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 13 l M E IW AIOUC RKSlMlLE
By Margi Trapani. Fax machines-some artists swear by
them: the rest can't live without them.
14 COMPRESSORS:'71(E SO- OF U r n '
By Steven Streiff. The recent surge of new-generation silent
compressors, along with a rash of phased-out brands, has
caused mass confusion among art consumers. We thought it
appropriate to help the dust settle and sort the not-so-
complicated details.
18 # 1 1 S C M W A , M T I I : ~
By Marc Malanowski. Acrylics are far more than an easy-to-
use, convenient substitute for other forms of color; they are a
highly expressive contemporary medium in their own right.
20 MKlUasRUWr#KI(IWGRUYY#)RUFE"SGREQ€R
FoRnmer
By Harvey L. Cohen. Not content with churning out yet
another "poster in the machine," Canadian-born Michael
Bedard has returned from the mountaintop with a new
perspective on his craft.
28 lMEI1RUlTWOWDOF"BlGDADDY"ROlW
By Jefiey Ressner. A legend in his own time, "Big
Daddy's" influence stems from the 1960's when Rat Fink
paraphernalia was the rage and airbrushed shirt art was in its
infancy. AIRBRUSH ACTION presents a special retrospective.
36 MNlUaC4CkMURBRWH~WU
By Beverly Butler. Portland, Oregon-based Michael Cacy has
parlayed a successful career as a freelance airbrush illustrator
into a teaching itinerary that takes him to the comers of the
globe.
46 M E M P l R E W l U O W ~ L S
By Brock N . Meeks. A visit to Pacific Airbrush, one of the
largest suppliers of nail airbrush products and systems,
~roduceda how-to on nail aesthetics.
50STUDlOSrmP.
David Malone guides us through Dave Willardson's studio.
Don't forget to take notes. On a side trip, Malone offers an
overview on the tools of the trade.
58erluvlWl6SLn:AIWRWIIUIGJEWEW
By Susan Kingsley. One would think that airbrushing onto
jewelry is precarious, to say the least. Susan Kingsley proves
otherwise with acrvlic lacauers and loads of creativity.
Michael Bedard page 20 62 ~ u c ~ ~ r m m ~ w n n r c l l ~ r n
By Louis Grubb. The master is at it again. A punk subject is
this month's photo-retouch focus.
68 LEGILAIR-BMKRUPKYLAYY
11 UmRS By Michael Redden. Once a fate worse than banishment to
12 QaA Siberia, bankruptcy today has a new status as a legitimate,
13 TECH m E R though still drastic, option.
68 LEGAL AIR 80 WlGWCMIllYPJt U FROM lWE DARK SIDE OF AIRBRllSW
70 NEW pRoDucrs IUUSTRllmOW
78 IN 1 AIR
Nobody ever promised you a rose garden when you got into
this business. Join us in a two-act tragicomedy that will no
81 Abvm15EWINDEX doubt strike a chord.
4 AIRBRUSH ACTION/SEPT-OCT 1987
 BADGEF RUSH. . .

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to Dept. ABA88
Badger.. .creative tools for thought!

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 Yourart iwhw..~g
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only the best:

SPECTRALITE"
AIRBRUSH ACRYLICS.
You can ~ a avlot more for airbrush colors, but vou can't aet a more water-
resistant, llghffast or workable medium for airbrush art than"~r.Ph. Martin's
new Spectralite" Acrylics.
specifically formdated for non-clogging and easy, quick-drying applica-
tion, Spectralite%ffers 62 vibrant colors made from the finest artist
pigments. They are ready to use straight from the convenient drop-
per-top bottle, or can be diluted with Spectralitee Color
Extender to attain a brilliant transparency. Absolutely
no fixative or protective coating is ever needed, clean-
up is simple, and no build-up will get in your way.
SpectraliteR Acrylics are also non-toxic (as
are all Dr. Ph. Martin's color lines). Certified as AP
Approved, they meet all health standard labeling for
the ASTM Standard D4236. So they are safe for
you and your environment.
And you don't have to pay a premium for Dr.
Ph. Martin's superior quality Spectralite'" in multi-
color 8 packs. They cost less ounce-for-ounce than
other brands.
Your art deserves only tne best and safest
airbrush colors. Your art deserves Spectraiite."'

For more informat~on,call 305/921-6971.Or write:

Salis Internatonal, Inc., 4093 North 28th Way,
Hollywood, Florida33020 USA. Telex: 441608
Call toll-free 1-800-843-8293 In the Continental UF

1 AIRBRUSH ACTIONISEPT-OCT 1987 Please circle Reader Sewice no. 2

 MESSAGE FROM THE
PUBLISHER

0
K, here are the rules. No hitting below the belt, break when you're told,
and no rabbit punches. After long and careful consideration, we've taken
a bold step in the direction of enhanced consistency and art direction. We
are well aware of the impact any change can have on an audience used to
MOUTTIIECOVU
Michael Bedard's Sitting Duck (1983); 30"
m already effective format. We believe, nevertheless, that one can always make
I good thing better. The new design furthers our goal of making the magazine both
x 36"; acrylic on masonite.
m adjunct to and a reflection of your success and ours.
This issue is dedicated to Stanislaw Fernandes, the inspiration and engineer of
EXECUTIVE PUBLISHER Pur new look. We are grateful for his devotion to this project and for his friendship.
AND EDITOR
Clifford S. Stieglitz
In this issue we are excited to have you spend time with such greats as Ed "Big
Iaddy" Roth, Michael Bedard, and Michael Cacy. The roster also includes the
PUBLISHER AND
ADVERTISING DIRECTOR lew column,"Nightmairs" (art- related horror stories), fingernail art, the scoop
Donna T. Briggs In acrylic paints, the ideal studio setup, and a few other goodies.
ART DIRECTOR llEETlNG"BIG DADDY"
Susan Seabert met "Big Daddy" Roth accidentally at a New York car show about a year ago.
ASSOCIATEEDITORS was strolling through this huge expo when, lo and behold, there stood the legend,
Harvey Cohen lne of my heroes of the sixties, the man who's Rat Fink models I spent hours
Russ Titsch rying to glue together only to mess them up anyway. There he was, signing
Margi Trapani utographs and airbrushing Rat Fink images onto T-shirts.
CONTRIBUTING EDITORS Initially, Roth was reluctant to do an interview. He was uneasy about sharing
Robert Anderson
Michael Cacy
he bill with our other features because he actually didn't believe he was good
Louis Gmbb nough. After 45 minutes of persuasion, emphatically pointing out the effect he's
Brock N. Meeks lad on many of the artists featured in AIRBRUSH ACTION and on millions of
Jeffrey Ressner lthers in the past 20 years, he surrendered. We are proud to present a retrospective
COPYEDITOR a "Big Daddy" written by the Hollywood Reporter's Jeffrey Ressner.
B .F. Emmer OMPETITION
ASSOCIATEART DIRECTOR )ue to the great success of the First Annual Airbrush Excellence Competition, we
Robert Seabert re repeating in '88. The art received, which you'll see in the next issue, was
STAFFF'HOTOGRAPHERS :xciting and fresh. I have tremendous respect for all who believed enough in
Neil Nissing
Jeff Cowan
hemselves to enter. Future contests will include a student category, and a 1988
:ntry form will appear in the November-December issue.
CIRCULATION MANAGER
Grace Reilly WLS OF THE TRADE
PRODUCTION MANAGER
The five most important words to keep in mind in October are Tools Of The Trade
Phyllis Ross Show. October 9 through October 11 in Pasadena, California, will be the hottest
OFFICEMANAGER :onsumer art trade show of the year. Not only is Tools Of The Trade an art materials
Steven F. Streiff ,ales bonanza, but it also offers elaborate hands-on workshops in desktop publish-
EDITORIAL AND ADVERTISING OFFICES ng, airbrushing, logo design, photography techniques, mat cutting, and illustra-
317 Cross St. ion, to name a few. More than 170 exhibitors, comprised mainly of manufacturers,
Lakewood, NJ 08701 etailers, and publishers, will be on hand to demonstrate the latest in art materials
(800) 232-7874 ~ndto offer some of the best buys anywhere. This show marks AIRBRUSH
in New Jersey (201) 364-21 11
CTION's third year as an exhibitor, and we, like you, shouldn't miss it if you
:an help it. For more information, write to Tools of the Trade Show, P.O. Box
176, Temecula, CA 92390.
DLD NUDE BUSINESS
AIRBRUSH ACCION is publ~shed 5 times a year: January-February.
March-A~ril.Summer. SeMember-October. November-December. Con- idmittedly, I was disappointed at the small amount of hate mail received (only
lents copynght 1987 by AIRBRUSH ACTION All nghls rewrvcd Noth
Ing may be repnntcd In whole or In pan without unnen permtsson from
hree letters) about the nudity in the May- June issue. I was so amused after reading
the publisher. hese letters that I actually wanted more. The ritual of opening mail, my usual
Subaeripiion inquir*s: Send all remitlances. requests. and changes ol
address to AIRBRUSH ACTION. 317 C m Street. Lakewmd. NI 08701. hrill of the day, soon turned into one anticlimax after another. Although I wouldn't
Subscription rates: One year $19.75. two years 537. Canadian orders:
'One year $38. two years $72. All other foreign orders: One year $55. nind more, I'm over it now. On the bright side, the absolutely minimal negative
two years $W.
Return postage must accompany all manuscripts, drawings, and phora-
esponse is a great testimony to the maturity of our readers.
graphs submitted if they are to be reNmed. No responsibility can be
assumed for unsolicited material. All rights in lenen sent to AIRBRUSH
ACTION will be treated as uuncnditionallyassigned for publication and
copyright purposes and is subject to AIRBRUSH ACTION'S unrestricted
right to edit and to comment editorially.
 "It's a Ferrari.
If you know what you are doing, the AB is the ultimate gun.
It provides the finest most controllable line and because
the guts are all external it never clogs and color change
is quick and easy.
It's ihe only gun l've never sworn at or thrown across the
studio at 3:00 A.Mm" B w n Rob,l has become one of the premier
, s illustrators in America. His art can k T s c r i b e d
as vibrant, captivating, moving and unconventional. He paints exclusively with Paasche Airbrushes.
Some of his clients include Reebok Shoes, ABC Sports, The National Football League, Speedo
Swimwear, Maxell Recording Tape, Capital Records, Walt Disney Studios and Bally. Since 1981,
Robley has won over 25 awards for illustration and design.

THE BEST
!I THE BEST. Free Catalog: Paasche Airbrush Company, Dept. BR
a+*
ii
QUALITY AND CRAFTSMANSHIP SINCE 1904
MADE IN THE U.S.A.
7440 w. Lawrence, Harwood Heights, 11. 60656-3497
PHONE: (312) 867-9191 or FAX # (312) 867-9198
Please clrcle Reader Sewlce no 66
ATIII:QIRSIIIEOUIZ,CIHEFrcrrrrl
I recently received a copy of your maga-
zine. My initial pleasant surprise turned
to anger and rage as I discovered the
nudity you feel must be a part of your
rag. Too bad. I know of a club full of
people, to which I belong, who would
probably bring you at least several new
subscriptions, due to our use of the air-
brush in our hobby. Because you have
enraged me with your perverted idea of
art, I will make damn sure no one in
my club ever sees or learns of your rag
through me. This crap belongs in Play-
boy-keep it there. Hope this makes you
pleased with yourselves.
Daniel Judkins
Whitefish Bay, Wisconsin
Take my name off your mailing list and
leave it off.
If I needed porno magazines around
here, I'd subscribe to them.
I don't have to see a woman's "lower
end" to appreciate her beauty!
It's not a matter of my low tolerance
for nudity-it's more my objection to
some jerk sticking a "skin pie" in my
face while telling me it's only art and
that I should learn to enjoy it.
Reg Robillard
Brussels, Wisconsin
Obviously, minds come in various widths.
Publisher
hmFOIAU
I am writing in response to the editorial
in your summer issue. Having bought
your first issue primarily for the cover
by Ms. DeBerrardinis (and being dis-
appointed that you did not showcase more
of her work in that issue) and having
seen her work and much work like it in
many issues of Heavy Metal and other
art and science fiction magazines, I feel
compelled to let you know how I feel
on this topic.
As an airbrush artist, much of my work
often centers around the female form,
clothed or not. I feel that I have a right
to express myself in whatever way I feel
and that those who do not like my work
Detail of "Laurie/Bronzino" by Jerry Ott 78" x 96' 1974. See more of Ott's work in the
Summer 1987 issue of Airbrush Action
or anyone else's have a right to their I also add a drop of gum arabic (works
opinion, just as I have a right to my as a bonding agent) to revive the holding
own. I do not feel, however, that these power.
people have the right to keep such mate- Roger Boehm
rial as they deem inappropriate from Minneapolis, Minnesota
myself or anyone else. If I wish to view
Mr. Ott's work, or Ms. DeBerrardinis's, lEQllOSlFOIW
then that is my right, and no one should I enjoy reading your magazine very
interfere. much. It gives me a lot of different ideas
I must agree with Mr. Stieglitz that on how an airbrush can be used. One
art should glorify and not shock. I do thing that would help a little more is to
get very tired of hearing about those who see more articles on airbrushing gar-
cannot handle nudity or eroticism of any ments (T-shirts, shoes, pants, etc.) and
kind trying to remove it from the earth, license plates, and let us know what types
and the newsstand, as if it were some- of paint are the most popular for these
thing from outer space instead of being applications and also where you get the
the essence of humanity and the reality plates and paints. Keep up the great work.
of every one of us underneath the Thanks,
clothing. David R. Johns
Please continue to be open-minded North Little Rock, Arkansas
enough to bring to our attention any art-
ist whose work can inspire us to do bet- rmEIE IS IT?
ter, whether or not it follows the In your 1987 summer issue, "Taxi-
conventions that a few of your readers dermy Workshop" by Jerry Schaefer
would force upon us all. featured Hany Paulson's Mountain Val-
Keith Russell ley School of Taxidermy. Do you have
Overland Park, Kansas the address of the school? Thank you.
Margaret Andrican
an~lcllrn~ Hibbing, Minnesota
Nice to see some words about gouache.
I use it a lot. I leave mine out on a tray, Contact: Mounrain Valley School of
and when it gets crusty, I add a drop or Taridenny, 11402 North Cave Creek
two of glycerin and it flows well again. Road, Phoenix, AZ 85020; (602) 861-
Glycerin is magic stuff! 4065.
AIRBRUSH ACTIONISEPT-OCT 1987 11

A. Try applying a self-adhesive frisket
film to wax paper. Place it over your
design and cut out the areas to be
sprayed. Place it lightly over the cake
frosting, wax paper side down,
holding it in place with fingers. Be
sure that your airbrush is thoroughly
clean and use only approved food
coloring.
A. Basically, the finger lever of a
single-action airbrush controls the flow tool, how irnporcclnt is it to lolow
of paint by being pressed up and down
in a single action. Spray width is
usually adjusted at the nozzle of the
airbrush, limiting versatility of line
control somewhat. Double-action
airbrushes are much more versatile in
that both paint volume and flow are
controlled by the finger lever. In a
double-action airbrush, you push down
for air and pull back for paint. Paint
flow is dependent on how far back the
finger lever is pulled. The farther back
you pull the lever, the greater the flow
of paint, and vice versa.
Double-action airbrushes are more
expensive but certainly worth the price
if you need more flexible performance.
The airbrush you choose, however,
will hinge on your needs. Your local
art store should be able to guide you
to the right choice. ' '. ,
7
OmVve been using dear Confad
braml self-adhesive film as a
frisket on canvasfur ronwc time, nis Bayuzick, "Nocturnal Garden" Keno-
with good results. R W I Byron Peck, "Anaconda" Wash~npton,
bowever,Yve~nka)it D.C.
Third -Dennis Dake, "Out of the Blue" Ames, Iowa
seemstoIt#vealotofthe -
Fourth G. EtedorIPeter Urban, "Wh~rlw~nd"Bos-
ton, MA
adhesive residue on the canvas -
Honorable Mentions Patry Denton, "Soup de Jour"
s u b . What am I doing wmg? Lakewood, CO
James McDonald, "Untttled" Clifton, NJ
Gary Holbrook, "Introducmg (Tucbon)" San Ber-
nadtno. CA
A. We have had several reports of this Hany Wilson, "Studto Ser~es#3" Middletown,
NJ
problem over the last several months mxmmmin
and can only conclude that the -
First Cass Fuller, "August Heat" Ft Walton Beach,
Fl
manufacturer has changed the adhesive -
~ & & d Richard Ruby, "Donna/Porsche" Redford,
formulation. We recommend that you MI
stick with commercially available -
Third Jud~thVillavis~ons."Of Alr and Sea" Tampa,
FL
frisket films made for airbrushing. If -
Fourth Troy Plerce, "Janet Jackson" Bourg, LA
you have trouble with adhesion, try a -
Honorable Mention Jovan Stojanovtc, "ZIP-Sh~rt"
Belgrade, Yugoslav~a
smoother-weave canvas or use several Mike Tetzlaff, "My Laff's Revenge" Ft. Watton
coats of gesso, fine-sanding between Beach, FL
coats. Brock Kttchen, "Sharks" Charlotte, NC
UROlYlQIlVE
-
First Allan Rodewald, "Sun 11" Houston, TX
Second - James Dyer. "Mehnical Eagle" St S~mons
Island, GA
-
Third B m k Kitchen, "Blue Devils" Charlotte, NC
Q. If the airbnrsh is your primary SnrQUT
-
F i t Howard Pelcman, "Lettertng & Stuff" Jack-
son, NJ
howtousocomeatiorm) Arl~ngton,TX
-
Second Ed Armstrong, "Fru~t& Jutce P~neapple"
paintbrushes? ItCIII#CIL#wmmolr
-
First Thomas Kennedy, "Royal Pnnce" Lake-
wood, OH
-
Second Ron Fleming, "M- l Trainer" Tulsa, OK
-
Third Willlam Westwood, "Hormone Med~atton"
k This is a pretty personal question, Rochester, MN
-
Fourth Kurt Carlon~,"Paslode Air Nail Gun" Oak
the only honest answer to which is "It Creek, WI
dependsw--on the artist's style, needs, -
Honorable Mention Fred Lanz, "Engtne Plumb~ng
#2" San D~ego,CA
and techniques. But as a general rule, cow€RaMm
I would suggest that it is extremely -
First Andy Lackow, "Retro-Relaxation #2" New
important to know how to use York, NY
conventional paintbrushes. -
Second Jeny Lofaro, "Life is Elsewhere" Farm~ng-
dale, NY
Paintbrushes allow the illustrator to Third - S e r g ~ oRoffo, "Untitled" Boston. MA
achieve different textural effects and at -
Fourth Jeff Be~th,"Lady Liberty'' Destin, FL
-
Honorable Mention Michael Uman, "What You
times can be considerably quicker than Need" New York C~ty,M
the airbrush. Moreover, the use of Stephen Pemnger, "Black Dahlia" Seattle, WA
alternative tools can help alleviate Glen Schofield, "Tall Tall" Roseland, NJ
Gus Augusttn, "Andretti" Ch~cago,IL
"airbrush stagnation9'-since the P l l O l O ~
airbrush, with its inherent hard edges -
First Ron Flem~ng,"B~gorange24" lblsa, OK
(achieved through friskets and acetate) -
Kenn Rshards, "Roll W ~ t hThe Winntng
" Garden Ctty Park, NJ
tends to tighten you up, this will help -
Jenntfer D Deckelman, "Unt~tled" Palm
keep your illustration more relaxed. Harbor. FL

F
ax, or facsimile machines, were
originally developed for corporate
use in sending documents, reports,
memos, and other messages from
one corporate office to another. They
have become in recent years a boon to
artists living outside major metropolitan
areas who market their work to national
or geographically distant clients.
Dave Bergevin, marketing manager
for Toshiba America, Inc., says that
advertising agencies and graphic artists
were the first to see the advantages of
these machines and still remain the larg-
est consumers. The machines are plugged
into a regular electrical outlet and then
attach to your telephone. According to
Bergevin, the original machines were
very expensive and had poor-quality
transmission for graphics uses, but like
other technology in recent years, the
quality has improved and the price has
come down. Among the improvements
that Bergevin notes is the speed of trans-
mission. The first generation of machines
could transmit a page of copy or art in
3 to 6 minutes; the new models can send
one page in 15 seconds.
Toshiba has a special division devoted
to desk-top facsimile machines made for
small businesses or individual con-
sumers. These desk-top fax are sold
through traditional retail outlets rather
than business machine suppliers.
Among the standard features avail-
able on most fax machines are auto-
receive, which allows your machine to
receive transmissions even if you're out
of your studio; auto-dial, which allows
you to program often-used telephone
numbers; terminal transmission identi-
fication, which will list the name and
phone number of the person sending the
transmission, along with the number of
pages sent. Automatic document feeders
are also available; these allow the sender
to insert up to 30 pages of a document
for automatic transmission to one
destination.
Toshiba has worked to improve the
quality of transmission and now offers
a good-quality halftone capability.
In these days of global markets and
instant communication, fax machines can
make artists' lives easier, enabling them
to send roughs to clients for immediate
approval, receive changes in copy or
concept, or in some cases receive rough
layouts for bids. With the new technol-
ogy, these activities can be accom-
plished in minutes or hours, rather than
days.
Although fax have been used since
the 1970s by some artists whose mar-
kets included clients outside their area,
they have been discovered by artists
working in major markets who are feel-
ing the effects of an increasingly national
and international advertising and cor-
porate clientele.
Jared Lee,a humorous illustrator who
has lived and worked in Lebanon, Ohio,
"The quality of
transmission is affected by
the phone lines, in the same
way that you get variations
in voice on long-distance
phone calls''
since the early 1970s and whose clients
include some of the largest and best-
known ad agencies, says he's been using
a fax since the mid-1970s. "I'm about
to upgrade my machine. The one I have
now is so old that the last time I needed
it serviced, the guy who worked on it
laughed and said he hadn't seen a 'dino-
saw' like this in a long time."
Lee claims that he's been able to
compete in the fast-turnaround industry
at least in part because he can commu-
nicate with an art director in New York,
Chicago, or Atlanta through his fax.
"These machines really opened doors;
they were like an answer from God-
lightning from heaven. When I started
marketing my stuff nationally, people
would see my work and like it, but they'd
say, 'How can we use you? We need
THE FAX ABOUT
FACSIMILE
By Margi Trapani
finals in two or three days.' Federal
Express and Purolator solved the prob-
lem of getting the originals to them fast,
but fax allowed them to see my pencil
[sketches] and make changes instantly.
"I've gotten calls from my directory
ads, and often people say they've called
because they like my work but also
because they saw I have a fax machine.
"In advertising there are often changes
after you've sent a rough for approval.
With fax my clients can see the drawing
and suggest changes, and I can take care
of it all in an afternoon. Then I'll send
the final art overnight express to meet
the deadline. In some instances clients
want me to bid on a job immediately.
They'll send their rough to me over fax,
and I can get a bid back to them within
hours.
"I use the machine regularly for about
ten percent of my clients-it's made a
big difference in my business. I'd rec-
ommend that everyone get one. One of
the difficulties in choosing a machine,
though, is compatibility. It's not so bad
with the big agencies; they generally have
so many machines that they'll find one
that can take your transmission. My
machine will transmit images at 3,4, or
6 minutes per page; the new ones do it
in 15 seconds. For smaller agencies,
though, you have to research carefully
to make sure that the machine you're
getting is compatible with a lot of oth-
ers. That's the process I'm involved in
now.
"I was probably one of the first artists
to get one of these machines. I've been
promoting my work to clients all over
the country since I started. Now with
the mergers and acquisitions and other
changes in the industry, even artists in
New York or Chicago are beginning to
go after clients in L.A. or Atlanta. You
still have the upper hand if you're in
New York or Chicag-at's where the
meat is, and I don't think that will change
all that much. But what with being able
to market your work through national
directories and the increasing amount of
work in regional markets, I guess more
continued on page 15
AIRBRUSH ACTION/SEPT-OCT 1987 IS

T
he market for compressors has
experienced a change over the past
few years, brought on in large part
by the need for a more silent
workplace. According to industry
experts, in addition to oil compressors,
the arrival of silent, oil-less compressors
is welcomed by a new generation of air-
brush artists and illustrators seeking the
best of both worlds: a clean, continuous
source of air combined with a noise-free
environment.
In shopping for a silent compressor,
the consumer should take a number of
factors into account; including these:
MOlSllllISMMllOb A moisture sep-
arator, or "moisture trap," is a crucial
component in the general makeup of a
compressor. In conjunction with an air
regulator, moisture separators allow for
periodic adjustments in line pressure that
become necessary while working and
help to keep the air free of moisture and
oil.
The less long-lasting alternative in
moisture separation is a "moisture trap,"
either a paper (fiber) filter or a brass fil-
ter. These devices trap moisture and dirt
but are good for only about ten hours of
compressor time. Once they get dirty,
they can severely restrict air flow and
should be replaced immediately.
A more permanent alternative involves
fiber or rubber tubes that attach sepa-
rately to the compressor. These tubes
employ a spinning action, that effec-
tively separates moisture and dirt from
the air. After 50 to hours of use, when
these filters become dirty, they are eas-
ily cleaned with water or can be replaced
for a cost of about $6
AIR RWUUmh Air regulators are avail-
able in a variety of shapes and sizes, the
most popular being a coalescent variety,
which takes out moisture, dirt, and oil
from the line, and a noncoalescent type,
which removes only moisture and dirt.
Air regulators are available in a vari-
ety of configurations, depending on the
end user's needs, the studio design, and
the number of airbrushes being run off
the individual compressor. According to
Robert Paschal and Robert Anderson, in
I4 AIRBRUSH ACTION/SEPT-OCT 1987
I 18269 Laurel View Dr.
9 128 W. Belmont Ave.
The Art of the Dot (Van Nostrand Rein-
hold, 1985): If more than one airbrush
is used in the work, each can be tapped
into a multiple outlet system. This can
be arranged with either individual shut-
off valves or with all the lines "live."
. . . In a multiple outlet system, more
than two lines tend to get fouled unless
they are on a spring to retract the slack.
In a classroom or production studio situ-
ation, multiple lines can be run off an
air main that runs along the wall or ceil-
ing, with outlets at each station equipped
with a regulator and quick disconnects.
Sun,Orurs For many
years, the compressors available on the
American marketplace employed oil-
lubricated refrigerator pumps, with
motors designed for refrigeration needs
rather than the needs of the airbrush art-
ist. Motors primarily circulated air and
worked on a noncontinuous basis. Fre-
quent problems arose, including thermal
overload capacity, which caused shut-
downs when the compressors reached
certain temperatures.
In direct response to this industry-
wide problem, manufacturers have been
busy designing the first lines of oil-less,
silent air compressors specifically suited
to the airbrush artist's needs. Says one
COMPRESSORS: THE
SOUNDS OF "SlLENCE"
by Harvey L. Cohen
312-678-3104 I
Portland, OR 97230
503-253-7308
industry spokesman, "What we've done
is take an oil-less pump designed spe-
cifically for the compressor industry,
manufactured to provide a life span of
at least 10,000 hours of continuous
compression. To that basic model we've
added a sturdy casing to alleviate noise
problems often associated with com-
pressors and a fan to provide constant
cooling."
Silent compressors are not a neces-
sity, but when working in tight quarters,
they help to alleviate much of the
unneeded distraction associated with
"noise pollution. " For years now, if the
compressor was noisy, artists simply
placed the compressor in a closet, attic,
basement, or garage and ran the air
through a hose to the work station.
Although this is a workable solution,
today's innovative "silent compres-
sors" offer a solid alternative.
Both oil and oil-less
compressors employ different amounts
of horsepower, specifically suited for the
varying needs of airbrush artists. For
instance, airbrush artists working on
fabric, often continuously should search
out higher levels of horsepower. For the
illustrator, who is only using a com-
pressor 20 to 30 percent of the time, a
smaller amount of horsepower may be
appropriate.
In addition to horsepower, the term
cubicfeet per minute (cfm) merits atten-
tion as well. Different from pounds per
square inch (psi), cfm is the amount of
air that will come out of the airbrush per
meter. The common rule of thumb to
follow here is, the bigger the airbrush,
the more cfm is needed. The normal
consumption of air by an airbrush is 0.5
CFM at 25 PSI.
UU(ilS: Pressure gauges are important
in airbrush studios because they make
the artist constantly aware of the pres-
sures being worked at. For the most part,
gauges are found on compressors other
than the diaphragm variety-which yield
hard-to-work-with pulsating sprays.
Characteristically, those that employ
gauges allow for more flexibility in
working conditions and are less apt to
FACSIMILE
continuedfrom page 11
working the way I do no matter where
they live. I imagine fax machines will
be a large part of that. "
New York artists who work in adver-
tising and corporate markets agree with
Jared Lee. Illustrator Kathie Abrams,
who has worked in the local New York
market for ten years, has begun to pro-
mote her work nationally. She says, "My
first experience with a fax was through
The American Banker, a trade newspa-
per. Their sketch approval process
sometimes goes through executives in
Washington, D.C. I'd go downtown to
their offices and send a sketch over their
fax. Their New York art director and I
would have a response almost immedi-
ately, sometimes within five minutes.
"As I began to market my work in
areas l i e Chicago, I realized how pop-
ular the use of fax machines was. You
have a better chance for the work if you
have access to one. In fact, one potential
client told me that if I wanted their work,
I'd have to have access to a fax. It's not
crucial for my clients in the local New
York market, but if you're interested in
expanding to more national clients, this
kind of technology is essential."
Another New York illustrator, Lou
Brooks, has found an interesting alter-
native to buying his own fax machine,
although he admits that it is becoming
increasingly important for him to have
one in-house. Brooks has been using fax
machines that are operated through a
network of hotels across the country. For
a fee, he can take his drawing to a hotel
around the comer from his studio and
send it out to any client around the coun-
overheat or shut down.
Airbrush artists are urged
to perform the necessary upkeep on
compressors. With oil compressors, oil
should be checked and serviced periodi-
cally. As a general rule of thumb, the
ideal oil color is a gold-yellow. You can
see the oil throughthe bubble gauge on
the back of the motor. If the oil is taking
on a brownish tint, you know it is time
to change the it. A high-grade oil is the
only choice-salad oils and motor oils
will eventually "fry" the motors.
In addition.-all &mmes.wfs come with
maintenance manuals that should be read.
All too often, the commonsense proce-
dures outlined in these booklets go
unnoticed-until it's too late.
BUYl116 CONS=- Again, a cer-
tain amount of common sense is required
here. Buy from a reputable manufac-
turer who will stand behind his product.
try. Like Jared Lee, Lou Brooks has been
using fax since the 1970s.
"If you- don't have access to a fax
these days, you're really behind the
times. 1 use it constantly. If I have the
time, I send my work out through Fed-
eral Express or some other overnight
service. But when I'm under the gun, I
use fax--every agency has one.
"It's also important for some of my
clients to get changes or new material
to me day or night. That's one of the
reasons I'm considering buying one. If
"With fax my clients can
see the drawing and suggest
changes, and I can take
care of it all in an
afternoon"
a client in Los Angeles wants to get
something that he's been working on to
me right away and it's 7 p.m. there,
that's 10 p.m. my time. If I had a fax,
he could go ahead and send it and I could
start working that night or the first thing
next morning.
"I find that a fax saves steps, espe-
cially on a larger, more involved job,
like a big campaign for an ad agency.
There's so much back and forth-if a
client wants to send new or extra copy,
or if there are last-minute changes, I pick
up days by having access to a fax. The
obvious advantage, especially on a tight
deadline, is that my clients and I have
24-hour access to each other."
There are limitations to fax transrnis-
Most manufacturers offer a one-year
warranty on their compressors, but art-
ists should take the time to ask, "If
something goes wrong, what do I have
to do to get it fixed?" As with almost
everything, an ounce of prevention is
worth a pound of cure.
SUMMAII: The marketplace for com-
pressors is rapidly changing. After years
of little option, consumers can now
choose from an array of oil, oil-less, and
silent compressors in differing configu-
rations and smngth capacities, in a wide
range of price categories. Manufacturers
agree that airbrush artists should seek
out as much information as possible
before making a purchase and, wherever
possible, should attend a demonstration
or trade show that will afford hands-on
opportunities and trial runs.
--
~ions.According to art director Pamela
Budz at The American Banker, the qual-
ity of the copy is not quite as good as a
Xerox copy. "We use it for approvals
and for middle steps with our printer in
South Jersey. The reading quality is
average, 'so we can send proofs, check
for positioning and pagination, and, of
course, send roughs for approval to our
offices in D.C."
Long Island artist David Suter agrees.
"The copies are OK for most purposes;
the quality varies, depending on where
you're sending it and on what transmis-
sion lines-satellite or underwater cable.
Sometimes you get blips or streaks. It's
fine for proof approval, and it's good to
be able to do things instantly. I rarely
use it for final work. You could, but you'd
have to lower your expectations."
Dave Bergevin from Toshiba notes,
"The quality of transmission is affected
by the phone lines, in the same way that
you get variations in voice on long-dis-
tance phone calls. But like everything
else, that technology is getting better and
better." Bergevin says that artists buy-
ing a top-grade machine now will prob-
ably not have to consider upgrading for
many years. "They should forecast their
needs and buy the appropriate equip-
ment." Toshiba's desk-top model's sug-
gested retail price is $1,999; Bergevin
says that most machines range from
$1,200 to $2,000.
As for the future, illustrator Jared Lee
sees a time when "I'll be looking at the
art director through a color TV screen
holding up a rough of his sketch, while
he's looking back at me holding up my
pencil on his screen." It's just a matter
of time.
AIRBRUSH ACTION/SEPT-OCT 1987 I S

w hen I was first approached to
write an article about mat
cutting for airbrush artists, I
was skeptical. After all, I
m n e d , airbrush artists paint on T-shirts
and the sides of vans, neither of which
lends itself to matting. But I was naive.
It was soon impressed on me by people
in the know that airbrush artists also paint
on paper and that many also dabble in
other media and have the same appre-
hensions about mat cutting as most other
artists. Thus I was prevailed on to answer
of airbrush artists' questions and *ss
their misgivings about mat cutting--as
long as I would keep silent my igno-
rance of airbrushing. I will say no more
about that art form.
Probably the most prevalent misgiv-
ing about mat cutting is the idea that
without very expensive equipment it will
be difficult and time-consuming to cut a
decent mat. Although it is true that very
inexpensive mat cutters require practice
and patience, quite a few mat cutters
under $75 are able to provide good results
on a consistent basis after just a few
minutes of familiarization. The trick is
to avoid the pitfalls of using the wrong
materials, improperly preparing the mat
and work surface, and rushing through
the cutting process, thereby creating
problems not normally mentioned in the
cutter's instructions.
MITeWLS
Choosing the proper materials is
extremely important. You never want to
spend more than you have t o - o r less
than you need to. When there is a ques-
tion of expense, remember that a mat
cutter is a long-term investment and that
the money you will soon be saving by
not paying a professional h e r to mat
your work will more than offset the cost
of most mat cutters. Also be aware that
buying an extremely inexpensive mat
cutter (under $16) will probably result
in a few poorly cut or unacceptable mats.
With mat board costing $4 a sheet, the
money you will save will probably be
eaten up by the cost of the bad mats you
produce. As a gauge, figure to spend
between $16 and $40 for a cutter you
I6 AIRBRUSH ACTION/SEPT-OCT 1987
can work with to get consistent good
results. Figure between $40 and $75 if
you want those results with less prepa-
ration and effort. Spending more than
$75 on a mat cutter is warranted if you
are a professional artist who mats a lot
of work or if the cutter is being bought
for a studio or small frame shop where
it will get fairly consistent use.
Look for a mat cutter with a blade that
retracts on a slide or a pivot. A retract-
able blade is not only safer than a fixed
blade, but it also helps eliminate curved
When purchasing mat board, look for
standard-thickness mat board. Unless
your artwork is prepared on acid-free
paper and will be framed with all acid-
free material, there is no reason to pur-
chase the more expensive acid-free or
rag-content mat board. Choose colors
or "hooked" comers in your beveled
cut. Start and stop indicators on the mat
cutter are an advantage, as they do away
with the guesswork of where to begin
and end each cut. Mat cutters that have
adjustable blade angles for different
bevels are helpful but not absolutely
necessary. Single-bevel mat cutters will
not only cut the most attractive bevel
but can also be used to cut the outside
dimension of your mat if you use them
from the front side of the mat board.
STEPS TO GOOD MAT
m I N G
By M.David Logan
carefully. The two criteria framers use
in determining mat color are the colors
in the artwork and colors in the pres-
entation environment. Most framers set-
tle on a secondary color in the artwork
so as not to overwhelm the viewer by
amplifying the primary color again in
the mat.
If you will be using a hand-held mat
cutter, you will need to have a T-square
or straightedge. T-squares with plastic
sideguards are not advised. The mat cut-
ter can ride up over these edges, causing
dramatic curves or jaggedness in your
cut. Use a T-square or straightedge with
a right angle edge, and be sure it is as
long as the cut you will be making. If
you are using a straightedge that is too
short, you will be obliged to stop cutting
midway and move the straightedge for-
ward. The chance of getting the straigh-
tedge back in the same relationship with
the line and cutter is slim, and the cut
will show a jaggedness or curve where
you begin cutting again. It is wise to
have a C-clamp on hand to secure one
end of your straightedge. One of the
biggest problems with hand-held cutters
is their tendency to make the straigh-
tedge slip while cutting. By clamping
one end, you need only secm the oppo-
site end with your free hand to ensure
that the straightedge will not move dur-
ing your cut.
PmaamTIEMIT
Once you have purchased the proper
tools, it is time to prepare the mat for
cutting. This will entail a method of
measuring the board that will take into
account all necessary measurements: the
size of the artwork, the window size,
the border width, and the outside dimen-
sion. Always start with the measure-
ment of the artwork and work your way
outward, adding and subtracting as
Yo" go.
For example, if your artwork measures
14 by 18 inches, figure your window
opening by subtracting 114 inch from each
edge of your artwork. (Obviously the
window opening will have to be slighdy
smaller than the paper the artwork is
rendered on or the artwok will just fall
through the hole that is the window
opening. Onequarter inch is the standard
lip to overhand the artwork.) By reduc-
ing each edge 114 inch, you are in fact
reducing the overall width by 112 inch
since there will be two edges across the
width. The same is true of the height.
Thus, a 14-by 18-inch artwork will
require a 13 112 by 17 112 inch window.
The next measurement to be deter-
mined will be the border width. Standard
border widths range from 1 1/2 to 3
inches, depending on the size of the art-
work. For a 14 by 18 inch artwork, a
2-inch border is often desirable. But keep
in mind that the border width you choose
will have a direct bearing on the outside
dimension of the mat. If you choose a
2-inch border to go with a 13 112 by 17
112 inch window, your outside dimen-
sion will be 17 112 by 21 112 inches
+
(13 112 2 + 2 = 17 112; 17 112 +
2 + 2 = 21 112thardly a standard
frame size, and, as such, not compatible
with sectional or ready-made frames. To
bring the outside dimension up to a
standard size and compensate for the 11
4-inch reduction in the size of the win-
dow opening, add 114 inch to each bor-
der width. In this case your borders
become 2 114 inches. Remember, there
will be two borders across the width and
two across the height, giving you a total
overall addition of 4 112 inches to the
height and width of your opening
+ +
(13 112 2 114 2 114 = 18; 17 112
+
+ 2 114 2 114 = 22). In this way
your outside dimension becomes 18 by
22 inches. The mat will now fit a standard
frame, and you will save honey by not
having to have a custom frame made for
your piece.
MAT CurnWC
When cutting the outside dimension
of your mat with a single-bevel mat cut-
ter, be aware that you will have a bevel
along the outside edge of your mat,
though it need not be where the viewer
of the artwork can see it. To begin, draw
the measurement lines on the front (col-
ored side) of the mat. Some cutters will
require you to compensate for a degree
of discrepancy between where the edge
of the mat cutter slides against the
straightedge and where the blade enters
the mat. Make this compensation before
you cut allowing 114 or 118 inch in your
measurement as the case may be, so that
you can place the straightedge along the
pencil line and still cut precisely to the
dimensions required. Cutting from the
front, you will notice no bevel; how-
ever, when you turn the mat over, you
will see a bevel on the other side. This
is called a reverse bevel. When a mat is
presented, the reverse bevel will not bc Another cause for hooks and curves
visible and therefore will be no detri- is tilting and rocking of the cutting head
ment to the finished appearance of the while cutting. Mike sure the cutter glides
mat's outside dimension. flat on its base throughout the cut. Cut-
If you are working with an adjustable- ting on a soft or pliable surface will cause
bevel mat cutter, set the bevel for a 90- a long curve because the mat board will
degree angle, and cut the outside dimen- flex down and away from the cutter as
sion. If you prefer cutting the outside you apply pressure. Always cut on a firm,
dimension with a mat knife, cut closely even surface. Most mat cutters have a
along the edge of the straightedge with blade depth adjustment. Make sure the
the tip of the blade on the line. Score blade depth is adjusted to fully penetrate
the board several times rather than the subject mat board but just scratch the
attempting to penetrate the mat com- surface of the backing sheet. The excess
pletely on the initial cut. resistance the blade will encounter when
Any time you are cutting with a hand- dragging through the thickness of the
held mat cutter or mat knife, it is imper- backing will cause it to flex, and a curve
ative to use a backing sheet. Any piece will be the result. By taking the time to
of scrap mat board can serve as a back- adjust the cutter and prepare the work-
ing sheet. The purpose of a backing sheet ing surface properly, many causes of
is to provide a surface for the mat cutter curves and hooks can be avoided.
blade to pass into after it has fully pene- Special diligerice is requid to achieve
trated the mat you are cutting. If you zero overcuts. Even mat cutters with start
fail to use a backing sheet, you will not and stop indicators cannot guarantee zem
only ruin tabletops and chip a good many overcuts. The depth of the blade and the
mat cutter blades, but you will most thickness of the mat board will affect the
amount of blade exposed and therefore
the extent of the overcut. It is import&
to remember that some small degree of
A mat cutter is a overcut is acceptable as long as it is not
long-term investment visible without scrutiny. However, if zero
overcuts is a must, you must be careful
to watch the relationship of the indicator
assuredly destroy the mat you are cut- line to the intersecting pencil line. Make
ting as well. a mental note of where you stopped in
Your primary object in purchasing a relationship to the measurement line to
mat cutter is to cut a clean, even beveled achieve zero overcut the first time, and
window for the presentation of your art- repeat it on subsequent cuts. To avoid
work. The two greatest enemies to the much of the hassle of trying to attain
kind of results you are seeking are zero overcuts, many framers deliber-
inconsistencies in the beveled edge, such ately stop the cut just short of the comer
as curves and hooks, and overcuts, visi- and cut out the last 1/16 inch with a
ble cuts in the mat beyond the comers hand-held blade. It is a more time-con-
caused by starting too soon or stopping suming process, but the most accurate
too late. if zero overcuts is desired.
Anything that causes the blade to flex As with many things, you will get the
in the course of the cut will produce a best results when you invest the most
curve or a hook. If the blade is entered time and care. Mat cutting is a skill
into the mat at one angle and then flexes requiring a certain degree of diligence
back to its original angle as you cut, the and know-how, and the equipment you
result will be a hook in the bevel at the use will have a direct bearing on how
comer. This type of problem happens much time and care is required. How-
most often with fixed-blade mat cutters. ever, if you are willing to purchase the
Since the blades on these mat cutters right materials and devote the time and
project from the bottom of the cutter, it care necessary to use them properly, there
is necessary to pierce the mat board at is never any reason to fear poor results
the precise angle of the blade. Failure in mat cutting.
to do so will result in a hook. Mat cut-
ters with retractable blades go a long M. David Logan is a freelance writer
way toward preventing blade flex. With and the sales and marketing manager
these cutters, the body of the cutter rests for Logan Graphic Products. His arti-
flat against the back of the mat while the cles have appeared in American Artist,
blade is retracted in the up position. As Art Material Trade News among other
the blade is pushed down, it follows the publications. He &monstrates the Logan
contour of the cutter's body and pierces Mat Cutters at seminars and trade shows
the mat board at the precise angle. around the country.
AIRBRUSH ACTION/SEPT-OCT 1987 17

T
I he medium used most by today's
airbrush-wielding commedal and
I fine artists and illustrators is art-
1 ists' acrylic color. Acrylic colors
i are popular because of their tremendous
versatility, rapid drying, and easy
/ cleanup. Moreover, the colors are easy
to apply through the airbrush and are
suitable for a variety of painting tech-
niques, styles, and impressions.
"Designed primarily as a quick-drying
altemative to oil colors, these paints have
qualities that make them compatible with
airbrush technique," write Robert Pas-
chal and Robert Anderson in The Art oj
the Dot (Van Nostrand Reinhold, 1985).
Let's take a look at some of these qual-
ities, as they relate to the airbrush, on
an individual basis:
DUYIWG 11ME. One of the primary advan-
tages of acrylic colors is their ability to
dry quickly. Unlike oils, acrylics dry
rapidly, allowing the airbrush artist to
1 avoid tedious delays, before beginning
to paint further layers. In Painting with
Synthetic Media (Van Nostrand Rein-
hold, 1965), Russell 0. Woody, Jr.,
writes: "Many commercial artists have
adopted the polymer emulsions for their
work, and they especially acclaim the
rapid drying time of the synthetic media.
A magazine illustration, for example,
may be completed in a day instead of a
week and sent out for reproduction ten
minutes after it is finished."
PERMAWEICE. Another reason why
acrylics continue to be popular among
commercial artists is their high degree
of permanence. According to airbrush
artist Dave Malone, "Now, more than
ever, there is a greater price tag being
placed on original illustration. The thin
line between 'fine art' and commercial
work has created a new market for the
illustrators. . . . Today, the client will
buy the rights to the original as well as
the reproductions."
E M OF IUtlLIIIC,Because of its plastic
base, acrylic paint is very flexible when
dry. Writes Jos6 Gutierrez in Painting
with Acrylics (Watson-Guptill, 1965),
"The body of the plastic allows the art-
I8 AIRBRUSH ACTIONISEPT-OCT 1987
ist to build up thick bodies of paint, called
impasto.There is no need to worry about
these heavy applications cracking or
peeling. Because of the homogeneous
quality of plastic paint and acrylic gem,
both can be safely mixed to produce a
heavy, colored paste that may be applied
with brush or palette knife."
When discussing acrylic media, it is
important to understand the distinction
between genuine acrylics and "acrylic
typeis." According to New Jersey artist
Robert Anderson, the advantage to the
airbrush user of the 'acrylic-type' is that
they are prefiltered, allowing the parti-
cles to flow smoothly through the air-
brush. 'A~beacrylics are harder to work
with and require much more
preparation.
Anderson continues to explain that
because acrylic colors normally come in
three consistencies-high-viscosity
(usually found in tubes) low-viscosity
(available in jars) and prereduced (avail-
able in squeeze bottles)-working with
them requires a continuous series of
adjustments. Paschal and Anderson write:
"Depending on the consistency used, the
method and formula to reduce for spray-
ing changes. The most popular acrylic
for airbrush technique is low-viscosity,
commonly called jar color. As a rule of
thumb, the reducing agent for low- vis-
cosity colors is one to two parts water
to one part gloss or mat medium, thor-
oughly mixed. Add as much reducing
PAINT MEDIA, PART II:
ACRYLICS;
VERSA'I1LITY ADAPTED
MIR THE AIRBRUSH
By Harvey L. Cohen
agent as needed to bring the acrylic to
the sprayable consistency of light cream
required for airbrushing."
COLOR IrruUmr.Acrylics are made up
from pigment, water,. and a polymer
binder, which dries to a hard, clear film
as the water evaporates. It is this trans-
parent film, reflecting light from the pig-
ment inside it, that gives acrylic color
its brilliance. By thinning the acrylic paint
with water or with a plastic mediuG, the
artist may apply thin, transparent glazes
and can build one glaze over the other,
like layers of colored cellophane.
"Artists' acrylic colors may
be used on any surface common to the
fine and commercial realms as long as
there is a surface tooth for adherence,"
write Paschal and Anderson. "One of
the more compatible surfaces for acrylic
work is canvas, primed or unprimed,
synthetic or natural. Unlike oil-based
paints, acrylics contain no solvents to
attack the fiber of the canvas. Paper or
illustration board (either hot or cold
press), Mylar, wet-media acetate, plas-
tics, metal, ceramics, and etched glass
may also be used. The pigments used in
acrylic paint are colorfast and will hold
up to outdoor exposure better than many
industrial paints," they conclude.
llULlll AND SlRII CO##S.Artists'
acrylic colors are much safer to work
with than oils, due largely to the absence
of paint thinners and oil media, which
are extremely toxic. Because there is no
combustible~solution.either in the paint
or in the solvents used for thinning: the
overspray is nonflammable. "How-
ever," cautions Badger Airbrush's John
Fennell, "we recommend the use of a
dust particle mask, because any amount
of inhaled dust can irritate the lungs."
Cleanup is a simple process, requir-
ing the use of a mild detergent and water.
Russell Woody further suggests the use
of an ammonia soap such as Windex or
even alcohol.
~ ~ O F ~ A n i
depth description of the properties of
artists' acrylic color could o&upy vol-
umes of text, but a brief description of
continued on page 67
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20 AIRBRUSH ACTIONISEPT-OCT 1987

 Ducking Fame for Life's Greater Fortunes
MICHAEL
BEDARD
friend of mine once said
A
that when things were
going well, your "ducks
were in a row." To take
that analogy one step
further, Michael
Bedard's artistic life, as seen through
the eyes and ears (and bills) of his ducks,
is precisely on target.
"Sitting Duck," "Duck Soup,"
"Chicken Wings," "Night Chicken,"-
These are but a few of the titled works
of California artist Michael Bedard,
whose body of work translates into a
symbolic journey through the soul, stop-
ping off at life's more whimsical pit stops
along the way. A native of Windsor,
Ontario, Bedard's effects were first felt
in the world of commercial art in the
late 1960s and early 1970s, when he
tapped the then still virgin Southern Cal-
ifornian recording studio markets by
suggesting forays into the airbrushed
T-shirt business. Bedard recalls, "It
wasn't lucrative, but I was able to work
as an artist."
From those humble beginnings, Bedard
began to build the confidence and, of
equal importance, the style that led to
his tremendous success with the duck
originals. He recalls that the duck
attraction was deep-rooted: "I was always
amused by the combination of bluff and
vulnerability that ducks posses-the way
they puff up and honk and chase huge
dogs away." Bedard's body of work
began to take shape along these same
PHOTOINEIL NISSING
lines, finely balancing the ducks in truly
ironic scenes. "I couldn't help but notice
how people mirrored ducks, in the sense
that they were always putting up 'image'
and bluff," he adds convincingly.
For instance, in "Sitting Duck," a
duck (a person?) is depicted enjoying a
typical California day-complete with
poolside chair, sunglasses, and bever-
age, when out of the blue two bullet
holes appear. The viewer's reaction is
one of astonishment and disbelief. Bedard
points out that this scene fit in well with
the reality of the times. "This was the
time of the John Lennon assassination.
Up until that point people all over the
world had thought of him as inviolate-
and then, all of a sudden, he was gone.
People were wandering around aim-
lessly in the streets, asking each other,
'How could this happen?"'
For Bedard, the ducks became a vehi-
cle to express a kind of "contemporary
symbology." Though these ducks were
nameless, they were telling. Soon after,
Bedard followed with originals bearing
such titles as "The Failure of Capital-
ism" and "The Failure of Marxism."
Bedard's ducks began to take on new
and expanded meaning. No longer rele-
gated to the burdens of American pop-
ular culture fraught with names like
Daffy, Bedard's paintings elevated the
status of the duck to the same level as
traditional Indian symbols, such as the
Hawk and the Crow.
As Bedard's ducks began to mature
and take on new and expanded mean-
ings, so did the artist. "My range of
appreciation has become much broader
than it used to be. Now I can appreciate
almost anything, whereas in my youth,
I didn't have the confidence to embrace
everything around me. "
Part of Bedard's maturation process
involved stepping away from his artistic
world, taking 1986 off, facilitated by the
tremendous working relationship he had
forged with Luna Art and specifically
publisher Michele Hancock. Bedard is
constantly amazed that they have been
able to iron out all the mundane prob-
lems of the commercial art world, big
and small, without a written contract.
"Michele has always been very 'sim-
patico' with my approach to art," admits
Bedard. "Even in the beginning, when
she could hardly give my art away, she
 "The term fine art has become almost a new
yuppie religion . . . all it really is is a marketing term
. . . fine art runs the garnutfrom good comic book
art to commercial illustration."

stuck with me and my ideology."
One standing rule that Bedard and
Hancock adhere to strictly is that they
never discuss demographics. They both
regard catering to consumer likes and
dislikes as a detriment to the creative
vehicle. Bedard suggests that by con-
cerning yourself with special segments,
"you lead yourself outside of the source
. . . art must come from within your
own life . . . you must be certain to stay
within yourself, the genesis of the suc-
cessful form to begin with."
Bedard's period of self-discovery,
r) AIRBRUSH ACTION/SEPT-OCT 1987
specifically his year away from his
drawing table, provided him with a new
perspective on his craft. "I began to pay
attention to artists outside of my realm,"
he says excitedly. "Looking out from
within, I began to see things differently
on the insides of my eyelids. . . . I really
enjoyed what I saw."
What Bedard saw was that the circle
of creativity is unbroken. Like the great
artists before him, as Bedard began to
mature, he found himself searching out
more simplistic routes of expression.
"My signature was still whimsical, but
it began to take shape along more sur-
realistic lines," he surmises. "As I
became more dream-oriented, I found
myself being reattracted to the most
indigenous American art form of them
all: the cartoon idiom."
For Bedard, animation and cartoon-
ing conjured up wonderful childhood
memories. "Cartoons were never meant
for children. They were full of social
and political satire. It's a relatively recent
phenomenon that has equated cartoon-
ing with children," he insists.
Today, Bedard is hard at work on a
television project for NBC, scheduled to
begin production early this fall. The script
is in the storyboard stage, and with the
help of Los Angeles-based Whitney
Demos, Bedard is teaming up with the
"Thinking Machineu+ state-of-the-art
computer that is able to duplicate ani-
mation on the computer screen. "The
amazing thing about this process,"
Bedard explains, "is that the effect is
one of beauty and grace, not the robotic
animation one would usually associate
with a computer."
Bedard is well versed in television
experience, having completed several
animated films for Japan. His client list
includes the Japanese Postal System and
AKA1 Corporation. "The movie theme
borders on the abstract," suggests the
42-year-old artist. "Even though I'm still
working in a familiar area, with the help
of a computer that can airbrush fantast-
ically, the ducks will divert into new
and exciting areas."
Likewise, Bedard predicts that in the
years to come, he too will be breaking
new ground. "I would like to throw a
few pies in a few 'fine art' faces with
my humor and craft. I'm curious to see
how my art will do on an ultra-fine art
level. It will be a fun challenge, espe-

"Cartoom were never

meant for children. They
were full of social and
political satire. It's a
relatively recent
phenomenon that has
~ilureof Marxism"; 24" x 3 0 ; acrylic on rnasonite; 1983
equated cartooning with
children"

cially in light of the fact that America

as a society takes its art much too seri-
ously. In fact, the term fine art has
become almost a new yuppie religion,
when in actuality all it really is is a mar-
keting term. I believe that fine art runs
the gamut from good comic book art to
commercial illustration. "
And while his ducks broaden their
base, Bedard will be doing the same.

-
"The greatest illusion is that success
leads to a trouble-free existence. In
actuality, the greatest obstacles occur
when you're the most comfortable. It is
much more marvelous to be young and
hungry. This is why I continue to exper-
iment with new avenues of expression:'= "First D ; on Mars"; 4 0 x 35"; acrylic on rnasonite; 1979

AIRBRUSH ACTION/SEPT-OCT 1987 23

W E AIRBMlsH I N GEIIERAL: "I love the airbrush in the sense
that it is such a wonderful tool. Unfortunately, a lot of today's
airbrush looks like frosting on a turd. In actuality, the airbrush
is only as good as the artwork that's underneath it."
COMMERCIAL AltT: "Commercial art has risen to a new level
of accomplishment and craft. It has always been interesting
to me to see how art chronicles a period of history. For instance,
Andy Warhol's minimalistic renderings perfectly summed up
his era. Today, it is difficult to make a choice between com-
mercial art and 'fine art' with regard to which best chronicles
modem times. "
AIRBRUSH CHOICE: "I have a number of airbrushes, which I
use in different situations.
"Sometimes I even enjoy the 'gunked up' effect that cer-
tain airbrushes can give after repeated use without cleaning.
. . . You have to experiment and be open to trying new
techniques. "
PUNT CHOICE: "I use acrylics as well as a product from France
called FlashC. "
SPECIAL EFFECTS: "When I tire of the homogeneous 'painted
on velvet' look that a conventional airbrush yields, I turn to
different tools to create different textures. One of my favorites
is spattering paint with a toothbrush. It's important to exper-
iment with a lot of different tools when you're trying to create
special effects. Allow for an accident to happen every now
and then-you may end up with textures that you never expected
to happen in the first place."
SURFACES: "I've played around with lots of different surfaces.
Of late, I've been experimenting with Masonite by layering
gesso, then sandpapering, varnishing, and sandpapering again,
yielding an eggshell-type finish. I also use Contact paper instead
of friskets, because of its relative cost effectiveness and its
ease of handling. If it is too tacky for the surface, all you
have to do is dampen and pull it off-this removes fifty per-
cent of the glue each time."
WORK SPACE: "I built a studio outside of my Topanga Canyon
home. It's nothing fancy, a free-standing barn of sorts, but it
is well ventilated and affords me with inspirational views of
the Pacific Ocean and Catalina Island."
HEALTH AND SAFETY ISSUES: "I work mainly with acrylics,
which pose little problem with fumes, but because of the dust
particles I use a dust mask. I'm constantly appalled at the
number of artists who set up shop in their living rooms and
don't allow for proper ventilation or space."
c u l R l r m W-P: "With so many different types
of galleries out there, you have to be careful not to be taken
24 AIRBRUSH ACTION/SEPT-OCT 1987
advantage of. Especially with novices, many galleries will
offer consignment arrangements, which can be dangerous if
not administered carefully. Because most novices have never
represented themselves before, I would recommend securing
the services of an agent. You have to be realistic with regard
to your own talents and develop communication along those
lines. All too often, if there is any measure of artistic success,
it quickly becomes a business of sorts."
MERCHANDISINl3 "I always felt successful even when I was
penniless. As long as I was working on a piece, I felt great.
I never set out for huge, commercial successes-at least I
didn't set sail straight for it. Along the way I turned down all
types of merchandising offers-after all, having your artwork
appear on bar napkins and beer mugs really destroys the
artwork.
"You have to be pragmatic about developing a collector's
base-after all, just because something is popular doesn't mean
they have to run it up the flagpole. Limited editions and the
discount bin at the Pic'n'Sav just don't mix!
"I'm much more comfortable on a small level. It gives me
the greatest pleasure to hear someone remark that one of my
paintings can always make them laugh, no matter how down
a day they're having. Faddist, merchandised 'formulas' don't
affect people that way. I make a decent living, yet it's all
controllable. This [fits with] my philosophy."
ADVICE TO NOVICES: "I think it is crucial to develop your own
style. When you develop a style that relates to your person-
ality, you transcend into a certain sense of magic. You should
strive for a signature-something that separates you from the
rest of the crowd.
"Also, you should always be working toward excellence.
It was Burt Reynolds who once said, upon accepting an award:
'Special thanks to all the people who said I couldn't do it.'
In essence, it will always be the bad projects and the lowly
jobs that make you the most hungry."
MOrmATlOIY: "Once I became technically proficient, it would
have been all too easy to crank out another poster in the
machine. Instead, you have to create a balance between tena-
ciousness and confidence. The ego part of the business is
probably the hardest to learn. At times the ego can be used
like a tool, but it can't be the main focus. If it is, at the end
of the day there won't be a well deep enough to draw from.
"I feel like I've earned the right to be an artist. The moti-
vating factor is not just an avocation; it lives with you a great
deal of the time. Being consumed with a personal vision is
being an artist."
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26 AIRBRUSH ACTIONISEPT-OCT 1987
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Please circle Reader Service no. 44

 BY JEFFREY RESSNER
S ome airbrush artists may be more
famous or more creative, but none
is quite as outrageous as Ed "Big
Daddy" Roth, the king of the hot-
rod shirts who invented such weirdo
monster designs as "Lover Boy,"
"Chevy Man," and, of course, "Rat
Fink. "
An airbrush pioneer as well as one of
the world's premier custom-car crea-
tors, Roth was instrumental in the 1950s
for bringing T-shirt designs beyond felt-
tipped-pen scrawls to the streamlined
airbrush look.
Big Daddy has served as a mentor to
artists Rick Griffin, Alex Toth, Dennis
Ellifson, Robert L. Williams, and Ed
Newton, all of whom helped illustrate
various Roth paraphernalia. Other spray-
gun experts citing him as a major influ-
ence include Todd Schorr and Mark Rush.
AIRBRUSH ACTION/SEPT-OCT 1987
Roth first became modestly success-
ful lettering T-shirts with very crude
brushes and felt markers during the
1950s. A Southern California drag-race
nut who drew car club names on World
War I1 surplus shirts, he got into the
monster game accidentally.
After a boring session painting a big
order one day, he put a flying dripping
eyeball on a shirt just for kicks. The
customer flipped-then others came in
asking for the same warped symbol.
Soon Roth was able to charge extra
for his shirt designs, which became more,
uh, sophisticated. Since Walt Disney's
lawyers were cracking down on guys who
copied the ever-popular Mickey Mouse
on shirts, Roth decided to draw an origi-
nal creature, based on his concept of
Mickey's grizzled old dad. Thus was Rat
Fink born.
As the Fink's unofficial bio states, "To
put it politely, Rat was a bit of a freak.
Big bulging eyes, enormous hairy ears,
misshapen razor-sharp teeth ill-fittingly
placed into his gaping mouth, and a long
skinny excuse for a nose."
According to Roth, "I put RF on the
chest 'cause a lot of comic heroes had
[letters on their chests]. Rat Fink was a
guy that ratted off his friends. A snitch!
A squealer. . . . This way when the
Disney hit men came to watch me at the
shows, they never bothered me."
More than a mere fad, however, Roth's
"rancid sidekick" soon became a sym-
bol of rebellion for little kids, grease
monkeys, and others with a sense of the
absurd.
Roth's career really took off in the
next decade, when the Revel1 model car
company based a series of plastic figures
 Daddy" Roth.

PHOTOINEIL NISSING AIRBRUSH ACTION/SEPT-OCT 1987 1)


Sitting by his trademark character the Rat Fink. This was Bi
Daddy's prediction of what Mickey Mouse's father looked fke.
on RF and Roth's other creations. The
eye-popping toy statues became instant
hits, with sales easily matching big-name
superhero and movie monster models of
the era.
Roth also picked up the "Big Daddy"
moniker around this time. He claims he
was "forced into using it" by the model
company. "It stuck," he now' laughs.
"People love an outgoing person. Who
would you rather buy a shirt from, Tom
Davison, or 'Mad Mack Heart Attack'?
Get the point?"
Although you can rarely find Rat Fink
models these days, Roth is still in the
T-shirt business, and you can catch him
at most major car shows or surfing events.
"I usually get Franco from San Jose
to paint in my booth," he says. "There
are many T-shirt artists today. Tom Dav-
ison from Kansas City and Giant from
Frisco and Renero from San Jose. All
of these old-timers are still at it. Now-
adays we get more than a buck to do a
shirt. Depending on the area where we
go we get as much as fifty bucks for a
hand-drawn shirt. "
A large, effusive man with a weird
beard who wears a snappy-if some-
"You can protect your characters by sending
off to Washington, D.C., and doing certain
things in the trademark office for $30 that
would cost you thousands if you went
through an attorney. But they don't tell
you that."
w
of the world," he boasts. "The same
designs are always popular-the surfing
stuff and the drag-race stuff. The battle
between Chevy and Ford continues. Even
though Japanese cars are more popular,
the American brands still dominate."
constantly draws big crowds to gawk not Besides the goofy paraphernalia, Roth
only at his rip-snorting shirt designs but offers a number of instructional items
also his collection of mind-boggling through his direct-mail outlet, including
automobiles. "how to" videos and booklets dealing
with airbrushing and silk-screening
utside of the underground art T-shirts. Because t e makes a tidy living
scene, Roth has gained respect selling this stuff, he doesn't want to give
in the racing world, building away any trade secrets here.
wacky show rods like the Nevertheless, the big guy did consent
"Beatnik Bandit," a fiberglass and to an interview to talk about his life,
chrome contraption complete with see- artistic philosophy, trademarked char-
through bubble top. Among his other two acters, and a host of other topics. Unfor-
dozen loonmobiles are the "Mega Cycle tunately, there wasn't enough time to grill
Transporter," "The Pink Bazooka," him on too much because he was about
"Asphalt Angel," and the "totally to take off for Alaska and parts unknown
chromed-out Druid Princess." in his latest "experimental vehicle, ' ' an
Using these eccentric cars, zany indescribable car dubbed "The
monster ,designs, and even his own per- Globehopper."
sonality cult as a springboard into the Here's a taste of the unexpurgated Ed
mail-order business, Roth has become a "Big Daddy" Roth. Candid, frank, and
profitable one-man industry over the straight from the hip, Roth is a non-
years. Order a copy of his MAZOOMA! sensical guy who talks no nonsense. In
catalog (14245 San Feliciano Street, La fact, if you have any of your own ques-
Mirada, CA 90638) and you'll see hats, tions you'd like to ask him, he encour-
T-shirts, masks, key chains, skate- ages people to call up directly. "If ya
boards, greeting cards, posters, clocks, get lonely and wanna rap with me in
and comics all emblazoned with Rat Fink person," he offers, "just get on the horn
and other neat logos. and call me at 714-523-8676."
"Our mail-order business receives And now, a few words from Big
AIRBRUSH ORIGINS Roth decided to draw an
"I was using softball pens, but after all
these shirts came in, I couldn't do it that original creature, based on his
slow anymore. I was also painting cars,
so I went down to a guy who had spray
guns for the auto designs. I looked around
concept of Mickey Mouse's
the office and saw this little cigarlike
spray gun in his cabinet. He said people grinled old dad. Thus was Rat
used it to touch up car fenders 'and paint
in key scratches or rock nicks. He also Fink born.
said guys like Vargas and Petty used them
to paint the calendar girls. The thing was
old and had dust and cobwebs all over
it. I took it home to see if I could draw
with it, and, man, I could whip those
shirts out a whole lot faster."

PAINTS
"If you're going onto paper-which I've
never done-there's certain types of paint
that you use. For textiles, you gotta use
one of two colors. There's a company
in Carrolton, Georgia, that makes acrylic
paints, and there's a company in Colum-
bus, Ohio. But I like the way the paint
smells from Georgia because they make
it smell like the color. Black smells like
licorice and brown smells like choco-
late. People at shows always walk by
and comment it smells good. Then again,
I've taken shirts to people and they've
returned them because they don't like
the smell."
Ed Roth with Annette, 1962 Big Daddy Roth with the power plants of
PROTECTINGYOUR WORK one of his dream cors Mysterion.
"I strongly suggest that each of you
develop your own character. This way
you never have to go through all the priced things to do. You can protect your motorcycle tanks. With a normal air-
legal hassles of copying and getting characters by sending off to Washing- brush you can't tip the cup, so you have
busted. So far I've created about fifteen ton, D.C., and doing certain things in to make an arrangement so you can hold
different characters. The development the trademark office for $30 that would it in a vertical position. Also, the needles
of the character is OK until you try to cost you thousands if you went through never seem to go back and forth far
protect them. I trademarked Rat Fink, an attorney. But they don't tell you that." enough, so you have to enlarge the slot
and if people try to rip me off, I go after where the trigger is so you can pull it
them. We've dealt with two of them in CUSTOMIZINGAIRBRUSHES back farther. You also have to modify
court, and the rest slack off as soon as Roth doesn't really like talking about them if you want to paint T-shirts. But
they realize where we're taking them. different airbrushes, because he claims the guy sitting in an art studio painting
Without a registration or a trademark, "the mechanics of all airbrushes are the canvas on an upright easel doesn't need
you're in trouble. You can't go to an same. When you get one and you want these changes, because he just pulls back
attorney and have him explain this to to do certain things with it, you have to the trigger a little and the paint comes
you, 'cause he'll tell you all the high- modify them. Say you wanna paint out."

AIRBRUSH ACTION/SEPT-OCT 1987 31

- - - - -
 Roth was instrumental in the
Celebrity approval for airbrush
products in print and ads. "I don't get 1950s for bringing T-shirt
into endorsements," Roth says flat out.
"They give me so much trouble at these designs beyond felt-tipped-
companies that I don't even want to talk
about them. Besides, the spray guns I pen scrawls to the streamlined
use are so far away from what comes
out of the factory that it doesn't even airbrush look
resemble it. "
Compressor prices. "They charge
$400 to $600 for one of those small
compressors, and they should be charg-
ing about $100. I can't see how they get
away with that. "
The high cost of booth space at
events. "You can be very good at paint-
ing shirts nowadays, but you can't have
any place to paint them. The space [costs]
at swap meets, car shows, and race events my head. Anybody can draw what they myself. "
are astronomical. Ten feet at the Street see, but my type of art is what you can't Big Daddy concluded his off-the-cuff
Rod Nationals goes for $2,000. You can't see. " remarks by saying that it's not the spe-
paint $2,000 worth of shirts in four days, Fame. "I'm not the outgoing type of cific airbrush or brand of paint that's
so the trick is to silk screen your best person and have a hard time with the important to him but rather the subject
designs and sell the prepainted shirts as autograph bit. [But] I've always been a being painted.
you're doing original ones. " firm believer in sharing my knowledge "No matter whatever airbrush you use,
Prima-donna artistes. "I stay away with others. I've written many books and the style is still the car with the monster
from people trained in art school, because made many videos on how to airbrush in it, 'cause that's what the kids want.
they draw women and horses and pic- and make silk screens, etc. When I was They love that hand coming out of their
tures as things are. I draw pictures in a kid I had to find these things out for favorite car shifting the gears."

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Please circle Reader Senrim no. 78
AIRBRUSH ACTION/SEPT-OCT 1987 t)
Multiple-technique drawing by Barry Jones

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ideal as a wash on pencil or ink-line drawings, St., Bloomsbury. NJ 08804 (201) 479-4124. In
or as a glaze over acrylic, tempera and other Canada: 1815 Meyerside Dr., Mississauga,Ont.
waterproof media. 7 G 3 (416) 671-0696.
1----1111m-wm-m
Rotring Artist Color was formulated specifi- Yes. Koh-l-Noor, I would like to know more about
cally to be used with a charted drop-count sys- Rotring Artist Color, Please send me your free
tem, making it possible to mix and, thereafter. I brochure K-1407.
duplicate anytime any number of intermediate I
hues and shades. (Colors become opaque 1M E
when mixed with black and white Artist Color.)
No more taborets, drawers, boxes and shelves
filled with uncounted numbers of ink bottles or
Distributed by
II FIRM
ADDRESS
markers; you can be sure of having enough of
any one or more selected drop-count-system D" I CITY
colors to last through any project. When you I STATE ZIP
run out of a special color, just mix up another I (Please print or type) ABF..-9110187
. . ( BRAPIDOGRAPH #maReg~steredTrademark 01 K o h - I N Rapdograph Inc
batch, using the same drop-count formula. ~~ ~p

Koh-l-Noor Rap~dographInc lm Nonh St Bloomsbury NJ 088W

Each bottle of Rotring Artist Color has a unique o lgbhgcompany 1 In Canada 1815 Meyeslde Dr Mlsslssauga.On1 L5T 1G3
olgB7 Koh-I-Noor Rapldqlraph Inc
Please circle Reader Service no. 79
Not only the first,but sim~lvthe finest!
4 I d

I DEVILB1 SS CvA
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fl "Sprite" gravity-feed and "Sprite Major"
siphon-feed models. So. whether you are a
1 Yes, KOH-I-NOOR! I would like to know more about
DeVilbiss Aerograph. Please send complimentary
professional or an amateur, DeVilbiss preci- literature to:
AEROGRAPH AIRBRUSHES -,ion provides performance for the value. I
Traditional British pride in performanceand This illustration by Barry Jones wasaccomp- I
value is certainly apparent in DeVilbiss Aero- lished with the Aerograph Super63 "EM,using NAME (Please Print)
graph@ airbrushes ...the first commercial dilutions of concentrated Pelikan Plaka ca- I
atomizing devicesfor depositing liquid colors sein paint and Rotring transparent Artist I
Color. See your dealer or write for literature. I FIRM
onto a surface. This art technique was called I
aerographing, until competition came along Koh-I-Noor Rapidograph, Inc., 100 North St., i
Bloomsbury, NJ 08804 (201) 479-41 24.
and had to find another name for the tech-
nique we now call airbrushing. Distributedby
1
I
ADDRESS

Aerograph airbrushes include the Super 63, i

"A" Model, for "delicate" professional work,
such as photo retouching, and "E" Model with
KOH=ImNOO I CITY
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STATE ZIP
ABA-9110187
I Koh-I-NoorRapidograph. Inc.. 100 North St..
extra-large cup. The series also offers the I Bloomsbury, NJ 08804 01987
o m n g company
Please circle Reader Service no. 80
w hen Michael Cacy tells
you that it's the "char-
acter of an illustra-
tion" that intrigues
him, you get the feeling that the empha-
sis is most definitely placed on the word
character. With over 18 years of profes-
sional experience as an airbrush illustra-
tor, Cacy has donned many caps, many
styles, and many looks in an effort to
keep a fresh perspective on his craft.
"I consciously avoid limiting myself
to one style or Iook. Instead, I allow
each particular project to dictate its own
direction. Art directors generally have a
pretty specific idea of what they'd like
to see but at the same time are open to
input from the illustrator. By constantly
shifting gears, I keep myself versatile
(and sane). I don't think I could do the
same old thing every day of the week
36 AIRBRUSH ACTION/SEPT-OCT 1987
and remain excited about my work. New
challenges, please! "
An honors graduate of the Art Center
College of Design in Los Angeles, Cacy's
background includes graphic design, art
direction, motion picture and television
art direction, and illustration. "I didn't
originally intend to be an illustrator at
all, " recalls the 40-year-old Oregonian.
"I started out as a film art director in
Los Angeles and then decided to return
to my 'native land,'-the Pacific North-
west. My intent was to be a graphic art-
ist. Most of my clients just assumed that
I was an illustrator, so I developed a
kind of accidental balance between the
two. "
Cacy's initial dealings with the air-
brush were happenstance as well. "As
a high school student, I was always stuck
taking the academic classes when I really
wanted to take art classes," he remem-
bers. "Finally, in my senior year, I got
to take an art class. There was an air-
brush in the class, but nobody knew how
to use it. As is the case with most air-
brush artists, I taught myself."
As fate would have it, today Cacy
divides much of his working time
between the studio and the classroom,
having become the very teacher that he
never had. Cacy has lectured exten-
sively on airbrush techniques through-
out the country and overseas. Currently,
he teaches professional workshops for
Dynamic Graphics Educational Foun-
dation, offering courses in airbrush
illustration techniques, and advanced
illustration. Cacy has no delusions of
grandeur with respect to his professorial
aptitude, but he is enjoying the "crea-
tive stimulus" of shared ideas and tech-
 "By the time I'm eighty
I intend to be a monster illustrator"

MICHAEL CACY: AN AIRBRUSH

ORIGINAL
BY HARVEY COHEN
AIRBRUSH ACTION/SEPT-OCT 1987 37
AIRBRUSH ACTIONISEPT-OCT 1987 1
niques with students as well as fellow
illustrators: "My heart is in illustra-
tion. . . . I'm not interested in devoting
my life to teaching, but my arrangement
with Dynamic Graphics has really worked
out nicely. Nearly once a month for the
last four years I've taught workshops at
their facility in Peoria, Illinois. I prob-
ably have the distinction of having tal-
lied more hours in the air that any airbrush
artist in the world!
"The courses are strictly profession-
ally oriented, so primarily professionals
attend. This has allowed me to structure
the course at an extremely high level,
resulting in red-hot productivity and
results. That's exciting to me, but the
real thrill is comparing notes with other
professional illustrators from around the
world. We've had attendees at the Peo-
ria sell.;nars from China, Japan, Eng-
land, Italy, France, Saudi Arabia,
Kuwait, the Philippines, Puerto Rico,
Canada, and Bermuda, just to name a
few. "
Cacy divides much of
his working time between
the studio and the
classroom, having become
the very teacher that
he never had.
CACY AT THE BAT
When the question of style arises,
Michael Cacy is definitely in his own
realm. Hesitant to classify himself in a
category with the so-called superreal-
ists, Cacy leans away from the photo-
graphic image, preferring to let the media
show through. "There's really no trick
to rendering photographically, just pati-
ence," suggests Cacy. "I prefer to put
a little more 'me' into the painting.
Sometimes it's a matter of stylizing the
subject in some manner. Usually that
means merely simplifying the informa-
tion I'm working with. I've always felt
that it's what you choose to leave out '
that makes or breaks an illustration."
Furthermore, Cacy's ability to draw
is a major component in his artistic arse-
nal. "While many airbrush 'maestros'
will be the first ones to admit that they
lack falent in this department, I feel as
if this is one of my major advantages. I
love to draw and paint." This allows me
to interpret a little better. It would be a
shame to have worked so hard for all
those years, developing these talents, and
then throw it all out the window.
If a client list that includes the likes
of Boeing Aerospace, Nike Interna-
tional, Speedo, Tektronix, I-Iewlett-
Packard, White Stag, Georgia-Pacific,
Honda Scooters, Mercedes-Benz Trucks,
Columbia Pictures, and Avia is any indi-
cation of his professional prowess as an
illustrator, it would appear that Cacy has
done everything but throw it all out the
window.
AIRBRUSH ACTION/SEPT-OCT 1987 39
 "By the time I'm eighty I intend to
be a monster illustrator," Cacy boasts.
":'ou get better with each job. As you
learn new things and constaritly shift
gears, your style metamorphoses. I think
one of the differences between me and
others is that I haven't zeroed in on a
particular style or trademark or look. In
the big cities like New York it may be
different, but I don't want the art direc-
tors of the world pigeonholing me.
Cacy is quick to point out that by being
"flexible" in style, many times he will
get the first call on "mystery jobsw-
jobs that require a great deal of irnagi-
nation and experimentation. Cacy loves
the challenge and usually responds with
a series of "style sketches," a set of
renderings done to scale. "Not only do
the sketches help establish style, color,
and technique," Cacy explains, "but the
techniques that evolve during the exper-
imental stage will often save enormous
amounts of time down the road."
40 AIRBRUSH ACTION/SEPT-OCT 1987
"Perhaps my greatest
accomplishment in
illustration has been staying
sane in the world of
advertising"
In particular, Cacy relays the story of
a Christmas "cover wrap" he did for
Nike International in which he was to
airbrush packing tissue around some
ornaments. The art director was partic-
ularly concerned with the texture and
style of the packing tissue, fearful that
an airbrush would render it too smoothly.
Cacy's response was a pair of style
sketches, the less complicated (and con-
siderably less time-consuming) of the two
involving the airbrushing around the
edges of some crumpled paper, yielding
a collage effect. "The job ended up tak-
ing me two afternoons instead of two
weeks," Cacy insists. "By exploring
more than one direction, the art director
was able to choose a deviation that fit
both the client's needs and the advertis-
ing campaign's time and budget. "
In recent years Cacy's work has
received more that 30 national awards,
including several ANDY awards from
the Advertising Club of New York.
"Perhaps my greatest accomplishment
in illustration has been staying sane in
the world of advertising," confesses
Cacy amusedly. "In actuality, however,
I enjoy working with the larger clients-
the work tends to be more exciting."
In addition, Cacy has written several
articles for artists' trade magazines, is
c m t l y a consultant to Airbrush Action
magazine, and has been featured in Dis-
ney's Epcot Magazine. His illustration
work appears in the 64th Art Directors
Annual.
That's Michael Cacy--a monster of
style, substance and character.
 ideal for certain landscape details, including foliage, lichen-
ous rocks, the ocean floor, or the surface of the earth as
viewed from the air-it has even been used to depict patterns
in leather; stippled textures achieved through low-pressure
airbrush settings. . . . with a little practice and experimen-
tation can produce realistic-looking feathers or fur; crumpled
paper; and many, many more, including the infamous Michael
Cacy ' 'hairbrush airbrush technique."
IN-rn "The basic airbrush illustration books
on the market are pretty good, with one complaint: It is dif-
ficult for the beginner to discern which book is teaching 'con-
ventional' technique and which book is espousing 'personal'
style. A book that I use as a studio manual in my course is
Norman Fullner's Airbrush Painting: Art, Technique and
Projects (Davis Publications, 1983). In addition to containing
solid, straightforward, conventional material, the book con-
tains three chapters devoted solely to troubleshooting."
BUSINESS ASPSECTS "I rely on my representative to go out
and get the big jobs. This frees up all of my time to work in
the studio. I have created a nice balance between hourly jobs
OH AIRBRUSH TECHNIQUE: "I believe firmly in appropriate and fixed-budget jobs. It is my belief that if I take on a fixed-
media. Use whatever works. I never expect the airbrush to budget commitment, I must be able to accomplish it within
perform feats better handled some other way. As versatile as the given amount of time.
the airbrush is, there are just some aspects of rendering that "When bidding on jobs, it is crucial to be as careful as
the airbrush doesn't do well. This may sound like a peculiar possible. Normally I won't pad my proposal-I assume that
admission from an illustrator best known for his &rush work, the job will go smoothly. However, it is imperative to take
but the lion's share of illustrations I've produced in the last into account with whom you are dealing-a particular art
18 years have actually been mixed-media works (with plenty director or corporate client can make your life miserable if
of airbrush involved, of course) as opposed to purist airbrush you're not careful. "
paintings. Airbrush works beautifully in tandem with other WORK SCHEDULE: "The sin of the airbrush illustrator is to take
media such as pencil, watercolor, pen and ink, and even on more than you can handle. Of course, the ideal situation
markers. ' ' would be an 8-to-5 workday, but you have to accept the occa-
AIRBRUSH CHOICE: "I use a double-action airbrush." sional 'all-nighter' as part of the deal. The upside to all of
PANT% "I've never found one paint that does all things . . . on this is what I call the 'freelancer's prerogative'-working all
a particular job I'm apt to take a variety of products and mix weekend frees up your Mondays. "
them together. If the medium does not perform exactly to HEMTn m W R A n "To help extend your life span, make
your specific needs, add a dash of another medium to build certain that your studio is properly ventilated, regardless of
your own airbrush paint. . . . If your project warrants a paint which media you use. And when airbrushing, always wear a
that hits somewhere between opaque and transparent, simply face mask to avoid inhaling fumes. I also highly recommend
mix opaque and transparent paints in the same mixing bowl Michael McCann's Artists Beware-required reading for the
and test them until you achieve the desired translucent effect. airbrush illustrator."
"Because each product is unique and performs a special FAVORITE ASSIGWMEWTS: "The last one I finished. Actually, I
task in its own way, you would be hard pressed to find a really enjoy working on projects of my own. Lately I've had
professional who relies on one medium alone to do it all. All the guts to do what I really want to do for myself. I'm working
good illustrators have to be willing to 'shift gears' when new on a limited edition set of prints for some time in the future."
and improved products become available." TEACHIWG: "I have taught airbrush techniques extensively
SURFACES: "This is not an area where you should be cost- throughout the country. In February I taught a couple of
conscious, as low-cost materials can turn your labor of love professionally-oriented workshops in London for Dynamic
into a nightmare. Therefore, do not scrimp in this area. Buy Graphics Educational Foundation. Naturally many of the
only professional-quality board or paper. I recommend using attendees were British, but I was surprised to find artists from
a flexible board for art that will be laser-scanned. For highly West Germany, Belgium, Denmark, Sweden, Norway, and
technical work I would opt for a very smooth surface. As Scotland. I'll spend most of the rest of this summer in the
with all airbrush work, you need to be very much aware of South Pacific in Singapore, Australia, and New Zealand.
all the variables involved in a particular job; surfaces and Interest in some South Pacific locations has been so rampant
paints combine to form a mosaic." that we've already had to add overtlow seminars to accom-
MASKS AND FRISKETS: "Since only the highest quality illus- modate those wishing to learn airbrush (and, unfortunately,
tration surfaces will withstand the aggressive adhesives of there goes my play time). ' '
high-tack frisket films, use low-tack frisket materials when- ADnCE TO WOVlCES: "Since most airbrush artists are self-
ever possible. When the project calls for it, I use unconven- taught, you should find solace in the fact that anyone can go
tional masks as well. Basically, you should use whatever works at it. . . . It's important to learn the rules first, and break
best for a particular situation." them later. I highly recommend experience above and beyond
SPECIAL EFFECTS: The creative use of polyester quilt batting, art schools and workshops. Whenever possible, opt for the
employed successfully to indicate dust, smoke, forms within real-life experience of jobs and apprenticeships. You will
flame, underwater effects, spray in rolling surf, and numerous probably learn more in one year of on-the-job training than
other weather conditions; creating textures with salt and dye, in four years of school."
AIRBRUSH ACTION/SEFT-OCT 1987 41
A R T
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IANDBOOK I
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By Fred Dell end Andy Chmbmwth
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Here is the essential reference manual for all airbrush
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Sections on accessones and techniques offer a concise
Overview Of the effects that can be obtained with an
airbrush, and provide a useful, cost-effectiveguide to
mixing and matching the wide range of equipmenl available.
Useful techical s p e c i f i s , mbkshootmg charts,and
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ESPRIT '
 LEGAL GUIDE FOR THE
VISUAL ARTIST

: The Eoqulre h a m 1966 Portfolio Calendar

: Few will fail to be touched by Ihe Varga Girl's beauty and

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tnnocance. From the flrst appearance-in the the1 W
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I THE GRAPHIC ARTIST'S 1968 Verga ~irkalendarpublished by AMe(
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GUILD HANDBOOK

And, it's the only book that keeps current on rights,

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lmJivkkd, corpaahon, or lnsbtubon that deals ~nthese
 AN EMPIRE BUILT ON
FINGERNAILS
Ekstrand's . brushed fingernails and do an
"sample board
showing various
designs done with her airbrusn
rt, beauty, business, and profit.
That's the standard success
equation for the airbrushed
.fingernail industry. In the
flashy 1980s, fingernails are serious
business. And why not? These days the
heart and brain are overrated organs.
To be candid, you make it in this world
with your hands and feet. After all, don't
you have to get your foot in the door for
hands-on experience, after which you
scratch and claw up the corporate lad-
der, only to get your hand slapped or
your toes stepped on? And when the cards
are on the table, it's really nail-biting
time.
And then, when you die, your nails
keep growing.
The interest in airbrushed fingernails
stretches from Dolly Parton to the run-
ning backs of the Los Angeles Raiders.
Considering this new status of the ordi-
nary fingernail, I decided to drag my
beleaguered cuticles to the mecca of fin-
gernail airbrushing, Pacific Airbrush of
46 AIRBRUSH ACTIONISEPT-OCT 1987
BROCK MEEKS
Anaheim, Calif., to get the story first-
-
hand, so to speak.
Before contacting the folks
at Pacific Airbrush, I sud-
denly became self-con-
scious of my own
fingernails. With a pair
, of underused clip-
pers, I chiseled my
L nails down to
"sport" length, as
opposed to "gla-
mur" length.
Somehow I didn't
think I'd be jawing
with Old Madge
while she slam-
dunked my finger-
nails into a wading
pool of Palmolive. I
called to set up the
interview.
"I'd like to come up and
, shoot some pictures of air-
interview."
' 'Is that all?"
Is that all?
"No, I'd also like the bone chips
removed from my tom rotator cuff."
"Excuse me?"
"Yes, just the pictures and the inter-
view." I was all set.
Nailing Down an Empire
Pacific Airbrush built its empire on mil-
lions of canvases the size of fingernails.
In fact, those canvases are fingernails.
And it is an empire on which the sun
never sets.
The impact of Pacific Airbrush on the
nail industry is felt nationwide and in
foreign countries such as Japan, Vene-
zuela, South Africa, Germany, England,
France, and New York City.
The airbrushing of fingernails is a
multimillion dollar industry. Consider that
hundreds of millions of fingernails are
airbrushed every year, and even at a
meager $1 a nail, it doesn't take a super-
computer to tally the bottom line.
According to Nails magazine, the
number of manicurists in California alone
has grown from 10,000 to 35,000 in the
past five years. A good 20 percent of
those are male manicurists, and over half
of all manicurists are already airbrush-
ing fingernails. Dick Palm, owner of
Pacific Airbrush, says, "In five years
every manicurist will be airbrushing
nails. "
Dropping into the headquarters of
Pacific Airbrush is something like drop-
ping into Cheyenne Mountain, home of
the North American Air Defense Com-
mand (NORAD). The place is a beehive
of activity, poised on the edge of chaos,
ready for any possible contingency. This
place operates at DEFCON I1 status.
(DEFCON I is NORAD's alert status
for a nuclear attack.)
Ultra-Brite smile: "Yes, Mr. Meeks?
They're waiting for you in back." In the
war room, no doubt.
Ushered into the back, I'm struck by
the combination of glitz, grit, and glam-
our. I sit in a small lobby surrounded by
a brown-paneled homeyness. Soon, my
interviewees arrive.
The Players
Debra Ekstrand is the model of the day.
I notice her hands, more exact, her fin-
gernails: They are exquisite, with none
of that man-eating, Corvette-red polish
some women wear.
Her virginal nails, however, lie. In
reality they are the subjects of perhaps
thousands of airbrush experiments. Two
years ago she didn't know an airbrush
from a spray paint can; today she teaches
a course in airbrushing fingernails. She
is also one-half of Pacific Airbrush's
diplomatic corps, which represents the
business, and the art, at industry shows
worldwide.
Next up is Frank Monnig. Tall, tanned,
and rugged-looking, he is the front man
for Pacific Airbrush, a self-proclaimed
glad-hander for the industry. He is street-
smart, a survivor of parochial school,
and when he talks his eyes belie a
knowledge of what excites and intrigues
the human spirit. His enthusiasm for this
airbrush application is infectious; his
demeanor alone gives this industry cred-
dibility. He is Ekstrand's complement
on the diplomatic rounds. A Rolex adorns
his wrist; his nails are immaculate; he is
a couple of gold chains and heavy co-
 tems for airbrushtng fingernails, and start to pool up on the surface of the
Pacific Airbrush is no exception. In fact, nail."
they sell four such systems. Monnig
Masking the Nails
researched and developed an airbrush
specially designed for the process. The
After the first two colors are on, again
airbrush is a double-action model with
flush the airbrush. The first masks are
an extra 118 inch at the back end to allow
now ready to be positioned.
for extra opening of the needle. "It makes
In applying the mask, the effect is to
i for easier cleaning," Monnig explains.
be that of an arrow darting to the center
1 Mist color dlagonall~over the top third Also, the nozzle is aerated to help pre-
of the nail, so place the wide end of the
of the nods Mlst second color d~agonally vent color buildup. mask at the tip of the nail (photo 2).
across the halfway polnt Darker at base
of nail and blendlng Into center In addition, there are special colors
Place the point of the wedge first,
I made for nails. smoothing the mask toward the broad
The plan for today is a four-color, two-
edge. There should be plenty of mask
mask set of airbrushed nails. "We call
hanging over the edge of the nail.
this a 'common graphic composite,' "After placing the mask, make sure all
1 says Monnig. the edges are down. Again, be con-
sistent in the placing of the mask; each
Getting Down to Biz nail must look exactly the same. Now
The first step is to precut the masks. prepare the third color, in this case,
I
2. Position first mask w~thpoint toward
Two sets of ten wedge-shaped masks are pearlescent coral pink.
cut (20 in all). Each mask should be These pearlescent colors are some-
center of null. Leave ample portion of mask consistent. The first is a ~ail-~haped tri- what thicker than the regular colors and
hanging over t ~ p of nail. SI th all edl
angle about 1 inch long by 112 inch wide, require a lighter touch. Monnig begins
narrowing to a fine point. The second by misting over the area previously
set is identical, but a bit wider at the painted. When painting over the mask,
base. be patient; trying to rush the buildup of
1 The masks are cut from standard air- color will cause the mask to buckle, and
brush frisket. Ekstrand points out that in you'll likely get bleed-through. A steady
her classes the students are supplied with hand and consistent light passes will build
precut, acetate stencils. According to the color quickly and cleanly.
Ekstrand, "The stencils allow the stu- When all nails are down, flush the
5 Spray color over mask and entlre nall dents a pattern color and set airbrush aside. Then remove
When opaque color 1s dry, remove all they get confident enough to start all masks (photo 3). As you can see, we
?asks experimenting with using frisket." have a wedge of pink fading into the
1 The nails must be prepped with a purple against a background of the pear-
"base coat." This seals the fingernail lescent coral pink.
and gives the paint a surface to adhere Monnig now places the second set of
to. (wider) masks over the wedge created
The first color applied is pink. In doing by the first. He is careful to include a
a full set of nails, 6 to 10 drops of color, sliver of the pearlescent coral pink
applied straight from the bottle, are beneath the wider mask. After these
needed. For this article only two nails masks are in place, the final color-that
4 Spray last color over entlre nall and
are being done, but the technique is the man-eating Corvette red-is loaded into
start heavy toward and fade to same for a full ten nails. Monnig starts the airbrush.
the base of no11The f~nlshednall, a by misting just the tip of each nail This last color is opaque and will cover
"common graphic composite" of four colors diagonally. 1n doing a full set of nails, up the previous top color, the pearles-
and two masks. you build color by lightly misting all the cent coral pink. Monnig mists each nail
logne away from being a Calvin Klein nails and then return to the first. You with several passes, building the color
fashion model. After 2 1 years of repair- control the depth of color and gradation darker at the tip of the nail and light at
ing broken piston rings and differentials by making numerous passes. the base.
and busted up fenders, he's now repair- After the pink Monnig flushes the air- When the last mask is removed, the
ing drab and artless nails. It is he who brush and loads up with pearlescent pur- effect of the "graphic composite" comes
will be applying the trade today. ple. This color is applied to the base of to life (photo 4). The elapsed time for
each nail. The color is applied heavy at this demonstration: seven minutes, tops.
The Set Up the base and blending with the pink at After the airbrushing, the final step is
The airbrushing of nails doesn't rely on the center of the nail (photo 1). On this to cover each nail with a top coat. This
talent, according to Monnig, who says, series of passes Monnig concentrates on top coat bulletproofs your fingernail
"You're not dealing with art, you're the center of the nail. Staying in control, masterpiece.
dealing with creativity." The extent of he parallels the angle of the pink, cre- ~ o n n says
i ~ that a typical set of air-
airbrushing nails runs from a simple 15- ating the transition of pink to purple. brushed fingernails will last up to three
minute, one-color polish-or "blow and Monnig points out that distance is weeks. However, if you happen to be in
go," as it's known in the trade-to a important. "It's a learned technique," the NFL, running that power sweep
custom, multiple color or pattern scheme he says. "With practice you develop a against the Miami Dolphins, you'll
that can take an hour or more. distance that you feel comfortable with. probably have to have your nails air-
Several companies sell complete sys- If you get too close, you'll have the paint brushed a bit more often. . . .
ALL PHOTOGRAPHSCOPYRIGHT 1987 BY BROCK N MEEKS. 1987 AIRBRUSH ACTION/SEPT-OCT 1987 47
pacific Airbrush's Key
To Success-
Education
Conrad Hilton once said "The three secrets of success
are location, location, location . . . " The secret to our
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We cater to artists, hobbyists, cake decorators,
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We stock Badger, Binks, Devilbiss, Iwata, Olympos,
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The world's largest display of airbrush equipment is
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Please c~rcleReader Service no 85
4 The "heart and soul" of the studio-theworkstation. Maximum floor sp ~mplementedby efficient storage comportments,
comfortable, sturdy equipment, and good lighting.

50 AIRBRUSH ACTION/SEPT-OCT 1987 FWOTOYNEIL NlSSlNG

 1 Reception and conference area. Light, airy and comfortable--on 2 The reference library, easily accessible for all artists in the studio
attractive place for client meetings that doubles for a break from and well stocked with reference books and "scrap."
long work hours for the artists.

n my travels across the country pro- Since the editor of this magazine wanted an article on a model
moting airbrush products and doing
college lectures, I've had the pleasure studio, and since he's seen mine, we decided to contact my old
-of visiting hundreds of artists' studios
and seeing the ways they are set up. Just buddy, Dave Willardson.
as there are many kinds of artists and
..
styles, there are various setups for stu- beach in South Laguna, California. had to look for a picture of a thing-a-
dios. I've heard it said that a clean desk The rest of the studio is hard to ma-bob with a doohickey in the middle
is the product of a sick mind, and with describe because it is totally covered with of it. I personally have painted at least
this saying in mind I came to realize a half-million used X-Acto blades, bot- a hundred of them.
why ~ s ~ c h oToday
l o ~ had
~ an article on tles of paint, frisket backing paper, used We all know how important it is to
the high proportion of manic depres- acetate sheets, dirty airbrushes, broken have good reference scrap, and Dave's
sives among creative people. So if by templates, dirty rags, airbrush tubings, library is one of the best I've ever seen.
accepting the fact that we artists are all compressors, and a few other things I It also looks good to the client, who
crazy, we can proceed to create our stu- can no longer identify. thinks you actually read all those books.
dios in our own images. Since the editor of this magazine Also in the library area are large files
Even though this article is not about wanted an article on a model studio, and for storing illustration boards, pads, tis-
my studio, 1-thought I would give you since he's seen mine, we decided to sues, and finished artwork-and a great
a brief picture of my little shop of hor- contact my old buddy, Dave Willardson, little file for proofs received from the
rors (I hope my landlord doesn't read and shoot pictures of his studio. Dave, client after printing.
this article). unfortunately, is one of the few sane art- Next we move to the area I like to
On the floor there is a beautiful choc- ists I know. call the binge and purge room, com-
olate brown, pure wool carpet that is Photo 1 shows the reception and con- monly known as the darkroom (photo
permanently accented with every color -ferencearea of his studio. This is a com- 3). Have you ever noticed how a dark-
of the rainbow, or at least all the colors fortable place to discuss the good, the room may sit for days and nobody uses
I've painted with in the past year. The bad, and the ugly of the artist's work. it, then all of a sudden it looks like the
four walls are beautiful natural rough It also is used for an occasional catnap entire Brady Bunch is trying to get into
cedar wood, with scraps of other artists' when one of the artists is pulling an all- the bathroom after a "let's see who can
works that inspire me pinned all over. nighter. drink the most chocolate milk" contest.
Right above my drawing table is a Next we move on to the studio library Artographs, stat cameras, INT devel-
scorpion that has been impaled with my (photo 2), where hundreds of reference opers, and your finger's best friend, the
airbrush needle. Then there are double books and thousands of torn-out maga- paper cutter, are some of the essential
french doors going out to my deck, which zine pages, which artists lovingly call timesaving tools that we find in this red-
has a beautiful view of the pier at the "scrap," are kept. I wonder if Dave ever lit room.
AIRBRUSH ACTION/SEPT-OCT 1987 51

Airbrush
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Washable.
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airbrush artist.
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Look for DEKA-PermAir wherever
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DECART, Inc.
mse circle Reader Sewica n
n AIRBRUSHACTIONISEPT-OCT 1987
3 The darkroom and Calvin. All equipment is readily available, and
the space is efficiently managed for its purposes.
Here in photo 3, we see Dave's asso-
ciate Calvin working on a piece of art
and glancing up at the photographer say-
ing, hanks for the light, bud. "
Next we move on to the heart and
soul of the studio, the work station. If
you look around the work station, you'll
see it's set up in a manner that speaks
the international language of "produc-
tivity." This, my friends, is the purpose
of this whole bit of info, and from here
on I get serious.
You'll notice that the studio is divided
by partition walls enough to permit you
to communicate freely with fellow art-
ists on various aspects of your work.
This creates an important atmosphere of
teamwork.
From the top of the wall we move
down to the three lights on the drawing
board. Good lighting is essential for doing
the best artwork that you can. Matching
colors and consistency in color values
and tones are best achieved when your
work area is properly lit.
T
he table itself is an extremely
important tool. It should be easily
adjustable up and down for both ease
of access to various areas of your
work and for your comfort. Complete
tilting ability of the table is equally
important for the same reasons. In my
personal experience, being bent over a
drawing board in one constant position
for hours can seriously affect your back
and hinder your productivity. It is good
to vary your position from time to time,
especially when you're pulling that all
but infrequent all-nighter. Remember,
being comfortable cuts down on the stress
of the deadline. A well-constructed stool
with good support is also important for
comfort and productivity.
We now move down to the airbrush
holder. As minor as an airbrush holder
may seem, it is an important piece of
equipment.
A good sturdy holder will help keep
your airbrushes from tipping over and
spilling paint. Some holders come with
a bracket to put an air regulator in. This
is the way I work; having easy access
to a regulator lets you adjust your air
quickly for many reasons. And if you
don't want to use your bracket for a
regulator, it is excellent for holding an
electric eraser.
I won't go into the subject of air-
brushes because it would take a book to
discuss the ins and outs, dos and don'ts,
gots and don't gots of that tool.
On the right side of photo 4 you'll see
a taboret with drawers and enough
instruments, knobs, and handles to put
a smile on Chuck Yeager's face. The
taboret Dave is using is actually a
mechanic's tool chest. This is the prod-
 5 Every essential tool at arm's reach. Calvin's workspace gives him
enough privacy to avoid distract~onwhile maintaintng a connection
with his colleagues in the studio. Note the good lighting and the
feeling of open space in this relatively small cubicle.

uct of a productive, quality-minded art-
ist. It is extremely sturdy and has wheels
for mobility-a great plus. The drawers
are large enough to hold myriads of little
artists' treasures like paint, pencils, paper
pads, paper towels, protractors, pallet
knives, pastels, pigments, and pajamas
for all-nighters. In essence, a great stor-
age cabinet is a proper productive piece
of property for a picky professional
painter.
Now you may notice the entertain-
ment center on the top shelf, consisting
of a stereo, videotape player, and TV.
Quite a luxury, you may say, but it is
more than that. Soothing music or a
golden oldie flick running in the back-
ground can aid in the artist's war against
deadline stress and frequent long work-
ing hours. In my own studio, my stereo
system is essential in creating a mood
to paint.
I was visiting Martin Mull's studio
recently, and he had a tape that played
a hypnotic, soothing few bars of music
over and over. When I asked him about
it, he said it was a large part of his paint-
ing and as important as his brush and
canvas. I agree.
For the air source in Dave's studio,
each artist is equipped with a personal
compressor or CO, tank. This is a com-
mon way of supplying air. But a more
economical way, which was discussed
with Dave because of the other artists
working in the studio, is a large com-
pressor hooked up with a shuttle relay
to each station, which gives each artist
a little more floor space. I also recom-
mend a backup supply of air for emer-
gencies. Each artist should decide which
of these two options is best for his or
her circumstances.
Last but not least is positioning equip-
ment in your work station. Photo 5 shows
Calvin working on a piece of art. Note
that everything he needs is no more than
an arm's length away. Positioning your-
self in a central spot, convenient to all
your tools, cuts down on all the ups and
downs that rob you of precious minutes.
The less time you spend chasing after
various objects, the more time you spend
on your artwork.
An ideal studio setup creates an envi-
ronment that you like to be in, provides
easy access to all the tools and reference
materials you need, gives you physical
support, and provides an attractive place
to meet with clients. All of these things
are geared to one goal--creating the best
possible art. Dave's studio is one exam-
ple of a great studio setup, but as I said
earlier, there are many kinds of artists
with many ways of working. The trick
is to make your style and your studio as
creative, comfortable, productive, and
efficient as you can. m
 BY DAVID MALOWE

FOR PRODUCT Regardless of individual items, most

INFO1.l.ml N USE 1
, professionals recognize the need for a complete

-- - ---iH ACTION'S
--- - - - - - - -
toolbox, full of the tools necessary to pull off
successful pieces of art.
READER SERVICE CARD.

S
ayings abound and often rattle
around in our heads until they
somehow connect with something
we do today. I recall one from my
hot-rodding days. "A mechanic is only
as good as the tools he owns." Then it
meant that no matter how skilled or
knowledgeable my buddies and I were,
if we didn't have the right tools to do
the job, our talents were wasted; our cars
didn't get fixed, and they always needed
fixing. The larger our selection of tools,
the more likely our cars would get us
where we wanted to go as fast as we
wanted to get there.
Now I find that it remains much the
same for me as an artist. My toolbox,
containing everything I need as a profes-
sional, is a large one. The tools in my
trade still help to get me where I want
to go-faster, more skillfully and with
better results.
When I recently inventoried the tools
I use, I was surprised at just how exten-
sive my toolbox had become over the
years. Most amusing to me was the col-
lection of X-Acto knives I had amassed.
Even I'm not sure what purpose 17 of
them serve, but at least now I can find
one when I need one.
Perhaps the best way to show off the
tools in a well-equipped studio is to
review a painting process and name the
tools used in that process. I worked on
a painting for a gallery and employed an
array of useful-to me, essential-tools
of the trade.
Generally I work from scrap, often
from photographs. With this particular
piece I started with a live model. Now,
of course, I'd love to keep her around
I STARTER SET I
Uw get:
the 'JUNIOR 02' double-action airbrush,
a set of DIA DYE airbrush colors,
a can of Air-Brush-Air plus valve and
hose complete with fittings,
a roll of LOW TAK masking film,
the AM1 Airbrush - technique manual
"Basic Skills"
I All packed in a "Plastic Fun" carrying
case
suggested list $149,-
I
See your dealer now!
Inquiries to: A.M.I. (USA)
170N. Brandon Dr. GlendaleHeights, IL. 60139
Telephone (312) 894-6915
for days, but that proves too expensive,
so I get out my trusty Polaroid camera
and shoot the model until I get the desired
pose. Next I find a comfortable position
in my studio chair and adjust my draw-
ing table to a suitable height. Then I set
my two drafting lights, located on either
side of my drafting table, to shine favor-
ably upon the working surface. I then
square up my watercolor paper with
my drafting machine. Next the lights
go off and I place the Polaroid in my
Artograph projector, turn it on, and
project the desired size onto the paper.
I reach for my drafting tape to tape
down the paper, grab my trusty drafting
pencil with 2H lead and begin to draw.
,
Once in a while 1'11 make a mistake or
decide to alter the image, so I keep my
electric eraser handy.
When the sketch is complete, I lay
down liquid frisket on areas of the paper
I wish to leave white. Next I get my
mixing tray, put some acrylic paint in
it, and mix the colors with a palette
knife. Reaching for a one-inch sable
brush, I apply some background, I go
to the refrigerator, get myself a beer,
go back to the studio, and light up a
cigarette with my Godzilla lighter.
[Editor's note: Although Mr. Malone felt
these four items essential, many artists
are quite successful without them.] I
study the background upon my return to
ensure that I have accomplished what I
set out to do.
Once the background is dry, I take
rubber cement eradicator and remove
the liquid frisket. Since this particular
painting is rendered on watercolor paper,
I use a paint-brush and apply clear
Please circle Reader Service no. 71
-
 PETER J. HEER, pro
Illustrator with Interna-

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Y AIRBRUSH ACTION/SEPT-OCT 1987

acrylic medium over the unpainted areas airbrush holder
to create a smooth surface so I can use four-way manifold
an airbrush without getting too much
World's most
airbrush cleaner amazing airbrush and
texture coming through from the paper. garbage can
Next I apply some metallic acrylic with
retouching color!
paintbrush cleaning bowls
a No. 3 watercolor brush, followed by rags
strokes from an application, I frisket the ventilation system
area off with frisket film and cut the stereo
fiisket with a No. 11X-Acto knife blade 18 CDs
and my X-Acto knife. Similar processes several cigarettes
continue throughout the rendering of the beer
piece. Godzilla lighter
Once the painting was finished, I 17 X-Acto knives
compiled a complete list of all of the Items not used with this illustration
tools used during the creation of the but considered essential:
piece. They are as follows: light table
15 paintbrushes tracing paper
2 palette knives marker pads
2 mixing trays colored pencils
3 airbrushes technical pens
2 types of tape pastel crayons
2 drafting lights ink
14 acrylic colors telephone
11 airbrush colors fax machine
2 1 gouache colors
watercolor paper

I
opaque projector While not all studios will contain all
Polaroid camera items listed here, every professional art-
drafting table ist's studio is similarly equipped. Each,
studio chair perhaps, contains other tools deemed
frisket film essential by the artist. Regardless of
liquid frisket individual items, most professionals
rubber cement eradicator recognize the need for a complete tool-
drafting pencil box, full of the tools necessary to pull
acetate off successful pieces of art.
bond paper And although I'm no longer inter-
clear acrylic medium ested in hot rods, I still enjoy driving.
glass varnish When I encounter a mechanical prob-
electric eraser
air compressor
quick airbrush disconnect coupling
lem, I drive to a mechanic I know who
has the proper tools to get the job done.
And he does. My little car from the Black
C
airbrush tubing Forest is running just fine.
L,
0. 72
 BY SUSAN KINGSLEY

Waltz ~racele\ 'early Pink Moment Pin

r 58 AIRBRUSH ACTIONISEPT-OCT 1987

PHOTOVLEE HOCKER
T
he inspiration to paint my metal
work, the use of acrylic lacquers,
and the choice of the airbrush as a
tool did not come to me all at once.
Several years before my technique
evolved, I spray-painted a piece of ster-
ling silver jewelry with a can of candy
apple spray paint from a hobby store.
This was intended to be outrageous, a
joke, but I liked the way it looked.
In an art museum exhibition, I saw
the work of New Mexico sculptor Luis
Jimenez for the first time, and it knocked
me over. He uses molded fiberglass to
produce huge sculptures of western sub-
jects. The sparkling, glittering colored
fiberglass was beautiful and totally
unexpected in this context. I loved it and
wanted to do something with color and
surface that excited me like that. Yet I
wanted to work in metal and on a small
scale, with the detail and control that
metalsmithing provided.
One day I was standing in a parking
lot of new cars painted with metallic
paint, and in direct sunlight they spar-
kled like jewels. Their forms were
transformed by the paint; the metallic
surfaces were sculpted by light, which
exaggerated the highlights and shadows.
I became aware of automotive finishes.
I went to custom car shows and col-
lected custom car and motorcycle maga-
zines that showed fantastic paint jobs of
custom cars and vans and some dazzling
airbrushed gas tanks. The lacquers that
interested me were the lines of custom
car colors known as candy colors, along
with the pearls and metallics that were
used with them.
These acrylic lacquers fit my aes-
thetic and practical needs. Artistically,
the pearlescent and metallic effects fas-
cinated me. The candy lacquers could
heighten or enhance the sculptural form
as well as impart color. An object could
be made to appear surreal with the added
dimension of reflected light. Deep, rich
colors or delicate, transparent pastels
were possible. And I liked the idea of
using a familiar kind of surface in a totally
different and unexpected context.
On a practical level, the automotive
paints also proved to be a good choice
because they are made for metal sur-
faces. They adhere properly, are dura-
ble, do not scratch or chip easily, and
do not rub off. They do not add signifi-
cant weight to jewelry and can be sprayed
on an object of any size or shape. With
practice, after I had worked out the
"bugs," I had the control of the medium
that I needed.
I use a large-barrel double-action air-
brush (equipment is shown in photo 1).
I usually use the No. 1 tip because it
provides the best control, but the Nos.
3 and 5 are useful for larger objects and
"I wanted to work in metal
and on a small scale, with
the detail and control that
metalsmithing provided."
base coats. Because I have other uses
for compressed air in my studio, I have
a 1-hp piston air compressor with a stor-
age tank located in an adjacent room,
connected to the airbrush with a long
run of heavy-duty hose. A piggyback
filter-regulator and pressure gauge and a
second small "disposable" moisture trap
(available at automotive paint stores) are
installed close to the airbrush. It is
important that both the regulator and the
filters be close to the airbrush for accu-
racy in pressure readings and to remove
the maximum amount of moisture from
the air just as it enters the airbrush.
Moisture can cause a lot of problems,
and even with all these precautions, I
don't paint on rainy days. Quick-con-
nect couplers make it easy to disconnect
the air supply for other applications.
Working with acrylic lacquers requires
some safety equipment and precautions,
as the vapors are both harmful to breathe
and flammable. At the very minimum,
a respirator with both particle and vol-
atile solvent cartridges should be worn;
so should rubber gloves. Goggles are also
a good idea. I work in a well-ventilated
room and have a primitive spray booth.
A new book, Ventilation: A Practical
Guide, published by the Center for
Occupational Hazards, Inc., contains
step-by-step procedures for designing a
ventilation system suitable for spraying
volatile solvents. Some recommended
safety practices include keeping solvent
and paint containers closed except when
pouring; not smoking, lighting matches,
or using heating devices in the same
room; and washing your hands before
eating or smoking.
A few items that have proved useful
in working with acrylic lacquers are
included in photo 1. Small mixing cups,
either disposable plastic cups (available
from a plastic supplier) or easily cleaned
glass shot-glasses work well. Glass
eyedroppers are useful to measure small
amounts of paint, and test cards can be
made by wrapping cardboard cards in
aluminum foil. A quart can with a
plunger-type, metal dispenser (available
at hobby stores) is perfect for dispensing
small amounts of thinner. A small
kitchen-type turntable is useful for rotat-
ing larger objects without touching them
as they are being sprayed. Wood sticks
and skewers can be used to make hold-
ers for small parts while they are being
painted and while they are drying.
Miniature paint stirrers can be made by
cutting used wooden coffee stirrers in
half. A clean cardboard box is handy as
a protected and ideally dust-free place
to put pieces while they are drying.
The jewelry and nonfunctional objects
that I make are usually fabricated using
traditional and new metalsmithing and
jewelry-making techniques: sawing, fil-
AIRBRUSH ACT~O~,JL,'T-OLII 787 59
ing, forging and soldering, die forming,
and copper electroforming. The metals
I use are copper, brass, stainless steel,
and sterling silver.
To be able to paint small, complex
objects completely and to have maxi-
mum control over the color, I design my
pieces in modules, which are connected
with tiny bolts after they are painted
("Flowering Brooch" is shown disas-
sembled in photo 2 and from the back,
assembled, in photo 6). I try to avoid
deep cavities or shapes with areas that
would be inaccessible to the airbrush. I
also try to avoid thin, flexible parts that
might cause the lacquers to peel off.
The surfaces can be prepared for paint
in several ways. For opaque colors or
smooth surfaces where the metal is to
be obscured, the surfaces and solder
seams can be left in a more or less rough
state. Auto body filler and spot putty can
be used to fill dents and scratches and
even out the surface. Automotive primer-
sealers and primer-surfacers are unnec-
essary as undercoats for work of this type
and can be eliminated. Primer-surfacers
contain solid particles to fill and smooth
the surface and will not pass through the
airbrush; a larger air gun is necessary.
The base coat consists of two or three
light coats of opaque black, white, tinted
white, or metallic silver or gold. I use
this method for uncomplicated jewelry
forms and for larger sculptures.
For transDarent effects where the actual
metal surfice shows through, such as
the "Flowering Brooch" (photos 4 and
61, the metalwork is finished to the
same degree as if it were to remain
unpainted. Firescale (a gray oxide layer
that forms on sterling when it is heated)
must be cleaned away, as must excess
solder, dents, scratches, and rough edges.
I usually sand the metal surfaces to 400
grit or sandblast them with fine glass
beads. The lacquers do not adhere well
to highly polished surfaces, and I prefer
a softer, less reflective surface anyway.
Occasionally I use transparent lacquers
over copper or brass, but I usually sil-
verplate them because the candy colors
60 AIRBRUSH ACTION/SEPT-OCT 1987
are clearer over silver. Also, I avoid available in artist's pigments, so you have
building up too many layers on jewelry to do some experimentation to achieve
and small objects because too much lac- the colors you want. Because the colors
quer obscures the detail. I like to add are very artificial and candylike, and too
embossed lines, leave hammer marks, intense for my needs, I usually begin by
and stamp or roll textures into the metal toning the colors down by mixing in a
to add interest. little of something close to the comple-
Just before I get ready to paint, I do mentary color. I often add clear, as well,
a final check of each piece, to make sure to pale them out. I usually start with
that the parts all fit together and that only two or three colors. Richness, deli-
there are no rough edges, scratches, cacy, and subtlety are achieved by over-
dents, or other imperfections. Once lapping these colors and varying their
something is painted, it cannot be intensity by the number of coats that are
changed or repaired without removing applied; something like overlaying
the lacquer. The pieces must then be transparent watercolors.
thoroughly cleaned and dried. I scrub The lacquers are supplied in quart or
them with hot water, pumice, and deter- pint cans, which are difficult to open
gent. The next step is to put holders on and close, are easy to contaminate, and
them so that they can be sprayed from allow evaporation. I transfer small
all sides and set aside to dry without quantities into jars with tight-fitt!ng lids.
After the colors are chosen and mixed,
they must be thinned for spraying. Using
"The candy lacquers could a300 slow-evaporating thinner, I thin 200 to
percent-that is, one part lacquer to
two or three parts thinner. The variation
heighten or enhance the is due to the coverage that is desired and
the color of the lacquer. Opaque base
sculptural form as well as coats and metallics can be sprayed drier
with a smaller amount of thinner. Pearls
irnpart color." and lighter colors go on better wet, with
more.
The transparent colored lacquer,
being damaged. for "Flowering Brooch" (photos 4 and
The color charts supplied by the var- 6) were mixed with clear, silver, and
ious manufacturers of candy colors, pearl, thinned 300 percent, and applied
metalflake colors, or custom car colors over sterling silver. (The dark brown
are beautiful and exciting but only hint colors are copper with patina.) The colors
at their possibilities. The charts show used were rose, green, gold, and a small
the colors applied over different bases, amount of blue. The air pressure was
usually silver, gold, white pearl, and set at 40 psi, and the airbrush was held
black pearl. White pearl is a white base at a low angle to the object to be painted.
coat, with pearl over that. Black pearl The module with three leaflike shapes
is the same with a black base coat. The was painted by building up the green
colors vary greatly according to how they from the bottom angle and the warm rose
are thinned and how many coats are and gold from the top and side, produc-
applied, as well as the nature of the ing an artificial shading that enhances
undersurface or base coat. I frequently the real one and gives a greater illusion
mix pearl, silver, or gold with the color, of depth (photo 7). The center module
which gives it a very unusual appearance. of the brooch was first airbrushed with
Automotive lacquers are intended to a pale rose and then given very subtle
be used "as is" and not mixed. They touches of gold and blue from different
are not the usual pallet of basic colors angles (photo 8). The gradations are what
PHOTOSILEE HOCKER
give it its liveliness. All the parts for
this brooch were given top coats of clear
mixed with pearl and silver, applied in
wet coats from various angles. This gives
the final surface a unified appearance and
heightens the reflective quality even
more.
Even though a slow thinner is being
used, the quantities of lacquer are small
enough that the lacquer dries almost
immediately. Still, I usually wait five
minutes or so between coats, and some-
what longer if I have put down an opaque
or metallic base coat that contains less
thinner. I do not handle the pieces until
the next day.
Most of the problems I have encoun-
tered have been related to using the wrong
proportion of thinner. Dry spray leaves
"spider webs" or a grainy surface; more
thinner is needed, or the air pressure is
too high. Runs and sags are caused by
too much thinner, building thick coats
too quickly, insufficient drying time
between coats, or not enough air pres-
sure. Moisture in the air can cause a
variety of problems. Be sure that the
compressor is drained, the air lines are
clear, and the moisture traps are prop-
erly placed.
As with most other airbrush applica-
tions, good airbrush "hygiene" is Ditzler Repaint Manual. Southfield,
essential. I not only run thinner through Mich.: Ditzler Automotive Finishes, PPG
the airbrush after each use, but I also Industries, Inc., 1976.
take it apart and clean it. Dried lacquer
anywhere inside the airbrush is a dis- Fullner, Norman. Airbrush Painting Art,
aster! Make sure that the paint cups are Techniques and Projects. Worcester,
cleaned well and that dried lacquer, rust, Mass.: Davis Publications, Inc., 1983.
and dust do not get into the jars of
lacquer. Kosmoski, Jon. Custom Painting Secrets.
Minneapolis: House of Kolor, 1980.
Paint by Ditzler: Custom Finishing Sys-
"I liked the idea of using a tems. Southfield, Mich.: Ditzler Auto-
motive Finishes, PPG industries, Inc.,
familiar kind of surface in a 1977. w
totally different and Susan Kingsley has been working in
metals for the past 12 years.
unexpected context"
References
Automotive Rejinishing: Principles and
Techniques. Wilmington, Del.: E.I. du
Pont de Nemours and Co., Inc., 1980.
Clark, Nancy, et al. Ventilation:A Prac-
tical Guide. New York: Center for
Occupational Hazards, Inc., 1985.

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AIRBRUSH ACTION/SEPT-OCT 1987 61

Photo Retouchmg
've chosen a photograph by New
York photographer Anita Giraldo to
illustrate some retouching tech-
niques. The shot was done for a
campaign for Used Jeans, and even
though this photo was not used in the
campaign, it is fairly typical of the kinds
of retouching I do.
This particular photo also provides an
interesting example of a new trend in
fashion photography and photography in
general. You'll see that it doesn't look
like a typical magazine ad; it's kind of
punk, with a lot of black and white, not
a lot of gray. You're seeing more and
more of this kind of photography in
magazines now.
I didn't want to change the look of
the photograph, but there were a lot of
61 AIRBRUSH ACTIONISEPT-OCT 1987
BY LOUIS GRUBB
corrections to be made, mainly for sepa-
ration. In general, if I've been working
on an account for some time, I will go
ahead and make any corrections that I
feel are necessary. If I'm working for a
new account or if the changes needed
are major, I call the art director to clear
the changes first.
With this particular photo, most of
the retouching was done to add detail,
clarify areas, and tone down some bright
spots that detract from the rest of the
shot.
Moving clockwise and starting with
the metal box below the handlebars, I
added some tone for separation. Since
the area behind the foreground model's
head was so bright, I darkened it so that
there would be more separation.
I opened up the leather seat that the
background model is leaning on-it was
very, very dark, as you can see on the
"before" print. I also opened up her
sleeve and shoulder and then added some
detail in the shoulder and also back into
the seat. You'll notice that the model's
cheek is kind of burnt out in the "before"
print, so I added some detail.
In the lower right of the picture, the
bike is sitting up on a stand and the rear
wheel doesn't look like it is sitting on
the ground, which it isn't. Since you
can't see the stand, I decided to set the
wheel down by adding some shadow.
On the gasoline tank, you can see that
a big building is showing in a reflection
from across the street. I continued the
dark reflection behind the word Shadow
to break up that shape.
In the area of the foreground model,
I opened up the jacket and removed her
thumb, which was showing. She also
had some hair falling against and around
her right eye. To correct that, I bleached
\he hair out and then rendered back her
eyebrow and the eye makeup on her
eyelid. There was a rose behind her ear
that didn't come through in the photo-
graph, so I rendered hair there.
I then darkened her leg, which really
pops in the "before" print. I also opened
up the leather in her jacket, on her elbow,
and then trimmed the bulge where her
stomach is because of the way she is
sitting.
I used the following techniques to do
the retouching. Starting clockwise again,
I darkened the metal box by washing in
some black Spot Tone, cutting a frisket,
then coming back in with All Off and
bleaching open where the bolt attached.
Where I darkened the area behind the
foreground model's head, I masked that
off, again with frisket film, and blew
that in with black opaque. For the leather
seat and on the background model's
shoulder and sleeve, I again cut friskets
and bleached those areas open. Then I
came back where needed with Spot Tone
and a small brush to bring back detail. away any area that is bleached and clear
Again with the small brush, I added it with a 5 percent acetic acid solution.
Spot Tone dye in a dilute solution to To correct the model's leg in the fore-
bring back a very subtle gray tone on ground, I cut a frisket and airbrushed in
the background model's cheek. I filled a translucent tone. To trim the bulge in
the shadow underneath the tire by hand her stomach area, I cut a .05 acetate
with Spot Tone dye, keeping a soft edge frisket and blew that in with black
where the shadow ends. Also, in the tire opaque. I also added detail to the zip-
itself, there were some blemishes that pers on her jacket, which had gotten very
needed to be removed. I did that by fill- soft, by using Spot Tone freehand.
I opened her leather jacket with CN
bleach-again freehand without any
mask. On her face, by using freehand
"If I'm working for a new bleaching, I bleached the shadow on her
account or if the changes forehead and the hair at the side of her
needed are major, I call the face. I then came back with brush and
Spot Tone and built up. the tonal values
art director to clear the that I needed. I removed the rose behind
changes first." her ear with freehand bleaching and
replace it with hair.
To add separation in the area, I dark-
ing in with Spot Tone, building up those ened the gray panel behind the fore-
areas slowly to match type values around ground model's elbow. There were just
them. too many brights going on around her,
In the foreground, I opened the leather so I had to knock some of those back.
o n t h e model's jacket by freehand If this were a regular job, I would
bleaching. The bleach I use is CN, which send the finished print that you see to
is a household germicide-I use it straight the art director, who would approve the
out of the container. After the bleach has retouching, clear the photo with the
been wiped off, I remove any stain with client, and then send the retouched pho-
a sodium bisulfide solution and then wash tograph on to the engraver.
AIRBRUSH ACTION/SEPT-OCT 1987 63
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its physicd dmmcmisks will serve o w
ptqosa. &t&sts9 acrylic colon me syn-
th&bpWs ambup of a pigment sus:
created by suspending minub particles
of synthetic resin in water. The water,
as well as being the carrier to suspend
the resin, provides the fluidity for the
medium. If color pigments are sus-
pended along with the resin in such an
emulsion, a paint is formed. When the
resultant polymer emulsion paint is
applied, the water evapotcttes, anrf the
resin part'cies flow together to form a
strong, coherent film of plastic which
binds the pigment particles tagether."
Om of the additional
effstiwwas. Baawe they m avail-
able in a variety of wmistencies and can
be reduced with inexpensive ma&&&
such as water, they represent a solid
altenxative to more expensive oil-based
p a h . Some systtms available at today's
market, such as SaIis.--nI
Ph. Martin's Color Extewler, allow the
artkt to control costs by managing the
dilution process. "This factor, coupled
with its increased eovering power; cuts
your airbrush time in lralf and d m the
acrylic medium extremely eost-effec-
tive,"says company president Larry
Salis,
Other artists" acrylic colors on the
market include the hifly popuiar Liqui-
tex line, man- by Binney &
Smith. Aceding to Rabert Anderson,
tlw beau& of Liquiton lies in L ease of
use, its pamanem, and the fact that it
=,
orwr c m p i c s , ~ u c ~ . w ~ H &and
Liteqamw disprsedJ<6 Wiqp:r& Pacific Airbwh, offer complete lines of
Newton &epic& itsu&tkrsb PIerylh Col-
ours w +~haviqg Beenfw~W to give of thumb
mgiWIliaa3~ h~-,,a srqooth, c m y medium is
~ w forceasy lqwt4linqgi.d e ~ t r e q d y color will
good adhesive qualitiesllso they can be
painted onto virtually any non-glossy
surface that is free from oil or wax."
Winsor c9t hkwtcm off* a complete line "mix' rmd mat&."
of aoo%crsorgr products, facilitating the use m!IaTu~Orticof$remast
of its colors with the airbrush. consistently dffered bits of ad* from
C b - A r t C o b , from Medea, are ~~ @ practitimem alike is
-
atsd far the airbrush*' to keep ycw aitbntsha &an. ltrt
Y -nbve
M&lOne:. "Corn-& is not a catchall
T b hydfflcantron =ins have been
adrylir: inedhm, WllsLg
Gl&ghmmay*dmkm
*-.
uptended b m h tends Ba Build up with
formdated wi& the specid needs of the
* attist jn mind." (Ilriently, corn-
Art is available in 27 opaque colors and
set of "s@.
0
pradioner.
fw
not rec-
iiamsh
18 ~~t colors. Another impwtana c m for new-
Air-iDpaque, from Badger Airbrush, c o m a to e 1
E c modimm is ta under-
was developed over four years ago, smdthrrrdueto&~.dqh,
off- today's S s h artist over 43 different brands will mwt differently
colors af easy-to-w, pbmduced and lwlaer s w a r cxxaons, Saya w s , "'We
rc;ady-to-go acrylic medium. Says John ~ a n n d b c d ~ ~ 8 f O ~ ~
Fernell, "Jar acrylics like Air-Opque is&. When yau mix cobs frm differ-
don? have a m n e r in them, which ent ma&-, yoy an asking for
makes thorn easier to use, in comparison trouble. Don't get -ist'
with tube acryIics, which tend to want probably not your Mt;h"s .the inter-
to mvert b a hardened state." Badger n i x i that" 9UshP;'&G plvb1&."-
offers a cons^ line of acrylic paint In conelusion, Rum11 Woody sug-
accessories, including Air-Opaque gests a five-step qymtdi for working
C h w r , which facilitates cleanup and with artists' acryb &lm:,(l)Use jar
storage. colors4hey tead b thin easily; (2) use
From Charwoz comes Air-Ra Acrylic
AMmsb Colors, which are "ground
extremely fine and tae formulated spe-
dfieal?y for w with the airbrmh." Air-
Pro co10rs are especially flexible and
mist cracking, thus emutiag highly

-
ecause my clients tend to be
individuals or small businesses,
I have obtained a good deal of
d experience in bankruptcy law.
Some of that experience has been in
advising my clients who are trying to
collect a debt from a bankrupt individ-
ual. Recently, I have had to file bank-
ruptcy for several of my own clients. In
my practice, the usual reason for filing
a bankruptcy is a tax problem that has
gotten out of control. After preparing
several bankruptcies and following them
to the end, I have come to see bank-
ruptcy not so much as a horrible end but
rather as a miracle cure for some types
of financial troubles.
Before I discuss how a bankruptcy
works its magic, I will address the most
frequent question I get when I first sug-
gest that it may be necessary to file for
bankruptcy. The question is "How will
this affect my credit in the future?" The
answer varies from case to case, but on
the whole, it is not as grim as one might
expect. The filing of a bankruptcy peti-
tion is a matter of public record and will
remain on an individual's credit record
for ten years. How this information
affects the individual's credit largely
depends on why they filed for bank-
ruptcy to begin with and who did not
get paid. If an individual files bank-
ruptcy because credit card bills were too
high to be paid, it is not likely that that
person will receive easy credit in the
future. However, if the bankruptcy
revolves primarily around one very large
creditor, like the IRS, the effect on credit
will be much less serious. Sometimes,
even though a bankruptcy is filed, the
person filing for bankruptcy actually pays
100 percent of the bills due. In that case,
there is virtually no effect on credit from
the filing of bankruptcy. Recently, I had
a client who was able to obtain over
$50,000 in credit only three months after
filing a bankruptcy because he agreed to
pay all of his creditors over a three-year
period. The reason he filed a bankruptcy
was to prevent a bank from foreclosing
on some valuable real estate.
(IAIRBRUSH ACTION/SEPT-OCT 1987
1
1 -
"I see
bankruptcy not SO much as
a horrible end but rather as
a miracle CUE''
aUPTW 7MD 13
I am sure all of you have read about
bankruptcy in which reference has been
made to Chapter 7 or Chapter 11. This
designation refers to the type of bank-
ruptcy being filed. In this article, I will
discuss Chapter 7 bankruptcy and Chap-
ter 13 bankruptcy. (Chapter 11 bank-
ruptcy usually applies only to large
businesses.) In a Chapter 7 bankruptcy,
the debtor agrees to give to a court-
appointed trustee all assets except those
which, by law, he or she is entitled to
keep. The trustee then sells these assets
and the proceeds to the creditors, after
deducting all expenses of the sale. In a
Chapter 13 bankruptcy, debtors are usu-
BANKRUPrCY U W
By Michael Redden
ally allowed to keep all assets, unless
they choose otherwise, but they are
required to pay their creditors monthly
out of wages or business profits at least
as much as the latter would receive under
a Chapter 7 bankruptcy.
Both bankruptcies have certain com-
mon characteristics that constitute the
principal benefits of filing a bankruptcy.
The first is the automatic stay. When an
individual files a bankruptcy, the bank-
ruptcy law provides that no party (with
minor exceptions) that has any claim
against the debtor can take any action
that will interfere with the debtor or his
or her property unless the creditor obtains
a court order. However, the bankruptcy
court is very protective of the debtor's
property. Consequently, the court will
not release property without the consent
of the debtor unless the creditor presents
very compelling reasons. A frequent
application of the automatic stay is to
stop any repossession of personal prop-
erty or foreclosure on real estate. The
automatic stay prevents those actions
even if the creditors are not aware that
a bankruptcy has been filed. This means
that if they have taken possession of their
property after the automatic stay, they
must return the property. The automatic
stay also stops any lawsuits that have
tLLUSTRATlONlRO6ERT SEABERT
been filed against the debtor. After the
bankruptcy has been filed, virtually all
disputes with the debtor must be resolved
in the bankruptcy court.
Another aspect common to all forms
of all bankruptcy is what is called the
avoidance power. This means that in a
bankruptcy proceeding, the debtor or
trustee has the power to assume or reject
any incompleted contract or unexpired
lease of the debtor. If such contracts are
assumed, there are also limited powers
to modify the terms of the contract or
lease. Also under the avoidance power,
the debtor or trustee can avoid certain
transfers that occurred prior to the filing
of bankruptcy. Most transactions under-
taken within 90 days can be avoided
under this power. If the transaction
occurred with an ''insider, " someone
who has a special relation to the debtor,
the debtor or trustee can go back an entire
year to avoid the transfer.
Under Chapters 7 and Chapter 13, the
law allows the debtor to exclude as
"exempt" certain property from being
used to pay back creditors. What prop-
erty is exempt is defined under individ-
ual state laws and, in some states, also
under an alternative federal set of
exemptions. The exemption provides how
much equity a debtor may have in his
or her personal residence, the value of
clothing, furniture, tools, life insurance,
vehicles, livestock, and other posses-
sions that a debtor may keep. Some states
are far more generous in these exemp-
tions than others. However, I have never
known a debtor to move in order to file
bankruptcy in a more generous state.
Unfortunately, these exemptions do
not hold up against the creditor with
whom I do most of my battles. As was
discussed in our last article, the general
tax lien imposed by the IRS is effective
against all property owned by the tax-
payer. As a result, federal law takes
priority over state law, so the state
exemptions do not protect any of the
taxpayer's property from collection by
the IRS.
The exemptions are also not effective
against creditors who are secured by
otherwise exempt property. For exam-
ple, the exemption for value in a per-
sonal residence is not effective against
the bank that holds a mortgage on that
residence. However, under both Chapter
7 and Chapter 13, the debtor can keep
the property that is secured by a mort-
gage so long as he or she agrees to pay
the monthly payments in the future.
Sometimes, using the avoidance pow-
ers, the interest rate, monthly payments,
and/or term of the mortgage can be
modified. The most common feature time, typically at least 36 months and
associated with bankruptcy is the dis- no longer than 60 months. There are bee
charge of debts. This means that after reasons why a debtor may choose this
the appropriate amount has been paid to payment plan. First, there may be cer-
creditors under Chapter 7 or Chapter 13, tain nondischargeable debts that he or
the remaining debts, with certain excep- she would owe after a Chapter 7 any-
tions, will be completely forgiven. The way. A Chapter 13 forces those credi-
exceptions to discharge are certain taxes, tors to take monthly payments. Second,
debts obtained by fraud, some credit card the debtor may have a great deal of val-
bills, and most student loans. You should uable nonexempt property exempt that
note that some taxes can be discharged, he or she wishes to keep. Under a Chap-
contrary to popular misconception. Also, ter 13 plan, the debtor can pay the cred-
a Chapter 13 plan can discharge some itors value of this pmperty to the creditors
debts that cannot be discharged in a rather than liquidating it. Finally, some
Chapter 7. debtors, in good conscience, wish to
make a best-effort attempt to pay what
they owe their creditors. This effort will
be appreciated by the creditors and will
also be noticed by anyone searching the
debtor's credit files. Because of this, a
Chapter 13 is generally considered to
"Chapter 13 allows the have a less detrimental effect on one's
debtor the opportunity to credit rating.
pay his or her creditors, Before I end this article praising the
virtues of filing for bankruptcy, I feel
fkee fkom harassment" obliged to recommend full consideration
of the alternatives. A debtor should first
make a reasonable effort to work out
financial problems without filing for
bankruptcy. On the other hand, if there
are too many creditors to deal with or if
mE D#ISW)W TO ALE one creditor begins to take an action that
The decision whether to file a Chapter could jeopardize your business or your
7 or Chapter 13 bankruptcy should be valuable assets, you should consult with
made only by a competent attorney. an attorney who is competent in bank-
However, some understanding of the ruptcy law.
differences between the two types of
bankruptcies will enable the debtor to
assist the attorney in making that deci- Arts attorney Michael Redden repre-
sion. A Chapter 7 bankruptcy is a cut- sents more than 100 arts clients, includ-
and-dried procedure. The petition is filed ing arts organizations and many
in the court, the debtor appears before individual artists. He reviews contracts
the court-appointed trustee and answers and prepares tax statements for about
certain questions regarding his or her 50 professionals working in the BeM.
finances, and then the trustee takes the Redden has been involved with art law
nonexempt assets and distributes them for more than seven years. "l've always
to the debtor's creditors. After a meet- had a strong interest in various arts,
ing with the trustee, the debtor usually both musical and graphics," he says.
does nothing more with regard to the "'I even like advertising."
bankruptcy. Because of its straightfor- He graduated from the law school of
ward nature, the Chapter 7 bankruptcy Lewis and Clark College, where he was
has very little flexibility to the individ- research assistant to noted art lawyer
ual needs of the debtor. Leonard DuBois. Redden currently
In contrast, the Chapter 13 is very practices in Portland, Oregon.
flexible. Chapter 13 relief is available This column is intended to present
only to individuals with regular incomes general legal information of interest to
who at the time of filing owe unsecured airbrush artists; for specific advice,
debts of less than $100,000 and secured contact an attorney who is familiar with
debts of less than $350,000. The regu- the details of your case. We regret that
lar-income requirement does not mean Mr. Redden is unable to reply directly
to exclude self-employed individuals to individual questions. Questions may,
whose income is somewhat irregular. however, be answered in future col-
A Chapter 13 allows the debtor the umns. Write to Michael Redden in care
opportunity to pay his or her creditors, of AIRBRUSH ACTION Magazine, 317
free from harassment, over a period of Cross St., Lakewood, N.J. 08701.
AIRBRUSH ACTION/SEPT-OCT 1987 H
aumucneral
Morgan Rey Benm W-
working annmmm the Cali- comtxwtion allows the wca3r
per Light W b ,a aew design smftm to be adjusted to 8evm
in dmfting and light tables. angla, and the @ hi@
The table combines an for easy in-andsut

inchcar wideby 20 1/2 inches ping are

deep. The light box is shipped Caliper
with 9000K flumwmt fix- Qegignsd
WT
IEX EXPAWDS ACRYLIC JAR COlOR LINE 60 PERCENTB
A 60 percent increase has
expanded the selection of
Liquitex acrylic jar colors
available to 54. The 2 1-color
line expansion coincides with
a general consumer price
rollback on 2-ounce Liquitex
acrylic jar colors, effective
August 1, according to Roger
Cooley, vice president and
general manager of the Art
Products Division of Binney
& Smith, maker of Liquitex
art materials.
Cooley said the expansion
will bring the Liquitex acrylic
jar line into position to grow
with the market. "We've
noticed considerable activity
in our acrylic jar color sales
from airbrush, decorative, and
fine artists," said Cooley.
"These consumers are
attracted to Liquitex acrylics
because of their versatility,
and quality which enables
artists to use our acrylic
Reader Setvice no. 105
Badger's new No-Tack non-
adhesive stencil film is a 3.5-
mil film with a translucent mat
finish that is ideal for air-
brush artists, stencil artists,
designers, illustrators, hob-
byists, architects, draftsmen,
and engineers. It combines the
best features of film and paper.
Its smooth, nonporous vel-
lurnlike surface lets you ren-
der in nearly all media:
airbrush, paintbrush, perma-
nent felt-tip marker, techni-
medium for whatever tech-
nique they prefer. ' '
Cooley added that the
colors will offer artists a
greater selection and range
while helping the Liquitex
brand maintain its position as
the leader in the acrylic jar
medium market.
All 56 Liquitex acrylic jar
colors will be available in
2-, 8-, 16-, and 32-ounce
sizes. New 2-ounce jar colors
will begin shipping August 1,
with the remainder of the sizes
shipping October 1. A new
Liquitex display featuring the
entire line of Liquitex colors
is available. New colors are
these:
Light Magenta
Alizarine Crimson
Hue Light Pomait Pink
Bright Aqua G m n Medium Magenta
Brilliant Blue Pamanent Light
Brilliant Blue Purple Violet
Brilliant Orange Permanent Light Blue
Brilliant Purple Prism Violet
Scarlet Red
Brilliant Yellow
B m m Yellow Turner's Yellow
Cerulean Blue Hue Turquoise Green
Unbleached Titanium
Emerald Green
Light Blue Viola
Please circle Reader Setvice no. 104
cal pen, knife, pencil, pastels,
oils, acrylics, silk screen, and
others. You can draw, shade,
paint, and blend colors beau-
tifully. You can work on both
sides. It won't tear, discolor,
or become brittle with age.
It's waterproof, weather-
proof, and highly resistant to
most solvents. No-Tack laves
no ghosting, and you can
redrab without feathering.
The product is available in
sheets and rolls.
I hose, propel can of air, propel
W E # S NEW AIRAsM GUN
Badger Ai~BrushCo. introduces
the Model 260 Abrasive Gun, the
perfect tool for the do-it-your-
selfer and the hobbyist. A minia-
ture sand blaster, the Abrasive
Gun is a versatile tool that can
Unbleached Titanium and
Mars Black have been added
to the Liquitex artists' oil
color offering. The new colors
bring the total number of
oil colors manufactured by
Binney & Smith, maker of
Liquitex products, to 96.
"Mars Black is a cool black
that will round out an artist's
palette," said Ilene Albert-
Nelson, Bimey & Smith
product manager of fine art
materials. "Unbleached
Titanium, made by very few
companies in an oil color, is
ideally suited for tinting and
make any retouching or refinish-
ing project quicker and easier.
The Model 260 leaves the sur-
face ready for refinishing. Strip
pins and renwving
dd paint, rust, and corrpakn frum
a wide variety of items is a
breeze. Etch designs or cut mon-
ograms on both wood and glass
with the 260. Cuwed or hard-to-
reach areas can be deaned with
ease.
Set 260-1 retails for $19.95
and indudes the 260 gun with
attached 4-ounce iar, 8-foot air
hose, 12-ounce net weight jar of
aluminum oxkleI a d a face mask
Set 260-3 retails for $27.95
and includes the 260, &foot air
regulatar, 12-ounce net weight
iar of aluminum oxideI d a face
mask.
These products are not rec-
ommended for use by children
wilhout aduh superviskn The use
of wraparound safety goggles is
recommended
Please ctrde Reader Semce no 106
mixing to achieve more muted
colors than mixing with Tita-
nium White. "
The addition of Unbleached
Titanium in an oil color makes
Liquitex the only brand to
offer the color in acrylic and
oil media. "Offering
Unbleached Titanium in both
acrylic and oil media is one
example of how we're
inmasing our pmence in the
oil market and the industry,"
said Albert-Nelson.
Both colors are available
in 1.25-ounce studio-size
tubes.
Please drde Raader Smim no. 107
Air Wouveau introduces Laser able and more versatile
approach to enhnced
lighlhgtorhdvdqbd
offia.
T h e k ? h , ~ l
by 48 ides, & in high-
krpod d k , is -able
and band made. The trans-
fonrm;bdedinthebase,lasts Naweauforonly$495.
1 0 t o 1 5 ~
Wbemm mad neon is W (800) 232-7874; in New Jemy
011 walk, Light Sculpture is mov- call (201) 364-21 11.
Artograph introduces its new
professionalquality adhesive
wax for all waxers, hand-held
or tabletop. The new wax
flows smoothly and evenly,
providing excellent adhesion
for all types of paste-up
materials.
The Artograph wax con-
II AIRBRUSH ACTION/SEPT-OCT 1987
For more information, call
PlsssscrdeR6.derSema,no.108
Badgar kBmh Ca anmums slwdpkwrmd*
h intr#bdion d four Ab&usIl n I e ~ c r r , I b r ~ ~
DeslgnS)emYFdbrTlmsefdkr Tbr Curorsol Horso by C.H.
give the pcmon e v w ~ ~ k k a n d T k R O s 0
M e d e d a a k o w t o ~ F 3 h H s , blwB.*desb=-an
effdheaidbortbelngiaJng
much more. Each folio comes airbrush user. Tlte e x p r i e a d
complete with step-by-step d r k u r k a r t & t w l l ~ t h e
i n s t ~ t o t r a e e ~ d e s i g n ,--il~orpo-
cutthed,andoddyah- d k k i b e ~ ~ k p o a
brush the design; full-size phi- EMk set mtaik for $39.5 a d k
tains a unique wafae design temdesignr;dmusabbBdgnr evdkLkd&erh&yandd
that ensures fast melting and stencil films a d color progtes- rtorcrr.
ease of use in hand waxers. donckwtr.AkQhdudedka ~ a r d 6 F b a d u 8 . N i a m . 1 1 0
Available in 14-ounce point-
of-purchase resealable stor-
age packages or 10- pound
bulk cartons, Artograph's wax
is designed for professional Artograph, manufacturer of improves the appearance of
results every time. enlarging and reducing pro- layouts. The Winner waxer
Please drde Re* Senrica no. 109 jectors, announces the intro- applies an even film of a spe-
duction of its new Winner wax cial polymer adhesive to any
coater. paste-up material-paper or
Winner saves paste-up plastic, coated or plain. The
designers time and money and result is a quick, professional
paste-up with no mess.
Designed to assure relia-
bility, Artograph's Winner
incorporates the best in tech-
nology matched with operat-
ing simplicity. The heating
element is cast into the wax
reservoir to maximize heat
transferandshortenthewarm-
up cycle. The wax metering
bar is of two-piece extruded
construction, baranteeing a
uniform wax -coating every
time. Winner is constructed
of cast aluminum and stain-
less steel for dependable
service.
Artograph offers a unique
two-year unlimited warranty
PleasenrdeReederSeMcano 111
to ensure customer satis-
faction.
FRISK IHTROWCESAIRBRUSH BY NUMBERS I

A new self-study approach to ical drawings and landscapes. The airbrush-by-numbers

airbrushing is the latest offer- The course is divided into method is also an effective
ing from Frisk Products. beginner and intermediate teaching tool for the skilled UbCglWRODUQS
Using a specially illustrated editions, with two sets of four instructor. - '--STEP
Friskfilm, the airbrush-by- illustrations at each level. wad" SeMce no l2
numbers series begins with These may be purchased
basic shapes and textures individually.
exercises. The numbered
sections of each illustration Air-Brush Co.
provide the systematic s the introduction of
approach needed to render the -by-Step Modeler's
increasingly more challeng- Air-Brushing. This
ing subjects, such as a n a t-
o&L guide has 32 pages with 180
full-color photographs show-
f 1 L- ing the techniques and details

s, and scale model-

Badger Air-Brush Co. these two airbrushes is the s

anno- the intmduction of of their reservoirs.
two new 200 Grav

and 200-SG. Both these sin- fied 100-G

gle-action gravity-feed air-
brushes produce the same soft
spray patlem as the Badger
100 and 150 series dual-action
airbrushes. Since the Model
200-G and Model 200-SG are
single- action airbrushes, they
are simpler to operate than the
dual- action brushes, yet give
the same excellent results.
Gravity feed allows liquid to
flow directly to the paint tip
without a syphon, thus
allowing work at a lower air
pressure and enabling slower
hand movements for more
precise detail. These two air-
brushes are ideal for artists,
.
hobbvists.- nail and cake dec-
orators, ceramists, and
modelers of all types with a
need for precise detailing.
Both models will spray ink,
dyes, watercolors, air
opaques, and thinly reduced
acrylics. Both models are easy
to clean and maintain. The
Model 20043 lists for $50 and
has a permanently top-
mounted 1116-ounce (2 cc)
color cup. The Model 200-
SG (without color cup) lists
for $45. The fluid cavity is
built into the body and holds
only a small amount of fluid.
The only difference between
brushes. The
airbrushes are ideal
ists, hobbyists, modelers, nail
and cake decorators-wher-
ever small amounts of fluid
are required and precise
detailing is called for. Grav-
ity feed allows the liquid to
flow directly to the paint tip
without a syphon, thus
allowing work at a lower air
pressure and enabling slower
hand movement and more
precise detailing. The 100-G
and 100-SG will spray inks,
dyes, and watercolors like
Badger's Air-Ovaaue and
thin6 reduced airylks. The
modified Model 100-G ($75
list) gravity-feed airbrush has
a new permanently top-
mounted 1116-ounce (2 cc)
color cup for better flow and
ease of cleaning. The Model
100-SG ($70 list) has no color
cup but has a built-in fluid
cavity that holds only small
amounts of fluid. All other
features are the same on both
airbrushes. Both models come
with a counterbalanced han-
dle for precise balance and can
be adapted to two different
heads by changing complete
head assembly and needle.
ing of a '69 Camam with tips Roark, a professional illus-
on how to modify, detail, and tration, pattern, and model-
airbrush to give scale models making team. Together they
more realism plus instruc- have written and produced
tions on the use of different numerous magazine articles
types of paints and the proper for the hobby and art indus-
mixing of military colors. The try. They construct and paint
retail price of the guide is models for advertking as well
$8.95. as prototypes for industry and
The authors are Hanis and architecture.
h a w drok, Reader Suvica no. 114
= y u1 ~
Thb d 4 n d bodr is tbe effects.
core reference manual for the lh&com)odon*tothe
abkwh artist, a mudwugbt- enomously successful 6mpLic
after tecbnidan in tbe work1 of Bosig~r's H u a H d includes
graphiawossawbobrqeof - * ~ P - h ~
activities from advertising and prmuning worlr, organizing a
packaging to textiles and photo goodrrorldng-,Qnd
mbdhg. The definitive h- r m k i n g a l i v k g a s a d h d
once for all airbrwh pmfessh- artist. H w tocLnical sflea-
ab, this book tkorougbly covers tionr,over200trro-andb
equipment and accessories, cdorpLorosadillortmUons,an
materials and color considera- -glorrcrOfknar,aml
arombBWdamdahm~and
*ofien~dpeviwelgdde
to ma-i and and *theinfonrmHoR
p m i d e s a c o R d r e ~ o f contained la this handbook
therangeofobtai~ahkwb d f o r e w n $ ~ a r l W .
~ ~ ~ S e n r i c a m . 1 1 5
rlRBRUSH ACTION/SEPT-OCT 1987 YJ
 JUMBO 8-OUICE TUBES 1
TO UQUlTa ACRYLIC UWE

Economy-size bounce tubes will uct manager of fine art mate-

be available from Liquitex
beginning this July in three sta-
ple wylk cdon:Titanium White,
Mars Black, and I v q Black.
Produced for the needs of fine
artists and students, the )-ounce
tubes will feature the same for-
mula and color intensity avail-
ableinm#ller-sireLiquitextubes.
"Other manufacturers some-
times extend their formulas in
their larger tubes, which dilutes
the color's working properties,"
rials for Binney & Smith, maker
of Liquitex products. "All Liqui-
tex tube colors offer the same
hiih-quality pigments a d color
intend$'
Liquitex &ounce tube colors
will offer an estimated 25 per-
cent savings over a compamtive
selection of smaller tubes. The
&ounce tubes, available since
July, will complement the .75-,
2- and 4.65-ounce tubes cur-
rently available.

Dr. Ph. Martin's announces new metallic colors are bright

another new addition to the
Spectralite line of airbrush
acrylics: 16 new metallic air-
brush colors (47k through
62k) available in sets 7 and
8. This brings the total num-
ber of colors available in the
Spectralite line to 62. These
and shiny and spray effort-
lessly through the airbrush.
They are lightfast, water-
resistant, and permanent.
Used with Dr. Martin's
Spectra-tex, they are color-
fast, permanent, and washa-
ble on fabric.
PlepsecirdeReaderSenricem.117

I A.I. Friedman has just pub-

lished its 1987 catalog, fea-
turing a comprehensive
--
selection of supplies for art-
ists and drafkmen in all
disciplines.
The 336-page book is
A illustrated with more than
2,000 product photos, 32 of
them in color. An easy-to-use
typographic format includes
18 graphically illustrated
divider spreads for quick
referencing of product
categories.
To obtain a free copy, write
to A.I. Friedman, 44 West
18th Street, New York, NY
1001 1. Requests must be
made on business, school, or
studio letterhead.
Plesclrr cirde Reader Senrice m. 118

1 74 AIRBRUSH ACTIONISEPT-OCT 1987

PHOTO RETOUCHING
Black-and-white Photo Retouching
September-October 1986
Louis Grubb on Black-and-white
Photo Retouching
March-April 1987
Karen Miller on Hand Retouching
March-April 1987
Photo Retouch Master, Louis Grubb
January-February 1986
AIRBRUSH TECHNIQUE
Airbrush Cleaning Basics
Summer 1985
Color Theory
Summer 1985
Light Sources
November-December 1985
Moisture Separation and Air
Regulation
May-June 1985
How to Illustrate Glass (Part I)
March-April 1986
How to Illustrate Glass (Part 11)
May-June 1986
Troubleshooting the Paasche
AB Airbrush
March-April 1986
Ceramics: A How-To Guide
November-December 1985
Pottery Ceramist, Kevin Osborne
May-June 1986
Airbrush Art Gallery, May-June 1985
David Kimble, Gary Smith, Ed
Steadman, Bryan Robely, Thomas
Gieseke, Al Grove, Robert Anderson,
Sean Daly, Olivia DeBerrardinis,
Charles White
Airbrush Art Gallery, Summer 1985
Richard Romeo
Airbrush Art Gallery,
September-October 1985
Punz Wolff, Barclay Shaw
1985 Western States International
Society for Airbrush Arts Competition
Finalists, November-December 1983
Gary Meyer, John Dismukes, Mark
McKendlish, Curtis Mothershead,
Frederick Harwin, Alex Markarian,
Max Gisko, John Bredin
Black-and-white Art Gallery, January-
February 1987
Ben Schonzeit, Mike Butkus, Mike
Lynch, Ric Heitzman
Rolls-Royce Kitsch
Summer 1987
BIACK-AND-WHITE ART
The Big Picture in Black and White
January-February 1987
EQUIPMENT FOR AIRBRUSHIN6
Basic Air Sources: A Guide
to Compressors
March-April 1986
Basic Equipment for Airbrushing
May-June 1985
How to Buy an Airbrush
November-December 1986
The Making of an Airbrush
January-February 1986
Paper for Airbrushing
September-October 1985
FEATURES
Architectural Rendering:
Rockefeller Center
November-December 1986
Art and the New Tax Laws
March-April 1987
Graffiti Art: Reading the Writing on
the Wall
September-October 1986
Making Money: Marketing Your
Commercial Illustration (Part I)
September-October 1985
Making Money: Marketing Your
Commercial Illustration (Part 11)
November-December 1985
Making Money: Marketing Your Artist
Portfolios (Part 111)
March-April 1986
Ode to the Airbrushing Newcomer
May-June 1985
The American Museum of Natural
History
September-October 1986
The Graphic Artists Guild
September-October 1985
The Value of Trade Shows
March-April 1987
Readers' Studios
September-October 1986
School of Airbrush Arts
Summer 1987
Paint Media, Part I: Gouache Stanislaw Fernandes, commercial artist SAFETY AND HEALTH
Summer 1987 and designer
January-February 1986 Safety, Health, and Airbrushing
Surfboard Art May-June 1985
Summer 1987 Michael Gallagher, fine artist (abstract)
May-June 1986 T-SHIRT AIRBRUSHING
CAS Studio How-to's H.R. Giger, commercial and fine artist
Summer 1987 January-February 1987 Making Money in T-Shirt Airbrushing
Summer 1985
Fat Cat: The Business of Garfield Ron Gress, movie special-effects artist
Summer 1987 March-April 1987 The Miracle Strip: The First Colony of
T-Shirt Airbrushers
Louis Grubb, photo retoucher Summer 1985
January-February 1986
Airspeak, Panama City Beach: The World's
January-February 1986 H.N. Han, fine artist Largest T-Shirt Community
November-December 1986 Summer 1985
Airspeak,
March-April 1986 Jo Hockenhull, fine artist T-Shirt Airbrushing: A How-to Guide
January-February 1987 March-April 1986
HOBBY AND C R M AIRBRUSHING
David Kimble, technical illustration T-Shirt Airbrush Whiz Rickey Patrick
Doll Restoration September-October 1985 March-April 1986
September-October 1986
Jim O'Connor, guitar art TAXIDERMY AND AlRBRUSHlNG
The Big Boy Locomotive March-April 1987
May-June 1986 Taxidermy Basics
Martin Mull, comedian and fine artist January-February 1986
Carnival Art November-December 1985
Summer 1987 Ideas from Harry Paulson
Kevin Osborne, ceramist Summer 1987
MEDICAL ILLUSTRATION May-June 1986
COMPUTER GRAPHICS
Medical Illustration: Clarifying the Jerry Ott, fine artist
Complexities Summer 1987 The Airbrush and the Computer
November-December 1986 September-October 1985
Dickran Palulian, commercial artist
Summer 1985 Computer Air
March-April 1987
Robert Anderson, fine artist Jack Radetsky, fine artist
November-December 1986 September-October 1985 Television News Graphics
January-February 1986
David Archer, reverse glass painting Rickey Patrick, T-shirt artist
May-June 1985 March-April 1986 Should the Artist Fear the Computer?
May-June 1986
Robert Burger, commercial, artist Todd Schorr, commercial artist
March-April 1987 May-June 1986
Interested in any of these articles? Back
Jurek Burowski, commercial and Peter Stallard, commercial artist issues of AIRBRUSH ACTION are
T-shirt artist Summer 1987 availablefor $3. To order call (201)364-
January-February 1987 21 1 1; or write AIRBRUSH ACTION
Keung Szeto, fine artist BACK ISSUES, 31 7 Cross Street, Lake-
March-April 1986 wood, NJ 08701.
AIRBRUSHACTION/SEPT-OCT 1987 n

L
ooming deep beneath the rosy
existence that most airbrush artists
enjoy are those bottom-drawer, not-
too-pleasant real-life experiences
gone awry. Anyone who has ever put
the ink to the pen, the brush to the can-
vas, or the knife to the frisket (not to
mention the label to the packing tube)
will sense what we're getting at here.
In Airbrush Action's continuing quest
to serve you, the reader, with the most
factual depiction of the trade possible,
we feel it is only fair to offer a glimpse,
albeit a brief one, into the dark side of
the airbrush experience. In this, our first
installment of "Nightmairs," we take a
look at the sometimes tragic, always
humorous (in retrospect at least), seamy
underside of the business. . . .
"NIGHTMAIR$" ACT I-'THE EDUCATION
OF ANDY LACKOW"
The Setting: New York studio apart-
ment circa 1984, dead of winter, gray
light attempting to poke through the
Levolor blinds
The Character: New York airbrush
illustrator Andy Lackow, looking hag-
gard in work clothes, black cloth Korean
slippers, ripped T-shirt, after working
night and day, day and night on a huge
advertising campaign for Atari video
games
Lackow: "My nightmair goes some-
thing like this. This campaign was to be
my break-entry into the major leagues,
big budgets, glamour, fame, the spot-
lights, you know the scene.
"I had all of about two and one-half
weeks to complete five paintings-from
sketch to completion. I figured out that
if I could chum out one painting every
two and one-half days, I could get it
done on time. No problem. Just the most
hectic two and one-half weeks of my
life. To get everything done on time, I
basically became a hermit. I didn't take
time to sleep, shave, shower, etc.-you
get the picture." (Yes, we do, Andy-
and it's not a pretty one!)
"I finally got all but the last painting
completed, which turns out to be Ms.
Pac-Man, perhaps the most crucial piece
in the puzzle. I hadn't slept for over 48
M AIRBRUSH ACTION/SEPT-OCT 1987
hours at this point. It was the eleventh
hour, so to speak, and I had about a half-
hour to complete the project. I was ter-
rified of failing.
"The final step to completion involved
cutting a frisket-a quarter-inch gray line
running down the center of the picture,
dividing the right way to play the game
from the wrong (little did I know of the
symbolism to come). This was the abso-
lute last thing left to d o - c u t an idiot-
proof straight line!
"Of course I hadn't taken the time to
eat that day, and the studio was a mess.
I was definitely on the edge. I picked up
my X-Acto knife and proceeded to cut-
right through my index finger, unfortu-
nately. As the wound began to bleed
profusely, I summoned all my courage
and attempted to deal with the matter at
hand (no pun intended). I didn't have
time to deal with it correctly, so the
question became, What would you do in
this situation? Wad some Kleenex
together and wrap some masking tape
around the thing to hold it all together?
Of course-you've got a deadline to meet
on perhaps the most important project
of your young career.
"Minutes later, with project now
complete, I called the messenger to come
TALES FROM THE DARK
SIDE OF AIRBRUSH
LLLUSTRATION
pick up the completed artwork at the
Chinese restaurant directly adjacent to
my studio. I then proceeded to throw on
my down parka, and with bloodshot eyes,
face ashen, and 'matted hair syndrome'
(more commonly referred to as MHS),
I stumbled down to the Lennox Hill
Hospital Emergency Room.
"I felt like a cross between a Bowery
bum and Howard Hughes, and when the
doctor parted my finger like a book, I
started to see stars.
"Fortunately, I pulled through. The
ironic ending to the whole story is that
two weeks later the illustration came back
with requests for minor modifications.
Can you believe it? Two entire weeks-
fourteen entire days! My initial reaction
was, 'Oh, my God, I maimed myself to
do this?'
"I guess the moral of the story is that
nothing in this business-not even Ms.
Pac-Man-is worth getting hurt for."
"NIGHTMAIRE," ACT Il-"CHARlES
wnm AND MURPHY~~ LAW'
The Setting: Somewhere, anywhere,
in Southern California
The Character: Charlie White, illus-
trator extraordinaire
White: "My nightmair is really a
combination of stories-some humor-
ous, some tragic, some outrageous-all
making for a story line that most artists
will no doubt relate to.
"One time I had a messenger break
a painting of mine in two. Fortunately,
it was a clean break, and we were able
to put it back together again. . . .
"The first time I ever attempted to
airbrush anything, it was on the back-
ground of an almost completed water-
color painting. I ruined the entire thing.
My wife threatened to pack up and leave
me if I continued with that nasty little
airbrush habit. . . .
"Then there are those times when
somebody sneezes or throws a rain-
soaked coat over the chair right next to
your artwork. You get those little white
dots all over the place, and they take
forever to clean up. That's about the time
I start asking myself, 'Self, why am I
doing this?' "
ILLUSTRATIONIROBERT SEABERT
 WINNERS
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picture is worth 10.000 words.
Design your own card ... Show
off your technique in exact color.
Send for price list & samples.
COLORCARD UNLIMITED
I Image 'n Transfer
Systems, INTS
Reproducing Fine Art
388 Decator Avenue Holiday Gift Guide
( EastYaphank.NYl1967
(KIA\ QQI ~ n q 6

Please circle Reader Serv~ceno. 27 I

ADVERTISER'S INDEX
Airline Airbrush Academy . . . . . . . . . . . . . 64
Air Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
AM1 . . . . . . . . . . . . . . . . . . . . . . . . . 53, 55, 57
The ~ a l i ~ e r e ~
Table
i ~ h tArt Esprit.. . . . . . . . . . . . . . . . .42, 43, 44, 45
Atlanta Airbrush. . . . . . . . . . . . . . . . . . . . . .61
P o h t tor Badger Airbrush Co.. . . . . . . . . . . ..5, 49, 77
Alrbrush ' $298 Binks Manufacturing.. . . . . . . . . . . . . . . . . C4
A- .
II( Binney & Smith.. . . . . . . . . . . . . . . . . . . . . 32
Colorcard . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Color corrected
vwlng Conwin Carbonic Co.. . . . . . . . . . . . . . . . . 26
Decart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Even l~ght Demco Mfg./Blue Force.. . . . . . . . . . . . . . 33
d~str~but~on
Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Crafted from Frisk.. . . . . . . . . . . . . . . . . . . . . . . . . ... . . C3
hardwoods Gemini School.. . . . . . . . . . . . . . . . . . . . . . 56

-
Hall Productions . . . . . . . . . . . . . . . . . . . . . 64

t
Top: 42"x32'
Hopper-Koch Inc. . . . . . . . . . . . . . . . . . . . .26
Money John Medeiros. . . . . . . . . . . . . . . . . . . . . . . 81
EMBLEMS, SERVICE AWARDS, Back Jun-Air.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
MEDALUOWS, CUSS RINGS, BELT Guarantee Koh-I-Noor . . . . . . . . . . . . . . . . . . . . . ..34, 35
BUCKLES, CHARMS, ETC. "I own a Caliper Light Logan Graphics . . . . . . . . . . . . . . . . . . . . . . 64
Sewicing Companies Across Marabu . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65
The
A it to other Medea, Inc. . . . . . . . . . . . . . . . . . . . . . C2, C3
Morgan Rey Benson Woodworking. . . . . 81
artists." Paasche Airbrush Co. . . . . . . . . . . . . . . . . . 8
WRITE OR CALL FOR BROCHURE Michael Steirnagle Pacific Airbrush. . . . . . . . . . . . . . . . . . . . . . 48
& PRICE LIST Sacramento, CA Peter J. Heer Productions.. . . . . . . . . . . . 56
JOHN MEDEIROS Polk.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
P.O. BOX 7?~,F?\L~fL-~PR;G~ASS. 02722 River City Graphics. . . . . . . . . . . . . . . . . . . 82
WoodrraWnO Salis International.. . . . . . . . . . . . . . . . . . . . 6
School of Airbrush Arts.. . . . . . . . . . . . . . 82
Testrite Instrument Co.. . . . . . . . . . . . . . . . 26
Windjammer Cruises . . . . . . . . . . . . . . . . . 66
Please circle Reader Service no. 75 Please circle Reader Service no. 76 Winsor & Newton . . . . . . . . . . . . . . . . . . . . 25

AIRBRUSH ACTIONfSEPT-OCT 1987 81

 PROTECTS YOUR HEALTH1
CLEANS YOUR AIR OF
HARMWL PAINT OVER-
SPRAY PARTICLES AND
FUMES.
SUPERIOR AIR CLEANING
-
CAPACITY UP TO 800 50.
FT. AT UP TO 550 CFMl
WHISPER QUIET OPERATION
TRUE HIGH TECHNOLOGY
DESIGN CONSUMES LESS
THAN A 100 WATT LIGHT
BULB1
SAVE YOUR LUNGS! The Airscrubber System 3800 Air Purifier
quickly eliminates hazardous overspray and fumes from your
breathing space produced by your airbrush, spray adhesives,
etc. With it's five (5) step filtration process, the System 3800
CLEANS PAINT OVERSPRAY
OUT OF YOUR BREATHING
SPACE UP TO 400 50. FT.
PERFECT FOR A SINGLE AIR-
BRUSH ARTIST
ALL -TRONIC -
NO FILTERS TO EVER
REPLACE AND COMPLETELY
SILENT OPERATlONl
LOW COST OPERATION AND
MAINTENANCE LESS THAN
90 CENTS PER YEAR
-
ELECTRICITY1
Our collector II+ Air Purifier pulls hazardous airbrush paint
overspray out of your air, (down to .m of a micron), and elec-
trostaticaiiy attracts them to the Collecting Panel -just wipe to

--
purifies 800 sq. ft. of airspace once even/ eight minutes.
Removesharmful airborne pollutants down to .001 of a micron!
Breathe easier and feel better. Order your Airscrubber System
3800 risk free a t only $399.95, !add 515.00 shippingand handl-
ing). Optional vapor/odor filter only $19.95. DlmenSlOnS:
i7x11.5~14inches.
clean! NO filters to replace, no moving parts, nothing to wear
out! Solid-statedesign with adjustable cleaning capaciw. Protect
your health. Order your collector 11+ risk free at only $119.95,
(plus $4.00 for shipping and handling). Satisfaction guaranteed.
Dimensions: 2.25~2.25~6.25 in.

tam
" ."rn.m I
Ca River City Graphics
1
ORDER TWO OR MORE UNITS AND SHIPPING IS FREE! M C ~
~ etherAirscrubber system 3800 or the collector
Checlc, Money order, C.O.D., MaSteK'drd, visa, anc Dept, D7,104%Drexel Coud I+ Air Purifier and try it In your studio. ~ffor any
American Express cards welcome! FOR RUSI Rancho Cordova, CA 95670 wson vou are not corn~letelysatlsfled, simply
DEUMRI: add 5% to total price. piease include ah

I
Phone, (916) %la255 etum with 31 days in the orlglnal condition for a
shipping an0 handling fees. (CA residents include uii refund - RISK FREE!
6% sales tax). DEALER INQUIRIES WELCOME1
I
Pleasecircle Reader Service no. 38

- -E'RE THE SERIOUS DISCOUNT SOURCE

FOR ALL YOUR AIRBRUSH I --Ells!
Atlanta Airbrush/Co-op Artist's Materials offers
the widest selection of airbrush equipment and
i artist's materials, all in one value packed catalog.
Our new 130 page edition gives you compre-
I hensive product information backed up by our
i
I

iI
knowledgeable customer service staff. I
i
For unsurpassed selection, serious discount
; pricing and fast, accommodating service-
i
I write today for your free catalog!

1I I
I
YES! PLEASE SEND ME MY FREE COPY! 1 I
i I SEND CO-OPArtist Materials I
! I TO: Atlanta Airbrush
! I
I I P.O. BOX 53097, ATLANTA, GEORGIA 30355
I I
i I NAME
ADDRESS
j CITY STATE -ZIP
I AACR
..........................................................
3 Please circle Reader Service no. 77
02 AIRBRUSH ACTIONISEPT-OCT 1987
 .-----------------------
Frisk, the market leaders in the Frisk Me. Send me free information and samples on:
-7
I
Airbrush field with Friskfilm (low tack Friskfilm Prepared Acetate Pads I
masking film), Friskair (airbrush (low tack masking film) Layout Pads I
propellant), and CSlO (airbrush1 (310 (Board & Paper) ~~~h~ pads I
Marker Pads I
illlustration board), now introduces coverseal Gloo-Booth
(Air Purification System) I
more quality European graphic art (Self-adhesiveprotective film) I
(All Samples) I
products
- for the United States market. I
Frisk Marker Pads, Prepared Acetate i Name: i
Pads, Layout Pads and Tracing Pads
I
are now available. State: Zip: iI
For free information I Mail to: Frisk Products (USA) Inc.
and samples mail in 1 4896 N. Royal Atlanta Drive Suite 304 I
OUPHIC AET Y A T ~ I ~ I A L B I Tucker, GA 30084. Phone #: (404) 939-9496 I
the coupon today. L----,-,--,--,------------I
Please circle Reader Sewice no. 49
AIRBRUSH ACTION/SEPT-OCT 1987 83
 Becauseyour talent deservesthe best
You're looking at
the most advanced airbrush
tools available today. For a
whole handful of reasons.
With Binks, there's
no limit t o what your
imagination can achieve.
You can paint everything
from tiny photographs tb
oversized funny cars. And
you can use inks, dyes, enam-
els, watercolors, acrylics,
stains, oils and lacquers.
The choice is yours.
RAVEN II The double
action Raven is ideal for
illustrators, photo re-
touchers, architects, artists,
and serious hobbyists.
You get precise
control with an adjustable
air cap, needle and trigger
assembly to produce spray
patterns from 112" t o
pencil lines.
RAVEN II features
smoother action with a
more comfortable trigger
design; and is available in
models: Standard
and with a "needle
Quality, Reliability, Versatility
adjustment" assembly.
Also, Raven II
Binks puts it -
all
with chameleon lets
you use up t o 9 colors
in the palm of your hand.
at once-by simply turning the
selector located on the airbrush itself.
WREN The single action Wren
line is widely used for precision and
background work by artists, hobby-
ists, auto refinishers, and many others.
Known for superb control
and handling, Wren airbrushes are
available in 3 nozzle sizes: Model "A"
for fine lines, inks, dyes, etc. Model
"B" for thinned lacquers, enamels. Call or write for
And Model "C" for ceramic glazes more information today.
and heavier materials. Binks offers complete airbrush
outfits, air compressors, o i l and
All Binks airbrushes are custom
water traps, air regulators, hose,
engineered with the finest materials;
and designed for easy cleaning and canned propellent, and more.
I I
simple maintenance.
So when you want the best
airbrush money can buy, get your
hands on a Binks. For all your airbrush needs
The "hands-on" favorite of 9201 West Belmont Avenue
artisans and hobbyists Franklin Park, Illinois 60131
alike for over 90 years. (312) 67 1-3000