At this stage, I have taken my reference photo and scaled and cropped the image to the dimensions of the actual blade. There is also a full size printed version of the photo for visual reference.


Now work can be started on the actual blade. Since this painting is go- ing to be monochromatic, a base coat of detail white is sprayed first. As is true with the entire painting process here, application is done in very light, controlled strokes.


I make several photocopies of the scaled down image and with the first, I carefully cut out all the darkest areas with a #11 X-Acto blade. The stencil is then aligned with the blade, held in place with a piece of tape and then very lightly sprayed with detail black.


A new copy is cut out. This template will allow me to rough in some of the softer grays and fades. The color used here is the Detail Black with a touch of Detail White. This mixture is now reduced about 50% with Wicked reducer. The reducer and paint are remarkable in that the artist has the ability to mix the two in any ratio to fit any need.


With the template now removed, the same gray tone is used to apply some of the other fades on the car such as the front edge of the hood. I am not concerned with minor overspray at this point as there are several layers of color to come that will clean all of that up.


A new template is cut with some of the finer details that were too difficult to include in the last template. As with the entire painting, the key is to absolutely work in the lightest passes possible. While this can be a test of the artist’s patience, working in slow, multiple layers, gives you the greatest amount of control.


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