Charge! 05/22/2010
 
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Good point, Jerry.  But what do you think is reasonable to charge for a tattoo?
It's been a philosophy of mine (and Beth's) for a long time to make art accessible and affordable.  We don't think it's right to charge a huge amount just because you can, so we don't do it. 

Then again, when I tattoo someone, I put my all into it.  I've usually spent hours working on drawings, preparing things and setting up the studio.  I will often take hours to tattoo a piece onto somebody.  And when I'm done, they will walk away with something that they keep for the rest of their life. 

I was looking at Scott Campbell's website the other day.  No doubt he is a great artist.  But is he really worth the $300 an hour that he charges?  To be honest, I don't think he is.  What frustrates me, is that a lot of people go to him, and pay his huge fees, just because of his name.  Many of them are getting tattoos that most artists could accomplish just as well. 

The other end of the scale, and this is something that I was discussing with Jen the other day, is that you can price yourself too low, and put people off that way.  Many people expect to pay more than bargain basement prices, otherwise they suspect that the service or product you are offering is sub-standard.  Not only that, but in our experiences, it often leads to people assuming that they can take you for a ride.

I don't, by any means, want to price people out of the market, but at the same time, I want people to value the work that I'm doing for them.

Any thoughts on this?  Good/bad experiences?
 
 
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Lettering is a HUGE part of tattooing; it always has been.  At least 50% of my clients want some lettering in their tattoos, and many choose to have lettering as the sole element in their design.

Recently, I've found that I'm wanting to move away from using computer based typefaces so much.  They're perfect for smaller pieces, where legibility is the key, but they can be a little limiting, and if you're not careful, you might choose a typeface that ends up as the next Comic Sans or (possibly worse) the next Papyrus.

BJ Betts is a legend in the industry.  Most custom artists will have one if not all of his Lettering Guides 1-3.  So when I was wanting to work on my custom lettering, I had no question as to where I would look.
Betts looks at the art of custom tattoo lettering in a whole new way.  Here's what he has to say on the matter in the introduction to his second Guide:

 “I think, looking at a name or a character that you'll be tattooing, you should approach it as an illustration, versus a typefont. “Draw” the name, instead of “writing” it, if that makes sense. Draw the lettering as if you're drawing a heart, panther, eagle, whatever.

People say their handwriting absolutely sucks. I say draw that name, don't write it if your writing sucks.”

It's a whole different approach, and it makes for great results.  I drew the piece above for a friend's scrapbook.  I feel much more confident now in my custom lettering, which is invaluable when you work in the way I do.

Do you have a piece that you want me to create with custom lettering?  Drop me a line!
 
For the birds... 11/16/2009
 
I've been tattooing a lot of birds lately.  And I'm not saying that I've had more female customers than male, either. 
It just seems that I've had a lot of requests for tattoos of our feathered friends in the last few weeks.

When I first got interested in tattooing, one of my major inspirations was the work philosophy of Dave Berwick, of Physical Poetry in Leeds.  All of his work is custom, and there is no flash on the walls.  He believes that all tattoos should be unique to the wearer. 

Now that I'm working as an artist, I have the same passion for custom work.  The shop that I work in is also custom-only.  Which means that just because I've been doing a lot of bird tattoos, doesn't mean that they're all the same.  See for yourself:
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I did these two birds a couple of weeks ago.  She already had some text on her high ribs: "beauty is in the eye of the beholder"
She wanted two swallows to go just below the text, one on each side of her ribs.  One had to be green, and one red, to represent the struggle between good and evil.

I went with an old school feel, but I think that the colours bring it a bit more into the new school.  They're also fairly big - nearly six inches tall.
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This is a work in progress.  The finished piece will stretch across his whole chest, and onto his upper arms too.
The theme is life and death/good and evil.  When he first came for the consultation, to look at what I'd drawn up for him, he was about to tell me that he changed his mind on having the owl, but he said when he saw the drawing that I'd done, that he decided to get it.

The phoenix was much more difficult to work with, because it's not real.  Putting it next to a real bird presented some challenges.  I dealt with it by making the owl look less real, and by giving a similar shape to the feathers on both birds.

When this client comes back for the next session, we're on to the next part of the tattoo - a heart that's been ripped in half then sewn back together. 
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The client in this picture emailed me to say that she'd been looking for a Christian tattoo artist for a while to do a piece for her.

As she wanted a bluebird, I went with the old school tradition, because I think it lends itself really nicely to the colours on this bird.  It was also really important to her to have the heart in there, as this tattoo is in memory of her grandmother. 
I feel like the vines give the whole thing some movement.

So there you have it.  Five birds, each designed especially for the client.  Each tattoo entirely unique to the person that has it.

If you want something absolutely unique to you on your body, just let me know!  Don't forget that we now offer gift certificates, and that we have some amazing deals on at the moment.  Check out the homepage for more details!
 
Tattoo Tales... 07/19/2009
 
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I found this on the Reuters website.  An interview with a tattoo artist from Portland, Oregon.  it's a pretty interesting article.  Most of what the guy says is fairly obvious, I think, but it's always good to hear insights from people that have been in the business a long time.
A couple of things stand out to me from it:

How do some of these artists get such great media coverage?  What Reuters shows of his work is pretty good, but I know artists FAR better than this.  What makes him so suitable for fame?  So primed for international glory?  Answer: writing a book.  It seems that Jeff Johnson of the superbly named Sea Tramp Tattoo Company has written a book about some of his experiences in the tattoo industry.  It seems to have been inspired by the fact that you hear a lot of interesting things from people of all walks of life when you are tattooing. 
I've touched on this a bit before, in terms of enjoying tattooing friends because the conversation is usually so easy.  But there is a huge advantage to tattooing people you don't know - you don't know them.  They might be interested in some weird martial art that you've never heard of, or be a concert flautist.  Perhaps the girl that you expected to be a skateboarder is actually the head of a Masonic Lodge who teaches Irish dancing in her spare time.  Tattooing puts you in the company of a huge variety of people from all walks of life.  And not only that, you're sat down with them for large chunks of time. 
I think that often the process of talking to someone that you don't know about what's going on in your life can be very therapeutic too.  Perhaps that's sometimes the reason that people get tattoos - it gives them someone to talk to.
If you've got the wherewithal to write a book, then you're probably going to have a lot to say after 19 years in the tattooing business.  The book, by the way, is supposed to be excellent.  If anyone fancies buying me a copy...

The other thing that I noted in the article was Jeff's final comment about tattooing more intimate places on a woman's body.  His take on it is that it's like being "a bouncer at a strip club - you just don't see anything anymore".
I'm not entirely sure about that, although I have heard the suggestion from an artist I know that it's like being a doctor - that there's a professionalism about it that removes the sexual from the situation.

I don't really know, and I'm resolved not to tattoo certain areas of the body.  I took good advice from my good friend, Jean-Pierre Rioux, who said that you shouldn't do anything that you feel uncomfortable doing, certainly don't do anything that your wife wouldn't feel comfortable with you doing, and always make sure that you have someone else around if the area is a little questionable. 

But more on that another time - I'm off to write down some stories of people I've tattooed...

 
 
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See this picture of Jesus?  That's what my new tattoo looks like.  Some of you might have seen it.  It's on the inside of my upper left arm.
It doesn't quite look like this yet, because it's only outlined right now.  I'm getting it coloured tomorrow night and I'm rather excited.

Above that tattoo, right at the top of my arm, I have a big sacred heart, a mix of old and new school styles, with a banner that says deeper than war.  I'm wanting to build up a sleeve eventually, filled with Catholic style imagery.  I think I want to finish it off at the wrist with a realistic looking rosary wrapped around my arm, but I'm not sure yet.

My question is: what do you think should find its way onto that arm?  I don't think I want Mary on there, but I'm open to reasons that I should get that.  There's loads of stuff, but I want to keep it on a fairly classic theme, lots of colour, pretty old school in style.  A bit kitsch, but not too tacky.
I think once it's done, the background spaces will be filled with rays of light and bits of stained glass.  The elbow will probably be very little work, more gaps in the background.

I need lots of good ideas for this arm.  You can write your suggestions below.  Have fun!

 
Getting inked. 12/04/2008
 

Beth and I went to Montreal at the weekend.  We weren't there for long, but we managed to get a bit of shopping in (despite Montreal's habit of closing stores at 5pm on a Saturday), as well as heading to our favourite Tex-Mex restaurant for some delicious food and cocktails before a trip to a shisha (hookah) lounge. 
But none of that before we paid a visit to Jean-Pierre Rioux of Studio  Tattoo Art.
Jean Pierre is a friend of a friend that just happens to be one of the greatest artists in the world to my mind. 
We were a little short on time, so we only got some outlining done, but he's going to be in town in April, so he's coming over to finish it off.

Seriously, the guy's a legend.  Good times.