Total Tattoo December 2012

4.
20
TTM098
December 2012
Owen
Artist Feature
Williams
Tattoo Shows
The London Tattoo
Convention
Norwich
Body Art
Festival
A conversation with
Liz Cook
Artist Interview
Sam Ricketts
Hong Kongs finest
TATTOO
TEMPLE
WIetN
s to
Tick
sic
The Jurahsow
Coast S
Restoring the past
Sailor Jerry Flash
Hazel
Nicholls
in our Mugshot hot seat
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Total Tattoo Magazine
ON THE COVER
Model: Emma Sweets
Tattoos: Various artists
Photo:
Tina Korhonen
sailor jerry flash

cover model profile
CONVENTIONS
30
70
london tattoo
convention
norwich body
art festival
Editor-in-Chief Sally Feldt

totaltattoo@totaltattoo.co.uk
Editor James Sandercock
editor@totaltattoo.co.uk
Art Director Perry Rule
artwork@totaltattoo.co.uk
Advertising Manager Jill Feldt
advertising@totaltattoo.co.uk
Sub Editor Suzy Lowey-Prince
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Contributors
Nic Gaunt Andy Heather Tina Korhonen Matt Lodder

Travellin Mick Graeme Park Doralba Picerno Ester Segarra
Total Tattoo has one of the best reputations

in the business - respected by tattooists and
tattoo fans alike.
Advertising in Total Tattoo is great value for

money. An advert can pay for itself many times
over with the extra business it brings in.
Most copies of Total Tattoo are read by more

than one person - passed around amongst
friends or in tattoo studios etc.
All correspondence should be sent to

PO Box 10038
Sudbury, Suffolk, C010 7WL, UK
DiSCLAiMEr
Adverts and articles appearing in Total Tattoo magazine carry no implied recommendation
from the magazine or from KMT Publishing Ltd. We reserve the right to refuse an
advertisement or article which we consider unsuitable.
All details are correct at time of going to press.
Whilst we make every effort to ensure all advertisements, articles and credits are correct,
Total Tattoo magazine and KMT Publishing Ltd will not be held responsible for errors or
omissions.
Material appearing in Total Tattoo may not be reproduced for any purpose
without the written permission of KMT Publishing Ltd.
All letters sent to Total Tattoo magazine will be treated as unconditionally assigned for publication
and copyright purposes and as such are subject to editing and editorial comment.
Total Tattoo magazine No. 98 December 2012
Published monthly by KMT Publishing Ltd. All rights reserved.
Printed in England on re-cycled paper by Buxton Press
Distributed by Warners Group Publications Plc
SUBMITTING PHOTOS
We love to see the tattoos you do and the tattoos you

wear. The images must be high resolution (at least 300 dpi)
and sized at least 100mm by 150mm.You can send your
photos on a disc to
Gallery, Total Tattoo, PO Box 10038,

Sudbury, Suffolk, C010 7WL, UK
The disc must be labelled with the artist & studio name.
Or you can email your photos to
gallery@totaltattoo.co.uk
Dont forget to include the artist & studio name in the email.
Please dont send photos to any of our other email
addresses. Bear in mind that we receive hundreds of photos
each week and not all them will make it into the magazine.
Call Jill on 01787 242100

or e-mail advertising@totaltattoo.co.uk
Ask for our media card youll be amazed at how

reasonable our rates are. We can discuss your
requirements with you, and we will work out the
best price deal to suit you too. We can even
design and create your
advert for you, at
very little extra cost.
Youre holding a copy of Total Tattoo
in your hand so you know the quality
and passion that goes into it.
The same quality and passion goes into
the service that we offer our
advertisers.
Please note that we are unable to accept adverts for tattoo supplies machines, needles, inks, etc.
However, we are happy to accept adverts for auxiliary products such as hygiene equipment
and studio furniture. Please do not hesitate to contact us for further information or advice on this.
he media are obsessed with it (on our

behalf), manufacturers spend millions
on marketing and PR so we believe
we are getting it and, of course, we all
desperately want it. What is it, this thing that
has swept its way across consumer society?
Three little words:Value For Money. We are
living in belt-tightening times and everybody
wants to feel they are getting the most for
their money; nobody wants to feel as if
theyre being ripped off. And that is the key:
not the price, not the level of customer
service, the extended warranty or the free
delivery, but the feeling.
Why is that so vital? Why is it so powerful?
Why can we forgive any number of
commercial sins if the transaction feels right?
Simple really: some products seem to make us
feel good, make us feel complete, if only for a
moment. Companies that manufacture these
aspirational items seem to have us over a
barrel; we believe that their latest must-have
product really says something about us.You
cant sit down for five minutes in a coffee
shop these days without someone from the
iFamily (of which Im a fully paid up member!)
waving their chosen product around for all
the world to see. When was the last time you
saw a PC user get so enthusiastic about their
laptop or Smartphone? They just dont. Their
device does exactly the same job but it
doesnt make any particular statement about
them, or at least we dont perceive that it
does.
How do tattoos fit into either of these two
consumer concepts? We are all familiar with
the old saying A good tattoo is never cheap
and a cheap tattoo is never good and I
would wholeheartedly agree with that. But
how does the concept of value for money fit
into that? Heaven forbid you make the
mistake of thinking that good value equals
cheap or, conversely, that expensive
automatically means good. Is a 150 an hour
tattoo done in London better than a 65 an
hour one done in Glasgow? Not necessarily, it
may just be a geographical and economic
thing. What about the aspirational side of
things? Tattoos definitely tick that box.
A certain style can be your ticket into a club
of your desire, perhaps a certain placement or

size and definitely a certain artist but unlike
your iPad, which can be upgraded in time, your
tattoo is... well, your tattoo.
So perhaps the key word in all of this is value.
What is the value of a tattoo? It certainly cant
be measured in terms of how much it cost so
what else might it be? I constantly hear
collectors talking about the when, where and
who, so that would definitely seem to play a
part for many people, but maybe not for
everyone. We received a fantastic letter at
Total Tattoo Towers recently telling us a very
personal story which had inspired the start of
one readers tattoo collection. Getting
tattooed for such emotional reasons clearly
gives the finished pieces an enormous value.
A work of art is
above all an
adventure of the
mind
Eugene Ionesco
The entire tattoo process, from the

conception of the idea to getting it done, from
viewing the finished tattoo and then living with
it, is a very emotional thing. The feelings come
thick and fast at first, but then mellow a little
with the passing of time. As long as those
emotions are positive then what a reward!
What a powerful thing a tattoo can be.
I began this editorial with talk of products. Is a
tattoo a product? Yes, in many ways it is but
to think of it in mere commercial terms does
it a disservice. A tattoo is a product unlike any
other: it can change and grow with the wearer,
it is unique and it can make its owner feel
special in a way that no electronic device ever
can. The value of a tattoo? Priceless!
editor@totaltattoo.co.uk
www.facebook.com/totaltattoomagazine
Until next month
James
FILM REVIEW
Tattoo Nation
BOOK REVIEW
Memoir
The Tattoo Portrait
Series
Director: Eric Schwartz

On release: Early 2013
Website: www.tattoonation.com
By Shawn Barber
Published by: Last Gasp, 2012
Distributed by: Turnaround
Price: 28.99
Total Tattoo rating

From alleyways to galleries; from Skid
Row to Main Street this is how Tattoo Nation describes the change in perception of tattoos in
recent years. The film recounts two histories which intersect on the same road in Los Angeles.
Together they tell the story of the development and evolution of what was to become fine line
tattooing into what we now know as black and grey. It explains the importance of tattooing to
the Mexican-American community in East LA and its progression from small crosses on the gang
members of the 1950s and 60s, through to the rise of prison tattoos in the 1970s, and further on
into the popular religious iconic designs of today.
Total Tattoo rating
Tattoo Nation goes on to chart the

growing popularity of black and grey
tattooing around the world. The film is
informative and interesting but, more
importantly, the story is told by many of

the artists who were involved with the
development of black and grey tattooing,
such as Jack Rudy, Freddy Negrete,
Charlie Cartwright and Bob Roberts,
and that makes it in many ways a definitive record. Towards the end of the film we hear one artist
comment that people in Europe dont know the background and meaning of the black and grey
tattoos that so many now choose to wear. That may well be true, but if you go see this film it will
no longer be the case.
Eral Tattoofan
REMEMBER, REMEMBER
TO GROW ONE FOR
MOVEMBER
Moustache Fans: Twit Twoo Tattoo in Edinburgh
are raising money for charity as part of
Movember the movement to grow a
moustache for charity during November.
Tattooers Alan, Gary and Ste will be doing
some Mo Flash on Friday November 30th at
the studio. All proceeds will go straight to the
charities supported by Movember. They would
really appreciate it if you would join them so
they can raise a huge total in aid of mens
prostate cancer research.
For those in the area who would like to be

tattooed on the day, keep an eye on the
studios Facebook page at
www.facebook.com/TwitTwooTattoo
for details of the designs, prices and how to
book. Also take a moment to look at the
Movember website at www.movember.com
for more information on the project and have
a look Twit Twoos Movember page on
www.movember.com
Ive been sitting in front of my computer

trying to write the review for this book
for what feels like an age now. The
problem is that Im really just in total awe
of it. What Shawn Barber has achieved in
this body of work is staggering. I think he
has somehow captured within his paintings
something that will be valued for many
years. His work goes far beyond the
simple representation of photography or
the school of realism within painting that
people seem to be getting so excited
about these days. It delves into a very
personal interpretation, which is of course
unique to the artist. For me, this is far
more challenging and rewarding.
Barbers command of light brings his
paintings to life whether they are loose
and free, as if the artist could dive back in
at any moment, or a hypnotic stand-alone
portrait. that brings the subject to life in
an extraordinary way.
Memoir is the third book in a series and it
is plain to see that this project has
become an obsession for Barber and for
that, I am thankful. These images are a
fantastic addition to the richness of tattoo
culture that surrounds us.
James
Tattoo news and reviews for your delectation and delight. If it goes on in the tattoo world, it goes in here.
Send us your news items, books or products for review and items of general curiosity and intrigue for the tattoo cognoscenti.
News Flash, Total Tattoo Magazine, PO Box 10038, Sudbury, Suffolk, CO10 7WL.
Review Rating:s must have should have could have might have dont have

TICKETS FOR THE JURASSIC COAST TATTOO CONVENTION
WIN
5 pairs up for grabs!
16th December sees the first Jurassic Coast Tattoo Convention take place. The event will be held in the Lighthouse, an
Sunday
arts centre in Poole, Dorset. The good folk of Urban Image Tattoo who are putting on this pre-Christmas extravaganza have
kindly offered us five pairs of tickets for Total Tattoo readers to win. So if you fancy heading to the last inky hurrah of 2012 just
answer this simple question.
What is the name of Steven Spielbergs monster blockbuster film? Was it...
a) Jurassic Playground
b) Jurassic Park c) Jurassic Pet Shop
To enter please email editor@totaltattoo.co.uk with the subject line Jurassic. The closing date is December 5th. One entry per
please. The first five correct entries chosen at random after the closing date will each win a pair of tickets for the show.
person
Winners will be responsible for their own transport and any accommodation required. Good luck! For more information about
the event go to www.jurassiccoasttattooconvention.co.uk

FACEBOOK FEEDBACK
The Metropolitan Police recently issued a ban on serving officers getting new visible tattoos (on hands, necks,
faces and even forearms), stating All visible tattoos damage the professional image of the Metropolitan Police
Service. Any existing tattoos also had to be reported to the officers line manager. Unsurprisingly this news
had our Facebook page lit up like a Christmas tree! Here is what some of you had to say:
Phil Cheng: Always thought that the
police force was about anti-discrimination.
So if a cop chooses to get tattooed
instead of going for a bender, hes
considered a bad cop?
Kevin Jackson: This is just ignorant.
Will they ban officers from dying their hair
or wearing make-up as well? I doubt it.
Tattoos shouldnt be banned unless they
are racist or against a particular religion.
Lots of professional people have tattoos
and visible ones at that.
Deb Stubbs: They should be less
concerned with any perceived damage to
their professional image and more
concerned with how well their officers do
their job.
Lisa Booth: I wouldnt give a damn if a
tattooed officer turned up in my time of
need. Tattoos dont stop people in any
profession from doing their job or doing it
well. Tattoos are now considered to be art
and the myth that tattooed people are all
criminals is now defunct. The police should
get with the times and protect freedom of
choice for all.
Ant Ross: I have tattooed a few police

officers. Tattoos can be an icebreaker with
the public. There are some bloody great
coppers out there! I think its time for
some companies and organisations to get
their heads out of the clouds and
appreciate their staff for what they are
really worth.
Laura M: I am
a tattooed cop
and I worked in
London during the
Olympics. The reaction
from the public was brilliant. Theyd never
seen an officer with so many tattoos.
Nobody ran away screaming or anything!
Dave Groves: Would anyone complain

about a doctor having a tattoo if they
saved their life? No! Would anyone
complain about a firefighter having a
tattoo when they pulled them out of a
burning building? No! Would anyone
complain about a police officer having a
tattoo when they have helped them after a
crime? No! Yet again the Met Police show
themselves to be out of touch with
peoples concerns.
Fiona Ince: How sad it is that there is

still this amount of prejudice and
stereotyping in the world. I am a tutor and
heavily tattooed. Tattoos dont determine
how intelligent you are or how well you
can do your job. Why do we always see
the wrapping and not the person inside?
Laura Taylor: I would be more inclined

to trust an officer with tattoos.
Barry Calder: This is not a new policy.

The bosses in the Met are enforcing
regulations that have been in place for
years. Tattoos on faces, hands and necks
have always been banned and the policy
states that all tattoos must be covered. I
work for the Met. I wear long-sleeved
shirts and my ink is covered with those.
Its a massive fuss over nothing.
Andy Dixon: Its fair enough, I say. I am

70% covered but have never had
hands/neck/face tattoos. I love my tattoos
but, when circumstances dictate, I cover
them up.
Pete Weale: Tattoos change

appearance, not character. I would say the
police lost their professional image years ago.
Join us on Facebook at www.facebook.com/totaltattoomagazine for lively discussions, all the latest news plus lots of special
offers and exclusive discounts for our online shop!
SHOP TALK
LInKyS
Opened a new studio? Got a guest artist? Do you have a job

vacancy? This is the place to spread the word! E-mail
editor@totaltattoo.co.uk putting Shop Talk as the subject.
Please note we do not print Jobs wanted adverts. Items
may be edited for clarity and length.
Another great selection of web links connecting you to some

fascinating and cool snippets of tattoo news and trivia. If
Links are your thing and you know a good one that our
readers would like to see, then send it to us at
editor@totaltattoo.co.uk putting Linkys as the subject line.
Monki Do is proud to announce the opening of their second studio,

Monki 2. Located in the courtyard opposite the market place in Belper,
Derbyshire, Monki 2 runs on a no appointment basis. Its first come, first
served. Our new artist Jen Akinyemi works there full time. Website:
www.monkido.com and www.facebook.com/monki-do-tattoo-studio
A chat with Alex Binnie and Duncan X

https://vimeo.com/49676780
Painted Lady Tattoo Parlour in Birmingham is pleased to announce

that Cathy Sue of Dexterity Ink will be guesting there on 10th, 11th and
12th November. Please contact her directly for bookings via
www.facebook.com/cathy.sue1 or call 07545 915526.
Flaming Gun Tattoo Studio in Colchester is pleased to welcome
two new artists. Jay J specialises in colour work, old school traditional and
new school lowbrow art. He also does hand poked tattoos. Doug Fawkes
apprenticed with Mandie Barber and is inspired by artists such as Xed Le
Head & Alex Binnie. For more information call Flaming Gun on 01206 575
705 or visit www.flamingguntattoo.com
Cool short film about new york Adorned

http://vimeo.com/22126430
Tattoo artist Steve Wade is pleased to announce the opening of his new
shop All Seeing Eye Tattoo Lounge based at Unit 1a, Mitre Court,
Cutler Heights Lane, Bradford, West Yorkshire, BD4 9JY. For colour,
custom, traditional and realism tattoo work.You can book appointments
with Steve by calling 01274 684202 or 07738 411635or emailing
steve@all-seeing-eye.co.uk For more info visit www.all-seeing-eye.co.uk
After a successful guest spot, Gemma Osborn of Sub Rosa Tattoo, will be
joining us at Phat Robot Tattoo Company in Norwich on a
permanent basis. If you would like to get tattooed by this amazing artist
contact Gemma via www.facebook.com/SubRosaTattooParlour
or www.facebook.com/phatrobot or call the studio on 01603 400707.
Tattooist wanted: Immortal Ink is looking for a tattooist to join our
friendly team in Essex. This is a great opportunity for someone who wants
to work in an artistic environment. The successful candidate will be
proficient in all aspects of tattooing and have a true passion for the job. A
portfolio of tattoos and artwork will be required. If you are interested
please contact Jason Butcher at contact@immortalink.co.uk or call the
studio on 01245 493444.
Tattooist wanted: Inwood Ink Tattoo Studio is looking for a full time
artist to work in our up-and-coming studio in Harlow, Essex. Must have at
least three years experience. If interested please email us your portfolio
to info@inwoodink.co.uk or call Thaira on 07872 496538 or find us on
Facebook www.facebook.com/InwoodInkTattooStudio
A little video about Danish tattoo history

http://vimeo.com/22262374
The Tattoo Age TV series hits the UK and shines

the spotlight on Valerie Vargas
http://www.youtube.com/watch?v=KH1ZbJwuvr8
Tattoo artist wanted: for Mother of all Sins, a custom studio in

Sutton Coldfield, Birmingham. Studio experience and strong tattoo and art
portfolio essential. Own clientele preferred. Usual no drink, drug, ego
problems or personal dramas please! Position is full time and permanent.
Please call Becca for information on 07533 052079 or email
paigantattooandart@gmail.com
Tattooist wanted: INK, all female custom tattoo and body piercing
studio in the picturesque city of Exeter, Devon is looking for a full time
tattooist who specialises in greyshade and portraits. Please send portfolio
and CV to inkexeter@yahoo.co.uk
Tattooist wanted: for Monki 2, a walk-in studio in Belper, Derbyshire.
Full time position, starts January 2013. Must have minimum 5 years
experience. Please send CV and portfolio to sarah@monkido.com or ring
01773 821666 for more information.
10
Time-lapse tattoo film with Tommy Lee

Wendtner
http://www.youtube.com/watch?v=3ZbRqNqk3FI
please mention total tattoo when replying to adverts please mention total tattoo when replying to adverts
UK CONVENTIONS
April 13 14 2013
November 2 4
East Coast Tattoo Expo
The Pyramids Centre, The Seafront,

Southsea, Hampshire
www.tattooextravaganza.co.uk
St Louis, Missouri, USA

www.oldschooltattooexpo.com
November 17 18
Highfields Holiday Park, Clacton, Essex

www.eastcoastexpo.co.uk
Email: redsonya6@mac.com
November 23 26
Tattoo Camp
CANCELLED
Pontins Holiday Camp, Prestatyn,

North Wales
www.tattooweekender.com
December 16
Jurassic Coast Tattoo

Convention
Lighthouse, Poole, Dorset
www.jurassiccoasttattooconvention.co.uk
May 3 5 2013
November 23 25
June 1 2 2013
Tours & Taxis, Brussels, Belgium

www.brusselstattooconvention.be
Milton Keynes Tattoo

Convention
Milton Keynes
www.mktattooconvention.com
Email: info@mktattooconvention.com
June 1 2 2013
The Ice Factory, Perth, Scotland

Tel: 07901 970611
Email: bribsy@yahoo.co.uk
The Hilton Metropole Hotel, Brighton,

East Sussex
www.brightontattoo.com
June 9 2013
Reading Tattoo Show
March 2 3 2013
Tattoo Tea Party
Rivermead Leisure Centre, Reading,

Berkshire
www.readingtattooshow.co.uk
Event City, Manchester

www.tattooteaparty.com
July 13 14 2013
March 24 2013
Stoneleigh Park, Warwickshire

www.customcarnageuk.com
Peterlee Leisure Centre, Peterlee,

County Durham, SR8 1AF
www.facebook/eddiehardiman
Email: eddiestattoostudio@yahoo.co.uk
Tel: Trudy at Eddies Tattoo Studio,
0191 587 1787
July 20 21 2013
Peterlee Tattoo Arts

Festival
March 30 31 2013
The Scottish Tattoo

Convention
Corn Exchange, Edinburgh, EH14 1RJ
www.scottishtattooconvention.com
April 7 2013
Ink & Iron Tattoo

Convention
The Tower, Reservoir Road, Edgbaston,
Birmingham, B16 9EE
www.inkandiron.co.uk
Email: info@inkandiron.co.uk
Kosice Tattoo Show
Adelphi Hotel, Livepool

www.tattooconvention.co.uk
The Saints Rugby Ground, Weedon Road,

Northampton
Email: sunsandrosestattoo@hotmail.com
Tel: Nigel or Sue 01604 949958
www.northamptoninternationaltattooconve
ntion.com
Brighton Tattoo Convention
November 10
Hotel Centrum, Kosice, Slovakia

www.tattookasice.sk
Northampton International
Tattoo Convention
February 16 17 2013
Old School Tattoo Expo
Liverpool Tattoo
Convention
February 2 3 2013
Scottish Body Art Show
12
Tattoo Extravaganza
Custom Carnage
Brussels Tattoo Convention
November 24 25
New Zealand Tattoo & Art

Festival
New Plymouth, New Zealand
www.nztattooart.com
December 7 9
Berlin Tattoo Convention
Arena Berlin, Eichen Strasse 4, 12435 Berlin,

Germany
www.tattoo-convention.de
January 11 13 2013
Surf n Ink Tattoo Festival

The Radisson Resort Gold Coast, 1/2098
Gold Coast Highway, Miami, Queensland
4220, Australia
www.tattoosurfnink.com
March 22 24 2013
Mondial du Tatouage
Le 104, 5 Rue Curial, 75019 Paris, France

www.mondialdutatouage.com
April 17 21 2013
Annual NTA Convention

Rapid City, South Dakota, USA
www.nationaltattooassociation.com
Cardiff Tattoo & Toy

Convention
April 26 28 2013
Mercure Cardiff Holland House

Hotel & Spa, 24 26 Newport Rd, Cardiff,
CF24 0DD
Website coming shortly
Hotel Yak and Yeti, Durbar Marg,

Kathmandu, Nepal
www.nepaltattooconvention.com
September 27 29 2013
London Tattoo Convention

Tobacco Dock, Porters Walk, London,
E1W 2SF
www.thelondontattooconvention.com
OVERSEAS
CONVENTIONS
November 2 4
Florence Tattoo Convention

Florence, Italy
www.florencetattooconvention.com
Nepal Tattoo Convention
June 21 23 2013
Transilvania Tattoo Expo

Sibiu, Romania
www.tattooexpo.ro
Tattoo convention listings on this page are free.

Send your details to Convention Calendar, Total
Tattoo Magazine, PO Box 10038, Sudbury,
Suffolk, CO10 7WL, UK
or e-mail editor@totaltattoo.co.uk
All details correct at time of going to press.
E&OE.
To find out about our special offers for display
adverts, email advertising@totaltattoo.co.uk
14
Interview by James Sandercock

Photos by Liz Cook
iz Cooks life story reads like the plot from a

Hollywood blockbuster: a girl from South Louisiana
finishes college and needs to earn some money, so she
starts to learn about being a permanent make-up artist.
Enter a handsome Australian, cue a whirlwind romance, and
off they fly to the other side of the world, where she
accidentally gets a tattoo apprenticeship and discovers a
true passion for it. They return to America and this is where
we have the hard times part of the plot... but then (cue
inspiring music) through sheer graft and pure talent it all
comes good. The End. Or should I say The Beginning.
Liz Cook has spent much of the last four years on the road and a good deal of that time she
has been outside her comfort zone. With the help and support of her husband Cooky shes
been propelled into the limelight as one of realisms up and coming talents. Her story was
certainly not what I expected, but then tattooists life stories seldom are. Cooky is from
Australia. He was on vacation when we met, which just happened to be three weeks after I
had graduated. My schedule was really open so the natural thing to do was go to Australia
with him. He was getting his sleeves done by Johnny Head and I would go in with him when
he was getting tattooed. I was completely fascinated and thought Maybe I could do that! At
this point, Id only really done permanent make-up and I didnt want anyone to know that
because I felt there was kind of a stigma attached to it. One day somebody happened to ask a
question about it in the shop and I just found myself answering without really thinking... so
they found out. But then when they were looking for another tattoo artist they asked me if I
was interested and I was like Wow, wow, wow!
Id never used a coil machine before but I began just by doing the stuff I knew I could do and
I learned as I went along. My art background really helped but for the first two months I
went home and cried nearly every day. After that it really began to click though and I started
to get the feel of it. It was scary in the beginning, but every week something got better, and
then it started to move faster and faster. Johnny was the biggest help. He is completely
brutally honest.You know, he really put his neck on the line giving me that apprenticeship. I
remember one time saying to him, I just want to make more money doing this and he flat
out said, Then do better tattoos.You couldnt put it more succinctly. That was his style. By
the time we left Australia I was considerably better, making a decent living at it, and kind of
enjoying it.
Liz was working in a very different way then to how she works today. I was mimicking
Johnnys style in the beginning and it was just such a battle to do that because it was not me
at all. My paintings were all realistic, but I wasnt tattooing in that style. I wanted to, but I
didnt have enough understanding of it. Johnny was the kind of guy who needed just eight
bottles of ink and two machines to go to town. I wanted 144 bottles of ink! It was good to
learn from somebody elses style I knew I would always have that to fall back on but I
15
wanted to experiment with other stuff, my

own stuff. I knew I could do it on paper. I just
had to figure out how to do it on skin. Johnny
happened to have one of Mike Devries books
and I also looked at one of Guy Aitchisons
and they just blew me away. Until then all I had
seen was flash off the wall.
When Liz and Cooky came back to the US
they settled in Dallas, Texas. Things werent
quite what they expected however. I thought
Id be able to get work anywhere, but it was
definitely not like that. It was back to square
one. I ended up working fifteen hour days
doing $500 tattoo tap outs. Id keep on going
until the customer couldnt take it anymore or
the tattoo was finished. That made a big
difference to my work and I learnt a lot, but I
began to feel like Id done everything I could.
But then we went to a convention and it was
a real eye opener. I realised I wasnt really
where I wanted to be and I knew I had to
travel and study some more.
So Liz hit the road to meet other artists and
learn all she could. I just try to find
inspiration in every different style that people
are doing. There are artists out there who
have just blown me away, but they are not
interested in being in the spotlight so you will
never see them. Like most great tattoo
artists, Liz is extremely self-critical. If I can
just take my head out of my arse and examine
things objectively, I can see what Im really
doing. And Cooky has a really awesome eye.
He is my second brain. In the early days I think
I would have continued doing a lot of stupid
stuff if it hadnt been for him.
16
Realism is the rockstar of the American tattoo scene and competition is hot. Liz has her
own take on this. We all know that this is an industry that traditionally has a lot of guys
working within it, but that means as a woman you can stand out pretty easily. It can work
for you; it makes you a little bit special without you having to do anything [other than
fantastic tattoos, of course Ed]. In fact Ive probably come up against more resistance
from other women tattooists, but I just dismiss it. I just want to be able to gain peoples
respect. Regardless of whether they are into realism or not, I want them to be able look
at my work and say Liz did that really well. And realism itself is always going to be
criticised. There are those who say you are just copying something that realisms cool
from a technical standpoint, and thats all. But with a true understanding of art you can
take it beyond that. I am beginning to bring some line work back in, but I will always enjoy
doing the totally realistic stuff.
17
18
Now off the road, Liz has finally found a home in her new studio, Rebel Muse, which she
and Cooky opened in Dallas earlier this year. It feels like a big accomplishment to be a
business owner and I feel very happy. When we decided to open the studio we thought it
was just going to be the two of us no other artists but people just keep asking if they
can guest. Its amazing to me that there are artists out there who want to come and
work here and feel they can learn from me. It means I can keep learning too.
Lizs love for tattooing is plain to see. She bubbles with enthusiasm and thats not
something you can fake. If I get a good nights sleep, I am always pretty excited about
getting started on the days project whether its a new piece of art, or a tattoo on
someone that they are going to love. That wow factor when someone is looking at their
finished tattoo for the first time thats the real motivation. The look on their face I
really get into that. Working on anything creative... I love it!
19
Life outside of tattooing is also important for Liz. She and Cooky know the importance of
finding that elusive balance. If you get bogged down in work, work, work all the time, you can
miss so much. We go rock-climbing and four-wheeling at my friends ranch, go out on the jet
skis, play with all the toys! We go on what we call mini adventures, or maybe just hang out
with the folks and have dinner or see a movie. We try to make a big deal of simple things. I
think thats important.
Now is without doubt Lizs time. She has created some serious momentum for herself and
the combination of hard work, talent and drive have given her a profile to envy. My dad was
saying to me recently Just ride the wave. Im definitely going to go with it and just enjoy life!
www.lizcooktattoo.com
20
By Matt Lodder
Images William Grant & Sons,
courtesy of Conservation Centre for Art
& Historic Artefacts, Philadelphia
etween 19th April and 30th June 2012, a converted upstairs

space in Londons Soho played host to a pop-up shop and
bar for Sailor Jerry rum, under the name of Hotel Street,
recalling the location of Norman Sailor Jerry Collins legendary
tattoo studio in Honolulu, Hawaii during the 1930s. Most
interestingly, the space also boasted a gallery brimming with a
remarkable collection of Collins original artwork in the form of
flash sheets, tracings, stencils, acetate cuttings and rubbings, all
meticulously conserved to museum-grade standards and displayed
as proudly as if they were hanging in an art gallery. The collection
was curated by tattooist and owner of the Amsterdam Tattoo
Museum, Henk Schiffmacher (aka Hanky Panky).
As anyone familiar with Collins work and
legacy can testify, these surviving artefacts
are an incredible document of the mans
talent and lasting influence on Western
tattooing. Standing in front of one of his
original drawings, close enough to be able to
discern a thumbprint in the charcoal that he
used to produce his perfectly balanced,
poised, iconic tattoo designs, produced a
shivering thrill. Seeing the evolution of his
work from sketch through flash to stencil
still sooty with graphite was a rare treat
for anyone interested in the artistry and the
mechanics of a working tattooist in the first
half of the 20th century.
Many words have been written about Sailor
Jerrys life and work not least in the
superb recent book Homeward Bound:The
Life and Times of Hori Smoku Sailor Jerry and
this article is not intended to serve as
another hagiography for the man whose
name has become a shortcut for traditional
American tattoo styles. Instead, I want to
look at how these artefacts old, fragile and
in many cases intended to have been used
once and then discarded came to find
themselves in a state of almost perfect
conservation in a travelling exhibition. How
have these pieces of paper and plastic been
cared for and prepared for display? And
what can be learnt in the process of
conservation about the man, his methods
and his attitude?
22
In 2010, the parent company of Sailor Jerry

rum, William Grant and Sons, arranged for
their collection of Collins surviving works
on paper to be conserved by the renowned
Conservation Centre for Art & Historic
Artefacts (CCAHA) in Pennsylvania. The
CCAHA is more used to restoring,
preserving and conserving artefacts for
major museums and art collectors but, as
their expert paper conservator Samantha
Sheesley also happens to be a tattoo
aficionado, they were a perfect choice to
undertake this ambitious and historically
critical process. Samantha lead a team of ten
specialist conservators on a project that
lasted over a year and which, perhaps
surprisingly given just how far the world of
tattooing can be from the institutions of fine
art, took great care to understand the
importance of these objects, their very
particular material properties and the
reverence which people passionate about
the history of tattooing accord to Sailor
Jerry.
The team were initially apprehensive as they
had never restored tattoo flash before and
the medium presented its own unique
challenges. When we examine objects in
preparation for treatment, the first thing we
take into consideration is the material
composition, Samantha told me. Over the
years we have treated numerous
watercolours and I felt confident about the
treatment of the flash art based upon this
previous experience. However, we know that

objects are more than just a combination of
materials. Each one has a history, and some
evidence of that history may be just as
important to preserve as the artwork itself.
For instance, inscribed lines around select
images may reveal which designs on a sheet of
flash were cut into acetate stencils. Although
they may appear to be damage, we would not
try to remove or hide them because they
provide some insight about specific designs:
which of them were the artists favourites or
which were more marketable.
We have worked with many works on tracing
paper before such as architectural drawings
but none have been sketches for tattoo
flash. We had already developed a technique
for flattening and mending tracing paper
though, which was successfully used on the
Sailor Jerry drawings. For every conservation
treatment, our goal is to stabilise the object
physically and chemically, but there may be a
different standard in terms of aesthetic

retouching. In the case of these drawings, we
spent many hours toning papers to match
Sailor Jerrys papers exactly so our repairs
would blend with the surrounding original.
Given Collins importance to the history of
our art form, and because tattooing is
increasingly being taken seriously by historians
and cultural scholars, projects like this are
vital, especially as flash and other tattoo
ephemera has only recently been collected
and cherished by tattoo artists and fans in any
real quantity. This means that much of the
older material has not been cared for in a way
that would prevent the kind of degradation all
fragile works on paper suffer over time. The
flash art was in fairly good condition,
Samantha said. There were a few tears and
creases but only a minor amount of dirt had
accumulated on the surfaces. Only one piece
suffered water damage, resulting in a dark
tideline across the bottom of the sheet. Some
of the flash sheets had discolouration

along the edges, which was attributed to
poor quality housing materials (window
mats and backing boards), and all of the
pieces had pressure-sensitive tape
attached along the back edge. We treated
them by removing the tape carriers,
reducing the pressure sensitive adhesive
residues, mending tears and filling losses as
needed. We reduced the tideline with
dilute chemical bleach.
Due to their more functional role in the
tattooing process, the tracing paper
drawings and rubbings were in much
worse condition. Samantha explained: The
paper was very thin and a bit brittle. Most
of the drawings had numerous tears and
severe creases. Many of the pieces had
torn edges, making them susceptible to
future damage. Although they were drawn
on the same type of tracing paper, each
piece had degraded and discoloured to a
23
different shade of deep yellow and some had

stains and adhesive residues. A variety of
media was used when they were drawn:
charcoal, crayon and graphite. The charcoal
was very friable, meaning that there is not
enough binder in it to make the pigment
adhere securely to the surface of the paper,
making it smudge easily. Crayon has a waxy
binder and bonds to the paper surface better,
but tends to be soluble in a variety of solvents
and susceptible to heat damage. Graphite is
also somewhat friable and can change in
appearance when immersed in water. So each
drawing had a unique set of condition issues,
and each treatment had to be customised to
fit the needs and limitations of each piece.
The stencils were the most in need of the
Centres professional attention: Most of them
showed evidence of deterioration, Samantha
said. As acetate ages and degrades, it tends to
discolour, become brittle and distort. Some of
the stencils had aged to the colour of honey,
while others remained fairly clear. Some of the
edges were curling up and some of the
stencils had shattered into several pieces. Far
from being a disaster, each piece of damage
told its own story. A broken stencil could
indicate one that had been handled frequently
in the shop. Samantha explained how the
conservation process is one not of
restoration, but an active process of research
and discovery which brings forth fascinating
insights into the way in which artefacts were
24
made, used and kept. Particularly fascinating

are the decisions made about preserving the
signs of use these functional objects bore:
The brittle acetate would fracture, especially
in the case of larger stencils, since they were
flexed to wrap around a customers body
while transferring the design. Looking at the
stencils, we get a sense of which ones had
been used and which ones hadnt. To transfer a
design onto a customers body, charcoal was
rubbed into the incised lines, so those without
charcoal had not been used. We had to

make decisions about how much to clean
from the surface of each stencil. We didnt
want to remove any of the charcoal that
had been rubbed into the incised lines,
since that is evidence of the stencils
history and use. So we chose to use soft
polyurethane sponges to thoroughly clean
the smooth, non-inscribed side of each
stencil, and we used a soft brush to gently
reduce extraneous surface dirt from the
Sailor Jerry took

great pride in his
work and he knew
that others would
value the pieces that
he left behind
inscribed side without disturbing the
charcoal.
And its not only details of use and process
which such close scrutiny can reveal. Samantha
and her team were also able to analyse the
materials Collins used to make his drawings
and stencils and start to understand the man
and his practices. Sailor Jerrys art was very
traditional in its presentation and similar to
other artists of the time. He drew several
designs on standard sized paper; he cut his
stencils from acetate; he made preliminary
sketches on inexpensive paper; and he shared
his designs by taking rubbings from his stencils
on tracing paper, Samantha said. The
difference with Collins was in the quality of
materials he used. Despite the cost, he chose
to use 100% cotton rag paper because it was
strong and had good aging properties. He
selected inks and watercolours that were
stable for better image permanence. Other
artists flash would fade fairly quickly due to
prolonged exposure to light, whereas Collins
designs remained vibrant. In his letters he had
commented on how some of the flash he
made decades earlier maintained its vibrancy,
which tells us that he saved his drawings and
referred back to them years later. He took
great pride in his work, and he knew that
others would value the pieces that he left
behind. His artwork was his legacy, and he
wanted it to accurately reflect and represent
his vision for years to come.
The conservation process of any object is
always undertaken in the context of archival
research wherever possible. Samantha has
carefully studied Sailor Jerrys
correspondence, which is also owned by
William Grant and Sons. Sailor Jerry thought
of his flash as art, rather than mere
advertisements for tattoos. In some of his
letters he longs for a day when tattooing is
taken seriously and respected as fine art.
Knowing that, we made sure we treated his
pieces like fine art rather than archives. Each
piece was physically and chemically stabilised
before being housed in the highest quality,
alkaline-buffered window mats, with UVfiltering acrylic glazing and sealed with
Marvelseal (a polyethylene-aluminium-nylon
laminate) to create a moisture, pollution, dirt
Samantha Sheesley from the CCAHA,

at the Hotel Street exhibition in London
and pest impermeable package. This has

allowed the fragile artefacts which make
up the Hotel Street exhibition to be
displayed in pop-up venues around the
world whilst remaining safe from damage
and future decomposition.
And its in his art the marks Norman
Collins made on paper and flesh that all
this careful attention and scientific
wizardry finds its reason. Samantha
concluded: What makes this collection so
interesting and informative is the fact that
everything is here: preliminary sketches,
flash art, stencils and rubbings. Each object
informs the viewer about another. We see
how the sketches translate to flash, and
flash translates to stencils. Whatever the
medium, Sailor Jerry demonstrates the
same bold confidence in his strokes.
Despite the fact that he is renowned for
his strong outlines and brilliant colours, he
believed that the key to a successful design
was in the blacks. If the tattoo didnt look

good in black first, no amount of colour could
compensate for it. This realisation, in addition
to his skilled composition, was largely
attributed to his correspondence with the
Japanese tattoo masters. Over time we see his
work evolve from singular images to very
complex and integrated designs. He truly
understood and appreciated artistic
composition.
www.sailorjerry.com
25
n our cover this month is Emma Sweets, whose

eclectic tattoo collection embraces her love of
web design, the inspirational power of words and her
addiction to hairspray.
Who is Emma Sweets in a nutshell?
Im from Glasgow and Im a front-end web
developer. My main interests, other than
tattoos, are web design, yoga, interior design
and cooking. I live with my two guard dogs,
Taco and Tia-Bell who are both Chihuahuas.
Just like any other Glasgow gal, I love a good
night out. As a result of my well-known
hairspray addiction, youll never catch me
out without my beehive. One of my most
recent tattoos is a can of hairspray and a
comb on my leg!
How did your interest in interior
design develop?
Ive always been interested in decorating but
it wasnt until I bought my place recently
that Ive finally had the opportunity to go
nuts! Ive put wallpaper up in every room
and Im generally doing it up as a proper
girly pad: leopard print toilet seat, leopard
print couch, pink and purple damask walls
And I am having so much fun with it.
Are you a girly girl, would you say?
I guess I am a bit, but Id still pick a pint over
a cocktail any day!
Does your creative work extend
beyond your home and web design
stuff?
Yeah, I also design and make clothing for
Chihuahuas. Last year I opened an online
dogs boutique but, to be honest, Im no
good at running a shop. My main interests
were in the web development and fashion
aspects of the project.
How would you describe your
tattoos and your style in general?
I like to stick to fairly traditional styles. Most
of them are either a take on old school or
Japanese style. Ive also had some dot work
done.
How much input do you have with
them? Have you ever designed your
own?
I always find you get the best from the artist
if you let them add their own touch to it. I
tend to give a general idea, throw some
26
references in there and then allow free rein

on the rest. If you trust the artist, theres
nothing to worry about.
You used to work at Modern Body
Art. Was that fun?
Yeah, it was great. I made a lot of friends and
had a total blast. I was doing laser removal
and reception. I was also learning to pierce
so I was always kept busy. The shop never
fails to have amazing artists so it was an
honour to work with them. I still visit every
year to stay in touch and get tattooed.
Where does your interest in
tattoos come from, do you think?
I was always fascinated by piercings and
tattoos. My older sisters and their friends
were heavily into the alternative scene. Most
of them were total metal heads so I guess
thats where it stemmed from. I started
getting piercings at 13 and as I got older
tattooing seemed like the next step. It
seemed natural and has just been something
I feel compelled to do. Normal skin is
boring.
What was your first tattoo?
I was 17 when I got my first tattoo. Its my
Persian name Shireen, which translates in
English as Sweet. It is written in my Dads
handwriting in Farsi. This tattoo is extra
special as its the only one which my dad has
approved of.
And what came after that?
Since then Ive been lucky enough to get
tattooed by some really talented artists such
as Steven Wrigley, who did my black and
grey sleeve. This was one of my first larger
pieces. It started off as old school traditional
and then I decided I wanted Japanese. Not
the best way to do things, but I still love it.
Dennis Pase did my chest piece and owl;
Andy Cryztalz did my neck; Jo Harrison my
hand. Other artists include Toni Moore,
Steve Vinall, Matt Hunt, Iain Stanfield and
Billy Hay. Im loving Billys work at the
moment. Hes just started a Japanese piece
on my thigh and I cant wait to get it
finished.
You have Your eyes are a test to

see if you can look past them on
your arm. Where does that come
from?
My family are quite spiritual and when I
was younger they dragged me to see this
animation called Waking Life. At the time I
didnt think much of the film but that line
always stuck with me. For me it means a
few things: that there is more to this world
than what we can see; that there is more
to life than the materialistic things we can
hold and lastly not to judge people by their
appearance. This was one of my first
tattoos and I remember afterwards the guy
saying that it would be the start of my
sleeve. I remember thinking Nah, I wont
end up with a sleeve. How wrong was I?
Why does it say rain in the piece
on your hand by Jo Harrison?
Jo did the pattern on my hand but Matt
Hunt did the rose and lettering. Rain is
short for Lorraine, which is my mums
name. I got it tattooed when I moved to
Birmingham, as it was the furthest Id lived
from home and wanted to get something
to hold my connection. I texted my mum a
photo of it afterwards and it made her cry.
Good tears though, not bad.
What about the lucky cat on your
leg? Tell us about that one.
After working at Modern Body Art I took
a trip to South Korea. Maneki Neko cats
are supposed to bring luck and wealth to
the owners. Since I was now jobless and
trying to get back into the web industry,
buying a lucky cat seemed like the obvious
thing to do. It worked a treat as I landed a
job in no time, so that cat earned pride of
place on the front of my leg.
Unfortunately, the very same day I got it
tattooed, my pet cat died. Its a little
spooky but it now reminds me of her.
Is the @ sign on your finger about
your work?
It is indeed. I got this when I went to
London for a web conference. It was
basically the equivalent of a tattoo
convention except you leave inspired and
passionate about websites, instead of
tattoos. This tattoo marks an exciting
stage in my career and a trip to
remember.
Do you have a favourite tattoo?

My favourite so far is probably my chest piece. Eventually, I
want whoever I marry to get the key tattooed on them,
key to my heart type thing. Im still working on finding
him though.
How do other people react to your tattoos?
Overall people react really well. Most are just curious and
have lots of questions they want to ask. Im lucky to have
a job where appearance is not important and everyone at
my work is great about them. Ive even inspired a few
colleagues to get tattooed. Clients expect web developers
to be bald, fat, geeky men with creased t-shirts, so theres
not much expected of us appearance-wise.
Guys can be a little inappropriate sometimes, though. Ive
had people using my tattoos as an excuse to stare or try
and touch me, which is a little creepy.
What do your parents think about your
tattoos?
Sadly my parents dont really approve. My mum tries to
talk me out of them, but then always seems to like them
in the end. As for my dad, I think he pretends theyre not
there.
Whats next for you, tattoo-wise?
Ive still got a couple more sessions with Billy Hay to finish
my thigh piece. Other than that I want to focus on my
legs for a bit. My feet need doing and Id like the
other side of my neck done, too. Joe Ellis has
just moved up to Stirling so I definitely
need to get tattooed by him.
If you could get tattooed by
anyone at all, who would it
be?
Ooh, anyone you say? Jondix,
Thomas Hooper,Valerie
Vargas, Amanda Toy, Uncle
Allan and Xam, please!
Photos & interview:

Tina Korhonen (www.tina-k.co.uk)
Make-up and hair: Jenna Jefferies using Bumble & Bumble,
Dermalogica and Eye of Horus
27
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A WHOLE
YEAR OF
TOTAL TATTOO
10.50
Per Quarter
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2012
The
london
TaTToo convenTion
Report by James Sandercock Photos by Doralba Picerno, James Sandercock, Tina Korhonen & Ester Segarra
he last weekend in September saw the magnificent London

International Tattoo Convention roar into action. Powered by
the best tattoo artists from around the globe and fuelled by
tattoo fanatics from all four corners of it, this event is a sight to
behold. 2012 saw the eighth incarnation of this mighty beast and, as
usual, it did not disappoint. This is one occasion when its fine to
believe the hype. The standard of work was nothing less than
breathtaking; the established stars of tattooing were on song; and
the new talent was snapping at their heels, as the wonderful world of
tattooing expands its borders, and new cultures come to the table
with their offerings and interpretations.
In previous years the London show has been mighty impressive but 2012 has got to take the
biscuit. Back at Tobacco Dock for the fifth year, everything seemed to just click into place. The
organisers Miki Vialetto and his team have succeeded in creating a micro-environment which
really does allow you to spend the entire day within the venue, without feeling the need to come
up for air! Held over two huge floors once again, it was upstairs for ink, downstairs for a drink
and other retail trappings.
The entertainment also lurked beneath and as always ranged across the spectrum. The staples
were there of course: burlesque, belly dancers and post-apocalyptic pin-ups, not forgetting some
great bands. But this year saw a new addition: the free cinema which premiered the film Tattoo
Nation which documents the rise of black and grey fine line tattooing, and is soon to be on
general release.
On the upper level were the multiple rooms where the artists were housed, packed with tattoo
goodness, booth after booth after booth. It was a treat and at times it seemed almost
overwhelming. Those of us who were lucky enough to spend the full three days at the show just
about managed to take it all in, and grow somewhat accustomed to the quality work that was all
around us. It matters not what flavour of tattoo you favour; the chances are the number one
artist within that field was plying their trade at the show. It really would be a hopeless task to try
and list them all. It would also take up most of this feature and, at the end of the day, its the work
itself which can best tell the story of the weekend. The creative talent that the industry can now
boast is staggering and this is the show where you can come to see that... live!
Every year London throws new artists into the mix who are pushing boundaries which, only a
few short years ago, seemed to be set in stone. But the convention also did something else this
year: it pushed the boundaries of what a convention can be. I can only imagine the logistics it
takes to pull this off and I salute the organisers for their dedication to making it happen. The
feedback on the day, and the way social media has lit up with praise about the show, confirms its
status as arguably the premier event on the global calendar. I hope you enjoy this taste of what
was achieved and experienced over the three days of the London International Tattoo
Convention. Ill sign off with these simple words... roll on London 2013.
1.
2.
3.
4.
5.
6
7.
30
by nicklas westin (spain)

tin-tin doodles on sabine gaffron
jondix with filip leu
thomas hooper, alex binnie and luke atkinson
by laura juan, le tatouage de laura juan (spain)
yang from east tattoo (taiwan)
by xinlong cheng, long tattoo (china)
1.
2. 1.
3.
4.
5.
6.
7.
31
8.
9.
8. by patrick sans, burly fish (usa)

9. by pawel, 3rd eye tattoo (poland)
10. by callum mcpherson,
flashpoint tattoo
11. chad koeplinger,
tattoo paradise (usa)
12. by nikko hurtado,
black anchor collective (usa)
13. shige, yellow blaze
14. by tang ping, zi you tattoo (china)
15. lion king, lion king tattoo
16. carlos rojas,
black anchor collective (usa)
17. by bugs, tattoo lounge (usa)
10.
11.
32
12.
13.
14.
15.
16.
17.
33
18.
19.
20.
23.
21.
22.
18. by alex horikitsune reinke,

horiyoshi III family
19. by henning jrgensen, royal tattoo (denmark)
20. by ben grillo, power tattoo company (usa)
21. the nerdy stripper entertains the crowd
22. elegy ellem, burlesque performer
23. neville staples band
24. by bez, triplesix studios
25. by pino cafaro, elektrik revolver (germany)
26. by antonio todisco, macko tattoo shop (italy)
27. by antonio mejia, goodtime charlies
tattooland (usa)
28. the fuel girls
29. volko, buena vista tattoo club (germany)
34
24.
25.
26.
27.
28.
29.
35
30.
31.
33.
35.
36.
36
32.
34.
37.
38.
39.
40.
41.
30. funeral shoe

31. jack rudy, good time charlies
tattooland (usa)
32. by manuel valenzuela,
inkfatuation (Italy)
33. ami james, new york ink
34. by uncle allen, conspiracy inc
(germany)
35. by claire reid, on the road
36. vince ray
37. by josh lin, surface art (taiwan)
38. by bill canales, full circle (usa)
39. by ching, east tattoo (taiwan)
40. by george mavridis, tattooligans
(greece)
41. by valarie vargas, frith street tattoo
37
42.
44.
42. by ivana,
tattoo rascal
(slovakia)
43. by thomas hooper,
hoopers electric (usa)
44. by gao bin,
lion king tattoo
(taiwan)
45. by filip leu,
the leu familys
family iron
(switzerland)
46. carlos torres,
timeline gallery (usa)
47. alex gotsa, dirty roses
(greece)
43.
45.
46.
38
47.
40
Interview by Travellin Mick

Photos by Owen Williams & Travellin Mick
efore becoming one of the best tattooists in Australia,

Owen Williams of Tama Tattoo went through a baptism of
fire, learning from and working with two of the countrys elite
tattoo artists: first at Trevor McStays Dynamic Tattoo and then at
Geordie Coles Tattoo Magic. Now Owen has opened his own studio,
Tama Tattoo, in Melbourne and the world is starting to see just how
versatile this amazing artist can be. Travellin Mick met up with him
and talked shop over single malt whisky and a couple of cold ones...
We are sitting in a private lounge in Owen
Williams favourite bar a rather exclusive
establishment that doesnt even have a sign on
the door sipping single malt whisky. We are
chatting about his amazing life story which led
to him becoming one of Australias top tattoo
artists. This unpretentious man is wearing a
suit, which is totally out of character but
somehow looks right on him. The outfit is
because he is hosting a 1920s-style party later
that night to celebrate the opening of Tama
Tattoo. This private studio is run by Owen
along with his friend and business partner
Evan Griffiths. Creating a discreet, private
place was important to Owen, as he explained:
We are getting a lot of clients from out of
state or even overseas now. Their time here is
often very limited. I have to get their pieces
done so I need a quiet place to work.
The studio is tucked away on the second floor
of a corporate building and, much like Owen
Williams himself, is something of a hidden
secret. For someone who creates such high
level tattooing, he should be far more famous!
Whether it is classic Japanese, black and grey
realistic, pin-ups or a wild combination
thereof, Owenss work stands out for its fine
quality and first class composition. Even
though he prefers to keep his relative
anonymity, the rest of the tattoo scene begs to
differ: everyone who meets him just loves this

guy for his amicable nature, his relentless
energy when it comes to partying and playing
host to his friends and, of course, for his great
art.
Owen Williams has not become one of
Australias top tattooists overnight, of course.
He was born into a restless family which
moved around a lot when he was a child. He
worked in construction when he was a young
man but he obviously had artistic talent. When
his dad encouraged him to visit a tattoo shop
back in 1998, the owner asked to see his
drawings and hired Owen as an apprentice on
the spot. He paid his dues there: I learned
everything from scratch over about two years
and stayed on for another three, Owen says.
I remember it took me three years to figure
out how to make needles the way I like them.
Now it is so much easier because everything is
pre-fabricated but at least I know how to tweak
them right if you get a bad batch. Other artists
just throw them away and order new ones.
If you think this was a tough start for a young
tattoo artist, Owenss next step was even
tougher. He had heard from friends that
Dynamic Tattoo, Trevor McStays legendary
shop, had an opening coming up. The very
next morning I drove out there and presented
41
my portfolio. And after some consideration

Trevor decided to hire me. Funnily enough, I
used to live in that area and one time, as a
teenager, I actually walked into Dynamic and
enquired about how to become a tattooist. I
had no idea at the time that this was the most
famous tattoo artist in the southern
hemisphere!
Once he was actually working there, of course,
Owen took everything Trevor said as gospel,
as he knew how fortunate he was to be
learning from such a renowned artist. The
man simply never ever did one bad tattoo, no
matter if it was Japanese or a portrait or old
school. This taught me that it is not enough to
reach a certain standard; you also have to keep
it and stay there. Never drop the ball! Owen
now recognises that his time at Dynamic is the
main reason his work is so much more
versatile than that of many other artists.
Trevor was the main man for Oriental
tattooing in Australia. Everybody wanted to
get that from him. So I tried to make myself an
asset to the shop and did everything else that
came through the door. I couldnt afford to be
choosy really. It was only later that I picked up
the Japanese from him too.
42
43
At Dynamic Tattoo, Owen learned a skill that

is still clearly evident in his work: the unique
way in which he composes larger images on
the body. Trevor McStay was, and still is, a
master at creating extensive tattoos on his
clients and its something Owen quickly
started applying to his own work. Its one of
the many reasons his customers seek him out.
That, and the fact that he has a reputation for
being able to pull off the craziest tattoo ideas.
I am working on this guy at the moment who
wants a bodysuit, not with koi and dragons,
but with indigenous Australian reptiles instead.
I love it when people think outside the box.
Owen had always enjoyed getting realistic
work on his own skin, and he often got
tattooed at Tattoo Magic, Geordie Coles shop
in Fitzroy, one of the other top tattoo addresses
in Australia. This studio was to be the next
stop on Owens career path. His original plans
had been to become the portrait guy in
Australia, but he soon realised that realistic
tattooing is somewhat limited in its creativity.
You can tweak things here and there, he says
but the whole point of portraiture is to
represent the person accurately. You cant turn
someones image into something he or she is
not. Owen got great satisfaction from creating
good portrait tattoos but he eventually decided
that he didnt want to turn into a glorified
Xerox machine, as he puts it.
44
45
Tattoo Magic turned out to be the perfect

place for him to develop his imagination
further, with its variety of artists and guests
forming an incredible pool of talent, which
worked very much like a family. Most days
we had dinners and drinks together after
work. And often we would crowd into a room
and go over each others drawings and
tattoos. We were all happy to get comments
and critiques from each other. Geordie
worked really hard to keep this great energy
in the shop.
In 2012, Owens five great years at Tattoo
Magic came to an end. In his career so far he
had worked with the two best and most
famous tattoo artists in Australia; he had
graduated from Trevor McStays and then
opened the doors of his mind at Tattoo
Magic, but now it was time to start out on his
own, with the help of his friend and one-time
colleague at Dynamic, Evan Griffiths. During
many years of tattooing in Australia and
travelling the world Owen had gathered a
faithful following of clients who were happy
to come and see him wherever he was. So he
left the ber-trendy Melbourne suburb of
Fitzroy and started anew in a business district
in the city centre. He felt this was close
enough to the action, but far enough from his
old haunts not to step on anyones toes. The
time for Tama Tattoo had come. Time will tell
how long this period in the life of Owen
Williams will last, as he with a true Aussie
spirit seems to need the permanent thrill of
exploring the unexplored and conquering the
unknown, always venturing into new
territories.
Owen Williams website

www.otatts.com
46
ttoos
a
t
t
s
e
rld's b
o
w
e
h
e of t
m
o
s
g
wcasin
o
h
s
s
e
20 pag
Y
R
E
L
L
A
G
S
U
PL
ANIC
H
C
E
BIO-MJAPANESE
ISTIC
REAL SSIC
N CLA
R
E
D
MO
bio-mechanic
brad bako, fat ink (australia)
fadi michael, triptyc
gerry carnelly, octo
pus tattoo
50
d)
tattoo art (switzerlan
vova mult, angel studio (russia)
land
marcin sonski, zulu tattoo (ire
bela olah, pain art tattoo (hu
ngary)
51
nick morte, luck

y 7 (norway)
kali, kali tattoo
ty mcewen, on the road (usa)

52
jack ribeiro (luxembourg)
guil zekri, reinkarnation tattoo (germany)
guy ait
chison
hyper
,
space
studio
s
(usa)
modern
classic
samuel briganti,
drum tattoo (italy)
oo
crispy lennox, black garden tatt
edward staples,
54
den of iniquity
tattoo
max rathbone, studley tattoo studio
judd ripley, sailors grave

(denmark)
55
jarek, asgard body

art
too
jim gray, set sail tat
kristiana richards
frontier tattoo parlour
brian jourbert, gas
pe
dal tattoo
(canada)
phil kyle, magnum opus
rld of tattoos
antony flemming, wo
cesar, black garden tattoo
guen douglas, magnum opus
chris dettmer, black hole (germany)
sofie simpson, spea
r studio
le
er, black ho
chris dettm
(germany)
57
japanese
oo (sweden
o classic tatt
ren, malm
peter lagerg
calle, king ca
ueo, ueo tattoo (italy)
58
rlos (sweden
)
too (usa)
patrick, burly fish tat
george bardadim (russia)
d)
moose, moose tattoo (hollan
ching, east tatt
oo (taiwan)
59
hori han (japan)
60
owierstudio hautna
tt
bernd broghammer,
h (germany)
lupo horiokami, mushin tattoo studio (italy)
ching, east tattoo (taiwan)

jess yen, my tattoo
(usa)
, human fly
jee sayalero
(spain)
colin jones, stained
class
d)
greg orie, dragon tattoo (hollan
the italian gentleman, royal tattoo (denmark)
62
joey ortega, triple crown tatt
oo (usa)
benjamin flux
x, octopus ta
ttoo
henning jrgensen, royal tattoo (denmark)
63
realism
boris, boris
iain clarke, new found glory
dris donelly, artium ink
tattoo (hun
gary)
max pniewski, southmead tatt
oo
rose price, organic element

kosa, artline (poland
65
anabi tattoo
(poland)
eric kueh, 71st skin slavery (borneo)
leign oldcorn, cosmic tattoo
patrick mcfarlane, fine line (on the road)
66
steve soto, goodfellas

(usa)
dan stewart,
lucky rabbit
(usa)
megan hoogland
mecca tattoo (usa)
victor policheri
heidi hay tattoo (sweden)
67
1.
norwich
Report by Perry Photos by Andy Heather and Perry
body art festival

The Norwich Body Art Festival is one of the highlights of the
tattoo calendar for me. Now in its fourth year, I have had the
pleasure of attending them all and it never fails to impress.
2.
The venue, St Andrews Hall, is conveniently located in the heart of the city. At nearly five hundred
years old, it is the oldest surviving friary in the country. The main hall is simply beautiful, with its
high vaulted ceiling, stained glass windows and carved wood and stone pillars. An impressive pipe
organ sits high above the stage at one end. To the sides of the stage a compact bar area leads
through to the smaller Blackfriars Hall with its dark oak panelling and tall arched windows
reaching up to the lofty roof.
Tattoo booths are laid out in two rows along the length of both halls, with natural light flooding
in on them from the thirty foot high windows. The cloisters, which run along the length of the
main hall, were once again used to house the trade and shopping stalls and the outside courtyard
provided a chill-out space, with much-needed shade on what turned out to be one of the hottest
weekends of the year.
1.
2.
3.
4.
5.
6.
7.
70
zara by paul naylor, on the road

poppy by leigh oldcorn,
cosmic tattoo
graffiti by sith art collective
marco by gary, twit twoo tattoo
kevin by phil denby,
institute tattoo
natalie by alan aldred,
cosmic tattoo
scott by rytch, sith art collective
In a nod to the current tough economic times, the ticket prices were reduced this year to a very
reasonable 10 per day or 17 for the whole weekend. Doors opened at a leisurely midday, by
which time a decent queue had formed outside in the morning sun. Inside, tattoo machines
started to buzz and the hustle and bustle began. The hall filled quickly and remained busy for
most of the day. This show attracts a good mix of about 80 artists consisting of local, national and
a few international names, which all adds to the flavour. Nearly every one of them was hard at
work from the start, which is great to see.
One of the things that makes this show so special is the ongoing entertainment which takes
place on the main stage: a varied and eclectic mix of performers from DJs playing retro tunes,
through to bands including the fabulous Johnny Cash tribute band Son of Cash and on to the
more bizarre, whip-cracking performers and hula hooping show girls. All of this adds to the
theatricality of this show and gives the crowds plenty to keep them entertained. The final event
on Saturday was the tattoo competitions, after which everyone made their way off into the night
to sample the delights on offer in the mustard capital of the world!
3.
5.
4.
6.
7.
71
Sunday started where Saturday left off, albeit

with a few fat heads. Tales of daring deeds,
with photographic evidence of the previous
nights antics, soon subsided and it was back to
the tattooing. Many of the pieces done the
previous day made their way to our studio to
be photographed, having had a night to calm
down, and it was obvious that a lot of great
work had been created. One notable piece
was the outstanding Lee Scratch Perry
portrait by Woody from Cult Classic. Paul
Naylor, previously from Powerhouse and now
on the road, produced an impressive black and
grey portrait and Alan Aldred from Cosmic
Tattoo completed a thigh piece over the two
days and was duly rewarded with the trophy
for Best of Show.
The weather was a major topic of
conversation over the weekend, with
temperatures soaring into the low thirties.
This did have the adverse effect of causing the
halls to empty out from time to time as
everyone looked for a space to cool down but
they soon came back to continue enjoying the
convention. Every year the organisation of the
Norwich show gets a little slicker and the
huge team of friendly volunteers ensure that
everybodys needs are met. I would like to
thank Gemma from Indigo Tattoo and Kevin
and Emma from Outline magazine for all their
hard work organising the show. I am already
looking forward to next year. If you have never
been, it is well worth a visit.
10.
72
8.
9.
9.
11.
12.
14.
13.
8.
9.
shane by dan, black sails

tom by drew,
ghost house collective
10. alice by arnold, ink addiction
11. alec by josh fischer, factotum
12. luke by jordan, second skin

13. ben by john, blue fire
14. tom by marius, rudeboy
73
15.
16.
17.
15. martin by woody, cult classic

16. ronnie by jamie, real art
17. joanne by ben, grizzlys art
18.
74
18. kev by cat scott, styx tattoos

19. andy by emma, sith art collective
19.
jamie
wang working
TATTOO
TEMPLE
Hong Kongs Tattoo Temple doesnt bear that name just to be clever: its a
legitimate place of secluded worship. Secluded in the sense that, despite
being next to Lan Kwai Fong the citys 24-hour, lager-fuelled party
district and within throwing distance of Graham Street wet market,
where locals noisily haggle over flapping plates of terminally gasping sea
creatures, you would have no idea its there. Outside there is none of the
vulgar neon signage which normally signifies the tattoo parlours of
Wanchai, a district that is still synonymous with offering sailors almost any
pleasure of the flesh imaginable. Instead, a mild mannered security guard
nods and smiles his approval as you enter a pedestrian-looking tower block
and take the elevator to the 14th floor.
by joey pang
words: graeme park

pictures: nic gaunt
76
Upon arrival, youve got two choices: turning right will lead you to a professional psychotherapist
while on the left is the studio itself. We get some crossover business, sure, says Chris Anderson,
the Temples manager. Weve tried to get the therapist in too, but we havent managed yet!
Looking at him, youd think Anderson could happily get anyone in the chair. Hes easily six feet
tall, well muscled and wouldnt look out of place in an Olympic wrestling ring. But then, thats
not the point of the Temple and it certainly doesnt seem to be in Andersons nature. With his softspoken, American-tinged accent he is one of the most charming, calming individuals in this hectic
city.
And its this gentle, respectful approach that makes this studio a true temple. Like many places of
worship, visitors must take their shoes off at the door. At first it might seem a little awkward but
soon, with a finely brewed coffee in hand, gentle trip-hop playing in the background and an iPad
to browse the artists portfolios, you wont want to leave. For those who enjoy the more edgy
elements of tattoo culture, this might all seem a little gimmicky. Theres no rock and roll; no
lounging teenagers desperate for an apprenticeship; no zipper bound folios; no flash; and there is
joey
by wang
by jamie
absolutely no phony pirate memorabilia.

For Joey Pang, the studios owner and principle artist, this is exactly
what she wanted. She says: When I first started out, I was scared to
knock on the doors of tattoo studios because those old school places
are always filled with loud rock and roll and frightening people. I
wanted my studio to be a place where people could release themselves
and where they werent afraid to tell me what they thought. Of
course, the studio isnt without some curios: in a glass cabinet is a real
human skull, adorned with brass engravings. Pang says: This is AhTotal Tattoo Magazine
77
Zhun. We think she was a former servant,

executed and buried along with her master.
When I first started out, I used to sleep in the
studio and Id keep her next to me for
protection.
Next to the skull is a collection of traditional
Asian tattooing tools, including the type of
long bamboo skewers still used by Buddhist
monks. Pang herself has experienced the
process whereby the monks painstakingly etch
intricate patterns using this single pointed tool.
These kinds of traditions are important to the
studio. Every long-term employee has the red
hanzi or Chinese character of the Tattoo
Temple permanently inscribed. Becoming an
artist here is not an easy process and the
apprenticeship can be gruelling. At one point,
the studio offered a study programme but its
recently been put on hold because of the high
drop-out rate.
Currently, alongside Pang, two other artists
share the space. Pang Chi Wang, who
specialises in painted, realistic styles and
Jamie Kam, a master of abstract, graphic
influenced designs. Hes also, jokes
Anderson, Leng Zhai the pretty one. We
wheel him out whenever we can.
Each of these tattooists began their working
life in another creative field. Kam, for
instance, worked in graphic design, while Pang
Chi worked as an animator for Hollywood
studios. Learning to tattoo is not simply part of
their creative process, rather its a skill through
which they can express their innate and

already honed skills.
Pang is no different and she began her career
as a designer. She says: I went to the design
school in Hong Kong but I was always afraid
that the job would kill my love of drawing, so
I branched out. First I became a make-up artist
but the fact that body paint only lasted for a
day really upset me. This led me into thinking
seriously about becoming a tattoo artist.
I had the chance to go to New Zealand where
I saw Maori tattoos for the first time. That
really inspired me because in Hong Kong
tattoos are still associated with gangs and I
didnt want to become part of that. For the first
time I saw tattoos as something cultural that
people respected.
Of course, there isnt a school for tattooing so
I travelled, getting experience and learning
everything I could. At a tattoo convention I
met the British photographer Chris
Wroblewski who gave me contacts all over the
world. I visited Thailand, India, Europe and
China, just going to studios in each country,
watching them and asking questions. I was so
hungry for knowledge. In Beijing I worked
with an artist whose name translates to Little
Dragon. He taught me a lot about the details
by joey pang
joey pang working
78
by joey pang
by jamie
and techniques I needed to take my artwork to another level.

Pangs own style is heavily influenced by her Chinese heritage and she strives
to capture the brush stroke techniques popular in classic Chinese art. While
koi, dragons and cherry blossoms emerge from almost every studio in the
world, with her delicate touch Pang hopes bring an unsurpassed level of
realism and fluidity. She says: It was an artist in Switzerland who said that I
should consider specialising in Chinese calligraphy. He showed me some of
the Chinese characters people had tattooed and I couldnt believe how awful
they were. I made it my mission to do a better job at representing Chinas
artistic heritage and Ive been studying Chinese art and calligraphy ever
since.
Of course to many people in Hong Kong, tattoo studios are not exactly a
welcome element. They remain associated with Triad gang culture. Anderson
says: Gu At Zhai or young and dangerous gang members are prone to
having very large tattoos that lack any detail. Theyre primarily showpieces
and done on a budget. The Hak Sei Wui or Black Band Society however,
are the proper gangsters. These guys rarely get tattoos, as the artwork would
make them more recognisable as Triads. They may have some from when they
were younger but theyre usually hidden under a suit.
Whilst the gangs still exist, theyre not something the average person is likely
to experience but the stigma still remains for tattoo studios. Anderson, who
grew up in the city, says: Triad gangs usually have their own tattooists. That
doesnt seem to matter to landlords though and theyre usually very tricky to
work with. In the past eight years, the studio has moved three times because
the landlords just dont want it to be there. It can be extremely frustrating.
It could be said that the studios approach is designed to deter the kind of
business that would make a landlord nervous. For starters, its not somewhere
you can just drop in. If you want a tattoo from Pang herself, for instance,
theres a two-year waiting list, which includes the names of some of Hong
Kongs most prestigious captains of industry. Such people demand the very
79
best and when it comes to tattoos, its to the

Temple they come. She says: These kinds of
clients can be very intense. They want to know
the minute details about the process: where the
inks come from, how the machines work, that
kind of thing. Of course, we treat them the
same as we would anyone else and once
theyre relaxed, we can get to work.
by joey pang
In the studios tranquil atmosphere, Pang has

been known to complete mammoth tattoo
sessions. These elite individuals frequently fly
in from overseas and have very short windows
of time in which Pang can work. Its not
uncommon for her to do three days of ten-hour
sessions on the same client. I like to work like
this, she tells me. Anyone who draws knows
that once you want to get into a drawing you
dont want to get out. Its the same with doing
a tattoo. You dont want to tattoo just for a few
hours and then move on to another customer.
by moon
by joey pang
The studio welcomes people from all walks of

life but its the ones you wouldnt expect that
are the most interesting. Pang says: There is
one guy who dresses nicely and looks very
professional. Hes actually so rich that he owns
an island. Hes got two full sleeves and is
planning to get a full backpiece. It just goes to
show that you never know whats underneath
the suit.
Just how an island-owning jet setter came to
find the studio is something of a mystery. The
same goes for the other high-end clients who
make regular pilgrimages to the Temple.
Currently making repeat visits is a Russian
tycoon, a former employee of Barings bank
and a well-known British sportsman who
makes his living driving very, very fast.
Anderson looks bewildered when he says:
We have no idea how they find us. We dont
advertise or really promote ourselves, so it
by joey pang
by joey pang
by wang
by joey pang
81
must be word of mouth.

That said, the studio has recently launched its biggest promotional tool to date
an iPhone app which contains the artists portfolios. Pang has also
collaborated on a number of other lifestyle projects that help spread the
Temples name. Shes crafted champagne buckets for luxury pewtersmith
LOrfvrerie dAnjou. And all over the city are posters for the Legend series
of MMA fights, for which she designed the logo. Perhaps most notably though
is the range of furniture she has designed for the Hong Kong brand Indigo
Living. Each item is decorated with a distinct Joey Pang tattoo.
She says: For me, tattoos should be part of our culture. If you read about
tribal history, theyve been considered in the same way as music, jewellery
and sculpture. The only way to increase tattoo acceptance is to introduce them
into everyday life. At the same time I understand that having something put
into your skin isnt going to be for everyone. Things like this furniture range
help the artform connect with more people at a level with which they are
comfortable.
Although the Tattoo Temple brand is taking the artform out to wider
communities, Pangs real creative dream is to apply all her skills to a full
bodysuit. I would like to develop the whole body idea. Not like a Japanese
suit but more altering the perception of how the naked body appears. In the
same way that make-up can work, I would like to develop a plan to change
someones physical appearance. I think it could be used to balance the body.
When the body is too wide, for example, I could use tattoos it make it look
narrower.
Professionally, Pang also hopes to return to Europe. She says: Hong Kong is
like a fish bowl of nationalities. Ive had the opportunity to work on people
from all over the world but I miss discussing tattoos with other artists. There
are some great people working here but its a small place, so I want to travel
again, exchange ideas and grow creatively. Unfortunately, I just cant see a
time when Ill be able to do that.
With a two-year waiting list, creative commissions for furniture designers and
a luxury studio in the heart of the one of the worlds most exciting cities, it
might seem that Joey Pang has got it all. But it wouldnt be Temple if its
founder wasnt a true devotee and its unlikely that Pangs worship of the art is
going to fade anytime soon.
by theos
by jamie
by joey pang
82
84
Our showcase for paintings, drawings and design work by the most creative tattooists on the planet.
This month Marcus Maguire, Custom Inc Tattoo Studio
If you would like us to consider your work, please send examples to :
Private View, Total Tattoo Magazine, PO Box 10038, Sudbury, Suffolk, CO10 7WL, UK
85
86
87
88
Interview by James
Photos by Sam Ricketts
am Ricketts was in love with being tattooed long before he

fell in love with tattooing itself. Like so many tattoo fans,
Sam was sucked into the world of ink by the bands that
played the punk music he loved and it was not long before Sam
was in the tattooists chair almost every week, getting covered
at a furious rate of knots. I was really into sci-fi, Alien, that
sort of thing. I thought it was really cool back then, so I ended
up getting some tattoos like that. Now I dont really like them
but, if I hadnt been into it and got those tattoos, I wouldnt
have spent so much time in a tattoo shop, which led to my
career as a tattooer. I was also into old school traditional stuff
and I would bring in bits I had found: roses, swallows, daggers,
that sort of thing. The artist would then reinterpret them. Ive
always let the tattooer do what they think is best.
90
By the time he was 20, Sam was almost

completely covered. The more time he spent in
tattoo shops, the more he started to take note
of designs. As his passion grew for the style he
loved, he began to draw. He then started to
work the desk at Mantra Tattoos in
Cheltenham, where he was getting his tattoos
done. I would sit at the desk and draw and
watch the artists. I never really thought I
would be a tattooer, but I ended up falling into
it.
When it did happen, like any young apprentice
Sam was hungry to do anything, from tribal
arm bands to Chinese symbols. I just loved
tattooing. If something came in through the
door and I thought I could do a good job, I
wanted to do it, he says. But of course there
came a time when Sam wanted to do the work
that he was really into. I used to paint flash
all the time. Id show it to my friends and say
What about this? and they would say Yeah,
go on, Ill have one of those. The more
paintings Sam did, the more people saw his
work and had it tattooed on them and the more
his style developed. The appeal of traditional
work is that when you look at the tattoos, you
can see what they are straight away. Solid
tattoos just looked good on the skin. I
appreciate all styles but for me, its traditional
tattooing all the way, with its bold lines, solid
colour and heavy black. I think tattoos are
different from drawings or paintings. Some
things look better on paper than on skin and
vice versa. I dont see myself as an artist, I just
make tattoos. Its the simplicity of traditional
tattoos that drew me in; how something so
91
simple could be so strong. Thats the key.

One of the recurring themes within
traditional tattooing is the ocean and all
things pertaining to it, and its a subject for
which Sam is building quite a reputation.
Of course his nautical interpretations have
the signature Ricketts bold lines and solid
colour, but where does this passion come
from? Sam is from Swindon and, last time
I checked, the place was still landlocked!
Ive always been into the sea, he
explained. When I was young I was lucky
enough to be taken to Sea World by my
parents and something about it just fired
my imagination. When I was at school I
wanted to do marine biology but just
missed the grade. I have all these books at
home which I have had since I was a child.
One day I just realised what great
reference material they were. Looking at
them just rekindled something. When
people want a shark or a ship, Im just so
stoked to do it. It reminds me of the
feeling I use to have reading those books
when I was six years old.
The big shift in Sams career took place
when Tiny Miss Becca invited him to do a
guest spot at her studio, Jayne Doe Tattoos
in Essex. Sam told me I had been at
Mantra about four years and I was the only
person in the shop who was passionate
about traditional old school tattoos. It
didnt feel as if I was going to progress
there in the way I wanted. One of my
friends was working on the desk at Jayne
Doe and Id met Simon Erl and Steve
Vinall at conventions. I was honoured that
they asked me to guest at a shop like that!
Sam worked there for the summer and
fitted in perfectly. After his guest spot
finished, he was asked if hed like to stay
on. He jumped at the chance and promptly
upped sticks and moved to Essex.
92
The move allowed Sam more artistic

freedom. He no longer had to cater 100%
to what the customer wanted. Each of the
artists at Jayne Doe had their own style
and was free to develop it as they saw fit.
People would book in with me and Becca
would say Just draw your own style, do
your own thing. And the clients would
come back, see the drawing and just say
Cool. I just want to get tattooed by you.
Sams confidence grew and the doubts he
had about his work soon disappeared. It
was an amazing feeling, just being able to
present my work as I wanted, with the
whole shop backing me. The way the
artists there worked totally changed the
way I tattooed. Eventually though the call
of friends and family became too great
and, after an amazing year working at
Jayne Doe, Sam returned to Swindon.
93
This more or less brings us up to date. 2012 saw

the opening of Sams own studio, The Great
Western Tattoo Club, in his home town of
Swindon. The shop reflects many of the things
Sam has learned along the way, such as the
importance of friendship and tradition. This feels
like it has been a long time coming but I got to the
stage where I wanted my own space. I work with
my best friends and its just the perfect shop for
me moving into the future.
The walls of the studio are covered in flash, some
by the artists at the shop, others that Sam has
collected over the years. I wanted people to see
things that they may not have thought about
before, such as the weird East European-inspired
images. People dont often get to see those. A lot
of traditional tattoo imagery is American: I love
panther heads, eagles and daggers but Im not
American so I can only relate to them to a certain
degree. European traditional, thats the sort of stuff
I want to push in the shop. Darker images
fascinate me too: hoods, cloaks, masks, that sort of
thing. If people see all this stuff in the waiting area
and get into it, then thats great.
94
Aside from traditional work, there is one other style of tattooing that draws Sam in: Japanese.
It is clear from the way he uses water in his tattoo work that it has influenced him and he
admits to feeling a connection with it: I really love Japanese work. I havent studied it to
know the full meanings but I love the overall look and the way it is so solid. The heavy black
in the background, the strong colour in the foreground and the lack of bare skin left. I can see
the similarities with how I work. A nice Japanese sleeve... I dont think you can really beat it.
When it comes to influences, every tattooist takes their own personal inspiration from other
artists and Sam is no exception. Three key people have inspired him in the past and continue
to do so: Steve Byrne, Jef Whitehead and Jeff Zuck. I first met Steve at the Mantra Tattoo
Convention in 2004 and his portfolio just blew me away. The fact that someone in the UK
was doing traditional work of that standard! And to this day he is still amazing. Jef
Whitehead... the way his mind works and the way he draws is just crazy. But I would say Jeff
Zuck has been my biggest influence because I feel he is one of those rare tattooers who can do
an amazingly detailed Japanese sleeve and the next tattoo he does is a really weird eye or
something, just black whip-shaded, really simple and it totally works. He knows when to keep
it simple and uncomplicated, and when to do something really detailed. Thats how I aspire to
be. I dont know what my work is going to look like in a years time but I do know I just want
to progress continually and move forward.
www.facebook.com/TheGreatWesternTattooClub
95
next month
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mugshot
We ask tattooists some probing questions and encourage
them to reveal a different side of themselves!
This month
Hazel Nicholls
Design 4 Life Tattoo Studio
What makes you happy?

Being a tattooist. Its the best job ever. And my
family, of course.
What makes you angry?
Bad customer service. Seriously, I get so
annoyed with it!
What was the last book you read?
The Zombie Autopsies by Steven C.
Scholzman. The title says it all. Its amazing!
What was the last movie you saw?
Ted had me howling... Tubby McFat Fuck and
the Thunder and Lighting song! Ha ha!
What pets do you have?
Most of my pets are of the dead variety, which
is great as they dont need feeding or taking
for walks. Imagine the looks youd get dragging
half a badger down the street on a lead! I do
have two live kittens though. One is black and
the other is white. I should have called then
Yin and Yang; that would sum up their
personalities to a tee. They might end up on
the wall one day when they snuff it.
If you won the lottery what is the

first thing you would buy?
A stuffed polar bear. Ive seen one priced at
37,000. Thats more than our first house.
Ouch!
Who would play you in the movie of
your life?
Sigourney Weaver a total must all the way,
no question about it.
conventions and be posed in different

positions. At the bar would be good as I dont
get to do that much.
What is your favourite tattoo that
you have done and why?
At the moment its the tattoo of Dexter. Love
the programme and really loved doing the
tattoo. I pushed myself with it and hopefully
youll agree it paid off.
What song would be the soundtrack

to your life?
My husband Tony says the theme from
Hitchcocks Psycho. Cheeky twunt. Id have to
go for Yentl for anybody who knows it. Sad, I
know!
What would your super power be?
Id like the power of a TomTom sat nav,
because my sense of direction is appalling.
What achievement are you most
proud of?
My son. Hes such a lovely natured boy. He did
his first tattoo recently on Mike, one of our
tattooists who bravely donated his skin. The
tattoo was a Lego storm trooper and its
awesome.
What is your biggest regret?
Not going to see Queen when Freddie
Mercury was still alive.
What keeps you awake at night?
My husband Tony snoring, as well as tattoo
designs and ideas and damned zombie
nightmares.
What would you eat for your last

meal on earth?
Heinz Beanz with Sausages from a tin, on
toast. I used to prefer Cross & Blackwell but
you cant get them anymore. Boo! Boring I
know. Im a classy lady!
98
What is the best lesson life has

taught you?
A quote my mam always used to say You cant
change the people around you, but you can
change the way you react to them. Never a
truer word.
How would you like to be
remembered?
Id like to be stuffed with pink fluff and coat
hanger wire then I could still go to
Finish this sentence:

Hazel is a type of nut,
Next Month
Sharky
13 Ink Tattoo Studio
Get your own Total Tattoo Mug from

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For those in the area who would like to be

Ive been sitting in front of my computer

Ant Ross: I have tattooed a few police

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Opened a new studio? Got a guest artist? Do you have a job

Another great selection of web links connecting you to some

Monki Do is proud to announce the opening of their second studio,

A chat with Alex Binnie and Duncan X

Painted Lady Tattoo Parlour in Birmingham is pleased to announce

Cool short film about new york Adorned

A little video about Danish tattoo history

The Tattoo Age TV series hits the UK and shines

Tattoo artist wanted: for Mother of all Sins, a custom studio in

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Time-lapse tattoo film with Tommy Lee

East Coast Tattoo Expo

The Pyramids Centre, The Seafront,

St Louis, Missouri, USA

Highfields Holiday Park, Clacton, Essex

Pontins Holiday Camp, Prestatyn,