M O T OR B O O K S 》 Stripe hot rods, collector cars, and motorcycles MORTSAOP Choose the right paint and brushes $) Plan your designs M O T OR B O K S 》 Stripe hot rods, collector cars, and motorcycles MORTSAOP 选择合适的油漆和刷子 $) 计划你的设计
Written by subject-matter experts and illustrated with step-by-step images, the Motorbooks Workshop series is the ultimate resource for how-to know-how. Motorbooks Workshop 系列由专题专家撰写，并配有分步图片说明，是如何掌握诀窍的终极资源。
HOW TO PINSTRIPE PLUS GOLD LEAF AND LETTERING 如何使用细条纹加金箔和刻字
HOW TO PINSTRIPE PLUS GOLD LEAF AND LETTERING 如何使用细条纹加金箔和刻字
Inspiring |Educating | Creating |Entertaining 启发 | 教育 | 创造 | 娱乐
Brimming with creative inspiration, how-to projects, and useful information to enrich your everyday life, Quarto.com is a favorite destination for those pursuing their interests and passions. Quarto.com充满创意灵感、操作方法和实用信息，可丰富您的日常生活，是追求兴趣和激情的人们最喜爱的网站。
(C) 2022 Quarto Publishing Group USA Inc.
Text @ 2007, 2022 Alan “AJ" Johnson 文本 @ 2007, 2022 Alan "AJ" Johnson
Second edition published in 2022 第二版于 2022 年出版
First Published in 2007 by Motorbooks, an imprint of The Quarto Group, 2007 年由 Quarto 集团旗下的 Motorbooks 首次出版、
100 Cummings Center, Suite 265-D, Beverly, MA 01915, USA.
T (978) 282-9590 F (978) 283-2742 Quarto.com 电话 (978) 282-9590 传真 (978) 283-2742 Quarto.com
All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned, and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing information in a subsequent reprinting of the book. 保留所有权利。未经版权所有者的书面许可，不得以任何形式复制本书的任何部分。本书中的所有图片都是在相关艺术家知情并事先同意的情况下复制的，制作人、出版商或印刷商不承担因本书内容而引起的任何侵犯版权或其他责任。我们已尽一切努力确保所提供的信息准确无误。对于可能出现的任何不准确之处，我们深表歉意，并将在本书的后续再版中解决不准确或缺失的信息。
Motorbooks titles are also available at discount for retail, wholesale, promotional, and bulk purchase. For details, contact the Special Sales Manager by email at specialsales@quarto.com or by mail at The Quarto Group, Attn: Special Sales Manager, 100 Cummings Center, Suite 265-D, Beverly, MA 01915, USA Motorbooks图书还可以折扣价零售、批发、促销和批量购买。欲了解详情，请发送电子邮件至 specialsales@quarto.com 或邮寄至 The Quarto Group, Attn: Special Sales Manager, 100 Cummings Center, Suite 265-D, Beverly, MA 01915, USA 联系特别销售经理。
Abstract 摘要
About the Author Alan "AJ" Johnson caught the pinstriping bug at age 11 when his father took him to see Ed "Big Daddy" Roth at the New York Coliseum. After graduating from Newark School of Fine Industrial Art in 1968, Alan landed a job as art director at a New York City ad agency. In 1974 he moved his family to the country and started his own business, which still thrives today. Alan is also a consultant for automotive paint manufacturers and the author of several how-to articles for trade periodicals. He has taught and demonstrated his pinstriping techniques throughout the United States, United Kingdom, and Finland. He recently launched his own line of signature brushes with The Mack Brush Company. Alan also offers his own limited edition prints of this unique American art form. Please visit www.alanjohnsongrafix.com. 作者简介 艾伦-约翰逊（Alan "AJ" Johnson）11 岁时，父亲带他去纽约体育馆看 "大老爸 "埃德-罗斯（Ed "Big Daddy" Roth）的表演，从此他便喜欢上了细条纹。1968 年从纽瓦克精细工业艺术学校毕业后，艾伦在纽约一家广告公司找到了一份艺术总监的工作。1974 年，他举家搬到乡下，创办了自己的企业，至今仍在蓬勃发展。艾伦还是汽车涂料生产商的顾问，并为行业期刊撰写了多篇指导文章。他曾在美国、英国和芬兰各地教授和演示他的细条纹技术。最近，他与马克画笔公司（The Mack Brush Company）合作推出了自己的签名画笔系列。艾伦还为这种独特的美国艺术形式提供自己的限量版印刷品。请访问 www.alanjohnsongrafix.com。
Design: The Quarto Group 设计Quarto 集团
Cover Image: Alan Johnson 封面图片：艾伦-约翰逊
Page Layout: Megan Jones Design 页面布局：梅根-琼斯设计公司
Printed in China 中国印刷
ISBN: 978-0-7603-7375-0
Digital edition published in 2022 数字版于 2022 年出版
eISBN: 978-0-7603-7376-7 电子书号：978-0-7603-7376-7
Originally found under the following Library of Congress 美国国会图书馆
Cataloging-in-Publication Data 出版数据编目
Johnson, Alan, 1946- 约翰逊，艾伦，1946 年
How to pinstripe / by Alan "AJ" Johnson. How to pinstripe / 作者：Alan "AJ" Johnson.
Automobiles-Decoration. 2. Pinstriping of motor vehicles. 汽车-装饰。2.汽车的细条纹
I. Title. I.标题
TL255.2.J64 2007
2007006298
CONTENTS 目 录
Dedication and Acknowledgments ..... 6 献辞和致谢 .....6
Foreword by Kenny Youngblood ..... 7 Kenny Youngblood 的序言 .....7
Introduction ..... 8 简介 .....8
CHAPTER 1 A Unique American Art Form ..... 10 第 1 章 美国独特的艺术形式 .....10
CHAPTER 2 Paint, Products, and Color Theory ..... 13 第 2 章 涂料、产品和色彩理论 .....13
CHAPTER 3 Pinstriping Tools ..... 20 第 3 章 细条纹工具 .....20
CHAPTER 4 Pinstriping Surface Preparation ..... 25 第 4 章 细条纹表面处理 .....25
CHAPTER 5 Pinstriping Layout and Design ..... 29 第 5 章 引脚条布局和设计 .....29
CHAPTER 6 Brush Technique ..... 48 第 6 章 画笔技巧 .....48
CHAPTER 7 The Straight and Narrow ..... 66 第 7 章 狭路相逢 .....66
CHAPTER 8 Pinstriping Antique and Classic Cars ..... 76 第 8 章 给古董车和老爷车贴细条 .....76
CHAPTER 9 Pinstriping Hot Rods and Customs ..... 106 第 9 章 Hot Rods 和 Customs 的细条纹 .....106
CHAPTER 10 Pinstriping Motorcycles ..... 126 第 10 章 摩托车细条纹 .....126
CHAPTER 11 Pinstriping Flames and Special Effects ..... 136 第 11 章 细条纹火焰和特效 .....136
CHAPTER 12 Lettering Fonts and Tools ..... 144 第 12 章 字体和工具 .....144
CHAPTER 13 Hand-Lettering (Like a Letterhead) ..... 154 第 13 章 手写信笺（如信纸） .....154
CHAPTER 14 Gold Leaf and Tools ..... 174 第 14 章 金箔和工具 .....174
CHAPTER 15 Gold-Leaf Techniques ..... 178 第 15 章 金叶技术 .....178
Afterword by Roger Morrison ..... 189 罗杰-莫里森的后记 .....189
Web Links and Sources ..... 190 网站链接和资料来源 .....190
Index ..... 191 索引 .....191
DEDICATION 捐赠
This book is dedicated to the memory of my dear friend and Letterhead mentor, Bill Riedel Sr. (1928-2018). Bill's amazing talents, along with his gift of sharing and teaching, changed my life forever. When I grow up, I want to be like Bill Riedel! 谨以此书纪念我的挚友和信笺指导老师比尔-里德尔（Bill Riedel Sr.，1928-2018 年）。比尔令人惊叹的才华以及他的分享和教学天赋永远地改变了我的生活。长大后，我想成为比尔-里德尔那样的人！
ACKNOWLEDGMENTS 致谢
This book was made possible by the generous help and support of these fine people and companies and by the trust of my loyal customers whose vehicles appear throughout these pages. Special thanks to Carol Mittelsdorf (again) for her organizational skills, patience, and friendship: 本书得以出版，离不开这些优秀人士和公司的慷慨帮助和支持，也离不开我的忠实客户的信任，他们的车辆在书中随处可见。特别感谢卡罗尔-米特尔斯多夫（再次）的组织能力、耐心和友谊：
1 Shot Paint
John Downer
Seth Katz
Phoenix Auto Restoration 凤凰城汽车修复
3 Dog Garage
Ray Drea
Katz's Marina 卡茨码头
Pinstripe Legends 细条纹传奇
Alpha 6 Corporation 阿尔法 6 公司
Rich Fass
Bob Kayes
PMZ Landscaping PMZ 园艺公司
American Sign Museum 美国标志博物馆
Freeway Automotive Freeway 汽车公司
Andrew Mack & Son 安德鲁-麦克父子公司
Ronan Paints
Brandon Anderson 布兰登-安德森
& Tire Pros
Brush Co.
Ed Roth
Henry Astor
Don Garlits
Pekka Mannermaa 佩卡-曼纳尔马
Glenn Smith
Bill Beckner
Robert Genat
Ralph Marano
Todd Swormstedt 托德-斯沃姆施泰特
Bob Behounek
Alton Gillespie 奥尔顿-吉莱斯皮
Stephen Memishan 斯蒂芬-梅米山
Tamco Paint
Don Boeke
Dave Hightower 戴夫-海托尔
Pat Minervini 帕特-米内维尼
Manufacturing
Urban Billmeire
Axalta Hot Hues Axalta 热色调
Carol Mittelsdorf 卡罗尔-米特尔斯多夫
Robert Turnquist 罗伯特-特恩奎斯特
Joe Broxterman 乔-布罗克斯特曼
Ida Automotive 伊达汽车公司
Roger Morrison 罗杰-莫里森
W&B Gold Leaf, LLC W&B Gold Leaf, LLC
Vic Collins and the Crew 维克-柯林斯和工作人员
Bob Ida Sr.
Russ Mowry
Glen Weisgerber
DeWayne Connot 德韦恩-康诺
Robert Ida Jr. 小罗伯特-伊达
Mark Oatis
Clay White
Rob Cooper
Island Dragway 岛式拖曳跑道
Wally Parks NHRA 沃利-帕克斯 NHRA
Kenny Youngblood 肯尼-扬布拉德
CRA Trucking
Chris Johnson 克里斯-约翰逊
Motorsports Museum 赛车博物馆
Bill Crissman 比尔-克里斯曼
Eric and Joanna Johnson 埃里克和乔安娜-约翰逊
Petersen Automotive 彼得森汽车公司
Dave Crouse
Gerry Johnson 格里-约翰逊
Museum
Von Dago
Kevin Johnson 凯文-约翰逊
Skipp Phelps
Special thanks, also, to all my "pinhead" brethren, who freely give their time and talents, volunteering to support the many charities that are dear to me: 还要特别感谢我所有的 "针头 "兄弟，他们无偿地奉献自己的时间和才能，志愿支持我所珍视的众多慈善机构：
Children's Hospital of Wisconsin, www.childrenswi.org 威斯康星州儿童医院，www.childrenswi.org
I: wasn't that long ago (up until the mid-1980s) that sign artists not only didn't much see or talk to each other but saw each other as "competitors." This all changed when I don't know who decided to have the first get-together with other painters. These "Sign Painters' Balls" (also called "Brush-Ins" or "Letterhead Meets") were an overnight success. The artists suddenly realized that their competitors were not only pretty nice guys and gals but that they all had the same issues. They began sharing materials and techniques and gifting each other with panels. They became the best of friends! 我：不久前（直到 20 世纪 80 年代中期），签名艺术家之间不仅很少见面或交谈，而且还将彼此视为 "竞争对手"。不知是谁决定与其他画家举行第一次聚会，这一切都改变了。这些 "招牌画家舞会"（也叫 "画笔舞会 "或 "信纸舞会"）一夜之间大获成功。画家们突然意识到，他们的竞争对手不仅都是好人，而且都有同样的问题。他们开始分享材料和技术，并互相赠送画板。他们成了最好的朋友！
It was at one such gathering (I believe a casual meeting at the NHRA Englishtown drag races) that I met Alan Johnson. Alan's reputation, however, had preceded him-Ron Myers had raved about his amazing talent, so I was not all that surprised when I saw his work. I would describe Alan as a "technician"-his work is precise and flawless; yet, to the eye, it flows smoothly. My favorite works of Alan's are the goldleaf names he so deftly applies to the transoms of priceless, wooden runabouts-stunning Art Deco Chris-Crafts whose owners demand the very best. 正是在这样的一次聚会上（我相信是在 NHRA 英格斯敦赛车比赛中的一次偶然会面），我认识了艾伦-约翰逊。不过，艾伦的名声在外--罗恩-迈尔斯（Ron Myers）曾对他的惊人才华赞不绝口，所以当我看到他的作品时并不感到惊讶。我认为艾伦是一位 "技师"--他的作品精确无暇，但又流畅自如。我最喜欢艾伦的作品是他巧妙地在无价的木制帆船的横梁上贴上金箔的名字--这些装饰艺术风格的 Chris-Crafts 船主要求的是最好的。
Alan's talent, however, is not his greatest asset. For me, the measure of a man is where he stands with his Maker, and although I have spent probably less than an hour of time with him personally, I know that Alan and I are brothers in Christ. Our hands will eventually tremble, the paint will fade, and the gold leaf will deteriorate, but blessed are those who put their treasure in Heaven! 然而，艾伦的才华并不是他最大的财富。对我来说，衡量一个人的标准是他与造物主的关系，虽然我与他相处的时间可能还不到一个小时，但我知道艾伦和我是基督里的兄弟。我们的手终将颤抖，油漆终将褪色，金箔终将变质，但把财宝放在天堂的人是有福的！
I was very pleasantly surprised when Alan asked me to write this introduction. I am greatly honored and cherish our friendship. Thank you, Alan! 当艾伦请我写这篇序言时，我感到非常惊喜。我非常荣幸，也非常珍惜我们之间的友谊。谢谢你，艾伦！
Kenny Youngblood and the author. Kenny Youngblood 和提交人。
INTRODUCTION 引言
QUESTION: How do you learn how to pinstripe? ANSWER: Get one gallon of 1-Shot lettering paint and three or four pinstriping brushes. When you get to the bottom of the can, you'll know how to pinstripe. 问题：如何学习细条纹？答：1：买一加仑 1-Shot 刻字漆和三四把细条纹刷子。当你刷到罐底时，你就会知道如何画细条纹了。
Having been asked to write a book on the subject, I searched the back pages of my mind and found a memory of me as a 12-year-old kid at a car show at the New York Coliseum, where for the first time I saw a hot rod being pinstriped, and by the master himself: Ed "Big Daddy" Roth. I was mystified by his palette, the can of paint with the arrow and bulls-eye on it, and exotic brush he was using. 在受邀撰写一本关于这一主题的书时，我翻遍了脑海中的记忆，找到了我 12 岁时在纽约体育馆参加车展的记忆：艾德-"大老爸"-罗斯我对他的调色板、印有箭头和靶心的颜料罐以及他使用的奇特刷子感到非常神秘。
I thought to myself, so that's how it's done. Armed with little more than a desire to attempt this unusual type of painting, I set out in search of the materials I witnessed Ed Roth using to bring my dream of painting hot rods to life. Who knew that some 30 years later, Ed would be sending people to have their cars striped by me at a car show? He was a great guy. I grew up outside of the small town of Red Bank, New Jersey, and saw very few cars with pinstriping on them, let alone anyone actually pinstriping a car in person. With many questions in my head, I sought out the only information available to me at the time, which came from a few small rod and custom magazines with even smaller pictures of dashboards covered in cool-looking lines. 我心想，原来如此。抱着尝试这种不同寻常的绘画方式的愿望，我开始寻找我亲眼目睹的埃德-罗斯（Ed Roth）使用的材料，将我的热力赛车绘画梦想变为现实。谁知道 30 多年后，埃德会在车展上派人把他们的车交给我进行彩绘呢？他是个了不起的人。我在新泽西州红岸小镇外长大，很少看到汽车上有细条纹，更不用说有人亲自给汽车做细条纹了。带着满脑子的疑问，我查找了当时仅有的信息，这些信息来自一些小的汽车和定制杂志，上面有更小的仪表盘上布满酷炫线条的图片。
After much searching, I bought a brush in a wallpaper and paint store and I started painting everything in sight. Little knowledge is not necessarily a bad thing. I tested the limits of everything that brush could and could not do. Trial and error is the best teacher. Since I didn't know I couldn't stripe, I just did it. 经过多方寻找，我在一家墙纸和涂料店买了一把刷子，开始粉刷眼前的一切。知识少未必是坏事。我测试了刷子能做和不能做的一切极限。试错是最好的老师。因为我不知道我不能画条纹，所以我就画了。
This is the way I learned to pinstripe: 1 gallon of paint and a few brushes. If you have the hunger and the desire to triumph over the unknown, you will get to the bottom of the can. If you never really wanted to learn and you give up halfway through the can, you are only out the price of a can of paint and a few brushes. You can always pass them on to the kid down the street. 这就是我学习细条纹的方法：1 加仑颜料和几把刷子。如果你有战胜未知的饥饿感和愿望，你就能把罐子装到底。如果你从未真正想学，而是半途而废，那么你只损失了一罐颜料和几把刷子。你总是可以把它们传给街上的孩子。
"The little books," as we called them, were full of hard-to-see striping photos, but they were about all a kid in River Plaza, New Jersey, could find about pinstriping. I would fall asleep reading those magazines as headlights raced across my bedroom walls. 我们称它们为 "小书"，里面都是很难看到的细条纹照片，但对于新泽西州河广场的一个孩子来说，这是他们能找到的关于细条纹的所有资料。当车灯穿过我卧室的墙壁时，我读着这些杂志睡着了。
If you picked up this book, you are also interested in hand-lettering. Anything worthwhile needs to be studied to be successful. Learning letter structure, fonts, variations, and adaptations is a never-ending process. Studying basic lettering and practicing hand-painted alphabets will sharpen your skills, which is critical before attempting advanced lettering techniques. The new chapters on hand-lettering and gold leaf focus on those advanced techniques that have served me well in my professional career. 如果你买了这本书，那么你也对手写体字母感兴趣。任何有价值的事情都需要学习才能取得成功。学习字母结构、字体、变化和改编是一个永无止境的过程。学习基础字母和练习手绘字母可以磨练你的技能，这对尝试高级字母技巧至关重要。关于手绘字母和金箔的新章节重点介绍了那些在我的职业生涯中大显身手的高级技巧。
The same paint store where I bought my first pinstriping brush also offered lettering brushes. I also purchased a copy of The Speedball Textbook: A Comprehensive Guide to Pen and Brush Lettering, which taught me the three basic font groups of lettering structure: Gothic, Roman, and Script. 在我买第一支细条纹画笔的那家油漆店里，也提供刻字画笔。我还买了一本《速写教科书》：这本书教会了我字母结构的三个基本字体组：它教会了我字母结构的三个基本字体组：哥特式、罗马式和楷书。
My first gold-leaf job, as a teenager, was gold-leafing a Chinese dragon on a Harley-Davidson. It was an epic failure because I didn't have any information on preparation or how long each step of this temperamental process takes. The most important thing I have learned over the years is to do a lot of tests to learn the correct "tack point" as not to waste the very expensive gold leaf. After fifty-plus years, I'm getting the hang of it. 我十几岁时做的第一件金箔工作是为哈雷戴维森摩托车上的一条中国龙镀金。那是一次史无前例的失败，因为我不知道任何关于准备工作的信息，也不知道这个易变的过程中每一步需要多长时间。多年来，我学到的最重要的一点就是要做大量的试验，掌握正确的 "粘点"，以免浪费昂贵的金箔。五十多年过去了，我逐渐掌握了诀窍。
As a new lettering artist, Cassie Enancich collected and studied these informative books, which I recommend that you do as well. The learning never stops. 作为一名新的刻字艺术家，Cassie Enancich 收集并研究了这些内容丰富的书籍，我建议你也这样做。学习永无止境。
Gold leaf richly accents any design, adding an elegance that is unsurpassed in its mysterious attraction. There is nothing that says class like 23-karat gold-leaf lettering or graphics. Just a little accent brings richness to an otherwise average lettering job. 金箔为任何设计都增添了丰富的色彩，增添了无与伦比的高雅神秘魅力。没有什么比 23K 金箔字母或图案更能彰显品位了。只要稍加点缀，就能为普通的刻字工作带来丰富的内涵。
My goal with this book is to lift the veil of mystery that has surrounded pinstriping, lettering, and gold-leafing for the beginner and eliminate the fear of learning. Hopefully, car enthusiasts will find it entertaining. Veterans might find a few new insights to make their jobs a little more enjoyable. 我写这本书的目的是为初学者揭开围绕细条纹、刻字和金箔的神秘面纱，消除他们对学习的恐惧。希望汽车爱好者能从中找到乐趣。老手们可能会发现一些新的见解，使他们的工作更愉快一些。
I hope to introduce you to all the materials and methods you may need to get to "the bottom of the can." There are as many ways to pinstripe as there are brushes and pinstripers who hold them. The brother- and sisterhood of fellow artists have graciously shared their knowledge and techniques with me, adding up to numerous years of experience that I now will share with you. 我希望向您介绍 "罐底 "可能需要的所有材料和方法。有多少支画笔和画笔手，就有多少种细条纹方法。艺术家兄弟姐妹们慷慨地与我分享了他们的知识和技巧，加上我多年的经验，现在我将与你们分享。
But remember: You will have to see what works for you. About halfway through the can, you will know. So just get the brush and let's go! 但请记住：你必须看看什么适合你。罐子用到一半的时候，你就会知道了。所以，拿上刷子，我们走吧！
CHAPTER 1 第 1 章
A UNIQUE AMERICAN ART FORM
T here are many theories about when pinstripes were first laid down as decoration. Some say the Egyptian chariots were highly decorated with pinstriping. I'll let the experts squabble over which theory is correct. 关于细条纹最早是什么时候作为装饰出现的，有很多说法。有人说埃及战车上有大量细条纹装饰。至于哪种说法正确，就让专家们去争论吧。
This is how I imagine it all began. Pinstriping started soon after the invention of the wheel. The guy with the second set of wheels didn't want to be second-class, so he found a guy in a cave who had chewed roots into soft fibers that he then used to decorate his walls with paints made from berries. This unusual fellow with the chewed roots decorated this second-class set of wheels into the first custom wheels. Soon all the other cave dwellers were lining up to get their rides to look cooler than the last. Chewing roots into a crude brush had its drawbacks, though. It seems that the roots contained some kind of hallucinogenic that left this artist staring into space for hours at a time. Soon, work piled up that he never got around to finishing. The people waiting got tired of all the excuses; they found another guy living down by the river who was famous for hunting sabertooth squirrels. He also was known for painting cool designs with a stick that had squirrel hair tied to the end. And so the first good brush without side effects was born. 这就是我想象中的起源。细条纹始于车轮发明后不久。拥有第二套车轮的人不想做二等车轮，于是他在山洞里找到了一个把树根嚼成柔软纤维的人，然后用浆果制成的颜料来装饰墙壁。这个不寻常的家伙用咀嚼过的树根把这套二等车轮装饰成了第一套定制车轮。很快，其他所有的洞穴居民都排起了长队，希望自己的车比别人的更酷。不过，把树根嚼成简陋的刷子也有缺点。树根中似乎含有某种致幻剂，让这位艺术家一连几个小时都瞪大了眼睛。很快，他的作品堆积如山，却始终无法完成。等待的人们厌倦了所有的借口；他们找到了住在河边的另一个人，这个人以猎杀剑齿松鼠而出名。他还以用一根末端绑着松鼠毛的棍子画很酷的图案而出名。就这样，第一支没有副作用的好刷子诞生了。
The dust of time passed with numerous other experiments, which led to further developments in the wheel, pigments, and paint technology. Stone gave way to woodspoked wheels. Carriage ornamentation and coach lining boomed during the Victorian Era. This new prosperity and opulence had neighbors once again trying to outshine each other. This "Carriage Era" was a time of unprecedented development. Carriage manufacturing was at its peak. A variety of ornamentation and decoration was painted onto each and every machine that existed during this time. Also, paint and varnish manufacturers broadened their palettes and developed more durable colors. The demand for ornamentation also moved some "stripers," as they were now called, to experiment and refine their striping "pencils," as they were called during 随着时间的尘埃落定，其他许多实验也随之进行，从而进一步发展了车轮、颜料和油漆技术。石制车轮让位于木制车轮。马车装饰和马车内衬在维多利亚时代蓬勃发展。这种新的繁荣和富裕让邻居们再次试图超越对方。马车时代 "是一个空前发展的时代。马车制造业达到了顶峰。在这一时期，每台机器上都涂上了各种装饰和装潢。同时，油漆和清漆制造商也扩大了调色板，开发出了更耐久的颜色。对装饰品的需求也促使一些 "条纹工"（现在人们称他们为 "条纹工"）开始尝试和改进他们的条纹 "铅笔"（当时人们称他们为 "铅笔"）。
Thanks to a slew of articles published in enthusiast magazines, 1954-1955 is sometimes cited as a watershed period for pinstriping. The March 1955 issue of Rod & Custom, with George Barris' heavily "Dutched" 1949 Ford woody on the cover, also included a how-to feature with step-by-step photos that showcased the striping talents of Art Summers. 由于在车迷杂志上发表了大量文章，1954-1955 年有时被视为细条纹的分水岭。1955 年 3 月出版的《Rod & Custom》杂志封面上刊登了乔治-巴里斯（George Barris）的 "Dutched "1949 年福特木质车，该杂志还刊登了一篇附有分步照片的教程，展示了阿特-萨默斯（Art Summers）的条纹设计才华。
and
Another Chrisman Screamer Hits the Strip 又一辆克里斯曼尖叫车驶入大道
mid hamile hit hend rey yell 哈米勒中路撞上亨德雷伊大叫
Other pinstriping features that appeared in hot rodding magazines during late 1954 and early 1955 included a piece about Jack Chrisman's Von Dutch-striped '29 Tudor in the December 1954 issue of HOT ROD (left) that was followed two months later by Bob D'Olivo's article, "Camel's Hair Capers," in the same publication. The cover of that issue (right) featured an Eric Rickman Ektachrome of the Reed Bros./Leroy Neumayer bellytank lakester, which had been flamed and striped by Von Dutch. 1954 年末和 1955 年初，热车杂志上还出现了其他细条纹特写，其中包括《HOT ROD》1954 年 12 月刊上关于杰克-克里斯曼（Jack Chrisman）的 Von Dutch Stripped '29 Tudor 的文章（左图），两个月后，鲍勃-达利沃（Bob D'Olivo）在同一刊物上发表了题为 "Camel's Hair Capers "的文章。该期杂志的封面（右图）采用了埃里克-里克曼（Eric Rickman）的 Ektachrome 照片，照片中的这辆里德兄弟/勒罗伊-诺伊迈尔（Leroy Neumayer）的腹槽式湖泊车经过了冯-达奇（Von Dutch）的火焰和条纹处理。
this time. The hair of choice for these new brushes was, you guessed it, squirrel! The highest designing and artistic standards were developed by respected artists such as, Fred Weber, S. H. Redmond, and others. Safes, wagons, omni-buses, streetcars, and railroad coaches all became works of art adorned in scrollwork as the horse slowly gave way to horsepower. 这一次。你猜对了，这些新画笔的毛发就是松鼠毛！弗雷德-韦伯（Fred Weber）、S. H. 雷德蒙德（S. H. Redmond）等受人尊敬的艺术家制定了最高的设计和艺术标准。随着马力逐渐让位于马力，保险箱、马车、公共汽车、有轨电车和铁路客车都成了装饰有卷轴的艺术品。
The horseless carriage was just that-some looked as if engines were retrofitted to existing carriages. Therefore, the art form of pinstriping carried over without much change. But vehicle ornamentation slowly declined to just coach lining until the 1950s, when some guy playing a flute and painting crazy designs, along with some other colorful characters in California, decided to open the paint box again. 无马车就是这样，有些看起来就像是在现有马车上加装了发动机。因此，细条纹这种艺术形式一直沿袭下来，没有太大变化。但汽车装饰慢慢衰落，只剩下车厢内衬，直到 20 世纪 50 年代，一个吹着笛子、画着疯狂图案的人，与加利福尼亚其他一些色彩斑斓的人物一起，决定再次打开颜料盒。
Although some believe he invented a line of designer caps and T-shirts, Kenneth "Von Dutch" Howard was the self-proclaimed originator of "modern pinstriping." His freeform style is still seen today. Many other pioneers like Ed "Big Daddy" Roth, Dean Jeffries, and Tommy "The Greek" Hrones, to name just a few, also helped popularize pinstriping. Again, I'll let the experts argue over who did what first. I'm just truly thankful that this art form is still to this day loved and enjoyed for what it is. Oh . . I'm also thankful for squirrels. 尽管有人认为他发明了一系列设计师帽子和 T 恤衫，但肯尼斯-"冯-达奇"-霍华德（Kenneth "Von Dutch" Howard）自称是 "现代细条纹 "的鼻祖。他的自由风格至今仍被人们津津乐道。其他许多先驱者，如 "大爹 "埃德-罗斯（Ed "Big Daddy" Roth）、迪恩-杰弗里斯（Dean Jeffries）和 "希腊人 "汤米-赫罗内斯（Tommy "The Greek" Hrones）等，也都为细条纹的普及做出了贡献。我还是让专家们去争论谁先做了什么吧。我只是由衷地感谢这种艺术形式至今仍然受到人们的喜爱和享受。哦......我还要感谢松鼠。
GARAGE TO GALLERY WALLS 车库到画廊墙
The "kustom" culture enjoyed pinstriping for decades, without really realizing that it really is art. But I don't think it would make a bit of difference if pinstriping were awarded the badge of "real" art by some art critic. Just as that social outcast, the hot rod, slowly found acceptance in society as the more sophisticated "street rod," pinstriping_one "lowbrow" art form 几十年来，"风俗 "文化对细条纹乐此不疲，却并没有真正意识到它是一门艺术。但我认为，如果细条纹被某个艺术评论家授予 "真正 "艺术的徽章，那也不会有什么不同。就像被社会抛弃的 "热车"（hot rod）慢慢被社会接受，成为更高级的 "街车"（street rod）一样，细条纹也是一种 "低俗 "的艺术形式。
Ed "Big Daddy" Roth signed my striping kit at a car show in 1992. On it, he wrote, "Follow the Spirit." What a weekend we had, sharing stories that ranged from General Motors to theology. I was thrilled to finally have the chance to meet him and tell him the story of our first encounter at the New York Coliseum when I was a lad of 12. He was a major inspiration for me as I learned to paint. 1992 年，在一次车展上，"大老爸 "埃德-罗斯在我的车身上签了名。他在上面写道："追随精神"我们度过了一个愉快的周末，分享了从通用汽车到神学的各种故事。我很高兴终于有机会见到他，并向他讲述了我们 12 岁时在纽约体育馆初次见面的故事。 在我学习绘画的过程中，他给了我很大的启发。
from the hot rod world-is gaining appreciation as a uniquely American art form. 作为一种独特的美国艺术形式，它正获得越来越多的赞赏。
While many automotive pinstriping artists have had our art displayed in galleries and at shows, most of us would rather see our artwork viewed on the "gallery of the road." Turning heads and nods of approval always bring a feeling of satisfaction. Without searching too deeply for the underlying reasons, I think the art world today is made up by and for people with serious psychological problems. 虽然许多汽车细条纹艺术家都曾在画廊和展会上展示过我们的艺术作品，但我们中的大多数人更愿意在 "公路画廊 "上欣赏我们的艺术作品。回头率和赞许的点头总是能带来一种满足感。如果不深入探究其中的原因，我认为当今的艺术界是由那些有严重心理问题的人组成的。
The automotive society first started collecting art in the 1950s. Today, just look at auction results, notably from the Brucker auction held in May 2006 at the Peterson Museum. 汽车协会最早于 20 世纪 50 年代开始收藏艺术品。如今，只要看看拍卖结果，尤其是 2006 年 5 月在彼得森博物馆举行的布鲁克拍卖会的结果就知道了。
Kustom culture gallery auctions are not the only place to find hot rod art. "Real" art galleries from coast to coast are beginning to accept art that pioneers like Von Dutch, Roth, and Robert Williams popularized. An entirely new demographic is beginning to appreciate the art we have enjoyed for years. Today, almost every major auto show hosts a pinstriping jam, after which a sale or auction of the resulting artwork takes place. Terry Cook—promoter of Lead East, the "World's Biggest '50s Party" —had the foresight to offer one of the first gallery settings for artists to demonstrate and sell pinstriping. Auctions held at this event have raised thousands of dollars for children's charities in the past years. Many collectors seek out these types of shows, in order to purchase these pieces of artwork that several artists have worked on. 风俗文化画廊拍卖会并不是寻找热棒艺术品的唯一场所。从海岸到海岸的 "真正 "艺术画廊开始接受像 Von Dutch、Roth 和 Robert Williams 这样的先驱者所推广的艺术作品。一个全新的群体开始欣赏我们多年来喜爱的艺术。如今，几乎每一个大型车展都会举办一次细条纹创作活动，活动结束后，会对创作的艺术品进行销售或拍卖。特里-库克（Terry Cook）是 "世界上最大的 50 年代派对"--Lead East 的发起人，他具有远见卓识，最早为艺术家们提供了展示和销售细条纹的画廊环境。在过去几年中，该活动举办的拍卖会为儿童慈善机构筹集了数千美元的善款。许多收藏家为了购买这些由多位艺术家共同创作的艺术品，都会去参加这类展览。
Annually, artists continue taking pinstriping to new levels of perfection at more and more automotive and pinhead events. And crucial to pinstriping's growing popularity and further development, new artists are learning new ideas and techniques from older pinstripers who freely give time and priceless information gleaned over years of trial and error. 每年，在越来越多的汽车和车迷活动中，艺术家们不断将细条纹工艺推向新的完美境界。对于细条纹的日益普及和进一步发展至关重要的是，新的艺术家们正在从老一辈的细条纹艺术家那里学习新的理念和技术，他们无私地奉献时间和多年试验和错误中积累的无价信息。
CHAPTER 2 PAINT, PRODUCTS, AND COLOR THEORY 第 2 章 涂料、产品和色彩理论
T he first time I saw Ed "Big Daddy" Roth, I watched with amazement as his giant hands worked that tiny brush back and forth on a magazine palette. I had no idea who this wild-looking character was, completely clad in hand-painted, airbrushed attire and wearing his signature top hat. I was mesmerized by the way he went about his work, with steady concentration exuding tons of contagious joy. 第一次见到 "大老爸 "埃德-罗斯时，我惊讶地看着他那双大手在杂志调色板上来回操作那支小小的画笔。我完全不知道这个长相狂野的人物是谁，他全身上下都是手绘和喷绘，还戴着他标志性的高帽。我被他的工作方式迷住了，他全神贯注的神情散发着无尽的快乐。
That magical can of paint, with an arrow and bull's-eye logo, sat on his palette. Every time I see a 1-Shot label or smell the paint, I'm reminded of that encounter so many years ago, watching Ed Roth pinstriping at the legendary New York Coliseum Car Show. 他的调色板上放着一罐神奇的油漆，上面有一个箭头和牛眼标志。每次看到 1-Shot 标签或闻到油漆的味道，我都会想起多年前在传奇的纽约体育馆汽车展上观看埃德-罗斯喷涂细条纹的情景。
Known for its good coverage and high gloss, 1-Shot Lettering Enamel has been the paint of choice for sign-painters and pinstripers for many years. Today, with input from signwriters and stripers, 1-Shot offers a wide range of colors and reducers made for all types of weather conditions. 1-Shot 文字漆以其良好的遮盖力和高光泽著称，多年来一直是标志油漆工和细条纹工的首选涂料。如今，1-Shot 根据招牌书写者和剥离者的意见，提供了适用于各种天气条件的多种颜色和还原剂。
Ronan Lettering Enamel is another good paint for striping. Most stripers have both of these brands in their kits, and for many years each manufacturer has been a great supporter of 罗南字母瓷漆是另一种很好的条纹漆。大多数脱衣舞娘的工具包中都有这两个品牌，多年来，每个制造商都是
1-Shot enamel has been around ever since I can remember. It is named, appropriately, for the way it covers-in one "shot." Additives help the paint to dry harder, which makes it more durable. Enamels can be clear-coated by adding hardener to the enamel, followed by a light sealer coat of clear before the finish clear coat is applied. Using high-temperature reducer made for working in hot weather will keep the paint wetter longer, while a low-temperature reducer evaporates more quickly so the paint will dry faster in cooler weather. 从我记事起，"一枪 "珐琅就已经出现了。它的名字很贴切，因为它的覆盖方式是一 "喷 "即干。添加剂有助于油漆干得更硬，从而使其更耐用。在瓷釉中加入固化剂后，可以对瓷釉进行清漆处理，然后在涂刷清漆面漆之前涂刷一层清漆封层。使用为在炎热天气下工作而制造的高温减水剂可以使油漆保持更长时间的湿润，而低温减水剂蒸发得更快，因此在凉爽的天气下油漆会干得更快。
XOTIC Colours is another full custom-paint supplier that has developed a line of good striping urethanes and high- to low-temperature reducers that make these quick-drying paints easier to control. XOTIC has a wide range of colors, pearls, and metallic paints that cover well. I believe that for durability reasons, urethane paint will become more and more popular as stripers become accustomed to using it. XOTIC Colours 是另一家全面的定制油漆供应商，它开发了一系列具有良好剥离性的聚氨酯和高低温还原剂，使这些快干油漆更易于控制。XOTIC 有多种颜色、珍珠色和金属漆，遮盖力很好。我相信，出于耐用性的考虑，随着脱衣舞者习惯使用聚氨酯涂料，这种涂料会越来越受欢迎。
The Alsa Corporation, a full custom-paint supplier, has introduced a striping urethane to its line of products. Stripers have been requesting a good striping urethane for years and this is one of them. 阿尔萨公司（Alsa Corporation）是一家全面的定制油漆供应商，该公司在其产品系列中推出了一种条纹聚氨酯。多年来，脱漆剂生产商一直在寻求一种优质的脱漆聚氨酯，而这种聚氨酯正是其中之一。
letterheads and pinheads at gatherings all over the world. Ronan offers a complete line of colors and paint products and has a great selection of reds that I like and which cover well. 在世界各地的聚会上使用信纸和大头针。罗南提供完整系列的颜色和油漆产品，有我喜欢的、遮盖力强的红色可供选择。
To comply with government regulations, some ingredients, such as lead, have been removed or substituted. Hardeners have been added to lend durability to the paint. Some stripers use automotive reducers (known as hot reducers in the trade) to make these paints perform the way they want. However, some hot reducers tend to break down the chemical makeup of the paint, so glossy paints may flatten out or become dull prematurely. Play it safe: stick with the reducers provided by the paint manufacturers. 为了符合政府规定，某些成分（如铅）已被去除或替代。为了使油漆更耐用，还添加了硬化剂。一些脱漆剂使用汽车减速器（业内称为热减速器）来使这些油漆达到他们想要的性能。但是，有些热还原剂会破坏油漆的化学成分，因此光亮的油漆可能会过早地变得平淡无光。安全起见：坚持使用涂料生产商提供的还原剂。
Kustom Shop, a new company that clearly has the graphic artist in mind, offers a modified alkyd enamel designed to provide excellent hiding, superior flow, high gloss, durability, and faster drying time than traditional striping enamels. The EZ-Flow line includes many new vibrant colors, plus a variety of low-luster hues that are great for striping suede paint jobs. EZ-Flow striping and lettering hardener, mid- and high-temperature reducers, and brush-preserving oil finish off this quality line nicely. I recommend you try all of these brands to see which works best for you. Kustom Shop 是一家以图形艺术家为目标的新公司，它推出的改性醇酸磁漆具有出色的遮盖力、卓越的流动性、高光泽、耐久性，而且干燥时间比传统磁漆更快。EZ-Flow 系列包括许多新的鲜艳色彩，以及各种低光泽色调，非常适合麂皮条纹涂装。EZ-Flow 划线和刻字固化剂、中温和高温还原剂以及刷子防腐油为这一优质系列画上了完美的句号。我建议您尝试所有这些品牌，看看哪种最适合您。
There have been several attempts to produce a quality, water-based lettering and striping paint. Not many manufactures have had any success promoting them in today's professional market. Because natural-fiber brushes have continued on page 18 人们曾多次尝试生产高质量的水性刻字和划线涂料。但在当今的专业市场上，成功推广这些产品的厂家并不多。因为天然纤维画笔已
The artist-owned Alpha 6 艺术家所有的阿尔法 6
Corporation is known for highquality paint and tools, including a full line of enamel, acrylic, textile, and airbrush paint. Alpha 6 currently offers 500 products spanning multiple disciplines. 阿尔法 6 公司以高品质的颜料和工具而闻名，包括全系列的瓷釉颜料、丙烯颜料、纺织品颜料和喷绘颜料。阿尔法 6 目前提供 500 种产品，涵盖多个领域。
Above: Hot PinStripe Efx by Axalta Coating Systems is a urethane pinstripe and lettering product available in 28 colors, most matched to common sign enamel colors (plus a few custom metallic colors). The colors are inter-mixable (including the metallics) for an array of custom colors. They are available in 4- and 8-ounce cans. The company's activator and reducer are available in 8-ounce cans. 上图：Axalta 涂料系统公司的 Hot PinStripe Efx 是一种聚氨酯细条纹和刻字产品，有 28 种颜色可供选择，其中大部分与常见的标牌瓷釉颜色相匹配（另外还有一些定制的金属色）。这些颜色可相互混合（包括金属色），以获得各种定制颜色。有 4 盎司和 8 盎司两种罐装。该公司的活化剂和还原剂为 8 盎司罐装。
Left: W&B Gold Leaf, LLC, created the "Alan Johnson Starter Gold Leaf Kit," for beginners. To order, go to www.wbgoldleaf.com or call (920) 459-8206. 左图：W&B Gold Leaf, LLC 为初学者设计了 "Alan Johnson 入门金箔套件"。如需订购，请访问 www.wbgoldleaf.com 或致电 (920) 459-8206。
Each kit includes the following: 每个套件包括以下内容
4-ounce can of DUX top coating 4 盎司罐装 DUX 顶部涂料
4-ounce can of DUX quick-dry gold size 4 盎司罐装 DUX 金色快干规格
12-leaf book of 23kt XX Deep Gold Leaf Patent 12叶23K XX深金箔专利书
1 velvet spinner 1 个天鹅绒纺纱机
Triadic harmonies are any three colors forming a triangle on the color wheel. 三色和声是指任何三种颜色在色轮上形成一个三角形。
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"bad-hair days" when soaked in water-based paints (certainly not a favorite pastime of our friends, the squirrels), manufacturers have developed synthetic brushes that work well with these products. 在浸泡在水性涂料中的 "坏毛日"（当然这不是我们的朋友松鼠最喜欢的消遣），制造商已经开发出了能与这些产品很好配合的合成刷子。
Lately, striping with urethanes has been gaining popularity for a number of good reasons. They dry quickly, so you can work fast, and they are more durable in the long run. For years, some stripers have used single-stage urethanes produced by DuPont, PPG, and other automotive paint brands. House of Kolor has added more colors over the years to keep up with the demands of the ever-widening custom-paint business. 最近，使用氨基甲酸乙酯进行划线的做法越来越受欢迎，原因有很多。它们干得快，因此可以快速施工，而且从长远来看更耐用。多年来，一些脱漆工使用杜邦、PPG 和其他汽车漆品牌生产的单级聚氨酯。多年来，House of Kolor 增加了更多的颜色，以满足不断扩大的定制油漆业务的需求。
I do not recommend urethanes for beginners; they are not as forgiving as enamels. Because of their quick-drying nature, they take a little more time to get used to. Urethanes are, however, great for striping when you plan to spray a clear topcoat over your striping. Because of urethane's durability, there's no need to worry about lifting problems that can occur when you clear-coat over enamel. 我不建议初学者使用聚氨酯，因为它们不像瓷漆那样宽容。由于它们具有快干的特性，因此需要更多的时间来适应。不过，当您计划在条纹上喷涂透明面漆时，聚氨酯是条纹漆的理想选择。由于氨基甲酸乙酯的耐久性，因此不必担心在瓷漆上喷涂透明面漆时可能出现的翘起问题。
Alsa Corporation, XOTIC Colours, and others have been developing urethane striping product lines with good arrays of colors, including premixed metallics and pearls, plus clears that can be used to create custom blends by adding powdered metallics, pearls, and even metalflakes. The coverage of these products is very good as well. Alsa 公司、XOTIC Colours 公司和其他公司一直在开发聚氨酯条纹产品系列，其中包括预混合金属色和珍珠色，以及可通过添加金属粉末、珍珠色甚至金属片来定制混合色的透明色。这些产品的覆盖率也非常高。
COLOR THEORY 色彩理论
Basic color theory could fill volumes of books, but as far as we are concerned with vehicle pinstriping, a basic understanding should get you out of the woods. The following is a summary of the rules that you should be aware of when you approach a vehicle-striping project. I encourage you to investigate color theory more deeply if you wish to pursue a serious profession in pinstriping. The more you know, the better you will become. 基本的色彩理论可以写满几本书，但就我们所关注的车辆细条纹而言，基本的理解应该能让你摆脱困境。下面总结了在进行车辆细条纹项目时应该注意的一些规则。如果你想在汽车细条纹方面有一番作为，我鼓励你对色彩理论进行更深入的研究。了解得越多，你就会变得越优秀。
Isaac Newton discovered the color spectrum in the 1600 s. He taught us that light equals color. The visible color spectrum consists of red, orange, yellow, green, blue, indigo, and violet. 艾萨克-牛顿在 1600 年代发现了色谱。可见光谱包括红、橙、黄、绿、蓝、靛和紫。
Without getting our brains tangled up, try thinking of the visible color spectrum as a pie and each color of the 在不使我们的大脑纠结的情况下，试着把可见光色谱想象成一个饼，而饼上的每种颜色
Tetrad or double complements are any four colors forming a rectangle or square on the color wheel. 四色或双补色是指在色轮上形成矩形或正方形的任意四种颜色。
spectrum as a slice of the pie. Red, blue, and yellow are primary colors, from which all other colors can be made. Orange, violet, and green are secondary colors, which are created by combining any two primary colors in equal intensity. Intermediary colors are created by varying the percentage of the primary and secondary colors that are mixed together (yellowgreen, blue-green, etc.). The result is 12 bues that make up a traditional color wheel. 光谱就像一块馅饼。红色、蓝色和黄色是三原色，所有其他颜色都是由它们产生的。橙色、紫色和绿色是次要色，通过将任意两种原色以相同的强度混合在一起而产生。中间色是通过改变混合在一起的原色和次要色（黄绿、蓝绿等）的比例产生的。这样就形成了传统色轮的 12 种颜色。
Complementary colors are colors opposite each other on the color wheel, i.e., red and green, yellow and violet, and blue and orange. These are said to complement each other or work well together. 互补色是色轮上相对的颜色，如红色和绿色、黄色和紫色、蓝色和橙色。这些颜色被称为互补色或搭配得很好的颜色。
Here are some basic color rules to memorize: 下面是一些需要记住的基本颜色规则：
Neutral gray is the result of mixing equal parts of any two complementary colors. 中性灰是任意两种互补色等量混合的结果。
Adding white to any hue makes a tint. 在任何色调中加入白色，就会形成色调。
Adding black to any hue makes a shade. 在任何色调中加入黑色，就能形成一种色调。
Adding white and black makes tones of any hue. 加上白色和黑色，就能调出任何色调。
Triadic harmonies are any three colors forming a triangle on the color wheel. 三色和声是指任何三种颜色在色轮上形成一个三角形。
Tetrad or double complements are any four colors forming a rectangle or square on the color wheel. 四色或双补色是指在色轮上形成矩形或正方形的任意四种颜色。
Color affects us in many different ways. Green gives many people a sense of serenity. Orange represents joy and sunshine. Subtle colors calm us; stronger, intense colors stimulate us; pastels seem delicate, and deep, rich colors look and feel luxurious. Visually, warm colors (red, orange, and yellow) advance; cooler colors (blue and green) recede; light colors make objects look larger, and dark colors make the same objects look smaller. 色彩以多种不同的方式影响着我们。绿色给人宁静的感觉。橙色代表快乐和阳光。微妙的色彩让我们平静；强烈的色彩刺激我们；柔和的色彩显得精致，而深沉、丰富的色彩看起来感觉奢华。在视觉上，暖色（红色、橙色和黄色）前进，冷色（蓝色和绿色）后退；浅色让物体看起来更大，深色让同样的物体看起来更小。
That's enough for now, we can keep going forever, but it's time to paint. Because color is so important to me, we will discuss color theory again throughout the book. Just remember that a well-thought-out color combination complements any automotive restoration job. 现在就说到这里吧，我们可以一直说下去，但现在是时候画画了。因为颜色对我来说非常重要，所以我们将在本书中再次讨论色彩理论。请记住，经过深思熟虑的色彩搭配可以与任何汽车修复工作相得益彰。
CHAPTER 3 PINSTRIPING TOOLS 第 3 章 细条纹工具
BRUSHES 刷子
Tn 1891 Andrew Mack, an accomplished carriage striper, 1 became frustrated with the quality of brushes available at the time and set out to make his own. Today, hand-tied Mack brushes are still made to the same specifications as they were back in the 1800 s. 1891 年，安德鲁-麦克（Andrew Mack）是一位出色的马车脱衣舞表演者，1 他对当时的毛刷质量感到失望，于是开始自己制作毛刷。如今，手工扎制的麦克刷仍然按照 19 世纪时的规格制造。
Today, pinstriping brushes are available in a wide variety of styles and sizes to fit any type of pinstriping need. In the past, stripers made their own "striping pencils," as they were called, from a portion of a larger camel hair brush. Incidentally, "camel hair" brushes get their name from their inventor, one Mr. Camel; they do not and never have consisted of camel hair, which is woolly and would be unsuitable for the purpose. Instead, the hair often comes from the tail of a squirrel. Blue squirrel is the most readily available. These hairs are very soft and are available in long lengths. Before manufacturers took up striping brushes, the hair was manipulated into the desirable shape by twisting it between the forefinger and thumb. 如今，细条纹刷的样式和尺寸多种多样，可以满足任何类型的细条纹需求。过去，脱衣舞娘们用大号骆驼毛刷的一部分自制 "脱衣舞笔"。顺便提一下，"骆驼毛 "刷的名字来源于它的发明者--骆驼先生；骆驼毛刷并不是也从来都不是由骆驼毛组成的，因为骆驼毛是羊毛，不适合用于这种用途。取而代之的是松鼠尾巴上的毛。蓝松鼠的毛最容易获得。这些毛非常柔软，长度也很长。在生产商开始使用条纹刷之前，人们用食指和拇指将毛捻成理想的形状。
Some pinstripers still customize larger brushes to suit their needs, often trimming down or retying the hair to 一些细条纹画师仍然会根据自己的需要定制较大的画笔，通常会将画笔毛修剪或重新打结，使其更美观。
This fine scrollwork in gold leaf with tiny details by Dave Hightower is a fine example of the need for a variety of good quality brushes. make smaller or shorter brushes. The first pinstriping brush I ever found was made in the Dominican Republic in sizes 00 and 0 . The little paint and wallpaper store where I bought them also carried sign-painting quills in various sizes. These "Old Dominicans," as we called them, were excellent for straight lines and also worked well for designs. The Mack Brush Company offers brushes designed with the input of professional stripers that should fill any striping situation, from the finest thin line to the most intricate scrollwork. Dave Hightower 创作的这幅金箔卷轴画具有微小的细节，是需要各种优质画笔的一个很好的例子。我发现的第一支细条纹画笔是多米尼加共和国制造的，尺寸为 00 和 0。我在一家油漆和墙纸小店里买到了这种刷子，店里还出售各种尺寸的标牌画笔。我们称这些 "老多米尼加人 "为 "Old Dominicans"，它们非常适合画直线，也很适合设计。麦克画笔公司提供的画笔是根据专业剥线师的意见设计的，可以满足任何剥线需求，从最精细的细线到最复杂的卷轴。
Many types of brushes are available to suit any type of decorative painting you can imagine. A few other manufacturers in addition to Mack also are making great strides to keep up with the demand for variety and quality. 有多种类型的刷子可供选择，以满足您所能想象的任何类型的装饰绘画。除了 Mack 之外，其他几家制造商也在大踏步前进，以满足对品种和质量的需求。
This brush box is just the right size for traveling around with enough brushes to do most anything that comes along. I just pop it into my luggage and when I reach my destination I find paint at the nearest sign supplier. 这个画笔盒的大小正好适合旅行时使用，有足够的画笔做任何事情。我只需把它放进行李，到达目的地后，就可以在最近的招牌供应商那里找到颜料。
This is a basic kit that you can quickly rig up from simple household items. With a little imagination, you can find plenty of substitutes. It's always an adventure, you know, and necessity is the mother of invention. 这是一个基本工具包，您可以用简单的家用物品快速组装起来。只要有一点想象力，你就能找到很多替代品。要知道，这总是一种冒险，而需要就是发明之母。
STRIPING KIT 涂装套件
I've been striping for over 40 years now, and am blessed with a wonderful studio full of everything I need to do any job that rolls in. But I still work out of my portable paint kit, whether I'm in the studio or on the road. Over the years I've stored my supplies in everything from ammunition boxes to milk crates and metal toolboxes of many sizes. When traveling by plane, I carry a small box with a variety of brushes that I may need to do most anything. 我从事脱衣舞工作已经 40 多年了，我有一个很棒的工作室，里面装满了我所需要的一切，可以完成任何工作。但无论是在工作室还是在路上，我仍然使用便携式颜料包。多年来，我把画具存放在弹药箱、牛奶箱和各种尺寸的金属工具箱中。乘飞机旅行时，我会随身携带一个小盒子，里面装着各种画笔，我可能需要用它们来完成大部分工作。
THE BASIC STRIPING KIT 基本划线套件
Keep a kit stocked with these basic items and you will be ready for most any striping task: 在工具包中备有这些基本物品，就能随时应对各种划线任务：
Wax and grease remover (1 quart) 蜡和油脂清除剂（1 夸脱）
Denatured alcohol (1 pint) 变性酒精（1 品脱）
Paint in primary colors, plus black and white (half-pints) 三原色及黑白颜料（半品脱）
Reducer for hot and cold conditions 适用于冷热条件的减压器
Mineral spirits (1 gallon for brush washing) 矿物油精（1 加仑，用于刷洗）
Paper towels (Bounty towels have no lint) 纸巾（Bounty 纸巾不起毛）
Clipboard and magazine for a palette 用于调色板的剪贴板和杂志
Palette stand or table 调色板架或桌子
Metal double 3-ounce cup holder 金属双 3 盎司杯架
3-ounce paper cups (non-waxed) 3 盎司纸杯（不打蜡）
Brushes in a brush box 画笔盒中的画笔
Ice-cube or small baking tray for brush-soaking 用于浸泡刷子的冰块或小烤盘
Palette knife or craft sticks for paint-mixing 调色刀或手工棒用于混合颜料
3/4-inch and 1/4-inch masking tape 3/4 英寸和 1/4 英寸遮蔽胶带
1/4-inch and 1/8-inch Scotch Fine Line tape 1/4 英寸和 1/8 英寸 Scotch Fine Line 胶带
Small container of baby powder 一小盒婴儿爽身粉
Olfa snap-off blade knife Olfa 弹簧刀
Stabilo pencils (white and blue) Stabilo 铅笔（白色和蓝色）
Saral wax-free transfer paper (1 roll each of white and blue) Saral 无蜡转印纸（白色和蓝色各一卷）
Apron 围裙
Flexible clear plastic ruler or yard stick 柔软的透明塑料尺或码尺
Sketchpad 画板
Striping paint is available from sign suppliers almost anywhere, or you can have it shipped to wherever you are going since it is impossible to carry paint and other flammable liquids with you onboard a plane these days. 划线涂料几乎可以从任何地方的标牌供应商那里买到，或者你也可以把它运到你要去的地方，因为现在不可能把涂料和其他易燃液体带上飞机。
When I was at the Hot Rod Reunion in Bakersfield, California, I had striped and lettered a car that was on display in the lobby of the host hotel. The car had been slightly damaged in transport and needed some touching up. Within 5 miles of the event, I found all the supplies I needed. Like someone said, "Keep it simple, stupid." You can get by with the basics (see sidebar above). 我在加利福尼亚州贝克斯菲尔德参加热棒聚会时，给一辆陈列在主办方酒店大堂的汽车贴上了条纹和字母。这辆车在运输过程中轻微受损，需要修整一下。在离活动地点不到 5 英里的地方，我找到了我需要的所有用品。就像有人说的，"简单点，傻瓜"。基本的东西就可以搞定（见上面的边栏）。
My Colorado/California traveling box expanded after my last trip to the Bakersfield Hot Rod Reunion. I picked up this plastic tackle box at a local shop in Fruita, Colorado, for under while having a flat tire repaired. In it I carry basic paint colors from which you can mix most colors, reducer, a roll of tracing paper, a quart of wax and grease remover, isopropyl alcohol, a clipboard palette with my cup holders, paper cups, a few rolls of tape, and Stabilo pencils. l've lost count of how many cars l've worked on from this simple box. 上次参加完贝克斯菲尔德热车聚会后，我的科罗拉多/加利福尼亚旅行箱又扩大了。我在科罗拉多州弗鲁塔的一家当地商店花了不到 就买到了这个塑料钓具箱，当时我正在补胎。我在里面装了可以调配大多数颜色的基本颜料、还原剂、一卷描图纸、一夸脱的蜡和油脂清除剂、异丙醇、带杯座的写字板调色板、纸杯、几卷胶带和 Stabilo 铅笔。
This is a new addition to my kit, custom-made by my friend, Jake Yenny. It's a small collapsible tripod with a quick-release palette that fits inside my traveling box. When you take to the road you will find creative ways to consolidate and simplify the things you need. 这是我的新装备，由我的朋友杰克-延尼（Jake Yenny）定制。它是一个可折叠的小三脚架，带有快速释放调色板，可以放在我的旅行箱里。当你上路时，你会发现有很多有创意的方法来整合和简化你所需要的东西。
I made my folding "show" table to fold flat so it only takes up about 1 inches of space and slides neatly into the bed of my truck. It has a paper-towel holder, holes for cups and airbrushes, a garbage bag, a palette, and the kitchen sink. 我制作的折叠式 "展示 "桌可以折叠成平面，因此只占大约 1 英寸的空间，可以整齐地放入我的卡车车床。桌子上有纸巾架、杯子和气刷孔、垃圾袋、调色板和厨房水槽。
This antique paint box/bench seat is a good example of using a little creativity to make the most out of a simple box. 这个古色古香的油漆盒/长椅就是一个很好的例子，只要稍加创意，就能充分利用一个简单的盒子。
Here is the same antique combo box used as a table for another paint kit. 这是用同一个古董组合箱作为另一个油漆套件的桌子。
n life we know that nothing worthwhile can be created on a bad foundation. The same principle applies to lettering and pinstriping vehicles. If the surface of a vehicle is not clean and free from all contaminants such as wax, grease, lubricants, fingerprints, silicones, dirt, and the like, the paint you use will not adhere properly. You may invest hours creating a beautiful work of art only to have it peel off-and your reputation with it. Take the necessary steps in preparing surfaces so you will never have to endure the humiliation of redoing all your hard work at your own expense. 在生活中，我们知道没有任何有价值的东西可以在糟糕的基础上创造出来。同样的道理也适用于车辆的刻字和细条纹处理。如果车辆表面不干净，没有蜡、油脂、润滑剂、指纹、硅树脂、灰尘等污染物，您使用的油漆就无法正常附着。您可能要花费数小时才能创造出一件精美的艺术品，但结果却是油漆脱落，您的声誉也会随之受损。采取必要的步骤准备表面，这样您就再也不用忍受自费重做所有辛勤工作的耻辱了。
The car-care business is continually coming up with new "miracle paint-protection systems" to sell to the automotive enthusiast who wants a clean and shiny vehicle. These products contain ingredients such as Teflon, polymer, acrylic, exotic oils, and wax. There is no end to the combinations of elements that manufacturers will use in their quest to outshine the competition. As a professional striper you must stay informed of all the new products in this ever-changing market and arm yourself with the correct equipment to battle the removal of these invisible, slippery contaminants. 汽车护理行业不断推出新的 "神奇漆面保护系统"，向那些希望车辆干净光亮的汽车爱好者兜售。这些产品含有特氟龙、聚合物、丙烯酸、异国情调的油和蜡等成分。生产商为了在竞争中脱颖而出，所使用的各种元素组合可谓层出不穷。作为一名专业脱漆工，你必须随时了解这个瞬息万变的市场上的所有新产品，并用正确的设备武装自己，以清除这些看不见、摸不着的污染物。
Using these surfacepreparation products reduces the possibilities of surface contamination. 使用这些表面处理产品可以减少表面污染的可能性。
Always read all the directions and cautions of any paint products before using them. Use vinyl examination gloves to protect your skin and prevent toxic chemicals from entering your blood stream. 在使用任何涂料产品之前，一定要阅读所有的说明和注意事项。使用乙烯基检查手套保护皮肤，防止有毒化学物质进入血液。
Preparing the surface of the vehicle with a quality wax and grease remover is key to an excellent job. Be sure to read the safety sheets on all paint-related products before testing anything on a customer's vehicle and then carefully adhere to those instructions. 使用优质的蜡和除油剂为车辆表面做好准备是出色完成工作的关键。在对客户的车辆进行任何测试之前，请务必阅读所有油漆相关产品的安全说明，然后认真遵守这些说明。
Static electricity can build up while wiping the surfaces of fiberglass or plastic car and motorcycle parts. The resulting charged surface can actually pull the paint out of the brush before the brush makes contact with the surface. Although the resulting random patterns made by the paint are interesting, they are practically impossible to duplicate or use in a design. To eliminate a static charge, slowly wipe the surface with denatured alcohol or an anti-static cling dryer sheet. Your paint supplier may also carry products specifically made for eliminating static electricity from plastic bumpers. I have had success eliminating static charge by spraying water on the underside of these surfaces before begin to stripe them. 擦拭玻璃纤维或塑料汽车和摩托车零件表面时会产生静电。由此产生的带电表面实际上会在刷子与表面接触之前将油漆从刷子中拉出。虽然油漆产生的随机图案很有趣，但实际上无法复制或用于设计。要消除静电，可以用变性酒精或防静电保鲜干布慢慢擦拭表面。您的涂料供应商可能也有专门用于消除塑料保险杠静电的产品。我曾在 开始划线之前，在这些表面的底部喷水，成功地消除了静电。
The first time I was confronted with this electrifying problem I had to stripe a Corvette that was late getting to the car show, as usual. As I started to stripe, the paint was sucked out of the brush before the tip touched the car. The result was a crazy lightning effect of paint squiggles — not a stripe. I proceeded to tape grounding wires all over the car and even poured water on the floor in an attempt to eliminate the problem. With all the wires hanging off it, the car looked like something from a Frankenstein movie, but it worked. 我第一次遇到这个棘手的问题时，我必须给一辆克尔维特汽车喷漆，因为它像往常一样迟迟没有参加车展。当我开始喷漆时，刷头还没碰到车，漆就被吸走了。结果是油漆出现了疯狂的闪电效果--不是条纹。我接着在车上到处贴接地线，甚至把水倒在地板上，试图消除这个问题。由于所有的电线都挂在车上，这辆车看起来就像电影《弗兰肯斯坦》里的东西，但它还是起作用了。
DuPont Final Klean is a fast-drying, fairly aggressive surface cleaner that removes most tough oil-based contaminants such as tar and lubricants. My trick is to partially loosen the cap, allowing the contents to drip out in a controllable measure onto the paper towel. This also eliminates any chance of contamination to the rest of the container. 杜邦 Final Klean 是一种快速干燥、相当强效的表面清洁剂，可以清除大多数顽固的油基污染物，如焦油和润滑油。我的窍门是部分松开盖子，让里面的东西以可控的量滴到纸巾上。这样还可以避免容器的其他部分受到污染。
After prepping show vehicles for many years I've come up with this three-step, 99-percent worry-free preparation system: 经过多年的车展准备工作，我总结出了一套三步骤、99% 无忧的准备系统：
Step 1: Wipe DuPont Final Klean 3901 S over the entire surface to be painted. There are many types of surface cleaners designed for different conditions. Some are more aggressive and faster- or slower-drying than others. Research paint products with your paint supplier to find those that best meet your needs. 步骤 1：在整个待喷涂表面擦拭杜邦 Final Klean 3901 S。有许多类型的表面清洁剂是针对不同条件设计的。有些清洁剂比其他清洁剂更具侵蚀性，干燥速度更快或更慢。请与涂料供应商研究涂料产品，以找到最符合您需求的产品。
Step 2: Repeat the process with Polycracker, an odorless, water-based cleaner made to remove polysilicones like Armor All and mold releases. Using plenty of Bounty paper towels or clean rags, carefully wipe the Polycracker off the surface until it is dry,. 步骤 2：用 Polycracker 重复这一过程，这是一种无味的水基清洁剂，用于去除 Armor All 等聚硅氧烷和脱模剂。使用大量邦迪纸巾或干净抹布，小心擦拭表面上的 Polycracker 直到干透。
Step 3: To remove any residues left behind in this process, repeat with a 50/50 mix of isopropyl alcohol and water or with denatured alcohol. I use ClearVue glass cleaner for this step; it has alcohol in it and it works fine for me. 第三步：要清除这个过程中留下的残留物，可以用 50/50 的异丙醇和水混合液或用变性酒精重复此步骤。我使用 ClearVue 玻璃清洁剂来完成这一步；它含有酒精，对我来说效果很好。
Polycracker is an odorless water-based product that removes polysilicones (hence the name), which are the main ingredients in many of today's paint protection systems. Polycracker 是一种无味的水基产品，可以去除聚硅氧烷（因此而得名），聚硅氧烷是当今许多油漆保护系统的主要成分。
Polycracker is an especially useful product while working at cars shows. 在车展工作时，Polycracker 是一种特别有用的产品。
As a final step before painting any vehicle, I wipe the surface dry with ClearVue glass cleaner and Bounty paper towels. A 50/50 mixture of water and isopropyl alcohol will give a similar result. Denatured alcohol can also be used to remove anything that might have been left behind in the cleaning process. 在给车辆喷漆前的最后一步，我会用 ClearVue 玻璃清洁剂和 Bounty 纸巾擦干表面。用 50/50 的水和异丙醇混合液也能达到类似效果。变性酒精也可用于清除清洁过程中可能留下的任何残留物。
To layout a rough idea of spacing for stripes, I draw guidelines with a watersoluble Stabilo pencil. I tend to use my fingers as a spacing guide. Get in the habit of wiping pencil dust from the surface with a tack rag just before you paint. It is comforting to know that all your hard work will not peel off when the customer washes their vehicle for the first time. 为了大致确定条纹的间距，我会用水溶性 Stabilo 铅笔来画指导线。我倾向于用手指来指引间距。养成在上漆前用抹布擦拭表面铅笔灰尘的习惯。当客户第一次洗车时，你的辛勤工作不会脱落，这一点会让人感到欣慰。
CHAPTER 5 PINSTRIPING LAYOUT AND DESIGN 第 5 章 引脚条布局和设计
here are numerous styles of pinstriping. In this chapter I will focus on symmetrical and asymmetrical designs. Symmetrical pinstriping designs have exact corresponding lines on either side of a centerline or axis. The perfection of this symmetry is one of the most fascinating aspects of this style of pinstriping. When studied, some perfectly 细条纹的风格多种多样。在本章中，我将重点介绍对称和不对称设计。对称细条纹设计在中心线或轴线的两侧有完全对应的线条。这种对称的完美性是这种细条纹设计风格最迷人的地方之一。经过研究，一些完美的
I have always been fascinated by the symmetry of pinstriping designs. As a kid, I would stop and stare at the designs on deck lids in store parking lots. On this panel I employed a wood-grained background with some gold-leaf teardrops and very tight interweaving of color. 我一直对细条纹设计的对称性着迷。小时候，我会在商店停车场驻足观看甲板盖上的图案。在这幅画中，我采用了木纹背景，配以一些金箔水滴和非常紧密的色彩交织。
Symmetry must be carefully executed no matter what the design is painted on. If a line goes astray, it is better to wipe everything off and start over than to have a bad design travel around with your name on it. 无论在什么图案上作画，都必须仔细保持对称。如果线条出现偏差，最好是擦掉一切重新开始，而不是让一个糟糕的设计带着你的名字到处乱跑。
executed geometric pinstriping designs can focus the mind into an almost meditative state, like viewing Hindu yantra designs. Whether the design is simple or complex, the effect is the same. 被执行的几何细条纹设计能让人集中精神，进入一种近乎冥想的状态，就像欣赏印度教的咒语设计一样。无论设计是简单还是复杂，效果都是一样的。
Asymmetrical pinstriping designs, on the other hand, are random in nature. An excellent example is scrollwork. Even though this style is not symmetrical, it must still be balanced in weight to be pleasing to the viewer. Some striping designs can develop as you paint in a freeform way. This "create as you go" method allows for freedom in creativity. 而不对称的细条纹设计则具有随机性。一个很好的例子就是卷轴纹。尽管这种风格不是对称的，但仍必须在重量上保持平衡，才能让观者感到愉悦。有些条纹设计可以在自由发挥的过程中形成。这种 "边画边创 "的方法允许自由创作。
PRACTICE PANEL 实践小组
You're going to practice . . right? Passion for striping is the power that makes practice an adventure, not a chore. Anything worthwhile requires practice. 你要练习......对吗？对脱衣舞的热情是一种力量，它让练习成为一种冒险，而不是一种苦差事。任何有价值的事情都需要练习。
A good practice panel is an aluminum sign blank available in various colors and sizes from sign supply companies. You can also try practicing on glass, plastic, bathroom wallboard, or any 一个好的练习板是铝制标牌坯，标牌供应公司提供各种颜色和尺寸的铝制标牌坯。您也可以尝试在玻璃、塑料、浴室墙板或任何其他材料上进行练习。
This panel by Jack Lindenberger is a good example of balance. Even though the design is not symmetrical, it is has a graceful flow and balance. Notice the subtle female figure. 杰克-林登伯格（Jack Lindenberger）的这幅作品就是平衡的典范。尽管设计并不对称，但却具有优美的流动性和平衡性。请注意微妙的女性形象。
other hard, glossy material. Glossy or slick surfaces can be wiped off and reused again and again. 其他坚硬光滑的材料。有光泽或光滑的表面可以擦拭干净后反复使用。
GRID LAYOUT 网格布局
A grid layout can be drawn lightly onto the panel surface with a water-soluble Stabilo pencil. Stabilo pencils are available in a variety of colors, but white and blue are preferred for most striping. These pencils are wax-free, allowing you to paint directly over them without any problems. Many seasoned stripers draw grids to keep a design symmetrical. A grid layout 可以用水溶性 Stabilo 铅笔在画板表面轻轻绘制网格布局。Stabilo 铅笔有多种颜色可供选择，但白色和蓝色是大多数条纹的首选。这些铅笔不含蜡，可以直接在其上绘画，不会出现任何问题。许多经验丰富的条纹设计师都会画网格来保持设计的对称性。网格布局
A Stabilo pencil grid is a good visual reference to guide you though a design, especially when you are working on a panel with other artists. This panel was laid out with a grid so that eight or so pinheads (affectionately known as the "Graybeards") could find a path through the maze of stripes. Stabilo 铅笔网格是一个很好的视觉参考，可以指导你完成设计，尤其是当你与其他艺术家共同完成一幅作品时。这幅画是用网格布铺成的，这样八个左右的针头（大家亲切地称为 "灰胡子"）就能在条纹迷宫中找到一条路。
is very helpful when working together with other stripers on a multicolored "panel jam." 在与其他带鱼合作进行多色 "面板卡纸 "时，它非常有用。
TRANSFERRING DESIGNS 转让设计
When designs are very complex, some stripers sketch them on paper first, then transfer the design to the vehicle with Saral paper, a wax-free transfer paper available in a variety of colors that will be visible on any colored surface. Think of it as carbon paper for your metal surface. A piece of Saral paper is placed between 当设计非常复杂时，有些剥线师会先在纸上画草图，然后用 Saral 转印纸将设计转印到车辆上，这是一种无蜡转印纸，有多种颜色可供选择，在任何彩色表面上都清晰可见。可以把它想象成金属表面的复写纸。将一张 Saral 纸放在
continued on page 39 续第 39 页
Above: Intricate designs are best sketched on paper that allows you to retain small details accurately. 上图复杂的设计最好在纸上勾勒，这样可以准确保留小细节。
Left: Designs are easily traced using a sheet of Saral paper of contrasting color. This leaves a clear, accurate image that can be painted over and wiped off after the paint dries. 左图：用一张对比色的萨拉尔纸就能轻松描绘出图案。这样就能留下清晰、准确的图像，可以在图像上涂漆，漆干后再擦掉。
Try making a pounce-pattern layout. Draw a design on paper with an ordinary pencil, making a few horizontal and vertical guidelines to assist you in keeping your design straight and accurate. Like an old friend told me, "Work all your mistakes out on paper first." 尝试制作扑克图案布局。用普通铅笔在纸上画出设计图，制定一些横向和纵向的指导原则，以帮助你保持设计的直线和准确性。就像一位老朋友告诉我的，"先在纸上把所有的错误都解决掉"。
There are several sizes of patternmaking pounce wheels to choose from. These vary in size and tooth count, and can be found in most art supply stores. They are also used to make dress patterns and can be found in sewing shops. 有多种尺寸的图案制作扑轮可供选择。它们的尺寸和齿数各不相同，在大多数美术用品商店都能买到。它们还可用于制作服装图案，在缝纫店也能买到。
Retrace your drawing with a pounce wheel, using a little pressure on a soft surface (like cardboard) so the wheel perforates the paper. Take your time and get all the lines and details. 在柔软的表面（如硬纸板）上稍稍用力，让滚轮在纸上穿孔，用滚轮重画。慢慢来，画出所有的线条和细节。
Turn the pattern over when you finish and lightly sand the perforations that the wheel has made. This will open them and allow the powder to go through the holes easily. 完成后将图案翻转过来，用砂轮轻轻打磨穿孔。这样可以打开穿孔，让粉末轻松通过。
This photo demonstrates how you can see through the perforations after sanding the pounce pattern. Securely tape the pattern in position on the surface so it will not move when you "pounce" it. 这张照片展示了在打磨 "扑 "的图案后，如何通过穿孔看到图案。用胶带将图案固定在表面上，这样 "扑 "时图案就不会移动。
There are different kinds of pounce bags and boxes that you can find in a good art or sign supply store. I generally use an old sock that is filled with powder and tied in a knot, but this box with charcoal powder in it may be more to your liking. 你可以在好的艺术品或标志用品商店找到各种扑粉袋和扑粉盒。我一般用一只旧袜子，里面装满粉末并打一个结，但这种装有炭粉的盒子可能更适合你。
Simply rub pounce powder over the pattern, making sure you cover every area you have perforated. 只需在图案上涂抹扑粉，确保覆盖打孔的每个区域即可。
Before you remove the 在取出
pattern, take a peek under it to see that all the details have been transferred. Carefully remove the pattern, lightly blow off any excess powder, and you are ready to paint. 然后在图案下面看一眼，看看所有的细节是否都已转印。小心地取下图案，轻轻吹掉多余的粉末，就可以上色了。
Some stripers use this tape method to lay out a flame pattern. I used 1/4-inch masking tape for this demonstration. It is fairly flexible and easy to work with. 有些剥离者使用这种胶带方法来布置火焰图案。我在演示中使用了 1/4 英寸的遮蔽胶带。这种胶带相当柔软，易于操作。
Next, follow close to the tape of your rough flame layout with the brush. Leave enough room between the flames so you can adjust the design as you stripe. 接下来，用刷子紧贴着粗略的火焰布局的胶带。在火焰之间留出足够的空间，以便在条纹设计时进行调整。
Use the tape as a finger guide, running the pinstripe on the inside of the flame shape. 用胶带作为手指导向，在火焰形状的内侧划出细条纹。
Here you can see how to run the pinstripe out the open ends of the tape flame layout. The tape is only a rough guide for your finger to follow. 在这里，您可以看到如何将细条纹从胶带火焰布局的开口处引出。胶带只是一个粗略的指引，手指可以跟着胶带走。
When you are finished pinstriping, you can remove the tape and clean up any inconsistencies in the flames. 完成细条纹后，就可以撕下胶带，清理火焰中的任何不一致之处。
Tape can be useful to find the center of a rounded or unusually shaped surface. Lightly draw a line on each side of the tape with a Stabilo pencil and you are ready to paint. 胶带可以用来找到圆形或异形表面的中心点。用 Stabilo 铅笔在胶带两边各轻轻画一条线，就可以上色了。
This is an example of a simple single-color design. You don't have to get carried away, especially at a car show, to create good art. Try and keep it simple. 这是一个简单的单色设计示例。要想创作出好的艺术作品，不一定非要得意忘形，尤其是在车展上。尽量保持简单。
Two colors can add more interest to a design. Take the time to maintain good flow and balance throughout your design. 两种颜色可以增加设计的趣味性。在整个设计中要花时间保持良好的流畅性和平衡性。
When executing a three-color image, be sure to plan ahead how you will weave the colors together in a pleasing harmony. continued from page 30 在制作三色图像时，一定要提前计划好如何将各种颜色和谐地交织在一起。 续第 30 页
the paper pattern and the surface, and then the pattern is retraced, transferring it to the surface. This is a good way to duplicate intricate designs without loosing any of the complexity. 复制时，先在纸上绘制图案，然后将图案复制到表面。这是一种复制复杂设计而又不失复杂性的好方法。
POUNCE PATTERNS 扑击模式
Another tried-and-true method to transfer a design is to pounce out a pattern. Manual pounce patterns are produced by rolling a small star-shaped pounce wheel over the design. The sharp wheel perforates the paper, producing a pounce pattern. Then the pattern is flipped over and lightly sanded with fine sandpaper to open the small perforations, allowing pounce powder to pass through easily. 另一种屡试不爽的转印方法是扑印图案。手动扑克图案的制作方法是在图案上滚动一个小的星形扑克轮。锋利的轮子会在纸上穿孔，从而产生扑粉图案。然后将图案翻转过来，用细砂纸轻轻打磨，打开小孔，让扑粉轻松通过。
Another mechanism that produces the same perforated effect is an electro pounce. This machine is typically not portable; it consists of an electrified stylus that creates small intermittent electrical sparks when placed near a metal surface. The stylus burns a series of holes through the paper pattern, creating a single line of perforations. If you choose to use an electro pounce, be mindful that it can also give you a pretty exciting jolt if you are not paying attention. 另一种能产生相同穿孔效果的装置是电扑。这种机器通常不是便携式的；它由一支带电的触针组成，当触针靠近金属表面时会产生间歇性的小电火花。触针在纸样上烧出一连串的小孔，形成单线穿孔。如果您选择使用电扑，请注意如果不注意，它也会给您带来相当刺激的震动。
After the pattern is perforated using either method, tape the pattern in position and dust colored powder over the surface of the paper pattern. The pounce powder goes through the perforations to the surface of the vehicle. Duplicating an image this way is smart when producing the same design over and over again. Good patterns can be carefully filed and reused for years. 用这两种方法在图案上打孔后，用胶带将图案粘好，然后在纸图案表面撒上彩色粉末。彩色粉末会穿过穿孔到达车辆表面。在重复制作相同的设计时，用这种方法复制图像是非常明智的。好的图案可以仔细归档并重复使用多年。
TAPE 磁带
There are many ways that tape can be used as a guide. Most stripers use - or -inch flexible masking tape for finger or hand guides to paint lines. Others use a thin magnetic strip as a guide; it is stretched out along the body of the car when striping long straight lines. Tape can also be used as a centerline starting point for designs. 胶带有很多方法可以用作导线。大多数脱漆工使用 - 或 - 英寸的柔性遮蔽胶带作为手指或手掌的引导线。还有一些人使用薄磁条作为导向；在绘制长直线时，磁条会沿着车身伸展开来。胶带还可用作设计的中心线起点。
Many stripers use thin, flexible tape to layout pinstriped flames. The taped flames are laid out in an open-ended fashion. The tape then works as a guide for the brush. Using this method, you can lay out a flame design quickly with tape to see how the design will look before you pinstripe the flames. If you want to reproduce the same flames on the opposite side of the vehicle, you can do so by tracing the taped design onto tracing paper, making a pounce pattern of the design, and pouncing it on the other side. Tape can also be used to find the center of a rounded object that you are striping. 许多脱衣舞娘使用薄而柔软的胶带来布置细条纹火焰。胶带上的火焰以开放式的方式铺开。胶带可以作为画笔的指引。使用这种方法，您可以在细条纹火焰之前，用胶带快速铺设火焰设计，看看设计效果如何。如果想在车辆的另一侧再现同样的火焰，可以将胶带上的设计描摹到描图纸上，制作出设计的扑克图案，然后扑克在另一侧。胶带还可用于找到要进行条纹装饰的圆形物体的中心。
continued on page 43 续第 43 页
USEFUL TOOLS 实用工具
Tools can be found where and when you least expect them. You might be surprised what you can improvise to make life a little easier, especially when you are away from your studio. A business card can be used in any number of creative ways. I carry one in my daily business planner everywhere I go. It is marked with almost every antique-rim-striping measurement I have encountered. I just hold it to the edge of the rim and make a mark with a Stabilo and I am ready to stripe. Keep your eyes and mind open for useful and unusual stuff to help in everyday work. It will also help to keep your imagination bright. 工具可以在你最意想不到的地方和时间找到。特别是当你离开工作室时，你可能会惊奇地发现，你可以即兴制作一些工具，让生活变得更轻松。一张名片可以用在任何有创意的地方。我走到哪里都会随身携带一张名片，放在我的日常商务计划书里。它几乎标注了我遇到过的所有古董边条测量方法。我只需将它对准边框边缘，用 Stabilo 做个记号，就可以开始划线了。睁大眼睛，开动脑筋，在日常工作中寻找有用和不寻常的东西。这也有助于保持你的想象力。
Simple things lying about will often serve as helpful tools. I taped together the plastic core from an empty roll of tape, and it made a perfect template for the striping on this early Willys rim. I traced the template with a Stabilo then followed that with the striping brush. 随处可见的简单东西往往会成为有用的工具。我把一卷空胶带的塑料芯粘在一起，它就成了这辆早期威利斯轮辋上条纹的完美模板。我用 Stabilo 描画了模板，然后用条纹刷刷了一遍。
A clothespin I found in my apron worked as a measuring guide for the pinstripe around the hub and the edge of the rim. I used the clothespin to create a stable distance that I followed with a Stabilo pencil before pinstriping. 我在围裙里发现了一个衣夹，它可以作为测量轮毂和轮辋边缘周围的细条纹的指南。我用衣夹确定了一个稳定的距离，然后用 Stabilo 铅笔按照这个距离进行针刺。
Here is the reason that the clothespin was in my apron: it makes a great clamp to hold brushes in the cleanout container filled with mineral spirits. 这就是我围裙里放衣夹的原因：它是一个很好的夹子，可以把刷子夹在装满矿物油精的清理容器里。
You can use a drafting compass to paint a perfect circle. On the surface to be painted, place a small piece of tape as a center for the compass tip. Use a brush to carefully load the compass with your paint mixture. 您可以使用绘图圆规来画一个完美的圆。在要涂画的表面上，放一小块胶带作为圆规顶端的中心。用刷子小心地在圆规上涂上混合颜料。
Adjust the compass to be the same width as your pinstriping and gently give it a controlled spin. You will have to experiment with the paint consistency to get the desired results. 将圆规调整到与细条纹相同的宽度，然后轻轻地旋转圆规。您需要尝试涂料的浓度，以获得理想的效果。
I created a color test panel before I striped this Deuce. 在给这辆杜斯跑车做条纹之前，我制作了一个颜色测试板。
A compass was used to design the test panel. 使用指南针设计测试面板。
continued from page 39 续第 39 页
BALANCE 平衡
However you decide to transfer and paint your designs, keep it simple at first. It is better to paint as many simple practice pieces as possible, getting used to paletting the paint and brush. 无论您决定如何转移和绘制您的设计，一开始都要保持简单。最好尽可能多画一些简单的练习作品，以适应颜料和画笔的调色板。
Remember, in any great artwork, it is what is left out that makes it great. Less is more. Always maintain simplicity in creating an interesting design. That's not as easy as it sounds. Start with a single-color design, then add a second color. Try to maintain a pleasing structure and balance in your designs; they don't need to be too busy to be interesting. 请记住，在任何伟大的艺术作品中，舍去的东西才是伟大的。少即是多。在创作有趣的设计时，要始终保持简洁。这并不像听起来那么容易。从单色设计开始，然后添加第二种颜色。尽量在设计中保持令人愉悦的结构和平衡；不需要太繁杂，这样才会有趣。
Unfortunately, many vehicle graphics over the past several years are nothing but a mass of clutter. A well-known automotive artist friend of mine, Don Boeke, named this style "scrambled graphics." "It looks as if some painters cleaned out their paint cabinets on the cars," Don tells me. Personally, I'm glad that fad is gone for the most part and has given way to clean, simple, and tasteful graphic designs. 遗憾的是，在过去几年中，许多汽车图案都是杂乱无章的。我的一位知名汽车艺术家朋友 Don Boeke 将这种风格命名为 "杂乱无章的图案"。"唐告诉我："看起来就像一些油漆工清理了汽车上的油漆柜。就我个人而言，我很高兴这种时尚已经大部分消失了，取而代之的是干净、简洁、有品位的图形设计。
Design clutter is not a modern phenomenon; it has reared its ugly head throughout the centuries. M. C. Hillick addressed this issue over 100 years ago in his book, Practical Carriage and Wagon Painting. "A riotous jumble of colors thrown into a fine line corner piece or scroll is an abominable exhibition of bad taste," he wrote. "A glaring badge of cheapness is the ornament constructed from an inharmonious selection of colors." Don't get me wrong-I've gone over the edge more than once. But my best and most admired work is that of creative simplicity and taste. 设计杂乱并不是现代才有的现象，它的丑陋面目已经出现了几个世纪。100 多年前，M. C. Hillick 在他的《实用马车绘画》一书中就提到过这个问题。"他写道："在精细的线角作品或卷轴中加入杂乱无章的色彩，是一种令人憎恶的低级趣味表现。他写道："用不和谐的颜色制作的装饰品是廉价的明显标志"。别误会我的意思，我也曾不止一次地走过弯路。但是，我最出色、最受人钦佩的作品却是那些简洁而有品位的创意作品。
You may recognize some of the strokes we will practice ... .you are going to practice, aren't you? 你可能会认出我们要练习的一些招式......你会练习的，不是吗？
This panel by Dave Hightower is a great example of excellent use of color and thinking through a design. See how clean this design is? Even though it is complex and multicolored, it still has a simple flow that is pleasing to the eye. Dave Hightower 的这幅作品是出色运用色彩和设计思维的典范。看到这个设计有多简洁了吗？尽管它的色彩复杂多样，但仍然简单流畅，令人赏心悦目。
With a four-color design, you run the risk of getting lost in the maze if you don't plan ahead. 采用四色设计，如果不提前计划，就有可能迷失在迷宫中。
Two colors were just enough for this Deuce grille . . . 对于 Deuce 格栅来说，两种颜色就足够了.. .
. . while three colors worked well on this blue ' 32 . .而三种颜色都能很好地搭配这款蓝色 '32 .
Like a martini, one is not enough, but three or more are dangerous! 就像马提尼，一杯不够，三杯或更多就危险了！
Three colors run the risk of getting lost in the maze on this guitar. 在这把吉他上，三种颜色都有可能迷失在迷宫中。
Faces and other animated characters are sometimes incorporated into old-school striping designs. 脸部和其他动画人物有时会融入老式的条纹设计中。
Two-color tiki striping on a hood. 兜帽上的双色提基条纹。
The Dodge emblem is incorporated in this design. 设计中加入了道奇标志。
This design reflects the owner's style—-he's a rockabilly guitar player. 这一设计反映了主人的风格--他是一位摇滚吉他手。
Just a touch of red makes this simple design pop. 一抹红色让这一简单的设计变得更加耀眼。
Concentration is a must when striping crossover designs. 在进行交叉设计时，注意力必须集中。
Sometimes you can get carried away if the vehicle calls for it. This is a case of a vehicle being left in my shop too long. 有时候，只要车辆需要，你就会忘乎所以。这就是车辆在我店里放置时间过长的一个案例。
Right: Three-color interior fabric inspired this variegated design, striping, and outlining. 右图三色内饰布料激发了这一斑斓设计、条纹和轮廓的灵感。
The 1940 Ford inspired this Art Deco design. 这款装饰艺术风格的设计灵感来源于 1940 年的福特汽车。
CHAPTER 6 第 6 章
BRUSH TECHNIQUE
TRIMMING THE BRUSH 修剪毛刷
o trim or not to trim, that is the question. In the past some stripers cut the belly from the striping sword so the brush could paint tight turns or scrolls without the shorter belly hairs kicking out on the turns. But today you can find any number of brushes specifically designed to handle the smallest turns and scrolls that your imagination can conceive. With all the different brush styles that are available today, I no longer see the need to trim or restyle an already perfectly designed brush. 修还是不修，这是一个问题。过去，一些脱衣舞娘会把脱衣舞剑的剑腹剪掉，这样刷子就能画出紧凑的转折或卷轴，而不会在转折处被较短的剑腹毛踢出。但如今，您可以找到许多专门设计用于描绘最小转折和卷轴的画笔，只要您有想象力就能想象得到。如今，笔刷的款式多种多样，我不再认为有必要对设计完美的笔刷进行修剪或重新造型。
Some new brushes are treated with a substance that keeps the hairs straight, and in some cases stiff, during shipping. This size can be washed out with a little warm water; I use water and a drop of hair conditioner to straighten the hairs. When you look closely at the new brush, you may see a few wild hairs sticking out of the side or past the tip. These can be combed into submission with a little warm water and a small parts-cleaning brush or an acid brush. 有些新画笔在运输过程中用一种物质处理过，这种物质能使毛发保持笔直，在某些情况下还能保持笔挺。这种物质可以用少量温水洗掉；我用清水和一滴护发素来理顺毛发。当你仔细观察新刷子时，你可能会发现有一些乱毛从刷子的侧面或顶端伸出来。可以用少量温水和小零件清洁刷或酸性刷将这些毛梳顺。
An acid brush can be used to comb out most of the wild hairs that make a brush hard to manage. You need to road-test some brushes for awhile until they are broken in. 酸性刷子可以用来梳理大部分难以打理的乱毛。您需要对一些刷子进行一段时间的路试，直到它们适应为止。
The next step with a new brush is to dip it into quality brush oil. Using my fingers, I completely work neat's-foot oil or lemon oil into the hair of the brush, especially the heel. directly near the ferrule (the band that holds the bristles to the handle). Once oiled, form the brush back to its natural pointed shape. Should you find a few disruptive hairs that need to be removed, carefully cut them or pull them out with tweezers to properly shape the brush. Typically, a new brush has one or two hairs that protrude past all the other hairs at the tip. If these are left untrimmed, the brush will not make good beginnings or endings to your stripes. A slightly blunt or squared-off tip can be achieved by trimming with caution, removing only the longer hairs from the tip. If too much of the tip is trimmed, it will be too blunt for fine work and relegated to use on garbage-truck striping. 新刷子的下一步是蘸上优质刷油。我用手指将整蹄油或柠檬油完全涂抹在刷毛上，尤其是刷毛后跟，直接靠近刷套（将刷毛固定在刷柄上的带子）。上油后，将刷子变回自然的尖形。如果发现有几根毛需要去除，可以小心地剪掉或用镊子拔掉，以正确地塑造刷子的形状。通常情况下，新刷子的顶端会有一到两根毛发突出于其他所有毛发之外。如果不对这些毛发进行修剪，刷子就无法为条纹做好开头或结尾。通过谨慎修剪，只去掉笔尖较长的毛发，可以使笔尖稍钝或呈方形。如果笔尖被修剪得太多，就会太钝，不适合精细作业，只能用于垃圾车上的条纹。
Oiling the brush before you get paint on it helps keep the heel or ferrule free from paint buildup. If paint dries in the ferrule, the hair will become brittle and fall out prematurely. 在刷上涂料之前给刷子上油，有助于保持刷跟或刷套没有涂料堆积。如果颜料在套管中变干，毛发就会变脆，过早脱落。
After oiling the brush you may still find some wild hairs that need to be trimmed (I fondly call them Willie Nelson hairs). Take care when removing these hairs. Sometimes I beat up a new brush striping big trucks until they loosen up enough to conform to finer detail work. 给刷子上油后，你可能还会发现一些需要修剪的乱毛（我亲切地称它们为威利-纳尔逊的毛）。清除这些毛发时要小心。有时，我会用新画笔在大卡车上画条纹，直到它们松动到足以适应更精细的工作。
PALETtING THE BRUSH 画笔调色
Before we start painting, all the oil needs to be completely washed out of the brush with mineral spirits. Using a double cup holder, add a small amount of paint to the cup on the right; in the left, add some reducer that corresponds to the present weather conditions. Choosing the reducer to fit the weather makes a big difference in the flow of the paint. First, dip the tip of the brush into the reducer, then into the paint and work them both into the brush by paletting the brush, dragging it back and forth on the palette (a clipboard with an old magazine make for a fine pinstriping palette). If you feel the paint is too thick, dip the tip of the brush into the reducer only; if the paint feels too loose, dip the brush into the paint only and bring it back to the palette again. 在开始上色之前，需要用矿物油精将画笔上的油完全洗净。使用双杯架，在右边的杯中加入少量颜料；在左边的杯中加入一些与当前天气状况相符的减淡剂。选择与天气相适应的稀释剂对涂料的流动性有很大影响。首先，将画笔的尖端蘸取减水剂，然后再蘸取颜料，并通过调色板将它们都涂抹到画笔上，在调色板上来回拖动画笔（一个夹板和一本旧杂志可以做成一个很好的细条纹调色板）。如果感觉颜料太稠，只需将刷子的尖端蘸一下还原剂；如果感觉颜料太稀，只需将刷子蘸一下颜料，然后再将刷子放回调色板上。
Although some new brushes are just perfect and ready to go, most need a bit of grooming to make them paint perfectly. The Mack Series 10 brushes are still made by hand, as they have been since the 1890s. These beauties may vary slightly from brush to brush. Only a few hairs should be cut to create a blunt point that will make all the difference. Begin to pay close attention to pinstriping at car shows, notice the different ways stripers end their lines. 虽然有些新画笔完美无缺，可以随时使用，但大多数画笔都需要稍加修饰，才能完美上色。自 19 世纪 90 年代以来，Mack Series 10 画笔一直采用手工制作。每支画笔的毛发可能略有不同。只需剪掉几根毛，就能制作出与众不同的钝尖。开始在车展上仔细观察细条纹，注意细条纹车主结束线条的不同方式。
Above: Paletting the brush is a very important process to get the paint to correct consistency so it will flow smoothly. Dip the brush first into the reducer, then into the paint cup. Mix and palette the brush until you reach a smooth drag. Its like love-you'll know it, when you find it. 上图调匀刷子是一个非常重要的过程，可以使涂料达到正确的浓度，从而使其顺畅流动。先将刷子蘸取还原剂，然后再蘸取颜料杯。混合并调试刷子，直到达到顺滑的拖曳效果。这就像爱情，当你找到它时，你就会知道它的存在。
Left: Loading a brush with the correct mixture of reduced paint depends on many factors that you will learn from the most reliable teaching combo: trial and error. This process must not be taken lightly. Practice and experimentation are paramount in understanding the nature of the paint. 左图：给画笔装上正确的还原颜料混合物取决于很多因素，您将从最可靠的教学组合中学到这些因素：尝试和错误。这个过程绝不能掉以轻心。实践和实验对于了解颜料的性质至关重要。
Recently I saw a photo in a book, Hot Rods of the '50s by Andy Southard, that shows Von Dutch striping. I noticed that I stripe with the same two-handed, overhand method that he used. I guess if he did it that way, so can I. Don't worry about the critics- just grab the brush and paint! 最近，我在安迪-索萨德（Andy Southard）所著的《50 年代的热车》（Hot Rods of the '50s）一书中看到一张照片，照片上是冯-达奇（Von Dutch）的车身条纹。我注意到，我也是用和他一样的双手上胶方法上胶的。我想，既然他是这样做的，我也可以。别担心批评，拿起画笔就画！
For the exercises in this chapter, lightly draw a center guideline with a Stabilo pencil. Use a color that is not too bright or contrasting. You need it only for a reference point. 在本章的练习中，用 Stabilo 铅笔轻轻画出中心线。使用的颜色不要太亮或对比度太大。它只是一个参考点。
It will take time to learn this process and proper paint consistency. If the paint is too thick, it will not flow smoothlyit will drag and skip. Thinning or reducing the paint too much will make it too watery or runny and render the brush uncontrollable. The correct paint-to-reducer ratio is found when the brush glides smoothly and does not stick to or grab the palette as you drag it back and forth, working the paint into the brush. Drag, flow, skip, and bleed are some terms we use to describe paint consistency. Reaching the proper paint consistency is best learned by trial and error. You will learn more about the character of the paint by overthinning and underthinning it than I can explain in words. If you encounter brush-handling problems, chances are the paint consistency is incorrect. 学习这个过程和正确的涂料浓度需要时间。如果颜料太稠，就不能顺畅地流动，会拖拉和跳动。过多地稀释或减少颜料会使颜料过于稀薄或流淌，使画笔无法控制。当你来回拖动调色板，将颜料注入刷子时，刷子会顺畅地滑动，不会粘住或抓住调色板，这时就找到了正确的颜料与稀释剂的比例。拖动、流动、跳动和渗色是我们用来描述颜料稠度的一些术语。要达到适当的颜料稠度，最好通过反复试验来掌握。通过过度稀释和稀释颜料，您可以了解到更多关于颜料特性的信息，这是我无法用言语解释的。如果遇到刷子操作问题，很可能是涂料稠度不正确。
LOADING THE BRUSH 装入刷子
The paletting process is how the brush becomes filled or loaded with paint. When you paint long lines, a full load of a thinner mixture is required to stripe the entire distance at a faster rate of speed. When you paint designs, less paint and a slightly thicker mixture is required for shorter lines, as these are painted at a slower rate of speed. In both cases the line consistency is controlled by the paint consistency. 调色过程就是刷子装满颜料的过程。在画长线时，需要装满较稀的混合物，才能以较快的速度在整个距离上画出条纹。在绘制设计图案时，短线需要较少的颜料和稍稠的混合物，因为这些线条的绘制速度较慢。在这两种情况下，线条的稠度都受涂料稠度的控制。
BRUSH GRIP 刷柄
Gently grip the brush between your thumb and forefinger as you would a pencil. Steady your hand with your pinky or other fingers. You can also use your other hand to steady the brush hand. Techniques for steadying the striping hand vary widely among stripers. Some use the remaining fingers of the brush hand flat on the surface to steady their hand. Experiment with all the fingers not holding the brush, and you will find the most comfortable way for you to steady your hand. I've tried them all, but whichever method you feel comfortable with is the 用拇指和食指轻轻握住画笔，就像握铅笔一样。用小指或其他手指稳住手。也可以用另一只手稳住刷手。在不同的脱衣舞表演者中，稳住脱衣舞手的技巧大相径庭。有些人用刷子手的其余手指平放在表面上，以稳定手部。试验一下所有没有握住刷子的手指，你会找到最舒服的稳住手的方法。我试过所有的方法，但无论哪种方法你都会觉得舒服。
1: With your paint mixed to a smooth consistency, load your brush. Hold the brush in a comfortable grip at the top of your panel and push the brush down and forward as far as it will go without yet moving it toward you. Notice how wide a blob your brush can make. right one. I use a two-handed method similar to the one Von Dutch used. 1: 将颜料混合均匀后，装上画笔。以舒适的握姿将画笔握在画板的顶部，然后将画笔向下向前推，推到它能推到的最远处，同时不要让画笔朝你的方向移动。注意你的画笔可以画出多宽的圆球。我使用的双手方法与冯-达奇使用的方法类似。
Know-it-all pinstripers have told me over my entire career that I stripe backward, the "wrong" way or "upside down." Now I just smile as I think of all the hot rods and classic cars I've worked on over the years that have won first-place honors in shows, such as those I striped for the Pebble Beach Concours. So don't worry about how you finally decide to grip the brushyou're in good company. If your results are good and you feel comfortable, it doesn't matter if you stand on your head. 在我的整个职业生涯中，那些 "无所不知 "的细条车手都说我的车身条纹 "弄反 "了、"弄错 "了或者 "弄颠倒了"。现在，一想到我多年来为那些在车展上获得第一名的热棒车和老爷车（比如我为圆石滩汽车竞赛（Pebble Beach Concours）喷涂的那些车）所做的工作，我就会心一笑。所以，不用担心你最终决定如何握住刷子，你是个好伙伴。如果你的成绩很好，而且感觉很舒服，那么站在你的头上也没有关系。
2: With your hands at the top of the panel, tilt your hands forward and down to make a thick blob. Pull slowly toward you, lifting up and back to a thin line. As you go through these exercises, remember to keep paletting paint into your brush to maintain the same workable consistency. 2: 双手放在面板顶部，向前向下倾斜，做成一个厚厚的圆球。慢慢拉向你的方向，向上和向后提拉成一条细线。在进行这些练习时，记住要不断将颜料调入画笔，以保持同样的可操作浓度。
3
BRUSH PRESSURE 刷子压力
Your hands and body are becoming a "paint machine." Soon you will find you can draw a straight line without a ruler. To paint well, you need to be agile, as there is a considerable amount of body movement involved when your hand or hands are locked on the brush grip. 你的双手和身体正在成为一台 "绘画机器"。很快，你就会发现不用尺子也能画出直线。要想画得好，你需要有敏捷的身手，因为当你的手被锁定在画笔的握把上时，身体会有相当大的动作。
By tilting your hands forward and down toward the surface, you add more down pressure to the brush, which produces a wider line. Tilting the hands backward and up lifts the brush and produces a thinner line. 将手向前向下倾斜到表面，就会给画笔增加更多向下的压力，从而画出更宽的线条。双手向后向上倾斜则会抬高画笔，画出的线条会更细。
With your hands at the top of your practice panel, tilt your hands forward and down to make a thick blob. Pull the brush slowly toward you, lifting it up and back to thin the line, and then tilting it back down again. Repeat this upand-down motion as you pull the brush down the panel. Discover what the brush can do-you will wipe your practice panel clean many times. 双手放在练习板的顶部，向前向下倾斜，画出一个厚厚的圆球。将画笔慢慢拉向你的方向，向上和向后提起画笔，使线条变细，然后再次向下倾斜。在画板上拉画笔时，重复这个上下运动。你会发现画笔的作用--你会多次把练习板擦得干干净净。
BRUSH SPEED 刷毛速度
The size of a brush is designed to produce a certain line thickness that changes slightly as you adjust the pressure up and down. 刷子的大小是为画出一定粗细的线条而设计的，当你上下调节压力时，线条的粗细会略有变化。
Now, with your practice panel lying flat on a table in front of you, place your hands at the top of the panel, set your brush grip, at a heavy-line pressure, and slowly pull 现在，将练习画板平放在面前的桌子上，将双手放在画板的顶部，握住画笔，用重线压力，慢慢拉动画板。
1: You should now know what widths your brush is capable of from the previous page. Starting with a clean palette page, dip into reducer and paint, and palette again to the proper consistency. With your hands at the top of the panel, adjust your pressure to a heavy line and slowly pull your hands towards you at a steady speed, all the way to the bottom of the panel. 1: 通过上一页的学习，你现在应该知道你的画笔能画出什么样的宽度了。从干净的调色板页面开始，蘸取还原剂和颜料，再次调色至适当浓度。将手放在画板的顶部，将压力调整为重线，然后以稳定的速度将手慢慢拉向画板底部。
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2: Between strokes, palette your brush until you are ready to restart. With your hands at the top of the panel, begin again close to the heavy line. Adjust your pressure to a thin line and slowly pull your hands toward you at a steady speed, all the way to the bottom of the panel. your hands toward you, moving your body backward as you go. Note how much your body needs to move to keep your hands steady and locked on the brush grip. 2：在笔触之间，用调色板调好画笔，直到准备好重新开始。双手放在画板的顶部，再次从靠近重线的位置开始。将压力调整为细线，双手以稳定的速度慢慢拉向画板底部。注意你的身体需要移动多少才能使你的手保持稳定并锁定在画笔的握把上。
Next, start at the top and move slowly toward you in the 接下来，从顶部开始，慢慢向您的方向移动。
same manner but with a thin-line pressure. Now, practice painting thick and thin lines from left to right on the whole panel until you find the stripe thickness which that particular brush will produce. Next, practice pulling consistent lines of the same thickness from left to right, about an inch apart over the whole panel. You didn't know there would be homework did you? 同样的方法，但要用细线的压力。现在，在整块画板上从左到右练习画粗线和细线，直到找到特定画笔能画出的条纹粗细。接下来，练习在整个画板上从左到右拉出粗细一致的线条，间距约一英寸。你不知道会有家庭作业吧？
Although the straight line is the most basic pinstriping design element, it is not the easiest to master. Pressure, speed, and practice are the keys to excellence. 虽然直线是最基本的细条纹设计元素，但却不是最容易掌握的。压力、速度和练习是精益求精的关键。
BRUSH ANGLE 刷子角度
To make anything other than straight lines you need to add the final element. Hold the brush loosely, not heavy-handed, so you can manipulate it, and then fine-tune this movement. Holding the brush gently, twirl it slightly to the left (counterclockwise) and right (clockwise) between your fingertips. This movement steers the brush left and right as if 要想画出直线以外的效果，就需要添加最后的元素。松松地握住画笔，手不要太重，这样你就可以操纵它，然后对这个动作进行微调。轻轻握住画笔，用指尖轻轻向左（逆时针）和向右（顺时针）旋转。这个动作可以左右引导画笔，就像
1: The brush angle is controlled with a slight twist of the fingers from right to left. While your hands and arms move in a machine-like way, you must hold the brush gently so it can be directed with your fingers. you were cutting a path with a knife. Now that your "paint machine" is locked to the consistent line-quality position, smoothly move it toward you. With just a slight twirling motion you can direct the brush left and right as you go. Practice pulling consistent lines of the same thickness and speed, but twisting from left to right and from right to left as if the brush was skiing down a mountainside. 1：手指从右到左轻轻一扭，就能控制刷子的角度。当你的双手和双臂像机器一样移动时，你必须轻轻握住画笔，以便用手指引导画笔。现在，你的 "画笔机器 "已经锁定在线条质量一致的位置上，请平稳地将它移向你的方向。只需轻微地旋转，就能引导画笔左右移动。练习拉出粗细一致、速度相同的线条，但要从左到右、从右到左地扭动，就像画笔在山坡上滑雪一样。
2: Incorporate the same brush pressure and steady brush speed that you used in the first two exercises. Start at the top of the panel with a left angle to the brush. Slowly twist the brush to the right and back again to the left on down the panel. 2：采用与前两次练习相同的笔刷压力和稳定的笔刷速度。从面板顶部开始，画笔向左倾斜。慢慢地将画笔向右扭转，然后再向左扭转，直至画板的下方。
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. ey . . 2 5 a 1 3: Repeat these left and right turns as if the brush were a knife cutting through cardboard. The brush tip is the same shape as a knife, only fluid. If you find your brush skipping out on the turns, change your angle, pressure speed, or paint consistancy.
BASIC STROKES 基本杆
Before we get into the basic strokes, remember this rule: if you are right-handed it is best to work from left to right. This way, when you get to the right side you will be able to see and mirror the strokes you painted on the left. Since I am right-handed, I will describe these strokes from a right-hander's perspective. Obviously, if you are left-handed simply apply the inverse. 在学习基本笔画之前，请记住以下原则：如果你是右撇子，最好从左到右练习。这样，当你画到右边时，就能看到左边的笔画，并与左边的笔画相映成趣。因为我是右撇子，所以我会从右撇子的角度来描述这些笔画。很明显，如果你是左撇子，只需应用相反的方法即可。
Teardrop Stroke 泪滴行程
This stroke is a stylized, inverted teardrop shape popularized by Tommy "The Greek" Hrones. This stroke can be executed in two ways. 这一笔画是由 "希腊人 "汤米-赫罗内斯（Tommy Hrones）推广的一种风格化的倒水滴形。这种笔法有两种执行方式。
The first is to make a solid teardrop. Start at the top with the brush pressed down. Begin with a thick top portion and decrease the brush pressure as you move your hands toward you. 第一种是做一个实心的水滴形。从顶部开始，刷子向下压。从上半部分开始画粗，然后随着手向自己的方向移动而减小画笔的压力。
The second way is to paint an outline teardrop. Start at the top with your "paint machine" locked in the consistent line-quality position. Smoothly move toward you and with a slight counterclockwise twirling motion, direct the brush left and slowly back to the center. Repeat this procedure on the other half of the teardrop, but with a slight clockwise twirling motion, slowly directing the brush right and back to the center, intersecting the line on the left. 第二种方法是绘制水滴形轮廓。从顶部开始，将 "画笔 "锁定在线条质量一致的位置。平稳地向你的方向移动，用轻微的逆时针旋转动作，将画笔向左引导，然后慢慢地回到中心。在水滴形的另一半上重复这一步骤，但要做轻微的顺时针旋转动作，慢慢地将画笔向右移动，然后回到中心，与左边的线条相交。
1: This inverted, stylized teardrop is produced with the technique you learned in the pressure exercise. The only difference is that you paint a single thick-to-thin teardrop. 1：这幅倒置的、风格化的水滴画是用你在压力练习中学到的技巧制作的。唯一不同的是，你画的是一个由粗到细的水滴。
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2: The teardrop stroke can be executed in an outline form by incorporating the strokes you learned in the angle exercise. Start at the center and slowly turn the brush to the left then back to the center, gently lifting as you stop moving. 2：结合在角度练习中学到的笔触，可以勾勒出水滴笔触的轮廓。从中心开始，慢慢将画笔转向左侧，然后回到中心，在停止移动时轻轻提笔。
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3: As you reach the end of the teardrop, gently and steadily lift the brush up off the panel in a steady motion while pulling it toward you. The teardrop shape can be elongated, compressed, or turned any way you wish to fit any design. 3：当你到达水滴形的末端时，轻轻地、稳稳地将刷子从面板上提起，同时将它拉向你的方向。水滴形可以任意拉长、压缩或旋转，以适应任何设计。
4: Repeat this same stroke but start by angling the brush to the right and move back to the center. Practice different combinations of widths and lengths of this teardrop shape. 4：重复同样的笔触，但先将画笔向右倾斜，然后移回中间。练习水滴形的不同宽度和长度组合。
Lazy-S Stroke
In the 1800 s, ornamenters and carriage stripers referred to this stroke as the "scroller's line of beauty." It employs both the left and right turns you practiced in the "Brush Angle" section. Place the brush lightly just right of center. With a slight left angle, slowly pull down toward you. Turn the brush back toward the center, and when you reach the center turn the brush back to the left. 在 1800 年代，装饰家和马车脱衣舞女将这种笔法称为 "卷轴式的美丽线条"。它同时运用了在 "笔刷角度 "部分练习的左转和右转。将画笔轻轻放在正中间。稍稍向左倾斜，慢慢向下拉。将画笔转回中心位置，到达中心位置后再将画笔转回左侧。
1: The lazy-S stroke is also produced with the techniques you learned in the angle exercise. But unlike the teardrop, which ends in the center, this stroke turns back away from the center. For a clean finish, gently lift your brush as you stop moving. 1："慵懒-S "笔画也是用在角度练习中学到的技巧完成的。但与水滴形的中锋结束不同，这种笔触会从中锋转回来。为了达到干净利落的效果，在停止移动时轻轻提起画笔。
3: Any of these strokes can easily be doubled to add interest. Start at the same beginning point, separate, and return to the same ending point. 3：这些笔画中的任何一笔都可以轻松加倍，以增加趣味性。从同一起点开始，分开，然后回到同一终点。
2: The right side is created the same way as the left. For a right-hander, doing the strokes on the left side of the design first allows good visibility for mirroring those left-hand strokes when striping on the right side. 2：右侧的制作方法与左侧相同。对于右撇子来说，先在设计的左侧进行描边，可以在右侧描边时很好地照搬左侧的描边。
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4: You can see something taking shape when you add a double stroke to any of these shapes. This technique can be useful in helping a design when you begin painting on a vehicle. 4：在任何这些形状上添加双笔画时，你都可以看到一些东西正在成形。当您开始在车辆上绘画时，这种技巧对设计很有帮助。
Crossover Stroke 交叉中风
The crossover opens up a vast territory for design possibilities. This stroke is executed in the same manner as the outlined teardrop, but instead of ending at the center you cross over to the other side of the design. This elementary stroke is essential in designs that consist of one continuous line. Place the brush at center. With a slight left angle, slowly pull down toward you. Turn the brush back toward the center and past the center point of your choice. 交叉为设计开辟了广阔的空间。这种笔触的使用方法与勾勒水滴的方法相同，但不是在中心结束，而是交叉到设计的另一侧。在由一条连续线条组成的设计中，这种基本笔触是必不可少的。将画笔放在中心位置。稍稍向左倾斜，慢慢向下拉。将画笔转回中心，经过你选择的中心点。
1: Execute the crossover stroke exactly as you did the outlined teardrop, but instead of ending at the center, cross over to a predetermined ending point, slowly lift up, and stop to form a blunt point. 1：完全按照勾勒水滴形的方法执行交叉笔画，但不是在中心结束，而是交叉到预定的结束点，慢慢向上提，然后停止，形成一个钝点。
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2: Mirror the first crossover with the right side and slowly lift up and stop to form a blunt point. Remember: if you're left-handed, begin painting your designs on the right side. That way, your hand won't be obscuring the already-painted side that you're trying to mirror. Also, be conscious of your peripheral vision as you paint. This will become more important as we enter the design phase. 2：用右侧镜像第一个交叉点，慢慢抬起并停止，形成一个钝尖。记住：如果您是左撇子，请从右侧开始绘制图案。这样，你的手就不会遮住已经画好的那一面。另外，在绘画时要注意你的周边视野。进入设计阶段后，这一点会变得更加重要。
Ending a Stroke 结束中风
There are two ways to end a stripe. For a blunt or squared-off ending, slowly lift and stop at the same time. To end a stripe with a sharp point, lift the brush off the surface as you continue to pull the brush. These two endings give you options for direction changes. 有两种方法可以结束条纹。要结束钝的或方形的条纹，可慢慢提起，同时停止。要以尖角结束条纹，可在继续拉动画笔的同时将画笔从表面提起。这两种结尾方式让您可以选择改变方向。
Without the passion to master these four basic strokes, your practice will feel more like work instead of fun. 如果没有掌握这四种基本招式的激情，你的练习就会感觉更像是工作，而不是乐趣。
1: There are two ways to end a stroke. A blunt-pointed ending is created by slowly lifting the brush up and stopping at the same time. A sharp-pointed ending is created by slowly lifting the brush up before you stop moving. 1：结束一笔有两种方法。钝尖的收笔方法是缓慢提笔，同时停笔。尖尖的收笔方法是在停止运笔之前，慢慢地将毛笔提起。
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2: Here you can see the different types of line endings. The line ending is a small detail in the vast scheme of things, but keep learning to pay attention to all the small details and they will add up to better striping jobs. From these different ending points you can go off in all directions easily. 2: 在这里，您可以看到不同类型的线尾。从整体上看，线尾只是一个小细节，但要不断学习关注所有小细节，这样才能更好地完成剥线工作。从这些不同的收尾点，你可以轻松地向各个方向延伸。
I start most of my designs without any plan, but I typically work out from the center. For this demonstration we will use the pounce pattern from the previous chapter. Let's start with a simple crossover stroke and go from there. 我的大部分设计都是在没有任何计划的情况下开始的，但我通常会从中心开始设计。在这次示范中，我们将使用上一章中的 "扑 "字图案。让我们从一个简单的交叉笔触开始，然后再从这里开始。
BASIC DESIGNS 基本设计
Most pinstriping designs start at a center point and build out using these four basic strokes. A simple teardrop is a good foundation from which to build. Begin practicing singlecolor designs until you get comfortable with the brush and paint. I know you want to rush ahead, but go slow at first and learn to build a solid foundation of these basics strokes. Study pinstriping designs to see how they are constructed. 大多数细条纹设计都是从中心点开始，然后使用这四种基本笔画向外延伸。一个简单的水滴形就是很好的基础。开始练习单色设计，直到你能自如地使用画笔和颜料。我知道你想急于求成，但一开始还是要慢慢来，学会用这些基本笔触打下坚实的基础。研究细条纹设计，了解它们是如何构成的。
Draw some designs in a sketchpad; you may want to make patterns from existing designs as well. Don't be discouraged if you have trouble getting the hang of the brush right away-practice is the key to success. I once suggested to a few beginners that they should blow up their televisions and devote a few hours every evening to learning how to pinstripe. Now they are doing fantastic work. If you have ever learned continued on page 65 在画板上画出一些图案；也可以根据已有的图案制作图案。如果你很难马上掌握画笔的诀窍，也不要气馁--练习是成功的关键。我曾建议几个初学者，把电视机关掉，每天晚上花几个小时学习细条纹。现在，他们的作品都非常出色。如果你曾经学过
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Begin with a blunt point and slowly pull the brush down to a pointed ending at the bottom of the design. 从钝尖开始，慢慢向下拉刷子，在设计底部形成尖头。
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Here, l'm finishing a lazy-S stroke horizontally instead of vertically. While the strokes are the same, the hand position is changed slightly. 在这里，我是横着而不是竖着完成 "懒 "字笔画。虽然笔画相同，但手的位置略有变化。
Next, I finish an inverted crossover stroke. Notice how simple it is to create a design out of these basic strokes when you use them in different ways. 接下来，我完成了一个倒交叉笔画。请注意，当你以不同的方式使用这些基本笔画时，创作设计是多么简单。
Here is a short half of a lazy-S with a pointed end that finishes the basic construction of the design. Now I think to myself, "How can I embellish this simple design?" 这是懒人杖的一小半，尖尖的末端完成了设计的基本结构。现在我在想，"我该如何点缀这个简单的设计呢？
When you create a pinstriping design, try not to leave any loose ends open. I call them "Delaware disconnects," named after the style of a striper from that state. The loose ends just don't look finished to me, so why not double them up? 在进行细条纹设计时，尽量不要留下任何尾巴。我称它们为 "特拉华州断开"，这是以该州脱衣舞娘的风格命名的。在我看来，松散的末端并不完美，为什么不把它们加倍呢？
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A design looks much better when you make connects rather than leave disconnects. Take a little more time laying out your designs to give it an interesting and finished look. Notice how you are developing your peripheral vision as you work a design out. 当你把设计连接起来而不是断开时，设计看起来会更好。多花一点时间布局你的设计，让它看起来更有趣、更完美。注意在设计过程中如何发展你的周边视野。
Practice this simple design with these basic strokes a few times to get used to them. Try building your own design using this as a base. Look closer at other people's striping to see if you can identify the basic strokes or variations of what you are learning. Now, turn off the idiot box and go to the garage and PRACTICE! 用这些基本笔画练习几次这个简单的设计，以适应它们。试着以此为基础设计自己的图案。仔细观察其他人的条纹，看看你是否能识别出基本笔画或你正在学习的笔画的变体。现在，关掉傻瓜机，去车库练习吧！
continued from page 61 续第 61 页
to play a musical instrument, you know how awkward it felt at first. Pinstriping is no different. So enjoy this discovery process, just get the brush, and have fun! 如果你想演奏一种乐器，你就会知道最初的感觉有多尴尬。画细条纹也不例外。所以，请享受这个探索的过程，拿起画笔，尽情发挥！
BRUSH-CLEANING AND STORAGE 刷子的清洁和储存
When you are finished striping, your brush should be rinsed thoroughly in mineral spirits. Be sure to pay special attention to the heel of the brush, directly near the ferrule (the band that holds the bristles to the handle), to make sure no paint is left behind. I use a clothespin to hang the brush in a jar of mineral spirits that will draw all the paint completely out of the brush in a short time. 完成剥离后，应该用矿物油精彻底冲洗刷子。一定要特别注意刷子的后跟，也就是刷套（将刷毛固定在手柄上的带子）附近，确保没有涂料残留。我用晾衣夹将画笔挂在矿泉水瓶中，这样可以在短时间内将画笔中的颜料完全吸干。
When you are satisfied that the brush is clean, dip it into brush oil and work the oil into the hair well. Then coax the brush back into its original shape with your fingers. Store the brush flat in your brush box or in a flat metal tray. 刷子清洁干净后，蘸取刷子油，将油充分涂抹在头发上。然后用手指将刷子哄回原来的形状。将刷子平放于刷子盒或平整的金属盘中。
When your brush is clean, dip it into brush oil and work the oil into the hair well. Coax the brush back into its original natural shape with your fingers and store it flat in your brush box or in a flat metal tray. 刷子清洗干净后，蘸上刷油，将油充分涂抹在刷毛上。用手指将刷子哄回原来的自然形状，然后平放在刷盒或平整的金属盘中。
CHAPTER 7 THE STRAIGHT AND NARROW 第 7 章 直道而行
S traight-line pinstriping is the most challenging style to master. The long, unforgiving line will show any deviations in thickness or wobble. Practice cannot be overemphasized in becoming a first-rate, straight-line specialist. Apprenticing with a professional is the best way for a beginner to grasp the subtle points of this fine craft. Of course, it helps if you are fortunate enough to find a very patient teacher as well. 直线细条纹是最难掌握的风格。长而无情的线条会显示出任何粗细偏差或晃动。要想成为一流的直线条专家，练习再怎么强调也不为过。对于初学者来说，拜专业人士为师是掌握这一精湛技艺精妙之处的最佳途径。当然，如果你有幸找到一位非常耐心的老师，也会有所帮助。
Cars and pinstriping have always been synonymous ... you know, like a horse and carriage. Line widths on carriages and antique cars were mostly pin lines that gave a delicate look and character to the vehicle. As car manufacturers changed designs from belt-molding construction to larger, flat body panels, pinstriping was used to accent these shapeless panels. As the cars grew in size, the stripes grew wider also. A pinstripe or two placed in the right spot help a car look lower and longer. As car shapes continue to change with new construction techniques, so will pinstriping applications. 汽车和细条纹一直是同义词......就像马和马车一样。马车和古董车上的线宽大多是细条纹，它们赋予了汽车精致的外观和个性。随着汽车制造商将带模结构设计改为更大、更平的车身面板，细条纹被用来点缀这些没有形状的面板。随着汽车尺寸的增大，细条纹也越来越宽。在适当的位置加上一两条细条纹，可以让汽车看起来更低更长。随着汽车外形随着新的制造技术不断变化，细条纹的应用也会随之改变。
We talked a little about the brush grip previously. Most straight-line or dealer stripers hold the brush in a similar manner. Most use a single-handed grip with the remaining fingers free to steady the hand. This grip is the easiest and 我们之前谈到过刷子的握法。大多数直线型或庄家型脱衣舞娘都以类似的方式握住刷子。大多数人使用单手握把，其余手指用来稳定手部。这种握法最简单，而且
Pinstriping should be just that: a pinline, not a thick, spaghetti-like line that ruins the appearance of a beautiful restoration. Imagine what this highcontrast color combination would look like if this line were thicker. The thin line blends the color transition, making it appear softer. 细条纹应该只是一条细线，而不是一条粗得像面条一样的线，这样会破坏修复后的美丽外观。想象一下，如果这条线再粗一些，这种高对比度的色彩组合会是什么样子。细线融合了颜色过渡，使其看起来更加柔和。
This ' 32 coupe resto rod is striped thinner than the originals were to give it a fine, elegant look. This stripe would have to be about inch thick for an original restoration. 这辆 32 英寸双门跑车的修复杆上的条纹比原车更薄，使其看起来精致典雅。如果是原厂修复，这种条纹的厚度大约为 英寸。
fastest one to learn. I would also say that it is the grip of choice if you plan on doing a lot of straight-line work. 学起来最快。我还认为，如果你打算进行大量的直线运动，它是首选握把。
But like I have said, some of us just got the brush and held it the way that felt most comfortable. The type of work that you start doing the most of determines the style of grip you develop. For instance, if you start striping designs mostly on hot rods and customs with a raised belt molding like I did, you may find the two-handed method works best. This allows you to avoid obstacles and use tight turns to adjust to the curving belts that run around the body. Stripes painted on shorter sections do not require you to load the brush too heavily. Stripes that run on the top and bottom edges of belt moldings, however, demand a twist of the wrist. Dealership stripers reading this, I'm sure, are pulling their hair out about now. I have heard some seasoned stripers swear that the single-handed method is the only way to do straight-line work. I don't think Dutch or the dapper guy in a hat and tie pinstriping on the Ford assembly line back in 1932 were doing it wrong! 但正如我所说的，我们中的一些人拿到画笔后，就会按照感觉最舒服的方式握笔。你开始做得最多的工作类型决定了你的握笔方式。例如，如果你像我一样，开始主要在带有凸起腰带造型的热车和风俗车上进行条纹设计，你可能会发现双手握笔的方法最有效。这样你就可以避开障碍物，利用急转弯来适应车身周围弯曲的皮带。在较短的部分绘制条纹时，不需要用到太重的刷子。但是，在皮带造型的上下边缘上的条纹则需要扭动手腕。我敢肯定，看到这篇文章的经销商脱衣舞女们现在一定在抓狂。我曾听一些经验丰富的剥皮工发誓说，单手操作法是直线作业的唯一方法。我不认为荷兰人或 1932 年在福特装配线上戴帽子打领带的潇洒家伙做错了！
With that said, I'll tell you that when my daily schedule was full of dealer work, my fingers were hurting from the grip I had developed for other types of striping. I recommend that if you choose to specialize in straight-line dealer work, you study the finer points of a few of my friends' work and their grip styles. This will give you options to try out while learning some specialized tricks of straight-line striping. 话虽如此，但我要告诉你，当我每天的日程表上都排满了经销商的工作时，我的手指就会被我为其他类型的划线工作而制定的握法弄疼。我建议，如果你选择专门从事直线经销商的工作，你可以学习我的几位朋友的工作要点和他们的握法。这将为你提供多种选择，让你在学习直线划线的一些专门技巧的同时进行尝试。
Straight lines on antique cars are typically shorter in length, with turns to compensate for the obstacles that there are to contend with. A modern car, unlike an antique, has straight, flat panels with nothing to guide your hand or eye. 古董车的直线长度通常较短，需要转弯来弥补障碍。现代汽车与古董车不同，车身笔直、平坦，没有任何东西可以引导你的手或眼睛。
MISALIGNED PANELS 错位面板
Misaligned hoods can be a problem if you stripe using the belt molding as a finger guide. I come across this quite often at shows. Some hoods, like this one, can be way off the mark. 如果用腰带成型作为手指导向来进行条纹装饰，则可能会出现头罩不对齐的问题。我在展会上经常遇到这种情况。有些头罩，比如这个，可能会偏离标记。
I had an opportunity to talk with master straight-line pinstripers Clay White and Russ Mowry at my studio. Together, we were road-testing some experimental striping brushes that Chris Fast of the Mack Brush Company dropped by. Chris probably got more information than he bargained for on that visit. I believe the best way to create a brush for pinstripers is to have experienced stripers test them out first. We all had different opinions on the brushes and we all found a different brush to suit the way we stripe. This is why there are so many brush styles to choose from. I have tried some new brushes and found them impossible to handle 在我的工作室里，我有机会与直线条纹大师克莱-怀特和拉斯-莫里交谈。当时，我们正在一起测试一些实验性的剥线刷，麦克画笔公司的克里斯-法斯特（Chris Fast）正好路过。克里斯在这次访问中得到的信息可能比他想要的还要多。我认为，为细条纹画师制作画笔的最佳方法是让经验丰富的细条纹画师先进行测试。我们对刷子都有不同的看法，我们都发现不同的刷子适合我们的剥线方式。这就是为什么有这么多画笔款式可供选择的原因。我曾尝试过一些新刷子，发现它们根本无法操作
Note the straight-line pinstriper's formal hat and smock in this photo of the 1932 Ford assembly line. Courtesy Robert Genat collection 请注意，在这张 1932 年福特汽车装配线的照片中，直线装配工戴着正式的帽子，穿着罩衫。罗伯特-杰纳特收藏提供
properly; other stripers can use the same brushes and praise them for the way they perform. 其他脱衣舞娘也可以使用同样的刷子，并称赞它们的表现方式。
Working together with other pinstripers is a rare and wonderful experience, you can learn more in five minutes than you could in years on your own. The "pinhead" movement that started in the 1990s has fostered this "brotherhood of the brush." I have a copy of the original Pinhead Fellow Pages with all the phone numbers and addresses of pinheads from all over the world. It's dog-eared and has been revised many times with new area codes and notes. It is incredibly cool to be able to call another pinhead when you have a question or problem with a project. It is equally cool to get a call from a pinhead you never met. Once, I received a call from an unknown person with a very heavy English accent, asking me if I would be willing to come "across the pond" to attend a meet and to share my knowledge of the craft. I said, "Alright . . . who is this really?" I thought it was someone goofing on me, but it wasn't. It was Jon Lesson, a thirdgeneration sign-writer and pinhead. We have become good friends since that phone call and that meet. This kind of camaraderie did not always exist. When I was learning, no 与其他细条画师一起工作是一种难得的奇妙体验，在五分钟内学到的东西比你独自工作几年学到的还要多。始于 20 世纪 90 年代的 "针头 "运动促进了这种 "画笔兄弟情"。我有一份原始的 "针头兄弟页"（Pinhead Fellow Pages），上面有世界各地针头兄弟的电话号码和地址。这本书已经破旧不堪，而且多次修订，增加了新的区号和注释。当你在项目中遇到问题或困难时，能够给另一个针头人打电话，是一件非常酷的事情。同样，接到一个从未谋面的 "大头钉 "的电话也很酷。有一次，我接到一个不认识的人打来的电话，带着浓重的英国口音，问我是否愿意 "越过池塘 "来参加一个会议，并分享我的工艺知识。我说："好吧......这到底是谁？我以为是有人在耍我，但事实并非如此。是乔恩-莱森，他是第三代招牌作家，也是个针头线脑。自从那次电话和见面之后，我们就成了好朋友。这种友情并不总是存在的。在我学习的时候，没有
Russ Mowry uses the three-finger, single-handed grip and a tape finger guide. He uses the tape to determine the character or bodyline. After he paints the first line, which is usually the heavier line, he removes the tape and paints the thin line. 拉斯-莫里使用三指单手握把和胶带手指指南。他用胶带确定人物或身体线条。在画完第一条线（通常是较粗的线）后，他拿掉胶带，画出较细的线。
one would give a kid any information at all. Some would even steer you in the wrong direction for fear of competition. 没有人会给孩子提供任何信息。有些人甚至会因为害怕竞争而把你引向错误的方向。
Sorry for the diversion, but I just did a word count and found I needed to add a lot more to comply with my publishing agreement. So let's return to our brush road-test. Russ Mowry is known for his magnificent motorcycle striping, artwork, and type styles. When he does straight lines he uses a tape guide to run his finger along. When he stripes, he concentrates on the distance between the tape and the brush tip as the paint is leaving the brush. His brush pressure varies to control the width of the line as he moves his way along the car. Less brush pressure is applied at the beginning of a stripe with a full load of paint. The pressure is increased as the paint flow is being used up. This pressure adjustment is not a conscious effort but something you learn to feel over time. 很抱歉把话题扯远了，但我刚刚清点了一下字数，发现还需要增加很多字，才能符合我的出版协议。让我们回到我们的画笔路试。拉斯-莫里以其华丽的摩托车条纹、艺术品和字体风格而闻名。当他画直线时，他会用胶带来引导手指。在画条纹时，他的注意力集中在颜料离开画笔时胶带和笔尖之间的距离上。当他沿着汽车移动时，他的刷子压力会变化，以控制线条的宽度。在涂满油漆的条纹开始时，刷子的压力较小。当油漆用完时，刷子的压力就会增加。这种压力调整不是有意识的，而是随着时间的推移逐渐学会的。
Watching Russ stripe inspired Clay White as a kid. He has perfected the art of effortlessly pulling a flawless straight line. Damn kids. His straight lines are some of the best I have ever seen. Clay says he locks his hand to his shoulder as one unit. He uses the other hand and arm to steady his upper body, while the bottom part of his body (feet, legs, and hips) move him slowly backward. Instead of interpreting Clay's dialog, or me trying to explain how Clay works, I'll let him tell you in his own words: 克雷-怀特在孩提时代就受到了拉斯的启发。他完美地掌握了毫不费力地拉出完美直线的技巧。该死的孩子他的直线是我见过的最棒的直线。克雷说，他将手与肩膀锁定为一个整体。他用另一只手和手臂稳住上半身，而身体的下半身（脚、腿和臀部）则慢慢向后移动。与其解读克莱的对话，或者我试图解释克莱是如何工作的，不如让他用自己的话告诉你：
Clay White: "When I stripe a car I use 1/8-inch, green Scotch Fine Line Tape as a guide. I have found that 1/4-inch 克莱-怀特"当我给汽车贴条纹时，我会用 1/8 英寸的绿色 Scotch Fine Line 胶带作为指引。我发现 1/4 英寸
Clay White uses -inch tape as a guide, running his middle finger along it. He paints the stripe about inch higher than the tape. 克莱-怀特使用 -inch 胶带作为指引，用中指沿着胶带划线。他画的条纹比胶带高出约 英寸。
Clay leaves the tape in place to paint both lines. Note his palette stand that is made from a camera tripod. It is adjustable, lightweight and easy to move as he works. 克雷将胶带留在原处，以绘制两条线。注意他用相机三脚架做成的调色板架。它可以调节，重量轻，便于他工作时移动。
Would you like to have to redo a fender sporting this treatment by Clay? 你愿意重新做一个经过克雷这样处理的挡泥板吗？
is too wide and my finger has too much room to 'drift' back and forth across the tape. Eighth-inch works the best for me because very little of my guide finger actually touches the paint. I hold the brush between my thumb and forefinger and use my middle finger to ride on top of the fine line. Anyone who has striped a car knows that paint varies in feel from car to car and even from panel to panel. Sometimes your finger will slide too fast if the paint is slippery or drag too much if the paint is clean, or if it's humid. Riding on top of the tape is always the same. 太宽，手指在胶带上来回 "漂移 "的空间太大。八英寸对我来说最合适，因为我的手指几乎没有接触到颜料。我用拇指和食指夹住刷子，然后用中指在细线上划线。任何给汽车喷过漆的人都知道，不同的汽车，甚至不同的面板，喷漆的感觉都不一样。有时，如果油漆很滑，你的手指就会滑得太快；如果油漆很干净，或者天气潮湿，你的手指就会拖得太长。骑在胶带上面总是一样的。
"Arm movement, body movement, brush pressure, and paint consistency are all key to great straight lines. I like to 'lock' my wrist, forearm, and upper arm as a single unit. I use my non-brush right hand (I'm left-handed) to 'feel' the top of the vehicle as a reference point. I use a crossover step to glide backward and I apply the first line approximately inch above the guideline. I use my upper torso as a shock absorber to separate my leg movements from my arm. I focus on an area about the size of a quarter where the brush tip meets the car. I look for consistency in the weight of the line and the distance from the guideline. Then I come back and drop the next line between the first line and the guideline. To sum it up, I basically lock my arm in place, walk backward, and drag my arm along for the ride. After a lot of practice "手臂动作、身体动作、画笔压力和颜料浓度都是画出完美直线的关键。我喜欢将手腕、前臂和上臂'锁定'为一个整体。我用没有刷子的右手（我是左撇子）'感觉'车辆的顶部作为参考点。我用交叉步向后滑行，在导线上方约 英寸处画第一条线。我用上半身作为减震器，将腿部动作与手臂分开。我将注意力集中在刷尖与汽车相接处约四分之一大小的区域。我在线条的重量和与基准线的距离上寻找一致性。然后我再回来，在第一条线和指引线之间画下一条线。总而言之，我基本上是将手臂锁在原地，向后退，然后拖着手臂走。经过大量练习
DeWayne Connot's singlehanded grip is similar to the others'. His brush, the DC Flat Liner, is designed by him and is available from the Mack Brush Company. He starts his stripe over tape that will be removed after both lines are completed to achieve a squared end. DeWayne Connot 的单手握把与其他人的类似。他的画笔是 DC Flat Liner，由他自己设计，在 Mack Brush Company 有售。他在胶带上开始划线，两条线划完之后再将胶带撕掉，以获得方形线尾。
DeWayne locks his arms and upper body into one unit from his brush hand across to his other hand, which is firmly planted on the car for balance. 德韦恩将手臂和上半身锁成一个整体，从他的刷子手穿过另一只手，另一只手则牢牢地抓住汽车以保持平衡。
DeWayne does not use the tape as a finger guide, but only as a visual guide for the first stripe. Notice how his fingers are spread out to control the brush on the side of the car. DeWayne 并没有使用胶带作为手指的引导，而只是作为第一条车身线条的视觉引导。请注意他的手指是如何张开来控制汽车侧面的刷子的。
you will find you can relax the arm a little and not be so rigid, but that won't come until way later. 你会发现自己可以稍微放松手臂，不再那么僵硬，但这要到很久以后才能实现。
"When I first started trying straight lines, a good friend of mine who was also a pinstriper gave me my first tip. He told me to imagine a point about a foot behind my elbow and drag my elbow towards it. Obviously the point has to keep moving away from you. Kind of like race dogs who chase the mechanical rabbit around the track and never actually catch up to it. It works, but the funny thing is, the friend who gave me this tip, who shall remain nameless, still cannot do straight lines. "当我刚开始尝试直线时，我的一位好朋友给了我第一个建议，他也是一位针线家。他告诉我，想象一个点在我肘部后面大约一英尺的地方，然后把我的肘部拖向那个点。显然，这个点必须不断远离你。这有点像赛狗在赛道上追逐机械兔子，却永远追不上它。这招很管用，但有趣的是，给我这个建议的朋友（名字就不说了）仍然做不了直线。
"Another exercise is to lay down your guideline, lay down another one about a inch above it, and try to paint on top of the second line. It will help you know what a straight line feels like. Start by trying to keep a thin line from going off the edges of the tape line, and gradually make the line thicker and thicker until you can cover the line completely. This makes for good practice. "另一个练习是先画出你的导线，再在导线上方约一 英寸处画另一条导线，然后试着在第二条导线上作画。这会帮助你了解直线的感觉。开始时，尽量让细线不离开胶带线的边缘，然后逐渐让线变得越来越粗，直到能完全覆盖住胶带线。这是很好的练习方法。
"My brush of choice is the old plastic-handled Grumbacher. Unfortunately they are now extinct, and I have been working with Alan Johnson, Russ Mowry, and the Mack Brush Company to come up with a good substitute. "我的首选刷子是老式塑料柄格兰巴赫刷。不幸的是，现在这种刷子已经绝迹了，我一直在与艾伦-约翰逊、拉斯-莫里和麦克刷公司合作，希望能找到一种好的替代品。
"Paint consistency is very important. 1-Shot black straight out of the can on a warm summer day is just about perfect. I put about inch of paint in the bottom of a 3 -ounce Dixie cup. Then I add anywhere from 6 to 12 drops "油漆的稠度非常重要。在温暖的夏日，直接从罐子里倒出黑色 1 号油漆是最合适的。我在一个 3 盎司的迪克西杯底部放入约 英寸的颜料。然后加入 6 到 12 滴
If you have to stop a stripe in the middle of a panel reload the brush and restart the stripe a few inches or more back from where you stopped. This will give you sometime to adjust the weight of the line before you get to the place where you stopped. 如果你不得不在面板中间停止一条线，重新装上刷子，然后从你停止的地方向后退几英寸或更远重新开始一条线。这样您就有时间在到达停止位置之前调整线条的重量。
DeWayne points out the visual concentration zone above his brush and the first stripe. If you are a beginner, you may feel more comfortable leaving a tape guide on until you finish the striping. DeWayne 指出了画笔上方的视觉集中区和第一条条纹。如果你是初学者，在完成条纹绘制之前，你可能会感觉更舒服一些。
Toward the end of the line, notice how DeWayne's weight is almost all on his left foot as he rocks backward. 在终点处，注意德韦恩在向后摇晃时，重心几乎全部落在左脚上。
of thinner, depending on the color. I prefer DuPont Vari-Temp Reducer. Before I load the brush, I dip the tip of the dry brush into the thinner and work it into the brush hair with my thumb and forefinger. This helps to lubricate the brush for even paint distribution. Then dip the brush into the paint and palette it at least two dozen times to load the brush properly. The paint will only come off the brush as evenly as it is applied. I can generally stripe at least one full panel of a car, sometimes two, without reloading. Typically, every time I stop at the end of a panel, I reload the brush. It is not usually necessary to palette as many times once the brush is properly loaded." 的稀释剂，视颜色而定。我更喜欢杜邦 Vari-Temp Reducer。在装刷子之前，我会将干刷子的顶端蘸上稀释剂，然后用拇指和食指将其涂抹到刷毛上。这有助于润滑刷子，使涂料分布均匀。然后将刷子蘸上颜料，至少调色二十几次，使刷子正确上色。只有涂刷均匀，颜料才能从刷子上脱落。一般情况下，我可以在一辆车上至少涂满一整幅，有时是两幅，而无需重新涂刷。通常情况下，每当我停在一个面板的末端时，我都会重新装上刷子。一旦刷子装载正确，通常不需要调色那么多次"。
My policy is, the larger the vehicle, the more elaborate the decoration at the line endings. Notice that Clay is left-handed and the tape guide is under the stripe. Because dealership work is nonstop, to avoid conflicts Clay schedules his work on a weekly route basis that all his customers are aware of. 我的原则是，车辆越大，线条末端的装饰就越精致。请注意，克雷是左撇子，而胶带的导向装置在条纹下方。由于车行的工作是不间断的，为了避免冲突，克莱每周都会安排工作路线，他的所有客户都知道。
This next straight line demonstration included here took place in the "Bullpen" of the USSC (United States Sign Council) Sign World trade show in Atlantic City, New Jersey. This area is sectioned off from the main hall, allowing pinheads and letterheads to paint and to share their tips and tricks with one another. There is always someone who leaves a car for us to play with, or we stripe a rental car or two. This section illustrates veteran straight-liner master DeWayne Connot's amazing skills. 接下来的直线演示是在新泽西州大西洋城 USSC（美国标识委员会）标识世界贸易展的 "Bullpen "进行的。这个区域与主会场隔开，让针头人和信头人可以在这里画画，并相互交流技巧和窍门。总会有人留下一辆车给我们玩，或者我们给一两辆租来的车喷漆。本节展示了资深直线条大师德韦恩-康诺（DeWayne Connot）的惊人技艺。
DeWayne is a straight-line striping machine who has been striping for dealers and body shops in the Philadelphia area for many years. He has trained many other stripers to run a good line as well. DeWayne grips the brush in the three-finger steadying method that is common to most straight-line stripers. His brush of choice is his own Mack signature brush, the DC Flat Liner. DeWayne 是一名直线划线工，多年来一直为费城地区的经销商和车身修理厂划线。他还培训了许多其他剥线工，让他们也能熟练地剥线。DeWayne 使用三指稳定法握住刷子，这是大多数直线剥线机常用的方法。他选择的刷子是他自己的 Mack 标志性刷子 DC Flat Liner。
PINSTRIPING CORNERS AND ENDS 四角和两端有针刺
DeWayne stresses the importance of getting enough paint on the stripe by using a thicker paint mixture that is not overreduced. The thicker mixture ensures better coverage that will wear longer. Plus, striping with a thicker paint can slow the process down. To maintain his speed, he uses a larger brush. He holds the brush at a higher angle so only the tip touches the surface. He reloads and palettes the brush often-about every panel or so to keep the brush fully loaded. He locks his hand and shoulder and rocks backward from right to left, slowly transferring his weight from one leg to the other. His other arm is firmly planted on the car to balance and move him along at a steady pace. DeWayne uses the tape only as a visual guide and accurately maintains a constant distance between the tape and his stripe. DeWayne 强调，要在条纹上涂上足够的涂料，必须使用较厚的涂料混合物，而且不能过量。较厚的混合物可确保更好的覆盖率，从而延长磨损时间。此外，使用较厚的油漆会减慢脱漆过程。为了保持速度，他使用较大的刷子。他把刷子握在一个较高的角度，这样只有刷尖接触到表面。他经常重新装载和调试画笔，大约每画一幅画，画笔就装满一次。他锁住手和肩膀，从右向左向后摇动，慢慢地将重心从一条腿转移到另一条腿上。他的另一只手牢牢地抓住汽车，以保持平衡，并以稳定的速度前进。德韦恩仅使用胶带作为视觉引导，并准确地保持胶带与他的条纹之间的距离不变。
Doing this type of work at a fast pace while keeping your demanding customers satisfied is quite stressful, so for relaxation DeWayne enjoys painting obscure microscopic designs on panels that are almost too small to see. His unique talents as a fine artist are just an extension of the concentration it takes to do great straight-line dealership striping. 既要快速完成这类工作，又要让要求苛刻的客户满意，压力可不小，所以 DeWayne 喜欢在面板上画一些晦涩难懂的微观图案，几乎小到看不清，以此来放松自己。作为一名美术家，他的独特才能只是对出色的直线经销商条纹设计所需的专注的一种延伸。
Double stripes end in a simple design. 双条纹的末端是一个简单的设计。
A tropical palm tree illustration ends both stripes. 两个条纹的末端都有一棵热带棕榈树插图。
Three-color lines culminate in a corner design and a gold burnished spire. 三色线条将转角设计和金色抛光尖顶推向高潮。
The 1932 Chrysler's beautiful belt line led to this end design. 1932 年克莱斯勒漂亮的腰线设计促成了这种车尾设计。
Four-color corner design on a test panel for a 1932 Ford. 1932 年福特汽车测试面板上的四色边角设计。
Two-color stripes end with a copper color inlay to match the hot rod's Nailhead engine. 双色条纹的末端镶嵌着铜色，与这辆跑车的 "钉头 "发动机相匹配。
CHAPTER 8 第 8 章
PINSTRIPING ANTIQUE AND CLASSIC CARS
GREAT CAR COLLECTORS 大汽车收藏家
卫 he owners of antique and classic cars are as unique as the cars they collect. Most are very private, some are eccentric, but typically I have found they are all successful entrepreneurs. Two constant traits among private collectors are an appreciation for the craft and an eye for detail and excellence. Results are always more important than costs. 卫 古董车和老爷车的车主和他们收藏的汽车一样，都是独一无二的。大多数人非常注重个人隐私，有些人性格古怪，但我发现他们通常都是成功的企业家。私人收藏家有两个不变的特点，一是对工艺的欣赏，二是对细节和卓越的追求。结果永远比成本更重要。
The late Michel G. Rothschild of New Jersey, was one of my favorite collectors. Michel's entire collection consisted of early-1900s "Brass Era" cars that he drove constantly. Each machine reflected a major step in automotive technology. Michel was a real hands-on collector who did most of the machine restoration work himself. He would call me and say, "I have another one ready for the finishing touch. And this 新泽西州已故的米歇尔-G-罗斯柴尔德（Michel G. Rothschild）是我最喜欢的收藏家之一。米歇尔的全部藏品都是 20 世纪初 "黄铜时代 "的汽车，他经常驾驶这些汽车。每台机器都反映了汽车技术的一大进步。米歇尔是一个真正亲力亲为的收藏家，他自己完成了大部分的机器修复工作。他会打电话给我说："我又有一辆车要做最后的润色了。这台
I feel truly blessed to have been able to work in Michel Rothschild's museum. His collection was a study in automotive technology and gleaming brass. Plus, one can't help but do good work while surrounded by good lighting and music. 能够在米歇尔-罗斯柴尔德的博物馆工作，我感到非常幸运。他的收藏是对汽车技术和闪闪发光的黄铜的研究。此外，在灯光和音乐的环绕下，人们会情不自禁地做好工作。
Working on Rothschild's collection was like working in a fancy brass shop. Michel could make almost everything he needed to restore his cars, but he never tried to paint the finishing touch. Maybe he just loved to see someone else's work included on his recreations. time don't forget to help yourself to the food in the refrigerator." I would arrive at his beautiful home to find a note describing all the good things to eat and drink. All the doors would be unlocked, with hot coffee ready, the refrigerator fully stocked, and classical music playing throughout the house and in both floors of the shop. Michel would never make any mention of his ideas of what he wanted done to his cars, so I would access the vehicle when I arrived and paint whatever I thought was correct for that individual car. I think I striped two of his cars before we actually met each other. 为罗斯柴尔德的收藏工作就像在高级铜器店工作一样。米歇尔几乎可以制作修复汽车所需的一切，但他从未尝试过画龙点睛。也许他只是喜欢看到别人的作品出现在他的复制品上。"别忘了自取冰箱里的食物"。我来到他美丽的家中，发现一张纸条上写着所有好吃好喝的东西。所有的门都没有上锁，热咖啡已经准备好，冰箱里的食物也已备齐，整个房子和商店的两层都播放着古典音乐。米歇尔从来没有提过他想给他的车做什么，所以我到了之后就会进入车内，给每辆车喷上我认为合适的漆。我想，在我们真正见面之前，我就给他的两辆车喷过漆了。
One day, as I was finishing up, Michel arrived and started thrashing around in the shop above me. I went up and found him grumbling, "Why the hell did they build it this way?" He was up to his elbows in removing the transmission of his 1896 Faison. He was trying to figure out how to fabricate a new set of gears that had to include a lower ratio, 有一天，当我正在收尾时，米歇尔来了，他开始在我楼上的店里胡闹。我走上前去，发现他在抱怨："他们为什么要这样造车？"他当时正忙着拆卸他那辆 1896 年的费森变速器。他正在想办法制造一套新的齿轮，其中必须包括一个较低的传动比、
Another client's collection hosts a large variety of exotic cars. When I go to stripe a car at a collector, I study all the cars in the collection and make mental notes on the pinstriping. Here, my friend Pekka Mannermaa tours Ralph Marano's collection. 另一位客户收藏了大量的奇特汽车。当我去给一辆汽车做条纹时，我会研究收藏的所有汽车，并在脑海中记下有关细条纹的笔记。在这里，我的朋友 Pekka Mannermaa 正在参观拉尔夫-马拉诺的收藏。
When I striped this 1910 Packard, the owner and I wondered how the judges at the AACA show in Hershey would react. The happy owners won first place in their class. 当我为这辆 1910 年产的帕卡德（Packard）汽车进行脱漆处理时，我和车主都在想，在赫尔希举行的美国汽车协会（AACA）车展上，评委们会作何反应。快乐的车主赢得了他们组别的第一名。
It's important to photograph and study all kinds of unusual cars to see how pinstriping should be executed. 重要的是要拍摄和研究各种不同寻常的汽车，以了解细条纹应如何实施。
Careful study of the owner's research information reveals the correct path for striping details. 仔细研究业主的研究信息，就会发现条纹细节的正确路径。
which was necessary for this beauty to climb his steep driveway. It seemed that the steering column had to be removed before he could get the transmission out. (I guess there were bad designers even at the dawn of the motorcar.) At that point I realized it was a good time to take a break and assist him. As we worked, he told me stories about his years of endurance racing with his wife at Le Mans. One story that made a profound impression on me was that they continued to race in all conditions back then, including fog at night. He told me "We would come off a right turn into a straightaway, count to 20 , and blindly turn the wheel hard to the left and pray that the road would be there!" 为了让这辆美车爬上他家陡峭的车道，他必须把变速箱拆下来。似乎必须先拆下转向柱，才能取出变速箱。(我想，即使在汽车诞生之初，也会有一些糟糕的设计者。）这时，我意识到这是一个休息和帮助他的好时机。在工作的过程中，他给我讲了他和妻子多年来在勒芒参加耐力赛的故事。其中一个故事给我留下了深刻印象，那就是他们当时在任何条件下都坚持比赛，包括在夜间起雾。他告诉我："我们会从一个右转弯道进入直道，数到 20，然后盲目地向左猛打方向盘，祈祷路会在那里！"
I have been fortunate to work with notable and interesting collectors, and all of the best antique restoration shops. 我有幸与著名的、有趣的收藏家以及所有最好的古董修复店合作。
This is a fine example of what not to do. I found this in an auto museum. 这是一个很好的例子，说明了什么是不应该做的。这是我在一家汽车博物馆里发现的。
These stripes are too heavy for a car like this. They work better for a heavy-duty truck. 这些条纹对于这样的汽车来说太重了。它们更适合重型卡车。
This has allowed me to work on some of the rarest vehicles known to exist in private collections nationwide-cars that consistently earn top honors at Pebble Beach and other top concours events. Collectors at this level have a common thread running throughout their personalities: it's an attitude that does not accept mediocrity in any form or the word "can't." This alone is the one concept that leads to success in any endeavor. The attitude of "quiet perfection" should be noted and adopted by any serious pinstriper planning to work in these circles. 这让我有机会接触到全国范围内私人收藏的一些最稀有的汽车--这些汽车在圆石滩和其他顶级鉴赏会上屡获殊荣。这种级别的收藏家有一个贯穿其个性的共同点：不接受任何形式的平庸或 "不能 "这个词。只有这样的理念才能在任何工作中取得成功。任何打算在这些圈子里工作的认真的细条工都应该注意并采用这种 "安静的完美 "态度。
No part of this 1910 Packard was untouched by the brush, and it's just right! Even running gear received the same double-stripe treatment. 这辆 1910 年产的 Packard 没有一处未被刷过，而且刷得恰到好处！就连跑车的传动装置也经过了同样的双条纹处理。
CLASSIC AND ANTIQUE CAR STRIPING 101 老爷车和古董车划线 101
Four things to contemplate before you make an appointment to stripe a priceless beauty: 在预约为无价之宝进行纹饰之前，有四件事需要考虑：
Be sure your business insurance is paid up; even a minor ding on one of these classics could set you back a pretty penny. Check with your insurance agent for the proper coverage for this kind of work, both in and out of your shop. 请确保您的商业保险已经缴清；即使是这些经典车型上的一个小凹痕，也会让您损失一大笔钱。请咨询您的保险代理，了解此类工作的适当保险范围，包括店内和店外。
Set aside enough time to do this kind of job correctly. 留出足够的时间来正确完成这项工作。
Striping can be an extremely aerobic workout. It includes stretching, bending, and lying on the ground. Be sure you're limber and ready to go! 脱衣舞是一种非常有氧的锻炼方式。它包括伸展、弯曲和躺在地上。请确保您身体柔软，准备就绪！
Be aware that an era-correct job includes a double stripe of the same color. Day one for stripe one, day two for stripe two (this means you do the entire job twice!). 请注意，符合时代特征的工作包括相同颜色的双条纹。第一天是第一道，第二天是第二道（这意味着整个工作要做两次！）。
THE BRASS CAR ERA 铜车时代
Brass Era cars are really interesting and challenging to stripe. This distinction is given to the early-twentieth-century cars and stems from the obvious abundance of polished brass that was used to accessorize them. They were the first step up from horse-drawn carriages and had many of the same striping characteristics. 黄铜时代的汽车非常有趣，而且具有挑战性。二十世纪早期的汽车之所以被称为 "黄铜时代"，是因为这些汽车明显使用了大量的抛光黄铜作为装饰。它们是马车的升级版，具有许多相同的条纹特征。
The first question to ask when approaching a Brass Era car is, with all the years, types, and models that exist, how do you determine where to draw the line with your pinstriping? 在接触黄铜时代的汽车时，首先要问的问题是，面对各种年代、类型和型号的汽车，如何确定细条纹的界限？
Research, or "auto-archeology," as I like to call it, is the key. Many museums, private collections, books, sales brochures, and photo histories are available. But I've found the best, not to mention, most rewarding way to research these delightful, historic machines is to go to an Antique Automobile Club of America (AACA) show. Every autumn in Hershey, Pennsylvania, at the Eastern Division AACA National Fall Meet, you can find acres and acres of antique and classic cars displayed in chronological order. These 研究是关键，我喜欢称之为 "自动考古学"。许多博物馆、私人收藏、书籍、销售手册和照片历史都可以找到。但我发现，研究这些令人愉悦的历史性机器的最好方法，更不用说最有价值的方法，就是去参加美国古董汽车俱乐部（AACA）的展览。每年秋天，在宾夕法尼亚州赫希市举行的美国古董汽车俱乐部东部分会全国秋季会议上，您都能看到成英亩成英亩的古董车和老爷车按时间顺序展出。这些
You can get to know the car and where to lay your lines during the preparation process as you eliminate any surface contaminates that would interfere with the striping. 在准备过程中，您可以了解汽车以及铺设线条的位置，同时消除会影响划线的任何表面污染物。
beautiful restorations are juried and held to the most stringent of guidelines for authenticity and originality, down to the smallest details. Here, you can photograph and research first-hand rare cars that you may never see anywhere else in the world. I enjoy sitting on the curb with a cup of coffee in the early morning light as the cars drive in to park. 在这里，您可以拍摄和研究世界上从未见过的珍稀汽车。在这里，您可以拍摄和研究世界上其他任何地方都不可能见到的珍稀汽车。我喜欢在清晨的阳光下，坐在路边喝杯咖啡，看着一辆辆汽车驶入停车场。
This 1902 Rambler was an interesting combination of raised surfaces and belt moldings that needed to be studied to determine where toand where not to—place the pinstriping. 这辆 1902 年的 Rambler 是凸起表面和带状模塑的有趣组合，需要对其进行研究，以确定在哪里放置或不放置细条纹。
OWNER INFORMATION 业主信息
Most owners of restored vehicles can provide useful information on the striping colors and placement details. After all, they have usually spent numerous hours researching their restoration projects. Working closely with a knowledgeable owner and restorer helps the pinstriper determine which 大多数修复车辆的车主都能提供有关条纹颜色和位置细节的有用信息。毕竟，他们通常花费了大量时间研究自己的修复项目。与见多识广的车主和修复师密切合作，有助于饰条制作者确定哪些
This one-of-a-kind 1929 Hebert-Darrin Custom Stutz has some great opportunities to get creative by carrying the interior motif onto the striping on the belt molding. 这辆独一无二的 1929 年希伯特-达林定制斯图兹跑车将内饰图案运用到了腰带造型上的条纹装饰上，为您提供了发挥创意的绝佳机会。
Striping next to the belt line was the method chosen to bring out the beauty of this 1903 Cadillac. 为了使这辆 1903 年的凯迪拉克更加美观，我们选择了在车身腰线旁铺设条纹的方法。
information is correct and how to proceed with confidence. I've seen some horrible examples of incorrect striping that was either an afterthought or just a result of poor execution. Pinstriping is one of the first things you notice from afar. It is also the finishing touch that can end up being the major factor in a car's first impression. Heavy or thick pinstriping is typically incorrect and too massive for an antique car. Poor color choices or misplaced striping can ruin a beautiful restoration job. I have noticed that even museums, unfortunately, display poor examples of "era-correct" pinstriping in their collections. In my opinion, these examples exist due only to laziness or lack of knowledge. Antique and classic car pinstriping is nothing like contemporary "dealer striping," where you run down the side of a car, following a tape guide with your brush. Experience and lots of research are the best teachers in the quest of authentic auto-archeology. 信息是否正确，以及如何自信地进行操作。我见过一些可怕的例子，错误的条纹要么是事后想到的，要么只是执行不力的结果。细条纹是你从远处最先注意到的东西之一。它也是点睛之笔，最终可能成为影响汽车第一印象的主要因素。对于古董车来说，厚重的细条纹通常是不正确的，也过于夸张。颜色选择不当或条纹错位都会毁掉精美的修复工作。我注意到，不幸的是，即使是博物馆也会在其藏品中展示 "符合时代特征 "的劣质细条纹。在我看来，这些例子的存在只是因为懒惰或缺乏知识。古董车和老爷车的细条纹与当代的 "经销商细条纹 "完全不同，后者是用刷子按照胶带的指引在车身侧面划线。经验和大量的研究是追求真实汽车考古学的最好老师。
John Walters' 1910 Packard Model 30, known as the "gentleman's run-a-bout," is a good example of how working closely with the owner in making decisions on striping details makes for a successful job. We pored over the only photos known to exist of two different 1910 Packard Model 30s. One car had details that were fairly accurate; the other was poorly striped with thick and thin gold tape. We had to make judgment calls on all the areas that we could not see in the photos. We agreed on the basic details, then we used a bit of artistic license for the missing sections. The result was continuity throughout the car. This elaborate job took several 约翰-沃尔特斯（John Walters）的 1910 年款 Packard Model 30 被称为 "绅士跑车"，它是一个很好的例子，说明了与车主紧密合作，就条纹细节做出决定，是一项成功的工作。我们仔细研究了目前已知的两辆不同的 1910 年 Packard Model 30 的照片。其中一辆车的细节相当准确，而另一辆车则用厚厚的金色胶带和薄薄的金色胶带进行了拙劣的装饰。我们不得不对照片上看不到的所有地方做出判断。我们就基本细节达成了一致，然后对缺失的部分使用了一些艺术许可。结果是整辆车都保持了连续性。这项精细的工作耗时数月
Using the striping-hand ring finger on the bottom of the belt as a guide helps to keep a uniform distance from the edge of the belt molding. 使用皮带底部的剥线手无名指作为导向，有助于保持与皮带成型边缘的一致距离。
days to complete; there was pinstriping on almost every part of the running gear, frame, and body. I think the longest stripe I pulled was only 3 foot long. It was crucial that all of these short lines were consistent in width and that the numerous corners were crisp and sharp. 几乎所有的传动装置、车架和车身都有细条纹。我想我拉的最长的条纹只有 3 英尺长。至关重要的是，所有这些短线的宽度都要保持一致，而且无数个边角都要清晰锐利。
Using the striping-hand ring finger on the bottom of the belt as a guide helps to keep a uniform distance from the edge of the belt molding. 使用皮带底部的剥线手无名指作为导向，有助于保持与皮带成型边缘的一致距离。
Color, as a rule, changes the mood and character of a car. Current styles and trends all play a role in the final decision when choosing colors. This is another area where working with the owner is important. I have found that striping a variety of colors on a test panel is a good way for the owner to see what the stripe will look like on the car. Most people have a hard time visualizing what the final results will look like. I like to get this out of the way prior to committing to fastidious jobs. 颜色通常会改变汽车的格调和特征。在选择颜色时，当前的风格和趋势都会对最终决定产生影响。这也是与车主合作的另一个重要方面。我发现，在测试板上绘制各种颜色的条纹，是让车主看到条纹在车上的效果的好方法。大多数人很难想象出最终的效果。我喜欢在进行繁琐的工作之前先把这个问题解决掉。
In situations where a collector might employ their spouse or young child when choosing paint options for their antique cars, I try to remain reasonably "open," keeping in mind that collectors go through color phases just like anyone else. I recall a job where the owner of a custom Packard, painted a not-so-traditional mauve color, handed me a swatch of dress material that his wife picked out for the pinstriping details. This delicate situation called for a fair amount of decorum, sprinkled with grace. In such cases I will often try to suggest a direction that accommodates the owner's personal tastes in addition to doing what is best for that particular car. 如果收藏者在为古董车选择喷漆方案时可能会让配偶或年幼的孩子参与，我会尽量保持合理的 "开放 "态度，因为收藏者也会像其他人一样经历色彩阶段。我记得在一次工作中，一辆被涂成非传统淡紫色的定制帕卡德汽车的车主递给我一块他妻子为细条纹细节挑选的衣服面料色板。在这种微妙的情况下，我需要表现出相当的礼貌和优雅。在这种情况下，我通常会尝试建议一个方向，除了做最适合该车的事情外，还要照顾到车主的个人品味。
WHERE TO DRAW THE LINE 界线在哪里
Start thinking about where you will place the stripe as you begin cleaning the car. Become familiar with all the details of the body construction as you wipe down the entire body (see Chapter 4). A good question to ask yourself during this 在开始清洁汽车时，就开始考虑将条纹放在哪里。在擦拭整个车身时，要熟悉车身结构的所有细节（见第 4 章）。在此过程中要问自己一个好问题
Before the development of improved pigments, metallic-bronze powders in a varnish base were used for brilliant gold effects. Later, more silver tones could be incorporated into the ornaments and pinstriping. 在改良颜料问世之前，人们在清漆基底中加入金属青铜粉，以获得绚丽的金色效果。后来，装饰品和细条纹中可以加入更多的银色调。
This 1932 Auburn 12 boat-tail speedster is painted in a bold contrast of black and bright yellow. Special care is needed in mixing the color for the stripe so it is not overpowering. 这辆 1932 年的奥本 12 型船尾跑车采用了大胆的黑色和亮黄色对比涂装。在调配条纹颜色时需要特别小心，以免颜色过重。
process is: "Are the belt moldings lined up and consistent throughout the body?" Some early car bodies look like they have two different bodies combined together to make one. Becoming aware of all the car's unique body details during the preparation process can help you understand how the original striper may have reached the conclusion as to where to "draw the line." Typically the pinstripe is on the belt moldings if there are not too many interruptions. Another option is to stripe next to the belt moldings. Overall consistency of the striping is the desired goal. 过程是："整个车身的腰带模具是否整齐划一？"有些早期车身看起来像是由两个不同的车身组合而成。在准备过程中了解汽车所有独特的车身细节，可以帮助您理解原装剥线师是如何得出在哪里 "划线 "的结论的。通常情况下，如果没有太多的干扰，细条纹是在皮带模上。另一种方法是在皮带模子旁边划线。条纹的整体一致性是我们希望达到的目标。
Wherever the stripe is to be painted, the method used in holding your brush is about the same. Your fingers will now become guides, measuring distances between the edges of the belt moldings and where you pull the stripe. It will take practice to train your hand to accommodate all circumstances, such as working around nonremovable accessories and transferring pressure to span door, hood, and panel gaps. 无论要在哪里绘制条纹，拿刷子的方法都是一样的。现在，你的手指将成为向导，测量皮带模制件边缘之间的距离以及你拉动条纹的位置。这需要练习来训练你的手适应各种情况，例如在不可拆卸的配件周围工作，以及将压力转移到车门、引擎盖和面板缝隙上。
I use the two-handed or over-handed method, because no matter what direction I am striping—left, right, horizontal, or vertical-there is always a finger to guide the brush along the belt. When striping on the belt, I run my finger along the outer edge of the belt. When striping next to the belt, I like to make a mock stripe with a Stabilo first to be sure I like the placement. Then I choose a finger to become a guide, always measuring the stripe's distance from the belt. The space between the stripe and belt must remain consistent. 我使用双手或双手以上的方法，因为无论我是向左、向右、水平或垂直方向剥线，总有一个手指可以引导刷子沿着皮带进行剥线。在皮带上刷漆时，我用手指沿着皮带外缘刷。在腰带旁边画条纹时，我喜欢先用 Stabilo 做一个模拟条纹，以确定我喜欢的位置。然后我选择一个手指作为引导，始终测量条纹与腰带的距离。条纹和腰带之间的空间必须保持一致。
A thin pinstripe is imperative with this highcontrast color combination. A thicker stripe would have pushed the bold contrast too far. 在这种高对比度的色彩组合中，细条纹是必不可少的。如果条纹较粗，就会使大胆的对比过于强烈。
Louvers can offer good guides for your fingers. I stripe from right to left to avoid contact with the previously painted stripes. The pinstripe on the louver edge accents and highlights an otherwise flat area of this beautifully curved vehicle. 百叶窗可以为手指提供良好的导向。我从右到左进行装饰，以避免与之前喷漆的条纹接触。百叶窗边缘的细条纹点缀并突出了这辆曲线优美的汽车上原本平坦的区域。
The finished hood sides can be carefully installed after the stripes are dry. Striping the hood sides before they are installed is a luxury I have with Stone Barn Automobile Restoration, as they are located close to my studio. 待条纹干透后，就可以小心翼翼地安装完成的引擎盖侧面了。由于石谷仓汽车修复公司离我的工作室很近，因此在安装前给引擎盖两侧条纹是我的一项奢侈享受。
Some of the most interesting obstacles and challenges you will ever encounter are on Brass Era cars. 在黄铜时代的汽车上，您会遇到一些最有趣的障碍和挑战。
OBSTACLES 障碍
Obstacles such as carriage bolts, door handles, and latches need to be avoided if possible. Remove the items that you can as you encounter them when preparing the vehicle for striping. Some obstacles cannot be removed, which means you may have to paint with your "wrong" hand or in a direction that you are not accustomed to. Using taped guides and working in small sections can also be a solution in tight spots. Brass Era cars have some of the most unique obstacles you'll ever encounter. One of the most memorable that I've encountered was an ornate horn that resembled a snake. 需要尽可能避开车厢螺栓、门把手和门闩等障碍物。在准备对车辆进行划线时，如果遇到障碍物，应尽可能将其移除。有些障碍物无法移除，这意味着您可能不得不用 "错误 "的手或不习惯的方向进行涂漆。在狭小的地方，使用胶带引导和小范围作业也是一种解决办法。黄铜时代的汽车会遇到一些最独特的障碍。其中最让我难忘的是一个像蛇一样的华丽喇叭。
Take extra time and patience to work around obstacles that cannot be removed. If you are in good communication with the restorer of the car, they will sometimes have you paint the tough spots as they assemble the vehicle. This is an optimum situation for painting difficult places. It is always best to relax, slow down, and learn about the unique handmade characteristics of each vehicle as you go along. I have learned so much from this process and find that I enjoy imagining that I might be in the same frame of mind as the person who originally striped the car. 花更多的时间和耐心来处理无法清除的障碍物。如果你能与汽车修复商保持良好的沟通，他们有时会让你在组装车辆时对难点进行喷漆。这是在困难的地方喷漆的最佳时机。最好的办法就是放松心情，放慢速度，边做边了解每辆车独特的手工特点。我从这个过程中学到了很多东西，我发现我很喜欢想象自己可能和最初给汽车喷漆的人有着同样的心态。
Patience is required to remove obstacles safely. You can learn how beauty followed function on these rolling works of art. Leather fenders are easily removed to access the body for striping this 1901 Knox. It is always interesting to discover the unusual construction of an antique automobile. 安全清除障碍物需要耐心。在这些滚动的艺术品上，您可以了解到美是如何追随功能的。这辆 1901 年产的诺克斯（Knox）汽车的皮革挡泥板很容易拆卸，以便进入车身进行脱漆。发现古董汽车的非凡构造总是非常有趣的。
In some striping situations, using tape in tight spots may be the only way to solve hard-to-reach areas. 在某些划线情况下，在狭小区域使用胶带可能是解决难以到达区域的唯一方法。
This 1903 Cadillac had to be striped after it was built, which opened up a world of challenges to be overcome creatively. 这辆 1903 年出厂的凯迪拉克在建成后必须进行脱漆处理，这为我们创造性地克服困难带来了挑战。
Here's a classic example of single striping using red alongside black. Like a tuxedo, this scheme is always in style. 这是一个经典的单条纹案例，红色与黑色并用。就像燕尾服一样，这种搭配永远都很时尚。
WHEELS 车轮
Antique-wheel striping details vary from a simple single stripe to gold leaf with multiple color outlines. The early spoke wheels had several variations of a pointed arrow shape on each spoke. Arrows were thick at the hub and tapered to a point toward the rim. Other wheels had solid, colored arrows with outline stripes in a color that matched the striping on 古董车轮的条纹细节各不相同，有简单的单一条纹，也有带有多种颜色轮廓的金箔。早期的辐条车轮在每个辐条上都有几种不同的尖箭头形状。箭头在轮毂处较粗，向轮辋处逐渐变细。其他轮辐上的箭头是纯色的，带有轮廓条纹，颜色与轮辐上的条纹相匹配。
You can achieve different star patterns on wooden spokes by varying the color, thickness, and closeness of each stripe. 通过改变颜色、粗细和每条条纹的紧密程度，可以在木制辐条上做出不同的星形图案。
the body. Auto-archeology is always necessary to determine the proper characteristics and will make the difference between winners and losers. 身体。为了确定适当的特征，自体初生学始终是必要的，它将决定成功者和失败者之间的差别。
Some hubs on early vehicles had multiple stripes, colors, and ornamentation and are real works of art. As steel rims were introduced, the styles changed to simpler striping continued on page 93 一些早期车辆的轮毂有多种条纹、颜色和装饰，是真正的艺术品。随着钢制轮辋的推出，轮毂的样式变为更简单的条纹。
Striping and spinning the wheels is impossible if the brakes are not adjusted to turn freely. I find striping the wheels before they are installed is much more efficient and produces more favorable results. 如果制动器没有调整到可以自由转动，就不可能对车轮进行剥离和旋转。我发现在安装车轮之前对车轮进行划线会更有效率，效果也更好。
An arrow motif is carried out in outline form into the center of each spoke with a simple, yet dramatic line. Note how the hub also is encircled with a thin white line. 每根辐条的中心都有一个箭形图案，线条简洁而富有戏剧性。请注意，轮毂也是用细白线环绕的。
A clean edge is created for the arrows by using inch tape at the base of the hub. You should pre-mark the length of each arrow with a Stabilo pencil. 在轮毂底部使用 英寸胶带为箭头粘贴一条整齐的边缘。您应事先用 Stabilo 铅笔标出每个箭头的长度。
This is a most fanciful wheel. The star pattern is created by painting each individual arrow radiating out from the hub, and is enhanced by the black mounting bolts at the center of each spoke. Function and form working together. 这是一个最富想象力的轮毂。星形图案是从轮毂向外放射的每个箭头上涂上油漆而形成的，每个辐条中心的黑色安装螺栓使星形图案更加突出。功能与外形相得益彰。
Adding two thin lines and 添加两条细线和
another bold red line 另一条粗红线
emphasizes this classic 强调这一经典
triple-striped Chevrolet wheel. 三条纹雪佛兰轮毂。
This original wheel with original color and paint has been a useful reference for creating authentic striping details when restoring wheels. 这个带有原色和原漆的原装轮毂一直是修复轮毂时制作真实条纹细节的有用参考。
A 1910 Model T spoked wheel receives a simpleyet-authentic arrow stripe. This stripe should be ended just about an inch past the midpoint on each spoke. 1910 年款 T 型辐条车轮上有一条简单而真实的箭头条纹。箭形条纹的末端应在每个轮辐的中点后约一英寸处。
Finding an original steel rim with multiple stripes is an invaluable reference for striping thickness and for spacing from the hub. 找到一个有多条条纹的原装钢轮辋，对条纹厚度和与轮毂的间距是一个非常宝贵的参考。
Note how the stripe is perfectly interrupted by the air valve stem. 请注意条纹是如何被气阀杆完美打断的。
With photo information at hand, the outer stripe is lightly drawn on with a Stabilo pencil. I found a rubber washer that serves as a good guide. 有了照片信息，就可以用 Stabilo 铅笔轻轻地画出外侧的条纹。我找到了一个橡胶垫圈，可以起到很好的引导作用。
Starting with the stripes on the hub and working out to the rim eliminates the chance of damaging the wet stripes. Tape is laid around the hub to give the arrows a clean edge. 从轮毂上的条纹开始，一直到轮辋，这样可以避免损坏湿条纹。在轮毂周围铺上胶带，使箭头边缘整齐。
continued from page 88 续第 88 页
designs; some still continued to use the arrow shapes in outline forms. Others had stripes of various thicknesses and color encircling the entire rim. 有的则继续使用箭头形状的轮廓。还有一些则用不同粗细和颜色的条纹环绕整个边缘。
Striping wheels while they are mounted on any car is always a challenge. If this is the only option, the car must be lifted and adjusted so the wheels turn freely. Early chain driven models make turning the wheels a struggle due to the excessive amount of moving parts that need to move to make the wheel spin. For the best results with these types of cars, remove the wheels or stripe them before the tires are mounted 在车轮安装在汽车上时对其进行划线始终是一项挑战。如果这是唯一的选择，就必须抬起并调整汽车，使车轮能够自由转动。早期的链条驱动车型由于需要移动过多的运动部件才能使车轮转动，因此车轮的转动非常费力。为了达到最佳效果，在安装轮胎之前，应拆下车轮或对其进行喷漆处理。
The arrows are painted with the same striping brush. The left side of the arrow is outlined then the right. Next, the brush is reloaded and laid on its side to fill in the arrow. 箭头是用同样的条纹笔画上去的。先勾画箭头的左侧，再勾画右侧。然后，重新加载画笔，并将其侧放以填满箭头。
My current method for striping wheels utilizes an old salvaged front wheel and axle from a mini-bike that I found in the barn. I mount the axle vertically in a vise, then I place the wheel to be striped on top of this state-of-the-art, homemade thing-ama-jig. Next, I spin the entire wheel slowly and lower the striping brush to the rim. For the best results and efficiency, I turn the wheel with my free hand while painting with the other. 我目前的车轮划线方法是利用从谷仓里找到的一辆迷你自行车的旧前轮和车轴。我将车轴垂直安装在台钳上，然后将待剥线的车轮放在这个最先进的自制夹具上。接下来，我慢慢旋转整个车轮，然后把剥线刷放到轮辋上。为了达到最佳效果和效率，我用一只手转动车轮，另一只手进行涂漆。
Striping wheels and achieving good results is a challenge. In the past I have used everything from a phonograph turntable with adjustable speed control to a barstool. Whatever gives you the best result is the way to go. 给车轮去条纹并取得良好的效果是一项挑战。过去，我使用过各种工具，从带有可调节速度控制的留声机转盘到酒吧凳。只要能达到最佳效果就是好方法。
Finally the outer stripe is painted. As the wheel is spun, the brush is slowly dropped into position. 最后涂上外层条纹。随着车轮的旋转，刷子慢慢地落在位置上。
Above and below: The 1903 Packard here is one of only three known to exist and was the first Packard to make a coast-to-coast trip across the United States. The restoration shop supplied me with plenty of photo references and had the foresight to strip the running gear before assembly. You can imagine how difficult it would have been to stripe those parts afterward. 上图和下图：这辆 1903 年的 Packard 是现存仅有的三辆之一，也是第一辆穿越美国海岸的 Packard。修复店为我提供了大量的照片参考，并有先见之明地在组装前剥离了传动装置。可想而知，事后再给这些部件喷漆是多么困难。
Both of the axles have a double stripe that wraps around from front to back. I use 1/8-inch fine-line tape as a layout guide to keep the space between the lines uniform and to give all the turns sharp, crisp corners. The stripe is run over the taped corners. When the tape is removed, the excess paint is removed along with it. 两根车轴上都有一条前后环绕的双条纹。我使用 1/8 英寸的细线胶带作为布局指南，以保持线条之间的间距一致，并使所有转角都清晰明了。条纹在胶带的拐角处划过。撕下胶带时，多余的油漆也一并撕下。
Above and left: Careful study of the 1903 Packard photos revealed many inaccuracies, but one commonality was the fine double stripes on all the running gear similar to those on horse-drawn carriages I have seen in several museums. 上图和左图：仔细研究 1903 年帕卡德公司的照片，我们发现了许多不准确的地方，但有一个共同点，那就是所有传动装置上都有细密的双条纹，这与我在几家博物馆中看到的马车上的条纹相似。
Left and below: After all the running gear and frame had been assembled, an appointment was made to finish all the rest of the body and fenders. The fenders were striped on a stand and assembled after the body was striped. Striping in stages means you need to mix the color each time you stripe or store enough premixed color in an airtight container. 左图和下图：在组装完所有的传动装置和车架后，我们预约完成车身和挡泥板的其余部分。挡泥板的条纹是在支架上绘制的，车身条纹绘制完成后再进行组装。分阶段上色意味着每次上色时都需要混合颜色，或者在密闭容器中储存足够的预混颜色。
The size 00 Mack Fast-Lite brush is designed to replace the Grumbacher 000 , which is no longer available. 00 号 Mack Fast-Lite 刷子是用来替代 Grumbacher 000 号刷子的，后者已经停产。
continued from page 93 续第 93 页
BRUSH SELECTION 画笔选择
The right brush to use is determined by the length of the lines, the sharpness of the turns, and the curves and shape of the car. For long thin lines I choose a size 1, 2, or 3 FastLite by the Mack Brush Company. For shorter lines or tight turns, a shorter, more flexible brush is in order, like the size 000 Mack Series 10, or the Xcaliber size 0000 These brushes work great tight turns, and their bellies don't kick out as you turn corners. But as I've said before, the brush that works best for the job is the one you feel most comfortable using. 要根据线条的长度、转弯的锐利程度以及汽车的曲线和形状来选择合适的画笔。对于细长的线条，我选择 Mack Brush Company 生产的 1 号、2 号或 3 号 FastLite。对于较短的线条或急转弯，则应选择更短、更灵活的刷子，如 000 号 Mack Series 10 或 0000 号 Xcaliber。但正如我之前所说的，最适合工作的刷子就是你觉得用起来最舒服的刷子。
This modified aluminum fly tackle box in which I store assorted brushes was a gift from a friend. 这个改装过的铝制钓具箱是朋友送我的礼物，我把各种刷子放在里面。
A paint swatch guide placed over a fender makes choosing a color easier for you and the customer. 在挡泥板上放置油漆色样指南，可让您和客户更轻松地选择颜色。
COLOR CHOICE 颜色选择
Robert Turnquist, the founder and owner of Hibernia Auto Restorations in New Jersey, states in his comprehensive book The Packard Story that "Color is a wonderful tool and, used 罗伯特-特恩奎斯特是新泽西州 Hibernia Auto Restorations 公司的创始人和所有者，他在其综合性著作《帕卡德的故事》一书中指出："色彩是一种绝妙的工具，如果使用得当，它可以让你的汽车焕然一新。
carefully, will make a beautiful classic even more beautiful." A careful study in color theory is essential to successfully harmonize striping to reflect the character of a classic car. Custom-built cars could be painted any color combination from the 1,305 colors that were available in 1932. This color palette gave customers great latitude when it came to choosing a color to suit a particular taste. The pinstriping color can detract or complement the desired mood of the car. 精心设计，会让美丽的经典车更加美丽"。仔细研究色彩理论是成功协调条纹以反映老爷车特征的关键。定制汽车可以从 1932 年提供的 1305 种颜色中选择任何颜色组合进行涂装。这种调色板为客户提供了很大的自由度，他们可以根据自己的喜好选择颜色。细条纹的颜色可以减弱或补充汽车所需的氛围。
First and most difficult is the starting point. This area cannot be done later without touching wet paint. Reaching as far as you can enables you to start the line at a point you can reach easily from the opposite side of the car. 首先，也是最难的是起点。如果不接触湿漆，以后就无法在这一区域施工。尽可能伸到最远的地方，这样就能在从车的另一侧容易到达的地方开始划线。
Front and rear cowls are striped to break points at the hood and doors. Never leave a stripe dry in the middle of a panel, as it will be more difficult to blend the stripes together. 前后罩的条纹在引擎盖和车门处断开。切勿将条纹留在面板中间，因为这样会增加条纹融合的难度。
I've found that a winning combination includes a finely striped line and a subtle complementary color that reflects a sense of calm and richness. This sometimes translates into a subtle tone-on-tone or monotone body-andstripe combination. 我发现，一个成功的组合包括精细的条纹线条和一种微妙的互补色，这种互补色能体现出一种沉稳和丰富的感觉。这有时会转化为一种微妙的色调或单色的主体和条纹组合。
I recall that the owner of the 1934 Custom Packard Dietrich Model 1108 convertible sedan shown here wanted a slightly brighter tone of the body color that was barely visible indoors, but which appeared as a highlight when it was out 我记得，图中这辆 1934 年定制 Packard Dietrich 1108 型敞篷轿车的车主希望车身颜色的色调稍微明亮一些，在室内几乎看不出来，但在室外就会显得格外醒目
The bottom stripe of the top belt molding is tackled after the top stripe has been completed. Working top to bottom helps ensure you do not get into the wet stripes. 顶带造型的底层条纹在顶层条纹完成后进行。从上到下的工作有助于确保不会进入湿的条纹中。
in the sunlight, which is the way it is supposed to look. To find a suitable color solution I used a color sample book from an automotive paint supplier; these samples have a hole cut in each color chip that allows you to see through to the paint of the car when the chart is placed on the surface. 在阳光下，它应该是这样的。为了找到合适的颜色解决方案，我使用了汽车涂料供应商提供的颜色样本册；这些样本的每个色块上都有一个小孔，当把图放在汽车表面时，可以透过小孔看到汽车的油漆。
After careful preparation to remove any contaminants, I start from the top and work my way down to avoid running into any wet paint. Beginning with the front cowl I stripe both lines, reaching over as far as possible and connecting 经过仔细准备以去除任何污染物后，我从顶部开始向下铺设，以避免碰到任何湿漆。从前罩开始，我在两条线上都画上条纹，尽可能地延伸，然后将它们连接起来。
For crisp points and corners, overlap ends and carefully wipe off the excess. Use this technique on all sharp corners for a clean finished look. But remember: this can only be done easily if the first stripe has dried sufficiently. 要使尖角和边角清晰，可将两端重叠，然后小心擦去多余部分。在所有尖角处都使用这种方法，以达到干净利落的效果。但要记住：只有在第一道条纹充分干燥后才能轻松完成。
Lower belt moldings are the biggest challenge because they are tough to reach and it can be difficult to see. Simply run a length of tape and follow it through. 下皮带模子是最大的挑战，因为它们很难够得着，而且也很难看到。只需将胶带拉长，然后顺着胶带粘贴即可。
A masking tape guide can control uneven edges, such as convertible tops. This is a good example of an uneven section that can be smoothed out by following a guide. 遮蔽胶带导轨可以控制不平整的边缘，例如敞篷车顶。这就是一个很好的例子，不平整的部分可以通过导轨进行平滑处理。
each side ending at a break point, in this case the hood and door. Next, paint the top stripe around the upper belt molding and hood, followed by the bottom stripe of the upper belt molding to completion. 每侧的最后一个断点，在本例中是引擎盖和车门。接下来，在上腰线造型和引擎盖周围涂上顶部条纹，然后涂上上腰线造型的底部条纹，直至完成。
If you encounter hard-to-get-at places such as the rear or an uneven convertible top, use tape as a guide and run the stripe as close as possible to the tape. In some cases you'll find it easier to stripe in the opposite direction at these points. Clean off any mistakes with your rag and surface cleaner as you go, and create crisp overlaps such as points on the hood. 如果遇到车尾或不平整的敞篷车顶等难以划线的地方，可以用胶带作为引导，尽可能靠近胶带划线。在某些情况下，你会发现在这些地方反方向划线会更容易。边走边用抹布和表面清洁剂清除任何错误，并在引擎盖上等位置形成清晰的重叠。
Run the stripe past break points, wiping off the excess as you go. For quick cleanups, always have a rag and a squirt bottle of reducer ready. 将条纹划过断裂点，边划边擦掉多余的部分。为了快速清理，请随时准备一块抹布和一瓶稀释剂。
Striping the "other way" is necessary when confronted with obstacles and tight spots. You should try striping with either hand so you are ready for this kind of situation. 在遇到障碍物和狭小空间时，"反方向 "划线是必要的。您应该尝试用两只手划线，以便为这种情况做好准备。
Now we move down to the bottom belt molding, which starts and ends at the hood bottom. The hood sides can be tough to stripe. After you mark where the stripe crosses the hood, unlatch the hood sides and carefully lift the sides out and up to a comfortable height. Have someone from the shop do this or help you rest the bottom edge on a soft but rigid block of foam rubber that doesn't get in the way of the stripes. 现在，我们向下移动到底带造型，它从发动机罩底部开始，到发动机罩底部结束。引擎盖两侧的条纹很难画。在标出条纹穿过发动机罩的位置后，松开发动机罩两侧的锁扣，小心地将两侧抬起来，抬到一个舒适的高度。让修理厂的人帮您这样做，或者帮您将底边放在一个柔软但坚硬的泡沫橡胶块上，这样就不会妨碍条纹了。
For the fenders you need something comfortable to crawl around on, like a piece of foam rubber or a moving 对于挡泥板，你需要一些舒适的东西来爬行，比如一块泡沫橡胶或一块移动的木板。
The finished front fender points. Let everything dry as you move to the lower section of the car. 完成的前挡泥板点。待一切晾干后，就可以开始下部的工作了。
A comfortable pad is necessary when lying down to stripe lower regions; in this case the bottom of the front fender. 当躺下对较低区域（此处为前挡泥板底部）进行纹饰时，需要一个舒适的垫子。
blanket. You can't do good work in bad conditions. On that note, with a color this subtle, you need as much light as you can get, which is why I moved this job out in the natural light, but not in the direct sun. 毯子在恶劣的条件下是做不好作品的。因此，在自然光下拍摄，而不是在阳光直射下拍摄。
This is a real sit-down job. The best part-the rear fenders-are a nice break from the "straight and narrow." 这是一项真正的坐式工作。最精彩的部分--后挡泥板--很好地打破了 "直来直去 "的风格。
Get yourself seated comfortably and at the right height to be able to reach both the starting and the ending points. Next, palette the paint to the proper consistency. Reach over, touching just the tip of the brush to the bottom edge, and go all the way over to the bottom of the other side in one shot, continued on page 105 让自己坐在舒适的位置上，并保持适当的高度，以便能够到达起点和终点。接下来，用调色板将颜料调到适当的浓度。将画笔伸过去，笔尖只触及底边，然后一直画到另一侧的底部，一气呵成。
Find the center point of the rear fender by sitting at a comfortable level and centering yourself so you easily can reach both ends of the fender and the top. Your body is like the center of a compass. 找到后挡泥板的中心点，方法是坐在一个舒适的位置上，将自己置于中心位置，这样你就可以很容易地够到挡泥板的两端和顶部。你的身体就像指南针的中心。
Hood sides must be lifted so that you can stripe their bottoms. They are also tricky without the proper support. The hood will shake and it will be impossible to do any decent striping. Special care must be taken to prevent damaging bodywork. Do not try moving parts without help from the shop crew. 引擎盖的两侧必须抬起，这样才能在底部打上条纹。如果没有适当的支撑，也会很麻烦。引擎盖会晃动，不可能做出像样的条纹。必须特别小心，以防损坏车身。在没有车间工作人员帮助的情况下，不要尝试移动部件。
A foam support for a hood side has to be rigid enough so you can stripe without hitting it. 引擎盖侧面的泡沫支撑必须足够坚硬，这样才能在不撞击它的情况下进行条纹装饰。
This is how these double stripes are finished off at this particular front fender ending point. Special attention must be used to ensure both fenders end at exactly the same point. 双条纹就是这样在这个特殊的前挡泥板终点完成的。必须特别注意，确保两个挡泥板的终点完全一致。
There is no room for errors when working white on black. This is the best hand position I have found to work the round rear fenders. As I run around the fender I change which finger I use to steady my hand. 在黑底白字上操作时，不容许有任何差错。这是我发现的修整圆形后挡泥板的最佳手位。当我绕着挡泥板转圈时，我会改变我用来稳定手的手指。
A finished double striped rear section with all the sharp turns negotiated. 完成后的双条纹后部，所有急转弯都经过协商。
Some customers prefer their initials or coat of arms painted on each side of the vehicle. Keep these small and refined. 有些客户喜欢在车辆两侧涂上自己名字的缩写或纹章。这些图案要小巧精致。
The natural wood belt moldings on this 1901 Knox led me to locate the stripes off the belt molding and to use some unusual brush-handling methods. 这辆 1901 年产的诺克斯汽车上的天然木质腰带造型让我找到了腰带造型上的条纹，并使用了一些不同寻常的刷子处理方法。
Corners have to be squared off nicely for a sharp appearance. Paint the stripe past the corners, then wipe off the excess toward the corners. continued from page 101 边角必须处理得方方正正，这样才会显得锋利。将条纹涂到边角处，然后擦去边角多余的部分。 续第 101 页
using your finger as a guide on the edge of the fender. After you have both stripes, finish them off to the running boards. Use the same technique on the front fenders to a point, making sure both front fenders are exactly the same. 用手指在挡泥板边缘做引导。完成两条条纹后，再将其延伸至跑车挡泥板。在前挡泥板上使用同样的技巧，确保两个前挡泥板完全相同。
Now that wasn't so bad, was it? But this is a 1934 12cylinder Dietrich model that was given the double-stripe treatment; that means you're going around again right next to the stripes you just finished. 这还不算太糟，不是吗？但这是一辆 1934 年产的 12 缸 Dietrich 车型，采用了双条纹处理；这意味着你要在刚刚完成的条纹旁边再绕一圈。
Now you have two choices, depending on how you feel or how rushed the job is. And believe me, you don't want to rush, so: 1) You can go to lunch and then come back and finish it very carefully because you can't wipe off any new mistakes very easily if the first stripe is still soft, or, 2) You can come back tomorrow and finish after you've caught a few trout on the way home and let the first set of stripes get good and dry. 现在你有两种选择，取决于你的心情或工作的仓促程度。相信我，你不想赶时间，所以1）你可以去吃午饭，然后回来非常小心地完成它，因为如果第一组条纹还是软的，你就不能很容易地擦掉任何新的错误；或者，2）你可以明天再回来，在回家的路上钓几条鳟鱼后再完成，让第一组条纹变得又好又干。
CHAPTER 9 PINSTRIPING HOT RODS AND CUSTOMS 第 9 章 热轧车和风俗车的细条纹装饰
E arlier this year, while I was waiting for paint to dry at CDave Crouse's garage in Loveland, Colorado, I had the opportunity to pick his brain a little about hot rod history as he finished hooking up a 427 engine in a beautiful ' 32 Ford, three-window coupe. I don't know anyone who knows more than Dave regarding who built what car and where it is today. He is a first-rate auto-archeologist. As always, I found myself enjoying a trip down memory lane with Dave as I had the opportunity to stripe another great roadster that he and the guys at Custom Auto built. This is some of what we talked about between pinstripes and big blocks. 今年早些时候，当我在科罗拉多州拉弗兰德 CDave Crouse 的车库等待油漆干透时，我有机会向他请教了一些关于热棒历史的问题，当时他正在为一辆漂亮的 32 英寸福特三窗双门跑车安装 427 发动机。我不知道还有谁能比戴夫更了解什么车是谁造的，以及它如今在哪里。他是一流的汽车考古学家。和往常一样，我发现自己和戴夫一起享受了一次回忆之旅，因为我有机会为他和 Custom Auto 公司的人制造的另一辆很棒的敞篷跑车涂上条纹。这是我们在细条纹和大块头之间的一些谈话内容。
Prior to World War II, souped-up Model Ts with overhead-valve conversions and four-cylinder Chevys with Olds heads, were among the first "gow jobs" to run flat-out on the dry lakes of California. Postwar production cars were being modified for speed in numbers like never before. 第二次世界大战之前，经过改装的顶置气门T型车和装有奥尔兹缸盖的四缸雪佛兰车是第一批在加利福尼亚干涸湖泊上驰骋的 "飙车族"。战后生产的汽车在速度方面的改装数量是前所未有的。
During the early 1950s, these hot rods, as they were nicknamed, took to the streets, unfortunately gaining a negative reputation in the press and in movies. Organized drag racing, with an emphasis on safety, gradually helped these vehicles and their owners gain acceptance. 20 世纪 50 年代初，这些被昵称为 "hot rods "的汽车开始在大街上行驶，不幸的是，它们在媒体和电影中获得了负面的名声。有组织的赛车比赛强调安全，逐渐帮助这些车辆及其车主获得认可。
I met Dave Crouse when he worked at Stone Barn Automobile Restoration in Great Meadows, New Jersey, where I striped. One day he asked me, "Do you know how to do striping like Ed Roth?" I guess he thought I only did the "straight stuff." I striped his ' 32 Ford coupe in exchange for a set of fenders for the 1946 Chevy pickup I was building. More than 15 years later, he called to tell me he was in Colorado and wished I was around to stripe for him. It turns out his shop is in the same town where my sons and grandkids are! We had a lot of catching up to do. 我认识戴夫-克劳斯时，他在新泽西州大草甸的石谷仓汽车修理公司工作，我就在那里做剥离工作。有一天他问我 "你知道怎么像埃德-罗斯那样做剥离吗？"我猜他以为我只做 "正经事"。我给他的 32 年福特双门跑车做了条纹，以换取我正在制造的 1946 年雪佛兰皮卡的一套挡泥板。15 年多后，他打电话告诉我，他在科罗拉多州，希望我能在他身边为他脱漆。原来，他的店就在我儿子和孙子所在的小镇上！我们有很多话要聊。
The Highland Plating Special roadster has been photographed in many configurations. Here I lettered it as it appeared in its drag-racing days. 高地电镀特别版敞篷跑车已拍摄过多种配置的照片。在这里，我用字母标出了它在赛车时代的样子。
There are not many vintage photos of it in this mode. 这种模式下的老照片并不多。
In the 1960s, these glorious machines-newly named "street rods"-represented a newfound symbol of freedom and mobility. The street rod was more refined to fit each driver's personality, style and means. In the late 1960s, performance ruled, and muscle cars became the new showroom, turnkey hot rods. You just dropped into a dealership, signed your name on the dotted line, and drove away in a brand-new tiresmoker. However, these stylish pavement pounders still needed to be customized to suit the individual owners' taste. 20 世纪 60 年代，这些光彩夺目的机器--新命名为 "街车"--代表了一种新发现的自由和机动性的象征。街车更加精致，以适应每个驾驶者的个性、风格和经济能力。20 世纪 60 年代末，性能成为主流，肌肉车成为新的展厅热销车型。你只需走进车行，在虚线上签下你的名字，就可以开走一辆崭新的轮胎车。然而，这些时尚的 "人行道重击车 "仍然需要根据车主的个人喜好进行定制。
By the late 1970s, street rods were being built with all the latest technology in suspension, performance, and comfort. Each custom-built vehicle was a symbol of the owner's style and personality. Doctors and lawyers were now able to drive a custom-built, reliable, new/old cool car. Predictably, the prices went through the roof. 到 20 世纪 70 年代末，街头跑车在悬挂、性能和舒适性方面都采用了最新技术。每辆定制汽车都是车主风格和个性的象征。医生和律师现在都能开上一辆定制的、可靠的、新旧兼备的酷车。可以预见的是，汽车价格一路飙升。
Custom painters of that era, who had always been involved with car culture, found a new boom in business: painting individual paint schemes to capture the customer's one-of-a-kind self-expression. Today, the street rod business is bigger than ever, with no sign of slowing anytime soon. Retiring baby-boomers are buying the cars they were not able to afford when they were teenagers. Newfound mobile nostalgia and the means to cruise the country fuel this phenomenon. Investing in these cars, rather than putting money in the stock market, is proving not just a good investment, but also an investment you can enjoy driving. The lowbrow social outcast vehicle of the past is now a collectable and valued investment. 在那个时代，一直与汽车文化打交道的定制油漆工们发现了新的业务增长点：为客户绘制个性化的油漆方案，捕捉他们独一无二的自我表达。如今，街车生意比以往任何时候都要红火，而且没有任何放缓的迹象。退休的婴儿潮一代正在购买他们青少年时期买不起的汽车。新发现的流动怀旧情绪和在全国各地巡游的能力助长了这一现象。事实证明，投资这些汽车，而不是把钱投入股市，不仅是一项不错的投资，也是一项可以享受驾驶乐趣的投资。昔日被社会抛弃的低级趣味汽车，如今已成为具有收藏价值的投资品。
Hot rods with documented histories have become valued additions to serious automotive collections. This documentation is as important as matching numbers are to a muscle car. Restoration of these historic vehicles began during the 1960s, with cars like the Highland Plating Special 1925 continued on page 111 有历史档案的热车已成为重要汽车收藏中的珍品。对于一辆肌肉车来说，这些文献资料的重要性不亚于匹配的车牌号。这些历史名车的修复工作始于 20 世纪 60 年代，如 1925 年的 Highland Plating Special。
I like to stripe the most difficult parts of a car first. In the case of the Berardini Bros. "404 Jr." roadster, which was being restored at Dave Crouse's Custom Auto, I began the majority of the pinstriping on the sides of the hood and the top. 我喜欢先给汽车最难处理的部分做条纹。这辆贝拉尔迪尼兄弟的 "404 Jr. "敞篷跑车正在戴夫-克劳斯的定制汽车公司进行修复，我首先在引擎盖两侧和顶部进行了大部分细条纹装饰。
While I was still in the louver mood, I finished the rear deck. After pinstriping all these louvers, everything else was an adventure into the head of Von Dutch, who laid the car's original stripes in 1953. 当我还沉浸在百叶窗的设计中时，我完成了后甲板的设计。在为所有这些百叶窗铺上细条纹后，其他的一切都要进入冯-达奇的脑海，他在 1953 年为这辆车铺上了最初的条纹。
When the lettering was completed, the hood was reassembled. The white pinstriping had some unusual starting and ending points that really puzzled me. Although photo history is crucial to any type of restoration job, I was allowed some artistic license, but not much. I had to force myself to add the random pinstriping inlines halfway down the numbers, to comply with the integrity of the restoration. 刻字完成后，发动机罩被重新装配。白色细条纹有一些不寻常的起点和终点，这让我非常困惑。虽然照片历史对于任何类型的修复工作都至关重要，但我还是获得了一些艺术许可，但并不多。为了保证修复工作的完整性，我不得不强迫自己在车身数字的一半处添加随机的细条纹内嵌线。
Further research into the only photo evidence available for us to work from revealed some clues. The front fenders were similar to those of any BMW motorcycle. Knowing Dutch's familiarity with motorcycles, the reasons for why he did what he did on the "404 Jr." began to make sense. 通过进一步研究仅有的照片证据，我们发现了一些线索。前挡泥板与任何一辆宝马摩托车都很相似。了解到达奇对摩托车的熟悉程度，他在 "404 Jr. "上所做的一切开始变得合情合理。
The rear-fender pinstriping just ended for no particular reason, but using the photo evidence, I had to conform exactly to what Von Dutch did on the original paint job. 后挡泥板上的细条纹就这样结束了，没有特别的原因，但根据照片上的证据，我必须完全按照 Von Dutch 在原喷漆上所做的那样。
There were no photos of the dash, so as scary as it may seem, I jumped in, thought "Dutch," and forgot about everything (except the extra-large beer I was going to have in his honor if I made it through the job unscathed). 没有冲刺的照片，所以尽管看起来很吓人，我还是跳了进去，想着 "荷兰"，然后忘记了一切（除了如果我毫发无损地完成了任务，我要喝的特大啤酒）。
My head is spinning, trying to figure out why Dutch painted some of these things the way he did. It really was a challenge and at times it didn't make sense to me. So I stopped thinking so much and decided to outline another letter to forget. When I thought I was finished, I noticed an "inline" that appeared inside the lettering. This line seemed random because it just stopped halfway down the number. I thought of four or five possibilities for the apparent disconnect, none of them comforting. All those reference photos that showed these details now haunted me. 我一直在想，为什么达屈要这样画这些东西。这确实是一个挑战，有时我觉得没有意义。于是，我不再想那么多，决定再勾勒出一封忘记的信。当我以为自己已经完成的时候，我注意到字里行间出现了一条 "内嵌线"。这条线似乎是随机的，因为它就停在数字的一半处。我想了四五种可能来解释这种明显的脱节，但没有一种能让人信服。所有那些显示这些细节的参考照片现在都困扰着我。
The striping on the hood and grille shell was a real challenge, mainly because there was only one photo for reference, and it was blurry. I sketched out what was visible and straightened it out. After striping the crowning touches on the hood and grille shell, we all went out for that beer. It's not easy getting back out of Dutch's head. I gained a new respect for his work. continued from page 107 引擎盖和进气格栅外壳上的条纹是一项真正的挑战，主要是因为只有一张 照片可供参考，而且很模糊。我用草图勾勒出可以看到的部分，然后将其拉直。在引擎盖和进气格栅外壳上做完最后的润色后，我们一起出去喝啤酒。要从达奇的脑海中恢复过来并不容易。我对他的工作产生了新的敬意。 续第 107 页
roadster and others. Some of these cars have vast archives of photo reference to help with the restoration; others don't. 跑车等。其中一些汽车有大量的照片参考资料，有助于修复工作；而另一些则没有。
Recently, I had the pleasure of researching, pinstriping, and lettering the Berardini Bros. "404 Jr." 1932 roadster, is one of the most famous continually raced cars in the history of drag racing. Von Dutch did the original pinstriping in the early 1950s. It was a complete restoration job—also in Dave Crouse's shop-of a one-of-a-kind race car. 最近，我有幸对贝拉尔迪尼兄弟的 "404 Jr. "进行了研究、细条纹处理和刻字。1932 年的敞篷跑车是赛车史上最著名的连续赛车之一。Von Dutch 在 20 世纪 50 年代初完成了最初的细条装饰。这辆独一无二的赛车在戴夫-克劳斯（Dave Crouse）的店里进行了全面修复。
The photos of the original " ." showed evidence of some details that were fairly crude by today's standards. Some latitude was given to me and I employed a bit of artistic license for improvements. The car currently resides in one of two locations: the NHRA Wally Parks Motorsport Museum in Pomona, California, or in Roger Morrison's private collection. 原版 " . "的照片显示，一些细节以今天的标准来看相当粗糙。我获得了一些自由度，并采用了一些艺术许可来进行改进。这辆车目前存放在两个地方之一：加利福尼亚州波莫纳的 NHRA 沃利-帕克斯赛车博物馆或罗杰-莫里森的私人收藏。
INTERNATIONAL KUSTOM CAR CULTURE 国际定制汽车文化
Recently, while I was over in Finland attending a pinhead/American car show, I couldn't help noticing how much our kustom culture has influenced the enthusiastic car builders there. On a garage tour, we saw mostly "low-buck" cars that are built to reliable, safe standards. Of course, there is nothing inexpensive about building an American car overseas. Imagine how hard it must be to find vintage American parts in Finland. 最近，当我在芬兰参加一个美国汽车展时，我不禁注意到，我们的风俗文化对那里热情洋溢的汽车制造者产生了多大的影响。在参观车库时，我们看到的大多是按照可靠、安全标准制造的 "低价 "汽车。当然，在海外制造美国汽车并不便宜。试想一下，在芬兰找到老式的美国零部件有多难。
The get-in-and-drive mentality is alive and well overseas. I believe there are more hot rods in Sweden than in all of Europe. These Nordic hot rodders are among the boldest I 在国外，"上车就能开 "的心态依然存在。我相信瑞典的热力赛车数量比整个欧洲都要多。这些北欧热力车手是我所见过的最大胆的热力车手之一。
I was glad I did those inline stripes too, because Pat Berardini (right) told me how and why they were originally painted-it's a story that will remain safe with me. 我也很高兴我画了这些内嵌式条纹，因为帕特-贝拉尔迪尼（右）告诉了我最初画这些条纹的过程和原因--这个故事将一直伴随着我。
In Finland, builders take their work seriously. Here at the Road Pilots car club garage, you would think you were back in the States. The shop is located under an apartment building. 在芬兰，建筑工人对自己的工作非常认真。在 Road Pilots 汽车俱乐部的车库里，你会以为自己回到了美国。车库位于一栋公寓楼下。
ever encountered. They drive in all kinds of weather, in spite of strict government restrictions (sound familiar?). 遇到过。他们不顾政府的严格限制，在各种天气下驾驶（听起来很熟悉吧？）
This attitude is shining bright back here in the States as well. The resurgence can be witnessed, coast-to-coast, in a whole new generation of so-called "rat rodders" building cars. The negative connotation is reminiscent of the early 1950s, as hot rod history repeats itself. The fact that "rat rods" are built with real scrounged parts and not with 1-800-PARTs means that the owners mostly home-build them, typically with a little help from their friends. Money can't buy everything-especially when it comes to a hand-built hot rod. 这种态度在美国也同样熠熠生辉。从沿海到内陆，我们可以从新一代所谓的 "老鼠车手 "身上看到这种复兴。这种负面含义让人想起 20 世纪 50 年代初，热棒历史重演。事实上，"老鼠车 "是用真正的废旧零件而不是 1-800-PARTs 制造的，这意味着车主大多是自己动手组装汽车，通常还需要朋友的帮助。钱不能买到一切，尤其是手工打造的热力跑车。
I recall a rainy day at the National Street Rod Association Street Rod Nationals in York, Pennsylvania, where the drivers with their "rat rods" were cruisin' in the mud and rain, loving every minute of it, while the owners of show cars hid their vehicles in trailers. 我记得在宾夕法尼亚州约克市举行的全国街车协会街车全国大赛上的一个雨天，驾驶着 "老鼠车 "的车手们在泥泞和雨水中巡游，享受着每一分钟，而展示车的车主们则把车藏在拖车里。
Pinstriping seems to be the vehicle art of choice with many rat rodders. I have noticed that many try their own hand at pinstriping their cars. It's great to see this art created by someone who just picks up a brush and has at it. 细条纹似乎是许多老鼠车爱好者的首选汽车艺术。我注意到，很多人都会自己动手给汽车贴上细条纹。看到有人拿起画笔就能创造出这种艺术，我感到非常高兴。
HOW TO WORK A CAR SHOW 如何参加车展
If all your friends think you have what it takes and you have a good body of work to prove it, here are some things you should know. 如果你的朋友都认为你有能力，而且你也有很好的作品来证明这一点，那么你应该知道以下一些事情。
Before you go out in public to pinstripe at a car or bike show, you should have been striping for a fair amount of time. You should have mastered the brush and paint, and you should be equipped for the variety of tasks that you will be asked to perform. Be sure of your capabilities as a pinstriper so you are not embarrassed and become discouraged. 在汽车或自行车展上公开进行细条纹喷涂之前，你应该已经有了相当长的时间。您应该已经掌握了刷子和油漆的使用方法，并且已经为要求您执行的各种任务做好了准备。要确信自己作为划线员的能力，这样才不会感到尴尬和气馁。
Start out slow, perhaps with a local cruise night. Then try a small local show where you can surround yourself with some of your customers and their cars for support and to show examples of your real work. You must learn to be comfortable working in front of crowds in conditions that are less than 起步要慢，也许可以从当地的巡航之夜开始。然后尝试参加一个小型的当地车展，在那里你可以与一些客户和他们的车为伍，寻求支持，并展示你的真实作品。您必须学会适应在人群面前工作的条件，这些条件比
In spring 2006 we stopped by the Pistons car club on our Finland garage tour to see some cool cars. Check out the Edsel grille on that coupe. Jonna Leskinen is a new pinstriper who is doing some great work. 2006 年春天，我们在芬兰车库之旅中拜访了活塞汽车俱乐部，参观了一些很酷的汽车。看看那辆双门跑车上的埃塞尔格栅。乔娜-莱斯基宁（Jonna Leskinen）是一位新来的汽车喷漆工，她的工作非常出色。
ideal, juggling questions about pricing and handling money, while you work. You should be able to maintain a good attitude and roll with anything that comes your way. 理想情况下，您可以一边工作，一边处理有关定价和资金管理的问题。你应该能够保持良好的心态，面对任何事情都能泰然处之。
In my high school days I striped all of my friends' cars in the neighborhood, and then I striped cars in the high school parking lot at lunch. In theory, I graduated from the Ronald McDonald School of Nighttime Pinstriping; I received a major in cheeseburgers and chocolate shakes, and a minor in parking-lot striping and street racing. I received my masters from the Circus Cruise-Thru Institute of Asbury Park. 高中时代，我在邻居家给所有朋友的汽车贴条，然后中午在高中停车场给汽车贴条。从理论上讲，我毕业于罗纳德-麦克唐纳夜间划线学校，主修芝士汉堡和巧克力奶昔，副修停车场划线和街头赛车。我在阿斯伯里公园马戏团巡游学院获得了硕士学位。
I eventually felt confident enough to start painting at the Raceway Park drag strip at Englishtown, New Jersey, on opening day. I learned quickly how to work fast on cars in the staging lanes. I lettered up my ' 57 Chevy with shoe polish for advertising, then I raced down the quarter-mile. On the return road I would stop at the timing tower and ask 最终，我有足够的信心在新泽西州英格斯敦的赛道公园拖曳跑道开业当天开始喷漆。我很快就学会了如何在车道上快速喷漆。我用鞋油给我的 57 雪佛兰汽车涂上广告字样，然后在四分之一英里的赛道上飞驰。在返回的路上，我会在计时塔前停下来，问
The only cars driving around in the rain at this NSRA event in York, Pennsylvania, were "rat rodders." Their spirits were not dampened by a little wetness, but we had a hard time keeping cars dry enough to work on them. 在宾夕法尼亚州约克市举行的这次 NSRA 活动中，只有 "老鼠车手 "的汽车在雨中行驶。他们的兴致并没有因为一点雨水而受到影响，但我们却很难让汽车保持足够的干爽，以便对它们进行维修。
With its black primer, striped grille insert and air cleaner, Von Dutch flying eyeball on the cowl, and adequate coating of road dust, this roadster is a prime example of the "rat rod" aesthetic. 黑色底漆、条纹格栅插板和空气净化器、引擎罩上的冯-荷兰飞眼球以及足够的路面灰尘，这辆敞篷跑车是 "老鼠杆 "美学的典型代表。
Vinnie Napp if he would announce that I was working in the pits. He always was happy to do it. What a cool guy he was. 文尼-纳普是否会宣布我在维修站工作。他总是很乐意这样做。他是个很酷的人。
VENDOR APPLICATIONS AND FEES 供应商申请和费用
These fees are usually paid up front, ahead of the show. Fees can range from zero to well over , depending on the size and scale of the event. The larger shows require a state tax ID number that you must apply for way ahead if you are an outof-state-resident. At any time you can get an unannounced visit from "The Friendly Show Taxman," which can be a hassle, so keep it legal. Some cities have other licenses and fees to deal with, too. Welcome to the show game. 这些费用通常在展会前预付。费用从零到远远超过 不等，取决于活动的规模和等级。大型演出需要一个州税 ID 号，如果你不是本州居民，必须提前申请。如果您是州外居民，则必须提前申请。"友好的展会税务官 "随时都可能来暗访，这可能会给您带来麻烦，因此请保持合法。有些城市还有其他许可证和费用需要处理。欢迎加入表演游戏。
INSURANCE 保险
Having insurance is required at larger shows and it is always a good thing to have, especially when the wind lifts the tent off the ground in an otherwise peaceful day, over a priceless car. Our shop insurance covers us for all such problems at shows away from home. Check with your insurance agent and gain peace of mind, so you can just paint. 在大型车展上必须购买保险，而且购买保险总是一件好事，尤其是当大风把帐篷从地面掀起，压在一辆无价之宝的汽车上时。我们的商店保险涵盖了我们在外地展会上遇到的所有此类问题。请向您的保险代理人咨询，这样您就可以安心画画了。
After honing my skills in the school parking lot, I felt confident enough to start painting at the Raceway Park drag strip at Englishtown, New Jersey. The night before the drags, I would sneak a couple of Mom's oil-painting brushes and some white shoe polish to letter up my ' 57 Chevy as advertising. Old English-style letters were the easiest. 在学校停车场磨练了一段时间后，我觉得自己有足够的信心开始在新泽西州英格斯敦的赛道公园赛车场上作画。在比赛的前一天晚上，我会偷偷拿几把妈妈的油画笔和一些白色鞋油，把我的 57 雪佛兰车涂成广告字样。老式的英式字母是最简单的。
The quarter-mile drags were great for shaking up the paint just right for a day of striping and lettering. But then the linkage fork ring would blow off the transmission synchronizer barrel, usually caused by a highrevving 283 followed by a flawless power shift. This would leave me with only first or third gear to limp back home to a late night of transmission repair to get to work in the morning. 在四分之一英里的赛道上，车身漆面的抖动对一天的划线和刻字工作非常有利。但是，连杆叉环会从变速器同步器桶上脱落，这通常是由高转速 283 和完美无瑕的动力换档造成的。这样一来，我就只能挂一档或三档，深夜才能回家修理变速器，早上才能去上班。
SETUP AND DISPLAY 设置和显示
Most shows allow vendors to set up a day or so before the public is allowed in. Vendor spaces are typically marked off in 10 -foot sections. I rent a -foot space. This allows me room to set up my large show tent and work on two 大多数展会允许供应商在公众入场前一天左右布置摊位。摊位通常以 10 英尺为单位划分。我租用的是 英尺的空间。这样，我就有空间搭建我的大型展示帐篷，并在两个区域内工作。
A 20x20-foot tent is just the ticket to work on two cars at one time. You can mentally design a paint scheme on one car while you finish the other. Even at a small show you should bring enough signage so people can find you. You never know where you will be setting up. 一个 20x20 英尺的帐篷正好可以同时处理两辆车。您可以在完成另一辆车的同时，在其中一辆车上设计喷漆方案。即使是小型车展，您也应该带足够的标识，以便人们能找到您。你永远不知道你会在哪里搭建。
cars at the same time. One car can be prepped or cooling off while I finish up another. You can invest in your own tent or, if available, rent one and have it set up for you at the show. 同时工作。在我完成另一辆车的准备工作时，一辆车可以在一旁准备或冷却。您可以投资购买自己的帐篷，或者租用一个帐篷，在车展上为您搭建。
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We arrive at shows loaded down with everything and then some. You can hear the circus music in your head as you start setting up the "big top." 我们满载而归，甚至还有些东西。当你开始布置 "大顶 "时，脑海中会响起马戏团的音乐。
If you have ever had a pair of shoes that were just perfect, you know how you can get used to something that just fits you perfectly. I don't have to think about where something is with this faithful setup. Ron, a woodworker at a local marina, did a splendid job on the truck's mahogany and oak woodwork. He designed it to fit together as if it was a Chris-Craft. The truck blends into the marina while I am gold-leafing boats there. 如果你曾有过一双完美无瑕的鞋子，你就会知道你是如何习惯一双完全合脚的鞋子的。有了这套忠实的装备，我就不用再考虑东西在哪里了。罗恩是当地一个码头的木工，他把卡车上的桃花心木和橡木木工活做得非常出色。他将卡车设计得如同一艘克里斯-卡夫（Chris-Craft）帆船。当我在那里给船只镀金时，这辆卡车与码头融为一体。
I have fond memories of working with my sons as we built this truck together from the frame up. 我和我的儿子们一起建造这辆卡车，从车架开始，我们一起工作，这给我留下了美好的回忆。
The wood-graining carries the mahogany color and grain pattern inside. This technique is not very difficult to learn-my sons did most of it with a piece of a rag. 木纹将桃花心木的颜色和纹理图案带入内部。这种技术并不难学，我的儿子们用一块抹布就能完成大部分工作。
The V-6 Buick turbo provides motivation with exhilaration no matter what the load. And with fourwheel drive and air shocks, hauling a full load of hay is no problem with this multifunctional truck. 无论装载何种货物，别克 V6 涡轮增压发动机都能为您带来澎湃动力。这款多功能卡车配备四轮驱动和空气减震器，满载干草也不在话下。
Gold leaf and my logo design communicate the nature of my work simply and to the point. 金箔和我的徽标设计简单明了地传达了我的工作性质。
The faux-wood belt molding fools a lot of people at the shows. They slowly move closer to see if those screws are real. I have to paint an old rusty, bent nail on the molding somewhere just for fun 在展会上，仿木腰带造型骗过了很多人。他们会慢慢靠近，看看那些螺丝是不是真的。为了好玩，我还得在模子上画一个生锈弯曲的旧钉子。
This color selection method is the best thing I have found to help the customer decide on colors. The colors on the chart can be mixed to suit even the most particular spouse. Before I found this method I had to post a sign that read, "Husbands are required to have a note from their spouse to choose colors." 这种选色方法是我发现的帮助客户决定颜色的最佳方法。即使是最挑剔的配偶，也可以将图表上的颜色混合使用。在我发现这种方法之前，我不得不贴出一个标语，上面写着："丈夫在选择颜色时必须有配偶的说明"。
When used to describe pinstriping, "Von Dutch" or "old-school" refers to loose, free-form, and heavy striping that is not subtle in color or design. On a flat-black vehicle, a design of this style is typically done in red and white. Modern colors, like magenta, teal, or pastels are rarely, if ever used. Old-school jobs are great because you don't have to get your work so tight-you can just let go and have fun without a safety net. I tend to add a little purple to my red to mellow it a bit. I also throw some brown into my ivory to keep the two color values in harmony. 当用来描述细条纹时，"Von Dutch "或 "old-school "指的是松散、自由和厚重的条纹，在颜色或设计上并不含蓄。在纯黑色的车辆上，这种风格的设计通常采用红色和白色。很少使用洋红色、茶色或粉色等现代色彩。老派的工作非常棒，因为你不必把工作做得太紧，你可以放手去做，没有安全网，尽情享受乐趣。我倾向于在红色中加入一点紫色，使其更加柔和。我还会在象牙色中加入一些棕色，以保持两种颜色的和谐。
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SIGNAGE 标识
Visually, your signage should reflect the kind of work you do. It should be clear and legible from a long distance. I have three banners that I affix to my tent and which display in all directions the words "PINSTRIPING & GRAFIX" in bold and large letters. Don't get too fancy with your signs. Remember, when it comes to readability, contrast is king! You can dazzle them with all your goodies once they find you in the crowd. 从外观上看，你的标识应反映出你所从事的工作。从很远的地方看都应该清晰可辨。我有三面横幅，贴在我的帐篷上，上面用粗体大字向各个方向标明 "PINSTRIPING & GRAFIX"。标牌不要太花哨。请记住，就可读性而言，对比度才是王道！一旦他们在人群中发现了你，你就可以让他们眼花缭乱地看到你的所有好东西。
PHOTO ALBUMS 照片集
In front of your tent or space, set up a portable table with photo albums containing quality photos of your work laid on it. It is good to have another sign on this table, visually reinforcing your skills. Customers will look through your work and hopefully find something they like. Some stripers have elaborate samples of graphics and styles displayed. I prefer not to give people too much to choose from. I believe it slows the decision-making process when there is too much information to sort out. 在你的帐篷或场地前摆一张便携式桌子，上面放上你的作品的高质量相册。最好在这张桌子上再放一块牌子，从视觉上强化你的技能。顾客会翻看你的作品，希望能找到他们喜欢的东西。有些脱衣舞娘会展示精心制作的图形和风格样本。我不喜欢让人们有太多的选择。我认为，如果有太多信息需要理清，就会减缓决策过程。
Now the pricing game will begin, as showgoers point to a photo and ask, "How much does that cost?" We have a minimum charge for anything we paint no matter how small. This eliminates little jobs that could pile up when the cars are lined up waiting for you get to them (but more on pricing later in this chapter). 现在，定价游戏开始了，观众会指着一张照片问："这要多少钱？我们的最低收费标准是 ，无论多小的工作量。这样，当汽车排成一排等着你去喷漆时，就不会出现小活堆积如山的情况了（本章后面将详细介绍定价问题）。
Tribal pinstriping has sharp, pointed, abrupt right-angle turns and is typically painted using vivid colors that tend to be on the dark side. No happy, smiley colors will do. This is tribal striping with a bit of Southwestern flare added in. 部落细条纹具有尖锐、锐利、突兀的直角转弯，通常使用鲜艳的颜色，颜色偏暗。没有快乐的、微笑的颜色。这是一种带有一点西南风情的部落条纹。
Mild or subtle pinstriping is done with monotone or low-contrast, complementary colors. This ' 32 grille shell is a simple combination of gray and a lighter tone of blue. You have to know when to stop-more is not always better. 温和或细微的细条纹采用单色或低对比度的互补色。这款'32'格栅外壳就是灰色和浅蓝色的简单组合。要懂得适可而止--并非越多越好。
Subtle can be achieved in a number of ways. A very dark maroon creates a very low contrast that is barely visible in shade, but striking in full sun. 微妙可以通过多种方式实现。颜色很深的栗色对比度很低，在阴凉处几乎看不出来，但在阳光充足的地方却很醒目。
PAINTS, BRUSHES, AND SUPPLIES 颜料、画笔和用品
I have a show checklist of what has to be packed that I use over and over again. This list is always being updated, but it serves as a flawless tool when you have preshow jitters. Just as a chef in a busy kitchen needs everything close at hand, it is important not to waste time looking for what might have gotten left behind in the 5 a.m. mad dash to get on the road. 我有一份演出清单，上面列有必须打包的物品，我反复使用。这份清单一直在更新，但当你在演出前感到紧张时，它是一个完美无瑕的工具。就像厨师在忙碌的厨房里需要把所有东西都放在手边一样，重要的是不要浪费时间去寻找凌晨 5 点疯狂赶路时可能落下的东西。
Speed, preparation, and organization are the keys to having a successful show. I have 40 years' experience working shows on the road, and I still love to work out of my custombuilt 1946 Chevy pickup truck, using the same paint box that I work out of in my studio. I know where everything is and that doesn't change. 速度、准备和组织是成功举办展览的关键。我有 40 年的巡回展出经验，我仍然喜欢在我那辆定制的 1946 雪佛兰皮卡车上工作，使用的油漆箱与我在工作室工作时使用的相同。我知道一切都在哪里，这一点不会改变。
I traded a full-tilt lettering and graphics job on a race car for the truck, which had been beat up pretty badly by more than one owner with big ideas. Actually, come to think of it, almost everything on or in that truck was traded for. I needed to find a better frame and running gear. I stumbled upon a rolled-over 1979 Toyota 4x4 at a junkyard. It looked like it was about the right size, so I traded sign-lettering services for the Toyota. 我用一辆赛车上的全套刻字和图案工作换来了这辆卡车，它曾被不止一个有远大理想的车主打得很惨。实际上，仔细想想，那辆卡车上的几乎所有东西都是用它换来的。我需要找到更好的车架和传动装置。我在废车场偶然发现了一辆翻滚过的 1979 年丰田四轮驱动车。它看起来大小合适，于是我用丰田车交换了招牌刻字服务。
Finding parts was a memorable adventure with my sons, Eric and Chris. They learned a lot about cars through that experience. They even wood-grained the dash with me. 与我的儿子埃里克和克里斯一起寻找零件是一次难忘的冒险。通过这次经历，他们学到了很多关于汽车的知识。他们甚至还和我一起木纹了仪表盘。
The two-tone colors I chose closely resemble orange and brown M&Ms. It must be because my old studio was in Hackettstown, New Jersey, home of Mars, Incorporated, the makers of M&Ms. Everyone who came to my studio during 我选择的双色调非常像橙色和棕色的 M&M。这一定是因为我以前的工作室位于新泽西州的哈克特斯镇，那里是玛氏公司（Mars, Incorporated）的所在地，也是 M&Ms 的制造商。在那段时期，每个来我工作室的人
Wild striping designs are generally painted with multiple, highcontrast colors. This style can be as large or as busy as the customer desires. Nothing exceeds like excess, I always say. 狂野的条纹设计一般使用多种高对比度的颜色。这种风格可以根据客户的要求随意扩大或缩小。我常说，没有什么比多余更重要。
the painting process asked, "Is that the color it's going to be?" Or, "Are you going to leave it that color?" I have found that you are much better off not listening to many opinions when it comes to the beginning stages of a paint project, unless you spell out for them everything that you are planning. Trends come and go, but class is timeless. I know several painters who have redone their shop trucks many times to keep up with the current trends. My old lacquer paint is still shiny enough for me. "这就是你要画的颜色吗？"或者，"你打算让它保持这个颜色吗？"我发现，在油漆项目的开始阶段，最好不要听信别人的意见，除非你向他们说明你的一切计划。潮流来来去去，但经典是永恒的。我认识几个油漆工，他们为了跟上时代潮流，多次重新装修自己的车间卡车。我的旧漆对我来说仍然足够闪亮。
Wild striping designs are generally painted with multiple, high-contrast colors. This style can be as large or as busy as the customer desires. Nothing exceeds like excess, I always say. 狂野的条纹设计一般使用多种高对比度的颜色。这种风格可以根据客户的要求，或大或小。我常说，没有什么比多余更重要。
I traded services for the design and building of the truck's wood bed with a woodworker at a marina that specializes in wooden-boat restorations. Now, I do all their gold-leaf work. 我与一个专门修复木船的码头木工交换了卡车木床的设计和制作服务。现在，我负责他们所有的金箔工作。
Air shocks for the extra weight carried to the shows and an air tank and compressor from a Cadillac for the airbrush work fine. Cranking out the front windshield provides factory air-conditioning. My original purposes for building the truck were to advertise the type of work I specialize in and to use it daily for work. (Although the four-wheel-drive and Buick V-6 Turbo power come in handy for hauling hay for the animals.) My truck is a customer conversation piece that serves as additional advertising of my work. My logo is gold-leafed on both doors, with additional, subtle trickpaint techniques, such as faux wood grain painted on the belt moldings. 气动减震器可以减轻参加车展时的额外重量，凯迪拉克上的气罐和压缩机也可以用于喷漆。摇动前挡风玻璃可以提供原厂空调。我最初制造这辆卡车的目的是为了宣传我擅长的工作类型，并在日常工作中使用它。(虽然四轮驱动和别克 V-6 涡轮增压发动机在为牲畜运输干草时非常方便）。我的卡车是客户的谈资，也是我工作的额外广告。我的徽标在两扇车门上都镀了金箔，还采用了其他微妙的喷漆技术，例如在皮带模上喷涂仿木纹。
PEOPLE BARRIERS 人的障碍
Flags or caution tape can be strung around the tent to keep overcurious visitors out of your work area when it gets very busy. The last thing you need is someone running his or her fingers through a freshly striped car, saying "Golly, that is wet paint!" Believe it or not, it has happened. I only use this territorial barrier when it is absolutely necessary. I like to remain approachable for questions and conversation. 可以在帐篷周围挂上旗子或警戒带，以便在工作繁忙时将过于好奇的访客挡在工作区之外。你最不希望看到的情况是，有人用手指划过一辆刚喷完漆的汽车，说："天哪，那是湿漆！"信不信由你，这种事确实发生过。我只在万不得已的情况下才会使用这种 "领地屏障"。我喜欢保持平易近人的态度，以便于提问和交谈。
WIND BARRIERS AND OTHER COMFORTS 防风屏障和其他舒适设施
Screened tent sidewalls are available that can quickly be put up on windy days. Wind can blow the brush around and these sidewalls can cut the wind down substantially. You will discover that you may want to bring other comforts with you when working outdoors, such as foam rubber knee mats to use on those low jobs. You can sometimes find these mats and other cool stuff from fellow vendors at the show. 可在大风天快速搭起苫布帐篷侧墙。风会把灌木丛吹得东倒西歪，而这些侧墙可以大大减小风力。您会发现，在户外工作时，您可能还想带上其他舒适的东西，比如在低处工作时使用的泡沫橡胶膝垫。有时您可以从展会上的供应商那里找到这些垫子和其他很酷的东西。
THE WAITING GAME 等待
After your tent and displays are set up, you are ready to paint. Just like fishing, sometimes they're biting, sometime they're not. Waiting for things to happen can be nerve-wracking and full of insecurity and doubt. Instead of getting caught up in negativities, take this time to make friends with your neighbors, fellow vendors, and competitors. I've worked shows with three or four other stripers and we've had a blast joking and busting each other. Keep a good positive attitude; people don't want to have their car striped by a negative sourpuss. Having fun with people is the most important thing about working a show, making new friends, and seeing faces you have not seen in a while. 帐篷和展示架搭好后，就可以开始绘画了。就像钓鱼一样，有时上钩，有时不上钩。等待事情发生可能会让人神经紧张，充满不安全感和疑虑。与其沉浸在负面情绪中，不如利用这段时间与邻居、同行和竞争对手交朋友。我曾和其他三四个脱衣舞表演者一起工作过，我们开着玩笑，互相捣乱，玩得很开心。保持良好的积极态度；人们不希望自己的车被一个消极的讨厌鬼刮花。与人相处愉快是参加车展最重要的事情，可以结交新朋友，见到久违的面孔。
By the way, I have never been stuck with a bad check from a customer at a hot rod show. Most car folks are the salt-of-the-earth and always ready to offer a helping hand. I'm proud to have had so many memorable years working with these first-class people. 顺便说一句，我从来没有在热车展上被顾客的空头支票卡住过。大多数汽车爱好者都是热心肠，随时准备伸出援助之手。能与这些一流的人共事这么多年，我感到非常自豪。
LISTENING TO CUSTOMERS 倾听客户心声
No matter what verbal terms or visual reference the customer uses to describe what he or she wants painted, pay close attention. Learn to read between the lines! Some people will use terms like tribal, old-school, wild, or mild to explain a direction for you to take in designing a look for their car. But first, you both need to agree on the definition of specific terms, to make sure you are on the same page. 无论客户用什么口头术语或视觉参考来描述他或她想要涂刷的东西，都要密切关注。学会读懂字里行间！有些人会用部落、老派、狂野或温和等词语来解释你为他们的汽车设计外观的方向。但首先，你们双方需要就特定术语的定义达成一致，以确保你们的观点是一致的。
Body language is another clue to what's inside the customer's head. I tend to watch carefully at the customer's hands and arm gestures, especially when it comes to the size of a design or graphic. If the customer suggests a small design on the deck lid and proceeds to stretch his hands from the top to bottom or from side-to-side, this situation calls for clarification on the size of the design to be painted. 肢体语言是了解客户内心想法的另一条线索。我倾向于仔细观察客户的手和手臂手势，尤其是在涉及设计或图形的尺寸时。如果客户建议在甲板盖上画一个小图案，然后双手从上到下或从一边到另一边伸展，这种情况下就需要说明要画的图案的大小。
I have a good friend and customer, Skipp Phelps, who is a mysterious collector of unique cars. We joke about customer psychology whenever he drops off a new car to be striped at my shop. He jokingly grimaces and says, "Fix-it. . . . I want something small," while stretching his arms as far as he can. He'll continue with, "You know, something smooth and flowing," as he makes jagged, sharp, erratic chopping motions with his hands. Skipp and I have always had a language all 我有一位好朋友兼客户 Skipp Phelps，他是一位神秘的独特汽车收藏家。每当他把一辆新车送到我的店里进行剥离时，我们都会拿顾客心理开玩笑。他龇牙咧嘴地开玩笑说："Fix-it.. . .. 我想要小点的"，同时尽量伸长手臂。他会继续说："你知道，要光滑流畅的。"一边说，一边用手做出锯齿状、尖锐、不规则的劈砍动作。我和斯基普一直都有一种语言，那就是
Simple old-school, clean and simple, not overdone. Dashboard striping has helped me cover expenses more than I can remember. This dash had an imperfection in the paint that could be hidden by some striping, which is how striping all began, you know. 简单老派，干净简洁，不过分夸张。仪表盘上的条纹帮我节省了不少开支。这个仪表盘的油漆有瑕疵，可以用一些条纹来掩盖，这就是条纹的由来。
our own; he knows that no matter what he describes (in all seriousness), I will interpret it correctly and execute something that is exactly want he wanted, and more importantly, what the car needed. 他知道，无论他描述什么（都是认真的），我都会正确理解并执行他想要的东西，更重要的是，这正是汽车所需要的。
Customer interpretation is an art form in and of itself. I have come to the conclusion that most customers think in a linear way and most artists think in a multidimensional way. Always be aware that you may need to make a responsible suggestion of what is best for the car. When a person says, "I want something subtle," immediately look at the car's colors, shape, and style while bearing in mind the customer's style of dress and possibly other personal traits. Reading between the lines can be very helpful in maintaining a good perspective of what the customer is really expressing to you, the artist. 客户解读本身就是一门艺术。我得出的结论是，大多数客户的思维方式是线性的，而大多数艺术家的思维方式是多维的。要时刻意识到，你可能需要负责任地提出最适合汽车的建议。当有人说 "我想要低调一点的 "时，你要立即审视汽车的颜色、形状和风格，同时考虑到客户的着装风格以及其他个人特征。从字里行间读出客户对你--艺术家--的真实表达，对保持良好的视角非常有帮助。
Once you have gathered as much information as possible, you're on your way. Reaching a clear understanding at the beginning of any design project will make the painting part a joyful experience for both you and your customer. 一旦收集到尽可能多的信息，您就可以开始行动了。在任何设计项目开始时就达成明确的共识，将使您和客户在绘画部分都能获得愉悦的体验。
COLOR AND STYLE SELECTION 颜色和款式选择
NEVER use a color without showing a sample to the customer first. I sometimes go so far as putting a swatch of the paint color directly on the car. This can easily be removed and can play an invaluable part in the customer committing to a color choice. I have learned that people, in general, have a hard time envisioning the final product. 在没有向客户展示样品之前，绝对不要使用某种颜色。我有时甚至会直接在车上贴上油漆颜色的色样。这很容易撕下，对客户选择颜色起着不可估量的作用。我了解到，一般来说，人们很难想象最终产品的样子。
Here is a simple method I've found that works well and that gives the customer a look at the colors before you start. I place color swatches from a vinyl color chart into a clear plas- tic -inch sleeve that neatly fits in my photo binder. I hold or tape the color chart onto the car's surface. This way, the customer can see what colors actually look best on their cars. Once colors have been selected and clearly marked, we have eliminated the unknown and there should not be any misunderstandings. 以下是我发现的一种简单方法，效果很好，而且可以让客户在你开始之前就看到颜色。我将乙烯基色卡上的色样放入一个透明的塑料 -inch 套筒中，这个套筒可以整齐地放入我的照片活页夹中。我将色卡贴在汽车表面或用胶带粘住。这样，客户就能看到什么颜色在他们的车上最好看。一旦选定了颜色并清楚地标注出来，我们就消除了未知因素，也就不会产生任何误解。
CAR CHARACTER AND COLOR 车色
The character of a hot rod is very different from that of a classic Brass Era vehicle or Packard, for example. All hot rods possess individual attitudes and personalities. For instance, a wild, radically chopped red coupe with a blown 1,000-horse-power mill sticking through the hood requires shocking, high-contrast colors. On a red car I would choose teal, blue, and/or slime green. This high contrast of color adds to and can bring out the beast in this vivid creation. A completely different color approach should be taken with a mild "resto rod" with nostalgic touches, even if it's painted in the same red. A more traditional color approach of ivory, gray, black, and/or white would be more suited to the car's character and bring out its old-school charm and style. 热力跑车的特性与黄铜时代的经典车型或帕卡德（Packard）等车型截然不同。所有热力跑车都拥有各自的态度和个性。例如，如果一辆红色双门跑车的引擎盖上安装了一台功率高达 1000 马力的发动机，那么这辆狂野的红色双门跑车就需要令人震惊的高对比度色彩。在红色汽车上，我会选择茶色、蓝色和/或粘液绿。这种高对比度的颜色可以让这辆鲜艳的汽车更加生动，更能彰显它的野性。对于带有怀旧色彩的轻度 "改装车"，即使涂上同样的红色，也应采用完全不同的颜色。象牙色、灰色、黑色和/或白色等更传统的颜色会更适合这辆车的个性，并能彰显其老派的魅力和风格。
Choosing the correct color combinations for the car's and owner's characters creates a unique look that's harmonious with the owner and the car. Historically, hot rods have always been known to be custom-built to suit the individual owner's specifications and particular tastes. 根据汽车和车主的性格选择正确的颜色组合，可以创造出独特的外观，使车主和汽车和谐统一。从历史上看，改装车一直都是根据车主的个人规格和特殊品味而定制的。
Rainy-day dashboards. 雨天仪表盘
Studying car and motorcycle history and learning how to recognize the subtleties of a particular vehicle will also help reveal the direction to go, which will in turn guide you down the correct path. More than anything else, the correct combination will result in a clean, classic, rich, mellow look. Pinstriping belt moldings and using a subtle, low-contrast or monotone color combination quietly brings out the beauty that is already present. There is an expertise in accenting a vehicle's true character. This can be done lightly or boldly, depending on the amount of contrast you choose. 研究汽车和摩托车的历史，学习如何识别特定车辆的细微差别，也有助于揭示前进的方向，进而引导您走上正确的道路。最重要的是，正确的组合会带来简洁、经典、丰富、醇厚的外观。细条纹腰带造型以及微妙、低对比度或单调的色彩组合能悄无声息地彰显本已存在的美感。突出车辆的真实特征是一项专业技术。根据您选择的对比度，这可以做得轻巧或大胆。
RAIN AT A SHOW 雨中演出
Rain at a show can really put a damper on your day and a hole in your pocket. It is hard to make up the loss of business, not to mention your personal expenses, if you get rained out. We usually keep a sharp eye on the weather a week or so before a show, to be completely prepared for any conditions. If the weather does turn out to be bad, we book smaller jobs that can be done under the tent, where it is relatively dry. Some good projects for those rainy days are helmets, motorcycle fenders, and dashboards. We always assess jobs, taking 在展会上下雨会让您的心情大打折扣，也会让您的腰包鼓起来。如果被雨淋掉，就很难弥补生意上的损失，更不用说个人开支了。我们通常会在演出前一周左右密切关注天气情况，为任何情况做好充分准备。如果天气确实不好，我们会预订可以在帐篷下完成的小型工作，因为帐篷下相对干燥。头盔、摩托车挡泥板和仪表盘就是雨天的好帮手。我们总是对工作进行评估，包括
An indoor dashboard job. 室内仪表盘工作。
weather conditions and drying time into consideration. If one day of a three-day show predicts rain, we try to book "tent jobs" for that day. 天气条件和干燥时间都要考虑在内。如果在为期三天的展会中，有一天预计会下雨，我们就会尽量预订当天的 "帐篷工作"。
IMITATING OTHER STRIPERS' ART 模仿其他脱衣舞艺术
Copying designs of other stripers is a touchy subject and an ethical choice you have to make for yourself. On occasion, a customer will bring a photo from a magazine or website of something they want reproduced on their car. Significantly modifying the art is the only way to handle this problem. Once, a guy showed me some art from a car magazine that he wanted me to reproduce precisely. I started to laugh as he showed it to me because it was a piece I originally painted on that car for that magazine! If a customer becomes demanding, I ask them how they would feel if they saw someone else driving around with their custom design painted by someone else. 复制其他脱衣舞娘的设计是一个敏感话题，也是你必须做出的道德选择。有时，客户会从杂志或网站上带来一张照片，他们希望在自己的车上复制一些东西。大幅修改艺术品是解决这个问题的唯一办法。有一次，一个人给我看了一些汽车杂志上的图片，他希望我能精确地复制。他给我看的时候，我开始发笑，因为那是我最初为那本杂志在汽车上画的一幅作品！如果客户的要求变得苛刻，我会问他们，如果他们看到别人开着自己的车，车身上的定制设计是别人画的，他们会作何感想。
HOW MUCH DOES IT COST? 费用是多少？
Another area where a complete understanding needs to be reached up front is regarding exactly what you will and will not do for the agreed-to price. Exact fees should always be agreed upon between the artist and the customer BEFORE you start the job. If the customer chooses to add additional pinstriping or painting once a job has started, you must clearly state that there will be additional charges. I usually stop and make sure I have the customer's full attention and explain that the request for additional work requires additional costs. 另一个需要事先达成完全共识的方面是，对于商定的价格，你到底会做什么，不会做什么。在开始工作之前，艺术家和客户之间应就确切的费用达成一致。如果在工作开始后，客户选择增加细条纹或喷漆，你必须明确说明将收取额外费用。我通常会停下来，确保客户全神贯注地听我解释，并说明额外工作的要求需要额外费用。
When a customer asks, "How much will it cost?" for a specific job, I use a ballpark figuring system that is based on a two-tier pricing method. This method is a good way to narrow down pricing with your customer. 当客户问 "具体工作要花多少钱？"时，我会使用一个基于两级定价法的概略计算系统。这种方法是与客户缩小定价范围的好方法。
After listening, and studying both the car and the customer, I initially come up with the first-tier price. This price is based on what I would do to accent and complement the car's beauty and character without financial limitations placed on me by the customer. Generally this is the top end of the price structure. Next, I think of what would be the least amount of work I could do and still accent the car properly. This gives me the low price or second tier. It all boils down to the customer; he or she needs to decide which way to go to fit his or her budget. Of course the ideal customer is the one who brings in a vehicle and tells you to "Do whatever you 在听取并研究了汽车和客户的意见后，我初步提出了一级价格。这个价格的基础是，如果客户不对我施加经济限制，我将如何做才能突出和补充汽车的美感和特性。一般来说，这是价格结构的最高端。接下来，我会考虑我可以做的最少的工作，但仍能很好地点缀汽车。这就是我的低价或第二层价格。这一切都归结于客户；他或她需要决定哪种方式更符合他或她的预算。当然，最理想的客户是把车开进来并告诉你 "随便你怎么做 "的人。
Judy and I believe that whom God has blessed abundantly, much is expected. We try to work at various charity events throughout the year as a way of giving back in a small way. Judy also paces my day so I can still have fun. I don't know how you could work a show like this on your own without help and support. 朱迪和我相信，上帝赐予我们丰盛的祝福，我们也应得到更多。我们一年到头都会参加各种慈善活动，以此作为小小的回馈。朱迪还会安排我每天的工作，这样我还能玩得开心。我不知道如果没有帮助和支持，你怎么能独自完成这样一场演出。
think looks good," and doesn't blink an eye when you hand him the bill. 我觉得看起来不错，"当你把账单递给他时，他眼睛都不眨一下。
Finally, I never work busy car shows by myself. My amazing wife, Judy, handles all the details of pricing and customer appointments. Judy is also an artist who is experienced in color theory and design. She helps sort out the basic selections by conducting a quick interview regarding budget, design, and color choice. Judy and I met in art school. She majored in fashion illustration and is well-equipped to handle color and design questions. With Judy running interference and being efficient at weeding out tire-kickers, it leaves me worry-free to concentrate on designing and painting effectively. I can't imagine producing any kind of quality work at a major car show by myself. Her exhaustive eye for details and the big picture makes me actually look like I know what I'm doing. 最后，我从不一个人忙于车展。我出色的妻子朱迪负责定价和客户预约的所有细节。朱迪还是一位艺术家，在色彩理论和设计方面经验丰富。她通过对预算、设计和颜色选择进行快速访谈，帮助我们整理出基本的选择方案。朱迪和我是在艺术学校认识的。她主修时尚插画，擅长处理色彩和设计问题。有了朱迪的干扰和高效的剔除能力，我就可以无后顾之忧地集中精力进行有效的设计和绘画。我无法想象自己一个人在大型车展上能做出什么高质量的作品。她对细节和全局的洞察力让我看起来就像知道自己在做什么。
CHAPTER 10 第 10 章
PINSTRIPING MOTORCYCLES
he major difference between pinstriping motorcycles and cars is the physical size of the area to be striped. For this reason, when working on a motorcycle, you need to stripe more delicately. Good motorcycle pinstriping is thinner than what you generally see on cars and trucks. These designs are also more complex, using tighter striping. After all, if it's a tank design, the customer is going to be looking down at the design for a long time. The symmetry must be dead-on, accurate, and crisp, and excellent line quality needs to be maintained throughout the design. 摩托车和汽车细条纹的主要区别在于待划线区域的实际大小。因此，在摩托车上施工时，需要更精细地进行条纹处理。好的摩托车细条纹比一般汽车和卡车上的细条纹要细。这些设计也更加复杂，使用的条纹更加紧密。毕竟，如果是油箱设计，客户会低头看很长时间。整个设计的对称性必须准确无误、清晰明了，并且需要保持出色的线条质量。
The type of motorcycle is another consideration that will determine the choice of design. The contrast in owner 摩托车的类型是决定设计选择的另一个考虑因素。车主
With motorcycles tanks, you need to make your striping designs a little more intricate because the surface area is smaller and it will be right under the rider's nose for a long time to come. This tighter work is more time-consuming and should be reflected in the pricing. 对于摩托车油箱来说，由于表面积较小，而且在未来很长一段时间内都会在车手的鼻子下面，因此你需要把条纹设计得更复杂一些。这种更精细的工作更耗时，也应反映在价格上。
This multiple-color design complements the base colors of a motorcycle fairing. 这种多色设计与摩托车整流罩的基色相得益彰。
A two-color striping job with other paint ebellishments to complement it. 双色条纹与其他油漆装饰相得益彰。
Harley-Davidson gold-leaf lettering and tribal accents. 哈雷戴维森（Harley-Davidson）金箔字母和部落装饰。
Complementary color striping adds a pop to gold-leaf graphics. 互补色条纹为金箔图案增添了一抹亮色。
An airbrushed train mural with gold leaf and pinstriping made this bike a winner. 带有金箔和细条纹的喷绘火车壁画让这辆自行车成为了赢家。
I was a bit surprised when a Harley owner wanted this dream-catcher design that, in my experience, a Gold Wing owner would be more inclined to choose. He explained he needed something a bit larger to hide a scratch on one side of the faring. 当一位哈雷车主想要这种捕梦器设计时，我有点惊讶，根据我的经验，金翼车主更倾向于选择这种设计。他解释说，他需要一个大一点的东西来掩盖机翼一侧的划痕。
Keep the design simple and flowing with the shape of the bike. Figure out a price for each spot so the customer knows what they can afford. A design can be modified to fit their budget before you begin. 设计要简洁，要与自行车的外形相协调。计算出每个点的价格，让客户知道他们的承受能力。在开始之前，可以根据客户的预算修改设计。
personality is more extreme between owners of different makes and styles of motorcycles than it is with car owners. The Harley-Davidson Fat Boy owner is usually quite different from the Honda Gold Wing owner. It's not like Ford versus Chevy here-it's an entirely different demographic. I do not recommend setting up at a Gold Wing rally with nothing but skulls and flames to offer. If you do, you will spend most of your time kicking rocks in the parking lot. 与汽车车主相比，不同品牌和风格的摩托车车主之间的个性更为极端。哈雷戴维森 "肥仔 "的车主通常与本田 "金翼 "的车主截然不同。这不是福特与雪佛兰的问题，而是完全不同的人群。我不建议在金翼拉力赛上只展示骷髅头和火焰。如果你这样做，你的大部分时间都会在停车场踢石头。
It is essential that as a pinstriper, you understand the differences among all of your customers. Whether they bring you an antique Indian, a custom-built Harley chopper, or a sportbike, countless problems can be averted by understanding the specific kind of motorcycle they own and carefully listening to their ideas about what they are interested in having you stripe. For the proper overall look to be achieved, this is critical in the selection of color and design. 作为一名销钉工，了解所有客户的不同之处至关重要。无论客户带来的是印第安古董车、定制哈雷摩托车还是运动型摩托车，只要了解他们所拥有的摩托车的具体类型，并仔细倾听他们的想法，了解他们对让你做什么条纹感兴趣，就能避免无数问题。为了实现适当的整体外观，这一点在颜色和设计的选择上至关重要。
The owner of this Kawasaki wanted a design that was not too wild. The job called for a color combination that included the existing factory accent colors used elsewhere on the bike and on the logo. 这辆川崎车的车主希望设计不要太狂野。这项工作要求在颜色组合中加入摩托车和徽标上其他地方使用的现有原厂重点色。
Kenny Duda's hardtail gets the old-school treatment. 肯尼-杜达（Kenny Duda）的硬尾车得到了老式的处理。
Kenny is the lead singer and guitar player in The Razorbacks rockabilly band. 肯尼是 Razorbacks 摇滚乐队的主唱兼吉他手。
You can't miss with a simple teardrop touch that says "old school." Just a simple accent of color in the right spots makes a big impression. 简单的水滴形触感彰显 "老派 "风格，绝对不会让你错过。只需在适当的位置点缀简单的色彩，就能给人留下深刻印象。
You can see where my favorite old-school color, old whitewall white, gets its name. Take care to weave the second color through the design accurately. 你可以看到我最喜欢的老派颜色 "老白墙白 "的名字由来。注意将第二种颜色准确地穿插在设计中。
The red is mixed to match the red rim exactly and, in this case, is striped first. The white is used more as an accent. There is so much to the designs that I had to be careful not to make it too busy. 红色是为了与红色边框完全匹配而混合的，在这种情况下，首先是条纹。白色则更多地用作点缀。设计的内容非常多，我必须小心谨慎，避免过于繁杂。
Of course, you need a flying eyeball to finish the nostalgic look of this nicely built bike—-and a good, strong back to ride this hardtail. 当然，要完成这款做工精良的自行车的怀旧外观，你还需要一个会飞的眼球--以及骑这款硬尾车的强壮后背。
Traditional stripes are turned into a simple eagle head accented with some quick lettering. This tank was striped in 1-Shot enamels with hardener added so it could be clear-coated with an automotive urethane. 传统的条纹变成了一个简单的鹰头，再配上一些快速的字母。这辆坦克的条纹是用 1-Shot瓷漆涂抹的，并添加了固化剂，这样就可以用汽车聚氨酯进行清漆喷涂。
Two-color striping on a flat-black Harley. 平黑色哈雷机车上的双色条纹。
A faux chrome emblem is accented by two-color striping. 双色条纹点缀着仿镀铬徽章。
Pinstripe flames are always a hit. This mellow monotone job was done to suit the customer's taste. I used tape to roughly lay out the flames and followed the tape with the brush. 细条纹火焰总是很受欢迎。这种柔和的单色调是为了迎合客户的口味。我用胶带将火焰大致铺开，然后用刷子沿着胶带刷。
Green complementary color outlines the gold-leaf and pearl graphics. 绿色互补色勾勒出金箔和珍珠图案。
White gold-leaf graphics with flames and pinstriping. 白色金箔图案，带有火焰和细条纹。
This simple three-color job looks like there is a lot more going on than there is because the designs are elongated to cover a larger area. 这幅简单的三色作品看起来要比实际内容多得多，因为图案被拉长，覆盖了更大的面积。
This 1966 Shovelhead boasts four colors of variegated gold leaf with four colors of outlines and striping. 这辆 1966 年的 Shovelhead 拥有四种颜色的杂色金箔，以及四种颜色的轮廓和条纹。
Above left: Russ Mowry specializes in motorcycle striping. You will see him performing his magic all over the country at major bike rallies like Sturgis. Here, he demonstrates a simple design that he creates in five minutes with roughly 12 strokes of the brush. 左上图Russ Mowry 专门从事摩托车喷漆。在全国各地的大型摩托车集会（如斯特吉斯）上，你都能看到他的神奇表演。在这里，他演示了一个简单的设计，只需用画笔描绘大约 12 笔，就能在五分钟内完成。
Above right: Using this simple but effective design, Russ can complete an average striping job on a bike in less than a half an hour. 右上图：使用这种简单而有效的设计，Russ 可以在半小时内完成一辆自行车上的普通划线工作。
Right: Here is the design on a tank. Note the use of color. By starting on the inside of the design with the brightest color, he makes the design blend into the area. 右图：这是坦克上的设计。注意色彩的运用。他从设计的内侧开始使用最鲜艳的颜色，使设计与该区域融为一体。
Above: Notice how delicately the classic fine lines were painted with sharp, crisp corners. Whoever striped this did a superb job on a beautiful restoration. 上图请注意，经典的细线被涂抹得非常精致，边角锋利而清晰。不管是谁，都为这辆车的修复工作做出了卓越的贡献。
Left: Here's Russ Mowry's same basic motorcycle design as shown on the preceding page on a fender. Small changes keep it simple and clean. Working a major bike event, like Sturgis, you need to crank out the work while maintaining your quality. 左图：这是 Russ Mowry 在挡泥板上设计的与前一页相同的摩托车基本款式。微小的改动保持了简单和整洁。在像斯特吉斯这样的大型自行车赛事中，你需要在保证质量的前提下完成工作。
Above and right: This old-school black-suede paint looks great with a clean design. The extra-glossy black adds subtle details. 上图和右图：这种老式的黑色麂皮漆搭配简洁的设计，看起来非常漂亮。超亮黑色增添了微妙的细节。
CHAPTER 11 第 11 章
PINSTRIPING FLAMES AND SPECIAL EFFECTS
othing says "hot rod" like a good set of flames. I have jazzed up many a used car to try to help it sell, and painted flames can make a sale like nobody's business. 没有什么能比一组漂亮的火焰更能体现 "热棒 "了。我曾为许多二手车喷漆以帮助其销售，喷上火焰能让销售事半功倍。
OUTLINE A TRADITIONAL FLAME JOB 传统的火焰工作
After unmasking a traditional set of flames, you may notice how lame they look without outlines. They're like a person going out on the town half-dressed. There should be a law about this sort of indecent exposure. The outline is the touch that pulls the flames together and it was first used as a catchall for a poor masking job (and there were plenty of those). The new, more flexible tapes have made a world of difference in taping out basic flames. 揭开一套传统火焰面具后，你可能会注意到没有轮廓的它们看起来有多蹩脚。它们就像一个人半裸着上街一样。应该有一条法律来约束这种不雅的暴露行为。轮廓是将火焰凝聚在一起的点缀，它最初是用来弥补遮蔽工作的不足（这种情况比比皆是）。新的、更柔韧的胶带在粘贴基本火焰时有了天壤之别。
Color choice is always critical, too. If the flames are traditional old school, they need a blue or white outline to be all dressed up. More modern-colored vehicles need to have an equally modern color to make them fit the nontraditional character of the car. 颜色的选择也至关重要。如果火焰是传统的老式火焰，就需要蓝色或白色的轮廓来装扮。而更多现代色彩的汽车则需要同样现代的颜色，使其符合汽车的非传统特征。
The traditional flame job beginning on page 138 illustrates how much an outline can change and enhance the look. Follow along though this step-by-step process so you will be familiar with this technique. If you have the opportunity to do a job like this, keep a record of your time to help you better estimate the next job. Keeping track of your time on any type of pinstriping will give you a gauge that can help you determine your hourly wage. 从第 138 页开始的传统火焰喷涂说明了轮廓可以改变和增强外观的效果。请跟着这个步骤一步步进行，这样您就会熟悉这种技术。如果你有机会做这样的工作，请记录下你的时间，以帮助你更好地估计下一次工作。记录任何类型的细条纹工作所需的时间都将为您提供一个衡量标准，帮助您确定每小时的工资。
CREATE PINSTRIPE FLAMES 创造条纹火焰
There are many variations on flames, such as the popular "real fire" that Mike Lavallee paints so well, but we are not 火焰有很多变体，比如迈克-拉瓦列（Mike Lavallee）描绘的广受欢迎的 "真火"。
This flame job took a lot longer than I had figured it would take. The customer wanted to flame just the hood and front fenders, but the flames needed to be longer because of the car's massive size. The traditional light-blue outlining also took a lot more time. Fortunately, the customer was gracious and understanding with the larger bill. 这次火焰喷涂所花的时间比我预计的要长很多。客户只想在引擎盖和前挡泥板上喷火焰，但由于车身庞大，火焰需要更长一些。传统的浅蓝色轮廓也花费了更多的时间。幸运的是，客户对我的大额账单非常友好和理解。
This customer hated the color on this car he brought. Rather than repainting the entire car, he had me flame it to try and transform it. The outline helped move the color to the purple side of the spectrum. 这位客户不喜欢他带来的这辆车的颜色。他没有给整辆车重新喷漆，而是让我给它喷上火焰，试图改变它的颜色。轮廓让颜色偏向紫色。
going to delve into that area or those tools here. We are going to remain focused on flames that can be painted with help from our friends the squirrels-well with their hair, anyway. 在这里，我们不会深入探讨这个领域或这些工具。我们将继续专注于在松鼠朋友们的帮助下--反正是用它们的毛发--绘制的火焰。
Pinstripe flames can be adapted to the end of a simple double stripe in a variety of styles, sizes, and shapes. Pinstripe flames can be as large as a full flame job, filling the entire car with just the outline. Pinstripe flames can be blended and overlapped together by striping over the first stripe at the tips with a lighter color and again with an even lighter color to make them pop. 细条纹火焰可以在简单的双条纹末端进行改装，风格、尺寸和形状多种多样。细条火焰可以像全火焰一样大，只需轮廓就能充满整辆车。细条火焰可以混合重叠在一起，方法是在第一道条纹的顶端用较浅的颜色进行装饰，然后再用更浅的颜色进行装饰，使其更加突出。
This little flame was not as involved as it may look. First I painted the light-orange base with a quill, followed by a darker red airbrush blend at one end and a white blend at the other end. Then I outlined it. 这朵小火焰并不像看上去那么复杂。首先，我用鹅毛笔画出了浅橙色的底色，然后在一端用深红色气刷混合，在另一端用白色混合。然后勾勒出轮廓。
Sometimes you can incorporate flames into a pinstripe graphic. Here, I started with a double stripe that got wider at the rear. Speaking of rears, this 1947 Dodge has a good-sized one. I switched from a striping brush to a quill and brushed the flame, airbrushed a fade, and outlined them both. 有时，你可以将火焰融入细条纹图案中。在这里，我从双条纹开始，在尾部加宽。说到车尾，这辆 1947 年的道奇车有一个很大的车尾。我把条纹刷换成了羽毛笔，刷上火焰，再用气刷淡化，然后勾勒出两者的轮廓。
A small, or "mini-flame", style flame can be painted or filled in solid with a lettering quill, then outlined with a pinstripe. These solid mini-flames look great with an airbrushed blend or highlight added to give a more traditional effect. 小火焰或 "迷你火焰 "风格的火焰可以涂上颜色，也可以用字母笔填入实心，然后用细条纹勾勒。这些纯色的迷你火焰在加上气刷混合或高光后，会呈现出更加传统的效果。
You can also tape out and mask a small flame design, brush in a pearl color, and "bag it" with plastic wrap, laying the plastic over the wet paint and then removing it to create a marbled effect. Here, again, you are only limited by your imagination. 您还可以用胶带粘出一个小的火焰图案并蒙上，刷上珍珠色，然后用保鲜膜 "包 "起来，将保鲜膜铺在湿颜料上，然后撕掉保鲜膜，创造出大理石花纹的效果。同样，你的想象力也会受到限制。
continued on page 143 续第 143 页
Outlining makes for a remarkable improvement to a flame job, no matter how big or small. The technique remains the same: start at the top and work down to avoid dragging your hand in the wet paint. 无论大小，勾线都能显著改善火焰作业。技巧不变：从上往下画，避免手在湿颜料中拖拉。
Here is how a traditional flame job looks after the masking is removed. The first step is to sand the edge with 1200 -grit wet-dry sandpaper. This will make the edge smoother so the brush does not "track" unevenly when it is striped. 下面是去除遮蔽物后传统火焰喷漆的效果。第一步是用 1200 号干湿两用砂纸打磨边缘。这样可以使边缘更加光滑，这样刷子在刷条纹时就不会 "跟踪 "不均匀。
After the edge is sanded, it is buffed so there are no scratches left from the sanding. I begin the pinstriping at the top of the hood on the driver's side by leaning over from the passenger side of the car. 打磨边缘后，再进行抛光，这样就不会留下任何划痕。从驾驶员一侧的引擎盖顶部开始，我从汽车的副驾驶一侧俯身进行细条纹处理。
Standing on the passenger side and working from my farthest reach toward me, I can reach most everything on the top of the driver's side hood. Starting at the highest part of the hood nearest the cowl allows you to work downward and away from the wet paint. 站在副驾驶一侧，从我最远的地方开始操作，我可以接触到驾驶员一侧引擎盖顶部的大部分东西。从引擎盖上最靠近发动机罩的最高处开始，这样可以向下操作，远离潮湿的油漆。
I continued on the passenger side, working toward me, and ending my stripes at the round inside sharp turns of the flames. 我继续在副驾驶一侧，朝我这边努力，在火焰的圆形内急转弯处结束我的条纹。
After finishing off the outlining on the driver's side hood top, I move back to the passenger side and stripe the farthest flames first. Before I began the flame outline, I painted some black teardrops and shapes that I outlined later. This gives a little time for the teardrops to dry before they are outlined. 在完成驾驶员一侧引擎盖顶部的勾勒后，我又回到副驾驶一侧，先在最远的火焰上做条纹。在开始勾画火焰轮廓之前，我先画了一些黑色的泪滴和形状，然后再勾画轮廓。这样，在勾勒轮廓之前，泪滴就有一点时间干了。
I pull the next stripe toward me in the same manner and intersect it with the previous stripe at the round inside sharp turns of the flames. 我用同样的方法把下一条条纹拉向我，并在火焰的圆形内急转弯处与前一条条纹相交。
I continue downward to end at the bottom edge of the hood, finding a comfortable seat on the way. Days like this, working outside makes me glad to be alive. Then the hood sides are outlined. 我继续往下走，最后来到引擎盖的下沿，顺便找了个舒适的座位坐下。这样的日子，在户外工作让我庆幸自己还活着。然后勾勒出引擎盖两侧的轮廓。
After I finish all the outlining on the hood sides, I turn my attention to the other designs at the lower areas. 完成引擎盖两侧的所有轮廓后，我将注意力转移到下部的其他设计上。
After the flame-outlining is complete, I get to have some fun. I start at the rear of the cab, between the top and the box cover, as it is the highest and most difficult to reach. 熄火工作完成后，我就可以大显身手了。我从驾驶室后部开始，在顶部和箱盖之间，因为这里最高，也最难到达。
This finishes off the rear with the simple two-color theme. Next, we move back to the front. 至此，车尾简单的双色主题就完成了。接下来，我们回到前部。
Two simple teardrops at the rear and sides are outlined; then I outline the Ford logo with my new series Extreme Liner brush from The Mack Brush Company. 在车尾和车身两侧勾勒出两个简单的泪滴；然后，我用 Mack Brush 公司生产的新系列 Extreme Liner 笔刷勾勒出福特标志。
I like to do the harder-to-reach and difficult parts first so I can save the finishing touches for dessert. The last part to be striped is usually the grille shell. Then I walk around to make sure everything has been finished before I wash out my brush. 我喜欢先做较难触及和较难处理的部分，这样就可以把最后的修饰工作留到甜点时再做。最后一个被剥离的部分通常是格栅外壳。然后，我四处走动，确保一切都已完成，再把刷子洗掉。
I forgot to do this spot on the top of the front cowl before I outlined the flame, so I had to be careful not to touch the wet paint all around me. 在勾勒火焰轮廓之前，我忘了在前引擎罩顶部涂抹这一处，所以我必须小心翼翼，以免触碰到周围湿漉漉的油漆。
Here it sits, looking like it came out of one of those "little hot rod books" from the 1950s. I should have striped the wheels. Oh well . . . there will be others. 它就在这里，看起来就像是从 20 世纪 50 年代的 "小热力车手册 "中走出来的。我应该给车轮做个条纹。哦，好吧......以后还会有的。
continued from page 137 续第 137 页
You can even get a three-dimensional look by using two shades of a color, one a shade or two lighter than the other. 您甚至可以使用两种颜色，一种比另一种浅一两个色度，从而获得立体感。
The following are a few examples of the different types of flames you can try. Use these suggestions to stimulate your own creative juices and bring about some new ideas of your own. Don't be afraid to try something you have never seen-after all, people always are asking for something different. 以下是您可以尝试的不同类型火焰的几个例子。利用这些建议来激发你自己的创造力，并带来一些自己的新想法。不要害怕尝试你从未见过的东西--毕竟，人们总是要求与众不同。
ADDING ELEMENTS 添加元素
Dressing up your striping designs can make a personal statement about the car and owner. Customizing is all about giving a car that personal touch that expresses the owner's tastes and attitude. As I mentioned in Chapter 10, getting to know your customer and his or her car can spark creative ideas that make a striping design special. 装饰条纹设计可以彰显汽车和车主的个性。定制的意义在于赋予汽车个人风格，表达车主的品味和态度。正如我在第 10 章中提到的，了解客户和他或她的爱车可以激发创意，使条纹设计与众不同。
Up to this point in this book we have focused on only one particular brush because we have talked mostly about traditional pinstriping. In fact, pinstriping brushes are only one style of brush and are specifically made to hold an enormous amount of paint so they can carry it a long distance. But, just as you have learned the four elements to handle the striping brush (grip, pressure, speed, and angle), you will need to learn how to use other brushes to add extra elements to your pinstriping designs. 在本书中，到目前为止我们只关注了一种特殊的画笔，因为我们主要讨论的是传统的细条纹画笔。事实上，细条画笔只是画笔中的一种，专门用来盛放大量颜料，以便能将颜料带到很远的地方。但是，就像你已经学会了处理细条画笔的四个要素（握力、压力、速度和角度）一样，你还需要学习如何使用其他画笔来为你的细条画设计添加额外的元素。
Most of the following effects are not too difficult to execute. Just practice with any brush and you will soon see what it and you are capable of. 以下大多数效果都不难实现。只要用任何画笔练习，你很快就会发现它和你的能力。
CHAPTER 12 第 12 章
LETTERING FONTS AND TOOLS
T here are many opinions about how the written word was first used to communicate. Some say economics or religion were the motivation for passing on information. Early traders of goods had to have a way to record their transactions. Some cultures imprinted clay tablets with symbols to indicate the weight and quantities of goods. As trading expanded throughout countries with differing cultures, languages, symbols, illustrations, and hieroglyphics, communication must have been very frustrating. Cuneiform, created by the Sumerians of Mesopotamia, was the first script recorded around 3500 BCE. The cuneiform pictorial symbols eventually morphed into phonetic syllabic signs and these were the precursor to the Phoenician alphabet created around 1500 BCE. The Phoenician alphabet consisted only of consonants, but by 750 BCE, the Greeks and Romans added symbols for vowels. It was the Roman alphabet that eventually became the standard and was spread through conquering countries with no written languages. The Roman Empire eventually expanded out-ofcontrol and crumbled into illiteracy and chaos. As Christianity spread, monks retreated to carefully copy written scriptures and documents into many languages. The scribes wrote with soft reeds sharpened to a chisel point. This determined the thick and thin strokes of classic Roman capital letters. The Roman written alphabet is what we still read today. 关于书面文字最初是如何用于交流的，众说纷纭。有人说，经济或宗教是传递信息的动机。早期的货物贸易者必须有一种方式来记录他们的交易。一些文化在泥板上印上符号，以表示货物的重量和数量。随着贸易扩展到文化、语言、符号、插图和象形文字各不相同的国家，交流肯定非常困难。公元前 3500 年左右，美索不达米亚的苏美尔人创造了楔形文字，这是最早被记录下来的文字。楔形文字的图形符号最终演变成音标，这就是公元前 1500 年左右诞生的腓尼基字母表的前身。腓尼基字母表只有辅音，但到了公元前 750 年，希腊人和罗马人又增加了元音符号。罗马字母最终成为标准字母，并在没有书面语言的征服国传播开来。罗马帝国最终失控扩张，陷入文盲和混乱。随着基督教的传播，僧侣们退居幕后，将写好的经文和文件仔细抄写成多种语言。抄写员们用柔软的芦苇书写，芦苇被削成凿状。这决定了经典罗马大写字母的粗细笔画。罗马字母就是我们今天仍在阅读的文字。
Imagine trying to communicate with a countless number of illiterate people all with different cultures and languages and no written alphabet. As The Captain famously said in Cool Hand Luke, "What we've got here is failure to communicate." 试想一下，要与无数不同文化、不同语言、没有书面字母的文盲进行交流，是多么困难的一件事。正如《酷手卢克》中船长的名言："我们在这里遇到的是沟通失败"。
FONTS AND LETTERS 字体和字母
Three basic fonts establish the structure of all hand-lettering fonts: Roman, Gothic, and Script. Gothic letters are sans serif (without serifs, those little lines added for flourish to the end strokes of letters and numbers), and all strokes are uniform in thickness. 三种基本字体构成了所有手写字体的结构：罗马体、哥特体和手写体。哥特式字母是无衬线字体（没有衬线，即在字母和数字的末端笔画上添加一些小线条以增加华丽感），所有笔画粗细一致。
Left: Roman "thick and thin" lettering. 左：罗马字母 "粗细"。
Below (top): Gothic lettering-all strokes are the same weight. 下图（上）：哥特式字母--所有笔画重量相同。
Below (bottom): Script fonts typically comprise thick and thin strokes connecting characters. 下面（底部）：楷书字体通常由粗细笔画连接字符。
Taking time to choose the correct font for any job can be a skill in and of itself. The correct font can tell a story without using tons of words, and there are thousands of fonts to choose from. 花时间为任何工作选择正确的字体本身就是一种技能。正确的字体可以在不使用大量文字的情况下讲述一个故事，而且有成千上万种字体可供选择。
Hopefully, because of your interest in hand-lettering, you have read some books on the basics of lettering. Today, many books, classes, and Internet videos are available on the subject. Tutorials can give you plenty of lessons on the strokes that comprise each letter of the alphabet. I've been asked several times, "Can you show me how to letter in a day or so?" I will endeavor to share some tricks of the trade that have served me well in my long career, but my response is that anything worthwhile needs to be studied for you to be successful. 希望由于您对手写字母感兴趣，您已经阅读了一些关于字母基础知识的书籍。如今，有许多关于这一主题的书籍、课程和网络视频。教程可以为您提供大量有关组成字母表中每个字母的笔画的课程。有人曾多次问我："你能在一天左右的时间里教我如何写字吗？我将努力分享一些在我漫长的职业生涯中对我很有帮助的技巧，但我的回答是，任何有价值的东西都需要学习才能获得成功。
PRACTICE, PRACTICE, PRACTICE 练习、练习、练习
As a kid, I didn't have many books to learn from. My mom, who was an artist, observed my interest in drawing and gave me a Jon Nagy book on drawing basics to discover my talent. Color and perspective for me seemed to be a natural gift. 小时候，我没有什么书可以学。我的妈妈是一位艺术家，她发现了我对绘画的兴趣，于是给了我一本乔恩-纳吉（Jon Nagy）的绘画基础书，让我发现自己的天赋。色彩和透视对我来说似乎是与生俱来的天赋。
Practicing various Speedball Textbook alphabets well into the nights, I found that the Old English style was the easiest for me. I carefully copied Old English alphabets with the flat pen and mom's oil paintbrushes. A few brave customers and friends let me letter and pinstripe their motorcycles using Old English. After much practice, I had a good understanding of the Roman alphabet. The more you study and practice with lettering quills, the more you build your confidence. 晚上练习各种速成教科书上的字母时，我发现古英语对我来说是最简单的。我用扁平笔和妈妈的油画笔仔细临摹老式英文字母。一些胆大的顾客和朋友让我用老式英文给他们的摩托车写字母和画细条纹。经过反复练习，我对罗马字母有了一定的了解。对毛笔字母的学习和练习越多，就越能建立自信。
I needed gas money for my ' 57 Chevy, which I bought for from a little old lady. A friend told me that her dad owned a sign shop nearby, so I stopped by and asked him if I could help paint signs and do some lettering; I think my confidence was bigger than my ability at that time. The owner just smiled. We talked about what I had pinstriped, airbrushed, and lettered before. Then, he showed me around the shop with lots of big signs of all kinds. I noticed the lack of anything "fancy." He gave his customers three styles of letter choices: block, thick and thin Roman, or script. He handed me a few books and magazines with lots of great layouts, designs, and ideas, as well as various brushes and said, "Stop by next week." 我的 57 雪佛兰需要油钱，我花了 从一个小老太太那里买的。一个朋友告诉我，她爸爸在附近开了一家招牌店，于是我就顺便去问问他，能不能让我帮忙刷刷招牌、刻刻字；我觉得当时我的自信超过了我的能力。店主只是笑了笑。我们聊了聊我以前画过的细条纹、喷过的漆和刻过的字。然后，他带我参观了店里的各种大招牌。我注意到店里没有任何 "花哨 "的东西。他给顾客提供了三种字母样式的选择：正楷、粗细罗马字母或楷书。他递给我几本书和杂志，上面有很多很好的布局、设计和创意，还有各种画笔，并对我说："下周再来吧。"
The sign shop had several rush jobs going. I got to do the sign priming and coating, as well as installing signs. When the pressure was on, I filled in the big letters on wood and paper signs. Since the owner didn't like to do any fancy stuff, he would let me have a go at it, which I greatly appreciated. 标牌店有几项赶工任务。我负责标牌的底漆和涂层，以及标牌的安装。压力大的时候，我就在木质和纸质招牌上填大字。由于店主不喜欢做任何花哨的工作，他就让我自己动手，这让我非常感激。
He could see how hungry I was to learn, plus he was a very generous guy. 他看得出我有多么渴望学习，而且他是一个非常慷慨的人。
As time rolled by, I freelanced, working on motorcycles, hot rods, and race cars from the Englishtown drag strip, where I would letter almost every weekend. 随着时间的推移，我成为了一名自由职业者，在英格斯敦赛车场从事摩托车、改装车和赛车方面的工作，几乎每个周末我都会在那里写信。
Soon, I needed my own shop. A friend's parents owned Julie's Farm Market and said I could work in their garage/ greenhouse and trade rent for painting all their seasonal signs. I started to get busier because of the prime location and painting crazy signs including giant Easter bunnies, huge stalks of corn, pumpkins, Mother's Day flowers, and Thanksgiving turkeys. I had the freedom to experiment with unusual color combinations and designs. My mom's artistry must have rubbed off on me, more than I knew. I think it's easier to make a sign painter out of an artist than the other way around. 不久，我需要自己的店面。一个朋友的父母拥有朱莉农场市场，他们说我可以在他们的车库/温室里工作，用租金换取他们所有季节性招牌的油漆。由于位置优越，我开始变得越来越忙，画的招牌也越来越疯狂，包括巨大的复活节兔子、玉米秆、南瓜、母亲节鲜花和感恩节火鸡。我可以自由地尝试不同寻常的颜色组合和设计。我妈妈的艺术细胞一定是遗传给了我，这一点我自己也不知道。我认为，把一个艺术家培养成招牌画家要比反过来容易得多。
My high school art teacher told me I should go to art school. I could only afford the three-year Newark School of 我的高中美术老师告诉我，我应该去上艺术学校。我只能上三年制的纽瓦克艺术学校。
Ground Pounder IV was my brother Gerry's '56 283-ci fuel-injected Chevy with a five-speed overdrive tranny. Ground Pounder IV 是我哥哥格里的 56 年款 283ci燃油喷射雪佛兰车，配备五速超速变速箱。
Fine and Industrial Art. The learning never stopped. The art classes had many great teachers (except the lettering teacher, who failed me .. . I'd love to run into that guy now!). 美术和工业艺术学习从未停止。美术课上有很多很棒的老师（除了那个让我失望的刻字老师......）。我现在很想碰到那个人！）。
After graduation, I got a "real job" on Madison Avenue in New York City. I married my best friend and fashion illustrator, sweet Judy, from art school. After a year, she was working at JC Penney in New York, drawing ads for newspapers and catalogs, so we commuted to the "City of Oz" together. Judy has always encouraged all my crazy ideas throughout our marriage. 毕业后，我在纽约麦迪逊大道找到了一份 "真正的工作"。我和我在艺术学院最好的朋友、时尚插画师朱迪结婚了。一年后，她在纽约的 JC Penney 工作，为报纸和商品目录画广告，于是我们一起往返于 "绿野之城"。在我们的婚姻生活中，朱迪一直鼓励我所有疯狂的想法。
At the agency, I learned all the procedures for layouts, typesetting, and paste-ups and mechanicals. The boss gave me all the headline design layouts and decorative border jobs. I designed lots of funky lettering projects. I also freelanced. Back in the late ' 60 s and early ' 70 s, you could bend lettering almost to the point of illegibility. 在广告公司，我学会了版面设计、排版、粘贴和机械加工的所有程序。老板把所有的标题设计布局和装饰边框工作都交给了我。我设计了很多时髦的字体项目。我还是自由职业者。在上世纪 60 年代末和 70 年代初，你几乎可以将字母弯曲到难以辨认的程度。
With the birth of our son Eric, we both quit our jobs, escaped New York City, and bought our first home in the summer community of Lake Hopatcong, New Jersey, and started our own business. I continued freelancing for agencies in New York, which was lucrative since I knew the ropes. I was lucky enough to keep a high-profile account creating jewelry ads for newspapers. Every season, I churned out 100 layouts, driving back and forth into Manhattan in my old VW bus as necessary. It was challenging designing Christmas ads in the summer, while gangs of kids passed my garage with tubes and bathing suits. 儿子埃里克出生后，我们双双辞去工作，逃离纽约，在新泽西州霍帕特康湖的避暑社区买了第一套房子，开始了自己的事业。我继续为纽约的广告公司做自由职业者，因为我熟悉业务，所以收入颇丰。我很幸运地保住了一个为报纸制作珠宝广告的高知名度客户。每一季，我都要设计 100 个版面，必要时还要开着我的老式大众巴士往返于曼哈顿。夏天设计圣诞广告很有挑战性，一群孩子拿着管子和泳衣经过我的车库。
Lake Hopatcong has several marinas that serve the summer boat population. We papered the area with flyers that read "Don't launch your boat ... unless you have it lettered by an 霍帕聪湖（Lake Hopatcong）有几个游艇码头，为夏季游船提供服务。我们在该区域贴满了传单，上面写着 "请勿下水......除非您的船由专业人员刻字"。
Left: This flyer got me my first van mural job, airbrushed with lacquer ... outside! 左： 这张传单为我带来了我的第一份面包车壁画工作，用漆喷绘......在车外！
Below (top): Painting a Lake Hopatcong hydroplane in my driveway, hoping the weather holds. 下图（上）：在我的车道上给霍帕特康湖的水上飞机上漆，希望天气能保持良好。
Below (bottom): My oldest son, Eric, would travel and help with standard jobs at marinas. 下图（底部）：我的大儿子埃里克（Eric）会去游艇码头帮忙做一些标准的工作。
artist that knows what you want!" The flyer was a great success, and it got me my first gold-leaf job on a classic wooden boat at Wayne's Northwood Marina, which is now called Katz's Marina. I have continued to work for that marina for over 50 years, even though the owners have changed three times. Not long after, the word got out, and I was lettering boats, almost daily, at all the marinas on Lake Hopatcong. 知道你想要什么的艺术家！"传单大获成功，这让我在韦恩的诺斯伍德码头（现在叫卡茨码头）的一艘古典木船上完成了我的第一份金箔工作。虽然码头的主人换了三次，但我一直在那里工作了 50 多年。不久之后，消息传开了，我几乎每天都在霍帕特康湖的所有码头为船只刻字。
This lettering sampler hangs in the office of Katz's Marina for customer to finalize their choice. 卡茨码头的办公室里悬挂着这幅字样样本，供客户最终选择。
Middle and bottom: Katz's Marina stores customers' boats with all the transoms on display. It shows new customers the variety of lettering styles that are available while they are deciding on which gold-leaf techniques they want me to use. 中间和底部：卡茨游艇码头存放着客户的游艇，上面展示着所有的横档。在新客户决定要我使用哪种金箔工艺时，我可以向他们展示各种刻字风格。
Right: As you progress in lettering, you'll require a wider range of brushes for different fonts, styles, and media. 没错：随着你在字母创作方面的进步，你需要更多的笔刷来适用于不同的字体、风格和媒介。
LETTERING BRUSHES 书写笔刷
Unlike the past, when lettering tools were limited, a vast array of lettering brushes are available today that are suited for specific fonts, styles, mediums, and surfaces. 与过去有限的刻字工具不同，如今有大量适合特定字体、风格、媒介和表面的刻字笔刷可供选择。
This selection displays some of the most popular brushes that are available from the Andrew Mack & Son Brush Co. 本选集展示了安德鲁-麦克父子制刷公司（Andrew Mack & Son Brush Co.
There's two types of materials used to form the tuft of a lettering brush: synthetic fibers and natural hair. 形成刻字刷刷簇的材料有两种：合成纤维和天然毛发。
SYNTHETIC FIBERS: These are man-made fibers of either nylon or polyester. They are very durable, less likely to be damaged by moths, paints, and solvents. Sometimes, synthetics are mixed with natural hairs to create combinations for different applications. 合成纤维：这是尼龙或聚酯的人造纤维。它们非常耐用，不易被蛀虫、油漆和溶剂损坏。有时，合成纤维会与天然毛发混合，形成不同的应用组合。
NATURAL HAIR: Animal hair will hold a tremendous amount of paint because it has microscopic scales along the shaft of each hair. Natural animal hair may be used in its pure state or mixed with other types of hair to accomplish a particular mixture for price or performance or both. 天然毛发：动物毛发可以容纳大量涂料，因为每根毛发的毛杆上都有微小的鳞片。天然动物毛发可以以纯毛发状态使用，也可以与其他类型的毛发混合使用，以达到价格、性能或两者兼得的特定混合效果。
The most common natural animal hairs used are squirrel hair and sable hair: 最常用的天然动物毛发是松鼠毛和貂毛：
BLUE SQUIRREL HAIR: Blue squirrel is the most readily available natural fiber and comes in long and short lengths. It is generally used for striping and lettering brushes, such as the AJ "EXTREME LINER." Brown squirrel hair, or Kazan, is not as plentiful as it was several years ago. Both blue 蓝松鼠毛：蓝松鼠毛是最容易获得的天然纤维，有长有短。它通常用于条纹刷和刻字刷，如 AJ "EXTREME LINER"。棕色松鼠毛或卡赞松鼠毛则不像几年前那么多了。蓝色
SIGNATURE SERIES BRUSHES 签名系列画笔
Back in 1994, I was painting a panel at a Letterhead Meet at "Wizard's" studio in Pennsylvania, along with other artists who were pinstriping panels to display. Mike Fast, of Mack Brush, approached me and asked, "How do you sign your name so small? I can hardly see it." I told him that I had cannibalized an old brush to paint my signature very small, so it wouldn't distract from the art. Mike said, "We should make that brush!" I was very humbled and honored by the offer and became the first artist to have my own custom brushes in the growing Mack "Signature Series." I continue to collaborate with Mike. We created three lines of custom brushes: the Alan Johnson Signature, the AJ "Extreme Liner," and the AJ "Mini Detailer." 早在 1994 年，我在宾夕法尼亚州 "Wizard's "工作室举办的信笺见面会上画了一幅画，当时还有其他艺术家在画板上画了细条纹以作展示。麦克画笔公司的麦克-法斯特走过来问我："你的名字怎么签得这么小？我都快看不见了"。我告诉他，我拆用了一支旧画笔，把签名画得很小，这样就不会影响艺术效果。迈克说："我们应该制作这种画笔！"我对他的提议感到非常惭愧和荣幸，并成为第一个在日益壮大的麦克 "签名系列 "中拥有自己定制画笔的艺术家。我继续与迈克合作。我们创造了三个系列的定制画笔：艾伦-约翰逊签名系列、AJ "极致衬托 "系列和 AJ "迷你细节 "系列。
and Kazan are very soft and fine. Grey squirrel is the hardest to find and most expensive. It is more durable, has more snap, and makes a very good quill or lettering brush. 和喀山松鼠皮都非常柔软细腻。灰松鼠毛最难找到，也最昂贵。它更耐用，更有弹性，是非常好的毛笔或刻字笔。
BROWN SQUIRREL HAIR: The FINEST BROWN KAZAN SQUIRREL HAIR QUILL is made in Germany by highly specialized brush makers. This quill is essential for every sign painter. The brown quill is best suited for smooth surfaces such as glass or automobile finishes. The brown is 棕麂毛：最优质的棕色卡赞麂毛笔杆由德国的专业画笔制造商制造。这种笔杆是每个标志画家的必备品。棕色笔杆最适用于光滑的表面，如玻璃或汽车饰面。棕色是
Left: Alan Johnson Signature brushes from Mack are for fine details and are made with a special taklon filament. The AJ "Extreme Liner" brushes are made with blue squirrel hair and used especially for outlining gold-leaf lettering, where crisp, fine lines are essential. The "Mini Detailer" brushes are made of dark-brown synthetic hair with a chiseled edge for small lettering, elaborate emblems, ornaments, and cartoons. 左图：来自 Mack 的艾伦-约翰逊签名画笔适用于精细的细节，由特殊的塔克龙长丝制成。AJ "Extreme Liner "画笔由蓝色松鼠毛制成，特别适用于勾勒金箔字体，在这种情况下，清晰、精细的线条必不可少。Mini Detailer "毛刷由深棕色合成毛制成，边缘经过雕琢，适用于小字、精致的徽章、装饰品和卡通画。
Above: Other artists like Von Dago have designed signature brushes that fit their unique style. Manufactured by Andrew Mack & Son Brush Co. softer than the grey quill. These brushes are similar to the first brushes I ever used, and I use them for everything. 上图Von Dago 等其他艺术家也设计了适合自己独特风格的签名画笔。由 Andrew Mack & Son Brush Co.制造，比灰色羽毛笔更柔软。这些画笔与我用过的第一支画笔很相似，我用它们来画任何东西。
GREY SQUIRREL HAIR: The GREY (TALAHOUTKY) LETTERING QUILL is made in Germany and is used for general commercial work, such as signs, trucks, boats, and so on. The grey hair is more durable and has more snap than the brown. I use these brushes when it is humid out. 灰色水鸡毛：灰色（TALAHOUTKY）字母鹅毛笔由德国制造，用于一般商业用途，如标志、卡车、船只等。灰色毛发比棕色毛发更耐用、更有弹性。我在室外潮湿的时候使用这种刷子。
Above: Pounce tools are useful for perforating a final design, which makes it easier to transfer to your surface. They are available in both electric and simple, handheld versions as shown here. 上图打孔工具可用于在最终设计上打孔，使其更容易转移到表面上。如图所示，这种工具有电动型和简易手持型两种。
A mahl stick (center) is great for increasing the steadiness of your brush hand by supporting it and allowing you to hover over wet artwork. 马赫棒（中间）可以支撑画笔的手，让您在湿润的作品上悬停，从而增强画笔的稳定性。
RED SABLE: This hair comes from any member of the weasel family that has red hair. It does not come from the "sable" animal. This hair is ideal for showcard lettering brushes, such as the RED SABLE LETTERING & SHOWCARD BRUSH, and water-based paintbrushes, such as the RED SABLE WATERCOLOR BRUSHES. 红貂：这种毛发来自黄鼠狼家族中任何长有红色毛发的成员。它并非来自 "紫貂 "动物。这种毛发非常适合用来制作秀卡毛笔（如红貂皮字母和秀卡毛笔）和水性颜料笔（如红貂皮水彩笔）。
Synthetic fibers and natural hair are also mixed to create combinations for different applications: 合成纤维和天然头发也可以混合使用，以创造出适合不同用途的组合：
The BLUE SQUIRREL/BLACK SYNTHETIC MIX QUILL was produced as a cost alternative to the German quills. This versatile brush is good for all lettering jobs. 蓝色水貂/黑色合成混合毛笔是作为德国毛笔的廉价替代品而生产的。这种多用途毛笔适用于所有刻字工作。
The JET STROKE TRUCK LETTERER is an excellent overall lettering brush. It is normally used as a fill-in brush for large letters. The long hair allows the brush to carry a lot of paint. This brush is suitable for most surfaces. It is a mixture of pure squirrel and synthetic. JET STROKE TRUCK LETTERER 是一款出色的整体刻字刷。它通常用作大字的填充笔刷。刷毛较长，可以携带大量颜料。这种刷子适用于大多数表面。它是纯松鼠毛和合成毛的混合物。
OUTLINERS are used for outlining letters and scroll sign work. There are several lines of Outliners. Some are made with pure blue squirrel hair, others with synthetic materials, and yet others are combinations of natural and synthetic designed to fit various purposes. 轮廓线用于勾勒字母和卷轴标志作品。轮廓线有多个系列。有些是用纯蓝松鼠毛制作的，有些是用合成材料制作的，还有些是天然材料和合成材料的组合，以满足不同的用途。
RHINO STRAIGHT END & ANGULAR FITCHES are made of hog bristles, sable, synthetic, or combinations. They are shaped with a straight or angular edge and are perfect for letters, murals, and pictorials. They are made mostly for outdoor work on all sorts of surfaces, from canvas to rough brick or cement walls. RHINO 直边和角边锉刀由猪鬃、貂毛、合成纤维或其组合制成。它们的形状为直边或角边，非常适合书信、壁画和图画。它们主要用于各种表面的户外作业，从帆布到粗糙的砖墙或水泥墙。
POUNCE PATTERN TOOLS 扑克图案工具
When making a paper pattern, the paper needs to be perforated once the design is finalized. There is a nifty gadget called an Electro Pounce that consists of a large metal backboard and an electric stylus that pulsates and burns tiny holes through the paper. I prefer the nonelectric version called a pounce wheel that works great out in the field. It is portable and will never shock you. Using a pounce pad to transfer your pattern is helpful keeping the pounce powder contained. If you don't have one, you can use an old sock with chalk or charcoal powder inside- just be sure to tie the cuff in a knot before you start pouncing! The advantage of paper pounce patterns is that they can be used over and over again. 在制作纸样时，设计完成后需要在纸上打孔。有一种叫做 "电子打孔器 "的小玩意儿很实用，它由一个大的金属背板和一个电动触针组成，触针会跳动并在纸上打出小孔。我更喜欢在野外使用的非电动版本的 "扑轮"。它便于携带，也不会电击你。使用扑粉垫转移图案有助于控制扑粉。如果没有，也可以用旧袜子，里面放上粉笔或炭粉，但要注意在开始扑粉之前把袖口打一个结！纸质扑粉图案的优点是可以反复使用。
THE LETTERHEAD STORY 信笺的故事
In 1974, a small group of young sign painting artists, Mark Oatis, Bob Mitchell, and Mike Rielley, realized that many old painters in the trade were retiring and decades of valuable information and knowledge was disappearing. These young Colorado sign painters started what is known as Letterheads. They would meet and exchange knowledge and information with each other. This came at a time when some seasoned artists were very secretive about their techniques, to the point of being unfriendly; the underlying concept was that the competition would steal their customers. 1974 年，由马克-奥蒂斯（Mark Oatis）、鲍勃-米切尔（Bob Mitchell）和迈克-瑞利（Mike Rielley）组成的一小群年轻标牌油漆工意识到，行业内许多老油漆工即将退休，数十年的宝贵信息和知识正在消失。这些科罗拉多州的年轻标牌油漆工创立了所谓的 "信头"（Letterheads）。他们会在一起互相交流知识和信息。当时，一些经验丰富的画家对自己的技术非常保密，甚至到了不友好的地步；他们的基本概念是竞争对手会抢走他们的客户。
In the early 1980s, computers and vinyl plotters became the rage in sign shops. The combination was quick and cheap, with no design skills required . . . and boy could you tell. Many veteran sign painters disappeared, and the skills of hand-painting almost faded away. 20 世纪 80 年代初，电脑和乙烯基绘图仪在标牌店风靡一时。这种组合既快捷又便宜，而且不需要任何设计技能......。许多资深招牌油漆工消失了，手绘技术也几乎消失殆尽。
The Letterhead movement has always focused on sharing knowledge, so traditional techniques and skills would be passed on to a new generation of artists. Now, anyone wishing to learn from veteran lettering artists can do so by attending a Letterhead Meet. 信笺运动一直注重知识共享，以便将传统技术和技能传授给新一代艺术家。现在，任何希望向资深刻字艺术家学习的人都可以通过参加信头会议来实现。
Letterheads is an unusual trade organization, in that it has no officers or dues. Yet, it continues to organize epic events that make a difference in many lives. Everyone leaves their ego at the door, and the quality of hand-painting has escalated. 信笺头是一个不同寻常的行业组织，因为它没有官员，也没有会费。然而，它却不断组织各种史诗般的活动，给许多人的生活带来了改变。每个人都把自我抛在门外，手绘的质量也在不断提高。
The original Letterheads started a hand-lettering movement, driven by their enthusiasm and an appreciation for the skills and designs of this opulent art form. It has grown internationally and is now enjoyed by thousands. 最初的信笺头在他们的热情和对这种华丽艺术形式的技巧和设计的欣赏的推动下，掀起了一场手写运动。这项运动已在国际上得到发展，现在已受到成千上万人的喜爱。
In the Summer of 2019, I held a small Letterhead Meet at my studio, called "Beyond Hope," which was attended by the usual Tri-State suspects, plus some veteran Letterheads from New Hampshire, Chicago, Colorado, and Pennsylvania. One of the projects was to paint and letter a 4- -foot welcome sign celebrating historic Island Dragway in Great Meadows, New Jersey. It features "Big Daddy" Don Garlits, who made the first recognized 200 mph 2019 年夏天，我在自己的工作室举办了一场名为 "超越希望 "的小型信笺会，参加者包括通常的三州人士，以及一些来自新罕布什尔州、芝加哥、科罗拉多州和宾夕法尼亚州的资深信笺家。其中一个项目是为庆祝新泽西州大草甸历史悠久的Island Dragway而绘制和书写一个4- 英尺的欢迎标志。标志上的人物是 "大老爹 "唐-加利兹（Don Garlits），他是第一个被公认的时速 200 英里的赛车手。
Me with my 1946 Chevy shop truck next to the installed Island Dragway sign. 我和我那辆 1946 年的雪佛兰卡车，旁边就是安装好的 Island Dragway 标志。
drag racing pass in NHRA history there on August 2, 1964. This epic event occurred during a match race against the Frantic Four team. I was there, which is why I knew The Swamp Rat had to be on the sign. 1964 年 8 月 2 日，NHRA 赛车史上最激动人心的比赛之一在这里举行。这一史诗般的事件发生在与 "疯狂四人组 "的对抗赛中。我当时就在现场，所以我知道沼泽鼠一定在标志上。
I drew a rough paper sketch; that way, everyone else could add their own ideas and touches before we began. Then, we projected the sketch onto the blank aluminum sign panels. We began painting together, designing and modifying, in a typical Letterhead atmosphere, which continued for three days. Everyone who painted the sign signed it somewhere, creating wonderful memories. The sign was installed and has become a favorite backdrop for photo opportunities. 我在纸上画了一张粗略的草图；这样，其他人就可以在我们开始之前加入自己的想法和润色。然后，我们把草图投影到空白的铝制标志板上。我们开始一起绘画、设计和修改，这种典型的信纸氛围持续了三天。每个人都在标牌上签了名，留下了美好的回忆。标牌安装完毕后，成了大家最喜欢的拍照背景。
Bill Riedel teaches my son Chris how to carve a wood sign at one of our Letterhead meets. 比尔-里德尔（Bill Riedel）在我们的一次信头聚会上教我的儿子克里斯雕刻木牌。
The 1980 Letterheads logo by J. L. Frazier. J. L. Frazier 设计的 1980 年信笺徽标。
CONVENTIONAL LETTERING 常规字体
Conventional lettering solutions work great for basic trucks and signs for conservative customers. I'm going to stick with trucks here because I rarely do signs. 传统的刻字方案非常适用于为保守型客户设计的基本卡车和招牌。因为我很少做标牌，所以这里还是以卡车为主。
When a customer contacts you and wants a truck lettered, you first need to conduct a simple interview asking specific questions, so you can give them an accurate estimate: 当客户与您联系并希望在卡车上刻字时，您首先需要进行简单的面谈，询问具体问题，以便为他们提供准确的估价：
Do you have a logo? 有徽标吗？
What color and kind of vehicle is it? 是什么颜色和类型的车辆？
What kind of business is it? 这是一家什么样的企业？
-What color do you want the lettering to be and how bold? -您希望字母的颜色是什么？
Exactly what do you want it to say? 你到底想让它说什么？
What is your budget? 您的预算是多少？
When do you need it? 什么时候需要？
Does the vehicle have modern ceramic coating? (This is a deal breaker for me.) 车辆是否有现代陶瓷涂层？(这对我来说是个障碍）。
If they need inspiration, show them color charts and your portfolio. 如果他们需要灵感，可以向他们展示色彩图和你的作品集。
When the customer requests a logo design, know that it will add time and cost to a job. So, always agree on prices before you get started. Designing logos are handled and billed separately from an actual job. I go into detail about all this a bit later in the "Sketches and Logos" section. 当客户要求设计徽标时，要知道这会增加工作的时间和成本。因此，一定要在开始前商定好价格。徽标设计与实际工作是分开处理和计费的。我将在后面的 "草图和徽标 "部分详细介绍这一点。
Since I don't do any layouts on a computer, I sketch a few simple, quick ideas to see what direction appeals to the customer. If the customer knows your reputation, you can get right to work. Most of my new customers come from wordof-mouth, so they are familiar with what I do. This saves lots of pre-job talking time. 因为我不会在电脑上做任何布局，所以我会画一些简单、快速的草图，看看哪个方向对客户有吸引力。如果客户知道你的名声，你就可以直接开始工作。我的大多数新客户都是口口相传的，所以他们对我的工作都很熟悉。这就节省了大量的工作前谈话时间。
Don't forget ask for the keys (to disarm alarms) and always agree on a time frame and payment schedule before the customer leaves. Typically, the client isn't permitted to wait around and watch you work. If the customer calls back and requests additional work, reprice the job accordingly. Think of this scenario like a pizza menu, each topping is extra and adds to the cost-anybody can understand that. 别忘了要钥匙（解除警报），并且一定要在客户离开前商定好时间框架和付款时间表。通常情况下，客户不允许在旁边等着看你工作。如果客户打电话回来要求额外的工作，应相应地重新定价。把这种情况想象成披萨菜单，每种配料都是额外的，都会增加成本，这一点谁都能理解。
Other things to ask about are shadows, outlines, graphics, pictorials, and intricate murals. Everything should be written by the customer and signed off on, especially spelling, address, and phone numbers. 其他需要询问的事项包括阴影、轮廓、图形、画报和复杂的壁画。所有内容都应由客户书写并签字确认，尤其是拼写、地址和电话号码。
INSPIRATION AT THE AMERICAN SIGN MUSEUM 美国标志博物馆的灵感
The most comprehensive collection of hand-lettering inspiration can be experienced at the American Sign Museum in Cincinnati, Ohio. The museum is dedicated to the art and history of signs, signmaking, and sign painters. 在俄亥俄州辛辛那提市的美国标志博物馆（American Sign Museum）可以体验到最全面的手写灵感收藏。该博物馆致力于展示标识、标识制作和标识画家的艺术和历史。
The museum is the largest public museum dedicated to signs in the United States. It covers more than 100 years of American sign history, including a dynamic walk through the ages of sign technologies and design. The storefront-laden signs of the indoor Main Street displays include shop windows full of sign-related artifacts. Current sign artisans have added distressed signs to reflect the time period. This museum is a must see for anyone wishing to research period-correct signs done by masters of the craft. 该博物馆是美国最大的标志公共博物馆。它涵盖了 100 多年的美国标志历史，包括标志技术和设计的动态漫步。室内主街上陈列的店面招牌包括橱窗，橱窗里摆满了与招牌有关的文物。现在的招牌工匠还增加了反映当时时代的旧招牌。这座博物馆是任何希望研究由工艺大师制作的具有时代特征的标志的人的必到之地。
Take a walk through the Main Street installation at the American Sign Museum and you will see signs that tell you what they offer just by their designs, layouts, and type styles. It is the best collection of artisan signage in the world. A majority of signs these days are computer generated, which can make them boring and bland. Sign painting is an arfful craft that can take years to master. Luckily, the Letterhead movement continues to inspire and teach the secrets of these crafts. 在美国标牌博物馆的主街装置中走一走，你会看到一些标牌，仅从它们的设计、布局和字体风格就能看出它们提供的服务。这是世界上最好的手工招牌收藏馆。如今，大多数招牌都是电脑制作的，这可能会让它们变得乏味和平淡。招牌绘画是一门需要多年才能掌握的复杂工艺。幸运的是，"信纸运动 "不断激发灵感，并传授这些工艺的秘诀。
Ideas and inspiration abound inside the American Sign Museum. 在美国标识博物馆内，创意和灵感比比皆是。
Always use period-correct letter styles that fits the vehicle. 始终使用适合车辆的正确字母样式。
This sign consists of simplified Roman letter with shadow and "quick plug" lettering for "HAY FOR SALE." 该标志由带阴影的简化罗马字母和 "快插 "字样组成，表示 "出售干草"。
This job was more advanced and included a pictorial, pinstripe boarder with "quick plug" script for his address. 这项工作更为先进，包括一个带有 "快速插头 "字样的象形细条纹板。
The outline included speed effects for this shop sign. 轮廓包括该商店招牌的速度效果。
This farmer's truck lettering looks exactly like his business card. 这位农民的卡车刻字和他的名片一模一样。
The logo and logo type called for my AJ "Mini Detailer" brushes. 徽标和徽标类型要求使用我的 AJ "Mini Detailer "刷子。
A two-color tight design with floating shadow, an outline width away from the letter. 双色紧身设计，带有浮动阴影，与字母的轮廓宽度相差无几。
The Mariah is the mailboat from the film On Golden Pond. This historic restoration needed to be re-lettered exactly as it appeared in the movie. 玛丽亚号是电影《金色池塘》中的邮船。这一历史性的修复工作需要按照电影中的原样重新刻字。
MNOPQRSTUVW abcdefghijklmnop qrstuvwxyz &!??, CHICAGO MNOPQRSTUVW abcdefghijklmnop qrstuvwxyz &!??, CHICAGO
Bob Behounek's Chicago serif plug letters. 鲍勃-贝胡内克的芝加哥衬线插字。
CHAPTER 13 HAND-LETTERING (LIKE A LETTERHEAD) 第 13 章 手写字体（类似信纸）
N ow that you've sat through the "lecture" part of lettering, it's time for the "lab" portion. First, I want to let Rob Cooper impart some words of advice for those thinking about getting into lettering. Sign painter, font designer, hand carver . . . Rob is a native New Zealander and is renowned among Letterheads: "The most important thing a newbie can learn is layout and contrast. Anybody can learn to paint a letter, bevel it, put an airbrush fade in it, gild it, or outline it, and so on. But if the letters are poorly made or hard to read, then everything else is irrelevant! You see it a lot now on social media-someone takes a two-day lettering course, buys some brushes, and think are a sign painter! 现在你们已经听完了刻字的 "讲座 "部分，是时候进行 "实验 "部分了。首先，我想让罗伯-库珀（Rob Cooper）给那些想从事刻字工作的人一些建议。标志画家、字体设计师、手工雕刻师......。罗布是土生土长的新西兰人，在信纸界享有盛誉："新手最需要学习的是布局和对比。任何人都可以学会给字母上色、倒角、喷绘褪色、镀金或勾勒轮廓等等。但如果字母做得不好或难以辨认，那么其他一切就都无关紧要了！你现在经常在社交媒体上看到这样的情况--有人参加了为期两天的刻字课程，买了一些画笔，就以为自己是招牌画家了！
"Epic mistakes include lettering crammed to the edges, too much script, everything the same size, with colors that make it unreadable. If you squint your eyes while looking at the sign and still can't read it, it is not working. CONTRAST is king! Buy and read Mike Stevens' book, Mastering Layout, then study the work of Lane Walker, Bob Behounek, and David Showalter (among others). Layout, design, contrast, and color are by far the most important aspects of signpainting. The mechanics of brush control and special effects can come later." "典型的错误包括字迹挤到边缘、字体过多、所有字体都一样大、颜色让人看不清。如果你眯着眼睛看招牌，却仍然看不清，那就说明招牌不行。对比才是王道！购买并阅读迈克-史蒂文斯（Mike Stevens）的《布局大师》（Mastering Layout）一书，然后学习莱恩-沃克（Lane Walker）、鲍勃-贝胡内克（Bob Behounek）和大卫-肖瓦尔特（David Showalter）等人的作品。布局、设计、对比度和色彩是迄今为止招牌绘画最重要的方面。画笔控制的技巧和特殊效果可以稍后再学"。
SHADOWS 阴影
Shadows give depth and if done right can make the letters look like they are floating. The colors for the shadows should be subtle and blend into the background. There are several techniques for creating a quick one-stroke drop shadow. A simple drop shadow doesn't touch the letter, but the space between the letter and the shadow must remain constant. It is very important to be aware of the direction of the light source. Since the shadows are always on the opposite side of the light source, the position must remain fixed. Making a small mark that reminds you of the direction of the light source can help with perspective. I use a small lightbulb or sun as my mark. 阴影可以增加层次感，如果处理得当，可以使字母看起来像漂浮在空中。阴影的颜色应该微妙，与背景融为一体。有几种快速制作一笔画阴影的技巧。简单的阴影不接触字母，但字母与阴影之间的空间必须保持不变。注意光源的方向非常重要。因为阴影总是在光源的反面，所以位置必须保持固定。做一个小标记来提醒你光源的方向有助于透视。我用一个小灯泡或太阳作为标记。
Mastering shadows, outlines, and highlights adds depth and illusion to artwork and lettering. 掌握阴影、轮廓和高光，可为艺术作品和字母增添深度和幻觉。
OUTLINES 概要
Outlines are all about contrast. The color of the outline should not stand out more than the lettering. A bright outline makes letters harder to read. This is a common mistake used by quicky vinal shops that letter trucks. I keep an acetate color chart in my kit, which I use to do a "color squint test." I tape it to the surface of whatever I am working on, to choose the correct color for the lettering, shadows, and outline, and then I back up five steps and squint to see if the outline or shadow colors are overpowering the lettering. 轮廓要讲究对比。轮廓的颜色不应比字母更突出。鲜艳的轮廓会使字母更难辨认。这也是那些快速印刷店经常犯的错误。我的工具包里有一张醋酸纤维色卡，我用它来做 "颜色斜视测试"。我把它贴在我正在制作的任何东西的表面上，为字母、阴影和轮廓选择正确的颜色，然后我退后五步，眯起眼睛看看轮廓或阴影的颜色是否盖过了字母。
With so many possibilities, you really need to stop and think about color theory (see chapter 2). 面对如此多的可能性，你真的需要停下来思考一下色彩理论（见第 2 章）。
An outline adds character and beauty to a simple letter. 轮廓为简单的信件增添了个性和美感。
BEVELED LETTERING 斜体字
This advanced technique uses multiple paint colors and can be done many ways. The result is a dramatic illusion that adds depth to standard lettering. The most important thing is to be diligent about the direction of your light source, which must remain consistent for each phase of the entire job. 这种先进的技术使用多种颜料，有多种方法。其结果是产生一种戏剧性的 幻觉，增加了标准字体的深度。最重要的是要注意光源的方向，整个工作的每个阶段都必须保持一致。
Always start with a sketch to work out the tricky areas before you begin. Split each stroke of the characters down the middle and divide the ends and corners, creating prismatic quadrants. Rounded strokes and curves can be a challenge, but once you get the hang of it, the sky is the limit. 在开始之前，一定要先画一张草图，找出棘手的地方。将人物的每一笔从中间分开，再将两端和四角分开，形成棱形象限。圆形笔触和曲线可能是个挑战，但一旦掌握了窍门，就能一飞冲天。
This sketch shows a simple way to create a beveled letter using four colors of paint. 这幅草图展示了使用四种颜色颜料制作斜角字母的简单方法。
This sketch illustrates bending the rules of traditional beveled lettering. Once you master the rules, you can bend them. 这幅草图展示了传统斜角刻字的弯曲规则。一旦你掌握了规则，你就可以改变它们。
The powerful bevel effect allows secondary copy to be simple and clear. Here are some examples that use bevel techniques. 强大的斜面效果可使辅助文案简洁明了。下面是一些使用斜面技术的例子。
A FUNKY FUN GALLERY 一个时髦有趣的画廊
Once you have the rules of lettering mastered, you can then bend them and let your imagination run wild. This funky fun collection expresses unlimited creativity and personal flair. Art panels like this are great for charity auctions and friends, and hopefully, they'll spark some ideas for you. 一旦你掌握了字母的规则，你就可以弯曲它们，让你的想象力尽情驰骋。这个时髦有趣的系列表达了无限的创造力和个人天赋。像这样的艺术展板非常适合慈善拍卖和朋友聚会，希望它们能激发你的灵感。
Congratulation panel for my friend. 祝贺我的朋友
Pushing the envelope of legibility! 推动可读性的发展！
Freehand '60s flashback letters. 自由手写的 60 年代倒叙字母
More freehand ' 60 s flashback letters. 更多自由手写的 "60 年代闪回字母"。
Ed "Big Daddy" Roth showed me this fun, quick, and crazy style. 大老爸 "埃德-罗斯向我展示了这种有趣、快速、疯狂的风格。
Beveled outline on the side of my paint box. 颜料盒侧面的斜面轮廓。
Two-color chisel effect outline on a black letter. 黑色字母上的双色凿刻效果轮廓。
My friend Russ Mowry is known for his interesting alphabet panels. 我的朋友拉斯-莫里（Russ Mowry）以制作有趣的字母板而闻名。
Curved forced perspective. 曲面强制透视
Aluminum aircraft part painted for a World War Il veteran. 为一名二战老兵涂漆的铝制飞机部件。
SKETCHES AND LOGOS 草图和徽标
Go out and get a few hardcover artist sketchbooks. I must have twenty or more of them filled with ideas, drawings, lettering, artwork, and writing. 出去买几本 精装艺术家素描本。我一定有二十多个，里面装满了各种想法、图画、字母、艺术品和文字。
I try to draw or write something every day. Life is short; if you get ideas and capture them while they are fresh, your sketches can give you a plethora of custom reference material to use on future jobs. 我每天都尝试画画或写点东西。人生苦短，如果你能在灵感迸发时抓住它们，你的草图就能为你提供大量的定制参考资料，供今后的工作使用。
Logos require bringing several facets together into one design that reflects the business brand. This is where multiple sketches become important. 徽标需要将多个方面整合到一个设计中，以反映企业品牌。因此，多张草图就显得尤为重要。
Here are some rules to remember when asked to create a logo: 以下是要求设计徽标时需要记住的一些规则：
Get a deposit to begin rough sketches. Don't give them away. 拿到定金后开始绘制草图。不要将它们拱手相让。
Once approved, begin the finished logo. 批准后，开始制作完成的徽标。
Get full payment for the logo before you release it, just in case your ideas are given to someone else. 在发布徽标之前，先付清全款，以防你的创意被别人采用。
At this point, hopefully, the customer commits to the actual job (which is priced separately). It is important to be paid for all your time and design work in addition to the actual paint job. 在这一点上，希望客户对实际工作（单独定价）做出承诺。重要的是，除了实际的油漆工作外，您的所有时间和设计工作都应得到报酬。
These preliminary sketches opened endless possibilities. 这些初步草图开启了无限的可能性。
Four sketches are enough to show a customer. 向客户展示四张草图就足够了。
Full-size paper pattern sketch for truck doors. 全尺寸卡车车门纸样草图。
Another artist asked me to sketch some ideas for his logo. These preliminary sketches opened endless possibilities. 另一位艺术家请我为他的徽标绘制一些草图。这些初步草图开启了无限的可能性。
Finished logos. 完成徽标。
WET-ON-WET AIRBRUSH TECHNIQUE 湿对湿喷绘技术
Wet-on-wet "Jersey Style" lettering is a very advanced technique requiring practice, practice, and more practice. Work out the entire process on test panels before applying this technique on a customer's vehicle. During the truck lettering heydays of the '80s, there were so many trucks to letter that I could do as many jobs as I could handle in a day. The high demand called for faster styles and techniques for lettering. Wet-on-wet became the craze. This style originated in California, inspired by artists like Kenny Youngblood, who perfected it for Funny Car and Top Fuel Dragster lettering. 湿喷式 "泽西风格 "刻字是一种非常高级的技术，需要练习、练习、再练习。在客户的车辆上使用这种技术之前，先在测试板上练习整个过程。在 80 年代卡车刻字的鼎盛时期，需要刻字的卡车非常多，以至于我一天能做多少工作就做多少工作。高需求要求更快的刻字风格和技术。于是，"湿上湿"（Wet-on-wet）成为了一股热潮。这种风格起源于加利福尼亚州，受到肯尼-扬布拉德等艺术家的启发，他将这种风格完美地运用于滑稽赛车和顶级燃料赛车的刻字。
The bold color combinations inspired East Coast artists in the race scene to give it a try. My old friend and fellow Jersey artist Glen Weisgerber mastered this technique and lettered many famous Funny Cars during this era. When a 大胆的色彩组合激发了东海岸赛车界的艺术家们一试身手。我的老朋友、同是新泽西州的艺术家格伦-韦斯格伯（Glen Weisgerber）掌握了这一技术，并在这一时期为许多著名的滑稽赛车刻上了字母。当
Funny Car is flying down the track at , it is necessary to be able to read the lettering. I have painted many race cars and trucks over the years using this wonderful technique. 滑稽赛车在赛道上飞驰， ，必须能够看清字样。多年来，我使用这种绝妙的技术为许多赛车和卡车上过漆。
We experimented with the same techniques to letter commercial trucks. This colorful, bold, quick, wet-on-wet technique allows you to airbrush blends and create highlights directly onto wet enamel brushed lettering, which dries as one layer. That way, you don't have to clear coat it. The trick is when the airbrushed blends are dry to a light touch, you gently wipe off any overspray with a damp, clean cloth with a few drops of isopropyl alcohol. 我们尝试用同样的技术在商用卡车上刻字。这种多彩、大胆、快速、湿对湿的技术可以让你在湿的珐琅拉丝字母上直接喷涂混合和创建高光，干了之后就是一层。这样，您就不必再上清漆了。诀窍是当喷涂的混合颜料干到轻触时，用干净的湿布蘸几滴异丙醇轻轻擦去过喷的颜料。
I enjoy using this technique and use it as often as possible on race cars, boats, and commercial trucks. It doesn't get more Jersey than using "Jersey Style" letting on a Jersey speed skiff? 我喜欢使用这种技术，并尽可能多地将其用于赛车、船只和商用卡车上。没有比在泽西快艇上使用 "泽西风格 "更适合泽西岛的了？
A stock dirt-track race car. Unfortunately, it crashed before the paint was dry! 一辆土路赛车。不幸的是，油漆还没干就撞毁了！
Glenn Smith's yellow Nova lived on with a new owner who kept the original paint for the rest of its drag strip life. 格伦-史密斯的这辆黄色 Nova 在新车主的帮助下，在赛道上度过了余生，并保持了原漆。
A quarter-mile race car is the prefect canvas for quick chrome lettering with a shredded graphic. 四分之一英里的赛车是快速镀铬字母与碎纸图案的完美画布。
This play on words happened spontaneously under my tent at the 2008 Street Rod Nationals East in York, Pennsylvania. The customer wanted it to read "Frequent Flyer." He walked away and this is what happened. He was thrilled with the outcome. 在宾夕法尼亚州约克市举行的 2008 年美国东部街车全国大赛上，我的帐篷下突然出现了这个文字游戏。顾客希望写上 "飞行常客"。他走开后，就发生了这样的事情。他对这个结果非常满意。
Wet-on-wet shadow with "quick plug" script address. 带 "快插 "脚本地址的湿对湿阴影。
A very artistic solution to reflect the customer's personality. 这是一个非常艺术化的解决方案，能够体现客户的个性。
Airbrushing over wet 1 Shot creates blends and highlights. 在湿润的 1 号镜头上进行气刷，可产生混合和高光效果。
The finished job—no clear coat needed! 成品--无需清漆！
Once mastered, wet-on-wet is a fast style. I used to paint three of these in an evening. 一旦掌握，湿对湿是一种快速画法。我曾经在一个晚上画三幅这样的画。
Close-up of a wet-on-wet job. Everything dries as one layer. 湿对湿作业特写。所有东西都是一层一层干的。
The graphic matched the lettering and was done at the same time. 图案与字母相匹配，同时完成。
The Mudflat Missile transom reflects the attitude of this unusual racing boat. 泥滩导弹横梁反映了这艘不同寻常的赛艇的态度。
The owner of High Note plays a trumpet, so I worked a horn into the design. Jersey speed skiffs are my favorite boats. If you ever get a chance to ride in one, do it! 高音号的主人吹小号，所以我在设计中加入了号角的元素。泽西快艇是我最喜欢的船。如果你有机会乘坐，一定要试试！
WET-ON-WET MASTERCLASS 湿对湿大师班
I've been lettering trucks for CRA since the '80s. The only consistent thing about this account is that the artwork and lettering on each truck is always different. Owners Rich and Fred give me complete creative license to design each vehicle individually. 从 80 年代起，我就开始为 CRA 在卡车上刻字。这个客户唯一不变的一点是，每辆卡车上的图案和刻字总是不同的。车主里奇（Rich）和弗雷德（Fred）给了我完全的创作许可，让我为每辆车单独设计。
Sometimes, Fred will have a crazy idea or a saying that sparks my imagination. For example, one day Fred said, "Do something so when I see it, I'll say 'Hmmm, I didn't expect that!'” So, I decided to design, paint, and letter each side of that truck completely different. Once done, the truck went out on the road, and it took weeks before the driver noticed what I had done. Not before or since have I done a job so off-the-wall. 有时，弗雷德会有一个疯狂的想法或一句话，激发我的想象力。例如，有一天弗雷德说："做一件事，当我看到它时，我会说'嗯，我没想到！'"。于是，我决定设计、油漆并在卡车的每一面写上完全不同的字母。完成后，卡车就上路了，过了几个星期，司机才注意到我做了什么。在这之前和之后，我都没有做过这么出格的工作。
CRA trucks travel up and down the East Coast and the high traffic corridor of Route 80. I am inspired to bring smiles to motorists stuck in traffic who may get a glimpse at these whimsical trucks. I call it the "virtual happy highway art gallery." CRA 卡车穿梭于东海岸和交通繁忙的 80 号公路。我的灵感来自于为堵在车流中的驾驶者带来微笑，让他们有机会一睹这些奇思妙想的卡车。我称之为 "虚拟快乐公路艺术画廊"。
Here's a typical day for me at CRA: 这是我在 CRA 的典型一天：
I arrive at 7:30 a.m. to find a shiny black freightliner with a wide midline stripe waiting for me to letter. As I am unloading my equipment, I decide what to do. Because the trucks are so plain, I choose a bright color palette. I use Alphanamel paints and reducer. It was cold on the morning shown here, so I chose to use Alphasol low-temp reducer. It is critical to have all your equipment ready before you start a wet-on-wet job because once you start, there's no turning back. 我早上 7:30 到达目的地，发现一辆闪闪发亮的黑色货车正等着我的信。我一边卸下设备，一边决定该怎么做。由于卡车太朴素，我选择了明亮的色调。我使用 Alphanamel 油漆和还原剂。图中所示的那天早上天气很冷，所以我选择使用 Alphasol 低温减水剂。在开始湿上湿作业之前，准备好所有设备至关重要，因为一旦开始，就没有回头路可走。
First, I set up and test my airbrush. 首先，我设置并测试我的喷枪。
I then mix each paint color with the reducer in individual 3 -ounce unwaxed flat bottom paper cups to the correct viscosity for an airbrush. 然后，我将每种颜料与还原剂混合，分别装在 3 盎司无蜡平底纸杯中，使其达到适合气刷的粘度。
Using a STABILO pencil, I lightly sketch the main letters to be airbrushed on both sides of the truck. 我用 STABILO 铅笔在卡车两侧轻轻勾勒出要喷绘的主要字母。
I tape off the edges of the top and bottom of the main letters. 我用胶带封住主字母上下两端的边缘。
Using the same paint palette setup as when pinstriping (paint in one cup and reducer in another) and a brush big enough to paint all the strokes of the main letters quickly, I begin painting the main letters on both sides. 我使用与绘制细条纹时相同的颜料调色板设置（颜料在一个杯子里，还原剂在另一个杯子里）和足够大的画笔，快速绘制主字母的所有笔画，然后开始绘制两侧的主字母。
Once the main letters are painted, I wash out the brush and set it aside. 画完主要字母后，我就把画笔洗掉，放在一边。
I fire up the airbrush and very lightly airbrush highlights on the left side and bottom of every letter on each side of the truck. It's okay if there's overspray; it gets cleaned up later. 我打开喷枪，在卡车两侧每个字母的左侧和底部轻轻喷上高光。如果有过度喷涂也没关系，稍后会清理干净。
One of my favorite customers is CRA Trucking. The owners like unique and colorful vehicles, and after many years, they have allowed me artistic license to do what I want, which is always fun. 我最喜欢的客户之一是 CRA 卡车公司。他们的车主喜欢独特而多彩的车辆，多年来，他们允许我按照自己的想法进行艺术创作，这总是很有趣。
Be sure to have all of your equipment ready before starting a wet-onwet job—once you start, there's no stopping. 在开始湿对湿作业之前，一定要准备好所有设备，一旦开始，就不能停止。
The secret to a successful wet-on-wet job is to know the exact moment when the letter is dry enough to not be sticky and to gently remove the overspray. 润湿作业成功的秘诀在于准确把握字母干燥到不粘手的时机，并轻轻去除过喷。
Switching to yellow paint, I add a little more highlight to the orange on both sides. 换上黄色颜料后，我给两侧的橙色增加了一些亮点。
Once I am finished airbrushing the yellow highlights, I flush out the airbrush with reducer until it runs clear. 在完成黄色高光的喷涂后，我会用还原剂冲洗喷枪，直到流出清水。
I then switch to white paint for the final highlight touches on both sides of the truck. 然后，我改用白色油漆对卡车两侧进行最后的高光修饰。
I make sure to carefully remove the edge tape (because everything is still wet!). 我一定要小心翼翼地撕掉边缘胶带（因为一切都还是湿的！）。
At this point, the airbrushing is melding together with the base lettering. It takes anywhere from 45 to 90 minutes, depending on the weather, for this stage. Coincidentally, Fred arrived and told me that I had lettered this truck two times before. It had been in an accident and was repainted. He went on to say the back of this cab should say "One more round." At this stage, all the "plug" lettering is done, including the registration numbers, and then the pinstriping and graphics are completed. 此时，空气喷涂将与底层字母融为一体。这一阶段需要 45 到 90 分钟，视天气而定。巧合的是，弗雷德来了，他告诉我，这辆卡车我以前给它喷过两次漆。这辆车曾经出过事故，后来被重新喷漆。他接着说，这辆驾驶室的后面应该写上 "再来一轮"。在这一阶段，所有的 "插头 "字母，包括注册号都已完成，然后细条纹和图案也已完成。
Wearing gloves and using a quality paper towel (such as Bounty) moistened with a few drops of isopropyl alcohol, I begin to remove the overspray. You never hurry the overspray removal and must remember to be careful and gentle because the letters will still be soft. 戴上手套，用优质纸巾（如 Bounty）蘸上几滴异丙醇，我开始清除过喷。清除过喷的时候千万不要着急，一定要记得小心轻柔，因为字母还是软的。
On a normal day, it would be around lunch time, so I would treat myself to steamed clams and a beer, which is usually enough time for everything to be dry enough to continue. 平日里，大概到了午饭时间，我就会请自己吃蒸蛤蜊和喝啤酒，通常这段时间足以让所有东西都干透，可以继续吃。
I carefully outline the main letters with black with an AJ "Extreme Liner" #01. Later, I'll finished the rest of the lettering in red, with a "quick plug" script. 我用黑色 AJ "Extreme Liner "#01，仔细地勾勒出主字母的轮廓。稍后，我将用红色字体完成其余部分，并加上 "快插 "字样。
When the project is complete, I sign the job, collect my pay, and then go home! 项目完成后，我签完字，领完工资就回家了！
I do the "plug" lettering while the airbrushing above is melding with the base lettering. Note the STABILO pencil guides. 我在做 "插头 "字样时，上面的喷绘正在与底色字样融合。请注意 STABILO 铅笔导轨。
CRA TRUCKING GALLERY
Here is a sampling of my CRA "happy highway art gallery." 下面是我的 CRA "快乐公路艺术画廊 "的一部分。
There's nothing like a client who gives you artistic license. 没有什么比客户更能给你艺术许可了。
Landing, N. . . Landing, N. ..
DISTRESSED LETTERING 仿旧刻字
Freeway Automotive & Tire Pros has been a great customer for years. The owner wanted to give his old shop truck a look that reflected the style of the ' 50 s when his father started the tire business. Even the old business phone number remains the same today. Freeway Automotive & Tire Pros 多年来一直是我们的忠实客户。店主想给自己的老店车换上新装，以反映 50 年代他父亲开创轮胎生意时的风格。就连以前的电话号码如今也没有改变。
This ol' skool lettering job required nothing used in today's fast-paced world of instant signs while you wait. In fact, if the power went out (as it often does), it wouldn't have mattered at all. No computer-generated layouts, patterns, or vinyl would fit the bill. It's hand-drawn patterns, paint, and some brushes coupled with all those techniques from the past you many have forgotten. 在当今这个快节奏的世界里，这种老式的刻字工作不需要任何工具，只需要在等待的同时立即做出标志。事实上，如果停电（经常会停电），这根本不重要。电脑生成的布局、图案或乙烯基材料都无法满足要求。它是手绘图案、颜料和一些画笔，再加上那些你可能已经遗忘的过去的技术。
The flipped Chevy frame horns and the inverted parallel leaves are eye catching to say the least, along with the filled radiator shell. Guide headlamps and the hand-formed hood give the nose of the car a real traditional look. Friction shocks and leather-wrapped leaf springs are just a couple of details that set this apart from the average modified. A 4-inch dropped tube axle looks right at home riding below a pair of fully wrapped Posies Springs. He handcrafted the 11-gallon fuel tank you see here. He also modified the pair of '37 Ford pedestal mount taillights. If you look closely, you can see the hammer-formed intake runners fabricated to adapt the pair of Carter carbs in place of the original fuel injection throttle body. A liberal dose of silver and aluminum colored paint alone with some bead blasting went a long way in sprucing up the Quad-4. He also fabricated the exhaust header using the original exhaust flanges, a bit of tubing, and a '36 Ford driveshaft tube. 翻转的雪佛兰车架喇叭和倒置的平行叶片，以及填充的 散热器外壳，可以说非常吸引眼球。导轨式前大灯和手工成型的发动机罩使车头看起来真正具有传统风格。摩擦式减震器和皮革包裹的板簧只是让这款 有别于普通改装车的几个细节。在一对完全包裹的 Posies 弹簧下面，一个 4 英寸的下垂管式车轴看起来就像在家里一样。您在这里看到的 11 加仑油箱是他亲手制作的。他还改装了一对 37 年福特底座式尾灯。如果你仔细观察，就会发现他制作了锤形进气流道，以安装一对卡特化油器来代替原来的燃油喷射节流阀体。大量的银色和铝色油漆以及一些喷砂处理为 Quad-4 增色不少。他还利用原排气管法兰、一些管子和 36 年福特驱动轴管制作了排气管头。
Right: The color is a mixture of Ronan White, Medium Brown, and a drop or two of black, which I call "dirty whitewall ivory." The letter strokes are painted left to right and end in a slight serif at the bottom of each stroke. The bottom of the stroke is finished off with a quick snap of the brush. 右图颜色是罗南白、中褐和一两滴黑色的混合物，我称之为 "脏白墙象牙色"。字母笔画从左到右绘制，每一笔的底部都有轻微的锯齿。笔触的底部用画笔轻轻一扣就完成了。
After choosing a Becker font that fit the era, I worked out all my ideas and problems on paper first. The pattern is pounced by hand with a pounce wheel (this tool may have been invented just after the wheel). 在选择了符合时代特征的贝克字体后，我先在纸上解决了所有的想法和问题。图案是用扑轮手工扑出来的（这种工具可能是在轮子之后发明的）。
Next, the pattern is taped into position, pounced with a contrasting powder, and marked so it can be positioned again if necessary. 然后，用胶带将图案粘贴到位，扑上对比色粉末，并做上标记，以便必要时再次定位。
This brush technique gives a sharp finished look to the letters. I used an old #6 Art Sign lettering quill that is older than I am! Notice how the pattern is used to protect the chalk from being wiped off while l'm lettering the top line. This is how lettering was done before tape was used for the top and bottom of strokes. 这种笔刷技巧能让字母看起来更清晰。我用的是一支比我年纪还大的旧 6 号艺术标志刻字笔！请注意，在我书写顶线的时候，这个图案是用来保护粉笔不被擦掉的。在上下笔画使用胶带之前，人们就是这样刻字的。
The pinstriping brush wanted to play too, so some finishing touches were added. 细条纹画笔也想玩一玩，于是又做了一些修饰。
The old-fashioned drop shadow is a mixture of Ronan Bright Red, 1 Shot Proper Purple, and a few drops of black. The simple tire and rim are painted with the lettering color and a few more drops of black. 老式的阴影由 Ronan 亮红、1 Shot Proper 紫和几滴黑色混合而成。简单的轮胎和轮辋用字母颜色和几滴黑色涂抹。
Left: The old truck looks at home on the farm. 左： 这辆老卡车在农场里就像在家一样。
DISTRESSED LETTERING WITH A BARN-FIND PATINA 带有谷仓痕迹的仿旧字迹
Every historic automobile that is discovered requires a different approach when being restored. The condition a car is found in may determine how it will be restored; if it is a true basket case, it will require a complete rebuild. Finding original rare and hard-to-find parts to meet the sharp-eyed judges takes a good "automobile archaeologist." Some great "barn finds" need no more than a little TLC to show off their old glory. A great car in original condition stored away in a barn or little old lady's garage is a dream that is rarely realized. 每一辆被发现的历史悠久的汽车在修复时都需要采用不同的方法。一辆汽车被发现时的状况可能会决定它的修复方式；如果它是一辆真正的破车，就需要彻底改造。要找到稀有和难找的原件，以满足眼尖的评委的要求，需要一位优秀的 "汽车考古学家"。一些伟大的 "谷仓发现 "只需稍加修整，就能展现其昔日的辉煌。一辆原汁原味的好车被存放在谷仓或小老太太的车库里，是很少有人能实现的梦想。
Gus Rollins, a pre- and post-war dry lakes racer, had a modified 28 Ford Roadster Pickup, which he used for his shop truck and to push vehicles at the races. The truck's engine, transmission, and suspension were updated to make it road worthy. Unfortunately, the original lettering was primed over years before. Light bodywork and paint rubbed through randomly, giving it some age and patina. 古斯-罗林斯（Gus Rollins）是一位战前和战后的旱湖赛车手，他有一辆经过改装的 28 型福特 Roadster 皮卡车，他用这辆车作为自己的车间卡车，并在比赛中推车。这辆卡车的发动机、变速箱和悬挂系统都经过了更新，使其能够上路行驶。不幸的是，原来的刻字多年前就被涂上了底漆。轻微的车身和油漆被随意擦过，使其有了一些岁月的痕迹。
My challenge was to letter and stripe the truck so it looked weathered about 60 years. After some research and several paint test panels, I arrived at a formula, which gave me the effect I was looking for. Lightly compounding a mixture of Kustom Custom Shop's flat lettering and striping colors as soon as they dried gave it as much patina as I wanted. 我面临的挑战是给卡车涂上颜色和条纹，使其看起来经历了大约 60 年的风雨。经过一番研究和几次油漆测试，我找到了一种配方，可以达到我想要的效果。将 Kustom Custom Shop 的平面字母和条纹颜色混合在一起，待其干燥后，再轻轻涂抹，就能达到我想要的效果。
Because there is no sanding or heavy buffing, this technique is great to use when you don't want to risk damaging the paint job underneath. 由于不需要打磨或重度抛光，当您不想冒着损坏漆面的风险时，这种技术就非常适合使用。
I hope you can try this patina technique the next time you have a need for this popular look. 我希望您下次需要这种流行的外观时，可以试试这种古铜色技术。
The truck is fitted with a home-built, period-correct, tilt-style trailer. Sitting atop the trailer a real King and Hansen unrestored Belly Tank Racer in the same style and era as the famous So-Cal Speed Shop racer. The combo was a big hit in the Suede Palace at the Grand National Roadster Show in Pomona. It was a joy to see the older gentlemen gathered around these classic pieces of history, sharing stories and reliving memories with their friends. 这辆卡车装有一个自制的、符合时代特征的倾斜式拖车。拖车上坐着一辆真正的国王和汉森未修理过的肚皮坦克赛车，其风格和年代与著名的 So-Cal Speed Shop 赛车相同。在波莫纳举行的 "全国跑车大展"（Grand National Roadster Show）上，这套组合在 "麂皮宫"（Suede Palace）大受欢迎。看到年长的先生们聚集在这些经典的历史作品周围，与朋友们分享故事、重温回忆，真是一件令人开心的事。
A test panel is lettered with flat lettering and striping colors with a variety of reducers and additives. After choosing a combination, I 在一块测试板上用各种还原剂和添加剂刻上平面字和条纹色。选定组合后，我
lettered another panel with an outline and shadow. Kustom Custom Shop's paint dries rather quickly, so I lightly rubbed over the lettering with a fine grit compound. 在另一块面板上刻画了轮廓和阴影。Kustom Custom Shop 的油漆干得很快，所以我用细砂纸轻轻地擦过字母。
Next, the striping on the truck body and bed was done with the lettering outline color. As soon as I finished the striping, it was dry enough to start rubbing the 接着，用字母轮廓色在卡车车身和车床上做了条纹处理。当我完成条纹的绘制后，它就已经足够干了，可以开始擦上
striping to get the desired patina. 条纹，以获得所需的古铜色。
I took the doors to my studio to finish them in comfort. As soon as the shadow and outline were dry, I lightly compounded the letters. The trick here was not to make the patina too uniform. I removed more paint where it would have received more abuse and wear. I purposely removed most of the town and state to add to the mystery. 我把门拿到工作室，舒舒服服地完成了它们。阴影和轮廓一干，我就轻轻地把字母复合起来。这里的诀窍是不要让铜锈过于均匀。我去掉了更多的油漆，因为这些油漆会受到更多的磨损。为了增加神秘感，我特意去掉了大部分的城镇和州名。
DISTRESSED HOW-TO 如何做旧
Pete Peterson got out of the service in 1947. He and his wife bought a new Dodge pick-up and started a soda and beer home beverage service. Years later, his son found a ' 47 truck like his dad had in pretty fair condition. The old repaint was good enough for what he had in mind. After spending a good amount of time getting it back in good running shape, he stopped by my shop to talk about transforming this truck to look like his dad's original truck when he started his home beverage service. 皮特-彼得森于 1947 年退役。他和妻子买了一辆新的道奇皮卡，开始了苏打水和啤酒的家庭饮料服务。多年后，他的儿子发现了一辆和他父亲一样的 47 年卡车，车况相当不错。对于他的想法来说，旧车的重新喷漆已经足够了。他花了不少时间让这辆车恢复了良好的运行状态，然后来到我的店里，想把这辆卡车改造成他父亲当初开家庭饮料服务时的样子。
Fortunately, there were a few good photos of the original truck for me to make a pattern. The truck surface was in decent shape to prepare it in the usual way, as I do for pinstriping. The original photo helped me measure the door to make the lettering look just like the truck was. I pounced the pattern with a light powder, so the letters showed up well. 幸运的是，有几张原始卡车的照片可供我制作图案。卡车的表面状况良好，可以按照通常的方法进行准备，就像我做细条纹一样。原始照片帮助我测量了车门，使字母看起来与卡车一模一样。我在图案上扑了一层淡淡的粉末，这样字母就能很好地显示出来。
There's several mixtures of paint that make a distressed weathered look, depending on condition the vehicle's surface. The mixture I chose for this job is Ronan White and flattening liquid; this mixture creates a semitranslucent effect that makes the lettering appear more realistic. This combination worked great for this surface. If the surface is rougher, there are more intense mixtures that can be used. Be aware that too much reducer will cause drips. It's a fine line, which is why I always make test panels. Save all painted test panels to test your removal technique on later. 根据车辆表面的不同情况，有几种油漆混合物可以做出饱经风霜的效果。我为这次作业选择的混合物是 罗南白和 压平液；这种混合物能产生半透明效果，使字母看起来更逼真。这种混合液对这种表面效果很好。如果表面比较粗糙，可以使用浓度更高的混合物。要注意的是，过多的还原剂会导致滴漏。这是个细微的问题，所以我总是制作测试板。保存所有涂过油漆的测试板，以便以后测试清除技术。
For the authentic nostalgic look, it is mandatory to freehand letter the job. In 1947, there we no computers for layouts or lettering. Also, don't use tape for top and bottom lines. Letter each stroke as you learned from all those midcentury how-to books. 要想获得真实的怀旧风格，就必须使用手写字体。1947 年，我们还没有电脑来排版或刻字。另外，上下线不要用胶带。每一笔都要按照你从那些中世纪的书上学到的方法来书写。
Don't worry; all your hard work will pay off. Now that you've beautifully painted all the lettering, we will take about of it off by distressing the entire job. Your lettering strokes will become more prevalent when the job is finished. 别担心，您的辛勤劳动会有回报的。现在，您已经把所有的字母都绘制得非常漂亮，我们将对整个工作进行凹凸处理，把大约 的字母去掉。工作完成后，您的字迹会变得更加清晰。
Always test several products to see what works best. For this lettering removal technique, I used a bucket of water, Simple Green All-Purpose Cleaner, 70% isopropyl alcohol, and, for the tough spots, a kitchen sponge or scuff pad. I also used polishing compound and a bunch of rags. 一定要测试几种产品，看看哪种效果最好。对于这种去除刻字的方法，我使用了一桶水、Simple Green 全能清洁剂、70% 的异丙醇以及厨房海绵或磨砂垫来处理难处理的地方。我还使用了抛光剂和一堆抹布。
Pete Peterson's Dodge delivery truck back in the day. 皮特-彼得森当年的道奇送货车。
Lettering the first strokes with the 50/50 semitranslucent paint mixture. 用 50/50 半透明混合颜料涂抹第一笔。
The pounce pattern is shown underway and finished, ready to transfer lettering onto the doors. 图中显示的是正在制作和完成的扑克图案，准备将字母转印到车门上。
Time to distress the work by removing the paint mixture. I found using a water-based removal mixture prevents any of the semidry oil paint from adhering to any of the surfaces where it is not wanted. 是时候去除油漆混合物，对作品进行修整了。我发现使用水性除漆混合物可以防止半干油画颜料附着在任何不需要的表面上。
Measuring lettering to match the original photograph. 测量字样，使其与原始照片一致。
Beginning the lettering-removal process. 开始字母清除过程。
We found a partial photo of the rear cab, and after doing some lettering calculations, I concluded that it might have said "HOME BEVERAGE," which made sense. 我们找到了一张后部驾驶室的局部照片，在对字母进行计算后，我得出结论，上面可能写着 "HOME BEVERAGE"（家庭饮料），这就说得通了。
The finished job with original photograph. 已完成的工作和原始照片。
NOW FOR SOME DISTRESSING IMAGES 现在是一些令人心痛的图片
Can you tell the difference between real barn find distressed lettering and new faux distressed? 您能分辨出真正的谷仓仿旧字迹和新的仿旧字迹之间的区别吗？
RACE CAR AND SHOW CAR LETTERING 赛车和展车刻字
As I mentioned earlier in chapter 9, my friend Dave Crouse is a hot rod builder and restorer of some of the most famous, historic race cars that I have had the privilege of lettering and pinstriping. Dave finds forgotten, rare, rusty parts and cars like no one else. 正如我在前面第 9 章中提到的，我的朋友戴夫-克劳斯（Dave Crouse）是一位热车制造者，也是一些最著名的历史赛车的修复者，我曾有幸为这些赛车刻字和加装细条纹。戴夫能找到被遗忘的、罕见的、生锈的零件和汽车，这一点无人能及。
Some of the names and details of vintage cars are getting foggy as we get older, so it is important to find actual detailed records and photos for reference. I never paid much attention to the who, what, when, and where of cars until I got involved with Dave and his magnificent restorations of historic vehicles. 随着年龄的增长，一些老爷车的名称和细节已经变得模糊不清，因此找到实际的详细记录和照片作为参考非常重要。在我接触戴夫和他对历史名车的华丽修复之前，我从来没有注意过汽车的名称、内容、时间和地点。
The details of a period-correct museum restoration rely on old photos and articles from the vehicle's heyday. Unfortunately, these research endeavors can be limited to two or three out-of-focus, fuzzy deteriorating photos or magazine clippings to get the lettering details from. Studying piles of photos can reveal some important hidden results. Dave has a gift for digging up interesting documents and stories, some too fantastic to be real. 博物馆修复工作中的细节要依靠车辆全盛时期的老照片和文章。遗憾的是，这些研究工作可能仅限于从两三张失焦、模糊老化的照片或杂志剪报中获取字母细节。研究成堆的照片可以发现一些重要的隐藏结果。戴夫在挖掘有趣的文件和故事方面很有天赋，有些故事甚至奇妙得不像是真的。
While we were researching the lettering for the BEAST III restoration, he heard about the guy who was to drive the Beast's first run on the salt flats. As fate would have it, he drank too much and couldn't drive. Art Chrisman stepped in and drove it , breaking the record for a car with one engine exceeding . He said it felt like bees were stinging him the entire run. When he got back, the team noticed that the tires were coming apart and hitting his legs. This salt flat car had no inner fenders at all back then. Safety seemed not to be a concern when breaking records. The BEAST III was also the first wind tunnel-tested car to reach with one hemi. This was the era of "What could possibly happen?” 当我们在研究 "野兽三号 "修复工作的字样时，他听说了一个人将驾驶 "野兽三号 "在盐滩上进行首次试车。天有不测风云，他喝多了酒，无法驾驶。阿特-克里斯曼（Art Chrisman）挺身而出，驾驶 ，打破了汽车单引擎超过 的记录。他说，在整个行驶过程中，他感觉就像被蜜蜂蜇了一样。当他回来时，车队发现轮胎散开了，打在他的腿上。这辆盐滩赛车当时根本没有内挡泥板。在打破纪录的时候，安全似乎并不是问题。BEAST III 也是第一辆在风洞测试中达到 的单缸赛车。这是一个 "什么都有可能发生 "的时代。
The 303 restoration championed by Roger Morrison was a literal basket case. I saw it-it was in baskets when it was found. Roger and Dave were able to locate the original 罗杰-莫里森（Roger Morrison）主持修复的 303 车厢简直就是一个筐子。我见过它，当它被发现时，它就在筐子里。罗杰和戴夫找到了原来的
Period-correct restorations rely heavily on old photos. Dave Crouse has a gift for digging up interesting documents and photos like these of the BEAST III streamliner. 正确的修复工作在很大程度上依赖于老照片。戴夫-克劳斯（Dave Crouse）善于挖掘有趣的文件和照片，比如 BEAST III 流线型列车的照片。
The legendary 303 Bell Engine Crankshaft Special was restored from a literal basket case. 这辆传奇的 303 Bell 引擎曲轴特别版是从一个真正的篮子里修复出来的。
The 203 belonging to Larry Shinoda, nicknamed the Chopsticks Special, was another great Roger Morrison restoration. The 203 was Larry's first hot rod with Funny Car mid-engine technology. Shinoda was a famous automotive designer who created some of the most historic and bold designs of the ' 60 s, like the Ford Mustang Boss 302 and Corvette Stingray. 拉里-筱田（Larry Shinoda）的 203 号赛车绰号 "筷子特别版"（Chopsticks Special），是罗杰-莫里森（Roger Morrison）修复的又一辆杰作。这辆 203 是拉里的第一辆采用滑稽赛车中置发动机技术的赛车。筱田是一位著名的汽车设计师，他在 60 年代创造了一些最具历史意义的大胆设计，如福特野马 Boss 302 和克尔维特黄貂鱼。
creators who followed the restoration to its fruition, and they joined us at its unveiling at the California Hot Rod Reunion at the Famoso Raceway in Bakersfield. The 303 Bell Engine Crankshaft Special was on the cover of an early 1950s Hot Rod Magazine. The driver, Bill Crissman, looked about 13 years old on that cover. I met Bill in the lobby of the Bakersfield Hotel where the 303 was on display. He was in his 90 s then and I asked him if the lettering that my son Eric painted looked okay. He smiled and said with the tear in his eye, "It is just like it was." He went on to tell me how somebody gave them an experimental flat head engine with four carburetors to use for free. These guys were some of the first to experiment with nitro. Some big-name racers asked them why their engine never blew up. He said laughing, "We told them we just took out the carburetor jets; it was the only way we could make that engine run." It was great to see how much this restoration brought out crazy happy memories for him and his family. 他们和我们一起参加了在贝克斯菲尔德法莫索赛道举行的加利福尼亚热车聚会的揭幕仪式。303 Bell 引擎曲轴特别版曾登上 20 世纪 50 年代早期《Hot Rod》杂志的封面。封面上的车手比尔-克里斯曼（Bill Crissman）看上去只有 13 岁。我在展示 303 的贝克斯菲尔德酒店大堂见到了比尔。当时他已经九十多岁了，我问他我儿子埃里克画的字看起来还好吗？他笑了笑，含着眼泪说："就像原来一样"。他接着告诉我，有人免费送给他们一台带四个化油器的实验平头发动机。这些人是最早尝试使用硝基燃料的人。一些大牌赛车手问他们，为什么他们的发动机从来没有爆炸过。他笑着说："我们告诉他们，我们只是拆掉了化油器的喷嘴；这是我们能让发动机运转的唯一办法。很高兴看到这次修复给他和他的家人带来了多少疯狂快乐的回忆。
Another fun show car I worked on was The Kopper Kart Klone; it had a few unexpected challenges. The car arrived at my studio during a snowstorm. My job was to pinstripe and letter the car exactly like the original in three days before it left to debut at the Detroit Autorama in 2008. When I 我制作的另一辆有趣的展示车是 Kopper Kart Klone；它遇到了一些意想不到的挑战。这辆车在暴风雪中抵达我的工作室。我的任务是在 2008 年底特律汽车展上首次亮相前的三天内，为这辆车贴上与原车一模一样的细条纹和字母。当我
The Shelby Cobra Drag Snake is one of only five factory-built 289 Cobra Dragonsnakes. 谢尔比眼镜蛇龙蛇是仅有的五辆出厂的 289 眼镜蛇龙蛇之一。
opened my gold leaf supplies, I could only find one sheet of copper leaf, which was a disaster. After I panicked, I called my good friend and awesome gold-leaf artist, Bill Riedel, to see if he had any copper leaf I could use in a pinch. He had some, so I planned to go to his shop in Little Ferry, New Jersey, and get it. Then, I thought why not have Bill come up to my shop with the copper leaf and help with the job. We had a great Letterhead-style jam, just the two of us. We laid out the lettering, and Bill prepped and began the copper-leaf lettering while I continued painting endless miles of two-color pinstriping to complete the car. We created another great memory. 打开我的金箔用品，我只找到一张铜箔，这简直是一场灾难。在我惊慌失措之后，我打电话给我的好朋友、了不起的金箔艺术家比尔-里德尔（Bill Riedel），问他是否有铜箔可供我在紧要关头使用。他有一些，于是我打算去他位于新泽西州小渡口的店里买。然后，我想为什么不让比尔带着铜箔到我的店里来帮忙呢？就我们两个人，我们进行了一次很棒的信纸式合作。我们布置了字样，比尔准备并开始制作铜箔字样，而我则继续绘制长达数英里的双色细条纹，以完成这辆车。我们又创造了一个美好的回忆。
Three Dog Garage in Pennsylvania called me to remove and re-letter the race numbers on the sides of Don Ferguson's 304 three-window coupe, restoring it to its original glory even though the original lettering looked like it was done with white shoe polish. Removing lettering can be a disaster and typically employs using very dangerous chemicals. Plus, there are no guarantees it will work. 宾夕法尼亚州的 Three Dog Garage 给我打来电话，让我把唐-弗格森（Don Ferguson）的 304 型三窗双门跑车侧面的赛车号码去除并重新刻字，恢复其原有的光彩，尽管原来的刻字看起来像是用白色鞋油涂抹的。清除刻字可能是一场灾难，通常需要使用非常危险的化学品。此外，还不能保证一定有效。
I arrived at their restoration shop, which is housed in the same building as their historic-vehicle museum, to see what I was up against. The only way to test to see if the finish of a car can survive lettering removal is to test the chemicals on an unseen painted location. In the past, I had some success using ordinary oven cleaner, so I put on a pair of heavy-duty rubber gloves and sprayed some oven cleaner on a white rag and rubbed it under a fender where you can't see it. Never spray it directly on the car when you're testing. I waited a few minutes and rubbed it again to see if any of the red finish came off, which luckily it didn't. Then, I looked carefully at the finish to see if it had bleached out or changed in any visible way. Everything looked good, so I began the tedious preparation of masking off the floor with plastic sheets and lots of tape. 我来到他们的修复车间，这里与他们的历史车辆博物馆位于同一栋楼里，我想看看我面对的是什么。测试汽车漆面能否经受住字样清除的唯一方法就是在看不见的喷漆位置上测试化学品。过去，我曾用普通的烤箱清洁剂取得过一些成功，于是我戴上一双重型橡胶手套，在一块白色抹布上喷上一些烤箱清洁剂，然后在挡泥板下面看不到的地方擦拭。测试时千万不要直接喷在车上。我等了几分钟，又擦了一遍，看看有没有红色漆面脱落，幸运的是没有。然后，我仔细观察漆面，看它是否已经脱色或有任何明显的变化。一切看起来都很好，于是我开始了繁琐的准备工作，用塑料布和大量胶带遮住地板。
Always wear safety glasses and have a bucket of water handy in case of emergency. This is a very messy and dangerous job. I masked the area around the number to be removed. Then, I carefully sprayed the oven cleaner on each door. I waited a few minutes for the paint to soften, testing it with a soft plastic card (like a credit card). Luckily, everything came off alright, and I quickly washed it off several times and then prepped the surface for painting, like I usually do. I re-lettered the number with the same translucent paint mixture I used on the Peterson car (50% Ronan White and 50% flattening liquid). The result looked exactly like the original, white shoe polish number. 一定要戴上安全眼镜，并准备一桶水，以备不时之需。这是一项非常脏乱和危险的工作。我在要拆除的号码周围蒙上了面罩。然后，我小心翼翼地将烤箱清洁剂喷在每扇门上。等了几分钟，油漆变软了，我用一张软塑料卡（像信用卡一样）测试了一下。幸运的是，一切都很顺利，我很快就把它洗掉了好几次，然后像往常一样准备好表面的油漆。我用在彼得森汽车上使用过的半透明油漆混合物（50% 罗南白和 50% 压平液）重新刻上了号码。结果看起来与原来的白色鞋油号码一模一样。
The Kopper Kart Klone was an interesting challenge. My job was to pinstripe and letter it exactly like the original-in three days. Kopper Kart Klone 是一项有趣的挑战。我的任务是在三天内将它打上与原版一模一样的细条纹和字母。
Right: Only twenty more letters to outline on Bob Ida's famous blown 409 Willys. 右边：鲍勃-艾达（Bob Ida）著名的 409 威利斯（Blown 409 Willys）汽车只剩下 20 个字母的轮廓了。
Above: Bob Ida and I with the finished job. 上图我和鲍勃-伊达（Bob Ida）与完工的作品。
When Bob studied the Willy's sedan and the coupe, he found that the sedan was more aerodynamic than the more popular coupe. 鲍勃在研究威利轿车和双门跑车时发现，轿车比更受欢迎的双门跑车更符合空气动力学原理。
Left: Don Ferguson's 304 three-window coupe. The result looked exactly like the original white shoe polish numberin permanent paint. 左图：唐-弗格森的 304 三窗双门跑车。结果看起来与原来的白色鞋油号永久性油漆一模一样。
The Chris Karamesines Top Fuel dragster. Miles of leaf, lettering, and pinstriping 克里斯-卡拉梅辛斯的顶级燃料赛车。数英里长的叶子、字母和细条纹
FAUX-PAINTED CHROME AND BEVEL ILLUSIONS 仿漆镀铬和斜面假象
Creating painted illusions is fun to practice and master. First, gather some photos of real chrome to study. Car shows are a perfect venue to collect images of old chrome automotive emblems and hood ornaments. Chrome colors are created by matching the reflections of objects and colors that surround it. This faux technique is used frequently on Funny Cars. Airbrush pioneer Glen Weisgerber and others have perfected chrome illusion techniques. Chrome reflects the warm earth tones and cool sky tones that are airbrushed with a quick dark horizon line to separate them. It is critical to be aware of the direction of the light source. The more you observe the natural world, the better you can paint it. 制作彩绘幻影是一种有趣的练习和掌握方法。首先，收集一些真实的镀铬照片进行研究。车展是收集老式镀铬汽车标志和引擎盖装饰图片的绝佳场所。镀铬的颜色是通过与周围物体和颜色的反射相匹配而产生的。这种仿制技术经常用于滑稽赛车。喷绘先驱格伦-韦斯格伯（Glen Weisgerber）和其他人已经完善了镀铬假象技术。铬色反映了温暖的大地色调和冷色的天空色调，而这些色调是用一条快速的深色地平线来分隔的。注意光源的方向至关重要。对自然界观察得越多，就能画得越好。
After I finished the lettering on a radical Nova drag car, I airbrushed all the chrome final touches, including the headlights, grille, emblems, bumper, and license plate. I found myself getting carried away with the smaller chrome details. I recall stories about how my old friend, Alton Gillespie, would work micro details into the painted faux headlight reflections that included tiny images of the customer and his dog. I was falling into the same rabbit hole of airbrush detailing. I broke away and called my friend, Glen, asking his advice on when enough is enough. After a quick chat, he just said, "Step away from the car." I was laughing and mumbling and he repeated, "Step away from the car." So, that's the only professional advice that I can pass on when confronting the chrome illusion detail rabbit hole. 在我完成一辆激进的 Nova 赛车上的刻字后，我对所有镀铬装饰进行了最后的喷刷，包括前大灯、格栅、徽章、保险杠和牌照。我发现自己对较小的镀铬细节都爱不释手。我想起了我的老朋友奥尔顿-吉莱斯皮（Alton Gillespie）的故事，他在车头灯反光处喷漆时，会把顾客和他的狗的微小图像做成微小的细节。我也掉进了喷绘细节的兔子洞。我挣脱出来，给我的朋友格伦打了个电话，询问他关于 "什么时候才是够了 "的建议。简单聊了几句后，他只说了一句 "离车远点"。我一边笑一边嘟囔，他又重复了一遍："离车远点。"所以，这是我在面对镀铬幻影细节兔子洞时唯一可以传授的专业建议。
Above: It was difficult to know where to draw the line on the details in the faux grille I painted on this radical Nova show car. As my friend Glen advises, sometimes you just need to "step away from the car." 上图：我在这辆激进的 Nova 展示车上绘制的仿进气格栅的细节，很难知道在哪里画线。正如我的朋友格伦所建议的，有时你只需要 "远离汽车"。
CHAPTER 14 GOLD LEAF AND TOOLS 第 14 章 金箔和工具
N othing says "class" like 23-karat gold-leaf lettering or graphics. Just a little gold-leaf accent creates a look of richness to an otherwise average lettering job. Gold leaf richly accents any design and adds an elegance that is unsurpassed in its mysterious attraction. 没有什么比 23K 金箔字母或图形更能体现 "品位 "了。只需一点金箔点缀，就能为普通的刻字工作营造出富丽堂皇的效果。金箔为任何设计都增添了浓郁的色彩，并增添了无与伦比的高雅神秘魅力。
WHAT IS GOLD (AND METAL) LEAF? 什么是金（和金属）叶？
Many types of gold and metal leaf are available in a wide range of colors. To create various shades and tones of precious leaf, pure gold is alloyed with silver, copper, or other metals. Adding copper to pure gold, for example, creates deeper tones. Lighter tones are achieved when silver or other metals are alloyed with the gold. For example, 18-karat, 16-karat, and 12-karat are lighter in color because more silver is added. Lower-karat gold leaf will tarnish if exposed to the environment and not properly sealed. 许多类型的金箔和金属箔都有多种颜色可供选择。为了制作出各种色调的金箔，纯金要与银、铜或其他金属进行合金化处理。例如，在纯金中加入铜可以产生更深的色调。在金中加入银或其他金属合金，则可产生较浅的色调。例如，18K、16K 和 12K 金的颜色较浅，因为添加了更多的银。如果暴露在环境中且没有适当密封，低克拉金箔会褪色。
Nonprecious leaf is created by adding copper and zinc, creating colors ranging from deep red to lemony tones. These variations in color are a result of the respective percentages of the two metals in the alloy. "Variegated" leaf is specially treated to create colorful patterns of red, green, blue, and black. 非宝石叶片是通过添加铜和锌制成的，颜色从深红色到柠檬色不等。这些颜色变化是两种金属在合金中所占比例不同造成的。"变色 "叶片经过特殊处理，可形成红色、绿色、蓝色和黑色的多彩图案。
While combining metal-leaf options can add interest and value to any lettering or design project, additional colorful effects can be added to gold leaf with an airbrush. Color fades from dark to light can produce an illusion of great depth. White highlights can be added to accentuate this illusion. A colorful fade blend is achieved by lightly airbrushing a translucent mixture of color and clear over the gold leaf. Extra care must be taken-there is no way to fix your mistakes. 金属箔的组合可以为任何字母或设计项目增添趣味和价值，而用喷枪为金箔添加额外的色彩效果。从深到浅的颜色渐变可以产生一种极具深度的错觉。可以添加白色高光来突出这种错觉。在金箔上轻轻喷上半透明的彩色和透明混合物，就能实现色彩渐变的混合效果。必须格外小心，因为错误是无法弥补的。
You can also accentuate gold and metal leaf with shadowing and outlining. Shadowing gives dimension to letters, while outlining provides definition to a design. In both cases, the colors can be as varied as your imagination. 您还可以通过阴影和轮廓来突出金箔和金属箔。阴影使字母更有立体感，而轮廓线则使设计更清晰。在这两种情况下，颜色可以随您的想象力而变化。
Spun variegated leaf is created for colorful patterns. 纺出的杂色叶片可创造出丰富多彩的图案。
Aluminum leaf, known as imitation silver, is made of pure aluminum and will tarnish without a seal coat or protective clear coat. The same applies to copper leaf. 被称为仿银的铝箔是由纯铝制成的，如果没有密封涂层或保护性透明涂层，就会褪色。铜箔也是如此。
Four different types of leaf techniques were used on my friend Carol Mittelsdorf's 1966 Harley-Davidson. 我的朋友卡罗尔-米特尔斯多夫（Carol Mittelsdorf）的 1966 年哈雷-戴维森（Harley-Davidson）上使用了四种不同类型的叶片技术。
Traditional 23-karat gold leaf with a simple black outline is commonly used on vehicles like fire trucks. 传统的 23K 金箔配以简单的黑色轮廓，常用于消防车等车辆上。
The background of the No. 4 car is 23 -karat gold. The number is left open, giving a totally different look than No. 9 while using the same gold leaf. The No. 10 car has a 12-karat white gold with a black shadow. The shadow makes the numbers appear larger, while the blue outline gives the white gold a cooler look. 4 号车的背景是 23K 金。车牌号是开放式的，与 9 号车牌的外观完全不同，但使用了相同的金箔。10 号赛车的底色为 12K 白金，带有黑色阴影。阴影使数字显得更大，而蓝色的轮廓使白金看起来更酷。
Adding a few drops of black to the varnish or clear enamel produces what I call a "varnish shade." The effects of airbrushing metal leaf can be bold or subtle, depending on what fits your design. 在清漆或透明珐琅中加入几滴黑色，就会产生我所说的 "清漆阴影"。喷涂金属叶片的效果可大可小，取决于您的设计。
A varnish shade on a mahogany transom gives a warmer, lighter look to the letters. 红木横梁上的清漆色调使字母看起来更加温暖、轻盈。
I use a dotted chalk mark to indicate where the shadow falls on a mahogany boat. 我用粉笔在桃花心木船上打点，标明影子的落点。
The outline you choose can add harmony to your gold-leaf project. 您选择的轮廓可以为您的金箔作品增添和谐感。
Outlining the gold defines edges beautifully. 金色的轮廓勾勒出优美的边缘。
The door of my 1946 Chevy pickup shop truck. 我 1946 年雪佛兰皮卡车的车门。
Examples of Wehrung & Billmeier's collection of variegated leaves. Wehrung & Billmeier 收集的变色叶片范例。
A multi-leaf monogram featuring white gold, 23-karat gold, and 12-karat with variegated leaf. 多叶字母图案由白金、23K 金和 12K 金与斑斓的叶片组成。
Some examples of burnishing, from bottom: A masked burnished Mercury hood logo, a directional-burnished gold chick, a bevelburnished goldaccented logo, and a bevel-burnished Chevy logo. 从下往上依次为烧制的一些例子：蒙皮烧制的水星引擎盖徽标、定向烧制的金鸡、斜面烧制的金色徽标以及斜面烧制的雪佛兰徽标。
TOOLS AND MATERIALS 工具和材料
A clear sealer coat is recommended to protect the gold-leaf letters on vehicles from the daily routine of the road, car washes, and the elements. Commercial trucks are sealed with clear automotive urethane. The gold leaf on my personal work truck does not have a clear coat because I take care of it myself and make sure it is not subjected to the conditions that commercial trucks are exposed to. The 23-karat gold leaf is still as brilliant as it was the day I lettered it. 建议使用透明密封涂层来保护车辆上的金箔字母，使其免受日常路面、洗车和外界环境的影响。商用卡车使用透明的汽车聚氨酯进行密封。我个人工作用卡车上的金箔没有透明涂层，因为我自己会保养它，确保它不会像商用卡车那样暴露在各种条件下。23K 金箔仍然像我刻字那天一样光彩夺目。
Above: Unless you want the leafing to weather, use a clear coat that adheres to bare metal. Any of these clear coatings can be used for the final step of sealing the gold or metal leaf. 以上：除非您想让金箔经受风吹日晒，否则请使用能附着在裸金属上的透明涂层。这些透明涂层中的任何一种都可用于最后一步的金箔或金属箔密封。
Left: Here's the collection of leafing tools I use on classic wooden boats. 左： 这是我在古典木船上使用的打叶工具系列。
Pat Minervini's custom-made spinners, including his "Big Boy" at far left. Pat Minervini 定制的纺纱机，包括最左侧的 "大男孩"。
Once you master spinning by hand, you can carefully try turning with a drill. 一旦掌握了用手旋转的方法，就可以小心翼翼地尝试用钻头旋转。
CHAPTER 15 第 15 章
GOLD-LEAF TECHNIQUES
R ob Ida called me to make an appointment for some lettering on a Willys drag car while his crew finished the restoration. I asked for the dimensions of the door to make a pattern from the original lettering photos. Planning ahead with a finished pounce pattern can save valuable time when you arrive at the job. R ob Ida 打电话给我，约我在他的团队完成一辆威利斯拖车的修复工作时，在车上刻一些字母。我询问了车门的尺寸，以便根据原始刻字照片制作图案。提前规划好已完成的图案，可以为您节省宝贵的时间。
Ida Automotive is quite a busy shop. They had the Willys in an out-of-the-way corner with perfectly controlled conditions, which is essential for a quality gold-leaf finish. Dust and fluctuating air and temperatures can seriously affect gold leaf. I even wear earbuds to avoid distraction and interruptions. My customers demand quality, so I demand a quality environment. Ida Automotive 是一家相当繁忙的商店。他们把威利车放在一个偏僻的角落，条件完全可控，这对高质量的金箔饰面至关重要。灰尘、波动的空气和温度都会对金箔造成严重影响。我甚至戴着耳塞，以避免分心和干扰。我的客户要求高质量，因此我也要求高质量的环境。
After prepping and pouncing the pattern on the vehicle, I brushed the gold size on the letters. Size is the adhesive used to adhere leaf to the surface. There are several size manufacturers and different drying times: about 60 minutes for a "quick size" and several hours for a "slow size." I generally use quick size for two reasons: 在车辆上预处理并扑上图案后，我在字母上刷上了金色的尺寸。尺寸是用于将叶子粘在表面上的粘合剂。有几家尺寸制造商和不同的干燥时间："快速尺寸 "大约需要 60 分钟，而 "慢速尺寸 "则需要几个小时。出于以下两个原因，我一般使用快速尺寸：
I have a lot of patience (but it doesn't last long!). 我很有耐心（但这种耐心持续不了多久！）。
When traveling an hour or so to a job, I want to finish in one day if possible. 如果要赶一个多小时的路去工作，我希望尽可能在一天内完成。
MIXING GOLD SIZE 混合黄金尺寸
There are as many size mixtures as there are gold-leaf artists. My first gold-leaf job was on a friend's Harley. I engine turned the gold leaf with a piece of cotton; it went right through the gold and into the size, which was not dry enough. I cannot stress enough to experiment with a lot of testing, to learn for yourself the timing for the correct "tack." Here's the secret: test, test, and test again until you've learned the "perfect tack." After about 50 years, I think I've found it! 有多少金箔艺术家，就有多少种尺寸的混合物。我第一次制作金箔是在朋友的哈雷机车上。我用一块棉花在发动机上翻转金箔；棉花直接穿过金箔进入尺寸，而尺寸还不够干。我无论如何强调都不为过的是，要进行大量的试验，自己掌握正确 "粘贴 "的时机。秘诀就是：测试、测试、再测试，直到你掌握了 "完美的粘合"。大约 50 年后，我想我已经找到了！
My gold size mixture: In an unwaxed flat bottom paper cup, I add just enough size for the amount of lettering. Next, I add a few drops of Ronan Yellow enamel. I brush the size on all the areas to be gilded. Once the size reaches the proper tack, I begin to lay the patent gold leaf, covering all of the size without any "holidays" (areas without gold). I continue in one direction until it is completed. 我的黄金尺寸混合物在一个未上蜡的平底纸杯中，我加入刚好够字迹大小的金色混合物。然后，滴入几滴罗南黄珐琅。在所有需要镀金的地方刷上金粉。一旦尺寸达到合适的粘度，我就开始铺上漆金箔，覆盖所有尺寸，不留任何 "假日"（没有金箔的区域）。我沿着一个方向一直铺到完成为止。
For a big job like a fire truck with lots of lettering and stripes, you might finish some of the work with quick size and gild it and then size the rest with slow size for the next day. You can regulate the timing with gold size combinations to fit your needs. Remember that weather plays a big part in drying times. 对于像消防车这样有大量字母和条纹的大型作品，您可以用快速尺寸完成部分工作并镀金，然后在第二天用慢速尺寸完成其余部分。您可以根据自己的需要调节金色尺寸组合的时间。请记住，天气对干燥时间有很大影响。
When I finished all the engine turning on the gold lettering, I brushed on a protective clear coat and let it dry overnight so I could shadow and outline the unprotected gold-leaf lettering. If you touch it or get paint on unprotected gold, it's disastrous because there is no way to clean or fix it without scratching the gold. 当我完成金色字样上的所有引擎转动后，我刷上了一层保护性的清漆，并让它干了一夜，这样我就可以对未受保护的金箔字样进行阴影和轮廓处理。如果在未受保护的金色上触碰或沾上油漆，后果将不堪设想，因为在不刮伤金色的情况下，根本无法进行清洁或修补。
The next day, I painted a big, scary, brilliant blue weton-wet shadow for the main "Guggy's" lettering with airbrushed white highlights. 第二天，我为 "Guggy's"（古吉）的主字母绘制了一个巨大的、可怕的、绚丽的蓝色湿润阴影，并用气刷涂抹了白色高光。
Next, I outlined all of the letters with black using one of my AJ "Extreme Liners." It took a little more than an hour for the wet-on-wet shadow to be dry enough to clean off any airbrush overspray. Then, I began to finish the details by painting the features on the gold Guggy baker pictorial. Then, I completed the miles of white pinstriping, outlining the lace panels. I was done. 接下来，我用 AJ "Extreme Liners "中的一种黑色颜料勾勒出所有字母的轮廓。用了一个多小时，湿对湿的阴影才干透，足以清理掉喷枪喷溅的痕迹。然后，我开始完成细节，在金色的 Guggy baker 画报上绘制特征。然后，我完成了数英里长的白色细条纹，勾勒出蕾丝面板的轮廓。我就大功告成了。
It's always a pleasure working with the Ida Automotive crew. Especially with Bob Sr., dyno testing 5 feet away from where I was working. The familiar high-revving sounds reminded me of good times painting in the pits at the drag strip in the old days. 与 Ida Automotive 的工作人员合作总是很愉快。特别是老鲍勃，他在离我工作的地方 5 英尺远的地方进行测功。熟悉的高转速声音让我想起了过去在赛车场维修站里画画的美好时光。
The first brush strokes of gold size. 金色大小的第一笔。
By lightly wiping the gold clean horizontally, it brightens the gold and makes it ready for spinning—or, as we'll see in this case, engine turning (i.e., spinning with a drill). 通过水平轻轻擦拭金子，可以使金子变亮，为旋转做好准备--或者，正如我们在本例中看到的那样，为发动机旋转做好准备（即用钻头旋转）。
I keep the original photos close to my work as reference. 我把原始照片放在作品附近作为参考。
Lightly test the tack of the gold size with you knuckle on the edge of a letter. 用指关节轻触字母边缘，测试金色尺寸的粘性。
After all the gold is set (attached to the size) and cleaned with medical-grade sterile cotton, engine turning begins. 在所有黄金都已镶嵌好（与尺寸相连）并用医疗级无菌棉花清洗干净后，开始转动发动机。
Miles of white pinstriping. 数英里长的白色细条纹。
Beginning to lay the patent gold leaves onto the tacky gold size. 开始在粘金尺寸上铺设漆金叶子。
I used three different size spinners for different size gold areas. 我使用了三种不同大小的纺锤，用于不同大小的黄金区域。
RALPH MARANO'S 1930 PACKARD SPEEDSTER 拉尔夫-马拉诺的 1930 年帕卡德跑车
Ralph Marano was challenged to a grudge match by Wayne Carini of the TV show Chasing Classic Cars. Ralph's Speedster was fabricated with parts of a four-door sedan and powered by a straight-eight with twin Stromberg carburetors. The race took place at the VSCCA Wilbraham Hill Climb where Wayne's Stutz went up against Ralph's Packard in an oldfashioned drag race. With pride, pink slips, and a charity donation on the line, horsepower ruled the day—Ralph won! 电视节目《老爷车追逐战》的韦恩-卡里尼（Wayne Carini）向拉尔夫-马拉诺（Ralph Marano）提出了挑战。拉尔夫的 Speedster 是用一辆四门轿车的部件制造的，由带有双 Stromberg 化油器的直八发动机提供动力。比赛在 VSCCA 威尔布拉罕爬坡赛上举行，韦恩的斯图兹与拉尔夫的帕卡德进行了一场老式的拖曳赛。在自尊心、粉红纸条和慈善捐款的压力下，马力统治了当天的比赛--拉尔夫获胜！
A red outline really set off the gold leaf on Ralph Marano's hot rod Packard. 拉尔夫-马拉诺（Ralph Marano）的帕卡德（Packard）热力跑车上的金箔被红色轮廓衬托得格外耀眼。
GOLD-LEAF BOATS 金箔船
Lake Hopatcong is the largest lake in New Jersey. In the 1920 s and '30s, it was a summer vacation hot-spot for New York City socialites. Lake Hopatcong has a historic connection to classic wooden boats. The most famous builders of classic wooden boats are Chris-Craft and Garwood. These gorgeous boats are known for power, comfort, and elegance, with engines that range from six-cylinder flatheads to Cadillac V-8s that cut through the water like a rocket without spilling a drop of your martini! 霍帕特康湖是新泽西州最大的湖泊。20 世纪 20 年代和 30 年代，这里曾是纽约市社交名流的避暑胜地。霍帕特康湖与古典木船有着历史渊源。最有名的古典木船制造商是克里斯-卡夫（Chris-Craft）和加伍德（Garwood）。这些华丽的船只以动力、舒适和优雅而闻名，其发动机从六缸平头发动机到凯迪拉克 V-8 发动机不等，像火箭一样划过水面，而不会溅出一滴马提尼酒！
I worked on many restorations at marinas located on Lake Hopatcong. Part of restoring a classic wooden boat is implementing period-correct gold-leaf designs and lettering. Bob Kays photos 我曾在霍帕特康湖的游艇码头参与过许多修复工作。修复经典木船的一部分工作就是采用符合当时时代特征的金箔设计和字母。鲍勃-凯斯照片
WOODEN BOAT GALLERY 木船画廊
Some of the many techniques I use to create special gold-leaf effects are goldleaf bevel, directional burnish, engine turning, varnish shade, and highlighted outlines. The following images are just a small sample of some of my favorite classic gold-leaf wooden boat jobs. 我使用许多技术来创造特殊的金箔效果，其中包括金箔斜面、定向抛光、引擎车削、清漆阴影和高光轮廓。以下图片只是我最喜欢的一些经典金箔木船作品的一小部分。
DIRECTIONAL BURNISHING MASTERCLASS 定向抛光大师班
I've been lettering classic wood boats for marinas on Lake Hopatcong since the late '70s. In those days, the wood boat lettering style was traditional engine turned gold leaf with a black shadow and red outline. Breaking tradition was not an easy task. 自七十年代末以来，我一直在为霍帕特康湖的游艇码头刻写经典木船的字样。在那个年代，木船刻字的风格是传统的发动机翻转金箔，配以黑色阴影和红色轮廓。打破传统并非易事。
This is how a typical day goes. I arrive to find a beautiful mostly finished wood boat, with the mahogany transom already sanded and wiped down with a tack cloth and ready for lettering. I talk with the marina owner about the name and what the boat owner has in mind. 这就是典型的一天。我到达时，发现一艘漂亮的木船已基本完工，桃花心木横梁已用砂纸打磨，并用粘布擦拭干净，准备刻字。我与码头老板讨论了船名和船主的想法。
Mastering the techniques associated with gold and metal leaf is not an overnight process, but a lifelong pursuit. 掌握与金箔和金属箔相关的技术并非一朝一夕的事，而是一项终生的追求。
First, find the center and level where you want the name to be. I roughly sketch the name on the transom with a very small soft piece of chalk. 首先，找准中心点，放平您想要写名字的位置。我用一小块柔软的粉笔在横梁上粗略地勾画出名字。
After 45 minutes, I check the test stroke to see how it is drying. I check the size around the boat, lightly touching the edge of the size with the tip of my knuckle. Sometimes, one part will dry faster, depending on the way heat is blowing and other conditions. 45 分钟后，我检查测试行程，看看干燥情况如何。我检查船周围的尺寸，用指尖轻轻触碰尺寸边缘。有时，某个部分会干得更快，这取决于热风的方向和其他条件。
Sometimes, the boat owners walk through the storage building with over 50 wood boat transoms facing them. This gives the owner several types of styles to consider. I hardly ever have to speak with the boat owners because the marina owner explains, "The artist has been doing these boats a very long time and knows what the name should look like to fit the boat and the owner." I think I've been spoiled. 有时，船主在穿过库房时会看到 50 多个木船横档。这样，船主就可以考虑几种风格。我几乎不需要和船主交谈，因为码头主人解释说："艺术家做这些船已经有很长一段时间了，知道船名应该是什么样子，才适合船和船主"。我想我是被宠坏了。
Spontaneous creation is the best way for me to capture the essence of the name. I rarely use a pattern unless a very detailed logo is required. I enjoy the banter with marina owner Seth Katz as we arrive at a design we both agree on. We are both perfectionists, and he is an expert on classic wood boats. We have broken down many of the traditional style norms. Creative freedom of letter style, color, and materials 自发创作是我捕捉名称精髓的最佳方式。除非需要非常详细的徽标，否则我很少使用图案。我很享受与码头业主塞斯-卡茨（Seth Katz）的戏谑，因为我们能达成一致的设计方案。我们都是完美主义者，而他是古典木船方面的专家。我们打破了许多传统的风格规范。字母风格、颜色和材料的创意自由
To prevent any "holidays," mix a little yellow or white to fast gold size. I prefer a soft brown quill for almost everything. Brush the size on quickly, making sure to cover all of the entire letters as you go. Trying to go back to correct mistake never works well. 为了防止出现 "假期"，在金色的尺寸中混入少许黄色或白色。我喜欢用柔软的棕色鹅毛笔来书写几乎所有字体。快速刷上尺寸，确保在刷的过程中覆盖整个字母。试图回过头来纠正错误，效果永远不会好。
Very softly wipe horizontally side to side with surgical cotton; this flatness levels and brightens the gold. Blow all the gold away from the area. 用手术棉从一侧到另一侧非常轻柔地水平擦拭；这种平整度会使金色更平整、更明亮。将该区域的金色全部吹走。
has led to a fresh new look on the classic wood boats with award-winning results. 为经典木船带来了崭新的面貌，并取得了屡获殊荣的成果。
The next step is to size the numbers. Oh, I always plug into my iPod to screen out any interruptions or distractions. Here's a tip: You may want to brush a stroke of size on the transom so you can touch to see if the size is ready to guild. You can wipe it off later. Now, wait for the size to set up, 45 minutes to an hour and a half depending on conditions. I set up my gold-leaf cotton velvet and colors for outlining and shading. Now, it's time to go fishing. Don't rush the size: too early and you could burnish though the gold; too late and the burnishing will be harder to do. I use fast size because I want to finish the gold and shadow by lunch. I'll return to outline the lettering and numbers and then head home. 下一步是确定数字的大小。哦，我总是插上 iPod，以屏蔽任何干扰或分心。这里有一个小窍门：您可能需要在横梁上刷上一笔尺寸，这样您就可以用手摸一摸，看看尺寸是否准备好了。稍后可以擦掉。现在，等待浆料凝固，根据情况需要 45 分钟到一个半小时。我准备好了金箔棉绒和颜色，以便勾线和着色。现在，该去钓鱼了。不要急于确定尺寸：太早，你可能会把金箔烧焦；太晚，烧焦就更难了。我使用快速尺寸，是因为我想在午饭前完成金色和阴影。我将回去勾勒字母和数字的轮廓，然后回家。
Below: For a block letter, you need to use a mask to open one section at a time. I use the papers from the gold to make a quick, handheld mask. Don't get too fussy; focus mostly on the 45 -degree changes. Keep it simple-the brain completes the illusion. Don't forget that the size is drying. You can go back to adjust later. 下图：对于正楷字母，您需要使用遮罩一次打开一个部分。我用金色的纸张制作了一个快速的手持遮罩。不要太挑剔，主要关注 45 度的变化。保持简单，让大脑完成幻觉。别忘了尺寸是干的。您可以稍后再回去调整。
Above and below: To do this directional burnish effect for script style letters, simply follow the letters in the same direction as if the cotton or velvet was the brush. 上图和下图：要为楷体字母制作这种定向抛光效果，只需沿着字母的相同方向，就好像棉花或天鹅绒是笔刷一样。
Back at the site, I check the size until I'm sure it has set up to a (medium dry tack for directional burnish) dryer tack for engine turning. The right tack is most important; practice and experience are the keys. 回到现场后，我会检查尺寸，直到我确定它已经凝固到（用于定向抛光的中等干粘度）用于发动机转向的较干粘度。正确的粘合剂是最重要的；实践和经验是关键。
Using W&B 23kt XX Deep Gold Leaf Patent, carefully apply the gold and try not to leave sharp edges where the gold sheet ends in the middle of a letter. You need to move fast so the rest of the size is not too dry. This is why I have all my materials ready to go. Check to see if you have all the size covered after each letter-move your head side-to-side. Everyone who does gold work says, "Never touch the gold!" I lightly tap the gold with the CLEAN, DRY heal of my hand to set the gold. Gold collects there and sticks to any holiday. Lightly brush off all the excess gold with a very soft brush or surgical cotton sheets. 使用 W&B 23kt XX 深金箔专利漆，小心地涂抹金箔，尽量不要在字母中间的金箔末端留下锋利的边缘。您需要加快速度，以免其余部分太干。这就是我准备好所有材料的原因。每完成一个字母后，都要检查一下是否覆盖了所有的尺寸--左右移动一下你的头。每个做金饰的人都会说："千万不要碰金子！"我用干净、干燥的手掌轻轻拍打金子，让金子定型。金子会聚集在那里，粘在任何节日上。用非常柔软的刷子或手术棉片轻轻刷掉所有多余的金子。
You can do directional burnishing in a few ways, depending on the dryness of the size and the style of the lettering. If the size is soft enough, you may get the directional effect with the cotton. If the effect is not bold enough, use a soft pad of velvet from the W&B 23kt XX Gold Leaf Patent. If you're lucky, you might find old velvet from an antique thrift store. Modern velvet is harsher and will give a bolder effect. 您可以根据尺寸的干湿度和字母的风格，用几种方法进行定向烫印。如果尺寸足够柔软，可以用棉布获得定向效果。如果效果不够大胆，可以使用 W&B 23kt XX 金箔专利中的柔软绒垫。如果幸运的话，你可能会在古董旧货店找到旧天鹅绒。现代天鹅绒比较粗糙，会带来更大胆的效果。
SHADOWS 阴影
One of the most dramatic effects that you can add to a lettering job is shadowing. Done right, it makes the letters seem to pop off the surface. Lay out the shadow with chalk, just a few dots where you want the shadow to be. When I draw a landscape or anything else, I draw a sun or lightbulb where the light source is coming from to obtain the correct perspective. Don't draw the shadow too heavy because you will go over it as you paint the shadow. 在刻字过程中，最引人注目的效果之一就是阴影效果。如果处理得当，它能让字母看起来跃然纸上。用粉笔画出阴影，只需在你想要阴影的地方画上几个点。当我画风景或其他东西时，我会在光源的地方画一个太阳或灯泡，以获得正确的透视。不要把阴影画得太重，因为你在画阴影时会把它覆盖掉。
The varnish shading mixture I use for shadows is made with the Captain's Varnish the marina uses. You can use clear enamel as well. I mix about a quarter of the cup with varnish in a 3-ounce unwaxed flat bottomed paper cup. Mix in a few drops of 1 Shot Tinting Black and a few drops of 1 Shot Chromatic or Ronan blue transparent base. If you can't find them, use just two drops of 1 Shot Brilliant Blue. 我用于阴影的清漆混合物是用码头使用的船长清漆制成的。您也可以使用透明瓷漆。我在一个 3 盎司的无蜡平底纸杯中混合约四分之一杯的清漆。再滴入几滴 1 Shot Tinting Black 和几滴 1 Shot Chromatic 或 Ronan Blue 透明底。如果找不到，可以只用两滴 1 Shot 亮蓝。
Test the mixture on an UNSANDED part of the boat to see how dark you want the shade to be. If you test it on the sanded surface, it will look very different; plain varnish looks dark on the sanded surface. Adjust the mixture by adding more varnish if it's too dark. I prefer a subtle lighter shade. Don't forget how the brain completes the rest of the illusion. 在船上未打磨的地方测试混合物，看看你想要的颜色有多深。如果在打磨过的表面上测试，效果会很不一样；普通清漆在打磨过的表面上看起来很暗。如果颜色太深，可以添加更多清漆来调整混合物。我更喜欢微妙的浅色调。不要忘了大脑是如何完成幻象的其余部分的。
Here we see examples of shadow effects with different styles of leaf lettering. 在这里，我们可以看到不同风格的叶形字母阴影效果示例。
The shadowing mixture should not look blue. If you are working on a lighter wood, make a lighter mixture. 阴影混合物看起来不应该是蓝色的。如果是在浅色木材上施工，混合物的颜色要浅一些。
After you get used to shadowing and you know how to use the color wheel, you may try it on colored surfaces by mixing complementary colors for your shadows. 当你习惯了阴影并知道如何使用色轮后，你可以尝试在彩色表面上使用阴影，为阴影混合互补色。
OUTLINING AND FINISH DETAILS 勾线和饰面细节
After I return from lunch, the shadow and everything else is dry to the touch but still soft. 吃完午饭回来后，眼影和其他东西都已经干透了，但手感依然柔软。
I use the AJ "Extreme Liner" brush I made specifically for outlining gold leaf where long lines are needed. For reducer, I use turpentine, as it seems to flow and palette well. Always have a clean pad of cotton and isopropyl alcohol in a squirt bottle at the ready for any mistakes. The gold leaf is bare and will be ruined if the paint lands where it shouldn't. The safest method is to come back and finish after a coat of varnish has been brushed over the lettering. 我使用 AJ "Extreme Liner "画笔，这是我专门为勾勒需要长线条的金箔而制作的。对于还原剂，我使用松节油，因为它看起来流动性和调色性都很好。随时准备一块干净的棉垫和装在喷壶里的异丙醇，以防出错。金箔是裸露的，如果颜料落在不该落的地方，就会毁掉金箔。最安全的方法是在字母上刷一层清漆后再回来完成。
I have a lot of patience, but it doesn't last long. I take the chance to finish the outlining while it is still wet. 我很有耐心，但这种耐心持续不了多久。我趁机趁湿完成了勾线。
After the outline is finished, you might have fun adding a few subtle highlights on the outline on the opposite side of the shadow to enhance the illusion. I use my Alan Johnson Signature brushes made for these little finishing touches. 完成轮廓描绘后，你可以在阴影反面的轮廓上添加一些微妙的高光，以增强错觉效果。我使用的艾伦-约翰逊签名画笔就是为这些小修饰而设计的。
I hope you were inspired and will enjoy mastering these techniques. 希望您能从中受到启发，并喜欢掌握这些技巧。
REVERSE GLASS AND WATER GILDING 反向玻璃和水镀金
Reverse glass gilding is an advanced skill that is practiced by a handful of master artisans. The proper term for this technique is water gilding. The steps are completely reversed from surface gilding and the tools and steps in the process are just as unique. There are incredible books on this subject, which are worth a read even if you never try this technique. 玻璃反面镀金是一种高级技艺，只有少数工艺大师才能掌握。这种技术的正确术语是水镀金。其步骤与表面镀金完全相反，工艺中的工具和步骤也同样独特。有很多关于这方面的书籍，即使你从未尝试过这种技艺，也值得一读。
If you have an interest in learning this artisan skill, there are a few of classes available within the International Letterhead community. But since it is almost a lost art, only a few old master guilders are teaching this craft these days. 如果您有兴趣学习这门技艺，国际信笺界有一些课程可供学习。不过，由于这门技艺几乎已经失传，如今只有少数几位老行头大师在教授这门技艺。
My friend, Pat Minervini, traveled to the United Kingdom to study advanced glass techniques and water gildings under the tutelage of Dave Smith, a fellow Letterhead. Upon Pat's return to Colorado, he designed and created two 18th century-style bracket clocks. 我的朋友帕特-米纳维尼（Pat Minervini）曾前往英国学习先进的玻璃技术和水镀金工艺，师从信笺同好戴夫-史密斯（Dave Smith）。帕特回到科罗拉多后，设计并制作了两个 18 世纪风格的托架钟。
The cabinets feature construction of American Black Walnut and 100-year-old recycled North Carolina heart pine using period-correct brasses, locusts, sand cast hinges, and escutcheons. Other details include hand-dovetailed joinery with a hand-carved rosette and swan neckband, with handturned gold leaf and fluted columns. 橱柜采用美国黑胡桃木和有 100 年历史的北卡罗莱纳州回收心松，并使用了符合时代特征的黄铜、槐木、砂铸铰链和擒纵叉。其他细节还包括手工榫接、手工雕刻的玫瑰花纹和天鹅颈带、手工金箔和凹槽柱。
The clock face incorporates traditional reverse glass techniques that include brilliant cutting and polish, acid etching, damar varnish, abalone and mother of pearl inlay, handpainting, and water and oil gilding in 12-karat and 23-karat gold leaf. 钟面采用了传统的反向玻璃工艺，包括亮光切割和抛光、酸蚀、达玛清漆、鲍鱼和珍珠母贝镶嵌、手绘以及用 12K 和 23K 金箔进行水和油镀金。
Pat's handmade hardwood tools are used for spinning and directionally burnishing aluminum, variegated, and gold leaf. The spinners can be used in a drill or by hand between your fingers. 帕特的手工硬木工具用于旋转和定向烧制铝箔、杂色箔和金箔。旋转器可以在钻孔机中使用，也可以用手夹在手指间使用。
Pat wanted to share what he experienced and learned as a result of attending the Letterhead event where we met: "Four years ago, I decided to seek out Alan at a Letterhead getaway in Colorado. My objective was to meet a fellow 'Jersey boy' and see what I could learn about the art of pinstriping. That event opened me up to an amazing world and a world of possibilities that most likely would not have happened if Alan had not taken time for this 'newbie.' 帕特想与大家分享他参加信头活动的经历和收获："四年前，我决定在科罗拉多州的一次信头活动中寻找艾伦。我的目的是认识一位'新泽西男孩'，看看我能学到什么关于细条纹艺术的知识。那次活动为我打开了一个奇妙的世界和一个充满可能性的世界，如果不是艾伦花时间帮助我这个'新手'，我很可能不会遇到这样的事情。
"I have been humbly included to participate in panel jams and other events here in the States. I soon became intrigued by the process of gilding and gold leaf; Alan encouraged me to venture off to England and take a class with David Smith. I continue to be inspired with the knowledge I brought back with me from that four-day study of brilliant cutting, glass embossing, and reverse glass gilding. "在美国，我曾谦卑地参加过镶板拼接和其他活动。我很快就对镀金和金箔工艺产生了浓厚的兴趣；艾伦鼓励我冒险前往英国，参加大卫-史密斯的课程。在为期四天的学习中，我学到了绚丽的切割、玻璃压花和反向玻璃镀金工艺，这些知识让我不断受到启发。
"I suspect my point here is, by sharing skills, knowledge, and many successful years as an artist and master pinstriper with this newbie, AJ significantly made a difference in my life. "我想说的是，通过与这位新手分享技能、知识以及多年来作为艺术家和针刺大师的成功经验，AJ 给我的生活带来了巨大的改变。
"Hopefully, I can do the same as I continue to work and learn. Thanks, AJ." "希望在我继续工作和学习的过程中，我也能做到这一点。谢谢你，AJ"。
Glue chipped panel background, water gilded with 23k loose gold. Airbrushed reverse border with pinstriping on the front of the glass. 胶裂的面板背景，用 23K 散金进行水镀金处理。气刷反面边框，玻璃杯正面有细条纹。
Reverse glass gilding, mid process on the window of an art gallery in Colorado. 科罗拉多州一家艺术画廊橱窗上的反向玻璃镀金中期工艺。
Finished door showing 23-karat and 12-karat gold, copper, and variegated leaf, spun and burnished to create light refracting effects all backed up with black enamel paint. 成品门展示了 23K 和 12K 金、铜和杂色叶片，这些叶片经过旋转和抛光处理，可产生光线折射效果，并以黑色珐琅漆作为衬托。
Glue chipped panel background, water gilded with 23k loose gold. Airbrushed reverse border with pinstriping on the front of the glass. 胶裂的面板背景，用 23K 散金进行水镀金处理。气刷反面边框，玻璃杯正面有细条纹。
WALLDOGS 沃尔多克
"Walldog" is an old term for the sign painters who paint giant advertisements high up on walls, billboards, and water towers. It is very dangerous work. Typically, the brush used on a wall is a fitch. A fitch has stiffer bristles to compensate for rough surfaces. In rural areas, barn sides make a good background for painted advertising, the most prominent campaign being Mail Pouch Chewing Tobacco that ran from 1891 to 1992. "Walldog "是一个古老的术语，指的是在高墙、广告牌和水塔上绘制巨幅广告的招牌油漆工。这是一项非常危险的工作。通常，在墙上使用的刷子是菲奇刷。菲奇刷的刷毛比较硬，可以适应粗糙的表面。在农村地区，谷仓边是绘制广告的良好背景，最著名的广告是 1891 年至 1992 年期间的 "邮袋咀嚼烟草"。
An International Walldog Festival can draw hundreds of artists to join in the fun of sharing, learning, and painting with old Walldog masters. The first step of a successful meet, after the location and subject are chosen, is connecting with a local sign painter to coordinate with other artists to design the murals to be painted. Then, the designs are approved, the date is set, and international invitations go out to all artists interested in participating. Once people arrive, the painting begins feverishly so the murals can be completed in just two or three days. 国际华尔道格犬节可以吸引数百名艺术家参加，与华尔道格犬大师们一起分享、学习和绘画的乐趣。在选定地点和主题之后，成功聚会的第一步是与当地的标志画家联系，协调其他艺术家设计要绘制的壁画。然后，设计得到批准，日期确定，并向所有有兴趣参加的艺术家发出国际邀请。艺术家们到达后，便开始热火朝天地绘制壁画，以便在短短两三天内完成壁画。
Somewhere during the summer, you can find a Walldog meet that includes Letterheads, pinheads, Walldogs, friends, and families painting a town somewhere in this country. I've had the pleasure of traveling all over this country and the United Kingdom painting beautiful murals on walls with my good friend Bill Riedel. It's not too easy to explain these events, but if you want to experience it, just go to one. Check out thewalldogs.com for more information. 在夏天的某个地方，你会发现一个 Walldog 聚会，包括信头、针头、Walldogs、朋友和家人，在这个国家的某个小镇上作画。我曾有幸与好友比尔-里德尔（Bill Riedel）一起走遍英国和美国，在墙上绘制美丽的壁画。要解释这些活动并不容易，但如果你想体验，就去参加一次吧。更多信息，请访问 thewalldogs.com。
Wall murals from small ... to very, very large. 墙壁壁画从小到大......应有尽有。
AFTERWORD 后记
By Roger Morrison 罗杰-莫里森
I: my opinion, a great pinstriper is like a sensitive piano accompanist for a solo vocalist. The pianist supports and enhances the soloist's performance without calling undue attention to him or herself. As a consummate pinstriper, Alan Johnson enhances and complements the design of the automobile without calling undue attention to the actual pinstriping. In both the musical and automotive examples, the sum of the two parts working together is greater than the whole. 我：在我看来，一名优秀的弹奏者就像是独唱歌手的钢琴伴奏。钢琴伴奏支持并提升独唱者的表演，同时又不会让人过分注意到他或她自己。作为一名精湛的细条纹设计师，艾伦-约翰逊既增强和补充了汽车的设计，又不会让人过分关注实际的细条纹。在音乐和汽车这两个例子中，两个部分共同作用的总和大于整体。
Because of his quiet and unassuming nature, Alan's name may not be as widely known as other practitioners of the delicate art. No bizarre antics, tantrums, or tirades. Happily, his focus, energy, and talent flow from his brush rather than from his mouth. Also unlike some artists, Alan is a willing and proactive teacher. I have seen him personally encourage young pinstripers at auto shows. 由于他沉默寡言、不善言辞，艾伦的名字可能不像其他精湛技艺的从业者那样广为人知。没有怪异的滑稽动作、脾气或咆哮。令人欣慰的是，他的专注、活力和才华都来自于他的画笔，而不是他的嘴巴。与某些艺术家不同的是，艾伦还是一位积极主动的好老师。我亲眼看到他在车展上鼓励年轻的细条画师。
Those of us fortunate enough to either see or own a car pinstriped by Alan enjoy the great benefit of witnessing the work of a genuine master. 我们这些有幸看到或拥有一辆由艾伦制作细条纹的汽车的人，都能亲眼目睹一位真正大师的作品，受益匪浅。
It is my great good fortune to call Alan a friend. I have willingly and happily turned several cars over to him for the pinstriping, saying, "Use your own good judgment." In each case the result was more than I could have conceived and better than I could have imagined. 我很幸运能与艾伦称兄道弟。我曾心甘情愿地把几辆车交给他做细条纹，并对他说："你自己好好判断吧"。每次的结果都超出了我的想象，比我想象的还要好。
Readers of this seminal instruction book have the opportunity to embark on an exciting new time of self-discovery and skill-building. As you delve into this book, I know you will be challenged and inspired. 这本开创性指导书籍的读者有机会开始一段令人兴奋的自我探索和技能培养的新时光。当你深入阅读这本书时，我知道你会受到挑战和启发。
