Honestly, It Doesn't Matter What Color It Is - Chris Dingwell Fireside Tattoo Network

Honestly, It Doesn't Matter What Color It Is

[1:09:57] “A traditional oil painter in the renaissance technique would create the entire layout as a black and gray painting, almost the same way that we would create a black and gray tattoo now.”

— Chris Dingwell

When you're working across various tattoo styles, one key technique for ensuring your artwork stands the test of time is to establish a solid foundation of black and gray first. This monochromatic structure can be seen as a sort of underpainting, reducing the need to worry over color choices.

Since most tattoo pigments are transparent, the black ink does a lot of the work for the tattooer in creating value contrasts within the design. Value contrast is one of the main factors in creating a visually impactful piece or design. These would be your light and dark areas, shadows, and light source, and they contribute to defining the shapes of objects or elements in the tattoo and also guide the viewer's gaze through the piece. In instances where you have improper or poorly defined contrast, particularly in illustrative or visually narrative tattoos, the colors or shapes might appear flattened or certain areas might disrupt the natural flow of the eye.

Conversely, if your design showcases strong value contrasts, the color selection becomes secondary. The solid interplay of lights and darks can lend a captivating visual impact that often supersedes any of the colors you chose to use. This understanding underscores the pivotal role of black and gray shading in both elevating the aesthetic quality and ensuring the enduring allure of the clients tattoo.

Watch the full episode:

Tattooing Through a Painter's Eye | Chris Dingwell | EP 271