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

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.