LEARN HOW TO AIRBRUSH IN ORLANDO! | P| BRUSH DETAILS! os PAGE 45 ete gt et PASTRANA' by Vv 2 VY y, ‘ole S UTE Saas ey bat) aN On GUITAR Sa] SIMON wh MAGiG Iota NTA Eero) TRI WL JATTERY DET cca)BECOME A BETTER ARTIST IN 4 DAYS... GUARANTEED eens Have you been feeling frustrated about your artistic growth? Do you feel that your artistic career isn't moving forward fast enough? Would you like to see immediate visible Tuy Te a el el ae The Blair School of Art offers the most advanced and comprehensive hands-on training on the planet. The world’s best airbrush instructors train with us, but we cater to all expe- rience levels. When you are ready to change your game, give use a Call, or visit us on the web. Remember, there is no substitute for hands-on training. MAMA OCC e reesei Blair School of Art * 4935 Buckhead Road « Blair» SC + 29015 * 803-635-8060J SPARMAX aean avoen The New /ARISM MINI www.SPARMAXair.com compressors & airbrushesUe PN? Te ey 45. Getaway Info CMa 60, Back Iss PD CUS g com AIRBRUSH ACTION Ca tarerts EL MASTER By Alan Pastrana Alan Pastrana hits another iconic and hilarious portrait out ofthe park with his incredible rendition of another airbrush great, Gerald Mendez. Commissioned by Iwata for display intheir 1970s-themed SEMA 2014 booth this past November, we're proud to offer this ex- ‘lusive and very groovy step-by-step, Pastrana:"When I think of Gerald Mendez, words like respect, admiration, seniority, knowledge, wisdom, craftsmanship, and perfection come to ‘mind. While felt honored to take on this task, with the privilege came enormous pressure. knew thad to deliver the goods: 18, JASON OBERLY’S JOHNNY CASH GUITAR Las Vegas's Jason Oberly has over 20 years of experience custom painting with an airbrush, specializing in celebrities and musicians’ portraits on guitars, drums, canvas, and any other surface he can find, n this step-by-step, Jason demonstrates why he is clearly one ofthe best in the business! 20. FLOWER POWERED SUGAR SKULL BUG PART II 8y Simon Murray In Partilof this epic step-by-step, loaded with top tricks andtips, including advanced use of Cre ‘atex Colors, Simon Murray shares how he painted, in magnificent form, a vintage Volkswagon Beetle."When someone brings you a 1969 VW Beetle show car and tells you to do whatever ‘you want, well, how could I resist" 30, PIRATE TRIPTYCH: /T ALL STARTED WITH A FISH By Rod Fuchs "You never know where a sketch can lead and I'm constantly telling people how essential developing drawing sls can be for ay atist, airbrush or otherwise. This project isa perfect ‘example of how something as simpleas a quick goldfish sketch (done while watching TV one night) would later become the seed that grows into an entire painting’ 52. PARADISE ON AT-SHIRT PARTI 8y Pat Gaines & Mark Rush Finding “paradise” alrbrushed on a Fshirt along North Floridas Gul Coast, or for that matter anywhere along the Eastern seaboard ofthe United States, sa pretty easy task. Countless ai brush artists ply the trade in more than 50 resort towns catering tothe milions of tourists who flock to these shores. For 40 years or more, the atbrushed T-shirt has been a staple souvenir remind vacationers of laid-back days atthe beachtonts they love so much, 62. 2015 COMPRESSOR BUYER'S GUIDE By Pete Johnson Discover how to successfully match your application to its rightful ar source in this excellent primer and guide to the often bewildering world of compressors, 66. THE NAMM SHOW \Witha burst of innovation rom new companies and products and the renassance of handcrafted, traditional instruments, NAMM members from around the world came together in record numbers toprove ance again that musics the original social network. Asthe music products industry returns home to 100 countries worldwide, they left the 2015 NAMM Show empowered with fresh ideas and products to amplify the power of musi. Held January 22-25, 2015, in Anaheim, California, Clif Stieglitz, Airbrush Action’ publisher, attended NAMIM forthe fist time to explore and photograph the world of custom painted instruments, and he was not disappointed. 76. FIRE HYDRANT RESCUE PART II By Chris Johnson In Parti, Chris Johnson completes his conversion of aire hydrantinto the coolest conversation piece table with the use of grinding, spraying, plotter use, and more. ssBee CS ce atu Budi) without grainy overspra! + Durable and lightfast perfect for use as automotiv; + Ready to spray out of Aro) + May be reduced in any ratio for | + Highest performing white PL Ie]AIRBRUSH ACTION FOR SERIOUS AIRHEADS DON'T MISS A SINGLE ISSUE! SUBSCRIBE TODAY AND SAVE! Pa eee gad en ete ene hia tole a danaker aia aces at retianid Deer aa mea SR iene een eae cat et hee cry ple Yat se)e) Aca Ca Ree ere ESL)CTC ae me ey el GRAND OPENING Brae eT Mall ad WORKSHOPS! LIVE PAINTING! 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Suited for small, ow pressure applications, the lwata Freestyle Air can work standing upright or lying on its side! Driven by a desire to bring innovative, quality products toart ists, Anest hwata-Medeais the leader n high quality airbrush prod Luts, including the hugely popular Iwata Eclipse Series abrushes and the newer, value-priced NEO for iwata Series airbrushes. The Iwata Freestyle Air Battery Compressor will be available in April 2015 at your favorite Iwata dealer. 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One of Jason's greatest passions is helping clients and charities raise money for great and deserving causes. Lairbrushed the base of the portrait with a ‘grey mid tone mix.STEP2 Then, | began Hok base coat STEP 4 I continued this pro adding more textu brush to lay in all n Kustom Micron t o shape an detail with an swith multiple layers, seal my white detail, and the pray reduced blacks. lue with over-re- duced HoK black base: STEPS reduced blacks give me different which to build depth. Some of the instruments Jason has painted Nell, Angu: eline Dion, Tim Megrav as, Zakk Wylde, Ozzy Os Buckcherry, Paul, Jason Hook, Coffin C ghters, including Frank feature Sammy Hagar, rious MM) Cre ey Creer eenFLOWER-POWERED eee Tr aSTEP 87 made lilac with white and purple. STEP 90 Progress with the llac-black mix. STEP 93 T continued adding shadows with reduced ‘Smoke Black STEP 88 [finished the basic form with Transparent Smoke Black, un-reduced. STEP 91 T came in with my second skin tone. Here, | Used the backing of the previously cut fisket forspeed STEP 89 | mixed the Transparent Smoke Black with a little ofthe lilacand added about 30% trans parent base tomakeit more forgiving. Then, lused my 8-Fast freestyle 1 stencil for the jaw line. STEP 92 Ire-applied the boot id to complete her hait with un-reduced transparent blackand white, STEP 94 Here, | added dimension to theteeth, es]STEP 95 Istarted adding a few highlights with trans parent white reduced one-to-one. STEP 98 Next, lused transparent Red Oxide, reduced ‘one-to-one, and some transparent base to hold things together. | also used a heavily reduced Smoke Black, STEP 101 The eyes completed. STEP 96 Progressing with Smoke Black. STEP 99 Tused a mix of red and white for the edge of the eyes. STEP 102 After completing the eyes, Inearly always come backa little hotter on my surrounding highlights. STEP 97 began the eyes with transparent yellow. You canmake the eyesas complicated as you wish, but I prefer to keep things simple. e © STEP 100 Tused the one-to-one transparent white to finish the eyes. STEP 103 ‘The girlabove was painted exactly the same way. (You can see now why it would be ill advised to project directly onto the car as the image would distort beyond recognitionSTEP 104 Progress with white STEP 107 | applied the positive stencil for the next sugar skull giel and started painting the background. | sprayed the sky using semi: ‘opaque white with some purple. As before, used semi-opaques at this stage because | didn't want any metallics to shine through. STEP 110 Here, l applied some transparent red violet. STEP 105 Second girl completed, STEP 108 When working on a larger scaleit's very im- portant to use a tack rag between coats to ‘minimize overspray. STEP 111 With amixture of yellow and white! mapped ‘out more clouds and the moon, STEP 106 With the rear of the car pretty much complete | was teady to start the sides, STEP 109 I began to form the clouds using midnight blue reduced 40% STEP 112 Tback-masked the sky.STEP 113 began to spray the mid-tone for what willbe the seawithan Anest-wata LPH-80 (0.8mm) spray gun. STEP 116 I cut the Spanish ship out of frisket film. Al though | want the negative (outer) stencil | always apply the positive frst That way can easily move it if needed. STEP 114 Tprogressed with a mixoftransparent smoke black with afew drops of purple. STEP 117 Happy with the positioning, | applied the negative stencil and sprayed it with semi- ‘opaque black Ei Evga Eee STEP 115 added some initial highlights using transpar- tent white with afew drops of yellow. White nits own would be too harsh, STEP 118 Aslworked down the ship switched totrans: parent black to achieve a softer look. STEP 119 lincreased the highlights particulary on the right-hand side and also on the ship's masts. STEP 120 Using French curves and an Edding 8404 marker, | drew the rigging and the ropes. This marker is solvent-proof and won't fade in sunlight. STEP 121 The completed background.STEP 122 In preparation to paint the git, | loosely ‘masked around her face. STEP 125 [painted the neckline with un-reduced Trans- parent Tan. STEP 128 Using semi-opaque black reduced 15% with 4012 reduces, began to map out the hat. STEP 123 | flood-filed with semi-opaque white. STEP 126 To keep her the girl looking morbid, | kept her skin tones very cold STEP 129 Thehairwas not complete at this stage, but to keep my momentum | cut out her flower. STEP 124 | applied the positive face stencil to progress the neckline STEP 127 With all the stencils removed could see the overall shape of her hair, tc. STEP 130 Treverse-masked the area and dry-sanded with 400-grt sandpaper to remove the slight edge that developed,> STEP1 ‘Asmentioned the sketch that instigated ths painting wasmnothing more thana quick, stylized goldfish bottom let) drawing one evening. After thinking a littleabout where and howit could befurther developed into a design, the idea of incorporating the fish into larger pirate themed design came to mind, As quickly sketched a pretty aggressive skull design (top right, it occurred to me that it might be more interesting tomake itook almost asf the viewer were peering into an aquarium. The additional challenge of transitioning thisprojectintoa triptychalso came tomind hereSTEP 2 The design was then developed from the sketch and aid out directly contoa masonite panel. Although completely redrawing the design isfar from efficient, what it lacks in speed is made up for in compo- sitional strength. The lionfsh, additional goldfish, octopus, and ee! ‘were incorporated for balance and dimension around the border were added for added depth. The Umber over the white establishes the mid range, warmer bone’ tones and itwasimportantto carry this throughout the enticety of the pirate. This allowed me to add afew drops of Ilustration Sepia into the Umber and start picking out details and shadows that required more definition. This also works as a nice color mix for the pirate's beard. At this point, any remaining pencil ines were obscured and, covered by the paint. STEP6 Using a traditional paintbrush gives a much bolder look and will hopefully add a little contrast and separation from the more subtle airbrushed color fades on the pirate’s face and clothes. Using my Tidwell Stubby go-to liner brush by Mack, defined the scales using illustration Burnt Umber directly from the bottle in a similar manner to how sepia was used to develop the skull earlier (I was careful not to ust simply outline everything) STEP 3 Extra pentil lines were cleaned up and it was time to paint. Using the drawing as a guide for my starting point sa fun and fluid part of, the painting. It can also bolster any initial trepidation when under- taking a somewhat large-scale project such as this. Because it’s an underwater scene, a cooler color palette will ultimately dominate the painting. However, m especially mindful of the areas Id like to draw attention to that feature warmer tones. With my skeletal pirate being the star of the show, started with him using a slightly reduced, Createxillustration Burnt Umber and an Iwata Custom Micron airbrush, STEPS approached the golafish in much the same manner as the skull Initially. They willbe the other warm-toned element in the cooler overall surrounding area, but in this case Burnt Sienna was used to establish the mid tone. I do remain mindful of the overspray and do my best not to just hose a color wash over the entire area but alsostill have the benefit, at this stage, of being able totighten the areas immediately surrounding the fish with an eraser if necessary. EeSTEP7 [attacked the lionfish in much the same manner, but lused Sienna i with a few drops of violet and sepia ( typically mix directly in my cup) I followed the pencil drawing quite closely, but allowed the overspray to tint the surrounding areas within the fish. An eraser stick will quickly clean up the areas where I don't want overspray. The paintbrush was used again to strengthen the bolder ines as 'd done before with the goldfish —— ee STEPS | mixed Cobalt Blue with a few drops of black for the cooler freehand shading on the lionfsh, and to sink him backa litle further into the painting, This fish is abold element of the composition and | very ‘much ike how he anchors the design at the bottom there. But, also don’t want him to compete with the pirate skull, the main focal point ofthe design. This cobalt mixcan also be used to freehand the pirate 2 hat. The red of the feather and bandana were airbrushed so that any BP we overspray could easly be erased if necessary. reo} ee WE , 4 ‘A.50-50 Umber Sepia mix was used for roughing in the vest, and then straight umber was airbrushed over the white of the panel to achieve anice golden tint to the hat rim, vest fringe, and octopus. STEP 10 used the Cobalt Blue/Black mix for the eel. After airbrushing details ofthe basic body form, ladded the texture. Here, as often happens with my projects, I turned to my Artool Texture FXstencil This invaluable tool quickly added an organic look to the eel STEP 11 With the texture added, it makes filing out the est of the body details that much easier. You can just pick and choose which areas of the ‘body to.emphasize and either erase highlights n or even brush them ‘on with awhite, Some of the distinct advantages of using Createx’s ilustrationlineeally ame into play here. Notonly doesit erase easly but it also re-wets when applied over, allowing the colors to blend (especialy when applying with a paintbrush). So, adding highlights and details with a white is much less pronounced or as harsh as it ‘would be'fit didn’t mix into the underlying paint alittle ast dried,shat ee STEP 12 The kelp forest element plays more of a supporting, composi: tional role than anything else. That's not to say it doesn’t war- rant proper attention and consideration, butit can be roughed/ brushed in relatively quickly with a Moss Green-Veridian mix. Veridian and Cerulean blue was airbrushed to tint the kelp and the surrounding areas to really establish the cooler overall look and underwater appearance STEP 14 Gotta love them bubbles!! Ahomemade stencil was used to spray in bubbles with white. The only real rule heres tokeep the overall flow and consistency in mind. There can be exceptions and occasional stray bubbles, but generally speaking, they typically low together and always up toward the surface. A few layers were added while maintaining a consistent diagonal dtection throughout, STEP 13 The treasure chest was initially just a background, composi- tional element toil the space, but with everything else coming together it required additional attention. Adding some wood grain, cracks, and details addressed this nicely. STEP 15 Finishing touches were added by airbrushing a cobalt blue to shade the interior of each bubble, followed by thin outlines of white. Some added highlights completed the look. Yes, it can be alittle tedious to tend to each and every bubble but the result isa dramatic, almost living/moving compositional element that, just brings the painting to life. With overall touch-ups and final shading completed, she's ready for clearcoating. Now I've just gotta figure out how I'm gonna frame this thing, Hmmmm.ULC e. or the past four years I've had the privilege of partici- Po RE Mt co eee ee ua) Cee Me aaa ue ee eest a CeCe eae eeu ce Ce cea) paint highly creative portraits of one another. In the very first year of this endeavor | was asked to paint a caricature of an See Ue een eR eee ae often referred toas the “clown prince of airbrushing,” Javier Soto. Deca ace the other participating artists, and the project sponsor. It was ee eR oe eee es eg ee sad ‘matter and its backstory. It received so much attention at the Pe eee eco E seaeeareaD Action to investigate the story behind the portrait, landing Deca eae nee Cnc apes ttc POP a ee ee ec Re SMa uet ac For the SEMA 2014 show this past No: vember, the theme of the lwata project was “The Seventies.” Each artist was to paint a portrait of a fellow artist ina 1970s ‘motif. couldn't help but think to myself How exciting is that?” In past years, artists have been given their assignments anonymously. This time, to my surprise, one of the artist- | Gerald, like me, is from Me subjects specifically that Ibe | wanted to include some Latino flavor in assigned to paint his portrait. This gifted | his portrait. As a music lover, and remarkable man, whom|'ve al favorite genres of Hispanic music Some of the best salsa music came from dignified, and talented artists that I've | the 1970s, and one of th ever had the good fortune to meet. He is | icons of the era was Hector Lavoe, consid the master himself, Mr. Gerald Mendez. | ered by many fans to be the best v. of al time, He is a legend throughout the kn Hispanic communit wisdom, craftsmanship, and perfec The cover ofthe classic album “El Can. felt honored to singer") depict '34 | AIRBRUSH ACTION | MARCH-APRIL 2015 wearing his trademark sunglasses. Lavoe was truly a master of his craft, just as Ger- aldis a master of his own realm. decide that this would be my theme. | would cre. ersion of Lavoe's album cover, ‘my own unique twist to it. jured an Afro with the sunglasse: e appropriate for our 1970s theme, It was a big risk, though; the hairstyle could cover up Gerald's features if| wasn't Id bea big hitif could pull it off To begin, | prepared a 12-by-18-inch white aluminum sign blank by scuffing itwith a red Scotch-Brite pad, then gath: ered together the photographic refer needed.STEP1 I started out with arough pencil sketch. This helped me get a feel for the subject while ‘adding my own exaggerations and style. | ‘contemplated going extreme with my exag- Cheryl Vaughn SEMINAR COST $150 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 SEMINAR COST *150 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 Say COST *150 seater1 Day Classes tocerions, oares, ano tines: Prenat ry CeCe Ory q Cae treet) ony) eee Soe ‘CLASSES AND INSTRUCTORS ARE SUBJECT TO CHANGE INTRO TO AUTOMOTIVE GRAPHICS Nea cy This excellent primer for the four-day course is designed for beginning and intermediate kustom painters. You'll learn the basics of graphics, types of airbrushes and paints, safety issues, and much more. Hands-on projects include basic layout, mask- ing, how to transfer designs, faux fin- ishes, special f/x, and materials. Skill level: Beginner to intermediate Instructors: Terry Hill Jason Brookshire SHIRT LETTERING BOOT CAMP Naan) Lettering is the bread and butter of Tshirt airbrushing, and if you master this aspect of the business you'll add, literally, thou: sands of dollars to your bottom line annu: ally. T-Shirt Lettering Boot Camp will teach, hands-on, the most popular fonts and their alphabets (script, block, bubble, print, old English, graffiti, and scratch), and the painting of multiple name de- signs in various forms, colors, and de- signs. Gary Worthington, one of the world’s best Tshirt artists, teaches techni cal proficiency, the importance of letter: ing, how to determine and develop de: signs that sell, pro stencil tips and tricks, how to work with Createx Colors, and much more, Skill Level: Beginner to advanced Instructor: Gary Worthington EGRET 81 Key EGRET 81 ky A GB aa ts INTRO TO POWER PORTRAITS ONE-DAY CLASS Learn the basics of airbrushing with a special focus on portraiture. n this hands-on work: ‘shop you'l earn and practice various special ized exercises that will help elevate your skill level as it applies to portraiture or any other subject that may require freehand airbrush control. Topics covered include: tools and equipment, image transferring methods, basic airbrush techniques, freehand control, basic shading, basic textures, and more. Note: Due tothe intermediate to advanced nature of the fourday Power Portraits class, i's required that Intro students be able to demon: strate a solid foundation of freehand airbrush skill before graduating to Power Portraits. Skill level: Beginner Instructors: Javier Soto Troy Pierce ES Z 7 i ? FBS =OAIRBRUSH GETAWAY HANDS-ON WORKSHOP ACHIEVING LAr leVKO) see Eh This highly intensive course reveals the se crets of painting photorealistic fire, ce, metal, Water, glass, fur flesh tones, and many other subjects that often challenge artists. Students will learn to quickly match colors with extreme ‘accuracy and precision. The color theory taught in Achieving Photorealism isn no way limited to jut airbrushing: it crosses over to ‘every aspect of lite where choosing and/or ‘manipulating color is important. You'll also learn: Mastering color through the application of Dru Blair's Color Butter Theory Transparent vs opaque techniques. + Understanding white and the impact it has ‘on your images. + Dru's 8 ues of photorealism. + The 12.point photorealism checklist. + How to really understand light How to survive catastrophic painting errors. How to develop observation techniques that allow you to expand your visual discrimination, ‘And more! 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ASS ms) ed el ae ee SIGN-UP FOR 3 AND SAVE 350 OGL wey tte) a) ete CREATING AIBC 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, rrasal 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 ecole Ae) ame Gps =mby WV Ol FSS. ates ee eee Cage LILN CCC ee) AIRBRUSH MASTERY, rel Sor \cony 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 all airbrush applications, including automotive custom painting, T-shirt 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 a 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 Cheryl Vaughn aes ain ony) oc SS) TO CHAI AUTOMOTIVE CHEAP: TRICKS & SPECIAL F/X oll Soran} This 4-day hands-on workshop teach: €s 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 technique: 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 schoo! 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 VE) Band (aR as Cd PLOTTER MASTERY It you own a plotter and you're not get ting all you can out of your investment, ‘oF wish to learn how to integrate a plot ter into your workllow, this course is for you. The plotter has quickly become an integral tool with all forms of airbrush: ing for achieving a product with afin ished, high quality ook. Geared for be- ginning and advanced plotter users, youl learn how to convert your ideas from paper to digital form with the latest design programs, and how to in crease your productivity and quality using the hottest ploter techniques and uses for todays custom paint market. You'll also lear: «Vector Basics + Repeating Patterns « Mullayer Masking * Transfer & Applicaton + Lettering without the pan «How to make the ploter look disappear Skill Level: Beginner to advanced Instructor: Chris Johnson EEE sate TEat arg HANDS-ON WORKSHOP AUTONIOTIVE MURALS) ON|STEEI Murals on Steolis the hottest and most ratve of kustom appications. Conducted by worldfamous custom masters, this cass wil teach you the top pro tricks fr creating high impact images on hard surfaces. This hands ‘on course raises the bar for serious artists seeking the next evel in custom excellence and mastery of color. As a bonus, business aspects, client consuitatons, pricing, and more ae addressed. ‘Aso, yu vil be introduced to a system to help you identity problems in your ar. Being your own educated crite allows you to progress faster as an aris. Please bring photos of your work, and mutt photos of mages that you woud ike to ait for your nal project. PREREQUISITE: Beginners must take the Day intro to Murals class. Skill Level: Beginner to advanced Instructor: >> Jonathan Pantaleon *575 Sa COST ME - ‘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 will hare his techniques and approach to rendering portraits with astonishing results This groundbreaking course is suggested for intermeciate 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 ofan opaque projector, the grid ‘method, use of stencils, color theory for ac Curate color mixing, painting techniques, hhow to achive texture and detail using scratching and erasing, airbrush control and ‘maintenance, how to troubleshoot tip dry, blowouts, siping. and clogs, top pro tricks ‘and special effects, how to render a portrait in two hours, traditional realistic portraits for muttiple surfaces, and much more! Skill Level: Intermediate to advanced Instructors: >» Javier Soto > Troy Pierce *575 Sa COST Oe ml ee >») > De reef et et eel et SIGN-UP FOR BOTH A 1-DAY & A 4-1 AND SAVE 550) ee aoa ime ete Lowrider Graphics exposes stu dents to the operation and use of small and full-size spray guns to create traditional and advanced custom painting techniques. Students will complete projects that involve masking, fading, marbleizing, texturing, color blend ing, old-school-style Lowrider tape fades, taped and blended flames, and many other effects. Finishes will include undercoats, kandies, pearls, flakes, striping, and even clearcoats, to create the stunning optical effects unique to large-scale projects. Skill Level Intermediate to advanced Instructor: >> Steve DeMan Sa COST *575 > @ ae &s abye Fetes ns Ce ote era) Pe ce cara oy Prenat ee) 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! éost *575 a Phe ee) eae Ss WWW.AIRBRUSHACTION.COM PINSTRIFING & LETTERING MASTERY. eS BS 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 éost °575 Cesrlay AIRBRUSHING 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 in all areas, this class lets you work at your own pace. You'll also learn: * Designs that sel icing guidelines, + Professional lettering and stenciling + The business side of Tshirt airbrushing, + Custom portraiture, cas, logos. + Shortcuts for fast turnaround & high volume. Skill Level: Beginner to advanced Instructors: >» Gary Worthington > Cheryl Vaughn éost °575 & @ ar &-TACTICS By Pat Gaines nding paradise airbrushed on a T-shirt along North Florida's Gulf Coast, or for that matter anywhere along the Eastern seaboard of the United States, is a pretty easy task. Countless airbrus Ree ee ee Cen years or more, the airbrushed T-shirt has been a staple red on T-shirts through all these decades h artists ply the mae For ouvenir to remind vacationers of laid-back days Pa ere ueu| Pee ee nany beach scenes have been airbrushed Den eet ae? Among the first to airbrush a beach | fist airbrush, asingle-action Bin Pee eee ee ee Mark was a standout surfer ae eee eee eon nes oe nen ee Pee cae ee ee ee ae ee cay Ten Per Bee ee ea oe) Deo Inspited by”Big Daddy’ Mark scrounged | Mark’ stenciling technique was born, He together enough pennies to purchase his | soon found that stencils were atremen eta a natural prog Teen eee eeu jous |__ As Mark's family and friends became Ee ee eyaware of what he was up ton the garage, he began to get requests for his T-shirt beach scenes. It wasnt long before he was carry- ing a photo album to high schoo! to offer his beach scene items to a larger audience. Fort Walton Beach was soon buzzing about this surfer kid who was airbrushing beautiful beach scenes on jackets, T-shirts, its dresses, surfboards, vans, and anything that would stand still long enough. By the time Mark was a high school se rior he ‘enough money from hi ita regular job. Knowing that Fort Walton Beach was an up-and-coming resort tow he decided to give the tourist reall trade a try. In 1971, Mark became the fist airbru artist along the*Miracle Strip" of Fort Walton Beach, setting up shop in Tiger's T-Shirts. This ‘was the beginning of aibrushing along the North Florida Panhandle, the Mecca of shirt airbrushing ov decades. Today, Mark Rush owns and operates Big Airbrush, a group of three airbrush shops located at Walmart stores in Panam: Beach, Florida. Big Airbrush st standard for airbrushing in this part of the considering how he could earn jtbrushing to make the next fe “VIN 2014, HIGH-END PRODUCTION BEACH SCENERY ITEMS DID WELL. THESE LARGE $25-$35 DESIGNS HAVE BEEN VERY POPULAR WITH TOURISTS.” country, Painting thousands and thousands of T-shirts, hats, beach t blankitems from the shelves of Walmart each Big Airbrush—with more than 25 y inthe business—has been the go-to shop for tourists over To manage the huge sales generated by Big Airbrush, Markhas assembled a team of 10 with a combined 200 Each Big Airbrush shop boasts some 800 designs on a 70-foot-long by 20-oot-tall display wall. Many of them are ‘the popular beach scene themes that tourists love so much, Some ofthe original 1971 beach scenery pieces from Mark's Fort Walton Beach vels, and other Oe eee boot) shop still grace the walls today. These classics continue to sell more than 40 years ater. new tour on begins, Big Airbrush’ artists are tasked to come up with a new selection of hot-selling cluding designs, in ations ofthe classic beach ig Airbrush artists are always on th lookout for popular patterns and trendy col orsin fashion and industry. To bea success in an airbrushing-heavy town like Panama City Beach, ashop. cutting edge of popularity. For Big Airbrush, this means that about 100 of the designs on display are swapped out completely or re as design trends change and popular themes comeand go. t's alot of work, but avoiding it would spell sure failure after afew years of procrastination. Current designs for the 2015 isplay must always be on the clude several pieces sporting trendy’ patterns that the Big Airbrush artists hope willbe big sellers. n 2014, high-end produc tion beach scenery items did well. These 5-535 designs have been very popula tourists. Ten of them are now part ofthe Big Airbrush display in 2015, offering the ultimate Paradise on a Tshirt" experie Seen)Mark Rush laid out the designs forhis Splatter beach scenery stencils. | He uses aCO2 laser cutter to shape his 10-millimeter Dura-Lar stencil ina vectoring program on the computer. ‘material into the desired forms. Mark used two stencils to create ths piece. Part 1 of the design, the | Here's close look at Part 2, the detail stencil Splatter stencil is affixed to a shirt with spray adhesive. To assure ‘complete adhesion, Mark uses an ink roller to apply even pressure along the edges and small openings in the stencil i Markapplied the detallstencil over the Splatterstenciland was ready | He started with the detail ofa wave, using light blue paint, followed to begin painting. by hot green. Pa eeeHe faded dark purple in from the sides, using a straightedge to cre ate the horizon line. le "ay ‘Mark continued to paint dark purple around the outer perimeter of, the stencil He flipped the Part 2 stencil upside down to access its negative cloud portion. Once again, the stencil was affixed to the shirt, with the cloud just above the horizon line, Dark purple was then added todefine the edges ofthe clouds, with light blue used to help shape the cloud forms. Mark flipped the Part 2 stencil right side up to access the positive portion of the stencil, He affixed it to the shir on the leading edge left from airbrushing the negative cloud, ‘Asmall plastic cup served as a stencil forthe setting sun shape. Mark airbrushed hot pink paint around the cup and along the leading edge of the positive cloud stencil ‘Yow abe He continued the hot pink around the upper portion of the Part 1 Splatter stencil and detailed small freehand clouds coming in from the edges of the design.Mark airbrushed hot yellow in the sky area above and around the sun. He removed the Part 2 stencil Now he repositioned the Part 2 stencil to use its detailed functions, such as the dolphin, ship, and palm tree island. He airbrushed the ship and palm tree island using black Poa Mark performed the detail airbrushing of the dolphin using light, and dark blue He added detail on the wave crest using opaque whiteHe removed the Part 1 stencil Mark repositioned the Part 1 stencil down and to the left, to apply ‘drop shadow. He used hot violet to airbrush a drop shadow through the splatter effect holes ofthe stencil Finally he removed the Part 1 stencil ‘The basic splatter design was complete, ‘Mark airbrushed a one-stroke script name in dark purple to finish,AE TH TH at SCR New “low end” custom beach scene items, all priced at $25 to $35. ‘These semi-custom, high laces did very well a Big Abrus stores during 2014, ‘Artwork by Martin Figs, al Lncln Poole andPat Gaines d ee f 1 : ( Airbrushed sand dollars I These were abig seller during the tourist season. Artworkby Greg Murphy. New “standard production” beach scene designs in the $18 to $22 price range aeAdditional “low end” custom beach scene items, priced at $25 to $35. “Artwork by Martin Figlns ar Lincoln Pook and Pa Goines New “high end” custom beach scene T-shirts. Prices range between $50 and $80 1 Depending on the detail and what the customer wishes to spend on the“ultimate paradise ona T-shirt” design, the skys the limit for apiece of wearable art. Artwork by Martin Figlinsh. 1 Lining up beach scene designs, assembly-tine style at Big Airbrush with airbrush artist Pat Gaines. MARK RUSH, ovner PAT GAINES, has of8ig Abrushinc, penned over 30 withthreeshops articles on the located in WalmartSu- business of Tshirt perCentersin Panama airbrushing, and in iy Beach Florida, 2013 he returned to Panama City Beach toppartner with past associate Mark Rush, Serr)INTRODUCTION Looking at a matrix of compressors an ther attributes on a printed e challenging. When | bought my first compressor, | had lion articles (this was pre Internet) but ended up calling 2 le retailer and saying, “Help!” My needs were easy to di: agnose and | got a compressor. A few years later, | Bought another With special gear, you tend to trade up as you know more, of because your business grows, or both Yo Frm talking about. my not here to push one product or another, but rath d viewpoints that touch on compressors in general as well pecific models. You may like others; wr present tellus why. Also, some disclosure here, | own a Silentaire TC-30. It's a portable and-piston compressor that fils a small r an aut had a Silentaire 20 that was @ Used the daylghts out of it, never had ai other, who happily uses it to paint w ke du He's pushing thinned oil paints witht, ‘add, But my TC-30 ts perfect to take with me to do detail work on hing from leather to metal or the occasional small mural. In my 00k, the money you pay for a quiet compressor with a reservar, iter and automatic shutott is worth the investme ry kind sional paint work, or want to, But if your need aller, smpress 3. The usual beginning (well, lugga servo tank and ha litte smaller. deraft igh can be, to. come out in the 10-0dd years since | bought want a compr HOW DO | CHOOSE? First quest to pay, and many cubic feet per minute What price do you want (CFM) of air are you loo (CFM is important if you intend to so power a spray gun from a mpre that's the case, then a small studio compressor just won't do. Especially it you're using an HVLP gun, which might have a low nozzle pressure of 10 pounds per-square-inch (psi) three times the volume of air that jeneral note also here from your ventional spray gun uses. iter Alot of -ompressor in the garage to fil the Harley's tre tuft. It probably has a 30: or 80-galion tank ll when itruns, and gets hot. These kin improvement stor and blow the dust off of The thing raises pure compressors are generally unsuitable for powering your high-end aint projets, because of well, the ruckus, but more importantly, the neat from the simple diaphragm motor. Moisture condenses in the ol tank and the lines. Then, if you use an HVLP gun, thes Usually run constantly, compounding your pr ot using one as your home sprayboath air source, even with mi traps and line fiers. | know welll get a milion emails from people who do, but just use your head, and it might be better to use your utility -ompressor for blowing primer on drywall and so on. fecond question for compressor shoppers: What kind of paint do ‘on what surface? two kinds of work, say Tshirts and autom load, which is fabric paint. or that handi If you're doing a compressor for the estimate, youll probably nes 30: to 35:psi for automotive work, and 50: to 60-psi for textile paints ity hints And the third question: What's the difference in compressors? Compressors are basically just refrigerant motors that hav tuned and improved. But each isa lite different. Let's talk about the ‘SMALL DIAPHRAGM (hobbyist) models Diaphragm compressors are i The manufacturer might say he pressure n't let that fool you say, 45 ps drops significantly. So if you're jus nal hobby jobs, it might be OK. Some of them pulse and d fair that make paint flow unpredictably. mis that some manufactu retailers sell t small diaphragm compressors for ‘beginners.’ Unfortunately, these ‘models might not be upto-speed for a beginner who, sa. is starting 0 do Tshirts or auto work. Any time your airbrushing requires a con: stant flow of air with the trigger down, you need a larger compressor with a reservoir And that description fits a whole lot of artists buying Here's @ familar scenario: A artist buys one of these small diaphragm compressors because it says “beginner” Then the artist starts having problems. Paint won't flon. There's moisture coming out Tuining the job. Then the newbie, because he or she doesn't know ary better, blames the airbrush, the paint, or both Sometimes people get frustrated and give up hen in reality, a better v more dollars would rove steady air pressur reduce it to begin with), and compressor for af filter outa lot of inthe bargain run a whole lot quite In the small compressor category, th around 3 ie and could be rai artist work. It even has am and:shoulders ahead of some of the ches work and Tshirts need more air pressur ata Sm choice for a h sture trap and is hea ‘models. But automotive; e/e]/2)] |] é : 8 | 8 | gs | ge g/ eb} &)/ 8] R] & |e] Re] oe | eae | oe lel Slelalil ele] ele |e le rovcmenmcner | @ | @ | @ | @ | @e|e|e|e|l|e|ele|e COOLING SYSTEM @eleleleleltelelelelele ON/OFF SWATCH ~ e & & & & s se e e e AUTOMATIC SHUTOFF es e e e e & e & AR REGULATOR & & & & s & & © e & (MOISTURE TRAP & e & e e & e e & [BLEEDER VALVE, & & & & & e e & & “SILENT,” AUTOMATIC Shut-Off Compressors. Silent compressors come with an auto shutoff switch, so when the ‘compressor il to a certain capacity, the motor shuts of. This is good for motor lite, and keeps the compressor from getting hot. Heat can create problems with moisture cycling through and int the air li The two basic types are those using ol for piston pressure, and ol less, There area number of diferent ways that a compressor regulates pressure and lets the airflow. Some models come with a diaphragm regulator, versus a spring-loaded bleeder. Also, there are single-piston ‘models, and twin-piston. The twin-pistons build up pressure faster, for sustained airtow. Basic physics says that the temperature of a gas has a direct relationship with pressure when volume is constant. If temperature increases, then pressure increases, and vice versa, when volume is Constant. But as we've mentioned, it's usually direct motor heat, gen erated by the friction of moving parts, that has to be dealt with. inter stingy, the Power Jet Pro is larger but runs a litle warmer filing the larger air tank which can attract moisture that must be filtered out, so the advantage in capacity can be cancelled out by the moisture issue. WET, SOGGY STUFF IN THE MIDDLE OF THE NIGHT (On that not, let's really get to moisture traps. They're critical if you're serious about airbrushing. Use your imagination; i's 2:00 am and you're finishing a tricky, beautiful job, and your airbrush blasts a spurt (of water along with your paint and ruins everything. I's a mural of ‘Mor’ (isn't all popular art a variation on tattoos?) on a big-twin mo: torcycle that belongs to the Prez of the local chapter of the Death Dudes motoreyele club. He's picking it up when your shop opens at 8A good moisture trap might have come in handy. Iwata, anyway, has a coiled hose underneath some of its Studio compressor bodies (the Smart Jet Pro and Power Jet models come to mind), which then feeds into the moisture trap. This is great, because it allows the air to cool, then the remaining moisture is removed more efficiently in the ‘moisture trap. This means very litle water getting into your final air line and onto your work OTHER COMMON MALFUNCTIONS, AND BASIC TROUBLESHOOTING This isn't that last word, because compressors have mary moving parts and @ number of stress points. But here are some common Sense ideas from the Airbrush Action brain trust. POWER. Check that the compressor is plugged in, (Not kidding here. You'd be surprised, or you wouldn't) ‘Compressor motors, and compressor electrical cords, draw lots of ‘amps. They could overheat and cause mayhem. 110-olt compressors can quickly max out a home or light duty electrical system. Try not to Use extension cords; plug the compressor in close to a power source that's built to code. if you must use an extension, make it as short as possible, and use a heavy-duty cord (Of course, if our compressor is some big suckah putting out shop air you already had a qualified electrician run 220,v—lts tothe thing, But ‘most of you reading this guide are shopping fora smaller machine. AIR LEAKS. Make sure that ifthe compressor has a moisture trap the airtight drain i closed and locked against air leaks. All air connections, should be tight. Check the intake filter Then try to run the compressor and put your finger over the intake (minus the filter) There should beCOMPRESSOR NPE siet_| sien | Stet | Ste | Paton | Pan | Peon | Pain | See | Sie | sien | sie weer ‘ows | abe | sees | wa | 77es | ute | tes | ibs | WA | WA | seus. | 720s SE WCHES) ‘ise | sues | oasis | raanz6 [iosssa|iiass7| 1260 | imnze | vedas | inea77 | 15a | zateu6 MAA PRESSE apa | 14s | nies | e5on | sou | sion | ssa | son | 1i4om | nian | 1150s | 12000 ARFLON@ 20 FS oe eC vacim | ise | 2c | 215cim HORSEPONER vie | 1% | vr | vw | vem | 14m | vw | wre | Wm | 12% | 12% | Vm nnmcnormenses 1 | 2 | 3 | 1 1 z7]1>e];« |] Cm) NOSELEVEL ne | ne | ne | wa | ae | se | me | a | we | wa | oe | om ERATION LEVEL tne [nome [Wow [Wore | tow | tow [tow [tow | ow | Wore | noe _[ Noe "HO CAPACITY ve | tet | tee | aon ‘ine [Ween | 15ea | 22500 | ten | 6mm HOURS OF SERVE so00 | 000 | seco | sooo | 2000 | 200 | acm | 2000 | sao | sao | soo | cw muoome»n| @ | @ | @ | @|elelelele|el|e|@ OUESS elelele COONS STEN © ‘OvOr SuToH elelelelelelelelelelele ALTOMATE SALTOFF elelelelelelelelelelele ARREGAATOR elelelelelelelelelelele« MOISTURE TRAP @elelelelelelelel ele] @ [uw LEDER VALE usm | 6 |e |e |e|elelelel|el|e|le|@ WANT ‘ams, | ramos | vemos | vemos | oman | 6mes | omon_| émos | vemos, | tems | t2nos. | tenon | a steady suction. if there isn't, i's possible that there isa leak in the tank connections, ora faulty valve is routing air back around the jacket of the tank or elsewhere, DIRT. This seems simple, but keep the outside of your compressor clean. Dirt, ol, and other foreign substances can seem benign, but ‘can keep heat inside your compressor instead of it transferring though the outer metal tothe ai cooling the components, OIL. If you're using your oil compressor off and on, 95, every day, professionally, change the oll every six months. For heavy use—such 2 shirts in a mall, running day in, day out, change the oil every three months. But for average studio or home use, one change per year is usually sufficient. If you find any discoloration, or especially a burnt smell inthe oil itis breaking down and needs to be changed to ensure the fll future life of your compressor. And use the ol that the manufacturer recom: ends, not the stu you pour into your powerboat or ATV engine. ‘ADVANCED MALFUNCTIONS Dealing with thornier compressor problems might tax your ability tool sat, or Bath. When in doubt, contact a warranty repair facility BURNT OR CORRODED VALVE PLATE. Ifa silent compressor keeps running, or has other flow problems that aren't obvious, i's possi that you have a burnt or corroded valve plate, and air could be leaking ‘out into the motor housing instead of remaining sealed. Take the in take off and put your finger on the intake tube wile the compressor is running. Make sure there's suction coming in. If not, i's repair time, * Colscet fer Gr meron BALL CHUCK OR ONE-WAY VALVE. This valve can get dirty or over heated. Inthe latter case, the valve components can actually swell and stick, Keeping the vale in the open position. This can be a source of your airflow or motor malfunctions. SEIZED MOTOR. The piston can stick in its cylinder if an oll compres: Sor runs low, or runs out of oll This can be tricky to fix, but sometimes. rot impossible. When the components cool, the piston may respond to progressive traction or pressure, depending on where in the cylinder the piston is stuck, HEAVIER ELECTRICAL PROBLEMS. On a bigger motor, a starter relay or capacitor can fail, and the motor won't start or run, Some com pressors also have circuit breakers in the form of a thermal switch, which heats while under excess load, then resets. If the element or ‘metal inside corrodes or breaks, the compressor doesn't start. A lot of motorcycles have a main breaker up under the seat or elsewhere that functions the same way, if that helps you visualize ths. The main breaker 's usually the first place you start with electrical problems, besides making Sure there's electricity. CONCLUSION Naturally there are entire programsin compressor maintenance taught at community colleges across our land, and so i's hard to squeeze the topic info a buyer's guide introduction. But we've presented a new buyer some ideas, and experienced artists are encouraged to look at some of the new compressor models. You might be surprised at the range of innovations. m CnSPARMAK Stet. . 2.2348. 1868 B/ 8 2 BIE/e/8) 8 COMPRESSOR TIPE Ss west bs, | a 106be | 72bs [176te| 1898e| soe STE WOES 4 | 67 vox [1m] Toa) red] usu NS PRESSE 200s | Sas coos | oa | Opi | Gps | 120 | Sond ‘ARFLOW O20 aren | 27 ‘cn [o88cin] 12cfn| 12cm] 12cm [074m HORSEPOWER Na | ue 16% | 16% | ie | 14% | 12% | V6 nmcroromonises [1 | 1 | 1 1/1): }/2/;2/;e;2]2 NOSELEVEL Ba | Ho | oa | He |e | a | a | oe | mH | we] Se | He VERATON LEVEL tow | tow | tom toe | tow [tow [tow [tow | tow | tow | tow TDK CAPACITY NA [NA | NA WAL NA | Na | 250 | 251 sau] 25 HOURS OF SERVE s|s [2 ale 2 |@ EPLACEABLE NAME FLER vi elelelele e OUESS ele slielelele vile (COOLNG SYSTEM ole s\e ¥ 2 ‘OF suToH slele vielelelelelele ASTOMNTC SAITORE sielelelelelelele ARREGUATOR| sielelele ve NOSTURE TRAP [ vielelelelelele BLEEDER ANE vie usm |e) e@l|elelelelelelelelele aR faa | tne | 2m. | tes | 2tmos | mos | mos | 2h Danes] 24m, [24m SUGGESTED RETAL PRICE | $199 | 235 | $225 | sso | sao | samo | sais | ssoa | suze | s4t0 | sooo | sa0o AUTOMOTIVE CHEAP TRICKS & a= aaa) HTH THE HARD STATS: + SOFT-COVER + 224 PAGES 8.5" X 11" TRIM + FULL-COLOR + RETAIL PRICE: $34.95 ila Fraser's Avtomotve Cheap Ticks & Special FX is the most complete how-to book on automative custom painting and alrrushing ever published. in ‘udig the mast cuttent and advanced airbrush effects, his vlume fa partet \Gunching pa or beginning artists, anda superior ete playbook and reterence (ude for airrush and refinish proessionals. Craig Frasers work has been showeased an some of the word's largest automotive stapes, Incuting SEMA, The LA Aut Show, the Toyo Auto Salon, the Grand National Roadster Show, and many oters. In this book you'l lar, step-by-step, how to paint cars, bikes, tucks, motorcycle helmets, quitars, drums, AC car bodies, surfboards, ‘ad metal gael STE 2 aefe] eee Tem eis h pre SMe alee RECORD BREAKING 2015 NAMM SHOW COU ano Ue ee Meee RC Meg not Lone ‘ments, NAMM members from around the world came to gether in record numbers to prove once again that musicis, Reon econ ‘As the music products industry returns home to 100 countries worldwide, they left the 2015 NAMM Show empowered with fresh ideas and products to amplify the power of music, Held January 22-25, 2015, in Anaheim, California, ete eC rege eee nc Ag a explore and photograph the world of custom painted instruments, and he was Reece}A ese Ur Rana marketplace, the NAMM Show has Pees ace tae Bee cet and Cena tee erie Sa eum DAW La dent and CEO Joe Lamond.”From Gee Rs Un A most established brands, everyone eee ee acai te COCR anh eo) CC Ur Cu ui Cee SL ene ree edCae e nie pands, this year’s edition grew to the largest and most inclusive event in the National Association of Music Merchants’ (NAMM) 114-year history. A record 1,621 ec ee eect Pee ee ee eos ee ene at ee ae as Pee een gt Oreo ea at Tee eee en eed CRE oa te eee ees Pees eee ony evoke a reaction on the part of my customer, said Monster Music's Brian Reardon of Levittown, NY. The world’s most prominent retailers travel to NAMM to forecast Coren Re en ene) pee ence i eee change of the music scene every year by coming to the show, and Ree ene eeu eee cer ne ed ee eas on Ue see) eet te tek Cue rch tet roe Cee eee Ca i CeresFrom the other side of the globe, Robert Dem cee nn Peo a ee DUE Rue d Cer ened Pe ume mcrae CTU oe Rag ee ogee Iconic guests shared insights that the in- dustry will be quoting for years to come. Where other than NAMM does the day Pee oe ey eer Apple Co-founder Steve Wozniak Se eee Cees eens ec)humor to the best-attended NAMM U session in history. Chris Pie Ca arta nna eee) “Inspires you to see what you can do, what a big impact you can have’ Moby not only picked up the Music For Life Award, NAMM's highest honor, but also shared straightforward thoughts on the creative process with college students. Evening Pree aon EC Gon NR esr cee ing Slash and Nathan East to the She Rocks Awards featuring ene emcee geet etd ets ‘As Woz said during his breakfast chat with Joe Lamond, "Mu- sicis like a magic dust bringing love to people."The industry ee nea Oe en ee od magic dust, and a renewed love for the business of music. CUCU ‘The National Association of Music Merchants (NAMM) i the not-for-profit association with a mission to strengthen the $16.9 billion music products industry. NAMM is comprised of approximately 9,200 member companies located in 102 countries. NAMM events and mem bers fund The NAMM Foundation’s efforts to promote the pleasures and benefits of music, and advance active participation in music making across the lifespan. For more information re ie See ue Re oa oa ae tion on Facebook, Twitter and YouTube. 70 | AIRBRUSH ACTION | MARCH-APRIL 2015i) Art with am Attitude! 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. Pe ee PUM ee www.uhlworks.com 15801 W Colfax Ave + Golden, CO 80401 + 303-995-3522NT LETTERING oo 1 : BooT CAMP STU ‘Anta tetas ‘hen Wis 8 eineCALL TOLL-FREE 1.800.232.8998ONIdINLSNid L.§ DVD'S LEARN TIPS & TRICKS FROM THE PROS!MORE GREAT TIT! ey >> WAREHOUSE TODAY! oa Int Orders: Call 732.223.7878 www.AirbrushAction.com Prices subject to change without notice.eBay Bind powing. Then | rip either end length. in hal.STEP 4 Iplaced the boards down so that ible on the finished tablet ouldn't los ked the be ed th intoa erand on either end STEP 6 cut the circle, sanded itsmooth, and routed out a spotin the middle of the tabletops underside. There, centered and mounted the center post STEP 8 Icut the hoop from the straight stock, welded it solid, and clamped it had to heat it upto relax the steel and gett at. STEP 5 I couldnt find my compass, sol made one and a pencil. This with athumbtack a lanyard, nandy-dandy tool gave me my circle STEP7 Ontothest bender toth bench to sa tightening the wheel e: fork forthe aling around the tabletop. clamped the pallet on my forklift to serve asa variable-height work: Irolled this 3/8-inch solid steel a few tin tim my ba until it Using the same round st k,| made press that will attach the railing to the table. The magnet kept th Upright while the square gave me the height and angle to weld on ‘mounting tabs. -wwwairbrushaction com | 7,I spaced out my eight mounts evenly and welded them in place. used some scrap pieces of wood to set the height ofthe raling so it, ‘wouldn't stick up above the tabletop. Then I drilled and screwed the railing in place | used urethane striping paint forall my stripes. In the tight curves | used a Mack Virus brush, and | used a 00 Macksstriping brush on most ‘of my longer lines. I freehanded al the striping to help create that imperfect antique look. want people to know this piece was hand- painted and hand-built, almost asf it's from another era For the gold leaf used Luco size mixed with a small amount of One Shot imitation gold to help me keep track of where | would brush it fn. let itset up for about 25 minutes before applying the gold. used apiece of velvet taped on a texture sponge brush to burmsh the gold With my Christmas deadline closing in, my brother-in-law Chuck helped out by wrapping theraling with rope. applied two-sided ban- ner tape tothe all before he started. That will kep the rope in place ricely—people will tend to want to twist it off when they touch it. ey O16 (On to the plotter part of the project. came up with a simple logo using part ofa fire department cross, basic fonts, and an American flag | downloaded fo free, ‘The American flag looked too flat for what | had in mind. To give it the wave look | wanted, ! manipulated it digitally. | made the Irish flag from the original American flag design, and then added the flag warp to that,STEP 16a lused seamstress tape to establish the centerline to land my vinyl STEP 17 Handed my vi hydrant, STEP 19 ‘up. In this case, | used t reapply the stars with a piece of FBS tape asthe transfer tap STEP 16b I cut the plotted logo on my Graphtec CE 6000 plotter, and transfer tapedit. I marked the top ofthe lo sided it in halfto establish ter line toline it up with the marks Id just measured, ything on the two flags, © 3 the Irish lag to keep a! a solid white base, STEP 20 of my colors are Createx illustration paint. plat n that old-varnish antiq nt back with alight gray to the shading on my flag: look. After | sprayed the black, | add a litte gradient blend, 10 give the -wwwairbrushaction.com | 79STEP 21 With my vinyl stil in place, Ir ssand applied size witha itaround Ljust painted, I remo STEP 23 | applied a second coat of epoxy to the tabletop, using a body filler spreader to evenly distribute the epoxy over the surface, Ce ee ee ee receiving an airbrush, compres: Pee aiken cuaraiend Pee end Se ure ie) Ree ae es Se ae ee ane’ See eee eC eWeek a 2010, and that changed hislife forever. Then, he immediately start- Te ta en ee) Pe eae eee brush Getaway workshops and a contributing editor for Airbrush ‘Action. Chis resides in Lumberton, New Jersey, with his beautiful wife Erin, and ther son, Max. ‘80 | AIRBRUSH ACTION | MARCH-APRIL2015. ing, striping, and airbrushing some sepia shad ‘Then ladded © highlights with my Mack Virus brush, FINAL moved everything back into the booth and sprayed three coats of clear automotive hardener over the hydrant and t hope that clear-coating the rope willkeep it looking | did the final assemb ve, and the piece was ready fora off without a hitch. kon th ry minute of slee ‘There are only so many projects you can buildin one l time.|wassog ‘on this challenge, becau: stom inning of a funky fabricated furniture frenzy.MASTERY _ a PLUS SHIPPING & HANDLING tn sae eE een en at [DYo) Pip Brae ec ren eek cat NMR eed INSTRUCTION, TRICKS AND GALLERIES. THE LONG-AWAITED SEQUEL, Prisravpinc masréns MIWA >) nae Ariana rare OUT! ee eR GR meas a Pe RRR eR Celera Cee GRAPHTE! 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ALASKA & hawai, Post offce: $7.00 FIRST ITEM; $3.00 EACH ADDL ITEM. as CANADA & mexico AIRMAIL,” $12.00 frst ITEM, $3.00 EACH ADDL TEM. EUROPE & CEE Tere) MoT LO ISLANDS airmail.” $24.00 fist ITEM, $8.00 EACH ADDL ITEM. OTHER INTERNATION. THE COMPLETE WORKS SCOTT JACOBS AL airmal." $30.00 first ITEM, $15.00 EACH ADDL ITEM. Some areas may be higher Photorealstc paintings of From the most famous Harley than PRICes quoted. FURTHERMORE, CANADA, MEXICO, AND ALL OTHER FOREIGN Harley-Davidson motore artst inthe world, Loads of (COUNTRIES MAY IMPOSE ADDITIONAL CUSTOMS AND IMPORT DUTIES, Wine & Spints, Corvettes, "photorealistic paintings of “outside the u.s., ADD $5 TO SHIPPING CHARGES FOR POSTERS. "ADD $3.00 TO and more all on canvas. Harleys on canvas. [ABOVE SHIPPING AND HANDLING CHARGES #B$J002 - $39.95 #BSJ001 - $34.95NOTICED! Place a classified AD in ww Yi PTY PT $21.95 or TWO for $39.95 Plus shipping & handling. 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