Airbrushing
Fran Peterson
furstenau) wrote:
> Does anyone have any interest/experience in using an airbrush? I've
> been using one for quite some time for fine art, graphics and textiles
> (read: T-shirts) and think a thread along this line would be very
> productive. In fact, I'm sorta surprised there isn't a
> rec.art.airbrush or something along those lines.
Funny you should ask. I was going through my "sewing-arts & crafts" closet
last night and ran across an airbrush that I bought several years ago and
have never used (never even had it out of the box). I paid over $200 for
it. To make a long story short I decided to try and sell it since I
haven't used it by now the chances of me ever using it on slim to none and
I could use the money to buy supplies for the sewing I do.
So if anyone is interested pls. let me know. I'll be glad to work out
arrangements for shipping COD if not in my local area.
Christopher Vacano
i'm an airbrush artist, too... have been for about eight or nine years.
i use an HP-C for most of my painting and illustration, although i have
one badger 150 for 'textiles' :) and one for oils (i don't want to run
them through my 'good' brush). i'd be really interested in seeing a
thread develop here, but have been kind of iffy about starting one my-
self for fear of flamage from those who believe an airbrush belongs only
in t-shirt shops in the mall and at beachside resorts, and not in fine
art.
one interesting thing i've noticed in my own work lately is a drifting
in emphasis from the airbrush to more traditional tools, with it acting
as an additional feature, not the primary tool... i use it more now to
accentuate things i'm doing in watercolor and oil, where i used to do
'airbrush paintings'. irony is that i really learned to paint first with
an airbrush, so it's made converting to traditional media... odd, to say
the least. :)
incidentally, i'll toss a second vote of support for Airbrush Action...
the back issues are generally better than most of the $30-50 books. of
late, it's gotten a bit too... i dunno... it seems to me to be missing
something, although the last two issues (Olivia and Drew Struzan) were
exceptional.
anyway, glad to know there are a few others out there.
happy painting!
krishna
--
Chris Vacano: graphic designer, artist, illustrator, and classic irritant
CAD & Mouse, Denver, CO. cva...@nyx.cs.du.edu
"He who keeps his ear to the ground undoubtedly hears all the good dirt."
fran...@delphi.com
darks, I have turned to air brushing. I have the Badger 150 with all 3
heads. I'm still strugging with the techniques and have'nt gotten to the
point where it's intuitive. I've been working with thinned down watercolors
and Golden airbrush colors. I've been using hot pressed W/C paper as a
support at an angle of 45 deg. or so. Any tips would be appreciated.
-Frank in Delaware-
david furstenau
: I am basically a watercolorist but in effort to get deep rich blemish-free
Without knowing more specific information about what you're
trying to achieve, it's difficult to give any substantive advice. I
myself would be rather hesitant to paint at a 45 degree angle, though
this is of course a matter of personal preference. Like most
methodology...if it works, it works. Most airbrushers tend to spray
at a 90 degree angle--and for a very good reason. Your biggest enemy
is overspray and it is often hard to detect until it's too late.
Working directly narrows the cone of paint and gives you more control
IMHO. Of course, different effects call for different approaches.
I might add that you should always try to keep the airflow
running while you paint. It decreases tip build-up and allows you to
ease into those graduations without the blemishs of which you spoke.
If you've ever seen Tom Lynch paint with watercolors, you'll note
his arsenal of spray bottles. It's hard to argue with some of the
stunning results his technique acheives and if it can be done with a
pump-style plastic bottle, it can certainly be done with an airbrush.
I should also ask what sort of air source you use. This can
affect your efforts. Aresol cans and cheaper compressors are prone to
pulsing and can ruin subtle work unless you take steps to account for
it.
I've never used a Badger 150. Christopher V. said he uses one
for textiles (though you can certainly use it for WC) and could
probably give you better advice on it's specifics. I believe he said
he uses an IWATA-HPC for graphics. That's and tremendously useful
brush (and popular) and I'd recommend it if you're doing more than
just painting backgrounds and such. (Of course, the Rolls Royce's of
airbrushdom are the Paasche AB and and Iwata Custom Micron, but these
may be overkill for general work).
PS to Christopher V. There's more interest in airbrushing here than
you may realize. I've gotten several private e-mail inquiries from
people who seem hesitant to post here for some of the same reasons you
outlined. As for your personal approach to brushing, I can only add
that many of our gurus (Olivia included) save the airbrushing for the
last step. There are a few intrepid souls who use it throughout with
breath-taking results. I suspect the answer is somewhere in the
middle.
DAVE FURSTENAU (d...@unlinfo2.unl.edu = Univ. of Nebraska-Lincoln)
COLES ADAM ALLAN
soon. My primary tool is the airbrush. I also learned to paint first
with an airbrush before more traditional media. (I use a Badger 150
for the curious) Talk about a bias against the airbrush! I went to
school at CU Boulder, where I once went to the Fine Arts Dept., looking
to borrow time on their compressor/tank/regulator system (I didn't have
a compressor at the time). I was told, "THIS is a fine arts school,
we don't teach or support advertising or graphic art, and we don't have
a compressor, or whatever."
That put me in my place, for sure. :-) I think a lot of people still
think the airbrush is for photorealism and/or technical illustration.
I was happy to see Billy Dee Williams work a couple months back in
Airbrush Action (where else?) Any comments?
Adam Coles
"Armchair rocket scientist graffiti existentialist."
fran...@delphi.com
reason you cite; to avoid dribbling & sagging from overpainting. My
biggest problem is coordinating air, paint & distance as a intuitive action.
One of my less esoteric goals is to do marbleing patterns on masonite.
I've seen marvelous examples of this.
Happy painting, -Frank in Delaware-
PS I like golden airbrush colors. Are these the best?
Christopher Vacano
just wanted to toss a second vote of support for the 90 degree thing...
it helps defeat overspray, and just generally seems to work better, for
me anyway. i used to do all my work on a drafting table at about 30
degrees... i'll never go back, although i do sometimes work at like 60
or 75 degrees. it really depends on two things: what kind of airbrush
you're using (a top or side fed gives a bit more versatility for working
flat), and more importantly, what you're comfortable with. in airbrushing,
it's always best to build up colors gradually (it took me forever to
learn the patience required :P ) -- unless you want a heavy effect --
but at 90 degrees, it's pretty much crucial.
golden colors are very popular... not being one to work in acrylics very
often, i can't say much more. however, if you ever get curious, you might
try Windsor & Newton Designer's Gouache... it's the best, imho. i also
like running oils thinned way down with Pro-Art Odorless (but don't be
fooled, fairly toxic) thinner. Com-Art is good, too...
laters,
krishna
--
Chris Vacano: graphic designer, artist, computer geek and music maniac
CAD & Mouse, Lakewood, CO cva...@nyx10.cs.du.edu
"Will we grow together? Will it be a lie? Will it last forever? Hope
I'm the first to die." - James (the group)
Stephen F. Combs
> hey fellow airheads! :)
>
> just wanted to toss a second vote of support for the 90 degree thing...
> it helps defeat overspray, and just generally seems to work better, for
> me anyway. i used to do all my work on a drafting table at about 30
> degrees... i'll never go back, although i do sometimes work at like 60
> or 75 degrees. it really depends on two things: what kind of airbrush
> you're using (a top or side fed gives a bit more versatility for working
> flat), and more importantly, what you're comfortable with. in airbrushing,
> it's always best to build up colors gradually (it took me forever to
> learn the patience required :P ) -- unless you want a heavy effect --
> but at 90 degrees, it's pretty much crucial.
I must second/third(?) the support for the "90 degree thing". I work on
a drafting table set ALMOST vertical. (Boy do I understand the patience
thing...) The big trick is the patience. Lay on the colors SLOOOOWLY.
>
> golden colors are very popular... not being one to work in acrylics very
> often, i can't say much more. however, if you ever get curious, you might
> try Windsor & Newton Designer's Gouache... it's the best, imho. i also
> like running oils thinned way down with Pro-Art Odorless (but don't be
> fooled, fairly toxic) thinner. Com-Art is good, too...
Don't know about the golden colors.. Definitely agree on W&N Designer's
Gouache, altho I just got a couplea tubes of Talons Designer Colors (gouache)
to try. It's a little cheaper (about the same cost per tube, but more in
a tube, 22ml vs. 14ml) I'll let ya know (if anyone's interested)
Steve C.
--
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david furstenau
: I notice the support of choice seems to be hot pressed illustration board
: which is not very absorbant nor is it very forgiving for overspray. When I
: water color with brushes, I prefer cold pressed paper which is more
: absorbant and doesn't seem to show the "nasties". What are the parameters
: which govern the choice of support?
Frank ...
Airheads tend to prefer hot press supports for several reasons,
though (as always in art) the effect you're after governs your support
choice.
1.) A textured support, even finely textured, will amplify the
little nooks and crannies of the surface and is detrimental to
achieving the subtle graduations we airheads chase after. Of course,
sometimes you WANT that effect. No problem. But if you don't, it's
far easier to work on a smooth surface.
2.) Some of the special "advanced" airbrushing techniques are
predicated on the assumption you're using hot press. If you use
acetate, tissue, or frisk film to mask off certain areas, a smooth
surface is better for adhesion. Besides, if there is any texture,
it's to easy to blow paint UNDER the masking.
3.) Some people take an Exacto knife to their work, scratching
off areas of paint for highlights and such. You can cut quite deeply
into illustration board and still find a bright white line. This is
even more important on additional passes. Say I'm airbrushing someone
with vibrant red hair. I might do the basic colors, scratch off
several highlighted regions. Lightly spray over THOSE highlights, and
repeat the process several times for a layered look.
4.) Many brushers, especially with gouache (but even acrylics)
will rub in highlights with various types of erasers. Hajime Sorayama
does this quite a bit. This is easier to do, without producing a
pitted/grainy effect, on illustration or plate bristol board.
There are (of course) arguments for not using illustration board.
By and large, it's not acid free--but then again most illustrators
have their work reproduced immediately anyway.
Finally---I'd like to throw out a question to the group in general:
Do you usually work from dark to light or light to dark?
======================================================================
|| Dave Furstenau As private parts to the gods are we... ||
|| d...@unlinfo2.unl.edu They play with us for their sport! ||
|| Lincoln, Nebraska USA --from BLACKADDER II ||
======================================================================
david furstenau
: Do I work from dark to light or light to dark?
(edited)
: I found that I can get a rich sense of volume when I cover my page with
: charcoal and rub back into it, creating my grey tones. I also do this in
: some computer airbrush works.
: I do daylight by subtracting from a light background (ie: adding
: marks). I get a better sense of strong light this way.
This question evolved from the airbrushing thread, but since the
concepts crosses disciplines and I am currently grappling with
the question myself, I wanted some general input.
Robert (and all)...
I was wondering if you work with pastels at all. How would this
affect what you stated above? Most all the pastels work I do is
involves portraits/figures. I generally start with a mid-tone base,
work in the darkest tones, then finish off with the lighter ones. I
should add that my pastel work (inevitably) draws from my airbrusher's
affinity for subtle gradation and I blend quite a bit.
BTW, I've adopted a few airbrushing tricks to pastel rendering.
I work on illustration board, gessoed (with an airbrush), and in the
final stages cut in a few sharp highlights with an exacto knive.
Seems to work quite well, though I suspect illustration board isn't
the optimum support for archival purposes. (If Charles Eicher is
reading this, I'd appreciate his opinion. Judging from a couple of
his messages he has some familiarity here).
Dave Furstenau d...@unlinfo2.unl.edu
Robert Hahn
If it's chalk, then I do what you do for the most part... it's the colors
that distract me.
You see, I get a richer sense of volume without using color. I can't
bring in that sense too well yet using a full color pallette... but if
you gave me a black, a white, and a midtone, I'd stick to what I said
earlier. Give me more colors, and I'd make l'd make like Seurat and
gleefully put down color.
As for oils, I'd make like Seurat and gleefully put down color. I can't
seem to blend oil pastels well... can anyone tell me how to get a smooth
gradation from one color to another?
Robert Hahn
rwh...@watarts.uwaterloo.ca
frank sheldon
not as an Airbrush painter. When working transparent in overlay glazes,
it is imperative to work from light to dark. The process is "negative" in
that its a process of light removal. Once the light is gone, its gone
forever! Sure you can come back with white but it's nothe same. Another
more subtle effect in going light to dark is that the painting seems to
take on a rich "glow" that doesn"t occur when working dark to light or
worse yet, using opaque pigments. One caveat; working L to D takes a lot
of planning in advance! I sometimes use acetate overlays in an attempt to
preview the effects! Happy Painting, -Frank-
Philip Edwards
Robert Hahn <rwh...@watarts.uwaterloo.ca> wrote:
> I can't
>seem to blend oil pastels well... can anyone tell me how to get a smooth
>gradation from one color to another?
>
While I haven't actually done it - I believe you get a transparent oil pastel
which facilitates the blending - I guess by adding more blending medium
without interfering with the colours.
Philip Edwards
Laura Mars
writes:
blending of oil pastels.......
i work extensively with all kinds of oil pastels....most recently the
sennelieer brand because i find they are the most lucious and condensed with
the greatest amount of pigment and the least amount of additives.
i use them right on my canvases as if i was painting with them...i make my
marks with them....
to blend i use either turpentine for the most thinning effect or if i want to
hold some of the pastel in position ...i mix the turp with some linseed oil and
less of the crayon will move....
obviously this is a bit of a personal technique but the best advice i can give
is think of the oil crayon as if it was paint and use it as you would any
paint....add your mediums ..use your brushes , fingers, sponges ..whaatever and
explore how you can move it around.
if you would like to see a small image i did with these pastels.....let me know
...i can send it off to you on line in gif or any other format you can read.
frank sheldon
pape made by Canson Montval. It's very cheap and of all the cold pressed
papers seems to be the smoothest (least tooth). It's not 100% rag but it
is acid free. I stretch it wet on gessoed Homosote board before using.
I'll be checking out the CP illustration board. I've been practicing my
airbrush strokes on coated white cardboard and that stuff is almost
water repellant! -Frank in Delaware-