Steps 4, 5, and 6 (and as many as you need until satisfied): To avoid overspray, go with a lower psi, shorter strokes, and an
Work in various areas of the canvas, referring OFTEN to your ref- airbrush that can help you get in close, leave a nice pattern, and
erence photo (remember it? This is what you are using to help really atomize your paint well. I didn’t use masking tape, frisket,
you create a nice looking piece!). Keep working lighter to darker or other ‘blocking’ on this piece other than for the background as
and larger to smaller, referring to your reference photo quite of- mentioned. I really wanted to specifically challenge my free-hand
ten and keeping your light source in mind. At this point, I did use ability and use of the airbrush without any tricks of the trade
a small bit of frisket to lightly shape in the areola and nipples be- other than the light box to get initially set up.
fore continuing freehand. Notice the sharp contrast at his back I hope this approach has been helpful to you. If you are still ner-
under his arms (this subject is backlit from his right side). vous about painting anatomical figures, try this trick: paint it up-
I switched back and
side down using only your photo reference. Really focus on ar-
forth between the HP-
eas of value and getting these as close to the photo as possible.
TH and the Kustom CS
You might be surprised at how it turns out!
as I worked each layer
Use an electric eraser
and area, first doing
to highlight tiny areas
the larger, light shad-
as needed (use your
ing, then doing the fin-
reference photo for
er details until I got the
this). This will add to
results I wanted.
the realism if done se-
On canvas as on any-
lectively (and not over-
thing else, you have to
done). For my refer-
be aware of overspray,
ence photo, the areas
‘fuzzies’, extraneous
that called for this are
dust, lint, pet hair, and
light highlights along
so forth settling into
his veins, belly button,
your paint. I keep an
areas of hair that are
Exact-o knife handy to
backlit, and a couple of
carefully pick off any-
marks along the edge
thing I notice on the canvas while I’m working (having a Rottie at
of the back where the
home, I am most assured that at least one hair will find its way
light is brightest.
to the canvas.).
KEYS to a nice image: Leave plenty of time in between work-
Sign your work – I used a gray sharpie for this so the signature
ing the canvas and go easy with the paint flow, particularly near
would not be too much in the forefront – I want my work to be
frisket. Lay in each layer LIGHTLY. Remember to walk away from
seen first, my signature last.
the work and have the patience of a saint on something like this,
or you’ll put down too much paint too fast. Avoid heavy paint use
Seal the work with a matte-finish coat.
to prevent runs and frisket bleeding. If this does occur, fix it first,
and then go on. This
Hang in a prominent place in your home so your friends and
is a photo of frisket
relatives can admire it and silently wonder, “Who’s the hunk in
bleed. Paint gets too
the painting?”
heavy and too wet, and
will wick under the fris-
I hope I’ve helped you set aside concerns you may have had over
ket.
working freehand with anatomical forms. The human body is
The more you work it,
remarkable and beautiful, and undertaking a small study of it
the darker it will get,
will really open up new opportunities for your airbrush creativity.
until you find you have
Practice on paper painting single body parts…an ear, a hand, a
to spray it all over with
finger, a leg, a foot, a nose, a pair of lips, until you feel comfort-
white and try again.
able with the forms. Take photos of good looking body parts!
Darker transparent
Study them for lighting, perspective, and values. And above all,
paints can build up fair-
have fun! Anatomy still scare you? Try this trick – paint it upside
ly fast, so this will hap-
down. Don’t look at the shape, look only at the values and where
pen before you know it
they are – you might be surprised how it turns out!
if you aren’t careful.
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