I.

INTRODUCTION

DEFINITION

A tiny air-operated instrument called an airbrush is used to atomize and spray

many types of media, most frequently paint but also ink, dye, and foundation. Spray
painting is said to use a form of airbrush because it evolved from the airbrush. For
creating a fine, small-diameter spray of paint, a protective coating, or liquid color, use an
airbrush, a pneumatic tool. A spray cannon is often used to paint big surfaces, whereas an
airbrush can be a pencil-shaped atomizer used for a variety of very detailed tasks
including shading drawings and retouching images.

A liquid is broken down into small droplets by an airbrush when it is connected to

an air compressor. We refer to this as atomization. Atomization creates smooth coatings,
gradients, and mixes that are unattainable with a traditional paintbrush.

Makers and artists use airbrushes as tools to add color to surfaces. Users of
airbrushes may spray watercolor on paper, acrylic paint on plastic, and much more.

HISTORY OF AIRBRUSH

The first instrument called a "paint dispenser" was developed by Abner Peeler for
watercolor painting and other artistic purposes and used a manual compressor. It was
pretty rough, based on some spare parts found at a jewelry store, like an old screwdriver
and a welding torch. From Mount Morris, Illinois, it took him four years to build a
working prototype of the Liberty Walkup. It took years. Walkup utilize his work under
the name "Airbrush", the name his wife Mimi come up with. His wife later became the
founder of her art school in Illinois, where students from all over the world learn to
airbrush. In the same leased four-story building, the Rockford Airbrush will be located
below the Liberty Walkup.

Walkups taught American Impressionist master Wilson Irvine the art of

airbrushing at the Airbrush School in Rockford, Illinois. The first distinct "spray" type
airbrush was invented by Charles Burdick in 1893 and unveiled by the Thayer and
Chandler Art Materials Company at the World's Columbian Exposition in Chicago.
Burdick founded his Fountain Brush Company in the United States and launched the first
airbrush series. Essentially the same as a modern airbrush, this device resembled a pen
and served a different function than a peeler device. Burdick's first company, his
Aerograph, still manufactures and sells airbrushes in England. Thayer and Chandler were
acquired by Badger Air-Brush Co. in 2000. Badger Air-Brush continues Thayer and
Chandler's tradition of manufacturing quality airbrush guns, tools and compressors in
Franklin Park, Illinois.

1
II. TYPES OF AIRBRUSH

1. Feed Type

The term "feed type" describes the method by which paint is introduced into
the airflow of an airbrush. Examples of feed types include siphon feed (paint cup
underneath the airbrush), side feed, and gravity feed (paint cup above the airbrush).

 Siphon Feed

A cup or bottle paint container attaches to the underside of the airbrush with a
simple push-fit inlet tube. With the adapter installed, you can attach paint bottles
like Createx paint and several other manufacturers` paints directly to your airbrush
without decanting.

 Side Feed

The side feed system, as its name suggests, feeds material into the airbrush from
the side. When equipped with the proper adaptors, this system may be used with
both gravity-type paint cups and siphon feed bottles, giving the side feed system
most of the advantages of both the gravity and siphon/bottom feed systems.

 Gravity Feed

Gravity feed brushes draw more paint from the cup than other feed systems. Due
to the low air pressure required, gravity feed brushes can produce a very fine
spray pattern and can be used closer to the work surface than other feeding
methods. Good for using minimal amount of paint when needed as the paint
passes through a gravity fed system. Gravity brushes are also not very good at
covering large areas due to the large size of the attached paint he cup.

2. Mix Type

Mix type refers to how the paint interacts with high pressure air to get
atomized and can be either internal or exterior.

 Internal Mix

Although named as the air and paint are mixed "inside", an internal mix airbrush
actually mixes at the tip of the nozzle. This method allows much more precise
control over the atomization process, resulting in a much more even and finer
spray than can be achieved with an external mixing airbrush.

2
  External Mix

External mix airbrushes are far less popular than they used to be and are generally
at the bottom of the market today. This is because paint atomization occurs
outside the airbrush body, making the process much more difficult to control and
more susceptible to outside influences, resulting in a rougher and less uniform
spray pattern than internal mixing airbrushes. That said, the external mix airbrush
is much simpler than the internal mix airbrush, making it easier to clean and
maintain.

3. Trigger-action Type

The trigger-action describes whether the trigger moves in two planes of

motion to control airflow and paint flow (dual-action airbrush) or simply one plane of
motion to get paint flow (single-action airbrush) (dual or double action airbrush).

 Single-action

When you press the trigger, air and paint start flowing at the same time. To adjust
the amount of paint sprayed, you need to turn another flow regulator on the
airbrush body. You can adjust the amount of paint, but not this intermediate coat.
A single action airbrush is a bit simpler than a double action airbrush and has
slightly fewer parts.

 Double-action

Dual action brushes have variable paint flow control, the more you pull the trigger
back, the more paint will flow. There are several airbrushes, such as Harder &
Steenbeck Grafo & Colani, whose usage is described as "continuous double
action", where the backward movement of the trigger controls both air and paint
flow. With these continuous double action airbrushes, the first part of the trigger
travel is reserved for air and the rest of the travel controls the paint flow in the
same way as a regular double action airbrush.

PARTS AND COMPONENTS OF AIRBRUSH

3
 A. Nozzle
- The nozzle, sometimes called the tip
or cone, is one of the most important
parts of the airbrush. Like needles,
nozzles wear out over time and need to be replaced.

B. Spring Steel Needle

- A durable material that resists
breakage.

C. Solvent Resistant Needle packings

- To increased durability using solvent-
based materials.

D. Custom-Matched Hand-Tuned Head System

- This head systems are hand-tuned and hand-tested to
exacting performance standards for precision
spraying.

AIRBRUSH STROKES AND TECHNIQUES

There are four basic airbrush painting strokes that everybody should practice
before they begin: dots, lines, fade lines, and dagger strokes.

Airbrushing Dots
o Position the airbrush about six inches from your newsprint.
o Push down on the lever to release air.
o Gradually pull back the lever to release paint.
o Do not release too much paint. The idea is that you should get a feel for
how the paint comes out of the airbrush.
o The dot should appear slowly. If you use too much paint, it will begin to
drip.
o Continue making dots on the newsprint. As you get more comfortable, try
making dots quicker by pulling back a little further.
o Move the airbrush a little closer to the newsprint to make smaller dots.
When you do this, you do not need to release as much paint to get a well-
defined dot.
o Try making dots across the newsprint until you feel comfortable.

4
Airbrushing Line
o Position the airbrush a few inches from the newsprint.
o Push down on the lever to release air.
o Using your whole body (not just your hand), begin moving your airbrush
to your right and pull back the lever to release the color.
o Be sure to keep the airbrush in motion to create a smooth, even line.
o Like you did with the dots, move the airbrush closer to the surface for finer
lines, and move it further away for less-defined lines.
o Make a few lines until you feel comfortable. Try moving left to right, right
to left, up and down, etc.
o Try connecting the dots you made earlier.

Airbrushing Fade Lines

o Position the airbrush about six inches from your newsprint. Hold it at a 45-
degree angle. The angle helps to create a more natural fade.
o Push down on the lever to release air.
o Using your whole body (not just your hand), begin moving your airbrush
to your right and pull back the lever to release the color.
o Keep the airbrush in constant motion to create a smooth, even line.
o Move your airbrush back just a little bit and make another line right above
the one you just made so they are touching. Your new line should be
lighter than previous one.
o Repeat the last step three or four times to create a fade from bottom to top.

Airbrushing Dagger Strokes

o Position the airbrush about six inches from the newsprint.
o Push down on the lever to release air.
o Using your whole body (not just your hand), begin moving your airbrush
to your right and pull back the lever to release the color.
o As you move from left to right, move your airbrush closer to the surface so
that you’re left with a finer line as you move to the right.
o At the same time, push the trigger forward gradually to use less color as
you move your airbrush closer to the surface.
o Your line should begin wider on one side and then end in a point at the
other.
o Practice, practice, practice.

HOW TO CLEAN AIRBRUSH

Properly cleaning your airbrush after use is crucial to maintaining an efficient

and functional airbrush. Purchasing a quality airbrush is often an expensive
investment and the best way to protect that investment is to follow the steps below for
a simple cleaning to properly care for your airbrush.

5
 a. Loosen the airbrush’s needle chucking nut.
b. Pull back the needle slightly to open flow.
c. Put a few drops of airbrush cleaner into the color cup.
d. Angle you airbrush about 25-30 degrees down and cover the needle cap with
your finger. Push down and pull back the trigger slightly to produce a back
spray effect. This will clear out any material still blocking the nozzle.
e. Clean the cup with a cotton swab or makeup brush.
f. Pull the needle back and reattach the needle chucking nut. Flush the airbrush
with cleanser until it comes out clear (meaning there is no paint left in the
airbrush).
g. To do a deep clean of the airbrush, disassemble the entire airbrush according
to the manufacturer’s instructions. Soak the needle cap, nozzle, and nozzle cap
in rubbing alcohol (99% isopropyl alcohol). Wipe the needle clean with the
same solution. Once every part is clean, re-assembly the airbrush according to
the manufacturer’s instructions.

BASIC OF AIRBRUSH

Aerosol spray

Aerosol sprays are mixtures of two or more liquids and gases. The liquid is
atomized into small droplets. Atomized liquid is suspended in a gas, usually air.
Liquids in suspension tend to settle. It will gradually fall to the ground. When the
liquid meets the airflow, the force of the moving air dissipates and atomizes the liquid
into small globules (think small spheres, but not as clean and perfect as spheres). If
the ball hits something, you get a point. The height and width of the spot are
determined by how long the droplet dries before hitting the surface.

 Greater air pressure = smaller dot = drier, rougher spray texture

 Lower air pressure = larger dot = wetter, smoother spray texture

6
 Depending on the user's preference, these thousands of tiny dots (much
smaller than the eye can see) form a large shape.

Users try to spray with as little pressure as possible with enough pressure to
actually break up the paint being sprayed.

 Thicker, chunkier paint = greater pressure to pull and atomize the paint
 Runnier, more uniform paint = less pressure to pull and atomize the paint

Pressure and droplet size determine how much paint contacts and "sticks" to
the surface being sprayed.

 Greater pressure = less paint sticking to the surface

 Less pressure = more paint sticking to the surface

Everyone is always trying to find a satisfying middle ground between paint coverage
and paint loss from overspray. Overspray is the number one health hazard for any
painter. When you breathe in, bad things will happen to you soon. The most important
rules are: Wear a mask or respirator and ventilate the work area.

Airbrushes spray in a cone shape

The tip (point) of this spray cone starts somewhere between the tip of the
needle and the tip of the nozzle, depending on how much liquid you want to eject at
one time.
 Less paint = cone’s apex closer to the needle’s tip

 More paint = cone’s apex closer to the nozzle’s tip

The size of the cone’s bottom (your spray pattern) is determined by how far
you’re holding the airbrush away from the surface being sprayed.

 Airbrush closer to the surface = smaller spray area

 Airbrush further from the surface = larger spray area

I should also mention that paint builds up quicker the closer you hold the
airbrush to the surface.  This is because you’re spraying the same amount of paint in
the same amount of time over a smaller or larger area, therefore…

 Airbrush closer to the surface = quick paint builds up

7
 Airbrush further from the surface = slow paint builds up

You can check it out for yourself.  Also notice that once the paint “saturates” the
surface it runs away.  This is called a run.  Runs are generally bad in any kind of
painting.

Circular Spray Pattern

The spray pattern should be circular. To do this, always hold the airbrush
perpendicular to the surface you are spraying. That is, always spray directly onto the
surface. Do not spray diagonally. The elliptical spray pattern is unbalanced. If you are
trying to spray an unbalanced oval spray pattern, experiment with different angles.
Otherwise, spray directly onto the surface of the circle. The technique the painter
teaches starts with spraying perpendicular to the surface.

Dots, dots, and more dots

The circular dot is the basic shape that everything gets built out of while you
airbrush. Spray a quick blast of paint without moving your hand.

 Large dots = spray further from the needle’s tip

 Small dots = spray closer to the needle’s tip

Notice, again that it takes more time to ‘cover’ the larger area with paint than it
does to ‘cover’ the smaller area.

 Spray intensity is greater the closer you are to the surface

 Spray intensity is less the further you are from the surface

All this means that it takes a lot of time to cover a large area well and very little to
cover a small area. That is, spray the details quickly, but the background slowly.

Dot + Motion = Line

Start by spraying points and move your hand parallel to the surface. You have a line
like most beginners, start spraying his paint and then moving your hands. Note the

8
large "dot" at the beginning of the line. They spent more time there, so the paint
covered more.

 Start moving your hand before you start spraying and you’ll eliminate this
problem.
 Stop moving your hand after you stop spraying to eliminate a possible dot at the
other end.

Good Airbrush Technique

 Air On
 Paint On
 Paint Off
 Air Off

Airbrushing problems usually occur when air pressure changes dramatically.

That is, when you turn the air on and off. This is when the airbrush is most likely to
spit or splatter. Air should always be cycled on and off over the test sheet to protect
the work from paint splatter and misfires. Keeping the motions separate helps you do
better work, for instance it lets you avoid dots at the beginning of your lines and
dagger strokes.

Dagger Strokes

Spray while moving your hand parallel to the surface of the work as if drawing
a line. But what if we change the distance from the hand to the work? You get a
Dagger Slash. Consistency takes practice. But it's worth it, especially if you want to
learn how to script.

Hard Edges through Sacrifice

The line can be anything, but what if you want something with more coverage
than a small, tight line? You have to move over it a bit, you can freehand fill larger
2D shapes and still maintain hard edges.

For those of us who haven't yet delved into the depths of airbrush magic (or
with a spray gun), masks are a must. A mask provides a barrier between the part being
sprayed and the spray.

 The closer a mask is to the surface the more defined the edge becomes.
 The further the mask is from the surface the less defined the edge becomes.
For example, put masking tape on your work and spray it. Then remove the
tape. You get a clear hard line. Alternatively, take a piece of paper and place it about
an inch in front of your work. Spray. An overspray is required under the paper mask

9
 (called a stencil or shield). The edges aren't as defined as glued edges, but they should
be harder edges than the ones you sprayed yourself.

III. CONCLUSION

Airbrush art has very special characteristics not found in other painting
techniques. After all, airbrush art can be used to create particularly fine color nuances
and very smooth transitions between different color nuances. With it, you can create
pictures that look very realistic and natural in terms of color perception.

Airbrushing is a popular hobby. As well as being part of the various

professions where finishes are applied to surfaces. When using airbrushes with paints
and other chemicals, avoid fumes and protect yourself and your family and
colleagues. When using an airbrush, safety is a very important factor because there
are several reasons why chemicals are involved. Airbrush paint and the particles that
make it up are highly flammable materials and even the slightest spark can cause an
explosion. This can pose a danger to you and the people around you.

IV. REFERENCE

https://www.air-craft.net/acatalog/Airbrush-Basics.html
https://www.airbrushmodeler.com/different-types-of-airbrush/
https://spraygunner.com/blog/types-of-airbrushes-buying-first-airbrush/
#:~:text=There%20are%20three%20types%20of,mixing%20chamber
%20where%20atomization%20occurs.
https://www.lilshobbycenter.com.ph/products/spray-work-hg-wide-
airbrush-trigger-type-1
https://www.tate.org.uk/art/art-terms/a/airbrushing/

10