The Universal Tool
The airbrush, like the paint brush, has limitless
applications and can be used wherever a fluid needs to be applied in a
mist or spray (without brush strokes and without touching the surface).
It is thought of as the artist's tool for illustration, acrylic painting
on canvas, renderings on a flat, two-dimensional surface, or T-shirts.
However, once an artist gets his or her hands on an airbrush, it can be
used for many different applications; so many, in fact, that it makes
the airbrush an essential tool in the studios of all artists, no matter
what the discipline. Some examples follow:
Framer--The airbrush can be used to paint
frames, apply varnish to frames, repair scratches and dings in metal
frames, customize mats to specific colors or designs, add stenciled
images to mats, or paint on the glass.
Sign Painter--Vinyl lettering has become
extremely popular in the sign industry, and the sign painter has
discovered how he can customize vinyl lettering with the use of an
airbrush, making standard colored letters appear to be wood or chrome or
neon. The airbrush is used to work on wooden, plastic, and metal signs,
glass signs, and signs on the sides of trucks and buildings. The size of
the sign determines which spray tool is used. Sign painters utilize an
array of airbrushes plus various sizes of spray guns.
Hobbyist--Life for artists doesn't always
begin and end at the easel. Most have hobbies. The airbrush is used in
modelmaking to paint plastic models from Creature Features to Star Trek;
toy train fanciers use the airbrush to develop not only dioramas, but
individual train pieces as well to impart a realistic appearance of soot
and rust. Remote-controlled airplanes and boats are also ideal objects
for airbrushed designs or embellishments.
Silk Painter--The delicate spray of the
airbrush is well suited for the spraying of silk dyes and can be
combined easily with brush and resist techniques. Most silk dyes come in
a state that makes them easily sprayable.
Wood Carver--The airbrush is a handy tool
for the woodcarver, especially one that carves decoys. The luminosity of
the Mallard duck's neck is developed with overlapping airbrush passes of
metallic colors. When done properly, it is indistinguishable from the
real thing. The carver who does fish decoys or bald eagles may have an
airbrush at hand to aid in the development of realistic color or for
clear coating an unpainted carving.
Sculptor--On metal, the airbrush is used
for patina; on plastic, for color; on clay, for glaze. The airbrush
lends itself to painting three-dimensional objects and will apply
materials to these surfaces so their appearance is equivalent to those
factory produced.
Printmaker--Whenever an even coat of ground
needs to be sprayed to a plate, an airbrush or spray gun can be used.
Stippling techniques can be employed to develop a pointillist effect.
The airbrush can be used to spray tusche onto a lithostone or a
silkscreen or to spray paint or ink through a silkscreen to add a
vignette or create a monotype appearance.
Photographer--And let's not forget photo
retouching and photo restoration, the original reasons for the invention
of the airbrush in the 1870's. In today's world, a digital photograph
can be taken, downloaded into your computer, manipulated and printed out
on a color printer, enhanced and retouched with the airbrush, scanned
back into the computer, and put up on the Web for viewing.
Once an artist knows how to use an airbrush, and
it's easier than some may think, he or she will discover many uses for
it; and none of them will be perceived as "airbrush art!"
For a complete tutorial on the basics of airbrush
technique on the Internet, go to AirbrushTalk
Air brush technique lesson written by Arttalk.com
This winter's airbrush tips
Hand-Held Templates and Shields
In airbrush technique, stenciling is referred to as "frisketing." A frisket is a self-adhering (adhesive-backed) material that is cut as needed. But other tools that are often used in airbrush technique to develop shapes or images are templates and shields. These are used in all applications from T-shirt painting to technical illustration. They can be either purchased or handmade, and there are several manufacturers of airbrush-specific templates and shields.
A template is usually a manufactured stencil of a given image--a star, an ellipse, letters, etc., while a shield is usually a random shape that is utilized by artists to develop objects. Both are made from a variety of materials--acetate, mylar, cardboard, paper, etc. Shields made from transparent or translucent materials are preferred, since you are able to easily adjust their position for perfect registration. Unlike frisket film, which adheres to the surface of the artwork, templates and shields can be moved around while you airbrush and therefore afford more flexibility.
Following are some tips to consider when both selecting and using these tools:
1. Be cautious of the thickness of the template. If too thick, the edges will block the spray; if too thin, the air pressure will make them flutter and spray will leak under the edges. A 5mm thickness should be considered the maximum.
2. Insure that overspray does not drift. If working with a template that has many openings, you must make sure that those not being used are covered so that overspray does not drift into them and give you a ghosted image. Also be sure the perimeter is covered so that overspray will not pick up the outline of the template edges.
3. Be cautious of building up the paint too quickly, since these tools are not adhered to the surface. If paint is too wet along the edge of the template, capillary action will draw the paint up underneath and destroy the effect you are striving for.
4. Plastic-based templates should be cleaned off regularly while being used so you do not inadvertently transfer wet paint onto the work as they are moved around. Paper templates, on the other hand, are more difficult to keep clean and don't have the advantage of transparency.
5. When working with non-water-soluble paints--such as automotive, enamel, or lacquer--use templates that are solvent-proof. If you spray lacquer, for example, onto a non-solvent-proof template, it will curl, warp, or be consumed.
6. For tight, exacting edges, templates can always be coated for adherence to the work surface by spraying the back with a repositionable spray adhesive. Do not overcoat the template with adhesive, and make sure when you remove it that no adhesive residue remains on the artwork.
Templates and shields, in conjunction with frisketing techniques and freehand airbrushing, give artists unlimited possibilities in the development of their artwork.