Launch discount4.8

OPAQUE GREYS
WITH VOLUME

A piece that reads from several metres away, with its contrast and depth intact once the skin heals. Grey isn't the absence of colour, it's another value. With one set of greys, from pure black to off-white, you cover the whole skin to build a portrait with volume, with that polished-stone texture, layer by layer, from the darks to the highlights. Sit with Charly Ávila through a full session, skipping no part of the process. Every layer laid down with room to spare, never flooding the skin all at once, until the piece has the impact it deserves. It's not theory, it's the real process, explained as it happens.

143 US$239 US$One-time payment · VAT incl.

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Duration: 10 h 52 min
Lessons: 22
Access: Lifetime

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From inside · What you'll see, step by step

Anatomical reading
Design study
Workspace & stencil
Opaque grey set
Black exoskeleton
Face greys
Light greys & highlights
Final result

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If any of these sound familiar

We solve the common problems.

The five problems Charly sees every day when someone starts out with opaque greys, and how they get solved in this session, in order.

My greys heal dull and flat, with no contrast
Grey isn't a shadow, it's a value with degrees of tone, and the skin is covered with all of them. Here you mix the set and learn the order of layers, from the darks to the highlights, so the contrast is still there once the piece heals.
Solved inM1.6Greys setM2.2Start and base layers IM2.11Light greysFace
I oversaturate the skin and halfway through I can't keep going
The mistake is losing your room to spare, working the skin with space left to go back over an area without breaking it. You'll see why you start with the largest needle (less aggressive, more layers) and how to add saturation without stressing the skin or turning it into a wound that won't hold pigment.
Solved inM1.5Work tableM2.2Start and base layers IM2.3Base layers II
I look at the reference and only see detail, I don't know where to start
Before the detail comes the exoskeleton, the silhouette of dark values that already tells you what you're looking at. You learn to read the image with your eyes half-closed and with a gradient map to break it into darks, mids and lights, and to build volume in layers, leaving the detail for the end.
Solved inM1.3Studying the designM1.4Making the stencilM2.2Start and base layers I
The piece doesn't read from a distance, everything competes and nothing stands out
If everything competes, nothing matters. The impact lives in the hierarchy of planes: maximum detail and contrast in the eye-nose-mouth triangle, and deliberate blur in the hair, neck and background. That hierarchy is carried out by the scale of needles (magnum, shader and liner per plane), you don't do it by hand.
Solved inM1.2Anatomical analysisM2.6Greys IIFaceM3.1Final result
When I go over an area with another tone, it gets dirty and the colour shifts
The tone with more pigment always wins out over the diluted one. If you don't want the base to shift, whatever you lay on top goes more diluted; whites and highlights are saved for the end, with the skin in good shape, because they get muddy fast. You'll also see petroleum jelly used as a barrier so you don't contaminate what's already done.
Solved inM1.6Greys setM2.5Greys IBackgroundM2.11Light greysFace

Why this is not just another course

You watch the real session. Not an edit without mistakes.

Built up in layers, not copied dot by dot

Charly doesn't trace the image onto the skin. He raises the exoskeleton with pure black and dark tones, then adds layers leaving room to spare, working from the darks to the highlights. You watch the piece move from silhouette to portrait without the detail coming in too soon. With the exoskeleton alone you already have between 40 and 60% of the piece.

Grey as a value, not as a shadow

The opaque grey palette, pre-mixed in caps (pure black, shadows at 10% and 50%, dark, mid, light, extra light and the two whites), covers the whole skin with real value, not with diluted black. You learn to shift from one tone to the next using drops and Special Shading Solution without dirtying the transition, and why the tone with more pigment always wins out over the diluted one.

Room to spare is what saves the piece

Working with space left to go back over an area without breaking the skin. You start with the largest round magnum (less aggressive, more layers) and add saturation without stressing the skin or turning it into a wound that won't hold pigment. Small needles and detail are saved for the end.

The same process as with a client, nothing skipped

More than ten hours of a real session narrated as it happens. Same technique, same needle sizes and same inks he actually uses. Why the round magnum goes in first and the liner closes it out, where he blurs on purpose and why the eye-nose-mouth triangle carries the likeness. If you get stuck on a lesson, you comment under the video and Charly and the team answer personally. It isn't an AI.

How the piece is built

Six phases. A full session in real time.

What you'll see, in the order it happens. No loose clips without context. The whole piece from start to finish.

01
Anatomical analysis and design
Reading the area to be tattooed: lights, shadows and volume.
02
Clean stencil and value map
A clean stencil and a gradient map to break tones into sectors.
03
Exoskeleton in blacks
Silhouette and general volumes with pure black.
04
Base layers with room to spare
Round magnum from larger to smaller, applying margins.
05
Greys and the focal triangle
Shader: marks and effects. Focus on eye-nose-mouth.
06
Highlights, background and planes
Whites applied at the end and a hierarchy of planes.

Full curriculum

4 modules · 22 lessons · 10 h 52 min

- Viewing recommendations
- Introduction1:10
- Anatomical analysis12:08
- Design study11:13
- Making the transfer8:23
- Workstation18:55
- Greys set14:13

Tool included

Every tattoo's stencil, ready in a minute

This course comes with 6 months of access to the Stencil Generator: upload your reference and download a faithful stencil, value map included, ready to print and transfer.

Every tattoo you do starts with a stencil. That is why it is included: the slowest, most tedious part of every session, solved in under a minute.

Real engine

ReferenceStencilDrag to compare

Generated with the realism engine. Untouched.

Real engine

StencilDrag to compare

ReferenceStencil

Generated with the realism engine. Untouched.

Gradient mapTap a palette

Building the map...

Breaks your reference down into values instantly. Unlimited: it never spends credits.

Stencil Generator

6 months of access

Valued at

216 $

Today, with your course

Included

It activates on its own with your purchase: 30 stencils a month and unlimited gradient maps, nothing extra to pay.

True to your reference
The stencil does not move a single line or reshape a feature: same proportions, same face.
Detects tonal values
The gradient map translates your reference into light, midtone and shadow zones you can read at a glance.
Built-in retouching
Brush and eraser over the reference, with adjustable opacity, for the last 5% that is always yours.
In your browser
Phone, tablet or computer. Nothing to install, no extra subscription.

months of access

stencils a month

extra fees

Your bonuses for joining today

Everything you get today:

Alongside a complete opaque-grey sculpture masterclass, you get three months of reviews with Charly, Q&A sessions, the Stencil Generator and material to practise. Everything you need to build volume and portraits with a method you can repeat on every skin.

216 $

Sculpture Opaque Greys masterclass

More than ten hours with Charly building a sculpture-style portrait from start to finish, skipping no part of the process. You'll see how grey is worked as a value and not as a shadow: the exoskeleton first, then the layers leaving room so the skin holds up, and the whites at the end. Every decision (anatomical reading, mixing the opaque greys set, needle sizes per plane, layers and highlights) explained at the exact moment it happens, so you internalise it and come back to it with every client in this style.

324 $

Most valued

3 months of reviews with Charly

Most valued

3 months of reviews with Charly

Each month you can send Charly a photo of a tattoo or a practice piece. He analyses it privately and gives you an answer: what to change, what to refine, where to take it next. Direct feedback. Three months with his eye on your work.

216 $

Stencil Generator · 6 months of access

Upload your reference and download a faithful stencil with its value map, ready to print and transfer. 30 stencils per month for the next 6 months, in your browser and with nothing extra to pay.

119 $

Charly Responde · Sessions every 1-2 months

Send in doubts or questions about technique, clients, business, anything at all, and every 1-2 months we'll record a session working through them. You'll also get access to the past ones.

49 $

Pack of 100 images to practise with

A pack of 100 sculpture images and references for your designs and practice in opaque greys. To train your reading of volumes, planes and lights without ever running out of material to practise the style with.

31 $

Masterink certificate on completing the masterclass

When you finish the training, we'll instantly generate a digital certificate issued by Masterink with a unique ID. If you're in the European Union you have the option to request a physical copy for an extra.

Value

0 $

You take 812 $ of extra value

You pay today143 US$

One-time payment · VAT included · Lifetime access

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Course + 5 bonuses unlocked today · One-time payment · no subscriptions · lifetime access · Direct support from Charly and his team

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216 $