Color Tattoos Without Lining
Hello everybody. We just got some more questions for a color piece where we don’t use any outlines, we found a really good friend of ours Alfred Newman, everyone knows him, had a joy to do this tattoo in Austria on a friend of ours but the tattoo convention finished about a month ago so I wanted to show you something, explain this a little bit how I built this piece up there. So, exclusively no black lines at all besides the eyes only here.
You can get the same ink Mario Barth uses here: Intenze Ink Tattoo
How I worked this piece, I used some little lining black there, seven liner, nine brown, fifteen curve magnum that is all I used, nothing else. Most of the work is done is with fifteen magnum, the tattoo is approximately I would say six inches and this size is real and we just blew it up so you can see it a little bit better.
Sometimes it is really good if you blow up a tattoo and how you can print out the pic and you can see your flaws, you can see your faults in it, and you can see where you cget the tattoo close to the line. Like we are doing a lot of black lines a little bit so sometimes if you have a choice to do that, go on and do it.
It is really, really helpful. I started out, I used the regular stencil, like I would use for portrait, just from hand drawn not machine made so I get familiar with the design, put it on the skin and what I do is instead of doing line works I started right away to shape the face. What I used is the blood red to start it, it is a bluish red, it is really deep and use some mixing salt solution, color mixing salt solution to get almost like a shading effect instead of having that strong solid color constantly.
And I start to work this thing like a little bit like a fader just touch it every surface and fill your way out you know and be very careful when you whip it off and I started shaded around here a little bit and bring it in, came around here, I left it lined. In the older days, I have always worked going from the darkest color to the lightest.
We made some changes along the way about ten years ago, where we just went in and said like okay who says, nobody told me ever personally so I just like reversed it. And we said okay we put the light color first and then we shaded the dark color on top of it, for the darker color you have to mix it. If you mix it, the solution to make the color more translucent and you have to be very fadery.
You can’t work it in, you can’t hit the skin twice, down to the tube, so you have to fade it like really like fade it on top of it so almost you want to tickle somebody and then you shade in the top. All it does for you is, it is always more difficult to leave the room would you need for a highlight instead of having the highlight over again and then just make the darker shades on top so you can play with it.
Very, very, very helpful, if you get it but it is very helpful. Same part here, I started to come in here, we were shading around. We used some corral coming here, over here is some crimson lender, we made a little line over here, you showed people making black lining here, we use the bright red to make the line beneath the nose and then also here started to shade out the bright red again.
We mix it around to crimson little bit to get the orangy look to it. When we came up here to the lighter colors, we were using some bright sunshine to it, also here you see this little yellow in here and then started to go in over use some sweet candy and again some blue some crimson and then we used some white to shade it out.
All those elements we see here, happened done in this way. It is a new technology, lot of people use it and they go wow, lot of people use that new effect so I am working like a copying machine, almost like a printer, instead of going and working all over place and it really, really works when you get used to it.
Like your brain adopts better, see what you can get on shades and where they lay in, what do you want blank it, instead of work it all over the place and try to create an image but I probably used a little dark chocolate. I was coming up here just to like give you a little darker spot, also but color a bit but here block red, bright sunshine, everything would come up here, we were working on that , little some in there, which has a little like reddish.
Look to it so you can see different element and then all the dark spots you see in here are dark chocolate and grey washes on top of the pigment. So they are not on the bottom, they are on the top, which made it happen that we can make like really crazy shades and use some really light stuff in here which normally would work opposite would be gone.
We are laying on top of it, instead of being behind it. Sometimes you want to have a highlight and the eye is covered lately that it is really good and helpful to work with low lights so you go in the opposite way. It is as if just think you know I have to highlight, highlight, highlight, a low light can be so much as effective as anything else you are going to do in this and it is really, really helpful.
We came down here, we used a little bit on the liner, all the hair has been done with the fifteen magnum. I used it side ways like when you have like this, it is in and I used it to stand it up and then I go like this. You need to be very quick. You need to have a curve magnum. It is very difficult to do it with straight one because it is going to go in deep and when you pull out it is going to come out quick.
If you have a curved one, you can’t go in and you can pull it up and then natural curve the needle is going to help you to get that effect. So it is really, really simple if you get used to it. You come up here, we used some lavender on the high light on the side to give it some more dimension because if not, it would have been just a reddish orangey piece, would have been briefly I guess but this made it really 3D.
So this is made it that gives it another, that gives it another light source, gives it another angle where your eye is going to pick up and it is going to be like giving you some extra sign. All those shades have been done afterwards. I needed to have some more cheek bones and I need to have some stuff so I was, it was top shade, nothing has been done before and everything was done with color first.
Every darkest spot is done afterwards so we shaded a little bit here, very, very soft, shaded a little bit here, came up here and then I wanted to enhance it a little bit because the person did not going to have background to it. So I needed to hold it in place, it is a very difficult situation for tattoo is not done with any black or dark lines surrounded that his face in spot looks really strong.