03/19 E AIRBRUSH STEP BY STEP 53Tradition and Modernity | STEP BY STEP
08
Defining contrast areas
Here is my first pass with Neutral Grey 3. I am try-
ing to both establish my line work as well as establish some
larger contrast areas that don’t really carry detail in the mid-
tone areas. I concern myself with a little bit of texture only
to set my pace and give myself direction for the proceeding
steps as I work my way toward competing values both dark
and light. In this stage I am also essentially trying to cover
my pencil marks and lay more foundational paint as the
Createx paint likes to melt and absorb into itself depending
on the spray pressure upon application.
09
Pulling forward the ligh-
ter areas
In this step you can see the prior step
completed and the initial mid-tone
dark area is blocked in. I have begun
blocking in with Createx 5007 Neu-
tral gray 7 to start pulling my lighter
areas forward. What this does is esta-
blish a good contrast of value right in
the beginning, which lends itself to a
successful image in the end. If adjust-
ments need to be made they can be
made now, because a general feel of
value distribution has already been re-
alized. Because this painting process is
additive, it is not a detriment to change
things at any point during the painting
process.
10
Depth
Here is a close-up of Createx 5001 Neutral Grey 1
already be implemented into the painting to demonstrate
how much depth can be quickly achieved by using numerous
great toned paint or a Grisaille versus just thinning out and
painting with transparent black paint. While both efforts
can demonstrate good contrast in an image, depth and body
can only be achieved with this additive method of painting. I
liken it to the difference between looking at an oil painting
versus looking at the same subject/artwork drawn in pencil.
Both can serve as excellent pieces of artwork, but it is only
the prior that can really give a rich and real sense of depth
by comparison, something that photography and social me-
dia photos do not do justice for and can only be really ap-
preciated in person – or so I’ve been told numerous times, of
which I agree.
11
Establishing light and dark
At this stage of the artwork I have Neutral
Greys 1,3,5,7 and 9 present. I may use all the values, and
sometimes I use fewer – it is the artwork and my ability to
discern my direction and motive that dictates the amount of
different values I touch. I chose to use Albert Munsell’s color
system as the basis for my grey set as it has been universally
accepted and adapted for over a century-the world over. Mi-
nus the detail, a traditionalist would say that I have a fully
realized grisaille underpainting. The ability to work from a
Neutral Grey 5 starting point allows me maximum control
over the building of my light and dark values. I only allow
myself to go as far as the value I am using and I exhaust all
my opportunities with that value before moving on. It ma-
kes for less confusion and more efficient movement through
complex pieces of artwork. At this stage some people may
want more detail, while others may proceed with less. While
the process is somewhat linear in execution, the time in