Airbrush Technique Issue 21

Now that the outline has been removed, it is sandblasted using Black Diamond coarse sand. The sandblasted outline will act as a “pin-stripe” for my design. It also has the unique effect of flopping colors. In sunlight, it appears like a metallic red, but will flop to black cherry in the shade. Remove the masking and degrease immediately. I then apply 2 light coats of Bulldog Adhesion Promoter, allowing 5 minutes between coats. The Bulldog will act as a clear etch primer, thus eliminating adhesion issues, and allow the worked metal to be visible. Allow at least 10 minutes dry time after the second coat. Four coats of Matrix MTB 500 (inner-clear) are applied to the panel to finish sealing it off. I let dry over-night, then block-sand using 800 grit wet paper. Using clear Stretch Mask, I back-mask the entire image. Because I know that I will be working on this project for an extended period of time, I apply a white base using Auto Air Semi-Opaque White (thus eliminating worries about timewindows or using inner-clears). I reduce the AA White with AA 4010 Reducer by 10%. Grabbing every skull stencil that I have ever owned, I begin lightly transferring the images using AA Transparent Black, mixed 1:1 with 4010 reducer. I used an IWATA Eclipse BCS (.5mm) for this project and the Huntington Beach and Richard Markham’s skull stencils. I then begin to detail the skulls in. Once the image is transferred, I “trace” the lines to give the skull a free-hand look. Once the lines are in place, I begin shading the skulls, thus creating a non-stenciled, 3 dimensional appearance. I’ve always said, if you can color in a coloring book, you can airbrush!

Table of Contents Feed for the Digital Edition of Airbrush Technique Issue 21

Airbrush Technique Issue 21 Tom Banks John Phillips & Javier Soto Lorin Gipe Patrick Kelly Paul Shaw Easyrider V-Twin Show Airbrush Fitto Kicks Korner RIch Milo John Avila ABT Reader Meet and Greet

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