xxx = Why Line With a Shader Fireside Technique EP 29
This episode was made possible thanks to:
by Jake Meeks –
Topics: Tattoo Techniques, Needle Groupings, Lining, Fireside Techniques
So when it comes to large, flowing, organic work I like to start with a loose marker drawing. It allows me to be quicker in my approach of laying down shapes on the skin in a much more natural way. As I’m blocking in the shapes, I focus more on sculpting the dark and light values rather than focusing on making clean, defined line-work.
Here we are on the first pass. The important part here when working with a magnum is to block in your darks and lights. You want to address any problems or questions the values bring up in this stage so that when you’re adding color later it easily flows in place. The goal is to get a rough value study down, leaving your edges soft and a little loose, similar to a charcoal drawing.
Moving onto color now, since all my value problems were solved with the black, it was just a matter of glazing right over the tattoo with lots of muted tones to give life to the tree. From there, the background is then glazed right on as well, paying close attention to the positive and negative values as they approach the tree to avoid making the piece too crowded and busy.
With the color laid in there, now comes the liner. During this phase of the tattoo, I’ll look at the piece as a whole and identify where my darkest darks are needed to help boost the contrast. Even the smallest black line across a field of grays will drastically change the relationship of all those tones. This makes the brighter ones jump more forward while sinking those more muted tones deeper into the background.
So trying this magnum first approach to tattooing is an opportunity to break out of the mold a bit and experiment with your techniques. Try different ways that you may not have thought about doing and see if you end up liking it; always try to challenge yourself as an artist and step out of your comfort zone every now and then.
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