Badger Basket Crescendo 175 User manual

MODEL 175™
BOTTOM FEED,
DUAL ACTION,
INTERNAL MIX
INSTRUCTION
BOOK

1
We at Badger Air-Brush Co. are extremely proud of
our people and our products. Our continued growth
and success is based upon stressing quality and
craftsmanship in the manufacture of our products. At
Badger Air-Brush Co. there is a sense of pride and
dedication to you that extends throughout our entire
organization.
Each airbrush is carefully machined, inspected, and
assembled by hand, then tested in actual use to be
sure it matches Badger’s high standards of quality.
This dedication to excellence enables us to stand
behind all of our products and offer the following
warranty on all of our airbrushes.
CAUTION Read instructions for proper care in handling and operation. Use in well ven-
tilated area to remove fumes, dust or overspray. Always read and follow Cautions and
Warnings on materials being sprayed. See back page for further information.
INTRODUCTION
The Model 175™bottom feed is among the most
versatile of airbrushes. It permits great flexibility in
regulation of color and air without work stoppage.
Different size spray regulators, tips and needles are
quickly interchangeable to allow greater diversity in
materials and coverage. It is used by Fine Artists, T-
Shirt Artists, Illustrators, Fabric Designers, Custom
Automotive Painters and Professional Model Makers.
It can spray properly reduced artist acrylics, acrylic
enamel and lacquers, gouache, fabric colors, inks and
dyes, ceramic colors and glazes, water colors and of
course, Air-Opaque™, Air-Tex™, and ModelFlex™
paints.
SPRAY CHARACTERISTICS OF HEAD ASSEMBLIES
OF INTERNAL MIX AIRBRUSHES:
• Fhas the smallest opening for extra fine detailing. It
is designed for use with materials of a low viscosi-
ty–very thin acrylics, water colors, inks and dyes.
• Mhas a medium opening for fine detailing. It will
spray approximately twice the amount of materials as
the F. This head will handle such viscosities as fabric
paints, thinned down acrylics, gouaches, hobby lac-
quers, enamels, etc.
• Lhas the largest opening and will spray approxi-
mately four times the amount of fluid as the F. The L
is designed to be used with materials of higher vis-
cosity–automotive paint, ceramic glazes, acrylics, etc.
Only Model 175-7 contains all three head assemblies.
TO OPERATE
1) Attach hose to air supply (CO
2
tank, compres-
sor or aerosol propellant can) then holding air
hose in hand, attach airbrush to air hose by
gently turning in clockwise motion on to fit-
ting. Tighten air hose snugly into place.
2) When air is regulated, pressure should be
between 15 to 50 p.s.i. Normal operating
pressure is 30 p.s.i. We recommend a pres-
sure gauge (No. 50-054) and/or water trap
(No. 50-051) in conjunction with compressor
where humidity is a problem. A compressor
or CO
2
tank is more practical for larger jobs
and prolonged spraying.
3) To attach jar or color cup, insert stem from jar
into hold located in bottom of airbrush near
head. Insert the stem into the airbrush and give
a 1/4 counter clockwise.
READ INSTRUCTIONS CAREFULLY BEFORE OPERATING
WARRANTY
Your Badger airbrush is warranted against all
manufacturing defects of both material and
workmanship for a period of one year from the
date of purchase. Any part or material that is
defective or worn so as not to be useable within
this period will be repaired or replaced at our
expense. This warranty does not cover damage
caused by negligence, accident or units which
have been abused or altered in any way. The
PTFE needle bearing carries a lifetime warranty
and free replacement.

2
CRESCENDO™REPLACEMENT PARTS/MODEL 175™
turn. This will snug your jar (bottle) or color
cup assembly in place. To remove, pull down
and rotate jar (or cup) assembly counter
clockwise again.
4) When the trigger of the airbrush is depressed
air is released. As the rigger is drawn back
(while still depressed) fluid is released. The
further the trigger is pulled back, the larger
the volume of pain if sprayed. A fine line or
small dot is achieved by working very close to
the work surface with the trigger drawn back
slightly. A broad pattern is achieved by moving
the airbrush away from the work surface and
pulling the trigger all the way back. The proper
triggering of the airbrush is down for air move-
ment, back for paint flow, and forward to stop
paint flow and up to stop the air.
No.
1Protective Cap 41-025
2 Spray Regulator 41-033 F 41-034 M 41-035L
3 Head 41-023
4 Tip 41-003F 41-004 M 41-005L
5Shell-includes needle bearing 41-015
6Trigger 41-018 Straight
7Trigger Pad 51-087
8Back Lever 41-013
9Handle Adaptor
10 Handle, Quick Disconnect
11 Needle Tube 41-016
12 Tube Shank 41-014
13 Spring, needle tube 41-026
14 Spring screw 41-039
15 Needle chuck 41-017
16 Needle 41-006F 41-007M 41-008L
17 Valve Assembly 50-036 Complete (18, 19, 20, 21,22)
18 Valve Casing 50-013
19 “O” Ring for Plunger 50-0141
}41-021
20 Plunger-includes “O” ring 50-014
21 Plunger Spring 50-020
22 Valve Screw 50-015
23 Fastblast Adaptor (all plastic) 50-208
24 Gasket 50-0241
25 1/4 oz. Color Cup 50-0482
27 3/4 oz. Jar & Cover 50-0052
28 2 oz. Jar & Cover 50-0053
30 Braided Air Hose 50-2011
†Hose can be used with compressor fitting
or propel valve.
32 Moisture Trap, in line 50-2014 (optional)
33 Recoil Air Hose 50-4011 (optional)
34 Badger Brush to Paasche Air line adaptor 50-090
(optional)
35 PTFE Needle Bearing 41-012
*PTFE Needle Bearing carries a Lifetime Warranty and Free
Replacement at the Factory only.
1234
5
6
7
8
910
15
14
13
12
11
17
16
19
18
20
22
21
23 24
25
27
28
30†
32
33
34
*35

3
SURFACE
START PRESS PULL KEEP STEADY MOVE RELEASE FOLLOW
MOTION TRIGGER TRIGGER MOTION TRIGGER TRIGGER THRU
HERE DOWN BACK AND SPRAY FORWARD MOTION
DON’T ARC
If airbrush motion in uneven,
paint finish will be uneven.
SURFACE
BUILD-UP
ARCING MOTION
THE MOST
COMMON
PROBLEM
Runs and sags
are caused by
one or more of
the following
errors.
1. “Freezing” or forgetting to release trigger at the
end of the stroke.
2. Holding airbrush still or moving too slowly.
3. Holding airbrush too close to surface.
LEARN TO TRIGGER
Best results are achieved by a good constant motion. Start motion before pressing trigger, follow through
motion after releasing trigger. Do not hesitate while spraying or you will create what is called the Barbell
Effect. See Figure 3 pg. 9.
Careful cleaning and maintenance of your airbrush
is essential if it is to continue to work effectively.
The small passages inside the airbrush can become
blocked easily by dried paint if the airbrush is not
cleaned after each use. If there is still a useable
amount of color in the color cup or reservoir when
you have finished spraying, pour the remainder
back into the original paint bottle. Operate the air-
brush, spraying on a scrap piece of paper until the
color is gone and only air is sprayed. Take a clean
color cup or jar full of appropriate cleaner. Insert it
into the airbrush, spray some cleaner through the
airbrush at broad and small patterns until it comes
out colorless. After removing color cup or jar, turn
brush upside down and press trigger. This will
remove any material still in the brush. Always clean
the airbrush every time you finish spraying as some
types of paint can dry remarkably fast, and may
cause your airbrush to clog if not cleaned properly.
Another method of cleaning the airbrush is back
flushing using a closed container such as a jar
assembly. Take a soft cloth and cover the spray reg-
ulator–depress and pull back on the trigger (6). This
will cause back pressure which induces a bubble
action inside the airbrush and in the container
which helps to clean the fluid passages. Never use
an open color cup for this procedure as color will
blow out. Take away the cloth and spray and repeat
this procedure several times. After this is done you
should remove the needle for cleaning.
If the paint is allowed to dry inside the airbrush you
may not be able to dissolve it with clean water.
Cleaning with solvent is the next step. If cleaning
MAINTENANCE AND CLEANING OF YOUR AIRBRUSH
with solvent does not dissolve the blockage, you
will have to disassemble the airbrush, by first
removing the needle and then the head. Soak the tip
in warm soapy water or appropriate solvent for ten
minutes. Then take a tooth pick and gently remove
the dried paint from inside the fluid tip. This
procedure may have to be repeated. Be careful
during disassembly not to lose any small parts.
Replacing the Tip
1) Remove Handle (10) by unsnapping the quick
disconnect handle, (See figure 1). Loosen Needle
Chuck (15) and withdraw Needle (16) about one
inch. If the needle is stuck–see “Removing the
Needle,” step 7. If the Needle Chuck (15) is too
tight and the Tube Shank Assembly turns,
unscrew the Handle Adaptor (9). Hold the Tube
Shank (12) between your fingers and loosen the
Needle Chuck counterclockwise.
2) Unscrew the Spray Regulator (2) Unscrew Head
(3). See Manufacturer’s Note Below.
3) Remove tip (4) from body. If tip is lodged in the
head (3), place the tip in angled hole at end of
handle (9) and gently press the tip out of the
head. See figure 2.
MANUFACTURER’S NOTE: Although the nozzle and
needle assemblies of this airbrush are manufactured
to easier maintenance “finger tight” tolerances, the
initial removal of some components may require the
use of a small pliers. If a pliers is necessary for
initial component disassembly, just finger tighten it
when reassembling and the pliers should not be
required for assembly/disassembly thereafter.

4
4) Make sure that no paint is located on the angled
portion of the shell (5) where the tip rests (4) or
on the paint tip itself. The dried paint can cause
misalignment of the tip and a poor spray pattern
may develop. It may also allow air to enter into
paint passage and cause a pulsating spray. Clean
this dried paint with a soft bristle brush or cotton
tip swab.
5) New tip (4) can then be placed into position in
airbrush shell (5), tighten head (3) and screw on
spray regulator (2)–place needle (16) to forward
position and tighten needle chuck (15). Do Not
Overtighten. It is normal to have a small space
between the head and the body. Replace the
quick disconnect handle (10).
Removing or Replacing the Needle
It is not necessary to completely disassemble the
needle assembly.
1) Remove the quick disconnect handle (10) from
the back of the airbrush. See figure 1.
2) Turn the needle chuck (15) counter-clockwise.
3) Draw the needle (16) out and wipe it clean. (If
stuck, see step 7).
4) Care should be taken that the needle point is not
bent. A bent needle will damage the tip (4) and
cause a rough spray pattern. If bent or damaged
replace needle.
5) Slowly glide the needle (16) into the airbrush
while holding the trigger (6) in place, until the
needle stops. Do not apply pressure or force the
needle.
6) Once the needle is in position, tighten the needle
chuck (15), replace handle (10).
7) If in step 3 the needle (16) is stuck in the air-
brush, carefully grasp the end of the needle with
a pair of pliers and twist in a counter-clockwise
direction to release the needle and remove.
8) Inspect the hardened paint, which causes the
needle to bind. If there is a residual stain on the
needle, it can be polished off using a pink eraser.
Hold the needle flat on a worktable. Run the pink
eraser slowly by rolling it towards yourself and
repeat the process. Be careful not to be bend the
tip. Remove all eraser particles by running the
needle between your thumb and forefinger.
Repeat steps 4 through 6.
Spray regulator (2) should be cleaned using a soft
bristle brush. Insert into the cavity of the spray reg-
ulator and rotate until the paint is removed.
A bent needle (16) will prevent you from airbrush-
ing a fine line and will cause an erratic direction of
spray. A bent needle does not always have to be
discarded. Place the needle on a firm surface at the
angle of the tip. Straighten the bent needle by run-
ning your fingernail across it on a firm surface while
you turn the needle slowly. Run your fingernail from
the body of the needle outwards toward the tip.
Trigger Tension
Your airbrush has been set with maximum trigger
tension. To adjust for less tension, turn the tube
shank (12) counter clockwise to the desired ten-
sion. If the tube shank is backed up to where it is
touching the needle chuck (15) it will begin to move
the needle (16) back. If this occurs the needle will
not be set properly and paint will come out when
the trigger is depressed.
Removing the Tube Shank Assembly, Trigger and
Back Lever
1). Remove handle,
loosen the needle
chuck (15), with-
draw needle (16).
Remove trigger
(6), unscrew tube
shank (12)
assembly.
Removing the Tube Shank Assembly, Trigger and
Back Lever
Figure 1
3). To reinsert
trigger, pull back
on winged back
lever and insert
trigger into place.
Make sure the
trigger is properly seated. After inserting trigger,
insert needle by gently pushing forward with index
finger until needle stops at the paint tip, tighten nee-
dle chuck (15), and replace handle (10) (19).
2). Insert winged back lever (8) into
“T” slot at top of airbrush body and
move forward (fig 1). Make sure back
lever is behind the
air chamber (as
shown in fig 2).
Screw in tube
shank and entire
assembly.
TOP VIEW

5
Prepare the object to be painted, masking off any
area that should not be painted (be sure object is
clean and free of dust, grease, etc.). Small objects
such as models, etc. should be hung or placed on a
pedestal so all areas to be sprayed can be easily
reached (a stand may be fashioned from an ordi-
nary wire coat hanger or bottle etc.). Hold the tip of
the airbrush about 6 inches from the surface. Use
short strokes, moving the airbrush constantly at a
steady rate parallel to the surface. Don’t spray too
PAINTING PROCEDURE FOR THREE DIMENSIONAL OBJECTS
KEEP AIRBRUSH PARALLEL TO SURFACE
This exercise shown in fig. 1, will enable you to
draw straight lines without forming dots or pud-
dles at the beginning and end of each line. This is
triggering again, see page 3. Fig. 2 is parallel line
graduating from narrow to broad. These are made
by releasing more color and at the same time, lift-
ing the airbrush away from the surface. Practice
daily to develop trigger action control. Fig. 3, lay-
out in pencil 1/2 inch squares. Airbrush the dots
as small as possible and connect dots with
straight lines of even tone. Practice every lesson
carefully before proceeding to the next one.
EXERCISE TWO
On a board or paper, lightly pencil in a number of
1/2 inch squares. Hold the airbrush about 1/2 inch
from the surface and spray paint small dots on
the intersecting lines, as shown in fig. 4. Use liq-
uid food coloring. When you are able to place the
dots accurately, begin enlarging the size of the
dots (fig. 5) by allowing more color to flow
through the airbrush. At the same time increase
heavily. Apply a light coat, let dry, then apply
another coat and continue until the desired cover-
age is achieved.
EXERCISE ONE/FREE HAND CONTROLLED EFFECT
FIG. 1 FIG. 2 FIG. 3

6
the distance between the airbrush and the paper or
board. If the airbrush is held too closely to the
paper with the trigger pulled all the way back and
down, “puddles” will form and spread (as in figs. 6
and 7). Aim for accuracy not speed and continue
practicing until you can spray paint any size dot
exactly where you want it. This simple lesson will
give you control of position and density of dots
or shapes you require, which are important for
touch-ups and fill-in work.
MASKING OFF
In the next several exercises you will need to mask off a square area.
Make a mask from 4 pieces of scrap paper (fig. 8). These masks are
held in place by masking tape, keeping the atomized material from
creeping into the margins around the area. When using masks spray
over the edge.
FIG. 9 FIG. 10 FIG. 11
EXERCISE THREE/EVEN TONES
FIG. 8
To accomplish a flat tone, we will airbrush a fine
consistency of paint from left to right at the top of
the taped area. Hold the airbrush about four inches
from the surface of the sheet. Be sure to spray a
portion of the tape so that no light line shows when
the masking tape is removed. Use the trigger tech-
nique on page 3 throughout this lesson. Now air-
brush from right to left, overlapping the previously
airbrushed strokes. Continue down the entire sheet,
trying not to create a line pattern with the airbrush.
Overspray the tape, both right and left and top and
bottom. Begin at the top again and do the entire
page. Repeat the exercise until you reach the
desired smooth coverage of the entire area. Do not
attempt to cover the entire sheet with a heavy tone
at one time. Build the tone gradually (figs. 9-11).
Make sure the work and tape are dry before remov-
ing the masking tape. This should be done carefully
to avoid tearing the surface of the paper it is
adhered to. If your first results are not satisfactory,
repeat the lesson until you are satisfied.
FIG. 4 FIG. 6 FIG. 7 FIG. 5

EXERCISE FOUR/VARYING SHADES
This lesson is similar to the previous one.
This time you will start at the top and gradu-
ally fade into white (fig. 12). Do not fade
abruptly and do not carry the tone further
than 2/3 or 3/4 of the page. Remember, you
must stop your tone shorter each time, since
the overspray will build up. Fig. 13 is a com-
bination of masking and varying shades. The
important thing in this exercise is to train
your eye so that all the small squares have
the same tone value.
FIG. 12 FIG. 13
POSITIVE REVERSE (negative)
TECHNIQUES TO USE
Masking or frisket is used mostly when more
than one color is applied. A new frisket is
cut for each color and covers any area that
should not be sprayed. Badger’s
Foto/Frisket™ Film is specially formulated
for use on all surfaces commonly used for
airbrushing.
For contour masking (models, ceramics,
etc.) use masking tape, scotch tape or
Foto/Frisket™ Film and cut to desired
shape. Make sure the edges are pressed
firmly against surface to prevent underspray.
STENCILS
Stencils are used when a design needs to be
duplicated, as in posters and decorating.
Cut from stiff paper, FOTO/FRISKET™ FILM
or NO-TACK Stencil Film, hold the stencil
firmly in position and spray starting with the
edges and work inward. A reverse stencil
can also be used, spray along the stencil
edge.
A flat surface mask can be cut from
Foto/Frisket™ Film. For a sharp edge, hold
the mask flat in position. For a softer edge,
elevate the mask slightly by resting on a
ruler or other flat object.
7

8
EXERCISE FIVE/THREE EFFECTS USING MASKS OR FRISKETS
Rendering these basic forms will provide instruc-
tion and sequence in shading these shapes, which
comprise all of the shapes you will encounter.
Combinations of these forms make up all of the
various products, etc. In airbrushing these
shapes, it is a general rule to have the light source
coming from the upper left hand corner at about a
45 degree angle.
CUBE Make a line drawing lightly about twice the
size of the above illustration. Cut a frisket for the
outline and dividing lines of the separate sides. At
this time remove the frisket from the side farthest
from the light source. Gradually airbrush a tone
from the upper left corner to the lower right hand
corner. Repeat the gradual dark tone as neces-
sary, then remask the finished side and start the
other sides until the desired effect is achieved.
CYLINDER Note how the light varies on the cylin-
der and makes the top flat surface different from
the curved area. The frisket is cut along the
curved line and while the top is masked, the side
is sprayed. Then the side is masked and the top is
sprayed.
Only practice will enable you to know how dark to
paint one side of the subject while the other is
masked.
CONE Again cut a frisket of a cone shape. Remove
the cone shape from the frisket. Start airbrush
action from the top. Paint and flair slightly
towards the curved base. Repeat the action on the
right side until you achieve the tapered appear-
ance as illustrated above.
SPHERE Place a frisket on the board making sure
the remaining portion of the board is not exposed
to airbrushing overspray. Use a compass knife
and cut your circle and remove. Gradually air-
brush lightly around the entire edge of the circle
in a curved, rocking, back and forth motion. Next,
start from the bottom right hand portion of the
circle and airbrush upwards towards the center
not quite reaching the center. Allow a high lighted
circular portion of the sphere near the upper left
hand portion. Continue until the sphere takes on a
three dimensional appearance.

9
TROUBLESHOOTING YOUR AIRBRUSH
1) Grainy spray. Caused by paint being too thick.
Add thinner sparingly to the mixture and check the
needle and regulator tip for dried paint. Also check
the air supply to make sure airbrush is being operat-
ed at the proper pressure.
2) Buckling paper. Paint may be too thin or you
may be applying paint in too heavy a coat.
3) Paint blobs at the ends of the stroke. You are
spraying paint before moving your hand and stop-
ping the movements before shutting off the paint
flow.
4) Flared ends. Caused by turning the wrist while
airbrushing. The whole forearm should move evenly
across the paper.
5) Centipedes. Caused by spraying too much paint
too close to the paper. If a fine line is desired, lightly
pull back on the front trigger.
6) Splattering. Caused by permitting the needle to
snap back into tip. Always release the trigger gently.
Check for dried paint on needle or tip. Also may be
caused by triggering, see page 2 for proper
triggering.
7) Curved stroke. Caused by arcing arm too close to
the paper. Arm should always be parallel to the
work, unless this effect is desired.
8) Bubbles through the color cup. The spray regula-
tor might be turned out too far, or the head may be
loose. Check both and tighten if necessary.
9) Color spray cannot be shut off. Tip may be
clogged. This is recognized by a “spongy” feel when
needle is set into tip. Remove the head from the air-
brush and clean the tip–see Maintenance and
Cleaning, page 3.
10) Pulsating. This is caused by the head being
loose or the tip not seated properly. See page 3,
Replacing the Tip.
The only other reason that the brush may begin to
pulsate is if the needle bearing wears down or falls
out. There is a life-time warranty on this part
because the owner cannot replace this part. If this
occurs send back to factory for no-charge service.
AIR-TEX™Ready-To-Use Fabric Airbrush Colors
Choose from 20 regular plus 6 neon colors. All
colors are permanent, washable and colorfast. All
Air-Tex™colors are non-toxic, intermixable and can
be used on a variety of materials.
Airbrush Holder
The Model 125 holds two airbrushes of almost any
make or model. It clamps securely to any drafting
table, desk or taboret edge (up to 2˝ thick) and
swivels for easy handling.
Airbrush Templates
These templates are laser cut for accuracy and
include both negative and positive shapes. These
templates are thinner, flexible, washable and durable.
They can be held in place with spray adhesive,
weights or magnets. The airbrush templates come in
a set of four 8-1/2˝ x 11˝ with varying sizes of
ellipses, circles and odd shapes.
Miniature Stencils
Laser cut for accuracy, these miniature stencils are
thin, washable and durable. Four stencils are includ-
ed in each package with numerous designs: zodiac,
starts, birds, hearts and teardrops, etc. Good for air-
brushing fingernails.
COMPRESSORS
Cyclone I Model 180-1
Portable 1/12 HP oil-less diaphragm type compres-
sor has internal bleed allowing use of any make or
model airbrush. Develops .80 at 25 PSI.
Cyclone II Model 180-11
Same as above but with automatic shut-off. By
releasing the trigger of your airbrush, the compres-
sor automatically shuts off, until the trigger is
depressed again.
Silent Compressors
Badger has a complete line of silent, portable com-
pressors to meet the needs of the artist or hobbyist
who requires a quiet working environment. For more
information write for catalog BA2000.

Air-Opaque™the ready to use airbrush colors.
Offers you a choice of 35 colors plus 8 pearlescent
colors. All 43 are pre-reduced for instant use, color-
fast, waterproof, vibrant, quick drying, non-bleed
paints. They are formulated for use with airbrushes,
technical pens or artist brushes. All Air-Opaque™ colors
are non-toxic and completely intermixable.
FOTO/FRISKET™FILM
Foto/Frisket™Film is a transparent self-adhering mask-
ing and stenciling material which is cut directly on
your work. It is available in both matte and gloss fin-
ish. Both matte and gloss are available in 8-1/2˝ x 11˝
10-sheet pack., 12˝ x 15’roll, 24˝ x 15’ roll.
Brite-White™Airbrush Paper
Designed for airbrushing techniques, it is a super,
strong surfaced 50% rag, 145 pound sulfite paper.
Brite-White™holds up extremely well to frisketing
material, drafting tape and adhesive. This paper has an
extremely bright white surface which adds vividness
and life to airbrushed colors. Brite-White™will not
buckle when sprayed on. Both sides can be used.
Brite-White™will accept all airbrush media and is avail-
able in 10-sheet, 18˝ x 24˝ packages.
VOLUME II AIRBRUSHING TECHNIQUES FOR
CUSTOM PAINTING
By Carl Caiati - 48 full color pages.
HOBBY AND CRAFT GUIDE TO AIRBRUSHING
By Carl Caiati - 32 page book.
STEP-BY-STEP MODELER’S GUIDE TO AIRBRUSHING
By Susan Harris and Evan Roark
32 full color pages. Subjects include: Military
Modeling, Figures, Diagrams and Scale Modeling of
‘69 Camaro.
VIDEOTAPES
30 minute tapes, perfect for classroom teaching
BV-001 Introduction to Airbrushes, Accessories, and
Airbrushing Mediums by Robert Paschal
BV-002 Vol. I The Fundamentals of Airbrush
Technique: Basic Exercises by Robert Paschal
BV-003 Vol. II Intermediate Airbrush Technique:
Working in Color by Robert Paschal
BV-004 Vol. I The Art of Airbrushing Fingernails: A
Basic Course by Elizabeth Anthony
BV-005 Vol. II The Art of Airbrushing Fingernails:
Advanced Design Techniques by Elizabeth Anthony
BV-006 Vol. I T-Shirt and Fabric Airbrushing:
Techniques for Getting Started by Tim Mitchell
BV-007 Vol. II T-Shirt and Fabric Airbrushing for the
Intermediate Artist by Tim Mitchell
BV-008 Cake Decorating with the Airbrush by Jerry
Manderfield
BV-011 Aging & Weathering (& Stuff) with an
Airbrush by Mac McCalla
BV-020 The Art of Airbrushing Wildfowl Carvings by
George Krath
22-425 Tanning Application Instruction Video
BV-009 Basic Model Painting with the Airbrush by
John lee & Dan Osborn Available Soon
BV-010 Tips, Tricks, and airbrush techniques for
superdetailing models by Joe Porter Available Soon
BRITE WHITE™
FOTO/FRISKET™
AIR-OPAQUE™ AND AIR-TEX™ COLORS
AIRBRUSH HOLDER
COMPRESSOR
10

PLEASE READ CAREFULLY BEFORE USING YOUR BADGER AIRBRUSH
Your new BADGER airbrush should provide you with many hours of enjoyment. However, because of the nature of airbrushing and of
the composition of materials which you may use in your airbrush, we are providing you with information about potential hazards.
Many materials commonly used in arts and crafts projects (such as lacquers, varnishes, adhesives, fixatives, powders, acrylics and
solvents) can be extremely hazardous. Not all of these materials will be used in your airbrush, but may be used in some other phase
of your project. We recommend that you always find out what is in the material you use. We suggest that when using any chemical
substance that you request a copy of the manufacturer’s Material Safety Data Sheet from your art supply dealer. This will give you
some indication of the dangers posed and some of the precautions you need to take.
ALWAYS READ AND FOLLOW LABEL DIRECTIONS CAREFULLY.
CHILDREN Hazardous materials pose an even greater risk to children due to their lesser body weight and frequent lack of care in fol-
lowing directions. CHILDREN SHOULD ALWAYS BE SUPERVISED WHEN USING AN AIRBRUSH OR ART MATERIALS (unless the
materials have been certified by the Crayon, Watercolor and Craft Institute). An airbrush is not a toy. It should not be pointed at any-
one or at oneself.
GOOD HYGIENE IS IMPORTANT ANYTIME YOU ARE WORKING WITH ART MATERIALS.
•Do not smoke, eat or drink while airbrushing.
•Avoid putting your fingers in your mouth while working on art projects.
•Be sure to clean your fingernails and wash your hands when you are finished.
•Be especially careful of the materials you use if you have cuts or open sores.
•STOP WORK AT THE FIRST SIGN OF DIZZINESS, NAUSEA, HEADACHE, BLURRED VISION, OR SKIN IRRITATION. Seek fresh air
immediately, and call a doctor if the symptoms persist or are severe.
VENTILATION An open window does not provide adequate ventilation when working with hazardous art materials. When working with
these materials, you should have an exhaust ventilation system (one which removes vapors, dusts, etc., from the area in which you
are working and vents to the outside). A general ventilating system dilutes toxic vapors with fresh air to lower their concentration to a
safer level.
Many factors have to be considered to determine the kind of ventilating system you should have. We suggest that you contact the
National Institute for Occupational Safety & Health, (NIOSH), Robert A. Taft Laboratories, 4676 Columbia Parkway, Cincinnati, Ohio
45226 for publications which they have dealing with ventilating systems.
RESPIRATORS A respirator may pose more of a hazard than a help unless:
•you get one designed to filter out the specific hazardous substance you are working with
•one that fits properly
•you keep it properly cleaned and maintained.
We suggest you buy only a NIOSH* approved respirator and read and follow carefully the instructions which come with it.
A respirator may not be suitable for some people with heart or breathing problems. Information on respirators is also available from
NIOSH at the address above.
RESOURCES In addition to NIOSH, you might want to read Health Hazards Manual for Artists by Michael McCann, PhD (published by
the Foundation for the Community of Artists, 280 Broadway, Suite 412, New York, New York 10007) or contact the Consumer
Products Safety Commission, Washington, D.C. 20207.
BA327 Made and Printed in U.S.A. 10/05 © BACo.2005
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