head can really set the overall tone for your composition. It really is a crucial element to establishing the character of your dragon.

Here I’ve started with a fairly standard ¾ view and given him a downward glare to add a little intimidation and ferocity. With the addition of some antler-like horns and sharpened fangs/teeth, I’m trying to establish the fact that this guy does not play well with others…

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The Oriental Inspired Dragon

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4) Usually more serpentine, often symbolic and occasionally even a little cartoonish; there is a lot of fun to be had when conjuring up one of these beasts. Of course the basic compositional principles still apply, but this is where ornamentation and accessories can really take flight. A solid foundation and obvious parallels can be found in the very real Chinese alligator - but the lavish beards, tendrils and overall serpentine flow is where these guys can really stand apart. Some rules are a little more ‘bendable’ here and quite often the more brilliant the color combination, the better the impact. If you‘d rather stick to the traditional, a little research will reveal ample mythology and lore to spur your inspiration.

But once again, your imagination is your only real limit here.

Eyes, Teeth, Tongue and Horns 5) Eyes. Yes, all the “window to the soul” talk is true. Everything from the slant of the brow to the size of the pupil will play an essential part in establishing the feel of your dragon. They are usually the starting point of a drawing and quite often will the anchor your composition.

Possibilities abound for eyes; from a wet, reflective and organic look (such as a snake, goat, fish etc.) - the inorganic, jeweled, illuminated/fiery, or even blackened-out and ominous. It truly is the first step in establishing the soul of your beast.

6) Teeth. Crocodiles, snakes, and sharks are excellent resources when

looking to enhance your dragon’s oral arsenal. Even a piranha, angler fish or bull dog can be an excellent starting point to establishing a lethal

underbite. Of all the attributes you’ll give your dragon, I find that the teeth are often the closest link to ferocity. Several jagged, uneven, spiny

teeth tend look a lot more menacing than an even row of somewhat rounded and smooth ones. Obviously, my preference lies in the raw and serrated - but that is simply a personal preference.

7) Tongue. You can’t go wrong with the classic forked tongue… If

it works for your dragon, go for it. Whether slimy and contained or prehensile and emerging, it is a character issue (or flaw) that can be a

necessary aspect. Yet another tool you have available in establishing a

‘feel’ - though this one does seem to lean more in the malevolent and

creepy direction… A lot can be accomplished here though, as a slobbery, wet tongue can add a significant punch to an often scaly and dry looking body.

8) Horns. (Antlers and spines and otherwise.) Antelope antlers, elephant tusks, goat and rhino horns etc. are all good starting points for this sort

benefits shouldn’t be ignored either. Granted, it may take a little accen-

tuating, exaggerating, and ‘supersizing,’ but a lot of movement, character, and impact can ultimately be the reward for your efforts.

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of head and body dressing. Sure, they look nice, but the compositional

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Body Form 9) The body can be an intimidating endeavor and is where a lot of battles are won or lost. Although dealing with fantasy beings, if not rendered in a realistic or believable fashion, your credibility will go out the window. If

you want your dragon to look like he can fly - then a bulky pectoral/chest

area will add to this plausibility. If you want your dragon to walk on all fours, a certain balance from front to back will keep your dragon from looking like he’s one misstep away from falling on his face.

I find bird anatomy to be especially beneficial in this regard. From the

enlarged pectoral area to the position of the legs and head. They really are an excellent template to start from.

But, again, there really are no hard ‘rules’ to speak of and inspiration can be found in several places: from the obvious snake/reptile bodies, to the

sleek and slender shapes of a cat, to the gawky and gangly proportions of a giraffe. As long as some thought is put into how your dragon would

actually move, walk, fly etc. and that is incorporated into your muscular structure - you really can’t go wrong.

10) As far as cartoons are concerned, you can pretty much throw ev-

erything I’ve said up to this point away. Cartoons are meant to be fun

- so have fun with them. I prefer to keep them in line with my style and don’t really push the envelope too hard with the ballooned features and

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simple lines - but that is just my preference. Although some basic rules

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of composition and perspective still apply, there really aren’t any limits on where you can take these funny beasts. Exaggerated proportions, big

eyes, small wings are just the tip of the crayon when it comes to this playground.

11) To get a little more serious, however, and compose an actual painting; several more factors will come into play. Whether you are painting a featured creature or a scene containing several elements, there are a lot

of elements to consider. Among other things, accurate lighting, proper perspective and placement will all come into play now.

Several book companies won’t even consider your submission if it simply

consists of an object standing alone in the middle of a piece of paper.

Understandably, they want to see a subject that looks like it belongs within it’s environment. How your dragon is relating to it’s surroundings

is equally important as anything else you could adorn him with - often even more so.

12) Just another example of how a simple sky roughed in behind a dragon can completely change the feel of a painting and enhance it’s ap-

pearance. Here I’ve chosen to quickly add a light and fluffy clouded sky to try and invoke a an airy, soaring ‘feel’. If I had used a dark, thunderous

background it would shift the feel in a much more ominous direction.

Though only the tip of the ice burg, they still are some pretty simple yet

substantial changes to the overall look of the composition. Also, in some cases, when you want your beast to be the focal point, less confusion in the surrounding areas can translate into more of an impact.

Angel’s Custom Paint is: Rod and Cherie Fuchs

Visit FuchsArt.com for more

Original Works of Art Created

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by Roderick Fuchs

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Battledress Body Shop Project Instant Gratification ... or How to get great results on your first Body Paint.

T

he purpose of this introductory How To is to demonstrate many of the fundamental skills you will build upon as a body paint artist. Our goal is to guide you through the steps required for a professional-looking clothing-based body paint. The result should be a simple to execute, yet fully convincing first project. But, a first paint should not be attempted as on-the-job training.

Gather willing participants to your studio and practice!

This specific project is designed to be an introduction to: 1. Equipment Needed 4. Model Etiquette 2. Material Usage 5. Photography 3. Product Usage Considerations

Equipment List Airbrushes Two: Gravity fed for detail, Siphon fed for medium coverage, .05 and above tip recommended.

A

Safety - The Right Product Use paint specifically designed and approved for use on the body. Risks of using non-FDA approved products or ingredients (such as craft, fabric, or acrylic paint, tempera, magic markers, etc) include – but are not limited to –allergic reactions which can lead to permanent scarring of the skin.

Ventilation Directional fans with an outdoor exhaust path are strongly encouraged for indoor body paints.

Materials & Consumables

B

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Brushes 00 Script Liner

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Shields & Stencils A straight line-nangle stencil. A large, positive and negative multi-curve stencil. A open-lace pattern bustier as a pattern maker. (The bustier is conveniently easy for a first paint, with a easy-to-follow structure and minimized physical contact with the model.)

Seating A shop roller stool for yourself. A swivel-top bar stool for the model.

Attire A paint smock available upon the model’s request.

Model Release If you have ANY intent of taking and displaying photographs showing another person in a portfolio, web site, forum, poster – any PUBLIC usage, you must obtain a model release or joint-usage/ ownership agreement.

E

F

The Process

Regulated Air Source A good, constant pressure air source from compressor or CO2. Adjustable psi is a must with a regulator that clearly displays and easily sets a pressure in the range of 5-25+ psi.

Heater Although this should never be on during painting, the air temperature has to be tolerable for the model.

Attire Have pasties for the model.

Atmosphere Music. Snacks. Soda and water. Avoid alcohol on the set.

Kit Supplies Rubbing alcohol, hand sanitizer, hand lotion, paper towels, translucent setting powder, quick-change bottle adaptors, spare bottles, cotton makeup pads and q-tips, mixing cups, dust masks (offer to all involved), spare airbrush needles.

Alcohol Based Ink Approximately 1oz Black, 1oz Light Blue Pearl, Smidge of Sky Blue and Taupe.

Paint Palette Alcohol-activated pigment for hand-detail. Black, Sky Blue.

Makeup Sealer Cloth surfaces can be airbrushed with clear make up sealer in order to “prep” the material for colors that you don’t want to soak in.

C

Allergy Patch Test Even with the right product, some people can be allergic to the pigments or ingredients of even the highest quality paints and inks. Clean the inner wrist area and place a swipe of product in all the colors planned and wait 15 minutes. As you remove the product, if ANY redness occurs, do not use that color or product line with this model.

General Health Does anyone at the shoot have asthma?

Bronchitis? Allergies? Maintain good air circulation and offer dust masks. Be prudent – if someone is sick, reschedule.

Using the Equipment, Materials and Supplies Before attempting an airbrush body paint, there are a few givens...

D

Know the Basics Understand airbrush working fundamentals and maintenance, including the ability to paint dots, gradients and dagger stroke.

Regulate your PSI Body painting air pressure depends on what part of the body is being sprayed, with what product, what airbrush or spray gun, and the airbrush-to-body distance.

G

H

Testing

Face: 6-12 psi Body, Airbrush: 12-30 psi Body, Spray Gun: 20-30 psi

Understand the paint Experiment to see how each color flows and behaves with all of the airbrush, spray gun, paint brushes and texture tools in your arsenal.

Practice setting solid-color alcohol based inks with translucent powder.You do not have to set pearls.

I

Start the Body Paint

Paint your arm Get a small taste of what your model is in for.

Test any pattern makers you plan on using.

Prep the skin Body lotions, shower gels, temporary tanning sprays and deodorant will prevent the body paint from adhering to the skin. If these products are painted over, the design will much more easily rub off, smear or not have the desired longevity. Clean the skin where any paint is expected to be sprayed or interact with a painted surface. Wipe with generously wet alcohol paper towels.

Know your fabricsThe materials used to make pasties, thongs and other clothing absorb paint. In addition, each material will photograph differently than bare skin.

Before the Model arrives: Think Ahead Plan your paint design. Set a reasonable schedule, always figuring that things will take longer than they should.

Workspace should be clean, organized, and warm. Organize materials and kit supplies.

Lay out only what you intend to use.

Breaks Plan and expect bathroom, cigarette, phone, food, unexpected guest and brushgets-clogged breaks.

Map the design Have model put on the bustier. Check fit. Use taupe in a gravity fed to outline the seam and stay edges. (C)

Preflight Test all equipment: check airbrushes and guns by flushing with alcohol.

Designate and pre-shake the colors called for in the design.

Base Color Remove the bustier. Use a siphon fed to paint major panel sections in either black or blue pearl. Set black with translucent powder. (D, E)

When the Model arrives: Get a signed Model Release.

Common Courtesy & Etiquette Safety & Hygiene Ask about any known health issues or allergies. Offer a dust mask. Don’t use anything dropped on the floor without a thorough cleaning or grabbing a new whatever it was. Don’t blow powder off brushes with your mouth. Don’t blow with your mouth on the model to speed paint drying – fan a template instead. Don’t paint over broken skin.

Respect the Talent Allow the model do her own skin prep and pasty application. Cover clothing and equipment that does not want paint on it.

Escorts Understand before hand if model will be chaperoned and where that person will be during the paint.

Design Evaluation No design survives contact with the model. Compare the model’s features and natural bend lines to the intended design. Adapt the design to the model, not the other way around – trying to force the design to work will lead to a less than stellar result. (B)

J

Secondary Colors Replace the bustier. Spray the contrasting colors with the siphon fed. Remove bustier. Spray stays and cup seam with gravity fed. (F, G) Details The eye needs to see hard AND soft edges together in order to have a convincing illusion. Fabric edges should be firm and tight, but rarely mask-crisp. Add puckers to the stays with light blue.Add stitches with a stripe brush and light blue. Real fabric casts a shadow, spray taupe to add shadow while simultaneously softening the fabric edge. Set with translucent powder. (H, I) Photograph your test to see how the final results compare to the next time. (J)

Party The goal is a professional, relaxed atmosphere. Party later. Keep focused and professional; watch the wise cracks.

That’s a Wrap Provide for model’s paint removal, assisting her only when asked: Coat the paint with cold cream, hand cream, anything with lots of oil in it. Let it set a solid couple of minutes.

Wipe with paper towels as much of the oil/paint mixture off as you can without scrubbing.Wipe the remainder of the paint with alcohol soaked paper towels. Repeat as necessary.

Snacks Have breath strips, gum mints for all to share. Have soda, water and model friendly munchies available.

Clean your equipment Wash all towels, robes and sheets.

Disinfect brushes, stencils, and bustier. n

Assistant Not a bad idea for yourself. This can be the photographer, a mutual friend, spouse, whatever.

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If you see an air-blown dent in the skin, reduce psi or increase working distance.

If you see over spray accumulating in the air, reduce psi and increase fan circulation.

Patch Test Allergies can be to color or product. (A)

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with Dennis Mathewson

Many

of the destinations that I have traveled to lately, I see some form of the tiki culture from artwork to mugs.

Prior to the days of airbrushing and painting, primitive artists expressed themselves and told tales by sculpture. Their carvings of these ancient images inspire me to no end. From the various types of tiki I derive my inspiration and options for design, color, style and characteristics from masks, faces, totems to full standing figures.

As a custom painter for over 30 years, and a part-time wood carver, given the choice of how to spend my free time, I would be happy painting a tiki or carving one from a 4 ft. stump of coconut wood. The cool thing is that tikis can always be different allowing me to have the freedom to use my imagination and creativity. Some tikis may be traditional in style, but really, anything goes.

Living in Hawaii, I paint quite a bit of wood grain effects that simulate the rare Hawaiian wood, koa where the real thing can fetch up to $100 for a shoebox size piece. Painting the simulated look of koa can be more affordable for customers that want the koa look in hotel lobbies, on canoes, guitars, on bikes autos, dash boards and ever toilet seats.

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Prior to the painting, I spun the aluminum panel with a sanding pad on a right angle grinder then chemically aluminum washed and treated it. I next followed with two coats of Alsa’s Pla-stick (adhesive promoter) then two coats of speed clear to seal the aluminum. After completely dry I scuff with a red Scotch brite pad, then transfer paper is laid down. I use a lot of Alsa’s Hawaiian Hues (my signature color line) along with mixed candy base coat colors in Alsa’s Color Blender for quick drying. Follow along as I paint this spun aluminum panel using an in depth approach for a highly detailed painted koa wood tiki bringing it to life and even throwing in a couple of pineapples for a Hawaiian theme along with some fun hot rod flames and skulls.

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“From the various types of tiki I derive my inspiration and options for design, color, style and characteristics from masks, faces, totems to full standing figures.”

For wood graining on the base color, I spray Alsa’s white base coat tinted with some Hawaiian Hues colors. The color I mixed is a pale gold color, about the color of a paint stick. Then I spray a heavy coat of Alsa’s Copper Patina Spectra F/X in color blender, it shifts colors and makes a great base.

Using a cheap drug store sponge, I cut it making a distorted jagged edge. I mix brown

and true gold candy concentrates in a 50/50 ratio then add it in color blender (never mix more than 20% candy in color blender or it may bleed later). I reduce my colors 1-1 with medium reducer. I pull the sponge over the base in one direction making light streaks and an occasional twist gives the wood some knots.

Next, I lay tape over the grained base and transfer the line art with graphite paper then cut al of the lines with a fresh blade. I pull selected areas from dark to light then airbrush the light brown candy base. Remember to keep in lines with the grain. I follow in each masked area with a dry stiff brush with brown candy following the grain.

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First I lay out my design on paper. I think symmetrically to keep the tiki even.

After the design is complete I trace the image on tracing paper and transfer it to the covered board with Saral graphite paper. I use an Xacto knife (changing the blade often) to cut the tape and pull the tape off the board carefully as not to pull the clearcoat off of the metal.

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Each area is airbrushed and then dry brush grained using the light brown candy mix.

Fine detailed airbrushing is used with a darker brown candy mix. Brown, true gold and purple are mixed together for the color I use in color blender again.

Now I mix Alsa’s true gold in color blender and mist it over the design continuing with the grain until I achieve the desired level of darkness.

Hawaiian Hues colors are mixed to my liking for detailing the skulls.

Some background graphics are laid out with flames and tropical leaves. Once cut out, I add more Alsa candy mix colors. I always tint and mix my own colors.

I rarely use the paint right out of the can. Once you learn the system, anything is possible with color.

I use a wire brush a red Scotch-Brite pad, pulling them across the tiki making little hairline scratches. This technique really gives it a realistic look. I repeat this many times while I work on the tiki with and without the masking on it. Be careful not to scratch too deep, practice first on a sample.

The tiki designs are given the final airbrush details. I never use black, only dark colors. Straight black can really kill a design.

Using a #2 Nylon liner brush and custom mixed urethane striping colors, I pull

Using my #2 liner I finish up the brush work with some pale green mixed color around the tropical leaves.

Mark Chiu the master painter from Cosmic Airbrush applies 4 coats of Alsa’s Speed clear to the final artwork to finish it off, waiting 12 minutes between coats. Honolulu’s temperature is around 80 degrees so, it’s important to ensure that the surface is dry enough to touch between coats to avoid solvent pop.

very thin lines in dark brown around the tiki. This cleans it up and gives final details to the image as well as the wood graining.

I use a Tom Kelly striping brush by Mack to pull my mustard color pinstripes around the flames giving it a warm tone to the artwork. Looking over the artwork, I perform the final details.

The combination of grinded metal, opaque and kandy paints and pin striping gives the final piece the illusion of depth and makes it interesting to view from different angles and in different lighting. The painted wooden “frame” is yet another point of interest.

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After unmasking, I look for tape or any touch-ups needed. Before pinstriping the artwork, I spray 4 coats of Alsa’s Speed clear. After drying I wet sand the surface with 500 grit wet sandpaper to smooth it out. It is now safe for my brushwork.

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by Don Dennison, aka Chromewarrior555

I was lucky enough to have taken a class with Dennis this past January. I live in Hawaii, so I visit the shop often.

I really enjoyed the 2 day seminar. It was well planned, effective and fun.

Dennis started the class by introducing himself. He also went over the paints we were going to use. He gave some basic instruction on how to use an airbrush, and we got right down to business. We started out with the basics - daggers, dots, boxes, circles and shading.

We graduated to a skull with shading and we used some stencils. We did all the exercises on paper on the first day. Dennis also told stories from his classes around the world during the class. It was a very relaxed environment. Nobody in the class looked nervous.

Dennis started off the second day of class by showing us how to do a tribal flame. This was our first exercise using metal panels. First we had to cut our own stencils, and use masking tape to cover the parts not to get painted. Then we had a choice of a bunch of stencils he brought with him for use in the background. “Awesome collection bye the way.” He also did a quick how to on pin striping on his tribal.

That was awesome.

Then we started our next exercise, a tiki torch, which we again cut out and masked. Dennis showed us his version of true fire, using Alsa paints. It was very impressive. After that we cleaned up, talked story for awhile, and said our Alohas. Most didn’t want to leave. I know I didn’t. Oh and Dennis and his wife Susan, furnished lunch for both days. The pizza, on the second day was delicious.

Dennis Mathewson has been custom painting and airbrushing for over 30 years being considered one of the true pioneers in the industry. He resides and works in Honolulu, Hawaii where he runs his busy art studio, Cosmic Airbrush. In his early days, Dennis started out airbrushing t-shirts. Presently, his bike and auto painting is in high demand with his signature island style flair.

He frequently travels worldwide instructing students in airbrushing and custom painting and appears annually at popular tradeshows like SEMA in Las Vegas, promoting for manufactures of the airbrush and paint industry.

His fine art paintings hang in Hawaiian galleries in Lahaina and Honolulu. It is amazing with all of this on his plate; he still makes the time to carve an occasional tiki on a Sunday afternoon. View more of Dennis’ work on CosmicAirbrush.com

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I want to thank Dennis and his wife Susan for an awesome class.

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Hawaii

Aumakua tiki – family protector or guardian

Akua Ka ai – Tikis on poles or staffs

is a highly desired destination due in part to it’s warm temperate climate and white sandy beaches as well as the many other attributes that make these islands unique. Hawaii also has a rich Polynesian history that includes the evolution of the Tiki. Through the years, these primitive tribal carvings have influenced artists worldwide. With the Tiki’s intrigue and popularity, we’ve seen these images depicted in fine art as well as on motorcycles, autos, surfboards, helmets and even clothing an jewelry to name a few.

But who was Tiki? Tiki was not one person or one original carving, it’s origin came from early Polynesia including: Fiji, New Zealand, Tahiti and later, Hawaii. Tiki is said to mean “first man” or “image of man” there are even some references to phallic symbols that I need not get into.

In Hawaii there were four types of Tiki. The first type and most recognized were the large temple tiki images that represented the various gods and demi gods. The four main gods were Kane – god of sunlight, fresh water and natural life. Ku – not only the god of war and conflict as well as resolution and healing, also the god of fishing, husbandry and farming, Lono – the god of peace, fertility, winds rain and sports and Kanaloa – the god of the ocean.

Most of the original ancient tikis are gone, many destroyed by the god-fearing missionaries, rotted away by the elements or chewed up by termites. Only approximately 150 remain in private collections or in museums.

The tiki images as depicted in the various modern art forms of today are generally of a less serious nature and more of a fun and whimsical portrayal. As much as I love to paint, draw and even carve tikis, I will never lose my respect and admiration for the important and highly powerful role the tiki played in early Polynesian culture and Hawaii’s ancient history.

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Large tikis like this Ku tiki (war god) had large headdresses to show ower. Their faces appeared to be growling and in Polynesia, to thrust ones chin forwardwas a warning to back off. Their body stance was almost wrestler like. The many characteristics and details on the carvings had many meanings.

Human sacrifice, but more commonly, food offerings were offered to the different gods in the form of tiki’s at these temples or heiau. The other types of tiki’s that were used in ancient Hawaii were: staff or pole images, family or guardian spirit (aumakua) and slab images. The craftsmen back then utilized ancient tools such as rocks, sharks teeth and even sharp volcano lava to carve these images from indigenous woods like koa, ohia and milo. These same types of wood used today are rare, pricey and in high demand. A piece of koa the size of a shoebox can go for as much as $100.

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V for Vector is a permanent AB-Mag Column dedicated to giving pertinent, timely and down-to-earth instruction on how to use technology to your advantage.

Lesson Three:

By Diana Learn Don’t be intimidated by your vector program! That is the mantra of this column.

Of all the graphics programs available, it is my opinion that the vector drawing programs are the most menacing. I’m not sure why they have such a bad reputation. It probably has something to do with that scary bezier tool! Ha! But, if you can get past the first impression, I am confident that you will find that vectors are extremely powerful, useful and even fun.

V for Vector to the rescue!

If you would like additional help or personalized instruction on Illustrator, CorelDRAW or any other graphics program, check out www.LearnAirbrush.com. LearnAirbrush.com is an online source rich in information pertinent to any form of art. In addition, LearnAirbrush.com provides FREE online classes at “Learn Academy LIVE!” Several times each month. Classes cover Airbrush Technique, Illustrator/ CorelDRAW, PhotoShop and Using a plotter. Don’t miss the LIVE Web Cam available to the public 24/7.

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In our 3rd installment of this program, we will continue on working through some more basic drawing principles and taking it a step further - applying the lesson to some real life needs.

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In the last issue of AB-Mag we discussed the Artistic Media Tool found in CorelDRAW at length. This issue I thought we could put the lesson to practical use by drawing some barbed wire.

For this project, we will use the artistic media tool and 2 different pre-sets. I like to use the double rounded ends, and the rounded and pointed end setting. Obviously you can mix it up and experiment with any and all of the settings.

You start out simply by creating 2 wavey paths that randomly overlap. Be loose with this. The more you think about it, the harder it will be to get the flow you are looking for.

If you need to make a few adjustments to fine tune the line, use the Shape Tool or Node Editor to edit.

Once the lines are set, you will need to switch to Wire Frame View if you are not already there. In order to remove the center spline of the paths, go to Arrange -> Break Artistic Media Group Apart or Arrange -> Break xx Objects Selected Apart if you have more than one path selected. You then need to delete the spline.

Select both outlined paths using the Pick Tool and you will see a contextual menu appear.

From this menu choose to weld the paths.

Now you have your twisted wire.

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Next we will create the “barbs”. My “barbs” are made of 4 strokes of the artistic media tool. I use the rounded/pointed preset for the first and fourth stroke, drawing down for the first and up for the fourth so the points are in opposite directions. The two center strokes are made with the double rounded preset.

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Repeating the steps above, place your “barb” groups along the wire, specifically at the areas of intersecting “wire.” Don’t forget that you can use the Shape Tool at any time to make adjustments to the barbs.

When you are happy with your “barbs” you will have to repeat the process of removing the center spline on all the strokes.

To add the “barbs” to the drawing, use the Pick Tool to select the groups of “barbs” first, then shift+click to select the “wire”. Hit the weld button from your contextual menu.

VOILA!! Barbed Wire ready to cut from your plotter.

Now that you know this trick, you can build your barbed wire graphic to match your project, rather than being forced to work around a pre-cut stencil. You can make curled or wrapped wire the same way. Start with 2 (or more) loose paths of curls, repeat the process of removing the spline and then weld the paths together.

Position your “barb” groups however you like.

Remove the splines again, group and weld to the wire.

Illustrator Users: Don’t forget that you can do this exact same process using the brush tool with the Artistic Ink Library found in the brushes pallet. To outline the stroke and remove the spline in Illustrator you first use the Object ->Expand Appearance command and then go to Outline View and delete the center spline.

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The creative possibilities of this design are endless. You can stylize your barbed wire any way you would like to work with a variety of designs and applications.

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DRAW PLOTTER-READY CHAINS! Chains are a very popular and very versatile graphic that can be used in many ways in many, many different compositions. Use them to show “flow” and guide your eye through a design. Use them to “secure” or “ground” elements of a composition, or just draw them for fun!

The lesson is written in Illustrator, however, since we are using only the very basic tools and operations, the steps and processes will translate to ANY drawing program effortlessly.

Follow along with the instruction, and you will have a file ready to send to your plotter to mask off perfect chains. With just a few “tweaks” of the design, you can cut a hand-held stencil from plotter-friendly Mylar or Polyesther.

Looking at a set of chains you can see that the basic shape is a rounded rectangle. Illustrator has a rounded rectangle tool in the shape menu as shown to the left.

Select the tool, then simply click and drag. Before you let go of the mouse button, you can control the arc of the corners by using the up and down arrow. In CorelDRAW you first draw your rectangle and then use the node editor to round out the corners to where you want it to be.

To get started, simply create your first “link” with 2 rounded rectangles. Use your align tools to ensure that the shapes are centered. Also, make sure the shapes have a fill and stroke. Once they are positioned properly, select both and trim. Ungroup the new compound shape and you will be able to move the center shape outside the “link” as a new object.

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Now, using the center piece, position it like shown above and manipulate it just a bit (make it a bit longer and a bit more narrow). You will want the center of the connector outside the right edge of the link. You will also want a bit of space in the center of the link.

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Copy and place the links and connectors to make the length of chain that you want. Be sure to use filled shapes so you will be able to keep track of the stacking arrangement (you want the links in the back with the connectors on top). Also, be sure to use your align and distribute tools to make sure the links are straight and well placed.

Once everything is aligned the way you want it, simply select the whole length of chain, and trim!

Here is a view of the chains in wire frame (outline) mode. The top grouping is before the trim. I like to copy and paste a new set so that I can work with the un-trimmed links and connectors to make more or different chains.

Once the chain is trimmed and double lines are removed (tip below), you can send it directly to your cutter!

If you want your chains to curve or wrap, simply edit your links and connectors to get what you are looking for. You can rotate, skew and reshape them for perspective. Here (still in wireframe view) I have just done a simple curve. Remember to be mindful of the layer order. That is why I always use a fill and stroke. When you trim, it will always trim to what you see. Again the top curved link is prior to trimming, shown just below it.

And there you have it! Now don’t forget to take this tutorial to the next level by customizing your chains.

Make them different shapes and sizes. Go wild! Once you have the basic idea down, there are no limits!

TIP: Quick and Easy Way to Get Rid of Double Cut Lines:

Using a color fill and stroke, select the items to trim. Hit trim from the pathfinders pallet, then un-group. Using either the magic wand or by simply select->clicking, select all of the same colored items (in this case red).

When they are all selected, simply move them away, and the areas that would have double cut will be left behind and you can simply delete them.

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Trimming will almost always produce areas that will cause your cutter to “double cut.” The sequence shown to the left is a really quick way to get rid of the double cut on simple drawings.

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9.

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Here are some shots of the tins with the green sprayed on and the rest of the latex removed. Before I removed the latex, I did a quick water drop effect to the green to give it that liquidy look. After the latex was removed, I added some airbrushed lines, shadows and highlights to the yellow to finish off the shattered glass graphic.

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Mike Learn’s PRECISION MOJO AIRBRUSH Mike Learn has based his custom, hand-tuned airbrush off of the flagship of the Richpen airbrush line up - the gravity fed, double action 213C. The MOJO has gotten a conversion from the standard 213C .3mm nozzle and needle to a custom .2mm nozzle and needle. This smaller size gives the MOJO finer atomization at lower air pressure making it ideal for very tight, defined control. Mike takes things a step further by polishing the needle which removes any machining marks that are commonly found on airbrush needles. The result is a mirror-like finish on the needle that greatly reduces tip dry. Teflon seals are standard in all of the Richpens making this brush perfectly suited for all types of solvent paint. Modifications have also been made to the internal trigger mechanism of the MOJO which gives this brush instant paint response. From the moment the trigger is drawn back, paint begins to flow. Comfort is also added by the ground, angled finger pad.

AB-Mag’s testing using reduced PPG Global base coats yielded incredible results. Nearly microscopic control and paint delivery, smooth trigger control and flawless performance. One thing to note: paint response like this is not common to most production airbrushes. Having instant paint response actually took the staff time to get used to, spider-webbing was a common result until it was realized that all that was needed was the slightest pull of the trigger to get the paint flow started.

After getting used to this type of performance, our dime-sized work area had enough room for 50 shaded, highlighted and detailed skulls.

The hand tuned MOJO outperformed even our expectations. Retail price is $299 for the airbrush alone or $324 for the airbrush in a deluxe lock box.

For more information, visit LearnAirbrush.com.

• Extreme performance • Hand tuned • Backed by Mike Learn & Richpen USA

Cons:

We’re still looking........

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Pros:

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By Johnny B For questions write to me at Johnbartevian@yahoo.com

If

you airbrush helmets, motorcycles,

hot rods, or just about anything

really, you will inevitably be asked to render a graphic with chrome effects. To demonstrate this technique, I have chosen a simple text graphic with brush lettering.

I cut out

a vinyl mask with my plotter. If you do not

have a machine to cut vector art, you can cut

a mask by hand. It may take a little longer, but the result will be the same.

Chrome theory can be rendered from simple

to complex. Once you have achieved the basics, you can go wild! Many illustrators

refer to this as a “ground/sky effect.” If you

visualize a piece of chrome metal held at a 90º angle to the desert floor. From the top side, sky blue will be reflected and from the

bottom, and soft yellow to brown hues will be reflected on top. At the junction, or horizon point, there will be a solid black line adjacent to a pure white line.

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Today, I am using Bristol board as a media.

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I begin by cutting my mask and weeding out the letters.

I place the letters on a non

adhesive paper and save them for a later application.

Carefully, I pull off the transfer

paper, mount it on the board and paper off my

background. You will see I taped from the horizon line with 1/8” scotch blue line tape.

I like to paint top to bottom. There is no right or wrong technique for this procedure, only what is comfortable for the artist. For this project I chose two DuPont “Hot Hues” colors for that extra pop. Also, a solid black and solid white base coat. The only gun I use for my renderings is the PrecisionAire Treo. It’s designed to shoot pearls and metallic media without skipping.

Once I am done with the brush, I remove all masking. When the paint is dry, I remask the letters with the saved masking material weeded out in the first step. With the letters covered, I can now airbrush in drop shadows without worrying about over-spray getting on our chrome letters. I remove all masking to reveal the finished effect.

You can have great fun and creativity by changing the reflective surface. For example, gold, brass, copper, etc. will all produce different effects.

Remember the most important element is a sample of the actual material.

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I start with Bombay Blue, fading from dark to light. When the blue is dry, I masked over the blue to the horizon line. I used Amber Ecstasy for my ground reflection. Leaving everything masked as is, I pull my blue fine line tape off. Next I airbrush opaque black from the top of the horizon line and fade it lightly into the ground color. To improve on authenticity I use a #1 brush and let the black horizon crawl up the sides slightly.

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“I had hand-cut my graphics for 6 years.

My plotter has pushed Limelight Graphics into a new level of possibilities.”

by Gregg Bahrke

Successfully Integrating A Vinyl Cutter into Your Workflow I have been a career multi-media artist for 18 years. I work with commercial design and illustration as well as custom paint and airbrushed graphics. Until very recently, I had

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hand-cut all the paint masks for the complex

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graphics I have tendency to design. I even hand cut 63 first and last names on The Bears 20th Anniversary Super Bowl chopper (shown left) – a job which took 14 hours of cutting and weeding! I was turned on to incorporating a vinyl cutter into my workflow after becoming a member of LearnAirbrush. com. Mike’s ability to mix crazy freehand art with super-clean and tight graphics was

“My study panel for the project was a combination of 2 tutorials from the LearnAirbrush.com Vault. When my customer saw it, he decided to use it as a model for his bike.”

exactly what I was working to achieve – but I was doing it the hard way! I decided to take my business to the next level, and I invested in a Roland GX-24. To put it to the test, I really wanted to try something challenging while using the plotter’s full potential capabilities. And, here it is!

A local custom builder, Competition Tattoo & Custom Cycle commissioned this project. The customer wanted the bike covered with Celtic knots, beveled tribals and dragon skulls, then buried in rich Burple Kandy. The project eventually evolved into incorporating a full dragon skeleton.

The tins were supplied as raw Jesse James steel for a Custom Chrome chopper kit. After approximately forty hours of prep and bodywork the tins were given an initial base-coat of HOK Orion Silver and a coat of catalyzed clear.

After the clear coat cured fully, I wet sanded using 600 grit paper. It is EXTREMELY important to make sure your clear has fully cured. Fresh clear will lock paint mask on to the

The design was created laid out and scaled using Adobe Illustrator. Illustrator works seamlessly with Roland’s Cut Studio via a supplied plug-in. I needed to correctly group the patterns and make it fit the mask material. Since this was my first experience using my plotter, I had to experiment a bit to determine the correct gram cutting force of the blade to cleanly plot the complexity of this particular design. It is helpful to keep a notebook

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surface like super glue.

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of settings used for different masking materials and design intricacies. The image was cut on Avery’s paint mask and then dusted with black chalk for visibility of the outlines. After the design was cut it was weeded out and transfer tape was applied. This part of the vinyl application was quite easy.

I quickly learned that masking compound curves can be a bit challenging. I used a Stabilo pencil as a reference mark for the starting points to apply the mask. Patience and steady hands were required, however the mask is easily manipulated and can be re-positioned. I took my time to keep from distorting the mask. I found it helpful to apply the design in sections, rather than trying to lay the whole thing down in one try.

After laying out the vinyl, I created a series of freehand line drawings.

These were hand-cut on paper and used as loose shields to ghost a position for the white under base. After ghosting-in the position of my drawings, I used free hand airbrushing techniques, a reduced white base paint and an Iwata Eclipse HPBC. I built the layers of paint slowly to produce different values of light, sculpting dimension to the dragon’s bones.

Once the freehand portion was done, I moved on to the first application

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of color. Starting with Oriental Blue Kandy and an inter-coat mixture

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with reducer, I established light and shadows with color. I moved on to Cobalt Blue and then added a deeper Violet Kandy mixture. Adding a little green and red candy to my violet mixture I established the darkest tones. I finished up the Dragon with white highlights.

Now it was time to move on to the masked graphics.

Using the system of sequential unmasking and a series of colors from my pallet I sprayed both before and after removing the mask sections. This allowed me to use both the positive and the negative space of the masks.

I added various textures and shadowing to the masked graphics to create interest and volume. I then followed up with white highlights in the tribal bevels. I clear coated all pieces to lock down the graphics. This extra step insures less die back of the under base and kandies when applying the final Burple Kandy.

After 24 hours I wet sanded using 600-grit sandpaper. Then the first application of Burple clear coat was shot with a gravity fed spray gun. The customers decided on a deeper hue of the Burple so I repeated the kandy clear coat process. Once fully

I was thrilled with the intricate detail I was able to achieve with use of the plotter’s clean and even radius cuts. In my opinion, the plotter is a must have whether your project is large format or small. It is a huge time saver and more accurate than the most skilled of manual mask cutting.

Also replacement or duplicates masks are a snap to reproduce. Not to mention it can be used in many other formats within the art realm. A plotter can be used for vinyl lettering, glass etching, sandblasting, die cutting and custom graphics. The possibilities are endless. This investment has allowed me to take LimeLight Graphics to the next level. I can now be more efficient, more accurate and I can produce designs that in the past I would never have thought practical/possible.

| www.AB-MAG.com

cured, a final sand and buff brought this piece to a stunning finish!

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| AB•MAG | 2nd QTR 2007

by Malcolm McCrae

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HiP HoP

and airbrush have gone hand in hand since the 70s and late 80s. The market has moved incredibly fast in the last decade with rappers wearing custom urban apparel, hand painted shoes, famous portraits, hats, pants, etc. The industry has exploded, rapidly opening doors for any person that is creative. There are thousands of websites and online galleries full of artists displaying their creations. Millions of dollars are spent in custom airbrush shops from L.A to NEW YORK. Customers demand a variety of artwork from HIP HOP slogans to R.I.P. memorial shirts. For many of us airbrushing has given us an outlet to show our talents and access to become entrepreneurs. We are part of the urban lifestyle. We are more like urban stylists. We give the look, feel and swag to anyone who wears our creations. We help make and spread trends from city to city.

For my first AB-MAG tutorial I have chosen one of my most popular designs. Customers love it because is easy to customize and it allows them to represent their neighborhood and city.

This particular piece is also one of my personal favorites, not to mention it is a great money-maker. The basic idea came about when a customer wanted a little more than a basic street pole design. I added some money and a city scene in the background. The cracking concrete gave some dimension and street appeal.

It was an instant hit.

Step 1: Using the master artwork, I reproduce it on to the shirt using my prism opaque projector and a dark fabric pen.

Take your time on this step. Make sure you have crisp solid outlines. Use a shield if needed to control overspray. Be mindful of your light source and set yourself up for proper highlights.

Step 3: Once you are happy with your black work, the next step is to paint the street signs and bundles of money forest green. You want to shade the signs in lightly. I use a torn piece of paper to give a more funky reflecting look.

| www.AB-MAG.com

Step 2 : I paint this design from dark to light allowing the transparent colors to blend and the opaque colors to stand out bold.

With the fabric pen sketch in place, I then use opaque black to paint the outline and add shaded areas. The outline is the part that can make or break the design.

The sharper and cleaner the outline is the sharper and cleaner the whole design will be.

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Step 4: Next, using transparent red, I render the sky and clouds. The red brings some real color and contrast to the design and really helps the foreground “pop”. I use a red circle around the image to give some stability. This will ground your composition and keep the design from looking like it is floating.

Step 5: Using a florescent orange, I create a blend in the sky. I also use it around the outside to add some extra “pop” to the design.

| AB•MAG | 2nd QTR 2007

Step 6: Transparent golden yellow gives the shirt the glow needed to finish out the sun and its secondary reflections. The transparency allows me to create an illusion of smooth and well-blended colors in sky.

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Step 7: Add the custom text in the street sign using opaque black.

Step 8: Last, but not least, the shirt would not be complete without a final opaque white. White highlights are used in the building to represent windows and around the money, pole and sign to give that extra “bling.�

This design is a proven seller in the urban market. No matter what city you are in, you can change the street names and cityscape adding landmarks and other local icons. Good Luck with this piece. I am sure it will do well for you!

Malcolm McCrae a.k.a. The Airbrush Assassin started creating airbrush art in 1996, he has done work for many Celebrities, a number of Hip Hop and Rap Artists as well as Fashion Designers. His airbrush T-Shirts have been seen in Videos, Fashion Shows and can be seen worn around the world. He paints anything custom from Footwear to Motorcycle, Cars, Corporate Murals, Helmets as well as Custom Leather and T-Shirts. See more from Malcolm at HipHopAirbrush.com.

| www.AB-MAG.com

When the airbrushing is complete, I heat press the shirt at 350 degrees for 10 seconds, allowing the paint to cure in the shirt and improving its durability.

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Hi readers! My name is Jake Kobrin, I’m 14 and I’m from Marin County, California, in the United States.

My journey into the world of airbrush began when I got a snowboard with a very ugly graphic back in 2004. The board was entirely yellow with a grainy photograph of a Chinese Forbidden City warrior. I very much hated it and I wanted some way to get rid of it…

My dad’s friend Rich Helf, now a very accomplished graphic artist, used to airbrush back in the 80’s.

He gave me the idea to airbrush it. I googled airbrushing and found many great websites, Airbrush. com, LearnAirbrush.com, etcetera and I fell in love with the intricate graphics and painting on the websites.

After my discovery of the beautiful artwork on the web about two years went by. I was devoting most of my time to my other love, painting miniatures. I won numerous awards for my miniatures.

My most prestigious was a Gold Metal in the Kublakids Paint Competition at Kublacon 2006.

When September of 2006 rolled around, I decided to revisit those airbrush websites that I fell in love with earlier and I decided to buy my first airbrush. I decided on buying a Paasche VL set but the airbrush that came in the set was defective so I exchanged it for the Iwata HP-CS Eclipse, an airbrush I still use regularly. It’s really a great brush. For paints I ordered some House of Kolor urethanes and loved them.

After that I spent most of my time learning the various techniques and strokes of the airbrush. I use DVDs as my main learning tool but I am primarily self-taught. My favorite airbrush now is the Richpen MLearn Mojo. I have found nothing to surpass its quality. I have been airbrushing for eight months now and I am at a point that I feel comfortable with my skill.

Step 1: I started with a blank canvas that I bought for a few dollars at an art store. Using my 4 oz. mini spray gun I based the canvas with Dupont silver base. I sometimes get the left over paint that my local auto body shop doesn’t use for free and they only use Dupont colors. I think that the paint I used was actually meant to be used on a dodge ram.

Step 2: After the silver had dried, I used House of Kolor Base Coat Black and my Iwata HP-CS eclipse and “mapped out” where the fire is going to go. I used mainly freehand airbrushing but with some light shielding.

After the entire piece is painted this will look very much like smoke.

| AB•MAG | 2nd QTR 2007

Step 3: Still using the HP-CS, I sprayed the first layer of fire with HoK Molly Orange. I mostly freehanded the lines but shielded some of the edges of the fire with a freehand shield that I made out of transparency sheet.

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Step 4: Spray a layer of Kandy Apple Red over the molly orange. These are the background flames and supply the basics to what the fire is painted over.

Step 5: After the kandy was applied I took my trusty chalk stabilo pencil and sketched out a skull that I was to incorporate into the fire design. I sketched very lightly as to not dig into the surface.

Step 6: I then went over the pencil outline with my Richpen Mojo and began free handing the skull. I used very light dustings of color and built the object up slowly. I use mainly dagger strokes the build up the

strong highlights and then blended them into the background. Make sure you use a water based degreaser to remove the left over residue from the stabilo before you continue. Ace Hardware makes a good one.

Step 10: After the yellow is built up to where you’re happy about it, spray a little bit of Tangerine Kandy on some of the yellow parts to knock them back a bit.

This will really give your fire depth.

Step 7: Build up the next layer of the fire with a slight amount more shielding.

Step 11: Spray a layer of Pagan Gold Kandy over everything. This is by far the most important kandy color. It makes our fire HOT!

Step 9: Spray the next layer of fire and highlights on the skull with a well thinned Chrome Yellow. Make sure you establish a set light source and follow it exclusively. I like to mix my already thinned (with HoK RU-11 reducer) paint with a little bit of lacquer thinner. It almost entirely eliminates tip dry.

Make the fire licks tighter and use more shield as you progress.

Step 12: Mix up a concoction of three parts Base Coat White to one part Chrome Yellow. Apply this as your final highlight. Use this color most at the source of your fire as this is where it will be hottest. Try not to over whelm your painting with highlights.

Step 13: Knock down some of the highlights with Pagan Gold Kandy.

| www.AB-MAG.com

Step 8: Go back to the HP-CS with the .3mm nozzle and spray a coat of Tangerine Kandy. I use up to 60 psi when spraying kandies for superior atomization.

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I love using Auto Air Paints. They provide a wide array of colors and finishes. The only downfall is the dry time between color changes. Got any great tips?

Glad you are getting great results from Auto Air Colors. It is the premium water based automotive airbrush product on the market today. As we were in on the development and launch of the Auto Air Colors product we do have a few tips to allow you to optimize your usage of the product on your artwork.

Read the directions on the bottle. It will tell you the smallest nozzle that will work with the paint straight from the bottle. If your airbrush has a smaller nozzle then the paint will need to be reduced. Use #4010 Medium Reducer. Do not use Windex, Fantastic, or any other household cleaner. There are additives in these cleaners that can cause adhesion problems later.

Apply multiple thin coats. Because Auto Air is waterbased it takes longer for the water to evaporate than it would take for a solvent to evaporate.

Applying in thin coats and building your color depth speeds dry time and aids in adhesion.

If you are doing production work and need to really speed the dry time get a set of Infra Red Lamps.

They are inexpensive and can speed the dry time without negatively effecting adhesion.

We continue to learn more and more each day on optimizing Auto Air Colors performance. Keep checking the Airbrush.com Forum for more tips and tricks.

I’m looking for an airbrush that will primarily be used for airbrushing stencils on to shirts and sweatshirts. I’m no artist, which is why I need stencils. Any help would be greatly appreciated!

I’m not looking to spend a fortune, but I need a good gun for stenciling lots of shirts.

| AB•MAG | 2nd QTR 2007

Can anybody suggest any good guns, places to buy, fabric paints, or anything that will help me out?

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Crescendo or the Paasche VL. These airbrushes handle large volumes of air at higher pressures and will drive paint into the fibers resulting in longer lasting artwork. We would still recommend that you heat set the shirt.

As far as where to buy, if you can not find a local outlet then there are many fine internet resellers who can provide you with product on a timely basis. Two sponsors of Airbrush.com, BearAir.com or CoastAirbrush.com, will be able to help you make the right product selections and get you on the way to airbrush success.

And don’t under estimate your artistic ability. Once you get going with your stencils and are comfortable with the airbrush start to add your own touches to the shirts. You will enjoy doing the shirts and be able to share your creativity.

Ok I have a Paasche VL with a badger 80-2 that I just bought new. I am new to the airbrushing, so I know I should suck a little no matter what gun I have and all. But it seems like my VL is just a little off or something. It doesn’t seem to be spraying a good smooth amount of paint. Like if I give a little air then try to add a little paint (15% / 25%) I get nothing, but if I add a lot of air with a good bit of paint (100% / 50%) it comes out fine with most colors. I’m spraying on printer paper for now but also tried my r/c body and it does this on both the paper and plastic body. Any idea what might be going on? I have tried thinning some paint out to see if it helps and I just get the to “Thin look”. By the way I’m using Faskolor paint, and I have the Mid size needle in the brush.

I guess I should also ask, “Is this VL worth messing with or could it be a large part of my problem?”

This is a case where the problem is not with the airbrush. The Badger 80-2 has a maximum PSI of 28. This means that the actual operating pressure is closer to 22 PSI. The minimum operating PSI for the Paasche VL is 20. So you can see that you are close to the minimum to even get paint to atomize from the Paasche VL. Add to this the fact that you are using Faskolor, a thicker paint on the viscosity scale, and there is no doubt why you are having issues.

Any of the siphon feed airbrushes will paint shirts.

The hardest thing is to match the airbrush to the output of your compressor. If you have a household compressor then look at airbrushes like the PEAK X-3, Badger Anthem, or Paasche Millenium. They can atomize paint at lower air pressures. However, doing shirts at lower pressures doesn’t allow the paint to be driven into the shirt fibers and will necessitate heat setting for durability of the paint.

So now you need to make a choice. If you like the VL then you should return the compressor and get a more powerful model. The new Badger 180-10 or 180-12 with auto shut off would be a better match to your VL. Or try a Polar Bear Twin Piston Compressor from BearAir. These compressors will deliver a better PSI and give your VL a chance at atomizing the paint correctly.

If you have access to a shop or commercial compressor then we would recommend the Badger

If you like your compressor, then find an airbrush that will operate at the PSI of the 80-2. A Paasche

Millenium, Badger Anthem, or Vega 2000 will atomize better at that low pressure.

Finally, Faskolor is a very thick paint. Try reducing the paint and work in light coats. Build up multiple layers of color until it is the richness that you want to achieve.

Hi there. I’m probably not your typical airbrusher since all the “paint” I work with is edible, but I figure someone here will know the answer.

I possess a nice single action airbrush and compressor that does a fine job spraying liquid food colors and water, but if I want to a.b. any type of liquid that is even remotely thicker and more viscous than water, and I’m out of luck. I cannot get it to run through the brush. I’ve tried adjusting the airflow on my compressor for maximum pressure but that doesn’t do any good.

As a comparison, I was using a cheap-o brush and compressor at work and I had no problem getting other liquids to run through the brush.

I suspect I own a brush with a very fine nozzle that’s made only for the thinnest of liquids. My question is, is there a brush made that is MEANT for thicker mediums? The liquids I refer to are things like thinned down chocolate (which I can successfully spray with my Wagner Power Sprayer) and vodka or any other clear liquor that is mixed with an extremely fine metallic (but edible) dust. These two things are barely thicker than water, but will not run through the brush I own now.

Would a Badger do the job for me, or is there another brush I should think about purchasing?

Thanks for any advice!!!

What a great job you have. Perhaps you could send us an article for the Airbrush Gourmet.

But I digress. You did not say whether your single action airbrush is internal or external mix. Since most bakeries use internal mix I will make that assumption. Here is the trick. First, if your airbrush has a medium flow option, install the correct needle, nozzle, and air cap. Next, don’t seat your needle all the way forward. This will help the metallic dust pass thru the mixing chamber. And finally, keep an eye out for tip dry. This is a constant problem when trying to spray any large size additive to your coating mixture.

If you want to move to the double action airbrushes, then a Badger 150 with all three needle nozzle combinations will be a fine choice. You will need to experiment to get the correct combination for your application, but how tasty will that be?

by Terry “Kiwi” Stephens KEEP it TIGHT, CLEAN, and ORIGINAL in LESS TIME by using Kustom Shops MULTI-LAYERED STENCILS The Kustom Shop multi-layered stencils provide a design starting point for the beginner to advanced artist. These stencils aren’t meant to give you a finished piece, but they are a great tool to aid in the process!

You should use a combination of stenciling and free-hand airbrushing techniques to achieve a completely free-hand, but very clean look. The multi-layer system is easy-to-use, the stencils are made from flexible translucent, reusable solvent-proof material – laser cut for total accuracy

Kustom Shop part #’s KUS HB-Skull 7 and 7-S multi-layer skull stencils. Designed

by Huntington Beach Bodyworks. Manufactured and distributed by Kustom Shop.

and clean lines. The stencils registration marks allow for easy alignment of the layers. The techniques using the multi-layer stencil system allows you to use to organize the piece, keep it tight and clean, easily repeatable, and save time! I’m using the SKULL 7 multi-layer stencil design, which comes in three different sizes. I’ll show you the techniques I used to create 4 completely different styles from the same stencil design.

With a little imagination, the designs you can do with each multi-layer design is unlimited!

| www.AB-MAG.com

A view of all three sizes of multi layered stencils that we will use in this demo.

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3. Starting with the hood base coated in gray for a neutral Background, I positioned two stencils. The positive layer: using the registration marks in the corners, I line up the second layer, also known as the detail stencil.

4. Next I lightly spray a reduced black through the stencil for a guide to place my detail.

5. Using white, I start to spray a base color.

Concentrating more on my highlighted areas, yet still getting all over coverage. I try to spray over my stencil edge toward the center. This minimizes over spray from creeping under the stencil.

6. With the white completed, you’ll notice I’ve left the eye sockets, nose, and mouth untouched at this point.

7. Using a custom mixed medium light brown (using white, yellow, red, and black), I start airbrushing the details by coloring the shadow areas with full coverage and slightly shading the lighter regions. I tend to leave a majority of the highlights nearly full white. I like to jump around the painting for two reasons: for continuity without over working one area and for resisting boredom.

8. Here is a complete view of the first color.

Completely dark in the shadow areas and using long curved dagger strokes to add texture, similar to wood grain, cracks and weathered pits.

9. Darkening my brown with some black and a dash of red, I deepen the shadows. Black is used with the detail stencil to work the harder deeper shadows in the eyes, nose, and mouth. Be careful to use the black over the dark brown (if you shade black onto the light brown or white, it could gray it up.)

10. Leaving the detail stencil in place, I move to the eyes. Using a generic circle stencil (available at most art stores) I spray white for eyeballs then a smaller brown circle for the iris. These stages might also be done by freehand airbrushing.

11. I free-hand the pupil and add some shading and texture to the iris with black.

Also the whole eye gets a shadow from the eyebrow and shaded to give it a 3D spherical look. Using white I add highlights to the iris and eyeball to give it a shinny glassy appearance. I also shadow the teeth, which until now have remained pure white.

12. Adding highlights to the teeth gives them a well maintained, menacing look. This concludes the internal stage of the project.

13. Placing the third part of the stencil kit. I cover the skull ready to work the background.

15. Next I add the black crevices that separate the rocks, being mindful the white highlight is below the black line. This creates the effect of light hitting the edge of the rock. A torn piece of paper is then used to shade highlights and shadowed texture to the rock. You will notice the white is sprayed above the torn paper and the black below to create dimension.

16. Moving to the smaller stencils, I utilize the texture in the rocks to create a skull that will appear as if it is carved in the wall. After placing the first stencil on the wall, I register the detail stencil and spray a reduced black to start.

14. Removing the crown and cap from my airbrush, I add heavy stipple, first in black and then in white. Always be careful to spray over the stencil in a certain fashion to avoid paint from creeping under it! Start from the center of the stencil and spray away from the edges as opposed to facing the edges. At this time, I also add some white. I free-hand the lines to act as highlights on the edge of the rocks that make my wall.

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17. Using black and white, I then render the highlights and shadows. Black adds detail, but being sure not to use, too much black, it will darken the skull. Keeping it light as I can, so this will help the skull look as if is protruding from the wall.

18. Placing the third stencil over the skull, I then add a shadow and some shading to darken the rock and pull the skull forward.

19. As a finishing touch, I airbrush white in the eyes, to give it a sinister glare.

20. The third skull will be chrome to show some variety. The first thing I do is black the inside of the first stencil. I find even when painting a light color blacking out the base gives me an even background, and then by spraying some reduced white, I ghost in the detail.

21. I then sketch the whole design in white.

When painting chrome, try to think of it as a bent, deformed mirror. So it will bend and warp the reflections. I highlight surfaces protruding out where the light will be more intense. Circular forms like the head and cheek bone have a rounder highlight, while areas like the eyebrow and teeth tend to stretch the light more. I also leave a dark space on the lower contours, to mimic the horizon of land reflecting in the chrome.

22. Next I apply an over reduced blue. Using it more as a tint, rather than solid color, I create the reflection of sky. Adding black shading in the upper sky, gives it a 3D effect. After painting an earth color under the horizon line, I detail the top of the horizon line in black.

23. This is where the magic happens. Add strategically placed highlights to mimic the sun’s reflection. The most pronounced highlight is in the center of each protruding contour. I then add smaller reflective highlights above these. As well as an even more diminished highlight in the base of each form.

24. Using the detail stencil only, I lightly spray a black image.

25. Then with white I airbrush the detail of the face and fade loose head contours. I also add a drop shadow to pull the skull forward.

This is a great fast and easy effect and once mastered could take only 5 to 10 min. per skull.

Huntington Beach Bodyworks and Kustom Shop have produced over 200 original multi-layer stencil designs to aid you as the starting point in your next piece. See the full selection of multi-layered stencils at KustomShop.com or visit me at the Kustom Shop booth # 23888 at the SEMA Show!

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| AB•MAG | 2nd QTR 2007

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