SparkEater72

[SparkEater72]

… 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 merchandise

This 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 homework

Put 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.

[SparkEater72]

The difference between a scratcher and a potential tattoo artist is the scope of their work.

Yes, plenty of professional tattoo artists started in their kitchens… and hacked their way to experience… to develop a solid portfolio. While many try this… few are successful at it (Few in comparison the numbers… in the thousands… that try)

If you can build a solid portfolio that shows capability and competence at the craft you may make the jump from underground to professional status. Your first stop will probably be a street shop (like so many of these ‘famous’ cats you mention) where you’ll grind it out and deal with shit for a few years until you learn the environment, on-demand designs, and how to deal with customer bullshit. Take the time to improve your portfolio, hit the conventions, make some connections and move on up out of the gutter.

BTW… few seem to know this anymore…

Scratcher = timid tattooer, usually inexperienced and untrained who barely pushes the ink.
Scab Vendor= someone who hacks the ever loving shit out of victims (not clients) a.k.a Hacks
Kitchen Wizard= usually inexperienced bullshit artist running parties from place to place and acting like the know some shit.

[SparkEater72]

I’ve worked in the eastern part of Texas. Harrison County.

Out there the shop was licensed and the tattooers worked under the umbrella of the shop’s license.

I live in a heavily regulated metropolitan area and understand that Austin, Houston, Dallas/FT worth/Arlington, San Antonio…etc. might be similar.

In this case you may have to have applied at a shop. Provide the following:

The shop you’ll be working for and contact information.
Proof of Hep B Vaccination (and updated boosters for Tetanus, tuberculosis… etc.)
Proof of completion and pass of Bloodborne Pathogen training
Proof of completion of First Aid and CPR course
Proof of experience in the industry (work history and references)
between $50 and $150 bucks for processing and other bullshit.

This is what we go through in Boston suburbs… it’s even hairier when applying in Boston or Cambridge (massatwoshits)

I move back to Texas in two days… where are you at?

[SparkEater72]

Don’t overfill your tube/tip.

Tattooers that run their points out from the tip are working on their knowledge of where their points are in relation to depth in-the-skin. This takes practice and experience… but I recommend it for everyone. Working off-the-tip (needles stick out just enough and run the tip to the surface of the skin) hides the needle and makes it harder to get clean points and pick up (continue) lines when you run out of ink or change position.

Make sure your stencil is dry before you start.

Press a clean wipe over the stencil (do not slide it or you’ll smear the stencil) to remove excess stencil ink. You may have to repeat this more than once… press gently and use a clean wipe each time (or you’ll double the stencil).

When you start lining, start at the bottom:

If you’re right handed wipe down (away from the stencil) and to your right (as you’ll start bottom right of the tattoo and work up and across it)
If you’re left handed wipe down (again, away from the stencil) and to your left (as, in this case, you’ll start at the bottom left of the tattoo and work up and across it)

Do not smear the whole stencil with petroleum jelly (or your preferred ‘goop’) Just dab a little on the area that you’re about to line.

Don’t use big strokes to wipe the excess ink away… dab down onto the excess ink and gently wipe it away (down/right or down/left).

Dry wipe when doing your lines. Wet wiping, even damp wiping will erase the stencil.

Hope this helps.

[SparkEater72]

Those first-time jitters are wonderful aren’t they? I almost wish I could remember what that felt like.

I think it’s a good selection for your first… the lack of straight lines (at least, long straight lines) works in your favor when you have the rookie shakes. The lines are definitely in there.

It does look like you went deep or slow on some of the lines, hence the gray cloud under the skin on either side of the line.

It’s really hard to see more than that because the tattoo is ‘gooped’. In the future, if you’re looking for critiques and advice I’d recommend waiting until the tattoo finishes exuding, then remove the initial ‘goop’ and wipe it clean. Get your picture while it’s ‘dry’ and it will be easier to get a good look at it and offer advice.

The only advice I can give you here is to watch your needle depth. The shakes will disappear as your confidence grows.

That being your first tattoo, I’d keep them about that size for a while, maybe a little smaller but definitely no bigger. It will make it easier for you to cover them later if they need be.

Post pics when it’s finished. :)

[SparkEater72]

:lol: :lol: :lol:

Spider you made me laugh, man.

Yeah… shop drama. The one side of the ‘business’ that is a killer.

Nothing like some artist’s ‘chic’ hounding the shop because she thinks he’s cheating.

Or egos among artists on staff starting shit with each other.

If I ever open a studio I’ll work alone and wife can run it. If any of the guys I’ve worked with who I still get along with get interested they’d be welcome. But they like cities… and I like boonies.

I’ll probably just keeping heating, beating and welding.

[SparkEater72]

If you’re reading this and you’re in the U.S. Keep in mind that tattooing is regulated in all areas. One of these regulations is that you can not tattoo from a residence. Period. Ever.

Now… I’m not saying that you can’t tattoo from a home studio. I’m telling you what the regulations are. Different areas have different punishments if you get caught working from a residence. These can be increased if you infect a client, tattoo a minor, trade controlled substances (drugs, guns, etc… ) or perform tattoos for sexual favors.

Punishments can range from confiscation of equipment, eviction (your landlord won’t be happy when he/she finds out), fines and jail time (ranging from 3 months to 3 years depending on what they nail you for).

Most suppliers that won’t deal with non-pros expect to see either a state/county issued tattoo license, or a board of health operating license in order to open an account with them. If you’re working for a residence you will be issued neither.

As far as paperwork… liability and release forms and all that shit. They’re null and void, inadmissible in court because you’re breaking the law operating a ‘studio’ from a residence. I know of one case where this worked to the disadvantage of the guy who got busted (he needed to get busted) where they charged him for each tattoo he did based on the records he kept. So the best idea is to skip the waiver and go through the disclosure (allergies? STD’s? Epilepsy and all that stuff) verbally. Aftercare instructions can (and should be… because clients are generally pretty stupid) be printed and handed out, but I wouldn’t keep a pile of them around.

Another issue you have to deal with is disposal of biohazardous waste. Yeah, you all have a ton of advice about needles n shit… but ink, wipes and barriers are all classified as biohazardous waste and one of the major reasons ‘they’ don’t want you tattooing in a residential area. You might have a sharps container but where do you dispose of it??? (In the U.S. I don’t know any clinics or hospitals that will take them)

How do I know this shit? Not only because I’ve worked in several pro shops in a few different states, but because I grew up in an area where tattooing was straight up outlawed. The legal status of tattooing did not keep people from tattooing and I knew a few guys (and one girl) who had professional studios in their houses. Everything is legal now, heavily regulated (heavier penalties for underground tattooers) and still there are plenty of underground artists (different than scab vendors and kitchen wizards).

If you have a home studio… it should be a studio. A room dedicated to the tattoo process… and another dedicated to cleaning your shit. Surface disinfectants, cold sterilizers and stuff like that should not be stored in your residential area… or in your tattoo area. Do not clean gear in your kitchen or bathroom sink.

I personally don’t recommend home studios for anyone that hasn’t worked in a studio and understands completely how we can contaminate one area with ‘junk’ from another. But then, it doesn’t matter what I recommend, people are going to do what they’re going to do

[SparkEater72]

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.

[SparkEater72]

that was kind of off-topic and I was involved in a conversation about this topic this morning when discussing plans for a new studio with an old co-worker.

A large factor in the price of a tattoo is overhead. This is the cost of gear (and I’m sure Spider can attest) PLUS what it costs to run the studio: Rent, Insurance, Lights, Heat, Water (in some cases), bio-Hazard waste removal, bio-tests for autoclave and equipment, Board of Health fees, occupancy permits, practitioner permits, shop consumables… the list is long and expensive.

A lot of these recent tattooers and underground tattooers see a studio in the city charging $150 an hour (or flat rate) for a tattoo don’t understand that all of that is factored into the price point (the point at which a tattoo pays for itself with some profit so we can eat and pay other bills).

I have a friend (well, we were friends a long time ago) who owns a studio in Boston, Ma. His store front alone is $5,800 a month (USD). That is just his rent to keep the doors open. Then there’s all that other fun stuff. He gets about $150 an hour. After expenses (with 4 artists working under him ponying up a 40% ‘lease’) he brings home about the same as any guy making $15 an hour who works unloading trucks.

Rock-Star, right?

Now you have these new guys, who open a shop outside a city or in a rural area… I’ve worked in these areas as well… where rent MIGHT cost up to $800 to $1000 USD. They charge up to $150 an hour because it makes them ‘seem’ professional. “Hey the pros get this kind of money… why shouldn’t I?” This is gouging and it’s disgusting.

My point is… be fair to your clients and to your self. Charging more money because someone else does, doesn’t make it right. (I’m not saying you are, but you’re not the only one reading this). Consider your overhead… that is the bills you pay to do your tattoos AND the cost of your supplies and a fair percentage on top for profit.

In the case of my friend, who’s opening a shop in a borderline rural area, he also has to take into account the median income of his client base. The paper-mill near the down pays very little and most of the jobs that support the town (convenience stores, body shops, mechanics, gas stations, Wal Mart) don’t pay much either. If he wants the business of these folks he’s going to have to make tattoos affordable. From my own experience… one studio I worked at had a very greedy owner. This person set the minimum for the shop at $60 (USD), the size of the tattoo didn’t matter (half inch lady-bug… $60). I was not given any wiggle room to work with potential clients so I watched many of them walk out the door. After a year of beating my head of the wall dealing with those people I had to quit. Shortly after that the shop closed.

Pricing is all about business and supporting your business AND paying your own bills. It’s not about getting rich. While ‘rich’ could come in time (when you’re booked out for the next 18 months working all day every day) that’s not how price point is determined.

[SparkEater72]

You should see them here. :lol:

I love my country, but if I were to show up in Denmark, I’d be bringing my AR15, my .45 and my Remington 870. I’ve dealt with bikers before… and gang bangers… and neo-Nazis and KKK types… it kinda goes with the whole tattoo thing and sadly… it always will to one degree or another. I’m a peaceful guy until people want to start shit with me… then I’m always willing to do my best to finish it. BUT, as I’ve moved from area to area (been all over the U.S.) I find it’s not hard to make connections, figure out who the players are and either work with them, or around them.

Of course, all of this was much easier before I got married and inherited a son. Nowadays it’s all about making sure the people I care about don’t end up in the line of fire and the bills get paid. Which is why I work for the railroad.

I still tattoo a few clients who have large pieces in progress, but they are also family or very close friends of mine. I don’t do business with the general public these days, but when I get settled and IF I have the cash in the bank (say $150,000 USD) to build the studio I’d be proud to operate, then I’ll go back to work as a tattoo artist. I miss the hell out of it for the most part, but I’m trying to acquire almost 100 acres of land. So the sure thing is the way I’ve gone.

[SparkEater72]

All right… you asked for it. :D

Your work has much improved since you started posting here.

On your last piece I have to say that your progress is amazing. As far as composition I like the piece except that I might have moved the rose down a bit… perhaps beneath the trigger guard on the pistol, even with the background the tattoo is unbalanced. Background should be used to enhance and anchor the tattoo, not complete it.

I do like your use of negative space in the tattoo, for instance, the smoke/scrollwork over the barrel of the pistol. Personally, I’d have brought it below the right cheekbone because…

There should be no light in that area. You appear to have two light sources for this tattoo. But the shading still doesn’t work with the light sources. I’ve seen your artwork and know that you understand anatomy and shading so the skull is the hardest part for me to get by.

I like the perspective on the skull but from that angle, assuming the light source is above the skull there’s one of two things wrong with the right eye socket.

1) either the contrast in the shading of the bridge of the nose is too hard

2) or the highlight on the nasal side of that eye socket doesn’t belong (it makes it appear as if the socket is bulging from the skull where there should be smooth transition from the nose to the socket)

You have the shade at the left side (right side of the tattoo) of the cranium but it doesn’t follow into the cheek bone. I would have followed that into the cheek, especially since you have minimal background on that side. A thicker line and darker shading with the highlight (as with the cranium) would have anchored that nicely.

Over all the light seems to come from above the design as indicated by the lighter lobe of the cranium and the dark shadow that falls directly below the smoke/scrollwork. The shadow below the right cheek should be just as dark (as the shadow below the scrollwork) and the mandible (jaw) should be completely in the dark (black). I would have done it this way and extended the negative space into that area to balance it.

Since the smoke/scrollwork comes from behind the skull on the left side of the tattoo (right side of the skull) the cranium should be lighted and background should be darker if the light source is above the tattoo.

With the rose I would have added more black or more highlight (probably both) to make it ‘pop’ and to anchor it into the tattoo. I certainly would have used line-weight (varying thickness of lines) to put the right side of the rose in front of the pistol.

Your shading is coming along, but you still need to work on getting those gradients smoother. There are some areas where you go from black to grey instantly. The smoke under the rose has that hard black into… shading. Seems to be full black into a shading cut… was this an error? Maybe dipped into the wrong cup? It happens.

In the background it appears as if you tried to shade the same cut over multiple passes. The skin looks a little rough, but not hamburgered. The problem here is that the shading is inconsistent. No worries, it will take time and practice to get it down.

Your line work has come a long way. It looks like you’re getting it.

While your technical skills are coming along but still need work, my opinion is that this tattoo would have been much better with a clearer understanding or application of light source and shadows along with line-weight to add dimension.

Over all I think you’ve come a long way and if you keep progressing at the rate you’re going you’ll be a force to be reckoned with. You’d definitely out-do most of the guys that were my ‘competition’ around the last studio I worked at.

I hope I didn’t come off as overly critical. I’m just trying to help. :mrgreen:

[SparkEater72]

Lenn, I’ve read many posts by you on here… and I’ve seen your art as well as your tattoos.

Your artwork, for the most part is above par and better than some of the other cats you pal around with.

I’m really not shouting ‘stop tattooing’… I’m shouting STOP GIVING ADVICE. You know you have a lot to learn and you know just enough to get you into trouble. Let other folks read the books and make their own fuck ups. Do all the tattoos you want… just know that in a small area (small town, rural, whatever) especially in a small area, you’re going to see these first efforts of yours again and again. I do suggest working smaller tattoos and making customers aware that some tattoos, at least for now, are over your head. But then… you don’t seem to know when a tattoo is over your head. This is when guidance comes in handy. I’m not talking apprenticeship… but some kind of someone or something who can sit around at least once to say “sure you can push these lines???” “Sure you’re up for this shading??” “Can you pack this much color?”

It sucks to hear that tattooing in Denmark is still stuck in the 70’s apparently (at least 70’s as far as the US is concerned). It also sucks that if I suggest you relocate would probably have you changing your resident status to another country. That you have a family only complicates matters further.

I honestly wish I could help you and a few other cats on this forum (but by no means everyone) but I can not. I will stick to my guns on the “You can’t learn from books/forums/DVD’s/YouTube” opinion. You can learn by doing hundreds or thousands of shitty tattoos while you figure out the reality vs the bullshit in books/forums/dvd’s/YouTube… But I can’t help you unless I’m right there to hear your machine and watch you set it up… or watch you run lines, or shade, or pack color. I’d have to be able to see your posture and how you stretch skin… as well as too many other things to list.

If you’re compelled to tattoo… then it’s something you must do. I know the feeling, I was there once too… just don’t expect me to be all sweet n puffy when I talk about it or critique work. I don’t set out to be a prick… I just am.

My hope for you is that your confidence and skills improve exponentially as you continue. Maybe someday you can own Denmark… tattooers make some bad-ass connections. :mrgreen: It does make things easier when dealing with bikers, or gang bangers or KKK members or skinheads… or law enforcement. 8-) Get to know the guys in charge and sometimes (not always) good things happen.

[SparkEater72]

Must be. If you’re referring to who I’m not.

[SparkEater72]

This has become more of a problem since the airing of Miami Ink and all those other shows. Some clients now think that because they’ve seen a few episodes that they know more than we do about something we eat, live and breathe (and study and all that happy stuff).

I’m not sure exactly what situation your question pertains to.

Is it a matter of them wanting a tattoo you don’t want to do?
Is it a cover up that won’t cover?
Is it a significant other’s name or portrait?

All I can say is that it’s not up to us to decide for the client what they get tattooed although there are tattoos I refuse to do, specifically gang stuff and swastikas. They have their own ‘artists’ for that shit. I honestly don’t care if they get those tattoos or not… I just don’t want to be in such close proximity to that kind of ignorance for any period of time.

Aside from that…

Most of us can point to our portfolio and body of work to back up what we’re saying and our experience gives us the confidence to appear absolutely sure that we know what will and will not work as a tattoo or cover up.

The ‘phrase’ “The customer is always right.” Does not apply here, at least as far as I’m concerned it doesn’t. But it’s hard when they’re dead set on a yellow tweetie bird to cover that hack-ass kanji they got in college. With some of them you can explain that yellow pigment will not cover black pigment because a ‘cover’ doesn’t actually cover the old tattoo, you’re only adding ink to it.

The same goes with people who have dark skin. While melanin is not a tattoo pigment it does contribute directly to the color of one’s skin. I’ve been called outright racist by some folks for refusing to do tweetie bird (literally) on them, in color, because after healing it would be a mess. I’ve also had people-of-color come back after healing complaining that the colors in their tattoo disappeared… which is exactly what I warned them would happen.

Some clients you just can’t help.

Again I’m not sure what you’re scenario is so here are a few:

Customer wants a tattoo that would be a great tattoo but they want it too small. You sit and stencil it small losing detail only to find out that they want all the detail, but they also want it to fit on a quarter. (roughly 1 inch diameter). Now you have to determine why this is an issue:
Are they concerned about the price of a bigger tattoo? Well, if you really want to do the tattoo you can work with them on the price and make the customer happy by doing the tattoo just big enough to make the detail work and meet the price point. Although, some shop owners are dead set on ‘minimum’ rates and all that happy horse shit… so you have that to take into consideration as well.
Are the concerned that someone might see the tattoo? This is common with first timers. They want the tattoo for whatever their reason is, but they don’t want, mom or dad or significant other to see it (where the hell do you put a tattoo so that someone who sees you naked can’t see it???). Again, there’s wiggle room here. See if they want to move the tattoo into a ‘bikini’ area… or someplace no one else wants to look (assuming, of course, that you’re willing to tattoo those spots).
Are they just an obstinate fuck? In this case you have two options… refuse the tattoo (again, some owners have problems with this) or warn them of the consequences and perform the tattoo anyway.

Customer wants text/script but it’s spelled incorrectly: Simple answer… show them the proper spelling. If they still want the tattoo you can refuse… or do the tattoo.

Customer wants to cover a tattoo, or worse… ‘fix’ (usually means they want the same tattoo done again on top of the fuck up they already have… and they expect what it should have been in the first place) the tattoo they have. This issues here can be similar to the first example in that their concern could be about cost, or the size of the tattoo. You can address those issues the same way as the first examples.

The other issue is ignorance… they don’t know how covers or ‘fixes’ work… and… it’s up to you to use your extensive knowledge to educate them.

Assuming you’ve educated them, tried to work with them and been confident and pleasant in your delivery… and they still refuse to cooperate and want the tattoo nightmare they’re forcing you to consider you have (once again) two options. Either tell them to kick rocks (fuck off, beat it, see ya) or do the tattoo.

Here’s the hook. You can do a great tattoo and they’ll tell a friend or two, but if you do what they consider to be a bad tattoo… they’ll tell everyone. This is why word-of-mouth can be bad or good… and bad opinions travel faster. Consider this before you decide to do the tattoo unless you’re able to refuse it. If you do the tattoo they want, the one they’ve been arguing for… and they don’t like it, they’ll blame it on you.

[SparkEater72]

dude go fuck yourself while suck-starting a claymore mine.

[Author]

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