Introduction

n is not so íopjg ago that hooks on airbrushing were piacl ically unobtainable simply because publishers did noi 11 link there was an adequate demand. However, the com ¡mu d and increasing need tor highly finished, quality illustrations in every area oí graphic design litis brought an awareness of airbrushing to a wider autli-ericc, i:ven though the techniques themselves may still be elusive lo m¿uiy. Using step by step demonstrations and the work of professional illustrators, this book aims to cover the techniques employed. As skills improve and develop so will each illustrator Introduce new approaches to (lis or her work, which others may find unacceptable or irappropriate, but to the illustrator using them they may become an indispensable technique in all future work. Because of this, and because there aré no rult-s which must be adhered to, no single book on airbrushing techniques can ever be definitive.

The majority of the readers of this book. 1 hope, will start by studying the professional examples reproduced

liiir, lathei than look at the step-by-step demon si rat inns first. While it is undeniable that the demon ■ i ii ii is have played ¿1 part in I he choice ot techniques used, the finished examples have been selected prlmar lily im the strength of tin- ahhiushing. Regardless 0} the I.ni II at most of the illustrations reproduced here were ; for j specific purpose and would therefore be seen in a Icnntcxt, many do stand as illustrations in their own [light - such is the standard being achieved today, i My introduction to the airbrush was a by-product of Hectuici on the theory ot perspective and shadows. ■These were both subjects 1 found fascinating and prickly developed an understanding of them. This meant I was often ahead ot my colleagues and had time on my hands to lake exercises to finished artwork stage. My let-turn would encourage me to rentier Hirst- exercises using an airbrush, VVlnsor lilue or Payne's (hav watermlor, and an old foot-pump with a reservoir -which was designed tor use with an airbrush. Not only did this develop my skills in using a new tool, but it also taught iTU- patience - ¡1 took a good two or three in inn it's 10 pump up the tank to the required pressure and then spray for about SO seconds before having to start pumping again. All this alter slowlv and carefully cutting film masks on artwork drawn on paper which was oil en thinner than the film. (This explains why few of my works have survived - the majority jusl fell apart-like jigsaws.,1

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