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TATTOO BY CHRIS VENNEKAMP
This tattoo by Chris is of a different approach and style. Heavy, thick ink throughout gives it a more artictic tattoo look than your typical flash art. It looks like an acrylic painting on the skin, not a tattoo. Notice the red in the background not only does it give a sense of mood and bring out the color of the blood but it also acts like a background to the tattoo giving a sense of depth.
TATTOOS BY DG WILSON This piece has a bit of a heavier application of ink with the color of the fire. The bones are lighter in appearance because there is less layers of ink.
TATTOOS BY DG WILSON
HERE thin application of ink in a quick session gives the tattoo a look that is more like a watercolor painting than a tattoo.
LAYERING YOUR WORK BY DG WILSON C) APRIL 2008
LAYERING YOUR WORK
When working on any surface there is a reaction to light that reflects the color back to our eyes for our brains to translate. That is how we see Art. Using this concept we can understand that layering color will greater enhance the color that we see. On any surface from canvas to human skin there is the ablility to apply more than one layer atop of another.
When painting on canvas for example thick or opaque paint applied to a white background allows light to pass through it at a slower rate than thinner paint. When the light goes through the paint it hits the white background and reflects it back to the viewer. We can understand now why a painting on a black surface will have less "life" than another on a white primed canvas.
Glazes of color can be added to a painting simply by applying transparent layers of color over another color that is already down. This will allow the human eye to see the greater color with subtle color changes in areas. For example when painting a rock outside in the sunlight the rock has a base color but the light and the shadowed areas are different in color, and temperature. A simple way to achieve a realistic rock is simply to paint the base color with the highlights and then apply glazes in the shadowed areas that are cool like blues and greens. Then in the parts of the rock that are in the light, the highlights could use some glazes that are warmer like oranges and crimsons.
When tattooing, a single session of light work will give someone a "painterly" tattoo that blends into the skin. Using color and layers to push this effect is easy. But to get that heavy, solid color feel there is a need for thick heavy ink and application of the ink to the area needed. Even in tattooing glazes are possible and a good idea. Control the thickness of the work for the greatst control of the art. For example at the main subject the ink could be thick and solid. As the tattoo goes to the sides of the tattoo the ink and application of it could be lighter until they blended right into the normal skin tone. This would make the tattoo look like it was coming out of the skin and a part of the customer.
It is very important for the tattoo customer to understand the difference. When tattooing it is a service based product...meaning there is an artist working on you. Usually they do not get paid until the work is completed. They will not get more work until completed, from that same customer. So if a customer sees the heavy and thick tattoo they should understand that there is much more work and time involved to achieve that look. The price needs to go up accordingly.
ART LESSON ARCHIVE 5