More tattoo design for you. This is a cool tattoo art of a woman picture in the arm. Black ink only for a good results.Be a good tattoo artist, Cover Ups, Outlining | No Comments »
More tattoo design for you. This is a cool tattoo art of a woman picture in the arm. Black ink only for a good results.Be a good tattoo artist, Cover Ups, Outlining | No Comments »
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.
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.
A survey of dermatechnicians in 1996 revealed that over 70% were cosmetologists, electrologists and estheticians by training. Most cosmetic tattooing is performed in salons and some cosmetic surgeon’s offices. Physicians as a whole are not knowledgeable about cosmetic tattooing and many frown upon the practice as dangerous and unnecessary. This is due to the negative publicity as well as lack of training and competence of practitioners in this largely unregulated emerging profession.
Traditional tattoo machines have given way to lighter, quieter rotary machines and hand tools for permanent makeup practitioners. The Spaulding and Rogers PUMA Quick Change and Revolution II are favorites among experienced dermatechnicians. Lightweight, quiet rotary pens from Asia are popular and less intimidating to many new students of permanent makeup. And tools for the hand method have been refined by SofTap, Inc. and Dermigi-aphics, Inc., both California companies. Proficiency in the use of traditional tattoo machines, rotary machines and hand tools provides the dermatechnician with the skill and ability to do beautiful work in a variety of challenging situations. Do not try to cut corners when purchasing your equipment. Get the best quality machines and needles for the best result.
Many practitioners are unaware of needle sizes and groupings. Those trained on Asian “pen” machines have never used a flat or magnum or oval needle configuration. And tattoo artists are few and far between in this field of permanent makeup as they are not allowed to tattoo above the neck in many states. There is little mingling between the two camps of artists. Permanent makeup technicians can and do learn a wealth of information from traditional tattoo artists. But most cosmetic tattooists are reluctant to approach, or have been unsuccessful when seeking training by a seasoned tattoo artist.
In the tattooing trade, payment for tattoos is in cash and in advance. It is hard to take back a tattoo if the customer won’t pay. Same deal for checks. Accept only cash in advance – nonrefundable. A sign up front, “no checks,” also helps. Also, if you do work by appointment, deposits are required to secure it. The appointment goes into an Appointment Book the minute a deposit is received. This deposit is nonrefundable if they do not show up. Usually, a twenty-four cancel notice is required and then deposits are returned. The deposit for an appointment can be taken off the top of the tattoo price. Sometimes a deposit is necessary in the case of special design requests. This is to cover the time involved in the design or the extra to pay an artist to draw one up special. When doing a large piece that requires more than one sitting, always get fifty percent up front and divide the balance up between the following sittings.
Sometimes people will surprise you with really outrageous requests for tattoo work. Usually in weird places that are out of the ordinary. Once again, payment in advance, and for appointments. If you don’t feel comfortable tattooing, let’s say, genitals, for instance, set your price extremely high and out of range. If the customer agrees to pay it, well do it. A private booth or section may be essential when doing bashful customers or women. Some people do not want to be stared at, and you should honor all requests and do your best to please the customer at all times. Never tattoo minors, even when they have parental approval. It is just bad policy and stay away from it. It is also not too smart to tattoo certain exposed body parts. Reconsult chapter on “Skin” for more wisdom on this.
Do not tattoo people who for whatever reason are not capable of making a free informed choice in having a tattoo or not, such as the mentally handicapped. Don’t tattoo minors even with written permission, it isn’t very professional. Tattooists who tattoo small children need counselling and help.
Don’t tattoo pregnant or nursing women. It’s also not a good idea to tattoo vulgar words or dirty pictures. Tattooing should be an honorable art, not a barbaric ritual. A professional attitude draws a line. Never compromise or cross over it. Business is business and don’t deviate from the rules. Names and biker club insignias are a definite no no. The only exception is if you have undeniable proof of biker club membership. Remember, these fellows are very proud of their designs and guard them rather jealously. You are responsible for indiscrete tattooing and will have to answer for it.
It is best not to tattoo in the window of your shop. Regardless of what you may think, there are people out there who consider tattooing obscene. If you flaunt your wares in front of their face, they will remember you for the wrong reasons. It’s not good to attract bad attention to yourself.
Don’t exhibit reptiles, white rats, shrunken heads, skeletons, etc., in your studio as come-ons. The reaction of most people to such props are negative and they are usually repulsed. What you intended as a come-on may be a turn-off. Tattooing can stand on its own merit and such window dressing announces to the world that you may be involved in some strange sect besides tattooing. That hardly inspires confidence in the people you seek to do business with.
Along this line of thought is another form of policy called the “care sheet.” This is made up by you and handed to every customer after they receive a tattoo. Just you telling them about the after care and a big poster in front of the chair outlining the steps is not enough. (Which you ought to have anyway.) You must make up a sheet with each step printed on it explaining the care of a tattoo and the customer’s responsibility in taking care of it. This is important because the healing is critical in the quality of the tattoo and the health of the customer. Every precaution should be taken to ensure that they do this. An example of a Care Sheet can also be found in the end of the Chapter on Bandages. Study it carefully, and add anything else that you may feel is important. I certainly would not subtract from the information though. It is advisable to post a notice in a prominent area of the shop stating that you don’t tattoo people who are afflicted with sugar diabetes (they are prone to infection and heal poorly, or not at all). It also won’t hurt to include hemophiliacs on the same notice. Such a notice will provide you with some more legal protection.
Being in business for yourself has great benefits. One of these is that you are your own boss and you are responsible for making the money. In other words, you are writing your own check. But, just like an hourly wage, in the business world, time is money and time means money. You never want to be in a position where you are unnecessarily holding yourself up or finding yourself doing things twice. This costs you money or will keep you from making more money, and believe me, this is not professional.Business Practices | 1 Comment »
The Chapter on Names and Letters should be studied so the beginning tattooist will learn right away the correct procedures when doing inscriptions. Unfortunately, there are just too many tattooists around who know nothing about this and it will be their work which will come to you in need of improving, like a total cover up job. Many of them will be old girlfriends names that were tattooed on in a sudden whim. The only positive thing coming out of this is that most names are usually done small and can be covered up fairly easily. This is good for everyone concerned, being inexpensive for the client and a fast turnover for yourself. There is an unlimited amount of ideas to be used to hide names in. Sometimes the name is within a banner or flag, and the customer might want to keep the original design, but wishes only to be rid of the name in the banner. The name can be reworked into a bunch of flowers and leaves and still maintain much of the original design.
Sometimes, customers may show-up wanting advice in having a tattoo removed, but a little talking on your part may persuade them more towards a good cover-up than actual surgical removal. Oftentimes, a good looking tattoo will be more what they wanted in the first place. It is worth taking the time to show them what you can do and usually they will decide to go for a cover-up. A good professional can take a depressed customer who is embarrassed by their tattoo and turn the mood right around with a decent cover-up. There is a certain amount of satisfaction gained by turning a new person out, who is proud of their new tattoo. This makes a lot of friends and a growing list of clients for yourself.
Cover-up tattooing is a real artistic challenge. The customers presents a problem, and it is up to you to provide a solution. It is exciting because it keeps you sharp and flexible, and the mind is always being taxed to come up with good solutions that are both acceptable to the customer and meeting all the requirements to do the job correctly.Cover Ups | No Comments »
Shading must be mastered because, not only does it really make a tattoo stand out, but many tattooing errors and tattoo cover-ups can be hidden and corrected by proper shading. Black shading is the next step in the tattoo process after outlining. All the black work must be done before any color can be put in.
The tattooing spectrum goes from dark to light. That is black first, then the next darkest color, etc., and the lightest colors for last. If not done in this order, the dark colors mix with the lighter ones in the pores already made from the machine and a bad smudged mess will result. So, all the black work must be done first, and after the outline is finished, that means the shading is next.
Black shading can be so attractive that some tattooists use this style exclusively. They feel that a black tattoo (one done only in black ink, no color) is the only way to show a tattoo and that the addition of color only hinders the design. With some of the quality work out nowadays, especially single needle tattoos, it’s not hard to appreciate this point of view. Black tattoos take on an aged “patina” with time, and after a few years, if the tattoo is retouched up with more black, a certain quality is obtained which cannot be reproduced in any other way.
The tattoo machine should have the four or six needle shader bar set-up properly with the corresponding shader tube. Let the needles stand out about 1/32 inch. The two outside needles should touch the sides just enough to eliminate any side to side motion but not enough to make them tight. Check it running and adjust so there is no side quiver (see Machine Set-Up Section for solutions). Now the artist is set-up to do the black shading. Start by washing the outline with green soap and apply another very thin coat of Vaseline over it.
There are many brands of paper tissues, all are not satisfactory for use in tattooing. Some will just pull apart as soon as you start wiping ink with them, others are very dusty and this is where your big problem starts, especially with outliners. Small unseen paper dust particles will be picked up off the skin between the outliner needles. At once, your outline will change from a solid line to one that looks like two lines and with a very scratchy appearance. Also, the line will be starving for ink because of the paper tissue dust packed in between the needles. To remedy this problem, take a single needle and carefully pick out the paper particles from between the needles, after that, a few seconds in the ultrasonic cleaner and your outline needles will work like new.
When outlining, just like the rest of tattooing, close attention must be paid to what one is doing. Check needles frequently to make sure they are not hanging up. If the needles continuously hang up, they are probably sticking out of the tube too far and need adjustment, this usually happens only with a round tip tube. The needle tips should be just outside the tube tip so they can barely be felt with the machine off.
Unless the machine is running too fast, those needles aren’t going in as deep as they appear to be, but if it’s running too slow, you will lack depth. Don’t run the machine faster than what you can keep pace with and always work as shallow as possible.
What would be a good speed for single needle would be too slow with more than one needle. Also, using more needles reduces that tingling sensation that most people say they feel. By reducing the number of needles all the way down to one, they will feel less tingling. For back work, use a three or five needle outliner, as opposed to a single needle for a thicker, flowing line.
There are two ways of working an outliner. Use very short strokes and have only enough needle showing below tip to be visible when machine is resting. Move machine along so tip is in contact with skin. Otherwise, use longer strokes, set tube a little higher in the jaws and have a little more needle showing below the tip. When doing this, work off the needle exclusively, don’t try touching the skin with the tip of tube. A good system is to use the former for large body pieces (the skin must be very taut), and the latter for small intricate work.
The tattoo outline should be sharp, solid and definite. As the machine is being held and bridged, the needles should be just skimming the skin surface. A tattooist doesn’t have to dig it in. Don’t use brute force, the machine will do the work. The tattooist’s job is to guide the course of the needles so they puncture holes in the skin where the design calls for them. The ink, flowing along the needles, enters the holes by the way of gravity.
The main causes of bad lines are: Damaged points, (check frequently) side to side needle quiver, not enough ink flowing at the tip, in too big a hurry, too much pressure of the machine, digging into the skin and tattooing loose skin not stretched tight. If all these errors are avoided, few problems will occur and good sharp outlines will be consistent.
Tattoo lettering is varied and endless in its styles. After you have a few traditional alphabets under control, you can experiment and create your own designs. Certain styles are more suited to personal tastes than others. You can get quite fancy if it is practiced first on paper. With practice, anything is possible, even slick looking Old English style.
Personalized letters are great trademarks, and eventually everyone will letter differently, even when doing the same alphabet. A few different alphabets are illustrated above to give you some examples and stimulate your imagination.
When actually tattooing names and letters, on the skin. You will still need some sort of guidelines on the skin. Very few people tattoo without them and get satisfactory results. The guidelines are drawn on the skin with a skin type marker or a fine line ink pen.
These lines are not to be tattooed in, but used just as a guide for the letters. Later they will be wiped off to leave just the letters in perfect height. Do not guess with the spacing of letters, they rarely come out right. Always remember the sign “plan ahead.”
Remember that spacing isn’t always a mechanical measurement between each letter but a flowing style of placing letters together which look correct to the eye.
When tattooing letters that are inside of banners, be sure to tattoo on the letters first and then the banner second. This is done so that if the banner has to be adjusted at the last second, it could be.
One of the most popular ways of tattoo designs transfer is with the acetate stencil. Acetate sheeting is acquired through your tattoo supplier in rolls or sheets which measure in approximately .020 inch thickness. The most practical way is in rolled sheets that you cut to size yourself. The curl in the sheeting is easily removed by running under hot water after it has been cut down to size. The hot water softens it up and allows it to be flattened out.
How to do an acetate stencil.
Materials needed: A design, acetate sheet to cover design and a stencil cutter. First the design is taped or secured to a drawing board or sheet of glass and the acetate sheet (already cut to size), placed over it. Both are secured to keep from moving and the plastic sheet should be about one inch bigger around than the design. The stencil cutter is a pen-type holder which grasps a sturdy stainless steel scribe pin. You then follow the lines of the design with the stencil cutter engraving the lines of the design right into the acetate. Work slowly and get your lines smooth. Don’t include any shading. When done, the acetate should have the lines of the design etched right into it like little grooves. It isn’t necessary to cut your way all the way through the other side, just a solid groove is good enough. The stencil must then be deburred. To do this, take another piece of acetate about one square inch in size and hold it upright with your fingers so the piece is vertical and the stencil is horizontal. The idea here is to rub the stencil back and forth with the edge of the other piece of acetate.
This scraping will take the little burrs out of the stencil, making the transfer come out cleaner and sharper. When this is done, remove the acetate stencil from the table and round off the corners with a pair of scissors, so there are no sharp edges. The acetate stencil is now complete. One great advantage to this style of stencil is if you want a reverse image, just flip over the stencil and etch the image on the other side, creating two stencils, one on each side, of the same design. Number each stencil according to the design sheet and put your name on it. Another advantage is their shelf life. They last quite a long time and can be used over and over again. Clean them up and file them away for the next person wanting that design. Since they take longer to prepare, the beginner should stick to the pencil or ink method of transfer at first, slowly building up the collection of acetate stencils. It saves a lot of time to have acetate stencils cut with your most popular designs on them first, so they don’t have to be repeatedly drawn over and over when you are real busy.
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