Arm flower tattoo designs

Another good idea for use the arm like a canvas for a good design. There are many  flower tattoo designs and here you have one idea about it.

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Cosmetic tattooing legislation.

Legislation
Legislation regulating the practice of cosmetic tattooing is being implemented rapidly. An up-to-date status of legislation by State is posted on the Internet at: www.micropigmentation.org.
The American Academy of Micropig-mentation provides nationally recognized Board Certification which includes rigorous written, oral and practical exams for candidates with at least one year experience. Tattoo artists who wish to perform cosmetic tattooing benefit from extra training in eyeliner and lipcolor safety and pigment selection and can find Board Certified trainers at www.micropigmentation.org.
Pigment Removal
Importantly, cosmetic tattooing cannot be hidden from sight by clothing as can body tattoos. Misplaced or undesirable color on the face is not often easily removed by laser due to discoloration which occurs from photochemical changes in pigments such as iron oxides and titanium dioxide. Non-specific chemical irritants or exfoliants can result in scarring, unsatisfactory results and prolonged redness. This may be due in part from overworking the skin with needles rather than the actual product. Pigment removal is illegal in many States and the FDA pays close attention to such products. “Most states are inclined to consider this topic to be a medical/surgical one and outside of the scope and training of dermatechnicians and tattooists” writes Dr. Chip Zwerling of the Academy of Micropigmentation.
Cooperation and Education
The exchange of information between the traditional and cosmetic camps of tattooing will benefit both the artists and their clients. It is not a battle of talent or skills but rather an earnest desire to achieve excellence and understanding that will gain respect between these diverse professionals.

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Cosmetic tattooing

Permanent makeup, or cosmetic tattooing of the eyelids, eyebrows and lips has exploded in popularity in the nineties. More and more women, and some men, want to “Wake Up with Makeup”. The most common reasons women seek permanent makeup are for convenience, difficulty applying conventional makeup, allergies to makeup, visual impairment, arthritis, active outdoor lifestyles or demanding work schedules. Few want to look like Cleopatra… rather they want to look like themselves – only better. Camouflage helps many with unsightly scars and vitiligo and requires advanced training. Permanent makeup can give back what the years have taken away and save time and money for women who ordinarily spend 30-60 minutes every day applying makeup, only to have it smudge, smear and disappear with time.
The critical difference between traditional tattooing and cosmetic tattooing (micropigmentation) is the location of the tattoo. Special safety considerations need to be taken when working near the eye for eyeliner. Unlike traditional tattooing, control of pain, swelling and bleeding is vital for the successful practice of permanent makeup. Clients are not uncommonly baby-boomers and their mothers who may suffer from a variety of common and rare medical problems such as high blood pressure and multiple sclerosis. Others have a history of herpes simplex (lips) or other conditions which the practitioner must take into consideration prior to performing the procedure. Pregnancy and clients taking blood thinner medication are absolute contraindications for cosmetic tattooing.
The variation in skin thickness, elasticity and color on the face presents special challenges for the dermatechnician. Traditional black tattoo inks are not flattering when used on eyebrows due to the grey-blue hues that result as time passes. Streaking or migration of pigments and inks used around the eyes for eyeliner often needs laser or surgical removal. Lipcolors may “pull blue” even in the hands of experienced practitioners. A thorough understanding of color is needed to achieve the desired result in permanent makeup. Mixtures of pigments may look good in the bottle but result in bizarre brow and lipcolors when healed.

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Preparing de client for the tattoo sterilization

With a sterile straight razor (or disposable), remove all hair from the tattoo site including 1 and 1/2 inch beyond all borders. Wipe with sterile napkin (prepackaged, 50 or 100 each and autoclaved). Fold 2 more 4×4’s and repeat the green soap scrub, working from the center of the circle towards the outside, not going back to the center.

Dry the area again with a napkin, from the center in a circular fashion working outward. Fold 2 4×4’s and scrub again with 70% alcohol in the same circular fashion and dry once again in the same manner. Fold 2 4×4’s and apply a light coat of betadine solution to the area, again in the same circular motion. Unfold the remaining two 4×4’s so they are 4×8’s and cover the cleansed area until you are ready to set your stencil.
The above prep procedure is hospital recommended for suturing. It should be alright for tattooing. Believe me when I say your client will be impressed.
CAUTION. Ask the client if he/she has a history of allergic reaction to the use of iodine or iodine related products prior to the use of betadine.
During the tattoo, I throw the bloody napkins or paper towels into a waxed brown paper bag. When I am done, my apron, gloves, ink cups, and lap sheet go in there too. It is then stapled shut and autoclaved for disposal as common trash. If you use plastvc trash, can Iiners, they must be changed between clients and  placed seated mto a second bag that again is sealed and labeled as contaminated with human blood.

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The Tattooist. Prior to applying a tattoo

After your client has chosen a design tattoo and you have come to terms, accept the payment and fill him/her out a receipt. Have them sign a disclaimer (explained in a later chapter). Wash your hands using a good grade hospital approved soap (tincture of green soap, betadine) and a brush. Scrub, don’t just wash, up to the elbows paying close attention to the nails and skin folds at the finger joints, etc. Rinse under running water. Put on your latex gloves, proceed to the work area and assemble your machines. Place the assembled machines in a tube rack that contains a solution of Benz-all until needed.

PREPARING THE CLIENT
Pour a small sterile basin (1 qt.) about 1/2 full of sterile, distilled water (HOH). Remember to keep the inside of the cap pointing up when you remove it from the bottle. Recap the bottle and place it out of the way. Assemble what equipment will be used for the tattoo and replace the table cover over the remaiivmg.
Remove 12 4″x4″ gauze pads from a 2 qt. sterile, covered stainless can with a pair of pick up forceps (set in about 2″ of Benz-all) and place them on the table. These pads can be prepackaged in Kraft paper or a sealed plastic bag and autoclaved. Fold 2 4×4’s as shown in figure 3 and hold them as shown in figure 4 to form a scrubber.

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The Work Area and The Tattooist

The Work Area
The area where the actual tattooing is done has to be considered the “STERILE ZONE,” so never allow clients’ friends or onlookers beyond this obvious point. The decking should be covered with an elite grade of inlaid linoleum that does not have to be waxed. Wax and carpet in this area are forbidden, as bacteria thrive on and in both surfaces.
The worktable top should be covered with formica or high grade, non-porous Micarta, colored white. White shows dirt, dust, blood, ink, etc., more readily and sure looks good. A cover for the table and its contents can be made from a clear plastic or white #70 Denier nylon, coated with Scotchgard. This cover will protect the area from dust and dirt when not in use, and that area of the table that is not used when tattooing is in progress.

When you open the shop, put on a plastic apron and a good grade of commercial rubber gloves. Prepare a solution of Sodium hypochlorite 5.25% (1/4 cup of bleach to 1 gallon of water), and wipe down the table and chairs. Use the same solution on the floors, and re-cover your table. 70% alcohol is excellent to wipe down the table with, but it is also flammable. One may want to weigh its advantages against this disadvantage.
The work area should be well lighted at all times, even when you are closed, as bacteria like the dark. Utilize an air conditioner and a ceiling fan to not only cool, but dry the air and keep it circulating. Hot, dark spaces invite bacterial growth; a humid, stagnant area also adds molds and fungi.

The Tattooist
As we well know, bacteria love hair and the subaceous glands that lubricate it. If you wear a beard, it should be cropped short and your hair arranged in such a manner as not to compromise sterility. If you think it’s clean, have your doctor culture it for you. The results will shock you.
Keep your nails clean and cut short. They should be free of hangnails that can cut and puncture surgical gloves. Wear clean clothes and be fully clothed, e.g., shoes, pants, shirt. No rings or watches should be worn. The wearing of latex gloves (or vinyl) is MANDATORY while you are tattooing. A lap cloth of a disposable type is a good idea, as it should be changed between clients. If you have a skin disorder, such as an eczema on your hands, you are not to tattoo until it is resolved.

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Tattoo locations. Best and Worst locations

Depending on where the tattoo is located, (some on the left side, some on the right) and what the tattoo looks like, you may need two stencils of the same design. On acetate, just engrave both sides, having both a left and right image. Before randomly applying a stencil, give it a couple of turns and try different directions to see which way the design would look its best. Try to be a little artistic and spend a little time shuffling the stencil around.
Skin has wrinkles, scars, stretch marks, lumps, cysts and all kinds of surprises in store for you. Stay away from all the problem areas and work around them if you can. Don’t tattoo moles. Avoid working on heavy scar tissue because it doesn’t heal well. The same for pimples and hickeys. Try to incorporate these blemishes into the design whenever possible. You can actually get quite creative here if you wish. For example, in a butterfly or leopard, a mole can sometimes be hidden as one of the spots.

Parts such as fingers, hands, faces, heads, necks and feet are poor places for a tattoo. Besides being culturally unacceptable, these places are most prone to infection anyway and should be avoided. Even if a customer begs you, make up your ethics beforehand and don’t get talked into doing these things.

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Check the skin before tattooing

If the skin is slippery, put a clean paper towel down first, it will help keep your hand from slipping. Plus, you can always use the paper towel in your free hand for wiping, if necessary.
If a stencil is put on while the skin is stretched, it will look different when it isn’t stretched. So, check the stencil after it is on while the customer is standing in a natural position to make sure it looks right before you start. Even if you have to make a new stencil print, do it until it’s right. If the stencil print isn’t correct, the tattoo isn’t going to look right. Paper stencils are much easier to use for large back designs than are acetate stencils. Also, the print from the hectograph ink used on the paper stencil will not smear as does stencil powder used on the acetate stencil.
To put a stencil on the back, have the customer stand straight up and fully relaxed. After the stencil is on, you can put them in any position you like, to do the actual tattooing.
If it’s a large tattoo, you may want to enlist the help of a friend to help stretch the skin. If so, have them wash up good with soap and hot water. Then spray their hands good with nibbing alcohol before starting. Make sure they are wearing clean clothes, and a pair of latex gloves also. Keep it “professional.”
Give your helper a paper towel. Have him sit across the bench from you and hold onto the other side of your customer’s skin. To do this, have him spread out the fingers on both hands to cover as wide an area as possible, about six inches from that side of the tattoo. Have him toward you from below the tattoo, giving your machine hand plenty of room to maneuver. Most of the time your helpers will tire out easily in this position. Another “hold” is to have him sort of lean on the customer and use his entire forearm to hold the skin while the arm is bent at a 90 degree angle at the elbow.

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How to make needles on tattoo machine. Continue..

Stick them in the three needle hole in the needle bar jig for tightening just like a three needle group. When soldering on a liner bar, remember that the top needle in the needle group triangle is the good one, and as usual, the bar rides underneath.
Let’s move on to shaders. It may sound strange, but one of the most useful tools for constructing shader needle groups is a rectangular hone. Measuring about 1×3 x 1/4 inches, they are inexpensive and can be purchased from your tattoo supplier who also has a shader needle kit available. A leveller can be made from plastic, plexiglass or glass and measure about one square inch. These two items are used in conjunction with each other. In making the six needle shader, first select six good needles and double check them with an eye loupe. Lay them flat on the stone bunched tightly together, but flat, one next to the other. The sharp points should extend about 1/4 inch off the end of the stone. While still holding tight the needles on the stone with the thumb, take the leveller and very carefully push the needles in slightly. Make sure you touch all six. This ensures that all six are in alignment with each other. This is important so none of the needles are sticking out more than the rest. While still maintaining pressure with thumb so the group is tight, flat next to each other, and level and in alignment, now proceed to tack the end. The stone works great because it will absorb flux, won’t make a mess and can be used repeatedly. When fully absorbed with flux, just wrap it up in a few paper towels and use a new stone. The towels will eventually draw out the flux and in about a month you can use the stone over again. Have a supply of stones handy so that you can have one available at all times. Tightening isn’t really necessary with shaders if pressure is maintained while tacking the groups. It may take some time to do this efficiently, but with practice you can get it down pat.

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