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READERS GALLERY: SEND YOUR ARTWORK AND WIN A TOOYA GRAPHICS TABLET!
USH STEP
WHICH AIRBRUSH
IS THE RIGHT ONE?
DEVICES AND APPLICATIONS AT A GLANCE
CHROME & RUST
FANTASY CHARACTER
DIGITAL STYLE
STEP BY STEP & INTERVIEW WITH GEAR DURAN
Germany 6,90 Europe 8,10

International US-$ 11,00 (RRP)
SIMON
MURRAYS
Candy
Art
ASBS 04/16 | NR. 41

October / November / December
KEITH RICHARDS
Caricature
CONTENT
STEP BY STEPS
06
Candy Koi Board

Candy Design
An Asian beauty, Kois and water lilies stand out

against candy blue water swirls on a surfboard-like
metal panel, designed by Simon Murray
16
Vimana Pilot
Fantasy Portrait
The world for Philippe Szmuga is all about heroes,

gods, and mystical entities.
28
Keith Richards
Caricature
The Argentinian artist Cesar Deferrari got to work

on this striking portrait of one of the most caricatured celebrities.
41
Chrome & Rust

Illustration
It is quite challenging to paint Chrome for Mike

Prangley. Nevertheless, his motif including the rust
appears realistic and convincing!
56
Deep Web
Fantasy Illustration
06
Candy Koi Board

Candy Design
56
Deep Web
Fantasy Illustration
The monstrous painting by Gear Duran was first created as a digital illustration. After that, he airbrushed
the image on a piece of aluminum.
BASICS
48
Airbrush Devices
So many models, techniques, prices... This is how you

make the right decision
INTERVIEW
63
Never let your first idea be your

only idea
Interview with Gear Duran
48
Gearboxxx wants to share his strong messages.

In the interview, he talks about his ideas and early
experiences with art.
Keith Richards
Caricature
CLASSICS
22
34
Airbrush-News
All about paint: New recipes, mixing tables and

applications
Readers Gallery
Amazing artworks!
68
69
Scene / Events
Invitation to Rosmalen and to the airbrush association
Shopping Guide
Start your shopping tour right now!
70
Preview
From Egyptian queen to contemporary fridge design
41
Chrome & Rust

lllustration
04/16 E AIRBRUSH STEP BY STEP
10 Years
of Airbrush Step by Step...

...Wow, that makes 45 German editions and 39 English
editions/E-Papers. When we first started up with the first
discussions, test articles, and layout by in April of 2006,
this was under the guise of: Well, if it doesnt work
out, well just have to look for another job..... That was
certainly the case for no less than my wife, who had just
lost her prior job with a PR agency and was now facing
the choice of becoming a freelancer or becoming subjected to the whims of the employment office. I, on the
other hand, had been busying myself for a long time
with writing and creating layouts for airbrushing instructions. My first effusions could already be read in
Airbrush Total. My degree was in Graphic Designs and
my thesis work was dedicated to designing an airbrush
instruction book with the respective DVD.
With all this in mind, along with the fact that the beloved Airbrush Total had passed away three years
prior and I felt that the remaining Art Scene International wasnt very beginner-friendly in light of its austere interviews and minimal step by steps, we decided to
give the art of creating and bringing out a magazine the
good old college try. Airbrush and designing knowledge
This was the
first Airbrush
Step by Step
issue from
Sept. 28,
2006.
Roger Hasslers thesis work from 2001:

Designing an airbrushing beginners'
guide and DVD.
was already there and we had made our first contact

with the industry via i.e. Efbe, Createx, and Harder &
Steenbeck. My wife was also incorporating her editorial
and marketing knowledge from her time with the PR
agency. Well, we thought this was a pretty good basis
with which to start things up. What we didnt have was
capital, contact to printing shops, price and volume expectations as well as experience with ad marketing and
magazine distribution. That final point ended up being
the biggest hurdle!
How do I get my printed and bound pages into stores?
After having initially spent a lot getting in with airbrush
dealers and having sent tons of mailings to magazine
distributors, we were one day called by the publishing
house Marquardt & Wellhausen, also from Hamburg,
which is well known for model construction title such
as Cars & Details, Trucks & Details, etc. As we later found out, CEO Sebastian Marquardt had already
heard about our endeavors and could sympathize with
what we were doing, seeing as how it reminded him
very much about his humble beginnings right from his
own sofa. Something we can still hardly believe to this
day is that he felt compelled and inspired to simply give
us a hand. This wasnt done financially, but rather by
providing us with a whole bunch of contacts, information, tips, and fundamental knowledge all about the
magazine industry and market. Wed like to once again
take the opportunity to say Thanks so very much
for this incredible start-up help! With that and a first
edition of Airbrush Step by Step including 6000 samples we simply couldnt afford any more - landed on
September 28th, 2006 in German magazine shops. With
some further education measures, a ton of research, and
The first tiny ASBS Team in 2006: Roger and Katja Hassler with graphic
designer Lisa Bruchwitz.
business reading matter, informative discussions with industry specialists, and most especially a whole lot trial
& error, we were able to get ourselves up and running.
There are a lot of people wed like to thank! Especially
those in the airbrush industry who have supported us
right from the beginning through the sale of magazines
and advertisements. Of special note are partners such as
Harder & Steenbeck, Createx, Iwata, and Efbe. We naturally thank our customers who have become regular and
loyal readers over the course of time. The best content
in a magazine isnt worth a thing if the financing for
the printing and editors isnt ensured. Something else
were proud of, even if it has been difficult at times and
certainly hasnt been something thats made everyone
happy, is that weve never been dependent upon a single company or institution. Independent and useful information that helps the readers and airbrush users is still
given the highest priority to this very day.
We naturally also thank the many artists who have been
very gracious in sharing their work with us and our readers. We know how hard it is for many to place their
work process in photos and words, often just on the
fly while naturally already busy with their career, orders, and family. Especially for many hobby artists, the
biggest hurdle is usually ones own demands of ones
self: Am I good enough to show my artwork in an airbrush magazine? Yes, sometimes we have to turn down
certain submissions due to a lack of quality. Even more
common is the case that weve got to convince artists
from beginners to full-fledged pros that their art had
certainly earned the right to be presented to thousands
of readers all around Europe!
As I mentioned, wed also like to give some big-time

thanks to our numerous service providers, such as the
printing shops, magazine and E-Paper distributors with
whom weve had the opportunity to work over the years. And we certainly cant forget you, our cherished
readers! We truly have a number of readers whove
been with us right from the very first issue. A whole
bunch more have been with us for quite a few years
and we seem to gain new readers on a daily basis. This
is something we continually get excited about. After all,
that serves as a huge incentive and we want to provide
you with informative instructions, interesting stories,
practical innovations, and helpful tips surrounding our
favorite topic airbrushing for the next 10 years as
well. We look forward to it!
Best regards,
Your Roger Hassler
STEP BY STEP | Candy Koi Board
The design that Simon Murray from North

Ireland conjured up on a surfboard-like
metal panel looks exotically elegant. An
Asian beauty, Kois and water lilies stand
out against candy blue water swirls. Simon created the swirl effect by first form
grinding the metal panel which is made
to glow by using candy colours.
AIRBRUSH STEP BY STEP 04/16 E
Level
Candy Koi Board | STEP BY STEP
EQUIPMENT Candy Koi Board

Airbrush: Iwata HP-BC Plus, Iwata LPH-80
Paints: Auto Air Candy2o Cribe Blue, Poison Green,
Transparent Bright Green, Apple Green, Semi-Opaque
Cream, Semi-Opaque Lemon Yellow, Transparent Green,
Transparent Gold, Transparent Yellow, Transparent
Smoke Black, Transparent Root Beer, Transparent White,
Transparent Black, Semi-Opaque White, Flame Yellow,
Transparent Sun Gold, Transparent Orange, Deep Blue,
Wicked Colors Fleshtone, Wicked Colors Burnt Umber,
01
Wicked Detail Carmine, Wicked White, Transparent

Red, Transparent Purple, 40330 Intercoat Clear, 4012
High Performance Reducer, 4020 Automotive Reducer,
4004 Transparent Base, Urethane clear coat
Surface: Metal Panel by TNT Panelz
Additional materials: 800 and 1000 grid wetn'dry
paper, masking tape, Blue-Tack, tape, paper, grinder,
B-Fast stencil
Preparing the work surface
My design is going onto a ground metal panel supplied by TNT Panelz.

The board has already been clear coated. You can spray directly over grinding, but not something I would recommend, as you will get a much smoother
finish over clear especially if youre using a candy. I start by wet sanding with
800 wet`n`dry and laying down my first coat of Auto Air Candy2O Caribe Blue.
Ive added approx. 10% 4030 Intercoat clear to improve spray performance.
02
Candy
04
Sanding
Im now applying my fourth

and final coat using an Iwata LPH-80
with a 1 mm nozzle with zero reduction. However, if I were fading several
candies into each other or using them
through an airbrush, I would reduce
with either 4012 High Performance
Reducer or 4020 Automotive Reducer.
03
Intermediate coating
At this stage, I have clear coated the panel, and Im now wet sanding
with 1000 wet`n`dry. I could airbrush
directly onto the candy, in which case I
would apply one or two light coats of
4030 Intercoat Clear to eliminate any
potential dye back issues. However, in
this case I chose to clear as its very difficult to fix overspray etc. over a candy.
Here you can see the panel

sanded with 1000 grit. Whilst this is necessary to achieve a mechanical bond,
it has the undesired effect of muting
the colours. All those tiny scores give
the effect of looking through frosted
glass which can give you problems
when you come to airbrush later. The
tendency is to undersaturate your subsequent colours.
05
Finishing candy coating
07
Neutralising candy coats
I correct this problem by applying one or two VERY light coats of 4004
Transparent Base with approx. 30%
4012 Reducer. Now the panel is candied,
protected and colour corrected.
06
Cutting and
positioning stencils
Im now ready to start my artwork,

and I have cut out my positive stencils
from frisk film. At this stage, Im just
trying to get everything looking balanced and flowing. Quite often I will
reposition them several times. If the
panel is alloy, I will use Blue-Tack and
if its mild steel I'll use small magnets.
When Im happy with the overall composition, I reverse mask to the

negative and begin to neutralise the
candy. For this particular piece, I wanted the artwork to be 100% opaque,
so I would have a massive contrast
between the artwork and the ultratransparent candy. For that reason, Im
using Semi-Opaque Cream with 20%
4012 Reducer.
08
Colour coverage
Ive achieved total coverage

with three coats. Had I have used more
than 20% reducer its likely I would have
incurred paint creep under my stencil.
NOTE, using a transparent paint would
have given me too big a paint build up
when I remove the stencil.
09
Laying the flower mask
I identify my target area by

placing a positive mask (I always work
from background to foreground). Then
I spray Semi-Opaque Lemon Yellow.
10
Green colouring
Next I come in with Auto Air

Candy2o Poison Green unreduced.
Using a combo of Transparent Bright
Green and Apple Green, I begin to
form things up.
11
Dark areas
For the darker areas I use

Transparent Smoke Black with a few
drops of Transparent Root Beer. NOTE,
on certain areas Ive used neat Transparent Root Beer. Ive mixed Transparent
Smoke Black with a few drops of Transparent Blue for the shadows.
12
Painting flowers
Starting to work on the flower now, I keep the original SemiOpaque Cream and start forming with
Transparent Green, again working
background to foreground. I cut out
my next target area and spray neat
Transparent Yellow. Then, using Transparent Sun Gold with approx. 30% reducer, I begin to detail.
13
Details
14
Intermediate result
I can now begin to paint the

flower petals. I tend to cut everything
out first and then remove them as
needed. For the overall colour Im
using 8 parts Transparent White to 1
part Transparent Black. Using my BFast stencil and Transparent White I
quickly create highlights.
At this stage, Im happy to

move onto the next piece. Nothing so
far is 100% finished; I always wait until all the artwork is in place before I
commit to my final highlights. But this
will do for now.
10
15
Fastening the fish stencil
17
Freehand drawing
I apply the positive stencil first

and then marry up the negative to
that. The main body of the fish is done
with Semi-Opaque White @ 20% reduction, however, when I come to the fins,
I switch to Transparent White with 50%
reduction. Taking my reduced Transparent White, I add a few drops of Transparent Black and further reduce.
16
Applying colour
I have repositioned the positive mask and cut out my next target,
effectively making it a negative mask.
My intended colour is orange, however,
I first put down a reduced Flame Yellow.
Note: I am being selective and leaving
areas of White. This will give me much
greater colour complexity when I tonal
wash my next colour.
I come in with Transparent Sun

Gold unreduced and then selectively
spray Transparent Orange over that
with a reduction ratio of 1:1. I can now
remove the masking and freehand the
Black. This is Transparent Black with
approximately 40% 4012 Reducer.
11
18
The scales
The scales/patterns are all

freehanded with my Transparent Black
mix. However, I have switched back
to the Grey colour I used on the fins
for some of the scales on the left hand
side. I mix a final colour of 10 parts
White to 2 parts Blue and 1 part Grey
to ease in the edges where the fish
meets the water.
19
Spraying shadows
With the masking removed, I can get an overall feel for how it is going.
The look I am after is to have the fish almost hovering over the water, however, as
I expected, it is just a little too harsh. When I cut the original fish stencil, I removed
and saved the non-adhesive backing of my frisk film. So when I come to spray the
Transparent Black shadow, it is just a matter of applying the one piece of loose
mask, saving me a lot of time.
20
Second Koi
The second fish is painted in

the same sequence as the first with
only a few variations. The scales are
larger and more defined on this fish,
so I use my frisk film to give me a sharp
edge. This is unreduced Transparent
Black. I have mixed 5 parts White with
1 part Black and 2 parts Deep Blue @
50% reduction. I am tonal washing
the fins with Transparent Tan. It is not
in the original reference picture but I
am using it for a subtle hint to compliment the girl I am about to paint.
12
21
Facial features
Starting the final piece of

artwork with the same Semi-Opaque
White as I used on the fish, I begin to
form the main features with Wicked
Colors Fleshtone and Wicked Colors
White @ 1:1 reduction. At this stage I
am being a little fast and sketchy.
22
Fleshtone
I then tonal wash the area

with only the Wicked Colors Fleshtone
reduced by 60%. I am working really
fast at this point, but I still acknowledge the highlights. Next, I add a few
drops of Wicked Colors Burnt Umber
and I re-iterate the shadows.
23
Depths and highlights
I loosely sketch out the hair with

neat Transparent Black. Using the same
Black and a B-fast Stencil I work the neckline. I now add more Burnt Umber into my
original skin tone and add just 1 or 2 drops
of Smoke Black. I use this mixture to chisel
out the main features.
24
Aligning areas
Going back to my skin tone and Burnt Umber mix (pre-black), I add 50%
4004 Transparent Base and begin to negotiate between the darkest and lighter
areas. Note, the forehead has been blended but the shadow on the chin has not
yet. I then form the eyelashes with Transparent Black and the eyebrows with my
darkest skintone and Transparent Black mix.
13
25
Lips
In my reference picture, the girls lips were too bright. However, I still
wanted them to be very strong and contrast with the fish. Here I have used
Wicked Detail Carmine with some Wicked White. I roughly map out the overall
shape with Transparent Smoke Black. Then, over that, I apply a mix of Carmine/
Transparent Red/Transparent Purple. A few final tweeks to the hair and make-up.
27
26
The final
clear coating
Just before the clear coat, I spend

about 5-10 mins putting in my final
highlights. I now clear coat the panel
with a urethane clear (zero reduction),
using a 1.3 mm spray gun.
Finished panel
This is what the Candy Koi Board looks like.
SIMON MURRAY
Simon Murray from Northern Ireland has been the head of SM Designs since 1992, one of the leading distributors of airbrush and
custom painting paints as well as
airbrush accessories and courses in
Great Britain. Simons love for art
and motorcycles led him to discovering the airbrush, with which he has eternalized over a 1000 works to
date on helmets, tanks, autos, canvases, and even helicopters. His work
has been published in a number of magazines and has
won a number of prizes. In the year 2000, the US American paint manufacturer ColorCRAFT Ltd (Createx Colors) caught wind of the artist
through Simons instructional video "40 PSI" and offered him a cooperation. Since then, Simon has been running the Createx assortment in
his shop and is currently working on the 6th Auto Air User Guide DVD.
In addition, he developed and produced his own line of stencils called
"B-Fast". In the meantime, Simon has been primarily busy with airbrush
workshops that he runs from his headquarters in Ballymena (Northern
Ireland) as well as England, Norway, Germany, Cyprus, and the USA.
www.smdesigns.co.uk
14
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15
STEP BY STEP | Vimana Pilot
Level
Vimana Pilot
The world for Philippe Szmuga is all about heroes, gods, and mystical entities. In his artwork,
Philippe is a classical all-round talent when it comes to materials, forms of media and techniques.
For him, airbrushing is an event that makes use
of brushes, acrylics on top of watercolor and airbrushing onto tube paints. In the motif shown
here, Szmugas portrait is mixed with antique Indian symbols and accessories, then melted into a
fabulous airship captain Goddess.
16
Vimana Pilot | STEP BY STEP
EQUIPMENT Vimana Pilot

Airbrush: Olympos HP-100B
Schmincke: Black
Paints: Magiccolor: Astral White, Blue Lagoon, Flesh,

Cyan, Rust, Sepia Brown, Earth Brown, Mars Red, Omega
Orange, Astral Yellow, Delta Violet, Magenta
Surface: Daler Rowney Watercolour Boards Imperial 30 x

22" (762 x 559 mm)
Daler Rowney: Flame Orange, Indian Yellow, Process Cyan
01
Additional materials: Oramask 810 masking film, watercolor brush
The masking
I once saw a photo online that looked like an Indian princess. It was actually too small to be made use of, but it provided me with a structure for the
portrait. My fantasy was going to come to good use here. And as you surely know,
when a picture is on your mind and has become your muse, it needs to be turned
into art. I complete a sketch from a selection of faces that I found online. But what
do I do around the face? Old Indian texts describe a whole bunch of flying ships and
their possible captains. I think it could be one of them. I place masking film around
the face and onto the eyes. I decide to allow the rear portion of the eye to be white
so that it establishes a contrast to the rest of the picture. It infatuates the ego of the
artist when he or she can say: Here is the contrast. Were on the right path!
02
The skin color
There is an unwritten agreement that when airbrushing a portrait, you shouldnt be making use of white. I begin
by mixing Astral White with a flesh color, which creates a color
between pink and orange depending on the dosage. Please
denote that you dont leave any white surface unpainted. Do
not try to create the skin color immediately, but much rather
you achieve it by applying a whole bunch of different layers.
During the work on the picture, the contrast, the brightness
and even the colors can change in the total effect if new areas are painted. Or at least this is the way my mode of working
has developed which I never really questioned before writing
this step by step...
03
The face
We add a drop of water to a drop of Astral White

and mix it with a little bit of Cobalt Blue, as is common with
the lightest areas in the oil painting. Please observe that you
do not mix this color directly in the airbrush, but rather dip
the brush tip into the Cobalt Blue in order to break the light
white color with you. Do not spray this white into the white
areas of the sheet, but rather onto the skin color. When the
paint is three fourths empty, I add another drop of the flesh
tone. This gives me a very clear skin color. In this manner, I
keep adding a drop more to it until the bottle is full.
17
04
The first coat
The darkest areas are painted with the colors Rust, Earth Brown, and
black as if wed be wrapping up the portrait. The hair and eyes are applied with a
very thin watercolor brush as if the lady was covered in make-up. The first layers
of the lips consists of Magenta mixed with Delta Violet. The white reflections consist of acrylic white from the tube, which I let dry in a very diluted manner, much
like a water-color. At this point in time, the skin color looks like a woman put on
a bit too much make-up, but surely not like a fresh, young girl. We begin again on
the light areas as described in Step 3. Via the spray mist, even the darkest areas of
the face are lightened up a bit such that youll have to work on it a second time.
This will cause the lines to become softer. But do notice: This will not be the last
application of paint.
05
The total effect
From this point on, there

shouldnt be any unpainted areas left
in the face, other than in the eyes.
We now take only a wee bit of white,
which is touched up a bit to make it
yellowish or blueish. But in the portrait, do not try to lighten things up
with a much lighter or contrary color.
Complete the exact mixture on the palette. Dip your brush in it just a bit.
The airbrush does not mix the layers,
but rather superimposed them yes,
you know that already. The cheeks can
be made a bit rosier with Mars Red or
a very strongly diluted mixture of Magenta and white. Be careful. The application can hardly be noticeable.
06
The new masking
Well now cover the head, the

helmet, and the chest in order to prepare the surface. Ive decided to establish a very dark segue of orange-colored light on the right side towards the
cloudy daylight on the left side.
07
The background
When I was younger, our art teacher at school

didnt like using any black. She claimed it would pollute
the picture. Well pay tribute by creating a wonderful color
progression of the colors black, Delta Violet and Cyan until
we reach a cloudy, lighter area that simulates an explosion
a bit. This portion doesnt pose any difficulty. We do have
some designing freedom to design the order with watercolor painting in any manner wed like before we attack the
finer bits of work.
18
08
The visor
As is the case for a number of motorcycle helmets,

this visor will feature the colors of an iridium varnish. We
will now set up a color sequence that follows the background paints, however, without the orange portion: The
middle in Astral Yellow moves into Blue Lagoon to the

left side. On the other side, it runs into Cobalt Blue with
a green tinge, very much on the border between the 2 colors, and finally ends in Delta Violet and black.
09
The eagle
Some Egyptian Queen had a

bird of pray as a head ornament. Ours
will be gold with a metallic shine. That
means that the side facing the daylight
will be given an Astral Yellow with a
light, yes very light touch of green
while on the right side, well have Indian Yellow. On the shiny portion of the
wings and the head, I add Astral White.
The black reflections are painted with
a fine brush featuring size 0 or 1. My
brush is larger, but the tip is an "artists
tip. End the right side with a mixture
of Earth Brown and Omega Orange. I
begin conducting Step 8 several times,
increasing the contrast along the way.
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11
10
Readjusting
the contrast
The helmet
Which color do you want to give the helmet? Black or white? Black is
better for the reflections. First well paint the wings with black and enhance
it with some light graduations of white. For this, well naturally need masking
film or paper as a masking. For this polygons, well simply need a couple of
rectangular pieces, which can be attached just outside the middle (12 mm) in
order to leave a white line free on the edges.
Due to these new elements, the colors

of the face must be readjusted. I take
a little Solar Scarlet on the cheek, an
individual spray which is hardly recognizable. I place Flame Orange onto
the right side of the face. Astral White,
broken with a very small portion of Astral Yellow, is placed onto the forehead
and a bit on the left side. I complete
the hair and the eyes with the brush.
The eyes and the lips are given support
with very dark paints (black and three
fourths water).
13
Reflections and
shadow of the helmets
Well use the airbrush to bring out the

white lines of the wings with a mixture
of Blue Lagoon and Astral White left
in the picture. On the other side, youll
want to use Indian Yellow and Orange
Omega in all of the areas in which the
diffuse lights break from the right. All of
the shadow around the face, the lower
portion of the helmet and the hair are
painted very finely with black, which is
touched up with a few drops of Orange
Omega. Nows the time to establish the
contrast of the face and the colors in a
different manner in that we repeat the
prior step for designing the skin.
The bust
I decide to build up the left shoulder, the two braids

as well as a see-through portion of the material and additional decorations. So what should I wear? How do you get the
pattern onto the clothing? I once again select a mixture out
of brush and airbrush. With Titanium White and Cerulean
20
12
Blue from the acrylic paint tubes as well as a very good flat
brush, we will paint the structure of the clothing in that we
attempt to paint the colors into each other. But dont do this
too strongly as acrylic paints dry too quickly.
14
The oil effect
We can now emphasize the

most important lines with the airbrush
by mixing a whole bunch of different
blue tones with Astral White. It then
gives the appearance of being an oil
painting. The reflections on both sides
are naturally to be evenly painted with
Sahara Orange from the tube. Afterward, some lightening up is done with
the airbrush and Indian Yellow. The segue between orange and blue is produced with Delta Violet.
PHILIPPE SZMUGA
Philippe lives and works in northern France. He taught himself

everything he does and is capable
of with art. As a child, he already painted comic book heroes,
as a teenager, he began playing
around with brushes and acrylic
paints. Later, he added watercolor
paints and other possibilities to
his arsenal. In 2003, he purchased
an airbrush, which he always makes use of with mixing techniques
and other types of brushes.
www.szmuga-philippe.com
15
Conclusion
Ill wait a few days and then touch up or intensify the individual partial
areas one last time in order to bring in some more balance one last time. The
piece of work will then be finished and, as a last touch, it will be signed.
21
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MULTIMEDIA
Tooya Fun / Tooya Master: Powerful bargain
Graphics tablets are also a piece of

equipment that airbrush users cant
go without. Especially when it comes to preparing motifs and also
when post-processing, you are able
to finish your design job in a more
controlled, quicker, and intuitive
manner than with a regular mouse.
Our check-up in this issue is for two
graphic tablets from "PenPower".
The Tooya Fun features an active
painting surface of app. 20 x 15 cm,
which means a straight cut of A5.
This makes it very easy to work with
a size relationship with a monitor of
up to 24 picture diagonals. Within
the active painting surface, there are
26 selectable and individually assig-
nable hot keys. The tablet supports

2048 print levels and features a very
high level of precision in the sampling thanks to the resolution of 5080
lpi. Although the accompanying tablet pen must be equipped with a
AAA battery, the pen can be carried
easily in your hand. The Tooya Fun
tablet makes use of a USB cable, like
most devices in the current day and
age. This is all accompanied by a CD
with drivers for Windows systems (up
to Windows 10) and Max OS X. The
driver menu is not as comprehensive
as, for example, the market leader
Wacom, but fully sufficient for adjusting all important features such as a
press down, monitor area, hot keys
and pen buttons. In order to achieve a fluid workflow in the painting
and designing process, you should
keep the keyboard within reach of
the tablet in order to conduct quick
key combination. If you then allocate one of the two pen buttons with
the digital eraser tool, the process
for correction can, when necessary, be very comfortable. In order to
store the pen, theres a red tube on
the upper edge of the Tooya Fun. 5
replacement pen tips including tools
come with the product. The Tooya
Fun is available for 84 EUR.
With the larger Tooya Master, youll
be getting a graphics tablet with an
active painting surface app. 25 x 16
22
cm in size. The special features for

this device are the 6 freely assignable function buttons and the navigation wheel including a shift key,
which is used e.g. for zooming in and
out or for changing the brush size.
The accompanying graphic tablet
pen is free of batteries, only weighs
10 grams and also disposes of two
functional buttons. The Tooya Master also features a driver CD, a short
instruction manual, 5 replacement
pens as well as the USB connection
cable. Much like with the small Tooya Fun, the Master 2048 has printing
levels and a solution of 5080 lpi.
The workflow is considerably more
pleasant for Tooya Mofaster and as
such, you have no need to use the
keyboard during the painting process. The tablet can also be used with
Windows and Mac OS X. Using the
driver menu, you can adjust the function buttons, the pen pressure, the
functions for the navigation wheel
as well as the respective screen and
active work area. The Tooya Master
is available for 95 EUR and offers an
excellent price-performance ratio.
Both devices are distributed by

European distributor My drawing
Tablet.
www.mydrawingtablet.eu
AIRBRUSH-NEWS
MULTIMEDIA
Technical Data:
Tooya Fun
Tooya Master
Active painting surface:
8 x 6 inch (app. 20 x 15cm)
10 x 6.25 inch (app. 25 x 16cm)
Size of the devices:
309 x 237 x 9 mm
390 x 240 x 13,3 mm
Tablet solution:
5080 lpi
5080 lpi
Print sensitivity:
2048 levels
2048 levels
Connection:
USB
USB
Functional buttons:
26 individually allocatable cells on the active surface 6 hot keys, 1 navigation wheel with a selection button
Pen type:
Pen with battery, two function buttons
battery-free pen, two function buttons
Operating systems:
Windows 10 / Windows 8 / Windows 7 / Vista / XP /

Mac OS X 10.6 or higher
Windows 10 / Windows 8 / Windows 7 / Vista / XP /

Mac OS X 10.5 or higher
Scope of delivery:
driver CD, replacement pen tips, quick instructions

in English, USB cable, pen, battery
driver CD, replacement pen tips, short instructions

in English, USB cable, pen
Price:
84 EURO
95 EURO
Silstar BuTouch: Digital Brush

If youd like to painting on any type of
touch screen tablet such as the iPad, GalaxyTab, Kindle Fire, Microsoft Surface
or even a smartphone, the BuTouch
Brush from Silstar offers you the possibility to work extremely realistically.
The BuTouch is actually a real brush featuring bristles that behave like a finger
touch, but which display the painting
feel of a real brush. If you should then
have set a corresponding brush tool
in your painting app, the simulation
will be perfect. The brush stem can be
screwed in and out, ensuring that the

brush is always protected when being
transported. The manufacturer recommends using the application with the
apps Procreate, Sketchbook Pro, Paper53 or Drawing Pad. In addition, there are dozens of other applications that
come into question. The BuTouch Brush
from Silstar is available online in 6 colors, each running for approx. 30 EUR.
www.silstarbrush.com
23
AIRBRUSH-NEWS
PAINTS
Vallejo is upgrading: New Sets of Paint "Air War Color Series" for Model Constructors
As part of their well-known paint line
Model Air, the paint manufacturer Vallejo from Spain has brought out new
airbrush paint sets for airplane model
constructors under the name Air War
Color Series. The 12 paint sets each
contain 8 colors, which in conjunction
with intensive research conducted by
Mark Rolfe and Rafael Navarro have
been coordinated precisely according
to the standards of the respective paint
specifications for the plane types and
their camouflage pattern. The following sets are available: US Navy and
USMC colors 1940-1945, US Army Air
Corps European Theater Operations
(ETO) WWII, US Army Corps Mediterranean Theater Operations (MTO) WWII,
US Army Air Corps China-Burma-India
Pacific Theater (CBI) WWII, RAF Colors
Special Battle of Britain, RAF Colors
Bomber & Training Air Command 1939-
1945, RAF Colors SEAC 1942-1945, FAA

Colors 1939-1945, RAF Colors Coastal
Command 1939-1945, RAF Colors Day
Fighters 1941-1945 & P.R.U., RAF Colors Desert Scheme & M.T.O 1940-1945,
RAF Day Fighters Pre-War to 1941.
All of the sets include the paints in a
small container holding 17 ml. They are

available in airbrush and model construction stores for 22.96 EUR (RRP).
www.acrylicosvallejo.com
Extreme Air: The Universal Airbrush Acrylic Paint from Paasche

The processed Paasche airbrush acrylic
paints Extreme Air are easily sprayed
with small nozzle sizes. The paints are
optimized such that there is little blockage in the nozzle and hardly dry at
the needle tip whatsoever. As such, even
the most detailed works are possible
without constantly having to clean the
device. You can dilute the paints with
water or the Paasche Extreme Reducer.
But even if not diluted, the paints still
provide a very fine spraying pattern.
The Paasche Extreme Air paints can be
easily erased and scraped to the point
that even fine art mixing techniques
on drawing boards as well as airbrush
and synthetic paper are possible. In addition, the paint can be sprayed on all
sorts of surfaces ranging from textiles to
metal to leather and plastics. The manufacturer recommends that you wear a
particle-filter mask for your mouth and
nose when spraying the paint.
There are 27 basic colors, 7 pearlizing,
and 5 fluorescent paints as well as items
such as transparent base, reducer, and
24
cleaner. Also offered are numerous sets

and bottle sizes with 60 ml and 120 ml.
A basic set of paints featuring 15 x 120
ml paint bottles are available for 137.36
EUR. An individual bottle of paint with
120 ml can be purchased for 9.67 EUR.

www.paascheairbrush.com
AIRBRUSH-NEWS
ACCESSORIES
Mixing Schmincke Paints easily thanks to Mixing Tables from Ton Derks
Those who have had problems mixing
together the desired color hue are in
luck as illustrator and lecturer Ton Derks from Holland has manufactured a
color selection chart that includes an
instruction manual. Using his color selection kit, airbrushers are able to apply the 16 basic colors and white to
easily establish the entire spectrum of
the color wheel in accordance with the
given drop count. Ton Derks has developed this color selection guide based
on many discussions and the request
of his course students. For mixing, he
uses the Aero Color Professional from
Schmincke. The color selection will offer you the possibility of mixing paints
efficiently without large material consumption and the need to invest too
much time. The color chart can be held
right up to the photo template in order
to see which color hue is required.

Color charts and a book can be ordered
right at Ton Derks webpage for 110
EUR plus shipping and handling.

www.airbrushatelier.nl
NT Cutter: Precision Blades from Japan

The Japanese company NT Incorporated produces precise blades, cutters,
and tools, which can be very useful to
airbrushers at the everyday hobby level. With their SW-600GP model, artists
are getting a cutter featuring a 30 degree blade, which rotates 360 degrees
around the axle. As such, its really useful for cutting particularly curvatures
that are common with maskings. The
SW-600 GP model is delivered with 5
replacement blades, a clip, and a protective cap for approx. 11 EUR.
For an eye-turner in your atelier, look
no further than the five pastel colored
designing D-401P knives. Its delivered
with a total of 10 exchangeable, 9 mm
wide blades five of which with 40
degree steep angles and another five
with 45 degree angles. The narrow,
ergonomically formed shaft allows for
an exact guidance as is the case with
a pen. The knives come in the colors
pink, purple, blue, green, and white,
each costing approx. 6 EUR.
The A-1P and A-300RP models most especially cover your daily need for cutting. They are ideal for even edges and
precise cuts, but also for thicker materials such as airbrush paper, Mylar film
or masking film. The cutters rest well
in your hand, the edges can be easily exchanged. A device for breaking
off the respective blade tips is alrea-
dy integrated in the cutters. The A-1P

model costs approx. 11 EUR while the
A-300RP costs approx. 4.50 EUR.
All NT products are available in specialty shops or e.g. at Amazon.
www.ntcutter.co.jp
25
AIRBRUSH-NEWS
BOOKS & DVDS
Complete Guide to Painting in Acrylics: New Manual
Internationally known painter Lorena

Kloosterboer is an expert in the field
of acrylic painting. With her book The
Complete Guide to Painting in Acrylics, she has written a comprehensive
and easily understandable reference
book for her field. With her expertise,
she shows the world a great variety of
different techniques. One of which is
the airbrush technique, which can be

combined well with the different acrylic
painting techniques. In two subchapters
across 10 pages, she presents an exciting
look at materials and equipment. The
reader is shown various types of airbrushes, different air sources, how an airbrush is correctly cleaned, and what beginners should look out for. There's also
a short summary of the most important
points. Kloosterboers book serves as a
wonderful introduction into this work
direction, with which you can indulge
yourself in highly detailed and realistic
pictures. As a highlight of this chapter,
she presents fully comprehensible step
by step instructions to creating a female
portrait from renowned airbrush artist
Dru Blair.
The book is also very interesting in that
it describes the fundamentals for many
different aspects of acrylic painting and
of painting in general. It begins with
much worthwhile information about
the topic of acrylic paints and then
moves into materials and equipment
and puts down even further fundamentals for chromatics and paints. Kloosterboer also goes into detail about designing textures and adds her professional
knowledge at all levels of the artistic
process throughout the book. The book
concludes with practical information
about her life as a freelance artist. The
book is rich with pictures from pros in
their field. Whats simply extraordinary
is the very high number of presented
artists, including Becky Bening, Flora
Doehler, Lena Karpinsky, and Andrea
Kowch. The book is perfect for both the
experienced artist and students & hobby painters.
The book Complete Guide to Painting in
Acrylics is published in English by Search
Press, features 320 pages and is available in book stores under ISBN 978-178221-187-7 for 15.99 (app. 20.44 EUR
or 20.79 USD).
www.searchpress.com
Airbrushing And Weathering Techniques: Creating authentic looking armour models!

painters, whether they are beginners or
advanced painters. At the beginning,
the book focuses on general information and questions, such as how to find
the right airbrush model. Moreover, the
book explains which needles and nozzles
are best suited to create the best possible spray pattern. Another important aspect is the use of Airbrush Thinner. The
guide further distinguishes the different
model paints by Vallejo, for instance Model Color and Model Air.
The handbook Airbrushing And Weathering Techniques by Rob Ferreira consists

of helpful tips, tricks and techniques for
model builders and painters, who want
to design authentic looking/realistic armour models. The book covers the different Vallejo colors and auxiliary products
and is meant to be used as a guide and
reference. Ferreira wants to share his experience in using acrylics with all model
26
The main section offers basic and realistic weathering techniques for beginners, such as dust and dirt effects.
However, even advanced painters will
find the guide helpful. They will learn
to create tonal variations, highlights or
other coloring effects. In addition to the
text, the guide is profusely illustrated
with lots of photos, which explain stepby-step all the processes. The FAQ and
several color charts by Vallejo complete
this helpful handbook.

The information in the book Airbrushing And Weathering Techniques is the
result of Rob Ferreira's twenty years
experience of working with Vallejo's
acrylic colours and auxiliary products.
The Spanish brand Vallejo is commonly
associated with acrylic products. Acrylic
colours have advantages like being water-soluble, non-toxic and having short
drying times. However, sometimes these
features require specific techniques for
working with them.
The handbook is a must-have for model builders and painters who adore
armour models. Airbrushing And Weathering Techniques (ISBN: 978-84-6086005-1) by Rob Ferreira consists of 201
pages and is available at book stores or
online for approx. 27 EUR.
www.acrylicosvallejo.com
AIRBRUSH-NEWS
BOOKS & DVDS
Zoofitti Life, Pretty As A Picture: Welcome to the Urban Jungle!

cal atmosphere of the city serves as an
important source of inspiration for the
artist. It is not for nothing that Berlin is
known as a diverse city with inhabitants
and visitors from all over the world. The
city is literally cluttered with artists and
individuals. Therefore, people have been
calling Berlin the capital of creativity.
Lars Laurus Oschatz is a professional

wall and object designer, who became
famous for his vivid animal and landscape paintings. He transforms dull and
monotonous objects and brings them
to life with some bright and shining colors. Oschatz appreciates to live in the
German capital Berlin. The cosmopoliti-
In his recently published book entitled Zoofitti - Life, Pretty as a Picture,

Oschatz presents his lively artworks from
different parts of the world, such as his
animal canvases. He creates the animal
canvases with his unique airbrush and
spray can technique. People can find his
colorful artworks on different objects
and walls, for instance a savannah including wild animals on a house front
in Neuklln, Berlin. His lively motifs
are appreciated by children and adults

alike! Moreover, the book presents several of his wall paintings in childrens
rooms, bathrooms and doctors offices.
The photos and artworks of the participants of his workshops complete this
generously illustrated book.
The book is not only a must-have for
those who adore wall and object paintings, but also an impressive collection
of vivid artworks for pet lovers. Zoofitti - Life, Pretty As A Picture consists
of 224 pages and is available for 24.95
EUR at book stores under ISBN 978-300-052338-0. You can also purchase the
book online at www.laurus-art.de (plus
delivery charges).
www.laurus-art.de
New Airbrush Step by Step epaper-platform and digital subscription

shop at www.united-kiosk.de was created to keep up with the wide spectrum of ebook reader brands, systems
and epaper formats. The press shop
combines all Airbrush Step by Step issues in English and German. Issues can
be downloaded individually or - for
the first time - ordered as a digital
subscription. Furthermore, the press
shop offers all pages and articles individually (0,19 Euro for one page). The
epapers can be read on PC, tablet or
smartphone. The different issues can
be downloaded with the Airbrush Step
by Step Apps, which are available for
Apple IOS, Android and Amazon Kindle Fire. Once downloaded, an internet
connection is not necessary to read the
issues. Users can choose between single
or double pages view. A zoom function
improves the readings; one finger swipe is enough to turn pages. Please note
that the ASBS online shop wont offer
epapers any longer. However, there are
plenty of linkings from the online shop
and the ASBS website, which will guide
you to the new press shop.
The number of epaper and ebook readers is growing steadily. Since 2007,
Airbrush Step by Step participates in
the epaper market. However, the publisher established a new platform in

2016: The Airbrush Step by Step press
For more information visit

www.united-kiosk.de/kiosk-newart/
27
STEP BY STEP | Keith Richards
Rolling Stones guitarist Keith Richards must be one

of the most caricatured celebrities. The Argentinian artist Cesar Deferrari also got to work on this
striking portrait of the musician. For his composition on paper he used a range of materials like
colour pencils, masking tape, erasers and brushes.
28
Level
Keith Richards | STEP BY STEP
EQUIPMENT Keith Richards

Airbrush: Iwata eclipse airbrushes HP-CS and HP-BS
Additional materials: Matte frisket film by Artool, electric eraser, brushes, curved blade
Paints: Createx airbrush colours, Derwent colour soft pencils

(dark brown- lichen green- dark terracota- deep cadmium)
01
Preliminary drawing
I chose the artist Keith Richards

because he offers a variety of skin textures. I am also a fan of him as a character
for aesthetic reasons and because of his
particular personality. I also decided to
do this work in illustration format using
paper because it allows me to use various tools such as pencils, frisket, eraser
and brush. These are a good supply to
enrich the work. While my style of drawing caricatures is realistic, the difference between making a caricature to a
portrait is that you have more freedom
in the choice of colour or some trait.
You might not stick to the reference
photo one hundred percent. After several sketches and corrections, I succeeded
in doing this drawing which is a typical
bust of a caricature, ideal for this illustration. First, I make an extension of the
drawing to the size that I want (in this
case A3 size). I will use this copy as a
mobile template in another step. Then
I trace the drawing on Fabriano paper
using tracing paper.
02
The eye
I cut a piece of Artool matte frisket so as to begin

painting the right eye that stands out in the face. One has
to consider that the character is in profile with half of it
in the light and the other half completely in shadow. It provides a clear contrast. With a cutter I will cut the frisket exposing the interior of the eye. Then I prepare a transparent
ocher with a few drops of green and start to paint the iris.
To avoid a flat base I will give more volume at the top and
degrade it downwards. Dark brown is added to this mixture
to deepen shadows on top of the eye and give more details.
This will provide a good definition. I add black in this dark
brown to give pupil and iris a soft outline. With a reddish
skin tone (the same that I will use for the face later), I detail
the tear duct a little and I degrade from dark to lighter in
the direction of the iris, leaving a light because it will give
the feeling of roundness of the eye to it and not remain
plane. Finally, I add brightness to the eye. For this I made a
mobile mini frisket. I decided not to do it with a brush to
make it look as natural as possible.
29
03
Colour of the skin
I leave the eye to dry a few minutes. I cover it with

frisket, cutting all around it. One must be careful not to cut
the sheet, so you do not have to exert much pressure to do
it. It is essential that the cutter is very sharp. After making
several colour blends, I prepare the skin tone, using half an
airbrush cup of white, many drops of golden yellow, a few
drops of fire red and a few drops of dark brown. This skin
tone is closer to red, because the reference photo has a
reddish background. I begin to detail around the eye completely freehand along each row of the skin and using a
variety of textures by applying small dots and soft lines. It
is very important to have the same tone in different colour
intensities. By spraying in thin layers, I make sure I have a
wide range of values.
04
First subtleties
in the face
05
Contrasts
I continue with the same pattern of

work, adding pores, lines, furrows,
and shadows. At this point, I continue
spraying the forehead, ear and neck.
I spray lightly to accomplish many details. I am cautious at beginning. I apply a thin layer of paint to test the result. Then I go over the dark parts. I use
the same tone for all parts of the skin.
This way, I can achieve more volume
and depth. This difference shows up in
the cheekbone area.
Still using the same colour, I

continue to detail the rest of the face.
The upper lip is darker than the lower
lip. After having done most of the facial
skin tone, I need to see the contrasts, in
order to know if I have to darken even
more. I put this airbrush aside to keep
the colour in it. Then I start to paint the
left part of the face which hardly has
any texture. Only the area around the
eye and the cheekbone have a small degree of skin tone. I put dark brown with
one drop of black in another airbrush,
because I want to darken the shadows.
30
Keith Richards | STEP BY STEP
06
Background
In order to make sure what

contrast of the skin colour is needed, I
should paint the background, too. This is
where I use the mobile template for the
whole figure. I do it this way, because
I do not want very sharp edges. I must
spray uniformly with red. Then, using a
dark red, I spray some areas on the opposite side in the shadow of the face to
maintain a balance in the composition.
07
Setting light accents
Here we can see the bottom part already done. Although I still need to
paint hair, I can see where I have to deepen the shade of skin tone. In this step, I
also remove the frisket eye. I use the electric eraser to accentuate the pores and
brightness of the face where the light stands out (forehead, cheeks, nose, etc.).
09
08
Hair
I start painting the hair. Using a dark brown tone with a greenish tint, I
begin to build up sections emphasizing the highlights and shadows. Because I dont
want hard edges, I trace a variety of lines that merge with the background and the
face. Continue with the same pattern for all hair lines. To enhance volumes and to
achieve more nuances I use Derwent colour soft pencils. They are a good option
when it comes to giving details.
Vest, neck and arms
I complete the airbrushing of

hair using the same tone. I darken the
eye and draw the eye line that is typical for Keith; I also finish his vest in a
completely flat form. Im not interested
in details in this part of the body (vest
and arms) yet, because I want his face
and the cigarette to stand out. I complete the remaining parts (vest and arms)
with the skin tone base.
31
10
Details
11
Cigarette ash
I detail the entire hair giving even more brightness. I give a little more colour to the lips with a more reddish hue (it's a mix of dark pink with a little brown).
Following that, I put on a dark brown shade to deepen the forehead. I leave out a
few millimeters for the light reflection. This light is very important as it gives even
more volume to the face and provides a rounded effect. I make the shadow under
the nose, the shadow that projects the cigarette on the lip, the shadow on the
neck, shoulder and ear. Finally, the ear is detailed by marking some fine lines.
I continue working on the cigarettes ash. To do this effect, I use a brush

and add small spots with fluorescent orange. I add black, making the same
stains. Then white, always respecting the direction of the light. I make a hue
with small gray spots. More details are complemented using the airbrush to give
the effect of burnt paper.
12
CESAR DEFERRARI
Cesar Deferrari wurde 1970 in Argentinien
geboren. 1994 begann er am Instituto Mitre in Buenos Aires sein Kunststudium in den
Fchern Zeichnen und Malerei und widmete
sich anschlieend dem Airbrushen. In verschiedenen Kursen erlernte er die Freihandund Maskiertechnik. Whrend dieser Zeit verfeinerte er auerdem seine Illustrations- und
Karikaturfhigkeiten bei X-Arte, wo er bis
heute die Airbrush-Technik lehrt. In seinem
Blog kann man seine skurrilen und lebendigen Werke, vor allem Portrts bewundern.
www.cesardeferrari.com / www.x-arte.com.ar
32
Cigarette filter, smoke

and final details
To finish painting the cigarette, I paint

the filter with an ocher colour thus adding texture. With some dark brown
I create a shadow between the paper
and ash. I put purple into my airbrush
to add final shades on the cigarette
and to spray a thin layer to the filter.
The last details such as hoop and trinket in Keiths hair are made with pencils. For the final touch I create smoke
adding white thin layers in a random
form, barely visible in some parts and
deepened in other parts.
READERS GALLERY
Our
Readers
Artworks
An anniversary issue like this one wouldnt be complete without a raffle with
great prizes to win. Therefore, we have two Tooya graphic tablets with a total
value of 180 Euro in the draw pot! Send us a photo of your airbrush artwork
until October 15, 2016 in order to participate in the raffle. All decisions are final. Good luck!
Mat Krempask: Biohazard

Airbrush: Infinity 0,4 mm
Base: Aluminum Bottle
Paul Abert: Gecko
Airbrush: Iwata CM-SB
Paint: Createx Illustration Colors
Base: H& S Airbrush Paper, 25 x 35 cm
HOW DO I ENTER?
Rob van Dijk: Mercury Maroon
Airbrush: Iwata Micron SB
Paint: Etac Marissa
Base: Canvas, 60 x 90 cm
Simply send photos of your artworks

digital and at least 9 x 13 cm, with
300 dpi resolution to: info@airbrushmagazin.de or mail (also min. 9 x 13 cm
prints) to: newart media & design,
Wandsbeker Knigstr. 50, 22041 Hamburg, Germany. Photos sent by mail
cannot be returned.
Please make sure that you have the personal, as well as intellectual property
rights at your disposal.
Notice: Airbrush Step by Step does not
take any responsibility for misuse of
personal or intellectual property rights
asso-ciated with the pictures and motifs presented. All of the published
works have been sent into the magazine voluntarily and the artists received
no monetary compensation for them.
Airbrush Step by Step decides on the
choice of motifs based on purely aesthetic and publishing aspects. There
is no guarantee of entries being published.
34
READERS GALLERY
Eugen Fahn: Spider

Airbrush: Infinity 0,15 mm
Paint: Pro Color
Base: Schoellershammer 4G, 60 x 80 cm
Oliver Schwarz: Dude looks like a Lady
Paint: Lascaux Acrylics
Michael Pfeiffer: Iwata Custom CM-C

Airbrush: iwata Custom CM-C 0,2 mm
Paint: Schmincke Aero Color
Base: Hahnemhle Bristol, ca. 50 x 70 cm
35
READERS GALLERY
Claudia Bicking: Eichhrnchen
Airbrush: Iwata HP-B plus
Paint: Schmincke
Base: Yupo Paper, A4
Stephan Brggemann: Stranded

Airbrush: Evolution 0,4, Iwata Eclipse HP-SBS 0,3
Paint: Hansa, Revell
Base: Steel Panel, 60 x 100 cm
Guido Golatowski: Garant Fire Fighter

Truck
Airbrush: Evolution CR plus 0,15
Paint: Resin
Base: Fire Fighter Helmet
Robert Haasdijk: Robert Baratheon (Mark Addy)
Airbrush: Iwata CM-SB
Paint: E'tac transparent black
Base: Schoellershammer 4G 51 x 36 cm
36
READERS GALLERY
Thomas Nimpsch: Simon

Airbrush: Iwata HP-C Plus 0,2
Paint: M-ART-IN Acryl
Erik Smeets: Gandalf' wand

Airbrush: Iwata HP-B Plus
Paint: Aero Color
Base: Board
Andr Horne: Zappa

Airbrush: De Vilbiss Super 63E
Paint: Schmincke Aerocolor
Base: Leather Wastepaper basket
Matt Graham: peek a boo

Airbrush: Micron
Paint: Liquitex Acrylic Inks
37
READERS GALLERY
Robert Adlberger: Motrhead Logo

Airbrush: Iwata HP-BH
Paint: Createx Wicked Colors
Base: tank dummy
Jan Peeters: Lanji Saora Woman
Airbrush: Iwata CM-B
Paint: Com, Art colours transparent
Base: Createx Yupo Airbrush Paper
Tamara Fehr
Airbrush: Iwata
Paint: Schmincke
Base: IKEA table 55 x 55 cm
38
Michael Ammann: Lucy

Airbrush: Infinity CR plus 0,2 mm
Paint: Hansa Pro-Color
Base: Illustration Board
READERS GALLERY
Murat Altintas: Tiger

Airbrush: Rich AB 120
Paint: Auto Air
Base: Plastic, 25 x 30 cm
Roland Ernst: Zoey

Airbrush: Infinity
Paint: Schmincke
Base: Schoellershammer
Nicole Allmannsberger: Skull
Airbrush: Rich AB300
Paint: Schmincke
Harry Heffels: Timegate
Airbrush: Iwata HP-C
Paint: Schmincke
www.colorair.de
39
Level
It is the first attempt for the Canadian airbrush

artist Mike Prangley to paint a vehicle. Prangley
creates most of his works freehand and prefers
to airbrush on canvas. It is quite challenging to
Chrome & Rust | STEP BY STEP
paint Chrome for the autodidact. Nevertheless,

his motif including the rust appears realistic
and convincing!
41
STEP BY STEP | Chrome & Rust
EQUIPMENT Chrome & Rust

Airbrush: Iwata HP-A
Surface: 30 x 40 inch canvas
Paint: water-based inks, for instance Raw Umber, Burnt

Sienna, brown, blue, black, orange, red, Paynes Grey,
turquoise, grey, violet, opaque white
Additional materials: plain 8,5 x 11 inch paper, pencil,

masking tape, ruler, scalpel, cardboard, tracing paper
Working time: 25 hours
01
Draft
My rst job after deciding the picture I'm going to paint is to transfer the
line-work to the painting surface. I do a rough pencil sketch on whatever material I
decide to paint on. For this particular project I am using a 30 x 40 inch canvas. Due
to time constraints, and the fact this is the very rst automobile I have painted, the
image was projected and then roughly traced. I just need to know proportions,
so my pencil work is far from exact, as you can see. For this project I worked off a
picture I found on the internet. I use water-based inks to airbrush with, since they
require no thinning and ow through my gun smoothly. They are also transparent,
so the colours build on and enhance each other. The only opaque colour I use is
white for highlights at the end.
02
Raw Umber
There is no rhyme or reason to where I decide to start

painting. What I like to do though is start with a raw umber
colour to form the basic shapes in the area I do begin. Here I
have started at the bottom of the hood and have then darkened my umber to start the process of getting a realistic looking
rust going. I add some burnt sienna and then some brown.
I darkened under the hood to see how the contrast would
look and then played with some blue tones to try and mimic
a mottled look. I prefer to paint freehand as opposed to masking everything off. I will use a piece of paper, my nger or
masking tape if I need real crisp lines, such as in the lettering
on the hood.
03
Background
I like to stand back and look from a distance quite

often as I paint to keep things in perspective. For this reason,
I started lling in the top left corner of the painting at this
time. It's basically just black. I place a large piece of tracing
paper over the line-work and draw a quick freehand outline
of the rounded hood shape. I then just cut this freehand with
an exacto knife. Nothing fancy, and it takes just seconds. I
then just move the paper around as I paint with black to get
that edge. It's very crude and air blows the mask around, but
I get the result I'm looking for.
42
04
Rust Spots
05
Color of Rust and Details
I then start lling in a few

more of the rusted areas on the hood
with raw umber. Again, I'm standing
back to make sure things are looking
the way they are supposed to. Canvas
is a great medium to paint on. If you
make a mistake, opaque white is your
best friend. Just cover up the mistake
and start again. If you lose your linework, you can always ll it back in if
you need too. I usually never do. Another reason I like canvas is that I can
tape my reference picture anywhere
on it without damaging the surface.
What a bonus!
Things are starting to get serious now. There's a

good feel of rust going on at the top of the hood. I have
added some orange, as well as red into the mix. You have to
be very careful when you add these colours to the raw sienna and burnt umber. Just one drop dramatically changes the
outcome. I tend to mix everything in my airbrush reservoir,
which is very small on the Iwata HP-A.
Five drops of umber, three or four of sienna and one of orange. I then spray on a piece of scrap paper till the nal colour
comes out. The colour you rst add always comes out rst,
so be patient. When I have the right blend, I apply it to the
canvas. This may not be how you like to work, but it works for
me. Whatever works for you is great!
I played around with many colours to make it more realistic.

Having a steady hand comes in handy here. I used darker colouring to try and get the look of raised portions of rust. This
area is by no means nished. I always nd myself going back
and enhancing areas of my pictures. There is a downside to
this as well, sometimes you can ruin an area you had perfect
by going back and trying to improve it. Thank goodness for
opaque white.
No matter what I use to look at, I like to add my own design
to the picture. After-all, it's your art. The reference picture is
purely just that, reference.
43
06
Car Paint
Since the rust was working

out, I wanted to see how the nal
blue of the truck was going to look.
I started by ushing out the airbrush
with water, then adding turquoise to
rough out the body. I then added blue
and nally some paynes grey. I always
darken my colours, I never completely switch from one to another when
painting. I nd working from light to
dark works nicely.
07
Lettering
I'm about six hours into the painting now and things are starting to take
shape. I masked off the letters with plain masking tape. I traced them from the
canvas onto tracing paper, then placed the paper over a strip of masking tape on
the cutting surface. Please don't cut with an exacto knife on the kitchen table, if
you want to keep your better half happy. The masking tape letters are placed over
the letters on the canvas and simply airbrushed around. The drop shadow was done
the same way, but just tracing paper was used and held in place by hand.
I keep the mask on as little time as I can. Canvas is pretty forgiving, but other
mediums are not as nice. I can speak through experience of having masks tear the
surface I was painting on after leaving them in place too long. I think I've learned
the hard way in every case when it comes to airbrushing.
Everything is painted with an airbrush in this picture. I try not to use a paint brush
or pencil crayon if I don't have to. This is just a personal preference. This is quite a
large picture, so it's easy to do.
08
Highlights and Details
I'm standing back more and more now trying to get a polished look. I'm
going over and over areas I've already painted to enhance them. So far, not too
much. This is a slippery slope though, like I've said.
I'm now using opaque white as well to place highlights on the hood, as well
as clean up lines to make them crisper. I've bumped up the lettering as well to
make it pop out more. The missing hood emblem area has been punched up as
well to make it more 3D. White has also been added along the hood above the
lettering to pop it out from the dark fender and background. Contrast is your
friend in this case.
Outline work does not have to be perfect either as you can see by my work around
the headlamp. Oh my God, it looks as though a two year old was holding the airbrush. Have no fear, this will all come together as that area nears completion.
44
09
Masking
Here is just one example of a mask I used for the headlamp. Again, I place
the tracing paper on the canvas and trace the lines. I still draw and cut freehand.
The shape is far from an exact oval, but it still works. I just move it around a lot.
I hold it in place with my hand, no adhesive. I used cardboard underneath so not
to damage the kitchen table. If you have an actual board for cutting, so much the
better.
I also used a ruler, masking tape, plain 8,5 x 11 inch paper and my ngers for masks.
Not much sticks well to canvas anyway. Makes it more of a challenge for me.
10
Contrasts
That light is taking shape now, as well as the fender it's mounted too. The hood and far fender are practically
complete at this point. There may be some nal tweaking
at the end. All rust spots have been bumped up to blend together nicely. I particularly like the rust on the hood above
the headlamp. The contrast of the hood behind it and the
colours work well together. A very light hue of green was
added in as well to age the blue paint.
Again, opaque white was used in areas to enhance contrast

and clean up lines. My airbrush is rinsed many times at this
point as I go back and forth between areas. I recommend
purchasing an ultrasonic cleaner like jewellers use for a thorough cleaning of your airbrush whenever you feel it needs
it. This is personal, but when my airbrush starts to spit the
paint instead of spray, I strip it down and use the cleaner.
Opaque paints are far less forgiving than transparents for
cleaning purposes.
Anzeigen
45
11
Headlights
The headlamp was a tad tricky for me. I basically

had to have a very steady hand to make the oval shape. No
masks at this point for the white highlights. Mostly a bit
of swearing, sweat and breath holding. There is really no
secret here.
Turquoise, blue and paynes grey were used to complete the
chrome of the headlamp. The rust was added later, as well as
the white highlights. This includes the bright reection near
the top of the chrome lamp. The inside was done last and
was basically pretty simple. Most of it is black with some old
metal still attached to the bottom portion. The tiny screw
at the base gives a much more realistic look to the piece. A
shadow under the lamp adds a look of realism as well.
12
Radiator Grill
I'm starting the front grill and as you can see in

the bottom right corner, I do most of my outlines with light
colours, even if the nal colour will be dark. I like to sketch
the picture, then darker it up. No rhyme or reason to where
I work either. I kind of jump all over the place. Sometimes
I will work in a small area and take it to completion just to
see if my colouring will actually work. Chrome is a mixture
of many colours and reections. Blues, greys, purples, to
name few, give quite a realistic look.
It's hard to believe at this point just how much chrome is in
the bumper. It's also very dark. I love the way an airbrush
can turn at images into 3D even using one colour.
46
13
Bumper Bar
The grill and the bumper are nearly complete,

rust and all. Just a few more tweaks here and there. I have
bumped up the white areas with opaque white, as well as
cleaned up my edges holding a ruler as a mask. The simpler
the better for me when using masks. Frisket used to be my
go to when I rst started airbrushing. Clean, crisp lines on
art-board. This is where I learned even frisket turns to glue
if left on for too long.
I was very anxious at this point to tackle the two large pieces of chrome at the front. They look at at this point, but
that's not how they will look very soon. I probably have
twenty hours of painting up to this point. This last area I
shaded in with paynes grey very slowly, trying to get the
nal shape. I sprayed the blue at the top just to see how
that colour worked.
14
Chrome
You can see just how much shape this chrome piece actually has. After shading with Paynes Grey, I darkened
it with a deep brown. I don't really ever use Straight Black.
I like to add browns, blues, whatever tones the nal piece
has in it. The top of the chrome has the blue tones in it, as
well as some very dark rust reection. Purple was used as well
throughout the middle area, blended with grey. White highlights again were added at the end to give more realism to
the chrome. I think I spent about two hours completing this
area. The next one would be much quicker, now that I had a
blueprint.
Again, I stand back and take a look from a distance. Large pieces are made to be viewed from far away. Get up close and
it all looks like a two year old was painting it.
15
Final
Well, here's the nal piece. Twenty ve hours total

time. I'm quite happy with the rust and chrome. Throughout this piece, I probably used my ultrasonic cleaner
ve times. Stripping down my airbrush and thoroughly
cleaning, it makes painting a lot more fun. Nothing worse
than an nicky gun.
I have gone back and touched up a lot of areas. Crisping lines
for better contrast, maybe tweaking the rust. Adding white
here and there. Only you can tell when you're nished. Be
careful though, nothing worse than tweaking too much.
I hope you liked the process. Everyone will nd what works
for them. If you learned one thing, that makes me happy.
MIKE PRANGLEY
Mike Prangley describes himself as a casual airbrush artist and autodidact, who started to
paint 20 years ago. Airbrush is basically a hobby for the Canadian. Since 1999, Prangley is
a full time firefighter in his hometown Edmonton in Canada. Before changing careers, he
worked as a graphic artist in the video game industry. Moreover, Prangley airbrushed wall
paintings and worked as a T-Shirt designer. He studied technical drawing and computer
graphics in college.
47
ASBS TOOLBOX | Airbrush Devices
Airbrush Devices
This is how you make the right decision
In every issue, we talk about airbrush devices
and utensils such as their nozzles, brands, components, etc., etc. as if everyone knows all about
them already. Naturally, theyre the heart and
soul of our magazine and your artwork. But do
you remember how you started up with the topic of airbrushes for the first time and you wan-
48
ted to get one? So many models, techniques,

prices... Maybe youre a beginner right now or
even a bit of a pro just wondering about trying out a different kind of device for another
area of application. Weve decided to tackle these Basics of the Basics and hope to add some
light to the often dark jungle of airbrushing.
Airbrush Devices | ASBS TOOLBOX
No matter what model you decide to use, the basic principle

is just about identical for all airbrush devices and that for
over 120 years! Thats when the fine paint spraying device
for coloring and retouching photos was discovered. The devices patented by Charles L. Burdick and Olaus C. Wold in
the 1890s already featured a nozzle with a fine drilled hole,
a needle, a paint saucer and a control lever similar to current devices. It was only just in the years to follow that the
manufacturers varied the basic models and created the current selection for things such as paint influx for the growing
number of areas of airbrush application, operationality and
nozzle sizes. And nowadays its the intended purpose that
determines which device is most suitable for this and with
which characteristics.
ting or other individual vehicle painting. This is the case for

the airbrush, because they do not touch the subsurface and
as such, are easy to use for every surface form.
Similar to custom painting, the airbrush meets the needs
of wall and facade design in the field of commissioned artwork. The above-mentioned ability to use the device on all
sorts of surfaces makes it optimal for quick, efficient works.
The model construction industry plays a big role among airbrush applications. Model constructors in just about every
field color their models with airbrushes; especially when it
comes to making things look antique or older, where the
characteristics of spraying are heavily preferred. But also
when it comes to table top painting, which is currently a
trendy topic, the airbrush goes a long way in establishing
realistic miniature figures. This is where a fine dosing of
paint and the precise exactness of an airbrush really comes
in handy.
In the last 15 years, airbrushing has been expanding in the
cosmetics industry. Its been gaining in importance as part
of the HDTV and 4K TV technology, which demands a pigmented and even make-up in an even finer manner. But also
when it comes to special effects make-ups in the establishment of masks, fake tattoos or bodypainting for event
and marketing promotions, the airbrush has become a popular device for designing. An additional focal point is the
designing of nail art. Hygienic, even, fine and to the point
these are traits that speak for airbrush technology when it
comes to body decorations.
When youre dealing with sensitive surfaces, then an airbrush is about the best device you can use: As such, china
and puppet painters have spent roughly 100 years placing
their trust in an airbrush. And those busy in the field of Patisserie have come to realize that pies, cakes and chocolates
are easier and better to spray with chocolate and other decorative foodstuffs than have them painted on with a brush.
Source: Wikipedia
// Everything depends on this:
The areas of application

At the beginning of the 20th century, it became pretty clear
pretty fast that the touch-free, even, quick and thin application of paint with an airbrush wasnt just suitable for photo
retouching, but rather for much more. For art and illustrations, this is how soft color transitions and shadings can be
made use of, which allow a motif to look particularly realistic. The current detail-correct photorealism is a remnant
from the day and age where technical and photorealistic
illustrations and advertising graphics were still being done
with airbrushes and no longer with the computer.
The most important aspect of airbrush technology to date
was first established in the 50s: the so-called custom pain-
Dru Blair
49

// A little or a lot?:
A flow or a suction system?
One question that tends to be very banal, which often needs

to be asked with respect to ones individual areas of applications and the respective airbrush, is: Will I be needing a little
or a lot of paint?
With this knowledge, specialty dealers can quickly let you
know whether you need a flow or suction system. For socalled flow systems, the paint is added via a cup located above the device. Only but a little amount usually fits in such
a cup (depending on a device up to app. 7 ml) and can be
worked with. Its for this reason that flow system devices
usually come with small nozzle sizes for detailed works.
A suction system is much more suitable for a larger amount
of paint, which pulls the paint from below the devices attached cup. These devices are preferred for larger surfaces
such as vehicle painting, wall designing, tanning or bodypainting.
What plays a more subordinated role on the market are side
connection devices upon which a paint container or cup that
faces upwards or downwards (you can choose the left or
right side) that are located on the side of the airbrush.
//Every amount of action:
Single vs. double action

How do you control air and point from one device? How fine
and controlled would you like to work? When operating a
device, these things become a good bit more difficult. This
is an area in which airbrushes differ depending on whether
they are single action, double action or linked/controlled
double action. Despite these option, it continues to be the
original function, thus the double action brought on the
market 100 years ago, that is the most common and preferred. Despite its complicated use, most airbrushes featured
in shops and used by artists (likely over 90%) are double action devices. Double Action-Gerte.
Airbrushes with a doubled trigger function

(Double Action) primarily assist in the separate regulation
of air and paint, which allows for the best possible control.
A light pull of the trigger brings in the air supply. Pulling
the trigger even harder activates the supplying of paint.
Using the trigger to ease in the paint, you can decide on
the amount of paint being used. Thanks to this possibility of
variation, the devices are great for the finest detail motifs.
Mode of operation: Double Action
Jacked needle
closes the nozzle
Pulling the trigger moves

the needle and opens the
needle and nozzle
50
The pin transmits the

leverage on the needle
Mobile needle guidance

is attached to the needle
Devices with linked/controlled double action are a variation of this, but are more of an exception on the market,
although they are comparable from the spray quality and
the usage possibilities with the common double function.
When you pull on the trigger, both air and paint are activated. If you just slightly pull on the trigger, the so-called
pre-air is started up. Once you pull even further, the needle
is moved from the nozzle and the paint is released. Thus, for
this device type, you no longer need to push down and hold
the trigger, which simplifies the operability and which is very
suitable for children.
Mode of operation: controllierte Doubel Action
Jacked needle
closes the nozzle
The pin transmits the

leverage on the needl
Skewed pin opens

the air valve when
pulling the trigger
Pulling the trigger moves

the needle and opens the
needle and nozzle
Nonetheless, a single-action device can be made just as

practical with a simple vaporizer. When pushing down the
lever, both the air flow and the paint influx are activated.
Air and paint can then only be turned on and off, but not re-
gulated or varied. These devices are only suitable for simple

surface priming e.g. in model construction, for bodypainting
or when painting walls.
Mode of operation: Single Action
Pre-adjusted needle
position determins the
amount of paint
Needle position
remains unchanged
Stiff needle
guidance
Pressing the trigger

opens the air flow
to change the
needle position
51
CONFUSION WARNING:
SINGLE ACTION VS. LINKED DOUBLE FUNCTION

The term Single Action is often used by manufacturers
to describe a possibly simplified function, which doesnt
have anything to do with the classic single action. The EFBE
airbrushes can e.g. be named at this point, which can be
purchased as a single action variation. The single action model is technically a spraying device with a linked
double function. Also to be denoted are the devices used
for decorating cakes. This is what devices are referred to
when they have another valve built in and provide continuous air. The paint is first sprayed when pulling back the
needle, the amount of which can however be regulated
via the lever.
larger nozzles so that paint can be applied even quicker, for

example, for large custom painting objects, wall creations,
and bodypainting.
However, in addition to the motif size, the chosen sort of
paint also plays a decisive role: Fine nozzle sets are rather
sensitive and can clog up easily. As such, the thicker, solvent-containing varnish or coarsely pigmented paints arent
usually all that great for fine nozzles. Finely pigmented airbrush paints that are water-based are thus easier to regulate. The largest variation of application offer nozzles sized
0.2/0.3 mm. As such, a whole lot can be covered ranging
from fine art to airbrush tattoos, from make-up to designing
pies and cakes, and even motorcycle paintings. Established
airbrush artists can also achieve a very fine spray pattern
with larger nozzles. At the same time, fine art artists often
prefer smaller nozzles to work as precisely as possible and in
a very detailed manner.
WHO HAS A KNACK OF THIS?

PLUG-IN VS. SCREW-IN NOZZLES
The most simple difference between real and unreal

single action devices is that the real single action devices
have a lever that can be pressed down, which also turns
the device on and off, but cannot regulate it. Unreal single action devices, thus devices with a linked double function or continuous air-devices are not only turned on, but
also regulated by pulling back the lever.
Something that is a matter of taste is whether you prefer

devices with plug-in or screw-in nozzles. Devices that are
manufactured in the USA or Germany traditionally tend to
have plug-in nozzle systems. Advantage: nozzle sets of various sizes and even defective components can be easily
and quickly switched out. Disadvantage: If the suction cap
is not properly twisted on, bubbles will form in the paint
cup.
//Its not all about the size:
Needles and nozzles

Independent of the characteristics paint influx and operability, you can decide on various nozzle sizes. You need to ask
yourself these two questions:
1. What sort of paint am I working with in my area of application?
2. How much paint would l like to be spraying?
Common airbrushes are fundamentally equipped with nozzle sets featuring a diameter of 0.15 to 0.6 mm. A nozzle
set consists of the nozzle through which the paint can be
sprayed and the respective needle, which transports the
paint to the nozzle and which opens or closes the nozzle.
The smaller the nozzle or needle diameter is, the finer the
spray can be adjusted. Correspondingly, small nozzle sets
are made use of for details and fine pieces of work while
nozzle sets are used for large-sized and surface works. The
larger the the objects, the more sound it is to make use of
52
Devices from China, Taiwan, and Japan usually come with

screw nozzle systems. In this case, the nozzle screws directly onto the devices encasement. Advantage: There is less
seal difficulties. Disadvantage: It takes a good bit longer
to remove or dismantle it and inexperienced users could
accidentally break the nozzle off if they screw in the wrong
direction. The probability of being able to apply nozzle sets
of another size is not very large with respect to this product. That means that you ultimately have to purchase different airbrushes featuring different nozzle sizes and paint
cup sizes for different areas of application.

//All just a question of the price?
Deals vs. name brand devices

As with other products, it would be far to simple to say that
expensive is good and cheap is garbage when it comes
to airbrushes. Whereas the tendency towards such statements
can of course be the case. However, its the following characteristics that are found behind the price question: processing
quality, availability of replacement and user parts, understandable operational instructions, and service.
Even when it comes to very inexpensive devices, paint is gonna be coming out. These airbrushes are generally produced
with the most modern CNC devices. In order to guarantee
such a low price, the manufacturers often make use of substandard metals, the devices arent touched up in great detail, and then theres usually no quality warranty. In addition,
the components are often difficult to unscrew, they squeak,
and they tend to get stuck easily. If the needle at the end
e.g. is not thoroughly polished, you can injure yourself on the
sharp edge. If you dont test spray these devices before working, theres really no guarantee that the nozzle and needle
work in conjunction and that the spray pattern will be fine.
Many beginners who start with such a device cannot exactly
determine whether the poor spray pattern is their own fault
or that of the device, because its just not functioning very
well. Youll also have a hard time finding simple, German language instruction manuals in the case of cheap devices. One
very important aspect is that of replacement parts: Even the
airbrushes you can grab for cheap at something like Ebay will
need a new nozzle set or another part. As such, the dealer
should have these products in the assortment.
Airbrush devices produced by name brand manufacturers
have established themselves on the market for decades, most
even worldwide. There are constant additions and improvements being made to the models and, in general, there are
just about no processing defects whatsoever. As such, you can
fully depend on the name brand devices, their technology,
and the set-up of their motifs. And even if a problem should
occur along the way, specialty dealers and manufacturers guarantee a full set of replacement parts and a warranty services. You can usually directly contact the manufacturer or
a specialty dealer to clear up any questions you have about
the products. For many brand name device, there are additional components and features for re-equipping the unit,
and even the documentation often comes in a number of languages or youll find that detailed videos are offered at the
manufacturers website.
and cup or the form of the finger rest can be unmanageable

for one user while be just perfect for the next. Its also super to be able to test out the airbrush device of your choice
before buying it. This can often be done right on site at a
specialty dealer shop, but also at airbrush exhibitions, fairs,
and events. You also often have the possibility to try and
get to know various devices at seminars and clubs as well as
airbrush get-togethers.
// When things get tight:
First aid for your airbrush

There isnt an airbrush device out there, which is just super
gut and never causes any problems. An airbrush is simply a
mechanical device and also has a corresponding, well, lets
call it a fitness level of sorts. This depends on the wear and
tear of the components, the cleanliness of the device, but
also the applied paint, its consistence and of course the environmental temperature and air humidity in the area.
Grinding movements are often use to see how the device
ticks and whether the spray jet can make a clean picture.
If e.g. the sprayed line interrupted, the device (usually the
nozzle) can become dirty or a component may be defective.
A quick pull of the lever is often enough to shoot a whole
bunch of paint out of the nozzle. This cleans the needle tip
of collective paint.
Or you unscrew the handle grip, loosen the nut, and twist
the needle in and then out again, while then simultaneously
pressing the button. This can also lead to a bunch of fluid in
the nozzle and the needle needs to be cleaned free. Youve
then got a good chance that you can very well continue
spraying without having to completely clean the device.
//Trying is even better than studying:
Purchase from a specialty dealer

There are a whole bunch of minor nuances that are due to
a design and the production that need to be taken into account in addition to the stated different functions and construction characteristics. One device may be silver, the next
black, while another may feature a red handle. One airbrush
can be filled more easily and the lever is easier to push while
the other has stronger traction. The distance from the lever
53
Airbrush: The choice is yours

ce. The prices are rough specifications and can
vary depending on the offer, price recommendation, and exchange rate. Most manufacturers
cover the entire width of nozzle sizes and areas
This is where were providing you with a small

and anything but thorough overview of the current and most popular airbrush models, assorted by nozzle size, area of application, and pri-
Fine Art
H&S Grafo T1
ca. 180
Quick Fix
controlled Double Action
Multi-purpose
NOZZLE SIZE
SMALL AREAS
0,2
Illustration
Miniatures
0,15 / 0,18
LOW PRICE
Sparmax SP-20
Evolution Solo
ca. 69
ca. 115
paint volume control
Illustration
MakeUp
Custom Painting
Sparmax Max 3
Fengda BD-330
ca. 83
ca. 100
0,3
Cake Decoration
Scale Modelling
Nail Design
Large objects
0,4
Aztek A4702
air reduction
H&S Evo X solo

ca. 115
ca. 100
side feed
Body Painting
Sparmax SP575
Murals
T-Shirt
ca. 69
Sparmax DH-810
Automotive Art
ca. 100
H&S Colani
ca. 210
1,0
ca. 90
Custom Painting
Varnishing
Badger Crescendo 175
0,5 / 0,7
Custom Painting
LARGE AREAS
Face Painting
ergonomic and
adjustable handle
54
of application or even deliver sets with various

components. We cant even display these numerous arrays of options in our graphics and
would kindly ask you to ask for more informati-
on on current offers from your specialty dealers

and the manufacturer.
HIGH PRICE
Badger Sotar 20/20 - 1
H&S Infinity 0,15 mm

ca. 190
Iwata Custom Micron CM-B2
ca. 290
ca. 420
Quick Fix
open needle cap
gummed trigger
open needle cap
Hansa 281
Badger Renegade Krome 2 in 1
ca. 122
ca. 239
Hansa 381
ca. 120
ca. 128
H&S
ca. 130
Iwata Neo TRN 2

ca. 150
Sata Minijet 4400B HVLP

ca.350
H&S Evolution Silverline M
HA
R
A
SP
side feed
Haider brush pro
BADG
ER
R
E
AID
cartridge system
Iwata LPH-400 classic plus

ca. 600
X
A
M
Iwata HP-BC 2 Plus

ca. 285
NS
ca. 200
Trigger System
side feed
pre-set handle
air regulation
pre-set handle
ca. 140
pre-set handle
N
O
I
UT
L
O
V

open needle cap
Iwata Revolution HP-BR
IWA
TA
Iwata HP BH 200
ca. 295

controlled Double Action
Paasche Talon
crown cap holder

pre-set handle
Adjustable Main Lever Tension
low air consumption
A
T
A
S
special characteristics
55
STEP BY STEP | Deep Web
Watch out, squeamish people! The American airbrush artist Gear

Duran aka Gearboxxx from Las Vegas presents another way of airbrushing in every aspect. The monstrous painting, which shows a
mixture of an alien and a saint, was first created as a digital illustration with Corel Painter 2016 and Photoshop. After the digital
work, Duran airbrushed the image on a piece of aluminum. The
unique artist focuses on special effects, highlights and a harmonious interaction of colors. The result is an artwork, which blurs
the boundaries between digital and traditional art, as well as fantasy and real world. You can meet Gear Duran at the International
Airbrush Days 2017 in Hamburg and experience his bizarre world!
56
Level
Deep Web | STEP BY STEP
EQUIPMENT Deep Web

Airbrush: Iwata Eclipse CS, Iwata Kustom Micron C+
Paint: Auto Air Candy2O, Createx Bloodline by Tim Gore,
Createx Illustration Colors
Surface: Piece of aluminum (22 x 52 inches)
01
Digital Draft
03
Filling the color fields
So what we are starting out

with is a piece of aluminum 22 x 52
inches in size. Here we can see the digital illustration that I created in Corel
Painter 2016 and did some fine tuning
in Photoshop CC. Taking full advantage
of the dynamic particle driven brushes
in Painter 2016, I was able to capture
the glows and special effects. This was
a very rough draft, actually. Im sure I
could have spent another day or 2 on
really polishing this image up, but since
Im the author of the original asset, I
have a pretty good idea of where the
final product needs to be. I have more
than enough visual information to start.
02
Additional materials: Corel Painter 2016, Photoshop CC,

Adobe Illustrator CC, cutting mat, exacto knife, Auto
Bourne Sealer 6009 Process Blue, 4020 Automotive Reducer, punch, tape, 4030 Clearcoat, Gerald Mendez's Texture
Templates by Artool, Wacom 27 inches Cintiq Touch, Sure
Cuts A Lot, acrylic brushes, plotter, transfer tape
Cutting-out the shapes
Now I have my image that I tile printed in Adobe Illustrator CC and laid
flat. Before I actually start laying down some paint, I use a large formatted self
healing cutting mat and an exacto knife to cut out the first key image shapes.
After I have some key areas cut out, Ill start with Tim Gores Blood Line Old Bone
White with a 4020 Automotive Reducer. This entire painting is using a combination of the new Candy2Os and Blood Line. Moving on Ill use a combination of
Illustration Black and Diseased Umber just for variation. Being a traditional oil
painter, its just hard for me to take the "do everything in black and white approach" and slap some Candies over it. It just seems lazy to me. This way I get the
subtle museum tones that Im looking for.
With this next stage you can see how Im using the printed template in
making myself a road map to block in the meat and potatoes of my design. I have
a unique advantage to this, as normally you would have someone replicate someone else's artwork, but being the author of this image, I can concentrate on really
hammering in the bulk of the sublayers, then go in for the kill with the topical
details. Again, Ill stress that at this point Im just "setting the stage" to then latter
come in and do the act (details). For the blue sublayer I used Autobourne Sealer
6009 Process Blue for the area that looks like a nun's outfit.
57
04
Pepto Bismo Pink
As you can see I tend to use

a "Top to bottom" approach to blocking in my color and values. Using a
whole punch and some scotch tape Im
able to keep the image I printed and
cut out on the aluminum panel while I
paint. The color I use for the red area
is what I call "Pepto Bismo" pink. For
this I use Infectious Pink and Blood Red
in a 80/20 mixture. 80 % red and 20
% pink. While using the Bone White
again, I was able to cut and mask the
other key parts of the painting, like
the main eyeball in the middle and the
alien human hybrid baby. Also you can
see that I have continued with the Autobourne 6009 Process Blue using my
Iwata Eclipse CS with a ration of 70/30,
70 % paint and 30 % Automotive Reducer 4020.
05
Face and Clothing
Next step is starting to come

together. Using a combination of Blood
Lines Dermatitis Tan, Illustration Black
and Diseased Umber, I further render
out using an Iwata Kustom Micron C+ to
start hammering in the folds and details
of the cloth, areas of the neck, forehead
and flaps on the side. With some of the
more detailed parts of the cyber tech
cross on the nuns outfit, I cut the piece
out and used it as a mask. After that I
used a combo of Illustration Old Bone
White and Dermatitis Tan, 70 % White,
30 % Tan with a 20 percent reducer to
start punching in some of the lighter
values of the nuns outfit. Im not going in for full highlight at this point, just
enough to start sculpting in shape and
value on the right part of the jaw and
upper check bone and head wrap area
as well.
06
Lighting Effects
Remember: its good to know the whats and whys

of how lighting works. Not just placing details and lighting
where it does not need it. If you do that, it starts to flatten
out your image and thus loosing the "Dynamic Lighting"
effect. Now I get asked how to make something look like
it has that sort of what we call "Reflective lighting", when
you have the main light source coming in on a light colored
object, that light will reflect back up. So when rendering
light sources, take this into account. So to warm things up
a little bit, I added the Bone White to the Blood Red with a
tinge of Diseased Umber to dirty up the color. I started layering in the dirty pink to give a sift warm shadow to the folds
58
in the cloth. In the glow I used a variation of a True Fire Layering System. Using an opaque with the new Candy2Os on
top. For this I mixed a cotton Candy opaque orange mixing
up a combo of Illustration Bone White and Illustration Orange. Then I used Candy2O Lemon Yellow and Grabber Orange
to do all the juicy effects. Be sure not to forget to add the
4030 Intercoat clear and the 4020 Reducer. Ratios I used are
40/40/20: Candies, Intercoat clear and Reducer. Thats not a
rule of thumb, but its what I used for this particular portion.
07
Candies and
Color Gradients
We are now starting to cook! Ok, so

over the blue robe I added Candy2O
Marine Blue and over the Pepto Bismo I mixed up I went over it with
Candy2O Red Oxide and Blood Red.
I also used a variation from light to
dark on the bandage arm wraps,
using a combo of Bone White, Diseased Umber and Infectious Pink.
08
Texture
So zooming into some of the details you can see with using my Micron
and a motion in my hands like a geriatric trying to draw a figure 8 real fast
Im able to noodle in this texture of the face. In tandem with that of course
is Gerald Mendez's Texture Templates by Artool. The blood splatter is used
with a texture template and Illustration Blood Red. Perfect! In the gum area is
the same principal with using the Pepto Bismo Pink underlay with a Candy2O
Blood Red over it. Same thing was used to create the eyes, only I tossed in a
little bit of Grabber Orange.
09
Digital Halo
Using my Wacom 27 inches

Citiq touch, I hop into Photoshop CC
and make my digital tech halo that
will go around the face of the character, I use another program called
Sure Cuts Alot and use my plotter
to cut my design.
59
10
Positioning
11
Blood
12
Highlights
Ok, now that I have my design cut out what I did

was manually cut a hole out of the middle, just so I can
simply see the tech halo's orientation in relation to the
face before applying it! At this stage Im using straight

Illustration White and a free hand shield to get me the cut
step shaded difference in tones as the gradient.
In this step Im using my Pepto

Bismo Pink and add in some of the details in the river of blood coming out
of the eye in the center. Keeping the
mask on there will reduce the overspray on the hand.
Moving forward we laid down

a transparent white over the tech halo
and gave it a glow of white as a sublayer for the custom teal mixed Candy pop
on top of it. We have also come back
in with the Old Bone White to pop in
some highlight on the upper left, where the light source is most intense. On
the bottom right of the image we have
some cooler greys and teal grey tones.
Now remember the teach halo is emitting a saturated but low frequency
light. So Ill go in with the cool muted
teals and put some small saturated areas that are picking up the glow more.
60
13
Special effects
This is a fun little trick. I used

one of my acrylic brushes, some with a
long set of bristles, and pressed it in the
middle of the retina. The result is that it
flares out and leaves you with a pattern
very similar to cornea of the eye.
14
Alien baby
16
Knife Blade
Same technique here with the alien. I cut out the

key map areas, so I have an idea of what detail needs to be
hammered in. I used a combination of Old Bone White and
Illustration Yellow. For the alien baby I used the following
colors: Injury Ochre, Burnt Umber and Old Bone White.
What I did here is add some

transfer tape to give myself a nice
sharp mask to render this bloody
stump arm blade thing. Yeah, I know
its pretty messed up, hehe. None the
less, around the corners Ill add some
tape and have it ramping up so no
overspray get on my image. The gray
I used was a combination of Old Bone
White and black with a pinch of Blood
Lines Blunt Trauma Umber.
17
15
Arm Stump
So at this stage of the game I asked my good friend

Cory Saint Clair on what he thought so far. The first thing
he pointed out was that the hand holding the knife was
too small. And well, I had to agree. So! Pressed for time
I figured "Hey, Ill just make her have a bloody bandaged
stump!" Ok, I can work with that, lol. Proceeding with the
Injury Ochre Yellow, Illustration Orange and a pinch of Blunt
Trauma Umber, I continue to add some further details. Using
the shaking motion like I had 3 too many espresso shots and
the Gerald Mendez texture template by Artool.
Last Highlights
Last but not least I have added some specular highlight on the alien baby. I
used a custom mixed opaque teal using the Illustration Line. On top of that I mixed
up a custom teal using Candy2O Poison Green and Caribe Blue. The blood stains are
rendered using the Blood Red over reduced and purposefully made it that way so
I can bleed it out by purposefully blowing out the lines and giving it that natural
blood splatter look. On the arm wraps I used a cooler gray that I custom mixed,
using a combination of Illustration Black, white, blue and a pinch of violet. Having
a sense of color theory and harmonies is the key.
61
18
Finished Motif
Here you can see the finished artwork!
GEAR DURAN
The airbrush artist Gear Duran

started to design T-Shirts in a shopping mall in California in his youth
in order to improve his pocket money. Today he lives in Las Vegas,
where he creates huge wall paintings and inspires the audience
during his live paintings. However, Duran is not only a talented
airbrush artist. He works with oil
colors and acrylics as well and designs digital artworks with computer programs, such as Photoshop
and Corel Painter. After the digital
work, Duran airbrushes the image
on different materials, for example on a piece of aluminum. Duran
offers airbrush-workshops, where he teaches both beginners and
advanced painters. You can meet
Gear Duran at the International
Airbrush Days 2017 in Hamburg.
www.gearduran.com
62
Gear Duran | INTERVIEW
Never let your first idea

be your only idea
Interview with Gear Duran
Many people believe that Gear Duran is a dazzling personality and they are right, in particular when it comes to his outer appearance.
Our editorial staff enjoyed chatting with the
airbrush artist, who was born in California. Only
one glance at his diverse paintings on canvases and walls reveals that Gearboxx wants to
share his strong messages with other people.
Airbrush, spray cans and a drawing tablet are
his favourite weapons to spread his messages
into the world. In the following interview, Gear
Duran talks about his early experiences with art
and the ideas behind his artworks.
63
INTERVIEW | Gear Duran

Hi Gear,
I read your C.V. and saw that you earned your pocket
money with designing T-shirts in your youth. Were you
already into airbrushing? What made you start?
Gear: Yes, Id say I started out pretty young. My mother was
and is a phenomenal artist, but we were separated when I was
only 1 year old and reunited when I was 12 years old. I then
realized where I got my talent from. So Ive been drawing
since I was a baby. What got me curious about airbrushing,
well, my father always used to take me and my stepmom to
the fair when I was little. I remember seeing the heavy metal
sketchy looking guy that airbrushed T-shirts at the fair and
I would always be amazed at the art I saw. It was so cool.
I wanted a shirt for myself, so my dad got me one. Then I
wanted an airbrush for Xmas. I think I was 8 or 9 years old.
Shortly thereafter, I was airbrushing at the mall after school
and quickly realized how much money I can make.
At the beginning, what was more important: the spray

can or airbrush? Or did you use both
combining them?
Gear: Well, using the can was at first out of necessity. I realized I wanted to make my airbrush art bigger, but quickly
realized that I could not haul a compressor to the riverbed or
under a bridge on my bike. So I thought: "Hey, my dad has
some spray paint in the garage! Ill use that!" So I grabbed a
back pack and loaded as much spray paint as I could, hopped
on my bike and took off to do my first illegal graffiti piece.
A specialty of yours is to invent creatures. Why does

this fascinate you so much? Where do you get
your ideas from?
Gear: Ok, this part is important...I know plenty of really
good talented artists and a lot of them are my good friends.
I believe its great to see someone replicate certain IP's also
known as (Intellectual Property's) and masterfully render
them. If I mastered that, then whats to separate me from
anyone else? Whats to separate me from the next artists
that can do photo realistic portraiture? "Nothing".
I like to be original first and foremost. On top of that Im a
freelance creature designer and concept artist, so I "draw
every day!" When I create some really deep works, I tend to
do a thing called "Channeling". I am just the antenna and
Im picking this up from somewhere or someone else. That
to me is where a lot of my magic happens. I love to be able
to just show up with just the airbrush in front of me, the
paint and the panel with nothing to look at. Its where Ive
done some of my funniest works of art.
You do mural painting a lot. How do you get these spectacular orders?
Gear: Well, a lot of people - mainly word to mouth - know
64

that I do large scale walls. I dont really advertise or anything,
I just get called a lot to paint on a grand scale, because where Im at its far and few in between that can do it right.
What other commissions do you get? Do you do automotive painting? Do you sell your own free
works? What are your mainstays?
Gear: I mainly focus on my fine art canvases and metal paintings as of late. If its automotive, I tend to be more picky. If
they come to me and ask me for another damn flame and skull
job, Id rather shoot myself in the ass or pass the job to someone else, lol. Im just so sick of skulls on everything. Be original!
The main thing that keeps food in the fridge and lets me afford
the time to study on geopolitics / computer privacy and current
events are the large contractor jobs. Because I get paid like a
cooperation, but I have no one else that I need to pay out to,
unless I want to hire one of my friends to help me out on a job.
Which equipment do you like to use most?

Gear: "Iwata!!!" Because everything else sucks...lol! Was
that too much? Okay, it was not that funny. Well, maybe a
little, hehe.
Like almost no other artist you use many different

techniques to express yourself. What is the
attraction behind using these?
Gear: First off, lets start with a creative base of origin, so you
have a point of reference to get a better understanding of
where Im coming from.
1. When painting a graffiti mural, I tend to use an oil painters
approach to my layering processes. Tonality of canvas, under
painting, blocking in my color and value, then to final rendering using custom spray caps and highly modified tips that
give me airbrush like detail and control.
2. When Im airbrushing, say for example "no reference freehand", Ill use proprietary texture templates and stencils that
mimic Corel Painter or Photoshop brushes to give me that
"Digital Concept art look. Mixing Sci-Fi, graffiti, Renaissance
and surrealism all in one.
3. If Im doing digital illustration, Im using programs like
ZBrush, Corel Painter, Photoshop, Mudbox and Maya to give
me my final result. Ok, so that's great now I have this cool
digital image... "Now what?" Well, I then use that as my original reference to either make an airbrush illustration with or
a large graffiti mural.
Could you please explain to us your workflow, that is

from the design of the reference to the final
airbrushed result?
Gear: Ok, so long story short. What I would do is your first
65
INTERVIEW | Gear Duran

rule: "Never let your first idea be your only idea. You have
to have an ideal board put together to give yourself whats
called a "Style vibe" of the subject matter you wish to create. Now this is just simply to resonate or find style variation that will give you the "Image Harmony" that you are
looking for. Then, with those up on a second monitor, you
create 6 to 10 thumbnail drawings in just silhouette form.
"No detail". Now that you have that, you nail it down to 2
of those that you take further to just a rough value study
in black, white and gray tones, just to work out value and
composition.
Then you pick the one that is working best to your final
idea and go from there to full final digital rendering. Since
at this point I know what my idea is, there is no reason for
me to flush the idea out completely, as I have a solid idea
where everything is supposed to go and I still want to have
a little bit of creative freedom in the end to make any final
adjustments if needed. Or, if I want to be picky about it, Ill
completely finish the digital rendering and just go on auto
pilot from there.
What got you started as regards digital painting? How

did you get the idea to study at the Gnomon School?
Gear: The subject matter I like to paint are matters that have
meaning and come from the heart. Id rather not be just a copy
machine. What got me originally started in to digital illustration was back in 1995. I lived in an apartment complex where
everyone was friends and a mixture of Computer engineers,
hackers, artists, sub geniuses and underground party goers.
My first intro to digital art was using Photoshop 3.0. Ha! It
has come a loooong way since then! Im so glad to have been
brought up around computers and technology thanks to my
grandfather, who used to work for the mega death cooperation Lockheed Martin. He warned me about things in my lifetime to come and sure as he has said, they have. But that's
another story. In regards to my education at Gnomon School
of visual effects, I wanted to simply get my 3D game strong.
Learning from the masters and taking in by teachers that were
in the trenches and active in the industry working on the latest
movies and techniques that were cutting edge. I almost made
it to the end to acquire my degree, but suffered a loss to someone dear to me, which ended me making the drastic change to
move out of Hollywood, CA, to Las Vegas where I had a running start on life where I could use the multi-faceted skills I had
gained throughout my life and keep work coming in.
What soft- and hardware do you mainly use?

Gear: Today, I do most of my heavy lifting with Corel Painter.
Not just that, but Im slow on their beta test team, so we get
to try out some of the latest features and tools before they
hit the main stream. I also use Particle Shop by Corel. Its a 3rd
party plug-in for Photoshop that gives you real time particle
simulated physics driven effects with just a flick of the wrist!
That's a must have for any concept artist today! Photoshop
to do final touch-ups and fine tuning, Pixologics Sculptis and
66

ZBrush to make Organic 3D sculptures of creatures.
What are your plans for the future? What would you
like to paint?
Gear: What I see in my future is taking the moral obligation
to use my art as a hammer in a broken society that is ruled by
a corporatocracy and not a democracy. Giving a colorful and
visual aid to the people to make them aware of injustices in
our world. So what if I paint a celebritys face. What does that
do for anyone? Nothing!
Nowadays, Im being as much of a business man as I am an
artist. I think that is key for ones future financial security in this current money making paradigm that we live in.
Unfortunately, some of us paint to keep the lights on as a
profession and not out of pure raw passion. Lately, Ive been
painting out of passion and working on sending messages
to those that see my art on a large graffiti mural walking
by. I think in the future that represents a 1984 Orwellian
society, where industry technocrats and cooperations use
our identities, wants, passions, likes, dislikes as commercial
commodities. This is not a place where I want to live. I feel
that creatively, I cannot just stand idly and paint something
meaningless. It is a moral imperative that I not let my talent
go to waste and use it to make this world a better place for
future generations to come.
Thank you for the interview, Gear. We are happy to

meet you personally at the International Airbrush
Days 2017 in Hamburg!
// ARTIST //
67
SCENE | Events
Airbrush-Fachverband goes international
The airbrush association, Airbrush-Fachverband e. V., opens its gates for international airbrush enthusiasts. Founded in 2009 in Germany, the association decided to
welcome new members from all over Europe and beyond. In the course of widening its activities beyond the German-speaking countries, it has launched an English language version of its website recently. The website contains comprehensive
and detailed information on various aspects evolving around airbrush art and the
activities of the Airbrush-Fachverband.
The Airbrush-Fachverband is a central contact partner for everything regarding the
airbrush technique. As a cooperation between manufacturers, retail and wholesale, publishers, training centres, seminar providers and artists, the association provides information independent from suppliers and brands. Since 2015, the association has been organizing the Airbrush Expo Leipzig. Furthermore, it runs the annual
general meetings of the association and the annual info day, including lectures on
airbrush techniques and self-employment for artists.
Everybody being interested to learn more about the airbrush technique is kindly invited to contact the association for any questions and information. There is also the option to become a member. Members can benefit from additional promotion, job offers,
regular news from the scene, discounts, meetings with colleagues and much more!
For more information visit:
www.eng.airbrushfachverband.de
The Wonderworld of Airbrush: Coming right up this fall!

Sooo, are you planning on hitting the road to Rosmalen in October? A whole bunch
of regular exhibitors and visitors will be finding it a bit weird to make their way to
the Dutch town of Rosmalen already in October rather than January, as is usually the
case. After 16 years, the Wonderworld of Airbrush is parting ways from its host, the
Oldtimer Market in January, and is now joining the "All American Days". With that,
the airbrush exhibit this year will now take place for the second time ever, namely on
October 8th/9th. But the rest of the event will be as it always has been. Airbrushers
will romp about on the second floor of the Autotron in Rosmalen while automobile
lovers will hang out on the ground floor as well in the surrounding area outside the
building. However: The gallery area on the top floor, which the airbrushers would
naturally have had to share with the oldtimers is now thoroughly available for 100%
artwork. The whole ambient of the airbrush show should now be a lot like that of
the Fantasy World of Airbrush in Grefrath, Germany. But there is one major disadvantage from a German standpoint: The Dutch Event starts only 5 days after the
long-standing Airbrush Exhibit at the Model-Hobby-Game Event in Leipzig. With
that, a lot of the previous exhibitors from Germany will have to decide which event
they most want to be part of. The Dutch and Belgian exhibitors, as it would appear
when glancing at the comprehensive list of participants, seem to be 100% behind
their event Rosmalen regardless of whether its January or October.
The Wonderworld of Airbrush will open its gates on October 8th/9th, from 10 am to
5 pm each day. Entry includes the All American Days and a ticket can be purchased
online in advance for 12 EUR or right on site for 15 EUR. The Airbrush Exhibition
website also features a discount coupon valued at 2.50 EUR.
www.airbrush-show.com
68
www.allamericandays.nl
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Airbrushes, Airbrush supplies and Airbrush Paints. Stockist of Iwata, Badger,
Paasche and Sparmaxx
Unit 1 Levens Hall Park, Lund Lane,

HARROGATE, UK, HG3 2BG
Phone + 44 (0)1423 522836
info@graphicair.co.uk
www.graphicair.co.uk
Taiwan
Producer
Schools & Courses
Established in 1978
Air Compressors and Airbrushes
Airbrush workshops, cursus en
meerjarige beroeps opleidingen
Wij doen airbrush voor
beginners, gevorderden,
custom paint, body-art,
muurschilderingen etc.
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No.5 Sec.5 HsinYi Rd, Taipei,
Taiwan 11011
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Phone +31(0)621470176
muurschilderingen etc.
69
PRIVIEW | Imprint
IMPRESSUM
IMPRINT
Coming up in the next issue:
newart medien & design

Roger Hassler / Katja Hassler
Wandsbeker Knigstr. 50
22041 Hamburg
Germany
Phone +49 40 48501863
Fax
+49 40 48501862
Mail info@airbrush-magazin.de
Web www.airbrush-magazin.de
www.facebook.com/airbrushstepbystep
Editor in Chief:
Roger Hassler (V.i.S.d.P.)
Editorial:
Katja Hassler
Contributors:
Philippe Szmuga, Cesar Deferrari,
Mike Prangley, Gear Duran, Theresa Johns,
Simon Murray, Yvonne Crowley
Graphics:
Roger Hassler, Toni Rse
Photos (where not quoted):
Roger Hassler, Toni Rse
pressphotos of the producers and artists
Translation:
Chapin Landvogt
Cute racoon
Nofretiti
Oooooh! The German artist Marcus

Eisenhuth from Berlin always makes
the right choice when it comes to selecting a reference photo, as in case of
the cute racoon. Marcus airbrushed his
artwork on Yupo Synthetic-Paper in
front of the audience at the ModellHobby-Spiel 2015 in Leipzig.
The beautiful one has come means

her name and due to her beauty, numerous artists have repeatedly portrayed the former queen from Egypt during
the past 3000 years. Dutch artist JeanPierre Nijs took her bust as a reference
from the Egyptian Museum Berlin.
Humorous comic T-shirts
NYC Fridge
Swiss artist Philipp Klopfenstein is one

of the few in Europe who earns a living, among other things, with airbrush
T-shirts. His comic motifs are his trademark, but he is also famous for his wall
paintings and Custom Painting.
The Italian artist Andrea Panaro brings

American atmosphere in his clients homes: He designs the white American
fridge with the stylized Statue of Liberty and the New York City skyline.
Advertising & Marketing:

Katja Hassler, anzeigen@airbrush-magazin.de
Sales:
Diana Bge, vertrieb@newart.de
Airbrush Step by Step English edition is a
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Authors and creators of texts sent in for publication can be held liable for copyright infringement and breach of privacy laws.
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AIRBRUSH

CHROME & RUST

Germany 6,90 Europe 8,10

ASBS 04/16 | NR. 41

Candy Koi Board

An Asian beauty, Kois and water lilies stand out

The world for Philippe Szmuga is all about heroes,

The Argentinian artist Cesar Deferrari got to work

Chrome & Rust

It is quite challenging to paint Chrome for Mike

Candy Koi Board

So many models, techniques, prices... This is how you

Never let your first idea be your

Gearboxxx wants to share his strong messages.

All about paint: New recipes, mixing tables and

Invitation to Rosmalen and to the airbrush association

Chrome & Rust

04/16 E AIRBRUSH STEP BY STEP

of Airbrush Step by Step...

Roger Hasslers thesis work from 2001:

was already there and we had made our first contact

As I mentioned, wed also like to give some big-time

STEP BY STEP | Candy Koi Board

The design that Simon Murray from North

AIRBRUSH STEP BY STEP 04/16 E

Candy Koi Board | STEP BY STEP

EQUIPMENT Candy Koi Board

Wicked Detail Carmine, Wicked White, Transparent

Preparing the work surface

My design is going onto a ground metal panel supplied by TNT Panelz.

Im now applying my fourth

Here you can see the panel

04/16 E AIRBRUSH STEP BY STEP

STEP BY STEP | Candy Koi Board

Finishing candy coating

Neutralising candy coats

Im now ready to start my artwork,

When Im happy with the overall composition, I reverse mask to the

Ive achieved total coverage

AIRBRUSH STEP BY STEP 04/16 E

Candy Koi Board | STEP BY STEP

Laying the flower mask

I identify my target area by

Next I come in with Auto Air

04/16 E AIRBRUSH STEP BY STEP

STEP BY STEP | Candy Koi Board

For the darker areas I use

I can now begin to paint the

At this stage, Im happy to

AIRBRUSH STEP BY STEP 04/16 E

Candy Koi Board | STEP BY STEP

Fastening the fish stencil

I apply the positive stencil first

I come in with Transparent Sun

04/16 E AIRBRUSH STEP BY STEP

STEP BY STEP | Candy Koi Board

The scales/patterns are all

The second fish is painted in

AIRBRUSH STEP BY STEP 04/16 E

Candy Koi Board | STEP BY STEP

Starting the final piece of

I then tonal wash the area

Depths and highlights