Airbrush - Step.by - Step 40 Jul - Aug.sep.2016

ASBS 03/16 | NO.
40
July / August /September
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ISSN 2192-3892
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PORTRAIT
Lemmy Kilmister
FOR BEGINNERS
Techniques for Transferring Motifs
PAINTING ANIMALS
Lynx & Hawker
Science Fiction: Illustration by Michael Calandra

Star Wars Design for an Electric Bass Guitar T-Sh t
Jar Jar Binks on T-Shirt
Checking twice: Mobile Compressor and Plotter | International Airbrush Days 2017
EDITORIAL
Science fiction CONTENT

(ooh ooh ooh) STEP BY STEP
double feature... Song text from The Rocky Horror Picture Show
04 Stowaway
Sci Fi Illustration
Michael Calandra tells the story of a very special
hot freight on board of a spaceship with airbrush,
Dear readers, pencils, erasers, brushed and knives.
This issue goes beyond a "double feature", providing
you with three "futuristic" step by steps. One is our title
11 Jar Jar Binks
motif showing the "Blind Passenger" from Michael Ca- T-Shirt Airbrushing
landra, which the American realized in conjunction with With this T-shirt, Argentinian Diego Baubinas
well-known model Bianca Beauchamp. Neimar Duarte creates smile on a littles boy’s face. He created a
and Diego Baubinas were both inspired by the epic cine- unique piece with a lot of detail.
ma series "Star Wars". Baubinas created a fan T-shirt with
a portrait of Jar Jar Binks while Duarte went about de- 26 Sound of the Galaxy
corating an entire electric bass with a "Star Wars" look. Star Wars Bass
Brazilian Neimar Duarte creates a galactical design
The article on Giorgio Uccelini also deals with music. The for a bass guitar inspired by the blockbuster – from
fixing to priming, from metal flakes to stenciling.
Englishman used to be a musician himself and has specialized
his artwork to revolve around music-related portraits. Thus,
it's no wonder that he painted his long-term friend Lemmy 41 Lemmy
Portrait
Kilmister from Motörhead. The passion of his fellow British
UK based artist Giorgio Uccelini had created this
countryman Jil Tisbury is clearly found in animals, especially
portrait only a few months before the legendary
feral cats. She composes photorealistic motifs that look as Motörhead front man Lemmy Kilmister passed away
good as real, if the animals in them were to really exist. in December 2015.
When it comes to 'Events', we're taking a preview 54 Lynx and Hawker

look at the World Bodypainting Festival 2016 in Aus- Animal Portrait
tria as well as the second International Airbrush Days The British artist Jill Tisbury created a magical
next year. The preparations for these events are under- encounter of lynx and hawker which actually never
took place that way.
way and ticket sales have already begun. The first ar-
tist names and details can already be read in this issue!
Here's wishing you a very creative summer! BASICS

48 Techniques for transferring Motifs
Your ASBS Team Before you can really start using your airbrush, you’ll need
to transfer your sketch to the painting surface. We will
be showing you the most common posibilities for your
picture motif.
CLASSICS
20 News
Checking twice this time: Iwata Freestyle Air compressor
and portrait silhouette plotter.
35 Readers’ Gallery
Creatures between Good and Bad.
67 Scene / Events
World Bodypainting Festival & International Air-
brush Days
69 Shopping Guide
Here are the experts for airbrushing!
70 Preview
Portraits and Kois
03/16 E AIRBRUSH STEP BY STEP 3

STEP BY STEP | Stowaway Level
What’s the hot freight that has crept in? Appa- models. He skillfully focuses on the beauty of his
rently, Michael Calandra‘s stowaway is causing main character. Airbrush, colored pencils, erasers,
pretty much of a stir on board of a spaceship. The paint brushes and scalpel all help him with ac-
American artist is a master in generating exciting complishing his goal.
sceneries from photo shootings he conducts with
4 AIRBRUSH STEP BY STEP 03/16 E

Stowaway | STEP BY STEP
EQUIPMENT – Stowaway
Airbrush: Iwata Eclipse airbrush with a Smart Jet compressor Additional materials: H pencils, Prismacolor and Der-
went pencils, Smart Jet compressor, sable brushes
Paints: Comart paint, Holbein Aeroflash paint, Createx
Illustration paint, Createx Reducer and Liquitex acrylics Model: Bianca Beauchamp
Untergrund: Crescent Illustration Board
Photo references: Martin Perreault
Surface: Crescent hot press illustration board
01 Preliminary drawing
I begin by using an “H” pencil
to detail the drawing on Crescent hot-
press illustration board. The “H” pencil
gives me a fine line, while the bright
white, hot-press board has a finish that
is tough enough to stand up to erasing
highlighted areas.
I do all of my creative design work in
this sketching phase. That way, I have
an exact idea how my composition will
work. I like to have everything plan-
ned out, since I find that sometimes
the paint can be very difficult to erase
completely, or paint over.
02 First shadowing of
skin and hair
Once the drawing is complete, I start
by lightly layering paint over the face
and hair. I often use a Createx reducer
to thin the paint and make it flow ea-
sier. I use a mix of three or four drops
of Driscoll’s Blush Flesh with a drop
of Transparent Ultramarine Blue, or
Driscoll’s Shade Additive in the sha-
dowed areas to add form and depth.
But, this is not set, it will depend on
the skin tone of the subject and what
colors are being reflected in her skin.

STEP BY STEP | Stowaway
03 Erase highlights
You can use a variety of different erasers to erase
softly, or for adding sharp highlights. In this step, I am using
04 Soft facial features
Once highlights are erased, I go back over them to
layer color. I will repeat this process, alternately erasing and
a pencil style eraser to erase the paint back to reveal the painting, in order to build up color layers slowly. Remember
white illustration board. to keep the facial features very soft and subtle. I avoid over-
doing the faces, as this can give the subject a hard look.
05 Shadowed areas
When deepening some of the
darker areas, I use Prismacolor pen-
cils to control the placement of thin
lines. They will add a bit of texture,
too. Once I touch up with the pencils,
I can spray right over this and it helps
to keep detail in the darker, shado-
wed areas. I will use the pencil tip,
or sometimes the side of the pencils,
to achieve different textures. Those
textures will show through after you
airbrush over them lightly and enhan-
ce the depth of shadowed areas. This
technique can be done throughout
the painting.

06 Latex suit
In this step, you can see why having a detailed
drawing is helpful. It is easier to map out the folds and
07 Adding highlights
Because the color layers are added slowly, it is easier
to go back in with erasers to remove paint in the areas I want
highlights in the shiny latex suit. I lightly spray complimen- to highlight. These areas will be painted over again with ad-
tary warm and cool colors to get the overall color theme. ditional light layers to build up depth of color.
08 Defining deeper folds

Here you can see the shadow
areas are deepened with colored pen-
09 Changing between erasing
and applying colour
This photo shows how the new layer
10 Individual hairs
Highlights, or individual hairs
are often picked out with an Exacto
cils, and I start to define the deeper looks as I go over my pencils and erased blade. Because it’s so easy, the temp-
folds in the shiny latex. I tend to use highlights with a new layer of color. tation is to do a lot of individual hairs.
Prismacolor pencils, or sometimes acry- The darks go a step deeper, and the But, since the figure is not really very
lic paint for these areas. highlights blend back with the middle close to the viewer, you wouldn’t see
tones. As with the hair and face, I will every hair. It’s better to suggest them
repeat this erase/colored pencil/layer by keeping things soft, and then pi-
process until I have the desired effect. cking out a few hairs. You can even
go back over some with the airbrush
to kill the brightness and make them
blend a bit.

11 Pattern of the smoke

Once I know the overall figure is working well, I
need to skip around a bit and start some other elements. I
want to start developing the relationship between the fi-
gure, hair, and the background, since they will all work to-
gether. After airbrushing a light layer of color, I start to era-
se the basic pattern of the smoke that will be coming from
the gun.
12 Masking and painting the spaceship

I scanned the drawing in sections before starting
the painting. That way, I can print as many actual size du-
plicates for cutting and masking as needed. At this point, I
have to protect the parts of the spaceship interior that are
in the middle ground. I cut a mask to cover the basic areas of
smoke, as well as the beams and hardware in the spaceship. I
attach it to the board with tape. I tape it down lightly where
I want to keep softer edges, and down flat where I need a
clean, sharp edge. I start spraying Ultramarine Blue in layers,
but remember to pay attention to the softer edges where
the smoke will have to be blended.
13 Painting smoke and

erasing
After removing the mask, I use the same
Ultramarine Blue to start defining and
coloring the smoke and swirling pat-
terns. I use a variety of erasers to descri-
be the swirling patterns. Larger erasers
can make softer edges, while the medi-
um sized eraser that I am using in the
photo will add definition.
14 The planet’s surface

I cut a new mask to cover and pro-
tect the face. This way, I can work safely and
not worry about overspray affecting any are-
as that have already been painted. I begin by
applying oranges and purples (with varying
pressure) to establish what is going to be the
surface of a planet. After the initial patterns
of color are lightly sprayed, I begin picking out
cloud layers with a medium sized, soft eraser.
If the softer erasers don’t remove enough
paint, I can always use tougher erasers for
brighter white highlights. Because the cloud
layer is so far in the distance, it should have
no hard edges at all.

15 In and out of focus

Keeping the mask in place, I go back over the area
with more color to add depth. The other areas of the pla-
16 Reflections
The latex suit has a very reflective surface. It will need
the brightest colors, deepest blacks, and brightest whites to
net are treated the same way. Remember to keep these make it really shine. I use colored pencil, black acrylic paint,
background areas soft in focus. You don’t want the distant and a Helix electric eraser to render those details. The pat-
background elements to carry the same level of detail as the terns should be simple, but remember that the suit will reflect
middle and foreground elements. You should use sharper the surrounding elements. In this case, I am working to reflect
details in the subject to direct the viewer’s attention where the inside of the spaceship, and, if you look closely, a shadow
you want them to focus. from an unseen danger is approaching from behind.
18 Hard edged inside

the spaceship
I am starting to paint the inside walls
and details of the spaceship. If I do use
masks, they are typically hand-held, or
17 Engine blades
The engine blades are getting some texture by using an Artool Splatter
FX template. I used the same template to define the edges of the blades. Colored
loosely taped down, to give me a sof-
ter edge. But, in this case, I want clean
edges. So, I am cutting frisket, or in
pencils and acrylic paint can be used to further define each blade by creating some cases Scotch Magic Tape, to pro-
sharper detail. I used opaque Payne’e Gray and a drop of Ultramarine Blue to give tect the areas I don’t want affected.
them their steely look. A little Burnt Sienna adds the illusion of rust on the blade. You should use the mask that will give
you the proper result.

20 Final details
The final stages of my paintings
involve going over the entire painting with
a fresh eye to determine what final details
19 Brushwork
After the beams of the ship are painted with the airbrush, I use a paint
brush and acrylic paint to do the small details. I find the brush gives me more
are needed. I use a colored pencil to add
any texture that is needed. A final pass
with the airbrush can add a color cast, or
control in these areas. I use a hand-held, traditional paint brush to do the ray gun, shadow, wherever needed. I use a traditio-
also. Here I am using a Derwent colored pencil to add texture to her gloved hand. nal brush with black, or white paint to pick
You should use whatever tool gives you the best control and the desired results. out any details and define the image.
MICHAEL CALANDRA
Fantasy artist Michael Calandra pre-

fers to create images of dark and
haunting nature. He works primarily
with the airbrush technique, acrylic
paint and colored pencils. Many of his
works have been published in maga-
zines like the Heavy Metal Magazine,
International Illustrator, Airbrush Art
and Action and various books like of
Veronika Kotlajic. Recently, he also il-
lustrated his first children’s book. Of-
ten depicting a commanding and sen-
suous female figure, he uses dramatic
poses, lighting and color to produce
atmospheric settings that reflect the
essence of his subjects. Michael lives
in Sylvania, Ohio, where he owns and
21 The finished painting

Thank you for giving me the opportunity to take you step by step
through my painting process. I hope you take whatever techniques work for
operates a frame shop and art studio.
www.calandrastudio.com
you and apply it to your own art!

Level Jar Jar Binks | STEP BY STEP
Jar Jar Binks

Some hate him, others love him: The totally crazy cial is of course to children, and thus it's no won-
Gungan from the planet Naboo became a key der that Argentinian Diego Baubinas brushed Jar
component of the Star Wars world for three film Jar Binks for a little fan of his onto a T-shirt. With
episodes and also plays a considerable role in the a lot of love for detail, he has created a truly
TV series “Star Wars - The Clone Wars“. His spe- unique piece of art.

STEP BY STEP | Jar Jar Binks
EQUIPMENT – Jar Jar Binks

Airbrush: Iwata CM-B Surface: Black T-shirt
Paints: Airbrush acrylic paints white, transparent green, Additional materials: White carbon paper (e.g. Saral),
dark yellow, orange, Sienna, burnt umber, umber masking tape (lightly adhesive), cutting mat, scalpel,
iron, color printer, computer, printing paper
01 Selecting a template
Selecting the right template is more important
than searching for the subject/the motif. It is good to know
the characteristics of the figure better so that we know
which one we want to use in our artistic presentation. You
should enhance the charm and personality of the figure.
We also need to think about what the viewer sees as we
want the viewer to be happy with what they are seeing.
Online you can find a lot of illustrations of Jar Jar Binks.
We can even take a screen shot from the movie in order
to create something really unique. And this is where our
little study plays a role. For my customers, the final product
will be for a child. Jar Jar Binks is a lovable character. Thus,
I want a friendly picture that has the boy and the people
looking at the picture smiling.
It's important to select the best possible resolution so as to
be able to see as many details as possible. As you can see,
I wasn't able to find a full, highly resolute picture. So I en-
hanced it with a picture that features a smaller resolution. I
use a picture processing program to get a template for the
main lines of the lower trunk and the clothing.
02 Preparations
Place a board in the T-shirt and stretch it from be-
hind by affixing it with tape. The elongation creates a situ-
ation in which the paint reaches the fibers of the material
better and can hold them better as well. For T-shirts sized L, I
use an MDF plate with the dimensions 50 cm x 7 cm x 3 mm.

Jar Jar Binks | STEP BY STEP
03 Transferring the motif

Print the motif in its original size. Tape the illustration over the T-shirt
and transfer the most important lines by placing white copying paper between
the T-shirt and the printed motif. (You can also use a projector and a white dra-
wing pencil, if you’d like).
Concentrate on the main lines of the contours and the hard edges, which are
established between light and dark zones. The texture and the wrinkles are very
complex. Thus, you should only transfer the most important ones. Make the rest
per freehand.
04 Creating a white work working base

Most airbrush paints are transparent. Even the opaque paints can hardly
be seen if you spray them on a black surface. To make the paint visible, you should
apply a white primer. So what’s up with the white working base surface? Well,
we’re talking about a very large rectangle… When we work on a T-shirt, we need
to delimit the amount of paint and the layers that we apply. The more paint we
use, the harder and more uncomfortable the T-shirt becomes.
So what is the white base when it isn’t a white rectangle? It’s the motif itself that
is painted white. The white basic motif has to be like a perfect monochromatic
image of our object, with all its characteristics, textures, and wrinkles. It is to your
advantage to establish a black-and-white copy of the template. You can remove
paint with software or a copy with a monochrome copy machine in order to receive
aid with the color values.
05 The eyes
Painting with white is the same as painting with light. Keep this in mind
and paint the wrinkles where the light is breaking in and blows towards the sha-
dow. Do not try to achieve the color saturation with the first application. Depen-
ding on the brand of paint that you use, you achieve more or less opacity. But when
you try to establish the color saturation quickly, you’ll soak the material quickly,
which isn’t a good thing. It can be necessary to dry the paint with a blow dryer or
wait in between applications until it dries.
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06 The face: First layer

Use the lines of the main wrinkles and begin apply-
ing the first layer of texture. This first layer will create se-
veral forms, but since you only use texture, you can begin
here with dark yellow. It’s only about establishing some base
and the light source. When you begin with transparent white
paint layers, you’ll find it as good as impossible to apply a
texture on it. Always remember that. Apply the first layer to
the teeth. Let it move out towards the area where the upper
lip casts a shadow.
07 The face: Second layer

With the second layer, continue adding light by
using texture. Keep an eye on your template all the while.
The area under the nose has almost no texture. But the re-
sult will be much better when you paint it in the direction
of the form and the skin. Enhance the most important li-
nes of the first layer and add additional texture lines, but
more concretely. Look at the template to be accurate with
the wrinkles and forms that will need to be reproduced. But
don’t be worried about the paint variations. We’ll paint this
later when we add color.
08 Chin and throat: First layer

Paint the lower teeth, the tongue, and the throat in the same way. These
parts obviously have more forms and wrinkles. Follow the same pattern that was
already presented. Paint there where the light falls on the texture and let it practi-
cally leak into the shade. The middle area (throat) features deep grooves that need
to remain dark. The texture becomes more subtle when the skin stretches around
the throat. Create this effect in that you paint fine lines and add more opaqueness
in the white so that they look shallower.
09 Chin and throat: Second

layer
Continue to construct the forms based
on the texture. You also need to work
on the face. At this point, you can add
a few very soft white progressions in or-
der to construct the foundation – but
be very careful. White is an opaque
color. If you put in too much of it, you
may cover your previous work on the
texture. As such, the layers should pose
a relationship of 70% texture to 30% of shading.
Paint the lower row of teeth and the tongue. The sponge texture of the tongue
can be reestablished via a point pattern. Leave the recession in the middle dark and
make sure that the shading above the tongue is retained. It is important in order
to give the mouth some depth.

10 The Hand
Use the same layer and texture technique as you have to this point. We
now concentrate on the primary characteristics from every section. The Hand
consists of only four fingers, including the thumb. The main form is comparable
to a human hand, featuring long fingers. Even the wrinkles and knuckles look
similar. So paint them as usual. The most important details of the texture are
the flagrant "tiger stripes". They are the main characteristic of the hand. The
interior side of the arm and the hand do not have any texture, as is the case with
the reptile-like stomach. It is important to remember this. From the interior side
of the hand, we can only see the thumb and the small finger.
11 Arm and shoulders

The arm should get the same layer application,
stripes and textures as the hand. The interior area remains
free of texture. The focus here is established by the perspec-
tive. Use the tonal value to separate the lower arm from the
biceps and the shoulder. Add more light to the closer areas
and then less to the areas that are further away for the right
depth of focus. Work more here with texture than with pro-
gressions, as you have just learned.
Spray the armpits and the visible part of the shoulder, as al-
ready pointed out. The armpit does not have any texture. The
shoulder has the same texture as the exterior skin of the lo-
wer arm. Light meets the shoulder and the arm places a sha-
dow on the armpit. The right shoulder is not hard to do. The
texture is flat and blurred.
12 The ears
For the ears, there are two
main textures. One is on the inside, the
other on the outside. It is only visible,
because it runs down the outer border.
When we take a look at the texture
of the picture, we can tell that we’re
dealing with a hard layer of skin on the
outside, one that almost looks like the
scales of a dragon or roofing tile. For
the interior texture, the skin is smoother
and softer; the texture is very similar to
a straw mat. It is recommended to com-
pare these textures with something that
we recognize. This helps us in compre-
hending things and with the painting
process. At least it is then something
that we’re more familiar with than a ex-
traterrestrial skin texture.

13 Textures for the ears /

scales
The scales have a frontal plate that
is lightly reflecting. In addition, they
have a thick side that is located in
the shady area. It is affected by a se-
cond light, which is reflected from
the ground. The sunlight comes from
above. As such, every scale projects
a thin line of drop shadow over the
one below. It is important to give
the observer a feeling of superimpo-
sition and closeness. Paint the scales
with hard strokes to really provide the
closeness and hardship of this skin.
14 Ear interior
There’s no sunlight directly hitting this surface. As
such, the texture needs to look flat. Since there’s no clear di-
rection from which the secondary light is coming, we’ll refer
to it as environmental light. Paint the matting texture with
parallel strokes. There are three main rows, as you can see
in the picture. It’s time to increase the white values of the
base. Add color progressions to slightly weaken the texture
without covering it.
15 Coloring Jar Jar

I normally paint the entire base before I begin wor-
king with the colors. But in this project, I am very excited to
see how the color will work for Jar Jar's skin. Thus, I leave
the clothing alone for a good bit in order to work on it later.
(We're only talking about lumps anyways. They are not the
main attention of the topic).
Let's undertake an artistic experiment with paints. Jar Jar is

located in a desert environment. I decide to make use of pri-
marily earthy paint pigments, which I think will very much
help to create a realistic skin tone. I will be working from light
to dark. The darker it is, the less paint you’ll need to apply. All
paints are transparent and applied in light layers.
Use dark yellow, not yellow. Yellow is too light and would
look unrealistic. We want to prevent that Jar Jar looks like a
guy wearing a mask made of rubber. Softly apply layers from
dark to light. Do not paint with the full saturation. Let the
white filter through where it’s required.

16 Second layer of paint:

Orange
The orange you make use of shouldn’t
17 Third layer of paint:
Sienna
Sienna is a red, earthy hue. It is the
18 Fourth application of
paint: Burnt umber
We begin with brown. This is the dar-
be pure. That would appear too light. next step to getting darker after the kest color that we're making use of
I use a brown orange. You can mix it application of orange. We give the pic- for the skin. We make use of it in the
in different ways: You can mix a cool ture an organic look before we jump black areas. Every drop of black on the
yellow with red, or you trickle some to brown. You should apply this color picture gives the impression of a hole.
brown into your orange and add dark very carefully. It is only there in order As such, it has to be reduced to a mi-
yellow or red earth tones, depending to make the orange even darker in the nimum or not used whatsoever. Use
on how it fits in. Work from dark to already darker areas. Make use of it burnt umber for the deepest furrows
light. But don’t cover up at the dark sparingly. Apply soft layers of this paint and shadows. You only need a little
yellow you’ve already applied, but to establish the coloring of the tongue. here and there to give the motif depth.
only the shady areas to give it all size It works perfectly, because it’s red and The paint shouldn't darken the picture.
and depth. not the usual pink. Pink would make it Use them for the freckles in the face.
shine or even illuminate. Reproduce the pattern that you see in
the template. It helps to establish the
face. The face appears flat when you
paint the freckles all in the same size
and evenly.
19 Green for eyes and teeth

The final application takes place with transparent
green. Use green for the iris in the eyes. The two easy appli-
cations are hardly noticeable if you don't concentrate on the
details. But they do have a big effect on the total impression
of the artwork. The teeth also can't be completely light white.
That would just be incorrect. Apply a very light layer of green,
which becomes weaker from the shade to the light. This gives
the picture depth and softens the shiny shimmer. We're not
talking about an advertisement for toothpaste here.

20 Green shading
Now take a look at the skin of the ear’s interiors a
little more closely. You see an almost invisible whiff of green.
21 Preparing the clothing
Spraying white creates overspray. To prevent any tra-
gedies, create a stencil from the expression in the original size
Thus, you have to apply a very small layer. BE CAREFUL! We that we've used so as to transfer the motif. Place the stencil
don’t want it to be green, but rather just give the impression the cutting mat and cut out the area of the jacket with the
on of greenness as we see in the template. Keep reviewing scalpel. The T-shirt located under the stencil remains black,
things! Enjoy it and make little corrections where you feel because the background functions as a negative space.
they’re necessary. You are the artist. Trust your feeling and
give the picture something personal. Place the stencil onto the T-shirt and attach it with tape in the
upper area. In this manner, you can browse back and forth
as you wish. Fill up your airbrush again with the color white.
22 The basic color of the clothing

The procedure is repeated right from the beginning.
Before the paint is applied, a white foundation is laid down in
layers. I myself select a simple look for the clothing, because I
would for viewers to be seeing Jar Jar himself and the attention
shouldn't be placed on his clothing. Spray on a layer of white
with the stencil and make sure you get a structure of dark yel-
low going with curviness. Use a thick texture on the edge of the
material and on the seams. This will give you a basic structure
23 Establish the structure
The jacket is hanging flat over the chest and looks dry
and tattered. You can save time and work by making use of
on the T-shirt, which allows it to look correct and decent. When a texture stencil to establish the basic white surface. It's not
you work on details, you can fold back the stencil for a more about the detail. Just be careful not to place something over
pleasant procedure. the structural details.

24 Coloring the jacket

To continue working with the palette of the earth
colors, make use of pure umber as your color foundation.
The paint looks gray brown and dry, which fit well together.
Now we go back to making use of burnt umber. I add in some
darker areas where necessary, including the shade on his left
shoulder (to the right from our vantage point) so as to close
up the effect.
25 Removing disorder
Regardless of how careful you work, whenever you apply white to black
T-shirts, you almost always have to wipe away paint-splatter, and admittedly,
using black paint. You can take the cut-out motif and use it as a template. Then
you can spray black around the edges. It's also possible to do this per freehand.
Move along close to the surface and then move towards the outside away from
the motif. I prefer the freehand method, which I use all over the place, like for
the mouth, in the pupils of the eye (naturally with the exception of the reflecting
lights), and in the holes of the nose. The cleansing ensures that the motif and the
paints jump out from the T-shirt. Due to the light, natural total impression that
we've achieved, I avoid painting the background.
DIEGO JAVIER BAUBINAS
Diego Javier Baubinas was born in Berisso, Buenos Aires,

Argentina in 1973, where he still lives to this very day. He
started his artistic career in what he calls the field of “Tech-
no-art”, working on extreme thematic creations and the
modification of computers, peripherals, and electronic ar-
tifacts, conducting tutorials and participating in a publi-
cation for a computer magazine, public events, and work
orders for hardware companies. When he first bought
an airbrush, he was aiming to improve the quality of his
techno-art works, but this exceptional tool and art form
26
captivated him completely and changed his career forev-
The final result
er. After that, he learned the basics of airbrushing on his
This is the final result, proving that all the work has
own and then started to take courses to learn advanced
paid off, namely studying the motif, slowly building up the
techniques. Up to now, most of his work has been based
foundation, the work on the textures, and the selection of
on illustrations aimed towards realism on all kinds of sur-
the paints being used. The more you work, the better the
faces from vehicles to T-shirts to canvas, and paper, etc.
final result is.
I hope you enjoyed the process, have learned a few tricks and
www.facebook.com/DJBAerografias techniques for your future projects, and are happy with the
final result. “Mesa like it!!“

AIRBRUSH-NEWS
EQUIPMENT
Iwata Freestyle Air: Air for use on the road
Small compressors (featuring low the device. Together, the Iwata Free- for a maximum pressure of 1.31
pressure) that are used for make- style Air then weighs 800 grams. Be- bar, yellow for 1.17 bar, and red for
up, tattoos, designing cakes, and all fore an initial start-up, the battery up to 0.69 bar. Depending on the
sorts of hobby applications are al- has to be a loaded for app. 2 hours. area of application, you can control
ready available on the market. The Reloading it again last app. an hour. the amount of air. The compressor
optional battery operation for the Alternatively, the compressor can is equipped with an auto-protect
Iwata Freestyle Air peaked our curi- also be operated with the power function. That means that after 9
osity. Just by unpacking it, we found adapter. minutes of constant usage, the com-
ourselves doing some 'ohs' and pressor automatically turns off. In
'ahs', as the compressor comes in a A trendy design element can be order to restart it, you continue to
black stylistic packaging with a slip- seen in the setting dial that is tur- operate the roll switch. This gua-
case. Just unpacking it is a joy. The ned on and off and also used for rantees that the battery has a lon-
first thing you notice is the freestyle the air pressure settings and the re- ger life, should one – despite the
mouse-pad, which turns out to be a spective display. It is usually found device's very noticeable "humming"
vibration dampening pad, which we in the encasement as an Iwata logo, - forget to turn it off while working.
first discovered when going through which then lights up in the colors
the operating manual. The scope green, yellow, and red, depending
of delivery also includes the pow- on the selected level. Green stands
er adapter, including international
connecting jacks, a compressor hol- Iwata Freestyle Air
der with an anti-vibration surface, Maximum pressure: 1,31 bar
an airbrush holder, the attachable Type: Oil-free reciprocating compressor
NiMH battery and an air hose.
Volume: N/A
Weight: 476 grams without battery; 800 grams with battery
The compressor itself is as stylish
as the packaging promises it to be. Dimensions: Including batteries, 106 x 167 x 57mm
The slender, black device with the Pressure reducer: Dial with three levels
rounded off edges has the size of a Moisture separator: No
thick paperback book and features a Instructions, hose, airbrush holder, a stand for the com-
perfectly ergonomic form. Without Accessories: pressor, vibration dampening cushion, operating manual,
batteries, it weighs just 476 grams. power adapter
The battery can last app. 45 minutes Price: 380.80 EUR (RRP)
depending on the application and Source: Specialty retailers
nozzle size. The battery is also scre-
Further information: www.airbrush-iwata.com
wed on and off with a short twist on

AIRBRUSH-NEWS
EQUIPMENT
Also simple, yet creative, is the air- ration dampening pad as well as the of movement. For 380.80 EUR (RRP),
brush holder that comes with the vibration and movement-dulling rub- the well-conceived Iwata Freestyle Air
product. Depending on whether the ber legs for perpendicular positions. compressor is available in specialty
compressor is held in a flat positi- shops now.
on or diagonally, the holder can be As mentioned off the bat, the Iwata
attached such that the airbrush is Freestyle Air is suitable for all users
stored safely in it. When setting the who establish their work in low pres-
compressor, you are assisted in the sure areas, yet are mobile and either www.airbrush-iwata.com
flat position by the integrated rubber go without electricity due to a lack of
feet and the initially mentioned vib- sockets or to establish more freedom
PAINTS
Guaranteed Opaque: Schmincke Aero Opaque Medium

With the Aero Opaque Medium from the previously transparent paint appli-
Schmincke, airbrush artists are getting cation, but the paint dries to a point
a painting substance for their Aero Co- where it's completely opaque. In ad-
lor Professional paint series that can be dition, the medium can be mixed with
used to increase the opacity. The me- water. The opaque medium is perfect
dium can be used right away, but the for weakly absorptive surfaces. De-
bottle should be shaken well before pending on the amount being admi-
use. The Aero Color Professional paint nistered, a minimal amount of paint
should be mixed in a maximum relati- lightening can occur. According to the
onship of one portion medium to two manufacturer, the Schmincke Aero
parts paint, ideally in a separate cup in opaque medium should not be used in
advance. If you mix too much medium a pure quantity.
in the paint, the color hue becomes ba-
rely noticeable. The medium is just per- The Schmincke Aero opaque medium
fect for the 36 bright tones of Aero Co- can be purchased in a 23 ml bottle
lor Professional. If you use the opaque for roughly 6.55 EUR. A 125 ml bund-
medium with the 24 effect colors, the le is available for 11.30 EUR. Both are
effect is reduced. available in airbrush and artist accesso-
ries specialty shops.
The maximum opacity is first establis-
hed when the paint dries. Initially, you
can hardly recognize the difference to www.aerocolor.de

AIRBRUSH-NEWS
PAINTS
New Recipe, New Trends: Jacquard Airbrush Color

particularly strong opacity and wash-
resistance on textiles. As such, the Jac-
quard paints are currently the most
preferred in the USA when it comes to
painting tennis shoes. In fact, this has
even led to a new trend.
Jacquard Airbrush Colors are availa-

ble in the variations 'Transparent',
'Opaque', 'Metallic', 'Fluorescent', 'Lu-
minescent' and 'Iridescent'. All of the
paints are very intensive and luminous.
The company features 48 color hues.
Jacquard Airbrush paints have been pressure scenarios. The time necessary Jacquard Airbrush Colors are available
around for decades. Well now the for the paint to dry at the tip of the in bottle sizes of 118 ml, 240 ml, and
paint series from the US is doing a re- needle has been decreased. Jacquard 470 ml.
boot. The recipe for the fluid acrylic Airbrush Colors are perfect for various
paint has been revised so as to continu- sub-surfaces such as paper, plastic, me- www.jacquardproducts.com
ally improve its flowability, even in low tal, leather, and wood. They feature a www.customkicks.de
Badger RC Air: Airbrush Acrylic Paints for Lexan
Lexan models present airbrushers with cial resin ensures flexibility and stabi- more than 40 color hues from opaque
a very special challenge. The transpa- lity, even in cases of collisions and flas- to iridescent, metallic or neon. Just the
rent encasements are painted from the hovers. Badger RC Air is also just right right varnisher and a cleaner are also
interior - designs and paint layers must for painting other synthetics, resins, available. Badger RC Air comes in four
be established in reverse order. Lexan and additional porous and non-porous different filling amounts at most well-
fans can get support from the airbrush materials. The paint does not contain stocked airbrush specialty shops.
manufacturer Badger! Its paint series any damaging solvents or chemicals
Badger RC AIR Lexan® Bonding Acrylic and only has a weak scent. Despite its
Airbrush Colors has been especially de- strong adhesive properties, the paint is
veloped for Lexan surfaces. They now quite thin and can also be sprayed qui- www.intl-trade.eu
contain a newly developed hardener te well with small cans. Cleaning can www.badgerairbrush.com
with an improved drying period and be conducted with common airbrush
optimized adhesion on Lexan. A spe- cleansers. The assortment consists of

AIRBRUSH-NEWS
ACCESSORIES
Portrait Silhouette: This is how easy plotting can be!
For those who want a precise and small, light, and just wonderful for tor or Corel Draw. But if you'd like
well-cut stencil for making airbrush use on tables. Using it is a piece of to, you can use the DXF format to
works of art, there's just no getting cake! With Silhouette Studio, you import the cutting template to Sil-
around a cutting plotter. The choice can develop designs, fonts, letters, houette Studio.
for finding just the right plotter is etc. with standard tools. The light-
not always an easy one. The demands ly attaching cutting mat holds onto The delivery includes a detailed in-
on hardware and software are dif- the stencil material, positions it, struction manual with pictures as
ferent and can have a few airbrush and pulls it in via a loading clip. The well as a driver on CD, an electrical
artists scratching their heads. The cutting blade can be adjusted with cord, USB cord, set of knives, an 8"
manufacturer of the hobby plotter the included adjusting cap depen- cutting mat as well as a one-month
"Silhouette Portrait" is clearly folding on the material being used and trial subscription for designing tem-
lowing another strategy: Just plug then placed into the blade holder. plates from the Silhouette online
in the plotter per USB to a Windows The cutting settings in the software store. The Portrait Silhouette Plotter
PC or Mac and then you're off to the save the user a whole lot of work. is well designed, cuts even the smal-
races. Our editorial staff was very With that, you don't have to worry lest of details in a very fine manner
surprised that the plotter (including about the press proof and cutting and is easy as pie to operate. Priced
the software) could be very easily speed. In addition, the software can at 179 EUR, it is affordable and an
operated with the latest Mac OS X. open both bitmap pictures and pho- enormous help for more than just
The included software "Silhouette tos, then convert them into vector airbrush stencil designing.
Portrait", the user can start up with graphics. As such, you're not forced
drafts immediately and create his or to work with an additional form of
her own stencils. designing software such as Illustra-
Seen from a technical standpoint, Technical data: Portrait Silhouette

the device offers (in the deluxe mo-
203 mm x 3m in the roll's enhanced mode, 203 mm x
del with material from the roll) a Max. cutting area:
304.8 mm with cutting mat
maximum cutting area of 20.3 cm x
Drive: multiphase motor
3 m, or even 20.3 x 30.48 cm with
Cutting speed: 100 mm/S
the included lightly sticky cutting
mat. Fully charged, the knife makes Media width: 210 mm
use of a multiphase motor with a Connection: USB 2.0
maximum cutting speed of 100 mm/s Tick recognition: Yes
and a cutting power of 210 g. The Software: Silhouette Studio für Mac und Win
maximum medium strength consists
SD Card Slot: No
of 0.5 mm. As such, mediums such
as vinyl films, paper, photo-paper, Display: No
synthetic paper, cardstock, thermal Weight: 1.6 KG
transfer film up to thin fabric can Dimensions: 413 x 142 x 114 mm
be processed. Featuring a weight
Price: 179 Euro
of only 1.6 kg and dimensions of
413 x 142 x 114 mm, the plotter is source: www.silhouetteamerica.com

AIRBRUSH-NEWS
ACCESSORIES
Practical Maintenance Tool: Iwata Professional Airbrush Maintenance Tool Kit
With the Professional Airbrush Main- airbrush tightly without damaging the devices the tools can be used with. In
tenance Tools from Iwata, all airbrush chromium surface. Using the Iwata key addition, you can find an empty tube
users are getting some special tools for the air valve guide with small and for replacement needles. There's plen-
for fine-tuning and maintaining their large diameter, the air valve can be ex- ty of space to include additional equip-
Iwata and Neo airbrushes. The practi- changed or the spring tension of the ment, tools or the airbrush itself in the
cal set is lucidly delivered in a pencil trigger can be adjusted. repair bag.
case-like case. It naturally contains
two Iwata screwdrivers for removing The set is rounded out with the very The Professional Airbrush Maintenance
and adjusting needle sealing. One of useful, self-centering nozzle key so as Tool Kit is available for 133.28 EUR
them is 1.2 mm in diameter (primarily to remove nozzles or to pull on the air- (RRP) at specialty airbrush shops.
for the Custom Micron Series) and the brush body without risking that the th-
other is 1.4 mm in diameter for the read is overtwisted. However, this key
Hi-Line and NEO series. Furthermore, is not suitable for the Eclipse and Neo
it also comes with soft pliers that can Trigger series. An illustrated instruction www.airbrush-iwata.com
be used to assemble and disassemble manual is included and features various
airbrushes. The nylon inserts hold the languages as well as a listing of which
The New Way of Cleaning: Aero Clean Rapid Spray
The new cleaning spray Aero Clean

Rapid from Schmincke is specially ma-
nufactured for the Aero Color Profes-
sional paints series, but it functions
excellently with similar acrylic airbrush
paints. The Aero Clean Rapid Spray is a
quick-working, watery special cleaner
for removing dried airbrush paints.
It works in a fast-spreading way and
thus loosens dried up paint remains
from airbrushes. With the aid of fine
spraying attachments, even the har-
dest areas to reach are dealt with.
The cleaner contains tenside, additi-

ve and water. As such, it's biologically
degradable. After using the spray, the
airbrush will need to be rinsed with
clear water so as to remove loosened
paint and material rests. The spray is
available in a 100 ml portion for app.
6.60 EUR at specialty airbrush and ar-
tist accessory shops. www.aerocolor.de

AIRBRUSH-NEWS
ACCESSORIES
Artograph Beamer Flare 100: The Mini-

Beamer for transferring Templates
When it comes to transferring template motifs to the pain-

ting surface, there are many different options out there (see
ASBS Issue 03/16). If the painting surface is larger than A3 or if
you're dealing with an entire wall, then there's really no get-
ting past making use of a beamer. Thanks to its rechargeable
battery system, the Flare 100 Art Projector from Artograph
makes it possible for the artist to work independent of elec-
tricity. As such, a picture can also be projected even in areas
where no source of electricity is available. Via its mini-size and
a weight of only 275 grams, the Flare 100 can even be stuffed
in your jacket pocket, if need be.
Despite its small size, the Artograph Flare 100 features a lar-
ge scope of functions. Using the HDMI entry, you can attach
everything you'd want to present from a desktop to a laptop
computer to an iPad. In addition, the beamer features a USB
connector and a 5-in-1 card reader i.e. for an SD Card. Des-
pite its 100 ANSI lumen, the projections can be viewed well
even when it's pretty dark. The Flare 100 provides a Full HD
resolution of 1920 x 1080 pixels with integrated speakers and
with that, can be used to play videos or make presentations
for customers, controlling this function comfortably with the
attached remote control. What's special about the Artograph
beamer is that the artist can place one of 22 various grids
onto his or her picture template. This makes it much easier to
break down the picture and determine the perspective.
The beamer can be set up on every standard photo tripod

and thus, can easily project at various angles, i.e. on a slightly
tilted easel. What's also practical is that the device automati-
cally corrects the picture if the angle to the projection surface
isn't right. A 4-GB USB stick with sample photos and helpful
videos on how to operate the device are included. The Ar-
tograph Flare 100 is available in specialty airbrush shops for
528,00 EUR.
www.artograph.com
www.createx.de
ADVERT 03/16 E AIRBRUSH STEP BY STEP 25

STEP BY STEP | Sound of the Galaxy Level
The Brazilian Neimar Duarte paints his own versi- masks, he shapes heroes of the saga, their space
on of an episode of the Star Wars saga. He crea- ships und the Death Star. His galaxies consist of
tes a galactical design of the box-office hit for a Metal Flakes, the main focus, however, being the
bass guitar but has to begin with repair works well-known Star Wars signet.
and foundation works. Using loose and sticky

Sound of the Galaxy | STEP BY STEP
EQUIPMENT – Sound of the Galaxy

Airbrush: Iwata HP-CH Additional materials: Masking tape, adhesive tape,
contouring tape, various sandpapers and abrasive pads,
Untergrund: E-Bass computer, pen display, Photoshop, several paper copies,
scalpel, Metal Flakes, clear varnish, toothbrush
01 Design
First of all, I need a theme. In
this case it is Star Wars. With this the-
me in mind, I started drawing with a
pen display in Photoshop. I used a vari-
ety of pictures as references. I did some
experiments, adjustments and created
a balanced composition. I used a photo
of the actual instrument that provided
the basis for my work.
03 Bad surprise
Taking the shield plate off, I
found a big and ugly gap around one
of the pickups. As you can see on the
right side of the picture, I have to fill
this gap because I will omit the plate
shield later.
02 Disassembling the bass

guitar
I always prefer to disassemble the en-
tire piece. It’s highly recommended
because it makes the work a lot easier
and guarantees a perfect finish.
04 Repair work
I copied the shape of the gap using a sheet of paper. Then I used the form template to cut a piece of wood. I worked
on this piece of wood until it perfectly fits in the cavity.
03/ 6 E A
03/16 AIRBRUSH
US SSTEP BY S
STEP
P 27
STEP BY STEP | Sound of the Galaxy
05 New space
I used the plate shield to trace the exact position of the pickup, in order to make a new suitable space. I used a
Dremel to finish the shape until the pickup fits in the space.
06 Primer and base colour

The entire instrument was sanded with 350-grit sandpaper and I masked some areas. I applied a good primer
and sanded with 800-grit sandpaper. I applied black paint and sanded the black base also with 800 grit. Some areas were
masked before starting to apply the metal flakes.
07 Metal flakes
I added the metal flakes to
the clear varnish and applied 5 coats of
it to the guitar. Then I applied 3 coats
of clear varnish without metal flakes.
I didn’t add too much metal flakes to
the varnish to create a galaxy feel.
08 Sanding uneven
surfaces
Metal flake applications produce a
rough surface. Hence you need to
paint several coats of clear varnish be-
fore sanding the surface and evening
it out. Using a block of wood with a
rubber pad attached on it, I scuff until
the roughness disappears. Then I sand
it with wet 800 grit paper, until the sur-
face looks perfect. I taped the edges to
delimit the area that will be painted.

09 Creating templates
I printed two copies of the de-
sign. One to cut and use like a mask,
the other to transfer the design in
steps ahead. Both in the actual size of
the bass. I cut the picture, separating
the background from the characters.
10 Blocking in the figures

I decided to colour the shape
of the figures first. Notice that I made
some holes around the edges of the
silhouette to stick the mask to the ins-
trument. I sprayed a light coat of grey,
just to establish the position and draw
the characters over it. Now I have a
good basis for transferring the design.
11 Stars
I will paint the background now, so I mask the cha-
racters. I made some little and far away stars by splashing a
12 Blue gleam
I spray transparent blue behind the characters to
improve my galaxy effect. Sometimes I use a stick to press
little paint using a tooth brush. down parts of the mask while I spray.
13 More stars
I did the rest of the stars one
by one by hand in various sizes thus
creating deepness.

14 Sketching and masking

the figures
To transfer the characters, I used my se-
cond print. I scribbled with a 2b pencil
on the back of it, using it like a carbon
paper. I traced the lines with an auto-
matic pencil, and the lines were trans-
ferred to the surface. To protect the
lines, I applied a coat of transparent
base. I masked the divisions between
Darth Vader and Stormtroopers and
started to paint the dark areas.
15 Shading the
stormtroopers
I painted the dark areas first with
a low coverage black. Notice that I
marked my two masks in case I need to
put on the mask at a later stage again.
16 Colouring the
stormtroopers
I add colours free hand. I like to avoid
masks whenever possible, particularly
when the edges need to be softer. Now
I need to get more details in the colou-
red areas. I applied some highlights in
the Stormtroopers. I then unmask the
area and started to block in the Darth
Vader body with black.
17 Darth Vader
I carefully draw the helmet
and face of Darth Vader. I like to use
paints mixed with transparent base. It
makes a low coverage paint. That way,
I have more control and time to do the
details and nuances. I paint the dark
areas of Darth Vader and make sure
that the painting blends in nicely with
the background, without covering the
metal flakes.

18 Light effects
First I added grey and then
lighter grey to achieve light effects. I
19 Light saber
With transparent red I painted the red light coming from the light saber.
I used the red for the lamps and buttons also. I did the highlights using white.
created reflecting light coming from
outer space with a transparent blue.
03/16 SH STEP BY STEP 31

20 Spaceships and
Death Star
Now it is time to make the spaceships
and the Death Star. I used the mask
that I printed. I divided the mask into
parts that I used separately. I started
spraying grey.
21 Textures of the
Death Star
I changed the mask several times, in or-
der to spray all the structures and are-
as. Notice that I did some cuts to help
me to find the correct position of some
details. That way, it is easier to fill in
the rest of the details.
22 Shade and volume

With transparent blue I did
the shadows, creating volume. I also
added some details with black colour.
I removed the mask and set the high-
lights with white and complimented
further stars.

23 Star Wars Logo

I applied a coat of transparent
base to protect the result so far. I stuck
a transparent masking film on to the
guitar body to draw and cut the star
wars logo. I printed the logo in the
actual size with references of positi-
on and attached it to the body. I put
a sheet of carbon paper between the
print and the mask. Drawing over the
print with an automatic pencil, I trans-
ferred the design to the mask.
SUPER-TIP!
24 Notice that I used a textured

mask film to be able to work
with carbon paper. If you don’t have
a textured or frosted mask film, the
trick is to sand it. This time, I deci-
ded not to use plotter. Instead, I did
it the old way by cutting everything
by hand with a scalpel.
25 Get the logo to shine

I sprayed yellow and removed
the masking. To get a neon light effect,
I spray another layer of yellow without
the masking. I spray a lighter yellow in
the centre. To make it look even brigh-
ter, I apply a yellow in some corners
that is nearly white.
26 Clear varnish
Ready for the clear varnish. I
applied it in two steps. In the first step
I layered it five times.

27 Smoothing out
irregularities
The paints create a lot of irregularities
as you can see in this image. These first
layers of clear varnish are there to level
out these irregularities. I sanded the
surface with a wet 800 grit using my
block of wood with a rubber pad at-
tached to it until the surface becomes
perfectly even.
28 Finish
The second step of clear var-
nishing: Apply two more coats and let
them dry. Sand and polish using a 2000
grit and a 3000 grit wet sandpaper. The
bass is ready for assembling.
NEIMAR L. DUARTE
Born and raised in Belo Horizonte/MG Brazil in 1985. He has been drawing since he
doesn’t know when, researching and studying by himself using magazines, books and
internet. Due to his passion for classic cars, hot rods and choppers, he discovered the
airbrush world and he started in 2005 when he bought his first airbrush without ever
had touching one before. He built his own compressor at home using a refrigerator’s
engine. Since then he has never stopped researching. He does a whole variety of
airbrush and pinstriping works, like portraits, photorealism, fantasy art, motorcycle,
instruments, helmets etc. He works for Harley Davidson dealers and music bands.
When working on portraits, he loves to mix photorealism with some fantasy stuff to
stimulate the imagination of the people. In 2015 he visited the SEMA Show in Las
Vegas, which inspired him in a major way.
www.facebook.com/neimarfa

READER´ GALLERY
Our
Readers´
Artworks
Rob Schmitz: Grinder RUPES "Big Foot" Edition

Airbrush: Harder & Steenbeck Infinity 0,15
Paint: Createx Wicked
Base: Grinder
Caroline Hufnagel: X-Ray Cat

Airbrush: Infinity Two in One
HOW DO I ENTER?
Paint: Createx Wicked, Clear Coat Simply send photos of your artworks –
Base: Createx Yupo Paper digital and at least 9 x 13 cm, with
300 dpi resolution – to: info@airbrush-
magazin.de or mail (also min. 9 x 13 cm
prints) to: newart media & design,
Wandsbeker Königstr. 50, 22041 Ham-
burg, Germany. Photos sent by mail
cannot be returned.
Please make sure that you have the per-

sonal, as well as intellectual property
rights at your disposal.
Notice: Airbrush Step by Step does not

take any responsibility for misuse of
personal or intellectual property rights
asso-ciated with the pictures and mo-
tifs presented. All of the published
works have been sent into the maga-
zine voluntarily and the artists received
no monetary compensation for them.
Airbrush Step by Step decides on the
choice of motifs based on purely aes-
thetic and publishing aspects. There
is no guarantee of entries being pub-
lished.

READER´ GALLERY
Torsten Schwandt
Airbrush: Infinity mit 0,15mm nozzle
Paint: Schmincke
Base: Steel sheet 50 x 30 cm, black coated with Molotow Bobby Stojanov Varga: Arabian Stalion
Paint: Acrylics
Rob van Dijk: Red – eyed tree frog Base: Canvas, 70 x 50 cm
Airbrush: Iwata Micron SB
Paint: Etac Marissa
Base: Schoellershammer 4 G, 40 x 50 cm

READER´ GALLERY
Silvia Jenniges-Kutzner: Australian Shepherd "Kodiak"

Airbrush: CM-SB2
Paint: Liquitex Ink und EFX
Base: ClayBord, 40 x 50 cm
Jürgen Pomper: Ironman

Andy de Bruin: Kratos
Airbrush: Evolution
Airbrush: Iwata HP-CH 0,3 mm
Paint: Aero Color
Paint: E'Tac Marissa
Base: Canvas, 120 x 140 cm
Base: Schoellershammer 4G

READER´ GALLERY
Ludwig Kestermann: Bay

Airbrush: Infinity und Evolution
Paint: Schmincke
Base: Schoellershammer 4G
Michael Blum: Alicia Vikander Wendy de Bolle: Elefant

Airbrush: Infinity 0,15 Airbrush: Evolution Two in One
Paint: Createx Illustration Colors Paint: Hansa Pro Color
Base: Lanavanguard 30 x 40 cm Base: Canvas

READER´ GALLERY
Matúš Krempaský: Ms. Marvel Kai Schübeck: New York Street Scene Andreas Beuge: Ant
Airbrush: Infinity Acrylics on Canvas Airbrush: Iwata CM SB (0,18 mm)
Paint: Marabu Textil Plus Size: 100 x 80 cm Paint: M Art In Acrylfarbe
Canvas: T-Shirt Base: Yupo (synthetic Paper)

Level Lemmy | STEP BY STEP
The legendary Motörhead frontman Lemmy Kil- Giorgio is a master of freehand airbrushing.
mister died 28. December 2015. He was a friend With this picture Giorgio erected a memorial in
of the British artist Giorgio Uccelini, who pain- the thoroughbred musician’s honour.
ted this portrait of him only a few months ago.

STEP BY STEP | Lemmy
EQUIPMENT – Lemmy
Airbrush: Eclipse airbrush Paints: JVR colours and Inspire paint
Surface: Canvas 40 inches square Additional materials: Photo reference, projector,
4B-pencil, brush (15 mm)
01 Preliminary drawing
For this project, I used a bo-
xed canvas made with fine linen and
prepped with Gesso. Using an opaque
projector, I projected the image and
traced around the outline and other
basic facial features as a guide to pain-
ting the portrait. For the drawing, I
used a soft 4b pencil .
02 Outlines
For this painting, I am using
an Eclipse airbrush. It's great for this
size of canvas, spraying a very fine line
for detail and a wider spray for filling
in. Start with a cool grey colour mixed
from blue, orange and white. This takes
some practice so experiment and make
sure you make enough for the comple-
te painting. Place a few drops of thin-
ned grey colour in the airbrush cup and
lightly spray the outline of the image
from a distance of about 15 - 20 cm and
set the compressor 25 to 30 psi.
03 Conches and skull

Continue spraying, working
into the conches and skull on the hat
and build up the dark areas slowly. It is
easier to add colour so don't over do it
at this stage. Try to use the white of the
canvas for the highlights, rather than
using white paint.

Lemmy | STEP BY STEP
04 Modelling hat and ear

Continue spraying closely to
the canvas about 10 to15 cm from the
surface and move in closer when you
need to be very precise. Softly outline
the ear and begin to model the shape
of it. Define and create the correct to-
nal value. Spray in light layers. Then
go back to the hat and block in the
dark area.
05 Background
Having now defined the sha-
pe of the hat and modelled the ear,
clean the airbrush and place a few
drops of vermillion thinned with a few
drops of water. Begin spraying around
the image with light wispy lines and
try to emulate flames.
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06 Colouring the hat

Clean out the airbrush cup
and place a few drops of the original
colour in it. Mix spray away from the
ear and begin to block in the hat. Build
up in layers and make sure to leave a
thin white line on the rim of the hat.
07 Hair and face

Still using the same colour,
proceed to spray the hair, trying to
follow the shape of it.
This helps to form the shape of the
hat. Spray very lightly and start to de-
fine the facial features.
08 Hand and jacket

Move on to the hand and
jacket. Work very closely on these to
avoid overspray. This can also be done
using masks but I prefer not to as I
think it makes the finished art work
look unreal.

09 Face, hand and hair

Still using the same colour,
continue modelling the face, hand
and hair following the shape. When
modelling the hair, I follow the direc-
tion of its growth. Keep checking your
reference photo.
10 Running colour
In this step, use a large paint
brush at least 15 mm wide. Using yel-
low airbrush colour, randomly paint it
on the canvas to allow it to run down
the canvas.
11 Details of the face

and moustache
Return to the airbrush. Place a few
drops of the cool grey mix in the air-
brush cup. Continue modelling the face
and work on the moustache to build it
up in layers.

12 Matching colours
Clean the airbrush and place
a few drops of ultramarine blue in the
airbrush cup. Then spray a light layer
over the fingers, the rim of the hat
and the jacket lapels.
Clean the airbrush and place a few
drops of the cool grey in the cup and
continue building up the facial tones.
Spray the hat until you are satisfied
with its tonal depth in cool grey. Then
clean the airbrush and place a few
drops of black in the cup. Check your
reference photo then spray black in
the darkest areas.
13 Flames
a few drops of vermillion. Spray over
the yellow, using thin whispy strokes
and try to emulate flames. Spray also
around the jacket and the bottom of
the canvas. Then move into the face
and hand to spray a very light coat
over the knuckles. Use a fine spray on
the side of face.
14 Highlights
a few drops of opaque white in the
cup. Again spraying very finely build
up highlights in the hat, the skull, the
conches, the ring, the eyes, the rim of
the hat, the face and the hair.

15 Skull flames
Clean the airbrush. Place a
few drops of opaque blue in the cup,
and at the sides of the canvas begin to
spray thin to thick strokes. Try and lea-
ve small areas clear to simulate skulls.
Keep working on this until you achie-
ve the shapes. Clean the airbrush and
place a few drops of opaque red in the
cup. Then spray into the eye sockets of
the skulls to make them more defined
and to stand out.
16 Finish
Look at the final result. Rest
in peace, Lemmy!
GIORGIO UCCELLINI
Internationally renowned airbrush artist Giorgio Uccellini has been painting for more than 30
years. Because of his other profession, namely that of being a musician, Giorgio primarily con-
centrates on creating portraits of rock icons. His artwork is eternalized on all sorts of surfaces,
be it canvas, the T-shirt or leather jackets, and naturally also the human body. Together with
Flavio Bosco, he’s completed a number of bodypainting projects. Giorgio sells his works across
the world and has held exhibitions in the USA, Italy, Germany and England. His airbrush tech-
niques are taught in courses and, in addition to a number of diverse articles in magazines, he
now has his own book called “The Art of Airbrushing”.
www.rock-icons.co.uk

ASBS TOOLBOX | Techniques for Transferring Motifs
Techniques for Transferring Motifs

This is how you transfer your motif to the painting surface
Before you can really start using your airbrush, the size of the motif, how much you're willing
you'll need to transfer your sketch or draft dra- to spend, and what exactly you're most comfor-
wing from a photo template to the painting sur- table with.
face. You could naturally just draw it up on that
surface of yours, but technical aids give the ar- In this article on fundamentals, we'll be show-
tist the opportunity to save a great deal of time ing you the most common possibilities out there
while also accurately reflecting proportions and so that you can decide which transferring tech-
details. However, not every trick or technique nique is most suitable for your picture motif and
out there works on every surface. Choosing the situation.
right method is dependent upon the surface,

Techniques for Transferring Motifs | ASBS TOOLBOX
// The classic: // The Technique for Children:

The Grid Method Pressing on Graphite
Before there were ever any means of technical assistance, A method that is also quick and inexpensive, which you
artists tended to make use of the painting technique known may even remember from art class back in school, is using
as the grid method. The old masters enlarged their sketches graphite or soft pencils. You’ll first require a print of the
with it in order to get it onto their stretcher frames. motifs. The backside is then shaded with the graphite or
soft pencil. The template is then pressed onto the painting
You begin by drawing a grid onto the template, much like surface and the contours are pressed through with a pencil.
with a chess board. The squares should be equally large and
include all of the parts of the original picture. Then the same Depending on the degree of hardness of the graphite or
grid is drawn onto the subsurface in very thin lines with a
very sharp pencil. It should contain just as many boxes as
the grid on the template. What is variable is the size of the
squares. With larger squares on the target painting surface,
you'll enlarge your motif true to scale when transferring
your motif; you'll shrink your motif with smaller squares.
Only the side relationship of the squares will have to remain
the same.
The grid on the original picture serves as a form of orien-

tation for the eye. Even complex structures or sophistica-
ted perspectives can be more easily drawn and transferred.
Only take the most essential contours into consideration.
Fine details should be ignored for now. As opposed to other
techniques, the grid method requires concentration and
drawing talent, because the drawing is always done per
freehand. Different from tracing or other techniques, the pencil as well as according to the intensity of the contact
pencil can’t just draw along previously provided contours. As pressure when drawing through the paper, some tender
such, this technique generally lasts a bit longer, but features light or thicker fat lines are established. If you should use
the advantage that it doesn’t require any additional devices a graphite pencil that is too soft, there’s the danger that
or materials and thus, is inexpensive and can be made use chafing takes place when placing down a hand surface
of at any time. and as such, blotches get into the sketch. Fundamentally,
this can be corrected at any time with a rubber eraser. Tip:
The grid method is most suitable on classic, flat painting sur- Attach the template with a lightly adhesive tape for the
faces such as paper or drawing board, as the drawn in cross- transfer or a bit of airbrush masking film so that it doesn’t
hatch lines will need to be erased away at a later juncture. slip around.
This method is most fundamentally suitable for smaller and

mid-sized motifs. Otherwise, applying the graphite could
end up in a battle of materials and larger scribbling. It also
takes up a lot of time. The subsurface also needs to be light
so that the gray graphite is also visible.
// For Repeat Offenders:

Transferring per Transparent Paper
This technique initially begins with the classic "tracing" of
the motif using transparent paper. This is available on a roll
and from a block or as sheet material. Turn over the trans-
parent paper and draw the plotted contours on the back-
side once again with a soft pencil or graphite pencil. Once
this process is finished, place the transparent paper onto
your painting surface. Then you can take a folding stick
to rub through the contours onto your painting surface.
The double drawing makes it possible for you to laterally
present the motif.

© M. Froschin
in white, red, blue, and yellow. As such, it can be used on

dark surfaces. Saral paper can be made use of on all possi-
ble surfaces, from paper and cardboard to wood, textiles,
metal, plastics, and up to ceramics and glass.
Saral paper is very popular for custom painters who work

on various surfaces.
Saral paper is available as a roll of 0.30 x 3.6 m at a price of

roughly 20 EUR or as an A4 sheet collection à 5 sheets at a
price of approximately 5 EUR at art materials shops.
// Seen at the tailor‘s:

Prym Copying Paper
A good alternative to Saral paper is the carbon paper from
Prym, which can be purchased from specialty tailoring
shops. A package contains a yellow and a white sheet sized
82 x 57 cm. With that, the contour drawings can be drawn
© E. Guerrero
through with a pen on dark surfaces, i.e. on motor tanks,
engine bonnets or car doors. Corresponding with the initial
As opposed to the graphite technique, you’ll use less gra- purpose, it also functions very well on textiles. The transfer
phite and risk less smearing onto the painting surface. In sheet is simply placed between the preliminary sketch and
addition, you can wear down and get the contour drawing the surface. The pushed-through preliminary drawings can
several times – somewhat like with a stamp – so as to achie- be worked into the desired motif or removed with cleaner.
ve an exact reflection of the contour drawing. This allows The sheets can be reused several times. The Prym tailor co-
you to transfer the motif not only to the painting surface, pying paper is available for a price of 5 EUR in retail shops
but also i.e. to the masking film or other materials so as for tailor’s needs.
to manufacture your own stencils. This technique also only
functions on light surfaces.
// For Custom Painters:

Saral paper
Transferring templates via Saral paper principally takes
place in a manner similar to the graphite pencil technique,
but instead, you make use of the already finished “coated”
Saral paper, which is a bit more elegant. This paper is a
colored, wax-free transfer paper, the layer of which can be
erased, washed out, and made use of multiple times. The
Saral paper is simply placed under the photo or the sketch
and then traced through with a pen. The advantage over
graphite is that Saral is available not only in gray, but also

// And yet another Valiant Little Tailor: paper on it and then start your work. Modern light tables
The Tracing Wheel Method are currently equipped with LED lights, which last longer and
save a lot more electricity while heating the worktop less.
This method is also one that resourceful airbrush artists have
picked up from tailors. Tailors tend to use a sharp and jagged Tip: Light tables are a great support when working with trans-
tracing wheel to press cutting patterns into material. Now, parent paper so as to better be able to see contours. With a
an airbrusher certainly doesn’t want to have any small holes couple of lamps, a glass table can be quickly transformed into
in his or her painting surface, but the template doesn’t gene- a light table.
// Projecting items:
Tracer / Paxiscope
Tracers and Paxiscopes function just like an overhead projec-
tor, but it’s not necessary to first transfer the template to film.
These projectors process so-called opaque picture templates.
That is photos, magazines, books, drawing paper or similar
templates can be placed right into a device and then be pro-
jected. The most well-known representatives are the Paxi-
scope from Braun and the various devices from the company
rally damage this. As such, one can use the tracing wheel to Artograph. Depending on the model, the devices hold tem-
draw along the contours of the preliminary drawing or photo plates sized between ca. 10 and 25 cm, can enlarge them up
template and gets a perforated line. You then place the per- to 30 times their size, and minimize them up to 80%. Via the
forated template on the painting surface. You can now i.e. extreme light performance, the devices can get very hot such
“dust” the lines with a dust bag and colorful chalk. The paint that some are equipped with powerful cooling fans and tem-
then oozes through the small holes and leaves a dotted line perature protection switches. However, the devices should
on the painting surface. never be held too long in operation. Some models are also
available with adjustable and removable table tripods, which
This method is very suitable for large surfaces, because it is also make a vertical projection possible. One should however
quick and effective. The perforated template can be used on take note that the devices work best in darkened rooms.
multiple occasions and can (by turning the template) also be
applied back-to-front. This is good for i.e. symmetric graphics
or identical illustrations on two sides of a vehicle or helmet.
However, it’s not that ideal for fine details, since it can com-
paratively leave behind a weak and interrupted line.
// Only with paper:

Light table
In order to transfer motifs to painting surfaces, light tables
are only suitable when dealing with somewhat translucent
paper for both painting surfaces and templates. Airbrush pa-
per still works, but illustration board does not. Light tables
are still practical in the creation process of motifs when you
i.e. compose motifs from various templates. Simply place the
© Artograph
template on the light table, place the painting or sketching
© Artograph

// Like in School: digitally, it’s important to take them directly from there and
Daylight Projector then place them on the painting surface. For larger formats, a
beamer can be the best option and is the digital counterpart
If you went to school last century, you’re surely familiar with to overhead projectors or tracers. All sorts of beamers can be
the good old overhead projector. Motifs or graphics that were used for this purpose, which is available i.e. as a home cine-
printed, painted or copied onto foil can generally be "thrown ma projector in the family or for business presentations in the
up on the wall". This can then naturally be used for the motif company. In addition, artist goods stores offer special beamers
transfer: Draw i.e. your sketch onto a projector-suitable tem- for artists and designers, i.e. from Artograph. They offer ad-
plate or print your photo template directly onto a laser or in- ditional functions such as the overlay of different grids with
kjet foil. You can then project the template onto your surface and without template photos, which help with the transfer of
i.e. a canvas, a large vehicle, or a room wall, and then trace it motifs. The pictures can be transformed into black-and-white,
onto the wall with a suitable pen. When projecting, your tem- be blended in and out, zoomed, turned, and mirrored.
plate is automatically enhanced. You can vary to what degree
this comes via the settings on the device as well as via the dis-
tance from the surface and projector. As such, this projection
is suitable primarily for large-sized projects.
© Artograph
Many beamers can be attached not only to classic PCs or lap-

tops, but also directly to digital cameras, smart phones or tab-
lets via USB sticks or adapters. Just like all other projectors, be-
© mailer_diablo (Wikipedia) amers are also suitable for large sub-surfaces such as canvases,
vehicles, rooms or house walls.
Thanks to modern technology, used overhead projectors are
inexpensive to acquire. Because of their form of technology,
they don’t exactly belong to the lightest and most compact // Digital Work on Paper
devices and it’s best only to use them in a domestic studio. Printout on Painting Surface
Depending on how they’re equipped, the devices make use
of various luminosities, which makes the projecting possible Those who work in offices print out dozens of pages of paper
in more or less lighted rooms. per laser or inkjet printers on a daily basis. Why not print out
digital preliminary drawings right on the painting surface?
Airbrush paper is no problem for most printers. For illustrati-
// Contemporary: on board or canvas, you’d be best off turning to the aid of the
Beamer local copy shop or an online provider. They can often print
out larger formats or even canvases on canvas frames. A pre-
In the meantime, most artists work entirely or partially in a di- requisite is that you digitally create a line drawing i.e. with a
gital manner in order to prepare their motifs for the airbrush graphics tablet or pen display and reduce the opacity so as to
varnishing. This stretches from the pure template research in get a weak hard copy. This can no longer be erased away, but
the Internet and the downloading of corresponding photos depending on the motif and paint technique, it disappears
right on up to the digital composition of motifs and the digital anyway or is embedded in the motif.
pictures and drawings. If the templates are already available
© Artograph

Tip: Canvases that have been printed with an inkjet printer

have a very fine surface upon which you can work with air-
brush paints with excellent detail and great acuity.
// The Trend:
Apps for Smartphone and Tablet
Many artists have a smart phone or tablet in their pockets
and bags. They’re made good use of to shoot template
photos on short notice so as to show the template photo
as a reference when painting and to zoom into the details.
The app "Camera Lucida" for iPads and iPhones as well as

the app "Artist’s Eye" for Android devices also make it pos-
sible to transfer motifs to the painting surface based on the
drawing instrument created in 1806, namely the ”Camera
Lucida“. In the applications, the desired painting motif can
be photographed or a picture is uploaded from the device’s
internal picture gallery. The photo is then displayed on the
screen. If you then activate the draw function, the photo
can be set to "transparent" and is then moved over the
© G. Mendez
display with the live picture of the painting surface upon
which the camera is focused. The contours of the photo motif. For this technique, we recommend that you make a
item can then be drawn very well on the paper. The hand- bunch of copies of the template in order to be able to cut
out the many parts that intertwine with each other.
Sticky masking film can also be used for this form of trans-
fer. However, you have to get the contours onto the mas-
king film. You can do this with about every technique men-
tioned in this article that would also work on paper. In fact,
a lot of stuff is even easier with masking film, because the
substrate of the film is translucent. If the forms are then
placed on the film, the individual parts can be attached to
the painting surface and sprayed upon.
If you are preparing your motif digitally, you can also pro-
cess them in a vector program and have them projected via
a cutting plotter. This is how you get some very precise loo-
se or sticking stencils (depending on the material) for your
motif, which you can then work into the painting surface
piece by piece.
ling is controlled via the screen. In addition, the apps also
have several processing filters which can make the drawing
process easier. However, an important prerequisite for the
EVEN MORE TIPS AND TRICKS
application is to attach the smart phone or tablet above
the painting surface so as to avoid shaking or various dis- Motifs across several pages
tances. The "Camera Lucida" app is available in the iTunes Current printers and computers allow for the temp-
store. The "Artist‘s Eye" is available at Google Play. late motif to be printed out across several pages e.g.
with Adobe PDF Reader. They can then be taped or
glued together to establish a larger template.
// Without a drafted sketch:
Transferring motifs with stencils Make use of copy shops
A lot of office needs markets and copy shops offer a
Aside from the classic "drafted sketching" on the painting good bit of copying and printing options for a small
surface presented thus far in this article, there’s also the fee, including e.g. large format posters or printing on
option of transferring motifs to a painting surface via sten- special paper and/or types of foil. You can also make
cils. To do this, just cut out the e.g. contours of your motif use of plotting services. This is how you can prepare
from your template photo, place it on the painting surface templates and painting surfaces in diverse sizes and
and mist it lightly with a light color hue that fits with the materials.

STEP BY STEP | Lynx and Hawker Level
Lynx and
Hawker
Is it just watching or will it pounce? The British artist Jill Tisbury
created a magical encounter of lynx and hawker, which actually
never took place that way. She composed her work from different
references and brought it to life with a fine sense of colour.

Lynx and Hawker | STEP BY STEP
EQUIPMENT – Lynx and Hawker

Airbrush: Iwata CM-SB
Paint: E’tac airbrush paints, Marissa series
Surface: Fine art canvas pre-gessoed, 48 cm x 38 cm
Additional materiels: Cutting mat, scalpel, pencil
erasers, electric erasers, watercolour pencils, pastel
pencils, masking fluid, masking tape, wire florist fab-
ric, several home-made texture tools
Reference images: John Tisbury
01 Choosing a subject and composition

My favourite subject area is wildlife and big
cats in particular. I love this image of the Eurasian Lynx
taken by my husband John at a recent visit to the Wild-
life Heritage Foundation in Kent, UK. She was staring
intently at the conservationist who was telling us about
her when John took this image, so in this composition
I needed to add something for her to look at. I wanted
to show something of her playful and inquisitive na-
ture, so I decided on a Hawker Dragonfly. I think that
a butterfly would have been too fragile, plus I like the
strong colour of the dragonfly.
Next I had to decide what the dragonfly would be

perched on, so I thought about adding simple grass
stalks. However, the diffused green background keeps
a strong focus on the Lynx, which I like, so I felt that
grass on its own might be too much green. I settled on
the Iris because I thought that the purple/blue would
complement the rust colours in the Lynx fur.

STEP BY STEP | Lynx and Hawker
02 Getting the image

onto canvas
I love working on canvas. The slight
texture provides great results, but it is
smooth enough to be able to work in
the kind on detail that I like. It can take
quite a lot of punishment from erasers
or craft knives too. There are several
ways to get the image on to the can-
vas. For this piece my Lynx reference
was the correct size once printed on A3
paper so, for speed, I decided to trans-
fer the image using graphite transfer
paper. Next I drew in the iris flowers
and Hawker dragonfly freehand in
the right hand third of the canvas. The
whole image creates an aesthetically
pleasing triangle that carries the eye
around the scene.
03 Cutting stencils
I want to make sure that I don’t
get overspray on the main subjects, so
I trace the main outlines to cut some
shields from tracing paper. I find tra-
cing paper shields more useful during
the painting process – less sticky. You
can use frisket if you prefer. Use a cut-
ting mat and sharp scalpel to carefully
cut the outline. Make sure that the cuts
are clean and not ragged. This takes a
little while, but a little time spent here
will provide a nice clean edge when
you come to spray the background.
04 Fixing the shield

Next fix the shield in place
using very low tack masking tape.
Magnetic drawing boards are ideal
for this, but they are still on my wish
list! Whatever you use to fix the mask
make sure that it does not leave a resi-
due or damage your canvas.

05 Masking liquid
Once you have the shields in place, use masking fluid for any other
tiny areas where you wish to preserve the white of the canvas. If your shield
cutting got a little out of hand you can use the fluid to make small correc-
tions too. Once you’re happy with the masking, you can go-ahead and start
to work on the background.
06 Colour windows
The background in this piece is a blend of diffused green, but if you
look carefully, there are quite a range of green shades. I started by mixing
the lightest shade then the darkest shade and blending shades in between.
Many of my students are a little apprehensive when it comes to colour. Co-
lour windows is a trick that I learned way back in my art college days. The
appearance of a colour can be affected by surrounding colours, so a small
windows cut into a white square can isolate the colour and help you to ‘see’
the correct hue. I use colour windows to ensure that I can get an exact match
when I mix my airbrush colours. These are simple to make from standard A4
printer paper. Cut a number of paper squares approx. 2” x 2” (4 x 4 cm), then
cut a small square in the centre. I make sure that I have a good supply of
colour windows before I start a project as I find them really useful to record
the colour mixes that I’ve used. Paint or spray a little of the mixed colour
around the ‘window’ and hold it over the reference image and you’ll be able
to see if it matches. When you move the same window to another spot on
the background, you can immediately see that the colour would be too dark.
Once I am satisfied with the mix, I write the ‘recipe’ on the window, so that I
can refer back to it if I need to.
07 Mixing colours
I mix my paints in disposable
shot glasses and often start with a base
mix which I can then darken or lighten
in the airbrush cup. I am using a light
base, mixed from 1 full pipette of Cule-
bra Gold, 1 drop of Phthalocyanine Blue,
3 drops of White and 1 drop of Forest
Green; plus a dark base, made of 2 full
pipettes of Culebra Gold and 3 drops of
Phthalocyanine Blue.
08 Spraying the background

To start this piece I take the
lightest green and worked out from
the Lynx and Iris to the darker areas at
the edge of the piece. Add 2 drops of
water and 4 drops of Light base to the
airbrush cup. Bubble the paint to mix
thoroughly. Gently mist over the edges
of the shield and ensure that the flow
is directed away from the shield edges
so that the paint is not forced under
the edges. Although I am not following
the reference exactly at this stage, I still
have it to hand as a guide. At this point
the piece looks like I have an unnatural
green halo around the main subjects,
but this is fine. These are the lightest
areas in my background, so now I can
start to darken the paint drop by drop
and create subtle differences in shades
as I work out to the dark edges.
09 Leaves in the background

Although the main background is diffused, I want to make sure that
I create good depth of field. I want the Iris to be part of a clump of Iris Leaves
that stretches into the background and I want the feeling of other foliage in the
background too. To do this I need to
suggest shapes around the stems that
look like out of focus leaves and dark
and light areas in the rest of the back-
ground. Cut a long curve in a piece of
A4 paper to use as a leaf edge stencil.
Use the edge of the stencil to suggest
leaf edges, then freehand spray over it
to complete the leaf and soften where
the leaves are out of focus. Spray some
diffused leaf shapes in the rest of the
background, then add 1 drop of dark
base to create a subtle shade. At this
stage I am happy with the background,
but I will come back to it to ‘tweak’
once I have finished the main subjects.

10 The Iris stems

Now I am ready to start the Iris. Once again I use my colour windows to
help mix and record the colour for the stems. The mix I need is ever so slightly
grey, so I need a grey base for my colour. If you create lots of airbrushed art-
work it can be useful to mix a series of grey paint bases in empty paint bottles
to speed up your paint mixing process. A grey-scale value card is invaluable to
ensure you mix the values correctly. For this mix I need a base with a grey-scale
value of 8 (very light). My mix was 1 pipette of light grey (value 8), 2 drops
rain forest green, 2 drops Culebra Gold, 1 drop E’tac GXFX 503 Arylide Yellow.
Before spraying I clean up the stems with electric or pencil erasers. I don’t
mind leaving the pencil or graphite marks when I spray darker shades, but in
this case I want to make sure that the paint is not dirtied by the pencil marks.
Make sure that you have any reference images to hand for the Iris flowers and
leaves. Cover the Lynx and Hawker to protect them as you spray the Iris stems.
Add 4 drops of water and 4 drops of stem mix to the airbrush cup and spray the
lightest areas of the stems. Again I can use the A4 stencil that I cut to shield the
background from overspray as I work.
11 Texture
Use the same mixture and
some florist fabric to add the slight-
ly withered texture to the tops and
edges of some of the leaves. Continue
to work into the stems with the darker
colour to add shade and depth using
the reference as a guide. Once you are
happy with the results, flush your air-
brush with clean water to remove the
dark green.
12 Adding Red to the

Iris leaves
In this Iris some of the leaves have red
veining, particularly where buds are
forming. You need very little colour for
this, so I mixed it directly in the airbrush
cup. I added water because the colours
are extremely strong and I wanted it to
be quite subtle. The mix is 2 drops of
water, 1 drop Red Ochre, 1 drop Qui-
nacridone Magenta and 1 drop Pyrro-
le Red. The shield I am using here is a
multi-purpose curved shield that I cut
from a sheet of Mylar. Use the shield
to bounce the red on to the leaf edges.
Again use the florist fabric to diffuse
the paint and create the vein texture.
Sometimes the leaves have straight-line
red shading, so this is best achieves by
using wire. Take a length of household
electrical wire, approx. 6” (15cm), and
remove half of the coating.

Splay out the fine wires and use to

spray through to create the red lines.
For now we can leave the Iris leaves
and start on the flowers and buds. Fine
adjustments will be made to balance
the overall piece once each of the main
areas is finished
13 Iris Petals
If you look at the Iris reference
image you can see that these beautiful
petals have some great but complex
markings. Creating this effect is actu-
ally simpler than it seems. Before star-
ting on the Iris petals its necessary to
mask out the white areas with a fine
paint brush and some masking fluid.
Pay attention to the shapes and direc-
tion of pattern flow to make sure that
you follow the surface planes of the petals. Mix the Iris petal base mix in a plastic
shot glass with 25 drops Pthalocyanine Blue and 21 drop Quinacridone Magenta.
Add 3 drops of water and 4 drops of the Iris petal base mix to a clean airbrush
cup and spray the petals. Use the reference image to spray the darker areas more
intensely to create depth to the petals. Be careful not to spray too much colour
at the top parts of the wider petals as they have a yellow orange colour that fa-
des into the blue. The exciting part is removing the masking once you are happy
with the petal colours and shading. Make sure that there are no wet areas, then
gently rub off the dried masking fluid with your fingertip.
14 Adding veins to the Iris petals

Now the veins and shadows in the petals can be intensified. Add 4
more drops of colour to the airbrush cup and spray over the petal veins. If you
prefer, you can use a watercolour pencil to strengthen the vein colour, Alb-
recht Durer Delft Blue and Crimson shades work well. As with the leaf detail,
the pencil veins can be a little too sharp, so its useful to blend the lines with a
blending pencil to soften. Complete all of the wide petals using the techniques
described here adjusting the colour in the airbrush cup as you go.

15 Petals’ colours
Where the petals, veins or
buds have a more violet hue, add Qui-
nacridone Magenta 1 drop at a time
and use a piece of scrap paper or paint
window to test the colour first. Always
spray a light mist and add layers to
intensify the colour. I tend to use my
hand where I want a very soft edge to a
shadow rather than a shield as it looks
more natural. Finally flush out the air-
brush cup and add 3 drops of water 3
drops of Culebra Gold and 3 drops of
White. I mentioned before that Pyrole
red was a very strong colour, but I need
a little of it in this mix. Too much and
it will be way too red, so dip a cocktail
stick into the Pyrrole red and just touch
the tip on the edge of the airbrush cup.
This will deepen the mix just enough to
give the right colour for the throats of
the wide petals. Spray a very light coat
over the throats of the wide petals and
the base of the buds and blend into the
main petal / bud colour. For now the
Iris is complete.
16 Hawker Dragonfly
I love the jewel bright colour
of this dragonfly and felt that it would
make a great focal point for the curious
Lynx to be looking at. I started by er-
asing any lines on the wings that would
be likely to show through. The lines on
the body can be left in as they will be
covered with a very dark shade. I don’t
need a lot of paint for the Hawker so
it can be mixed directly in a clean air-
brush cup. Add 3 drops of water, 1 drop
of Pthalocyanine Blue and 4 drops of
white. Referring to your reference, use
a shield and spray in the bright blue
shapes in the head and body.
17 Wings
Flush the airbrush cup through with clean water and add 2 drops of the
Light green background base mix. Spray a light coat over the wings and blend some
of the colour out into the background where there are lighter areas. Add a touch
of burnt umber with a cocktail stick to darken very slightly and use a shield to crea-
te a very subtle shadow on the inside edge of the wings. Use the florist fabric to
mist a very light spray over the wings to create the illusion of wing texture. I used
a white watercolour pencil for the catch lights and crimson for the red oblongs on
the wingtips. The reason I used pencil is that the white lays on the surface better
and does not blend into the background colour. If you choose to airbrush or paint
these details you will need to go over it several times.

18 The Hawker body

Add a drop of Rain Forest
green to the mixture and spray in the
green areas of the thorax. Empty any
remaining green paint and add 2 drops
of water and 3 drops of Light grey base
(value 8) to create a very light grey
green. Next it’s time to tackle the black
lines that denote the segments on the
Hawker’s body.
I have to say that I never like to use
‘black’ out of the tube or bottle. In
my experience pre-made blacks hard-
ly ever look natural, so I find it better
to mix my own. For this black I used 2
drops of Pyrrole red, 2 drops of Pthalo-
cyanine Blue and 2 drops of Burnt Um-
ber to warm it a little. This creates a
lovely deep, deep purple/black. Perfect
for the Hawker. Use a shield and care-
fully bounce the black on to the body.
SUPER-TIP!
20 What ever the medium,

there are 4 key points to
remember when working on fur to
achieve a realistic result:
1. Always pay attention to the di-

rection of the fur. Look carefully at
the way it lays over the underlying
muscles. Sometimes it lays flat and
sometimes it will stand up.
2. Look at the length of the fur –

long hair will require long fluid
strokes while short hair may simply
be a series of dots and marks.
3. Fur is made up of many layers of

hairs, therefore this needs to be the
19 The Lynx
When I work on a pastel piece I put the ‘landmarks’ in place first. That
is to say I work traditionally by establishing the darkest areas, then the lightest
same for your artwork. Experiment
with different methods of creating
texture within the layers to achieve
and blend them with the rest of the tones that I see in the fur. With airbrush the depth that you are looking for.
work I follow pretty much the same method, so I add 2 drops of water and 5 or
6 drops of Burnt Umber to a clean airbrush cup and start to map out the dar- 4. Above all make sure that you
kest areas. Burnt Umber is a transparent colour and is relatively easy to erase if follow the shapes in your reference
you need to modify a shape. to pick out the shadows and high-
lights within the fur and always
test your colour mixes.

21 Wire tools
So from the very first layer I use my wire tools to introduce texture. In
this case some stripped household electrical wire creates the effect of course
undercoat hair. Staying with the electrical wire tools I have simply pulled the
casing apart on this wire to reveal the copper, then twisted the wires to create
a slightly different texture. This time it’s useful for the clumps of fine hair sha-
dows on the top of the ears. For finer texture the florist’s fabric is again useful.
Review the results each time you use a texture tool and soften or blend the
shapes if necessary.
22 Fur texture
The Lynx has a patch of very
short tufty fur just under her ear and
a pan scourer is ideal for creating this
texture. Carefully tease the edges of the
scourer and pull apart, a little like a bag
of crisps, to create two thin layers. Spray
through the layer to create a mottled
texture. A similar matted texture can
be created using wires that have been
scrunched in all directions. In this shot I
have used this method to create a tang-
le of medium length hair in the ear.
23 Facial textures
Next I move towards the face
and this time I want short defined
bristly edges so I have created a set
of bristle brushes from a shoe brush
and some oblongs of mounting board.
The bristles are glued and sandwiched
between the boards and make a fa-
bulous bristle texture brush. Continue
to work with the various tools picking
out the darkest areas. For the sharp
areas around and in the eye I use a
shield to prevent getting overspray on
to the eye itself.

24 Adding colour layers

Continue working over the
whole of the Lynx until you are com-
fortable that you have mapped the
darkest areas blending and correcting
shapes as required. From here on you
will add layers, blend and adjust the
various tones in the fur. First I mix a
light fur base colour. If you are mixing
it in the airbrush cup use the following
recipe: 2 drops of flesh, 3 drops of light
grey (value 7), 2 drops of Golden Och-
re and 1 drop of Burnt Umber. I sca-
led up this mix to 3 times the volume
and mixed it in a shot glass because I
will use it as a base and add colour or
white to lighten or darken the mix as
I go. In this shot I am working on the
longer coarser hair in the bib of the
Lynx. Work over the Lynx to add this
base layer of fur colour using the vari-
ous tools and techniques described for
adding the dark areas.
25 The snout
The next layer of colour
starts to bring together the dark and
the light areas. In another clean shot
glass mix 8 drops light grey value 7, 1
drop Brown Ochre, 1 drop Red Ochre, 4
drops Golden Ochre and 2 drops of Cu-
lebra Gold. At first glance this mix may
seem a little vibrant, but once it is blen-
ded and subsequent lighter layers area
added the piece will begin to come to-
gether. In this picture I am working on
the nose detail with the vibrant mix,
wires and florist’s fabric.

26 Deepening
I often find that paintings go
through a ‘scruffy’ stage and students
can get a little disheartened. This is
usually about halfway through a pain-
ting. Whatever you do don’t give up.
As you add each layer and detail it will
become more refined and suddenly the
ugly duckling has become a swan! You
can see in this shot that the base co-
lours are beginning to come together
and I have gone over the key darks
with Burnt Umber to strengthen them
so that they don’t become lost.
27 Highlights
When you look closely at Lynx
fur, you can see that it is quite deep and
coarse, not silky like most domestic cats.
However in some places you can see a
fine layer of guard hairs which seem to
float over the coat, particularly in dark
areas. I use a highlights mix of 7 white
drops and 1 drop of base mix to mist
over the areas where these hairs are out
of focus. Sharper guard hairs will be ad-
ded later at the detail stage.
28 Painting the eyes

The eyes are my favourite part
especially in large cats, so I love this part.
For me this is when the animal comes to
life. Start by adding 2 drops of white,
1 drop of Arylide Yellow and 1 drop of
Culebra Gold to the airbrush cup. Make
sure that you have erased any graphite
marks that may show through the paint,
then use shields to protect the outer
parts of the eye while you spray the base
colour. Add 4 drops of Azo Orange to the
mix and use the florist’s fabric to spray in
the iris texture to the eye. Turn the fab-
ric as you go to make sure that the lines
are painted around the pupil to form the
ridges of the iris muscle. Darken the mix-
ture with a drop or two of burnt umber
to add the darker details and the shadow
from the eyelid and socket.

29 Balancing the colours

We are nearing the end! This stage is all about the tiny details. You
will probably find that you need to strengthen the darks once more, so I start
this process with the Burnt Umber, but for the darkest areas where you would
naturally reach for the black I add a drop of Pthalocyanine Blue and warm the
mix with a drop of Red Ochre. Alternatively you can use watercolour pencils –
perhaps a Paynes Grey or even Black.
30 Adding the finishing

touches
Finally we are ready to add the very
fine details like very light guard hairs
and whiskers. I use a mixture of Faber
Castel Albrecht Durer water colour
pencils that match the tones of the fur
to create the final layer of detail in the
fur. I added the hairs in this shot with
a Ivory and Warm Grey watercolour
pencil because I wanted them to be
crisp and look as if they were the top
layer. For this to be successful, make
sure that the pencils are kept very
sharp. You can also scratch in fine hair
detail with a scalpel. I used this tech-
nique for the ear hairs as they are less
defined and the scratchy look makes
them appear to be catching the light.
When it comes to whiskers I prefer to
paint them in with a 5/0 liner brush
and undiluted white paint. You may
find that you need to go over them
several times if they are particularly
bright whiskers.
31 The finished piece

That’s it! A beautiful Lynx fas-
cinated by a jewel bright Hawker Dra-
gonfly on a lovely Iris flower. Let’s hope
she doesn’t pounce!
JILL TISBURY
The British artist Jill Tisbury got her artistic nature from her dad and has been painting
since she was 5 years old. She had a brief spell at art-college in her teens, but it wasn’t until
much later that she studied pet portraiture at the London Art College and passed with dis-
tinction. Up until 3 years ago she used traditional mediums like oils and pastels exclusively,
but then she picked up an airbrush for the first time on a course with Marissa Oosterlee.
Now she’s hooked. Her favourite subject is wildlife, mainly large cats and she loves photo-
realistic detail. Her time is split between running a training consultancy business with her
husband and running art courses in her home studio.
www.jilltisbury.co.uk

Events | SCENE
KEEP THE DATE!
World Bodypainting Festival 2016:

Metamorphosis and Propaganda
From July 1st through 3rd, the Austrian province of Pörtschach am Wör-
thersee will once again turn into the capitol of bodyart. The open air
art park located directly on the lake will be transformed into Bodypaint
City, where over 300 artist teams from 50 nations will battle for the title
as World Champion in various bodypainting categories. For the world of
bodypainting, the competition is divided up into the categories of Brush/
Sponge, Airbrush, and Special Effects. The categories in the field of ma-
ke-up are Special Effects, Creative, and WBF Make Up Battle. There will
also be two amateur bodypainting categories as well as special events
such as facepainting, UV effects, and installation art.
The topic of the day for Friday and Saturday will be "Metamorphosis –
The Art of Transformation". The finalists will spend Sunday presenting
their interpretation of the topic "Propaganda – Controlling the Public
Opinion". Top-class musical acts will be pumping up the party vibes on 4
stages going deep into the night. During the day, a number of amateur
artists, well-known artists, street musicians, a lifestyle market as well as
the street food market will combine to offer the visitors a diversified
framework program. Should there be the expected hot summer weather,
you can feel free to visit the Pörtschach beach pool next door free of
charge. Day tickets for the event can be purchased in advance starting at
27.50 EUR. A 3-day ticket starts at 49 EUR.
All those who'd like to deepen their knowledge in all things bodypain-
ting can already begin that week by participating in a comprehensive
workshop program held by the WB Academy starting on June 27th. The
program will feature internationally renowned artists and experts. Go-
ing above and beyond this, several parties and special events (such as the
Zombie Crawl) will get you all prepped up for the weekend event.
For more information, tickets, and registration, check out:
www.bodypainting-festival.com

SCENE | Events
KEEP THE DATE!
They're back!
It was already a year ago that the first International Airbrush Days fea-
turing approximately 10 well-known and international artists as well as
approximately 80 participants from all over Europe took place and left
a long-lasting impression on the entire airbrushing scene. As such, the
foundation has now been set for the second event and preparations are
in full swing for the International Airbrush Days 2017 from April 29th to
May 1st, 2017 in Hamburg. The unique conference and workshop event
is organized and supported by Airbrush Step by Step Magazine, the Crea-
tex GmbH, Createx Colors USA as well as Anest Iwata Europe and Iwata
Medea USA. If you take a look at the list of the already committed seven
to ten artists, you can already start to get a feel for the type of high-class
program we'll have, just like last year, as we've gotten the green light
from US Custom Painter Alan Pastrana, the wild airbrush, spray-paint, UV
and digital artist Gear "Gearboxx" Duran, photorealism icon Dru Blair,
YouTube star Bas Maatjes, T-shirt and comic artist Philipp Klopfenstein,
varnishing pro Holger ”Candyman“ Schmidt, and airbrush whizkid Mar-
cus Eisenhuth.
Over 30 workshops and presentations are planned, which the partici-

pants can spontaneously visit right on site. While the workshop last year
only lasted about 4 hours, the courses are now planned to last approx. 6
hours. The event will feature 5 rooms at the vocational college located
on the Burgstrasse (Burg Street), which is located only two metro stations
away from the downtown area and Hamburg's central train station. The
nicely designed school cafeteria will be providing participants with food
and refreshments all weekend long. Hotels and hostels of all sorts and
price categories are available in the general vicinity.
Ticket sales have already started. Participants who register by August

31st, 2016 will solely be charged an 'early booker' prize of 445 EUR
instead of the normal 495 EUR. Get tickets and additional information
right at the event website:
www.airbrush-days.com

SHOPPING GUIDE
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Unterfahrenbach 16 info@toswos.be Colors, Wicked Colors, Auto Air Colors, need for airbrush, custompaint and
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Phone +49 (0)664 2387220 Kirchhoffstr. 7 Jaerveien 151,
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10.00 – 12.30 and 13.30 – 18.00 Phone +39 (0)11 2274438
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Lionart@zeelandnet.nl Info@Sparmax.com.tw
www.Lion-Art.nl www.Sparmaxair.com

PREVIEW | Imprint
IMPRINT Im nächsten Heft erwartet Sie:

newart medien & design
Roger Hassler / Katja Hassler
Wandsbeker Königstr. 50
22041 Hamburg
Germany
Phone +49 40 48501863
Fax +49 40 48501862
Mail info@airbrush-magazin.de
Web www.airbrush-magazin.de
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Editor in Chief:
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Editorial:
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Contributors:
Diego Baubinas, Michael Calandra,
Neimar Duarte, Jill Tisbury, Giorio Uccelini,
Yvonne Crowley
Keith Richards Candy Koi
Graphics:
The Rolling Stones' guitarist has al- Simon Murray is conjuring up some
Roger Hassler, Toni Röse
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Translation:
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Chapin Landvogt
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ASBS 03/16 | NO.

Science Fiction: Illustration by Michael Calandra

Science fiction CONTENT

When it comes to 'Events', we're taking a preview 54 Lynx and Hawker

Here's wishing you a very creative summer! BASICS

03/16 E AIRBRUSH STEP BY STEP 3

4 AIRBRUSH STEP BY STEP 03/16 E

03/16 E AIRBRUSH STEP BY STEP 5

6 AIRBRUSH STEP BY STEP 03/16 E

08 Defining deeper folds

03/16 E AIRBRUSH STEP BY STEP 7

11 Pattern of the smoke

12 Masking and painting the spaceship

13 Painting smoke and

14 The planet’s surface

8 AIRBRUSH STEP BY STEP 03/16 E

15 In and out of focus

18 Hard edged inside

03/16 E AIRBRUSH STEP BY STEP 9

Fantasy artist Michael Calandra pre-

21 The finished painting

10 AIRBRUSH STEP BY STEP 03/16 E

Jar Jar Binks

03/16 E AIRBRUSH STEP BY STEP 11

EQUIPMENT – Jar Jar Binks

12 AIRBRUSH STEP BY STEP 03/16 E

03 Transferring the motif

04 Creating a white work working base

06 The face: First layer

07 The face: Second layer

08 Chin and throat: First layer

09 Chin and throat: Second

14 AIRBRUSH STEP BY STEP 03/16 E

11 Arm and shoulders

03/16 E AIRBRUSH STEP BY STEP 15

13 Textures for the ears /

15 Coloring Jar Jar

Let's undertake an artistic experiment with paints. Jar Jar is

16 AIRBRUSH STEP BY STEP 03/16 E

16 Second layer of paint:

19 Green for eyes and teeth

03/16 E AIRBRUSH STEP BY STEP 17

22 The basic color of the clothing

18 AIRBRUSH STEP BY STEP 03/16 E

24 Coloring the jacket

DIEGO JAVIER BAUBINAS

Diego Javier Baubinas was born in Berisso, Buenos Aires,

03/16 E AIRBRUSH STEP BY STEP 19

Iwata Freestyle Air: Air for use on the road

20 AIRBRUSH STEP BY STEP 03/16 E

Guaranteed Opaque: Schmincke Aero Opaque Medium

03/16 E AIRBRUSH STEP BY STEP 21

New Recipe, New Trends: Jacquard Airbrush Color

Jacquard Airbrush Colors are availa-

Badger RC Air: Airbrush Acrylic Paints for Lexan

22 AIRBRUSH STEP BY STEP 03/16 E

Portrait Silhouette: This is how easy plotting can be!

Seen from a technical standpoint, Technical data: Portrait Silhouette

03/16 E AIRBRUSH STEP BY STEP 23

Practical Maintenance Tool: Iwata Professional Airbrush Maintenance Tool Kit

The New Way of Cleaning: Aero Clean Rapid Spray

The new cleaning spray Aero Clean

The cleaner contains tenside, additi-