Master Patterns Strokes

B E T W E E N T H E LINES
Few things are as difficult to master as the brush-perfect straight line or the beautifully executed
symmetry of two opposing arcs. How else can you get the satisfaction of perfecting your design
on a '40 Ford deck lid, knowing that you did this after much practice, discipline and sacrifice?
T r a n s f e r tactics
Next, to shift the design onto the car, you need a transfer
medium, such as SaralB Transfer Paper. This 'carbon' allows
you to center your design, trace it and paint it onto the
Often beginners need assistance with patterns. If you decide
vehicle. Caution is required here to copy it perfectly. The
to build a 'pattern morgue' (or library), it's a good idea to
develop a system. For instance, categorize them according to tendency is to paint over whichever lines you see, and if not
copied accurately, your design will suffer.
motorcycle fenders, hot rod hood designs, etc. For the actual
An easier and less expensive transfer process requires
patterns, many professionals use a pencil to make the pattern
on a folded sheet of paper. They begin with half at a time (see chalk or pastel sticks (the good ones-sidewalk chalk won't
work). Lightly rub the chalk onto the back of the design, then
photo I ) , and then transfer it to a light table or window to
smear it off with your hand (see photo 3) and gently wipe it
finish the other half (see photo 2).
Photo 2
68 AIRBRUSH ACTION I JULY-AUGUST 2003
with a cloth to remove most of the dust. If vou don't w i ~ e
it.
you'll have a dusty mess to paint over. ~ G t h i smethodlyou;ll
love it! (See photos 4 and 5.)
Photo 5
Everphing begins with
insp~ration
Assuming you have kept up with these strokes, you should be
ready to learn assembly. Putting the strokes together to form
designs is not rocket science, but there are principles to
consider. Key among these: balance, symmetry and
occupation. Occupation of space may seem a given, but if
you study designs on panels, fenders and hoods, you will
notice that some pinheads take up too much space with too
much color. As a result, you can end up with something over
the top or even offensive.
You will likely gravitate to one style or another based on
what you see others do. Ironically, this isn't considered
copying by stripers. Rather than believing ourselves copyists,
we like to look at ourselves as "inspired by's". In fact, if you
could read minds at Pinhead or Letterhead events, you would
see a lot of inspiration going on. We all love to see each
other's best stuff and help ourselves to it.
There are long-standing disputes as to who invented a style
or stroke. Basic design has been around for a long time. The
socalled "originators" of designs or styles would be humbled
after a visit to museums exhibiting armor engravings from the
Middle Ages. Photos of Native American war ponies with
graphics painted on them are also reminiscent of the work we
do today. Seems like men have always painted their ponies
one way or another to make them stand out from the crowd.
Starting your design:
an advanced method
Unless I have a reference, such as a chrome strip, paint line,
car or bike, tape is my starting point. So begin with a straight
line of tape centered vertically down your panel. (See photo
6.) On either side of the tape, using a StabiloB pencil and a
light stroke, draw a line down either side of the tape,
indicating the center. Remove the tape and pallet up your first
color. (NOTE: I will leave color choice to you at this point
because we are iust practicing. Color theory will come later.
and believe me, it's crucial to your training.) Pull a long,
graceful left-sided 'C' curve down the lefi side of center,
followed by a connecting right-sided 'C' curve. Voile, your
foundation! From here, we build. (See photo 7.)
AIRBRUSH ACTION / JULY-AUGUST 2003 69
Photo 9
You may not be ready to
Remember, we are focusing
on occupation at this point. HOW
much of this area are we going
to take up, (not hog up), and
occupy with color and design?
And are we doing this design
more than once, such as on both
front fenders of a hot rod? If so,
we should measure up from the
headlight bezel or some other
point. Now make marks on both
fenders so that they match up.
Many stripers make patterns and
either pounce or SaralB transfer
them onto the fender first. but
you will be able to skip this step
once you are accomplished. If
you're initially comfortable with
b p at tern. thdt's fine-make
is actually a good
several.
practice as it teaches you to feel
but a style of your own. Making
l not like
desians with a ~ e n c iis
usin; a brush, but your eye will
benefit greatly.
After the "teardro~"or
"scallop" is laid d o i n , you can
begin reinforcing it with a similar
curve on either side. (See photo
8.) Once you are satisfied with
the shape, continue. Don't like
it? Wipe it1 Keep working at it
until you are satisfied. Build out
from ;he center (see photo 9),
stray from the foundation, then
build down (see photo 10).
But be careful. Leaning too far
off center-too sooncauses
imbalance, loss of symmetry and
eventual disaster.
Here's where many beginners
make grids with the StabiloB for
accurate connecting points.
These wipe off with a pencil
eraser after the paint is dry,
which is handy, since they're a
true indication that you 'worked
with a net'. If you nked guide
lines like this at first, use them.
The integrity of the design is your
his
wipe up the line into itself with a quick motion (see photo 11).
UImitation is the sincerest form of flattery."
70 AIRBRUSH ACTION / JULY-AUGUST 2003
ultimate signature. Once these
lines are wiped off, and long
after you're gone, the perfect
symmetry will be a testimony
of your talent and design
prowess. You will eventually
wean yourself from
dependence on this method.
After you study your first
design, and are content that it
is sufficient, mix a
complementary second color.
Reinforcing the first color is
the goal. Don't head off into
another direction, confusing
your original idea. Just add a
little color to it (see photo 12).
Keep it simple at this point.
That's enough for this
session. Keep practicing, and
when you think you have it
down, start all over again.
Photo I2
Charge w
The secret to good
crossovers is to hit
them hard. Soft
angles muddy up
the design. Crisp,
hard 45- and 90degree angles
make designs
strong and
appealing.
Tip: A good clean
up tool for very
tight spaces
(where the finger
is just too big) is
the E-ZDABBER by
E-Z Mix@ Similar
to a Q-Tip, this
little bugger gets
you in where it's
just too tight. I
found them at the
auto parts stare
where I buy my
airbrushing base
coats, or you can
check out
www.ezmix. com.
AIRBRUSH ACTION 1JULY-AUGUST2003 71