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Hi, I’m [Paisel] with 164, and today I’m demonstrating a little bit of tagging. Tagging is really just coming up with your own style to put your own signature down. Many styles are out there. Do something very simple and long. Maybe something just a little more graffiti-ish by rocking your letters side to side to get your name down.

Now both in [fat calve, skinny calve] it doesn’t really matter what tip you’re going to use. Different styles of tagging is really just up to you. Using different types of tips to achieve a fat to skinny line definitely can a play a part in your type of style. You could flair your letters up and down. Or you could just simply, I mean I guess there are just so many ways you could do it. It’s really all up to you. Everybody’s tag is going to be a reflection of their own style. Keeping that in mind, you know, darker colors on light walls. Lighter colors on dark walls.

Skinny tips, fat tips, it doesn’t really matter. I mean the real point of tagging is just to have your own personal style along with your name. Everybody’s trying to get into graffiti. Everybody wants everybody to recognize their stuff. It’s got to be more than simply doing some typewriter block print. Develop your style. Twist your letters. Have fun with it. Develop your own style. Follow some of the techniques you learn in these videos. You’ll be rocking for show.

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Hi, I’m Paes 164. Now I am going to show you how to do a character. Once again, getting your base wall color down, I feel that black is a great color to start a character with, that way you kind of build up off your shadows. So I’m just going to do a little goofy little monster, something I might typically replace my E of my graffiti piece, so it’d be P-A, graffiti monster, S still representing my E.

Let’s go ahead and start off with the base shape of the monster and I’m going to use the same color that I’m going to paint my monster, a blue monster in for my sketching. Having that black as a background, as a base definitely eliminates spending a lot of time having to shade in all that black. You can just come in and see what I’m doing. I’m kind of just building this blue into the black and only as my base color.

Doing some of the same flair techniques, as I’ve shown in the other videos. Kind of working my way all the way around the lip with this blue. Again, whether realistic or cartoonish the black really serves as a good base to fade into. I also came in with a little bit of a darker blue, but you can still see how I’m utilizing that black to build my shades up off of. I got these big bubbly eyes popping up. I’m going to go ahead and re-outline them white and color them in.

Getting into your character it’s definitely better to use thinner tips and outline tips. Like the graffiti piece itself where you’re building up from a primer and building into it with the cuts and the fades and everything we talked about. Now I’m going to come in and also add a little bit of the background. Kind of the same type of landscape background that we worked on in other pieces, just by fading in my darker color purple.

I’m using a little bit of a fatter tip. That way you get a nice fade easy. Right now, I’m going through and just getting all my outline done, some areas doing some thicker lines. I’m getting this setup for all the highlights I’ll be doing in my green. All right, I’m working my way through this character looking pretty shabby-shabby.

I’m just going to take a little bit of this green, something that’s going to compliment the blue, do a couple of highlights and you know just have a lot of fun. Whenever you do do characters, like I said, it’s just kind of a format on how to break it down. Whether it is realistic or cartoonish just get your base color down, get a good background color going. Use the right type of tips and just break it down and format it right back out. This green is really going to set it off.

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Hey, this is [Pays164] ,and here’s some techniques on how to create a wild style graffiti piece. When creating wild style you still can’t completely lose your letter. So a little simpler here, as you can see, is an A. The building up with turns and kinks, that in turn build to other turns and kinks and bends, will create a style that’s considered more wild. As you can see here, a P; but we’re just kind of building up and creating turns and kinks again, that are kind of leading to the A. It’s almost like cursive lettering, how they freely lock together but a little more creative with the different styles and shapes you want to use. In reference to shading techniques.

So when you’re filling in your graffiti piece, keep in mind, especially with 3-D, that you’re going to be going through different tones of the color and you don’t want to layer it too much. Get a good tip, a skinny, something maybe a three-finger fat, that you’re going to be able to smoothly apply the color and move on when you come back and shade. Again, ain’t nothing bad but a big old chunk of wet paint sitting there so you can ruin your future color.

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Are you back with [Pays164]. I’m going to bring you back to a couple techniques of shadowing. First with wild style, now dealing with a wild style not to much 3D going on, its kind of flat, its more of a merging of the letter over lapping each other.

So a good placement of shadow and a flat piece like this would be just pointing out those overlapping parts of the letter. Such as my P rocking right over my A. so with the outline being right here I’m actually taking a black as a good shadow color and just fading. Same as the techniques that are on the flare video. All the way down so that when I come back to complete my piece different areas that I highlighted and shadowed will almost see to pop and peel away from the other letters.

One more thing to keep in mind when your creating your wild styles shadowing and shading is not over kill it, you still got along way to go with this piece. As some of these colors come into play might be saturated with too much shadowing.

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Hi I’m [Pays164] and I’m going to talk to you about Graffiti in a cartoon style. Really elaborating and exaggerating whatever you’re doing. Taking your letters and stretching them out, mixing bubble styles with block styles, and really getting elaborate with the colors. That’s probably about the best way to describe a cartoon style.

You got different styles, you can have something that’s considered more tribal because of sharper points and how the piece might be stretched out, 3D pieces because of the 3D and the dynamics of the graffiti piece. But definitely in a cartoon style it’s just all about being fun and bright and colorful and maybe adding aspects, pieces, teeth, an ear, anything to make it funny and stand out. Just my style here alone is very much cartoonish with the bulky turns and the really bright colorful inner out lines and outer out lines and kind of simple silhouettes of the buildings you know. It’s just kind of my rendition of how I do my name but you know to everybody could be very much seen as a cartoon style with the colors and the way I’ve done my piece.

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Hi, my name is [Pays164], and today I’m going to demonstrate block style. So, much like a blockbuster and exactly how it sounds, it’s just a real blocky, strong way to put your letters out there so everybody can read it real legibly, still not neglecting any style. I’m just going to rock a big B for you.

I mean, really solid, block letter; real clean, making it real easy to read. A perfect type of letter when you get to big, large situations, you really want everybody to see what you’ve got going on. You can just get those big, blocky letters up. Maybe add little hang overs, little pieces here and there to stylize it. But you have pretty much big, bold, solid straight block style, blockbuster. There you go.

Another tip, if you’re doing big, block styles, don’t be afraid to get your whole body involved in it. Place your can up, and rock your whole body all the way down, to get that straight line. Go through, divide up your letters, get each straight line down, and then build your letters off of it. Also, I would recommend using fat cats for block styles. That way, you just have a nice, clean, bold outline versus some of the thinner outlines you would use the thin tips for, in the graffiti pieces.

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Hi, I’m [Pays164], and now I’m going to talk to you about billboard style. So obviously, a billboard is way up high and really big. Most of the styles that you do, really aren’t going to be something that you’re going to see good, unless it’s kind of in your face. So, probably the blockbuster or the block lettering that I showed you earlier, is going to be a best fit for something of that manner.

Now, getting on a billboard, you may have got all the time in the world to get into a wild style, get into all that. But you can’t go further than just simply outlining your blockbuster. You can come in and rock out some fills. You could also come and in your outline, the fill from the outline, inner gel it like we talked about in earlier videos. Little techniques to make a simple letter look really crazy, and pop out a lot more.

Again, taking all that time to get on such like a feat like a billboard and doing something so big, you want to get back down onto street level, and be able to read it and see exactly what you put up. So, I would say a blockbuster style’s perfect for that. Billboard styles, rock and roll. Good luck with that one.

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Hey, this is Paes 164 and here’s some tips and advice on sketching your graffiti mural. Picking a black or a darker wall, obviously a lighter color to sketch with. Try not to use too many colors and get yourself super confused, whether it’s a wild style 3D or any type of lettering style that you’re going to do. If you’re getting into multiple letters, but you might want to change up different characteristics of the letter you can always just switch the color then.

So just the sketching alone, it ain’t nothing but the rough lay out of your piece. You know as you go through and get it all laid out, you can come back and start coloring different sections to really make it pop. So once you’ve got your whole sketched out, picking one letter that you want to switch up, might be better to go ahead and get a brighter color. That way you don’t get lost in the whole wild-style color scheme of your design.

So with my E, I’ve already dropped the 3D off of it, but I’m just going to go ahead and re-outline the outer outline of the E. So when I come in and put all the colors of my fill-in, this is still going to be really easy to seem and really easy for me to do something a little bit different with it, than what I’ve done with the rest of the piece.

Now if you’re dealing with a lighter colored background, maybe light pastel colors like purple, like fuchsia colors are going to be easier to work with. Don’t go too dark, because you still might find yourself needing to come back with a second color to make that letter stand or shine out from the rest of the group. And that’s a real quick approach on how to do some easy sketching techniques, to get your piece ready for a full color disaster.

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Hey, you’re with [Pays164], and here’s some tips on creating a large mural. First and foremost, your canvas; make sure the wall you’re going to pick is at least going to be somewhat smooth. Try not to deal with too many cuts and crevices in a wall. If you’re going to take the time to do a large mural, you want to be able to do the details you want to get it nice and crisp.

Second, the priming of your wall; pick a color that’s going to be a good base for the design you’re going to lay down. If you feel you want to do something dark in the color scheme of your graffiti piece, character or background, black is typically a good color to start with. Satin, definitely soaks up the paint a lot better, so go ahead and start off with a good satin black. Maybe even other dark colors like a stone grey, dark blue.

Other tips on creating large graffiti murals, is your spacing of letters. Get a good focal point in the center of the wall to line yourself up. Center off and create spaces that you know are going to fill up the space for your letters. For instance, my name Pays, four letters; I’m just simply going to create a very light line across the wall, in which I will come back and pick my center point. To drop it, center it again, and center it again. Just that alone is going to get me my bases of how I’m going to take my four letters in Pays, and break them down to use an even amount of space on my big mural.

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All right, I’m [Pays164]. We’re going to talk about graffiti symbols. Some of the more simpler symbols. If you were going to be tagging your name like so, maybe a crown to show you’re the king of your block, followed by some stars. As you can see, I’m just kinda rolling my hand around, twisting around. Real common designs in graffiti and tagging. Mostly these symbols are just highlights around the letter that you’re putting on the wall.

Again, when it comes to graffiti symbols and stuff, it’s just about your own style and how you’re going to incorporate these dots, stars, crowns, abbreviations into your piece, into your tagging to developing your own style. Working on a crown, you just want to give yourself a little, narrow oval. As you do the tips to the crown, it’s almost like you’re doing an A, just rocking from top to bottom. Up and down, up and down, up and down. Elaborate off that if you want. Get a little more clever with it.

A star; same situation with the A, but you’re rocking it back and forth to create your five points. You know, a little funky, usually pretty quick. You can go as far as leaning it out to flair everything as you bring it around. Then to underline every pieces just give it a little twist. It’s all about keeping it in proportion with your tag and being quick about it too. Sometimes you might find yourself with a lot of paint on your hands. Bring gloves, removable when needed.

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Hey, I’m Pays164. Now we’re going to discuss in our graffiti series, abstract lettering. Man, it doesn’t get much crazier than that. This is really all up to you. Very simply, I’m going to start off with the A. I’m just going to rock some abstract shapes, and through these shapes, build up the A I was looking for.

Now again, when it comes to an abstract style, it’s really endless on the type of shapes, and references you can use in your graffiti piece, but you definitely want to still not lose the basic shape of the letter. So, keep that in mind when you’re developing your abstract style. It could be a marbleized ball representing the O, to a broken lamppost representing an L. Nevertheless, each one of these shapes are representing a letter, so that you could still read what you’re trying to put out there.

A good way to experiment with your letters in reference to abstract graffiti artwork, is to maybe even simply get your letters out on a piece of paper, very simple. Take a piece of tracing paper, lay it over it, and then see how you could take certain shapes and lay them into place over the letters, and still build up each letter. It’s quite a good way around it, and you get it done, easy.

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Hey! You’re with Pays164, and now we’re going to talk about applying drips. I know that’s a scary subject, right? But purposely doing paint build up to apply drips can be great for color fill-ins for your graffiti piece. Across the whole top of my piece, I’m doing this purple pealing down. It’s as simple as just consistently holding that tip down and moving a little bit slow so that the paint builds up. Something that you don’t usually want to do, but in this case, it brings those drips all the way down. Some of the drips that might fall in and out of the graffiti piece will get cleaned up as we move along and get the outline knocked out.

When you’re going to build up your paint to apply these drips to your mural, make sure that you’re working off the color with the drip that you’ve already started with. You’ll see how the paint will build up, but to keep it from looking like a fat chubby line of paint, you can then come off the top and apply a flaring technique to fade the thickness of the paint back into the color you started with. It will give it an even, smooth start to finish from color to drip. Now that we’ve gotten that messy drip out of the way, you can also just paint a drip. Maybe a large teardrop type shape.

With my E, right off the 3-D at the bottom, I’m going to come in and exactly what I said with a teardrop shape. I’ve used a color a little bit lighter than the orange that I applied to the E, so when I come to color it in, it faded into place. It looks like the paint is almost melting off.
A drip like that can go in any direction. You have more control. Gravity is not playing a part, so it can peal, go to the top or go to the bottom, whatever your little heart desires.

Just like anything else, pick the right spots to put your drips in. Don’t make it a drippy mess. When you are painting the drips verses applying them by build up, do not build the paint up there. You don’t want a mess down there. That’s about the only time you’re going to get away with it.

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Hey Pay164 back again. This time we are going to talk about shadowing in 3-D. The same piece I’ve been working on my E, is very much 3-D; popping directly up and bring the perspectives straight down. Now dealing with the shadows, you also have to follow that same direction. Coming in and just putting the shadow anywhere will ruin the 3-D. So for me, I got these drop points where the box is coming straight up, basically my darkest point and the same as the flare and fading technique I showed you earlier. You are tilting the can in and keeping to where your fingers are just right above the wall and just lightly hitting it with a little darker tone. Once we come back and apply the colors on the top of the E all these drops will really make it look 3-D and really make it stand out.

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Hey, this is Pays164 and here’s some tips on how to do 3-D graffiti. In my piece today, I only chose to use the E in Pay to make 3-D. First and foremost is finding your perspective in what direction you want that letter or letters to pop up. Me, I chose my E to straight drop. So my E is just rising up 3-Dimensionally, creating a flat E and then dropping my lines down in the direction I need.

Of course, 3-D graffiti gets a lot more technical than that. You can get different angles, different turns, but on the simple aspect just creating a certain drop and coming back through with the right type of shading, your 3-D piece will pop. Just come back through. Don’t do too much overlapping with your second sketch so you don’t get too lost in your piece.

Also, be careful not to layer that paint thick. Keep it thin and simple. You start getting drips at the beginning of the piece, they’ve already been layered, they’re really going to layer in to the end product.

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I’m Pays164, and I’m going show you some techniques on sharpening up your design when it comes to your graffiti piece. After getting the outline in place. After getting all the fill in place. Sometimes the complicated fill-ins, how they cross colors over each other, makes it almost impossible to come back and use that same color to crisping it up. Well, we like to refer to as an inner outline or inner gel. Simply take the color and come on the inside of the outline and use that final color as a means of crisping up the outline and sharpening up the whole piece. Some of the things when you do these inner gels and inner outlines, it’s best to use to skin your tips.

Getting that fine tip will allow you to crisping it quicker. Make sure you’re also completely satisfied with how you have your fill-in done and how you have your outline in place. You don’t want to come back and start layering and layering once you’ve already come to one of the final steps of your mural. Another tip I would suggest is just really lightly press in the tip. Again you’re trying to shoot the paint quickly. Almost preset yourself up for the line you’re going to do by acting it out and then following it through with lightly pressing on the tip. This will definitely get you a much thinner line and crisper and even sharper finished product.

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Hi, I’m Pay164. Here’s some quick techniques while doing graffiti. First and foremost, get the right tips so you apply the right type of fades and flares to your graffiti piece. For example, fat caps work great when your writing and tagging your name, just by bending your wrist back and forward, almost as in cursive. Picture that and watch the flares on the top of the letter pop off, great technique. Another helpful hint; when your doing a graffiti piece pick colors that are gonna compliment each but opposite color to do that outline in. That’s always gonna ensure that people are gonna actually be able to see what your doing because everything is not just a jumbled mess.

Another good technique to make your graffiti pieces pop is the inner gel and outer gel. The outer gel is the outer outline of the whole outer outline of the piece, 3D included, and the inner outline of each individual letter. Here with the green you can see how I applied the inner gel that sets off all the other colors from the black outline of the graffiti piece.

One final technique to keep in mind, 3D’s off your graffiti piece need to all come from the same direction, you can’t have 3D’s ending up all different ways. Step back, start off with one line off the end and build each line in its same horizontal direction, straight or whatever you’re going to do. Make sure it all matches, you’ll have a better graffiti piece that’s 3D.

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Hey, this is Pays164. We’re back at it again and I’m going to show you some techniques on how to flare your colors while doing your graffiti piece. Now, flaring is pretty much a technique of just applying a shadow or shade from color to color inside the mural and it’s all about just angling your can. Now, if you’re doing a smaller area, giving it a good rocking motion to have a starting point of solid color and a flare of color back down, just by tilting your can down. Any direction you’re going to paint in, tilt it towards it.

Again, doing a flare is just about smoothing out the color and fading the color into whatever other color you’re working on. Another good technique in flaring when dealing with a mural is using smaller tips like outline tips to do your flares. Fat caps are good for the street and flaring tags but in flaring in a color scheme, a fat cap would only lead to a bunch of drips. For the mural I’m working on the lime green [Montana anthra-tip] is perfect. Two fingers thickness allows me just to have full control of creating my flare.

Another quick flare technique may be in chrome shadowing or long areas of flaring, tilt the can sideways and actually run it to where your figures almost touching the wall and give a whole angle flare shade. Now again, if you’re working in a small area you don’t want to create too much paint buildup, to where you’ve just got drips; but something long, something big, something like a big chrome effect. This would be perfect to be able to work your way through the whole piece and apply that shade and apply that fade.

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Hi, I’m Pays164, and here are some graffiti coloring tips. When you’re breaking down a basic graffiti piece, you’re going to have your outline color, an inner outline color, an outer outline color and at least three fill-in colors. So, a good six colors total. Choose three colors that will compliment each other on a lighter tone. That way you can come back with a darker outline and an even brighter inner outline.

For example, I can work a piece that is dark blue, light blue to a light purple. Outline it in black and come back and pop it off with a bright white or even a lime green inner outline. It’s just a combination of mixtures of colors that compliment each other and still having that one color that’s a little off, like the lime green that set off all the blues and set off all the blacks. With six colors picked out, if that’s too much for you to get on and do all at one time. You can break that down in half and work with three.

A good example would be, a silver fill-in with a dark burgundy outline and a white inner outline. Same thing; you have this color on the inside that is a good, solid color that bases the whole piece. The red compliments it and all of a sudden the white comes in as a shocking color to set it off and make it pop.

Personally, I like to work with warm tones, satin tones and earthy tones. I’ll use a combination of browns and greens. Avocado green with wasabi green and do a dark plum outline. But, same situation, use a really bright orange. Something really nice to give glares and highlights and inner and outer outlines it make it really pop off the wall or off whatever I’m painting.

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Hi, I’m Pays164; we’ll talk about how to increase depth with contrast color. In examples of my piece I used a really bright red or just a really bright color behind all that black outline, to create the depth of 3D and make the letters pop off. You know, any good combination of bright colors on the fill, bright colors on the background with good, dark solid outline will create that contrast to make the letters pop off the wall. In the area of the 3D I did this E and you can see how the back fold comes in between these two bars and with that black shading that was really added to the depth to give the illusion that this is like a box shape that is totally popping up at you.

Both of those techniques are real helpful with creating depth and contrast, just separating your dark’s from your lights and putting them in the right place. You’ll be able to create a good piece just by taking those colors, dividing them in half and designating what’s for the outline, what’s for the background, and what’s for the fill in.

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Hi. I’m Pays164, and here’s a little demonstration on how to clean up and fix mistakes. Sometimes you might come through and, oh my goodness, just make a really good little mess of yourself. Simply just coming back and doing techniques called cutting will clean everything up. Same color as I used for the fill, I’ll now come back and clean up that outline, even before I do my inner gel or outer gel, just to alleviate some of this excess black I did. It’s just a matter of overlapping, making sure you’re giving yourself enough time for the outline to dry, and just cutting into the piece and crispening it back up.

So you can see right here, I started to do some of my fades and kind of maybe came across the orange a little more than I would have liked. And again, the technique of cutting. I come back with my lightest color orange and cut back into it, giving myself that crisp line even though I’ve already transitioned colors. So just simply coming through and cutting into it. Now it’s more defined, clean, crisp, ready to go. Mastering cuts like these is definitely the definition of panic control.

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Hey this is Pays164, and this is how to balance your letters in your graffiti piece. Make sure you just kind of step back and look at the wall, get your proportion down. If you’re working with a sketch feel free to draw a line in the center of that and have that your baseline you’re going to build up off of. Once you’ve stepped back and created that center path that you want your piece to follow.

Just come through, do the same thing with the bottom, and the same thing with the top. You can notice I’m just barely hitting the wall. You don’t want to put any really solid lines that maybe some pieces of your graffiti mural won’t cross over and you’ll have to come back later for clean up. Now you can also avoid having to put a lot of these lines if you’re working with a brick wall. The bricks can serve as a guideline. Simply starting from a center brick, you can count your way out on both ends and get everything proportioned real quickly, other than that a little light sketching and you’re ready to rock.

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Hey, I’m Pays164, and here’s a couple of tips for the best spacing techniques when you’re painting your graffiti piece. We discussed earlier in some videos that you can come through, and apply a line across the wall. Count your bricks if there’s bricks. Take footsteps to divide up each letter so you how how big you want to do your graffiti piece.

But if you want to do something really big, then you have to take it up to the next step, and probably with the materials left around. Working with a ladder, a perfect example of how to measure. If you have a four, five or six letter name, lay the ladder on the sidewalk. Walk it over and spray paint one line, and go all the way down. It’s as simple as that. It’s just something to keep in mind on how to get your piece looking right and proportionate with the spacing technique.

Another spacing technique is to space between the background of your mural to the actual piece itself. Keep that in mind. Sketch your graffiti piece out, then work on the background. Then come back and finish the graffiti piece. You’re going to save tons of time, and have a better result.

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Hi, I’m Pays164, and here’s some of my better letter structuring tips. I like to kind of structure my letters off of different images. If I’m down in New Mexico painting with my friends I might kind of shape my; P, A, E, S, just to kind of vibe with the environment like cactus’s. Keep that in mine when you’re doing your piece, maybe in your environment or what’s going on in your life, could be something funny translated into the piece. Doesn’t mean you got to be like, Oh, I’m going to paint a tiger piece and do it orange with stripes. But yet, the shape of it can be striking like a tiger.

Another good tip with structuring your piece is symmetrics. You can either set it up where the piece leans one direction, the 3D goes one direction, or the piece is actually almost like a cross, in a sense that it shoots off in all directions. The symmetrics definitely plays a big part in getting all the math of your letters down and getting your style in a shape, in a form, and a way that’s going to look really great when you’re painting your next mural.

Taking a look at this piece, I’ve broke it down simply by just cutting it off in four different shapes, dropping my 3D down the center, and giving it a real boxy look. Given such a size wall that’s no too big that I need to try to fit everything in in one big shot, and I wanted to really elaborate on my fill-in colors. So using the space to do bulky, almost block-style letters, was the way I went.

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This is Paise [sp ?] 164. Here’s some tips on creating fine lines. First and foremost, a fine tip. Fine outline tips, that are compatible with cans, that are more pressure sensitive. Pressure sensitive cans allow you to just lightly press the tip. And with that, and a combination of a good flick of the wrist, you’ll be able to do a real clean, sharp line. Pre-see your line, pre-place your wrist, pre-feel your way through the line, lightly hit the line, and it’s as quick as that.

If you’re doing shorter lines, even more so that those pressure sensitive lines are going to work for you. If you find yourself with a piece that you’re backed into a corner, you can also cut back into the outline with a fill-in, or inner outline, to make the line appear even thinner. Take your time, lightly hit the tip, wrist action, you’ll work your way through it. Keep in mind what you’re using, what tips you actually got on your can. Don’t forget if you had a fat cap and try to pull off a line like that, you’re probably going to destroy the area of the piece you’re working on, with drips and whatnot.