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Keys to Getting the Job Done
A few years ago my shop flamed a Corvette convertible. It was a black 'vette with yellow pearl flames. Recently a client saw the car in a show on the east coast. He wanted to buy the 'vette, but it had already been sold to someone else. So he decided to buy a 1998 Corvette convertible and have it shipped to Huntington Beach Bodyworks.
When the 'vette finally arrived, we started out as usual. We removed all the hardware. Such as handles, moldings, splash guard, signals, markers, mirrors, rubber seals in the door jams, emblems, lights, and bumpers. We then gave the car a wash, masked off the windows and anything else not being painted, wet sanded with 800 grit sand paper, and pre-cleaned the surface. This project is getting a triple stage PPG paint job. The car was already factory black, but we wanted to give it a fresh coat. We where now ready for our layout.
To start any flame job we need to first lay down our centerline across the middle of the hood. Hopefully there's already a line going down the center of the hood, but if not, you'll have to take measurements. Now it's time for the creativity. We start by laying out one half of the car with 1/8 in. 3M vinyl tape. This is where we have to come up with the actual design of the flame. Whether itÕs a classic, tribal, over lapping, or some off the wall style of flame. When you have your design and your happy with it. Take the time to check each line and curve to make sure it's perfect, because it's a lot easier to fix it here than later. Next we cover our design with masking paper. Aligning it with the centerline and making it contour the body curves as neat as possible. If the paper folds up anywhere, make it a clean crease. Cut off the fold with a sharp straight razor blade as close to the body as possible. Be careful not to cut into the fresh paint. Then use tape to piece back together. Now we use a piece of colored chalk or crayon and rub over our flame layout, revealing the image on our masking paper. We also mark out the wheel wells, door handles, and body gaps. After removing the template from the car, we perforate the template by following the chalked design pattern with a pounce wheel. This tool looks like a small spiked wheel with a handle and can be purchased at almost any art store. A better and faster tool is an electric pouncer that can be purchased at any sign shop. Ok, now weÕre ready for the second half of our layout. Flip the template and place it on the other half of the vehicle. Make sure to align it with the centerline, the previous layout, and the body panel markings made. Now we just back mask our car. Wipe down the open layout and tack down. Now we're ready for paint.
Since these flames are going to be yellow on black, we need to first lay down a white base to help with coverage. I like to use a white sealer, because it's quicker with coverage and gives us extra protection against lifting during the unmasking process. Next I lay down a Ferrari yellow pearl base. I usually like to have my body panels off the car when painting, but with finishes such as pearls and candies, it's necessary to have the car together or the panels wonÕt match after assembly. Now I intercept clear the car, wait for it to dry, and then call in my artist Terry Stephens to airbrush the shadows and highlights inside the flames. Shadowing and highlighting the inside of the flame gives us a three dimension, almost liquid, look. We then unmasked the car and did touch ups where we needed.
Now that the flames and touch ups where done. It was time to clear the car. This is where I like to pull the hood and bumpers off. Before removing the hood, I drilled a hole through both hinges and mounting plates. Afterward during reassembly, I placed 1/8 in dowels through the hinges. This allowed me to replace the hood in the exact same position I removed it from. It also saves hours of trial and error, trying to align the flames on the hood to the fenders. I did the same technique with the doors. Once I had everything on stands and in the booth. I pre-cleaned, tacked, and then gave everything a coat of intercept clear. Then I continued with six coats of clear. After the clear was dried, we started with color sanding and buffing. I first give it a quick cut with 600 grit. Then I come back with 800, 1000, 1200, and 1500. With the buffer I used a 3M heavy compound with a #1 pad. Next I polished it off with 3M ebony polish and a gray waffle pad.
One thing that made this project so easy was the template I still had from the original vehicle. It's a good idea to always save your templates of whatever graphics you create. You never know when you might need them again. Everything is done now except the reassembly, but because of the 1/8 in. drilled holes and the dowels, it all bolts back together in perfect alignment. Now the Ôvette is in for one last wash and ready to be shipped back to itÕs owner.
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