In a swirling sea of leading brands, the "original recipes" are the most likely to survive. Now couldn’t the same be said about flames? Let’s face it, the oldest custom paint trick in the book has outlasted many a trend over the years. Does anyone remember graphics in pastel pinks and purples? Well, that’s over and even the trendsetters of that era (at least the ones I’m acquainted with) are back on track with a whole new appreciation for the longer lasting basics, like scallops and flames, not tribal flames or ghost flames, but flames in traditional hot hues as our earlier influences intended ’em to be--the way we learned our licks.
Here we will demonstrate a time-tested basic approach to a sort of ’60s-style flame job. We’ll begin our symmetrical layout with tape, not with crayons as you’ve surely seen before. Our layout will flow with the curvatures of our canvas, our blends will be smooth, and although we do have unlimited access to a state-of-the-art spray booth nearby, we’ll do this job in our dimly lit garage--for you. This is for the hobbyist or first-time flamer.
During the course of this seminar, we will not expound upon materials used, as materials are ever-changing depending partly upon your locality. By the time you’ve studied the following how-to, the materials we’ve used (leftovers in this instance) may already be obsolete, and/or unavailable where you live. More than anything, this is about the technique. With a little luck, maybe we can get you started right. If we can save just one poor ol’ truck from another truly bad flame job--mission accomplished. CCT
First we needed a canvas....
First we needed a canvas. Our friend, Ken, has been wantin’ us to flame his ol’ panel anyway, so he finally got the call he’s been waitin’ for. The existing finish ain’t pretty, but it passed the tape test, so we’re crossin’ our fingers it’ll stay put while we create the following ‘three alarm’ distraction.
Worn, weathered, whatevered,...
Worn, weathered, whatevered, it’s best to treat them all the same. We won’t begin this project ’til she’s clean, so Ken got to scrubbin’ on her bulbous body outside. We’ll take the sterilization several steps further after necessary disassembly. This might even be fun.
Here, Ken (left) and Mrs....
Here, Ken (left) and Mrs. Rotten (right) get to removing the hiccups, which would get in the way. The ol’ girl practically fell apart (is that good?) by herself, and in a matter of minutes, she was ready for further chemical cleaning with grease and wax remover.
This is what $52.03 worth...
This is what $52.03 worth of high-quality masking tape looks like – that’s after our discount at our favorite paint store. Notice how the 1/8-inch (top left) looks old and overheated? I should have noticed that at the time of purchase; it’s well beyond its expiration date.
Who’ll do the layout? We found...
Who’ll do the layout? We found this guy hangin’ out in front of the paint store so we thought we’d give him a chance. With a centerline established, we’ll work from front to back down one side only, using mostly ¼-inch tape, with 1/8-inch tape where the turns get tight.
Several hours later, we have...
Several hours later, we have a layout. For a layout of this size, 1½-inch tape works well for fillin’ the gaps, with ¾-inch tape as a necessary backup. See that tape ball stuck above the driver’s door? That’s the waste. Considering the amount on the canvas, it ain’t half bad.
Not only is the layout the...
Not only is the layout the most important part of any flame job, it’s also the most fun part to do. If you try this at home, work with the lines the body already has, don’t fight ’em or disregard ’em. It’s important that your flames flow with the lines of your canvas.
You might say “real flames...
You might say “real flames don’t burn symmetrical.” However, if you say that around here, we might assume you’re just lazy and unwilling to work for a symmetrical layout. A big flame job is a big job either way. Your layout is important, so no symmetry excuses here.
Once satisfied with our layout...
Once satisfied with our layout on the A-side, we cut patterns (in exact shapes of each panel) from 36-inch masking paper and firmly tape ’em in place over the layout. A vigorous Richter scale motion with a Stabillo pencil will create the needed guidelines for the next step.