Airbrush Action May-June 2008

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CONTENTS
[ MAYJUNE 2008 ]
24.
THE HUGH HEFNER INTERVIEW
Why is Playboy mogul Hugh Hefner important to airbrush artists? Because he has continually
promoted our style and the market for our work. Hef speaks at length with Airbrush Action for
the occasion of our 23rd anniversary issue.
14. THE SMASHING NEW GETAWAY LINEUP

House of Kolors Art of Painting and Alan Pastranas Automotive Art and Illustration Techniques
classes were big hits at the February Airbrush Getaway in Las Vegas. Find out why many of
the students will come back for more!
16. GHOST FLAMES By Russ Gerner

Ghost flames are visible on direct views but disappear into the base paint on side-cast views.
Russ Gerner works beyond custom paintings paradigm using Auto Airs killer water-based
automotive candy colors.
40.
20. THE DRIVER OF DOOM By Craig Fraser

If Freddy Kruger swung an iron, hed probably choose this tricked-out ghoulish-themed golf
club painted by skull master Craig Fraser.
32. JENNIFER JANESKO: PART 2 By Dru Blair

In part two of this exclusiveand exhaustivestep-by-step special feature, Dru Blair reveals how
he renders flesh tones and other effects in this nude study of sexy pin-up artist Jennifer Janesko.
40. BODY ART UNLEASHED By John Maurad

Learn the nuances of rendering a tiger on a models back using TEMPTUs Dura line of
paints, the crme de la crme of body art colors.
62.
DEPARTMENTS
9. AIR NEWS
10. KUSTOM Q & A
12. READER GALLERY
42. AIRBRUSH ACTION DIGITAL
43. GETAWAY INFO
60. BACK ISSUES
68. DVDs
77. CLASSIFIED ADS
78. BOOKS / ART ESPRIT
COVER ARTWORK OF HUGH HEFNER
BY MARK FREDRICKSON
4 AIRBRUSH ACTION | MAYJUNE 2008
72.
50. PARTY ANIMAL APPEAL By Terry Hill

Party designs are fun, popular, and if creative and edgy enough, highly profitable. Terry Hill
shares some of his hot sellers, and how to find the right balance in taste between bible-belters
and hard-core party animals.
56. LETS GET WET! By Michael Cacy
The master of illustration cheap tricks and special effects demonstrates how to translate the
interesting reflections in standing water onto any surface.
58. HOKS URETHANE FLESH TONES
By Deborah Mahan
A Marilyn Monroe portrait is painted, step-by-step, with House of Kolors new 6-color
urethane flesh tone kit. Youll learn all the nuances and tricks using this paint system,
including the proper use of toners, color pitfalls, and more.
62. HOG TRIBAL By Jeff McCann

Jeff McCann, of Stockton, California has been custom painting motorcycles since 1968, and
he has worked with many industry leaders and manufacturers, including the legendary Arlen
Ness. Enjoy this rare opportunity to learn from an old school maestro.
72. SO-CAL STYLE SHARK By Jeff Styles

In the too cool category, this project rocks! Pinstripe master Jeff Styles demonstrates how to
airbrush and flame out a 9-foot blacktip shark. I have to say, Styles exclaims, that painting
sharks is a little bit more of a challenge than painting flames on automotive surfaces, to say
the least. because their unusual contours make them awkward to handle and paint.
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www.airbrushaction.com
MAY JUNE 2008
VOLUME 24, NUMBER 1
publisher and executive editor Clifford S. Stieglitz

art and production director Brian J. Woodruff
associate editor David Monnig
contributing editors Melanie Alexander
Dru Blair
Michael Cacy
Craig Fraser
Russ Gerner
Terry Hill
Pete Johnson
Brian Lynch
Deborah Mahan
John Maurad
Jeff McCann
Javier Soto
Jeff Styles
Mike Wilbert
customer service Linda Furiato
circulation Lia Rosado
digital media Allen M. Gottfried
advertising director Clifford S. Stieglitz
AIRBRUSH ACTION MAGAZINE
P.O. Box 438, Allenwood, New Jersey 08720

(732) 223-7878; Fax: (732) 223-2855
Airbrush Action (ISSN 1040-8509) is published

6 times per year: January-February, March-April,
May-June, July-August, September-October, and
November-December by Airbrush Action, Inc.,
3209 Atlantic Avenue, Allenwood, NJ 08720.
Periodicals postage paid for at Allenwood, NJ
and additional entry offices.
Postmaster: Send changes to Airbrush Action,
P.O. Box 438, Allenwood, NJ 08720.
Contents copyright 2008 by Airbrush Action.
All rights reserved. Nothing may be reprinted
in whole or in part without written permission
from the publisher.
SUBSCRIPTION INQUIRIES
Send all remittances, requests, and address changes to:

Airbrush Action, P.O. Box 438, Allenwood,
NJ 08720. Subscription rates:
One year $26.95, two years $42.95.
Canadian orders: One year $33.00,
two years $48.00.
All other foreign orders:
One year $50.00, two years $88.00.
Return postage must accompany all manuscripts,
drawings, and photographs submitted if they are to
be returned. No responsibility will be assumed for
unsolicited material. All rights in letters sent to
Airbrush Action will be treated as unconditionally
assigned for publication and copyright purposes and
is subject to Airbrush Actions unrestricted right to edit
and comment editorially.
Manufactured and printed in the United States of America.
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AIR NEWS
>> AIR NEWS HELPS YOU DISCOVER NEW EVENTS
AND PRODUCTS OF INTEREST TO AIRBRUSHERS.
CREATEX
NEW AUTO AIR COLORS DVD RELEASE

Auto Airs new Colors User Guide DVD features Cross-Eyed,
Vandemon, and Simon Murray demonstrating the latest techniques
and tips on how to use Auto Air
custom water-based paints for
professional results. This DVD is
a must have for anyone
seeking to achieve superb
detail, and ultra deep pearl
kandy finishes. Learn about
the basics and advanced
techniques with water-based
paints, the future technology
of automotive custom
painting. Retail price:
$19.95. For more
information, contact Auto Air
Colors at 1.800.509.6563,
or online:
www.autoaircolors.com.
KUSTOM SHOP
ARTIST ANH PHAM BRINGS A WICKED

NEW SERIES OF KUSTOM SHOP STENCILS
TO YOUR ARSENAL
Kustom Shop introduces Screamin Demon stencils by artist Anh
Pham. These single-layered stencils help you achieve 3-dimensional
murals in half the time. Theyre easy to use, made of Mylar, can
withstand solvent-based paints, and theyre available in three sizes:
full (car hoods),
medium (motorcycle
tanks), and mini (small
models). The Screamin
Skull Stencils are
available at
www.kustomshop.com
1-858-909-2188
Screamin Demons
Screamin Skulls
MACK BRUSH ACQUIRES LAZER LINES

Andrew Mack & Son Brush Company has purchased Lazer Lines
Brush Handles and Brush Heads by Robert Nouis, Jr. As a result,
Lazer Lines products will be more accessible through Macks
distribution chain, and the product names will remain unchanged.
However, the Handover brush head will be discontinued as soon
as the limited stock is depleted. Macks commitment is to continue
building the Lazer Lines offering, and already has a few ideas in
the works. If you have any questions or concerns regarding Lazer
Lines, please dont hesitate to call Mack at 517-849-9272.
SATA
THE NEW SATA RPS

MIXING/PAINT CUP
SATA RPS (Rapid Preparation System) is a
single-use mixing cup for painting,
staining, varnishing, refilling, and
storing paint, stain, and varnish
material. No special adapter is
required, and RPS is excellent for
mixing and refilling with easy-to-read
graduations. The QCC system permits
quick cup changing and also
attaches to SATA spray guns
with standard threads. No
strainer is required because of
the integrated cup sieve. The RPS
cup weighs 1.8 ounces and is
70% lighter than same-size conventional
cups. SATA offers adapters for other
paint gun manufacturers.
LETHAL THREAT
NOT YOUR AVERAGE DECAL

Lethal Threat Designs offers a line of cutting edge graphics that are
reproduced as top quality screen-printed vinyl decals (die-cut to the
exact contour of the design) and highly detailed embroidered
patches. Exceptional quality, vibrant colors, and artwork from
world-class airbrush artists (Craig Fraser, Gerald Mendez, Rod
Fuchs, Killer Kreations, Vince Goodeve) make these decals the best
in the market. Lethal Threat decals make
automotive customizing highly
affordable, and are available
in mini to full-size car body
graphics with a selection that
includes skulls, wildlife, graphics,
sexy pin-ups, and more. Lethal
Threat products are available at
your favorite auto
parts store,
motorcycle
dealer, or
airbrush
supply store.
Also, Lethal
Threat always
seeks talented
artists, so check
out their ad in this issue.
www.airbrushaction.com 9
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Q
KUSTOM Q
Q&A
>> WELCOME! THIS COLUMN IS HERE TO

ANSWER ALL YOUR AIRBRUSHING QUESTIONS. BY TERRY HILL
Im having trouble determining what pressure

I should spray at. Im a newbie at airbrushing
and Im getting confusing and contradictory
advice from the chatboards on the internet. I
have a few of the Airbrush Action DVDs and
theyre great, but Ive noticed that even the
pros in your videos seem to have quite a large range of
pressures that they recommend. Why does everyone seem to
have a different answer for my question? By the way, thanks
for such a well written and informative mag. Its my only
source of reliable information. Ive met some other artists who
use the airbrush but they arent very open to share their
techniques. I anxiously await each and every issue!
The recommended air pressure for airbrushing ranges from

about 5-psi (pounds-per-square-inch) to, in extreme cases,
100-psi. I can certainly understand why youre confused. The most
commonly used pressure is about 30-psi, so when in doubt, start there.
In order to understand how to set the pressure correctly for a specific
application, we must first understand all the variables in determining
the correct air pressure: the paint or other sprayable medias thickness
(viscosity) and its relative spray characteristics, needle and nozzle size,
and the substrate (surface) youll be spraying onto. This is why youve
received so many different, but nonetheless correct answers to your
question. Careful consideration of these three factors will allow you to
more accurately determine the proper air pressure.
To understand material thickness, experiment by simply spraying
water through a clean, well maintained airbrush at 30-psi. The water
should spray perfectly through the airbrush without spitting or
sputtering. This water test is the benchmark for what proper atomization
looks like. The thickness of the material is the next item to check.
Generally, the thicker the viscosity, the higher the pressure is required to
achieve the same quality of atomization as experienced in the water test.
Many paints are designed specifically for the airbrush. They usually
spray well straight out of the bottle and dont require any thinning. If
they arent spraying well I recommend increasing the air-pressure to
solve the problem rather than thinning the paint. However, some
paints, such as automotive urethanes, require thinning well beyond the
manufacturers recommendation to achieve
proper atomization through an airbrush.
The needle and nozzle
may also need to be changed
on some airbrush models to
accommodate a particular viscosity.
The smallest needle-nozzle combination
is reserved for the thinner viscosities, and
conversely, the larger needle-nozzle
configuration is suited for heavier
viscosities. Its a common error to assume that
the smallest needle and nozzle are for fine lines and detail. This is only
true when using the thinnest material.
Paint characteristics can also wreak havoc on your settings. If
youre using a paint thats designed to dry very quickly, it can actually
dry on the needle and cause tip dry, where the paint dries so fast that
it builds up on the needle and disrupts the flow of air and paint. This
happens because the lack of airflow prevents the siphoning action
needed for the paint to spray properly. When this happens, many
perceive the airbrush to be clogged, but it isnt. To avoid this, simply
wipe the needle clean as soon as you notice any build-up.
The final consideration is the relative absorbency of the
substrate or object youll be painting on. Hard surfaces are nonabsorbent and therefore require lower air pressures. Automotive
surfaces, helmets, illustration board, surfboards, skateboards, etc, all
fall into this category, and typically use a range of 5- to 30-psi.
Absorbent surfaces, such as T-shirts, require higher pressures of
40- to 100-psi. Because textiles are so absorbent, the higher air
pressures are perfect for forcing the paint into the fabric without the
danger of spidering that a higher pressure would cause on a hard
surface. I personally prefer to work at 60-psi on T-shirts, and find that
an extreme pressure of 100-psi tends to cause an excessive amount of
overspray. Higher psis require greater speed of airbrush movement
and are more useful when the airbrush is gauged much farther back
from the surface; for example, when fast coverage or extremely high
volume production is required. The tradeoff, however, can spell
disaster if you dont know what youre doing.
So, the proper formula is really a delicate mix of all these
variables. As long as you achieve proper atomization of the material
at a pressure that is comfortable and controllable in your given
situation, youre using the right pressure.
QUESTIONS? Wed like to hear some from you!

Please email your questions to customerservice@airbrushaction.com
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READER GALLERYY
>> WHAT DEFINES A MAGAZINE BEST?
WE THINK ITS THE TALENT THAT READS IT!
THESE ARE SOME FINER EXAMPLES OF OUR READERS WORK:
DEAN DUBOIS
Haileybury, Ontario,
Canada
SCOTT BEROSIK / PRO ART CUSTOM PAINT

St. Paul, MN
USA
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NEW GETAWAY CLASSES A BIG HIT

HOUSE OF KOLORS ART OF PAINTING AND ALAN PASTRANAS AUTOMOTIVE ART
AND ILLUSTRATION TECHNIQUES WERE BIG HITS AT THE
FEBRUARY AIRBRUSH GETAWAY IN LAS VEGAS.
The class was great, said Tim Meyer, who attended House of Kolors
new course conducted by Brian Lynch. The amount of knowledge that
came over was astronomical. Brian is just superior in his knowledge,
and he wasnt product-biased. He told us to use whats best for us, but
he prefers House of Kolor from his experience. Im associated with a
bigger shop that uses PPG paints mainly, and they would say to stick
with PPG because the supplier said so. Now, I understand the difference
between the paints. Brian covered it from the ground up, from the
finish to the clearcoat. He was a great instructor.
I wanted to learn more about using big guns, and I enjoyed the oneon-one instruction from Brian. He got into so much detail and
information about the paint technology, and that alone was a huge
resource. The class helped me to become a better custom painter. I
painted some cars before and ran into some problems. I have a job
lined up in a week or so, and after taking HOKs class, Im extremely
confident that Ill be able to lay down the paint perfectly. You can read
it in a book or watch a DVD, and just attend the Getaway, but if you
combine all three, you really have a three-way punch going on.
Students were just as passionate about Automotive Art and
Illustration Techniques with Alan Pastrana, Honorio Reynolds, and
Darryl Strader. Student Thomas Puentes, found that the three
I had a whole different vision of what

applying paint to vehicles was all
about. You watch some stuff on TV and
they dont show you everything; they
dont show you the secrets. But, Brian
showed me everything.
The students intensity was

the signature of Alan Pastranas
new class.
The consensus of the 12 students echoed the same sentiment. Ed

Star, another student, added, I had a whole different vision of what
applying paint to vehicles was all about. You watch some stuff on
TV and they dont show you everything; they dont show you the
secrets. But, Brian showed me everything. He taught me a lot about
controlling and adjusting the spray gun and how to apply the paint,
how the chemicals come together, and which paints to use for
graphics and which to use for detail work. I already recommended
the course to a few friends, and that guy Brian is a genius!
Im amazed Brian Lynch was able to teach at all, explained
Cliff Stieglitz, Getaway director. He had a high fever for a couple
of days and at times I didnt know how he was still conscious. Brian
is one tough guy.
I didnt want to let the students down, explained Lynch, and
Im on a very determined crusade to make what is wrong right in
custom painting. Although the pace couldve been better had I been
healthy, I think it flowed very well. People completed simple but
detailed projects on their surfaces (metal blanks and a mailbox)
painted, and the stuff came out amazing.
Robert Carroll would definitely recommend the class to others.
Brian Lynch is a top-notch instructor. Hes extremely knowledgeable.
instructors fit together very well. Alan had the business background,
Honorio had experience and knowledge of airbrushing, and Darryl
had quite a bit of technical advice. I thought it was a really good
class. Ive been to about 12 Getaways, and this course changed the
way I worked, primarily in rendering shadows and shading. A lot of
people use a transparent black for their shadows, but with Alans
color theory showed how to use complimentary colors to bring out
more of the gray tones and present more realistic shadows. At the
Getaways, you always learn something new. No questions about
that. I recommended the class and Alans Hip Hop Art DVD.
Anthony Negreta agrees. I really liked it a lot it. Alans class was
very well organized and structured; everything was outlined. I learned a
lot more about the color wheel exercises, and even things I learned
previously all came back. This was my third Getaway and every time I
learn more, and each time is more beneficial than the last. In fact,
Pastranas class made me more motivated than ever after a Getaway,
and Ive been painting every day since. The project we did with the
eagle and Hip Hop character was really along the lines of what I
wanted to do and I achieved it. Hope to see you next September! Its
great to be in an atmosphere with all these great artists, too.
Alan Pastrana, the lead instructor, was very proud of the
outcome. The students were very receptive to what I was teaching
them, and they enjoyed it very much, Pastrana stated. They
actually seemed surprised that they learned so much in such a short
amount of time. In fact, they reminded me of how eager to learn I
was when I started 20 years ago. Well continue to evolve the course
and change it up a bit, so each time well bring something new to
the table. I really look forward to continuing to teach the class.
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Overlapping
Ghosted Flames
By Russ Gerner
Paint Master Art Studio, Las Vegas, Nevada
GIVING THE CUSTOMER WHAT THEY WANT IS MY MISSION. In

addition to wild paint jobs on hot-rods and bikes, many of my
customers are interested in a cool, kustom kulture paint job for
their daily driven vehicle that still has a professional look. A
subtle approach to making a mass-produced vehicle stand apart
is the use of ghosted graphicsvisible on direct-views but
disappear into the base paint on side-cast views. The flames are
there but do not overpower the overall paint job.
1. The vehicles existing finish was in great

condition, allowing for minimal preparation.
After cleaning, I simply wet-sanded the finish
with 500-grit sandpaper, then degreased and
masked off. I used Auto Air Sealer Dark,
reduced10%, and 4011 Flash Reducer for
improved flow to establish an even, dark base.
The sealer covers excellent, requiring only one
quart to cover the entire body. No scuffing was
required before applying the base color.
For this particular paint job, the customer wanted wild

flames over candied pearl. The customer was open to ideas but
stated he liked the color blue. I chose Auto Air Sparklescent
Nightmare Blue, a killer candy pearl color that works very well
as a base for ghosted flames done with Auto Air Gem Sapphire.
To really trick out the flame job, I chose an overlapping flame
style, something rarely done with ghosted graphics because
pinstriping is not used to separate the flames. >>
2. Over the dark sealer, I applied Auto Air

Metallic Midnight Blue, reduced with 4011
Flash Reducer. The metallic base will accentuate
the Sparklescents candied effect as light will
refract off the metallic back through the
Sparklescents transparent toner for a brighter
direct-view, and darker side-cast view. The pearl
flakes in the Sparkelscent will also have more
pop versus applying over a non-metallic base.
3. I applied four coats of Sparklescent

Nightmare Blue as the mid-coat color,
spraying light coats in an even, overlapping
pattern. Just like a candy color, a Sparklescent
finish will show irregular color build-up and
striping if applied unevenly.
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4. After allowing the base color to cure
5. Using an overlapping flame design, I traced
6. Then, I connected the lines where the flames
overnight at 55-degrees Fahrenheit, I applied

high-tack masking tape over the areas where
Ill apply graphics. Use of an inter-coat clear
isnt necessary because tape can be applied
directly to Auto Air when cured.
the pattern onto the tape. The flames start just

after the front wheel fenders and along most of
the cars side to match the long, sleek
appearance of the Magnum.
overlapped. These lines will be cut away, too. I

used a Sharpie pen so the lines show up in
pictures. A pencil is normally used for the
purpose of erasing and re-drawing.
7. I cut away all lines being careful not to push
8. Using 1/8-inch tape, I re-created the
9. I applied three light coats of Gem Sapphire
overlapping lines within the flame. The

underlying base color will create the separation
in the ghosted flames and keep the graphics
truly ghosted so theyre not visible on side-cast
views. Pinstriping creates too distinct a
separation from the base paint and graphics,
defeating the purpose of the ghosted effect.
for the graphicsits a royal blue-to-nothing

holographic pearl flake thats vibrant and deep
on the direct-view and completely invisible on its
side-cast view. Its also the pearl used in the
Nightmare Blue making the graphics color-key
perfectly with the base paint.
11. Working with minimal amounts of material,

dimensional shadowing brings the flames to life
and helps with the separation of the crossover
flame licks. Auto Airs new transparent colors
spray excellent. I reduced a bit with their 4011
Flash Reducer and experienced no tip-dry after
20 minutes of spraying.
12. After letting the paint air cure overnight, I
too hard and cut into the base paint. This step
can be difficult, so using a sharp, new blade is
important.
10. For the dimensional shadowing around the

flames, I used Transparent Blue Violet, which is a
toner to the Nightmare Blue base color that
makes it slightly darker by adding 5%
Transparent Black. This keeps everything working
toward the ghosted effect. As with pinstriping,
using black alone loses the ghosted effect.
applied a catalyzed, urethane clear with a hightemperature reducer. Working with water-based
paints, a slower curing clear adheres better than
a quick curing clear and has an even flow over
the pearl flakes to help eliminate an orangepeeled finish.
NE
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13. The finished job.
S!
S
A
L
C
NEW
AUTOMOTIVE ART & ILLUSTRATION TECHNIQUES

LEARN FROM THE
HIP HOP BIKE ARTIST

Looking to improve your skills painting
illustrations on motorcycles and cars? Alan
Pastrana will teach the brand new oneday Intro and a four-day AUTOMOTIVE
ART & ILLUSTRATION TECHNIQUES
workshop at the upcoming Charlotte
Airbrush Getaway
(Wednesday, May 14
through Sunday
May 18, 2008).
Alans amazing hip
hop bike was featured
in the July/August issue
of Airbrush Action. Now
you can work with the
artist in person and get
in-depth exposure to his
cutting-edge style and techniques.
FOR MORE DETAILS OR TO SIGN UP, SEE THE COMPLETE PROGRAM FOR THE AIRBRUSH GETAWAY STARTING ON PAGE 43
CALL 800-232-8998 TO REGISTER TODAY. (OUTSIDE THE U.S. CALL 01-732-223-7878)
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By Craig Fraser
1
1. Using waxed 1/4-inch crepe tape (vinyl works,
too) I masked off the edge of the metal face and
the bottom of the club. You need a non-feathering
tape to keep the edge clean when its prepped.
Any paint that gets onto the metal face risks
delamination or chipping.
2
2. With the polished metal surfaces masked and
protected, I sanded and prepped the surface with
600-grit dry sandpaper, and then applied KC-10
precleaner. Any engraved logos may be sanded
and filled at this phase, but I prefer to leave them
because they may mean something to the owner,
and they dont get in the way too much.
Kustom Painting Gabe McCubbins Big-Bertha Lefty

REMEMBER THAT JUST BECAUSE THIS IS AN AUTOMOTIVE COLUMN DOESNT MEAN YOU HAVE TO
stick to painting cars and bikes. These stencils can be used for everything from body art, to
wall murals, to cake decorating, and theyre made with a solvent-proof polymer, so you dont
have to worry about what you paint them with because you arent going to hurt these babies.
For this 23rd installment, I decided to do something for the guy responsible for all these
laser-cut monstrosities: Gabe McCubbin, the owner of Artool. Gabe heard that I paint golf
clubs for a couple of local pro shops, and sent me one of his drivers to trick-out.
Although golf clubs are pretty easy to paint, the main trick is to not get too much
material on the club itself or it will impact the overall weight and balance of the club,
not to mention causing an increase in chipping, too. A common concern begs if the
paint is strong enough to take a hit and not chip. Well, theoretically, if hit correctly, the
ball should only touch the face of the club, not the painted section. The same goes for
the bottom of the club swiping the ground (pretty good incentive to not slice your drive,
huh?) Even if they get chipped, theyre real easy to touch up. Roughly, only about 5% of
the clubs I paint are returned for repair work.
Because Gabe has always been a fan of skulls, and since the majority of stencils I
designed for Artool are skull-oriented, the concept came easy: a nice pile of skulls with
the Artool logo embossed across a big screaming one. After all, what says golf more than
a pile of skulls? Enough talk, lets paint. >>
3
3. After giving the club a nice coat of AP-01
adhesion promoter, I sprayed three light covering
coats of BC-26 basecoat white. The TH-3 Iwata is
perfect for this application because its small
enough to work in and around the club, and the
fan head option produces a good covering spray
pattern.
4/1/08
12:14 PM
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4/1/08
12:14 PM
Page 22
4. After giving the club a half-hour to cure, I used

the new mini version of the original Frontal
Skullmaster stencil. I used the positive part of the
stencil for the general outline for the main skull of
the design. I fogged House of Kolor BC-25 black
along the edge for the relief effect.
5. Switching to the mini version of the Son of

Skullmaster Frontal, I achieved a killer skull
face and open-mouth layout with basecoat
black. At this point, I used the stencils as
sketching tools. If you had 10 clubs to paint
identically, you dont want to do it freehand.
7. Heck, I had a whole mess of minis lying

around, so I grabbed Wrath of Skullmaster, one
of the newest ones. Remember the playing cards
that go under the skull in the Mr. Potato Bonz
stencil? Well, here they are, laying out a set of
cards behind my golf club skull.
8. Using Skullophenia, a stencil from the

popular Nano series, I airbrushed a random
pattern of skulls throughout the entire
background. Skullophenia is perfect for jobs this
small. Golf clubs and RC car bodies can get real
awkward when trying to use full-size stencils.
10
10. Of course, what would a pile of skulls be if their eyes were not all
glowing? So, time to clean out the Micron and add a little hyperreduced BC-26 white (always test your detail white on a scrap surface
when tweaking your reduction ratio. Nothing messes up a bunch of
skulls like white paint spit!)
6
6. Using Artools new Ultramask, I masked off the
skull area I just roughed in, and cut the edge with
an X-Acto knife. This allows me to paint around
the skull for the background and come back later
to finish it. The masked edge will emphasize the
separation, and give it a cool 3-D effect.
9
9. With the stenciling complete, I performed
freehand work. Triple reduce the BC-25 black, add
a little SG-100, and youre good to go for detail
work. An excellent trick to spraying small detail
areas is to keep the air pressure low. The higher the
pressure, the more the tip dry.
11. Time to unmask,

and work on the big
skull. A little shading
and shadowing and
you get a nice
rendered skull. Great
thing about using the
stencil for the layout
is that if you make a
mistake, you can
come back in with
white and the same
stencil, and not
disturb the
surrounding detail
work.
11
By Craig Fraser
4/1/08
12:15 PM
Page 23
13
12
12. To complete the airbrushing, I used the same hyper-reduced
BC-26 white. Remember, white can make or break a design. For
highlighting, use as little white as possible for the most effect.
FINAL.
If youve never painted a golf club, you
should give it a swing sometime (get it?).
Although they create a challenge for tight
detail, theres relief in knowing you wont
be working on it for days. Who knows,
you might even like working on them. As
for the new minis and Nano stencils from
Artool, theyre not designed just for golf
clubs, of course, but for all small areas. In
fact, theyll likely pay for themselves after
the first job. Heck, how many tool
manufacturers can guarantee that?!
Paint to live, live to paint. Fraser
13. I used the TH-3 to clear the club (I added some FA-01 flattening agent to the
clear for a satin finish, and to actually make it more durable and scratch-resistant.)
Heres a trick from Brian Lynch, of House of Kolor, for using the flattening agent: mix
the FA-01 to equal parts RU-311 reducer first, and set aside. Then, mix UFC-35
clear with KU-150 catalyst as usual, but dont add any reducer. Then combine
equal parts of the clear and the FA-01 reducer mix. This formula is killer.
Craig Fraser has been airbrushing for more

than twenty years, is the owner of Air
Syndicate Inc., and, since 1992, has been
the in-house airbrush artist and designer for
Kal Koncepts, of Bakersfield, California. Kal
Koncepts/Air Syndicate specializes in
automotive kustom graphics and the fine art
of the Kustom Kulture. Craig divides his time
between the shop, teaching workshops (the
esteemed Airbrush Getaway, House of Kolor,
Coast Airbrush), and writing articles. Hes
also the author of Automotive Cheap Tricks
and Special F/X, and the star of 15
instructional DVDs on kustom painting
techniques. You may view more of Frasers
artwork at www.gotpaint.com.
024_Airbrush0806_HEF.qxd
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Presents
Introduction By Pete Johnson
THE
HUGH
H HEFNER
INTERVIEW
Q HEFNER
HUGH
Why is Hugh Hefner important to airbrush artists?
A. Because he has continually promoted our style and

the market for our work.
Many people will immediately get the connection. However, if the link isnt clear, heres
some history to consider.
of our heroes aircraft reinforce the Americanness and wholesomeness of the style. Its a
style everyone recognizes and identifies.
1921. A Peruvian immigrant with a thing

for showgirls paints with watercolors through
a contraption that blows compressed air
down a hose, through a tube, past a paint
reservoir and the most amazing thing happens. Pigment is atomized and lays down
smoothly, making it possible to create realistic paintings of the smoothest object known,
the female form.
With this ability, the Peruvian, whose
name is Alberto Vargas, bamboozles his
wife and her associates into being models.
He experiments with composition and
props. He produces a series of posters for
New York shows.
1945. Then the war ends. America is flooded with ex-servicemen getting educations on
the GI Bill, and many choose photography
as a field of study. Some pursue it professionally; many keep it as a hobby.
The 1950s come, and public morals
change and slip. A young woman named
Bettie Page becomes a model for a photographer named Irving Klaw. Dozens of photography clubs meet, sometimes on the sly, to
photograph more-and-more willing models
wearing less-and-less. Photography is somewhat easier than airbrush art, faster, and one
can make multiple prints quickly. Advances
in offset printing make color pinup photographs the rival of airbrush art.
1931. George Petty, a commercial advertising man in Chicago, picks up the tool, the
airbrush, and begins his own concept of
pinup paintings. Pettys paintings fold out
from the center staple of the magazine, and
are often yanked out and pinned up to
inspire red-blooded males. Many other artists
follow, some still using traditional brush-andoil paints. But many take advantage of the
airbrushs smooth gradients, fast application
and drying time, and correctability. Vargas
labors during the 1930s largely in obscurity.
1941. Vargas begins replacing Petty at
Esquire. The pinup goes to World War II. Air
crews adapt sultry images by Vargas, Petty, et
al. to the sides of airplanes using whatever
paint and brushes they can scrounge. Photos
1953. A former Army journalist named

Hugh M. Hefner sees a publishing opportunity. He has a degree in psychology, with
double minors in creative writing and art.
Playboy magazine becomes a child of the
union of good writing, airbrush pinup painting, and pinup photography, but its much
more. It thrives amid (and maybe fuels) the
controversies it reportsthe debate over
drug legalization, foreign policy, civil liberties, and the like. Playboy is one of the best
showcases for professional editorial illustratorsthrough the year 2000 and beyond, it
buys original editorial artwork when many
other publications have completely dropped
out of that market.
1955. Congress investigates the perceived

sinking of America into immorality. Theres
huge ferment of rock and roll, a growing
civil rights movement, and slow involvement in a war called Vietnam. Other publications spring up and print a growing supply
of risqu photography. Airbrushed and other
painted, stylized pinups are still running in
some of the mens magazines. Vargas paintings appear monthly in Playboy.
1960s. The meaning of the word playboy

changes. Most people now picture Playboy
magazine. Hugh Hefner, smoking his pipe,
greeting visitors in his silk bathrobe, is
known far and wide. The rabbit-and-bow-tie
logo shows up on everything from cufflinks
to mudflaps.
2008. Mr. Hefner speaks at length with
Airbrush Action for the occasion of our 23rd
anniversary issue. He says that as a kid, he
read Esquire in the basement and was very
taken with the pinup art of Vargas, Petty and
the gang. Airbrush art inspired Hefner and he
still loves the topic. Vargas provided Hefner
an illustration a month for years. The magazine continues to showcase the paintings of
Olivia De Berardinis, worthy successor to
Vargas. The Playboy commercial empire is
huge, but Hugh Hefner still loves and respects
his rootsart, good storytelling, journalism,
and popular culture.
Hef (he likes to be called) is a real gentleman
and a great guy to talk with. Lets kick off the
interview. >>
4/7/08
1:34 PM
Page 25
Hef and his girls next door, (left to right) Bridget Marquardt, Holly Madison, and Kendra Wilkinson
4/7/08
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Airbrush Action: We publish a magazine

that originally catered to illustrators, and
Playboy has always been known as one of the
premier showcases of commercial artists. The
people that read Airbrush Action have got an
eclectic group on interest, and its a treasure
for us to talk to you about this because you literally mid-wifed this thing thats the pin-up.
Since you worked directly with Alberto
Vargas, what were your recollections of him
and working with him as an illustrator?
Hefner: I was a huge fan of Petty when
George Petty worked for Esquire. And then
there was a falling out over money between
Esquire and Petty. And then, you probably
know this story, they found Vargas as a
replacement for Petty and they put him
under a very onerous contract and created
something that they called, because of their
experience with Petty, the Varga girl. They
gave it a special signature, and then Esquire
trademarked that name and that signature,
so that Vargas was creating the Varga girl
for some time. He was putting out a
tremendous amount of work for very little
money, and finally he gave up on it, but
when he left them he didnt have the right
to the Varga name or signature. So he drifted for a little while and then he had done a
series of paintings called his legend collection. He was married to his beloved wife
Ana-Mae, who was a former Ziegfeld girl,
and Vargas actually began as an artist working for Flo Ziegfeld doing the lobby cards
and other similar art of Ziegfeld girls back
in the 1920s.
So we did a pictorial of nude legend art
because most of what he had done for
Esquire was semi-nude but not nude. We did
that and got a very nice response from our
readership. One of our assistant editors,
Reed Austin, was a huge fan of Vargas and
he kept talking to me about the possibility
of doing Vargas on a regular basis and finally
I agreed. And it was Reed Austin who
worked directly with Alberto. Alberto was
located out here on the West coast and we
were located in Chicago.
So that was the relationship. Layouts
would be done on tissue paper, before the
fact, that would come to us and be approved,
and then he would do the finished art.
Airbrush Action: Havent you had a lot
of personal involvement with the art that
youve bought?
Hef busy at work on his first issueof Playboy
Hefner: That is true. I was very much influenced by pin-up art when I was growing up. I
was raised in a very typical mid-western
Methodist home and a very orthodox family;
not much hugging and kissing. Esquire was
not allowed in my home, and I saw Esquire
for the very first time in the basement of a
girlfriend when I was in 8th grade. Her
father was a commercial artist, and they had
copies of Esquire there and that was the first
time I actually saw Esquire magazine and the
Petty girls. That made a big impression on
me and I started collecting the Petty girls
and hanging them on my wall. Even though
she didnt really approve, my mother let me
hang them. And that was the beginning of
that interest in terms of pin-up art and then,
of course, the photo pin-ups were very popular when I was in service. Clearly, that good
girl art and the whole tradition of pin-up
photography and art that came out of

Hollywood and many other sources was really the forerunner and the inspiration for the
creation of the centerfold.
Airbrush Action: Being a big fan of
Petty, did you pursue him at all to illustrate
for Playboy?
Hefner: I didnt. By that time he did some
work after Esquire for True magazine, and
some other things etc., but I really wasnt
pursuing anybody in the 50s. So it really
began with the pictorial collection that we
ran in the late 50s on Vargas and then starting the series with Vargas in the 1960s.
I was a huge fan of Petty in his earlier
days with Esquire. His later stuff, when he
was doing the ballet slippers, etc., began to
lose their sexuality for me.
4/7/08
1:34 PM
Page 27
I saw Esquire for the very first time in

the basement of a girlfriend when I
was in 8th grade... That made a big impression on me and I started collecting the Petty
girls and hanging them on my wall... And
that was the beginning of that interest in
terms of pin-up art...
Airbrush Action: Hef, you have a background as a journalist. Did you ever get any
formal or informal art training?
Hefner: Yes, my minor. Because I was
interested in cartooning, and always interested in graphics and art, I took one course
at the Art Institute in the summer of 46
right after I got out of the Army, and then I
minored in art at the University of Illinois. I
majored in psychology and minored in creative writing and art.
Airbrush Action: Thats an interesting link
to get you into the career you ended up in.
Hefner: Well, you will find that before I
started Playboy, my wife and I lived in an
apartment on the Southside of Chicago and
I decorated everything in it, and I had a
very real eye and a real sense for design, and
it was done in a very contemporary way.
The furniture was Knoll and Eames, all very
high line contemporary.
Airbrush Action: Did you ever use an
airbrush?
Hefner: (laughs) No. I never have.
Airbrush Action: You had a hands-on
involvement in the production of your
magazine and one of the things that kind
of intrigues people who started with airbrush is the notion of airbrushing or
photo-retouching. How did you go about
hiring people and whats the real story
behind how you started doing your photoretouching to evade the censorship laws of
the age?
Hefner: In the beginning, in the 50s and

60s, the pictorials in the magazine were
semi-nude; there was no frontal nudity,
which we began around 1970. That was
inspired by the fact that at that point there
was full nudity on the Broadway stage in
both the show Hair and Old Calcutta. In
the months and years that followed, hardcore pornography became very commonplace in movies in the 70s.
Airbrush Action: One of the observations that friends of mine who are illustrators have made is that they follow with
great interest how Playboy obviously integrated digital technology in pre- and postproduction photography. Did you have a
hand in that?
appealing about the original airbrush illustrations is that an airbrush can give you a perfect
paint gradient; it can give the painted woman
the idealized skin and features and so on, and
I just wondered if that was a conscious influence in the way you continue to present the
women in your magazine?
Hefner: Well, theres no question. I cant
overstate the impact that I personally had,
and continue to have on the art, illustration,
and photography that appears in Playboy. It
is the part of the magazine that I am most
intimately interconnected with, and that I
am a lifelong lover of airbrush pin-up art is
obvious, and it began with Petty and then to
Vargas, and then Olivia. The Olivia illustrations come to me directly and I have to figure out captions for them before we decide
what were going to schedule. Olivia and her
husband are very good friends of mine.
Airbrush Action: How much original
illustration do you still purchase for pin-up
or for editorial?
Hefner: Well, we run seven full-page cartoons every month and I would say, even
Hefner: I really dont.

Holly, one of my girls,
my special gal, is very
involved now with the
photography related to
the playmates and she
does oversee the digital
retouching on the playmates and the playmate
pictorials out here. A
good retouching as far as
Im concerned, of course,
is retouching that youre
not even aware of. Keep
it as natural as possible.
Airbrush Action:
Right, exactly, and I think
its a great invitation for
perfection because one of
the things that was so
...photo pin-ups were very popular when I was

in service. Clearly, that good girl art and the
whole tradition of pin-up photography and art
that came out of Hollywood and many other
sources was really the forerunner and the
inspiration for the creation of the centerfold.
4/7/08
1:34 PM
though I never really counted them, that

there are probably half a dozen major pieces
in the magazine that are illustrated either
by photos or by art, and we make it a point
of running one piece of fiction every month
in Playboy.
When Playboy began, and when I was
growing up, I mean there was so many markets and places where commercial art was
used as illustrations in magazines, and now
much fewer, and Playboy continues to keep
that alive. And from the beginning also, our
concept, and I dont know if its fully appreciated and understood, it is Playboy that
broke the boundaries and the walls between
traditional commercial art from the past and
fine art. Taking the position, quite frankly,
that if it was good it didnt matter.
We were doing that from the magazine
point of view at the same time that Andy
Warhol was doing it from the fine art point
Page 28
of view. Playboys impact, in other words the

kind of illustrations that we run, in many
cases theyre not Norman Rockwell. They
are not the traditional kind of art, theyre
wide varieties of different kinds of art and
its one of the things that makes the magazine exciting.
Airbrush Action: So many illustrators
are doing a lot of custom auto work on these
high-end choppers and automobiles and aircraft. Have you ever wandered around and
seen any of your images on these things, and
if you have, what did you think about it? I
mean the centerfolds and that kind of thing.
A lot of times the playmates of the year will
end up gracing a motorcycle tank in a beautiful rendering.
Hefner: No Im not. Im aware of it in the
historic sense. In other words, Im aware of
it dramatically in terms of World War II

nose art. The art of Vargas and Petty wound
up on bombers and vehicles of war. But no,
Im just not out and about sufficiently to see
the kind of things youre talking about.
Airbrush Action: Its really interesting,
though, and I think you might enjoy it if you
can go incognito to something like the Easy
Riders chopper show in Anaheim, California,
and just walk around and see how many of
your images appear on some of these things
because a lot of peoples clipping files are full
of back issues of your magazine.
Hefner: Well, it doesnt surprise me
because the impact of the images related to
Playboy, and particularly the trademark
itself. It does never cease to amaze me. They
talk about bunnies multiplying and proliferating, and that has certainly been the case
with the Playboy bunny. He is everywhere
around the world.
Airbrush Action: Since were all moving
into the digital age do you ever have the
chance to talk with commercial artists and
give them advice about the diverse media
that the Playboy Empire has, and advise
them to go into all digital or web design, or
that kind of thing?
Hefner: Never had a conversation of that
kind at all.
Airbrush Action: Do you ever get out
and lecture at any of the art schools in
California?
Hefner: No. No. The only kind of lecture
thing that I do every year is a course in film
censorship that I funded at U.S.C. But no,
nothing related to art.
I had a very nice art collection for a
while. I purchased a number of very nice
pieces, de Kooning, Pollock, a number that
became very valuable. I purchased most of
them in the early 60s before they became
very popular.
Airbrush Action: Do you have a favorite
fine artist?
Hefner: Yeah, Picasso. He the man.
Airbrush Action: Youre still very much
part of the editorial cycle of your magazine.
4/7/08
1:34 PM
Page 29
How many hours per issue do you devote to

art direction or creative direction, editorial
work and that kind of thing?
Hefner: Well, a lot. Its the part of the
company that I am still most intimately
interconnected with, and although our editorial and art offices are in Chicago and
New Yorkmost of themIm in almost
daily contact with my editors, and prior to
this phone call I spent about two-hours on
the phone going over layouts, stories, and
pictorials, etc. So its a regular routine and
Im continually very much involved. I still
approve every pictorial and every cover.
Airbrush Action: Do they give you final
proofs before it goes to press?
Hefner: We put together a dummy here
thats duplicated in Chicago and New York,
and it includes proofs of all of the photography before it goes to press.
Olivia, Hef, and Airbrush Action publisher Cliff Stieglitz at Olivias invitation-only gallery opening
in Santa Monica, California, in February.
other kind of almost illustrated look, particularly that can create very attractive girls.
Airbrush Action: Would you be accepting new pin-up artists? If somebody were to
submit a portfolio for your consideration, to
whom would they do that?
Airbrush Action: I understand that you,

too, were a cartoonist. What were the subjects of your cartoons?
Hefner: Well, I would say that for the

foreseeable future its gonna be Olivia.
When I decided to take Olivia on, my then
Hefner: I started cartooning when I was a

very small boy and then I did a number of
homemade cartoon books and comic books
I cant overstate the impact that I personally had, and

continue to have on the art, illustration, and photography that appears in Playboy. It is the part of the magazine
that I am most intimately interconnected with, and that I
am a lifelong lover of airbrush pin-up art is obvious, and it
began with Petty and then to Vargas, and then Olivia.
Photo by Russ Einhorn
editor who is now retired, didnt like the

idea because he felt that it would seem oldfashioned. My feeling about it was that it
would give the magazine the kind of retrocool quality that Ive always looked for in
the magazine, and I think thats the way the
readers have responded to it.
Im not looking for, at this point, any
new pin-up artists, except in terms of something we might do on an individual basis
where they would do an illustration or also
in terms of cartoons. Most of the full-page
cartoonists in the early days of the magazine were not cartoonists at all; they were
commercial artists. So, Im always looking
for artists or cartoonists that can create that
on all kinds of subjects. Superheroes, murders, horror, etc., and then in my senior
year of high school, 1943, I started doing a
comic autobiography of my life and put it in
little binders and added photos. It was really about my friends and myself. I created a
little world in which I was kind of the center of that world. And I added clippings and
photographs to the front of it, and I continued to do that after I graduated, and I continued to do it though the Army, and then
into college and right up until the time I
got married. That then morphed or turned
into a scrapbook that I continue to do
throughout the years and it still exists today
with almost two thousand volumes.
Airbrush Action: So you saved everything?

Hefner: Im a saver. I think thats part of
the journalistic heritage. I also did a cartoon book on Chicago. As a matter of fact I
noticed somebody was selling a copy up for
auction on e-bay a couple of days ago. It
was a paperback cardboard book, kind of in
the same format as a book called The
Frenchman, from back in the 1950s. It was
a cartoon book that sold for a dollar and it
was all about Chicago, and it was called
That Toddlin Town. So, all those cartoons
were related to various kinds of gags related
to Chicago, and I did that a year or two
before I started Playboy.
Airbrush Action: Have you ever considered publishing your scrapbook?
Hefner: I think that would not be practical. But, we are doing with passion a sixvolume which will be out in the fall of this
coming year. A six-volume book called
Hugh Hefners Playboy that will include
pages from the magazine through the 50s,
60s and 70s, and in the front of each volume there is material from the scrapbook,
and the most interesting one is the first volume because that includes a lot of material
from the scrapbook and art and cartoons
that I did even as a small boy. So it really
gives you kind of a preview of what I was up
to as I grew up in the pre-Playboy days.
I assume you also know that at this
4/7/08
1:34 PM
Page 30
Hefner: I think theyre

both available at Barnes
and Noble, and a lot of
other places. In the
months and years ahead
we will be doing all of the
decades. Cover to Cover
on the 50s is just the first
of a series of these.
Airbrush Action:
When did you first find
out about Airbrush Action
magazine?
Hefner: I think probably
when you did a piece on
Olivia a couple of years
ago and I got copies of it,
and when Kent Lind did
a caricature of me in
Airbrush Action.
particular moment we have two rather
stupendous book sets that are out right
now. One of them, Cover to Cover, is a
digital CD-ROM of all of Playboy from
the 1950s and that box set is $100 dollars.
For that you get a CD-ROM that contains

all of Playboy from the 1950s: the centerfolds, the fiction, the advertising, the cartoons, everything in a CD-ROM, and then
along with it a 200-plus page book on the
Art is art. I have no prejudices in it. It depends on the

quality of it, and as you know from Playboy we
publish a wide variety of different kinds of art.
50s and some of that material does come from my

scrapbook and inner-office
memos, artwork in process,
etc, plus a facsimile of the
very first issue.
And then in addition to
all of that we just released
the Centerfold Book. The
Centerfold Book contains
every playmate from the
very beginning, full-size
without the staples, without
the folds, beautifully reproduced in a book that is
inside a black suitcase with
a rabbit stamped on it with
a little combination lock on
it. The whole package
weighs over 35 pounds.
Airbrush Action: Thats right. When

you requested five copies of that issue I
thought you were going to sue us.
Hefner: (laughs) Quite the contrary. I
wanted to be sure I had clean copies for my
scrapbook.
Airbrush Action: For the record, I did
offer to send more if you wanted them.
Hefner: You were nice enough to send the
four or five copies of each issue.
Airbrush Action: I cant tell you how
euphoric Kent Lind was to receive his autographed copy of that issue and I wanted to
thank you very much for doing that.
Hefner: Well, it is my pleasure because I
know the fans of your magazine are fans of
what we do. So we appreciate it.
Airbrush Action: How do you feel about
digital art?
Hefner: Art is art. I have no prejudices in
it. It depends on the quality of it, and as
you know from Playboy we publish a wide
variety of different kinds of art.
Airbrush Action: We really enjoyed this.
Airbrush Action: Where

are these books available?
Hefner: I did, too.
4/7/08
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Page 32
PORTRAIT OF THE ARTIST
Jennifer Janesko
PART TWO
This
is a continuation of a painting of artist Jennifer Janesko from the

previous issue. My intent was to create an image with a painterly feel
and slightly soft focus. To keep the background edges soft required
that I abandon frisket and shields for the most part. >>
28
26
27
STEP 26
STEP 28
At this point, I decided to render the legs

and feet. The hair still needed some work,
but I wanted to revisit it after the painting
was more complete in order to more clearly
evaluate the necessary changes. As with the
arm, the highlight was established first, as a
base color. Because this part of the painting
would be out of focus, it required that I freehand everything in this area.
Another darker opaque gold color established the shadows on the calves and feet.
The shadow of the calves will eventually be
covered with an even darker color. Opaque
paint tolerates darker colors over lighter colors without consequence, but not lighter
colors over darker colors.
STEP 27
The next darkest opaque color began to
establish the form of the legs and feet.
The edge of the arm was moved a little
to the right to make the arm thinner.
29
STEP 29
An even darker green-brown opaque color
was used to render the shadows in the feet
and calves. The opaque color also helped
establish some background elements.
STEP 30
An opaque brown and red-violet mix
defined the boundaries on the right side
of the legs and feet.
30
BY DRU BLAIR
4/2/08
12:24 PM
Page 33
31
32
STEP 31
STEP 34
To make minor adjustments to the hues in

the calves, I used transparent yellow and
moss green. At this point, I noticed that the
edge was too crisp at the base of the left calf,
and used an opaque yellow to cover it up.
The resulting color shift toward blue mixed
with the yellow in the applied opaque color
to form a green hue.
I applied another opaque color for the brick

in the background, using a freehand technique to keep the appearance soft and out
of focus.
STEP 32
I used the opaque dark brown from Step 29
to cover the light green area, but some of
the green still bled through.
STEP 35
The second brick color was applied with a
little more red and white in the mix.
Varying the hues will create a more convincing image.
STEP 36
A dark opaque red-brown reduced the green

color and reestablished the curve of the calf,
with a softer edge this time.
In this step I added a small amount of green

to the red-brown brick color. I also created
an additional brick color by adding a few
drops of red-violet to the mix. These two
colors are visible on the test paper at the
bottom of the image.
34
35
STEP 33
33
REFERENCE AREA:
Taken from final image
36
4/2/08
12:24 PM
Page 34
STEP 37
An overall view reveals a continuation of the
brick color from the previous step applied
across the painting to the left of the head. I
added opaque white to the brick color to create more variety in the values. I then added a
few dark accents with transparent sepia.
Afterwards, I sprayed small amounts of transparent yellow and red to shift the hue in
some areas.
STEP 38
The highlights on the fabric above Jennifers
shoulder had become too dark due to overspray from the surrounding areas. There are
two options to correct this: A: remove paint
with an eraser or sandpaper. B: spray a
lighter opaque color on the dark area.
Option A would introduce texture, which
would obliterate the blurry, soft focus look I
am trying to achieve, so I decided to use a
light opaque color to correct the problem.
37
STEP 39
A light yellow-orange opaque color was
applied to create highlights in the fabric,
and I prepared to remove the bruise on
Jennifers shoulder.
STEP 40
Mixing an orange-red opaque color, I covered the dark gray spot on the shoulder. I
kept my distance from the surface of the
board to avoid a blotchy look to the repair.
STEP 41
The red color on the shoulder seemed too
intense, so I used opaque white mixed with
yellow to lighten and reduce the intensity of
38
39
the red. The formula is that the white by

itself would have created a blue shift. When
the blue of the shifted color mixed with red,
it would have created a violet or purple cast.
To nullify the purple cast, I used its compliment (yellow) with the white opaque paint.
STEP 42
Next, I used a dark brown opaque color to
further enhance the shadow of the leg and
foot, carefully keeping my airbrush away
from the board to keep the edges soft.
STEP 43
40
41
Starting with the lightest color, I established the background area to the left of the
feet. As the background takes form, other
4/2/08
12:24 PM
Page 35
problems such as the flesh color of the

calves become noticeable
STEP 44
A medium value golden color was then
added over parts of the background. The
calf color was adjusted to a more golden yellow, and a transparent red was used to further develop the feet.
STEP 45
The red color was used to balance the overall fleshtone of the feet and calves.
42
43
Some opaque red removed the intensity of

the green color, but now there is too
much red.
44
45
46
47
46
48
46
STEP 46
Before too much paint was applied, I
taped a piece of open mesh cloth to the
board. I will continue spraying through
this mesh to create a subtle light pattern.
A previous pass through the fabric is visible below the mesh.
STEP 47
An opaque green was used to render the fabric to the left, but at this point, I felt that I
had added too much green.
STEP 48
4/2/08
12:24 PM
Page 36
THE PROBLEM
WITH FRISKET
Chances are, if youve recently purchased frisket
in the United States, youve experienced pain
and frustration due to the excessive adhesive
qualities of the product. If you were lucky, the
frisket was just difficult to remove, and didnt
destroy your painting in the process.
Perhaps you even tried alternative brands of
frisket, searching for something with a little less
stickiness, all to no avail.
What is the problem with frisket, and why did
all brands of frisket suddenly go bad all at once?
49
50
STEP 49
I decided to return to green because it
seemed more pleasing to the eye.
STEP 50
The answer is simple. Only one company in
the U.S., Grafix, manufactures the frisket and
sells it to various companies who re-brand it
using their own name. Whether the name on the
label is Grafix, Badger, Artool, or The Original
Frisket Film, you are basically getting the same
product, so its quite useless to search for other
brands as alternatives here in the US.
When Grafix produced a large run of frisket
three or so years ago, too much adhesive was
applied which caused problems with glue residue
and an extra amount of undesirable stickiness.
Many artists, including myself, have damaged
paintings because the sticky frisket tore the
paper off the backing of the illustration board.
I corresponded with a Grafix representative who politely indicated that the company
was aware of the problem, but did not yet
have a solution.
Several companies who private-labeled
Grafix frisketIwata/Mede/Artool, Coast
Airbrush, et alhave pulled the bad frisket out
of their inventory in order to protect their clients.
Other companies weve contacted have denied
that a problem even exists.
Since it doesnt look like anyone is going to
be fixing the problem soon, my assistants and I
devised a workaround. We found that oil from
ones skin helps to neutralize the sticky nature
of the frisket. By placing and removing the sticky
side of the frisket on an arm, a leg, or other parts
of the body a dozen or so times, you can reduce
the tack to acceptable levels (and exfoliate at the
same time).
Other methods for reducing tack that did not
seem to work as well were dusting the sticky
frisket with baby powder and pressing the
frisket against cloth.
Until the manufacturing issue is resolved, the
only other alternative is to locate frisket that was
manufactured more than three years ago, or seek
imported frisket. In the meantime, you may want
to consider contacting the companies that still
sell faulty frisket and share your sentiments.
Returning my attention to the background

above Jennifers head, I positioned the mesh in
preparation to fill in some of the vacant areas.
STEP 51
A close-up reveals the scale of the mesh fabric. It can be purchased in varying sizes from
a fabric store.
STEP 52
I applied paint to the background area. The
fact that there was already existing paint on
the background helped keep the pattern created by the mesh fabric subtle.
52
51
4/8/08
4:09 PM
Page 37
STEP 53
On the left side of the illustration board the
frisket pulled away some of the paper surface, leaving a damaged area that was highly textured (see sidebar on Frisket). Some
light sanding removed some of the texture.
It is important to sand in small circles to
avoid straight sanding marks that would
otherwise stand out as unnatural.
STEP 54
Using gesso and a squeegee, I applied the
gesso much as one would add joint compound to a damaged wall. All that was left
to do was some light sanding in small, circular motions.
53
55
56
54
STEP 55
Now it was time to turn my attention to the
sheets on the right side of the figure. As
always with opaque colors, I began with the
highlights first.
STEP 56
The next darkest color was then applied, an
overall view shows the large amount of bedding material that needed to be addressed.
57
STEP 57
I removed the frisket from the sheets below
the hair, and then using the same sequence
of light to dark, I established the sheets to
the right of the hand. I then placed frisket
on the areas surrounding the arm and hand
to contain overspray as I prepared to render
the forearm and hand.
58
4/2/08
12:24 PM
Page 38
STEP 58
Using opaque flesh tones, I established the
forearm and hand. I didnt quite finish this
part to make room for later tweaks and
adjustments.
STEP 59
I removed the frisket from the sheets above the
hand and forearm, then covered the hand and
forearm with a piece of frisket to protect them
from overspray. I then rendered the sheets
59
60
61
above them. When I removed the frisket, I

noticed a small white speck on the wrist where
two pieces of frisket overlapped. This will be
repaired with an opaque color later.
STEP 60
I moved forward with the sheets, taking
note that the shadows were not simply
shades of gray, but rather a variety of hues
reflected from the surroundings.
STEP 61
Darker opaque colors were applied to further
establish the folds in the sheets. To keep
overspray off of the arm, it was necessary to
re-use the same frisket that I had used earlier for the arm.
STEP 62
An overall view shows the continuation of
the sheets toward the left of the figure. I
wasnt sure where I wanted to crop the
image, so I painted beyond the original
intended borders of the painting to give me
the option to crop larger if I so desired.
STEP 63
After evaluating the image, I decided that the
sheets were too blue, and too light in the shadows. I warmed them up by adding a bit of burnt
sienna to the opaque colors, and mixed a dark38 AIRBRUSH ACTION | MAYJUNE 2008
62
er color for the shadows of the sheets. As I

made the corrections to the sheets, I noticed
that the arm on the left seemed to be too thick
at the elbow, so I shaved a little bit off by sliding the frisket covering it to the right. I also
was not satisfied with the way the knee was
looking, so I altered the sheets to obscure it.
STEP 64
After correcting the rest of the sheets, I
determined that the right foot was too thick,
63
4/2/08
12:25 PM
Page 39
64
65
so I narrowed it using the opaque background

colors from earlier steps. I also took the time
to repair small areas such as the white speck
above the wrist.
parent sepia and burnt umber to punch up

the shadows on the nose, cheeks, forehead,
and around the eyes. I then used burnt
umber to darken the shadows of the lips.
The biggest overall challenge for this
painting was keeping my distance with the
airbrush to keep the background soft.
Keeping the overall saturation of the painting higher than normal also presented some
adversity, mostly due to my tendency to
keep the colors in my paintings subtle.
STEP 65
After completing the background, it became
more apparent that the face was lacking
contrast, so the final tweaks are simply a
matter of deepening the shadows in the
face. In this case, I used a mixture of trans-
Artist and subject: Dru Blair and Jennifer Janesko
Its probably important to note the giveand-take interaction with this painting that
became a process of applying, and then tweaking the colors as the painting progressed. With
airbrush being so cerebral, the usual method is
to plan well ahead of the painting process.
Jennifer and I decided to make prints of
this painting available, and more information about this painting may be found at her
website: www.janesko.com.
040_ABA_0806_TEMPTU.qxd
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Page 40
BY JOHN MAURAD
STEP 1
OR THIS BODY ART APPLICATION,
I USED TEMPTUS DURA LINE

of paints. To prep the area, I cleaned the models back with 70%
Isopropyl alcohol to remove any oils, creams, or impurities from
the skin.
Then, using a custom mixed brown-sepia color, I airbrushed
the sketch onto the back and filled in the dark areas. You may
also use a stencil made of very thin acetate or paper to aid in the
placement and scale of the design.
STEP 2 & 3
Using Iwatas Revolution gravity-feed airbrush, I rendered the fur with a lot of
quick strokes. Caution: the airbrush is often gauged closely to the surface, so be
very careful not to scratch or poke the skin with the needle of the airbrush.
Because I use very low air
pressure for this process
about 10- to 12-psiI
constantly go over each
stroke until I reach the
desired intensity of color.
Although this is more
time-consuming than, say,
painting a T-shirt, its the
recommended way to go.
1
4
STEPs
040_ABA_0806_TEMPTU.qxd
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Page 41
STEP 4, 5 & 6
Here, I began adding color, starting with the
white of the tigers fur. I continuously go
from white to brown, and back to white for
the fur. This layering leads to greater realism.
To achieve extra fine hairs, I switched to
Temptus SP-35 airbrush. Once the white is
completed, I apply the orange color (a
combination of Dura yellow, orange, and
red) using the same layering effectgoing
from light to dark, then back to light. To
make some areas brighter, I use white, which
is opaque, and then layer the other
transparent colors over it. For the shadow
areas, I used my original base color.
Next, I painted the teeth and tongue,
also using custom mixed colors. Highlights
to the tongue, teeth, and eyes are done last
with the SP-35 airbrush. I also used it to
outline the whiskers and to add any fur that
I felt needed to stand out.
STEP 7
I added grass and a sponged rock effect to
the surrounding areas to not only increase
the size of the painting but to blend it in
better to the models back.
For the final step, I added the companys
logo to the painting, and completely
powdered the tiger with talcum powder.
This painting took about 3 hours to
complete and held up for a few days.
About the Artist
John Maurad is a self taught artist with 24
years of airbrushing experience. A New York
native, John began airbrushing on T-shirts at
16. Today, his portfolio also includes
automotive painting, canvas, murals, and
body painting.
3/31/08
4:33 PM
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043_ABA_0806_GETAWAY.qxd
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AIRBRUSH GETAWAY
HANDS-ON WORKSHOPS
CHARLOTTE, NC-MAY 14-MAY 18, 2008
LAS VEGAS, NV-SEPT. 22SEPT. 26, 2008
CLASSES
4-DAY CLASSES:
---
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Mastery
Automotive Murals
On Steel
T-shirt Airbrushing
Pin-Up ART
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Our seminars have attracted students from corporations as
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---
IntRo to Airbrushing
Intro to Murals on Steel
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International: 732-223-7878
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3/31/08
4:21 PM
Page 44
AIRBRUSH GETAWAY
REGISTER NOW! TOLL FREE: 800-232-8998

Online: www.Airbrushaction.com
HANDS-ON WORKSHOPS
CHARLOTTE, NC LAS VEGAS, NV
ACHIEVING PHOTOREALISM
AUTOMOTIVE GRAPHICS, CHEAP TRICKS,

AND MORE! (Four-Day Class)
(Four-Day Class)
Dru Blairs groundbreaking course reveals the secrets of painting
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often challenge artists. Students will learn to quickly match colors with
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projects offer a variety of subjects designed to heighten a students visual
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media and field of ones choosing.
In this course youll learn:
Mastering color through the application of Dru Blairs
Color Buffer Theory
Transparent vs opaque techniques
Understanding white and the impact it has on
your images
Drus 8 rules of photorealism
The 12-point photorealism checklist
How to really understand light
How to survive catastrophic painting errors
How to automatically discern problem
areas in your paintings that might otherwise
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How to develop observation techniques that
allow you to expand your visual discrimination
This high-energy workshop is only limited by your imagination! Kustom legend

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Each class is geared toward the latest kustom trends and therefore changes
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Also, youll be introduced to new products from House of Kolor, including
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*Students without prior airbrush experience are required to take the one-day
Intro to Automotive Airbrushing class.
WHAT TO BRING
Your creativity, a note pad, dual-cartridge respirator (also available at the
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hoses, air supply, art materials, etc) are provided. Students may bring their
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Achieving Photorealism is open to artists (and

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Instructors:
CRAIG FRASER, RYNO,
JASON BROOKSHIRE
Locations and dates:
CHARLOTTE, NC: MAY 15-18, 2008
(THURS-SUN)
LAS VEGAS, NV: SEPT 23-26, 2008
(TUES-FRI)
Instructor:
DRU BLAIR, MELANIE ALEXANDER, AUGIE SACCOCCIO
CHARLOTTE, NC: MAY 15-18, 2008 (THURS-SUN)
LAS VEGAS, NV: SEPT 23-26, 2008 (TUES-FRI)
Seminar Cost: $575
Seminar Cost: $595
BLAIR
ALEXANDER
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SOTO
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REYNOLDS
PANTALEON
CROSS-EYED
RYNO
TRAIN WITH THE TOP GUNS NETWORK WITH YOUR PEERS BECOME WHAT YOU DREAM
* Instructors are subject to change without notice
3/31/08
4:21 PM
Page 45
BECOME
BRING YOUR
IMAGINATION
WHAT YOU DREAM
PINSTRIPING & LETTERING MASTERY

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Software, plotters, and other sign equipment will be demonstrated in detail.
Instructors: GARY JENSON
Seminar Cost: $575
AUTOMOTIVE MURALS ON STEEL

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Murals on steel is the hottest and most lucrative of kustom applications.
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Prerequisite:
1-Day Intro to Murals class for beginners.
Instructors: CROSS-EYED, JAVIER SOTO,
JONATHAN PANTALEON, CHARLES ARMSTRONG
Seminar Cost: $575
LEARN THE
ICE PEARLS
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CHNIQUE
FEATURED IN
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T-SHIRT AIRBRUSHING
(Four-Day Class)
This dynamic and completely hands-on course is a must for anyone wanting
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What youll learn:
Designs that sell
Pricing guidelines
Professional lettering and stenciling
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Instructors: TERRY HILL, KENT LIND,
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Seminar Cost: $575
LIND
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3/31/08
4:21 PM
Page 46
AIRBRUSH GETAWAY
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HANDS-ON WORKSHOPS
CHARLOTTE, NC LAS VEGAS, NV
INTRO TO AUTOMOTIVE ART AND ILLUSTRATION

TECHNIQUES One-Day Class (Lecture and hands-on)
This intro class will teach you how to use an airbrush, including the
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Instructor: ALAN PASTRANA
CHARLOTTE, NC: MAY 14, 2008 (WED)
LAS VEGAS, NV: SEPT 22, 2008 (MON)
AUTOMOTIVE ART AND ILLUSTRATION TECHNIQUES
Seminar Cost: $150 (Or, $100 if you also enroll in a 4-day program)
Four-Day Class (Lecture and hands-on)

This new advanced course is designed and conducted by Alan Pastrana,
one of the top custom painters in the world. As a veteren instructor of the
Airbrush Getaway, Alan explained, I wanted to offer a class that fills the
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In this course youll learn:
Introductions and class overview
Understanding and rendering values in grayscale.
Introduction to plotters and their many uses.
The many uses of computer-based programs, including Adobe
Illustrator, Adobe Photoshop and Corel Draw, and how they may assist
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The rendering of basic shapes to demonstrate their light sources, values,
shadows, reflective light, and cast shadows
The introduction to free-hand shields and their many uses.
Designing and cutting out free-hand shields and masks using the
Roland GX-24 plotter.
Introduction to color theory and how it applies to the rendering and
completion of a project.
Class project and demo: realistic waiving flag
Evening Business Forum
Design and Composition
Flesh-tones
Class project and demo: portraits and skin tones
Class overview, critiques, and evaluations
PIN-UP ART
(Four-Day Class)
Learn the secrets and master the techniques to create the female form as a
classic pin-up in this one-of-a-kind class. Pin-Ups provides instruction on
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Instructors:
LORENZO SPERLONGA, STEVE DRISCOLL


CHARLOTTE, NC: MAY 15-18, 2008
(THURS-SUN)
LAS VEGAS, NV: SEPT 23-26, 2008
(TUES-FRI)
Seminar Cost: $575
Seminar Cost: $575
Instructors: ALAN PASTRANA, HONORIO REYNOLDS, DARRYL STRADER
PASTRANA
MONNIG
AVERY
PANTALEON
FURIATO
CROSS-EYED
SOTO
FRASER
SUTHERLAND
3/31/08
4:21 PM
Page 47
BECOME
BRING YOUR
IMAGINATION
WHAT YOU DREAM
INTRO TO AIRBRUSHING
(One-Day Class)
Explore the different types of airbrushes, maintenance, air sources, safety
issues, painting surfaces, preparation, and airbrush media. This one-day
course accelerates the skills of new airbrush artists and provides
excellent preparation for the four-day classes.
CHARLOTTE, NC: MAY 14, 2008 (WED);
INTRO TO AUTOMOTIVE MURALS ON STEEL

(One-Day Class)
For beginners and intermediates, and a MUST for beginners taking the
four-day murals class. If youre just starting out, and you want to spray
in the big leagues of custom painters, Intro to Automotive Murals is a
mandatory prerequisite to the four-day Murals on Steel class. This
hands-on course is designed to deliver you up to speed with basic
airbrush techniques, equipment, and the execution of a project.
Instructors:
JAVIER SOTO, JONATHAN PANTALEON, CROSS-EYED
INTRO TO PINSTRIPING
(One-Day Class)
Designed for beginners, this course provides detailed information on
product knowledge, including paints, brushes, solvents, tapes, and more.
Hands-on instruction will guide you through surface prep, practice
strokes, and completion of basic designs with and without a pattern.
Youll learn both primary styles: nostalgic dagger and scroll. This course
establishes an important foundation toward striping mastery.

This excellent primer for the four-day

course is designed for beginning and
intermediate kustom painters. Youll
learn the basics of graphics, types of
airbrushes and paints, safety issues, and
much more. Hands-on projects include
basic layout, masking, the transfer of
designs, faux finishes, special f/x, and
materials! This has quickly become one
of the most popular classes!
INTRO TO AUTOMOTIVE GRAPHICS

(One-Day Class)
Instructors: CRAIG FRASER,

RYNO, JAY AVERY
LAS VEGAS, NV:
SEPT 22, 2008 (MON)
LIND
JOHN HALL
RYNO
CROSS-EYED
DRISCOLL
ARMSTRONG
HILL
SPERLONGA
JENSON
REGISTER NOW
3/31/08
4:21 PM
Page 48
Yes! I want to attend the May 14-18, 2008

Charlotte, NC Getaway Workshop!
Hotel Reservation:
The Charlotte Getaway
is held at:
The Ramada Inn
212 Woodlawn Road
Charlotte, NC 28217
1-Day Mini Courses:

Intro Airbrushing
Intro Auto Grahphics
Intro Murals on Steel
Intro to Automotive Art
& Illustration
$150
$150
$150
$150
$150
Wednesday, May 14, 2008

9 a.m. to 5 p.m.
Room Reservations:
Call The Ramada Inn,
800-847-7829
704-525-8350
4-Day Courses:
Dru Blairs Achieving Photorealism
Automotive Graphics,
Cheap Tricks & More
Automotive Art &
Murals on Steel
Pin-Up Art
Pinstriping & Lettering Mastery
T-Shirt Airbrushing
HOKs Art of Painting
May 15-18, 2008
Thurs.-Sat, 9 a. m. to 5 p.m.
Sun. - 9 a.m. to 1 p.m.
$575
$575
$575
$575
$575
$575
$575
** Hotel subject to change.
Yes! I want to attend the September 2226, 2008

Las Vegas, NV Getaway Workshop!
WORKSHOP SCHEDULES
Hotel Reservation:
The Las Vegas Getaway
is held at:
South Point Hotel & Casino
9777 Las Vegas Blvd, South
Las Vegas, NV 89183
Room Reservations:
Call The South Point Hotel
& Casino,
(866) 796-7111
1-Day Mini Courses:

Intro Airbrushing
Intro Auto Graphics
Intro Murals on Steel
Intro to Automotive Art
& Illustration
$150
$150
$150
$150
$150
Monday, September 22, 2008

9 a.m. to 5 p.m.
For Las Vegas only:

Students under the age of
21 must be accompanied by
an adult.
Name (please Print)
Address
4-Day Courses:
Dru Blairs Achieving Photorealism
Automotive Graphics,
Cheap Tricks & More
Automotive Art &
Murals on Steel
Pin-Up Art
Pinstriping & Lettering Mastery
T-Shirt Airbrushing
HOKs Art of Painting
September 2326, 2008
Tuesday - Thursday, 9 a. m. to 5 p.m.
Friday - 9 a.m. to 1 p.m.
$575
$575
$575
$575
$575
$575
$575
$575
All courses are subject to cancellation. Instructions are subject to change.

* SAVE $50 if you also attend a 4-day workshop!
Register Today!
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State
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I understand that if I need to cancel, $50 is nonrefundable.
Courses are Tax-Deductible! Expenses for registration fees, travel, and lodging are fully deductible if the instruction is to maintain or improve
professional skills, or required by your employer.
3/31/08
4:21 PM
N
O
S
D
N
HA
Page 49
OME!
AWES
595
575
Absolutely NOTHING Compares to the Original

Airbrush Getaway Hands-On Workshops!
575
575
575
575
575
575
PASTI EARL, PIN-UPS
575
575
575
575
575
575
575
575
y!
ers)
ove
I really liked learning different ways of achieving

the same results; Steves way versus Lorenzos
way. Very good! Carol Murison (Pin-Ups)
It far surpassed what I expected. All my questions were

addressed, and the instructors sprayed with us into the wee
hours of the morning. Michael L. Simon (Murals On Steel)
So MANY Reasons... So FEW Excuses.
050_Airbrush0806_T-SHIRT2.qxd
By Terry Hill
4/8/08
11:38 AM
Page 50
PARTY A n imal
A* P PE
AL*
W
WHAT COULD BE A MORE FUN AND POPULAR CATEGORY THAN PARTY DESIGNS? Im
not talking about ice cream, cake, or pin-the-tail-on-the-donkey kind of partying;
Im talking beer bongs, kegs and naked Twister! But the question is, just how far can
you take it without offending your more family-oriented clientele? In my case, I work
with a group of four other artists at Airbrush Headquarters in Destin, Florida, and our
personalities run the gamut from ultraconservative to very liberal. Each new design
has to be well thought out in order to strike a balance between these differing viewpoints. Because our business is located inside a Wal-Mart supercenter, we must present an image consistent with the worlds largest retailer! Our store happens to be
located near the beach and has a hip dcor. The management is very supportive of
our efforts as long as we create and maintain a fun and exciting environment, and
remain an asset to the store.
>>
My quest to create party designs that

are somehow wholesome but still cool has
been an ongoing process for the past several years. Ive found that the best way to
overcome the diversity in our group is to
get as many people as possible involved in
the process. This article is really more
about teamwork and the value of learning

to listen to other peoples thoughts and
ideas than it is about any single category,
such as party designs. For example, about
three years ago, I conferred with fellow
artist Gary Worthington about a new
design I wanted to create for spring break.
I envisioned a psychedelic-looking tiedyed background involving a brain and

the lettering this is your brain on spring
break, with a few names scattered around
the graphic to make it a group seller. We
both thought it was a good idea and minutes later Gary downloaded a photo of a
human brain from the Internet. I processed
the image in Photoshop, reducing it to a
simple black-and-white graphic that served
as the basis for creating my stencil.
I was so proud of this new concept that I
exclaimed, were gonna get rich! After
several failed attempts at producing a satisfactory result, I asked Gary to give it a shot.
We werent happy with his results either.
There was just too much lettering involved
to produce a pleasing graphic. Although
the whole thing was a miserable failure, the
idea continued to haunt me. I knew it had
merit, but I just couldnt figure out what
was missing. So, this year, while working on
new designs for spring break, I turned to our
resident party expert, Eddie Davis, and
solicited his opinion on the concept. He
replied, toasted. I thought, WOW, thats
it! It was so simple; one word expresses a
party atmosphere without being offensive.
Why couldnt I have thought of that? I
guess sometimes you just have to turn to a
professional. Thanks, Eddie!
After further discussion we realized
that toasted also opens up the possibility
of additional elements to the design. Ed
also offered, Why not have the brain
soaking in a martini glass? Once again I
thought, WOW, that would work on more
than one level. Were constantly asked for
martini glass designs, yet we only had one
4/8/08
11:38 AM
Page 51
choice to show people. With todays technology its so easy to combine elements
from different designs to form something
totally new, that the possibilities become
endless, and almost effortless! All of our
designs stencils are created on the computer using SignLab software, and cut with a
plotter. As a result, our artists have more
time to be creative and productive, which
in turn increases our profits. If youre not
already using a system like this in your
business I highly recommend it. Airbrush
Action has worked in conjunction with
CadLink, the developers of SignLab, to produce StencilBoss, an inexpensive version of
their program. This software has everything youll need to go digital with stencil
making. Add a plotter, which is capable of
producing 500 grams of down force, and
youre ready to go!
TOASTED!:
IMAGE 1 Jo Roberts, one of our fabulous
and talented artists assistants, worked in
SignLab to combine elements from Scott
Wilsons martini glass design with my
brain graphic. Scott Wilson, artist and
owner of Airbrush Headquarters, had
recently been working on a green beer

mug of his own for St Patricks Day. I
thought to myself, why not take the same
idea and apply it to a beer mug? This
might appeal to a completely different
demographic of drinkers. I had barely gotten the idea out of my mouth when I
noticed Eddie busily sketching on an easel.
He then added my brain stencil into the
mix and once again, WOW. I had to say
it: were gonna get rich!
IMAGE 2 Heres Eddie caught diligently

sketching away at the easel. Who says all
that partyin wont come in handy someday?
Bear in mind, though, it takes years of experience to perform at his level!
vent underspray, I applied pressure with a

small brayer, also known as an ink roller.
IMAGE 6
IMAGE 3
Nathan Tetzlaff, another one of

our fine artists assistants, at the spray booth
prepping my freshly cut stencil with spray
adhesive.
IMAGE 4 The stencil is applied in the

correct position on the shirt. My stencils
are made of a clear Mylar, but colored blue
so that youll see them.
IMAGE 5
To assure that the stencil is

evenly adhered to the shirt, and to help pre-
Starting with opaque black, I

traced all of the edges and filled in the
blanks with my airbrush. Be careful not to
go crazy here; a little black goes a long way.
You dont want your design to end up fuzzy
and dirty looking.
IMAGE 7
Violet was applied in a similar

manner. I took this opportunity to airbrush
the names around the glass. Adding names to
the design is akin to adding fries to a burger
order; potentially, a single sale turns into a
multiple sale.
4/8/08
11:38 AM
Page 52
IMAGE 8 Now its time to peal the stencil

away to check the results. Be careful here;
its easy to damage the stencil, and you also
want to minimize how much the shirt
moves and stretches.
IMAGE 9 Deep green was airbrushed to
represent the libation in the glass and to help
shape the contours of the olive. Green is a
conscious choice here. We could make our
drink any color, but because the brain will be
pink, green (pinks complementary color) will
create a more dynamic looking design.
10
IMAGE 10 Fluorescent hot green was airbrushed to create a sense of transparency,

warmth, and dimension.
IMAGE 11
Fluorescent hot pink accents

were added to the names, and the lettering is
detailed and shaded. I was careful not to overwork the shading of the brain. I wanted just
enough color to balance the green in the glass.
IMAGE 12 I completed this section with a

little bit of fluorescent hot yellow on the
olives sword, and then airbrushed some subtle
details to the glass to accentuate its contours
and to remove the harshness of the stenciled
look. Finally, after waiting three years, Im
happy with the way my brain graphic looks!
11
IMAGE 15
I followed with a little violet

along the bottom side and into the details
on the mug. Violet is a complimentary color
to yellow and will turn an earthy brown
when the two are combined in a later step. I
12
also used fluorescent blue to wrap around

the top of the design.
IMAGE 16
Golden yellow is applied over

the violet and into the scallops on the mug.
BRAIN CELLS:
IMAGE 13 The stencil was applied to the
shirt with spray adhesive.
IMAGE 14
I airbrushed opaque black to

the edges of the stencil. Notice that its not
applied everywhere. Im particularly careful
not to get a lot of overspray into any area
that may include yellow later on.
14
17
15
13
16
18
4/2/08
1:07 PM
Page 53
4/2/08
1:07 PM
As we see here, the color shift from violet

produced exactly the affect I wanted.
IMAGE 17
I carefully peeled the stencil

to inspect my results.
IMAGE 18 The next part of the stencil

system was registered with the outlines of
the glass.
Page 54
IMAGE 20
Fluorescent yellow was airbrushed over everything in the opening.
IMAGE 21
I peeled the stencil to reveal
the results.
IMAGE 22 Fluorescent blue was used to

create details and soft shading in the foam.
28
IMAGE 23 Gray was used to detail the mug.

IMAGE 19
I started this sequence with

opaque yellow airbrushed to the puddle of
beer at the bottom of the glass, followed by
transparent light brown to shape the edges
and to create the shadows of the foam at the
top of the glass.
19
IMAGE 24 Violet was used to shade along

the bottom of the brain and to tie the two
together. I put a little bit into the reflections
in the mug.
29
20
21
30
22
23
IMAGE 25 Fluorescent hot pink was

applied to the brain, being careful not to
make it too dark.
IMAGE 26
Red lettering acts as a strong

statement and adds nicely to the overall
impact of the design. I purposely left some
space at the bottom to add a few names.
24
25
IMAGE 27 A touch of opaque black was

added to the top of the lettering as an accent,
and names were added to make this a group
design in an effort to increase our profits.
IMAGE 28 As a humorous finishing touch,
a gun sight was stenciled into place using red.
IMAGE 29 As mentioned previously, you

can clearly see that it was important to keep
the color of the brain light enough in the
middle to allow the gun sight to show up.
26
27
IMAGE 30 Heres the completed design in

all its glory. Were all gonna get rich!
4/2/08
1:07 PM
Page 55
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056_ABA_0806_TEXTURE.qxd
3/28/08
5:36 PM
Page 56
TEXTURE AIR
BY MICHAEL CACY
Lets Get Wet!

All kinds of interesting effects can occur as reflections on standing water
depending on lighting and surroundings. Surface tension causes the water to
cling together on a non-porous surface, giving it mass and dimension.
Though water is clear, there may be stark contrast as well as hard and soft
edges to shapes within the water and upon its shiny surface. >>
I started this project by drawing my hand

lettering. Then, I needed to determine how
the letters might look if they were actually
liquid. After splattering water onto my
kitchen counter (in front of a window) I shot
a few reference photos. I traced my hand
lettering, incorporating curves and shapes
evident in my photos. A quick marker sketch
was rendered on a photocopy of the drawing,
and I was ready to get rolling.
STEP 1
Reference photos, initial hand lettering,
pencil tracing, and marker sketch.
STEP 2
I positioned the pencil drawing on a lightbox and placed a sheet of smooth, hot-press
paper on top. The contours were drawn with
a blue technical pen. The highlights were
drawn lightly in pencil. This paper drawing
was then mounted to a piece of rigid
illustration board with an aerosol adhesive.
STEP 3
Please note that the highlights and
background are masked with frisket film in
this photo. The larger mass of water (the
areas with the exception of the highlights)
has been revealed, and I sprayed the contours
away from the lit side with a mixture of
Com-Art transparent ultramarine, royal blue,
and black.
STEP 4
A little overall tone was added by spraying a
few passes of royal blue (the highlights and
background remained concealed.)
STEP 5
2
Heres a better look at what has been painted

so far. The background frisket mask has been
revealed. The background is ready for paint.
Frisket masks still conceal highlights within
lettering, droplets, and splash shape.
056_ABA_0806_TEXTURE.qxd
3/28/08
5:36 PM
Page 57
STEP 6
FINAL PAINTING
Transparent emerald green was sprayed over

the exposed art (lettering and background)
to create a background color. Then, with
the highlight frisket shapes removed, the art
is essentially complete.
I caressed a few linear edges along highlights with a blue pencil before calling it quits.
About the Artist

Michael Cacy is a world-class
illustrator whose career spans more
than 30 years. A recipient of the 1997
Vargas Award, Cacys client list
includes Iditarod, Nike, Royal
Bermuda Yacht Club, and many more.
His and DVD, Illustration Cheap Tricks
& Special F/X, is considered one of the
best airbrush instructional
presentations ever made.
058_Airbrush0806_MAHAN.qxd
4/4/08
4:42 PM
Page 58
Fresh Flesh Tones
By Deborah Mahan
AST YEAR,
HOUSE
OF
KOLORS KUSTOM KREATOR KOLORS
program invited 15 artists to submit their favorite arsenal of custom mixed colors. Because of my fascination with pin-up art and
portraiture, I contributed my boutique palette of flesh tones. As a
result, Dave Monnig, of Coast Airbrush, agreed to market a premixed kit of those colors, and Airbrush Action asked me to write this
step-by-step on how to use them.
These flesh tones work simply and can be used to create any flesh tone type.
The kit consists of 6 colors: Flesh Base, which is the beginning of all flesh tones;
Dark Shade is the darkest shading color; Pinky Flesh Tint is used for the lips,
around the eyes, and for any area that requires a rosy tint. Gold Shade adds a
golden tone to the skin. Dark Flesh Shadow (green shade) and Dark Flesh
Shadow (red shade) are used to create shadows and ethnic tones.
An important trick to rendering flesh tones with automotive urethanes is
to be careful not to overdo some of the toners, such as House of Kolors KK
Kandy Koncentrates. For example, if you use too much of the gold tones or
orange tones, the colors may become too dominant once the art is clear-coated, and may make your subject appear jaundiced, or that they dieted on too
many carrots!
For this article, I rendered one of my favorite subjects, Marilyn Monroe, and I
used all House of Kolor products, including the flesh tone kit, RU311 reducer,
BC26 white base-coat, BC25 black base-coat, and SG104 Euro Red base-coat.
Also, I used an Iwata Kustom CH airbrush, and a white powder-coated aluminum
panel for my substrate. I reduced the colors, 1-to-1, with the RU311.
STEP 1 I lightly sketched my

drawing on the panel.
STEP 2 Using the Flesh Base, STEP 3 I switched to the Gold

I loosely airbrushed her hair,
Shade and painted all the
and fogged in the whole image. shadows and details of the subject, and then lightly fogged
just outside the darker areas
this starts a nice transition
between the colors.
STEP 6 I applied the Pinky

Flesh Tint to the lips, eyes,
cheeks, ear lobe, and hair. A
little bit of this color goes a
long way.
STEP 7 With the Dark Shade,

I painted the hair, creases of
the mouth, eyebrows, eyes, and
all those really dark shadows
around her arms and chest.
STEP 4 I layered in the Dark

Flesh Shadow (red shade).
Because the subject is sunlit, I
want most of my shadows to be
warm. Then, I deepened the
details of the nostrils, eye creases, folds in the skin, and the
darkest shadows.
STEP 8 To make her eyes and

lips pop, I added a little BC25
black to the eyes and the opening of her mouth. Also, I used
SG104 Euro Red on her lips.
THE FINISHED PROJECT. Even if you paint someone with a darker, or different, skin
tone, youll still begin with the Flesh Base and use the other colors to shift everything.
Good luck with your adventures in skin tones, and I believe this kit will make it easier.
STEP 5 Applying white at this

stage serves two purposes: white
overspray is easier to clean
with darker colors later on, and
it keeps the whites from taking
over. This is the area where
most people make a mistake.
058_Airbrush0806_MAHAN.qxd
4/4/08
4:42 PM
Page 59
CORRECTION
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In error, the below clues were ommited from the March-April 2008 issue.
ACROSS
DOWN
32. Dru Blairs photorealism technique, Color ___ Theory
26. Not that either
34. Floating ice
27. Marcus ___, Australian-based airbrush artist
35. ___ preparation, the hardest and 29. Spheres

most important part of airbrushing cars 30. King or gun?
36. Airbrush paint choices that
31. Mistake
require a low psi
32. Saloon
38. Lunch stuff
33. LA or SB preceder
40. Airbrushed hogs, with hot
35. Essential equipment for an air42. Beholds partner
brush artist (2 words)
44. Providence locale
37. Declining word
45. Anchorage locale
47. Commonly airbrushed image
39. ___ Works, airbrush book by

Lorenzo Sperlonga
49. Rapper prefix
41. Approve
51. Declines in amount
43. Airbrush Actions column for airbrushing questions (2 words)
52. Ford model

53. ___ feed, airbrush model that is
easy to maneuver
56. ___ Hill, airbrush body painting
master
59. Navy ship
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48. Kings pawn in chess, (abbr.)
62. Fix the problem
50. Type of drip
63. 2008 airbrush workshop state
51. Airbrush paint option that may

fade if exposed to light
66. ___, the people..
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47. Red or white follower, to a

sports fan
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49. ___ Vegas, location of the 2008

Airbrush Getaway Workshop
64. Quick naps
BUY IT NOW
THIS
BOOK
WILL
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52. Got bigger

54. Invitation reply
68. Pressure measure
55. ___bench, Airbrush Actions column for new airbrushing products
69. Non-transparent airbrush technique description
57. Cadillac ___ Dorado
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060_ABA_0806_BACK ISSUE.qxd
3/28/08
11:44 AM
Page 60
GET SOME BACK!
Heres your chance to build a valuable library of airbrush

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062_Airbrush0806_AUTOMASK.qxd
3/31/08
3:46 PM
Page 62
STEP BY STEP
Jeff McCanns
AUTOMASK
ESSENTIAL
PHOTO 1
PHOTO 2
My transfer tape of choice is Automask, which is sold by Coast

Airbrush. Its of the highest quality, never transfers adhesive to the
painted surface, resists solvents, is water-based for sure cleanup and
comes in many convenient widths. A body-filler squeegee works well
for smoothing out Automask and any trapped air bubbles. The paper
surface takes pencil, marker, and Stabilo with good contrast.
I draw my patterns on tracing paper, and photocopy them for mirror

images or opposite sides when needed. The photocopy paper is colored
with a black Stabilo pencil on the back side and then taped to the
Automask. A #4 hard pencil tracing transfers the Stabilo backing to the
paper surface of the automask.
PHOTO 3
The residue from the Stabilo pencil
has transferred cleanly to Automasks
white surface.
3/31/08
3:46 PM
Page 63
PHOTO 4
PHOTO 5
An X-Acto #11 blade is used to cut the Automask. Always use a new,
sharp blade so only light pressure is needed to cut through the mask.
The trick here is to not cut into the paint and/or surface.
Carefully peel up the reveal, pulling at a 90-degree angle or more so the

adhesive doesnt tear under the paper backing.
PHOTO 6
PHOTO 7
Squeegee the weeded Automask to ensure the mask is down firmly on

the surface.
Here, you see the negative and positive components of the Automask.
The parts were first painted with PPG Kandy Red, clear-coated with
DCU2055, and then wet-sanded with 800-grit 3M sandpaper.
PHOTO 8
PHOTO 9
The masked areas were sprayed with PPG Coarse Silver basecoat thats
been tinted gold with House of Kolors Pagan Gold, Apple Red, and
Violet kandy concentrates. Most of the colors I custom-mix are unique
to each job so that when multiple paint jobs are on the same sales floor,
no two will have the same color.
I added freehand-airbrushed highlights to the design with an Iwata

Eclipse CS airbrush, and hologram pigment mixed into PPG DBC500
Blending Clear. The dry pigment, Spectraflair (available from Sid
Moses, Seelig Custom, of Santa Monica, California), reflects the entire
rainbow when exposed to full spectrum sunlight and appears as silver in
other light conditions.
63
3/31/08
3:46 PM
Page 64
STEP BY STEP
PHOTO 10
PHOTO 11
The Arlen Ness logo is airbrushed on each rear fender. I open the facets
of the mask in order of light to dark. Spraying over the entire mask each
time makes the previous revealed areas lighter. Interestingly, the lighter
areas of the hologram pigment reflect a slightly different color making
the facets more pronounced.
After allowing the basecoat gold to dry overnight, I carefully peeled

away the Automask. The parts are then washed with liquid soap and
water, and blow-dried.
PHOTO 12
Two coats of PPG DCU2055 Urethane Clear
were applied and allowed to dry. Notice the
clean edge produced with this masking
method. In my shop, the parts are again wetsanded with 800-grit paper, allowed to dry
overnight, and then pinstriped.
FINALS
The finished job pinstriped in Molac Silver, Peacock Blue, and Red
Gold, and again clear-coated with PPG DCU2055 Urethane Clear
with DCX61 catalyst and DT870 Reducer.
NOW AVAILABLE AT COAST AIRBRUSH

Automask Clear
6 inches x 100 yards . . . . . . . . . . . . . . . . . . . . . . . .$17.95
12 inches x 100 yards . . . . . . . . . . . . . . . . . . . . . . .$30.95
Recomended for light to medium spraying. For heavy
basecoat tape-outs we recomend regular Automask.
www.CoastAirbrush.com 1-(888)-KOLOR-IT
3/31/08
3:46 PM
Page 65
ABOUT THE ARTIST:

Jeff McCann, of Stockton, California has
been custom painting motorcycles for
himself and others since 1968. A long
time rider and builder, he has worked
with many industry leaders and
manufacturers over the last forty years.
Currently he paints exclusively for Arlen
Ness Motorcycles doing a few special
projects such as Arlens latest twin
engine creation. However, mostly he
paints Arlens manufactured line of
custom motorcycles. He credits master
hotrod painter Art Himsl as both a
mentor and profound influence during
his early years.
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#D1BM03 51 min. $39.95
#D1JS01 59 min $39.95
BIKER SKULL
DYNAMIC LIGHTING F/X KOSMIC KROME
ROBERT BENEDICT
With more than 30 years of
airbrushing experience, Robert
Benedict shows you loads of cuttingedge tips and techniques. Some of
these methods have never before
been captured on DVD. This is an
absolute must-own for any kustom
artists library!
ROBERT BENEDICT
Mr. Benedict demonstrates and
unlocks one of the most
misunderstood and important aspects
in art: lighting. Mr. Benedicts
innovative style, rich use of color,
and ground-breaking techniques
make this a must-have DVD for your
reference library.
#D1RB01 70 mins. $39.95
#D1RB02 56 mins. $39.95
BASIC PINSTRIPING
TECHNIQUES
KUSTOM FLAME
TRICKS & TECHNIQUES
CRAIG FRASER
Heres the complete video
instruction on pinstriping from
Craig Fraser, one of the top
kustomizers in the world.
Recommended for beginners and
intermediates, this is a must for the
auto painters video library.
FRASER, GIULIANO, K-DADDY

Learn from the kustom masters
how to create flames on all auto
surfaces. Clearcoat prep, tribal
flames, layout, troubleshooting,
pinstriping techniques, and much
more are included.
CRAIG FRASER
Kustom master Craig Fraser
introduces this incredible new paint
system with detailed, step-by-step
instruction on flat and curved metal
surfaces using a spraygun and
airbrush.
#D1HOK01 53 min. $39.95
HOT
#D9VD01 89 min. $39.95
#D9VD02 35 min. $39.95
ASS KICKINAIRBRUSH
ADVICE WITH CROSS-EYED
Tips to be a better,more successful

artist. Gain revealing, in-depth and
comprehensive pro advice on the
business and technical aspects of
kustom painting from one of the
worlds best. This is a must for
your reference library.
#D1BM02 47 min. $39.95
HOT
CROSS-EYED
In the first video of its kind, kustom
sensation Cross-Eyed reveals how to
produce an amazing photo-realistic
image using pro airbrush,
paintbrush, and ink pen techniques.
#D9FDG1 45min. $39.95
#D1BM01 99 min. $39.95
WIZARDS DAGGER
PINSTRIPING
WIZARDS
SCROLLBRUSH
PINSTRIPING
AUTOMOTIVE
GOLD LEAFING
#D9CF04 90 min. $39.95
PRO AIRBRUSH &

PAINTBRUSH
TECHNIQUES
BUEGLER MASTERY
GARY JENSON
This world-class pintriping master,
reveals the secrets of gold-leafing
for automotive applications as
demonstrated on metal panels and a
motorcycle tank. In-depth product
instructions & top pro tricks make
this the only video of its kind.
GARY JENSON
Learn how to conquer the Buegler
striping tool from Gary Jenson, one
of the worlds best Buegler pros and
pinstriping masters. In this
instruction, Mr. Jenson demonstrates
the use of the Buegler on a semitruck, a Chevy Tahoe, and practice
exercises on metal blanks.
#D9GJ01 58 min. $39.95
#D9GJ02 21 min. $39.95
PINSTRIPING
DYNAMICS
HOT
GARY JENSON
Heres the ultimate guide for
beginning to intermediate
pinstripers and artists alike.
Featuring Gary Jensonone of
the Worlds bestas your guide!
#D9GJ03 53 min. $39.95
WIZARDS
PINSTRIPING BASICS
Become a master pinstriper with

Wizards revolutionary 10,000stroke training method. The 10
basic strokes are broken down in
complete detail. This is the most
thorough video on the
fundamentals of pinstriping!
#D1SC01 76 min. $39.95
Learn all the strokes necessary to

make beautiful dagger style
striping designs. This video includes
paletting techniques, how to roll the
brush, how to pinstripe a circle,
painting without a grid,
asymmetrical and symmetrical
designs, and tons more!
#D1SC02 105 min. $39.95
Scroll style pinstriping is the fast track

to big profits and Wizard reveals all
about how to master this intricate art
form through a series of designs on
panels and a gas tank. This highly
detailed step-by-step course is geared
toward beginning to advanced artists.
#D1SCO3 89 min. $39.95
SEE PAGE 82 FOR COMPLETE DETAILS.
VANDEMON
In this cant-miss instructional video
youll learn simple and complex
flame layout and design, multicolor
execution, masking, pinstriping,
airbrushing, and tons more as
demonstrated on a motorcycle tank
and fenders!
VANDEMON
Flame master Vandemon demystifies one of the trendiest and
profitable flame styles in an easyto-follow instruction on a black
Dodge Ram. Learn advanced
taping techniques, how to create
symmetrical designs and a 3-D
look, mixing ratios for ghost
flames, and much more!
WIZARDS PINSTRIPING BOOTCAMP
GHOST FLAMES
COMPLETE GUIDE TO
MOTORCYCLE FLAMES
3/28/08
12:44 PM
Page 70
DVDs LEARN TIPS & TRICKS FROM THE PROS!
HOT
AIRBRUSHING
ON CANVAS
INTRO AUTOMOTIVE
AIRBRUSHING
BASIC PORTRAIT
TECHNIQUES
ADVANCED PORTRAIT
TECHNIQUES
NOAH
In this highly-detailed step-by-step,
NOAH shows how to render this
larger than life black and white
portrait on canvas. Hosted by David
Monning of Coast Airbrush.
CRAIG FRASER
Heres the ultimate video guide for
aspiring automtoive kustom painters.
Geared for artists with no prior
experience in kustom painting, this
instruction includes airbrush drills,
introduction to materials, paint,
hardware, and much more!
STEVE DRISCOLL
In this video, Steve Driscoll shows
you how to use airbrush techniques
to render eyes, teeth, and hair for
perfect portrait paintings every
time.
STEVE DRISCOLL
Learn to render incredible and
advanced photo-realistic
portraiture! Includes working with
reference photos, formulas,
advanced highlighting, and more.
#D7SD01 55 min. $39.95
#D7SD02 140 min. $39.95
#D1NE01 51 min. $39.95
#D9CF07 90 min. $39.95
ILLUSTRATION CHEAP
MICHAEL CACY
Vargas Award winner Michael Cacy
reveals timesaving and innovative
cheap tricks and special effects
from his 30 years of experience.
Learn how to render orange peel
texture, wisps of smoke, hair,
feathers, fur, and more.
#D7MC01 120 min. $39.95
BODYWORK BASICS
AND TECHNIQUES WITH
K-DADDY
Perfect for beginners wanting to

perform small body repairs. This video
includes all the materials and
techniques youll need for perfect,
seamless repairs of scratches, dents,
and holes on metal surfaces.
#D9KG01 42 min. $39.95
HOT
KUSTOMIZING
BOWLING PINS
INTRODUCTION
TO AIRBRUSH
BEGINNING AIRBRUSH
CARTOONING
DEBBIE EASTLACK
Debbie provides the best beginning
airbrush instruction ever seen on
video. This presentation is a must
for beginning airbrush artists.
The techniques and principles
demonstrated here can be used
for all airbrush applications.
TERRY HILL
The perfect video for beginners!
Terry will show you all of the
basics you need to get started,
including freehand control,
airbrush assembly, rendering
clouds and chrome, doing
dagger/flare/rat-tail strokes,
maintenance, and much more.
KENT LIND
For beginning and advanced
airheads, world-class artist Kent
Lind shows you step-by-step how
to tap into the very lucrative
business of cartooning for T-shirt
airbrush operations. Includes Linds
detailed demonstrations of five
hot-selling designs.
#D9VG01 89 min. $39.95
#D7DE01 90 min. $39.95
#D4TH01 83 min. $39.95
#D8KL04 62 min. $39.95
KANDY PAINTING
KUSTOM SNOWBOARD
GRAPHICS
HOW TO AIRBRUSH
T-SHIRT ACCESSORIES
FOR GREATER PROFIT
VINCE GOODEVE
Painting bowling pins is one of the
hottest kustom kulture trends.
Watch as Vince Goodeve, VQs
2001 Painter of the Year, renders
2 hot-selling pin designs in this
first video of its kind! Includes
prep, layout, and clear coating!
FRASER & GIULIANO

Kustom painters are often judged
by their ability to spray Kandies.
Kar Kustom masters Fraser and
Giuliano demonstrate the top pro
tricks of spraying Kandy urethanes
on cars, trucks, helmets,
motorcycle tanks, and more.
RYNO
Let Ryno show you how to create
bling-bling boards of the slopes
in a fun and fast-paced
presentation that includes bonus
techniques for applying flakes and
pinstriping.
#D9CF02 33 min. $39.95
#D1RT01 35 min. $39.95
INTRODUCTION TO
T-SHIRT AIRBRUSHING
KENT LIND
Take your T-shirt business to the next
level with world-famous airbrusher
Kent Lind, as he shows you how to
paint killer wristbands, key chains,
license plates, and other T-shirt
accessories for maximum profit.
KENT LIND
In this information-packed video,
Kent Lind shows you invaluable
practice drills, such as the zebra
and dagger strokes, rainbow and
pinwheel exercises, lettering drills,
tips on paint blends, fades,
shadows, and more!
#D9KL02 45 min. $39.95
#D9KL01 62 min. $39.95
TOP 25 T-SHIRT
DESIGNS, PART I
TOP 25 T-SHIRT
DESIGNS, PART II
KENT LIND
Kent Lind helps you build a highpowered T-shirt design arsenal in
this information-packed video.
Learn from the master and get on
track for higher dollar profits than
you ever imagined!
KENT LIND
Join world-famous T-shirt
airbrusher Kent Lind for Part II of
this exciting series. In this
revealing video, Kent kicks it up a
notch with 10 high-end designs for
advanced airbrush pros.
#D8KL01 135 min. $39.95
#D8KL02 100 min. $39.95
HOW TO AIRBRUSH
CARICATURES
CHEAP TRICKS AND

SPECIAL EFFECTS
KENT LIND
Caricatures are an important
attention-getting device for
attracting bigger crowds and
bigger profits! Join T-shirt guru
Kent Lind for a highly detailed
step-by-step on how to create
these top-selling masterpieces!
TERRY HILL
Terry Hill reveals his bag of tricks
for airbrushers of all levels. Learn
timesaving and money-making tips
with a hot new T-shirt twist design,
marble and granite techniques, and
more. This video covers a broad
array of useful techniques.
#D8KL03 68 min. $39.95
#D2TH07 82 min. $39.95
S!
3/28/08
12:45 PM
Page 71
800-232-8998
MOTORCYCLE TANK
SCULPTING
DENNIS MATHEWSON
Motorcycle tank sculpting is a
sensational new trend and a powerful
profit center. Mathewson shows all
the stepsfrom carving, to
adhering your molded shape, to full
completionto create a one-of-akind 3-D object on a tank or fender.
#D1DM01 40 min. $39.95
SKULLMASTER II
SKULLMASTER III
CRAIG FRASER
The art of the skull landscape, and
much more, to new heights in this
continuing DVD series about the
best, most innovative stencil line
available. This DVD guides you stepby-step through Skullmaster IIs 5stencil solvent-proof system.
(Stencils not included)
CRAIG FRASER
A continuation of Skullmaster I (the
most successful stencil set ever) will
elevate your work-flow, artistic
range, and earning power! Stencils
demonstrated include Return of
Skullmaster, Frontal II, Screaming
Skull II, Multiple II, and Lucky 13, a
bonus stencil. (Stencils not included)
#D8CF05 75 min. $39.95
#D8CF06 48 min. $39.95
Please specify if you want

DVD or Video when ordering
MASTERING
SKULLMASTER
CRAIG FRASER
Craig Fraser shares his top pro tricks
using Artool's Skullmaster stencil
series. Mr. Fraser developed
Skullmaster for T-shirts, automotive
work, tattoos, and more! Create
top-flight, professional designs with
Skullmaster and this video!
#D8CF02 58 min. $39.95
AUTO RESTORATION SERIES
ADVANCED METAL
SHAPING
Colton Hardison of the

internationally esteemed Steves
Auto Restorations, introduces the
many aspects and techniques used
in automotive and other
applications of metal shaping.
#D1CH01 32 min. $29.95
METAL REPAIR &

COLOR MATCHING
Heres a comprehensive DVD guide

to metal repair and color matching
on an vintage car from the staff of
Steves Auto Restorations, one of
the worlds leading hot rod builders.
#D1FR02 81 min. $29.95
SURFACE PREP &

BLOCK SANDING
This unique DVD guide to surface

preparation and block sanding from
the staff of Steves Auto
Restorations of Portland, Oregon,
one of the worlds leading hot rod
builders.
#D1FR01 72 min. $29.95
GROUND METAL
PAINTING
AIRBRUSH REPAIR &

MAINTENANCE
MARK REMLING
This highly detailed step-by-step
shows you how to grind and paint on
metal for one of the hottest kustom
kulture applications and art crazes.
This instruction culminates with a
bonus trendy tiki image.
DAVID MONNIG
After viewing this program, youll
never again want to throw away
your airbrush! David Monnig, one
of the leading authorities on
airbrushes and compressors,
demonstrates critical airbrush repair
and maintenance techniques.
#D1MR01 78 min. 39.95
#D7DM01 90 min. $39.95
HOT
CUT, BUFF & POLISH
Auto restoration masters David

Brost and Frank Roll demonstrate
on a dark-colored door and a
light-colored side panel of a car
how to achieve professional showquality finishes on any automotive
surface.
#D1DB01 110 min. $29.95
BODY LEADWORK
STEVE FRISBIE
Steve Frisbie, considered one of the
premier custom hot-rod builders in
the world, demonstrates top
professional leadwork techniques
on a 1934 Ford 3-window coupe
with repairs on the windshields
apiller, dent on the fender, and the
sealing of a welded body seam.
#D1SF01 48 min. $29.95
KUSTOM STENCIL F/X

CRAIG FRASER
Fraser strikes again! Learn an
array of dazzling, highly-profitable
stencil f/x from the most soughtafter line of stencils, including
Flamorama, F/X I, and Patriotica.
#D9CF08 70 min. $39.95
CALL TOLL-FREE TO PLACE A PHONE ORDER:
800-232-8998 INTERNATIONAL ORDERS: CALL 732-223-7878

TO SUBMIT AN ORDER THROUGH THE MAIL:
Clearly print your name, full street address, and telephone number. List the item number, video
title, and state DVD or VHS format. Include credit card information, check or money order made
payable to Airbrush Action Inc. All orders must be sent in US funds ($). See list below for shipping
charges, and NJ residents, please add 7% sales tax.
SHIPPING AND HANDLING CHARGES:

UNITED STATES: (UPS Ground) $7.50 1st Video; $1.50 for each additional video
AK & HI: $7.50 1st Video; $3 for each additional video
CANADA: (Air Mail Only) $9 1st Video; $2 for each addl
FOREIGN: (Air Mail Only) $12 1st Video; $5 for each addl
Additional charges for expedited shipping. Call 800-232-8998 for details. Prices subject to change without notice.
SEND ORDER TO:
Airbrush Action, Inc., P.O. Box 438, Allenwood, NJ 08720
MIRRACHROME,
GHOST CHROME &
CRYSTAL F/X
CRAIG FRASER
Chrome is in! Alsas amazing
MirraCrome and GhostChrome
paint systems are in strong
demand, and Craig Fraser
introduces you to their uses and
nuances for bigger shop profits and
competitive edge.
#D9CF05 43 min. $39.95
072_ABA_0806_LINES.qxd
4/4/08
2:33 PM
Page 72
BETWEEN THE LINES
FISHING,SO-CALSTYLE
FISHING,SO-CAIRBRYSHKSLLSS:ALSTYLE
lthough youve seen flames on
old hot rods, Harleys, and race
cars, have you ever seen them on
a 9-foot blacktip shark! I have to say that
painting sharks is a little bit more of a
challenge than painting flames on
automotive surfaces. The shark is awkward
to handle, and all of the contours of the
body make it difficult to paint and lay out
flames. But, the end result is something
else. Follow along step-by-step as I show
you how to paint a shark and have a cool,
or should I say HOT, piece of art for all
your friends to envy. >>
1. This shark was made of fiberglass, and is ready for some hot licks.
2. One of the most important

steps on any custom paint
job is surface preparation.
Here, I sanded the primer
with 600-grit wet sandpaper.
Be sure to sand really well
because the surface has to
endure a lot of tape; when
you unmask you dont want
to peal up your basecoat.
The result should be flat with
no imperfections.
LSTYLE
4/4/08
2:33 PM
Page 73
3
3. I base-coated the shark with PPG black. Because the base coat
is not a single-stage paint, you need only enough to cover the
surface. The clear will bring out the gloss, but thats a few steps
away. You must allow the base coat to dry completely before
moving to the next step. If all else fails, read the instructions on
the back of the can for mixing and drying times.
5
5. The flame pattern is taking shape and using
up a good portion of the shark. Its also
flowing with the shape of the shark.
4. When laying out flames I use 3M blue fine-line tape. On jobs like this, and
Harley tanks and fenders, I prefer the 1/8-inch variety because it makes turns a
lot tighter than 1/4-inch tape. Typically, I study the entire surface and mentally
lay out the flame pattern in my head. This really helps me with my approach to
the project. If you have trouble with this step and just cant lay out the flames,
commission a local pinstriper to do it for you. I do this for a lot of custom shops.
6a
6b
6A & B. With the flame layout complete, look it over carefully because nows the time to make any
changes if necessary. Now comes the fun part: masking. I use 1/2-inch and 3/4-inch masking tape
for this step. The 1/2-inch tape will stretch and contour to the curves better than 3/4-inch tape, and
then you can use the wider tape to fill in the gaps. This takes time, and make sure you take your time.
If you miss an area and experience bleed-through, you can fix the problem later after unmasking.
7
7. Only the areas to be painted are showing. In this step I painted
a flame-tip crossover.
8
8. I masked the rest of the shark and started painting the flames. For this
shark the customer wanted silver with charcoal-silver flame tips.
4/4/08
2:33 PM
Page 74
BETWEEN
THE LINES
9A, B, C & D. Back to the

flame-tip crossover. Notice
that I re-masked the flame tip
after the silver base was
painted because all the flame
tips will be rendered in a
darker silver, giving them a
little dimension and a nice
light-to-dark fade.
9a
9b
9c
9d
10
10. The silver fade on the tips is subtle. You can use any color for your
flames: single color, multiple color fades, pearls, candies; the skys the limit.
11. Unmasking is my favorite part because you finally get to see what
your job will look like!
11
13
12. I unmasked the whole

job, leaving the fine-line
tape for last. Be careful
when removing the fineline tape, or you may
peal up an edge. Just
take your time.
12
13. If you ever get the chance to paint a shark, use extra caution and
make sure its dead! (LOL!) Sorry, I just had to throw that in; the paint
fumes were getting to me. On that note, by the way, always use a
dual-cartridge respirator mask when spraying.
4/4/08
2:33 PM
Page 75
FOR YOUR
PINSTRIPING NEEDS.
CALL FOR OUR CATALOG
517-849-9272
NEW BRUSH OFFERINGS
COMING SOON!
TAKE A LOOK AT OUR WEBSITE
FOR A DISTRIBUTOR NEAR YOU:
WWW.MACKBRUSH.COM
INFO@MACKBRUSH.COM
N!
AREsIsue
S
W
E
EVI
this i
THE Rpage14 in
See
This Getaway Class is a MUST!!

May 15-18, 2008 Charlotte, NC with Brian Lynch
HOUSE OF KOLORS ART OF PAINTING

This may be the most important course on kustom painting youll ever take!
PAINTER BEWARE: If your
base and/or clearcoat is
not applied correctly,
your valued paint job is
headed for disaster!
This course will focus on the
most important aspect of art:
How to achieve and maintain
the structural integrity of
your paint job. Heres just a
sampling of some of the critical topics that will be addressed: The age-old myth
that It doesnt matter what the paint job looks like, Im gonna color sand it and
buff it (well demonstrate and prove that bad looking paint is a sign of incorrect
drying); how to avoid paint dye back (this occurs when the paint has too much
solvent in it, thereby preventing the necessary sequence of solvent evaporation and
the occurrence of cross-linkingthe interruption of cross-linking is why a paint job
wont gloss out!); how to make your artwork last forever; swirl marks and orange
peel; how the paint chemistries work; how to avoid over-clearcoating; color effects
and their optical qualities; troubleshooting, and much more.
DAY ONE: Spray gun handling, control, selection, setup, adjustments, gun
mastery, and maintenance (bring your gun if you own one). Youll learn how
to correctly spray to achieve various effects and maximize output using the
ideal air pressure specific to any application. Youll be able to recognize if your
gun is working properly and adjusted to its targeted purpose under any
climatic condition (high humidity, arid climates, cold conditions, and more).
You'll learn the various critical air supply topics, including compressors,
valves, and piping requirements.
DAY TWO: Surface preparation, including safety, mixing, sanding, blocking,
cleaning, and body filler and primer applications. Non-isocyanate products
will be used in this workshop environment.
DAY THREE: How to achieve a variety of effects using kandies, metallic sealer,
a variety of iridescents, MBC metals, use of different flake types, including
how to apply bigger flakes over smaller flakes, pearls over big flakes, etc.
Start of the class project, and more.
DAY FOUR: Project continuation, including taping for design, masking, spraying
against masks, layering, drying, fading, clearing/flow-clearing, and polishing..
BIO: Brian Lynch, Training Manager for House of Kolor, has been involved in the
automotive kustom painting industry for 35 years in the capacity of painter,
chemist, sales, and training. The opportunity to work with chemists in paint
manufacturing really bolstered my knowledge, Brian explained. After spending 20
years with three major refinish manufacturers, Mr. Lynchs unique and massive
experience will provide students with the fantastic opportunity to learn from a
technical wizard and accomplished professional who stresses consistent project
performance while preserving the creative ability kustom painters need.
REGISTER TODAY! CALL TOLL FREE: 800.232.8998 INTERNATIONAL 01.732.223.7878
4/4/08
2:33 PM
Page 76
BETWEEN
THE LINES
14A & B. Time to make it shiny. First, I used a
tack cloth to remove any dirt or dust. Dont skip
this step, because itll save you in the long run to
make sure the whole surface is dust-free before
14a
14b
clear-coating. Please, take your time with the
clear coat; this step can make or break the job! If youve never painted, read the directions on the back of the
can. They tell you everything from mixing ratios, drying times between coats, overall drying times, etc. If you
follow the directions, and with a little practice, you can apply the clear coat flawlessly. Good Luck.
Styles www.socalpinstriper.com
15a
15b
WHAT YOU NEED TO PAINT A SHARK
The source for sharks: the ocean, if youre lucky

enough to catch one. Or, the easiest way:
thefishman.net or coastairbrush.com
600-grit wet/dry sandpaper
1/8-inch 3M blue fine-line tape, masking tape,

and masking paper
PPG base coats and clear coat
One Shot pinstriping paint
15c
15A, B & C. Finally, after the beautiful clear coat has been applied and is dry, its time to get down
to business with the pinstriping. This step is also one that you might want to commission a local
pinstriper to do. But, give it a shot anyway; you can always wipe it off with some mineral spirits.
4/7/08
12:28 PM
Page 77
ADVERTISING
INDEX
GET NOTICED!
Airbrush Action Back Issues . . .6061

Airbrush Action DVDs . . . . . . . .6871
Airbrush Action Digital . . . . . . . . . .42
Airbrush Getaway . . . . . . . . . . .4349
Art Esprit . . . . . . . . . . . . . . . . .7881
Artograph . . . . . . . . . . . . . . . . . . .31
Artool . . . . . . . . . . . . . . . . . . . . . .21
Auto Air Colors . . . . . . . . . . . . . . .17
Blair Scool of Art . . . . . . . . . . . . . . .3
Coast Airbrush . . . . . . . . .67, 6667
Dixie Art Supplies . . . . . . . . . . . . .53
Dura-Block . . . . . . . . . . . . . . . . . . .2
Harder & Steenbeck . . . . . . . . . . . .55
Hot Plates . . . . . . . . . . . . . . . . . . .77
House of Kolor . . . . . . . . . . . . . . . .5
Iwata-Medea . . . . . . . . . . . . . . . .15
Lethal Threat . . . . . . . . . . . . . . . . .75
Mack Brush . . . . . . . . . . . . . . . . . .75
Moseart.com . . . . . . . . . . . . . . . . .77
Rippin Clipz . . . . . . . . . . . . . . . . .59
Roland GX-24 . . . . . . . . . . . . . . . .11
Sata . . . . . . . . . . . . . . . . .Back cover
Silentaire . . . . . . . . . . . . . . . . . . .83
Sketchme.com . . . . . . . . . . . . . . . .77
Sorayama . . . . . . . . . . . . . . . . . . .59
Temptu . . . . . . . . . . . . . . . . . . . . . .8
Wizard Video Boot Camp . . . . . . .82
EXCLUSIVE
OWN A PONNO MASTERPIECE!

SIGNED, LIMITED EDITION GICLEES!
Alberto Ponno is the worlds leading Formula 1 artist,

and this Ferrari-commissioned painting is now available
exclusively through Airbrush Action magazine.
These signed & numbered limited-edition fine art Gicles are printed
on 140-pound Somerset Velvet Fine Art Archival stock.
Size: 28 1/2 x 20. $295! (Plus shipping & handling).
Order Toll-Free
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Est.
078_ABA_0806_ART ESPRIT.qxd
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ART esprit
4:08 PM
Page 78
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ART esprit
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3/31/08
4:08 PM
Page 80
ART esprit LEARN VALUABLE TIPS FROM EXPERIENCED PROS!
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Wizards
Page 82
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4:42 PM
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C1-ABA_0806_COVERS.

14. THE SMASHING NEW GETAWAY LINEUP

16. GHOST FLAMES By Russ Gerner

20. THE DRIVER OF DOOM By Craig Fraser

32. JENNIFER JANESKO: PART 2 By Dru Blair

40. BODY ART UNLEASHED By John Maurad

4 AIRBRUSH ACTION | MAYJUNE 2008

50. PARTY ANIMAL APPEAL By Terry Hill

58. HOKS URETHANE FLESH TONES

62. HOG TRIBAL By Jeff McCann

72. SO-CAL STYLE SHARK By Jeff Styles

publisher and executive editor Clifford S. Stieglitz

P.O. Box 438, Allenwood, New Jersey 08720

Airbrush Action (ISSN 1040-8509) is published

Send all remittances, requests, and address changes to:

NEW AUTO AIR COLORS DVD RELEASE

ARTIST ANH PHAM BRINGS A WICKED

MACK BRUSH ACQUIRES LAZER LINES

THE NEW SATA RPS

NOT YOUR AVERAGE DECAL

>> WELCOME! THIS COLUMN IS HERE TO

Im having trouble determining what pressure

The recommended air pressure for airbrushing ranges from

QUESTIONS? Wed like to hear some from you!

Build your mastery of pinstriping

KUSTOM STENCILS MADE FAST & EASY!

ONLY $ 1,695 ( Reg. 1,995 )

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INTERNATIONAL CALLERS 732-223-7878

ONE DEVICE FOR A WIDE

THESE ARE SOME FINER EXAMPLES OF OUR READERS WORK:

SCOTT BEROSIK / PRO ART CUSTOM PAINT

12 AIRBRUSH ACTION | MAYJUNE 2008

NEW GETAWAY CLASSES A BIG HIT

I had a whole different vision of what

The students intensity was

The consensus of the 12 students echoed the same sentiment. Ed

GIVING THE CUSTOMER WHAT THEY WANT IS MY MISSION. In

1. The vehicles existing finish was in great

For this particular paint job, the customer wanted wild

2. Over the dark sealer, I applied Auto Air

3. I applied four coats of Sparklescent

4. After allowing the base color to cure

5. Using an overlapping flame design, I traced

6. Then, I connected the lines where the flames

overnight at 55-degrees Fahrenheit, I applied

the pattern onto the tape. The flames start just

overlapped. These lines will be cut away, too. I

7. I cut away all lines being careful not to push

8. Using 1/8-inch tape, I re-created the

9. I applied three light coats of Gem Sapphire

overlapping lines within the flame. The

for the graphicsits a royal blue-to-nothing

11. Working with minimal amounts of material,

12. After letting the paint air cure overnight, I

10. For the dimensional shadowing around the

13. The finished job.

AUTOMOTIVE ART & ILLUSTRATION TECHNIQUES

HIP HOP BIKE ARTIST

CALL 800-232-8998 TO REGISTER TODAY. (OUTSIDE THE U.S. CALL 01-732-223-7878)

Kustom Painting Gabe McCubbins Big-Bertha Lefty

4. After giving the club a half-hour to cure, I used

5. Switching to the mini version of the Son of

7. Heck, I had a whole mess of minis lying