http://www.urbanink.com Latest Articles from Urbanink. en-us Sun, 26 May 2013 02:25:07 GMT Spending his summers with his father up in the mountains of Kingston, Jamaica, where they had no electricity and lived off the fat of the land not only taught young Osei Kambui the value of hard work, but it also gave him the opportunity to find art.

When the daily work was done, due to the lack of electricity limiting the things he could do around the house, Osei would flop down on the floor and draw. Art quickly grew to be a part of Osei's daily life. His penchant for sketching stuck with him when he moved to the States, where Osei still studies art to this day. Growing up, Osei was fascinated by tattooing, but never imagined he would ever pursue it--until the age of 14, when he received his first tattoo. It was then when he realized that slinging ink was most definitely in his future.


URBAN INK: When did you discover that art was your calling?
Osei Kambui: I've always been naturally gifted at drawing but I never understood my true potential until high school. I guess high school is when I opened my eyes to the possibilities where I could take my art. The possibilities became endless and, at that point, as I became serious. I began to draw not only because I wanted to, but also because I needed to. See, once you realize that something is your true calling, it becomes a beautiful bond that you must nurture and invest the proper time into in order to make it grow. It's like nothing can stop you. I had a hunger and a vision and a clear direction. I guess you can say I felt it all my life, but I needed the right people around me to bring it out. Now art is all I know.

Can you tell us a little about your training and education in the arts?
This is a tough one to answer; I believe my training in art began the first time I picked up a pencil. Don't know what age that was but I know it was early. I've also been to various art classes in and outside of school, like summer camps and things of that nature. Even though I live and work in Washington DC, I am a fulltime art student at the nation's oldest art school and museum in Philly, The Pennsylvania Academy of Fine Arts. Here, I study drawing and minor in painting. Everything I learned from here and in previous institutions I apply to my tattoos. If you want to grow you have to put yourself in a position to learn.

What sparked your interest in tattooing?
I've always had a wild curiosity about tattoos. As a kid I used to spend time just imagining how they could possibly get ink to stay in skin. Even in elementary school I was the one drawing tattoos on people, but even then I wasn't convinced that tattooing was for me. Around my teen years, tattoo shows became very popular on TV and I became enthralled. When I got my first tat at 14 it was stamped in my head forever that this was the path for me. My interest and my passion has only grown since then, and all I want to do now is excel in my art and forever touch people's lives with it.

You mainly do custom, freehand work without the need to use stencils or printers. What made you decide to go that route?
I decided to go that route when I grew tired of the lifeless and mundane stencil process. I wanted to give my clients a true piece of me, and I felt freehand was the answer. Not only do I have solid training in drawing from my art school, but also by nature I love to draw; in fact, I live to draw. Even when I made stencils I used my own artwork rather than trace pictures from Google. I felt that freehand was only the next step in my ongoing tattoo exploration. With the rigorous training that I go through every day at school, I can only be assured that my work will continue to improve.

Finding people that trust a freehand artist is rare. Is it difficult for you to find clients who are willing to put all their trust in your hands?
Finding people who trust me is easy in DC, Maryland, and Virginia (DMV). Social media and word of mouth play a large role in that. Even though I spent time in Jamaica, I pretty much grew up in DC and people watched me grow into the artist I am today. I created an exclusive lane for myself because I was the first one around here to really do freehand. For those few [who are doubtful], I usually spend a little more time fleshing out a design with all its detail and glory before rushing into the tattoo. This usually eliminates all doubt, or I tell them not to worry and let the tattoo they get speak for itself. I love it when people doubt me. This only pushes and motivates me to be the best that I can be.

Packing color into dark skin is something that some artists find difficult. There are some who won't even try to do a color piece on dark skin. Is this a difficult task to master in your opinion?
Tattooing dark skin and making it look good is what I live for. We are the underdogs in the tattoo industry. We have been neglected and ignored and it's time to change that. We just want good work--like what we see in the magazines. Tattooing dark skin is not hard, though; it's just different and it takes a different type of design. Most skin can take color but some might take it better than others. It just takes the right ink, aftercare, technique, and design to make color work on dark skin. Also, I find that a healthy lifestyle promotes good skin, which does have a good effect on ink. By this I mean eating the right foods, working out, and especially drinking a lot of water. I have learned how to tattoo on my brothers and sisters of all complexions. I have worked at a variety of shops that cater to different cultures and races so I'm pretty versatile with any skin type. I embrace a challenge and anyone who shies away from dark skin should feel lame.

What brand/type of tattoo machines do you find the most comfortable working with?
I am comfortable with almost anything. I try to experiment as often as possible. Generally, I stick to a traditional tow-coil machine set for my shading and I switch it up for my lining. I like the new advancements that are being made in the field every day. There is so much new technology in the industry that sticking to one machine would just be retarded.

I also checked out your drawings and paintings, which I loved by the way. How often do you dedicate time throughout the week to your painting?
I dedicate countless hours day and night to drawing and painting, mostly drawings though. At school we sketch six hours a day from live models and famous casts from antiquity. In addition to that we engage in the study of human anatomy and in art history. I do this five days a week and I still find time to tattoo. Any remaining time I have I dedicate to my family. This experience has made me a master at time management. I have a three-year-old son in DC. I want to see him succeed and do well in life, which I know he will. I feel now is the best time to instill these values in him--not just by telling him but also by showing him that anything is possible.

What advice do you have for our budding artists reading this interview right now?
Never give up on your dreams. Never make excuses, and never waste time. You don't get time back so make the most of the 24 hours in your day. Use your strengths and eliminate your weaknesses, surround yourself with good people, and make sure they bring something to the table. Never go through life by yourself and always seek guidance for everything, whether you choose to follow it or not. Gain confidence at whatever you do and don't just be a follower. Be responsible, realistic, and whether you are humble or not, always be open to learn.


Article by Mannie Pendexter
]]> http://www.urbanink.com/article.php?aid=554 http://www.urbanink.com/article.php?aid=554 Wed, 15 May 2013 11:28:57 GMT Motivated to leave his home of Mexico City, Mexico, to find something else to fulfill his life when photography and ethnology weren't cutting it, Adriaan Machete hit the skies toward Europe. It was in Berlin, Germany, that Adriaan would discover his love for tattooing.

During an extended period of unemployment, he found himself in his friend's tattoo studio, observing and learning the basics of tattooing. Armed with an artistic background, Adriaan traveled throughout Europe, becoming inspired and perfecting his craft, and eventually making his way back to Berlin, where his unique, morbid style of art has become extremely popular - keeping his Machete Death Gallery busy year-round.

URBAN INK: First, I wanted to start with your name. Where does the "Machete" come from?
Adriaan Machete: Machete is my family's real name. In Mexico, some families have the name for generations. It originally comes from farmers that used the machete as a tool for cutting crops and maize. My grandparents were traditional Nahuatl indigenous people. They taught me to be respectful to our culture and fight for what is in our hearts. Their parents fought with machetes during the revolution in Mexico in 1910, where indigenous farmers fought for a better future with the help of Emiliano Zapata - a charismatic revolutionary leader. So the machete became a farming and revolutionary symbol in indigenous cultures.

How did you find yourself in Germany?
I was studying ethnology and photography at Mexico City National University, but at some point it was not fulfilling me. I've always been into art and painting but didn't develop it then; and I got a huge urge for traveling and discovering the world. So one day I bought a ticket to Europe, landing in Berlin. It was really hard. I knew only two people and it was my first strong winter. I got into deep depression and had no money or my own place. I crashed on people's sofas and couldn't find any work.

Was it in Germany that you took up tattooing?
Yeah, by coincidence I had this tattooer friend and one day I asked him to teach me the basics. I hung around in this cool tattoo studio everyday and I learned in no time. I developed more drawing and painting techniques and I found myself - my real profession. After six months of tattooing friends, I started working in street shops in Berlin and moved to Barcelona, where I could learn from the Spanish old school artists. After some years in Spain, I took off and traveled around Scandinavia, Sweden, and Finland for some time, where I learned from Scandinavian tattoo artists. I made my way back to Berlin after six years and, finally, it feels like home here.

Then you traveled to a few different countries before settling in Germany? What's something crucial about art or life in general that youve learned throughout your travels?
Yeah, for me traveling is always amazing. I learned so much from different tattoo artists and also cultures. I love visiting museums and I'm a fan of paintings, especially the Renaissance and the Art Noveau. I've sometimes been in the Louvre museum in Paris and it's simply amazing. Every time I'm there I get lots of new ideas and input. Some of my other favorite museums are in Vienna, Florence, Madrid, and Prague. I like to meet many different people; we influence each other by talking, emotions, and experiences.

How long have you been tattooing?
It's been seven years now.

What drew you to your signature style of tattooing?
I have a really strong Mexican art influence from painters like Diego Rivera, Siqueiros, Frida Kahlo, and Jose Guadalupe Posada. I love their strong iconographies and warm colors - also, the mix of surrealism, culture, and the cult about death. I also think that all the traveling I did in Europe and Asia, and learning from Spanish, Swedish, Finnish, and German old school and new school artists had a huge impact on me and my art.

You've mentioned that your style of tattooing is unique to your region. Was it difficult selling this style to the locals at first?
Not at all. At the beginning, it was a bit hard 'cause people didn't know me in Berlin, but I got the good luck that people in Germany and Europe like the Mexican art influence in my new school tattooing style. And a reporter for a tattoo magazine from Germany made an article on me. After the magazine was out, it all went really fast. I remember people contacting me on MySpace from around Europe to book an appointment. After that, I was lucky that other magazines wanted to feature me, so I'm really thankful to them.

Do you solely create your designs, or do your clients have some input on what you tattoo on them?
My clients come with their ideas, and after some talking I try to find out what are their wishes, personalities, their dreams. That helps me out to see what design fits more to every person - so at the end, we are both satisfied with the results. All tattoos and sketches are designed by me. I only tattoo things drawn by me.

I noticed that in a lot of your work, you incorporate an upside-down cross. I know in Catholicism this is seen as a sign of humility. What does the symbol mean to you, and why is it so prevalent in your work?
I love symbols. They affect our daily life and they can have many different meanings. I've also since really young been interested in morbid things and the dark side of humanity, life, and death. In Mexico, it's really common to believe in death as a beautiful woman that can help or take our dearest persons. In indigenous cultures, like the Aztecs and Mayas, death is an angry god that can help us. The upside-down cross can have different meanings: in Christianity, it's believed that St. Peter requested this form of crucifixion as he felt he was unworthy to be crucified in the same manner that Jesus died. As such, some Catholics use this cross as a symbol of humility and unworthiness in comparison to Jesus. In another meaning against the church, it has also often become associated with satanic and anti-religious attitudes, as it is used to represent the opposite of Christianity by inverting its primary symbol. For me, it has a meaning of rebellion. As a child, my parents were atheists and growing up in Mexico, where most of the population is extremely Catholic, was really annoying. Most of the time, they confused atheism with Satanism and I was often painted as satanic. So I grew up with some kind of hate against religious intolerance.

Do you work the convention circuit often, or are you more comfortable working in your studio?
I love working in my gallery in Berlin, but I'm really often in conventions around Europe. I like meeting new people and learning from other artists. And traveling to a new city is always exciting.

Do you travel to the US during the year, or do you have any plans to do so soon?
I'm planning next year to guest spot in the U.S. I got invited to New York and California, and I would love to attend some conventions. I will be posting all the upcoming info on my Facebook site and my website.

What advice do you have for any up-and-coming artists reading this article right now?
I would recommend to view tattooing as a form of art and illustrations that can develop with our own passion. When tattooing becomes a mere business, it has lost its artistic meaning.

Machete Death Gallery
Boxhagenerstr.61
10245 Berlin
Germany
www.adriaan-machete.com
www.facebook.com/adriaan.machete


Article by Emmanuel Urena
]]> http://www.urbanink.com/article.php?aid=550 http://www.urbanink.com/article.php?aid=550 Wed, 17 Apr 2013 11:45:53 GMT Live and learn. Not sure if that's the motto tattoo artist Derrick Verley goes by, but the trial-and-error stage is something the Queens, NY, native went through as he made the transition from being a freelance airbrush artist to established tattoo veteran. Verley owned OneStroke Tattoos in Queens for over ten years, but has since moved on to Think Before You Ink Studio in Long Island City, NY, along with long-time partners Made Rich and Sky759. Verley, who had no formal art training until college, is primarily known as a freehand artist, meaning he draws his art on the client's skin before proceeding to ink them.

Verley is a strong supporter of the black tattoo artists' movement, yearning for the acceptance that he feels has been missing ever since he started his career, which has been filled with people overlooking him, along with the rest of the black artist community. He feels the public doesn't recognize the fact that black artists exist, which he now hopes will change due to the Color Outside The Lines documentary film. Whether black tattoo artists are recognized or not, the worlds about to find out about Verley and co. sooner than later.

URBAN INK: You didn't have any formal art training until college, so did you ever consider tattooing as a possible career back then?
Derrick Verley: Back then, no. To be honest with you, I didn't know about tattooing when I was in college. That wasn't even a thought for me. I was doing freelance airbrushing, basic logos, and concept art. Tattooing as a business or way of living wasn't even a possibility until, one day, my friend, who I was airbrushing with, said, "Hey, there's a tattooing thing going on." It was very taboo and nobody was doing it, especially nobody Black. I took a chance. We got the equipment and we were messing around. I didn't know what I was doing. I would never say, scratcher this or scratcher that - because everybody starts off as a scratcher. It's impossible not to. As soon as you touch the skin for the first time, your tattoo will never be perfect. You've got to learn how to move with skin.

You're pretty much a freehand artist. Can you talk about why you chose that route and some of the advantages and disadvantages that come with that?
Stencils are cool if you don't know what to draw or have an idea in your mind. As an artist, if someone wants a rose, you should be able to draw up a rose on the spot, unless they want something specific. That's the only way I'll go back to doing stencils - like if someone wanted their mom's portrait.

Moving onto Color Outside The Lines, what were some of the things that stood out to you the most when watching it?
It caught a real personal view on artists in general. The questions they asked me-they cut out a lot to be honest. I hope they do a part two, where people can get a life view of what an artist is like. You lose a lot being in the art world. I suffered from a divorce. It was part of the process for me. I really want it to get personal, like go through family and relationships, something that the art won't let you do. The struggles and sacrifices for the art.

Do you think the film's impact goes beyond not just shining a light on Black tattoo artists, but possibly Black culture in general?
Yes, it does. On the forefront of Black tattooing, all we have is Urban Ink. It's out there and it's not becoming commercial, but if you open up a magazine, you'll see rappers, athletes, and big booty chicks. It gets redundant after a while. But as artists, we appreciate art, too. I want to hear about other dope artists and learn more about what they're doing.

Do you think being a Black artist has negative stereotypes these days?
You want to know the truth?

Yeah.
Some people don't even know we exist. I know personally, people say they never heard about Black tattoo artists. I'm like, "are you serious?" They didn't believe that until they saw my shop.

Do you think Color Outside The Lines will change everything now?
It's going to break some barriers. I think they have to go in-depth more. They scratched the surface wonderfully. It just needs to be opened up so people can see that we're out here. There are guys with 20 years under their belt and people don't even know them. Watching it, I even got put onto other artists who are White. You learn things watching it.

What about people thinking that its much more difficult to tattoo on darker skin tones? How do you master the art of that?
It is. It's more difficult tattooing on darker skin. Our pigment acts like a tape over color. If you have bright red and put a person's dark complexion over it, the color's going to change. It's going to make the objects bigger, so it can show more. We tend to make everything larger. We don't have microscopic tattoos on us because it doesn't work well. You just have to learn and practice it.

I wanted to ask, whats your view on facial tattoos? Are you cool with stuff like that?
I think it depends on where you want to be in society, as well as the type of tattoo artist you are. Also, it depends if you can afford to live that lifestyle. Once you do that, you're segregating yourself from a lot of things that a "normal" person may need, such as a job. Unless you're planning on being in the tattooing industry or an entertainer. You can do something subtle on women - like a star on their face to cover a mole, for example. It doesn't stop them from getting work. My clientele are adults. They have jobs and they're covered.

Do you think tattoos will ever be accepted in the workplace?
They're breaking down barriers, but I don't think the "extreme" tattoos will be accepted. People are accepting tattooed people more nowadays.

Think Before You Ink Tattoo Studios
36-57-36th Street, 3rd Floor
Long Island City, NY 11106
dtatstar@gmail.com


Article by Michael Nguyen

]]> http://www.urbanink.com/article.php?aid=546 http://www.urbanink.com/article.php?aid=546 Tue, 26 Mar 2013 11:17:37 GMT World-famous and 20 years deep in the ink game, Brandon Bond has seen a lot of changes transpire within the tattoo industry. Bond tells us that tattooing has gone through a renaissance since his earlier years in the field. One major aspect that has changed since Bond began tattooing is the number of tattoo artists of color who have picked up tattoo machines and began slinging ink.

URBAN INK: When you first began tattooing, was the industry as multicultural as it is today?
Brandon Bond: Not even close! I didn't even work with a Black person for the first 12 years of my career. The first Black artist that I ever worked with was Twig in Las Vegas. He was a great artist then and still is. Part of the beauty of our industry is our history; however, we are still in the dark ages in some corners of tattooing - race being one. Tattooing is a very traditional industry, one of the few where apprenticeship is still a viable point of entry. Tattoo shops in America were traditionally sexist and racist by today's standards. It has changed and continues to, but not as fast as I'd like.

What are your thoughts on the message the filmmakers of Color Outside The Lines are trying to deliver?
I loved it! It's an incredible project! Artemus Jenkins and Miya Bailey are really onto something with this film. When they first called me about it and asked if I wanted to be involved, the answer was a resounding, "Hell, yes!" When they came to All or Nothing Tattoo to interview me, I could tell by the questions that they were asking the direction of the film. I immediately brought up Damon Conklin. I believe my exact words were, "How the hell are you going to do a movie about Black tattoo artists without Damon?" I am thrilled they flew out and added him to the film. The film itself discusses the adversities of young tattooers being Black in a White-dominated industry. The viewer encounters some of the struggles that specific artists faced.

Was there anything that they shed light on that you didn't know of before watching the film?
I know Mrs. Jacci, but I never knew she was the first Black woman tattooer!

Was there anything that they didn't cover or didn't focus on as much as you believe they should have?
Yeah! Us! How awesome All or Nothing Tattoo Studio in Atlanta is! But in the film, I'm the token white guy, and I not only nailed that role, I embraced it. People have been calling me "token." I'm kidding, but I would have liked to see how tattooing itself has grown. Not just racial attitudes. The whole thing has changed. The racial aspect is a part of a much greater movement. I do feel that the film left out the concept that just because someone is White does not mean that he does not have to face similar adversities. It was hard on all of us back then. I saw a lot of terrible things. The growth of our racial open-mindedness coincides with the growth of our industry from a lot of the old ways. So much has changed, race simply being a part of a massive evolution. I would have liked to see how tattooing itself has grown. Not just racial attitudes. But the film is amazing.

In the film, you told a pretty funny - yet interesting - story about the first time you tattooed on dark skin. Can you tell the readers about your experience?
Yeah, I tattooed black skin the same way I did white skin for years prior. And promptly got fired! Hilarious! Changed my tattooing forever.

How did you eventually master the technique of tattooing on dark skin?
I tattooed in the seventh and ninth wards of New Orleans, LA. I don't think I tattooed a white person in two years. Annette Larue of Electric Ladyland Tattoos taught me more than anyone did about tattooing dark skin. She is awesome! Hi, Annette!

You also mentioned in the film that once you were able to get the hang of the technique required to tattoo dark skin, it made your tattoos on lighter skin even better. Can you explain how?
The most important aspect of tattooing dark skin is contrast. Your dark areas and your light areas define the shapes that make an image readable. This also helps with the longevity of the tattoo as well. This applies to all skin. I discovered what looks good on dark skin, looks incredible on white skin, too, and have since tattooed a kind of hybrid blend of that on all my clients.

From a person observing from the outside, do you think it's still more difficult for a Black artist to break into the tattoo industry and get recognition; or was it just difficult in the past?
In the past it was more difficult, yes. Now, no; if anything being Black might help nowadays! Standing out is a whole different ball game these days.

I'm curious, what are your thoughts on facial tattoos? Bad idea, or a good idea that is misused and abused?
As a tattoo artist, it is not my job to force my own beliefs, morals, and ideas on others. Tattooers often get this elitist, holier-than-thou attitude that they know more about what people should do with their bodies than the actual people. It is not my job to dictate morality or enforce some elitist hierarchy of tattoo rules. I am simply a commissioned artist creating art specifically for people to wear on their bodies. My job is to execute that commissioned art with the utmost caution and advanced techniques at my disposal. Imagery, placement, and size are ultimately up to the client and do not in any way reflect my personal beliefs. My face isn't tattooed, but who am I to tell someone what to do with their face? It's my job to do what the client asks for to the best of my ability; anything else is just an ego trip.


All Or Nothing Tattoo And Art Gallery
2569 S. Cobb Drive
Smyrna, GA 30080
770.435.9966
www.allornothingtattoo.com]]> http://www.urbanink.com/article.php?aid=545 http://www.urbanink.com/article.php?aid=545 Fri, 15 Mar 2013 10:52:37 GMT Melvin Todd likes to create. He credits his childhood hobby of watching Saturday morning cartoons as the jump-off point to where he is now. From being introduced to the Ninja Turtles and putting them onto paper, to now putting more complex images on skin, the Mobile, AL, native first thought he was going to be a cartoonist due to his love of comic books, but soon realized tattooing was his main calling.

It started off at Voodoo Needle, where he did some drawings, which landed him a five-year stint at the Alabama shop. Ready to expose his work to the masses, Todd moved to Atlanta and was put under the wings of tattooing heroes Miya Bailey and Tuki Carter at City of Ink. Aside from tattooing, Todd has created the Loveless Society brand, influenced by the world we live in, as well as by asking ourselves the question, "What do we love?" One thing Todd loves for sure is tattooing, something that started off with simple Ninja Turtle sketches to now inking all of Atlanta while learning from a couple of ATLs finest.

URBAN INK: Briefly talk about your need and passion to "create" ever since you were a kid introduced to art.
Melvin Todd: I've been drawing since I can remember. My mom had two boys and we were pretty rambunctious. When we weren't being all hyper, we'd watch cartoons like they were crack - Ninja Turtles in particular. To continue that moment of calmness, my parents just made sure to have art supplies for us. I'd try to emulate what I saw and share the drawings with my friends. It became evident I was pretty decent at drawing, as it was easy to see my heroes-in-a-half-shell actually looked like the cartoon. Since then, I just haven't put the pencil down, as I always try to evolve as an artist and record all this imagery that races through my mind and share it with the world. It's a gift, so I'm all about not hoarding it.

To you, is there a huge difference between creating art on skin versus creating art on canvas?
Definitely. You can go crazy on a canvas, literally f*cking it up and could still end up with a pretty nice piece of art. One reason is because paint just goes on top of other paint once it dries. You realistically can't mess up. Even with pencil you can just erase it.
On skin you don't have that same luxury. Skin damages and if artists aren't aware of how to handle the fact that they are working on a living organ that scars and such, then they are going to ruin a person's flesh. It's a pretty harsh statement, but it's true. Considerations that are not common sense come into play when tattooing, such as how deep a needle can go before scarring, how fast a machine can run, and the difference in how a machine needs to run from person to person that any regular artist wouldn't assume. You have to be trained to do this type of art the correct way.

Moving onto Color Outside The Lines, what were some of the key points that you thought the film did a good job on emphasizing and what were some of the things you thought the film couldve included?
It did a great job on speaking on the struggles of being a Black tattoo artist. It's no secret that minorities in general always have to go above and beyond to prove themselves at anything, so it's great to see that tattooing is no different. It was also great for people to see just how well people with a good bit of melanin were being tattooed. You do not need fair skin in order to have a great piece of body art. I just hope people take heed to the message of the film. You get what you pay for, so research the artist and hell, just have respect for your skin. Nobody is going to tell you how awesome your cheap tattoo is, but they'll never stop ogling you with a dope ass Miya Bailey or Tuki Carter piece.

I loved the film so much that I would've wanted another two hours just to see all of the great individual styles from all of the artists. People are so scared of competition in this industry. It's not so much the case with the great Black tattoo artists. We all really appreciate each other's unique styles. If given the chance, Black tattoo art will flourish tremendously.

Overall, did you think the film made a strong-enough impact to reach out to the public regarding Black tattoo artists?
Hell, I hope so. If nothing else, people can at least respect the history now. I'm not one to say go to an artist 'cause he's Black. I say go to him because his unique taste coincides with the type of art you want on your body. I'd hope anyone who has the chance to see the film comes away with a certain amount of respect for what Black tattoo artists have accomplished.

Your portfolio consists of many black-and-grey tattoos, but do you think tattooing colors on a dark skin tone works well on clients?
It works well if the artist knows what he is doing. Like with any skin tone, you have to pack that color in, but be mindful that darker skin is really sensitive. There is a certain technique to doing it. I can color on dark skin because I understand how to. It's more of personal taste that I love black-and-grey more. It's subtle, yet has a tinge of realism and dimension. To me, it looks like it is supposed to be on Black skin and really accentuates it. It's almost like a dope ass birthmark. I love subtlety. Color screams for attention. Both are dope, just pick what you want your body art to convey.

As an artist, do you think laser tattoo removal is bad for the industry or even clients; would you rather go with the cover-up route for someone instead?
I think any artist that says laser removal is bad is a hypocrite. At the end of the day, it's all body modification. We have a choice as to what we want on - or off - our bodies. I actually think it's a good idea to get really crappy tattoos lasered off a bit and then gone over with an even doper one. I guess the amalgam of both of those answers is what I prefer. Cover-ups are only successful if they don't look like a cover-up. If you have a really horrible tattoo, then getting it lightened with a laser will increase the chances for the cover-up to look even better. Be warned, that crap hurts. Just try and get it done right the first time.

City of Ink
323 Walker Street Southwest
Atlanta, GA 30313-1269
(404) 525-4465
MelvinTodd.com
LovelessSociety.com


Article by Michael Nguyen
]]> http://www.urbanink.com/article.php?aid=541 http://www.urbanink.com/article.php?aid=541 Tue, 05 Mar 2013 11:00:46 GMT