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correction techniques

Lirors and accidents art unavoid' abíé; lL Lbtjefuie nucessaiy t¡¡u íi^vlso qutrlí and fffreHve Uvt miguen whub can ratify ihp situation without having te resort to a complete re-stait. 'itu1 ex Din pie iLlusljjiLed heie, oil Irife^uJarllv 111 tH«.spray qujiflty, is j uurniiioii it&titkfej itsuully lbu result of tai l; [if CCHIftOl ¡wiflietlmea It Is causcd by <irlcd pallll pul iii ! i1!: 1 jl i i i i ■ i ■ 11 onto tin- arrwrtri through ponr I'lean-íflg ot Ihu airbrush,

Over-spraying witli While

1 I, was TilericJ&j to produw; a pieusol a-lwo'k with smcc-ir v yra-dated colc running tram ■ntwinuri ¡Strength of Dolor at :oo to a very ?ef" ano nub: a strength fit tfis hot -oti fHoM^3er; i- tar he sum t~aTa stls eat no: caa me ^mr .. ~fo--t-iatclv to; en nado in the lighter aiea of the spfcyir

3 To rcylevethe 'oqunod ecnoty o1 ti ie lenal yradat-oi i. ftje a'ta is resp't/ixJ wish l"e ^iiyniL.i color a ler II le «I lile paii il has O'iod

4 'A'hft- the TWAk Ir rwnnvBd "ha effect ir óf. a alaan area of oradated color.

4 'A'hft- the TWAk Ir rwnnvBd "ha effect ir óf. a alaan area of oradated color.

2 To fect'fyibis mistake, opagac rthile is sprayed aciccs -Jne oori pe:e •Aigfth o; .he coloied atea co-

ii liny , ie inoynlu'ity, juL Sttdttliny 'run- ^jylx- n la approxirratdy tr'-s T-ddle '.o 'na"-Tain T"a r/lginal graca:

Lifting Walorcolor

Wian correcting RTt'ii wale-co or-hased areas of the artwork, cc:tor hi.idf, may ne ..-".ed In rijrrvws oa n:. If ¡me color is fa dy otrong. it nvtv noiüssay te us Ql. to a fqw. hado, eaoeciallj1 it Itie a'Siireuui'iny CO;

n,,st ba bought hack to the whlta n; tha or$ ~al s.idace. Tr->s methno not always effective whsn i iftsrt on a textured mrfaiie, ai>-n a? -nunh hiiam- mounted fiapis.-. bar,a.,Ae the oignects bicorne ingrained m ths 'fane. It io oost icotrio:ee to emooth c-"snack./ coaticl beaico

Rerneving Colnr fíleed m thic enanp e :ne paint w?'. ■dprayed c too wet. CcnGCCjOntty, yoor lita rjn 'jrujíjr llie mfl.ak, ing in a" jnaigtiitly, ragytd edge, U'i a smoot", rard noated snrface, i-jn-amon? are tjéf.t mnoverl wth an a 1 k- fe v.+ien the paint i?, ttinrmi ighly C-y Fe""enonTe fino.. ít be rvijíla í:' the te:hnic ^e cf í/rrs^:?,- nc.

dot control

Many people, when fust introduced to the airbrush, believe it is only capable of spraying medium ui iarjit area.s and Ls not instable for fine, detailed work. L'lenty or rtnt control exercises wilt not only prove them wrong, hut will also build up confidents itnd sktll In using the airbnuh. It Is also good practice for applying sprayed dnu as highlights 10 give sparkle 1o tl:i' finish ot a detailed iilustrs Hon Tins technique is covered under nor HirhHi ilihts in ihe fol-tnwjng section.

1 s shows a shoe: of sane ^kkJ iiots laid C'jt in f"O'UOI I,til row's The contra ce ■■ atts'iiptiriy to ac- eve .ho Siii lie ai^e and color intensity r sauli apfayeo dc:.

2 He's thres of dots -ave bEfln sorayad progressivoV from srna tn men.i.inr to Ic.ngo As (¿very cot in the sequence vote-;, this Ax'enos your conVol u: the I low cl need ijir one the dislanue ol the ambush noziic rt'i i tl it? buarc surarts to achieve tlie riytr. size of do:.

3 Tr. nc-iease oy tiul ui ,. ie airP-ush s-d befi" the air press.-'tartu av>ourt o; point allowBd l/cough it "hose octy I ttsve oeeri sprayed

"dividuolly ui id br >Li>'riPE,356d In -¿prayed circles, rhe small penny cum gives a good Inrilcslinn o' the ■iCdle o' the org ~al exernirn

[km uh,ulh,i!i.s dot highlights

The use ol dot htuhllshti is u particularly valuable mean*. of adding dial final, finishing touch lu j[i illusUaiion Highlights must obviously be u.sed only on tilosa surfaces and on edges which would normally reflect light In such a concentrated ivuy. They should appeal as an integral part of the object and must always conform tri the chosen direction ot the tl^ht sou rev.

4 Fho ccmiplotcd inage by oom-pui voi ■.villi '.ho fust stage in this saudence, sr.owy I itw re nro'c octroiex highlight detail addi luatei tn 'he 'ioished Image.

On a Curved Edge

1 To pick ni i" i "s edges c-h W' ctl light wci ilri b= intensely m'lested a"o ti'so to enranoe tre ocm-ast and "hnen- diner,-,inna gua.i1 y r.J scissors ir tr.s illustration white nos have oeen rcr.vohad onto the ■"qncHos it should be noted thai these highlights r: -ot shod hlun In iyy, b. I toper of toward the na -rowt?' pari o( the handles This is loortfl, because ;*e highlights must apoear tu be cu <11 id Dad o; the sane sur lacs, an».: "ol sun c dista-ce away.

On a Metallic Surluce

[his example s'tews tic wkcation of dc: - c" ghls to Itie 1st; ol a '¡jbo.. These - anights are s rnply btw"

3 Opao-.ie white is the- 3prayec dimotly o-.er the dots to diffuse the edges, although o snne rases this may net be accessory

2 Opaque white dets have osen applied with a b'ush in selected obces oo inp of T-e scratched tign Qhts. f-ese are positioned a", the ooin: of tr.: grftáieet light ■el et'Ucri.

oiJiFts o' opao.;e white spray wtilc-'i owe extra sovk'e to the elect of polis^ec Ttrta'

where ii ilenae liyh. wot-d be I ed. b~t fiiyli: ts"d lu eui 1 liL'l vWi iie sense of movement. In .his exaripo dot highlights have oeen usad r :ha oa"tar of near highights '.vth snt-anesol ?nri bnsa-msRkPd lines of opad.-e JiflviB lading 'mm t"ciT - the opposite dineelien to that -I wen l"e vehicles a.ie traveling

U(M HKiilLlliHIS

No: o"-y dees t" s intensify :hc cur iuue reHaoticn. bjl the HspBinatlun aL'^eri.'jates Hve leeling pi SF-^eU. 'his makea an interea: comparison to lie racing car sr,Gwn en page

The nndy of the ta~<;er is an msrefitlnri Vrtrifl'io" o- the fi.ill-eeicr c-nne ftfar.ts fschnlque, wth tho addi:o- of a -efleoticn cf 1 "e ear laassing i:. Tfra s-iy is an example ot -htbh-^ni; jhwinj while loojL v/vse.Nii "as bEfln jsed en l"e diisltinl mountain ranges kr-.Tt'IIn:; has hasn usee to as:ab sh texture :o tre ilini inn surfans and 01 t"fl roae.

Porsche and tanker John Spiers

Det highlight a-f> most commonly ijfwe or statin sublets, out this UtystrHtion demwstraTefc en appi^a-:ion when spe.-ci anc movement arc le be shuwri. ¿"'A^E^Rsrs ^ouid oe effective highligh'.s on II luae areta ix fl' hjh i ,r< rh i • j >h[ >l> s h 1 ! hw

On an Angled Edge

1 The bai a eubc has boo- spiayoc wish a ingh Osgrea ci contract shod il ig.

Multiple Dota

í upos' pad o; n sy rxter is snewn bafo's applying rhs highlei'ts.

2 A „Tibet el epae-o whi:e ocls ■ave teen br.i j' -ijfli^J unlu hü ■sadinö ae^a; I-ay ara reduee-J ís\ si ¿s ajs tháy gel 1,-r.heraway rcr l' a esn-ler of t-s hlghligh:.

On an Angled Edge

1 The bai a eubc has boo- spiayoc wish a ingh Osgrea ci contract shod il ig.

Multiple Dota

í upos' pad o; n sy rxter is snewn bafo's applying rhs highlei'ts.

2 A „Tibet el epae-o whi:e ocls ■ave teen br.i j' -ijfli^J unlu hü ■sadinö ae^a; I-ay ara reduee-J ís\ si ¿s ajs tháy gel 1,-r.heraway rcr l' a esn-ler of t-s hlghligh:.

2 To pnhancb tbc co-tras: one te Lid J glara. a det h ghlight has i"ccn spiLysd l:'.-;::iiJiid Ofl L' ■-: neôiÇS! sorr 1er cl 11 is cube. 1 iä (ffeût in t /-ea.ely nidkea II it? s.-ssapsw le ¡>s finished wth a -nore relise;I» ano briglror sudaos.

3 To 0 fuse the edges c; !he do"?, the r.i.jhhght ¡o ■nve-í p-ay.ro with opaoue whke inn mc,iii.n,UTS • r»nor ffliiww

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