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COLLABORATION
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BY RODRIGO SOUTO
JASON
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Plus - ALL THE NEWS AND REVIEWS • PORTFOLIOS - TOM PETUCCO • GASTON TONUS
TTM150
PAUL TALBOT - TALES FROM THE NAUGHTY STEP • COVER MODEL PROFILE -
APRIL 2017
SARAH JENSEN • CONVENTION CALENDAR • OUR GALLERY OF TATTOOS FROM
AROUND THE WORLD • IN FOCUS - CLOAK AND DAGGER • PLUS LOTS MORE...
 14 24

46

36

86

Total Tattoo magazine No. 141 July 2016

Published monthly by KMT Publishing Ltd. All rights reserved.
Printed in England on re-cycled paper by Buxton Press Ltd
4 Total Tattoo Magazine Distributed by Seymour Distribution
 CONTENTS 150

53
7 WELCOME TO ISSUE 150 APRO LEE
Lizzy feels full
72
Tiger tattoos from Korea
68
8 NEWS & REVIEWS PORTFOLIOS
All the news that’s fit to print
80
Tom Petucco, Evil from the Needle
Gaston Tonus, private studio
14 COLLABORATION
Jason Butcher and Lianne Moule CHECK YO’SELF...
united in ink
85
Dan Stone’s views on the
convention scene
24 THE GOA TATTOO CONVENTION
Indian delights in a hippy seaside
paradise 86 DARYL WATSON
Trailing a blaze of colour through
the heart of the midlands
32 COVER MODEL PROFILE
Sarah Jensen, on gaming and flying
at the speed of sound 94 IN FOCUS
Cloak and Dagger
36 JESSICA KINZER
So good... so young! 98 TALES FROM THE
PEONY TUTORIAL NAUGHTY STEP
Paul Talbot worries about the lizard people
46
Rodrigo Souto shares his flower painting
secrets
100 CONVENTION CALENDAR
51 FREE PRINT Where will you be going this weekend?
Rodrigo Souto peony print to cut
Cover Model Sarah Jensen
out and keep
Photo by Jenna Kraczek

53 GALLERY Advertising & general enquiries

Inspirational art from around the world
01603 958062
62 AN AMERICAN ROAD TRIP PT3 advertising@totaltattoo.co.uk
East to West with Charissa ‘
Rizza Boo’ Gregson and Taylor Heald Subscription enquiries
72
GAO BIN - REMEMBERED 01603 958062
subs@totaltattoo.co.uk
68
Our tribute to a very special artist

DISCLAIMER
Adverts and articles appearing in Total Tattoo magazine carry no implied
SUBMITTING PHOTOS
recommendation from the magazine or from KMT Publishing Ltd. We reserve Images must be high resolution (300) and sized at
100mm by 150mm. The disc needs to be labelled
the right to refuse an advertisement or article which we consider unsuitable. All
details are correct at time of going to press. Whilst we make every effort to
ensure all advertisements, articles and credits are correct, Total Tattoo magazine
and KMT Publishing Ltd will not be held responsible for errors or omissions.
with the artist & studio name. Or email them to
gallery@totaltattoo.co.uk

COMPETITION TERMS
Material appearing in Total Tattoo may not be reproduced for any purpose
without the written permission of KMT Publishing Ltd.

AND CONDITIONS
All letters sent to Total Tattoo magazine will be treated as unconditionally
assigned for publication and copyright purposes and as such are subject to
editing and editorial comment.
All winners will be picked at random (or on merit if applicable) after the closing date.
All correspondence should be sent to
Total Tattoo Magazine
Entries received after the closing date will not be considered. The editor’s decision is
final. Only one entry per person please, and remember to include your name and

111 Furze Road, Norwich, NR7 0AU

address.Winners of convention tickets will be responsible for their own transport and

www.totaltattoo.co.uk
accommodation unless stated otherwise.Total Tattoo is not responsible for items lost
or damaged in transit – though of course we will try to help if we can.

Editorial team Editorial enquiries Artwork enquiries Social Media Contributors

editor@totaltattoo.co.uk artwork@totaltattoo.co.uk Instagram: @totaltattoo
Advertising enquiries Subscription enquiries Twitter: @totaltattoomag
Perry Rule, Lizzy Guy Jenna Kraczek • Rodrigo Souto
Jill Feldt, Luke Wilson advertising@totaltattoo.co.uk subs@totaltattoo.co.uk Facebook: totaltattoomagazine James Sandercock • Paul Talbot
WELCOME to 150
I saw an alarming sight the other day when I got out of the shower. I
caught a glimpse of myself and realised that, in terms of getting
tattooed, I’m running out of space.

I imagine that this is the body art equivalent of an existential crisis. I’ve
never considered myself to be ‘heavily tattooed’ as I still have a bare
back and most of the backs of my legs, but it dawned on me that once
those spaces are filled they’re filled for good. And I already have plans
for my back…

Years ago, this might not have bothered me so much. And perhaps if I
was older, I might be glad that ‘it’s almost over’. I never set out with a
plan as to what tattoos I would have and where – in fact I initially only
wanted a couple (however, we all know that it’s hard to stop at just a
couple!) – but as the quality of tattooing has soared, I can’t help but
feel a slight panic when I think about the number of artists whose
work I would like to have versus the amount of skin I have remaining.

From talking to other people, I know I’m not alone in feeling this way.
Although getting tattooed is, let’s just say, less than pleasant, I hate the
idea of never being able to get tattooed again. I seem to have
developed a pre-tattoo ritual, which involves a bath, eating as much
breakfast as I can, then skipping down to a studio, armed with sweets
and coffee. For me, and many people, visiting a studio and getting to
know the artists is a really positive and fun experience; I’ve made great
friends, discovered new talented artists, and talked about everything
from the meaning of life to good old fashioned gossip. But although I
leave a studio with a new piece of beautiful work, I always feel that it’s a
bittersweet ending.

From a deeper point of view, I suppose nobody wants to feel that

they’re at the end of their journey with regard to their goals in life. In
the office, we often say how we don’t want to die because we’re not
‘finished’ in our tattoo journey. It sounds a bit morbid, but I think this
feeling about the significance of an ‘ending’ is relatable in many different
cultures - as exemplified by the special markings that signify the end of
a Japanese bodysuit (the Bonji or Juzu beads) and the various tattoos
that are used as protective amulets for the afterlife.

At the end of the day, whether it’s being under the needle or being
involved in the ‘tattoo scene’, tattooing is something I will always be
passionate about. But I still can’t help wondering what I’ll do with my
spare time once the final piece is complete…

Lizzy
Total Tattoo Editorial Team
totaltattoo@totaltattoo.co.uk

“I think it's a part of us as human

beings that we search outside of
ourselves for meaning.”
Nick Cave

Total Tattoo Magazine 7

 Tattoo news and reviews for your delectation and
delight. If it goes on in the tattoo world, it goes in

NEWS & REVIEWS here. Send us your news items, books or products
for review and items of general curiosity and
intrigue for the tattoo cognoscenti.
News, Total Tattoo Magazine, 111 Furze Road, Norwich, Norfolk, NR7 0AU

HUMAN CANVAS MARKS 10TH ANNIVESARY

Just over a decade ago, infamous Belgian tattooist Wim Delvoye was
looking for someone willing to be a human canvas. Wim had previously
achieved notoriety by tattooing pigs, and this new project was to
become controversial too – because when he said “human canvas” he
meant it in a very literal way. He planned to create a tattoo that would
be treated like a conventional work of art and sold on the international
art market. He therefore needed a customer who would agree to his
tattooed skin being sold to an art collector, with the intention of it being
preserved and framed upon his death... and, while still alive, be prepared
to exhibit himself (and of course the all-important tattoo) in art
galleries. The man who agreed to do this was Tim Steiner from
Switzerland. The resulting backpiece, executed by Wim Delvoye, was sold
to German art collector Rik Reinking. We hear the work fetched more
than £100,000 – with Tim receiving one third of that sale price. Tim sees
himself as a “temporary frame” for the work and feels that tattooists
should be accepted as artists in their own right in the contemporary art

Studio for sale

world. He also explained that Wim Delvoye's idea was to highlight the
uniqueness of tattoo art – that it changes with time, as the wearer's
body changes. In his 10th year as a living canvas, Tim Steiner participated
in his longest running exhibition yet, at the Museum of Old and New Art Tiger Sid John Siddons has
(MONA) in Hobart, Tasmania. contacted us to let us know he
is selling his studio due to
illness. He tells us, “Everything is
DR EVIL IN COURT included the sale – tattoo
machines, designs, stencil
Many readers of Total Tattoo concerned with reconstructive machines, steriliser, etc. It's a
Magazine will know of Mac ‘Dr procedures (for stretched ears, for great shop with 43 years of
Evil’ McCarthy, the highly regarded example). We were therefore history. It just needs the right
body modification specialist. Mac is shocked to hear that Mac is due to person to run it. For viewings
acknowledged throughout the appear in court charged with and enquiries please telephone
industry to be an expert in his several counts of grievous bodily 07872 642451”.

Big North
field, and much of his work is harm and wounding relating to
consensual body modification –
charges which, it must be

Tattoo Show
emphasised, were made be a third
party (who cannot be named) and
emphatically NOT by the
customer involved. A petition in WEBSITE GOES LIVE!
support of Mac has been set up:
https://www.change.org/p/
support-professional-body-
modification-specialist-
mac-maccarthy There is also a
support group on Facebook:
https://www.facebook.com
/groups/1202913426495873 WWW.BIGNORTHTATTOOSHOW.COM

8 Total Tattoo Magazine

 WIN TICKETS TO TOTAL TATTOO’S VERY OWN BIG NORTH SHOW

We are incredibly excited to be hosting our first ever tattoo convention - The Big North
Tattoo Show - at the Metro Radio Arena, Newcastle Upon Tyne, on 29th and 30th April.

There will be around 300 top class artists at the show - from the UK and worldwide. It’s an event
not to be missed, whether you’re coming to get an amazing tattoo or simply want to marvel at
the insane skill of these artists. In addition, the show will boast tons of entertainment by an
astounding array of unique acts, plus tattoo competitions, an exhibition by our
sponsors Jennings Harley Davidson and lots more besides.

Our website is now live, and we are constantly adding to our

confirmed artist list and entertainment programme, so keep
checking our updates on
www.bignorthtattooshow.com

Advance tickets are selling fast, but you could be in

with a chance of winning a pair of weekend passes to
the show by answering this simple question:

How many artists will be at

the Big North Tattoo
Show?

A) Around 300
B) Nobody knows
C) Pi (= 3.141592653589)
Please email your answer and contact details to
comps@totaltattoo.co.uk with “BIG NORTH” as the heading
to reach us by 30th March (Usual T&Cs apply – see page 5.) Good luck!
 SEEING RED AT SANG BLEU WIN TICKETS TO
High quality London studio Sang Bleu is under fire on social media, SOUTHAMPTON
finding itself accused of discrimination because one of its artists refused TATTOO FESTIVAL
to tattoo an HIV positive customer.
Provided the correct health and extremely aggrieved. It is of course The Southampton Tattoo Festival
safety procedures are followed against the law to discriminate will be hosted at the Ageas Bowl,
there is no risk to an artist against anyone on the basis of Hampshire, on the 1st and 2nd of
tattooing someone who is HIV their HIV status and we July. As well as top class tattooing,
positive, but tattooist Malvina understand that Malvina there will be a vintage market,
Wisniewska felt unable to proceed Wisniewska is now no longer burlesque show and live music.
when her customer disclosed his working at Sang Bleu. Studio Children under 15 years old get in
HIV status. She later explained on owner Maxime Plescia-Buchi was free, and the organisers tell us the
social media that this was because keen to stress that he is against weekend will be fun for all the
of a personal HIV scare a few discrimination of any kind and family.
months ago; when tattooing expects all artists working at Sang
another HIV-positive customer, she Bleu to share the same ethical
had received an injury from a principles and abide by the law.
sharp object and had to undergo
HIV testing and precautionary
treatment. Although she
subsequently received the all-clear,
she said the traumatic experience
left her feeling mentally
unprepared to tattoo another HIV If you’d like to be in with a chance
positive customer so soon of winning tickets, just email us the
afterwards, and felt that if she’d answer to the following question:
gone ahead with the tattoo in her
anxious state her work might have Where will the
been sub-standard. Sang Bleu Southampton Tattoo
apparently offered the customer Festival take place this
an alternative artist, but according year?
to comments posted on social
media he left the shop feeling the tattoo design A) The Fruit Bowl
B) The Ageas Bowl
RIDDLE OF THE SPHINX C) The Fish Bowl

A heartbreaking online video showing a man tattooing his Sphynx cat has Please email your answer and
caused outrage amongst tattoo fans and artists alike. Identified only as contact details to
'Aleksandr', the man from Yekaterinburg in Russia apparently gave his cat, comps@totaltattoo.co.uk with
Demon, an anaesthetic (which can in itself be harmful) before tattooing “SOUTHAMPTON” as the
the animal with Russian criminal-style tattoos, and he says it's not the heading, to reach us by 30th March
first time he's done it. It's a riddle that seemingly has no answer – how 30th. (Usual T&Cs apply – see page
can human beings show such cruelty towards their non-human friends? 5.) Good luck!

TOTAL
TATTOO
MAGAZINE
NOW ON
INSTAGRAM

We'll be posting great tattoos, news, and

exclusive competitions.
Follow us on #totaltattoomagazine

10 Total Tattoo Magazine

 RUSSIAN DOMESTIC VIOLENCE WIN TICKETS TO INK & IRON
Amidst widespread concern about recent changes in Ink and Iron will once again be hosted at The New
Russian law that decriminalise certain forms of Bingley Hall this year, on Sunday 9th April. As always,
domestic violence, it's good to hear about someone some of the industry's most talented artists will be
who is trying to help survivors of the abuse. We've tattooing at the event which will also include live
picked up a story about Russian tattooist Yevgeniya music, DJ sets, a car and bike show, a powerlifting
Zakhar, who is offering to ink women free of charge competition and a "Light and Dark" art exhibition.
– covering their physical scars, boosting their self- Advance tickets are priced at £15 (available until
esteem and helping them to regain ownership of Saturday 8th April) or £20 on the day. The organisers
their bodies. She posted an ad on social media, was have kindly given us two pairs of tickets to give away
apparently absolutely inundated with responses, and to two lucky readers. To be in with a chance of
has since tattooed more than a thousand women winning, all you need to do is email us your answer
(such is the need for her service). to the following question:

What is the name of the art exhibition at

this year’s Ink and Iron convention?

A) Light and Dark

B) Black and White
C) Tea and Coffee

Please email your answer and contact details to

comps@totaltattoo.co.uk with “INK AND IRON” as
the heading, to reach us by 30th March. (Usual T&Cs
apply – see page 5.) Good luck!

TATTOO YOUR CAR!

We've heard that purchasers of the Audi R8 (and, in
due course, other models too) can opt to have any
design of their choice – provided it's legal – etched
onto their new car's bodywork. The process involves
blasting on a powder that roughens the surface of
the lacquer and leaves a permanent matt-finish mark
in the shape of whatever template was used.
Vorsprung durch Technik!

Total Tattoo Magazine 11

please mention total tattoo when replying to adverts • please mention total tattoo when replying to adverts
please mention total tattoo when replying to adverts • please mention total tattoo when replying to adverts
 Words by James Sandercock • Pictures byJames, Jason & Lianne

14 Total Tattoo Magazine

The dictionary definition of 'collaboration' is 'working together'.
The collaborative relationship between artist and client is of
course an inherent part of tattooing, but truly creative
collaborations between tattoo artists are few and far between.
It was when I saw the work of Volko and Simone of the Buena Vista Tattoo Club that
my eyes were first opened to the creative possibilities of true artistic collaboration.
Those artists were producing something that simply couldn’t have come about without
the collaborative process. It wasn’t just a case of deciding to work together on one
customer; there was something different happening, something empathic that led to a
different way of thinking about tattooing. What I realised then, and still believe now, is
that when there is an intimate connection between two artists, collaboration can yield
something that is beyond even their expectations. The magic of collaboration happens
somewhere in the unknown, in the meeting of minds, maybe even in the meeting of
spirits. That kind of relationship is a rare thing, but you can clearly see it in the
collaborative work of Jason Butcher and Lianne Moule.

Originator of the much-emulated Death Romantic style, Jason has long been leading
the way with his large-scale black and grey concept tattooing. Lianne, who
apprenticed under Jason, has made her own impact on modern tattooing with her
watercolour style. Their personal lives are intertwined, and their tattoo styles
seamlessly blend in a way that perfectly reflects this. I recently spent an afternoon with
them at Jason’s shop Immortal Ink – catching up, drinking great coffee (Jason would
make a fine barista) and talking about the beautiful tattoos they create together.

James: Do you feel your collaborations are even more exciting and interesting than
your individual work? Was it a natural step to take?

Jason: For me, working together with Lianne definitely feels like something greater
than the sum of our two parts.

Lianne: We spend our lives together. Even when we tattoo separately we design
together and help each other out. We just naturally reached a point where it
seemed that we should be tattooing together.

Total Tattoo Magazine 15

 Jason: We do have our own individual
strengths and weaknesses. Composition is
one of my strengths; I don’t know why,
but I just see shapes first rather than
concentrating on the image. So I would
find myself looking at Lianne’s designs
and saying, 'I think you need a bit here,
or a straight line there'. And of course
there were always things she could help
me with too...

Lianne: Yes, I’d end up putting some

textures into Jason’s designs, or painting
something in. We were getting more and
more involved in each other’s work, so
why not just take that onto the skin and
do the tattoo together?

James: So how has the process

developed?

Jason: Because our work was crossing

over more and more, it did feel like a
natural progression. But the first one we
did was definitely more separate parts
than one cohesive style.

Lianne: As a tattooist, you become quite

precious about what you’re doing. The
feeling you get when you go up against
another artist’s work is that you’re
somehow going to get too close to it...
and that you might ruin it. When you’re
collaborating, you must overcome that
feeling. Now, we’re really confident in
what the other person is doing and not
so precious about our own bits. That’s

16 Total Tattoo Magazine

really been the biggest lesson. I know that
whatever Jason does is going to be best for the
tattoo, and he feels the same about me. And we
don’t just do our own bits; we will go over and
into the other’s work and build it up. At the end
of the day it’s what’s best for the completed
tattoo rather that our individual efforts.

Jason: But that was a hard place to get to! I was

a bit of a diva about it. I wasn’t exactly a
control freak, but I thought I knew best. When
we first started collaborating, we did this design
and I was telling Lianne that she needed to paint
this bit and use these colours and she was just
like, 'No, I’m going to do it like this.' But I’d had
a particular colour scheme in mind and I wanted
it kept that way.

Total Tattoo Magazine 17

Lianne: You’d come up with the plan and
that’s the way you wanted it to be.

Jason: I threw my toys out of the pram

and stormed off into the living room
shouting, 'I don’t care! Do whatever you
want!' So Lianne did what she wanted
and I was like, ‘Um... that’s actually
much better than my idea.' From that
moment on I have trusted her completely.

Lianne: You learn to give up a little

control when you work together. The
most important thing is what is right for
the person in front of you – the client. It’s
not about you showcasing your work.
We have done tattoos where my bits are
quite subdued and Jason’s work stands
out more, and vice versa. It’s important
that the parts are not fighting each other
for attention. As tattooists we are used to
showcasing what we do best, but when
you’re working with another artist you
just want the whole thing to look good.
You need to understand that what you do
is not necessarily going to be the main
focus. It can be kind of hard sometimes.

James: So how does it work in the

consultation process? Do your clients ever
state that they want more of one artist
than the other?

Jason: We sometimes get that. We do

have a couple of clients who are more
into one of our styles than the other...

Lianne: But it’s one of the reasons why

it’s so important for us to find the right
clients, and why we don’t just tattoo
anybody.

18 Total Tattoo Magazine

Jason: We always try to do what is right
for the design. It sounds pretentious, I
know, but it’s the truth. We try to put our
egos aside and let the tattoo be whatever
it’s going to be. Our customers need to
understand that, and they need to do the
same. They need to give up control over
things such as which artist does most of
the work. When Lianne and I sit down
together and start to work on the design
we are always surprised at how it
develops; there are always twists and
turns, and we explain all of that to our
clients. For instance the client might ask
for a sleeve, but we don’t really use
terms like that anymore. We'd say
something like, 'It’s mostly going to be on
your arm, but would you be OK if it
carried over onto your chest?' We are
trying to break down barriers and have
fewer limits, so we need our clients to
understand and feel that way too. Most
people seem to be really cool about it.

Lianne: If there are any difficulties or

problems we can’t iron out at the
consultation stage we have to say that
we’re not the right tattooists for that
client.

James: How have people reacted to your

collaborative pieces?

Jason: I’ve had a hard time with criticisms

from people who like my individual work
– comments like 'You used to be great' or
'Your work is shit now'. Lianne, you don’t
get any of that do you? The people who
like Lianne’s work are much kinder... But
when Lianne posts her individual stuff it
does get way more likes than our
collaborative pieces. Our collaborative
work has deeper layers and levels; it asks
more of people. I think we both feel our
work together is more important; it’s just
not as easy for people to consume.
Lianne: I understand how social media
works. I know that 95% of the people
looking at my work are everyday people
and they’re not looking to push artistic
boundaries. If I tattoo a pretty rose on a
girl, people will like it. Getting a large
response to posting a flower doesn’t
have any relevance to the work we are
doing together. What we do together is a
bit more niche. It’s not the same thing at
all.

Jason: And our peers in the serious world

of tattooing love what we are doing.

James: Have you changed as artists?

Jason: It’s changed my way of thinking

about tattooing and broadened my
horizons.

Lianne: For me it’s hard to say, because

it’s been a slow evolution. We’ve
reached this point gradually.

Total Tattoo Magazine 19

 Jason: I think there will always be a link
or a crossover in our work.

James: Has collaborating changed the

way you feel about tattooing?

Jason: Yes, absolutely! As your career

goes on you get stuck in your ways, but
this has given me a new enthusiasm and
taken me to another level. And Lianne,
you were always known for small nature
pieces, but as soon as we started to
collaborate all of a sudden people
wanted a backpiece or a body suit from
you!

Lianne: Yes, it was rare for me to be

asked to do big stuff. But now I’m doing
all these huge pieces.

Jason: Isn’t it strange? ‘Collaboration

Lianne’ is a body suit person, but
‘Solo Lianne’ is still working on smaller
tattoos...

Lianne: My collaboration customers are

very different to the ones who come to
me for my solo work.

Jason: It’s just one of the many things

we’ve learnt along the way. How far can
we push the limits we impose on
ourselves.

James: Has working together brought

you closer together personally?

Lianne: Yes it has, and it totally makes

sense now. We do everything else
together, so why did we keep our art
separate?

Jason: I feel the same way. We overcome

so many obstacles whilst collaborating on
our tattoos, and those things were
obviously obstacles in our relationship as

20 Total Tattoo Magazine

 Lianne: It feels like anything is possible.
Ten years ago people wouldn’t even
have dreamt about some of the things
that are happening today – like putting
ink onto a flower, using that as a stencil
and then tattooing it. To me that’s just
brilliant art. It’s never just about the final
tattoo; it’s the entire concept. It’s like a
piece of performance art, where the
tattoo is a reminder of the experience.
Who would have though tattooing would
go there?

Jason: Why do there have to be any

limits in tattooing? Why can’t a client just
go into a studio and get passed from
artist to artist? Why does there have to
be a set way of doing things?

Listening to Jason and Lianne talk about

their collaborative process, it’s not
difficult to see why the tattoos they do
together work so beautifully. In fact I find
myself wondering whether the simple
word 'collaboration' really does them
justice. These pieces feel like something
so much more than that...

Immortal Ink
39-43 Baddow Rd
Chelmsford CM2 0DB
01245 493444
www.immortalink.co.uk
well. But maybe we didn’t know they Jason: Also understanding the
were there? It’s been a cool way to get relationship with your client. When you
over some of those issues, but in are doing big work, that becomes very
disguise... important.

James: I sense that you now have a James: Do you know where you’re
greater appreciation of what the other headed with this project?
person does?
Jason: Not really! We’re just going
Jason: Absolutely. Sometimes I look at wherever it takes us.
something I’ve done and think, 'Lianne
will make that look cool'. James: How do you see things
developing in the future? Might there be
Lianne: We might be doing a piece at a a time when you no longer feel the need
convention over two days, and I’ll do my to work as individual artists at all?
bit on day one, then Jason will do his bit
on day two, and at the end of it I’ll look Jason: Yes, I think so, eventually. There
at my work and think, 'Great, he’s made are things we like to do individually but
it better'. we could easily incorporate those into
our collaborations. That would be my
James: Do you feel that what you have goal – to be working only together. It
discovered is something other people can feels like we have reached the phase in
now learn from? tattooing where people are mixing
everything together, so why not? Why
Jason: We just taught a seminar at the not do things differently?
Paradise Gathering and it was really well
received.

Lianne: When we were putting the

seminar together we decided we couldn’t
teach techniques, but we knew we could
share our philosophy. Learning to let go
of your personal control... learning to
really trust someone else... and finding
the right person to work with.

Total Tattoo Magazine 21

please mention total tattoo when replying to adverts • please mention total tattoo when replying to adverts
please mention total tattoo when replying to adverts • please mention total tattoo when replying to adverts
24 Total Tattoo Magazine
 GOA
Tattoo festival 2017

julian siebert (germany)

guy le tatooer deep, kraayonz tattoo studio (india)

The beautiful coastal region of Goa in western list of great European tattooists to a place he himself loves to visit,
India, less than one hour's flight from Mumbai add a selection of influential Indian artists, a few traders and some
(Bombay), is a small slice of paradise. With sandy fantastic entertainment, and let the festival begin!
beaches caressed by the Arabian Sea and kissed by
the sun from dawn to dusk, it's the most amazing The show is held at Tito's White House on the Anjuna Road. The
place to combine a tattoo convention with a complex consists of a café serving good quality European food, a
holiday/tattooists' retreat. nightclub, a pool, a bar and a large open-sided tiered area which
housed most of the tattooists, with others dotted along the main
India is a magical place. Somehow in all the dust, noise, craziness and thoroughfare at the front. Temperatures soared into the high 30s on
chaos, time kind of calms right down. The pace of life is slow, and it's all three days, and the open areas were wrapped in netting to allow
easy to see why this part of the world has been so popular with cool air to flow whilst at the same time keeping out the dust and
travellers and hippies since the early 60s. the insects.

Last year saw the first Goa Tattoo Convention, put on by Martin Pretty much everyone who had previously visited the show had
McIver of Tattoo TV (organiser of the Tattoo Tea Party, Galway opted to come again, including Rhys Gordon (Little Tokyo in
show, Big North show, etc). Martin's vision was simple: introduce a Australia), Adem (Fat Fugu), Soydan (Yakuza Tattoo in Ireland),

Total Tattoo Magazine 25

 sachin, ink baba (india)

chirag jhala, inks and needles (india)

Holly (Boo Tattoo), Jake X and Lewis (Crooked Rook), and Marcus (Yuktimaan). There were
also some fabulous new additions to the line-up, including Matt Hanumantra (Un1ty), Julian
Siebert (Corpsepainter), Guy le Tatooer, Claire Hamill and many more. Indian artists
included Mukesh (Moksha Tattoo), Sunny Bhanushali (Alien Tattoo), Pramod Deshmukh (Leo
Tattoos) and Lloyd Fletcher (Lloyd of the Rings). Take a look at www.goatattoofestival.com
for the full artist list.

On the Thursday before the show Mukesh and Sunny teamed up to present a seminar on
realism which included them both tattooing two separate tattoos on the same guy (Warren
from England) while they explained their process along the way! Friday morning was the
official start of the show, and in typical Indian style essential jobs were being completed right
up to the very last moment. Then the people came, the sun shone and the smiles beamed.
There was a tangible buzz in the air as old friends met up, and everyone was busy.
Entertainment on the large free-standing stage got underway with belly dancers and some
very inventive bands who looped tracks while performing acrobatics, all of which was filmed
and projected onto a massive digital backdrop screen. No expense was spared.

mukesh waghela
moksha tattoo
(india)

sean, sailor max

26 Total Tattoo Magazine

All through the day the fun and excitement
continued, and as the sun went down and the
lights came on the show took on a magical
feel that really encapsulated the essence of a
festival. Alcohol is incredibly cheap in Goa and
everyone seemed to take good advantage of
the party vibe. Then many of the artists
headed to the nearby beach for a well-
deserved rest after the day's proceedings.

Saturday dawned, and we needed to get to the

show early to catch Matt Hanumantra's
seminar. It was the first seminar he had ever
given, not that anyone would ever have
known; it was an extremely interesting and
informative presentation, despite the fact that
he was feeling a little under the weather. The
show itself proceeded very much in a similar
vein to Friday. Julian Siebert (Corpsepainter)
worked on a full sleeve themed around the
Hindu god Shiva, while Guy le Tatooer spent
most of his time tattooing all the other
tattooists who were desperate for a piece of
shyam, body canvas (india) duncan viegas, inkfidel tattoo (india)
his special brand of brilliance! Between the
chatting, drinking and generally having a good
time the day passed really quickly and before I
knew it I was judging on stage. Not many of
the European artists entered the
competitions, leaving the Indian artists to fight
it out among themselves. Then after the show
it was straight off to the Saturday night
market, a massive outdoor event with stalls
selling all sorts of Indian trinkets, a food area
and a full-on rave in the middle. It's huge, and
it was the ideal place to collect a few gifts for
the folks back home.

hanumantra, lecture on black work

mukesh waghela, moksha tattoo (india)

 Sunday was slow to start and the temperature was way up.
Numbers through the door were small, but this being India
nobody really cared; everyone just got on with having fun and
enjoying themselves. One of the Indian artists had spent days
creating an amazing masterpiece of a portrait out of nothing but
coloured dust! Its likeness and technical ability were incredible
and I feel sorry that the photo (see page 31) simply cannot do it
justice. And Sunday was serious competition time. The judges
were Lal Hardy (New Wave Tattoo), Naresh Bhuna (Flamin’ Eight)
and Jocke Hultman from Sweden. Emotions ran high, with many of
the winning artists literally crying with joy.

the only way to see india

As the show drew to a close, a palpable wave of sadness flowed

through all of us as we realised it was over for another year.
There are good shows, great shows and a few shows that are
truly amazing experiences, and for me Goa sits well within that
last category. It's so much more than a tattoo festival. It's a
celebration of the way that tattooing can unify people from
opposite corners of the world. The Indian artists really appreciate
the European guys for coming over and sharing their stories and
knowledge, whilst the European guys love the way we are all so
welcomed into the world of Indian art.

julian siebert,
corpsepainter (germany)

sebastian kristen, corpsepainter (germany)

josh lin
kevin andrade, synthetic lab
flying lotus (india) pramod deshmukh, leo tattoso (india) (taiwan)

28 Total Tattoo Magazine

 chirag jhala,
inks & needles (india)

alan, aliens tattoo (india)

alister ephraim,
eye circus (india) mik lepcha, mohans tattoo inn (nepal) mukesh waghela, moksha tattoo (india)

Total Tattoo Magazine 29

 lokesh verma,
devilz tattoo
guy le tatooer, hand poking (india)

mapusa market

sunny bhanushali,
aliens tattoo (india)

the crew

30 Total Tattoo Magazine

 jessi manchester,
jessi manchester tattoo (germany)

matt chahal tattoos mike banting

Lots of us stayed on in Goa after the show of course, and the following morning at 8am
josh lin, synthetic lab (taiwan)
we assembled for what is becoming a bit of a tradition: the motorbike ride out to 17th
century Fort Tiracol (reached via the river ferry) for lunch. All the artists rent bikes of
various sizes and we ride in unison, which is just the best thing ever. It's the highlight of
the trip for us. Then the numbers of visiting tattooists gradually dwindled over the next
week or so as our time in paradise came to an end and we dragged ourselves back to
our real lives and back to our work commitments. However long I get to spend in India,
it will never be enough.

painting made of powdered

pigment by pramod sahu sudhir rao, body canvas

Total Tattoo Magazine 31

 This month's cover model is Sarah Jensen, a Norwegian Puerto Rican who's passionate
about yoga and gaming. She'd also love to be able to fly faster than the speed of sound!
Tell us a little about yourself... Do you help design your tattoos or do you rely more on
I am Puerto Rican and Norwegian. (I was raised in a Norwegian your artist?
household, but I do wish someone had taught me Spanish while When I go to an artist for a tattoo I give them an idea and then
I was growing up.) Norway is my favourite place in the whole let them expand upon it. The only thing I'm very particular about
world. Everything about that country appeals to me and I'd love is the size of the tattoo. Other than that, the artist has a
to live there one day. One of my greatest passions is yoga completely free rein. I'm not an artist myself, so how can I
because it makes me feel like I can disappear into myself and possibly ask for an original piece while trying to micromanage
re-emerge cleansed, healed and whole. Career-wise, modelling the details? I definitely respect their skill.
is my full-time gig. But all that comes after my full-time mom
responsibilities. Not many people know that I have two children Any plans for future ink?
because I keep our private lives off social networks. I want to get my knees done, and my left thigh is completely
blank. I'm shopping around for artists at the moment. There are
What's your day-to-day style? so many good ones out there but so little space left on my body.
I can describe my style as “classic with a touch of BoHo chic” –
because I don't know what either of those things mean and I'm How do you feel about social media?
wearing sweatpants... Social media can be a double-edged sword, and I don't like
publicly sharing the very intimate details of my life. I have a
I hear you are a gamer. fantastic fan base, but I find that the content is getting extremely
Yes, I've been gaming since I was a little girl. I started on PC racy and risqué; it's a lot of pressure for someone to have to live
and the original PlayStation, with games like Crash Bandicoot up to. At the end of the day, social media isn't real. It's easy to
and Tomb Raider. My top games right now are Destiny, Skyrim, lose yourself in your own image if you're not careful.
Final Fantasy, and OVERWATCH!!!
How would you change the world?
If you could have a special power, what would it be? If I could change the world, I would make karma instantaneous.
I know it's a cliché, but I would love to have the ability to fly. (While I realise that isn't very realistic, neither is world peace...)
Mach 5 at least. I think we would treat each other better if there was an
immediate consequence to our good or bad actions. It would be
Tell us about your first tattoo... like an accountability booster for humanity.
I started getting tattoos as soon as I was 18 even though my
father expressly forbade it. I absolutely loved the process, but Any projects in the pipeline?
never for one moment did I envisage being heavily inked. As My show ('Playtime with Sarah J' on BRealTV) is streaming on
time went on, however, I realised that I was passionate about YouTube. I will be gaming live, doing yoga, and there will be
tattooing. My first tattoo is now covered up by a koi. Back then, I Q&A sessions and lots of other fun things!
didn't understand the importance of going to a professional
tattoo artist with a quality portfolio, and it showed. How do we get in touch?
JustSarahJensen is my handle right across the board.
Which was your most painful tattoo?
That would have to be either my foot or my ribs, although they Words and Pictures: Jenna Kraczek
are two different kinds of pain.

32 Total Tattoo Magazine

Total Tattoo Magazine 33
please mention total tattoo when replying to adverts • please mention total tattoo when replying to adverts
please mention total tattoo when replying to adverts • please mention total tattoo when replying to adverts
 Words by Perry • Pictures by Jessica

Jessica is an extraordinary new talent in the tattoo world.

Although she's only been tattooing for two and a half years,
she demonstrates a level of skill and professionalism that often
takes far longer to develop. Winner of German tattoo magazine
Tätowier's 'Best Newcomer' award, we think she has a great
career ahead of her.
I begin by asking Jessica about her involvement in art prior to picking up a tattoo machine.
“I never really had any involvement in art at all,” she tells me. “I always used to draw, but only
for fun. Back then I was much more interested in making music. At university I studied Energy
and Resource Management and then I worked for a pharmaceuticals company. One day a friend
saw some of my drawings and said, ‘Hey, you should do something with this talent...’ I remember
sitting in the office feeling sad and suddenly realising that I had to make a decision about what to
do with my life. I wanted a job where I could draw, and make people happy, whilst at the same
time getting paid enough to live on. That was when I decided to pursue a career in tattooing.
I knew there was a tattoo shop out there calling me! My parents didn't think it was a viable option
at all, but I started to draw and draw all the time, then I went to the shop where I'd been getting
tattooed and asked the boss if I could be an apprentice. He said, 'Sure, why not!'”

I asked Jessica if she was surprised by his willingness to take her on? “No, not really,” she says.
“He'd seen my drawings, and he knew he could teach me how to tattoo, plus he wanted someone
who would fit in with the team. We're good friends. I'd find it difficult to work in a super cool
shop where you have no connection with the other artists. We’re more like a family. There's no
conflict and no egos, and we all work together instead of working apart. That's how you learn
and grow.” It's always heartening to hear about an old school tattooist recognising ability in a
young talent, and Jessica agrees. “Absolutely. I know I've been very lucky. I've had a lot of help
from old school tattooers who have shown me how to make technically good tattoos that will last.
I'm very grateful to them.” And how about that initial step of transferring her creative skills from
paper to skin? “It wasn't difficult,” Jessica tells me. “I just kept practising and practising.”

All over the world, new tattoo shops are opening and the competition for customers is hotting up.
I asked Jessica for her thoughts on the current situation. “It's so much easier today to get into the
business, yet at the same time it's still quite difficult! Equipment is easier to get hold of, but the

36 Total Tattoo Magazine

learning is just as hard. There are lots of really great young artists
coming through. A year ago, German tattoo magazine Tätowier
ran a competition to find the best newcomer (which I managed to
win). It was a good opportunity for me to see the work of some
incredible young tattooists. That competition, and the level of
talent, really inspired me to keep trying to get better.”

Amazingly, Jessica has only been tattooing for two and a half
years. She seems to have such a good, solid attitude towards the
world she now inhabits. “My boss and my colleagues have
instilled a traditional ethic in me, insisting that I learn the basics
and always consider how the tattoo will look in the future. My
attitude is very much the way an old school tattooist would think,”
Jessica explains. “If you do a lot of detailed work like I do, you
need to put a bold line around it otherwise it can get a little lost in
a few years. I have a lot of realism tattoos on my body and I do
believe that if it's done well and done right – and you place
contrasting colours with a lot of darks against lights – you can
create a great tattoo that will stand the test of time. But it's a skill,
and I'm still learning all the time.”

Total Tattoo Magazine 37

I wanted to know if being thrown into the
spotlight by winning the Tätowier competition
meant that Jessica felt a pressure to achieve?
“Not really,” she replies. “Maybe that was
because of the attitude instilled in me by my
peers. I didn't let it go to my head. My life
hasn't changed. I still tattoo every day; I still
have my regular customers; and I still try to do
the best I can. The only pressure I feel is the
pressure I put on myself. In Germany, like
everywhere else, we have a lot of TV
programmes about tattooing and although I’ve
had some publicity, I try to avoid those. I have
a passion for tattooing and I don't like to see it
sold as entertainment for the masses.”

In the UK we are now seeing some tattoo

conventions turning their backs on traditional
tattoo competitions, and I was eager to get a
young artist's view of this. “I kind of like
tattoo competitions at shows because I love to
see the work. But I never enter them myself
because I feel my customer deserves a great
tattoo and I don't ever want to rush a piece to
get it finished for a competition. Working at a

38 Total Tattoo Magazine

Total Tattoo Magazine 39
show is always difficult. The light is bad, it's
uncomfortable, and there's lots of noise and
other distractions. It’s not always the best for
the customer. I do know tattooists who go to
conventions because they really want to win.
But I prefer to focus on learning from other
tattooists, and making new contacts and
friends. I think that's the true nature of
conventions.”

We talk a bit about all the various styles of

work on show at conventions, and this leads
on to a discussion of Jessica's own style –
which she describes as predominantly
blackwork, linework and dotwork. “I love to
include botanical shapes and patterns,” she
tells me, “and I am constantly trying to find
something different... which is so hard,
because there are so many good, original
artists our there. Everyone is trying to find
their niche and discover elements that will
make their work stand out. I have become
well known for doing mandalas, and I love
doing them, but I don't want to be constantly
copying myself. There are ways to reinvent
them, but it gets harder.”

Although striving for originality is important,

Jessica also feels it is vital to strengthen and
deepen her style. She is certainly not content
to rest on her laurels. “For me, the key
technical elements of my work are the smooth
consistent lines and the anatomical placement
of each piece. So much of what I do involves
placing accurate geometric shapes on
imperfect asymmetrical bodies, and you have
to find a visual compromise. A tattoo needs to
look good when you are sitting around
relaxing, not just when you are standing up
straight. All the elements need to be
considered.”

40 Total Tattoo Magazine

I ask Jessica about her preferences regarding tattoo machines. “I use a
combination of coil and rotary machines,” she tells me. “For really fine line
work I use the Cheyenne pen, which works well, although it does look a little
like a vibrator!”

Of all the things she's learnt, Jessica admits that she found colour theory the
most difficult to master. “Because I didn't have any formal art education, it's
taken me quite a time to understand how colours work together, and to
develop a solid, unique colour palette of my own. But I'm getting there.
The main thing I've had to get used to, though, is dealing with all my amazing
customers! Tattooing someone is such an intense situation, and getting used
to that is a big part of the job. You always have to be kind.”

For Jessica, the customer plays an important role in the design process.
“I start by spending time just talking with them. We maybe drink some coffee,
and do some sketching together. I already have lots of pre-drawn ideas –
creepy, crazy, mad designs – and there's a strange kind of pressure because
the customer is always expecting you to create something perfect. But I'm not
a machine. Over time I've learnt that perfection isn't always achievable and
something too perfect can actually look a bit cold and lifeless.”

Total Tattoo Magazine 41

42 Total Tattoo Magazine
That balanced outlook is apparent in the way
Jessica organises her whole working life. “I try
to be very disciplined,” she tells me. “At the
end of every day, after the shop closes, I spend
one hour answering emails then in the evening
I draw. Last year I got the balance wrong and
worked all the time, but now I try to spend
more time enjoying life. Outside of tattooing,
I create artwork for bands and merchandising.
I like to paint too, although I only seem to get
round to it a couple of times a month.” And are
her parents any more in favour of what she's
doing now? “Initially my family were against
me tattooing because I had good qualifications
and a sensible job. But when they realised that
I could support myself and pay my bills by
being a tattooist, they started to understand
that tattooing is a real job. Then when they
saw me in the magazines, I think they were
really proud.”

Jessica had originally intended to open her

own studio as soon as possible, but tells me
she realised that it would be wiser to
concentrate on further developing her talents
first. This leads us on to talking about the need
for professionalism in tattooing. Looking to
the future, Jessica foresees a time when
tattooing becomes very clearly divided
between the truly great artists and an awful lot
of poor quality ones. “Some tattooists do it
because of a deep-seated passion, but for
others is is only about the money. And the TV
shows haven't helped. Even my mother
watches them, and like everyone else she now
believes it's easy to cover up a tattoo!”

“I think it would be a better world if there was

more love in tattooing,” Jessica continues.
“I know that sounds hippy, but I love it so
much! Tattooing takes over your whole life.
It makes me very happy. My customers pick
up on that energy and they have a great time
too.”

Jessica Kinzer
Rabauke-Tattoo.de
Reuttier Straße 111
89231 Neu-Ulm, Germany

jessica@rabauke-tattoo.de
@jessicaknzr
Call +49 731 97745905

Total Tattoo Magazine 43

please mention total tattoo when replying to adverts • please mention total tattoo when replying to adverts
RODRIGO SOUTO
R
PAINTS A JAPANESE PEONY
odrigo Souto, a tattooist at Black Garden Tattoo in
London, has established himself as a specialist in
large scale Japanese work focusing particularly
upon peonies. Recently he produced a book of his
beautiful creations. Here, he presents his own personal
tutorial on how he does it. He's also kindly provided an
exclusive cut-out-and-keep limited edition print of the
finished piece!

Here is a list of what you need::

Tracing paper
Arches watercolour paper, rough 300gsm
Small plastic pallet
Water container (I cut one from a large plastic water bottle) I begin by taking a piece of tracing paper and a
Small tea towel pen. I don't use pencils anymore, because I
think a pen gives more flow, which is how I
want my flowers to look – to flow on the
Pens: paper and flow on the body. I do a quick
Faber Castell Pitt Artist Pen sanguine 188 B sketch with my pen, based on a series of
Faber Castell Pitt Artist Pen sanguine 188 S circles, to figure out the shape of the peony.
Staedtler pigment liner 05
Staedtler pigment liner 0.05
Sharpie ultrafine permanent marker
Brushes:
Pro Arte Prolene number 4
Pro Arte Prolene number 0
Inks:
Daler Rowney FW acrylic

I then put another piece of tracing paper on

top and trace it again, this time with finer
lines. I add a little shading, to figure out where
it's going to be darker, where the colours will
go, and where the highlights will go. After this,
I check the lines and prepare the lightbox.

46 Total Tattoo Magazine

On the lightbox, I can see the best positioning,
size, etc. I leave a little space around the sheet.
I use masking tape to secure the tracing paper
onto the watercolour paper, to stop the
drawings from moving around. I use Arches
300gms watercolour paper; it's one of the
most expensive papers, but I've tried so many
and for me this is definitely one of the best. It
gives a lot of freedom; you can put a lot of
water into the paper and it will still hold and
not warp.

The particular paper I'm using for this painting

is quite rough. Some people don't like it for
lining paintings, because it can be quite difficult
to make the lines on a textured surface, but I
prefer it. I find the smoother variety much
more difficult to paint on. However, this is only
my personal preference. There are different
styles and textures of paper, and it's worth
trying them out to find out what works best
for you.

I'm using an ultrafine Sharpie to line the

painting. It's permanent, so I can use
watercolours and inks on top, without it
bleeding. I try to make the final lines nice and
clean. And I always end up adding to the piece!
If you look at my first sketch and compare it
to the last one, you can see that they're not
exactly the same.

Total Tattoo Magazine 47

Once I've finished the lines, I'll clear my table
and get out my paints, inks and brushes. Now I
am ready to start adding colour.

I start with the leaves, working from the

darkest part (dark green, almost black)
towards the lighter parts. If the lines get
covered, it isn't really a problem because I can
always go back over them.

I'm using a brand of ink called Daler Rowney

FW, which is a liquid acrylic. Not many people
use it; a lot of tattooers I know use Dr
Martins, which I used to use, but I found that
the colour faded over time.

I think the most important thing when you're

doing a painting is that the inks don't fade,
especially when you dilute them with water.
It's a bit like tattooing; if you don't do solid
colour, it's more likely to fade out! Don't get
me wrong. I'm not suggesting that using a
different ink is a mistake; it just might not have
that longevity.

I tend to mix everything on a piece of paper.

I start with the dark green, clean the brush
quickly, then dip it into the yellow and mix on
the paper. I do one layer and wait for it to dry,
then if I need to I can go back and add extra
tones. With this ink, I can add as many layers
as I want.

48 Total Tattoo Magazine

Once I've finished the green, I change the
water. I'll be moving on to the red shading and
I don't want to get tints of green in it.

I start by using a light red, with lots of water,

and I build up the shading on the exterior
surface of the petals. I continue building up the
shading until I need to get the paper dry, and
then I repeat the process until I get the
shading that I want.

I paint the inner surface of the petals using a

different, lighter tone of red. It’s the same
process as I used for the leaves – watering
down from dark to light and adding layers
until I achieve the desired result.

Total Tattoo Magazine 49

 Once I've finished shading the petals, I go back
and do a little bit more of the darker red at
their edges. Then I do the central part of the
peony with blue.

I think I’m done! Once everything is dry, I

check over the finished painting.

I hope this tutorial helps you! I'll be doing my

second peony book next year, as the first one
is out of print, and I'll be combining the
sketches with photos and paintings.

Rodrigo Souto
Black Garden Tattoo
183 Drury Lane
London
WC2B 5QF

Tel: 020 7430 0144

www.blackgardentattoo.com

50 Total Tattoo Magazine

GALLERY
daryl watson, painted lady tattoo
parlour

aaron willett, king’s ship tattoo

ueo, ueo tattoo (switzerland)

Total Tattoo Magazine 51

 steve, rude studios

max slatter, a sailors grave

wayne bewley, dynamite tattoos nuno feio, feio artwork (portugal)

52 Total Tattoo Magazine

florencio rojas, seven seas tattoos (holland) mason williams, arclight tattoo studio
(usa)

maria, king carlos (sweden) jen hayes, hand and dagger

Total Tattoo Magazine 53

aaron clapham, hope and glory

yonah krank, finest beef shop (belgium)

54 Total Tattoo Magazine

marie cox, folklore tattoo

danny taylor, the inkwell

kid kros (croatia) loz phillips, circle of swords

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 leo, hope and glory

charlotte lee, skullduggery tatu

hannya jayne, o’happy dagger han maude, infinite ink

56 Total Tattoo Magazine

 nick caruso, bound for glory (usa)

xavier, prick! tattoo

bryn holman, human canvas

chavez, borderline tattoo christopher kenyon, true ‘til death

Total Tattoo Magazine 57

 anrijs straume, bold as brass

max rathbone,
second city tattoo club

woody,
eightfold tattoo

yarda, mystic eye tattoo (spain)

chris, north sea tattoo company

58 Total Tattoo Magazine

 hoshmoo,
inksmiths of london

lewis parkin, northside tattooz

pauly fistfight,
second city
tattoo club

amy edwards,
dark horse collective sam reilly, the inkwell

uncl paul knows (greece) inky joe, five keys

Total Tattoo Magazine 59

An American
Road Trip

Tattooing from the East Coast to the West Coast

with Rizza Boo and Taylor Heald
PART THREE Words & pictures:
Charissa 'Rizza Boo' Gregson & Taylor Heald

Travel buddies Charissa 'Rizza Boo' Gregson (of Bath

Street Tattoo Collective in Glasgow) and Taylor Heald (of
Sink or Swim in Buffalo, NY) recently completed an epic
two month tattoo trip across the USA. This is the third
instalment of their adventure. Having visited six cities and
guested at five different studios in their first three weeks
on the road, they're now taking a well-earned break to
enjoy the scenery before heading to Area 51 in Eugene,
Oregon.
ROCKY MOUNTAIN NATIONAL PARK
On the road so far: 2226 miles and 36 hours of driving

TAYLOR: Growing up in the United States, you're taught a lot about our national
parks and their wildlife, and we figured that visiting a few of them would be a
good contrast to all the big cities we'd been working in. The National Park Service
was founded in 1916, so our road trip was actually taking place in its centenary
year. En route to our next guest spot in Eugene, Oregon, we decided to head off to
the Rocky Mountain National Park. I'd visited there as a child and I just knew we
would experience some great things. Two hours out of Denver, we were driving
along the Trail Ridge Road which took us immediately to the highest elevation of
our entire trip – over 12,000 feet above sea level. The barren landscape was
beautiful, and the weather seemed to change by the minute. One moment we
would be in hot sun, the next we would be in the middle of a cloud with snow and
rain whirling around us.

60 Total Tattoo Magazine

by taylor rizza boo, in the rockies

RIZZA: This certainly was a change from all the places we'd been in up
to now. On the drive up, we climbed higher and higher and you could
really feel the difference in elevation. We jumped out of the car at one
point to look at the view and immediately I had my first run-in with
altitude sickness! It soon subsided, but I felt the effects for a couple of
days. The views in the park were mind-blowing. Previously when I'd
thought of a “park” I would have pictured a small green space with
children's climbing frames... not these rolling golden hills with
mountainous backdrops! It was so nice to get lost amongst the trees and
breathe some fresh air.

TAYLOR: We finally made it to the campsite where we would be

pitching our tent for the night. Man, were we unprepared for the cold! The
temperature got down to freezing, and we just didn't have the right gear to
keep us warm, but we survived. The next morning we woke to the sound
of a male elk bugle, and saw half a dozen females with calves walking
through the campsite – only about thirty feet away from us.

driving to the rockies

Total Tattoo Magazine 61

RIZZA: I always enjoy camping – the quiet at
night, and being able to see so many stars in
the sky away from all the light pollution. It
was a real treat to see those elk up close. They
were obviously regulars at the campsite,
strolling through as if they owned the place,
definitely not caring about the people
wandering around.

TAYLOR: We spent the day hiking, and

walked way further than we'd expected. But it
was completely worth it, seeing sights such as
the aspen trees with their shimmering gold
leaves in front of the blue sky. We got back to
the campsite completely exhausted and very
hungry, but we didn't have much time to rest or
eat as we had to hit the road north. Five hours
of driving later, we were in the rolling state of
Wyoming.

GRAND TETON NATIONAL PARK AND

YELLOWSTONE NATIONAL PARK
On the road so far: 2773 miles and 45 hours
of driving

TAYLOR: The Wyoming landscape was

stunning, with its wide open spaces, giant
plateaus and unforgiving cliffs. We kept our
eyes peeled for pronghorn antelope and license
plates from states we hadn't seen yet. As we
continued north, the magnificent Teton
mountain range started to rise on either side of
us. We decided to stop here and camp for the
night. We went for a long hike – with
momentary breaks in the clouds giving us
glimpses of the highest peaks – then returned
to our tent, built a fire and relaxed for the
evening.

giant aspens ‘old faithful’

62 Total Tattoo Magazine

RIZZA: We could easily have spent a couple
more days here, just hiking around and taking
by taylor
in the mountain scenery, but we were on a
tight schedule and that just wasn't possible. At
this point, I will just mention one thing. Bears
are a real threat when you're camping. Every
campsite has warnings about not leaving food
out – even in cars – and they provide you with
large metal anti-bear food containers. Much as
I wanted to see the wildlife, the thought of
what might happen if we crossed paths with a
bear did worry me slightly... But what can you
do? It doesn't happen often, and there are
amazing things to see out there, so it's
definitely worth a little risk.

TAYLOR: The next morning we headed for

Yellowstone, spotting deer, elk, and pronghorn
antelope along the way. With its geothermal
attractions – like geysers shooting way over a
hundred feet into the air – this national park
receives huge numbers of visitors, so
boardwalks have been constructed to prevent
the landscape getting ruined.

RIZZA: And you can see why Yellowstone is

such a tourist hotspot! The park itself is
beautiful, and the geysers and geothermal
pools are like nothing I've ever seen before.
You could feel the heat and see the ground
bubbling, and there was the smell of rotten

yellowstone national park

eggs from all the sulphur. The wooden

walkways mean you can observe everything
without disturbing nature's delicate balance.

TAYLOR: Our few days in the national parks

were an important break in our working
schedule. They really did us good, and we also
managed to gather masses of reference
material. Then we had a fourteen hour
overnight drive from Yellowstone to Eugene.
That was rough.

wild elk geysers, yellowstone national park

Total Tattoo Magazine 63

 area 51, eugene

EUGENE, OREGON
On the road so far: 3605 miles and 59 hours of driving

RIZZA: We were guesting with a friend of mine, Chris 51, at his studio Area 51. We met a
couple of years ago working some nerdy conventions and I knew his studio would be something
to behold. It was full to the brim with all kinds of toys, comics and memorabilia – so much cool
stuff. Chris and his wife were gracious hosts, providing us with somewhere to stay as well as a by rizza boo
great space in which to work. People's kindness and hospitality were a massive part of our trip. I
love this about our job. We have such freedom to travel, learn from other artists, and see old
friends and make new ones.

TAYLOR: At Chris's shop I had two full-day appointments with people who I hadn't tattooed
before (and I felt very lucky to have such tough clients who were able to sit for so long). The first
was the start of a half-sleeve consisting of a wolf skull and some foliage, and the second was the
start of a more purely decorative sleeve. Both were in black and grey, and I ended up pleased with
the results. It was nice to have a change from the styles that I normally do and the colour that I
typically use – and these tattoos were the exact aesthetic opposite of Chris's shop! From its blue
and orange exterior, to its interior full of collectable toys, arcade games and movie props, it's
certainly one of the most unique shops I've ever worked in.

RIZZA: The whole time I was away, I was really lucky with the types of pieces people were
requesting from me. Essentially I am happy with anything involving space scenes, dinosaurs and
animals – all of which I was getting asked for at each guest spot. I had a particularly good time
working on a huge Jurassic Park tattoo, on yet another lovely lady who had driven a long way to
get tattooed by me. I definitely want to visit Area 51 again. It's a great shop with a fun crew.

TAYLOR: Our stay in Eugene was too short! And this wasn't just because I had two projects on
the go. It was more to do with the fact that we had such a pleasant time with Chris. But after just
two days it was time to hit the road again, this time down te coastal highway to San Francisco.

Rizza Boo Taylor Heald

Bath Street Tattoo Collective Sink or Swim Tattoo
207 Bath Street, 2nd Floor, Glasgow G2 4HZ 1040 Payne Ave, North Tonawanda, NY
www.facebook.com/bonafidestuffandthings www.facebook.com/taylorheald
yellowstone national park

64 Total Tattoo Magazine

please mention total tattoo when replying to adverts • please mention total tattoo when replying to adverts
Gao Bin
‘Lion King’ was an outstanding artist who tragically died in October last year. The shock
wave of his passing has been felt around the world. His work transformed tattooing and
his ability to create perfectly balanced large-scale compositions both inspired and
amazed (and he was, quite simply, one of my personal favourites). As a token of our
appreciation I would like to present some of his work here, for the world to see just what
a talent global tattooing has lost. Our love and thoughts go to his family and friends.
Perry

66 Total Tattoo Magazine

Total Tattoo Magazine 67
 gao bin (r) with good friend travellin’ mick

68 Total Tattoo Magazine

please mention total tattoo when replying to adverts • please mention total tattoo when replying to adverts
 Interview by Lizzy • Pictures courtesy of Apro Lee

In South Korea, tattoo studios are still considered

to be illegal, as the law states that only licensed
medical practitioners are allowed to carry out the
procedure. Despite this, Apro Lee from Seoul has
become a world-renowned artist, combining
traditional folk imagery with modern blackwork
techniques. His work is striking, with its bold line
work and elegant detail. We spoke to him about
his tattoo journey...

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When did you start tattooing?
I started in 2005.

At that time, it was illegal to tattoo?

It was more illegal than it is today. It’s still illegal now, but it was stricter then.
Having said that, it wasn't too bad because not many people knew about
tattooing anyway! It isn't part of our culture. I found a guy who would teach me
– then I realised he'd only just started three months before, in America. So really
I taught myself. What are you gonna learn from someone who has only been
tattooing for three months? At the time there was no YouTube, nothing. I used to
look at tattoo pictures and try to figure out how the tattoos had been done. I
practised on my friends, and some gangsters too. They wanted big tattoos to
look scary, and I needed a big canvas to practice on.

What was it that made you want to tattoo?

I didn't really plan to become a tattooist at all. Until I was 23, I'd never seen any
tattoos and I’d never met any tattooists. I was in the army – all Korean people
have to do national service at some point – and I was starting to think about
what I wanted to do after leaving. I hated studying so I didn't want to go to
university, and I knew I wouldn't get a highly paid job. But ever since I was little,
I've loved to draw. (Actually, there was a time when I wanted to be a cartoonist. I
was drawing all the time.) Then one day on the news I saw this story about a guy
who decided to get a tattoo so that he could get out of the army. Back then, if
you had a certain percentage of your body tattooed you would be thrown out
and go straight to jail. It was a big story. The guy was arrested, and so was the
tattooist. I found the story especially interesting because of the tattoo. It wasn't
tribal or old school – it was a colour portrait of Kurt Cobain from Nirvana. I was
really surprised and intrigued by it, and I started to think, 'Maybe I could do this...'
So, not having any money or any education – only my drawing skills – I decided
there and then that tattooing was what I should do.

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 Weren't you afraid of being caught?
No. I knew tattooing was illegal, but because I wasn't part of a
'tattoo scene' I didn’t feel scared. I felt I was simply doing it
'without permission'.

And how did things progress from there?

After a couple of years of teaching myself in Seoul, I looked at my
work and I really wasn't happy with it. Most people's tattoos get
better with time, but mine were getting worse. I thought, 'Who's
gonna want to get tattooed by me, even if it is illegal?' I hadn't
made any kind of name for myself, and my tattoos were shit. I
was so poor I couldn't even pay my rent. Because there was
nobody to teach me, or tell me what I was doing wrong, or even
tell me how to adjust my machines, I just stagnated. I had two
machines, but I didn't know a lot about them! I would do
everything with them, so the tattoos were suffering because they
were getting out of tune, etc. It was really hard to find anyone to
ask for help. I wanted to learn, and I wanted to build some
experience, so I decided to travel. I looked at a map of the world
and randomly picked a country – Australia. That was ten years
ago.

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And now you have your own studio in Seoul?
Yes, I have my own private studio. I travel
abroad for half the year though. I have a
routine: January, February and March in the
States, then back to Seoul for a few months,
then Europe, then back to Seoul, followed by
Asia.

You mentioned that you first became

interested in tattooing when you saw a
realistic portrait, but that's very different to
what you do now. Did you start off with
realism?
Yes, I started with black and grey realism and I
did it for five or six years. The work was very
detailed, and required a lot of concentration
and preparation. Although I enjoyed doing it, I
actually got really sick with the stress – my
personality is very sensitive, and tattoos are
very sensitive too. In the end, it became too
much for me and I was starting to hate it. I'd
started tattooing because I loved it, but I'd put
too much pressure on myself. So I changed my
style.

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74 Total Tattoo Magazine
Did anything else influence the change?
Yes. I also wanted to create something
more Korean. Although there's definitely
an Asian tattoo culture, there isn't a
specific Korean tattoo culture (for
obvious reasons) and it was always in my
head to try to combine things in that
way. Then one day I drew a tiger head,
and a friend saw it and asked if he could
have it tattooed on him. And then
another friend saw it and asked for the
same. That was the beginning of my own
style. I'm inspired by Korean art and
culture, and making things bold and
simple, but actually, when you look
closer, you can see many more details. I
love putting that detail in.

Tigers and magpies feature

prominently in your work...
There are many meanings behind the
tigers in my work. I don't know all of
them, but one of my favourite stories is
that, back in the day, Korean people used
to paint tigers on the outsides of their
houses to protect them from ghosts, or
negativity. So there were tigers
everywhere. However, whilst tigers were
seen as strong, protective animals, they
could also be frightening. People didn't
want to be scared, so the tigers were
painted to look friendly, with funny
faces. With the magpies, there are also
many meanings. One of them is that the
magpie is a messenger for the tiger. Also,
in paintings you will often see a magpie
sitting on a pine tree, because the pine
tree is a symbol of being well and the
magpie is regarded as lucky. If you see a
magpie in your yard, people think it's
lucky.

Total Tattoo Magazine 75

 Do you think it's important for tattoos to have a meaning?
It depends on the person. People can pick any meaning they want, or they can choose
no meaning at all. It's cool either way. At the moment, it's certainly fashionable to
have tattoos with meanings, but there’s no right or wrong.

Do you have a vision of how you want your work to develop?

I'm always thinking about how I can improve and evolve. My current style is so
different to what I was doing when I started out. It's strange – I used to do a lot more
detail, but now I've simplified it. I’d like to simplify it further. Before, when I was doing
portraits, the image itself was the important thing. Now, I look at the body. The
tattoo makes it more beautiful, and that's what's important to me. When a painting is
tattooed on a body, it's not beautiful in the same way as a piece that's specifically
designed to fit, so I'm trying to produce designs and patterns that flow and enhance
the natural beauty. Back then I saw trees; now I see the forest. It's like tribes who get
tattoos to be strong, or to differentiate themselves from others; a human being
doesn't otherwise have any patterns on their skin.

76 Total Tattoo Magazine

Do you have any future plans?
I always have future plans, but they're
very messy because my head is like a
whirlwind! I'm learning more about
Korean and Buddhist art. My teacher is
one of the painters who paints temples
in Korea, so she knows a lot about
history and traditional culture. I want to
incorporate more of that into my style,
and make it something that I can give to
people. And I've tried hand-poking – just
for myself and friends. It's interesting,
but it’s very slow. I think hand-poked
tattoos are very beautiful, and it’s
something I might do more of in the
future, but it takes time to learn. So
really I don't know what I'll be doing in
five or ten years' time, but right now I'm
tattooing and travelling!

aprotattoo@gmail.com

Total Tattoo Magazine 77

 Showcasing the art and tattoos of some of the best tattooists working today.

PORTFOLIO If you would like us to consider your work, please send examples to:
Portfolio, Total Tattoo Magazine, 111 Furze Road, Norwich NR7 0AU, UK

TOM PETUCCO
EVIL FROM
THE NEEDLE

78 Total Tattoo Magazine

Total Tattoo Magazine 79
GASTON TONUS
ARGENTINA

80 Total Tattoo Magazine

Total Tattoo Magazine 81
 CHECK YO’SELF BEFORE
YOU WRECK YO’SELF!
A personal view of the convention scene by Dan Stone of Electric Buddha
Ah, the much-maligned tattoo convention. I’m not going to say we’ve got too many of them...
I'm not going to comment on how the awards have become devalued over the years...
I’m going to talk about something else that really pisses me off about these events. The artists!

I’ve heard the same old things said so many times now:
“This convention is nothing without us.”
“We’re the main attraction.”
“Why should we pay for our booths?”
“If you go to a music festival, the bands haven't paid to be there.”
“I’m fed up with promoters and events companies putting on conventions.”

Ready?
I’m just going to let that all sink in before I go on, because I know some may find what I’m about to say controversial.

OK. So you’re comparing a tattoo members of the public would fork out Yes, without the artists the convention
convention to a music festival? Music £300 – because that's about what it would wouldn’t exist. But without the punters it
festivals are put on by promoters and need to be – just for the privilege of would be just a room full of tattoo artists
events companies who have the capital walking round a tattoo convention? sitting around chatting and maybe
behind them to make them what they are, tattooing each other. And without the
whereas tattoo conventions are almost I’ve even heard artists say that the organisers the convention would consist
always put on by artists and studio convention organisers should pay them of Joe Public and a bunch of tattoo artists
owners – basically, small businesses. And for turning up and sitting tattooing in a milling about on the pavement wondering
a friend of mine in a band told me that booth. Once again, where is this money what the fuck is going on!
many of the lesser known acts do, in fact, going to come from? And it begs another
pay to be at festivals, just to get their question. If this were to happen, should Conventions don’t owe you anything.
name out there. all artists be paid the same? I’m pretty Tattooing doesn’t owe you anything.
sure the artists suggesting this particular It’s down to you, the artist, to work those
So you don’t want promoters and events brand of lunacy would soon complain conventions that you feel best represent
companies putting on conventions, and about a 'lesser' artist being paid the same your own particular brand of tattooing
you don’t feel you should pay for your as them. And why would an artist even ethics.
booth because tattooists are the main turn up if they knew they were being paid
attraction. But let's just look at what it less than someone else? (I’d like to point If you genuinely feel that conventions
costs to put on a tattoo convention. out here that this is an extreme level of owe you something, if you genuinely
There's one convention I work which I egotistical bullcrap that I have only heard believe you deserve more than simply
know costs the organisers around mooted on a couple of occasions.) paying for a booth (the same as everyone
£130,000 to put on – before they’ve even else), then I’m going to respectfully
opened the doors to the public. There’s The simple fact is that you just cannot suggest you pull your head out of your
the hire of the venue, the staff and compare a tattoo artist to a musician, or a arse so that you can better focus on being
security costs, the catering, the booths and tattoo convention to a music festival. It’s the best tattooist that you can be. Yes, I do
furniture, clinical waste removal, creativity in two incredibly different know who you are – but right now, I don’t
insurance, marketing, and the production formats. The tattoo convention is, really care.
of tickets, artist passes and wristbands – basically, a promotional and networking
plus of course those trophies that people exercise (and one that you can put Check yo’self before you wreck yo’self.
covet so much. A great deal of money through your books too – remember to
goes into a convention before we (the account for all your business expenses Your friendly neighbourhood
artists) rock up with all our gear. If you from the moment you leave your studio Scribblyhead,
(the artist) don't feel that you should pay on the Friday to the moment you return to
for your booth then where is all that it on the Monday). Dan Stone
money going to come from? The punters? instagram @scribbly_head
It's beyond wrong to even suggest that facebook scribbly_head
I’ve heard many artists say they think the artists shouldn’t pay for their booths, and
price of a weekend ticket to a convention even worse to suggest convention
is a bit much. Well be prepared for that organisers should foot the bill for
price to skyrocket if artists no longer have everything. The tattoo artist is only one
to pay for their booths! How many third of what makes a convention happen.

Total Tattoo Magazine 83

 Interview by Lizzy • Pictures by Daryl Watson

D
aryl Watson works at Birmingham's Painted Lady
Tattoo Parlour. He's only 24, but he's already built
quite a reputation for his outstanding work in the
neo-traditional style. We wanted to know more about his
creative influences and how he approaches his tattooing.
Have you always been interested in art and tattooing?
Definitely. My dad was a watercolour painter many years ago, and he's always encouraged art and
creativity within my family. He was the one who pushed me to pursue my drawing. I've drawn all
my life, but I developed a strong interest in tattoo art in secondary school and I haven't stopped
since.

When and why did you start to get tattooed?

I got my first tattoo when I was 17. It was a mixture of love for tattoos and a keen interest in
getting into the industry. I was too stupid and impatient to wait to get tattooed professionally, so
now I'm now getting all those early tattoos covered – but I still see those experiences as
contributions to my journey into tattooing.

Who tattooed you before you became a tattooist? Did those artists influence
your style?
Before I started tattooing I had work off Neil Dransfield, Tiny Miss Becca, Matt Adamson and
Antony Flemming – to name just a few – and yeah, I can definitely say I was influenced by them
all. They all contributed to my love for the neo-traditional style.

I understand you’ve been tattooing for around four years? Did you find it
difficult to find an apprenticeship?
It's three and a half years since I did my first tattoo, to be exact, and three years that I've been
tattooing full-time. Was it difficult to find an apprenticeship? Yes and no. I faced a lot of rejection,
but I didn't have any problems with that because I was prepared for it. I was also ready to travel
or move if I needed to. I was living in Newcastle at the time, and I finally got a 'yes' from a shop in
Glasgow. I guess my portfolio did it. I'd spent nine months creating it while working in retail after
dropping out of uni, and I made sure it was professionally presented and not just some sketches

84 Total Tattoo Magazine

in plastic wallets. My own tattoo collection also
helped. I remember my old boss Simon (who gave me
the apprenticeship) quizzing me on who had done
what on me and asking about my favourite artists. That
went a long way I think. It showed that I had an actual
interest in the industry.

You've become an outstanding artist – very

quickly! What do you attribute this to?
That's incredibly flattering! I think a whole mixture of
things have contributed to my drive: sobriety,
travelling, getting tattooed by amazing artists (some of
whom I'm lucky enough to call friends), and my
girlfriend who supports me and inspires me a ton...
She really helps me with my ideas and drawings.

Many tattooists say that the first tattoo

they do on a 'real' customer is one of the
most deeply anxious experiences of their
lives. Would you agree?
One hundred percent! I'm not generally an anxious
person, but doing my first tattoo was just terrifying.
Nothing has made me as nervous as that first one, but
to this day whenever I'm tattooing visible areas
(hands, necks, etc) it still gets my heart going.

Do you incorporate any particular themes

into your tattoos?
Jewels, flowers, bugs, birds and animals are big
recurring elements in my tattoos. Often that's because
of what the customer requests, but a lot of the time I
include jewels and flowers without people asking. It's
just something I'm so used to putting in a composition
now.

What techniques have you learned that

you would say are integral to your
tattooing style?
Steady solid lines and packing/blending colour well.
Without them my work would be nothing... but that
said, both of those techniques could always do with
improvement. I'm always learning.

Total Tattoo Magazine 85

 What is the best piece of tattooing advice you've ever
been given?
That you can always make progress. If I can't find fault with my tattoos,
there's no reason for me to keep creating. I always critique every piece I
do and I know where I could have made that piece better – whether it's
something simple like the drawing or the colour choice, or something
more technical like the lines or shading.

86 Total Tattoo Magazine

Which technical aspect of your work
have you found hardest to master?
The whole thing! Not one bit was easy. At the
start, I found lines very difficult. They used to
stress me out a ton. Then for a long time it
was colouring. It just changes constantly.
Personally, I wouldn't say I've mastered
anything. I'm a baby in this industry!

Do you work on a custom-only basis?

Yeah, I work in the private Painted Lady studio
with clients booked online for custom pieces. I
never tattoo the same design twice, unless it's
requested by the client (a couple tattoo for
instance). Even if I do a little walk-in I will
always draw the design myself so that each
piece is for the client.

How do you go about designing a

tattoo?
Reference is a big part of it. I know some
artists who are disgustingly talented and can

Total Tattoo Magazine 87

draw full backpieces without looking at one piece of
reference, but I need it to get things right. Another thing I do
that people find weird is that I piece designs together. For
example if someone asks for a skull and roses, I will draw a
full skull and all the roses too, then layer them and rub areas
out. I find this gives me more control over the composition
and flow of a piece.

How do you avoid creative blocks?

My girlfriend has a strong interest in all art – fine art,
interiors, tattooing, you name it – and whenever I can't think
of anything she gives me loads of cool ideas and references.

What, if anything, do you want to develop within

your work?
Pretty much everything. At the moment I'm really trying to
focus on developing my drawing. Up to now, I've put more

88 Total Tattoo Magazine

time into perfecting the technical side of
tattooing. That's not to say I've nailed it, but I feel I
want to spend more time looking into my
drawings and seeing if I can make improvements
there.

How does a tattooist keep evolving?

Critique your work, talk to other artists and get
tattooed by them, gather inspiration from
everything in your life. That's what helps me make
progress.

Total Tattoo Magazine 89

If – God forbid – the studio was on ever really loved using, and it's one that I
fire and you had to save just one would never sell. I got it off my main mentor
piece of equipment, what would it be when I was learning, Luke Skinner of Petal
and why? Faced Gypsy. It's a 2011 or 12 Paulo Cruze
This is a genuinely hard question to answer. liner, bright pink with Hello Kitties on the coil.
Picking one thing is extremely difficult as one It looks completely ridiculous, but it helped
piece of tattoo equipment is useless on its me out so much when I first started.
own... but for that reason I'll pick the
sentimental machine. It was the first machine I As a relative newcomer, how do you
view the tattoo scene?
Even in my short career, I've seen massive
growth. I've seen tattooing become much
more custom-based and more commercial. All
of which is amazing for the industry I love.

What inspires you most about the

tattoo scene right now?
For me personally, it's seeing how many
tattooers there are who have been tattooing
for even less time than me and they're already
killing it! That's really awesome.

Daryl Watson
Painted Lady Tattoo Parlour
6 West Heath Road, Northfield,
Birmingham, B31 3TG
0121 608 6086
dwtbooking@hotmail.com
instagram.com/darylwatsontattoo

90 Total Tattoo Magazine

please mention total tattoo when replying to adverts • please mention total tattoo when replying to adverts
 In these pages we showcase a small selection of work from a group of artists working together. This month:
Cloak and Dagger Tattoo, 34 Cheshire Street, London, E2 6EH. Tel: 020 7175 0133

IN FOCUS www.cloakanddaggerlondon.co.uk
To have your studio featured, please send examples to:
In Focus, Total Tattoo Magazine, 111 Furze Road, Norwich, NR7 0AU, UK

Kat Abdy Myles Vear

Huge Sheldon Michelich

Jack Gok

Hugh Sheldon

Davide Di Cintio Jack Gok

92 Total Tattoo Magazine

Al Boy

Luke Jinks

Kat Abdy

Jethro Wood

Davide Di Cintio

Luke Jinks

Michelich

Al Boy

Myles Vear jethro Wood

Total Tattoo Magazine 93

please mention total tattoo when replying to adverts • please mention total tattoo when replying to adverts
 that we have all decided to become LESS
individual when we love an artform that is ALL
ABOUT individuality. Why does everyone
want the same tattoos? Are we really that
unoriginal? Have we all been brainwashed? Are
the lizard people secretly in charge of
tattooing? Or maybe we're living in a time
where we're becoming too scared to stand
out from the crowd. We pick the same design
over and over again because there's safety in
numbers. Is our society finally becoming the
future that Orwell predicted in '1984'? Is this
twenty first century paranoia?

Honestly I’m not sure. All I see is people

getting covered in the same old mass-
Hello again dear readers. Here I am again, your resident approved, mass-appeal tattoos when they
international bright young thing. This month I’m so tired should be getting something incredible.

I can hardly think, so I'll just let you loose inside my head.
Tattooing has never been in healthier creative

Welcome to another tale from the naughty step.

shape than it is now, but it takes a little effort
to seek out the exciting, truly amazing stuff.

Gearing up for the forthcoming months of Or at least, they always used to be. So if you're an artist with less than 1,000
conventions, guest-spots, airports, motorway followers on instagram and you'd like me to
services, etc, I found myself thinking about the Back in the day, your tattoo would have had a take a look at your portfolio, send me a link to
huge changes happening in the UK and meaning. It would have been thought about, the usual email. If I like what I see I’ll share
Europe, in the US, and indeed around the drawn and finished by a pro and then sold (as your work, because we all know that as long
whole planet. Like most people, I honestly flash) to artists. Old school flash sheets had as the lizard people are in charge you ain't
have very little idea how these changes are themes and they worked because they were getting shared anywhere else!
going to affect my world. It seems to me that stylistically flawless. But these days your tattoo
we are on the edge of a very important time could be nothing more than a meme that you Until next time - Paul
in human history (which may very well be a saw or one of those ‘internet popular’ designs talesfromthenaughtystep@gmail.com
turbulent and uneasy one). you found. Sure, you'll convince yourself that
you are a 'guiding light’ so that you can
And how will this impact tattooing and tattoo shoehorn a lighthouse or a compass into your
artists? tattoo. How about a brainy quote on your
ribs? Or a fox-head woman thing? The current
Well, with the artwork that we put on our zeitgeist would appear to be 'let’s just all agree
clients, we artists are the people charged with that these are the artists we like and the
documenting these dark days. We are the ones designs that everyone wants, and let’s just
who give life to the stories our clients tell us. keep churning them out.'
Stories that we immortalise on their skin.
At a time when tattooing could be telling the
Museums and art galleries will show the stories of all the problems that face twenty
humans of the future how we WISH our first century humans, what is it doing instead?
world was right now, not how it actually IS, It's doing nothing more than an X-Factor style
because they're full of images filtered through race to the bottom. Everybody's the same.
the minds of creatives with their own Everybody's award-winning. Everybody's
personal viewpoint. Tattoo artists, however, tell famous.Vanilla-flavoured. Magnolia-coloured.
the stories that are given to them to draw. So much of what I see is hopelessly unoriginal
Funny, sad, hopeful, angry... our tattoos tell the regurgitated crap.
truth about twenty first century humans. They
are the unfiltered, honest stories of the But I don’t think this is the fault of clients or
common man. tattooists. I'm trying to figure out why it is

96 Total Tattoo Magazine

please mention total tattoo when replying to adverts • please mention total tattoo when replying to adverts
CONVENTION CALENDAR
UK CONVENTIONS July 23-24 October 28-30
June 4-5 Cardiff Tattoo and Toy Jurassic Coast Tattoo
Northampton tattoo Convention Convention
Convention The Motorpoint Arena Cardiff The Premier Inn, Bournemout Central,
The Northampton Saints Rugby Ground Mary Ann Street, Cardiff CF10 2EQ Westover Rd, Bournemouth BH1 2BZ
Weedon Road, Northampton. NN5 5BG. www.cardifftattooandtoycon.co.uk www.jurassiccoasttattooconvention.co.uk
www.northamptoninternationaltattooconventi
July 29-31
on.com Nov 12-13
Titanic Tattoo Convention
East Coast Tattoo Expo
June 4-5 Titanic Building Belfast
Scarborough Tattoo Show 1 Queens Rd, Titanic Quarter, Belfast BT3 9EP, Highfield Holiday Park, London Road, Clacton-
www.facebook.com/titanic.tattooconventionbel On-Sea, Essex, CO16 9QY
The Spa Scarborough, South Bay, Scarborough,
North Yorkshire YO11 2HD fast14?fref=ts www.eastcoastexpo.co.uk
www.facebook.com/scarboroughtattooshow
July 30-31 April 15-16 2017
June 4-5 Portsmouth Tattoo Maidstone Tattoo
Leeds International Tattoo Convention Extravaganza
Convention The Guild Hall, Guildhall Square, Portsmouth The John Hendry Pavilion
Exhibition Centre Leeds, Clarence Dock, PO1 2AD Detling Showground, Maidstone, Kent
Chadwick Street, Leeds LS10 1LT www.portsmouthtattooconvention.co www.maidstonetattooextravaganza.co.uk
www.leedstattooexpo.com
August 19-21
June 11-12 Tatcon Blackpool OVERSEAS CONVENTIONS
Bristol Tattoo Convention Norbreck Castle Hotel, Queen’s Promenade
July 15-17
NY Empire State Tattoo Expo
The Passenger Shed, Brunels Old Station, Blackpool, Lancashire FY2 9AA
Station Appoach, www.tatconblackpool.co.uk
New York Hilton Midtown, 1335 Avenue of the
Bristol BS1 6QH
August 20-21 Americas,
Robin Hood Tattoo Show
www.bristoltattooconvention.com
New York, NY 10019,
June 18-19 CotgraveSocial Club, Woodview, Cotgrave, www.empirestatetattooexpo.com
York International tattoo Nottinghamshire NG12 3PJ.
Convention www.robinhoodtattoofestival.com Oct 21-23
The York Race Course, Evian Tattoo Show
Tadcaster Road York Yo23 1EX September 2-4 Palais Des Festivities, Evian
www.yorkinternationaltattooconvention.co.uk South Yorkshire Body Art www.eviantattoo.com
Festival
July 9-10 Ponds Forge International Sports Centre, Oct 30
The Southampton Tattoo Sheaf Street, Sheffield, S1 2BP Tattoo Sunday
Festival Studio Hall, Boogschutterslaan 41,
Ageas Bowl, Botley Road, Southampton, September 23-25 Sint-Kruis (Brugge), Belgium
Hampshire S030 3XH London Tattoo Convention www.facebook.com/tattoosundaybrugge
www.southamptontattoofestival.co.uk Tobacco Quay Wapping Lane, London E1W 2SF
July 16-17
www.thelondontattooconvention.com Nov 11-13
Powys Charity Tattoo Tattoo Sunday
October 1-2
Convention Tour & Taxis
Community Centre, Mount Lane Ink ‘n’ art Bournemouth Avenue du Port, 86c, 1000 Brussels, Belgium
Llanidloes, Powys SY18 6EZ Pier Approach, Bournemouth, www.brusselstattooconvention.be/
www.powystattooconvention.co.uk Dorset BH2 5AA
www.bournemouth.tattoo/
July 22-24
Midlands Tattoo Industry October 8-9
Show Halloween Tattoo Bash
Leicester Road Football Club, Leicester Rd. Wolverhampton Racecourse, Dunstall Park
Hinckley, Leicester LE10 3DR Gorsebrook Rd, Wolverhampton WV6 0PE
www.facebook.com/Midlands-Tattoo-industry- www.halloweentattoobash.co.uk
Show-980219155377587

Tattoo convention listings on this page are free. Send your details to
Convention Calendar, Total Tattoo Magazine, 111 Furze Road, Norwich, Norfolk, NR7 0AU, UK
or e-mail editor@totaltattoo.co.uk All details correct at time of going to press. E&OE.