Info

4 A saco"d glaza of crfor Is surayea owe1 he hryi. I he Lr„e ouler ■fi app-arem were ii covers >he white apacea lell by he Ural application ol mask.no f-,;id

I IQtJJD MASKING

1.1 quid making bt arhievt-d hy rising u rubber-bused solution whirh is ;tpplird tí) fht' surface tvitli a technical pen. The coin-naeiclaHy available ^jileNei of liq uld mail; I fig, also known a.s maikittg lluld, are usually iinled to a^sisl in their ,ipplii-:biion When dry, tbey leave a water-Li rid [Kjji■ eL-x<j]xjJLl:[jL film. CuJor t-an hi* sprayed ovot and aioLLttd LtlIil. lülAnjry skin furmcd by lliu dried masking, and the mask is iub^ljlráltly puulud l)j rubbed

■may, taking ran- Tint to daiTiagr the súrtate color.

Masking fluid is pui liuuLuiLy (lscfiil tor flivciitlj small and intrieutc details when more eun-vrmional mplhruls oí rnasking becoiói eumbitsome ¡ind dit:Unit to oiif ¡jmiratrly. It r an Ik- laid on li cIullli, umprayr:d sudaee f.)r nvvrlííkt (irl arras ptrvioli.sly

Sprayed, However, un certaLfl tur-hue(í such as remolí finished boards a ad papers, extreme raff

IS JLL'tdcd WhL'M K'HIOWIIK Llic masking le aívokl stiríoee fibers' being damaged. It in doubt, Ii i.s advisable to lvsl lLiu thud oil j sample or ibe paper or board to be usud.

On completion of each slage j n usliL^niu^klii^ flu ¡0, Ü Le brush ijsrd tn appfV it sbinilrl h<> tlvor ourfhSy eU'fined in t resit w-utcr. never the samf w.itir whlrh Is used to rnl\ the colours tor spiuvmg uj i. [ud j 11 l 1the lii djruvh.

sla^rsol spraying, il is tis.sunLial that ra( b application of masking rluid Is allowed to dry thoroughly.

3 rhH arc. ■.■■ll ■feyS'iií ApO'A Ot m?¡sk-ing luid have bee'' -eroved by caj'-rfi.il n,obing wth if-iger, leaving the white c; "ha board showing n '.non yisce & second pattó re' maskicg fli.iO nets if then app isd and ulluwed Lo dry.

7 I he mt leaull is viaib e en L 'e [BmOvSl r.f t_o t" d laye of rrac'iing luid. Naturally L ia poaaibeto Edd sos'oral layois of n-iiskn^ fljij aid an aqua "..Tibarof gla7ai as uei ed. It ia alao ooaa ole Lo app y

.he niaaking lluld *iflhin eleurly cclncd porajToioro on occasions when sab-adhesive masking film ar ji iy omor typO 0 musk is ii i¡..upiOt--ri ,ra Its use oepenria va-y mi ir. ■ or wa: s tc be achisvee.

6 A t" rd glaze ot oglor is sprayec ever lue wlyjle'^rco

5 l'ha saco"d layer of riasking I .lid is rerroved yritj a li nd uub1 ed. The whita enana of tha imam svnich ana vis ole are l"e res„:l ol the seeot ic lay$| fit masking fluid oueriapi; ng taa . first ri

I IQUID MASKtNCr

Partial Remounl of Liquid Maskiiíg

1 hvy hurwLal sir óes of mask -g flulrl ara flppllad 'o thc- coi'il

2 Tha 'Iraf gia^a o' tranepanort w&leruulurlas bes-': sprayeo.

3 ln t" a stago ".he fiiüi luya1 u Tiaskinq fluid has not haen com-olctoy leriovcd. ■ ■ a jy tteliytr'Klt ano s achlayarj by n ibning firgcr jnovonly uvyr Uie aur'aos. When tha ^equlrad amo irr of whrtc sur toctf ia viuible, t aeeor,d glare of coior i?. sprayeo.

4 f e remaining masklnr) fluid ie írally ron cvod. w:ll i II it? I ral ylKze íhawlnc) olear y on the str pos and üppaar riy viaually at thB f'ont. '.vhlla Día seconc gaic sopeáis os a

backdiop. Agar. as ni Un,- lirsl axampte, andlflmal layerí-. ot ooth lie uic meakiny anu ü;a¿es cojid be adrted if desired.

Using a Rulmy Pen

L quid rnafwlnn app ed with a mlmg oar allowa ur I "e linear catail to ha drawn '<vhr»no rito vvhi:c qf -jie ui I v/o'k or a prevo„sly sprayed basa palor shows through allgi syruyiny. In all cases :ha masklrv^ fluid m ir.t be allowod lo dry ll icirmjyhly uelo'e spraylng |usf aathe sprayerJ coor nust also bg tJlowed .o dry oa-lo-s rennvlnn t~e (luir..

lina partícula' t.erjf"qua -cqi jiras extreme oa'o - thc 'crova of ti io ntakng t ^ d bacausa t-a snrayad coor is COG-y Jc.ll i:./j.i;(J. Wl 'lis I iü posslbla te draw etralflht Imer '.vtr rnaakiriy Hgic oc a 'ouqh-fii irfar.ed bcoid. a rard el nnu-yiav jur'aüe s pre'erabls. as ll a libb's el l' e bou.'d are lesa -sey ln he nairaged by "furrina" uno reí noval oí all of tho nask "c

1 r. thls acampe, a serios ol l ori-zoncal linea Maye boe-" ule:"! using naskro fi., d Theso ti't? llieri uver-apraved.

2 VYher. spray "o wlth warernolor or gouacho i. y lidviaaUe to remo^'e fhe drac rrvisking iinic with :hc tip ol nri arl kriile blada. as sinow" "ara Vv'irh waterproof aoylics. il « peyai-ole lo removí) na rna:-k vvl'h a in-9'Htip, al:"iL _.g" cyrv iy 'í^quired \v"an soraylng -o nnevenf a builo op of oa "l ll itl bines Ihe fluid píima-nenfly totho it^e lv.

i nnsr NfAiKiNG

loom; masking

ThK refers in the use of papei liiicI cardboard masks which, depending on use, give j clear but wit delineation to the sprayed edge. Resides giving specific effect:,, loose masking i.s a ¡inirk method <jf spraying areas without having to resort to masking film, u;> lem^ as rare is taken with the direction of residual spraying. Reference should uImi Ijc made to AMJii.u ST'iuvivn, c.'.ftnso/iRn w.ssKrwr and 11-IRS IAH.lt MASKING,

Using Paper Masks

1 Paoar masks nut accurately to tt ore-deterr "ee shaoeare laid directly 01 the artwor* and sprayed over w lb a variety oi different

3 Here paper nrasxs am used agai', out on vis iixusien l"e papsr is 'o-n ra'har than rut This example shews the el'ect when t"e mask- is laid oroctiy. on the atwe-'k. Tho ir'flC|„ ar taxtura o-' rha tern adga is acct'Uteii/ lupredused.

shaoes. Becaus-a r-ifl paper Is curact-y in co"tac: with tho a^woik, the ecqfis a-s fairy wall dafiracj. wirh or.lv a snail t.'i luunt u res dun oh r,t ■saap'Ci ;,"da'naath

2 h tr s example "ha paper masks alp role a dia'.yi iei- away iron llie artwork, whic allows - or more cacy to 3pread under tha mask. This ewes a much so'.oi finiyh tu .tie edges; trs sofnass nati/alty inr.-fiaFas "no lor the' away the pt,per rrask is from tha artwork.

4 I tie same :.o'n paper masks are usad hnm. but ^olo away iciT tfe H'fwo'k, giving the sober effec:.

LULISL-. MASKIMj

Using Cardboard t ." ir cardh-oarcJ as shown heie Hwesvwy nusri re sarre affect as c ii p^nc-' 11 ojgn t is pasable ■.■isaue ot We téj^isad :n¡ok"ss.^ ■c m'i: th: amount of íáSjdua! cc-or i.noar ths *nas.k

2 Tho c..t rardbcjttg is usac again bu. salgí away from '.he er.wcnk. gi1.1 Ing softs' sdgas.

Lteny Absorbent Cotton

':i=-nbo even moio fjgzy, aostrast ilispes -o be sprayad, ootfnn Is 'spcc ir placo on the a'twek and jftiBrspraysíi. This. ran bs H*f=mf=lv Whei. lo1 example. stylized tHf. wih soft oocds aio no:ci:d, s ¡luuyi sare s reguined not to sp'ñy ovar T"íh aps as -.vsll as ths cotton, o' ¡O állp' 'ysidual Sptfjy to arcmach and cause thé silhouet.a el vapa tij besoms visiole.

Pnp!

Unan Rybsori

Ah a brusfied illustraficn w otts" show tos: of i any dillurui ii cul i rugues £l"he-.¡gi trs sfsc1 -. nitor heavily dio:.'de d di1 nu/ vM'<inu i ■s unllkaly ra- an n. lí-.tra-im w" ho cunjIsIl-J p ti^jt récojrss tu 'i ore t-an Ona masking or spray -r. te:h 'iique. "e abwe ^straio" .s a case in pe- it: it shows :he liso o" oose t'iask "ü to as" eve a partteu ar fns-, wflíbrthe najoity oí tr. coludas oesn sprayad wth had-edgad ■nasl^. lite LILUku1 shudyy cfi (te ■rasl-imn raur.sna" éuppOíta -aw Déefi >prayed witti a Uose ruask.

:iolo slightly away tot the sufoco o ttiEt adwortí. Th:-, glvas 'ha Imp-ps-siou o. mp-'i-jií 'lii rg f| ie ylussy ertarfleled finish cf tr.; <:q| :h¡ng, wi.acjf üi/pea-ing "oo ssws, as haxlcr coir-asts would make itiani look shrornad

Vv": n acssssii ig whiol 11 uc-- ir iit.vy should be usee, t¡m nask^gor ■:-:isc rtLiSl-, ■ . cot ¿ideui'.-c-- (r I": to ho gk'an fo ths dsslrad Jlnlsh and as mpoi II.1 I I ib nwter ak- auu ¡fi.1 faes f n .^.rs;-. tn ba rsnnsrsn r ¿fra pfjr'.'a ul II it illustration. Vet ac;airi. pna-p arming ¡s .iSC-ful

OVinipRATOTG

O VE RSfKAVlNfj

Keim nbserv,ifion of Nip r.inge of viiJuL-i in color, tight and shade will mak^ ii apparent rh»i Lite base colorot an oblect Is rarely seen by ilielf. Tilt itfleCtlve nature of li^Ht mean* ihjt tirh.er colors tvLJI be included, usually liom ob|eclii Ol eolujs jHiiJie'diLiLe-ly sitrmuriding the inrinc i[-hM.l object. AiKtij^unally, the tu-jriiKJsi-t i i i i n nf snrni* subjects me.ins rh.i! die colors and shades cannot be S(l[1lI r.HtL'd ;ind Snjnyed in isnl.ibnn from each other. This then requires the appliedtk>n of over-

spraying til mfidid thapp and torn). The use of overs praying when a i Thrashing is sSmilai lo nverpaintlng and gives depth and body lo a subject

a Tr^ drawing Is -ojsran -wth nas-siny ili i: -ji i0 oynp i^xle rinr aba Da of tte fiaf ird thn l "oar ,o"Ls are in Ihefilm. ^Itr'ig svitit t"o f jirlj, :ho n_osk is nomtMid and i "geo: tbia spray-c na-riod out With a netliurr: s^aoa us^o an aoproorax eulur in youuehe.

1 The p';- minary draw ag of a eler,ched :ist has boe^ drawn in pencil gndctai iLopo. wc .l iu iuriu vciuos shaded ii ), l'l ie:;u will by a usanjl rata-e^ca whar sprav "o be tftaye.

? Onoe the- drawing h?,S boon cor Tictec, Ihe outlines ars transferred to ¡L-stration bcoio.

J Parior s~aocs arc adocc over tT Tedium ones :hus "eraasing "ho apaarct dcp:i of tr-s slojoc:.

5-fS Theaprj^g EíifiiflrúSft ríW p'ywibdVi ..viLI i tjyjyl i n idividuij' hr'iycr ■ r,l ai- lave besn nrode'art ■.'■■Ith :na ¿irtirust1 as^g [fis rpietflütn shadeti. At all tines the separate mask pi;;es am c M snd n tn alln^ 1er accurate repos ttonlny lilt a SjO (id au;h as thio, good contic- cf the Bhiruah is sssantial due tn smie aföflö requiring a lard edged 'inieh, vtfvwB are Anger Is touo1" .-ig its rognber, ant where a fingait.jbins the tackatt'ie ha"d. a subve Ireeha'id technique s reguiiod. The depth of ■nnrrast must also ne carefully no1-Injiero. jj!,htil ¡ip üüTiplatkiii t!e ■nsdelirg ot ne ferri. there s no eveenoe oí t"e sec.,ence faioA'ce

9 The pr«as5 is repeated ra-uft'"o the pmvlm ley hinged n as^y. out ft lis fine each linye1 is o^e--aprayad '.vth the darke< shade.

15 The darkest shads is added pt nartty ws' '.fie yhuduvj area on fhn tack of tr;- hand

13 V^.'her, nnfh ional vialues haw; teen sprayed yi-io tno fingers, all separately "lingan nnasKsare euru-pletaty re'ry/td liüir [-■: artwüfh The (^¿iiLim Bhrutt is then sprayed traitai id lo model 'ho hack of tre hard ard the wrst

15 The darkest shads is added pt nartty ws' '.fie yhuduvj area on fhn tack of tr;- hand

1A A rvad M-Ti-dark shade is gpw oversprayed la ihOieeee eeirrcst and to' rabais natura shadow.

16 FiiliSlly, a vary lifjMt shade, which is alnrost p Jre w Le, j uveispraycd to tdd Highlight to t*e 'inpers and km ir.klas.

17 7ns artwork ¡a ocruytíteu oa t"c ren'OVid of Lr. : final piara of Tasking f- T napsndinq re £ ztd and pyi ooae u' .he illuiJL'Otion. additional ;lctail rn.. d ha added w f" pet lüB ano bras1'.

'together with like control and i vv; in, drawing suaislil liuti with a niler Is .in essential tech tuque tor adding detail and finish tn an alrbrushed illustration. It must never be rushed, as It could »easily make ot jiiiii die Dcj-Lshed work.

ruling

Using a Huling Pen

The tradltirinai anr. ndiepensabto rul h; xr i - shown being used agains: a -sqjare. Whan i if. -g a ruling pon co must be taken to marta**1 the 3-iro aína throughout tac longth 01 ijk i'kj, it is also important to hold » asa at a slight anglo to ti*e T ¡K^are or rutor to pravant pain' ór ink ficr floodny underneath the edge.

Using the Airbrush

A line is os^ng spruyeo us»»^ a ruts', held a1 an arala, as an aid. This y-ve» u cte'i lirns" with varying r;<=g -aaf of gradated shade extend ing Irorn the edges or the line, ocpeno on ll it? sireriy.-i ol r eo -urn and fa air nrasfjj -e allowed ihryuyh the urbrush, With ass pros f-.ire, the ne wcold aopoa' grainy.

Using a. Paintbrush

T~s pliu,ot;iKipli s'ws the illusya-tor rtra'.'jlng a o-=an eve ii<-e wtr a oiusri. uan vy a ruler 10 ens., a? 5tralght"oss. This technique requires steady pressure te maln'aln aven this eneas oloi iy ,-ie reo*. -sd leogtn of the "a.

RUi.IÎJfr» StttAIVIlINË MACK

À3®li-Cortained model stemn power plant Peter Jarvis

This t,ijfla-o.,arrervisw pflrspactlve illustration was eornrr ssionod by Arc.,s nnrvcfi I :d for book S£> Snïiu'N,- ilia tiiqffaf.:&nfj. and i' clearly rtsmor.'.tratsi. the a-apli (jtaliun u3 k^l \i> arid jn"-.(î- n w Lh a rJing mi and a lino sable brtfiiv T1 je technique adopted followed cnnvan-fiynyt 'nefvcJy 1er the prepar afio11 of full-cnlnr. a.'rbruKhed arwork fnr -sioruductiofi, usriy maskriy I - ■ n.

However, tho sl-ojoct is made Lip of many srna ooaïpnne".ts wbich could not be ùirBÈJah^d ui id wtiicl i reguireu wttï"Hive fiiar lit psintad wor< I--addition, t was decided to pnesant t~a s^nject i" anew, state which woulo enhance Tie von ni is components ard the materials from mi1 cb ticy were mode, but which wni ild also and contrast bflteseri '.be Ui n-tr'-trT it surîtes anu the way t-ev had bean machined or finished. fo ceate scire of t" s contrast, a ruling pen was used.

The ah imini in caalnq whirr oon-fsn b ft is boiler. oui rips and Lwin-r-v ide' steam engine has atraigh-liries on those edges whicfi would show a shadow. Ecgos facing :hc light so.rca have oean highllghTac with u svayf"! In is? w'1" ch is a :riuch liyh.er mix ol i."e baaa oulo\ Hie detail, hkîhmchi's oontraet an the rivets lava been aopfed wiffi a brush as havo tlx- oo'Jîî; of the o.its Those are rendered in rwo stiades c; red, to show the thicl<ncss of die alumnum with tha leading edge pekad cmt n a veiy liytr. y ray, while Ihe siaduw sdye has been picked out witn a dark g~dy. fho nod castings forming part of flil.-bfjilf lit,iilys were fr-ifSpryy-su; sem-oparii ie white highlights. and shadow lines were applied a:Ler-waids by liinfl The arasa r-;t5 also have a sprayed base ;;olor, wth shadows and iiighlights subsequent y added l"hls approach has heen aOopteil i'^'ouyliouf he illustration,

An airurus' eo illustrat-or buoîi km t- r. composed as if Jg of ao mary s'na details reuu'-'es bin extensive use of hand-ienoeieo uling ard n-ing- n, As muer, it n*ot mere, loaticnce is ncedod at this atago of an illustration to ensure thiat the fin* 3M iy ourMpufible wiffi .he uuylify o the airbix-shing Inexperigiced artists sho,, d ha wary of MjKhino worn.

scratching back

1 rf)e point ufa new en jjj ait Jjiltc bladt is au e fleet I ve and indispensable loul lui adding fiiiL-high-Ileitis and tinture m IllLJSto-liumrdiis kind ut detail sharpens i lie finish pfan illustration and sítdsírlspnesi to It. Tl> achieve till tí fei I. tilt surfciuu the ¡brt-wc-rt is icritchid back 10 expos? Hif white ot the board.

Thin Highlights

7 tve jstrat-on ¡jf parl of a ene shews ■:)■"■: uo: n.f a an iji . olaju tu scratch back rn highlights en the svL.ghit and uuiveu cube's. Although nc: ve'y wide or p¡f9-i 'uui ^eu, lliey a t enough lo add "o the quality äf-.the finis-ed i lustia.tcn.

ThicK Highlights i lins wcamrjta. highlights. In the nc^ cyi'tjiuivy ¡vio lue:- aurourd-t ■! thfl 1.1','P nrOn subtle fiC/atC'SC Out giving ernp-.iss tc h ese leslutea.

Sprayôd I ll¡jhllcjhtit

In !■■ .s ï1 wo'kol an axel lead aliuirg through ¡ftoteda, scratching bac< ia usee le er "ancs the Tiaohine surface finish c" ie C ae^ en id .o create a sprayso hohlijlhl which enah? siiea h e eulfy ec-'^ol Ii« olads.

spattering

SI'AI II KING

Spattering can be achieved either by lowering tile lili pressure allowed through the airbrush, or by fitting ii flatter eup in place uf the usual nozzle Additional contTOl is achieved by varying the distance the airbrush rs held away from Lhe artwork and adjusting thf rnmhlned amount ot air arid medium winch Is allowed thrnugfi the airbrush. The effect is to give d sLippled 01 grained finish with varying densities and sizes ut dots-

Because a splatter rap can create quite a crude finish, practice is required befoje uLLempting to use this technique on serlou.s Illustration work. However, the use of .1 splatter cap does has'e practical applications. It tan be used to represent the ground and thereby add interest and centrum, especially when the principal subject is ot a polished nature; it can id so be used lu repteserl tin ma chined castings or the surface ot a section in a cutaway illustration, toudjriebut lliiee examples, lhe use or spattering to create texture,, and the finish uchmved from it, does nor preclude it.s use In adding, in d controlled mannei, Ibrm and tone to a shape or object.

I wo practical demonstrations are Included here which Lllusttdle inw spattering can be aseif to simulate specific textures.

1 ; vie ubeve eei i '-■■ :_-ti-a:cs the bas-s e lee, ouLuii icd whor ... sing a 3plabereap h LltrvJ to en un biush. The variety in deris ty ted ai^e u dols is achieved by ccrifoiling .he e jlbn::c thft a -hr.-Rh Is hold away tot lhe a't."»C"k Not a ma-tfis of ainrusn ii-ic udo the splatter cap as an accessory

? This axampa r-owr a f -a soaae-ofoct whior. 'as. neon sarsyad trorr a slyj ida'd nozzle by using deCfaasad air oressjre.

? This axampa r-owr a f -a soaae-ofoct whior. 'as. neon sarsyad trorr a slyj ida'd nozzle by using deCfaasad air oressjre.

t5ala*y tiled

Lsing a se!'o blas-i. or oluc olo: base to Ifie a't'.vo'k, opeque white is ovarsp-ayra ttircugti a so.alle1 uto to fii-^j an imp fission ol a galaxy el stars This cc.i ilo ha funhar worked on by applying hand-paintso or Stiraycd "sta-burst?..' Tha nasa soiuying and "."«: initial stars c.D.Jd also os sp'iiyod w>lh a variety c' s"ades arie coo's.

MUlTmiNG

î Asooorjfcl ooto;: s y fitly liyhrer r. s'üJs, 15 (XJw apráyed, aan n using ■ i.: jplu..er sap

J 11 is lorrr ol he stone Ik modelad yy oversorayins the shsrirwi -o-e us-' g a standare ^077le.

î Asooorjfcl ooto;: s y fitly liyhrer r. s'üJs, 15 (XJw apráyed, aan n using ■ i.: jplu..er sap

4 The masking tiirr is rftmcvec fon ffs adwow, reveling a simple oui strive render 's of a stone. Wiifi fl lrfh=- pros: 00 it is uo^.atjly to h túfase Itw variety of shades end tl it riL'ntier of nolo s, Oven to tie peim of ..sing the spader cao

Sluiiç Finish

1 i.-.: yfiuwy c- ie method of sp-ay-ingi stone. I tie shape or "he sior^ In si drawn on hoard a-io I he ■ i ij are; s sowed wtth messing ■M, wfh the si" apa of re -.fono c. I cet. (Guache s sprayed thiooo' a ins""sr cap i.i

2 f.do .rit the any a expcsaci and sprayed, again i isinfl both the si:.' k.'iJ nczzc and re splatter cap lo Uu'.'élop rc texture

4 win," Mio loquncd :o-"ül •..■allies s. "0 . ' ol tx-ni-ust l lä'.-o beer achieved, i"e rrayuuy iln is I -ally ranoved.

riubber Texture

I T"a saennd ustraiondeinun fitratinç} the application of a splat :er cap ia a reotanqular box wnich i. sprayed i i?inq watarcc o'" to nasnnhe a piece of uhPsr. This example ag a ~ w brim tftfi fit a" ■ dard nozzle twd the splatter cap in .1 iv 'ft-ai instance, the shape s wewt. ano ll «-• artwork covcucd Vi H inuskiny lilri , "c base shauss a^e sprayed usny very low ur presses, begii --"ly with tin.' face r «ares'. to the observe ■

wo^o added by an if.-, Seattftdng v.'as then avorsarayed or i : "a base co oi uo rg a Tiixture ot ivtitaft, y raya aid DlaçfcS. No*: the hif.h-if s .oll© chipped edges wore appied with opaque is. w th J* iNu-iN by urusti uurnofetnig the -aadstones.

The cake bass fcllowec much .tie same sequela as :he heacstoned, wirft • -a basa cnlcr a~d form rx?ing joplied tirst, *.v thnijt a F;p a-far rap Th;1 sparring was 'hen rwer-sprayed using a nixt,,-^ of opaqi.a w) lite end blue b aok, the la'-ar ir '.'i.iy:i le I '..itius depending o~< 1 ia i.i reo,ol Mr.. .ri seul ce Hand pairi.eo crease murky ,ji id highlights ware adcflo, with shadows on II ih craasa narks bflirig app so with transparen- watcrcoor allowing '1« spätreren ftfrp,r! tn show thmuph.

2 f.do .rit the any a expcsaci and sprayed, again i isinfl both the si:.' k.'iJ nczzc and re splatter cap lo Uu'.'élop rc texture

Birthday cake John Brettoner lllusi'ation demor islra.es an excellent app catio-' ol tr« use ol sp/'.-ffR \s, a trough :: ose s.ucy will reveal trat it else ncludas many O'herteehnln.iasdeRrdbac r. this book ntoro^'ing cem-äste -ava been node bo ween thn rake, which tics boon op-cyod wi:no,ii a spltil.er cap, ane the-cadctonos and ll-« lo covered ul.jo. whicr. a : spattered, -si its orealid a stio-'C v-sua 'nage, wich emp"asisi di farances In the; surlaes Lectures ar id I he vadous rrviierias.

The "aadstnnes were oonve"lion-- v sp 'Sy?sd wl'h a basa color to GStofcl'S' th? qo"f-rai araosa s-vj the eoloi va iationc- otween i -<= t. fl«-ynt .ypt-s g-' store, ro owing 'Iiis, trie vaoow edges jo tho chipped anc danayeo a-say ol II« alongs

3 "a lop is II« trial ygrlyoy lg tx: sorayed, jy (allowing l"e asy^erioe lllustrarad, thR'e s no need lo recover t-a piw;lous s-tneas with marking filrv t. icneaslva sprayings increase the torn : deprh. \lc" ony L-ôso Ulis opecvl up -he p'-rvraaR. hir I piuventi crioro whicr -.-.in he ■iiadi oy rcpoaiticning t"c ;iin- nac.-sgraley. wine- lo"ds aocrcato ui «iyti'Jy duublu edggs en tr-: fin ist led arlworit.

spalthrink * starts i fusts starbursts

. Iiis b 4 partieulariy effective alrhruih tpchniquc which ran he used iri many diHerent ways, tk-sjdub Li iL- obvious use in rendering rt-alisrif Implosions nf slurs m ¿1 riinht-sky or descriptive detail in r'a nt.isy 01 science fiction iJlustiatioiis, staibursts are also applicable in showing diffused rvliectlons or daz7llng highlights,

In Llle headlights Lit vehicles lien photograph«1 with a long expoiuit.

The following sequence demoustules I lie most effective mt-lliotl nf .ipplytng stcifbuisls, uiiii.H an acetate mask. The reason is twofold, in ihat the artwork is always t'learly visible-, >■ I luvs 111 g lor accurate positioning, ¿nd thai a fi'rtaln amotnit of residue eolur will seep under the mask, -ofteninj.: the edges slightly. Sell adhesive musking illtTi can be ustd, bul lhis will give a veiy turd-edged finish which, unless iT, i-rs]ir,iyt>d coloi' ioi the slar-L'urst is subtly applied, will be k-.s tjurmneiriK.

1 This stugo si lews II iy awtuty i 'iusk wllh u yiri ule eu. To it I he lyyll ia el l"e ar na c Tie eroas ure :,\,l much ¡onyer ¡hart reguireo lo uvuiu everi .tie a gntest hint of an edge appear "g after sp-aylng. Ooaque while is spraysd f'nuqh tr-s rrasK, cnncs^tratlng e-i t--s oun-fer of thn rmff, and s -wing thn refidua spray to tad ts own -pits.

2 The nask is f.^own being mnnvee, wealing t'C O'ca'.cr dor ci-.y af white c.t the c-silir 0' thy s.ar butf;t, fodii ig o„I toward II ie e'ida u ii iy n ia,

3 Thfi finished exampJe if required, the n:,Tioer of arms may hfi hrjeaseo ip anv oroporo- .„sieg Mie seme riaak, o- or'.': masks could cut deoe^ding nn "he cos ,"C*.:I effect

4 In -'tis example, the same ioiisk -ac DMti usee twice. i.jl.iI. iri eel eie'T OO'jii oi iy r.ji 'ij wil" dillerei i eecj'sea ol ,,[if."sily at both Tie canter ano ^ (lie wig I "3 of tho arms, making iw la'gsr of :wo appear b-i,|hv,r .and -earar tn the Nn'e -<-■->

thai I hey a-a oo'h angled in relation lo the h;>

SIJiNCUj* I ATI MASiKJMC

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