Procreate for Tattoo Artists | Jeremy Hazel | Skillshare

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Procreate for Tattoo Artists

teacher avatar Jeremy Hazel, Education Through Creation

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

    • 1.



    • 2.

      Creating a Document


    • 3.

      Intro to Layers


    • 4.

      Working with Layers


    • 5.

      Importing Placing and tracing your references


    • 6.

      Hiding and Masking Layers


    • 7.

      Using the Camera and IPad Screenshots


    • 8.

      Downloading and Installing Brushes


    • 9.

      Brushed Explained


    • 10.

      Drawing Smooth Outlines and Air Printing


    • 11.

      Shading Part 1-Setting the Reference Layer


    • 12.

      Adjusting Treshold Sensitvity of the Automatic Selection Tool


    • 13.

      Shading Part 2-Start Shading


    • 14.

      Coloring Your Image


    • 15.

      Thank You


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About This Class

Have you ever wanted to find an easy, understandable way to take your existing art skills and move into the digital art space. This is that course…..With simply the ipad and the amazing app of Procreate the same organic feeling we get from drawing on pencil and paper is paired with the digital ease of being able to change on the fly for clients and designs  

In this course your instructor Jesper Bram takes you through ONLY the tools you will need to get up and running immediately in procreate and start working with your client projects in the digital space .

Included in the course you get:

  • 14 video lessons that can be accessed from every major mobile platform (computer, phone, ipad)
  • Lifetime access to all of the lessons
  • Jesper Bram’s exclusive tattoo brushes that mirror the liners and shaders you use in your craft
  • Access to both Jesper Bram from Lowbrow Academy and Jeremy Hazel from 7th season studios
  • Lifetime access to all future course updates

With over 9000 students and a combined 40 years in the profession of professional art we are confident that we can take you from absolute novice, to getting you up and creating in an afternoon

At the end of the course you will be able to:

  • Create and edit images in Procreate
  • Select, resize, and manipulate layers within an image
  • Take a piece from sketch all the way to full color in front of your client

Enough of us….let’s hear from a few of our students from other courses

“This is the most involving class I have taken on Udemy!”- David

This Is a 5 star class! The content I'm 5 lessons in and i feel like i got my money’s worth already. great class! UPDATE: 1/3 of the way in. Just finished a portrait, and i know my way around the software. Course just keeps getting better and better. , because this course is straightforward, presented in a logical pattern where each lesson build upon the past.”- Brian

Meet Your Teacher

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Jeremy Hazel

Education Through Creation

Level: Intermediate

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1. Introduction: My name is Bob, and I'm a tattoo artist from Denmark and for the past two years off helped other two tours to get over that a little bit of a learning curve it takes to get into digital drawing. If you've never had any experience with a computer, software are drawing digitally before It is much easier than it Waas five years ago. But there is still something if you've never had I ever tried working with, like drawing software, Andi layers and different brushes and all the settings and stuff like that. Then there is a little bit off a learning curve that you know, it doesn't take you more than a day. Took it over if you have the right instruction. But it could take you, like for Amma toe figure out on your own, and you're probably, like, get into some habits off doing some stuff, which you could do much faster. If you have somebody's we help you are I gang. So this course is really broken up, assuming that you know how to turn on your iPad. So when you go through and you turn on your iPad, the first thing you're going to do is you're going to open up the procreate app and we start you off of the basic three lessons of procreate. Now we're gonna take this image, and we're gonna walk through the complete process. You don't have to watch, like, an hour and 1/2 of three hours off video. Everything is in a little chance of videos. So when you're sitting there and you're using your iPad learning using this stuff that you have learned in the course, then if there's something Hey, how was it? The work? You know what? I need to press to get this and even just, you know, you could get into the course on your phone or whatever. And quickly just see that little couple of minutes with that specific thing on and then you're, you know, ready to move on. So that's it. You know, I hope you find it useful and yeah, good luck and see you in the side. 2. Creating a Document: okay, I've just opened appropriate, and here I have all the work after on in the program and procreate. That's called the gallery. And if you want to make a new page, you press the flus pardon in the top right corner, then you have different options. When you're just doing doodling and sketching, I suggest you use the screen size sitting that works. It's a little bit the same size as an A four paper, like the standard liver printing former a forward European standards. But you know, it's a letter in the US that works fine. We knew printing something, and you are going to make it into a tattoo stand. But if you want to, maybe later you should work for a T shirt design or steak. What not? Then you need to have your DP I your Dutch per inch higher than the standard screen resolution. The standard screen revolution is 72 D. P. I. And for prints stuff, you usually need something around 200 to 300 a d. P. I. So what I usually like to do because you never know with your artwork. If it's something you can never use for something else and have not yet experienced that. The This is my hard drive on the iPad got full from the drawings. They didn't procreate, so I always use a custom setting that have made, which is screen size 250 dp. I I'm just gonna show you how to make that in the below. The those bottle in the menu is a create custom size button, and you click that you can do whatever you know whatever size you want. But I usually like to just use the screen size, and that is true. Seven three True with Aunt True, see room for eight and then he you have the DP I and standard. It's 72 but if you wanted to be, you know that you can actually print it on T shirts or stickers. Whatever, somewhere between 203 100 is preferable. I usually use 250 and then you just click create. Give it a title, then it automatically creates that canvas for me. But if we go back into the gallery by clicking on the person on the gallery bond, you can see that now I have down here. I have another one called screen size, which is actually the same as this one. But so I'm just gonna need it by sliding, too. The left? Yeah, that's it. So what I usually do IHS almost always start with the screen size 250 deep guy. 3. Intro to Layers: One of the most beneficial things about working in procreate is that it's like your light table, but with an unlimited amount off paper, and you can put as many layers on paper on top of each other, and you will always be able to see your work through them. Let me just illustrate that. But you know, this is your light tracing pat, you know, and you have several layers off paper with your drawings, and you put that like on top of each other and you start to work out. You're to science, and eventually you end up with a lot off layers of paper on top of each other and probably you know, a lot of pieces off shape and stuff as well. And most likely, you also need to go back and forth to the copy machine to in large or decrease the size off different elements and stuff like that. Everything regarding this process can be done in procreate, and the way to understand how that works is that over here in the top corner, that's like a two squares on top of each other, and this is your layers menu, and basically each layer is like another piece of paper that you at to your stack of papers and you're gonna have as many as you want And that some, some other, different stuff you can do with the last menu. I'm gonna cover that in a minute. But right now, I just want you to understand that, you know, the layers menu is the same as adding a new piece of paper on top off the work you have on your life. 4. Working with Layers: So let's go in to there features off the layers menu, some of these. This stuff I'm going to show you now might probably not seem usable right now. But down the road, when you worked with several different when you work with several different elements into a design and you want to re scale and all that stuff, then it might make more sense. And then you can go come back and check out how this works. First of all, I have now layer here, that is this layer where I sketched some stuff and I could be lead it because I'm not gonna use it anymore. But it doesn't matter. It's not like it's a paper you have to throw into the bin. You can just click the little check mark over here and that lay it becomes invisible, and you can just keep it all. You can also slide with your finger to the left, and you can delete it. If that's what you want. When you work, just going to select a new layer which is visible, and then you know, when your sketch, whatever it is that you are working on, what I usually do is like super off sketching in the beginning to kind of figure out where I want to go. But you have your own process about that already. This is not about learning how to draw. This is how to draw the stuff you want on the iPad using procreate and other software. So let's say okay, this is my sketch on, and that's what I want. But you know, this hit I'm not really satisfied with. So maybe I wanna try to make another one, so I can just Yeah, another layer. I've already done there, but Admiral earlier. And then I can change the color off my Margo and then draw top of it. And if I'm not really sure, okay, I want to have a little bit less visible while I work. Then I can press the little in you and you can actually scale their passes it down on that layer so that when you paint on the layer on top of it, it's easier for you to see what drawing. And then, if you want to moving to this, you can shoo in and out with your fingers, you know, just pinch. You probably already know the pinching stuff from using smartphones. But that's where route and you can turn it. Pinch it any way you want. And I think if you just quickly pinch like this, spread your fingers out. No. Yeah, a quick pinch. Then it goes to like a default size and fits the screen to them You. But right now I'm going to work on this hit because that's not what I wanted. So I'm gonna redo it a little bit. Let's say this is what I wanted more than the other one. And then now I have, like, the green sketch on one layer and the other on that. Another leader and I can keep on adding elements. You know, that's a now I want to try out different styles off shoes I pick and Yulia and they'd say, That's like one type of shoe like this, you know, whatever. But I also want to try another type just to see if I like that better. And I can add another layer on top and actually turned the this layer on turn this layer off and kind of ever another tribal few, and then you can figure out okay to like one or two like the other. Let's just say I like this one. And now I actually have a sketch which is split over three different layers and three different elements, which would be the same as having each element on different sides of paper. So let's say OK, normally I would want the shoe to be a little bit bigger. Then I would have to take that part to the redrawing or take that paper with shoe on it and put it on the copy machine and skated off. But on the procreate, all I do is pick the Leo. You can always check which layer is what I like making in visible and invisible. Who could check that? What it is you have on that layer, and then you pick the Leo, which can change to stop You want and pressed a little arrow button off here, and that gives you the Reese ice. Things were going to get more into re sizing later, but basically you can pinch and turn and make that stuff a smart you know, whatever it is you want, let's just say we always like a super crazy thing like this, and when you talk, you just click the the arrow again and the element is bigger. You can also take that layer, slide to the left, make a duplicate, and then I actually have the same stuff, but on a layer on top of it and never click the edit icon again on transform whatever it's called. Then you can go down here and there's like a mirror function. So if I could mirror, then it actually mirrors that piece of paper and I moved. I want to move that to the right. I can do that, you know, like this and still scale up and down and everything. And if you do something, that's just, you know, accidentally get it wrong. Then there's a little onto pardon right here, so that completely brings it back to where it just works. And even though several steps and I actually want to move this, like in a straight line, I don't want to punch back and forth, and you could do that. I really be very careful to make it super straight, but you can also just click on the magnetic chicks down here. That means that actually snaps two angles, So if you want to drag it out on the same horizontal line as the other layer, then you can just click on magnetic. So now I have full layers, four pieces of paper that contains the elements off my sketch, and I want to work further with this sketch, asked one element. There's two ways you can do that. One of them is. You can take your fingers and kind of just pinched the layers to go like this. And then they it collapses. Everything. That means the elements of your sketch is no longer on a separate piece of paper. But everything is now on one piece of paper. And if we don't want to do that, then we can undo when, either On Dubai, it's happening with your fingers, just two fingers to tap the surface. You can press the little what's it called like you turn arrow in the far left corner. It also undo. So now we have all our four layers because another way you can group things together so you can treated as one element is to group those layers and grew players. You slide your finger on your first select one layer, one of the layers and then you slide your finger to the right on all the layers. You want to be in the group, and then you press this little stack kind of icon. Appear that means that now all those four layers I in one group, but you'll still have each like piece of paper. It's basically like if you take a paper clip and and stick those four pieces of paper together, you'll still have everything separate E. But you can move it around as one piece. So if you select the group the next to go in and rename it, we're Skitch. If you select the group and press the transform it carol a room, then you can modify the skit that, like all all the layers, like it was one thing. And if you take each individual layer inside the group, you're gonna edit that individually as well. And this is a pretty cool feature because you can keep, you know, when you're trying out stuff, you can just keep adding it to new layers, and then when you decide that, okay, now this part is finished, then you can make it into a group and work on other parts of your design, and you're going to still go back and change some things. You know it when you when you collapse everything, then you kind of have stuff. You know, if you want to change things, then you have to go in and market and things like that what you can, but it takes a little bit longer time. So this is, ah, like a pretty good time saver, and it doesn't require anything. It's not like it takes up any kind of space, our memory or anything like that, so that that's a pretty neat thing. And you can always with your fingers take the layers and move them up and down into stick and even do the same with groups, which basically is the same as taking one piece of paper from the bottom and move it to the top off your stack of papers and vice versa. So that's a little bit about the layers menu. This menu could do a lot off different things as well that we're going to get into when we get more in depth. But that's just a basic understanding of the layers menus, that piece of paper and grouping and moving and scaling stuff around, which is really like a huge time saver. Because if you would do this on paper with really like pencil and you would lead light table, you would need tracing paper and you would need a copy machine to able to scale and move stuff around things like that. So if that is, like, really like a really powerful timesaver right there. 5. Importing Placing and tracing your references : in any type of drawings. You know whether you are creating Tutu's all drawing for state. That's a T shirt. The signs posters What not? We usually need to work with some kind off reference into chewing. It's custom toe trace a lot of things, you know, if you definitely the photo released the guys. They make stencils from, like, real photos. They need to trace lines, and it's also a costume to grab different elements from different designs. You know, if you want an eagle or you want a certain anchor or heart or whatever, then you you kind of find the stuff in your flash books and take that and piece it together to something new. So now we're gonna talk about how to get reference into your drawing surface and different ways off working with reference. Let's say I'm looking for some, a reference for a specific saying that Jared Rose that's going to be part off my design. Then you can open your browser on your iPad and search for sale Jerry and go to images. Let's see if we can find a rose. Probably narrow down the search to see a jam. Rose. Uh, let's just take this one. There's many different ways you can do this, but the one I prefer is to just press the forum and hold it. And then the menu comes up, save a copy, and then I like toe copy image and double click to go back to my procreate app and then with three fingers, you slide down and then you get the carpet patient menu, and in this case, we can just usedto paste, and then we can scale our reference often down. In this case, I'm gonna trace it instead of just looking at it. So I'm gonna want it in, like, a pretty decent size. And then I'm going to turn down the opacity like I was putting a new piece of paper on top of it because when I Then when I added another layer, then I can see what it is I'm doing and then making sure I'm on a new layer and not the layer off the reference. Then I'll start situation. If you paint on the layer off the reference, you can tell if you turn down the opacity that your markings are being really light because they're being painting on the layaway. You have your reference and then, you know Okay, I'll do that. Make sure you're on the layer on top of field reference, and then it's just a matter off tracing. And this is not like that. You know how you want to see how you feel about, you know, tracing off, Drawing your own stuff are anything like that. You know that that's not really what this is about. You can do whatever you feel like. If you want to come up with your own stuff, all you want to trace things that's up to you. This is just about how to work on the iPad and work with references. So now much gets is ready. But let's say I want to add this was going to be rows of no man's land thing and I want to add like a nurse to this. So I'm gonna go in again, back to Google. Go on what it is I need. Let's see what comes up different stuff again. You know, when we worked with the say look harassed off, it's kind of, you know, it's been used like 200 billion times before, so we're not really copying anybody's work. I'm gonna use the Save Jerry noise again. Hold it, wait for the menu. When the menu comes up, I press copy. Don't click the home button to get to the overview and go back to procreate. I always make sure I'm a new layer when I pay stuff, because I'm actually not sure that it paste stuff on you. Leah's all right, actually, but never mind. I slide down with three fingers. You get the carpet page menu and you could lick paste. Very important that it's only the pace. But because the images already on your in your clipboard click page and there we have it, I'm going to scale it mawr less to the size I want. And then what I actually like to do is to get rid of all the stuff that I don't need. So you can press over here. There's like selection, uh, icon, and then you could go in with your pen and just kind of draw around this stuff you want to keep and again slide down with three fingers, and this time I'm going to select cotton paste. That means it actually cut out the the nurse from my reference even use copy paste, you know, that would copy it and paste it, and then it paces to a new layer. So if I delete the layer where I pace of my photo, then all I have left is the nurse, and then I want a precision hurt so that I can actually sketch on top of it. But what I like to do is turn down the opacity a little bit so I can see through this. Just say we're going to do something like this. I'm happy with that. And now I need to move things because, you know, the design is getting told. So what I do is actually I just take the reference that I'm going to work with and that sketch land and I'm going to take the rose as well, just for good measure. And even though I haven't group these layers of selected all three layers so I can actually move them around and I shall see apart off the the nurse is missing. And that's what happens if you get your reference scaled and stuff too close to the edge is so make sure that you're a way off and try to stay in the middle because you can Actually, you can always work in this as you wander. And when you're finished with, just get you can scale it to any size you you need. Okay, so now I'm gonna do the same procedure. The nurse turned down a passage a little bit, make a new layer on top of it, and then I'm gone. You traced the nurse and use her a reference for what I'm doing here. And in this case, you know that it's getting a little bit confusing so I can actually go down. And, like, we used a passenger off my rolls just to make sure I can see why I'm sketching the nurse. So that's kind of it. I have my rolls on my nose looks fairly decent. Probably those leaves over here need to go behind because he's stuck in the in the rose. So I'm gonna for all those in s will, I'm just gonna leave yourself 6. Hiding and Masking Layers: So now we have two elements and actually the element here, which is kind of off the sketch, which is here, and I don't really need I can get rid of that in two ways. You know what? Probably that many ways, but the ways that I usually pick between either. I made a copy slight, right on the layer and pressed duplicate. Then I have two copies off the road sketch. Always make a copy just to be safe. It want if I want to go back and, you know, use the rose again so I don't have to sketch it one more time, and then I just turn off on one of the layers so it's still there, but it's just not visible, and then you can go in and it raised all the stuff you don't need. You can also go in and select all the stuff you don't need. Just press on the layer. New menu comes up and you can actually where is it? Clear. And then that stuff is gone and go in a and there have another way you can do IHS use masking. We just turned that lay off again and used to ritually take that that layer, and then we make a mask so that it's a little bit the same process. We don't destroy anything off the sketch layer, but we just make sure that some of it is visible and some of it it's not. And that's what you call a mask. So to create a mask, I'm selecting all the stuff that I want to not see on the road sketch and when in this specific case it's important to close the selection by taking your the pin and making the little like we call it like marching ants line best line that is moving and tapping the little great dot because that means it actually creates the selection. And then you can go down here and press this like opposite Little Triangle Icon and it in versus your selection so that it's actually everything but this that is selected. And with that setting on, I can press a layer and then pick the mask feature. That means all this stuff is actually gone. But I have a mask here, and as we can see, some of the stuff here is still in the on the sketch that I don't need. And that means I can, actually, If I select mass player, I could go in tow, paint, moat. We're gonna get into brushes later. Uh, but right now, I'm just gonna pick the one I want. Click the mask, Leo. And then you can actually paint away stuff that you don't need so you can paint an edit the mask and that you do with black and white so that if I want to see more of it, I switched to Carla to white. And then when I paint stuff becomes visible again, and then I can just tap and hold. And then it goes the Carl Icahn, and it goes back to the color I just had, and I can make it Everything invisible. So masking is a pretty neat feature, because you, you know you can to your a base election off the stuff you want to see or not see first and then you can actually continue to mask stuff. You know, if I was throwing down here, I could start to unmask this and it's still there. If I go in and and make the mascot invisible, then everything's come. Everything is still there, so that means I'm not actually destroying my sketch. I can always go back and change if I want to. So basically, this is my sketch. And that's what I want to think and maybe do a color study for my client. So I would actually like to have these be, like one element so I can take the roads layer with the mask and everything. They're tied together and put it like dragon. On top of all the other stuff I have going on Select that it's real. Group it, and now I have the whole thing as like one element. But if I want to change something inside that I can still do it pretty quickly and easy, there's no way on the planet. You will be able to do that if you were working on paper. 7. Using the Camera and IPad Screenshots: a few other ways you can get reference on your canvas is either by actually using the by using the camera on your iPad. What you can do is actually take a photo off the customer. You know the place where they're getting into True, especially if you're working with a customer. You know where that other two twos and you have to feel something in there, and it's nice to just take a photo off that area, and then you can pretty much draw like on a photo off the arm off the customer away where it is to make a designed fit within between different stuff pretty much the same as you would do with tracing paper and like marking out the area for for your design. But you could just take a photo and work on the phone. What you can also do is I took photos of all my flash books, uploaded them to Dropbox, and then I always have all my flash books with me, and you know, it doesn't have to be higher solution anything, because you just need toe be able to see what's on there as you and they're going to snap photos with your phone and stuff like that, how you want to do what you can do whenever whatever you like. But when you do it like this, you know, then I have. That's this, especially. That's like PDFs with images off the different stuff. And if I want something, it could be the same if you have an iPad four or anything like that. Another way to use whatever you give on your iPad by taking a photo or saving of picture. Whatever issue can press to get a screen shot, and that's like the president home button and shot off. And then it actually takes a screenshot and put it into your photos folder. That's, um, the difference, though, if you could do but tracking it directly to the app and stuff like that. You know, there's always many different ways to do things that some of the stuff you will figure out as you go. And we're probably also changed with different updates on the iPad. But the key is that you're gonna take ST Shuts by president, the home and the shot off. Then, if I want a photo from my photos library onto my cameras a president wrench off here and there's an arrow there, says Image and has an error for insert image and I pick photo. You can also take a photo directly. You can always do eternal ship with this. So it's whatever you want. I have everything here, and this is the screenshot are just took and let's say Okay, I just need that name thing that I go in and do what we want A short earlier select just the name Three fingers down. And now I could just caughtem paste to lead the layer with all the stuff that I don't need . And then I have another reference here, and sometimes you know, when you're using reference for you just need toe to see how stuff look, you're not really out to trace it. Then I just put it up here in the corner, and then I sketch and I always have my photo here. Toe covered from always. You could do split screens and all like fancy stuff later on, but right now it's just a matter off getting a photo on your cameras by selecting insert photos and selecting your camera roll and actually, you know, get this stuff from your photo archive onto the chemists and then the procedure off tracing and working with your reference is the same as we just did with the nurse. So that was a little bit about working with reference, how to get reference onto your canvas and how to trace it and work with different elements and masking and a lot of different stuff. 8. Downloading and Installing Brushes: in this video, I'm gonna show you how you download the brushes from the training archive. Historically in to procreate. Here I have my brushes over inside the the iPad pro course. And what you do is just simply click the tab, the download link, and it opens new window and you can see, like a lot off gibberish. About the most important thing is that you pressed open in procreate and then in procreate it was he in down here. That's a brush Catterick called important. And this is the brush and just import. So you just do that with all the brushes like that. And once you have installed download all the brushes, you consult them a little bit what I like to do, I like to have pencils and that you just hold a brush tap on old dragon mood. So I have the thick line up and then the thin line and the medium Lina, then the color paga and Shada. And this move chief. And now I like to have, as you can see over there already have all my brushes installed. I like to have them all in one category and the way you do that. It's just like it's like down over here in the brush and then click new set and then we just type brands ferocious. You can call them whatever you want, president term, and then you haven't empty sit right there. But then you can go down in the important brushes and you can actually slide right. Then you select the more and then you just tap and hold and you contract the mall or in the cramps. Brushes can agree. See now to have him there. It's pretty simple, and then you're eligible. 9. Brushed Explained: in this video. I'm just gonna taken through the brushes I use and what are you before? So I opened the brush set that I just told, And two, if you order your brushes like I did the two top ones similarly similar to get, like, a color pencil or six B year left pencil or something. And I like to use two different sizes, and I always start out with throwing with red. One is like a six B pencil if you are pretty similar when you get used to, like drawing on the hard surface. But I don't find that a problem after a while. A little trick you could do with the six principle is that actually lay the pen down like you do with the regular lead, pencil and and collar. In stuff like this, you know, you've been chilled it. I don't use that often body. It's a funny little feature, and the reason I have the Fed six B pencil, which I call it, is it's a little bit bigger than the other one. Actually, I turned it can go even thinking that I think like this, uh, that's because I like to sketch stuff that is pretty rough. Eso that I don't start to new blue with things. So that's why I sketch with a big fat pencil so I don't It starts with driving too early into details and other ones. I have a thick Lina medium liner and a fin liner. I usually used the thick line of That's kind of my base. You know, when I do this old school room called you traditional usedto kind of stuff that I do. But the reason I have three different Linus is that if I'm doing something that's supposed to be a tattoo, then you know you can't really very the needle thickness because you can easily take this the lineup brush, you know, and just vary the size in the menu. But if I'm working on a sketch where I'm gonna use three different size needles and then it's you know, instead of having to figure out exactly you know what did I you know when I jump back and forth with my liner doing think and thin lines that instead of remembering what I what size are used, and I just have treat treat different ones that are basically set up s like three little bit similar to what I grow here so that I can just switch now. This is going to be my biggest line thickness, and then I'm going to use my thinnest lion. Things are medium line thickness and my finished ninth thinkers. So that's That's basically why I have. It's all the same brush there, just as default said. Three different sizes and the next brushes one of them the 1st 1 I call it the Color Paga, but it's it's really like something that's like a little bit more solid than my shaving brushes. Shaving brushes I've set up to be a little bit feel like little bit similar to our like a speech. Anything that's that's when you at ink to the paper. And then you spit a water on another brush and kind of assess much it out to give it like a nice fade. And I have the color Bay is like a solid one. You know, if you want something solid and it's just a little bit fuzzy around the edges and the two others you know that's like one that's a course fate where there's a lot of grain in the in the grade. Ian's now the rough shader That's this one. A lot of grains, well, texture. And, uh, although Shannon is just like a very smooth, but it still has kind of like a paper like find watercolor, mackerel, paper texture to it. And these brushes basically the same I used for everything. Sometimes I use I've made some different ones, but that you know that you can use the jail pen, the technical pen, those in the inking gallery that's already on procreate. You're gonna experiment and see what you like. I ran used these for tattoo work style of stuff. It's more when I the kind of funeral have this, which is basically just a copy off one of them where I adjusted a few things, probably mostly the size. Um, because I like to work a little bit bigger on this one is just like a super like a soft brush type of thing. The more you pressure, the line thickness wear ease, and I used mainly used this for, like illustration work. If I'm doing something kind of sticker design or teacher designed not very often for for tattooed side, but you know you could do anything, but I think that the process you find under the revolt inking in procreate, they work fine. And also there's like a 1,000,000,000 trillion places where you can find all the process. If you want me to hook you up with a few sources for that, then just let me know live. I have these eight brushes that I use, and I used them all the time. And that's basically everything I used because I think I can do whatever I want with these . So that's it for the brushes. 10. Drawing Smooth Outlines and Air Printing: Okay, so now we're gonna talk about how you create the outline that's gonna end up being your tattoo stencil. I have one sketch here that we've created in previous chapter on. Now I want to create the lion, which I'm going to print and actually make my stencil. Unfortunately, at the moment, you can't change opacity off groups, so I can't. You know, I have to go into in individually and change the opacity off each the element in my sketch . If I want to put a layer on top of it and see what I'm doing. And you now have two elements. It's not that big of you. But if you have more than it's just a pain in the ass, especially if you want to, like, take it up and down in a passage E. So what I normally do is that I take the group, which is my sketch. My everything is connected and within the group to create a new layer. And then I just pick a white collar and there's two ways you can fill like paint pocket tool. Either you can chapter layer Empress Phileo Yeah, you can just drag the little wipe talk from the top and just release it onto the layer. So now I have, like, a completely white layer and you know, that's similar to, you know, if you had, like, a very thick piece of paper that you couldn't see through that you put on top off all your sketches underlying trading table. And then what I do is I just take that. And I reduced Arpanet you off the white land until, like it the everything beneath that to a little like a state where I can see what I'm doing when I make my lines on top of this and then you can either. You know, everything is still there. And if I want to see everything in full capacity, all I have to do is just make the white lier invisible would be easier if they just made it so that you could change the opacity off the group. But this works just as well. So now you can have a created layer inside the group, but I prefer to actually keep the sketch group and all my sketch stuff on its own crew. And then I create a new layer on top, which is going to be the outline Lee. And then this is because most people they experience that the lines they make is a little bit like jittering. If they try to trace something, it's very hard to kind of, you know, get a smooth line. And I know that annoys a lot of people because you get these little like, squiggle thing because it's hard toe get used to the to the fact that sometimes drawing on the iPad with the eye pencil can feel a little bit like drawing with a ballpoint pen on a marble or glass plate. And it's just something that to get used to have used it now for seven years, I think, almost since he came out the first, and it doesn't bother me at all anymore. But the main thing you could do to help, you know, make the actually the software help you to create straight alliance is I think, cold, you know, streamline in the process settings and to get to the process settings, you just tap the brush and this is the feature, and then it will smoothen out the line for you. When you draw, I usually have mine about like 50 60%. That's how I like to work. We're not gonna cover to how to make process completely from scratch because you already got the process. I used to it just gonna work on how to just those process so that they feel most comfortable for you. So the only thing I would worry about in the lineup rush is the streamline and see, you know, how much do you want it to straighten the line for you? When it gets to a certain point and you want to do little details, it's it gets in a way, So So that's a balance. But you're gonna experiment with that. The thing it does is that when you make a line, that kind of removes all those little, uh, dealers that get from from your pin moving on the on the glass and it doesn't feel s steady s when you're on the paper and also everyone toe like, really big lines. It's very easy because it smooths everything out. So I'm just gonna go on, hit an outline, outline this complete design, and then we discussed what to do next. - So here's the outline, and now I can just turn off my sketch group and all I have is the black on one piece of paper. And if I want to print that straight away, what I do is just go to the little wrench icon up here for a share, and I usually pick Jay Peak and then you just prick pick a printer. And where I am right now, it already have apprentice it up. But you select the printer that is connected to your wife, I and, um, use print, and then you have to the finished outlined that you can create your stencil from. 11. Shading Part 1-Setting the Reference Layer: So at this stage outline is ready the good printed and making a stencil right away. But we could also make a color starting to show the client either. If we, you know, we have two different persons of color we want to present or, you know, just want to show that the client something that looks like more like a finished here to flesh or like the finished how the finished two was going to work. All if we just want a reference for ourselves while we had to Doing that can also be helpful. So you don't have to sit and wonder about which college to use wear and stuff like that. Why you're actually doing to the thing is, you know, before, if you had to do this with Marcus off water collar or something like that, it will take for ever. It would be something that you would do only if you really have to all really want to. But on the iPad, you can do it super quickly. And you know something like this. Only checks like maybe I don't know, tend 20 minutes or something. And then you have a full color story. Want you get you to the workflow, but let's dive into it and I'll show you how it's done. The first thing which is really important is your layers and the layer this layer where the outline is on. It's super important toe tap that layer and then select reference. That means that every time we make a selection with the like the eyedropper, like the automatic selection tool, it still select from the outline layer. But we can paint on differently us, and it's pretty important to not paint on this layer because otherwise you will not be able to make essential from it. When you print it, you need the outline layer completely clean without anything else on it. And if you want to be like 100% sure that you don't accidentally draw on your outline, layer is something that can pretty easy have easily happen. One should start flicking through the layers and at least why get usedto, making sure that you can actually go in and look it's like to the left impressed lock on that layer. That means you know you can't move it. A tortured a scale are paint down it on anything like that, but you can still select from it because it's you can see here it says reference next to this layer. So what I'm gonna do is I'm gonna create another layer on the needed. This is something that would be totally impossible if it was on paper, because we're drawing on a piece of paper that's actually below our top piece of paper. But on the iPad are any other like digital painting? It's possible, and we put our outline, lay on the top and then be at shading and calling, calling layers below, so that we all always have outlines the black outlines on top off our colors and shades. 12. Adjusting Treshold Sensitvity of the Automatic Selection Tool: The first thing we're gonna do is we're going to shady. So I'm going to go in and I'm going to stop but shading the rows. And then I'm gonna press up here in that little squarely thing I can. I don't know what it's supposed to be, but this icon here and then you see it down there. There's like two different choices. One is free hand of Monet's automatic, and right now we're gonna use automatic. Then you just make sure it's on automatic and you simply just click an area. And right now everything is blue. But as you can see up here, that's like an indicator off. That's like the threshold dissents sensitivity off the selection. So if you move your pen, you can see the blow blue thing going back and forth there. I think I also see that sensitivity of your selection. That means that you know how thick the Linus and they will jump into making others selecting other areas, and the key is to get your selection as close. No, I'm sliding it back and forth. You're going to see you up here that it's changing and the key is to get as close to where it jumps into a selection that you don't want, because that means that and it's very close to the edge and it won't get any little foresee white pixels around it. 13. Shading Part 2-Start Shading: So now I got that selection selected. That means when I'm not pressed my pencil and I want to select my shading one of the shading and Blake. Now, I got my sharing to to lift. And over here you can control the opacity. Sometimes it's nice if you're, like, smooth, soft shading to kind of take the patches down a little bit. Or you could just go full on black in the beginning, depending on how much control you have. And you're gonna just the size. So what I'm gonna do, I'm simply just gonna shit here. And you can even at just the pressure or the capacity by the pressure of your pens We have a press really hard. It gets really black. And if I almost put no pressure on it, it's get it gets really smooth. So just wanna until that trip, Two fingers. So I'm adding my shading pretty classic over school shading on once I'm done with that area . I tapped again on the selection to I don't have a smarter way to do that, but that's how I do all the time. And then present X area pressed my tool and then I shaped domestic next area and the next area. You can select more areas by just having all you want so you can shade more stuff at the same time. And then with something like this, where there's a big shape and you don't really, you know that. You know, of course we can. We can add a little bit off shading down here, but in those little, uh, like areas there, that kind of goes underneath. You know, we can do another. It's not really possible to just if I no, I just shared here, you know, you can do like this and then you can, you know, go in and remove the sharing that's left, like one type off way to do it. But what I like to do most is to use the free hand tour and then simply just select. It's important to be precise, you know where you want the selection like the darkest area, and then just add like a big chunk outside so that you don't get, like, like it border that you don't want, even though we only shading in here that just doing the same on the other side have to be careful to get out there. I can do that. You fix that, but making another selection and then just press minus down here that we're that's what Easy way to work with your selection. And there I got the little thing that I don't want. So I'm just gonna go in Make. Actually, when you use the eraser tool at the same possibility toe change, change. What tool is actually used by racing. And if I want something softer like my shade, I can go in and pick the shader, and then that that's gonna be like an eraser and reduce the size of a little bit. It's Megan delivered more precise, and there may be And that girl misfiled. Come on. Well, here we have the same situation. Just gonna Markoff Alil area here. Small approach. And if I want to go in and pain in the eyes, just make it really small. Now I don't need to make a selection because it's so small and easy to control. So that's basically it's And that's how you condo's shading with quick, this process set up to look a little bit like traditional spit shading type of style. It's a grain in it from paper and things. Because I like I like stuff. You know, you create digital to not not look like digital, but you could use any kind of brush. But the brochure get with this cause I said up to look like this. So if you like that, look, you don't have to worry about. 14. Coloring Your Image: the next step is color, and for the colors, I will add another layer below my shading layer. And that means journal. Now I have the shadings on a separate layer, and I'm gonna do my colors on another safer separately. And it just tells me, toe, you know, I don't fuck up my shading with my colors. If I go in and paint on my shading layer right now, if I will paint or the shadings I don't it makes meself. Can I have to remember when it does like this? That kind of happens all the time, depending on but Tooley, where you were using just before. It's just because you need to say the term automatic and then clean again, and it looks like I need to adjust it a little bit more here and now. I pick my colors and it's the same procedure. Make sure you have the right process. Actually, it is the right process Mark and you have to call up a not much difference, but it was more like the size like this just continue. And of course, you know this is not a drawing causes more life to show how things work checking. So how do you decide until shape and work when what you're working on, that would be up to you? The technique applies true, any type off artwork so and off. The trick is if you want, like right now I just want, like a solid yellow on all these little points have selected, so I don't really need to go in and lie collar each one. I can just pick the yellow call I want go into the layer tattoo Leah and click Feel Layer. Then it's, you know, another way I can do it is to tour like the pain pocket tool you maybe know from Fort Drum is to just drag the thought into an area and that when that also works in relation to what you have as reference eso. That's why I could just direct that in there. Sometimes it also works, you know, just like the automatic selection tool. But if you have a reference set, that's what it will be working from. So I can do is the same. If I want, that would be green and let's see brownish for the no, that's another way of doing It is just to fill out the whole thing, and then you could go in with, uh, Now your face is going so I'm just gonna freehand select this manually. Corot. Probably now that I have to selection can add a little bit shady there. Yes, well, two tiny little bit. And what? Something like this where you filled it with solid color, you could go like the other way around and make the selection again. And then maybe coming with, like, whites or a light of thrown off the collar you filled with like this on that we probably do her hair as well. Just come to the same way for live. And I'm just going but she with? Yeah, - and I'm gonna turn down again at some read for the lips. I'm just kind of a justice size to make small those working. Just do it manually in these little details. Also, depending on just and then I'll probably switch to freehand on, just de select the area out here. I go in pain to you. So it's a little bit rough and crude, but the it works and see this I used to be whatever you want to do. Um that's your And then you have your colorism on more layer and your shading is another there and you can print it all. Everything you have visible on your canvas will always print when you select, you know, expert print. Don't have any printer here. So everything you have visible will always show up. And what I sometimes do is my group. The layers were my Carla shading and allow point line work is that I can move it around. It's locked. So come with me toe unlock at first select the whole group moving around and then I can move the starting or there and I can, uh, duplicate. We're sliding lift, and then I have an extra version, and then I can just move the outlines over here. So when I print now, both the outlines and the color shading start, he will come out out on one piece of paper 15. Thank You: all right, gang. So that's the end of this one. So on behalf of seventh season studios just for Bram and Low Brow Art Academy, thank you so much for taking a look at the course with over 20 years of tattooing apiece. Center our belts. I'll tell you, these are the techniques that when you're in the middle of the convention, you want to know if you can bring your iPad and level it with your client. Your client is going to see their idea come to life, and you're gonna be the one that brought it there. So let's go ahead and thank Apple for bringing us this tremendously cool little thing called the iPad with the apple pencil. And let's go ahead and think, just for Bram, for creating this course based on his years of experience on the behalf of Seven Seasons Studios and Low brow art Academy. Thank you so much for being part of this journey. Make sure you hit us up on Facebook. Make sure you hit us up on Instagram, and if you've got any questions at all, we're hear from you from beginning to end. Hit something the Q and A for this course. Alright, again, we'll see the next one