Drop Shadows

[Vettra]

Here is a question for all you steady handed experts:
What is your method of painting the drop shadows on your projects? I know this may seem like a simplistic question but I think I have some type of phobia when it comes to shooting my shadows. I think it is because they come in so near the end of the project and a lot rides on a clean look.

I have watched DVDs of Fraser, Lavelee, Hubbs and the like but really haven't locked in a good method.

I have tried 2 hands close to the body and somewhat rocking.
Single handed and just letting it fly
And trying to gradually build them up but still haven't found the right method for me.

I would really like to hear some of the ways that you accomplish them.

THX,
C

 

[flamepain]

i had a similar question a while ago and i think it's down to practice. however the reason i'm answering you is to tell you to clear the project with one or two coats before doing your shadows. that way if you screw up you can wet sand them off and try again. cyas

 

[Vettra]

Thanks- Great suggestion

 

[TAZ]

Definitely a good suggestion. Don't chance it without a clearcoat between.
Normally ONE side is your good side which means that the shadows will come more easier than the other.
Also practice A LOT on a flat panel before doing anything else.
The lighter the base, the lighter you can go on your shadowing.

I normally do a practice run on each shadow that I do, then I recreate it directly after the practice run. Most of the time this works, but....the other times...I wipe off and do it again

 

[Vettra]

Thanks again TAZ. I am going tomorrow to pick up some steel bits from a friend of mine that has a metal fabrication company. I have been practicing on illustration board which I guess I could shoot a mid clear for the purpose.

I show my friends some of my practice pieces and they all want me to do som paint work on thier helmets, bikes and cars. I am of course passing on these for now till I get many more practice projects under me belt and tighten up my technique.

I am eager though to start recooping some of the expense that I have been putting out so far.

Thanks again. I really apreciate this forum!

 

[TAZ]

No problem.
Pick up about 3 15 x 15 panels... prime and paint one of them black basecoat w/ clear and one with a solid red and another in possibly a gray metallic. Then sand it and use this for drop shadow, flames, real fire test panel.
Don't reclear it. Just wipe your airbrush work off. You can use it over and over.
Practice, practice, practice!!!!!!
:drunk:

 

[Vettra]

Update

Yes indeed- It is all about practice. During my last session I found the solution that actually helps out with some other issues I had...such as pulling a smooth long line.

The Solution:
I am right right handed. I go in double handed with my left hand cupping my right. I use my mid knuckle and kinda drag it across the peice. It helps eleiminate hand shake as well as creates a guide to help keep the brush an equal distance from the medium all through the stroke.

There may be situations where that might not be practical but I will find that out later.

THX,
C

 

[Brian Dee]

another little hint for you. Shadows are areas the have an absence of light. so don't use a black,this makes it looks as though you have just outlined you work. What I find most effective is to use a color just a little darker than your base or a medium grey. If you look at a dropped shadow it's reall nothing more than a big long dagger stroke. If you want a real 3d look,just vary the distance from the edge of the flame. Meaning fairly close at the throat of the flame and pulling away from the flame towards the long lick of it. This will give the effect of the flame really popping. Here's an example for you. As you can see, it look's as though the wire is jumping off the fender. Hope this helps.

 

[Vettra]

Very cool indeed!

Thanks for sharing