Digital Design with Corel Draw

$10

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Title: Digital Design with Corel Draw
Author: Sid Vicious of sidviciousart.com
Format: Adobe PDF Ebook
Length: 38 Pages
Screenshots: 53
Corel Draw Version: 12

In this book you will learn…

-How to use the Freehand Tool
-How to use the Pick Tool
-How to use the Shape Tool
-Creating and modifying Nodes
-Changing straight lines to Curves
-How to digitally trace a vehicle
-Solid fills with color swatches
-Creating multi-color gradient fills with the fountain fill dialog
-Using “Order” to arrange objects
-Creating a two-tone paint job
-Adding new rims and creating a “tucked” look
-Creating digital graphics that can be used over and over

Sample pages from the book…

Page 7

Page 15

Page 28

How to Airbrush Anatomy

Kindergarten – Airbrush Anatomy

Pre-School’s over slackers, Kindergarten has begun and what better way to kick things off then by telling lies.  That’s right, 2 truths and a lie. There are really only 2 main styles of airbrushes and 2 main types of airbrushes, can you spot the fakes?

Good luck…

There are three main styles and types of airbrushes. The three main styles are single-action, double-action and extreme-action. These terms refer to how the air and paint flow of an airbrush are controlled. The three main types are siphon-feed, gravity-feed and anti-gravity-feed. These terms refer to how the paint is supplied/delivered to the airbrush. We’re going to explore the nuts and bolts of how each style works, point out the differences between them and consider the advantages/disadvantages of each. Let’s get to it.


Single-Action Airbrush

A Single-action airbrush is classified as such due to the trigger being able to perform only a single-action; push down on the trigger, air and paint are released, let up on the trigger, air and paint stop, just like an aerosol spray can. On most models, the amount of paint that sprays out can be controlled by twisting a knob,  or adjusting a screw located near the tip of the airbrush. The drawback to this is that you have to stop spraying in order to make the adjustment.

IWATA Revolution SAR Single-Action Airbrush

Single action airbrushes are useful mostly for area coverage in activities such as hobbies and crafts, stenciling, mural work and even automotive paint touch-ups. In situations where big backgrounds or large areas of flat color are required, the single action airbrush does an adequate job. Mediums like acrylics, ceramic glazes and automotive paints, are commonly sprayed with a single action brush.

Most single action airbrushes are classified as external-mix (more on this below). Meaning they mix the air and the color outside the tip and are therefore less likely to clog if heavier materials are sprayed (such as ceramic glazes). This also means there are fewer moving parts that need cleaning which makes the single-action, an easy airbrush to maintain. However, a single-action airbrush does not have the precise control and “on the fly” paint adjustment offered by a double-action.

There was a time when single-action airbrushes were the norm because that’s all that existed but nowadays the majority of airbrush artists have switched to using double-action airbrushes.

Advantages: Easy to clean and maintain. Simple to use, not a lot of moving parts. Relatively inexpensive. Good for spraying larger areas. Good for spraying thicker paints/materials.

Disadvantages: You have to stop spraying in order to adjust the flow of the paint. Freehand airbrushing and small, fine detail work is much more difficult.

Double-Action Airbrush (Dual Action-Airbrush)

The spring loaded trigger on a double-action airbrush moves in 2 directions. Pressing the trigger down releases air (Just like on a single-action) and pulling the trigger back releases paint. Being able to control “on the fly” the amount of paint being released is the main advantage a double-action has over a single-action.

IWATA HP-BCS Double-Action Airbrush

Pulling back on the trigger while spraying, releases more paint and “letting up” on the trigger releases less paint. As you’ll learn in 5th grade, the best practice for painting with a double-action airbrush is to always press down on the trigger first to release air, then slowly pull back on the trigger to release the desired amount of paint. The double-action airbrush offers greater control which makes it more adept at producing fine lines and thick-to-thin or thin-to-thick strokes like the coveted “dagger stroke”.

Classified as “internal-mix”, a double-action airbrush mixes paint and air inside the nozzle just before spraying it out.

Being able to push down the trigger on a double-action airbrush and getting air only, has many advantages:

First, it’s much easier to avoid unwanted spots and splatters that can occur when you first press the trigger due to small amounts paint being leftover on the tip of the needle or in the mixing chamber of the airbrush.

Second, when there is tip dry, you can scrape it off with the tips of your fingers or fingernail, then give a quick blast of air to remove any lingering paint.

Third, being able to spray “air only” comes in handy sometimes for making paint dry quicker.

Lastly, sometimes when cleaning your airbrush, it’s necessary to backflush; I.e., hold your finger over the cap and then press the trigger down with your other finger to force a backflush through the paint mixing chamber. This is done on occasion to remove paint clogs.

Advantages: Complete and total control over the amount of paint you want to spray.

Disadvantages: All of your single-action friends are going to be way jealous of your new double-action lifestyle.

Note: While the RELEASE of air is controlled by pressing down on the trigger for both single and double action airbrushes, the AMOUNT of air released, is not controlled at the trigger. It’s controlled with an air pressure gauge at the compressor or an inline adjustable valve on the air hose.

NOTE: Internal Mix vs. External Mix

Pretty self explanatory. With an internal mix airbrush, the paint and air are mixed inside, near the tip of the airbrush before being sprayed out the nozzle. This gives you better atomization of the paint which creates smaller paint particles. Smaller paint particles = smoother blending, shading and fades.

With an external mix airbrush, the air and paint are mixed outside the airbrush just after the paint has left the nozzle. You still get a good mix/blend just not quite as good as the pre-mixing that happens in an internal mix airbrush.

Extreme Action Airbrush

Let’s not beat around the bush, this is the coolest and best most awesome airbrush on the planet. It’s what we in the industry call a BAMF Brush (Figure it out). If you thought the single action airbrush was cool…well then you’re kinda lame. If you thought the double action airbrush was cool…well that’s understandable, it is pretty rad. But, as Bachman-Turner Overdrive put it so eloquently: b-b-baby you just ain’t seen nothing yet!

The Extreme Action Airbrush is the latest and greatest/biggest and baddest airbrush to ever hit the market. Features include:

– Fully wireless digital handheld remote control for 100% hands free airbrushing with a max operating range of 23 ft

– Military grade laser sight assist for hairline precision and accuracy

-Military grade SLS-640 night vision scope for those late night airbrush sessions

-Quick disconnect iPod Jack

-Detachable lightweight aluminum alloy energy drink holder

-Optional anti gravity feed paint cup/bottle attachment (Not Pictured)

I think it’s safe to say that the extreme action airbrush is in a class all it’s own. Though the $8000 price tag may be out of reach for many potential buyers, true airbrush artists who can appreciate all the EAA has to offer, will find a way to come up with the cash to make the purchase. (I.e., sell your soul to the devil)


Congratulations, Kindergarten is over. Move onto 1st grade, it’s time to learn about Airbrush Compressors.


Airbrush Outlet

$10

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Title: 100 Ways to Make Money Airbrushing
Author: Sid Vicious of sidviciousart.com
Format: Adobe PDF Ebook
Length: 71 Pages

In this book you will learn…

  • How to make money in any economy
  • How to make money all year round
  • Common mistakes to avoid
  • Ideas for selling airbrushed products on Ebay
  • Ways to make money airbrushing from home
  • Ways to make money for mobile airbrush artists
  • How to rake in cash around the holidays
  • Quick and easy ideas to make money fast
  • Big ideas for bigger paychecks
  • The importance of “playing to the crowd” and choosing the market that’s right for you
  • My personal top 10 favorite ways to make money airbrushing

Sample pages from the book.

Page 3

Page 7

Page 62

Custom Airbrushed Graphics on Nissan Altima

Custom Airbrushed Graphics on Nissan Altima

1) We start with a freshly body-worked, primed and wetsanded Nissan Altima courtesy of Juan’s Body Shop. Whether you’re into the sport compact scene or not, you gotta respect a guy that takes his time and does a good job. Seamlessly molded front and rear bumpers, nicely done. The plan is to give it a two tone paint job with a tribal style graphic separating the two colors. Our job is to design and apply the graphic to help transform this regular Altima into a custom painted, head turning, fire breathing, death dealing monster Altima. Or in other words, just another day at Sid Vicious Art & Airbrush.

Normally, I’d start by laying down the graphic color, taping out my graphic, back masking it, then spraying the two colors. But in this case, because my schedule is a bit hectic and the car was ready for basecoat, I stop in and simply run a divider line with some 1/4 in. blue fine line tape. I designed the graphic ahead of time in Corel Draw, so I knew where to run the line…or at least that’s what I’m saying anyways.

2) Would you look at that! I guess I did design it on paper first. CorelDraw can be an awesome tool for doing pre sketch work. Giving your customer a good idea of what the finished product will look like before you begin painting it, is a great way to set expectations and avoid misunderstandings. Making changes in Corel Draw is much easier than making changes in real life.

3) Juan sprayed the basecoats and we’re ready for graphics. There’s a couple different ways to get the design from paper to vehicle. One option is to take some measurements on the car, scale the vector file from Corel Draw to match, send it to the plotter and create a large vinyl stencil for each side of the car. However, when working with this size/style of graphic, I prefer to lay them out by hand with 1/4 & 1/8 in. blue fine line tape. This gives me more control over the design and better versatility to make “on the fly” adjustments for things like body lines and door handles.

4) I start by pulling the longest lines first. Always pull the full length of a line from start to finish. Using my original division line as a reference, I work from the front of the vehicle to the back and proceed to layout the entire graphic. A comfortable chair or stool on wheels really helps here but there are few spots where I know I’m going to have to take off my shirt and lift the car high above my head with one hand so I can layout certain lines just right. Be careful and lift with your legs.

5) Once my graphic is layed out in fine line tape on the drivers side, I trim everywhere the graphic overlaps with a new Xacto knife, then run 16 in. transfer tape across it and cut away the inside. After masking the rest of the car, this side would be ready to spray but if we did spray it, we’d get a nasty line going through our graphic from that original division line for the two tone. I use 400 grit sandpaper to feather the division line between the two colors until there’s no ridge at all.  I should have done this before I started taping off the graphic but oh well, you live and learn…and rack up vast amounts of credit card debt.

6) I’ve run 18 in. masking paper down the length of the car over the graphic so I can trace the design in preparation for transferring to the other side.

7) Using a ball point pen at a 45 degree angle to the inside edges of the graphic where the tape is, I trace an outline of the graphic.

8) I lay the traced design on top of some foam padding and use a pounce wheel to trace it. I then tape the design (in reverse) to the passenger side of the car, being sure to line it up exactly as it is on the drivers side and use a pounce pad with blue chalk powder to transfer it to the car. (This technique is outlined in more depth in another tutorial so I won’t repeat it here.)

9) My daughter said it’s probably pixie dust but I’m guessing it’s the metallic flakes in the silver basecoat that you’re seeing flying through the air here. Don’t be a hero, wear a respirator!

10) We skipped a few steps here. After spraying the silver basecoat and letting it dry, I used 1/8 in. blue fine line and masked around the inside edge of the graphic to give it an edge. I then sprayed 3 good coats of HOK Pagan Gold Kandy over the graphic and after it was dry, unmasked everything. Ready for clear coat.

Custom Painted Yamaha YFZ 450

Custom Painted Yamaha YFZ 450

*Sorry for the lack of pics on this one

1) The key to getting a good adhesion on ATV plastics is using the right products and doing a superior prep job. The owner dropped off the original white plastics which he had already done some custom cutting on. He removed pretty much all of the rear fenders and cut some wicked flames into the front fenders. I started by thoroughly washing/sanding the the plastics with a red scotchbrite pad and Bulldog Abrasive Cleaner. Once I’m satisfied with my prep, I rinse the plastics thoroughly with water and dry with an air gun. I’ve now got clean, bare plastics that are ready to be sealed/painted.

Probably overkill but I spray 2 coats of Bulldog Adhesion Promoter and then lay down 2 coats of Dupont Plas-Stick Flexible Adhesion Sealer. I let that dry for about 20 minutes and then spray 2 coats of Dupont red base coat. Once that’s dry (about 15 minutes) I tape off what are going to be my black flames (see pic above), using 1/8 in crepe masking tape and then tape off my red flames (not pictured).

I mask the positive section of my red flames and then spray everything else basecoat black. I let that dry for another 10-15 minutes then unmask everything. Using HOK White striping enamel, I pinstripe the red flames and then switch to my IWATA HP-CS+ airbrush with an over reduced black, and spray a drop shadow on the black flames.

2) I add a YFZ pinstripe style logo to the front of the ATV using a vinyl cut stencil as a mask.

3) Another angle.

4) I used a combination of vinyl cut masks to spray the Yamaha logo with some pinstripe graphics on the rear fenders.

The entire ATV was finished with 4 coats Dupont Clear mixed with a flattening agent to achieve a matte finish.

Done.

History of the Airbrush pt 2

Charles Burdick Aerograph Airbrush www.getpainted.com

Pre-School Part 3:
History of the Airbrush cont…

1891-1893 – The reign of the Liberty Walkup external mix airbrush comes to an end when Charles L. Burdick from Chicago invents the internal mix airbrush. This new airbrush had several unique features and more closely resembled the airbrushes of today with a centralized fluid tip, needle, and air cap. It was sleeker, more refined and produced an atomized spray that was softer and more controllable than current external mix airbrushes. In your face Walkup!

The Burdick airbrushes were dubbed Aerographs, and the process of painting with one was called aerographing instead of airbrushing. The first Aerograph was labeled the Model A, it featured a dual action trigger and interchangeable paint tips. Apparently when you upgrade something that already exists, you can call it whatever you want to. Which is why I’ve taken a standard airbrush and welded a samurai sword to it. I call it a Samurair Sword.

Thayer and Chandler Airbrush by Olaus Wold www.getpainted.com

1893 – Norwegian Henry Thayer, and Englishman Charles Chandler’s new and improved internal mix airbrush makes it’s debut at the Columbian Exposition World’s Fair. The new, new internal mix airbrush was easier to use, simpler to maintain and it gave better results with less training. About 4 years later, thanks to a guy named Olaus Wold, who was working with Thayer and Chandler at the time, a breakthrough airbrush design is created where the paint is isolated from the trigger assembly. This made it much easier to switch colors and to clean.

1904 – Jens Andreas Paasche from Norway starts Paasche Airbrush Company.  Offering “The most complete line of Airpainting equipment for Art Studios, Factories and Maser Painters” Paasche continues to refine and improve upon current designs, securing several patents of his own. Notable airbrushes include the iconic red handled Paasche VL Series  (one of the most used airbrushes in the industry) the Paasche AB-Turbo with it’s unique turbine system and more recently the Paasche Talon.

1926 – Iwata Seisakusho company is established. Initially started with manufacture and sales of spray guns and small-sized air compressors in Japan. Credited with developing the world’s first electric, multi-articulated painting robot together with Mitsubishi Heavy Industries, Ltd. Started manufacture and sales of Airbrushes in 1973. Changed the name to Anest Iwata some years later.

Famous for their Eclipse and Micron line of airbrushes.

1964 – Badger Airbrush Company is born. The founder’s grandfather owned a swiss screw machine shop that was making parts for three airbrush companies (Paasche, Thayer & Chandler, and Wold).

Teflon seals, free standing color cups, and one piece triggers were the first notable advances as well as doing a left handed side feed gun. Badger was also the first to offer different airbrush models with interchangeable parts to help dealers and consumers reduce spare parts needs, two piece break away handles, easy needle access, stainless tips, the first airbrush ready paint, the first airbrush holder, the Universal dual feed airbrush.

History of the Airbrush

The First Airbrush - Francis E. Stanley's 1876 "Atomizer" (Photo www.airbrushmuseum.com)

Pre-School Part 2:
History of the Airbrush

1876 – Like most everything else in life which is awesome or cool that I’ve invented, I also claim to have invented the airbrush but in reality, most sane people agree that Francis Edgar Stanley (the same guy who invented the Stanley Steamer Automobile) invented the Airbrush. Since there’s no real proof though, we’ll just say I invented it. I’m joking, Francis is the man! (genome re-sequencing was my idea though.)

Francis Edgar “Airbrush”  Stanley was living in Newton, Massachusetts and created what he called an “Atomizer”. According to the patent, the Atomizer was used to “spray water colors, India-ink or crayon and also for all kinds of shading in which color can can be used in a liquid state.” The patent office classifies Stanley’s “atomizer” as the first patent of its type and the first in its class and subclass.

The Atomizer was similar in looks/function to an old fashioned hand pump perfume bottle. It consisted of a spray head assembly attached to a paint bottle and a hand pump. There was a small chamber inside the head where paint was drawn up from the bottle via a needle and mixed with the incoming, hand pumped air. The Atomizer also featured interchangeable heads to regulate the spray pattern. This is kind of a strange coincidence because I’ve always used my airbrush to apply cologne. I feel like I get better coverage that way.

1879 – A professional inventor named Abner Peeler from Webster City, Iowa invents the “Paint Distributor”. Patented “…for the painting of watercolors and other artistic purposes.” According to Andy Penaluna of www.andypenaluna.com, “In 1879 an eccentric jeweler from Iowa assembled;

The Paint Distributor - Illustration by Andy Penaluna www.andypenaluna.com

* a jam spoon
* a sewing machine needle,
* a bent over screwdriver,
* old soldering pipes,
* some bent metal
* …. and screwed it all together on some blocks of wood!”

The Paint Distributor featured a spinning wind-wheel with a needle attached slightly off center. As the wind-wheel spun, the needle would dip in and out of the ink reservoir in the spoon. The tip of the needle would pass right in front of a small tube blowing air  and the paint would be blown off the needle tip. The Paint Distributor was powered by a foot pump that fed air into a tank, where it was compressed, and then forced along an attached hose up to the distributor. Cool stuff.

1882-1891 – A dude named Liberty Walkup purchases the patent to the “Paint Distributor”. Some time later he forms The Airbrush Manufacturing Company of Rockford, Illinois. Thanks to some improvements like the revolutionary “walking bar” and a hard rubber handle to enhance appearance, the new and improved Walkup Airbrush was introduced and became an immediate success.

1885 Liberty Walkup Airbrush

Soon after the introduction of the Walkup Airbrush, Liberty forms the Illinois Art School. Housed in the same building as his airbrush company, the school specialized in airbrush technique but taught other disciplines as well. Later, Walkup would go on to publish a quarterly pamphlet dedicated to all things airbrushing called The Airbrush Journal.

*Random note: From the Atomizer to the Paint Distributor, early airbrushes were used predominately for photo retouching. Typically, artists would paint directly on enlarged portrait photos to enhance the photo’s appearance and eliminate unwanted scars or blemishes. This is similar to the way that digital airbrushing and Photoshop are used today for re-touching and enhancing photographs of models before displaying them on magazine covers.

So the next time you’re’ holding an airbrush, pour a little paint out in honor of all the vain people who’ve passed before us and helped to advance the technology of the airbrush to make it what it is today. Just think, if  everyone were happy with the way they looked, the airbrush might never have been invented.

Part 3 – History of the Airbrush continued…

Intro to Airbrushing

Pre Newbie

Pre-School: Intro to Airbrushing

An airbrush is a small, hand held air powered tool that’s used for applying paint or other liquid media to a variety of surfaces in a highly skilled and suave manner,  thereby increasing the pulchritude,  monetary value and overall coolness of said surfaces. An airbrush is connected to an air compressor via an air hose and it works by forcing a stream of fast moving, compressed air through a venturi (I.e., small cone…or french sports car) which creates a siphoning effect, drawing in paint from an interconnected reservoir (or detachable paint bottle) and shooting it out through a nozzle. The paint mixes with the air to produce a very fine atomized spray pattern which allows an artist to create highly detailed, awe inspiring works of art that make everyone else jealous.

Using a variable trigger on top of the airbrush, the operator can stop or start the airflow and control the amount of paint being released. On a dual-action airbrush, pushing down on the trigger starts the airflow and pulling back on the trigger, controls the amount of paint being released. I.e., pull back a little and a little paint comes out. Pull back a lot and a lot of paint comes out.

Badger Airbrush Diagram

Depending on the thickness of paint being used and the surface to which it is being applied, an airbrush typically operates at an air pressure anywhere from 5 to 65 PSI. Using a thinned down paint/ink and low PSI allows an artist to create the small, fine details you typically see in fine art illustrations or on motorcycle tank murals. Using a bit thicker, water based paint at a higher PSI is common practice for airbrushing on T-Shirts and using way too much garlic salt on scrambled eggs is common practice for my wife. Bless her soul.

The amount of air (PSI) getting to the airbrush is usually controlled at the air compressor but it can also be raised or lowered by an inline adjustable hose valve or other such device. A water filter trap is also recommended for removing moisture and other contaminants from the air line before they reach the airbrush. If an air compressor is not readily available, connecting one end of the airbrush hose to a “gut advantaged”  friend or relative and having a small child jump up and down on their stomach repeatedly, is an acceptable temporary solution.

The fine-tune-ability of the paint to air ratio and the nature of the spray application allows an airbrush artist to produce a variety of different textures and spray patterns quickly and effectively, from small, seamless color blends to photo realistic portraits and murals.

In short, the airbrush is a sexy, versatile precision instrument of art that will blow your mind and transform even the lamest tenderfoot wannabe into a super-mega, awesome artistic genius adored by one and all…(pause for effect)…with a little practice of course.

Part 2: History of the Airbrush

Airbrushed Helmets – Eric’s Torched Tiki Helmet

1.) Airbrushed Helmets – Lucky for us this helmet was recently painted; base coat black with 3 coats of clear. I start by removing the visor and wet sanding the whole thing 600 grit sandpaper. I use a red scotchbrite to scuff the harder reach areas like seams, corners and the visor vents. The trick to working with red scotch brite and not getting sand scratches in the final finish (especially on black) is to use a consistent pressure and be thorough. f you press too hard with a new piece of scotch brite, you’re going to get deep sand scratches. Apply medium pressure and go over the area several times. After sanding, I mask off the interior of the helmet. 1.b) I over did it a bit with the sanding in some areas and ended up sanding through the clear so I hit the whole thing with 2 quick coats of basecoat black.

2.) The owner of this helmet has a tattoo of a tiki head with glowing red devil eyes and if you stare at it too long…your soul will be devoured. This sounds pretty cool to me  and seeing as how my wife already owns my soul for all time and eternity, I’m not too worried about using it as a reference for the helmet design. I sketch out a similar looking tiki head and for good measure, I add some tribal type flames coming out of his mouth and eyes. Pretty standard stuff for any bad ass tiki.

3.a) I scanned my drawing into Corel Draw, traced it to make a vector image out of it, exported it as a .eps file to SignBlazer PRO and then cut it out on my plotter. There are 2 main things in life that actually qualify as “tricky” First, as Run DMC said: It’s definitely tricky to rock a rhyme. To rock a rhyme that’s right on time is tricky. I think we all know that’s a fact. Second: It’s tricky to apply vinyl cut stencils on round surfaces. The key is to apply them one at a time in small sections. when using a squeegee, always start in the middle of the sticker and squeege your way out toward the edges. It may also be necessary to make small relief cuts to get the vinyl to lay down flat.

3.b) I also cut a vinyl stencil for the tiki head and I lay that down on top of my flame pattern. I then trim the parts of the flame pattern that I want to be behind my tiki head.

4.) We’re going to put the owner’s last name across the bottom of the helmet underneath our main design. I use 1 in. masking tape to mask off the area. I draw the last name in pencil, trace it with a sharpie and then cut it out carefully using an Xacto Knife with a brand new blade. I think we’re just about ready to paint. Airbrushed helmets rule, girls drool.

5.) I mask off the tiki head and spray a light coat of white. I know I’m going to be using Root Beer Kandy later and so I lay this white down as a base for the Kandy.

6.a) I printed several copies of this design on regular printer paper. I use an Xacto Knife to cut out the main shapes of the tiki head, like the teeth, cheek bones and brow line.

6.b)  Using the printer paper cut outs as a loose shield, I hold it over the helmet and spray lightly with white base coat. This gives me perfect reference points to follow and I can now start airbrushing in the details.

7.) Still with white basecoat, I freehand the details. Following the contours of the tiki, I  airbrush small vertical lines over the entire thing to simulate woodgrain. If you take your time here and really work out all the details in white, the rest of the project is a breeze.

8.a) I switch to Root Beer Kandy and start adding color. Though it may look like it, I’m really not adding any new details with the Root Beer Kandy. I’m focused on adding depth and shape. I.e., I keep the tops of the cheek bones lighter and the under side of the cheek bones darker. Once I’m satisfied with the Kandy, I add a few drops of black  to the Root Beer and use it sparingly in the darkest areas like right underneath the brow line and inside the hollow of the nose. Tip: I really don’t want to have to go back  in with the white to add highlights here. So I’m very light with the Root Beer Kandy in the areas I want to keep as my highlights.

Up until about a year ago, I would have called this tiki done. It’s got a good amount of detail and it looks pretty rad. But then I learned something new. (Thanks Robert)

8.b) After unmasking the tiki, I use a small outline paint brush with dark brown/black basecoat and I go back in around the teeth, eyes and nose to add the final details. Adding this one simple step will really help take you’re airbrushing to the next level. It’s like the difference between a regular TV channel and an HD TV channel. It’s like the difference between regular pretzels and chocolate covered pretzels. It’s like the difference between good and evil.

9.) I back mask the tiki to cover it up and start laying in flame licks with white basecoat. I use a freehand stencil sparingly and focus on creating sporadic, organic lines and shapes freehand. I’m trying to make the flames look like they’re originating from the mouth vents up front, heading back and up into a flaming mohawk, then disappearing into the vents on top of the visor.

10.) More flames. I want to get a pretty good coverage with white so that my Kandy colors will really pop and be bright.

11.) I cover all the flames in a couple good coats of Kandy Tangerine Orange.

12.a) I go back in and add white highlights to just a few spots in the very middle of the flames.

12.b) I cover those white highlights with Pagan Gold Kandy, then switch back to Tangerine and blend them in a bit more. Lastly, I spray Kandy Apple Red around the outsides of the flames to add some more depth and color.

13.a) Unmasked everything. Difficult to get a good pic without the glare. I was going to leave it like this but the more I looked at it, this tiki just didn’t seem freaky enough. I felt like I was in no danger of going mad or having my soul devoured.

13.b) That’s better.

Want to know what it cost to do airbrushed helmets? click here-> Airbrushed Helmets – Eric’s Torched Tiki Helmet. This is Members Only content so you will need to Login to view it. If you’re not a member already, you can Register for FREE.

how to airbrush

How to Airbrush

The Airbrush School is brand new for 2010.  Check back often for updates and other special features.

Pre-School-Intro to Airbrushing

No, it didn’t go out in the 80’s, you’ll be happy to know that airbrushing is alive and well. In fact it’s been around for a long time now and it’s going to be around for a long time to come. Why? because it’s awesome! Airbrushing rules and airbrush artists’ are smart and attractive with muscular physiques, shiny glistening, silky smooth hair and lightning fast reflexes.

Don’t know what I’m talking about? Start here with our Intro to Airbrushing class and discover what an airbrush is, how it works and what you can do with it…prepare to fall in love.

Kindergarten-Airbrush Anatomy

Single-action, double-action, gravity-feed, siphon-feed, internal-mix…what does it all mean? Come to Kindergarten and find out. We’ll examine the intricacies of the airbrush, dissect the most common styles and types available and explore the advantages/disadvantages of each. You know what they say:   different dagger strokes for different folks.

1st Grade-Airbrush Compressors

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2nd Grade-Airbrush Paints

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3rd Grade-Airbrush Substrates

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4th Grade-Airbrush Workspace

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5th Grade-Airbrush Excersices

6th Grade-Airbrushing T Shirts

Summer School-Pinstriping

7th Grade-Metal Prepwork

8th Grade-Automotive Base Coats

9th Grade-Automotive Clear Coats

Summer School-Cutting and Buffing

10th Grade-Airbrush Stencils

11th Grade-Projector Power

12th Grade-Using a Vinyl Cutter

Summer School-Software Shortcuts

College Freshman-Hoodie Project

College Sophomore-Flame Job Project

College Junior-Wall Mural Project

College Senior-Motorcycle Project

Grad School-Starting an Airbrush Business

Advanced Techniques

Airbrushing Tips and Tricks

Airbrush Troubleshooting Guide

Airbrush Glossary