THIS a Peerage re é Prt | ion 2 TH OSA PANTALEON'S ae Ser) RECYCLE nee WM elas Pog cy] PORTRAIT EVAia\aglag 3 a7] ema A atsiclstas yas) PAINTBRUSH Jey Naya >| ad pecan r : Tay 12 RUS a re AR c_ Mess Ne toot a Verde ESTOS tern eo Nona AOD eed t Ro reais) NI Tag i erie 2 PPR 215a) 7AArt with am Attitude! A va... — The Fusion of Fine Art and Apparel Uhl Works is a brand specializing in handcrafted drawings and designs, tastefully imprinted on high-end apparel. David Uhl and Danial James create the original artworks and translate them into limited edition apparel uhl wear. Ue De ART UHL LOVE www.uhlworks.com 15801 W Colfax Ave + Golden, CO 80401 + 303-993-3322SPARMAX Leading brand of compressors SPECIAL MAY SALE 50% OFF for the first 20 orders AC-501X A Quiet Airbrushing Experience discount code: ILOVESPARMAX at store.SPARMAXair.comFACE OF DEATH 8y Jonathan Pantaleon This stunning and intense black-and-white painting, using Createx illustration Colors, {s a study of light and shadows. Pantaleon’s mission was "to distinguish the value of, ‘one color, custom mixed gray, and to create depth and texture in a monochromatic painting with the utmost control of the airbrush." ROD FUCHS syed Fuchs this step-by-step ona scaled-down coffin id, airbrush great Rod Fuchs wanted tocreate a dy ‘namic panel incorporating some ofthe metalic pearl, and iridescent paints available from Createx POP ART PORTRAIT 8 Toy Perce Pop Art encompasses many different at styles yet most people only think about Andy Warhols soup cans or the Brilo boxes. Often we forget to recognize the realism. Pop Art reflects our cl tre, and its special power causes life to suddenly begin reflecting itself in art. Even classical and surrealist painters, such as Dali jumped into the movement. The subject inthis step-by-step is ie Sedgwick, the Superstar Factory muse and cult con ofthe 1960s, and the inspiration for Warhols art DON EDDY'S TWO REALMS inMarch, Airbrush Action attended Two Realms, paintings and drawings by Don Eddy, created over the pas three years, at New Yorks esteemed Nancy Hoffman Gallery. Among the fst generation of realist painters, Eddy is one of the few who has taken is vision and unique painting process Into new subject matter, continuing his exploration ofthe mysteries of life SPRING CLEANING FOR BIG BUCKS 8y MLREADER GALLERY @ EEProBand Fineline Tapes ad PoC Be! a PALS ee Keo) Available at: 59 Impala Emerald City by Steve Deman Chicago Airbrush Supply Peery eet e Tae ST Neiee er eet Cee ea tens Pe eae ante eres Deere en ee eC ae ee Ss Peter eee eee tena pan outor that may need further development. Not only ths, but they are also the truest ves sel 've found for creating your own original Ce eos ce eat cas canrestrict your growth and capabilitesasan See ee es ee ea eee rs Poo a ese ice tod Caease Pee an Peete Pouca erty Peace pearl and iridescent paints available from emo ener) et eee Prenat’ picregre nt pcm E yy Creer) PUM od See} figured this would Dreier Pe iOerie Rey Reais Cee uence Se ee ets design wilactually occupy theintended surface. Ceo ee ad eee ey ees into the shape ofa coffin id. Aftera thorough Pe aes followed by afew mist coats of Createx Auto- Ar kidescent Electric Blue and Purple, This isa Pea Meer ae ee ets Porting partofthe composition. Then, the whole panel was asked with transfer paper applica tion tape) and the design drawn out and modi Ce eee eee allow fora better photograph. ‘ma.The entire design was carefully andlightly cut ‘out withan X-Acto blade, Failure to cut every: thing outwhen the designis clearly visible can lead to confusion when the basecoat whiteis. applied, and your pencil lines are obscured. | often use a peet-and-spray additive technique that creates subtle definitionsoftheintended design. The areas that are to be the brightest arepeeled outand prayed fistthe main areas ofthe skull, the dragon's head, etc), followed by the intermediate areas, and ultimately the sections that ae sprayedilastare the ones that villnaturally have the most depthin thedesign (eye-sockets, nasal cavity,etc) This completely ‘obscures the underlying dark basecoat while ‘maintaining acrisp clean, and oversprayrfree border. It also gives youa subtle roadmap to begin your design and detail work. Before removing the remaining masking paper, the entire exposed area was sprayed with Createx. Wicked Pear White. {kept the concept sketch and photo of the layout design handy for reference as began defining the skull with an Iwata Custom Micron, airbrush, Thishelps prevent me from uninten: tionally veering from the intended outcome, ‘Some liberties can be taken with the details, but because | already completely blocked in the base itwould be risky toalterittoo much here. Ths is often my favorite part ofa paint ing because love to watch my design come tolife. Here,| used a well reduced mixture of Ceeatex illustration Cobalt blue and Black. | focused moreon detaling the skull than with the shading and shadows because the skull ‘must remain the focal point of the design, and Ididr't want to completely obscure the pear! white base. Rather than fillthe entire area ofthe skull with Just cracks, pits, and shading, | used Artool’ Gerald Mendez Texture Effect stencil to add texture to the surface. These stencils are an excellent way to instantly develop and add relevant detalto areas while retaining anatu ral, organic appearance. This may read like a blatant product plug, but l can say with all sincerity that | do find myself incorporating them into nearly every project. Simply put, they truly are a brillant product/tool to have inyour arsenal wanted a warm dragon to compliment the cooler palette ofthe skulland surroundings, so | airbrushed amixof illustration Magentaand Burnt Sienna with my Micron CM-C+ airbrush, Thiscolorhadtobe strong enough toestablish details while still being ‘middle ofthe road’ ‘enough to allow for warm and cool shading further into the process. ‘The challenge here wasto put as much detail into the entre dragon as required for the face. Fartoo often youll see dragons with intricately detailed heads and facial featurestransitioning intoa quickly hashed out, cookie-cutter scale pattern. Taking the time to treat every inch ‘of the design with equal importance, and to ‘consciously contour the scale sizes and shape relevant to their placement and purpose on the body, will reward you with a much more professional, fully developed painting I switched to the Iwata Eclipse CS, and air brushed the entire dragon and its wings with vwell reduced Auto-Air Color Shift Gem Ruby. I'm not too worried about overspray, but | don't necessatily hose it on either. Taking my time to just spray itwhereit’s intended is ‘enough to get the color-shift effect lwanted without overspray issues or obscuring the scale pattern beneath. Again, itis another interesting addition that adds a dynamic effect to your paintingHee is where Step #5 came into ply. By essing the urge to gotoo warm or coo with the dragon's etal earlier, | was able to adda warmer, golden tone illustration Yellow and Burt Umberto the belly scales/undersie, and wings anda transpar tent cooler tone illustration Magentaand Violet) to the upper body. Because! hadn't re-masked the skull hadtobe arefulnotto getanyyllow/golden ‘oversprayontothecoolr skull which wouldresult inahard:to-ocgreen Then frinterest added rivetsto the border design. Aquickandeasy way torenderivetsisto airbrush a shadow (Cobalt Blue Black mix or similar color) below the ower edge ofa inch stick-on color coding label fvalable at any office supply store sprayasmall amount of paintonto the ticker itself alloting the overspray to deine the upperedge of therivet itdoesn take much, remove the sticker and add a slight shadow to the lowe haf ofthe fivetheadfor depth, Thissimple method promises ‘quick easy and dimensional rivet Using the Micron airbrush and Createxilustraton White, Itightened the detals and added more crispness where needed, This wasabitofa double: ‘edgedswordbbecause, by clearing upoversprayand ‘adding alitie ore defntiontoareasofincreased ‘opxityalsoobscuredthe peal and colori pants Isprayed beneath and thesparklesandglows were muted in the ‘dead spots created by these detalls andhighlights Tisisnot necessary adeal breaker, butstilone ofthe sacrifices tobe mindfulof when, doing this. Is also worth notin that altering one areaofa composition typically requiesyoutocarry thattechnique throughout the pantingorthe result may be uneven or lopsided. So, even fadding a bunch of defined and bold white area might suit, small portion ofthe painting, it might not be the appropriate technique forthe entire design. used a Mack'Tidwelliner brush and alilac shade to clean up the edges ofthe border with pinstri. in, Thismixof Wicked White, Violetand Auto Air Process Magenta complimented the cooler tones and iridescent initially applied tothe surround Ing area. Yes, quite often use Createx products forpinstiping, ibelieve themainimage would suffer ithe design's framing wasequally3scomplex, solchoseto bevel the edges and add some shading tothe border. | tused FBS ProBand 18-inch neline tape to lay out ‘thebeve, and ighty arbrushed the shadows with cobalt blue-black mix. ‘reatexthsation Magenta assed ith sma ner trushtoaddaltleemphassandaccenttothe ye areas. ‘Ten ColorShit Gem Ruby wasarushedintothe eye Sockets to ight them up they lok ike flashightsfrom ‘ean angles anda final yellow-gokdmixwasused to ‘even outand blend the dragons deta. Ait ofthis yalowwasabosprayedintheskullseyessocketstocom plimentthe pealandtogietheskulaceepier glowing look realize thatthismay seem teal gringoninone stage ofthis progresion butths was actualy alldone ‘quite quickly and on an as eden touches bast. Twas petty exctedto clearitatthis point because that really wakes up the pears ad idescens ad saturates, althecolors, Tishas been afun projet forme. Thank yourorflloningalong!| Pe al aia You're one ofa kind, a maverick. a gorgeous enignta that oes things with color that would make Picasso weep and Van Gogh give up drinking. Your work is who you ae, and you yearn to push the limits of your creativity and tools. Whether you're gong old-school or experimental, the FX Series” Custom Color tne from Matrix System is your tool. FX Series offers the deep rich candies, briiant bold colors, and intense dramatic effects you nee to make the images in your head area. Start your new journey at MatrixSystem,com/F¥Series. eS Mee SCH MCE EC a NMEATRIX SYSTEM Rey | 800.735.0303, | HumDioemPY-BO SHE WAS THE ORIGINAL. BOLD. SASSY. REBELLIOUS. Edie Sedgwick was a Superstar Factory muse, 1960s mod, the inspiration for Warhols art, and films have been made about the rise and fall ofthis art cult icon, Pop Art encompasses many different art styles, yet ‘most people only thinkabout Andy Warhol’ soup cans or the Brilo boxes, Often we forget to recognize the realism. lonce had the privilege to gaze into Rosen uist large scale panels of blended realism that ex isted alongside Warhols screen-printed Marilyns. Pop Artisthekind of at that reflects culture andits special power is how it causes life to suddenly begin electing ane STEP1 The great team at Jacquard produce some really coo! products. Asher Katz, Jacquard’ president, and talked about using their airbrush colors on metal Uacquard’s reputations fr fabric paint excellence, so this would be {an interesting experiment) for a more realistic painted portrait, and he challenged me to try and incorporate Jacquards new SolarFast dyes into the mix With SolarFast, you can develop prints from pho: 105 or reproduce an airbrushed image to make anew BY TROY PIERCE 22 [AIRBRUSH ACTION |. may-JUNE 2014 itself art. Even classical and surrealist painters such as Dali jumped into the movement. Sometimes the image, be it painted or printed, isjust a means toan end, More recently artists such as Lady Gaga have resurrected ths idea of mirroring, which is so central to Pop Art. With ths ideain the front of my mind, fm finding inspiration and breaking moulds. original piece of art. t's a photographic process that ses sunlight. Since I've been experimenting with So: larFast over the past few months, I decided to use a combination of styles and media to bring Edie more fully into the post-modern era of Pop Art, STEP2 Using vellum paper, I traced her details from a print. Lightly sanded a small aluminum panel and taped the image in placeSTEP 3 STEP 4 k used a homemade carbon sheet tore-traceand transfer theimage | useda piece of Bristol board to gauge how much reducer to add to my onto the panel. This s the first time l used Jacquard paint ona metal cup of Transparent Black. 15 to 20 psi (pounds-per-square-inch) works substrate and tested surface erasing.| used an Infinity airbrush from best for the Infnity—lower pressure means more control. The airbrush Harder and Stenbeck. performed smoothly. started at al-to-Iratio of paint to reducer and found that the colorsrequited 3-t0-1 to get the wash Isought. The paint handled very wellin these conditions wth no sagging, This same color, full strength, works beautifully through a Paasche VL-S double-action airbrush on Tshirts, STEPS STEP 6 With the Infinity airbrush, started toestablishthe shapes and formsof | thinned the paint jut slightly with the reducer and airbrushed the the chin and neckarea.Thiscolorislight andalthough itseemsdarkat lips. At this point | added highlights with an eraser and to define first know itwillighten as filin more.inmy other hand! held asmall creases. The color removes very easily, without any smudging, paper towel dampened with reducer to periodically clean the needle and reduce tip dry as needed. STEP7 STEPS Time to paint the nose. Erase. The spraysare light and Itriedto avoid | roughed in the eye, trying not to add too mutch. |also tied erasing <-making second passes. Keep it subtle, The hair was next ‘over some areas that | painted the day before. It takes alittle more pressure to remove the day-old paint, but it stil ightened nicely. |_| lightened the nose and added alittle more shadow under the chin,STEPS STEP 10 ightly rendered the eyelashes and brow. For the second eye and brow, my technique was stil a scribble with ‘very thin wash of transparent black. The darker areasin the lashes ‘were created by making second and third passes with the same color. STEP 11 STEP 12 {started into the hai. [Atthis point blocked in as muchas Icould, and added the shadowed ‘area behind her head, STEP 13 STEP 14 {tooka closer look at the bangs, trying to get the feeling within the The earrings were painted loose and alittle more out of focus. hair of either sass of punk, Imade second passes so that the amount of the next darkest color was minimalI mixed the second color—Transparent Black with a few drops of reducer—and sparingly painted into the lashes and eyes. increased the air pressure to compensate forthe thicker color. The interesting shadow on her neckcast by the earring is my favorite part, and gave Itcarful treatment—it'sas important as the bangs and eyes. Most of the other areas are rougher and possess a more drawn feel to them, Now for the fun part, where | scanned the image into the com puter, inverted it to make a negative, and printed two copies on Jacquard’s transpar: tency sheets. Vacquard’s website, wwwjacquard: solarfast.com, helps you easily invertimagesand create negatives with their excellent negative generator). ined them up and taped them to gether to increase dark ress and contrast in the negative. Also this will enhance the final image by better blocking UV rays, thereby increasing contrast in the resulting prints. [en Final of Edie, | used Orange SolarFast on yellow-tinted watercolor paper for the first print, and Violet SolarFast on the backside of canvas duck fabric for the second print Ona flat surface, | painted both SolarFast colors onto each surface, lightly blotted dry, placed the negative images onto each surface, ‘and weighted each one down with glass. ‘Combo image. | printed both using sun- light, waiting 10 to 20 minutes (wait time may be longer in low light conditions). Then, | grabbed some pizza with Sage and watched Kung Fu on the El Rey Network for Flying Five Finger, One Armed Eight Pole Shaolin Exploding Death Touch Thursdays!bs | fi Boren} : a EET RACE TCU ty| washed the Edie Violet canvas print ina bath solution of SolarFast Wash and hot water, agitated it for 10 minutes, and hung to dry. (One great idea for indoor printing on cotton T-shirts (or any other substrate) is using an ultraviolet fluorescent station. The prints are incredibly sharp with beautiful half-tones. One of the most remark- able things about SolarFast is how easy itis to achieve continuous tone gradients, making it ideal for reproducing airbrushed artwork with subtle shading, Machine wash using SolarFast Wash, throw into the dryer and voila! If you've ever taken a film developing class in the days before digital cameras, you will absolutely enjoy this product I chose not to ‘wash the Edie Orange print on watercolor paper. Once dry the light will not darken the printed color much. Both prints have interesting variations that were caused by condensation under the glass in direct sunlight. This could have been avoided with better blotting, but in the world of the ready-made there are no mistakes or accidents. Jacquard paintsare worthatry. The multi-purpose airbrush colors workon ‘metal very smoothyand with minimap dry. Thin with water and reducers atlow pressures and make sure the tipis clean SolarFast dyes are fun to ‘experiment with anditsinteresting to se theresults develop into varying artworks—alwaysa magical experience to watch the olor appear during ‘exposure. ve used it on paper, raw canvas, and T-shirts. It could even be thinned and sprayed! Jacquard’ Airbrush Colors work extremely well on fabric, metal, and plastic. | plan on doing another piece with themin the ‘near future in full color and will continue to experiment with SolarFast. Also, the Infinity airbrush spayed beautifully andithasbecome my newfavorite airbrush, Stay tuned. #SolarFast #ArtPop i | photographed each image and arranged them into a new piece of art containing four surfaces: hand-painted, solar-printed paper, solar printed canvas, and computer-printed negative on transparent film, since he was 17, and has painted alongside airbrush greats, such eee) Earl Poole, Tim Mitchell, Chis, Dee em CON Lae aS Ce eee ee ee ene or me mtetars Se cers Joseph Campbell, and Camille Paglia, Pierce has been featured in Airbrush Action act ry eena tat Seno Ue eet eee ert painting at Key West's legendary annual Fantasy Fest, and his artis on display at Archive Art Gallery, Panama City Beach, See ee a idren, Gabrielle and Sage. The inal arrangement of Edie Sedgwick as Beauty #4, Jacquard acrylic Nieman iriure erat eye es paint and Solafast dyes on aluminum, paper, canvas and fim on i a aaah mesquite boards. Toy Pierce, 2014, EEGUe eet TE PLT a Ls R CALL IN Y ORDER WWW.AIRBRUSHACTION.COM npr greys TWP PPR WETS) Pee eka AIRBRUSHAGTION x D i AL co GETIT FAST! ee ONE YEAR (1ssues) ONLY $2825 TWO YEARS (121ssuEs) ONLY $4925 i oS CALL TOLL FREE c FOR ONLY ONLINE: WWW.AIRBRUSHACTION.COM 41 1.95 ai = yr $60: 2 VEANS. Conata, S78: Forogn 8.+ MARCH 13 - APRIL 26, 2014 paintings and drawings by Don Eddy, created over the past three years. Two Realms ended April 26th. mong the first genera: | to the urban realm is that of nature, depicted | Nights Il, New Yorks viewed from high, th ion of realist painters, _in triptych paintings entitled A Fight in Sum- cityscape becomes rooftops, skyscrapers with Flightin Winter anchored by images | myria ice and activity; cas and trucks ing his exploration of the mysteries of lif. In| over anunder painting oftzee colors thefirstbe- | Sleepless Nights, call he 1970s Eddy painted the urban landscape, | ingtinyciclesabouta20thofaninchindiameter | eningin paintings throughoutart history. as well he California urban landscape, focusing on _ of phthalocyanine green) Eds new sats oft o glorified works under cats reflections onthe sides ofcars,bumpers, works ae “saturated” in palette andin subject. | way during another period of change. The gut -omplexand more concentrated than his | ofthe bridge contrast tothe twinkling building headlights. For the past severa returned tothe imagery ofthe urban landscape, _ earier works the ecent paintingsofferthe viewer | lights and the pink sky. The skyisimportant as fist time cof New York Figur 2 backdrop forthe intensity that is ManhattaB § 2 5 5COSTE)A Flight in Summer and A Flight in Winter, lightis the primary “subject” Light sparkles on waves of water, it illuminates summer bub- bling spray.a different color from cold winter seas itturnsice-encrusted grasses intojewels, itbathes the peak ofa snow-filed mountain, Eddy has ‘upped the ante" ins depiction oflightin his seasonal riptychs, which take ona spiritual quality nature at its purest. A bitd in fight in each of the paintings seems symbolic of the human spirit as it soars above the earth, fee, unencumbered by what lies below,'34 | AIRRUSH ACTION | MAY-JUNE 2014RenEDDY WRITES OF HIS MULTI-PANEL PAINTINGS: “THE INEVITABLE SUBJECT OF A MULTI-PANELED PAINTING IS NOT ‘THINGS’ BUT‘RELATIONSHIPS: IN SUCH A WORK, A CONVERSATION IS. GENERATED AMONG IMAGES THAT IS MORE LIKE OUR EXPERIENCE THAN OUR PERCEPTION. IT IS NOT. NECESSARILY A DIDACTIC CONVERSATION WITH A PRECONCEIVED MEANING. RATHER, MEANING IS GENERATED IN THE CONTEXT OF A DYNAMIC ENCOUNTER AMONG THE MULTIPLE IMAGES AND THE OBSERVER. EXISTENTIALLY, NO MEANING PREEXISTS THE DIALOGUE. AS IN OUR LIFE, MEANING IS GENERATED IN TIME, AND IN ACTIVE ENCOUNTERS IN TIME, THAT GENERATE OUR EXPERIENCE AND MEANING. THAT IS WHAT MY CURRENT WORK HOPES TO DO.” 19 inLong Beach Calfor leteceived a BFA. in 1967 andan MEA, rom the University of Hawai The art d the University of Cal 9-70, for postgradus The book Don ald Kuspit and published by Hudson Hils alley photographs please call 212-966-6676 or e-mail gallerycor B and his wife curently reside in New York. i at info@na '36 | AIRBRUSH ACTION | MAY-JUNE 2014vo y 9 /AL-AIR 50-T-AIRE “When you're ready to soar with the eagles, you're ready RUN eee Se esa VAL-AIR 100- Pe St mere mr rf aa Call 1.800.972.7668 www.silentaire.com AIR POWER IN A SMALL SIZE!ith 22 years of experience, | have always pushed and chal- re ee eRe pair ereeera etree tain peer enone a painting. But that’s what makes it even more rewarding because you're giving your very best, pushing yourself to be better and to elevate your art. Self-motivation or having the drive to continue isa constant battle, and 'm sure m not the only one with those demons. Also, Tee i ene eee ee a Rees the old masters who pushed their limitations. And thisis why | decided to paint Dns This black-and-white painting, using Createx Illustration Colors, served mostly as a study of light and shadows; to distinguish the value of one color, the custom mixed gray, and to create depth and texture in a monochromat ic painting with the utmost control of the airbrush. | normally work with an air pressure of 25 to 30-psi, mostly freehand using an Iwata Eclipse CS (0.35, mm needle and nozzle combination) gravity-feed airbrush for fine detai Cee eee‘Against a dark background, | airbrushed 50% grayish shade tomap out thearea for my ‘main image, and to establisha light canvas” ‘on which to build my painting, I worked my way down tothe cheeks and jaw line, keeping it on the lighter shade. When satisfied with the overall look, ll deepen the contrast ofthe shadows, CMa After sketching the image onto the surface, used the same grayish-whitemix tomap out the shapes and form. | used the gray back- ground as the contrast When working the bottom of the cheek, | carefully and slowly determined the overlaps ofthe stretched skin to truly give it depth, Here, introduced acustom gray, aptly called “pain in the ass gray,’ by using black, white, ‘and alittle Cerulean blue to shiftthe gray to ‘cooler shade. Then, | started withthe eyes, the most difficult partof the image, first pay: ing attention to shape and form, and then the textures, added dark shading to the crevices of theX Toavoid as much overspray aspossible,Icare-. Once | achieved form and shape with the Tip: Toaccomplish realism in the teeth, tryto full shaded the eft sideangling myairbrush nose and eye socket, I rendered the gums avoid harsh, dark shadows or thick outlines. away and spraying the inside of the nose, _and formed the teeth, Here, | shaded and formed the outer shape _ | gradually darkened the middle bottom of _ | finished the rest of the teeth and added of the right side of the head. lintentionally the nose and the tops of the teeth where it _ texture to the chin area, made thispartalitle blurry toassstin giving attaches to the gums for greater contrast. | the right eye more focus. kept the teeth clean in the process. wairorushactioncom | 41{At this phase, realy started to deepen the Here, ladded texturestothe forehead, creat- With the forehead and hair complete, | fin contrasts and shadows throughout the face _ing crevices to make the skin appear falling ished the shading on the right side of the to.create a more dramatic feel. apartandstretching. Then, worked the hair face, carefully spraying from left to right to using dagger strokes. protect the face from overspray. ‘After blending the hairinto the cloak, lused _ cleaned up any white overspray on thedark Before clear-coatng, | checked the overallpaint Createxllustration Colors pure white toindi- shadows with the pure gray. ing for possible isues, and to determine ifany Vidvally highlight the teeth, part ofthe gums, detail or darkening was necessary. But, called above the nose, in the eye, and part of the thisone done! forehead. Note: Make sure your airbrush is thoroughly clean before adding white to prevent contamination from any residue of _ >> This piece was painted on a 12- by 18-inch powder-coated aluminum sheet. | wish to Spee extend a huge thank you to lwata-Medea, Anest-Iwata, Createx, and FBS tape for their full support. hope you found this information helpful and assists in your journey as an artist. Jonathan Pantaleon ara Te)POON ee UR TRL Pree OL Coens Pen eeu painters whose workhas been featured ee ee a us zines (Airbrush Action, Easyrider,and oth- Cae nn ‘Makeover, Home Edition, and America’s Fede ee eed Daca eens Cee ee eed eu oa G7 ae oe Nee oe reas“CLASSES AND INSTRUCTORS ARE SUBJECT TO CHANGE Nae INTRO TO CREATING CRB Sse) AU RES aan (Lecture and Hands-on) This 1-day intro session will be spent building a solid foundation for control and technique with your airbrush. Regardless your knowledge, it's important that we accurately assess your skill-set so that we may maximize your expe. rience at the Airbrush Getaway. In this class, you will paint a skull and establish the required foun dation for the 4-day Creating Killer Skulls class. Skill Level: Beginner to intermediate Instructor: Rod Fuchs cost $150 CALL NOW AND SAVE $ 50" ME Sean STENCIL MASTERY (aaa ss (Ceeture and Hands-on) Stencils have become a critically impor: tant and integral part of a successful artist’s arsenal. In this highly specialized ‘one-day hands-on course, airbrush pro Rob Churchill will reveal his secrets to cutting edge stencil tricks, applications and troubleshooting (overspray, etc) to ‘achieve amazing results in a fraction of the time required by conventional paint ing methods. You'll learn how to use and integrate freehand shields, texture tem: plates, and image stencils into your art work, how to make one-of-a-kind original images and effects using some of the hottest templates on the planet. Skill Lev Beginner to advanced Instructor: Rob Churchill cost *150 ‘CALL NOW AND SAVE $ 50* Tie a tat Mmoce NEW! Ea MASTERY FOUR-DAY CLASS CTE Uy Whether you've conquered airbrushing or wish to take your art to another level, paintbrush handling is a critically impor: tant aspect of all phases, levels, and disci plines of art. Paintbrush Mastery teaches paintbrush techniques for all applications, including fine art, automotive, illustration, sign painting, pinstriping, and tons more. You'll Learn: Brush blending How to customize or modify a brush How to double-load a brush Striping, lettering, and pictorials How to steady your hand And tons more! Skill Level: Beginner to advanced Instructor: Glen Weisgerber Say recog ano Ae) ‘CALL NOW AND SAVE $ 50" FBS =AIRBRUSH GETAWAY HANDS-ON WORKSHOP Maat ae INTRO TO. AIRBRUSHING Explore the different types of air brushes, maintenance, air sources, safety issues, painting surfaces, preparation, and airbrush media. This one-day course accelerates the skills of new airbrush artists and provides excellent preparation for the four-day classes. Skill level Beginner to intermediate Instructor > Cheryl Vaughn éost *150 CALL NOW AND SAVE $ 50" This hands-on course provides de tailed information on the paints, brushes, solvents, tapes, surface prep, practice strokes, and comple. tion of basic designs with and with: out a pattern. You'll learn both pri mary styles: nostalgic dagger and scrolling. Intro to Pinstriping estab: lishes an important foundation toward pinstriping mastery. Skill level: Beginner to intermediate Instructors: >» Glen Weisgerber CALL NOW AND SAVE $ 50" If you're just starting out, and you want to spray in the big leagues of custom painters, Intro to Automotive Murals on Steel is a mandatory pre requisite to the four-day Murals on Steel class. This hands-on course is designed to bring you up to speed with basic airbrush techniques, equipment, and the execution of a project. Skill level Beginner to intermediate Instructor: » Jonathan Pantaleon CALL NOW AND SAVE $ 50" at GD GY ome Ges am1 DAY CLASSES - Locations, Dates, AND TIMES: eur aaey coma Toca ey PS Cme ig Coe er eee f 4 Room reservations: 407.352.1100 Pear iu oer ercd "CLASSES AND INSTRUCTORS ARE SUBJECT TO CHANGE. INTRO TO AUTOMOTIVE Becca eee) GRAPHICS eofeyme NS cn Naan Ceo ee) (Lecture and Hands-on) Lettering is the bread and butter of Tshirt | Learn the basics of airbrushing with a special airbrushing, and if you master this aspect | focus on portraiture. n this hands-on work of the business you'll add, iterally, thou: shop you'l learn and practice various special sands of dolars to your bottom line annu:_| ized exercises that wil help elevate your skill This excelent primer forthe fury | ah Fab Letrng But Campinas aes orm a course is designed for beginning and | ang their alphabets (script, block, bubble, | control. Topics covered include: tools and intermediate kustom painters. You'll print, old English, graffiti, and scratch), ‘equipment, image transferring methods, learn the basics of graphics, types | and the painting of multiple name de- basic airbrush techniques, freehand control, signs. Gary Worthington, one of the issues, and much more. Hands-on | world’s best Tshirt artists, teaches techni- | Note: Due tothe intermediate to advanced projects include basic layout, mask ing, how to transfer designs, faux fin- | ing, how to determine and develop de- required that Intro students be able to demon- ishes, special f/x, and materials. signs that sell, pro stencil tips and tricks, _| strate a solid foundation of freehand airbrush Skill level: Skill Level: ‘Skill level: Beginner to intermediate Beginner to advanced Beginner Instructors: Instructor: Instructors Ti Terry Hill Gary Worthington Javier Soto Jason Brookshire Troy Pierce 9 ESeeD : ant GS GF ame Gps amPU Rar NTN HANDS-ON WORKSHOP ACHIEVING baton aN This highly intensive course reveals the se ctets of painting photorealistic fire, ice, metal, water, glass, fur flesh tones, and mary other subjects that often challenge artists. Students will lar to quickly match colors with extreme accuracy and precision. The color theory taught in Achieving Photorealism isin no way limited to just airorushing; it crosses over to every aspect of life where choosing and/or ‘manipulating color is important. You'll also learn: + Mastering color through the application of Dru Blair's Color Butfer Theory Transparent vs opaque techniques + Understanding white and the impact it has ‘on your images. + Dru’s 8 rules of photorealism. + The 12:point photorealism checklist. + How to really understand light How to survive catastrophic painting errors, How to develop observation techniques that alow you to expand your visual discrimination, ‘And more! Skill Level: Beginner to advanced Instructors: >> Dru Blair >> Melanie Alexander *575 a Sa COST if REPT ELE) Se NSU rye Uttimate Airbrush Techniques &F/X, based on the super popular DVD of the same name, will teach 30-plus ‘amazing airbrush special effects (including ghost flames, wood grain, surface cracking, carbon fiber effect, leopard print, and killer skulls in minutes) and more than 50 top pro tips and tricks (including working with Auto Air Colors’ water-borne paints, airbrush and spray gun han. dling, use of reducer, and the hinge method of applying stencils) by the legendary Terry Hill. After taking this class, you'll be able to airbrush onto virtually any surface or application, including cars, trucks, helmets, wall murals, decorative arts, model/hobby, illustration, fine art, and tons more Skill Level: Intermediate to advanced Instructor: > Terry Hill efolmce Ae) ee me Gps agile ga) Uae CREATING Ua Baal Cae Sy This completely hands-on workshop will show you how to make stock, modified, and hybrid skulls stand above the rest with form, dimension, shape, and personality. In this excit: ing new class conducted by skull master Rod Fuchs, you'll learn: + How to render eye sockets, teeth, nasal areas, & other trouble spots. + How to render a skull’s features correctly and dynamically + How to work on multiple surfaces + How to render amazing bone texture + Morphing real skulls into dynamic characters + How to add fantastical features such {as horns, ornamentation, armor, jewelry and much more. Skill Level: Intermediate to advanced Instructor: >> Rod Fuchs Sa COST *575CWA Fs tern ee eur y Cote ery roa Room reservations: 407.352.1100 PERT a Salary rt Sota Here's the ultimate gateway course that will fast-track you to total airbrush control, speed, and mastery. You'll be able to air: brush onto any surface with complete con fidence, and drastically increase your prot its in al airbrush applications, including automotive custom painting, Tshirt air: brushing, illustration, fine art, hobby uses, body art, and tons more! Airbrush Mastery is an important foundation course and way to maximize your total Getaway experience as you graduate through the ranks of other classes. This class is also perfect for expe rienced airbrush users who have developed bad habits or are in need of @ serious re fresher program. All Getaway alumni, es: pecially automotive and illustration stu dents, are invited to take full advantage of this exciting program. Skill Level: Beginner to intermediate Instructors: Gary Worthington Chery! Vaughn MRR CaN ECan ey NV 89) Perera cy PereeEe Loy Aa Rel a i AUTOMOTIVE CHEAP TRICKS & SPECIAL F/X rl Vans) This 4-day hands-on workshop teach. es graphic composition, freehand air brushing, stencil work, various mask: ing systems, leading-edge techniques using waterbournes, and the latest top pro kustom painting tricks. Auto- ‘motive Cheap Tricks is a techinique- driven workshop that is geared toward beginning and intermediate students. Realistic fire, chrome, skull murals, and the very trendy Steampunk are ‘among the wide variety of techniques and effects that students will perform, Old school or new school, this work: shop covers it all. Let us help you build a powerful, money-making kustom painting arsenal, Skill Level: Beginner to advanced Instructors: Terry Hill Jason Brookshire ap ta = ie IRBRUSHACTION.COM PLOTTER If you own a plotter ting all you can out of your investment, ‘or wish to learn how to integrate a plot ter into your worktiow, this course is for you. The platter has quickly become an integral tool with all forms of aifbrush- ing for achieving a product with a fn ished, high quality look. Geared for be ginning and advanced plotter users, youl learn how to convert your ideas from paper to igital form with the latest design programs, and how to in crease your productivity and quality sing the hottest plotter techniques and uses for today’s custom paint market. You'll also lear: + Vector basics Transfer & application + Mutt:technique projects “Making the plotter look go away & more! Skill Level: Beginner to advanced Instructor: Chris Johnson EEE ( é)a AIRBRUSH GETAWAY HANDS-ON WORKSHOP AUTOMOTIVE MURALS on Saas ‘Murals on Steel s the hottest and most lx Crative of kustom applications. Conducted by worldfamous custom masters, this class will teach you the top pro ticks for creating high impact images on hard surfaces. This hands- ‘on course raises the bar for serious artists seeking the next level in custom excellence ‘and mastery of color. As a bonus, business aspects, client consuitatons, pricing, and more are addressed. 'Nso, you will be introduced toa system to help you identity problems in your at. Being your own educated citc lows you to progress faster as an artist Pease bring photos of your work, and mutiple photos of images that you ‘woul like to paint for your final project. PREREQUISITE: Beginners must take the 1-Day intro to Murals class. Skill Level: Beginner to advanced Instructor: >> Jonathan Pantaleon Ee “Amo Say COST MR ‘The new Power Portraits class features the brillant talents of Javier Soto and Troy Pierce, whose portrait mastery and amazing Use of color is almost legendary. Mr. Soto wil share his techniques and approach to Fendering portraits with astonishing results. This groundbreaking course is suggested for intermediate to professional artists who wish to take their work to the next level. Youll learn layout and composition, how to transfer your image to your target surface, Use of an opaque projector, the grid ‘method, use of stencils, color theory for ac Curate color mixing, painting techniques, how to achive texture and detall using soratching and erasing, airbrush control and ‘maintenance, how to troubleshoot tip dry, blowouts, skipping, and clog, top pro tricks and special effects, how to render a portrait intwo hours, traditional realistic portraits for multiple surfaces, and much more! Skill Level: Intermediate to advanced Instructors: » Javier Soto » Troy Pierce KE) Sa COST ec ae aoa Uae LOW RIDER’ feels Low Rider Graphics exposes stu: dents to the operation and use of full-size spray guns to create tradi tional and advanced custom paint. ing techniques. Students will com: plete projects that involve masking, fading, marbleizing, texturing, color blending, old-school-style Low rider tape fades, taped and blended flames, and many other ef fects. Finishes will include under- coats, kandies, pearls, flakes, strip. ing, and even clearcoats, to create the stunning optical effects unique to large-scale projects. Skill Level: Beginner to advanced Instructors: >> Brian Lynch >> Armando Serrano *575 SAG COST “me mame Ges am4 Day Classes tocanons, oxres, avo ries Tote ery Fall 2014—Call for dates: 732.223.7878 Denes rn conn) S E Ret) Room reservations: 407.352.1100 Eee er) FOR MORE INFORMATION, VISIT WWW.AIRBRUSHACTION.COM UCTORS ARE SUBJECT TO CHANG PIN-UP: ay PINSTRIPING & LETTERING WMASTERY. eset AIRBRUSHING Learn the secrets and master the techniques to create the female form as a classic pin-up in this one-of-a-kind class. Pin-Up Art provides instruction on opaque and transparent color use, flesh tones, how to render many tex tures, and more. You'll also produce a profession al-caliber portfolio piece using the latest stencils, masking material freehand work, and a variety of mixed media, With pin-up art and. it’s profits at a fever pitch, this is a class you don't want to miss! Step up to the next level with this intensive hands-on course. Skill Level: Intermediate to advanced Instructor: >> Lorenzo Sperlonga Las Vegas dates only! efoto A) MN This intensive hands-on course taught by the legendary Glen Weisgerber, will teach taping tricks, dagger designs, designs that sell, color use, how to successfully market your work, how to create award-winning displays, and much more! You'll also learn how to work bike events, car dealerships, car shows, fairs, and other venues. Pinstriping & Lettering Mastery also in cludes instruction on sign design, layout, color combos, gold and silver leaf, cartooning on cars, many styles of lettering, airbrush blends, fades, chrome and bevel outlines, and more. Skill Level: Beginner to advanced Instructor > Glen Weisgerber ecole A) This dynamic and completely hands-on course is a must for anyone wanting to master the secrets of Tshirt airbrushing. ‘and maximize their earning power. De: signed for the serious beginner to profes: sional shirt artist who wants to improve inall areas, this class lets you work at your own pace. You'll also learn: + Designs that sel + Pricing guidelines. + Professional lettering and stenciling +The business side of Tshirt airbrushing + Custom portraiture, car, logos + Shortcuts for fast turnaround & high volume. Skill Level: Beginner to advanced Instructors: >» Gary Worthington >» Cheryl Vaughn cost °575 > @ ae &s -at's spring cleaning time again and people all over the country are going through closets and garages and throwing out old junk and finding ways to reuse things in ways they never imag ined. The trend for repurposing old junk is huge these days, and a quick look on Pinterest or DIY will yield a million ways to rein: vent any old thing you can find. You can turn an old toilet into a perfect garden planter or shipping pallets into a fully furnished fortress, So why shouldn't we recycle old designs? If you're any- thing like me you have a ton of painted shirts and things laying around that were made for certain designs or special orders that Could certainly be used to make something new. For example, that old sailboat or palm tree might be great added to a fancy sunset, and why not toss in a random texture while we're at it ‘and put it all into one nice new design. So, for this step-by-step | trudged through all the scraps and retired designs of the past 10, Ean TEN years and came up with 2 few things to try. First, | found this old group of palm tops that | made and never used. | thought they were great but I never found a good use for them. Next | came across a gor geous sun and clouds that Eddie Davis made for a design we worked on a couple years ago. | had always liked it ‘and we thought it deserved to be used on more than just the one design. | added some sand dunes and placed it inside a retired ‘graphic from a decade ago. In the past | had used a freehand beach inside so this was a perfect way to improve on the design and modernize the stencil. | also changed the shadow area of the graphic from a checkerboard to a zebra pattern that | hadn't used. After combining all the design elements in SignLab, my preferred program, | cut the stencils on mylar with a plotter. So, repurposed old and new unused items into a brand new “recycled” work of art. Now, let's get to the fun part of actually painting the design.STEP1 After | assembled the many pieces in Sign- Lab Icut the stencils out of 5 mil Mylar with a plotter. Firs, | sprayed the back of the stencils with 3M Super 77 spray adhesive, being careful to apply alight layer only to avoid transferring any glue residue to the shirt. (Blatant reference toa valuable trouble. shooting tip later in this article) STEP4 Because oft dynamiceffects (granite, stone et, ‘not mention very easy todo, stippling has be- comea leading go-to background accent. |wit rnessed Cass fuller, Don Ashwood, and Tery Hill develop thistechnique during thelate 19805. My favorite approach isto bounce paintoffa wood: en clothespin or medical tongue depressor. By varying the distance ofthe dothespin from the shit you can control the grain size and density, Stippling is easy to master with alittle practice. STEP2 I stretched the shirt over a shirt board, taught and free of wrinkles. Keeping the shit tight and secure is also very helpful when using ‘multiple layer stencils because ifthe shirt shifts during the removal ofa stencil it can be very dificult toalign subsequent stencil There is a happy medium of a tight but not overly stretched shirt that Istrve for,Then, | applied the positve (cover-up) stencil onto the center of the shirt STEPS | stippled around the edges ofthe stencil and used this texture to expand the black bor der lestablished on the first pass. Again, this gives me a buffer zone to absorb any over spray and allows me to move faster during the later steps STEP3 Testablished a dark background to really ‘make the colors vibrant and stand out, and to provide a buffer to absorb and render inv ible any overspray, This can really help keep your work tight and clean without slowing down when you'e in a high volume or fast paced situation, | started by outlining the ledges of the Mylar with Wicked Black. STEP6 If done correctly, you should have anice even pattern around the stencil. A great tip from Terry Hillis to move in a small circular motion {as you tipple to get the most even pattern possible,STEP7 Starting at one corner, Igently removed the stencil from the shit. Being too aggressive here can result in the shirt moving and caus. ing subsequent stencils to be out of align ‘ment, leading to real headaches later on STEP 10 To prevent overspray, I folded the edges of the stencil up to create a barrier to catch the paint dust, Its very easy to be in the moment of painting only to realize you havea nice'rac ing stripe” of color that ran along the edge of your stencil. Ittakes lot to recover from this, so prefer to take the extra steps to eliminate the stress from my day, TSE STEPS Notice the super clean edge with anice even stipple border STEP 11 Using Wicked Violet | softly established the horizon and the tops of the clouds, staying close to the stencils edge. | also faded the violet down from the top of the sky very lightly. A little goes a long way here STEP9 | sprayed the back ofthe second stencil with adhesive and positioned it onto the shirt. | added alignment markers in the digitizing step that assured l applied each step correctly These markers are critical later when the paint prevents you from seeing through the stenciL There'strulyan art tomaking stencils andl put alot of effort into them because m making stencil designs that wil last for yeas to come. STEP 12 | blended Wicked Fluorescent Raspberry nto the violet above the clouds and faded it up alittle into the sky. [like to use this color to bridge the violet and pink. This also adds alot (of depth to the final image. ! also used this color to trim the sun shape and to establish the smaller traling clouds that intersect with the sun.STEP 13 Switching to Wicked Blue | airbrushed the wave lines starting smaller at the horizon and gradually widening toward the bottom, This gives the illusion of depth and adds a little realism to the scene. Using the same Wicked Blue, faded color from the bottom to establish the sand dunes in the foreground and to lightly blend color into the Violet at the top of the sky. STEP 16 Wicked Fluorescent green was used to filin the water area, | also made sure toleave the ‘area of yellow showing to make the horizon really hot with the suris reflection, STEP 14 Tblended Wicked Fluorescent Pinkinto the low: ‘er sky and around the sun and clouds. | really pound this color into the fabric with multiple passes toreach 100-percent saturation It's im portanttonote that when Iblend these colors, I spray the pink over the raspberry andinto the violet. Thisisan amazing blend that also adds anextralevel of brightness to the final image Be kay [__ 4 STEP 17 Toaddaltlemoreinteresttotheskyladded step clouds tothe upperatmosphereof the scene. For this lused Wicked Blue to make double-ended dagger strokes thatuse the same vanishingppoint for the ilusion of depth, These clouds are some: times difficult to master, but with practice youtl render them without even thinking and they/l alwayslook great STEP 15 For the final sky color I blended Fluorescent Yellow from the upper sky and bridged the blue with the pink. Naturally, where yellow blends with blue, you get green, and where ithits pink you get orange. This finishes the sky and creates a bright, nicely blended sun. set. Also, | added yellow to the area at the horizon line, STEP 18 added sea oats to the sand dune before re- moving the stencil to assure anice clean edge ‘and to look great with the shadows, | used Wicked Black ina sharp flowing dagger motion toachieve anice convincing shape and mimic both sides ofthe designSTEP 19 The design is starting to take shape. The stencil left super clean edges and the colors are vibrant and rich. STEP 22 added a zebra pattern using Wicked Fluores cent Violet to continue the bright, punched-up color scheme, and saturated this area of the stencil by pulling the needle all the way back torelease the mas paint from my Iwata HP-BCS airbrush, Iwas careful notto getthe stencil too wet, and had to make another pass to bring it Upto color without making a mess El En TS STEP 20 Using the stylized palms at the top of the stencil as a guide, | worked the final stencil into place. | was careful not to budge the fab ric for fear of throwing off my stencil align ment. Sometimes, more intricate designs ‘can be tricky to line up, and you may have to try two or three attempts to get it right. However thisis still less work than trying to fix the shirt if you don't take these steps. STEP 23 After saturating the Fluorescent Violet ar brushed a light mist of Wicked Fluorescent Pink over the color to push it toward the brighter side. You can see that | avoided the mess of getting my stencil too wet and having it drip down and bleed underneath. STEP 21 With the stencil inl in place, folded up the edges to black overspray as described earlier. These bends will flatten out over time and require checking and refolding. STEP 24 Without moving the stencil transitioned tothe ;palm treetops in the upper part ofthe Mylar. | left this pat clean by keeping the color on the zebra pattem localized, | outlined the edges (of the palm tops with Wicked Pthalo Green, To further accentuate these, | will fade a little of this green about a third of the way up from the bottom. When doing the fade | willsweep acrossall the palms at once for a more even PART BY PAT GAINES w Before 2007 many Americans lived as though they were high ona financial drug, living well above their means, but the crash arrived for most in early 2008 before people realized they had to stop buying big ticket items, such as cars, homes, and appliances, and even non essential items, if they were ever going to stop the bleeding. ITH ERGUN YASAR, AIRBRUSH ARTIST HOW-TO AND IMAGES Lait AIRBRUSHING | In this six-part series I'll explore ways to counter the effects of this economy and attract customers who seek feel good airbrushed T-shirt and/or custom iazable ancillary product. | will draw from my experience and that of other shirt artists from around the US. and abroad. The following sales-building top: ics will be covered: how to spot new trends, how to target and promote high profit items, the nuances of internet marketing and sales, airbrushing at sporting venues, special events, and parties, booth and event trailer build outs, and more, The ultimate goal of this series is to help you find your path to success air: brushing T-shirts in this new economy.DOWN Gi Australian Airbrush Artist Ergun Yasar, aka JadierOne, plies his trade across Aus- trailia, Ergun’s claim to fame is his wildly Creative airbrushed caps that draw long lines of eager customers. Ergun also offers. airbrushed tattoos. The emerging trend of baseball caps among tweens and teens is a great way to streamline your operation, lower your inventory costs, and add big ger profits Traveling as an airbrush artist normally requires a truckortrallerload of equipment and shirt (all sizes and a few styles) inven tory. But, forthe reasons stated above, you ‘may want to consider airbrushing caps exclusively. Ergun’s shop eliminates the confusion and decision-making issues for customers by virtually specializing in one thing, Selling on average for $30 to $40 cn his quality private-labeled JadierOne brand hat, Ergun has successfully created a market and niche on his own terms, AirbrushTatts'N'Caps, based in Seven Hills, New South Wales (about 25 miles i v from Sydney), isa brick-and-mortar loca- tion that Ergun uses during the week to airbrush hat orders taken at his on-site sales locations and to manage and fill n- ternet orders. On Saturdays and Sundays he works his Parklea Marketplace loca- tion, which is close to home. Parklea ac- counts for about 25% of his yearly income selling on average 60 hats per weekend. Ergun understands well that he must take what he does to the customer. During the Holidays, Ergun commences his traveling season with a two-week Christmas stint in ‘a mall kiosk 700 miles from his Melbourne home. This seasonal setup accounts for 15% of his yearly income. Australia has their version of state fairs, known as Royal Shows, that are as large as the largest U.S. state fair. Royal Shows feature rides, food concessions, and over 1500 vendors in trade show pavilions selling nearly every retail offering known to man, Ergun patticipatesin three Royal Shows per year. The largest is Aprils Easter Royal Show in Sydney. This mega 14 -day event Isheld at Homebush Stadium, home of the 2000 Summer Olympics. Ata typical Royal Show orders begin at 9 am.and are quickly booked solid for noon pick-up. All orders taken after noon are shipped within three weeks ofthe event. The booth closes at 8 pm. Ergun books an astounding 1,000 hat orders at a Royal Show, mailing about half of them. The Adelaide Royal Show is in Septem: ber followed by Perth (a five-hour flight from New South Wales) in October. Royal Show sales account for up to 40% of his annual business with airbrushed tattoos rounding out the final 10%. Ergun places heavy importance on dis play and cleanliness, as evidenced by his 2011 and 2012 Best Looking Booth awards against afield of 1500 vendors. Also, internet sales (10% of revenue) are a big part of maximizing participa- tion at these large shows as much effort is invested into customer networking No stone is left unturned to realize the highest profit possible for the investment. Mr. Yasar understands well that in this new economy an airbrush artist must leave his comfort zone to keep the income flowing. For Ergun it’s all about working hard at multiple venues, traveling coast: to-coast, and doing what's necessary to make a living mining gold down under. “TRAVELING AS AN AIRBRUSH ARTIST NORMALLY REQUIRES A TRUCK/TRAILER LOAD OF EQUIPMENT AS WELL AS LOADS OF INVENTORY.STEP 1 I masked the hat (using a double thick ness of tape to protect the fabric) along the upper seam with automotive mask ing tape, STEP 2 | freehand-airbrushed the center area of thehat with Rush Air Hot Pink, and covered the remaining area of the hat with Neon Blue. The blue covered any overspray left by the Hot Pink STEP3 With the airbrush, | sketched the outline for"Cutie" (| used the JadierOne font) from the top down STEP 4 Using Rush Air Galaxy Black, I further de~ fined the lettering outline and added drop shadows. STEP 5a Alight drop shadow was added to the let tering for greater dimension, STEP 5b Detail of Ergun’s original Gapfiller Swirl StencilThe Gapfiller Swirl Stencil was used to fill the outer areas of the design to add to the overall balance of the graphic. Then, scrolls were added to complete the design. Each hat is different and every lettering combination requires varying amounts of balance and finishing touch es, Freehand embellishments such as dots and splatters, and/or stencil adornments (honeycombs, flowers, city scapes, etc) are added to enhance most of the designs at Airbrush Tatts’N"Hats. Although these spe cial extra touches are relatively simple, they are nonetheless very effectivein achieving 2 fantastic original look. Rush Air White was applied in three coats to outline and dramatize the let ters’ shapes, and to help increase the leg ibility of the font. Other areas received white to add to the wow factor of the overall design, Yasar’s award-winning booth design at the Adelaide, Australia, Royal Show. EZ= 5 & $ > az os 33 <6 Ou ge ae zs 3 =so) Detail of the original “JadierOne” alphabet. Pat Gaines began his T-shirt airbrush ing career in 1976 along the North Florida Panhandle of Panama City Beach. For 12 years, Pat, along with several other artists, were responsible for making this area the center for T- shirt airbrushing in the U.S. In 1987 Pat launched West Coast Airbrush, a chain of stores in shopping malls in five mid-western states and Arizona, Atany given time, between 10 and 17 shops were in operation, managed by Pat and associate airbrush artists and owners that read like a who's who of airbrushing, including Tom Davison, Wea ter JV Terty Hill, Mickey Harris, among many others. West Coast Airbrush also of- fered airbrush training material and consultation to artists from around the world for over 20 years. Mr, Gaines has penned over 30 articles on the busi ness of T-shirt airbrushing, appearing in Airbrush Action and the imprinted sportswear trade journals Impressions, The Press, and Shirts lustrated. In 2013 Pat returned to Panama City Beach to partner with past airbrush associate Mark Rush and lead the expansion of the successful Walmart-based Big Air: brush store. The Web's largest selection of streaming airbrush content! DVT UNUM Cates Colne UI CUT LL short COUR Ue URGE mca ee a esto ieee wooo de Tae eyStarting att bottom. nter of the design applied the color fr BRUSH BLENDED SPEAR design like this would work well on the hood ofa car, or ona format, such as. the cowl of a drag you can morph other design shapes and colors from this foundation into outstanding graphics that your clients will love. Needless to say, ions are endless. ind | paletted One Shot Chromé Yellow lettering enamel with a used fine line tape to establish #7 Langnickel lettering quill the Initial design I {ded One Shot Orange to the Chrome Yellow that was on the brush, and painted the outer edgesth blended that into the ora Shot Fire Red for a darker orange, and painted the oute! e yeintothe orang lending techniqueOy With the red/orange on the brus the techniqu Step small amount of Dark Blue on the half of the brush’ tip to create the sh Using a #5 Langnickel quill added white to one side of the tip ofthe orange on the brush, blended it on the palette, and started the sprint graphic. This procedure requires reloading and re-tipping the brushes at varying int depending upon the length of the lineUsing the same brush and straight white applied hot spots cent the highlight 12 #3 LangnickeANIMAL PRINTS FOR YOUR PINSTRIPING NEEDS 1.517.849.9272 TAKE A LOOK AT OUR WEBSITE = FORADISTRIBUTOR NEAR YOU! WWW.MACKBRUSH.COM INFO@MACKBRUSH.COM(CHEAP TRICKS ‘AND SPECIAL F/X By Crag Fraser he most comprehensive howto handbook on automo- tive airbrushing and kustom graphics. Kustom master Craig Fraser leads you on a journey to kar kustom nirvana with a book that has quickly become an industry standard BCFO99 - $34.95 HOWTO DRAW CARS UKE A PRO HOW TO DRAW CARS LUKE A PRO #BHT1O7 - $21.95 THE ART OF SCOTT JACOBS: THE COMPLETE WORKS Photorealstc paintings of ley Davidson motorcyces, Wine & Spins, Conetts, and more all on canvas. +#88J002 - $39.95, AUTOMOTIVE CHEAP TRICKS AND SPECIAL F/X By Craig Fraser The ultimate book of automo: te custom painting. Learn How to Paint Cars, Trucs, Motoreyces, Musical Instr: ments, Surfboards, and RC Cars. An awesome compl tion of step-by-step instruc: jn! 212 pages. BCFO10 - $34.95 HOW TO DRAW. 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