TETOVÁNÍ: Historie a vznik aneb Co je zač a kde se tu vzalo

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Norman Collins alias Sailor Jerry při práci

Na coreMusic.cz jsme se rozhodli, že vám jednou za dva měsíce představíme téma, které s core hudbou souvisí. Tímto tématem se budeme posléze zabývat celý měsíc, kde vám ho podrobně představíme ve čtyřech na sebe navazujících článcích, doplněných o rozhovory či soutěže. Téma rozebereme tak, abychom vám umožnili do něj co nejvíce nahlédnout. Prvním tématem, které s tvrdou muzikou souvisí, je bezesporu TETOVÁNÍ.

Máme tu mraky akcí a všude kolem nás vidíme obrázkové lidi, téma je tedy nadmíru aktuální. My vám přineseme pohled na tetování ze všech stran, kde se tu vzalo, jak vzniklo a kde, jak se dělá, jaké jsou současné trendy, co styl to motiv, jaká česká studia a tatéři nabízí jaké služby, specializace na témata, téma proměny tetování a jeho současná zlatá éra, jeho cesta na výsluní, tetování v hudbě, akce specializované na tetování, rozdělení podle motivů, péče a rizika atd. Pokusíme se toto téma zpracovat od samotného vzniku tetování přes jeho vývoj až do dnešní doby, poradíme vám na jaké studio či tatéra se obrátit s konkrétním motivem, seznámíme se s tím, jakou roli hraje tetování v současnosti a také si povíme jak o něj pečovat, jaká jsou možná rizika a jak se vlastně na samotný proces tatuáže připravit. Celé to rozdělíme do 4 dílů, které budou obohaceny o kuriózní fotografie a perličky, které překvapí ... Pro někoho to bude novinkou, pro někoho jen obohacením dosavadních zkušeností...

TETOVÁNÍ - díl. 1. Historie a vznik tetování aneb co je zač a kde se tu vzaloJe téměř všude, podle tatérů slaví tetování zlaté časy, vídáme ho na lidech všech možných subkultur a už nebudí takové pobouření, jako dříve. Od domorodých kmenů, z vězeňských cel a z přístavů plných námořníků doplulo sem k nám, do běžného každodenního života a stalo se nedílnou součástí módy. Pro mnoho lidí je dnes bohužel jen a jen módou. Co to ale vlastně tetování je? Jedná se o uměleckou techniku, která místo plátna používá lidskou kůži. Dříve bylo tetování považováno za řemeslo, dnes se však sami tatéři cítí jako umělci a jejich tvorba se stává stále více improvizovanou a spontánní.

K samotnému tetování. Jedná se o trvalou formu zdobení těla, samozřejmě pokud nezvolíme tetování hennou nebo verzi dočasnou, nebo pokud nesáhneme po laserovém odstranění. Jde tedy o pigmentaci kůže nebo sliznice vznikající záměrným porušením kůže. Částečky barviva (nejčastěji atramentu) jsou vpravovány pomocí jehly pod kůži tetované osoby. Odborně se jedná o mikro-pigmentovou implantaci. Spadá tedy do trvalých úprav a do forem lehkých tělesných modifikací. Z hlediska uměleckého řadíme tetování do sekce bodyart. Z lékařského se řadí do škatulky

kosmetických úprav lidské kůže. Barvy používané tatéry a vpichované pod kůži jsou na rozdíl od minulosti lepší a bezpečnější, stále se pracuje na co největším odstranění těžkých kovů a současný trh nabízí desítky značek barev určených k tetování a nepřeberné množství odstínů.

A kde se tu vzalo? Shrnout tetování do jednoho článku tak, abych neochudila ani jeden důležitý zlom v jeho historii o to pravé a výstižné popsání, byl skoro nadlidský výkon. Každá etapa tetování a každý kmen či národ v historii má totiž k tomuto tématu opravdu mnoho co říct. Co kmen to specifické symboly. Co národ to jiné chápání tetování. Co subkultura to odlišné znaky, význam a vývoj. Vyzdvihnu tedy ty opravdové počátky a nejsilnější zlomy v tetování, naší současné kultuře ty nejbližší. Tetování, neboli tattoo či tatuáž je zdobení těla známé již v prehistorických dobách. V této době bylo výhradně rituálního charakteru nebo mělo funkci hierarchického odlišení v rámci kmene či značilo sounáležitost ke kmenu či rodu. Často souviselo s aktem svatby nebo dovršení dospělosti. Obřadní, rituální či identifikační charakter si tetování zanechalo dodnes u přírodních národů. Prapůvod tetování jaké známe dnes je přisuzován asijskému kmenu Ainu a od té doby jeho obliba vzrostla natolik, že se udává, že tetovaných je až 25% mladé populace.

Původ slova najdeme na Tahiti, pochází od tamních slov "tatau či tatu", která znamenají vyznačit. Japonci mají pro tetování označení vlastní, a to slovo "irezumi". Zajímavé je, že v historii se tetoval výhradně obličej, což je dnes spíše raritou. Často bylo také spojováno s medicínou, např. tetované prsty na Borneu měly odlákat od tetovaného choroby. Od nepaměti si tetování s sebou nese funkci výpovědi o svém majiteli, v Polynésii

třeba tetovaný ret značil smutek ze ztráty muže nebo potomka. Na Havaii zase sloužilo jako rodokmen přímo na těle. Bylo tak na první pohled jasně dané, kdo je s kým příbuzný. Zde využívali tetování také jako talisman, který měl ochraňovat válečníky v bitvách. Tradice tetování je prastará, najdeme ji téměř ve všech částech světa a má nespočet funkcí a významů. Počátky sahají do neolitu, zejména v oblasti dnešní Evropy a Asie. Dokazuje to i přes 5 tisíc let stará mumie nalezená v Alpách, která vykazuje známky tetované kůže ve formě čar na nohou. Archeologie hovoří i o dalších nálezech mumií, které na sobě nesly známky tetování, nejčastěji motivy zvířat. Z historie je známá též mumie tzv. Pazyrského muže, který byl tetovaný podél páteře. Většina tetovaných mumií byly ženy, význam tetování se tedy spojuje s mateřstvím.

Posuneme-li se v historii blíž naší době, tetování nás přenese mezi indiány, domorodé kmeny, či do Asie. Původní obyvatelé Japonska se věnovali tatuáži tváře. Místní ženy si tetovaly rozšířený úsměv a to už v útlém věku. Kmeny žijící na Filipínách, Borneu, ostrově Samoa či Polynésii využívali tetování k odlišení a jako formu rituální činnosti. Např. panovník kmene Tonga měl potetovaný celý žalud penisu, aby demonstroval svou ignoraci bolesti. Tetování nalezneme v Číně, Střední i Severní Americe a ve Středomoří a to od nepaměti. Zde tato forma tetování zůstala nezměněna a využívají se zde stejné techniky i témata dodnes. Vyjadřuje úctu ke svým kořenům, není tedy módní záležitostí. Tamní lidé na své kůži nosí ornamenty, které náleží a v minulosti náležely jejich rodu a jsou tedy jakýmsi jejich rodinným dědictvím. Tetování neslo také obřadní a rituální výkon, například při vstupu do dospělosti u chlapců. Maorští muži, dodržující tradice, si zdobí obličeje tradičním tetováním "moko", které je jakýmsi deníčkem. Pomocí ornamentů se na obličej a tělo zaznamenávají životní události, úspěchy i neúspěchy a zlomové okamžiky. Maorští muži dokonce využívali svůj osobní ornament jako podpis smluv.

Jednou z rarit je horský kmen Taungthuů, jehož ženy mají na černo tetované obličeje. Barmská legenda říká, že zde kdysi žil jeden panovník, co se zamiloval do krásné dívky (jak už to v legendách bývá) a nakázal jí odchod s ním do paláce. Rodina ji však nechtěla dát a rozhodla se jí zošklivit. Tak jí pomocí tetování začernili obličej. To ale pána natolik rozzlobilo, že nařídil, aby všechny ženy toho kmene nosily začerněné tváře.

O tetování najdeme zmínky ve starověkém Egyptě, Římě a Řecku. Zde sloužilo výhradně k odlišení. Egypťané si nechávali tetovat své otroky či zajatce, podobně jako dnes se nechává tetovat dobytek. Egypťané se sami nechávali tetovat proto, aby byli podobni bohům, protože např. bůh Usír byl po celém těle tetován drobným vzorem a touha Egypťanů po božské dokonalosti je známá. V Řecku a Římě sloužilo tetování k označení kriminálních živlů a vyvrhelů, často se jim tetoval symbol přímo na čelo, aby byl jasně viditelný. Technika označení určité skupiny lidí byla v historii několikrát zneužita, např. v koncentračních táborech, kde byly tetováním označování Židé v rámci systému identifikace. Systém označení dodnes u svých stoupenců používá japonská mafie yakuza a tetování je v Japonsku natolik spojeno se zločinem, že tetovaní muži nesmí do veřejných lázní nebo sauny. Označování pomocí tetování nalezneme v celé jeho historii a napříč kmeny a národy. Na Palauských ostrovech se dívky tetovali podle věku, aby byla snadná jejich identifikace. Zprvu byly tetovány dětskými motivy, v době puberty jim byla přidána tatuáž v okolí pohlavních orgánů (telengékel) a to bylo dále doplňováno podle dosaženého stupně urozenosti. U dětí zůstaneme, podařilo se mi zjistit, že Jakuti a Jukagiři v Madaganské oblasti tetují již svá novorozeňata.

Středověk a renesance jsou typické tím, že se nechávali tetovat členové tajných sekt, vědeckých, náboženských a jiných nelegálních spolků. To je v tetování možné vysledovat dodnes, často v podobě tetování symbolů u newyorských gangů. Přírodní národy zase věřili v magičnost umění, např. na Fidži věřili, že ženy, jež zemřely bez tetování, budou po smrti napadány duchy jiných žen a budou jim muset sloužit. Eskymáci zase věřili na magickou sílu krve vytékající z tetované kůže (tu olizovali) a v Indii se tetování provádělo z důvodu stimulace akupunkturních bodů. U Eskymáků mělo tetování opravdu hluboké kořeny, např. dívky musely být tetovány po své první menstruaci, aby bylo jasně viditelné, že jsou již schopné počít dítě. Podobná mystika u tetování je patrná u indiánských kmenů, které si nechávaly tetovat duchy zemřelých, nejčastěji v podobě orla či vlka. V Nepálu bylo též nutné nechat si v době života zhotovit tetování, neboť po smrti je možné ho prodat v ráji a tím si zajistit spokojený posmrtný život. Podobné legendy známe například od Siouxů či Dakotů, jejichž duch po smrti bloudí podsvětím, kde je vyzván, aby ukázal tetování a pokud ho nemá, je odsouzen k věčnému toulání zemřelého.

Nejbližší tetování nám a dnešní době je tetování pramenící z Maorských kmenů, odtud pochází ornamentální odnož, dnes známá jako tribal nebo klasické a tradiční maorské vzory. Druhým proudem, ze kterého vzešlo současné tetování, je proud severoamerických indiánů. Zde je tolik druhů, vzorů a pramenů, že by to vydalo na samotnou knihu. Důležité ale je, že odtud pochází tetování kresebné, motiv zvířat a portrét. Konkrétní motivy postav, zvířat, rostlin, takové, jaké známe dnes v realistickém tetování. Každý indiánský kmen měl vlastní typické znaky v oblasti motivů. Tetování pro nás Evropany objevil v 18. století James Cook, který ze svých dobyvatelských cest přivezl do Evropy tetované chlapce. Zde nacházíme kořeny tetování u námořníků, jelikož oni byli svědky tetování a tetovacích praktik na svých cestách a často si ze svých plaveb přiváželi tetování. Prvním tetovaným Evropanem byl francouzský námořník Jean Baptist Cabri (přelom 18.a 19.stol.), který byl po ztroskotání své lodě adoptován a tetován domorodým kmenem.

Není tedy divu, že první evropské tetovací salony pochází z přímořských oblastí a ve vnitrozemí o tetování stále bylo jen slýcháno. Mezi první centra patřil Londýn, Hamburk a Antverpy. Stalo se tedy symbolem námořníků, posléze rebelantů a prostitutek. V této době začíná být pohled společnosti na tetování kritický.

Tetování současně existovalo v několika proudech nezávisle na sobě a až v moderní době se tyto proudy střetávají a prolínají. Jedná se o tradiční americké tetování, to co pramení u indiánů. To je tetování figurální, motivy zvířat, vlků, orlů atd. Dnes oblíbené například v motorkářských subkulturách. Dalším samostatným proudem bylo tetování tribální, tedy ormanentální, které se vyvíjelo ve vesnicích domorodých kmenů. Třetím proudem byla Asie. Zde se rodí motivy květin, lotosy, draci, ryby či později gejši. Další skupinou jsou motivy germánské a keltské, spojující starou symboliku křížů, uzlů, válečníků, seker či spirál. Posledním velkým proudem bylo tetování evropské, které pramenilo z vlivů přímořských, tedy čerpalo z kolonizovaných států a zde se setkáme s motivy vlaštovek, lodí, námořníků. Dnes potkáváme lidi, kteří mají na sobě od všeho něco, v minulosti to však byly samostatně se vyvíjející proudy. Prolínání nastalo až ve 20. století.

V této době se dostavuje zlom v technice, jakou se tetování provádí. V pravěkých dobách a dnes i u domorodých kmenů se namísto bzučícího strojku využívala výhradně do špičky obroušená kost, klacík či větvička. Ta se namáčela do barviva, které pocházelo jak jinak než z přírodních materiálů, hlíny, jílů, popela, moči apod. Takto namočená kost se přiložila ke kůži a shora se na ní další kostí kleplo, došlo k porušení kůže a vpravení barviva do kůže. Auu, říkáte si asi. Kdo je majitelem tetování a ví, kolik je to vpichů, ten si asi dokáže představit, kolikrát vám klepnou do těla a natrhnou kůži, než vznikne obraz. Jednou z technik bylo také vtírání barviva do předem vyřezaného motivu. Ten se vyškrábal a poté se do něj vetřela barvící směs. S pokrokem přichází první primitivní strojky. Zde se už setkáváme s jehlou nebo několika jehlami poslepovanými k sobě a namáčenými v barvivu, nejčastěji v inkoustu. Zlom nastal v době, kdy Samuel O´Reilly vymyslel elektrický stojek, který tetování značně urychlil a odprostil od nesnesitelné bolesti. Psal se rok 1891. V roce 1904 přišel se zdokonaleným injekčním strojkem Charlie Wagner a na tomto principu pracuje strojek dodnes. Světoznámý otec námořnického tetování, pan Norman Collins (znám jako Sailor Jerry), v první polovině 20. století již pracoval se strojkem podobným tomu dnešnímu. Jeho tetování propojilo nám vzdálené asijské tetování s tetováním americkým a dalo tak za vznik tradičním oldskůlovým motivům.

A jak takový strojek funguje? Ve strojku jsou vsazeny sterilní jednorázové ocelové jehly, které mají odlišnou tloušťku. Čím větší plocha se tetuje, tím více jehel se do strojku vsadí. Jehla ve strojku vibruje pomocí dvou elektromagnetů a tatér ji namáčí do kalíšku s barvou. Bzzz...zzz... Od Jerryho a tetovaných námořníků se tetování dostalo k vojákům, k prostitutkám, které si nechávaly tetovat nejčastěji dekolt či podbřišek a až po kriminální živly. Kriminálníci svá tetování vnášeli do věznic, kde se dále šířilo mezi trestanci. Tetovali se symboly skupin, jména rodiny a milenek, hesla zvolávající odpor a protest či symboly bolesti, jako je třeba kudla. Právě od těchto lidí tetování odkoukali mladí, kteří chtěli potrápit své rodiče a nějakým způsobem poukázat na revoltu. Tetování se dostalo do subkultur... A jak známo, kultura si bere vlivy a inspirace ze subkultur a tak se i tetování podobně jako piercing dostalo až tam, kde je dnes. Do celého světa, všech věkových kategorií, všech kultur a sociálních vrstev. Jedním způsobem šíření tedy bylo to vesměs negativní, přes věznice, vyvrhele a subkultury. Druhá cesta rozmachu tetování vedla přes společenskou smetánku. Tetování bylo exotické, bylo znakem romantického hrdiny a lákalo svým vzrušujícím

příběhem. Poutalo tedy i mladé šlechtičky a dvorní dámy. Přes tuto společenskou vrstvu se tak dostalo i do vyšších kruhů a napomohlo nárůstu uměleckosti, vzestupu květinových motivů atd. Tetovaná byla i operní pěvkyně Ema Destinnová, která měla své tělo zdobené hady. A spolu s ní nejeden evropský panovník. Za druhé světové války se pak stalo symbolem cti, hrdosti, národního cítění a forem odporu či naopak sympatizování. Tento duch je zachován dodnes.

Jednou ze zajímavostí je i výpověď z Buchenwaldu, kde jistá Ilsa Kochová, manželka velitele tábora, byla natolik posedlá tetovanou kůži, že ji sbírala. Sbírala tetování z nalezených mrtvol a postupem času si vybírala i mezi živými a nechala je usmrtit a tetovanou kůži jim odstranit. Z této kůže si pak nechávala vyrábět stínítka lamp či kabelky... To byl takový průlet bohatou a krásnou historií, který nás přenesl až do současnosti. O té ale už bude příští článek...

K samotnému závěru ještě uvedu, co se v tetování nemění. Tím jsou hlavně významy. Významy a důvody k tetování jsou nejčastěji uváděny rituál, magičnost, zdobnost, umělecké vyjádření, sympatie k subkulturám či skupinám, samotný prožitek, sexualita a forma přitažlivosti, odlišení se nebo naopak shodnost se skupinou, do které patřím, vyjádření postoje, názoru či filozofie a celkový přesah do umění. Tetování bylo v minulosti mnohokrát zkoumáno i v oblasti sociologie a psychologie, kde bylo zkoumáno, proč se současní lidé tetují. Sociologové často mluví o demonstraci vyjádření a projevu svobody výběru a ukázky možnosti manipulace se svým tělem. Také se setkáme s tím, že si tetovaná osoba prostě dotváří svou identitu. Psychologové zase hovoří o tetování jako o formě narcismu, kompenzace nedostatečného sebevědomí, potřebách originality, vzdoru, rebelie nebo o touze jedince, který si připadá nezajímavý, o jeho zviditelnění. V každém případě je pohled psychologů spíše negativní a skoro vždy hovoří o tetování v kompenzaci si něčeho. I toto je tedy tetování...

Historie a vznik tetování je opravdu zajímavé a velice rozsáhlé téma. Tento článek je pouze jakýmsi průletem, protože zaznamenat celou problematiku vzniku tetování a jeho funkce v minulosti by vydalo za samostatný seriál článků. Pokud by vás ale něco zajímalo hlouběji, neváhejte a napište mi o to! Ráda doplním.

Tetování se stalo nedílnou součástí bodyartu, slaví úspěch na poli uměleckém, pořádají se konvence a tattoo jamy, stalo předmětem podnikání a zájmu umělců ve volné výtvarné tvorbě. O tom ale více v druhém díle, za týden, kde se společně podíváme na současné pojetí tetování, akce spjaté s tetováním, trendy v motivech atd. Podíváme se, jak je tetování chápáno dnes, kam se vyvinulo, jaká má dnes význam, jak se mu daří, na současné trendy jako je UVtattoo, lip tattoo a mnohem více...

Současné pojetí tetování aneb Zlatá éra a trendy

Na začátku minulého století, kdy tetování zdobilo výhradně námořníky, vyvrhele, kriminální živly a kurtizány, by si asi nikdo z nich nedokázal představit, že v dalším století bude tetování zdobit 25% mladé populace. Ano, je tomu tak, 25% mladých má podle celosvětového výzkumu tetování. Takže každý čtvrtý člověk ve vašem okolí je tetován. Dnes už se pramálo setkáme s rituálním podtextem, či s nějakým duchovním významem. Tím nechci křivdit lidem, kteří mají na svém těle vytetované životní příběhy, významné okamžiky jejich života či specifické symboly. Stále je takových lidí dost, ale věřím tomu, že postupem času jich bude jako šafránu a převládnou ti, jejichž tetování je jen a pouze ozdobou. Tetování se tudíž do dnešní doby přeneslo spíše v duchu zdobení se, než v duchu nějakého magična. Dnes se hovoří o tetování jako o symbolu prosazování vlastní individuality, revolty či zvýšení vlastního sex-appealu.

Psychologové také hovoří o kompenzování si tělesných nedostatků, kdy si zdobíme místa, která se nám zdají na našem těle krásná a odvádíme tak pozornost od partií nedokonalých. Tetování se váže k zájmům, jménům, idolům, symbolice subkultury, znamení zvěrokruhu atd. MUDr. Otakar Nováček napsal, že díky tetování si můžeme na těle vlastně zhotovit i vlastní životopis, lze najít osoby, co mají na těle celý svůj život v symbolech a datech.

Tetování v dnešní době podle časopisu People zdobí lidstvo napříč profesemi od vrcholových manažerů, sportovců, modelek, právníků až po televizní hlasatelky, profesory, vědce, dělníky. Jaká překvapení se možná skrývají pod na míru šitými obleky politiků či vašich bankovních poradců? S masovým nárůstem tetování dochází nejen k nárůstu poptávky, tudíž se zvyšuje nabídka ve formě studií, salónů a tatérů, ale hlavně se zvyšuje počet odnoží, stylů, trendů a samozřejmě roste kvalita a škála barev. Přesně tohle mohu posoudit z vlastní zkušenosti a porovnat tak své poznatky s tím, co jsem si kde přečetla či jsem vyzvěděla. Podle samotných tatérů právě v tuto chvíli totiž zažíváme zlatou éru barevného tetování a to masivně během posledních pěti let. Černočerné tribaly a ornamenty jsou na ústupu a stávají se pouze motivem pro určitou skupinu lidí. Díkybohu už to není tak, že kdo má dneska kérku, má černý ornament. Toto tvrzení mohu potvrdit.

Když jsem v 15ti letech, za doprovodu svého tatínka, poprvé usedala na křeslo pod ruku tatéra, na jeho poličce se nacházela červená, modrá a zelená a tak nějak to tím haslo a já jsem si stejně, jako většina klientely, přišla pro kérku pouze černou. Pár let poté už jsem seděla na křesle opět, tentokráte však už pro barevnou omalovánku. Od té doby uteklo hodně vody v řece a já v době zveřejnění tohoto článku na onom křesle sedím zas. A ten pohled na barvičky bych vám přála vidět. S každou další kérkou, pro kterou si jedu, se na poličce, nyní už pořádné polici, objevuje víc a víc odstínů ve stále krásnějších lahvičkách. Mě to jako důkaz stačí. Podle slov mého tatéra se dnešní lidé, kteří se přijdou nechat tetovat, už barev nebojí. Když už se rozhodnou nechat se zdobit, jdou do toho naplno. Chtějí hodně barevné věci. V současnosti se také zvětšuje rozměr. Před zhruba osmi lety, když jsem i já šla na první tetování a začala jsem si všímat tetovaných lidí v mém okolí, měl každý vcelku maličké a nenápadné obrázky. Za to dnes! Krása, pastva pro oči. Lze obdivovat celá záda, dekolty dívčí i pánské, rukávy, celé barevné nohy. Podle tatérů se lidé přestali bát. Nejen že kvalita salonů a péče je dneska opravdu veliká, ale i bariéry a jakési tabuizování tetování se pomalu (velmi pomalu) vymýtá. Dřívější ustarané maminky bědující nad tetováním svého syna dnes své děti do salonů doprovázejí a mnohdy i ony sami si pro obrázek jdou. To, co tu píšu, ale není nic nového. Otázkou však zůstává, co v tetování nové je a co už je přežitek. Co je stále ještě originální počin a co ne.

Když jsem se bavila s tatéry na téma co je novátorské a co je originální, jeden mi s úsměvem pověděl, že originální je dneska být netetován, mít čistou kůži takovou, jakou nám jí příroda přichystala. Když se nad tím zamyslíme, je to vcelku pravda. Ve chvíli, kdy tetování bude tak masivní módou, jako jsou dnes u slečen legíny, začnou se lidi chytat něčeho jiného.

Za prvé to povede k tomu, že někteří se budou pyšnit tím, že oni tetovaní nejsou, za druhé to posune hranice tetování tam, kde už to nebudou jen a jen barevné obrázky. Tyto vlivy najdeme ve světě a pomalu už i u nás. A o jakých věcech že to mluvím, je-li řeč o vývoji? Rozhodně je to již zmíněný odklon od malé černé k velké a barevné. Druhý současný trend je návrat k přírodě. Víc než kdy jindy se setkáme s motivy ptáčků, kytiček, stromů a to třeba kompletně po celé ruce. Třetím trendem je tetování kopírující motivy z dob Sailora Jerryho a jeho salonů v Honolulu, tedy vlaštovky, kotvy, šerpy... Zlaté časy zažívají také motivy inspirované dětskou kresbou, postavičky, níťáci, zvířátka jakoby kreslená dětskou rukou, roboti atd. Stále více je ale zájem o abstrakci. Tak jako v klasickém umění se umělci postavili realismu a akademismu, tak se tatéři staví proti reálným kérkám, které jsou jedna jako druhá. Chtějí ve svých pracích uplatnit svůj pohled na umění a na tetování a chtějí zanechat svůj rukopis. Ve světě se takovýmto stylem proslavil například Lionel Fahy. U nás v Čechách najdeme takovéto projevy u tatérů jako je například Ondrash ze Znojmo Tattoo. Asi nejvýraznějším abstraktním tatérem je u nás Musa z pražského Triba. Jeho tetování nesou vlastní kolorit, rukopis a originální pojetí. Musovo práce poznáte na první pohled a vždy máte jistotu, že obrázek od něj nebude nuda. Na českou scénu si ale počkejte přesně týden, kde se dozvíte co a jak v ČR.

Každopádně originalita je to, co dnes lidé chtějí. Často když vyslovíte, že se jdete nechat tetovat, vyslechnete si větu „prosimtě, tetování má dneska každej…“ Jo, je tomu tak, opravdu má tetování skoro každý, proto je potřeba prostě mít takové, co každý nemá, aby se dalo reagovat obrannou větou „ale takovéhle ne“. Je fajn, když si s někým povídám o kérkách, že lidé už o nich uvažují. Alespoň v subkultuře, ve které jsem doma. Je ale stále hodně moc nevědomosti a tatérů, jejichž pseudotatérství škodí. I to je jeden z trendů, který do článku o současném tetování patří. Je in si koupit strojek a pustit se do díla. Je to fajn, pokud máte talent, pevnou ruku, výtvarný cit a prostě schopnosti tatéra. Pokud vám tohle chybí a přesto si uděláte webpage se slovem tattoo v názvu, jak je to dnes zcela běžné, je to průšvih. Přes veškeré medializování tetování, vydávané časopisy a pořady tomuto problému věnované, je stále ještě moc a moc neznalých a neinformovaných budoucích zákazníků, kteří touží po tetování. Zvláště pak mladí, co se rozhodnou svou první výplatu bouchnout za kérku, tak snadno naletí a jak se říká, dají svojí kůži napospas někomu, kdo jim poví, jak už má natetováno 300 lidí a jak to bude cajk, skica se mu tak jakžtakž povede… No a výsledek si dovedete představit. Nechci tu rozhodně hanit mladé začínající tatéry, sama znám několik opravdu nadaných a vím, že čím více budou tetovat, tím lepší budou. Bohužel, znám i opaky, kteří stojí hodně peněz a nesou s sebou zklamání a následné další peníze za předělávky.

Dalším trendem v tetování je extremismus neboli snaha nechat se co nejoriginálněji tetovat. Tak, že tetování je pak opravdu extrémní a nevšední. Jedná se nejen o celotetované lidi, ale patří sem například i lidé, co si celé tělo nechali tetovat například leopardím vzorem či hadími šupinami. To pak většinou doprovází i další modifikace, vedoucí k cíli jak se milovanému zvířeti podobat. Sem ale patří i stále populárnější tetování dříve netetovaných oblastí. Například čelo, uši, brada, ale i v poslední době oblíbené tetování penisu či bradavek. Ve světě tedy rozhodně, u nás bohužel nevím, kolik tetovaných penisů běhá po našich kopcích. Zařadit sem jde rozhodně i lip tattoo, se kterým se už také u nás v Čechách setkáme. Zde se tetuje vnitřní strana rtu, takže tetování je během běžné komunikace neviditelné a můžete tak ukázat zkérovaný pysk jen tomu, komu chcete. Lip tattoo je v poslední době žádanější víc, jak gelové nehty…

Zajímavým trendem je v současné době doplňování tetování o piercingy či mikrodermály. Takže například místo očí se do míst, kde by se měly nacházet, jednoduše vloží piercingová kulička. Nebo se piercingem zdobí cípy u hvězdiček, hřbety draků atd. I tak se dá vaše kérka udělat originálnější. Kam se přesuneme dál? Co třeba 3D tattoo? Nebojte se, nebude nutné jít do Imaxu a ani si nasazovat brýle, aby toto tetování bylo 3D. Je to vlastně trochu nadsázka, jedná se totiž o tetování, které je tak stínové, že se za pomoci odstínů černé, bílé a šedé vytvoří dojem plastičnosti. Tetování pak vypadá, jako by bylo vytlačené do kůže nebo naopak vystupovalo na povrch. S tímto druhem tetování souvisí i white tattoo, kdy se odklon od černých klikyháků přesunul k bílým klikyhákům. Jedná se v podstatě o podobné tribalové ornamenty, jako známe z plavečáků, kde zdobí nejeden kotníček, ale jsou vyvedené bílou barvou. Působí tak velice elegantně, křehce a jemně. Podle mě skvělé tetování pro křehké květinky. Navíc když se kůže v létě opálí, tetování hezky vyleze. Od white se přesuneme k UV tattoo, které asi nejvíc těší návštěvníky tanečních technoparty. UV tattoo je za denního světla takřka neviditelné. Jedná se o tetování, které se zhotovuje za použití UV barev, takže během dne, v práci či ve škole si ho nikdo nevšimne, ale vyrazíte li tančit pod světla, jste hvězdou parketu.

To jsou vychytávky co? A to stále není konec. Pokud vám tohle všecko je málo, nechte si třeba udělat skarifikaci a tu si pak doplňte tetováním. Můžete si nechat například skalpelem vyřezat krásný urostlý strom a až se vám jizvy krásně zhojí a vytvoří obraz, okolí si můžete nechat barevně dotetovat a budete mít príma panorama. Pokud vás něco z toho zaujalo, už volejte tatéra. Pokud se spokojíte jen s barvou a chcete něco, co je v současné době nej, zvolte oldschoolové motivy, anebo sáhněte do umění. Picasso, Van Gogh, Andy Warhol, Kandinskij, Basquiat, Pollock atd. vám budou dobrou inspirací a váš tatér bude mít radost. Nebo se inspirujte ve street artu. Nebaví vás ty běžné fonty, kterými se píše? Nechte si nápis udělat v graffiti stylu anebo písmem, jakým za války psaly německé válečné pisatelky na psacích strojích, meze se nekladou.

Když už jsem u toho umění, v současné době tetování přesáhlo ze zdobení těla do umělecké sféry a kromě toho, že je to obrovský byznys, je už tetování také chápáno jako umělecká činnost a tak je s ním i nakládáno. U nás je to sice ještě v plenkách, ale v Americe jsou výstavy věnované tetování naprosto běžná věc. Pořádají se výstavy velkoformátových fotek, stažených kůží pro otrlé, nebo prostě jen skic, strojků, motivů, námětů a podobně. V dalším díle se budu věnovat tetování v Čechách, tak se na tuto problematiku podíváme i k nám domů. Tetování je dobře prodejné umění, takže není divu, že tyto výstavy mají hojnou účast, často bývají propojené s živou tetovací show a vznikají tak světově

proslulé konvence. Nebude dlouho trvat a tatéři se dostanou do dějin umění stejně jako streetarteři.

Kromě umění se tetování vkradlo i do modelingu či fashion designu. Co se týče modelingu,

hovoříme stále tedy o tom alternativním. Prada či Dolce Gabana zatím asi o zkérovaných modelkách moc neuvažují. Ale všem známé Suicide Girls jsou důkazem toho, že si díky tetování lze i modelkovsky vydělávat. A co se týče fashion designu, podívejte se na celosvětovou značku Ed Hardy, vždyť on byl tatér a z jeho skic dnes vychází potisky na Ed Hardy oblečení. A to není jen značka EH, stačí se podívat

po kolekcích nebo jen po výlohách, kolik věcí má inspiraci v tattoo motivu. Oblečení, tašky, batohy, samolepky na auta, školní potřeby pro děcka, atd. Všude číhá tattoo motiv. Nedávno jsem si prohlížela katalog z hračkárny, ne že bych se vracela do dětských let nebo plánovala rodinu, ale zaujala mě už titulní strana, kde byl dětský tetovací set. A jsme zase u toho, tetování je trend. Hračkárny nabízí dětem sety s fixy a šablonami na zhotovení tetování, teen časopisy jsou nacpané nalepovacími tetování a děti tak vlastně vyrůstají s domněnkou, že je to normální. Malinko to ve mně budí strach, aby se potom v pozdějším věku bezhlavě nepouštěly do kérek, protože z dětství jsou naučení, že je to sranda a že to maminka pak umyje. To už jsou ale jen moje polemiky, každopádně to, že pokud se budeme dívat, tak najdeme tetování všude, mi nikdo nevezme.

Současný průlet světem tetování by byl nekonečný a nikdy bych tento článek nedokázala zakončit, protože zatímco já si tu píšu, někde ve světě sedí tatér u kterého se rodí další odnož, další motiv a další počin, o kterém teď nemám ani tušení a za pár let ho možná budu mít taky. V článku současného tetování se asi většina z vás moc nového nedozví, zvláště ne Ti z vás, co čtete časopisy, a toto téma vás zajímá, spíše mi šlo o to uvědomění si, že tetování dnes už vážně není jen subkulturní záležitost a není to už jen o barvě pod vaší kůží, je to o umění, obrovském byznysu (a to hlavně Americe), ale taky o životním stylu, který se, ať chceme nebo ne, nechá unášet na mainstreemových vlnách.

Co se týče současného tetování, panuje jakési profilování. Tím, že se nám dostalo mezi veškeré sociální vrstvy, se také začalo dělit. Co vrstva či subkultura, to odlišné motivy. To samozřejmě neplatí stoprocentně, ale jisté motivy prostě patří jistým subkulturám. Prolítneme tedy, co kdo nosí. Ačkoli je dosud zejména starší generací vnímáno jako něco neslušného, nosí ho slušní lidé, tedy alespoň slušní v rámci možností. Bylo by nemožné říci, že tito lidé nosí to a tito zas tamto, ale lehce to rozdělit jde. I toto rozdělení berte s rezervou a nezkoumejte kamaráda fotbalistu, jestli má nápis na vnitřní straně ruky, protože jsem vám v článku tvrdila, že to kluci fotbalisti nosí. Když se podíváme do současného showbyznysu, u hereček, zpěvaček a spol. najdeme ženské květinové motivy a samozřejmě jména. Jména a nápisy jsou téměř nejtypičtější pro sportovce. Zde si můžeme všimnout také spojitosti s historií, kde se tetování užívalo ke značení se, identifikaci příslušnosti k nějaké skupině. Toto se zachovalo nejvíce u gangů a motorkářů. Například v USA je rozšířená tzv. vlastnická značka. Milenky a ženy členů gangů mají nad zadkem vytetovaný nápis „Property of (název klubu)“ a jsou tak označeným majetkem dané party. (Tetování se jim však většinou nechá zhotovit až po absolvování sexu se všemi členy gangu, nebo ještě lépe po hromadném sexu.)

Když jsem chtěla rozdělit motivy, zjistila jsem, že je to zcela nemožné. Dnes to prostě už nejde, protože tetovat se dá cokoliv, od tečky přes čáru až po Monu Lisu na celá záda. Udělám tedy jen pár zásadních skupin pro orientaci. Jednak tu stále máme tribal, dnes tedy neotribal, ornamenty vycházející z kmenového tetování. To najdeme často u sportovců, mainstreamových typů, namakaných tuningářů atd. Další škatulkou je tetování inspirované indiány. Koně, totemy, vlci, šamani. Tyto obrázky najdeme po boku lebek nejčastěji mezi motorkáři. Nesmrtelné jsou motivy s Asie - draci, lvi, lotosové květy, gejši, či kapříci, které najdeme napříč subkulturami a kapříka má nejeden hardcorista. Dalšími škatulemi jsou motivy náboženské, keltské, mystické, symboly smrti a hrůzy, lebky, démoni, motivy fantastické atd. Šíleně progresivní motivy abstrakce najdeme u kreativních lidí, lidí spojených s uměním a s bohatou fantazií. Samostatnou sekci tvoří portrétní tetování a nápisy s nepřeberným množstvím fontů. Dochází však k odklonu od jmenovek milenek či partnerů. To dokládá citace DeMelloa „Jména milovaných bývala dříve každodenním chlebem tatérů, ale drtivá většina je dnes odmítá dělat. Jména vyjadřují impulsivního, umělecky nesofistikovaného zákazníka z dělnické třídy, protože jen ti se dnes nechávají tetovat takovým způsobem“. Tak to vidíte. Dnešním chlebem jsou zase hvězdičky, chudák tatér si prostě nevybere…

Psát vám tady o motivech v muzice se mi zdá zbytečné, však vy víte, co na koncertech vídáte. Hudba je nejpokérovanější odnoží showbyznysu, hlavně pak ta s koncovkou core. Tetování v core muzice vypadá skoro jako povinnost, alespoň v očích core mládeže. Možná se mi to zdá, ale co kapela, to kérky, co fans, to kérky, co koncert, to záplava kérek. V hudbě tetování bylo vždy, od punkáčů 70. let, přes rockery, coristy, metalisty až po Britney Spears. V punku najdeme nespočet motivů s tématikou lebky s čírem, v rock´n´rollu máme mikrofony, vlaštovky… Metal se nese na lebkách a na křídlech, moderní core je o všem, najdeme diamanty, srdce, obludy a tak dále. To ani není možné vypsat a vysledovat. Vypisovat tetované osobnosti taky nemá význam, od toho je bulvár, ten vám poví, že Darinka má na noze sloníky a žena Karla Gotta má jméno pana mistra na pravé ruce :o) Já vám radši prozradím světové kuriozity.

První muzeum tetování najdete v Amsterdamu, založil ho Henke Schiffmacher. V australském Brisbane zase najdeme restauraci, kde visí zakonzervovaná kůže zad Barryho Whittakera, který svou kérku tak miloval, že si přál, aby po jeho smrti visela v rodinné jídelně. Nyní je v rodinné restauraci. V Americe se setkáme s vytetovanými logy firem, jak jinak než za peníze. Ve Velké Británii mají zase nezaměstnaní právo dát si odstranit tetování na náklady státu, aby snáze našli práci. A pak že v dnešním světě už to není problém. V Rakousku zase vynalezli tetovacího robota, který se sám rozhodne,

jaký vzor tetované osobě vytetuje, zvolíte-li ho za tatéra, nemáte šanci na výběr. Firma Mattel zase přichystala limitovanou sérii Barbie, která měla potetovaná záda. Zájem byl enormní. Nejvíce tetovanou ženou na světě je Isobel Varley, mužem je Tom Leppard ze Skotska, jeho kérky zabírají 99,9% těla, nemá ho jen v uchu a mezi palci. Každoročně se také v Americe vyhlašují soutěže o nejblbější tetování, kterých je plný internet. Zajímavé je, že ve světě upadá tetování hennou (kromě zemí s tradicí, jako je Indie) a henna je vytlačována skutečnou tatuáží. Podle výzkumu DeMelloa z Duke University Press je sociální vrstva tetovaných více ženská a patří do středních a nyní stále více i do vyšších společenských vrstev a jde o lidi vzdělanější a s dobrou pracovní pozicí, zatímco před dvaceti lety bylo tetování spíše záležitost dělnické třídy a mužů.

Do tohoto dílu nezapomenu zmínit, že v řadě zemí světa vycházejí časopisy s tématikou tetování a například v Německu dosáhly v roce 2008 větší prodejnosti než magazíny s auto-moto tématikou. Mezi nejznámější periodika patří Tattootime, který vznikl v roce 1982, vedený Donem E. Hardym, který je považován za nejlepšího profesionálního tatéra současnosti a zároveň je to člověk, který se postaral o oživení a medializaci a vzestup zájmu o moderní tetování. Pro zajímavost uvedu ještě Body Art, Tattoo Revue v Německu, Tattoo Flash nebo Skin and Ink z USA. Magazíny o tetování najdete i u nás, nejznámějším je bezesporu magazín Tetování. S rostoucí popularitou souvisí a nespočet webů a blogů, které jsou nekonečnými galeriemi. Uvedu tattoos.com nebo bmezine.com, kde naleznete i další body modifikace. Zajímají-li vás organizace sdružující tatéry, tak v USA najdete celou řadu, uvedu jejich zkratky pro lepší vyhledávání. Tak tedy TCA, NTA, APT či ESTCA. V roce 1996 se v texaském Houstonu konala vůbec první světová konference o tetování, od té doby je tradice mítinků po celém světě.

Na závěr jen pár čísel podle výzkumu Američana Sanderse, který zjistil, že cca 65% dotazovaných svého tetování vůbec nelituje, 21% je nespokojeno s kvalitou, 8% s vybraným vzorem, 0,6% by si přálo mít ho jinde a necelé 4% si přeje svou kérku trvale odstranit. Je vidět, že spokojenost vede a to jen dokazuje kvalitu nabízených služeb. Dnes již tedy není čeho se bát, jedině snad sami sebe a

své zbrklosti a nevědomosti. Tedy toho, že podlehneme svádění zvuku tetovacího strojku a vrhneme se pod něj bez rozmyslu a se vší zbrklostí. Pozor na to, odstranění prý bolí…

Za týden, ve třetím pokračování tohoto tématu, se podíváme do Čech, dozvíte se, kdy a kde se u nás rodil kult tetování, jaké byly první salony, jaká byla klientela, co frčí v ČR na rozdíl od světa, kam vyrazit za tetováním. Přiblížím vám, jak vypadají akce zaměřené na tetování a kam a kdy na ně vyrazit, mkrneme se na české tatéry a studia a celkově se podíváme na to, jak moc velké pole působnosti u nás tetování má a kam až se u nás rozpíná a natahuje svá chapadla. Budete se divit, ale už ve třicátých letech u nás proběhla výstava "kérek v lihu" a to v pražském Albertinu. Víc ale až za týden…

Tetování v Česku aneb jak to bylo a jak to chodí u nás doma…

Jak tetování vzniklo, kdy a kde už víte, stejně jako máte přehled, co frčí za trendy a kam až se dá zajít. Ale jelikož jiný kraj, jiný mrav, je dobré znát, nebo alespoň mít představu, jak to bylo a je v kraji našem. Tetování tu má velice bohatou historii a tradici, sice se nepyšníme námořníky, v našich dějinách nebyly proslulé salony jako v přístavech, ale jak se svět zmenšuje a místa se spojují, už i my jsme zemí, ve které má tetování zapuštěné kořeny. Vlivem totalit bylo sice potlačeno, zameteno pod koberečky a popíráno, ale o to více a progresivněji se dere na povrch právě dnes.

V tomto díle se podíváme na to, jak to v Čechách začalo, v jakém čase, kde a kým. Zjistíme, jaké osobnosti jsme měli a máme, jaké trendy a styly se k nám dostaly, kdo tu jak tetuje a co, ale také se podíváme na akce spojené s tetováním, konvence, jamy, specializované salóny, obchody… a samozřejmě nějaké kuriozity a perličky.

Zmapovat Čechy a vypsat kdo, kde a jak kéruje, by nemělo smysl, dneska stačí zadat tattoo salón a všecko na vás vyjede v prohlížeči, chci to tedy vzít odjinud. Ukázat vám, kdo se u nás zabývá medializací tetování, kdo pořádá akce, kdo jsou takový patroni české tattoo scény.

Ale pěkně od začátku. Jak už to u nás tak bývá, vše se k nám dostává opožděně a zprostředkovaně, tak tomu bylo i u tetování. Co se týče dob pravěkých, tady ale pozadu za světem nejsme a i u nás kosterní pozůstatky naznačují, že se pralidé na našem území „tetovali“. Pravděpodobně šlo ale o neúmyslné zdobení. Vypadalo to asi tak, že se některý z lovců mamutů, o kterých píše pan spisovatel Eduard Štorch, někde škrábl o větev či kost, do rány se mu dostal popel a prach a ten tam zůstal a zarostl. A tetování bylo na světě. Po tomto objevení se začalo používat záměrně, jak jinak než ke zdobení. Vezmu-li to historicky velmi fofrem, další tetovaní u nás byly Keltové či pohanské a germánské kmeny. V této historii se vznik u nás nikterak neliší s Evropou. Válečné motivy, náboženské i magické. Takže kdo byl první, to je jasné.

O tetování jako takovém ale můžeme hovořit až mnohem později a to díky cestovatelům a objevitelům. Jelikož tetování je známo od domorodců a později šířeno námořníky, my jako země středozemní a bez pralesů plných divochů jsme měli smůlu. Ovšem byli tu lidé, jako například Emil

Holub a další, kteří se nebáli vycestovat do dalekých zemí a přivést nám o tetování zmínky. Někdy dokonce i celé kůže. Jedním z prvních českých etnografů, který sepsal příručky o národech celého světa byl Jaroslav Vlach, který se o tom, co ve světě viděl, zmínil ve své knize v roce 1887. Píše, že si tamní lidé bezohledně sahají na svá těla, aby po překonání značných muk a bolestného nepohodlí došli vyznamenání své osobnosti. První Čech, který podnikl cestu kolem světa, Josef Kořeňský, zase hovořil o tetovaných obličejích na Novém Zélandu, které pro evropského člověka působily zvířecím a příšerným dojmem.

Díky těmto dobrodruhům se k nám dostávaly informace o zdobení těla a není divu, že vznikla i expozice v Náprstkově muzeu, této tématice věnovaná.

Postupem času se k nám dostaly fotografie nejen domorodců z národopisných knih, ale i lechtivé obrázky kurtizán, které svou sexualitu zvyšovaly právě tetováním. Ani v tomto směru Praha nezůstala pozadu a naučila se řemeslu, které zdobilo tamní lehké ženy. Nevěstince plné dam se začaly zajímat o toto umění, které by mělo zvyšovat zájem o ženy a hlavně to bylo chápáno velice exoticky, což bylo velmi moderní. Tetování dekoltů a podbřišků se tedy u nás zabydlelo právě díky sličným kurtizánám. (Tak co dámy s tetovaným podbřiškem či dekoltem, funguje to?) Stejně jako se k mužům dostávalo snímků námořníků, kteří ukazovali mužné paže s kotvou či lodí. Dneska to okoukáme v časopise a dříve tomu nebylo jinak. Nehovoříme však o studiích, salonech ani tatérech, vše to bylo řemeslem, o kterém se na veřejnosti nemluvilo a dělalo se doma na koleni pod svícnem.

Přesuneme-li se do 20. století, zde můžeme mluvit o první výstavě na téma tetování u nás. Jedná se o sbírku tetováží, která je zachována v Hrdličkově muzeu člověka na Albertově. Ve 20tých až 40cátých letech prof. MUDr. Jiří Malý (antropologie, UK) nashromáždil třicet destiček s napnutou lidskou kůží a dvě paže dospělého tetovaného muže. Zde je vidět, že i novodobé výstavy, které ještě zmíním, nejsou jen výmyslem počátku tohoto století.

V této době už bylo tetování rozšířené. Kunsthistorik Jan Baleka ve svém „Výkladovém slovníku výtvarného umění“ uvádí, že ve druhé polovině 19. století se v Evropě nechalo tetovat až 20% populace, což je vysoké číslo vzhledem k tomu, že se dnes uvádí 25%. Nevím ale, nakolik je toto procento odpovídající Čechám.

Ve 30. letech minulého století, kdy se začala objevovat tetování, která vznikla nedobrovolně, vyšla u nás publikace sepsaná MUDr. Otakarem Nováčkem. Nazval jí „Tetování a tetovaní“ a vyšla v roce 1937. Tato útlá publikace měla pomoci a radit postiženým, jak se se svojí tatuáží vyrovnat. V té době nebylo běžné zajít si na kérku a odejít s vyšším sebevědomím a fajn obrázkem. Tetování se stalo počátkem 20. století formou trestu a bylo jakýmsi cejchem. Zatímco v 19. století bylo rozmarem, kde se nechali zdobit kurtizány, dvorní dámy ale i šlechtici, kteří chtěli okusit cosi exotického, ve století dalším šlo hlavně o tetování z armády, vojny, vězení či ze zajateckých táborů. Tyto obrázky nebyly zrovna symbolem hrdosti. Kniha obsahuje také modlitbu, která od hříchu tetování pomáhala očistit. V knize také autor za tetované oroduje a prosí, aby na tyto lidi bylo pohlíženo jako na normální lidi. Toť osvětové čtení z roku 1937.

Ze zajímavých lidí naší historie uvedu, že tetována byla například operní pěvkyně Ema Destinnová (měla po těle hady) či František Ferdinand d´Este.

Přesuneme se zase o něco blíž dnešku. V době války se tetování přesunulo na válečné pole. Kromě tetovaných v koncentrácích se u nás tetovali též vojáci, dezertéři dostali písmeno D, špatní vojáci zase B nebo C. V roce 1966 se v časopise „Československá psychologie“ objevila charakteristika tetovaných, ve zkratce zněla asi tak, že jsou to lidé trpící jistou mírou psychopatologické tendence, například sadismem, masochismem, narcismem, jsou to lidé nevyrovnaní, labilní, mají nevyzpytatelné chování a jednání, mají pochybný vztah k práci, majetku, vztahům atd. Pěkné co? Je vidět, že tetování u nás neslavilo valné úspěchy. V době totality bylo navíc tabuizováno a potíráno. A to v celém východním bloku. Profistudia byla zakázána a jak to u zakázaného ovoce bývá, došlo k rozpuku domácí tetovací scény. Neskutečný punk, přenosné choroby, versatilky, domácí strojky, to jsou počátky tetování u nás. Co komunista zakákal, to si mladý rebel doma vykéroval. O těch, které režim uvěznil do krimu ani nemluvím, tak jako symbol vzdoru a revolty vznikala dílka. Ale kriminální tetování by vydalo na celý díl, kdo chce, ten si najde, ale myslím, že namodralé dýky a linky pod očima čas od času na jistých lidech vídáte. Zatímco ve světě se kérovali rockové hvězdy, u nás to byli mladí punkáči, rebelové a mělo to vyvolat revoltu a protest proti systému. Největší prestiž u nás měla Valtická věznice, specializovaná na kérku versatilkou a motivy žen.

V 90. letech vznesli českoslovenští poslanci návrh, že by se značili tetováním potulní cikáni, že prý bude praktické, když tito lidé, zapírajíc své jméno, budou označeni. Poslanec Krejčí se ale setkal s nevolí. Inspirován článkem o tetování z roku 1935, kde se psalo o tetování jako o čitelném symbolu totožnosti tento návrh hájil, leč neuhájil.

Boom u nás nastal po revoluci, zavedla se kabelovka, MTV, časopisy a kulty mladičkých celebrit. V té době do Čech dorazila éra tribalu nad zadeček, motýlek či delfínek kdekoliv, sluníčko okolo pupíku či náramek vytetovaný kolem ruky či nohy u dam. Pamatujete si to? U pánů to byly větší a drsnější tribaly, lebky,

pavouci… a to co, co zrovna měli v té době populární rockové hvězdy. Vzrostla také tématika národních symbolů. Podle tatérů, které jsem se na to ptala, byl zájem o barvičky pramalý, všichni chtěli černou, malou a rychlou kérku. Samozřejmě na viditelném místě. Čas se posunul, kérky vyrostly, vybarvily se a hlavně i u nás přerostly do nádherných a originálních dílek.

Sem tam se delfínek či motýlek objeví, ale už v naprosto jiné formě než po pádu totáče. A tím se hezky pomalu dostáváme tam, kde jsme dnes. Pokud bych měla doporučit nějakou knihu o tetování, která je na našich pultech u knihkupců, pak je to kniha a z vydavatelství REBO „Umění tetování“ od Henryho Fergusona a Lynn Procterové, která má krásnou a bohatou obrazovou dokumentaci. Pokud chcete českého autora, doporučuji vše od Martina Rychlíka, který je mi velkou inspirací a jeho texty jsou obrovskou studnicí informací.

Podíváme se dále na to, kdo s čím přišel jako první. První oficiálně otevřené studio bylo studio UZI Praze a to až v roce 1992. První tattoo konvence, neboli setkání tatérů, tetovaných a všech, kteří tomu holdují, se konala v roce 1998 a od té doby si tyto akce udržují svou tradici. Akce proběhla na Strahově, podporovaná Asociací českých tatérů. Prvními zákazníky byly lidé z muziky, z umění, undergroundu a vesměs ti rebelové, co si profesionálně nechávali opravit to, co jim domácí kérung napáchal. Po nich motorkáři, pak už to jelo… dnes už sportovci, celebrity, mámy, tátové, synové i dcery. Prvním člověkem, který o tetování psal a který se ho pokusil medializovat, je známý redaktor Reflexu, pan Jiří X. Doležal. První salón i konvenci známe, prvního medializátora také. Víc prvotin asi nenajdu, protože první tatér či první tetovaný, to by byla sebevražda hledat a stejně bych nenašla. Ale mohu vám říct, kdo je u nás nejtetovanější. Jsou to dva pánové, který je víc, bohužel nevím, je to sporné a neví si s tím rady ani moje studnice informací. Pokud ale víte, který z těchto dvou to je, klidně mi to napište. Asi není novinka, že jedním je pan výtvarník, profesor AMU a skladatel doc. Vladimír Franz, který je neustále dotazován a vyslýchán. Na otázku pro Reflex, která se týkala jeho potetované kůže, odpověděl: „Žijeme v demokracii a v demokratické společnosti má každý právo svobodně si zvolit svou barvu kůže. Třeba modrou.“ (Reflex, 30. 12. 1998). Dalším je osoba, která je výraznou postavou na poli naší tattoo scény - básník, novinář, spisovatel, publicista a celkově umělec Pavel J. Hejátko, který se proslavil jako bodyartista, kdy zlomil rekord a stal se též nejpropiercingovanějším Čechem.

Jak je to u nás dál? Hovořím za statistiky. Nejčastěji do studií chodí zájemci ve věku od 18 do 30 let, s průměrem zhruba 25 let, muži i ženy. Ceny jsou rozdílné a závisí na náročnosti, rozměru, barvách a době práce (od malých 500-1000 Kč do několika tisíc korun). Fakt je ale ten, že do Čech jezdí pro tetování i cizinci – důvodem je výhodný poměr kvality práce a ceny tetování.

Koncem 90. let u nás fungovalo na třicet oficiálních tattoo salonů, skoro polovina sídlila v Praze. Dnes jich je ale několikanásobně víc a počet přesný se nedozvíte ani na úřadech. Kuriozity z českých statistik ale nejsou tak šokující jako ty ze světa. Béďa Trávníček, postavičky z reklam, z

pohádek, zlatí hoši z Nagana, znaky města… Asi nic, co byste neznali z internetu a co by vás posadilo na prdel. A víte, kdo je u nás nejtetovanější subkulturou? Nejste to vy, milí coristé, ale fotbalisté a hokejisté. Po vzoru Grygery, hokejové Sparty, Jiránka atd. jsou šatny plné tribalů, štírů, žraloků, tygrů a jiných šelem.

A nejsme pozadu ani s kinematografií. V 90tkách totiž natočil Jan Hřebejk dokument, „Jak se žije tetovaným“, takže opomeneme-li desítky filmů s tetovaným Robertem Rosenbergerem, máme i dokument ve filmové databázi, ve kterém najdete téma tetování.

Kam se podíváme dál? Co frčí v ČR, to je jasné, vlivem masmédií to jsou stejné věci, jaké chce okolní svět. Stále jede tribal, poslední dobou roste zájem o barvu, oldschoolové motivy, vlaštovky, pavouky, portréty… je to nepopsatelné, co člověk, to motiv, ale stále více dle slov mnou oslovených tatérů je jednoznačně trendy osobitost! Lidé chtějí nové věci, stále se tetování vyvíjí a díky častým hostujícím tatérům z ciziny v našich českých salonech se k nám dostává stále více vlivů. Toto je například velkou zásluhou salónů jakými je Tribo či Hell.cz. V salónu Hell.cz pražských Holešovicích najdete specialisty nejen na tattoo, ale i na skarifikace, branding, piercingy všeho druhu, ale i na těžké modifikace. Zde tedy můžete svoje tetování přenést do úplně jiné dimenze.

Po tzv. boomu nám tu salóny rostou jako houby po dešti, nemá cenu jejich výčet psát, uvedu ale ty, co u nás působí nejdéle, nebo jsou největší či prostě jen renomované. Komu to bude málo, ten zná firmy.cz a jistě si najde sám. Kromě již prvního UZI ho následovaly právě Hell.cz, Tribo, Bloody Blue Tattoo, Tattoo Tsunami, Fallen Angel, One Love Tattoo, First Blood Tattoo atd.

Tribo a Hell.cz mají také jednu velkou zásluhu a to je ta, že se starají o pronikání tetování do galerií či na plátna. Tribo se pyšní svou galerií a Hell.cz zase nechal nafotit své tetované pracovníky, jejichž umělecké fotografie byly k vidění na výstavě Modrá láska, které byla tématu tetování věnovaná.

Od výstav se přesuneme ke konvencím, od roku 1998 mají své čestné místo a sjíždí se na nich fanoušci tetování z celé ČR včetně zahraničních hostů. Dlouholetou tradici má například věhlasný Tattoo Jam ve Strakonicích, pořádaný tamním tattoo klubem. Na ten se můžeme zajet podívat vždy začátkem května. Neméně slavnou akcí je Tattoo Convention Praha. Kromě toho se pořádá i nemálo lokálních tattoo festivalů, Ostrava, České Budějovice atd. Pakliže máte nějaký tip, klidně nás na vaši oblíbenou tattoo akci pozvěte. O čem že tattoo akce vlastně jsou? Principem konvence je setkání, setkání tatérů, tetovaných, novinářů, fotografů, obdivovatelů. Na konvencích se soutěží o tituly v různých tattoo kategoriích, jako je

tribal, oldschool tattoo, newschool, předělávka a podobně. Celý den tedy můžete obdivovat tatéry v akci, jak pracují na soutěžním díle. Mimoto na konvencích najdete stánky s oblečením, časopisy, šperky a vše, co s tetováním souvisí. Nechybí ani muzika a zvykem bývá po skončení soutěžních tetování nějaký velký mejdan. Nemá cenu jen o tom číst, na konvenci se zajeďte podívat. Kromě konvencí probíhají i různé soutěže a to hlavně na webových stránkách, soutěží se o kérky největší, nejhezčí, nejbizardnější atd.

Ráda bych také uvedla pár jmen, které pro mě vlastně znamenají vrchol a to nejlepší z české tetovací scény. Nechci se nějak dotknout těch tatérů, které nejmenuji, ale nejde obsáhnout všechny a tato jména si myslím, že jsou v povědomí veřejnosti a je dobré o nich vědět. Chcete-li tetování od legendy, vsaďte na Tarlita, Petera Bobka z Triba či Zhivka z Bloody Blue. Jestli máte zálusk na

něco osobitého a nevšedního, je tu Lukáš Musil aka Musa z pražského Triba nebo Ondrash ze Znojma. Jste ze západu? Tak v Plzni zkuste Tattoo UMI a nebo tatéry Doda a Krtka. Pokud jste jižani, na budějovickém poli figuruje Bejrút Tattoo a pan Gisbern. Jestli máte chuť na nějakou parádní pin-upku s plachetnicí či pořádný oldschool, odbornicí je Terezka Peteříková z Triba. Krásná díla na vaše tělo umí vykouzlit i tatéři Babboo a Vlaďka z Hellu. Nebo je libo tetování třeba v graffiti stylu? To vám zhotoví na míru Fishero z Freihand Tattoo. Koho tu máme dál? Co třeba tatéra, který kouzlí s vegan-netestovanými barvičkami? Taky jednoho pro vás mám, je to xKeclax, oficiálně Jirka Keclík. Na severu v Liberci se o vás dobře postarají v Hellcats. ID Tattoo potěší milovníky démonů a pekelných motivů.

Tak, už víte, jak se to k nám dostalo, jak to přežilo totalitu, jak to vylezlo na povrch stejně, jako se vyrojili čeští turisté u moří po revoluci, jak se lidi kamarádí na konvencích, jak se tu vlastně tetuje a s tetováním žije. Žije se s ním docela krásně, pokud jsou vám fuk pohledy starších generací a pokud nechcete pracovat ve zdravotnictví atd. Našla jsem pár článků o tom, jak sestřičky či zdravotní personál není přijímán, pokud má viditelnou tetováž. V tom jste stále hodně konzervativní a dlouho se to asi nezmění. I když kdoví, znám ve svém rodném městě jednoho fantasticky počmáraného saniťáka :o) Co dodat, každý tu žije, zná to tu, ví, jak to chodí. Tento článek je takovou spíš informací o tom, jak to tu bylo dříve, protože jak je to dnes, to ani nejde mapovat a dohledat. Ani úřady samotné neví, kolik je tatérů a kolik salonů a kdo se čemu věnuje, tak jak bych to mohla vědět já... Jestli máte nějakou perlu z českého prostředí, zaperlete do komentáře.

V posledním díle, přesně za týden, se podíváme na to, jak si vybrat motiv, salón či tatéra. Kam si v ČR pro co dojít, nastíním vám, jaká studia a kdo má jaký repertoár. Kromě toho se podíváme co dělat a nedělat před, během a po tetování. Podíváme se na hygienu, hojení, na druhy barviček, a celkově na samotný proces tatuáže a následné hojení. Mám pro vás několik zákonů, pravidel samozřejmě perliček. Také se podíváme na to, jak se kérky dost nehezky a bolestivě zbavit a to proto, abych vás od zbavování odradila. Za týden tedy uzavřeme celý tento cyklus, doplním o video a seznam studií či webodkazů.

Proces a péče aneb Co je dobré vědět před návštěvou tatéra

Nastal čas, kdy se téma měsíce, pojednávající o tetování, uchýlilo ke konci a pro vás je tu poslední, definitivní a téma uzavírající díl. O čem by asi tak měl být? Jelikož už znáte historii, znáte současnost, znáte dokonce i žhavé trendy a víte, jak to chodí v Čechách, je na čase vrhnout se na samotný proces, na samotné tetování. V tomto díle vás tedy seznámím se zákonitostmi kůže, s pravidly co dělat a co nedělat, jak se o tetování starat atd. Podíváme se společně, jak to dopadá, když je něco špatně, jak se tetování nechá odstranit. Mrkneme se taky na barvičky, nástroje a vůbec samotný proces tetování, který v závěru článku najdete i hezky zdokumentovaný na videu.

Tetování je záležitost, kdy se vám natrvalo napíchá barva do pokožky a jelikož je to natrvalo, není nic horšího, než zmrcasený obrázek. Několik takových už jsem měla tu možnost vidět, nejde jen o křivé čáry, vypadanou barvu atd, to se opraví, ale bohužel jde o i zjizvenou kůži, infekce, zapálené kérky hnisající a infekcí oplývající. Dobrý tatér vám takovouto paseku na těle neudělá, kromě pomůcek by měl znát dobře charakteristiku kůže, protože součást licence je nejen tatérství, ale i školení o zdravotních rizicích a samozřejmě školení o porušování integrity kůže a pravidla tohoto porušování.

Nemusíte být tatér, ale o pokožce byste měli něco vědět i v případě, že se jdete nechat kérovat, přece jen vám do ní někdo napere barvičky. Lidská pokožka je fungující orgán, který dýchá, odumírá, regeneruje se. Slouží jako podkladový materiál pro tetování a jiná zdobení, je vlastně jakýmsi plátnem. Chrání to, co má naše tělo uvnitř a my bychom měli chránit ji. Vylučuje odpadní látky, udržuje tělesné teplo, přijímá informace z vnějšího světa. Kůže je největším plošným orgánem našeho těla, u dospělého člověka má 1,5 až 1,8 m2 a vážit může až 4, 5 kilogramu. Plátna máte tedy víc než dost.

Kůže se skládá ze tří vrstev, z pokožky, škáry a podkožního vaziva. Pokožka se skládá z několika vrstev plochých buněk, které odumírají a odlupují se. Buňky povrchové obsahují bílkovinu, která se těžko rozpouští ve vodě a z tohoto důvodu je kůže pro vodu nepropustná. Tato vrstva obsahuje též pigment, barvivo melanin, které udává odstín naší kůže. Pod pokožkou najdeme škáru, tenkou vazivovou vrstvu, ve škáře probíhají krevní a mízní cévy. A právě až tam se tetovací jehla dostává a váš obrázek krvácí. Ze škáry také vybíhají receptory, proto některé tetování bolí

více a jiné méně. Pod škárou je podkožní vazivo, jakási tuková tkáň. Tyto tři vrstvy plní několik funkcí, nás z hlediska tetování bude zajímat funkce resorpční, tedy schopnost kůže pohlcovat vnější látky, avšak tato schopnost je celkem malá. Díky této funkci naše kůže pohlcuje barvy. Tetování má tedy jasný princip, dostat pigment, tedy barvu, přes membránu pokožky, nejčastěji propíchnutím kůže a pod tuto membránu barvivo zanést. Pokud barva projde, kůže nedokáže vynést pigment na povrch těla a sama se nedokáže barvy zbavit.

Co se přesně děje, když vás tatér tetuje a vy slyšíte jen bzučení strojku a vnímáte lehce palčivou bolest? Po proniknutí jehly s barvou pod membránu pokožky se barva dostane do škáry, pokožka nad ní je narušena propíchnutím. Těsně po penetraci kůže nastává zánětlivá odezva, místo po vpichu zrudne, zanítí se a škára vyšle na povrch pokožky krev z porušených cévek. Je to odezva na mechanické poškození kůže. Dojde k přesunu leukocytů do místa zranění, přesně tak, jak to znáte například z odřeného kolena. V další fázi nastane regenerace epidermu, utvoří se na povrchu ochranný strup, pod kterým vzniká nová vrstva pokožky. Kolem pátého dne se kůže remodeluje, pigment je zanesen ke krevním kapilárám a zůstává tam. V posledním stádiu je kůže regenerovaná, mizí zánětlivá reakce a tetování je již takřka hotové, pak je jen třeba dodržovat hydrataci pokožky. Tak toto se děje s vaší pokožkou.

Co se děje s celkovým organismem? Tělo reaguje na zánět a porušení pokožky obrannou funkcí, vysílá mozku signál, že se něco děje a organismus na tetování reaguje. Celou dobu během procesu tetováže vaše tělo bojuje s tímto záškodníkem, proto se většina tetovaných cítí po tetování unavená a vyčerpaná, může se dostavit i jakási vnitřní horečka, rozechvělost, to vše je reakcí na boj těla s narušením pokožky. Citlivější jedinci mohou mít problém s prahem citlivosti a s nízkým tlakem a může dojít k nevolnosti. Jiná rizika vám během procesu tetováže nehrozí.

Co tedy dělat, než zasednete do křesla? Vyberte si místo a motiv, pokud si nevíte rady, neváhejte konzultovat a radit se s tatérem, pokud je již v tuto chvíli neochotný a nevlídný, vyměňte ho, je to vaše tetování na vaše tělo na celý váš život, takže pokud vám není příjemná spolupráce s ním, najděte si lepšího, je jich spousta. Máte vybrané místo, velikost, hotový návrh a máte termín, teď už jen samotný proces. Před tetování se nedoporučuje pít alkohol ani se nijak jinak omámit, vyvarovat se věcem, které ředí krev, tetování by pak krvácelo a tatérovi by se velice špatně tetovalo. Rozhodně přijďte v dobré náladě a duševní pohodě, a pakliže máte tatéra, který je zkušený, svěřte se mu do rukou, ptejte se a nebojte se ozvat, pokud vám něco není jasné. A jak to probíhá dál, to už víte, motiv se přenese na tělo, zapne se strojek, připraví se kalíšky s barvou a zzzz… a vaše tělo s tím bojuje a bojuje.

Bolí tetování? Otázka častá a těžko na ní jednoznačně odpovědět. Kosti a slabiny bolí více než sval, takže nárty rozhodně ucítíte víc, než lýtko, více ale hraje roli individualita každého z nás. Je to spíše nepříjemné, než bolavé, spíše palčivé, než tupá bolest. Co se týče dalších pravidel, otázek a podobně, tak často se lidé ptají na věk, jizvy, znaménka, solárium a podobně. Většina salonů tetuje od 18let, v případě věku nižšího je nutné mít souhlas rodičů, to není nic nového, ale je lepší si počkat, přece jen rozum je třeba na takovýto krok mít. Ohledně jizev a znamének, jizvy se tetují, ale je zde riziko, že barva vypadá, znaménka a pihy se zpravidla netetují, obrázek se dělá okolo a nechá se do něj znaménko zakomponovat. Co se týče solária, jak říká můj tatér, je to jako když natřete vrata a svítí na ně sluníčko...vyblednou. S tímto se musí počítat i v případě solária, je tu riziko, že při nadměrném slunění se v soláriu si časem z omalovánek uděláte obrázky, co budou potřeba dovymalovat. Stejné riziko hrozí tetování i v létě, neopalovat se před a po, nechodit s čerstvým tetování do bazénů a koupališť a v každém případě se vyvarovat infekci. Po zahojení a vyloupání strupů to chce hodně vysoký faktor. Tím se dostáváme k části, co dělat, když už obrázek máte, máte ho zakrytý folií a nesete si ho domů. Folii je dobré po příchodu domů odstranit, tetování omýt vodou a nechat volně oschnout. K omytí použijte například jednorázových utěrek či vatových tamponu. Někdo doporučuje jen vlažnou vodu, někdo antibakteriální mýdla, např. Protex. Tetování je stejně jako odřenina otevřená rána, je zde veliké riziko zavlečení infekce, noste čisté oblečení, myjte a potírejte si tetování čistýma a umytýma rukama a nenechte si na něj sahat od obdivovatelů či fanynek. Dejte pozor na odření či stržení strupů. Tetování se do zahojení potírá regenerační mastí, ideální je Bepanthen Plus, obsahující panthenol. Mytí a mazání provádějte ráno a večer, po cca 2-4 dnes se začnou slupovat stroupky. Nikdy je netrhejte násilím, neškrábejte atd. a nechte je volně odpadat. Strupy sami poznají, kdy se jim chce pryč. Pokud budete omývat a pečlivě mazat, mělo by být vše v pořádku. Rizika hojení mohou nastat v případě, že tatér nedodržel hygienická pravidla, anebo jste si infekci způsobili vy sami, v tom případě mohou vznikat velmi nepěkné až hnisavé obrazce a místo barviček pak máte mokvající ránu, antibiotika a zničenou kérku. Pečlivost

je opravdu na místě. Chraňte si tetování, ať se jím pak můžete chlubit. V tuto chvíli máte zahojené tetování a máte radost. Né každý ale tuto radost musí mít, cokoliv se mohlo pokazit.Existují možnosti dvě, přetetovat nebo odstranit.

Přetetování je dneska docela běžná praktika, kdy se vybledlé a černé všelicos nechává měnit v barevné umění, někdo ale přece jen potřebuje či chce, aby tetování zmizelo. Odstranění je ale velice ošemetné. Né vždy laser zvládne vše a nikdy není odstranění úplné. Je lepší se netetovat, než se pak trápit, ale dobrá, povíme si, i jak se dělá odstranění. Odstraňuje se laserem a je třeba deset až dvacet sezení, tato sranda není nic příjemného a ceny se pohybují v desítkách tisíc korun za menší motiv. Najděte si video, je to nepěkná podívaná. Tato možnost tu tedy je, ale každý vám doporučí se jí vyhnout.

O procesu před, během a po tetování už jsem se zmínila, o pokožce taky, co ještě chybí? Něco o nástrojích, barvách a o tom, co by tatér měl mít. Nemusím říkat, že čisto, sterilní prostředí, tetovat by se mělo na křesle, které je omyvatelné, správný tatér před vaším zrakem omyje křeslo dezinfekcí, omyje pracoviště, připraví vše sterilní a pracuje v rukavicích. Pokud sahá na něco jiného než na strojek (též vydezinfikovaný) či na vás (také jste vydezinfikovaní :o), je třeba, aby si rukavice vyměnil. Nenechte se v tomto směru ukecat, že je to v pohodě. Barvičky si tatér připravuje do malých kalíšků, zvaných špiček, ze kterých si je nabírá. Barvu vždy používá z dobře uzavřené lahvičky a nespotřebovanou barvu i s kalíškem vyhazuje. Během tetování vám obrázek otírá, většinou jednorázovými utěrkami, jaké znáte z kuchyní. Dotetované části potírá vazelínou. Pokud tetování trvá dlouho a coby zákazník bolestí už kroutíte palce u nohou, většina tatérů má po ruce anestetikum, například přípravek FBN, ve formě masti, která lokálně

umrtví pokožku a je tak možné tetování bez utrpení dokončit. Většina ho ale nerada používá, pouze v případě, že už to zákazník nedává, přece jen ta bolest k tomu patří a měl by si tím člověk projít. Takže čisto, sterilní věci, dezinfekce všeho, co se bude používat a milý a ochotný tatér. Tak by to mělo vypadat. Přijdete – li do nějakého pokoje, kde vás tatér posadí na sedačku vedle svého psa či kočky, nasadí rukavice a kéruje, je to možná punk, ale není to sranda a mohlo by vás to potrápit. Nedejbože, aby u toho svačil, i to už jsem slyšela. Nemělo by se pracovat na neomyvatelných plochách, jakými jsou křesla, sedačky či postele s textilním potahem. Přece jen se v tomto materiálu drží bakterie a bylo by nemilé si je nechat naskákat do kérky. Stejně tak by na omyvatelném podkladu nebo ve stojánku měly být uloženy špičky s barvou.

Jaké barvy se u nás používají? Každý tatér je zvyklý na to svoje, nejčastěji se setkáváme s barvami Eternal, Mom´s, Kuro či Pantera, o názvy ale asi tak úplně nejde, tomu stejně většinou spíše rozumí tatér a sám ví, jaké barvy jsou ty pravé, mají krásné barvy atd. I v tomto směru má výhodu kvalitní salon či tatér, máte jistotu, že do vás vpichuje ověřené barvy a né to, co na Aukru stálo nejmíň.

Barvy prochází vysokou zdravotnickou kontrolou, v nabídce jsou i vegan barvy, neobsahující žádné živočišné složky, barvy netestované a podobně. Velmi se dnes dbá na to, aby barvy obsahovaly stále méně těžkých kovů a byly stále trvalejší, co se sytosti pigmentu týče.

Co se týče strojků, zde je rozmanitá nabídka, pohybují se v řádech tisíců, ale i desetitisíců korun a je jich veliké množství. Vcelku známé jsou například strojky Lauro Paolini. Během tetování budete mít jistě dostatek času se se strojkem seznámit a váš tatér si s vámi o něm jistě rád popovídá, přece jen se znají nejlépe. O tom, jaké je příslušenství na tetování by se taky daly psát romány, jehly, špičky, strojky, součástky, gripy, sterilizátory a podobně, dnes je toho na trhu velká nabídka, podívejte se třeba do e-shopu Tattoo Suply či Triba, zde mají širokou nabídku všeho, co by tatér měl e studiu mít. Na těchto webech naleznete i nejrůznější aftercare, tedy mastičky a přípravky, které se vám budou o obrázek starat. Existuje celá řada péče o tetování,

v četně color guard krémů, které vám zajistí, že vaše barvičky budou dlouho krásné. Abych vás neošidila o perličky, povím vám, jak se tetování zbavoval lékař Aetius ve starém Římě. Ve svém spisu měl návod, jak se speciálně zbavit tetování. Používal směs z vápna, pepře, jedlé sody, medu a kdoví čeho ještě. Tetování omyl, namazal jej pryskyřicí, poté použil tuto směs a nechal pět dní plátnem ovázané. Šestý den vzal jehlu a tetování, které bylo namokvané díky směsi, propíchal špendlíkem, nechat vytéct a vymačkal krev a ránu posolil. Opět natřel směsí z vápna a obvázal. Po pěti dnech zákrok opakoval, potřel mastí hojivou a tetování do dvaceti dnů zmizelo. Posolená rána, dobré ne?

Z našich novin je tu také jedna zpráva. V roce 1999 u nás vypukla mediální aféra, kdy Pavel Verner, toho času mluvčí Ministerstva zdravotnictví ČR, vyzval nemocnice, aby při výběru pracovníků věnovali pozornost tomu, zda nejsou tetování. Prý aby se nestalo, že přijde ošetřovatel s viditelným tetováním a pacient se ho bude bát. Tento návrh byl označen jako diskriminační a v rozporu s Listinou práv a svobod. Co se týče infekcí a nákaz, na Slovensku v roce 2002 se objevil případ nákazy žloutenkou typu C, kterou si zákazník odnesl spolu s novým tetováním. Vidíte, že vás nestraším, když upozorňuji na hygienu. Ještě v roce 1999 nebyly povinné kontroly tetovacích salonů hygienou, protože to nebylo uvedeno v zákoně. Zodpovědnost tak byla na bedrech tatéra. Dodnes tomu často tak je, jelikož je velké množství domácích tatérů, které kontrole uniknou, jelikož nejsou v evidenci.

K tetování se vztahuje i právní norma o zdraví lidu, která říká, že zásahy do kůže mohou provádět pouze odborná lékařská pracoviště. Veškeré tzv. profesionální tetování je tedy vlastně na živnostenském listu pod názvem kosmetické služby nebo umělecká činnost. Novela živnostenského zákona z roku 2000 po tatérech vyžaduje vyučení v oboru kosmetička, dnes se také vystavuje certifikát v oboru porušování integrity kůže.

To je v našem seriálu o tetování vše. nejen, že víte, jak to funguje, když vás někdo tetuje, ale můžete perlit i historickými znalostmi a fakty a můžete směle debatovat nad trendy. Výběr motivu a salonu by měl být hlavně na vás, pár tipů vám náš seriál snad přinesl a je vidět, že v Čechách máme dostatek kvalitních tatérů a studií a je možnost výběru, je kam si pro skvělé tetování zajít, je pro co si zajít, ale jsou i místa, kam nejít. Přeji všem pevnou a šťastnou ruku při výběru tatéra a studia, kreativního a originálního ducha při vymýšlení motivu a místa a příjemné tetování a hojení, pakliže se na něj chystáte. A vám, kteří ho již máte či nemáte a mít nechcete, tak doufám, že tyto články přinesly alespoň nové informace, ujasnění a zpestření.

Na závěr tu mám jednou velice hezké video, kde je názorně ukázáno to, o čem jsem vám psala. Nechci se umělce dotknout, motiv je to hrozný, ale instruktážní video velice pěkné.

TÉMA: TETOVÁNÍ

KOKTEJL 6/2009 3

4 KOKTEJL 6/2009

Napadlo by vás, že prošít se dá i lidská kůže? Eskymáky ano. Spolu s dalšími arktic-kými národy vnášeli tímto způsobem barvu pod kůži

– tetovali se zejména na bradě. Nejen proto, aby se zalíbili druhému pohla-ví a odlišili vdané ženy od svobodných, ale svá tetování vnímali jako ochranný amulet; domorodé tatérky při prošívání vzorů dokonce lízaly krev z ranek, neboť prý měla léčivou moc.

Ženy Ainů na japonských ostrovech si zase v dospělosti tetovaly „kníry“ a „úsměvy“ od ucha k uchu, na Havaji byl ze smutečních důvodů přikrášlen též jazyk. A na ostrovech Tonga či Samoa v Polynésii si náčelníci zdobili – na dů-kaz své odolnosti – i žalud penisu...

Krása vrytá do tváří

Jiný svět. Maorské oči z 19. věku jasně hovoří o odlišném nazírání světa.

NEJUŠLECHTILEJŠÍ UMĚNÍTetování. Ještě dnes, ač už jsme zvyklí

na ledacos, se při vyslovení tohoto slova nabízí mnoho souvislostí. Často negativ-ních, předsudečných. Málokteré zdobe-ní je tak rozporuplné, aby na jedné stra-ně vzbuzovalo bezmezné nadšení a na straně druhé znechucený odpor.

Tato pradávná úprava těla, jejímž prvním přímým dokladem je alpská mumie Ötzi stará 5300 let, má v sobě cosi tajuplného. Něco, co stojí proti onomu běžnému stavu a přírodnímu výtvoru, jakým člověk je. Kultura ver-sus příroda? Jistě. Podobně je tomu i u dalších mutilací, jako jsou piercing, zplošťování lebky nebo vyrážení zubů, jež mají iniciovaného jedince začlenit mezi lidská stvoření.

Tetování prodělalo dlouhý, pestrý vývoj. Dějiny tetováže lze číst jako sled plný pozměněných významů, rozličných technik a odlišného společenského či náboženského nazírání (nechoďme da-leko: Bible, suna i Korán tetování zaka-zují, přesto se již první křesťané tetovali a rovněž muslimové tak dosud činí).

Překvapivě málo se kolosálnímu té-matu věnovali odborníci. Jak pozname-nal jeden z otců kriminalistiky Edmond Locard: „Umělečtí kritici a dějepisci systematicky opomíjejí jeden z nejzají-mavějších aspektů svých disciplín: te-tování. Je to totiž jediná forma umění, která jako materiálu využívá živé tkáně, a proto se jedná o nejušlechtilejší umění ze všech.“

Plátna je dost; kůže je s plochou až 1,8 metru čtverečních největším lidským orgánem a trvalého „omalování“ do-šla ve všech koutech světa. Skutečnost, že všechna společenství zdobila těla, potvrdil roku 1945 antropolog Geor-ge P. Murdock, když bodyart zařadil mezi 67 kulturních univerzálií čili prvků společných všem kulturám v čase i pro-storu. U tetování je třeba být opatrněj-ší, ale jeho užití je doloženo na všech obývaných kontinentech, byť v různé míře a variantách. Lidská invence nezná mezí.

Z PACIFIKU DO SVĚTACo je tetování? Encyclopaedia Britan-

nica jej definuje jako: „stálou a neodstra-nitelnou kresbu či ornament vytvořený na těle vpravením barviva pod kůži no-

Kérka proti násilníkům? Eskymačky si především prošívaly brady, jak je vidno z nákresů slavného antropologa Franze

Boase. Dle jedné teorie tomu bylo tak proto, aby mohly být ženy při nočních

přepadech včas rozpoznány, nebyly zabíjeny ale pouze odvlečeny coby velmi

ceněná „komodita“ mrazivého severu.

Plzeňák mezi lidožrouty. Desítky pláten tetovaných

Maorů namaloval na Novém Zélandu český

umělec Bohumír Lindauer (1839–1926). Dva

z obrazů jsou rovněž majetkem pražského Náprstkova muzea.

TETOVÁNÍ

TEXT A FOTO: MARTIN RYCHLÍK, TÝDENÍK EURO

KOKTEJL 6/2009 5

sitele. Někdy se termín úzce vztahuje k záměrnému vytváření jizev (cikatrizace = skarifikace).“

Tatuáž je rozlišitelná na tři hlavní typy: tmavý, polychromový a jizvový. Od roku 1769, kdy se s tahitským pojmem tatau seznámil kapitán James Cook, se výraz prosadil do světových jazyků (ta-hitsky tatau znamená „označovat“, sa-mojské tautau „kreslit“ a malajské tatu značí „ránu“).

Kmenové značky se díky zámořským objevitelům vrátily do evropské civili-zace, která je sice znala (antičtí autoři jako Hérodotos nebo Tacitus jej zmi-ňují u Skytů, Dáků, Thráků, Germánů, Ilyrů i doslovně „pomalovaných“ Piktů – z latinského pictus), ale zavrhla. V roce 787 bylo tetování na koncilu v Celchyth (Chelsea) papežem Hadriánem I. zaká-záno coby ritus paganorum, jenž przní božské dílo.

Díky námořníkům se dočkalo své „první renesance“, tou druhou se pak nazývá éra nedávná, kdy tetuáž pronikla do společnosti a přestala šokovat. Z ná-mořnického obyčeje a cirkusové zvlášt-nosti se „kérky“ proměnily v ceněné šperky i těch nejvyšších kruhů a ozdoby dam. Ovšem pozor, již koncem 19. sto-letí šlo o módu prvého řádu – tetovali se i členové britské královské rodiny a rus-ký car!

O rozmach se postaral drobný vynález: tetovací strojek patentovaný Američa-nem Samuelem O´Reillym (1891). Do té doby lidstvo tetovalo řadou technik: hra-bičkami, dlátky, pilkami, ostny, svazečky jehel, ostrými mušlemi anebo prošíváním obarvenou nití. Vždy šlo o totéž: vnést pigment. „Člověk musel být omalovaný, aby byl člověkem; ten, kdo zůstával v při-rozeném stavu, nelišil se nijak od zvířete,“ vysvětluje etnolog Claude Lévi-Strauss jeden z hlavních důvodů. Těmi dalšími jsou touha po krásném zevnějšku, ale též imitativní magie, jako tomu bylo v přípa-dě indiánských Matsésů, kteří si na ob-ličeji vytvářeli jaguáří fousky, aby získali sílu šelem. Dnešní vyumělkované obráz-ky už většinou kouzlo postrádají...

Historií tetování se ostatně táhne hlu-boká symbolická změna: na jedné straně stával mnohovýznamový společensky sdílený prvek a na straně druhé dnes nacházíme individualizovaný soukromý šperk. Prvotní tatuáž byla svou podsta-tou kolektivní, integrovala komunitu, měla řadu funkcí. Dnešní tetování má spíše privátní významy, jedince odlišuje, vyjadřuje odstup od ostatních a věnuje se především estetickému obsahu.

TETOVÁNÍ PROMLOUVÁNicméně je zjevné, že tatuáž nikdy

nebyla pouhým zdobením. Antropolog

Konrad Spindler, jenž zkoumal Ötzi-ho mumii, popsal různorodé funkce: „Vytváření znaků na kůži má buď psy-chologický, nebo praktický význam, při-čemž oba se mohou překrývat. V první řadě, pokud jde o výmluvné obrazce, či dokonce umělecké výtvory, slouží ke zkrášlení. Nezřídka dokládá dosažení jistých životních mezníků, velmi často kupříkladu pohlavní zralost. Tetováním mohou být vysílány i sexuální signály nebo může vyjadřovat niterný stav člo-věka – lásku, nenávist, smutek či touhu po pomstě. Kromě toho mohou skrytě nošená znamení odrážet politické pře-svědčení nebo náboženské vyznání. Další skupina upozorňuje na zařazení ve společnosti, vlastnická práva, zmocnění, původ nebo identitu, příslušnost k ně-jaké skupině; v neposlední řadě jím lze vyjádřit i výkony, například počet usmr-cených nepřátel, množství skolených zvířat či dobytých žen. Konečně existují tetování s údajným léčebným účinkem.“

U tradičních společností bývala teto-váž spjata s přechodovým obřadem, ini-ciací, památným to momentem změny. Změny, symbolizované trvalou značkou, bolestí a obětí krve. I proto nepřekvapí, že tetováž bývala jakýmsi testem imunit-ní zdatnosti. Často docházelo k infek-cím. A úmrtím.

Kromě funkce rituální a estetické, je-jímž překrásným důkazem jsou malova-né, byť dříve i tetované ornamenty jiho-amerických Kaduvejů, jež zaznamenal fotograf Guido Boggiani, nelze pomi-nout význam léčebný. Ještě v roce 1909 si Odžibvejky v rezervacích tetovaly tváře „proti bolestem zubů“, jinde měly obrazce zlepšit zrak a zahnat revma.

Tetování hovoří. Má účel komu-nikační, vyjadřuje status, skupinu

Pakipaki. Useknuté tetované hlavy – obsahující duševní energii – si Maoři schovávali, říkali jim pakipaki,

zatímco nezdobené holé hlavy papateas s posměchem vyhazovali. Britové se po těch tetovaných pídili,

vyměňovali je za pušky a vozili do muzeí.

TETOVÁNÍ

6 KOKTEJL 6/2009

i osobitost. Afričané tak odliší kme-novou příslušnost, Dajakové na Bor-neu měli zase znak, který označoval zbabělce, jenž prchl z boje. A tajné společnosti, jako loupeživá Areoi v Polynésii, tatuáží určovaly „hod-nosti“ členů.

OD HLAVY AŽ K PATĚDo Tichomoří zavítáme i při první

zastávce naší poutí třemi „nejtetovaněj-šími“ areály světa. Vzhůru na Markézy! „Markézané patřili k nejlepším řezbá-řům Polynésie. Dřevo a kost jim jako materiál nevyhovovaly, a proto přenesli své nejlepší kresby na lidské tělo. A te-tovali je po celé ploše, od konečků vlasů až po nehty na noze,“ nešetřil obdivem etnograf P. H. Buck.

Skutečně, zdejší „kresby“ jsou tím nejhezčím, co bodyart nabízí. Poznámky o původní tatuáži zanechal G. H. Lang-sdorf, jenž k ostrovům připlul v květnu 1804: „V prvém roce se dělá základ na vzorech pokrývajících prsa, paže, záda a stehna; při tom se musejí vpichy zahojit a strupy zmizet. Každá značka vyžaduje tři až čtyři dny k uzdravení; první sezení trvá tři až čtyři týdny. Když se započne, dodatky jsou přidávány v odstupu tří až šesti měsíců, a tak se nezřídka pokračuje třicet i čtyřicet let, než je tetování do-končeno.“

Umělci, jenž býval důležitou osobou společenského života, se říkalo stej-ně jako kněžím: tuhuna. Zdobení dam se omezovala na ruce a nohy, takže se zdálo, jako by měly krajkové rukavi-

ce a podvazkové punčochy. Naproti tomu pánové si na hruď tetovali „štít“, údy byly přepásány čarami, záda a páteř někdy zkrášloval kříž. Barva vyplňovala i obličej; nechávala se však světlá místa, aby vzory vynikly.

Tetovalo se hřebínky se třemi až dvaceti jehlami. Barvivem býval popel z oříšků. Výtvory se natíraly kokosovým mlékem. Místními múzami se nechal unášet malíř Paul Gauguin i spisovatel Herman Melville, jenž v románu Taipi píše o setkání s tetovačem: „Vždy, jak-mile mne zahlédl, rozběhl se za mnou se svojí paličkou a bodcem a mával mi jimi před obličejem, jako by chtěl začít... Ja-kou ohavu by ze mne udělal!“

V BAREVNÉM TRIKOTUUmělecké dokonalosti se dotklo i te-

tování japonské, přestože jeho základy leží v zakrývání trestaneckých cejchů. „Pro tetování existuje více výrazů: irezu-mi, šisei a horimono. Zatímco prvními dvěma se označuje menší tetování, ter-mín třetí se vžil v předmoderní době, kdy tetování dosáhlo nejen mimořádné obliby, ale vysoké úrovně a velkoplošné kompozice,“ píše japanoložka Vlasta Winkelhöferová.

Až do 16. století byli tetováni renegáti, ale v 17. věku se začíná mluvit i o zkráš-lujících „kérkách“. Zlom nastal v 18. sto-letí s érou Edo. Důležité byly barevné dřevořezy ukijoe jako vzorníky pro teto-

Do roku 1991 byly za nejstarší tetování považovány barevné znaky na kůži egyptské kněžky Hathor, jejíž mumii lze zařadit do Střední říše, tedy mezi roky 2040–1780 před Kristem. Pak ale vědci objevili tetování na zmrzlém těle pravěkého muže z rakouských Alp známého jako Ötzi z doby přibližně 3300 let př. n. l.

Celkem bylo nalezeno čtrnáct skupin znamení v podobě jedné až sedmi čárek a dvou křížů. Převážná většina svislých čárek není delší tří centimetrů. Další tatuáže mohly být i na příliš tmavých místech či tam, kde po letech kůže zcela chybí.

Preparáty tkáně pod mikroskopem ukázaly, že technika tetování v mladší době kamenné

byla velmi podobná metodám dnešním.Další pozorování ukázala shodu

s terapeutickým tetováním, které se dosud praktikuje u některých přírodních národů. Značky mohly mít za cíl zmírnit bolest starých ran a osteoartritidu, kterou rentgen objevil v krční páteři, kříži a pravé kyčli. Devět tatuáží bylo umístěno zcela přesně nebo maximálně šest milimetrů od tradičně propichovaných míst.

TETO

VAN

Ý Ö

TZI

Horimono jako vyšité! Tradiční

japonské tetování patří

k nejrozsáhlejším a nejbarevnějším

stylům. Dodnes je velmi

inspirativní.

Téměř výhradně černé polynéské

tetování je pevnou součástí kulturní identity Maohi.

KOKTEJL 6/2009 7

vání. Lidé se krášlili draky či okrasnými kapry koi. „Na přehlídkách se účastníci uznale plácali po nahých tělech, pyšnili se jeden před druhým nezvyklými vzo-ry,“ zní popis pravzoru dnešních tattoo conventions.

Horimono čili „vypichované umělec-ké dílo“ bylo rozsáhlé a hodně drahé. Sestává ze tří elementů: načrtnutí (sudži-bori), stínování (bokaši) a dobarvování (šu). Je velmi barevné (černá, červená, žlutá a modrozelená) – přírodní pigment vznikal ze žluči, kurkumy, šafránu, pur-puru, indiga i sazí. Tetování pokrývá tělo jako kus oděvu, přičemž připomíná plášť, tričko či rukávy. Nářadím tetovačů (horiši) byly jehly hari v násadce.

Po reformách Meidži (1872) byla ta-tuáž zakázána, práce však pokračovaly a za vyhlášenými mistry, jako byl slavný Horičijo, dojížděla britská i ruská šlech-

ta. Samostatnou kapitolou je tatuáž zlo-činecké Jakuzy.

MOKO JAKO PODPISVyprávění o tetování nelze skončit

jinde než na Novém Zélandu. Žádný jiný národ s ním není spjat jako Maoři. Důvod? Jen tak někdo si nepotetuje ob-ličej... Mužská líce zdobila spirálová te-tování moko, ženy si tetovaly brady, ale méně se ví o zdobení hýždí a stehen.

Zdejší zvyky popsal roku 1770 Coo-kův přírodovědec Joseph Banks: „Jejich tváře jsou na nich nejpozoruhodnější, uměním mě neznámým si do lící hloubí brázdy, jejichž kraje jsou zařízlé a doko-nale černé. Tak činí asi proto, aby děsi-věji vypadali; každopádně jim to dodává enormní ošklivosti. I když to vypadá ošklivě, je nemožné se vyhnout obdivu elegance a pravosti vzorů, jež jsou vždy

jinak vykroužené. Ze stovek nejsou ani dva stejné.“

Vše v jednom – údiv, odpor, fascinace. Maoři bývali drsnými válečníky a lidoje-dy. Useknuté tetované hlavy, obsahující duševní energii, schovávali, říkali jim pa-kipaki, zatímco nezdobené papateas bez úcty a s posměchem vyhazovali. Brito-vé byli lebkami zaujati natolik, že začali výměnný obchod za zbraně, který trval až do zákazu roku 1831. Nejedna hlava dosud dlí v muzeích.

Ovšem voják, generálmajor Horatio G. Robley, byl i tím, kdo roku 1896 shr-nul vše, co bylo o moko napsáno. Přidal též 180 kreseb. Maorské spirály měly dle něj spoustu významů: vrchol čela značil urozenost, znaky pod očima genealogii, lícní strany popisovaly manželství, prostor mezi nosem, obočím i ústy individualizo-val a nahrazoval podpis, jako tomu bylo pod smlouvou o půdě z Waitangi (1840).

K práci se užívalo dlátek uhi, do nichž specialista/kněz tohunga-ta-moko klepal paličkou a dělal zářezy až do hloubky tří milimetrů! Srdnatí mužové prý nehnuli ani brvou. Každý Maor považoval své moko za výraz jedinečnosti a důstojnos-ti. Chcete příklad? Když jednou jistý bě-loch namaloval portrét stařešiny a s hr-dostí mu jej dával, náčelník odložil obraz s pohrdlivým úsměvem. A když se jej malíř zeptal, jak tedy skutečně vypadá, onen stařec namaloval ornament, jenž měl vytetován na obličeji, a řekl: „Tohle jsem já. To, co tys namaloval, nemá vů-bec žádný smysl.“

Tradice vyrytá moderně. Nejeden Maor, Markézan, Japonec či Dajak vyráží dnes do světa, aby zájemcům vytetoval

ozdoby svého národa. Bylo tomu tak i v Praze roku 2006.

Tatuáž a její umístění mívalo u Dajaků velmi složitou symboliku.

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1. Havajci 2. Samoánci 3. Tonžané 4. Tahiťané 5. Markézané 6. Velikonoční ostrov 7. Maorové 8. Tasmánci 9. Austrálci

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Tuaregové (55)

Haidové (35)

Kaďuvejové (45)

Piktové (60)

Markézané (5)

Markézan Markézanka Kongo

10. Fidžijci11. Novohebriďané12. Šalomouňané13. Papuánci14. Maršalané15. Filipínci16. Dajakové17. Mentawajci18. Malajci

19. Thajci20. Barmánci21. Nágové22. Todové23. Nepálci24. Tibeťané25. Tchaj-wanci26. Ainové27. Nivchové

28. Korjaci29. Čukčové30. Jakuti31. Evenkové32. Chantové a Mansové33. Aleuťané34. Eskymáci35. Haidové a Tlingitové36. Čipevajové

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Evenkové (31)Chorvatka (62)

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Thajci (19)

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37. Irokézové38. Siouxové (Dakotové)39. Osedžové40. Kríkové41. Kalifornští indiáni42. Aztékové43. Mayové44. Mundurukúové45. Kaďuvejové

46. Šuárové47. Inkové48. Ohňozemci49. Sanové (Křováci)50. Makondové51. Kikujové52. Pygmejové53. Jorubové54. Nuerové a Dinkové

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KOKTEJL 6/2009 9

TETOVÁNÍ

Tetování mně každé ráno před zrcadlem připomene, že to nebyl sen, že jsem opravdu

chvíli žil mezi přírodními lidmi v pralese na ostrově Siberut, pro které nejsou světlušky – alupepet fluoreskující hmyz, ale oči duchů, že opravdu ještě někde existuje místo, kde čas teče úplně jiným řečištěm. Ty nerovné modré čáry, tetované trnem z liány, kam mi šaman vtíral směs sazí z kokosové natě, slin a šťávy z cukrové třtiny, se staly kouskem mě, něčím nesmazatelným, stejně jako náš osud, naše minulost.

Mentawajci navíc říkají, že je potřeba zdobit tělo, aby se v něm duši líbilo. A tak nosí korálky, ve vlasech květiny a tetují se. Je to i rituální vstup do dospělosti. Obrazce symbolizují slunce, prales, siločáry v těle a nahrazují oblečení, aby se proti oblečeným cizincům – sasareu, třeba Minangkabauům ze Sumatry necítili nazí. Každá vesnice, či spíše údolí, má tetování trošku jiné, takže funguje i jako poznávací znamení, ze které části ostrova jste, což

bylo důležité zejména v dobách, kdy byli Mentawajci obávaní lovci lebek.

K VĚ

CI JOSEF FORMÁNEK – spisovatel

Viděli jste australský film Pia-no? Hlavní hrdina-milovník, jenž již delší čas žil na Novém Zélandu, se přiblížil maorské kultuře natolik, že kořen své-

ho nosu přizdobil tetovanou spirálkou. Odpovídá to dobové realitě. Evropanům, kteří žili mezi domorodci a přijali jejich zvyky, se říkalo Pa-keha- Ma-ori čili bílí Ma-oři. Někteří z nich projevili zájem i o te-tování; nicméně celoobličejové pukanohi bylo ne-Maorům striktně zakázáno, šlo o drobnější vzory.

Dobře známy jsou v 19. století osu-dy hned tří takto tetovaných. Fredrick Manning byl osadníkem, jenž se rozhodl odvrátit od civilizace a přijmout maorský způsob života – včetně tatuáže. Takové-mu zavržení vlastní kultury se říká sekun-dární etnocentrismus.

Dalším byl obchodník Barnet Burns, jenž byl Maory zajat, a protože se jevil jako užitečný, bylo mu vryto nezrušitelné tetování, svaté pouto mezi ním a kme-nem: „Mělo zajistit, abych s nimi zůstal, staral se o obchod, bojoval za ně a cho-val se vždy jako jejich druh,“ popsal muž, který se později podepisoval jako „náčel-ník Maorů“.

Stejně se označoval i John Rutherford, který se už roku 1828 vrátil do Bristolu, kde šokoval barevnými maorskými rýha-mi ve tváři. Své vyprávěnky stále vylep-šoval, což přibarvil dokonce i „sňatkem s domorodou princeznou“. Vystupoval v cirkusech a varieté.

Podobný osud „bílo-modrého“ podi-vína potkal již dříve Jeana Baptista Cabri-ho, jenž ztroskotal na Markézách, žil tam a roku 1804 jej Rusové zachránili. Spolu s Edwardem Robartsem byl Nukuhivany potetován od hlavy k patě, čehož využíval

na prknech evropských divadel od Mosk-vy po Paříž.

Slavným šoumenem s notně „prášilov-skými“ historkami se stal i James F. O´Con-nell, ztroskotanec z Ponape v Mikronésii (1826). Místní lidé si jej a jeho dublinského druha George Keenana oblíbili, jen se jim nelíbila jejich holá bílá těla. Brzy se měli dočkat nápravy, když byli k náčelníkově radosti hustě potetováni. Ač si tu Ir pořídil i dva potomky, při prvé příležitosti, když v zálivu zakotvil škuner, z ostrovů odplul.

Odvržence a tetované přeběhlíky na-jdeme nejen v Oceánii. Už roku 1511 ztroskotala poblíž Yucatánu loď. Byl na ní voják Gonzalo de Guerrero, zřejmě první běloch tetovaný tradičním mayským způ-sobem. Stal se zajatcem, otročil, ale pak konvertoval, oženil se a dokonce válčil

proti španělským conquistadorům! Když měl šanci k návratu, řekl knězi: „Bratře Aguilare, jsem ženat a mám tři děti, a když někdy dojde k boji, zdejší indiáni mě mají za kasika a kapitána; jděte sbohem, vždyť já mám tvář tetovanou a uši propíchnu-té. Co by o mně řekli ti Španělé, kdyby viděli, jak vypadám? “ Zůstal. Roku 1536 pak byli Španělé u pobřeží Hondurasu napadeni skupinou Mayů. Jaké bylo jejich překvapení, když po úspěšné bitvě na řece Ulúa nalezli mezi indiánskými mrtvolami i tetovaného bělocha – Guerrera...

S původní tetováží se na vlastní kůži seznámil u mississippských Osedžů i ná-mořní důstojník Jean Bernard Bossu (1762) a v Barmě zase Jórgos Konstantin zvaný Princ Constantine, jenž roku 1870 šokoval při návštěvě Vídně.

Bílí „domorodci“

Albánský Řek s pseudonymem Princ Konstantin si svá tetování pořídil v 19.

století na cestách jihovýchodní Asií.

Domorodé tetování se stává stále více oblíbeným i u Evropanů.

foto

: Pet

r Ber

ouns

ký

1. Horimono je velkoplošné tetování mimořádně vysoké úrovně a znamená „vypichované umělecké dílo“. Vzniklo v:a) Japonskub) Korejic) Mandžusku

2. Jaké obrazy si nechávali na tělo vytetovat japonští hasiči v období Edo?a) kohoutab) kapra a jiné vodní živočichyc) oheň

3. Tetovací strojek byl vynalezen v roce 1891 Samuelem O'Raillym. Předcházel mu však objev elektrického pera z roku 1875. Kdo byl jeho autorem?a) Alexander Graham Bellb) Alfred Nobelc) Thomas Alva Edison

4. Jak se jmenuje vrýpnuté tetování, které se praktikovalo mezi domorodci v Ohňové zemi?a) hatetéib) pantangc) tedek

5. Brazilští Mundurukúové prosluli tetováním od hlavy až k patě. Bílí dobyvatelé tyto muže nazývali Caras Pretas. Co tento

výraz znamená?a) Duchové pralesab) Černé tvářec) Řezači hlav

6. Tradiční tetování dodnes nalezneme na Borneu. Kmen Kajan se od ostatních ostrovních kmenů v tetovacích praktikách odlišuje. Čím?a) Tetování neznáb) Provádí velmi bolestivé tetování genitáliíc) Tetování zde provádějí zejména ženy

7. Jaké byly oblíbené tetovací motivy u Keltů?a) Zvířatab) Spirályc) Hvězdy

8. Lidé si často nechávali na tělo znázornit zvíře, jehož vlastnosti si přáli získat. Jaké zvíře mívali na noze vytetované zloději v Barmě?a) myšb) kočkuc) psa

Vyznáte se v tradičním tetování?Svými originálními tetovacími praktikami se může pochlubit většina přírodních národů světa. Tetování mělo řadu funkcí od magických, rituálních až po léčebné. U dnešního tetování převládá v naprosté většině funkce estetická, přesto ale neuškodí připomenout si některé tradiční praktiky, jež přetrvaly celá staletí.

9. Američtí Upsarokové používali k vpichování barvy do kůže části jednoho zvířete. Jaké? a) Chřestýší zubyb) Krocaní pařátyc) Dikobrazí ostny

10. Stará maorská tetování etnografové znají také díky českému malíři, který na Novém Zélandu na konci 19. století namaloval asi dvě stě pláten s motivy tradičního života. Jak se jmenoval?a) František Ženíšekb) Artuš Scheinerc) Bohumír Lindauer

Version Section

2

Tattoo Designs & Stencils

The following images are for inspiration NOT replication. Most artists are happy to copy a design that you bring them but almost all can customize a tattoo on request. Use your imagination...

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~ u c k Spaulding

TATTOOING A TO Z

(A Guide ta Successful Tattooing)

illustrated by Ted Nwdan

TABLE OF CONTENTS

IsbloofConfonLs

Chapter I Chapter 2 C h r ~ l e r 3 Chlnlcc4 ChaDter 5 Chanter6 ChaDcPr 7 Chamor 8

Cha~LerD Chnplcr LO Chapter 1 2

PART I -EQUIPMENT

Machines and Po

PART I1 - STERILIUTION

PART 111 -ARTWORK

PART N - TATTOOING

PART V - MEDICAL

Fin, Band2

PART 'I1 -THE SHOP

ThrhllmSIudlo . . ... . . , % > PilcPr and Seliin8 . .. ,136 Burlnerr Practicer . ......... . . 136

EDiloguo . ,141 Ahnut che Author 142

CHAPTER ONE The Right Way

If is imyorUnlLolearnrhend~~rwfrnm r h ~ v e r u ~ n n x n a . Y ~ ~ ~ v C h r r o m d U l t s bookrio~~corer tricoverar first toget mxdeaofvhat ~ ~ r m ~ ~ ~ g ~ ~ ~ i ~ a h ~ ~ r . i . ~ r ~ ~ mu can su Dark israch chapter and vrady them more car~lully Un~o~~h~~ni~h~~li~h~~uconrldrr~llistharYoUarepli~ptobea~mLuiiiiI.Th~~

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" Y mar want Lo bllnu-"0 thlS illlot ~ 8 t h one Lhll ,,rr,, l">,h rn,a,, h".lnprr , llCPsSllCh V bn*kerpinp. ux* . I U t P IBU7. EIC.

~ r t t r n > n ~ is anzque bemuse nr that m)rtcriour e ~ ~ m e n t pern>vlency I ~ ~ O ~ W ~ O . Thli d n u s rlinlr i ~ "P l i . I s 1 and also niay krep somr r i v ly Ar t I IS, when a yrrpol Y'"rkirCnl3hr4, ~ I r a n n n l e l % l l Y l ~ e r e m o i ~ ~ l . O n e 8 i ~ mmrrl*ir.and yni~'vphnrl !,.The Curminrrr snivnrk is i lii'lnp lrrllnlii,lY i , f l " , > , hklll a. 8, lrrrnnlil an,, more ,ha" ~hk,.ly tix.y nlll hmnsc~nineaar,~uatrl ~ ~ ~ i t , e r c ~ ~ r t h ~ , ~ liver

A TATTOO IS AN AIIT F<lR11 Am rm cusmmn is riie w~v.4~ ThrqllllllVnlYOUriwc3ik l l l l depend irri(elyon knnwlcdge,slci!c cncir.techninllor

mn hmv m isre t h ~ m the nat WX?. . ~ r r r u r r mlii~.~ pprbrt.-lnr~ ri,h tile riaL n t ~ ~ i ~ r n e s c ~ m r u c o t k n o r ~ w i ~ e a n ~ i ~ ~ ~ ~ ~ ~ i a r t ~ r u d ~ snuirl~lrreniira~>~hnrrnnphnt setuVrm* IhrrruinlrIhPOlillS inY~lir ia~ncThrnblci! i~i l ihrqrefiinr.;nt# v#llfinally b1.111,. t.rr, ?t.l,.In-.I"lilll,l,l.rU.,"

CHAPTERTWO Tools Of The Trade

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ShoD Furniture Work Table - A m?,*urn rlielrhieil lnc>l~,~m r r g l n lop Inrpa,,erdernmni.) n, hlilll

r,<m,n,.e,C,, vhlir ir,,ooln.

Bench Equipment Adlululble Table Liyht - To grl a nvnll lhol ar %.hat yno arc dorng Irnm

("on<%<"* nu,,mrmt ,ixhc I Paper rnwels ="n ~ i r p ~ n s c r - or r t ,arrw nfpurp,isea ,.om n D l n g up lo

'I.i"i"X ul,coos.

sterilizers "steridave" *uroclnuo - FS,, -ante dress,,,pr a d qvlpmenr i l l l s must W a n 0 Dri-Chrp - Table Inp St~nliler posches to c h e k st~nlming Llmz3onie Clranrr - Clnns ail rP5lilue lmm tube.. needie%,zl~. mtraronic salurion - F~~ rlth C I C ~ ~ O ~ ~ C C I P ~ C . L7lr~~onic~ayand.WarhineHold~r-Sahmmibletraybttoholdroolrinvhil~inih~

,',Crn~"","?!","".

Tools mom Ma<h,ner - A, ,ea3t three are "Ad, later b"iidlng up Yl u many ar ten bmcnr~r~cl"ri"elyhrrhainl.olhPm,u~hrlining.Pulso"rw~onaim~*son parhmerh,nP,oajm*wa~pu,,lnertu~.on,in,n8m'ch'"eiandsh~erorbeson shaningmrchiner

%no" Pa*- A" uwrtmenc olparL5 for anyrepaim. n,kr - Extra ,,,her for mschlne, ruinlrrs i red Needle Bars- L inersandih ld~n . 'iou rlll need man.Voibolh. Proshaped alrupOlY

hour* h r you Bunl - m i i o n is immrunt b r proper utlooing. ~ ~ c ~ ~ ~ a u g e - ~,sra l i lurt l~~gconwn~o,nm.

pnrer Power Unit - To run mschines. Clip Cords - Ths contlcr from unit lo machine. F~~~ switch - ~ ~ c o n t r o ~ rnarhlne without vs~ns hands.

Needle M&w So,dp.ingG"n -To ?dder ne*dle. lopelher a",, m rolder nwdler m ban. Plain xeedl" Bars - To rsce>vo "*dl@ VOUD. spenle.rr - m rna~ke mrrrrt nrenlo rmuur

B u J i 8 -mC""Y'" Dllccmenl al.mu"r with ham. Smiabsr Solder --The snidl.nn# mpclium mePzec9 - T,, ,,"Id w"rh. Eye l . o u ~ r T c check work and nredler

<,","."T,~,.. rn.r., ,., . " . , , ,,,... " 8 . . - . ' . r - l ' > 7 s - 2 1

, . . . .,,, I * -, . .., . , . . . I.... ",, . . , . \ 1c.., .,.. . ..<.. I.,., ,. -, I. , n r r ..., i > . ' , ? ! n r c c _ , , >, . .....,. . . , . . / .,, " .~I* . . I A , !

u,"..',,",:lar-'., ' . ' , ' , . I , . '. ,,. " I , , , , ; . :,,, . I"- ~ . , . , ' r . . r r *,'i..<i.' . ~

Part S<>I,,,. PIC Carbolaled '-,in. - Fnr rtenclls rind s lm. *ntibiotic Ornrmen~ - Such as Bantracin, for healins. G.?.,, soap - C I ~ ~ ~ ~ ~ ~ ~ ~ ~ DWS not ~arilire.

i T~nmbr "?pre.aor, -To applYolnim<nll OiSpOsablP k o r s - f i r SVl" ore0

: B u d w e - Fa. Llltnal I l u d i Wran - For tlttm? Rospifal Taw - To adheredrerrlnijl 1 Rubbins AIcnhol- DlsinlecWnl lor cleanups. Does oat Storiliie Srilrors - sw,n,.aj h0.Pital qurllw liemoruur - Slr~nlorr harpiml nllliiCi ~t~~~~ - svrFlcr~ latex ploier h r urrooing

- 7 ' 8 ' . . ,., , , ",:*..,: , . , , 4 . . U I I . , T.*

,I e... ,."., 3,. ., .t,~",, .,'. ., . , , . A , . , ..,I . - ,,,.. . 7 " . % ' , .,'. ,*, r, , . l " nn,, ..., ' . ., ,'.. ,.., \ . . . ~p . , . L . . , . " . " ~ . .. ~ -, ,,.,, .,, .,< m .

< . . , I , .I*. . . . , l- ..). . , ~I I . .<",.. " ~ ~ , , . , ,..., ".<

- . .. . . 4 , 2 . .. " 3 3 , , I TT . , " .. rn. " 5 , ~ ? . , , . a , . % & L C . ? ' . " f f t . , " r * . . , W , , , . ~ , . , . \

,/ * ' I I,, I..,," l.l.,,l.,ll. , ,.?.1..11, I , , ..i,, .. , ? , )

".l l.rn*". ."..%" . . r n . . , , " .. . .h. . .., , , .?,

~ . . . ' I , ., >, ,_., . " v.1, 1 . n l i . . i., ?. ....... , . U , . . > , . I , . . > ' r \ r , < , . . c . ? ,,',,, <,., .,,.. . q , , . , , , r

8 . . , 0 . .. . , , . .I I . . , ,,,., , . . **s. 1- I I r n \ . i n * . . I.... .,,..,! , I... " ..;., ,. ., r , . . . . ,. : 8 . . . I,. I . " e l .- .I" , , ,,,,. . I , r . , . . . 2 , , . . 3 , . . , . - ..,,.." ,,o,,, < . . > , ",<?...>, .,?" .*.,, ~ ,,, ', , , . : L . . ,. 1 1 2 1 . 1 11, 11111: ,, . ,,,,, ,l,i.

rithna po~illon, lay lhpm dnivn oii awelghcknch. The U'eiphf bench works well for rhl~rlnlsi.*s slomarh5 I r a ~ : ~ n ~ l h l ~ b s ~ ~ I ~ s Yn~sh0~14mn~e lhec~s tomerwhhhhhhh

CHAPTERTHREE Machines and Power Sources

WORKINGS O F A TATTOO MACHINE

Mashine iron.The

electric magnets

magnet. lt gets ,wiled down and the needle bar land "eedleri anached to t movedawo.Ar bar move3 dawn, the contact points reoarate and breaks thecircult.

@ When$ba When the bar SDilngs "D

circuit breaks. the point3 ,he bar make contact roringr back and the ".?The Ci.~"it lSTiP needles move '9"". coils UP. become

magnstlzed.

TATTOO MACHINE WIRING DIMRAM

I. PmnlSyoni: 2. W&?h-r- 10132" 3. Washer - R13Z.. 4 screir 5 RearSDring 6. Srww Rinder Head - 3314 7. Screw Blnner Head - 314 8. Extruded WL3hrr Black Nylon o solner,ns~~ir

10 cm,CilnmrL.%r~w L a . C n n t l ~ f Screw SferiingSilver 6132 x I I? . "ln.i,n~PosL lii Screw, Black Nylon.8192 x L I 4 84 Rvhhrr """dl l 5 . \ lach,nemme lii. Rlnder Srirw(?J4) li iV.miiar, Blackh'ylon. Flat is. Ban,, Hook 14 SCrcV, Flat Head Machine. SLliniorj Steel. 8132 r li4 90 Screw - R i l Z x at4 21 seedlellar 2' UwlilPnlbr ?a i u k c l o 21 Canaciloi P i Steel Shlma 26 Marh#noCnil 21 iiorniul Tape 28 Armslur. Bar 29 ConLlctP"lni(Sred8n8Silver)

TATTOO MaCHINE FRaME

aI>rnmeni w>& rrrherrlR) G. Csoadror 1'1) - Urllallv 10. XFD. "5 wlLI ~Undard. Can be Cued ro any

SPAULDING [tROGERS"OUICKCMANGF MaCWINE

One morerrYaoirnarh#ne~hould be m~nl#onRi.Thr vorvla,estrureofrhe-rrlm Uitt,x) mrchillilr thpsnavinlnpd ~ ~ ~ ~ ~ ~ ' ~ ~ ~ ~ i ~ t ~ ~ ~ ' ~ ~ ~ i ~ ~ ~ ~ ~ nitally diilerPnt i n nnpmni * and nmrnn.n than ,hC rc*,,,ar ,ail"" mrchlnr. ILdrl l ipn mnreemclPnr n"e,,lc ",oiPmenC, r"nrrnloolhrrmd ilrtually nnlsrlprs .mn ir r,,nsldrnbly ,,Uh,P. inwptar * lsnmnnteuLhhI~c i i t ts t t I hhhh,thcR~uoluuonum~cdhh~nnnnnnnhI~ h l a " " ~ " " " , k s a . c , " " " AhleadVmmge a,," is rhrlrck n f r u h i r r hands,8s ihlS mlii l lne "tlllzr.r ,'s'en,a,ac,l"n cam lonot o,.,, ru,,p,y m n i ~ m r n , . Dl,, ailoo,,r.urr.l?i,dci the rp*,,* i,vr This ,"rwmachinPir chmgnil ,I,? WIL".i 1.ciuilr.ln.l ,r W,.ih r.hr.uiir,lnul.

Clip cord

Hole in underride Of IDrlng brace an ,ram.

/ - - - -

Detail Of rear trame

~ai too mh-hmes run on dim cvcrenr in thr kg,nnini: you may to balteiyseL-il~. They are limr,le ;mi$ chcan at 6151 The dnuback 8s fhcy hawe lo be rnamta8n.d and 'haiced

A rhpnsnt mounten on a bakelife panel oronnpli urth mnnwting porrr may bo mila able trom your ratroo su~giy house

POW< ~ n i c ~ mmr indinerent rizrr. BUY the best one that you can arord. A gaad pOiversvpp,y is v e r i imprnnr.

Remove b m o m pane1 of unit.

attach correslronding wirer to

counterpa.fls "Ilng

alligator ciips

~ e n s h mount

Switch board ,,."el mounted on

desk ride tor easy use

32

POWER UNlT HOOK-UP

D.C. power unit I A

Jack plug for Spaulding Revolufion machine. Do no, plug any other machina into this

Footswitch

BATTERY HOOK-UP

"err, lineUDrheconucf soint inrdiiecrllneoverrhe nl,,Dlcnn th* armature bar and,ighlen rhp",,"e"p,hei""Urlpol"f""Ihel.0"rrpr,"smr*,r~cill"erllhihe """DirtslrrW The rrar \mna ,ho.id be .nu* 1U*i",l ,he rrrr screw in ma*caroi. T~ghtrn mar r r e v The conucl rcrew irninii lo One O'CIOCX, when yiiu hold up ihc n,lChlnDan,,~"i",fhPr.~"t~t"b~end) to y""rl?ir.Ir iainrhlrporlllon wnPnrt Isnew and lh""ld *a> m Lba Iulitl""

~ t i a ~ h the clln cord m ynvr rnkrhlne and turn on your oowor park. Holding the marh,". errnly ," your ,en hand i,y the ira",.. slowly turn rhrcanunicrow d n m (ciuckwire)~omeerrheconracr ~ o i n r o n rho nonr r ~ r ~ n g ~ e c r r s f u ~ i o o n l ~ t ~ u r h t h e contnrt rcrew by the rllhkr t l P Y I il WII IhOfkYYY. if th9 lYbberilP l rnilSl"&YDY

can a p,we 0 , e,errnca, Urn around the en*, or even a rubber band in an emcqonc?

CONTACT WINT ALIGNMEM

Silver

contaET ssmw

lis you kpp,hp roo, ~ . d r l ,,"$h.d norm s,nw,y turn I!," CnnUcl rmwdom lo

meer the conmcl ~ o m r Ylllr machine will r u r l to run xheli the cnnuctrpet close eno"lh,oBP,hPrr"ml*eaciii"ii *gPnPnlruleollh"mbisihhhhhh~zPhhhhhh"hhh rhldpr pninll ivhpnyou push down on the armature hlr #I the thicknrir 01s nickel. Theerp Delwcm Be llnlllir on lile lln~rrhould herbout the Lhilll>cir o l r dime. Nirkrl shldrr d m ? ,inpr This nlrirnee vlll chanl. ili#,llY WLh each marhlneand Wit,> ti," ShliW the 5Ci"S' i re in ilth.Y are weak, ynll cm c"mVP""'e hy lvrnlns OD,"" ,he conlarr a I>,,, no, im much This rneL3ure har to k doon ~ 8 t h the maih,"c "A&,",, ,he armature hni ,,el,, 8" the do-." ooi,t,on on n machine u7rh h~~~d~l(r~~ili,ihlsm~ltur~m~nfmzyhc0oahlrtl.:~n~~ihrruartodolLl~toeyCball ,hedirLlnre,h"rrma,i,re,llr,s mu. l l , " l . rs rhr mrchlneruns, rhlleyouadlurtihe CnntlCLrcr*ul"hm ,hr,,,r,~nc~,hrarmaf"rehrr,,rnvrlllnl."andnown 85 amur themmedlslmceirr~<Iiiiiii"iii"1,nrpFn,linii,lnwhlchm""hhhhhi""iiii""i"ililt thetlmr, ,hi" yo,, i m n * i

Thlelner. should bs checked when

CONTACT POINT GAP

CHAPTER FOI!R Setting Machines

K ~ ~ ~ n F ? ~ , a r ~ y v l p n l P n i nlnninr(iminthlr is wew irninrmtand wer more ,ha" jarla irulr lurk 6111 ill^ IO ill!derhWndall arnerlsuifhemachmcsand how to tune ,,,.,". .. .. .. , .

i>neor~our liurmcl r x l l b. to check rheconracr mznr~an a regular barla. K~~~ ihP ~"lrnlial!li I h ~ m n l i c r scrprr in Bmd ahape m they will make$& "conlart"

CONTACT POINTS OF TATTOO MACHINE

There "uconta"" ru,,acer must be cleaned and fled smooth.

MARKING BAR AN0 COIL

S~rtng assembly

Mark an armature bar

Machine 'ram*

Mar* 0" Coil

Remove the rrrew that is hoidini: both rptingl to th? lrmrture bar Fsrt. our the screwhack m ihehnlei" the r-rlpnngand rlrrl ,,lnroihearmaturebar x*erur. you still haieholh ua.herion rhesiipw on mo,rmverherprlng. Yexr, put"" the rmnlrDrin& illaiins $ton Cop of the mar mrlngancl under hnth rarhcrs. This lrllnl spnng w11~ilsr riine on the-rpv ~iet~n iinerr tashi. ~ c r o r e rep~arnngarsemh~i Uke lhlr oplxirlllnlrv lo h l lRy0~r C o n l r l ~ t s c r ~ ~ v , rmloblnslny mm. Toro~llrce~hearsemhlxrliderherears~ringunder~helaosen~rerrrcre~,maring

sure the mar rDtinz IS back all Che uay ananst rhe rrrev m d under h t D wa~hers. Tlhlenfl"Ber,,"hl

TheiD,ar(Pr,ng~ovld come from oncar dlortheaboue. Ifone ihmgdopantuork. Irysomelhlng else, ""ill you nsure ,,out.

I!".,. < . , ,, \ a . ,..' r < , 4 ,, r.. 8 . . : ,..* ',. ,.,. ,. I . ) . I . . . , . r. . ' , . . . , . * , V ,,,. , . . - , n-.... ,,,. " .. 8 , . . . . r . r l . . . \.,,..,.. .. h . 8 .?.,

, , . l h l .,,,. . . I . . . . . , . . ,,., 2 0 , .,, I . l,ll.,' , r., 1 .m. . , ;,, / . , . , , * , .,., ,<,.,,,,,,,, , ,~, . , , , A , . , " , , ' , ,., ..* . , . A . a . . 1: ,,,, . , i f . ,, , . , \ I . *

, , . . : , , . . r . . , I . > ^ I . \ , .. 1 1 1 $ 1 , 1.- ., , ,. . m l , . . , . , : , ,, , . . &. . . , 6 i*. .,*.,,l/. < .., - . . . ,,.\&, . . , . . . I . . , , . < . . , " . , 5 , .

-. , ,,.., . ..,, . .. ,, . . .. , , , , . 3 , , , . ^ I . , , ,I I ., , ..,., , ,.. ,<." ,.., , , < C , . , ? , .

. . ,. . T . , .. , ..., , . I , , . . ? . b , I I . . ' . " *',..I, s i r ,.. - _ . , . . . , . . , I .. . , . , . . , 1 . . . , . I

i n , , . * . . <

COIL CORE SURFACES

When armature bar r deorerred, armature bar does not touch the

/' rear cot core.

7

men the mach,"o ir runnmg, themature bar 1tnXe3 the front core or ,he fin, Coii,butmustnorbeallowdloto"Ehaererrror.. ,li,doos,nlc,hitoAUlemrmre ~,.#>..-

FRAME ALTERATIONS

L 1 Fmnt view

you replarefhe rearrpnny. ~~ncoi,saisrerx.hsreyouwrntthem,ddadroiro<,lq"idareadto~.m~hm"~

rc.ex,rha,art,imo~ou ,urn ,hem !".?hi. w,,, uruiea,ecareand llahli,t.mircan also bedone *th the morciarr LhaI haid the msu.

If you chooa. lo r ind F u r own tour, use ,2, ,nru,nted mawet *re and a hand turned ro,, wn*er "re a Winr me tokcspIXllnIJ Clean

r- Rotate contact screw for progar turning

CONTACT TUNING

I., . s.. i , i . . c i ? ' . d l . , . .,,,,. , "* ,.,. r.r...9"?< . * , , \ ) 1 '.I. 1'. . , , . " C C . . - > $. .."!,>.. \ ? . , " , 3 < , , P . ~ C +. , "?

A?,. ,, . : - \ c #...., . ",,,\, D.,,.~,, ,, ~ ,,,, , r . : . t , l l . l - . l . , " l , l r . .I :> , , A % : >,.> ,,.. 1 , , .?. ,L,,, .

CHAFTER F l l F Holding Machines

. . . . . . ,- .., ... , . . \ . ,. - ~ , " - .

,,,., 1 . . I) . . ,, ..&. , . d l , , I .I .i . ,... , , . , I : % . . , , . , 3 , ' ... 1 , ,.,. m , , - 2 . ,

, . . r j l . . I . . , , . < , , I ' I . . - , . . , . I j

. . . , . , , . , . .. , , : : I .. , <. r,,.. ,. ,.,, . .. , , , , ,; ., " , > ~ . , .,. , .. . . ,, ,. ,,,.,..,. , ,, " , . . . " P A .,,,, , . . , ? < .,.. ,-., > , , , . , , , . . . ,. I,,, ..... I , , I , , , . . , . , n I , , , , I I

I.., ?. . a . , ,, ~. ,,. ,' . ., ... : , ,, , < " a . : . 4 ,, I,. .,, , .. n. , : . 0 , , . 1,..,.,1'. 111. 1 . 1 . 1 l . l , r l , . , . I . . I . . . , . , .. ,,., . . . .

Mac, ooer 45.e

Psi", IwlnQr on pivot

When ,nllmm1. ,hr.han,i rerlron ,herkin.,"rr I l k ~ rn,in$wirhape..Th. ,"be is hcid 71, LhF hrnd l ,*"rp"nrn,lrheiesialthemachln~rsnai"~ly hehlndnndabove rheknucklrr Ti>rDalm,llihehrnd.r~~.,l"nrheirlnorIhrbvroith~ra.k.Thi*ls a ~ t e a d i p ~ r i l i o n mO creates fhhh hhhhhhhhhIy~~1led ' ' i b e y ~ l m a l w a y l C-5 Oowi fimianii then l i e msrhlne ir ilrouyhtilown.

Themachine is m l w d amunrl on ihcsk#n lhy u s i n p t h e ~ ~ l m u r uivoL BY 3-#din8 Lh" hand ,I" rhlr palm p,ror. the "Inchine .wlnm earlly inro purltian. sometlmrs rubblnga lbIIleirrb,ilrlen vaseimp on Lhepa,mmd >sue finger maker a a Dlr easier J v r i m i k e ~ l l r ~ tm much zs not 0°C an rocruse sliooin#anri -lidin#

CHAPTER SIX Setting Tubes

This chanter rsnuirsr romr carer", SIUdI aince If coven a rlmple but impu-t nroimas. Thra~rocelr l i p b l l l i n g n ~ ~ d l ~ harc in tubpiand adjuidnqchetube, bar md machlnr far prnpei tartmine Thl. Wili hecome second naure ahrr *while. Wovor eve. rush ,his Dmcsrr because ,,lo"'." no, paling clasp aoenrion to what mu are doing, the neeliie tll3r nip gomna Lo get ill d r m ~ e d . You are gulng fu have lo do ihls e v e n rmme the tubes and needles "re rtenliied and the machine ha3 lo be wtb lcr tngethw I K ~ U E ~ ~ C S S isgoad and piaper~pn~luu,ln ir~~nne.ynacov~ni~pr5;em~~ing marhlnes reven, rimca r dry ~~bnsandneedl~srhnvldhest~nl~r~3iheliisrri~ing~nthen~arn~ng.a3rembiedand

Wr?l)DSl ill <,ran Llalur ""lll "*rilrd lrtei m the dry sinre thlr prmess IS done roc P r r l laIl"n~rier,lizalion, r;5emhl,nslile lube,, nerlilclmd marha,r,l, 8, isewy lo see huuapern,nwouidrurh lhlrpn,rerr.er,leF,rllyiip*,~iearei.rinng(lnrh,sdsy mn nre, you h.V" a" abilgrrlan f" evrn eas t"m~r ta be sure ,bar t l l lS piirPilvre 18

IIO"PI,I..PLIIYI

Thekeyista berbrllvtely ~amillrrrifhihe~~rr~clrr~~mblypruce-ranilma*~ita Doin, l"c"ncmt"lci"~ry urn. Ih. tube, arerssembied.

Xvir mnchines hnughtbom runpii~rs shnulli l r r lve p m ~ e r l ) set-UD, bur the tuber anri "rriik* are not airrlle. They st,,, have o, k ,l>sh.xmbled and ItPrilizPd. ThPY Shlilli,i b"it"illr.tl LO set rrrnilll. WlLh r prvprr,i rcc-up mrihlllc. I, I S ago.", Idea Lo buy rt l e i s t run nlihrhlnrr in tile brginnxllg. T),ls wry one w ~ l l Derirrady usembird rn>m ih" manuraetureru~," Uke ,hrr"i.,.nd OneapartThir Wll b e a g n d guicie in chrr YO" lorye, how lhry go ha<* l,lgelhPr Hoprrvllv m y """i"ll"" hrrr Will b. n-ilidrd il.ith the in6rmai8an prebenu~ci m ihma chlprer

%Xra h,,lci o i r n~s'Lliioomachale Wll i l r i ie lvbc m Lheieiland LhecoliagoingLo thenilhi, lelssrildyrioullholth#ns.ZUilly LhoPrrU D#ilmrnlolrrrnj~#hi whatan rrrnrsure bar igr,np\, colii and cnniacr mlinli nre horico the spring and conLlcr po,ntron Cheirmrrvre Drr L,hS..i"~ rhr l lx lpon ih"enllarthe needleharanliwhpre IhC LukenlFrr I,," immc and rhc rubh". bands Findhchecku", ,hetub. tip x*lh the needle l r ~ b rrlmclrd lnridr ib rubeend. Xow llillydcmrrri iherrmaiure bar nga,nstrhecolls Theneedl~,m~.e*nmua~."hrenerh~gnpbeingcieaiedby*e ronUripolnlon iherpilng belngnpamied From Lhcconiarllrrerand Lhs length o l Ihcnrdleir ,aiha,arrc"m,n~oul,md k~,ni:er"oledollIalcheiuhrrlli Thlarrrhs el9cf"cai mnuon ofrhe ra,to,, machine when it ,a heingoperate*. Get tamiiiar Wl*

Ihms mollon rxld anderrUn4 it beaure #I \w#I I comc m handy when dlrrrremblv and

. . . . UP

me rrppanpr~hp loci ,crew is li,asmezi ir m ~ r the rubhor banlli u iro~the np.*le har PlCk,h.rn uy an,, or*r,h.a"~ilFi.~rrnll place them arnundihecanlael rcreu, out oilhe wax

L f rubber bands

whilesnanging needier and tube.

binding port

, ̂! r . . ' . " ,.., '. I ,. \,...*, %.. .,,, , , , , , . > . < . . . l . * . . ,..,.. :7..? . .,,,. ," * .. . . . , . 1.- ,,,.. . : ,i., i v i e . , .. . . .,I

Notlcethallhe npniicbarhsr~loopon theend ?hlrl,,t?nrii~roveiaplecaotUpe molded onio the en* nlfhearmalur. bar ( I l thr) la",. i,n..,\ rry,rc,w. uio s Pieceof wh,siuwcirlolh(ayrrbouloneinchlonganllmlllli,lrnillllriihPhs.~Th"iY"Ph.l sn"0pen"enO. When mrchlno irfacingiell(lanenn lrll.cr>#lrand lramelorh~ nghL1. fheopenendofthe,nnpird\v~yrawaylromy"u("rrII. .. Il,.lll\lillghriron,YleW the too0 'E alwayl La the ,kit,

when holding mschine in front vtew

FRONT VIEW OFTAnOO MACHINE lmachlne facing you,

" ., . . . , . I < I . . . , ,......,.. .,,.,:, /,. 1- . . ., . .< ' . .r:,- ,,' . , , ,,. o \ : .. , " t . , .. ,,: , , t . ,

. I , , ,,,.,. . .li . . . ,,,, . ' . i ' . ..n,n. . . , * " , , t . , ' C . . , , < , . , t c . ",,. . t .,.,,.... ..,,*

. ? . . ... I . . I"...., . . , ,. . I . . . ).,,.,.:I._. , .

Nsedle bar in lube

cut-away rec,,on

Detail Of

h cutaway

Needle arouo on

When in thetube. needle bsr is on top of needle group. Needle group 'id*. agsinr, bonorn Of tubs tip

CHAPTER SEVEN About Needles

Onoofthemostimoormnlz7pecll ofall Uievanaus mffhanicr in taftmiw. would k the tartm n&!e St~rili?df>an 8s ~mnorYnf, rhr marh8nes are impvrunl and design. are >mporUni Rut. the iai,n n r d l e mi ihs only lm* beween SO" and the c"llomer rnd s ir there where a,, althr other flclorr meet Wlth the Ski" Kedlcr arlvally ~uncture the rkln and lor this rehron they nluri be Deriecl, absoivtnly nrw,erJ, sharp, 5rnialghta"d ," ilerrerr connltion.

NEEDLE BARS

Lvlers aremucad t ier ly together mdoouUinlngrifh. ShdenarpgmuW "PxILoPach"iheltndoihadine.UseUle kSIneellleBsndneedle bsrjrnunevcan b"?. Theyare rhalimmilanl. Donlmeillrounn Wllh ln.lcanri"e nepdler oriale itpms. Hid7 9~l"lltI needles rre easier an rhe cvammer(pa!n m d heaith Waeland on you (ma*in~lh~tzflovr.ieanorandrhflovrmr~.Theynrenotrhatmurhmoieex~Pn.,"e.*rn man-r of k t . the best needlcsand hrri in theworld rre nor that much adl. hn' t c ~ r n p i n m ~ s ~ on r h o r aema orsou WII n c v e r ~ a e o r x l mrtlniSt.

~ ~ e d l e m a k i n g m ~u~irxsanexacrrcionce.~hirnrhr p r o c e ~ ~ o r a t t u a ~ y i o i d e ~ ~ g Lheneodlr~ioup~io~~lher~runilandlhensolOerin~rhlruniilorhrne~dl~harii.~ m~tonxn, YOU ir~rl no iiuvht bdalngth~s yClurrPirln rhr hrvre ~ h ~ ~ ~ n ~ ~ ~ ~ ~ ~ ~ ,r er~lnned ind~Ul1 inthenerrchaniei ibrnowrhough.donutaftem~itbe~auseyau alr~xl~huvrenou~htodo.TheDe~inninUrarrooi~lrhhhhId~i~rrhrreneodleirrn(ulrh the nrnlleralrrl.lvun ihaml Iri>n, a rr~lliablednrler in L~Im#n#eqvlpmrnL There are seven1 iP%ii>nr for this First, ynll wlli Act m know what snul #ones imk Ilke. ~ ~ d . i i e h m f r n m r ~ u p ~ ~ i e r a r r ~ ~ ~ r a h l u t ~ ~ w ~ ~ ~ ~ ~ r i e c t ~ l i ~ ~ ~ ~ ~ ~ ~ y a ~ ~ ~ ~ ~ ~ i ~ ~ ~ ~ d ~mf~snul~ i .SLudl themmdi .e l io knowall Ihr r r i rculu l lhevar~o~~si indr Second. i t s ~ ~ e r ~ o u ~ c h r n c e r o s u n b u i ~ ~ i i r ~ e u v a c o ~ ~ ~ ~ r i ~ ~ n r r n u t ~ ~ ~ ~ c b ~ ~ ~ . ~ ~ ~ e n ihenedlPr "P no lonZei basrzble. the naiirc Dam rllll an,, as,! can b. "sod over and over iwln IVlth C I T " they n n l u r 8,. many yPai..

A Uttm n a d I ~ ' s liresDm is vrry\huri. ITyi>lllr.L three mrdil#m Iattniroulvlone ynllrr.slrPlchinU9I \.pnll",rmnnrhrsilar,lrllriiilnii~l,l.,,illl.~ilr~il\l"iil,l.soldP: themollmd 885" ihr. bars >,il"? pnlll..n<m.lr ..ru.t nl~clilr llir ,,"ez3,i,n , r , r ,.a big UImo, h i may Uke I170 lo thnv neeiller. Tilms rnrlxrrr sharn nr<?ilr.rrll the rimp. D " " ~ ~ C ~ . " Y I ' " Y ' ~ ~ ~ S * . . " < ~ ~ ~ < I I C . I I . .~ .~~~." ,""YLI . I I I , I (L . ,~ , , ,< ,~~, ," , ! , Ullllb..rl4"d YO" ivo, be h f i e r on

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ i r ~ ~ ~ ~ ~ ~ t ~ i ~ ~ ~ ~ ~ ~ ~ ~ i ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ i n . . Y ~ ~ I ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ P ""mix,. clrnerlliUI t i l l ill" ell,, arkhe lrnrr bar Ti7l.Y :ir"one nt,,,,,,r Lnlllllr r,,.,." needle yulips, lour and then five nn.,lbginlxli.

LINE NEEDLE GROUP' IHead~on view of needles)

Singb Three Four needle needles nssdler Rve \

needles

.A~~mximaie tine thickness

r.~"...,~eP".,.,.,.a \,,a,.:,,c.n'e.,., .,*., b " ~ I..,,: wc.> . . . ..L,.l. , A I*. - I .:. , . . . . a 1 . 1 . ' P . .?,, ," -r. .x . .<,~,..,% , " \. , A ,,.<, .., ,,,, ., . ,'.,-,:-.> . " ~ . " . . i , . r . . . , ~ c , . r - 7 . . , . 1. ., . 7 , .

1,.

SHADER NEEDLE GROUPS. (Head on view of neadlesl

Four needle group six needle group

0000 000000

CLOSE-UP DETAIL OF BAD POINTS

The lincrand lhadcr tvhesare Lhe marhined lubes rhlch enesle the needlebar. Theycernmnnly have k n u r M s 8 ~ r on rhcm roiesl~erimhiilinsconirol. Erch tubeis d r i l m r d i ~ ~ l n r r ~ ~ r ~ o r t ~ e m o r n x c i ~ e ~ a i l l l s I n h e u r ~ ~ u l l ~ . ~ o r p r u n p ~ e , a ~ u r Ilrrrile rhsilri a vrell e~rluilrdi s i l h r hur npe6lr rhadar lube The ercepuon is "ith rhethreenwntprnvare tivlt~ler C ~ ~ I P . ~ t i ~ ~ ~ s n Y s P i ~ with ~ h e ~ l n x ~ ~ ~ ~ ~ ~ t . l ~ ~ ~ ~ II i s immrmr ill remrmbrrrh~xi rupnlmer; their n l r d ~ e ci> fit tilrirom LYhP5 1 1 h* i"rr1"ilrilrrynllr rnachlsr5, ilih", a,,,, nrrnir bar. dl imm SYPDlirrm kPeI>ihlng~rlrn~iilrnlnl2cl Bll ln): l l ls~Ih~rriyh~.

CH.QTER EIGHT Needle Making

.Ccme rnakxnr is an an and r~ience m melf B is jllst son!< p m e m that is nci f" rm'~ l l .b" ianac~ui~rk l l l tope~efpn b>uwun,iomakey"urnmnPdle,,"be ~ i ~ o n ~ . b ~ ~ ~ i ~ ~ ~ ~ ~ ~ ~ ~ ~ h ~ ~ h ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ h i i n n ~ r i , t ~ ~ ~ . ~ ~ ~ ~ ~ ~ ~ ~ ~ l o ~ ~ ~ ~ ~ ~ i ~ e d YVP'""Onvelas%ln Olrou~fheCOursenlmlnr mnnthr .lvsllikcanythlnilln I#Cp.the more you dorlmerhm#. the better at it you &come hi^ "ow true with nredlr r n a k i n ~ ~ t c v l h f f o n ~ e r n r l l ~ r ~ ~ ~ c ~ ~ t i ~ s ~ t ~ 1 - c m 6 s r ~ ~ ~ ~ ~ ~ w ~ ~ i n e v ~ ~ g ~ r a ~ ~ h r . Ti l isi l lhr. l lmrnotro~"i l . l i" l l" , l lsl kcrpliyine SLl"l,I ,,I, mdrvmc"..l,yy hr.m"Xin*noedle blrsu$ooll rs,nr b<oerrhrn rhenne.y"ugetlr"in~""rr"ilpl,rr

ThC l"li"i"lng eQ"iDm.nl is ,,CCdnl t , r makine "<"dlc barn: Gun; Asmdone wltil ilplstol~rlplor oarYmmeuvenN,anddeuelopinsalor

. . . . . ... . . . . . . . . . . . . . . * l l i . r f " . u.,..,. r q : . , ; . . . . ........... , . . . , , <

T I . . 6 r . . . . . . . . . < , . . . . . . . . . . . . . . . . ,, . .,

rl Shader and Liner Brrs:Ta accept needle Zrou~lr ...................

7. . -.,, . I,. -. . ,.., I . ,, . . ,.? .,,, , , .,., ,,,,, . . . . ...... 1 r r 1 . . .,. . . ...I..... *I . , ,. ... . ) I '+. . . . I . . . .-l.... . . . . . . . . . . li . : T I , . , i t , . . . . ..1 . . . . . . . . . . . . . . ! . . . . . . . . . . . . . . . . . . . I? . .. r.,,,,, . . . \ . . a . ,,

CHECKING AND TACKING NEEDLE GROUP

Afterthe needle. are in piace, hold jig in this manner and check with theeye louoe lo make sureall needle tips

La., Y inch recsiver flux and is tacked here by roiderlng gun

Viewthru the eye loupe. A,, "asdielip3 must be flush on jig stop before tssking.

gun i lP

Soldering

IhXIMdofUlehan~~wUlUerhellon~~boMmand~eho,l"ut"~~IO"IOIOme me. ,".Pa (hm gaod needier rarefully in U p hQUav tube. The poinu are do- lavihms tho shelf and the blunt ends are lacma u~ Mare ours Up paint3 are dl muchingtherhelland are# evcn."lhcWrheblunr~ndrXlth allllieplffeols0lder jusrtahaid~ommgethcr~aa~onsoid~nnggunmpp.ruh.na~deringneed~e~~ I t rill mameti2eand pull "<ale h m i i g , ma*miinn "new" .e,olneedles. The key horn is rn uselun a uztle bit o r a l d s l rhir ulll keep the in dmrnenc then re.o"e them from the jig. *r th. sreg, the ne*dlsr have io be "t,phre"& w s soup . You wll ncpd aSpauldinB needle barjly lor this and thonclfrlepr Thli is a gmaId.ince,raXlngail iheguorruor*o"lan*Iirab"ju.tahoutindesirurlihio.The ono"rpdheienilbe,hP,1gIO'thr.~md(l"enepdlelm.~.merr~~re"haleron~P sideoflhlsjig Thrr~nxdlerormr lapand fivesonthe htmiomYou wllhpus~n~ihe hoi~smade for throeneedla WuDS bren the"uted"Uieo nepdleproupCrrefullY intaone",thehoies Thrrwl,O~hrenth.m"I).T,,iiii,,gBiiibbbbLiLi"LihhIIIw"~th~ rr icoi lho " 4 l P s hanengoui

3 NEEDLE GROUP

Needle group rider over needle bar

q 1 I

Needles must touch end at

Replscabe head marked for nePdle

SWULDING b ROGERS NEEDLE BAR JIG

Firenrelile ,,"err, Wllh ,,ne exception, a n ma,,< <rrc,,y rherarneuryOhvlou.ly ynuwlllurr~~~~nr.nlle,,~rhonark,niilii,.n,rnli,h,~nr~,,enllr,!e~.ni,,"rhrn~.dlr Dnrjiyanci sill use ihr ' 6 lhhi ,hi iishteainp,hul Lbahwicprocerr tri i leameThe excPRlinnis theway Che fireneeilleyn?ag iiDlarni IilflnherThcoOll needleisin the ccnier,ilrhagrouv. Putthem lngefher\vllh your 6neersand work them lnlo omper ~osiuon in ihp nut nrrrliejio h e i m mckinp. i., nP.,lile rh~de ir aredonoas Ihaliennn silnder bar3 Lie rho ryymDrlarjigr SlnCie needleliner h a n a r ~ d n n e Quite llmllrrar three nce,lir llnpi ham vlfh a i~wdii(erencsi. Only one sohd "*dls and two filed harl onelare ,irrit twobad vnesrctwasuppor~ er thpothPrwire goiaodbulflimsisindrnerrlle Whenplaccd in thencdlri l . l lnethem apon lherhrlf jur l I8k IBc resularihre~neellle and lark 8,. * % ~ n y a u rernn%.e CrLrm, irnrnL~ Lhc "eediessliilhtlv inyovrillniirnll rlihaplirnlcall~rr.cl,pildah""rY.lnehofnee*le on rlrll end ntLDe had nnes. rhlrh leavpl the g,il,(i Ixlint SllCklnSnlil ai>oul i inch fro", th? "IilDrin,,

SINGLE NEEDLE

Fan and GROUP IBparalll "eedle groul,

i Clipoff out.. 2 needle tips

Leaving center needle exposed

Soider 0"

group

WADER TIP MOTION

Sprsading the rhader nesdls Bmup with a knlfsodgef. remove rids wobble

Four Knife I(n,ie Now and naedle I8P I~reads raparats spread rhader lightly other middle \art needle. tip ig'eadr outride needle tanning

o"fr8de needle them needle OUf

-+

4 needle

Whenralderingihsrhad~rgrounson rhsEhlderbim.y~u inn barji&juii~wfuhhrrhenisTorrhadPrginunr Thrrulr,areiherame,u?lrh9lnnp o f t h c h i r r a c ~ n a ~ ~ iherimranri i t~rharrxd~nzvnderr i~enpei~~epn,~~ . R C ~ P ~ ~ ~ ~ ~

"re the nrr neFdl" Dam ioirhrderr. The6n%liovrhonihPrhaderrx~lbelhes~r~rdin~vithenee~er.Th~rpmrr~li

~ l s o a n ~ > l ~ toraurneodle nar5hrdsm. II iraknln.n ~ c ~ r h r t r u i c m or hrk&shaner n~cl i rs i rh l rharcr~ l lvarprermis i l UIem>%.>ll ~ u r m k i i > ihei*,n iulrrand btxrr thm sietsrnpeclles rharrrr norrpr~ad. dl*,, l>rrildinSnrlhe ~ P ~ \ ~ $ u L L ~ UV the slack ~n ihr rvixPrmnan~1 euesrwav u'mril any qrnp mcitioii ~ r t h " i avse i~ la l l ennphr Phrr ih l~cut l l l le~~ l lhu .kin ilhrn snrr.<#lx#,y talc nrrdli.. ntl, a thln blrderl knllr, br irr? iaieiul nnr lo inn^ ihrauta>de ~nperilr. if you do, you ~ l w r ~ 3 t f r l n l the n ~ ~ d l e i i R IIXI.IIIP I h ~ o l h ~ i s i d e and umit L , i r b ~ r n e e ~ l l p r h a l , . ~ Donot~ii*mpread t h e n ~ e d l c s o r r h c ~ i n l l i ~ ~ n d tns~r!~rhcrubl~rlyrnd c h p m r u l ~ r , ~ ~ b. that ittore l iauch a dra. "t cwi meLli, rubilrnC tng~clrr .a,,r nlrchl,," 1.1II ""t lunctinn nmnPrlv Rllrrln nr"iil" rpr<~"l i , ! i : , l~al~,~~

nkoYnhirtlmen.hen ~ i r c ~ ~ c t n ~ ~ h c u i ~ ~ i i nl.,.i%b.r,,h jih;rrpr,li "cdl~ml*n ,p E\lrp"lc"~>rlr'.*~ri~~~~,~~,~,,i..hmhPnrllinlmvlkr,nnrXllrmrilnC O r " r . r Y f i i r l a i i . ~ i ~ ' i l l I I ~ I X c I I i t ~ i i l r s c ~ r l i i l l l l < l " ~1.111pO1lllr.y"Ur"P",ll"~lV,II/,. ornethmnl: m ilr .court III nr i i~cr in vt,iriirm,i>ri :,<!,I i!rczi.s-~t~i~:~t in i l~r l r ill.ise ;ii &,ttW ,,?scr,,,>,e",

C I I M T E R NINE Skin

Cornified

SECTION

UP tna nnint. all rkln shxrr- rriiinnl,in in,nd and cerum i h a r r ~ l e n a t ~ o . Beyond *at. the urnauon lr ,nlin,te. Yti".h..ld brau'arr ,,irh,a b.rauseP~~eniua,,y you Wl, "memconm~l lu i lh , r r , , .~mcg"",,~'ssb,,ii,,,rrl~"r*yilhileoi,,er8."renpr"r-l,). DilY S"mDr*inreem,t"rr,Pitm* .hn,liCh .nrn,,rr Wlloo,andron,eaccspi~,,QuiIl readily Germ" peVple haw PILrFmFlY sC"slll"e Ski" a,>* others just ih° op*.i,<. i o U l l ~ m l o ~ r v l o u s U i 8 b b b i i i i , ~ 1 I ~ 1 ~ m ~ 6lllih0~llibeawar0oIIhhhwwwI1Xxxxhhh You Tr0 dDlllnB Mfil Forer impl~ . yoarhnuldn'tpnh rveryone thesarnsrax aome brvlse more e u l h Be open l" i"dlild,ll l nerlli h" mrt,er what&>" lYlP B Demo" has. ~ c i n a l i hrornewhr~ena~i~tze~~ ia irrrurp hyhxpingitmoirt ~ l w a ~ ; l i ~ ~ ~ ~ l ~ Ill" l"b.icntPd Wlth varellne or hr.lracln "lntmrnr i r h l , ~ r o d m g on I,.

I SKIN STRETCHING

Drawing the ski" taut with 1,nge.s

"drag" lo hold !he skin Demr

i l rhe~kln ls i l~ppery~utar lern ~lr~ertoxe~downnrrt , i tvl l l h e ~ p k e e ~ y o ~ r h ~ ~ d bOmrilIl~lnS.Plur.vouCBnllwaus UslLhepaWr towel in WYr lieeilnnd Torinp#nq,d ""PSUTY

r n ~ u t a r t ~ ~ ~ i ~ on the back. havr the~~stnmer i rand itramsntupann n , ~ l ~ ~ ~ ~ ~ ~ ~ . After the t ~ n c i l 18 o n you cm vlir rhrni m any ~or#t inn )ou ihte, in i ln ihc.irruai "Il0"rnl.

Tattoo Placement

8 . . ,,.~,7.,,, , ",(<C.C .,,,,*>, . . 7 , : . ,,.~..*,., .c.,,. ?. ' .

I".',' '..1 4-11,, . l l - i . ' a . l . , ; . $ 3 . . :.,.I,m,,.r,.".

' "I . I ( 1 , . . 1 * . . , .I ' , , , ' , c - c t : . r ?, : , " . r r ? . , " V < , . r n < C X A "

. . . ,,.. .,,, ,., , , . . .~ . . ., .. .,..,.. . *< ? , . ,, .?I I 1 . . , / , 1 c r , . . n . I , I , , l . , . . : . . . , , , , , . / , .

Sm:lll Illirxislinn't usvaliyllliik i i l i l l f l i . . i f l l " l.rg*iln.llrnil S C r n 10XeLlo.l Large lrll.liir njaerz*,, ,"LO small i,r."S are r,,nlllrlnL izni, usuri,y rhr murr ",clure ,snI u>nble nlrm ntxe anue. SnrnP'lrnPS what ,-*a the hertirn', neceriani? isha, the curlnm~r wan- I, is"',

Ynvrloh n,aque unlh them a(,rrdl, ihcy'rP Tlwal8 TiRht, hut .does help tnmaliea lewiui l inl ions and mrtiro hnw yllu n e w lhlnlr ProlllP will I 8 s w I I I Y ~ ~ n s l e i vhar Y"" hiice i n r r l

The lllrrrllon a rattu, face3 rlro should he considered Alth""Sh the curtnmer I lNWl i l l s the nnrl us agenen, ruie ," (OlbiW o ,ha a urtao that is in Drofiie (or p ~ t ~ a i v ~ e v l u m ~ ~ / ~ r h o v l d a l u a y s racein Lhpirnntollho ~lrrronTIlaf 15, cinn'thnve them volnrlq bachvardr lo the rcai Some exrmpienrie rhnwn k low

n : > , > , r : , a ? , , + ,. ..<, . . :. ,>. , ,. v . , . m, . .,, .,;-. " I . 1 1 . l l 1,. .. .. . I , . T.. l ,. .I. . T I .,. . , *? , . . . 1., ll.. 8 1 1 . 1 . I I . _ I. ,..I ., , _, 4 I ,, .., .. )

. . , ' I ' . , / . . 1 1 1 1 1 I I . I . , . . . , . . , ~ , l

. , .< I . I . . . , I . . . I . , . . , . . . I , , . .,. ) . ( m,. , , , < , ., . ?

\ ' I . A . ' 2 " . 0 . . , , . . .( I , .,., ,' . , . - I . I \ . * . I I , - /, I I . *,. , , . ., 1 . < I . ,- .. \. . . , . .n.. < ,. ,,,, ... - " t . . - < , , , . , . , . ,, , ,.

*. ,... ,; , / I . ,. . . , . .. ? ) , . , * . . , , . I r , . - .I . I,.. , . , , , .

worked around a moiean ,he

be lurned ,"fa a snider or ,"sect

P " r ~ * = ~ ~ h a ) f i n ~ e n , hmdr,fac~s, ~ ~ d ~ b P m w l u n a ~ e ~ ~ b l e . ' h ~ e ~ l a ~ e ~ a ~ m o ~ r ~ ~ ~ ~ ~ ~ , ~ ~ ~ ~ , ~ ~ ~ ~ ~ and rhoulrl beauold-I. E v e n i ~ a c v s t o m ~ ~ b e e r ~ , , ~ , mrlreu,,vourefhlcr~raiol,and m d clon'teec t l l k ~ i ~nlodolnq there rhSnw

Don't mum helow the mist. on the handaor fineem tryom .hem rorlop, don'tgonthln i lnchofrhe flritrrinkl~you r n ~ k p w h c n j ~ ~ u k r ~ l l I Y U r ~ s t . O O ,he t o~md bommafihevnlar. nrr-insoverrhewnsr bone i r lairlv tender ifm3~ible, ""11 rherkln tnoner~de ~ ~ 7 t h ~ Imnt. Your n ~ d l ~ ~ ~ h o ~ ~ d ~ r boirtrodeep thatchry flnds*r m rhe b n p h u r nemes air u m p ~ ~ i l around the hnlle and i t get rnlr~y Plinlul for your curumpr hrflireyClu arc rhmuph.

~ n ' t m ~ ~ ~ ~ l o ~ ~ h ~ a n l h mne nronltlryn~8 camserouiola T ~ ~ ~ x ~ ~ ~ ~ ~ I ~ ~ ~ I~~clrrmt.~oiiume~eonle,ilir next toim~o~smhlem holllrrlllfoinlarrminihlsai~n A b e l r e r ~ i a c e i n u s t r i n v e a n d s l l e h i l ~ a h e r d o l ~ i ~ ~ a n k i e b ~ ~ ~ , ~ ~ i h ~ ~ ~ ~ ~ l ~ wh.re 'I'3 more mealy If nimwne wrnu it on rhcrrrnilo, the ,nrinr.. area r ~ j & ~ y behind the Ian? b o n e s a g d smr *gn~n, <lonigo nearthe imc. stw on thpa,,teor the nrst w i n * I * w h ~ n ~ ~ ~ bend V O Y T ~ ~ ~ ~ . T ~ C ~ ~ ~ ~ , , ~ yoUnnn~Lvunr ra Ll,iunhplow tho vibri <oron thp ]hands a bpcruse chrsk#n rClll luns,. m~ ilrplrher P U I I ~ . rIYcfs nu, in nrPa-o.lllrr mrbwe dlrilarer porker, and eucn,rhinee~rsjou rm ;hini "r. A ~ ~ r - " ~ t . ~ t I * a v e r = r n c c ~ m i n thlrarea ~ c r y s u r c ~ ~ l l b i ~ i o , , , ~ c i l u n , w ~ r c ~ y , ~ u 4 , , , , ~ 1 ~antmi?vl*crr nel i volrr wnrk mu iintl'i that i lnn ~ r h ~ ~ i i ; , ~ h ~ .

Don't t l r tm on ni near the r-r k n i j r c they are "par the mound md can i n f n r i rnnrp~vi ly urn, ir s ~ e m s ihar mtrnlr ~ h , c h ire loiupp to rhppm,,n,g Inneer m ilc,ai :an,l mvr c ~ ~ s ~ o m r m n~orryrlr~d,,n,ly C ~ C ilnlllnl n,.rj,i,i.

nOnt ha- ambe ,he cuiiacbose, or on r h ~ or race B ~ ~ ~ o ~ ~ being a ,u,>r cholcc oriucntiun.. ,I is lrrv D I ~ ~ ~ ~ ~ I ther?

In rrrr- where the ikmn rtrrrchrr md mnuer, rhr 5Frbrarper.,ly omhecore LheYirerrndv lfrhir hrunrn~rh~arervi~errituarrri i lartorhpl~ will hlperi. innalng SL~L'WII Dl-e.1 ihec*llor rllhr brrkvtmt. ~ h r ~ p r n ~ ~ ~ ~ l n r . ~ ~ ~ ~ w l ~ l rrrerlinr~o,slr,n cubr E ~ ~ r ~ m ~ n u t e t i ~ ~ a r ~ ~ ~ ~ ~ n ~ ~ l ~ ~ a l ~ n ~ p n ~ c ~ ~ ~ , ~ i ~ ~ ~ ~ ~ . ~ ~ ~ h i ~ ~ ~ ~ ~ b ~ ~ ~ ~ 7he s h n n ~ i r h c hnilni:c>n!r, rhe i r r rs r

THAWEATEX Sterilization

Ilynll hapirn to crl i l l r IIPCIIL by mibldke. 11, 1, a l t le md look rL rhr. rr,#na LhriuSh an e w Coupe 111 illilkesilre :b tin h m ' r lheen blrhiri IR ouy lo do IIn's i?slriitri, tli3clrti I lrnil jllli a llri" set i)r"PCIIICs nn the hli AS in" scrub the needle. Slit" ib "reill" Drr mi! i"ar i.ii,,.l I,, sru urn rlruh ,ill,,, ,ldt., tII1LIIC "@CIIICB"d h l C

earn this ~ r o c ~ i i a r r re11 nr y,,tl'll rnii us rulninl: mom l~eo,l~ar b y s c r ~ b ~ ~ g lhFm L h r " you Will by wtmnini:

ifyou havean ttlrrarnnic c~canrr t h e a u r r i ~ i comeonouily ~ l n i o t h e wu~j under rvnnlng water an,, ,n:,ke sure m getany son" ,r lill"id rlernrerofi ,"jocti,,g ,muid clcrnser rr,,0ur ,nrn r cvrlomer's I*," i u n n iV l th I l le Ink IS rvre to cruse cnmplicrrlons rhalyiilr doa'i r r n r oieren rhtnk iii,tlui.

R l l ~ ~ t U b P ~ L n d n e e d l i . h r r r h a i e h e e n s ~ i u b h ~ d a n d i ~ n ~ ~ d ~ e i l . i f ~ f i m e t Y s t ~ r i i i i e .,.- ,. ..,. . . . . , ,.? :, ,,, . , . ,. .,. , , " , . I 1. .,,, ,.,.1 1 . 1. ' , , , , . , , ..,. , n 1 < , , r . . ., I , . I . , , , , , , l l . . , ,.,,., . * .o ,,,,,

c - :" : - u r ' . . . . . , ,. ' n - : , --.. .,,. . I ' ..,,, . .,..,,,,,, . . . . . . . , , . .;., . \ .',,, . . .

rh,.y're n,.ei,rr,

~ ~ r i n ~ ~ ~ n a d r n u a t e i i e h r i n s ~ n ~ ~ u r s t ~ n ~ o , e ~ i " i a i ~ y i n theboathinthaimmodiate wnr* arpr. keeprl lrnpo" h>,.enlihur h.rln 8 id") iierms don't likelighr.

D ~ r i l i : ivnrking hour. kepp hands immaculate. be shavd (uniosr you wear a brnrliirnil ire,, nrmmeli *pparrmces maker lllllrrence llplli bnni,, ir unntrd, "re white or I light co,r,red onrme, ilain,. m r r r u e r u,nri,l,.. ~lliff l,~ll~ in ,ha hOYlh.BMld the "le,,Ir"Ys.

Xxcenl when j~ourlnp ink. Xrlp hntlles rlphfly rrprrd stall Limes. Ski! l~1nll i l i I1~~teri l l i l~l l ,Tl l? n ~ l l h ~ . ~ L i l l # l l p 1 ~ Li>cnveiihorrearobe workedulfh

llxline nr B ~ r l l i t l l ~ hebrc iieglnnini:

Y l l l r r l i r l y i l i i l t l , . %it!> i l i l l l ~ T I I I ~ , 11111 il L I . I I " t l l l " i l i1ln1lil ie ,,is..,." nil0 u'hile w,xkmE.ur~f ! , rn i"u , , , l I t , ul,lesRrxcrr.in*

ARrr ra ih ii:g'r utirk, rlv.m uy lnlllnd rhr ilenrh md mno the "nor

'"""illB %.l,.. and she" wnli each rs indlndudl" in avrvciave paper ;lace in a"lal"v~ordrrdaweiortLc reQ",rdlimeand they're readycor ihcnexlday LIavr

Ulemrirppdandoniyr~movethpP40Primmon~leraraume whenyouurr lhemrt is agmn idpa m usemior cnie.3 ia* on eaEh ,tern put Into th? avlae,ave.ny .All "hang° color when ihe rferillwllon 8s ComYlelr

Plgmen* ,ha, arr reltmlrel, shavld br C r n k d and are rarer and rnror Besrln me." rra*i,y SnmeUmci &by boale or Pnox coree urns are <rnPl"YPd for *lS.

Another soni way of do>"# this. to get a Crn* an,, Sur Blender Ger a UuanliIY of hlYPlhYlenojars,DneiorP.rhColar.bo"La~"~.,s~z~w,hhbbbbb I%i i ih"hk . , I ' I a messy >oh, 80 preplrr Lodoa largo batch at a lime. Mix &gumti" nf p l p e n t per inrtrvc~lon, on i n a vsrp~ ir intoblpnnernm ,I on and set herlacdcnre.3remyrnrureanrimrdofynurchoaslng I irmheculXcilonr.-hi l ln hourorl~j day Ann iinulnorraslnna~~y ro peuentgalnsdv covilng thesameli~rrh lor a whllp on three rucreislv~ ,,ayr is a s"ori lder L C "on, dtShtlY rnli p u r Into Poly.Lhylen"tnnLllnrr( sealcapu~hily"he"hatrDDrnIII"r"""IIImPP~PPPP.~ow yo"havren""~i,oilharcoinrmiasllP"en,yran.Cieanthehlen0.randiani,t~rnnd i rwl i i Derori l?brrhe nextcnin iSu~re~~mlr !nr ' rs~ inr~hr l l in awe11 i l zh ld awl k m i d o f~ lur lnn here,arvenlO;lyr ibdnre llrlnf, WrShcnllUlneri lvril ulrh 1.gnl and hot wrter putaomellcoiiol on them anri rllrkc well. then <in>" ~"Aalcl?h"l hecore ,,~,",.

Ti,,, "mt rh ,,,,,,, D" fir"" l,, ,,n'rC,inl y,>ur ,lwn ilr.:llh r. ivr.,, .!I l!l*l o, ,he <ur,omcr i r WlUid i.e irn,,ic ., "llk. lvcl l m .,r,,rr m rrrurr. ,,,I. l l l U L l l l iy i lur ru.L"meran.l ihany."yn"rrelfpic*ll,ilmnwpln"rnlsearriiomr"nlrrluith thorn. F,,r,heDenelir "!h"th pamrr,ur.slil..xEillrr, Gl,,urrrrt~y'.,,,..,lly i;i,rxr"rEa-d ~""e~a"~arPava,irh,~tmmI""IIII"IIIID"Iyhhhhhh.ThhyiiiII,IImtiiiiiii:,cum~"riai,lr t , . ~w~a i in r i 1, lhrrr l i l lll?l!Uril>,,r.y"ii u"a'thavetnspr.nii ti"'~"l? ni,rli,l<.rlrllllXi" ibrurh i#>X h,nl rn,uclll yilllr 627p~rn:ills ( i ln ica may bcaivX*.~ni r l e lir>L i.r ilnler lh iy nrr worn hut rR*r ihri, you'll i"on,,"r r i lyyl lu hC."<"'t elwarn vilrn then,

Slnc" hrreen,er.d tnronn ag~oi,rrul, . .cr. ,.,rr, hrrilh *,i.,h~vill try to irrr mllmitUI~arapePnatandionnd~iih~~~rren~lcerdirmnrrhlo T ~ Y D Y usecommon

mn mllnw the ruler ,n ihn chanter v,.u can he rmilnq the sulvlvc~is md ihe r e l v l l r w l l b ~ " ~ r y r e u ~ r 0 , " e in thehPp,"","g,yau may hhav so lieilronY"ur belt," rllmrh r moo in this sri i i ,hut when purh rnmes ~~,houo,you'l! ihiverhcrupnnrr z>r yn,rrcurlomerr and the re,pr~loithemeiiramd W"Pl" m him p,Jcr,oo your ride.

CHAPTERELEVEN Sterile Techniques

war clean ","the. when you iarYlo ildmsnldo)."" a lor otguod io ge, rrcr,ip d Y"u'"e i n n mllinsaround on th"gi0""d wnr*,ngnn ynllrcar

HavPap,acehre"~mhinBa"nk~~~~"~~hh"PP"~UI)Iac Thirw,ilhelil).ouhuM YD $nerd and Mil hrlp you dereiepgnxi hrblY to ke~nrovroprarlon rlorile.

, - . 4 , . , , I r I ,.I I - : : , , . , . . I . , . I

I , I . I , . . - , : . , I I . . , , . I I I r . I I , , , I . ^ .

CHAPTER m L V I Tattoo Designs

1 , 1"I . l .. 1 r1.1 1~ 1'11.'. 3 d . " . " I l , I . ~ . . U I / > *,<, ' , . . , , . . . . . . . . . . . . . . .?,. . ......... I,. . ,..* ,... .".,. . ,, , , , .. , ( .. I I . . I . . I , . .

8 . " . . . . . . < . ,,1. . . . . . . . . . , . . . . . . . . . . . . . ... ...... :, . . . . . . . . . ..I, ,,.. .. ,,: ., ....... , ,?... . . . . . . . . . . . 0 6 ........... 1 , ,,,,,

. . I , . . . I . . . . . . I . , . . , .,.., ...... <.., .,, ,,: . . * . . . . . . . . . . . . . . . . . . . . . . . . . ., , , . . . . .: . , , ., . . a . ,?., . # . ..... c . . , . . . ,, .,.,, .,',,,-. <<,...* ,. ,. ..... I , . . . . . . . . . . . . . . . . I , < . , . .

. . , I I . . I I . , , . . , : . , . ,. \ > , , . , , . . . c . . . . . . . . . . . . ,,. , . . ~ , .. . ,,, .. < ,. r I . , . . . . . . . , : . ..,,,:, : . . : . . . . . . .,,. I . . T I ,

\ n . ..., . . . I . , ' , , . . . . . . . . . . . <,, ,,,,., " , . I 1 . .I " , . * I .-.; . . . . . . . . . . . . . . . : . I . . 3 r l 1 . .. ',ce< .... ,..$. . ,,<,

' . . . . . . . I 4 . . ( ,: ....... ~ , , , " . .......... . . . . . . . . . . ,;, , . . . , . . . . . . . . . . . . . . . .. I. . . . . . .:, c . . . . . . . . . .

I . . , . . I . . ' I , , . . , a . , , , " , , . , , . . . . . . I , , " . . . , , < . ..........,h. .... 1 . 1 . / ...... , p , . . . . . . . . . . . . . . . . , ....... , ",. . . . . . . . . < ? , , . , . . . . , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . , I : l l l l l . . . . . . . . . . . . . . . . . . . , . , . . .. , . , . . . ., ... , * . D i , , ,.. . . . . . . . . . . . . . . . , . . , . . , . . . . . . . . >,, ( , m , l , .. ' . . . . . . . . . . . . . . . . , , I . .., .-,

I , . . ,I . . . , . . . . * . . . . . . . . . . . . . , . . . . . . . . . . . . . . ....., . . . . : . . . . . , r , , , , , , , . . I . .. . . , I . I , m . . . , , . < ,

\ I . . . . . . . . . . . . . . . " C ............ . . . . . . . . . . . .

wnenynu vllklnrnnwrrnnrhop, thFre iscnloitvemhere. Unlrs;y"urDeclslbe inbiack"nli,irriillcrr"rri rorecdPri~nsinsome.,,rt"ri"i"r Flash,hrrmnormnily come m DlrF* shadme ""1- and f ,a mx,r iP,Donr,hd,,p o, co,,,r l h r m The most (..mmon way I S water roiar magic msrlier or cnlnred pen">,. CDl"."d "'"Cil is ,he ~ ~ I ~ s I k ~ ~ ~ ~ s ~ ~ i ~ s ~ I ~ a n e r I O ~ s C B n d t h e c o i o r s a r e i r r ~ d y i ~ n h l ~ j u s r n t u n ~ o n i h e wbie<maX~nr: it ess#er o, diunilze) (id adilce bere 8s to color ihedrs#mirlrn~lls B"de?.<iiVll>"~ iilndn"*ah"uiho*Lo~ol"rsomrlhmX.rolorllrlrh,llrihlac*and shadinS it\ v?narcepUblemd liwayr loakr gaod

liyou rnlker iulxrc0107lul niuh r h ~ r l a n d rmnotlaltoo irlikeic ir,)~ourbuamess uli~iu~errnnpp~pten~~buier~own.~o~orth~mjur~~i~eyaup~lntotattoathemand everyone Will be hT"l)Y

P,>,, , , , , I r,,,.,,>v~> \,,,.,.,~,~,,..,,,, ,,.,~,! ~, ,c<, on,+ r,,,,,,, ,\,,I,. , , : ,,,, ,ltherfar s , ~ " c , , " ~ ~ ~ , , , ~ ~ ~ , , , , ~ ! , , > ~ ~ , " ~ c L , ~ , < , " , , ~ : ~ ~ , ~ , , , \ , , , > " ~ , , , ~ , . , T , , > > ~ : ~ ~ ~ ~ ~ ~ ~ L ~ ~ ~ < ~ ~ < ~ W " ~ " d "U I,,, , % , I Ll,,.,(.Ll"ill ihCl l" l l . ,

M,N i.,itlliliSrq. mcr r o ~ n i l l l ~ rhcir rhcns, pithrr rmmr ihr.nt ,r wrrv cellophane arvullll liitrnl ihrfiin. himylnl? then> ujl.ThlskpeprlilrluiT llllikr r n ) pnllrsilonrland

I,., >",,,1 ,llr.rn ?rrirr iVl,h,lll, i"l"l"l:,le.*nh purrh.sin~,hrlanrr r,ii,pn. is .t,m*iimpa ,he Dlrter Oeal i,,.musra lonlDrinler

can ih,.rn. mi,*,ns them m y 3 i i C you want Fnilrslnp cu5,r more. and hi a sma,, re,.. J"" '1" h""",, ,he r,zrsyau *ant of:, plnrohri ipnzl? cut them out. nbllPl,,rn,,,naihe,.,nl"l"rrc"iorrhrm,nan4 hl,,*'i'Pmrlerr rsmcl l~ardorimr L ~ P y ~ Y n . , i l , C ~ l i i i a n ~ . ~ a n ~ r c u ~ m m u r ~ ~ ~ v p a ~ u c ~ ~ ~ t a n ~ ~ r ~ ~ c ~ ~ ~ ~ e r ~ ~ ~ ~ g n ~ u t i r i t

loli nmi>y, call iiill have thclr I I U L ~ ~ ( . S I l i Y,IY hare smaller, leri exPC""'" d,l"I,"*Ies"r"Ynli f i r #hem

The rLlniiard ,lrrlgnr rhac everyone IS lnlcrerled in, nnd you should have* 1-P

selection ni tr as lallors: Rure.. Ooueir, easles, srirol., hlrdr. Chinere birds of pand,,r,srr ,heni*rondrhlpa,n*,ng,siu,,s,d*"n.,mr*cr.,,s~rrbnri ,ionr,caip an,, h h , Ylirn rri ,xra, un>it.m<nnd uiimp".

.rhp nrShshPI.r i r i i l ~ r l e i ~ n i ~ ~ e n ~ ~ u a n ~ i t h ~ c u r t n m ~ ~ ~ n ~ ~ ~ ~ i . p i t ~ a r ~ r ~ ~ ~ ~ ~ ~ n ~~ll"rn"( ,I ,mmn,$i,.lr and i, WC,"'~ hr la"C Llr,,,,r )nu lilrr in alsorfmenl lor C""Wt>,,,.

81

CHAPTER THIRTEEK The Stencil

L.' - n . l r , ? . . , n > . r , . i . . , . . . , , . . . r , , . . . n , r i r " ,., n,.,*.,, ..,l..,.. . , , . , I . . . *,.

I, ... ?.. , ,, . . . I , . ,." ., ? , . ., , . I . .I,

i .., , I . ., . . . a t . , . .. ~ ,> Ih...,.,, ,,,,, i . . n . : . r . , ,.. ' . *, , . I , , . . .,,'

., I I i L " . I . . I I" ,.I. L . . , ,, . - . , , , , i r . I,.*,, ... .I .I I . , I < .. ,. , ..,,, , . ,:, .

i,ec"rPihe rtmril..r"ev*n rnrnrnr..~.,l. i l I. WlS. t" pni t i r r ,,"i"i:lhlS,," seven, *,mrcn, iienil,,. ," uniilr,iiln,l ih,. on,>",,,," rnd 1" ulirk Cl", ililli lli"" svsrcm "( . . rrueni,,fl.

Th. Psn*il

I, ...I 8 , , I I . . , .?., .. . , . , . !.,..,,.,, . . , , , . , , . , : ; . r 8 , . , I , I . I

, , . . , . , , . I , , I . . . ,

The Duolieaci"C Carbon Thlsbwically ge~yn" ih . rsmer~r" l l rar i~ i lh Lh~yrnciinrinl mefhod,burirjurr

n diilerent mure to get there. ilaierlilla nveded ire a design, a hlll point pen (or ram~,h,"s*lm,lrr) and r .he- olplrher d"pli?atlng spir,, martem 07 H ~ Y I ~ l e l 1 l " ,me daDlCaringclibon which a,, .,,iahlec"en>-hrre ,nsmlionPryrror~s o i maii

.unpiy D ~ ~ ~ ~ . middle ~ i m r i n ~ sheet is nmr roni,,ven from r sheer of ",arten. Then ,i ,i w e d , urkrd or S C C " ~ ~ , , I D S boar* "reliphoard r i i h Lhedcns? p1aren righion l o p o l l . P7oee.d ,a cony ,nenr,,m, ,,no lor ihne, *th the ball mint pen.Whenyo"a,ed"n",lli,,hrcarbonsheerannlhederlgnxlllheiolll~donlhsnexl Sh*, Tilir is the rtenci, I, then can be trimme* rnd m,, on by thededorant rack

1 1 1 , r 1 . . . , . . . . . . . . . ~ V ,.,: ...... :..... . ,.,: .:.. I, r . . . . *.. .,.r ..,*,,, . " I . .,> .. ,.;,. . , .3 . . . i l . .n ........ I . . . . ...In ...... *. . . . , . . . . .,...%...?, .'i. -. i 'i. ............. 8. .. .<. - - ,,,,,,,,.,,., . ..I,.,... ...... I T , . . , , . . , I . . . . . . . . . . . . . . . . . : , . .' . , , . 1 " .. 11.F.1 . . . , . . . . . . . . . . . . . .

1 6 , . I.. c. < I.. * I I , . ^ , . I . ,*, .? "

DEBURRING AN ACETATE STENCIL

Rub backand forth in this marine.

It should belust enough lo make the skin glisten and any more u*ll rmvdpe the ~ m w e CrnfeilheilrnrilandpurllonLhapreyrrcdinol Keeoitnreirmlinrhrieand Wl,lk,l>nw,ll,Y""rfi"I:I:I:I:,I:\I:hDiig,t~"~"a1IIIIII ThonexfrrickiaroquickiYiingiI away from the skin Don't null I C uirrlowlv A fine clean desisn should he lee. lVlr ~lafrn'iloukim?nearjuarrrhaoiland iriasain.Th#ishouldnntbcmnneolynilr cusion,eir buroayouirel< It ih""l<i he periecr thefirrtrrmeior ih"dlent,anll rince age,", inm or practice on yaursellu*,, pri*rt the trhn,.aa On," when you ran InnsCe? a design ~ e r l e c l r w s i lilnr =re you renrl? for m u Llnd ol proMriolld latmmg.

CHAPTERFOURTEEN Lettering

hrltius kindr of lerr~ring have a l r r ~ s Ix-n an inrepral parr or fatmlng Many cu\omcrr v n n t i t ~ ~ n e r ~ ~ ~ r l i f l v ~ r e r ~ n ~ i omhanrc their u u a m d to n ~ r k e a d r ~ n r t p sm,t.ment

~hrsalmnes nre nor to hr uuciarri in. ~ ~ , ~ ~ i ~ ~ , ~ i yuiiie frlr the letters mpr they rill hemwd o n r ~ i r r v e ~ a r ~ she lrtsrrr ,n pl.rrrrr hpiphc nonncguelS vlth rhe S P " C l n i i ' l f l e I l P r i . f l ~ ~ Y r ~ d r * l ? C l l i i r ~ l l ~ ~ r ~ ~ h h \ I I U v ~ r c n i ~ ~ n l h P r t h ~ ~ I V n " j h I I n I h h h ~ ' '

, ) I , ~1 : , I . . . . . . . . I _. , , , I < . " , ",, ..,. ., , , . , . , .., , . , I , , . , / 1 . I . , , , . , . , , r . T i . ..I, . ., I . ,.I . > , , . . , . - . , . , . ,, , .

8 ,.,d, , .... .

Center Cenleredfaftoo marker

ski"

guideline With ,drawn on correc, r*,ni leiferng

guidelines idraw" on rkmnl Center rtencrl

lener r drawn flnf

Example: if rpaced ~ o v e !enerr I evenly may C~DIB~ to

look "gappy" f I g a ~ r

and ornaments ,r tattooed on last -

..?..I . . . ' ^ ..* , . . .., , I ,: ,, \ . " . , , , . , .. .,. ,I , . ,.,. ( .-.,,...: .,., . ,~ ,. , . I , . . .. , < . , , , , ., , ..

. , . . ~ I " . . . , . , _ .. . ,',, I . I , ,,,I. r . , . . I,,. n . . . . . . I , . , . , . . , . . . . , ., : . .,., , . , . , , I . . . . ,.... , I . c ?,.

. , , . .

D~rc~~"r~"ihcaseefWrifn~.niir'.:~m.ri. Lll lrXlr 'I~III..1.nilllll..ilr,.II.Y~l,Yll,,,d.,~", mlhemyunly" IC~Ps,m4i l lPa"~r lhccul~~" ," rwi i I , I I I I I I I I~ I l ,~~ I I I I I I , , " I I r I " , " , , Ihemr~l~'cr.whenI)PIIPI~I".lsLl~" II.,"s~IasI!I>.,iai~i,mprom,\e"l,,r,,,e",rr,".Ul,"" thPnlm~inai~ph~rc4inkmrllPnllit~ur~lirrnI~~~~~:air~ciol~rjl~~~i ih?ywlil),yllY btrnzover I( ta hide it. seechiinter im cov-r u ~ r ilir m,>rr rii.mili thlq

one more important lhlng to hrinY up is SnPlilnp errors YO" i"<O,>ld ire ammod r, ho-u many ~ n p l e a i p urlX#nsaroun<l rich r n # s r ~ r i i . ~ l wonl. Urimlri on i h r m This look3 had ant) rs r e n unnroasaronri ~ c i e r p u e s s ~ ~ i worn th;aynu rion't linowrni8 Ili,irndicoonln handy t" lllllk then, YD B1"""f,V91C whrly"uares,e,l,"i( aTProrri.g, rnrllr, hrr* l i l rc"l f"m*r m*,, r,,,.mnutior Y,,".rnd i,le.rm,~pne. R,? names.

CHAFTERFIFTEEN Outlining

~ ~ b e g i ~ . . ~ ~ i n ~ a t ~ ~ j j j i m ~ a a a a ~ I I I ~ n ~ ~ ~ t h h b u t b u b u m b u ~ ~ h h ~ ~ ~ hi sir lor andinq yourretiin and the down io the <polinsand t" warm upyov-ilxl*

pnchrp Somech.m on ti,. d.Si#n are a leu liner thar err ICY immmni or p~nd~r~rothemsjnrormors~mporOnIl~n~r.Thoiosecon~n~linesarPLhenn~P~ .mrton pnd xlor~raur wry rhe pnrnaryiiner. ~ ~ k i l r u r e L ~ S I ~ ~ ~ B P is rol~d for ,he arerand maro aDracn"e~troke. D. ,h>. 0verevew ,,moyou Catmm if rehearser I h p n , ~ v , m e n t t o r ~ e h n s . s . s . s . d B ~ ~ ~ ~ ~ omeroran~~tmmuresh~~~~aiuaiuaiuaiuaiuaiuaiu. Havpthpmdl~Dlneoflth~rkin,nrr~helnirvltih rolvrnilon.Tllr muhlneshould be briore you rhe nedt~ lnro ihcitln. never SUII ,t ~ n i k in the ria". b l a h rhp line dthour hpllwrlon mdonlinur in t h s manner onnr r r l r lmnal rhr mach,~huruno"lolin*,~efi,,aeupry~euli~randk~.p>rl,~liLrthivhol.l~h.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ i ~ ~ ~ ~ ~ ~ ~ ~ ~ d ~ ~ ~ ~ ~ d r h ~ rwnieser (inyrm~fthpmt(aa~ngnandfor wiiiing. wor*prorrnn, cklr worklnghnn~ nrlr~y tillr ovPr lo r ~ p r rhr work ,"hen jr is ner.rrrv .md ,h ,.,,,,, rl.,nrin"p urcnlng. I,'. rmc,,~",an,l c lorcmrh~ wo.r.~rellgany r c n l y ) l t ~ m m n t ~ ~ ~ ~ , ~ s m m ~ ~ r u n . ~ o u ~ t ~ t x l , t h ~ n i n w . t h m

an,$ uln.. KP.P a fresh rupniv of rt irurr ,nearby for Lhlr

PROBLEMS

Faint line

' Machins running faofart ' Nesdle ride quiver

Trembling hand syndrome C~riomermovlng around

Needles going in loo far ' Bent needle hanging out on grouIi ' Rper !isrue necked between needier

Machinetoo slow ' YO" are going too tart

along thesurface Not enough ink In tip Skin not stretched enough Bottom needleof giouQ worn our

Ragged gspped line

1. L-----, ,

Needle Needle ride point quiver damaged . Needle magrihangs up in skin

Machine is running too .I01 acce,e,ate it a lllfle

Startnnihe he#nnlngofainr andnotin ihernlddleofillrh hardroi~connertlhnri lo mstrh per l~cr l i A perr-r sweep 8s k u e r Ihm brobn s~ctioni .

When youdopami~orllpsullhonr EIinkeinrleadofcwo,llRupa birandliehten up m the pr*rrure wyou w i m l get a notar Lhe tl"

Tillrclllplerenvenlurl LhrslniYhl lowar6 mpr.llan~csoloulixninpaU~lln For m"iemf"nnrli"n"n rlll,rllri h i l i ~ i t ll.Si" LlrLhellvcnll yicr"r~,,l.,i,nrrL~,,,,,,,IPP Lhr ChaplPr h u l m R c * " ~ "

CHAFTERSNTEEN Black Shading

SHADOWING

source Of LlQht

various shades of "Sh.daw,"g"

1 i d < . . r i . . : . r . * i , ,",, '... a , I. , ~. ,..(,, ,, , .,.., ,I,,, . . . 2 , ( I r I . ,. , . . . ,,". .. <

. , . . b I , " . , , -1, , ,1c, , , , I . I

. " , A . % . A $ . , , * , - 1 , *,,..'.> ,,,..,,, ,: ,. , r ~ ,. . .. .>,c?'..r. .., .".,,

3 , " 1 . 3, . . . , , , . . , , . . .I . , , , , . / , I I ^ , . . ..",., . ..". .' .'..". :,, . I * . r I , . . I . I . .<. . ' I . . . ,"'"(,.,

I,., I ' 1 . . L . . . , / I , I I ,,,.. i.. , I .I. I. I . . . l, I L I . ...._l,. . &. >... :,, , , , , . ,,, :, .,, ?. ,.," . . . . , , * r , n ~. . .,,., ,., ,, . .: ?*.,. ? , . : . . , , , ,: ,,, ,..., I<. ..<I. , ' I . .. . . I . . < C i . ' : r . \ . -8 . . l ... r ' . - ... . " . .DI , ,

X 1 . .,,., . > < A . b . . . , . , ..!..,, ~ r . ~...<?? ,,,. . . , , . b , % " .,n : . . . . I " r . t.. . . . I c n I-. 1 % . ,, . I , I . ... " , r 7 . . c . , . , " . , . .. ,.*%,. '", \ . : " ' , r " " . , l . 8 . 1 ,~ \ ..,.,.,,..,.,,.,. . ,. . , . . , . . , l,,., ..,,',. < ,>.~. ". .., r , .~,,.,,,,..". r ? ., , , < ,.,,-, ~

i . > l l ' I ., i d . . < . ' . . n . r . r -.n. * I . , ,~rp. , . .< , . ,, ,,,,,

w n r i a n s r i d e o f t h e c a p . m o m a c h l n e r " h ~ t i p w U B i l u p a n d ~ e i n k ~ ~ ~ R . nowdornthonPDdlxandrnrer ih? holcrYourrhad.inepdlesrrema*ulginrhro~ and at thosamei imeou~nzm rhp hlark . ... h.W",>,.A,',. \a".< 82 ,:e;. ". ,t?. ,..c .... a . . ~ o ~ . ~ ~ . . . , a < . 1 ...... . 7 . . : n r * n . n , , l . . r r .... =,, . . . . :a, . ,* , e m a q < . , , , ........ m%.,. .: , ,l,rn< ... . < ' c a < fi ,,z,m..e, .,*.., u c,,..., .-.., .. .... c........ j . . . 7 - 9 . " ..I n ' . . . r . . - ; I ^ ., ...* . , , I n,,.. .... ... A " ' " " .1 X I P I . ? ' , r. I . . " , i Y l . . I (" , , , .,">,. .*,. *,,., *,>! . . . : , c r l , i . \ , . l , I , * " % i . x .T.b .....I..........., ..> " .. < , , , , , , . '. . , r, . * r .,. , I

r, . . . : 4 , .......I........ "<.?,.. .......... N,,* ........ I I. , ~ , , , , i ~ ~ L , : ... D U . . . . " . . . ? . i . , * A : . , ... ", ......... ,* 1/,,'* ................ " *. 9.,,"

..... 7 7 3 : ........... 0 . ...... I. .-., ./ ," I0,.LI i. ( n . ' 1 . , . I ? . , .I., 1.11 . 4 . n.,. . . . ...... *I " 5 " .*.., I,* . . . . = , . .F, .............

. . . . . . : . n l u r i ' h n " . . . . . . . . . . . . . . . . . , I . . X ....... &I ........ :<, . . . . . . . . .a,. ..+....*I.

. . 0.. I . I ....I.. - . . . I - . . . *.' ....... , . . 7 , , < c , , ........ 0 . i I ................................ . i* ," . . . I. . . L n . . r . . , , . , , , I .

h , . I < . 1 . , 1 : 1 .,1,,,1 r . . - i , . . , , . . I , ,

2 . . I, 2,. , , , ~ , . , ,..,< ... , , , . , , , <,, , . . . ,I.,: . . , , r . . . I . . . , ,, I, , . . . . , , . , , I . < , . . . ,:, , . . . I . . \ . r . . . I r l . . r. . .. l . . . , . , . : . . . , , , . . ,,. . , , . . , , . . . ,, , . * , , . . . .

, ~ , . ,< . . I . I ,

X'%ShthPl,#b"rnd . ~ m l e s d ~ . c n b ~ l i a h h h h h I I I r ~ ~ c h h " I , I I k , " ~ " s ~ ~ , " , , " ~ ~ , " ~ dorr nnr n l i ~ wlth 1Iw nrxr nnp

BRUSH SHADING

EXAMPLES OF SHADING

hood

Shrdin*.Tips and n i c k s - BlackInkR<,l~rm much eaier ,h;,nc"lors - You mi#hti lrwe> run r ri lrderallL1l,~I~slrrihsnmllyrl lner - C . ~ ~ h l l l i n ~ a l a " ; l n ~ ~ ? ~ k ~ # s P l i l l l l l i l i ~ 3 l ~ l l l i l r i l ? Th l \~ l : l~c~mnl i .hwl byhslin88

C:OI nlI<,z< wtl! kM,wk amk < > > l ~ ~ c , , a l ,%>It> ,ltstsl2,,c$ #,~>rs, <wwr Tt,,. n>,,rC 5vater, the w"hil i leoi .e, ire~l~ni(r l , i (Lr.~~rri~rclr~utjn.vei l"cl .*nor,,rrrir,,irchla",n8 thlsgr~yrf( l~cl isi i ) u r i n i : a r ~ i i ~ l u u ~ i l i ~ l . r l ~ ~ ~ ~ i ~ ~ ~ a r i ~ ~ ~ . ~ ~ d ~ ~ ~ ~ ~ ~ i ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ O#>thl.rkln ) i ~ u l ? : r r ~ c i t l l ? i v c , . I L h ~ ~ r ~ ~ ~ u r t ~ ~ p , ~ n ~ I U ~ ~ u s h ~ ~ j c I ~ ~ ~ ~ i i i i i s i i c , i V V V r V , ~ il Thlr ,581X3n11 W 1 1 1 1 Irreer ipc'ces s a c l l r s ihc l i r rC. i'rnrrlur. rill.. like in il"hnl<,"c. ~l.ruhr.rr l o 0crlr"U.n ill.hrcli"lny ii an r clirlnnlcr

- Sl"6d"""~lil. and ""Cline neolll'r are aal.ll I,, ma*? Rna hair ilnd wispy *he- ~ ~ ~ r c ~ ~ p r n r r ir i l rc i r i , lc t l l~v~~~ ,ill. mPl~,, ,~.

EFFECTS

CHAFTERSEVENTEEN Coloring

~ o n ' ~ p . ~ s s h r r d a n d d ~ n ' i r ~ ~ ~ ~ o n ~ ~ a i e a m p s a ~ d ~ ~ m s " c m s r i n g o r twroeo~or rhetlninl~lieulchrcwonnriipnril ~ h r r u l l l t u ~ ~ rherrlntnhmhvreerandcmnv ahsdscihorno~nhlx i~aue~cmrs. thr a l t i m a ~ s r r o r i i n ~ i e i h o nmnle;rreInrnn~rr With fhe rkln. LcPP the marhlnc momnp, never hold #I stli l or that wlil cut the riln. Doncgo hnckuverany work~vrc ri.ne.iieIIIrlqhithefinrlwerpLhrou~. it ul,,,oor b P t r e r i v i r h r h e ~ v e r l ~ m o ~ n t ~ r ~ ~ ~ ~ ~ e s ~ n r h o r k ~ n T l l e r n n r e h o l e s . t h e m o z ~ h I ~ ~ i i ~ , tile mnrerrbb,ns.and rhc mar? #aki\.ill herhaorbed out in ~hercab:'Pactin~ 81 In.. ' 0 " t g e t you amuhcro ro let ihr machine do Lhejob and DW attention to the work kxwdnne. A lmtrlp area i i don* and then w l m U, be InrDpcred. canrlnve in lhlr rrrhionann monltririhr relu!tr ,,nr ar~lllrrmrnLlon beq.ic~ymadexhPn donein IiiirmannerTherolorolrh~urinox~~lnnlbernymarecolorlulorbnqhrerwhon~o~ try to hammer themlor into the rkln.

Ruler for Miring and ~ l e n d i ~ n color.

P U r n l ~ Rnl

RAINBOW COLORS Lxnxgc lF,,nw -- Cif""

U l c r hai.m. Cnlshed r laltno, il Ehollid bC 1111d OW with r e e n mwp and rllnyrd ullL an ilcflhol ralul8on. l i %muld now bp a aolxi rime to u k e a k, DlloBr Dr ille pi,rrBili> m d Iilrn csrrflrlly h r n d l p ~ the utta, up. Tilrs la,* #real 3vhenjilsl finlshrd. All glnril and sharn. h u a h look the,. D o t when j u i ~ iinirhrn and it's a crrri LlrnP to "i!oloan,!il them at the,, lie* cnllrilrinn Belor. wkxns a photo. b~ sure to blur the urrm n e r l ~ ~ ~ dw and dun, haw V-elineon a or the resal l i rlll DP a mr photn.

C l i A i l E R EIGHTEEY Cover-Ups

"Cmueru~"iir crrm that rere- nl thc t e ~ h n ~ ~ ~ i r ~ r r r r s ~ ~ ~ y ~ ~ r t ~ ~ ~ ~ ~ ~ z ~ d ~ ~ ~ ~ ii*L o ~ ~ ~ a n a l r e r d ~ e r t r o n s r a r r ~ n ~ h l r 8s done in rllch r isli l i l r c tii. 8,nr e r tmu l j~ ~m~lrco-erourorcornnleir~vh~cirtheonmnr~ rsrmlr ~ t ~ l ~ ,, l is i l i l iy i i ,~nr~~rus~ the Rnl design ir no lonc~r ivinted and 8 new an,! ~ P I I I . ~ ot,,. r z n is,- r ~ a r p d OVOII~.

Olrenilmrs crude atroo. itonr.hy,x,i\rrufih~ ~ ~ ~ i o n i s c i ~ ~ ~ ~ c ~ : ~ ~ ~ ~ hlriimruncomply PIesnielis theowners i r l i l Lllry w8sIl lorhansr the rila;lorli A i:i:,,l liltnolit ,hot L ~ n d u n ~ n d r m u r r u n c a n ~ h h h i : i : i : h h h h h h h I ~ ~ ~ u R ~ ~ ~ ~ , . ~ ~ ~ ~ , . ~ ~ ~ ~ I I ~ D D D D D D ~ ~

an -."I in l~ir l r ashnuin tlrr~rlnlla~i ~ o d i n i ~ p ~ ~ ~ , ~ ~ ~ ~ ~ ~ , ~ i ~ ~ ,~i,,,rnmpm k mano hs civmng rhlr llelleve a, n pnni imni: cm b. ovrnl,. I,! r13,..rlnI: ,,p ,.ri,rr Utlonlrrs'bad mMUkss, m d llnhriunltclx there ihl ,,ill .ln,u,,,i j,,,l,,.

A bad fatloo that needs a Outline ir

T n r : , I . : rt,

cover-up placed over black ' r r r c r . ~ ~ ' '

the old lanoo tatloo

~n i3 ,on tarlnraii 1 1 1 ~ s . ~ h ~ t 1 c r ~ ~ n s h o ~ ~ ~ d i ~ e ~ l ~ ~ i n ~ n ~ i i : 1 c c r 0 ~ . ~ i 3 ~ ~ i ~ 3 ~ ~ ~ r ~ ~ ~ t ~ ~ ~ ~ hliprllmernrroli>o~ncol,r,i.m.r~li*rrhpadorrlaivirt,llrlrli v ~ , . i,..iri,yrnlmLh. ncliliil t o r ~ r u n arc= Evenlulllv rhr Llltm#si wxll YIP a II,~ Illlnlili?;ii.llllin tll inYlnt ""W <,es,Pst<l " I ~ " ~ . I Y C ~ ! ~ ' ~ ? . L > P " ~ ~ ~ on<.*, mak$"H*ar,, <>,,,.a,., ,\,,, m ,,ac ,,,,> ,Rut s t ~ l l u o n h ~ r h i i e . e r ~ ~ c ~ ~ ~ ~ ~ Y Y Y t h ~ ~ ~ ~ ~ n ~ ~ n ~ s w ~ e ~ , ~nn i i l , v .an~l.irii~~ciinrirtmc~rrdl I,~,PYITTIY uspn I I I tmr. corm ni irmrilrr ~ u r c i ~ > e v c PXCI I I I .~~ nibl.r-ap ,uiucsr Tostir~u<lh.lhe hesvrlr hlirlahadrri w!ncrnprrril.amolm~n~~c~ii,irr~ur,ih.m~.

. 1 ~ i l a b n v I a n y a l d d o r i g n m a ? h r i l d O e n i n i h e l h a d i n ~ ~ l l l n i i ~ , ~ ~ l c i ~ ~ ~ h ~ ~ d ~ ~ ~ ~ i ~ ~ ~ ("7 v h a l ~ v ~ r ~ i . e that rnliih, herdllrl 0") Will ,,*tmc, lll"'.;r r n i m rheo,d drrim l n ~ w c u u e r p d u ~ l a n d u i l l c r e r r ~ : ~ h ~ n d d d d d d d d i l i l v n t i ! ~ i - i ~ r i i ll!rvusiomsrlrlil , bs pia~rl orrr insceaii oilrhampii

Problem. ,"St a P3"al cower-up

Solulion a clever dergn

, ~ h i r old tattoo ~ h e d s s ~ g n needs s seriou3 is stenciled The complrLed cover-up over the cover-"0 A major

unwanted lano0 Improvement

CHIPTER NIYETFEZ Tattoo Revipw

Let US rnlewali rhe mtioo,ni: p r o r ~ d u r ~ s y o u have iermd un lo ,hlr m,nr in yl ~ ~ a n ~ z C d o r d r r n o ~ r ~ r r m r r k ~ c t n n s c ~ t ~ ~ ~ r ~ ~ ~ ,tanlo rl i~ ,"dt o f l h r i e r h n ~ ~ ~ u ~ r t n r o m * v l r l c ~ f l o ~ r r i a r r i ~ r ~ ~ s n u ~ ~ n undenimd w l , r r r ~ h P y i ~ 6 t . A r ~ ~ r ~ ~ m ~ r h w a s t w ~ I k ~ ~ n , a n d ~ u s i f ~ r r h o r r k o n l t h h s h h p I ~ ~ ~ t ~ ~ ~ , I ~ ~ ' ~ ~ ~ ~ h ~ ~

W U M tlrkpamtra,nn theirup~er r r n ~ . : ~ ~ t ~ i h r i e n ~ u ~ i ~ ~ ~ t ~ ~ h ~ ~ ~ h ~ ~ ~ ~ ~ ~ , ~ ~ ~ ad which one t h ? ~ wlil ~ r e f s r IPI's =\"me On? l i ThOiP" anti amerd uu,". TIlrpnce is unnnnrood m d nrmd 6 r m d the relebie form IS sipned (See cillptpi shop ~ m c t r r s ) . I U L ~ P Y wlsh itnn t i le~r I ~ ~ s I ~ ~ P , I ~ ~ F Y W O ~ I ~ ~,e sCItld hnnt,.ryoo ul,h thirilrcr in ihzw~rkuh~e. l r l tvanin tho~amepisttlonor thpriphLarm, ,heYwovld the tamed lmunil and he lrcmn~ the table

he t o w ilf h m nnmcionmne should h strenm hure relannn.h,p ,he cuati1merrpirlr8oninrr~ani is~aurownrhnvln i > ~ r . o n ~ v ~ e r , d i ~ t r ~ ~ ~ h ~ ~ ~ ~ i . ~ ~ ~ i ~ ~ h ~ i ~ h r r m u r ~ n r ~ ~ l l ~ s l n r ~ n u n o i r n a n ~ m r k ~ ~ n u r w o r k ~ r ~ ~ ~ ~ ~ i . i ~ ~ ~ ~ t ~ ~ ~ ~ ~ ~ ~ ~ ~ a sltcin~. mr*e ~ouiselfarounii ~ i , lind r mnvirtahie lrlri rtmriy psritv,n rrom.

- : ' I < , * I l - l l l . Y ' . , i . 1 , . . , ,?, . , , . , I ( D I . . < r . - . P I '.... . . a . . . r I , , : . , , , , . . . . , . . r ' , , ' < , ,

r 6 . j . I . .,., . ,,., i t < . ? I , , I . . ., . , m . , I ' . * - , " r ., . . z . ,.,, , , r , . , " . . , , , .I../ ...* / * - .< . . , . ' . , , , , . , " . . , . . , , . . . , . . . . , , . , , . ( 0 , ,. ,*/ . . ,?.

I I., .. . \ , . . , I I .I . I.,, ̂ .,; ' , , . " ,. "I'm,..<."; , , . I . * . ' 3 , , .,,, , , " , , ,,

always s m II up a lzttle o n e you get r m m d GWD rhp t,nderninr orrheam dnw iherhn uurbetueon ihethllmband fingers Dioiheu~of ihetubeinl~ theink and rurC loilnwiurheilnesoflh~derlm from the bttomeorner Workupwardnand to the !en. ~n nor tic s i a r m n c h ~ n e b k more than= 4 i d e y r ~ e a u l ~ n r t h ~ i ~ k 'Un down Lile inrideof Che tubeand illrodown deneodle har (iha i8 c d d back Iwdmwl R P m r m h c L ~ o u r m = r h i n e a ~ ~ ~ ~ ~ ~ a n d m u ~ r ~ k e p r r ~ r h ~ ~ m ~ ~ ~ g i ~ ~ ifyauw-ntxrxnzap~n ~ e r a r e f u l n o t r o ~ m u d ~ e c h e s i ~ n c r l p n n ~ ~ c ~ n v o h e ~ ~ ~ ~ ~ ~ ink from rherkln DYdahh~nFsenrlyulrh~ t~ssoe.dnn'truh~i Checitlplorarpnlland 8tou LDemrchlnpuhiCd#pi~in~~nk *'hen thooutl#neir nn>rhi*i,ipnyiheaieaolthe ~b l l l xne char you hrue~us~r i~ !acand routhunany~rakl~nrr Whenrhnkdonp,a~ply arhm cnatnli.lrelinp.

The ouuinei t u b rhnvin IL clr-nerl ~ t n r e the riD oithe rube "rider ihe raucer. rPrnove,hrivbemd ncodlebaiand D l r c ~ t n " u r p d . . t w R c k ~ u ~ ~ h ~ r h a d i n g r n ~ ~ h i ~ ~ , cllp i t in, lnk it and cnmrnence the "slirdinn:. When rh>\ is nnlshwi, nod rh-ked, doan). ruucht>18 up, tr necPssaw at rhlr wmnr clean the m~lnn ~ 8 t h meen Sorll IDnY. ulne clean i n d lp~lynnorher coat nf Varrllne

W e n you are finxshd with the blaek, dip the shading onbe in the ubtraronlc and then rinse it under the rruter T ~ ~ S S wli remove m o r i a r r ~ ~ ncthp blackdye from the l v i x and ?nu wlll ip r ~ i i l i for t l ! ~ 6r.l color tn hc P Y ~ 8" CIII.S~>~~ ihecha~rer on

Cdnr!n~ md know it wsil nerw?Pn each cninr, rinsr rhc ,lye llut tho tllhe drvrlherl tn that Chryirrrnilrpnll r hnhr contoTVaaeline iorhcskm roil is #rcarecl i V h m lllr l i l l l ,x, 8s liallheil and !he cllrlomer m ur.4 p l e a s ~ l . D a n O a ~ ~ s un nccsm8n): 1. the "nm4;1ze rlll1 il,.nlinl?" C i l r D l ~ r Yale sure ,LC r"sl,l"lCr *",,ls "Lr~t the hrallnl ,>rn.ri rnll Sl"* them a"hsal,nE" inrtrvction Drnrhllrc char ,"" 'hnuid iiavr. made up nl Llkr hrlmewilh rllrm. stie*s i l a r rhry hilr, n, rt% u in L ~ X * ""0fthE Olruincoirrcllu(Cl1nrult ' P T ~ F C I C C I ' C ~ P D I I ~ T ~ T ~ ~ ~ C ~ ~ ~ ~ P ~ J I I I I sieSihr "Lilt rrens in c<mseiaitve nrrirr ro?"" Wli l know h r u 8, r d l l " ~ . I C ir ",It apuide ," 1Ll"lirnCi it u y v u r rrr,icmsl.llilY B, read an4 cntror irmii,nnre ynilrseilvlrhall ,he Inrirmru,,. 8" rhr hn,,krln,,

CHAPTER TWEiiTY First Aid

, , . , . . .I , . , r i ,, . , : .,&I> " ,..-r.,, ,,, , . , , , ~ . ," ~,,l,., .,.,,,,.,\.., , , . , *~, ,,. ,,. " *, ,I.>, . I , ., ~ " ? . , .,,., ,4:,, ' . , . .., . , , i.. . . . , " I <\.I ' < I I 1 1 . " , , I*,., . ., .,.

' : i _., t . - , : ' . ,, .,I. r I . ' s ~ . , ,.,.. . , ., . , . . . ,,,r , 3 .,. . ,.. .. : * . 8 , - . I , . . < .,, , , .,",,\ ,< A " . ' " " ,.".I . . r . , . , . I , . , n l... - , , , .,,, i.n , ,, 3 . , 9, ., . :. "., . . " . . " . L , * l . : r 3 I,,;.. 1 ..,

.I. ' , . ' . I I r ~ P . X I . . * . . 2 r . i r . 1 1 , , 1 1 . " I .,r ,*,, .. ., . , , \ , ,.,. ,. ,\

Y""shn"ldalrnahrn,"Ieiy rprure in ,at,"" w,,p,e W l f h "hvinur riyni,,lricknrrror d,.e%$e such b\ hepfillr orycllor,""n,i,ie. The cell L.leIims "IP.,IP,P With thl, I S

that thriuh~feoiihr#ici.rrilir ?ellor~ci and rhc>rrk#n bar an linnranl yelioulrke aunran lonk m #I. Tell illen, t h s their mcllley wnalri be mnrp %viit.ly ipentserin8l n,>ctnr il," nnnot rrrnri to expnrp yoilrlPit Vnlli iamlly other rrllrhl" rusinn,rrr. your rhonand ?qulpm~nf Lo l l ls~rses. Thmr Dlcnd 8s mnLlmmlIec3 rnll the17 hnciles

in ne~nnnlrm. 1. have theertlii dadl,. nincdina,~ cattoli. O L , , ~ ~ roil i r l~~ haveluwnrkorl yeonla whobleed oro lu ie l i This ia r ~ i l y d l n i c a l i i l r . l u s ~ ihrink 83 b i n # w s i ~ e , l n u i i r n , ~ s t ~ ~ f ~ ~ t ~ ~ I I ISUU~~~~PPPPPI I I I I DD DD~IV r lurlrel ll,r""gh it the i2P.I yn,, can, they may have ro return rrtpr hPaliny h r r rovch~vp. Advlselhem tnaia~ciOrmkml:rlioholandc~IlariieyurnL~l~r.~i~l lrll,liorae\,e..nlilrys brlvreiclurnlnl: J c l l e ~ ~ a ~ o u r c s o i V ~ r a m ~ ~ ~ K,whii i< tr lnrxcell~rl lbl~,~xl rvrg~liri~i.

CHAFTER TIVENTYO8E Bandages

you hr"~ .c l run rh,,,lanci "rc.l"rl lr~,u,, immt. l i l rreI . ," l , ie:~, , i why i l ly Lilt"" shovW ix.uurn* inlvced. "'hen m iniecrn," r l w s &,kc place <i<.u.ri. ,I 1% us,.,,y herrvsenlthecurLomcr\ nWlcrl nilnilrlirllons in prnpcrlycrre Or ll They .bu ld no, u,r anll,liorlcs on rhelrilrn i.rrco,, ,i,,,r rh.,air, r*ru rn*,,"?,, ,,ortor ivho p'clrnhrnne Tor ,he,"

~emostrapularmvpnn~thhhah,isHandi~Wra~.TherrsJonforihisYth~lllPOPIP rho have juil received a -tm rant lo how it if they rant r e *rough the coven ng, meyam po,wreopcn up me hand=< w, they ran anea*a pepk Then the bandagegPrrhan~~d mmilchand bmomer d l r w . ~ a n d i ~ ~ r a ~ ~ r idealkauseulrne *her brandaa~a,l l , letm.6ch.low"rk Wlth.

The~oublexlih unng88~mirihatinarou~loofhomwhcnthe~uatom~rWns loremove ihe,rbmda.u, *ecjothr~crr in ~ h r c t o t t ~ ~ g r r r b w e n they ~lil l~~ton ir r~ them-m b l e d all oweragamand they have an vnantod mess. It UlU also

out ink and ihp mron neriim. ~ ~ n d i - u r a p a scat in that ir just

~lrder ollrhe r a l l m w l h inn hanXvPI.

,,,, amdonevlplngmelattmc~oan and havexlpd a baenoughuea LaPPLOstl~k,ano ynuvpll ls~cnr~r~nrhelatlooxlthw,moRacimcm,~k~the

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I I

CHAPTER TWKTY-Two The Tattoo Studio

A3wersidearller it'slikPlyyou%~II bestaroneoatat hom~.CDnnrr~rr~ .youwl lbe marts~c"ieandhw~morerln~l!encelnynurhhhhhshhhhhI,I~ddeveioyrrriuclanee Io move on. TlXre are a lot of adrmmss w o r b w I t home. il you ire emp,gvni elres,iir.re, thp ourrhca,,, after ,he mnirlal ouday hr enulprne.i, a~moat no W ~ ~ ~ P V ~ T Y O ~ uke in, a rpennin~rnoney rryohi haooiat hanlr, nrr "f t h e L m P . B Y u ~ l ~ $ d i r c ~ C ~ ~ ~ n ~ n d k L L P P P B B I I w y ~ ~ 6 , y o u m a y n e u e r r u n a b ~ i ~ I t D ~ '""1°C lam? that rxmr m most rommunlilPs Thrr. are manr 1nrtmc.s "T'karhe" wooo,sW who do "pry well in Lhrir spare Llme md lovldn'i be moved iby nnl!li or "=me. liviu're a rrmily prrion, ice0 PQ"iDrn."t ,."b,i "". WL,,", n,lch,"e. LOVS

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I n . - I . , . , I " . I: / ,I . , , . " . " .,,..,, ,., . , . . . , , ,

C H P T F R TIYESTY-THREE Prices and Selling

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CHAPTERTWENTY-FOUR Business Practices

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you r,,e rhnp *n msunnc* plllcy is asmll l price to oay lo be Drorecod rainy

lvs l ln~~) .nud~~n' r th inkyounnhrndlea i l th~svnynvrorn .emplnYthhshhhhh olag"od ,""a, rtromPy ,,ew,i, always know people ," ihr rimr plr'fl an4 whom to m"Wct,oi the ,nfoimatl"nyo" requ,rr L.,h,mdorhelrgi*oik, arirrall .rhnlvhal you rlli bc liaylnlhlm i,, he won'tger the run iravnn mlgh~err in .ome ,nsmr,ce3

""olued in some stranee s R L bprina tattooing. That hardly ,ns.res cnnfldence in the penpleyou Eepk todo busines ullh.

Ermbhrh 1re~ular natrernotworbns hovrr. Duringyoblr slow wriods.voull find many ram lo ocruDY your time. ir and Whrn you hare n day when yo"'r. tirm,. dxslrau#ht or dl, go to Dsrl or go rmbng, mmoirnw's -"her day

on a bury day work curlamerr on a roarion ha is ~ , n t in. nm inn.ioren,j anyone hy Wil"i: 0" someon" elre bermre r,,eir ,urn ""mes.

mull 8nd if k r v r m do l a w pieces by nrwinrment o v ~ ~ t d e sour w ~ a r omce hours. some rrnrir work exdurii.flY by appnlntment, bur they am v ~ ~ a a l i y h o r n a n d ~rtabliahed. irrnnlreoun 8nearow,2rknlurethln WOorthmDour ianr >no* latroornmav i t i s ndmrabb is spread the -.ori owPC oevrra~ or more sirilnyr Don't much i l Wain until rhe l>rsllour work is heakd.

You ull l beappmached b~neopleynu would Drpfer not doin$ busin~sr wilhTherc !siwayraneout or ten rhalrrelust olaln trnuhle non't be rrinsiniwith ihem.jllgt explain in a firm way that dyourr noi rcrenr~ns their money you don't rhcm ""yihinq

Piomrlmr rorxrneynu rniahtherp~rn.tched byiherneninh,klnghr w h a ~ i i ~ ~ ~ ~ i b tocalls human interrststnry wh~te~tmayhein yuurantereatmcoo~m~e wlt~l them. ~nn'~b%~ithar~L~lilii~WlradnuhI~~~ds~rward <InceLheyeeirlc#rla,trnrhedalr they c m urlie 11 the wnY lhry r e it. There are thnre r h o rwcrr thac nt#i!licllv nromolrr hurinesr bur #r ri!i>ld be hrrrl m prove chal rhor culil,rn*n eufntiinilYhrveiillnddll.lrwaytoyollrdc%~~nrrpmyway T. i ic~ty~~t , i i i~ .%t tLllli~hrl. b m u r e i n i h e e n ~ . > ~ ' s r d=~sionuou'o havetomake ,r. Spend iome6me buildlnggoud puhlic relrtlvns ,n yourcl~nlmunitu hri lng lrlpnrli

on "our ride .,wnv, he,".

Epilogue

rnt"I1.

About the Author

The Body Modification

Black Book

A Guide for Students of Body Modification

By: Richard LeMay

m_hattertattoos@hotmail.com

I have decided to distribute this publication free of cost for the better learning of my fellow

artists. I have worked on this book for two years with no monetary gain and ask that you

may distribute this as much as you like as long as the information is not changed. This book

is to help you and many others, please respect that idea and my hard work. Don’t change

the information. You may feel free to contact me for further information on tattooing via

my email ( m_hattertattoos@hotmail.com ) or you may find me from time to time on my

favorite tattoo forum, ( http://www.ink-trails.com ) For the record, I don’t want to hear

any crap about misspelled words, your getting this free and I don’t care about grammar.

Copy Write Richard LeMay 2008 All Rights Reserved

I would like to thank everyone that made it possible for me to write this book,

I would like to thank Casey, (my loving fiancé), for putting up with long

nights. I would like to thank my current apprentice Rustina Taylor for helping

edit and for all her hard work, because I can’t spell at all. Airik Moore, my

second artist, thanks bro for running the shop while I’m occupied or just plain

beat. I want to thank the half of my family that supported my decision to be a

tattoo artist, and thank the other half that supported me in other ways. I also

want to thank every friend and client I, and the Shop have. I could not have

been what I wanted if not for you guys. I also want to give a big shout to all

the moderators and members of www.ink-trails.com for dealing with me at

my most stressed, you are a great bunch, and a wonderful site.

Last, I would like to dedicate this book to my son Psyron Gauge LeMay who is

due in three months. Thanks for giving me something to work for.

Introduction

Welcome to my world. My name is Rich LeMay and I am a "Tattoo

Artist." I have been tattooing for longer than I have the ability to remember,

and its all I have ever wanted to do. I have fought all my life to be a tattoo

artist despite the bulk of the world telling me it was a pipe dream. I

immersed myself in a world like no other. A battle field of the boundaries set

by society which told me that I would be less of a person if I followed my true

calling. I have worked my way from being all but homeless at the age of

sixteen to operating several studios over the years and now own a respected

tattoo studio (Madd Hatter Tattoos in Spencer, WV) at twenty-eight. My own

trials and tribulations to see how far I was willing to leap from the edge of

what is considered normal life was for the sake of being a tattoo artist. Not

many tattoo artists really know what they have or the true level of dedication

it deserves. It has been a long and arduous path which I would do again if it

were twice as difficult. Tattooing has, for me, been the root that every piece

of happiness in my life has grown from. I can only wish you the same fortune I

have had.

As I reach the point in my life where I can finally say with pride that I

am a tattoo artist (not that I just do tattoos for a living) I see the ideas and

true nature of the art fading out and turning into something else. The tattoo

industry has become just that, an industry of profit not art. The true ideals of

the artistry are fading away as the true tattoo artist becomes a dying breed

giving into the next generation. My belief is that tattooing is the last true

form of art left in the world. People no longer work to be professional

painters unless they are painting a house. There are no more great poets, or

play writes that walk among us. Now the last true form of self expression is

turning into a drive through industry which is based of everyone thinking that

being a tattoo artist makes you the same ranks as a rock star. I have happily

written this publication to share with you the opinions and facts I have

learned over the years to help instill the next generation of artists with a

guide of technical knowledge and the true meaning of what it is to be an

artist. I can only hope that the next generation of tattoo professionals treats

this industry with the strength and integrity that it deserves. Through proper

dedication and sacrifice you will find a joy that cannot be explained by a

profession of any other type. You must understand that becoming a true

tattoo artist requires all of you; your whole way of life has to be discipline

and dedication to what you want to become. There are no part time tattoo

artists; you do not stop being a tattoo artist when you go home at night. Your

artistry and the quality of who you are as an artist is judged by three things

alone, your dedication, your personality, and your technical knowledge of the

lifestyle you lead. I hope it will bring you the happiness and peace it has

brought me. The last true form of art is left in your hands, treat it right.

Chapter 1

History and Basic Information

Tattooing the skin is the oldest profession in the world. The Japanese,

Aztecs, Mayans, Aborigines, and the Africans all had tattoos. The oldest

recorded human to date is referred to as the ice man. He was found under

what was left of an iceberg near the Austrian border in Italy. Carbon dating

places the ice man around 5,300 years old. This was a cultural surprise

because he had a few tattoos. Before his discovery, it was popular belief that

the oldest culture to tattoo was Egyptians over 3,000 years ago. So the ice

man out dates the Egyptians by 2,300 years The ice man had a small cross

behind one knee and above his kidneys there were a few tattooed lines about

15 cm long. The first sign of tattooing in the west was brought to us from

Tahiti by a man named Captain Cook in 1771. The Tahitian word for tattooing

was “Tatau” which was adopted because it’s the sound of the traditional

tattooing. Initially the traditional tattoos were applied by a stick with a comb

like head attached to the end. They used another stick to tap the first; this

achieved a stabbing motion. This ancient type of tattooing is rapidly gaining

popularity once more. While receiving a tattoo you would not honor your

experience if you showed any sense of pain or discomfort and the practice

usually was a ceremony that lasted for days often resulting in shock for the

patron.

The tattoo machine we all know and love today is nothing more than a

modified version of the first electric engraver. In the US we first started

seeing tattoos regularly on sailors that had been to distant lands. They

brought them back as permanent souvenirs. In the 1800's and 1900's sailors

navigated there voyages by the stars and constellations. The "Nautical Star"

that you see on every teenager trying to fit in with the crowd is one of the

oldest tattooed symbols. It symbolizes the North Star and means that the one

adorning such a tattoo is looking for there way. Many military men are known

to put this design on there trigger finger to help guide there shot in combat.

30 years ago tattoos were just for bikers and prostitutes, at least this is

the common idea. 15 years ago they were just for rock stars. In today’s

society more people have a tattoo than not. I read a quote once from a

famous musician that said "If you want to be different, then don't get a

tattoo." If you walk into a room of ten strangers then nine of you will have a

tattoo. Now, as time progresses I find myself tattooing doctors, lawyer,

teachers, you name it. Once I gave the city I live in a discount because most

of the sheriff's department came in to have there shields tattooed in one

weekend. It's funny to me that all of these people have tattoos yet you still

are heckled by strangers for having them. I have my own theory on this

subject. I think that people have this psychological need to hate something. In

this day and age of political correctness, I think that tattoo hating is just the

last excepted form of racism. It's the only time you can discriminate against

some one for the color of there skin and not have a crowd of people say,

"Dude, that’s not cool!"

The history of the tattoo artist is another story. There are many famous

tattoo artists but only a few of them are respected. There is an unspoken

code among tattoo artist. This code is based on respect, loyalty and secrecy.

In fact it is a fear of mine to be shunned in the tattoo community for writing

this publication. Thankfully my willingness to teach out weighs my need for

popularity. There are a few different types of tattoo artists. First you have

the scratchers. Scratchers are your buddy’s friend that tattoos out of his or

her garage. They are called scratchers because that’s what they do. They buy

a tattoo kit from some hack company or online and pay ridicules prices while

thinking they got a great deal or they buy from some online auction. There

are only a few companies that sell to the public and they mark up prices so a

hundred dollar tattoo machine goes for about four hundred, and a fifty dollar

machine goes for about four hundred, while out of date machines that should

be disposed of go for about , oh...... four hundred. You get the idea. These

companies are part of the problem. They will sell anyone a tattoo rig just

because they can take their money. They don't think about the fact that they

are selling people (that have no clue what they are doing) the ability to give

their loved ones hepatitis.

Scratchers like to think they are tattoo artists because they saw some

famous chick on TV tattooing. They think they can watch a few re-runs of

tattoo shows and presto, instant VanGough. The truth is yes, scratchers will

give you a tattoo for twenty bucks or for a case of beer. While they might

have a small idea of how to draw a pot leaf, or the Tasmanian devil, they also

have no idea how to not give you hepatitis or some other disease that you can

pass to your wife or your children. Sure you can save a few bucks. But you will

end up having to pay five times as much to have it covered by a real shop.

While you have no idea how many people before you have had that same

needle under there skin. So, basically, there called Scratchers because they

carve a wound in your leg, or wherever, in the shape of a "yin-yang", just for

you to get the pleasure of having a yin-yang shaped infection. You cannot

tattoo on self education alone unless you have at least ten years experience.

You need a proper education. Unfortunately, many artists think that tattooing

for a few years gives them the right to teach, so be careful who you get an

apprenticeship from. Another teacher to watch out for is the guy that tells

you the old ways are the best. Like anything technology improves with time,

you have to learn and change with your environment. If you stop learning, you

become out dated. By this same logic, modern medicine would still be using

leaches to cure every thing.

Next you have the apprentice. These guys work hard before they ever

even start. It took me a few years to talk someone into giving me a shot. Most

artists will not teach. So you have to fight tooth and nail to actually get

someone just to say yes. A real apprenticeship takes about two years, give or

take a few months. These guys work hard. They get to do everything the artist

doesn’t want to do. Usually, you will work for six months just taking notes and

learning sterilization procedures before you ever get to touch a machine.

Then one magical day arrives and you get to play with the machine, by taking

it apart and cleaning it every day for another six months. Every one fails to

realize that tattooing is 90% sterilization and technical knowledge while only

10% artwork. You have to know how to clean a surface, and how to know

you’re not going to give your next client something that will kill them.

Basically, for the first year you will answer phones, study, clean and mop

floors, study, Clean windows and counters, study, sterilize equipment, and

study some more. You always hear about tattoo artists treating there

apprentices like shit. Making them mop the floor with a toothbrush and do

many vile jobs. Although I won't do this, it doesn’t mean it will not happen.

The art of tattooing is one of patience and respect. You have to learn

patience and earn respect before you can do anything.

Really the idea is similar to the military. We strip away everything you

think you know and teach you the right way. It is a hard and long process that

must be done in order for you to be a real artist. The worst part of the whole

process is not only do you not get a pay check, but most shops charge you for

the education. Apprenticeships can be upwards of ten thousand or more. Me

personally, I don't charge but I don't pay either. The way I see it is the student

earns their way by doing all the cleaning and the shit work they have to do to

learn anyway. I get labor, and they get an education. The only difficult part

of finding a free apprenticeship like this is that some hack shops will take you

in and use you for free labor. Either they won't teach you much and wait for

you to get mad and quit, or they will fire you before they think you are going

to start asking for money. So as hard as it is to get an apprenticeship, please

don't go to the worst shop in town just because they are the first ones to say

yes. If it's a crappy tattoo shop then you'll just learn how to do crappy

tattoos.

Once you complete your apprenticeship you will be one of two things, a

tattoo artist or a tattooist. There is a big difference. A tattooist is a person

that has had a formal education in the area of tattooing, but is very limited in

what they can do. This is the stage where you will be caught up with the idea

that doing tattoos is the same as being a rock star. Many tattooists will never

pass this step. Always know your limitations. Only do what you know you can

do and nothing more. If you try a portrait and fail you will loose all reputation

you may have, and this is a word of mouth business. A tattooist is a tattoo

technician. Some one that knows, understands, and practices proper

technique in the area of tattooing, but can only do what a client brings in. For

example, if someone wants an image no matter how complicated, then a

tattooist can perform that procedure, and make the piece look exactly like

what’s on the paper. There is nothing wrong with being a tattooist. It's a

strong level of professionalism. But you have to know your limitations. Stick

with what you can do, turn down what you can't.

A Tattoo Artist is some one who has had the technical training in the

area of tattooing, and can do everything a tattooist can do. Although the

tattoo artist can take an idea, or a basic thought, twist it, look at it in a three

dimensional view, and make it a piece of living art. In this stage you think you

are a professional, the real deal. Think of it this way. A tattooist would be a

person who can draw cartoons and not color over the lines. Where a tattoo

artist paints the "Mona Lisa" and never had any lines to begin with. To be a

tattoo artist you must realize that your art is not on paper. It is not, nor will

it ever be flat. You have to make it curve and bend to fit your client. It has to

fit there body just as much as it fits there personality. To be a Tattoo artist

you can not just do small pieces. You have to work hard and learn and

practice. You have to earn the trust of your patrons so you can stretch your

legs artistically. As an artist you will have more ideas then you can

pronounce, but you must not push your ideas on your patrons. Only suggest

them and let your patron decide.

If you take an idea and push it on your client then in the end they will

end up getting work they don't really want. Every custom piece you should

presented as two or three ideas, all from completely different points of view

and different styles. Your goal needs to be not to tell them what to get, but

to present them with enough ideas that they can be just as much a part of the

process as you. Most people when they want a piece of art not flash (standard

tattoo designs) they have no vision of what they want. They come to you for

the vision. They come to you so you can make it real. Sometimes it's hard to

remember they are not an artist like you. Suggest, not decide for them. The

fact is that the difference of a tattooist and a tattoo artist is a state of mind

and creativity. Many of the world’s best tattoo artist spent years as tattooists

before they progress. You have to crawl before you can walk, and you can not

rush into this change. It occurs with time. This is where you need to stop

concerning yourself with studying flash and learning what real art is about. I

strongly suggest taking up traditional painting. Study Rembrandt, DaVinci, and

Monet. They are the backbone to real art.

The Next type I would like to talk about is the pretend Tattoo artist.

What I call "Candy Artists". We live in a day and age where everything under

the sun that can sell in a commercial is put on TV. Now days we see Tattoo

"shows" on television. This, I think, and most real Artist will agree, is making

fun of an industry we have worked hard to get our foot into. These shows do

nothing but teach the wrong way to do everything. They are a learning tool of

what not to do. These shows are based on ratings and nothing else. Don't

think that what you see on TV is in anyway what a real shop is like. Thanks to

these shows every kid in America is making his or her own home-made

machine and screwing up his or her friends. Now everyone thinks they are a

tattoo artist. If you see a TV show with people shooting each other do you

shoot your friends? Then why tattoo on them?

These shows are hurting tattooed America more than they could ever

help. The only thing good they are doing is showing more people tattoos that

might not otherwise see them, thus removing some of the stigma surrounding

tattooing. What are the negative effects? Everyone wants to give any one a

tattoo; instead they just pass out free hepatitis. People come into real tattoo

shops for the first time expecting to find what they see on TV and feel

overwhelmed when they need to be relaxed and think about what they are

getting. These Shows tell the public incorrect tattoo aftercare, which will

cause them to ruin their hard earned tattoos. Adults are letting their twelve

and thirteen year old kids get tattoos that they will later regret because they

saw it on TV. Tattooing is the last true traditional, untouched, and un-

corporate form of art that the world has left and it is being destroyed. The

Tattoo artist is a dying breed now. People want to tattoo so they can get on

TV. Tattoo artists will not be rich. We do it for the art, if you want to do it for

the money then go home, because the real artists are laughing at you.

Something no one seems to understand is that these shows are

scripted, just like old reruns of "Matlock". A certain artist went on one of

these shows to be a guest artist and they tapped him saying hello six times. It

is a show. This is not "MacGyver". He cannot make a CD player out of a pocket

knife, a piece of wire, a coconut, and a toothpick. Just like someone holding

a tattoo machine on TV is not an artist. If you actually go to them to get

tattooed then you should know a few things. I personally have a friend that

got a tattoo by them. At any other shop in the world the highest price for a

four letter word with no color and letters one inch by one inch tall should be

ranging from fifty to seventy-five dollars. My friend paid two-hundred and

fifty dollars. Now you tell me where there priorities lay. I actually use these

shows as a teaching tool. Every time one comes on, my apprentices have to

watch it and make a list of all the things they do wrong. Not just the small

stuff, but the things that my local health department would shut me down

for. Here are a few of many.

More times then I can count, these "tattooers" have been in the middle

of a tattoo with bloody gloves on, have grabbed a bottle of pigment, "ink,”

and refilled there ink cap. This means that they just put blood on the ink

supply that everyone uses. If that person had a disease then everyone that

will have a tattoo from that bottle will have the same disease, and bottles

last a long time. Another one is they never remember to clean the clip cord,

(the wire that gives power to the machine). This means that again they are

spreading disease. They also ware black latex gloves because they look cool.

Black gloves means you can't see blood, or holes in the gloves. They don't

know if they are giving them selves a disease. The last I will mention of many,

many more, Is speed stick deodorant. They use speed stick deodorant to apply

there carbon pattern to there clients skin. This means that any disease that a

person might have is absorbed into this stick and applied with the pattern on

the next client. With the stroke of a single deodorant stick you can give

someone six or more different diseases at a time! Not only are they spreading

disease, but there doing so in mass quantities. This is the land of television.

Your watching some one get a tattoo by moneygrubbers and there getting

away with things no one else is doing, but your also watching them give

disease to all these people that could very well pass it on to there children.

Just say no to fake, joke, money-grubbing "tattooers", that wouldn't even give

you the time of day for two hundred dollars.

After all the glimmer and the spot light of being a tattoo artist fades

and you age into your profession you will be on your way to becoming the

most sought after type of artist, a Tattoo Master. If a true tattoo artist can

paint the "Mona Lisa", then the master can paint the "Last Supper" blind, and

on the head of a nail. Eventually the idea of being a tattoo artist will become

dull, and the rock star point of view will make you laugh at the thought that

you use to see it this way. Doing tattoos, being a professional artist will make

you a popular person sure. After time the life a "Tattoo Guy" will grow old,

the bars will get boring and all the friends you've made are just asking for free

work. Then you will see the only thing that matters when you go home at

night is your own feeling of pride and accomplishment. If you don’t take true

pride in what you do, then in the end you got nothing.

To be a true master is almost a state of Zen, a feeling of nirvana,

perfect. When we first think about tattoos we want to be the one everyone

talks to at the party. We want to stand out in the crowd, and we want

everyone to know our name. This is a fool’s wish. The only way to achieve

such "greatness" is to change your entire life to surround your art. To truly be

good at what you want to do is dedication and sacrifice. There are a few rules

that if you can not do then you need to turn around and find a new career. No

drugs or alcohol. This doesn't mean that while you’re working, I mean ever.

Drugs and alcohol will make your hands shake. You take more to get them to

stop shaking; you don't take them you shake worse. You have to be clear

minded. You have to be level headed. You cannot work if you are not at the

top of your game. Think of your studio as your church. A sacred ground meant

for greatness. If you come in with a hang over you will not have the patience

or the clear mind needed to perform to the best of your ability.

I drug test all of my students. They know that one time of use means

all of their hard work is over. They will loose their chance, gone forever. You

think Tattoo Artist then you think, Drugs, Biker, Sex, and Rock and Roll. This

is all wrong. Drugs ruin your mind, and your body. You cannot perform under

the influence. You cannot take them at home because you think about them

while your working and they still affect your steadiness. Drugs and alcohol

cause you to loose motor function. What good is a tattoo artist with shaky

hands? Wannabe be a biker, Find another lifestyle, Tattooing is not for you.

One bike accident and you will damage your hands. Ask anyone that rides and

they will tell you that the first thing you do out of instinct during an accident

is to put your hands out. Years of work and dedication will be out the window.

So you want sex, sorry. If you chase every piece of ass that walks in, it

will be your reputation. Your clients will stop coming around because they no

longer feel comfortable in your shop. They will not be comfortable taking off

clothes that have to be removed for certain locations. If you see something

more private of a person’s body then you need to have no reaction you cannot

seem prying or attracted. You have to remain modest, and never ask anyone

to remove clothes that don’t have to be removed. If they can't trust you, then

you have no clients. It would be similar to the best basketball player in the

world not having a ball or basket. Ok, so you want to use being a tattoo artist

to bring company home from the bar? What kind of people go to the bars, or

clubs? Your clients do. They see you drinking, or taking home someone, your

reputation is a drunk and promiscuous. They see you drinking; they will not

come to you. You’re a Drunk! Even if you only have one or two beers, you’re a

drunk in their eyes. Do you want tattooed by a drunk? You take home people

from the bar for sex. Every time you have sex with someone you are having

sex with every person they have slept with in the last ten years. This day and

age you can get anything, anytime. If you get Hepatitis, HIV, Gonorrhea,

Syphilis, or any other type of STD, you will not be allowed to tattoo. You will

be putting your patron’s lives in danger.

You are dealing with open wounds all day. You are performing a

medical procedure on the very people you depend on to feed your family and

practice your art on. All gone, all down the drain, just because you wanted to

go get laid. Rock and Roll, sorry. If you are working on a portrait and you’re

listening to heavy metal, then by nature your portrait will look sinister. You

must play music accordingly to how you want your work to be done. If you’re

tattooing something evil then metal all the way. If you are doing a memorial

piece or a portrait of someone’s daughter then tone the music down and

relax. Your hand will move to the music you hear. There is nothing you can to

about that, it is our natural reaction. You will be nothing more than a

tattooist at best. Reach a higher level, be something great. It takes hard work

and dedication. It takes sacrifice, and respect. Not just respect for the ones

you are working on, but respect in your self more than anything else. Follow

the rules or go home. You’re just cheating yourself if you don't. I have been

tattooing for thirteen years and I’m still another ten or fifteen years away

from a master level.

Chapter 2

Tattoo Meanings

Over the years tattoos have become little more than decaling the

human skin. Most people get a tattoo and spent there whole life never

knowing the true meaning. Others are confused on the meanings of tattoos

and get something that might have a completely different definition.

Tattooing has been a part of every culture known to date, and each culture

has its own meanings for different images. Here is a list of tattoo images that

have meanings you may be surprised of. There are so many images to choose

from, I am forced to pick but a few of thousands. When you offer a tattoo to a

client, or choosing one for yourself, you should always research the true

meaning.

Apple- An apple seems like a tattoo a teacher would get, but it really is a

symbol recognizing the easily tempted nature of man. It is a symbol that is

brought to us by the story of Adam and Eve in the Christian Bible. The story is

the down fall of man was brought on by the eating of the forbidden fruit.

Arm Band- Arm band tattoo just seem like a nice decoration for any one, but

they are a symbol of slavery and imprisonment. The tribal arm bands you see

today are reminiscent of the identification markings between African tribes,

while barbed wire is a symbol of spending time in prison or being a slave.

Birds- Birds are colorful animals that fly everywhere they go, most

would ay they are a symbol of freedom. They are in fact a symbol sailor used to

signify coming home due to the migratory patterns of most birds. The best

depiction of this is the swallow or sparrow. Often you will see sparrow and

swallows tattooed holding or with stars. This is a symbol of finding your way in

the dark, since most sailors spent months at sea and the night was the most

dangerous time to sail due to not being able to see any obstructions in the

water.

The Cat- A tattoo of a cat can be for a female that loves her pet, and a

symbol of attention. For the Egyptians the cat was a symbol of death. Though

to be a sacred animal, the cat was believed to be able to cross from the land of

the living to the land of the dead. Many past cultures see the cat as a

messenger from the dead to the living.

Daggers- A dagger can symbolize many things such as revenge or getting

stabbed in the back, but the true meaning of a dagger is from the Japanese

culture. When a Samurai warrior failed his king on a task too small to commit

Hari-Kari (honorable suicide) they would be required to remove the tip of a

finger to show sympathy for the failure, thus making a dagger a sign of loyalty.

Dragon- The American dragon is a symbol of strength, but the Japanese dragon

is a symbol of wisdom and intelligence, often depicted with a tiger along side it

to symbolize wisdom and beauty.

Eye- The tattooed image of an eye would seem to be a symbol of awareness,

though it can be, it was first tattooed on prisoners by other prisoners on there

backs against their will. The meaning of which is to show that the tattooed

prisoner was an informant and also symbolized they have been sexually

assaulted by another prisoner.

Fairy-The fairy is a mystical creature most use as a symbol of their childhood.

The oldest meaning behind a fairy tattoo is that fairies would often grant

wishes to the ones that could catch them making all the captors dreams come

true while causing more problems then they helped. The Irish later referred to

them as leprechauns.

Fans- Most think that a tattoo of an oriental fan is a sign of beauty due to the

geisha that never leaves hers behind, but in fact it is a tool to ward off evil

spirits.

Fish- Fish tattoos are often viewed as a sign of fertility, this is not entirely

wrong. The Celtic Salmon of wisdom might say other wise though. In the

Japanese culture, the Koi fish is a symbol of strength and beauty. The Koi was a

plain fish till the Japanese bread them to be bright colors, and the legend of

the Koi is that every Japanese dragon started as a Koi fish that had to jump

over a rainbow to change into a dragon.

Flags- Flags today are a symbol of patriotism, getting an American flag tattoo

supports your country. In the past, other cultures would get a flag tattooed of a

rival country to show disrespect and that the country the flag belonged to was

an enemy.

Fleur de Lis- The Fleur de Lis might be the same symbol we use for the boy

scouts, but it really is a sign of the French Monarchy, and so represents liberty.

Ganesh- Ganesh is the Hindu god that has a head of the elephant. The

meaning of her as a tattoo is that of Protection and righteousness.

Gecko Lizard- The gecko lizard is a sign of regrowth and survival instinct do to

its ability to loose its tail and later re-grow it in order to distract an enemy to

save its own life.

Grapes- Grapes are a symbol of the Greek goddess of wine named Dionysus.

When you see someone sporting a grape vine up there leg thinking it means

growth, they are really telling you they are a drunk.

Griffin- A griffin is a mythological animal passed on from the Middle Eastern

religion called Zoroastrianism, but was later used by the Christian church as a

symbol of the two sides of Christ.

The Eye of Horus- Horus was an Egyptian god whose symbol is the left eye.

Horus is the god of war and protection. Any one thought to have the symbol

tattoo was believed to be protected by Horus himself during combat.

The Eye of Rah- Rah is the Egyptian god of the sun symbolized by the right

eye or opposite the eye of Horus. The symbol of Rah means you warship life or

creation of life.

Kokopelli- The Kokopelli is thought by most cultures to be a messenger of

music do to it's depiction of an Indian man playing a flute. What they don't tell

you is the most of the actual depictions of the Kokopelli is adorned with very

large male genitailia. It's actually an Indian sign of fertility.

Lotus Flower- The lotus flower is often mistaken for a sign of beauty. The

lotus flower is a very pretty flower that grows in mercky and muddy water; it is

a sign of spiritual purity through advertisement.

Nautical Star- The "Nautical Star" that you see on every teenager is one of the

oldest tattooed symbols. It symbolizes the North Star and means that the one

adorning such a tattoo is looking for there way.

Spider Web- Some say the spider web on the elbow is a symbol of taking a

life. The true meaning of the spider web tattoo is more for the bikers, it's a

symbol of crashing a motor cycle in hopes that the spider webs will catch them

the next time to keep the rider out of harm, figuratively that is.

Those are some of the image meanings I thought you would be surprised

about. There are just so many images to name, I can't even think of a fourth of

them. Here are some more standard tattoo meanings for images we see every

day. Hopefully you will get a few ideas of be able to use this to better assist

your clients on finding the tattoo for them.

Anchor- Safety, hope and salvation, planting ones own roots such as having a

family.

Angel - Protection, guardians, keepers of dreams

Bat - Longevity, happiness, mystery

Bear- Good nature, good luck, also ignorance

Bull - Fertility, power and strength

Butterfly - Spiritual immortality, temporary element of life

Centaur - Knowledge and nature, spirit of womanhood

Chain - If broken it means freedom. If intact-slavery

Clown - Laughter, tears, uncertainties

Clover - Good luck or a sign of Irish nationality; Feminine power

Cross - Sacrifice, love and salvation, Christian Symbol for faith

Crow - Revival, Gods messenger, Return From the dead

Devil - Mischievousness, urgent desire for sex

Dog - Man’s best friend, loyalty, trustworthiness

Dove - Universal symbol of peace

Dragonfly - Affinity with the Spiritual Life. Illusion

Feather - Creativity, rebirth and spiritual elevation

Frog – Positive symbol of pregnancy, Also a symbol of change in ones own life

Hawk - Self-discipline

Heart - Love, provided it is neither bloody nor torn into pieces

Horse - Friend to man, kingship

Leaf - Joy, rebirth

Lion - Might, awareness, immortality, bravery

Mermaid - Temptation, seduction, materialism

Monkey - Wisdom, knowledge, or evil powers

Moon - Varied rhythms of life

Phoenix - Rebirth, Rising from ones own ashes

Reaper - Death or one has faced death

Rose - Fertility, pagan sign for womanhood

Scarab - Strength and rebirth

Skull - Courage, Death, Poison

Snake - Temptation, Adaptive ness, knowledge, and wisdom

Spider - Creativity

Sun - Sacredness of life. Warmth, nurturing

Sword - Represents justice, honor, energy

Tiger - Fierceness, strength and power

Turtle - Fertility, long life

Unicorn - Chastity and purity; unattainable

Wolf - On the hunt, One's own wild side

YinYang - Harmony and totality versus Evil and chaos, also is a symbol of

balance

Chapter 3

Lifestyle

The problem is that thanks to television and most tattoo magazines

everyone thinks that being a tattoo artist is like being a rock star without the

guitars. Sorry to tell you the truth, but here it is. There will always be the

biker tattoo shops that give ink for blow jobs. It's sad but true. These guys are

a joke to the industry. These are the guys that everyone is laughing at and

making fun of, often to there face. These are the same people that tattoo for

drugs, or are only concerned with there bank account. Yes you can make a lot

of money tattooing. If you cut corners on supplies and equipment, and you

rob every client that walks in your door. If you do that then your clients will

only walk in and back out once in their life. There are too many real artist out

there these days that will take your clients and treat them right.

What does it take to be a real tattoo artist? It takes dedication. This

means no drugs or alcohol. This means bed by ten every night. Bars, clubs,

and strip joints all off limits. You have to be able to push yourself to a higher

level. As you progress, everyone will praise your work and tell you how great

you are. You have to be able to say, "I’m not where I want to be yet." You

can't give up. You aren't allowed to say, "I know well enough." There is no

good enough. This is hard work. You will ruin relationships. Marriages will

come and go. You have a slim and none chance of finding a significant other

that will understand what you do. Most will just get jealous and fight with

you, or just leave. You will see the worst of people and you have to look for

the best. You will want to quit. After all the stress, and frustration, you still

have to say no to drugs and alcohol. You have to dedicate your mind, your

heart, soul, and your body to the one thing you want most. Professional

athletes don't have shit on us.

Sounds shitty, why would anyone ever want this job? Tattooing is the

greatest job on earth. You get to do things that most people would die just

watching. You get to leave your mark on life. Tattooing is true life after

death. Every person you tattoo on will remember who you are if you treat

them right. They will tell your story to there grandchildren after you are long

gone. Your artwork will live, walk, and talk to hundreds of people long after

your death. This isn't a painting. It's not paper. You’re marking someone’s skin

in a way that they will carry a piece of you with them for the rest of their

life, and they thank you for it. You get to build something and watch it grow

larger than life. Unlike a building, it can never be torn down, unlike music, it

can never be forgotten. You will truly help people. These days in a world

with so much pain and so many problems, we all need help coping. Tattooing

is addictive more so than any drug. The reason is that it makes it all better.

When you’re getting tattooed the world fades away. Your major problems

seem dull in comparison. The ones that get work on a regular basis are what

we call collectors.

To a collector you are their family. You get to know them so well that

you will become friends with many of your clients. Several of my clients have

asked to attend my upcoming wedding, and I will be honored if they attend.

You will truly make an impact on the lives of everyone you touch. Through

conversation and hard work, tattooing to a collector is better than any

therapy they could ever have. Done the right way, and for the right reasons,

you will be a part of something that is so much bigger than you. Tattoo

conventions are gatherings where hundreds of people flock to show off their

work and to get new work. When you walk through the door, it feels like a

paradise. Herds of people that think and feel just the way you do and all of

them welcoming you like a long lost relative. So what does the hard work do,

you get to be something that only five or ten percent of the world will ever

be, whole. You find your place in life and truly belong somewhere. Once

achieved, you can never have that taken away from you.

The ones that just tattoo for money, fame, or just to be the cool kid

will never know the true meaning of the term "Tattoo Artist". This to me

translates to respect, loyalty, and appreciated by many. All the while getting

to do exactly what you really want to do with your life. You won't get rich,

but if done right you will be able to support your family and not have to do

anything else but tattoo for the rest of your life if you so choose. Here are the

rules and code of a true tattoo artist. Following these rules is the difference

between a Scratcher and an artist.

Tattoo Artist Code

No drugs or alcohol, keep a clear head.

If you want a mate, keep a good relationship . You can't think level

headed if you’re fighting with your significant other.

Live your reputation: No bars, No clubs, what people see of you is who

you are to them. Be a part of your community.

You must show respect at all times . Be polite to everyone, answer

questions no matter how childish they may seem. Help a stranger at least

once a day. Respect your self. Dress well, not grungy. Clean clothes, well kept

hair. You can still look like a tattoo artist but don't smell as bad as they

expect you to. You are trying to be a medical professional.

Take care of you hands! They are your biggest tools. No fighting, No Skate

Boarding, No wounds of any kind. A cut on your fingers is an open door for you

to get a disease. Taking care of your hands can save your life.

Get sleep and eat well. You need eight hours of sleep every night before

you work. You have to be rested. Anyone that has tattooed can tell you that it

is physically demanding work. It’s hard on your hands, your back and you

mind. Be healthy.

Know when to stop. This is a field of great perfection. It takes dedication,

and sacrifice. It's not for everyone. If you can't do it then have enough respect

for the ones that work there whole life to be able to. Don't just do some of

the things. Don't pick and choose. All or none.

Never steal someone else’s work . Tattoo artist, not tattoo copyist

Never talk bad about another artist or shop. Better to be presumed a

fool then to open your mouth and prove it. If someone’s work is bad, then

there work will show that, you don't need to help.

Do custom work once. If you design a piece for some one then give it to

them and them alone. People that pay for custom work doesn’t want to see it

on there buddy down the road. That’s treating your patrons poorly.

Never over charge. Just because you think someone will pay more does not

give you the right to charge that much. Not everyone knows what a tattoo is

worth. Don't prey on the uninformed.

Never lie to your patron. If you've been tattooing for a year don't tell them

ten. They will respect you more for the truth, and never come back for a

lie.

Never cut corners. Remember, the next one in the chair could be your

wife, child, mother, or you. Be clean and safe.

Take a Zen moment. Never rush, take your time and do your best. It does

not matter how many people are in line, you can only tattoo one at a time.

Before every tattoo take a minute before you start to center yourself

and calm down. If you smoke cigarettes, then smoke. If you meditate then do

that. Just take the time.

Never get personally evolved with a client. If you try to sleep with your

clients then you will get that reputation and others will view you as a joke.

Never show attention to someone’s body if exposed. Your job as an

artist is to make the client comfortable not to flirt or satisfy your sexual

wants.

Chapter 4

The bad Guys

Now that you have an idea of what it takes, let’s start learning. The

most important thing you have to know is sterilization. What kills germs, and

what doesn’t? Tattooing is 90% sterilization and technical ability while only

10% art. The health department doesn’t want you to know this but they really

don't care if you can't draw a stick figure. As long as you’re screwing up

people and not spreading disease they could care less. These are the basic

Diseases and Bacteria you have to guard against in the area of tattooing and

piercing both.

Hepatitis

Human immunodeficiency virus (HIV)

Chlamydia

Staphylococcus aureus (Staff Infection)

MRSA

There are many more diseases and bacteria’s you will be dealing with.

These are just the most common. If you can guard against these, then

everything else will be taken care of as well. Something I would like to point

out is that bacterial infections do not come from tattoo shops. You always

hear about some chick saying her tattoo from such and such shop got infected

so they suck. No! They might suck, but they did not give you an infection.

Bacteria grows on the skin naturally. Everyone has it. If you take a person and

remove every bit of hair, skin, meat, blood, and bone you will have an exact

replica standing in front of you made out of bacteria. This is right after they

get out of the shower. I know, Sexy huh? The point is that a bacterial

infection is the massing together of bacteria. The difference between bacteria

and a virus is you can cure bacteria, and only treat viruses. Diseases are

viruses. Ok, so what does that mean? Well, it means that the chick with the

infected tattoo did not take care of her tattoo. When you don't treat a

wound, bacteria will grow. Washing it kills them. If the bacteria has been

there long enough for her tattoo to get infected then she has not been taking

care of it. Now she's trying to blame some poor shop for her being lazy. In the

thirteen years I have tattooed, I have only seen three infected tattoos in

person. The first was an allergic reaction to the metal the needle was made

from, (this is very rare.), and the other two were from neglect of the client.

Tattoo shops don't give out bacterial infections. Tattoo shops need to worry

about diseases. If you got a tattoo and now you have Hepatitis, then go to the

health department and register a complaint. Just remember that it can take

any where from six to twelve months for a virus like Hep or HIV to show up on

a test, and you have a better chance of being hit by an airplane while walking

on the sidewalk then you do of getting a disease from a properly ran tattoo

shop. So how do we get such a good record...…? It's what we do.

You always hear about these diseases but no one really knows what

they do or how they are really spread. All blood born pathogens are spread by

two ways, Direct and Indirect contact. Direct contact means that contact is

blood to blood or seamen to blood. An example of direct contact is

unprotected sex. I can't tell you how many times I have heard people say you

can't get Hepatitis from a blow job, it kills me. Fighting is also form of direct

contact. You hit someone and cut your hand open while wounding them, you

mix blood. Contrary to popular belief anal and oral sex can pass disease just

as easily as intercourse. Another form of direct contact would be if you got

someone's blood in your eyes. This means if you see someone spraying blood

at a car accident the best thing you can do to help is call 911, not rush over

and swim in his pr her blood. Not very chivalrous, but at least you get to live a

healthy life.

A good example of this in a tattoo shop is the spray water bottle. Most

artist spray a tattoo with water to clear away blood and excess ink during the

process. This is very wrong. I even catch myself doing it every once in a while.

The force from the water leaving the bottle will push the blood and it's

contaminates into the air. If you’re standing in the path of it, or if you have

an open window while a breeze is blowing, you will blow this stuff right in

your eyes and mouth. It’s scary how easy it is to contract a disease. The worst

form of direct contact in a tattoo shop is a failure with a glove. We as artists

wear latex gloves to guard against contamination. Every one gets loose

cuticles on there fingers. The little piece of skin at the top of your fingernail

that gets sore and sometimes bleeds is called a cuticle. If a glove has a small

hole in it and blood makes contact with that little, tiny sore, you have been

infected.

Now here is some food for thought. Anyone who has had a tattoo in

the last ten years has seen the artist use ten pounds of "A+D" ointment or

"Vasoline" during the tattoo process. They use this to seal the tattoo while

they are working on it. Not only is it completely unnecessary, but it's

dangerous. If you remember high school health class, they always tell you to

never use oil based lubricants with condoms. Why? Oil breaks down the

composition of latex. This means that the condom won't work anymore. Latex

gloves are no exception. The ointments are oil based and the gloves are latex.

That means that those guys are tearing down the only thing that separates

you and them. Ok, so you say as a client, "Hey, I don't have anything!" Good.

But how sure are you of them being clean if they have tattooed for years?

Well maybe they change gloves often enough for it not to have time to break

down. Wrong! Latex is no longer a disease barrier after three minutes of oil

exposure. After three minutes, you might as well have unprotected sex with

the old biker guy that just did your tattoo. If you see this then leave, don’t

play Russian roulette for the sake of a new barbwire armband. Many artist

also use Nitrile or Vinyl gloves, so there ok right? No, Nitrile and vinyl do last

longer with oil exposure, but they only last twenty minutes at best. So either

way oil based is bad.

Next we have Indirect Contact. Indirect contact is contamination

through a middle man. Say I have a cut, and then mop the floor. Blood is a

common thing to mop up in a tattoo shop, although it's in small amounts and

usually mixed with pigment or water from over spray. The blood on the floor

is contaminated and gets on the mop. I mop and it gets in my cut, presto;

Hepatitis. Another example is a contaminated (dirty) needle being stuck in an

uncontaminated person. So if someone uses an old tattoo needle or you

accidentally stick yourself and pass a disease you have indirect contact.

Another form of indirect contact is if a tattoo artist runs out of pigment (ink)

during a tattoo. If they just grab the bottle with a bloody glove and refill the

cap then that blood is on the outside of that bottle. It won't take long for it to

work its way inside, contaminating the entire bottle. Even if it doesn’t, they

still have to hold it to pour the pigment for the next client. Most shops only

have two or three artists. This means they usually share pigments to save on

money. The average bottle of pigment will last for a hundred or more tattoos.

That means from that one small action, more than a hundred people will have

a disease. Indirect contact is the most common contamination method in a

tattoo shop. The hot spots to watch are the sinks, the tattoo chairs, and the

counter tops at the work stations. If these are not cleaned well enough then

you have contamination. Now you know how disease is spread. The action of

spreading is called Cross-Contamination. This means that you have a

contaminate introduced in a non-contaminated area. So the person that grabs

the pigment bottle with bloody gloves on TV is nationally making himself or

herself into a hazard for everyone to see.

Hepatitis

Hepatitis is a viral disease that affects the liver. It is mainly

characterized by the presence of inflammatory cells in the liver. Acute

Hepatitis is when it last for six months and chronic is when it last for much

longer. Any Infection of the liver or inflammation of the liver is known as

hepatitis, but the ones we need to be worried about are specific viruses that

affect the liver differently. Some of the symptoms of liver failure are muscle

and joint aches, fever, vomiting, loss of appetite, dark urine, yellowing of the

eyes and skin, otherwise known as "jaundice" , and abdominal pain just to

name a few. Jaundice is usually a later effect that indicates massive liver

damage. We turn yellow because our bodies cannot flush away the waste we

need to expel. Basically Hepatitis causes us to drown in our own bile. Hep A is

usually transmitted through contaminated food. There is a vaccine that can

prevent Hep A for life. Hep A can pass like the flu. Heb B is transmitted

through sex, tattoos, piercings, and breastfeeding. Hepatitis B can be treated

but not cured, although there is also vaccine. Hepatitis B is responsible for

500,000 to 1,200.000 deaths worldwide per year.

Hepatitis C used to be known as "Non-A Non-B Hepatitis". It can be

transmitted through blood, sex, and can also cross the placenta infecting an

unborn child. Hepatitis C usually leads to chronic Hepatitis ending in liver

failure, know as "Cirrhosis" of the liver. There is some treatment, but not

cure. Hepatitis D can only grow if you have Hep B already. It's basically the

stage of B that kills you. Hep E is similar to hep A but more common among

pregnant women. Hep F is hypothetical, basically there were thought to be a

few cases in the 90’s but no one ever proved it, and the newest form is Hep G

which was just found this year and not much is known about it. The scary part

of viruses is that each time someone contracts one, it changes slightly. If so

many people contract it then each time it changes into something new, and

worse. Take the time to clean and sterilize properly, the life you save might

be yours.

Human Immunodeficiency Virus (HIV)

HIV infection happens with cross-contamination of blood, breast milk,

or semen. Basically HIV attacks your immune system. This means that you

don't die of HIV, you die of the flu or a splinter in your toe. As of 2006, The

World Health Organization estimates that HIV and AIDS have killed over

twenty five million men, women, and children since it was first identified on

December 1st 1981. It is the most destructive illness in the history of the

world. In 2005 alone it killed 570,000 children. A person with HIV can remain

healthy for many years, spreading the disease without ever knowing it. There

are virtually no symptoms until one develops AIDS (Acquired

Immunodeficiency Syndrome). The transmition of HIV is most common

through unprotected sex. Though it is highly possible to contract the disease

through needle sharing, a noted college did a statistical survey of two-

hundred known needle sticks in a medical environment. Out of two-hundred

contaminated needle sticks across the U.S. in 2004, only three of the victims

contracted the disease. With mother to child transmission can occur in utero

during the last few weeks of pregnancy or at childbirth. Without treatment,

transmission from mother to child is only a twenty five percent possibility,

but with delivery through cesarean section and drug treatment the risks can

be reduced as low as one percent. Unfortunately, breast feeding has its own

chances of infection. The lowest form of HIV transmission is through the field

of tattooing and piercing. To date, there have been no known cases

transmitted through body modification. HIV and AIDS have no cure. There are

minor treatments with breakthroughs everyday. Please, as an artist, do your

job and help continue the fact that the lowest area of transmission is the

body modification industry.

Chlamydia

There are initially three types of Chlamydia: Trachomatis, Muridarum,

and Suis. Trachomatis is the only one of concern in regards to body

modification. Chlamydia Trachomatis causes eye and genital disease, and is

one of the most common sexually transmitted diseases. A little fewer than

three million cases of Chlamydia occur in the US each year. Most women that

have contracted the disease will show no symptoms or even know they

contracted it. Chlamydia is curable with the proper antibiotics, however, if

not caught it is the number one cause of preventable blindness in the world.

Some of the symptoms of this form of Chlamydia include Pelvic Inflammatory

Disease (PID) which means infection to the uterus, fallopian tubes, and

ovaries. If not treated, PID can lead to scarring of the reproductive organs,

difficulty getting pregnant, and difficulties during pregnancy such as, entopic

or a tubal pregnancy. One of the major drawbacks to this infection is that

women with Chlamydia are more that five times more likely to be infected

with HIV. Some of the more noticeable symptoms are abdominal pain, painful

urination, painful intercourse, vaginal bleeding, fever, and a thick white

cervical discharge. Men are much more likely to show symptoms of Chlamydia

such as, painful urination, sore or swollen testacies, fever, and a clear milky

discharge from the penis. If not properly treated, for men, it may cause

permanent sterility in as soon as 6 weeks.

Staphylococcus aureus (Staff Infection)

Staphylococcus Aureus is more commonly referred to as a "Staph

Infection". Staph is a common bacterium that lives on the skin and inside the

nose of almost every person in the world. This is the bacterium that is

responsible for such things as Impetigo, Cellulituis, Pneumonia, Septicemia,

Pimples and Toxic Shock Syndrome (TSS). Staph is the leading cause of

bacterial infection to small wounds or abrasions. This is something that can be

avoided very easily among the tattoo industry; Anti-Bacterial Soap. Once

Staph is introduced to a sight, usually the best Medication recommended is a

mild antibiotic prescription. However, if not treated Staph infections can get

much worse and lead to rapid weight loss and muscle depletion, sometimes

taking up to half a year till full recovery. Staphylococcus itself led to another

strain of the bacteria in the late 1990's called Methicillin Resistant

Staphylococcus Aureus (MRSA)

Methicillin Resistant Staphylococcus Aureus (MRSA)

MRSA is a stronger strain of Staph that gets it name through a

resistance to most of the commonly known antibiotics. Due to its production

of cretin enzymes that attack the antibodies themselves, the antibiotics are

rendered completely useless. Until the 1990's MRSA was a rare thing, but in

the 90's there was a massive epidemic of MRSA, mostly in hospital

environments. This particular strain has to be treated with antibiotics such as

Glycopeptides. There are many problems with these antibiotics, there are no

pills. So if you find yourself the victim of MRSA, then you can expect a

vacation to the hospital for a few days and an IV cocktail of antibiotics. The

reason I wanted to bring up MRSA is because last year (2006) there were a

handful of cases also in the tattoo community. This "Artist" did not know how

to properly take apart and clean his tattoo machine so he just didn't clean it.

There were a handful of MRSA cases, all with new tattoos. The Center for

Disease Control paid him a visit and matched the strain they all had to his

machine. Needless to say he won't be tattooing for a long time. This is a clear

example of how much pain and suffering you can cause from simply cutting

corners. You must perform your job to the best of your ability, but if your

ability isn't enough then go flip burgers. Statistics show that in 2005 MRSA

killed more individuals than HIV and AIDS combined. There are 20 known

antibiotics in medical use, 5 of which have a standing chance against MRSA. If

you miss one single dose, then the MRSA will have a resistance to that

antibiotic; this leaves you with less choice. If you are allergic to penicillin,

then you can only use two antibiotics to start with.

Chapter 5

Tattoo Sterilization

Sterilization means by definition, that you make any object, including

surfaces, free of germs or bacteria. Technically this is impossible. There are

so many germs out there that as soon as something touches the air it is

contaminated. Something only remains sterile if you never remove it from a

sterilized packaging; even then it’s only good for about three months. If you

autoclave sterilize something and leave it alone, after a period of time it

becomes un-sterile again. What this means for you as an aspiring tattoo artist

is that you’re going to have germs; you just have to make sure the really bad

ones are gone. The major germs and viruses that we have to guard against

are Hepatitis, HIV, and MRSA. If you can kill these guys then the others are

already dead. Let’s start with where to find these bad guys. Your hands are

the number one place to defend the most. No one realizes just how easy it is

to infect yourself. How many times a day do you touch your face and not

think about it? Do you always remember to wash your hands before you eat?

Do you think about your hands when getting a piece of gum? If you don’t wash

your hands enough then you open a piece of chewing gum, and mindlessly

throw it in your mouth, you’re done. That’s all it takes. Wash your hands

properly. Wash with anti-bacterial soap. Always wash all the way to your

elbow, and rinse from the elbow to the tips of your fingers. What good is

washing your hands if you hold your hands up and all that bacteria rolls right

back down your arms.

Hep is the quickest guy to get. Almost anything you touch in the studio

can possibly have Hep on it. You do a tattoo and your client needs to use the

restroom. He gets up and walks through the lobby to the restroom and closes

the door. What you don’t see is he had his hands on his tattoos. People always

touch their tattoo, no matter how many times you tell them not to. He

touched the door frame for the tattoo room, the handle and door to the

restroom; the sink handle, the toilet when he flushes, and maybe the counter

on his way back out. All of those places now have Hep. Now, while you’re

tattooing you’re using a spray bottle of water right? You spray the tattoo and

it gets on your pants and the floor. Now it’s on the sole of your shoe. You

walk through the shop, touch the same door frame and the same knob to the

restroom, then you touch yourself to do your business. You wash your hands

so they are clean but when you turn off the water you put it right back on

from when he touched the sink first. Now you have Hepatitis on the floor, all

over the shop, the tattoo chair, the door frame, the restroom handle, the

toilet, the door knob, the sink, your shoes, your hands, your privates, and

your face because everyone touches their face. Damn that spread quick. Now

your significant other has Hep because they kiss you and then they kissed your

kid goodnight, now they have it too.

What the hell do I do now? Well it’s your job to make sure that

everything is safe. Rubbing alcohol will not kill Hepatitis or HIV. The only

thing alcohol will kill is bacteria, not viruses. Rubbing alcohol is not the

answer. There are a few chemical solutions you can buy from a tattoo supply

company. They all have different names but they are called germicidal

solutions. Usually these chemicals are pretty expensive as well. About all of

them come in one gallon jugs and are concentrated. To get them to work

right you have to measure just right and then when you spray them on, they

have to sit for up to twenty minutes to be affective. This sounds like a lot of

crap to me. The best and the cheapest thing you can use is good, old

fashioned bleach and water. Bleach and water are good for surfaces. Never

use them on skin and never try to sterilize needles, only surfaces. You can

use bleach and water to clean a tattoo machine, but you have to clean the

bleach back off because it causes oxidation, which makes metal rust.

The bleach you need to use is chlorine bleach, not the scented bleach

because often it’s too pungent of a smell. What is bleach? Chlorine is basically

table salt. Bleach is salt water that has been changed by a chemical reaction

started with electricity. Bleach is technically a solution of sodium (salt)

hydroxide mixed with water in a 5.25% mix. Chlorine is also used to treat

swimming pools and the water you drink everyday. It’s used because it’s a

disinfectant. This means it kills the bad guys. When chlorine reacts to water

it actually produces a mild hydrochloric acid. This is why straight bleach on

your cloths before you wash them will eat a hole. When you clean any body

fluids with bleach you want to dilute it with water. A dilution of 1:100 will do

the trick but the more bleach the better. I tend to use a twenty percent

dilution ( 20% bleach and 80% water). 1:100 means that for every quart of

water you want about two tablespoons of bleach. It’s usually a safe bet to

clean your area then spray the surfaces with a mist for full coverage, letting

the bleach and water soak for a few minutes. Then dry the area. If you don't

dry the area you will get a nice white coating on everything. Bleach does

have a very strong smell so you want to be careful and make sure the area is

well ventilated. Bleach and water of the same dilution will be fine for mop

water as well. Using the bleach method you can guard against Hepatitis,

MRSA, and HIV effectively. Also, if you use the large plastic spray bottles from

say Wal-mart, you will need to replace them about every two months or so.

The bleach causes the spring in the handle to rust can eventually break.

.

The floor is a large concern in a tattoo shop. If you don’t get the floor

clean then you will track disease everywhere you go. Another thing to think

about is that every client sees your floor and that’s the first thing they judge

the cleanliness of your shop by. The first thing you want to do is sterilize your

floor. A lot of products are on the market for cleaning floors, but the best

thing I have found for killing germs and disease is just bleach and water.

Bleach and water does a great job, however it will not make your floor look

all nice and pretty. In the tattoo industry we use a lot of pigments that are

very strong and very similar to ink so it will stain the floor very easy. We also

use a purple carbon copy paper to transfer the design to the human skin; this

carbon gets on everything and is a devil to get back off. I have tried almost

every name brand product out there, even down to raw acetone. Nothing

seems to get the pigment and the purple carbon up except for one product,

tile cleaner. You want to use the tile cleaner that foams up when you spray it.

My best guess is that it gets down in the cracks and the pigment and carbon

float out on top of the chemical. It’s funny how it works. A small drop of

pigment will make a colorful puddle more than a foot wide. After you spray

just let it soak a minute or so and mop away the nasty. Again this is a pungent

chemical and you should always open the windows or make sure you can get

plenty of fresh air while you work. Make sure to mop well under all counters

and around all sinks. Get every spot you can. Any time you use a new

chemical always do a test spot. Some chemicals like acetone might eat a hole

in your tattoo chair, so test first.

Your tattoo station should be a small desk so you can move it easily for

cleaning. I personally use an upright tool chest, the kind with a cabinet under

it, for my pigments and supplies. These tool chests are on wheels and move

very easily for cleaning. Every tattoo station should have its own room and its

own sink. The sink is one of the dirtiest places in a tattoo shop. You need to

keep it clean because this is also where will wash your hands the most. An

easy way to get around the knob thing is, go down to your local hardware

store and get a hands free sink valve. There are a few different types. The

more expensive ones are foot or knee switches that turn the water on for you.

I personally use the kind that’s a metal bar that attaches to you faucet by

screwing on where the screen goes. These are great because you never have

to touch the knobs. You set the water as you wish and when you are ready to

wash your hands you simply move the bar to one side or the other as you wash

your hands. When you take your hands out of the sink the bar returns to its

place blocking off the water flow. These kits cost about ten to fifteen dollars.

Remember to keep your sink clean with the bleach water at all times. After

every tattoo cleaning the sink should be part of your process.

Let’s take a look at your tattoo station. The best thing to use is a small

desk with a smooth surface. You want the surface light in color so you can see

any type of pigment or blood. Wood is a bad idea because the blood and

pigment will soak into it and you will not be able to keep it clean. You want

plenty of lighting. An upright floor lamp at the corner you will be working

from and a desk top lamp should do the trick. The best way to be sterile is by

removing as many things from the table as you can. The spray bottles you will

be using should be plastic and you should have one for bleach and water,

alcohol, witch hazel, saline, water, glycerin, and green soap mixed with

water. Each will serve a later purpose. Above your work station you should by

a towel bar, like for the bathroom. It should also be light in color; I think the

square chrome is the best. This is for you to hang your spray bottles by their

triggers. Your sharps container should be on the floor under your station away

from where anyone might get accidentally stuck. The less you have on your

work station the more sterile your environment will be. You should have a

separate stand or table for your pigment bottles at least five foot away from

your work station to avoid cross contamination. Wall shelving would also work

for this. All of these surfaces should be cleaned on a regular basis. You should

remove all of the pigment bottles and clean under them as well. Some artists

like to use what is called an ultrasonic cleaner. This is a device that’s uses

vibration and a soapy solution to clean tubes and clamps. The vibration shakes

loose any biological matter like blood from the tubes and clamps. In the past I

have seen a few artists use these to wash the ink out of the tube during a

tattoo. This is a very bad practice; you cannot properly sanitize this machine.

Only use an ultrasonic cleaner prior to autoclaving, and always keep it away

from your station. Make sure to read all instructions of any piece for

equipment you plan to use.

Your tattoo chair should also be light in color. The best chairs are the

ones made specifically for the use of tattooing. There are a few companies

out there but they can get pricy and it’s hard to find one that’s not black.

Due to this reason I personally use a barber chair for the upright tattoos such

as arms, and a full size massage table for the lay downs like legs and backs.

All chairs should be cleaned on opening, after every tattoo, and again right

before closing. Make sure to get in all the little places, in between the

cushions, and all the metal hardware like foot pedals and handles. Any

stools, or arm rests that may be used should be treated with the same care.

This leads us to instrument care. There are a lot of tools that are involved

with tattooing. Obviously, you have a machine, which will have is own

cleaning section in this book. You will also have to clean your bottles, foot

switch, power supply, and clip cord after every tattoo. Forgetting a single one

of these could lead to a lot of problems for everyone. Anything that is used in

a tattoo needs to be cleaned or thrown away. Any ink pens that you may use

on a person for drawing must be used once and thrown away. Packs of pens

are like two dollars, don’t be cheap. Never use reusable towels. Always use

standard paper towels while tattooing. Some of them have printed designs on

them, while some artist will tell you the ones with designs will bleed color

into your tattoo. I have never had a problem with this and I’ve used them for

years. There’s just something funny about tattooing a skull on some huge

biker guy, using paper towels with bunnies and duckies on them. All stencils

need to be used once and thrown away, and all razors need to be used once

and thrown away.

Something I’ve always found funny is that all sharps (sharpened medical

equipment such as needles or scalpels) should be thrown in the red sharps

disposal container, but the health department makes you throw disposable

razors in the trash. Something else is tubes. A tattooing tube is made of

metal. It fits on the machine and has a grip attached to it that’s mostly metal

but sometimes plastic. The idea is that it holds the needle while we tattoo.

Everyone is so concerned with a tattoo shop using new needles but no one

ever thinks about the tubes. They come into as much contact with blood as a

needle. Most shops use these metal tubes and re-clean them for further use.

They are expensive (about six bucks a pop) so they reuse them anywhere from

one-thousand to fifteen-hundred times before replacing them. That’s not a

comforting thought. Most shops also reuse their needle bars. A tattoo needle

is really two parts, the needle bar that fits onto the machine and a needle

head that penetrates the skin. Most shops use the needles, cut off the heads

and solder new heads on the old bars. Again, the needle bar comes in just as

much contact with blood as the needle head and tube does.

An autoclave is a machine that uses heat and pressure to kill germs.

Everything that’s put into an autoclave should be in a bag or pouch that’s

made especially for the use of autoclaving. This bag or pouch has an indicator

strip on it that changes color when sterilization has been reached. Always

read the color change area for what color it was, and what color it should be.

There are a few different types. A dry heat oven that does not use pressure, a

chem-clave named for its use of a pre-made sterilizing chemical, and an

autoclave uses heat and pressure while on a timer. Most hospitals have a six

week course to learn how to properly use one of these while tattoo shops are

only required to read the instructions. You have to pre-clean the tube making

sure that all biological matter is gone, and know how to properly run the

autoclave before you have sterilization. This means that you have to trust

someone that works in a tattoo shop with your life. I just don’t see this

happening. There are new advancements to the industry everyday. For the

last few years they have made a disposable tube that’s plastic. It comes pre-

sterilized and pre-packaged. You open it, you use it, and you throw it away.

Not only is it safer, but you don’t have to waste hours a week cleaning tubes.

Most artists bitch and say they can’t use them, or it doesn’t feel the same. I

have used hundreds of them honest, they work just fine. Although metal tubes

do seem to be a little better for grey wash. They are not as heavy so your

hand will not ware out as quickly and are about a dollar each. The same

company makes pre-sterilized and pre packaged needles cheaper than the

cost of making your own. So if you don’t use those then you just like wasting

your own time. Very few shops make there own needles any more. Well

that’s pretty much the basics to sterilization. Always do research and learn as

much as you can about your environment as well as the dangers it may have

virally. What little bit I went over is nothing compared to what you need to

know.

Chapter 6

Clients and Competition

The next thing you need to know is about your clients. First, above all

else, cover your ass. If you’re tattooing then you need a good waiver sheet. If

you go to your local health department, in the "Environmental Services" office

you can request a copy of the body piercing and tattoo studio health

regulations. Another thing I would like to add; is keep good records. In the

end, if something happens, it will save your ass. Also, be nice to your

sanitarian. Keep your records filed in order by name or month. Nothing is

more aggravating then having to look for a consent form. Don't be scared of

the health department, they are good people trying to help everyone. The

packet is totally free and it has lots of good information inside about

sterilization. It also has a list of everything you need to open a studio,

including all of the proper paper work. In this packet you will find a generic

version of a liability form (consent form). Use this as a guide to make your

own, don't just copy it. You need to put your name and information on it or it

will not hold up in court. If you’re tattooing out of your house then you are

wasting your time because it's illegal anyway. This form releases all liability

from them suing you. Although you should know that this does not clear you

with the health department from being legally responsible on there end.

Always get your client to sign the release form before you ever touch them.

Now say you work in a shop and some one walks in for a tattoo. The fact is

that most people walk in to ask questions. Your job is to answer them to the

best of your ability. You can't be a smart ass, and you can't ignore them. They

came in so that means they want to talk to someone. You can not just think

that if they want to talk to you then they will ask. You will loose business.

The truth is almost no one knows what they want when they come in for a

tattoo. So you have to pry a little and find out what they are looking for, and

why they want the tattoo. The “what” will give you an idea of design, and the

“why” will tell you what style.

Some one comes in and says they want a set of angel wings and a halo

for their friend that died, and then you know they are not looking for

something dark and sinister. This part is common since. Don't try to talk a

school teacher into a skull and biker logo. Use your eyes, see what kind of

person they are and go from there. If you try to talk some gothic kid into a set

of roses, they are going to laugh and walk out. The hardest thing for me to

teach a student is common sense. Always be polite even if they ask three

hundred stupid questions, if they like your work then they will be back.

Number two, never tell a client "no", they will leave. You can suggest your

input but remember it's their tattoo. Some of the best artists I know go

months without work just because they are assholes. You have to sell your self

before you can sell your product. Let’s face it, as much of this industry that’s

art it's still a business, you want to pay your bills at least to keep the shop

open, and without clients you don't get to pay anything or tattoo. So be nice

god damn it!

Almost every person that walks in to get a tattoo is nervous, even the

guys that have a lot of them. You have to be charismatic, and make them

laugh as much as possible to make them more comfortable. A client and artist

relationship is like a client and shrinks relationship. You have to have a good

one or each of you is wasting the others time. The more someone comes back

the more you will get to know them and what they want, but until then you

have to fish a little. One of the best ice breakers is "What can I help you

with." It’s simple and to the point. If they are looking for a design they will

ask, if they have a question they will ask. As far as setting a price, one of the

best ways to do this is by asking them how much they want to spend. Don't be

shy about money. When they tell you how much then you can say "I can do

this for that much." Keep the price as low as possible; don't tax some one just

because they drive a nice car or have an expensive cell phone. You can always

get some one good once, or you can treat them right and make them a client

for life and then they'll bring all there friends.

Try not to push flash. Use flash as a tool for ideas. If you push flash you

will never learn, you just get to be a copy machine and they get to see their

tattoo twice a week on someone else. Be original, stretch your legs as an

artist and do custom work. Never claim other artists work. If you think you’re

the only one who gets the magazines and has every page of cherry creek flash

then you’re kidding yourself. I have six guys a week come in and try to push

old flash on me as their work. I make fun of them and usually send them

packing. Remember the term is "Artist" not copyist. Another cool thing is use

your computer when ever you can. A lot of paint programs have a new tool

called a background eraser. You scan in an image, erase the background, and

then take a picture of your client. Bring up the picture and copy/paste the

tattoo on their picture so you and the client can see what the tattoo will look

like before a needle ever hits them. A lot of the time this will help you get an

idea of what there wanting and how big, while you look like the most

advanced artist in the world. Take the time to get to know your clients; don't

rush them out the door. Tattooing is not a race. Take your time and make

them feel like they are your only client. It will pay off in the end. You get a

payday and you get to do more custom work because you earn their trust

much faster.

Here are some rules to follow when it comes to clients. 1. Never do the

same piece twice unless two people want a friendship tattoo. Respect your

art and the rest will come. 2. Never tattoo anyone under sixteen. I don't care

if there parent wants to sign for them. A fifteen year old never knows what

they want, so you’re just going to give them something they will regret and

anyone under sixteen will not take the time to do what is necessary for the

proper healing of the tattoo. It's your work, why do something that you know

will get destroyed. 3. Never tattoo a diabetic or a hemophiliac. The diabetic

will not heal right, and they are ten times more likely to get an infection than

anyone else. If you want to ruin your reputation then go right ahead. While a

hemophiliac will bleed out and only about twenty-five percent of the pigment

will stay in them. If you guarantee your work then you will be doing touch-ups

for the rest of your life. 4. NEVER tattoo anyone drunk or under the influence

of any drug. If they are under the influence then legally they aren't of sound

mind to sign consent. If you tattoo on them, then when they sober, if they

regret it, they can sue your pants off for tattooing them against there will,

and they will win. Besides, have you ever seen a drunk hold still? Try drawing

on something that’s running around the room. Oh ya, and it's illegal to tattoo

anyone drunk or under the influence. That’s about it for the clients. Just

remember, the only rule that has always been true with every client is: if you

do one right they will tell five friends, if you screw one up then they will tell

twenty.

The Shit Talking Game

People love to talk trash. This is the very reason you never want to talk

bad about another shop or artist. Most clients go to the shop that happens to

have an opening that day. To them it really does not matter who tattoos

them. Since most client travel between shops a lot of them like to play games

with the tattoo artists. Tattoo artist have a known history of trash talking the

competition, every one knows and will play on this. Some will say that “Such

and such said he will do the same tattoo for less.” Don’t make any comment

about there quality of work. Every artist thinks they are the best. The client is

trying to get you all worked up so you give them a tattoo cheaper out of

spite. I hate to tell you this but almost every time they never even talk to the

other artist. If the other guy is willing to price cut then let them. Just tell the

client that your price is whatever and direct them to your portfolio so they

can make their own decision. If you don’t like the other artist’s work then just

say “I have seen some of their work I agree with and some I don’t.” If you

stick to your guns then in the end you earn more respect. There is nothing

wrong with dropping off a few bucks to give someone a deal, but if you cut a

price in half then the client thinks that you are a push over, unsure of your

own ability, or hurting for money. In this case, they will go around and tell

everyone that you are going under.

A large amount of the time you will hear that some clients are going to

scratchers that work out there house. Don’t give them a lecture or say

something mean spirited. Just say “I hope they are using disposable

equipment because most home artists can’t afford an autoclave.” and also

tell them to look at a portfolio before any work is done. Usually the threat of

disease and poor work will be enough to scare them away. Really you should

get as much information as you can and report them to the health

department, but no one wants to be a narc. For the most part, I just leave

them alone until it becomes a public safety issue. If someone tells me they

got Hep form a home made tattoo then you bet your ass I’m going to have

them file a complaint. Another way to think about it is that you get to cover

all the crappy work they are pumping out so you get to tattoo more. Just

make sure they are not a safety issue.

Other tattoo shops play games as well. The tattoo industry is the most

cut throat profession in the world. I have had other shops threaten my life and

my shop, and have gone as far as physical confrontation because they think

that someone trash talking has merit. Many shops think that violence and

talking trash affect your business. It does to a degree, but if they are talking

smack to all these people and you let your work speak for its self then they

come out looking like jackasses. If a shop talks smack and tells everyone how

horrible you are or that your shop is unclean then it just shows that they are

afraid of you being better than them. Don’t play their games. Be above that

and just tell the client or whom ever to compare the work for themselves.

Never go to another shop in anger unless you are looking for a confrontation.

If another shop says something that you just cannot let go then call them and

ask why they said whatever. Most of the time you’ll find it’s the client stirring

the pot. If another shop ever threatens you with violence or comes to your

shop looking for violence then call the police. That’s their job, and the other

guy will have more problems then you will from them running their mouth. Be

above the game, keep out of it. Don’t fall into the shit talking trap. Once you

start it’s done and that’s your reputation. Let them do their work and you do

yours, if someone starts talking smack then just say “I guess they should come

see my shop in person; it’s obvious they haven’t yet.” Here is a little secret

about the competition that no one seems to understand. There is no

competition. You will always have your clients and they will always have

theirs. You don’t need to fight over it. People will always want to get

tattooed. I live in a fairly small town that at the moment has eight shops, yes

eight in a small town. We all do just fine despite the shit talking game.

Chapter 7

Tools of the Trade

Ink or Not to Ink

What makes a tattoo tick? Let’s look at pigments. Tattoo pigments use

to be made from natural chemical and dies. A lot of the older inks were

harmful to humans, but we used them anyway. The pigments changed over

the last few years into healthier chemicals made for human skin. To

understand where pigments are now we have to know where they came from

first. Jail house black was the ink that you see in all the old prison tattoos,

the ones that turned green over the years. A lot of guys I know still swear by

it but they are mostly scratchers. In prison you have very limited supplies

from the outside world so they had to use what they could get their hands on.

Vasoline was always on hand. The old way of making black was the prisoner

would take a piece of cloth or string and push it in the middle of the vasoline

jar, making a kind of candle. Then they would light the candle and let it burn

for days. This cooked the vasoline into a black sludge. After a few days they

would scrape off as much of the black powder from the sides and some of the

sludge, they would mix this with baby oil and presto, ink. You had to do it a

few times to get the amount of baby oil just right but it didn't take long to

figure out.

After a few people did this in jail a handful of people adopted the

method back in the day. Tattoo pigments were never really ink. They were

made of harsh chemicals suspended in a carrier solution. The new pigments

are the same principal but not as harsh. Among vegetable dyes they also used

chemicals like metal salts. A few companies just recently stopped this

practice. Oddly enough, tattoo pigments are not regulated by the Food and

Drug Administration, so really they can get away with anything they want to.

Some of the blacks use to be made from iron oxide, but are mostly still based

on soot and carbon. Most companies now use Logwood; this is a heartwood

extract from a tree found in Central America and the West Indies. Yellow use

to be made from Iron ferric oxides (rust) and when it’s dehydrated will turned

red. Orange was made from Disazodiarylid, and flesh tone was Iron Oxide

mixed with Clay, the same procedure was used for brown, only more rust.

Green was made from a Chromium Oxide called Casalis, and blue from a

combination of copper carbonate, calcium copper silicate and cobalt, which is

a highly poisonous metal. Sounds nice huh? Surprisingly there are some

companies that still use chemicals like this in there pigment so make sure to

read everything very carefully. Use of chemicals like cobalt and iron oxides

can lead to allergic reactions not to mention the fact that you’re putting

under your skin chemical that factories require haz-mat suits to handle.

These days the best pigments are plastic base with a glycerin carrier

solution. This makes them water soluble so they are easy to clean up, mix

well with water for shading dilution, and are hypo-allergenic. This is why you

rarely hear about allergic reactions to pigment anymore. Obviously I cannot

tell you what brand I use because that would be product placement. However

I can give you some tips. There is no one best company to use. In my opinion

the best pigment is a combination of many companies. It takes years of trial

and error to find a brand of what color works best for you. I can tell you that

the plastic are the brightest and the traditional Japanese blacks shade and

grey wash the best. That’s not favoritism. That’s just anything two-thousand

years old must work right. Your best bet is that if is cost too little it's cheap,

and if it costs too much it's not worth it.

There are a few new types of pigments that I would also like to tell you

about. Backlight pigments are rapidly becoming popular in the tattoo world.

It first started by a few scratchers cracking open high-lighters and tattooing

with the highly toxic gel, don't do this (hence the HIGHLY TOXIC part). Some

pigment companies either got tired of reported infections or saw a chance for

a profit and created black light pigment. I like to think it was the wanting to

stop the infections but Probably not the case. Technically made pigment by

some tattoo supply companies are the only tattoo pigments that are FDA

approved. When purchasing this type of pigment you need to look for the FDA

approval stamp. The reason black light or UV reactive pigment really works is

because the FDA approved versions are made from very small acrylic beads.

These beads glow under a black light giving the pigment its illuminated

characteristics. They make some of the pigment in a clear which has to be

applied under a backlight so the artist can see what there doing. The

advantage of this pigment is that once it heals you cannot see any trace of

the tattoo unless the artist scars the skin. Under a UV light the clear pigment

has the standard chartreuse glow. During the healing process it just looks like

a red abrasion in the shape of a dragon or whatever you may get. The UV

pigments that are in color you can see during any light. But when they are

under a UV light are glowing bright. The down side of the color UV pigment is

that only a few colors will be UV reactive so a larger selection of colors will

include about seven, though this may improve with time. Another down side

to this pigment is that while in regular light the newly healed tattoo looks

about ten years old. They get there dull nature from the fact that they are

acrylic beads under your skin so the layer of flesh that covers them makes

them dull. It’s the same idea as putting a really bright picture under a piece a

tracing paper to look at it. They maintain being the more costly pigment at

more than triple the price of regular pigment and they are a devil to apply

properly. So even if applied under a UV light, be prepared to do a lot of

touch-ups.

Some other interesting types of pigment that have just recently

touched the market are designed for tattoo removal. There are now certain

companies that produce pigments that a removing friendly. A new pigment

that is made of special beads can be broken down by laser treatment in one

application. To remove a tattoo with laser treatment you have to have many

sessions over the same area to remove a tattoo. The laser produces high

intensity ultra violet light to burn and fade the pigment, kind of like speeding

up the affects caused by time and the sun. These particular beads are like

microscopic paintballs. The laser damages the shell causing it to release the

pigment which your body can destroy. Another one of the new designer

pigment creations are the time release pigments. They are made of

biodegradable pellets similar to medical grade internal stitches which can be

manufactured in different strengths. So now you can get a tattoo in which you

choose if it lasts for six months, one year, or two years. These are broken

down by your body at a slow but controlled rate of your choosing. The most

interesting still is a new chemical solution made to remove existing tattoo

pigments. Tattoo pigment stay liquid in the skin, they never harden. That’s

why you cannot feel a tattoo unless scarred. This chemical is a clear liquid

that forces the old pigment to harden. This causes your body to force it out of

the skin. You go over the old tattoo, the pigment hardens, and as it heals it

comes right out like gravel in road rash or a splinter in your finger. Sometimes

you’ll have to touch up to get any pigment that you may have missed. The

great part is that the cost of this chemical is about the same as standard

pigment. With this new creation, any studio can offer tattoo removal without

massive equipment and training. Now that’s cool.

Needles and Tubes

Needles come in many shapes and sizes, and each does something

different. Tattoo needles are really two pieces, a needle head and a needle

bar. The needle head is the part that sits down at the end of your tube and

punctures the skin, while the needle bar is a needle shaft that has a circle

bent into it called a needle loop or eye loop. This is where the needle

attaches to the machine. A common misconception of a tattoo needle is that

they are hollow like a hypodermic needle from a shot. This is not true.

Tattooing needles are solid, like a safety pin only smaller. A needle grouping

is the number of needles in the head. So if I said that a needle is a three then

it is three small needles soldered together to make one, in a triangle shape.

There are many different groupings, each with a purpose. The more needles

are attached to the head the bigger the dot is. So a five pattern needle is a

bigger dot then a three pattern needle or a single Needle. How a tattoo really

works is the needle moves in and out of the tube, like a sewing machine.

When it moves in, it gets ink on it, and when it moves out it punctures then

skin. When done correctly a tattoo needle only goes two millimeters deep,

that’s about the thickness of a dime. The skin is elastic so it stretches. The

needle with pigment punctures the skin and the skin squeezes the needle

removing the pigment leaving it underneath. Think of a butter knife with

peanut butter on it. You wipe the knife off with your finger, nothing on the

knife, and peanut butter on your hand. Basically every line in a tattoo is really

just a row of small dots really close together making a line. In art this is

called "Pointillism". So if you want a bigger line you use a bigger needle group.

Pins

In the tattooing industry, the individual needles are referred to as pins.

There are a few different types of pins, and each configuration again, does

something different. The needles used in tattoo originated from bug pins,

sewing machine needles, and beading needles. Each of these of these types

have different tips and sharpness. The most common metal used for tattooing

is 304 stainless steel wire with a diameter of .33mm to .36mm and an average

length of 30mm, each type can be polished or left course. 304 grade stainless

steel is normally preferred due to its stronger resistance to corrosion. The

polished pins are a little smoother so they don’t over work the skin as bad.

The course pins are fairly new; the idea is that leaving the needles a little

course will help put the pigment under the skin. I have not used this myself,

but I have heard many good reports. You can also fine pins made from carbon,

these I do not recommend. The carbon is hard to work with and almost

impossible to autoclave without specific carbon friendly autoclaving

equipment. Running carbon needles in a standard autoclave will result in

tarnishing or even rusting.

The difference in the needle tips play a major roll in what function the

needle grouping has to offer. The distance in angle of the cut for each pin

varies from company to company, but the average angle length of the point is

about .9mm to 1.2mm for shading and 1.7mm to 1.9mm for lining. For the

sewing needle, the heel is (assuming it’s a .9mm point length) .9mm. this

means that it will have a completely tapered point. The taper or heel, is

where the angle to a point begins to decline from the shaft diameter. The Bug

pin is a half taper, if its point is .9mm then the heel would be about .6mm

leaving a somewhat rounded point but still sharp at the tip. The beading

needle will have a .3mm heel giving it the steepest slope of the three. All

three have many ups and downs. Shorter point lengths will be better suited

for color and fill work, while a longer point length will be better suited for

lining. A small point will enter the exact diameter of the pin into the skin

resulting in more fill. A longer point length will produce a smaller fill because

it will only go about half way up the point length into the skin. I personally

prefer bug pin for my portrait work. They help to achieve a smoother shade,

while I prefer the sewing type for lining. The sewing type, seem to give me a

cleaner outline. The major disadvantage to the sewing type is that the point

is thinner so it’s easier to damage if accidentally struck against the ink cap.

This is referred to as hooking because it actually makes the needle tip bend in

the shape of a hook. If a needle is hooked then it will cause tremendous

damage to the skin. This is why many artists preach to dip into your pigment

without the machine running, sort of a safe guard. These are just a few

examples of pin sizes; there are many different types available from many

different supply companies.

Needle Configurations

The standard sizes for needle groupings are rounds, flats, stacked mags

and standard mags that are also known as weaved mags. With rounds the

individual needles are soldered together in a round shape, this makes a

smooth line, and is also fair to shade with larger rounds such as a 14 round.

Flats are soldered one beside the other in a flat pattern. This is strictly a

shading tool. It also requires some practice. If you go to slow or at the wrong

angle you may just cut the client like an electric scalpel instead of tattooing

them. Mags are some of my favorite configurations. They are oscillating

needles. This means that if you stack up four soda cans on a bottom row and

then three on the top like your making a pyramid, this is the shape they are

in. they only come in two rows but get very large. They are the best for

coloring and grey shading in my opinion. The difference between a weaved

mag and a stacked mag is that a mag is soldered with all of the needles flat

then using a single edge razor, every other one in lifted then re soldered onto

place. A stacked mag is where two rows are soldered then the rows are

soldered one on top of the other. This means that stacked mags are a little

smaller looking because the pins are closer together. They do a great job with

solid coverage and they don't tear up the client as long as you show

moderation. They require a little practice also before you really see what

they can do. I use them exclusively for my portrait work with the exception of

a 5round or three round for detail such as an individual hair or the inside of an

eye.

The standard sizes rounds come in are singles, threes, fives, eights, and

fourteens. Flats go from 4 to 24, usually in even numbers. Mags go from seven

to thirteen pin, usually in odd numbers. These are the standard sizes though

not the only ones, Different companies make all different sizes, so there will

always be larger sizes in the quest for the ultimate cure for penis envy.

However it has been my experience that eight rounds are the best for lining.

The make the smoothest line with the least effort. You do want to use a five

or a three for really small or thin lined tattoos, and singles are only good for

things like single strands of hair on a portrait. That’s unless you like going

over line five times to get them thick enough to see. I personally never use

flats, just never liked how they felt. Seven mags are passed down from the

gods for color and grey wash. A seven mag is probably the most versatile

needle out there. Most of the times I can go two weeks and never need

anything but eight rounds and seven mags. Rounds also have another option,

loose or tight. Loose means the needles are spread a little more apart, this is

good for shading. Tights are a little closer for finer lines. I stick with regular

and do both lining and shading with them. The way loose or tight is done

during production is with a needle jigging tool. You would solder the needles

in the back grouped together to make the standard grouping, then use a single

edge razor blade to separate the pins for a loose, and use a tightening tool on

the needle jig to get them closer together to get a tight. The taper on the

needle point allows for more room, they can be pushed together, then once in

position, re-solder to hold the pattern.

Tubes

An advantage of the plastic tubes is that the grips are poorly glued on,

this is good. Every ones hands are different. You can twist the grip on the

tube until the glue breaks and move it up or down so you can hold the

machine more comfortably. They hold strong enough that they won't go any

where once you moved them. Some of the disposable tubes are made with a

grip and tube out of one piece, these are not comfortable to use. The hard

grips hurt your hand after a while. You should look for the ones with the

different color grips per each size. Just like anything, the tubes come in all

different sizes and shapes as well as metal or plastic. Make sure to order the

corresponding tube for the needles you will be using. Lining tubes come in

round and diamond tipped. Diamonds are great because you have no needle

play. The bottom of the tube where the needle will ride is a v-shaped hole,

allowing the needle to sit right where it needs to be. Another artist a few

years ago taught me the right and left side of the diamond tip can be used as

a sight when running your needle flush. These points guide you when you can

no longer see the needle do to excess pigment. If you order an eight round

tube and try to use a three it will jump everywhere and your lines will look

like a three year old did them with a crayon. You can order and eight diamond

and comfortably use three's, fives, eights and fourteen rounds without them

wandering away. Some of the larger mag tubes have an open top all the way

back to allow for needle insertion. With larger mags the needle head is bigger

that the diameter of the tube so I guess it was a quick fix. The grip is just as

important as your tube. There are many shapes and sizes of grips as well. I got

use to using the standard size which is 1/2 inch. They make grips up to two

inches in diameter. The bigger the grip the less control you have but the more

comfortable it is in my opinion, but every one is different. The smaller the

grip the more your hand gets tired, but you have more control. So you need to

find a balance that works for you. If you’re not sure of what size to use then

stick with standard till you get use to things.

I do not recommend metal tubes unless you are in a shop environment

and have a tested auto-clave available for every day use. Metal tubes are

configured in the same way with the tips and sizes. The only difference in the

metal tubes other then weight and killing your client is that some of them

come in three pieces. The tube shaft, a tip, and a grip are all separate. The

screws of the grip hold the tip on the tube shaft. The reason some do this is so

you can buy a large stock of shafts and order what tips you need, this does

make it easier for cleaning. Did I mention the disposables just throw away? In

all fairness to metal tubes, they do seem to be better for grey wash and

realism tattoos. Really, I’m kind of torn on the issue and often use both

depending on what I am doing for the day.

To properly clean a tube you need to take it apart as much as you can.

Then you have to soak it in an ultrasonic machine. This is a machine that uses

sound and vibration to loosen any particles of blood and pigment. You don't

need this if you use disposable. After an hour of soaking you clean the inside

of the tube with a metal set of pipe cleaners that are made just for tattooing.

You can buy them from any supply catalog for about five bucks. Make sure to

clean the inside of the tip very well. Then you use a plastic nail brush to clean

the outside. Make sure to hold the brush so the bristles are down. If you don't

then soap will get in your eyes, remember they are not sterilized at this point

yet. When you use the pipe cleaners and the brush you need to use undiluted

green soap. Get a small cup of it so you don't contaminate the whole jug. As

you clean them one at a time, rinse them off well and place them on a paper

towel to air dry. By the time you get done, only a few should still be wet.

Place them in a properly sized sterilization pouch and seal it by removing the

strip on the adhesive and folding the lip closed like an envelope. After all of

your tubes are in the pouches date and initial the pouches then set them

aside for autoclaving. Piercing clamps are cleaned the exact same way. I can't

stress enough that if the dirty water gets in your gloves you have a seventy

five percent chance of getting a disease, and disposables are, you guessed it,

thrown away.

The biggest down side of metal tubes is that they are almost impossible

to properly clean. The needle head will wear on the end of the tip leaving

small scratches and grooves in the metal. These are perfect housings for

bacteria. Even after autoclaving you can still have disease if any biological

matter is left in the tube. The three piece tubes have a seam in them where

the tip attaches to the tube. Both pieces are held together by the metal grip.

This seam is not water tight. To properly clean these tubes you have to take

them apart all the way which almost no artist does. If you don't then while

you tattoo, water or pigment with blood and disease will get in this seam and

give I nice healthy coating of nasty under the grip. There is no way a brush

can get under the grip to clean it. Even after autoclaving if biological matter

exists on under the tube then the client is contaminated as soon as you dip

the tube in your water.

The Tattoo Machine

I would like to touch on the subject of home made tattoo machines. A

home made tattoo machine is a very nasty thing. They are made from a pen

shaft and an electric motor. Do not ever let anyone tattoo on you with a

home made tattoo machine. You can not properly sterilize a home made

tattoo machine. Holding something under a lighter or boiling it does not work.

Letting some Scratcher dig on you is suicide. I am strongly opposed to

tattooing out of you’re house, but if you have to you can buy a tattoo

machine online for about fifty bucks. Don’t be a jackass, and don’t listen to

the guys that use to tattoo in jail for smokes.

Another thing I would like to clear up is that a tattoo machine is never

or has it ever been a gun. The term tattoo gun is a Scratcher term and shows

you know little about the subject. The tattoo machine is amazingly simple.

It’s nothing more than a switch and as complicated as a door bell. The idea is

that electricity flows through the coils causing them to become magnetized.

This makes the armature bar pull forward to the coil surfaces breaking

contact with the contact screw. This turns off the circuit so there is no longer

electricity flowing through the coils. Now there is no magnetism to hold the

armature bar and the spring pulls it back into contact with the screw

completing the circuit and causing it to start all over again.

This is where the tattoo machine gets its movement and the signature

hum that you hear is really just the armature bar hitting the coil heads and

contact screw. There are a few different types of machines. Cast iron,

copper, brass, stainless steel, and aluminum are what the frames are usually

made of and each does something different. There are many different shapes

and colors as well as many different companies that make them. Tattoo

machines are one of the dirtiest parts of any shop, so handle with gloves and

wash your hands.

Coils

To understand a tattoo machine better let’s break it down to nothing.

The first things you need to look at are the coils. The tattoo machines heart is

the coils. They are nothing more then electro-magnetic coils. A steel shaft

wrapped with usually .022 gauge copper wire that has a thin nylon coating on

them. The electricity flowing through the wire around the coils pulls the

particles of the metal shaft into alignment causing a magnetic field. The steel

shaft is solid with the exception of a screw hole in the bottom center to allow

it to be fixed to the frame. Most of the time any machine parts will have an 8-

32 thread pattern. This is so more parts are interchangeable. On the outside

of the wire is a piece of heat shrink tubing to keep all of the wire nice and

tight, topped off with a round piece of cardboard or plastic to hold its shape

in both ends attached by a ring clip. In between the wire and the shaft is a

thin piece of Teflon tape or cloth to separate the wire from the shaft. Coils

come in different configurations measured by how many times the wire wraps

around the shaft. One wrap counts as one full wrapping of the wire down, the

second wrap is one full wrapping of the wire up, and so on. Do not count up

once and down once as one wrap or you will have a coil the size of a baseball.

The wire has to be going the same direction or the coils will not work. You

can wrap in any direction you like as long as they are both going the same

direction. If the two coils are opposing, then this will interfere with the flow

of the electricity in one direction which is needed to get the magnetism. If

you wrap your own coils then always go from the bottom and end at the

bottom. This is why you will always find coils wrapped in counts of even

numbers, if it starts at the bottom it has to end at the bottom for the sake of

wiring properly. If you decide to be brave and wrap your own coils you can

make a jig instead of wrapping by hand. Trust me, wrapping by hand takes for

ever. Fix your coils of new wire on a screw at the edge of a work bench.

Thread a screw into your coil shaft and put it in a multi-speed electric drill.

Make two small holes in the bottom of your round covering disk.

The bottom of the shaft is the side with the treaded hole. Feed the

wire through one of the holes leaving at least three inches of wire sticking out

for later soldering. Then slowly wind as many wraps as you want while

pinching the wire between your fingers to keep tension. Remember to go

slow, you will make mistakes and have to back up to correct them. The wires

have to be perfectly straight, and can not have any friad spots or kinks. If it’s

not perfect then they will not work. Also make sure the wraps are even, you

do not want to coil to look “pregnant”. It needs to have a nice smooth shape

to allow the least resistance for the electricity. The amount of magnetism

created by the machine is dependant on the amount of electricity cycling

through the coil wires. This means that more electricity controls the strength

of the machine and has no relevant change on the speed at witch the machine

functions. Depending on what the configuration and material of the coils are,

each machine will have to use a different amount of electricity to get the

same exact amount of magnetic pull.

The most common configuration is a ten wrap set of coils. This is what I

recommend for new artists. Coils come in eight, ten, twelve, fourteen, and

sixteen wrap. But like needles they will always make bigger. Eight wrap coils

are much too weak. You have to turn your power supply up really high and

then they get hot at the heavy work load. I have even seen a screw head burn

through a pair of gloves while still on my hand. Ten wraps are standard, great

for lining and shading. Twelve and fourteen are good for shading with large

mags but have a little too much power for lining. You might end up just

cutting your client. Any coil bigger than a twelve is equal to a low grade

chainsaw, so stay away. Another little trick that was taught to me at a

convention involves the screw hole in the coil shaft. When you thread the

screw into the shaft there will be a small gap of air inside. If you put a bit of

steel wool in the hole before you attach the coils to the frame it will fill that

space and give you just a little more bang for your buck. Coil shafts can be

made from steel, brass, copper, and iron. There is little difference between

the different metals as far as magnetic pull is concerned. My only advice on

this subject is to not use aluminum. It’s a little too light and will not

magnetize nearly as well. Steel coil shafts are the most common.

Machine Yoke

A Machine Yoke is the part of the machine that the coils bolt to. Some

machines have thicker frames to accommodate this and some have a separate

piece of metal that fits between the frame and coils. The idea is a thick piece

of metal to connect the power of the coils. Think of the coil heads power as a

percentage. You have two coils, each with a north and a south. Think as if

each coil is a stick magnet. It has the capacity to pull one-hundred percent of

its power, so north is fifty percent and south is fifty percent. This means that

each coil has a north and a south so with the two coils combined you have a

two hundred percent possibility of power. The tops of the coils are where

your armature bar is attracted to so without a Yoke you can only achieve one

hundred percent of power, fifty percent from each coil. With a yoke, you turn

your coils that are basically stick magnets into a single horseshoe magnet.

This connects the two and makes a single much stronger magnet. For the best

performance you want the frame base and the machine yoke combined to be

the same thickness as the coil shaft.

Magnetism is a really cool part of physics. What makes a metal object

magnetic is nickel, or the alignment of the particles of the nickel. This is why

stainless steel (316 LVM steel) is not attracted to magnets, it has a low

volume of nickel. Most people assume that metals like gold and surgical steel

have no nickel but the only metals that have no nickel are platinum,

palladium, and titanium. Low nickel metal is the result of annealed metal.

Annealing is the controlled heating and cooling of metal to make it more

flexible. During this process most of the nickel content is removed form the

metal. Magnetism is achieved one way, by lining up the particles of a piece of

metal so they all go in one direction. You can take a strong magnet and rub it

on a piece of metal in one direction so the pull of the magnet lines up the

particles of metal in the not magnetized piece. This will make an ordinary

piece of metal lightly magnetized. The more you do this the more it's

magnetized.

Electro-magnetic coils like the ones found in a tattoo machine are

pieces of metal wrapped in wire all going the same direction. As the electric

current circulates through the wire the particles of the metal are forced to

follow the path of electricity causing them to line up in the same direction.

This electric current forces the metal shaft to become magnetic. The north

and the south of the magnet are determined by the direction of the flowing

electricity. The beginning of the current or where the current came from is

the south and the north is the other end or where it's going. This is why the

polarity of an electromagnet will change if you reverse the connection of the

power source and why a tattoo machine will work not matter which way you

attach the clip cord. No matter the polarity it's still magnetic.

The magnetic energy is flowing from one coil through the Yoke and

frame to the other coil. Now one top coil head will be the north and the other

the south. Like a horseshoe magnet the top heads only are magnetic so much

more force can pull on the armature bar making a stronger stroke. Now each

head has a one-hundred percent pull and a combined effort of two hundred

percent. This is why only the heads are magnetic and not the sides with the

screws on them. This makes for a much more powerful machine. Machines

with an actual yoke or a thicker base plate will always be stronger than a thin

framed machine without a yoke. Also the strength of the stroke or magnetic

pull will be affected by the type of metal the machine is made of. Copper is

much more conductive than aluminum so the copper machine will have a

stronger pull.

Frames

Machine frames are made out of cast iron, copper, brass, bronze,

stainless steel, and aluminum. Each weighs differently and each has a

different level of electrical conductivity which affects the strength of your

machine. The weight of your machine will come from the frame so you need

to decide what kind of machine you will be running. Cast iron frames are

molten metal poured into a cast for the shape. Cast iron machines are made

of one piece while machines that the side arm is attached with screws are

called bolt on frames. Most machines frames are made from a piece of metal

cut into shape then welded together and ground smooth. Cast frames can be

made of any type of metal but the most common cast are iron. Cast frames

are very heavy. Heavy machines can be good because they make really

smooth lines. The weight of the machine help to hold it steady, but your hand

will tire out really fast. So they are great for little tattoos or for a lining

session, but for the long haul you may want to consider stainless or copper

which are much lighter so you will have a longer dexterity. Weight of the

machine will affect many things like hand cramps and back pain while

tattooing. If your back is constantly hurting during a tattoo then switch to a

lighter frame. Brass is right in the center of cast and stainless. Aluminum in

my opinion is the worst thing to make a machine out of. It is so light that you

can’t really hold it steady because you feel every vibration, and they sound

like your going to cut off the arm of your client, they are really loud. The less

Metal on a machine frame the better. Less weight equals more tattooing. If

you can find a barebones cast frame without all the dragons and yin-yang’s on

it them you might have a good machine. I use a copper machine most of the

time due to its light weight and strong conductivity. Why is conductivity

important? When you have a stronger electronic signal then you have a

stronger stroke (the motion of the needle). This means smooth lines and

flawless shading.

Tattoo supply companies make frames with all kinds of designs on them

like dragons and skulls but this makes the machine heavy and run not so

smoothly. They look cool but are otherwise useless. The extra weight will

damage your hand in the long run. What you need to be looking for when you

pick out a machine is weight, balance, and quality. If you buy a fifty dollar

machine you are going to get a fifty dollar machine. For a good machine

average cost is about two to three hundred dollars and average weight is

between seven and eight ounces. Lighter machines weigh about six ounces

and most cast machines are over ten. This doesn’t sound like a lot but after

and hour or more, it’s a mile. The down side to copper and brass is unlike

stainless, besides regular cleaning you have to polish away all of the tarnish

about twice a month. They get black pretty quick. Another thing you may

have noticed about machine frames is that they all have different tube vices

(the part that locks in the tube). All of them are pretty affective so none is

really better than another. If it uses a piece of metal that screws down on the

tube then it’s called a tube vice. If it’s a curved part of the frame with a

separate piece of metal pulling up then it a guillotine, and a frame cut in two

that squeezes is a quick lock.

The Armature Bar and Spring Assembly

The rest of the machine is pretty simple. Above the coils you have the

armature bar. This is a rectangular piece of metal that has a screw hole in one

side and a small shaft sticking out of the other. The small shaft it called an

armature nipple. This is where you put the grommet and then the needle loop

attaching the needle to the machine. The armature bar is the piece that the

coil heads magnetically attract making the oscillating motion. A cool trick I

have used for years it to take the bottom of you’re armature bar and apply

two layers of masking tape. Trim the masking tape with a razor to the exact

size to the armature bar. Never use more than two layers because the

machine will loose its magnetic pull and weaken the stroke. The application

of the masking tape does three things. It quiets down the machine because it

acts like a damper between the armature bar and the coils heads. It protects

the armature bar against unnecessary ware, and it also acts like another shock

absorber smoothing out the performance of your machine. It’s amazing what a

difference it makes. Most commonly the armature bars sold on the market are

made from cold rolled steel and are nickel plated.

Some have been made of many materials but this seems to have little

effect on the performance of a machine. Most commonly, armature bars

weight about thirteen grams and are 1 3/8 inches long, 3/8 of an inch wide

and 1/16 or an inch thick. The armature nipple or armature pin is around 1/8

of an inch thick and 1/4 to 3/16 of an inch long. Armature bars are also

threaded with an 8-32 thread pattern. There are a few different shapes of

armature bars out there. The most standard is a rectangle shape. Though

many shapes have been experimented with over the years they have all come

to one conclusion. A lighter bar if faster and a heavier bar in slower. The

addition of weight means that the gap closing time is longer, more weight to

move. Faster is better for lining where slower movement is better for shading.

Basically, the job of the armature bar is to hold the needle loop and establish

the speed of the machine, not to be confused with strength.

Springs

Attached to the armature bar and the frame are the springs. The back

spring is the spring that attaches the armature bar to the frame. The front

spring is attached to the armature bar but on top of the back spring, and is

the point of contact for the contact screw. This is the one that sticks upward.

The back spring is usually on the armature bar first, then the front spring,

washer, and last the screw head. Some artist do prefer to place the front

spring on the armature bar first then the back spring. Just keep in mind that

placing the front spring on the armature bar first will lower your spring

assembly the width of the spring its’ self. The front spring combined with the

armature bar will establish the speed at which the machine will run. The back

spring will determine the strength in which the machine will hit and basically

determine the efficiency at which the front spring functions. There are many

different gauges of springs, and what you use will determine how your

machine works. I can’t just say “use this” because it’s something you will

have to determine by what works best for you. A stiffer or hard front spring

will only stay closed (the amount of time it touches the contact screw) for a

short time while a lighter of softer front spring will stay closed longer. The

softer more flexible front spring has bowing effect when it hits the contacts

screw. As it hits it will flex to a certain point, then it has to flex the exact

same amount before disengaging from the contact screw. This causes a longer

closed time. So you can see that a stiffer spring has less flex therefore less

time closed.

The average measurement of the front spring is 1 ½ inches tall, ½ inch

wide, and is tapered from ½ inch up the spring to the tip. So the taper will be

1 inch long leaving a spring base of ½ inch. The taper makes the front spring

more flexible allowing for the proper closed time, it also acts like a buffer

allowing the smoother operation of the machine. The front spring screw hole

should be drilled at 5/16 on an inch from the bottom and centered. Most front

springs will come flat from the supplier so you will have to but a bend in it

yourself. There are two methods of though on this subject. The first is called

rolling. This is where you bend the spring using just your fingers. Rolling

leaves no clear line of angle so it is impossible to get the proper angel of bend

every time. The second method is creasing. This is strongly recommended.

The easiest way of doing this is by taking a pair of pliers and grabbing the

back by the fork (where the screw goes). Make sure your grip is a little toward

the tip, or in front of the fork. Level the pliers to the back and slightly bend

upward. The crease should be exactly ½ of an inch forward leaving 1 inch

bent. You want a bend of 15 degrees for the best performance. You can

measure the degree with a simple protractor. The back spring is measured ½

inch wide, 1 ½ inch tall, and will have two holes measured at 5/16 and 1 1/16

of an inch from the bottom. The back spring will have no taper. Once the

back spring is attached to the armature bar and the spring saddle on the

frame, you will have to bend the back spring to give a 4mm air gap from the

bottom of the armature bar to the top of the front coil. This must be 4mm

without anything touching the front spring; it should stand at 4mm on its own.

Sometimes there isn’t enough room for the armature bar to move away from

the coils heads. This can be fixed by putting a thin washer between the spring

saddle and the back spring. This will provide a better backpressure for the

stroke of the machine.

The measured distance of the back spring once on the machine is

actually the distance from the armature bar to the spring saddle; this is

because this is the only section of spring that will be flexible do to the rest

being tightened down to the machine. Really, to get the best operation of a

tattoo machine, the armature bar, front spring and back spring should be view

as one component simple because the three part working together is the basic

function of the machine, and all three parts have to work in unison. Some

examples of voltage versus spring gauge in my opinion.

Front Spring Rear Spring Coil to A Bar gap Voltage Use

.013 .015 3mm 6.5 Portrait

shading

.014 .016 2.4mm 5.6 Grey

shading

.016 .016 2mm 5 Color

shading

.022 (standard) .019 (standard) 3.mm 5.4 Darker lining

.019 .019 2mm 5 Softer lining

When putting this assembly together, remember that the easiest way

to make sure its set right is to look inside the tube hole back at the armature

nipple, kind of like a gun sight. The armature nipple should be the full length

of the hole. If you see more of the armature bar then you need to move the

armature bar closer to the spring saddle or the back spring closer to the

spring saddle. Sometimes you need to adjust both to get it just right. Make

sure that your armature bar is directly over top of your coils head as well, if

it’s a little to the right or left the needle bar will rub the side of the tube

causing the needle to shake. You can also make an armature adjustment tool

by cutting a slot wide enough for the armature nipple in the end of an old or

unused tube. Then slide the cut tube into the vice, all the way to the

armature bar till the armature nipple fits in the slot.

O Ring

The circular piece of rubber that is on the armature bar is called an o

ring. This is a needed piece although a lot of artist removes it. The o ring pulls

back on the front spring making it push up with a little more force. It also

works as another shock absorber cutting down on the feed back as the front

spring hit’s the contact screw. When new from the factory the o ring is under

the front spring and stretched back to the screw holding the armature bar,

front spring, and back spring together. This is fine, but I find that it works just

a little smoother if you go the opposite direction and stretch it to the back of

the armature bar. Figure out which works best for you, either of the two will

work just fine. After many debates with collogues, I have determined two

things. First, many artist don’t use o rings. Second, I personally think they are

important for the proper tuning and operation of the machine. So, I guess this

is a matter of opinion. Find what works best for you.

The Rest of the Machine

The front binding post is the entire assembly that holds your contact

screw, and the rear binding post is opposite the spring saddle. One side of

your clip cord will go into the little hole in the spring saddle, while the other

fits into the rear binding post. The contact screw is the long screw that sticks

out the top of the machine. Contact screws are most commonly made from

silver, steel, and brass. Silver provides the best solution. Brass and steel are

harder metals so they will provide more wear and tear over the term of

operation. They will spark a lot more than sliver; this causes the contact

screw to eat through the front spring requiring more replacement. Sliver is by

far my personal choice. Less spark, less damage, and smoother operation of

the machine. What the contact screw does is tune the machine by threading it

in or out, closing the distance the armature bar needs to travel. This alters

the speed of the machine. The set screw holds the contact screw in place

once adjusted. Set screws are made from brass, steel, cooper, and plastic.

When threaded tightly it applies pressure to the side of the contact screw

locking it in place. I strongly recommend plastic because it will not damage

the threads on the contact screw. This is very important if you are using a

sliver contact screw because the threads will be softer and easier to damage.

Another thing you will notice is a small capacitor wired between the

rear binding post and the front binding post. The job of this capacitor is to

absorb loose energy with the intent on making your machine run more

smoothly. Basically it’s a filter. Most of the time this will be a 35v x 47mf

capacitor, but you can change the rating to better fit your machine. This is

something you’ll just have to play around with to see what fits best for you.

What is a capacitor? A capacitor is made from is a ceramic cylinder with a

wire coming out at each end or side by side. A smaller capacitor will make the

machine run faster because it cannot store as much energy. Think of it like a

glass of water, you pour the water in till it overflows, now use a smaller cup.

Capacitors are measured in microfiads which is what the “uf” stands for. Most

commonly 47uf 35v or 47uf 63v are used for liners and 100uf 35v or 100uf 25v

are used for shaders.

Now, the most complicated part of a machine for students to

understand is the shoulder washers. Shoulder washers are plastic washers that

separate the electrical wiring from the frame. The frame of a tattoo machine

is its own ground, so the wire harness should never touch the frame. If you

turn on your machine and the armature bar goes down and stays down then

you have something touching you’re frame. Here is and easy way to

remember where they go. The only parts of the machine that should touch

the frame are the coil shafts and your back spring at the spring saddle.

Everywhere else should have a pair of shoulder washers (both binding posts).

There are two places, so that means four plastic washers, one on each side of

the frame. The front binding post should be set screw, contact screw housing,

washer, solder lug, shoulder washer, frame, shoulder washer, washer, and

screw. The rear binding post should be similar with the rear binding post,

washer, solder lug bent to hold rubber bands, shoulder washer, frame,

shoulder washer, washer, and screw. The grommet is a small piece of rubber

that sits between the needle loop and the nipple. Its purpose is to hold the

needle in place on the machine and act as a shock absorber to smooth out the

way the machine feels.

Machine Cleaning

For machine cleaning the entire machine should be disassembled. You

want to rubber band the coils together. If you move them too much you will

weaken the coil wires until they break. Lay every part of the machine on a

paper towel then spray with your bleach and water mix. Let them soak for

about a minute to ensure and viruses are killed. After soaking, clean every

part of the machine with a paper towel and rubbing alcohol. Make sure to get

all of the bleach off because it will make your machine rust. Remove any rust

or rough surfaces with a high grit sandpaper such as 2000 grit. Use the same

sand paper to polish your coil heads and tip of your contact screw. I

personally prefer a buffing wheel, like you find on a grinder. If any screw or

washers have any rust on them, then you need to replace them. Apply new

masking tape on the armature bar, if you choose. Then reassemble your

machine. Be careful not to force any of the screws, you don’t want to strip

them or scar up the metal. Always use the proper tools, if you try to force

something or rig up something that doesn’t belong there, you will damage

something.

Machine Tuning

Machine tuning is hands down the most important thing you will need

to know about machines themselves. I can’t tell you how many times I have

heard someone say, “I don’t need to know how to tune a machine. I just use it

out of the box and its fine.” This kills me. If you are going to operate any kind

of tool you need to know how to do so properly. The theory behind tuning

your machine is to get the machine running as smooth as possible. The less

vibration the easier operation will be. If you want a smooth straight line then

the machine has to be in tune. When tuning a machine, many factors come

into play. Your grommet on the armature nipple needs to be in good shape

and your o ring on the front spring also needs to be in good condition. Another

thing not everyone looks at is the quality of the contact screw. If it’s dirty or

has carbon build-up it will not get a nice smooth connection. Contact screws

can be made from brass, steel, copper, and silver. Copper is fair, stainless and

brass will work, but in my personal opinion silver is the better choice. Brass

and steel are a very hard metal and they also spark a little. Over time they

will burn a hole all the way through the tip of a front spring. If the machine is

out of tune it will burn a hole much faster. Silver is a softer metal so front

springs will last a very long time. Silver is also less incline to spark so you have

less problems with plastic machine covers. The only thing I don’t like about

silver and brass is that they tarnish. Because silver is a very soft metal you

have to be careful not to tighten you’re set screw to hard, it can eat the

threads right off of the contact screw.

You also want to take a look at the hole in the frame that your front

binding post screws into. Almost all machines have a longer hole than needed.

The reason for this is more adjustment. With the machine sitting on its yoke,

if you barely loosen the screw you can move the entire front binding post

assembly up or down to adjust for lining or shading. Moving the front binding

post upward is better for color and shading, down is better for lining, and the

center is universal. I just run the binding post in the center. Either way you

set this option, the tip of your contact screw should be dead center in line

with the hole for your tube vice. The best way to check the alignment is to

hold the machine like a pistol that you’re about to fire. Hold the machine so

that you can see the contact screw tip closer to you. While holding the

machine at this angle, move your head a little to one side to see if the

machine is level. If not pivot the “contact screw” up or down till it is level.

You can check to see if the armature bar is also in the center position by

doing the same thing only looking in the tube hole with the armature bar

away from you. The more in line the armature bar and the tip of the contact

screw are to the center of the machine then the less resistance you have

while the needle bar is in motion. This will make for a steadier stroke.

I have already talked a little about the stroke but what exactly is it?

The stroke of your machine is the distance traveled by your armature bar

while in motion. The duty cycle of the machine is the length of time that the

front spring stays in contact with the contact screw. The duty cycle is

measured in percentages. If your duty cycle is 50% then the time the front

spring touches the contact screw and time it does not touch the contact

screw while open is the same. If the duty cycle of the machine is 40% then the

front spring is in contact with the contact screw 40% of the time and away

from the contact screw 60% of the time. Studies have shown that optimum

duty cycle is around 55%. This can be measured by using an electronic

multimeter that has a duty cycle setting on it. You attach one lead to the clip

cord post in the spring saddle and the other lead to the contact screw. Some

newer power supplies come equipped with a duty cycle reader. The stroke

strength is hand measured by taking your thumb while the machine is off and

pressing on the armature bar nipple. You want to push the armature bar all

the way to the coils. If you apply pressure to the front spring then it will bend

and you will not get an accurate measurement. The old way of machine

tuning is a little less technical. If you've been around tattooing you may have

hear of the old nickel and dime trick. A nickel is about two millimeters thick

and a dime is about one and a half millimeters thick. The nickel and dime

trick means that if you can just fit a nickel in that space then you’re good for

lining, and a dime if good for shading. This is not always the case.

I believe this image is from the A to Z guide to Tattooing from Spaulding. I found it online at

HTTP:// www. Forum.Ink-Trails.com (You Guys are Awesome)

The idea is that if your lining, then you need to be a little deeper so

you’re black is darker, while shading your working the skin a little more so

you don’t want as much depth to avoid scarring. Definitely sounds like a good

idea, but all this does it set the stroke a little different and it does not

smooth out the action of the machine. Like a few close held ideas about

tattooing, this was cool for the sixties but not by today’s standards. Most

tattoo artist use two machines in the course of one tattoo. You set one

machine up for shading and one for lining. Doing this means you don't have to

switch needles and tubes. You just use one for each. Since this is a guide for

beginners, most apprentices can only afford one machine at first (speaking as

a veteran artist I find it's easier to do this anyway) you can also set one

machine up universally to do both. I set a few machines up to do different

things and different styles but any artist can tell you they have one machine

that they like more than any other.

Liner or Shader

To set a machine up for lining you want to adjust the front binding post

all the way down, as far from the top of the frame arm as possible. Make sure

to pivot the contact screw tip to the dead center of the tube vice; unless you

choose to use a cutback. For a liner, if the machine is sitting on the yoke and

you are looking at the frame side, the contact screw will be at about six

o’clock, where a shader will be about four o’clock. Some machines are made

specifically to accommodate these angles, and some are universal. If your

front spring isn't touching the contact screw just right then loosen it and move

it up till it fully touches the screw tip. To properly tune your machine you

need to put a grommet on the armature nipple. Black is the best color

because you can see it best as it moves. Barely loosen your set screw. Make

sure it’s still tight enough so that you have to use a little bit of pressure to

turn the contact screw. If it’s too loose then when you turn on the machine

the contact screw will unscrew its self and you'll have to start over every time

you let go of it. Now, hold the machine sideways so your looking at the coils

and the armature bar is standing straight up and down. You want your power

supply to be about three volts and apply more as needed. Turn on the

machine. If it doesn't move then make sure you contact screw is touching the

front spring. If it doesn't move then turn up your power supply slowly till it

starts. If it still doesn't move then check your machine assembly, something is

wrong. If you hold the machine so you can clearly see the grommet moving

you may notice and oscillation in the movement. This means that you

machine will be running but you will be able to see another pattern of

movement. The movement is comparable to watching a bike tire move. Even

though it’s moving forward it looks like its going back and forth. This part is

hard to explain but if you watch the grommet and slowly turn the contact

screw you will see what I’m talking about.

That oscillation means your machine is out of tune. It’s kind of like

tuning a guitar for those of you that play; you have to remove the vibration.

You have to adjust the contact screw until even though the machine is running

you have to get this secondary movement to stop completely, which is almost

impossible to do using the contact screw. You will have to get as close as you

can and fine tune the machine using very slight adjustments with the power

supply. You’re not done yet. The next thing you do is barley touch your thumb

nails to the armature nipple. You touch the part that sticks up while the

grommet is on it and running. This is to test the stroke to see if it’s hitting

hard enough. Barely come into contact with the grommet, just enough to feel

it hit you but without slowing it down. You want the stroke to feel smooth

and just strong enough to not slow down the needle. It does not need to be a

chainsaw. The softer you can get it to run without slowing the better your

tattoo will be. If the stroke is too weak then turn up the power supply slowly

till it feels just right. If it is to hard then turn it down. After you adjust the

power supply then you need to tune using the contact screw again. It takes

both the power supply strength and the contact screw adjustment to tune

your machine. They both have to work together. Your power supply controls

the strength of your stroke or "power" while the contact screw controls the

smoothness of the machine. Once you are close to tuning your machine with

the contact screw you can use your power supply to gently and slowly fine

tune the machine to remove all secondary motion. It will take some time to

get this just right, so you want to practice un-tuning your machine and putting

it back in tune. Once you put a needle and tube along with the rubber bands

on the machine you will have to adjust the contact screw just a little. Once

you’re happy with the adjustment then gently tighten your set screw to hold

the setting. Remember not to tighten it too tight because you may eat the

threads off of the contact screw. Now you have a liner. Once set, every time

you pick the machine up and load it with a needle and tube it will be ready to

go till you move the adjustment or drop the machine. Try not to drop it; you

can bend the upper frame arm really easy.

To set up a shadier repeat the exact same process only adjust the front

binding post all the way to the top of the frame arm or four o‘clock. If you

want a universal machine the set it to the center or five o‘clock. That’s it;

you now know how to tune a machine. Another helpful tip that I know I

mentioned once before is to apply two pieces of masking tape to the

underside of your armature bar. Stick them on and trim them to fit with a

razor making sure not to cut your o ring. This quiets your machine, smoothes

out the action even more, and reduces long term wear and tear on your

armature bar and coils heads. Your machine will sound better which will

please you and your clients as well as make your parts last longer. Make sure

to change the tape about every week if you use it on a regular basis.

Other Supplies

During a tattoo you will be using a few other supplies. Green soap is

the most common chemical of tattooing. If you hear someone talk about the

smell of a tattoo, that’s it. You can order green soap from any tattoo supply

company but I have never found it in a medical supply store. Green soap is an

anti-bacterial soap that comes in a gallon jug and is very concentrated. Go

down to your local “buy everything store“, in the back of the health and

beauty section you will find hand sized plastic spray bottles. You need five or

six of these. Your green soap, bleach and water mix, rubbing alcohol, witch

hazel, glycerin, and water should all be in these bottles. Make sure to label

them properly with a magic marker. When you fill the green soap you want a

mix of 25% green soap, and 75% percent water. Make sure to shake it well so

it’s properly mixed. All of the other chemicals need to be full concentration.

Another thing that will be used a lot is the sheets of carbon copy paper you

will use to make your stencils. They make a machine called a thermo fax that

lets you scan in the images then it prints you line work stencil for you. I think

these are a huge waste of time and money. If you just order the sheets and

copy the pattern by hand then you have already drawn the image once before

you ever tattoo it. And never use speed stick or any other for of deodorant to

transfer your pattern unless you use one stick per client. There are a few

companies that make a spray on tattoo stencil chemical and they are not that

expensive. In the long run its worth what little you may spend to get it. If you

have to use speed stick then go to the travel section of your local store and

buy the little sizes that are fifty cents each. This way you can use one per

client and then throw it away.

Another thing you will need is rubber bands for the machine. You want

them to be about and inch long when they are lying on the table, not too big

or too small. Disposable razors are another item that you need, as well as

small plastic drinking cups. The kind that is only about two or three inches

tall, I think they are 3 ounces. Make sure to get the plastic not paper, after

time the paper will leak. Plastic baggies are to fit over the spray bottles and

your machine. You need the non-locking kind. Small paper plates and

petroleum jelly are for the pigment. Set up will be the only time you will

have to use petroleum jelly while tattooing. Wax paper will be what you set

everything on. The last thing I want you to remember is that rubbing alcohol

has no place during a tattoo. Rubbing alcohol is used to clean surfaces not

skin, it will dry out the tattoo causing it to heal two and three times slower.

Chapter 8

Tattooing Basics

Tattooing Stenciling

After you figure out what image you’re going to be tattooing, the first

step is stenciling your pattern. You need your image in the center of a full

piece of paper. If you use just a small piece then you will have carbon

transfer all over you and it will stay for about a week. Your studio needs

either a copy machine or a scanner and printer for your computer. You can

get a nice office copier/scanner at any office supply store for about a hundred

bucks. Copy the image or scan it to the computer and print it centered. If it is

a darker image then lighten the copy using the copy machine controls or if

you scanned it in your paint program make, it black and white before you

print it. You can't stencil the pattern if you can’t see the lines. Now,

whatever size you print out is the size the tattoo will be. You may have to

enlarge or shrink the pattern to get it right and sometimes this means you'll

be printing it a few times. After you find the size you want throw the rest

away, you don't want to get them mixed up. If it's a complicated pattern you

may want to keep one copy to look at while you are tattooing.

The transfer paper is made of a purple carbon copy surgical grade

chemical. When you tattoo this will be pushed under the skin, but don't

worry. If you see a little purple once the tattoo is done it will fade away in a

day or so. It is made so the body destroys it. One sheet of transfer paper has a

few extra pages attached to it that are not purple. You can leave these or

tear them off. The extra pages are for a thermal fax machine. The only page

of the transfer sheet you need to worry about is the purple one. On one side

the page is dull and the other is shinny. Take your pattern and lay it down on

top of the transfer sheet. The transfer sheet is laying dull side up, and then

you lay your pattern face up on top of the sheet. Always use a pencil for this.

If your pattern is printed or copied with black ink then you will always be able

to see what you have already traced because a pencil line on black ink looks

shinny.

Now you’re ready to make your pattern. All you do is trace the outline

of the picture. Just go over what is already printed on the page. Be careful

because anywhere you write will be part of the pattern. What this does is the

pressure from the pencil makes the purple on the sheet stick to the back of

the regular paper. Only trace what is going to be black outline. If something is

solid black like a tribal then just outline it. You know it's going to be black so

why waste the time to fill it in. If it's a more complex pattern that has a few

large black areas then you can draw an "x" inside that area to be a reminder

of that section being black. Keep it simple, the outline of the tattoo is one of

the most important parts, so don't confuse the pattern by tracing alot of

things you don't need to. Once you've traced what you think is everything you

want to look at the back of the paper to see how you did. You can spend all

day flipping the paper looking for what you missed or you can just hold the

paper with the pattern up toward the ceiling lights looking at the purple lines.

This way you can see through the paper and any lines that you missed will

stick out like a sore thumb. Once you've looked over your pattern look it over

again. Check every line twice, if it’s not on the pattern it will not be on the

skin. Now you want to cut out the pattern using scissors. Hold the page so

your looking at the purple lines then cut out the pattern as close as you can

leaving about a half of an inch border of paper around the entire pattern.

This gives you room to handle it and room to make sure you don't cut

away any of the lines. Now you have a pattern. Remember not to touch the

purple; it goes on the skin so it has to be sterile. When you put the pattern on

your workstation, during set up, make sure to lay it down purple side up so it

doesn't get dirty. Also make sure that you don't lay it in water that may be on

the table. If it gets wet then it's ruined and you have to start all over, but the

bright side is that you now have a solid purple piece of paper in the shape of

your pattern. Always practice before you do anything to a person. Practice

making patterns and applying them to your self. We will get more into pattern

application in the skin prep section of tattooing.

EEW-GOO

Over the years there have been many different types of transfer

solution. I discovered the formula for in my opinion the best for of stencil

solution I have ever used to find out that a few others have come to the same

conclusion. So I guess it’s no secret anymore. I call it Eew-goo. It’s made by

taking original speed stick deodorant and putting it in a glass container such

as a cup. Then place it in a clean microwave to melt it. This should only take

about 30 seconds, and be careful. This stuff will be the temperature of the

sun. Then pour the melted sped stick into a small pump spray container filling

up 1/3 of the container. Next pour in concentrated green soap filling another

1/3 of the container, and then rubbing alcohol in the rest. Apply the top and

shake well. The speed stick will hold the stencil on the skin, the green soap

makes it anti bacterial and the rubbing alcohol keeps it from turning back to a

solid. If your mixture turns back to a solid, or to a thick sludge then you need

more alcohol. This stuff is crazy. It keeps the pattern on more than any other

chemical, you can wipe as much as you like and even use water to clean the

design off during the tattoo before the outline is completed. It also is fast

drying. Once a pattern is applied to the skin, if its not straight, you’ll have to

spray it back down to remove the stencil. Alcohol, green soap, water, nothing

but the chemical it’s self will remove it once on the skin. If the stencil is still

on the skin after the tattoo is done, then you are using a little too much

speed stick and it’s holding a little too well. I have placed a pattern on my

skin to see how long it would stay, without tattooing, just using it as a

temporary tattoo, it has stayed for more than seven days clear enough for me

to tattoo the pattern. Make sure to use a spray bottle so there in less chance

for cross contamination.

The Tattoo Set-up

The set up of a tattoo should be very ritualistic. Every thing you do

should be the same every time you tattoo. This way you always know where

everything is and where everything is not. If something is missing you know

exactly what. Here is the best way I have figured out over the years; feel free

to come up with what is most comfortable for you. This is a list of what you

need for every tattoo.

1. Wax Paper

2. (2) hand sized plastic spray bottles

3. Three non-locking plastic baggies

4. One disposable razor

5. One wooden tongue depressor (Popsicle stick)

6. Tubes according to what needle grouping you will be using

7. Needles according to type of tattoo, sterilized and unopened

8. One new roll of paper towels

9. Ink caps

10. Pigment

11. Pattern transfer chemical

12. One container of petroleum jelly

13. Two one inch rubber bands

14. Small plastic cups filled with water, same number as pigments used

15. Tattoo machine power supply with clip cord and foot switch

16. Tattoo machine

17. One box of latex gloves

18. Tattoo pattern

19. One small in sizes paper plate

20. Suitable work area with proper lighting

The first step of the tattoo process is to sterilize your work area. This

means that you want to spray down all of your workstation surface and the

chair your client will be sitting in with your bleach and water mixture. Spray

the table then the chair. The reason you want to do this in order is because

you don't have time to let the bleach water sit on the table. That way the

table top is soaking for and extra few seconds while you spray the bleach

water on the chair. You wipe the bleach off the table and let the chair soak

while you set up. After you wipe down the table top you when to lightly spray

water on the corner of the work station you plan to use. You always want to

operate from one corner or the other so you have room to move your client

around. If you work from the center then you will hit the table or they will

get in the way as you tattoo. Rip off a sheet of wax paper about a foot or so

in length. Lay down the wax paper in the water lined up with the corner of

the table. The water you sprayed will hold down the wax paper and keep it

from moving as you tattoo.

Ink caps are small plastic caps that you use to put the pigment in while

you tattoo, kind of like what a painter calls their pallet. Most generally ink

caps come in two sizes. #9 and #16 ink caps are the common sizes that you

will use. The nines are the small ink caps, while the sixteen’s the large. Count

out the colors you will need to apply the tattoo and use that many ink caps.

For the most part you want to use small ink caps until you see just how far

the pigment goes. If your doing a small tattoo and fill all large caps then you

will be throwing away allot of un-used pigment. Never try to put the pigment

back in the bottle. This will cause massive cross contamination. The supply

companies sell trays for the ink caps to fit into called ink cap holders. These

look cool but you do not want to use them. Most are plastic which you can't

autoclave, and the metal ones are too bulky to autoclave and package. A

small paper plate works much better, and you get to throw it away when

you’re done. Remember sterile is good but nothing beats new.

After you determine how many ink caps you plan to use and what sizes

the you take a wooden tongue depressor (popsicle stick) and get a healthy but

controllable glob of petroleum jelly on the end if it. We use a depressor

because it's long so it's easy to get what you need from the jar and its sterile

cause it's new and disposable. Use the depressor to apply the jelly to the

paper plate; you want to sculpt it in shape using the depressor. If you look at

the small paper plate you will notice that there is a ring in the center. It stops

just before the edge starts to rise up to make the lip and outside edge of the

plate. You want to apply the jelly in shape to that inside ring leaving the

center of the plate clean. The reason for this is so while you are tattooing and

dip your pigment you have a place to set your hand. If you are dipping for

pigment and set your hand on the outside edge of the plate it will flip and

throw pigment on you and your client. Place the ink caps on the paper plate

in a curved line following the curve of the inside edge of the plate. Make sure

you space them out a little. You don't want red to get in your white and all

your whites be pink. Another little trick of mine is to put just a small amount

of jelly on the bottom of the plate so when you put it on the wax paper it

doesn't move while you tattoo. Place the paper plate in the center of the wax

paper so the curve of the ink caps is facing away from you. This is so your

hand can use the resting point and fit nicely on the plate as you dip. Place the

plate on the wax paper before you fill the ink caps, trust me when I say that

dropping the plate once is enough to make you never what to do that again.

Filling the ink caps is one of the last things you will do because the longer

your pigments sit they will dry out and get hard. Next you want to lay the

needles and tubes on the right hand side of the plate so they are out of them

way at first. Then the machine and disposable razor go on the left with the

extra baggie under them. Your machine should be pretended before you set

up so you don't have to mess with it while the client is watching. You may

have to make minor adjustments but you don't want to spend ten minutes

tuning in front of the client because it may cause them to be nervous or think

that the machine is failing. Next you want to make sure your spray bottles are

full. The spray bottle with green soap should be 25% “green soap” and 75%

water. Should you ever run out of green soap you can use regular antibacterial

soap mixed with water in the same amounts. Antibacterial soap should only

be used as a back up because it dries out the skin much faster than green

soap, making the tattoo have difficulty healing.

Never use a pump action bottle. The way they work is they pump the

liquid out when depressed and as the rise they drawl in air. This means that

they can drawl in blood and viruses as well contaminating the whole

container. Only use plastic spray bottles. The other spray bottle should be

straight water. You need three plastic non-locking baggies for the tattoo set

up. Two of those baggies go on the spray bottles. Hold one up so you can see

the corners of the baggie. You want to use your finger nails to rip off a small

piece of the corner, just enough to leave a pin hole. Place the baggie over the

spray bottle and stretch the hole over the spout. The small hole will stretch

and fit over the nozzle tightly as to hold the baggie on the bottle. This way

you’re not fighting the baggie during the tattoo and it stays in place. Don't

just tear a hole in it and expect it to stay where it needs to, because it won't.

It also creates a seal around the nozzle do you don't get pigment on the spray

bottle. Do this to both bottles and set them on the left hand corner of the

wax paper. Place the water closest to you and the green soap on the other

side of the water. You will use the water the most so you want it closer.

Now you want to count the ink caps and fill up the small plastic cups of

water in the same number. You want to get the water in the cups as close to

the top as you can without spilling them so you can dip your tube in without

having to fight to get it in the water. If you only fill the cups half of the way

it's a pain to get the pigment to wash out your tube. The purpose of the cups

is to wash out the pigment as you change color. This is why you want one for

each cap. You should line up the cups along the top edge of the wax paper so

you can get to them with ease but they are still out of the way. If you spill

one during a tattoo you will have to set up all over again because it will

spread blood and pigment every where. Your spray bottles should be cattie-

corner to the upper left corner of the wax paper, in front of the bottles

should be your transfer solution or single use speed stick making a triangle

shape. Your power supply should be out of the way but still close enough to

get to should you need to make any adjustments. Make sure that the clip cord

will not knock over anything on the table.

Now you’re ready to pour the pigment into the ink caps. You want

black first, then continue going from darkest to lightest color. This will be the

order you will have to tattoo in so it's best to set up in this manor. While you

pour the pigments you want to hold the bottle with one hand in the middle

and apply your index finger and middle finger, one on each side of the spout.

Sometimes the pigment will dry in the spout so you may have to unscrew the

top and pour it out. If this occurs, set the bottle aside for the spout to be

cleaned with hot water and a straightened paper clip after the tattoo is done.

Should you run out of any pigment during the course of the tattoo then you

should remove your old gloves, wash your hands, and then replace new gloves

before you touch the bottle to avoid cross-contamination. When pouring the

pigment always hold the bottle two inches above the ink cap. You want to

drip not squeeze. If you squeeze then pigment will spray every where.

Dripping breaks the stream of pigment so you don't cross-contaminate. This is

more important when you are filling an already used ink cap. If you

contaminate a pigment bottle then every person getting a tattoo with that

pigment will be compromised. So drip two inches above the ink cap. The last

thing you will do while setting up for a tattoo is to set the pattern in the

center of the paper plate making sure you don't set it in pigment over-spill of

water. It will ruin your pattern.

As you can see I am very specific when it comes to set up. The way I

set up a tattoo is for a left handed person so you may want to find your own

way but make sure you don't leave anything out. Once the client is seated,

scrambling around looking for something does not look very professional.

Either way you set up your tattoo, make sure it’s how you set up every time

and make sure that everything is nice and neat. The better everything looks

the more professional you look. The more professional you look the more your

client will be relaxed and trusting your best judgment. Plus if they come in

and see the same set up every time they will see that you are very clean and

very consistent. After the tattoo set up is the time you need to take your Zen

moment. Before every tattoo you need to take a moment for yourself. Reflect

on the tattoo and what you are about to do. Relax and center yourself to

prepare for the next challenge. Always take your time, never rush and you

will be fine. I personally smoke a cigarette, some of my friends drink a cup of

coffee, and some take a walk around the block. Calm down and relax before

every tattoo.

Skin Preparation and Pattern Placement

Skin preparation is the first step in tattooing that has interaction with

the client. The first thing you will need to do is wash and dry your hands, then

apply gloves. Always keep a small box of gloves other then latex because

some clients will be allergic to latex. You tattoo supplies should have already

set up properly, going by the guide above, before the client ever enters the

room. Before you ever sit the client down you should have already found out

what they wanted and where. You need to figure out how the client will be

sitting for the course of the tattoo. I use a combination of a regular barbers

chair and a folding padded massage table so I’m going to go by that. You can

spend more and get a chair made for the use of tattooing and just apply what

I suggest to the tattoo chair. Different locations on the body require different

sitting positions. Let’s look at the body position versus the sitting position as

well as some tips.

The Arm

This area is by far one of the more simple places to tattoo. Your best

bet is to set the client in an up right chair so they are comfortable. Depending

on the location of the tattoo you will have to raise or lower the chair to get

the area to be tattooed to the level you are most comfortable with. Your

chair should have proper arm rest for client comfort and to keep the tattoo

straight while performing. While working on the arm if the client should be

wearing a t-shirt then you will need to roll up the sleeve. Rolling the sleeve

under will stop it from rolling down while tattooing. Top of the arm and inside

the lower are best if resting on the arm rest of the chair. A folded paper

towel under the arm on the arm rest of the chair will prevent slipping.

Another way to tattoo the arm is if you should have to do, say, old English

down the arm from wrist to elbow. You want to have the client rest there

elbow on the arm rest of the chair with their arm pointing upward.

Under the Arm

One way to apply a tattoo under the arm is to have you client make a

fist and with the elbow bent, place there hand knuckles down on the center

of the leg. It will kind of look like a child making a bird or duck gesture.

Sticking the elbow in the air makes the arm in a kind of square shape. You will

have to use this position and have the client place there hand on the opposite

side of there head trying to cover there ear. This will allow you to reach

under that arm for arm bands. This method is best used for tattoos where

most of the pattern is on the facing of the arm.

If you are going to be tattooing on just the inside of the arm then you

need to lay them down on a tattoo bed. Laying flat on their back have them

reach out to you with a straight arm, then bend at the elbow moving the rest

of the arm out of the way. Usually if you ask them to lay their arm flat on the

table and then point to the top of their head it gets the best position. The

arm will be flat on the table and you can tattoo without having to worry

about the client’s arm getting tired while holding it up. You can also apply

the pattern in this same position. While working on the arm if the client

should be wearing a t-shirt then you will need to roll up the sleeve. Rolling

the sleeve under will stop it from rolling down while tattooing. You may want

to put a drop cloth or a paper towel under their arm to absorb any excess

fluids like water. They can take a shower when they get home, you don't need

to provide one.

The Chest

For men on one side or the other its best to lay them down on the

tattoo bed and have them lay their arm along side their body. If they lift their

arm then the pattern will stretch and possibly leave the tattoo looking strange

after it’s done. The best way to work on the chest of a female is to sit them

up in a slightly reclined position. If you lay them flat on the tattoo bed then

the breast will fall to the side pulling the skin to an odd shape. If you have to

tattoo the center of the chest on a male or female then the suggested

position is flat on their back. For a male or female you will have problems

reaching them if they are sitting up. With a female lying on their back is ideal

for the center of the chest because most of the time the weight of the breast

will help pull the skin. Any work on a male or female's chest needs to have the

shirt and bra removed. Clothing restrict the skins so a tattoo might look

straight but if a female removes a bra then it will stretch as the breast drops.

Always tattoo at the most natural position. Do not let a female hold one

breast out of a bra, the tattoo will be not level and have a strange shape.

They need to remove the bra and shirt. Try to keep modesty but you also

need to work properly.

The Stomach and Pelvic Area

Laying the client on their back is the better choice for the stomach and

pelvic area. For the clients comfort and to have the arms out of your way

have them put there hands behind their head instead of along there sides. The

arms up causing skin stretch will not affect a tattoo this low. While working

on the stomach or pelvis you will need to fold a paper towel over the edge of

the client’s pants to protect them from pigment stains. While tattooing on

the pelvis you will have to keep a few things in mind. You need at least two

inches of space in all directions to work. Don't be timid in asking the client to

lower clothing. You have to be in a comfortable position to work well. While

working on the pelvis you will be better off to have the client unbutton the

pants and roll them under to prevent them from being in the way. If you just

pull them aside you will fight them the whole time. Pants and underwear

need to be out of the way. You’re working on skin not dying clothes.

Another thing you will have to pay attention to is the stretch line of the

pelvis. One the pelvis of a female you will notice a small line in the skin like a

wrinkle. This is from the bending of the waist. Anything above this line will

stretch when pregnant; any tattoo under this line has less chance the lower

you go. Make sure to inform your client of this so they don't get a tattoo of

tweedy bird and have it look like big bird on drugs after a pregnancy. This

applies to the stomach as well; strongly advise against stomach tattoos to

females that plan on having children. Do not tattoo around the navel of any

female under eighteen for this reason.

The Upper back, Shoulders, Back of the Head. And back of the Neck

The upper back and shoulders are also simple. You want the client low

so don't sit them on a stool, they will be too high for you to reach. If your

chair has a low back then you are fine to just have them sit up straight in the

tattoo chair. If the back is to high or the pattern to low then have them sit

backwards in the chair. You can also lay them on there stomach but it might

be harder for you to reach what you need to. You must take t-shirts off;

females can lower their low cut shirts as long as they are not in the way. If

any bra straps are in the field of tattooing then have them drop the strap and

remove their arm. If they lower it but they still have their arm in the strap

they can pick their arm up and make the strap pull the machine causing extra

lines. You don't want extra lines. For the back of the neck make sure to get all

hair out of the way and shave properly.

Center and Lower Back

For the center and lower back you may have the client sit on a metal

stool not wood, there is no proper way to sterilize wood. If they sit on a stool

have them lean on the back of the tattoo chair raising it to the level they

need for their arms to be comfortable. They need to lean on something or

they will run away. For females with less weight you can lay them on their

stomach. Females with more weight will not be able to do this because you

will have problems stretching the skin to tattoo. The lower back will curve

inward making tattooing impossible. They will need the stool or to sit

backwards in the tattoo chair raising it to the level you may need. Something

to remember with the lower back is that it stretches as the client sits. If you

apply the pattern while they are sitting then the pattern will be squished

together when they stand. Always apply the pattern to the lower back while

the client is standing. When they sit this will just help you stretch the skin for

easier tattooing. If your client is standing in front of you and their lower back

curves inward have them bend over a small amount bending at the hips to

apply the pattern. Again, the pants and underwear need to be out of the way,

so you almost always have to have them sit on the ledge of their pants. If you

can't see crack then the tattoo is too high for the normal lower back position.

Also make sure to fold a paper towel over the pants to avoid pigment stain.

Rib Cage or Side

The side is one of the most painful places to tattoo for the client. For

this reason it is also one of the hardest places to tattoo. Your client will want

to move and squirm so you have to make sure they are in a secure position.

From my experience the best position to work on the side is to lay a client on

flat their back and roll them away from you until you can reach the tattoo

field. You will have no choice but to have the client raise their arm to get to

the side, this will stretch the tattoo pastern so be careful of what you do.

Take your time and pay attention to what you are doing. When you apply the

pattern to the side your client will have to be standing up. Leaving the arm to

their side, raise it just enough to get your hands under their arm to apply the

pattern. You can also have them raise there arm straight out in front of them

and then bend at the elbow to point at their other shoulder. This will pull the

skin a little but not to bad. Also make user to fold a paper towel over the

pants to avoid pigment stain.

Side and Front of the Neck as well as on the Head

For the side of the neck you want to lay the client on their side and put

a full roll of paper towels under the other side of the neck. This helps hold

their head in position. Some artist will set the client up in a tattoo chair and

use the paper towel roll in the same way. I personally find it hard to get

where you need to and prefer laying them down. For the front of the neck you

want to lay them on their back and put a paper towel roll under the other

side. Make sure to place the roll between the shoulders and the head. If you

just rest the head on the roll of paper towels then you will not have enough

room to work. Both of these positions you need to apply while standing and

relaxing the shoulders. If you don't they will not be straight. Remove the shirt

or use a paper towel to keep pigment from staining the shirt. Make sure to

throw away the roll of paper towels used for a pillow. This can get blood and

pigment on it. Throw it away. Do the same for the face. For the top of the

head, Lay them on their stomach or back and adjust the tattoo bed as high as

it will go.

The Legs and Feet

Some tattoo artists sit the client up in a chair and have the place there

foot on a stool for the leg or foot. This does work, but I find it much easier to

just have them sit on the tattoo bed and lay which ever leg you will be

working on as flat as possible. Often you can get them to lay down which is

better but they usually want to watch. The only thing you really need to pay

attention to with the leg is to have the client remove their shoe. Shoes are

dirty and by touching them and then the tattoo field you can spread infection.

For the tops of the feet just have them sit the same way and place the foot

at the very edge of the tattoo bed with their knee in the air. Place a paper

towel under the foot to avoid sliding.

Genital

When it comes to tattooing the buttocks just lay the client on the

stomach. You will have to remove the pants as low as you need so don't be

shy. Make sure to pattern while standing. Use a paper towel for the pants as

to not stain and also make sure to watch where you spray the soap and water.

No one likes a wet ass. When it comes to tattooing the male and female

genital just lay the client on their back and have them slide as far off the

edge as you can leaving as little of the buttocks as possible. You may want to

pick up a couple of stools for them to set their legs on. You will have very

little call for this kind of tattoo but if you should here are a few things you

need to know. The vagina naturally has more bacteria on and in it than any

other part of the female body. Always leave a one inch area around the inner

labials not tattooed. If you do tattoo up to the vagina the pigment will not

want to stay properly and you have a higher chance of infection. Larger

females are not recommended for this kind of tattoo because they are hard to

get to the tattoo field and the also have more bacteria because their bodies

create more moisture due to the amount of body fat pushing everything closer

together. It will heal slower and have a higher possibility of infection. The

penis will also heal slow and take less pigment. It is also difficult to tattoo the

penis due to it not being erect because of pain. The tattoo will never be right.

When limp it will be smashed together and when erect it will be stretched to

far out distorting the image. The testicals take pigment better but are hard to

work on due to the nature and flexibility of the skin. It is my advice to not

tattoo the vagina, penis, testicals, or anus due to the possible complications.

Under side of the Hands and Feet and inside of the Lip

The under side of the hands and feet are not recommended for

tattooing. The skin rejuvenates faster on the bottom of the hands and feet

than anywhere else on the human body. This means that the pigment will not

stay for long. Even the best tattoo artist will have to touch up a tattoo in

these areas about every three months for them to look right. With the use of

the hands and feet the healing process is a difficult one causing pain to your

client for a tattoo that will just fade away. The inside of the lip has the same

reaction only harder to tattoo. My advice to you again is to stay away. You

should only tattoo what you can guarantee. These areas you cannot.

Skin Preparation

Once your tattoo is set up and you bring the client into the tattoo room

you want to wash your hands, dry them, and apply gloves. With a few

exceptions you want to apply the pattern while the client is standing in a

straight position with the arms and hands dropped to their sides. Never let

your client put their hands in their pockets while you pattern. It can cause a

tattoo to be out of shape. First you tear off a paper towel sheet. Then you

remove the safety cover from the disposable razor. While holding the folded

up paper towel under the tattoo field, generously spray the green soap

solution on the entire are to be tattooed plus about two inches. From the

bottom, shave upward. The easiest way to shave a client is to make quick and

short movements up and down against the grain of the hair growth. After time

you will get this technique down and be able to do so without ever nicking the

client. Shave the area upward until the entire tattoo field has no hair on it.

You should shave the area to be tattooed plus two inches all around the area

to make sure you have plenty of room. Always shave every client. If they look

like they don't have hair, I assure you they do. The reason we shave the area

is because the tattoo machine is a stabbing device. If it pushes a single hair

under the skin the hair will become infected thus infecting the entire tattoo.

Once you shave the area you need to dry it with a new paper towel,

wiping in the same direction you shaved. If you drag the now loose hair over

the smooth shaved area the hair will stick to the client and you will have to

more time washing off the hair, this is not easy. The use of green soap during

the shaving does two things. The green soap will lubricate the skins so you

don’t cause razor burn and green soap is anti bacterial. It kills germs. Every

client must be shaved and prepped. If I’m tattooing on my fiancé and I just

saw her shave her legs this morning I will still do so before a leg tattoo. This is

called common practice. Everything that you will do on every client is called

common practices. This helps you make sure everything is done. After time it

will become reflex. Right now I’m at the point of everything is a reflex until

the machine is together and in my hand.

Pattern Application

How you apply the tattoo pattern will directly affect the over all

outcome of your finished tattoo. If it’s not dark enough you will loose most of

it during the tattoo process and have to free hand the rest. The main thing to

remember about your tattoo pattern is that where ever you place the pattern

will be the location of the tattoo for the entire life of your client. Take time

and consideration while placing the pattern. You have a location and you have

a pattern by this point. Now you have to look a little closer at the location.

Some one points to an area of their body and says, "Put it here." There are a

few things no one thinks about. Most just say ok, and stick it on. It's not that

simple. You need to look at the area you are applying the pattern to and then

look at the pattern it's self. It’s very rare for the pattern to be the same shape

as the body part. You need to line up the tattoo to the body. This means that

you have to make sure it’s straight and also pay attention to muscle

formations. If you have an exceptionally large pattern you may want to cut it

in two pieces and apply each one. The number one thing that kills me is the

arm bands that are too high on the arm. Every tattoo you need to think "What

if they plan to add on this?" If an arm band is too high then you’ll end up

tattooing the arm pit. There will not be much room for additional tattooing.

Line up the tattoo pattern so it looks best on the selected area. Some times a

tattoo will look a thousand times better it’s turned just a hair. Say you’re

doing flames on the left side of the chest. Going straight up and down will

look a little out of place so you may want to angle the top of the flames

toward to ball of the shoulder. This will give the flames the illusion of motion

toward the shoulder.

The best way to see where you want to place a tattoo is to hold the

pattern up to the skin and turn it slightly one way or another until you and the

client are happy on the location. Do this with every pattern before you apply

any transfer chemical. If you apply a transfer solution then lay the pattern on

and spin it all around them you will have to make a new pattern while the

clients get a huge purple blob. When you are content with the location you

need to set the pattern aside and apply the transfer solution. If you have a

spray or liquid chemical (which I recommend) then apply a small amount. This

stuff goes a long way. If you’re using “speed stick” deodorant then you need

to use a new stick for every client and throw each one away when you are

done. If you go to your local everything store then you will find small sticks

made for traveling. These are about fifty cents each. Get these so your not

throwing away three fifty every tattoo. Remember that if you reuse the speed

stick then each client will leave their bacteria on them so you will spread

disease faster than you can imagine. Apply one thin layer to the skin covering

all of the shaved area. This will make sure you didn't miss any spots. If you do

miss a spot with the transfer solution then your pattern will not copy in that

location. If you use liquid or stick transfer, either way you need to use your

gloved hand and smear the solution on the skin, this will spread the chemical

easily and ensure you didn't miss any spots. The transfer will dry, so once you

spread it with your hand you need to apply the pattern right away.

Hold the pattern about a half an inch away from the skin using a hand

on each side. If you use one hand only, then the pattern will slip causing it to

smear. Line up the pattern to the decided location and gently touch the

center of the pattern to the skin. The transfer solution will hold the pattern

on the skin for you. Let go of the pattern. Now you need to use both hands

and lay them flat on the pattern slowly at the same time. You want to work

your way out from the center. If your pattern is long like an arm band then

once you apply the center you can apply pressure to both of the sides using

one hand for each side. The trick is to apply equal pressure to each side at

the same time. Pressing on the center of the pattern will help the pattern

from slipping or smearing. Hold the pattern on the skin applying medium

pressure and count to ten. You have the give the carbon time to soak in the

skin. After you count to ten then remove the pattern from one side to the

other. Never just pull the pattern off because it will smear every time. Set

your pattern aside and check your lines. Make sure that the pattern

transferred well. If not the clean off the pattern with green soap and start

again. Be a perfectionist, make it right. As long as you don't put six pounds of

transfer solution on the skin then your pattern should hold up to four or five

transfers. Because of this if I know I’m going to be tattooing say fifteen stars

then I only make three patterns, using each a few times. If your adding to an

already existing tattoo then use a razor knife, like the ones you buy at a

hobby store, to cut as close to the patter as possible. This way you can better

line up the new pattern with the old tattoo. If you’re doing something with a

circle in the center like a tribal then cut out the circle so you can better see.

After a while you will get more efficient at applying a tattoo pattern. Its one

of those things that gets easier with time. It’s not uncommon for even veteran

artist to have to apply a pattern three or four times to get it right. Always

change gloves after you apply a pattern. The chemicals in the transfer and the

speed stick include petroleum. This will eat your gloves as talked about in

Chapter 4.

If you are doing custom work or free hand work then use a single use

pen, throw it away when you are done. A pen will soak up bacteria and

disease just as much as anything, if it’s felt tip then even faster. Be careful

what kind of pen you use. Some artist like using felt markers or ball point

pens. If the tattoo is lighter sometimes they can show through and many types

of pens can be toxic and cause an allergic reaction. They make special kinds

of pens for this called a skin scribe or surgical scrip. The ink they use is the

same thing the carbon in the pattern will be made from. These scribes get

expensive compared to the price of a ball point, but again you can only use

them once. When doing custom work or adding to an existing tattoo you never

want to use black. If you use black you will not be able to tell which is tattoo

and which is pen. I recommend a light color like purple, red, or green. Free

hand work does not mean take up the machine and go. When someone says

"free hand tattoo" that means the artist drew the pattern on the skin without

a stencil. Do not ever attempt to tattoo without a pattern of some kind. You

cannot erase a tattoo.

Chapter 9

Starting a Tattoo

Lining a tattoo is one of the more difficult things to do properly. Most

artists just assume you tattoo over the purple. This is true but it’s like saying

you just step on the gas and clutch to drive a standard transmition vehicle. To

properly line a tattoo you have to choose your weapon of choice. Lining will

most often be a five round or an eight round. Look at the original picture and

see if the line work is a thick line or a thin one. Thinner lines need a five

while thinker takes an eight. You do not want to use a three for lining a

tattoo. A three is too small of a line. You will be able to see every little shake

or bad spot. The only thing I use a three for is to tattoo single strands of hair

in a portrait or small detail. If you insist on using a three to line with then you

tattoos will take hours when they could have been done in much less time.

Also using a three for the bulk of lining or shading will make you have to over

work the skin causing the client to scar. Unless a tattoo is very small I almost

religiously use an eight. The lines are a nice and smooth, and they are so

much easier to use. There are four types of lining. The first is just lining. The

second is grey lining which is where you use water to dilute the pigment so

your out line has a grey look instead of black. Bold lining is considered a new

school trick. It’s where you give just the outside lines of a tattoo a very thick

black out line. Some artists also call this cartooning. Last you have blood

lining. Blood lining is a more advanced technique used for making an outline

without any pigment. The skin turns red, kind of like a scratch. The artist will

shade from this line and once the tattoo heals it will be gone completely. We

will get more into the application of each as the lesson progresses.

So you’re staring at a pattern on the skin of your client with a full set

up tattoo. Now what? The first thing you will need to know is how to put

together your machine. It’s not hard. The first step is opening the tube you

plan to use first. If you look at the tip of the tube you will notice an open spot

on the tube itself. This is called a washout. It was designed so that past artist

can work beside a sink while they work and simply run water through the

washout to remove all the pigment so they can change colors. Now with so

many cross contamination issue we stopped doing this but the tubes stayed

the same. This is what the cups of water are for and why you need one for

every color pigment. If you use one or two cups of water then your white will

look pink if you wash out the red first. The side with the washout is the same

side the needle comes out. The other end you need to put in your tube vice.

Tighten it down just enough to hold it; you will have to move it around later.

The tube should be placed in the vice so that the washout is pointing straight

up. Now take the needle you plan to line with out of its package. Look at the

tip where the needle head is. You will notice that if the eye loop in the back

is flat then on one side the needle head is on top of the needle bar, and the

other way the needle head is on the bottom. The needle head needs to be on

the bottom of the bar. The reason for this is because when the needle rest in

the tube it will be flat against the bottom of the tube. If you turn it so the

needle head is on top then your needle will sit in the center of the tube and

shake everywhere while the machine is running. I suggest setting up a

machine before you ever try to tattoo so you can see what I’m talking about.

Now take a grommet. Usually I get the nipple grommets. They look kind of

like a small top hat. The grommet will go on the needle so much easier. The

other grommets are called full grommets. These have rubber on both sides

instead of just one. You have to pinch the grommet with your finger and

thumb to make it flat. Then you push one side of the rubber into the needle

loop and use your finger nails to pull it the rest of the way through. It’s a pain

in the ass. Instead just get the half or nipple grommet and they go right on.

The grommet holds the needle on the machine and also acts like a shock

absorber for smoother operation. You want the rim or flat part to be on the

bottom of the needle. So if your needle head is down then the rim of the

grommet needs to be on the same side.

Now you put the tattoo needle in the tube. You want to feed the

entire needle bar into the back of the tube, the side closest to the armature

bar. Don't force it to go, sometimes it wants to stick. If you force it to go

down the tube then you can push the sharp part of the needle into the tube.

Metal is sharpened by removing metal, the sharp point of the needle head are

very thin and bendable. If you bend these, then you have to get a new needle.

If you tattoo with a needle that tips are bent you will scar up the client and

the tattoo will bleed like crazy. Basically instead of tattooing you will just

turn their skin into ground beef. I find that holding the machine so the tube is

pointing at the ground then flipping or tapping on the side of the tube will

almost always make it fall right into place. You can also place the needle in

the tube before putting it in the tube vice, which many find easier. Now grab

the needle loop and grommet. Put the needle and grommet on the nipple for

the armature bar. Make sure the needle is turned so the head is down and

against the tube. The grommet rim or flat part needs to be against the

armature bar or down as well. You can put the grommet on the armature bar

first but unless you have a small armature nipple then you are going to have

problems getting the needle on the grommet like that. Now you have a needle

attached to the armature bar of your machine. Now you need to place a

rubber band on the machine. The rubber band should sit in the middle of the

armature bar and back of the tube. Under the machine the rubber band

should be in the band holder if you have one or just put it between the spring

saddle and the rear binding post. Only apply another rubber band if the

needle is jumping around while the machine is running. The less rubber bands

the better. If you use too many then they will bend you needle bar which will

cause your needle tip to not sit in the tube properly. Too many rubber bands

can also slow your machine by applying too much force downward.

Take a look at the tip of the tube. Chances are the needle is sticking

way out or not out far enough. You can run your machine one of two ways.

These are called "running flush", or "hanging the needle". To run flush you

need to loosen the tube. Then slide the tube forward until the tip of the

needle is the same length of the tube. The tip of the needle and the tip of the

tub should be flush, hence running flush. The advantage of running flush is

that the tip of the tube stops the needle from going to deep. It acts like a

safe guard. Many artists swear by this method. The disadvantage of running

flush is that as soon as you touch the tube to the skin pigment will go

everywhere. It makes it really hard to see your pattern. Another down side is

that you have to push the tube along the skin of your client to get the right

thickness of line. After a few minutes this will be really uncomfortable for the

client. So you decide if you want to run flush but I recommend against it. The

other way is hanging the needle. You line the needle up flush just like before.

Then you move the tube back just a hair. It should be just enough to make the

needle stick out about the width of the needle bar. You'll have to play with

this too see where you like it to be. Just don't run the needle too far out or

pigment will not get on the needle during tattooing. You'll have to dip he tube

in pigment about every inch you tattoo. The up side of this method is that you

can see what you’re doing. There will only be a small amount of excess

pigment while you tattoo. It will look kind of like writing with a sharpie

marker. Another up side is that you aren't grinding the tube on the client, so

the tattoo will hurt them less. The only down side to this is that you can go

too deep. If you go too deep in the skin you will hit a dermal layer of spongy

tissue that will absorb the pigment. This will give you what we call a "blow

out". A blow out is a spot in the tattoo line that get really fat in one spot. I'm

sure that you've seen them if you know anyone with home made tattoos. They

make your tattoo look like crap, so you have to have a light hand and tattoo

just enough to get the line as dark as you want it. Personally I recommend

this method for all artists, not just beginners. It allows you to do much more

with the tattooing. Like less restricted movement, and the ability to see what

you are tattooing compared to touching the needle to skin and only seeing a

black blob twice the area you’re trying to tattoo. Now your machine is set up,

next lesson.

Chapter 10

Lining and Shading

Lining isn't as easy as you may think. You need to put a lot of time and

consideration into lining. Lining is not a race. Usually the lining of a tattoo

will take you longer than shading or coloring it. Now that your machine is set

up you can attach the clip cord. It doesn't matter which way. Run the

machine and check the tuning. You may have to do some last minute

adjustments, but your machine should have been tuned before hand. While

running the machine, check to see if the needle tip is jumping around. If it

seems loose and not quite seated in the tip then stick another rubber band on

the machine. They should be of equal distance apart between the back of the

tube and your armature bar. If you put them too close then you will bend the

needle bar. The rubber band might also cause the machine to run differently

than expected. Once the needle, tube, and rubber band are in the machine;

test the stroke by touching your thumbnail to the grommet while the machine

is in motion. If the stroke feels weak then you may have to readjust your

machine. With the machine together and tuned you need to use the extra

plastic baggie to put over the machine; this will help guard your machine from

biological matter that might contain a virus. You do this by tearing a small

piece out of the baggie's corner. Then slide the machine needle first into the

hole till the baggie gets past the grip of the machine, and simply cover the

machine with the rest of the baggie. Watch the tip of the needle so you don't

end up with plastic on it.

When you tattoo a line you will have extra pigment left on the skin,

this is normal but a pain in the ass. While you tattoo you will constantly have

to wipe the pigment away so you can see what has been put under the skin

and what has not. The more the needle protrudes from the tube the less

excess pigment will be expelled, but the shorter the line you can make before

re-dipping. The black pigment is thinner than any other pigment. When you

wipe it away you will smear black over everything you drag the paper towel

across. If you think about it for a second then you will soon see that the

pattern is a light purple line that can easily be wiped away. This leaves a

difficult problem. When tattooing over a pattern you can't just start in the

middle, because after two or three lines you will no longer be able to see the

pattern or what you are doing. You have to start from the bottom and work

up and away from your predominant hand. I'm left handed. This means that I

would work up and to the right. The side of your hand will rest on the client’s

skin; you will get black on your hand. If you tattoo left to right, and your right

handed, then you going to smear black over the pattern. So if I were tattooing

a small square I would do the bottom line first. Then wipe with a dry paper

towel down, in the direction away from the center of the pattern leaving any

inside lines untouched. Then I would tattoo the far Left line (if your right

handed it will be the opposite) wiping the extra pigment left. Then I would

tattoo the right line, and then the top, wiping each as I go. Let’s say I’m

lining a bigger square with a small square inside of it. Then I would line the

outside bottom line in two pieces. Then the outer left line while wiping away

from the center as I go. Next I would line the inner left line wiping left. So

next for me, would be the inner right line because I don't want to smear

pigment over the lines left. After wiping I would line the outer right line, top

inside line and finally the top outside line. This method will allow each line to

be perfectly visible as you line the entire piece.

When you line a tattoo you need to view each line as an individual

tattoo. Let the piece fall together by it's self. If you pay attention to one line

at a time then the piece as a whole will be perfect. I would tattoo a larger

line in sections because when you have to extend the reach of your hand then

the contour of your mussels and bone will want to naturally curve inward

toward your arm. A larger circle, for example I would break into eight

sections while a smaller one would only be four. No matter how big or small,

never tattoo a circle as one line. A circle is the absolute hardest thing for and

artist to draw, do not take a chance. When the Catholic Church asked

Michelangelo to paint the Cisteen Chapel to prove his artistic ability when

asked he drew a perfect circle free hand in one stroke. He was no longer in

question. Let’s say you have a long straight line.

Look at every line with a starting point and a stopping point before you

ever tattoo. When you stop a line and continue it there is a small section that

will be lined twice. In tattooing this spot will be wider than any where else.

Think of tattooing like a sponge. If you just touch the corner of a sponge to

water it will be wet, but it you touch the same amount of sponge to the water

and hold it there for a second the entire sponge will be wet. So the slower

your line work is the thicker the line and the faster you go the thinner and

lighter the line will be. That spot in the center of the line will be too dark so

you need to start at the opposite end and meet the two together in the

middle to avoid this. Remember that lining is all in the fingers. You should

plant both hands on the client, then line only using the available motion your

fingers allow, this will provide a very steady line. The arm and wrist should

not move at all while lining. If you can’t reach an area then stop, move your

hand, and continue. Let’s say the first line is A to B, and the second line is C

to D. It would go as follows.

50% + 50% = 100%

V

100% Black 100% Black

A D B C

{-----------------------------------------}-------------{------------------------------------------------------}

As you line B, you want to drawl the needle out of the skin past the

point you want the lines to meet. This will lighten the line at the end of it.

Then do the same going from C to D in the opposite direction lightening the

line at the end. Both sections that are lighter will combine to make a solid,

single, darkened line. So if the A to D point is 100% black and the D to B

section in the first stroke is 50% Black. Then the same from C to B and so on

then the section between D and B will be 50% + 50% = 100%, the perfect

width and darkness all the way across. Because the skin will absorb the

pigment similar to a sponge you want to pace yourself. If you line to slow

then your lines will be thick and you will eat up the skin causing scarring. If

you go too fast then your lines will be thin and most of them will disappear

when healing. You will need to find a happy medium speed. Once you find you

speed of movement you want to use that speed with every tattoo. This way if

you ever have to touch up a tattoo you don't need to fish for the right speed

to match up the line work. I tell my students to practice on a spaghetti squash

and a banana. The banana will fell just like human skin down to the damage

over working causes, this way you can get use to the cutting sensation. As you

tattoo human skin you will feel a very slight vibration from the resistance of

the needle touching the skin. After time you will get to know what feels right

and what doesn't. The best way I can explain this is that when done properly,

lining feels smooth. It just feels right. When too light, lining feels squirrelly

and unstable, and when lining too hard, you fell like your machine is choppy

or running roughly. The banana will help you find this, and the skin on a

banana is about as thick as human skin so you can better prepare for the

proper depth of the needle work. The spaghetti squash feels nothing like

tattooing human skin, but it does take pigment the same. You can use

spaghetti squash to practice shading, grey wash, and even mag work. It blends

almost perfectly like skin. So the combination of the two will get you on your

way. Don't bother buying fake skin from the magazines. They may progress

with time but for now they are just light pieces of rubber. They look like

human skin but you have to dig the hell out of them to look right, so if you

practice with these then when you tattoo a person you will cut there leg off.

If you, at some point happen to get pigment smeared over the pattern

then use a clean and new paper towel sheet. Put a little bit of water on the

paper towel, just enough to dampen the towel on a corner. Never use green

soap until the entire pattern is tattooed or it will remove the pattern. Take

the damp towel and lightly wipe over the pattern that’s blackened. If you

push too hard you will remove the pattern, you’re just trying to wipe off the

black. Then use a dry part of the paper towel to dab, not wipe, the pattern

dry before continuing. After the entire outline is complete then you can clean

all the extra pigment off of the tattoo. Spray the paper towel with your green

soap and your water; you don't want to send any viruses up to infect you.

Check your line work and make sure it’s all smooth; if you need to darken

some then this would be the time. Other than that you are done with the

outline. The key points to lining are study and practice before you tattoo

human skin. Pace yourself and Work form the bottom up of the pattern while

wiping away from the stencil. Every time you dip for pigment, black or color,

you should barely touch the tip of the needle to the paper towel at an angle.

This will remove most of the extra pigment and allow you to better see what

you are doing. Other than that, the more fine tuned your machine is the

smoother the lines. Heavy machines like cast iron will provide smoother lines,

but lighter machines will not hurt your hand or back while tattooing. Good

luck mutilating fruits and vegetables.

Chapter 11

Solid Color and Black

The first tattoos you will be doing when you are ready will be tribal and

solid color work. For the most part, you’re going to be lining with an eight or

a five. The idea of solid color is like the sponge I explained earlier. The

longer you hold the sponge in the water the more it will get wet. The only

problem is a tattoo needle can damage the skin to the point of scarring if

you’re in the same spot too long. Scar tissue gets is characteristics from

having a lack of elasticity like normal skin. If you scar a tattoo then the

pigment will come out as the tattoo heals and touch ups will be more difficult

because the scar tissue will cause you problems. If you are tattooing

something about the size of a card deck then you will be able to shade and

color with the needle you lined with. Any tattoo bigger than a deck of cards

should be finished with a mag unless there is a lot of detail. Let’s look at

coloring a small tribal solid black. You should line the tribal with and eight.

The advantage of tribal is that you shouldn’t be as concerned about the

outline; it’s all going to be black anyway. A lot of tribal tattoos you see will

have a darker outline than the fill work in the center. You can avoid this by

lining the tribal lightly then sharpening the edges with an eight once it’s filled

in. Let’s say the tribal tattoo is the size of a playing card. The best way to

look at solid work is in sections, sort of like filling in a very small checker

board. Work from the bottom up. When applying the pigment you want to go

in small circles like the test in school with a number two pencil. If you fill in

with slashes or by going back and forth you will be able to see the needle

marks. The best way to practice the circle motion is to take a sheet of paper

and try to fill the entire page with pencil. Practice trying to get the coloring

on paper smooth so you can’t see the pencil marks. You will be able see that

the best coverage will be circles about a sixteenth of an inch wide. It takes

forever but the tattoo will be high quality.

You must have a light hand, if you push too hard or go too slow then

you will just turn your client into a piece of ground chuck. You can also

practice your fill work on a banana since the banana will look the same as

skin. If you are digging then the skin will look chewed up. You should be able

to see the tattooed area about the same quality as a non tattooed area. The

finished product should be smooth to the touch. If you can see holes, ruff

spots, or ditches in the skin where you lined them you are just playing

butcher. Start out light, you can always ad to a tattoo but you can’t take

away. It won’t take long for you to find the speed and pressure you need to

have a nice smooth fill. As you tattoo it will seem faster to just go back and

forth like your coloring with a marker, but after the tattoo heals the needle

marks will show though, I promise. The human skin can only absorb so much

pigment, like the sponge it will simply stop taking its fill. If you don’t cover

the area well enough then the areas you did get will seem darker leaving the

tattoo looking splotchy. Take your time and feel it out. With a mag you can

go much faster but you have a higher risk of damaging the skin. Once you get

efficient with a mag, a tattoo that takes an hour to fill with an eight will take

about fifteen minutes, it will also heal twice as fast and dark. After you fill in

the largest portions of the tattoo then you should do the darkening close to

the line work. Take your time and smooth the outside edge as you fill in. With

the circles you should get as close to the lining as possible then fill in and

smooth out the edge like you were doing the outline. A good trick to ensure

you have a good solid coverage is to apply water to the skin. The water will

reflect the light and let you see areas where the fill is too light. Make sure to

wipe the water off before continuing to tattoo.

Solid color will be the exact same process. You should have one cup of

water per color. When you change colors dip and run the machine in the cup

of water up to the washout. Hold it running under the water until most of the

pigment comes out. You may have to wipe the tube and needle off with your

paper towel to clean it off all of the way. Tattoo pigments mix, so if you

don’t wash out all of the blue and dip in the yellow, you will tattoo green.

This is also why the pigments should be set up in the order of darkest to

lightest. If your tattooing a gnome with a blue hat and a yellow vest then you

will want to fill in the bulk of the blue using small circles, then do the blue

edge work to smooth it out. Next you would rinse out the machine and apply

the yellow in the same way. Blue is darker and thicker pigment than Yellow. If

you tattoo yellow first, then the blue will soak in the opened skin and dye the

yellow to green permanently. Red will turn yellow to orange, and red will also

turn white to pink. So you would apply the pigment starting with red, then

blue, yellow and finally white if you are using these pigments. Because of the

pigments being so thick and having the ability to dye the other colors you

should be very careful of the order you tattoo. There are always exceptions to

the rules; Some times you can use this to your advantage which I will get

more into with the advanced lessons.

While you are tattooing the skin will turn a reddish color due to the

irritation the needle causes. This will later come to be an advantage but with

color it can throw you off. If you are applying white then a minute or so after

the application, the white will turn pink for a couple of hours. Yellow is the

worst about this because the addition of the red tint will make it look like

orange. So you should apply the orange first so you can see where it is going,

then use the yellow. Orange is thicker; you should use it first anyway so you

don’t stain the yellow a different color. Anytime you use a large amount of

white or yellow you should explain to your client that it will look off color for

a few hours so they don’t loose faith in your ability. It will take some time but

you’ll see which pigment is thicker and needs to be applied first.

Chapter 12

Mag Use

A mag is a tattoo needle with two rows, one on top of the other.

They’re stacked as you would stack soda cans laying on there side, four on the

bottom and three on top for a seven mag. The two rows are spread apart

more than a round so the pigment dispersal is a little smoother. It would be

like comparing a fine point pen to a magic marker. The little detailed stuff is

for the pen while the magic marker is for larger jobs. The mags are made by

soldering your needles in a row and laid out flat. Solder at the back, next use

a single edge razor blade to weave the needles. One on top, one on bottom,

then one on top, ect. Then with the razor in place another layer of solder is

applied to hold this configuration. A stacked mag is where they lay four down

and solder them, then lay three down and solder those. Then they solder the

two layers together. This would be to make a seven mag stacked. Because

they are closer together they are smaller, so a nine mag stacked will fit in a

seven mag tube tip. Proper use of a mag is at an angle. You want the mag to

lay flat on the skin, but lay it down so it penetrates at a slight angle. If you

try to use a mag straight on the skin like holding it will pinch the client and

stick in the skin causing the needle to jump. If the needle is flat on the skin

then you need to elevate the eye loop till you have about a forty degree

angle. You should drag a mag, not push it. What this means is that you should

pull the machine away from the tip of the tube, similar to driving a car in

reverse. If you push the mag forward it will have a tendency to go under the

skin making it difficult for the needle to retract and move forward again.

Solid coloring with a mag is very similar to coloring with a lining needle. You

want to color in the circular motion but due to the mag being wider like a

paint brush you cover more area faster. Think of using a mag like using three

lining needle side by side to color. If you go slower then you will cause more

damage to the skin. Pay attention to the texture of the skin by wiping away

all the extra pigment while you tattoo. It takes practice but you can turn a

mag on its side to use the edge needles like a liner. This will make filling in

close to the line work a lot quicker. One way to practice using a mag needle is

to buy one of those large black markers that have the tapered tip. Practice

using the marker at a flat angle to make a bold line, and then turn the marker

to get a finer line. Just remember to go backward to simulate needle use.

Chapter 13

Grey Wash and Color Shading Basics

There are two sides to shading a tattoo, the technical side and the

artistic side. The artistic side takes many years of practice, which I suggest

you study art books that cover pencil shading, color blending, color matching,

and light reflection. The best way you can practice art is by repetition. Look

at every thing, and then try to draw it. Pay attention to lighting. One rule of

shadowing is that in light reflection the shadowed part of the image will be in

the direct opposite position of the lighted section. The human eye can

distinguish fourteen shades of grey. White is the absence of grey where black

is the saturation of grey. White (skin tone) would be the shade one and the

black will be the fourteenth shade. While shading you should do the best you

can to use all fourteen shades. When shading you the dark line and the light

line. The dark line is the darkest part of the area that will be shaded and the

light line will be the lightest part. The dark line doesn’t always have to be

black, just like the light line won’t always be white. You have to determine

how dark the beginning area will be and how light the end is before you start

and area. This is the measure of hues. A hue is the value of a color. If you

take a line that fades form solid black to solid white then the black would be

100%, the white of the line would be 0% and the middle would be 50%. So if I

said that your dark line need to be 35% and your light line needed to be 15%

you would know that the line or area that needed to be shaded would be

rather light. A good way to practice this theory on paper is to draw a number

of lines each at a different length. At one side write a 100% and the other

write 0%. At the 100% line make a solid black square as dark as you can get it.

Then try to shade out the side of the box that goes toward the 0% until you

can no longer see where the box started and the shading began. Use a pencil

and don’t smudge the graphite, this will not help you in tattooing. You should

shade by going over the area many times instead of just pushing harder.

To understand the technical side of shading, you must understand that

shading with a tattoo machine is a combination of times gone over, dilution of

pigment, the speed you follow through with, and depth. Think of the skin

depth the same way you would a light and dark line, in percentages. Unlike

with a pencil where you get a darker line by pushing hard, tattoo pigment is

as dark as it’s going to get. If you push harder you will dig and scar the skin.

Instead, we get lighter by diluting the pigment with water, witch hazel, or

distilled water. The act of diluting the pigment to get a lighter affect is called

washing. When you hear someone say I got a grey wash tattoo that means that

the artist used only black and washed out the pigment to shade the image.

There are two main methods of washing pigment, this would be pre mixing

wash, and on the spot washing. To have an affective wash you need at least

four main pigment densities. This includes solid black, dark wash, medium

wash and light wash. To pre mix, you need three empty pigment bottles. The

darkness of your wash is a personal thing that varies depending on the artist,

so you will have to see what works for you. Line the bottles up in a row. I

prefer 1oz bottles to keep it simple. Drip solid black pigment in each bottle

according to how dark you want them to be. My pre mix (I use pre mix very

little) is ten drops for dark wash, seven drops for medium wash, and three

drops for light wash. Then you fill the bottles the rest of the way with

distilled water. Make sure they are close tightly, and then shake them up well

to mix the pigment. Make sure to mark each bottle because on the outside

they will all look black.

The other form of grey wash is “freehand” or “on the spot” mixing. I

prefer freehand but it takes time to learn is well, and you need to use the

same black on a regular basis to get the feel for how it will dilute. If I were

setting up for a grey wash tattoo I would have a large cap of black and four

empty large caps. Sometime before I would begin tattooing I will fill the

empty caps with water from the water spray bottle. If you dip your needle in

black, then it’s black, though you will use solid black very little during grey

wash. If you dip your needle in black and then the first empty cap, you have

dark wash. Dip in black, first empty cap, then the second you have a lighter

wash. Dip in both and then the third you have medium, and so on until you

get light. After a time of tattooing you will no longer need to use the black,

each cap will take on a color of its own. You may have to periodically add

water as the caps empty. It takes a while to get use to this method, but it

allows you much more control over the hue value placed in each shaded area.

Using speed of your movement is very important during shading. If you go

slowly, then you will have a darker area filled in, just like the sponge. When I

shade or color blend, my hand moves so fast that it’s hard to not see my hand

as a blur. Since you will have to move fast to get a light hue you will have to

drag the needle or shade in the direction of your dominant hand. If you try to

push the needle you will get stuck under the skin leaving a very dark spot and

hurting your client. Your needle is only so wide. Because of this you will have

to work your way up the dark line. Moving fast up the line will help you better

blend the hue in so it looks like a solid area instead of a bunch of lines coming

from the line. Practice this on paper with a pencil.

If one hundred percent of the needle depth is 2mm then fifty percent is

1mm. you should pull the machine out of the skin as you come to the lighter

side of the area. This is called whip shading, due to the appearance of you

whipping the machine. When shading or coloring a tattoo you need to keep in

your mind that you can always add to a tattoo never take away, so you would

shade light then get darker until you are satisfied with your out come. The

starting point of the needle braking skin will always be darker due to the

inability for measurement. You can not tell how dark your line will be until

you see it in the skin. Your starting point will need to be your dark line. Let’s

say you are using a light washed grey to shade a line. You would shade out

from the dark line very lightly but quick to about the 50% mark pulling the

needle out of the skin by the 75% mark in a straight direction, not circles.

Repeat this all the way up the dark line till it looks like a light, but solid hue.

Always go in one direction, using whip shading start from dark line to light. If

you use circles during wash, the hue will be too dark. Then starting back at

the beginning of the dark line, do the same thing but reduce the length by ten

percent every time. So the second pass will be from the dark line to 40%,

pulling out by 65%. Repeat this until you get all the way to back to the dark

line. Getting shorter strokes as you progress will give the area the shaded

look. Even though you are using one hue of wash, every time you go over an

area it will get a little darker. This is how you get the hue value form 100%

black to 0% white, or which ever value that you may choose. Going over each

area several times is very hard on the skin; this is why we use different values

of wash. If you know an area will be light then you will use a light wash, and a

dark wash for a darker area. This way you don’t have to go over something

fifty times to get it dark enough. As you progress with this technique you will

see how to shade a larger line with each wash hue to make a more dramatic

change form white to solid black.

Color washing and blending is the same technique but less stuff. Black

pigment is more watery and so dark; we have to use the mixes to get the

desired hues. Color pigment is thicker and easier to work with. Lets say that

I’m going to shade with only red. The dark and light line would still apply but

you don’t need a bunch of empty caps for each color. I would make sure my

black or other pigment is full washed out of the tube, and then I would dip in

the water designated for the red pigment. If I dip in the water quickly while

the machine is running, then I have an 80% hue of red. I count two seconds

then I have about a 50% hue, or a medium wash. Three seconds washed out

the red for a 20% (light) wash. You simply shade with the light, then work your

way to the solid red, blending it till smooth. You can wash any color just like

you can with black and grey. The use of at least a seven mag during wash

fading will make your tattoos look so much better. If you try to wash with a

round it will work, but not nearly as smooth. All of the needles in a mag are

right in a row, so as long as you run the mag flat on the skin they will all

puncture at the same depth. A lining needle is round, by the time you get to

the level of the needle that gives you the widest coverage, you’re at half

depth. The needles on the bottom are much deeper in the skin then the

center needles. Since they are deeper they leave a darker mark giving your

blending distinguishable lines. The smoother the shading transition form dark

to light, the more realistic your tattoo will look, which leads me to another

technique.

Glycerin

Glycerin is the grey wash artist’s best friend. You can purchase 100%

pure glycerin form any pharmacy. It’s used in many, many, many things so it

should be easy to find. Pure glycerin is way too harsh to use, so you will need

a separate spray bottle for this. You want to mix the glycerin 50% with water.

It’s very thick so you will need to shake it very well to get the proper mix.

Once mixed use this mixture instead of water to do your grey washing with.

It’s much thicker than water so you have the grey dilution but the thickness of

regular pigment. Glycerin will also allow the more realistic smoother shade

than any other chemical. Another cool thing your glycerin mix will be good for

is to customize your pigments. Say you are using a blue that is just too

watery, then add some glycerin mix and shake. It will thicken it right up

without loosing color quality. If your pigment is too thick or perhaps the

bottle has dried out a little, then apply witch hazel to thin it out. You can

bring older bottles of pigment back to life with these two chemicals, worth

twice their weight in gold.

Chapter 14

Advanced Lining

Blood and Grey Lining

Blood Lining changed the way I think about tattooing for the rest of my

life. Once you figure out the method behind it blood lining will open the doors

of tattooing by kicking them down. The idea is this. When you blood line a

tattoo the line you go over is without pigment at all. This means you are

basically just making a scratch on the skin of your client. After a minute or so

this scratch that used to be a part of your pattern becomes red and irritated.

This line you made becomes red giving this method its name. The idea is to

make an outline that you can see easily but no black. Ok, that’s cool but

what’s it for? Simple, say you’re tattooing some realistic flames. You blood

line everything instead of hard lining it then you use the blood line as your

outline for the shading and color. The entire tattoo has no black outline. Once

it heals the blood line disappears leaving the shading and color only. This is

the key for realism. Years ago when I first heard about blood lining I though,

man that seems like an advanced method, but now I bet I use it twice a day.

It really is a basic but little known method of tattoo.

When blood lining, you want to make a note on your pattern.

Something that lets you know this is suppose to be blood line instead of hard

lined. I personally write a little "BL" right beside each line. Some artists draw

the line in the pattern and make little slashes through it so it looks like a train

track but with one rail. Use whatever works for you, but make sure it’s clear

and only use one method so you don’t confuse yourself during a tattoo. Just in

case you do confuse your self you want a picture of the tattoo with your set

up so you can use it as a reference for all the points that are blood lined.

Grey lining is the same method but you dip your machine in black and wash

out almost all of the pigment leaving just a light grey line. The disadvantage

of grey lining is when the shading of the tattoo is light you can still see the

grey line after the tattoo heals. The only time I recommend grey line is if you

are working on a client that just will not turn red. Just make sure it’s as light

grey as you can get.

When you blood line you want to do this first, before any black ever

hits the needle. If you use black and then wash it out the line will still be a

little grey, so blood line first. Blood lining is more painful then normal lining

because the pigment acts as lubrication to the needle puncture. This is one

reason why you see tattoo artist using five pounds of vasoline during a tattoo,

but if you remember Chapter 4, then you remember this is not safe for you.

Your best bet with blood lining is to fill a large cap with water or Witch Hazel

(an astringent sold beside the rubbing alcohol) to use for the lubrication just

like you would tattoo with pigment. Water works fine but you have to clean

the small pieces of skin out of the needle tip every few lines to keep your

needle working right. Witch hazel is an astringent so it cleans the needle out

a little better by its self but you still need to keep an eye on the needle tip

for skin build up.

The skin build up will spread apart the needle making you lines when

you use black very thick and choppy. You want to blood line a little slower

than your normal speed to ensure the skin turns a nice red color. If you use

water or witch hazel then be careful not to wash away your pattern so still

use your bottom to top method while dabbing the area dry as you go. Don't

wipe with a blood line, you will just smear the pattern due to the use of a

liquid, just dab. If you are blood lining a larger piece and the bulk of it, like a

portrait, then after you blood line, give the skin a minute to turn fully red.

This will make tattooing form a blood line much more comfortable.

Remember not to use green soap until the entire tattoo is lined, most of the

time you will be using blood lining there will still be some black line work.

You defiantly don't want to wash away your pattern before you get a chance

to tattoo it. Anything that’s realistic enough to blood line like a portrait is

just to complex to worry about free handing and part of it. Take your time,

but don't go too slow. Its blood lining, not scar lining.

Bold Lining

Bold lining is fairly new among the tattoo studios. Some artists call this

cartooning. It’s where you outline the entire tattoo and then when you are

done, you apply another outline about a sixteenth or a quarter of an inch

away from the initial outline leaving all other lines in the pattern alone. Then

the artist will fill in between the two outlines making the tattoo to appear

like it has a thick outer line while every other line in the tattoo has a normal

width. This gives the tattoo a cartoonish look which is why some artists call it

cartooning. This is something you want to practice on paper before you ever

tattoo in this method. Once you get it down, you should also pattern the

outside line so it’s on the stencil. You don't want to be tattooing on skin

without a pattern. This method is usually applied on tattoos with bright color

or tattoos that are cartoonish by nature. When used with grey wash it holds a

certain uniqueness which I personally enjoy although it’s not often used.

Another cool thing about bold lining is that ones the tattoo is applied to skin

it has a habit of making the tattoo look like a sticker on the skin. Other than

the basic idea I don't really have any instruction for you on the subject

because there isn't much to give. Just outline both lines and fill in the black

using the solid black method.

Chapter 15

Advanced Tattoo Technique

Advanced Color

There is nothing better than taking a talent and honing it into

something better then you ever thought you could. In this section I want to

cover a few advanced techniques to better help you become a true artist. The

problem is never seeing it inside your head, just putting it on skin. One of the

best ways to improve your skill is to set up in your color work. Custom colors

will defiantly make your mark in the tattoo field. Tattoo pigments mix very

well together. Play with different color combinations to get some unique

colors. Color blending is another technique that will bring your art to life.

Currently there are about sixteen million color hues that the human eye can

see, use them all. Take a plain old kanji (Japanese calligraphy) for example.

Not every thing you do has to be solid black. One of my more popular color

combinations is magenta and dark purple. You fill the kanji in with the

magenta then wash the purple starting with the bottom as the dark line and

work up. This gives an otherwise flat looking image a little more definition. I

know I said before not to tattoo the lighter pigment first, but this is another

color technique. Once the magenta is filled in, the skin is now open. While

you wash shade the purple it will dye the magenta darker. If you wipe

upwards into the magenta it will smooth out the color blending. Sort of like

rubbing a pencil drawing with you finger to blend the graphite. A few other

good colors to do this with is light blue and dark blue, light green and dark

green, yellow and red, light aqua blue and dark purple, white and light blue,

and magenta with dark green. They can make for some strange color

combination, but they look great. Yellow and orange make a gold metallic

affect. Some other things to think about with color is to add more. If you are

tattooing simple vine work, why just use green? Try light neon green and

shade the leaves and vines with a washed dark green for definition. The more

colors you can apply the more depth and realism the image will have.

Decaling

Decaling is another advanced color trick. It works best with bright

colors and small tattoos. Do the entire tattoo and when you are done, line

the outside line with white. Just like with bold lining only not as thick, just

the width of another out line. Don’t do any outside lines either. This trick is

called decaling because it makes the entire tattoo look like a sticker of a fake

tattoo. The image will jump off of the skin. Unfortunately it doesn’t work

well with black and grey or light color work. It looks cool, but it won’t look

like a sticker unless the entire inside of the tattoo is bright color.

Grey Washed Color

Grey washed color is where you tattoo and entire image in grey wash

and then do high detailed color blending. This adds more definition to a

tattoo then you can imagine. If it’s a larger tattoo then you will have to grey

wash it, and have them return once healed for the color. Grey wash and color

wash both are hard on the skin; if you spent too much time on it in one shot

you will scar them really bad. Only do this in one sitting if the tattoo is small.

Use high detailed grey wash and high blended, bright colors. The tattoo will

look like it was done by a computer when done right. One of the best artists I

have seen in this style is David Bolt. I don’t want to display any of his images

here out of respect, but I highly recommend picking up some of his flash to

see what I’m talking about. He is a pioneer in this style; you can’t appreciate

it till you see what I’m talking about.

Heal ‘n Hit

Heal n’ hit is really only a color technique; it won’t do too much good

with black and grey. You do a nice definition color piece; animal portraits are

great for this. You do the entire tattoo with bright and vibrant colors and let

the client heal. Once they heal for about a month, have them come back and

go over the entire tattoo again. Don’t do this more than three times or you

will scar them. The layers of color will show through making it brighter each

time. After the second or third time, the tattoo will look like an oil painting

on the skin. White on the skin will look like a sheet of paper. The down side

to this is that in the end it will cost you more because you have to use the

supplies each time. It’s not very practical but it’s amazing how well the colors

turn out.

Negative Image

Negative is a technique that has really gained popularity over the last

ten years. It’s where you use the skin it’s self for the image tattooed. One

example is the tattoo above. The smoke along the sides was blood lined. As

the tattoo progressed, I filled in and shaded the area as normal leaving the

smoke alone. You can do this with any image. It also works well with grey

wash. Another piece that comes to mind is the top of a foot I did a while

back. The tattoo image was flames going from the toes up to the ankle. In the

flames were negative dollar signs. Negative image tattoos don’t have to be

high detail either. I have seen a handful of negative tribal tattoos lately.

Basically, you would line the entire sleeve with tribal work and fill the elbow

up to the shoulder black, leaving the tribal its self skin tone. One way to play

with is to trace your pattern on tracing paper, then take the image you

choose to use for the negative. Lay the tracing paper with the pattern on it

over top of the negative image and trace them into the image randomly. Then

shade the traced image leaving the negative the color of the paper. Negative

image can be outlined, but it looks a lot cooler if you blood line.

Portrait and Realism Tattoos

The term portrait work does not always apply to people. Any tattoo

that is photo realistic is considered as being portrait work. If you tattoo a

soda can as realistic as possible then you have done a portrait tattoo. As time

progresses, more and more clients are wanting photo realism tattoos. It use to

be only the best could pull it off but know it’s a necessity of the industry. The

problem with portrait work is that even the best artist in the world can only

work with what they have. If you use a bad picture then you will have a bad

tattoo. The picture needs to be clear and close enough to see the detail in

the face or of the object. You can only tattoo what you see. If someone brings

you a instant Polaroid, then they will have a tattoo of a Polaroid. Old and torn

up pictures just will not work. The best to use is any picture taken from a

professional photographer. Family portraits only work if you are tattooing the

entire family. If you have to enlarge the picture to see the face then it’s no

good. Several artist do portraits in color, they look nice when they are done

but after a few years the color pigments blend together making the portrait

blurry. I strongly recommend only doing portraits in black and grey. If you

have ever seen the old black and white movies that they add color to later,

then you know they don’t look natural. Most color portraits come out the

same way.

Photo realism is different than just high detailed tattooing. With

realism you need to have a picture to go by. High detail is simply adding some

shading here and there to make a tattoo look more detailed where in realism

you need to pay attention to the true lighting of the subject. Realism tattoos

need to be at least three inches high for the main object so you will have

plenty of room to apply the detail. The rule of thumb with a persons portrait

is that the three inches should be measured from the chin to the begging in of

the hair line. To achieve realism you are all but required to use mag for

smooth shading and a five or a three for the finer details. You cannot black

outline any realism tattoo. Nothing in life has a black outline around it. Only

tattoo solid black where you see it in the picture. I strongly suggest blood

lining the entire piece. You can grey line if you wish , but most of the time

you will be able to see the gray line after the tattoo is healed. If your subject

is lighter, or say has grey hair, then you might want to consider applying some

kind of back round that’s slightly darker then the image it’s self. A shadowing

around certain sections of the object will do the trick. Make sure to practice

the back round on paper before you tattoo it, you have to see what works and

what doesn’t for each individual tattoo.

To making the pattern you can use a copy machine, but I prefer using a

computer scanner, you loose less detail this way. Scan the image in and crop

out around the main image only getting what you plan to tattoo in the

picture. While you are editing the image in the computer is the time to add

any names or dates that the client may want along with it. Size it accordingly

and print the image on the highest resolution you can. Print several copies

incase you make a mistake, and so you have at least one extra to have for

comparison while you are tattooing. Never take an original picture back with

you while you tattoo, you will get blood and pigment on the image every time

and some pictures your client can’t replace. Lay the printed picture down on

the stencil paper and trace every line you can leaving only the shading not on

the pattern. With a portrait you might want to stencil any solid black areas

filled in solid as a reference. If you have a stencil machine, I suggest doing the

pattern by hand anyway so you have already drawn in before hand to get a

better feel for the image. The biggest trick to tattooing portraits is the

making of the pattern. When you are done it should look like a topographical

map of the image. You will need to mark the separations or the various hues

to function as reference points. Many artist work top to bottom and do the

tattoo in a whole going that direction. This means that you would fully shade

the tattoo as you move up, instead of blood lining the entire piece and doing

the eyes, then mouth or what ever the case may be.

When you have any realism tattoo with solid black words such as dates

or names then you need to tattoo them first. Do the blood line work on the

main image, then rinse and dry your needle to outline the words. With any

tattoo, the outline is first, but in a portrait that may be the only outline.

When you do a realism piece, you need to think of your self like a human copy

machine, everything you see needs to be in the tattoo. You may want to set

an appointment for these tattoos so you have time to work and play with the

image before the tattooing. Portrait work is revered as the most difficult act

of tattooing, just take your time and don’t do them if you are not ready.

Using White

The use of white high light can add definition to any tattoo but in a

portrait it will bring the subject to life. White is one of the fourteen shades of

grey the human eye can distinguish, and should be used, but only if used

properly. Too many artists are using white highlighting during black and grey

like it’s going out of style. Too much white will take away from the tattoo and

make it look not nearly as real. White should only go where you see it in the

picture. One of the best examples I can tell you is to go for a drive at night.

While traveling in traffic, you can see the lights reflecting on the nearby car.

Look for a white car, you can see the white paint of the car, then you can see

the bright white where the light is reflecting on the paint. This is the same

idea. There is white area in a tattoo which should be considered skin tone,

but then there are areas that need to be the color white. If you are tattooing

a metal object then only apply white where you see it in the picture. If your

tattoo is the white car in traffic, then you only want to shade the paint job,

and use white where the light reflection is. With use in a portrait, you only

want to put white on what would naturally be wet or metal such as body

jewelry and the frame of eye glasses. This is how white does its job. In a face

you should only have white in the eyes where you see the glare and on the

teeth if they are smiling. Anywhere else will just make it look like its glowing

in the dark. Realism is based on what is real, not where you think you want

the real to be.

You hear everyone say “My skin won’t take white”. That is wrong.

When an artist tells the client that their skin didn’t take the white then they

are using a crappy white or they don’t know how to apply it properly. The

down side of white is that being white it has a tendency to take the color of

the skin above it after it heals. On an African American you will not be able

to see white pigment as well as say a pale Irish completion. I have some

American Indian in me so when I put white in myself it looks sort of cream due

to the darker tone of my skin. This is the only problem with white. There is no

excuse for it to just not show up at all. Artist think that white pigment is a

color and should be applied like a color, but it is a shade of grey, or the

absence of. To properly apply white when using as a color you need to go a

little slower than you would with regular color pigment. If you are highlighting

with white then you need to use it as if you were lining with black. Slow and

steady. You cannot apply white quickly and expect it to stay. Because white

will take on the form of any other color it comes into contact with, it should

be the last color you use no matter what colors you’re using. Before you dip

into the white you should also rinse the machine out more cautiously than any

other time. If you have just a small bit of red, then the entire ink cap will be

pink the first time you touch the needle in there. Take your time, and watch

for color change, I have seen artist use white but tattoo pink without knowing

more times then I can count.

Chapter 16

Tattoo Aftercare and the Healing process

After the tattoo is complete you may want to bandage the tattoo. Basic

First Aid teaches us that denying a wound of oxygen will dramatically slow the

healing time. Since the invention of the plastic wrap, people have been

putting it on there tattoos. Don’t do this. What is a green house? A green

house is a building with a frame and glass so the sun can get in and make

things grow. Your giving people a bacteria farm by putting plastic wrap on a

tattoo. Light can get in and heat up the tattoo causing bacteria to grow, the

plastic seals away all oxygen so your body cannot fight the infection or allow

the natural healing process. You must view a tattoo as a wound, it’s an

abrasion comparable to skinning your knee. The first two hours of a tattoo

healing is the most important. The tattoo will seep blood and plasma (the

clear stuff) for about fifteen minutes. You can bandage the tattoo to help

guard against bacteria on the clients ride home, but after about thirty

minutes it needs to come off. If you bandage tattoos then you need to pick up

some non stick gauze and medical tape. Clean the tattoo very well with green

soap and rinse all the soap off with water. If you leave the soap on then you

will dry out the tattoo. This is the only time that I will recommend using a

small amount of vasoline on the tattoo. This will help the bandage not to stick

to the skin. Cut a section of the non stick gauze to fit over the tattooed area

and another two inches. Only tape the top and bottom so the wound can

breath. If oxygen can’t get to it then it can’t heal. Tell your client that it

must be taken off within thirty minutes and not to bandage it again. If they

work in an area that will get the tattoo dirty, have them ware clothes that

will cover and protect it. If you leave a bandage on longer than thirty

minutes, then the blood and plasma will dry causing the bandage to stick to

the wound. If they pull it off then they will pull out your work. Have them

wash the tattoo as soon as they take off the bandage in warm water and

antibacterial soap. This removes any blood, plasma, and extra pigment left in

the skin. If the bandage does want to stick then you can have them run warm

water over the bandage to loosen it from the skin.

For larger tattoos you want you client to take a hot shower. Not so it

burns them, but as hot as they can stand. The hot water will open up the

pours and then wash it with antibacterial soap. When they rinse off the tattoo

they should use cold water. The hot water opens everything up, and the cold

seals it after they wash out all the crap that needs to be gone. The next day

they won’t be half as sore, and the tattoo will heal twice as fast. The ancient

Japanese use to jump in a natural hot spring to soak there tattoos clean, then

after a few minutes they would get in the cold water to achieve the same

goal. If a healing technique is 2,000 years old then it must be right. Smaller

tattoos don’t need to worry about this, but the larger piece will thank you

later, after they forget about how bad the hot water burned. Make sure to

have your client wash there tattoo with there hand, in circular motions. A

cloth will cause more damage to already irritated skin.

The first thing I want you to put on your tattoo is pure acetone and

used engine oil. What, you don’t like the sound of that? That’s what everyone

has been doing for years. Maybe not those chemicals but they have been

putting crap that pulls out the pigment causing fading, and seals bacteria in

the skin, and you as an artist tell people to do this every day. Lets use our

heads here a little. Tattoo pigments are a chemical housed in a carrier

solution. For the exact nature look back at the pigment section, but the most

used carrier solution is water, and glycerin. Tattoo artist are telling people to

put chemicals like “A+D Ointment”, “Neosporin” Bacitracion, “ Vasoline”,

Petroleum Jelly, “Triple Anti-Biotic Ointment”, and Other chemicals like

brand name “Tattoo Goo”. Every one of these chemicals are oil based. Have

you ever mixed oil and water? They don’t mix. The oil base in these chemicals

pull out the pigment of your tattoo. You say “I’ve used that for years and

mine are fine.”, then good for you. Do you remember when you plastered that

crap on your tattoo? Ever seen the pigment running down your skin two or

three days after it was done? What about waking up in the morning to find the

outline of your tattoo on your sheet? It’s not suppose to do that. That would

be the pigment leaving your skin. I know that there will be a handful of artist

that will stick to old faithful, but for the rest of us with a brain, lets look a

little further. The products that are made for tattoo healing are all oil based.

The only reason they are a product is because you buy it for five bucks and

sell it to your clients for fifteen. When I use to recommend those products I

was doing five or six touch ups a week. After I stopped, I bet I have only done

ten in the entire year of 2008. One out of every five clients are allergic to

them also. Symptoms include swelling, infection, red rash around the tattoo,

almost all of the pigment coming out, a healing time of more that six weeks,

and massive scarring. I refuse to carry any of these products in my shop. If

that’s not good enough for you then how about some more medical facts.

Oil based products like “A+D ointment” are zero oxygen barriers. What

this means in that lack of oxygen will stop the healing process. Hepatitis can

live for a few days on a dirty surface, and once exposed to the air, HIV can

only live for seven seconds. In a zero oxygen environment HIV can live in “

A+D “ for more than six weeks, and Hep can live indefinitely. So if you get

Hep in a jar of vasoline it can still infect you ten years later. Here is some

food for thought, “A+D” is a chemical designed for diaper rash. For diaper

rash it’s the number one product out there, but for a tattoo it causes more

than a thousand cases of staff infection per year, and one in every ten will

have an allergic reaction form use on a tattoo. As a matter of fact it says right

on the tube to not use this product on open wounds. “A+D” is made from

lanolin, which is boiled sheep wool and “non-sterile, non-medical grade

petroleum.” I don’t want that in my open wound.

Ok, so now that I have completely destroyed what every one was ever

taught about tattoo after care, what the hell do we use? Its much easier and

much less expensive. Soap and lotion. A tattoo takes on average about ten

days to heal all the way. For the entire course of the tattoo healing you want

to wash the tattoo with antibacterial soap. The soap you want is the non

scented soap. You can get “Dial” of the cheep equivalent. Any soap with

perfumes in it will cause more irritation. Most of the perfumes in soaps and

lotions contain rubbing alcohol to dilute the chemical. Rubbing alcohol will

burn, and dry out the tattoo. It will cause you body to work three and four

times harder to heal as well as braking up the pigment under your skin. Why

antibacterial soap? A tattoo is still a wound. Infection does not come from a

tattoo shop. You get infection from hitting your exposed wound on something

else that’s infected. You wash it two or three times a day to prevent

infection. After two days “48 hours” you can apply a small amount of non

scented lotion. You need to wait two days because the tattoo is still setting

up, or getting the protective layer over it. If you apply lotion too soon you

will coat the tattoo in a layer that will hold in bacteria. If you apply the

lotion too soon, there is a chance your tattoo will get red and irritated as well

as up the chances for you to get an infection. Non scented lotion is for the

same reason, perfumes and alcohol. If you use a lotion that burns when you

apply it, then you are using the wrong lotion. The best part is that you can go

to your local everything store and get the small bottles in the travel section

of about fifty cents. One small tube will last the entire tattoo. So you have a

dollar in the soap and fifty cents in the lotion, you can’t beat that.

Just a few of the advantages to the soap and lotion method will more

than impress compared to oil based products. You save money, your colors

will be brighter than you have ever seen and they will stay like that. I did a

large set of grey wash flowers on my fiancé, and no one believes they are

more than three weeks old. The fact is I did them more than a year and a half

ago. They still look brand new, and will be as black as the day I did them

when she is ninety. Your tattoo will not seep after thirty minutes. This means

that you will not stain your clothes or your sheets, and you don’t have to fight

that oil out of your clothes when you wash them and because there is no

blood present to scab, the tattoo just lightly peels like a sunburn. I’m sorry

but as an artist I want my work to look the best it can. I’m not going to sell

my clients crap that destroys my work and there tattoo. I cut my expenses in

half not having to do as many touch ups. If you have to sell something in the

display case, sell a few different types of lotion and antibacterial soap.

Sometimes you will see heavy scabbing using this method. This means that the

client is not using the lotion often enough. My challenge to you, is do one

tattoo on your self and heal it with soap and lotion like I said, If you don’

think it’s a hundred percent difference after three months, to see how bright

the tattoo stays, then throw my book away and tell everyone I’m a quack.

Other than that, the basic rules still apply. Don’t scratch a tattoo. If

you scratch a tattoo then the pigment may come out with a section of scab or

peeling skin, this I known as a holiday. Don’t soak in the tub or go swimming.

Over exposure to water softens the skin and can cause it to peel prematurely.

Also do not try to shave a tattooed are till it peels, no matter how bad you

may want to. A razor will open it right back up. Tanning beds are a no,

Period. Covering a towel will not stop UV light from damaging the tattoo. The

harmful rays that damage a tattoo are evenly dispersed by your body. If you

want your tattoo to look good for the rest of your life then don’t tan, it will

fade your tattoo like the sun fades paint. You shouldn’t tan anyway. Someone

that tans everyday for ten years has a better chance of getting cancer than a

smoker on two packs a day for twenty years. If you don’t believe me, look it

up. If you have to tan or you work out in the sun, then please take care of

your tattoo. Use a high SPF sun block to keep your tattoo from fading. Also

some pigments may look a little redder in color than they should. This is due

to the irritation of the needle and it will go away. In a few hour the white

that looks pink will be really bright. That’s pretty much it for aftercare, just

use your best judgment and don’t go by what someone else tells you, research

the products and chemicals yourself and study First Aid.

Chapter 17

Tattoo Healing Problems

There are only a few possible healing problems associated with

tattooing. The first obvious one is infection. In the thirteen years in have been

tattooing I have only seen two real infections. Tattoos can be red or irritated,

but infection is a green or brown discharge. Infections don’t come out of

shops; usually the client has gotten into something they shouldn’t have or just

not taken care of the tattoo. If you see a tattoo that’s infected you should ask

what the client is using for the care. Rubbing alcohol and peroxide will only

make the infection worse. Rubbing alcohol will dry the skin out causing it to

heal harder, and peroxide will eat away the infection and the new skin

growing back. The worse thing you can but on an infected tattoo is any kind of

salve. The salve or ointment will seal in the infection and cause it to get much

worse. You instead, need to dry out the infection. The best thing you can tell

your client is to only wash the tattoo two or three times a day for two days. If

the infection gets better, then keep it up till the tattoo heals completely. If

the infection stays the same or gets worse, then you need to tell then to go to

the hospital where they will flush the wound and put them on antibiotics.

Never diagnose an infection over the phone. Tell your client that they must

come in for you to see the tattoo first hand. If it is already progressed then

you need to tell them to visit there doctor. Most of the time it will just be red

or sore to the touch and people just assume it’s infected. Everyone loves to

panic.

Allergic reactions are common amount the tattoo field. If someone has

an allergic reaction to a tattoo then best bet is that it will not be the

pigment. Again, find out what they are using for aftercare. Most of the time,

the culprit will be lotion with perfume in it or made for tattoo aftercare.

Symptoms of allergic reaction are small red bumps around the tattoo, the

surrounding area of the tattoo can be red in color, the tattoo will be more

painful than usual, and sometimes you will see a clear or white discharge. The

best thing you can do is tell them to discontinue the aftercare they are using

and wash the tattoo in antibacterial soap to kill the bacteria so it doesn’t turn

to infection. If it progresses into infection then follow the instructions above.

I personally don’t tattoo on diabetics unless I know them personally. Diabetics

are more open to infection due to the lack of circulation associated with the

condition. This means the tattoo will heal much slower on top of being higher

risk for infection. Remember that the over all health of your client is infinitely

more important than the outcome of the work. You can always touch up a

tattoo after it heals. Don’t take any risks.