Tattoo Artist Magazine has created a book of artificial skin for budding tattoo artists to practice on. Many apprentices use fruit, pig skin and their friends to hone their craft before moving onto paying customers.
The book aims to closely mimic real skin, giving artists a diary to document their progression. Although the artificial skin is not a perfect replica for real skin, it still allows artists a vital place to improve.
The Skin Book Project is not available for sale and it is uncertain whether it will be released to the public in the future.
Watch the short video below to see the book and tattooists in action:
Are you a tattoo apprentice or tattooist and would you consider using the book to practice on?
Our guest blogger is psychologist, freelance writer and creator of the blog Dream Electric, Ally Richards. In this post she is asking the question are white ink tattoos beautifully “barely there” or barely worth it?
Tattoos entirely in white ink have become particularly popular. Part of the appeal may be their subtly for those unwilling to commit to a very visible piece. They’re discreet and often easily hidden. Celebrities such as Cara Delevigne and Rihanna now have them.
An oft quoted criticism is the perceived pointlessness of getting a tattoo that isn’t especially visible or durable. My own interest developed after discovering images online of delicate, filigree-style designs that had an almost “secret” quality to them. I have other tattoos so I don’t personally see white as a “soft” option and like the scar-like quality of the ink, so I made plans to get my own.
Trying to find reliable information on white ink proved both challenging and discouraging. I was unable to find artists who advertised as being experienced in white ink. Artists told me it was a difficult job that they were reluctant to take on, that the design would fade and wasn’t worth the effort. I saw images of designs that barely showed up or had blurred into an off-colour smudge. Many articles on white ink frequently confuse it with images of UV tattoos and even scarification and warn customers off.
Eventually I took a studio recommendation and the artist assured me they had experience, although they weren’t able to show me any of their white work. The design was a lace heart, inspired by mandalas and also the doilies of a traditional cream tea.
I had read that the stencil ink can bleed in and discolouring the tattoo and was particularly concerned about this. A blood-line technique is often recommended. The artist was confident that their stencil was suitable.
As soon as the tattoo was finished a lilac colour was very evident, which I was assured would go away during healing. The colour did fade but a blueish tinge stuck to parts, giving a bruised colouring. The artist did a free touch-up on the bluest parts. This did decrease the blue, but it was not entirely removed.
Over a year has passed since and my tattoo still has several blueish patches. Positively, the white does show up on my very pale skin. It’s slightly raised in an appealing way. I apply sun cream to prevent it yellowing. One edge is becoming fainter and I have accepted that it will require future touching up to maintain its visibility. Though others usually only notice it when very close, my tattoo regularly receives very positive responses. People frequently tell me they love it and they’ve never seen one like it. Other artists have told me it is actually a particularly good example of white ink, which is some comfort.
I do however feel disappointed with the outcome. At this point I plan on letting the entire tattoo fade then getting it all retouched. Another possible option is going over in light blue for consistency. I still love the look of white ink but I would probably think twice about getting another, due to the unpredictability of the outcome.
Do you have a white ink tattoo of your own? Have you encountered the same problems as Ally? Comment below and let us know your experiences…
We had such a lovely time at Leeds Tattoo Expo, which was held at New Dock Hall on 5-6 June 2015. Here’s our pick of some of the best tattoos created at the convention…
Things&Ink magazine andthe Feminist Library are delighted to announce Feminist Flash Day, a day celebrating feminism, females and tattoos. The day is being held to raise funds for the Feminist Library, with the aim to buy a new building to house their growing collection.
The day will bring together tattooists and enthusiasts alike to discuss the bonds between the female body, feminism and the empowerment and ownership that tattoos can afford women. The day will start with the opportunity to get a tattoo of feminist flash from one of three talented tattoo artists: Dexter Kay, Julia Seizure and Lou Hopper. This will be on a strictly first come first served basis, and all designs will be priced between £60-£100.
Performer Ruby Jones will be part of the panel discussion on tattoos and the female body.
Dominique Holmes at work
Originally set up as an alternative to what founding editor Alice Snape felt was largely sexist tattoo media, Things&Ink magazine has worked hard to promote a variety of alternative lifestyle choices, by challenging beauty and body standards, and exploring themes such as sexuality, gender and feminism throughout its back catalogue.
Performer Maxi More will be part of the panel discussion which starts at 4.30pm.
As the Feminist Library has reached its 40th anniversary this year, this is the perfect opportunity to celebrate how far the library, and the feminist movement, has come as well as setting sights on securing its future.
The event will showcase the history, progression and future of women in both the feminist movement and the tattoo lifestyle, and it hopes to highlight topics such as the female body, ownership, notions of beauty, societal reactions and equality within both worlds.
Feminist Flash Day is also supported by award-winning Sacred Microdistillery. It is the first and smallest commercial distillery of its kind, and the only one based in a residential house, in north London. Sacred Spiced English Vermouth, made with English wine from Three Choirs in Gloucestershire, and Sacred Rosehip Cup – the English alternative to Campari – all of which can be enjoyed together in a Sacred Negroni, served from 3pm before the panel discussion.
