w

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 I Ulvmaos/Medea Airbrushes

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 Architectural Rendering
BY SAM KIRBY. Architectural illustrator Andy
Hickes takes a step-by-step illustrational
journey through the Rockefeller Center.

How To Buy An Airbrush 44

BY CHARLES DIAZ. What to look for and
how to look for it, AIRBRUSH ACTION offers
tips to help with a difficult and important
decision.

Robert Anderson 18
BY SAM KIRBY. Classic and contemporary
images made famous by other artists are
melded by Robert Anderson into his own art
to create a new relationship.

Medical Illustration 26
BY KATE SEAGO. Medical illustrators aid
health sciences by clarifying complexities
from surgical procedures to chemical
structures of pharmaceuticals.
Medical Illustration
page 26
j ,

H.N. Han 31
BY KATE SEAGO. Millions of fine dots from
the spraygun of H.N. Han combine to form
his images of Manhattan's street people.

DEPARTMENTS

Wear the Air 38

Legal Air 41
Robert Anderson
page 18 New Products 44
 9128 W BELMONT AVE: FRANKLIN
DistinCanadaby: HOBBY lhlnl ISTRIFS. 24 Rwon Drive. Rexdale,
 Publisher and Executive Editor
Clifford S. Stieglitz
From Holbein the world's first I
truly professional air brush color.
Containing artist quality high
- ---
Art Director
Cheryl Mirkin

Copy Editor
soluble acryl, not an acryl emul- B.F. Emmer
sion, which insures no change in
color tone from liquid to dried
color. Manufactured to a uniform Contributing Editors
viscosity ( 5 0 centipoise) most Ferris Butler
suitable for airbrush use each Jeffrey Ressner
color is rated for light-fastness
and for hue, value and chroma on
the Munsell scale. Special Air Brush 1541b Production Managers
3jCc White coated paper Phyllis Ross
and Grace E. Reilly
1ooC0 Extra smooth surface
BO~~ICS Resists adhesive mask Deborah Corbin
stripping and erasures
20-sheet pads 4 sizes
Production Artist
! Also available in sheets Eileen Weiss

Consultants
Robert Anderson
U.S.service Representative: Michael Cacy
Special Papers Inc.
PO. BOX 643. Wilton. ~ ~ 0 6 8 9 7 Richard M. Nusser
1

ADVERTISING OFFICES
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LEARN LEARN LEARN 08701. 1-800-232-7874; in New
Jersey call 1-201-364-21 11.
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08701. 1-201-364-21 11.

Return postage must accompany all manuscripts,

50 brilliant non-clogging colors with non-toxic drawings and photographs submitted if they are to
archival permanence. Try a sample set of 6 or
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and in Canada #1 BEST SELLING BOOK on the market 0 1 9 8 6 by Airbrush Action. All rights reserved.
today. STREET ART guarantees results for Yothing may be reprinted in whole or in part with-
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Subscription inquiries: Send all remittances, re-
Enclosed i s m y cheque o r money order tion will teach you professional ways to succeed
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$11.00 ($13.00 in Canada) for sample CREATIVE ERASING on GLASS. ANTIQUE Subscription Rates: One year $18, t w o years $36,
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year $50, two years $64.
B o t h w i t h color chart and Toricon Alr TO ORDER Send $18.00 to:
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Address ................................ Visa and Mastercard orders About the Cover
......................................... Phone (313) +l3-9000
Allow 40.14 d a y lar delww, U S A 2 4 nr*.A m a h a
Cover illustration "The Dream" by
~aarchs~~rbru~~
City ........ State ........ Z i p ........
1.0sola and dlswlbu@Mby co h c k
T ~ OPUUIC~OOO
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Blbck and omw loadlog anrnaw~aldealars Robert Anderson. Acrylic on canvas,
Dealer inquiries invited. Reta~Ierdtscounll I I Y I I I I ~ D I ~
1985, 50" x 48", background images
A
of Henri Matisse and Pablo Picasso.
4 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
Your art
deserves
only the best:
SPECTRALITE"
AIRBRUSH ACRYLICS.
You can pay a lot more for airbrush colors, but you c
resistant, lightfast or workable medium for airbrush art tha
new SpectraliteBAcrylics.
Specifically formulated for non-cloggingand easy,
tion, SpectraliteB offers 38 vibrant colors made from
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Extender to attain a brilliant transparency. Absolutely
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And you don't have to pay a premium
Dr. Ph. Martin's superior quality Spectra
multi-color 8 packs, costs less ounce-for
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Your art deserves only the best airbrush colors.
Your art deserves Spectralitem

For more information.call 305/921-6971. Or write:

Salis International, Inc., 4093 North28th Way,
Hollywood,Florida 33020 USA.Telex:441608
allt toll-free 1-800-843-8293 in the Continental US.
 MARKER -iiZ
PRO-LAYOUT
aNSON Ffm'
GB€iiiib

1 am concerned about 1 have a problem with

the harmful effects of the my spray pattern. The
vapors left in the air paint seems to go

. .
Marker pro-layout
White layout paper
431b
after Ispray my left-over
paint and cleaning
solutions. The area that I
paint in really can not
everywhere. Ihave
checked,'theparts of the
airbrush that Ichecked
before when Ihad a

. .
Transparent Bleedproof
¤ Excellent for marker and pencil be structurally changed
Maintaintrue color and brilliance and Iwould prefer not to
without fading or wrinkling
50-sheet pads 4 sizes spend a lot of money. 1s
there anming you can
suggest?
(4
cnnson You are rightfully concerned about the
U.S. service Representative:
possible health effects. There are
manufactured exhaust tubes avail-
Special Papers Inc.
PO. BOX 643,Wilton, ~ ~ 0 6 8 9 7 able on the market that will hold your
left-over paint and cleaning solu-
tions. A cheaper alternative i s to
convert a mailing tube into an
exhaust tube. The mailing tube
should have caps on both ends. In
one cap, drill a hole with a quarter-
inch diameter. This hole is the port
into which you can spray your left-
over paint or cleaning solutions. Stuff
enough paper towels into the mail-
ing tube to fill up half of the tube.
Put the drilled cap back on. When
the paper towels become saturated,
they can be removed and replaced.
problem of this sort. The
gun checks out fine.
The problem may be in your airline.
Check your moisture traps if YOU have
them and change them if they are full.
Also check the'hose; there could be
,, moisture or blockage.
I know I should keep my
airbrush clean but it
seems like after Iclean
it I have trouble
spraying. Can YOU offer
any help?
If your airbrush has seen a lot of
service, the spray regulator in the
front of your airbrush may be worn
just enough to cause a slight misfit.
After you've cleaned your airbrush,
apply a small amount of Vaseline or
petroleum jelly to the threads of the
joint. This will allow for a better fit.

'cExhausttubes are available

on the market that will hold
your left-over paint and
cleaning solution^.^

6 AIRBRUSH ACTION/NOVEMBER-DECEMBER, 1986

ARCHITECTURAL RENDERING
BY SAM KIRBY
he room is a showcase of design,
a tribute to a keen sense of aes-
thetics. Beyond the receptionist's
desk a visitor finds a comfortable
meeting area stylishly furnished with
contemporary mahogany chairs and
tables. A concave wall of back-
lighted glass bricks illuminates the
room.
Sitting in this space, it is easy to
imagine why an architect becomes
confident in Andy Hickes' ability to
produce the right drawings for a
project. "It used to be that we would
always visit the architects, but more
frequently we have had them come
here where they can meet with
everyone involved in the drawing
project," Hickes, a New York City-
based architectural illustrator, said.
Behind the glass-brick wall is a
well-equipped area where a number
of people work at black line draw-
ings, cutting frisket, and spraying
gradations of color. Hickes has
refined the process of architectural
illustration into a number of steps,
done in assembly-line fashion.
During the development of his
business and method of architec-
tural illustration, the airbrush played
an important role. After graduating
from Carnegie Mellon University's
Program in Architecture, in 1974, he
worked in store design. "I have
always enjoyed rendering and store
design required color studies and
drawing," he said. "Not only is color
very important, but the drawing had
to be very detailed to show every
nook and cranny that was available
to display merchandise. At that time
I taught myself perspective. For those
drawings, designers generally used
pastels or color markers."
While working for a small archi-
tectural firm in Virginia Beach, Va.,
Hickes bought an airbrush. With no
formal training, he developed his
technique by copying drawings by
draftsmen that he admired: Helmut
Jacobi; Lou Englehart; and others. "I
found that the airbrush was very well
8 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
suited to what I was doing," Hickes
said. "It helped to depict the s p a c e
especially in store renderingsmuch
more realistically than the looser
impressionistic pastel and marker
drawings that had previously been
used."
He left the designing firm to con-
centrate on architectural rendering.
He set up shop in a basement in
Washington, D.C., created a portfo-
lio, and peddled his airbrush render-
ings to architects, store designers and
real estate agencies.
"I was learning back then. I
charged as little as $300 for 3 or 4-
foot airbrush drawings that had taken
me two weeks to color. The render-
ings I did were lighter and less real-
istic than the ones I am creating now.
I was afraid of making mistakes," he
says earnestly, "because I knew how
long it took to correct them. I didn't
have as much knowledge of light and
shadow to feel confident about mak-
ing the drawings dark and solid. That
comes with practice. Had I trained
with someone, I would not have had
to learn by trial and error; but know-
ing how to correct mistakes gives me
a certain freedom in my work."
Now that Hickes has that freedom
and has developed his own methods
for airbrush rendering, he teaches it
to othersthe people who work with
him know all the aspects of the air-
brush rendering operation. His busi-
ness can handle 20 to 30 drawings
at any time and does several hundred-
thousand-dollars worth of work a
year.
"Now I can concentrate on the
tasks I enjoy most-l like working on
the marble, mirror and glass sur-
faces, and on the sky in the draw-
ings," Hickes said. "These things
help me develop better technique."
For the last three years, Hickes has
taught his airbrush techniques at
Parson's School of Design in New
York City. In his class, students com-
plete ten to 12 exercises with dou-
ble-action airbrushes to learn control
and technique. Completion of a final
project is required.
"I don't stress any one particular
use for the airbrush in my classes,"
Hickes emphasizes. "During each
session, people bring their own
portfolios-there are painters, archi-
tecture students, fashion designers,
illustrators and ceramists in my
classes. For the final project, I ask
everyone to adapt the airbrush to
whatever field they are involved in
so they learn the different applica-
tions that the tool has to offer them.
"For me, the airbrush is the tool
that brings drawings together into a
single whole. It helps tie together all
the parts to make the drawing solid.
"Right now, we are working on a
series of drawings in which the win-
dows are extremely important-the
Rockefeller Center here in New York
City. The airbrush makes it possible
to create dynamic reflections and
fractured images in the windows
which bring the whole facade to life."
What follows is a step-by-step
description of the techniques Hickes
used to produce the Rockefeller
Center drawings as the drawings
might be presented in his airbrush
classes. Andy Hickes is presently
working on an instructional book for
architectural rendering techniques
using the airbrush.
Prepatdon
First, prepare all the materials and
tools that will be needed. Lay down
a full sheet of frisket over the win-
dow openings-Hickes uses Artec
frisket from England for this-and cut
out the window openings. Also, cut
out the shapes that you will need for
masking from index cards or other
suitably stiff construction paper.
Organize the inks that you will need
and place them within reach. Hickes
uses Pelikan inks which are distrib-
uted by Koh-I-Noor and k.prakes-
their lightfastness. He uses two air-
brushes. With one, he sprays opaque
The Model 125 Air-Brush Holder is the newest, most advanced
holder available. The model 125 holds two air-brushes of almost
any make or model. The holder allows easy access to your air-
brushes, eliminates spills and accidents, and allows one
handed filling of the color cup. For maximum flexibility, the
Badger Air-brush holder rotates and swivels. This unit clamps
securely to any drafting table, desk or taboret edge (up to 2"
thick). Used properly, the Model 125 provides a stable, level and
secure spot to hold air-brushes when not in use.
Available at your nearest Badger dealer.
Suggested retail price $24.95
BADGER AI RmBRUSHCO. 9128 W. BELMONT AVE: FRANKLIN PARK. IL 60131
DistinCanada by: HOBBY INDUSTRIES 24 RunsonDrive Rexdale,Ontario MOW 1B4
NOVEMBER-DECEMBER, 1986lAIRBRUSH ACTION 11
 white; the second is used to spray a DeVilbiss and Olympus airbrushes
variety of transparent colored inks. and has found that his students using
In his classes he recommends these brands have had great success.

Paint in silhouettes
Step 1. Paint in dark silhouettes of people and objects within the rooms with a No. 11
watercolor brush and ink wash. Most people and objects should be visible in the lower
portion of the building because of the ground-level view point. The windows in the
upper portions of the building will reveal more of the ceilings and less of the people
and objects within, and reflect sky and buildings across the street.

Spray interior walls and ceilings

Step 2. For this step, use the precut index cards as loose masking. Pencil
in a line from the vanishing points to indicate where the walls meet the
ceilings and place the edge of the index card there. With a gray tone spray
in the walls and the ceilings.
In general, the walls farthest from the windows should be the darkest and
the ceilings should be darker than the walls. Give each window an overall
spray of gray tone to tie the image together.

Add color
Step 3. Repeat step 2 with purple-gray, making sure not to make the windows too dark
for the rest of the drawing. Lift up the surrounding frisket every once in a while to
check the overall value of the drawing with the value of the windows.

Step 4. Repeat step 2 using burnt sienna.

Add fluorescent lights

Step 5. Lightly pencil in fluorescent lights. They should be drawn either
from one of the vanishing points or parallel to the building's facade. With
a ruling pen loaded with opaque white ink, retrace these lines using a
thickness appropriate for fluorescent bulbs. With a No. 11 watercolor
brush, indicate other individual light sources as dots around the rooms.

Add fluorescent highlights

Step 6. Spray opaque white onto the walls to indicate reflecting fluorescent light. Spray
burnt sienna on the lower portion of the windows, around the individual light sources,
to show the orange glow of incandescent desk lights.

&'Theairbrush makes it possible to create dynamic

reflections and fractured images in the windows which bring
the whole facade to life."
12 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
 Add window blinds
Step 7. Spray in window blinds with opaque white, using the edge of an uncut index
card. Vary the heights of the blinds to avoid monotony and give the windows a visual
rhythm.

Describe the window surface

Step 8. Spray the window blinds with a light coat of blue, then with a light
coat of burnt sienna. Spray all the window areas with a diluted dark blue
to represent the window surface.

Add window highlights

Step 9. Highlights on the windows will create a more realistic glass surface and
separate the surface from the objects inside. Using the pre cut index cards with
rectangular slots of various widths as masking, spray opaque white streaks across the
glass surface. To add variety, spray a white line along the edge of an uncut card. Flip
the card to the other side and repeat. This procedure will create a streak of light similar
to the slotted card but with much softer edges.

Add window jamb reflections

Step 10. Add window jamb reflections. The reflections of the window
jambs will be apparent on two edges of the glass. Using the pre cut index
card and watered-down black or dark gray ink, spray in these reflections.
Remember to cover adjacent windows during this operation since it is easy
to spatter them with dark color.

I I Draw in mullions
Step 11. Using a ruling pen and an opaque brown-gray ink, draw in the window
mullions. If the ruling pen will not draw the required width, you may have to retrace
these lines to get the appropriate thickness.

Final touches
Step 12. At this stage the windows are complete. You may need to make
some minor adjustments and give the windows an overall spray to match
the value of the rest of the drawing. The windows should now accurately
represent panes of glass reflecting light and the depth of the rooms
including people, objects and wall surfaces. In many buildings with
minimal outer ornamentation, the window surfaces are very important and
can become the most intriguing visual aspect of the drawing.
NOVEMBER-DECEMBER, 19AOIAIUBRU5H ACTION 13
ARI REPORT
HOW TO BUY AN AIRBRUSH
BY CHARLES DlAZ
here has been est. There has been
transcendental meditation. There
have been myriad other forms of
reaching the self's innermost
recesses. The enterprising member of
the American consumer culture has
an alternative: impulse shopping.
When the going gets tough, the tough
go shopping-instant therapy and
instant credit rating. lmpulse buy-
ing, however, can leave a shopper
with a product that can't be used or
fathomed long after the thrill of the
buy is over. Artists and illustrators fall
into this trap also. lmpulse shopping
may or may not be a compulsion with
these people, but many times the urge
to shop before doing the proper
research is. Often the artist looking
for new techniques or imagery will
turn to the airbrush. And just as there
is a difference between paintbrushes
and technical pens, there are differ-
ences in airbrushes and airbrush art-
ists.,
"A person has to define what he
wants to use an airbrush for," says
David Malone. "A lot of people make
the mistake and say, 'I'm going to go
buy an airbrush and now I'm an air-
brush artist.' You should sit down and
define what you want to do with an
airbrush, what you want to accom-
plish, and whether you want to be
an airbrush illustrator or you want to
use it just to spray in backgrounds
on your watercolors or if you want
to paint vans."
Robert Anderson advocates taking
14 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1
this definition further. Anderson lists
five areas of importance: applica-
tion, versatility, viscosity of material
sprayed, size or scale of the work,
and desired spray.
"You've got to think in terms of
what you're applying," Anderson
says. "If you're doing ceramic glaze
or if you're making models with it or
if you're doing acrylic paintings, each
one of those is going to have a slightly
different consideration for the type of
airbrush that you get.
"Depending on your application,
you may want something that's very
versatile that you can use in different
types of situations so that if you want
to change the head and allow a lot
more paint flow, you can do that, or
if you want to change the head and
get a very, very fine line, you can do
that. Also, along with versatility, keep
in mind that if you're working at a
drawing board most of the time,
you're not going to want a bottom-
feed airbrush where the color cup or
jar is going to be in the way. On the
board you're going to want a side-
feed or a gravity-feed airbrush, so
again that's versatility of the air-
brush-how adaptable is it to the
variety of applications that you might
be using it for."
Anderson explains that the viscos-
ity of spraying material is an impor-
tant consideration. A person who
sprays watercolors is not going to be
interested in an airbrush designed to
sling ceramic glaze. Similarly, an
artist interested in large back-
grounds i s wasting his time and
money buying an airbrush that pro-
duces fine lines. "You'd be very frus-
trated using an airbrush to do giant
backgrounds," Anderson warns. "It
would just take too long, and you
wouldn't get the kind of even cov-
erage that you needed. And, of
course, if you needed to get very
specific and you had an airbrush that
just didn't have that capability, it
would be a constant case of frustra-
tion, and you'd wind up searching
for another way to do it."
An artist or illustrator who requires
a fine spray or one requiring a coarse,
grainy effect should consider his
desired spray pattern, Anderson
advises. "If the type of work you do
is such that you can use a very coarse
dot pattern, then you can use some-
thing like an external-mix airbrush
rather than an internal-mix air-
brush," he explains.
v p e s of Airbrushes
There are several types of air-
brushes to choose from, in two major
categories: single-action and dou-
ble-action, referring to the motion of
the trigger. With single-action air-
brushes, one downward push on the
trigger releases both paint and air.
The amount of paint is controlled by
an adjustment on either end of the
brush, depending on the manufac-
turer. The double-action trigger is
pushed down for air and pulled back
for paint. The single-action is limited
to a preset gauge unless the sprayer
is able to develop the coordination
to adjust while spraying. The dou-
ble-action allows for greater versatil-
ity. When pulled back, the trigger
engages a needle. This needle allows
the paint to mix with the air; the far-
ther back the needle is pushed by the
trigger, the more that is allowed to
be sprayed.
The choice of color-cup place-
ment and size is next. Side-cup
models are popular because of the
ease and speed with which the color
cups can be changed. Gravity-feed
airbrushes are easier to clean than
side-cup models because the paint
travels less distance and the path is
less convoluted than with a side-cup
model, although with a fixed grav-
ity-feed cup, the cup itself may be
more difficult to clean. Color-cup
volume is important: A small color
cup is not suitable for large applica-
tions and a large color cup may not
be suitable for fine details that require
less paint. T-shirt artists in particular
should be aware of the third type,
color bottles attached to bottom-feed
airbrushes. The color bottles facili-
tate quick changes of color, and the
artist's range of vision is not impaired
by the color cup, as it is with a grav-
ity-or side-feed airbrush.
Nozzle size is directly correlated
with versatility. A small nozzle is
recommended for detail work, a large
nozzle for work on a greater scale; a
medium nozzle can provide
versatility.
For students interested in air-
brushing, other than those desiring a
career in illustration, and artists
whose airbrush applications are lim-
ited, the single-action airbrush may
be the correct choice. The external-
mix airbrush may be appropriate for
someone who does not require the
finer dot pattern produced by an
internal-mix airbrush.
The internal-mix airbrushes com-
bine the paint and air inside the air-
brush. The external-mix airbrush
combines the paint-air mixture just
outside the airbrush tip. The atomi-
zation is not as fine, producing a
coarser dot pattern.
"An external-mix airbrush just
sprays-it's just a glorified spray
can," Malone says. "You can do very
few things with it. I know some peo-
ple who use a very inexpensive brush
and do some beautiful work. But the
main reason they use it is that they
don't know how to use a double-
action airbrush. Their work is usu-
ally very large and very rough, but it
still looks nice. You can move up a
little bit and get an internal-mix sin-
gle-action. It can be as versatile as a
double-action, but it's slower because
you have to do some hand-adjusting[l
Malone says he has taught more
than 1,000 people how to use an
airbrush. In his classes he uses a
professional-quality double-action
airbrush. The single-action, he says,
is limiting in both its applications and
the growth potential of the student
airbrusher. It's too easy, Malone
warns, to become used to the single-
action, making the transition to a
double-action mechanism more dif-
ficult than if a student used a dou-
ble-action to begin learning.
Construction
While agreeing with Anderson and
Malone that definition is important
in the purchasing decision, Michael
Cacy applies another criterion. "I
look for an airbrush that's going to
last," he asserts. "Most airbrushes
don't vary that much in cost. Look at
all the airbrushes in the $75 to $1 10
range: That's most of them. So there's
not that much difference in cost, and
the trick is figuring out which one's
going to serve you best."
Most professionals place a priority
on longevity and reliability. Down
time to them means losing money.
Cacy says that the construction of the
NO\(EMBER-DECEMBER, 1986lAIRBRUSH ACTION
brush must meet his standards. He
looks for stainless-steel needles,
amo.ng other features, as well as
attention to detail. "You need to
remove the tailpiece of the airbrush
you're looking at-which I assume
you would do anyway-remove the
tailpiece and look at the innards, and
if you see a lot of exposed brass, you
should be concerned that maybe
that's not going to last as long as an
airbrush that is correctly plated,"
Cacy explains. "And that means
nickel-plated or nickel-and-chrome-
plated. The reason is that exposed
brass wears and corrodes faster than
the plated types."
Robert Anderson concurs. "If I'm
going to be spending $60 to $100 on
a piece of equipment, I'm going to
want it to be fairly versatile and I'm
going to want it to be well made. So
I would be looking for something that
was made of all-metal parts inside,
that wasn't going to fall apart, that
ideally would last my artistic life-
time. The other thing that I'd be
looking for is replacement parts: If I
needed a part, could I get it and how
easily could I get it?"
Anderson says he takes the com-
plexity and the serviceability of the
mechanism into consideration-is the
mechanism easily repaired? "Go to
a trade show or, if you can, take some
of these airbrushes apart slightly in a
retail store situation to get a feel for
how well they're made," Anderson
advises. "If they've got a lot of burred
edges and so forth, then you might
want to steer clear because you're
working with very fine tolerances and
you need something that's extremely
well made and not just slapped
together."
"The better brushes are nickel-
plated inside," says Malone, sec-
onding Michael Cacy. "The reason
for that is you're dealing with mois-
ture, you're dealing with water when
you're cleaning your airbrush, and
brass up against brass will tarnish.
15
And once it tarnishes, it will cor-
rode, and when you have to pull your
needle out, you end up taking a pair
of pliers and wrecking all the inter-
nal parts. You want brushes made out
of a little better material. You can get
a brush that sprays real nice that's
made out of cheap materials and
think you saved some money, but in
the long run, when you have to
replace nozzles, you have to replace
needles, you have to replace inter-
nal parts, it eventually winds up
costing you more not only in replac-
ing the parts but also in the down
time.
Shopping
Cacy, Malone, and Anderson are
all professional artists and illustra-
tors. All have extensive experience
with airbrushes. Their skills and lev-
els of work demand the best equip-
ment, equipment that i s as
dependable as it is expensive. The
student or amateur airbrusher may not
be as demanding of equipment as the
professionals. But much of what
Cacy, Malone, and Anderson require
is applicable to others.
All three artists agree that the best
equipment is easily worth the price,
at least to a professional. But good
equipment is available at lower
prices. The decision, they advise,
must be based on budget, level of
expertise, and growth potential,
among other considerations.
"When you don't know a whole
lot, price i s the first consideration,"
Anderson says. "Artists in general
don't have a whole lot of money to
spend. They worry, 'What's this thing
going to cost me?' And cost remains
a consideration throughout one's
career."
Art supply stores and mail order
houses are the main sources of
equipment. Each has its advantages
and disadvantages. Art supply stores
offer immediacy of purchase and help
with trouble shooting, repair, and
learning how to use the airbrush
medium. The level of help, espe-
cially in trouble shooting, will vary
from none to excellent. Mail-order
houses offer lower prices than art
supply stores in general, but cus-
tomers must wait for their purchases
to arrive by mail and get no person-
alized service.
Shoppers should research art sup-
ply stores and mail order houses as
much as they research the mecha-
nisms of their airbrushes. Price is a
consideration, but so is the level of
16 AIRBRUSH.ACTION/NOVEMBER-DECEMBER, 1
meaningful information available to
the consumer. Is the staff knowl-
edgeable?Will they take time out to
talk to a consumer?
"You should look at different stores,
and you should look at outlets who
mail-order airbrush gear," Cacy says.
"Certain dealers who operate mail-
order businesses that put out regular
catalogs and so forth, a lot of them
have toll-free numbers and it doesn't
cost you anything to get on their
mailing list. Take a look at those
catalogs before you buy. You could
possibly save yourself a lot of money
by ordering it instead of succumbing
to impulse buying."
Cacy does not dismiss art supply
stores, however. These business can
be a valuable source, he says. "If they
have good airbrush, personnel, and
some of them do. But the majority of
retailers don't have people who are
very knowledgeable about airbrush,
because they don't use the equip-
ment.
"There are some retail stores that
have airbrushes set up for you to try,
and that's a real good way to find out
what's going to serve you best. You
talk to the salesperson and you use
the equipment and find out what feels
best to you, what type of airbrush is
going to be best for the type of work
you do, specifically. Nothing's bet-
ter than hands-on experience."
"You should be looking for two
things when you select a store that
you will frequent, where you will
spend your money, Anderson offers.
"First, they should know what they're
selling. It shouldn't be like they were
selling used cars last week and now
they're selling art supplies. They
should be able to help you when you
have a problem and say, 'Yes, we
have to replace the head assembly'
or 'You've got a bent needle.' It's
important to be able to walk in with
a problem with your airbrush and
they not only help you figure out what
it is but they also stock the parts."
No matter how a person decides
to buy supplies or equipment, how-
ever, m i x i n g mail-order bought
equipment and art supply store
advice is like mixing water-based and
oil-based p a i n t s a mess.
"A lot of people are turning to mail-
order houses to buy because they're
always cheaper," Malone explains,
"and that's fine from the point of view
of price. The problem is if they want
to go in and have somebody show
them how to do something, they
can't. If they buy from a local dealer
or someone nearby, any problems
they have they can take in and get
some help. Dealers really resent the
fact that people will come in and ask
them questions about airbrushes and
then turn around and buy them from
a catalog or a mail-order house. It's
really not fair to the dealer, and the
dealers are starting to get wise to it.
They know who's buying airbrushes
there and who isn't.
"So if you buy one from a mail-
order house and then come in and
try to get some information from a
local dealer, you're apt to get a cold
shoulder. Price is just one aspect of
buying an airbrush, but it's not the
only thing. If you've got to take a
brush and send it back to the mail-
order house for repairs you could be
down for two to three weeks, whereas
if you buy it from from a local dealer,
you can go down and maybe within
an hour they can show you what's
wrong with it and help you. Right
there you've saved quite a bit of
money because when the brush is
gone for two or three weeks, you're
not doing the spraying you need to i
do, you're losing big money, which
could be five or six times the differ-
ence in original purchase price."
Compcrtibility
As difficult as the choice of air-
brush may be, more deskions .are2
ahead. The airbrush must be cou-
pled with a compressor, a compres-
sor compatible with the airbrush and
type of medium sprayed and also with
the skill level of the artist and the type
of work the artist does.
"If you can go out and buy a real
expensive airbrush that's very versa-
tile, works very well, and then you
get a cheap diaphragm compressor,
it can restrict the possibilities of your
airbrush," explains Malone. "Go and
buy a regular compressor, one you
can put a regulator on to regulate your
air. A lot of people just set their air
at one air pressure and try to do
everything. That also limits what you
can do.
"I spray at anywhere from one to
fifty pounds psi, depending on what
I'm trying to do, depending on the
thickness of the paint and whether
I'm spraying a transparent or an
opaque. Getting a freehand tight line
or a wide background spray depends
on adjusting the air. I can create sev-
eral different looks with the same
brush with the same paint just by
Double-action
siphon-feed
adjusting the air pressure. If you don't
have a compressor that can do that,
you're limited-you can only get one
basic kind of spray.
"I would recommend that if
someone is going to buy equipment,
first buy the better airbrush and the
cheap diaphragm compressor. Then,
when you feel you can afford it and
want to get a little more creative, then
go and buy a more expensive
compressor."
Anderson points out that research-
ing manufacturer literature is not a
waste of time. "The equipment that
you're buying really needs to be
compatible, so when you're out
shopping for an airbrush, you ought
to have in mind the air source that's
going to go with it. All the manufac-
turers supply, in the specifications,
the cubic feet per minute (cfm) and
the pounds per square inch (psi) at
which each particular instrument
operates, and you really need to
match that to your air source so that
your airbrush can work at its opti-
mum. "
Safety
Dust masks are an optional item
but an important one. In any air-
brush studio, spray vapor is going to
be present in the air while the artist
or illustrator is working. Vapor does
not discriminate between novices and
professionals.
Robert Anderson would recom-
mend a number of things. "One is a
dust mask, at bare minimum, and
that's only if you're spraying mate-
rials that thin with water. If they thin
with anything other than water, a
volatile solvent, then you're getting
vapor in the air as well as dust, and
you're going to need a carbon-filter
respirator for sure. You don't want the
vapors in your system, but that's just
what will happen, they will mix with
your blood--and then you've got two
problems.
"If you're spraying things that thin
with water, like inks and acrylics, a
3M dust mask will do fine, but that
should be almost your last line of
defense. The first line of defense
should be to get the vapor out as
quickly as possible, and that involves
an exhaust fan either over your work
or behind your work so that it's
sucked away from you and not
toward you."
The time to decide is before the
purchase. Do the homework. Ask
questions. Define what the airbrush-
ing system will be used for. Keep in
mind it is not just an airbrush that is
being purchased but an airbrushing
system.
"Don't go out and buy an airbrush
just for the sake of buying an air-
brush and think you're going to do
great work," Malone cautions.
"Define what you want. If you want
to paint vans, get an airbrush that's
521 Metallic Gold
I
made for spraying enamels. If you
want to spray or paint pottery, get a
brush that's made to spray glazes. If
you want to do illustration and use
one brush, get a brush that's very
versatile, that will do tight spraying
and wide spraying. Air brush
"Most illustrators have two or three Formulated
different brushes. But walk before you
run. If you eventually want to be an
Fabric Paint
airbrush illustrator, spend the money
on a good brush to start with-you'll
learn quicker and it'll be a lot easier
on you. But the most important thing
is to decide what you want from a
brush before you go out and buy
one."
NOVEMBER-DECEMBER, 1986lAIRBRUSH ACTION 17
BY SAM KIRBY
In a step as imaginativeas his work,
well-known artist Robert Anderson
combines images past and present,
classic and contemporary, with his
own to produce new relationships.
Anderson incorporates into his art
images made famous by artists such
as New York abstract illusionist
painter George Green (who also
made great use of the airbrush), Roy
Lichtenstein, Andy Warhol, Matisse,
Picasso, Ingres, and Bouguereau.
Anderson's combinations-classic,
contemporary, and his own image*
and his other use of past and
present-airbrush and paintbrush
methods-create a hybrid, a mes-
sage that is old yet new, historical yet
18 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
his alone.
Anderson applies a concept from
contemporary art-the appropria-
tion of images from art history.
Appropriation can take many forms,
from direct reference and borrowing
of complete historical images, to
adopting an approach or working in
the manner of a master. Anderson i s
primarily interested in adding subtle
twists of his own to create wonderful
paintings that please viewers.
"My contribution i s usually a
female figure that is always rendered
in airbrush," he says. "This photo-
realistic image stands in contrast to
other portions of the painting, which
are rendered in the manner and style
of the artist from whom I borrowed
the image. The relation, composi-
tion, and design of these pieces are
critical factors in the creation of my
paintings.
"My selection of a certain image
is usually based on the historical
aspects, knowledge of original con-
text, compositional need for the
planned work, and mostly on my
aesthetic fascination with the image.
These paintings rely somewhat on
the viewer's knowledge of the
appropriated images for complete
appreciation. 1 try to approach my
combinations with a sense of humor
that can be enhanced by the view-
er's familiarity with the images."
Near the entrance of Anderson's
Bloomfield, N.J., studio is one of his
works in progress. In the center of
this piece kneels an airbrushed fig-
ure of an artist wearing a T-shirt
emblazoned with the words "almost
famous," which is also the paint-
ing's title. He is bending down to
paint the foot of sculptor Pygmalion,
who is embracing his statue Galatea
in the figura serpentinata form of
Renaissance sculpture. The image of
Pygmalion and Galatea is from a
painting by Jean-Leon Gkrome.
Above the statue a background of
abstract forms from a George Green
painting echoes the swirling motion
of the embracing couple. To the right
of the kneeling artist is a flat poster-
board image of a woman taken from
a Roy Lichtenstein painting. The air-
brushed figure of the artist in the
center of this canvas represents
Anderson putting together images by
other artists and arriving at a per-
sonal statement.
This is the eleventh in a series of
14 paintings by Anderson called
"New Relationships" on display in
his solo show at the Littlejohn-Smith
Gallery, 133 Greene St., New York
City. The show will run through
November 25.
The educated viewer can indeed
apply many ideas to Anderson's
paintings based on the borrowed
images. For instance, the myth of
Pygmalion, the sculptor who falls in
love with his creation, suggests that
skillful artists possess the power to
breath life into the materials they
work with and create objects of ideal
beauty. Depicting himself next to the
image of the sculptor embracing his
statueindicatesthatAndersoniswell
aware of his attempts to create beau-
tiful images by manipulating other
works of art.
NOVEMBER-DECEMBER, 1986lAIRBRUSH ACTION
By choosing images of the past as
well as the present Anderson dem-
onstrates his proficiency with vari-
ous techniques: There are passages
which imitate the Old Masters's oil
painting techniques, some of which
are rendered in the pop art dot pat-
terns of Roy Lichtenstein or the
abstract splashes of color used by
George Green; still other passages are
rendered in Anderson's own air-
brush style.
"Learning techniques used by
contemporary artists and artists of the
past is important for the develop-
ment of your own personal style,"
Anderson says. "Imitating others not
only increases your technical
knowledge but also gives you a feel-
ing of psychological connection with
the artist you are dealing with and
19
 "The Tea Party"
Acrylic
1986
48" x 62"
with the history of art."
Anderson enhances past and
present by using still another
medium-photography. Using pho-
tographs as guides helps him re-cre-
ate images he wants to incorporate
into his art. In recognition of the lim-
itations of photography, he sees the
original piece whenever possible.
"Working with photos has inher-
ent problems," Anderson explains.
"For one thing, you can't readily see
the brushstrokes of a painting in
reproduction. It's always amazing to
see a painting such as a John Singer
Sargent or a Rembrandt after looking
at a photograph of it. What you first
thought was a tightly rendered,
detailed painting turns out to be an
intricate mass of very loose but well-
placed brushstrokes.
20 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
- -
"So much is lost in a photo that at
times I have to invent the details and
brushstrokes that I cannot see accu-
rately. I do whatever I have to do to
get things done."
Anderson's present series of paint-
ings is derived from a group of his
earlier works concerning patterns on
patterns. He photographed women
in dresses and also torsos only. From
the photographs he sketched the
compositions in simple line draw-
ings proportionate to the size of the
planned paintings. He added a pat-
tern to the dress and a complemen-
tary pattern to the background. After
introducing the patterns, Anderson
began the paintings.
The paintings in this earlier series
were done on square canvas, 50" by
50", using only airbrush techniques.
ir5tching and Waiting"
Acrylic
Frisketing left hard, crisp edges, so
Anderson and softened the human
forms and folds of cloth with air-
brushed shadows and the edges with
a watercolor brush while the acrylic
paint was still moist.
He chose patterns from various
sources. At times he used the actual
patterns on the cloth of the models
dresses and created similar patterns
for the backgrounds. Other patterns
came from his imagination. One
painting in the series re-creates the
pattern of the wallpaper in Ander-
son's kitchen.
The last painting for this series,
Mondrian at the Beach, sparked the
series Anderson is completing now.
It depicts a woman in a bathing suit,
patterned after Mondrian's gridlike
paintings, against a background with
 "Orange Ice"
Acrylic
1986
48" x 60"

a similar design.
As he incorporated patterns and
images from famous artists and as his
appropriation theories developed\
Anderson also adopted the artists
techniques. Although learning n e d
methods of painting was educa-
I
tional, it was not difficult for some-
one with Anderson's background. He
had painted in different media since
college. He attended the Newark
lnstitute of Technology, although he
did not paint while there. In 196q
Anderson moved on to the State
University of New York at BrockJ
port, where he cultivated an interest
in painting.
In 1970 Anderson entered the
graduate painting program at the Pratt'
lnstitute in New York City. "I was,
thrown into an artistic environment
with other students who, unlike
myself, had received a lot of formal
training and had developed their own
manners of working. I had taken
courses but still didn't know in what
direction I should go. We were all
assigned studios and simply told to
'go to work.' For me it was a matter
of sink or swim!"
Pratt was a center for artistic
experimentation, and Anderson
adopted the school's attitude.
"Everyone was trying out new ways
of applying paint to canvas," Ander-
son explains. "I started creating
abstract paintings and used practi-
cally every technique I could think
of including spray paint from aerosol
cans."
Anderson became friends with
Russell Woody, technical adviser on
NOVEMBER-DECEMBER, 1986lAIRBRUSH ACTION 21
acrylic paints for Binney & Smith.
Woody introduced Anderson to
Liquitex acrylic paint. Acrylic paints
had become popular with many art-
ists because of their unique charac-
teristics which allowed transparent
as well as opaque glazes of color and
application to unprimed canvas
without the fear of deterioration.
Acrylic paint also had other advan-
tages. With the water-based acrylics
Anderson could mix his own colors
to be sprayed on the canvas without
fear of noxious fumes. He bought a
pressurized spray jar called a Preval
and was no longer limited to the
nonrnixable range of spray paint
colors in aerosol cans. "Liquitex jar
acrylics contain none of the thicke-
ners used in the tubes," he explains.
"The tube acrylics contain a differ-
 "Masquerade at
the Beach"
Acrylic
1985
40" x 48"
ent formula to be used when apply-
ing colors in a traditional manner."
Other media used in airbrushes such
as inks and dyes are not permanent
and can't be used with permanent
results in fine art paintings on canvas.
In his last year at Pratt, Anderson
studied the human figure. And he
bought an airbrush.
Anderson's art and his studio have
come a long way since his years at
Pratt. He works at home in a bright,
well-organized, well-ventilated
space. One wall of the studio is
reserved for the paintings in progress.
This area is illuminated by a combi-
nation of incandescent and fluores-
cent lights-a mixture that Anderson
prefers. To the right are flat files filled
with lithographs of his work and
images he has collected to use in his
22 AIRBRUSH ACTION/NOVEMBER-DECEMBER, 11986
paintings.
To the left of the painting space a
pipe runs along the wall. This pipe
provides air pressure to three air-
brush taps, all controlled by a main
pressure valve. Under each tap is an
airbrush hanging on a hook. The air
i s supplied by a Badger Silent II air
compressor hidden in a closet.
"Generally I use two types of
Badger airbrushes for varying
amounts of control," Anderson says.
"I connect an airbrush filled with
water to the other tap to spray on
those areas being painted in tradi-
tional brush techniques. This keeps
the paint surface workable so I can
achieve proper tonal changes with a
fast-drying acrylic. I also use an
industrial spray gun for applying paint
and varnish to large areas of the
canvas."
Next to the airbrushes is a row of
counters where he mixes his colors.
A grow lamp, normally used for
plants, lights the counter top, which
is covered with containers of acrylics.
Anderson says this lighting offers the
best balance for mixing paints.
Anderson mixes the colors with
one part Liquitex acrylic medium to
two parts water. He filters the mix-
ture through a fine-mesh stocking. He
adds Winsor & Newton Flow
Improver to aid the flow of the liquid
through the airbrush. The unused
paint is stored in plastic 35-mm film
containers.
Anderson primes his canvas with
three to four coats of gesso, which
he applies with a large painting knife
for a smooth, thick surface. He sands
dtan2d in contrmt to other portwyzd of the painting
which are ren2ere2 in the mnner an2 d ~ of hthe
II
artwt from whom I borrowe2 the Lnage.

each coat with fine sandpaper, wets
the surface, and resands with 3M wet-
or-dry sandpaper. "If you don't have
a very smooth, flat surface that com-
pletely covers the minute hills and
valleys of the canvas fabric," Ander-
son warns, "some of the paint will
leak under your frisket into the crev-
ices of the canvas, making crisp edges
of color unattainable."
Because Anderson uses various
methods of applying paint, his paint-
ings have many layers and thick-
nesses. These layers are easy to lift
off with frisket, so he is careful about
the type of frisket he uses and how
long he leaves it on the canvas. He
recommends Badger Fotofrisket
because it does not adhere too
strongly or leave adhesive residue on
the canvas. Anderson also uses 3M
Scotch brand No. 811 removable
tape for frisketing fine details-the
tape may not have been developed
for this application but is ideal for this
purpose.
Good ventilation is imperative to
any airbrush artist. Anderson's stu-
dio is a model working space in this
respect. Directly above the painting
area is an opening through which
particle-laiden air passes via a large
electrical exhaust fan. An air condi-
tioner installed in a nearby window
pumps fresh air back into the studio
while a large fan on a counter keeps
the studio air circulating and an ion-
izer is used to knock the particles out
of the air electrostatically.
Anderson uses a particle mask
when he paints (good particle masks
made for industrial use can be pur-
N(IVEMBER-DECEMBER,1986lAIRBRUSH ACTION 23
chased at any hardware or auto parts
store). When he sprays final varnish
over his finished paintings, Ander-
son uses a respirator with a carbon
filter. The respirator is necessary
because the Soluvar removable var-
nish he uses has a mineral spirit base.
Dust masks filter only particles out
of the air; a carbon-filter respirator
must be used when working with
varnishes or materials that generate
toxic fumes.
An enormous amount of labor has
gone into Anderson's artwork and the
perfecting of his techniques of com-
bining traditional painting methods
with airbrush methods. The work has
been successful and well worth the
effort-Anderson's art demonstrates
the importance of the airbrush as a
contemporary artistic tool.
 Finest airbrush colours for artists', designers and for retouchin
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+spirit of ammonia

h e s t artists' colours Otto-Hahn-Str. 2 D-4006Erkrath West Germany

26 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
 Medical
I h s tration
BY KATE SEAGO
One function of illustration is to
inform and explain facts. This is
especially true in medical illustra-
tion. "Our main objective i s to
teach," explains David J . Mascaro,
associate professor in the medical
illustration graduate program at the
Medical College of Georgia at
Augusta. "It is not just to simply
exhibit what's in front of the observer;
it is to clarify a rather complicated
procedure so that someone else can
learn from it."
Modern medical illustration depicts
everything from surgical procedures
to microscopic organisms to the
chemical structure of pharmaceuti-
cals. The work encompasses in-house
positions with major medical schools,
hospitals and other health care insti-
tutions, and free-lance work for
medical suppliers, trade pubiica-
tions and research facilities.
Fewer than a dozen colleges and
universities in the United States offer
a curriculum in medical illustration.
In most schools that do offer the cur-
riculum, the course work is part of a
graduate program leading to a mas-
ter's degree (M.S.). Preparatory
undergraduate work includes courses
in comparative anatomy, physiol-
ogy, histology, embryology, neuro-
anatomy, and other anatomical
studies. Some programs also require
undergraduate chemistry courses.
"The undergraduate program is
heavily weighted toward the sci-
ences," Mascaro says. "The stu-
dents are essentially taking the first
few years of medical school."
This ~ r e ~ a r a t i oisn necessary to
4
ensure high degree of accuracy in
the work. In addition, illustrators rely
on the physicians or other medical
experts who have ordered the
NOVEMBER-DECEMBER, 1986IAIRBRUSH ACTION
-- .-. - -
assignment to help check the accu-
racy of the finished illustrations.
Sketches and Photos
Many medical illustrations depict
surgical procedures. Often the illus-
trator will be in the operating room
when the surgery i s performed, mak-
ing notes and thumbnail sketches as
the surgeon works. "You may or may
not have photographs for refer-
ences," Mascaro says. But because
photos may not show details required
for verification of intricate proce-
dures, medical illustration is still
needed.
"Surgery is bloody, and the differ-
entiation of tissue is not as apparent
in photographs as we tend to show it
in illustrations," Mascaro says. "We
tend to idealize it somewhat so that
it is clear to the learner, and some of
the coloration is symbolic," he
explains.
Charles H. Boyter, medical illus-
trator at the Emory University School
of Medicine in Atlanta, explains that
the color coding is based on fact:
muscles are red; fatty tissue, yellow.
"That portrayal is correct, and we try
to stay as close to the natural tones
as possible," he says. But other
colorations--blue for veins, red for
arteries, yellow for nerves, and green
for the lymphatic system-are visual
shorthand that is uniformly under-
stood by medical professionals.
The degree to which the illustra-
tion depicts actual colorations is
determined by the situation. When a
particular disease or condition causes
changes in tissue color, that color
mustbe reflected in the artist's work.
But Mascaro says that in cases where
the drawing does not portray any
particular individual or disease,
27

moderately-toned colorations are
used and accepted as normal.
Staff and Freelance
Assignments
About 550 artists work at full-time
medical illustration in the United
States. Of these, the majority are staff
artists for medical schools, hospitals
and other teaching facilities. Others
work for medical journals or phar-
maceutical houses.
In-house staff positions begin in the
salary range of $20,000 to $30,000
a year, and many staff illustrators
supplement their incomes with free-
lance assignments. "People think that
because it is medically related, the
job will be a highly salaried posi-
tion," Boyter says. "That's not true
at all."
Medical suppliers often have large
advertising budgets and much of the
illustration in medical print ads is
supplied by free-lancers, sometimes
working through advertising agen-
cies. "There is a trend now for peo-
28 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
ple who are entering the field to get
into free-lancing," Boyter com-
ments, "becauseihere really is more
monev to be made with commercial
client;."
Another outlet is teaching. Mas-
car0 spends about half his time
teaching graduate students (Boyter
was once his pupil), the rest as a
working illustrator in the university's
medical illustration department. He
also writes and lectures extensively.
The equipment needed for medi-
cal illustration is similar to that
needed for any commercial artwork,
and airbrushes play an important
role. Mascaro uses airbrush about 40
percent of the time, completing his
work with colored pencils or with
brushes to add needed textures. He
relies heavily on his Paasche AB and
works primarily in watercolor or
gouache.
Boyter, on the other hand, says he
uses the airbrush very little at Emory
since most of his assignments are line
drawings. But his extensive free-lance
work is mostly color assignments that
he executes in acrylics, watercolors
or Dr. Martin's dyes, sprayed through
an airbrush and detailed with col-
ored pencils. "I trained on a Paasche
AB at the Medical College of Geor-
gia," Boyter comments, "and I still
use the AB for most detail work. I also
use the lwata HP-A, HP-B, and HP-
C a great deal for broader areas and
backgrounds. With the Paasche AB,
1 feel that I have total control when I
have to go into tight areas, although
the lwata is capable of the same
detail." Both illustrators use Frisk
film, and both cut stencils from ace-
tate for quick detailing with the
airbrush.
The Association of Medical Illus-
trators, based in Midlotian, Va., is the
center for career guidance and mar-
keting within the field. AM1 pub-
lishes newsletters and a quarterly
journal, and holds an annual con-
vention with seminars which Mas-
car0 describes as "ranging from
techniques to copyright law. It is a
chance not only to see what your
colleagues are up to, but to make
contact and to talk shop, to learn new
techniques."
The AM1 also publishes an annual
sourcebook, which is distributed to
publishing and corporate medical art
buyers. "I've had a great deal of
response from it," Boyter says. "It's
a good way to advertise to a pin-
pointed market."
Continued on page 40
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 "Soho, Sidewalk Sale"
Acrylic on canvas
1987, 40" x 60"
"Han's best
known works
are his
'crowdscapes',
images of Man-
hattan's street
people"
NOVEMBER-DECEMBER, 1986IAIRBRUSH ACTION 31
 "Radio Playing"
Acrylic on canvas
1986, 72" x 100"

soft quality, as
BY KATE SEAGO
if the subjects House paintersf sprayguns are very
had been different from the airbrushes tradi-
tionally used by artists. In the hands
of New York fine artist H.N. Han,
photographed however, sprayguns become tools of
delicate precision.
through fine Han's best-known works are his
"crowdscapes," images of Manhat-
gauze. At close tan's street people. The huge can-
vasses have a soft quality, as if the
inspection the subjects had been photographed
through fine gauze. At close inspec-
work is com- tion the work is composed of mil-
lions of fine dots.
To achieve this style Han uses
posed of mil- inexpensive commercial sprayguns,
working at low pressures (5 to 10 psi)
lions of fine to create spattering. He works with
Liquitex Jar Acrylics, spraying at a
dots." range of one or two feet with incred-
ible control.
Each large canvas takes about a
month to complete. For his subject
matter Han roams Manhattan, pho-
tographing the people, buildings and
traffic as they catch his eye.
Han prepares his own cotton can-
vasses. He or his assistant applies
Aquatex gesso with a brush or pal-
ette knife, smoothing the surface with
a squeegee. When dry, the surface is
sanded lightly, although Han says it
is not necessary for the gesso to be
perfectly smooth.
To begin a painting, he projects a
photograph onto a gessoed canvas
and recreates the projected image.
"Other photorealists draw in their
outline first," he explains, "but 1 do
32 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
"Street Crowd, 34th Street"
Acrylic on canvas
1QRA 44" x 66"

-
"Han uses
inexpensive
commercial
sprayguns,
working at low
pressures to
the background. Then I project the create spatter-
photo on the canvas and do it, bit by
bit."
Han cuts paper stencils directly on
ing. He sprays
the canvas and uses waxed paper for
masking large areas of his work. He
at a range of

-
tapes the paper stencils in place with
masking tape, being careful not to
one or two feet
move the canvas out of line with the
projected image. "I have to keep the with incredible
projector in the same position for the
whole period of time that I'm work- control."
ing on the painting," he says. Work-
ing from dark to light shades, Han
gradually fills out the entire canvas
with soft-pastel color.
To most observers Han's work
seems to be composed of muted
tones, but to the artist himself the
palette he now uses seems bright. In
fact, Han's earliest work (after he
came to the United States from Tai-
wan in 1968) was executed in shades
of white over a white background;
the geometric pattern barely was
discernible in bright light.
NCIVEMBER I l l ( I M B E R l')ii(, \ l K B R L L H 41 rlO\ 33
 "Soho, Saturday Afternoon"
Acrylic on canvas
198 1 61)"x 91)"

"Each large
canvas takes
about a month
to complete. Han, now 46, says his range and
For his subject interest in art is very wide as a result
of his early studies: "In the begin-
matter, Han ning, when I was in Taiwan, I started
with abstract art. We did not see the
original art; we only knew it from
roams Manhat- magazines and books." He claims to
have been influenced by artists from
tan, photo- a variety of schools: minimalists;
expressionists; and even pop artists.
graphing the And although he hesitates to name
one particular artist whose work has
people, build- been a guiding influence, Han says,
"I think the whole feeling of living in
ings, and traffic New York City influenced me. I
always think of New York as the art
as they catch center."
In Taiwan Han had been known
both as a commercial illustrator and
his eye." a fine artist, but after coming to New
York he decided to spend his time
exclusively on his gallery work.
"Anything in art is fun to do," he
comments. "The only problem is how
much time you have. This city is good
for everything, and before the age of
35, in Taiwan, I did both (commer-
cia1 and fine art). But I had to make
a choice; you have to concentrate on
one thing, so now I choose fine art
34 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
 "Other photo-
as my job. I don't have the time or
energy to do anything else."
realists draw in
Still, Han refuses to be limited to
one style, or to be stereotyped into
their outlines
certain subject matter. Along with his
highly successful cityscapes he is first, but I do
producing a series of works done with
traditional brush-on-paper. "As an the back-
artist I don't like to limit myself," he
says. "Before I used airbrush I used
a roller with stencils. That kind of
ground. Then
work is more like printmaking. After
I came to New York I changed to air-
I project the
brush." But he hesitates to predict that
he will move away from spray tech-
photo on the
niques. "I don't think I'm going to
give up spray, but I like changes for canvas and do
a period of time."
He also must face the economic it, bit by bit."
realities of working with a gallery,
noting that his representatives, for
obvious reasons, want him to con-
tinue to produce cityscapes. And, for
now, this satisfies him. "I'm going to
concentrate on the peoplsthe street
people, the crowd people."
Comfortably established i n a
bright, airy loft above one of Man-
hattan's best galleries, Han works in
a huge studio separated from his
family living quarters. Han pur-
chased the loft soon after arriving in
New York, and says it was a wise
move: "I think the best thing that we
did was to establish co-ops in the
early 70s. Today I can afford to own
a loft, but I can't afford to rent one!"
But with two preschoolers in the
house, distractions are nearly inevi-
table. Han says he isn't bothered by
noise from the street, but like most
parents, the sound of his own family
 "Music of
Washington Square"
Acrylic on canvas
1982, 60" x 90"

(below)
,'Statue of Liberty, Sunset"
Acrylic on canvas
1986, 30" x 44"

abstract art for

over 20 years,
now we are
going back
toward realism,
and it's confus- can draw his attention from his work.
ing to people. ' 7 So, to get away from the distractions
of the city, Han has found a barn in
upstate New York, about an hour's
drive away, in which to work
occasionally.
In the city his life revolves around
his work, and around his friends in
the artistic community. New York has
a tightly knit TaiwaneseIChinese
community of transplanted artists.
"It's not really an organization," Han
explains. "We see each other often
because we share the language and
the food. My kids are very young; I
don't go to bars, so our social life is
limited, even with Chinese friends.
36 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
We get together more often if they
also have children."
Han says he was the first of his cir-
cle of friends to arrive in New York
from Taiwan, and is pleased with the
level of success he has attained. "I
think in fine art it is very difficult to
get very popular. People don't
understand, and that's especially true
for my technique because it is very
close to commercial art. Artists have
been explaining abstract art for over
20 years, and now people know what
is going on; now we are going back
toward realism, and it's confusing to
people. We have to find a different
way to explain it as art."
 A fusion of distilled vision, color and air
For thefirst time, this special 15page edition features a collection of Stanislaw Fernandesmost
popular'heads' paintings. All in full color. See his concepts and airbrush technique as an inseparable a;tform.
Order your copy of HEADS now. Price $7.95, size 8 1/2"x 11: laminated softcover.
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WEIR THE ARI
ALPINE AVANT-GARDE
BY HARVEY COHEN
o the avid skier, nothing could be
finer than floating downhill, awash
in knee-deep powder on a post-
card-perfect Rocky Mountain
winter's day. If airbrush artist Michael
David Bilsing has his way, he may
be able to one-up that picture by
providing enthusiasts with one-of-a-
kind, personalized custom-painted
skis.
Pick your passion: pink flamin-
gos, sleek sports cars, tropical para-
dises, beautiful naked women. To
Bilsing i t doesn't matter; the
enchantment is the message. In this,
his second full season customizing
skis for ski aficionados everywhere,
Bilsing believes he's already cor-
nered the market. "As far as I know,
I'm the only person airbrushing skis
in the country," he said. "There may
be others out there, but I've been
unable to find them."
Bilsing, 26, runs his commercial
free-lance art business, M D B
Designers and Ski Graphix, out of a
renovated tack room behind his home
in scenic Evergreen, Colo. An Illi-
nois native, Bilsing migrated to Col-
orado in 1977, where he attended
both Denver Automotive and Diesel
College and the Colorado Institute of
Art. Upon graduating from the latter
Bilsing pursued an art career, but after
a frustrating two-year "search," he
decided to take fate into his own
hands. He remembers that "the idea
to paint skis came to me about three
and one-half years ago when I looked
at my own pair of Hart Bullets. The
bottoms were still good, but the tops
were all scratched up. Being an art-
ist, I thought I would paint them and
as soon as I thought that, I said, 'Now
there's a business!"'
For Bilsing, it has evolved into the
business. While last year's rate of
production was satisfactory, he
believes that this season will be extra
special. Bolstered by attention he has
received from the ABC and CBS tele-
vision news affiliates in Denver, arti-
cles published in the Rocky Mountain
38 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
News, and soon to-appear stories in
widely recognized publications such
as Skiing and Ski magazines, Bilsing
thinks that this will be his year.
In addition to exposure from the
media, Bilsing conducts a great deal
of business on lift lines and by hand-
ing out business cards at ski resorts
and establishments that cater to the
ski crowd, such as Evergreen's pop-
ular Little Bear Saloon. He adds jok-
ingly, "I'm trying to deduct all skiing
from my taxes."
While taking an active marketing
stance, Bilsing has chosen to remain
out of the fast track, favoring the
quaintness of Evergreen to base his
bperation. "At first I thought I'd be
better off in Vail or Aspen, but now I
think it's to my advantage to be
between Denver and the entire range
of Colorado mountain ski resorts,"
he surmises.
This is not to say that Bilsing
doesn't "get around." Plans to take
his one-of-a-kind show "on the road"
this season include promotional tours
to Copper Mountain, Breckenridge,
and Winter Park, as well as nurtur-
ing potential consumer groups such
as ski teams, ski shops, and private
businesses. "In addition," says Bils-
ing, "I'm in close contact with some
potential big out-of-state accounts."
One such account, Evolution Ski, of
Salt Lake City, Utah, has already
expressed interest in three of Bilsing's
designs and will feature them in
company direct m a i l literature.
Another manufacturer, DP Skis, Taos,
N.M., is developing a unique
adjustable ski, and feels Bilsing's
designs may be just the marketing
ticket they need to enhance their
reputation.
Bilsing also points out that because
the skis are great to look at, they are
less likely to be stolen-a recurring
problem facing the ski industry.
"They're less likely to be ripped off
because they're so easily identi-
fied," Bilsing said. "People don't
know what kind of skis they are so
the only reason they would take them
would be for the artwork themselves
or the bindings." H e adds, "You've
got people looking at them all the
time, so they are your watchdogs right
there."
Intrigue runs high among resort
skiers, who frequently query Bilsing
as to the make of the particular skis.
He replies, "They're custom-painted
Rossignols or Harts," to which the
onlookers usually reply, "They're out
of this world," or "I've never seen
anything like that before."
It would seem that Bilsing is on the
threshold of a dream: realizing artis-
tic and subsequent financial success
while participating in a sport he
Michael David Bilsing addi the finishing touchcs to Rilsing preparcs the surface of a ski with a belt
another proiect. sander, rcmovin ~rfacescars.

NOVEMBLK IIECEMBtK 1 ~ ~ ( I I A I K B R U S HACTION 39

thoroughly enjoys. Future plans call
for customizing water skis, boards for
wind surfers, skateboards, skiboards
and musical instruments. He relates
the tale of one man in California who
called him and said, "lUve been
waiting for you for years. "
If Michael David Bilsing has his
way, the wait is over.
Technical Preparation
Coming up with a definitive
method of painting skis took Michael
David Bilsing more than 16 months
of testing paints and methods of
application before he arrived at a
workable solution. "The trial-and-
error period lasted longer than I orig-
inally had hoped," adds Bilsing. The
process Bilsing derived is a relatively
straightforward one, and one he has
chosen to share with AIRBRUSH
ACTION readers.
ABA: How do You Prepare the skis?
MDB: First you must take the bind-
ings off. I have a certified technician
at a local ski shop do that. Bindings
are too technical to mess with your-
self. he next step is to sand off all
the original cosmetics down to the
plastic top. Most skis have an ABS
plastic top on them. I use a belt
sander with 80-grit sandpaper, and
then I use a finishing sander to get
the plastic smooth again.
ABA: Tell us about the base coat.
MBD: The base coat, or background
color, is applied first, using a silk-
screening ink. The paint I use soaks
right into the plastic. It's a chemical
bond like gasoline on plastic-it melts
into the surface and then dries hard.
The drying Process takes between two
and three hours with heat lamps. I'm
usually working on other skis in vari-
ous stages of production while one
pair dries.
ABA: What goes into the art prepa-
ration stage?
MDB: The inspirations for my art-
work are usually a product of both
my own and the ski owner's imagi-
nation. I'll ask people if they have
any special hobbies or favorite colors,
nicknames or favorite animals. Some
leave it up to me, and then I just go
for it. Favorite scenes include moun-
tain panoramas, skiers, naked
women, fast cats and animals. Once
the illustration is decided upon, I can
proceed to cutting the stencils and
mounting them on the skis. The only
stencil I use is a Manila tag board. I
use a special spray adhesive on the
back of that stenciCl hardly ever use
friskets. I'm careful to be aware of
40 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
the rights and the lefts (skis) and I
mask the edges of the skis to protect
the serial numbers and the brand
names.
ABA: What airbrushes so you use, at
what air pressures?
MDB: I use a Badger detail gun,
which is larger than an airbrush but
smaller than an automotive paint gun.
I run that at about 30 pounds of pres-
sure. I'm not doing such fine detail
work that I need to modify my air-
brushes, though I've been known to
bend a needle or sand it down if need
be.
ABA: What paints work best on ski
surfaces?
MDB: I use a silk-screening ink that
is thinned according to my own
specifications. Because of the heavy
viscosity of the inks, they must be
thinned quite a bit to get through the
airbrush.
ABA: What precautions do you take
to avoid toxicity?
MDB: Health and safety are a big
issue right now. I have a 24-inch fan
and a respirator in my shop. In the
future I'd like to use fresh oxygen or
even a whole oxygen mask because
my studio is so small. It's imperative
to wear a mask and to follow the
recommendations included in the
silk-screenbulletins.
ABA: How do you protect the skis?
MDB: After the artwork has been put
down and allowed to cure, I go back
in with a finer hand brush for the
detail work. I then apply a polyure-
thane clear coat to give the skis a
hard, durable finish. The finished
product is as durable as the manu-
facturers, however, I can't guarantee
that the skis will last forever, because
I don't know how people ski.
ABA: What does a typical pair of skis
cost to personalize?
MDB: The cost varies according to
the number of illustrations. I recall
one pair that used five different intri-
cate designs-Chinese dragons with
Chinese landscapes in full detail-it
took me almost two days to com-
plete, so I charged $250. For more
average orders, the price is about
$1 75 and usually takes me about one
working day to complete. Even the
simplest design, for example, having
skis gradated with a name, still
requires sanding, a base coat and a
clear coat--about three or four hours
of work. For that I would charge
about $75. Materials generally cost
me about $20.
ABA: Are any skis unworkable?
MDB: To date I have never turned
down a pair of skis. New skis may
require less sanding and filling in of
gouges, but generally a ski is a ski.
ABA: Do you have a portfolio of
designs?
MDB: No, but I'm in the process of
producing full-color brochures and
posters. I'm not interest in hiring an
agent because I really enjoy the
business side. Eventually I'd like to
become the art director of my own
business and deal with the sales,
marketing, promotions, and so on.
ABA: Does that mean that you will
need airbrush artists?
MDB: Definitely. Down the road, and
probably sooner than I think, I will
need to expand my base of
operations. 8
Medical Illustration
Continued from page 28
Accuracy
Medical illustrators face the same
technical problems as do other art-
ists, but the need for color accuracy
in some work underscores the
requirement for color-controlled
lighting. In addition, medical illus-
trators must use media which will not
undergo color alterations with time
or storage.
But technique is still secondary to
accuracy. "The main objective of
medical information is clarity and
accuracy," Mascaro says. "The
technique, while everybody wants it
to be wonderful, should never get in
the way of the information. Most
medical illustrators would agree that
if you can combine beauty and
accuracy, that's fine; but the main
objective is to inform." 8
GElTlNG PAID FOR YOUR
WORK--PART 1
BY MICHAEL REDDEN

any of my artist clients seem to work like slaves but

never have any money. Frequently, the reason is that
they do not get paid on time, or at all, for their work.
If you are like them, this article is for you. This arti-
cle will focus on the business of getting paid: preventing
losses, enforcing contracts, collecting accounts, and going
to court.
Preventing Losses
Getting paid is the first stage of making a deal with a
purchaser of your art. There are many things you can do
to increase your chances of getting paid and getting paid
on time. An obvious but important principle is to deal
with financially solvent clients. Take a few moments to
size up your purchaser and determine whether you think
he can pay for your work. Before you extend credit to a
new client, ask a few questions about his business. If the h
brochure " c -
business is new or has been having trouble, do not take a r

big job on credit. Hall Productions Dealer ~nquiresappreciatedl

Always put your agreement in writing. Although not all P.O. Box 3505-A, San Luis Obispo, CA 93403 8051543-4273
contracts must be written and signed to be valid, every
state has some version of what is known as the statute of
frauds, which makes some oral contracts unenforceable.
In every state a contract for the sale of goods for more
than $500 must be in writing. Whether commercial art-
works are goods that are subject to this law or services
that are not subject is uncertain. To be safe, put it in writ-
ing. Further, the rationale behind the statute of frauds is
AIRBRUSHES
STYLE 114lAirbrush set with 2 jars, hose, 1
I
that without a "writing" or written document to memo- cap, propellant
rialize your conversation and agreement, you will be forced and regulator.
to rely on your memory to prove the terms of a deal. External, single
action brush for t
Memory is never as trustworthy as a written contract. easy cleaning
Written contracts may take many forms. You may con- and use...~ 2 0 0 0 *
sult an attorney to have a formal agreement drawn up. An
attorney who understands your business can create a
generic contract that you can tailor to your specific needs.
But for many of your transactions it will be easier simply
to prepare a note stating the object of the sale and the sum
and the method and time for payment, followed by your
STYLE 4031Touch up airbrush
signature and that of your buyer. There are also other pro- artistic work on largesurfaces. Such as
visions you may want to consider in your contracts. For
example, you might state that the copyright in the work
shall remain yours until you have been paid in full. With STYLE 1151Extra fine professional
this clause you can sue for copyright infringement if the
client tries to use your work for which you have not been
paid. Most important, put a provision in your contracts
providing for attorney's fees in case you must take your
buyer to court. If you prevail, this means that the buyer
will have to pay your attorneys for any work they have
done in preparing your case. Without this, you probably
cannot afford to hire an attorney to help you collect.
Always agree with your purchaser on a method of pay- PleasPaddS5msh1pp1ngand handllnqchalge lo paymelll ot your aloe1 In
pelsonal check mollev orde! ~ol~tledcnech COOov acceptdbe
ment. There are several methods you might consider. The ma(o1cleall catd llnclude dccount numhPr and exmratlnn dale1
r h r e 514 Slhhrmc I.YC.lml150 r4r fo. t-2 €npb Slat L l l d l ~
first and simplest is to have your purchaser pay for any
 work you do when the work is completed and delivered.
You could also bill your purchaser by invoice. Although
the guarantee of payment is less certain with this method
of billing, many buyers will insist on it. Make sure your
invoice states a specific time for payment so that should
the time limit expire, you may immediately take the next
step to collect your debt. Send your invoice out as soon
as possible; the sooner you send out your bill, the more
likely you are to get paid.
Finally, you and your purchaser might agree on an
installment plan for payment. If the payments are going to
be for more than three months, I recommend that you
charge interest. This will induce your client to keep up
with his payments. An interest charge must be stated on
the original agreement. Also, many states limit the amount
of interest you can charge. Be aware that you cannot charge
interest to consumers on such installments unless you
comply with the Truth in Lending Act, a federal statute.
This is a complex law, so you should consult an attorney
if you wish to charge one of your buyers interest on
installment payments.
In your contracts as well as any demands for payment,
you should create a time by which your buyer must pay
or at least respond to your request. This allows you to
keep forging ahead with the collection process and tends
to prevent procrastination. Make certain that any agree-
ments you have with the buyer include both your and the
buyer's address, phone number, place of business, and
any other place the two of you may be reached. At this
stage it is best to think negatively.
For large projects, get a check up front for your work.
Taking checks has several advantages. First, it is always a
good indication of your client's ability to pay in the future.
Also, if your buyer later turns out to be a deadbeat, you
will have his checking account number, so you can gar-
nish his bank account after you receive a judgment in court.
Garnishment allows you to freeze any assets in your buy-
er's bank account and have them paid to you by the bank.
You might also ask your buyer for a check guarantee card
since this will minimize the chances of receiving a rubber
check and also indicates that he has good credit.
Finally, I recommend that you arrange with your bank
to take Visa or Mastercard purchases. Although this will
cost you a small percentage of what you are paid, it will
save you the cost of subsequent collection and protect
you from default. Also, if your client has an active credit
card, it usually means that he is currently paying his bills
and has a good credit rating.
Collecting Overdue Accounts
Before you contact a lawyer and go rushing into court,
there are many ways you can attempt to collect money
that is owed to you after the deadline for payment has
passed. Some artists find that a handwritten note on the
bill sent to the customer will embarrass him into paying.
Another obvious tip is to cease doing work for a client
who has a continuing project with you and has repeatedly
failed to pay you or pay on time. I used to think that such
tactics meant that you would never be hired again by the
client. To my surprise, 1 have found that this is not true. If
you proceed in a businesslike manner, hardly anybody
will take your actions personally.
The next step is to give the buyer a call. It is always
possible that the buyer has moved, is on vacation, or is
ill. You may simply need to confirm that he has been
receiving your bills. Since it is tough to call someone and
42 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986
tell him to pay up, you might begin your conversation
with the explanation that you were calling to confirm the
amount of the bill. Be firm, but give your buyer the oppor-
tunity to explain his failure to pay. When you have him
on the phone, get him to state when he will pay and how
much. Send a written reminder, and follow up immedi-
ately if payment is late.
The next step is to send your debtor, for that is what he
has become, a written demand for payment. In many states
you must make such a written demand before you can
bring a lawsuit or take a judgment against the debtor. In
your letter, simply state that you have performed your half
of the bargain and are waiting for your purchaser to per-
form his. As with your contracts, set a time for response
and remind the debtor that you will be required to take
legal action should he fail to pay you by the date you set.
In lieu of requiring your buyer to pay you in full, which
may be impossible if he has since lost his business or has
divorced, you can negotiate with him about a payment
plan. If you can agree on an amount and a regular pay-
ment schedule, have your debtor sign a promissory note.
A promissory note is simply a written promise to pay a
certain sum by a specified date in specified installments.
A promissory note can easily be assigned to a collection
company for collection if your buyer defaults. Your prom-
issory note should provide for interest and attorney's fees.
For larger accounts, you should take security in, for
example, a debtor's car, which will allow you to foreclose
the amount of your debt on the car should your buyer not
"Send your invoice out as soon
as possible; the sooner you send
out your bill the more likely you
are to get paid."
pay. Make certain that the value of the security is enough
to cover the amount of your buyer's obligation to you.
You should have an attorney draw up any security agree-
ment you use.
In attempting to collect your debt, never assume that a
client who dies is no longer liable on his obligation. Most
debts survive the death of the debtor and are enforceable
against his estate. For this reason, keep in contact with
people who owe you money and check your local busi-
ness newspapers for notices to creditors of a decedent's
estate. If you see your former client's name, contact the
estate's attorney or personal representative who will deal
with paying your debt from the proceeds of the estate.
Similarly, keep your eye out for bankruptcy notices for
individual business purchasers. If you receive a notice from
the bankruptcy court that your buyer is bankrupt and is
having a creditors' meeting, be sure to attend this meet-
ing. At a creditors' meeting, creditors are allowed to ask
the debtor about his assets and the location of any prop-
erty that might be used to pay off debts.
In proceeding to collect your debt, do not procrastin-
ate. Every state has a statute of limitations after which claims
on contracts or debts are barred. These vary widely from
state to state but are generally between two and ten years.
Even though your buyer has no money now, it may be
worthwhile to take him to court anyway because once
you have a judgment against a client, you will have sev-
eral years to enforce that judgment. During that time your
buyer may inherit a lot of money or win the lottery, so do
not rule out any possibilities.
 you learn to
wmairbrush? -

At the finest quality school in the country

THE SCHOOL OF AIRBRUSH ARTS
Unique: SAA is the only state approved school in the country for airbrush
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Example Program: Ailblush painting, (3) levels; beginning, intermediate, advanced
Beginning airbrush painting. 40 contact hours
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Method: Practical experience using watercolor dyes
Projects: Monochrome illustration, full color illustration

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SCHOOL OF AIRBRUSH ARTS

NOVEMBER-DECEMBER, 1986/AIRBRUSH ACTION 43

 orative Art Series" at the
-PAASCHE
- -- - - - -
--
NAMTA Convention i n
ERASER May.
The Series is authored by
KIT selected artists and focuses

f Now! Small vuantity

Fine Quality
Full Color Printing Is Affordable .....
Example:
Paasche's Air Eraser,
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Some of the subjects fea-
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mistakes or etching
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Rosemaling, Folk Art,
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If one picture is worth 1000
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A pressure the Air Eraser will
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Out, and Tole Painting.
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picture is worth 10,000 words. lines from metal, plastic, Series are among the best
Design your own card... Show ceramic, or wood without in the decorative art world;
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Send for price list & samples. color, again without dam- c i l l a Hauser, J o Sonja
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in glass. The Air Eraser Kit to-follow format, and up to
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ounce jar of Fast Cutting include palette sugges-
Compound, an air hose tions, patterns, and paint-
with a moisture trap and ing techniques.
Give a gift subscription five disposable respirators.
The Paasche Airbrush Co.,
The latest publications in
the original "How To" line
to AIRBRUSH ACTION 7440 W. Lawrence Ave.,
Harwood Heights, Ill.,
are "On the Painting of
Boats" (#210) by Duane
Call toll-free 60656, will supply addi- Light, "Calligraphy"
tional information by mail, (#211) by Al Mack, "Air-
1-800-232-7874 or call (312) 867-9191. brush Rendering" (3212) by
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DECORATIVE Edin.
ART For more information
types, the pressure can get to even contact Foster Art Service,
the toughest veteran shopper. SERIES Inc., 430 West Sixth Street,
AIRBRUSH ACTION is the solution Walter ~ o s t Art
~ r Books Tustin, CA 92680, or call
to your holiday problems. By giving presented their new "Dec- 714-544-75 10.
a gift subscription to AIRBRUSH
ACTION the'smart shopper not
only avoids lines but saves money.
A two-year, 12-issue subscription is
only $30, a $6 savings over the
newsstand price. A one-year, six-
issue subscription is only $1 6, a $2
savings. Quality, up-to-date
information, comprehensive
articles, lush illustration. So stay
inside and warm.

44 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986


CADY
AND
COMPRESSOR
Jun-Air introduces two
products for the alr-
brusher: the CADY alr-
brush table, and the Mlnor
compressor. "The silent
compressor people" have
designed the CADY w ~ t h
worktable access~b~llty In
mlnd. Some of the CADY's
features Include two alr-
brush attachments, rotat-
Ing a~rbrush holders for
both rlght- and left-handed
persons and a spray trap for
emptylng airbrushes,
among others. Jun-Air also
offers flve optlons for
upgrading the CADY.
The Minor comes com-
plete wtth a comb~ned
motor and plston com-
pressor, overload protec-
tor, adjustable stop-start
pressure switch, 1.5-llter air
recelver wlth safety valve,
pressure gauge, drain cock,
and outlet cock lun-Air
of m r thirty movie
rds for Coca-Cola,
Pepper, brings you
Into his studio while he create8 a movie
I Name Phone( ) I
1 Address I
I City state Zip -I
( My art supplier is I
LLocated
- - - in- - -------------J
can prov~defurther Infor-
mat~on:2920-3000 Wolff
Street, Racine, Wts.,
53404, (414) 634-4919.
THE
AIRBRUSH
ARTIST'S
HANDBOOK
Des~gnedfor profession-
als as well as neophytes,
The Alrbrush Artrst's
Handbook IS a 160-page
reference manual from
Runnlng Press. Available
thls month, the $14.95
book offers more than 200
~llustrationsand deals w ~ t h
a range of airbrushing areas
such as advertlslng, pack-
aglng, photo retouching,
equipment, accessories,
maintenance, and obtaln-
able alrbrush effects. It also
offers advlce on presenting
and preserving work,
organlzlng the work envt-
ronment and survlvlng as Anaheim, CA 92805
an artlst. A glossary of 1-800-423-0250out of State
(714) 7581638 Callfornla Collect
terms
- - . . . .- and
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a.n.-~.-
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l~rer L
NOVEMBER-DECEMBER, 1986lAIRBRUSH ACTION 45
 How to Dazzle I source list is included.
For more information,
grays to warm grays.
SGI, a division of Salis
Carl Caiati knows how to create a i r b ~ s hmaster- call 800 428-1 111 outside International, is distribut-
pieces. Now this experienced artist and teacher Pennsylvania. ing Dr. Ph. Martin's Soft
shares his professional expertise with you.
Airbrushing (165pp.1246 illus) provides step- Track frisket masking film.
by-step instruction in basic airbrushing techniques Easv eel-off minimizes
for a variety of practical and decorative purposes. dis;upiion of the surface
Illustrated with nearly 250 photos (16in full color), SPECTRAL'TE beneath the film. The film
including a cross-section of artwork by some of the
leading airbrushers. COLOR
- tacks down harder than
Advanced Aid~mshingTechuiques MPde Sim- most products; this harder
EXTENDER
ple (135pp.1240 illus.) features d l the professional
tips and tricks needed to achieve spectacular, ad-
Salis International offers
" ..
g r i ~ ~"i nallows
g
accuracy. The fi;I
for areat
is
vanced airbrushing effects including: vignetting
and photo montage procedures, black and white an extender for its line of available in a wide variety
retouching, freehand techniques for mural produc- Spectralite acrylics. Dr. Ph. of sizes. For more infor-
tion, and more. Highlighted with 8 pages of color Martin's Spectralite Color
photos and 27 color plates of outstanding air- mation write to Salis Inter-
brushers. Extender, when mixed national, Inc., 4093 N.
Come Study with the Master-Order Today! with Spectralite Airbrush 28th Way, Hollywood,
_ _ - - - - - - Acrylics, maintains the Fla., 33021, or call (305)
TAB BOOKS Inc., P.O. Box 40, Blue Ridge Summit, PA 17214 paint's color integrity and 921-6971 or 800 843-
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)
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Send me Airbrushing (#1555P) for a 15-day, no-risk examination. I I
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NEW
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will either keep it and send $14.45 (plus shipping and handling) or
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Send me Advanced A h r u s M q TechniquesMade Simple, (#1955P), , I
The extender, available
in 2 and 4-ounce bottles, BADGER
I same terms as above.
10% Prepay S a v i n e B u y both and pay $25.90 (5233C) (Save $311
Credit Card Holders Call Toll-Free. We accept VISA,
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alters the color intensity of
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Check enclosed for $
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The Badger Air-Brush
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PA residents add 6% sales tax. Orders subject to credit approval. Prices subject to
ABA-56

46 AIRBRUSH ACTIONINOVEMBER-DECEMBER, 1986

-.
-- ~ -

brochure. Included in the
20-page text are the full
line of Badger products,
ranging from professional
airbrushes and spray guns,
including the new LG series
gravity-feed airbrush, to
compressors, 43 Air-
Have something to sell or an-
nounce concerning the world of
airbrush? AIRBRUSH ACTION'S
classified section is open to offer
a forum for airbrush business.
Call 1-800-232-7874to place an
order for an airbrush classified
ad. One inch ad is only $54.
Estimate a column inch as 30
characters per line, 8 lines per
inch.
AB & ABL CLOSEOUT-Limited
inventory! AB-Regularly $258,
Closeout $175. ABL-Regularly
$279, Closeout $225. Send
check or money order to AB,
1112 Wynncrest Lane Suite
3103, Arlington, TX 76006.
*Shipping included!
Airbrush Stencil Designs. Excit-
ing Starts. $20 money order
includes shipping and handling.
Send to . . . Creative Designs,
710 Moore Street, Farmington,
MO 63640; Attention: "Quick
Sand."
World's finest airbrush
S~nce1904 I
Superior Quality
Opaque colors, video-
tapes, how-to books, and
a new book on airbrush-
ing. For more information
contact Badger Air-Brush
Co., Department ABA-86,
9128 W. Belmont Ave.,
PAASCHE AIRBRUSH CO., Dept. 43
W 0 Lawrence, Hatwood Heights, 11. 60656 (312) 867-9191 I
Franklin Park, II., 60131.
BLANX for fabric artist+100%
cotton. Only $1 .OO for sample,
brochure. Milanne, Designer, Inc.
2809 Bird Ave, #170, Miami, FL
33133; or call 305-285-9610.
I
Learn to Airbrush photographs Introducing the finest, mod versatile low-priced artist's projec-
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NOVEMBER-DECEMBER, 1986lAIRBRUSH ACTION
4-86
47
 - -- --
r
I
I - - -

SI I
POWERFUL ,,Z -
1, r r I-=- AIRBRUSH
I I
ollr -
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ideal for your-airbrush studlo. Why? Because

A FREE Remote Ion Detector comes with
each-60~iECi0~ ti veifv-the COLLECTORS
when vou, - - .~~
oalnt wlth an a~rbrush,vou also super hlgh Ion output-an amazlng 30 trllllon
release countless super smallpaint dropletsin- neaatlve Ions Der second When vou olace
to the air - particles that are so small they can the~emote loti Detector next to the COLLEC-
remain suspended in the air for hours. When TOR and a competltlve unlt, you will see
inhaled, these super small palnt droplets can greatly reduced or NO output from the
easily be depositedand absorbeddirectly into
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brush artist should take such a hazardous risk RL ...-...-- r that when you airbrush you are
wlih thelr health1 also releasing thosesuper small pollutants into
your air, so we strongly recommend all air-
The COLLECTOR, an extremely powerful elec- brush artists use discretion whlle DalntlnQ.
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paint particles In the alr to become negatively respirator mask, and the use of the C~LLECTOR
charged, which are then electrostatically pull- Air Purifier can make a dramatic, signtficant
ed right out of the air and back down to the improvement In the aualitv of vour alr that
positively charged COLLECTOR panel. This is you'll quickly feel, see and smell.
done by releasing a powerful stream of
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The COLLECTOR has a full one year warranty on
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diameter of a human hair! 361-3255.(sorw, no collect calls.)

COMING N
EK
I ISSMi
AIRBRUSH ACTION salutes the wonderful,
shadowy world of black and white airbrushing.
Despite the vibrant colors used by most airbrush
artists and illustrators, black and white art still
conveys a powerful subliminal message. Join us
in Jan./Feb.

H.R. Giger-~ master of the black and

white style, from the Necronomicon to Aliens,
H.R. Giger activates the deep fears of us all.
Giger is featured in our black and white issue.

Jurek B e r O w s k i - ~ r o m sweatshirts to JOH ~ ~ k e n h ~ l I - ~ Pullman,

h i s Wash.,
more conventional fine-art surfaces, Jurek artist produces delicately rendered images of the
Berowski's black and white paintings convey human form that bring the X-ray out of the realm
light and shadow as few do. of medicine and into fine art.
For Those Gooa ~nougm---- r M u
Know The C ~berence.
Frlsk - long establtshed major manufacturer of art materials - 15recogmxd worldw~dclor outst~nd
~ n qualtty
g The unsurpassed Frtsk brand frtsket film, together w ~ t hthe 1ncred51ngly
popular CSlO ~llustrattonboard, set5 thc standard other mdnufacturcrs
strive to match The dtscerntng amateur or professtonal
demands ljrlsk qualtty av,~tlahlconl) w ~ t h

sures and redrawi

moval of ink lines with a knife an
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--

Please send me Frisk\ free catalog of quality products

along with purchasing information.
Mail to:
Name:
A 22-
ess:

Ltty State Zip

My preferred art materials dealer is;
NAME
ADDRESS
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two models: Standard
and with a "needle
Quality, Reliability, Versatility
adjustment" assembly.
Also, Raven II
Binks puts it -
all
with Chameleon lets
you use up t o 9 colors
inthe palmof your hand.
at once-by simply t u rling
~ the
selector located on the airbrush itself.
WREN The single action Wren
line is widely used for precision and
background work by artists, hobby-
ists, auto refinishers, and many others.
Known for superb control
and handling, Wren airbrushes are
available in 3 nozzle sizes: Model "A"
for fine lines, inks, dyes, etc. Model
"B" for thinned lacquers, enamels. Call or write for
And Model "C" for ceramic glazes more information today.
Binks offers complete airbrush
and heavier materials.
outfits, air compressors, oil and
All Binks airbrushes are custom
engineered with the finest materials; water traps, air regulators, hose,
canned propellent, and more.
and designed for easy cleaning and
simple maintenance.
So when you want the best
airbrush money can buy, get your
hands on a Binks. For all your airbrush needs
The "hands-on" favorite of 9201 West Belmont Avenue
artisans and hobbyists Franklin Park, Illinois 60131
alike for over 90 years. (312) 671-3000