Airbrush Action 2001-01-02 PDF

FEBRUARY 2001
- LIVE AND
IN I--- FLESH
1
GETTING
NAKED AT TO HELL
KEY WEST'S AND BACK
1
FANTASY FEST
W I T H ILLUSTRATOR
WAYNE BARLOWE
LOGGING
BOTTOM T-SHIRT
TIME TACTICS
ARTIST KENT LIND'S
ANDY WENNER BAD BOY DESIGNS
GOES DEEP
IMPOSSIBLE
CRAIG FRASER LES WILSON
KUSTOM PAINTS REVIVES SHAWERED
ALUMINUM ANTIQUE TREASURES
BRIEFCASES
PLUS:
I READER GALLERY
K-DADDY SOLVES THE WORLD'S PROBLEMS
CAN'T-MISS FINGERNAIL DESIGN
I I
$5.99 USA/$7.99 CANADA

Categories
Automotive/ Motorcycle Art
Body Art
Commercial / Editorial Illustration
Fine Art
Fingernail Art
Annual
Helmet Art/Sports Accessories
Signs & Murals
Student Art
T-shirt & Textile Art
Awards
1st Place: $500 in prizes
Airbrush
2nd Place: $350 in prizes
3rd Place: $250 in prizer
4th Place: $100 in prizes
Excellence
In addition to a Certificateof Award,
competition winners will receive airbrush and art
products, or gift certificates of equal value, as l~sted
above. All award-winning entries will be published
in Airbrush Action3 16th Anniversary Issue.
Competition
Judges
Bob Anderson
Craig Fraser
Roger Huyssen
Jerry Lofaro
Andrea Mistretta
Cliff Stieglitz
David Willardson
Deadline
February 16, 2001
Annual Airbrush Entry Fees
Excellence Competition Each slide must be accompanied by a nonrefund-
2001 able entry fee of $20 for the first submission ($15
for the Student Art Category) and $15 for each
additional submission. For entries within the United
Entry Requirements States, we accept checks, money orders, Visa,
For judging purposes, all entries must be submitted in MasterCard, or Discover. For entries from other
35mm slide format. Photographs, negatives, and large countries, the fee must be paid in:
format transparencies will not be accepted. Clearly 1) US dollars, 2) an international money order, or
print your name and the title of the work on each 3) Visa, MasterCard, Discover, or American Express.
slide, and indicate the top and front of the image.
Send only one slide for each piece of artwork entered.
In the AUTOMOTIVEIMOTORCYCLEcategory ONLY,
Conditions
you may send up to three slides for a vehicle, if the Upon submission, all slides become the property
artwork cannot be photographed or represented in a of Airbrush Action to be used at our discretion for
single frame. judging and promoting the competition.
If insufficient entries are received in any one
category, that category may be subject to
Acknowledgement cancellation and slides and entry fees returned.
If you include a stamped, self-addressed envelope or Otherwise, slides will not be returned. Competition
postcard, we will acknowledge receipt of your entry. judges reserve the right to move entries from one
No phone calls regarding your entry will be accepted. category to another if deemed appropriate. Airbrush
Action makes every effort to protect and secure all
Deadline slides, but cannot be held liable for loss or damage.
All entries MUST be postmarked Your entry shall imply agreement with the above-
by February 16, 2001. stated conditions.
I I 2) Body Art 7j Signs & Murals

CITY STATE ZIP COUNTRY 3) Comrnerclal / Edltorlal lilus 8) Student Art
4) Flne Art 9) T-Shlrt 8 Textlle Art
5) Flngernall Art
' SURFACE SIZE (In Inches) CATEGORY(See Above) OFFICE USE ONLY
I I I I
TOTAL NUMBER OF ENTRIES -TOTAL ENTRY FEE AMOUNT $ MAIL ENTIRES AND FEES TO:
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TABLE OF I
FEBRUARY 2001
-
Take a tour of
sci-fi author and
illustrator Wayne
Barlowe's
surrealistic
nightmare in a
new coffee table
book called
Barlowe's Inferno.
A New York makeup artist

brings the paintings of
Alberto Vargas to a new
canvas-the body. '4
some unexpected items out

there that need painting.
BOTTOM
TIME
nlustrator and T-shirt
designer Andy
L) Les Wilson uses his
airbrush to repair fine
porcelain and finds
Wenner takes q- w a lucrative business.
airbrushing to new
depths with a
SCUBA-inspired
how-to.
\El
53 Air News 68 ~uestions&~nswels
59 Nail Art HOW-TO 70 Ask K-Daddy FANTASY

FEST
60 Reader3 Gallery 79 Regional Resources Every year, Key West
explodes into a ten-day party of
62 T-shirt Tactics 80 Classified Advertising colorful costumes and body-painted
masqueraders.
3 SHOWS. 3 N E LP@4T'3Nm
AIRBRUSH ~ A P OINTERNAI IUWL
BODY ART EXPO
AUTOMOTIVE/MOTORCYCLE ART EXPO
THE NEW ATLANTIC CITY CONVENTION CENTER

SATURDAY, JUNE 23,2001, 10-5
SUNDAY, JUNE 24,2001, 10-3
1-800-232-8998
Call Airbrush Action for details:
www.airbrushaction.c m
Fax: 732-367-5908
1ARG;AS
GIRLS
Professional Vi,,
Kent Lind's Top 25 FShirt designs
- Kent Lind's Caricatures
MISSION
UImsSI.LE A In-
=
a m o w mvlvnUUIMD
IR.n*CUn
Amlau#wIu.u
Kent Lind's Cartoonin

..--- 7 _==
rnl PUIS:
$39.95 each i--".-,-
&<
__- _ I
-
-
-.
VOLUME W, NUMBER S
-ww.
Cover Art by Sylvia Pichkr
International orders: 732
Jvar
hi@
hvwr
-
k n n h L Bohawn
D o hRdnck
Noil Johnson
Cnoda b l h a m
KO& Lind
Jack R o m i ~
Andy W o n r r
k s Wilson
AIRBRUSH ACTION M I 6 A Z l N l
3209 Atlantic Avenue, Wall, New
0 2 L 438, Allanwood
! P.O. ?BoxE ; r Ne*v
" "
(732) 364-2111;F a x (73i) 367%
Airbrush Action (ISSN 1040-8509) is published6 times per year:
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in pati without written permission fram the puEsher.
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io Series. lwata Studio Series produc
-yet they are specifically
o are ready to get started
New York makeup artist Sylvia Pichler brings the paintings of Alberto Vargas
to life, literally, in an unlikely tribute.
By Jack Romig
ore than a century after his birth and nearly two decades after his death, Alberto Vargas-the Latin who imagined
and defined all-American cheesecake in a way no one had before--remains the greatest star of pinup
, , painting. His lush portraits, appearing first in Esquire magazine in 1940, offered the young men who
fought World War II an airbrushed view of womanhood that was both idealized and erotically charged. It
was a vision that was wildly popular then-and, no matter how later generations may consider his work,
Vargas's influence remains undeniable today. (Who else could Airbrush Action's annual awards be named
for?!)
Sylvia Pichler is one artist who, if not quite a fan, has nevertheless felt a tug from the ripe images Vargas
created. The Vargas Girl exerted enough pull on Sylvia's imagination to get her involved in an ambitious
proiect, a kind of homage that's perfectly suited to Airbrush Action's special pin-up edition. In fact, Sylvia and
her friends Howard Huang and Tobi Britton had Airbrush Action in mind for the proiect pretty much from the
start--and the results grace these pages. A Manhattan-based makeup wizard with roots in Vienna, Austria,
Sylvia has acquired through the years considerable experience in body painting, including airbrush
techniques. She's also been a iazz singer, a background bound to develop a certain independence of
outlook.
An idea started percolating in the mind of Sylvia's friend Howard, a New York fashion
photographer with a love for the 1950s pinup. The idea appealed to h e r - a s it did to Tobi
Britton, another top makeup professional. What Vargas had done hadn't been forgotten and
couldn't be denied-why not put their creative abilities together to revisit some of the
paintings Vargas created 5 0 years ago? "There's something interesting there--it's sexy
and coy," Sylvia says. "I was interested in the idea of pinup girls-something that
seemed to have its genesis in Hollywood."
The three artists stood the master's method on its head. Instead of iust setting
down on canvas airbrush versions of four famous Vargas girls, the
collaborators would let the girls themselves be the canvases. They set
out to create real, live Vargas girls.
They planned to cast models who resembled the original
women, and heighten the look as much as possible with
special effects including hair extensions, wigs, and '50s-
style makeup. For the actual painting, the models would
be gloriously naked; the artists would apply full-body
airbrush versions of the tight clothes Vargas had
portrayed. Then Howard would photograph
the models, and, if necessary, indulge
in a bit of computer retouching to
complete the image. Here
and there, they would
d
8 AIRBRUSH ACIlON 1 JANUARY-FEBRUARY 2001

The three artists
stood the master's method
on its head.
Instead of
just setting down
on canvas
airbrush versions
of four famous Vargas girls,
the collaborators would let
the girls themselves
be the canvases.
They set out to create
real, live
Vargas girls.
10 AIRBRUSH ACTION 1JANUARY-FEBRUARY2001

From the get-go, the
project spun into a
bigger and more
complicated
operation than
expected. Problems
arose, for instance,
from overly
optimistic estimates
of just how much
time would be
needed to paint
each model.
also tease out some extra three
dimensional effects by sticking on a scrap of
actual clothing, courtesy of some Hollywood-
strength body glue.
Four models were painted to imitate Vargas
favorites. Sylvia had started the proiect by
airbrushing the blond bathing beauty in the scarlet
onepiece bathing suit with one strap provocatively
undone-the strap was a real cloth stick-on. Tobi had
chosen a World War II WAC with a trumpet and a
beribboned innocent in a pink bustier.
Both artists worked on the yellow island girl, a
knockout brunette in a flimsy wrap. "The model looked
enough like the original to-be her granddaughter!"Sylvia
said.- air extensions were added to the model's own
short crop, and a stencil was cut to airbrush the yellow
daisy pattern.
syivia also decided to invent a couple of Vargas
girls of her own, updating the style for both today and
tomorrow. "Now" girl was given a saucy, bluejeaned
look; the sneakers on her feet and belt are real but the
socks are painted. "Future" girl was done up in a softened
cyborg manner, part alien robot and part pussycat. She
actually "wore" the stencil, that is, a tight stocking with the
design cutout was stretched over her body, rendering the
pattern for the alien skin.
From the get-go, the project spun into a bigger and
more com~licatedo~erationthan ex~ected.Problems
arose, for'instance, kom overly optiiistic estimates of just
how much time would be needed to paint each model.
"We thought we could do each one in less than a
working day," Sylvia said. "When we painted the
girl in the blue ieans, we expected it to take
eight hours frbm start to finish, but even with
the assistance of Howard's girlfriend Jamie,
it turned out to be a 1Zhour day." Jamie
Chen, a fine arts student, helped hand
paint the stitching around the jeans
and glue the rhinestone star onto
) ?aquells chest.
But even with the extra help, the
project was still of mammoth
proportions. "Now" and "Future"
girls had to be painted
completely-up and down,
front and back. Since the four
Vargas girls were simply
imitating the original poses, skin that was not
seen by the camera was not painted. But
"Now" and "Future" girls had to be covered in
paint so all camera angles would be doable.
Look closely at some of the Vargas originals,
and you'll detect another difficulty. Though the
intention had been to reproduce each one in
faithful accuracy, some of the details iust weren't
anatomically correct. "Sometimes the heads
were too big," Pichler explained. "Sometimes
the position was almost impossible for the
model to hold." In the end, the artists had to
be satisfied with coming as close as they
could.
All the work was done at the Nancy
Brown Studio on 20th Street in the
Chelsea section of Manhattan, a space
that gave the crew ample room to
operate and a shower for the models
to use after the work was done.
'i
To prep, Sylvia and Tobi needed
the models' skin perfectly clean and
dry. The paint they selected was Temptu
Dura airbrush paint, which, according to
1
I
Sylvia, provides outstanding coverage
and a great range of colors. "It's not
water based," she said, "so it doesn't
come off easily. When you put it on, it
really does stay unless you use rubbing
alcohol or loads of baby oil." Because
of extensive layering of body paint, it
took each model several showers and
repeated oil rubdowns to take it all off.
The coyness that Sylvia sees in the
original subjects wasn't part of this work;
the models, after all, were nude except
for the stick-ons and an occasional break
in a loose shirt or robe. "We had them sit
or stand at different times," she said.
14 AIRBRUSH ACTION I JANUARY-FEBRUARY2001
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"Sometimes it worked best iust to have them lie on the floor to
expose as much skin as possible." And sometimes, because the
camera eye would see only a frontal view, the back was left
unpainted.
Two airbrushes were chosen for the work. In applying large
zones of paint and for color fading and fill-in, the artists used an
lwata Eclipse. This bottom-feed airbrush enabled them to work over
sizeable areas before stopping to refill. Detail work was done using
an lwata HPC with a gravity-feed cup, an arrangement that created
some problems because the airbrush always had to be held upright
to prevent the paint from spilling.
Although the Temptu compressor weighed in at only six pounds, it
got the iob done without a problem. The psi used ranged from 10 to
60.
As each paint job was finished, photographer Huang went to
work. A bit of Photoshop finagling was required to finish the images.
Even allowing for the addition of Now and Future Girls, the
results seem remarkably true to the Vargas sensibility. "Here she
is," said Sylvia. "Undeniably idealized, forever young ... the
pinup girl."
16 AIRBRUSH ACTION I JANUARY-FEBRUARY 2001

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T THE
- L I D
Ir--
&-
r
-
A Manhattan-based m a k e u ~artist with roots i
Vienna, Austria, Sylvia ~ichlerhas acquired
through the years considerable experience in
body painting, including airbrush techniques.
Fuji, Clairol Herbal Essence, and Epson ore
among Sylvia's advertising clients and her work
has appeared in fashion magazines such as
Elle, Glamour and Vogue. She loves to paint and
create unusual images, but chooses the human
face and body as her canvas. You can check out
her work on www.eluxury.com, a high-end
fashion and beauty site on the Internet or e-mail
her at [email protected].
Tobi Brilton, an artist with o big-league
background in television, spent three seasons as
key makeup artist for the new Cosby Show and
has worked on hundreds of national television
commercials including Nike, Chase, Polaroid,
and Wendy's. She is the owner of the Makeup
Shop in New York City where she teaches
makeup, special effects, and airbrushing. Tobi
and Svlvia are also Dartners in a business
venture called ~ e a u &FX, wh~chprov~des
makeup art~stsspecial tralnlng In alrbrushlng,
) body palntlng, and spec~aleffects
You can check out her work on-l~neat
www ther
AIRBRUSH: lwata Eclipse, lwata HP-C

AIR SOURCE: Temptu Compressor
PAINT: Temptu
MASKING: Stencils, surgical tape
--
1 Photography and digital imaging by
Howard Huang. Visit him on-line at
www.howardhuang.com.
Special thanks to Jamie Chen and

Nancy Brown Studios.
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I
n the realm of fantastic art, some painters offer a snapshot an insurrection in hell," says Barlowe. "There is a redemptive
view of characters and scenes that exist somewhere outside quali)y to the characters because they realize that they have
the bounds of reality. Others give their fantasies substance been snookered into following Lucifer into hell, but they are
and complexity by linking several images. Drawing from a not happy serving him and performing their duties there."
unique background that blends intellectual curiosity, vivid The release of the film version of Barlowe's Inferno is still
imagination, and cultivated artistic talent, several years off, but Barlowe is thrilled about its potential.
author/illustrator/fine artist Wayne Barlowe combines both "So far, 20th Century Fox has said that the movie will be
images and words to create more than iust a scene or series; completely computer-animated, rather than a traditional cell-
he offers us an entree into entirely new worlds. animated movie or live-action with integrated CG," he says.
The culmination of Barlowe's more recent efforts, for "As far as I'm concerned, that i s probably the only way it
example, i s a fullcolor, hardcover coffee-table type book
published by Morpheus International, entitled Barlowe's
Inferno, which defines and depicts his very distinct and
"Onesf the reasons I'm enjoying the 'hell' stuff
darkly resplendent version of hell. Inhabited by bizarre so much is that there's a whole lot of
demons and tortured souls and set against an eerie
surrealistic landscape, Barlowe's Inferno picks up where
tmprovisaffon going on, which 1 feel lends a
Milton's Paradise lost left off. "I did not want hell to be those greater sponfaneify to the artwork
very typical images with everyday situations and bits and
pieces of 20th century America where the devil wears a
and makes f t more emotionally charged,"
business suit," says Barlowe. "I wanted it to be a very
classically resonant place. Some of the characters are could be successfully visualized, because so many characters
actually extensions of Milton's characters. Others are are continuously metamorphic; they're endlessly changing
characters that I got from mythological and biblical sources and shifting shapes."
or places that intrigue me for one reason or another." For Barlowe, the writing process can be an inherent part
Wayne's concept has caught the attention of some of developing his images and, like the old "chicken-oregg"
Hollywood moviemakers, and he has turned the book into a controversy, the imagery often inspires the story. "I'm an
screenplay, which is currently being produced for the big illustrator," he says, "but there's a little bit more going on.
screen. "The premise i s that the protagonist, a demon who When I write and paint, I find that there's this really interesting
followed Lucifer into hell, i s discontent after the millennium symbiotic thing that happens where the words can catalyze the
has passed. He wants to go back to heaven, and he stages artwork and the artwork can catalyze words," he says.
--
.eft, Decurion, 2 0 x 3 0 ; above, Sargatanas, 3 0 x 4 0 Frame of Reference, 15" x 2 0

When I wrife and painf, I
find fhat fhere's this really
I inferesfing symbiofic fhing
I
fhat happens where the
i
1
words can catalyze the
artwork and fhe
I
i
mfwork can cafulyze words."
I
choice. 'There are artists who I
admire for a variety of reasons, such
as their technical discipline and
subject matter, but my parents
instilled in me the ethic, the
foundation of how to behave as all
illustrator," he says.
1 The other maior defining
influence, says Barlowe, was the
cover art he saw on the sci-fi
paperbacks he read continually
while growing up. He noticed how
illustrators of that era, such as Frank
Frazetta and John Burkey, were
idolized by the fans of science fiction
and fantasy, and he wanted to
become one of them.
By the time he started attending
the Art Students League of New York
when he was 14, he had already
-
started moving toward a specific
goal. For college, he selected the
Cooper Union in New York City, but
Wayne's welldefined direction
clashed fairly quickly with the way
some of his professors approached
art education. "I resented being told
who I should like and how I should
draw," he says. "But I have to say I
was kind of inflexible about what I
wanted to do. I was probably in the
wrong place; I should have been at
II aoriented
different, more professionally-
school."
He left Cooper Union before
graduating, but not before he took
Female Soul, 15" x 2 0
I advantage of the opportunity to
With only one notable decadelong detour, the career apprentice in the exhibition department of the American
path of this illustrator-cumscreenwriterseems almost pre Museum of Natural History, where he continued to develop and
ordained-his iourney has been a classic example of refine his interests in natural history, science, and biology. The
successfully pursuing a dream and, upon reaching that fact that he had already started getting paperback cover
goal, evolving beyond it to embrace new obiectives with assignments and other professional illustration work also made it
the same dedication. more enticing and easier to leave school before he finished.
Born in 1958, Wayne Barlowe is the son of well-known After he had completed about 30 book covers,
natural history illustrators Sy and Dorothea Barlowe who, Barlowe had an inspiration for a book proiect of his own. He
he believes, have had a fundamental impact on his career brought the idea to an acquaintance, a book packager who
24 AIRBRUSH ACTION 1 JANUARY-FEBRUARY 2001

'I hme iound that ii a I
painfing is starting fo get I
sf ale on the easel, f he best I
thing to do is to shake it up
totally and do something
onfrageous. Ii if works, it a n
reenergize the painfing,"
loved his concept and helped him
produce a dummy. The resulting book,
Barlowe's Guide to Extraterrestrials, sold
more than 300,000 copies over 20
years ago and i s still in print now.
"That set me up as someone who
could have proceeded to do books from
that point on," says Barlowe.
"Unfortunately, I then spent ten years
pursuing that goal to be a paperback
artist that I had dreamed of as a kid. In
hindsight, it was a bit of a hollow goal,
because the industry was changing."
As the pool of sci-fi illustrators
continued to grow and the number of sci-
fi publishers began to shrink, the industry
became much more competitive, and
Barlowe realized that he needed to do
more than sit back and wait for the next
paperback cover assignment to come in.
"At that point I realized that I had
really dropped the ball," he says. "I
should have moved on to another book
project immediately after the first. After ten
years, I decided it was time to attempt to
make a name for myself as an individual
rather than a sort of faceless entity doing
covers for other people's work."
The realization, he says, catalyzed
him into coming up with the idea for his
next book, Expedition, which he
considers "a marriage of the things that I
loved, which are natural history and
science fiction." Expedition, a large,
heavily illustrated book, was the iournal
or diaiy kept by a chaiacter somkwhat
Book of the Dead, 12" x 15"
like Charles Darwin, who arrives on a planet
and records his impressions of the life forms there. developing his inferno and periodically doing design work
"When I was working on Expedition, images would pop for Hollywood movie productions. His imagery has been
into my head and I would say, 'That's a neat idea; how can I used for such films as Titan AE, Galaxy Quest, and Blade.
integrate that into the text of the book?' Or, while I was "The Hollywood stuff i s really cool," he says. "When you're
writing, words would go together in a way that would be submitting work, you never know what kind of amazing stuff
evocative, and suddenly I would pull out my notebook and they'll come up with when they translate it to the screen.
start doodling. It was a marvelously interesting process and When I went to see Galaxy Quest, I couldn't have been
a little bit schizoid," he says. happier-two or three of the things I had helped to design
Nine book projects later, Barlowe is hard at work were running around up there on screen!"
AIRBRUSH ACTION I JANUARY-FEBRUARY 2001 25

'-"
Wildseed, 8"
Throneroom of the Decapitator, 24" x 36"
26 AIRBRUSH ACTION 1JANUARY-FEBRUARY 2001

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frisketing, leaving components
white before he gets to them
so they retain the luminosity
from the surface beneath,
while I lay in backgrounds
that are almost always
opaque first, " he explains. "I
work from the back to the
front, and I use a fairly
impasto technique for the
background and a watercolor
or gouache technique for the
foreground elements.
"In the past, I would do a
background and then a
detailed sketch. I would
transfer the sketch on a
chalked piece of tracing
paper or use a projector to
Belon 111, 8" x 1 4

I cast the image onto the
background. These days, one
of the reasons I'm enjoying
the 'hell' stuff so much is that
there's a whole lot of
improvisation going on,
which I feel lends a greater
spontaneity to the artwork
and makes it more emotionally
charged," he says. "I'm
working in a far less rigid
fashion than I used to."
He paints with acrylics, the
Swiss brand Lascaux and
Golden, a familiar name to
airbrushers; he considers both
to be superior. ("I think
they're pretty interchangable,"
he says. "You can pretty
much mix them with impunity
and come up with the same
results... I hope nobody tells
me otherwise.") He chooses a
line of Winsor & Newton
acrylic brushes almost
exclusively-he prefers
chiseled flats. For detail work,
he likes the Winsor & Newton
Series 7 watercolor brushes.
"I used to work much
smaller than I do now," he
says with a chuckle. "It's sort
of a funny story. I asked a
friend of mine, Vincent
Oviraptor, 12" x 12" DeFate, a really fine illustrator
who worked much bigger
Unlike most of the artists profiled in Airbrush Action, than I did, 'How the hell do you do this?' and he had a very
Wayne Barlowe uses a paintbrush, not an airbrush, for his smart and simple answer: 'Bigger brushes!' I went out and
work. "I work pretty much in reverse of an airbrush artist's bought myself bigger brushes-lo and behold, now I can
technique, which I find interesting," he says. As a close work on bigger canvases."
friend of airbrush artist Broecke Steadman (whose work can It usually takes him anywhere from two weeks to two
be found in the May/June 1999 issue of Airbrush Action), months to complete a painting, and sometimes, he believes, it
Wayne has had the opportunity to see how airbrushing takes a bold stroke to bring the process to an end. "The last
techniques differ from his own. "Broecke does a lot of piece I did, Throneroom of the Decapitator, took longer than

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it should have," he says. "I knew where I wanted to go, but I didn't have a
period on the end of the sentence. I found that by adding that red demon that
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guts to do something, but in that particular case, it took some guts," he says.
One of his favorite aspects of the Inferno series is the reaction he gets from E-Mail us: [email protected]
the people who view it and refer to it as "disturbing." He likes that the work www. Pacificairbrush.com
gets a natural, rather than a polite response, and he's delighted when the We w ~ lbeat
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Much of Wayne's original artwork, as well as his prints,

lithographs, and posters, can be found at Beverly Hills,
California-basedGalerie Morpheus, one of the world's
"foremost publishers of fine art of the surreal and fantastique."
Gallery founder Jim Cowan continues to play a pivotal role in
Barlowe's work, serving as an agent, publisher, and close
friend. If you can't make it to Beverly Hills, you can visit the
website at www.morpheusint.com.
Right now, and into the forseeable future, Barlowe plans to
continue his work on the Inferno paintings, and he doesn't rule
out the possibility that a second edition of the book will follow
at some point. "I really find that it's a suL.:--& I can spend
the next 20 years painting from," he say
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lead holder with Koh-I-NoorPrecision Point sharpener, Rotring 600 finepoint
fountain pen.
Psitiacosaurs and Sinornithoides, 15" x 20"
30 AIRBRUSH ACTION 1 JANUARY-FEBRUARY 2001

$39.95 each
$129.95 for 4 Videos
Plus, Shipping and Handling
BOTTOM This how-to covers a design I
created for Amphibious
Outfitters, a company that
TIME
By Andy Wenner
produces aquatic-themed
-shirts. In the diving world,
If "bottom time* refers to the
Artist Andy hours spent below
Wenner sea level, but this
goes deep. design gives it
A
some added
significance!
32 AIRBRUSH ACTION 1JANUARY-FEBRUARY 2001 A M P B 1 B r o U s -

Outfitten
After a creating a loose sketch, I'll scan a reference shot into the computer. Using
a good reference i s essential at the beginning of the creative process. And of course
finding a good reference for some proiects is more fun than for others!
The scuba gear I used in this how-to was worn by my wife, also an illustrator,
and shot with a digital camera. Digital cameras are great for saving time or for
those of us who don't like to bother with things like f-stops, shutter speeds and
developing. Just point, click, and download. I use Photoshop to create the water
and to combine all of the elements into a color comp. Once the comp has been
approved, I print another one out at full size (1 6"x2OU)on photo quality ink iet
paper with an Epson Color Stylus 3000.
On a light table I do my final line drawing on acetate with a Rotring ,+-
Rapidograph tech pen. Here I add detail to the scuba gear, blend the body parts
together and give the hair more liveliness and motion. The line drawing is scanned
back into the computer. In Photoshop I adjust the levels of the line work from black to
a light gray. This will make the lines easier to cover up on the painting.
Using the Epson 3000 again, I print the line drawing onto white heavyweight
Stonehenge drawing paper. Stonehenge is very similar to cold press illustration
board; it has a slight tooth, which holds colored pencil and paint well and is
inexpensive. I mount the paper onto heavyweight hot press illustration board.
STEP 1 I start by masking off everything but the flesh. I lay in the basic overall color
with Badger Air-Opaque flesh and begin building the form.
STEP 2 Next I progressively darken the tones with a mixture of flesh and orange,
continually building the forms.
STEP 3 Now that the basic shading is set up, it's time to deal with the actual hues of
the skin. Skin is not necessarily opaque, nor is it the color of "flesh." Badger's brand
of flesh has a yellow tint to it so I begin to add some magenta to the skin tones,
using Badger purple (which is really an opaque pink). It's important to give skin a
translucent look so I lightly mist this color in, just to change the hues. I also continue
to push the range of values darker with reds in the warm areas, indigo in the
shadows.
STEP 4 At this point I address the color intensity. All of the colors seem a bit bright
to me so I use some Badger gray #2 with a touch of Badger purple (remember: it's
really pink). This blends the light areas well into the midtones and gives the flesh a
more realistic look. I spray along the edges of the shapes with some indigo. Since
blue is the opposite of orange, it softens some of the intensity in the dark areas and
makes them deeper.
STEP 5 Once the frisket is peeled up, our diver really "pops" off of the white
background. I use iust a small amount white to zip up the highlights, which are a
little too yellow.
In the diving world,
"bottom time" refers to the
hours spent below sea level,
but this design gives it
some added significance!
STEP 6 The swimsuit. what little of it there
is, is simple--just some yellow and a mixture
of sepia with a touch of indigo for shading.
Since the hair is going to be falling over
some of the scuba gear, I want to complete
the lower layers first. I mask off the scuba
vest (BCD-buoyancy control device) and the
bottom of the air cylinder. Starting out with
Badger violet, I blow in the basic hues while
building up the shapes.
STEP 7 With a mixture of indigo and sepia,
I continue to ~ u s hthe dark areas back. I use
a mixture of bowder blue and gray to pull
up some highlights and blend them into the
midtones with some indigo. For the black
areas, I use violet with iust a drop of black. I
never'use straight black-it look; flat and
tends to muddy up colors that it fades into. I
finish up the BCD by zipping in a few
highlights with a brush.
STEP 8 Moving onto the air cylinder, I mask
it off and loosely paint in the reflections and
basic hues with straight blue. As the tones
get lighter, I change the hue to Dr. Martin's
aquamarine. As the tones get darker I add
indigo. This gives a warm feel to the light
areas and a cool feel to the shadows.
STEP 9 1 use a combination of freehand,
stencil, and frisket to create the highlights
and reflections. I always like to blend the
highlights into the midtones with a
transparent color. In this case, I choose blue
to get rid of that dull pasty look as the white
fades out.
STEP 10 1 move on and start to peck away
at the various scuba parts such as the mask,
hoses, and gauges.
STEP 11 With this done, I am free to move
on to the hair. For now I mask it off, but I'll
come back later and freehand in some w i s ~ s
so it doesn't look too cut-out. I lav in a
mixture of flesh and yellow.
STEP 12 1 blow in a darker mixture of
vellow and s e ~ i ato create the overall tonal
changes, shadows, and shines. Then I go in
and frisket off the larger dark shapes and
push them even darker with sepia and a
drop of orange.
STEP 13 At this point, peeling up the frisket
makes it easier to see what's going
34 AIRBRUSH ACTION 1JANUARY-FEBRUARY2001

on. I just cut little areas and tweak them
darker or lighter. I also freehand a few
wisps at this point.
STEP 14 Time to move on to the water. I
start with the top, mask it off, and blow in a
gradient of Dr. Martin's aquamarine and
whit- tn Rodger blue.
To create a sense of depth, I make
the water have more contrast where it's
"closer" and less as it recedes into the
distance.
I frisket off the bottom half of the
water and blow in a fade of aquamarine
nnd inding.
To create an intense aquamarine
glow in the center, I lightly blow in some
Badger gray #6 over the indigo to lessen the
intensity. If you want to make something
lighter, sometimes it's best to make everything
around it darker. To intensify the aquamarine,
I mellow out the surrounding color. The
underwater flesh tones are made by lightly
blowing in some flesh near the top of the
water where natural light penetrates more
and shading the legs with a mixture of sepia
and indigo.
Just to finish up, I give the painting a final
eyeballing, examining it both upclose and
from a distance so that I can tweak anything
that needs a correction. My final steps are to
scan the image into a computer and separate
the colors. I then send the image to my
partner at New Buffalo Shirt Factory where
the design will be put onto a T-shirt. EEI
i-h: lwatu Custom Micron SB; Iwatg HPSB

dnd80dger Air-Opaque; Dr. Martin's Spectralite
u* Media: Heavyweight white Stonehenge
drawing paper Masking: Erisk Frisket Lighling:
I
Incandescent and fluorescent fixtures; natural
Vonk'won: Artograph Spray System 836
I
AIRBRUSH ACTION 1 JANUARY-FEBRUARY 2001 35
way to use your
&brush?
Restaring fine
A very lucrative, highly sought after skill
often overlooked by airbrush artists is
the restoration of fine porcelain.
Often referred to as "invisibleNrepair, this is
the undetectable restoration of porcelain
willing to spend many times the obiect's
actual replacement value to have their
piece back. If you are meticulous and
ethical, and you understand your clien .
base, you can become a very respectec
figurines, vases, and other obiects of fine art. craftsman in your community among
There are few fields in such high demand that antique storeowners, collectors, and others.
haven't been flooded with competitors who Do you have a good eye for matchiig
rush in to fill the niche. Fortunately, the color and enioy working with intricate
patience, selfdixipline, and high degree of detail? Are you very patient, disciplintrd,
skill necessary to be successful means this and not easily discouraged? Then reac on
profession will probably remain exclusive for for a quick glimpse into a true craft.
some time to come. What follows is an abbreviated look a a
Whether it's just chipped or completely fairly routine repair.
shattered, almost any piece can be
1
undetectably restored. Hands, noses, tiny We start with a large, expensive ~eissbn
fingers, handles, or any other missing part piece. While quite ornate, the piece h s
can be replicated. A professional iob obvious damage to an ankle, which gr tly
leaves no cracks, seams, overspray, or any detracts from its appearance and certai ly
other hint of repair. With practice and the from its value.
right materials, colors, brush strokes, flecks,
multiplecolor stipple, and color washes can
be undetectably matched. Even the finish,
whether it's high gloss, pearl, or pebbled,
can resemble the original fired finish.
Another attractive feature of this Closer examination
profession is the customer base. People style of repair, which entailed
who buy or inherit fine porcelain often on each side of the
consider it a personal treasure. Because of insertion of rods or
the high sentimental value placed on a the advent of modern
family heirloom, customers are often quite become unnecessary.
I. AIRBRUSH ACTION I JANUARY-FEBRUARY 2001 37

Clean thoroughly with
Fantastik and a toothbrush.
Then dab paint stripper on
all pieces and clean with
lacquer thinner. The
stripper will turn the old
repair into a slimy gel.
Check the gel far any small
pieces of porcelain, and
keep them for repair.
Notice the residual glue

and putty remaining after
the stripper and lacquer '
thinner have been applied.
Be sure to remove all of it,
even if you have to get an
X-Acto knife and scrape it
off (much like a dentist
removes plaque from t ~ t h
enamel). If this step is not
thoroughly completed, you
will not have proper
alignment or adhesion.
Next, to avoid extra work,

you'll need a tight,
properly aligned bond.
Any good two-part epoxy
works well for this. Watch
the repair as it sets up.
~uring set-up the repair
will sometimes droop or
shift. If.this happens to
your piece, you're back to
square one!
Now, with all of the pieces

in place, you can
determine how much of the
porcelain (if any) is
missing. In this case, there
is much to be filled in with
hardening putty. Note
where the pins were
inserted. When you
accept work on a
previously repaired piece,
there are often such
surprises waiting for you
under the paint.
Use a hardening putty to

fill in missing areas, allow
to it dry completely, and
then sand. You may have
to fill and/or sand several
times to get an even,
unnoticeable repair.
When you think you have
it, airbrush the repair with

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a thin coat of white paint.
If it's not ~erfect,the paint
will show it up!
This next step requires a

little finesse and a lot of
practice. Take a very weak
yellow, and dust over the
whited-out area. You
should spray so lightly that
the yellow is almost
indiscernible. The easiest
mistake you can make is to 1
lay down too much color.
Remember, you're layering I
colors and you have two
more to go.
Do the same with a weak

red and, if necessary, with a
very weak blue. Shoot at
about 20 psi (with lacquers).
If the flesh tone has a
stippled pattern, reduce your
psi until your airbrush's fleck
T
pattern resembles the stipple 1
on your piece.
With a compatible solvent,

slowly remove the
overspray with a
~aintbrush. Be very careful
not to damage your
repaired areas. Masking
right up against the repair
rarely works well and is not
recommended. Finally,
touch up any surrounding
=
colors, clear coat, sand,
and buff.
'CICIU C I I C
Airbrush Badger 100 fine tip '
(for lacquers and golds), Badger
100 large lip (for sealers and
clear coat]. A separate airbrush
should be used for each of the
above media/steps. Never
interchange airbrushes or color
cups, no matter how clean you
think they are. Ai
3,000 Ib. air tanks with a custom-
built valve system. (Valve system
should be built by a professional
and have all safety features.)
Raint Media: Automotive
lacquers. krrfocs &Fine
porcelain, ivory, jade, alabaster,
marble, soapstone. -+
Loose paper masking, auto trim
tape, paperedging tape.
Lighlfrgt Three banks of
fluorescent lights, spotlights for
close-up work. V IE Two
direct fans and an lonlzlng air
cleaner
I
Les Wilson began airbrushing
in 1988, doing paintings of
South Jersey beach houses.
He moved to West Palm
Beach, Florida, in 1990,
where he had his first show
featuring South Florida scenes
and architecture. He has
been restoring porcelain
professionally since 1995.

it-
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In only four days, Commercial secrets of T-shirt airbrushing whlle maxi- ter" techniques, updated for use with
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Iro plece, concentrating on the tech-
STEVE DRISCOLL, winner of the 1994
niques you really want to learn.
Airbrush Excellence Competition, is one
Instructors: TERRY HILL is one of the most famous of the country's most sought -after por-
Vargas Award Wlnner MICHAEL textile artists in the world, setting the trait artists. His clients include Michael
CACY has 26 years experien standard for shirt artists nationwide Jordan, Meatloaf, and Coca Cola.
the chief ~nstructorfor the KENT LlND is considered one of the top HENRY ASENCIO, featured in the June
Commerc~alIllustration class shirt artists in the world and has been '99 issue of Airbrush Action, is world
clients ~ncludeBoelng, Nike, Catured in Airbrush Actlon and ~ntwo renowned for his sensual, elegant
Hewlett-Packard, Georgla-Pa nstructlonal vldeos on alrbrush lettering images of women on canvas and is con-
Mercedes-Benz What you'll learn: *a- sidered one of the hottest talents today.
DEBBIE EASTLACK, course asslst + Deslgns that sell What you'll learn:
+ Transfemng reference t o canvas
IS a frequent contributor to Alrbru5r1 + Pricing guldel~nes + Canvas selection and preparation
A c t ~ o nand past Vargas lnstr )r of + Professional letterlna and stenclhncl + Reference and photo compilation
the Year
+ Shortcuts for fast turnaround and high + Creating a style that sells
What you'll learn:
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Profess~onalairbrushing t~
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Locations and dates:
Locations and dates:
Locations and dates: LAS VEGAS: February , 2001
LAS VEGAS: February , 2001
LAS VEGAS February , 2001
ATLANTIC CITY: June 19-22, 2001
ATLANTIC CITY: June 19-22, 201
Seminar Cost $495
and motorcycle murals. From
Novices welcome!
Yes! I Wanr TO Take Off to
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Hotel Resewat
The Las Vegas Getaway IS being held 1-Dav m:
jam's Town Hotel camblina Hall, , FINGERNAIL AIRBRUSH1 Seminar Selection:
Las Vegas, NV. 0 Commercial lllustrat~on $495
INTRO TO AIRBRUSHING 0 T-Shirt Alrbrushlng $495
INTRO TO AUTOMOTIVE 0 Automotlve Alrbrushlng $495
0 Canvas Palntlng $495
0 Flngernall Alrbrushlng $ 99
0 Body Art $150*
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After some exper
have it, the design I chose fo; this dim; bcrppe

bestseller of the series. I utilized an Americcm,
that I have used for years on Harf and I
with some
contaminants. The
STEP 5 With a co
I I have painted this particular design
for Zero Haliburton several times,
but because of the emphasis on
freehand techniques, each case is
unique, making every one more like
a personalized art piece than a
*******
stenciled print.
t and cure while I
lowly layer in the black,

e's features. The furls of
the flag are also re
layers of this weak
image by making it too
STEP 12 Combining
gold intensifier, and S
color that is perfect for
must be carefully freeha
could lift some of the del
!5TEP 13 With all th

are needed to create
very little white in this
can have a killing effe
transparent colors. To
with the white and ove
overspray and spitting.
STEP 14 For the final

wet coats of Valspar A
uses the smaller LPH-10
cases. This is because
run if it is applied too h
discovered that the case
because in the wintertime, t
a heated booth. This could cau
coat.
STEP IS Unmasked an
kustom-painted attach
I have painted this pa
several times, but bec
techniques, each case is
If you're wondering what a Zero

Haliburton case is, you've probably
seen quite a few without realizing it.
A Zero Haliburton case is the
aluminum attach6 that commonly
holds the cash in just
about every action movie.
,.,BRUSHES: lwata Eclipse boitle-feed, lweta
Eclipse CS gravity-feed, lwata Micron€ detail
gun, lwata LPN100 LVLP spray gun. PAINT:
Valspar AC-2 135 polyurethane clear eat; House
of Kolor BC-25 Black, BC-26 white, PBC BBC97
majik blue pearl base ~ t X i 1 , 0 0 intercat
clear, KK-12 Pagan kandy toner, KK-2 lime
gold kandy toner, KK-11 kandy apple red twtw,
RU3 11 medium reducer, AP-01 adhesion
promoter. MAS- 3MTM1/8" Blue Fineline Xdoy Case" is poplar WIM travelers. tne A-ray palnrtng snows everyrnu a
Vinyl tape, 3MW"Automotive m a s k i toge,~ din^ Waither WK and top secret dacumenh. .
3MTM2'' Automotiw maskirig tQPB,C w t
Automask transfer tape, OTHER: Whii m w a x
construction stick chalk, 3MTMRed SoekkBrite
scuff-pad, 3MTM600 grit wet/dry sandpaper.
1
b Kustorn Paint
airbrush
studio in
California
h n c heon
a contributing editor to Airbrush Action

agozine and a freelance iournalist. Craig's
hood murals have been feotured In many
automotive rnagozines, ~ncluding
Minihuckin, Cornpoct Car, and lruckir
-heck out his webs~teat wwwgotpoi-' --
AIRNEWS
Read I and
ANY IMAGE, ANY
discover new SURFACE
products and events Lazettran is a fantastic
new transfer paper designed
of interest to to pass through a color
1 photocopier, allowing you to
airbrushers. transfer your own designs
For more and photos onto almost any
surface. This watersilde decal
information I paper lets you transfer full
or a free catalog color images onto surfaces
including paper, canvas, wax,
and samples, circle ceramic, glass, plexiglass,
sheet metal, plaster, wood,
the reader service stone, shell, egg, and vacuum-
number on the forming plastic. Also available
is Lazertran Silk, an iron-on transfer for silk and other sheer fabrics, and
postcard in this issue krzettran Etch, which is used to produce a quick and easy iron-on acid resist.
of Airbrush Action.
I I MODERN
POSTCARD'S ONE-
STEP PROMOTION
Artists throughout
the country are
now finding it
much easier to
promote
ihemsekes using
custom postcards.
Modern Postcard
BYE-BYE TO BOO-BOOS now prints and
Interlam, Inc. has mails high-quality
introduced a new postcards all in
FingerSaver safety ruler house at the most
that prevents injuries competitive rates
and ensures straight, in the country.
accurate cuts on almost From as few as 500 postcards to a-
any material. million or more, Modern Postcard is the
- one-source solution to promotion. For a
Fingersaver's curved COLOR INA WHOLE
aluminum guard limited time, the company is offering special NEW LIGHT
nrevents knives and mailing prices for orders of more than 2,000 Colorcube, a new 3-D puzzle,
ither cutting tools from postcards. Modern Postcard will mail your is revolutionizing the way we
accidentally cutting the standard size card for 16.6 cents and deluxe think about and see color. This
user's fingers. The 2.6- size card for 28.5 cents. With direct mail innovative toy for all ages
inch wide FingerSaver is proving to be the most cost-effective form of doubles as an invaluable tool
sold in various lengths promotion, now is the time to reach your in illustrating how computers
from 28 to 100 inches potential market with Modern Postcard. work wiih color. By showing
and can be customized the digital progression of color
to fit any specification up fmm w h i i (the absence of all
to 13 feet long. The color) to Mack (the presence of
ruler's steel measuring all color), the puzzle presents a
tape slides in and out, close-up look at the mechanism
allowing the user to of color. Cdorcube teaches
measure o b i i t s longer children and adults about the
than the ruler. A special relationships invoked in
transparent sliding creating color and -ins the
marker that moves eye to see color in all
along the measuring dimensions simultaneously-
tape lets the user cut key skills in creating color
multiple substrates arhHork both on computer and
accurately and quickly. A paper*
non-slip rubber material
on the back locks the
ruler into place. RBRUSH ACTION 1 JANUARY-FEBRUARY2001 53
By Judy Brc
3s by Jim O'Rourk
and Tony Grec
studio in the Midwest a

venues elsewhere to fill
Anonymor :e Photo
Snake encircles anonym

for this one. Photo ll)rJir
"W
Bob Decker, a Tony Gregory de~tyr!. - . - .
I.,I ,..I- U Y"" ,
ICI.M .-. .J Gvegow
Photo by Jim Daourke photo by Judy Bradford > by Jim O'ROUrke Photo byjrm O'Roltrke
Photo by Tony Gneg o by Judy Bradford
Tony Gregory, ce Iho and Spencer Snow draw a

nhoto by Jim O'Rourke
w
^L
tyrrtwma ~ v ~ wrr
y YH
~ V UsI J L I U
Photo by Jim O'Rourke
~ k n v m o u sfaces from ~ a n t Fest
d on Duval Street.
....-.., ...--- ,-.

Photo by Jim O'Rour,
Jester by ,... ...., ..

Photo by Tony Gregory
H E ARTIST
Freeda Lafharn is the owner of Escapes airbrush: Badger 100SG fine onc
Nail Spa in Galax, Virginia, (540)2 3 6 nedium; Snails microbrush Air
8972. She has been painting from a *-* Badger Million Air 4801
young age, winning her first art :reatex; Nicole's
competition at h e age of six. She added uverwnelmed" nail polish Masking:
Ign is necessary to cut glb the airbrush to her artistry only within the Original masks crafted from Pellon
rm d ~ t noreas as one stencil and past four years. Freeda credits God for .ighHngr 40/60W incandescent and
thB.liaht areas as another. her talent and abiliv, and also receives 50W fluorescent mix Ventilafion:
I
inspiration from her husband, Eddie, and
dauahter Jasmine.
Filtered exhaust assembly
nent Lind gets nd rea IC
the devilish ~ossibilifiesof "boy" designs. -
4
MI
n the last installment we focused on those designs that are most pc , ar
with the female clientele, or girl designs if you like. Keeping in the same
vein, today we're going to focus on the opposite side of that design
element and exploit the wonderful world of "boy" designs. How
exciting!
Of course, as always, let me clarify exactly what I'm talking about
when I say "boy" designs. Primarily these are T-shirts I paint that are
bought almost exclusively by boys. It's that simple. And of course, as
always, there are exceptions to this exclusive "boys club" of designs. In
other words, girls occasionally buy them as well. Ironically, however,
they're usually buying them for a boy. Girls love to buy clothes for gifts. We,
however, would generally prefer a nice Nintendo 64 game in our Christmas
stocking. Clothes, although a necessity, aren't usually the most fun or exciting gifts. I like to
lll~nkthat I bridge that gap between the typical boring clothing purchase and that cool game. The coolness of the
airbrush T-shirt tends to offset the initial disappointment of finding an itchy wool sweater in your birthday box. Not that I
brush on a lot of wool sweaters though. You get what I'm saying. It's still clothing, but it's cool clothing. Let's continue on
-
before I thorouahlv r
confuse mvself.
The distinguishing characteristics of the boy design are first found in the color palette. These colors include but aren't
specifically limited to phthalo blue, Caribbean blue, violet, yellow, aqua, and red: a real primary list of colors. Not as
' extensive as the girl list but then again, we boys are a simpler bunch. Or is that simpletons? You decide. As I said in the
last issue, the look is generally quite a bit more rugged as well. Thicker line work and extremely bold color application are
the trademarks of the manly design. Of course attitude is everything. Most of my really popular boy stuff has the "I'm a
bad boy" undertone running through it. Boys like to be thought of as "bad" and girls love the "bad" boy. Come on. Admit
it already. You know the saying, "nice guys finish last." Girls know it too. Oh, for the record, I'm a really bad boy.
Remember too, that these are examples of my hottest selling designs that iust happen to be bought by boys or for boys.
Your list might have some really great stuff in it too, so feel free to add to them. You know, just for the record, if you feel
like sending me some of your best selling stuff, I wouldn't be averse to it. After all, for the last four columns, I have given
you my best stuff so, you know...i s the guilt trip in full effect yet? NO?No problem! That was actually a reminder to keep
sending in some designs for the Shirt du Jour. You never know what might happen. Anyway, on with the list.
#1 These designs are in no particular order of selling power and

are just laid out in whatever order interests me at this particular time.
I'm fickle like that. The design featured in the stepby-step is,
however, by far my most popular selling boy T-shirt. Hands down.
With that said, the first shirt has always been a real joy to do over
the years. I'm definitely not the quintessential skull guy (look up
Craig Fraser) but I do enjoy the occasional decadent skullduggery. The thing
to remember when doing this is to make it look as mean as you can. A
whimsical looking skull iust doesn't have the "bad boyn wallop we're looking
for. And besides, how happy can the decaying head of a human actually
be? Oh, the dripping blood is always a nice touch.
#2 The easiest and the second best selling design has got to be the actual
"Bad Boy" itself. It literally is a takeoff on the well-known police television
series and its main theme song. And what T-shirt would be complete without
at least one pair of evil looking eyes? A lotof dads buy this one for their
young sons. I think they mean that they're trouble...the original meaning of
"bad." The colors are consistent with our boy look and iust happen to work
very well with the whole design. Muy, muy excelente, Kentigo.
Girls love to buy clothes for gifts. We, however,

would generally prefer a nice Nintendo 64 game
in our Christmas stocking. Clothes, although a
necessity, aren'f usuall~the most fun or
exciting gifts. f like to think that [ bridge that
gap between the typical boring clothing
purchase and that cool game.
#3 This next one i s great simply because of my geographical location. "Up
nort hey" we get all kinds of winter freaks who like to do sports stuff outside,
and I'm proud to say that we probably have the best breeding grounds for
future NHL players in the country. So it is with this in mind that I'd like to
introduce you to the "Kick Some Ice" design. Again, it has the right mixture
of bad boy elements blended with the all-American boy look. The swirling
line work also gives it the right amount of action, drawing you right into the
desian itself. The colors can match whatever team is hot or ~ o ~ u l in a vour
r
area': I decided to use something close to the newly formed'~innesota'~i1d
and play off their recent historical start in the NHL. The great thing about
where I live i s that highly competitive girls high school and collegiate hockey
leagues have been growing fast. Soon this design will be divided right down
the middle in gender sales. Good choice, Kent!
#4 A new look is a necessity and this one came onto the scene only about
three years ago. I am, of course, referring to the alien. I didn't intend this
one to be solely a boy design but that's what it evolved into. I think boys are
just generally weirder and will believe iust about anything you tell them. Thus
the natural fit with the alien look. The colors are a bit off the beaten boy
color path but are required when trying to depict the classic alien motif. I use
phthalo blue in shading the fluorescent green to give it more depth and
greater color distinction. The name I like to use for this one i s "Alan" iust to
really mess with the customer's mind. They can't quite figure out if I mean
Alan or misspelled alien. Either way I love to watch their brains work over
time. Quite sadistic, Mr. Lind.
#S Another look that caught me off guard as far as equating it to a boy
design is the dragon. I've done my fair share of dragon work, from the
classic medieval red dragon to the rigid Chinese character, but I never really
had it in my arsenal until recently. I think the trick was to make one that was
affordable and without loosing its coolness. So I really simplified this look but
still made it look mean. Not an easy combination. The colors are again right
in our boy range and work very well together. Nicely done, Sir Kentalot.
versatility. It can be anything from a party shirt, a
peace, love, and happiness design, or as in this
case, a "Have A Day" shirt. Notice it didn't say
"Have A NICE Day." This is on purpose. This guy
is having such a lousy day that he iust wants to
get through it. He'll settle for any kind of day, nice
or not. It's also another chance for me to mentally
and the winner is...
screw with the customer and it fits better with our Now on to the main event! The winner of the most popular
boy-type design. Again, there's always room for and most fun boy design goes to the "Trevor" devil smiley
head! I don't know about you, but I haven't met a "Trevor"
yet that wasn't a little brat. Call it karma. Call it whatever you
want. Just call it No. 1 on our list of kick-butt boy designs!
! 1 Again, the first step is simple IEP 2 For the next step I haul out the rEP 3 Now we get out our red and
ano 1s spent laying down the design. I ~ r c ! l and
l ~ ~give it a nice burst on the saturate the rest of the area, blending
like to go with the oval instead of the upper half of the face. This adds more in around the eyes and upper head
circle because it leaves more room to depth and color than iust going with the where we put the ell ow. Just make
mess up. If you put it on display solid red face. The orange tint we'll get sure to keep close to the surface
already "messed up," then that's what when we add the red really makes it because red allows for a lot of
the customer expects. Besides, an oval glow much more. overspray.
is better here anyway.
62 AIRBRUSH ACTION I JANUARY-FEBRUARY2001

STEP 4 At this point I'm using violet to STEP 5 Now we're going to work on Now we need to work on our
shade the red. Some people prefer to the background. I want to add even What I normally do is brush in
un,rnL,.
use phthalo green or maroon. I like the more of that "my kid really is the devil" a print style name with some flair. But
violet. It cools down the red iust enough feel so I'm putting in some flames since that's not as exciting, I'm going to
and provides that much needed around the head. This also covers up embellish. The first step is to decide on
contrast. Notice how I fleshed out the any mess-ups or overspray that may our style. Keeping it simple, I add some
oval and gave my shape a light source have fallen around our figure. A nice pitchfork-like tails in a few of the letters.
by adding shading in the lower left side. little time saving trick too. That ought to get our idea across.
I The next few steps involve filling in the name with color. Since I don't want the entire thing all red, yellow, and orange,
-
I'm going to offset that combination with just a bit of aqua. The style and color mix are up to you. *
In the final step, add all that hell-inspired white to our design. Perfect! It just doesn't get more fun than thisl

-
.,*II, I asked for somet,,,,,d different and Igot it! Our most Tho i ~ i a~IJI,LIE)
~; ~eonrli.,~ : . I L ,ubn ,i rcc. L~:oI~;. ,..
recent submission comes to us from W,a.k.a. Jey his f ne quality, The strokes are a bit heavy handed and at
Erazo from Bellevilie, New Jersey. times overbearing. Take for example
Detek sent me quite a few photos the line work in the face, more
but 1 felt this one was his most
unique and best executed. Also
the fact that it's painted on a black
shirt made it a good one to
I specifically in the mouth. Having that
thick of a line between each tooth
really flattens them out. There's no
sense of depth there. If Detek would
discuss. I'm not real current on have used a crisp and short dagger
existing chamcten so Idon't know stroke, it would have been much
if Detek came up with this on his more effective. The same problem
own or if it's some Clive Barker also exists in the wrinkles around the
"Hellraiser" sort of thing. If it is an eyes and brow. Properly executed
original, h t e k might want to look dagger strokes would have made
into probssional help. Anyway, it those creases just pop out. Perhaps
doesn't matter because everybody he was going for a more graphic
is fair game in the Shirt du Jour effect but I don't think so. Practice,
world. practice! The ability to nail those
The first thing that caught my dagger strokes is what distinguishes I
attention was the color vibrancy in the truly dedicated from the .
spite of the Foct that this is painted occasional hobbyist.
on a block shirt. That, my friends, Thanks for your submission,
i s not an easy thing to do. I must Detek. It takes a lot of guts to send in
get a few questions every week on your work for all the Airbrush Action i
how to effectively paint on black. subscribers to pick apart. Overall,
My advice is always the same:
patience. What you have to do is
build up several layers with your
great job!!
One more thing, I'm geiting o lot
of people sending in work via e
1
opaque white before you can go mail. It's not that I don't enjoy seeing 1
in with your palette and details. all your cool stuff, but cut it out!! We
This is a very time consuming ordeal. This is why I can't use them. Generally the resolution is too low and
generally charge twice the normal rate if I'm going to they would end up looking like junk. So please, please,
paint on a dark shirt. It's a pain in the patoot. Detek's use please only photos or slides! And now back to your
of color is also effective in that he has a good balance of original programming. '
warm and cod. It really focused my attention right to the That's it for now, you airbrush iunkies. Keep those
center. The amount of energy created by this use of color questions and pictures flowing so at least I look like I'm
is really effedive. With that said, there are some areas actually doing something. Thanksl!
that need work. -; < c. , ..:* z'.~:,$=4j $;
s,
.>
,
, >
:3-,-..$2
- I
. J
mn m m - rue A n - m e -
And there you have it, another batch of some of
I
my most popular designs. Next issue, I'm going to Kent currently owns ana operates concessions at several
go in a completely different direction. I'm not quite amusement parks. His airbrush of choice is the lwata
sure where yet, but I'm sure you'll be shocked and Eclipse, and he uses Createx paint. He lives in
amazed! The mere fact that I can form coherent Minnesota with his wife Lisa (the Supreme Ruler of the
words and paragraphs does that to my wife and Universe), their cutie-piedaughter, So
'
friends. Just thought you should know wl re new son, Cooper.
dealing with here. Until then, compadres!
If you'd like to participate in Kent's "Shirt du Jour," send your slides co:
-
ant Lind 4328 Lexington h- Pkw
Or, if you'd like an answer to a T-shirt air

If Kent uses your artwork or question in one of his columns, he'll send you a free Air 26 Difrent T-shirt!
1;4 AIRBRUSH ACTION I JANUARY-FEBRUARY2001

What ddines a magazine best?We think it's the helent
that reads it! These are some finer examples of our reader's work. READER'SGALLE RY
John Zelexnik
StevensonRanch,
California
John Zeleznik has been
airbrushing since 1987.
His designs have been
featured on the covers of
role-playing game books
Rifts Lone Star and
Mystic Russia, featured
here, among others. For
the past six years,
Zeleznik's work has been
featured in Spectrum,
a compilation book of
fantasy and science
fiction art. His most
recent project was a
double-page spread for
Playboy magazine.
Theriault, Riviere-du-Loup, Canada

Sylvam Proulx taught himself to arbrush five years ago,
I
and has since garnered the fine distinction of ownmg the
only true alrbrush booth m Quebec. Proulx pamts clothmg,
motorcycles, murals, helmets, and more.
Daniel Lee Trahan

Fort McCoy, Florida
50-year-old Daniel Lee Trahan
first witnessed airbrushing in
1963 at the Michigan State Fair
where he saw Stanley Mouse
doing hot rod monsters. But it
wasn't until 1980 that he bought
his first airbrush, a Paasche VL.
Since then, Trahan has taught
himself airbrushing techniques.
Currently he is working with
urethanes on plexiglass and
painting SCUBA tanks.

1997 No. 1 I NO. 3 YY7 NO. 4 I --
Get in on the Italian airbrush action! Now you can
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r
English
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You've got questions? We've got Both the paint and the dye are easy Can you give me some examples of
answers! Let the experts at to use and can produce great results famous artists who exclusively use the
Airbrush Action help you solve even for beginners. These products can Omni airbrush?
your technical dilemma, clarify a be found at art supply stores such as Emmanuel
concept, or simply satisfy your Pearl Paint or at larger photography ef/[email protected]
curiosity and put you on the supply stores. Coloring photographs i s
road to artistic excellence. a lot of fun and can be very rewarding, Dear Emmanuel:
so good luck with your project! We think very highly of Omni
airbrushes. Some of the artists we know
Dear Airbrush Action: Dear Airbrush Action: who have used the Omni series in the
I need advice on how to form a stripe. I am an illustrotor just gefting back into past are Terry Hill, Steve Driscoll, and
How do I make the edge razor-sharp airbrushing. I used to work with a CS- Pat Reynolds. Although being a great
and flat? 10 illustration board by Frisk but I can't airbrush for T-shirts and larger work, we
Paul Richardson, East Yorkshire, find it anymore. I have tried various think that for fine detail, you may want
England other illustration boards but I can't seem to look at some other models more
to find anything as good as the CSlO suited for illustration. Badger, which
Dear Paul: board. Could you please tell me what now manufactures the Omni airbrushes,
The best way to make a hardedged board illusfrators are using now and also makes models designed for
clean stripe i s to use a striping tape that where I can buy it? illustration work. You should check out
will not allow the paint to bleed under Jon Sligh our annual airbrush buyer's guide to get
the edges. You'll want to use a flexible sligh8texas.net some great information on different
vinyl tape for both straight lines and airbrushes and their applications.
curves. We recommend Blue Vinyl Fine
Line Tape, which is available in I am about to buy a new
varieties ranging from 1 /I 6 to 1 inch airbrush set. I've read in past Dear Airbrush Action:
thick. Since the vinyl tape is flexible, it issues of hemagazine hat I am looking for a way to store license
will not bunch up on curves. An added plates that have already been painted
grwii'Y-faed airbrur are without scratching the s u b s . DO YOU
bonus is that it can repositioned without
leaving behind a sticky residue. As far gOOd for cars and bode-fed have any ideas how 1 can do this
as keeping your stripe flat, you should models are good for wall without taking up too much space?
try to achieve your desired look without but I want lo do both. Shawn William, Chandler, Arizona
making the paint layer too thick. This
means you should apply as little paint Dear Shawn:
as possible to get the color you want. Dear John: If you want to store large numbers of
Good luck! It seems your problem i s one that is plates in a small space such as a box,
shared by many of our readers. Because we recommend that you put wax paper
of the many great features of CS10, it is between each plate to keep them from
Dear Airbrush Action: very popular in the airbrush illustration sticking together. If you want to have
I am looking for a very specific product. field. Unfortunately, it has become them on display, we recommend you
It is a paint or an oil-maybe even a difficult to find in recent years, and this store them on hooks or nails, and be
dye--used to brush paint on black and has many airbrush artists searching high careful not to put too many plates on
white photographs. I remember seeing and low to get their hands on it. But each hook or nail. This way they won't
it in a magazine once, but I haven't don't worry-we tracked one down. get scratched, and you can clear them
encountered it since. Coast Airbrush in California has this after you've added the name for your
Samara Sears, lake Placid, New York popular product in stock and ready to customer.
ship straight to you. They can be Good luck!
Dear Samara: reached at 714.635.5557 or on the
The product you are referring to is Internet at www.coastairbrush.com.
available in the form of both an oil Good luck! Dear Airbrush Action:
paint and a dye. Both types are made Can you tell me how long I can store a
to adhere to the emulsion found on silent compressor without the piston
photographic papers and are very Dear Airbrush Action: seizing up? Is there a good way to
popular among professionals and I want to know what you think of the prevent this from happening?
beginners alike. One of the most Thayer and Chandler Omni airbrush Dave Wong, Singapore
popular brands is Marshalls, which series as far as detail and fine lines are
produces both the oil variety and the concerned? It has been advertised to be Dear Dave:
dye colors. Another company is capable of producing extreme detail at According to our experience and
Retouch Methods, which specializes in low pressures. I am looking to use it for resources, it i s safe to store your silent
the dye form. illustration and other finedetail work. compressor indefinitely under normal

conditions. The longest documented with your thumbnail. Would an We offer a great new nail painting
storage period we could find was three automotive primer with touch-up paint video that would show you the best way
years. After the compressor was taken work? to start painting nails and the materials
out of storage, the oil level was Anonymous that you would need to get started. Call
checked and the compressor was us at 800.876.2472 for more details.
immediately put to use with no problem Dear anonymous: Good luck!
at all. Because the oil used in silent Because of the chemicals used to
compressors is a synthetic, it will not anodize metal, paint doesn't naturally
break down during periods of nonuse. stick to it. However it should be easy to Dear Airbrush Action:
prepare the surface and get you on your I have just received a fiberglass
way. You should start by lightly sanding waterfall. It's about 25 years old and in
Dear Airbrush Action: the metal. Then apply a primer to the need of repair. I would appreciate it if
I am about to buy a new airbrush set. surface before you paint it. The primer you could supply me with some
I've read in past issues of the magazine you choose will depend on the paint information on products for repairing
thutgravify-feedairbrushes are good you are going to use for the surface. The the fiberglass and which paints to use to
for cars and boittefeed models are salesperson at the store where you buy make it look as real as possible. The
good for wall murals, but I wont to do the primer will be able to recommend mahrials must be safe for fish also.
both. What $0 you recommend? the correct one for the iob. These Don, Michigan
Also, is the new Aztek airbrush guidelines will also work for the chrome
bortlefeed or gravity-feed8 It looks areas. Good luck! We hope this helps Dear Don:
good, but is it a good deal? you get on your way. Your best bet is to repair the fiberglass
Gobe Mendoza, Sacramento, with normal fiberglass techniques and
California then to use the House of Kolor system of
Because Of the many great pa~ntto actually paint your design onto
Dear Gabe: features of CS-10, it is very the waterfall. Once the design is clear-
coated using HOK clear, it will be safe
Both styles of airbrushes are able to do
the same work; the main reason they
pPukrinheairbrush for the fish. We recommend you call
are recommended for different things i s illustration fidcl. Dave Monnig at Coast Airbrush at
the amount of fluid they can hold. What Unforhmaleb, it has become 714.635.2632 for more detailed
this means is, for example, a bodefeed difficult find inrecant years, advice on exactly which paints are
lwata HP-BC airbrush can hold a 4 oz. safest to use for the fish. He has a lot of
fluid bottle. But an lwata HP-C airbrush
and "S many airbrush experience using these paints in an
that has the same size nozzle and artists searching h and IOW aquarium setting,
needle can only hold 1/3 oz. of fluid at to get heir
a time. If you want to do both types of
work with one airbrush, the bottlefeed Dear Airbrush Action:
airbrush may be better to start with. Dear Airbrush Action: I'm looking for a source for blank mouse
You always have the option of using a My wife is interested in having me use pads. I have been unable to Hnd a
small bottle or color cup when doing my airbrush on her nails, which made wholesale source for these. Any help
the smaller work. The Aztek airbrush is me wonder, what makes a nail airbrush would be greatly appreciated.
a side-feed airbrush, which like the Thuyer and Chandler Nailaire David Burke
incorporates features of both a gravity- more suitable for painting nails than any [email protected]
feed and bottom-feed airbrush. Side other airbrush? Is there a special paint I
feed airbrushes will accept small color need to use? Where is the best source Dear David:
cups as well as small 1 or 2 oz. bottles. of information on the nuts and bolts of A great online source for blank mouse
Good luck! nail painting8 pads i s www.thomasregister.com. The
Paul Land, WhitemanAFB, Missouri Thomas Register is the directory of
American manufacturers, and is a
Dear Airbrush Action: Dear Paul: superb source. Good luck!
I would like to paint something on my What makes those airbrushes more
paintball marker. However it is suited to nail airbrushing is the size of
anodized black, and paint doesn't the color cup. When airbrushing nails
seem to stick to the surface. Whaf do you only need a small amount of paint
Airbrush Action Q&A
you suggest! Should I take sandpaper so these cups cut down on waste. Most
and scrub off all the anodization? Is people in the nail industry are using
PO Box 2052
there some kind of primer I can apply to acrylic paints for their des~gnsand then Lakewood, NJ 0870
make it work?Also,part of it is chrome, adding a topcoat of clear nail polish.
which has the same problem-when the Many paint companies are making
paint is dry, YOU can easily pick it off airbrush paint designed just for nails.
2 b
A I k U K b b H A< I1UN 1 JANUARY-FEBRUARY ZOO1 69 1

I
Hey, I'm back-your ol' pal K-Daddy. For anywhere from a few hours to a day You heard correct about the four
those of you who are new to this column or before it starts to set up. It is not a cwts of 56-100 being the
"Kustom Kulture" challenged, my name is true airdry system like the PPGIDBC recommendedamount. The reason is
Kyle P. Gann-my friends call me "K- base coats, or what we currently use, that, like regular base coats, SG-100
Daddy." I'm head painter and bodywork the House of Kolor base coat Shimrin is not as structurally sound as a
man at Kal Koncepts/Air Syndicate, along paints. The difference is in the DBX- catalyzed paint or clear. Iknow they
with my partners Dion "DBob" Giuliono and 695 balancing clear used along with don't make a big fuss about spraying
Craig Froser. You may have seen our names the DMD toners to create the DBU base coat colors more than four times,
mentioned in Airbrush Action articles and system. The DRR reducer has a dibutyl but if you think about it, most people
videos. I've said it before, and I'II say it tin activate in it that reacts with the don't get too spray-happywith base
- - - - -
again: This column Is pretty much yours. YOU DBX-695 to make it harden and coat colors. You spray as much as you
have a question, a grip, or an amusing adhere faster than other air-dry need to cover and then go on to your
onesdote8 Write to K-Daddy. If it doesn't systems. This is great for fast masking next color. With SG-100 people have
have too many colorful metaphors, I'll and tough paints, but bad news for a tendency to get over-zealous and
answer it. Fair enough8 Lets get at it1 people who like to pour their paint want to use it a dozen times between
back in to the can and save it for later. each color. Then they start using it to
DEAR K-DADDY: Personally Iwas never one for saving lay in flake and next thing you know,
I have been airbrushing for a few years and pre-mixed paints, so there were no they'll start trying to figure out how
I am just now getting into automotive worries in our shop. to buff the stuff and use it as a final
painting. I live in Iowa and I haven't found clear. Anarchy!
many people who know anything about My recommendation is never to
airbrushing here. I'm really digging the PPG
toners, but I have a couple of questions. You
Wlth SQl-9 W people spray more than three wet coats at
any given time to cover an area. With
guys use the PPG reactive reducer (1 170) have a tendency to too much SG-100 there is a possibility
pretty religiously. What is the difference gee over-zea~ousand of delamination if there are too many
between the reactive reducer and the regular
reducer (870)? If there is nothing wrong with
want to ure it a layers involved. If you're talking
about eight layers of colors, then
using the 870, what should be used for a dozen t l m n between don't worry about it. Usually people
balancing clear? Also, where can you find a
decent hood stand? I've seen the one Craig
each color. make the mistake of layering three or
four wet cwts between every color.
uses and can't find anything like it! When you add up the SG and the base
Thanks, The 870 reducer is the standard DT coat layers, you start getting into triple
Ryan Roling reducer that PPG uses for its DBC line digits, and that's a big no-no.
[email protected] of base coats, DAU catalyzed colors, To answer your last question: You
and other Deltron-based clear could say that 50-100 is just a bunch
The reactive reducers or DRR systems systems. If you're looking for one that of transparent base coat. You'd make
are designed specifically as the is both economic and easy to use, the chemists mad, but essentially
reduction system for the DBU base then the DBC with 870 is your best you'd be correct. Now don't go and
coat Detron system. It's an excellent bet. In many cases, availability will forget to stir the stuff and strain
system, with killer adhesion determine the best course of action in before spraying. Just because it's
characteristics. The downside for custom painting. transparent doesn't mean it does not
some is that the DDRIDBU system, As for the hood stand, Craig have multiple components. If you
once mixed, has a potlife of actually made that sucker in an pour your SG once without mixing,
afternoon behind the shop with a you might as well throw the whole
bunch of 1" and 2"-inch square can out-it's not the same product,
tubing and a couple of castors. Like and you will have some serious
you, he got sick of balancing heavy durability and sprayability problems.
hoods on top of collapsing rim boxes. For reducing, treat it just like base
Best thing to do is make friends with coat (two parts paint to one part
somebody who owns a chop-saw and reducer for a spray gun and one part
a welder, take a weekend off, and paint to one part reducer for
make one yourself. Just remember airbrushing). For airbrush work I
not to cut or burn off any important recommend RU-311 medium
fingers. Good luck. temperature reducer. For the spray
guns, use the correct reducer for the
DEAR K-DADDY: temperature of the booth.
How many coats of SG-100 are safe to
apply when doing a Kandy job? I've heard
that four is the maximum. I have a job in
which I'II need to put on at least eight coats. Well, rookies, I'm afrotd that'r about it for
Correct me if I'm wrong, but SG-100 is now, I'm outta' here. So until noxt time, keep
basically paint without toner pigment. By the your queationr coming, and don't forget: If K-
way, painting these bikes is fun. I heard you Daddy darbn't know the anrworr, you're
can actually make a living at it! prabclbly arkln' ctupid quemtion~.
Thanks, Palnt to Live, Llve Is Paint.
Mick KSDaddy
70 AIRBRUSH ACTION 1 JANUARY-FEBRUARY2001

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one of the best coffee-table art
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lections from one of the most
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The lung awaited orrival of the
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I ARTIST'S
POCYEl
TRAMP9 MILO TO WllO

PIWSTBIPIH6 OES16HS
This is a great new idea book
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featured is a full-cdor gallery of
A PRO
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VEHICLE GRAPHICS This best-seller shows you

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#BPI701 $21.95
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EASY AIEBRUSH
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Ike11 s t ~ l t e p p r o / r c t s ~ ~
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CLASSIC TmSHRUC!!Y
IT r
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works of Yoshiharu Shimizu, This 64 page book focuses on

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CLOTHIN6 Here is the "bible" of the saeen
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~MYSneIMES:
THE ART OF TODD SCHORR
Conjuring a seemingly endless array of
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Todd Schorr hes earned a reputation as
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I SlJBAYAMA ON ED-RUM
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I I I I
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~ & H * N D U N O O U I # I U - M A YVARY WE10?0STALRICILEASCS.

COMlNENlAL US.: $6.00 FIRS ITEM; $1.50EACHADD'L EM. POSTERBOOKS: $6.00EACH.
ALASKA & HAWAII. POST OFFICE: $7.00 FIRST ITEM: $2.00 EACHW L ITEM.
0 alyn*rb.vr$loo. W E [HKKS PAYABLE TO
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EURCPE ISLANDS AIRMAIL*$2~00 FIRS ITEM, $8.00 EACH AWL ITEM.
fot 5100in oei CHEMWaSMU BE
OMHl IMERNATK)NAL AIRMAIL* $30.00 FIRST ITEM, $15.00 EACH ADlYL ITEM.. order#goad for any Airbrush HEID FOR 2 WEHIS
SOME AREAS MAY BE W E R M A N PRICES QUOTED. FURTHERMORE. W A , MWCO, AND PRIOR TO SHIPPSIG.
AU OTHER FOREIGNCOUNlRlESMAY lMPOSE ADMTlONAL CUSTOMSAND IMPORT WTIES. Gemmy worksbop.
'OUTSIDE W US.,ADD $5 TO SWIM5 CtlAllGES W OP.
IFYWAREORMRINGIYmOWt~~
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PLEASE NOTE THAT BOOKS AND VIDEOS OR SEND THIS ORDER KMM TO:
CREDIT CARD NO.
RETURNED ARE SUWECI TO A 15% mmUUI-w
m
u RESTOCKING FEE. P.O. BOX 2052,UltEWOOD, 111 08NII-M)SZ
EXPIRATON DATE AUTHORIZED SIGNATURE w 4 t w - TEL 732-364-2111 FAX 732-367-5908
R E G I O N A L R E S O U R C E S
Regional Resources is designed to link Airbrush Action readers to art retailers offering airbrush-related and
general art supplies. If you are looking for an art supplier in your area just use this handy reference guide.
COMMERCIAL "'?EN SUPPLY INr

- -'
6 Kiddie Dr~ve,P ndustrial Park

ACT
..
1 $b An j.
Avon MA 02322
(5081583 2300 Fax (5081583 8234 - P.O. Box 206,
Anaheim, CA 92805 1973)328 3266 (800)343 4792 10300 Silverdale Way #1 33
W e offer a complete line of artist
(7141 635-5557; Fax (714) 635-2632 Fax (973)328 7283 Silverdale, W A 98383
materials and screen printing supplies
Discounted airbrush supplies and
and equipment W e have a warehouse line art supply 5 airbrush (8001743-3410 (360)698-31 13
equipment. W e ship. lnes partsand Free Fax (360)698-7383
store open to the public A cataloa of
supplies is also available cartoonist supply cotolog, cartooning emai [email protected]
,AN CO. INC. correspondence courses 18723 Highway 305
Mair Web w. kubertsworld com Poulsbo, W A 98370
Los Angeles, CA 90007 (360)779-2337
(21 3) 749-2262 Fax (21 3) 745-6540
MINNESOTA W e carry full line of Olympus a~rbrushes,
website. w . m c l o g a n corn P IAME SH( parts for most brands of brushes, airbrush
Signs ond silk screen supplies, banner, 81 I v Lynaaie Avenue hour paints including Golden, Badger,
airbrush, cardboards, sign brushes, Bloomington, M N 55420 NEWyoRK AquaFlow, Deka. W e offer repair service
sign vinyls.
PACIFIC AIRBRUSH
(612) 884-1991 Fax (612) 884-2015
(8001338-9801
Web Site-www.piercwrtery.com
1 on brushes W e offer classes 2 stores to
serve customers.
1207 West Center Street Our company carries a complete line of

Anaheim, CA 92803
(8001423-0250; Fax. (714)563-9363
Full line of airbrush supplies all
discounted. Call us last for best price
All airbrushes and parts in stock.
Thayer & Chandler lwata Badger
Aztec and Paasche airbrushes as well as
accessories parts and service W e also
offer fine arts materials for everyone from
the beg~nnerto the seasoned
1 8565 Main SI Clarence, N.Y. 1422 1
(7161 632-0001
937 Jefferson Rd ,
Rochester, N.Y. 14623
1 CANADA
(71 6) 292 -6500

STORE, LTD.
Major brand airbrushes, compressors,
STU Best selection of airbrushes compressors
8 paints and accessories. Low price
parts pants and accessories in Canada
Golden Valley, M N 55427 guarantee Professional cleaning, repair
San Jose CA 95 1 1 2 Repairs and parts for all malor brands
(61 2) 545-6808 Fax (61 2) 884-2015 and workshops
(4081288-7227 Guaranteed lowest prices
(800)338-9801 Mail Order: Toll Free 1 800268 2969
Beginning through advanced workshops
Web Site--.pierce-artery.com (Canada & U S A ]
featuring tap national artistsll! Schedules
Our company carries a complete line of Website: currys.com
vary throughout the year.
-
Website www.shenstudio.com
Thayer & Chandler, Iwata, Badger, LIN' E-mail: [email protected]
Aztec and Paasche airbrushes, as well as .--.
.- . -
.,.. -... SUP1 ,..i 8 Store Locations
accessories, parts and service W e also 343 South Elm St. *Toronto [Yonge St ] *Mississauga
offer fine arts materials for everyone from Greensboro, N.C 27401 *Toronto [QueenSt W I *Brampton
the beginner to the seasoned professional. (3361273-1052 Fax (3361273-2515 *Markham -Whitby
Best selection of art supplies in N . C *Barrie Hamilton
MPANY HE ARTERY Airbrushes, ports, paints, compressors &
41 3 Cedar Avenue accessories. Airbrush and fine art
499 Broadway, Denver, CO 80203 Minneapolis, MN 55454
(800)950ARTS (2787) (612) 333-2558 Fax (6121 333-2563 workshops. www dav~sdesi~nart corn EUROPE
(303)698-3838, Fax (3031871-8676 (800)338-9801
20 1 S Weber Colorado Springs, Web Site--.pierce-artery.com
C O 80903 Our company carries a corn lete line of SERMANY
Thayer & Chandler, Iwata, E%dger,
(7191 578-8070, Fax (719) 442-6523 Aztec and Paasche airbrushes as well as
w meininger com accessories, parts and sewice' W e also ST'S SUPPLIES
offer fine arts materials for everyone from
, --
Discounts on all airbrushes Cleaning on, cl KU D 73033 Goeppingen
professional repair service. Full stock of the beginner to the seasoned Lyndhurst Ohio 44 124
professional. Phone (4917161 133 76
parts. The most complete supplier in the (440)605 9434 Fax (440)605 0324 F ~ , 1491 7161 133 77
west. W e ship. Visit our PIERCE-ARTERY OUTLET w topair de
CENTER at Knollwood Mall, Cleveland area. Artists's headquarters for ~ ~ ~ ~versond ~ h .~ ~~ ~ ~ d h ~ ~ l ~ . ~
3258 Minnhaha Aver., discount maloi-brand art supplies, Production of IllumoAir special airbrush
MPLS, MN. airbrushes and accessories. Lowest prices noint
"iSSACHUSE'ITS
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10 ADVERTISE IN
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Extensive array of fine art supplies, Fax. (614)84 14086 two descriptive lines Call Airbrush
Charrette offers a full line of airbrushes, airbrushes, compressors and supplies for Columbus area: Artists's headquarters for Actlon advertising at (800)232~8998
parts, accessories, paints and compressors all levels of artists 56,000 sq. h of the discount malor-brandart supples, or (7321364-21 1 1 ; fax (732)367-
W e have a complete line of art supplies finest in art & craft supplies, all at deep airbrushes and accessories Lowest prices 5908 W e accept Visa, Mastercard,
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1 To Promote your product or service with a classified ad in Airbrush Action, call toll-free 1=800=232-8998.I
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AIRBRUSH W L - - -
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1 .LAB I I%I IU*WC)AVUMW*.reCWl&*ICI

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Reply: (201) 652-753 1 or VmOSllD IITALLIC: nm% A C C
A*-
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OCT- L C -
Email: [email protected] B= ZU 1-800-268-2969
*L C --- -
Am-- AC-
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Advertising Index U
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3D Graphics . . . . . . . . . . . . . . . . . . . . . . . ..15 ~ ~ Y H I L O Y L u * I P A l s l Q L V . Airbrusnes at compressors
--
fIlDOIDBlmOCLI*BaUIPL
C 0 0 ~ - ~ 1 a M D $ l ~ F O R R U D E N IDEUVERI
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Airbrush Action Back Issues ........ .72, 73 c FLUTED
S SKOTU S
mmg.raiN-
U-*mWP'^X
Airbrush Action Videos ....... .6,20-21,31 W R E WE OUTSIDE U M E N U O N S OF YOUR

CRUIE* I)( PAIR(I, PIJ#)
FRAUE. FRACTIONAL W E S WRRV NEXT WHOLE INCH PRICE
M(E
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Airbrush Art Magazine Back Issues ... .66-67 CUSlUMER SERMCE 1-732-
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Airbrush.com ....................... .27 ORDER TOLL FREE M M E Acrylic Bubble Covers 0 Metal & Plastic Frames Clear Plastic Shields
Airbrush Competition Announcement . . . .2-3 1-800-621-1329 Tag Blanks: Steel Acrylic Mirror European Colored Aluminum
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PO Bax 234 DEPT. AB MIDDLESEX NJ 08846 r PLATES COMPANY 888-8 10-8247
Airbrush Expo Announcement ........... .5 *PUDEIMDII.EVWNQIM~~
Airbrush Getaway . . . . . . . . . .
low t o D r a w
Art Esprit . . . . . . . . . . . . >ARICAT U R E S
The Art Of Scott Jacobs ..... ;err'es Free Brochure
Bear Air . . . . . . . . . . . . . . 800-328-9360 800-336-3905 -
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Coast Airbrush . . . . . . . . . . . .
Craig Fraser "Cheap Tricks" . . . . . . . . .7 1
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Medea ......... . . . . . .7 AIRBRUSH ACTION CLASSIFIED ADVERTISING
Modem Postcard . . . . . . . -27 Astandard I-inch high classified ad costs $105; display ads cost
Body Art Supply.corn
$121.Estimate a column inch as 40 characters per line, 6 lies per Specializing in H e m Mehndi tattoo pmdwts.
Pacific Airbrush . . . . . . . .2 9 inch, including headline and address. Payment with order is AIInarural and colored produ~rs.Kits and accessories
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Regional Resources . . . . . ....... .79 charge to Visa, Master Card, Discover, or American Express.
Tons ofstencils. design books & bodyjewelly,
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Silentaire . . . . . . . . . . . . . .Back Cover Mail to: Airbrush Action, Inc., Classified Ad Dept., P.0.Box www.bodyartsu~pty.corn
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I Circle Reader Service no. 14

Save
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....... 110331........$6.95
TURQUOISE .50mm LARGE ..............110335 .... 6.95
GRAY Aanm GEN PURPOSE............ 110334..........6.95
PINK . m m SPATTER........................ 110336..........6.95
a UBO Lsle #3 KH (R~IYJI) IW ..... ,546 4 NOZZLE SET................................... 110329 ........
29.95
vtbA 2WO DELUXE KIT [INCLJOES (7) BLACK .40mm ACRYLIC MED. ..........H0805 ......... 6.95
CREATEX 2 02 PAINTS 6 1114 02 CLWERI 1W022 U3 WHITE .50mmACRYLlC LG...............110806..........6.95
VEGA m (QUANTINS) .................... i.,.im .............8 9 0 TopopUlustramrJeriyLofamshawhaw RED .53mmACRYLlC SMALL ............ 110807..........6.95
MGA NAllAlRE 85 WHOSE ....................1 W................. m to akb~sh,dean, maintain, &finetune ORANGE .7mm ACRYLIC MED ........1108~1 ..........
as
mew .................................... ............ 1 ...........2o.s ............................
110330 ..........
as
.-Id
(3KH........................1 ~ 2 5................ 3 COLOR CUP SET
o m t SOSOOFMC 4 5a POWERPORT4 PORT ......12W31 ..
33MM JAR 8 SIPHON CAP ................llW4B .... 4.m
.................... ................ SPECW PURCHASE 10 H X l T COILED HOSE ....................110344 ........
1W
POWERPORT8 PORT ....120032 ..
...
DMWl UlMWj 1i3 OZ CC GRAVITY RED 1 M 1.................59
FW ......... .ItrcnnW27(. ......$l8.# MTEK CLEANING STATION 110347 19m
POWERPORT 16 PORT .. ,120053 . . . . . ..
OMNl 5M)00 1B OZ CC GRAVITY REO...lW252 ............... S/ TEFLON PIPESEALTAPE ....110114 .......--
CLEANM STAllON REPflLTERS 110349 AOQ
OMNI W ~ S F113 02. M: SIDE RED ........100258....... OB
hta r*m# Qly -Ah 7hqw&ar*ldwnrVEGA r&m# OtySaarAlr Bsdper Cmsen& Item# M y B u A k
.3MM NEEDLE (HPC/BC) ..............110024.......gt...$7.5 0 0 M MED NEEDLE..............
..... 110499.......12......-0 MED NEEDLE...............................110104.......12.. [email protected] 0 0
.3MM N O m E H W ) ...............110049.......W . . .23.990 X3 MEDTIP................... .
.. .......110513.......12........2 m 0 MEDTIP.....................................110101 .....12 ........27sO
2 02. JAR AND COVER ...............110096.......12 ........1.100
ECLIPSE NEEDLES .....................
110583.......6+ ........ 52S0 U3 PROCAP ...................................110020.......12........ 3.WB
ECLIPSE SELFGENT NOZ. .........110577.......6t........7 6 0 0 3 02. PLASTIC BOT. ASSEM .......110325.......24 ........2 3 0 JAR ADAPTER ...........................I10628 ......12 ........1.590
Rndt.M Q,,,
-*lr 302. PLASTIC BOT.ASSEM ....... ......
110325 .12........ 2 7 9 0
U3 MED NEEDLE.......................... 110135 .......
12 ........ 1.590 OZ. BOT.ASSEM..'..-l..
#3 MED TIP.................................. 110074.......12........1.W0 Rm$yCapw&AssmWb$ &m# Oty B u U r
302.PUSTlCBOTASSEM .......
110164.......12 ........2 9 9 0 CAPS FOR m.ASSEM..............110312.......ZWK.......UY)
3OZ.GLASSBOT.ASSEM ..........
llM)4B .......12........2790 CREATEX 20MM BOTADAP .........110873 .......
WACK ....O
#3AIR CAP ................................... 110469.......12.. ......2 M 0 CREATEX 20MM EOTADAP......... 110874.......12PACKlS.W I
We rlwaws have your p u t m d It &Ips In 81 hours.

ir has the most
ous and professional
vice anywhere! " Terry Hill
HAMMERHEAD
STEALTH 5000 POWER JET
Handles 2 Airbrushes
3 Liter Airtank
0-60 PSI Operating
Pressure
. Smart Jet Technology
116 Horsepower 0-70 PSI
Regulator and
. Simultaneously
Year Warranty
2 RegulatorsIMoisture
116 Horsepower Moisture Trap
$299 $349 $599

-
Artograph Super Prism Item# 170035
RISKFR
I G R TEE
INTERMEOIATE PROJECTORS ITEM #
DESIGNMASTER ............................ 170006.........$As-00 I
PROFESSIONAL PRWECTORS
PRISM PROJECTOR......................... 170034 ...........139.00 .....
SUPER PRISM PROJECTOR ............ 170035 ...........229.95
08400 PROJECTOR ....................... 170023 ...........699.00
ECONOMY PROJECTORS
"THE TRACER" - 5 X Y................... .....
170024 48.00 .....
PROJECTOR FLOOR STAND ...........170021 ...........109.00
-
LIGHTRACER LIGHTBOX (lO"X12) ...240255 .............39.95
NEW FROM AUTOGRAPH
MC 250 PROFESSIONAL PROJECTOR.......170048 ...........329.00 .....
BOTTLE
"REATEX ZOMM BOT.AOAP

1.00
110873 ................ 1.508

On DOpages
of airbrushing
-
quipment, tips
od tricks. Call
CREATEX 2OMM BOT.ADAP 110874 ................ 1.258 today and we'll send
2 0Z. PVC BOTTLE ASSEMB 110774 ..................53-39 you a FREE copy of
4 0Z. PVC BOTTLE ASSEMB 110775 ....................3.39
2 02. CLEAR BOTTLE ASSEMBLY 110792 ....................3.39 The Arbrush Bible.
07 CI FAR BOlTLE ASSEMBLY ............................110791 ....................3.39
4.....................
20MM BOTTLE CAPS ............................ . . ............110780 ....................2.50
24MM BOTTLE CAPS ............................................. 110781 ....................2.50
33MM BOTTLE CAPS
38MM BOTTLE CAPS ........................ . .
110804 ....................2.50
............. 110782 .................... 2.50
-
lhnN BearAnr
FRISK PRODUCTS ItsM BrrU
FR~SKFILMROLL 10' x ~ Y ..............
D 1 5 ~ 3 ........
6 sam Free StencilBurner A s1o.w WIW
FRISKFILM ROLL 15'X 4YO ...... 150104 ....... w h m ywbuy I W S h d S O f S k n e I ~
FRISKFILM ROLL29 X4YD ..............150105 ........18.86 STENCllEEZE 100SHEETS(14x14) ....150078 ...... 39 00
FRISKFILM ROLL 25' X lOYD ............ 150111 55.06 ........ STENULEUE 100 SHEETS (18x22) ....150142 ...... 79 00
~r EOOIAII s u l ~ l g
lmih vltn ~ t i ~ * n~ U~I CmM S O F m BearAir cutting knl*
whenywbay I W . h . t . ~ M ~ M
TOOLS6 SWPUf8
SIDEKICK EASEL ............................ -5 ...... WO.W M'GHNSHIELDSHE"S (BX12) "150147 "..""24M)
loo ........29.00
KOH,I. NOORELECTRK: ERASINGSYS......420058 ........- MIGHTYSHIELD 100 SHEETS (llX14)..150138
........-
......... "
114' BLUE FINELINE ............................510132 ..........5.m
DA,GE HAND WAXER , , , , , , , , , , , , . , , , , , , , , , , , m
114' WHITE TAPE .............................. 5 1 W 2 .............gl)
MEDEASUPER LUBE ........................ l l W 3 ..........5.00 15 Tech Circle, Natick MA 01760 , --]mmmI/CODMonday
I - Friday, Barn to 6prn EST.
24 Hr Fax: 508-655-3390 IntrmaUmI Callers: 508-655-9323 AA0201 E-mail: [email protected]
Why Do Things The Old-Fashioned Way?
I
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......I
Here's A New And Better Wav.

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What categories are artworks submitted under?

What categories are artworks submitted under?

What are the prizes for the competition?

What are the prizes for the competition?

FEBRUARY 2001

$5.99 USA/$7.99 CANADA

I I 2) Body Art 7j Signs & Murals

A New York makeup artist

some unexpected items out

59 Nail Art HOW-TO 70 Ask K-Daddy FANTASY

THE NEW ATLANTIC CITY CONVENTION CENTER

Kent Lind's Cartoonin

Cover Art by Sylvia Pichkr

International orders: 732

Poshnaster: Send changes to Airbrush Action, P. 0. Box 438,

hhnukiundand printedin the U n i i Sab d Ameriw.

8 AIRBRUSH ACIlON 1 JANUARY-FEBRUARY 2001

10 AIRBRUSH ACTION 1JANUARY-FEBRUARY2001

Circle Reader Service no. 34

M\C, US& DISCOMR, BLACK GOLD 817-633-1135

Circle Reader Service no. 70 Circle Reader Service no. 9

16 AIRBRUSH ACTION I JANUARY-FEBRUARY 2001

I i s a F u l l Service and Supply Store

3 M A S K I N 6", 1 2 " , 1 8 " a n d 24" ( x 1 0 0 y a r d s )

CALL FOR MORE I N F O

AIRBRUSH: lwata Eclipse, lwata HP-C

Special thanks to Jamie Chen and

whether you're learniq how to

.eft, Decurion, 2 0 x 3 0 ; above, Sargatanas, 3 0 x 4 0 Frame of Reference, 15" x 2 0

24 AIRBRUSH ACTION 1 JANUARY-FEBRUARY 2001

AIRBRUSH ACTION I JANUARY-FEBRUARY 2001 25

Throneroom of the Decapitator, 24" x 36"

26 AIRBRUSH ACTION 1JANUARY-FEBRUARY 2001

GLOBAL GALLERY C. RESOURCE FOR AIRBRUSH ARTISTS!

Belon 111, 8" x 1 4

28 AIRBRUSH ACTION I JANUARY-FEBRUARY 2001

I - Airbrushes and Compressors

hi& Essential Kit

Much of Wayne's original artwork, as well as his prints,

Psitiacosaurs and Sinornithoides, 15" x 20"

30 AIRBRUSH ACTION 1 JANUARY-FEBRUARY 2001

32 AIRBRUSH ACTION 1JANUARY-FEBRUARY 2001 A M P B 1 B r o U s -

34 AIRBRUSH ACTION 1JANUARY-FEBRUARY2001

i-h: lwatu Custom Micron SB; Iwatg HPSB

I. AIRBRUSH ACTION I JANUARY-FEBRUARY 2001 37

Notice the residual glue

Next, to avoid extra work,

Now, with all of the pieces

Use a hardening putty to

38 AIRBRUSH ACTION I JANUARY-FEBRUARY 2001

Plumb Crazy, Owner J~rnDavis Corp

Cirele Resder Service no. 105

Lkie Art SuppliesI

This next step requires a

Do the same with a weak

With a compatible solvent,

AIRBRUSH ACTION I JANUARY-FEBRUARY 2001 41

Yes! I Want to take Off to a

Atlantic City Convention Center, Atlantic FINGERNAIL AIRBRUSHING

1 .LAB I I%I IUWC)AVUMW.reCWl&*ICI