Guy Aitchison – Jeff Gogue collaborative arm sleeve tattoo Part 1 of 4

Guy Aitchison – Jeff Gogue collaborative arm sleeve tattoo Part 1 of 4


0 line Walker her mom day the Lance card 1 sad her on my day cine 0 man when I switched to this rotary it works
so fast and so efficient that it is kinda did away with that and with
all the adjustments on steps And I’m totally open to talk about the machine
cuz I I use coils up until about it almost two years
ago year and a half ago Cheyenne wanted me to try their stuff for
probably two years I got kinda bombarded by them at shows and a lot of my friends use them but all the
friendly did use them were the ones that were you in soft
portrait style and I’ve been three steering away from that for like the
last I’m 6 or 7 years and I wanted to I’m trying to do a legitimate tattoo so I just really was trying to get that tattoo look so I
didn’t want to use them and once I did guess what they came out this
machine that’s what kinda switched me was at a show and and their own using a more of a soft people and I I tried it and I like that
for that but they told me they guaranteed me and when I got the machine he said
you can send this back if you don’t like it years I’ll
take the whole kit back he goes but you can line with
this and I went home and you can line with
this machine amazingly thats whats whiched me to this machine
honestly though for me it’s perfect as perfect as anything I’ve ever used Dont judge the pain on the inside wrist for how the whole session will be so for those watching we’ve got two
different techniques going on here are usually lay my pieces down with a mag and shade them in and jeff is a guy that loves to line all the water his can be doing more of a
traditional approach for laying it out I dont have a rinse cup yes somebody could hook me up with a rinse cup that would be good when you set up in your own space for
such a mindless thing you know and you’ve done it a million times so how would you describe the sensation
of two machines at once where you are working is more of a pain, down by the wrist is more painful we are also working with very different
techniques and he actually is literally doing a drag and poke 5 mags its pretty dank it’s about
the size and shape one of those calligraphy pens so as long
as you’re going for a fairly bold line works pretty well I always come back afterwards with a liner and sort of sharpen
up I like this cuz and kinda line in shade
same time and for this kinda organically sort stuff the natural organic stuff
that I like to do the really good way of doing a first
pass I can always add sharper edges later on the session might seem like
sort of a backwards way of doing it but to you know you can go from general to specific as tattooers used to work in the other way round your
way get an outline down which really like is a very defined way above laying
down a the first pass and that’s great for
certain things like the water that just doing right now is a a great example that because this
is so line oriented to begin with it would make sense to shade first if it’s the wrong kind a work it won’t
look right mean if our doing wave that would I would
Mag them in and will be much different look and I would end up adding the bold outlines around the parts that I want to have come forward
the most and then you know some kinda
middleweight lines in other places right right that that’s what I was
talking about earlier you can get more a general sense of pain to specific
point which in some ways is almost easier because they can share a little
background about this piece were working on Matt approached us after we sent out
feelers to try to find the right person get a collaborative project from us and
so it just kinda ask people to tell us their ideas and matt asked for a Hake crab think that I was pronounced down missus
Japanese crab that it’s in the same harbor where this terrible
battle between to feudal clans took place in a late 1100
hundreds the Hake clan were decimated in the survivors threw themselves into the
the water with the exception of a few are surviving women who settled than in the
surrounding fishing villages and started families and eventually they
started having a festival there so there was this legend of these the
samurai warriors who had drawn self into the harbor and meanwhile there
these crabs and some of them had these kinda samurai warrior faces molded into their their shells and so
fishermen would just throw those back because it they kinda figures like the
spirit of the the Hake warriors embodied in these crabs and
now because of that natural so I mean I’ll artificial selection took place in our
the crabs to look the most like samurai warriors surviving have more babies and now you’ve got a harbor for these
crabs with these kinda anthropomorphic
features and so that’s what this is we’ve just
shown on a little bit of our extra stylization andwhat we’re doing
here is we’re were gonna be combining this more are
realistic organic model kind of work with the crap
in the surrounding rocks with this much more traditional approach
with the the waves to be really nice combination
the facts those familiar with a Robert Williams work He always combining these like multiple
different graphic styles and and in his piece isn’t it makes for a
very dynamic work have always appreciated when tattooers find ways of doing that anyway because we’re collaborating on
drawing wanted to do a lot of that process in
person we just had to Matt sent us some pictures of his arm and I did a couple very rough layout sketches and we met this morning we are kinda look
goes over in talk the idea through an hour Jeff to first pass on this crab drawing after we
kinda figured out that the size and placement other than after he done that and I kinda to an additional pass on a changeup a
couple things in made a stencil of well I woke up to a freehand pass on Matt I’m at time to draw out somebody’s waves and we added stance on sleeve combine the
two little bit more dry rounded erasing and adjusting doing a sleeve
like this can be a complex project and it’s nice when you can have to just a big Stencil so you can wait
for the whole thing but free handing does allow you to make fit and flowing a lot better and
I’m the case for this collaboration gave us a lot more flexibility in terms of adjusting the design and how it works so that we could to really try to get
them both to at the best for both our input into the
piece Jeffrey you are a guy that doesn’t talk to you or
and ha, not too much, not when Im lining I like like it here I like to do traditional work in a sense such additional stock by and all school that lot out like this simple ingredients that
outlines solid black and then color vs dimensional texture here that you dont see in traditional work that changes up any you know way that it you could be perceived you know it’s
gonna stand out as being are very tactile that sort of thing but
because that it’s gonna stand out that much better against the the way that the waves are done on is not as
the online there is some of your own personal stylization is definitely a lotta very traditional
influence the way you drew them yes Korey Flatmo was the first I identified as some who did that clearly tattoos with dimensional realism style and volume in a tattoo to me the tattoo meaning its flat in an aspect not that graphic and that could look like “yah its graphic but flattened down and design oriented” deliberately yeah I love it this is something you can explore for you know kind of an endless way of approaching that concept its neat that you can combine and find middle grounds all the spaces in between the absolutes of being completely experimental or traditional you know anywhere in between yet
that’s all its really popular now you see it a lot of different ways way you can always identify it as the same formula each person is trying to find their own
own twist to it groundwork for laying that out over I think once you got in identified you can start thinking of how you would do it differently. how could I adjust or push and pull? yes I like the idea of pushing and
pulling because there’s so many places where you can do it you can do it like you know just with your darks and lights or you can do it with
can do it with you know trying to make your big
shapes a little bigger or smaller shapes a little smarter you know there’s all
these places where you can make adjustments like that really change your overall looking character
are still working the same formula I can start shading through here ok cool Attentions to push and pull the water black and grey there has to be volume, but not so much. Yeah because of the lighter foreground kinda thing sculpting and modeling something to keep
in the rocks and the crab and maybe go you know even more simplistic than normal with the waves someone do me a favor go ahead and snag
a pair of gloves and move the trash can in here Are you interested in answering audience questions or wait for a bit? How are you able to keep your styles balanced I think it’ll be a natural fit arm I think we chose this project
because it does to allow both style the to sit alongside each other you know roughly equal area between you know the the really model stuff and really simplistic stuff
and I was laid out It’s a very back and forth process yeah that’s actually one of the more
important things in in a good collaboration is to make sure that there’s enough
intermixing during the drawing process and when your
communication at that stage so that as you’re passing the drawing back and forth explaining what you just what you think it needs and any other ideas and my pop in your head
in you know get each other’s feedback and
I’ll you can explore it a little bit more that way I think we get really habitual thats the reason I’ve always liked to collaborate with people its a chance to step outside
the normal comfort zone think as long as there’s a healthy
respect between the people involved it does happen naturally where I can
overstep because you respect person working with say
you let them be themselves and you just have this attitude where you’re
only gonna you really gonna contribute what
you’re capable of to make it better. Thats true its not a competition at all I definitely I’m looking forward to
working on the waves but with the understanding of the look that we are going for a second
layer over what your starting are probably the stand-up smoothing and deepening some of the shading
doing that kinda thing working with the idea of this more stripped-down and graphic approach
to it I think it is important that in any really strong collaboration that both
parties work all areas at least some because you do get a better mix that way
you get some are unexpected things happening I’m working with a buncha sorta muted
neutral tones where someone might normally use greywash because this is going to be a color area here and Im trying to do this all in one pass I wouldnt want to put color and grey wash in the same time it just ends up beating up the skin muted healed tattoo result I finally get a really rich palette of colors with with his kind
neutral colors or even like dipping in the colors her little brighter but
letting the mix with greys to calm them down I barely ever work with grey wash
anymore except for occasional background stuff unless you’re really going for an
intentional look it ends up looking empty against the color like black and grey bio, which I dont get asked for very often My left arm is a collaboration by Aaron Cane and Grim which was an incredible experience and was two ten-hour
days in a row both working at the same time think that the only collaborative work
I’ve got on I think go I am going too much work from
Don McDonald some other design work on that was collaborative between him and me because our I was
going for a look that was kinda like my own stuff got to Nick Baxter tattoo which is re working on an existing
piece for the you know I don’t even think about it as reworking because its such a strong piece Eddie Deutsche Back in the nineties some really classic bio stuff. A lot of work by Greg Kulls an experimental artist who holds a pretty low profile these days another large piece from Aaron Cain Some more work by Deano Cook other large piece from him Steve Morris did rendition of one of my paintings on my leg large piece really nice known as a lot and I have to thank
almost too much because I’m concentrating on this tattoo about 40 artists work on me. my lower legs were not carefully laid out you know they’re
just kinda collector areas and I like how they look and I’ll
worry about that if you want to collect a bunch of messy stuff that is the place to do it. have also had extensive laser tattoo removal work had four sleeves done Jeff you have large Shige work right? what else? Little stuff after that, my back is done by Shige. my first sleeve sleeve was done by Cory Norris and I’ve gotten piece work done by Bob Tyrrell, umm Jo Harrison Jason Butcher Jenn Godfrey worked on me a little …I cant think of that stuff while tattooing. I can think about tattooing while I tattoo My most profound tattoo is my Shige one, because it was in Japan such a kinda such a huge adjustment culturally and everything. in every aspect to go to Japan to get my back tattooed which also meant doing guest spots in Japan every time I went it was life changing Also, if you are watching this My wife Michele Wortman and I have a bi-weekly webcast produced by Off The Map Live called Hypercast. We interviewed Jeff about his experience getting tattooed in Japan. Hypercast number six at our YouTube
channel TattooTelevision its a long format interview, about an hour, showing his work and discussing everything glittering high definition video some other day besides today check it
out or tonight after this if your not Gogued out it’s a a great
interview he talks a lot about balance between design philosophies and
we were just talking about earlier and his own search for a comfortable place in
between what’s always kinda stood out to me
about Jeff work got all these different influences obviously very and influenced by traditional Japanese style and in some ways is working to incorporate
that more but there’s a ton of stuff and little bit harder to and pin down some but
obviously nouveau points over storybook esque errackum the twist to it you know and I think when
it comes down to when you mix enough artistic influences like that when
it really starts to become your styling that’s when see just looking at Jeff’s that its his from a glance. even though I had all these different
influences gone through Jeff filter Japanese water stuff really looking
forward to it my last remaining prominently open parts of skin no pressure and that’s how this whole thing came about you asked me to tattoo your hand and I think because I had a couple of drinks because I was like “Yeah sounds good” then it hit me when people started asking if I wanted pictures of you telling me you wanted to get tattooed. so I could remember the moment because not
that i was that far gone that I guess the way the weight of the moment yeah Well you know it would have been hard for me to just make the trip to get tattooed. eventually I would have tried, but it speeds it up. “How long did you take to plan it out?” We designed most of it today I just done the most basic layout idea kinda sketch a sense of where certain elements would go too deep into with out all of us being in the same room your own would probably put a good for
five hours into developing today Jeff just got this approach where you know
how looking too far on the body are d just kind and as mind flash a
bunch of different variations on a theme a different element in different places so he’s kind doing his thumbnail sketches just mentally I
usually like to scribble out a few things occur layouts
cash I brought today made the most out of the the idea of crab wasnt big enough for whatever thing about
a grand yeah it all made sense when you mailed me
pictures of your hand it just made sense was really easy to
follow that lead yeah made sense because it’s the right
project for us to be working on no question about how do you do nice waves or awesome rocks “how is the client?” This sucks but there is progess! is awesome and can’t wait to see the
progress when I look in mirror you know you get that kind of incentive to keep going but you
know there’s so much more getting done in the
ring used to you know see it when we take our first break is gonna be touches ridiculously amount
of work already done that makes it a lot
easier to endure “how do you deal with client pain” pain management and the stuff l I dont have a lot of problems with the on partly I think this
is our studio setting is extremely relaxing comfortable on are
you know there’s no phone ringing on anything like that back to you know ibuprofen back teen and there’s a a lot
a little things to like the way I handle a client on I can
always make a point out actually physically
touching an area before I start at telling it like as I’m moving around so they’re not here
shock II while been expecting at a little things
like that can make a big difference and if not handling them roughly and to whip it down with a nice where rag rather than dry
rubbing pounding the rag on them which is easy to
forget you’re doing a your focused, just trying to get it clean, so its easy to get distracted thinking about it as your as you’re gone
not taking office earlier part how hard your wife usually we don’t even known how our clients is until they say “the whipping hurts more than the tattoo!” right I have experienced that another thing is not letting the arm fall asleep being mindful that it’s another thing because a lot of clients wont speak up you know they don’t wanna get in the way
of progress in know they figure you’re on me they don’t
wanna you know getting way and meanwhile
they’re going numb are you can tell I could reflect on your
fingers a lot or whatever he joined a look he just likes flexed his fingers yea is this wave coming down over this claw? The wave is in front of it its like swooping from the side I think it helps that to the pain in it
helps to acknowledge they understand your clilents pain our it they’re saying
things and they’re looking for you person
acknowledgements to ignore them you know brush it off produce a suck it up I think they’re looking for
just an acknowledgement by you that I know it
sucks but it’s worth it and you know sharing
your experience and letting me know that you’ve been through
it Also by acknowledging that you are for working with them on you know your trying to handle them
or don’t wear whatever it takes I was just your people the bull shit line “going to use my special velvet touch” doing larger scale work I ordered these towels each claim can get their own you know
their own towel single use towels that they can bring back themselves. right and mostly those before having to
get naked into the bathroom stuff like that does this given Something stay warm
something to cover up with her modesty and something to go home with but it sorta joking that their numbing towels said lay down here he should be fine day
i got my numbing towel out special electromagnetic field that wards off pain It can also soak up your tears if it gets too painful The back is something that I think you don’t do casually I’ll that’s a a thing that people often get
stalled on if they are really not ready for really excited by it because they dont look at it everyday the back is also because it’s a piece
that you don’t look at every day its really about others, and a statement you make for others where a lot of the other work arms
especially something you’re gonna see every day and
so its it’s our your appreciating on a
different level than you know back to you if you’re still
trying to figure out what you’re into arm maybe Stay on your legs for starters if
you’re experimenting with different styles and artist in that kinda thing not really
sure what you want fiercely then stay away from your arms fill upon the arms for and its the party
view that the most visible in the world I mean unless get funnier throat done or whatever now and
so you want to really be you it doesn’t hurt you know do a little bit
a collecting and places where the Sun don’t shine before you start getting the big no arm or whatever but you know them you got matt
hear he has small fore arm piece and then Jeff outlined his whole torso. sometimes you just now think it’s different nowadays with
people that have grown up seeing seen tattooing now and the kind that they’re already resolved
beforehand they’re going to get a lot of tattoos you know very early on have a real idea
of the styles but they’re the most attracted to are maybe before they even start liking think art is fun this to see happen is people getting a really small token he’s on a large area right wheres
it sabotages for latr i mean it happens you incorporating becomes are you life their two-story going on yeah my way earlier sleeves I would always their
shoulder was out there they’re back I’d bring that’s the right up on their
right across her shoulder blade or than later try and do a backpeice then this sleeve encroaches it heavily sorry everyone I did that too I did a chest for a friend here ended up being so I’m an
interesting opportunity to the one at like this crystal Lotus on his chest but because I had the
sleeve to work with and I knew I was going to be flying everything together was able to
bring it all the way out onto the shoulder a bit and I’ll where the army but done
for still ahead make it like 30 percent smaller it’s nice to be able to plan larger area
to head that way in a so stuck with like that the normal
seems that you see and bodysuits right so back to a pain management a little
bit when you’re doing with a client is going through a painful process you prefer that they’re engaged with you
very happy to have them to be distracted on the phone or via movies whatever
works yeah absolutely wherever or are at that point it’s not about my
preferences about what’s gonna get them through and i’d really is different for everyone set for movement yeah it works is then kicking their but shaking the
whole body sir or crying I mean our mind tears come out sonnets with the Telfer
but sobbing shaking at that point I’d rather
say need to call later needed game breaker some in ample confirmation how how well almost
everybody that occurred to get through it yeah the serious collector someone might not the super experience
collectors but they’re serious and you know the coming a long distance and
you know it’s going to be hard to make it out again anytime soon you know
we have a a clear objective and I think they can
be a real motivator for people define away usually a anchored kinda bring our own music max I can I can work tomorrow different kinds
music I’ll and if that’s going to make it a
lot easier for them I’m all about it others know and from you nope has been sympathetically have a lot of
today’s political excellent great but feel terrible what are your thoughts I think the fans
on on them which tattoo I’ll you know I can
all on the coast of Use is sorta leading the charge with that skyline he put a lot of contract and was
work i cant imagine any reason why it wouldn’t hold in our minutes in there you know I some some other
workers just you know if you’re like calling for a
round shape over like color back on you definitely you know running the risk about not
having a lot of impact especially after a couple three sunburns
are but that’s just manner how the styles
approach not a matter style itself I’ll yeah just make sure
it’s kind of strange coroners there’s no reason why should
know he or any worse than no the statue for
instance you know this because you know outlines
definitely give apiece as San a sense of graphic clarity and
strength that’s different from I know outline peace even of 90s it has
a lot of strong black and it is going to get a different mark but contrast his contract burden pieces got a lot of strength to
begin with I’ll it should stay that way it’s not like
and how minuses wall of Carmen and you know if it’s not
there everything just leaves around as a lot a room for you know interpretation of what makes for good contrast its its in
my opinion it’s about having strong areas and
darken lighter alternating you know you don’t have a
lot of dark shapes in front of a dark background or like shapes in front of a
white background and whether there’s an outliner not is
gonna affect the look a bit but it’s not going to
affect the longevity of if it’s got a contract begin with Britain I know that in my earlier stuff ODU really fine lines and little tape in absolute you know
eyelashes K us that they look really cool and it
could win a tattoo of the day contest and then I was see that couple
years later and those eyelashes a blog on integers kinda blurred line so after I
saw that I would just do a nice bowl line for the
eyelash exactly and then hope the now ask us up
to everything deteriorate so that’s one thing except
about tattoos is they decompose a deteriorated breakdown overtime and think the idea is to come
up with something that’s going to carry a constructively you know yeah where r that’s going to mars shading to look a
little smoother and as for thank and I that goes back to conquer I think a lot of people have a
misconception about what contrast mean enough for doctors put a lot of black
every shape in every test you you know thinking that they’re getting a
contest but they’re not I mean if you’re giving your foreground and your back on the corner of the black
you don’t have Qatar the Fed density if you’ve got in contrast but
different you like a few dark shape next to each other word dynamic large-scale have a strong
government thing from a defense so here seminars on smile that’s going
to be a big part in it yet Marcel around and giving is called
structure about optimizing your use shading
lighten dark color line Britain’s no line cetera who are give you tear to work a strong presence
when seen from a distance from known something with him a distant I
think that’s also a good her power probably an hour cross time has distance he’ll come barging kelso is a good way seeing you if your work
has enough those large-scale alternating areas and
are my given that dynamic strong quality you know I’m going back to the Japanese style I’ll
you know it got a traditional no concentrating blacks in the back giving out movement know when bars &
clubs in that sort of thing an away day when you step back across on you can really read that movement and for round shapes I’ll would have no that’s where you have the vibrant color
and I you know on pat who open areas account and that’s good
that’s contrast no different difference between your back on to get them my real quick and noms and maybe a when you’re ready
he could shake up here on this way home meantime storybook years 3 first and I only think about all care to their
weird yeah more about their weird tattoo experience
with an army after a while and all kinda months
together and do something sorta makes out in its own weird way
thank early on yeah again stream wanna my first with the funny and weird weirdoes but I feel kinda that %uh about
I this one lady came in and she wanted her social security number behind her here
because she live she spent a lot of time on the words and
she was convinced she was gonna be murdered a crazy person Hannah tried to put our social security number
behind a year that came down below a year Sean needed disguise the numbers legible
that you could but in some flowers so when someone just
are it looks like flowers when they
discovered her body out the words 18 and made search after they would see
the numbers and realize it’s who she was she gonna carry in nineteen
of which you have a nice looking tin foil
hat to go with that over shoes strange and she’s probably
within this right now double

10 thoughts on “Guy Aitchison – Jeff Gogue collaborative arm sleeve tattoo Part 1 of 4

  1. such a great work you guys are doing! 
    guy is working with a swash gen 8 am i right¿

    cheers from uruguay! i would love to see an interview with carlos lopez!!!! 

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