Airbrush How-Tos Instruction Paint on Black

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I prefer to paint illustrations on black (or darker colours) whenever possible.
It allows for better tonal control and colour control.
Once you atomize and spray paint it becomes transparent, and that
transparency can be used to create more depth and and colour contrasts.

Repairing mistakes and overspray is much easier on black or dark colours
aswell as the final cleanup and detailing of the artwork.
You will have more success blending black onto a black T-shirt
than white onto a white Tee! ...try it!

This project shows some of the basic colour application but
primarily illustrates the steps in laying down the base white illustration.

First things first...lets get the design down.
In this case I have used an Opaque projector
to transfer my reference image onto the surface.
After sketching out the design with a white pencil
mount the canvas securely to the easel or work surface.

I usually keep one or two reference images close at hand.

Start by "sketching" out the design with the airbrush using the pencil sketch.
Use a combination of fine and broad lines as well as loose shading and fill to "sketch" the image.

Don't worry too much about overspray or accuracy yet.
The trick is to get a design down that you will clean up as you go along.
Light layers of paint are all that is needed at this point to allow corrections and improvements.

You can start refining some of the details as you go or wait until you have the entire design down.
Either way, you will be returning to every area of the painting to "clean up" and improve your artwork.

As you keep working and refining areas, the layers will build
creating a stronger and more opaque white "sketch".
Don't overdo it, retain a certain amount of transparency for details.
Although you can start adding some strong line details and objects.

There are many stencils and hand held masks available to purchase,
but I use loosely cut card stencils and masks to help define
and create contrast in certain areas.

Cut card into various size curves and straight edges that you can position and move around as you paint.
Use these loose masks to create sharp well contrasted edges and to keep
overspray out of certain areas.

Keep applying more layers of white, but don't lose the transparency!

When building objects and areas, try to avoid outlining the object.
This can create a cartoon look. Try spraying the extreme highlighted areas first
beginning the three dimensional effect. Work your way out to the edges of the object.

Instead of outlining the edges of an object, just keep filling out to the edges
using freehand masks to create a clean defined edge.
The stencil edge creates a much brighter and stronger contrast
without using as much paint.The goal, as I said, is get your artwork as bright as possible
for later colour but retain the transparency.
Transparent fill will allow the underlying design to show through
creating depth for transparent colour.

Here is the completed sketch
with all details in place.
Now continue applying white fill to all areas
trying to coat evenly over any and all artwork.
To brighten everything, make sure you coat evenly.

When you have reached the point of almost losing the transparent details,
stopspraying...you have applied enough white paint!
Working on black or dark colours will later allow you to
remove your overspray and clean up edges of the artwork
by using that background colour.

Now you are ready to start applying colour.
In this case "transparent" colour (or "toner").

This truck is going to be a brilliant red so we will layer the colour
starting with transparent yellow.
The layering of colour creates more depth to the final colour(s)
aswell as giving the brightest colour possible
Each layer shows through to influence the final layer of paint colour.

The transparency of the colours will allow the background colour to show through.
In this case tinting the yellow a little green.
...if it is too green, there isn't enough white base in place.
As colour layers are added the strength and depth of colour will increase.
Once again I use hand held masks to confine the colour and avoid overspray into other areas.

This next colour layer is a "kandy" orange.

The depth of color is increasing and a base for the final red is being created.

Before moving on to the final transparent red layer
I want to define some shadow and contrast areas.
This will also create more depth and realism to the final colour.
Using a deep violet, freehand some shaded areas within the artwork.

Now apply the final transparent red layer to the artwork.

Keep using hand held masks to control overspray.
Apply an even colour layer.
Avoid any build up that wouldremove the transparency of the colour.

Using a transparent Black
(which can be created by over reducing the paint or using a transparent medium)
redefine all the dark and shaded areas.
use handheld masking to clean up and define the outer edges of the artwork.

Avoid using the black as a shading tool, but fill in any obvious
black or extremely shaded areas

Switching back to white again clean up and define any white areas.
use hand held masking to define the edges of white areas.

Refer to your light source to find the illuminated areas and reflected areas
and add some reflections in the truck's panels.
Illuminated areas have direct reflecting light (as in the top of the hood).
Reflected areas, are not in direct light, but are reflecting an illuminated object or background.
(as in the fender side or door).
Use hand torn paper masks to create a reflection in the glossy surface.

Spray transparent red over your reflections and highlights to tone the down to a more realistic level.
Carefully add some fine white highlights to the edge of the reflections.
Maybe a couple of starburst reflections.

Add fine white lines and highlights to corners, edges and details.

Finish by touching up any black or white detail and controlling any overspray.