Airbrush Technique Issue 23 - (Page 5) 5) Here are the final steps for the background skulls. I use my last gray, which is almost black for quick definition and filling in the deepest darkest parts of the work like the pits and holes and cracks in the eyes and such. When I’m happy with that, I pick up black and use it to clean up edges around the work to make sure it’s fairly crisp and no overspray is left behind to find later after clear coat. 6) Here are the first steps for the centerpiece, the realistic skull. I didn’t spend a lot of time on the gray skulls because they were not meant to be a focal point, this is the part I really want to stand out. I have mixed up six different tones for this skull, using white, ochre, transparent copper, transparent oxide, and transparent black. I have laid out transfer paper and made a stencil from a drawing. Trace the skull to the paper and gently cut it out. Same as before, start with the lightest tone and shade in the lightest areas of the skull and bones. 7) In these next three photos, I’m using value number two which contains more ochre and transparent copper to fill in the next darkest area. Most of the piece will have colour on it now. Be careful to not go too far and cover up your light tone as it’s easier to add more than it is to repaint an area because it got to dark. 8) Now using a color that’s made of the trans. copper and trans. oxide, begin laying in the eye sockets, nasal cavity, etc. This is where it starts to feel like your getting somewhere because of the little hints of definition.
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