Step 6 This next step may seem a bit chaotic, but it was help- ful in creating the effect I was going for. I used some quilt batting and opaque white to create the cloud-like effect you see in the guitar body. I also used the white to reconstruct some details in the upper right hand corner that had been a bit over sprayed. Since I was using the Opaque White anyway, I decided the block in a couple of highlights in the guitar. The highlights were created by cutting a narrow lemon shape in the film, once I sprayed the white from the center and let the overspray accent the edges for me. The shadow areas where ren- dered by using the same mixture as in step four.


Step 7 After some cleanup on the guitar I removed the Frisket film to begin work on the rest of the body. I masked the metallic insert and sprayed it with a base of gray made from Transparent black and Opaque White. By this point you have probably noticed that I prefer to mix my own grays; this allows me to control the value bet- ter. Even though there is a bluish quality to the Opaque White I am able to incorporate this characteristic into shadows that I will render later on. You can see what I mean in Step 8.


Step 8 This is a very important step. At this stage, I have just about finished the guitar and I am getting ready to move on to the background. Before I do, I’ll let you know what I did. I rendered the metallic insert with a com- bination of brush work, and airbrush. The adjusting knobs were rendered with a combination of ComArt Transparent Sienna Brown and a few drops of Opaque White. I masked each part of the knobs individually and then layered the tones. Using a fine brush, I carefully painted the numbers on the dials and created a couple tiny edges. The reference was a bit vague at this point, so I had to make an educated guess. Using the same mixture from Step 4 created the rectangular piece that seats the guitar strings. The clouds allowed me to mist a reflection of this rectangular shape using the same mask that I used to create the rectangular shape. Mixing light and dark gray created the silvery bar next to the strings. When I had finished all those details, I moved onto the strings. These were a little tricky. Don’t be a hero and render these freehand, you could lose a lot of time cor- recting mistakes. I used a ruler and cut tiny lines in frisk and then sprayed the strings with a light gray mixture. Now that the guitar has been established, lets move on to the background.


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