Airbrush Step-By-Step - March 2020 UK

INTERVIEW SPECIAL: WAYNE HARRISON I DANEEN BRONSON I BERN FOSTER I NATHAN MAKRIS
in s p ai n.
th Amen
. ca
eet s sou
•
Europe m
•
•
• I
•
•
•
•
. t
medien & design
('tj
oq- 0
Ln 0
0)
•
0 co
z ('tj
-
0
N N
......
""' 0)
0 �
w N
::::;) ,.._
\n ,.._
\n
-
•
on an ev1ce
e ISSUe
�\t'ntu�n _,
n.e'Na.t\ mec1\en '&
��t. M 1)'1 'IPMI
....
.. ...-
'\0 \liP..\""
\\O'fi
1\,il
f "l �• " • ' · ' * ' O, I I o'l' r"

'
.... -.
.. .
.�. - r..... .. ... -·· · ·
.. � · .....� .
..._
...,.
_ _ ._ _
. ...:
..,... _ ... . . .. ...,.. _ _
..
.._ , �..·-·J-
... .. --.
...
...
:':
-·-
"-
�...... � ; .. . ..... ..-�..,
"'"" .., .. -.
. . ......
�
•
,..
...
4-•··-·'"""'' """'-•r•t..... . j..._
_ .... .. .
_....
_
·-�---
01 ,.., ............... ·- �-· ..-.�--. ·�-..-
,
-
•
. . .. .... ...
... .. .., .,_, r4.,�.._,. .
_ _,.•..,,,.,._..._.,_
I
• +W .. , .. . . ..,.. . ... .... .. .. � · ···- v., .... - , ...
...,, ..,... ,.. ,• • , ., ._ -- • •• · - - ou,.. - • • I
1
· ·· -� ·--. · - · -· - -· - .... . .....- ..._ ... '
··rl- .__,.._.,.._........ ,___ .. ...,_�.- .... .......- . •
-·•• """"•""'' .-.....�.-........_ •F••••· • I
_,.,.,..,.._....,.,......_... '
I
,
....,. .,•• - . .. ....,., '''�""'""'·• •••t�..,.....•'•-- I
� _.,. ..... ... ... . _.,. ... -...... -- •
......, .,... .,••-,. oodl••• l.,.,., ••• ,...,. ,.,...., ., I
I
�"""'........�•.,. .... ·-......-··-*"'•1_.....�"' j
..
...
.-..- - - ·- -
� n-,_ -,...,.
� .,_.
.
,
- - - .
I 1 VliiW
,.,..,,._, .. _,_.
� , . ,. . . ... ..... ... . . . . . _
_
.. ....
.. . . .... .. . . ,. ...... . .... �.
J
I I
··- -· . .. . ... . . .. .....- � -
.
I ... ... ...

..
..... . ..... .
.
�,"'.,
..... "' ' "......-
. �� -..-.. .....
' I .. ., .. - - P.· - ·
· "" - -·
I _ ... .. ow ...u • ·-· � . _... . ...
I 1··· ... -·••·�··•·• ....
....
I ..... ..
.
.. .
............,..·� ...
I t ...
.. .
�- - - - -'
I I
..
I - -
-
•
( 04 Captain Salazar
Fun Ride Painting
With a murky look, a wafting hairdo, and a crumbling face,
Salazar glares right into your face. Brazilian "Aerobrothers"
Some people a lways have to nag ! The proportions aren't correct here, Ezequias Lopez and lzaque Sousa created the living dead for a
the shad ing is off there. There's too l ittle contrast. The edges aren't fun ride vehicle.
sharp enough. There's too l ittle or too much texture i n this, this or that
area . . . . Does this a l l sound fa m i l iar to you? Artists can be pretty dog 10 Latex Girl
Pin-up
gone critical when viewi ng artwork and heck, every artist is usua lly his Being influenced by the great artists of the 70s and 80s,
or her own worst critic, right? Who can then be blamed for wonderi ng the Spanish artist Bern Foster continues the tradition of
that the art mugg les be they exh i bition visitors or those contracting
II II,
erotic robots and sexy girls with his artworks until today.
the artists, burst i nto the highest form of rapture once they see the
oh so messed up piece of art?
II II
46 Stormtrooper
Guitar Design
Brazilian artist Neimar L. Duarte brings old guitars back
For professional reasons, we here i n the editorial staff must unfor to life and turns them into unique fan art pieces with his
amazing Star Wars design.
tunately also " n iggle around" on certai n works. B ut something that
should never be forgotten is that this is critique at a n extremely high
level ! Artistic ta lent and the passion for painting are g ifts that are not
bestowed upon everyone. If you have them, you should be very thank
fu l and make sure you put them to good use. If you've got that art
vi rus, you're just going to have to g ive i n at some point and sometimes 18 Chrome Fascination
hazard the consequences, as the examples in this issue will go to show. Interview with Bern Foster
At the age of 9, Bern Foster from Spain discovered his love to
sexy chrome robots which he never let go even when being
Span ish artist Bern Foster cou ldn't get Soraya ma's Sexy Robots off an adult.
his mind ever si nce he saw them i n a magazine for the fi rst time at
the tender age of 9. Then, 20 years later, he turned his passion into a 26 Wayne Harrison -the Australian
secondary occupation, which takes u p a l l of his free time. American Airbrushing Pioneer
Daneen Bronson also had to go through a number of battles with her Interview
Australian Wayne Harrison is telling from the beginnings
parents i n order to get permission to use the household nu rsery and
of the airbrushing era, what moves him forward and what
the garden to paint motorcycle parts. Wayne Harrison from Austra lia keeps him inspired.
even began his artistic career in a juven ile detention center. He can
thank his talent for later getti ng his l ife on track - and making it q uite 32 Ahoy, Nathan Makris!
successfu I. Making-of and Interview
Nathan Makris turns office rooms into ship engine rooms,
hospitals into Tuscan landscapes and wall protrusions into
Nathan Makris proved to his countrymen that you can earn a l iving phone boxes. Let's take a look at the Greek artist's illusion
with wall m urals i n crisis-ridden Greece. H is elation is so euphoric that and mural painting.
he'd love nothing more than to share his passion and knowledge with
many people and went a bout opening the first a irbrush school i n
54 Motorcycle Parts on the Trees
Interview with Daneen Bronson
G reece. B razil also isn't a place where the prerequisites for making Georg Huber met the successful airbrush artist Daneen
a l iving on your artistic talent can be considered rosy. N onetheless, Bronson in California, who at the ripe young age of 17 was
already more into motorbikes and heavy metal than your
brothers Ezequias lopez and lzaque Sousa have a lso fo und their niche
typical "girl stuff".
there with the painting of veh icles and carnival items. Thei r country
man Neimar l. Duarte is wel l-known i nternationally for his successfu l
g u itar and custom pa i nting .
Practice, practice, practice - practice ma kes perfect. You learn from er
rors and thus, you should never give up. These are a l l tips we've heard 22 Airbrush-News
Time for new gadgets
from every single successful ai rbrush a rtist we've encou ntered . Being
self-critical and listening to other people's opin ions a re a lso important.
37 Readers' Gallery
B ut you should a lso never forget to va lue and even cherish your own From ice planet to a match
capa b i l ities !
60 Scene I Events
With this a l l i n mind, here's wish ing you a l l a happy, safe & successful International Artist Meetings in Spain and Germany
2020!
74 Shopping Guide
Everything for a good start to the new year
You r ASBS Editorial Staff
75 Preview
Aliens on Route 66
01/20 E AIRBRUSH STEP BY STEP 3

W/////..._
(:
•
"
.
. ..
.
•
•
"" � "
..: .. •
• 1:
'
•
•
• •
•
•
•
•
Salazar's Revenge is one of those works comple bean - Salazar's Revenge" glares right into the
ted by Brazi I ian "Aerobrothers" Ezequias Lopez face of any and all onlookers. The brothers, both
and lzaque Sousa that simply can't be overseen. of whom earn their money as professional vehicle
With a murky look, a wafting hairdo, and a crum designers, go about creating their motifs comple
bling face, this member of the living dead from tely per freehand.
the similarly named movie "Pirates of the Carib-
4 AIRBRUSH STEP BY STEP 01/20 E

•
Gaptain Salazar I STEP BY STEP /////M
Sketch Background
We decided to create our picture on a sheet meta l Using a l i g ht-yel l ow color and orange color h u es, I
p late. For this, I began by making a sketch with the color design the pictu re's backgrou n d . I apply the orange color so
black. mewhat prog ressively beg i n n i ng in each of the four corners
and movi ng i nwards .
• •
• •
• •
• • • • • •
•
•
•
•
Sai lboats Shady areas

Per freehand, I sketch several b l u rry silhouettes of I now beg i n creating Salazar's shady areas extensi
sa i l boats i n the background. I add some fine white h i g h- vely with g ray. For this, I a i rbrush the hair i n the d i rection of
1 ig hts onto the masts. g rowth, creating the darkness i n his cloth i n g as wel l as the
left side of the face, which is twisted away from the source
of l ight .
•
•
• • •
Further darkening
I n the lower portion of the pictu re, I darken u p his
cloth ing with some more black and add in some pure orange
i n order to reta i n the warm color scheme fou nd i n the back
g round.

W///// STEP BY STEP I Captain Salazar •
•
•
White details Sl ivers

With white, I now add in the l i g hter areas. I n With 90% b lack, I now darken the h a i r even more
Sa lazar's face, I esta b l ish the individual debris frag ments. by p u l l i n g out the stra ins i n the d i rection of g rowth. I a lso
Thanks to the l i g ht shading, they end up having shape a n d use this opportun ity to add i n the sl ivers that are then w h i r
th ree-d i mensiona l ity. I place emphasis on the wh ite i n the l i ng a round i n the a i r due to the dissol ution of Salazar's face.
eyes a n d throw i n some poi nts of l i g ht. I n the l i ps, I d raw i n To do so, I draw various forms of sma l l poi nts right on u p to
the cracks and the stra ins of h a i r, g iving them reflections o n the recta ng les i n order to converge better with the shape
their u pper surface. On the clothi ng, I start bringing out the of the seg ments i n his face. Any pa rts that should optica l ly
material texture, the wrinkles, and the edges of l i g ht i n the a ppea r to be further away a re g iven a l ig hter coloring than
materi a l . those located in the foreg round.
•
• . l
•
, .
•
•
•
..
"
•
..
�
•
•
•
•
•
•
• ,.
•
..
• •
•
•
•
•
Black details Right half of the face

I continue here with b lack a n d trace i n the dark I now spend time elaborating on the dark shady
parts of the face, namely the brea king edges, but al so the a reas i n the jacket and add additiona l deta i l s to it a l l . On
furrows i n the l i ps, the wrinkles aro u n d the eyes and nose as the lighter, right side of the face, I complete the cracks while
wel l as the flat shad ings i n the half of the face that is turned add i ng shadow and deta ils to the eye. I n the area a round
away from the l i g ht. the h a i r on this side, I take the color wh ite and a l ready start
expa n d i ng on the structure .
•
•
•
I .
..
• • •
•
..
•
•
•
•
•
• • I·
•
• ' ' • •
• •
•
• •
, ..
•
•

J
•
Black/White alternating
Going back and forth between wh ite and black, I add l i g ht and sha
dow, b r i n g i ng everyt h i ng into ba lance and make the l i nes more precise so
that Salazar rea l ly gets his very disti nctive facial expression and his sinister
l ook.
•
, .
.. •
'
•
• •
•
• •
•
•
...
•
•
•
•
'
I·
•
•
•
• • • •
•
•
•
•
Glowing sparks
With yel l ow, oran ge, and white, I now add some sparks and g l owing
particles. I a lso make sure that the viewer can start seeing some fire in den
cracks between some of the fragments and debris .
•
•
..
• >
•
•
W///// STEP BY STEP I Captain Salazar •
•
•
Finished
Now I just add my sig nature at the bottom and this Captain Salazar is ready to g o !
..
- .
"
,
• •
.. .
The Brazil ian Aerobrothersll Ezequias Lopez and lzaque Sousa joined forces in
II
1 998 to further deve lop artwork in the field of airbrush ing . The brothers taught
themselves how to work with the device from scratch. There were a lot of hurdles
to overcome at the beginning, because the Internet wasn't yet avai lable for eve
ryone and there were hardly any ways in which they could see common ai rbrush
work and see how their productions measured up. As such, the brothers could only
real ly make use of airbrushing books and magazines during this point in time.
Nowadays, the Aerobrothers are able to make their l iving from their ai rbrush art
work. They've since become specialists in conducting work for leisure and amuse
ment parks. In addition, Ezequias Lopez and lzaque Sousa conduct airbrush works
for customers on motorcyc les, helmets, trucks, etc.
Q Facebook: @aerobrotherspage

I
www. ar _ er-a1r ru s . eu
W///// STEP BY STEP I Latex Girl ,
Level 0
Pin-ups are the biggest passion of Bern Foster. the tradition of erotic robots and sexy girls with
•
Being influenced by the great artists of the 70s his artworks until today. His painting technique
and 80s such as Boris Vallejo, Drew Struzan and is a mixed technique using penci I, acrylic brushes
Hajime Sorayama, the Spanish artist continues and airbrush.
•
10 AIRBRUSH STEP BY STEP 01/20 E •

Latex Girl I STEP BY STEP /////M
Airbrush: Iwata Revol ution CR Further materials: Artog raph Flare 1 50 projector, trans
parent paper, m irror, ruler, Kuretake Zig Menso brush,
Paints: Soft Body Liquitex Neutral G rey, Mars Black, Si pencil Tombow 2H, F oder B, mechanical penci l Pentel
enna, Ceru lean B lue, Pure Red, Pyrrole-Rot, Paynes Grey, Graphgear 0,3 und 0,5 mm, haird ryer, Staedler eraser
Ochre, Violet and Titan White pencil, Derwent Electric reaser, pencil fixative, ceramic
palette, shower head as reference
Surface: Crescent Board 200, size 50 x 75 em
Draft/Sketch
First at a l l , I had i n my head a female character wea
ring latex o r rubber cat suit. This type of cha racters is rea l ly
sign ificant i n my art. I developed the rough idea on a blank
paper, and conti nued work i n g on the d rawing using tracing
paper u nti l getting the d raft sketch done. I use the tracing
paper to draw deta i l s over the drawing l i ke reflections or
correct the poses, ang les, etc. I also pri nted a sym metry of
the d rawi ng to check i m perfections or u nsatisfy i n g poses. I n •
this case, I have cut the head to correct the angle and the
length of the neck. I used d ifferent references pictures taken
from Playboy magazine and ru bber fashion magazi nes.
Scaling the d raft sketch

Once the d raft sketch is fin ished, I tra nsferred it to
a Crescent board 200 (20 x 30 inch) using a n Artograph Flare
1 50 projector. Before this, I have scan ned the sketch, saved
on a USB pen d rive, and plugged i n the projector. For smal
ler i l l ustrat ions, I just use the tracing paper to transfer the
d raft sketch onto the board, but with bigger sizes l ike this,
I use a projector, which helps me to sca le the d rawing rea l ly
fast. Then I just need to d raw over the projection with a me
chan ica I penci I .
Drawing
You can see now the fi rst l i nes of the d rawing on
the i l l u stration board. After th is, I correct some l i nes of the
body, l i ke the curvatures and those l i nes that need to be
more defined, using a mechanical penci l and a ruler if neces
sa ry.
01/20 E AIRBRUSH STEP BY STEP 1 1

W///// STEP BY STEP I Latex Girl
Shading the sketch with acrylics

I deta i l the face with the mecha n ical pencil care colouring dark a reas, a n d creating a mix with black (Liqu itex
ful ly, using a m i rror to check the reflection of the face and Mars B l ack) to paint the da rkest areas. I use cera mic pa lettes
check i rreg u larities i n the eyes, mouth, etc. Looking at the to mix the col o u rs and J a panese Menso brushes. I n this case,
symmetry i n the m i rror a l l ows me to have a fresh view on the I use a Kuretake Zig Menso brush.
model and detect errors immed iately. Then I use g rey acryl
ic colour (Liqu itex Neutral Grey) m ixed with water to start
Creating grad ients with pencil

I use penc i l s to create g rad ient tones between the Pentel G raphgear (0.3 and 0 . 5 mm) for the mechanical pen
black and g rey tones. I a lso use mecha n ical penci ls for fine ci Is.
l i nes. For the pencils I work with To mbow (2H, F, or B), and
Creating the reflections

At this point I need to be sure of how the col o u r arms are going to reflect each other to create a n effect of
of the background is g o i n g to affect the colours a n d reflec glassi ness. For this I have used a meta l l i c shower head as
tions i n the catsuit. I also need to consider how the legs or reference.

Fixing the d rawing

Once the final drawing is fi nished on the i l l ustrati er to make it dry faster. I a pply now a layer of water to the
on board, I apply a pencil spray fixative over the sketch to board with a big brush to help to work with acry l i c wash.
harden the pencil l i nes. These l i nes wi l l be visible in the final While the board is drying, I think a bout the colour tones I
i l l ustration, g iving texture to the character. I used a h a i r dry- a m going to use.
Applying the base colour to the skin

For the skin tone, I have m ixed raw sienna and neu with the col o u r, I apply a layer to the skin and the h a i r. Then,
tral grey to get a desatu rated ochre colour. I apply water to I use the a i rbrush using the same colour i n those wide areas
the mix to create a very t h i n acry l i c wash. Once I a m satisfied of the face and h a i r to create g radient tones.
Pre-detailing the face

Then, I continue deta i l i n g the
skin and h a i r with the fine brush and
the same ochre colour i n the darkest
a reas. I a lso use thin layers of red co
l o u r (Liqu itex Pure Red) to start colou
ring some red a reas l i ke the l i ps, nose,
o r cheeks. This w i l l make the skin be
more a l ive. I use a h a i rdryer to accele
rate the drying process and keep detai
l i ng.

Applying the base colour to the body

I have created a b l ue-grey tone using Pyrrole red acry l ic wash and a pplied a fi rst layer as the base col o u r. A
and Ceru lean bl ue, a n d Payne's g rey for the base colour of second layer is a pplied to i ntensify the col o u r i n those a reas
the cats u it. I added water to the m ix to create a very t h i n where necessa ry.
Adding blue tones

Then, I have used the a i rbrush (Iwata Revo l ution
and Iwata Medea Smart Jet com pressor) with Cerulean B l ue
to create blue tra nsitions i n the catsuit. I a lso use the brush
to apply this blu e i n sma l l er a reas. This colour represents the
reflection of the sky.
Highlights
I use a Staedler eraser pencil to create soft h igh- eraser fro m Derwent to create the brighter h i g h l i g hts i n the
l i g hts i n the catsuit and the skin. I a lso have used a n electric catsuit.

Shading
I col o u red the shad i n g using
Payne's g rey to the darkest areas,
a n d deta i l s i n the h i g h heels, co rset,
clothing wri n kles, etc.
Lime
Green
now
available!
Specifically engineered to repair bent and damaged airbrush needles
www. SharpenAir. com

Background
I do not use to make complex backgrou nds when a big watercolour brush to apply grey col o u r. When the sur
doi n g Pin-Up a rt. It deviates the eye out of the cha racter. face is wet, I only need to pa i nt a brushstroke with the co
I n this case, I wanted to use grey and the same ochre colour lour and it wi l l blend easi ly.
used for the ski n, which add to the i l l ustration being in the
same colour. So to create texture i n the backgrou nd, I have
a ppl i ed water to the backg round with a big brush and used
Body details
Once the background base col o u rs are appl i ed I can with the ochre colour i n the background. I conti n ued detai
now use these colours to paint the reflections i n the catsuit l i n g the catsuit again with dark colours using Payne's grey,
l i ke legs or the arm, using the same ochre colour used for and m ixing l i g ht b l ue violet with tita n i u m wh ite for some
the background. Doing this, I let the cha racter be i ntegrated h i g h l i g hts.
Masking the body

Before a pplying the a irbrush to the background, I of the body with a fine cutter knife, and removed the mask
have masked the whole body except the head with Fris ket from the backg round a reas.
f i l m . After th is, I have cut carefu l ly the mask on the edges

Airbrush ing the background Final details

Once the body is protected with the mask, I have I conti nued deta i l i n g the h i g h l i g hts and shadows i n
appl ied the same ochre colour I used for the skin with the the h a i r using tita n i u m wh ite, raw sienna, and black mars.
a i rbrush to work on the background again to create soft I a i rbrush again the hair with the ochre co l o u r to tint the
g radients on it. I a lso appl ied the a i rbrush to the h a i r. When h ig h l i g hts, and keep deta i l ing the h i g h l i g hts with the fine
d o i n g th is, I blend the h a i r with the background creating a brush. To check i m perfections, I have pri nted a symmetry of
sensation of deepness. The masking film i s now taken off the i l l ustration to make corrections if necessa ry.
careful ly.
Airbrushing final highlights

F i n a l ly, I have used the a irbrush with tita n i u m wh ite
to paint the h ig h l ig hts on the catsuit. Th is g ives a s h i ny look
to the rubber/latex material.
Bernardo Bejerano, known professiona lly as Bern Foster, was born in

1 986 in Cadiz, Spain. Al ready at very early age he showed a lot of in
terest in art and was always lost in his imag ination drawing all kinds
of fantasy art and landscapes. He graduated as Electronics Engineer
in 201 1 in School of Engineering of Cadiz. He has since worked in
Spain, Chile, and Un ited Kingdom as Design Engi neer in the Auto
motive Industry and Energy. Despite being always surrounded by art,
Bern never considered art as a career but continued to work on it as a
passion in his spare time. He started in 20 14 as Freelance artist, doing
digital i l l ustrations for music productions and agencies, and soon af
ter started to work doing traditional i l l ustrations with acrylics. Wor
king as an engineer funded his passion for arts, giving access to more materials and resources. His art is clearly infl uenced
and skil led by artists like Haj ime Sorayama, or Boris Val lejo. Bern uses Hajime Sorayama's technique to paint exotic Pin-Up.
Q www.bernfoster.com

It is really special when a nine year old boy dis the story of Spanish artist Bern Foster who is
covers his love to sexy chrome robots which he bringing to I ive his early inspirations in new art
never let go even when being an adult. This is works over and over again.
Hello Bern, how d i d you come to you r special art? i n this moment when I was a b l e to learn and apply the tech
niques to make my i l l ustrations.
Bern: S i nce I was a kid, I felt a special attraction to book/
magazine covers from the 70's and 80s, especia l ly i n science What do you like about your field of art?
fiction a n d fantasy book covers. I l l ustrators l i ke Boris Va l le
jo, Drew Struzan, o r Hajime Sorayama were a big infl uence Bern: I try to create characters or poses that we are not used
i n my c h i l dwood . When I was 9, I was reading a Spanish ma to find i n the rea l world. I l i ke women, they a re my font of
gazine ca l led ,Conocer", and there was a bea utiful fema l e i nspirations. I a lso find that shiny meta l l i c chrome is rea l ly
robot picture in a p u b l ication a bout artificial inte l l igence sexy. H u ma n bod ies are very fa m i l i a r to a l l of us, and m ixing
and robots. It was a picture of Sorayama's sexy robot, pro it with s h i ny meta l l i c meta l can be real ly exot ic and interes
bably the strongest i nfl uence i n my a rt. ting.
After years stu d i ng and working as a n Engineer, I started I l l u strations from the 80s were l i ke a d ream for me when I
my career as a n a rtist i n 201 3, doing d i g ita l i l l ustrations and was a kid, and someti mes I felt i m potent because there was
3D cha racters, and once I was financia l ly capa ble, I started noth ing I could do with that art except watching it. So ha
i nvesting i n a rt materia Is, buying acrylics, penci Is, etc. It was ving the ski l ls to develop the style that i nspi red my a rt from

I ()STER
my chi ldwood is l i ke a g ift and what I most l i ke of it. them use d ifferent tech n iques, but are a huge font of
knowledge. I fa iled over and over again, for exa mple, ap
What do you think, what makes your art being special? plying a wrong use of the a i rbrush, and destroyi ng several
i l l ustrations for not using the proper a i r pressure, or the
Bern: Many artists paint hyperrealistic art, even using a re right proportions of pai nt, etc. But you learn when you d o,
ference photo to pa i nt the same thing. B ut there is no ta there is no other way.
lent i n d o i n g a n i l l ustration that looks exactly l i ke a pictu re,
it's only a bout applying a tech n ique. When I look at my art, What do you appreciate about working with an airbrush?
I know how m uch work I have done to develop a n u nique
idea that can be i n n ovative. Nowadays, there are not many Bern: I do not use the a i rbrush too much, it makes me ner
artists who use my style and techn ique, and it is not d i g ital, vous, and I have to use it ca refu l ly. But a pplying the a i r
that is what maybe makes it specia l . brush i n the right moments combi ned with other tech
n iques i s in my opinion the key to get n ice resu lts. Working
How long have you been working in combination with the with an a i rbrush let me doing perfect g radients i n wide a re
airbrush technique? as rea l ly fast, and it g ives a soft pleasant looks.
Bern: I started using a very cheap a i rbrush only 4 years ago, Which colors and devices do you prefer to use?
and soon after th is, I boug ht my Iwata compressor kit to
combine it with other techn iques. Bern: I only work with Liqu itex acry l i c paints, they work
perfect with the a i rbrush, and they can be t h i n ned eas i ly
Have you ever attended an airbrush course or did you j ust with water. I do not use t h i n ner to t h i n the paints. To
teach yourself? apply acry l i c wash and small detai ls, I prefer to work with
japanese menso brushes, which are perfect to work with ac
Bern: I never attended any a i rbrush class or any a rt class. I rylic wash and to paint fine deta i ls.
learned by myself rea d i n g books and videos from a rtists l i ke
Drew Struzan, Boris Va l l ejo, a n d Haji me Soraya ma. A l l of On what kind of su rfaces do you create your motives?

How do you come up with your motives?
Bern: Someti mes I have one particular idea in my head or I

just find a n a mazing picture that inspires me to create so
meth ing else. I a lways try to paint d ifferent a rt than P i n Up,
but sooner or later I come back to paint fem a l e bod ies. It
comes natura l ly.
Do you work with models?
Bern: I use to work with references taken from magazines,

from d ifferent pictures. It is i m possible to get the perfect
reference pictu re on the i nternet or i n a magazi ne, and it
can take forever to find exactly what you need to develop
your idea. So i n these cases I have used myself o r even my
wife as references. One time I had a very n i ce photo refe
rence from a fashion magazine, but the legs of the model
were m issi ng i n the photo. So I used a reference picture of
Bern: The surface I most use is hot press Crescent board, it my wife i n the same pose to get the legs and the feet, a lso
has a perfect smooth surface for acry l i c wash, and it is per using a lamp to get the same l ig ht d i rection i n the body.
fect for a i rbrushi ng, too. Depen d i ng o n the i l l ustration I am Sometimes, my references are not bod ies, but they are j ust
doing, or the size of the character, I use 20 x 30 or 1 5 x 20 meta l l i c objects l i ke a car logo, a shower head, etc. to pa i nt
inch boards. Years ago, I used MDF boards covered with meta l l i c textures.
gesso to make sma l l paintings using a d ifferent technique
that I a m not using anymore. Have you ever attended a workshop with Sorayama?

Bern: No, I have not. I am not sure if he ever did a workshop
wh i l e being a successful artist. I have been skil led from
Soraya ma's tutorials from h is art book mater i a l . I n my o p i n i
o n, the best way for M r. Sorayama to g ive sem i nars is
through his art products. I consider this i s the price I have
payed to Sorayama for his tra i n i n g . After being using
Soraya ma's technique for a long time, I understand how h e
has developed most of h i s i l l ustrations just by watching
them. But once you know how to apply the tech n i q ue, it is
your talent that g ives the qual ity to develop your own a rt.
Do you g ive sem inars?
Bern: Not actual ly. I work around 9- 1 0 hours a day as a De

sign Engineer, after this I go to my stud io fast a n d start my
3-4 h ou rs art session each day. So I do not have too much
time for other th i ngs.
What are you r next projects?
Bern: I can 't deta i l too m uch about my next i l l ustrations,

but I want to focus more on retro futu rist fash ion desig n,
and bodyb u i l d i n g art. I a m also going to have some exhi bi
tions i n London.

------- EQUIPMENT ------
SATAjet X 5500 PHAS ER: Futuristic gun for varnishing pros

If you grew u p i n the 70s or 80s with Star Trek o r the Next
Generation, then you're very fa m i l i a r with the word " pha
ser" . Used back then as futuristic laser g u ns, the name now
1 is used as a title for futu re-oriented spray g u ns. The new
SATAjet X 5500 PHASER com bi nes an extraord i nary design
with revol utionary atom ization technology i n the nozzle si
zes 1 .2- 1 .4 for HVLP and 1 .2 - 1 .3 for R P. Depen d i ng on the
material being used, work habits or c l i matic conditions, the
user can choose between a contro l l ed or q uick appl ication
in the proven HVLP and RP technology. Thanks to the new
pa i nt and a i r nozzles as wel l as the o pt i mized a i r d i stribu
tion in the body of the a i rbrush, there's no need for an a i r
d istribution ring. I n add ition, the vo l u m e of the "X-nozz l e "
has been considerably reduced d u ri ng use a n d a l lows the
varnisher a softer, more pleasant feeling when painting. The
device is ava i lable as either an I or 0 variation, and offers
an opt i m ized material d istribution for an even and fine ato
mization i n both spray va ria nts. Accord i n g to the man ufac
turer, using this device in the same manner shou ld lead to
considerable material conservation of u p to 1 5%.
The spray g u n SATAjet X 5500 PHASER is ava i lable for

purchase at specia lty varnish shops.
(j www.sata.com/SATAjetXSSOO
------ BOOKS ------
From I nd i a n a Jo nes to Hel l boy: The Art of Drew Struzan

As you cou l d read i n the i nterview with Bern Foster (see tu re, H e l l boy, and B laderunner a re known across the g lobe
page 1 8), American i l l ustrator Drew Struzan is one of h is and assisted i n making these movies absol ute blockbusters.
idols. And rig htfu l ly so ! S i nce the early 80s, Struzan has been The 1 60-page book "The Art of Drew Struza n " shows his
determ i n i n g the style for motion picture posters. His works most wel l-known pieces of work i n chronological sequence,
for Ind iana Jones, Star Wars, Ha rry Potter, Back to the Fu- aug mented with sketches, pre-d rafts, and a lternative sug
gestions at the time as wel l as very personal anecdotes and
memories from Drew hi mself. The preface to the book was
written by none other than screenwriter and movie d i rector
Fra nk Darabont, who worked together with Struzan on mo
vies such as "The Green M i le" and "The Shawsha n k Redemp
tion " . A l l texts are in Eng l ish, but the big, expressive pictures
esta bl ish the heart of the book and a l ready te l l their own
story.
"The Art of Drew Struza n " (ISBN 9781 848566 1 94) i s publ is
hed by Titan books and is ava i l a b le i n book stores for app. 27
EUR I 3 1 .50 USD.
(j www.titanbooks.com

------ ACCESSORIES ------
New Dru Bl air Ste n c i l s: Curve stenci Is with pizzazz
There are a ton of curve stenci ls on the market, but US pho edge is not as smooth a n d strai ght as you're probably used
torea l i st Dru B l a i r has found new ways and means to opti to, but rather very l ig htly tattered . Tha n ks to this a d d itional
m ize this stencil cl assic. The " Smooth-Edged French Curve" feature, the natura l, organi c edges can - much l ike in nature
offers common shape of a curve stenci l, but i n the i nterior, or i n portraits - be designed in a n even more real istic man
the stencil a lso includ es an orga nic texture from randomly ner. Because i n nature, " ha rd edges" are never rea l ly sharp
arranged and va riously large poi nts. With it, edges a n d tex and smooth.
tures can be estab l ished a l l at once without having to switch
up stenci ls. An additional special feature of the stenci l is the Both stenci ls are each ava i lable i n th ree d ifferent sizes and
presence of a " pi m p l e " on the one side of the stenci l . The are fab ricated out of solvent-resistant Mylar. The pl astic ma
sma l l elevations ensure that the stenci l doesn't just lie flush teria l is translucent, flexible, a n d reusa ble. It has a lso been
on the su rface, but rather has a l ight " hovering " . This is how cut using the most precise of laser tech nology.
sharp edges become a bit softer and appear more natura l . If
you don't need this option, the raised a reas can be removed The S mooth-Edged French cu rve is - depend i ng on size -
carefully with abrasive or sa ndpa per. ava i l a b l e starting at 7.95 $. The Organic Edge French Cu rve
is ava i l able starting at $ 1 2.95.
The second stenci l model, the " O rg a n ic Edge French Curve"
a lso d isposes of the practical curve form, the texture poi nts,
and the one-sided pimple structure. However, its exterior Q www.schoolofrealism.com
AIRBRUSH SUPPLY CO.
Free Shipping on Domestic Orders Over $89,

112 Price Shipping on International Orders Over $99!
www.midwestairbrush. com
1-827-829-2275 info@midwestairbrush. com
YOIIR11/RB/li/SH 6
Smithweg 1.23, 4462HC, Goes, Netherlands
+31 (0)113-785147 info@Lion-Art.nl www.Lion-Art.nl
Advertising

UJ
s
z:
t:
z
0
Cl
<(
Adon it Note Stylus: Precise stylus for current Apple iPad generations
When the i Pad was i nvented, Steve Jobs placed a great deal esta b l ish a d rawing i n Procreate, the pen simply repl aces
of emphasis on the a b i l ity to work on the su rface with one's your finger, a n d d oes so i n a very deta iled m a n ner. Thanks
finger. And when it comes to record i n g handwritten notes to the recognition of the b a l l of your hand, you can place
and sketches, there's no getting a round using a stylus. The your hand on the d isplay su rface when making notes and
man ufacturer Adon it has been on the ma rket for q u ite some painting without any stress or d isturbance. The pen weighs
time n ow and has brought out a l l sorts of va riations of sty 1 3 g rams and sits very well i n your hand, just l i ke a normal
l us u n its for d ifferent users. The company has now brought b a l l po i nt pen wou l d . When you tip on the i Pad with the
o ut a budget-priced a lternative to the Apple Penci l fo r the pen, the Notes App from iOS shows u p i m med iately - that
most cu rrent i Pad generations. The Adonit Note Stylus has goes very quickly and is very practica l .
been constructed primarily for the creation of h ig h l y precise
handwritten notes a n d sketches. B ut picture processing and The sty l us' battery has a duration of 1 2 hours. Should the
painting now a lso profit from the perfect precision of this pen not be charged, a l l you need is 45 m i n utes to have it ful
u nit's abi l ities. ly charged again. A USB charging ca ble comes with the u n it.
The Note Stylus is com pati ble with the Apple Air (201 9}, i Pad
To beg in, the Adonit Note Stylus doesn't have any form of m i n i 5 (20 1 9), i Pad 6th Gen., i Pad Pro 1 1 . , and i Pad Pro 1 2.9 ..
.
pressure sensitivity. But if you don't need that anyway, then (20 1 8) . When you use it, you w i l l however have to be ma
you're getting a very exact and dependable stylus featuring king use of iOS 1 2.2 or newer. Should the tip of the pen be a
a 1 m m fine pen tip. The l i n king/activation is extremely sim bit worn out, you can sim ply twist it out and replace it.
ple. You need only turn on the device and then you can start
working right on the surface of the i Pad. The pen signals The Adonit Note Stylus is ava i lable i n stores for app. 52 E U R
that a connection is present with a blue lamp. You press the I 49 USD and as such, only costs half of what the original
very same button to turn off the u n it as wel l . A connection Apple Penci l had cost.
with B l u etooth i s not req ui red for this sty l us. Rega rd less of
whether you're making notes i n Good Notes or Pages, or you Q www.adonit.net

Be i ng creative i n a re l axed m a n ner:
The new Wacom Cin tiq 22"
Int. AlrbruS� �ve nt

in Spaon:.
h
n._
n s.o •
'-l'M't "'
(IJIQ�i)tac
- - ._..,
• -
The pen d isplay models Wacom Cintiq 2 1 UX and Ci ntiq 22HD have been very
popu lar i n recent years, but they're now being replaced by the new Wacom Cin
tiq 22" featuring a modern design and adj usted technology. Form ing a perfect
tea m with the Wacom Pro Pen 2, the Wacom Cintiq 2 2 " is especia l ly constructed
so as to provid e more comfort and productivity when working creatively. The
screen d isposes of an anti-reflection coati ng, which prevents possibly d isturbing
reflections. On the sharp fu l l H D d isplay screen ( 1 920 x 1 080 pixels), you ' l l be a b l e
to see every single deta i l . And thanks to the reduced para l l ax, you'll have the
fu l l control and the cu rsor is shown exactly there where you want it. A l l these
cha racteristics ensure that your d rawing on the Wacom Cintiq feels as natu ral as
d rawing on pa per.
The electromagnetic resonance technology (EMR) a lso goes to ensure that the
Wacom Pro Pen 2 is a lways ready for use. The pen gets its energy from the Wa
com Ci ntiq itself. Thus, it doesn't req u i re any batteries and d oesn't need to be
recharged. Above and beyond that, the bala nced weig ht, the rubberized hand le,
and the positio n i n g of the two switches a l l ensure that the unit sits wel l i n your
hand. With its 8 1 92 levels of pressure sensitivity, it's a lso extremely sensitive.
Independent of whether you're used to creating things on paper or with a pen

tablet, switc h i ng over to the Wacom Ci ntiq feels l i ke a natural next step. The
seam l ess i nteraction between the pen and d isplay al lows creative working to
move along very smooth ly. The d urable, scratch-free materia ls, and h i g h value
com ponents m a ke the Wacom Ci ntiq a long-lasting tool of creativity.
The device is com pati ble as of Windows 7 and as of Mac OS X 1 0. 1 1 - or h i g her.

The product come with a l l connection equ ipment, replacement pen tips, a pen
holder as wel l as the adjusta ble pedesta l . An ExpressKey remote control unit used
for adjusting the workflow even better can be purchased optional ly.
The new Wacom Cintiq 2 2 " is ava i lable i n stores for a RRP of 999.99 EUR I 1 1 99.95
USD.
Q www.wacom.com
W///// INTERVIEW I Wayne Harrison
RBRUSH STEP BY STEP 01/20 E

Wayne Harrison I INTERVIEW /////�
-OVJO-E AIRBRUSH STEP BY STEP 27

Wayne Harrison I INTERVIEW /////�
' .. ,
• . ..,;,
jil:-4>'1(
tyl... 1,
TAPE CATALOG
Imagine you are entering an elevator in an of brushing to Greece. And he proved to his fellow
fice building and you get out in the ship engi countrymen, that you can even make a living
ne room. No way? Yes! Because Nathan Makris from mural painting in Hellas. And furthermore,
from Greece can create whole new worlds with that you can sometimes discover some strange
his mural paintings. Born in Australia, studied in environments in buildings ....
England, Nathan Makris brought the art of air-
Hi Nathan, what kind of place is that mural in? my customers for many years, so they know my work. They
asked me to tra nsform that space into something very im
Nathan Makris: The m u ra l was pai nted in the lobby of a lar pressive. The idea was that when people came i nto the lob
ge s h i pping firm i n G reece. by, they wou l d t h i n k they were sta n d i ng i n the shi p's engine
room and when they took the e l evator to go to the u pper
What was the order of the customer? floors, they would be in the upper fl oors of the ship. That
was the concept.
Nathan Makris: The owners of the shipping firm have been

�•
' ::
·, � -
(
• I
-
How did you choose the motive and your reference?
Nathan Makris: After seeing the space a n d measuring it, I im

mediately went to my office and started sea rching for h i g h
resol ution e n g i ne room pictures. I m ust have seen h u n d reds
of them, j ust to pick out one. My goal was to make it look
three-d i mensional as if someone was real ly i n the e n g i ne
room when he was i n the lobby.
Tel l us how you transfer the motive on the wall?
Nathan Markis: I used a l most every possible way. For some

parts I used a projector, for other pa rts I used la rge print
outs, but for most parts I freehanded. My goa l was not to
l ose the correct perspective i n any case.
How was it possible to match the perspective from the refe

rence to the angled wall?
a pencil and draw out the other l ines which are now i n the
-
correct position.
-
What kinds of airbrush and paints did you use?
Nathan Makris: For this m u ra l I used a Badger Crescendo and

a Patriot 1 05. The Crescendo is a heavy d uty a i rbrush and I
love it because you can spray thick pai nts with it. For most of
the m u ra l I used h i g h q u a l ity wa l l paints that I d i l uted with
water, so they can spray out of my Crescendo.
Nathan Makris: That was the hardest part of the pa i nti ng.
In tough spots l i ke ang l ed walls I usua l ly don't use penci
ls o r markers to l i ne out my m u ra l . I use thin paper tapes.
I nstead of making h u ndreds of fa lse l i nes, I prefer to use pa
per tapes and I stick the tape on the wa l l . I actua lly d raw the
l i nes using tapes, take a few steps back a n d see if it's i n right
place. I repeat that step until I am su re that the perspective
is correct. Once I have the tapes correctly i n place, I then take

Tell me about your painting technique and your tools.
Nathan Makris: As I said before, I make a l i ne out with a

pencil and then I roug hly a i rbrush the shaded parts with a
rea l ly l i g ht gray, so I know where the da rker parts are i n the
pai nti ng. For this painting I d i d n't use a ny stencils, because
everything was so large. As I said ea rli er, I tape everyth ing
Are you doing all the work by yourself or do you have any
colleagues?
Nathan Makris: All the airbrushing was done by me, but I had
an assistant who hel ped me with the masking.
off. Even for a small bolt, I put tape around it, cut it out Tell us a little about yourself: When and how did you start
with a blade, paint it with the ai rbrush, and then I covered airbrushing? What was your training like?
it u p with more tape and spray a round it to make the back
g round. Everyt h i ng l ittle piece was masked out one by one. Nathan Makris: I bought my fi rst a i rbrush when I was 1 7 years
That's why it looks so real . It is time consu m i ng but it's to old. It was a Badger Crescendo, the very same one I used to
tally worth the extra effort.
What was the most difficult part of the project?
Nathan Makris: For me the whole project had d ifficult parts,

but the most d ifficu lt and tiring part for me were the lower
parts of the pa i nting . There were many deta i led parts close
to the floor and it's very tiring if you are pa i nting so low for
many hours. Also, I a lways had i n mind that I had to keep the
perspective correct.
How long did it take to paint the whole project?
Nathan Makris: It took me approximately 2 5 days to finish it.

·-=-
-
• --
....
ra l ist si nce 2004. That's when I stopped bei ng a book i l l ust

rator i n order to pursue my dream of being a mura l ist. Back
then, no one cou l d bel ieve that being a muralist could be a
profession i n G reece and you cou ld make money by painting
on wa l ls. Thankful ly, with a lot of hard work I think I proved
pa i nt this mural. I studied g raphic design and i l l ustration i n many people wrong.
England and I worked as a book i l l ustrator for eight years
before I became a mura l ist. I am completely self-taught as for Is wall painting your main business? What other projects and
a i rbrush ing. The first workshop I attended was Dru B l a ir's last surfaces are you tackling?
year, which was very helpfu l for me because even after more
than 20 years of experience on painting m u ra ls, I sti l l co nsider Nathan Makris: Yes, I mostly pa i nt on wa l ls. I also paint on
myself a student and I'm thi rsty to learn more each day. wooden su rfaces, on canvas or even paper someti mes, but
mostly on wa l is.
How long have you been being a full time artist?
You told us that you have opened a school in Athens. What
Nathan Makris: I have been a full time a i rbrush a rtist I mu- classes do you offer?
·
y I
__:::./
What is airbrushing like in Greece? Is there a lot of interest in
airbrushing resp. in getting things airbrushed?
Nathan Makris: Although there are many people that love

painting and a re very artistic i n Greece, there aren't many
people that use airbrushes for painting, because there is
nowhere they can go and learn. That's what made me open
the school. I want others to fa l l i n love with a i rbrush ing as I
have. The response is g reat and many people want to come
to the school. I am very positive that this project wi l l go wel l .
•
•
Nathan Makris: J ust a few months ago I real ly made my

drea m come true. I managed to open the first airbrush school
i n Greece. I have a lot of love for airbrushing and I want other
people to feel what I feel when I paint wa l ls and other sur
faces using an airbrush. I had the honor to have the g reat
master Dru Blair do the first workshop in my school and it
was a success. I n October, another master was doing a work
shop i n my school. Gerald Mendez teached us his a mazing
techniques ! In the school I teach basic ai rbrush techniques
for beg in ners plus advanced airbrush techniq ues for portraits
and other themes. In the close future, what I also want to do,
is make the first mu ral school i n Greece, so I can teach people
how to paint mura l s and make money by painting on walls.

Simply send photos of your artworks
- d i g ital a n d at least 9 x 13 em, with
300 d p i resolution - to: info@airbrush
magazin.de or m a i l (also m i n . 9 x 13
e m pri nts) to: newart media & design,
H a m burger Str. 26, 21493 Schwarzen
bek, Germany. Photos sent by mail
can not be returned.
N EW ! Send your images by WhatsApp to:
� WhatsApp
+49 1 520 7879744
Please make sure that you have the per

sonal, as wel l as intellectual property
rights at your d isposa l .
Notice: Airbrush Step by Step does not

take any respon sibil ity for m isuse of per
sonal or intellectual property rig hts asso
ciated with the pictures and motifs pre
sented. A l l of the p u b l ished works have
been sent into the magazine voluntarily
and the a rtists received no monetary
compensation for them. Airbrush Step
by Step decides on the choice of motifs
based on purely aesthetic a n d publishing
aspects. There is no guarantee of entries
being publ ished.
Jens Wa ldraff: Herman M onster Danny Rehm: Golf ba l l Portrait

Ai rbrush: H+S Evolution AL + Iwata CM-SB Airbrush: Iwata HP-BH
Pa i nts: Sch m i ncke, Transparent Base, fabric med i u m Paints: Schm incke Aero-Color, Polychromos
Su rface: white shirt Surface: Golf ba l l (Key chain)

Burkhard M u l ler: Selfportrait
Ai rbrush : Iwata 0, 1 8
Size: 50 x 70 em
N icole Cucca: Sydney on a wal l

Markus Sonderma nn : Leopard
Airbrush: Iwata CM 582
Pai nts: Createx I l l ustration Colors

Markus Hell : My power animal
Ai rbrush : Iwata CM-SB and
Harder & Steenbeck Evolution
Lim ited Edition
Pa i nts: Sch m i ncke Aero
Surface: Canvas, 1 x 1 m
"""
- ....-
M ichael B l u m :
Conq uest of ice planet i-ce 237
Airbrush: Infinity 0,2
Paints: Schm incke Candy & Aero Color
Surface: Lanavanguard

Andreas Werner: Lighti ng Cassiani : Maya n Pri ncess
Ai rbrush : Iwata H P-SB Plus Ai rbrush : Harder & Steenbeck I nfin ity
Pa i nts: Schm i ncke Aero Color Surface: Canvas, 80 x 1 20 em
Surface: Canvas, 1 00 x 50 em
Matteo Benotto: Red lips l i ke a bul let

Airbrush: Fengda B D- 1 30
Pai nts: Createx Colors
Surface: metal panel, 1 8 x 26 em

Clarisse Pico: Temptation Of Youth
Airbrush: lnfin ity CR Plus 2 in 1
Surface: Canvas, 60 x 80 em
\ .
••
. '
' .
•
..
•
•
.
'l
'
• •
.
•
,) I
. t
'\ ..
·
•
• • •
\ ·' .
Igor Amidzic
G i l l Scheffen: G iraffe
Airbrush: Badger Sotar 20/20
Paints: Createx Wicked; Size: 40 x 50 em

•
ISSUeS ea r
Annual print subscription only 35

Euro, free shipping worldwide
Int. Airbr us� Event
in Spaan:
America
Europe meets south
• Annual dig ital subscription with the
Airbrush Step by Step app only
1 9 ,99 Euro
•
or both: Upgrade your print sub

scription to printlapp combi for
only 4 Euro extra
02 ..... _ .. _
...........,...... .. -.,_
- ... . ... ... - - ...... ..- .. .
· - - _ .. _ .,._ _ _ .. .
� ..... ......... . � .
....
-. ..._ -
..-..- � -- - ... . ....
...... ... .. ,.,... - _ .... . ,., .... .
.
. ,._.
.... ... -- .. ..
...
. . _ _ _ _ ..
- .. ,._ ,,
_ ...,.... .. . .. ... ..... ... - -
_ .,.
.... .. � ...- ....... .--.---
.......
..,4 .;;.-
r,
•
-
.
N EW! You can now find the latest issue in !book stores in UK, US, Canada,
Australia, Spain, Portugal and further countries.
S u bsc r i ptions, pri nted issues a n d epa pers a l so ava i l a b le at:

MAGZTER isubscribe magazine.CO.Uk
www.magster.com www.isubscribe.co.uk www.magazi ne.co.uk
HOW TO MINT PlANES ANO HWCOI'TtliS lu,..... t-..: ��oi Hiwi PMirtloot; �0..- ot fntdo..:
I phiS loiiMMW Wllh (lwilliM fman l l.- IYHI XXXT...u<ion IIII&H """-
llf\III(WS: n.lt l)oo F
-1 HUp- AI< C. .... - fjNIIo I
....
1J..
_,.,., _ _,_ v .-.;., ---' 1 ""' - - (V£HTS• SltAA ZOIII The Wondtrwo<ld of Alrt>rvsh ...U..rt.ncls
Order back issues and An nual sets

fro m 1 ,25 € I issue
MOTEL�
I.
Airbrush: Harder & Steenbeck Evolution CRplus, Iwata Surface: vintage guitar
CM-C pl us, Sparmax Max 3
Further materials: Wacom graphic tablet, 800 grit sand
Paints: Meta llic bl ue, l ight g rey, middle grey, l ight bl ue, paper, tape, 2 B lead pencil, clear coat
white, b lack, Candy Orange, Candy Yel low, g reen, purp
le, Candy B lue, Candy Violet, dark orange, l ight orange
I Creating the design I took a picture of the g u itar, opened brighter than i n the o r i g i n a l reference.
My customer and friend Lucas it i n Photoshop and created the design I d i d some experiments of colors, posi
Caba l e i ro bought the g uitar l i ke this. by d rawing over the reference pictu res tion, a n d size until I reached the desi
It had a few damages made on purpo using a Wacom pen tablet. I wanted red look.
se by the previous owner. F i rst of a l l , to make the image more colorful and
•
/ •
1 Preparing the surface I Creating the references

After the surface preparation, I used a meta l l i c b l ue Then I took a copy of the shape of the g u itar and
for base color, cleared it and sanded it with 800 g rit. So I I sca nned it to the com puter to use it to scale the image to
started the design by masking a shape i n the front face of the correct size. Then I pri nted some copies to use as refe
the gu itar. rence and cut some m asks.
J J 1
Masking
I used one of the copies to
mask the backg round of the image by
cutting around the Stormtrooper and
taking the centerpiece out. I d i d some
holes near the edges of the mask a n d
used tape to stick the mask to the pie
ce thro u g h the holes. By using non-ad
hesive m asks you wi I I get softer edges,
which is convenient i n most of the situ
ations.

Base color Stormtrooper
I sprayed a m i d -tone grey as a
base for the stormtrooper. I took out •
the masks. I •
•
•
•
•
• •
-
•
•
•
......._
•
•
/
Transfering the character

I scri bbled the back of a nother copy of the design tar and traced over it using a mech a n ica l penci l . Notice that
with a graphite 28 penci l to use it to transfer the m a i n l i nes I d i d cut some a reas a ro u n d the character to make it easier
of the character to the g u ita r. I placed the copy over the gui- to find the exact position.
Enhanci ng the lines

I took off the copy and rein
forced some important l i nes that were
'
convenient to be da rker. Then I sprayed I
a coat of tra nsparent base over it for
protection.
l
Spraying the background

I masked the character using that same mask that I spraying b lack, creating some shadows i n this g a laxy. I used
cut i n a few steps back, so I started to paint the backgro u n d a l ight blue to render some stars and space d u st.

Adding highlights Fi rst shadows on the Stromtrooper
I sprayed some colors over it using ca ndies. I used Then I took the mask off the character and started
b l u e with a l ittle bit of g reen and violet. Then I came back adding dark areas a n d some deta i ls using black. I n this step
with wh ite and recovered the h i g h l i g hts. I pushed and I was d o i n g everyth ing freeha n d .
pul led between the candy colors and white u nti l I reached a
good resu lt.
Maski ng for details I placed the cut pri nt, using tape through holes to stick it i n
I n some a reas, I used one of the printings as a mask. place. So I simply sprayed black pai nt.
Blocking in dark areas

I proceed rendering the dark
a reas, deta i ls, and shadows using only
black. Always paying attention to crea
te textures and the scratches.

I Adding l ights
I After I fin ished the basic dark a reas, I started going scratch, etc. I n order to be coherent, si nce the beg i n n ing you
to the opposite d i rection, the l i ghts, sta rti n g with a l ig ht got to have i n m i nd, from what d i rection the l ig hts are co-
g rey. To make the texture look tridi mensional, it is very im m 1 ng .
•
portant to create l i g ht and shadow i n each damage hole,
Adjusting tones Reflections

I kept alternating between black and l ig ht g rey se Sti l l using l ig ht grey I created details i n dark areas
vera l ti mes seeking the desired result. I n this step, I ' m using l i ke i n the eyes, the side vents, and this piece i n the fore
black to adjust tones, touch up and create new deta ils. head. I n the eyes I pai nted the reflection of the environment
i n which I put him, the un iverse.
Blue stripe
I used one of the printings to cut a mask and paint stripe, and d i d the scratches over it again, using the l i g ht
the b l ue stripe in the face. Using a candy b l ue I did n't cover g rey. Then I used wh ite i n some h i g h l i g ht areas.
the deta i ls that I pai nted previously. I u n masked the blue

I Colors
I Now using a candy b l ue I started to add some co a n d recover some h i g h l i g hts that I lost, a n d created some
lors, which a re reflected l i g hts coming from the environ others.
ment striking the cha racter. Then I came back with wh ite
I Yellow and Orange

With a candy yel l ow I started to add the refl ected some candy orange. One of the reasons I used yel l ow fi rst is
l i g ht com i n g from the other side. After the yel l ow, I sprayed because orange appl ied over yel low wo u l d be brig hter.
- -

I Retouching
l i n this stage I'm spraying a candy violet i n some a re- back with a l ittle bit of candy yel low i n the edges of the white.
as. I'm creating the h i g h l ights spraying wh ite, then I came
Smoke
The smoke I created using a
light grey fi rst, then j ust a l ittle bit of
white.
Sparkles
The hot sparkles, I made using a sem i-transparent yel low inside of the orange, came back with the candy oran
dark orange first, then a l i g hter orange inside. Then I used ge over the edges of the yellow.

Really hot
To finish, I used white to make it really hot and shin
ny, just a l ittle bit of candy yel low i n the edges of the wh ite
and finely j ust a l ittle bit of white i n the very middle of the
shinier areas.
I Finished
Now the g u ita r ca n be clear coated and mounted
aga1n.
•
B razilian artist Neimar Duarte was born in Belo Horizonte in 1 985. He can
be described as an a utodi dact, because he ta ught h i mself to d raw by me
ans of magazines, books and the I nternet. Due to h is passion for classic
cars, H ot Rods and Choppers, Neimar d iscovered the a i rbrush technique
and bought his fi rst a i rbrush in 2005 without knowi ng anything about
it. H is first com pressor was self-made - he used a refrigerator e n g i ne for
this pu rpose. Neimar contin ues to learn about the a i rbrush technique. H e
does a l l ai rbrush and p i ntstri ping works, i nc l u d i ng portraits, photoreal ism,
fantasy art, motorbi kes, instruments, helmets etc. He works with Ha rley
Davidson reta i lers and m usic bands. I n portra its, Neimar l i kes to mix photorealism and fantastic elements i n order
to sti m u l ate the observers' fantasies. I n 201 5, Neimar visited the SEMA in Las Vegas for the fi rst time, which inspired
h i m i n many ways.
Q www.facebook.com/neimarfa

W///// INTERVIEW I Daneen Bronson
• •
e'L.. -
Georg H u ber visits Daneen Bronson in Cal ifornia
It often seems like the world of airbrushing is a re having visited Irene Bershadska (issue 03/1 9), he
alm for men. However, Georg Huber and his wife made his way to another part of sunny California
Sabine seemed to have some pretty good instincts to meet up with Daneen Bronson, who at the ripe
when it came to finding a few female airbrushers young age of 1 7 was already more into motorbikes
of note on their journey around the U SA. After and heavy metal than your typical "girl stuff".
On my trip from San Francisco to Los Angeles, I worked i n a Georg: It's wonderful that you cou l d spend some time with
special stop. Right on the legendary US H i g hway 1 0 1 , the us. You surely have q uite a full workload. You're an artist,
t h i rd largest city i n Cal iforn ia l ies right i n the h i l l s of S i l icon an entrepreneur, and a mother a l l i n one. My utmost res
Val ley, namely San Jose. It's a place that features a whole pect. You've set up a lovely and spacious workshop. Up to
bunch of charming l ittle neigh borhoods and even a Japan now, I've only known about the gu itars you've painted and
Town . I n addition, in 1 976, the fi rst ever Apple PC was deve that had me expecting a smaller studio. Do you give air
loped right i n a garage here. But the reason for my visit was brushing lessons here?
to meet u p with - i n so many ways - a tru ly fascinating ar
tists with German roots, Daneen B ronson. At a very early Daneen: To begin, you're most welcome. Yes, you're rig ht,
age, she decided to make the risky j u m p to being a freelan there'd be plenty of space to give lessons, but no, I don't. I
cer. We met up i n her custom paint shop for an ela borate sometimes conduct some a i rbrushing demonstrations i n a n
d i scussion a bout a i rbrushing and self-emp loyment. art store, but when I ask the people who've been watch ing
me if they'd l i ke to g ive a i rbrushing a shot, many often say

H WY
" No, thanks . . . I'd prefer not to", or something to that ef An E n g i n e H ood i n the Bedroom
fect. Fortunately, that's not how children react. They usua l ly
want to try it out right away. I love that a bout kids; they Georg: What type of music tickles your fancy?
don't have any fear of contact.
Daneen: Ta ke a guess, Heavy M eta l . I was even a Scorpions
Georg: That's true. In Munich, we've got an art school for fa n. They're not just known i n Germany.
younger people and I teach some airbrush courses, which is
a lot of fun. When did you discover your creativity and love Georg: I'm glad to hear that. Back when I was a drummer, I
of artistic design i n g with paint? really liked them as wel l.
Daneen: I started to become interested i n art when I was i n Daneen: . . . and Meta l l ica . . . Then I went to college and ma
h i g h school . I i n itia lly drew a lot with pencils or made con jored i n art. I actua l ly pai nted my fi rst a utomobile eng i ne
cert posters. hood i n a bedroom.
Georg: Concert posters? That sounds exciting. Were those Georg: Wow, so you got to work right away. Did you a l rea
your first ever orders? And for which musicians or bands dy know at that time that you have to really prepare parts
did you make them for? like that and how to do it?
Daneen: For bands that I l i ked o r would have l i ked seeing Daneen: I read about that i n the a i rbrush magazines. You
l ive. Or for bands that I actua l ly played i n . B ut I only made know, with an ai rbrush, you can try out so many things and
those posters for my own i nterest, just for fun . I wou l d then have a lot of fun while doing so. You can a lso cover over a
hang these posters up on the wa l l in my room, but that was good bit of the errors you ma ke. B ut when you've fina l ly
a lso to get u nder my parents' skin (laug hs). B ut I d i d sel l a completed a rea l ly e l aborate paint job and the varnish isn't
few copies to friends. I think that by my last year i n h ig h working out, because you don't have a clean surface, you
school, I was more and more interested i n hot rods, motor d i dn't mainta i n the proper mix ratios or you have d ust in
cycles, m usic, and g u itars. At some poi nt, my mother show clusions, then the problems get serious rea l q u ick. Those
ed me a newspaper article a bout a n a irbrush a rtist. It i m me kinds of things were my biggest chal lenge at the beg i n n i n g .
diately piq ued my i nterest. For me, it was l i ke d iving into a
new world. Georg: What did you do to try and solve this problem? The
varnishing materials cost money and you likely didn't have
Georg: I can certainly imagine that. You surely wanted to a stack full of engine hoods lying around to work on . . .
head straight out and get yourself an airbrush?
Daneen: I defi n itely tal ked to a lot of a uto paint shops and
Daneen: No, not i m mediately. B ut there was an a i rbrush at asked questions until they cou ld n't stand the site of me,
my art class and I played around with it and tried things and at the same time I was busy trying out everythin g . I
out. After g ra duation, I got my own a i rbrush. I thought that q u ickly recogn ized when I made m istakes that it wasn't the
wou l d be a good opportun ity to combine my two worlds, end of the world. You can't lose heart. I tried to learn and
namely a rt and my i nterest i n bi kes, music, and a l l of that. kept trucking. Something l i ke marbling was proba bly d i sco
Yes, and somehow it's a l l worked out. vered wh ile someone made a mistake doing someth ing el
se: "Oops, there's some dripping here, and more over there
. . . But wow, that looks fantastic ! "

'
H WY
.
•
.,/
•
Georg: Yep, I can picture that. Mistakes often force you to Daneen: (laug hs) Yes, that's basica l l y exactly what I'm busy
be creative and inventive. I also think happenstance be qui d o ing .
te helpful . With one of my first pictures for a record cover
in the 80s, I pai nted over a few problematic areas with little Motorcycle Parts in the Trees
planets. And voila, the entire scenery was given a whole
lot more range and depth. So, where did you go from the Georg: The piece of work you did for your first ever custo
re? mer - would you like to see it again?
Daneen: We l l, i n 200 1 , I began working more i ntensively Daneen: I'd surely have to cringe a bit. That was back
with the a i rbrush right after college. After a l l, I had a around 1 999. At that time, l ike I said, I was a i rbrush ing back
choice . . . either to sit aro u n d at a desk a l l day long working home i n my bedroom next to my bed. It was a l l water
as a g raphic artist or. . . You know, the i dea of sitting in a n based, of course. I fi n ished the req ui red g roundwork and
office just isn't for me. Worki ng with my hands is somet h i ng the clear lacquer portions of the work outside i n the back
that i s much more " me " . ya rd. You have to picture motorcycle pa rts hanging a l l over
the place i n the trees. I a lways had a few tweezers in my
Georg: How old were you back then? pockets to pick out a l l the bugs and flies from my lacquer.
Daneen: Hardly older than seventeen. Sabine: Goodness, that's q uite amusing. I have to think
about your parents; did they ever express that they wished
Georg: We're right in Si licon Valley. There are surely a ton you'd just do thi ngs that g i rls in your age normal ly do? You
of jobs for creative people in front of a know, g irl stuff?
computer i n an air-conditioned
office, but you prefer to Daneen: Yes, natura l ly (laug hs). All the time, i n fact. It
work i n the g rinding wasn't u nti l later that I moved to an auto body shop where
d ust and spraying I was g iven some space to do my work.
mist . . .
Georg: Did you have customers and orders right from the
begin n i ng?
Daneen: I b u i lt that up myself. I developed

some flyers a n d placed them i n motorcycle
o r g u itar shops. I explai ned to the owners
what I do, practica l ly sou n d i n g l i ke a
door-to-door salesman, hoping they'd
recommend me to their customers. That
ended u p being worth a l l the trou ble and
things have gotten more successful from one
yea r to the next.
Georg: Then you surely were capable of

doing some good work. It sounds l ike eve
ryone just said that if you need any type of
airbrush design, just go see Daneen. Did
your customers recommend you to others?

•
H WY
Daneen: Well, I certa i n ly hope so (laughs) ! When I look back the revolvers?
at it a l l , I have to say that peop le were very patient with me
and I ended up learning someth i n g with every s i n g l e order, Georg: That's the REAL art of it a l l . And it's always best
for example, l i ke when I pai nted motorcycle parts the when a problem j ust seems to take care of itself.
wrong way a rou n d . For me, they pretty m uch looked the
same from every which side. Everyth ing on Wheels is free Advertisement
for Yo u
Georg: I had an experience like that once. But only because
my customer kept incorrectly holding the part inside out. It Daneen: I n any case, motorcycles and cars are great adver
ended u p being the case that he was j ust extremely short tisement, because they're a lways out and about. When you
sighted (laughs). But that d i dn't help me at all. I still had to paint a picture for your l iving room, then fa r fewer people
airbrush the part all over again. are going to see that. B ut the b i kes stand aro u n d on par
king lots or at motorcycle meet-ups . . . Whatever is on wheels
Daneen: I once had a job to create someth ing with a Wes is free advertisement for you a l l year long.
tern topic i n c l u d i n g pistols and revolvers, but the hand les
ended up having chemica l reactions and fissu res i n the Georg: What do you really, really like about your self-made
paint. I thoug ht, "Oh goodness, what should I do now ! " I job?
init i a l ly tried to grind it up and repa ir everyt h i n g . B ut that
d i d n't work a n d then my customer showed up to see how Daneen: Oh, that's a bit of a loaded question. There's so
far I had gotten . . . m uch to mention there . . .
Georg: The horror . . . at just the wrong moment. Georg: That's a wonderful answer . . .
Daneen: Yes, but he was i mpressed and simply asked how I Daneen: For exa mple, doing what ma kes me happy. There
ma naged to create that wonderful weathering effect on have been times i n which I had my d o u bts and couldn't rna-

'
H WY
ke a ny headway. B ut I am nonetheless super, super ha ppy band even t h i n ks I can look stra ight i nto people's m i nds.
that I have turned my passion i nto my job and can divvy u p Georg: It's my experience that the contactors are someti
my time as I see fit. I meet i nteresting people from musici mes very vague in letting the artists know what exactly it
ans to ga ngster bi kers. Even busi ness men come thro u g h . I is they're actually looking for . . .
work for companies or footba l l teams. Every order is a new
c hal l enge, so I'm constantly learn i n g . Daneen: Exactly, I can help them; I can find the right words.
When I have a d iscussion with them, I can ask them what
Georg: These are j ust the things I love as well about free types of i nterests and hobbies they have, where they come
lancing. from a n d so on. I let a l l of that flow i nto the motif.
Daneen: Yes, and we never end u p just sticking i n one mo Georg: That sounds like it's very time-consuming. But I
notonous routine. I also have a daughter who helps me eve think it's a very good way to get known. Word spreads fast
ry once a n d a w h i l e . That means I'm spe n d i ng more time that such personally customized pictures can only be had
showing her how everyth ing works. You know, it's a lovely by Daneen Bronson.
feeling passing my knowledge and experience a long.
The re's no " Redo" button
Knowing Peo ple a n d the Power of O bserva
tion Georg: To conclude, have you got a tip for our readers for
when something goes wrong? Maybe a secret trick for such
Georg: What would you say is you r biggest plus in this tru situations?
ly very special profession?
Daneen: Yes, I certa i n ly do . . . I go i nto the corner and cry . . .
Daneen: I t h i n k I've got a good feel for people and a strong (la ughs). No, seriously though, there's a fu l l bottle of Wh is
power of observation. I qu ickly find out what the customer key right over there . . . (laughs some more) .
l i kes. I l i ke to develop very personal motifs for my custo
mers. While doing this, I a lso g o i nto a lot of deta i l . M y h us- Georg: Thanks for the professional advice . . . (laughs). I'm not so
• &

•
H WY
Georg Hu ber is taking you
to the wide open spaces

� � ,0 ·��
.
.. of America
M MOTEl�
,mf'arfob/1) &
Georg H u ber: American Roadside

I S B N 978-3-94 1 656-54-3
H a rdcover 1 08 pages
€ 25,90
sure that we're allowed to pass that along to our readers . . .

Daneen: No, i n a l l seriousness. Everyone shou ld know what they're doing and
what they i ntend to be d o i n g . When it comes to a i rbrushing, there's no " Re
d o " button to erase your mistakes. I usua l ly beg i n my work with a m id-range
color hue, which I then m i x darker and da rker (or l ig hter a n d lig hter) with a
transparent paint. When a n error takes place, I'm then able to mix back my
color very eas i ly and then cover the affected areas with the very exact color.
You natura lly need to make errors i n order to be a b l e to learn. The most im
portant thing is that you nonetheless have the d rive and never l ose your passi
on for the work you're doing.
Georg: Well-said. Thank you, Daneen, both for your honest answers and the
tour through your studio. Here's wishing you the best of l uck and a ton of
jobs i n the future.
More than 90 i l l u strations and
Daneen: I thank you both for visiti ng my shop. I hope we'l l ta l k again some sketches on 1 08 pages
time.
Artistic encou nters on the verge
http://customairbrush.squarespace.com of Route 66 and Hig hway No. 1
Photos: Sabine Huber, Redspehre Studios
•
Europea n-South American Rendezvous i n Spa i n 's Fi rst Ever I nte rnati o n a l
Ai rbrush Event
Tha n ks to ASBS author H u g o Maciel, Spain held its first ever a black T-sh i rt surface. The pa i nt flowed out of his a i rbrush
a irbrush workshop event at the beg i n n i ng of October. A tota l with the precision of a n i n kjet pri nter. Cesar Deferrari, al so
of 1 1 lecturers spent the six-day marathon meet-up display from Argentina, conducted a workshop showi ng visitors how
ing their a b i l ities wh ile cond ucting unique workshops for to create caricatures with an a i rbrush. Of particu l a r note was
the app. 1 8 partici pants h a i l ing from Spain, Italy, France, and his i ntroduction showing how the sketching of portraits and
Germa ny. And these lecturers certa inly weren't u nknowns in caricatu res ca n quickly be made to serve as an artist's refe
the scene, several visiting E u rope for the fi rst time ever. rences.
The charming Argentinian Ariel Castel l aro started things Ivan Loperena from Mexico - referred to i n the workshop
u p with a course invo lving h is T-sh i rt techniques. After an as " Professore d e Aerografia " - shared what seemed l i ke an
i ntroduction i n esta b l ishing l i g ht and shadow, and making end less a mount of expert knowledge and taught his very spe
use of textiles, he showed the participants how to create a cial black & wh ite technique w h i l e a lso presenting a rather
rea l istic portrait (of Walter Wh ite from " B reaking Bad") on scientific i ntroduction i nto the topics of l i g ht and structures.

The cou rse participants were then g iven the opportunity to
spray their own portrait extract per freehand .
ASBS a uthor Rafa Garcia Ca no from Va lencia, Spain, who

is known for h is photorea listic i l l ustrations and has been
painting hel mets for Formu l a 1 stars for over 20 years now,
showed participants his tech niq ues on a n a l u m i n u m panel.
To wrap things up, some custom painting techn i q ues were
then presented by his countryman Angus Alca ntarra, who
also pai nts for Formu l a 1 as his chief profession.
Alex Germany traveled a l l the way from M u n ich and used a

demonstration to show the partici pants how to prepare a
metal surface and a fitting motif on a long boa rd. Our chief
ed itor Roger Hassler a lso taught a class for the fi rst time ever
outside of Germa ny, showing the enthusiastic a i rbrush ar
tists a bunch of va rious d i g ital techniques for preparing and

iwata
designing motifs on a com puter. Another demonstration was this fi rst i nternational a i rbrushing sem i n a r was made unfor
presented by Averograph, who travel led down from France, gettable thanks to primarily the i nformal event set-up, acti
while Mario Roman i from Ita ly tal ked a bout the h istory of vities, stories, and happen i ngs. A l l of the lectu rers volu nta
the a i rbrush device itself. He presented a n u m ber of h i g h rily put their knowledg e on d isplay a n d even paid for their
l i g hts from his extensive col l ection and then wrapped up own flight and lodg ing . This mam moth event lasting a l most
things by g iving Hugo Maciel a copy of his most recent book. a whole week only cost participants 1 80 E u ros.
Most of the cou rses were held i n Span ish, but thanks to the For Northern E u ropeans l i ke us, the cu ltural differences gave
aid of a lot of E n g l ish, hands, and even feet, all of the par this visit to Spa i n a touch of adventure vacation. ASBS au
tici pants got so m uch o ut of them that everyone ended up thor and D isney artist Gera l d Mendez, who hails from Mexi
being extremely excited about the event, which took place co and has been l iving i n the USA for decades, was supposed
at the u n iversity right i n G ijon, located i n northern Spa i n . to arrive i n Spa i n on October 6th in time for "Airbrush Artist
The h i storical and rather u n ique b u i l d i ng comp lex there of Day " . However, he ended up arrivi ng during the night af
fered a n i m itable setting that jutted out on the mou nta i n ter the event and d i dn't even have h i s l u ggage, which was
and even had some thinking of Hogwarts from " Harry Pot lost somewhere on the way to Spa i n from H o l l a n d . However,
ter" . As cool as the event, the setting, and the cuisine were, nothing was going to stop Gerald from enjoying this eve-
- '1 '
-
.... •..,..__3
'�
•
�
· �--

with s u pport fro m :
f!UUm�'P�C'��1}5J AIRBRUSH
Wai le Model Centre limited
STEP BY STEP
Vacuum Goslar NO.AS1 1 1 4 1 9
�
-
n i n g . And a lthough it was with a bit of a delayl#, he was

II Thanks so very m uch to Hugo Maciel and his team as well as
able to conduct a toast to the unfortunately m issed a i rbrush a l l of the lectu rers and participants i n this truly sensational
ann iversary. In addition, a Span ish TV station d i d a piece on event!
the event and even broa dcast it that very even i n g .
Q www.hugomacart.com
Once the event conclu ded, a l l of the participants a n d l ec
turers joi ned together to clean u p the event spaces q u ickly
and packing things u p to be brought back to H ugo Maciel's
studio. The next day, a sig htseeing tour a round the wonder
fu l areas throughout Asturias was organized for some of the
participants who l ive close by and the lecturers from afar.
Some of the places visited incl uded Cangas de Onls with its
h istorica l bridge and the Basil ica de Santa Maria i n Covadon
ga. The tour was then concluded with a breath-ta king view
of M irador del Fito.

Artists for Futu re - Arti sts for Climate Protection
I
•
•
•
"We too are ca l led u pon to i ncrease the pressure created by

•
•
•
•r
•
•
•
�-· ·• . the pupils and to persuade the decision-ma kers to act. Our
.
, • . . \
poss i b i l ities to do that are artistic expression and the crea

-
•
• •
..
,
.
-
:�': -
'
: .... .
tion of publ icity", reads the statement of the artist g roup.
.
' . "Art reflects and creates social rea l ities. Or calls them i nto
•
....
•
..
•
, question. This is why we share a responsibil ity for that which
..
•.
-.
••
is socia l ly perceived as norma l . That concerns especia l ly the
•*
•• •
'· • • . question of how we i nteract with each other and with our
'� :- natural l ivel i hoods - both i n our d i rect surro u n d i ngs as we l l
•
. A•
•
• •
•
• 1
•
as g lobal ly. "
-
•
- - .
'
•
At the practical level, the "Artists for Future" and a lso other
•
•
. ' ' '\ \ '
"for Future" g roups have been orga nizing i n local groups
and - with their a rtistic performances, works, and thought
.
,
/
•
/
.
.
•
-
•
•
'
provoking impu lses - underl ine the demand of pol iticians

and society to do everyth ing possible and necessary to ach ie
,
•
'
I
•
ve the goals of the Paris C l i mate Protection Agreement. I n

• . � •
' I
•
Berl i n, a i rbrush specia lty dealer and artist Steve Beckmann
•
•
•
• •
from .. Tropical Airbrush .. company has been working for

I
"Artists for Future " . For exa mple, he's been offering work
•
•
•
•
•
shops at schools i n which the students design banners and

signs for the Fridays' demonstrations. I n addition, he natu
ra lly reg ularly joins i n the "Artists for Future" ra ll ies.
Greta Thun berg and the " Fridays for Future" movement has If you'd like to j o i n the "Artists for Future", you ca n feel free
made headway for environmental activism i n the world of art to sign the organization's statement o n l i n e and sig n u p for
as wel l . With the estab l ishment of the group "Artists for Fu the m a i l i n g l ist. At the website, you'll a lso find l i n ks to the
ture", more than 2.900 Germa n-spea king artists and creative va rious possibly local groups, which often org a nize and com
souls have declared their solidarity with the students from m u n icate via Telegram, WhatsApp or Facebook. The website
Fridays for Future and their goals and demands. Among tho is ava i lable i n E n g l ish, German and Ita l i a n language.
se who have sig ned the central statement are fine artists, ac
tors, musicia ns, authors, d i rectors, photog raphers, and other
representatives of a l l wa lks of artistic l ife. Q www.artistsforfuture.org
..J -
G
-
Down l oa d h i g h-re s o l u t i o n i m a g es a n d d rafts

•
ft.\
fo r t h e h o w-tos t h a t g ive yo u a n even be tt er
u n d e rst a n d i n g of h ow t h e a rtwo rk w a s re n d e re CI .
F i n d h ow-to a n d p ro d uct revi e w v i d e o s from � r t i sts
1 '--
a n d e x p e rts a n d s e e t h e m wo rki n g , i n m o t i o n .
R e a d a d d it i o n a l a r t i c l e s o r exte n d e d ve r s i o n s f
i n t e r v i ews a n d r e p o rts from t h e m a g a z i n e.
At t h e A S B S D ow n l o a d Ce n t e r
http://a i r b r u s h - m a g a z i n e . n e t/d o w n l oa d c e n t e r
J u st e n t e r t h e p a s sword t h a t yo u fi n d o n t h e I m p re s s/ P re v i e w p a g e i n e a c h i s s u e !
T h e E u ropean A i rb r u s h S h ow
Fa ntasy Wo rld of Ai rbrush: A hot weekend at the ice ri n k
Hail ing from Belgium, Hugo and Daisy Vervliet once again For those who wanted to find out more a bout study options
hosted the Fantasy World of Airbrush this year i n Grefrath, i n becom ing a n i l l u strator or a i rbrush designer, a stand was
Germa ny. About 60 artists from a l l around Europe made their representing the I B K K i nstitute from Boch u m, Germa ny. The
way to G refrath on Aug ust 24th and 25th i n order to present stand featured several students and lecturers who put their
their latest works revolving around our favorite topic of a i r talents l ive on d isplay to demonstrate the types of things
brushing as part of the 1 4th US Car and B ike Show. Exhibition that one learns when studying at the i nstitute.
visitors were able to watch the artists at work and pick up a
whole bu nch of tips or inspiration for their own creations. Visitors were a lso able to educate themselves about the
The participating artists presented a variety of different pie latest paint assortments and techniques out there at the
ces of art on canvas, i l l ustration board, veh icles, and even on stands set u p by paint man ufacturers Createx Germany and
u nusual surfaces such as a tin cans, frying pans or 3D modeled Sch m i ncke as wel l as the Kustom store headed by Martin Ep
figures. Wi l d l ife artist l ngo Korner, who was responsible for d i n g . The stand set u p by Createx played host to three i ncre
the title motif of the event poster, put his ta lent for tattoos d i ble artists. I n add ition to photorea lists Markus Ei senhuth
on d isplay i n addition to his new a irbrush artworks. and Rene Becht from Berlin, visitors could a lso watch M i ke

Ta mas from Hungary as he created his
lovely works. At the Sch m i n cke stand,
l a b co-worker Rene Schafer joi ned ar
tists Christian Erdmann and Susanne
J u h l ig i n providing information about
how to go about handling a n d pro
perly working with paints. It was a lso
possible to shop right at the booths
of the compan ies Schult and Lion Art,
who brought a long a h uge assortment
and many new materials. Roger Hass
ler made sure there was a good su pply
of topic l iterature at our Ai rbrush Step
by Step sta nd. ASBS readers were able
to fill out their magazine archive with
any possibly missing issues or purchase
a n u m ber of current subject books .

While Hugo and Da isy were enthusias there who may be interested wi l l find
tica lly busy creati ng another fa m i l i a r more i nformation on sign i n g up i n u p
a n d exciting atmosphere for the world coming issues of the ASBS magazine.
of a i rbrush i n g in the ice arena, visitors
once again had the opportun ity to step www.airbrush-show.com
outside to view, photograph or even
sit i n or on a n u mber of wonderful U S
cars and bi kes. A l l the whi le, the a l most
typical G refrath summer weather had
a i rbrush a n d a utomobile fans sweating
n ice and hard, whether they were in
side or out.
For this upcom ing yea r, there w i l l be a

bit of a n orga nizational a lteration for
the exh i bition i n G refrath. The Ai rbrush
Step by Step editorial staff w i l l, as a
partner to Hugo and Daisy, assume the
organ izational duties and p l a n n i ng for
the a i rbrush events. Any exhibitors out

Pa i nting LEGO®: Ai rbrush Art meets Bu i ld i ng Bl ocks
Colorfu l com petition p roject held by the Europea n Ai rbrush Association
Airbrushers are already known for being q uite open to all where the a i rbrush association shared the exhi bition a reas
sorts of surfaces. This was proven by the 1 6 members of the i n the g lass h a l l with the Leipzig-based model construction
German-based airbrush association, Airbrush-Fachverband organization LBrick. " Can you pa i nt LEGO bricks with a n a i r
e.V., who registered in mid-June to an association-wide air brush? " , asked model b u i lder Kerstin Wa l ker from Leipzig.
brush competition on the topic of LEGO. The association Wel l, why not! Kerstin Walker had long had the idea to b u i l d
called upon its members to take part in the competition in a museum b u i l d ing out of LEGO, one i n which real works of
which the artists were to create little works of art on LEGO art wou ld be placed on d isp lay. No sooner said than done:
ti les that were j ust a few centimeters in size. The artists The members were g iven time from J u ne to Aug ust to paint
could choose up to four tiles sized 4.5 x 4.5 em or 6 x 1 2 em, their airbrush works on the LEGO blocks.
which cou l d then be pai nted individually or as a multipiece
work. The topic: The colorful world of LEGO and anything The results were as fascinating as they were d iverse. Artists
that might drop into the artist's mind. l i ke Mike Ta mas, Thorsten KrOger, and Thomas G rocke pro
cessed their personal child hood memories and preferences
Creative works of art from the world of LEGO i n the motifs. Thomas Pitz and G u nther Borgartz researched
So, u h, what's up with creating works of art on LEGO bricks? seldom known figures wh i l e Torsten Rober and M ichael
The idea popped up i n October of 2 0 1 8 at the Modeii-Hobby Pfeiffer busied themselves with the (possi ble) beg i n n i ngs of
Spiel (Model Hobby Game Exhibition) i n Leipzig, Germany, the LEGO story of success. Individual characters i n LEGO style
were created by no less than Roland B O h ler w h i le both Mi
chael Wolf and Iris B usch transferred some of art h i story's
most i mportant works to the colorfu l world of LEGO. The
plastic surface provided by the tiles made thi ngs a bit d if
ficult for some of the artists. Pri m i ng and pa i nt types were
tested and then tossed out of consideration, clear va rnishes
ended u p fai l ing a n d made it necessary to grind down the
ti les several ti mes. Once all was said a n d done, most of the
participants managed to submit their works for the com peti
tion and the construction project on time.
Automotive Painting a Ia LEGO

What proved to be a special h i g h l ight for artists and model
b u i l ders was the painting of a Ford M ustang that had been

,., .., .., ._ t. .., W IW '
'- • • • • IIIIIIP w
�w w -.. w tr. ...

... ...
.. ... . . ..,
. ... . _, . .. ...
b u i lt out of LEGO bricks, which was added to the pai ntings presented at the biggest i nternational LEGO fan meet-up
i n the museum as a n art object. Association member Marc whatsoever, which featured over 700 partici pants from 30
de B ru ijne was able to design the color of the model outside countries. The visitors who were there were g iven infor
of the competition, g iving it a real istic blue chassis varnish mation a bout the artists and their works. They were a lso
on the one side and a rusty retro Steampunk design on the g iven ballots that were organ ized by the a i rbrush associ
other. ation i n order to select their favorites out of 1 4 pictures.
Among the LEGO fans, this very special exh ib ition piece and
International exhi bition visitors the voting su rrounding it proved very popu lar, leading to
Via the association, the works then made their way back reports conducted by pertinent fan and specia lty porta ls.
to Kerstin Wa l ker, who then i ncorporated the total of 20
works of art i nto her LEGO b u i l d i n g - a n open gal lery de The next exhi bition was j ust one week later. At the Mode ii
sign i n an un pretentious shade of wh ite, which is there so H obby-S piel (Model Hobby Ga me) exhibition i n Leipzig, Ger
as to not to distract from the artwork, with true-to-sca le many - one yea r after the i n itial " brai nstorm i n g " that took
visitors and insin uated g a l l ery l ig hting. The artwork and pl ace there - viewers could marvel at the model and then
the gal lery h it the road at the end of Septem ber, namely to vote on their favorite motif per ba l l ot. Live on site, on Oc
the Skaerbaek Fan Meeting i n Denmark, where they were tober 3rd, com petition participant I ris B usch d isplayed how
Iris Busch submitted 4 artworks and did demos at Modeii-Hobby-Spiel Show in

Leipzig, Germany.
I .-/

you cou l d spray the LEGO b locks with
the a irbrush and proceeded to a nswer a
n u mber of q uestions that the a u d ience
had for her. Para l lel to this, the a rtwork
was presented right at the association's
website including a l l i nformation, whe
re voti ng cou l d be cond ucted u nti l Oc
tober 20th.
T he winners
The win ners were fi n a l ly determi ned by
the end of October. By q uite a marg i n
i n the o n l i ne b a l l oting, H u ngarian M i ke
Tamas garnered first place with his Star
Wars motif "Alone" fol lowed by the
2. place: Thomas Grocke 3. place Thomas Pitz
" F i re & Ice n i nj a .. by Thomas G rocke, i n
second place. Thomas Pitz ca me i n third
with his British "Lester M in ifig u re " . A
b it surprising, the voting i n Den mark
and Leipzig placed Thomas G rocke's
n i nja on top and Torsten Rober, who
ultimately finished 4th, proved to be
very popu lar with his motif "Visi o n " .
The o n l ine voting tu rned things M i ke
Tamas' favor considerably. Once a l l
was said and done, the three sepa rate
voti ng sessions led to 1 600 votes. The
three winners can look forward to g ift
certificates a mounting to over 300 E U R,
awarded to them by association spon
sor compa n ies Harder & Steen beck, Tro
pical Ai rbrush, and Ai rbrush-City.
Yo u ' l l be a b l e to view a detai led "step

by step look" at the painting of some

of the LEGO b l ocks and pieces from the
competition i n one of o u r upcoming
issues of Ai rbrush Step by Step maga-
z1ne.
•
More i nformation on the competition,

the pictures, and the artists is provided
u nder www.ai rbrushfachverband.de/
airbrush-lego-museum and www.air
brushfachverband.de/lego-voti ng
� I RBRUSH
FACHVERBAND
e.V.
What we offer:
• A ,seal of qual ity" • Shopping d iscounts • Free i nfo events
• Free advertising on website and brochure • lacement service • Free entrance to shows and fairs
• Shows and exhibitions • Free promotion of your workshops and events • Frequent newsletters
• Airbrush equipment for rent • Free PR I communication services • j
Exclusive member pro ects
• Consulting • Annual members' meetings
----
�.
--- * est.2UU9 * *
'k --- 1
Alrbrush Shop - MagaZine- Atelier
The online shop in Austria The No.1 airbrush webshop in Denmark. European Distributor for Createx Norwegian supplier of everything you
Unterfahrenbach 1 6 We supply the top products in Airbrush Colors, Wicked Colors, Auto Air Colors, need for airbrush, custompaint and
8451 Heimschuh, Austria and pinstriping products. Airbrush supplies carpaint.
Phone +49 (0)664 2387220 Iwata, Createx, One Shot, Kafka, Kirchhoffstr. 7 Jaerveien 1 51 ,
office@ spritzwerk. at Harder & Steenbeck, Sparmax etc. 24568 Kaltenkirchen, Germany 4321 Sandnes, Norway
www.spritzwerk.at Mellebrovej 1 1 , 9280 Storvorde DK Phone +49 (0)41 91 88277 Phone +47 401 0 6525
Phone: +45 42333367 Fax +49 (0)41 91 8591 2 info@scs-norway.com
Mail: l nfo@airbrush-shop.dk info@createx.de www.scs-norway.com
www.airbrush-shop.dk www.createx.de
Anest Iwata EVERYTHING

Strategic Center Sri
Airbrush-Pi nstri ping-Art European Distributor of Iwata, The UK's Premier Supplier of Quality
Specialty store for all airbrushing products
Mechelsesteenweg 1 1 9 Medea and Artool range of products, Airbrush Equipment. Stockists of Harder
Repair + service
2860 Sint-Katelijne-Waver, Belgium and painting spray equipments & Steenbeck and Sparmax Products
Workshops and seminars
Phone 0032(0) 1 5556197 Via degli Aceri 1 Unit C5/C6, The Hailey Centre
Karntener Str. 30-32
Tuesday-Friday: Cardano al Campo (Va), Italy Holton Heath, Poole
45659 Recklinghausen
1 0.00 - 1 2.30 and 1 3.30 - 1 8.00 Phone +39 (0)331 733 1 20 Dorset, UK, B H 1 6 6LT
Phone +49 (0)2361 36035
Saturday: 9.00 - 1 6.00 Fax +39 (0)331 262338 Phone 01 202 622579
info@crazy-scoot.de
artobi@scarlet.be info@airbrush-iwata.com office@everyth i nga i rbrush .com
www.crazy-scoot.de
www.artobi-airbrush.be www.airbrush-iwata.com www. everyth i nga i rbrush. com
Store and Online Shop for air Is your company art

brush, spare parts, paints and missing? medien & desi n
fine arts. Autorized dealer for
Iwata, Artool, Createx paints, ... Airbrush-Workshops, Digital Painting
& Photoshop-Workshop for Artists,
Hagenlei 1 2, B-2900 Schoten
Phone: +32 (0) 496 98 68 7 1
1 year only 40 Euro Inhouse-Workshops,
m o u se ke t i e rs@ p a n d o ra . be (in German and English language) Established in 1 978
www.airbrushshop.be Hamburger Str. 26 Air Compressors and Airbrushes

Book now! 2 1 493 Schwarzenbek 4B-03 Taipei World Trade Center
i nfo@airbrush-magazin.de Tel. +49 (O) 41 51 8960920 No.5 Sec.S HsinYi Rd, Taipei,
roger. hassler@newa rt. de Taiwan 1 1 01 1
www.airbrush-kurse.de Phone +886.2.2345.1 868
See also our
Fax +886.2.2345.31 62
Advertising rates at: I nfo@Sparmax.com . tw
The no.1 in Belgium for all your www.Sparmaxair.com
Airbrush & Pinstriping materials. www.a i rbrush-magazine. net/
Online shop in Dutch, French and English.
Toswos.be advertising-rates
Kapellestraat 1 43
9600 Ronse (Belgium)
Phone +32 (0) 468 32 25 87
i nfo@toswos. be
www.toswos. be

Com i n g u p i n the next issue:
newart medien & design
Roger Hassler I Katja Hassler
H a m b u rger Str. 26
2 1 493 Schwarzenbek
Germany
Phone +49 4 1 5 1 8960920
Fax +49 4 1 5 1 8960921
Mail info@airbrush-magazin.de
Web www.ai rbrush-magazine.com
I � www.facebook.com/a i rbrushstepbystep
Editor in Chief:
Roger Hassler (V.i.S.d.P.)
Editorial:
Katja Hassler
�. Jl .
Contributors:
Bern Foster, Daneen Bronson, Georg H u ber,
Aerobrothers, Nathan Makris, Neimar L. Alien Helmet Route 66
Duarte, Wayne Harrison Thomas Andraesen from Denmark is David Webster's Route 66 Tri ke has
desig n i ng a Skydiving helmet i n Colo been awarded many ti mes and is a ho
Graphics:
n i a l M a ri nes style, i nspired by the mo mage to the most bea utiful places and
Roger Hassler
vie series ,Al ien " . The hel met features the history of legendary Route 66. For
Photos (where not quoted): meta l I plates and textu re effects on the ASBS, David has recreated the main
Roger Hassler front, whi l e dangerous a l ien creatures a rtwork on carton board and is tel l i ng
sneaking u p catch thei r reflections on the story of the artwork.
Translation: the back.
Chapin Landvogt
Advertising & Marketing:

Katja Hassl er, anzeigen@airbrush-magazin.de
Sales:
Katja Hassl er, vertrieb@newart.de
International Distribution :
www.pi neapple-media.com
Airbrush Step by Step {English edition) is a

quarterly pub I ication .
Back issues are ava i l a b l e at www.airbrush

books.com
Printed in Germany
The publisher maintains the copyright for a l l

Airbrush & 3D Printing Lion
pub I ished contributions. Uncredited articles
Ai rbrush and sca le modelling have been Ita lian artist Mario Roma n i is pai nti ng
d o not necessa rily reflect the opinions of the
editorial staff. Reproduction of this publication teaming u p closely for decades now. a lion portrait on the new Liquid Pa
i n part or whole is a l l owed only with written For some years 3D printing has been per ta king advantage of the hard and
permission from the publisher. Product names offering whole new opportunities, not smooth surface of this h i gh-tech mate
have been used without guarantee of their only i n scale modelling, but also for the ria l . Using mixed media such as brush,
application.
customized production of decoration or pencil, a i rbrush, scratching and erasing
even housewares. Thomas Ku nert from to esta blish a realistic texture, he is put
Germany g ives you an i nsight i nto this ting the material to a severe test.
technique, related to airbrushing.
Exclusive download center: ATTENTION !

www.airbrush-magazine.net
Pass word: Trooper The next issue will be ava i lable
from March 26, 2020!

Fine Medium Wide Extra Wide
Extreme Detail Fine Medium
.. ...
Medium Wide Extra Wide
Extreme Detail Fine Medium Wide Extra Wide
'
Extreme Detail

Airbrush Step-By-Step - March 2020 UK

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Airbrush Step-By-Step - March 2020 UK

Uploaded by

Copyright:

Available Formats

INTERVIEW SPECIAL: WAYNE HARRISON I DANEEN BRONSON I BERN FOSTER I NATHAN MAKRIS

��t. M 1)'1 'IPMI

f "l �• " • ' · ' * ' O, I I o'l' r"

.. . . .... .. . . ,. ...... . .... �.

I ... ... ...

01/20 E AIRBRUSH STEP BY STEP 3

4 AIRBRUSH STEP BY STEP 01/20 E

Gaptain Salazar I STEP BY STEP /////M

Sai lboats Shady areas

01/20 E AIRBRUSH STEP BY STEP 5

White details Sl ivers

Black details Right half of the face

6 AIRBRUSH STEP BY STEP 01/20 E

8 AIRBRUSH STEP BY STEP 01/20 E

10 AIRBRUSH STEP BY STEP 01/20 E •

Scaling the d raft sketch

01/20 E AIRBRUSH STEP BY STEP 1 1

Shading the sketch with acrylics

Creating grad ients with pencil

Creating the reflections

12 AIRBRUSH STEP BY STEP 01/20 E

Fixing the d rawing

Applying the base colour to the skin

Pre-detailing the face

01/20 E AIRBRUSH STEP BY STEP 1 3

Applying the base colour to the body

Adding blue tones

14 AIRBRUSH STEP BY STEP 01/20 E

Specifically engineered to repair bent and damaged airbrush needles

www. SharpenAir. com

Masking the body

16 AIRBRUSH STEP BY STEP 01/20 E

Airbrush ing the background Final details

Airbrushing final highlights

Bernardo Bejerano, known professiona lly as Bern Foster, was born in

01/20 E AIRBRUSH STEP BY STEP 1 7

18 AIRBRUSH STEP BY STEP 01/20 E

01/20 E AIRBRUSH STEP BY STEP 1 9

Bern: Someti mes I have one particular idea in my head or I

Do you work with models?

Bern: I use to work with references taken from magazines,

20 AIRBRUSH STEP BY STEP 01/20 E

Do you g ive sem inars?

Bern: Not actual ly. I work around 9- 1 0 hours a day as a De­

What are you r next projects?

Bern: I can 't deta i l too m uch about my next i l l ustrations,

01/20 E AIRBRUSH STEP BY STEP 21

SATAjet X 5500 PHAS ER: Futuristic gun for varnishing pros

The spray g u n SATAjet X 5500 PHASER is ava i lable for

------ BOOKS ------

From I nd i a n a Jo nes to Hel l boy: The Art of Drew Struzan

22 AIRBRUSH STEP BY STEP 01/20 E

New Dru Bl air Ste n c i l s: Curve stenci Is with pizzazz

AIRBRUSH SUPPLY CO.

Free Shipping on Domestic Orders Over $89,

01/20 E AIRBRUSH STEP BY STEP 23

24 AIRBRUSH STEP BY STEP 01/20 E

Int. AlrbruS� �ve nt

Independent of whether you're used to creating things on paper or with a pen

The device is com pati ble as of Windows 7 and as of Mac OS X 1 0. 1 1 - or h i g her.

RBRUSH STEP BY STEP 01/20 E

-OVJO-E AIRBRUSH STEP BY STEP 27

32 AIRBRUSH STEP BY STEP 01/20 E

How did you choose the motive and your reference?

Bern: Not actual ly. I work around 9- 1 0 hours a day as a De

Nathan Makris: After seeing the space a n d measuring it, I im

How was it possible to match the perspective from the refe

ra l ist si nce 2004. That's when I stopped bei ng a book i l l ust

Please make sure that you have the per

or both: Upgrade your print sub

poss i b i l ities to do that are artistic expression and the crea