Inside the Process of a Custom Sleeve, from Proposal to Completion

I adore projects inspired by specific ecosystems. There is something very poignant about getting to commemorate them in a “forever” medium at a time when the ecosystems themselves are absolutely in flux. They’re an invitation for the wearer to have important conversations about our fragile earth with folks who inquire, if they so choose. Maybe one day, they’ll even serve as a memento mori honoring worlds past. Either way, here’s a peek inside the process of one of my recent favorites:

L’s Ohio native species sleeve!

L’s sleeve is a perfect example of the ideal custom sleeve process. They came to me with a well-honed vision, elements of my work that they’re drawn to, options for me to choose from, and trusted me to take the reins on the details. This piece took three sessions total of around four hours each (a typical sleeve runs more in the ballpark of five sessions, but this one has so much negative space we were able to bang it out faster); each one a pleasure. Thank you for being such a joy to work with, L!

The Original Proposal:

“I am looking to get an Ohio natural history sleeve. Wildflowers: Ghost pipe, EARLY blue cohosh (the early makes a huge difference), wild hyacinth, wild geranium, bloodroot, jack in the pulpit, wild bergamot, trout lily, large-flowered trillium, swamp rose mallow, skunk cabbage, bluets, wild ginger, bloodroot Fungi: turkey tail, shaggy mane, coral, blushing rosette, old man of the woods, cokers amanita, chicken of the woods, mycena Moths: Cecropia, giant leopard moth, luna moth, rosy maple moth, bagworm moth cocoon I am open to you picking and choosing flora and fauna from the list and creating whatever you see as best fit! Thanks for the opportunity to submit a tattoo request. I am absolutely in love with your work and use of placement and negative space.”*

*Included species in italics, design elements they love in bold

The mockup/stencil

After sessions 1 + 2, which we did over two days back to back. If you’re a traveling client looking to cut down on the trips you have to make, this is always an option!

Layered color: healed vs. fresh

P.J. Redoute’s Rein Claude Franche Plums (1802)

Healed two years on S.

These plums were rendered in two sessions of layered color, where we tattoo the midtones in the first session and then the darks and lights over the top of the healed midtones to enhance the contrast and detail we can achieve. S has taken immaculate care of their piece, which looks nearly identical healed (left) as it did fresh (right). Thanks for taking such great care of your piece, S!

The Finger

Genus Hepatica knuckles on A

Finger tattoos: I love them, but don’t do them often. Fingers are one of the few spots on the body particularly well suited to very small designs. However, if you’ve ever tried to get a finger tattoo, you may have had a hard time finding an artist who will do them. I typically do not offer them to clients that I do not have an existing rapport with, and only offer them on the tops of fingers. (Palm skin is a different story for a different post.) Here’s why:

They will not heal like other skin.

Due to the nature of the flexible and durable finger skin, finger tattoos will very likely experience ink fallout and require touchups. Clients and artists need to be on the same page about expectations and have a touchup plan in place going in.

They will not age like other skin.

For the same reasons, finger tattoos will not hold detail over time like other areas. The level of tolerable detail loss is different for everyone and is a discussion for each client to have with their individual artist.

They are tougher to heal.

Because fingers move around and are touched so much, they can be swollen and/or sore for longer and more prone to infection. Attention to hygiene is key.

They are painful.

There are lots of nerve endings in the fingers. A finger tattoo may be quick, but it will not be comfortable.

Like so many other variables within tattooing,

communication is key.

Having a conversation with the client about what to expect in terms of healing and longevity is the key to everyone leaving happy. For example, A and I have had a conversation about what to expect with these hepatica flowers. They will be seeing me again for more work on their sleeve and knows we will address any necessary touchups then. I’ll keep you posted as these heal!

Grey wash: healed vs. fresh

Fresh vs. Healed

Blackwork + grey wash

Many of my pieces are black ink only, but if we need a softer gradient or a finer line, I will bring in grey wash (black ink diluted with water). Grey washes look darker, sometimes even black, when the piece is fresh, but lighten up throughout the healing process, resulting in a gradient that resembles graphite.

This piece is a perfect example of how grey wash heals.

The darkest bits are black ink, but note the difference in value fresh vs. healed among the lighter areas (the ribbon is a very easy place to see the difference). A few different concentrations of grey wash were used here, so some greys are darker than others. Results will vary depending on the client’s individual skin and the dilution of the wash, but if your artist mentions grey wash, you can expect to see the area lighten up during healing as this piece illustrates.

Thanks, T, for the great healed photo! Piece based on Nicholas Robert’s Anemones from Sketchbook A, c. 1650