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Olympos HP 100B
and roughly indicated the main shadow
COMPRESSOR:
shapes and some of the more obvious
Iwata Hammerhead
textural elements. I taped off the borders of
FRISKET: Vinyl frisket, Frisk
the board with blue painters tape—it’s cheap
Matte Finish; paper frisket
(for working wet with sponges and works better than traditional masking
and spattering); Canary tape for keeping edges nice and clean.
tracing paper and rubber
cement in a specific, fabulous 3. On a paper plate (for quick and easy
recipe I learned about at an
cleanup), I mixed Liquitex Titanium
Airbrush Getaway workshop:
(1 part two-coat rubber White, Yellow Ochre and Neutral Gray. I
cement, 2 parts one-coat was aiming for a light khaki color that
would serve as the foundation color for the
www.airbrushaction.com 71
9. 10. 11.
12.
rubber cement and Bestine thinner (the won’t need those brick shapes again, so I
11. Here’s the artwork with the blue line recipe is in the Materials section above). discard them. This image shows the piece
transfer of the drawing. It’s just a map of the Two coats of the rubber cement recipe are with the frisket in place with the brick
edges of the elements; there is no indication applied to the back side of the Canary shapes removed. I’m now ready to airbrush
of any texture or shading. tracing paper and allowed to dry. Then, I the bricks.
turn it over, careful not to let the glued
12. Since the next step will involve both surface touch itself (if it does, your done 13. Using variations of Medea Bright
airbrushing and working with wet sponges for… it won’t come apart). Red, Sienna and Transparent Smoke, I
and brushes, I used homemade frisket Once it’s laid in position on the begin spraying in the local colors of the
instead of the manufactured vinyl frisket. painting, I carefully smooth it out from the bricks. I can be pretty loose here, as I
Vinyl is great for strictly airbrushing, but it center toward the edges, and rub it down want to avoid being too smooth or
RICK LOVELL
Rick Lovell, of Atlanta, Georgia, has been
a premier commercial illustrator for more
than 25 years, with a list of distinguished
14. clients that include: Anhueser Busch,
AT&T, Avon Books, Bantam Books,
consistent with the colors and values. I added some blues and purples to add Business Week, CNN, Coors, Disney,
Kellogg’s, Macy’s, Nestle Foods, Nike
Bricks may be manmade, but there is huge some cool tones and some variety in the
Design, Orkin, Pocket Books, Prentice
variation from one brick to the other, and color palette. Hall, Showtime, Simon & Schuster, and
in this case, I am painting old, weathered the United States Postal Service. For four
brick, so the gnarlier (is that a word?), the 14. To add even more texture, I picked up years, Lovell served as the Illustration
better. I want the colors to be somewhat the sponge again and dabbed in some darks Chair in the Communication Design
Department at the Atlanta College of Art,
transparent so all that texture I laid in and lights to replicate all the character of
and in 2002 accepted a position on the
before will show through. I am using torn the old brick. I am continually referring to full-time faculty. “I still enjoy doing
craft paper as a hand-held mask so I can the reference photo to remind myself how freelance work when interesting jobs
get rough, organic edges to the color and varied these colors and textures should be. come my way, but what I now look
value changes that I’m spraying. As I forward to every morning is the challenge
of bringing a love of art and illustration to
progressed, I stepped back and noticed Continued in the next issue
my students.”
that the bricks were too uniformly red, so of Airbrush Action. >>
www.airbrushaction.com 73