Airbrush Technique Issue 12 - (Page 25) 4. As I continue along the design starts to take shape in black and white. I work on the idea that if a design works well in black and white it will look good in color. On the flip side, if a design doesn’t work good in black and white, color probably isn’t going to save it. 5. Switching from white to black, I re emphasize some of the shaded areas and begin applying color. The first color applications establish the various base colors that will be tinted, shaded and faded as the project continues. Notice the use of a stencil mask to define the wings. 6. With the edge mask remove it is time to start defining and adding volume to the design with highlights and shading. Work back and forth between your highlights and shadows and stand back from your project from time to time to see how things are really working. 7. Although I used a water base paint throughout this project I found that nothing beats One Shot for out lining flames whether it’s on a leather jacket or a little deuce coupe. The color; Process Blue. The brush: a synthetic bristle. Why? Some times I just like try new things and see if they work. 8. Coming back in with a synthetic white bristle brush and my water based paints I add brush highlights and details to enhance the overall look of the design. Notice how the light overspray from the original loose mask actually adds a glow to the image. 9. As the jacket nears completion I take time to add a discreet signature near the bottom of the design. If you’ve taken the time and put forth the effort you should be acknowledged for what you have accomplished. The tip of that synthetic brush and the water based paint work great for getting micro.
Table of Contents Feed for the Digital Edition of Airbrush Technique Issue 12 Airbrush Technique Issue 12 Contents Gerold Radmer Mick Cassidy Hairydidit Jammer Jim Ferraro Patrick Charuel Kicks Jack Giachino Neil Roth Mike Ellwood Airbrush Technique Issue 12 Airbrush Technique Issue 12 - Airbrush Technique Issue 12 (Page 1) Airbrush Technique Issue 12 - Airbrush Technique Issue 12 (Page 2) Airbrush Technique Issue 12 - Contents (Page 3) Airbrush Technique Issue 12 - Gerold Radmer (Page 4) Airbrush Technique Issue 12 - Gerold Radmer (Page 5) Airbrush Technique Issue 12 - Gerold Radmer (Page 6) Airbrush Technique Issue 12 - Gerold Radmer (Page 7) Airbrush Technique Issue 12 - Mick Cassidy (Page 8) Airbrush Technique Issue 12 - Mick Cassidy (Page 9) Airbrush Technique Issue 12 - Mick Cassidy (Page 10) Airbrush Technique Issue 12 - Mick Cassidy (Page 11) Airbrush Technique Issue 12 - Hairydidit (Page 12) Airbrush Technique Issue 12 - Hairydidit (Page 13) Airbrush Technique Issue 12 - Hairydidit (Page 14) Airbrush Technique Issue 12 - Hairydidit (Page 15) Airbrush Technique Issue 12 - Jammer (Page 16) Airbrush Technique Issue 12 - Jammer (Page 17) Airbrush Technique Issue 12 - Jim Ferraro (Page 18) Airbrush Technique Issue 12 - Jim Ferraro (Page 19) Airbrush Technique Issue 12 - Patrick Charuel (Page 20) Airbrush Technique Issue 12 - Patrick Charuel (Page 21) Airbrush Technique Issue 12 - Kicks (Page 22) Airbrush Technique Issue 12 - Kicks (Page 23) Airbrush Technique Issue 12 - Jack Giachino (Page 24) Airbrush Technique Issue 12 - Jack Giachino (Page 25) Airbrush Technique Issue 12 - Jack Giachino (Page 26) Airbrush Technique Issue 12 - Neil Roth (Page 27) Airbrush Technique Issue 12 - Mike Ellwood (Page 28) Airbrush Technique Issue 12 - Mike Ellwood (Page 29) Airbrush Technique Issue 12 - Mike Ellwood (Page 30) Airbrush Technique Issue 12 - Mike Ellwood (Page 31) Airbrush Technique Issue 12 - Mike Ellwood (Page 32)
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