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Check out the amazing deals and free shipping offer at Chicago Airbrush Supply! AIRBRUSHES UP TO 50% OFF!!
Sophia Stieglitz, who graced the Sept-Oct cover of Airbrush Action, was super excited to see “her” issue on display in Michaels Stores. Her first modeling gig, Sophie (the 7-year-old daughter of Cliff Stieglitz, Airbrush Action’s founder and publisher) was also eager to sign autographs for Michaels customers. Ms. Stieglitz is very bright. athletic, creative, funny, and a wonderful child. For her appearance, Sophie was paid with Rainbow Loom rubber bands.
Airbrushing takes incredible precision, skill, and time. In the age of computers, relying solely on an X-Acto knife to create stencils and graphics simply doesn’t make sense. Vinyl plotters revolutionize the stencil process by allowing you to create perfect stencils on a computer, generate them in very little time, and duplicate graphics whenever you need to. This is especially advantageous if you make a mistake, a customer wants a piece reproduced, or you must replace a graphic due to damage caused by an accident.
There are countless plotters out there for uses ranging from small home projects to car detailing, but for airbrushing, a medium sized one that’s easy to use is best. This article compares two popular vinyl plotters, the Graphtec CE 6000-60 and Roland GX-24, and details how these machines can make creating artwork easier, more fun, and highly time-efficient.
Graphtec’s CE 6000-60 outdoes the Roland GX-24 in essentially every category when it comes to the actual cutting aspects. Graphtec’s maximum cutting area, at 23.7-inches wide by 164-feet long, is much larger, versus Roland’s 22.9-inches wide by 82-feet long. The Graphtec has a blade force of 300gf (grams of force) and cutting speed of 35 in/s (inches per second), far above the Roland, which has a blade force of 250gf and cutting speed of only 20 in/s.
The two plotters’ compatible media widths are nearly equal, at a minimum of 2-inches and 27.5-inches or 28-inches for the Roland and Graphtec, respectively. The CE 6000-60 is able to cut much thicker media, .25mm versus .1mm for the GX-24. This is a perfect feature for those who wish to cut freehand stencils, although different blade angles may be needed for thicker material. Further, Graphtec’s standard blades are superior for cutting much smaller letters. With the CE 6000-60’s impressive cutting specs, you can be certain that it will cut even the most difficult graphic proficiently and accurately.
Whether you’re a casual artist or airbrush for a living, the Graphtec CE 6000-60 interface and internal system are superior to Roland’s. The Roland GX-24 has only 800KB, less than half as much as the CE 6000-60 which has an internal memory of 2 megabytes. This makes the Graphtec process your cutting data much faster.
A very noticeable difference between the two plotters’ surfaces is the LCD screen. While the GX-24 has a tiny one-line 16-character screen, the CE 6000-60 has a 3-inch backlit LCD screen. This large screen makes it easier to handle menus, copies, etc. within the machine itself, and is just flat-out more enjoyable to use.
Tangential Emulation is yet another important special feature from Graphtec. This mode helps make sure every individual cut is as perfect as possible. With tangential emulation, you can cut incredibly small lettering, better than on most any other plotter on the market. It can compensate for materials stretching and prevent circular shapes from being cut with leftover material on them. Where there are sharp edges, most vinyl plotters will create rounded edges from the turning blade. With Tangential Emulation, the blade lifts and turns in order to create sharp edges, and can overcut (akin to what you would do with an X-Acto knife) as well. You are able to add these to pre-cut settings, and as a result each individual cut is to your liking.
Graphtec’s CE 6000 series has a number of features that continue to put it above the Roland and other vinyl plotters. And for contour cutting, the Advanced Registration Mark Sensing System (ARMS) feature ensures the most quality and detailed cuts with auto-detection, 4-point compensation, and multiple-mark compensation.
The ARMS also makes for more accurate long cuts both on one page and for pieces that require more than what is generally considered a single panel. The CE 6000-60 can cut outside of the usual registration marks that most vinyl plotters are restricted by, which allows for less waste of media. Auto-paneling strengthens the CE 6000-60 by having the plotter itself move across longer pieces of media more effectively, leading to a decrease in cutting time. The CE 6000-60 allows for users to copy a design as well, an invaluable tool which very few other mediumsized plotters allow.
One last great thing about the Graphtec CE 6000-60 is that it offers different modes which let the machine work on your skill level. For beginners, there is a Simple Mode, which removes many of the more advanced screens, making it easier for you to cut what you want. If you’re more skilled, you may use the plotter controller option, which lets you choose cutting speed and much more customization.
Roland’s GX-24 and Graphtec’s CE 6000-60 are compatible with Macintosh and Windows. However, the CE 6000-60 is the most up-to-date, as it works with Windows 7, Vista, and 8 right out of the box. It also works with 32- and 64-bit versions. On the other hand, you may need to download various drivers online for full compatibility with the Roland.
For external media, the CE 6000-60 is compatible with USB 2.0 devices, a function that the GX-24 does not currently have.
The Roland GX-24 lists for $2,095, while the Graphtec CE 6000 is one hundred dollars more at $2,195. However, the CE 6000 comes with a stand, while purchasing a compatible stand for the GX-24 would cost $300 more! Both brands include a two-year warranty.
The GX-24 ships with CutStudio design software, and accessories, including an AC adapter and power cord, blade and holder, testing-use materials, tweezers, and a roller base. The CE 6000-60 includes Graphtec Studio software and Cutting Master 3, a plug-in for cutting directly from Adobe Illustrator and CorelDraw. For simple and straight forward cutting tasks, the Graphtec Studio software is pretty powerful and is equal to, if not better than, Roland’s software. Also, the Graphtec comes with a power cord and USB cable, cutter blades and holder, and a water-based fiber pen with adapter.
Both products also have many add-on supplies to further personalize your plotter, and are found on their respective websites. The Roland GX-24 also offers engraving software.
The Graphtec CE 6000-60 and the Roland GX-24 will get the job of cutting stencils done and done well. However, if you want to get the most for your money and ensure that every piece of artwork you create looks perfect, the Graphtec CE 6000-60 is the way to go. The CE 6000-60 far outdoes the GX-24 in performance, with higher cutting speeds, cut sizes, cut pressure, and a stand for stability. The CE 6000-60 also has more compatibility, more options, and better software for you to personalize your experience. Overall, the Graphtec CE 6000-60 has the strengths and tools that will complete any project professionally and efficiently.
FOR LOWEST PRICING ON THE CE6000 ANYWHERE, CALL 800-876-2472 (732-223-7878 FOR INT’L CALLS)
MAX. CUTTING AREA……………………. 23.7”
BLADE FORCE………………………. 20-300gf
CUTTING SPEED………………………. 35 in/s
DATA BUFFER……………………………… 2MB
USB 2.0 ……………………………………… YES
STAND INCLUDED………………………… YES
LIST COST……………….. $2,145 (with stand)
WARRANTY…………………………… 2 Years
Large LCD screen…………………….. YES
MAX. CUTTING AREA……………………. 22.9”
BLADE FORCE………………………… 30-250gf
CUTTING SPEED……………………….. 20 in/s
DATA BUFFER…………………………… 800KB
USB 2.0………………………………………… NO
STAND INCLUDED………………………….. NO
LIST COST………………………………… $2,095
…………………….. (without stand [$300 extra])
WARRANTY……………………………… 2 Years
Large LCD screen……………………………. NO
Don’t miss out on the incredible $700+ Swag Bag AIRBRUSH GETAWAY Promo!!
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CONTENTS: THE KILLER KUSTOM SKULLS of Mitch Kim, Jonathan Pantaleon, Gary Worthington, Glen Weisgerber, Rod Fuchs, and Eddie Davis; GRAPHTEC CRUSHES ROLAND in PLOTTER SHOOTOUT!; HOW TO AIRBRUSH 101; Artist features: GLEN WEISGERBER & NUB!; HOW TO PAINT A GUITAR; GROUND METAL STEP-BY-STEP by Rod Fuchs; Amazing MARBLEZING F/X MADE EASY by Terry Hill; 2014 PAINT BUYERS GUIDE; STURGIS 2013 PICTORIAL, and tons more!! We’d love to hear your feedback on this issue.
Artist Hilton Alves will partner with Hawyland Styles Gallery, volunteers and community members to complete the largest surf art mural in the world. The concept of the approximately 14, 080 square feet mural is to bring the North Shore to the South Shore with an image depicting beautiful banzai pipeline, a colorful sunset and a sandy section where silhouettes of individuals will magnify the size of the waves. The final stages of the mural will include an interactive community art element where the young and old alike will have a chance to have their silhouette painted on the beach scene looking at the waves.
This mural is a celebration of Hawaii’s surf culture and acknowledgement of Hawaii being an ocean lovers and surfers mecca for the world. This dream was born out of experiences Hilton has had with his Surf Art Kids Project. Surf Art Kids is a social project designed to expose children and youth to environmental awareness and foster in them a respect and love for the ocean through art. Hilton has completed 13 murals on Oahu and has reached over 5,200 children through the project.
When the mural project at 1320 Kalani Street in Honolulu is scheduled, it will be completed within about 10 days. Organizers still need to raise funds, secure donations and volunteers, purchase supplies and book machinery. In an effort to complete this massive mural, organizers will raise $20,000 in funds and/or donations of needed materials, equipment, services or supplies to cover some of the estimated costs of the project. For more information, or to donate, you can visit www.theartofhilton.com . Please feel free to contact Hilton Alves at 382-2098, email@example.com or www.facebook.com/hiltonalves if you would like to get involved and if you should have any further questions.
Seize this rare opportunity to learn PINSTRIPE MASTERY from Glen Weisgerber, a true pinstripe and airbrush legend. Weisgerber and Mr. J are the fathers of the famed Jersey-style lettering, pinstriping, and wet-look airbrushing. Painting since 1970, Mr. Weisgerber is famous for his amazing pinstriping, lettering, logo design, faux headlights and factory grills, and his heralded work on the funny cars of the 70s, 80s, and 90s. According to Mr. J, “Glen is probably better than anyone I’ve ever met. He’s very fast at interpreting what the client needs, and he’s just an all-around great artist. He’s one of the all-time greats.” The Las Vegas Airbrush Getaway takes place October 14-18 at the NEW Tropicana Hotel. To register, or for more information, call 732-223-7878, 800-876-2472, or go http://www.airbrushaction.com/airbrush-getaway-workshops
Student Chris Johnson enthused, “I attended Glen Weisgerber’s class this spring. Beforehand, I did a little research on Glen, and I was in awe. I soon realized that he had created the lettering and graphics on the Funny Cars I had posters of as a kid. To meet him for the first time was a bit of shock because he looked like a mix of Slash and Tommy Lee. Fitting, because he is unique and legendary in his own right as an artist and teacher. I never thought I would be able to freehand letter due to my handwriting being so bad. I must say however, within the first few hours Glen had all of us throwing down lettering strokes like the pros! Taking his class was like having someone say, “Look, here’s the key to unlock all the secret’s you wanted to know, now run with it.” Just listening to Glen’s stories of how he started, his experiences through his career, and watching him paint, was a truly amazing experience. He is a machine! His stories alone make it totally worth the price of admission alone. He is undoubtedly a true master with the brush. Anyone who takes his classes is surely going to love everything he has to offer them. Oh yeah, and he’s a really nice guy, too!”
Matrix System Automotive Finishes is launching Artists 4 Education, a terrific charity. Artists 4 Education was created with the sole purpose of raising awareness to the growing shortage of certified technicians entering the collision repair industry. Airbrush and pinstripe artists across the country have been invited to participate in this unique project to create cool, custom pieces of artwork to be auctioned during the 2013 SEMA Show and the 2013 Woodward Dream Cruise event. Most proceeds will go to the Collision Repair Education Foundation, with a portion being donated to Oakland Schools Education Foundation, Matrix’s local program in Michigan.
Custom painted items include metal wall cabinets, spray guns, a tool box, vintage gumball and popcorn machines, vintage pull wagon, hanging ‘hot rod’ fish, vintage gas cans, a motorcycle helmet, garage stools, two Airbrush Getaway classes, metal trash can, iPad, longboard skateboards, snowboard, bowling pins, tri-cycle, KitchenAid® stand mixer, and many other items. The “all-star” line-up of contributing artists Nub, Steve DeMan, Mike Learn, Mitch Peacock, Ron “Flea” Fleanor, Bugs, Armando Serrano, Jeff Styles, Jonathan Pantaleon, Ryan Evans, Richard “Duke” Bobinac, Brian Lynch, Don Ruks, Pat Paldino, James Kunzinger, Sam Shriver, and others.
The website, www.Artists4Education.org, will feature each piece of artwork prior to SEMA so that bids can be placed by those who cannot attend. The site will also include artist biographies, supporting organizations or individuals, and foundation links. Stay tuned here, http://www.matrixsystem.com, http://www.CollisionEducationFoundation.org, and www.facebook.com/artists4education, for the website launch date and instructions on how to bid.
Matrix System Automotive Finishes is committed to assisting the many schools and students across the country that can benefit from some financial or equipment support. “If we can help one student enter this awesome industry, the mission was a success” says sponsor David Brunori, President of Quest Automotive Products.
The mission of the Collision Repair Education Foundation is: “To secure donations that support philanthropic and collision repair education activities that promote and enhance career opportunities in the industry.” The ultimate goal of the Collision Repair Education Foundation is to create a future in which every entry-level technician hired will have graduated with the necessary skills and understanding of new technology to be well-trained, productive, and efficient employees from day one on the job. www.CollisionEducationFoundation.org
About Matrix System
Matrix System Automotive Finishes, a division of Quest Automotive Products, has become one of the industry’s most successful aftermarket manufacturers of high quality paints, primers, hardeners, clearcoats and reducers. Today, the AccuShade® Intermix System now leads the product line, giving body shops the ability to make over 200,000 colors with exact formulas and 2.1 V.O.C. compliant products. For more information about Matrix System, please visit http://www.MatrixSystem.com.
I’m off to the National Art Materials Trade Association Show today in Minneapolis. I’ll report back tomorrow on any new airbrush and related products or cool art news I uncover. Stay tuned.
Beverly Hallam approached her artwork with the curiosity of a scientist, ever eager to incorporate new techniques and technologies into her art-making processes. Best known for her pioneering use of the airbrush and, later in life, for embracing digital abstract images, Hallam died Feb. 22 at age 89 at her home on Surf Point Road in York.
Hallam had been sick for several years, with a progressive lung disease. In August 2011, she told the Portland Press Herald that she still enjoyed working “when the spirit moves me.” Her longtime confidante and best friend, Mary-Leigh Smart, said Hallam suffered a stroke Wednesday morning that partially paralyzed her. She died the next morning. “She was blessed that she didn’t have to linger long like that,” Smart said. “I can’t imagine her surviving and being paralyzed.”
A painter, printmaker and lifelong educator, Hallam was a key member of Ogunquit’s art community and was known nationally as a pioneering postwar female artist. Hallam’s career included several milestones that distinguished her from her peers. She was an early proponent of acrylic paint and became one of the medium’s most accomplished purveyors. She mastered the art of monotype printmaking and became most famous for her detailed and intricate airbrush paintings of flowers.
Her flower paintings are rich in detail and exact in color, often showing sunlight refracted through glass vases, shadows on walls and tabletops, and the intricate precision of petals, stamens, stems and seeds. She took a centuries-old subject of still-life painting and applied modern techniques in ways that no one had tried, said Carl Little, a Maine arts writer.
Hallam’s mastery of the airbrush was both unexpected and thrilling, Little said, and gave her “the grand point of her life. Who saw that coming? I don’t think anybody did, except you knew she would do something great for her next act.” Her flower paintings are in museums across the country, including nearly every museum in Maine.
In Rockland, the Farnsworth Art Museum on Feb. 25 hung her 1985 painting “Orange Prince” as a tribute. “She was one of the most accomplished realist painters of her generation,” Farnsworth Curator Michael Komanecky said. Near the end of her life, when her strength faded and some of her other facilities began to fail, Hallam used a keyboard, a video monitor and a color printer to make abstract images.
News of Hallam’s death signaled “a sad, sad day,” Little said. “Beverly was a great friend and a wonderful artist.” She came from a family that included inventors, engineers and artists, said Little, who wrote a book about Hallam, “An Odyssey in Art.”
“She had something in her DNA that led her that way,” he said. “She took in everything, and she was really committed to art. That’s all there is to it. She was one of those people who put her mind to it and went after it.”
Hallam was born in Lynn, Mass., in 1923, studied at the Massachusetts College of Art and taught art in Massachusetts until the early 1960s. She began coming to Ogunquit in 1949 and was part of a second generation of artists who made their home on Maine’s southern coast. She was active in the Barn Gallery in Ogunquit and the Ogunquit Museum of American Art. “She came at a time when the New York scene was turning to abstraction,” said Ron Crusan, director of the Ogunquit museum. “With the dramatic cliffs and breaking waves of Ogunquit as inspiration, she brought youth, innovation and enthusiasm” to the region.
She was instrumental in bringing acrylic paint to Maine, helping to set the tone for modernism in contemporary Maine painting, he said. Hallam’s Surf Point Road house is legendary in art circles. It is a sprawling home, with magnificent views of the ocean. She and Smart spent several decades together there.
After Smart dies, the Surf Point Foundation will operate the home as a retreat for artists, scholars, critics and historians. Several of Hallam’s paintings are on view at the Art Gallery at the University of New England on Stevens Avenue in Portland. Her paintings are part of a show that celebrates Maine female pioneers in art. The show runs through Sunday, March 3.
“Her spirit in this show is huge,” said UNE gallery Director Anne Zill. “She will be sorely missed. … In this show, people often stop in front of Beverly’s works. They have a power to them that is completely arresting. People stop and spend time in front of her works.”
Zill called Hallam “a force of nature. She was strong, organized and driven to work every day, to discover new things about her work as an artist. She owned her world. She owned her art world.”
The Portland Museum of Art began collecting Hallam’s paintings in the late 1960s, and has acquired her paintings and prints regularly through the past decade. That puts her in a small group of artists whose achievements and innovations the museum consistently heralded over several decades, said Jessica May, curator of contemporary and modern art.
Hallam was the subject of a Maine Masters film, “Beverly Hallam: Artist as Innovator.” Filmmaker Richard Kane spent many days with Hallam on the project, which was completed in 2011. He called her a “real joyous personality. She found humor in everything. She was a lot of fun to work with.”
Little is fond of telling a story about Hallam from her youth. It illustrates her family’s dedication to Hallam’s career choice.
Hallam’s mother, Alice, ran a hair salon. One day, she met Leonard Bernstein’s father, Sam, who sold hairdressing supplies. They started talking about their kids.
“You can’t imagine what my son Lennie wants to be,” Sam Bernstein told Hallam’s mother, according to Little.
“He wants to be a composer … of music … a musician. Can you believe it? I can’t stand it.”
He then asked Alice Hallam what her daughter wanted to be.
“She’s going to be an artist,” Hallam’s mother answered.
“Oh my God,” Bernstein replied. “They’re both going to starve to death.”
In addition to her work in the studio, Hallam is being remembered for her work as a teacher. She taught continuously for most of her life, including at the Maine College of Art in Portland. The college gave her its Art Honors award in 2001.
In her artist’s statement, Hallam cited her lifelong process of learning. “As the mediums in art change, I change along with them. As Michelangelo said, ‘I am still learning.’”