In order to advance from previous practice skin, a technique known as ‘free-hand’ de- signs where applied. With free-hand work, the tattoo design is drawn directly onto the surface without the use of a stencil. Free-hand work is generally used for larger scale work that wraps around the shape of the area of the body that is to be tattooed, allowing for a more organic flow and structure to the design.
Despite the designs being tattooed onto the fake skin not demanding the use of freehand, it was opted over a stencil to gain practice in the technique. The designs drawn where based on Buddhist imagery, that had an aesthetic that i resonated with. Only small designs where created, with the understanding that they may be used as a part of a ‘flash sheet’ (pre-drawn designs) that may be offered as tattoo’s in the early stages of the tattooing career.
Similarly to imagery shown in the previous post, the designs where then lined and shaded. With the designs being small, a large liner made up of 9 needles was chosen to create the shading. This allowed for more precision in the tighter areas of the design. The fake skin was taped onto a piece of MDF board rather than the pound of flesh, in order to investigate the difference in ease of application of the tattoo on a flat, rather than curved surface. This resulted in a vibration from the hard surface, requiring a tighter grip of the machine to reduce distortion in the line. The fake skin appeared to lift away from the board as a result of the heat generated from the tattooing process.
Further practice in whip-shading was then undertaken from the line-work, which simultaneously informed how designs may be executed if taken into actual tattoos in the future.
The task was self-initiated and completed outside of studio opening hours, but within the studio. The purpose was to increase practical understanding, but also to practice tattooing that investigated how personal drawing style may adapt into tattooing practice.
Despite the designs being tattooed onto the fake skin not demanding the use of freehand, it was opted over a stencil to gain practice in the technique. The designs drawn where based on Buddhist imagery, that had an aesthetic that i resonated with. Only small designs where created, with the understanding that they may be used as a part of a ‘flash sheet’ (pre-drawn designs) that may be offered as tattoo’s in the early stages of the tattooing career.
Similarly to imagery shown in the previous post, the designs where then lined and shaded. With the designs being small, a large liner made up of 9 needles was chosen to create the shading. This allowed for more precision in the tighter areas of the design. The fake skin was taped onto a piece of MDF board rather than the pound of flesh, in order to investigate the difference in ease of application of the tattoo on a flat, rather than curved surface. This resulted in a vibration from the hard surface, requiring a tighter grip of the machine to reduce distortion in the line. The fake skin appeared to lift away from the board as a result of the heat generated from the tattooing process.
Further practice in whip-shading was then undertaken from the line-work, which simultaneously informed how designs may be executed if taken into actual tattoos in the future.
The task was self-initiated and completed outside of studio opening hours, but within the studio. The purpose was to increase practical understanding, but also to practice tattooing that investigated how personal drawing style may adapt into tattooing practice.
Biro drawn directly onto fake skin
Outlined designs
Lined and Shaded Design
Adam McDade
Apprentice Tattooist and PhD Research Student.
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