#1
 Red Transfer Pencil And Vine Charcoal
 I've used my opaque projector to enlarge the figure to fit the x-large shirt onto transfer paper. I turn the paper over and trace the line art with a red transfer pencil used for iron on transfers for fabrics.
 I place the shirt on the board. I position the paper on the shirt. I iron the transfer of the woman on the shirt. I use vine charcoal to draw in the features around the figure. The transfer and charcoal sketch is kept very light to not be noticeable on completion. As you can see the transfer and sketch is very light and barely noticeable on the fabric.

#2
Taping
 I use 3M masking tape to mask off the area around the central design where the vampire's victim lay bleeding, transforming into the undead.

#3
Fleshtone And Florescent Pink
 I begin airbrushing the bitten, bleeding female figure using Createx Fleshtone. I use the fleshtone to provide a base to be built upon for the skin. The fleshtone is used heavier in the darker areas to round out and shape the form. I also use the fleshtone in parts of the background and on the tree root. I switch to Florescent Pink and airbrush the areas that need more of a rosy glow to the skin and background. I stop and iron the shirt with a hot iron, cotton setting, no steam. This lowers the nap of the fabric and provides a less fuzzy surface to paint on which will catch less overspray

ARTIST PROFILE

DATA

Written by: DENISE THURSTON

"Vamp T-Shirt"

Copyright 2007 Airbrushtech.net

Every so often an artist HAS to copy another person's art. What is fun is having to copy a friend's artwork. It's not only the chance to make another shirt but to also see the difference between the style of one artist in comparison to another. The good part is when you get to pat each other on the back for the talents you both have which are the same but different but also rag on each other good naturedly too. This design is taken from Steven Craig's vamp design on the Tattoo Rodeo boat he painted for his friends Mark and Lorne.
 

Vampire On T-Shirt

#4
Opaque Black
 This piece of fantasy fabric art has quite a bit of black in it to make it all gloomy. I usually try not to use a great deal of black but in this case it's unavoidable. I use Opaque Black to fill in some of the areas that need the black to push those areas back into the background and to start filling in the clothing.

#5
Maroon
 I use a maroon color made from Transparents Burgandy, Sunrise Yellow, Phthalo Green and Black. Maroon is yellower and browner in color than Burgandy which is more blue. I lightly spray in the maroon in the areas that need the rosier glow. I am building up the colors in the background and skin tone. 

#6
Florescent Pink And Flamingo Pink
 The figure is more developed at this point. I begin to add details. I use the Florescent Pink once again to start building the color of the sky and to add the blood dripping from the oozing neck wounds. I use Transparent Flamingo Pink to continue building the colors that will make the reds and violets richer at the end of the painting.

#7
Beige And Light Brown
 
Beige is used to continue defining the skin to the figure. I also begin to add the shading to the figure with the Beige. I use Transparent Light Brown to darken the roots in the background and to give the wood a brown tone. Light brown is layered onto the vamp to give her deeper shadowing.

#8
Opaque White, Florescent Yellow And Sunrise Yellow
 The design is at the point where it needs an ethereal glow to help produce the menacing ambience. I use Opaque White to airbrush in an orb for the moon into the sky. I lightly use Florescent Yellow on the vamp's skin, around the diffuse moon. the roots, tombstones and the background. I follow up with Transparent Sunrise Yellow building and enriching the yellow glow.

#9
Florescent Blue And Brite Blue
 I airbrush Florescent Blue followed by Transparent Brite Blue into the background sky and to mist and speckle onto the stone that the vamp is reclining upon. Lightly layering all the colors onto the inside stone is recessing that area so that in the finished painting the look will be of a portal into another place. The two blues are used in the vamp's clothing to help produce the highlight of black slick fabric. The blues are used to continue defining the hair.

#10
Dark Blue And Florescent Violet
 I continue working through the blues by using Transparent Dark Blue to build up the sky color and to darken the sky to make it a colorful night for drinking blood. We don't want a flat looking purpley black sky. I use Florescent Violet to liven up the sky keeping with the ring a ring a rainbow look around the moon. Both Dark Blue and Florescent Violet are used in continuing to build up the shadowing and color in the clothing, hair, and stone.

#11
Transparent Violet
 
Using Transparent Violet I continue deepening the sky. I add in clouds to give a more ominous feel. I use the Violet to give deeper shadows in the vamp figure's skin, shreds of clothing and hair. The Violet is used lightly around the edge of the masking and in the stone.

#12
Opaque Black And Maroon.

 Maroon is used to deepen the color of the roots and sky. It is airbrushed lightly into the blood streams and lips. I use Black again lightly to define and build up color.

#10
Opaque White
 Opaque White is airbrushed in to create highlights and define forms in preparation for color highlights. White is used to define the strands of hair and teeth. I punch out the cemetery scene in the background, extend the blood streams dripping off the body and even the stone with white speckles and misting. I lightly highlight the skin.

#11
Florescent Blue, Transparent Dark Blue And Violet
 Once again with Florescent Blue I airbrush over some of the white highlights to give them the blue color so they will not be stark white. It's night time so we have to give highlights that blue cast. Dark Blue is used to define and deepen the highlights. We don't want them to stick out like a sore thumb.

#12
Transparent Dark Brown, Red And Maroon, Opaque Black And White
 I use Transparent Dark Brown to finish up the root structure running through the background sky. I create shadows in the hair strands and deepen the shadows of the body. I use Transparent Brite Red in the lips, blood streams and create a pool of blood on the stone. I use Maroon to shadow the blood. I switch to white to create the final highlights and to finish the hair.

 #13
 Unmask

I remove the masking from the shirt. Using some of the colors I have used previously I speckle and mist the stone around the central design creating a mottled grainy effect. I use Black to airbrush thin cracks into the stone. I clean up any dark areas in the background and cemetery scene. I switch back to white and spray in highlighting into the stone.

The shirt is completed by heatsetting inside out or covered with a light cloth with a hot iron, cotton or linen setting with no steam, keeping the iron moving slowly and not letting the iron sit in one place or or by using a heat press. The shirt can also be placed in a dryer to run through a cycle to help cure it. The shirt doesn't need to be worn prior to heatsetting. Airbrushed shirts should not be washed for two weeks to make sure they have been cured properly.