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Instrument
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Begin spray stroke
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End spray stroke
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FIGURE 12-5: Begin paint spray before the instrument; end after.
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Overspraying like this keeps the painting process smooth and as sputter free as possible (sputtering usually occurs the moment you depress or release the spray head).
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Part III Dr. Frankenstein, May We Proceed
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7. With the first side of the workpiece facing you, push the spray head of the flat-white paint can and begin to spray paint off to one side of the workpiece, missing it completely. With the paint still spraying, and while you re keeping the spray head about 10 inches away from the plastic, sweep the spray across the workpiece in a smooth line to the other side until you re once again completely missing the target. (Each sweep should take no longer than a second or two be smooth and somewhat quick.) At the end of the sweep, you can release the spray head and stop the spray. 8. Repeat this spraying technique, back and forth, up and down the instrument in tight parallel rows, incrementally, until the areas facing you have a light, even dusting of paint. You re not going for a solid-white coating yet. Just a dusting, a white haze at best. 9. Using the lazy Susan, rotate the workpiece to the next side and once again paint by overspraying in long, smooth sweeps. Repeat until the first side is facing you again. 10. Now the workpiece should have a light, hazy coat of white paint on it. Not a solid white yet. You probably painted too thickly if it looks at all solid white. And you certainly painted too thickly if you caused the paint to run anywhere. You re looking for misty, but even, coverage at the end of this first coat of flat-white primer. Let it dry completely before you proceed to the next step. 11. When the paint is thoroughly dry, repeat the whole process with more white paint. This time, when the first side comes around again you should be getting closer to a solidlooking flat white. Let it dry once again and, if the flat white is not yet solid, repeat the process, applying one more very light coating of paint. So much for the primer. Now for the fun parts! 1. Grab the well-shaken topcoat color (red, in my example) and repeat exactly the painting process of the previous steps, with overstrokes and very light coats being the key to success here. Again, three light and hazy coats of red paint, without their looking like a solid color until the last is applied, is what you re after. Light coats will eliminate drips and runs, exactly what you re trying to avoid. 2. If you don t intend to add dusts or control legends, skip right ahead to Step 3. But if you do want to add these: a. To add pigmented dusts or sparkles to the paint job, turn off the fan and hold a small amount of the dust about two or three feet above the instrument before the last paint coat has completely dried. Sprinkle the dust or sparkle sparingly, sweeping your hand around in the air above the instrument. This should help disperse the material evenly. Remember that pigmented dusts will show up much better on light-colored backgrounds! Sparkles work fine on all colors. b.To add control legends (by ink or with transfers), you must let the paint dry completely, which might take a few days, even with fast dry paints. Okay. You can push this schedule. But give the paint as much time to dry (and cure) as you can afford. If not, the transfers will distort the paint, and pen nibs will catch and drag on the painted surface, also distorting the paint. Allow the acrylic paint from your pens to dry thoroughly before the next step.
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