FEATURED ARTIST

JOHN DILLION

ISSUE 44
ARTIST PROFILES
Dave Walker
Zvonko Straus

Helmet Step By Step

Dalibor Pejicic

T Shirt Step BY Step

DOUG BURK

GOALIE MASK STEP BY STEP

JD DIROM
 ISSUE 44
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“The System”

1
 OIlers Goalie Mask Step By Step
BY J. “JD” Dirom
Goalie masks have a long history in the sport.
Most people probably don’t know that the first
mask was actually a fencing mask worn by Eliz-
abeth Graham in 1926. The Queens University
net minder wore a fencing mask in her position
between the posts, as her father wanted her to
protect her teeth, as he had spent a great deal of
money on dental work.

Jacque Plante of the Montreal Canadians in

1959 was the first to wear a fiberglass mask.
Plante wore the mask during training camp to
try and convince the coaching staff, that the
mask would not hinder his performance. The
coaching staff, in particular Toe Blake, thought
that the mask would hinder Plante’s game. For
this reason it wasn’t until and November 1st,
1959, in a game between the Canadians and the
Rangers, that Plante would play a game in the
mask. After being hit in the face that ripped a
gash in his face, Plante refuse to return unless
allowed to wear the mask. A new era of goalie
mask began.

It wasn’t until 12 years later however, that the

first painted goalie mask appeared. Doug Favell
of the Philadelphia Flyers. At the time everyone
simply wore white masks. Doug was the first
to paint his mask on that fateful Halloween, he
painted his mask bright orange to look like a
“great pumpkin.”
Vintage style masks hold a special place with
me. I painted my first mask as a kid using scotch
tape and a rubberized paint. It was nothing ex-
citing, but having my own customized goalie
mask for street hockey was something special,
especially since I had created it. No sooner than
I had painted mine and I was painting my broth-
ers mask and drawing different designs for other
masks.
Due to safety rules I rarely see a vintage mask any
more but when I do I’am taken back to a time in
which I hold dear to my heart. I am inspired to cre-
ate something in the spirit of the masks of old. A
bold simplicity, but with both depth and imagination,
melding the old with the new.
The client approached us wanting a vintage mask
painted to show his love for the Edmonton Oilers.
The concept was a ‘Machine Head’ with the Oilers
logo as the centre piece for the mask. In addition to
this he wanted five main cogs to represent the five
Stanley Cup Championships that the Oilers have
won. The client wanted a metallic paint used so that
the mask would ‘shine’. With this in mind we started
the process. We had a pretty good idea how we would

2
approach the mask, and started as we would any
other mask.

We start off by sanding the mask with 600 grit

sandpaper, and then cleaning the mask with post
sanding de greaser. Followed by loading up our
Iwata LPH-50 with Auto Air 4001 Base Coat
Sealer White. Auto Air’s base coat sealer provides
excellent adhesion to the fiberglass substrate, and
provides a great surface for the Auto Air paint sys-
tem. This is particularly important with the paint
that we will be spraying next.

Once our base coat sealer is cured, we start with our

base coat colour. Our client had indicated that he
wanted a metallic base, so we used Auto Air 4103
Aluminum Base - Coarse. As indicated it is impor-
tant to use the base coat sealer as the aluminum Figure 2 - The aluminimum flake paints generally
base paint is always best applied to a prior layer of spray better with a larger tip. In our case we used
Auto Air paint. Whether it be a base coat sealer (as a 1.0mm tip with our mini-gun, and made sure
in our case) or an underlying coat of Auto Air. that we covered the helmet with light coats. that
aluminum bases take longer to cure in compari-
Again we use the Iwata LPH-50 to spray the paint. son to most other Auto Air colors so ensure that
The aluminum flake paints generally spray better extra time is given to cure to stop the paint from
with a larger tip. In our case we used a 1.0 mm “gassing.”
tip with our mini-gun, and made sure that we cov-
ered the helmet with light coats. Keep in mind that
4004, which is commonly used to reduce Auto Air
aluminum bases take longer to cure in comparison
Candies. Remember that a little transparent base
to most other Auto Air colors so ensure that extra
goes a long way, and it is always good in the case
time is given to cure to stop the paint from “gas-
of the transparent base to allow for an extended
sing.” (Figure - 2).
drying time.
Knowing that the mask will be painted in numer-
While we are letting our mask cure, we start
ous, layers, stages, and colours, we know from the
working on the layout of the masks. You can eas-
onset that we will be masking and unmasking the
ily use a gear template for this application, I opted
mask repeatedly, we decide to apply an inter-coat.
for making plotter cut masks for the project. The
The reason for the inter-coat is that with the coarse
reason being is that I want to construct the layout
Aluminum is that the paint can sometimes peel
on the mask to get a good look at the final lay-
when taping for graphics are removed, and that
out. I cut out multiple sizes and shapes of cogs,
masking will sometimes remove parts of the flake,
more than I will probably need for the project as I
which in some cases can leave visible tape lines,
want as many options available to me as possible
something that we would like to avoid.
when doing the layout. I want to make sure that
this mask looks like the gears are part of the ma-
In this project, this is the last time that we will use
chine that powers the net minder and are not just
the mini-gun to spray. This time around we will
randomly placed cogs. I also want to give the ap-
will use it to spray Auto Air Transparent Base
pearance of some depth to the machine, by having

3
a few visible layers of cogs, and make people think
that the whole head of the goalie is constructed of
mechanics.

At this time I also cut out the three logos to be used

on the mask. The Oilers logo, as well as their mir-
rored logos from their third jersey, that will be uti-
lized for the sides of the mask. The nice part about
cutting out this type of masking is that you can get
a good idea visually of how the final mask is going
to look.

Before we jump too far onto the layout I start by

painting the Oilers logo on the top of the mask. We
Figure 3 (Above) - To protect the aluminum
size the logo so that it fits well in the area in which
basecoat masking is used when the white paint is
the client wanted to see the logo created. The nice
applied to the mask at the start of the center logo.
thing about the plotter is that it makes the painting
Being cautious to prevent overspray early on can
of logos in my opinion, much easier to paint, and
save you a great deal of time later on in the project
easier to layout on a project. Especially in our case
repairing mistakes from early on in the project.
with the Oilers’ logo being circular in nature.
Figure 4 (Below) - Applying the masking over the
We start by laying down our plotter cut circle, and white logo base. An X acto knife is used to make
ensure that we have masked off enough of an area cuts in the vinyl mask to correct any distortion
so that we don’t get any over spray on our base. that occurs from placing a two dimensional logo
Then we spray in the white base for the logo (Fig- on a three dimensional surface. This process takes
ure - 3) using Auto Air Autoborne White. The key some patience, but pays off in the end.
here is to be patient remember Auto Air likes to be
sprayed in thin layers so if you come out trying to
lay down the white in one pass you are going to
cause yourself grief later in the process. We still
use the heat gun to cure the layers of paint, but
make sure that the temperature of the gun is low
and that you keep it moving. You can cause issues
with the vinyl adhesive if you get it too hot, again
creating a lot of work for yourself if you cause the
adhesive to become gummy from excessive heat.

Once the white base for the logo has heat set it’s
time to apply the next section of the cut vinyl
masking. As indicated earlier having a plotter to
cut masking (especially for logos) will make your
life easier, but it is not a perfect process either. The
Oilers logo is circular and applying a two dimen- we will use an X acto knife to cut the vinyl mask-
sional logo on a three dimensional surface will ing so that we can adjust the area. There will be
cause distortion, as well as ‘puckering’ in some an overlap as we make adjustments to ensure the
areas. To stop our circles from looking like ovals, round logo (Figure - 4).

4
Other adjustments to compensate for the curved
surface will also be made to ensure that the logo
is accurate, and that we have a minimal amount of
‘puckering’ to stop as much under spray as pos-
sible.

With our masking laid we can start with our two

colours. We start off by spraying a deep blue.
Again we build up the paint slowly. In the case of
our logo we want to give it a little dimension, and
go for a darker colouring of blue towards the bot-
tom of the logo.
Figure 5 (Above) - The masking is removed to re-
veal the logo. The blue underspray will have to be
fixed, as with any logo, there is no getting away
Once we have finished with the blue we start spray-
with a mistake like this, and not correcting such
ing the metallic copper for the oil drop in the logo.
an error will only reflect poorly on you as an artist
Again we want to add some dimension to the logo
in the end.
and spray the copper a little heavier towards the
bottom of the drop. Figure 6 (Below) - Applying the masking over the
white logo base. An X acto knife is used to make
Once the logo is completed we remove all the cuts in the vinyl mask to correct any distortion
masking to see the final results (Figure - 5). In our that occurs from placing a two dimensional logo
case we have a small amount of blue under spray on a three dimensional surface. This process takes
that has gone into our white in the logo. Even some patience, but pays off in the end.
though you take great care in applying masks this
can happen from time to time. It is not the end of
the world, but it does take some time to correct the
mistake. We will go back in with a brush and make
sure that the line is clean. As indicated before with
logos it is especially important to make sure that
mistakes such as these are fixed, as it is immedi-
ately obvious to anyone looking at the project that
this is a mistake.

Our next step is our layout for the helmet. Taking

the variety of cogs and logos we have previously
cut out with our plotter (Figure - 6), we start lay-
ing out the vinyl on the helmet. We start by plac-
ing the cog we have chosen as our main cog, Over
the Oilers logo that we have just painted, and then
forefront, as we will be spraying their basic shape
proceed to place the third logo on both sides of the
first. Thinking out the steps that you will be taking
mask. As we place the masking we are being mind-
to achieve your desired result will ultimately save
ful of the placement as well as the “layers”. on this
you time.
particular mask we plan on creating some depth,
especially with the cogs. Keeping this in mind we
We had cut out a wide variety of different cog
must first decide what objects are going to be in the

5
shapes and sizes for our layout. While we knew
what we wanted to achieve, having numerous dif-
ferent cogs cut out in vinyl masking gave us the
ability to do some of the design planning on the
mask. Ultimately we knew that our first layer
would include five “main cogs” that we would
later paint the years in which the Edmonton Oilers
have won the Stanley Cup.

We knew that these cogs would be the larger cogs

on the mask, and would be at the forefront of the
design. The flexibility of having more cogs cut than
we needed gave us the option to experiment with
the layout, and ensure that we had a visually ap-
pealing layout. While one could have easily made
a couple of cog templates and then begin spraying
the cogs. There is a possibility with this method
that you may not come out with the best possible
design on the first try, and will have to take more
time to make any changes. The vinyl cutouts pro-
vide you with the flexibility of determining the
most visually appealing layout, without creating
too much work to try out different variants.

When we are satisfied with the basic layout of the

cogs and logos, we start to lay down the masking
for the “derrick frame” for the mask. Using orange
fine line tape we construct the framework for the
The second reason was that we were able to make
derrick in the front portion of the mask. In our
better use of the vents in the mask, to create a
design this ties the mask together, in a sense an
more aesthetically pleasing look, going with the
anchor point for the third jersey logos, and pro-
flow of the mask, rather then fighting against it.
vides some framework and structure to the mask.
The six triangular vents in the front of the mask
Our idea was to have a mechanical head containing
we used as reference for creating the beams of the
gears, and being as our client put it a “well oiled
derrick. We also used the derrick concept to break
machine.” This proved to be a very challenging
up the eye area of the mask. With the cog design
part of the piece.
we wanted to ensure that the mask did not end up
looking like a raccoon, or some kind of bizarre
We had bounced around several ideas for this por-
steam punk glasses were being worn. Once we
tion of the mask including a large nose plate with
were happy with the masked layout, it was time to
an oil gauge and tubes coming out of it. The deci-
get back to some airbrushing.
sion to go with the derrick design was taken for a
couple reasons. First we did not want the mask to
Utilizing a transparent blue, we now fill in the
end up looking like a big metal helmet, and knew
background colour. Once we have the background
that the structure of the derrick would lend itself to
colour completed, we remove the masking for the
being a more colorful mask.
cogs and the derrick. We now have a good idea if

6
we have done a good job of balancing the design.
At this point of the design is when people will set
themselves apart. It would have been easy to leave
the cogs and derrick structure silver but ultimately
it would have looked flat, boring and lifeless. The
fun part of any job is to bring the design to life. To
achieve this we start using a blue, black mixture to
start shading and giving depth to the cogs. Work-
ing from the front cogs we push them deeper into
the design, the top cogs in the design we paint in
the shadows to provide some depth and dimension.
We also add some small details including tiny hex
bolts to the derrick structure, details such as these
even though small adds a great deal to the overall
design. Again step it up another level versus only
painting the shadows for the derrick’s beams. After
adding the five years in which the Oilers had won
the Stanley Cup to the five largest cogs it is time to
move on to the third jersey logos on the side.

Prior to removing the masking, we use the black-

blue mixture to add some depth to the logos on Keep on spraying...
the side so that it appears to be raised above the J. “JD” Dirom is an airbrush artist based out of
level of the derrick. Then utilizing the same me- Calgary, Alberta, Canada
tallic copper and deep blue as we did for the logo http://www.painincdesigns.com
on the forehead of the mask we carefully paint in
the solids for the logo. After the blue and copper is
complete we use our blue-black shading mixture,
to add in the depth to the “cog” of the third logo.
Again, small details such as this add so much to the
overall look in the end.

Finally we add the copper colour to the outside

band around the mask, add some rivets, and again
utilize our blue-black to add some shading and
depth. With that completed, the mask is clear coat-
ed, sanded and polished. All that is left is to put on
the coffee and call the client. Always go above and
beyond, and you will have a client for life.

7
 Kafka “The System”
Product Review Don Johnson
Kafka “The System” comes with Welcome To My World DVD,
30 patterns, 50 clear vinyl sheets,# 3 Kafka striping brush, clip
board, mixing sticks and cups. $72.00 on Amazon.
one of the plastic sheets he provides over the pattern
and practice striping the design, wipe the plastic off
and do it again. I think much like learning the basics of
airbrushing pinstriping is the same as far a repetition is
the only way to learn this new skill.
It’s such a beautiful art form I’m more determined than
ever to get the hang of this even though it will takes
months if not years to really get the hang of every-
thing involved. Trading in the time I used to spend
On-Line for time to practice and learn this new art
form is a trade I should have made years ago. So if
your on the fence about giving pinstriping a try turn
off the computer and go pick up some brushes you
won’t be sorry.

I have been wanting to learn to pinstripe for years but

never took the time or more accurately commented
the time each day to practice. After my adventures
this past year with my health I decided it was time
to make it happen. Just not enough time in the day
so I commented to spend some of the time I spent
On-Line everyday and instead learn how to pinstripe.
The next decisions was who’s brushes to use, which
striping enamel, which master pinstriper offering in-
structional DVD’s should I buy. After a lot of research
I decided the best route for me was Steve Kafka “The Above some of the 30 patterns included in “The
System” and One Shot. I really like his style of pin- System”
striping and his brushes allow you not only to pull
straight and curved lines but scroll designs as well.
The paint shop that does all the Harley’s for Harley
Davidson use’s Kafka brushes that to me is a pretty
strong recommendation. The DVD that comes with
“The System” really isn’t an instructional DVD and Mr
Kafka states that right from the beginning. The vid-
eo shows how he comes up with some of his great
pinstripe artwork, how he holds his brushes and the
use of different size brushes, along with his design
theory and use of color. He might not have intended
it to be a instructional DVD but I believe it’s an excel-
Above one of my practice attempts with pattern
lent instructional DVD without him trying to produce
and clear vinyl sheet. Simply wipe it off and repeat.
one. The 30 patterns or designs that comes with “The
System” was a big selling point to me. Simply place

8
 Dave Walker
How I Started Airbrushing.
I have always painted with
water colours and enjoyed
drawing with a variety of
medias, coloured pencils,
pencil, pens and pastels. But
never anything more than
for my own enjoyment. I did
an O’level Art at school and came away with a C pass.
When I lost interest in school at 17 I join the Army.
During my military career I was given a set of ex school
block water colour paints and some paint brushes. At
the request of my room mate I painted a picture of
a photograph he had, it was an over snow vehicle in
Norway that had crashed through the ice. He paid me
in beer for the picture and so I started to do more for
my mates just to cover my beer money. This was ok
for a couple of years where I could scratch up a bit of
bonus cash but when the water colour blocks ran out
of paint I stopped painting. For a long time after this I
was not painting or drawing at all.
After leaving the military I became a full time fire-
fighter and did security work part time. Life was too
busy for art however when I married the first time, I
did a few drawings of cartoon characters for my kids
but nothing really serious. But than again in the past I
never really did anything of note artistically speaking.
I took a job working for a private security company
as a close protection officer in Iraq. I was on the first
commercial flight into Baghdad after the war and
worked all over the country for just over four years.
Two years into my security work I had a very hard
two month period, one day in particular I was lucky to
survive the hour least of all the day, or the following
month. It’s easy to look back and think I was lucky
but at the time I really thought my date with the
reaper had arrived. I found myself held captive in an
armored vehicle with a local national driver and two
other guys. One an an ex Royal Marine and the other
an ex German Paratrooper. We were kept at gun point
for about 45 mins constantly being informed that we
were going to be killed or if we were lucky, sold to
terrorists so we could be used for TV propaganda
undoubtably with a be heading to finish. This was
only the start of the worst two months at work in
my life.
After getting out of the mess I looked long and hard
at exit strategies from Iraq. By chance I was surfing
the net looking for a painter good enough to paint
my Buell M2 Cyclone at the same time. I came across
a company in the UK that taught people how to air-
brush. Mick at PaintMyRide in Darlington in the UK set
me up with a couple of airbrush courses and other
skills to get me fixing petrol tanks and plastics. This
was all done during my leave rotations from Iraq. The
courses provided me with enough basic skills to re-
pair a tank, respray it, complete a basic airbrush job,
lacquer and polish it to a good standard.
I purchased a small compressor and an Iwatta Eclipse
and a range of Golden water based paints and shipped
them to Baghdad with me. By chance I found myself
off mobile close protection and on a static post in
the western Arabian desert for 18 months. So I air-
brushed for every spare moment of every day un-
til I was no longer painting crappy skulls and flames.
My early work was atrocious! I found Airbrush Tech-
niques forum and posted everything, taking advice
and reading all I could that the “better” artists had
provided in the way of guidance and advice.
Two years after my worst two months at work, a
divorce and hours of practice airbrushing I departed
Iraq intending to start a new business repairing and
airbrushing motorcycles. I invested heavily in my
equipment and skills and with the support of my new
wife Sue I set about the task of getting work.
9
 of colour I just kind of made it work. Now of course
Unfortunately this clashed with a recession in the UK I have a better understanding of what I am doing
and after two years of struggling I took a part time and the results are better and more importantly they
come quicker.
job as a postman to make ends meet. Three years
into that job I am still working security in the UK and
Is your artwork planned or spontaneous for the most
whilst at the very highest level, work is intermittent,
part?
but it does fund my ambitious art expectations. In-
Mostly I paint to a customers brief. If I can guide the
cluding allowing me to investing in an advance por-
customer into choosing a design I would like to paint
trait class with Marissa Oosterlee who is inspirationally
then all the better for me. When I paint for myself it’s
brilliant! This course raised my ability level to beyond
often because I had an idea that I wrote down until
what I could ever have hoped for or could have
the opportunity presented its self. Sometimes I see
achieved on my own. I have met some great artists
something and just have to paint it, so I suppose all
along the way who have been inspiring in very differ-
of the above is my answer.
ent ways, including Sam Hubbard, Ashley Brayson and
Anne Stokes to name a few.
Do you use a computer, plotter to help with design
ideas?
My best achievement so far was, I painted Prince Har-
I use a plotter for cutting out lettering on motorcycle
ry and gifted the portrait to him when looking after
tanks. I do use the computer but for research really. I
him and his brother at a charity polo match!
don’t mock up my paint designs first like some art-
The story continues...
ists do, my ideas are usually held inside my head until
I get he chance to paint or right them down in my
I forgot to mention, I am based in Bristol in the south
little note pad. 
west of England. I do still airbrush motorcycles as this
brings in some money but I am working at building
What inspires you to paint?
my reputation as an airbrush artist as opposed to a
I can find inspiration from many things, it could be
motorcycle refinish/painter.  I have some commission
something simple like seeing something another art-
work on my books but I am not where I want to be
ist has painted and wondering how they did it, such
yet, always looking at other people’s work/systems
as the TT picture inspired by the work posted in the
of working for tips on how to get where I want to
Airbrush Techniques Forum by Garry Timms who
go, I suppose you could say I am a Work In Progress
trained with me under Marissa Oosterlee. Sometime
myself.
I am just drawn to something and feel I must have a
go at it. It’s hard to explain, sometimes you just have
Q and A
to paint! I also have a lot of ideas in my head and in
What drives you to be an artist? my note pad that I want to do, I just don’t have a lot
I did write seeing the end result come together but of spare time to do it all.
actually what really drives me is my strong personal
sense of self motivation, I want to be the best that I What keeps you motivated on those days when you
can be. I think I am just very stubborn and want to be just don’t feel like painting but commission work
amongst the best at what I do whatever that is, if I needs to get finished?
worked in a coffee shop I would make great coffee!
Nothing! I have learned to paint when you don’t want
How do you go about using color in your artwork? to paint always ends badly. Now if I am tired, the work
I have always used colour in my artwork without re- is going slow or I am just plain disinterested I stop,
ally thinking about it, until completing Marissa Ooster- there is always tomorrow. Better to stop than spend
lee’s portrait class, This was the first time I actually hours sorting out mistakes or doing corrections. Be-
had to think about how colours can work to comple- sides I always have another project I can pick up and
ment each other. I never really understood the theory

10
work on until I am in a better place.

Who are some artists you’ve worked with? 

I have not had the opportunity to work with another
artist on a specific commission as of yet. I have com-
pleted Anne Stokes works on petrol tanks a few time
as her work really appeals to the motorcycle com-
munity. My version of her Woodland Guardian she
signed for me at an expo in Bristol.

Which artist inspires you?

That is a difficult question, there are so many from It-
aly’s impressive old mater Michelangelo, to the mod-
ern airbrush photorealists like Drew Blair and Marissa
Osterlee. I enjoy the style of artwork by Craig Da-
vidson and the quirky Bristol Townscapes painted by
Richard W Forster. Then there are the photo realism
tattoo artists, I mean these guys are putting ink into
skin that looks amazing!

11
12
 Rossi on Carbon fibre.
As I’m a big fan of Valentino Rossi, I thought what
better way to pay homage to one of the best motor-
cycle riders in the world, than to airbrush an im-
age of him in action. The surface I chose was a one
meter wide carbon fibre panel, for the simple reason
that it’s appropriate for a motorsport theme and it
looks good when the clear is applied to it.
I begin by sanding the panel with 600 Wet or Dry
sandpaper. I clean the panel with de greaser and ap-
ply a couple of coats of transparent primer. The rea-
son I use a transparent primer is because I want to
fade the artwork into the weave of the carbon fibre
which will create the desired effect I’m looking to
achieve. I’ve already selected a reference image that
I think will look perfect for this kind of job.
The airbrushes I will use for this project are the
Iwata HP SB Plus and a Micron CM-SB. These are
both side feed airbrushes and perfect for quick co-
lour changes which suits my airbrushing style. The
paints I will be using are House of Kolor base coats.
I use solvent paint in all my work because it flows
smoother than any water base paints I have tried
and being a lazy artist, I want things simple so I can
focus more on the painting side.
Okay, with my panel prepared I mask off
a border with 3M masking tape and cre-
ate an internal border with 6 mm fine line.
This is just something I thought I would
try for an effect. I masked off the shape of
my reference image and airbrush in some
motion blur allowing it to blend into the
carbon fibre weave. As you can see I also
spray white down the centre of the image
to help me with coverage later along the
process.
I am now painting in sections of the bike.
It’s like a jigsaw puzzle and each piece you
add it will bring the work to life. The main
colour of the bike is blue so I paint as much
of this area as I can. You can actually see
some of the forms taking shape as I paint
the blue areas in. I also add subtle shadows
within the blue areas.
13
 With most of the blue areas covered I
start on the next biggest area which is
the black. Basically at this stage I’m just
throwing in colours to fill large amounts
of space. By just adding the blue and
black you can now make out what the
image is. I now add white to the right of
the panel and add some soft shadow to
help create the shapes I want. Because
I previously added white in this area, I
only have to add a little more to give me
the intensity I want. By doing it this way,
it helps keep the over spray down.

Now the fun begins. The general base

colours are in place and I can now start
adding in some detail. I’ve already began
adding some lettering and graphics on
the rear section. Also I’ve added high-
lights to the off side of the gas tank. High-
lights and shadows have also been added
to the cockpit of the bike using a lot of
blue grey tones. I also have to free hand
airbrush the carbon weave in the cockpit.
It would have seemed obvious just to use
the weave of the panel but when we look
close, the weave is in the wrong direction.

Now I’m adding shadow and highlights to

the near side of the gas tanks. By doing
this you can instantly see the effect from
flat to 3 dimensional. Dotted around the
image are some of the masks that I had
cut for various parts of the bike.

14
 More lettering and shadows are added.
The area that was an empty black void,
at the front section of the bike has now
been brought to life with a hand full of
colours. Also notice that any messy edg-
es from the initial layout are now being
tidied as I go.

I’m working on the race leathers now. I

cut the masks for the shapes and high-
lights and spray them in very lightly.
Then I freehand on top to create a more
natural and soft effect. It’s important to
do this process without any mask edges
showing beneath the freehand work.

Again I add more lettering. Every piece

of lettering is cut freehand. I’ve been do-
ing it so long now that it’s a pretty quick
process. It’s important to note that when
you airbrush the lettering, to also include
the shadows within the lettering. In the
case of the Yamaha lettering on Rossi’s
arm, I spray 100% white and add a blue
grey shadow to the lettering to create a
natural look.

I mask off for the back section of Rossi’s leathers. By

adding subtle shadows it creates more realism. Rule
of thumb, If it’s in the reference, paint it!

15
 I step back and I can see how the work is progress-
ing. The piece is almost finished, small areas have
to be tidied up but I am happy with the progress
so far. People ask me where I start when I do a
project like this. Usually I start from the back-
ground to the foreground but now and then I will
work in one area of a painting and suddenly jump
over to a completely different area. A lot depends
on how I feel at the time. The important thing is
that wherever you start or the process you use to
spray your colours, the end result is what counts.
On another day, if I was to paint this image again,
I would probably take a different approach.

Now I’m working around the rear wheel and

swing arm of the bike. I mix a series of greys to re-
veal some shapes in this area. Remember even if
something in the reference doesn’t make sense to
you, put it in because it will probably make sense
to someone else. There are very subtle shadows
and highlights in this area that are barely notice-
able. It all adds to the realism.

By adding green to the painting gives yet anoth-

er dimension to the overall image. The green in
the knee area on his leathers is freehanded to al-
low for a more softer approach in this area. This
is where the Iwata micron is king. I can control
the edge of each line I paint in this area which
looks more natural. As you can see, the green is
the same throughout which helps save time. All
the time I am painting, I have my reference very
near which helps me to achieve as much accuracy
as possible.

It’s time to go to town on his helmet. There’s a lot

of detail in here and it’s a simple matter of taking
it one step at a time. Luckily for me I am using a
side feed airbrush with a lot of cups. In situations
like this it works out perfect. I simply replace one
colour for another by swapping cups. It’s a fast
process and helps speed things up for me. In my
studio I have 50 cups that I use. It definitely cuts
down on cleaning time.

16
 The helmet is well on it’s way to being finished.
While I was working in this area I also added more
detail in the cockpit. I used some of the colours
from the helmet area to finish the “Doctor” logo
on his wind screen.

This is a close shot of the detail in the finished

helmet and now you can also take a closer look
at the detail in the cockpit area of the bike. While
the painting is progressing. I’m constantly soften-
ing and sharpening edges.

Another detail shot. It’s really not necessary to

be a good airbrusher to get results similar to this.
People look at this kind of work and think that it
looks too difficult to achieve but it’s one step at
a time as shown throughout this process. Much
of it is down to technique and masking. Students
who attend our workshops are surprised at what
they are able to achieve in such a short time. All
you need is patience.

This is a finished shot taken at an angle. It repre-

sents the dynamics of motorcycle riding and at
this angle it looks like Rossi is coming out of the
panel. This is a pre-clear image, all I have to do is
sign and date the piece and clear it.

17
 I applied two coats of clear to this using a
House of Kolor catalyzed clear. It’s the clear
that brings the work to life and intensifies
the colour, it also protects the artwork and
gives it UV protection. Now it proudly sits
on display at the Scuola Delle Arti, Bolo-
gna, Italy for all to see.

18
This is an old American helmet which I got from my
brother as a gift. I am not sure but it could be from the
Vietnam war period maybe? Anyway, it’s old and in very
bad condition. I watched Captain America“ (again!) and
found an inspiration for the helmet so it’s time to make
it come “alive“! The helmet has dents, corrosion and paint
is peeling off, I have to remove all those chipped parts
with an old screw driver and rough sponge. I love that
structure because I believe this helmet has a lot of his-
tory behind it and want to leave it as it is. To add an
interesting look and texture to the helmet I will be adding
silver leaf to the entire helmet.

After applying an sizing and allowing it to dry to just the right point it’s time to apply some silver leaf.
You want the sizing to dry to just the correct point where the leaf will adhere correctly. As you know
this is quite messy under taking and it takes a lot of patience. Cleaning time for which I use a soft brush
(make up brush), I always put a soft cotton glove on my hand to keep oil from my fingers off the leaf and
press the leaf to ensure it adhere’s well.

19
The helmet is clear coated with two part clear, two layers to protect it from any damage and from my oily
fingers. This will also provide me with a nice smooth surface to which I’ll add my artwork. Using a medium
Scotch Brite pad I remove the gloss from clear to make the surface matt so paint will better adhere to it.

I cut a star and positioned it on the top of the helmet together with the right size circle around it. If you
check closely you’ll see a black thin marker line is used to make the circle under the green sticker. I will use
3M blue fine line tape to make a circle, not that green sticker. Blue transparent Createx paint is applied in thin
layers to the circle round the star. As I was afraid might happen the stickers took off some of silver leaf so
I had to cover those spots again. As you can see new silver leaf is shinier than the old leaf but it will be oK
when I clear coat it at the end.

BIO: Dalibor Pejicic from Slavonski Brod, Croatia, 38 years old, started with AB around two and half years ago, self-
taught, mostly doing paintings. My goal is to achieve something new with AB technique, mixing it with other media.
Had my first (and solo) painting exhibition in my hometown two months ago, offered something new, different, mod-
ern...and it was a great success I’m happy to say.

21
Every time I have to make circles I use this trick it works great: I cut a piece of thicker paper with the right
measurement and I just move it around the 3M fine line tape and I draw the line with the black thin marker.
Simply pull another fine line tape above the line you just and there you go. You clean that marker line using
a wet Q Tip! I can use that trick here because the helmet was clear coated first and can clean the line off.
The rest of the helmet is protected and four layers of red are applied. I didn’t have any candy red so I used
a transparent base with a few drops of metallic-pearl red in it, sometimes you need to make do with what’s
on hand.

The tape is SLOWLY removed, this time it doesn’t take any other silver leaf off and I am happy with result.
As you can see I painted the new silver leaf around the star in blue and used masking to protect the edges
around the star. Everything looks clean and neat. Same procedure with 3M fine line tape and wide paper tape
is used to make the black lines between silver and red circles.

22
Perfect! The original helmet’s structure is still visible under the silver leaf and this is exactly what I wanted to
achieve. I left the bottom edge of the helmet silver same as the circle around the star. While those two black
lines are in the middle and close to each other I believe it looks more interesting like this. “A” as America...
Tried to redesign it and added “M” in lower part of the letter “A” so now we have America!

The “A” is painted using Schmincke opaque white paint. Some paint went under the sticker but I will remove it
using a wet Q Tip very carefully so as not to remove red paint under it. This procedure makes my life much
easier... Somehow the star was too boring so I add a thin border using 3M fine line tape, I remove some glue
from the tape by sticking it on table surface few times first before applying it to the surface. Otherwise the
glue would be too strong and remove some of silver leaf again.

23
 Black opaque by Schmincke was used for the border color. The helmet is clear coated six times using my
old working horse Harder Steenbeck Infinity(0,4). I keep the layers are very thin so that the rough surface
is still there, you can feel it under your fingers. All the colors blue, red and silver are so intensive and bright
I’m really happy with the results! (Photo was taken around noon on sunny day)

Beautiful colors! Great structure! Sharp looking star, sky blue and,
again, amazing structure!

24
Back in the good old days, it wasn’t unusual to see
customers lining up and basically throwing money
at airbrush artists, so they could get a cool, custom
painting of their car on a shirt of jacket. Times have
changed, though, and now it’s rare for anyone to
even ask about a custom vehicle painting. Instead,
what today’s airbrush artist usually sees is a look
of shock on the prospective customer’s face--either
Step 2:
Carefully line the car up at the
correct angle on the shirt, leaving
enough space above and below to
add lettering and your choice of
background.
25
at the cost or the time frame needed to complete
the work--which is usually followed by the person
walking away. Fortunately, there is a way to attract
and keep that customer--making him happy, pre-
senting a professional product, and getting him out
the door in under an hour--by using a combination
of heat-applied transfers and airbrushing.
Step 1:
I print a picture of the customer’s
car on transfer paper at about thir-
teen inches wide, then carefully
contour-cut the car from the back-
ground. (The better the original
photo is, the better the final product
will be. Photoshop or other image-
editing software is also useful for
enhancing original photos.)
 Step 3:
I always start with a straight edge
and set the horizon, being careful to
place the horizon line high enough so
all wheels are on the ground. I pre-
fer to use the “dry lake bed” effect
for the ground. (It’s important to do
the cracks at the correct perspective,
otherwise everything will be thrown
off a bit.) If the car doesn’t have a
hard edge, it’s good to carefully out-
line the top of the car to make it pop
from the background.

Step 4:
This is where it really starts to come together.
I typically go with a basic, colorful sunset or
sunrise, choosing colors that complement
those of the car.

Step 5:
This is the time to add the finishing touches. Think
out the lettering layout before painting the lettering,
then look for any areas that might need touching
up.

26
 Step 6:
Heat-press the whole image after it’s dry, and peel off
the transfer backing to reveal the finished product. (If the
customer is looking over your shoulder, you’ll probably
hear some “oohs” and “aahs”.)

Since putting a couple of car shirts like this on display,

there are hardly any requests for hand-rendered ones, be-
cause this product is so pleasing to the eye. The best part
is, a happy customer can walk out with one of these in
approximately 15 minutes, for only $35 or so. That’s a
win-win!

27
 Two Sides To The Coin by Brian McCaffery
Recently I attended the biggest Airbrush,
American Car & Bike Show in Europe held
in Dornbirn, Austria. I was eager to find
out how the airbrush scene is in Aus-
tria. Now I know the world championship
body paint contest is held in Austria so
my conclusions where that the airbrush
scene was quite big, but what about the
rest fine art, kustom painting, tee shirts,
etc. On opening day I honed in on my first
Austrian artist Zvonko Straus. This is a
very seasoned artist who has been widely
publicized in various books, and Euro-
pean magazines, one of the books is the
well respected publication The New Gen-
eration of Airbrush. Below is my interview
with this amazing airbrush artist.
Q- So Zvonko, give me some background
on yourself.
A - Well like a lot of artist I began at a
young age with drawing and painting. I
am self taught through books, videos’ and
magazines, then in 2010 I began studies
at “Institute of Fine Arts and Expressional
Art and Projective Drawing” in Bochum/
Germany even though I am an all rounder
I tend to specialize in photorealism.
Q - How do you market yourself ?
A - Other than the publications I am in I
have work displayed in a gallery in Swit-
zerland. I try to get to as many shows as
possible and word of mouth to bring in
work. Unfortunately it costs money and
if you are not earning as an artist, which
many are not then you have to diversify
and have another income to pay the bills.
That’s why this show here in Dornbirn is
so important for me as the organizers of-
fer a free booth. I personally do not know
of another event that dose this unless
you are a well known artist that has been
invited as VIP guest.
Q - What is your experiences with the
Austrian airbrush scene.
A - I’m sorry to say that my own per-
sonal experience’s is not that good, yes
I have work coming in but only in dribs
and drabs. I think that trust is a big issue
especially when it comes to quoting pric-
es. You can give an hourly rate and the
client must then trust that the hours you
say you have worked are true or you can
estimate the time it will take you to do
the project and base you quote on that.
The problem with that is if you go over
the estimated time then you can end up
out of pocket, really your between a rock
28
and a hard place.

Q - So what do you think the future holds

for you ?

A - I have a passion AIRBRUSHING, my art

of course I would dearly love to make my
living as a full time artist, but at the end
of the day make or break I will continue
my art and just keep plugging away.

I’m sure that you will agree me with me

that Zvonko is a talented artist and on
behalf of Airbrush Technique I wish him
all the luck, you never know when I re-
turn to Dorbirn in two years time he has
something better to report.

28
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