Airbrush Action Classics - Custom Automotive Graphics

hi I'm Craig Fraser of err syndicate this is K daddy and Dee Bob of Cal concepts and we're here to introduce you to the first part of a three video series on automotive airbrushing and custom graphics first truck we're going to be painting for you this 1987 Mazda right in here hi I'm Dion Giuliano from Cal concepts we're getting ready to do the 87 Mazda we're going to be doing a six color graphic job and we're gonna start with the first color the first color will be yellow and here's Kate Adie Gann with the blue 3m quarter inch fine line tape [Music] okay what we got going here is he's using the 3m quarter inch fine line plastic blue tape what it is it's a flexible blue tape and it late it enables him to pull the line with continuity and with the bending pattern all at the same time we've tried other tapes the other tapes they don't work this is the only product out right now that when you go to lay the tape and then when you go to mass the tape you don't have any bleeding from when there's when you're spraying the colors now we've already laid the first color out which is yellow on the other side and we've already laid a couple guidelines and pencil you can't really see him but he's working on the first part of the arc and the reason why we're doing the yellow first is because we like he likes to start from the front of the truck and work his way back and we try to pick one of the first mate the yellow being one of our main colors of primary color and then we work the other colors around with it the yellow is going to overlap over all the colors in the front of the truck from the fender to the middle of the door and then it would be pretty much by itself bottom at the bottom of the wheel he's working on getting the curve when you when you lay the tape it doesn't always curve right the first time so sometimes you'll have to pull it up lay it again usually you can pull it up two or three times and if that doesn't work then he'll pull it off and he'll lay another color well he's he's got the top line laid and he's gonna work on the bottom part of it and then he'll bring it back around he'll work the outside lines first and then and then enclose it on the inside these colors this the way this yellow is being laid it's once he gets it laid he'll razor blade the edge of the door and then we'll go ahead and run the graphics on the inside of the door and then we have made a fiberglass door panel and we'll run the graphics through the door jamb and then on to the door panel he's got the outside line pretty much on there and now we're going to the inside line I'll give you a little history of this truck as he's laying that out you kind of get a feel of what he's doing he's everything most of the stuff we do with the graphics as pointy spiky we don't the straight-line stuff it's it's out it's you know it comes in it comes out so you when you lay in these lines you got to try to land with some with some Bend and anyhow we're back to that but little history on this truck this truck was featured in truck and magazine in October of 1993 it was sold and basically when it was featured the the door handles were already shaved the tailgate was shaved what I mean by a tailgate shaved the tailgate is welded shut on the truck with the roll pan welded underneath it and we've mounted in a license plate box in the back the only changes that we're making from the truck from now to then is the interior will be different we've installed fiberglass door panels fiberglass - we're putting a 95 Toyota front bumper and front valance on it and and then of course where did the repaint now before we started the the way the truck the shape the truck is in now to get to this stage we stripped the truck we stripped it with aircraft remover all the way down to bare metal we were very careful on some of the existing bodywork so we didn't have to redo that and then we went ahead and reprime of the truck we've blocked it out with 80 grit we did we don't go ever below 80 grit because then when you get into the 36 of the 24 of the 18 you're getting too deep the scratches and they're too hard to fill and it's just too time-consuming you're better off in the long run to just try to go to 80 it's going to take a little longer a little more work but it's gonna be better for you in the long run he's put on let me go back to her Kyle's out on the truck he's laid the inside line and he's bringing the spike back around to the bottom now you have to be real careful when you're pulling the tape to keep it consistent that's why he has just lifted up the top tape because he's happier with the bottom line so now he's got to lift the top tape back up that's why you don't want to always press it down real real tight so you can lift it back up and then he can match you know keep the distance the width in between the two lines now it's a lot closer than it was it wasn't as close now when you get into those edges right there where you're just so impressing into the body panels and the grooves there you have to press that down because the blue tapes flexible and if you as long as you keep pressing it you'll finally get the tape to work will it'll stay into that groove right there where you pushed it in right there up on the front wheel well he'll have to check that right before we paint it we'll have to check all the grooves before we paint it to make sure the paint doesn't the tape isn't lifting up because if the tape lifts up then you're gonna get a bleed well at this stage your bleed isn't real bad because you're on your first color but when you start getting into two three colors and and when the effects have been done on the graphics such as fades or some of the airbrushing or the different techniques that Craig Fraser will be using you know you don't want to get into where you're gonna damage any of his airbrushing or the effects so you have to check the tape always to make sure it's all the way down now he's going to go ahead and cut the tape loose from the edge of the door and you got to always check this once or twice because a lot of times you'll go to you know you're you're getting ahead of yourself you go to open the door and you'll pull the design off and then you'll have to redo the design and you know it's it's hard once you get it down to keep it down so you know now he's going ahead and we're working the blue tape up now a lot of people when they do door jams they usually just go straight in off the line of just run colors straight on in we you know you don't want to do that keep them if the graphics moving up keep the graphic moving up in the door jam and you know this is this is time-consuming but in the long run when you you know you're going to show your vehicle I mean these are the extra points this is this is the advantage that the paint job is going to bring the customer when competing against somebody else who's done another paint job and when they start judging these paint jobs I mean the quality is so high right now with all the painters this is the some of the areas that they're going to look first to see where the other painter is better than the other painter you know I mean when these guys show these trucks they get real critical on the graphics going in the jams and you know this is just that this is just an advantage for showing it and you know it makes your paint job look that much more better all right well we got going now as we've gone ahead and cut the tape away for the door we've opened the door up and we're laying the graphic on the inside of the door jamb and then he's going to run it into the door panel now when you do these trucks and these graphic you know you can't just go off the top of your head you got to start with the design or a rendering or something on some paper that way you got an idea what you're doing and then you can keep that going now when you lay these lines when you pull straight lines you got a when you when he runs it into the jamb and it hits the door panel you got to press it down tight onto that edge before you pull that line because that line has to be straight so when it goes to be pinched right because the pinstripers going to follow either the top part of the line or the bottom part of the line that way the lines will look straight because the pinstriping if the pinstriping isn't done right it'll make your graphics look not right so that's why he's pulling that taping it down at the end and then pressing it all the way through we're moved to the back of the truck now to the tailgate now one thing about the back of the truck you know I said that you need to have a drawing or a rendering or some type of graphic drawn well kay daddy Gann is famous for these tailgates and hoods and those are full free styles he just he likes to look at the graphics as he's getting ready to lay it but the graphic on the back has nothing to do with the side or the front the front and the back are always different this is a freestyle mode he's in he's gonna just lay it how he feels like laying it it's just a just a feeling and a movement that he uses with the tape and the area that he's going to work with like I said he's using the four seventy one quarter inch blue 3m because that's what he prefers sometimes when he gets into these tighter smaller areas he'll go to the eighth inch but right now he's sticking with the quarter inch and he's going ahead and laying the outside of the line first and then he's going to work towards the inside now this is the part of the truck that I was talking about where the tailgate was welded up shut and the roll pan was welded with the rear license plate box and now we're just we're gonna let him do his thing and he's going to just move from the box and in and out and he's going to play with this a while because this is or he's in the freestyle mode so we're just going to let him go with that oK we've laid the three quarter inch tape on the sides around the blue like this and now we're on the back the reason why we're laying this three-quarter inch tape around the blue is because when you go to paper it it makes it that much easier to pay to paper and you don't have to worry about a whole use right now we're in when you're doing these graphics you're going to use so much tape as it is you want a this'll this will help cut down on your cost when the when this tape runs you know anywhere from 250 to 320 a roll so he's going to go ahead and surround the color completely with the 3/4 inch tape using the 3m - 33 - 3 and then what we'll do is around the area where the 3/4 tape is we'll fill it in with the 3m paper so we like I said this is a repetitious event we're doing here this has already been done throughout the whole truck and this is how we'll do every color from here on out the only other difference is between the first color and the rest of the colors is some of the other colors are going to overlap or run underneath so they'll be more masking because you'll be back masking some of the other colors to make it go over the top or make it come underneath we've laid all the tape around the blue on this first color now we're going to go ahead and start masking we're using the yellow 3m paper 0 6 7 1 8 it's a photo processed paper it's real smooth on the inside it cuts real easy with the razor blade what it'll do is he'll lay the paper and then he'll go ahead and cut around where the tape is so that way we can get the area all covered now on the first couple colors it's not gonna be real critical on our overspray since we don't have the main color on yet but once we start getting into some of the graphics we're gonna have to you know do a lot of masking and you know cover the truck maybe with some drop cloths and get into some other areas because you can't have any overspray hitting any of the areas that we've already painted so like I said once again we've got the 3/4 inch tape outlined all the blue tape and he's filling in the gaps that the paper won't fill in and some of the areas he'll lay a piece of paper and then go ahead and cut it with the razor blade and then we'll get on to the next step which will be to spray the yellow the paper will start here in the back and then we'll continue the paper all the way around the truck well so when we spray this color we don't just do the back and then go to the side he'll go start on one side of the truck and go all the way around because it's going to take a couple coats so we'll be masking the whole truck off and then we'll throw a drop cloth over the top before we spray this hair okay now we've already we've gone our first part yellow and we're getting ready to put the balancing clear on the 695 this will be one two one two two normally you'll get this color already mixed in the paint store it's a base coat color you could just tell him I want a chrome yellow or Corvette yellow you do I got to do is look through the book and give him a coat but Kay daddy he's gonna mix a special mix and since he has a PPG paint Bank on hand he can mix any color he wants at any given time the gun he's using is the Iwata say LPS - - Iwata and it's a it's a V OC gun that complies with the standard of the EPA today and you know we need to use these guns and after he's done spraying this paint he'll also log this paint he's about ready to go here mix it so again one two one two two two on the reactive reducer the dr r 1170 PPG and it looks like we're ready to go he will be wearing a disposable 3m mask we recommend that anytime you do any type of painting you especially with these types of paints today you need to wear a mask or a fresh air ventilate the ventilation system but we're gonna use a disposable mask on this since we're not going to be spraying too much pain at one time so it looks like we're about ready to go and here we go on the first color you need to have the area there gray or white when spraying a yellow if you start getting into some darker colors that it's gonna change the yellow this way the color will stay consistent throughout the graphic nice he's starting in the front fender well and he's working his way back and around the door now he's opening the door and he'll work his way into the graphics now the primer that we used was a deep P W 18-21 and we prefer the grey and then when we get into some of our transparent colors we'll go ahead and spray white before we spray the color but here the yellow cover quick over gray and here he goes with spraying the first color now when you're working in the jams in that area you have to use a little bit lower pressure to keep the overspray down but the vehicle is all masked up so it's not going to be a problem either way be sure that when you're spraying these colors you want to use the right reducer for the right temperature now we're looking--we're about 68 degrees so we're using at eleven seventy so we got a 5 degree we can go five degrees warmer five degrees colder off of that last number the eleven seventy so we're looking at 70 and we're right in the ballpark so he's gonna go ahead and he's working on the second coat now I'm a yellow it's gonna take about three coats and then he'll come back all the way around and then back into the door and then he'll work his way all the way around the truck now with this Iwata gun that he's using he has a lot of fluid control he has two different controls to control the fluid and then he can control the amount of fluid with the air pressure he's got his tip tuned in about three-quarters of the way on the fan and the fluid levels about medium so it's a it's a pretty easy color to spray when you're doing it this way and you just take your time and let it go the air is always on and just about getting covered now you want to be sure when you're spraying it you can don't just paint the area but paint a little bit over the area so it's going up on the paper that way when you end mask it the edge of the yellow is going to be consistent with the rest of the graphic come in with an airbrush and do a type of fade in the graphic itself the paint's been set for about half an hour so it's still fresh so I don't need to sand it I'm gonna come in using my HPC Iwata airbrush and spray in a red oxide fade the red oxide also has a slight amount of gold pearl in it so when the light hits it it'll give it kind of a strange streaky effect now I'm not going to do just as a real normal gradated fade this is kind of like more of a I don't know what you'd call it an evil fade I'm gonna make it kind of streaky like make it look kind of aged on this now the nice thing about this red oxide it's very transparent so when it's cleared you'll see a lot of the yellow through it at the same time the total stand out so just probably varying the amount of paint I spray on here I'm able to create a large number of colors because of the underlying yellow base same time I don't want to get real close that I want a real defined edge I'm going to make the top darker than the bottom of course being that's going to be Asif Aid maybe coming every now and then for a tight streak and slowly worked myself to the front the pain I'm using here is the same two-stage base coat the Colin Dion are shooting the graphics with so I have no problems with compatibility the main difference is is I reduce this probably about twice as much as they do to the extent of almost 200% more the reason for this is the airbrush is much smaller than a normal gun therefore the paintings be a lot thinner to shoot the good thing about this is it makes the paint even more transparent therefore easier to use and a lot more forgiving over basic colors the bad thing is gonna be real careful since it's so thin it really wants to run so it's important to keep your movements fast and not stay in one spot too long when you're airbrushing so I'm bringing this fade up from the bottom notice how I have the fade on the top and the fade on the bottom as well I wanted to make it look kind of not so much 3-dimensional but give give it actually a an actual shape of depth by only having one side shade at that time bringing those streaks in as well the nice thing about the streaks is it gives it a little bit more character than it's a simple fade and it's a lot easier doing the simple figures you'll have to worry about it being even the more uneven it is the more it look like you planned it I do want the top to be evenly dark now it's hard to see with it still mastic like this how it's gonna look when it's done I'm actually overshooting my lines and airbrushing on the tape itself I do this for the reason that I don't want to end up airbrushing too far inside the graphic I want to be from the edge coming down and by actually airbrushing on the tape and letting the overspray from the airbrush go into the work gives a more natural look I don't want there to be any airbrush looking lines I just want to look like aged streaks in the color make the tips really dark now the reason I'm doing this is I have a lot of gold pearl in this paint and if I make the tips really dark here they're really gonna glow after it's cleared you'll see more use of pearls later when we do the other effects getting that tip real dark there and there you have it evil streaky bait effects we're all messed up for our second color and there's a couple spots where the second color is gonna actually overlap over our first color so we're gonna have to do first is sand the edge left by the tape on our first color so you don't see it through the second color well do that with 400 grit wet and dry sandpaper and it's it's not important to get rid of all the edge it's just just solute just the edge not really all the paint just seeking so you don't feel the edge when you run your finger across it and all this does is allows you not to see the edge when you put your next color over the top of it it's important when doing graphic City to make your colors crisscross over the top of each other it gives the gives the graphics depth and it also makes the job look a lot more intricate than it actually is you can see here where this is masked this is where the yellow will come back over the blue and then later on Craig Andy drop shadows which will make the make the work real deep looking these are pretty much sanded smooth and we'll be ready to paint next color will be spraying is blue this is like a transparent blue it's DMD 658 it's a it's a toner offer PPG rack again mix just a little bit of this and this time I'll be adding a little bit of silver DMD 650 there's a give this will make the paint not so transparent and should enable us to do less coats which I give us less and less of an edge on our graphic which would be better I'm also going to add some blue pearl PRL 92 this will give it a real brilliant effect once it's clear to the kind of glow and also add my mixing clear which turns the paint into the DBU system mix this 50/50 - what's what toners you have in the cup already and then you'll add the reactive reducer 1170 again 50:50 towards in the cup that's about it stir it up always use a paint strainer because if it gets out any impurities in the paint any dust any dirt that might have got on the lids or anything that just keeps it from getting on your paint but you can see in the in the paint how brilliant it is with the silver and the pearl already once it's on the truck and third it'll look ten times better and I'll be using the Iwata LPS to gun again as I did on the first color and we're sad were ready to spray okay we'll spray the next color of the blue same way we sprayed the yellow medium coat get it forever I'll apt allow drying time in between each coat of probably about yeah two or three minutes it's kind of warm here so we're painting dry fairly fast you can see where the where the yellow was it take a few more coats of the blue to hide that yellow but just keep adding blue and it eventually hide itself this stage right here with the blue already laid on given some time to tack I'm going to come in and do another airbrush effect the effect we're gonna do on the blue is actually a marbled effect I start out with this using my Iwata HBC and I use the same type of color blue collared on here but has a little bit more of a purple toner in it and when I'm doing at this point I'm laying down a base of just darker streaks no matter what color it is I was like taking a similar color I'm doing the marble on and just come in and lay some varying streaks with the darker version of that color this is fairly a dark blue I decide to use violet actually darken it up I notice I'm going in the same direction to mimic a marble pattern I'm going to give it a kind of a grain I'll pick the direction and keep all the streaks in the very same direction to give it some continuity notice I'm going way over the tape edges I don't want the grain to stop right before a tape edge now once I got some streaks lay it on there I'm going to come in and Louden up the needle by pulling the trigger back notice how the paint drips off when I do that I'm going to load up the lot of paint in this airbrush and then I start flicking it onto the work and with this dad this gives a sniffle effect now you can do this numerous ways you can do this by placing a business card or a paperclip or a or a clothespin in front of the airbrush and load the paint up this right here is kind of a nice random effect real quick but do this over a large area I probably would lower the air pressure and actually use a larger gun to create the pattern but there's a small confined area I'm not wasting your time by doing it this way and when you give it a lot of these dark stiffles now you can't see them a whole lot but there's a lot of pearl in this paint and once this graphic is cleared these dots are gonna come out and give it up of a grainy texture that will make it look a little bit like a a really the textured marble okay with all of this on here right now the thing to be careful is when you come back to airbrush be real careful about airbrushing around these dots because they're so heavy they're gonna take longer to dry switching air brushes basically it's the same brush I just have a different color in it right now I took the original color blue again and added a little bit different pearl and add some white I create a little bit darker a little bit of a lighter version of that look and I'm gonna come in starting out with the stipple again this brush is actually little bit of a finer brush to look at if you notice the stipple is a little bit finer now it looks like there's a lot more of this white stippling going down in the dark in actuality it's the same amount because it's light you just notice it more and again randomly I want different sized dots I want to be random the same time I don't want to just concentrate in one area have it fade out well overall on the whole basic effect okay giving this a little bit of time to dry when we come back in next and they look make sure when you're doing this stipple effect before you start airbrushing again you blow your airbrush out because it has intensity of loading up the tip really bad on these air brushes now using the same lighter color blue which actually looks white by comparison to the dark blue here I'm gonna come and give some very fine veins I'm actually gonna probably drag the tip of the airbrush slightly across the surface I'm gonna start off on the tape area to make sure I don't have a real thick line going and come in and just give these really thin wispy veins like a you know type of vein that a marvel would have I continue them on through I don't think this stops but what I'll do is I'll pull my airbrush further away and they'll end up actually fading out on their own again sticking with the overall direction continuing the grain effect I'm able to give the illusion of vet extremely extremely textured Italian marble fogging in some areas a great areas where the veins are actually meeting right here in the middle these streaks and they'll be at lighter brighter area I'm gonna move over here to the tip notice I continued the streaks off the tape to make sure I don't have any lines stopping in the middle of the graphic itself I might get a couple of bright areas right around where they focus in starting on this graphic now off the tape coming through now if I don't follow the direction exactly it's okay as long as the general direction is observed now I can overlay some of these lines haven't crossed each other the more are actually make them cross and actually divert from one another more interest in the actual textures gonna be and it won't end up looking like some kind of pattern that you just laid on here gives it more of a hand-painted lips to bring in some of the bright areas I want to also fog in some pretty thick lines they're not even lines or just fog areas because the pearl in this that will show up kind of as just a a reflected area the marble or the lights hitting a couple more dust in that area this right here is actually a very small area the graphic it'll look completely different than this tape of football what Dana do does not get carried away when you're airbrushing on these graphics because you have such a large area to work with only a small area is actually being painted on it's easy to go overkill and then when you pull the tape off it just looks way too busy so I'm pretty much gonna stop right about now even though it looks like I could go a little further just to make sure I don't overdo it and pretty much there you have it a nice marble texture soft fast that was depending on the colors I could build up more and more textures by using various colors in various shades but this is real quick and what this car gives a real nice effect okay we're getting ready to spray the third color which is purple in the gun I have DMV 6:24 which is a dark violet I also have DMD 650 which is the silver I used in previously in the blue just to kind of give it depth and not not take some money coach to cover and I also put a little bit of DMD 670 which is a magenta just to lighten up the purple I'm gonna begin to spray as with all the other steps we just repeat this all the way around the truck so I'm just working on the bed panel now the same things apply all the way around the vehicle at this stage I'm coming back with the airbrush again to do another effect in the in the graphic the fact we're going to be doing is called a stencil effect using a pearl to create a ghost image the stencil have right here I just cut out of a normal piece of photo paper and it's of a skull notice the negative image of the actual design you have to make sure all the inner pieces are connected to hold together when you press it up against the air you wish to paint on make sure it sits pretty pretty tight down there then using the airbrush I come in there with the paint and build a pretty heavy layer up making sure not to overspray on to the other areas you see right here an angle the light will catch it and reflect a blue or another angle it just absorbs it and shows a purple this is done by actual material called pearl this right here is basically a combination of inorganic pigments that absorb all colors except for the one that they're supposed to reflect this is blue pearl before it reflects blue so when the light hits it at just the right angle you'll see a reflection blue back now using this stencil continue to do the same image randomly throughout the design be very careful when you're moving the stencil around but it's real easy to hit on top of the previous paint I don't press down very hard I make sure it's a got a tight seal but I don't press down on the other image because it may be wet there's also possibility of moving around and randomly using the stencil and that's where you keep away from the areas that still may be wet but by doing that you may work yourself into a corner you want these to look random but the same time to be pretty much spaced out some of these skulls will appear halfway on the design some won't appear all the way on some will have really blasted the color into the other ones I just really leave not really that dark at all but taking the same image over and over again the single image of the skull itself actually becomes a type of pattern which from a distance you can't really discern what it is but it creates a nice effect okay on this color the fourth color it's gonna be magenta I've already sprayed a white base using the same mixing techniques as we have in the past colors 50/50 50% color to 50% reducer the reason we use a white base with the magenta is because it's highly transparent and the lighter the base the brighter the color and if I was to spray the color over the gray it would look kind of muddy looking he wouldn't look real good and that's about it the color I'll be spraying is 673 it's a magenta toner it's got a red pearl in and to give it a more vibrant look and that's about it we still like posting about getting a hurry probably take three or four coats for this color to cover all the way because of its transparency not a bit about it for your first coat you'll you'll repeat that all the way around the truck and let it dry for five to ten minutes and go again until you get the color you want in this part of the graphic we're going to start doing an airbrushed effect it's just basically just improvisation using a bunch of wire ties taped together you can do this with really any object it's creating a unique stencils experiment with them to see what kind of effects you get in the graphics this gives a real nice kind of a streaky look and the paint I'm using is a combination of the 673 DMD magenta toner as well - deep violet we're a little bit of blue pearl now I'm going to come in placing this dizzle since this one right here it doesn't really so random stencil doesn't need to be placed exactly on the surface I'm going to move it about so place it lightly up against where the graphic is and just fog in some of this color moving them as I go along giving it kind of a zebra zebra kind of weird effect now nice thing about this is that you won't notice the design as much until it's cleared because so much of it is purl because of the randomness of it I can always come back and add a little bit more to work I think it needs it unlike the other stem so we have to be really careful with the wetness of the paint so that it might be because the if the sensor gets too wet it will start leaking through this one any leaks will actually add to the effect itself continuing back as I go along the spraying effective now this will continue all the way around on all of the magenta and then as soon as I'm done with using this stencil to get that effect I'll come in with the same color I just did the effect in but I'll lightly fade the tips remember this is it doesn't show up very much with this basically is a whole lot of pearl just a little bit of paint so it's cleared you'll see a major difference I'm gonna do a slight fade on the top of the graphic itself just fade on the top only top side of the graphic only will give a real nice three-dimensional look to the graphic will round off the top of the game being careful not to overdo it you don't want to lose the original color of the design itself and there you have it another pearl effect with an airbrush okay we're going to shoot our last color which is the silver it's a background color for all the all of the existing colors that are on there so we had to do is mask off all the existing colors on the truck I'm using DMD 635 mixed with balancing clear and about a 50/50 ratio with the reactive reducer and we're ready to spray silver covers over the gray pretty much really fast usually only takes a couple touches swimmers same with all the other colors just put a light coat we'll get married get it to cover so you don't get any run there's first coat let it dry five or ten minutes and come back again probably two or three more coats and get it be done final graphic on this job we're gonna put an effect on that ass kind of look like diamond play using the stencil pattern much like we were doing earlier with some of the effects I'm gonna be spraying the same type of Regency silver on here but I've added a black toner into it to darken it up a little bit to create a shadow effect now basically doing the stencils just like before be careful not to get it too wet using my HPC Iwata I'm gonna spray the mainly on the bottom side of these shapes the reason I'm doing that is I want the top side to be a little bit lighter it won't be much liable just a little bit lighter it'll give it a lotion like the top to be illuminated by some light like actual diamond plate has okay now that's basically when doing this diamond plate it's real convenient to have a large pattern that way you can when you hold it back over there'll be like one line that you won't use again and use that for your reference line I'll line up the first row with the back of the stencil and then go from there and start brushing in the next series these stencils were all done on photo paper just as the original ones were the nice thing about photo paper by comparison to using like very thick cardboard is for one thing the paint doesn't soften it up a lot and you can fold it such as inside this body line right here to get a crisp stencil I'm gonna have to lay it in there and hold it with my fingers there's a thick cardboard I couldn't get to fit inside of there thereby getting the stencil to gall the way inside I'm gonna come along and tie this one in right here pressing it in if you're using a large stencil like this one you might want to try rotating it every now and then keeping the wet side over there letting that dry while you're working with this side that way you prevent a large buildup of paint which can come around the back side of the stencil and actually get on the work got a little bit double one right there hide that with a shadow actually that's another problem be real careful when you're going on with your stencils not to get doubles got one right here has a little mark on it from the paint bean and when I come back over she can touch him up too with existing a stencil by going back over the ones now with the diamond plate pattern there I'm gonna actually come in and put a light drop shadow this is air right here is an actual graphic that's been taped there coming into the light shadow and this is a metallic I'll come back later after the taste for new moves and put in a shadow with some actual pure block a little bit weakened for the actual shadow but right now I just want to put that in there so that when I take all the table if I have a reference point where all my shadows are I'm gonna switch air brushes at this time to my other hpc which I've already had loaded up with some red oxide now a nice thing about red oxide is when sprayed over silver it gets a really good rust effect hence the name right off I just randomly every now and then there we have a little streamer coming down like that the rust is actually seeping down over the diamond plate that's enough of me yeah we're gonna use this right underneath the graphics like the water is collected behind the graphics and streaming down it right now put a couple of really are stains coming right down there looks like water try and follow the you know line kneel straight down like gravity would you always have them also streaking back one thing if you're gonna have them streaking either have them going back at all at an angle or all down otherwise you start getting some real problems continuity pretty much there's my diamond plate effect with the rust on now when you pull all the tape off and with the drop shadows in this hold effect will actually sink back and from a distance will give the illusion of the whole back of the truck being down plate behind the graphics will nice effect you can get it's just a simple stencil and summit octane okay we're done spraying our base color and now it's time to peel the tape off Oh [Music] to reveal the graphics peeling the tape you just want to peel it nice and slow watch for edges that might want to peel that just take your time there's no need to get a big area see the trucks really starting to come together now and actually look tie it in and everything after we're done getting all this off the final steps Abita Craig to come back in and do a little more drop shadow went over some colors it cross crisscross like something here you put a drop shutter here to make this look like it's floating above that above the paint there and then it'll be pinstriped and clear to several times then color sanded and buffed and roll okay the final step before pinstriping is to come in and touch up the airbrush drop shadows after the orange has been applied now because all these were masked off some of the drop shadows that I did on the silver earlier didn't actually come all the way through so I'm gonna bring in some of these drop shadows use my Iwata HPC and a weakened solution of DMD black toner now the solution is weak so that the color can actually come through the block I don't want the shell be completely black okay what I wanna do is I want to broadcast this shadow that's here right on over this yellow line now be real careful not to get any overspray into the purple if I do it's still okay because the pinstripers gonna come in and put an edge right there they'll clean it up and I'm gonna continue this right on over if I have like varying levels of cars I may even you know slant off at an angle to show varied you know lengths of shadows to get down to the bomb I also want to continue this one up onto the magenta this one stops you can tell this was all masked off I'm going to start down below to make sure my black matches the shadow from before these real week as you can tell it's very faint we would come up all the way over under this blue this yellow orange area is casting the shadow right there those are get a good to give it once-over on the entire project to make sure before the pinstripers dunks it's very difficult to come in and drop shadow once the pinstriping is on there otherwise you have tendency if it's a very light pinstripe you may end up muting the color with the black okay this one right here needs to be dropped out as well such a power a little bit of this one right here okay that's pretty much all the touch-ups on the drop shadows on the the back of this truck I'll continue this step all the way around the truck on all the drop shadows until I'm finished after giving it a good once-over making sure there's no more touch-ups needed it's ready to be pinstriped I'm Ron beam we're going to do the next step in this process and outline all the graphics on this thing first thing to take into consideration on a multicolor job like this is color choice you want to use contrasting bright colors to give better depth in color separation and you have to pay attention particular attention not to [Music] use a lot of color like say you wouldn't want to put it put a cult like an orange we'll run this yellow to where it's not going to show up you have to try to figure out all your colors in advance make sure you're not stepping on the colors anywhere don't really have to worry about surface preparation on Sun a graphic job like this it's all fresh paint there's no wax or silicone or anything we have to remove just tack it off make sure there's no tape residue and and get started you want to start with the color that would be your bottom color first which in this case is basically the orange and work from the bottom up you get a lot cleaner edge a lot sharper corners that way a lot more depth we're going to start up we're gonna use house of color striping paint because this is going to be clear coded house of color you can clear coat quickly without any reaction problems we're using a house of color light blue here to start with with the catalyst that's compatible with the clear that's going to be put over the truck in this case we're catalyzing the house of color with du5 so we won't have a reaction problem with the PPG clear we work it into the brush using a single lot Mac striping brush outlining graphics like this you don't want to use too thin of a line to where it doesn't show up and you don't want to use too thick of a line to where it shows up too much you want to just hide the pain edge and add a contrasting color your mixture just how we want I stroke the wet brush with my bare fingers to get any particles of pain or foreign objects out of it you want to line your hand up with the line that you're going to run and paying particular attention to look in the direction of which you're striping [Music] as you're making your line you want to look at the line that's coming out of the brush to make sure it's the width you want and the consistency you want but you have to look also in the direction of which you're going to make sure you're following the line you just kind of look back and forth as you're making the line you'll get used to it outlining graphics is a good way to learn how to stripe you're usually usually doing long lines so you can get used to starting and stopping and there's a line there to follow which also helps as you can see we're just about done you can tell what a difference the contrasting colors make as far as is depth than in color definition striping is something that you don't have to do on a graphic job like this but it makes such a difference it's a good idea and it's not that difficult with a little practice a job like this can really teach you a lot about striping about how to start and stop consistent color mix and like I was saying before you've got your lines there to follow it's just a matter of keeping a nice clean line going and as soon as we're done here we'll be ready for Craig to do some hot spots and we're ready for clearcoat I didn't cover before on how to hold a brush a lot of people do it different ways different styles I use the two finger method I run the handle of the brush along my thumb and grip it with those two fingers some guys use three fingers some guys hold the brush way up here just whatever is comfortable for you I like that that grip right there don't hold the brush real tight that just puts more tension in your hand and the more tension in your hand the harder it is to make a nice straight line hold the brush with a loose grip and just whatever is comfortable to you with all the Pinstripe being done the final effect they'll be airbrushed on the truck is gonna be actually touching up the drop shadows that the pinch drive went back over as you can see right here the pinch strap went right over that existing drop shadow airbrushed in earlier so using the same thin down base coat black in my HPC iwata I'm gonna airbrush in that shadow right over the existing pinstriping and I want to be too dark I just want to fade just a little bit over that to give it the illusion that the whole graphic including the pinstripe is underneath that drop shadow get that one right there as well pretty much throughout the entire truck I'll come along with the airbrush and the black and touch of all these dog shells there's no need for using a shield at this point since I'm not really going up against any of the colors I'm just going right over these under under line ones right here are these stripes as well trying to build up your shadow too much otherwise main have spending a lot more time redoing all your shadows to match the ones you made to dark all you want to do is just tone that pinstripe down just a tad okay with all the pinstripes touched up and all the drop shadows fine I'm going to switch our brushes over to my fine brush it's my 0.2 millimeter HPC and I've got a thin mixture of white in here now I'm going to do now is we've called hot spots and they're just little points that will attract attention to like certain tips it's just a nice way of completing the design making sure the brush shooting real clean white real important to thin down for the fact that if it's not a conservative spitting consistence an opaque can really show up now I'm not gonna do just a single dot like that I'm gonna give it a tail or a streamer and fuzz it out the important reason to do this after the Pinstripe we've said it before is because with the pinstripes on either side sometimes you'll have a little bit of an over spray from that dot and if you stripe afterwards you can really notice the difference specially if the overspray from the dot extends outside the graphic but on top of the pinstripe it looks a little bit more natural put one right there they'll come along to this side it's important not just to randomly do them kind of think you know if I've got this design curving right here well I'm gonna put one right here streaking back I'm gonna probably want to have them slightly arched maybe to mimic either this line or this line right here since all these are kind of going in this one direction so I'm going to offset this one just a little bit right here cool back I'll sit this one go back but we have kind of an arch going right there to continue to change certain areas where the graphic goes and it comes back up again I might do what's called like a double tail and that's the single hot spot and then pulling back one tail and another tail following the other direction so I moved back along the design I just look for certain edges that I want you know to be accented like right here we create one is coming up right there straight one looking around right there on this tip I hear one little one going down now just as it not enough Nealon not be using any you know hotspots makes a design that kind of dead using too much of makes it look way too business you have a real careful it's real easy to get carried away on these another good use for these is any chips a little Nick's chips goof ups in the paint sometimes you'll have bleed throughs on the tape these hotspots are really easy to go right over and cover up these bleed throughs and at the same time it looks like you actually meant to do it so instead of having to come in and maybe repaint intermetallics just cause of a small chip in the corner you can actually like right here we have a little bit of a bleed through if you can see that what it is that there's a piece of tape on either side mask in this magenta when the orange was shot orange went right through the tape underneath made a little line now to get that off by scuffed it off I didn't have ruining this this effect in here I didn't have scuffing away the pearl but if I come back to the hot spot right there tell back you'll never know it was there in the first place saves a lot of time with repairs gonna put one right up here kind of bounce it out look at the overall design see you know how many hot spot you got going in a certain area don't want too many in one area and not noting the other and put one right down here at soon you know there's some times I clear the brush in my hand some when the brush would be clogged instead of just blasting the brush trying to unclog on the work work it's splatter and ruined I want to make sure I gets clear that real good there okay we have something right here okay that's a little marks right here now these right here kind of in odd odd areas you wouldn't know exactly how to fix them well you can create hotspots kind of going in the direction called tracers don't just do just the ones that you need to fix add a couple more of them and what you end up doing is modifying the actual graphic itself to have these weird little tracers in it now you don't need to mimic this throughout the entire car just recommend using this right on in here so basically what I'm gonna do now is you know go over look for any other Nicks any little problems with the graphics add the hotspots if there's some areas that like on one side of the truck I wanted to be at the same on the other so when they're all demo go back and forth making sure they're all balanced continue over the whole truck once over just doing any of any small touch-ups and it's done and ready to be clear-cutting we're ready to go on the last phase of this 87 Mazda what we've already done the trucks already been masked all the pinstriping and airbrushing is done since it's been about 12 hours on the truck we've gone ahead and used a red scotch brite pad like this and we've already pre scotch-brite it down all the orange we've taken a clean rag with the DX 330 and we've already done this we've pre clean old the whole truck what this does is this gives you an idea if you have any flaws or anything and you need to do some touch-ups or some more airbrushing this will give you an idea that's what it's gonna look like when it's clear okay so we're done we've already done those two processes throughout the truck now we're getting into the clear phase what we've done is we have an electric ground here that keeps all the static off the truck and we've grounded the truck down now if you don't want to buy this you can run a chain or a wire something that grounds the truck to the ground so the after it's been cleaned there's there's no static and dust will fit to it I prefer in the Iwata lph 94 it's a gravity feed the reason why I use the Iwata gravity feed is because the clear is not forced through the gun and I'm getting more material instead of air so actually in the long run I I save more money by using a gravity feed when I clear and this is the most expensive part of the truck as a clear coating especially when you're doing graphics because we're gonna have to wreak leer the truck one more time after this so my guns ready to go I'm gonna show you how to mix it here we're using the DC D 35 and what we're gonna do is it'll be two parts of the clear here okay look normally you'd measure this with the stick or with the cuff but I've done it for about 10 years so I'm able to eyeball it one part of the DT reducer the 75 and we want to stay within 5 degrees or whatever the temperature is either way hot or cold and the du5 is the hardener and we're gonna go 1 part of that two parts clear one part reducer one part hard and are very easy okay go ahead and stir that up and our gun is already ready to go normally we'd pull the cap off use the strainer pour the clear end through the strainer the last thing I want to mention is if you can't afford an air dryer system since we're do a lot of production work we're able to afford a air dryer system you can purchase these at the paint store and this will keep the the condensation and the duct the oils and everything that is in your air line or whatever you're using this will save a lot of problems with the fish eyes and stuff okay we're the last step we have is to tack the vehicle down we've already pre done this this is just the standard tack cloth and all you need to do is just don't apply it real heavy because of the sticky material on it just go over the whole truck lightly like I'm doing here and just normally what I do is I just pick a panel I'll do the tailgate I'll do the side of the bed I'll do the side of the cab the side of the roof and we'll just continue on that way that way you don't that way you don't forget an area just concentrate on a panel all the way around now when we're going to clear this I'd recommend you can start on the corner of the bed and work your way around and just do the bed or since we have a breakpoint with the tail lights out we can start here on the tailgate and then we'll work our self around to the edge of the cab then we can come back jump back to this area because it's still fresh enough and then what we'll do is clear this other side of the bed will clear the bad then the cab will leave the doors open do the roof and then we'll close the doors um will do the outsides of the doors then close the doors and go ahead on to the front of the truck and then we'll wait about fifteen minutes and we'll do another coat so need to wear a mask a 3m masks like this because the clear has a lot of chemicals in it that is real irritating to your chest so we're going to go ahead and do a light coat on here with the reason why I use the BCD 35 it's real easy to use you don't need to use a tack coat you can go ahead and use it's to medium wet coats six to seven inches the front of the gun away from the truck and when you get into these angles you need to tilt the gun to cover this angle here because if you're spraying here and spraying here and then you need to come back up to get this angle that you missed that's where you're gonna have your problems running it and it's real easy to run it because we have we have edges here where the pinstriping is so we want to keep our gun angle going in this direction when we come into any radius tilt the gun because we're only going to make one pass so we're going to go ahead and get going and we're going to start right here on this edge we're going to work our way around and what we'll do is we'll just continuous throughout the truck air-pressure all about 2530 pounds you see I start at the bottom so I'll start at the bottom right here and go ahead and hit this tailgate license plate area first and we'll just start at the bottom still seen our clear gun right here in this radius and just keeping it going six seven inches just keep the gun going fluid letting off the trigger when you come to the end of the area releasing the trigger that way we don't overlap our material too much there we go just gonna stay with that to the edge and it's punching out very nicely now the first coat is not going to cover it completely the second coat will really you'll get that mere gloss image so don't worry about making it shine too much on the first coat the second coat is the more important folks [Music] [Applause] [Music] [Music]

Channel: Airbrush Action Magazine

Views: 49,744

Rating: 4.955801 out of 5

Keywords: Airbrushing, Painting, Kustom, Tattoo, Iwata, Createx, HOK, Fraser

Id: rmbfSoCaIMQ

Length: 70min 15sec (4215 seconds)

Published: Wed Jun 09 2010