very well done TL and you too Matt, great job !
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Good work TL....
love the USS Randolph Hellcat Matt....on my list of to do's....
love the USS Randolph Hellcat Matt....on my list of to do's....
Migrant
Senior Airman
Good work on the old Heller Hellcat, Matt
Matt308
Glock Perfection
Well get your ass in gear and get back into it. The research in doing models will make you even stronger, old padawan. Just do it.
Master Matt308,
(and I do mean that as a compliment from seeing your Hellcat)
My last plastic modelling coincided with the birth of my first child so it was really just over nine years ago. At that time, I found that any hobby I was able to continue needed to be instantly interruptible. The reply "I need to hold these parts together for another minute, so I CAN'T change her diaper!" was simply not acceptable. I switched to flight sims and later building models for the sims because that "Pause" button reduces the arguments. You also don't come back to the workbench a couple hours later and wonder what to do about the dried up paintbrush or skinned-over paint.
I'll get into it again. First I need to figure out how to practice using my airbrush with some cheap paint. Any suggestions?
BTW, I still do a little modelling, but at the moment, it is almost entirely Action figures. I also still do research. It actually takes a lot more research to do a good 3D model than it does for plastic modelling.
- Ivan.
(and I do mean that as a compliment from seeing your Hellcat)
My last plastic modelling coincided with the birth of my first child so it was really just over nine years ago. At that time, I found that any hobby I was able to continue needed to be instantly interruptible. The reply "I need to hold these parts together for another minute, so I CAN'T change her diaper!" was simply not acceptable. I switched to flight sims and later building models for the sims because that "Pause" button reduces the arguments. You also don't come back to the workbench a couple hours later and wonder what to do about the dried up paintbrush or skinned-over paint.
I'll get into it again. First I need to figure out how to practice using my airbrush with some cheap paint. Any suggestions?
BTW, I still do a little modelling, but at the moment, it is almost entirely Action figures. I also still do research. It actually takes a lot more research to do a good 3D model than it does for plastic modelling.
- Ivan.
lesofprimus
Brigadier General
Great stuff everyone, I really like the Hellcat u did Matt, really a superior job man....
Airframes
Benevolens Magister
Hi Ivan. Just a quick suggestion re your airbrush practice. One inexpensive and painless way to practice is to use ordinary ink, or perhaps those cheap, semi-liquid watercolour paints - the type in bold colours, in large plastic bottles, designed for young children to use. Mix these to a suitable viscosity for airbrushing, the mixing/thinning drills being part of the practice. Use these in your airbrush, spraying onto drawing paper, copier paper or whatever. You're not looking to create a work of art, the purpose of the exercise is to familiarise yourself with the airbrush, it's controls, action and limitations. This will enable you to practice 'triggering'; the art of controling the flow of air/paint by variations in the trigger pressure/position. Also, vary the distance from the nozzle to the paper, to gain experience in how the distance, pressure, trigger etc effect the spray pattern, weight of colour and so on.
Obviously, some people learn, or adapt, faster than others, but you'll be surprised how quickly you will be able to achieve consistent results, from broad, light, misting, to thin, hard lines.
Once you're happy with this practice, transfer to using your chosen type of paint (i.e., acrylic, enamel etc), and again experiment with the thinning ratios, and repeat the practice, eventually substituting the paper for a piece of plastic. An old model, or a cheap kit assembled in basic form only, is ideal for this. I actually keep a 'hack' model just for this purpose.
One of the most important factors, once you're happy with the above practicing, is to learn how to hold and control the 'brush. It should be held comfortably, with flexibility in the wrist, but spraying should be done at a consistent angle to the work. That is, don't twist your wrist to one side to 'hit' an area, this will diffuse the paint pattern, causing blotches, and/or patches that are heavier/lighter than their surroundings. Always keep the spray pattern at a 90 degree angle to the surface being sprayed, commencing the spray before reching the 'target', and following through, stopping the spray off the 'target'.
Think of it as if you were spraying a full-sized car - the only difference is that everything is scaled down, from the subject, to the tool, to the mist of paint. This, of course, means that any imperfections will be more noticeable.
And always remember, two or more light, or thin coats, are better than one heavy coat. Never go over an un-dried coat, as this will cause lumps, sags, runs, and a very uneven finish, as well as other anomalies such as 'orange peel', 'fish eye' and 'pebbeling', terms that you will, no doubt, eventually come to know!
I hope this helps a bit.
Terry.
Obviously, some people learn, or adapt, faster than others, but you'll be surprised how quickly you will be able to achieve consistent results, from broad, light, misting, to thin, hard lines.
Once you're happy with this practice, transfer to using your chosen type of paint (i.e., acrylic, enamel etc), and again experiment with the thinning ratios, and repeat the practice, eventually substituting the paper for a piece of plastic. An old model, or a cheap kit assembled in basic form only, is ideal for this. I actually keep a 'hack' model just for this purpose.
One of the most important factors, once you're happy with the above practicing, is to learn how to hold and control the 'brush. It should be held comfortably, with flexibility in the wrist, but spraying should be done at a consistent angle to the work. That is, don't twist your wrist to one side to 'hit' an area, this will diffuse the paint pattern, causing blotches, and/or patches that are heavier/lighter than their surroundings. Always keep the spray pattern at a 90 degree angle to the surface being sprayed, commencing the spray before reching the 'target', and following through, stopping the spray off the 'target'.
Think of it as if you were spraying a full-sized car - the only difference is that everything is scaled down, from the subject, to the tool, to the mist of paint. This, of course, means that any imperfections will be more noticeable.
And always remember, two or more light, or thin coats, are better than one heavy coat. Never go over an un-dried coat, as this will cause lumps, sags, runs, and a very uneven finish, as well as other anomalies such as 'orange peel', 'fish eye' and 'pebbeling', terms that you will, no doubt, eventually come to know!
I hope this helps a bit.
Terry.
Thanks Airframes,
That is the kind of advice I was looking for. I have had an airbrush (Paasche VL) for about two years, but only bought a compressor (that came with a no-name airbrush) a few months ago. I figured there had to be a cheap way to practice before using paint that is $3 per ounce.
One other thing: My observation is that the airflow appears to be controlled by the pressure set at the compressor. The paint flow may be finely controllable, but the air flow isn't finely controllable at the airbrush.
- Ivan.
That is the kind of advice I was looking for. I have had an airbrush (Paasche VL) for about two years, but only bought a compressor (that came with a no-name airbrush) a few months ago. I figured there had to be a cheap way to practice before using paint that is $3 per ounce.
One other thing: My observation is that the airflow appears to be controlled by the pressure set at the compressor. The paint flow may be finely controllable, but the air flow isn't finely controllable at the airbrush.
- Ivan.
Airframes
Benevolens Magister
You're right Ivan. If the compressor doesn't have an air pressure regulator, the pressure should be more or less constant. The regulator is normally in the form of a small pressure gauge, with an adjustable valve, on the output side of the compressor. These are also available as an 'add-on', and fit onto the outlet of the compressor, but note that some compressors (including mine!) would not benefit from fitting such equipment, as the operating pressure is relatively low anyway. However, there is a U.K. based company who are about to launch an inexpensive, 'in-line' regulator, which also acts as a 'pistol grip', which may be of benefit in some cases, for example, where a very low pressure is required.
I'm not wholly familiar with the Paasche model you have, but I suspect it will be a 'double-action' airbrush. This type of brush will have either two triggers, one controlling the air-flow, the second the paint-flow, or, more common nowadays, a single trigger controlling the flow of both air and paint.
With a double-action 'brush, you have much more control and, to an extent, do not require a pressure regulator. (The latter are, generally, of more use where the compressor is of fairly large volume, and capable of operating at relatively high pressure.)
The trigger on a double-action brush, once mastered, is very easy to use, and versatile. The first part of the trigger action 'activates' the air flow, whilst the second 'pull' delivers the paint. The further the trigger is 'opened', the greater the paint flow. It is this feature which allows more precise control over the spray pattern, weight of paint, and pattern width. Because of this control, it is possible to achieve the desired result without altering the output air pressure, and it is the practice, and experience, in 'triggering' which will (eventually) allow you to achieve precision, even down to straight lines of 1mm or less, given that the airbrush nozzle will allow this.
Because of the versatility of the double-action 'brush, it is possible to apply very light 'misting', and to be able to gradually build-up coats of colour, or control the feathering , or blending, of one colour into another.
As you will have gathered by now, there is no substitute for practice, and the use of the relatively inexpensive mediums mentioned earlier is a good way to learn, and gain experience with, and of, the airbrush in question.
Again, I hope this has proved helpful, but if you have any questions, feel free to ask.
Terry.
I'm not wholly familiar with the Paasche model you have, but I suspect it will be a 'double-action' airbrush. This type of brush will have either two triggers, one controlling the air-flow, the second the paint-flow, or, more common nowadays, a single trigger controlling the flow of both air and paint.
With a double-action 'brush, you have much more control and, to an extent, do not require a pressure regulator. (The latter are, generally, of more use where the compressor is of fairly large volume, and capable of operating at relatively high pressure.)
The trigger on a double-action brush, once mastered, is very easy to use, and versatile. The first part of the trigger action 'activates' the air flow, whilst the second 'pull' delivers the paint. The further the trigger is 'opened', the greater the paint flow. It is this feature which allows more precise control over the spray pattern, weight of paint, and pattern width. Because of this control, it is possible to achieve the desired result without altering the output air pressure, and it is the practice, and experience, in 'triggering' which will (eventually) allow you to achieve precision, even down to straight lines of 1mm or less, given that the airbrush nozzle will allow this.
Because of the versatility of the double-action 'brush, it is possible to apply very light 'misting', and to be able to gradually build-up coats of colour, or control the feathering , or blending, of one colour into another.
As you will have gathered by now, there is no substitute for practice, and the use of the relatively inexpensive mediums mentioned earlier is a good way to learn, and gain experience with, and of, the airbrush in question.
Again, I hope this has proved helpful, but if you have any questions, feel free to ask.
Terry.
Hello Airframes,
Actually my compressor (Bear-Air) DOES have a pressure regulator. It works from about 15-20 psi up to about 85 psi. What I was describing was that on the airbrush that came with it, in theory, pushing down the button slightly would give a smaller volume of air, in practice, I can't control just a slight push on the button. Effectively, it is either on full blast or off. I haven't tried out the Paasche VL yet.
I will try an art store trip today to get some inexpensive paint for practice.
Thanks.
- Ivan.
Actually my compressor (Bear-Air) DOES have a pressure regulator. It works from about 15-20 psi up to about 85 psi. What I was describing was that on the airbrush that came with it, in theory, pushing down the button slightly would give a smaller volume of air, in practice, I can't control just a slight push on the button. Effectively, it is either on full blast or off. I haven't tried out the Paasche VL yet.
I will try an art store trip today to get some inexpensive paint for practice.
Thanks.
- Ivan.
Fun in the sun, excuse my hand and the deployed landing gear while in flight.. they are only static! 
These were taken on my patio pool-side. My favorite is the P40 nose diving!
These were taken on my patio pool-side. My favorite is the P40 nose diving!Attachments
lesofprimus
Brigadier General
Maybe if u spun the prop on the diving P-40 shot we coulda ignored ur big ass hand of God....
Matt308
Glock Perfection
Those are frickin' awesome pics!! Love the natural light. And especially your P-51D. Even with the hand of God. 
Matt308
Glock Perfection
No worries. I glue all my props. Spinning props are for toys.
Jgonzalez
Airman 1st Class
Me too!! Besides, I avoid the temtation of people spinning them...
very nice Maglar
