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Creating Masterful Tattoo Art from Start to Finish

Fip Buchanan

with photography by Marc Balanky


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Book Details
 Price
 2.50
 Pages
 233 p
 File Size 
 12,058 KB
 File Type
 PDF format
 eISBN
 9781440328978
 Copyright©   
 2013 by Fip Buchanan 
This e-book edition: March 2014 (v.1.0)

About the Author
Fip Buchanan has been a tattoo artist for thirty-two
years, including management and ownership of tattoo
studios from New York to California. Among others, he
was the owner of Avalon Tattoo in San Diego from 1989
to 1997; worked at Ed Hardy’s Tattoo City in San
Francisco from 2005 to 2008; and has written and taught
the class “Large Scale Tattoo Layout and Composition”
at the Alliance of Professional Tattooists Tattoo trade
show and various conventions for the past two years. He
was elected Vice President of the Alliance of
Professional Tattooists in 2011; is a Bloodborne
Pathogens Certified instructor who teaches classes to
tattoo artists worldwide, most recently in Beijing, China
in 2011; and he currently owns Avalon Tattoo II in San
Diego, California, which he established in 1997.
Fip also does illustrations, skateboard designs, T-shirt
designs, acrylic paintings and murals. He is a graduate of
the Art Institute of Pittsburgh, and his work has been
exhibited in galleries as well as published in the books
Forever Yes and Southern California Tattoo Road Trip,
and the magazines Tattoo, Skin and Ink, Prick Tattoo
and San Diego’s 944. Fip has specialized in large-scale
Japanese-inspired tattoos for the majority of his career
and is well known for his bold, colorful work.

Introduction
I began tattooing in 1979 and it became my career in the
fall of 1984, right after I graduated from the Art Institute
of Pittsburgh. I have drawn all my life and was inspired
by my mother in that direction at a very early age. I do
remember asking my mother what a tattoo was as a child
and she responded “Don’t ever get one of those, you’ll
get blood poisoning!” Well, I’ve gotten way more than
one of “those” and still don’t have blood poisoning!
Fortunately the health aspects of tattooing have much
improved through the passage of time, and those risks
are way less than they were in days gone by. Now most
health departments require that tattoo artists get
blood-borne pathogen training, along with having strict
guidelines about sterilization and sanitation that every
tattoo shop has to follow.

Tattooing has evolved a great deal since I’ve been
involved with it. There are so many styles and trends that
have come and gone, and some of the better ones have
stayed. The language of tattoo design has expanded
tremendously, which is one of many reasons why
tattooing has become so popular. In the good old days of
tattooing, the imagery was very limited. A lot of those
standard designs, and the style they were tattooed in, is
now referred to as American Traditional. Even when I
first began tattooing in 1979, eagles, skulls, anchors,
cartoon characters, weren’t part of a specific genre. They
were just tattoos. Now there is American Traditional,
Tribal, Black and Gray, Celtic, New School, Realistic,
Biomechanical, Japanese, and who knows what else.

With the expanded design options, more people can
relate to tattooing, and find, or create, a design that
resonates with them. Therefore the demographic of
tattooing has expanded. With unlimited design choices,
the tattoo clientele has also become unlimited. Gone are
the days of pointing at a design on the wall and saying,
“I’ll take that one!” Custom tattooing is now the norm.
Anything and everything can be adapted as tattoo
imagery. But whatever it is, there are certain principles
that always apply. Doing artwork as a tattoo on a human
body is different than working in any other medium.
There is no defined border to your “canvas” per se. And
the surface you’re working on varies inch by inch as far
as contour, and even texture. It’s very important to
consider the placement of the tattoo, the flow of the art
with the body, even the colors and how they’ll look on
the skin you’re working with. How will age affect the
look of the tattoo? How detailed should the design be? Is
the person in the sun often? There’s a lot to consider
when applying art to skin.

In this book, I hope to help you learn to create masterful
tattoo-oriented designs with the knowledge I’ve gained
with thirty plus years of tattooing. I won’t be going into
how to actually apply a tattoo. That is way too involved
a process to cover in any book. To properly learn to
apply tattoos, you would need to seek an apprenticeship
with a qualified tattoo artist who is willing to spend the
time needed to train you. My goal with this book is to
help you to better understand the art of tattoo and how to
apply the principles of tattoo design to creating your own
unique tattoo art, and enjoy doing so. Have fun with
it—I do every day!
10


Table of Contents
Special Offer
Introduction
What You’ll Need

CHAPTER 1
The Consultation
Meeting the Client
Sketching and Placement
Keys to a Good Composition
Adding Interest
Location Matters
Overcoming Common Obstacles

CHAPTER TWO
From Sketch to Tattoo
Planning Your Composition
From Sketch to Tattoo
Adding Interest to the Composition
Black and Gray Tattoos
Unifying Design Elements
Adding to Existing Tattoos
Iconic Images
Asian Style Tattoos

CHAPTER 3
Tattoo Style Art
Transfer Designs
Angel Wings

CHAPTER 4
Artists’ Gallery
Chris Walkin
Craig Driscoll
Jen Lee
Juan Puente
Kahlil Rintye
Shawn Barber
Mary Joy Scott
Robert Atkinson
Shawn Warcot
Fip Buchanan
About the Author
Dedication
Acknowledgments
Copyright


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An innovative, practical approach to drawing the world around you

SARAH SIMBLET


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Book Details
 Price
 2.50
 Pages
 265 p
 File Size 
 100,961 KB
 File Type
 PDF format
 ISBN
 978-0-7566-5141-1
 Copyright©   
 2005 Dorling Kindersley Limited 

Where We Begin
There is a fundamental drive in our human nature to make 
a mark. Children cannot be restrained from running across 
the pristine white lawn of newly fallen snow, inscribing every
fresh part of it with their eager scrapes and trails. Most adults
still feel that certain exquisite pleasure on arriving at a beach
to find the tide out and the sand perfect, like a great canvas
for them to mark. At home and at work we doodle, scrawling
shapes and cartoons when on the telephone, in lectures, and
in meetings. Sometimes we draw because we are bored, but
more often because drawing actually helps us to focus and
take in what is said. We are surrounded by drawings in
our daily lives, not just chosen pictures on our walls but
 everywhere—maps, signs, graffiti, logos, packaging, and
 patterns on our clothes. We are bombarded with linear and
 tonal pictorial information, and we spend our lives reading it.
 The sense of relief we may feel from the information overload
 of modern commercial life when visiting a country in which
 we can no longer read every written word, is not afforded us
 by drawing. Drawing is international, irreverent to language
 barriers. We can always read each others drawings.





Table of Contents
Foreword 6
Introduction 8
Drawing Books and Papers 20
Posture and Grip 22

Animals 24
Documentaries 26
Presence and Mood 28
Movement 30
Icon and Design 32
Pen and Ink 34
Drawing with Ink 36
Capturing Character 38
Sleeping Dogs 40
Turtles 42
Dry Birds 44

Plants and Gardens 46
Botanical Studies 48
Jeweled Gardens 50
Fast Trees 52
Graphite and Erasers 54
Cropping and Composition 56
Negative Space 58
Fig Tree 60
Summer Flowers 62
Acanthus Spinosus 64

Architecture 66
Master Builders 68
The Order of Sound 70
Future Fictions 72
Pathways of Sight 74
Single-Point Perspective 76
Creating an Imaginary Space 78
Further Aspects of
Perspective 80
Theaters 82
Venetian Life 84
Parisian Street 86

Objects and Instruments 88
Still Life 90
Instruments of Vision 92
Bench Marks 94
Light and Illusions 96
Further Illusions 98
How to Draw Ellipses 100
Tonality 102
Drawing with Wire 104
Artifacts and Fictions 106

The Body 108
Postures and Poses 110
Choreographs 112
Passion 114
Measurement and
Foreshortening 116
Quick Poses 118
Hands and Feet 120
Charcoal Hands 122
Phrasing Contours 124
The Visual Detective 126
La Specola 128

Portraiture 130
Poise 132
Anatomies 134
Revelations 136
Self-Portraits 138
Silver Point 140
Head and Neck 142
Essential Observations 144
Drawing Portraits 146
Generations 148
Castings 152

Costume 154
Cloth and Drapery 156
Character Costumes 158
Femmes Fatales 160
Colored Materials 162
Study and Design 164
The Structure of Costume 166
Textures and Patterns 168
Dressing Character 170
Posture Carving 172

Gatherings 174
Projections 176
Magnetic Fields 178
The Human Condition 180
Disposable Pens 182
The Travel Journal 184
Catching the Moment 186
Grand Canal 188
Crossings 190
Caravans 192
The Big Top 194

Earth and the Elements 196
Air in Motion 198
Storms 200
Nature Profiles 202
Charcoal 204
Landscapes 206
Drawing in the Round 208
Decaying Boat 210
Cloudburst 212
Notes of Force 214
Mountains 216

Abstract Lines 218
Process and Harmony 220
Writing Time 222
Chants and Prayers 224
 Compositions 226
Being "Just" 228
Collage 230
Zen Calligraphy 232
Nocturnes 234

Gods and Monsters 238
Marks of Influence 240
Hauntings 242
Convolutions 244
Brushes 246
Brush Marks 248
Monsters 250
Goya's Monsters 252
Consumed 254
Glossary 256
Index 259
Acknowledgments 264


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