A very light gray is used to pull out highlights in the reflection on the bumper.


Lastly, certain areas of the painting have airbrushed highlights added. This color is actually Detail White with a very slight amount of Detail Yellow Ochre. Without the Yellow in the mix, the white would have a strong blue cast and seem out of place. One of Scott MacKay’s Pocket Graphix templates is used to shield overspray during this step.


The signature is added to the lower right and this blade is ready to be cleared. The clear coat used is a standard 2 part catalyzed automotive clear. Because the blade is so small and difficult to sand and buff, it is critical that the clear be applied with great skill to eliminate the need for the final sanding and polishing. I send all of these blades over to the shop of master painter Keith Hanson for this step.


Here is the blade with the clear applied. Ultimately, this blade will be mounted in an open floating frame without glass. Since the piece is cleared, it is durable enough to be open. I have found that glass tends to distort art on this scale so having the blade mounted open is another bonus.


Hopefully this article gives you some ideas to help you tackle some of the challenges that may be facing you when dealing with details in your work.


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