Advanced Tattoo Color Techniques

Hey everybody. We are back. We have got some questions regarding some color workout to obviously there is some interest in it. How I lay a color in a tattoo so we made an image here, we have it tattooed I did about let’s say three years ago. It is a very large scale tattoo. Some fantasy Japanese.

You can get the same ink Mario Barth uses here: Intenze Tattoo Ink

We chose this piece not because of the design but because of the variations of colors we used. It is, there is a lot and a lot of color blends in there. It is almost my whole entire pallet with extra mix in it. So it is like 54 colors and then I intermixed all those 54 colors with charter and made them never ending amount of blends and I am going to explain this a little bit what I did here.

As you see it is like, it has a very dark background, as usual I love to work with contrast. Contrast is more important than the colors we use so the line work we use you know if you make the right contrast then you don’t to need the heavy line works, you get an automatic separation between the fore grounds and the backgrounds. So, what I did here is like, the line work was done all in one session, it is a whole rib cage as you see the chest goes down to the groin.

It has to be done in one session, it was three and a half hours. The only power lines we actually put on is like right around this Japanese Samurai, right down and then we put power line around the tiger on this side. There is no power lines inside the piece so to make it more distinctive from the outside to make it more sharp and then the inside just has like, almost like grey wash lines in the close and a couple lines, they are very simple because we wanted to keep that it still has an authentic look to it when you look at Japanese tattoos when they are done, they are simple.

They have some line work on it and then solid color and I tried to stay within that range and but then still add some new twist to it. So that is what happened here. I made the hair very solid. I used line black for lining, true black for that section, very, very dark, true black for the power line. Be very careful when you use to black with a thin liner. It has a tendency to like travel underneath the skin. It is very thick pigment, you put it in, you are better off using the lining black and then build it up make it a little thick to put the second lining light, go like this, then take second line and then go and fill it on the inside with the lining black.

If you are not used, use very big large scale needles like 9 round, so fourteen rounds for the lining. If you use fourteen round and nine rounds, try to step up your corrals, go from an eight rep to a ten rep so you have a little bit of more power to it.

Coloring, I did very little under shading, when you see the shading, the shading is very rough again, to keep more a traditional way not like a 3D realism piece. So, it is very dark in the shady has all shaded lining black, it was cut of shading solution. And here we added a little white to it, so we have a grey tint, so it is not only a black, it is a white, just a hint, just dip it into, you don’t have to clean the needle.

Just go from black, dip it in a little white and then use it as a shading. It gives it a velvety shine to it in the grey shade. And then we laid it out, did all solid, no blends, very distinctive, very short like face and then in here, like very short fates just like use the fifteen magnum curve signature one what I used like since fifteen years. If you don’t know how it looks, it looks in a fifteen magnum it has a slight curve to it so the ends are not coming into the skin when it is stretched and then we started like laying coloring.

The colors typical in the water, I use Morris blue, light blue. I mixed a little yellow in here, so it gets a little turquoise here, like a turquoise color to it, just to give it a little different you.

Then here just straight up Mario blue, Mario light blue and then just went from the light blue directly into the snow white opaque and then there is a very important with you guys may be don’t see it, don’t do yet, it is like a lot of people go in, they work on let’s say a Mario blue and then they want to try to get a lighter shade. They are going to go from the Mario blue. They clean the needle, then they go into that Morris light blue. I absolutely do not do that. I go from the Morris blue to the light blue to the white, to whatever I want to go, I mix it without cleaning my needles.

So, what it actually does, it creates very unique shades which are very, very hard to reproduce if you want to mix it or you have to touch something up. But, what it does is, it creates those blends like this one here where we have a little under laid and we used a little red in it and then we made it to like a hard orange to a soft orange to a bright orange and then to the golden yellow. There was not one cleaning involved of the machine.