Airbrush

Airbrushing on Paper Surfaces

Materials used with a paint brush, e.g., acrylic, watercolor, automotive paint or gouache, can also be used with the airbrush in two different methods:  freehand, where you spray directly onto the work surface, and spraying through stencils.  In the first method, you can airbrush any liquefied material onto any surface as long as the two are compatible.  In the second method, when using self-adhering stencils, the surface must be compatible with the material sprayed as well as durable enough so as not to be affected by the removal of the stencils.  In most cases airbrush artists work with a combination of these two methods, airbrushing freehand where a soft edge is required and utilizing stencils where a hard edge is desired.

Some things to be aware of depending on the material being airbrushed follow:

—Paper is the surface most used in airbrush technique.  Beginning airbrushers practice on paper no matter what the end application may be.  Consider that you are spraying moisture onto the surface and if the paper is too thin, it will likely buckle.  Use paper that is at least 145 lb. weight or 2-ply.  If working with self-adhering stencils, make sure that the paper surface is strong enough so that adhesive from the frisket does not tear it.  So it’s recommended that you practice and work on paper with a durable surface such as Bristol or drawing paper.  Paper with 50% rag content is ideal for practice and 100% rag content is used for finished artwork.

Airbrushers, like watercolorists, utilize the white of the paper for highlights.  Therefore, the whiter and brighter the paper, the more suitable it will be for airbrush technique.  Whether used freehand or in conjunction with stencils, the airbrush has such a soft spray that it mimics the textural quality of the paper surface.  If you spray on a heavily textured watercolor paper, the texture is evident in the artwork.  Airbrushers usually work on hot press (very smooth) or cold press (slight tooth) paper.  Note that smooth paper results in a photographic look.

The same characteristics hold true for illustration board, the difference being that illustration board is rigid and comes in a variety of thicknesses (plies), so buckling or warping from moisture is not a concern.  However, compatibility to self-adhering stencils should be addressed in the same manner as when working on paper.  Pre-test the surface with a piece of masking tape.  If the surface lifts, do not use it with frisket film.

Don’t be afraid to experiment with different textured papers.  They may give you the effects that you are searching for and new ones as well.  See your retailer and visit www.bordenandriley.com and www.strathmoreartist.com for your paper needs.

Copyright ARTtalk Vol. 18 No. 3 — January 2008