A Stick-and-Poke Tattoo Kit. You Have Got to Be Kidding.

 Gang, I wrestled with the need to write this article.  Some of you will skim through this and decide to buy this product.  Please... PLEASE!  Read what I am saying here.  This is simply a bad idea.  Inevitable, yes, but still bad.

 Here's the idea, based on what Stick and Poke Tattoo Kit (that's the name of the company) tells its potential patron up-front.  Tattoos done at home by amateurs are dangerous.  They tell you that the possible dangers include:

 -Blood Borne Pathogens

 -Toxic Ink

 -Inadequate/Unclean Supplies

 -Dirty Needles, Ink, or Thread

 Let's discuss these dangers for a moment.  Blood Borne Pathogens are generally a concern when you are dealing with multiple people getting tattoos.  This is why tattoo studios strive for cleanliness and use aseptic techniques.  Keeping things clean reduces the likelihood of cross-contamination and the spread of blood borne pathogens.  "Toxic" ink must refer to inks that are manufactured cheaply and with little concern about the potential effects of the materials used on the human body.  Inks purchased on-line from unknown sources are often of a low-quality and their safety is suspect.  Inadequate or unclean supplies are a concern when dealing with "kitchen magicians" that use whatever they have around or re-use the tools they have to administer a tattoo to multiple people.  Dirty needles, ink, and thread are right in-line with the previous point.

Because this can happen.

 The solution, dear readers, is to not get tattoos from an amateur "tattoo artist" working from home. And, guess what you are when you administer your own tattoo at your kitchen table! Do not get a "stick-and-poke" tattoo.  Just don't do it.  Get tattoos from professionals in a licensed studio, and if you want to be a tattoo artist have respect for yourself, your clients, and the industry by learning to do so safely and properly through an apprenticeship.

 Companies like Stick and Poke Tattoo Kit only compound the problem.  A kit which provides "professional" supplies to allow you or your friends to tattoo you is a completely irresponsible grab for your money with no regard for your safety.

 The kit includes 1/2 oz of "professional" tattoo ink.  Before we get into what "professional" means, can you be certain?  We are dealing with a company that is encouraging people to engage in an unsafe practice, going against every industry standard in order to make a buck.  Can you trust these people and what they say about anything they offer?

 "Professional" simply means that it is a product most commonly used by professional tattooers.  Generally, such inks come from known and reputable manufacturers who have earned the trust of their patrons through the consistency and performance of their product.  The brands of ink displayed on the Stick and Poke Tattoo Kit site are none that I recognize.  And, I write BRANDS in the plural because there site features at least three different bottle and label types, suggesting at least three different manufacturers.  You cannot even be certain that the product you receive is the product pictured on the site, let alone that the inks are anywhere near the quality used by professionals (protip: that probably means they are not).

Luckily, most of this will fall out.

 You get a 5RL and a 3RL needle.  In the photo, it appears that they are in blister packs common to the tattoo industry, sealed in sterile inert gas.  If so, they are clean... at least until you open the package.  What happens then?  Does Stick and Poke Tattoo Kit assume that everyone knows how to handle the needles in order to keep them from getting contaminated before they are used and while the tattoo is being administered?  Their instructions don't mention how to handle the needle.  These needles are designed for use in a tattoo machine, not to be held in hand.  What is the likelihood that the needle will slip while someone is poking themselves with it?  Fairly high, I would imagine.  When that needle comes into contact with the floor, the kitchen table, or any other non-antiseptic surface, you are inviting problems.

 The kit also comes with two nitrile gloves.  Ask a tattoo artist how flimsy gloves are, and how easily they rip.  This is why a tattoo work station includes a container filled with gloves.  Now imagine holding a thin needle bar in your hand and trying to poke yourself with the needle without sliding down the bar and tearing the glove on the solder point for the needle group.  Will the persons purchasing this kit have the sense to buy extra gloves, or will they just continue the procedure without?

 The aftercare balm is called "hustle butter".  I could point out that again you need to question the source, but need I say more?  Who is being "hustled"?

 You also get gauze, a band-aid, a witch-hazel wipe, two ink cups (aren't those the paper condiment cups used as fast-food restaurants?), a medical surface covering, and an instruction book.  A PDF of the book is on their website.

 The instruction book is 28 pages long.  THE FIRST FIVE PAGES INCLUDE WARNINGS ABOUT THE RISKS OF USING THIS KIT!  Stick and Poke Tattoo Kit clearly does not want you to seek legal damages from them in the event that their product harms you.  They can point to their book and demonstrate that nearly 20% of the information provided was a warning not to use their product.  Buyer beware!

Gorgeous, huh?

 The funniest line in this book is on page 8; "Tips for Your Design".  The sixth and final tip is "consult a professional".  WHAT PROFESSIONAL TATTOOER IS GOING TO ASSIST SOMEONE IN DESIGNING THEIR STICK-AND-POKE TATTOO?  That's right, gang, not one.  You walk into a tattoo shop and ask about advice on your DIY stick-and-poke tattoo design, and the best you can hope for is a lecture about what a moronic idea that is.  This simply points to the probability that the makers of the Stick and Poke Tattoo Kit have no experience with the tattoo industry and is out to simply make a quick buck.

 The instructions include some real gems as well.  "Create a clean area" (but no information on how to properly create a clean area).  "Poke the skin with amount of pressure enough to puncture only the top few layers of skin" (how do you gauge that without any training or experience?).  They also make some solid suggestions that most people will never follow, like take your sharps to a proper sharps disposal facility or mark your container for your used materials with the word "biohazard".  The people who are cutting corners by getting this kit are already beyond any sound advice regarding public safety.

 It is this kind of product that actually threatens the industry as a whole.  Tattooing has gained legitimacy in our society by demanding a rigorous adherence to safety by those who practice the art.  Enough DIY tattoos gone wrong and we will find professional tattoo studios driven back underground as legislators are given an excuse to demand tighter restrictions.  Just keep in mind that the person who purchase a tattoo kit to give themselves a tattoo probably has an idiot for a tattooer.

 Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him a message at https://www.facebook.com/tattoonerdz/

Size Matters

 

A tattoo that fits the calf.

"But, Tattoo Nerd, it's not the size of the ship. It's the motion of the ocean, right?"

 That is not what I am writing about, my little friend. No, what I am writing about is the size of your tattoo. One major cause of 'tattoo regret' is getting a tattoo that is too small. Getting a tattoo that is too small is a common mistake when people first start getting tattoos.  Whether it is a matter of wanting something small to get past the "unknown" factor, or a matter of expense, first-timers tend to lean toward tiny tattoos.  For many tattooers, the little tattoo that someone gets because they felt the urge to walk-in and "just get a tattoo" is their bread-and-butter.  However, when given the opportunity, most tattooers would prefer you come in and get a tattoo designed to fit the place on your body you want.

 You may be thinking that a tattooer wanting to do a larger tattoo is all about the money.  While it is true that a larger tattoo will typically cost more, that is not your tattooer's primary motivation.  Your tattooer wants to do a tattoo that looks good.  Especially if it is your first tattoo, your tattooer knows you are going to tell your friends and show-off the tattoo.  They want their work to be well represented, and they want you to come back for more tattoos.  Tiny tattoos have their place, especially for women who want that accent tattoo behind their ear or on their hip.  The size of the tattoo should be determined by the location on the body.  A tiny tattoo may be expertly executed, but if it is floating in a large, empty space, it simply does not look as good.  As a customer, you may think initially that a small tattoo is a good way to start or the best for your budget, but odds are that you will regret your choice and blame your tattooer for allowing you to make it.

A tattoo designed to fit the shoulder and arm.

 So, what then is the "right" size for a tattoo?  When determining the size of the tattoo, the tattooer will take in to consideration the natural frame formed by the shape of the body-part being tattooed.  This frame most often matches the muscle-mass beneath the skin.  The frame of a shoulder tattoo is defined by the shape of your Deltoid muscle, and may extend down your arm to form a "sleeve".  The Gastrocnemius and Soleus muscles form the frame of the calf, and may extend down your leg and wrap around to form a "sock".  The Pectoral muscle forms the frame for a chest tattoo.  A tattoo that sits atop of any muscle mass that does not make full use of the shape of the mass (both positive and negative space) will appear to float haphazardly in that space.  Taking into account the size and shape of the muscle mass demonstrates an intentional placement and is more visually pleasing.  

 When getting a tattoo, it is easy to forget about the location when thinking about things like the design and the meaning of the symbol.  A reputable tattooer will discuss with you the importance of size relative to the place you want to get the tattoo, and it is advice you should take into consideration.  Even if it means that you may spend a little more money for a larger tattoo, your tattoo is an investment in you, one which will hopefully be with you for life.  You will want to see your tattoo and know you made a good choice, instead of looking at an ill-fitting tattoo and wondering what you could have done differently.

Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him a message at https://www.facebook.com/tattoonerdz/

Rebirth of the Green Monster, Birth Defect?

 I love Eikon Device's Green Monster coil tattoo machines. They are great machines at a relatively low price-point (less than $200). They include the innovation Tru-Spring armature bar and springs and separate the coil from the capacitor for simpler maintenance.  Their performance is consistently excellent.  

 To be fair, these were also the machines being talked about as THE standard for production machines when I was learning to tattoo.  Maybe Eikon simply did an excellent job in marketing the machines, or maybe they really were the first to do something radical like take specific measurements of machine speed, performance, and the way that the various components of the device worked together.  The Green Monster did seem to have a major impact on the industry, creating a need for power-supplies that offered a measurement of your machine's output instead of just a 1-10 power-setting.  It also seemed to create an awareness among tattooers regarding what precisely their machines where doing and why. There are better coil machines on the market today, but I would argue that the Green Monster defined the standards upon which many of those machines are based.

The Original

 Naturally, when I received an email from Eikon Device offering an updated version of the classic Green Monster, I was excited. The big change is the coil-position on the frame; they are moved forward on the frame-base to improve the performance of the machine. Everything else about the machine is fairly standard.  They do offer the additional sales pitch about every machine being "hand tuned by Mack Bregg".  That was the first red-flag in my mind, albeit a minor one.  Who is Mack Bregg, and how does he know how I like my machine to perform?  What tattooer in his or her right mind starts tattooing with a machine straight out of the box without checking it and making adjustments?  Are we also to expect that whatever Mack did with the timing-screw actually held while the machine was being jostled through the shipping process? 

 This, however, is the real issue for me.

Yeah, like this one.

 What is that?  It looks like a rubber medallion set in the machine frame. Maybe it is a medal stamp, but whatever. Look at the space between the edge of the medallion and the frame itself.  Now, imagine what can get in there.  It is a bacteria trap!  How are you supposed to clean that? While it is not a huge design flaw in regards to performance, it is major step in the wrong direction when it comes to ease of maintenance with the machine. The original Green Monster had no adornments; simplicity and efficiency made the machine what it is.  I want this machine, I really do, but Eikon may as well have just welded one of those gaudy belt-buckle face-plates to the uprights on the frame.  That medallion makes just about as much sense.   

 In conclusion, IF I do actually get one of these machines (and it is a big if), I know I will want to see if I can pop that thing out of the frame.  I know how important branding is, and getting away from the green paint-job is a plus for myself and other fans of the Green Monster, but, really?  It is a near-miss, Eikon Device, and you lost points because you went for a little flourish on the end.  

Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him a message at https://www.facebook.com/tattoonerdz/

Is Your Significant Other Holding You Back?

 Tattoo Nerd,

 I started dating this girl shortly after I finished my apprenticeship.  We've been together for almost two years now.  I feel I was honest with her about the realities of being a tattooer; long hours, that I was just starting out, that I wasn't going to always have money, and she seemed to understand and even encourage me at first.  Lately, though, she does nothing but complain about my "hobby", the people at the shop I work at (fellow tattooers and customers), and tells me I "should get a real job". What do I do to convince her that being a tattooer is a "real job"?

 Yep, that sucks.

 Let's start with a disclaimer.  I am not a romance expert.  My past is a long-list of broken relationships and often angry women.  I am not the guy to go to in order to save your relationship.  That said, your concern is a common one, something I have both witnessed among others and seen myself first hand.

 Years ago, when I was considering becoming a tattooer, I was dating another artist.  I was working in a warehouse at the time and she was a painter.  She was used to a moderately high-standard of living, her parents where well-off and provided for her in many ways.  We talked about moving south, and I began discussing becoming a tattooer.  She was almost immediately put-off.  Tattooing was too "low-brow" for her tastes, and she was concerned about all the nude women I might see.  When I asked if she would have the same reservation (about nude women) if I wished to become a gynecologist, she stated that she wouldn't mind because of the money I would be making.

 A month or so later, I broke it off with her.  It wasn't about supporting me in the pursuit of my passions, it was about how much money I could bring her.

 A relationship should be a mutual partnership, with both parties fully aware and appreciative of their own value and what their partner brings to the table.  You don't go into a relationship thinking you can change the other person, you go into it embracing their flaws. As tattooers, we can be very "flawed", especially when held to the standards of the 9-5 world.  Your partner has to know, and appreciate, the life you live; long hours, inconsistent income, late nights, the "party-element" without the party, and your dedication to craft.  This is a hard pill to swallow for most people.  We often make the mistake of thinking we can change our partners, that one day we will hit our stride in our careers and they will learn to appreciate and support us.  It is a wonderful dream, but clinging to it will probably lead to more frustration for all parties involved.

 That frustration can lead to problems in your work.  From just being unable to enjoy the job because of troubles at home to drama that can happen when the significant other decides to lose-it at your shop, a relationship with the wrong person can damage your career.  Ask yourself if your significant other believes or has even stated any of the following:

  Is your job "just a hobby", "not real", or "easy"?

 This is indicative of someone who has no awareness of what it takes to be a tattooer.  They are oblivious to the long hours, the frustration of not having a consistent income, the haggling with customers who under-value your work.  They have no appreciation of the commitment-to-craft it takes to be a tattooer.  Often, the problem is that they are envious of your job, especially when they are unhappy in their own work.  Misery loves company, and they would rather you join them in their suffering than try to enjoy and be a part of your pursuit of happiness.

 Is there "no money" in tattooing?

 We know this is simply bullshit.  The average tattoo artist makes $30,000 to $50,000 a year.  The problem for most people in a relationship with a tattooer is that the income is inconsistent.  Some months you might make several thousand dollars, others only a few hundred.  Meanwhile, they have an income they can count on.  When they count on you, the tattooer, to consistently help with the bills and you have a bad month, this leads to problems if you are not prepared.  

 Frankly, this is more the fault of the tattooer than the partner.  In an ideal world, you as a tattooer would not be in a situation where someone was relying on you financially until you saved some money and learned to manage your inconsistent income.  That can take a couple of years for a new tattooer, maybe more.  It is far easier for your partner to deal with the lean-times as a tattooer if you have already prepared for them on your own in advance. If you are a tattooer who is relying on someone else to augment your income, then you deserve the troubles you have.

 "All you think about is work" and they want to party.

  This is the death-knell of a tattooer's relationship.  That partner that in the beginning thought it would be cool to date a tattooer and hang-out at a tattoo shop, only to discover that there are long hours, and while we have fun, it is still a business.  The social-status of dating a tattooer suddenly doesn't mean much when your friends are partying and your tattooer-partner cannot go with you. They may enjoy the money you are earning, but not the work that is behind it.  When the attention that you give them is not enough, be prepared for them to start seeking that attention elsewhere.

 On the flip-side of this is expecting your partner to cater to you while you are at work. They deserve to have a life as much as you, and you made the choice to live that life in a tattoo studio.  They did not.  Being okay with your partner going to the clubs with his or her friends takes a great deal of either trust or apathy.  Expecting them to run your errands for you while you are at the shop is almost as bad as expecting them to pay your bills.  A relationship is a two-way street, and if you both have problems with that, you may want to re-think the whole thing.

 Are your clients and co-workers beneath them, or have they said they don't like tattoos?

 First of all, it is a real testament to your game if you are covered with tattoos and work as a tattooer and someone who has a contemptuous view on tattoos and tattooed people is dating you.  The resentment from this situation is just going to fuel both you and your partner's frustration.  Again, it suggests a lack of appreciation for your career; it is more than what you do, it is who you are.  They may think things will be great when you "grow out of tattooing", while you know you will be doing this for the rest of your life.  It is unlikely that either of you will come around to the other person's way of thinking.

 Your money is their money.

 In a relationship, you should share most things.  For many tattooers, it is nice to have a partner who manages your income and handles your bills.  The problem we often run into is when our partners see us as an ATM for their party-life, or we expect them to work miracles with what little we have.  You have to both know what you are getting into when you join incomes and trust one another with your expenses.  You are each far better off knowing you can manage your own bills rather than relying on one another's income.  

 They don't trust you with attractive clients.

 This is a deal breaker.  As tattooers, we often have clients who are enhancing their body-image with art.  Often, when a client wants to enhance their body, they have a body they want to show-off.  If your partner is insecure about themselves and their own image, then this could lead to trouble,  Furthermore, if you met your partner when they were getting a tattoo in your chair, then they know the opportunity exists.  This is just one of the reasons it is a bad idea to date a client.  It takes maturity and trust, on the part of both you and your partner, to overcome this problem.

 The tattoo lifestyle caters much more to dating than being in a relationship.  Tattooers live a life that is outside what many people expect from a significant-other, often move from one location to another, and are not as "available" as many people with a romantic interest would like.  Being focused on our careers and art is also often hard for someone else to deal with, especially if they want that focus to be on them. Until you are in a fairly stable situation, you will need someone who is extremely understanding and well aware of what they are getting into if you get into a relationship. 

Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him a message at https://www.facebook.com/tattoonerdz/

Getting a Tattoo From Someone Other Than Your Regular Artist

 You have a tattooer that you really like.  He or she does amazing work, you have a good relationship, you get a fair price for your tattoos, and you have gotten a few tattoos from this one artist.  You feel like this person is "your tattooer", the person you go to for your tattoos and advice on tattoos.  Your tattooer is strongest, however, with one particular style of tattoos, and you want a tattoo in a style that you think will be outside their skill-set.  In other words, you have another tattoo artist in mind, but you don't want to damage the relationship you have with your current tattooer. What do you do?

 If this scenario sounds a little odd to you, it is because with most professionals this would not be an issue.  An Italian Chef is not going to hold it against his clients if one night they decide to go to an American Restaurant because they were in the mood for some American Food.  Unfortunately, tattooers are often a bit superstitious about the industry, maybe even a little paranoid.  We often find ourselves with the mentality that every tattoo done by another tattooer is an opportunity lost, and money out of our own pockets.  When one of our clients goes to another artist, we tattooers worry that the shop will be better, that the other artist will offer a negative opinion of our work or try to undercut our pricing, or will frankly just provide a better experience for the client. 

 The reality is that all of these concerns are valid, at least to a point.  We tattooers tend not to see that those concerns are well with in our control.  Being tattooers ourselves, we should assume that our work will be critiqued and the other tattooer will try to win over our client. The question we should ask ourselves is what steps we took to prevent that tattooer from being successful?  If we are concerned about the quality of our shop, then we should have stepped-up and corrected any deficiency.  If we are afraid of a negative critique, then we need to be our own worst critics and truly strive to improve and do our best work on every tattoo.  If we think the other tattooer might provide a better experience, then we need to know and correct the ways which we miss the mark.  

 In short, if our client needs to go to another tattooer for one tattoo because it is simply outside our skill-set, we need to be confident that this is the ONLY reason they are going to another tattooer.

 From the onset of this idea, we have a problem.  If your client feels that they need to be concerned about offending you, then you have already done something wrong.  Your client should recognize that you are a professional, fully aware of your own strengths and weaknesses.  If you are a professional, then you should have no issue discussing with your client what their tattoo needs are, how you can address them, and if you are unable to meet their needs, how they should go about finding an artist who can.  Indeed, as a professional caring for your client, it may even behoove you to have an artist or two in mind you know will do the job, offer a fair price, and treat your client in the same manner you would.

 A doctor will recommend their patients to a specialist when necessary.  A mechanic will send work to another shop if their customer's car needs something they do not offer. If your client comes to you seeking advice about getting a tattoo from another artist, you should feel good that you have built a professional relationship with your client and they see you as a resource they can trust in the tattoo industry.  Taking care of your client, even if it means sending them down the street for a tattoo that is outside your skill-set, is better than losing them because you have a poor attitude, or worse because you gave them a tattoo that was not on par with your normal work when you couldn't bare to do the right thing and send their money to someone else.  

 As a client, you should know that despite our sometimes fragile artistic egos, we tattooers tend to be realists.  If your tattooer does primarily American Traditional work, and you want a portrait, you should be confident that your tattooer will steer you right.  We tell our clients to always, always, ALWAYS look at portfolios when shopping for an artist, and we hope that the reason you selected us was founded on the strength of our portfolios.  With this in mind, we also must know that if a style of tattoo that you want is not in our portfolio, you will have concerns about our ability to execute it. You should expect professionalism from your tattooer, and that they will be willing to talk to you about any aspect of the tattoo process, including potentially needing to go to another artist.

 If you consider someone your tattooer, simply be open and frank with them.  Tell them what you want and what your concerns are about their ability to do the tattoo,  Be prepared also to give them the opportunity to show you what they can do with your concept.

 What that means is being willing to pay your tattooer's drawing fee and being open to seeing their take on your idea.  Your tattooer is your tattooer for a reason; you like their style and their technique.  It may be that they can present your concept in a manner that you had not considered, translating it into their style.  This will have the added advantage of keeping your work consistent, as you will hopefully get many additional tattoos from that tattooer. Being ready to pay when you have this discussion also demonstrates that you are sincere about your appreciation of their work and that you really do want to keep them on as your tattooer.  Your tattooer may even be willing to apply that drawing fee as a down-payment on your next tattoo from them, depending on your relationship.

 You, as a client, should never be anxious about addressing concerns with your tattooer.  If you are, then you may have reason to be concerned.  Not every tattooer can do every tattoo, and a professional tattooer will want you to have good tattoo work, even if the work is not their own.  They would rather have you sing their praises for taking care of them than have a tattoo you regret getting and they regret doing.

 Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him a message at https://www.facebook.com/tattoonerdz/.

Making Getting a Tattoo as Comfortable as Possible

 Tattoos are painful. There is simply no way around it.  People deal with pain in different ways, and different areas of the body are more or less susceptible to pain than others.  The primary goal of any tattoo artist is to execute a good tattoo.  This means that the artist has to deal with the client's discomfort.  Once, there was a school of thought that stated that all that mattered was the artist's ability to get the needle into the skin, and the client needed to contort themselves into whatever position and deal with whatever pain as required.  We've learned a lot since those old-school days.  We know from experience that the more comfortable a client is, the easier they will be to tattoo.  While some discomfort is inevitable, as artists we need to try to minimize any issues to make the tattoo easier for both the client and for ourselves.

 Set Expectations

 There is no sensation quite like getting a tattoo.  When asked how a tattoo feels when I am getting a tattoo, I look at the duty cycle of the power supply and take into account the number of needles on the bar being used, and then state that "it feels like (x number) needles piercing my skin at (y) cycles per second."  No other answer really will suffice, and no answer can truly express what is being experienced.

 That said, the client should be advised that the tattoo will hurt, will at least be uncomfortable, and the pain will vary throughout the process.  If the client wants a tattoo in a typically painful spot, the artist should advise that client of this and possibly suggest a less painful alternative.  Painful areas include spots which are normally sensitive or ticklish (the spine, ribs, neck, bikini area) as well as area where there is little tissue between the skin and bone (hands, feet, sternum).  The least painful areas to tattoo are typically the arms and shoulders.

 A tattoo artist will explain to the client that what will be needed is pain-management.  They should try to continue to breathe normally throughout the process, try not to tense-up, avoid flinching, and make the artist aware of any issues such as dizziness or needing a break.  Using drugs or alcohol in an effort to inhibit pain generally just makes the client less likely to be able to manage the pain as well as if they were sober.  

 Speaking of breaks, it should also be explained that while breaks will be necessary from time-to-time, the tattooed area tends to be more sensitive after a break.

Good Bedside Manner

 As a tattoo artist, you have to be able to read people.  It is easy to become engrossed in the tattoo process and to be aware of little else.  Every so often, it is a good idea for the artist to look up and access the client, simply by asking how they are doing.  

 The artist should also try to assess the client's personality.  Are they a talker, or do they stoically deal with the tattoo process?  The stoic client will generally look to the artist to lead them through the process.  The artist should ask how the client is doing and tell them when the artist will be taking a break.  The artist should make certain that the client doesn't seem "out of it".  The artist should be on the look-out for the client becoming pale, swaying, seeming to lose focus, or having abnormal pupil dilation.

 It is easier to assess a talker's issue because they will either tell the about what they are dealing with or they will go quiet, which means the artist needs to pay more attention to what is going on with them.

 In either case, during the tattoo is a good time for the artist to get to know them.  Ask them about their choice of tattoo.  Discuss with them future tattoo plans.  Not only does it make for good conversation, it helps the artist build a connection with the client as well as assess their mental acuity as they are being tattooed.    

 Tattoo studios can be a little crazy, with artists often chatting among themselves.  Artists should try to include their clients in the shop-talk.  If the client seems uncomfortable with the subject matter, the artist should ask his co-workers to discuss something else.

 Also, the artist should make it clear that pain is normal during a tattoo, and needing a break is equally as normal.  There is nothing wrong with needing a break, and the client should feel comfortable about asking for one as needed.  If they need anything else; water, a candy, whatever, they should be made aware that it is available at any time. 

More on Breaks

 As already discussed, a client should know that breaks are available as needed, but also that breaks can mean that the tattoo will be more difficult to endure.  As an artist, you will need to factor breaks into your schedule, always assuming that your client will need more breaks, not less.  If your client seems to be getting ridiculous with the number of breaks they need, you need to be gentle but firm about how taking too many breaks will inhibit the tattoo process.  If the client is simply having trouble dealing with the pain, suggest doing the line-work to a point where stopping is feasible, and coming back to the tattoo in another session.

Help Your Client Understand the Process

 The client is trusting the artist to execute a safe and solid tattoo.  While the appearance will be the emphasis in the client's mind, safety should be the focus in the artist's mind.  Especially for the first tattoo, the tattoo process can be foreign and mysterious to some clients.  This can lead to a number of nervous questions during the tattoo, as well as movement as the client turns their head to see what you are doing next.

 The more calm your client is, the easier it will be to tattoo them.  The better they understand the process, the easier it will be for them to take the tattoo.  The client should feel comfortable about asking questions about your process, and the artist should be equally comfortable answering questions.  Getting a tattoo should be a clinic on the tattoo process, even if the client says they have no questions.  The artist should always be explaining what is being applied to the client's body and why.  The client should be comfortable in the knowledge that the artist is using the best possible techniques for the tattoo.

Positioning

 The position the client needs to be in to get a tattoo is not always ideal, and even an initially comfortable position can become grueling after being in that position for several hours.  When selecting a position for the client, the artist needs to balance two considerations; the ease with which the artist can tattoo the area, and the ease with which the client can maintain that position.  The easier it is for the artist to execute the tattoo, the better the tattoo will be, but if the client cannot stay in that position and hold still through the process, it will not matter how easy it is for the artist.
  

 It is always a good idea to have a plan-b.  If the massage chair is not working for the client, move them to the table.  If the leg being bent back is getting too painful, change positions and move to another area of the tattoo.  The artist should always try to make it as easy as possible for the client to let the artist do their job.

Afterward

 After the tattoo, the artist will explain in detail the aftercare process.  This is a good time for the client to ask any questions.  The artist will also often want to show the work off to the other artist as well as take photos of the work.  The client should be given a number of means to contact the artist; email, social media, phone number, etc, as well as assurances that any issues with the tattoo can and will be resolved by the artist.  If needed, an appointment for a follow-up or the next session should be scheduled.


 The client should leave the studio fully versed on how to care for their new art.  They should also be comfortable that they received a great tattoo, one they will want to show-off.  An artist who is friendly, knowledgeable, and skilled will have his clients coming back and recommending the artist to their friends.

 Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him a message at https://www.facebook.com/tattoonerdz/