Illustrate A Screen-Printed Skull T-shirt From Photo Reference | Palehorse | Skillshare

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Illustrate A Screen-Printed Skull T-shirt From Photo Reference

teacher avatar Palehorse, Digital Illustration Wizard

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

9 Lessons (1h 12m)
    • 1. Trailer

    • 2. Set Up Your Reference Photo & Sketch Layers

    • 3. Follow Along As I Walk You Through the Sketching Process

    • 4. Digitally Ink Your Sketch - Part 1

    • 5. Digitally Ink Your Sketch - Part 2

    • 6. Select a Color Palet & Shade Your Skull - Part 1

    • 7. Select a Color Palet & Shade Your Skull - Part 2

    • 8. Create A Mockup of Your T-shirt Artwork

    • 9. Set Up Your Final Art File For Print

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About This Class


In this class I'll walk you through my process, step-by-step, showing you how I create detailed artwork for screen-printed t-shirts. You'll be using a provided reference photo that we'll be modifying with sketching techniques and you will also learn to set up your file for production. Beginners, to advanced students will likely enjoy and benefit from this class!



  • Sketching: Learn how to develop and modify your reference image with digital sketching techniques in Adobe Photoshop 

  • Line Work: Learn how to digitally ink your concept sketch, add details and capture the volume of the image. We’ll also install custom Photoshop brush presets that I use for cleaner lines. (Provided by illustrator Rey Frenden)

  • Color & Shading: Get the most out of a limited, spot color pallet and incorporate dynamic shading and highlights into your illustrations
  • File Set-up: Create clean, color separated production files for your best shot at perfectly screen-printed T-shirts


Meet Your Teacher

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Digital Illustration Wizard


Growing up on a steady diet of heavy music, skateboarding, tattoos and world travel, the illustrations, murals, screen-prints and gallery work of Palehorse serve as a winding trail of past explorations and illuminate his constant quest for Self-discovery and personal evolution. Inspired by an ever-growing fascination for spiritual practice, sacred art, ancient civilizations, plant medicines and world mythology, his images are designed to grab attention quickly, captivating the imagination and pointing towards the ineffable spirit that lies beyond the material world.

The bold, colorful and intricate illustrations of Palehorse have been commissioned by companies such as: National Geographic, FX, Under Armour, Nike, Mini Cooper, DC Shoes, WWE, Hasbro, Penguin Books, TECHNE Skateboar... See full profile

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2. Set Up Your Reference Photo & Sketch Layers: - welcome to the Pale horse studio, - where it is raining in its thundering have turned the lights down, - have lit some candles. - We've got some glowing monitors, - and best of all, - we get to draw skulls together. - So in this class we'll be showing you my methods for illustrating a skull from a photo - reference. - And then we'll be setting it up for a screen printing on T shirts. - So this particular image you confined in the additional resource is section. - And this is an image from a recent book that I released, - along with a collector, - friend and a photographer. - And it's like 72 pages off beautiful photos of riel, - human and animal skulls, - and you can get that on illustrated monthly dot com. - Um, - so if with this image since we'll be printing it on T shirts, - um, - you'll want to set it up in a way that will maximize the space on a shirt. - Here. - I've set my crop area to 16 by 20. - I also wanna rotate the image a bit so that it'll fit best on the shirt. - You know what I also want to do is let's just set our background to black when we do that, - um, - and then rotate it to fit and you just want to maximize it for, - like, - the chest of a shirt. - But you also want to make sure that it that looks good in that direction. - I think this adds a little bit of ah, - dynamic. - Look to the school. - Kind of looks like it's staring at you or something. - Okay, - so the next thing that will want to do, - um, - we could just jump right into, - um, - sort of tracing out this image and trying to replicate it. - Exactly. - Um, - but rather than that, - I wanna do first create Ah, - um concept sketch or ah, - a sketch where we get to study the volume and the textures and create a drawing that - perhaps a little more unique Then if we just went straight into tracing. - So let's set this up. - Um, - sort of like we're putting a piece of tracing paper over top of our image here, - and we'll use that for our sketch. - I'm just going to click on the hue saturation adjustment layer and then let's click. - Color rise said the lightness up. - Ah, - saturation all the way to 100 I like to use a light blue color, - you can adjust your lightness as needed. - What you want is a very light image, - but you want to still be able to see all the textures and details. - Um, - So what we're gonna want to do first is select a brush. - I'm gonna click black ink. - I use a soft brush that is, - um, - set to zero hardness on. - It also has shaped shake dynamics at the pen. - Pressure down on transfer, - click smoothing. - I'll put this screenshot in there if you need toe set up your brush. - Um, - I also set my eraser to the same self brush. - Um, - set your your brush to around 35 ah, - percent opacity and then turn on the pressure sensitive flow button here, - whatever it's called and we're gonna just start, - ah, - creating a concept sketch. - And before you start sketching, - it's, - I think, - important to really pay attention to the photograph. - Um, - sort of envision it in your mind and outline all of the shapes with your eyes. - Um, - see how things kind of tucking, - see where they land in space and sort of look at the volume and texture that's in this - photograph and you'll want to try and replicate that asbestos possible. - It's going to be all about the light that's hitting ah in different areas and where the - shadows are landing so that we can really capture those details and create really dynamic - piece. 3. Follow Along As I Walk You Through the Sketching Process: - So now we're ready to turn back on our hue saturation layer. - I also have a layer on top of that which will be our sketch layer. - I've got my soft pressure sensitive brush, - and I'm just going to start creating a study of this image and going around and creating - shadows and highlights and sort of studying the ins and outs of it and planning for the - final rendering that will be doing in the end. - And also, - if you're if you happen to be working on a sinti tablet and you have another monitor above - you, - what I like to do is to, - ah, - a copy of the image and create a new document and put drag that window, - um, - up to my other monitor so that I can see that at the same time clear and kind of study that - as I'm creating my sketch, - it just kind of helps to make it easier to capture all of these, - uh, - these lights and shadows as I'm working on this sketch, - I'm paying close attention to the lighting in the shadows in the volume, - and I'm sort of keeping in mind that this is a planning stage and imagining how I will Inc - the peace after the sketches completed. - I'm also keeping in mind that this is for screen printed T shirt and I'm gonna probably do - a base color for the skull and then one color of shading and then, - of course, - are black Leinart and shading. - And then finally a highlight in color. - So I'm keeping all those things in mind as I'm working on this sketch. - And, - um, - you can also make adjustments and you can add things to it, - and it can sort of give it your own personality. - Um, - in style, - - you - might notice. - I also at points, - will higher and lower the opacity of our hue saturation adjustment layer. - So if you wanna kind of see the details a little bit better, - lower it down. - And when do you want to see your lines Better? - Just bring it back up Some things that I just wanted to point out here while I'm sketching - , - um, - you'll notice that I'm constantly changing the capacity up and down. - I'm also changing my brush size quite a bit. - Um, - I've got that set up in my sin teak here so that I could use the spiral radio touch pad - here, - toe go bigger and smaller. - You can also set it up on your keyboard or here, - any tablet, - this program, - it to be able to do that constantly. - And it will make your life a lot easier. - - Something - else that, - um I should point out, - as I also switch back and forth from black to white and when you're using white, - you can go through and and the highlights back in or you can, - um, - self in it back up, - go back and forth and get some good sketchy textures in there by sort of sketching and then - erasing and use that as a racer and set Europe ass ity up and down. - So just continue to build up your textures with, - uh, - blacks and the whites and create volume. - Sometimes I'll click on the white and you can see in here just sort of, - um, - trying to plan out and give myself some visual cues for how these areas well still out and - how shade them Teoh capture the look in the the volume of the skull and the more that you - go back and forth. - Um, - and you add a lot of this texture to your piece, - and later on you'll be able to kind of, - like, - look into the sketch and pull things out of it. - It'll start to kind of pop out at you that you can follow, - um, - as visual cues that maybe weren't even in the original photo. - And that's where it gets fun. - - So - a lot of times at this point, - when I've been sketching on this thing for a little bit, - I look at the sketch and sort of say to myself, - Okay, - this is what I had in mind, - and I look at this sketch and also to ask it. - Okay, - now what would you want to become now? - What do you really want to become? - You know, - sort of. - Ah, - look at it and visualize and imagine what else could become of the the peace in the end. - And a lot of times, - you know, - shapes will start to emerge, - and I'll start Teoh visualize what else said I could do to the peace, - like in this case, - As I look at this, - it looks like there's starts to look like there's eyes staring back and be kind of like - gonna take the movie evil dead or something like that. - Since this is all about technique, - I'm just going to focus on sticking to the reference image. - But if you want to give that a try, - feel free and see what happens. - So now it's your turn. - Follow along with these steps, - and I'm looking forward to seeing what you guys have created. - So post your skull sketches and in the next phase will be getting into line work, - so I will see then. 4. Digitally Ink Your Sketch - Part 1: - Okay, - now that I've got my sketch ready. - Uh, - the next thing I'm gonna do is up the resolution so that we can start our line work. - So I'm gonna go to image, - image size, - and this is really going to depend on how fast your computer is. - Um, - the higher the resolution, - the better. - I like to be able to zoom way in without getting any picks. - Elation. - I'm gonna set mine at 600 I'm going to make this 16 by 20 image size, - and that'll give us a really nice resolution, - and we'll be able Teoh, - zoom in and keep all of our lines nice. - And Chris. - Okay. - Next, - I'm gonna be taking my hue saturation layer and throwing it on top of my sketch so that I - can have a light image to start adding my black Leinart. - Uh, - next I'm gonna click New layer and something pretty cool that recently I started using and - I really like, - there's an artist named Ray friend and and he's got a store where he's been making these - really cool Photoshopped inking brush tool presets, - and they're just ah, - lot smoother and nicer than the standard Photoshopped brushes and it's Ah for 99 for like, - a bunch of thinkers and pencil settings and raise been kind enough to let me give you one - of these that I really like for free and you can find that in the resource is section. - It's called Inker Organic, - and it just makes for very smooth lines. - If you're using Photoshopped CS four or earlier, - that was before they had added the cool tool presets here for the custom brushes. - Um, - if if you are, - then it's not that big of a deal. - Then you can just to use the standard, - um, - brush with 100% hardness. - And I've put Thea settings there in the resource isas Well, - so if you see here, - I've clicked shape dynamics and turned on pen pressure. - Minimum diameter is zero, - and smoothing is turned on. - So, - as you know, - there are countless different ways that you could Inc your skull illustration. - The method that I'm going to show you is the one that I use most often, - which is a combination of clean lines thick to thin, - shaded areas and black shapes to indicate shadows. - And I like to create a good sense of contrast between the white and the black areas, - and I like to make sure that they're nice and separated so that the drawing doesn't become - muddy. - So over time the more that you practice with your line work, - the better and better it'll get. - This class is sort of designed to be able to practice with it, - and I would suggest drawing a bunch of these or even downloading the skull book and going - through a bunch of them if you went through all 72 schools. - I bet you would have some tree badass illustrations in the end. - So, - yeah, - just keep practicing with it, - work on your line work. - Pay attention to it, - Um, - and then I think over time you'll start to develop specific style in the way that you draw - your lines. - I've also got a cheap plastic skull that I got online, - that I sort of hold in my hand sometimes when I'm drawing skulls to get a better sense of - the volume of it and try to capture that in the inquiry. - So now just sit back and I'll speed this up a little bit to save time, - and you can just kind of look over my shoulder as I think up this go 5. Digitally Ink Your Sketch - Part 2: - Now that I'm pretty close with my black thinking, - What I'm gonna do is start add some white, - so making a new layer here and I'm naming it white. - Ah, - selected white ink. - And I'm just going in with my brush and sort of cutting away at some of these big black - shapes that have drawn, - um, - and this will just add some additional detail and some interest to some of these areas. - So this is just a nice little tip to kind of add some icing to your ink drawing. - So I'm just gonna sort of look at my reference photo, - um, - and see where I can add some white. - So I'm just gonna go through here and do that. - - And - once I'm done adding my white, - I'm gonna go to the white layer and gonna hold down command and click on that layer to get - a highlight. - And once I've highlighted the white Aiken, - um, - just hit delete out of my liner. - So that just cuts away the the white lines that we've because we don't really need them to - be white. - And then I can throw away that white layer. - So now we've just got black, - each um, - on one layer here, - and once again, - it's your turn. - So try out these steps and I want to see those skulls. - So post them up and let everybody take a look. - And, - ah, - we'll see you in the next phase where we start to add color and shading. 6. Select a Color Palet & Shade Your Skull - Part 1: - all right things. - They're going to start getting really fun now because we're going to start to add color. - Um, - and I will show you how I do that on DSO We've got our layer of Leinart. - I'm gonna make another layer. - That's gonna be our base color. - So I'm gonna take the magic wand tool, - Click on the Leinart layer, - Click on the outside Here. - So we've got a selection. - I'm gonna in verse that Ah, - command shift. - I will inverse your selection. - Go to select modify contract. - I'm gonna contract this by, - let's say 10 pixels. - All right, - so now we've got a selection here and in the layer I'm going to call. - This highlights was we're gonna put down our highlight color first. - I wanted to kind of use some wild colors on here, - so I'm using a sort of neon dream for my highlight. - Um, - we're gonna make another new layer. - This one is gonna be like the base color. - And I've selected a really nice light blue that we're gonna be using for a base here. - Um, - so, - uh, - we'll just keep that there for now, - and then we're gonna create another layer, - and this is gonna be our shade layer. - And for that, - I picked a dark blue color here to complement the like blue color there. - So it's gonna be pretty cool in the goal here is to, - um, - have a nice light source. - And some adding these shading details really make this piece come alive. - Okay, - Once you selected your color palette, - I'm going to turn off all of our color layers. - And I like to work from the darkest color to the lightest color. - And to do that, - I'm going to turn off my white link paper layer here so that I can see all of the nice - shading and sketching that we did in the first phase. - So to get started, - I'm gonna click on my shade layer. - I'm going to click on my, - uh, - darkest blue color. - And then I'm just going to start, - um, - shading up this piece and I'm going to just be using the just kind of tackling the darkest - areas. - And then next, - we're going to be, - um, - going in in shading these kind of more subtle details in the other blue. - And then we're gonna leave a lot of these areas open for ah nice highlight on top of it. - So let's get started Now that we're getting into color, - Um, - I find it useful to go back to our hue saturation adjustment layer, - double click on the little icon there, - and I'm gonna take the saturation all the way to zero and bring the lightness back a little - bit. - So right now we can just see all of the shading that we worked on in the sketch. - I've also got my, - uh my original photo. - It's It's in there behind the white layer that you can turn up and down depending on how - much you would like to see of the original photo. - And then from there, - I'm going to start with my shade layer. - And I've selected my darkest blue. - Um, - pick whatever is the darkest color in your color palette, - and we're going to start by coloring in the dark shading here and leave open some spots for - our next blue, - which will be adding in on a layer underneath. - So let's get started. - And I think it's also important to point out why each color is on a separate layer. - Um, - I like to always separate my colors so that I can always go in and, - um, - modify, - edit on even change the color to, - ah, - different palette if I decided and like it at the end. - Um, - and also, - since we're setting this up for screen printing, - this will allow us to create a nice clean production file and specify Pantone ink colors - for the final printed piece. - So just follow along will speed up the video here so you can watch me as I quickly start - adding all of the darkest blue shading. 7. Select a Color Palet & Shade Your Skull - Part 2: - and I think it's always good to know sort of how many colors that you will be using in your - design in your illustration. - A lot of times, - if this is for a client, - I'll make sure to ask them up front how maney in colors. - Or if there's a limit on how many that they want to print with, - or if this is for your own T shirts that you're gonna be printing, - you can save money by using less inks. - And we're going to just try and get the most out of this these few links that will be - printing with - now - in our last illustration process video. - And as you can see, - I'm adding in all of our subtle detail, - shading. - So I'm using the lighter blue color in the palate or whatever color you decided for your - color palette. - Um, - and I am going in and looking at the photograph and the sketch and just adding in all these - intricate lines to create the volume that we can see here. - This isn't necessarily the quickest way that you could do it. - You know, - you could just go add in, - you know, - fill it with blue and then in the end, - you know, - go around and hit all of the white highlights. - But this is the way that I like to do it. - And you can get some more details and subtle shading this way. - And I think it looks little more natural. - If you're looking for a quick way, - this is probably too late to mention. - But if you were looking for a quick way to turn a photograph into an illustration, - this is probably not the class for you, - but this is ah, - the way that I like to do things and comes out with a really nice to result that captures - the likeness of the photograph. - Ah, - in a very graphic way. - And that's kind of the style that I like to work in. - So follow along and ah, - watches I fill the rest of us in. - Well, - I had a lot of fun shading that up. - The shading and coloring phase is really my favorite part of the process, - because this dead thing really starts coming to life. - And I also wanted to say, - Ah, - please don't be intimidated by the the line work and shading here that I'm doing. - I love you for you guys to post your work. - I've been doing this for about 10 years, - and it's really the only thing that I know how to do. - Um, - so when I got started, - I sucked at it. - It wasn't easy, - but if you keep practicing, - keep at it. - There's some really solid techniques here. - Teoh allow you to practice over and over, - and it will get better and better as you practice with it. - So please post your results. - And in the next phase, - I'll be showing you how to mock this up onto a T shirt. - I'll also show you how to set Pantone eat colors for each of the inks that will be using - and will set up this file to be sent off first screen printing, - so see you in the next phase. 8. Create A Mockup of Your T-shirt Artwork: - all right in this video, - it is time to make a mock up image, - and I like to do this before I send it off to the printer for my own benefit. - Also, - to show the printer the sizing that I'm looking for. - It also gives a quick view of the colors, - and this is also a way you can send it over to your client to get the final by off before - you set up the final print files and send over the high res image. - So there's, - ah, - a lot of different sites out there that you can download T shirt templates. - I just did a quick Google search, - and I found this one. - I also I use one that I bought off of Go media dot com. - They have a nice one, - Um, - but I'll show you this free one, - and I'll put a link down there for you to download that one. - Let's see a me. - Open it up. - All right, - here is the file. - Just in checking this out, - I see that one way to do it. - You can throw away the art that they have on their. - There's also some shadows overlay. - Let's just turn that off for now. - Um ah. - One option that you could decide whether you want to do it or not. - It's sometimes nice to put ah, - colorful stroke around it. - Toe pop this off of a black shirt. - To do that, - I'm gonna hit command, - click on my highlights layers. - See, - that makes thes shape. - And on my base color and thinking I'm going to make the stroke this lighter blue color. - So I'm gonna go to edit stroke. - I'm going to do a 40 pixel stroke on the outside. - Click. - OK, - let it think for a minute and it will stroke the outside and then d to de select. - They just pull that over. - Okay, - so now one way to make this look a little more realistic onto the shirt. - Now, - this is not for production. - Keep in mind. - This is just for our mock up. - I'm going to click the highlights Space, - color and shade. - I'm gonna merge those three layers. - If I hit commands and I click on our Leinart icon here, - you can see I'm gonna hit command age just to hide our selection. - I'm just gonna delete true out of that layer. - So basically the T shirt is gonna show through rather than the black on their, - um, - another thing that I'm gonna do. - I like to add a signature wherever possible. - So that people were in it. - No. - Who drew it? - Um, - so I've got my signature here in photo shop. - I'm gonna hit command, - See? - And I'm gonna hit command the and I'm going to make that. - Also, - the light blue color feeling that Manti to transform. - I'm thinking I want to make it kind of small, - not intrusive. - Just, - uh, - I wouldn't drop it in. - Okay. - Seems to nestle nicely right there. - And I'm gonna just go ahead and merge that. - And now I click back over onto my T shirt. - Have been a drag our image. - We don't need the black, - remember? - And it's huge. - Women hit command t Nice little tip here while you've got transform going hit command zero - the last year. - Screen out big enough to pull it back when you get a position. - Hit command zero again And I'm in a position. - This I like a big graphic on a shirt, - like drawing details, - and I like it when you conceive them printed. - So, - um, - I like to pay for what's called an oversized print sprinter I use can print up to 23 inches - and I tell them to maximize it as possible. - So positioning it here, - this concertos printer what I'm aiming for, - um, - you remember that Shadows overlay that's on here will actually make this look a lot more - realistic. - If I hit command again onto my art layer, - I could just mask that. - So, - you see, - it's a little more realistic there. - Um, - I also I think on this one, - I want to add a sleeve Print that my icon symbol here. - I'm gonna hit, - come and see, - and I just want to see what that would look like printed unto the sleeve. - That's when it hit command T. - And I'm gonna put that on the right sleeve here. - Now, - this would just be this would be an additional hit. - What they call it, - I believe, - um, - so they would make another screen for this, - and I'm thinking I'm wanting to print it in white ink. - You know, - maybe, - I don't know, - five inches tall, - something like that. - This will give me a little visual symbol to see how it looks. - Ah, - on this particular file. - There's a T shirt layer. - I'm just hitting command and then clicking on the image. - And I'm going to mask the symbol. - You can see how it is. - This a nice little mock up if we click the link Icahn there that will allow us to move this - around without moving the mask. - Okay, - I think that looks pretty cool. - Another thing that I like to do is to a neck print inside neck. - This is ah, - graphic I made in Illustrator. - I'm just gonna copy that for our mock up here. - And I like to throw it here on the neck. - The go media template that I use. - I think they have a mask already set up there, - but this one, - it doesn't have one, - so we're just gonna make that real quick. - Um, - so I would just put that guy right there. - Um and I think if I race a little bit, - I can get those shadows back in there. - Yes, - it looks kind of realistic. - Ah, - And then what I'm gonna do is make a mask, - command d first, - and then I'm gonna make a mask. - And then just in black ink, - I'm gonna make this mask here. - I know this is actually gonna leave. - Those shadows will fix that here a second. - Right? - So I just got my little mask. - They're this, - um, - from this gonna I'm just drawing the black back over that mask that kept those shadows in - there. - So All right. - So we've got a nice looking mock up. - Um, - this file looks like you could put a background image back there if you wanted to post it - on your site, - see what people think. - Um, - e you know, - we could do the same thing here with this symbol if you wanted to, - uh, - you could go over here and white these white inch. - I think you could with those shadows. - Yeah. - You could put those shadows back in the mayor. - Indeed. - And so now we've got it Pretty realistic looking mock up to send off to our client or onto - our printer to show them what we're looking for. 9. Set Up Your Final Art File For Print: - All right, - now, - once we have finished with our T shirt, - mock up and we love it or the client loves it, - and you can use this mock up to send it off to get pricing. - Tell them you've got a three color print, - oversize print in this case on a black T shirt and select the shirt that you want to use. - I often times use a shirt called next level apparel to really nice fitting soft shirt at a - good price. - So I like using that one. - Um, - and the next thing we're gonna do is set up this file so we can send it over to our printer - . - Um, - basically, - it's gonna be very easy because we've put all of our colors on separate layers already. - There's no color separation process, - really needed. - First thing I'm gonna do is throw out all the layers that we no longer need. - See, - later, - I'm gonna add a layer in, - Uh, - this is just gonna be a black fill, - and I'm gonna name this black shirt color, - okay. - And our Leinart, - this is also going to be just the black shirt color, - so I'm gonna name it the same thing black shirt color. - And, - um, - just to point out that also ah, - the printer that I work with, - you know, - doesn't even need these colors separate anymore. - They have software that does it. - Some printers will not. - Um, - so this is, - ah, - best practice to have all of your color separated. - And one really important thing is to specify your ink color. - So I don't want to just leave this up to interpretation. - So, - um, - I have invested in buying, - um, - some Pantone swatches and this is the one. - This is the book that I've got here in front of me. - It's called the Color Bridge uncoated. - And basically, - since we're not printing on coated paper, - we're gonna be picking uncoated colors 160 bucks kind of pricey. - But this will ensure that you picked colors and you can convey it. - You know, - an actual colors rather than, - you know, - monitor that. - You know, - your monitor versus the monitor of your printer could look totally different. - So I've but I do is I open up my Pantone book and I compare the colors that air here with - the ones that I've envisioned or put on the screen on. - So for my highlights, - which is a bright yellow color. - I'm gonna call this Pantone 3 95 you, - which is a nice bright and of neon yellow color for the base color. - Looking at that one. - And it looks like a Pantone 6 37 You is pretty close. - The next one is the darker blue. - And that one I'm gonna go with Pantone 66 39 6 39 You all right? - So those are our three print in colors that we're gonna be using. - What I also like to do is take a screenshot in the Mac. - It's just command shift four, - and then I can take a screenshot. - And I like to throw that, - you know, - paste that into the email. - When I'm talking to my printer, - tell him I've got three colors here. - The Pantone. - So we're clear from the beginning. - Um, - the next thing that I can do here is once we've got it all set up. - Oh, - you know what? - I need Teoh at our outline and logo back in. - So once again to do that, - um, - I'm gonna come and click on our highlights layer and clicking on our Pantone 6 37 you layer - , - which is our brightest blue. - I'm gonna go up to edit and it's stroke. - It's gonna be a 40 pixel stroke. - It's gonna think and outline it there. - Um, - next, - I'm just going to go over to my symbol note, - not the symbol of Signature command. - See, - And I just want to tuck that in at that in small here. - This is my signature. - It's nice toe. - Add in where possible. - I would recommend coming up with an artist's signature that you can have digitally on hand - , - and a lot of times your clients will let you sneak that in. - So I'm just once again hitting command and clicking on the layer. - I'm gonna also fill that with blue on the blue layer and I can throw away that layer that I - just made. - So now we are ready to save this file. - So, - um, - I am gonna, - um actually, - let's look at the image size here. - We made this 600 dp i 15. - It's like 16 by 20. - Basically, - um, - I'm gonna make this a Ah maximize that. - I know my printer can print up to 23 inches. - I'm gonna ask to make it as biggest possible. - Um, - we can keep it at 600 dp. - I hear it's going to make it a little bit bigger and I'm sure you know 400 dp I would be - fine for a printer. - The bigger the better for me. - Probably even 300 would work, - but I like Teoh send over a very high resolution. - Um Files. - So let's let this image size process. - And I know I've got a pretty fast computer here, - so I know if you know, - if your computer is a little bit slower Ah, - you can make it smaller. - Not that big of a deal. - Okay, - now that our file is the right size, - I'm going to save this as a dot PSD. - You could also change the mode over to see him like a Ah, - your printer will probably know to do that for you. - I'm gonna leave. - Mine is RG because I don't want this file to be too enormous. - So I'm going to say that as a PSD once I've got that saved. - I'm just gonna make a folder here, - is calling it a pale horse. - Skull T shirt files inside here. - I've got my mock up um, - there's my mock up, - J pig. - And then I've got my full size skull T shirt file. - And since in our mock up, - we've got a sleeve print and a neck print. - Both of those are one color white ink prints. - I'm gonna also add. - Those two are print files. - So I'm in Illustrator here have created these vector files. - This is my tag prints. - So I've asked my printer to cut out the tags from the shirts and print these instead. - I've also got a sleeve print. - Both of these. - I've specified at about 4.5 inches the neck print as well as the sleeve print. - So I'm just gonna save those here inside our file. - I'm gonna make that nps. - Um, - some printers don't have the newest version. - I'm going to say that is a C s two e. - P. - S Throw that in there and I've got my next my next size tag prints. - I'm going to save those also here in my final art. - And I'm gonna throw that here also going to say that as an E P s let's do see us to be safe - . - Save that. - All right, - so we've got all of our files now. - Ready? - I am gonna right click on the Mac here and hit compress, - and that'll compress are filed down. - So it'll be, - Ah, - lot smaller would have been over 60 Meg's. - Now it's 21.2 megabytes. - Um, - next thing we're gonna do is we're gonna need to upload this and send our client and - download Linkous. - This is too big to email. - Ah, - site that I use is called high tail dot com. - Um, - I sent a lot of large files, - so I have an account on here that I pay for. - There's other sites like Dropbox and few others. - Take your pick. - This is one that I like. - Um, - basically, - you just put in the email address, - but in your subject, - you can write a little message. - Um, - what I like to do is actually send this to myself, - and then I can craft an email, - and I can copy and paste the download link once once it's ready. - Um, - so basically, - I just put in that information I hit, - send it, - and it is off. - So that's the end of the class here. - I hope you enjoyed it. - Um, - I had a lot of fun drawing with you guys, - and I hope to do some more classes in the future. - So if you like the class, - please leave me a good review and I can't wait to see everybody's skulls. - I'll be checking in. - Teoh, - See what everybody's uploading. - Ask me any questions. - I'll be leaving comments and helping you guys out as much as I can, - and thanks again and see you next time.