A Complete Guide for Basic to Advanced Pin-Up Painters JANDREA SNPRESSAuthor Julio Cabos Book Design: Andrea Press Published by ANDREA PRESS (CTalleres, 21 - Po. Ind. de Alpedrete 28430 Alpedrete (Madrid) SPAIN Tel: (34) 91 857 00 08 Fax: (38) 91 857000 48 vwnw andreapresspublishing com sales @andreapresspublishing com tat ity Bint ANDREA ANDREA Pini sin naa puns sores sonnet vane SrBAnatee ress hema : RRL amie Mtoe Rhee Ail nighs resend No part of thie publication, ether total or in pat Sense Seti aaa? the photowrphs, ext and iuttatlons maybe reproduced by ar method Sees oom sthatsomver wot the prior wen authoreation of Andes Press. Sahoo Settee ISBN. 978.84-94658-41-7 aie Bepésito Legal M-313-2013| remember that one my fist painting professional assignments was a series of glamorous gi fgures by several brands, My mastery and knowledge of airbrushing at that time were ret world and static models, V my main for the best way to take the advantac it might offer. This led me to paints and work systems or methods over the years, to keep improving and reaching truly satistactory resus. But airbrush was not enough to get such sults, so | fooussed on brush painting (00. In ime | would develop an innovative mixed technique able to render extremely iste resuts, Over the years, both painting techniques and the figures themselves have evolved © amazing realistic levels. in addition, is applied the use of a new generation of paints too, The purpose of 00k is to clearly explain how to work with these new techniques and materials. fope you lk it Julo Cabos 1. INTRODUCTION 1.1 Tools and products used on metal figures ..ann 4 41.2 Preparing a figure... 2. PAINTBRUSH BASIC PAINTING .. 2.1 Paints and materials... 2.2 Basic concepts in painting with acrylics... 2.3 Painting the eyes. 2.4 Painting flesh. 2.5 Make-up. 2.6 Painting the hair 2.7 Painting @ dr@S8....000 2.8 Glazing (stockings)... 3, AIRBRUSH PAINTING . 3.4 Paints and materials... 3.2 Airbrush basic painting 3.3 Painting flesh. 3.4 Airbrushing a dress... 3.5 Airbrush glazing (stockings)... 3.6 Mixed techniques: airbrush and paintbrush...... 70, 4, ANDREA'S PIN-UP GALLERY .‘The term “Pin-Up” was made popular in the U.S.A. in the 1940's to describe photographs or illustrations of pretty girls, depicted in ‘suggestive attitudes with a certain degree of ‘sensuality, eroticism and naivety. They were only rarely completely nude; their charm arising from their poses, lances, or that skirt that shows a litle but suggests much mare. fing ampling m sany books with rks of rominent masters genre: Jay Soot Pike Elgren that inspired the fig. 9 in this book, renking Andrea's Pin Up series in 80mm. They models full of cham and iS book will show you how fo paint ur own Pin-Up private collection by using sophisticated acryic painting 1e8 clearly explained in step-by- step photographs. First you wil lea basic paintbrush techniques; then aitorush ones ly @ combination of both as the way to get unbeatable results, and fing b It wil also teach you @ number of special tricks to give a distinctive realistic touch to ‘your models; kind of makeup, hair color or kings. the delicate glazing of It you have never painted a figure lie this, now you can by simply following the training course offered in this book. Key concepts are gradually and clearly explained, At the same te ther series of duly planned excercises allow you to acquire the necessary skis to fully control the aiforush, Last, but not least, please meet the ladies in this pages that wil lead you through the different processes shown here,Primer Spray: c9s« ‘Tamiya Putty: sand Two-component epoxy putties: > 4) Cyanoacrylate accelerator e applied on parts gluing for cae Cyanoacrylate: mos! i netal or resin parts. Areas to be 3 Should be fully clear ‘Two-component glue: mai 6 emir [Aral 9) Wire wool: is90 as as x 0) Synthetic paintbrush: mainWhite metal figures need some preliminary work before being painted. We will check al the diferent parts in the kit and theit assembly. Do not think one or two simple tools are enough inthis step. More often than not a good, selective choice of products at this point may do alot in getting satisfactory results atthe end, 6) Cutting pliers: uselul to cu eee etey salar 7) Round tip pliers: not as or foldior shape par ) Fine tip pliers: iundanentIB] Preparing. « figure Cut casing spues with “fin tip pars. Flaws on delicate areas are removed with the pont of the blade, 5- Mould lines are removed with around le 4pGo over all arene with red git sonar, inky where the filed not gett 5 For a pert finishing itis neceary to posh with metal wool 6-Use jana to glue (he parts Due to the manufacturing process any figure metal, resin or plastic: is subjected to ‘some minor flaws such as thick mould lines, bubbles or pitting. cticaly all metal cast parts present @ or@ or less obvious mould line, They are inevitably produced when casting moulds, leaving a very fine faash or burr all around the pieoe, They id are sometines almost especialy when dealing with high quay figures. imperceptible; For removal use around or half-round fle, ‘oa medium ojit sand paper depending on the shape of the par. itis important to procosed very gently and successive not rushing at all‘Once this operation is finished, we can rub the piece with metallic woo! to obtain parfact polish, very gently too. This treatment wil prove indispensable with figures showing a considerable amount of flesh; as tis the case. Pars are glued together by using a simple drop of cyanocrylate and trying to avoid ary excess of glue orotnding from the joints as, that being the ot would be obliged to remove it by careful sandpapering. Otherwise the surplus of glue would be visible in the paintin process. Sometimes a gap between glued parts may ty is fly dry. 1s mportant to glue the dbfrent pars, bearing in mind thei subsequent ase Mic the putty Tamiya Paty) with acetone to sohtin the appropiate consisteng, Apply the putiy with « synthctic lush on jis ‘shen smal gaps appeared. Aflor one hour crying, ramon theexeswth fine agrtsandpaperPrepare the two components ‘medelngputy incl parts. Once thoroughly mixed, apy cm the gap wth a rubber 0 sym brush, Get holder to fx the figue and aod tucking it ring the painting. proves. In ths cas asall rund base il de Plastic tubs of liferent thikrsses might he use oo, Whenever posible, we wil apply hue om ars not the prints Ve For bigger gaps two-component putes should be used. Both components are mivad at 50% til get uniform color, then applied wit te end ising those areas that wil r synthetic ed in the final assembly: mainly using uo aly thing m rt riming, The most important 2 good primer is adherence aitbrushing, sullss can be a ching them during the pair gure -or the par16- Pars holed and displayed ‘suck ona plasticin lok 17 Befie priming, figure joints should: be concealed from unl aa dt by using “Blue Tac ruler 50 assuring & pe tng one ung 8 Spray priming. Fist coats rit be shat 1520 om, 19-Lse spec pants purposed Jor plastic or metal mals soho priming airbrushAN Paints and Materials ‘There are several brands of acrylic paints available today sporting similar features and being even compatible in some cases. Which paints should be used is to a great extent a matter of personal choice, Painters are recommended in any case to compare and check which particular products match their requirements in the best possible way, bearing in mind that quality paints -and paintbrushes are a key factor to get frst rate results, XNACG Andrea Color General Range: Paints.In this section the painting of a Pin Up using acrylic paints is thoroughly explained using Andrea Color paints and the special paints packs named “Paint Sets”, Methyl Alcohol: uses 1 aint Colour palette: som 1 Kolinsky brushes: 3 h : ic di t gures. Accomdin1 Ada ater mixing the pint vol 2 Paint exces is aided by controling the measure of pant uid in Oh ige water-soluble paints used water in given proportions, No may be established conceming consistency’, though that of rt might be a reference point for base colors and frst Ights or shadows, Another important factor when painting win aoryics is how we use them, i should be notioad that brush pint load is kept back insice bristles and comes cout when the tp is pressed. A tight, clean line demand paintbrush adequate to the surface we are painting. ft should be ftod wih strait, yet flexible tip and kept | bristles in perfect condition; with no spiiting at al Strokes should be accurate and in accordance with the paint consistency, handled In the right angle and covering the widest possible surface in order to get homogenous and even layers, The stroke angle is very important and has to be arranged according with any pparticular shape and texture: linear, curve oF punctualApply. the paint with ‘constant and steady stroke. 4 Tey fren water/paint proportions and chee transparency. 5-67- Example on how to sakes stroke filling one diction. Not how the paint callcts athe | end of the tnjetoy ‘when misng the | inlnsh fom te surfice= to2: Add water anal ms the colors Addon or fl yintrash lasts the pint str 4 Once the right pints oad set me conten om 8 Sheet of paper a sharpen the painbrsh ip bere panting 5 Outlining uppereyaids 65: Now the ler ons. Slightly pressing the paints ip toget iris shape an size.8 Byespainted 9 Bas olor proportion fr ble to: Eylds clined the is pln same way than i the reous eaplepaint in one point, repeating the action ntl obtaining the size and direction of the eye's look, The use of medium will ive some margin to rectify f necessary while the paints stil wet by moistering a clean paintbrush with water and wipe any mistake with the ti. For the lighter eve, we follow the same procedure but, ance the iris has been painted, we make a miture with a ighter tone and paint the centre of the iris without toucning the edges, creating a subtle gradation. To set the look direction, we paint the pupil with black XNAC- 02 + medium. Finally, @ tiny white point ‘oatween the pupil and the ris is added, kind of refiection. Bet ont a ck etc rac ee te pai the fis ete tl ching he cs i Mat Uk ew toalen hep se Matt white for the tiny spat icon the pup and the fis sdating a ‘reflection, ealfBase clo use 2 Kalinaky brs ofS. Cover the entive flesh surfice evel. o thre cals of pine willbe needed. Fiat lights. Aplin sever coats unt gating good Note the direce he shoulder, with only fo cots gien, an the leg whic ete some mare Fis ight pint This is one of the key factors when painting this king of figures, and one many simple and Andrea's Flesh Paint sat (AOS- sequent tarting point mixtu | think that ba visible in the fi For this, dal in the it wil aways be e, one way or the other ial to 88 the cok hing the general fone we in in cur figure. That means t 2 wish @ dark sl i kina fe will no a light base, since the darkening would be arduos and the results doubtful the: i que painters ng as this p lites for the Juce many inter ion of both, esting below or even a c The pin up staring ‘Naughty Dog" and coded numbe the series, A wil |00k for a sighty ournt jor 2 in the Flesh Paint Set. That base inthe fgure in them to dry cory is applied and taking y before a new one are to get a totallya1glazing. 1t all depends on chosing the right colors for any particular case, One of the more interesting features in a quaity acrylic paint is gazing. By simaly adding water we can produce countless color gradations on any previously painted piece introducing interesting and subtle Color effects. f, for example, we have a blue general tone and wish to inttocduce slighty greenish variation, a watared yellow glaze wil play the pan, with no ‘need for any green color In the seme way we can modify the color temperature, fram cold to waim tones, by simply using glazes. Shadow areas we will solved with just one shade, as the lighting treatment and the use of the base color as exp betote, has rendered contrast and color enough, Shadow strokes will be gh ‘opposite than with the light ‘coming from lighter to darkar points just the1 lsh se olor 2 Fillghls ‘Secon ight tne Most miniature began painting itary figures involving a particular painting ste stressing in unfommology, bate weathering, to. in general a. limited color range is used and a rather dul firish pursued. Girt or female figures, on tha contrary, present a quite different challenge in which softer treatments, brighter colors and subtie armonies follow the style made famous by the well known arists that created the Pin Up icon during and fities of the past century ontext one might say that make: upis an essential part of Pin Up aesthetics rarely missing in any beatiful period, Even simple painted that peculiar, erotic charm of Curiously enough, just as enhance beatty -or dis real life, sot s \when painting figures by or simply fine-tuning a o: sing, rider ular f4-Whon sppbing the [ast lips ‘we pant from shadow to light points, 5-Shadow tons. G-Fint makeup glaze, We ge strokes caeily filling the |7-Makeup continues by dingn pan Main ww ofthe fished ‘make-up tones 9- Fist laze applied er the ol so-Lightening prominent eas, adding ome ‘alo othe mtr mad ortheeye shadow 1 Lips bs clon Lipslights 1s-Lips shadowing and view | fallpromesscraved, but rather subtly sug in the other examples, the ti Eventhough the process woud be the be applied on matching spots sini with ther addition now of thiner the previous cases, Maximum light awn wit the paintbrush folowing willappear by themselves as we left these war dressing shape. parts more transparent andlighter that t rest of hair at the beginning, Shadowing willbe not afferent that in the other cases. a .st example in this hair study is a super detailed blonde hair which we can use io explain a nique for hair nting. In this case hair shoud be in white and use a base color a ditted than usual, in such ‘ay that it flows easly to the deepest ts in the hair, leaving the primer sen through in the light upper points. Same as 4 ste 7 ui ssc sale a = r LY 2 eo a C c 3116ING Painting « Dress inthis Most of the figure a suit or ctess representing more than 50% of the total painting work. You can find female gaments in an endless variety of coo, but surely the prevailing ones are white, black, blue, green, red and yellow. Meteng proper mixtures for lights and shadows isa stil beyond the nabilty of many painters. The Andrea Color sets Used in this book were design professional painting within these painiers, so as to supply more skiled attsts with 2 faster and sure means to produce top quaity work, There ate sets avalabie for all the colors afore mentioned. For the occasion we wil use the set coded ACS-04 Red. The paintbrush is a sharp-tlpped number 2, able to cover wide areas and to reach the finest creases and fold. ection weer ming the 6A base). AS explaine color should be layers alowing for total dry covering large areas and taking care to place the brush 3 the paint to the upper creases for sake of Nex came second and and 4) thickening the mixture a it enhance main light spots, Shadows with be given as strokes coming form shack points 1 Base clor paintedWe are almost completing this short training course on how 10 paint figures with acrylos and brush. At his point, all that rest should come easy. AS stated belore acryles are perlect to produce transparent hues by simply adding water. We refer to these hues as “dlazes' There are two main factors to be considered when glazing: control of the amount of water and paintorush stroke, that should be continuous and always in (one rection: downwards in this case. Though given accurate percentages for glazing mixtures is rather tricky, | woud say they should be something neer 80% ‘water 20% paint. Contrary to the popular belief, acrylic paint is malleable to some deuree. It becomes ‘obvious when successive glazes have been given forming a consistent plastic fim that retains humidity long enough as toiow futher bending by simply painting again on that particular area with a clean wet brush, Previoustyto the stockings thelegs should be painted just in flesh with the usual light-shadow treatment. Next comes the stockings for which a mixture of flesh base color with black 5 (Black Color Set) should be prepared. Duly watered, this mix would be used for the frst glaze brushed up and down tl it covers the full stocking. Succesive glazes would be later applied letting layers fuly dry between each other tl get a convincing effect. An interest accent or extra touch is possible, brushing main light spots with glazes prepared in lighter stocking tones, Do not expect to get satisfactory result atthe frst time: some practice is required to master this technique, specialy to get @ proper balance between the consitency of the gaze (depending on the amount of water) ‘and the number of layers applied@ ig mistire, tying to gel a subtle shade ft 1-20 Side view of the fished stockingsRM Paints and Matarials The airbrush has been with us for more than one hundred years encompassing periods of relegation ‘and prominence. This tol has some kind of magic, asitdraws and paints without touching the surface with vibrant and clean effect Recently itis gaining an increasing number of users who praised its oreat artistic and technical possibtes ACS Color Sets: Al sets ai n any type of mode Water: Used to mix colors on the Acrylic Thinner: Transparent inks: Andrea color XNAC acrylic § paints: r sets Air compressor: comp Airbrush: Cleaning brush A tools:oe v. nation! 17) Masking tapes and paper: Methyl alcohol: ised to clean te handle tiny mas : pains eran es eaeaee 8) Colour palette: These | rah fs Sec with rather fat sockels are perfect to and flexible Compass cutter: Used (0 cu pr nal mit 6) Synthetic paintbrushes: jarder synthet tiring and m cup and on the tha brushes hold Cutting matt: Quie fe- when working with c Steel rule: Us Craft knife:oH) Clicbash Basic Paisting The basic principle of airbrush painting is quite simple. An external compressed airflow source jets the atomized paint through the airbrush ‘mouthpiece creating perfectly even layers of color If you ete not familiar with aifoushing, some practical excercises before attempting a igure are advisable, Fist thing to do of course is to connect the arorush to the compressor. I iit has a pressure gauge, the right pressure is two bars. Before fling the cup note that the trigger jets just air when it is pushed downwards and paint if pushed backwards (no paint ye), Firstairbrushing golden rule: “Airis the fist to be opened and the last to be closed’, Exercise 1: Airbrush control We wil need blue, green or black ink, thinner (Athinner-01) and sheets of paper. Load the cup wit a itt of thinner +some Cdtops of ink, Push the trigger downwards to expel air and, gently, backwards to ‘expel ink, Now draw a line on the paper, changing the proportion of alr and ink Then we ty distance to the paper frst we bring it closer to make thin and controled lines; then we increase distance to produce broader ines. Exercise 2: Continuous lines To draw a tine we have to bear in rind three things: the amount of paint coming. ut, the distance between the mouthpiece ‘and the surface, and the fact that the airbrush itself wil be in mation, THis exercise has to bs repeated until we (get proper control an the trigger. We use the same materials that in previous exercise, We start shooting a freehand straight trying to get a clean ine all along. Han motion has to be smooth, constant a steady. A good trick is 10 start movi before shooting begins and Keep Goi allie ater the tigger has been released Exercise 3: Dotted design Thisexerciseaimstoagood understanding of the relationship between the shooting cistance andi the patterns obtained. We kee using the same materials. Ibis about cleanly shooting a cot, starting with small one and extending to others: ‘of bigger sze. You have to pay good: attention to the exact amount of ink and air, and the right distance to the paper. ‘A common mistake to avid here ae “blots”. These appear when too much ar ‘combines with litle ai. Exercise 4: Joining dats This is a classic albrush exercise joining ‘exercises 2 and &, No actdtional materia's needed here ether We draw a grid with a pencil and shoot ots on the intersections. Next we have to connact the thy cots with straight lines evenly, AB pitting, Pin-Up foD32 Cbrush basio painting 0g Poa Up fire Exercise 5: Uniform tone This 'S the best exercise to lean how to get an even and uniform color. You can practice with mary different colors Required materials ere color inks, thinner and masking tape. We place adhesive tape strips keeping a small margin on the edge of the paper. We spray from left to right starting from above, hoiding the arrush 10 om far from paper, applying layer over layer until ‘completing the square, Exoncise 5 Exercise 6:Tone gradation Gradated o faded tones are typical airbrushing effects. We need the materials mentioned for exercise 5. Have them aranged as we did for the uniform tone. We start from the lower side of the square fading the tone gradually to white by decreasing the amount of ink.Exercise 7: Painting a circle, a semicircle and a color circle. This exercise demands a fea hand ircular movement, quite useful to get ore confidence, Materials needed are nk, thinner and white paper i order to paint the edge of a circle, we tart the movement releasing air frst and then the paint litle by litle, We continue density mbination of a i We start shootings maiching them al Final, it is about drawing @ Gicle in an opaque color wih a faded ed art shooting paint on the centre of the and then with a continuous, spiral movement outwards, Exercise 8: Painting a sphere his exercise resumes all the others. Materials required are cardboard (easy than paper ven removing masking) thinner circle on the masking paper with the ter. Transfer the mask to the facing with bi (on the shadow are the light points maskex we will not paint them v now blue ink and shoot softy or jadows for a sky biue reflect Finally, @ yellow hue on the lower ed of the sphere will provide the necas touch to simulate earth reflection. AlIf you got throuah the previous exercises eucosssfuly, you are now ready to attempt painting a face with airtrush, ‘As it was the case with brush painting, fare is a proportion to be kept between paint and thinner when preparing the mixture in the aibrush cup. It ranges depending on the type of work: priming, ‘base color or glazing. In general t shoud be something around 40% thinner and 60% paint. Brushing should be aways { uniform and. steady, unless. you to make some special effect kind splashing, texture, etc ‘We will use the flesh set of colors (ACS. 01) a8 we did in the paintorush sect This 's one of the qualties offered by these mut purpose paints. The possi of working on the same figure combiring paintorush and aibrush opens a horkon inthe art of painting fgures, as w vullleam a lite later Whenever we use these paints with t airbrush, it wil be necessary to Use th same brand thinner (Acrylic Thinner by ‘Andrea Colour in order to secure a g resut The innovative painting technique we are going to loam here notably difers ‘what we have seen so far for paintorus panting When we used the bush, we applied uniform flesh before starting to werk wit lights and shacows, With the aibrush we will stat applying thinjets from below as if we were paint the shadows (always according with an overhead ight setting) and letting the white pring seen through, so making easiy apparent the ligt spots to be painted latecThese intial jsts are wice, ‘tying to find the right angle between the figtre and the mouth piece in such a way that paint scaks mainly the shadow area of the piece, Note in the photos how a single base olor can render a varity 0 == Pour approximately 40% thier na the cup FD puting Po-ilp fyrese several alors make the eintend to is advisable ritine on a plete faneand ints Weadewater till gt reamy consistency inner onside Mc paint the sup 4 Fiat shoots are wide and made fiom low looking for the ight ‘angles tha the pat hit on te shadow aes, s5- sist with the sme mixture and trying fo get smooth shadow git me5: Py special atlentin to even surfices Goo contral of the srbursh sar her 7-8 Those spots in darker shadow wall read several layers fo get proper color saturation tonas in terms ot intensity and saturation depending on the number of layers applied By this simole procedure thank to the itorush, shadow and light areas become apparent in the beginning of the procass, thus making much easier the rest of the work. In fact, what we have done here is to project the paint jet on the figure folowing @ given ignt drecton. Overhead this time, but many others. varians can be introduced folowing the same technique: oblaue lighting, rear ighting, etc Second step wil be to define more precisely the shapes made evident before, Make a new modure with a darker Color and go back to the previous stops, trying to contr) the jet in order to get a {good gradetion of tones. This would be the first shadow used to defne deeper creases and bigger shapes. ‘At this point the figure is almost done lout some extra blending between light end shdows by shootng a ight tone from above (just the opposite we did at the beginning with the shadows) and keeping the right angle to hit prominent light spots avoiding shadow areas. Remember we have kept the priming seen through the shadows on ight spots at the beginning of this process. For this reason just coat of ight now wil be enough to get proper lighting on these spots. Eventual errors all along this. proc should be easily amended by shoo white on the wrong area and trying again I case of repetive enors, and too 1 layers of paint producing loss of det there is no other remedy than stoping) the figure and re-stert. That means to offal paint on the figure using an olc ‘brush end methiated spirit, laier washing the figure with hot water, dishwve anail bush, hing andoA19: Clan the sirorsh thoroughly with mda spit before adding new riaturs for thelights 20: Note the aida is naw above the figure juin the opposte agle we fad forthe shadans) We shoot now iom above hting light spots and trying todo not stain shadow areas 2% Gate right angle forthe lights.act that wi surface. Drapery on the contrary is 22s as they normally present ‘olds that work kind of limits 2, allowing 1! ands work on an en nthe entire by painter to nilyremains: sking: @ most thiling moment masked areas have bet nged, you should have a too Pin-UP. ioretere roaster hecking, ang jor always Providing iat we shoot from the right kept undame aimed to the quality par N areas and avoiding ight spots. Greases shaped like Zs aro easier than 2 arranged vertically. Snooting her to be freehand se nd accurate. exercises 4 and 7). ‘As when giving the fl ng successive thin layers til get color saturation, Next step in this 2 lightening 8-o-Repeal the same as ther side ofthe dress. 1o- Prepare the light micture by baa color to yew se ACS (3) ding mor Al1 Light proces done 15: Pepre te lst shadow misty adding ren set ACS.09 (6) othe hase color. 16-Phint the shadows back from: the same angle weld forthe se lor Now lori | darker and ete on deperflisBH Cliclewsh ‘Airbrush tonal gradation has no match ‘when paintng stockings. Adhesive masks and a oraft knife fited with a brand new blade are essential here, We stan painting fesh with the usual shadow-ight treatment. You wil need to develop some skil in cutting pattemed masks, Have some practice on that and care to gat always clean cuts, (Once areas not to be painted have been masked, we prepare a mixture of 70% thinner (Athinner-O1) + 90% shadow (5) ‘tom tha black set inside the cup. With this mixture we shoot the entire leg. One of the leas may be left unpainted in order to have @ reference for a better Understanding on how the glazing process works. At his point, one common mistake is to overdo the frst coat, which in tum of course spoils further treatment on the piece... take care. We use this mixture to hit the shadow areas on the leg enhancing shane and gaining in the effect of transparency. Last ‘we prepare @ new mask used to paint the elastic band by adding a ite bit of black tothe moure Once again, the final results become evident when mask is removed... The should be amazing.Shoot whole log dowrsands vith a mitre of 709 thinner Cover the fll ag with «steady it 17 Fnac of his ist stn the wnpuinted leg as nce fir the stocking -With the same mixture, we hit now only on the shadow aess defined when painting, fle calor 10-Finaliew ofthe shadowspunta iste with iara yBi) Mixed Techniques: ot es Cinbush D_ pitting Pov'Ulp fzere Using aitrush or paintbrush on a figure does not necessary imply different resuits in terms of qualty, Each technique has its adventagas and, we are abe to join the best of them, satifactory results, wil be granted. Actually, a figure can be painted entrely using conventional paintbrushes only, while the same is not possible just airbrushing. Consequently it seems logical to combine both too's for sake of a simple, fast and rewarding mied technique in the ert of painting figures. Preliminaries, though otten underrated, are crucial. Checking the diferent parts in the ki, fitings and assembly or deciding ‘on which parts should be glued before painting... et. ‘More often than not flesh and drapery are painted frst, and for these the aitbrush is the right choice Hf we paint several parts of the figure with airbrush, itis important to mask any areas ‘which might be stained and keep white priming translucent for the next process ‘Once we have fished with the airbrush Is time for the paintbrush to work on tne, tiny details such as creases and folds, eyes, mouth, make-up and so on. Then you have paints. Not all acrylic pains used with paintbrush work with aibrush too, That means that, in principle, we would be obliged to work with two different paint ranges implying extra cost, me-consuring and -not the least uncomfortable painting, A good paintbrush paint shoud feature geod consistency, bright color and high coverage power, Airush paints ask for fine and soluble pigments (reducing clogging)these requiemens i stuggied all along many years 0 iol mind 1 painting ‘and models, reseerch and tests 10 develop a comprehensive range of acrylic Paints encompassing all the features aforementioned: the Andrea Color acrylics paints as found in the general range (XNAC} and in the color seis (ACS), The ‘gue leading this last section called "Dusting Away’ (Pin Up-08). The slep-by-siep process presented fiere is just a mere guide for this and many other figures of the same genre. This section also covers all the pr before lems ciscuss Re parts to holders an give ‘hit pring 2-Maskwith Tamia adhesive tape the areas to be painted after lating priming tn light spots seo ough, a36 & INC 0 ight yellow. rlayersshot wth aidan, re fam below urvands pining visible on the ight9 Same processor shadows to- Proportion of colors far the light ricure ACS-on (4) + light flesh MACs 1 Light sho frm bv 1 Light te. Same procedure on all tion of colors fo ACS-o1() + ACSor (6) + sue This tone, alo appli sirbrush, will reco faded. when printing the fhe previons sep.36 74 , 16 Final deta, fer shooting the shadow tone a Frat ighls Use the same misure in sirbrushing wih the painthrash an look far matching tones on the fae. seg. Fit lights detail With lights slready araged al thats ned i to the paintbrush on iy deta, 04s ‘omhane sme parted pos. 20- raced ily wth shad. a Paint eye gabe white and outline the upper eel line with ANAC dark axis hase calor in blac, Blue punt set ACS-95 (2) + XNAC6o airbrash, som36asy-Applythe shadows ding XNAC. 3) erimson tothe base clr we painted with lor ye cy, a8 this thin end puty sang leg ad the stocking o-We let the puty cre for an hour adding the Lt touch wth paintsa1Black Doggy PINUP- 01 The Litt PIN UP - 03. Hamburguer Lust PIN UP - 09 Dusting Away PIN UP - 08. Cold Strawberry PIN UP - 04 The Missing Arrow PIN UP - 02‘Watch the Birdie PIN UP - 05 Mind the Banister! PIN UP - 06 Naughty Dog PINUP- 11 ‘Santa's Gift PINUP- 10 ‘Ahoy There! PIN UP - 07 GtWhere 's the ire? PIN UP- 13) ‘AWork of Art Bus Stop PIN UP 12 PIN UP - 14 Up to Mischiot PIN UP - 16 Hit the Leather ‘Scrub My Back PIN UP - 17. PIN UP - 15:cf XeRay Cheking PINUP-20 “Suncare PINUP- 21 ‘Cool Swim PIN UP - 22. Hula Hula Gir Unweleome Visitor PIN UP 18. PINUP- 19Feathers Fashion PIN UP - 23. ‘Weight Watcher PIN UP - 24 “The Stinging Garden PIN UP-27 The Trick PIN UP - 26 Hottine PIN UP - 25 $B. pang Por Up gurea _2eee2 60 acrylics colors oe ee ‘New Improved Formula a =a <= = ae ae * For brush and airbrush ee ee * Uitra-fine pigment * Non-toxic + Fast drying, super adherence + Matt finish * Superior brushing consistency * Long shelf life * Universal paints designed for Figures, AFVs, Aircraft, Shins, Cars, et. * a oa Andrea Color Sets DON’T MIX, JUST PAINT! The easy way to paint your model * Acrylic Paint and Inks © For brush and airbrush ‘ow © Matt finish {evr 21 Fl td de Ape elon ANOREA DET USAIN ANDREA 85. otis 2 ANDREA (5355500 Se Sen za sn Fe Co aor) 87008 Phen 8 stds rc Bo he 8S PT oer PRPIEODN oeseoninsaeinacon eeiemrion sateenRoc With Genesis.XN airbrush and AC1810 air compressor: ea eee ee Me ae ie you're investing in a better built, longer eet Mt cee R unin iet ete ee em tea ccc Pees Rei a ey eo Tacs onus every professional's preference. Te ee ee leam how Grex precision crafted tools Teron eos oiter=c neo iP COle Sena GREXPainting Pe-Up Figures (isn) |AND_AP-0a6r JANDREA IPRESS AP-O46 ° I