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)

What can you do with a bad tattoo?

BEFORE, with marker drawing on top of old tattoo.

BEFORE, with marker drawing on top of old tattoo.

AFTER. old tattoo is no longer visible.

AFTER. old tattoo is no longer visible.

If only there was an eraser that worked on skin! All those past relationships and bad decisions would be so easy to forget.

Unfortunately, laser removal is the closest thing to the magic eraser, and it is expensive and painful.

Getting a coverup is a common solution. Here are a few easy things you can do to make sure you don’t make the same mistake twice-

Pretend you have no bad tattoo. Imagine a peaceful world in which that tattoo never even existed.

Now, picture a good tattoo on the area.

What does it look like?

Hint- it will NEVER be a current lover’s name, or the same as the old one, and it WILL be bigger than the bad tattoo.

Got it? Good. That’s your goal. Keep that image in your mind throughout these steps.

Things to keep in mind:

  • Your new tattoo will be larger than the old one.
  • Your new tattoo may cost much more than the old one.
  • You may need to get areas removed with laser, or tattooed over more than once.
  • Your new tattoo doesn’t have to be all-black, or very very dark. It just has to be planned properly.
befaft

instead of covering up an old tattoo, sometimes you can repair it. If you like the subject of the tattoo but not the execution, this is a good option.

Find an artist. Look at every tattoo shop and website you can find. Shop around- at shops. Don’t go to someone’s basement or home to get tattooed. Look at professional artists only. It will cost some money, since coverups take longer to do, but it will be worth it to get rid of the old mistake. A professional artist who likes to do cover-ups or repairs will take the time to work with your already-existing work; they may send you to a laser removal specialist to get certain areas lightened (much cheaper than total removal), and they can make the old tattoo disappear under the new one.

Look at all the portfolios you can, and pick up a few tattoo magazines. Who is doing something that is similar to the style of your imaginary, new tattoo?

Try to find someone whose work resembles what you’re picturing as your new tattoo. Don’t look at the subject matter, look at the style. Look at the color choices, placement, and way of drawing.

If you like it, it is good. This is your personal art collection, and your taste is all that matters.

Talk to an artist. For coverups, you will most likely have to go in person to the studio and talk to the artist. Ask them if they enjoy doing cover-ups or repairs.

Getting a firsthand look at the problem is the only way to really plan a cover-up. Listen to what they have to say; take it into account. They cover up old tattoos often and will probably have some good advice for you about your particular situation. If they tell you something isn’t possible, listen to them. If they give you advice about ways to hide the older piece, pay attention.

Coverups must usually be much larger than the old tattoo. They also must have at least some areas of shadow to hide any pre-existing dark areas. Tattoo inks are translucent, and a paler color will eventually let a darker one underneath it show through. This does not mean your coverup has to be all black.

“Tribal” designs are actually a very poor choice for a coverup design, as they rely on areas of smoothly curving negative space to be attractive to the eye. The negative space is empty skin, and usually it takes a lot of work to coordinate this negative space in a design with what is already present.

You will not usually find a design ready-made to cover up your tattoo. Remember, it can come up through lighter colors. Your artist will have to draw something specifically designed to hide your previous work.

This may take time, so be patient. They may want to trace the area so they can use reference to draw on at home, or they may suggest freehand work.

floral tattoo

cover-ups don’t have to be dark!

Freehand coverups done by good artists are the best solution to covering up an old unwanted tattoo. By drawing directly on the skin (drawing is done first with marker, then tattooed on) the artist can take into account the form of the old tattoo, as well as your anatomy.

The most important step in the entire process is finding the right artist. Look for someone you like, whose art you admire. Try to find an artist who enjoys not only coverups but also really appreciates the same kind of artwork that you do. Since all coverups are custom tattoos drawn by the tattoo artist, make sure the artist you pick has the same kind of taste you do.

Coverups can be very expensive. Tattoo artists know that if you had valued your personal canvas, and their artform, you wouldn’t need one! Be sure to tip well when getting a coverup done. Most artists spend more effort and time drawing for coverups than they would drawing an original tattoo, and most don’t charge anything for their drawing time. Be aware of this extra work they’ve done and tip accordingly.

You can’t get a coverup on the spur of the moment, unless it is so tiny that it’s hardly visible to begin with. You’ll have to plan in advance and think quite a bit about your new tattoo. Hasty decisions are the reason coverups exist in the first place, so take your time and do some research before you buy.

Getting a coverup may limit your choices in some ways, but the subject matter is still wide open. Knowing that it may have to be darker and larger should not keep you from getting a tattoo you can be proud of, and if you find the right artist you may even forget the old tattoo was there. If you have an idea of the subject matter you want, you can find a way to make it work, as long as you find someone who is capable of tackling the job.

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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How you can help me. and other medical nonsense!

If you follow my site or know me personally, you know I have been through some medical hell the past ten months or so.

TMI after the break.

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why does everything have those three lines and/or dots in it?

I always use three lines/three dots on anything I do. Sometimes they’re front and center, the focal point of the art, and Sometimes they’re obscured- hidden in the backdrop or repeated in a pattern so as to be less noticeable.

I began doing this because of the greek character Ξ, Xi. There’s a few layers of meaning there, and all of them combined made me interested in the symbol/shape, and that interest led to me using it as a part of my signature for a while. After that it migrated, getting further detached from my initials, and becoming more a part of the artwork. And from there it just sort of infiltrated every piece I make.

Back in the 80s-90s I was really interested in mindhacks and psychedelics and pTv and related art and music.

I did some work with sigils. I’m not a believer, not even agnostic, but I do know that our subconscious is a strong force, and that affecting it, changing it, tinkering in there, can bring some odd results. Working with visual symbols is one of my ongoing experiments- using an eye as the main focal point in a painting that is smaller and might be stolen from a gallery (even the most abstract eye affects the behavior of the people around it- see this study for details) or using hands, in various gestures, to suggest action to the viewer.

So while I have an abiding interest in all these things I am not any kind of believer. I do entertain the idea that Jung may have had a good point about how symbols and visual cues lead us, and have an impact on our lives, so it’s always been my effort to find ways to incorporate these things, at least subtly, into my work. The three lines/dots is a personal symbol, though, which I use in my art to influence MYSELF. So in the sense of it meaning something to the viewer, maybe- it’s done intentionally as a prompt to myself while working, though.

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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

the struggle to decide; prints or not? downloads or not?

(originally published Published on: Sep 5, 2013)

I always struggle with the question of whether to make downloads of my work available, or prints. In one way, I hate doing it, because I like the idea of something I made with my own hands going to your hands, as it is, with no other stuff there. Then I realize some things.

  • If I was a musician, I’d sell records, not just perform live.
  • I can only make so many original things, in so much time.
  • I’d like to be able to earn enough from my art to make it worth the time and energy (see footnote)
  • I have to eat.
  • Many people want to be able to enjoy my work but couldn’t afford the cost of an original.
  • I can’t manage shipping and storefronts online and promotion for all of that, and STILL HAVE TIME FOR MAKING THINGS.

I will take these point-by-point.

shirtsIf I was a musician, I’d sell records. I’d want more people to enjoy my work than I could perform for in person. I’d want people to be able to take me anywhere with them. If I was a writer, I’d print books of my work. I wouldn’t expect people to only access my work through attending readings, or by buying the hand-written manuscript. I’d want my work to be accessible, something people could enjoy.  I also would maybe still sell the manuscript, or some signed first editions…but the books would be published, out there, even on a kindle.

I have two hands. If I work the equivalent of fulltime hours, I can make maybe four things, of substandard quality, in a week. I can make maybe one or two things of good quality in a week. I can make one great thing a month. Now…how much is minimum wage? Should I set all the art aside and get a job at McDonald’s? Because if I can only sell a piece of art one time, mcdonald’s will pay better, and maybe I should set this art stuff aside permanently and get a real job…I can only make so much stuff with my own two hands. But if I sell prints and let people download the works, I can post it – set it and forget it. I can sell those while I am busy making other new things, and can continue to make money from a piece for years sometimes, long after the original is sold or destroyed.

I love making art. I spend all my time making things. I do have to eat. So therefore I have to charge money and sell my work- my choice is, work a job which takes all my time, and rarely make anything, or sell my work at a reasonable price and live off that money. I love making art. The process of actually making things, well, I will do that no matter what. I’ve had my Kafka years, working fulltime then coming home and putting in another eight hours painting. But my work wasn’t as good. And I had no time to show it to anyone. I need the time to show my work- to scan it, photograph it, share it, post it. If I don’t make any money from a piece, I’ll still MAKE the piece- but I will not spend the time posting it and discussing it and sharing it with you, or with anyone. If I was lucky enough to have inherited wealth maybe I’d have that kind of luxury, but I don’t. I wish I did, really.

EPSON MFP imageAnd yeah- YOU GUYS are broke too! I mean everyone is hurting. Being poor shouldn’t mean you can’t enjoy or own art! I want to make things accessible to everyone as much as possible. So- digital downloads. Most people have a printer- or access to a library with a printer in it- and can pay me a few dollars for a file, take it there, pay a buck or two to print it, and hang it up. Prints are next in line- the quality will be better, professional grade, the print will last longer, years even. Limited run? Why? It seems like a waste of time, of energy. I put my initials and a number on them and they’re magically worth more somehow? No. I do handpainted prints though- the next higher price things- and those are fun. I can take an hour and embellish a painting I already did- make new details on it, play around. The buyer gets something unique, like an original, and I get to play…

I spend maybe an hour or two a day online writing copy for my work, explaining it, discussing it, sharing technical stuff, writing, posting, and keeping track of what has sold. I spend another hour or so every day taking photos, scanning, fixing the damn scanner. And another hour every other day packaging stuff to mail out, trying to keep track of what goes where. I am not good at any of these things. They are REAL WORK, hard work I don’t enjoy very much. I’d rather be actually making things. So this work- I need to streamline it, make it as handsfree as possible. Selling originals is difficult. I have to post it everywhere, and hope the right person sees it, and then once it’s sold, do it again, the entire process, from documenting the work to explaining it to answering questions and pricing it and packing it and shipping it. All that work has to be done completely from scratch, every time I sell an original.

A print? I scan it, touch it up, post it, and it’s done. I can leave it there, just like that, for years. People can buy it a year later, without any additional work from me. It’s what they call a secondary income stream, and as an artist working alone I NEED that to happen as much as possible. It frees up my hands for making more better things. The digital downloads are the same- even easier, in fact. There’s no parameters to set, no material-checking, no worrying about quality control. It’s set and forget.

EPSON MFP imageSo, in order to be able to make more and better art, and in order to live, I sell originals, downloads, AND prints of most things. I charge people a tiny bit extra if they buy an original and only want me to do a limited run of prints. I charge A LOT extra if someone buys something and wants me to make no prints at all…for example, A painting I make- the original is a hundred bucks. I will probably (if it’s a good painting) make another two hundred off of prints and downloads of it over the course of a year. For me to sell ONLY THE ORIGINAL and still pay my rent, I have to charge three hundred for that original, now.

Should I do that? Sometimes I want to. Because I love the idea of something I made with my own hands, being in YOUR hands, with nothing in between us. Also because I like originals myself. But I can’t manage to, or figure out how to, promote myself well enough to always sell my originals, let alone for three times what I have them priced at now. So unless a magical fairy of promotion comes and makes me famous or rich, without charging me anything or requiring more of my time to work it…I will keep selling prints and downloads, of nearly everything I make.

I love you guys. Those of you with two bucks, and those of you with a million. You’re all people I like, and I want you all to be able to touch and enjoy my work.

older works on offer, newer works on shirts!

Figured I would look in my big bin of originals and post the ones I am willing to take an offer on. I also made a few more shirts, and spent some time in my garden! I had some medical stuff done this past week so I’m a little sore and crabby, but otherwise things are going well. I’ve been working on making a flower painting a day in my moleskin, all little watercolor paintings. Once I get enough of those I’ll make a post just of that…

To make me an offer on any of these, email me at resonanteye at gmail.com.

Here’s originals I’m willing to take offers on, and after that some smaller images of the new shirts.

wpid-anji-marth-medusa.jpg579021_10151755106192712_207982555_n
EPSON MFP image mating snakes original art
elephant art, totem, spirit animalpurple lotus art

 

 

 

and some new shirts again…



 

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