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Reinventing The Tattoo Table of Contents
Jump to a section:
1) Introduction
2) Design
3) Working In A Second Medium
4) Working From A Reference
5) The Digital Tattoo
6) Tattooing Technique
7) Step By Step Processes
8) Coverup Tattooing
9) Conclusion
Exercise Images
Chapter Videos
1) Introduction
1.1) A History Of Change
Page 1.1.1
Page 1.1.2
Page 1.1.3
Page 1.1.4
1.2) Reinventing The Tattoo, An Overview
Page 1.2.1
Page 1.2.2
Page 1.2.3
Page 1.2.4
2) Design
2.1) Flow and Fit
Page 2.1.1
Page 2.1.2
Page 2.1.3
Page 2.1.4
Page 2.1.5
Page 2.1.6
Page 2.1.7
Page 2.1.8
Page 2.1.9
Page 2.1.10
Page 2.1.11
Page 2.1.12
Page 2.1.13
Page 2.1.14
Page 2.1.15
Page 2.1.16
Page 2.1.17
Page 2.1.18
2.2) Positive/Negative Relationships
Page 2.2.1
Page 2.2.2
Page 2.2.3
Page 2.2.4
Page 2.2.5
Page 2.2.6
Page 2.2.7
Page 2.2.8
Page 2.2.9
Page 2.2.10
2.3) Contrast
Page 2.3.1
Page 2.3.2
Page 2.3.3
Page 2.3.4
Page 2.3.5
Page 2.3.6
Page 2.3.7
Page 2.3.8
Page 2.3.9
Page 2.3.10
Page 2.3.11
Page 2.3.12
Page 2.3.13
Page 2.3.14
2.31) Guest Writer Russ Abbott: Color Theory For Tattooists
Page 2.31.1
Page 2.31.2
Page 2.31.3
Page 2.31.4
Page 2.31.5
Page 2.31.6
Page 2.31.7
Page 2.31.8
Page 2.31.9
Page 2.31.10
Page 2.31.11
Page 2.31.12
Page 2.31.13
Page 2.31.14
2.32) Guest Writer Steve Butcher: Bringing Realistic Focus Effects Into Your Work
Page 2.32.1
Page 2.32.2
Page 2.32.3
2.4) Priority
Page 2.4.1
Page 2.4.2
Page 2.4.3
Page 2.4.4
Page 2.4.5
Page 2.4.6
2.5) Reserve
Page 2.5.1
Page 2.5.2
Page 2.5.3
Page 2.5.4
Page 2.5.5
Page 2.5.6
2.6) Lines and Edges
Page 2.6.1
Page 2.6.2
Page 2.6.3
Page 2.6.4
Page 2.6.5
Page 2.6.6
Page 2.6.7
Page 2.6.8
Page 2.6.9
Page 2.6.10
Page 2.6.11
Page 2.6.12
Page 2.6.13
Page 2.6.14
Page 2.6.15
Page 2.6.16
Page 2.6.17
Page 2.6.18
2.7) Depth
Page 2.7.1
Page 2.7.2
Page 2.7.3
Page 2.7.4
Page 2.7.5
Page 2.7.6
Page 2.7.7
Page 2.7.8
Page 2.7.9
Page 2.7.10
Page 2.7.11
Page 2.7.12
2.8) Lighting and Luminosity
Page 2.8.1
Page 2.8.2
Page 2.8.3
Page 2.8.4
Page 2.8.5
Page 2.8.6
Page 2.8.7
Page 2.8.8
Page 2.8.9
Page 2.8.10
Page 2.8.11
Page 2.8.12
Page 2.8.13
2.9) The Design Needs of the Tattoo Client
Page 2.9.1
2.91) Guest Writer Megan Jean Morris: Process and Mindset
Page 2.91.1
Page 2.91.2
Page 2.91.3
Page 2.91.4
Page 2.91.5
3) Working In A Second Medium
3.1) A Broader Perspective
Page 3.1.1
Page 3.1.2
Page 3.1.3
Page 3.1.4
3.2) Examples of Other Mediums
Page 3.2.1
Page 3.2.2
Page 3.2.3
Page 3.2.4
Page 3.2.5
Page 3.2.6
Page 3.2.7
Page 3.2.8
3.3) Surface Preparation, Building Your Foundation
Page 3.3.1
Page 3.3.2
Page 3.3.3
Page 3.3.4
Page 3.3.5
Page 3.3.6
3.4) Acrylic Painting, A Brief Tutorial
Page 3.4.1
Page 3.4.2
Page 3.4.3
Page 3.4.4
Page 3.4.5
Page 3.4.6
3.41) Rendering 3D Forms In Acrylic
Page 3.41.1
3.5) Oil Painting, A Brief Tutorial
Page 3.5.1
Page 3.5.2
Page 3.5.3
Page 3.5.4
Page 3.5.5
Page 3.5.6
Page 3.5.7
Page 3.5.8
Page 3.5.9
Page 3.5.10
3.51) Guest Writer Nick Baxter: Sharp Focus Realism In Oil, An Excerpt
Page 3.51.1
Page 3.51.2
Page 3.51.3
Page 3.51.4
Page 3.51.5
4) Working From A Reference
4.1) Seeing the Real Thing
Page 4.1.1
Page 4.1.2
Page 4.1.3
Page 4.1.4
4.2) Finding or Creating Our References
Page 4.2.1
Page 4.2.2
Page 4.2.3
Page 4.2.4
Page 4.2.5
Page 4.2.6
Page 4.2.7
Page 4.2.8
Page 4.2.9
Page 4.2.10
Page 4.2.11
Page 4.2.12
Page 4.2.13
Page 4.2.14
Page 4.2.15
Page 4.2.16
4.3) Doing a Tattoo From a Model, Working From a Line Stencil
Page 4.3.1
Page 4.3.2
Page 4.3.3
4.4) Doing a Tattoo From a Model, Working From a Crosshatch Stencil
Page 4.4.1
Page 4.4.2
Page 4.4.3
Page 4.4.4
4.5) Doing a Tattoo From a Model, Working From a Freehand Drawing
Page 4.5.1
Page 4.5.2
Page 4.5.3
Page 4.5.4
Page 4.5.5
4.6) Extreme Modeling, A Larger Scale Project
Page 4.6.1
Page 4.6.2
Page 4.6.3
Page 4.6.4
Page 4.6.5
Page 4.6.6
Page 4.6.7
Page 4.6.8
5) The Digital Tattoo
5.1) Basic Computing for Tattooists
Page 5.1.1
Page 5.1.2
Page 5.1.3
Page 5.1.4
Page 5.1.5
Page 5.1.6
5.2) A Brief Adobe Photoshop Tutorial
Page 5.2.1
Page 5.2.2
Page 5.2.3
Page 5.2.4
Page 5.2.5
Page 5.2.6
Page 5.2.7
Page 5.2.8
Page 5.2.9
Page 5.2.10
Page 5.2.11
Page 5.2.12
Page 5.2.13
5.21) Guest Writer Halo: Taking The Digital Leap
Page 5.21.1
Page 5.21.2
Page 5.21.3
Page 5.21.4
Page 5.21.5
5.3) Using Photoshop in the Design Process, Scanning and Coloring a Drawing
Page 5.3.1
Page 5.3.2
Page 5.3.3
Page 5.3.4
Page 5.3.5
Page 5.3.6
5.4) Using Photoshop in the Design Process, Making a Digital Simulation of a Tattoo
Page 5.4.1
Page 5.4.2
5.5) Using Photoshop in the Design Process, Sizing a Drawing to a Tracing
Page 5.5.1
Page 5.5.2
Page 5.5.3
Page 5.5.4
5.6) Using Photoshop in the Design Process, Composing Multiple Images Into One
Page 5.6.1
Page 5.6.2
Page 5.6.3
Page 5.6.4
Page 5.6.5
Page 5.6.6
Page 5.6.7
Page 5.6.8
Page 5.6.9
Page 5.6.10
6) Tattooing Technique
6.1) Technique, An Overview
Page 6.1.1
Page 6.1.2
6.11) Comfort and Ergonomics
Page 6.11.1
Page 6.11.2
Page 6.11.3
Page 6.11.4
Page 6.11.5
Page 6.11.6
Page 6.11.7
Page 6.11.8
Page 6.11.9
Page 6.11.10
Page 6.11.11
Page 6.11.12
Page 6.11.13
Page 6.11.14
Page 6.11.15
6.2) Design Transfer, Stenciling and Freehanding
Page 6.2.1
Page 6.2.2
Page 6.2.3
Page 6.2.4
Page 6.2.5
Page 6.2.6
Page 6.2.7
Page 6.2.8
Page 6.2.9
Page 6.2.10
Page 6.2.11
Page 6.2.12
Page 6.2.13
Page 6.2.14
Page 6.2.15
6.21) Guest Writer Don McDonald: Working With Large Stencils
Page 6.21.1
Page 6.21.2
Page 6.21.3
Page 6.21.4
Page 6.21.5
6.3) Needles
Page 6.3.1
Page 6.3.2
Page 6.3.4
Page 6.3.5
Page 6.3.6
Page 6.3.7
Page 6.3.8
Page 6.3.9
Page 6.3.10
Page 6.3.11
6.4) Tubes
Page 6.4.1
Page 6.4.2
Page 6.4.3
Page 6.4.4
Page 6.4.5
Page 6.4.6
Page 6.4.7
Page 6.4.8
Page 6.4.9
6.5) Machine Tuning
Page 6.5.1
Page 6.5.2
Page 6.5.3
Page 6.5.4
Page 6.5.5
Page 6.5.6
Page 6.5.7
Page 6.5.8
Page 6.5.9
Page 6.5.10
6.51) The New Wave of Rotary Machines
Page 6.51.1
Page 6.51.2
Page 6.51.3
Page 6.51.4
Page 6.51.5
Page 6.51.6
6.6) Machine Setup
Page 6.6.1
Page 6.6.2
Page 6.6.3
Page 6.6.4
Page 6.6.5
Page 6.6.6
Page 6.6.7
Page 6.6.8
6.7) The Stretch
Page 6.7.1
Page 6.7.2
Page 6.7.3
Page 6.7.4
6.8) Tightening and Softening
Page 6.8.1
Page 6.8.2
Page 6.8.3
Page 6.8.4
Page 6.8.5
Page 6.8.6
Page 6.8.7
6.9) Starting a Tattoo Magnum First
Page 6.9.1
Page 6.9.2
Page 6.9.3
Page 6.9.4
Page 6.9.5
Page 6.9.6
Page 6.9.7
Page 6.9.8
7) Step By Step Processes
7.1) Bringing It All Together
Page 7.1.1
Page 7.1.2
Page 7.1.3
Page 7.1.4
7.2) A Simple Rose
Page 7.2.1
Page 7.2.2
Page 7.2.3
Page 7.2.4
7.21) Guest Writer Phil Garcia: Attention to Detail
Page 7.21.1
Page 7.21.2
Page 7.21.3
Page 7.21.4
Page 7.21.5
7.3) A 3- Hour Skull Project
Page 7.3.1
Page 7.3.2
Page 7.3.3
Page 7.3.4
7.31) Outer Space Organic Mech Tattoo
Page 7.31
7.32) Intensive Rendering: Mind, Body, Spirit
Page 7.32
7.4) The Sacred Heart
Page 7.4.1
Page 7.4.2
Page 7.4.3
Page 7.4.4
Page 7.4.5
Page 7.4.6
7.5) The Seahorse
Page 7.5.1
Page 7.5.2
Page 7.5.3
Page 7.5.4
Page 7.5.5
Page 7.5.6
7.6) A Difficult Spot, Neck Inferno
Page 7.6.1
Page 7.6.2
Page 7.6.3
Page 7.6.4
Page 7.6.5
Page 7.6.6
7.7) A Black and Gray Design
Page 7.7.1
Page 7.7.2
Page 7.7.3
Page 7.7.4
Page 7.7.5
Page 7.7.6
7.71) Guest Writer Nick Baxter: Working In Layers
Page 7.71.1
Page 7.71.2
Page 7.71.3
Page 7.71.4
Page 7.71.5
7.8) Making Your Technique Work
Page 7.8.1
Page 7.8.2
Page 7.8.3
Page 7.8.4
8) Coverup Tattooing
8.1) Coverup Tattooing: Facts, Myths and New Understandings
Page 8.1.1
Page 8.1.2
Page 8.1.3
8.2) Coverup Examples, Large and Small
Page 8.2.1
Page 8.2.2
Page 8.2.3
Page 8.2.4
Page 8.2.5
Page 8.2.6
Page 8.2.7
8.3) Almost Too Good To Be True: Laser Tattoo Removal
Page 8.3.1
Page 8.3.2
Page 8.3.3
Page 8.3.4
Page 8.3.5
Page 8.3.6
Page 8.3.7
Page 8.3.8
8.4) Scar Coverups: A Next-Level Challenge
Page 8.4.1
Page 8.4.2
Page 8.4.3
Page 8.4.4
Page 8.4.5
Page 8.4.6
Page 8.4.7
8.5) Incorporating Coverup Tattooing Into Your Career
Page 8.5.1
9) Conclusion
9.1) New Horizons
Page 9.1.1
Page 9.1.2
Page 9.1.3
Page 9.1.4
Page 9.1.5
Page 9.1.6
Page 9.1.7
Page 9.1.8
Page 9.1.9
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