How much does a tattoo cost? Here’s the answer.

424611_10151055899257712_1661654307_nGood tattoos are not cheap: cheap tattoos are not good.

I’ve been a tattoo artist for many years, and I’ve heard, and said, this phrase too many times to count. Often times people will hunt for the cheapest price, without realizing that the cheapest price is usually a red flag to poor quality or bad health and safety precautions.

When you’re searching for a tattoo, the first thing on your mind should be safety. You’ll want to get tattooed in a professional shop, with the proper licensing from the health department. Your health is more valuable than the few dollars you’d save otherwise. Think about the long-term cost of your tattoo. You will be wearing this art until you die. Compare it to the cost of your shoes-which wear out every year; a tattoo costs less in the long run than any other purchase you can make.

Most tattoo shops in a given city or area will cost about the same rate. There may be a few artists who are booked far in advance, who charge more than this. If you are seeking a large, custom-drawn original tattoo, you’ll probably be better off to pay more, and wait longer, for one of these artists to do your tattoo.

You can count on paying anywhere from one to two hundred dollars per hour of time spent tattooing. Most studios have a minimum price for any tattoo, no matter how small. This price usually takes into account the cost of new, disposable equipment, and time spent sterilizing/disinfecting. On average this can range anywhere from forty to a hundred dollars, depending on the ability of the artist. Some top-name artists have a waiting list of a year or more, and may cost up to a thousand dollars each sitting. New or apprentice artists may cost much less, or be willing to work at a deep discount, in order to gain experience. A word of caution is in order for these young artists, though, as many of them will NOT do the best work for the money. The base hourly rate will vary depending on cost of living where you are at.

Tattoo artists are often paid on commission, earning from forty to eighty percent of your payment. This means that for a fifty dollar tattoo, the artist gets paid less than ten dollars, after equipment costs and commission are subtracted. Artists that own the studio may be paid a higher rate, and artists that are working part time may be paying a flat amount in rent to work in the shop. The majority of artists, however, work on commission or “percentage”, and are independent contractors.

In most cases, a smaller tattoo will be quoted a flat price, while a larger tattoo will be quoted at an hourly rate. Tattoos on hands, feet, and faces will often cost more. The minimum for tattoos from me is $60, but it’s $100 for those areas, because the possibility of a needle stick for me is higher, and because they will most usually need a touchup.

Your best gauge for pricing in your area is to call one or two studios and ask if they have a minimum price, usually an hourly rate will be about double this minimum cost.

31148_403057647711_1851485_nSince most tattoo artists do not have health insurance, workmens’ comp, or any standard paycheck, and since they do not get to keep the majority of the price of the tattoo, tips are always appreciated. Tips can range anywhere from five to twenty percent; depending on the difficulty of the tattoo, your ability to sit still, and the service you felt you received. A large, difficult tattoo that you could not sit still for, during which you wiggled, cried, and made the artist pause, and during which the artist was polite and entertaining to you, represents a situation in which you should tip very well. Industry standard ranges from 5% (for a huge tattoo) to 20% (for smaller pieces).

Most tattoo artists will also be able to suggest alternative placement, rendering, or ways to simplify a tattoo so that the basic idea remains the same, but will cost less overall. If you have a budget, let the artist know and see if they can work within it– often there are ways to do this, and usually the artist can find a way to make your tattoo affordable, within reason.

Your tattoo should be a point of pride, so when you’re shopping for one make sure to look at the artist’s portfolio, photographs of work they have already done, to be sure they can do good work that you think looks right; because what you paid for your tattoo will be forgotten in ten years, but you’ll still be looking at it for years after that.

If you like my work, check out the new horror coloring book I made!

(written by me and originally published at this link)

four essential aftercare tips for fresh tattoos.

398191_10151137265617712_1686171381_nTattoos, just like a fur or a pair of old favorite boots, require some care to stand the test of time.

Tattoos done before about 1990 have little hope of staying clear and unsullied by sun and weather and wear. The inks used before that time had many pigment ingredients which could react to sun exposure, and to the wearer’s own body fluids. These days, most tattoo inks used by professional artists are inert and hypo-allergenic, and at the very least should not react to the skin itself. They can still be faded and worn if not cared for properly. (Some people might still be allergic to certain inks, but it’s very rare.)

A tattoo is ink that is permanently set just under the translucent top layer of skin. This top layer is like an elastic window that you look through to see the ink. If the top layer is damaged or thickened or darkened, it becomes a dirty window. Age, sun exposure, and scars can all obscure a gorgeous tattoo and turn it into indecipherable mud. Also, the darker your skin, the more “tint” that window has.

  • First and most destructive on the list of tattoo-destroyers is the sun. Just as a photograph left in the sun will fade over time, the pigments in a tattoo will fade. The pigmentation of skin is a poor defense, and putting sunblock on your tattoo will keep it looking fresh over the years. If you tan, try using a high SPF lip balm, and apply it just to the tattooed area. If you use a stick lip balm you can use it like a crayon and color in just the tattoo, letting the skin right up to it tan. This makes the tattoo look even newer next to the tanned area. If you will be out in the sun use a high SPF sunblock, even if your tattoo was done last year. The pigments can be faded even after the tattoo is long healed. Don’t start with sunblock until the tattoo is at least two weeks old.
  • Second, wrinkles will obscure your tattoo, and may even distort it. Over the years, the cells in skin shift a bit and change relative position. As any dermatologist will tell you, avoiding sun exposure and staying hydrated keep wrinkles away. This will help your tattoo, also. Once the tattoo is applied it becomes part of your largest organ- your skin. What is good for your skin is good for your tattoo, too, so drink enough water. Moisturizing the tattooed area helps. Even years after the procedure, the area that was tattooed remembers the abrasion, and can get dehydrated more quickly than the rest of your skin. So be sure to continue moisturizing occasionally, even after the tattoo heals.
  • Third, accidents happen. Scars that destroy tattoos are almost never intentional. The good news is that most scars can be tattooed over. Unless the scar is raised more than 1/4 inch from the surface, or is heavily textured, there are many tattoo artists that are willing to repair or retouch scars. If you’re planning on repairing a tattoo that’s been scarred over, try to allow at least six months for the scar tissue to “settle”. Use some light vitamin E oil or Emu oil on it from time to time and massage against the grain of the scar. This can sometimes help reduce the texture of the scar, and makes the tissue softer and easier to tattoo over.
  • Last but not least, if your artist offers a free touch-up, take advantage of it within a few months. The best time to get tattooed is in the winter, when your new art won’t get exposed to the sun. But no matter when you get worked on, wait until after the summer sun has done its damage before you go back to get a touch-up. This way, the artist gets the satisfaction of a second look at your work, and you get to repair any damage the vacation did to your new ink.

When your artist gives you care instructions, follow them to the letter. Every artist uses different techniques to apply a

all healed up!

all healed up!

tattoo, and usually they know which healing procedure will work best in conjunction with it. Artists use such a variety of needle, ink, and bandaging material- as well as the variatons in YOUR body’s healing ability- that it’s impossible to give out one universal set of aftercare directions.

Don’t listen to your friends, other artists, or people you meet out and about. If you don’t trust the artist to know best, you should buy your tattoo from someone you DO trust. Pick an artist who you trust, and listen to them. They know how to help you heal your new work.

It’s OUR job to put the tattoo in just the right layer of your skin, just right. It’s YOUR job to do the other half- to heal your tattoo properly. Keep your tattoos clean while healing, and wash your hands before touching a fresh tattoo. Don’t wear tight things that will rub against or irritate your tattoo. Don’t swim or surf for the first few weeks. And most of all, let your tattoo get air.

A well-healed tattoo will make you happy for decades. Taking a few weeks to care for it properly is COMPLETELY worth it.

(written by me, originally published here)

What to do when your kid wants a tattoo!

164103_487686512711_1326404_nThere are a lot of younger people today who are very interested in tattoos. In many cultures tattoos are used as a rite of passage from youth to adulthood, and in our Western culture it is no different. The lack of culturally-based rites of passage and tests of maturity leads many teenagers to seek alternate forms of self-challenge, and tattooing is currently high on that list.

Children are only tattooed usually by indigenous or tribal groups to whom it is a cultural staple. Occasionally there will be a photograph of a child wearing airbrushed tattoos (which are painted on) in a magazine, but actual children are extremely rarely tattooed. If they are, it can be considered child abuse.

Although most jurisdictions outlaw the tattooing of minors, many children and teenagers will tattoo themselves at home, using sewing or other needles and common household dyes and inks. This can be extremely dangerous; using an unsterilized needle or one that has been used on another person can transmit disease or cause serious infections. Home-made tattoos tend to be deeper in the skin surface than professional tattoos, and this can lead to infections that cause excessive scarring.

Most commonly found dyes and inks in home use are not inert and can cause allergic reactions or other problems. Young people should NOT use household items to tattoo themselves; this is a given. That they WILL do it, is incontestable. Educating young people and explaining to them that sharing needles (no matter what sort of home “sterilization” they invent) can transmit HIV, hepatitis, and bacterial infections, is a good beginning; also it may help to explain that running a needle through flame, boiling it, or soaking it in alcohol or antibacterial wipes will not kill all bacteria or viruses that may be present.

221622_10150169153602712_298593_nIn addition, a home environment contains many bacteria and other germs that could infect a fresh tattoo. Lack of proper knowledge about cross-contamination and bloodborne pathogens can put kids at serious risk when they get tattooed in a home environment.

Since minors can not obtain a legal tattoo, they will often try to use fake ID to do so,and try going to a real studio instead of someone’s house. Usually shops can tell when they’re presented a fake ID, but a very well made one can occasionally slip through. Especially a real ID that belongs to someone who looks similar to the kid…

Parents should know that professional studios are not pleased about this; parents should always attempt to contact the studio where their child claims to have received a tattoo. Studios often are required by law to keep consent forms for up to two years, and can usually provide a copy of the false identification that was used. This is not negligence by the studio, but fraud by the minor. In some states the studio can prosecute the minor and their parent. Parents should make sure that their teenagers have no access to their wallets and purses.

When a teenager is nearing eighteen and the age of consent, parents should do research with them into studios they may frequent or patronize. It may be reassuring for parents to know that the studio is clean and reputable. Minors are often not welcome in tattoo studios without a parent; this can be a good opportunity for parents to ensure that if their teenager decides to get tattooed they are at least in a situation that is not unsafe or unhealthy.

Every professional tattoo shop should have an autoclave which is regularly spore tested, disposable latex or nitrile gloves should be used, and all workers there have proper health and safety training. Go with your kid, ask questions. We’re happy to explain all this stuff to you. We want all of our clients to be safe.

Bringing your teenager with you to investigate their options may also discourage them from performing unsafe tattoos on themselves at home, and may even dissuade them from getting a rebellion-motivated tattoo at all. After all, if parents approve, many teens won’t participate.

And if they decide to get one anyway, you will know where they’re going, and that they won’t be risking their health for it.

 

(originally published here)

Something Tattoo Clients Should Never Do! never, ever, ever.

this sea captain is actually a skilled tattoo artist

this sea captain is actually a skilled tattoo artist

Never get someone else,

who is not a tattoo artist,

to draw a

tattoo for you

(especially if you are paying a non-tattoo artist for it).

  • Tattoo artists can draw.

This is why we do tattoos. Not only can we draw, we enjoy it. Also, we gain through our work experience a feel for the engineering of the surfaces of the human body; this is a quality of good tattooing that most other artists will not understand r use to its best advantage. (I.e.- where do you put the focal point on a sleeve? how do you draw perspective lines on a column that twists every time someone moves? how do you make mountains look distant on a round but mobile surface?) We also have an understanding of the formula of the medium. Time is not kind to the human body; when using it as a canvas there are a lot of pitfalls, and most non-tattoo artists fall into these constantly.

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skulls, bones, dead things, and where they come from.

Originally published on 11/16/2013

raccoon skull mount taxidermyI want to talk a little bit about my materials. Mainly because I read a lot of forums and craft and art blogs, and tend to see the same comments over and over about artists that work with taxidermy or animal remains.

Nature isn’t cruel or kind; it’s just hungry. 

I get a lot of questions about various things I use- mostly about bones and skulls, but a lot of people have asked about other things too- plants, rocks. Usually people are just being dense- “did you kill all those raccoons?” or “who do you have buried in the crawlspace?” or, even better, “ewwww it’s dead!” A lot of people saying this also eat fast food, buy meat at the grocery store, and let their cats roam outdoors…

I work humanely- in a sense. I don’t kill anything to make my art but yes, they are real bones and skulls. I get them from a lot of different sources. Most of the game animal bones and skulls I get from hunters- I have friends who hunt for food, and who will give me remains to work with. Most of the deer, elk, and turkey skulls and bones I use come from these sources. I also get bones from family farms- chicken, pig, and goose or turkey bones, even a few ostrich and cow remains. Most of these animals are also killed for food.

I don’t use anything from factory farms, just farms where the animals are treated well. I know this is enough to upset some people but since I also eat meat I don’t feel bad about it- I WOULD feel awful using factory-farmed items. However if I came across some, or had a source, I might use them; that piece would probably be pretty damned dark though. I tend to work with the feelings the animal’s remains give me, to make a piece that expresses the creature’s life.

I know a lot of artists who work with animal remains are a bit more humorous than I am, or more light-hearted about it in general. I do see the remains as a medium but at the same time I don’t feel good making jokes at the animal’s expense. Very rarely I get a skull or part which is light, and happy- I will sometimes make a brighter piece with those. Usually though animals live difficult lives, and their bones speak to me about this, so I don’t work very light very often.

I get questioned partly I think because of artists that do slaughter animals in the context of their work. While I don’t do this, I don’t find these artists offensive at all, it’s just not my own way of working. I don’t think it’s horrible. I have hunted for food myself, and been present for slaughtering at farms. Again- I don’t think it’s awful if you eat at KFC, either. I just personally don’t.

Some of my pieces come from road strikes. I have been working steadily on a series of photographs and an extended essay about roadside nature and roadkill, about human safety and how highways affect the animals that live near them. As a consequence of this work I have come across a LOT of roadside remains. I did get a license to collect roadkill in several states (not all states need one, but some do) and have spent a great deal of time working with these remains. A lot of these wild animals are obvious survivors of repeated injuries (fractures and old healed injuries in their skeletons attest to this) and the way they interact with the road fascinates me.

skunk skullNo, I have not used anything I myself ran over.

Most of my feathers come from friend’s farms. Almost all of my plant matter comes from my own place- I live on the edge of the Siuslaw, and not only the yard/forest of my house but the clearcuts nearby furnish most of my lichens, moss, and wood. I do a lot of beach collecting too. I live in Oregon, and it is legal to collect many things here, since all beaches are public. I do refrain from collecting in park areas, since those are restricted. I also don’t collect or mess with the remains of pinnipeds, or vertebrate fossils- just invertebrate fossils, collected in nonrestricted areas.

I have a few skulls and things which I have purchased. A few mink, fox, and beaver skulls which I am certain are fur trade castoffs- these items have a very dark feeling to them, and so the pieces built with them reflect that. I also have used vervet monkey skulls- the importation of these was a pain in the neck, and they are killed as a nuisance animal- so they too have a very dark feeling. Like I said, the horrors of life, death, the hard times most animals go through, are the reason my work is not light-hearted and silly. I don’t use anything illegal, and I avoid using items which may violate CITES or the MBA. (More information on the legality of animal remains is available here, if you are interested.)

I don’t work much with animals that are domestic pets, but I occasionally get some materials this way. Usually these are used for commissions for the previous owner. Some of these are more light and happy. I’ve worked with a very battered stray-dog skull, just making that piece was very upsetting. It wasn’t a joke to me.

zpg, anti-breeding artI’ve worked with human bones too. This is where people tend to be most alarmed- although in reality it is easier to buy human bone than many animals! I get most of my human bone specimens from places which sell vintage anatomical displays, or from places such as necromance (among others) which sell oddities. Yes, these bones are legal. No, I didn’t kill anyone to get them. And YES, they are expensive for a reason. Again- most of these works are dark. I don’t get silly feelings from death.

I’ve sold work and done commissions for vegans- for people who are animal and conservation activists. My work is intended to speak about the way people are oblivious to the natural world. Nature is full of drama, death, struggle, and strangeness. I try to use the materials I have to portray that. Reminders of mortality are not for everyone. Horrific art is not for everyone. There are people who cannot sit through a horror movie and people who cannot listen to a description of how their hamburger was made. My work is not for these people, really- although knowing that my work may have given them pause or made them think about these things, about the darker side of life, is kind of the point.

Originally Published on: Apr 19, 2012

Charity work, part one- Women.

51b6a0c0 (64)Tomorrow I’ll be doing some charity work for a group I highly admire, who have assisted me personally in the past.

If you’ve ever been the victim of a sexual assault, RAINN can help. They even have online chat support, people you can talk to online. This is pretty good news for a lot of people- part of the way an abusive situation can manifest is in agoraphobia, or fear of the telephone. For some people even being able to call for help is impossible. And for those people, RAINN provides an online support mechanism.

If you need help, to get away from an abusive situation, or to get help coping with a past sexual assault or abuse, follow this link http://rainn.org/get-help/national-sexual-assault-online-hotline to the online support group.

 

If you want to help, you can become a volunteer for the new National Sexual Assault Online Hotline and be a part of this generation’s most innovative source of support for victims of sexual violence. For more info, and to sign up, visit http://www.rainn.org/get-involved/volunteer-for-RAINN/ohl-volunteer.

 

I owe them my life, pretty much. I have for many years. I am finally settled in with a kindly, gentle man, in a safe place, without any of the troubles I have at other times had in my life. I’m capable of helping, finally. If you too can, please do!

DSC_1132

I’ll be posting my charity plans/works weekly as I go through the summer. My next charity post will be Animals, and time spent volunteering at the shelter.

watermarking images.

spider skeleton mount taxidermy artI’ve seen my work posted and reposted a lot online (it probably started in earnest, with my work, when this image was the main image on the wikipedia “tattoo” entry for almost a year) and I’ve never really thought about the amount of people who may be seeing it with no idea who made it.

A few things recently made me consider starting to watermark my stuff with this site’s address. First, I was looking at sketches done by some artists on a social network site I use, and found a sketch of my spider monkey mount’s skull and jaws. It was a great sketch, and I commented on it saying I loved that someone was using my work as inspiration. The artist blew it off, saying “Yes, I found this randomly online.” They had no idea they were talking to the creator of the work they were (tracing) drawing.
I explained that it was my work, she was excited to find out where it came from, we made friends.
It was a really good sketch.

Then, I found my spider skeletons posted to a russian site- and have no idea what on earth it says, whether it links back to me (update- it does) or not, and would love to comment but have no idea which buttons are for commenting or anything since I don’t read cyrilic.

Should I start watermarking things? I’d love it if every time my work was reposted or re-used, someone new came to see the rest of what I do, came here and maybe even said hi or spoke with me.
Having the site address on each photo is something I have alternately been too obstinate, or too lazy, to do. I don’t think even if I did this, that I would have the patience to go back and watermark all my older images (about twenty thousand images of my various works exist online) but maybe, going forward, I should make the effort.

What do you think?

home tattooing, round 13,879

http://resonanteye.net/2012/01/06/on-learning-to-tattoo/

 

Needlestick injuries, are also a consideration.

The risks associated with home tattooing start with minor Staph infections and end with septicemia (which can be fatal) and transmission of serious, life-threatening viruses. Also, using your home as a tattoo studio puts you and your family at extreme risk of infections and diseases. Simply put, this is not safe, and is most likely against the law.

Learning on your own will not allow you the ability to use modern techniques and equipment, since most retailers will not sell professional-grade equipment to amateurs. Despite what you may have read on the internet, there are NO books that will teach you everything you need to know to be a tattoo artist. These will only give you bits of information, and without good, working equipment and true, complete information, you just can’t tattoo all that well.

If you’re planning on doing this for fun, don’t bother. It is an actual, honest-to-god, real-life career, and should be approached as one.

online selling, etsy, ethics.

Update: people are beginning to migrate from the (myspace )I mean – etsy. Here is a page attempting to list their new shops and venues. And other are protesting it all.

The place has always had resellers; people breaking the rules to pass off mass-produced stuff as handmade.
There’s a lot of money to be had from people who want to NOT support corporations, who want to buy local, handmade stuff. A lot of people don’t like buying things that were made for pennies by slave labor. Lots of companies know that, and will lie about how their stuff was made, to get that dollar.

The people who produce things with slave labor want that dollar, too.

“Former eBay and PayPal executive Stephanie Tilenius has joined the Board of Directors of Etsy, joining Etsy founder Rob Kalin, FlickR’s Caterina Fake, Union Square Ventures’ Fred Wilson, and Accel Partners’ Jim Breyer (also on Walmart.com.’s board) on the board. Tilenius left eBay last year and now heads Google’s commerce division.”

So they invaded etsy (and a few other places) and have been trying for a while now to find ways to successfully sell to people who don’t want to buy from them. Recently, an attempt to pass off furniture built in Bali as “handmade in CA” was busted. The thing is- etsy isn’t supposed to be a place to buy factory-made goods being resold. Its own mission statement says that buying direct from people who are making things by hand, not in factories, is the point.

I signed up there because of that but now…well, the fact that when confronted with a (GIANT SHITPILE OF) evidence, including an email from the man who actually makes the furniture, that the stuff is not produced in CA, and that the original seller is a fraud, etsy chose not to apologize, not to admit fault and remove the seller—but to close discussions about it and deny. (note- the fraudulent seller? is not only still open, but still in their list of “featured sellers”)
So, I’m in the process of migrating. (check out my home page– new links to my stuff for now! All my rocks, sticks, logs, and moss will stay on etsy- but anything I made, art, paintings and stuff- originals- has been moved. still debating whether to keep my prints there or not, my “production work”)

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no sopa no!

I am totally against SOPA, therefore I have contacted my government reps to shout about it. I suggest you do the same. I’ll be adding this little plea to all my images today—but I won’t black out.

Content is king- and if someone reading this happens to like my picture and read it, so much the better. SOPA would pretty much put me under. I post my original works to sites which sometimes include violating images- while my work doesn’t violate any copyright law, shutting those sites down because of other people’s sins would punish ME, an innocent bystander.

I also feel that there are enough and proper copyright laws right now to defend original works. If someone “steals” my image and uses it commercially, I can right now, without any additional laws, stop them. Legally. SOPA is good for huge conglomerates who don’t want competition, but would absolutely DESTROY the small, lone, artists, those of us who toil away in relative obscurity.

It will take away the venues we use to sell our original works, and it will destroy our ability to self-promote. It will make us vulnerable to any jerk that wants to take us down- and enable censorship by the few. If someone finds a work online offensive, right now, they can flag it or ignore it. Under SOPA, they could report it as a violation, and it would be immediately removed.

The burden of proof is on the person accused, not the accuser- and this is contrary to ALL previous law and statute in the US.

If you are not from the US, imagine all your US viewers GONE. Unable to see you. As well as the sites you use that are from the US- GONE.

For our sakes, and for your own, stand against this utterly stupid law. You can contact your representatives through this site:

https://action.eff.org/o/9042/p/dia/action/public/?action_KEY=8173

and let them know how wrong they are about what the voters want.

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