The Sickness - Part 2

Here I go again, my art material obsession continues. In today's action-packed episode, I'd like to share some thoughts on one of the best, yet most-maligned tools for art making in existence. I speak of the airbrush.

My relationship with the airbrush began in my pre-teen years. My parents used to enjoy making things in ceramics. I'm talking about the mold-made objects: canister sets, 2-foot tall bald eagles, nativity scenes, Christmas trees with internal lighting, etc. To paint (or polychrome for you art school graduates) their ceramic pieces, they had a Paasche H single action airbrush. When the ceramics phase ended for them, I appropriated the airbrush for my scale model hobby. I am an Air Force Brat, so I only ever built war planes and tanks.

Anyway, when I started college at UT Knoxville there was still one hold out professor who would teach the willing about airbrushing. So I bought a Paasche VL double action and started turning in work that I made with it. My Graphic Design teacher, in particular, hated it. Too much illustration she would say. Bite me, I would say. (Behind her back, naturally!) In the summertime, I took my trusty VL to Six Flags Over Georgia and worked as a t-shirt squirter for a couple of summers. I then moved up to caricature artist and switched to a Paasche V double action airbrush. During this time I also started doing some custom automotive and motorcycle art, you know, lots of flames, dragons, skulls, pin up girls, etc. Don't laugh, I made pretty good money doing this!

Eventually, I got out of the t-shirt, car and bike trade because there are just too many knuckleheads out there who want you to work for free, or darn close to it. "It's like free advertising," they'll tell you. B.S. I say. My advice to the aspiring custom car artist is this: GET PAID UP FRONT. Since then, I've been using airbrush to create fine art: works on paper, canvas and to paint certain sculptures.

Now that the history lesson is over, let's get to The Sickness. I own about 20 airbrushes currently. Do I have 20 arms? Can I use 20 airbrushes at once? NO. I just like them. Airbrushes are little works of industrial art to me. They are things of beauty to be admired as well as utilized. The craftsmanship and design of a good airbrush inspires me to make better art, worthy of the tools I use to create it.

I went through a Japan phase a while back in which I convinced myself that the only really good airbrushes were made by Iwata or Richpen. And, for a time, this was pretty much true. The main American manufacturers, Paasche and Badger, were lagging pretty far behind in quality. Thankfully, that has changed. Badger now offers their Renegade series, which I only have a slight familiarity with, and Paasche has their Talon, that I now own 3 of. (Sickness)

I have one stock Talon, and I keep the large (0.66mm) needle/nozzle combination in it for backgrounds and other large coverage uses. The other two are "tuned" and have the ultra fine (0.2mm) and fine (0.3mm) needle/nozzle combinations for fine detail work. (Consult google for articles on airbrush tuning) The tuned Talons come from an airbrush artist named Mike Learn who sells them as Mojo III airbrushes, and they are awesome. Every bit as good as my Iwata Custom Micron CM-B and a whole lot cheaper. The parts are much more affordable as well. As an aside, I'll say that I bought pre-tuned airbrushes because I don't like to do the tuning process myself, and I am perfectly willing to leave it in the hands of an expert.

In conclusion, I love to airbrush, I think that the airbrush is a valid means of creating works of fine art and I own too many of them. If you have never tried to airbrush, I would encourage anyone to seek out an opportunity to at least give it a try. Maybe someone near you would let you try your hand at it. I can promise you two things: One, it is really hard to master the airbrush and two, once you can use it you will be amazed by the airbrush and the ways it can enhance your works of art.

PS - If you airbrush, wear a respirator and avoid Rainbow Lung Syndrome.

Now go make some art!
Chris Ingram

The Art Studio

My art studio has always been in my home. From the corner of my childhood bedroom I have moved up first to a spare bedroom and now finally graduated to a converted "apartment" in the back of my 2-car garage. It is small, but it has a storage closet and a bathroom. It has been a blessing and a revelation to me as an artist to have this space dedicated solely to making art. On the other hand it has also gotten very crowded. I have lined the walls with various desks and counter tops that serve as different "stations" for the various media that I work in. I really have no complaints because this space serves my needs, houses my stuff and there is even a lock on the door to keep the heathens (my children) at bay!

Still, I do miss my academic days, and the huge, open studio spaces that I worked in. It is not only nice, but necessary to be able to step back from a painting to evaluate it. I miss 12 foot ceilings and huge flat files and large windows. Also, I have, as of late, been thinking a lot about the pitfalls of having a studio at home. It sure does make laziness a lot more convenient. Perhaps I might be more productive if I had more skin in the game in the form of rent and utilities?

So, I have been contemplating renting a studio space. I live in a small town that is desperate for revitalization. The downtown area is filled with sundry stores and laughable antique shops, and, sadly, a lot of empty store fronts. Now, I do not depend on foot traffic for sales, so I don't expect or require on-site sales to keep me in business. I just think that I need a workspace away from home. So my internal debate is something along the lines of this: "Rent a studio and I'll make more art. Yeah, but I'll have to pay rent and utilities! So what, if I am making more art, I'll be selling more art and generating more income!" I also think that having a separate studio makes a better impression on clients who can visit such a space and see the work hanging, rather than watching me riffle through file drawers, painting racks and portfolios.

To offset the cost, I have considered inviting a fellow artist or two to share the space and the costs. I am grappling with this idea though; artists are weird people! I suppose we could set up a time share sort of deal.

Anyway, I'd like to hear any thoughts you might have, Dear Readers. Stay at home, or rent a space? HELP!!!

Now go make some art!
Chris Ingram