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 Light Sources
BY DONNA BEDRICK. The success of your
work can sometimes hinge on how effective
your light source is. Our house expert offers
technical insight.

Ken Westphai 94
BY BlNG BYERS & KATE SEAGO. Photo-
realistic caricatures is how Ken Westphal
likes to describe his work. He i s truly one of
the best at what he does.

Making Money: Marketing Your 20

CommercDai IilustratiorbPart II
WHAT A REP CAN (AND CAN'T) D O FOR
YOU. Should you or shouldn't you get an art
rep?The ins and outs of the rep game are
detailed.

International Society for 39

Martin Mull Airbrush Arts Competition
page 26 AIRBRUSH ACTION is honored to showcase
the winners in this issue's gallery. And the
winners are. . . .

Martin Mull-An Interview

BY DAVID MALONE. This is an interview
with a man who dreams about dogs playing
football with pigs and who has a remarkably
serious commitment to his art.

Ceramics 36
BY KATE REAGAN. Airbrushed ceramic
vessels by Maureen Ellis are explained in a
HOW-TO.

DEPARTMENTS
Clearing the Air 4

Legal Air 40

Q and A 12

Letters 86
New Products/Books 40

1 Ken Westphal,
page 14 Wear the Air 44
 NOW! SMALL QUANTITY
FINE QUALITY, FULL
COLOR PRINTING IS
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Example:
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1000 5% x 3% Postcards $225.00
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If one picture is worth 1000
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Design your own card... Show
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Send for price list & samples.
ATTIY; To dl the people who
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wd have completed our expansion
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Price L i i Thank you for baing
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New York 11967 (516)281-8096
- Robert Anderson
AIRBRUSH
OUTLET
AAAA Publisher and Executive Editor
Advertising Director
Complete "Starter" Kit.. ... Clifford S. Stieglitz
Everything needed to paint T-shirts. Art Director
Paint & spare parts included. Cheryl M i r k i n
5%-30% Discount on all items.
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Aqua Flow/Deka/ArtistChoice West Coast Correspondent
PaintsIPaascheEquip. Kate Seago
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Arties Super White B.F. Emmer
Coming soon from the airbrush
T-shirt capital of the world, Contributing Editors
Artie's Air Colors Ferris Butler
Opaque projectors & stencil equip.
Jeffrey Ressner
Production Consultant
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Deborah C o r b h
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Michael Cacy

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GUILD HANDBOOK 2111.

Pricing & Ethical Guidelines-5th Edition
THE DEFNTWE RESOURCE FOR ILLUSTRATORS,
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This bestselting book is the only book that compiles prices,
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to-use, practical format It is the essential reference book
on budgeting and pricing for artists and their clients. And,
it's the only book that keeps current on rights, business
standards and the law. 228 pages, almost twice the length
of the 4th edition, this book indudes a new section on
computer graphics as well as graphic design, book de-
sign, textiles, advertising and illustration, cartooning and
animation. A glossary of frequently used trade terms is
induded for ready reference. This book is a must for any
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areas. 228 pages, 7"x 12: full-color cover, 1984, soft-
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1 [7 Check Enclosed Send C.O.D. cash (NJreisdents add 6% sales tax) 1 About the Cover
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L I - I I I I I I I I I I I I I I I I J
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2 AIRBRUSH ACTIONINOV-DEC, 1985
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30 exciting colors.
~ashablp
s AIRBRUSH ACTION the same as AIRBRUSH DIGEST?We're
often asked that question, and the answer is no. AIRBRUSH
DIGEST was published by AIRBRUSH DIGEST PUBLISHING
of Portland, Oregon. Twelve issues of the magazine were pub-
lished, between 1981 and 1984.
AIRBRUSH ACTION is a separate publication, based in Lake-
wood, New Jersey. AIRBRUSH ACTION has purchased some of
the assets of the now-defunct AIRBRUSH DIGEST, including
some top-notch interviews and other articles. We have also pur-
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scriptions ordered after October 30, 1984.
The other assets of the DIGEST are controlled by John Mitch-
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Mitchell explains the sequence of events that lead to the acqui-
sition of some of the assets AI AIRBRUSH ACTION.
"AIRBRUSH DIGEST filed for Chapter 11 reorganization in
March, 1982. Their plan of reorganization was approved by the
bankruptcy court in September, 1983, and so they, in essence,
exited Chapter 11; but they remained under the jurisdiction of
the court, subject to the implementation of their plan.
"On October 30, 1984, the Court had a hearing and con-
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they had not fulfilled the requirements of their plan. I was ap-
pointed to be the trustee.
"After that we looked for buyers to take over the magazine,
but we were unsuccessful at finding someone who would op-
erate AIRBRUSH DIGEST in the same mode it was in. We even-
tually sold our subscriber list and some of the assets to AIR-
521 Metallic Gold BRUSH ACTION. Part of the agreement that we made was that
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Formulated techniques, marketing and experts in the field.
Fabric Paint

4 AIRBRUSH ACTION/NOV-DEC, 1985


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Now that you can afford the best, why settle for
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I M A Y - J U N E 19DSlAIRBRUSH A C T I O N
LIGHT: YOUR BEST FRIEND OR WORST ENEl
BY DONNA E. BEDRICK
ave you ever worked into the wee
hours of the morning on that rush
print--carefully matching colors,
all work totally undetectable, a
cinch to impress your client-
grabbed a few hours sleep, taken one
last reassuring glance as you go off
to make your deadline, and you
see . . . there, on that perfect
print . . . mismatched colors-slight,
noticable, and very unacceptable! It
looked so perfect when you finished
it last night. Could you have been so
tired you didn't notice? Could the
paint medium have shifted over-
night? What could have discolored
your work? As you ponder the situ-
ation, you are frantically reworking
the print.
Does this scenario sound familiar?
There are endless variations of the
story, and you have probably heard
or experienced a few "mysteries"
firsthand. The answer may be as
simple as replacing your light bulb.
One of the most commonly misun-
derstood areas in color retouching is
the proper prescribed light source for
viewing, evaluating, and retouching
prints.
The quality of your viewing light
source strongly influences the way
you perceive the color balance of a
print. A retoucher's work area should
Figure 1
ULTRAVIOLET
X-RAYS
OAMMA
RAYS
OOSMlC
RAYS
6 AIRBRUSH ACTIONINOV-DEC, 1985
have a proper light source so that all
the colors in the print may be viewed
accurately.
Although this article deals specif-
ically with the retouch artist's needs
and is designed to promote profes-
sional retouching light source
standards, I believe that all artists can
benefit directly from this informa-
tion.
Try a Simple Test
Define the following terms you
ought to know: Kelvin, footcandles,
ANSI, SED, CRI. If you thought
"Kelvin" was a designer label or a
football player or had any problem
coming up with the exact defini-
tions, you're not alone.
Let's start by defining the term
ANSI. These initials stand for the
American National Standards Insti-
tute, the body that supervises
standards in the United States. It of-
fers a wealth of information. Located
at 1430 Broadway, New York, NY
10018, it is the coordinating organi-
zation for the Federated National
Standards Systems. ANSI standards
include the critical viewing of color
photographs and transparencies. The
institute itself does not develop the
standards. The standards are set most
often by the printing and photo-
VISIBLE SPECTRUM
graphic industries in cooperation with
the Federated National Standards
system through ANSI. Similar or-
ganizations worldwide come to-
gether to try to standardize at the
international level. Imagine the con-
fusion that would result if there were
no such standards. In the following
paragraphs we will define and clar-
ify the ratings that are concerned with
color quality and the light sources
for viewing photographic prints that
have met ANSI standards.
Back to Basics
Let's review the properties of light
and how it relates to the photo-
graphic print. What we call "light1-
the visible spectrum-is only a nar-
row band of the full range of the
electromagnetic spectrum. Electro-
magnetic energy (also known as ra-
diant energy) exists only in the form
of repeating wave patterns traveling
as rays in straight paths and in all
directions from its source. The band
that the visible spectrum occupies in
any electromagnetic wave pattern
ranges from 15 to 30 millionths of
an inch. Beyond this range is what
we call darkness, although other
bands of energy exist in this spec-
trum that cannot be seen with the
naked eye. Microwaves and X-rays
INFRARED
Wavelength (Nanometers)
Figure 2
Wavelength (Nanometers)
are two such bands (see
Figure 1).
The amount of energy
each band of color emits
in various light sources is
referred to as the spectral
energy distribution, or SED.
For example, a light source
emitting relatively bal-
anced radiant energy will
appear to the human eye
as a white light. If that nar-
row beam of white light is
directed through a prism,
it will separate into indi-
vidual wavelengths of vis-
ible energy. Each wave-
length exhibits a "degree
of chayge" when passed
through a prism. This de-
gree of change dictates
how much each wave-
length will bend, resulting
i n what i s commonly
known as the color spec-
trum.
You may have been
confronted by technical
data concerning light
sources. This is another
hotbed of confusion. Ac-
companying cryptic ini-
tials are often baffling line
graphs or charts. Keep
reading; in a few para-
graphs you'll be ready to
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This graph shows the SED,
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each band (or wavelength) BADGER IWXF Airbrush
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three different light sources.
Keep in mind that a light
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be very accurate since
nearly all colors are equally
represented. One artificial
light source that is equally
suitable for color retouch-
ing is the GE Chroma 5000
fluorescent tube. This
source is widely used by
printers and photogra-
phers for the critical view-
Trig of photographs. The GE
Deluxe Cool Whites chart
(in the graph in Figure 2)
shows great peaks in the
energy emitted in the bluer
ranges but has minimal Credit Card NO.
representation i n the
warmer areas of the spec-
NOV-DEC, 1985/AIRBRUSH ACTION 7
trum. This is why I recommend the
following formula: For every pair of
40-watt Deluxe Cool White fluores-
cent tubes that are used, include one
75-watt frosted tungsten bulb. If you
again refer to the chart, you will note
that the 500-watt tungsten (incan7
descent) bulb has a disproportionate
representation in the warm areas, thus
together "filling in" what is less rep-
resented in the light from the fluo-
rescent tubes.
As we will discuss, neither vary-
ing sunlight nor a 500-watt incan-
descent light source provides the
recommended light for viewing
colors. If your light source does not
emit the proper balance of color
wavelengths, it will be impossible for
you to view your color print or match
colors accurately.
Are the answers to our opening
questions becoming more apparent?
You might ask, If I am viewing both
the print and also colors of my re-
touch medium inaccurately, why do
they still display a color difference
from each other?After all, I matched
the color carefully, under the same
lighting conditions. The answer lies
in the reflective qualities of the pho-
tograph and retouch medium. Space
does not permit discussion on that
subject in this article. To simplify,
even if the reflective properties of
your print and your medium differ,
you may obtain a correct color match
that will reproduce well if the match
is made under the same correct color-
quality illumination and intensity as
the final print will be evaluated. The
only exception that I am aware of is
in the case of transparency retouch-
ing. For this the color curve of the
dyes used must match the color curve
of the transparency. If any other me-
dium is used the retouching, during
Flgures 3 and 4
>ximate Initial Spe
y Distribution
Wavelength (Nanometers)
separation, will be reproduced as a
different color than what you in-
tended, even if the retouching was
performed on a perfect light source.
Rating Color
In 1965 standards were adopted
to establish a uniform basis for de-
termining the color-rendering abili-
ties of all light sources. The initials
CRI and the numbers that follow it
are critically important to your light
selections. CRI stands for the color
rendering index of a given light
source. Although the standards are
not used all the time-resulting in
considerable confusion-we will
adhere closely to the 1965 standard.
Although formulated in the '60s,
these standards are current and up
to date.
These standards are based on a
comparison between a light source
and a given standard-a reference
light source-to offer a more accu-
rate basis for viewing color. In the
CRI system of rating, the accuracy of
your light source is judged by view-
ing its visual effects on eight standard
pastel colors and denoting the com-
parison by means of what is called
a CRI factor. The standard-the ref-
erence light source-in this system
is assigned a CRI rating of 100. This
does not imply that the reference light
source is perfect; it merely serves as
a comparison in order to assign in-
dex numbers. The CRI index num-
bers found listed on most manufac-
turers' technical data provide the
yardstick for judging the color-ren-
dering capabilities of specific light
sources.
The color retoucher or any artist
dealing with correct color viewing
should seek a light source with a CRI
rating between 85 and 100. The
(el. Or; ! Red Violet Blue
Chroma 5000 boasts a 96 CRI rat-
ing. The Deluxe Cool Whites (or liv-
ing whites) have a rating of at least
85; this is helped with the addition
of that 75-watt frosted bulb used with
each pair of 40-watt fluorescent
tubes.
Kelvin Makes the
. Difierence
one shortcomingof the CRI rating
system lies in the fact that two light
sources cannot be compared unless
their Ke'lvin rating is within 100K to
300K of each other. K stands for Kel-
vin. The term represents the "color
temperature of lightM--or, in other
wprds, the color temperature of vis-
ible energy. The rule concerning
Kklvin ratings in relationship to color
can be stated thus: The cooler the
temperature, the less we see. An ob-
ject viewed at -273OC (Celsius) or
0°K (Kelvin)-the temperature known
as "absolute zerou-theoretically
would not reflect one single wave-
length of light.
On the other hand, all objects will
emit light if they are heated to a suf-
ficiently high temperature. An iron
tod, for instance, will appear dull red
bhen first heated. As the tempera-
ture rises it turns red-orange, then
white, and then blue-white as it be-
comes even hotter. The same prin-
ciple applies to light sources. The
higher the color temperature of a light
source (and thus the higher the Kel-
vin designation), the more blue the
light source will be. Conversely, the
lower the color temperature, the more
yellow the light source will become:
"Sky light" at noon, clear, very
blue 25,000K
GE Chroma 75 fluorescent 7,500K
Sunlight at noon 5,300K
GE Deluxe Cool White
Green Yel. Orange Red"
~laphicsby Ric Heitzman
fluorescent 4,175K
GE Cool White fluorescent 4,150K
100-watt bl ub 2,900K
40-watt bulb 2,650K
Sunlight at sunrise 1,800K
Do not be fooled by similar Kelvin
ratings. The suitability of a light
source is based on its CRI as well as
the Kelvin rating. O n the graphs in
Figures 3 and 4 you can see the vast
differences in the SED of the two light
sources whose Kelvin designations
are essentially the same. These dif-
ferences can be determined only by
their CRI ratings. For example, the
two GE tubes, Cool White and De-
luxe Cool White, are separated by
only 25K, yet their color-rendering
capabilities are vastly different. The
Cool White tube has a CRI of only
65, totally unsuitable for critical color
viewing. This tube is most com-
monly an "office" tube and is most
likely the one used by the office
maintenance crew to replace your
correct lights (the cause of much
heartache in large companies). The
Deluxe Cool White has a CRI of 90.
This source provides color viewing
within ANSI standards. O f course,
my personal recommendation for
color retouching is the G.E. Chroma
5000 tube, with a CRI of about 97.
There are manufacturers that spe-
cialize in correct lighting to the re-
toucher.
What About Those
Footcandles?
Most artists first heard the term
footcandles in high school physics
or in college photography class. More
than likely you are unable to come
up with the exact meaning. Though
not as critical to exact color viewing
as the proper source, this term deals
with overall brightness. A footcan-
dle is the intensity measurement of
a light source. Kodak recommends
that prints be viewed and evaluated
in a brightness intensity of at least
50 footcandles. One of the principle
reasons you, as a retoucher, should
be concerned with footcandles is that
if a correct light source is too low,
you will not be able to see the print
itself accurately. Conversely, if the
footcandles are too bright, the print
will wash out, and matching areas
of retouching will seem almost im-
possible.
Evaluate Your Work Area
Now that you have the informa-
tion you need to inspect and eval-
uate the lighting of your work area
more closely, what other hidden
problems could be lurking there? For Binks Ravenand Wren...
one thing, reflective light can also for the discriminatinct
play havoc with critical color view-
ing. Are you working next to wood-
colored paneling or a wall contain-
ing any color at all? The reflective
light bounced from the surrounding
area is capable of "contaminating"
your perfect lighting. Your area for
retouching or color viewing should
be bounded by light neutral or white
walls. We prefer white Formica walls
because of the ease of cleaning air-
brush particles from its surface. If your
studio work area is depedent on the
sun and sky as a primary light source,
keep in mind that even sunlight var-
ies greatly and will not give you the
consistent illumination you need
during the course of a full workday.
Sunlight varies from about 1,800K at
sunrise to 5,300K at noon. Sky light
ranges from 7,000K to 225,000K.
To be retouched with consist-
ency, photographic prints should be No drawing.. .No tracing,
retouched under the same color- just PRINT IT & PAINT IT!
quality illumination and intensity as Increase sales with the Air Waves Outline
the final print is to be evaluated. Ko- Transfers. Over a hundred designs to
dak, for example, evaluates their choose from. Makes shirt painting faster
prints under 4,000K1 but printers and much more profitable.
evaluate color photographs for re- Air Waves' "Shirt Painters Catalog" con-
production under a 5,000K light tains everything you need to generate
profits with handpaintedairbrushed
source. It becomes a must that you t-shirts. From stencils and color photo
find out and understand how the art guides to complete shirt painting
director, photographer, or printer will systems. Featuringthe pro's choice, AIR
be viewing your finished photo- WAVES AIRBRUSH FABRIC PAINTS,
graphic print.
The following are the recom-
mended illumination requirements
for evaluating color photographic
prints. The work area should have a
light intensity of at least 50 footcan-
dles, a color temperature of 3,800K
to 5,00OK, and a light source that
maintains a color quality of at least
85 CRI (90 or higher is preferable for
retouching).
Kodak occasionally manufactures AIR WAVES '"
a card called a "Metameric Color 555 E. Hudson St.
Rendition Comparitor." The card's Columbus, OH 4321 1
color chips will appear noticeably Or Call: 1-800-468-7335
different if your lighting renders color In Ohio: 614-263-1843
incorrectly. The card is an excellent
spot check for your illumination.
These cards are not frequently out of such a lamp, be sure to lay in a sup-
stock (#P7-33A) and are worth their ply of replacement bulbs at the time
weight in gold. One last tip: When of purchase. Tag your lamp with the
one fluorescent tube fails, replace date the bulb should be changed,
every tube in the unit. It is recom- because time flies when you are
mended that you change all light making money.
tubes and bulbs every six months. Now that your area is color-
There are several excellent manu- proofed and you are set up to work,
facturers that produce lamps with the my next article will help you bring
retoucher and artist in mind. If you those "extra money" photographs
are contemplating the purchase of home to retouch.
NOV-DEC, 1985lAIRBRUSH ACTION 9
WHO OWNS THE COPYRIGHT?
BY MICHAEL REDDEN
Arts attorney Michael Redden
represents more than 100 art
clients, including arts organiza-
tions and many individual artists.
He reviews contracts and prepares
tax statements for about 50
professionals working in the field.
Redden has been involved with
art law for more than seven years.
"I've always had a strong interest
in various arts, both musical and
graphics," he says. "I even like
advertising."
He graduated from the law
school of Lewis and Clark Col-
lege, where he was research as-
sistant to noted art lawyer Leonard
DuBois. Redden currently prac-
tices in Portland, Oregon.
he most frequent question that I
am asked by my artist clients is
5 this: When I create a piece of art
for someone else, who owns the
copyright? In many cases the ques-
tion is purely academic. Neither the
artist nor the other party has any in-
tention of using the work beyond the
scope of the original agreement.
There are, however, situations where
the answer has some significance. For
example, if an artist has delivered
his finished work but has not been
fully paid, the question of whether
he owns the copyright can be very
significant. If he owns the copyright,
he can use the protection of the
copyright laws to prevent the party
who has contracted for his work from
using the work until he has been fully
paid. The rule is simple: No pay-
ment, no copyright license or trans-
fer. In contrast, if the artist i s not the
original owner of the copyright, his
only remedy for nonpayment is a
collection suit. Obviously, the copy-
right law gives the artist much greater
leverage when there are collection
problems.
Another common situation in
which the question of copyright
10 AIRBRUSH ACTION/NOV-DEC,1985
ownership arises is when the party
who commissioned the work for one
purpose later uses the work in a way
that was entirely unanticipated by the
original agreement and without any
additional compensation. In con-
trast, if the artist owns the copyright,
the artist can usually prevent such
use or extract additional compen-
sation. If the artist does not retain the
copyright or never owned the copy-
right to begin with, he is out of luck.
To determine who owns the copy-
right, I first examine any written
agreement between the parties. If the
parties have agreed in writing who
owns the copyright, the courts will
abide by their agreement. If the par-
ties have not agreed in writing who
owns the copyright, I must turn to
the copyright law for the answer.
Under the copyright law, the com-
missioned artist is the initial owner
of the copyright unless the work is a
"work for hire." On its face, the cur-
rent treatment of commissioned
works is an improvement over the
treatment under the prior copyright
law. There, unless the parties agreed
to the contrary, the copyrights in the
work were owned by the person who
commissioned the work. Under the
current law, the party who commis-
sioned the work will receive only the
rights necessary to fulfill the express
purpose of the commission, but no
more. In the field of commercial art,
the party who commissioned the
work would need only a reproduc-
tion license. The artist generally re-
tains the rights of adaptation and dis-
play and all merchandising rights.
The copyright law creates two dis-
tinct categories of "work for hire."
The first consists of works prepared
by an employee within the scope of
his employment. The second is a
loosely connected group of commis-
sioned works. These works are col-
lective or supplemental in nature.
This second category applies only
when the parties expressly agree in
writing to treat the work as a "work
for hire." From the artist's perspec-
tive, there is little difference be-
tween this category of work for hire
and an outright sale of all copy-
rights. Nonetheless, it is becoming
increasingly common to see con-
tracts between freelance commer-
cial artists and their employers that
designate the work a "work for hire."
It is often difficult to see how the
artist's work is collective or supple-
mental in these cases. In response to
this abuse of the contractual "work
for hire," there have been several
proposals to amend the copyright law
to limit a company's ability to im-
pose a "work for hire" clause upon
a freelance artist.
The treatment of the first category
of "works for hire" under the current
law makes economic sense. The
employer is deemed the owner of the
copyright because the employer pays
the entire cost of the creation of the
work and bears all the risks. On the
other hand, the employee is fully paid
for his work and is covered by un-
employment insurance, workmen's
compensation, and the like.
A recent case has distorted the logic
of the application of the scope of
employment category. In this case a
contract dispute arose between a
freelance photographer and the
company that engaged him. In order
to gain leverage, the photographer
registered a copyright for his pho-
tographs and filed suit alleging that
the company was infringing on his
copyright. The court held that the
photographs were a "work for hire"
because the photographer worked
under the direction of the company
that hired him. The court did not find
it relevant that the photographer was
an independent contractor paying his
own overheads and not provided the
benefits of unemployment insurance
or workmen's compensation. Under
this decision, virtually all commer-
cial art created by freelancers would
be treated as "work for hire." For-
(continued on page 25)
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C a n you list some of
the consumer-oriented
trade shows where I
might be able to talk to
representatives of
airbrush and art
materials companies?
NAMTA (National Art Materials Trade
Association), Dallas, Texas; January
9-1 1 ,' 1985, New York, New York
(contact 201-546-6400). Tools of the
Trade, April 18, 19, 20, 1986, Dal-
las, Texas (contact 714-676-5566).
W h a t is the difference
between a stencil and a
template?
A stencil is a thin sheet of wet-proof
material in which shapes or patterns
are cut. The airbrush spray is then
directed through the stencil-proof
surface on the other side. Templates
are manufactured guides used to de-
velop a shape. This can also be
sprayed through or around.
12 AIRBRUSH ACTIONINOV-DEC,1985
1 have been
experimenting with
photo retouching and
I'm having difficulty. I
always seem to be able
to see the areas that I've
airbrushed.
This is a somewhat complicated
process, but here are a few tips. Make
sure that the size of the dots in your
spray pattern are no bigger than those
of the grain in the photograph that
you're working on. Also try working
on photographs that are enlarged to
twice the size that they will be re-
produced. That way, when the re-
touched photograph is reduced for
printing it will keep the image tight.
W h a t is meant by PSI
and CFM?
Compressors are rated both by the
volume of air which they can pro-
duce called CFM or cubic feet of air
per minute and the pressure which
is delivered to the spray nozzle called
PSI or pounds per square inch. Gen-
erally, a high CFM rating means more
paint can be applied faster, while a
higher PSI rating will allow thicker
or more heavy bodied paint to be
applied. The normal consumption of
an airbrush is approximately 0.5 CFM
at 25 PSI.
C a n an air eraser
- .. be
- - . -
used to etch a design
into glass?
Yes, although it will take more time
than a commercial sand blaster. Self-
adhesive shelf paper can be used as
a mask to protect areas outside the
design. This is a very dusty proce-
dure, so be sure to wear a respirator
and eye protection, and use a hobby
booth to contain the dust.
 COM-ART'S MAD CHEMIST
STRIKES AGAIN.
First he came up with the only ready-to-use airbrush paint
specifically formulated to allow mixing of transparents and
opaques for vibrant, non-fading, non-bleeding results.
Now he's done it again. This time he's improved the vis-
cosity, affording superior atomization, and has expanded the
color spectrum by adding 11 new, brilliant, opaque colors.
Every color will satisfy the most demanding of professional
palettes, with 27 opaque and 18 transparent colors.
That's right. Com-Art paints flow better than ever by using
the finest ground pigment, coupled with a special hydro-
carbon resin base resulting in superior four-color separations.
This unique formula remains color-fast, light-fast, and instant
drylng. In addition the colors adhere to all illustration sur-
faces, including canvas, and withstands heavy frisket use.
Clean-up is quick and easy with the compatible Com-Art
concentrated cleaner.
Com-Art's mad chemist is just crazy about making the best
airbrush paint. For further details see your local art dealer or
contact Medea Company, Inc., 13585 N.E. Whitaker Way,
Portland, Oregon, 97230. (503) 253-7308, TLX 360223;
Stabeco Art & Drafting Supplies, Inc., 7270 Torbram Road,
Unit 14, Mississauga, Ontario, Canada L4T 3Y7.
13585 h E Uh~takerUa)
Ponlana OK 97230
503 253 7308
Te ex 360 223
BY BlNG BY ERS A N D KATE SEAGO
W ESTPHA
Ken Westphal's work is imbued
with a fine focus on humor and irony.
The 29-year-old Kansan has been
using the airbrush to create his car-
icatures and commercial illustra-
tions for just five years, yet half of
his assignments now use the me-
dium.
Westphal has created editorial il-
14 AIRBRUSH ACTIONINOV-DEC, 1985
lustration for such magazines as
Changing Times, Better Homes &
Gardens, Christianity Today, Medi-
cal Economics, Campus Life, and the
Kansas City Star magazine. His ad-
vertising clients include United Tel-
ecom, AT&T, and DeKalb Seed.
Among his awards are silver medals
from the Society of lllustrators and
the Society of Newspaper Design-
ers, as well as an award for best il-
lustration from the Kansas City Art
Directors Club. This year a maga-
zine ad with his illustration won a
gold Addy from the New York Ad-
vertising Club.
The man who has garnered these
honors lives on a quiet, tree-lined
(below) "Mick lagger," 1984, 18 x 16,
watercolor, self-promo.

2x 10,
(upper right) "Big Shake," 1985, 1 1 9
'
inks and dyes, Client: Star Magazine.

(right) "So You Want to Open a Restaurant,"

1984, 9 '/2 x 15 '/2, inks and dyes,
Client: Kansas City Times.

NOV-DEC, 1985lAIRBRUSH ACTION 15

street in Prarie Village, a Kansas City
suburb. Westphal's studio occupies
the entire second floor of the home
he shares with his wife Elinor and
their two daughters, Rachel and
Kristyn.
Westphal's first job was with a
Kansas City art studio, for which he
says he was paid "one hundred and
fifty dollars a week, twenty-five of
which was for cleaning the john."
But the job was short-lived. "I had
accepted an outside freelance job,
and the studio owner heard about it.
I was handed my final paycheck and
told good-bye."
In 1979 Westphal, who had at-
tended Kansas University and spent
two summers as editorial cartoonist
for the Wichita Eagle and Beacon,
joined the editorial staff of the Kan-
sas City Star as an illustrator. "I ended
up doing more maps and charts than
illustration," he remembers. "One
day someone asked me if I could do
an airbrush portrait illustration for the
Star's Sunday magazine. I said, 'Sure,'
I
16 AIRBRUSH ACTIONINOV-DEC, 1985
even though I'd never used an air-
brush for anything more than back-
grounds.
"The finished piece was a cari-
cature, and not really very good, but
they loved it. That got me started
doing airbrush caricature and illus-
tration."
In 1980 Westphal joined another
Kansas City-area studio and had the
opportunity regularly to do airbrush
illustration and cartooning; two years
later he became a full-time freelance
artist.
Westphal says he avoided using
the airbrush in school except to exe-
cute backgrounds. "I wanted to be
a 'serious illustratorf-commercial
but serious-as opposed to my car-
tooning, which seemed to be all I
was wanted for and something I
wanted to kick." He says that he's
learned that "there's just too much
cartooning in me and that you can't
fight what's inside you. Now when
I use realism, it's to a humorous or
ironic end. My best work revolves
;round humor or fantasy, or both."
Westphal describes his work as
"caricature in a realistic style. I'm
shooting for a photorealistic carica-
ture, such as my Bear Bryant por-
trait."
Westphal says one of his goals is
"total realism in caricature using the
airbrush. I still have a long way to
go, but I think I'm getting better at
recognizing what to distort."
Like most artists, Westphal can
point to several predecessors who
have had a major influence on his
career. Of his contemporaries, he
cites the work of French caricaturist
Jean Mulatier, described by West-
phal as a "crosshatch genius who
works in color." Westphal also says
that "in airbrush, there are a wide
range of people I like today" and
singles out for special mention the
humorous work done by Charles
White.
Westphal's caricatures begin as
rough pencil drawings. He uses sev-
eral photographs of the subject, say-
 w~,'!&>.:@$:q-yj.~~~~;~:y,
:.:
?-?.!I;,, :. . .-?=-..: -7:. .!... , :+,;
.A -. ,: . .
oto doesn't capture ?..:"
.' ,
a Derson, as manv driver's licenses
will attest. And for details such as
hands, I'll often pose them myself
and take a Polaroid of them for ref-
erence."
Westphal estimates that his aver-
age airbrush painting takes about 30
to 40 hours to complete, although
he has spent as long as 120 hours
on a single project, including revi-
sions. Much of his cartooning and
caricature work is strictly line draw- (far left) "Bear Bryant," 7 983, 72 x 16,
ing; color washes are used on some dyes and Prisma color pencil,
jobs, and airbrush is used to add color self-promo.
on others. Still other work is done
entirely with the airbrush. (center) "Ronald Reagan," 1985,
Westphal uses two airbrushes: a 13 '/2 x 2 1, water color, self-promo.
Thaver & Chandler A and a Paasche
AB. "The AB is for fine work," (below) "Mark Twain," 1985, 29 x 17,
Westphal says. "The Thayer & gouache, Client: Star Magazine.
Chandler is for backgrounds and
wider areas." (upper right) "Earballs," 1982, 17 x 17,
He uses a CO, tank as his air sup- dyes, Client: Kustom Electronics.
. ply because he doesn't like the noise
of a compressor. He wears a two- (right) "Tape Troll,'' 7982,
filter Norton mask whenever he air- watercolor, Client: Disc Washer.
 brushes, leaving it on for a few min-
utes after he finishes spr'iying. The
studio has separate central heating
and cooling systems from the house
below; he also uses a portable air
ionizer with an electrostatic ulate to
clean the air in the studio.
"I think OSHA should get in-
volved in policing art studios and their
use ot hazardous materials," West-
phal comments. He uses a minimum
of sur~ivand almost no fixatives in
his kor'k because of possible health
concerns. "A lot of these materials,
~nc ludlng many palnti, don't have
haz,ird warnlngs or even l ~ s tIngre-
d~entson the pack;lg~ng," he says.
Westuhal uses Luxo color-correct
l~ghts;1 t i 1 5 studlo to augment the
w~ndows,iaylng, "I would prefer to
u\e iunl~ght[alone] ~t I could."
Westphal IS st111experlnientlng w ~ t h
d~tterentmedlunis for h ~ swork. "I've
gone through a var~ety," lie coni-
rnents. "I occasionally work w ~ t t i
watercolor from the tube. I also use
Dr. Martin's. I use gouache tor broad
,ireas, but I've had some problcms
'idjusting to its opacity hecause I like
to lavcr niv colors." West~halhas
solved the problem by rediclng the
gouaclie to the transparency ot
watercolor
Hc is also beginning to experi-
ment with acrylics. "They're color-
tast, transparent, and waterproof.
Everyth~ngthat I've created up u n t ~ l
now 15 frag~le,I want to create th~ngs
that are soniewhat more permanent
, I'm 5 t 1 l l search~ngtor the r~ghtcom-
bln,it~onof med~ums."
We5tphCll u5es Fr~skf ~ l m ."I used
to use a high-tack frisket, which was
nice and thin for cutting, but it was
too hard to get it all off of the board."
For raised masks, he uses 5-mil
acetate. "I'll put a sheet of clear ace-
tate in between my artwork and the
other acetate sheet so that I have
something to cut on, but I can still
see directly through to my board.
"Another trick is to do my draw-
ing on a separate board and transfer
the drawing to the frisket. I put a sheet
of frisket down on top of the draw.
ing, burnish it, and then lift it up and
put the frisket down on another
board. The gum picks up the pencil
line, so I don't have to do any eras-
ing on my board that might mess uc
the board's surface."
Westphal says he's still looking tor
the "perfect combination of mate-
rials. I usually use a good hot-press
board like Crescent. Occasionally I
use cold press board for its rougher
texture, especially when I use pen-
t i l . I also use an extra-white board
like a Crescent 21 5 for truer colors."
Westphal adds, "With the advent of
laser scanners, some of my clients
are asking for art on a flexible board,
which limits my choice of paints."
Westphal's personal philosophy
has a great influence on his work and
his lifestyle. He describes himself as
a "born-again Christian," saying, "I
see my business as an extension of
the gift God has given me." He says
his religious belief5 influence the
kinds of assignments he takes and
which clients he works for. "I won't
work for some clients," he explains.
"You'll never see my work pub-
lished in Playboy or Penthouse be-
cause some of those are very ob-
viously in conflict with biblical
principles."
Westphal says that having his stu-
dio in his home helps "keep my
priorities straight. M y relationship
with God comes first, then my fam-
ily, then my work. But, in the past,
work would sometimes edge out my
family for my time. With my studio
at home, I see a lot more of them."
His children sometimes join him
in the studio. "I have regular studio
hours, and, for the most part, they
know that when Dad's upstairs, they
leave me alone. But there are times
when they come up to ask a ques-
tion, and they'll even come up and
lie on the floor and draw while I'm
working." But the children are
banned from the studio when West-
phal is actually spraying, to prevent
them from breathing the overspray.
Westphal believes talent must be
cultivated. "I believe everyone's born
with at least one particular gift or
ability. But then you have to build
on it or it's wasted.
"Pure craftsmanship on the air-
brush-without some good, hard
thought behind it-is boring. . . .
Whatever the illustration is, serious
or humorous, it should be fun to look
at.
"That probably shows in my work.
The pieces I've had a lot of freedom
on are the things that are most effec-
tive. It's no fun being someone's set
of hands, but some of the work that
comes to me is so art-directed that
it's just a matter of applying the
paint."
 I The Compressor Puz~;,
You've 1le:ird a great deal about silent compressors.With so many to
choose from, you know how important it is to find one that fits vour specific
airbrushing needs. Medea is ready to help you solve the compressor puzzle
with four silent units built to serve the hobbyist, student and professional.

MIM-15
The lightweight, con-
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Mini-15 is designed to :
meet the needs of the
serious beginner o r
hobbyist. Built speciti-
JUNIOR-30
A superior choice fo
e solo artist, the
. unior-30 does the wor
of more expensive corri
I
~ x e s s o r ls P o w ~ l- f ~ ~
enough to pus11 the
PRO-1
L)esigned for studio
use, the 1'1-0-1 s:~tislies
the :irtisr \vho dem:~nds
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PRO-2
I\ professional corn

[ ~ r e h mtli:~t
r is cap:~l>le
of meeting the dern:unds
of up to three artists
wol-king siim~~ltaneousl!~.
the 1'1-0-2 offers the
cally for the econoni!,- larger br-uslies, this unit liter txvin tank s ~ t c r n same fcatures :is the
minded, the Mini-15 includes a % HP motor, for niasirn~lmcooling, Pro-I, but with a more
comes equipped with :I single li\,e-litcrt:wk this c o n l ~ x e s o fe:r-
r po\\erful ! 5 I I l l motor
an air release valve only, :und an automatic pres- t ~ ~ l -:Icdu:rl
s sep:iratc )r and :I lourteen-liter twin
in place of the automatic sure switch that shuts otfer~ng')C).909c)i";,oil t ~ n kcalxicity. The Pro-:!
shut-off valve featured clo\vn the motor \\.hen I ancl moisti~refree spray- is also icleal kor the incli-
o n Medea's larger con)- the tank is tilled to cap& ing. Acld a hlecle:~S:~tel- vidu:~l\vhose \vork
pressors. Packed with tit)'. Wliel-e high perfor- lite S\.stem for two often recluires a com-
up to thirty-five minutes rn:unce and econom!- station Ilook-i~pand the pressor powerf'~~l
of spraying time, the dict:~teneed, students I'ro-1. \vith its I/, FfP enough to drive bigger
Mini-15 is hledea's ancl professionals :dike motor and o\-ersized brushes for large fornl:~t
smallest, lowest priced pump, proves ~>o\verfi~l illustr:~tion.The I'ro-2 is
compressor. enougll to dr-I\e the an economical invest-
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\\ o r h ~ n gs~cleI>\ s ~ d e clemanding power-, qua1
it!. and vers:itilit\.
WHAT A REP CAN (AND CAN'T) DO FOR YOU
MAKING MONEY: MARKETING YOUR COMMERCIAL ILLUSTRATION-PART
any artists feel that finding
professional representation is one
of the most important steps in
their careers. But just finding a
rep isn't enougbit's critical that you
know what to expect and that you
find a rep with whom you are com-
patible.
How important is it to have a
professional rep? New York artists'
representative Joanne Palulian says,
"lt's very subjective, Some artists do
very well without them; they are very
business1ike, know how to promote
themselves, and have time to do it."
But she is quick to add that "some
artists don't know how to do it,
shouldn't do it, and are their own
worst enemies in that respect." For
these artists, good representation is
essential.
Palulian cautions that "a rep can-
not help you until you are of a rep-
utation where you can be competi-
tive with other artists. A lot of people
have the misconception that if they
could just get representation, they
would be on their way. It isn't really
like that."
California-based artists' represent-
ative John Steinberg agrees. "I think
one of the worst things artists can do
is to expect to have a rep when they
first come out of school; although
they'd like one, I've found that it's
very important for artists to start off
by representing themselves for the
simple reason that, in my experi-
ence, they don't have any idea what
an art director truly does and what
his responsibilities are, what the art-
ist's responsibilities are, what pur-
chase and insertion orders are, and
the attitudes of the agencies them-
selves. lt's very important for them
to experience that for themselves."
Steinberg says this experience is
necessary because "I know very few
creative people who sell themselves
well. They think they have to go in
and entertain an art director." Stein-
berg, a former art director himself,
says i t is very important for new art-
ists to "experience the business and
find out what it's all about. The
schools seem to be very sheltering."
Once the artist has gained suffi-
cient stature and experience to make
a representative relationship worth-
while, the search begins. Palulian
says the best method is to "simply
get the names of a few reps and have
meetings with them. Some of them
are going to be interested, and some
are not. Because you are going into
business with this person, you have
to be sure you are compatible. It's
much like a marriage, and the longer
you take to get to know someone,
the better. I don't like to hop into
contracts with people; I like to work
with them a little bit. I've worked
with some for as long as a year be-
fore we decided to make it perma-
nent. I want to know how they work,
how they are as individuals, how they
will respond in certain situations-
and they know whether I'm going to
be of value to them, too."
Steinberg says one source of names
is artists' catalogs such as the
WorkBook in Los Angeles and sim-
ilar references in other markets. "You
can tell by the artists the agent rep-
resents about the caliber and quality
of what the agent does and know
whether he may be approachable or
not by how many people he cur-
rently handles--although I don't think
it's always an issue of numbers."
Is it better to find a rep who han-
' L Y ~rep
~r
should not be
confused with
your accountant,
your tax attorney,
your financial
planner, or your
mother."
2
dles artists with work similar to yours
or to be the only artist with your style
represented by the agent? Steinberg
says the problem is "both philo-
sophical and marketing. In theory, if
a handful of artists is given the same
project, they would each do it dif-
ferently. I think it could be an ad-
vantage to the art director, the agent,
and the artist to have several [similar
styles in one agency] with the un-
derstanding that all those people are
represented and that there's strength
in numbers to attract business." But
Steinberg stresses that the crucial
factor in choosing a rep is to find
someone with whom you can build
a comfortable and open relation-
ship.
The rep's primary marketing tool
will be the artist's portfolio. "You
have to put your best foot forward in
your portfolio," Palulian says, "and
then it's the representative's respon-
sibility to get it shown in as many
places as possible."
What should be included in your
portfolio?"l've found, over the years,
that it takes fifteen to twenty pieces
to tell a story about a person and his
ability to cover a variety of subject
matter," Steinberg says. He begins
with the artist's selections, adding or
subtracting work to create an objec-
tive overview of the artist's abilities.
"l've often found that things in the
closet belong in the book, and vice
versa," he comments. "There has to
be a balance."
Steinberg also stresses the impor-
tance of quality and versatility. "l've
found there's very little depth in most
of the portfolios I've seen. It's very
disappointing. I think that an art di-
rector wants to see that you've solved
problems well for somebody else."
But finding a rep and signing either
a written contract or completing an
oral agreement doesn't necessarily
mean that the money will suddenly
come rolling in. "lt's not easy; it's
very competitive," Steinberg com-
ments. "Too many illustrators have *
 g m t expectations of a lot of work
immediately and, therefore, a lot of
money immediately. I've found it al-
ways takes time, even for an estab-
lished person, to reestablish some-
one I'm now representing."
Most representatibes insist that the
relationship be exclusive, and all
,
work ordered is commissionable un-
less a previous agreement is made
between the artist and rep. But there
, are still things that the artist can do
- to aid the rep in promoting the art-
ist's work. Steinberg says, "A good
: agent is not a messenger. It's impor-
tant that the relationship between
, agent and art director ultimately be
between artist and art director, too."
But Steinberg discourages artists
who promote themselves outside his
efforts while they are under his rep-
resentation. "I've heard people say
they wanted to be out there looking
for work, separate from their agent.
That's really defeating the p pose,
,

"f
and it's not respecting the re ation-
ship." It is also the artist's responsi-
bility to refer leads on potential as-
signments to the rep so that the rep
can pursue them.
It is also the artist's responsibility
to be aware that illustration is a busi-
ness as well as an art and to keep
his paperwork in order. The artist
3 should hire a competent accountant
! and have access to the advice of an
attorney who is familiar with art and
tax law. "An agent can help direct,"
Steinberg says, "but this is not a per-
sonal management situation."
One function of a representative,
r perhaps the most important one, is
to negotiate rights and conditions of
sale, setting the parametersof the deal
and acting as a buffer between the
artist and the art director. Steinberg
says the artist should set a general i
- ?[
1

J.
policy about the terms he prefers. "In others, and it has happened to me. are lots of similarities."
-$,.
11-
the past I have found a problem to
be that each given job was ap-
It is also highly unethical, to say the
least."
One way to judge a rep's per-
formance is to compare notes with
, , . proached differently by the illustra- Steinberg recommends that the
,;j
other artists doing similar work.
I.,.
'I-. * tor; he wouldn't think until after he artist and representativeshould have Steinbergsaysitisdifficulttomake "4
,:
cP had done the job whether he wanted a clear agreement about the terms of absolute judgments based on such
(1 ,
.s
te-
. the art back or wanted limited usage. severance from the outset of the re- comparisons: "It certainly says .:
K$ ' By then, it's too late. It has to be lationship, preferably a written ter- something about the agent, but it also ;.t
3%. decided at the outset. But at the same mination agreement detailing the says something about the artist. One [
: ;
time, you have to be flexible." rights of both parties. But he adds has to interview various agents and ;&
that "if you are open with one an- see how they function. Talk to peo- ,I$
r' ,3,
other, you will be able to commu- ple who are represented by them,
nicate about how things are going." and find out how the relationships
G&,
-%,

There is no "right" way to judge work or don't work." !.st

the performance of a particular rep.
Steinberg points out that there is no
formal training for reps. "There are
t it's over. It's a no rules; every agent has a different
point of view, although I think there
2
. "a
*-q
Steinberg adds that the dollars ;+
generated by the rep may not be an
accurate yardstick. "A lot of times
an artist will think that he is not get-
(continued on page 25)
NOV-DEC, 1985tAUEBRUSH ACTllON 21
 nsional art will be consi

ISAA 1986NATIONAL
AIRBRUSHCOMPETITION
Name Telephone # (-1
Street City Stat- Zip ,

Title of Piece Year E x e c u t e d

Media Illustration Surface

Size of Original Clients Name

Indicate Category Commercial Art UFine Art Technical Illustration Lettering Design

Tools of the Trade Show and ISAA will make every effort to protect and secure all artwork, but will not take responsibility
for theft or damage. The artist is responsible for INSURING and SHIPPING winning entries TO and FROM designated
shipping addresses, to be announced after juding.
DEADLINE FOR ENTRIES: March ZOth, 1986 Signature
MAIL ENTRIES TO: ISAA PO Box 69309 Portland, OR 97201
 STARTER SET
"lt- EXCELLENT SYSTEM FOR '
THE STUDENT OR HOBBYIST
FIRST CLASS MAIL. MAIL CHECK OR MONEY ORDER TO:
k . 0 . BOX 964. ANAHEIM. CA 92805
NO SHIF'PINO CHARGE
I I
(714) 758-1638
OFFER EXPIRES U1186
1 1
What a Rep
Can Do for You
kg+ Continued from page 2 1
ting what he should, and simply ter-
minates." He emphasizes that artists
must remain objective. "Expecta-
tions are really the killer."
Steinberg says that "assuming
equal responsibility is there, the tal-
ent is there, and feedback is coming
from the agent to the artist, six months
Irr
IS certainly the minimum to get a
sense of what's going on-although
sometimes you know in two weeks
that you made a mistake."
Representation may also vary ac-
cording to the region in which the
artist lives and works. It may be nec-
essary to live in a major artistic cen-
ter for a career to develop. "In Los
Angeles, buyers want to buy from
someone who is accessible. San
Francisco and New York are very
different; they're very used to buying
out of town, and it doesn't bother
I
them. When people have become
very well established, they can be
living anywhere and have represen-
tation [in the art centers]. But if you're
1 1 , I
Paasche Airbrush Co. 7440 W. Lawrence, Dept. 43
Harwood Heiahts. 11 60656 (318 867-9191
two years out of school and just get-
ting going, the grandiose ideas of
living out in the country and work-
ing out of Los Angeles just do not
work. It's out of sight, out of mind."
Although your representative
should not be confused with your
accountant, your tax attorney, your
financial planner, or your mother, he
or she can still provide valuable
guidance for your career. Steinberg,
who has guided the careers of prom-
inent illustrators like David Kimble,
says, "I like to involve myself with
the people I represent-the work that
they do, the product that they cre-
ate. I've been an art director, so I
can assist them. I've taken some very
young people, fairly inexperienced,
and really moved them along."
Steinberg says that "a lot of peo-
ple have come into this business
simply because they knew an artist
who needed an agent. They take the
book around and attempt to sell the
art.
"I have a philosophy of repre-
senting people. The work is, to a de-
gree, a by-product of who they
are. . . . I think an agent, if they un-
derstand the business, could be very
helpful."
FREE CATALOG
I
Who Owns the
Copyright?
Continued from page 10
tunately, this one decision does not
affect the application of the law
throughout the United States, but it
does indicate a potential ambiguity
in the language of the law. As a re-
sult of this decision, it is unclear
whether the scope of the employ-
ment category of "work for hire" ap-
plies to independent contractors.
Until the courts resolve this ambi-
guity or Congress rewrites the law, 1
will be unable to answer my most
frequent question. rn
This column is intended to present
general legal information of interest
to airbrush artists; for specific ad-
vice, contact an attorney who is fa-
miliar with the details of your case.
We regret that Mr. Redden is unable
to reply directly to individual ques-
tions. Questions may, however, be
answered in future columns. Write
to Michael Redden i n care of AIR-
BRUSH ACTION Magazine, 317
Cross St., Lakewood, N] 0870 7 .
ACTION 25
 ,...,JRUSH ACTIONINOV-DEC, 1985

t.'. * - *.- ' - J - 1 - 1

 Martin Mull is one of the bright- to buy canvas. I just happened to art store recently, and a guy came in
est comedic minds and actors on luck into the fact that my day gig is and he said, "I'd like to return this
thescene today. Wedidourbasic onethatdependingonthesituation, airbrush. It doesn't seem to be work-
interview because, although it was on any given day, I could make ing." And the clerk said, "What's
easy enough to research Mull's enough money from it to live for a wrong with it?" And he said, "I think
performing arts career, his career year as a painter. So I'm real lucky it may have been the last time I threw
as a professional painter has been in that respect. I have a very lucra- it against the wall." And the clerk
largely a private affair, and re- tivedaygig. Butmylife,andwhoI said, "I hear you. 1 know what you
searching it was next to impos- am, is really an artist. mean."
sible. ABA: Would you say you'd much Airbrushes are maddening. In fact,
All we knew about Mull's paint- rather be a full-time artist than a part- Charlie White said once that if there
ings before we interviewed him time actor, part-time artist? was anything that ever put his mar-
was that they are something he Mull: Absolutely. And in a way I riage in jeopardy, it was the air-
take very seriously, he uses an air- am a full-time artist. The thing about brush, because of the years it took
brush to paint them, and he puts my business as an actor is that I to master that sucker, to quote Char-
funny prices on the paintings when probably have to go away from my lie. It's very difficult. Especially if you
they go up for sale. studio about as often as a full-time don't have anyone to help you. If
But as Mull states in this inter- artist has to visit his in-laws. So I'm you have no one to guide you, to
view, paraphrasing Matisse: Peo- not really taking that much more time say, "You can't put something that
ple make art in spite of them- away from my painting than any other consistency in an airbrush and ex-
selves. In a similar vein, Marfin Mull painter does. pect it to come out as anything other
has made a piece of art of this in- ABA: You paint every day, don't than tar," it's rough. You know, I
terview. , . you? didn't know any of that. It was all
$1 Mull: Every day. Every day that I'm trial and error.
S'' not doing something else. And I usu- ABA: How did you feel the first
ABA: Give me a thumbnail :d;e'; ally paint even if I'm working. For time you used an airbrush and frisket
scription of yourself as an artist. Inf-+'instance, while I was working on my on a painting-when for the last time
other words, who is Martin Mull, the ; 'f television series, I'd get home about you pulled up the last piece of frisket
artist? <* ' 7:00o'clock or so, and I would spend and looked at the finished piece?
Mull: Strange as it might sound to: : the next four hours down in my stu- Mull: And you actually see the
some people, Martin Mull the art- dio. So I would put four hours in thing come together. Breath-taking.
ist-in answer to what I would feel even then. And other days it's 9:00 Absolutely breath-taking. There's a
is a real dumb question-is in fact o'clock in the morning until dinner very nice statement that Matisse made
just Martin Mull, because that's really time, working all day, every day, in- once. He said that people make art
what my whole life is: making art. cluding weekends in the studio. in spite of themselves. And that was
Where I've gone amok, maybe- That's all I live for. the feeling I got, that in spite of my
maybe not-is that most painters L , ABA: Would you say you enjoy ineptitude, something still did hap-
know, because of the nature of the;.$; every minute of it? pen on that surface-something that
business, have to have a day gig I couldn't even really totally take
Most people can't sell enough paint credit for. And it was kind of nice.
ings to afford a home or a car o It was a treat for me. All of a sudden
whatever. They have to have a gal the picture was making a picture for
lery help them out or a patron o me.
something like that, or drive a cab ABA: You once mentioned that
or sell ice cream as a Good Humo Charles White Ill has influenced your
man, or something to get the bucks Mull: Very much so. I was in an work. Is there anyone else or any-
NOV-DEC, 1985lAIRBRUSH ACTION 27
 ?'
3
ti,
?
fi
;;.
I I
"Meet the Friedmans" 7982. Acrylic on canvas. "Saturday Night" 1983. Acrylic on canvas. 68 X 4 7 .
36 X 36. Collection: Martin Klein. Collection: Steve Martin.
I

"I got thing else that has influenced your

work?
Mull: Artistically my work is influ-
an airbrush.
ABA: What are your thoughts
concerning Photo Realism?
into show enced by two things. I remember in
art school we had a wonderful
Mull: As far as the whole Photo
Realist thing, the idea of simply
business dur- teacher who said that all of your work
is influenced by two sources: real life
copying a photograph obviously is
not necessarily art. Unless the pho-
. ing the 'Folk and looking at life, and looking at
other work. A lot of people tend to
tograph was already art-and then
simply reproducing it doesn't mean
music scare deny the fact that they look at other
work. They want to be so pure that
a whole lot. It doesn't mean a whit
actually, because there are ways to

of the '60s' they only look at life. To me that's

nonsense.
do that commercially that you don't
need to go through all the trouble.

while in art Charlie was an influence specifi-

cally in the airbrush, but people like
Matisse were great influences also.
school, It was An awful lot of fine artists that are
non-airbrush were great influences
a meal to me. In fact, the entire realm of
well-known art is probably an influ-
. for a flower, because you're making
.-+ ticket ." ence to me.
Currently there's a fellow named
John Salt, whom I consider just a
mother of an air painter. It's just in-
credible what he's done. He's shoot-
ing oil through an airbrush. I don't
even know how to do that. He is a
major influence, although my im-
agery is totally different from his. It's
. just a look, a feel, a certain air to the
painting.
An awful lot of airbrush painting
bothers me terribly, and it is nonar-
tistic to me. It gets so hard-edged, so
constrained, so flat that the idea of
whimsy or the idea of putting things
in and out of focus and things like
that--of artistic gestureseems to go
by the wayside. I more prefer things
Again, Matisse said something once
in which the idea was that if you're
painting even with a b r u s h flower,
let's qa~-you end up with a sign.*
You're making signs. You make a sign
a two-dimensional image.
In other words, you're making a
sign for a flower, a sign that other
people can understand. It seems to
me, especially after looking at pho-
tographs as hard as I have, that there
are certain photographic sign-by
that I mean things in photographs are
almost like stop signs or yield signs.
When you're crossing a street, you
,
may see an outline of a man with a
line through it. And that's a sign that ';.
says, "No men allowed here," or,
"Don't cross."
On photographic paper, in and out ..
.
*. I
of focus, there i s a certain language -
of signs. And I'm more interested than,
anything in putting that into an ab- , '.
stract format. In other words, Photo :.:
.\
Realist Abstraction. ''-3

that are almost Impressionist. For in- ABA: You mentioned that you worb - ::!
stance, I sometimes wonder what Photo Realistically. Do you in fact ,
Momet would have

,- .
" 4 * . , I
;.-::!.
m I
"Fourth and Thirty-nine" 1982. Acrylic on canvas. "Pooters in France" 1983. Acrylic on canvas.
$
:-- 57X41'/4. 54 X 40.
:J! 7.

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,,..,._ . *.

<]ti .:
:
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Mull: Yes. I have a whole bunch

of toys that I will set up in little mi-
crocosmic situations, trying to put
vironment that, in your daily life,
you're not in.
ABA: You have at least 20 rubber
"Airbrushes .I: ,.e!.
toys in a human situation, not unlike
those terrible postcards of the dogs
ducks by your swimming pool. Do
they say anything psychological
are ,

.
, C.-

-5

playing poker that we've seen ad in-

finitum and ad nauseam. And I'll
about Martin Mull that we would
want to know about?
maddening, -:
-
photograph these things, and I'II take
sometimes hundreds of photographs
Mull: Only probably that I'm nuts.
Actually I think very deeply about it, especially if
of the same subject, with different
light sources, different this, different
because one of the reasons for rub-
ber ducks and toys and all that other you don't
that, different arrangements, differ-
ent compositions. Then I'II make
slides of them and look at them all.
kind of stuff is that it's an anti-art
movement. If I had to talk about my
least favorite form of art, it's not Leroy
have anyone ,',-:;
., .

-
For a particular painting I might Neiman. It's not even large paintings to help you. : , , ::.: .

. .<
choose three or four different shots of just a square of red that someone .
that show different things-this
focus, that in focus. The foreground
in calls "Hate." It's those paintings of
starving people with their hands out-
It was all <
.
.,:.*;
'

might be very sharp in one, the

background very sharp in another.
stretched, with violence written
across the canvas-message art. I
trial a n d - . , , : - :.*,
; .:<
-:

And the ultimate painting is a com-

posite piece of information of all these
don't appreciate message art. I have
to go back to that wonderful guy that error." -
-
' -,...l:
, ;.i>

..;a
-.
. ..
I

things, because it's very important said, "Messages should be sent by C- I,..

for me to deal with the focus. Through Western Union." If there's a chance '-: >r
r

depth of field you're allowed to tell to make an artistic gesture in the .- ";?i'
8

your story and be very specific about grand scope of art, I will do every- ,.Y~.
-'.I
.
it. thing in my power to fight it. And so . ,,
,.:G.
ABA: Why the toys? if there's a chance to do a really . -1
. .-&
Mull: It's almost like Alice in beautiful, lovely swan on a pond- - z
Wonderland. What I'm doing is I'm which has been done to death-man, < ,:2
3
taking very very small objects, and make it a rubber duck in a sewer. - 9.
ABA: Do you ever use a projector . . ,..',.:
when they're finally done on can- ..,.- 8.

vas, they're big. Like a one-inch toy
ceramic dog might end up life size
as if it was a real dog, on canvas.
It's the idea of Alice in Wonderland,
when she used to be able to eat the
cookie and get small. If you could
actually get small enough to walk
around in a toy shop, what a Won-
derland that would be. It's the idea
of being able to go into another en-
. , y;:,
as you work?
Mull: I use a projector to do the -.;q
. ....\,1.
intial drawing, and what I found my- . I . . _ -I'
self doing is trying to draw less and ,::,f
i*
less and less of the image. The first
few paintings I did, I would try to
draw every little glitz, every little
highlight, every little everything in.
But I had problems later on with the
pencil lines and trying to get rid of
 "Moving Day" 1983. Acrylic on canvas. 48 x 36.
canvas. 48 x 36.
them-because I try to let the white
"There's a of my canvas be the white in my
painting. I try not to use applied white
magical but actually have the white in the
painting be the canvas itself without
quality to the any paint on it; if you do that, the
pencil line's going to show.
airbrush. The other thing is a little more es-
oteric, and that is, it would stop me
With it you from the adventure of really seeing
the photograph for what it is. So the
never touch less information that I could put down
from the projector, the better.
There are a lot of people that won't
the canvas. admit to using a projector or some-
thing like that. That doesn't matter a
The painting whit. What you end up with on can-
vas or on board has nothing to do,
iust a m e a r s
J - - A- A
really, with what you can do with
your hands-it's what you can do
before you." with your brain.
ABA: So what are you trying to do
with your paintings?
Mull: Ultimately work toward that
goal-Photo Realist Abstraction,
which would not have anything to
do with the photo. There would be
no photo involved.
ABA: Why Photo Realist Abstrac-
tion? Why not just 100 percent Photo
Realism?
Mull: What's the point?There are
already too many people who do that
too well.
ABA: Where does your inspiration
largely come from?
Mull: A lot of it comes out of a
dream state. There's this certain mo-
ment in the morning, between when
you're really dead asleep and before
you're totally awake, and your
dreams are sort of tapering off. That's
'^
AIRBRUSH ACTIONINOV-DEC, 1985
"Peeping Pooters" 7 983. Acrylic on
when you dream about things like
the dogs playing the pigs in football.
Those things tend to slip away so
easily. And it seems important to me
to put them down on canvas so that
every now and then I can go back
into that world whenever I want, by
looking at it.
ABA: I understand you started out
as an illustrator. Do you still con-
sider yourself in some ways an illus-
trator?
Mull: I started out in art school as
an illustrator. The first year of art
school, of course, is freshman foun-
dation, where you do a smattering
of everything. Then you've got your
major for the next three years. I started
out my sophomore year as an illus-
trator. And all of a sudden, what the
illustrators were doing was not as
exciting to me as what the painters
were doing. It seemed so con-
strained. What the illustrators were
doing seemed like it had to stay
within such boundaries.
Also, talking with illustrators that
I know right now, it seems to me that
in a way the art director can be such
an enemy. You're told to do this;
you're told to do that. You want to
do a wonderful picture, but you still
have to have this sneaker in there for
Nike-that looks just like the Nike
sneaker. And there's going to be
someone at the Nike company who
tells you, "Those aren't our laces.
Those don't look like our laces. Go
back and redo it." I couldn't live that
way. I really couldn't live that way.
So I went to the painting depart-
ment. If something that I've done as
 1:
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, ' I?5

.- . *
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f,

-.31nrngDUCK., r ru4. ~ c r y l r con canvas. 4 7 '/2 x 4 1'/z. IJr1vate collection. . '!:q

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.- 1
a painter will serve as an illustration you punch. I'd have to say, yeah,
for something, I have no qualms
about having it reprinted. But I don't
I've been drawing all my life.
ABA: Where did you study art?
"Art has a
.
'1
.
consider myself an illustrator, and the
main reason I don't is because as an
~ u l l Rhode
: Island school of De-
sign. I went there for the first three
nothing to do '
. i
actor I'm under the same kind of gun
that an illustrator is. I have a director
years. Then I got involved in a kind
of an ersatz honors program, where
with Industry I
--r=

,-,-
.
Art is the
I r
and a producer and a studio and a they said it was an honors program,
network and people telling me, "You but it cost about four times as much
can't do this and you can't do that.
You have to do this, you have to do
to be so honored. I went to Rome
and studied for my senior year. Then freedom t

6.
that." So when I come home and I
paint, I have to have complete and
ultimate freedom.
I came back and did my master's
work there. I got mv master's in
painting at ~ h o a elsland School of
from
!
:
?
I,
1-1
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ABA: Where were you born and
raised?
Design.
ABA: Have you ever won any art
Industry." C

$:,L
' A. 1 Mull: I was born in Chicago, Illi- awards? ,
nois, August 18, 1943. We moved Mull: Couple of scholarships.
E:
,% when I was two years old. I don't ABA: Where to? I'I
*.,
,Y:;c . . remember Chicago. We moved to a Mull: The same place I was going. -,
+r d northern Ohio town called North I don't like moving. ,, J
3

!$:I . Ridgeville. I think there were a total ABA: Do you feel that this art ed-
4.7
,
:I
. of 200 people in the entire school ucation has helped you in what . . 5%
,
t r
.*? system. It was kind of agrarian. Then you're doing today? :&
:&-;
2 -'--

.,-
r;.
1
we moved down the road six or eight
miles to North Olmsted when I was
Mull: On a lot of levels. My art
education kept me in school during
. . ,,?
A 15
~ .
I
.,,+
-...
7: 12, and I was finished being raised the Vietnam War, which means I'm 2 ,s (;
in Connecticut-l guess you're done alive today. And being alive makes ;A-

T+!~
,*F,-"
being raised when you're 18? it so much easier to paint than being . fl
!4

- ABA: Did you show art talent as dead. So if that's all it did for me,
t- - 'rC
-Jy ;- a child? that's still a plus. X
. L .r,
( ,

g +** . Mull: According to my mother I Seriously, the school I went to, they S
.:;,
.L%'

I did. She says I started drawing when didn't teach much in terms of dem- ';b2-
I was three, and I used to draw trains. onstrations, such as, "Here's how you I

! .
I ,

do this"; "here's how you size a

- $J
When I was five I remember I did
,:-;r
;7*--<

. my first bobk. And my last book. I canvas"; "here's how you mix lin-
'2
rJ. ,
.r .-+
:f$
3-;; . haven't done a book since. The kin- seed oil with turpentine." They never $: :a
.a
$ 2, dergarten I was in took a field trip to
the zoo, and I drew the different an-
taught any of that. It was all aes-
thetics, and once you find what you
+

- imals and made a little book out of really want to do, it's tough if you I
., .
it with yarn binding-you know, don't know the tools of the trade. , . . >

where you tie yarn through little holes This particular school was very art ,

-
. J: &A
++&
,-'
c
.&A
% NOV-DEC, 1985lAIRBRUSHACTON

When I went down to see Phil
L +
Hayes-he was teaching a class at
the Art Center College of Design in
Pasadena-l noticed that the paint-
-,
err, especially the illustrators, had all
this incredible craft they were able
to do-because someone had taught
them that. "Here's how you do
overlays. Here's how you do this.
Here's how you do that." We got
none of that stuff. We might as well
have been taught by Jackson Pol-
lock-it was just raw art aesthetics.
in a way that helps, because
B U ~
the fact of the matter is that I make
most of my living as an actor. Aes-
. thetics will translate. The aesthetics
of painting are the same as the aes-
thetics of acting, singing, dancing or
whatever. Yeah, it helps, consider-
ing it cost me a fortune!
, - ABA: Could you describe your at-
traction to the airbrush?
Mull: I was painting backwards on
acetate, like animation cels are done.
:. And what would happen,. there
", would be a certain edge between two
colors. It would start to fuzz a little
bit because I was working on frosted
acetate. It was easier to hold the
paint, as opposed to smooth acetate.
It was easier to draw on, and it was
like real nice paper. It would fuzz a
'
little bit; I always liked that kind of
edge on things.
Then I started doing some water-
colors, and I realized I was basically
"pushing a rock uphill" trying to do
certain effects with a brush. I thought,
"Why sit here and kill myself trying
- to get that kind of an edge when there
32 AIRBRUSH ACTIONINOV-DEC, 1985
I
I
I
I
"In Holly- are tobls o h there that can do it?"
There are certain edges, certain looks
that there's just no other way to get
wood a lot of that I know of than to use an air-
brush.
people go to ABA: When you were going to art
school, did you have any idea you
C[ gallery would end up as an actor?
Mull: None. When I was in art
only to be school I had every intention of sim-
ply being a fine artist for the rest of
seen by my life. What had happened, though,
was I was a scholarship student. I
other people',' don't come from money of any sort.
In fact, almost a lack of. B U ~I was
in art school during a period that I've
often jokingly referred to as the "folk >, -
music scare of the '60s," when folk
music almost caught on. Everybody
had a beard and a guitar at that time.
And I would take my guitar to my
studio, and when the painting was
going badly I would sit back and re-
flect on it, like everybody does, and
just stare at it for a while. And I'd
pick up the guitar and start playing.
It may be a commentary on how
badly my paintings were going, but
I learned to play guitar real well.
I started playing college mixers and
being in bands and folk mu& andx,,
so forth and so on. Then, when I
finally got my master's-there was
no such thing as a doctorate in
painting, or I would probably have
stayed in college-l had to make a -
living. The only thing I could do that
was regularly bringing in money-
and by that I mean like $50, $60 a - '
week as a guitarist-was my music, -
so I stayed with that. a .:
 i ccanvas. 48 x 33 '/2.
Golden Anniversary" 1984. ~ c r ~ lon

doing my own songs, which trans-

ferred into talking about them, and
all of a sudden I had a meal ticket
"A $5,000 pencil, and I'd start drawing little
things on the sides of paper that really
meant something to me. You know,
there. And so rather than look a gift
horse in the mouth, I went with it
painting I'd I'd have a couple of drinks, and all
of a sudden I realized I was basically
because it has never, in the 20 years
that have transpired between grad-
price at playing a game with myself. I was
trying to fit into the mold of being in
uation and now-I'm 41 now and I
was 21 when I graduated-it has $4,999.99. the art world, and I didn't particu-
larly feel good there. I was good at
never gotten in the way of my paint-
ing. That's the it, but I could not be a fraud.
So ultimately, I went back to
ABA: You've been exposed to thinking, what were my real visual
plenty of abstract painting, I'm sure.
Have you ever tried your hand at it?
American interests?What really turned me on

Mull: I was in art school for many

years-as I say, I got my mastert+
Way of Life." visually? It went back to things like
Walt Disney backgrounds and Walt
Disney images and things that I grew
and at the time I was doing my mas- up with as a child. Things that meant
ter's work I was doing stripe paint- something to me. And for 10 years I
ings. Very minimal, totally abstract worked, as I said, doing cels really-
things. I went through a period of stills, as it were, of animation. But
trying to be Willem de Kooning and they weren't; they were individual
throwing things at the canvas and pieces of artwork. It was a fight to
this, that, and the other thing. All I get back to my center core. And now
realized was that I was trying to make what I'm doing, I think, is even more
a stab at Art: The Industry, rather than so. It's a more refined version of that.
Art: Myself-if that makes any sense. ABA: You use the airbrush almost
That this was what was going on, so exclusively. What's so special about
why don't I join it? But if there's an the airbrush to you?
antonym to art, it's industry. Art has Mull: There's a magical quality to
'nothing to do with industry. Art is the airbrush. I've talked to Charlie
the freedom from industry. White about this, and he looked at
ABA: You're saying you're doing me like I was nuts. Of course, Char-
paintings for Martin Mull and not lie's nuts and that should go in print.
painting what the art buyers are buy- And I hope he reads this, because I
ing? love him dearly.
Mull: Absolutely. I mean, in all I remember one night after a cou-
honesty what happened was I was ple of adult beverages I started talk-
doing these paintings every day and ing to Charlie, and I was waxing very
working very hard, very diligently. I romantic about the fact that the air-
would go home at night after being brush is so magical, the fact that I've
an artisan rather than an artist. I'd go never really touched this canvas.
home and I'd sit there with my little Only air has touched it.
NOV-DEC, 1985lAIRBRUSH ACTION 33
 There's a certain magic about us-
ing an airbrush. It's the magic of
having something appear before you.
In a way, as corny as it sounds, it's
almost like when a kid goes to the
circus for the first time. You watch
this stuff appear before you, and you
have no idea, really, how it got there
or what it is-onlv that it's extremelv
beautiful.
ABA: Has living in Hollywood in-
fluenced your art?
Mull: Living in Hollywood has in-
fluenced my art only in this respect:
I don't hang out in the art commu-
nity. I really don't. I'm kind of four
walled about the whole thing.
But there's an awful lot of junk in
this town. A lot of junk in this town,
and I'm not talking specifically about
art. I'm talking about architecture,
smog, this, that, and the other thing.
All of my paintings are, for me, va-
cations. In other words, I think,
"Where would I like to go this
ree for a color brochure month?" This month I will sit and
8999 Extension 204-6 paint a picture of where I would like
to go. And it's not L.A., so maybe
there's a backlash effect.
But it's not that I sit here and have
a coterie of other painters around me
who say, "This is the way you're
going to do this," and "This is the
way you're going to do that. That
could happen, I guess, but I just don't
hang out with them."
ABA: What's the most time that
- -- ;SCl---I you've ever put into an airbrush
painting?
Mull: If I'm working on a regular
NOW basis, and I'm off the road or off work
and I can do nothing but paint, I will
TO spend maybe a month and a half to
two months on a painting. The long-
est I've ever taken to paint a pic-
ture--it was a picture of five dogs
devouring a pizza in the woods--
took me about three months.
ABA: How did you feel about the
length of time while you were doing
that painting?
Mull: Well, there's a real interest-
ing thing that happens. And that is,
if you're dealing in Photo Realistic
CALL stuff, once you decide to do a pic-
ture, most of the "art" thought takes
place before you do it. And then you
TOLL-FREE start to go to work as a craftsman,
and it becomes almost like a ritual.
"I'm going to do this many square
inches a day." "I'm going to do this
1-800-232-7874 many square inches the next day."
Or, "I'II do this area and then I'II do
that area," and so forth; it removes
you from artistic thought, so that part
of your brain is not dealing as an
34 AIRBRUSH ACTIONINOV-DEC, 1985
artist. But the rest of your brain just
surges as an artist-if that makes any
sense."
ABA: Do you like any historical
period of painting better than an-
other? Does it affect your thinking
about your art?
Mull: If there is a period of art that
probably affects me more than any-
thing else, it would be early 20th
century French painting-the Fauves
and Matissc-and a certain sense of
adventure and composition that was
there at that time.
ABA: You've mentioned Matisse
several times. What is it about Henri
Matisse that you like?
Mull: He was smart. He was a real
smart painter; he had a sense of in-
telligence about his work, and the
ability to take the most finite little
part of an edge or something and just
tell such a story with it. What I ad-
mire about Matisse's work is the idea
of its having a certain brilliance and
a relaxation at the same time.
ABA: What is the Hollywood gal-
lery scene like for an artist?
Mull: As far as I'm concerned? I've
only been with one gallery. I have
shows occasionally. I had a show at
the Los Angeles Institute of Contem-
porary Art this past summer, which
I was pleased with.
But I'm not involved in the scene.
I don't go to a lot of openings, be-
cause the worst thing that could
happen at a gallery is that the people
will show up.
In Hollywood there are an awful
lot of people who go to a gallery only
to be seen by the other people who
have gone to the gallery. I think the
picture is really of the last concern
of most people attending galleries.
That being the case, I just don't in-
volve myself too much.
ABA: We've heard that you've put
rather strange prices on your paint-
ings, such as $599.99. Why do you
do that?
Mull: Well, first of all, the pictures
are going for about four to five grand
now. But even if it were a $5,000
painting, I'd make it $4,999.99-
because that's the way merchandise
is priced if you're buying a dish-
washer or a car or a rug or a TV. It's
easier for people to buy merchan-
dise than it is for them to buy art. I
just want to kind of coax them into
that attitude.
ABA: Is this your own feeling, or
did you get this from someone else?
Mull: I got it from the American
Way of Life.
 &
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Dear Publisher, Dear Publisher, I was a subscriber to Airbrush Di-

I really enjoyed your Summer Edi-
tion, especially the interview with il-
lustrator Dickran Palulian. I found the
questions to be very pertinent and
important to anyone in the airbrush1
illustration field. I've read other ar-
ticles in previously published air-
brush magazines that only touched
on part of the business aspects of art
and avoided some of the simple ele-
ments involved in airbrush tech-
nique.
I am making new discoveries in
my artistic pursuits, and I hope Air-
brush Action will help me make many
more.
Lyman M. Dally
New jersey
Dear Publisher,
I think you should have a regular
department on T-shirt airbrushing I
loved your Summer Edition.
Paul McMakin
Texas
I am a novice airbrush artist with
little technical knowledge. Although
I like the effects produced by air-
brush and would like to some day
become proficient in the medium,
I'm scared to get started. I get some-
what frustrated with the up-front prep
required, and my three airbrushes are
'a moldin' in the grave of their cases.
My compressor is cultivating inter-
nal dust cultures, and my inks are
coagulating into dry pigments.
It's obvious your publication is
targeted more to the already profi-
cient airbrush artist. I think you could
increase your market if you also ap-
pealed and talked to incompetent
"twits" like myself.
San Diego
Dear Publisher,
I am quite impressed with Air-
brush Action, and truly hope you are
ble to survive.
gest, which was excellent but spo-
radic, ultimately taking my thirty
bucks and running (so to speak). I
hope that Airbrush Action is here to
stay.
lack Mclnnis
Michigan
Dear Publisher,
I loved the David Kimble article
in the October/November issue of
Airbrush Action. In the article he
mentions that he uses Agfa litho films
because of their film base clarity and
ability to take gouache on both sides.
I'd appreciate information on
where to buy Agfa products.
David Perez
California
Editor's reply: To obtain information
on local dealers, you may contact
Agfa directly by writing or calling:
Agfa-Gevaert Inc., 275 North Street,
Teterboro, NJ 07608; 201-288-4100.
NOV-DEC, 1985/AIRBRUSH ACTION 35
CERAMICS
BY KATE REGAN

The rich yet delicate hues of Mau-

reen Daniel-Ellis's underglazes, ap-
plied to stoneware vessels formed by
herself or by her husband, Bill Ellis,
indicate the fascinating range of pos-
sibilities of airbrush technique com-
bined with fine hand-thrown ce-
r a m i c wares. The process is
technically simple; it is Maureen's
patience, precision and imagination
which give her surfaces their rosy
elegance and serenity.
dl step 1 .
The Ellises met as students at thc
California College of Arts and Crafts
in Oakland, where both earned
B.F.A. degrees in the late '70s, spe-
cializing in ceramic techniques. Al-
though Bill Ellis was the tirst of the
two to use an airbrush, Maureen has
experimented most radically with the
eftects ot airbrushed undcrglazes to
delineate her lively abstract pat-
terns. Her style is reminixent of Art
Deco designs in their pale, dusky
colors and geometric rhythms.
The Ellises sell primarily at craft
fairs and through galleries. Yet they Step 2 .
are not content to rest on their present
success; each is concerned with in-
novation and the pursuit of new
means of artistic expression.
Maureen creates many ot her de-
signs for large wall pieces that she
shapes from thin clay slabs rounded
and torn to resemble layers ot creamy
handmade paper. But the one-ot-a-
kind, collaborative pieces-stone-
g a . ,>3
- L' step 3.

ware vessels thrown by Bill Ellis ,lnd

airbrushed by Maureen-call tor
more conlplexity. The cl'irity and
sensuous curves ot Bill's exquisitely
thin-walled forms ( l h " to ' / I ( > " in
thickness) are beautifully illumi-
nated by the sophisticated designs
and muted, glowing colors ot Mau-
reen's airbrushed surfac.es.
Maureen uses a Paasc-he H - l sin-
gle-action airbrush and a '/? horse-
power air compressor spraying 'it 53
psi. She uses an underglaze solution
of one part w'iter to three to four parts
underglaze-comnlercial opaque
underglazes are preferred because
they provide a consistent color pal-
ette and granular size. In addtion,
these underglazes ,ire deflocculated,
so that particles are evenly sus-
pended and do not settle to the bot-
i o ,IIRBRLJ~H ACTION'KOV-D~(C1'185
 tom of the jar.
The following photographic se-
quence shows the step-by-step
process of creating a. vessel:

Step I.Bill wedges the stiff stone-

ware body.

Step 2. Clay is thrown on a mo-

Step 6. torized Lockerbie kick wheel; a mir-
ror is used to judge the shape from
every aspect while throwing.

Step 3. Metal and wood ribs are

used to slowly push out and shape
the walls, gradually thinned to '/a".

Step 4. The clay form is gradually

spun and pushed into its final shape
and a slip is used to close the lip.
The finished pot is allowed to dry.
After sanding to remove throwing
lines and provide the smooth surface
Step 7. necessary for the airbrush under-
glazing, it is bisque fired to 2000 de-
grees Fahrenheit. (The bisque sur-
face gives texture and a soft radiance
to the underglazes.)

Step 5. Maureen masks off her

design with a combination of l/3z1'
and '/lb1' graphic tape, contact paper
in various patterns and liquid latex.
She carefully works liquid dish
washing soap into the brushes be-
fore applying the latex to minimize
damage to the natural bristles.
Brushes must be rinsed thoroughly
in water after application of the liq-
uid latex.

Step 6. After an initial application

of colors, a contact paper mask may
be laid directly on top of the existing
patterns and sprayed again with
contrasting colors.

Step 7. Between colors, Maureen

sprays water through the airbrush to
Step 9. prevent clogging.

Step 8. Multiple layers of color

are applied and shapes haloed to
create depth.

Step 9. The masks-contact pa-

per, tape and latex-are then peeled
away.

Step 10. In its final form the ves-

sel is fired again in an electric kiln
to 1900 degrees Fahrenheit. It is then
Photos by sprayed with an acrylic fixative spray
Michele Maier to bring out the colors and seal and
Step 10.
protect the surface.
Untitled wall pieces, 24 x 24 x 3, 1985

k
38 AIRBRUSH ACTIONINOV-DEC, 1985
 ESQUIRE
VARGA GIRL
CALENDAR
In 1940, Esquire presented the Varga Girl-a vibrantly
sensual airbrushed painting by Peruvian artist Alberto
Vargas. Shortly thereafter, the magazine began printing
Varga Girl calendars in answer to unprecedented
demand. The 1945 and 1946 calendars each sold nearly
3 million copies. For soldiers, especially, the Varga
Girl represented the ultimate daydream, the perfect
contrast to life at war.
Now Esquire, in conjunction with Harry N. Abrams, 1nc.-internationally known for its fine
art reproductions-is pleased to reintroduce the Varga Girl in a beautifully crafted replica of the

have multi-faceted value. They're highly aesthetic. They

--- -- ----
1946 calendar. The calendar, sure to become a collector's item, features 13 of Vargas' best paintings.
Viewed with contemporary sensibilities, these paintings
Send to AIRBRUSH ACTION 1
convey an understated eroticism. They're funny (each 1 P.O. Box 73, Lakewood, NJ 08701 1
being accompanied by light verse) and they're nostalgic. 1 Please send me -copy(ies) of the
I
The calendar will make a perfect gift, whether for I I
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40 AIRBRUSH ACTIONINOV-DEC. 1985


medium, and technique.
Student work is used to il-
lustrate the assignments at
the end of each chapter,
and variations on the as-
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give the student a wider
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Two of the most de-
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Fullner's book will be of
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NOV-DEC, 19851AIRBRUSH ACTION 41
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full one year warranty on
parts and labor (excluding
abuse). The COLLECTOR
costs $1 19.95 and i s avail-
able from River City
Graphics, 10488 Drexel
Court, Rancho Cordova,
CA 95670-5812, phone
(916) 361-3255.
PRESENTATION
CASE
The new portfolio de-
signs have been added to
the "Toledo" line by Eber-
hard Faber Inc. The "TOS"
above features sewn on
straps that add a touch of
contemporary styling while
another new design,
"TOP," was created with
a sculptured panel effect.

Day, Evening, Seminar Classes

Approved By the
Illinois State Board of Education

Wdte for FREE CATALOG

School of Airbrwh Art3

4330 S.Vilb Ave.. Vlllo Pork. 1160481 / (342) 834-7333

Canadian Mail Order

I
L A.E. GRAPHICS
,- .
I

- GRAPHIC ART & DRAFTING SUPPLIES

.PHOTO. RETOUCHING MATERIALS
AIRBRUSHES & ACCESSORIES
- SIGN PAINTING SUPPLIES
-QUALITY REFERENCE BOOKS
.SPECIALTY HOBBY KITS
250 W. BROADWAY,VANCOUVER
V5Y-1P6
i . 604- 873.0083 %

CANADA
42 AIRBRUSH ACTIONINOV-DEC, 1985
Both case designs are
available in burgundy, a
new color, b l a c k and
brown. Toledo portfolios
and presentation cases are
fashioned f r o m tough
Naugahyde which is im-
pervious t o wear and
weather. All cases are fully
lined and slightly padded
for extra strength and pro-
tection and are made with
heavy zippers, d o u b l e
reinforced base and metal
bum~ers. ZiDDered Dort-
i
folio; in size; 8 by 1'4 by
'I2inches 42 by by
3 inches, and 1 1 by 9
inches to 24 by 18 inches.
I inch.
CLASSIFIED
Portable, lightweight, economi-
cal source of compressed air.
Airbrush anywhere. Recharge
almost anywhere. No electricity
required to airbrush. Send for
details plus price list of air-
brushes and supplies. Bob Sox,
Air Show, 5885 Shades Run
Lane, Bessemer, AL 35023.
Have something to sell or an-
nounce concerning the world of
the airbrush? AIRBRUSH AC-
TION'Sclassified section is open
to offer a forum for airbrush busi-
ness. Call 1-800-232-7874 to
place an order for an airbrush
classified ad. One inch ad is only
$54. Estimate a column inch as
30 characters ~ e line.
r 8 lines ~ e r
I
8 4 sizes
8 Also available in sheets
ccrnson Distributed by:
I Z Y ~ ~ ~
U.S. Service Representatives:
Special Papers, Inc., PO. Box 643, Wilton, CT 06897
NOV-DEC, 1985lAIRBRUSH ACTION 43
I
W
R
II THE IIR
STA ;T Al !USHED COSMETICS
ennis Hoey has taken photo re-
touching a step further: He ap-
plies makeup and artistic color to
the models themselves with an
airbrush.
Hoey has developed a line of cos-
metics specifically designed to be
used with an airbrush. His com-
pany, StarMist Air Tech Cosmetics,
Inc., conducts two-day seminars in
major cities to teach professional
makeup artists and licensed cosme-
tologists to use his products and
techniques.
While doing airbrush retouching
for commercial clients, Hoey began
to realize that many of the color cor-
rections he was making on the pho-
tos could be done directly on the
models if the right makeup was
44 AIRBRUSH ACTIONINOV-DEC, 1985
available. "The only problem was
that I didn't have the appropriate
pigment, a cosmetic blend that could
keep the coverage and consistency
of paint. I went into the process of
developing a cosmetic to adapt to
the needs of the airbrush but also be
characteristic of a cosmetic in that it
could work safely and perform ade-
quately on the skin surface," Hoey
explains.
It took Hoey five years, working
with chemists and technicians in the
Los Angeles area, to develop the right
pigments, combining them with
emulsifiers and bases to create a
consistency that would pass through
the airbrush without clogging. The
result was a nontoxic water-based
liquid makeup Hoey now markets as
"Make-up artists need to
have versatility with
design and finish.
When you need to get
sheer coverage, to
blend several colors, or
to speed up the process
of applying large areas
an airbrush is the
perfect tool for the job."
StarMist cosmetics. The product also
contains a moisturizer. Because it is
water-based, the makeup can be re-
moved with soap and water or com-
mercial skin cleansers.
The two-day workshop offered by
Hoey's company stresses the styling
possibilities but also the safety
measures of using airbrushed cos-
metics. In the 1960s airbrushes
sometimes were used to apply
makeup, with occasionally tragic re-
sults. "There are certain pressures that
are safe," Hoey says. "We work
within a range of 22 psi to 28 psi. If
you work with a stronger pressure,
you run the risk of actually blowing
air bubbles into the skin surface,
which could be fatal. We want to be
sure that everyone using the tech-
- , .,V-DEC, 1985lAIRBRUSH ACTION 45

- -
-

Dennis Hoey
nique has been made fully aware of
the safety precautions."
Hoey says most makeup artists
would use the airbrush in combi-
nation with traditional techniques,
although it is possible to do nearly
the entire application with the air-
brush. But certain areas are still best
46 AIRBRUSH ACTIONINOV-DEC, 1985
i s created, and the airbrush pigment
can't get under there."
But Hoey says those areas are
about the only ones that must be done
by hand. "The eye shadow area
above the eye is still done with the
airbrush. There is a masking shield
for the eyelid that also gives you the
shape and form that you need for
eye shadow."
Because of the low pressures, Hoey
does not use a respirator while he
works unless several artists are
spraying at the same time. "The ac-
tual displacement of pigment is min-
imal. We're not pulling back fully
on the lever to expel a lot of pig-
ment; we're actually building up fine
layers of mist to build our color.
Hoey describes himself as a
"makeup designer"; he creates the
tools, stencils, and products to allow
professionals working in the movie,
entertainment, and fashion fields to
enjoy a wider range of creativity.
Along with using the products for
corrective makeup, Hoey has devel-
oped fashion applications previ-
ously available only in photo re-
touching after the shoot. "Makeup
artists need to have versatility with
design and finish. When you need
to get sheer coverage, to blend sev-
eral colors, to get some saturation,
or to speed up the process of apply-
ing large areas, an airbrush is the
perfect tool for the job."
The fashion industry has shown
special interest in Hoey's tech-
niques. He has created unusual laser-
cut stencils for the makeup, which
is available in metallic or flat pig-
ments. "We have forms that are used
to create the illusion of depth," Hoey
says. "Just as in traditional graphic
design, you work with airbrush and
stencil forms or frisket. We use spe-
cial stencils in numbered sequence
to create fashion looks, like pieces
of jewelry applied to the skin, or ex-
tensions of the eye to sculpt the eye
shape or cheekbone. We continue
the pattern of the clothing off onto
Photo by Dale Welsh the chest with geometric shapes or
color areas."
Hoey also teaches the use of pig-
ments for the hair with an airbrush
and says that the same techniques
done by hand, for safety reasons. can also be used to coordinate jew-
"Underneath the eyes is a primary elry, shoes, and even fingernails and
example," Hoey says, adding that the stockings. "The tool itself i s coming
inside of the nostrils should also be into its own within the industry. The
left unsprayed. "The eyes must al- concept of applying pigment by air
ways be closed when you're spray- is not now just limited to the graphic
ing; when the lashes are covering the designer and the hobbyist. We're
lower section of the eyelid, a shadow bringing it into fashion."
 QUESTIONNAIRE
Airbrush Action wants to get a good pulse on our creative audience. Whatever area of
graphic or fine arts you may fall into, we're anxious to find out your answers to the
questions in this sutvey. Airbrushing, which is now going through an unprecedented
period of growth, represents a new and diverse community of artists. It would be
extremely hard for us to accurately define this family without a specific survey that
goes for hard facts such as this. It would be a great help to us if you would answer
this survey and send it to Airbrush Action, 317 Cross Street, Lakewood, NJ 08701.

1. Are you a commercial or a fine artist? (Circle one) 19. Do you use transfer lettering, chart tape or other
Other transfer graphic aids?
2. If fine artist, what area (painter, printmaker, etc.)? 20. Do you use art or layout markers?
21. What types of tape do you use: masking, drafting,
3. Do you use an airbrush? Yes No (circle one) art, packing, filament? (circle one or more)
Other
4. If so, what type (single-action, double-action, etc.)?
22. Do you use final varnishes or fixatives? (circle one or
both)
5. What brand airbrushes do you use?
23. Do you use solvents-turpentine, mineral spirits,
6. Do you use large spray equipment-spray guns, air
other ?
erasers, sand blasting equipment, flocking guns, metal
flake guns, etc.? 24. Do you use illustration board, mat board, poster
board, drawing paper, newsprint, vellum, tracing,
7. Do you use traditional artists brushes? Yes No (circle
chipboard, 100% rag paper, watercolor, pastel,
one) If so, what type(s)?
printing, archival, canvas, canvas board, prepared
8. Do you use acrylic, oil, gouache, watercolor (liquified canvas, other ?
or tube), retouch colors, ink, pigmented ink, dyes?
25. Do you use pastel, oil pastel, conte crayon, colored
(circle)
pencils, drafting pencils, other ?
9. Do you use a compressor? Yes No (circle) If so,
26. What does your studio furniture consist of: drafting
what type?
tables and boards, stools and chairs, work tables,
Do you use bottled gas? Yes No (circle) If so, what
easels, taborets, print cabinets, other ?
type?
27. Is your studio lighting color balance, drawing table,
10. If you use tanks, approximately how many refills per
track, other ?
year?
28. Do you use air filters, electronic cleaners, exhaust fan,
11. Do you have more than one compressor?Yes No
rotary fan, dust masks, carbon filter respirators, rubber
(circle) If so, how many?
gloves, barrier creams, other ?
12. Do you plan to purchase an airbrush related item in
29. Do you use an opaque projector, Lucy, other -. 3
the near future? Yes No (circle) If so, what? .-
30. Do you use a light table? Yes No (circle)
13. Do you use a moisture trap? Yes No (circle)
Vacuum table? Yes No
Air regulator? Yes No
31. Do you use camera equipment: 35mm, large format,
14. Do you use frisket film? Yes No (circle) If so, is it
tripods, photo-floods or studio strobes, backdrops,
self-adhering, paper, makeown, acetate, mylar? (circle
other ?
one or more). Other
32. What mail service(s) do you use (Federal Express,
15. Do you use a frisket knife (swivel and/or fixed), razor
knife, mat cutter, sc~ssors? UPS, Purolator, etc.) ?
33. How often do you buy or re-buy airbrush related
16. Do you use etching supplies (plates, acid, rosin,
products?
brayers)? (circle one or more)
Silkscreen supplies (screen, inks, solvents, drying 34. Approximately how much money per year do you
racks)? spend on supplies-under $500, $500-$1,000,
Lithography supplies (stones, plates, rollers, inks)? $1,000-$2,000, other ?
17. Do you resharpen your own razor blades? 35. Do you subscribe to any art magazines or
Yes No (circle) professional art journals? Yes No (circle) If so,
which ones?
18. Do you use rulers, templates, compasses, pantograph,
triangles or french curves, paper cutter, staple gun, 36. What type(s) of frame(s) do you use?
erasers, pencil sharpener (type 1
technical pens, calligraphy pens, lettering guides,
tortillions? (circle one or more) Other
A

NOV-DEC, 1985/AIRBRUSHACTION 47
 A FREE Remote Ion Detector comes with
each COLLECTOR to verify the COLLECTOR'S
suoer hiah ion outout - an amazina 30 trillion
~ ~

when you paint with an airbrush, you also

release countless super small pant dropletsm- i G a t l v 6 ~onspet second- when-you p ~ a i e
to the
.--. . - oarticles that are so small they Can
-air
the Remote Ion Detector next to the COLLEC-
remain susrjlended in the air for hours. when TOR and a competitive unit, you will see
inhaled, these super small paint droplets can clreatlv reduced or NO outout from the
easily be depositedand absorbed directly into "com~etitive~~ unit.
the delicate tissue lining of the lungs. No air- I
brush artlst should take such a hazardous rlsk I? ,...,...- 2r that when you airbrush ,-I -.-
with their health1 also releasing those super small pollutants into
your air, so we strongly recommend all air-
- -- --- - - , - - brush artists use discretion while Painting.
Proper ventilation, wearing a snug fitting air
trnnlcalr
- - - - -ourlfler
- cleans the a ~ i b causlncr
v the
oalnt oartlcles ln the alr to beconie neqaiivelv respirator mask, and the use of the COLLECTOR
kharaed whlch are then electrostat~cillvpull- Air Purifier can make a dramatic, significant
ed right'out of the air and back down to the imarovement In the aualitv of vour alr that
positively charged COLLECTOR panel. This is
done by releas~nga powerful stream of
negatively charged particles called ions into
.. .- air
the
can
-.. . This
- actuallv
-...
. . .stream
. ..
- of ions is so DOWerfUl VOI
feel the cool "ion breeze" bv Dass
Ina vour hand over the three Ion emlttlng
fl it in your studio. If for any reason you are not
completely satisfied, simply return within 31
days in the original condition for a full refund.
The COLLECTORhas a full one year warranty on
both parts and labor excluding abuse.
TO order, send a check or money order to
with a clean, soft cloth - no filters to ever River City Graphics, Dept. AA, 10488 Drexel
replace or clean. Since the COLLECTOR Works Court, Rancho Cordova, CA 95670-5812. Order
on electrostatic attraction, it is as much as ten one at S119.95, or order two or more at
times more effective than the commonly Try mls simple test Spray m i t e gowche or 5109.95 each. Add 54.00 shipping and handling
advertised filter-fan units. Yet the COLLECTOR acrvlic dlrectlv into the air for 30 Secondsand per unit. (CA residentsadd 6% tax).Orders out-
costs only about eighty-fivecents per year to watch as, within minutes, wuwill actually see side the US., add 15%to unit cost. Allow 4 to 6
operate and can help to remove pollutants as me particlesstart to Pile up on the COLLMOR weeks for delivery.
-
small as .OM of a micron 1/60,oOOth the panel! Dramatic, visible proof of its air puriw
ing power!
Questions? Call River City Graphics at (916)
diameter of a human halr! 361-3255. (Sorry,no collect calls.)

Stanislaw Fernandez9s
work (right) carries the mystique
that captures the eye of anyone
glancing at a magazine stand.
His work often appears on the
covers of Newsweek, O M N l and
Penthouse.

LOU~SGrllbb discusses
adding his master retouching to
the latest Remy Cognac ad
campaign.

WABC-TV in New York gets

state-of-the-art graphics
equipment and Airbrush Action
is there.

48 AIRBRUSH ACTIONINOV-DEC, 1985

No.This is not a photograph.

Yrotesslonal Illustrators i ~ k eDave Malone recognize that Dave Malone's illustration has been made into an 1 8 x 27"
quality products make a difference. That's why they rely on 1986 postertcalendar available from Frisk for $5.00, plus
Frisk. His illustration is rendered on Frisk CS10, the finest, $2.00 shipping and handling.
highly calendered, non-coated illustration board available. Please send me free information and sample pieces of
CSlO's smooth finish provides a dynamic white surface Fr~skCSlO and CS2.
where colors come alive, perfect for photo realistic work. Please send me Frisk's 1986 calendar. Enclosed find my
And for those seeking a slightly textured surface, Frisk check or money order for $7.00.
offers CS2. the brightest. whitest board available anvwhere.
Frisk CSlO an2 CS2 - products the profe;sionals
depend on.
I tqame
fkisk
0-I.T-
Street No. Apt. No.
Mail to: Frisk, 4896 North Royal Atlanta Drive, State Zip Code
Suite 304, Tucker, Georgia 30084
 ProfessionalAirbrushes
In Canada:
.,Inc. Stabeco Art & Drafting
Way Supplies, l w .
7270 Torbram Rd., Unit 14
5031253-7308 Mississauga, Ontarlo L4T 3Y7
Telex: 360-223 41 61673-1 80819