livestrong is incorrect! PSA. PLEASE SHARE.

PSA: SHARE!!!

if you have read/are using that site as a source of info about tattoo inks please PLEASE be aware-

THE SOURCE THEY CITE IS COMPLETELY NOT CREDIBLE WITHIN THE TATTOO INDUSTRY.

THE SOURCE THEY USED IS INCORRECT.

THE INKS (BRANDS) THEY LIST ARE REALLY TERRIBLE FOR A VARIETY OF REASONS AND YOU WILL NOT FIND A TALENTED PROFESSIONAL USING THEM.

Screenshot_20170924-221724

they used a fake, crappy online “tattoo school” scam website to get their info. the inks listed include two brands with recalls (!!!!!) and a brand that has really low pigmentation. those brands were listed as “good” only because they’re potentially available to non professional artists!!! Most amateur grade and publicly available inks are made with all sorts of contaminants, and some are dangerous.

The scam school website they used as a reference is NOT a reliable source for information.

THIS IS A BAD SOURCE FOR INFORMATION ABOUT TATTOO INKS.
professional grade tattoo inks are not available to the general public, contain nothing extraneous, and you won’t find out about them through “how-to tattoo dot com” or some crap like that.

tattoo inks available to professionals show no toxicity in ingredients, are not hazardous, and are usually vegan (some brands of black are the exception to that).

if you have questions about ink, ask your tattoo artist. we will always answer questions for you and we have msds sheets as well. (these images are an example, from a brand used by many professionals.)

Screenshot_20170924-221427Screenshot_20170924-221242

(this is from one of several brands often used by professionals)

I’ve seen reference to this website several times now, so I decided it was time to let people know this is NOT CORRECT INFORMATION.

 

Please, please. If you have concerns about the inks, ASK YOUR TATTOO ARTIST. If you do not trust your artist, FIND ONE YOU TRUST. Get tattooed by professionals only!

twenty years.

I bought the resonanteye dot com domain twenty years ago, in 1997. it was lost to domain squatters in ’09 and again in ’13. so that sucks… but hey! twenty years of stupid, slowly progressing into something better (I hope).

 

 

happy birthday resonanteye website. happy birthday.

 

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1999

dreads?

Sorry it hurts, are you OK?

taking the day or three off for solstice, getting brushes and stuff ready for being idle

if I’m working every day, all I do is wipe down my brushes with regular turpentine and maybe plain veg oil at the end of the night and forget about it. If you’re using oil brushes every day, they don’t have a chance to dry out.

Since I’m taking a few days off for Solstice, I need to actually clean my brushes!

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there are good and fancy soaps for this. I just use oil-breaker dish detergent. this is a generic brand, but blue dawn works pretty well.

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again, there’s fancy and better suited soaps for this, but I use the cheapest bar soap for ‘oily skin’. I use the dish soap to get most paint and solvent off, then use this to really scrub all the way up to the base where the bristles attach. then I rinse it all out.

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I scrub pretty well. I don’t do this often so I try to get way up into it.

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I really dry the water out, squeeze em in a paper towel. I want them dry now.

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plain,cheap vegetable oil. I dip them into it.

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Then I wipe almost all of it off the brush. I leave them just greasy enough to hold their shape. If you use natural bristles you can use conditioner for this (like you’d use on your hair) but if you’re broke or cheap, this works fine.

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before I paint again I’ll use turp to wipe all that oil out of the brushes so it doesn’t end up in the painting. here’s all my stuff tucked in neatly out of the way.

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little bonus , thumbnails of things I’m planning to work on soon.

materials post two, and a finished seascape in oils (or two)

Some of the materials I use are weird. Other are pretty common. I use odorless turpentine. The cheap stuff. I use old paints because I was given a huge box of many tubes of the basic colors in oil when a friend’s aunt died (she had been a painter of still lifes) so my paint choices are the odd thing.

I use a lot of yellow ochre, real madder. Payne’s grey, Naples yellow, prussian blue and lead white. I have some french ultramarine and viridian in there, but I use them less often. I have raw umber, burnt sienna, cad red, vermilion, and lamp and ivory black too.

I don’t have any burnt umber except for in miscible oils- I have a handful of those, burnt sienna, cadmium yellow, burnt umber, ultramarine, titanium white and lamp black. Not too many tubes of that stuff. I got those to do my giant animal painting project and I’m not sure what else I’ll use them for. I like the oily oils a little better, but these mix in just the same.

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Water-miscible oils- I have there some brushes (oil brushes), a cup of water, some liquin, and the paints. I started out using water and paint for the underpainting, which dried pretty fast, overnight. Then started in with paint and liquin, then on to fat paint on its own.

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Here’s another painting in the miscible oils. All I had out was the brushes, palette, liquin, and water cup. Almost as simple as working in watercolor.

I like really soft fat brushes. I only have maybe one or two hog bristle brushes even though I know most oil painters like them. I have one big one and one little one for oils. The rest of my brushes are synthetic, pretty much- mostly filberts and a few chisels. I have a big flat short-bristle brush I use to blend, it’s squirrel instead of sable but it’s soft enough to work well. I do have maybe two small sable brushes and a super silky rigger brush.

I’m sure if I was trained and taught by someone academic I’d know more about all this and make different choices.

I don’t have a lot of money for brushes so that’s about it for that. I try to take care of them but I am extremely bad at maintenance and remembering to clean them- I usually soak them up in turp and clean them every day when I’m done, and if I won’t paint for a day or more I wash them out as well as I can with detergent soap. Sometimes I forget and there’s a casualty. I get a new brush once or twice a year. I used to paint in oils almost only, but for a few years now I’ve worked in watercolor too so I switch back and forth every few months. (I rarely, if ever, use acrylics for anything)

Right now I have liquin and some old old copal as mediums. Liquin is good, it dries fast enough that I can work over an area within a few days, or the next day if I get aggressive with it (like in an underpainting) and the copal I think looks good as a top surface or glaze. I really wish I had more glazes and varnishes though, I’d love to try a few new things for that. I have had stand oil, and used it, I think I have a tiny bit left. It takes a while to dry out completely but it looks really cool and glossy if I’m doing a painting without much texture.

12391419_10153347790822712_110052715696411257_nOnce I have that first layer in I let things dry a little. Then I use more pigment, less media (turp or liquin) and lay in color. This bigger seascape, you’re seeing layer two. Basic color areas.

Here you can see the kinds of brushes I’m using on the bigger painting. One is a large, super super soft brush that I’m using to soften up all of the stuff I don’t want emphasized. I really only want the center area where the one wave breaks to be important, so I go through and soften the other areas once they are a little bit tacky. You can see I’ve added a lot of detail areas above that second wave there, little bits of grey and of the cad red that’s in the sky.

IMG_20151213_054346Here is the little seascape that I made as a warmup, it’s done I think. I even signed it.

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I have had insomnia for about a week so most of my work has been happening at night. After a while my sleep schedule will head back on around the clock though, I’m sure.

I will probably do a materials list for watercolor or pen and ink wash stuff next monday. xox

 

Here is the finished foggy dawn Lincoln City landscape (click image for bigger image and prints)

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I’m putting this one in a silvered wooden frame.

 

And here is the finished larger painting of the cliff south of yachats, in a nice antique oiled wood frame. I’ll scan it for prints when it is completely dry and right before I varnish it. I don’t know when the originals will be for sale, as I need to amass a handful for a gallery show this year.

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materials post: oils, article in Brut Force

 

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I wanted to show you what I use with my oils. in this photo you can see at the top left an expandable wash bucket. I use detergent in the water, this is for any washing I have to do with my brushes, but I usually don’t. if you paint every day and rinse the brushes with turp when you’re done they stay soft.

in front of that you can see a good example of modernization. in the left is a bottle of “copal”. this new product is not copal, which is made from amber/pine resin, instead it’s some citric junk. next to itf you can see a corked bottle of real copal, which I’ve got a jug of hidden away from many years ago and dole out to myself in small quantities. I’ve been using this small jar for about a year.

in front of that is a sealable jar I use for turp. I get the odorless but it still stinks. I use this while I’m working to wipe paint off the brushes. nothing else.

on the right
you can see my paints. they’re antique, I inherited them. the cadmium paints I use aren’t hues (substitution colors) but real cad reds and yellows. it’s poisonous so I can’t eat a sandwich while I work. I’ve got a smallish tube of real rose madder which I hoard. this and the ultramarine are also very old. I think maybe 40s-60s era based on what I was told. they’re heavy pigments, really rich compared to the newer brands I tried. I use lead white from the same batch as well, I’ve got a lot of that. more poison!

the brushes- that big one is hog bristle. the next biggest is synthetic sable and very soft, I use it to blend. there’s a stippler there I use for scrubbing color into or off of the canvas. a few filbert and bright firm synthetics, small chisels, and then a really nice long real sable rigger.

I use a mayo tray as a palette, I’ve bought a few over the years for tattooing but this one got dented while I was traveling so it’s a palette now. I cover it with clingwrap at the end of the day so my paint stays soft.

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Here you can see everything set up for working. I use a mayo tray that unfortunately got dented as a palette. I’m working on two paintings, more about those in a minute. you can see I use a lot of paper towels too as well as a rough old rag. The not-paint-water mug makes its usual appearance, though when I work in oil it just holds the brushes. I don’t trust my brain. There is a bottle of Bob Ross gesso in this photograph. It is empty, I like having it there though. It reminds me not to eat paint.

 

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This is an underpainting, I don’t do them every time but this time I did. I then screwed up the painting beyond repair with some bad composition choices so it’s going to get scrubbed and I’ll reuse the canvas for another thing.

Here is a terrible blurry photo of the little seascape, which I think will turn out just fine.

This is a thin first layer just to lay in shape and tone. It’ll get a second layer, some detail and smoothing, and a glaze.

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I don’t use a lot of medium, I have liquin if I’m impatient and a stand oil too just in case but mostly I work fat, just paint, and heavy and thick. it takes a long time to dry but I like the look. the copal is my glaze at the end.

I use liquin early on, I like the early layers to dry fast. I keep two or three pieces going at once in oil, so something is always ready to be worked on. Going back and forth from watercolor is like stepping onto the ground from a carousel, though. Takes me a minute to get my sea legs back.

 

You have seen my watercolor setup, which is a lot simpler.

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I trust myself more when it’s water and not turp in the mug. All these things have been put away for a few weeks so I can work with oil for a bit. Then the oils will get packed into the box and these things will come back out. I used to have a few dining room tables, each with a different medium set up on it, so I didn’t have to pack things away like this. Right now my space is very limited so it’s one thing at a time. We are supposed to be putting in a shed studio though, so maybe that will change.

 

 

I also want to mention the fantastic magazine Brut Force, which recently interviewed me. The whole magazine is great and I feel a little out of my depth being in there among so many beautiful creative artists and their work. You can read about that here. I usually do not use the telephone but the interviewer had a good bedside manner and he got me through it with aplomb.

 

As a last thought, I’m planning to start scheduling posts by topic; I think mondays will be tech/materials day, tues will be tattoo advice or informaion, weds will be process shots, thrs or fri will be tattoo or other photos.

Video seminar is live!


This streaming video contains about 2/3 of the information I present in my seminar. You can stream it as much as you like, pause and play, rewind, and take notes all you want.
If you’ve taken my seminar in person, email me to get the free version of this. If you stream this and wish to take my seminar in person, email me and you will get a discount when you attend!

All feedback is welcome. I hope this information helps you- it’s hard-won.

 

Seminar at Portland Tattoo Expo, sunday Oct 11!

EPSON MFP imageI’ll be teaching a seminar at the PDX expo in October!

Click through here for more info and to sign up. Bring notepad, pen/pencil, phone or tablet, and questions when you show up for the class. Counts for two hours of continuing education!

Leveraging Social Media to Sell Art Online, for Tattooers

Learn to use social media properly — without compromising your copyright. We’ll cover print-on-demand services, pros and cons of social media use, networking as a strategy to find collectors, consolidating your media management, and getting more reach with your work online.

This class relates to the sale of secondary mediums beyond tattooing, and will go over the relationship between your existing client base and the collectors who will buy your work on paper rather than skin.

why that tattoo pain chart is meaningless.

I’m sure most of you have seen this image, or a similar one,  floating around the internet by now:
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I’d like to point out that these images aren’t really telling you the whole story. As I’ve posted about before, several times, placement is only one of many variables that will make a tattoo hurt more or less. I’ll begin here just by saying- your frame of mind, your health, and your general attitude about the tattoo matter more than anything. Tattoos, generally speaking, don’t hurt very much. If you have had waxing done, if you’ve ever broken a bone, if you’ve ever had road rash or a bad cut…you’ve been through worse than a tattoo. You can do this. It’s on the level of…a beesting, a cat scratch, an annoyance.

But let’s take this chart for a minute, at face value- and just talk about areas where tattoos may hurt more or less.

The first thing to think about is your own personal sensitivities. Are you ticklish? Do you have previous injuries (even long-healed ones) in an area? Do feet freak you out? If you have any kind of area-specific thing going on in your mind or body, that’s going to affect how you feel while getting tattooed.

Then, there’s the idea that joints and areas with thin skin will hurt more. This isn’t necessarily the case. A tattoo on the side of the neck seems like it should be the worst thing ever, by these rules. Hell, in the image it’s a red zone! But in the image the center of the neck, the throat, is the red zone too- and those two areas feel very different. See, the only areas where you really have a big cluster of extra nerves are the

  • hands
  • face
  • genitals
  • solar plexus
  • throat
  • nipples

Everywhere else on your body is pretty much the same, as far as the sensitivity of the skin itself. Now some areas also have bone or underlying structures without much padding of muscle or fat. For some people, these areas are EASIER, for others, HARDER to get tattooed. It all depends on what kind of pain you dislike the most. If a deep throbbing or any kind f pressure just slays you, then areas without bony structures are going to hurt more- areas like

  • stomach
  • sides (below the ribs)
  • side of the neck
  • inner arm and armpit
  • inner thigh

if, for you, a stingy sensation is the worst thing, but you don’t mind pressure very much, you’re going to have a hard time with areas that have muscle right under the skin. Areas such as

  • lower back
  • top of shoulder
  • deltoid/front of arm
  • tops of thighs
  • calves
  • buttocks

Now if you don’t mind stingy feelings, and throbbing and pressure are no big deal, but you don’t like the feeling of papercuts or slices or the like, you may dislike bony areas the most. It seems to me that most people feel this way. This means that to at least some degree, the image has a few areas properly labeled for someone like that. The areas that would hurt would be:

  • ankles
  • hands/wrists
  • feet
  • collarbones
  • center of chest
  • shoulderblades
  • spine near center of back
  • ribs
  • kneecaps/elbows

Your body’s size and shape and composition matters too. If you have a lot of fat deposits, your hips may not be such a bad spot. But areas underneath rolls might hurt more, as they’re less exposed to sensation and touch in general. If you’re big and muscular, areas with tightly-stretched skin might hurt more- meaning a calf, one of the places the chart says is EASY, would be more painful to you. If you are scrawny and bony, areas with visible tendons may be the worst.

All of this talk of pain is so variable that you almost can’t pin it down and make any sort of universal chart.

Now let’s talk about where this dumb and inaccurate chart actually came from.

 

Something you can do, though, is make a chart showing areas that are the hardest for the artist to work on. This chart looks almost exactly like that “pain” chart, and versions of it used to be used in shops to show which areas would cost more than others for the same design. I have a sneaking suspicion that some client, at some point, saw this pricing chart and assumed we charged more for “hurty stuff”. This is not the case.

In fact, in some shops, the pricing system was worked out by square inch and placement, not by time. In the Before Times many shops would have all the available designs and flash up on the walls with prices attached. Nearby would be a chart exactly like the “pain” chart, saying, “areas in red cost $20 more, areas in blue $50 more” or something to that effect. This was not done because of how much those areas hurt the client- it was done because those areas are harder for us to tattoo.

acetate with square inches marked off.

acetate with square inches marked off.

So you lay that clear sheet with the inches marked on it, over the tattoo design. Any square containing ANYTHING counts. You have your minimum price, then you add however much per inch. So a shop with a $50 minimum, 20 per inch, a tattoo that is 2″ costs 90 bucks, base price for the easy-to-tattoo zones. Now you go to the chart. You want it on your wrist? Price goes up by ten bucks. You want it on your ribs? Price goes up by thirty bucks. And so on…This is one of the old ways of pricing tattoos, and strangely enough it often works out almost exactly what a tattoo would cost hourly. Those expensive areas just take longer so the time is extended anyway. Also, some areas are risky to us so they cost more.

If I am working on an area that is difficult to reach, my chance of a needle stick goes up. Slippery, sweaty areas are especially scary this way. If I’m working on an area where the skin shifts in response to ANY movement by the client (like ribs and center chest, for example) then I’m going to have to work harder to pull a straight line, to get things even and perfect. This extra work translated to extra pay, based on a chart like this one.

It had and has nothing to do with how you, the client, feel during the tattoo. The original of this color body chart is simply a  pricing guide for tattooers, not anything to do with what you will feel during a tattoo.

 

handy pricing chart used in some older studios.

handy pricing chart used in some older studios.

If I were to make a chart about the actual pain? I’d simply put a blank body form and have people print it out and color it in.
Put red any place where you are sensitive to tickling or have any kind of weird feeling about being touched. Also any place that folds over, where the skin touches itself and is rarely exposed to air or touch.
Put blue on your genitals, hands, and face- AND on any area that has a previous injury, even a healed one.
Put yellow on any place that is often exposed to touch and friction, that has a lot of exposure to air and sun.
Put green everywhere else.

This is your personal, very own pain chart. Everyone will have a different one. Unlike the tattoo artist’s perspective, where all armpits are pretty much the same to work on, the perspective as a client will be totally individual and unique.

Here’s a few stock images you can color in.

fat-slim-woman-white-background-30620793 Posture Template 1woman

 

 

Oh yeah- you’ve probably seen this garbage floating around as well. It’s crap, and it’s demeaning to you guys who are my clients, and I hate this kind of shit. Strangely enough I don’t have too many clients who pay no taxes or go to prison. There’s some slut-shaming in there too. What a load of crap.

tattoo-locations

 

(for a great article about pain and tattooing in general, my friend Deb wrote a great one here)
(for a chart to figure out how much of yourself is tattooed, you can look at matt gone’s awesome post about this here.)

the 6 worst pieces of promotion advice for artists, and the real solutions.

After countless suggestions of sites to use for promotion, I’m starting to realize that several things do not help at all:

1. Selling on more sites, adding more print-on-demand stores, or more marketing profiles.

fff

When you ask most people “how should I promote my art?” you will often get well-meaning people, telling you “you should sell at *printsite*!” or “are you on *marketsy* site yet?” or even “maybe you should sell them on *auctionworld*!”  “Do you have a *deviantshit* profile???” It’s as if they purposely misunderstood your question! “But I already sell on *somesite*!” You protest. “I already have a *americanartprints* profile, do I really need to be on *shirthoarders* too?”
You know, and I know, that you already ARE selling your work on a site like these. There is already at least one site out there with your work on it, for sale, clearly marked prices and all. What you need isn’t TEN MORE OF THOSE, you need PEOPLE TO GO TO THE ONES YOU ALREADY HAVE, and spend their money on your work. Yet asking how to do this never gets that kind of response! This is because most people have one or two sites they have heard of, vaguely, or bought something from once, and so they assume- if you are asking how to promote, it’s because you don’t even know where to list shit.

Most people aren’t trying to sell art. They’re buying it. So yeah- if ten people suggest *randomprintplace*, you should check it out, maybe. Because you already know ten people shop there. But be wary of paying for a bunch of shops or profiles on these sites, because they usually don’t offer much return. (If you DO need to know which sites to sell on, you’re not ready to promote the art yet. concentrate first on listing it, a lot of it, all in one place. I like redbubble for print-on-demand and squareup market for direct sales of originals. )

2. Writing in-depth or posting art directly on social media sites instead of your own.

nooo

I keep my favorites to the left.

Let me guess- you post your work to facebook, twitter, tumblr, instagram, googleplus, wanelo, weheartit, pinterest, linkedin, and maybe even a few dozen other places like this. You’re exhausted. You put off making stuff because you spend way too much time in an endless round of liking and sharing and pinning and chatting with people who never buy a damn thing. Then you get caught up in talking to friends and family, and somehow the day is gone and you actually didn’t do anything you could call “work”. I know. OH TRUST ME I KNOW. Then you go look at your own site, your own blog on your own domain and there’s only like two views. Ghost town. Well, of course it’s a ghost town! You don’t live there, you live in social networks, and you don’t invite anyone there- you talk to them on facebook!

How many people on there do you NOT know? How many people on there BUY things from you that way? I know I get sales to previous clients or friends on these sites sometimes, so it’s tempting to post there a lot, and spend time interacting, and all that…and call that “promotion”. But it’s not, really. It’s not work-related, it’s not promoting, if you do it that way. It’s either time spent with friends hanging out, or you’re just creating content for free so someone else can make money off of your work.
How social sites work, you see, is that people who make things and write stuff, they post these things on that site. That site then slaps ads everywhere and rolls in the dough. If they find out they can charge you to post your work too, they will. They’ll take the ad money YOU and YOUR WORK attracted, and ALSO charge you too. Without your work and your writing and your time spent there, THEY DO NOT MAKE MONEY FROM ADS or datasharing or…or any money AT ALL. YOU ARE PAYING THEM TO GET PAID. There are solutions to this, which will be in the next section (if you click through)

(more…)

Print edition of essays!

51E8o9iuGgL._AA200_Real, actual ink on paper!

Here they are. In all their unvarnished glory.

Buy one for yourself and one for your auntie.

Or just one for yourself! Who am I to judge.

Contains rants about art, explanations of various tattoo things, stories about tattooing, about squatting, and about zines. Also contains some taxidermy info, essays about madness, and more.  A ton more! 166 glorious pages!

My next book will likely be the horror/cryptid coloring book. You can find individual downloads of the pages here if you like.

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