Personal Logo Design: Make Your Mark with Hand-Lettered Art | Mister Cartoon | Skillshare

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Personal Logo Design: Make Your Mark with Hand-Lettered Art

teacher avatar Mister Cartoon, Artist, Creator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 23m)
    • 1. Introduction

      1:44
    • 2. Getting Started

      4:47
    • 3. Gather Inspiration

      9:28
    • 4. Practice Hand Lettering

      7:29
    • 5. Hand Letter Your Icon

      10:48
    • 6. Ink Your Sketch

      8:59
    • 7. Refine Your Sketch

      9:47
    • 8. Add Some Character

      10:16
    • 9. Explore Tattoo Creation

      5:19
    • 10. Learn Spray Paint Basics

      11:25
    • 11. Final Thoughts

      2:37
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About This Class

Make your mark on the world by creating a versatile personal logo with legendary artist and tattooist Mister Cartoon!  

Immersed in art from a young age, Mark Machado, better known as Mister Cartoon, understands the importance of a strong personal brand. His iconic black and gray fine line style brought him from working as a graffiti artist for businesses around LA to adorning the bodies of celebrities like Snoop Dogg, Eminem, Christina Aguilera, and Dr. Dre with his richly detailed, hand-rendered tattoo art. 

Now, in his first ever online class, you’ll learn how to create a bold, impactful personal logo and icon with Cartoon’s signature edge. Following the process he’s used to produce art for Nike, Supreme, Pepsi, and Louis Vuitton, you’ll go from first sketch to a final design that’s ready to print, paint, or even tattoo. 

Together with Mister Cartoon, you’ll learn to:

  • Apply what inspires you to create a logo that’s unique to you
  • Hand letter your name or your brand’s name 
  • Draw a customized icon to pair with your logo
  • Transform your digital creations into physical art like tattoos and murals

Plus, every lesson is packed with insight from Mister Cartoon about how to succeed in a creative career and build something that stands out from the crowd. 

By the end of class, not only will you have a hand-rendered logo, but also a tried and true branding approach you can adjust to your own signature style. Today, you might focus on creating a logo for yourself. Tomorrow, you can use Cartoon’s process to make art for a tattoo, design an album cover, stylize a T-shirt, paint a mural, or create for a brand you admire!

This class is for you if you’re looking to learn the basics of hand-lettered logo and icon design. You can accomplish everything you need with paper, a pencil, a ruler, and a pen, but a tablet and Adobe Fresco will help you bring your work to the next level through digitization.  

Meet Your Teacher

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Mister Cartoon

Artist, Creator

Teacher

Born and raised in Los Angeles, Mister Cartoon was immersed in art from an early age. He began his career as a graffiti artist before branching into murals, album covers, logos, and now most famously known for his tattoos. His richly detailed, hand-rendered designs pull much of their inspiration from the Los Angeles of Cartoon’s youth. At one time, the black and grey, fine line style was synonymous with LA street life. Cartoon’s work has helped bridge the gap between those hardscrabble beginnings and the style’s current popularity. Stars such as Eminem, Travis Barker, Slash, Dr. Dre, 50 Cent, Snoop Dogg, along with athletes like CC Sabathia, Amarie Stoudemire and Carlos Boozer wear Cartoon’s art on their skin.

Having already gained a worldwide following fr... See full profile

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Transcripts

1. Introduction: My art is a combination of different forms. Low writer's tone, Hip Hop, mix them all together. You get this form of visual arts. My name is Mr. cartoon. I'm an artist best known for my tattoo, but I'm very passionate about other forms of art to growing up and hanging out and auto body shops and tattoo shops. You realize that these are forms of lowbrow society. Back in the day it would be frowned upon. Nowadays is much more celebrated. It's this hardcore form of varargs. I will turn on the streets of us Angeles and now accepted globally as some of the most elegant, beautiful words. In this class. I'm going to help you develop a personal icon. We're going to sketch it out, bring it in to the digital tablet, and then we're going to take it places. The final frontier really jump out there with some spray paint. And I'm going to show you the method of sketching widespread pain, feeling then making sharp. This won't be overnight process. This is something new. Build over time, little chips that diamond. One day. I really loved spreading this word because you can learn it and a lot of schools. But with the simple techniques that you can pick up, you can use these for the rest your life. You can help people along the way. 2. Getting Started: My name is Mr. cartoon. I was born here in LA. I'm from Mexican descent. Works consider Chicanos, which is Mexican-Americans. I grew up in San Pedro and the harbor area, and I fell in love with art as a young kid. Some kids are playing sports, some casino, and move towards ours. But once I got in my teenage years, I started doing a little graffiti art. I started to use spray paint cans as a way to do signage in my neighborhood. That eventually evolved. And I started to get into Chicano low riding, tattooing, fine line black and gray, old school style. That really blew my mind. I love retro art. Gold leaf, Old English letters. I take a little bit from there. And I match it with some street art. And I'm mixing it up with a little fashion. And I put it out there. We wanted to take tattooing is such a lowbrow art form and bring it up to respectable art form. That was our goal. To do that. We had put it on some ball players. We had to put it on super successful people. But there are already successful. They looked at the tattoos, jewelry. Look at their tattoos as a spiritual way to show their commitment to the culture. One of my goals in this class is that the end, you'll have an icon logo. You'll have some lettering for your name or your brand. And you'll learn how to take it on different surfaces when you sit down to draw a don t have to be my style. Literature culture, looking at where you were born and raised, pull those things out that unite everybody. Put that down and you can see people really respond to your work. In this class, I'm going to walk you through how to pull out icons and inspirations. Being inspired is very important. Sometimes I inspired through music. Sometimes I inspired through automotive design. It could be something randomizing on the street and I'm like, wow, that's beautiful and draw there. So that's what I want you to get to. How to use your mind to notice the beautiful things around you. Notice those hand painted signs. Notice something that's been sculpted. Notice something has been done well, but it's weathered. One of the things to expect out of this class is to be able to learn how to sketch with pencil. Learning how to loosely create ideas. Some are bigger, some would be bad, right? Plot the good ones and keep refining it. I'm starting off with pencil and paper because that was the beginning of my career. But really to move on, you're going to need one of these giant tablets. The program uses Adobe Fresco. That way when you do the artwork, you can send it straight to client for approval or straight to the person to get printed. You gotta have it. We're going to create an icon and some lettering. And then we're going to take it to put it on a wall. And it's also going to live on a tattoo pattern that will eventually be on somebody's skin. So learning how to take this image and make it live in different environments. That's the challenge, that's the fun part. There's a few things you're going to need for this class. Number one, you're going to need a pencil. I use a mechanical pencil. You can find them pretty much any supermarket. Then you're going to need a ruler. Lot of stuff. You can find that the pad, an eraser matter, steal this from your kids, aren't box. Then this is my brush pen. This actually has a fine point and a brush tip on the end. This is a Tombow Japanese brush pen. Very desirable. You need to have one of these. So these are pretty simple tools. You'll need some paper for this project. You can go from using typing paper that you get to remove it. Or you can buy a little bit nicer Bristol Smooth paper pens glides a little bit easier on there, but go to the Resources page and you're going to see all my favorite pencils, erasers, pen so you can get at your local art place or just order online. Come with me on this next lesson. So we can talk about how to conceive your icon. How do we conceptually create something that reflects it? Let's go. 3. Gather Inspiration: In this lesson, we're going to dive a little bit deeper to find out what inspires you. For me. Number one, I'll put tattoos. Tattooing is deepened culture. There's so many things to pull from it. It's a real strong iconic art form. A coy fish or a beautiful sun, or some type of script lettering. These things are classic and they're very beautiful to the eyes. So tattooing extremely important on my list. Number two, low riding. Low rating means so much to me. It's called culture. And when I look at a car, I can dissect the car with the body lines. I see how the chrome bumpers wrap around. I see the wet paint with a reflection. I use all this to inspire myself to try to emulate such beauty. But I'm gonna do it in another area. So I like to pull from obscure references and put them together. Number three, signage. Signage is all over your neighborhood. These are signs that either say barbershop jeweler. So start to study signage. Letter forms. Look at the weights of the letters, look at the flow. Some of them are easy to read. Some of them were very difficult. But I'm obsessed with letters. Graffiti is something that first captured my eyes as a kid. Seeing big wall murals, seen someone carved her name in a phone booth or bathroom wall. These type of things caught my eye and I was amazed how underground it really was. A lot of it is not just a graffiti, but the attitude of a graffiti writer. So being able to think about doing it fast is dangerous. Even though I'm at home in my studio, my brain is still goes back to that kid riding on the side of liquor store. That keeps me on edge, that keeps me in touch with what's going on in the street. Music. Music is just as important as the drawing part. Because in order for me to get in that space into their flow, into that mood, I need my music to be right when I'm doing something kinda hardcore Gita up low rider are put in WA I'll put Cypress Hill, something getting hyped in that arena when I have to do something kind of mellow, maybe someone's moms portrait or something that's more spiritual, angelic. I'm, I put on some soul of balance. So choose your music. That's right for you. Art Deco. That error is beautiful to me. In automotive design and architecture. I love back into the forties in the 30s. And I loved those big teardrop fenders of the bombs. I love the design of the building, the extra ornate way they would do. Entryway into the ballroom or entryway into the building. It will be so many beautiful engravings, lettering notched into the stone. I like to take that old era and bring it into my modern art form. When I was in London, I would notice the old gilded reverse gold leaf window they would do in the pubs. And man, that really got me going because I wanted to emulate that form of lettering, but adapt it to my law rather culture. For me, Los Angeles, I think about that downtown skyline. One of the tallest buildings are old school buildings. For center state. I always use that in my art work. When I draw, I want people to feel like they're in a West Coast. There's a cool breeze. Palm trees are flowing. The low riders are shiny, glistening. And as a barbecue going on, this is California culture all year long. So I put it in my art. Notice your surroundings, notice your neighborhood. Put those things in there that people will identify with. I wanted to talk about creating references for each one of these inspiring words. Reference is very important to me. What I mean about reference is doing a little homework on the project you can do before you get there. Now go find my reference from different places. The Internet, an old book I might have the sum we gave me or I've been collecting before back in the day. We would have a 100 books, encyclopedias, Dog works, animal books. We had to use those as reference. Now, the Internet, man, you can reference so many different things. And the reason it's important to me is because you are looking at either a professional image. Or something that is real, right? So if you have a little reference, okay, I see how the dog's nose goes right there. It actually comes from. So if you don't have that reference, you're just going off of your memory and that dog might end up looking like a possum or something. So if you have the reference, you're more likely to come up with a better product. So I have a full list of things that inspire me. I'm going to jump down a little bit and go to number two, which is low riding. Now I have a bunch of different examples. Click on this one right here. This is actual car painted. Just happened to come up. Now I'm going to take the color panel, the car. To me, the quarter panel of the car is like the hips or the car just shows a lot of the body trim. It, guide your eyes, make the car even longer. I'm going to use the 150th and Paula, as my inspiration. Notice the body lines on here. Notice the way the Chrome hugs the hips or the car. This is one of the wildest cars ever designed. So I'm going to take a screenshot of that. So the same way I went and found an image that I liked online, screenshotted it, saved it. I want you to do the same. Put that word of inspiration in and see what images come up. Courtroom, there might be a couple of them. There might be one that hits home, grab that, and save that. My goal is to start this new animation company. I've been thinking about it for a long time. And now I'm ready to sit down and put it on paper. I want you to do the same thing. Narrowed down to one image that you feel that represents you, that one thing that's simple icon that you can push forward. And then we're going to add some type the notes you, once I get this idea, streamlined, one, I'm going to put it down on paper. And from there we're going to grow it. This art can live in different locations. It could be a bus bench, it could be a billboard. It could be on a TV screen moving with animation. So I want to design this knowing that it's going to go in different places. So I want to keep it simple enough so we can breathe and visually be seen. So that's my challenge to you. Narrowed down Kathy icon. Let's get the name and be conscious of where does art might live. It's important when you start to be relaxed, to be down and make some mistakes. Be a little bit loose. Let the pencil go. Once we start to get that down, then we start to sharpen it. But right now, I just want you to focus on what the icon is. And loosely sketching. Don't get discouraged if it takes you a little bit to get motivated, don't get frustrated. No one's going to see it right now. But what I want to get you to is confidence because you have this method. If you have your reference, Every it takes you to get to their final polished product. Beginning can be a little rough, but we're going to sharpen it as we go. Up until now, we've been talking about concept theories. How to approach these things in your head. Inspiration, looking at other references. That's all. For now. We're going to put that down, put the technology to the side. Put your phone down for five minutes, let that thing. Who laugh? You get a pencil. We can get some paper. And we're going to start to get loose a little bit. Just give me five. 4. Practice Hand Lettering: In this lesson, we'll be talking about lettering. Fonts to me are extremely important. Some of you can do very loosely. Some of them you really have to plan. I think the best one for you guys to start off is a script. You can start off by writing your name, right? Mom's name, whatever it is of that loved one or yourself that you can put down. There's different ways that you can go about it. Let's just say you're going to write the word love. Start off with an L. Here's a quick love. Now mind you, I've been doing this for over 30 years, right? I'm gonna teach you how to build this. So eventually, you just be able to freestyle. So to get started, what you need is your pencil and a ruler. My eyes on here real quick. Let's put some guidelines. Very simple. Just the size of the ruler. Then little bit past the halfway mark. I'm going to put another guideline. Gently. When I teach this, I'm trying to break it down from the beginning. So the letters have a base, then they have a connection. So we're gonna be talking about is pulling the base of the letter and snapping the connection. Pull the base of the letter, snap. It will look like I'm reading an eye, but it actually can be used for you. And a, any of these type of letters pretty much have this base. For now. We'll keep it simple and we're going to try to understand lettering as a whole. You been doing lettering your whole life, imagining elementary school and high school. The head, you write an essay, you had to read things, staying in those blue lines, same things we did in school. This is an extension of that. We're really starting to go in deeper and study the roots of the letters. But the letters have in common the leaning of the letters, the height of the letters. And even sometimes we will put swishes or tails on the ends of the letters. I'm going to start with the middle line, not the top of the middle line. The start here. Sure you have enough pencil lead there. Pull your line. Turn a little bit. Snap. Your line. Start to snap. Pea. Put the pressure here. The pressure of snap. My kids or teenagers. I hadn't gone crazy. Just doing these techniques. Because it's not really saying nothing. But it is, you'll find out why later. Now, I like to keep my letters somewhat at an angle such as this. So you can add the beginning to also throw these guidelines in to make sure letters are all flow in the same way. Because when you start out, sometimes the letters could go this way, that way, this way that you want these to have a consistent lean, if you will. With these other little guidelines I've added, you can tell if you're on the right path. And even if you're not just readjust, readjust, keep pulling those use. This will take practice. You don't have to worry about years of practice. It just takes practice and consistently doing it. Ten minutes a day. You start to pick it up between system with it though. So for the next line, let's try to write something simple like Mom, you'll make your mama protect card. You waited to the last minute. So the night before and now you get to read your mama card. So you're going to need this technique. Start with this M. I'm going to use that same angle, poll and I'm going to snap upwards, pull down, snap upwards, pull down, and snap again. Now instead of that, you are going to use the same idea. Pull down and snap up to there. So your left side ends up being thicker than the right side. Democrats there. Oh, hold down. There's a guideline again. Use that. Snap up. Pulled down thick. Snap up, pull down thick. Now I'm going to snap up just currently to show you mommy lover, one way to apologize for all the bad things you did to her. And I'm gonna show you how to add weight to the letters. What I mean by weight is making some of the letters a little bit thicker than the other parts. It's the thin parts in-between that make the thick parts come out right. Here we go. Now I'm going to go back and I'm going to thicken the base of the letter. Notice how it starts jumping off. All I'm doing is I'm sticking to my left sides of the letters, making them bolder so they should be readable. From the left side. I'm going to add a little bit of weight, just a little bit of thickness to it right? Here's thickness. The thickness. See this was leaning a little bit, so I'll go in front of it, straightened it out. Sometimes coloring that take part in. Now you can start to see a little bit more visually pleasing to the eye. And it's a little more impactful. So I mean, you can literally fill up a whole page with these youth. And if you get good at this, it's a good way to break the ice with people. You know what I mean? Talking to someone you want to get to know. Hey, how do you spell your name? Let me, let me write you something. You write their name. That goes a long way. I think I did that from my wife and I first met her and now look at us. So it works. Now we're going to jump in to me wanting to do my logo. 5. Hand Letter Your Icon: So during the pandemic IS oneself a couple of questions. If I won the lottery would kind of business when I started. For me. One of my dreams would be to have an animation company. My name's cartoon. I want to live up to my name and I want my characters to interchange, have some action, I have some drama. So for my company, I'm going to call it C tunes, animation. See tunes. I'm going to do by hand the word animation. I could also do that, but I'm going to choose to use a font for that. So easily read from a distance. And there's a nice quality of hand-on and type mixed together. I encourage you to write your name or a name that means a lot to you. Let's just say that's too deep for you to think right now. You can write my name so that way you can copy exactly what I'm doing. If you can get my little logo down, you can use that as reference on how to get yours done. I'm going to draw my name. No, just start with the C Tools first and then we'll deal with the animation later. Draw your guidelines here. My first guidelines are here. Now I'm going to want to do a big capital. There's something about the first letter to me being capital. It just looks better, right? So let's draw on too small. I would say it would be somewhere around a half inch. Pass the lines you did here upon bottom. And up on the top. I'm going to leave these as the top of the letters. And I'm gonna be able to use this, these two center lines as a top to my script. Now, let's say I'm looking at my reference, right? I got a reference of my logo. I'm going to put it right here. Now before I do that, let me draw some angle lines for you guys. So if you can see this type of a grid, I'm going to keep my lower-case letters in here. And then I'll bring my caps all the way right here. And I'm going to want to keep my letters SLO in a similar angle. So let me take my C right here. When it come, I'm going to swirl, loop in it. Here. I'm going to put a little tail on it. Now I'm going to thicken up the weight on this letter on the side. Then even that can tear drop in at the ends of the letters. Now, even on this part, I'm going to want to thicken up this part. Bam, this line that came through the little tails. I love throwing a little weight on the answer here. Since we have the capital done, Let's start to do our lowercase letters. So now I'm going to start with a t, really pretty much in this block right here. I'm going to lean towards a little off of the center close and I'm going to pull my base down just like I showed you, forced or to bend pool. Okay. Let's give this a little bit of weight to that. I'm going to the left of it. Teardrop in with a bear and bam. Now my next letters and o, even though this went a little bit far, doesn't matter because I wanted to cover it up. I'm going to use these guidelines. Real, real light. Let's put the weight on the left side that they're coming down at teardrops. Now let's drop another OH, right here, which would be somewhere here. You got to eyeball this stuff. You know. Let's pull the weight down here. But with this, so we want to connect it by going like this. Bam, political weight right here. Bam, I got my, OH, same thing with the next letter C, this guideline right here. We're going to use that and we're going to match it like this. Teardrop the bottom. Pull up. Sometimes I'll even want to put a little tail on it. Just my preference. Connect this, oh, come down again, pull snap. Chair. Now I kinda put this little bridge right here. You don't have to do that. Let's just say I certainly get too complicated to erase that a little bit. And let's just bring that, oh, right to the end of the n right there. Bring this around. Let's put another little weight to a letter. Now for the n, When we come up, twist around, pull back down and snap again, put that weight on. Sometimes awake and go on the right or the left. You just have to feel you worked at how it's balancing out. Now I'm going to throw S on this, right? Because it's just how my friends say my name withdrawal, see tones. I'm going to pull this loop, this tail up. And that's where I'm going to start my ***. I'm going to take it a little bit over the top. Cool like that. As to drop down. Now with this, I'm gonna do something a little bit different. Sometimes you can just write that in there. For this, I'm going to add a little tail. And then sometimes I can add the word animation in them, circling, coming up like a baseball smoosh underneath it. Make that a little bit thicker and pull back in. Now the balance that I want to throw the t on the top to kind of give me a similar vibe. So even before I draw, sometimes I just invisible. Feel how that's going to flow. See that for Apple. So when I pull it, I've already been practicing that motion. Thicken up the top, back down, taken up that part j. So now I have my first, first sketch. Balancing the flourishes can be something as subject to taste, right? Subjective to the way you like to do it. Sometimes that flourish might be short because you're going to run type underneath. Now let's just say, I was like Man, I'm going to run this type underneath there, probably don't need that bottom one. So you can go back and you can do a light race. That's why you have to stay real, real light with this stuff. Don't commit to any hard, hard lines until you get a lot more experience. Because I'm going to have animation written right here. I'm just going to take this S and bring it like this. And it just teardrop here. This time. When I'm doing this logo on, thinking about where it's going to live. Isn't going to live on the side of a truck door, isn't going to be on a billboard, isn't gonna be seen on your iPhone where it needs to be more of a vertical look. Even when I finished this logo, if I have to fit it in one of those things, and it doesn't necessarily fit. I'll add some other elements, so it does. But for right now let's just say we're drawing something, we're going to do a banner for an event. So this is going to be your horizontal in a box. Now I'm going to kind of just goes in the animation letters so that you can get the idea, which I would go back in and doing a font. Let's draw these little animation editors and bam. Now with the technology on these iPads and stuff like that, you can do each one of these on a layer. That way if the word animation is too tight to the logo that's on its own layer. You can hit it and it will go down. We'll go into that once we start inking this on this computer. But for now, just on the paper side of town, I could spend a lot more time on this and kind of clean up, makes sure that everything lines up Perfect. You know what, this over a little bit too big, let me shrink that down. And if it's with pencil, it won't be the craziest chore. But let's just say, for argument's sake that this is right on, this is what we wanna do. So for now, we're going to eat this on Adobe Fresco. But let's challenge you that don't have the computer to get a fine tip pen impatiently, ink this day. J, you still get a good result. Let's take a picture of your first. Then we'll drag it into the program. So now that I took a photo of the image, I want to drag it from my iPhone photo into my Adobe Fresco. Let's try that now. 6. Ink Your Sketch: Now we're going to take the paper sketch. I have a picture of it. Drag it in to Adobe Fresco. You hit the little picture. And then I'm going to go down to photos. I'm going to choose this one. The cleanest, right? I'm going to reduce it a little bit. Bright here. You can pull from the corners. You can kinda reduce it. Center it right there. Now. Press Done. And you can go back and put a little grid on CSS grid right here, just turn on the grids. This top button right here, add-on layer. I'm going to take my trusty pen right here and we're going to start to ink. I tend to go from left to right with tattooing. If you're doing a tattoo, you go from right to left. But for illustration purposes, we're going to start on the left. Now to the sides right here you have different brushes, pencils and air brushes right here, a watercolor looking one. And then this is like the ink in one. Then there's an eraser underneath. Okay. And let's go to the third one down. Which would be depends. Okay, click on that thing looks about normal. Let's pick a size. Your sizes will be downright here. You can kind of test, this is a 3. You can just pull a line right there. That's not too bad, right? So let's, if you don't like that, up here, is the reverse and forward, I'm going to put reverse and take that out of there. I'm going to start with the C right now. Mind you, I draw this all the time. So if you guys are like now flowing smooth or whatever, don't worry about it. Because with this program we can go to clean all that stuff up. Now when I'm pulling a line, I don't want to look so much where I'm at. I wanted to look at where I'm going. So I literally put it down and start pulling and looking a little bit forward. And your hand will just amazingly follow where your eyes are going to. Let's try that technique, some starting at the top. Be careful you don't want to hold my pen somewhat up and down like this. Not too much of an angle. I'm going to pull. Then I'm going to start pulling the inside of this letter flow. Let's go down the way I wanted to just pull it up and stop. Now I'm gonna come back and we'll start at the top again, very gently nap, applied pressure, get a fatter, and go. Now the beautiful thing about Adobe Fresco is you can go back in here into the smoothing, which is this little squiggle letter in the center. And I can put my smoothing up just a little bit. The reason I'm gonna do that, I'm not going to go to the top, but it slows it down. And then let me pull a clean line. Instead of me coming up like this at a weird angle, which is really hard, I'm going to pinch my screen and I'm going to turn it up right here. Now as you notice before, I did a downstroke. I'm gonna do the similar thing because during the upstroke can be more difficult for the more advanced people. So let's just start with the downstroke and try to match what we did in the flowing of this side. I'm going to start at the top. Put my pressure and look ahead of where I'm going. Let the pen follow. Boom. Now notice this part's a little rough right here where I had machinations. Don't worry about that. We're going to go clean all that up. Let's just get the basis and the letter first. Let's pull this has come on the inner part of the sea. Pull up Pam. When I'm pushing down, when I'm ready to stop or pull back the pencil, use a sharp line. Now, personally, I think this is going a little bit close here. I had the weight on the outside. I'm going to flip it to the inside. Sometimes you have to make these adjustments as you go. Here. Keeping conscious of the other letters, weight, pointing down. Bam, Let's go to the top part. I like to try and put it at this angle because I'll start back here in my letter a little bit way. When we come back and now I'm going to start turning. Try to keep this fluid. Don't go too slow. Down. Feels good. Pullback. Let's start from here. Let's bring that weight up. I don't really like that annual limit. Turnover. Start to go to the angle that you do want. Teardrop. Pretty nice. Now I can go back and start filling this in. Now let's just say for the filling and purpose, I wanted to go back to my smoothing and I want to drop it off right in the middle so it doesn't move slow. The reason I do the smoothing high it because you can do long lines without getting a bunch of squiggles. This program is so smart, it understands that you got to do it straight like that. So now I'm going to turn my ink up to the, say, double a 6.5. So now that we're in there, Let's see how fast it gets pretty fat. Beautiful thing about these pens, is there pressure sensitive? If I barely, barely touch it, I can get a fairly thin line. But if I push into it, I'm getting a fat line. That's what I want because I'm filling in, start at the top and start to fill in the sea. Look to where you wanna go, not where you're at. Connecting my C on to be very, very small. Such that sometimes I'll even go back down, take it back down to a three-year two. And I'm going to adjust this just a small fluidity. There's a little hump in it. Don't worry about it. We'll go back afterwards or sharpen up all these little things. So now we're starting to get somewhere. Now we're starting to see the letter. It looks strong. Go back to the, see. This in C. Some people like a downstroke, both of them are necessary to know. This tail got a little bit long because the eraser right next to the pen. And let's raise that tail off. That little bit too crazy with that, right? There's your seat for that. See, I took a little bit extra time. I walked you through it. The little small details on that note, I'm going to flow a little bit faster. So for sake of time, and later the whole word. 7. Refine Your Sketch: So let's just say we're on a deadline here and we've got to keep it moving, right? I'm going to start back with a t, put it back on my brush. And let's start later on. Our hidden somewhere. Or to look like word, I'm going to look at the top of the sea because I don't want to go to the top of the sea. And ray here kind of goes to the top but the bottom line of a dozen. So I'm going to use that as my top line. The C is the master of the word. It is the beginning letter, so it's the strongest and the boldest. I don't want everything else to kind of bow down to the sea, if you will, and be lower in only mean. Visualize that line. You don't really want it above this line. Okay, find that line, that lines up right here. And so I'm going to go under it and start right about here. And I'll still get the same cool. Except it will actually be more pleasing to the eye because is measured correctly. Bring your mind to the end where you're going and you pan will meet that even this part right here, I'm like, man, it's getting a little bit close to that. S, I might want to go to my eraser. And let's just shorten that up a little bit. Race a little bit down here. Raise a little bit down there. Right? Now I'm going to have it stop little bit shorter so it doesn't compete with the S t. Let's just say I want this S even go a little bit higher because a C is so high and I'm going to add a little more weight on it. Knew that when you using some of these lines for guidelines, you can actually make them a little bit fatter or thinner. You want to use that guideline and stay with it. Sometimes you are looking at the width between the line more than the line. You're using that empty space as a guideline. I'm going to make my brush a little bit bigger. Start middle C of fat. Okay, it's not too bad. Let's pull that down. The reason I fill in like this two is because I'm assigned painter. I think about the strokes and the brush. On Adobe. You won't see the strokes on a brush, but if you pick up a lettering, will try to use someone shot. You didn't wanna do that. So everything looks pretty. Madison, I'm going to fill in here. Which you know what? There's actually a little bit cooler place to teardrop it. So I wanted to go down and drop this back down to 1.5. And I'm going to put this cool little tail on. It. Adds a little bit of flavor to it. Now let's take it back up to our six where we're filling in, bringing this down, fill that in. Go to the t is now there's a tool on here where you can tap and it will fill it all in. That's cool. Once you're more advanced for now, let's just fill it in by hand. There's so many tools and techniques and things that help you with shortcuts on this program. I haven't even learned a mall really. But that's okay. Because you want to practice your line work. You want to practice pulling lines. So now we're gonna go into these owes, start to fill them in. Now I didn't pencil on this, but I'm going to do a free hands because I've been doing them for awhile. Bam. It's a little bit thicker on the O's right there. Let's blow that up. Let's make this curve just a little smoother. Might have to take my pen down a little thick. If you notice, I start a little bit ahead. I lead ahead on this. And I turn sheep. Sheep it up. Yes. Back then, repeat, put the brush bigger and get this done. Now we're kind of just like knock this out for you guys because you guys got to get those. There's RC tools right there. Now, what I'm gonna do at this point is I'm gonna go back to the layer that I originally imported. That was a photo. And I'm going to make you go away by this. Under the add layer. Underneath that is this little eye you clicking on, shows your original sketch. Click it takes it off. Okay, now have a clear vision of what I'm doing. Now we're gonna go back very quickly and we're going to erase the imperfections, right? So let's raise this up a little right here. Make this eraser down a little bit. One of the cool features on Adobe Fresco is that if you double-tap your pen, it goes to the ink. You double-tap it goes to the eraser. Let's say, I'm drawing this. I get to the t. Man. I tease a little rough at the top. There's chop it up here. Clean it up, make it close to that line. Can you go through your whole piece and just fine tune the areas that you like. Now look at these two over here. One's a little bit thicker, ones a little bit thinner. I'm going to double-click to my pen. And I'm going to make this one a little bit thicker. Let's go back down on the pen though, to take them about a 1.5 rounded out more. If I'm doing this for a client or something, I'll literally take a picture of this, o, duplicate it and put it over there. So I have exact same owes. But for this sake we just freestyle and having fun. Let's also take this n down. Put it back on eraser. Chapters up a little bit more. Reaches deadline. At the bottom right here I can see that's a little rough comeback flowing, not snapping up. Same thing that we did with learning how to draw them. We're going to use the same technique for racing. Okay. Take that off there. Come back in here. Graham, that the S here. I can already see a blend. I'm going to fall away back here and flow. Look the end. Bam, back to this little tail, It's erase that. So now we're looking a lot better right here. In this next lesson, we're going to pull the C Alpha by name, which is the strongest letter. And I'm going to use that as an icon. But I'm actually going to add a character to it so that C in that character to be used in smaller areas. Or I want to actually start putting out there for people to recognize this. So let's go into the next scene and I'm going to break that down for you. 8. Add Some Character: Now that I have the letters the way I like it, Let's add our icon. Let's get into some characters. Now when I look at my list of inspiration, I wanted to pick out of all those maybe one image. So saying with the tattoos, you can put a little ink bottle or something like that. Now what does this have to do with my animation company? It's where I wanted to do. Because when I go watch a movie, the movie theater, they have these cool little short animations for the production company. That's what I wanted to, so something that I want to be different with, right? I don't want to just put like a piece of film or something like that. I want to go out the box and put something that represents me. So let's say we wanna do an ink bottle, have tipped over the ink color coming out. This is an old school tattoo image of explaining tattoo analyst. Normally we run in the word ink right here. But I don't want to confuse people, read it and thinking it's ink tools or anything like that. So I'm going to leave that up just for a visual where you can see it is. I'm going to write the word ink in there so you recognize that it's old ink bottle. I like retro things and I think from the past, you know, cars may have vintage cash registers and vintage sewing machines. I just love that art deco, that time of life. You know, I would like to have lived at that time except for the segregation part near her to be minority parts of the skip all that, jump into the future right here. Now there's my little ink bottle. Low riding. You could add something like a wheel. Right? Let's put the traditional wire wheel. Date and wire wheel. Of course, these are real quick and you want to keep them real simple. The more detail, sometimes the worst because you're gonna be reducing a lot of this stuff down. And we reduce things down real small. All that little detail turns to mush. So here's my little wheel that we can pull this off some times. I have something in mind, even a little more simple. I have this idea of a pencil burst in our 3D. Everyone use a pencil, right? So you can kind of identify with that. We're maybe not everyone's built a low rider, know what it looks like. They probably have used a pencil right now. I'm just busted it out right. Because I don't want to bore you guys with long drives and stuff like that. But you should always get some reference. Let's just say you want to bust out a pencil. Go online. Look at the crazy fisheye views or pencils or something cool that makes you feel good. Screenshot that bring it in here. Take the opacity down, make it very, very light, and trace over it and make it the way you like. You don't have to trace exactly what's there. You can exaggerate a little bit, right? So that's what I'm doing right here. And that's what I would normally do if we add a lot of time. That way it saves me time. I don't look at it as cheating. I look at wherever it takes you to get to quality finished product. That's what we're going for right here. I've narrowed it down to the pencil. The pencil is very simple to digest and understand. And I've been drawn with the pencil since I was a kid. I started in the pencil and now I'm coming over here to animation. So let's show my foundation. I'm thinking about having a camera rather by EA. Now I'm incorporating my logo with icon. Now sometimes even I might not even want to have that whole pencil going through. So for now, I'm going to erase the tip of it and have it like that. Now I still have room for my type to come underneath. If I saw incline. Now we'll use this C2 logo animation. If I was making business card, I will use it for promotion. People asked for my logo here, essentially my logo. But from this point, once I go to a wall, I'm going to put just the sea. And the pencil that's killing be my icon. That's gonna be my mask. So my next challenge for you guys is to fill up a whole page with cool little pencil, light sketch, outlines of the icon that you want. That's the hard part, the mental part of narrowing down, of streamlining your ideas to pick the best one. Sometimes all narrowed down to three of them. Must show my wife and my kids, Hey, which one you like best and see which one people gravitate towards. Go with that icon, simplify it, right? Because the reason I say simplify it, because sometimes it gets shrunk down real little and sometimes you're going to blow up. So I go with trying to hit it in the middle. Still want some detail. But you don't want too much detail. Now that have my name the way I like it and the icon is connected. Let's do something different and separate icon from the logo. How am I gonna do it to still keep it connected is I'm going to leave the tunes animation out of it and just leave my iconic see that the pencil cover. Let's just put it in another layer on. Let's raise the other thing we don't want. When you create your logo and your icon, sometimes they get separated. Sometimes you have to simplify, sometimes the area you're going to fit it, it won't allow it the whole name across. Plus, I want to create a tattoo that all my friends in the shop can get. And they might not necessarily want my full name on them. You don't really mean it might think were dated or something. So let's lock it down to the sea. The pencil coming through. That's a universal icon that everyone can digest and represents the sharp. But it doesn't have a full name on it. So now we have a C with an icon next to it. So why don't you do that? Why don't you take your name, how that image, and try to maybe pull the first letter of your name and the icon and mash them together and see how that looks. You might have to go to the top, you might have to go to the bottom. It might work on the side. My work intertwined. That's the fun of it. If you learn these type of skills, you will be needed. And that's how I built my first show cars, is by bartering and trading my artwork, my concepts to help improve their business and make them money. You do some of the t-shirt graphic. They can make money out there for the next 20 years as you want as your stereo installed. So that's how we'll do it. Causes the sound sharp. I look round. It'd be like you guys need a nice sign, like a mural right here. Well, I noticed your business cards need to be updated and these are skills that I had that I can go out there and make things happen. Now I have a mural that everyone's walking into that audio sharp is o. Who did that mural provide a phone number on the corner. I started getting calls. It will snowball once you start to commit and dedicate yourself to this, amazing things will happen that you never thought was, let's just say you're an adult with tattoos. I can go do graffiti on a wall. That's cool. Still keep going with designing your image, your logo, what represents you, right? Because you can use that. It's so many different places. If you do want to be an artist and do stuff for people, you should always put the icon at the corner of the paper. Be the invoice. Make stickers. Now, on the internet, you can make so many cool things. Match Berg coffee mug, wherever it is that you can afford that you could do get your logo, your image out there. I've done a person the anode through evidence of experiencing things that sometimes I can just pull my little clown face off and stamp it somewhere. And people are tools did that. So you could do that too. You know, he confident, don't get too cocky. Will be confident, love what you do. Amazing things will happen. 9. Explore Tattoo Creation: Now I'm going to take this artwork, take it from the digital world, and walk it into a tattoo shop. Real deal. And we're gonna place it on the arm. We get it right, get it clean. And then slang, some ancient times of change. Back in the day. We are principally those zeros copy, cut it, paste it. It was a big process. Now, I could use my iPad. Take a picture of the client's arm or leg or wherever they're going to put the chair to upload the picture. Take the designer been working on, and place it on their arm, and then show them how it would look on them. Never before we do that. Now, many tattoo waters are doing it. I'm going to put this on my son. This guy is brand new equipment. His skin is fresh, So it's gonna be an easier one to do. I've uploaded a picture of my son, you know, me and my wife created the skin. Now I'm basically engraving with the things that represent him and his life. That's why I get away with putting my logo there because this is me. He's an extension of me. So now I'm going to bring in the design that we just created and drag it in over this photo so that we can see how it looks on the body. People have muscle structure. I carry some real good shape right now. I have to fit the tattoo to flow with the cousins arm. Let's move that around. Go to the layer properties. Hit Multiply. I go right here so I can adjust the movement of it. Here's how it would look if I pretty much blasted on his shoulder, but thinking of doing a little smaller so that it's more of an accent to his arm. So I can throw a big, pretty mural tattoo over top. So let's just say I, I keep it right there. We'll do this. I can even go a little bit smaller to fit, perfect. Bam, blow that up and fit right there. Cool. So this is a great way to show the client how it looks on their arm because you don't want to put a pattern on. And then you got to start moving stuff around, wiping, laugh, moving it up. It's torture, right? So this erases all that. So once the client is happy and can see yes, Yes. That's where I want it. Go to the next step. And that's making a pattern, carbon paper pattern from my old school. But it works. The fastest way to get to that point is to make three different sizes on a piece of paper, right? Let's blow this up just a little bit. Che, that size. I'm going to duplicate this layer. Come back over here to resize it or blow it up a little bit bigger right here. Dope. Duplicate layer once more time. Just to hear. Now I have three different sizes for the clients choose from. So when I do a printout, I can cut each one of those out so that the client can hold up to the arm. Because a lot of times you might not have these tablets. You forgot the tablet at the pad, whatever that may be. You need to know how to do it this way. And if you have little more time, you can number them 123. That way the customers like on number three, put the pattern on, clean it up, let it dry for about 20 minutes. And after that, the ego then that's going to last a minute. This class is not about tattling. This class is about design. Thinking outside your normal thoughts. Grabbing images that people like, noticing what people are attracted to. Narrowing down this icon that represents you and take you to different places in the real-world. These digital tablets are amazing. They make my life a lot easier. But you still have to have the skill of drawing with a pencil. Still have to add the skill of picking up a spray paint can and pulling off the street crisp line. In this next lesson, I'm going to show you how to take this icon and put it on a walk outside. 10. Learn Spray Paint Basics: Now we're actually going into the graffiti side of town, if you will. Yet. We're not really doing graffiti. We're using spray paint as the same painting tool for this project. So let's just say C2, that animation was my client. The next step I would do after they loved the logo and everything, I would take a picture of the wall that they want a mural on. I'm going to drag in the image of the sea with the pencil onto the brick wall, I put a white base behind it because a lot of times it could disappear. And you want that white base or that opaque base code base to make a jump. I'm going to color it on here and get as far as I can before we go outside and actually lay some spray paint down. Now I'm going to add another layer. Go to my colors, go to like gold is yellow, right? And put this on a multiply layer. Let's blow it up a little bit and add it with the pencils. The reason I'm going to add color on this is because it's outside and people are driving by and they want to see it. I'm just using the smudge of color. 90% of my work is black and white. But learn to use color. Sometimes you have no choice. So now I'm going to find a tan color and something, their remarks, a pencil picture of an old school pencil. Try to blow this up. Screenshot it. I'm going to use this color here. This brings imaging real small to the corner. And let's use that. Okay. Another layer on there. Make that multiply. So to put the tail of the word in there, you can always have a different look. You know, it has right here. I'm not going to create a little wood grain right there. Now you got a little color, pop it in there. You can also go back, add another layer. So some regular, I'm going to go to the white. And I will add a few little highlights. This really makes a luxurious. Now, I want to add some gray and let's just say the customers, one gray after flows and gray. Fill it all in like this. She's going to do real fast levels back with my little eraser. This is just really to show the client. So right now, real fast, but you take your time on that, you can make a profit. Now, for fun part, I might add a couple of little white highlights. Our clients love it and it looks good. Big. There's my little character. So really the world is yours. And go back in, say, a black shadow. Let's make it a gray cool little shadow right here. You know, when I was first coming up, I didn't know how to use lettering, quills, or any type of one sharp pain. I did everything in spray paint. And it took me around the world. I used to do the movie sets for crime shows and stuff like that. They give me a blank fake wall and Tommy to destroy it and then give me a check afterwards. As well as a man. That's like getting paid for ice cream, eating ice cream. And now this is pretty much it. On to show the client is really like what you take. Once I'm happy with the design or a client gives me approval, next is to do it on their business. There's a lot of different factors that go there. The texture of the wall, how high how low do need ladders? You need a scissor lift. I want to step back and I want to look at the wall. Right. But sometimes I can just sit there all day staring at the wall. So I'll take a picture of the wall, come back to my studio, put the artwork on it, make sure it fits. Sometimes as the drainpipe right there. Sometimes it's electrical box getting in the way. Different factors, right? So what I did here is I took a picture of the wall. I drag the artwork good. I'm going to place it on the wall. It really helps me for grading the wall. You know what I'm saying? Like how do you know how big to put it? Blah, blah, blah. So even if on this picture I took, I can count the bricks all the way to the bottom of the letters and I can count the bricks from the top. These are all school graffiti methods. I'm saying if there's lines in the wall, use that as a ruler. So I showed this to the client. Client says, I love it. It's ago. Now there's other factors that go along with that. Now you gotta go outside. You got to paint the sun. Best have when your friends there with you, traffic control, someone is the hole that ladder to when you get up there. I recommend putting a table out there. Have your little wireless beat box right there. Have an ice chest with some food, have some folded chairs, some extension cords. All that type of stuff is extremely important. These are all things that are not really related to the drawing that you gotta do or outside of the drawing, right? These are outside preparation that you got to do. But it's fun because once you start to get the hang of it, starts to flow, you real grateful that you brought that ice chest out there. And then you start painting the wall. That's when it gets serious. The first thing I do when I go out to paint a mural, I make sure all my tools right. I have the correct colors from my paint. I got some rags right there, got some latex gloves I can put it on and I have the correct tips. The tips are the caps on spray paint. Can you guys are very fortunate now in 2022 to have an assortment of caps. Back in the day, we only had one size. Now. They have the wide spray medium down to a fine line. I like to use what they call fat capitals. Clean, medium line. They can get sharp. If you hold the king close to the wall. Once again, you can find all these caps online. You could probably, you know, as the pain sharp, which one's the most popular kid? A fat won't get a medium, it a liner, and get a skinny cap. You use those the most. Don't worry, because on the resource page, you're going to see all my favorite tools from the caps, the paint depends to the tablet. So don't try it. Next step, get my cans ready. And I'm going to have to shake the **** out of this chance, right? Don't just give them a couple of shapes and things that couldn't be cool. You really have to shake it hard. When I lay out a wall, I want to use a color that is very close to the wall that I'm doing today. It's a brick color. I'm going to find that color. And I'm going to sketch my C out. Once I'm confident that I'll go back with the background color and work in reverse. So I'll get my gray, which is probably the biggest area to cover. Start filling that in. You're going to go over that C outline a little bit, but it's okay. Just fill it in. Try to get into solid as possible. And now we move on to the pencil. Sometimes you might want to lay a little wide down first and then go over with the yellow. The yellow can be transparent. Then I want to go on to the wood color. Finally, spray paint can and closer to that. And then I would actually throw a little shadow around it, being that it's your choice really but little white outline around it or something to bring it out. Once I get the colors settled in and pretty solid, I started thinking about going back in with the black. Now this is the most final thing. But if you make a mistake, don't worry about it. Because when painting, you can take that gray color and you could chop and clean the black outline out. When I'm pretty much satisfied with all that, I'll get my white. And that's like the cherry on top. I start putting a little highlights on where I think the son would hit. After that, I can even do a shadow off of the shadow. So adding multiple drop shadows in is kind of your taste. If the client's cooled, let you just do what you do. Just keep doing it the way you like it. It's important to have a reference nearby. Sometimes you want to hold it in your hands on a printed piece of paper. Sometimes it's your phone. You need that reference right there. So you can look back and remind yourself what you're doing. A lot of times we'll start adding stuff, but maybe the client don't want that, right. So have their reference close to you, have some different tips. You're going to need different tips that they clog. Good to have some backup cans, backup colors, chair takes on fold-out chairs, little things like that. When you're on the road, you're going to figure out how to pack so that you're comfortable. 11. Final Thoughts: Well, we've reached the end of the class, not the end of your journey, the end of this class. Hopefully you guys got something out of it. And you can see the potential for your future. You know, this takes repetition, time after time, practice, after practice, after practice. The main thing is just to have fun and love it. Look at the other things on Skillshare to other artists. Anything you can pick up on really, really helps. Main thing is to flow and to do things you never touch, you can do. It's not going to happen right away, but I guarantee you, you follow some of these techniques. You use this method usually get better. Because I grew up in people told me no, you're lucky, you're blessed to this. They put these titles, you know, what they didn't say is a heme even working in 20 years at the same thing I look at is more of a skill. That's what maybe jumped on this whole platform. The word skill and the word sharing. That's really impactful for me because the scale is something that you develop over the time. It's no shortcuts. Can finance it, you can put it on, lay away. You got to earn it yourself, be down and start at the bottom. Be down to learn the basics. If you can get your foundation and your basic solid, you could do things you never touch it and do. When we started this class, all we had was a piece of paper, ruler, pencil and pen. And as we kept going to the computer, we even got outside. We sprayed. Now, we've gotten a piece on the wall. Now what? Now you need to repeat this method over and over. But you can change the imagery. Like now you do urinate, have a dual mom's name. How about doing the auto body shop on the corner? I really want to see what you guys are working on. A really tripped me out. If I see some of these pieces, I really want you guys to upload your art in the project gallery. Don't get in trouble, go riding in an alley, get busted or anything. Go to Home Depot, get you one of those four-by-eight panels put in your backyard and practice on that. I have confidence that you can do it if you follow these methods and you don't accept failure.