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/

The Downside of New Machine Systems

 Originally, I was just going to make a short statement about this on my Facebook Page: Tattoo Nerd Facebook, but it turned into a full-blown post.

Seth Ceferri Workhorse Iron Machine

 I use coil tattoo machines, a tattoo system that has been in existence for decades.  The system is simple; two coils form and electromagnet that actuates an armature bar assembly.  The downward pull on the bar disrupts the electrical circuit, releasing the bar until is makes contact and re-established the circuit.  This system has been in use for so long that we now have standardization in components and a broad base of supplier for parts and accessories (tubes, needles, grommets, etc.).

 Rotary machines have recently made a resurgence.  Most people are surprised to learn that rotary systems where one of the first electric-tattoo systems, pre-dating coil machine systems.  Rotary machines where initially developed by Thomas Edison as a means to create documents that could be copied by perforating the original and then using ink-rollers to transfer the original to new paper. Sam O'Reilly took Edison's "Electric Pen", redesigned the tube-assembly and added an ink reservoir, then patented the electric tattoo machine in 1891.  Edison later modified his pen with an electric coil, and in 1904 Charlie Wagner modified that design for use in tattoo.  

Cheyenne Hawk 

 Modern rotary machines are smaller, quieter, and far more consistent than a standard coil tattoo machine.  Most of these machines make use of the same accessories as coil machines, the same tubes and needles.  Their growing popularity among tattoo artists has resulted in a number of other machine systems entering into the market-place.  One such system is the Cheyenne Hawk.  The Hawk builds on the rotary tattoo system by including a special grip and cartridge assembly, replacing the standard tube and needle.  The advantage is that pigment and other contaminants do not go up the tube and reach the machine, making the Cheyenne Hawk in theory cleaner and safer than standard systems.

Cheyenne Cartridges.  Stock up!

 New devices are designed to look very high tech and operate using novel systems.  The Centri Cobra is one such machine; using two magnets to create a centrifugal force that actuates the needle bar.  This makes the movement of the machine virtually without friction, which should result in smoother operation and greater control.  The cobra comes with a built in spot-lamp, a feature that is popular on many new devices.  

 The problems with these new machines is the price, and it is not all in the initial cost.  As I stated, with a coil machine system I can purchase components from a broad base of suppliers.  Maintenance and modification of my coil machines is simple and I have numerous options.  A Workhorse Iron coil machine runs about $500 (you can get a machine for much, much less).  If the coils on my Workhorse go bad, I can replace them for as little as $20 if I want to go cheap, and no more than $50 if I want top-of-the-line coils.  With a system like the Cheyenne Hawk, I have to use the needle cartridges and grips for their system.  If the Cheyenne company goes out of business, I have a a $600 device (drive and grips) that are rendered useless when suppliers run out of cartridges.  With the Cobra, if something fails with my $600 device, I have to purchase another $600 Cobra if I want to continue using that kind of machine.  

Centri Cobra, from the future!

 This is the reason for the continued success of the coil-machine system; your initial investment is easy to maintain.  The innovations of new devices are interesting, but the marginal improvements in use and convenience (many systems are designed to offer multiple types of stroke, but switching from one machine to another when going from lining to shading really is not that difficult) do not really make up for the high initial price and long-term maintenance costs.  More over, many artists who use rotary machines or some other new system have a set of coil machines as a back-up for when their more modern system fails.

 That speaks volumes, in my opinion.

 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/

Coil Tattoo Machines 101

A Workhorse Irons Bulldog frame.

 I've been working on this blog for a little while now, mainly because I am about to share a very unpopular opinion in the tattoo community.  If you know what to look for, you can get quality a tattoo machine from a no-name, off-brand, or foreign manufacturer, and often save yourself hundreds of dollars.  The idea that you have to spend hundreds to get a good tattoo machine is promoted by tattoo studios for a variety of reasons, mainly in the hopes that they will keep tattoo machines out of the hands of untrained professionals.  If you take a look on Craigslist.org, you will see that the misinformation campaign is not working.  In fact, it has many professionally trained artists believing the propoganda and putting all their faith in the amount of money they spent being a guarantee of quality in the devices they buy.

 "You get what you pay for" is a popular anecdote about tattoos, and in most cases it is true.  Quality comes at a price, and if you are not willing to pay then there is a good chance you will not get quality.  However, we also all know that some artists are over-priced, charging more than their workmanship is worth or charging more than what a more talented artist might charge without the hype of a "celebrity" name attached.  It is no different with tattoo machines, and in reality those who malign tattoo machines from sources they consider unprofessional often own machines that are composed of components manufactured by those same overseas companies producing low-priced tattoo machines.

 That said, you have to know what you are looking for.  When ordering tattoo machines on-line, you are buying sight-unseen.  You won't know what you have until the machine arrives.  While the price-point is no guarantee of quality, a higher price does at least suggest higher quality materials and more precise manufacturing.  While I would argue against needing a $300+ tattoo machine to do a good tattoo, I would also look to a $25 machine as being the source of many problems a tattoo artist might have in executing a tattoo.  My $300 machines, purchased simply because I wanted them, tattoo no better than my $100 machines.

 If you don't know what you are looking for in a machine, you will always have problems with your tattoo that you simply cannot explain.  A solid apprenticeship should teach everything you need to know about a tattoo machine, but just like tattoos and tattoo machines, quality in an apprenticeship is not always a given.

 What I am offering here is just some basics.  You have to have some experience with a tattoo machine for most of this to be relevant.  Hopefully this will augment some of the things you are already learning.  Also, most opinions on tattoo machines are just that, opinions.  They are based on some science but mostly the experience of the individual artists.  Great tattoo artists have never been afraid to experiment with their machines; trying out different materials and configurations.  Most the information I offer here suggests tendencies in machine form and function.  Ultimately, the artists determines what type of machine works best for them based on what they are trying to accomplish.

 The ideal machine runs consistently with minimal adjustment.  It does what it is expected to do.  When an artist can rely on the machine to operate in a particular manner, and understands how that operation will effect the stroke the machine makes, he or she can be more confident in using that machine to execute a tattoo.  Cheap materials, poor manufacturing standards, and unnecessary adjustable components rob a tattoo machine of its consistency.

 Frames

 If a better tattoo can be expected from a better tattoo machine, then a better tattoo machine can be expected from a better tattoo machine frame.  There is much ado about frame materials; brass, iron, steel, zinc, aluminum, and even more exotic materials all have their own strengths and weaknesses.  Heavy materials, like brass or iron, tend to reduce vibration.  Lighter materials, like aluminum or zinc, tend to allow the tattoo artist to work longer (as holding a vibrating hunk of metal above your hand for hours at a time can be a struggle).  Conductive materals can have the coils make direct contact with the frame base, while non-conductive materials require a yoke to form the u-magnet with the coils.  If your frame heats up, there is typically a problem with the circuit and not the frame.  The magnetic-field of a frame has so little effect on the operation that other aspects of the machine overcome any concerns about the materials effecting the magnetism of the machine (although some materials can become magnetized themselves).

 The main concern about a tattoo machine frame is it's geometry.  This includes the machines frame base length (a longer machine tends to operate slower and lends itself to shading or coloring) and post-height (which makes room for different length coil-cores).  The most important aspect of frame geometry, however, is the alignment of the spring mount, the frame base, and the tube vice, or more precisely, the screw-holes and opening of the vice.

Two cheap frames, but the frame on the left was less expensive yet has far better alignment than the frame on the right.

 If the frame is out of alignment, there will always be issues with its operation.  Being out of alignment can cause the frame to heat faster during operation and can wear out springs faster.  The pull on the armature bar will typically be inconsistent since it is not aligned on the center of the coil cores.  The picture above shows two relatively inexpensive machine frames, but the alignment of the one of the right is so far off the center of the frame base and the spring mount is completely out of line with the coils and tube vice that it is essentially worthless.  You could tattoo with it, but you will more than likely run into problems in the quality of your work that would be less likely with frame on the left.

Note the cut-back post option.

 Front upright alignment effects the operation of the machine making it better for a particular function; running faster or running slower.  The front upright is typically either aligned with the front coil, or forward of the front coil.  The further forward the front upright, the larger the machine stroke and the slower the machine speed.  Frames designed for lining tend to keep the front upright close to or in alignment with the front coil, while frames designed for shading or coloring tend to be forward of the front coil.

 Cut-back frames allow for the position of the front binding post to be adjusted; meaning the frame can be configured as a lining or shading machine, depending on the post's position.  While this can be advantageous in some situations. most professional tattoo artists use several machines each configured for different function.  Cut-back frames have one more point where things can come loose and move with the vibration of the machine.  

Note the slight pitch of the spring mount on the right.

 A final aspect of frame geometry to consider is the pitch of the spring mount.  Generally, a spring mount should be flat or parallel to the frame base.  A mount that has a pitch can offer greater tension on the back spring, resulting in faster machine operation.  Some frames have even been designed that allow the pitch of the spring mount to be adjusted (which is again, one more moving part to vibrate loose).  The artificial tension on the back spring will make a machine tend to operate as a liner, but at the cost of greater wear on the spring itself.  

 Frames are typically produced in one of three ways; cast, wire-cut, and pressed-then-bent.  Frames which are cast are typically considered ideal; the metal for the frame is poured into a mold resulting in one solid and (hopefully) consistently stable piece.  Wire-cut frames essentially take a solid piece of metal and carve a shape out of the block.  The result is still a solid piece of metal (hopefully), with clean angles and lines.  This is common to machines that are massed produced overseas.  Equally as common are the press-then-bent machines.  These are less desirable because the process of bending the metal into shape creates inherent weak-points in the frame, and unless the cut was designed to take into account the final shape there may be alignment issues from the bending process.

 Frames to generally be avoided are frames that come in more than one piece.  Tattoo machines vibrate, which is why you want your frame to be as solid as possible  With a frame that is several pieces bolted together, the vibration loosens the parts which means changes in the machine's consistency and the need for constant re-adjustment.  The vibration of a tattoo machine can change the alignment over-time of a frame that was pressed-then-bent into shape, a wire-cut frame that is too thin, or a cast frame that is flawed or cheaply produced, but frames that are multiple pieces suffer from this draw-back more than others.

 Keep in mind that, except for the alignment, other aspects of the frame can be overcome by changing the other components of the machine to compensate.  For example, a longer frame can be sped up using higher guage springs or a small capacitor (among other methods).  Again, these aspects of machine design indicate tendencies, and it is up to the artist to determine what works best for them.

 Coils

 Coils generally come in 8, 10, or 12 "wraps" (layer of wire wrapped around the core) of 24 AWG red or green magnetic wire with a 150c heat rating).  The wire is wrapped around typically a 3/16 or 5/8 iron core or bobbin core.  The number of wraps effects both the speed of the machine (slightly) and the downward pull of the electromagnet formed by the coils.  Greater downward force tends to be favored in machines used for lining or coloring. 

 Ideally, coils have a consistent wrap.  That means no gaps between the wire as it goes around the core.  This is more easilly achieved with a machine than by hand (as one who has wrapped coils, I can attest to this fact), however when buying coils mass-produced you are again leaving yourself subject to the manufacturing process and quality controls of the producer.  Coils typically come wrapped in an insulator or sleeve that is opaque or features art of some kind.  Even with a transperent insulator, you would only be able to see the top wrap which could hide flaws in the lower layers.

 Moreover, some unscrupulous manufacturers pad their coils by adding additional insulator to the wrap, making the coils appear to have more wraps than are actually present.  Without cutting the coil open and unwinding it, the things to look for are smooth, straight insulator sleeves and to compare the coil-performance in a machine against what you would expect.  If the coils have a bloated appearance, that is an indicator that the wrap has been padded and your are getting a smaller wrap than indicated.

 Tattoo atists who buy machines from off-brand manufacturers almost always change the coils with sets they have purchased from a trusted source.  Even with reliable manufacturers, mass production can often result in flaws that would prevent consistent operation.  My experience has been about 50/50 with low-priced machines; they are equally likely to come with good coils as they are with bad.

 Capacitors

 The capacitor, along with the wire, solder lugs, and coils (in contact with a conductive frame or yoke), form the electro-magnet that drives the function of a tattoo machine.  The purpose of the capacitor is to regulate the "flow" of electricity through the circuit, making the machine more consistent.  47 uF (units of Farad) and 22 uF are the most common size capacitor used on all machines, but adjusting the capacitor size can change the way the machine operates.

 By increasing the uF, your larger capacitor will slow the circuit down, and may also increase the downward force.  A smaller capacitor is faster and has less force, typically.  Keep in mind that other factors may off-set the machine's function (force is more a function of the springs).  The second most usual culprit in a machine over heating is a bad capacitor, with the first most usual culprit being an untrained artist who thinks increasing the voltage on the power supply will increase the machine's power and speed.  Mechanically, the machine has an upper performance limit.  The voltage limit (v) is generally printed on the capacitor along with its uF rating.  Exceeding that limit can damage your capacitor and cause your machine to get hot (as well as burn/bore a hole through your front spring in extreme cases).  Most capacitors used have voltage ratings of 25 or greater, while machines are typically run at 12 volts or less.

 Tattoo machine circuits are typically sold as a single unit.  Capacitors tend not to last as long as coils.  A simple modification to the circuit can seperate the capacitor from the coils by putting the capacitor on its own line with seperate solder lugs.  This allows the capacitor to be changed out from the coils if an issue becomes apparent or if you simply want to try a different sized capacitor on your machine.

 Springs and Armature Bars

 The spring and armature bar assembly is the moving part of the machine.  When the electric circuit of the machine is closed (the front spring is in contact with the timing screw), the coils form an electro-magnet that pulls the armature bar downward toward the coil cores.  This opens the circuit, shutting off the magnet and releasing the armature bar.  The tension created by the downward motion of the assemby on the back spring is reversed, and the assemply moves upward until is makes contact with the timing screw, and the cycle repeats.  The cycle speed of a machine helps determine what it is used for.  Lining machines tend to run faster, like 120-140 (or more) cycles per second, shading machines tend to run from 110-120 cycles per second, and coloring machines tend to run 100-110 cycles per second (or less).

Armature Bar/Spring Assembly

 It should be noted that we are again talking about tendencies, not hard rules.  The use of a machine is determined by a combination of factors and how the tattoo artist tattoos.  There is no right or wrong speed.  A faster machine requires a faster hand.

 Armature bars are typically made of iron or another metal that is ferromagnetic (reacts to magnets).  Springs are usually made of (gasp!) spring steel.  Spring steel is an alloy that allows the metal to return to (or snap-back to) its original shape when it is bent or twisted. Armature bars come in different weights and lengths, with heavier a-bars helping to slow the machine's speed.  Springs come in different gauges; thicker gauges speed the machine up and increase the downward force of the assembly.

 A front spring is bent at about 15-25 degrees.  The greater the bend or "roll", the softer the force of the machine stroke (as the needle has a shorter distance to travel).  The gauge of the front spring (also referred to as the timing spring) impacts the speed of the machine; a thicker gauge results in a faster machine because it has less "give" when making contact with the timing screw than a thinner gauge.  Back springs are generally flat, and determine the tension of the machine and the assemby's downward force; greater the gauge the more force applied.  Lining machines, color machines, and large needle groups generally require more force than shading machines or small needle groups.  Tension can also be increased by slightly bending the back spring.

 Traditionally, springs have come in two pieces; front and back.  When I first purchased a machine with a one-piece spring, my thought was that the manufacturer was cutting corners.  One piece means a few less steps in the fabrication process and would be less expensive.  However, I have seen several reputable companies offering one-piece springs.  The advantage I could see from a one-piece spring is that the spring is in contact with the armature bar until the point where it is bent, making it potentially more stable.  The standard spring assemply leaves the front spring elevated by the back spring slightly above the armature bar.  The disadvantages include the point where the spring is attached to the armature bar being the tension point and weaker than the standard assembly.  With the standard assembly the point of tension is the center of the back spring.  It also offers less flexibility in customization; the one-piece spring is a single gauge throughout, while the tradional two-piece assembly allows for two different gauges depending on the artist's preference.

 Another innovation that I am more in favor of is the "Tru-Spring" system by Eikon.  Armature bars in this system are cut with a 15 degree angle and a seperate mount for both springs.  This means there is no bend in the front spring, therefore no weak-point in the spring.  Your spring potentially lasts longer than the traditional bent spring, but it also means that you have to buy your springs from Eikon or cut them yourself in order to have replacements.

 You may notice that I did not include an o-ring in my assembly.  It is my opinion that consistent operation should be the goal when assembling a tattoo machine, and that an o-ring reduces that consistency.  The o-ring can quiet the noise of the machine, as well as speeding up the machine by adding tension to the front spring.  This can be compensated for by making other adjustments if it is not desired.  However, since the o-ring is made of rubber, it breaks down faster and changes shape as the machine is used, changing the way it impacts the machine.  O-rings, like gommets, should be thrown away after each tattoo, but many artists fail to do so.

 When attaching the armature bar/spring assembly to the spring mount on the frame, there are a few points to be aware of.  You want the a-bar and springs to align down the center of your frame base, which should be aligned with your tube vice.  An alignment tool helps ensure your springs are aligned on your armature bar.  The armature bar jig is placed in the tube vice, with the armature bar pin sitting in the jig-slot, lining the bar up with the center of the tube-vice.  This should also be directly over the center of your coil cores on a frame with good geometry.

 The next point(s) of concern is the space, or gap, between the armature bar and other points on the machine.  Much of this article has discussed speeds and measurements that require a metered power supply to varify.  Without a supply that tells you the Cycles Per Second or Hertz (hz), duty cycle, etc, you will have to rely on visual adjustments and the sound of the machine.  The armature bar should flutter between the coils and the timing screw.  The noise a machine makes should be a consistent, smooth sounding buzz, with no "clacking" (which suggests the movement of the a-bar is incorrect.  

 There are three gaps to check; the point gap, the air gap, and the back coil gap.  The point gap is the space between the front spring and the point of the timing screw when the armature bar is depressed.  The wider the gap, the slower the machine will run.  The timing screw can be adjusted while the machine is running, allowing for you to check the machine visiually and by sound, or to see what the machine is doing on a metered power supply.  

 The air gap is the distance between the bottom of the armature bar and the top of the front coil core.  This gap determines the throw of the needle, or how far downward the needle will travel.  The air gap is impacted by the point gap, and vice versa, so a faster machine will have a shorter airgap and potentially less throw then a slower machine.  This can be compensated for by adjusting the tube in the tube vice and setting the depth of the needle visually.  The less throw a machine has, the fewer needles it can push.    

 The back spring gap is the space between the bottom of the armature bar and the top of the back coil core.  When the armature bar is depressed, the bar should touch the front coil core, but there should be a slight space between the back coil core and the armature bar.  If the armature bar touches the back coil, there is not enough room to allow for proper movement.  Too much space puts unnecessary tension on the back spring, which can snap.  Ideally, this space should be about the same thickness as a sheet of paper.   

 When buying a tattoo machine, these are all points to consider; frame geometry, material, and type, coil quality and size, hardware materials (binding posts, timing screw, armature bar, screws).  Machines purchased from a manufacturer almost always require some adjustment before use, if only to tune the machine to the preference of the artist.  When buying machines, it is worth while to also invest in additional spring sets, different weighted armature bars, other hardware, and coils so that if a part of a machine that is purchased does not meet your expectations it can be replaced.  If you know what you are doing, you can purchase an average machine and make it great for far less than purchasing an expensive machine and hoping it lives up to the hype around it.  While the information offered here should be of some help, there is still a great deal of information about machine assembly and adjustment to be discovered through a proper apprenticeship. 

 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/

   

How a Tattoo is Priced

"A Good Tattoo Isn't Cheap.  A Cheap Tattoo Isn't Good."

 This is simply a truism about tattoos that is applicable almost universally with a few rare instances or circumstances that disprove the rule. It is ALWAYS in your best interest to shop for quality.  Pricing a tattoo is a subjective art.  Prices are offered as either a flat-rate, generally for small tattoos, or an hourly rate for larger pieces.  A price on a tattoo is open to negotiation, within limits, and is dependent on what the artist thinks his or her effort is worth, how much they want to do the tattoo, and how much they need to do the tattoo.

 As a collector, pricing should be your last consideration when getting a tattoo.  First you should be concerned about the quality and reputation of the shops you are considering.  Then you should find a knowledgeable artist in a reputable shop who is skilled in the style and subject matter you are interested in.  After those concerns have been addressed, then it is time for you to discuss price.  It is worth your money to get your work from a good shop and an artist who knows what they are doing.  A tattoo is an investment in yourself, so don't go cheap.

 The price of a tattoo may be presented as either flat rate or an hourly rate.  An artist who offers a flat rate comes up with an estimate of what a tattoo of that design's complexity, number of colors, size, and location on the body will cost for him to do.  Artist develop an eye for pricing based on the size and complexity of the design with a rough idea to how long it will take them to do and what they wish to make per hour.  If the tattoo is on a spot that presents its own issues; feet, hands, ribs, chests, breasts, or intimate areas, then the artist adjusts the price up to compensate.  A flat rate is typically offered for small tattoos or pre-designed (tattoo flash) tattoos.  The advantage of flat-rate pricing is that both the client and the artist know exactly how much money will be exchanged for the tattoo.

 An hourly rate is typically offered on large pieces that will take several sessions to complete.  Again, the artist knows how much they would like to earn an hour, and can probably offer an estimate of how long a tattoo might take, but due to the tattoos size the exact amount of time is uncertain.  Tattoo sleeves, socks, body-suits, back pieces, touch-ups, and cover-ups are often offered at an hourly rate.  The advantage of hourly-pricing is that the tattoo can be broken down into sessions, with segments of time being purchased by the collector from his artist.  The collector does not need to pay for the entire tattoo up-front, and on future sessions can pay only the amount that is comfortable for them, getting a smaller or larger amount of work depending on the amount paid.

 Tattoo pricing is subjective, and generally open to negotiation.  Rare is an artist or shop that has a rate on any tattoo "set".  A tattoo artist typically offers a price for what they think is fair for their effort.  While some artists may try to "size-up" their customer and offer a price based partially on what they think the customer may be able to pay, this is considered an unprofessional and unnecessary practice.  If your work is worth $200 an hour, it will fetch $200 an hour regardless of a particular customer's ability to pay.

 The price offered, however, may not be the final word on the tattoo price.  This is because a tattoo artist is driven by other motivators than money alone.  The tattoo artist may very much want to do your tattoo.  The design you have selected or the concept you have in mind may be intriguing to the artists and something he or she would like to have in their portfolio.  This is why it is beneficial to seek an artist who's style you enjoy and who has some familiarity with the subject matter.  An artist who wants to do your tattoo may be willing to take less than they normally would to do the work.

 Another factor is how badly the artist needs to do your tattoo.  Tattoo artists have bills to pay like everyone else.  If an artist is feeling the crunch from upcoming bills, has expensive plans in the future, or if he or she  is having a slow day, then their may be room for negotiation.  While you cannot possibly know when an artist's bills are due or what their plans are, you know that their rhythms probably coincide with the rest of society.  Thus, the end of the month and the middle of the month might be more needful times for an artist.  Also, since a tattoo artist makes most of his or her money on the weekends, Monday through Thursday are probably a little less expensive days to visit an artist than Friday through Sunday.  The less the artist has going on, the more likely they are to charge less to simply earn some money on a slow day.

 Negotiation should always be considered a possibility.  It never hurts to ask if you can get a better price.  How you ask, and how you respond, can either help or hurt your price.  They may not look it, but tattoo artists can be a little on the sensitive-side when it come to their work.  Telling an artist that they are asking for too much for a "drawing on the skin" tells the artist you have no respect for the industry or for them as an artist.  Generally, a tattoo artist offers what they feel is a fair price for the work requested, so questioning their judgement suggests you lack confidence in their skills.  Telling an artist that you have gotten better offers from other tattoo artists or shops is also a poor strategy.  More often than not, you will be invited to seek that artist, and to come back for an even more expensive cover-up (because you get what you pay for).

 The best strategy for negotiating the price if the price offered is out of your comfort zone is to simply say so. "That is more than I am prepared to pay, but I really want the work" almost always gets some wiggle-room on the price.  The artist may come down a small amount, which is usually the least they will take to do the tattoo, or they may ask what you are hoping to pay for the work.  The artist will take that information and may offer to do a smaller or less detailed version of your design, or offer to do the work in sessions.  In any case, letting the artist know that you want the work, but are simply short on cash, is far better than suggesting the work is over-priced or that a better deal can be gotten elsewhere.

 Again (because this point cannot be emphasized enough), pricing should be your last concern when getting a tattoo.  If you find a reputable and safe tattoo studio with an artist who is skilled in the style you like and is enthusiastic about your tattoo, they will more than likely work with you on a price and give you a tattoo that is worth every penny.  A little research can go a long way toward saving not just cash, but regret over your tattoo in the future.  Finding just the right shop and artist for you can also go a long way toward saving you money on future tattoos.  Keep in mind, while you are saving money on ink, that artists take tips, and a good tip can also lead to savings in the future.

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/

Do You Want a Tattoo? Things to Consider Before Getting Your First Tattoo.

 Getting a tattoo should not be a spur-of-the-moment decision, although it often is.  The tattoo you got that night out partying with your friends might be a momento of  a wonderful evening when you let your hair down, but more often than not it is a reminder of why you should not drink in excess.  Getting a tattoo should be a carefully thought out decision, not just what and where but if you should even get one.  Here are some questions to consider before getting your first tattoo.

 1) Are you comfortable with a "permanent" marking in your skin?

 Tattoos are "permanent".  While they may fade and distort in time, your tattoo will more than likely be in your skin well after you have vacated your body.  A tattoo is a permanent "wound" in your skin.  The ink is inserted into your dermis, or your second layer of skin, where your immune system seals what it cannot carry away.  Barring laser-removal treatment (which is far more expensive than the tattoo itself and not 100% successful), your tattoo will be around for your grandchildren to ask you about.  Are you willing to make that kind of commitment to having a design on your body, any design, and are you willing to live with the potential fall-out from friends, family, and employers for having ink?   If so, then a tattoo may be worth getting.

 2) Are you getting a tattoo for you, or because someone else wants you to?

 Your tattoo is your tattoo.  It should be a reflection of who you are, what is important to you, or a way for your to enhance your image.  You will have your tattoo for life, and no one else can live your life but you.  Getting a tattoo because someone wants you to is just a bad idea, especially when it comes to getting the name of your significant other.  Doing so is often the "kiss of death" in a relationship, done as a show of commitment or fidelity while not being willing to take actual steps toward officiating that relationship.  The WORST thing I've seen is when one person in the relationship is getting the other's name, but the other person is not getting their name.  Ask yourself, if the only reason your getting the tattoo is because person X is in your life, would you still want it if they were not?  If the answer is no, you would not get this tattoo without person X being around to appreciate it, then do not get the tattoo.

 3) Do you handle pain well? 

 In case you have not heard, tattoos hurt.  While it is no where near an unbearable amount of pain, it is a sensation that must be endured if you want a tattoo, often for several hours.  The more ticklish or sensitive the spot on the body, the more it will hurt.  I liken the pain to a cat-scratch across a sunburn.  It will get your attention.  Your tattoo may require multiple sessions as well as a "touch-up" session.  Touching up the wounded area will hurt even more.  On average, a tattoo takes about 6 months to heal, although most tattoos can be touched-up after 2 weeks.

 The pain of the tattoo needle is not the only part that may hurt.  To give you your tattoo, you may need to sit or lay in an awkward position for long periods of time.  You may feel nauseous or light-headed during your tattoo.  Days after the tattoo, you may experience stiffness in the area that was tattooed.  The phrase "short is the pain, long is the ornament" expresses how most tattooed people feel about the pain aspect of their work, but while getting a tattoo the pain will not seem "short".  Numbing creams and pain killers have little effect, and can actually make the pain more difficult to endure.

 So, if you get a tattoo, be prepared to deal with some irritation.

4) Are you aware of the health risks involved?

 Even under the best of conditions, there are health risks involved in getting a tattoo.  Your skin will have a large area abraded and a foreign substance inserted into it.  The abrasion will take several weeks or even months to heal, and will be open to potential infection during that healing process.  The substances used to create the pigments and the carrier for your ink may cause an allergic reaction in some, further complicating the healing process and increasing the risk of infection.

 Furthermore, not all conditions are ideal.  When even the best shops can have health problems arise from the nature of tattooing, the high demand for tattoos means that many disreputable persons and establishments are offering tattoos while not adhering to the strictest standards.  In addition, most shops require you to sign a waiver absolving them of any responsibility for the inherent risks involved in your tattoo.  If something does happen, your not likely to be able to sue the shop involved.

 Poor aftercare is the biggest contributor to health issues.  The shop you got your tattoo in is probably cleaner than your home and where you work.  The instructions your artist gives you to care for your tattoo only decrease the likelihood of problems and ONLY IF YOU FOLLOW THEM.  Tattoo clients are loathe to admit it, but the majority of issues while healing are the result of poor aftercare.

 Finally, if you have special health concerns like a compromised immune system, hemophilia, diabetes, or you are prone to seizures, you should consult a physician before getting a tattoo.  While tattoo artists are generally knowledgeable and experienced with such issues, only your health provider can provide any real assurance that you are healthy enough to be tattooed.  

 5) Will you be tolerant of any social backlash for being tattooed?

 Yes, we have come a long way as an industry since the days when tattoos were considered exclusively for sailors, criminals, and harlots.  Still, some people maintain a grudge against tattoos.  Many look upon getting a tattoo as taking an unnecessary risk, both with your health and your social-status.  Having a tattoo to some suggests that you are irresponsible. Some employers frown on tattoos (a recent study suggested that more than half of the hiring managers who have tattoos THEMSELVES would not hire a tattooed applicant), and many religions and religious organizations take a dim view of tattoos. While you intend for your ink to be a personal expression, you cannot predict how people will receive it, and you may give an impression you did not intend.

 6) Are you willing to do some research before getting a tattoo?

 Far too often, a client will walk into a tattoo studio and ask to see some designs.  They have no idea what they want.  All they know is that they want a tattoo.  Often, it is their first tattoo, and they want it for whatever rewards they think being tattooed will bring them.  Getting a tattoo is a process, and the more you understand about that process, the happier you will be with your ink.  Take your time to decide on a design or at least a concept, including placement on the body, that you really want.  Visit several shops and discuss your idea with different artists, getting their feedback about your design.  Look at portfolios and check out the studio's reputation.  When you settle on a studio and an artist, negotiate price and be prepared to pay what the artist is asking for.  Going for less tattoo because you cannot afford it in one session leaves you with a tattoo you may regret, and trying to "low-ball" your artist just frustrates the guy who may be sticking you with a needle for several hours.

 7) Are you prepared to be responsible for how your tattoo turns out?

 A tattoo is an elective process.  The function of the artist and the studio is to facilitate the process of giving you a tattoo.  You pick the design.  You select the shop and the artist.  You determine the location on your body for the tattoo.  Others may have some suggestions, but ultimately the decisions are yours to make.  Most studios will require that you sign a waiver stating that you understand that a tattoo is a permanent marking, that the process is painful, that their are risks, and that you assume full responsibility for those risks. This includes issues with the tattoo that arise during and after the procedure.  Once you sign that document, you are absolving your artist and your studio of any responsibilities for your tattoo.  Most studios and artists want to maintain a good reputation and relationship with their clients and will work with you if problems arise, but it is ultimately on you.

 8) Is there an alternative to getting a tattoo that you would be happier with?

 A number of options exist for those who think they might want a tattoo but aren't certain.  T-shirts and "tattooed sleeves" are available to give anyone the look of having tattoos without having ever been touched by a tattoo needle.  Adult temporary tattoos can be purchased pre-made or printed from your home computer.  Latex paint, cosmetic airbrushing, and body-markers can all provide a temporary alternative to being tattooed.  Henna tattoos stain the skin for as much as three weeks.  Any of these options provide a sense of what having a tattoo is like without the pain or the commitment.

 9) Are you prepared for your tattoo to change as you age and your body changes?

 Tattoos are in the skin.  The grow, stretch, shrink, and wrinkle as the skin changes.  Your body will never stop trying to remove the ink from your skin, thus the tattoo will blur and fade.  Exposure to sunlight or abrasive materials and procedures may also damage your tattoo.  While different products exist to help preserve your tattoo, these can only limit the effects of time.  The tattoo is a "permanent" mark, but its appearance can change drastically as your body changes.  

 With these things in mind, you may be ready for your first tattoo.  Take your time making your decision.  A tattoo is an investment in your personal expression and identity, and should not be gotten hastily. 

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/

Tattooing in Trade

 "Trade Work" is something that most tattoo artists do now and then.  You need your car fixed, and you run into an auto-mechanic who is looking for tattoo work, so you work out a trade.  You need a new cellphone and want to upgrade, not necessarily to the latest model but something better than the dinosaur you carry in your pocket.  So, you post an add saying you will trade tattoos for a phone and pick from what is offered.

 Being willing to work in trade is usually good for the client and for the tattooist. Both get something they want by either doing something they enjoy doing or by not having to shell out a wad of cash for something they want.  Most tattooist do trade work "occasionally", and typically do not advertise that they are willing to do so unless they need something.  With the economy being what it is, being willing to work in trade can be a lucrative practice, if you know what you are doing.

 One of the negatives of working in trade is the perception that doing so cheapens your work.  Other professions generally do not work in trade... or at least that is the perception.  In fact, doctors, lawyers, and other professionals often trade their services with clients who have something to offer them, but those transactions are usually above the head of John Q. Public.  Being a tattooist, essentially an independent contractor in most shops, affords us the opportunity to set our own rates and methods of exchange.  However, rule number one in doing trade work is to make certain you and the owner of your studio have a mutual understanding of not only that you are doing tattoos in trade, but how you are advertising the fact and what the split will be on a tattoo done in trade.

 Generally, it is not a good idea to advertise that you are working in a particular shop when doing trade work, as it again may lessen your standing in some people's eyes.  Also, if you represent the shop as doing work for trade, it is likely that people will show up expecting all the artist in your shop to do so, even if it just you.  You do not want the studio to be perceived as a kind of pawnshop.

 You should also trade in items that you are somewhat familiar with.  It is in the nature of the game for clients to over-estimate the value of their trade, and if you do not know enough about what it is you are trading for you may be taken advantage of.  The more familiar you are with what you are trading for the better off you will be.

 As I said, the client will almost always over-estimate the value of what they are trading for.  They may not take into account depreciation and expect to receive for their item what they paid for it.  They might assume that the collector's value immediately equates to what the item will sell for on the market (it almost never does).  You must do your homework!  Have a venue to sell your trades, like eBay.  Inform your clients that you will estimate the value of the item based on WHAT IT IS BEING BID FOR on eBay.  Stress this point to them.  The "Buy Now" price for a new item does not apply to their used item on auction.  However you determine the value of an item, stick to your guns.

 A good trade is one where both sides come away feeling like while they didn't get all they could, they did better than they might have.  This is another tact to take when haggling over the value of an item... And, you will haggle.  If the client feels that the value of an item is more than you are willing to offer, they can sell the item on their own and come back to you with the cash, pocketing the excess for themselves.  Your willingness to trade should be viewed as a convenience to the client, not a need you are fulfilling for yourself. A good rule of thumb is to take whatever you think you will get for your trade and reduce that amount by 20%.  That is not for the client, but to set the proper expectations for yourself and your shop.  It may mean that you do a $200 tattoo for a $150 item, but if you and the shop expect to only get $150, then no one will be disappointed.

 Be prepared to inspect the item, confirming its function and authenticity before doing the tattoo.  If you trade for a video-game system, have a television and a game for the system on hand and play a few rounds.  Also, when trading for an item, insist that all its components be included.  Do not take electronics without a power-cord, for example.  If the client tells you that a power-cord can be purchased with ease for a little cash, advise them that is should not be a problem for them to make the purchase based on their assessment.  ALWAYS be suspect of every trade!

 When selling your traded items, the fastest method is not always the best!  Be prepared to take a week to sell your newly acquired treasure.  Running down to the pawnshop is never a good idea.  With this in mind, have your finances arranged to have the needed time to covert your item to the amount in cash you expected to receive.  If you are trading because the bills are due next week, you should re-think your situation and insist on cash upfront.

 How you split your earnings with the shop will depend on your shop's owner.  Most will let you use the same split for cash tattoos; if you priced the tattoo at $200, you think that is what you will get for your trade, and your split is 60/40, you will owe your shop $80.  Your shop owner may be willing to wait for you to get paid out for your trade, but it is best to give them their piece out of your own pocket rather than making them wait.  Of course, if the shop insists on getting a percentage of the end value of the trade, they will need to wait along with you.  In either case, be honest and realistic about the value of your work and the traded item.  You don't want to tell the owner of your shop that you charged the shop minimum for a tattoo and the client gave you a PS3 gaming system and 20 games.  Be fair in your dealings.

 Also, when trading, you are assuming the risks.  If said game system worked fine in the shop and turned to dust the next day, do not expect your shop to eat what they had earned on your tattoo.  Owners are generally good people and will probably be willing to let it go, but will not be happy if that kind of thing happens repeatedly.  If you quoted $200 worth of work and can only get $150 for the item, you should take the loss or you should have taken only cash.

 Trading for tattoo work can bring you business when others are struggling to find clients, but you have to know what your doing.  Remember also that as good as a trade might be, cash is always king!

 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/