Here’s a cool quote of the day:

Everyone is a genius. But if you judge a fish on its ability to climb a tree, it will live its whole life believing that it is stupid.  Albert Einstein

I want to introduce you to a great new paper, RendR, from Crescent Cardboard Company, written by my special guest blogger, Mays Mayhew.

Like most artists I use a sketchbook to brainstorm, conceptualize, and come up with ideas for my larger work. My sketchbooks are very important to me. I want to use the best materials in my work. One the most annoying problems with sketchbooks is using heavy media/mediums that soak through the page and make the reverse side useless. Or worse, just finishing a meticulous drawing and then using media on the other side that ruins it. I’ve heard other artists complain about this, too, but since it was always like this, artists accepted it.

But as a Product Developer for Crescent I have the unique ability to invent new products. I don’t have to accept annoying problems. And as an artist, I wanted a sketchbook that I could ink up one side and then use the other side of the page. The goal was that every page was a clean slate, a blank canvas. I wanted a sketchbook that allowed every page to matter.

My team and I worked with several paper mills to develop the perfect paper that not only prevented inks to bleed through but also didn’t have any show-through on the other side–not even a ghost image. It took a year. It wasn’t a simple task. There were several challenges creating a paper with no bleed-through, an artist grade paper and one that artists could afford.

The result was a phenomenal paper that exceeded all of our goals. RENDR paper is smooth enough for marker and inks with a slight tooth for pencil. Now you can get a sketchbook with full confidence that every page will start as a clean one. A sketchbook documents an artist’s journey. It’s important to respect that journey by using quality materials. Take pride in your work. Use RENDR – No Show-Thru Paper sketchbooks.

Mays Mayhew, artist and inventor of RENDR – No Show-Thru Paper

Billy Dee Williams liked my energy and entrepreneurial spirit, and we stayed in touch.  On a visit to Los Angeles in 1994 we arranged to meet for lunch.  He was gracious enough to pick me up at my hotel with his assistant Patricia.  The conversation quickly turned to Billy’s disappointment in not getting the cover of Airbrush Action, which went to famed movie poster illustrator Drew Struzan.  He was very diplomatic, but his point was most clear. Uncomfortable. Nonetheless, Williams and Patricia invited me to check out his new home and art studio somewhere in the Hollywood hills.  When we stopped at a red light a street person approached Billy’s side (he was driving) for money.  “Go get a job!” Billy snapped and raced off.  “Man, I can’t believe these people,” he exclaimed.  “And he didn’t even know who I was!”

It was a very funny moment, but you probably had to be there.  I loved hearing Williams’s stories about celebrities, and this time I asked, “Tell me about Richard Prior.”  [Note: at the time Prior had multiple sclerosis, and a history for drug use and spousal abuse].  Pointing to the back seat, he replied, ”Why don’t you ask Patricia back there.  She used to live with him.”  Patricia went on to share her horror stories about a physically abusive Richard Prior.

Fascinating stuff.  Williams further shared that he could no longer be friends with such a high-maintenance person, and that he believed Prior’s illness might be AIDS, not MS!  Again, fascinating stuff.  Williams home, a contemporary on the edge of a cliff, was beautiful and his studio, a “dreamy” space, would be the envy of most artists.  His landlord stopped by with his early-teen, if that, son, and in no time the inappropriateness started to fly as Billy talked about one of his favorite subjects: women and his herculean conquests.

This was a tense, awkward, and extremely hillarious moment, especially in the stiffened company of a mortified father and his young child.  Also, again, Billy Dee did not disappoint in the colorful company department.  As a favor, later that year, Williams made a guest appearance, gratis, at an early Coast Airbrush/Airbrush Action Party in Anaheim, and I’ll be forever grateful for that.  We fell out of touch until I ran into him at a convention in Burbank about three or four years ago.  I thought I’d be long forgotten, but he gave me a big bear hug, suggested we meet for dinner before I departed for Jersey, and offered his latest telephone number.  I try calling from time to time with no luck. I’m proud of the extraordinary memories I clutch of the time spent with a Hollywood legend and airbrush artist.

Until now, I shared the following story strictly with my closest friends. 

In 1993 I discovered that Billy Dee Williams, one of Hollywood’s top leading men in the 1970s (Lady Sings the Blues, Mahogany, Brian’s Song, and others) and 1980s (Star Wars: Episode V – The Empire Strikes Back, Star Wars: Episode VI – Return of the Jedi, and even 1989′s Batman) airbrushed, and I thought it would be a great coup to feature his art in Airbrush Action.  I called his agent and sure enough (I have to admit that I didn’t have much confidence in a positive response), Mr. Williams was not only interested, but I was told he read Airbrush Action!  I was truly flattered that an A-lister read the magazine.

A breakfast meeting was arranged for the interview.  Present were Joel Cohen, the writer, my best friend Art Beins (I needed a hometown witness for this seemingly historic moment!), Mr. Williams, his assistant, and me.  After meeting at his upscale Manhattan hotel, all of us piled into Williams’s limo.  I felt that we connected immediately, and Billy’s focus was directed at me throughout most conversations.  As the limo careened across 40-something street, Williams stated, “Clifford, I killed a lot of women on this street.”  “Really,” I replied, not completely understanding what he meant.  “That’s right,” he continued, “I used to have three women a day, every day.  I had to have it.”  “The same three women?”  “No.  Three different women every day.  I had to have it.”  All of us just sat in silence. . . . . . and awe.

Soon after we were seated, Billy discovered that no alcohol was served before lunch, so we had to uproot and relocate.  Even for Manhattan, the happening center of the universe, finding a legal joint that served alcohol in the morning was a challenge.

Billy sat opposite me, and regardless who asked him a question he responded to me.  He oredered a Rob Roy cocktail (scotch, sweet vermouth, Angostura bitters, and a cherry); we all did.  I’ve never been a drinker, but I didn’t want my very special guest to feel alone here.

Williams is one of the most charismatic people I had ever met, and I soon realized that the most charming thing about him was that he had absolutely no filter!  The interview itself consisted of the typical garden variety questions asked of any featured artist; how it all began, choice of airbrush (Aztek, if you’re curious), compressor, paint, surface, blah, blah, blah.

I was intriqued by his stories, and I craved more.  Believe me, if you hang out with Billy Dee Williams long enough he will never disappoint.  He went on to reminisce about a meeting he had with the execs at ABC to discuss a possible TV series that centered around Williams.  “Clifford, there was an attractive female at the meeting with very large breasts, and you know how it is when you’re really thinking about something, and you mean to say one thing, but another thing comes out? Well, I looked at her and said, ‘My, you have beautiful breasts.’  My agent, always fearing I might say the wrong thing, was floored. It was funny because I really had no intention of saying that.”  “What happened next?” I asked.  “Well, the meeting ended soon after and the show never materialized.”

Tomorrow, in Part II, I’ll write about my visit with Billy Dee in Hollywood.

FYI, Billy Dee Williams was featured in the 1994 January-February issue of Airbrush Action.

I just received the news that friend and 5-time Airbrush Getaway alum Eric Munson died.  Although he didn’t smoke, lung cancer took his life August 2.  He was 41.  His mother, Connie, felt compelled to call us because “airbrush was everything to Eric.  He was a recluse who lived and breathed art.  He must’ve had 1,000 books on art and airbrush.” She also wanted to get word to Jonathan Pantaleon, his favorite instructor at the Getaways.  “He loved Jonathan,” Connie explained, “who would sometimes call Eric to motivate him.”  Our thoughts and hearts go to the Munson family. You may e-mal the Munson family at: mcenaneys@aol.com

Periodically, I conduct a mini-lecture on sales at the Airbrush Getaway.  Typcially, a good portion of the group will admit via a show of hands that they’re bad at, or uncomfortable with, selling a customer.  Little do they realize how good they really are.  We’re all salespeople, but most of us don’t perceive ourselves that way despite a stellar record in sales. You sell all the time on the behalf of major companies and you don’t earn a dime in commission!  For example, think of a movie you really loved and how you anxiously and excitedly shared your experience with anyone who would listen.  Movie studios rely heavily on the word-of-mouth of their sales force: YOU!!!  Just imagine how many movie tickets you sold (yes, sold) in your lifetime.  A genuine belief in and enthusiasm for what you sell is a huge factor in closing.  And if you employ the same energy and confidence in selling your art or art services that you would selling a movie or product that you love, you’ll increase your business exponentially.  Also, regardless the bad day you may be having, don’t let your customer know or sense that.  Theater actors could be depressed and experiencing a day from hell, but you’d never see it in their performance.  It’s called ‘maintaining’ [their energy level]. Best of luck in elevating your numbers!

For great articles on airbrushing, please visit our archive at www.airbrushaction.com.  Have a great weekend.

From the archives of www.airbrushaction.com, here’s a fabulous tip from illustration great Rick Lovell that he discovered at an Airbrush Getaway for providing the perfect tack for frisket: “For working wet with sponges and spattering, I apply 1 part two-coat rubber cement, 2 parts one-coat rubber cement, and 2 parts Bestine thinner to Canary tracing paper.  This mixture provides the perfect tack for frisket, and in combination with Utrecht’s Canary tracing paper, it’s waterproof and will not allow wet media to seep under the cut areas.”  To see how this method was applied go to: http://www.airbrushaction.com/airbrush-tips-and-tricks/75/how-airbrush-brick-and-stone-part-i.

October 8-12, 2012 in Las Vegas, NV

Artist Has a Real Passion for Fine Lines

The ultimate hands-on art courses, Introduction to Pinstriping and Pinstriping Mastery, taught by Mr. Styles, gives students from around the world the chance to learn the strokes necessary to becoming a skilled pinstriper. The one-day class (October 8) provides an excellent foundation for the subsequent four-day Airbrush Getaway workshop classes held October 9 through 12 at the NEW Tropicana Las Vegas, 3801 Las Vegas Boulevard South in Las Vegas, NV.

Jeff Styles

Mr. Style’s exceptional talent comes through in all his work—in this case, as a wonderful instructor. His teachings will provide artists with an important foundation toward pinstriping mastery. Detailed information on the paints, brushes, solvents, tapes, and surface preparation necessary for proper pinstriping, as well as the practice and completion of basic designs with and without a pattern, will be covered. Students will also learn both primary styles: nostalgic dagger and scrolling.

In addition to Airbrush Action, which regularly showcases his fine work, Jeff has been published in leading auto industry magazines, Hot Rod, Classic Trucks, Truckin’, and Street Rodder. His TV work includes Overhaulin’, Rides, the Speed Channels’ Street Tuner Challange and a Magnaflow Exhaust commercial.

Jeff also credits his “mentor” Butch Tucker for “taking him under his wing and teaching him everything he knows about pinstriping.” Like most artists, Mr. Styles had an eye for one thing in particular and that is flames. “The days of doodling flames on all my school books paid off,” he explains. Now a Southern California resident, he operates Styles Pinstriping where he has built an impressive gallery of work.

Airbrush Getaway workshops have attracted students from corporations as diverse as Disney, AT&T, Boeing, Texas Instruments, Hallmark and many others, as well as freelancers, small business owners and students of all skill levels.

The cost for this one-day class is $150, and includes all supplies and equipment. Other one-day courses include Introduction to Airbrushing, T-Shirt Lettering Bootcamp, Airbrush Tattoos, Intro to Murals on Steel, and Intro to Automotive Graphics. Four-day course include Airbrush Mastery, Ultimate Airbrush Effects, Automotive Graphics, Achieving Photorealism, Power Portraits, Automotive Murals on Steel, and others. For discounted room reservations, call 800-634-4000 and mention “Airbrush Getaway Workshop, group code SAIR10.” For more information, call 800-876-2472 (international callers: 732-223-7878), or visit www.airbrushaction.com.

Former Student Quote:
“It’s hard to get quality instruction like this. They’re not going to put you down if there’s something you don’t know.”
—Chris Doak, Intro to Automotive Graphics Student

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“Our Getaway is the world’s best airbrush immersion program.”
—Cliff Stieglitz, Airbrush Action’s publisher

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About Airbrush Getaway:
“The Airbrush Getaway is a one-of-a-kind event—the world’s best airbrush immersion program,” explains Cliff Stieglitz, Airbrush Action’s publisher. “It’s ideal for artists and non-artists seeking to learn new skills or take their art to professional levels.” Students from all over the world come away learning how to make thousands of extra dollars airbrushing, and many claim that what they learn in four or five days at the workshop would take years to learn on their own. “We’ve worked hard to develop our exceptional faculty,” Stieglitz explains. “All our instructors are at the top of their field. A special comradery and bond develops between students and staff at every Getaway.”

About Airbrush Action Magazine:
Founded by Cliff Stieglitz in 1985, Airbrush Action magazine is the longest publishing airbrush magazine in world history. Distributed internationally through Barnes & Noble, Books-A-Million, 7-Eleven, all military branches, and many other mainstream outlets, Airbrush Action is edited for airbrush enthusiasts and art professionals. It covers all popular applications of airbrushing, including body art, automotive custom painting, T-shirt airbrushing, tattoo art, pin-up art, hobby/model uses, illustration, fine art, and more. For more information, Airbrushaction.com or contact Cliff Stieglitz, Airbrush Action magazine publisher, at ceo@airbrushaction.com.