Beruflich Dokumente
Kultur Dokumente
The lntrlcately advanced nozzlelneedle comb~nat~on means except~onalbalance, smoothness, and National Art Inc
control from start to f~n~sh. Allendale Park
Olymp0~manufactures a full llne of gravlty and siphon feed a~rbrushes,accessories, and adapters Allendale NJ 07401
to meet every professional need. (201) 825-8686
Dealer inquiries inv~ted
Manufactured by Olyrnpos Co Ltd
Let this serve as a manual for two crucial aspects of
technical airbrush operation by Dave Malone.
Airbrushing
Noted author in the airbrushing field, Robert
Paschal, lays down a clear blueprint to the
fundamentals of the art.
Q and A 11
Legal Air 14
New Products 40
Calendar of Events 46
Publ~sherand Executive Ed~tor
Clifford S. Stieglitz
Art D i r e c t o r
Cheryl Mirkin
Creative D~rector
Rita Rizzuto
Copy E d i t o r
B.F. Emmer
Contribut~ng
Editors
Ferris Butler
Jeffrey Ressner
Production Manager
Deborah Corbin
SOURCE ,1-800-323-1
ll,,no.
108
3 1 2 5Q6 7700
;OH
ConsultantlContributing
Robert Anderson
Ed~tor
Richard M. Nusser
A d v e r t i s ~ n gD i r e c t o r
Lynn Wood
(404)834 1013
YAM t c OMPANY About the Cover
O l ~ v i aD e B e r a r d ~ n i ISs provocative to
STIIEE say the least H e r subtly i n v i t ~ n g
zebra lady seemed a natural tor AIR-
Phone: 1-800-334-2249TO ship U.P.S. C.O.D. for $19.00 BRUSH ACTION'S f i r s t cover See
I more of O l i v ~ a ' swork i n our Gallery.
2 AIRBRUSH ACTIONIMAY JUNE 1985
You can pay a lot more for airbrush I from the finest artist pigments. Made
colors. But you can't get a more water- to be color-fast and lightfast across the
resistant, lightfast or workable medium full spectrum-not just a few colors.
for airbrush art than Dr. Ph. Martin's new Water-resistant. Absolutely no fixative
SPECTRALITE acrylics. or protective coating is needed. And
for commercial illustrations, you can
The best medium. SPECTRALITE depend on SPECTRALITE to deliver
gives you all of the advantages of clean 4-color separations with no loss
water-soluble acrylics. Durable, lightfast of color.
color. Quick-drying
- - application.
.. New
SPECTRALITE acrylics are specifically The best price. You don't have to pay
designed for airbrush. Non-clogging and ready to use a premium for Dr. Ph. Martin'ssuperior quality. In fact,
right from the plastic squeeze bottle without the SPECTRALITE, in multi-color Spacks, actually costs
bother of mixing and thinning tube colors. Easy less, ounce for ounce, than brands which do not even
clean-up. And no build-up will get in the way of you come close in water-resistance or color quality.
and your work.
Now that you can afford the best, why settle for
The best performance. All 30 SPECTRALITE anything less?
colors-both opaques and transparents-are made
I MAY-JUNE,1985IAIRBRUSH ACTION 3
Airbrush
on any fabric.
30 exciting colors.
Washable.
Dry Cleanable.
DEHA, of course.
Introducing PermAir, DEKA's fabric
paint designed especially for the
airbrush artist.
Who else but DEKA brings you
excitement in nonstiffening colors
ranging from placid blues to
fluorescents and metallics . . . all
waterbased . . . and with a black and
white second to none in coverage and
washfastness.
Look for DEKA-PermAir wherever
fine art and craft paints are sold. MESSAGE FROM THE PUBLISHER
AEROGRAPH
DOUBLE CARTRIDGE SUPER 63 Airbrushes @
RESPIRATOR The Super 63 'A' model is the acknowledged professional tool for re-touching
Approved by NlOSHiMESA and meets OSHA and other delicate work. The 'E' model has an extra large cup and a capacity of 5
requirements for protection from mists and vapors C.C.for covering large areas and for prov~dingabsolute cont~nuityof color Each
Comfortable and extremely functional. Every airbrush model is guaranteed and comes in an attractive case. Excellent quality product
regardless of the field, should be aware of the dangers at an incomparable price.
of not using a respirator T h ~ shappens to be one of List Price $220.00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Action Price $132.00
the best. Provides low breathing resistance and is easily wi8' hose add $8.00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Freight $2.50
d~sassembledfor cleaning and disinfecting.
List Prlce $30.00 . . . . . . . . . . . . . . . . . . . . . . . . . . Action Price $22.50
Freight $2.50 Have those " d r a w e r " model airbrushes r e v i v e d and
h i g h - t u n e d by ATLANTA A I R B R U S H ' S e x p e r t r e p a l r
FRISK Illustration Board d e p a r t m e n t . T h e y ' l l w o r k b e t t e r t h a n new. For more
FRISK CSlO's smooth, durable, hand i n f o r m a t i o n , call Toll Free 1-800-241-3242.
fin~shedsurface is ideal for repeated erasing,
and line and technical work. Allows repeated
frisket cutt~ngand repositioning without affect-
ing the surface.
CSlO 20" x 3 0 10 shts. (ir $47.50/pkg.
. . . . . . . Action Price $30.87ipkg.
Freight $3.50ipkg.
BRlSTOL WEIGHT
lECHtKA ~ ~ S R X
BRISTOL WEIGHT
Z
W V u m M U X R ~
611 f PUT US ON AT NO EXTRA CHARGE!
Be an Atlanta Airbrusher Order any Item from this ad and
receive our Hanes T-shirt, s~lvergrey with black Imprint, abso-
FRISK CS2's high quality, pure rag content Ph balance and high calender lutely FREE. When ordering, specify Large or Medium.
prov~desan excellent surface for professional airbrush work wlth gouache This
unlque texture is also ideal for penc~lsand pastels --
I
CS2 20 x 30 10 shts ( ( I $39 501pkg Action Price $25.67ipkg. Ldnid 1-800-241-3242 AA05 I
Freight $3 501pkg
I i33?UbH PO Box 53097 Atlanta, GA 30355 I
Dr. Ph. Martin's SPECTRALITE
PAINT SET
Dr Mart~nsnew airbrush color line has already earned quite a
reputation with art~stsand illustrators Spectral~tecolors are
durable, water res~stant,light fast and interm~xable Specially
des~gnedfor airbrush these colors are nonclogg~ngand ready
to use r~ghtfrom the squeeze bottle Delivers very clean 4-color
separations Complete set includes all 30 colors
* 9 - Name
Address
Clty State ZIP
I
I
List Pr~ce$75.00 Action Price $49.95
Credit Card No
Signature
I
Freight $2.50 Please make checks payable to Atlanta Alrbrush PO Box 53097 Atlanta GA 30355
-------------_.--------, I
MOISTURE SEPARATliON AN11 AIR REGULATION
BY DAVE MALONE
take the "defective" airbrush back function properly without getting air and separates out the moisture at
to the dealer. The dealer would moisture through the line. the same time. This is used on com-
check it out in the store and find Be aware that moisture can accu- pressors because it's made of solid
nothing wrong with the instrument. mulate inside the airbrush tubing brass. Brass is ideal because it can
Nowadays, however, as airbrushing overnight, so when you start out in withstand much higher pressures
becomes more popular, more and the morning, you should drain your than moisture separators, which can
more people-both dealers and art- airbrush for 3 to 4 minutes to clear take only some 200 pounds of pres-
ists-are learning about such prob- the line. After draining, any moisture sure before the polyethylene ball
lems as spitting. that accumulates in the compressor will explode. In several cases people
Several devices are already being will be taken by the moisture separa- have put these on C 0 2 tanks and
sold to nab the culprit; the two most tor. The filters inside the moisture then accidentally turned the tanks
common are moisture traps and separators on the market today can u p to full pressure-as much as
moisture separators. be changed or cleaned when they 1,800 pounds. The danger can be
Moisture traps are, as the name get dirty. And they last quite a bit severe because the separators can
states, traps. They are fairly inexpen- longer than the separator filters in go off like hand grenades, exploding
sive. They are made by two of the moisture traps. Fiber filters can be into several hundred pieces. If you
major airbrush manufacturers in the replaced fairly inexpensively, and do have moisture problems with
United States, and they go directly brass filters can be cleaned with your C 0 2tanks, I highly recommend
into the airbrush line. The moisture water from a tap. Spending a few the L-100. It costs approximately $40
that comes out ot the compressor extra dollars to put a moisture sepa- and his replaceable filters. Since CO,
goes into the moisture trap, into a rator on your compressor will save tanks have C 0 2 in them, it's a lot
brass or paper filter. The air is you a lot of headaches and keep the cleaner than the air that will be filter-
relieved of its moisture o n its way to moisture out of your line more effec- ing through an air compressor. And
the airbrush. But the moisture trap is tively. This will keep your airbrush in its brass interior design gives more
good for only a short period of time, good running condition with nice accurate moisture separation then
until it gets dirty. And it does get dry air. the less expensive moisture separa-
dirty: Dirt in the air comes through In the case of CO,, moisture tors.
the line with the water and the mix- develops in a different manner. As Airbrush artists who are spending
ture of moisture and dirt in the mois- the very cold compressed C 0 2 more time airbrushing would proba-
ture trap soon renders it useless. I bly like to invest in a slightly larger air
have actually seen people with two compressor and be able to hook up
or three moisture traps attached to an air regulator. Air regulation is dif-
their line. When the first trap started ferent from air moisture separation
to falter, they attached a second one in that you regulate the level of air
and, eventually, a third. Inevitably, pressure from the compressor to
the first one cuts the air pressure, match the viscosity of your paint.
and as additional moisture traps are The kind of regulator you get
attached and get dirty, the air pres-
sure drops even more. With a small
diaphragm compressor-'/is or
1111-the air pressure reduces to the
point where the airbrush no longer
gets enough air to force the paint
out, resulting in stippling. The air line comes out of the tank, it meets the
must be kept clear, and it's best not warmer air on the outside. Eventu-
to clutter it up with dirty moisture ally, it hits what might be called the
traps. dew point, and condensation forms
By far the better means for taking on the outside and the inside of the
moisture out of your line would be a tubing. You can sometimes see
moisture separator. Moisture separa- moisture developing on the outside
tors generally cost a little more than of the C 0 2tank; if you're spraying a
moisture traps, approximately $20 to large background or have a large depends o n the compressor you
$25. A good moisture separator is volume of air coming out of your have. Diaphragm compressors, the
one that attaches directly to your C 0 2 tank, you'll actually see the smallest, generally have a range of
compressor. It should have a male- moisture start to freeze up on the air pressure from 20 t o 28 psi
to-male 114-inch fitting that makes it outside of the tank. (pounds per square inch). This is
possible to attach your airbrush tub- The only adequate solution for adequate for all basic spraying.
ing to the moisture separator. The COL tanks is the L-100 moisture An artist who graduates to using
best moisture separators on the mar- evaporator, made by an American both opaque and transparent media
ket feature a clear polyethylene ball manufacturer, Nakoda Air Systems. will probably need a larger air com-
in which you can see the filter. The The L-100 works on a somewhat dif- pressor with a holding tank or one
filters on the market are either brass ferent principle from that of the that puts out a higher pressure. Com-
or fiber. These will separate out fairly moisture separator, actually remov- pressors without holding tanks can
fine dirt particles-1 to 5 micron in ing the air from the COL tank and push out up to 50 psi, which is too
diameter-allowing the ai-rbrush to spinning it, a motion that warms the (Continued on page 18)
8 AIRBRUSH ACTIONI'MAY-JUNE, 1985
,/
Street
Expiration date City State Zip
SEND TO:
Signature
Name
Or send your check to:
SWANSONART GALLERIES, LTD. Street
799 Beach Street, San Francisco, CA 94109, 415/885-6111 City State Zip
A frisket knife cuts frisket film or
paper and is sold in a fixed blade or
swivel style. The swivel knife is more work and affix the copyright symbol
elaborate with the capability of eas- and date somewhere on the work.
ily following short curves and intri- This does not have to be visible but
cate patterns. must be in a location that is accessi-
has less tack and is designed for use
ble; i.e., not under a heavy piece ot
on art work. When removed from
sculpture. The art work need not be
the art, the tape won't pick up the
registered by the copyright office
pigment, tear the work, or leave any
unless an infringement takes place.
adhesive residue. 3-M offers Post-It
Not having work registered, h o ~ v -
tape, which has a reduced adhesion
ever, may delay legal action. For a
perfectly suited tor extremely deli-
free copyright information kit write
cate surfaces.
to: Copyright Office, Library of Con-
ronment by introducing harmful par- gress, ~ a ~ h i n g t o D.C.
n , 20559
ticles of paint or pigment. These dust I -
particles must be trapped by safety
masks. The same holds true if you
are using a solvent other than water.
You will then create fumes which
must be absorbed by a carbon filter
type of respirator. It is also strongly
recommended that you work in a
well ventilated studio.
ation ofthe airbrush trigger. With the ing airbrush are adaptable to various i l i l ~ ~ ~i r ~
i t i. ,i! ii,ii
i ~ i t l - l ( ~ill
i i lrit
single-action trigger, the user simply tip sizes. Manufacturers have I r i h , I T ;LII:I~II!~! i;o!l: Iron) III~,
Dresses down to release a set amount numerous methods of labeling tius
of air and paint simultanenusly. This to indicate the size of line
type of triggering is available on both attainable. The small, XF,
internal and external mix airbrushes. or No. 1 tip will achieve
Dual-action triggers are operated by the finest of lines; the IL,
pushing down tor air and, while the medium, or No. 3 tip
air is on, pulling hack on the trigger gives the medium-size
to release paint. This triggering is line and HD, large, or
available on both internal mix and No. 5 tip gives the widest
oscillating airbrushes but not on ot lines. These tips <)re
external mix airbrushes. The ciual- not interchangeable
action triggering dllows the user to among manufacturers
control the volume ot paint being nor, in sonie cases,
sprayed by simply pulling back more within a manufacturer.
or less on the trigger while the air is When tips are changed,
on. corresponding-size nee-
In addition to the three tvDesof,~ir-
,, dles must also be
brushes and two types of triggering, changed.
there are three methods of feeding The airbrush must have an air 'btx,,.j ii1:t/ I I(, l t S tLILlctit
l~ pLlllltl!ig
the airbrush with paint. One method ~ ~ ! I ; ~ ~ ~ , I ,t131.1,~!IIIILI~~I>
source to operate. Some specifica- IIII~ I~
is gravity feed. A gravity feed air- tions of the air source are dict'lted by I<,( I.,I~IIJ:.;~*
A t c.<-,cs~,~!
~II~.~I~I!!IO~I~-
brush is one in which the paint is fed the dirbrush. As a rule of thurnb, the \',r i',~-i 1,. c L ~ ~ r < , i 7 t ,I Ii ~ E - ( I , V I<I;
~!
from the top, either by placing paint airbrush requires an air source that (i,~l.~.:t,it!it i > ( II!~.ii,iii?:~.r I:( i;riiii~
into a permanently attached color will deliver 0.5 cubic foot of air at 25 ( ~ ) : i l i l , I l,!I:!:
~~ icbl i k t l ( 3
( , Ik) ,,I:II)~I,.,I~
cup on the top or a machined reser- pounds per square inch (psi). l i you <I~MI
lioi(l\ w o r h \ t ~ r x ~tlirot:::l~o~it
,.
voir slot at the top of the airbrush. A drop below these requirements, the
second style of feed is side teed. This spray will be affected, resulting in \\r I)<)\( 1 % III~,<ti~[k!ot
I-!,I~ or
is the oldest and most conimon larger sprayed dots. Therefore, a reg-
~ ~ , ~ r l ~ r ! IOI
~ \ lt ~1nip
! i ~~ rt1~i . J,
method of teeding paint to the air- ulated, nonvarying pressure is
( otllolt*r, I,*I,!r!~\,i\ , < 1 1 dt ( 1 ,HI!!>OI
brush. The paint is held in ,I color required for consistent airbrush
cup the shape of ;l funnel anti is usu- spraying. The two methods of sup- 0 1 I \ll ot !Ill, l.)o* \al\,!fi~<.<i
ally plugged into the right-hand side plying regulated air to the airbrush \ ~ i ' ~ l i nI lI .tL I ~ ~ I I (,I !>O~II
~~I
of the airbrush (it may be plugged are ( 1 ) the compressor, either piston- ;):ll)l,~,ii~
t i i)y \',!n ' ~ ( i \ ~ r ~ t ~ ~ t l
Being Businesslike exhibit. The cost of opening recep- sell your paintings or sculpture too
tions should be in the contract and a cheaply, you will end up destroying
Art is a business. The artist has to
list of invited guests provided. Most your self-esteem instead of fostering
know the rules of the game when
important of all, the contract must it. You may either be way ahead of
dealing with people who purchase
spell out which pictures or sculp- the market or way behind it. In either
or take consignment of his or her
tures will be exhibited and when situation, taking your best examples
work.
they must be completed. Approval to some of the better, and lesser, gal-
First, the artist must be aware that
rights should also be outlined. leries will prove its own reward.
most dealers or patrons are in busi-
Skilled eyes do not usually lie. These
ness to make money. They will try to
maximize profit. While some will
Bargaining people know what sells. They will
Bargaining on price is more diffi- take risks. They were once begin-
have enough empathy for the artist's
cult. The beginning artist or sculptor ning themselves.
plight to play fair, others will take as
who has had a few sales can be mis- Go modestly. Arriving takes a long
much financial advantage as they
led by his or her financial need and time. You should consider part-time
can. Accordingly, though a deal
personal aspirations. work, maybe in a gallery or a school.
should not be quashed because of
extreme artist demands, the artist Everyone dreams of being discov- Enter competitions where you live.
ered. Modest hopes, however, are a These lend currency and exposure.
should usually insist that the bargain
better starting place than grandiose Above all, do not lose your courage.
be put in writing and that at least the
fantasy. If you are worth your sale, If you really are as good as you think
range of payment and its method be
people will come to you. or hope you are, you will find a way
stated.
How, then, do you deal with the to make an impression.
gallery or private purchaser? One thing is paramount: sense the
The Contract It is better to set a price than to say, limits and expectations of whom you
Contracts should include clauses "What will you give me for it?" By are dealing with, whether dealer,
on how long the artist's work will be setting a price, you establish your single purchaser, or contest director.
on exhibition in a gallery and where dignity as well as a basis for later dis- Do not impose your ideas on this
it will be placed in the window and cussion. It is all right to back away person; if you do, you will drive him
on the walls. There should also be from the opener, gently, when you or her away. You are in business to
clauses on exclusivity of representa- sense you will lose the sale if you do make money. Be receptive to what
tion and rights over sale (whether the not. Remember, the first few sales people are looking for and give it to
artist can sell out of his or her studio are the most important events in them. Take a little or a lot to begin
without paying dealer commission). your commercial life. They establish with. The important thing is to get in
It should be made clear whether the your currency and your identity. the ball game, to sell, if that's what
dealership is time-limited (so that the After you get started, you'll know you want. Your work may have limit-
artist can go elsewhere if he or she what people are willing to pay for less prospects but be fundementally
chooses) or open-ended (terminable your concepts. You will have com- wrong for the market. Consider,
at will). It must be agreed that pic- paritive prices, a track record. There- then, painting for two audiences, for
tures or sculptures will be returned fore, talk to your friends about what profit and for posterity. If you really
at the end of the exhibit in the same they've been paid. Sense the market want to sell, there are ways for in
condition as when received. There and live by it. Your work will proba- which you must fall in line. Ask for
should also be a statement about bly improve with sales. advice when you need it. Remem-
publicity and advertising provisions Do not under any circumstances ber, art is a business. Realizing that is
(including wording and tone) for the violate your faith in yourseli. It you the first stop. II
14 AIRBRUSH ACTION/MAY-JUNE, 1985
operated or diaphragm, and (2) the
\
\
carbonic gas tank. Desirable charac-
teristics of an airbrush compressor
are silence and regulatable, non-
A SST*
AIR COMPRESSOR SYSTEM
pulsating air. The carbonic gas tank FEATURES
i s both quiet and consistent but
eventually empties and must be
refilled. This is not characteristic of
4 Virtually Silent Operat~on
Powertul Hor~epowerMotor
the compressor. Another common Spec~allyDesigned Piston Rings
for Cleon Air
but less reliable method of propel-
No Exposed Mov~ngParts
ling the airbrush is the propellant
Automatic ON/OFF Pressure Sw~tch
can. This has the attributes of small
Compact Design
carbonic gas tanks but none of the
Reliablewith Minimal Maintenance
advantages. Propellant cans exhaust
Optional Tank Sizes
quickly with continuous use and are
not refillable. FOR PHOTO LABS, AIRBRUSHING, POWER TOOLS, INFLATING, ETC.
A regulator is used to set the pres-
sure of propellant for an airbrush. The A SST is designedfor powerful yet quiet performance.
When the gauge of the regulator is No louder than a residential refrigerator, this dependable unit
set at 25 psi, that is the pressure at supplies a steaay stream of air and hasa full yearwarranty TheSST
is a completesystern, includingfilters, regulator, gaugesandfittings.
which you are airbrushing. A regula-
The APU~M, SST is without a doubt the most durable and
tor cannot increase the maximum air
powerful quiet compressor on the market.
pressure deliverable by an air
source; it is needed to lower the
capacity of an air source. For exam-
e
ple, a diaphragm compressor that
delivers a constant 25 psi cannot "See us at the NAMTA Show, Booth 1617"
have its pressure increased to 30 psi UMMING
with the use of a regulator. The regu- ORPORATION
lator on this type of compressor may 8714 Woodley Avenue Sepulvedn CA 913d3 3798 iiSA (818) 894~9101 TELEX 292589 RCA
MAY-JUNE,I98ilAIRHKUSHACTION 15
SAFETY, HEALTH & AIRBRUSHING
BY PETER SIEGEL
The questions least asked about contact your doctor immediately. However, inorganic pigments, con-
airbrushing are usually how safe is it The degree of risk involved in air- taining lead and other heavy metals,
and what are the health hazards brushing depends upon the amount are either toxic or have been linked
involved? The main reason these of exposure; the relative toxicity of with cancer. And both natural and
questions aren't asked is because the the paint; the individual's suscepti- synthetic organic pigments-such as
dangers of airbrushing aren't always bility to particular materials, as well lakes and aniline colors-have not
noticeable to the naked eve as other variables. yet been researched thoroughly to
When you direct airbrush determine long-term effects on the
toward the surface you're spraying, Amount of Exposure body. Therefore, both should be
most of the naint will adhere to the handled with the same caution used
Except for several highly toxic pig-
canvas, but'some will bounce off with pigments that may be highly
ments containing lead, arsenic, mer-
and drift into the air. The particles toxic. Paints containing solvents also
cury, and solvents in some paints,
that don't adhere to the surface are present dangers which vary depend-
there is not much immediate danger
called overspray. Factors affecting ing upon the particular solvent in the
of poisoning from inhaling, swallow-
the amount of oversnrav include the paint.
ing, or ingesting many small paint
size and design o i the airbrush, Local exhaust ventilation captures
mists produced by airbrushing.
working pressure, and the distance toxic materials at the source before
the airbrush is held from the material they get a chance to be inhaled by
being sprayed. the artist. The ideal way to prevent
Overspray can be potentially dan- being exposed to paint mists is to use
gerous to your work if it lands on a ventilation system removing spray
areas where it's unwanted. But it can from in front and around both sides
also be extremely hazardous to your of your work. If you plan to do more
health if you inhale or otherwise
ingest the paint mists. To some
degree, many of the pigments, dyes,
...the than a little bit of spraying, purchase
or build a spray ventilation booth
that meets this requirement (publica-
binders, solvents, and additives used dangers tions for constructing such an item
in artists' paints are toxic, and can are available from the National Insti-
sometimes cause eye, nose, and of tute for Occupational Safety and
throat irritations. Repeated exposure Health, R. A. Taft Laboratories, 4676
to some paint mists can also result in airbrushing Columbia Parkway, Cincinnati,
asthma attacks or other respiratory Ohio 45226).
allergies, and long-term effects may aren't The next best alternative to a spray
include chronic lung disease. Some booth is to use a window exhaust fan
naint substances have been shown always in front of your work directing spray
to cause cancer in human beings; away from you and out a window.
others have produced malignant noticeable Having a window open without an
tumors in laboratory animals and are exhaust fan is insufficient, because a
considered suspect in humans. to breeze from the window could blow
However, by using common sense paint mist into your face instead of
and following a few simple guide- the away from it. It's important t o
lines, airbrushing can be very safe. choose a fan providing correct air
New information and research is naked flow (i.e., strong enough to capture
available periodically on this fairly all the overspray, but not deflect
new topic ot concern, and you eye. spray from the work surface). It's
should frequently contact the Center also necessary to provide a source of
for Occupational Hazards (COH) or replacement air behind you-an
similar organizations for the latest open door orwindow is usually suffi-
professional advice on the subject. It cient. Information about planning
you suspect that you have been this type of ventilation system can be
exposed to any potential dangers, found in the COH guide called Ven-
16 AIRBRUSH ACTIONIMAY-JUNE, 198.5 tilation: A Practical Guide.
If large amounts of solvent-type
paints are used in your work, both
explosion-proof spray booths and
ventilation fans may be needed.
Electrostatic particle precipators
/ / /.4 NOW! SMALL QUANTITY
FINE QUALITY. FULL I
using negative ion generators to
gather particles on a collecting panel
or a filter, can be used with a ventila- ART H COLOR PRINTING IS
AFFORDABLE
Example:
.................. 1
tion system, but will not replace it, 1000 full color foldover
since negative ion generators pro- Business Cards $1 65.00
vide no protection against solvents. 1000 5% x 3% Postcards $225.00
Air-conditioners also don't provide
WEAR.3
Price includes color separation,
proper ventilation, because they printing by lithography on
recirculate almost all the air, and coated stock - f u l l color 1 side
their filters are not designed to effi- black on 2nd side
ciently collect airbrush mists. VERSATEX I f one picture is worth 1000
Respirators offer protection words... then a full color picture
against inhalation of paints, but AIR-BRUSH INK is worth 10,000 words!
should be used only as a last resort. A
For brilliantly colorful, long ...
Design your own card Show
respirator mask guards only the off your technique in exact color.
wearer and not others who may be lasting artwork on all types
Send for price list & samples.
in the room. Furthermore, airbrush of cloth and most porous ATTN; To all the people who
spraying creates extremely small materials.
paint particles that can continue to
responded to our last ad ......
float on air currents long after the
Waterbase, non-toxic, We have completed our expansion
easy-to-use and clean up. and will send samples & 1985
spraying is completed and the respi-
Price L i s t Thank you for being
rator i s removed. Also, not everyone If not available in your area, patient.
can safely wear a respirator. If you write to SIPHON ART, 74 C
have any respiratory or heart prob-
Hamilton Drive, Isnacio, C A COLORCARID
lems such as emphysema, asthma, C7NLIMfl'ED
or high blood pressure, consult your 94947. 388 Oecator Ave., East Yaphank
doctor before using such a device.
New Y ork 11967 (51 61 281-8096
If you do use a respirator, be sure it
fits correctly and you use the correct
type for the paint being sprayed.
When working with water-based
paints, a NIOSH-approved toxic
dust and mist respirator is usually
sufficient. When spraying solvent-
based paint like oil, lacquers, or
S U B S C R I B E N O W TO
enamels, you'll need a paint-spray
respirator. And if you spray bleach,
use a combination dust, mist, and
acid gas chemical cartridge. Be sure
to follow all manufacturers' warn-
ings and instructions, always clean
the respiratory filters and cartridges,
and store them in a sealed container
such as a zip-lock plastic bag.
M A G A Z I N E
Relative Toxicity
of the Paint
Each paint has its o w n unique
potential hazard. When judging the
safety of paints you use, consider the
relative toxicity of the pigments,
vehicle diluents, and additives. For
example; it is relatively safer to spray
black acrylic paint than black oil
paint because oil paint is diluted
CALL TOLL FREE
with large amounts of turpentine or
mineral spirits, which are moder-
ately toxic by skin contact and inha-
lation, highly toxic by ingestion, dnd
can cause allergies. Acrylic emul-
sions are usually safe, but some con-
(Tech Corner continued) should be your cue to buy a com- (Airbrush R e ~ o rContinued)
t
high for spray media such as aniline pressor. This does not happen with tain ammoriia, formaldehyde, or
dyes or transparent media. At this all acrylic paint; some paints react other toxic preservatives. 'lf used
level, you will not have the control of with the carbonic acid more than without ventilation, acrylic spray
airbrush and paint that you would others. mists can cause irritation of the eyes,
have with the lower air pressure. So Note that on larger compressors nose, and throat. Also, forrnalde-
at this point you will need an air reg- that are oil lubricated, the air regula- hyde is a strong sensitizer which
ulator to hook onto your compressor tor may be attached with a moisture causes severe allergic responses in
to be able to reduce the amount of separator in it. If this is the case, you some people.
air pressure coming out of the com- may need a separator that has a coa- Each pigment also has its o w n
pressor. Air regulators will generally lescent filter. Coalescent filters are potential hazard. For instance, lvory
work anvwhere from 0 to 200 m i . designed to remove not only mois- Black watercolor is relatively less
The safeiy zone for airbrushing is ture and dirt but also oil from the hazardous than Lamp Black water-
generally not over 50 psi, and this line. The oil will stay in the bottom of color because Lamp Black pigment
would be with a large airbrush spray- the holding tank and eventually is a human carcinogen. Repeated
ing a large background. Being able work its way into the line. The regu- skin contact with Lamp Black may
to adjust the air gives a lot more con- lar moisture separators on the mar- lead to skin cancer, and chronic
trol. For the useof transparent media ket are not adequate for taking out inhalation may cause respiratory irri-
or thinner media, you can reduce the oil, and you must ask for a coa- tation. By comparison, lvory Black
your air down to a good running lescent separator. The newer silent pigment presents no significant dan-
pressure of about 15 to 20 psi. This compressors generally have syn- gers. However, it is not entirely
lets you get in tighter and closer with thetic oils in them. These synthetic harmless because it contains gum
your airbrush without the coni- oils react differently to the different arabic as a binder, which can cause
monly seen spidering effect, which kinds of coalescent separator filters respiratory allergies (Printers
occurs when the paint coming out of on the market. To avoid problems, asthma). Therefore, caution should
theairbrush hastoo much air behind look for a silent compressor that has be taken when spraying gum-water
it and consequently spreads paint a very good separator in it. The bet- solutions containing large amounts
unevenly across the illustration sur- ter the separator on the filter, the of gum arabic, which is often also
face. Reducing the air pressure gives fewer problems you will have in the used in photographic retouching.
a better ratio of air to paint. With long run. A silent compressor that is In orderto find out what chemicals
thicker opaque paints such as acryl- oil lubricated and does not have an are in the paints you use, write to the
ics or hydrocarbon resin-based adequate coalescent separator will products' manufacturer for a Mate-
paints, a higher air pressure is cause major problems. One is that it rial Safetv Data Sheet. Makers of
needed for spraying. (A lower air quality paints will tell you exactly
pressure with opaque paints causes what pigments are in their paints,
a stippling effect or a grainy spray). usingcolor Index names. When you
Thinning the paint and adjusting the -
learn the exact names of the inaredi-
air pressure permit a smoother and ents, you can determine their rela-
tive toxicity. (This information is
available from COH or in the ,auide
called Artist Beware.) After you learn
more about your paints' composi-
tions, you may want to eliminate the
more toxic pigments, such as
chrome yellow (lead chromate),
will keep oil in your airbrush, and if
the oil ever comes out of the airbrush
-
which is considered so dangerous at
least one major manufacturer of
onto the illustration and gets mixed watercolors has discontinued pro-
with the water-based paints, it will ducing it. Even paints labeled "non-
more controlled spray pattern. spell disaster. toxic" should be used with caution
For air regulation on C 0 2tanks, an If you live in an area that has high as the "non-toxic" tag is based on
air regulator is almost a necessity. humidity, any compressor you buy studies involving laboratory animals
This can be either a T-type bar with will need a moisture separator on it. who sniff the chemical for a two-
which vou can adiust theairora little Also, silent compressors or oil-lubri- week period, not on findings deter-
nut that you turn with a screwdriver. cated compressors need coalescent mining the long-range effect of expo-
An important thing to understand separators on them. Air regulators sure to the substance. By the same
about C O z tanks is that the C 0 2 are needed when you spray at least two-week test, highly dangerous
inside the tank is condensed or com- 50 percent of the time. By taking asbestos would also be labeled
pressed carbonic acid. There are care of these air-regulation and "non-toxic".
times when this acid will react with moisture-separation problems, you
alkaline and acrylic paints, so you will find that your airbrushing will be
Individual Susceptibility
have to play with the paint and the a lot more enjoyable and you will be
GO, to see if there will be problems. ableto increase your ability and your Individual susceptibility depends
If the paint tends to gel up or spray in talents in airbrushing without the on several factors, including age,
globs more than usual, you may be annoyance of airbrush spitting or state of health, environment, and the
having a carbonic acid reaction. This uneven spraying. (Continued on page 44)
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An enormous Tesla Coil with a with the "brush". As the high volt- paintings' subtleties would be lost."
nine-foot electronic "lightning age contacts the glass the first layers Archer's glowing planets and
brush" dominates Archer's uncon- of Archer's paintings erupt, stream- golden-cratered moons are also cre-
ventional Marin County, California ing and spewing in every direction ated with airbrush techniques he
studio where he develops his like molten lava bubbling with pri- began teaching himself in 1977. He
uncanny artistic interpretations of mal volcanic force. has relied on the Paasche VL-1 and
the cosmos. During this stage of his work the VL-5 for quite some time. "I dis-
Veils of swirling nebula forming eerie confines of Archer's studio counted the VL-3 immediately," he
the backgrounds and foregrounds of feels, sounds, and smells like thun- jokes. "Nothing middle-sized for
gleaming, traditionally-airbrushed derstorms. Fields of energy perme- me!" lwata equipment is a more
galaxies are made as the innovative atetheatmosphere, resulting in a vis- recent addition to Archer's reper-
painter nonchalantly swings the ual spectacle that almost physically toire. He prefers the HP-C for fine,
lightning brush over a triple-strength chargethe mind and body of anyone freehand work, the HP-S for general
piece of glass supported by a frame daring to look on. all-purpose work like shading, and
of ceramic insulators, and steps on a In the next phase of Archer's work, the RG-2 to cover large areas, such
floor switch. without the use of frenzied electrical as putting the glow around moons
Archer's concentration when he current, he meticulously airbrushes and planets and back-painting the
turns on the juice is absolute. "I white highlights behind his initial final void of space.
can't make any mistakes," he dead- layers of vivid baked-on color. "My Archer was first introduced to air-
pans. "With a million and a half volts paintings are a thousand times more brush art in the Mouse Kelly Studios,
there aren't any second chances." vibrant than they were before I which was noted for its "Grateful
Roaring, sizzling, fiery eight-foot began using the airbrush," he says. Dead" creations during the 1960's
bolts of magenta electricity arch "The many brilliant layers are finally and 70's.
from the machine, the raw power backed with the black of space and, "I used to sit there and watch Stan-
res~ectfullycontrolled and directed without the highlights, many of the ley Mouse and Alton Kelly do things
!MAY-JUNE,1985lAIRBKUSH ACTION 21
like slop rubber cement all over a The biggest problems Archer whole new way. Electricity and air-
piece of paper to make their own encountered were learning what brush are only two of many tech-
friskets, and come up with some consistency to mix the acrylic and niques I use in my work."
incredible masterpiece," he recalls. how to regulate the flow. Some of his Painting isn't merely a chosen Jro-
"I thought you were supposed to methods might shock the more tidy fession for Archer, who describes
make it up as you go." of airbrush artists. "I never take my himself as a "California folk artist",
Archer experimented extensively tools apart and clean them like it's an integral part of his restless,
for years with aeresol cans, spray- you're supposed to," he smiles. "I driven character.
painting on glass. But they were just flush them out with water and "I don't want to paint. I have to
clunky, unreliable, got paint over have someone else clean them occa- paint," he avows. "The physical act
everything, and he soon realized the sionally. I look at it like laundry-if I of painting is my passion. I don't
time had come in his work when he can get someone else to do it why think my way into painting, but paint
needed the airbrush. Though it's bother?" my way into thinking."
hard to imagine, the man who now Archer finds himself depending The journey that led to Archer's
swings the tail of a huge lightning more and more on the airbrush as he unusual artistry and unconventional
brush was once afraid of the small continually develops his technique, techniques began early in his life.
tool. but he doesn't really consider him- "In grammar school when my
"I was scared to death of all those self an airbrush artist or a master of teacher commented one day that
little parts," he admits. "I went to thetool. "I love the airbrush for what yellow wasn't a good color I was
visit Perry Paradiso of Perry's Art I do, but the guys who are truly air- really offended and my hand just
Supplies in San Anselmo, Calitor- brush artists are in a class of their shot up. 'Why not?' I blurted out.
nia-who's everything an art sup- own. I like to look at their work, but She pointed at me and said to the
plier should be-and said, 'Perry, I if I intended to do it-which I don't- class, 'Look at him. He's an artist.' "
guess I'm going to have to do some I'd have to study intensively." Later, in high school, Archer
airbrushing. Help!' " Archer also doesn't consider him- entered the annual "Christmas win-
"He took me in the back room. self an "electric artist", as he has dow contest" and his stained glass
demonstrated an airbrush, and often been called. "I am a reverse design was placed in a section of the
made it all sound simple. I didn't glass painter," he states emphati- school's big arched window the first
even buy a book. I just went to my cally. "Though the art of reverse year he won and the entire window
studio and started spraying, making glass painting has existed for thou- the next year.
it up as 1 went along, and within two sands of years it has never been fully "It was the first time in the 28-year
days I was deeply in love with the air- explored. I am continually experi- history of the contest anyone had
brush." menting, developing my art form in a won twice in a row," he recalls.
MAY-JUNE,19RSIAIRBRUSH ACTION 23
national and international television.
~nexh~bitslike the San Francisco de
Young Museum's Rainbow Show
and at the prestigious Omni Maga-
zine Art Show in Chicago.
His paintings are owned by celeb-
ritles like Mark Hamill ot "Star
Wars" tame torrner Apollo 9 astro-
naut Russell Schweickart, and sci-
ence frction writer Frank kierbert,
author of "Dunc"
"My p,tintings don't illustrate
space," enipt1as1j.e~the artist "but
express visions from rnv heart
acquired from journeys ihrough
Inner rather than outer space."
2 )
. . . we are slowly gettlng the
big picture about space," Schweick-
art wrote In a letter to Archer, "and
- - - -- - - -
somehow you seem to have gotten
photos ;B Rob Cherwrnk there betore most."
Archer sees the future of his art ds a
contlnulng experimental evolut~on
ot reLerse glass parnting using air-
brush, electr~city,traditional brush,
"They asked me to step down and succe\stul partnership in Sonoma, palette kn~te,and other techniques.
give someone else a chance When I Calitorni,l Therc thcv studiecl and "I'm generally happy with my
sad no they were horritied " w ~ t hthe, dncient art ot
t>xl~errrncntc~tl work, but ne\er completely s'ltrs-
A high school scholarship to study reverw gl'lss p<linting, <lnd added a tied,'' contides the prolitic palnter
with noted artist Phil Paradise ot nt'w wrinklc~w ~ t hthe energy of elec- 'Reverse filas5 painting 15 '1 totally
Cambrra, Cal~fornraalso helped trrcrty. Kusscll drove a truck d u r ~ n g unforgivrng m e d i ~ ~ "rn
Archer define himself as '1 palnter the \vot~kto support the 5tud1owhile Archer c)ccomplishes h ~ st ~ n ~ s h ~ n g
And a round-the-worltl Chrihtrn,js Art her r~ainted Still the best of touches first ' ~ n d works into the
present trip trom his uncle Rudy tric.ntls, Archer and Russell norkecl backgrountl, laker upon layer The
Truesdale, one of Tr'lns Worltl Air- together tor three years betore grow- ndture of his unique art torm
l~ne'sorig~nals ~ xpilots, enabled him ing In their own directions. presents trernendoc~s problems for
to see the earth's grt3~it art and fur- During the partnership Archer tho a~rbrush-nothrng can be t~xed
ther directed his path primarily pa~ntcdlandsc,~pe. Kcrt or changed because it's impossible
"Visiting places l ~ k Paris,
t Romc, the skies gradually began to domi- to get back under the layers-what i s
Cairo, and Bangkok, the Temple of nate his work, a ~ i dh ~ paintitigi
i there i s there to stay.
the Emerald Buddha dncl Cold Bud- soared toward the he,ivc>ni ~vlierc ' M y discoveries and changes
dha in Thailantf ~nfluenced me the stars began to shine1 muit always come on the next palnt-
deeply " Archer recallsuith obvious Since he's been con( entr,~tinc on Ing " Archer expla~ns, "and my
reverence his electrically-c rcated iiia5ttXr- work IS therefore never completely
He later rejected tradit~onalstudy pieces, Archer h,ts bccn teatured on tin~shed" II
in favor of pjinting and experiment-
ingon his own, immersing himself in
San Francisco's North Beach hohe-
mian culture during the late 1960's
and hobnobbing with personalities
lrke Jan~sJopl~n,Hoyt Axton, and
Tim tiardin.
"We spent hours at North Beach
coffee houses talkrng about ;Irt,
drink~ng wine, reciting poetry, I15ten-
ing to jazz I worked rn the topless
joints, at a variety of odd jobi, as
manager ot a cotfee house called the
Fox and Hound, and I paintecl every
thing in sight," reminisces Arc her
"It was a tremendously exciting time
tor me "
D u r ~ n gthe early 70'5, Archer and
fellow palnter Ron Russell tounded a
studio and formed a tremendously
MAY-JUNE, 1985lAIRBRUSH ACTION 25
DAVE KIMBLE
1931 Model 452A
V16 Cadillac;
26 x 48;
November, 1984;
Gouache;
of Group Promotions,
Pontiac, Michigan.
DAVE KIMBLE
1984 Turbo
91 1 Porsche;
24 x 36:
February, 1984;
Gouache;
30 x 40;
January, 1985;
Acrylic on Bainbridge
# I 72 Poster Board;
Courtesy:
Combustion Engineering,
Windsor, Connecticut.
ROBERT ANDERSON
50 x 50;
China Girl;
September, 1984;
50 x 50;
Acrylic;
September, 1984;
Courtesy: Jack Gallery,
Acrylic;
New York, NY,
Courtesy:Jack Gallery,
January, 1984;
Courtesy: Solomon,
North America.
THOMAS A. GIESEKE
Flamingos;
November, 1984;
Watercolors on
Courtesy Ensslin a n d
Hall Advertising.
An Airline Disaster;
19x 19;
June, 1982;
Courtesv:Tania Kirnche.
ET STEADMAN
The Public Ivy's;
16x 24;
December, 1984;
Courtesv:Tania Kimche.
MAY-JUNE,1985lAIRBRUSH ACTION 27
SEAN DALY
Working Dream;
12 x 24;
August. 1982;
Gouache on
OLlVlA DEBERARDINIS
No Title;
16x21;
1982;
Oil;
MAY-JUNE,1985/AIRHKUSH ACTION 31
CHARLES WHITE
No Title;
30 x 24;
December, 1983:
Acrylic;
Information Agency.
NJ 08701.
34 AIRBRUSH A C T I O N I M A Y - I U N E . 1985
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MAY-JUNE,1985IAIKBRUSH A C T I O N 39
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Additional Hazards
Additional hazards may include
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compressors; getting paint in the
eyes (do not wear contact lenses
when airbrushing; eyeglasses give
additional protection); and penetra-
tion of paint into skin pores, causing
blood poisoning or blood clots.
(Avoid spraying at high pressure
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You can protect your health when
airbrushing by working in a well ven-
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smoking in the studio, and washing
your hands everytime you clean
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46 AIRBRUSH A C T I O N / M A Y - J U N E , 1985
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