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In addition, I create some structures here too, establishing some more chaos in the flames. Offer ends March 30th. For this, I spray on some more irregular fur structures, which I then manipulate with the scalpel and eraser pencil. Remove all the masking and you are done. Once Im finished with a model, it becomes my own child.
Afterwards, I add a second layer with a mixture of Cadmium Orange and a bit of Brilliant Red once again strongly diluted. After the template has been removed from the ball, I use the strongly diluted Indian Yellow to create the flames that are generated on the surface of the ball. At the same time, I use this hue in order to bring the ball into better shape. I now mix a dark, diluted red with Brilliant Red and a bit of Sepia and work on the flames again.
The dark fields within the ball are given more shape very carefully with this color and some shading is added. The darker fields behind the flames are also rounded out at this point! By the way: As you can see, I most like to work with airbrushes that have a larger cup, since I can then mix the necessary paints a bit more if needed real well right there in the cup.
I can always fill the paint rests in an extra container if I will want to be using them later! With a strongly thinned out Yellow base, I carefully mist over the light flames and then color them in with the very light, luminescent yellow. This step really gets the flames shining! Here you should once again very carefully work in thin layers and with wide distances from the painting surface, since the paint is extremely thin and could easily begin running.
The highlights can be once again enhanced with the eraser pencil. Now we get to the smoke. I apply this with a lightly thinned out Supra White per freehand. The blue shift that is generated when you spray white over a darker color is something that is coming in quite handy at this point. This somewhat blue smoke gives the entire picture some more brilliance!
At the beginning, I had thought about correcting the blue shift, but I like just how it is now. Although he really enjoyed painting and drawing, he still preferred spray paint over the airbrush back at that time. Only , after having spent roughly two decades in designing storefronts, the 33 year old finally discovered an interest in airbrush art that has never let him go. In , he started up as a part-time airbrusher and is currently an active part of the Airbrush-Fachverband e. Please make sure that you have the personal.
Simply send photos of your artworks — digital and at least 9 x 13 cm. There is no guarantee of entries being published. Good luck! Evolution ALplus Solo Paint: Schmincke Base: Engine hood metal Bernd Pfeiffer: Cat in wicker chair Airbrush: Schmincke Transparent Base: Schoellershammer 4G. Airbrush Step by Step decides on the choice of motifs based on purely aesthetic and publishing aspects.
Would you like to be rewarded for your creativity? Then send your airbrush artwork to us at info airbrush-magazin. All of the published works have been sent into the magazine voluntarily and the artists received no monetary compensation for them. Airbrush Step by Step does not take any responsibility for misuse of personal or intellectual property rights asso-ciated with the pictures and motifs presented.
Photos sent by mail cannot be returned. Gevater Tod Airbrush: Airbrush Efbe Paint: Schoellershammer 4G dick Caroline Hufnagel: Zombie Airbrush: Infinity Two-in-One Paint: Createx Wicked Colour Base: Schmincke Aero Color Base: Buddha Airbrush: Evolution 0. Cat Airbrush: Createx Illustration Colors Base: Glossy paper. USA Rebel Airbrush: Vega 0. Toxic Beauty Airbrush: Marissa FX Paint Base: Schoellershammer 4G www. Scooter Marina Aschenbrenner: Boy Airbrush: Evolution Paint: Pro-Color www.
Flynn Airbrush: Mexico Airbrush: Infinity Paint: Schoellershammer 4G dick Christof Groll: Mona Grollisa Airbrush: Colors Mario Prietsch: Josy Airbrush: Evolution with 0. Wicked Colors. The end of the song Airbrush: Black Pearl Airbrush: Toricon H2 Paint: Hansa Pro-Color Base: Engine hood. Iwata CM-C Paint: Createx Wicked Base: Bodypainting Kim Airbrush: Evolution Silverline Paint: Kryolan www. Jacobi Decor Base: Ship Airbrush: Toilet lid Heinz Nettler: Filled pepper Airbrush: Rotring Paint: Drawing paper Roger Hassler: Cake Airbrush: Double action airbrush with 0.
Screw Airbrush: Sata Graph 3 Paint: Coffee break Airbrush: Schmincke Andreas Werner: Jennifer Base: Schoellershammer Airbrush: Iwata HP 4 G. Schoellershammer 4 G. Leopard Airbrush: Schmincke and Etac Paint Base: As a result of this mixture with the water.
This establishes a basis for a realistic look. In this edition of the Texture Effects 01 Sketch Begin by making a sketch or using a photo template as a model in designing a contour drawing with a pencil.
Scales in black Then mix 1 drop of black and at least 10 drops of water for a transparent black water mixture. Roger Hassler shows us how you can realistically create scales. Start with the exterior lines of the scale formations and then also spray on your first shadings within the scale formations.
Thanks to the tender gray gradient of the paint. Next the outlines and the black areas are filled in and enhanced with light transparent black. For additional structures within the scales. In this case. With transparent green and brown tones. Upon conclusion. You can use an eraser pencil and electric eraser to then add in more highlights. As you can see.
In the next issue: Much of that is already more than 20 years old. Karel turned to another passion that would have a big effect on his way: Thus — with such irony of fate — he got the order to paint propaganda posters for the communist party. They are like people and fit very well with my topics. Karel used refrigerator parts to build the corresponding compressor and then he was "already" ready to go… How has airbrushing changed for you.
In a television show in the GDR. He would have loved to study art back then.. You have some pictures on your website that show your work for Jacobsen Butter Cookies.. And I can create my pictures much quicker than I used to be able to. How did you decide to do the penguin series? I love penguins. That more than met my needs. What role did or does politics play for you personally? None whatsoever. I could think up new motifs and create new works on my own when I have the time.
Karel was successfully active in record studios and concert stages for 10 years. How did things go with your illustrator career later on? In the 90s.
After his training. I was commissioned for a lot of jobs — for advertising agencies. Weinberg in West Berlin. Despite all of his efforts.
For the first time. Your career curiously began with orders from the communist party. As a professional drummer in a band. That is very meaningful for me. The technology is currently much better. Karel Kopic was born in in the former Czechoslovakia and already as a child he painted fantastic landscapes and later portraits of the family.
In addition to the butter cookies. Coca Cola.
I use paper from Schoellershammer. Czech bakeries. Pepsi Cola. How would you describe your own style? My style is to cut and cut and cut thousands of templates… the art agency Walter Holl from Aachen. What materials. For these people. How do you see that? I only work with my hands. Do you also have international customers? I painted a CD cover for Ken Hensley. I use an Evolution device that I think is really good.
Who else do you do orders for? Who are your clients? I work for various clients. CD labels. Two years ago. How do you manage to assert yourself against digital art artists nowadays? There are lots of people and companies that prefer handy craftsmanship. In the past. Do you also teach airbrush or painting courses? I do not hold or teach any courses. I sketched them with a pencil and then further developed them with some airbrushing.
It consists of almost 40 pictures that I had to make up and design sites and settings for. My atelier is simply too small… What does your everyday painting life currently look like? What are you working on?
I am currently working on backgrounds for a PC game. It will require more than backgrounds. Do you primarily spend your time creating your own works or do you do more commissioned illustrations?
At the moment. Australian Mitch Lowther chose a real pout for his tutorial. Especially the volume and the fine texture often cause problems when painting lips. Mitch has focussed on nothing but lips in this article and shows in small steps. For any areas of the lips that aren't razor sharp. While looking closely at the reference image. Imperfection becomes perfection. Use this eraser to soften sharp edges. This is because the colour I had mixed was a little light and I felt needed to be darker.
To achieve this colour I simply used the three primary colours. For the darker colour I simply added two drops of blue to the already mixed colour. You are to mix a lip colour based on your reference. Using this colour. This gives me a good base to erase the subtle textures using the reverse side of a scalpel blade in the lips and room to apply more of the same transparent colour over the lips to achieve an accurate base.
While carefully studying the reference I decide to use a loose stencil for the sharp edge starting from the top edge of the bottom lip. These lips only consist of two base colours and transparents. I have paid a little attention to the main shapes in the lips also and have added only a small amount of dimension.
Once this step is done. The site is dedicated to those who either can't reach or simply can't afford to do a physical course. He loves doing full colour portraiture and aims for realism. To give the effect of a soft edge I use a pencil eraser and do very small. This is only done on the very edge of the lips and with great care!
You may also see on the very right of the bottom lip that the texture moves from the lip and into the face. By carefully studying the reference we can see that the highlights at the top edge of the lips extends down and into the lips. We will fix this in the next step. The frisket film is removed to reveal what look like painted-on lips as the edges are all extremely sharp. Mitch has been airbrushing on and off for 11 years after taking his first course at age He is far from self taught and believes in investing in his own education to improve his airbrushing constantly.
I study the reference to determine which airbrush effects I will use to create the dimension with the secondary colour.
As these are sharp textures a scalpel blade is used. I then create the darker shapes around the lips exactly as I see them. If there are no soft edges in the highlights then only the reverse edge of a scalpel blade will be used. As this is a transparent colour it blends nicely into the lips and gives a much more natural feel to the edges.
In his waterfall painting. I paint the small waterfalls. I then accentuate the details still very lightly. Titanium White Surface: Airbrush carton board 70 x 50 cm 01 Reference 02 Main sections This work is based on a picture I took in Northern Laos.
Raw Umber. I spray in very light colors the structure of the far end. For this part. Iwata CM-B 0. I then start spraying the far end of the landscape with a mixture of Permanent Green Dark.
If the shape is critical for the end result. Iwata HP-C 0. I add some limited and rough outlines to divide the page in the main sections. I decided that making an airbrush portrait of it would solve the problem. I choose to build it up from top to bottom.
Naphtol Red light. I repeat these steps a couple of times until I reach the right effect. On an airbrush carton 70 x 50mm. Phtalo Blue. Red Oxide. The example in this article has less criticality in the shapes and therefore. Yellow Oxide. I got an image that was too poorly pixelated to enlarge. I had wanted to give it a spot in my home back in Belgium. I start by sketching the rough outlines with a pencil on carton or a canvas and build up the painting with the airbrush.
Yellow Oxid. I aim to show you how I created the forest and waterfall — I recreated the part of the forest and waterfall to give you a more detailed look at how I work. Colors and shapes will deviate from the original painting. Three airbrush pistols were used at the same time in order to establish the right color tints. Naphtol Red.
In the meantime. Quinacridone Red. Carbon Black. Shading Gray. Golden transparent: Permanent Green Dark. I start outlining the full painting with highly diluted color tints so as to be able to correct the dimensions. I then add in a couple of drops of Yellow Oxide. Phthalo Blue. I paint the detailed leaves and branches with the Iwata and overspray it all with the lighter color.
If you are painting a detailed structure of nature. I add a yellowish shine on top of it. Given that Yellow Oxide is not a dominant color. I push this part more to the background. The final color is achieved by spraying it with the lighter color. I sprayed some surfaces with the lighter tint of green that I over-sprayed with a detergent in a spray bottle.
I put the same mixture into the Iwata 0. By using Titanium White. Now it is a matter of accentuating that structure with the darker color to simulate the leaf and branch structures.
In a later stage. Dipping it with a tissue. I place the branches from the trees on top of the background. For workshop providers only! I paint a surface with the lighter green that is in my Evolution airbrush and spray soap on top of it with a normal spray bottle. I start accentuating the leaves and trees with the different airbrushes. You should use a strong soap to get the right effect!
But still. With Titanium White in my Iwata airbrush. You should also spray the dark color on the spot where the water lands so as to create some visible water streams — see Picture 8. On the original drawing. I paint the initial water flow — see Picture 9 — all the while respecting the flow of the water and without creating too much detail besides of course where the rocks jettison out of the water stream.
I had spent a bit more time on the details. For the rock coloring. I hope this recreation helps you understand how I created the forest and waterfall. I start up with the main waterfall. Bringing in details with white and repeating these steps a couple of times. I spray the shadow tint over the water. The structure is made with a combination of detailed spray and the use of a pencil eraser.
I bring in some extra dimensions by adding in the leaves on the right side. I first spray the shape of the leaves with white and then color them in. The next thing is to spray the monks. I start off again with a green tint. You basically need to outline the shadowy parts with a mixture of Carbon Black and Raw Umber. To paint the water. Given that the figures have been masked and the background is fairly dark. Once finished. I then build up the desired color effect by spraying different layers.
The details in the water and water drops on the right are created in the same way as the waterfall: I build up the Dark Green bush on the left side in the same way using different shades of green. I could spray the orange dresses without creating too much visual overspray. I have been into drawing. Due to the way I work. Once I moved along to other painting techniques like oil painting.
During my first years. I had about 60 hours of fun with this one and the painting has a nice place in my living-room. I evolved in airbrushing by self-exploring with limited to no insights as to how others used the Airbrush technique.
Since I was a kid. But of course you do. The exhibition was organized by Rudolf Pigneter. Bavarian airbrush and acrylic painter Georg Huber had just that honor this past August. The manager of a little Indian restaurant and his cook immediately wanted a souvenir picutre with me and my paintings.
Thanks to air conditioning. The creative energy of this metropolis is simply unique to me. In the darkness outside. This served as an oasis in the flow and current of the city.
I felt that sense of being out in the great big. As an artist. That was simply wonderful.
It was often a few degrees more in the street canyons. This protects you better from scary surprises!
Why even use clear coat? A clear coat sealing in custom painting helps in serving two purposes: A It protects your airbrush work from exterior influences and B it allows the paints to really come to fruition.
As a trained and educated painter and varnisher. But beware: Holger provides a small technical look at things and attempts to share some foundational knowledge. The Best for Last The last part of the Custom Painting Basics series is also the last step in the custom painting process: For smaller parts. Only after clear coating do we really come to see the airbrush paints in their actual color hues and with that.
What fundamentally applies is that the better the clear coat is. If you reach the lower explosion limit. That naturally also means that you also need a correspondingly large industrial compressor. I have seen some dreadful situations. A perfectly established airbrush work can be quickly ruined by a poorly done finish. Another error is when such works are conducted in basement spaces. Auto varnish is actually only intended for professional as was discussed in the last article "Special-Effect Paints".
The varnishing can mean the difference between lower quality. This substance has to be applied wetly with a flat jet in order to give the material the time necessary to warp. Since the motors that are built in them create sparks on the carbon brushes. Since the solvents can leak. The material amount and application speed required for this cannot be provided by an airbrush.
In the course of time. The question is whether you also have the required technical prerequisites to take things into your own hand. These types of facilities are expensive and are subject to strict governmental conditions. As airbrush artists. The spaces Varnishing works are done professionally in paint spray cabins at a paint shop. In contrast.
Clear Coat: So if you are planning on doing varnish works on your own. When varnishing. Selecting the clear coat Environmental protection Varnishing and thinning rests have to be disposed of correctly. Especially custom painting beginners attempt to save money by making use of a spray can. It is reversible. This varnish dries in a purely physical manner through the evaporation of the solvent. The hardening component in 2 component varnish contains isocyanate.
Protective gloves.. They also remove the fat from your skin. When it comes to respirator masks. You should also make sure that you are not bothering any of your neighbors. This paper model is currently sold in just about every construction store.
Environmental offences are generally very strictly dealt with and can lead to hefty financial penalties. The Best for Last either. Spray suits are available in specialty varnishing and painting shops and are made of fabric or even paper. Especially when it comes to small parts like smart phone covers. The chemical reliability e. Brand new on the market are the super quick drying varnishes like e.
This data can be gathered from the technical data sheet of the respective varnish. This means that the varnish has an extremely high percentage of solids and a reduced percentage of solvent. This is required by law. Expensive or inexpensive? Experience has shown that especially alleged cheaper 2 component clear is actually anything but cheap or less expensive.
Weak splendor. Common bundle sizes for 2 component varnish are 1 liter and 5 liters. These varnishes also dry at a considerably quicker pace. The greater this is. At a room temperature of 20 degrees Celsius and the corresponding hardener. Once activated.. The data for the respective mixture relationship. When it comes to the drying process. For sealing a motorcycle tank or a toilet seat. For a few years now. At 60 degrees Celsius for the object temperature.
This is the newest development with respect to saving energy and productivity. Varnish always has a wet layer thickness directly after being applied and a dry layer thickness after the complete drying period and the evaporation of the solvent. Fast cut polish: A relatively rough grinding paste that polishes away the smoothed spots and spray mist High gloss: A mirror polish that eliminates the traces of a fast cut polish and ensures a lovely shine Anti-hologram: Often used for dark surfaces in order to avoid circular polishing traces that are only seen in sunlight..
But exactly that is wrong. If you watch this for a couple of days. The Best for Last teristics. I prefer the Kovax system. These Kovax system discs are indeed a bit expensive. You should also make this clear for pushy customers. The finish Despite what is commonly thought. The money that is distributed can be saved in other areas. If you try to fit all your varnishing work into one varnish process with force.
A good varnisher can indeed reduce the time necessary for the finish to a minimum. Even masking edges are normal for airbrush work and they have to be enhanced with clear coat. So why would you want to chance anything with inexpensive varnishes? In specialty shops. There are actually extra sanding discs for this in varnish accessory shops that feature the right blocks. This stuff loves to absorb varnish.. This leads to a situation where the varnish can no longer dry thoroughly in a reasonable manner.
In most paint shops. This leads to a loss of shine. The time you take for this is an absolute must for top-quality. How much clear coat? In order to seal an airbrush work in a high quality manner. Workers often attempt. If you want quality. Dust inclusions are only visible if they pop out of the varnish. When painting. Even irregular spots can occur and thus. This consists of small abrasive discs featuring granulations of I hate this kind of work!
Do it yourself or let someone else do it? If you look at all of this from a purely economic standpoint. For the past six years. Holger was trained as a vehicle varnisher.. He keeps you from having to do the rough work and you can then concentrate on the design works. His love for cars led the talented craftsman artist to custom painting.
From to A good paint spray cabin and a high quality material cost a lot of money. Judith Hillemacher: Sunny Airbrush: Rich AS 2, 0,2 mm Dennis Buhmann: Frog Paint: Infinity, Evolution water color pencils Paint: Createx, Lukas, Hansa Base: Schoellershammer 4G thick, ca.
Thomas Willems: Skull with Rose Airbrush: Yupo DIN A4. Edgar Sirp: Mia Alfred Weber: Space 3D Airbrush: Evolution Silverline 2in1, 0,2mm Airbrush: Schmincke Aero-Color Paint: Schoellershammer No. Canvas, 24 x 18 cm. Sarah Alhas: Luna Roman Kamerbeek: Classic little girl Airbrush: Viking Queen Paint: E'tac Marissa, Liquitex Paint: Iwata CM-B Base: Canvas, 46 x 36 cm Base: Canvas, 30 x 40 cm Paint: Schmincke Base: Schoellershammer 4G, 40 x 20 cm. Andrea Panaro from Italy adds some US style 60s feeling to his customers kitchens with this special refrigerator design.
The retro model of an American fridge is given a stylized var- nishing with elements of the New York skyline and the Statue of Liberty. A powerful sky fea- turing a radiant orange touch meets a luminous blue, arou- sing thoughts of the waters of the Hudson River.
All you need is a cold bottle of Coke and a nice juicy burger to get that real American diner feeling! Iwata W Surface: SMEG retro fridge. Projector, fine line adhesive tape 3 mm, masking tape, application tape, scalpel. After completing this, I begin to tape up the entire fridge. I tape up all of the interi- or seals and the chrome handle. I then mat the entire surface with Grit sandpaper. The goal here is to remove damages because the fridge is new, there arent any damages in this case and to prepare the surface for the ap- plication of new paint.
If I would skip out on doing this, the entire adhesive- ness of the paint would be in danger. We could experience some paint de- tachment during the designing pro- cess.
Directly apply white paint to the blue subsurface of the fridge or make use of a gray primer. I prefer the second op- tion and Ill tell you why. The primary reason is to neutralize the blue. If you work with several transits of white, youll be taking the risk that itll still shine through or that youll be crea- ting an unnecessarily thick layer that is difficult to whet.
Thus, you wont be getting a good white surface. With a gray primer, youll be giving the sur- face better adhesive capabilities and then its simply easier to cover it in white. In this step, 04 Pre-drawing draft and masking When the white paint has been ap- 05 Sunrise and river After masking it up, I separa- te the area into two parts, namely the I use the er sandpaper in order plied, I can continue sketching the sunrise on top and the river below.
On to remove spots or lint from the pri- exterior lines. I then check everything precisely project the picture onto the fridge Combining white with a couple of and again conduct sanding with a red and draw all of the exterior lines with drops of RAL , I create a light blue Scotch Brite sponge. In some cases, a pencil as well as the areas that will for the water in the river. Using masking around the curvatures of the surfaces. Its soft and very will need to be painted. I then mask them up in order to establish a yellow tint at certain points.
I mix the orange hue RAL with some extender to make the paint semi-transparent, and with that, shade the unmasked portions. I thin out the orange color a bit more and shade the entire exterior surface. The closer I get to the center of the rays, the more I reduce the intensity of the orange. I apply the masking of the rays once again and free up the area that I want to spray with gray.
Using a mixture of blue paint that I used back in Step 5 with a few drops of gray and green, I begin to color in the area. I now mask the exterior outline of the Statue of Liberty, which is shining proudly in white, and spray the interior the garment of the Statue of Liberty.
The picture should be very stylized. The areas featuring folds and wrinkles will later remain as white lines. Once this has dried, I do some whetting with the er sandpa- per to even out the differences in alti- tude that were caused by the masking.
After whetting, I apply a second layer of varnish. After a week of rain and clouds, the day of delivery ended up being full of perfect sunshine, which allows the final result to shine in all its glory and fills my customers with satisfaction as well. It soon be- came his job. In his company Dia Design he customizes any kind of surface, generally Harley Davidson, custom bikes, racing hel- mets, guitars and bicycles. In the last five years he got interested in photorealism, perfecting his technique by taking part in a course with Marissa Oosterlee and Carlo Tedesco from the Foxy Studio.
Since then, he has been creating many portraits in his artworks. Blowing a gasket? When the paint starts to clog your airbrush Its a basic question that decides which paints an artist would make use of solvent-based var- you can or cannot use in an airbrush. Its not he nish and cleansers, youd often see a situation in nozzle size, the gravity feed or the operational which the gaskets are eroded and become leaky.
For many years in the world of airbrushes, Stefan Kurz show you how you should really deal materials such as cork and non-solvent-resistant with sealing and gasket-related problems. If, however,. For experimental attempts with cold tetrafluorethylene TFE , chemist Roy Plunkett discovered colorless crumbs in This crumbs were the original form of what is current- ly known as PTFE. PTFE is generated by partial fluoridation of chloroform and is considered a thermoplastic synthetic, although it does possess characteristics of duroplastic syn- thetics.
Its often said that Teflon is a byproduct of space travel technology, which isnt true. PTFE, better known as Teflon, possesses many special cha- te e. If paints and solu- - Inert against aggressive acids tions containing solvent that are not suitable are made use of in an airbrush, the solvent attacks the gaskets and corro- - Extremely low surface tension.
Almost no material adheres des them. In a worst case scenario, the airbrush is leaky. That to PTFE. From time to time, and depending on the strain placed on the fine spraying device, gaskets sometimes wear out, be- come loose, and experience some Spiel. This can be de- termined to be the case when paint makes its way into the body of the airbrush or air seeps out at places where this shouldnt be happening.
A tool is then necessary for some Thanks to these characteristics, Teflon found its way into the gaskets, but not for others. Here are a few examples. Many manu- Depending on the gasket and manufacturer, you can get facturers currently place their faith in PTFE gaskets that are the required gasket individually or as part of a set. An ex- solvent-resistant.
Nonetheless, not every airbrush manufac- ploded view diagram as well as a specialty retailer posses- turer makes use of Teflon gaskets. As such, the user should sing a well-documented replacement part archive can be definitely make sure that his or her airbrush is resistant to very helpful in determining which gasket is the one you solvent before using paint or cleaning detergents disposing require.
However, you see the difference no Paasche and Rich build Teflon gaskets into their airbrushes to later than when it comes to the availability of replacement ensure that a solvent resistance is given. Should you have any parts. Air caps and nozzle gaskets ensure that the air reaches the area it is supposed to.
If one of the two gaskets does not seal properly, this leads to a situation where the air does not follow its original air duct, but rather seeps out at the air cap or looks for a way out through the paint saucer. Bubbling in the paint saucer is one consequence and lightly leaking paint with blistering around the air cap is another. You usually do not need any tools to switch these gaskets. Screw off the Air cap and, if necessary, screw off the nozzle and then pull off the gasket with your fingernail.
Place a new gasket on it and then youre ready. The airbrush is a precision engineering tool. Screws and threads are manufactured with very high precision. Brute force may damage them. This is why sensitiveness is requi- red at work. Solvents are materials that can dissolve, loosen or thin out the gases, solid materials, fluids or strengthened materials. Since water is also a solvent can dissolve and disintegra-.
Depending on the manufacturer, the airbrush can often dispose of a switchable cup system. If the sealing needs to be renewed, you wont need any tools to do so. Simply pull the old gasket out of the connection with a scalpel, an old needle or some other small and sharp item and replace it with a new gasket.
You then lightly press on the new gas- ket with a dull, blunt item. An airbrush is a tool for precision engineers. Screws and threads are manufactured with incredible precision. When Now unscrew the screw with a a little slot screwdriver with theres too much force being applied, fine threads can be a screwing movement to the left.
Once this is done, youll damaged. For this reason, a bit of a special touch is requi- locate the gasket on the other side right in the screw. Ex- red when you use it the next time. It is important to check As a final example, we exchange a gasket in the needle this with the needle. Place the blunt end of the needle duct.
This gasket is required to prevent the paint from into the body of the airbrush. You should feel a certain heading down into the body of the airbrush. The screw in which the gasket is lodged is also responsible for setting the gasket. Should paint manage to find its way into the body of the airbrush, you can first try to tighten the gasket with this screw.
If thats not successful, then youll have to switch the gasket. To switch this up, well be needing a precision enginee- ring screwdriver.
The screw is located right behind the paint saucer in the needle duct. To reach it, youll have to take apart the airbrush. Remove the rear portion of the airbrush, needle, needle clamping chuck, and control lever.
If the gasket is too loose, this leads to the paint running backwards, towards the rear. If it is too firm, the needle does not slip from the control lever into its initial position when you let go of it. When you set it, you really only need a minimal turning motion. Once the adjusting screw is placed, the airbrush pistol can be placed together and then you can feel free to test the functions with water.
The participants had the rule of the roost when it came to choosing what their artistic ideas would be. The only condition was that an airbrush had to be the main instrument in making their work of art.
There was a great deal of interest in the International Air- The jury consisted of experts in the categories of Automoti- brush Competition: In addition to the chief followed the call of Sparmax and submitted their diverse editor of the Airbrush Step by Step Magazine, Roger Hassler, works.
Many even sent several of their works, as every par- the various works of art were evaluated by e. Cliff Stieg- ticipant was permitted to send a maximum of three entries. Above well as the Brazilian model constructor Vini Pompeo. After and beyond this, the quality of the submitted works of art a long phase of appraisal and discussion, the jury chose the was very similar a circumstance, which made the selection following winners, who each won an ARISM VIZ compressor of the best works all that more difficult.
The brushed gas tank is part of a total I began thinking up some ideas about piece of artwork for a motorcycle, which the design and completed some rough I designed for a good friend. The gas sketches before I began with my re- tank, oil tank, the two splash guards for search. I gained my inspiration from a the wheels as well as the rear and front dark, satanic place where the design de- frame are completely painted. Ill be- veloped in the likes of evil grim reapers, gin by mentioning how the project was demons and the devil, all of which are conceived and with which techniques I surrounded by pentagrams and secret created it: I was approached by a friend symbols.
The title The Gates of Hell who said that hed like to have his own seemed very fitting, because the motor- custom chopper bike created for him. When reaper. So I asked him what kind for the motorcycle for the first time, his of work of art hed like to have and he chin practically dropped on the floor told me that I could do whatever I liked.
He couldnt be serious about creative design.
Fortunately, he loved that. This friend actually let me paint the design immediately. To make this whatever I wanted on his 80, USD design possible for the motorcycle, we motorcycle. Nonetheless, I needed some decided that I wouldnt be given a time details like what paints to use, what I limit for this work.
I could only use my was painting, etc. After Ive asked him about his tunately, he didnt have any problems ideas, we agreed on a general paint and with that and agreed to it. The rest was then up to me. It was a totally new and unique opportunity for me to paint an entire motorcycle.
I brushed the Sin Bin as an adverti- sing vehicle for me, myself and I. I de- signed it to more clearly point out the versatility of airbrushing: Photorealism, simple stencil techniques, metallic and Candy paints, clear coat, etc.
It seems to work. Whenever Im driving, I get a whole lot of attention from people without exception. After having taken an airbrushing the whole car one day. Up to now, Ive clear coating , but Im gonna be put- course and then having collected a worked for 75 hours on this piece of ting in a whole lot more time before few important years of experience, I art not including preparation and its complete. I spent years calling my car the Yodamobile, because it was small, dependable and green.
I now wanted to add some extra oomph in the cha- racter department. I began with the hood of the car and then brushed on the design on the drivers side of the car a few years later.
I unfortunately wasnt able to completely brush the entire car, because I just didnt have the time. But Im sure Ill finish up with. In most of my works of art, I concen- trate on a lighting that creates a mood, and volume, and the item that has to be dealt with. I love a dramatic lighting and try to capture this in my portraits. First Ride of the Spring mirrors exactly that. After a long and very cold winter in Ohio, my daughter simply couldnt wait to get back on her bike and head off.
I thought that I should capture the scene in a work of art. However its a real challenge to capture moments and to transfer them into a work of art. I dont have the means to afford a full-time photographer who can accompany me the entire time and take photos for me.
Thats why some of my works are based on my beginner experiences in photographing. I love to design huge pictures and thats why I need a good to hours for a pic- ture. Artists often want to see results right away, but thats not how airbrus- hing works at least not for me. I need a lot of patience. In addition, I love to create montages with an airbrush. Dru Blair, Drew Struzan, and N. Wyeth are the best in this field.
I have collected files from the works of these artists, which I like to see as an inspiration. They belong to my fa- vorite artists.
The surfboard was created for a House Cambodian flag. In addition, I decided of Kolor event in Australia in order to on a picture from Angkor Wat for the raise money for the Sunrise Villages upper portion of the surfboard. Above Cambodia charity and give the found- and beyond this, I designed a contour of ation some attention.
A total of 10 air- the country, which frames the little girl brush artists from all around Australia who is holding a sign reading Help were selected to design the surfboard. The artists symbolize freedom in this country that were permitted to paint whatever they is plagued with civil war. These girls wanted. I did some research and then found material from children in Cambo- dia.
Then I began to photoshop some designs. I selected the colors red, blue, and white, all of which are found in the. I have befriended an amateur pho- and the various levels of focus, creating tographer from my vicinity and asked the work of art was a real challenge for him if I could use some of his photos as me.
I wanted to work in a certain depth a reference. He was enthralled with my into the picture. Painting it lasted a good asking him about this and permitted me 20 hours, which I divided into five 4-hour to use his photos. The reference photo sessions. Due to the water effect. Ive been a Ghostbusters fan ever since I saw the first part of the movie series. I think the first movie was the best. I com- pleted the model in and I needed a good month to do so. The technique is quite demanding and requires a special attention to detail and method for wor- king.
Cleansing it is also a good piece of work. Once Im finished with a model, it becomes my own child. Constructing models has been a hob- by of mine for 6 years. Im most inte- rested in the field of aerospace, es- pecially with respect to the Cold War period. When I got my first model plane as a child, I knew right away that buil- ding models would be one of my main hobbies in the future.
Unfortunately, it took quite some time until the con- ditions were right, but I have since reached my goal. I was also inspired by documen- taries about tanks, armored vehicles, The Airbrush Step By Step magazi- and historical literature.
I look at pho- ne team congratulates the winners tos and think about how I would like and has a tip for everyone who to design my next model. The Model didnt have the time to participate T is not a difficult model, thus Ive in the competition this year or heard needed app. The International The works from Miguel Jimenez and Airbrush Competition from Sparmax other artists inspire me to continue be- will take place again next year.
Airbrushing is a form of For more information, check out: Swiss artist Philipp Klopfenstein provides us specific characteristics of the cow.
Not to be for- with step by step instructions on how you can gotten when all is said and done is fixing the turn a typical white T-shirt into an extraordinary paint when finishing up to ensure many years of eye-catcher. The Fleckvieh cow serves as a very joy with your new T-shirt. Createx Transparent paints, Classic paints from Additional materials: T-shirt, clothespins, overspray, Createx, opaque white, transparent base or topcoat airbrush, spray bottle, soft pencil or black felt tip pen, large sheet paper, anti-adhesive baking paper, irons Surface: Hardboard plate 4 mm or lightweight board 5 mm.
I use hardboard plates 02 Getting the T-shirt right The T-shirt is still wrinkled a bit and thus, I kind of pull it out a good bit with some clothespins. Even if you only have a few small folds and wrinkles, the at a stiffness of 4 mm.
Kapa lightweight overspray can leave some ugly lines behind. We do the same with the overhanging boards at a stiffness of 5 mm are usu- collar. In order to be better able to pull the T-shirt over the wooden plate, I round out the corners a bit this plate was new and thus, not very cornered or angular. Its 04 Preliminary sketch lines For simple comic motifs, I spray the black outer lines very strongly ahead of time.
For more difficult motifs, like this Fleckvieh cow, I spray lightly better to dampen the material a bit, with diluted black. You can also preliminary sketch the lines with a soft pencil then the small wrinkles tend to go away or a thick black felt-tip pen on a big piece of paper, and then slide this between on their own. Here I take an old, clean the plate and T-shirt.
In this way, you still see enough in light shirts. Thats why I first make the black contour at a later juncture. Here you can re- ally see that the preliminary sketch is still visible. The shad- ing will be coming later to cover the preliminary sketch or lightly mask it. You can also use the paint to cover the preliminary sketch. If you look very closely, the preliminary sketch can still be seen, but that will change when you look at the T-shirt as a whole.
I usually get natural light from the upper left sun and construct the shading to the lower right. Its important that the shading in the picture al- ways falls on the same side. Otherwise, youll quickly get that feeling that somethings not right. I naturally recom- mend working as precisely as possible and placing the paint within the black lines.
I wasnt so successful at do- ing this with the cowbell and down below on the strap. Still, as soon as the blue background is painted, that will no longer be anything of note. For the udder and nose, I add just a dash of red. I predominantly use the transparent paints from Createx, with which I have few problems spray- ing over the black line the line remains black.
I use the Createx Classic paints primarily as they are and not diluted, but they hold perfectly when diluted as well. I could also add some transparent base or clear coat. The durability is only enhanced a wee bit though. I recommend to everyone though that they should make a test pattern and do some comparing to figure out which paints are the most sustai- nable.
As the title says, Im working on a Fleckvieh cow. When doing live works of art, I like to have some fun and first add the most important characteristics upon conclusion.
Those When it comes to Comics, its very important to figure out the watching often make some very interesting suggestions about most important characteristics and to work on these as well whats coming.
I then have the fine line move light- ly away from the motif. In addition, I pep up the entire thing with one or two stars, which I draw freehand. It would be simp- ler to cut out the cow as a template so that I can lay it over the motif and could do away with it over the background. I begin with a strong blue line on the outside, which I then allow actually the standard in America. I make a template for this, which I can usually use as a positive and negative.
This guaran- tees that the motif can be reproduced over and over again. But to run inwards bit by bit. I could actually just leave the mo- it wont be easy to switch up the motif according to customer tif as it is at this point. At the beginning, I do however recommend doing it this way, because its often the case that a successfully created T- shirt can lead to another order with the same motif.
This will allow me to see how I worked many years. At this juncture, less is often more. Thats often really funny to look at. The paint has to be affixed, otherwise all the fun will be down the drain in no time flat. And then youll be lo- sing customers, or at a minimum, youll have to rework your projects. This can be easily avoided by correctly affixing the paint.
If youve got a cotton shirt, its best to work with a temperature of app.
Do not use steam, and whatever you do, do not affix from the rear. Childrens shirts only require app. Make sure you always keep the iron moving. The hotter and longer you iron, the better your result will be. The T-shirt should remain white, even if some light discoloration can take place because of the heat.
This will go away after the shirt cools off again. I add this text to the T-shirt at exhibitions, because I cant usu- ally affix it on site at such events. Shirts that I create at my atelier are affixed with a heat sealing machine at degrees for at least 30 seconds. Thats all we need here. He developed his passion after passing by an airbrusher who was conducted the art of airbrushing in front of a business in Bern.
He was so im- pressed with it that he didnt wait all that long before picking up some equipment. Airbrush T-shirts and comic figures belong to Philipp Klopfensteins specialties, which can be combined wonderfully with each other. Those interested can check out how he makes his airbrush T-shirts live at exhibitions, markets or other presentations.
Theres also the possibility of purchasing his unique T-shirts right on site or at his homepage. Its not only an inspiration for his own works, but hes been able to experience quite a bit as a foreign correspondent for Airbrush Step by Step. This year he paid a visit to New York based artist Alan Pastrana. As was expected, the two International Airbrush Days lecturers Georg , Alan had a lot to tell right away My last America mission took me to at roughly 86 degrees before I reached very special reason as I had an early three US states this past summer.
I initi- the town of Plainville. He too originally comes from in Newark, New Jersey. From there, I Career start in the countryside New York, more precisely from Queens, took a taxi over to Manhattan, which Originally from the busy metropolis and has set up his airbrush studio here, was only a little more than 10 miles of New York City, Plainville was very which goes by the name of Pastrana away, but located in the neighboring green and tranquil, featuring 17, Unlimited.
Still its houses, streets, gas was booked. After a few days of inspi- stations and a decorated main street Georg: How did you go about getting ring impression from the most heavily diner had it looking like good old ty- your first airbrush ever? This parti- car and headed out to the third state, cularly little town is most well-known Alan: My father bought it for me.
I was namely Connecticut. It took me a good for its hot air balloon festivals held 14 and he took me to museums. He two and a half hours over Interstate 84 in August. However, I was there for a then provided me with art supplies and. Pastrana Unlimited. He supported me and pu- paints and materials. But this helped see Alans impressive works of art in shed me along. I was always drawing, me save up money for the studio I was his studio work shop, where the bulk be it with markers on jeans and jackets, planning.
I was particularly short quick led drawings of people and fascinated by the realistic portraits of places around Queens or in the metro. Alan, the all-round talent famous actors such as actors Leonardo At just about that time, I was heavily Unlimited - its a word that isnt too Di Caprio, Machete, Al Pacino or icon impressed with the works of T-shirt ar- excessive in this case, because Alan is Marilyn Monroe.
These pictures were tists. What brought you and your air- tistic techniques. He draws extremely rather on aluminum composite panel brush studio to Plainville? His focus for many years their protection. We immediately got Alan: During my time in High School, I has nonetheless been airbrushing, so- caught up in a discussion about the was already taking on as many orders mething that is quite clear when you various types of artwork and my well- as I could, including wall paintings.
I enter his office. Hes got pictures, mannered host happily explained that also renovated pictures in old chur- magazines, and news clippings han- this provided his work with much bet- ches. I was out and about a lot and I ging all over the place and theyre all ter protection, allowing him to take often slept right in my car next to my about him and his work. You can also them to exhibitions and whatnot much. Only ous drafts from when he was a student his own Harley, which is located in For anyone who wants to read even in college in New York.
After having the middle of the room, has gone un- more about USA adventure from Ge- completed his designer studies the- touched from his own airbrush, solely org Huber, check out his book Mar- re, his goal was clear. Alan wanted to due to a lack of time. You see that right away. Hes a with all sorts of doer. While I find myself wondering pictures inspired by his journeys. You studied at the Fashion Ins- when he possibly had the time to do titute of Technology. This is an interna- all these wonderful works of art, much We also had a step by step from Alan tionally recognized school of its kind.
Back when I first introduced mys- he could brush 3 portraits on T-shirts, elf to the institute, the other appli- but that celebrity would need them the Photos: Jeremias Huber cants all came with high gloss pads, in next morning. Alan asked for 5 minu- which their works were organized in a tes to give it some thought, then called clear cut manner.
I, on the other hand, back, named a price, and put on a pot placed a loose stack of unsorted sheets of coffee in preparation for a work- full of drawings on the table and took filled night one that required lots of off. Still, the school called me right coffee. Thats how it goes After my studies, the order situation was a bit up and Georg: When I see your pictures, I im- down, and people were constantly as- mediately feel your love for detail and king for airbrushing works.
Thus, I had your feel for form and color. Every dash to listen to their wishes and became an of the brush is just perfect. Whats your airbrusher who was more and more in secret? What should I say, I sim- Alan: I give my all with every piece of ply love working on motorcycles. That work. The result still may not end up was my most serious source of income being perfect. You can always improve for many years until it kind of fell by or change something. But I want to be the wayside due to the financial crisis.
I Since then, Ive been doing more illus- have great fortune that Im able to do trations, though things have taken a what I love, namely a creative form of swing for the better since back then. I work hard, but with joy. Art that is all I can really do. Still, it must have been like jum- ping into cold water seeking an artists Georg: Youll be coming to Germany life outside of the metropolis of New in to be part of the International York, right? Airbrush Days. Can you tell me now what you plan on showing the partici- Alan: I just wanted to try it.
Either it pants? I didnt have a Plan B in my pocket. I be- Alan: I dont want to give anything gan setting up a functioning network away, but it will be something quite here in Plainville back in I cant extraordinary.
For ex- ample, Ive got my varnisher right ac- Georg: Alan, thank you so much for ross the street. I dont have far to go your hospitality and sharing your for my custom artworks. My core team thoughts and stories with us. I thank you too for traveling half- specialist John Kaplan, who takes care way around the world to visit me! Together with my family, we lead a pleasant life wit- hout the hectic lifestyle of the big city.
More Information and Artist on: Itll be that time again in just 5 months thats when the 2nd times of the individual workshops may change leading right International Airbrush Days will be taking place from April on up to the event itself. This event will feature some of the scenes top international stars including Dru Blair, Alan Past- Are there enough spots in the workshops for every partici- rana, Rod Fuchs, Gear Duran, Marcus Eisenhuth, and many pant?
As we always get a bunch of questions about this ext- Yes. Every participant will be guaranteed a spot in one of the raordinary event, most of which are dealing with conceptual 5 workshops or demos that will be taking place at the same issues and organization, wed like to take this opportunity to time. Since every lecturer will be offering several workshops and presentations, everyone Are the International Airbrush Days a fair or an exhibition?
That means, you can participate in workshops or watch presentations for three I dont speak any German. Will I even be able to understand whole days.
Visiting a workshop means that youll actively be whats going on? You can choose from a program offer of over 30 sentation will include English-speaking assistants who will be workshops and presentations.
What does the ticket cost? Are there discounts? The 3-day ticket costs EUR. The early bird price has un- fortunately already come and gone, but theres a 50 EUR dis- count for those who participated in the IAD as well as for members of the World Bodypainting Association. In addi- tion, theres currently a limited Christmas special. Get more info on this at: Can I reserve workshops with certain artists in advance?
Youll be selecting your events right on site at the event. A couple of days before the event begins, well have our fixed course program from which you can construct your desired course program consisting of 4 or 6-hour workshops and 2-hour presentations. You can visit as many artists as youd like. Where can I check out the course program? You can find a few excerpts from our course program at our website www. As comes to a conclusion, well make an initial preli- minary course plan.
Please denote that changes to the exact. Its often enough though to simply watch and learn. At least, there will be 4 artists teaching in English language anyway and others will be happy to also make explanations in English, if neces- sary. My airbrushing isnt all that good yet.
Is it even worth it for me to visit the Airbrush Days? But of course. If youre not feeling all that comfortable with the airbrush at the moment, then feel free to participate in the 6-hour airbrush basics course on the first day of the event. No less than Dru Blair and Marcus Eisenhuth show you the most important airbrushing techniques and spend time practicing fine lines, soft color gradients and the so-called dagger stroke, a stroke that runs to the tip, until you have a dominant control of the airbrush.
Youll then surely be ready for the workshops that follow throughout the event! Why are the International Airbrush Days only taking place in Hamburg? Because this event requires a great deal of logistical prepara- tion and we can only manage all that sufficiently right here in our home town. We can very well understand that everyone would love to have an event of this nature right in their front yard. But do believe us when we say that its much easier for you to come to lovely Hamburg than for us that is, a team of 30 people!
And its certainly no clich when we say that Hamburg is always worth a visit! Bring the whole family take a look at what Hamburg has to offer: I can participate in the International Airbrush Days next year as well, right? No, because the next International Airbrush Days event wont take place for at least 2 years.
And it certainly wont feature the line-up we have this year. The concept of the event is to bring in different international pros and artists each and eve- ry time. So if you want to see this years lecturers live, then itll only be possible at the International Airbrush Days Is there a deadline for signing up?
Yes, for organizational reasons, weve had to set a deadline for signing up in order to calculate and plan accordingly for materials, rooms, etc.
The deadline for signing up for the In- ternational Airbrush Days is March 4th, Retailers The no. Online shop in Dutch, French and English. The No. Retailers Retailers Retailers We supply the top products in Airbrush and pinstriping products. Info airbrush-shop. Stockist of Iwata, Badger, Phone 0 C. A friend Roger Hassler petition. They mastered not only the wanted a portrait of his wife sitting on Photos where not quoted: In his article, Tanado tells about the taken a seat on it!
With the help of a pressphotos of the producers and artists highlights of his airbrush work. Chapin Landvogt. Airbrush Step by Step English edition is a quarterly publication based on the German original.
The publisher maintains the copyright for all published contributions. Uncredited articles do not necessarily reflect the opinions of the editorial staff.
Reproduction of this publication in part or whole is allowed only with written permission from the publisher. Product names have been used without guarantee of their application. Upon receipt of a contribution intended for Star Wars fan and fascinated by the cha- special effects make up artist for 30 ye- publication, the author releases exclusive racter of Darth Vader.
So not surprisin- ars mainly in Germany and the UK. Detail and color effects are tures that he has created with the air- agreed upon. Authors and creators of texts sent in for pub- Exclusive download center: Pass word: Our gift for you: The Bodypainting Fantasies. The Art of Lothar Ptzl. While stocks last. Save up to 20 percent! Delivery direct to your home, fresh from the printer! No extra costs, worldwide shipping included! Never miss an issue again! Use our online store at www. Send us a message at editor airbrush-magazine.