1. The panel was prepped with House of Kolor KD 3001 and KD 3000 to surface sealed 4:1 mixing ratio, sealer to catalyst. The panel was then lightly scuffed with super Assilex 800 yellow sandpaper made by Kovax. Then lightly sanded again with a gray Scotch-Brite pad (my preference, definitely not a necessary step for good paint adhesion.)
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5. Carefully lift off your transfer copy revealing the drawing the beneath it. Make sure you don’t pull it off in its entirety in case you missed a few spots and need to reposition it exactly where you had it before. I generally leave two pieces of tape in place until I know I am happy with my transfer. What the transfer will reveal looks more like a polished drawing than a series of lines. I find this helps speed up the pace of my initial passes. Coverage isn't a factor as we are painting with opaque paint.
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6. On my number five gray surface, I begin laying in my darker tones with #3 grey. For this exercise I’m using House of Kolor #3 at about a one to one ratio spraying at 60 PSI. I don't always marry myself to a specific PSI, but I am resigned to the fact that I spray at a higher pressure than most airbrush practitioners. This includes the majority of details also.
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11. Time for color! Normally for color and this approach I layer Createx illustration colors on top of my House of Kolor opaque grey color. As long as the paint is dry the colors will mesh. Here I start by laying a burnt Sienna into the background in accordance with the reference image. I am still spraying upwards of 50 psi, with a reduction of about 60%reducer to 40% paint. Slightly less than 1 to 1. I don’t abide by a specific ratio when it comes to reducing my paint as the image usually dictates how quickly I will build up my color or how subtle. Individuals may find different reduction more applicable during the color passes of this project.
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14. After my first round of color, I go back in and re-investigate some of my midtone highlights and other details. Depending on the amount of time I have to work with I may go back to my number five gray to redefine some of those areas, or if I need to move quicker I may choose to go a little bit lighter with a number seven gray, with a bit lighter Touch in some of those areas, while enhancing some of my lighter values during the same step. Because of time constraints, I elected to go with the ladder for this painting. I went with a number seven, with a little bit more reduction essentially skipping a step to move the project along any more rapid pace. While I find from time to time that this kind of move takes away from aesthetic of the highest quality, I also remember the difference between a commercial endeavor and a fine art endeavor. As defined to me, fine art is of the highest art form, while a commercial endeavor essentially does serve a purpose with a deadline and a budget in mind. That is the beauty of this approach, it allowsFor that kind of thinking during the process as a pertains to the motive behind the image making.
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16. Something I have been doing in the last year is keeping color charts as I move through painting chronologically from left to right much like a book. Just a quick color notation as I move forward that way if I need to backtrack and see what was used and where I used it, it is much easier to trace. Much like a color journal per piece of artwork.
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