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It sure is. It’s pretty funny y’all say that… because it’s easier now than it ever has been. At least, in the damn near 30 years I’ve been around this ‘industry’ and the 20 years I’ve been involved.
Let’s roll back the clock to say… oh… 1986 and take a look at just a couple of things that have changed since then. For instance… back in those days tattooing was still badass. PRE MTV, PRE NBA, PRE Guns n Roses. Tattoos were worn by soldiers/sailors, rebels, rock bands, bikers and ‘the criminal element’. Tattoos were, for the most part, done by ‘tough guys’ on the bad side of the tracks in the worst neighborhoods. (while there were instances outside of this… I’m speaking in broad generalities referring to the nature of the ‘industry’).
The two biggest suppliers I knew about (at the time I knew of no others) were National Tattoo Supply and Spaulding & Rogers. The only way to get tattoo equipment was through these suppliers and the only way to get gear from them was to be affiliated with a tattoo studio. You didn’t necessarily need to be working for a studio, or apprenticing, but you had to know someone willing to hook you up. Although I should mention that one could always scrounge together parts to make a ‘prison rig’; a Walkman (cassette player… cassettes were those things that used to play music) motor, coat-hangar, Bic pen, guitar string or entomology needles and viola… tattoo ‘gun’. All you needed after that was some lamp cord, a rheostat and a car battery or train transformer (there were other options, but I’m not spending the night getting into all of them… I’m wasting enough time writing this as it is)
Add to all this I lived outside Boston, Massachusetts (New England, north-east United States) where tattoos had been outlawed since 1962 (and not decriminalized until November of 2000). So it wasn’t like I could walk into the local tattoo studio, step up to the counter and make the ultimate fuck up “Hey, you guys need/want an apprentice?”. In fact, as a little kid, one of the attractions for me to tattooing was heading up to New Hampshire or Indiana on vacation and seeing the colorful signs of the tattoo studios along the roads BECAUSE there were NONE where I lived. Just to get a tattoo you had to know a guy who knew a guy who knew a tattoo guy. There were no business cards, no advertisements, no store-fronts. It was all word-of-mouth and very hush-hush. The risk was serious enough, an underground tattoo artist could face a year in jail, a $300 fine and the confiscation of their hard earned equipment.
Competition was also pretty fierce… not just among underground artists in Massatwoshits, but among the heavily saturated (too many studios in one area) ‘border’ towns across the state line, particularly in New Hampshire. There was violence and vandalism and general nastiness. Information about how to tattoo, or make needles, or make pigments and inks, how to make and/or tune tattoo machines was extremely guarded. Many ‘apprentices’ were put to work ‘grindhouse’ style, just toss the guy in a chair and make him start tattooing. Charge the customer, pay the ‘apprentice’ nothing, haze the fuck out of them and let ‘er rip til you got tired of them or they panned out or just got ‘used up’ or busted.
As a rule tattooing was a simple task of reproducing a design pulled off a wall. There were a few artists who pushed the envelope back then… and thank God for them. Otherwise we’d still be in the dark ages. The 80s led into the 90s which (as far as I remember) was really when the popularity of tattoos broke out. When I got tattooed in 1990 my feeling was it was my ‘fuck you, stay away’ (didn’t like people, still don’t and have even more reason not to nowadays) but by 92/93 it seemed like every dickhead had a tribal or a little devil or some 40 minute piece of shit which made them feel as if they were ‘kindred’ with me. “Yeah, we’re so much alike that if you touch my arm again I’ll break your fucking neck.”
Tattoos went from a small section in Outlaw Biker and Easyrider Magazine to having their own publications. Tattoo, Tattoo Revue and International Tattoo Art (ITA) all showed up pretty quick. Shit, I remember when Tattoo Magazine still had bare-chested chics for their centerfolds (still have a few of these kicking around somewhere). And thus the transition from ‘badass’ tattooers to artistic tattooers started to pick up the pace.
At the same time some of those late 70s and 80s tattooers realized there was a buck to make selling gear to the new crowd interested in getting into the ‘industry’ and soon enough suppliers were popping up faster than litters of kittens behind the trailer park. Superior, Cam, Unimax and Papillon are a few I remember coming up but unlike many suppliers nowadays these guys seemed to be more about a better machine, or power supply or ink. Compare that to your “tattoo machine gun kits” on Ebay and Amazon these days as well as all the assholes just out to make a buck. (yes, I know… Mickey Sharpz, Eikon, Time Machine… I’m not here to database every supplier and manufacturer out there) By the way, those old prison ‘guns’ are your rotaries.
Which brings us to today… and how super hard it is to get ‘in’.
Now there are more suppliers than you can shake a tree full of sticks at. Few of them give a shit about the quality of their gear, the industry or your clients. They want to make a buck. Remember I said information was extremely guarded? Well, there was a bit of misinformation (idiots offering advice when they don’t know shit) and disinformation (folks who answer your question to intentionally mislead you so you won’t know your shit) floating around. Nowadays you guys have books and DVD’s and You Tube and Forums :roll: to answer all the questions you can ask. Oh, the misinformation is prevalent and the disinformation is there and anyone trying to sell you information is probably just trying to make a buck. BECAUSE YOU CAN NOT LEARN HOW TO TATTOO FROM A BOOK, or MAGAZINE, or DVD, or YOUTUBE VIDEO, or FORUM. You can try and you can do lots and lots and lots of bad tattoos until you figure it out… figure out that you need help… or just quit.
The “You pick it, I stick it.” Mentality is alive and kicking. Partly due to easy access to equipment, false confidence based in bullshit information, the ability for anyone with money to open a studio and dub themselves “Tattoo god extreme wizard level 10” and put up one of those stupid fucking certificates (which really only certify that you bought your shit from someone who gave you a certificate and maybe a t-shirt… did you get the t-shirt?). BUT all is not lost… because there are some amazing artists pushing the envelope and some amazing artists coming up… but what makes all that worth it is that among the millions, billions, trillions of moron clients there are those discerning clients with an eye and a mind for art who allow us to express our artistic ability and push us to push that envelope.
I only wish there were more of them.
Yeah, I know… blah blah blah “get to the point old man” But… I thought you all like to read books?
While it’s easier than it ever has been to ‘get in’, it’s still not easy. You know this. But you don’t know why.
The simple answer: Because you’re doing it wrong.
I know this does not pertain to all of you, but it pertains to many of you, and to pretty much every young snert who’s walked into any of the studios I’ve worked at telling us they’d like to apprentice for us… as if we should be blessed that they’re there to help us.
Many of you are doing it wrong because you, for some unknown reason, feel that you are entitled to an apprenticeship simply because you want one. Let me make one thing clear: YOU ARE NOT ENTITLED TO ANYTHING MORE THAN THAT FOR WHICH YOU ARE WILLING TO WORK AND SACRIFICE.
Sorry. I know mommy and daddy told you that you’re special and unique like a little snowflake… but that shit doesn’t work in the real world.
So… because the one (or maybe five) shops in your local area won’t apprentice you or give you a job, or acted like dicks to you or any of the other hundreds of ways that situation went down… doesn’t mean you hop on Ebay or Amazon, order a Chinese kit and start selling scabs to people. Sure, you’ll figure it out sooner or later. Before or after you give someome hepatitis or a staph infection?
So now we get down to it. Grab a pen, or pencil or something and take notes.
You walking into a studio and asking for an apprenticeship, or telling them you want one, without the studio giving any indication they’re offering one (and few do… usually someone connected to the shop gets the shot) is ab-so-fucking-lute-ly doing it wrong. You’re probably not the first… that month. Probably not the first that week if you’re in a good market (college town, military base, major metro area, hot vacation spot)… might not even be the first one that day. We’re tired of you. Yep… sick of you… showing up asking stupid questions and talking shit trying to fit in before you ask for an apprenticeship. You’re not the first and you’re not the last and we’re not interested.
In the business world they call this a cold-call. You’re already familiar with them… you know those annoying sales calls you get? The ones you can’t wait to hang up on? The ones you wish would stop calling so you got on the ‘Do Not Call’ list? Yeah, those. Yep, that’s you. Not all the time… just when you walk into a studio, uninvited, and ask for an apprenticeship.
Now do you understand why you get picked on/laughed at/ragged out as you walk out the door? Here’s the really sad part. First impressions are everything. We will remember you as ‘that guy (or girl)’ and any chance you had of getting help from us… well, it walked out the door with you. (There is hope, there are ways to redeem yourself, but give it some time before you show back up… get your shit together… and read on, I’ll get to it later)
I know I seem like an asshole, but I’m really trying to help. Stick with me.
The biggest problem you have is that you have no connection with the people you are trying to solicit and (the other problem) you’re not charming enough to pull off an unsolicited visit. So your new goal is to find a way to make that connection.
HAVE A PORTFOLIO: Oh this place is chock full of awesome advice. Cold calling with a portfolio IS STILL COLD CALLING and you’re still annoying. BUT you might actually get someone to look at that portfolio.
Some portfolio pointers:
A 5 Subject Notebook is not a portfolio (even if the pages are college ruled and you drew on the cover)
A Sketch book is not a portfolio… sketches are sketches, they’re not art. So…
All of your art in your portfolio should be finished.
A portfolio is a display of your best work… make sure it’s full of your best work
You should display pieces of different styles to show that you’re capable at more than skulls or tribal
DO NOT INCLUDE THE SCABS YOU’VE SOLD (tattoos)If you slide me any type of notebook or sketchbook across the counter, I’ll slide it right back to you and ask you to leave. Some guys might not be so nice. Some guys (and girls) might have a little fun with your work at your expense. This is never fun, at least not for you. So a cold call with a portfolio isn’t a great idea. It’s better than a straight-up cold call, but it still sucks. It doesn’t help establish any kind of memorable connection. Or, that’s not completely accurate, once again you could be remembered… just not favorably.
Sorry gang, I’ll continue from here another time. I didn’t think I was going to get this involved in this post. I promise… it’s going to get better.
BUT, if you can’t take my shit here you might want to reconsider your career choice. Or… join another forum. :shock:
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Okay… picking up where we left off.
Cold calls don’t work.
Cold calls with a portfolio are barely better.
There’s no connection… no relationship with the people in the studio. A cold call is a one a time thing. You come and you go or maybe you get sent on your way.
A tattoo studio is a business and much of the time the people you are dealing with are professionals. Appear to be professional and you’ll do better. If you must make a cold call, show up early, say, right after the shop opens (not before, they have shit to do). Be showered, be clean, wear clean clothes, be sober and/or straight. Believe it or not I’ve had hopefuls show up at my studio drunk, stoned, stinking to high heaven or wearing clothes that appeared to have been on their second week of service.
One way to make a connection, it worked for me at least, is to design and sell some flash.
This shouldn’t be a problem, right? You’re already doing your art based on your love for the art of the tattoo? You’re already working on different styles, trying to understand and master at least the art of those styles that interest you?
Good deal.
Many will say “Flash is dead.” This is bullshit. There are so many ‘new’ tattooers and street shops out there that work from flash that there is a market for it… if it’s done right.
1) make sure the tattoo designs you’re trying to sell can be tattooed. This means that you’ll have to know a little bit about tattoos. I.E. you should be looking at composition and color or shading of tattoos in the magazines (because you can’t seem to find help from professionals). You’ll have trouble selling tattoo designs that are too busy (too much detail in too small an area or just too damn detailed period) or too muddy (colors don’t work with each other or fucked up shading).
The better your art and the more it shows you understand the art of the tattoo design the better you’ll do selling the stuff and the better your chances are of making ‘that’ connection.
2) most common paper size for a set of flash is 11 x 14 inches, printed on a decent card stock
3) 6 to 10 pages of designs will get you $40 to $60 USD depending on the artwork. Be prepared for shops to try and get a better deal.
4) include line sheets. These are outlines of each design in the set and saves the tattooer in a studio time in making stencils. Saved time is saved money… they’d be more willing to spend some cash if they can save some cash.
5) pay for good copies. I have no idea what it costs to run copies off these days, but it used to run me about $15 a set for black and white and $22 a set for full color. You’re not trying to get rich… you’re trying to make a connection with a potential mentor. Keep this in mind. Any money you make to pay for what you paid into your copies is a bonus. If you’re short on cash… make a few sets at a time.
6) speak directly with the owner or manager of the studio. If you don’t catch them in the studio don’t waste your time with the shop girl or counter help. They’re probably bucking for an apprenticeship and many are told to turn away solicitors.
Again… you’re making a cold call. This time you’re making a cold call in order to do business… but it’s still a cold call. You make get lucky and sell a few sets of flash (I used to make decent money at it) or you may catch attitude (I used to get this too) but it will give you a feel for what the attitude is of each shop in your area. Don’t go back to the shops that give you shit.
One way to help yourself is to do some research before you begin. Your local yellow pages will show you all the studios in the area… at least, yellow pages will show you most of them. Some shops may not be listed. Write down the addresses and phone numbers… make a plan… and check out each of the studios.
Many studios offer custom work in advertisements or on websites. That shouldn’t stop you from walking in as ‘just another looker’ and seeing if the shop has flash or works from flash. Some shops are all custom work only… usually appointment only (I.E. not a ‘street shop’) forget about these. Cross them off your list and concentrate on the street shops.
By all means try to sell to all the street shops, but on your first round of visits (just lookin’ thanks) get a look at the portfolios. See who has the best work and who you might want to mentor you. I mean, why would want to apprentice for someone who’s work sucks? The minute you show that you might have more skill or talent than they do it creates problems.
After checking out all the shops (and yes, this is exactly how I did it, in three different states, in 12 different markets) in the area, make your rounds. Again, be professional, appear clean, and don’t talk about shit you don’t know. Stay away from the topic of tattoos and focus on just the art and business transaction.
You might, have a 10% success rate in all the studios you actually get to look at your flash. Sometimes it’s better… sometimes you get nothing at all. BUT they’ll remember good work.
Don’t expect ‘it’ to happen on the first visit, or the second… or the third… or ever. The more studios in your market the better your chances.
In my case… with the hundreds of studios I could visit to sell flash I was never offered an apprenticeship, nor did I ever bring it up seriously. There were several studios where I could chill with the artists or owners, but also knew that they wouldn’t apprentice anyone due to prior experiences with apprentices (shitheads) or they were just happy doing what they did. I was actually visiting someone 1,600 miles from ‘home’ and selling some flash to make a quick buck when I fell into my first apprenticeship. Yes… I relocated 1,600 miles for it. (work and sacrifice)
In my case though, I had an edge. While I was 1,600 miles away from ‘home’, the guy I was talking to was born and raised about two towns away from my home town. That’s how we hit it off… but if it wasn’t for the set of flash I’d have never gotten his attention. As an apprentice… part of my job was running off loiterers, solicitors and snerts who ‘do it wrong’. Hence… ALWAYS TALK TO THE MANAGER OR OWNER.
At this point, you have a day job (always have a day job) and you sell flash on the side. Make enough rounds and you’ll develop a connection with many of the artists, owners and managers of shops that won’t shove you out the door (don’t revisit the shops that do shove you out the door). At some point… and you’ll get a good idea of when ‘it’ happens… you may be able to bring up the topic of apprenticeship… hell, if your artwork is super-stellar-rock-star shit… you might get offered one.
If you can establish a connection… meaning, they know who you are when you walk through the door and your professional relationship is amicable… and maybe you even have some other things in common… then you can mention that you’d be interested in an apprenticeship from the right studio (this, to me, displays discernment as opposed to desperation) and maybe start a ‘dialog’ about it.
BUT… these are still cold calls… and you’re still an outsider and it’s still damn hard to ‘hook up’ this way.
I’m out of time (again… relocating sucks) but there’s more and I’ll get to it later.
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… on we go.
The whole point of these posts is to give an idea of how to make ‘that’ connection with a potential mentor. None of it is ‘easy’ and it’s not going to happen overnight. It could take years. This is part of it. Tattooers live and work in a closed community. Even though it’s easier now than it ever has been to become a tattooer… it’s still tough. It will take perseverance and determination on your part. If you don’t have the will to get up every time you get knocked down and keep trying… well, you don’t belong.
Everybody finds their own way in.
Another way to make a connection with a potential mentor is to get tattooed by them. Yeah… yep… tattoos are expensive… and good tattoos are even more expensive. But consider that many tattooers have met many of their friends through giving/receiving tattoos. Some have met their significant others or spouses. Both of my best friends (more like brothers than friends) started out as clients of mine.
I can’t say that I’ve had a connection with all of my clients over the years. I find it hard to connect with someone who doesn’t care what they’re getting tattooed, or by whom, but care more about how much it will cost them. People who will pick a piece of flash I’m bored with and when I offer to blow them out something custom for the same price (just to save me the boredom of doing another rebel flag, or cross, or kanji, or sun, or nautical star… etc. etc. ad nauseum) and they still want the flash… yeah, it’s kinda hard to connect with these folks. But customers who bring me something custom, or some unusual or unique request for a design… customers who have put some thought into their tattoos are easier to connect with. We both have a love of art in common.
If you’re going to get tattooed by someone I assume you’ve checked out the shop and seen the portfolios, that you’re impressed with the work, the atmosphere of the shop and the attitude of the owner/manager/artists in the shop. Why would you want to apprentice for people who suck at art and have an attitude about it? If they’re dickheads to you as a customer… they’re going to be hell as mentors.
So you’ve settled on a shop and an artist with a solid portfolio and reputation. Now design yourself a tattoo… maybe something that will take a few sittings (gives you more time with the artist) or start small and decide if you want to spend more time with that artist. Wait patiently for your appointment and when you get it… don’t just blurt out that you want an apprenticeship before the stencil is dry. Find out if you have anything in common with the artist(s) or with the attitude of the shop… maybe you like the same music, the same artists, have similar influences… maybe even similar life experiences (although, this stuff probably wouldn’t come up in the first sitting).
If things seem amiable… then maybe talk about your art in hopes of bring up the apprenticeship.
It make take more than one tattoo, or more than one sitting. I know some of my clients have stopped by to see me after I’ve done work on them and I don’t mind chatting with them on a slow night (as long as they disappear when customers show up) and we talk more. The closest I ever got to having an apprentice was just this scenario. The only reason I didn’t offer the guy an apprenticeship was because I didn’t feel that the shop environment (idiot owner) was conducive to training an apprentice. Sucks for him. He’s doing all right though, he found a gig and he’s working now.
The important thing about establishing that connection is that you and your mentor are going to spend a lot of time together during your apprenticeship. It helps to have more than an interest in tattoos in common. It helps if you have similar attitudes and lifestyles.
For instance…
Your potential mentor is a hard worker, sober, married guy who likes heavy metal, southern rock and blues. His favorite style is traditional Japanese but also likes neo-Japanese and color bomb work.
If you’re a party-all-the-time, single guy, who likes gangster rap, hip hop and R&B and your favorite styles are street style and west coast black and grey… you’re probably not going to get along. Why should you? You can’t relate to each other.
That’s kind of a polar opposite example… and something like this would be obvious walking in the door… but I’ve seen weirder pairings for the expectation of a mentor/apprentice relationship.
IF (IF IF IF IF IF) all your dreams come true and you do score an apprenticeship… don’t waste it.
I know there are horror stories about apprenticeships and you have to decide, realistically, what you’re expectations are and what you will and won’t do to get or keep your apprenticeship. In most cases you are free to terminate your apprenticeship at any time… just don’t take anything that doesn’t belong to you when you leave.
You can expect to:
Work the counter
Clean the glass (doors, windows, cases, flash racks)
Sweep and mop the floors
Clean the bathroom
Organize magazines and merchandise
Stock merchandiseThis is not ‘hazing’ this is part of shop responsibilities… if you find yourself doing all of it… it’s because you’re being tested.
You may also take some shit… but you should know the difference between you and your buddies ragging on each other (friendly digs) and insults. You may also have to deal with the hurt ego of another worker in the shop… deal with it… egos are a problem.
You can also expect to:
Show up on time
Work every day
Work late
Keep a full time job… or keep up with your classes if you’re in school
Complete assignments (drawings or research maybe even an essay… don’t worry, you’re not graded on grammar)
Do homeworkPut up with this shit long enough… and PAY ATTENTION to what’s going on in the shop around you and soon enough you’ll get to sit in… and start getting your hands ‘dirty’ (not literally)
Yeah, some cats here hate the term “Pay your dues”. But… everyone pays their dues. You either suck it up bust your ass and find an apprenticeship… or you do shitloads of shitty tattoos on lots of people until you figure it out.
In many cases… underground scab vendors to apprentices… people don’t make it. Some make it for awhile then burn out.
Tattooing is not ‘easy’. It’s not a get rich quick scheme. On top of running a business (yes, your station… even if it’s in someone else’s shop… is your business) and dealing with customers tattooing is a stressful gig. It’s not ‘disarming roadside bombs’ stressful… but there is stress involved. You’re performing a PERMANENT piece of art, YOU CAN AND MAY FUCK UP AT ANY TIME… even when you’re super confident, this thought (no matter how quiet) is in the back of your mind.
For those of you who have already done a tattoo… you can’t deny the nervousness you felt that first time. And some of you can’t deny the nervousness you feel every time. It’s the same way any time you break new ground… a new style… a new technique… a new type of skin (yes, skin is different from person to person).
Enough of all that.
Unless you know someone who knows someone… you have to develop a connection to score an apprenticeship unless you are paying for it. I wouldn’t recommend that. I also would recommend that you remain wary of anyone that takes you on as an apprentice when you just walk in and say “Hey, I wanna be an apprentice.” Protect yourself, don’t get caught up in bullshit and it if ‘it’ feels bad… cut and run.
At any rate… this disorganized series of rants is at an end. I’m less than 72 hours away from relocating and probably won’t have much time to get back here until I get a new internet connection (could take months… I spend more time outside than in where I’m moving and I work about 70 hours a week).
Good luck, don’t get discouraged… but if you do get discouraged only means you’re probably better suited to something else. No offense.
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