Procedure Preparation
At a bare minimum, you will need a large towel for the client to stand on and adequate ventilation. Ideally, the client should have exfoliated and applied any
barrier/blending creme to the palms and any rough skin areas. More elaborate setups and preparations are described elsewhere on the website.
The products used in the video are: TurboAir Mach 7 Airbrush, ColorMyst Attache' compressor, Bionaire Galileo® True HEPA Air Purifier for
Large Rooms, Japanese Shoji screen with cherry finish, Mystic Tan Barrier/Blending Creme, Ocean tanning solution, terry cloth towel.
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The "Circular Motion" Airbrush Technique
The average airbrush spray pattern is about 1 1/2 inches or less. A common technique in airbrush tanning, demonstrated in the following video clips, is to move
the tip of the airbrush in a
circular motion as the whole of the airbrush is moved in a given direction. This circular pattern along the direction of the airbrush stroke
produces a wider spray stroke than the airbrush would if just moved in a line. It also tends to produce a consistent, uniform "background" stroke.
This pattern is not necessary for detailing or contouring. But it is a generally useful technique when just spraying a uniform background, which is
what the bulk of airbrush tanning is about. You may find that you don't need this technique as much for some airbrushes.
AIRBRUSH TANNING VIDEO GUIDE |
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1. Have the client stand normally with arms to the side. Using horizontal airbrush strokes, fill in the abdomen area between the bottom cover or trunkline and the bra top, if present.
Use a circular motion as you make the horizontal strokes to create a broad, uniform spray band.
2. If a bra top is present, fill in the cleavage area, then repeat horizontal strokes with slight overlap up to the tops of the shoulders and beneath the base of the neck.
Cross Hatch Pattern:
If doing a second front torso coat, you may want to use vertical strokes from one side to the other. This can better prevent missed spots.
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Have the client raise their arm to allow access to their side. Using a vertical airbrush stroke, cover the side from bottom cover or trunkline to the base of the arm pit.
Repeat for the other side.
(Alternate Procedure Note: It is also possible to do the underside of the arm from this position.)
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Have the client stand normally with their arms to their side.
Starting at the top of the bottom cover, spray horizontal airbrush strokes, with the circular motion, from side to side. Repeat horizontal strokes with slight overlap to the tops of the
shoulders.
Have the client hold up any hair draping the back of the neck, if not using a hair cover. Use horizontal airbrush strokes to cover the back of the neck.
Cross Hatch Pattern:
If you subsequently apply a second coat to the back, consider using vertical strokes from one side to the other. This can better prevent missed spots.
Finally, note the dangling strings on the swimsuit. Spraying over these strings will create a pale "shadow" on the client. In this case, the operator
subsequently sprayed lightly over these "shadows". (Not shown.)
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1. Have the client raise their arm vertically, exposing the underside of the arm. Use airbrush spray strokes as needed along the length
of the underside of the arm, employing the circular motion, pulling away at the wrist and releasing the trigger.
2. Have the client hold their arm to horizontally, exposing the side of the arm with the inside of the elbow. Use one spray stroke to cover the side of
the arm.
3. Have the client lower their arm diagonally downward and hold their fingers in a half-clench, claw-like position. This will stretch creases in knuckles
so that the client will not have "pale lines" where tanning solution does not reach. Spray airbrush strokes along the top of the arm, with circular motion, to the wrist.
Come back with a light strokes for the hands. Hands may exhibit excessive tanning solution absorption. It is better to err with a lighter rather than
darker application.
4. Prefersably, have the client bend their arm, exposing the outside of the elbow and flexing the skin at the elbow. Use airbrush strokes, with circular motion, to cover
this area of the arm.
Repeat the steps for the other arm.
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1. Have the client step slightly forward with one leg while rotating to expose the inside of the leg. Use airbrush strokes, with circular motion, along the
inside of the leg to cover.
2. Have the client stand normally. Use airbrush spray strokes, with circular motion, along the front of the leg.
3. Have the client stand normally. Move to the side of the leg and proceed along the length of the leg with airbrush spray strokes, with circular motion,
until covered.
4. With the client standing normally, move to the back of the leg and spray with airbrush spray strokes, with circular motion. Proceed along the length of the leg.
If necessary, you may need the client to bend slightly forward to stretch any creases where the buttocks join the top of the leg.
5. For the knee, there may be "dimples" or lines where spray solution may not penetrate. It may be helpful to have a small prop for the client to rest their foot on.
This stretches the skin of the knee so there are no "dimples". Spray the knee cap area.
Repeat the steps for the other leg. (note: for brevity, the video shows only edited portions of the opposite leg.)
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Since the feet may inevitably receive some settling spray drift, they are best sprayed near the end of the procedure. The heel and soles of the feet
tend to be rough and over-absorb tanning solution, which may produce an unsightly result. So, light spray strokes may be called for. As with the hands,
it is better to err on the light side.
Using airbrush strokes, with circular motion, spray along each side of the foot, and then along the top of the foot. Repeat for the other foot.
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Have the client stand normally.
Have the client hold their breath and close their eyes. Spray the side of the face from the jawline to the forhead, using airbrush strokes with a circular motion.
Tell the client to open their eyes and to breath normally. Repeat for the other side of the face. Have a predetermined hand signal for the client to signal you to
stop if they become ueasy or need to breathe.
Have the client tilt their head back slightly. use airbrush strokes with a circular motiuon to cover the neck beneath the chin and to each side.
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