I agree wholeheartedly. I've seen great details from awesome artists using a cheaper airbrush. And vice versa. If you dont have control, it doesn't matter what you use. My workhorse is the iwata eclipse...nothing special but I feel I get great results after spending years trying to master it. Yes, I have a micron and several hi end airbrushes, but I'm always drawn to that eclipse as it's the most comfortable in my hand and most familiar, controlled. Great video trevor.
Thank you, this was a misconception I had when I started not that long ago, ie. I needed a fine detail airbrush to do fine detail, what I learned though was that I just need to get good at using the airbrush and learn control, still struggling with that. I also appreciate that you put up a picture of your regulator as that also answered a question I had in my mind regarding at rest pressure vs use pressure and I think I might have mine too low or need a better pressure gauge although I think it's both right now.
Hey Darren! I believe this topic is a common misconception for a lot of people (it was for me once too), which is why I chose to address it in a video. Developing solid fundamental control takes time and practice just like pretty much anything else. The cool thing is, anyone can develop that skill if they are willing to practice. There is a difference between a static setting at your air pressure regulator compared to setting pressure while depressing the trigger on the brush. If you noticed in the video, the gauge read a higher pressure until I started using air through the brush. If you set your air pressure statically, you're actually using a lower pressure setting than you think, how much lower depends on your particular setup, but it will be lower. I have another video that covers this topic that may help if that doesn't make sense. You can find that video here th-cam.com/video/a2srgaLfhek/w-d-xo.html
My compressor sucks, I have a very hard time adjusting the psi on it. I have a Harder & Steenbeck with 2 different needles so I can do detail or general purpose just fine if I had the skill for it. I am realizing now, thanks to this video and others that my compressor and it's lack of a solid adjustment knob is my main problem. It simply will not adjust for anything. It's a Chinese copy of a Sparmaxx desktop or portable compressor and the air adjustment is either bad by design or was bad on delivery and my lack of experience didn't allow me to recognize the issue. I know my brush has gotten harder to work with since I bought this setup and I'm thinking it's really not the airbrush anymore. Thanks for the great information and advice!!
I would agree. The problem is likely the compressor and not your airbrush. Some lessons are learned by experience. I've never been a fan of most of the small, inexpensive compressors marketed toward the airbrush user. You're asking a lot from a compressor when using an airbrush for artwork purposes, meaning constant airflow for extended periods of time. The CFM required to operate an airbrush is low; however, you need a compressor that can keep up without getting hot and creating a lot of moisture. Most of those small compressors can't meet the demand. I learned that lesson the hard way too. I burned up several of those small compressors early in my career.
Great video, as usual, Trevor! As someone relatively new to airbrushing, I completely agree. I started out with a .35 cheap airbrush. Moved on to a .35 Neo, assuming a better made brush was the answer.. Currently, I'm primarily using a .2 H&S Infinity. My takeaway from all of it is that the brush in your hand is only as good as the hand. Like you said, basic skills trump the equipment. Once you get past the basics, then the needle size matters, but not until then.
Great information, I have been struggling to improve, I am using an Iwata hp-cs and Createx paint, reduced to 50%, at 30psi, so I need to keep practicing.
That, at the end of the day, is exactly what it takes, practice. I've been practicing for thirty years now and I'm still learning new things frequently.
I feel into that trap and had to get a detail brush but it definitely didn't improve my work much. I just need to put more time in and learn more. Great video.
Thanks Josh! A lot, if not most, of us fell into that trap (including myself at one time). The cool thing is, anyone can learn to airbrush and be very good at it. It just takes practice.
I have been airbrushing for many years and have had many different kinds of airbrushes now I have a Paasche VL it’s a siphon feed it has 3 different needle nozzle sizes and I have 2 Iwata Eclipse gravity feed with a 0.35 needle nozzle I have an Iwata CM-SB side feed micron with a 0.18 needle nozzle. I don’t use the micron very much because the Eclipse is my work horses and do most of the fine lines I need I use the micron for extra fine lines like for a single hair.
Well me being stubborn bought a harder and steenbeck. But than I bought the kustom CH which I love. With A .35. You are right Trevor I can practically paint anything with any cheap spraygun but the high quality tools do save material. On the other hand I love the ps771, it just gets along very well with the white. Now is my go to airbrush for all the artwork. Thanks for a another great video. In the end for me it comes to reduction on the paint. I can also get the same hair line with the Kustom ch than I can with the ps771.
Hey Jesus! There's nothing wrong with the H & S brushes my friend! I've owned several of them over the years. I've just always preferred Iwata airbrushes and always revert back to them at some point. It's a very subjective thing. We're all a little bit different and have different preferences. I like my PS771 too! Paint reduction and air pressure have a lot to do with all of this and I've always treated those two parameters as a part of learning the fundamentals. Once an artist has a good grasp on all of that... imagination is really the only limit.
@@wickedartstudio harder n steenbeck was great love the way they are made. Probably the best quality if you ask me. Triple coating. I think the needles had issues. They came out with the new new line of needles and seemed to have fixed the problem. I made it spray fine but still had a lot more issues than with the iwata ch even after using the .4 needle.
@@coolkids2064 I've never had any issues with H & S needles. Their nozzles have always been a problem for me. They seemed brittle and would crack easily based on my experience. It's been several years since I last used one of their brushes. Hopefully, they've fixed that issue.
@@wickedartstudio Trevor one thing I've never looked at. Because I've never had the need to do so since I did not hear, seen any leak coming from there. I did noticed the needles would get a lot of paint stucked. Even after one use.. Perhaps they were not refined or even buffed the right way.. Maybe we both may comeback and re-use them. I did love the way they are made. Seems to me they are made better, like no other. For the time being they just didn't do it for me. Thanks buddy cheers!
honestly comin from someone that is an on an off airbrusher no detail brushes have no effect other than they're easier to use for detail art. honestly you can pull just as fine as a line with a neo as you can a detail brush
nice vid, great advice: a good quality airbrush is a great way to start training basic controls. I agree that a detail oriented airbrush doesn't make you a better airbrush without mastering the fundamentals first, but once you developed the fundamental controls it does make detailing easier.
I have two airbrushes - H&S Infinity CR Plus 0.15 and Iwata Evolution the same as yours 0.35. What I discovered that triggers of these models have different behavior: Eclipse has only two modes with air - on and off - too hard to press the trigger on half of his movement, but Infinity lets me press trigger smoothly and uses dynamically different power of the air - so I can do light thin layers. I try to learn to paint miniatures ))). But I like both of my airbrushes because they perfectly complement each other. They both can draw the thin lines, but I use Infinity in the most cases when I need to work with detalies. You are right, the pressure is imortant with right dillution of paint. I use acrylic paint by Vallejo and set 17-2.0 bar on my compressor.
I absolutely agree! Different airbrushes do behave differently as far as trigger control is concerned. That is true from one manufacturer to another, but it can also be true when comparing one model to another within the same brand. I also use the actual trigger to control air pressure on the fly versus using a MAC valve. MAC valves didn't exist when I started thirty years ago, so I learned to do that instinctively over time. You can put a softer trigger spring in your Iwata to improve that control if you choose to do so.
@@wickedartstudio I have been trying set the spring in air valve from top to bottom positions, but I hadn't seen different. I also bought the IWATA MAC valve and can use it if I got lazy to pull hand to my air compressor handle
@@onairctc2onairctcru283 Are you talking about setting the air valve spring in a different position on your Iwata? I'm relatively certain there is no adjustment there. The only way to soften the spring is to replace it with a softer spring.
Ok so just been watching your amazon Master review and in that review you critiqued its fine line ability saying that the paint didnt come out consistently but at 1:45 in this video it actually looks worse with this airbrush. Im new to this and deciding which brush to buy first and was expecting the fine line from this to be way more consistent and in fact for over 3 x the cost of the Amazon Master expected the fine line to look way better yet it looked worse. Am I missing something?
In this video I was only showing that less expensive, mid-ranged airbrushes are capable of creating fine lines and detail. The paint I was using was mixed for a job I was working on and needed a little more reduction to perform flawlessly for the purpose of this video (I needed it thicker for what I was working on at the time). I didn't want to mix up more paint specifically for this video. I was lazy. If I had been painting anything other than quick lines, like I did in the Master Airbrush review, I likely would have reduced the paint further and spent a little more time on it. The differences between a cheap knockoff and a brand name airbrush are significant. For that reason, I will always recommend starting with a good quality brush regardless of which reputable brand one chooses to go with.
Thanks for sharing the info. I noticed the T-Shirt you were airbrushing at the end of this video. What paint are you using? Would your paint flow through either an Iwata Eclipse Takumi or the Iwata Custom Micron Takumi?
The paint I use is Createx, their Illustration Colors and Wicked Colors brands. And yes, those paints flow through the Eclipse and the Micron Takumi with ease with proper reduction.
Great question Mike! There is no need to pull the trigger back on your airbrush when setting the air pressure on your regulator, unless you're using a single action airbrush. A single action brush releases air and paint at the same time with a single motion (either pressing the trigger down or rocking it back, depending on the particular airbrush). Pulling the trigger back on a dual action airbrush controls the release of paint only. Pressing the trigger down on a dual action airbrush controls the release of air only. Your air pressure setting is not affected whether paint is flowing through the brush or not; however, it is absolutely affected if the air is flowing or not. If you set your pressure setting statically, you're actually using less air pressure than you think (the actual difference will vary depending on your setup). If you noticed, the gauge in the video actually read a higher pressure until I started using air through the brush. When I depressed the trigger on the brush, the pressure regulated itself back down to the 29 or 30 psi setting I had it set at. That happened because I'd previously set the pressure at about 30 psi with air flowing through the brush. So yes, it is a good idea to have air flowing through your airbrush when you set a given pressure at the regulator. Hopefully, all of that makes sense. I have another video that covers this topic as well if I just confused you more. You can find it here th-cam.com/video/a2srgaLfhek/w-d-xo.html
Liked the vid Trevor. Echos very much what I said on the forum. One note tho, you might want to go into why someone might want to experiment with lower pressures however. Getting detail on a rough support at higher pressures is relatively straightforward, but controlling detail, especially microshapes without spidering on a slick surface really depends on pressure control. In fact, controlling spidering could be a whole video series on it's own. LOL.
Hey Kim! Yes, when I read your response on the forum, I knew we were on the same page. I also realized you have a better way of translating things into words than I do :). I also agree with your comment as far as controlling detail through lower pressure is concerned; however, it's not totally dependent on pressure in my opinion. Control is definitely easier for most people using a lower air pressure setting, but I would argue it's also easy at higher pressure settings. The trick for me is to simply work a bit faster and that comes with practice just like everything else.
@@wickedartstudio - I agree, but there are a lot of cases, especially with detail brushes, where the combination of a slick surface, the necessary thin paint to go thru small nozzles, and a slick surface make it a necessity. Doing eyelashes on a bit of unprepped yupo comes to mind... It's not something that you can necessarily do accurately at a speed high enough to avoid spidering with a thin pain. There's definitely a "black art" to it. It comes with practice and understanding the characteristics of your support, and how paint behaves on it. Support considerations would be another whole series on itself too. Hahahah. This is why after decades of airbrushing, I still spend time every week writing out limericks, or jokes in cursive using my airbrush, with as thin and smooth lines as possible, and if I ever have to spray on a new unfamiliar support, I use test patches, pieces, or parts to do the same for a bit, so I know how to "tune" for best results. I prefer higher pressures in the 30 to 40 range and control at the trigger when practical, if nothing else, to help eliminate the dreaded tip dry, or at least severely reduce it. But for some stuff I work on, I am getting my needle up to a mm away from the paper. Working fast that close is a recipe for another needle replacement or re-sharpen in my experience. I am sure someone out there can do it, but I'm a bit of a gorilla. I gotta slow down working on detail if I don't want to trash the place and kill my needle. LOL. So I agree with you. I just think there might be some cases where folk struggling with detail might benefit from learning good pressure control, and proper support selection. I'm thinking about the fella on the forum, that was looking to drop some coin on an unnecessary detail brush for where he was in his progression. I figure that learning a bit about pressure control could save him a few bucks. At least until he was ready for a detail brush. Great work as always mate!
@@amplogik I completely agree! The size of the project is also a factor. It's far easier to spray eyelashes quickly and accurately on a very large portrait compared to a smaller scale. I do tests on different substrates frequently as well. A lot of those tests are on surfaces that I have experience with, but changes in environmental conditions will change how paint behaves too. I also prefer working at higher pressure. I'm normally in the range of 25 to 35 psi. On occasion I will drop the air pressure lower, but that is rare for me personally. Your last paragraph essentially sums up my intended point very well. Artists like you and I have years of experience and understand there is no magic recipe for a given paint reduction and air pressure setting that will work flawlessly on a specific surface. We also have the knowledge and ability to adjust as needed based on that experience. Learning to airbrush can be very frustrating because one also has to learn how all of those other factors play into the equation. It takes time and practice to develop proficiency and that knowledge base. I've seen others become even more frustrated after spending more money on a detail-oriented brush because they believed that would fix a lot of their issues. That's not the outcome in most cases. At the end of the day, most would be better off becoming proficient with the brush they already have before upgrading. I've touched on pressure settings and paint reduction in other videos. That information was a little beyond the scope of what I wanted to cover here, but it is absolutely pertinent. Thanks for sharing your perspective, knowledge and experience with the rest of us my friend!
Hi Trevor 👋 As you know I'm not in this to be like you or anyone else to make a living...my Iwata eclipse was my first air brush, I now have 2..that I use as my favorite, I also have a paasche vision, paasche Talon(3" wide spray cap) for large coverage.. I'm starting my first animal portrait for my sister in-law, I'll send you a picture when I'm done, hopefully with your tips I'll do her pet Justice with the photo reference she gave me...Thanks again for all your videos and advice 🤝👍💓
I started my airbrush journey with H&S Ultra... and it wasn't the best choice for a beginner. Nothing wrong with it, just didn't serve the purpose for my work, mainly because an integrated needle and nozzle cap. Anyway, I bought 0.3mm PS 289... and after a while got myself 0.18 PS 771, but only because found one on sale. I still don't think I've reached even 60% of what 289 is offering, with both I can do the same things and details. The diference for me is that with 771 you get that feeling of lightness in your hands, it doesn't force you to focus as much as 289. So my thought is, if you buy an expensive detail gun to learn how to airbrush, you're doing it wrong. Upgrading yourself with a detailed gun agter gaining skill and control will lift your work to another level, the oposite might be hard to swallow ;) For me the paint cosistency is the key, and was something I was struggling the most, and i still do :)
I couldn't agree more! I also agree that paint consistency, as well as finding the right consistency for a particular airbrush and pressure setting, is a big part of the puzzle. Everybody struggles with the same issues from the beginning, especially with water-based paint, because there's not a blanket answer that covers every combination. Others can give you suggestions to get you in the ballpark based on their own experience, but it still requires some experimentation from each individual artist to find what works best for them. Many don't realize how many different factors can influence those settings from one day to the next. I've been doing this for thirty years now, and I still struggle with it sometimes.
Hey Andrew! That's a good point, but I would still argue the fact that one can still paint small scale with a mid-range airbrush. Having said that, having a detail brush does make it easier and I would definitely prefer to use one most of the time.
@@wickedartstudio I love to see detail work. I'm used to either drawing or burning (Pyrography) fine detail. I'm fighting to gain a nice smooth line or curve with my Airbrush, only had it since Christmas. I usually support my hand against the surface, but this can cause grease patches! It's the hovering above the surface without shaking I'm finding difficult. I'm now practicing with a snag glove that I normally use on my pen and tablet that's used on my PC. I like a challenge lol.
@@PENFOLD1962 A glove is a good solution because it allows your hand to glide over the surface easily while remaining in contact and providing support without transferring oily contaminates from your off hand. I also find using just a finger, typically the tip of my pinkie finger, placed against the painting surface really helps to steady my hands while airbrushing. It also allows me to glide over the surface relatively easily because the tip of one finger doesn't produce as much friction compared to a larger portion of your off hand. I also find it's easier to work with a vertical canvas as opposed to being hunched over a project. Try standing compared to sitting while you are working. You might be surprised at what you find what works best for you!
@@wickedartstudio I'll definitely be giving the fingertip to help my hand stay firm. But I won't be able to stand whilst Airbrushing. I've had both Shoulder's and Hips replaced so standing is a real struggle. I have a few vertical easels, a table top one and one that slides under my chair so the legs don't get in the way. I used to love standing at my large vertical easel I felt more comfortable and more room for my arm's. I don't use my table top easel for that very same easel. I'm hoping that the armchair easel is OK for Airbrushing. Thanks for the advice it's very kind of you, and I really appreciate it 👍😷👍🏴
Were you using createx paint ? I think you had a video that showed reduction even up to 30% was still ok. I love createx but always have an issue finding the right reduction ratio/air pressure combo on anything less than .5 . I go from clogging spitting to totally watery and hard time finding a good in between.
Yes, I use Createx paint pretty much exclusively. I have a couple of videos covering reduction when using Createx Colors specifically. Thirty percent reduction is actually a little thicker than I normally prefer to reduce my paint, especially with a needle/nozzle size smaller than a .5 mm. I'm normally closer to a 1:1 reduction ratio. Unfortunately, there's not a standard reduction ratio/air pressure setting that will work for any given combination. Others can give you recommendations based on their own experience to get you in the ballpark, but it will still require some experimentation on your end to find the combination that works best for you. Most people don't realize how many different factors can influence how a given combination performs from one day to the next. Fundamental control also plays a role in all of this. Hang in there and keep practicing/trying different combinations until you find what works for you!
The reason psi is ran lower is because the paint is reduced. Running it the way you are unreduced you can only lay dark lines. The point of reducing pressure and reducing the paint is so you can also do soft gradations in small details. Build lines up from light to dark build small gradients are the entire reason its done. Its important for airbrushers to know this. Running reduced paint at 30 psi is going to spider web it allover the surface.
I agree with most of your comment, but my paint was not unreduced in this video. Granted, it should've been reduced more, but that wasn't the point I was trying to make. Running reduced paint at 30 psi can absolutely spider all over the place depending on the surface one is painting on. There are no absolutes.
@@wickedartstudio reduced paint is always ran at lower psi not higher. Of course 30 psi would spider. Reduced paint requires reduced air pressure. When I paint with any reduced paint and especially if I'm using a .2 needle my air pressure never goes over 20. I usually am around 10 psi when working really reduced. Anything with a fine needle needs to be reduced to even work right.
@@azarelthecreator7098 Again, there are no absolutes. 30 psi on fabric is very different from 30 psi on a smooth hard surface or 30 psi on an absorbent sheet of paper. Let's just agree to disagree.
In my experience all a detail brush does is make a smaller cone of air there for a smaller line can be made at a farther distance. They litteraly limit you to just smaller lines even held far away your going to get a much smaller line as your max thickness. I have a creos 270 and a badger krome I use when I want do smaller work. That said my badger 360 and arrow with the smallest size .3 gets just a small. I'd say buy a brush that has multiple convertion needle sets available for it and just use it for both and then rock a medium most time. I means I can get pretty small with my anthems with biggest think its .7 and I still use my talons .38 and sold my iwata for the work horse. Sure you don't get to say you use the most expensive but to me that's kinda silly paying for a name. I think the passche talon/raptor could do fine in the old Pepsi challenge against the eclipse same with badger anthem. The taper on needle and smoothness of trigger on anthems amazing once you practice on it for a minute. The talon has a bit lacking in smooth trigger but otherwise perfect and you can run .2 .25 .38 .66 and there's fan cap for .66 for clearing and stuff with a elliptical pattern. Just my 2 cents no people will say the iwata are worth double the price but I don't tink so especially with creos out now.
I agree, a detail brush does create a smaller cone of air. They are designed for that purpose. Whether that is a limiting factor depends on how the artist uses the tool. Using only a detail brush could be a poor choice on a 24" x 36" canvas for example. Using one on a custom pair of shoes makes a lot more sense. Personally, I've never been a fan of airbrushes with interchangeable needles for a few reasons. Mostly, I prefer to reach for the correct tool for each individual job rather than adjust one tool for multiple situations. In a production setting, time is money. I'm not saying those airbrushes are worthless. They don't work for me, but they do work for a lot of other artists. At the end of the day, we all have to find what works best for ourselves. I would also agree there is probably some degree of markup when it comes to purchasing a well-known and popular brand name product. I'm sure that's true across the board, not just for airbrushes. I also understand being on a strict budget, but there's more than price to look at when one is looking for a new airbrush. It's a very subjective topic. Aesthetics, for example. We're all a little bit different. That includes the size of our hands. What fits and feels right in my hands, may be uncomfortable in the hands of another artist. I've tried a lot of different airbrushes over the last thirty years. I can't say I've tried everything available, but I've tried the vast majority of them. Some I liked a lot and I used them for a while. Some I didn't like at all. I've always reverted back to using my Iwata's at some point. Based on my experience, Iwata means quality, durability and reliability. I use my airbrushes day in and day out, for eight to ten hours a day. Other brands I've tried suffered durability issues when used under those demanding conditions. It is what it is. I've also owned most of my Iwata airbrushes for more than twenty years now, and they still work flawlessly with little maintenance. There is still some truth to the old adage "you get what you pay for" in my opinion. Dividing the cost of a specific airbrush by a lifespan of more than twenty years comes out pretty reasonable in my eyes. Perspective. Creos has been around for about a decade overseas. They've been available in the U.S. for two or three years now and I'm excited about them too. I own a PS770. I really like the brush and would recommend it to anyone. You really can't beat it based on the price, the performance and the features it offers! How long will it last? That remains to be seen, but I have high expectations for it. Thanks for watching and taking the time to share your experiences and knowledge with the rest of us! Very much appreciated!
I think you missed my point. I'm not saying a detail-oriented airbrush is never needed or beneficial. I own many. This information was oriented toward the new airbrush artist. Those who have less experience can fall into the marketing trap of purchasing a higher end, more expensive airbrush in order to get finer lines and/or better detail. That's not the case. Until one spends the time to develop good fundamental control skills, one will have difficulty trying to achieve fine detail regardless of which airbrush they are using. With practice and experience, very fine detail can be achieved with even a mediocre airbrush.
@@wickedartstudio True to an extent but an eclipse hp-cs will never produce the level of detail that a custom micron will. It wont produce the level of detail my sotar will and definitely cant touch my thayer and chandler model A. Brushes with smaller needle groups are literally made to run at lower psi ranges with reduced paint or they wont run right at all. But the truth is no beginner should even be thinking of the word detail. They wont achieve it with a cheap or expensive brush but they surely should know the reasons for lower psi and reduced paint at the beginning of their journey before they even decide to venture in that direction and shouldn't hold the false belief that higher pressure will give them the same detail when it wont. Its kind of miss leading because its only the case for experienced artists. We can agree to disagree on this one i guess.
The iwata eclipse hp-cs,sbs & bs are all you really need. When sprayed with properly reduced quality paint. With the air supply having a holding tank. The .35 dual taper needle is capable of very fine lines. The demonstration in this video, the paint is not reduced enough and the lines are not smooth and clean as they should be. You can get lines about half the size that was shown here. Good job though.
I think you missed the point I was trying to make. I agree, the Eclipse series is capable of very fine lines with the proper reduction and air pressure. I would also agree the paint I had mixed for this video wasn't as reduced as it should have been in order to create very fine continuous lines; however, fine lines are still achievable, even for someone with little experience.
See ive seen great artist just use cheap basic materials to create a mastepiece of art....and it become fascinating when they do this...todays artists are completely different in their whole aspect its difficult to find people that are open minded and can sit down listen talk and take criticism...the small group of artist i stick to are great...
It kinda disappoints me that you didn't show the difference and prove that you do not need the detail brush to do good work. I think a good illustration of it though could be something like you did with the two stencil skulls one freehand sepia brown and one blue skull stencil.
I apologize for the disappointment. I was short on time when I created this video. I'll add that to my list of videos I need to produce though. For what it's worth, I'm using the Eclipse HP-CS in the majority of my videos. It really is my workhorse "go to" airbrush.
I agree wholeheartedly. I've seen great details from awesome artists using a cheaper airbrush. And vice versa. If you dont have control, it doesn't matter what you use.
My workhorse is the iwata eclipse...nothing special but I feel I get great results after spending years trying to master it. Yes, I have a micron and several hi end airbrushes, but I'm always drawn to that eclipse as it's the most comfortable in my hand and most familiar, controlled. Great video trevor.
Thanks Thomas!
Good to have you back, Trevor. And DAMN, that Iron Man shirt is breathtaking!
Thank you David! I'm glad to be back!
Thank you, this was a misconception I had when I started not that long ago, ie. I needed a fine detail airbrush to do fine detail, what I learned though was that I just need to get good at using the airbrush and learn control, still struggling with that. I also appreciate that you put up a picture of your regulator as that also answered a question I had in my mind regarding at rest pressure vs use pressure and I think I might have mine too low or need a better pressure gauge although I think it's both right now.
Hey Darren! I believe this topic is a common misconception for a lot of people (it was for me once too), which is why I chose to address it in a video. Developing solid fundamental control takes time and practice just like pretty much anything else. The cool thing is, anyone can develop that skill if they are willing to practice.
There is a difference between a static setting at your air pressure regulator compared to setting pressure while depressing the trigger on the brush. If you noticed in the video, the gauge read a higher pressure until I started using air through the brush. If you set your air pressure statically, you're actually using a lower pressure setting than you think, how much lower depends on your particular setup, but it will be lower. I have another video that covers this topic that may help if that doesn't make sense. You can find that video here th-cam.com/video/a2srgaLfhek/w-d-xo.html
@@wickedartstudio good video, confirmed what I thought was happening with my pressure and now I know for sure what to do about it. Thanks.
@@DarrenGerbrandt Awesome! I'm glad you found my videos helpful!
My compressor sucks, I have a very hard time adjusting the psi on it. I have a Harder & Steenbeck with 2 different needles so I can do detail or general purpose just fine if I had the skill for it. I am realizing now, thanks to this video and others that my compressor and it's lack of a solid adjustment knob is my main problem. It simply will not adjust for anything. It's a Chinese copy of a Sparmaxx desktop or portable compressor and the air adjustment is either bad by design or was bad on delivery and my lack of experience didn't allow me to recognize the issue. I know my brush has gotten harder to work with since I bought this setup and I'm thinking it's really not the airbrush anymore.
Thanks for the great information and advice!!
I would agree. The problem is likely the compressor and not your airbrush. Some lessons are learned by experience. I've never been a fan of most of the small, inexpensive compressors marketed toward the airbrush user. You're asking a lot from a compressor when using an airbrush for artwork purposes, meaning constant airflow for extended periods of time. The CFM required to operate an airbrush is low; however, you need a compressor that can keep up without getting hot and creating a lot of moisture. Most of those small compressors can't meet the demand. I learned that lesson the hard way too. I burned up several of those small compressors early in my career.
Great video, as usual, Trevor!
As someone relatively new to airbrushing, I completely agree. I started out with a .35 cheap airbrush. Moved on to a .35 Neo, assuming a better made brush was the answer.. Currently, I'm primarily using a .2 H&S Infinity. My takeaway from all of it is that the brush in your hand is only as good as the hand. Like you said, basic skills trump the equipment. Once you get past the basics, then the needle size matters, but not until then.
Hey Karl! I couldn't agree more my friend.
Great information, I have been struggling to improve, I am using an Iwata hp-cs and Createx paint, reduced to 50%, at 30psi, so I need to keep practicing.
That, at the end of the day, is exactly what it takes, practice. I've been practicing for thirty years now and I'm still learning new things frequently.
If you reduce paint you have to drop air pressure or you are going to fight spider webbing.
I feel into that trap and had to get a detail brush but it definitely didn't improve my work much. I just need to put more time in and learn more. Great video.
Thanks Josh! A lot, if not most, of us fell into that trap (including myself at one time). The cool thing is, anyone can learn to airbrush and be very good at it. It just takes practice.
I have been airbrushing for many years and have had many different kinds of airbrushes now I have a Paasche VL it’s a siphon feed it has 3 different needle nozzle sizes and I have 2 Iwata Eclipse gravity feed with a 0.35 needle nozzle I have an Iwata CM-SB side feed micron with a 0.18 needle nozzle. I don’t use the micron very much because the Eclipse is my work horses and do most of the fine lines I need I use the micron for extra fine lines like for a single hair.
Hey Joe! I agree. My Eclipse airbrushes are my "go to" workhorses.
Well me being stubborn bought a harder and steenbeck. But than I bought the kustom CH which I love. With A .35. You are right Trevor I can practically paint anything with any cheap spraygun but the high quality tools do save material. On the other hand I love the ps771, it just gets along very well with the white. Now is my go to airbrush for all the artwork. Thanks for a another great video. In the end for me it comes to reduction on the paint. I can also get the same hair line with the Kustom ch than I can with the ps771.
Hey Jesus! There's nothing wrong with the H & S brushes my friend! I've owned several of them over the years. I've just always preferred Iwata airbrushes and always revert back to them at some point. It's a very subjective thing. We're all a little bit different and have different preferences. I like my PS771 too!
Paint reduction and air pressure have a lot to do with all of this and I've always treated those two parameters as a part of learning the fundamentals. Once an artist has a good grasp on all of that... imagination is really the only limit.
@@wickedartstudio harder n steenbeck was great love the way they are made. Probably the best quality if you ask me. Triple coating. I think the needles had issues. They came out with the new new line of needles and seemed to have fixed the problem. I made it spray fine but still had a lot more issues than with the iwata ch even after using the .4 needle.
@@coolkids2064 I've never had any issues with H & S needles. Their nozzles have always been a problem for me. They seemed brittle and would crack easily based on my experience. It's been several years since I last used one of their brushes. Hopefully, they've fixed that issue.
@@wickedartstudio Trevor one thing I've never looked at. Because I've never had the need to do so since I did not hear, seen any leak coming from there. I did noticed the needles would get a lot of paint stucked. Even after one use.. Perhaps they were not refined or even buffed the right way.. Maybe we both may comeback and re-use them. I did love the way they are made. Seems to me they are made better, like no other. For the time being they just didn't do it for me. Thanks buddy cheers!
honestly comin from someone that is an on an off airbrusher no detail brushes have no effect other than they're easier to use for detail art. honestly you can pull just as fine as a line with a neo as you can a detail brush
I completely agree.
Huh a neo ya say, thats Iwata’s budget line is that correct?
nice vid, great advice: a good quality airbrush is a great way to start training basic controls.
I agree that a detail oriented airbrush doesn't make you a better airbrush without mastering the fundamentals first, but once you developed the fundamental controls it does make detailing easier.
I completely agree!
Great video. I have the hp-cs and a sata with a similar sized needle. I bought a micron and it sits 98% of the time.
Hey John! My detail brushes sit most of the time too. A good detail brush is nice to have when you need one though!
I have two airbrushes - H&S Infinity CR Plus 0.15 and Iwata Evolution the same as yours 0.35. What I discovered that triggers of these models have different behavior:
Eclipse has only two modes with air - on and off - too hard to press the trigger on half of his movement, but Infinity lets me press trigger smoothly and uses dynamically different power of the air - so I can do light thin layers. I try to learn to paint miniatures ))). But I like both of my airbrushes because they perfectly complement each other.
They both can draw the thin lines, but I use Infinity in the most cases when I need to work with detalies. You are right, the pressure is imortant with right dillution of paint. I use acrylic paint by Vallejo and set 17-2.0 bar on my compressor.
I absolutely agree! Different airbrushes do behave differently as far as trigger control is concerned. That is true from one manufacturer to another, but it can also be true when comparing one model to another within the same brand. I also use the actual trigger to control air pressure on the fly versus using a MAC valve. MAC valves didn't exist when I started thirty years ago, so I learned to do that instinctively over time. You can put a softer trigger spring in your Iwata to improve that control if you choose to do so.
@@wickedartstudio I have been trying set the spring in air valve from top to bottom positions, but I hadn't seen different. I also bought the IWATA MAC valve and can use it if I got lazy to pull hand to my air compressor handle
@@onairctc2onairctcru283 Are you talking about setting the air valve spring in a different position on your Iwata? I'm relatively certain there is no adjustment there. The only way to soften the spring is to replace it with a softer spring.
Ok so just been watching your amazon Master review and in that review you critiqued its fine line ability saying that the paint didnt come out consistently but at 1:45 in this video it actually looks worse with this airbrush. Im new to this and deciding which brush to buy first and was expecting the fine line from this to be way more consistent and in fact for over 3 x the cost of the Amazon Master expected the fine line to look way better yet it looked worse. Am I missing something?
In this video I was only showing that less expensive, mid-ranged airbrushes are capable of creating fine lines and detail. The paint I was using was mixed for a job I was working on and needed a little more reduction to perform flawlessly for the purpose of this video (I needed it thicker for what I was working on at the time). I didn't want to mix up more paint specifically for this video. I was lazy. If I had been painting anything other than quick lines, like I did in the Master Airbrush review, I likely would have reduced the paint further and spent a little more time on it. The differences between a cheap knockoff and a brand name airbrush are significant. For that reason, I will always recommend starting with a good quality brush regardless of which reputable brand one chooses to go with.
Hi Trev
I fell into the same trap as everyone else.
Good tips mate.
Guy
Hey Guy! Many of us did my friend!
Thanks for sharing the info. I noticed the T-Shirt you were airbrushing at the end of this video. What paint are you using? Would your paint flow through either an Iwata Eclipse Takumi or the Iwata Custom Micron Takumi?
The paint I use is Createx, their Illustration Colors and Wicked Colors brands. And yes, those paints flow through the Eclipse and the Micron Takumi with ease with proper reduction.
Since you briefly touched on air pressure I have a question do you set the pressure with or without the trigger pulled back?, great video
Great question Mike! There is no need to pull the trigger back on your airbrush when setting the air pressure on your regulator, unless you're using a single action airbrush. A single action brush releases air and paint at the same time with a single motion (either pressing the trigger down or rocking it back, depending on the particular airbrush).
Pulling the trigger back on a dual action airbrush controls the release of paint only. Pressing the trigger down on a dual action airbrush controls the release of air only. Your air pressure setting is not affected whether paint is flowing through the brush or not; however, it is absolutely affected if the air is flowing or not. If you set your pressure setting statically, you're actually using less air pressure than you think (the actual difference will vary depending on your setup). If you noticed, the gauge in the video actually read a higher pressure until I started using air through the brush. When I depressed the trigger on the brush, the pressure regulated itself back down to the 29 or 30 psi setting I had it set at. That happened because I'd previously set the pressure at about 30 psi with air flowing through the brush. So yes, it is a good idea to have air flowing through your airbrush when you set a given pressure at the regulator. Hopefully, all of that makes sense. I have another video that covers this topic as well if I just confused you more. You can find it here th-cam.com/video/a2srgaLfhek/w-d-xo.html
Great video man! Thank you!
Thank you!
Liked the vid Trevor. Echos very much what I said on the forum. One note tho, you might want to go into why someone might want to experiment with lower pressures however. Getting detail on a rough support at higher pressures is relatively straightforward, but controlling detail, especially microshapes without spidering on a slick surface really depends on pressure control. In fact, controlling spidering could be a whole video series on it's own. LOL.
Hey Kim! Yes, when I read your response on the forum, I knew we were on the same page. I also realized you have a better way of translating things into words than I do :).
I also agree with your comment as far as controlling detail through lower pressure is concerned; however, it's not totally dependent on pressure in my opinion. Control is definitely easier for most people using a lower air pressure setting, but I would argue it's also easy at higher pressure settings. The trick for me is to simply work a bit faster and that comes with practice just like everything else.
@@wickedartstudio - I agree, but there are a lot of cases, especially with detail brushes, where the combination of a slick surface, the necessary thin paint to go thru small nozzles, and a slick surface make it a necessity. Doing eyelashes on a bit of unprepped yupo comes to mind... It's not something that you can necessarily do accurately at a speed high enough to avoid spidering with a thin pain. There's definitely a "black art" to it. It comes with practice and understanding the characteristics of your support, and how paint behaves on it. Support considerations would be another whole series on itself too. Hahahah.
This is why after decades of airbrushing, I still spend time every week writing out limericks, or jokes in cursive using my airbrush, with as thin and smooth lines as possible, and if I ever have to spray on a new unfamiliar support, I use test patches, pieces, or parts to do the same for a bit, so I know how to "tune" for best results.
I prefer higher pressures in the 30 to 40 range and control at the trigger when practical, if nothing else, to help eliminate the dreaded tip dry, or at least severely reduce it. But for some stuff I work on, I am getting my needle up to a mm away from the paper. Working fast that close is a recipe for another needle replacement or re-sharpen in my experience. I am sure someone out there can do it, but I'm a bit of a gorilla. I gotta slow down working on detail if I don't want to trash the place and kill my needle. LOL.
So I agree with you. I just think there might be some cases where folk struggling with detail might benefit from learning good pressure control, and proper support selection. I'm thinking about the fella on the forum, that was looking to drop some coin on an unnecessary detail brush for where he was in his progression. I figure that learning a bit about pressure control could save him a few bucks. At least until he was ready for a detail brush.
Great work as always mate!
@@amplogik I completely agree! The size of the project is also a factor. It's far easier to spray eyelashes quickly and accurately on a very large portrait compared to a smaller scale. I do tests on different substrates frequently as well. A lot of those tests are on surfaces that I have experience with, but changes in environmental conditions will change how paint behaves too. I also prefer working at higher pressure. I'm normally in the range of 25 to 35 psi. On occasion I will drop the air pressure lower, but that is rare for me personally.
Your last paragraph essentially sums up my intended point very well. Artists like you and I have years of experience and understand there is no magic recipe for a given paint reduction and air pressure setting that will work flawlessly on a specific surface. We also have the knowledge and ability to adjust as needed based on that experience. Learning to airbrush can be very frustrating because one also has to learn how all of those other factors play into the equation. It takes time and practice to develop proficiency and that knowledge base. I've seen others become even more frustrated after spending more money on a detail-oriented brush because they believed that would fix a lot of their issues. That's not the outcome in most cases. At the end of the day, most would be better off becoming proficient with the brush they already have before upgrading. I've touched on pressure settings and paint reduction in other videos. That information was a little beyond the scope of what I wanted to cover here, but it is absolutely pertinent.
Thanks for sharing your perspective, knowledge and experience with the rest of us my friend!
Hi Trevor 👋 As you know I'm not in this to be like you or anyone else to make a living...my Iwata eclipse was my first air brush, I now have 2..that I use as my favorite, I also have a paasche vision, paasche Talon(3" wide spray cap) for large coverage.. I'm starting my first animal portrait for my sister in-law, I'll send you a picture when I'm done, hopefully with your tips I'll do her pet Justice with the photo reference she gave me...Thanks again for all your videos and advice 🤝👍💓
Thanks Rich! I'm looking forward to the pics of your first pet portrait my friend!
I started my airbrush journey with H&S Ultra... and it wasn't the best choice for a beginner. Nothing wrong with it, just didn't serve the purpose for my work, mainly because an integrated needle and nozzle cap. Anyway, I bought 0.3mm PS 289... and after a while got myself 0.18 PS 771, but only because found one on sale. I still don't think I've reached even 60% of what 289 is offering, with both I can do the same things and details. The diference for me is that with 771 you get that feeling of lightness in your hands, it doesn't force you to focus as much as 289. So my thought is, if you buy an expensive detail gun to learn how to airbrush, you're doing it wrong. Upgrading yourself with a detailed gun agter gaining skill and control will lift your work to another level, the oposite might be hard to swallow ;) For me the paint cosistency is the key, and was something I was struggling the most, and i still do :)
I couldn't agree more! I also agree that paint consistency, as well as finding the right consistency for a particular airbrush and pressure setting, is a big part of the puzzle. Everybody struggles with the same issues from the beginning, especially with water-based paint, because there's not a blanket answer that covers every combination. Others can give you suggestions to get you in the ballpark based on their own experience, but it still requires some experimentation from each individual artist to find what works best for them. Many don't realize how many different factors can influence those settings from one day to the next. I've been doing this for thirty years now, and I still struggle with it sometimes.
Great video, Thank you
Thank you for watching and taking the time to leave a comment!
Hello. Tell me what is the ratio of paint to solvent in this case?
I'm generally somewhere in the range of 1:1 or 2:1.
Creo que es el error que todos cometemos cuando nos iniciamos en este arte, gracias por la enseñanza
Estoy de acuerdo. Es un error común.
Depends on the size of painting!
Hey Andrew! That's a good point, but I would still argue the fact that one can still paint small scale with a mid-range airbrush. Having said that, having a detail brush does make it easier and I would definitely prefer to use one most of the time.
@@wickedartstudio I love to see detail work. I'm used to either drawing or burning (Pyrography) fine detail. I'm fighting to gain a nice smooth line or curve with my Airbrush, only had it since Christmas. I usually support my hand against the surface, but this can cause grease patches! It's the hovering above the surface without shaking I'm finding difficult. I'm now practicing with a snag glove that I normally use on my pen and tablet that's used on my PC. I like a challenge lol.
@@PENFOLD1962 A glove is a good solution because it allows your hand to glide over the surface easily while remaining in contact and providing support without transferring oily contaminates from your off hand. I also find using just a finger, typically the tip of my pinkie finger, placed against the painting surface really helps to steady my hands while airbrushing. It also allows me to glide over the surface relatively easily because the tip of one finger doesn't produce as much friction compared to a larger portion of your off hand. I also find it's easier to work with a vertical canvas as opposed to being hunched over a project. Try standing compared to sitting while you are working. You might be surprised at what you find what works best for you!
@@wickedartstudio I'll definitely be giving the fingertip to help my hand stay firm. But I won't be able to stand whilst Airbrushing. I've had both Shoulder's and Hips replaced so standing is a real struggle. I have a few vertical easels, a table top one and one that slides under my chair so the legs don't get in the way. I used to love standing at my large vertical easel I felt more comfortable and more room for my arm's. I don't use my table top easel for that very same easel. I'm hoping that the armchair easel is OK for Airbrushing. Thanks for the advice it's very kind of you, and I really appreciate it 👍😷👍🏴
@@PENFOLD1962 You bet! I appreciate the support and all of the comments my friend!
Were you using createx paint ? I think you had a video that showed reduction even up to 30% was still ok. I love createx but always have an issue finding the right reduction ratio/air pressure combo on anything less than .5 . I go from clogging spitting to totally watery and hard time finding a good in between.
Yes, I use Createx paint pretty much exclusively. I have a couple of videos covering reduction when using Createx Colors specifically. Thirty percent reduction is actually a little thicker than I normally prefer to reduce my paint, especially with a needle/nozzle size smaller than a .5 mm. I'm normally closer to a 1:1 reduction ratio. Unfortunately, there's not a standard reduction ratio/air pressure setting that will work for any given combination. Others can give you recommendations based on their own experience to get you in the ballpark, but it will still require some experimentation on your end to find the combination that works best for you. Most people don't realize how many different factors can influence how a given combination performs from one day to the next. Fundamental control also plays a role in all of this. Hang in there and keep practicing/trying different combinations until you find what works for you!
@@wickedartstudio I'll be revisiting those videos then. I appreciate the feedback !
The reason psi is ran lower is because the paint is reduced. Running it the way you are unreduced you can only lay dark lines. The point of reducing pressure and reducing the paint is so you can also do soft gradations in small details. Build lines up from light to dark build small gradients are the entire reason its done. Its important for airbrushers to know this. Running reduced paint at 30 psi is going to spider web it allover the surface.
I agree with most of your comment, but my paint was not unreduced in this video. Granted, it should've been reduced more, but that wasn't the point I was trying to make. Running reduced paint at 30 psi can absolutely spider all over the place depending on the surface one is painting on. There are no absolutes.
@@wickedartstudio reduced paint is always ran at lower psi not higher. Of course 30 psi would spider. Reduced paint requires reduced air pressure. When I paint with any reduced paint and especially if I'm using a .2 needle my air pressure never goes over 20. I usually am around 10 psi when working really reduced. Anything with a fine needle needs to be reduced to even work right.
@@azarelthecreator7098 Again, there are no absolutes. 30 psi on fabric is very different from 30 psi on a smooth hard surface or 30 psi on an absorbent sheet of paper. Let's just agree to disagree.
@@wickedartstudio the point is to use a different psi for different applications. I don't know why you are stuck with this 30 psi talk.
@@azarelthecreator7098 I agree. I never said I use 30 psi exclusively. I apologize if I misunderstood your point.
In my experience all a detail brush does is make a smaller cone of air there for a smaller line can be made at a farther distance. They litteraly limit you to just smaller lines even held far away your going to get a much smaller line as your max thickness. I have a creos 270 and a badger krome I use when I want do smaller work. That said my badger 360 and arrow with the smallest size .3 gets just a small. I'd say buy a brush that has multiple convertion needle sets available for it and just use it for both and then rock a medium most time. I means I can get pretty small with my anthems with biggest think its .7 and I still use my talons .38 and sold my iwata for the work horse. Sure you don't get to say you use the most expensive but to me that's kinda silly paying for a name. I think the passche talon/raptor could do fine in the old Pepsi challenge against the eclipse same with badger anthem. The taper on needle and smoothness of trigger on anthems amazing once you practice on it for a minute. The talon has a bit lacking in smooth trigger but otherwise perfect and you can run .2 .25 .38 .66 and there's fan cap for .66 for clearing and stuff with a elliptical pattern. Just my 2 cents no people will say the iwata are worth double the price but I don't tink so especially with creos out now.
I agree, a detail brush does create a smaller cone of air. They are designed for that purpose. Whether that is a limiting factor depends on how the artist uses the tool. Using only a detail brush could be a poor choice on a 24" x 36" canvas for example. Using one on a custom pair of shoes makes a lot more sense.
Personally, I've never been a fan of airbrushes with interchangeable needles for a few reasons. Mostly, I prefer to reach for the correct tool for each individual job rather than adjust one tool for multiple situations. In a production setting, time is money. I'm not saying those airbrushes are worthless. They don't work for me, but they do work for a lot of other artists. At the end of the day, we all have to find what works best for ourselves.
I would also agree there is probably some degree of markup when it comes to purchasing a well-known and popular brand name product. I'm sure that's true across the board, not just for airbrushes. I also understand being on a strict budget, but there's more than price to look at when one is looking for a new airbrush. It's a very subjective topic. Aesthetics, for example. We're all a little bit different. That includes the size of our hands. What fits and feels right in my hands, may be uncomfortable in the hands of another artist.
I've tried a lot of different airbrushes over the last thirty years. I can't say I've tried everything available, but I've tried the vast majority of them. Some I liked a lot and I used them for a while. Some I didn't like at all. I've always reverted back to using my Iwata's at some point. Based on my experience, Iwata means quality, durability and reliability. I use my airbrushes day in and day out, for eight to ten hours a day. Other brands I've tried suffered durability issues when used under those demanding conditions. It is what it is. I've also owned most of my Iwata airbrushes for more than twenty years now, and they still work flawlessly with little maintenance. There is still some truth to the old adage "you get what you pay for" in my opinion. Dividing the cost of a specific airbrush by a lifespan of more than twenty years comes out pretty reasonable in my eyes. Perspective.
Creos has been around for about a decade overseas. They've been available in the U.S. for two or three years now and I'm excited about them too. I own a PS770. I really like the brush and would recommend it to anyone. You really can't beat it based on the price, the performance and the features it offers! How long will it last? That remains to be seen, but I have high expectations for it.
Thanks for watching and taking the time to share your experiences and knowledge with the rest of us! Very much appreciated!
I have an eclipse hpcs and produce extremely detailed work. My eclipse could never do the detail my sotar does.... Ever.
I think you missed my point. I'm not saying a detail-oriented airbrush is never needed or beneficial. I own many. This information was oriented toward the new airbrush artist. Those who have less experience can fall into the marketing trap of purchasing a higher end, more expensive airbrush in order to get finer lines and/or better detail. That's not the case. Until one spends the time to develop good fundamental control skills, one will have difficulty trying to achieve fine detail regardless of which airbrush they are using. With practice and experience, very fine detail can be achieved with even a mediocre airbrush.
@@wickedartstudio True to an extent but an eclipse hp-cs will never produce the level of detail that a custom micron will. It wont produce the level of detail my sotar will and definitely cant touch my thayer and chandler model A. Brushes with smaller needle groups are literally made to run at lower psi ranges with reduced paint or they wont run right at all. But the truth is no beginner should even be thinking of the word detail. They wont achieve it with a cheap or expensive brush but they surely should know the reasons for lower psi and reduced paint at the beginning of their journey before they even decide to venture in that direction and shouldn't hold the false belief that higher pressure will give them the same detail when it wont. Its kind of miss leading because its only the case for experienced artists. We can agree to disagree on this one i guess.
The iwata eclipse hp-cs,sbs & bs are all you really need. When sprayed with properly reduced quality paint. With the air supply having a holding tank. The .35 dual taper needle is capable of very fine lines. The demonstration in this video, the paint is not reduced enough and the lines are not smooth and clean as they should be. You can get lines about half the size that was shown here. Good job though.
I think you missed the point I was trying to make. I agree, the Eclipse series is capable of very fine lines with the proper reduction and air pressure. I would also agree the paint I had mixed for this video wasn't as reduced as it should have been in order to create very fine continuous lines; however, fine lines are still achievable, even for someone with little experience.
@@wickedartstudio i guess i missed it. sorry
My Iwata Rev blew my Pasche Millenium out of the water.
The Japanese airbrushes have always been superior in terms of quality based on my own experience.
@@wickedartstudio Soooo well designed and great quality.
Nailed it
Thank you!
See ive seen great artist just use cheap basic materials to create a mastepiece of art....and it become fascinating when they do this...todays artists are completely different in their whole aspect its difficult to find people that are open minded and can sit down listen talk and take criticism...the small group of artist i stick to are great...
I agree.
Practice more got it will practice more
Hey Shawn! I have to keep practicing too my friend!
It kinda disappoints me that you didn't show the difference and prove that you do not need the detail brush to do good work. I think a good illustration of it though could be something like you did with the two stencil skulls one freehand sepia brown and one blue skull stencil.
I apologize for the disappointment. I was short on time when I created this video. I'll add that to my list of videos I need to produce though. For what it's worth, I'm using the Eclipse HP-CS in the majority of my videos. It really is my workhorse "go to" airbrush.