The Business Realities of the Tattoo Apprenticeship

  I was inspired by a person commenting on my Using Pigskin to Practice Tattooing post to write a new post about the apprenticeship aspect of tattooing. His comment...

 "I fully agree with the apprenticeship but most shops refuse to have apprentices and if they do they will pick the cute little girl with no art talent over a guy with art talent. Or they want 10, 20 thousand up front with no guarantee they will even teach you. Have had a couple friends burned on that one."

 ...comes from one side of the window, looking in, on the tattoo apprenticeship. He is also not incorrect.

 Let me start right-off and say that getting an apprenticeship is a vastly superior way to learn to tattoo. As a shop owner I would ask about a potential tattooer's apprenticeship (Surprise! Most shops do not) but the lack of an apprenticeship would not be a deciding factor in hiring. I am a strong advocate of apprenticeships in tattooing, but there are some realities that need to be addressed.

 I want to unpack the comment above into key, distinct points:

• Most shops refuse to take on apprentices.
• Women are "preferred" apprentices.
• Art talent and tattooing.
• The apprenticeship price-tag.
• NO guarantees.

 Most shops refuse to take on apprentices.

 There are a number of business factors which must be taken into account when taking on an apprentice. A tattooer teaching someone new is potentially training their future competition. Even if they work at the same shop, they are drawing from the same local pool of tattoo-clients as the tattoo-mentor. For the shop the apprentice is another mouth to feed; taking up space, using resources, and not generating for a year or more any income. The apprentice will also be a reflection of the tattoo-mentor and shop, good or bad. This is inherent to both the apprentice's skill as a tattooer and their personality. A bad tattooer talking about how they learned from your shop is just has negatively impactful as a tattooer with a bad attitude talking about his being one of your apprentices. 

 This means that the reason a shop or tattooer takes on an apprentice must outweigh or offset the business risks. Tattooing is a craft (more on this later), and a craftsmen may ultimately wish to see the craft continue beyond them and to pass on the techniques they have developed to improve that craft and keep it vibrant. Taking on an apprentice could be a way of ensuring that the knowledge acquired by a tattooer is not lost. 

 When selecting a person to pass their knowledge to, a tattooer will naturally want that person to share their ideals about tattooing and have similar perspectives as the tattooer about life in general. They want the apprentice to be a known-quantity, not an unknown variable. Will the apprentice promote the tattoo-mentor and the shop regardless of the outcome of their apprenticeship? Will they appreciate both the opportunity being given and the knowledge being passed? Apprentices tend to be drawn from a circle of family members and close friends, people who the tattoo-mentor or the shop have an established relationship with and can be counted upon.

 Women are "preferred" apprentices.

 Shops selecting an apprentice operate to a degree on a risk vs reward model. If offering an apprenticeship and considering an "unknown" for the role, what does that person bring to the business that outweighs their risk? You may have noted that the pronouns I have been using for most this post are male. Tattooing is a primarily male industry; the majority of tattooers and tattoo-clients are men. This is in no way an endorsement of men as tattooers over women, this is just the reality.

 That said, for the first 6 months to a year of the apprenticeship, the new apprentice will mainly be "shop-help". They will clean, run errands, manage customers, and observe the tattooers and their practices. For the business, this shop-help is better than free, the apprentice may be paying for the privilege. Given, again, that the client base is primarily male, there is an (unfortunate, I know) appeal to having a woman at the counter, especially if she is attractive. An apprentice will receive tattoos over the course of their apprenticeship, and a female model offers something different in a tattooer's portfolio. A woman in the shop will also potentially increase the female clientele for the shop, drawing in additional income.

 I cannot say that it is the right choice to select a woman as an apprentice for that reason alone, but I recognize the factors that go into the decision. A woman being taken on as an apprentice should be concerned about a shop or tattooer accepting them because they are a woman (the sleaze-factor goes way up under those circumstances), but I would also not fault a person, man or woman, for doing what they needed to get to where they wanted to be.

 Art talent and tattooing.

 Tattooing is a craft. You can bring a great deal of artistry and nuance to a craft, but at the end of the day it is still at its base a mechanical process. The primary goal of an apprenticeship is to impart to the apprentice how to execute the mechanical aspects of the tattoo proficiently and safely. As art relies on talent, it largely cannot be taught. There are technical aspects to drawing, and especially to tattoo design (tattoos are meant to be applied to the body and factors related to the "canvass" must be taken into consideration) that can be taught, but the ability to do something with those tools is inherent to the person using them. 

 In short, a good artist does not a good tattooer make. It can definitely help, and most tattooer/shops will seek out and train talent if they want an apprentice, but it is well down the list of priorities.

 The apprenticeship price-tag.

 $10-20,000 sounds about right. The apprentice is getting the equivalent of a technical degree, skills and tools they will be able to use to generate income, even go into business for themselves, for the rest of their lives. The comment that inspired this blog stated that the payment was expected "up front", and while that is often far from reality it could be because once the apprentice is shown how to set-up a workstation and machine and the basic principles of using a tattoo machine they could (and frequently do) choose to end their apprenticeship and start tattooing.

 Often badly, but they could be on their way.

 In my experience, the "up front" requirement, and even the price-tag, is not set in stone. The potential apprentice is an unknown factor. Before a tattooer or shop invests their time and effort in training someone, they need to be able to gauge if that person will appreciate what is being offered. Will they be committed to the training? Do they have the needed respect for the industry to be worth the effort? How bad do they want to be a tattooer? How creative can this person be to overcome the obstacles to get to their goal? How tenacious are they?

 $10-20,000 is by no means out of the question for a tattoo apprenticeship, and could easily be earned back in the first year as a tattooer. Payment plans are a more common arrangement, and may be offered to a potential apprentice who demonstrates the necessary drive and tenacity.

 The comment also mentioned a couple of friends being "burned" by paying this fee and learning nothing. It is typical for an apprentice to be nothing but shop-help for many months to a year. While ideally they will be shown some things directly, it is expected that the apprentice is practicing drawing tattoos (distinct from other types of art), learn to manage the day-to-day tattoo-shop operations and customer service, and to observe the tattooer's techniques. How does a tattooer move about their station? Set-up and tear-down practices for the station? What do they do with their hands while tattooing? A person who spends even a day in a tattoo shop and learns nothing is not cut-out to be a tattooer.

 NO guarantees.

 The tattoo apprenticeship is an agreement between a tattoo-mentor/shop and the apprentice. The mentor/shop will teach in the manner the tattoo-mentor/shop sees fit the basic skills needed to tattoo in a safe and technically proficient manner. The apprentice will abide by the additional terms of the agreement and learn from the mentor/shop the techniques taught in the manner that mentor/shop trains the apprentice.

 There are no guarantees. The first few months are a trial period in most apprenticeships. How bad does the apprentice want to be a tattooer? Are they willing to show-up, day-after-day, cleaning, greeting customers, and watching tattoos happen? What do they do with their relatively unstructured time? Are they practicing drawing, studying any available materials, observing and asking questions, or do they mostly just stand around and take-up space waiting for someone else to take initiative? If they are the latter, it is likely that the mentor/shop will wish to end the apprenticeship.

 Even if the apprentice shows initiative and drive and makes it to the active phase of the apprenticeship, there is no guarantee that the apprentice will learn what is being taught. Does the apprentice try to take short-cuts in setting up a tattoo station? Does he have poor interpersonal skills that come to light? Is there some unknown impediment to their learning the practices behind tattooing? These issues are not the responsibility of the mentor/shop, and may be reason to end the apprenticeship.

 Once the apprenticeship is completed, there is no guarantee that the newly minted tattooer will have a position with the shop they apprenticed under. They may even have a non-compete clause in their agreement with their mentor/shop to practice tattooing only outside a certain area some distance from the shop for a certain number of years (a clause that is less frequent now-a-days and has often been nigh impossible to enforce). 

 As the shop cannot guarantee that the apprentice will meet the expectations placed upon them, no guarantee can be made by the shop to the apprentice.

 All that said...

 Tattooing is a craft. It is important that I re-iterate that point. Tattooing is a craft. Learning a craft through the mentor-ship of a seasoned professional is vastly superior to learning said craft on one's own. 

 In the tattoo industry, for all its benefits, the apprenticeship model is not always ideal and not always adhered to. I have known many tattooers who are highly skilled and in demand who learned tattooing completely on their own. I know people who became tattooers by opening a tattoo-shop and learning from the tattooers they hired. The reality is that the apprenticeship tradition has been more of a means of control in our industry, a means of reducing potential competition. The availability of both tattoo equipment and information/training means that the genie is out of the bottle. Skill and drive are now the determining factors in a tattooer's success among competitors. 

 I will not endorse people learning to tattoo outside the apprenticeship model, but I recognize that not all mentors are equal. Not every apprenticeship is offered with the purest intentions. There are no shortage of stories of apprenticeships being offered for the wrong reason, primarily that $10-20,000 price-tag discussed above. There are tattooers who have little business teaching others; their own practices may be lacking, their skills may not be developed enough to offer any real insight to an apprentice. While an apprenticeship in my mind may be the ideal way to learn, it would be foolish to suggest it is the only way.

 The bottom line is this. A tattoo shop is seeking to hire a tattooer. Candidates are interviewed. Their portfolios are reviewed. They are asked to perform an audition tattoo. Based on their performance, they may be hired. How they learned to tattoo is rarely a part of the conversation. A self-taught tattooer should probably not brag about that fact, but being self-taught has not prevented tattooers from being successful.

 

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/

Tattoo Ink Expiration Dates

 Tattoo Nerd,

 Does tattoo ink really expire?

 -Mike

 The answer is both yes and no, but more yes than no.

 Ink is simply a pigment (heavy metals, oxidized metals, plastics, or other materials), mixed with a carrier fluid (usually an alcohol like ethyl alcohol or glycerin and/or distilled water).  The majority of tattooers use pre-dispersed ink (pigment that has been mixed with a carrier, or is wet) sold by a trusted manufacturer.  A few tattooers mix their ink themselves.  Materials are selected based on what will produce the brightest possible and longest lasting color, what is least likely to induce a severe reaction in the body (all materials produce a reaction, resulting in the permanence of the tattoo), what will most easily and evenly go into the skin, and what will be cost-effective to produce.

Expiration Date on Eternal Ink

 Technically, inorganic pigment materials have no expiration.  The carrier fluid will eventually evaporate in most ink-bottles.  The plastic of the bottle and seals will break down enough in time to allow the evaporated fluid to escape.  In theory, adding more carrier fluid to a bottle of ink that has dried out would result in usable dispersed ink.

 But, that is not the way to go.

 Tattoo inks are regulated by the FDA, but it is a regulation that is rarely exercised.  This is because the Tattoo Industry has become very good at self-regulation.  The "shelf-life" of tattoo ink is often around two years, with most tattoo studios using up more common colors well before the expiration date.  The best-practice in reputable shops is to throw expired ink away.  

 The idea of recharging a dried-out bottle of ink may be one considered for monetary reasons.  After all, tattoo ink is one of the most expensive fluids on the market.  On average, a one ounce bottle of premium tattoo ink costs between $8-$10.  For the sake of comparison, an ounce of petroleum for your car is about $.02.  At the time of this writing, an ounce of silver (the precious metal, not silver ink) is about $15.  Again, despite the cost of ink, "recharging" is not the way to go.  Studios that do mix their own ink do not do so for monetary reasons, but rather to have greater control of the color selection and quality (disbursement, longevity) of their ink.

 While the materials in tattoo ink do not technically expire, they can become contaminated.  Assuming that the ink was bottled and sealed in a sterile environment (which may not be the case with some ink manufacturers), ink is exposed to contaminants as soon as the seal is broken.  While the rate of contamination is slight with a bottle that remains capped when not in use, the longer the bottle sits the more contaminants it potentially contains.  When fluid is lost from the bottle, by pouring ink from it for use or due to evaporation, air from the environment replaces the volume of fluid lost.  In the average tattoo studio, that is air which has been in the lungs of several people and has been contaminated by blood-plasma and other organic particles that result from the tattoo process.  

Expiration Date on Intenze

 The expiration date, while arbitrarily determined based on the shelf life of the container and in order to prevent external regulation as well as meet local health-codes governing the tattoo industry, serves as an excellent guide to help minimize the possibility of contamination placing a client at risk. Though the risk is extremely slight, anything we can do to reduce the risk is better for our clients and the industry as a whole. You are best served purchasing ink from manufacturers that use expiration dates, by checking your bottles on a monthly basis, and re-ordering inks that are about the expire in what is hopefully the rare time when an exotic ink nears the end of its shelf life. 

 As an addendum, the best way to know what is a reputable source of ink is to take a look at a few tattoo studios in your area.  Tattoo studios, to stay competitive, quickly move to new products or techniques if it appears that those products give another studio or artist an advantage.  If you don't see your ink (or the ink of your tattooer) being commonly used in other studios, it is best to ask why.  Cheap inks cause more problems than they solve.

 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 an email at https://www.facebook.com/tattoonerdz/

Friday the 13th Tattoo Specials; What You Need to Know

 Bargain hunters, rejoice! Every year it seems that ever-more tattoo studios are running specials on Friday the 13th. You can get a tattoo for just $13! But, before you start planning your tattoo-sleeve design for the next Friday the 13th, there are some things you should know.

 Tattoo studios do this to increase awareness of their businesses.

 Think of it as a wine-tasting at a winery, or samples being offered at a bakery. You are getting a little taste of what the tattoo studio has to offer, a sample. The tattoos being offered are small and limited to a select set of designs in order to make the process efficient. The tattooers want to take this time to show-off the studio, let people check out the atmosphere of the shop and their techniques, and introduce themselves to potential new clients. This is a great time for tattoo collectors to check out portfolios, visit shops, and talk to artists about future projects. Plus you get a nice new tattoo.

 What you can get tattooed will be extremely limited.

 As mentioned above, this is meant to be a chance to sample the work of the studio. Friday the 13th specials are generally $13 for the tattoo and a $7 set-up fee (things go faster if they don't have to make change, thus the total is an even $20). The tattoo you can get will come from a select set of tattoo flash-sheets, often a jumble of small designs. There will probably be a limit to the number of colors you are allowed to have in addition to black (often just two), and you will probably only be allowed to get the tattoo on certain parts of the body (generally no fingers, faces, necks, feet, or genitals). The size of the tattoo will be limited to the size of the design on the sheet, and the only modifications that will typically be allowed are those that take away from the design (such as dropping the number 13 from a design). The point is to make the process efficient; you pick a design and it gets tattooed.

 Pro-tip: the smaller the designs offered, the better the shop (typically). This is just my observation, but the better studios that do a Friday the 13th specials tend to offer a sheet or two full (and I mean FULL) of small tattoo designs. This is a decision driven by experience, more popular shops have heavier traffic on days when they run specials, so smaller designs make the process faster. They are popular shops BECAUSE the quality of work and the atmosphere of the shop are better than their competitors. Smaller designs equating to a better shop may not always be the case, but it is a good indicator.

 Do your research.

 Getting a tattoo is the ultimate way to judge a shop, but it helps to plan ahead. Visit the shop you want to check-out and ask if they are having a special (ideally, do this the beginning of the month a Friday the 13th falls in, not six months out). Ask what kind of traffic they expect to have, and if they have a flash-sheet prepared for that day. Pick your designs in advance, if you can, and if you plan to visit multiple shops, come-up with a game plan taking into account how busy they may be.

 Arrive early.

 There is an old saying, 'the early bird gets the tattoo'. Okay, maybe it doesn't go quite like that, but it is a good idea to arrive early. For example, at Little Pricks Tattoo in Austin, Texas, they started the day at noon, and by 6pm had to close their waiting list at four pages in order to get everyone who signed-in tattooed! People had to be turned away. Getting there early is a great idea.

 But, there is something to be said for not arriving too early. Another reason not to be late is fatigue. Doing numerous small tattoos can wear a tattooer down faster than one large piece. However, since tattoo (like any art) is a physical exercise, it is always better when the athlete has warmed-up a bit. While a good shop will have great artists who are consistent in their work-quality, it could be argued that the tattooer will hit their sweet-spot after the third or fourth tattoo (in this marathon-type situation).  Not a rule of any kind, but something to think about when getting in line at the door before the shop opens. Maybe let a few guys get in line ahead of you. 

 Be prepared.

Tattooer: Kyle Giffen

 You can really help your tattooer by being a little prepared. In addition to knowing what you want, know where you want to get it. If you are a hairy guy like your favorite tattoo-nerd, maybe give that area a trim. You may be there a while, so have something to do for when you have already walked around the shop a few times checking-out the art-work and looked through everyone's portfolio. Be prepared to step-out to a convenience store or restaurant for a bite to eat. If you have questions for your tattooer, have an idea what you are going to ask. If you want to talk about a future tattoo, bring your reference designs or anything that might help you explain to your tattooer what you want.

 Be courteous to your fellow collectors.

 If you are at a good studio, it is going to get crowded.  Try not to crowd the front desk or stand too long in one spot in the shop. Give other people a chance to sign-in, conduct their business, and check out the shop. If you are going to eat, step outside. It is great to be enthusiastic about being a part of the tattoo-tribe, but don't be too pushy about interjecting your ideas when you hear someone else having a conversation with your tattooer. When someone is getting a tattoo, that is their time with the tattooer, so keep your chit-chat to a minimum and save your questions for when you are in the chair if you can.

 Be respectful to your studio.

 You know why it is called a special?  Because there are special conditions, and it doesn't happen everyday. $13 tattoo day is not the time to negotiate price on your selected tattoo. Trying to get a price better than $13 is just not cool. Be flexible about your spot in line, if you are not around when your name gets called they are going to go to the next person, but you will be moved to the top as soon as you get back. Let your tattooer or the shop-help know if you are stepping-out for a smoke, adjourning to the restroom, or going down the street for a bite to eat, especially if you are getting close to your turn. Ask about taking pictures, especially while the tattooers are working on someone else. Understand that you are encouraged to wander the shop, but stay out of work-spaces,

 And, if the studio you are at is fully booked, don't ask if they know if another shop is running the same special! That is just poor tattoo etiquette!

 Also, a huge THANK YOU to Little Pricks Tattoo for letting me visit, to Kyle Giffen for my awesome new tattoos, and for just being a great tattoo studio. Check them out at LittlePricksTattoo.com!

 The next five Friday the 13ths are...

 May 13th, 2016

 January 13th, 2017

 October 13th, 2017

 April 13th, 2018

 July 13th, 2018

 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/

Tattoo Drawing Fees, Deposits, and Tips

 Just when you thought calculating the price of a tattoo was confusing enough...

 As an artist, I prefer to work in a custom art studio vs a flash art studio (often referred to unflatteringly as a "street shop").  These shops cater to two different kinds of tattoo clients.  The flash art studio caters to people who are looking for a tattoo that they have seen their friends get.  They want a tattoo for the sake of having a tattoo, and prefer to pick a design from a selection of pre-drawn designs (tattoo flash).  They expect to walk out with a new tattoo the same day they walked into the shop, and are often getting tattooed on a whim.  

 The custom art studio usually doesn't feature tattoo flash on its walls, or if it does the art is decorative or examples of the artists own designs.  Since most people get their first tattoo from a flash shop, this can be a little confusing initially.  People would often walk into the studios I have worked at and asked to see our "books".  We would think they mean out portfolios but they quickly indicate that they are looking for designs.  In custom art studios, the artists create your design specifically for you.  The client walks out of the shop with a unique piece of art.  Often, the tattoos carry a significant meaning to the client, or the client is a collector that wants a unique tattoo and likes the style of the artist they have chosen.

 You can get a custom tattoo at a flash art studio, and you can get a flash design tattooed at a custom studio.  The difference between shops really is just a matter of who they are catering to generally, a difference of business philosophy.

 A custom art studio will often try to create a design for a client on-the-spot, if not the same day.  Some designs, however, require more time to create, and the artist may ask for a deposit or drawing fee to be paid in advance.  This is another point that has befuddled some of the folks that have walked into shops I have worked at; that they would need to pay a small amount in advance of actually getting the tattoo.

 The terms "deposit" and "drawing fee" are often used interchangeabley, which can again lend to some confusion.  A deposit is often associated with the appointment itself, putting money down to hold your spot on the up-coming calendar.  A drawing fee is associated with the effort of creating a design, ensuring that the artist is paid for the effort of drawing even if the client does not get the tattoo.  The problem is that the artists themselves are often unclear on what they are having the client pay for with the fee.  I have seen other artists who's clients expected a drawing in advance of their tattoo appointment, only to have the artist explain that the money merely held their place in line, and other clients left wondering when they were going to get the tattoo since the artist took their money without setting an appointment.

 When paying a fee in advance of a tattoo, whether it is called a drawing fee or a deposit, it behooves you as the client to ask some questions and set some expectations:

 Is the fee included as part of the price of the tattoo?  More often than not, this is the case with most tattoo artists.  If they could draw your design on-the-spot, they would not charge you extra for the drawing, so it makes sense that the fee would come-off the price of your tattoo if you get it from that artist.

 What dates should be set?  If you can, you want to set an appointment for your tattoo.  However, this may not be possible with your schedule and the artist may not be certain when your design will be ready.  If you cannot set a date for the tattoo appointment, set a date to check the progress of the design.

 Under what circumstances should there be a refund?  A deposit or drawing fee establishes a contract between you and the artist, and you should both be very clear on the terms.  Normally, if the artist creates a design, your fee is non-refundable.  The artist has met his or her obligation to you for the fee paid.  Even if you do not get the tattoo, or like the design, the artist should still be paid for the effort.  However, what if the artist has not created a design by the date agreed upon?  How long should go by without a drawing before you, the client, should get your money back and seek a new artist?  Asking this question simply puts your artist on notice: you are expecting a drawing for the money you paid.

 Speaking of contract terms...

 Is the studio responsible in any way for the fee?  The answer here is typically 'no'.  The agreement and the money paid is between you and the artist.  Tattoo artists are not tradtional employees of the studios they work for, but are more like independent contractors.  This means that if you pay a drawing fee to an artist and he moves to a new studio prior to completing your design, you have to track that artist down.  The shop is not responsible.

 This is a point that the artist should also clarify with his studio.  If the artist takes a fee and then moves out of state, the client is going to be left feeling cheated and will associate that feeling with the studio as much as with the artist.  If the studio does involve itself in these agreements, will they expect a piece of the fee, or even to hold the fee for the artist until the obligation is met? The studio has a vested interest in ensuring their client's satisfaction.

 How long will the fee be held?  Just as the client should expect that a drawing will be generated in a timely manner, the artist should also expect the process to be completed.  A drawing fee or deposit is typically $50, but the drawing itself may involve several hours worth of work.  The artist normally can expect to be compensated for the effort as a part of the price of the tattoo itself.  What if the client moves out of state, is abducted by aliens, or simply vanishes?  It is in the artists best interest to give a clear deadline by when they tattoo needs to happen.  I usually set this deadline at 90 days, after which the fee is considered forfeit.

 Do you get to keep your drawing if you don't get the tattoo?  Most artists will tell you no.  Again, the client is probably paying $50 for a design an artist is expecting to get paid much more for (through the tattoo).  Artists are also not interested in seeing their designs being used by another artist, especially if that other artists has probably offered to do the work for less and will do a poorer job of it.  If you expect to keep the drawing, your artist will probably ask for an additional payment.

 Answering those questions, and including the answers as a part of your receipt for the deposit, can go a long way in making the artist and the client feel better about the process.

 Since we are on the subject of fees outside the tattoo price, this is a good blog to also mention tips. 

 Tipping is not nearly as involved of a process as the deposit or drawing fee, but clients are often confused about how much to tip or whether they should leave a tip at all.  Unlike the food service industry, a tip in the tattoo industry is truly a gratuity.  While tipping is welcome and encouraged, it should not be expected by the artist.  Getting a tip is an indicator of a happy client, but the lack of a tip should not be considered the indicator of an unhappy client.  The client may be paying all they can afford for the tattoo, or may just not be one who tips.  Happy clients tell there friends and come back for more tattoos, which is far more important than an extra $20 as a tip.

 How much to tip is also purely a matter of what the client is comfortable with.  There is no set percentage that is considered to be "appropriate".  If you as a client feel like giving a tip, tip whatever amount you feel indicates your staisfaction with the tattoo and the artist.  What is not appropriate when tipping is using the promise of a tip in negotiating the price of a tattoo.  

 Think about it this way.  Your an artist who takes pride in their creative skills and talents.  Some one walks into your studio, looks at your portfolio, and says they want a tattoo.  You offer what you feel is a fair price, or quote your standard rate, and the client basically tells you your work is not worth that rate, but if you come down on the price they will leave a good tip.  They are assuming that you need their tip so badly that you are willing to cheat your studio out of their percentage of your original price.  In essence, a client who uses the promise of a tip to get a better price is telling the artist that they have no respect for them or their art.  

 If you need to negotiate the price down, let it be because you really like the artist's work but you can't afford quite as much as they are asking for.  An artist would rather hear that and work with you on a price than a promise that you will share a little change with them for catering to your need to be cheap.

  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/

Custom or Market Flash? Why the Answer is Custom!

 Often, when I talk about "tattoo flash", I get pretty passionate, but other people's eyes glaze over.  "Tattoo flash" is industry lingo.  It refers to designs which are marketed to tattoo studios in sheets or books.  I believe the term either originates from the idea that the sheets being displayed were an indicator that your location was a tattoo studio (it "flashes" to passer-byes) or they were all designs that the artist had drawn so many times that he could literally do them "in a flash".  Old sheets have prices by each design, and before the invention of thermafax stenciling and modern tattoo machines they HAD to be simple designs.  Today, tattoo flash can be very detailed and involved, though they generally are still simple designs.

Cherry Creek is a popular source of "market" flash.

 Tattoo flash comes in two types; market flash and collector flash.  Market flash are sheets of designs that are commonly asked for by clients who walk into a studio simply wanting a tattoo.  Hearts, skulls, daggers, hula-girls, roses, etc, all populated the sheets of market flash.  Studios who display flash favor market flash because that is what sells.  Flash of this sort on display and in use (a key distinction that I will address in a moment) is one of the ear-marks of what is referred to as a "street shop", a shop that makes its money primarily from walk-ins who want simple tattoos. 

 Collector flash is a whole other animal.  Collector flash are made up of designs that are very specialized, displaying the artistic skill of the designer, and are of subjects and/or in styles that appeal more to collectors of tattoo flash (such as tattoo artists), or tattoo collectors who want something radically different as a tattoo.  Collector flash generally does not sell well in a shop, and is used almost exclusively for display purposes, suggesting a style that a shop might pursue or just adding to the atmosphere of the studio.  Occasionally, a studio that bills itself as a "custom tattoo shop" will display collectors flash and some market flash, but the market flash tends to be either very old, by a famous artist, or drawn by one of the artists in the studio.

Jason Sorrell's parody of the market flash sheets.

 I have a soft-spot in my heart for flash, especially collector flash.  I design and sell flash sheets, and my flash sheets helped me earn my apprenticeship.  But, I must admit that as a tattoo artist, I will always prefer to do a custom tattoo.  It has also been my experience that you will get more tattoo for your money when you go custom.  Why?  Because your artist is more invested in a custom piece.

 When you select a flash design for your tattoo, especially from market flash, you are getting a design that may have been tattooed hundreds of time before.  The artist may bring all their skill and expertise  to the design, but ultimately it is a design that has been done and will be done over-and-over again.  It is craft, and not art.  It also does not help the artist further his career.  An artist can only have so many cherry tattoos in their portfolio before it becomes redundant.

 Custom tattoos, on the other hand, allow the artist to bring all their skills and vision to bare.  Flash can be designed for parts of the body, but a custom piece is designed specifically for the body it is being applied to.  The artist and the collector collaborate on the design, so the collector also becomes more invested in the work.  Because of the creative process and excitement generated by the custom tattoo process, an artist will give more in the tattoo.  Each custom tattoo is an opportunity for the artist to demonstrate just how good they really are, and almost always results in a piece being added to their portfolio in order to further their careers.

 You simply get a better tattoo.

Collectors flash by Jason Sorrell.

 As a final note, the second most frequent tattoo I end up covering-up for clients, after names, are flash tattoos.  Most tattooists starting out start with tattoo flash, usually on friends who are willing to be guinea pigs.  Flash tattoos, even when not done by a beginner, tend not to fit the body and were chosen because the client "wanted a tattoo", but had no idea what they wanted.  Having had some time to think about it, they come up with a specific design and regret having already occupied an ideal location on their body with a flash-piece.  Save yourself some regret and some money, go custom.  



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/