TOPLESS PARTY

Layout and White

The first step is to layout the design.

In this case its is layed out on the dark blue basecoat with a white stabilo pencil. The marks are light so that they don't get erased when the image is periodically degreased with Spies-Hecker water born degreaser. 

This stuff is the bomb! With it you can airbrush through your lunch hour without worrying. You will be able to get rid of the pizza smudges without removing any of the delicate work you sprayed while eating. Of course, it helps to wash you hands after that greasy pizza.  But the point is, this stuff works great.

The process I use in most of my airbrush work is very similar to that of a photographic effect. 

We start by building the values of light and dark with the white.  The shapes are rendered for fullness and the illusion of depth. 

At this point it is critical to get the composition if the mural down. For this piece, I have chosen to tape off the dancer's pole for crispness.

I take the white throughout the entire composition.

It is importand to consider the lighting effects that will be going on around each of the images in your design.

This is what the design looks like after the white stage is complete. I will now unmask the pole.

Notice the intensity of the white on the highlighted areas already. Later in the process, I will go back into the design and re-establish the white that gets lost during the color stages. 

It is imperative that you get the volume and shapes worked out before adding the color to your artwork.

The Color

OK..... Here we go, it's color time. . . 
. . . not to mention, time to make the hooters look a little more life-like.  I feel like a pretty luck guy; to get paid to do this for a living!

OK, Serviously now, I start with the lighter tones. I use a Yellow wash and a light Red as well. I go throughout the entire design placing the lighter colors where they are needed - for example flesh tones and items resembling wood.

As you can see in the picture the tones have been set throughout the entire image.

You will note that some colors need to be loosely masked with a template or curve to keep them from bleeding into to the next. For example, notice how the "melons" were carefully isolated from the dancer's pole. 

Still using a photographic-like process, I move on to the reds and then to the blues to create a variety of colors that range from true yellow to a rich reddish brown and even violet. 

The blue is the foundation for the atmosphere at the bar. It is also the source for some of the lighting effects - notice a bluish cast to the entire scene. Because I am using blue for effect, if it bleeds into some of the images it works just fine.

Well, this is certainly not the greatest of pictures - but I wanted to show you a really small brush. 

This is what I used for outlining the shapes throughout the mural.  The black used is HOK pinstriping urethane. I reduced the black to somewhere between what would be sprayed in the airbrush and the factory viscosity. 

More Color

Now you can start see the direction this piece is heading - somewhere between Disney and Penthouse.

If it looks like I'm working ass backwards. It's because I'm a lefty.

As the black is worked, you can see how the project is developing. 

A lot of appealing effects can be done with a brush, as it adds a whole new dimension to the artwork

Try varying the line thickness. This can add interesting results to your design. Brush work is fun!

The line work is finished.

Now I will begin the airbrush black to help give the mural more depth and definition.

Most of the work is done freehand , but some loose hand masking is required to get the effect and crispness I desire. 

I reduce the The black to a pretty thin consistency so it will not throw spatters all over the place.

Black and Highlights

The black is still rolling at this point. 

I use both freehand and loose masking techniques in this stage.

In this picture I am defining the background from the image in the foreground.  The loose masks are a great way to get the definition with out cutting the mask which often leaves unsightly marks.

Be careful not to overdo the black. You do not want to destroy the values that were established earlier with the white.

Well here it is with the black completed. 

This adventure is just about finished.

I find that it is best to take a break from the job and come back to it fresh before applying the final touches.

This particular job took me approximately 10 hrs.

To finish off the design, I work carefully to put just a little white back into the scene. 

It is important not to go crazy here. We are just looking to put back some of the "hotspots" that were washed out during the color process.

I can not emphasize enough, the importance of "less is more." 

If too much white is put back into the composition, it will look like it was caught in a baby powder factory at diaper time.

Now, ready for clear! 

The tank is degreased once again.

Note: I usually degrease at least once and hour, and more if necessary depending on working conditions.

 GOOD LUCK ON YOUR OWN PROJECT!