Airbrush

Air Quick Tips

Magnetized Drawing Surface — Years ago when airbrushed photo retouching and technical illustration were in their heyday, airbrush artists were constantly coming up with new and more inventive ways of doing their work.  One such method was the use of magnets to hold non-self-adhering stencils in place.  This system worked in two different ways.  Artists would purchase a rubberized/magnetized cover for the drafting table, available at art supply stores in the commercial art departments.  Thin strips of metal of various shapes were set on top of the stencils (that were most likely cut from 5 mil acetate) to hold them in place when airbrushing.  The thinnest strips were best, since they would not block airbrush spray.

The second method was just the opposite.  The work surface was a sheet of metal, and small magnets of varying shapes/sizes were used to hold stencils in place.  There were advantages to this: The artist could work quickly; since non-self-adhering stencils were used, no adhesive residue was left on the surface of the photo or illustration; and since stencils were cut from acetate that was reusable, they could be saved for future use in case the job had to be reworked.

The system of using magnets with acetate templates is well suited for painting on any metallic surface, such as in kustom automotive work, sign painting or sculpture.

Paper for Airbrushing — Any surface that can be painted with a paintbrush can also be painted with an airbrush.  Success is not dependent upon the tool used but on the compatibility of the surface with the paint that’s applied.  The most common material used in airbrush technique is paper, the surface you will likely use when learning the technique.

There are some considerations when selecting paper.  Because moisture is sprayed onto the surface, you should work on a sheet that is thick enough so that buckling does not occur.  Two-ply paper such as Bristol or paper of at least 145 lb. weight or heavier is recommended.  Also consider the picking (lifting) quality of the paper surface.  When using self-adhering frisket film, stencils or tape, be sure that the paper will not tear upon removal.  Test the durability of the surface by applying and then peeling a piece of masking tape.  If the surface lifts, the paper cannot be used with confidence.

The rag content of the paper is also important; the more rag, the stronger the paper.  Therefore, a 50% rag content or higher is recommended.  Hot press (smooth) and cold press (slight tooth) are commonly used.    Heavier textured papers, such as watercolor or pastel, are less suitable because the texture will be evident in the artwork and this may not be desirable.  Two-ply Bristol is well suited for student work; and for advanced artwork that is to be exhibited or sold, 100% rag paper is recommended.  Similar to watercolor technique, an airbrush artist utilizes the white of the paper for highlights.  Therefore, the whitest paper is best.  Visit www.bordenandriley.com and www.strathmoreartist.com to investigate available papers; and see your retailer.

Copyright ARTtalk Vol. 17 No. 9 — July 2007