Whitewater Arctic Char Trucker Hat

by @dekasso

Up through the foam, belly blazing red.

An arctic char mid-leap over white spray, with a second char below, in flame red, moss green and cream on charcoal.

An arctic char leaps clear of churned water while a second char holds low in the pool. Flame red belly and fins, a moss green back with cream spots, and white spray set on charcoal.

  • Arctic char caught mid-leap
  • Flame red belly and white-edged fins
  • Moss green back with cream spots
  • White spray over deep teal water
  • A second char low in the pool

The cap

One design, four caps. The front panel is what the paint or the dye sits on, so it changes the hat.

  • A blank Trucker cap

    Trucker

    The house cap — structured mid profile, foam-and-mesh back, snapback.

    Specs
    Profile
    Mid profile
    Build
    6-panel · Structured — buckram behind the front
    Crown
    3½ in (8.9 cm)
    Visor
    Pre-curved, 2¾ in (7 cm)
    Closure
    Snapback
    Adjusts to
    21½–24 in (54.5–61 cm)
    Airbrushed on
    Natural cotton twill
    Sublimated on
    White polyester foam
  • A blank Rope cap

    Rope cap

    Structured five-panel with a near-flat brim and a cord across it.

    Specs
    Profile
    Mid-high profile
    Build
    5-panel · Structured
    Crown
    4 in (10.2 cm)
    Visor
    Near-flat, 2⅞ in (7.3 cm), contrast rope
    Closure
    Snapback
    Adjusts to
    21½–23¾ in (54.5–60.5 cm)
    Airbrushed on
    Stone cotton twill
    Sublimated on
    White polyester twill
  • A blank Dad hat

    Dad hat

    Soft, low and unstructured — washed cotton with a strap back.

    Specs
    Profile
    Low profile
    Build
    6-panel · Unstructured — soft front
    Crown
    3¼ in (8.3 cm)
    Visor
    Curved, 2¾ in (7 cm)
    Closure
    Strap back, brass buckle
    Adjusts to
    21–23½ in (53.5–59.5 cm)
    Airbrushed on
    Washed khaki cotton
    Sublimated on
    White polyester twill
  • A blank Five-panel camp cap

    Five-panel camp

    Flat brim, low crown, packs flat in a vest pocket.

    Specs
    Profile
    Low profile
    Build
    5-panel · Unstructured
    Crown
    3¼ in (8.3 cm)
    Visor
    Flat, 2½ in (6.4 cm)
    Closure
    Strap back, side-release clip
    Adjusts to
    21½–23½ in (54.5–59.5 cm)
    Airbrushed on
    Field olive nylon-cotton
    Sublimated on
    White polyester

Fit

A cloth tape measure around the crown of a blank cap
CapProfileCrown heightVisorAdjusts to
TruckerMid profile3½ in (8.9 cm)Pre-curved, 2¾ in (7 cm)21½–24 in (54.5–61 cm)
Rope capMid-high profile4 in (10.2 cm)Near-flat, 2⅞ in (7.3 cm), contrast rope21½–23¾ in (54.5–60.5 cm)
Dad hatLow profile3¼ in (8.3 cm)Curved, 2¾ in (7 cm)21–23½ in (53.5–59.5 cm)
Five-panel campLow profile3¼ in (8.3 cm)Flat, 2½ in (6.4 cm)21½–23½ in (54.5–59.5 cm)

One size per cap. Run a tape around your head just above the ears, keeping it level — anything inside the range above will close on it.

Two finishes

The same design, made two ways. Pick one in the panel; the cap and the quantity are yours to choose too.

  • An airbrush misting pigment through a stencil onto a cap panel

    Hand airbrushed

    $85 for one hat, on a trucker

    Painted to order — would ship in about 2 weeks

    How it is made
    How it is made
    Sprayed by hand through this design's own stencils, one layer at a time, each left to dry before the next mask goes down.
    How it looks
    Soft gradients and hand-cut stencil edges. Every cap is a little different.
    What it sits on
    On a natural cotton twill front.
    Durability and care
    Water-based paint, heat set and sealed. It takes rain and a season on a boat; spot clean with cool water, never a washing machine.
  • A sublimation-printed cap panel peeled from the transfer sheet

    Sublimation printed

    $32 for one hat, on a trucker

    Printed to order — would ship in 5–7 business days

    How it is made
    How it is made
    The design is printed in dye onto transfer paper, then pressed with heat so the dye soaks into the polyester fibres.
    How it looks
    Full colour edge to edge, and identical every time.
    What it sits on
    On a white polyester foam front — sublimation only takes on white polyester.
    Durability and care
    The dye is in the fibre, not on it, so it will not crack or peel. Gentle wash, air dry.

The artwork

A char hangs in the air, body bent, jaw set. Its belly runs flame red, its back moss green with pale cream spots, and every fin carries a bright white edge. White spray bursts off the deep teal water, and a smaller char waits low on the right.

Wear it at the boat ramp, the lake shore or the line at the coffee counter. The red belly reads from across the parking lot, and the second fish rewards anyone who looks closer.

Cream over flame red is the pass to get right. Those small spots and fin edges have to sit crisp and pale on the red, so let the red dry fully and keep the cream light and close.

A cap in tissue in an open kraft box

What arrives

  • The hat
  • A care card
  • On a hand airbrushed hat, a numbered tag naming the water it was painted from, when the design names one
A cap being spot-cleaned with a soft brush

Looking after it

Hand airbrushed

  • Spot clean with cool water and a soft brush. Never a washing machine.
  • Keep it out of a hot car for long stretches — heat-set paint is tough, but a dashboard in July is not a test worth running.
  • Reshape the brim by hand while damp.

Sublimation printed

  • Spot clean, or gently hand wash in cool water. No bleach.
  • Air dry. Do not iron the print.
  • Reshape the brim by hand while damp.
  • The dye is in the fibre, so the print will not crack or peel.

Details

Airbrush palette

Colours
charcoal, deep teal, moss green, flame red, cream, white, black

Details

Subject
arctic char
Style
realistic wildlife illustration

Make it yourself

A hat-painting bench with a blank cap, stencils and an airbrush

IntermediateAbout 3½ hours at the bench, plus curing7 layersYou'll need an airbrush, a cap jig and 7 colours

The palette

  • Charcoal
  • Deep teal
  • Moss green
  • Flame red
  • Cream
  • White
  • Black

The layers

7 layers, in this order. Each mask comes off and the paint has to dry before the next one goes down.

  1. Ground
  2. Water
  3. Back
  4. Belly
  5. Spots and fin edges
  6. Splash
  7. Detail

The kit's stencil set is cut from these layers; with the cutter (12 hats and up) you cut your own from this design's layer files.

How to mix each colour

  • Charcoal

    1 part white to 3 parts black, a drop of blue

  • Deep teal

    2 parts blue, 1 part green, a touch of white to lift it

  • Moss green

    2 parts yellow, 1 part green, a drop of black to deaden it

  • Flame red

    Primary red from the bottle; a drop of yellow warms it, a drop of blue cools it

  • Cream

    White with a drop of yellow and the smallest touch of brown

  • White

    Opaque white from the bottle; two thin coats cover better than one thick one

  • Black

    Black from the bottle, sprayed in light passes; a heavy coat bleeds

Setup

  • Ventilation or a spray booth. Water-based paint still throws a fine mist, and you will be breathing it for hours.
  • A half-mask respirator rated for paint mists. A dust mask is not one.
  • A compressor with a moisture trap, set and tested on a card before you start: wet air spits water into the paint.
  • Reducer and a cleaning pot within reach, so a clog is a ten-second fix instead of a ruined panel.
  • Spray a test card for every colour before it touches the cap. Colour reads differently wet, dry and on twill.

Prep

  • Lint-roll the front panel. Every fibre left on it prints as a speck in the paint.
  • Mask the mesh, any seams you want clean and the whole visor, underside included, with low-tack tape and paper.
  • Stretch the crown over the cap jig so the front panel is taut and curved the way it will be worn. Spraying a slack panel flat distorts the design when it is worn.
  • Spray one light coat of transparent base so the colour sits on the fabric instead of soaking into it.

Layer by layer

  1. 1 · Ground — 0.5 mm · 25–30 PSI

    charcoal — a dark fade across the whole panel, deepest at the edges

    Mask None on the panel itself: the mesh and the visor are already masked from the prep.

    Colour Charcoal — 1 part white to 3 parts black, a drop of blue

    Needle
    0.5 mm (a 0.35 mm works, it just takes longer)
    Pressure
    25–30 PSI
    Distance
    6–8 in from the panel
    Passes
    3–4 light passes, building the colour
    Dry
    10 minutes, or 60–90 seconds with a heat gun on low, before the next mask goes down

    Tip Fade wet to dry and never lay one heavy coat: twill wicks paint sideways and the edge blooms.

  2. 2 · Water — 0.35 mm · 20–25 PSI

    deep teal — a churned pool under the fish, fading up into the charcoal

    Mask Lay this layer's mylar stencil and burnish the edges flat with your thumbnail.

    Colour Deep teal — 2 parts blue, 1 part green, a touch of white to lift it

    Needle
    0.35 mm
    Pressure
    20–25 PSI
    Distance
    4–6 in from the panel
    Passes
    2–3 passes
    Dry
    10 minutes before lifting the stencil

    Tip Spray away from the stencil edge, not into it, so the air does not push paint underneath.

  3. 3 · Back — 0.35 mm · 20–25 PSI

    moss green — the char's back and upper flank, plus a smaller second char low on the right

    Mask Lay this layer's mylar stencil and burnish the edges flat with your thumbnail.

    Colour Moss green — 2 parts yellow, 1 part green, a drop of black to deaden it

    Needle
    0.35 mm
    Pressure
    20–25 PSI
    Distance
    4–6 in from the panel
    Passes
    2–3 passes
    Dry
    10 minutes before lifting the stencil

    Tip Spray away from the stencil edge, not into it, so the air does not push paint underneath.

  4. 4 · Belly — 0.35 mm · 20–25 PSI

    flame red — the belly, lower flank and fins of both fish

    Mask Lay this layer's mylar stencil and burnish the edges flat with your thumbnail.

    Colour Flame red — Primary red from the bottle; a drop of yellow warms it, a drop of blue cools it

    Needle
    0.35 mm
    Pressure
    20–25 PSI
    Distance
    4–6 in from the panel
    Passes
    2–3 passes
    Dry
    10 minutes before lifting the stencil

    Tip Spray away from the stencil edge, not into it, so the air does not push paint underneath.

  5. 5 · Spots and fin edges — 0.35 mm · 20–25 PSI

    cream — pale spots scattered along the flank and the bright leading edges of the fins

    Mask Lay this layer's mylar stencil and burnish the edges flat with your thumbnail.

    Colour Cream — White with a drop of yellow and the smallest touch of brown

    Needle
    0.35 mm
    Pressure
    20–25 PSI
    Distance
    4–6 in from the panel
    Passes
    2–3 passes
    Dry
    10 minutes before lifting the stencil

    Tip Spray away from the stencil edge, not into it, so the air does not push paint underneath.

  6. 6 · Splash — 0.3 mm · 18–22 PSI

    white — spray and foam bursting up and around the leap

    Mask The hand-cut subject stencil, inner pieces first, then the outline piece.

    Colour White — Opaque white from the bottle; two thin coats cover better than one thick one

    Needle
    0.3 mm
    Pressure
    18–22 PSI
    Distance
    3–4 in from the panel
    Passes
    2–3 passes per tone, light to dark
    Dry
    10 minutes between tones

    Tip Light tones first: a light colour over a dark one needs many coats, a dark one over a light one needs two.

  7. 7 · Detail — 0.2–0.3 mm · 12–15 PSI

    black — eye, jaw line, gill plate, fin rays and outline

    Mask None: freehand, with a shield card held against any hard edge.

    Colour Black — Black from the bottle, sprayed in light passes; a heavy coat bleeds

    Needle
    0.2–0.3 mm
    Pressure
    12–15 PSI
    Distance
    1–2 in from the panel
    Passes
    Freehand, in short controlled strokes
    Dry
    10 minutes, then check it before you cure

    Tip Low pressure, close in and moving: stop the stroke before you release the trigger.

Step by step

  1. Mask the panel edges and spray charcoal over the whole design area, heavier at the edges. Start around 20 PSI, 0.5 mm needle, 15 cm away; treat these as a starting point.

  2. Cut a pool mask and lay deep teal across the lower third, fading it up into the charcoal. Around 18 PSI, 0.5 mm needle, 10 cm away as a start.

  3. Place the fish silhouette masks for both char. Spray moss green on the back and upper flank. Around 18 PSI, 0.3 mm needle, 8 cm away to begin.

  4. Mask the back line and spray flame red over the belly, lower flank and all fins of both fish. Build in thin coats at about 18 PSI, 0.3 mm needle, 8 cm.

  5. Let the red dry fully. Use a spot stencil and fin-edge mask to add cream spots and leading edges. Start near 15 PSI, 0.2 mm needle, 4 to 5 cm away.

  6. Freehand or use a torn-edge mask for the splash in white, bursting around the leap and along the water. Around 15 PSI, 0.3 mm needle, 5 to 10 cm, varying distance for spray.

  7. Finish with black for the eye, jaw line, gill plate, fin rays and a thin outline. Start near 12 PSI, 0.2 mm needle, 3 cm away.

  8. Remove all masks, let the paint cure for at least 24 hours, then heat-set and seal following your paint maker's directions.

Cure

  • Heat set at 300°F / 150°C. Water-based textile paint is not wash-fast until it is heat set.
  • Cap press: 3–5 minutes with a teflon sheet over the design.
  • Or heat gun: 2–3 minutes per panel, keeping it moving 2–3 in off the fabric so it does not scorch.
  • If you have neither, air cure for 72 hours before the cap touches water.

Seal

  • Two light coats of matte fabric sealer, UV-resistant, from 8–10 in, 15 minutes apart.
  • Leave it 24 hours before the cap is worn.
  • Never a gloss sealer on cotton twill: it shines, cracks along the creases and looks like a sticker.

Clean-up

  • Flush the brush with water, then airbrush cleaner, until it sprays clear.
  • Strip the needle and wipe it toward the tip, never away from it.
  • Never soak the brush body overnight.

Common mistakes

  • Spraying cream before the red is dry blends it pink. Wait until the red is fully dry to the touch.
  • Too much pressure on small spots causes spidering. Drop the PSI and move closer for fine detail.
  • Lifting masks too early smears the green and red border. Let each layer flash off before pulling tape.

Tips

  • Test each colour on a scrap first; flame red can shift darker over charcoal, so a thin cream base under the belly keeps it bright.
  • Vary the spray distance on the white splash so some droplets are sharp and some are soft.
  • Keep the second char a touch dimmer than the leaping one so the eye goes to the jump first.
An airbrush, compressor, moisture trap, six colour bottles and a cleaning pot.
The kit

Every kit size

Trucker · kit for 1 hat

$224

Bought separately $249 · you save $25

Includes Starter airbrush set · Cap jig · and 7 more

Every item in this kit · 9 items

Blanks

  • Trucker blank, natural cotton twill front$91

Stencils

  • Pre-cut mylar stencil set for this design — 7 layers$181

Paint & masks

  • Water-based textile airbrush colour, 2 oz — one per colour in this design$422 oz × 7
  • Transparent base and reducer, 4 oz$71
  • Low-tack masking film and ¼ in tape$81
  • Matte fabric sealer, 4 oz$121

Equipment

  • Starter airbrush set — 0.3 mm dual-action gravity brush, mini compressor, braided hose$1291
  • Cap jig — holds the crown taut while you spray$241

Guide

  • Printed step-by-step guide for this designIncluded1

Trucker · kit for 12 hats

$1,073

$89.42 a hat

Bought separately $1,220 · you save $147

Includes Dual-action gravity-feed airbrush · Quiet compressor with tank and moisture trap · Cap jig and two spare crown forms · Tabletop spray booth with exhaust fan · and 11 more

Every item in this kit · 15 items

Blanks

  • Trucker blank, natural cotton twill front$7812

Stencils

  • Desktop stencil cutter, 12 in — the "stencil printer": cuts mylar from this design's layer files$2991
  • Stencil mylar, 7 mil, 12 × 12 in$2210 sheets
  • This design's layer files, every layer (SVG)Included1

Paint & masks

  • Water-based textile airbrush colour, 4 oz — one per colour in this design$984 oz × 7
  • Transparent base and reducer, 16 oz$161
  • Low-tack masking film$181 roll
  • Matte fabric sealer, 16 oz$281

Equipment

  • Dual-action gravity-feed airbrush, 0.3 mm$1351
  • Quiet compressor with tank and moisture trap$1791
  • Cap jig and two spare crown forms$641
  • Tabletop spray booth with exhaust fan$1491
  • Cleaning pot, brushes and a half-mask respirator$991
  • Heat gun for curing$351

Guide

  • Printed step-by-step guide for this designIncluded1

Trucker · kit for 12 × 12 hats

$3,124

$21.69 a hat

Bought separately $3,676 · you save $552

Includes Two dual-action gravity-feed airbrushes · Production airbrush · Twin-piston compressor with tank and two regulators · Production spray booth · and 13 more

Every item in this kit · 17 items

Blanks

  • Trucker blank, natural cotton twill front$756144

Stencils

  • Stencil cutter-plotter, 24 in — the production "stencil printer"$6491
  • Stencil mylar, 7 mil, 12 × 12 in$8550 sheets
  • This design's layer files, every layer (SVG)Included1

Paint & masks

  • Water-based textile airbrush colour, 32 oz — one per colour in this design$33632 oz × 7
  • Transparent base and reducer$491 gal
  • Low-tack masking film$543 rolls
  • Matte fabric sealer$891 gal

Equipment

  • Two dual-action gravity-feed airbrushes, 0.3 mm$2702
  • Production airbrush, 0.5 mm, for base fades$951
  • Twin-piston compressor with tank and two regulators$3291
  • Production spray booth, two fans$2891
  • Three cap jigs$1923
  • Cleaning station, respirator and spare cartridges$1391
  • Cap heat press for curing$2791
  • Drying rack, 24 caps$651

Guide

  • Printed step-by-step guide for this designIncluded1

The creator

An illustrated portrait for Dekasso (an illustration, not a photograph)

Dekasso

@dekasso

Wherever the truck rolls to a stop.

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See everything by @dekasso