Hard Case

HARD CASE DOMINIQUE POTTLE

acknowledgements

This book is a representation of four years of struggling, learning and successes. Thank you to my educators and classmates for an amazing experience at Ryerson.

To everyone who has helped me get here - thank you for your love, guidance and support.

I am endlessly grateful; none of this would have been possible without you.

A special thank you to Spencer Torok for all of the photography included throughout this book.

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HISTORY OF ANCIENT TATTOOING | 11

HISTORY OF WESTERN TATTOOING | 27

CULTURAL EVOLUTION OF TATTOOING | 41

PROCESS OF CUSTOM TATTOOING | 53

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INTRODUCTION I credit my maternal Grandfather for not only showing me the meaning of unconditional love, but for sparking my interest in both history and tattooing. My Grandfather was a WWII Navy Veteran with tales to tell and tattoos to prove it. The faded blue-ish ink on his right forearm made out the image of an anchor, a common wartime design. As a young child asking about his tattoo, I was unaware the impact that his old, weathered tattoo would have on the person that I became. Fifteen or

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so years later, I have poppy flowers inked on my arm in his memory. My fascination for my Grandfather’s wartime ink has stayed with me and to this day I am infatuated with the art, history and process. I have always been a creative wild child in my parent’s eyes, and my interests most certainly did not align with their “bumper sticker on a Bentley” stance on tattoos. Despite resistance, I got my first tattoo at 17 years old and have continued to decorate my body ever since.

CHAPTER

01

THE HISTORY OF

ANCIENT TATTOOING

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The word tattoo stems from the Tahitian word tatau, meaning to mark something. The earliest tattoos were either etched into the skin with a sharp, bone, stick or rock dipped in pigment or through cutting the skin and rubbing pigment into the lacerations.

the Iceman, his body was covered with 61 tattoos. This discovery dated tattooing back approximately 5300 years. Otzi proved that since the dawn of humanity people have been interested in modifying and decorating their skin with tattoos. Different cultures have used tattooing as a form of protection, spiritual link, In 1991 a 5000-year-old mummy was found rites of passage, torture, marks of wealth and frozen in the Ă–tztal Alps, on the border a medium to tell stories. between Austria and Italy. Known as Ă–tzi

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JAPAN The earliest evidence of Japanese tattooing dates back to 5000 BC. Clay figurines were found in tombs with painted faces and engraved designs. . The first written record of this ancient practice was included in a Chinese dynastic history compiled in 297 BE, which stated that men of all ages would tattoo their face and body.

In Chinese culture tattooing was used only as a form of punishment. Japanese rulers began adopting Chinese customs and by the 16th century, tattoos were only used to identify criminals and outcasts. Reserved only for serious offences, a series of symbols were used to identify criminals including patterns of bars, crosses, double lines, and circles on the offenders face and arms. Criminals began to cover their tattoos with larger, decorative designs and by the end of the 17th century penal tattooing was replaced with other forms of punishment. As a result of the association between tattooing and crime, tattooing was outlawed in the 18th century.

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Although illegal, outlaws, peasants and Japanese gangs known as Yakuza still participated in this form of body modification. The Yakuza favored a method of hand poked tattoos called irezumi. They believed that the painful process showed courage and it’s permanence showed the wearer’s lifelong commitment to the gang. Their extensive illegal tattoos branded them as outlaws from society.

Tattooing remained an underground practice until the end of WWII when it was legalized again. Japanese tattooing styles historically depict heroes and religious motifs, symbolic animals, flowers and elements of nature including waves, clouds and lightning bolts. Traditional Japanese tattoos have one major design, which covers the back, legs, arms and chest.

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EGYPT Figurines c.4000-3500 B.C. and tomb designs c.1300-1200 B.C. are the first examples of ancient Egyptian tattooing and depict female figures with tattoos on their bodies and legs.

Before the discovery of Otzi the Iceman, the earliest examples of tattooing came from ancient Egyptian female mummies dating to 2000 B.C. One of the most famous mummies discovered was Amunet, a high-status priestess who was found to have lines and dots tattooed on her body. Initially it was believed that low status women or prostitutes wore markings to protect them against sexually transmitted diseases. It is now believed that Egyptian women were tattooed with geometric patterns including lines and dots on their stomach and thighs. These tattoos were worn only by women and were likely used as protection during pregnancy and childbirth.

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Although we do not know exactly who applied the tattoos or how they were etched into the skin, archaeologists have found a utensil made of a sharp point set in a wooden handle, dating back to 3000 B.C. that may have been used to apply tattoos. Similar bronze instruments dating to 1450 B.C. were also discovered in northern Egypt. These bronze tools resemble flattened, wide needles, and if bunched could have been used to create dot patterns on the skin. All of this happened so long ago that although we can’t be certain about their methods, motivations or beliefs, we can guess.

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TATTOOS WERE LIKELY USED AS PROTECTION DURING PREGNANCY AND CHILDBIRTH.

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NORTH AMERICA The earliest archeological evidence of North American tattooing is a 3500 year-old Palaeo-Eskimo ivory mask from Nunavut. The mask is of a woman’s face and is carved with several linear lines from the lips to base of the chin and the forehead down to the nose. Arrows were also carved at the corners of the mouth. The first written record of Native North American tattooing comes from handbills advertising the story and exhibition of a captured tattooed Inuit woman and her child from Labrador. Drawn on the advertisement, her tattoos resembled those of the ivory mask. She and her child were taken captive in 1566 and brought to Belgium and displayed throughout Western Europe. This abduction and exhibition of tattooed Native Americans continued for another 200 years before the practice became more common and less newsworthy.

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Native tattooing has roots in magical and religious practices and is used to commemorate achievements, mark tribal identity and as a form of therapeutic medicine. Through anthropological notes and elder’s stories, we can deduce it was mainly a female practice through which a bone, wood or steel needle was used to create punctures into which soot would be rubbed.

Each Indigenous group has had different motivations for tattooing and individual beliefs. The Iroquoians of Ontario used tattoos to reflect an individual’s high status, and Inuit women tattooed their chins to show marital status. Facial tattooing was very common among Natives as the face is a medium for selfimage and perception. The Ojibwa believed that malevolent spirits were to blame for tooth and head pain and used facial tattooing as a way to relieve it.

Nunavimmiut women were tattooed on their face when they began menstruation because their menstrual blood was polluting and tattooing was believed to be a purifying experience.

In addition to facial tattooing, female hand tattooing was also popular and related to an Eskimo deity. Many Native tattooing beliefs had roots in tales and spirits. Spiritual forces were not always related to the designs but to the ink and pigments used to apply the markings. Many traditions disappeared after the arrival of missionaries and the forceful conversion to Christianity.

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THE MAORI BELIEVED THAT THE FACE WAS THE MOST SACRED PART OF THE BODY AND HAVING IT TATTOOED WAS THE ULTIMATE DECLARATION OF SELF.

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NEW ZEALAND Maori people, Polynesians indigenous to New Zealand, inked their skin in a process known as Moko. It is a form of skin art that tells stories about the wearer’s history, tribal affiliations, and social status. This is a unique style of tattooing involving cutting and scarring in addition to the tattoo. To create tattoos the skin was first sliced or punctured and then chisels made from bone, shell or metal were dipped in a blue-black pigment and forced into the wounds using a mallet. This procedure was very painful and not flinching or reacting during the tattoo was a source of pride, especially for Maori warriors. All high-ranking Maori men wore Moko tattoos, except for slaves and commoners. Men traditionally received Moko on their faces, buttocks and legs, while women’s designs were usually reserved to the lips and chin.

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SAMOA Along with converting the Polynesian islands to Christianity, European missionaries suppressed tattooing practices in many places after their arrival. Samoans saw Christianity as something to incorporate into their culture, rather than something to abolish it. For this reason, traditional Samoan tattooing is held in high regard and has never waned.

Tattooing in Samoa was tied to strict rituals and was a long, agonizing process, which both men and women endured. Sometimes taking months to complete, undergoing this process of body modification was seen as a rite of passage and was the mark of adulthood for the wearer.

Master tattooists, known as tufuga ta tatau used small hoe shaped instruments in varying sizes to apply the blue-ish black ink into the skin. These tools were made from cane or wood and had a comb shaped attachment made from human, horse or ox bones attached by coconut fibers. A small mallet would be used to press the instrument into the skin. Depending on the tattooist, eight to twelve different tools would be used during the tattoo application. The tufuga worked with apprentices who would hold, stretch and wipe the skin while they applied the design. The tools were treated as sacred objects and passed down to an apprentice when they were deemed worthy.

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Traditionally called malofie, male tattoos, often now referred to as Pe’a, were applied from the waist to knees in intricate geometric designs made up of lines and blocks. Although many design elements could be included in all malofie, the arrangement of certain motifs varied depending on the recipient’s village and family history. Receiving a tattoo was a rite of passage symbolizing a boy was matured, meaning he could marry and speak in the presence of grown men.

Female tattoos, known as malu, were very exclusive and only applied to daughters of the highest chiefs and kings. Malu was applied on the lower body from below the knee up to the upper thigh and were more delicate designs that the malofie men received. These markings were intended to enhance the woman’s beauty.

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BORNEO Dayaks, the people indigenous to the Southeast Asian island of Borneo, includes the Iban, Kayan and Kenyah tribes. Throughout the island, body modification practices differ; in the Kayan tribe tattooing is a woman’s job, passed from mother to daughter. Dissimilar to the Kayans, men apply the tattoos in the Iban tribe. Both tribes used techniques similar to the Polynesians, as well as tattooing styles from Bali and Java. We can assume that the art of tattooing was imported from these Pacific islands to Borneo thousands of years ago.

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The Dayaks used ink made from mixtures of charcoal, soot, animal bones, water and sugar cane juice, which appeared blue-black in colour. To make outlines, up to five bamboo splinters or needles were attached to a stick, dipped in pigment, and hammered into the skin with a hammer or mallet. To color in black areas, upwards of 20 needles would be joined together. For them tattooing was directly connected to rituals and served an important function after their death. Traditional tattooing is still practiced in Borneo today.

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FEW DAYAK WOMEN HAD TATTOOS, WHILE KAYAN WOMEN BELIEVED THAT TATTOOS SERVED A PURPOSE AFTER DEATH. THEY BELIEVED THE MORE TATTOOS A WOMAN HAD, THE BETTER THE AFTERLIFE WOULD BE.

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CHAPTER

02

THE HISTORY OF

WESTERN TATTOOING

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TATTOOING HAS BEEN INFLUENCED BY PRIMITIVE SOCIETIES, CULTURAL DIVERSITY, AND SOCIAL CHANGE THROUGHOUT RECENT HISTORY.

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western tattooing

The Western world was reintroduced to tattooing in the 17th century. Following the reemergence, interest and support for this practice has waxed and waned. Over time, tattooing has grown roots in Western culture and has evolved through artistic and technical innovations.

The method of tattooing that we are familiar with today has been influenced by primitive societies, cultural diversity, and social change throughout recent history.

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Throughout the 1600’s explorers brought tattooed “savages” from their overseas voyages back to Europe. The most famous savage was a slave named Prince Jeoly, who was brought to England by William Dampier, an explorer.

He brought the Prince to London in 1691 and his fully tattooed body made him a popular attraction until his death shortly after his capture. After this initial curiosity from the exotic tattooed slaves, interest for them dwindled until the 18th century.

In 1769 Captain James Cook and French explorer Louis de Bougoinville took their crew on voyages across the South Sea Islands and

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upon their arrival in Tahiti in 1769, they saw the island’s inhabitants had markings covering their bodies. Throughout their time oversea, crewmen began acquiring these exotic markings as a form of commemorating their time abroad. After seamen began returning to Europe, sailors began learning the trade and during the decades that followed tattooing flourished in England more than any other part of Europe. By the mid 18th century most major British seaports had resident tattoo artists.

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During the late nineteenth and early twentieth century, sailors and military personnel tattooed themselves as a safeguard, believing like ancient cultures, that the markings would protect them against the dangers of their trade. In addition to high risk workers who engaged in this form of body modification, the European upper class also embraced tattooing, seeing it as a status symbol. For

them, these markings were a show of nobility and tattooing became a sought after practice.

It is believed that the middle class did not participate in tattooing. In France during the early 19th century, unlike England, only lower class citizens had tattoos and the middle and upper classes believed it was a shameful practice.

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HISTORY MICHAEL HILDEBRANDT BECOMES THE FIRST PROFESSIONAL TATTOO ARTIST IN THE UNITED STATES

1774 JAMES COOK RETURNS FROM VOYAGE TO THE SOUTH SEAS

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1846 1891 NEW YORKER SAMUEL O’REILLY PATENTS FIRST ELECTRICALLY DRIVEN TATTOO NEEDLE.

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MAJOR TATTOOIST SUPPLY HOUSES BEGAN TO EMERGE SELLING NEEDLES, MACHINES, ADVICE, AND DESIGNS.

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1945 1974

NORMAN “SAILOR JERRY” COLLINS OPENS A TATTOO PARLOUR IN HONOLULU’S HOTEL DISTRICT.

DON ED HARDY OPENS REALISTIC TATTOO IN SAN FRANCISCO, THE FIRST CUSTOM-ONLY, APPOINTMENTONLY STUDIO IN THE U.S.

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In America, the art of the tattoo was also beginning to take root. In 1846, German immigrant Michael Hildebrandt set up New York’s first professional tattoo parlor on Oak Street in lower Manhattan. Hildebrandt tattooed civil war soldiers as well as his daughter, the first professionally tattooed woman. In 1875, New Yorker Samuel O’Reilly opened a tattoo shop in the Chinatown area of the Bowery. At this time all tattoos were still applied with ink and needles by hand, a slow and difficult skill to master.

In 1891, Thomas Edison’s failed perforated pen invention was modified by O’Reilly to become the first electrical tattoo machine.

This technology revolutionized tattooing into the practice we are familiar with today.

Although the pain involved with forcing ink into your skin with needles is unavoidable, this mechanical advancement made tattooing a shorter, less gruelling process.

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During the First World War, tattoos lost their association with exoticism and instead became connected to patriotism. Motifs changed from free spirited island designs to original designs and this sense of national pride allowed the practice to be more widely accepted by the middle class. The period between the First and Second World Wars is referred to as the golden age of tattooing.

During this time tattoos consisted mainly of memorial dedications, American flags, eagles, ships, and anchors. Due to these patriotic meanings, the tattoos were viewed positively. At this time tattooing took hold and slowly became entrenched in American culture. Defined by innovation, national pride and unique designs, American tattooing was further changed when Normal Collins opened a tattoo parlor in Honolulu’s hotel district in 1945.

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TATTOOS LOST THEIR ASSOCIATION WITH EXOTICISM AND BECAME CONNECTED TO PATRIOTISM

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NORMAN COLLINS Norman “Sailor Jerry” Collins (yes, like the rum) changed American tattooing forever with his innovation, techniques and artistic capabilities. After leaving home as a teen in the 1920’s, Collins travelled the country and eventually landed in Chicago. During his time there he met Gib “Tatts” Thomas who taught him how to use a tattoo machine and helped the young apprentice practice. He later joined the Navy, eventually settling in Honolulu in 1942.

Shortly after, in 1945, Sailor Jerry opened the doors to his tattoo parlor in the notorious Honolulu Hotel Street district. World War II brought Americans from all over the country to Collin’s Hawaii and he built his reputation by tattooing American servicemen with his unique designs.

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Influenced heavily by Japanese Hori masters, Sailor Jerry created his own unique style of tattooing by combining Japanese shading techniques and designs based on classic American subjects. These iconic designs include bottles of booze, snakes, pin-up girls, Hawaiian themes, scroll banners, nautical stars and anchors. His bold and soulful flash sheets are still popular in shops today.

Not only were Sailor Jerry’s designs sought after, he expanded the array of colors used by creating his own pigments and pioneered modern tattoo machines to cause less trauma to the skin. Collins also improved sterilization techniques and was one of the first artists to begin using single use needles for tattooing.

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- NORMAN “SAILOR JERRY” COLLINS

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Collins, a Navy veteran, ran his business with an unapologetic disregard for people who opposed his art. A sign displayed in his shop read, “If you don’t think you have balls enough to wear a tattoo, don’t get one. But don’t try to make excuses for yourself by knocking the fellow who does!” His designs were penned on servicemen who had more to worry about

than the markings on their bodies. Shortly before his death in 1973, Collins requested that upon his passing his shop be passed to Don Ed Hardy and Mike Malone (aka Rollo Banks) or be burned to the ground. Malone ran the shop for another 25 years after Sailor Jerry’s death.

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CHAPTER

03

CULTURAL EVOLUTION OF TATTOOING

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The period between WWI and WWII, known as the golden age of tattooing, was followed by a severe Hepatitis outbreak in the United States after the end of the Second World War. This outbreak was blamed on tattoos and resulted in many cities and states banning the practice. Although this did not stop people from acquiring ink, tattooing was forced underground and it’s perception in society suffered.

The popularity and acceptance of tattooing throughout history has had both high and low points. Known as the tattoo renaissance, the cultural perception of tattooing began to change in the 1950’s in the United States. This shift came from a generation of tattooists dedicated to this underdeveloped form of body art. These industry pioneers, along with cultural, artistic and technological advances, shaped this craft into a fine art, which over time has become accepted into mainstream American culture.

Norman Collins, a founding father of old school tattooing, was responsible for the resurgence in popularity of American tattooing in the 1950’s. Collins’ contributions to tattooing can be seen as the beginning of the tattoo renaissance and the turning point of innovation and cultural acceptance.

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cultural evolution

BEGINNING IN THE LATE 1950’S, THE TATTOO RENAISSANCE WAS GREATLY INFLUENCED BY A HANDFUL OF INNOVATIVE TATTOOERS. THE SECOND GENERATION OF ARTISTS, TRAINED BY THE FIRST, CONTINUED DEVELOPING THE ART OF TATTOOING INTO THE 1970’S AND BEYOND. 43

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Movements for social change have had an indirect impact on the cultural acceptance of body modification. The tattoo renaissance coincides with the rise of social liberation causes including peace, gay, lesbian and feminist movements. These platforms for change, like tattooing, were seen as a counter culture from mainstream society at the time.

The hippie movement was popular during the 1960’s and advocated for happiness, drug use, environmentalism, sexual freedom and rejected institutions that opposed their beliefs. Rock music was an anthem during the hippie movement and Janis Joplin was one of the most famous musicians during that time. Joplin is credited with being the first tattooed celebrity, receiving tattoos on her wrist and breast in early 1970 from San Francisco tattoo artist Lyle Tuttle. At a time of

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social reform, counter cultures became more widely accepted and Janis’ tattoos helped usher body art into mainstream culture.

Lyle Tuttle opened his studio in the 1950’s and after opening his parlor he tattooed actors, musicians and other celebrities for 35 years before retiring in 1990. He has credited the women’s movement for putting tattooing on the map and the social movements at the time heavily influenced his designs. His tattoos became more feminine and appealed more to masses of middle class Americans than the working-class tattoo styles of the past did. Tuttle, along with other artists including Cliff Raven, Don Nolan, Zeke Owens, Spider Webb, and Don Ed Hardy, was one of the driving forces of the tattoo renaissance.

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Like Tuttle, during these decades of intense social change, tattoo designs and inspirations began evolving throughout the country. Before the 1970’s, designs were largely unimaginative and their meanings on the body were very literal. As the societal adoption of tattooing progressed, designs began to become more detailed, with personal inspiration and were customized to each client. The tattoo renaissance propelled tattooing from basic wartime flash sheets to a fine art form shaped by cultural influences and custom designs.

Tattoo conventions have also contributed to the adoption of tattooing into mainstream culture. Dave Yurkew and Lyle Tuttle held the first tattoo convention in Houston, Texas in 1976. The convention brought together more than 130 artists from around the world for

two-days, showcasing their art, networking and increasing positive exposure for body art.

Yurkew, the president of the North American Tattoo Club, hosted another six conventions between 1976 and 1982. Lyle Tuttle said “Tattooing blew up like an aortic aneurysm after the convention” and “the event changed tattooing forever.” These conventions allowed people to learn, observe and participate in tattooing like never before. Conventions today gather large crowds of tattoo enthusiasts, piercers and tattooers from across the world.

In addition to on site tattooing, competitions are held, and vendors sell supplies and merchandise. These exhibitions foster creativity and competition, driving the craft forward and breaking down negative stigmas associated with tattooing.

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cultural evolution

- JANIS JOPLIN

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The earliest tattoo venues were usually small, unkempt spaces that only appealed to the lowest classes of society. This environment surrounding tattooing only further added to the negative stigma linked to the practice. The rise of technology, health advancements and media presence has allowed tattooing to become more accessible and negative stigmas associated with the practice have been eradicated. Today, tattoo shops are in centrally located high traffic areas. They are designed to be aesthetically pleasing and are held to strict health codes.

This evolution of environment has contributed to the rise of tattooing and has changed the negative perception of health risks associated with body art.

Like the development of tattoo parlors, the training and certification involved with becoming a tattoo artist has changed over time. Although tattooing is still learned through apprenticeships and practice, many artists now have fine art backgrounds and formal educations, which develops technical skills as well as their reputation as an artist.

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cultural evolution

Mainstream media presence has also aided in the cultural perception of tattooing. In 1982 Don Ed Hardy launched the first body art magazine titled Tattoo Time, at a tattoo convention. This magazine was designed to reach beyond those who typically get tattooed and was focused around education and information. Hardy hoped that producing this magazine would help eliminate the negative stigma surrounding tattooing.

The introduction of the World Wide Web in the 1990’s revolutionized the way we access and share information. The Internet quickly became a way for artists and enthusiasts to research, showcase their work, and participate in social networks. The easy availability of tattooing information, inspiration and community connection has contributed to the acceptance of tattooing.

In 2005 Miami Ink aired on TLC, lifting the veil around tattoo studios and the culture surrounding body art. This television program was instantly popular, giving tattooing a widespread audience and platform. Miami Ink’s extensive exposure gave people a look into the underworld of tattooing and a chance to understand the artistic talent and dynamic styles involved. This show helped to abolish negative stigmas, familiarized people with body art and propelled it into mainstream culture further than ever before.

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TATTOOING HAS EVOLVED FROM A SUBCULTURE TO AN ACCEPTED FORM OF FINE ART.

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cultural evolution

Today, although not appreciated by everyone, tattooing has evolved from a subculture to an accepted form of fine art. Body modification has risen in popularity, becoming part of mainstream culture as a result of technological and health advancements, media presence and increased exposure. Tattooing is now celebrated as a fashionable accessory rather than the mark of an outcast.

No longer a negative symbol, people of all ages and backgrounds are motivated by tradition, impulsivity, fashion, art, physical endurance and self-expression to tattoo themselves.

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CHAPTER

04

THE PROCESS OF

CUSTOM TATTOOING

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Once sported by criminals, outlaws and sailors, tattoos are now a form of self-expression, art and fashion. It is said that people fear what they do not understand, and tattoos are no exception. Although tattooing has never been more popular or culturally accepted, many people do not understand what would compel someone to permanently mark their skin.

Inspired by the countless questions I receive from friends, family and strangers alike, I wanted to showcase the process of getting a custom drawn tattoo in an effort to answer questions and to offer an inside look into this experience.

There’s a lot that goes into any tattoo, and it can be different for every artist and client. I’ve documented my experience, with an artist I have chosen to work with, to get a tattoo on my body. Everyone’s experience, process or opinion may not be like mine, and that’s ok too.

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RESEARCH Growing up with a father who extensively researched everything from can openers to new vehicles, I’ve come to share the same affinity for research. Knowledge is your best ally, especially when you are preparing to permanently modify your body. There are many things to consider when you are interested in getting a tattoo; subject, style, location, artist, shop, cost, pain tolerance, aftercare‌ you get it. Doing your due diligence will only ensure your happiness with the tattoo.

After many hours spent online stalking different shops and tattooers in Toronto, I landed on an Instagram page showcasing a collection of black/grey realistic and illustrative tattoos, exactly what I was looking for. I knew I had found an artist that could bring my idea to life.

Whether you have a specific style or design in mind or you are open minded, doing your research and choosing a shop or artist that you feel confident in will make the process of getting a tattoo much smoother and satisfying for both the client and the artist with whom you are working.

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CONSULTATION After finding a shop or artist you’re confident working with, the next step is to contact them and schedule a consultation. Although it is possible to walk in to a shop and get tattooed immediately, consultations are a very important step in getting a custom piece of artwork designed for your body. These initial meetings are free of charge and allow you to meet with the artist before your appointment. This is a great opportunity to bring reference material and ask questions. This allows both the client and the tattooer to discuss ideas, reservations and to develop a plan to ensure you are happy with the final result. You also have a chance to view their portfolio to better understand the artist’s range of styles. Consultations also allow tattoo artists to communicate any restrictions or concerns they may have about your design.

Once you’ve met and are confident you’ve found the right person to complete your tattoo, the next step is to make an appointment. It is common to have to wait weeks or months to schedule an appointment. Don’t be off put by having to wait. It is better to wait

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for a great tattoo than to get a mediocre one right away. Most establishments will require a deposit when scheduling an appointment.

Deposits are typically non-refundable and will come off the price of your tattoo. This policy is to protect the artist from no-shows and cancellations.

My consultation with Alanna was short; I arrived at Bellwoods Tattoo and she brought me downstairs into the studio to talk. I explained my original idea (it changed) and we discussed the time it would take and I assured her I would email her my reference images. We scheduled an appointment for January 22, 2017 and I was on my way again.

If you have any questions or comments after your initial meeting, reach out to your tattooer and clarify. My design inspiration changed after I met with Alanna so I emailed her explaining my new idea and attached a few new reference images. She was happy to oblige and asked that I send her photos of the new placement so she could ensure the stencil would fit properly.

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PREPARATION “Failure to prepare is preparing to fail.� Or something like that. Basically, like anything in life, being prepared is a good thing. After researching, consulting your tattooist and booking an appointment, it is important to get yourself ready before the session. The things you do to get ready to get a tattoo may be different for everyone, but here is some general advice from my experiences.

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DON’T BE DRUNK OR HUNGOVER. DON’T DO DRUGS BEFOREHAND. MAKE SURE YOU’VE EATEN A MEAL AND HAVE SLEPT BEFORE YOUR APPOINTMENT. YOUR BODY AND YOUR TATTOOER WILL THANK YOU. AND DON’T BE LATE - TIME IS $$.

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APPOINTMENT Like any other appointment, being early for your tattoo session is recommended. Once you arrive you will likely be asked to sign a waiver ensuring you aren’t high on drugs, you have eaten recently and you are of legal age to receive a tattoo‌ etc. This waiver protects the artists and owners from any potential legal trouble down the road.

When everything is completed and your artist is ready, they will print a stencil of your design. Stencils can be placed and replaced so this is the time to check your design, spelling, orientation, size and placement before it is too late. Check once, check twice, look in the mirror and let the tattooist know of any changes you would like to be made. This tattoo will be on your body forever so be sure it is exactly what you want.

Once the stencil is applied to your specifications, the outline will be applied first, followed by the shading. It will hurt so it is best to distract yourself with a friend, music or a book to keep your mind occupied. Once it’s finished, your artist will clean and wrap the area and explain aftercare procedures. Always follow their recommendations and do not hesitate to contact them during the healing process with any questions or concerns.

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After arriving at the studio and filling out the required waiver, I was ushered downstairs into Alanna’s workspace. Filled with flash sheets, original artwork and equipment, the space is clean and welcoming. She first showed me her sketch and made sure I liked the design.

We have all seen bad misspelled tattoos, so we double-checked that spelling was correct and I spelled it aloud just to be sure. She then fine lined the original sketch, transferred it to a stencil and then applied it to each foot. After a few minor stencil adjustments I was happy with the size and placement so Alanna began prepping her workstation. Once she began tattooing it took just over an hour to complete both feet. The foot is an extremely sensi-

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tive area to tattoo but Alanna took great care to ensure I was as comfortable as possible throughout the duration of my appointment.

After she had finished, she cleaned the area and applied bandages to keep the wounds protected. I was instructed to keep the bandages on for only a few hours and then to wash the tattooed areas with mild, unscented soap.

Throughout the healing process I washed the tattooed areas once or twice a day and only applied unscented moisturizer when necessary to keep the healing scabs hydrated. A difficult area to heal without damage from socks and shoes, my feet took about a month to fully heal.

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MY TATTOO When I decided to get a tattoo as part of this project, I spent a lot of time thinking about the meaning behind it and how it would relate to this book. Although tattoos can be purely aesthetic, I wanted to connect the design and the inspiration to the overall theme. I wanted the design to be meaningful instead of just a way to document the process of modern tattooing.

The choice to tattoo “Hard Case” on my feet came after much deliberation and is threefold in its significance. “Hard Case” is a term used in Newfoundland to describe someone whom is difficult to get along with, who is causing trouble or who is down right incorrigible.

Growing up, I was the very epitome of a hard case and was often told so by my parents. In my family, this saying has always had special significance; “Hard Case” were my sister’s first words. Although we now live far apart and don’t see each other often, having these words etched in my skin allows me to carry a little piece of her wherever I go. In addition to my familial ties, I was inspired to get this tattoo as subtle way of protesting negative tattoo stereotypes. Throughout history tattooing has been associated with criminals, outlaws and other “hard cases”. I have used the irony of this outdated (and untrue) opinion of tattoos in order to show people that having tattoos does not mean you are trouble. I consider myself to be a kind, educated and somewhat refined person. I find humor in those who believe that I am anything less just because I have tattoos. I consider these words etched on my feet to be my sarcastic message that their beliefs are narrow minded, misguided and comical.

For these reasons, I titled my book “Hard Case” and had the words inscribed on my body.

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ALANNA MULE I first came across Alanna’s Instagram page while on the hunt for an artist to design my sleeve. A Hamilton native, she has a Bachelor of Art from OCAD University and when I first met her she was working at Adrenaline Toronto, tattoo and body piercing parlor. She is now the co-owner of Bellwoods Tattoo and I have been fortunate enough to work with her for my sleeve as well as for this project.

After she finished tattooing me, Alanna was kind enough to answer a few questions about her personal and professional experiences in the tattooing industry.

Her work speaks for itself, check out her the Bellwoods Tattoo website, her Instagram page or visit her at Bellwoods Tattoo, 104 Ossington Avenue.

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“IT’S A COLLECTIVE, PULLING BITS AND PIECES FROM DIFFERENT STYLES TO MAKE IT MY OWN.”

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Have you always been interested in tattooing? Yes, since I was very small.

What interests you about it?

I was always an art kid growing up, so it was kind of a natural transition because my dad was heavily tattooed and he had a lot of friends that worked at tattoo shops or were tattoo artists so going there and seeing that all the time just seemed normal and natural. I went to school and got a degree just in case shit hit the fan and it definitely worked out, but it was always kind of the goal.

How did you get started as a tattoo artist?

Having an art background helped, and then basically the way I got my first job in Italy was harassing the owner until he let me come in and watch him and have him actually sit down and teach me. So I started learning there and began tattooing a bit and then came back to Adrenaline where I had been working for a couple years as a sterile technician and sought out one of the realism artists there to teach me more of that aspect of tattooing. So it was really kind of a long drawn out process of finding the right person who would be willing to teach me.

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What do you find the most interesting to tattoo?

Preference wise, I would say I like more organic things like birds, flowers, things that I can kind of manipulate and make into a really interesting composition as opposed to static symbols and objects.

What style of tattooing do you specialize in?

I would say mainly black and grey illustrative and black and grey realism.

What/who are your influences?

Obviously other tattooers, but I don’t only look to certain artists. I don’t even know who I’m looking at online half the time but if there’s something that catches my eye more so visually, so it could be illustrators, photographers, it kind of spans out that way. Also art history and art nouveau stuff and how things flow, so it’s a collective, pulling bits and pieces from different styles to make it my own.

Do you know how many tattoos you have?

Christ no! I have one arm, my ribs and part of my back and some gap fillers on my legs, that’s what I have space left for.

Have you ever experienced negativity about your tattoos?

Oh my god yeah, all the time. Getting turned down for houses, basically the stigma of being a “party person”. Walking down the street, especially in the summer, because most of my tattoos are on my legs, that’s when you get the most gawking or people staring or chatter. I had a girl be like “That’s so gross, look at all the tattoos on her legs, that’s so unfeminine.” So kind of like rude little side comments like that, it happens a lot especially when you start getting the really visible hands, neck, face kind of stuff.

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What questions should a potential client be asking when looking to get a tattoo?

The main thing really is for them to have their research done beforehand. So knowing the type of style that they’re looking for, making sure that what they want is relative to what the artist does. So coming in just because they might be really good at realism doesn’t mean they’re good at color realism, little things like that. Knowing yourself, like size, location, style, having reference photos, all of that helps in the process. We also have people that come in and don’t know what they want at all and also don’t care so we see what we can produce that way. So preparation or an open mind… or a little bit of both!

Can you explain how a tattoo works?

If you break it down to somebody who has never seen a tattoo get done or never understood tattooing, it’s almost kind of like a sewing machine that goes in and out, where ink gets sucked up into the tube and pushed down into the skin. It’s a continuous, solid motion.

That’s the simplest way to describe it to people.

What is your process for designing a custom tattoo?

Depending on the client and the piece, for the most part generally it starts with researching photo references, whether I’m doing illustrative or not it’s always based off of real photographs; Photoshopping a basic composition into it, and then recently drawing more digitally on top of that and rendering it from there as opposed to using tracing paper. That’s pretty much it, just getting photo references and drawing off of that.

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What is the hardest part of the body to tattoo?

Usually ribs across the board are pretty tricky in terms of the area and the way people sit for the tattoo, and then it also comes down to the person themselves and the way that their skin is. I can tattoo the same thing on the same body part on two different people and one person will have really rough, callused skin and somebody might have really soft skin that’s easy to tattoo. It’s based client to client, which is a really nice learning curve when you start tattooing. But generally ribs are pretty shitty.

Is there any tattoos you won’t do?

Absolutely nothing in or around genital area, which needs to be said because we do get calls for that, so that’s a no for me. Depending on the client there are areas I won’t tattoo at the time. So if they don’t have a significant amount of tattoos, hands, neck and face are generally the last areas that you get tattooed on the body. If they come in and it’s their first or second tattoo then I shy away from.

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What are your aftercare suggestions?

We personally like to tell people, depending on the type of bandage you have, leave it on for as long as your artist suggests, so usually anywhere from 6 to possibly 48 hours depending on the bandage. Once you take it off, wash it with non-scented and non-colored soap or anything that is very mild. Generally tattoo shops will carry their own aftercare or use something like Dove or Spectrogel is fine. Pat it dry with clean paper-towel. Generally after about three to four days is when you’re able to start moisturizing, if the skin needs it, when you start getting kind of flaky and gross. Then you can use a non-scented, non-colored moisturizer, something like Lubriderm or Aveeno that’s good, very mild is ideal. Usually no more than twice a day as you want to keep the tattoo a little more on the dryer side so those scabs can form and fall off on their own without picking, scratching, rubbing, is the best way to heal it.

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“ JUST BE NICE TO EACH OTHER. IT’S LIKE ANY OTHER PERSONAL SERVICE INDUSTRY, THE WAY YOU WOULD TREAT THEM IS THE WAY WE SHOULD BE TREATED.”

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Are there any etiquette no-no’s clients should know about?

Don’t come in drunk, don’t come in high, try not to be late, don’t hit on your tattoo artist, don’t make any weird passes. That goes both ways. Just don’t be a dick is the general thing.

Just be nice to each other. It’s like any other personal service industry, the way you would treat them is the way we should be treated.

Do you have any funny experiences that stick out in your memory?

A guy came in, I was kind of new to tattooing and I was doing a favor for my boss, he wanted a four-leaf clover with a saying in Gaelic underneath on his butt. I didn’t really want to do it but I did it anyways. He came in and when you have to have a guy pull his pants down and shave a strangers ass and have to stare at it for like 20-30 minutes is a really awkward scenario, let alone when he gets up and was like “Hey, you wanna go for a drink later?” I was like “No. You can pay me downstairs. That’s enough and goodbye.” So that was kind of like the weirdest, awkward situation.

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BIBLIOGRAPHY

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Brugnoni, T. (2016). Ink evolution: From freakish to fine art (Order No. 10102694). Available from ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global. (1786652403). Retrieved from http://ezproxy.lib.ryerson.ca/login?url=http:// search.proquest.com/docview/1786652403?accountid=13631

Kosut, M. (2003). The art of tattoo: From outsider culture to institutionalization(Order No. 3109764).

Available from ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global.

(304749988). Retrieved from http://ezproxy.lib. ryerson.ca/login?url=http://search.proquest.com/ docview/304749988?accountid=13631

Frederick, C. M., & Bradley, K. A. (2000). A different kind of normal? psychological and motivational characteristics of young adult tattooers and body piercers.North American Journal of Psychology, 2(2), 379-391. Retrieved from http://ezproxy. lib.ryerson.ca/login?url=http://search.proquest. com/docview/89071536?accountid=13631

Sims, R. K. (2011). Fleshing out the self: A heuristic study of modern tattooing(Order No. 1490180).

Available from ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global.

(858861363). Retrieved from http://ezproxy.lib. ryerson.ca/login?url=http://search.proquest.com/ docview/858861363?accountid=13631

Friedman Herlihy, A. F. (2012). Tattooed transculturites: Western expatriates among amerindian and pacific islander societies, 1500–1900 (Order No. 3517150).

Available from ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global.

(1030969688). Retrieved from http://ezproxy.lib. ryerson.ca/login?url=http://search.proquest.com/ docview/1030969688?accountid=13631

Schonberger, N. (2005). Inking identity: Tattoo design and the emergence of an american industry, 1875 to 1930 (Order No. 1428185). Available from ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global. (304992393). Retrieved from http://ezproxy.lib.ryerson.ca/login?url=http:// search.proquest.com/docview/304992393?accountid=13631

GOVENAR, A. B. (1984). ISSUES IN THE DOCUMENTATION OF TATTOOING IN THE WESTERN WORLD (Order No. 8416654). Available from ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global. (303352480).

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Pro, J. A. (2005, Aug 15). INK INC. TATTOOS ARE TABOO NO LONGER. Pittsburgh Post - Gazette Retrieved from http://ezproxy.lib.ryerson. ca/login?url=http://search.proquest.com/docview/390825207?accountid=13631