​My apprenticeship tasks began to be conducted in some sort of a routine that had never been instructed or discussed, but seemed to have simply developed through repetition until each step felt correct. Each morning starts with the tearing of kitchen towels, sorting the coffee machine to ensure there is sufficient water and it has been rinsed through on a cleaning cycle, and doing a ‘wilko run’, where I stock up on baby wipes, Vaseline, cling film, bin bags, Dettol, and kitchen roll.
 
After the main morning duties are complete I assist on desk, attending to customer enquiries and booking appointments after a consultation with an artist. Every time a customer requests a piece I have began to consider what their motivation is, and contemplate if their requested visual image is the most suitable to portray the intended message. These contemplations and observations assist in my consideration of avenues for my PhD research question to explore (see previous posts).
 
My apprentice-related tasks for the past few months have largely been to create carbon-copies of existing designs that other artists in the studio have created for tattoos they have executed. The process involves taking the printed design, placing it on stencil paper (which is essentially thick carbon paper which is placed onto the skin and acts as a guideline for the artist to go over with the tattoo machine) and going over the design with a pen.
 
The pressure applied to the stencil via the nib of the selected pen must be particularly firm. This is in order to ensure that once placed onto the skin of the client, the outline is strong, bold, and visible – unable to be be wiped away over the course of a longer sitting. Attempting to get the balance of firmness correct proved difficult, as I am used to drawing with a fineliner – being careful not to break the nib. This exercise involved using a much thicker and coarser ballpoint ben, which naturally is less fluid then a fineliner, but able to take much more pressure without breaking.
 
It was explained to me that the purpose of the exercise was to teach me to get used to creating lines and drawing in shapes that weren’t my own, which is something that tattooists must be familiar with as often the client may request a design that is outside of what the artist may ordinarily do. The larger designs often contain small details that interrupt the line, which is a technique used in designing tattoos that prevents the artist from having to tattoo a line or shape in a single pass; the introduction of a new element allows for a line break, thus ensuring a cleaner design.
 
I spent around 3 months or so redrawing the stencils of tattoos that had been completed, all of which where from a variety of artists who work in very different ways and of tattoos that where drawn in a variety of styles. One of the many benefits of working in a studio with such a diverse range of artists is that each of their individual processes are different from each other, and their use of a stencil is equally unique. This diversity helped in getting out of my own habits/approaches and being malleable to working in whatever way the design dictated, understanding how to interpret the works of others and make sense of it for myself. This was one of the primary purposes of the task.
 
Another part of the exercise is about not leaning into the stencil using the resting part of the drawing hand, as this could cause some of the carbon t be released onto it, which can interfere with the clarity of the design. Some of the examples shown are from early attempts of intricate pattern work design, where I have made a few notable errors. Hand position (as I later found out) is also important as there are specific ways to have your hand when holding a tattoo machine, so as to avoid wiping of the stencil and ensure that the needle is not going into the skin at too much of an angle (which would result in varied line qualities that aren’t understood as ‘clean’).
 
The process of creating stencils differs for each artist, depending on the design and how it’s been created. The deign may be hand drawn, digitally composed (often on an ipad) or drawn directly from the outlines of a photograph. Although hand stencilling is uncommon for most designs with a stencil machine being available (a device similar to a fax machine used to create carbon copied stencils), an understanding of the process is important in order to know what to do without a machine should any technological issues occur. Establishing awareness of the processes is part of a tradition that enables an apprentice to have full understanding of the reasons why such routines exist. Continuing to do the exercises increases both technical ability while paying homage to the education that is deemed respectable within the tattoo community. 

​Having completed my scroll exercise, my day to day tasks as an apprentice continued, including desk work and shadowing. During this period, I learned to feel comfortable in my environment through familiarity with procedures such as talking to customers about tattoo designs, assisting with customer/artist consultation, and booking the customer in on the calendar with a deposit.
 
These procedures have taught and continue to teach me what the possibilities are in tattooing in regards to cover-ups (tattooing over an existing tattoo design with something completely new), reworks (essentially, collaboration with other artists tend to be unaware they are part of a collaboration, and who have created a tattoo that is not of a suitable quality so requires a more accomplished artist to edit the piece), and matching client ideas to artists realisations, including any aesthetic negotiations that may be necessary to ensure the best piece possible. Part of desk work is a good understanding of artist to client suitability, and ensuring that what the client hopes for is possible by consultation with the artist. My understanding of what is possible independent of secondary input has naturally increased and assumingly will continue to do so – an essential skill for when I come to tattooing in the future.
 
A particular observation I had made while working on the desk was that often clients are rather vague on what it is that they would like to have tattooed, and may ask for examples of artwork to view and choose from – this perspective has its roots in traditional tattoo street shops but is not the procedure in custom tattoo shops in which each client is assured an original design. Some clients may request subject matter that conforms with current trends (e.g. Greek mythology, pocket watches, mandalas), and there are many requests for the names or portraits of loved ones.
 
While there is of course a place for such subject matter, my inclination is that the client may either want a tattoo that is simply executed well, while allocating them to a particular subculture or tribe to which they feel identified (often the tattoo may feel like an appropriate expansion of how the client has chosen to present their identity in regards to their appearance and demeanour), or that they hope to recognise the significance of another being to their personal identity using a method which is apparent, visible to all, and permanent.
 
If the design choices requested by clients can be categorised to such motivations, which through a brief and light discussion, I believe they can – then it may be fair to assume that there could perhaps be stronger methods of visually communicating such ideas than what has been requested.
 
Coming from a design background, my methods of working with a client have always been to understand what the client hopes to communicate in the imagery through discussion, and to formulate an output which manifests their vision. An integral part of the process in my own methods is in the realisation of what started as an abstraction set out in the brief. Most of the briefs have come about through organisations/companies that are well versed in art direction – in tattooing however, the client isn’t always necessarily of a creative mind-set. My belief is that tattooing is essentially another form of design, and part of being a strong designer is the non material process of creative problem solving, in addition to craftsmanship.
 
While tattooing has become increasingly visually impressive and the standards of craftsmanship continue to rise, works of a less creatively stimulating nature tends to just be honoured as part of the industry standard, and perhaps acts as the ‘bread and butter’ between more stimulating work for many artists. As previously stated, though this is a worthy and legitimate practice which will always have a place (some clients are set and happy with their ideas), it could also be possible that there are alternative ways to understand what it is that some of the clients are motivated by to get the tattoo and as a designer, to assist in fully realising their vision.
 
There are a host of methods to apply such thinking that may be applicable, but the core of the idea is to understand the client intent and offer something outside of what is commonplace and appears to be culturally normative. While my PhD research will be of a practice based nature, it is important to understand what formally conducted academic research into tattooing from a social sciences perspective has been conducted to combine with my empirical understanding of individual motivations for design choices, in order to offer any practical solutions to potential areas that may benefit from investigation.
 
At the time of writing (September 2017) one conceived potential method may simply be a more in depth client consultation than traditional (perhaps ‘conversation’ would be a more appropriate term). The actual tattooing process is very tactile and thus requires a lowering of defences and physical intimacy between both the tattooist and client. Spending a little more time discussing ideas with a client may introduce more of a participatory feel to the process, and thus increase the output of the tattoo, experience for those involved, and ultimately, the financial gain of the studio.
 
An example scenario may be that a 35-year-old father wants the name of his 6-year-old daughter tattooed onto his forearm in script. The request can be broken down to the stage before the idea has been formulated into abstract ideas, which might be that the client wants 1/ a tattoo to express his love for his daughter and 2/ an aesthetic of formality through what might be considered a conservative font. From these ideas and through conversation of the significance that his daughter made to his life, her personality, particular memories etc. ideas for visuals may then be generated. He may have a memory of being on holiday in Lanzarote where he was swimming in the sea and felt a strong connection to his daughter, and the design may be two sets of swim fins and snorkels emerging from splashing water, with a mountainous background indicative of volcanoes. Equally, the tattoo may well be in script, but it could be in the handwriting of his daughter, and above his heart – making it a more personal expression of the intimacy of their relationship.
 
Though the above example is of a very superficial and mind-to-screen example of potential implications of the application of design methodologies applied to tattooing, it serves as a starting point from which I am able to consider alternative ways of demonstrating my ideas better. As I continue my apprenticeship I hope to conduct some first hand data gathering of client requests and what imagery they show to communicate their desired visual style of tattooing, in order to better understand how I may conduct my practical research.