You can use an airbrush to create a spatter or stipple effect if the pressure is sufficiently low and you remove both the needle cap and nozzle cap of the airbrush. If you’re painting directly on someone (or even if you’re not), be careful, because the needle point is exposed, and airbrush needles are very sharp and pointy. With little air pressure coming from the compressor, you will get even less by not fully pressing down on the trigger; pull back to let the pigment flow and you will get a spatter. The more air you introduce into the mix, the finer the spatter. Trust me when I tell you that this requires a good bit of practice to master. I’ve been airbrushing since the 1970s, but if I don’t do it for a while, sometimes months, it takes a little refreshing to get the feel back.
This effect can also be achieved very effectively using cut down 1-inch chip brushes. It also creates a somewhat more random pattern as well, though I’m sure that point is arguable. By cutting down the brush, lightly swirling it in your color, and then flicking the bristles with your finger, you will flick the pigment.
Moving the brush closer and farther away from your subject and/or using varying pressure will ensure that the randomness of the spatter will continue. Don’t forget to move the brush to new areas, too. This technique is discussed in Chapters 6 and 7 3d prosthetic transfers
Christien Tinsley’s need for time management, ease of application, and continuity in large numbers led to the development of first 2D, then 3D prosthetic transfers, first for the 2001 film Pearl Harbor and then for 2003’s Master and Commander: The Far Side of the World. Prosthetic transfers have been used extensively since, on such projects as The Passion of the Christ, Find Me Guilty, The Cinderella Man, Nip/Tuck, Grey Gardens, Pirates of the Caribbean, The Fallen, and many more.