How to use airbrush

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I wrote a post a while back about Airbrush 101 but, I wanted to do a post on how to use an airbrush gun. When I bought mine, the first thing I did was take it out of the box and grab the instructions only to find, the instructions seemed to be missing. I wanted to share some of information on a presentation I did at CookieCon on how to use an airbrush gun.

This is “Wendy” my airbrush gun. I like using her on cookies but, I try not to use it too much on the blog because everyone doesn’t have one. If you are planning on purchasing one in the future, you can get it here. I will try to answer the questions my friends and I had when we got ours.

I said earlier that the instructions were missing but they weren’t. Here are the instructions I got with my system. To me, it is more about building a gun than operating it. I seriously don’t need to know all the inside parts but, wanted to know more about the basics.

Here are the parts to your airbrush gun.

Attach the power cord to the mini compressor and plug it into an outlet.
Connect the gun holster to the mini compressor.
Connect the short hose to the mini compressor.
Connect the other end of the short hose into the filter.
Attach the filter to one end of the long hose.
Connect the other end of the long hose to the airbrush gun.

It makes me want to sing the song, “My toe bone’s connected to my ankle bone, my ankle’s bone’s connected to My knee bone, my knee bone’s connected to my hip bone….” I will try to resist so that song doesn’t get stuck in your head. Hehehe

A few things you need to keep in mind, don’t change speeds quickly. You need to go slow because the instructions say so. And Don’t run it for over 20 minutes straight because the instructions say so. ;)

Now, here is the gun. The gun has a trigger, a needle that is protected by the needle cap, a hose connector, and a cup. It also has a lot of technical stuff on the inside but, they give you those instructions when you buy the gun. I am keeping it simple remember.

Now for the colors. You have to use special “Airbrush Colors” for an airbrush gun. If not, you will mess up the airbrush gun. I get mine here. You can also get Electric, Sheen, and Pearl Sheen colors. I don’t have the Sheen kit yet but hopefully someday soon I will get them.

Add a drop at a time to your cup. I love these bottles because it is easy to control how much you add. You only need a drop to airbrush a several cookies.

Also, if you are going to airbrush with several colors, you will save some cleaning time by using light colors to darker colors. I personally clean in between each color so my colors are true. I do a quick clean like I did here.

Once you are “Locked and Loaded” ( have your hosed attached and your drop of color) you are ready to begin. This airbrush has 3 speeds, high, medium and low. The speed will determine how fast the air comes out of the tip of the gun. 90% of the time I use low because I like outlining an individual area on my cookie. I also LOVE SPEED so the other 10% I am wide open on high. You should pick the speed that is best for your project.

I know before I have mentioned on this blog that I am a messy person. I have drug that hose through many a cookie and destroyed them! I now make myself an airbrush gun hose bracelet by wrapping the hose around my wrist a couple of times. Since I have started doing this, no more destroyed cookies.

The trigger is a crucial part in how fast the flow of the air and color hits your cookie. As you can see, the trigger can move quite a bit and controls how much air is forced out of the gun. The more you pull the trigger, the faster the spray of color will come out. I recommend you practice on a piece of parchment paper to see how fast you want to go and get the feel of the flow.

The last question I feel like you would ask is how close do you hold the gun to the cookie. Well, that depends on how thick you want your line. The closer you hold the gun to the cookie, the smaller the spray. The farther away, the wider the sprayed area.

For detailed spraying you would hold the gun pretty close to your cookie and get a defined dark line. To get a larger area covered, you would hold the gun farther away and get a lighter spray that covers a wider area of the cookie.

I think that about covers it except for the cleaning. I will show you how to clean and do a little troubleshooting if your gun doesn’t spray correctly here.

it is the best choice to make different

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SKETCH DRAWING AND PAINTING SERVICES FACE

Cara Menggambar Foto Wajah Menggunakan Pensil

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Cara Menggambar Foto Wajah Menggunakan Pensil

admin | 27 Februari 2015 | Cara dan Metode Menggambar | 4 Komentar

Cara menggambar foto wajah menggunakan pensil memang penuh dengan misteri. Mengapa saya mengatakan seperti itu? Karena sebagaimanapun dijelaskannya cara menggambar foto wajah menggunakan pensil tetap saja tak semua orang mampu memindahkan foto wajah yang nyata-nyata merupakan hasil sebuah kamera ke atas kertas hanya dengan goresan pensil sederhana. Tetapi, hal itu justru membuat banyak orang semakin penasaran bagaimana bisa seseorang menggambar foto wajah dengan begitu sempurna. Nah, daripada kita semakin penasaran saya akan berbagai tentang langkah-langkah menggambar foto wajah menggunakan pensil. Semoga dapat menginspirasi Anda semua untuk membuat gambar dari pensil yang lebi Mengadaptasikan Mata Dengan Objek
Cara pertama untuk menggambar foto wajah adalah kita harus membiasakan mata kita dengan objek yang akan kita gambar. Amati dan pandangi objek secara dalam sekaligus merekam lekuk-lekuk penting dan karakter-karakter dari objek yang harus kita tonjolkan. Karena pada dasarnya ada 2 cara menggambar foto wajah. Cara pertama adalah memindai foto tersebut secara utuh dan menggambarnya secara utuh sesuai foto di atas kertas kita. Dan yang kedua adalah tidak menggambar foto wajah secara utuh atau mirip sekali tetapi hanya menonjolkan beberapa hal yang nampak menonjol dari foto tersebut. Untuk melakukan keduanya kita tetap harus benar-benar memahami bentuk objek. Jadi letakan objek sedekat mungkin dengan area gambar kita agar mata kita lebih mudah berpindah dari area gambar menuju objek dan sebaliknya.
Garis Sketsa
Setelah mata dan otak kita terbiasa dengan objek, selanjutnya adalah membuat garis sketsa diatas kertas gambar kita. Membuat garis sketsa adalah hal dasar yang paling sering dilewatkan orang karena menganggap itu tidak penting. Pada faktanya garis sketsa sangat penting karena sebagi acuan gambar kita selanjutnya. Nah, tariklah garis sketsa untuk mata, hidung dan mulut menggunakan pensil HB. Setelah itu mulailah menggmbar sketsa mata, hidung, mulut dengan acuan garis sketsa tadi. Lengkapi dengan membuat telinga dan rambut. Ini adalah langkah dasar dalam cara menggambar foto wajah menggunakan pensil.
Finishing
Setelah sketsa selesai, selanjutnya adalah memperjelas sketsa tersebut menggunakann pensil yang lebih tajam seperti pensil 2B. Perjelas bagian mata terlebih dahulu agar kita cepat mengetahui kemiripan gambar kita dengan objek aslinya. Karena mata adalah kunci dari kemiripan gambar kita dengan objek. Setelah sebuah sisi dari sketsa di perjelas selanjutnya adalah membuat arsiran sesuai dengan pencahayaan objek yang tepat untuk mempertajam bagian-bagian dari gambar yang akan ditonjolkan. Anda bisa menambahkan efek garis-garis halus pada bagian pipi, telinga, dan bagian-bagian lain yang harus memiliki efek lekukan. Pada tahap ini kita harus bermain dengan imajinasi kita, membayangkan bagaimana objek sesungguhnya, bagaimana lekuk wajahnya, karakternya dan hal-hal yang harus nampak menonjol

Renaissance Pen and Ink Drawings

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Renaissance Pen and Ink Drawings
During the Renaissance era, stylus, metalpoint and pen with ink were considered as fine line media as opposed to the broad line of charcoal and chalks. The precise effect of pen and ink is exemplified by the virtuoso draughtsman Leonardo Da Vinci in his work Five Grotesque Heads (Royal Library, windsor Castle).
According to the Libro dell'Arte, the practical manual written by the early Renaissance master Cennino Cennini (c.1370-1440), apprentice artists (garzone) progressed to drawing with pen and ink on paper after a year of practising on tablets with stylus, leadpoint or metalpoint. Ink was permanent once applied to paper so errors could not be erased, except by careful scraping.
The most common ink in High Renaissance Italy was made from iron gall. It's principal components, gall nuts, were rich in resin and tannic acid. When soaked in water or wine, strained, and then mixed with iron sulphates and gum arabic, the result was a liquid black ink ideal for drawing. However, over time, iron gall ink fades so that although the ink in most Renaissance drawings is now brown it would originally have been much blacker.
Ink was generally applied to paper with a quill pen. The resulting line could be anything from very thin to very broad. This line spectrum is illustrated by comparing drawings by the brothers Gentile Bellini and Giovanni Bellini. Gentile's Turkish Man (c.1479) and Turkish Woman (c.1480) were drawn with incredibly fine strokes with a thin pen. By contrast, Giovanni's Pieta (c.1480) was executed with broader strokes of a thicker pen. For more about sketching in Venice, see: Venetian Drawing (c.1500-1600). Leonardo Di Vinci's Virgin and Child with a Cat (c.1470s), Madonna with Many Animals by Albrecht Durer (1503) and The Sacrifice of Isaac by Albrecht Altdorfer reveal other effects achievable with pen and ink.
Ink remained popular throughout the Renaissance for a wide variety of drawings from rapid sketches to detailed compositions. Wash and highlighting provided additional effects. However, despite the fluid nature of ink, the need to dip the quill repeatedly made it unsuitable for large scale drawings. These were normally drawn in chalk or charcoal, not ink. For more examples, see: Best Drawings of the Renaissance (c.1400-1550).
Diluted ink could be applied by brush in order to shade an ink drawing. This was often done with the same iron gall ink that was used in pens, but it could also be done with Bistre, a material obtained by soaking wood soot in water. The result was a brown wash that was not viscous enough for use with a pen but ideal for use with a brush. The application of wash to a pen drawing enhanced the three-D effect of the image. Examples include Benozzo Gozzoli's Studies of a Hand, Three Angels and Christ (1447); The Triumph of St Thomas Aquinas (c.1487) by Filippino Lippi, and Shallow Vessel (1524-46) by Giulio Romano.
Artists occasionally made brush drawings in ink or bistre without a pen; examples include Head Of A Middle-Aged Man (c.1507) by Vittore Carpaccio and Raphael's Drapery Study For Christ in the Disputa (1508). Pen and ink was also used in combination with other media, an example being St Hubert by Jacopo Bellini, a pen and ink drawing over chalk and leadpoint.

Pen and Ink Drawings

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Pen and Ink Drawings

In fine art, the term 'pen and ink' denotes a drawing technique involving the use of black and other coloured inks which are applied to a support (generally paper) with either a dip pen or a reservoir pen. This traditional, versatile media has been used by Western artists since ancient-Egyptian times, for sketches, finished drawings or ink and wash paintings. It is also one of the main mediums involved in book illustration (see, for instance, Aubrey Beardsley) and in Surrealist automatic drawing (for details, see: Automatism in Art).
Early History
Artists from several ancient cultures used ink in their fine art drawings. One of the earliest surviving images in Greek art, drawn in pen and dye (on papyrus), is The Abduction of Briseis (c.300 CE) by an unknown Greek artist (Bayerische Staatsbibliothek, Munich).
However,the medium was developed to a high degree in Chinese art during the era of Tang Dynasty arts (618-906) and Song Dynasty arts (960-1279), and thereafter in Japan during the Muromachi period (1338-1573). (See Chinese painters.) Indeed, pen and ink has always been the main medium of Asian art and calligraphy in China, Japan and Korea. Traditional Chinese painting is executed with an animal hair brush dipped in black or colored ink. Oils are not generally used. Work in pure outline was called 'pai-miao', ink applied in splashes 'p'o-mo'. The most popular type of support is paper or silk, but some paintings were executed on walls or lacquerware. Completed artwork was often mounted on scrolls, which were hung or rolled up. For a guide to the aesthetics underpinning Oriental fine art drawing and writing (calligraphy), see: Traditional Chinese Art: Characteristics.

Photo Retouching

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Photo retouching

Yezhov is clearly visible to Stalin's left. The photo was later altered by censors.

Further information: Photo manipulation

Airbrushing has long been used to alter photographs in the pre-digital era. In skilled hands it can be used to help hide signs that an image has been extensively retouched or "doctored".
In the 20th century Soviet Union, as a result of Stalin's purges and later destalinization, many photographs of officials from the periods show extensive airbrushing; often entire human figures have been removed. The term "airbrushed out" has come to mean rewriting history to pretend that something was never there. In contemporary academic discourse, the process of removing components from an image is formally known as object removal.
The term "airbrushed" or "airbrushed photo" has also been used to describe glamour photos in which a model's imperfections have been removed, or in which their attributes have been enhanced. The term has often been applied in a pejorative manner to describe images of unrealistic female perfection and has been particularly common in reference to pictures in Playboy, and later Maxim.^{[citation needed]}
Using today's digital imaging technology, this kind of picture editing is now usually done with a raster image editor, which is capable of even more subtle work in the hands of a skilled touch-up artist. In the fine retouching industry, the airbrushing technique is often considered a low-end practice, with significantly inferior quality to that found in the most important fashion photography publications.

Technique Airbrush

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Technique

Airbrush technique is the freehand manipulation of the airbrush, medium, air pressure and distance from the surface being sprayed in order to produce a certain predictable result on a consistent basis with or without shields or stencils. Airbrush technique will differ with the type of airbrush being used (single-action or dual/double-action).
Double-action airbrush technique involves depressing the trigger on the top of the airbrush with the index finger to release air only, and drawing it back gradually to the paint release threshold. The most important procedural dynamic is to always begin with air only and end with air only. By observing this rule, precise control of paint volume and line width and character can be achieved. The single most important airbrush stroke consistently utilized by professionals is the dagger stroke. This describes a stroke which begins wide and ends as a narrow line, created by starting with the brush far from the support and moving it evenly closer as the line is drawn.
Single-action airbrush technique derives its name from the fact that only one action is required for operation. The single action of depressing the trigger releases a fixed ratio of paint to air. Achieving different line widths requires either changing the tip and nozzle combination or else adjusting the spray volume manually between spray width changes. The most important aspect of proper single-action airbrush technique is to keep the hand moving before the trigger is depressed and after the trigger is released. This avoids the "bar bell" line.

airbrush history

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History

The first airbrush, depending on the definition, was patented in 1876 (Patent Number 182,389) by Francis Edgar Stanley of Newton, Massachusetts. Stanley and his twin brother later invented a process for continuously coating photographic plates (Stanley Dry Plate Company) but are perhaps best known for their Stanley Steamer. No artistic images that used this 'paint distributor / atomiser' exist or are as yet known.
The first instrument to be named the "paint distributor" was developed by Abner Peeler "for the painting of watercolors and other artistic purposes" and used a hand-operated compressor. It was rather crude, being based on a number of spare parts in a jeweller's workshop such as old screwdrivers and welding torches. It took 4 years of further development before a working prototype was developed by Liberty Walkup of Mt. Morris, Illinois. Walkup repatented the work under the name of "air-brush", a name his wife Mimi Walkup came up with. His wife would later go on to be the founder of the Illinois Art School where airbrushing was taught to students from all over the world. In that same rented 4 story building Rockford Air-Brush would be established under Liberty Walkup. The Walkups taught airbrush technique to American Impressionist master Wilson Irvine at the Air Brush School in Rockford, Illinois. The first certain 'atomising' type airbrush was invented by Charles Burdick in 1893 and presented by Thayer and Chandler art materials company at the World Columbian Exposition in Chicago. Burdick founded the Fountain Brush Company in the US, and launched the first series of airbrushes onto the market.^[1] This device was essentially the same as a modern airbrush, resembling a pen and working in a different manner than Peeler's device. Aerograph, Burdick's original company, still makes and sells airbrushes in England. Thayer and Chandler were acquired by Badger Air-Brush Co. in 2000. Badger Air-Brush continues the Thayer and Chandler tradition of manufacturing quality airbrush guns, tools and compressors out of Franklin Park, Illinois.
For more a detailed academic study, the University of Wales Library holds a detailed PhD on airbrush history. The Franklin Institute in Philadelphia, the Public Library in Rockford Illinois and the Conservation Department of New York University retain copies. This was authored by Dr. Andy Penaluna, now Professor of Creative Entrepreneurship at Swansea Metropolitan University.^[2]

Drawing Pen Painting

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Drawing Pen Painting Portrait A4 size

IF before I post Drawing Pen Painting Landscape Forms hearts A4

size,Now I am posting Painting Portrait Form A4 size.






Media

1. pencil / drawing pen : 

A3 black and white Rp. 150.000 ; color Rp. 200.000 

2. Airbrush

Black and white Rp. 200.000 ; color Rp 250.000

Booking info

Farid Sulistiyantoro

08980680589

CAN PHONE / SMS / Whatsapp

BBM : 5B6AAAC2

lukis wajah with airbrush

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Before we get started with airbrush face painting services what's the harm if we understand in advance about the art to increase knowledge.

Understanding painting is one branch of art. On the basis of the same sense, painting is a fuller development of the drawing, and many kinds of species.

Airbrush art is a technique which uses air pressure to spray paint or dye on work. tool field that is used for air brush paint spray gun and commpressor is a breeze.

And to produce great works and favors for his eyes only requires imagination and, of course there should be an expert.

Below is an example of the work of airbrush painting on paper A3