By George Dent
The airbrush is a vital software for modellers striving for professional-looking effects. it could possibly drastically improve the standard of your modelling output, even if making use of a whole livery scheme or just mixing in components of latest paintwork. a superb airbrush will supply unprecedented degrees of end and consistency, in addition to the opportunity to create special results reminiscent of weathering and stencilling. This ebook finds how somebody can use an airbrush successfully, only if a couple of uncomplicated ideas are undefined. all the valuable thoughts are defined, in addition to a wealth of sensible suggestions and certain recommendation on opting for a spraying set-up to compare your individual wishes and price range. Covers cleansing and conserving the airbrush, 'tricks of the trade' and strategies compatible for a variety of topics, throughout all the renowned scales.
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Additional info for Airbrushing for Railway Modellers
For your first experiments, use tightly woven, smooth fabric measuring about 24 by 30 inches. Prewash it in hot water using Synthrapol or a laundry detergent with no scent or fabric softener. You can stretch it following the instructions on pages 31 or 32 or lay the piece directly on your prepared work surface, although it’s a bit more difficult to keep it flat and stretched. Pin or use painter’s masking tape on all four sides of the fabric, and stretch it as tautly as possible. You might want to lay a muslin drop cloth between your fabric and the plastic covering on your table if you decide to lay it flat.
They can, however, be mixed with up to 25 percent water to obtain a lighter shade. Instead of water, you can use a lightening medium, which lightens the shade of the color without compromising the pigment level and thus the intensity or saturation of color. To achieve lighter shades, mix these paints with the appropriate medium. (See Comparing Textile Paints, page 18, for information about 36 the paints; see Liquitex Professional Acrylic ink! ), feather dusters, or anything else you could substitute for a brush.
Using stencils. Cut a stencil, place it on the fabric, then spray the exposed area. ) 44 P ro fi le Profile: Annette Kennedy Annette Kennedy learned traditional quilting from her grandmother and mother during the 1980s, and then moved onto making art quilts in 2003. Annette’s quilts start with a photograph she has taken. She assembles the quilt top by using raw-edged appliqués that are fused to a base fabric, and then hand paints in the details and shadows. The before-and-after series of Annette’s quilts Agave (below) and Stone Cellar (see page 302) illustrate beautifully how the subtle introduction of paint can be the culminating and transforming touch to a relatively flat but complex art quilt.