Tuesday, January 31, 2012

CHAPTER TWENTY-TWO -- WHITE DONE RIGHT


Frosty Glow, 9" x 12" 


(With thanks to The Pastel Journal where this was originally published, with additional material included here.)

The painting looks washed out, as though someone poured bleach over it and left it in the sun too long. All the colors appear faded, like jeans after years of wear or an old flag left to disintegrate, a vague suggestion of once-bright colors. The overall effect is dull and flat. Chalkiness is a problem that can crop up in any medium, but is often found in pastel paintings, partly because of the abundance of pale colors that are available. The whitish, wishy-washy colors of a chalky painting suggest a lack of control over value, contrast and color.

A high-key painting need not be bland and characterless. Instead it can celebrate the light by maintaining control of tones, using a range of values and the right contrasts for the subject. Although the darkest dark may only be a medium value in the final painting it must nevertheless present a selection of values leading to the lightest light.

One way to defeat chalky color syndrome is to try two different challenges: First, paint an all-white subject using no actual white pastel. Second, paint a very high-key subject in which a medium value functions as the darkest dark. Each of these exercises will strengthen your understanding of how to control values while using colors. Value is the element that describes the shapes of objects and is the underlying abstraction of all painting, so increased awareness of value improves composition as well as color.

WHITE WITHOUT WHITE

Begin with an all-white subject, which may reside inside the composition, such as a white cloud or whitewater rapids, and work to create interesting colors hung on a sound tonal structure while maintaining a sense of whiteness. Because of the temptation to pick up pure, bright white, remove it from your palette and put it where you cannot see it. Good planning must lie behind your painting, in which you first create an arrangement of interesting values and shapes. In this challenge you need not limit the values. In fact, it’s best to design a strong tonal contrast of dark darks and an excellent range of middle values to use against the light colors to achieve the impression of whiteness. Don’t use bright white paper, which will simply allow you to replace the missing white with the color of the ground. Instead, choose a light value tone in a pleasing color to set the mood of the painting and establish its overall paleness. Do not allow the white subject to become simply black and white. Utilize colors to arrive at the proper tones. Many times an over-reliance on high contrast alone results in a chalky painting. Instead, a range of strong middle values accomplished via color will make an interesting all-white subject.

Cold River Runoff, 9" x 17"

How much color can you put into white? One of the most interesting aspects of white is that it’s made up of all colors in the light spectrum. Overlapping red, blue and green spotlights can make white light on a stage, as long as the colors are equally balanced. For the artist, this means white may be flavored with any color found in nature. Consider the color cast that varying light sources give to objects. Our sun is a yellow star and gives warmth to all colors seen in daylight. In shade, the blue of the sky influences all colors, so whites seen in daylight can generally be thought of as warm yellow in the sun and cool blue in shade. However, there are varying kinds of daylight. On an overcast day the light is often cool in color, having been filtered through clouds, while at sunrise or sunset the light is strikingly warm in color. Whites seen under these conditions can be darker shades of blue and green or warm, bright tones of red and orange. Moonlight, because it is so pale, bleeds all color from a scene, leaving ghostly grays in place of whites. Firelight and candlelight make white into hot red and orange. You’re free to select from an endless array of light colors because of the fact that white contains all colors.

One particularly important tool to have on hand is a value finder. While there are many varieties, essentially this is a card printed with a scale of grays from black to white, each of which is pierced with an opening. This allows you to hold the card above a color, squint until your eye is almost closed and see where that particular color blends into its value of gray. For instance, you can hold the card above a photograph of clouds and perceive the lightest lights in the white of the billows, as well as the paler grays of the blue of the sky. There is no standard number assigned to values on the value finder. The number 10 does not always represent white. In fact, 10 might easily be called black, so disregard the actual number but understand that there is a scale of dark to light.

White is by definition the lightest value in the palette. To paint white subject matter you must first realize that no other color can possibly approach white in lightness. Therefore the challenge is to build near-whites into the painting, using far more colors in the light range of your palette. Hold the value finder above the lightest values in your photograph or painting, noting that only white registers as the lightest light. Now find colors that are slightly -- very slightly -- darker than white. This may be only a pale pearl gray value. If your palette of colors is not strong in this light range, consider purchasing very pale blues, greens, yellows, peaches, pinks, lavenders and grays that you can use when very light values are needed. However, do not rely on light colors alone to make an effective painting of a white subject. You must structure a strong range of all values into the painting, and these too must be made using colors. Particularly important to the success of the white subject is the use of interesting middle tones, where the strongest color often resides. The strongest darks will also benefit from the use of colors.

To check the values of your colors change a photograph to grayscale on your computer. This will allow you to clearly see how the colors translate into values. Check to make sure that your subject appears to be white in the grayscale version and that you have the proper array of values.

MIDDLE VALUE AS DARK

For another challenge, paint a subject that’s structured using mostly lighter values, such as a very sunny landscape. This is commonly referred to as a high-key painting. Use your value finder to establish the darkest dark in your painting as a medium or medium-dark value. High-key compositions must have an interesting variety of values between the lightest light and the darkest dark to avoid overly pale chalkiness, even if the darkest color is medium in value. Rather than relying on high contrasts of light and dark, look instead to color relationships. This will necessitate concentrated contrasts in color rather than a reliance on value alone. However, no painting can possibly divorce itself entirely from the issue of value, which is a basic property of color.
Fog, 12" x 9"
You’ll need to select a value for your ground. Beginning with a middle value establishes the darkest tone for the entire painting. The test is to rely on medium values as the darkest darks in a painting of a light subject. It helps to create a careful study or underdrawing to establish a range of values from medium to light. In this painting you are allowed to use white for the palest value, however, after your experiments painting all-white-with-no-white you most likely will find that white seems somewhat dead, giving a ghostly chalkiness to the piece. The idea here is to use vibrant colors that bounce and play together, achieving an overall high-key value structure that’s nonetheless colorful. The effect may be one of intense heat, giving the impression of a hot summer day or powerful sunlight warming everything in the scene, even when predominantly cool colors are used, or may result in the cool, pale effect of fog or early morning light. Confirm your limited value range by laying your value finder down alongside the painting, or put a strong dark line next to the image against which you can check your colors so that you can more easily identify darks that are becoming too deep for the limited range you’ve established. Step back frequently to see that the intensity of colors you’re using approximates the light on the subject.

CONTROL

As you conduct each of these exercises your control over value will increase, as will your understanding of how to use colorful lights. You will begin to see the color of light in all its many hues, and realize that pale color does not mean lack of color. Chalky paintings with an insipid, dull look will soon give way to lyrical colors in pale values that vibrate together in a well-planned structure of values.

Sanctuary, 12" x 9"







 

Sunday, January 29, 2012

A Spot of Hawaiian Ink on the New York City Subway

Earlier this week, I posted about my experience on Ink Master, getting a tribal tattoo that was inspired by my upbringing in Hawai'i. Do note that I have not referred to this as a Hawaiian tribal piece, which is a whole different thing altogether.



Just to illustrate, one of my "leftover" posts from 2011 is this tattoo:





This was a real treat for me, spotting an authentic Hawaiian tattoo, in New York City of all places.



Looking back to last June, I had just attended a networking event at Bowlmor Lanes in Times Square and was headed home to Brooklyn. On the 8th Avenue subway platform at 42nd Street, I spotted a bunch of folks with t-shirts bearing Hawaiian names. I got to chatting with them. Turns out they were affiliated with Na Keiki O Ka Mo'i, an outrigger canoe club from Wai'anae, Hawai'i, and they were in town to compete in the 2011 Liberty World Outrigger Competition. 



I was shocked. Outrigger canoes in the East River? I've lived in New York for almost 15 years and never knew that this existed in the Big Apple!



There was a whole lot of local folks from Hawai'i on the platform, and when an express and local train pulled in simultaneously, chaos erupted as the visitors scattered into both downtown trains.



I sat down on an "A" train next to a handful of the group and struck up a conversation with a few people. I spoke with one guy, in particular, named Sam "Kamu" Kapoi. Go figure, the talk turned to tattoos and Sam stretched out his left leg to show me his ink.



Sam and I have kept in touch, so I was able to get some additional information on this piece.



Sam is a filmmaker and was accompanying the group as they competed in New York.



The art of Hawaiian tattoo has deep roots in the culture of the islands, and every aspect of a tattoo has personal meaning that is often held very privately by the tattooed individual. You just don't go up to someone with a Hawaiian tattoo and ask, "So what does it mean?" 





Sam said it himself in a message to me, "the tattoo itself ... is my family design, very sacred." He credited his artist as Keone Nunes, who specializes in traditional Hawaiian tattoos and uses the tapping method.


Here's a nice clip on YouTube with Mr. Nunes discussing the art of kakau:






The juxtaposition of this illustration compared to my own experience getting a tribal piece on a tattoo reality show is stark. Whereas I love my new tattoo, I in no way hold it in the same high regard as the traditional art of kakau in Hawai'i. I feel honored to have been lucky to come across an example, by chance, in New York.



A big mahalo nui loa to Sam for sharing his traditional Hawaiian ink with us here on Tattoosday.



This entry is ©2012 Tattoosday.


If you are reading this on another web site other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.blogspot.com and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.









Wednesday, January 25, 2012

Tattoosday Goes Tribal on Ink Master

What’s the hardest thing about being an ink-blogger and getting a tattoo on a televised competition show? Keeping my mouth shut for almost six months about the experience.

This is the tattoo that  I received back in August in the course of my stint as a "human canvas" on  the set of Spike TV's Ink Master.



What you didn't see on the show (if you watched last night) was the consulting session in which I sat down with the artist and hashed out the ideas and concepts that I wanted represented in this tribal piece that ultimately ended up on my left thigh.



The two main elements are the honu, or Hawaiian sea turtle, and the hibiscus, which is the state flower of Hawai'i. Having grown up in the Aloha State, I wanted something that represented my childhood home.

  

The end result far exceeded my expectations. I want to again thank Heather Sinn, my artist, for giving me an exceptional tattoo under less than ideal conditions. 



I also want to share a little bit more about how I lucked into being tattooed by such a wonderfully talented artist.



The episode that aired last night was dubbed “Botched Head Tattoo” by the network. Fortunately, mine was not the botched head tattoo, although I have stayed in touch with the human canvas who chose to have his scalp inked and can say, with 100% confidence, the only thing botched about it was that it wasn’t completed in the five-hour time limit. The artist, Bili Vëgas, ultimately finished the piece at his shop in New York, and Ryan, who shared one of his other tattoos with us here on Tattoosday back in August, is very happy with the end result.






Photo Courtesy of

Bili Vëgas @ www.bilivegas.com
Back in July, I wrote here about Ink Master’s call for candidates looking for a cover-up. Shortly after posting the piece, I sent in my own idea for a tattoo for the show, thinking it was a long shot.



Within the hour, I got a response asking if I could come in and discuss the idea in person. Fortunately, I was off that day, and I went into Manhattan and met with production staff, discussing what I wanted in terms of a memorial piece for my step-father, who passed away in April 2010. This discussion also included a mention of my almost having been tattooed with a Hawaiian tribal memorial band.



Things moved quickly from there and after a series of phone calls, my original idea was scrapped and I was confirmed to be a human canvas on an episode dedicated to tribal tattoos. I am not generally a fan of tribal ink, but I thought that if I could get something with a Hawaiian influence, I would be cool with that. Having grown up in Honolulu, and with family still in the islands, it made sense to get something along those lines. I was concerned, however, whether whoever was tattooing me would approach the challenge with an understanding and respect for the culture of Hawai’i.



On the designated day, I met at the rendez-vous point with three other human canvases near Times Square to be transported to the set by shuttle. The studio was set up at an old church building in Newark. We were shown to a holding room with five other canvases and, as is typical in television production, we waited.



We didn’t know who the judges were until moments before being led to the set, which was quite impressive, as is evident on the show. I was initially happy to pick the skull with artist Heather Sinn’s name on it and, after our consult, during which I threw idea after idea at her about what would be ideal in the tattoo, I was excited to see what she would come up with overnight.



On the shuttle from Manhattan to the set the next day, we all chatted about our artists and talked about how we thought it would go. Ryan, who was about to have his head inked, was chowing down on a big bowl of red jell-o, a trick some tattoo artists recommend to minimize bleeding (the gelatin aids with blood coagulation). We were also still abuzz about the one canvas who was dismissed because of his psoriasis. The guy had been a veritable comedian in the holding room, and his absence was surprising.



After getting miked up and led to the set, we met with the artists in their work rooms and saw our designs for the first time. I was blown away by what Heather came up with, especially having looked at her online portfolio the night before, and noticed that she wasn’t an artist that did a lot of tribal work.



There was one glaring concern that I did have, however. Heather was not a happy camper. This was episode 2, so they had just started production, and one show was already in the tank. Mind you, they don’t wait a week between episodes, they are often shot in succession, and the hours are long and grueling, even to artists who spend hours on delicately maneuvering a vibrating machine doing meticulous work on a canvas that moves.



Heather did not hide this sentiment from me, the client, and I was concerned, especially since the challenge was rigorously timed, and had dropped from 6 hours to 5 hours after the initial cover-up challenge of episode 1.



She assured me that she was going to do her best under the not-so-ideal circumstances. I would direct readers to this interview that recently ran with Heather in the LA Weekly. She wears her emotions on her sleeve and does not back down from her feelings.



Heather told me she would not be very talkative when she was doing the initial line work as she was not accustomed to this type of tattoo. Fine by me. The cameras were around us constantly and Heather was very concerned that she would not have the time to finish the piece. She also expressed to me that she was not very fond of any of the judges. After seeing the flash challenge that preceded our meeting, I can see why.



When all was said and done, however, she powered through it and knocked it out with time to spare. The result left me with an awesome tattoo, and I have nothing but praise for her craftsmanship.



As for the show itself, so much footage went unused, including scenes in which the human canvases saw their tattoos for the first time in a full-length mirror, met with the judges, and did candid interviews with the producers.



I can say that, despite all the tattoo flaws picked out by the judges in the show, none of the canvases on my episode were disappointed with the final result of their sessions with the Ink Master artists. And, as much as I would like to bemoan the massive amount of "canvas" footage on the cutting room floor, ultimately the artists were being judged on the quality of their work, not on the stories behind their clients' tattoos, or their feelings about the final product.


I think that this is one of the compelling aspects about Ink Master that makes the show so interesting from a technical standpoint. Sure, there's the reality show drama involving the artists' personalities, but the show seems committed, more than most of the other "reality" shows out there, to celebrating the tattoos for art's sake.


I'm not on any more episodes, but I'll keep watching. 


This entry is ©2012 Tattoosday.




If you are reading this on another web site other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.blogspot.com and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.







Sunday, January 22, 2012

Wesley Shares Two Significant Blossoms

I met Wesley in Bay Ridge, Brooklyn, earlier this month, and she shared these two tattoos from her forearms:





These two flowers are (pictured from left to right) a Cherokee Rose, which is the state flower of Georgia, and a Nile, or Egyptian Lotus.





Wesley explained that the Cherokee Rose is generally white in color, but white flowers don't generally translate well to white skin. Fortunately, they can occasionally grow pink, so that's the shade she chose for the tattoo.





Wesley explained the whole process of these tattoos in detail:

"I was born in Macon, Georgia and my dad's from Georgia and the whole myth is that when the Cherokees were driven out ... by the white people, they cried ... The Trail of Tears ...and the flowers that sprang up where their tears [fell] were the Cherokee Rose. And [the flower on the left arm] is a Nile Lotus ... an Egyptian lotus, you see it a a lot on the sarcophagi ... Egyptian tombs, and it's about death and rebirth.... I got them ... in 2005 ...in Seattle by a guy ... Ian at Lucky Devil Tattoo in Capitol Hill, Seattle ... it was a year almost since I had been diagnosed and treated for cancer and it was sort of my celebration of 'I'm okay'  and I had some whole elaborate - I was going to have insects on the inside of my wrist and flowers on the outside, and there was a possibility of a snake, there was a whole big thing and ... the great thing about this artist was that he was like, 'here, let me do a temporary version of what that would look like,' and I was like, 'that would look really cluttered and ridiculous' ... and I realized that I really wanted them to be something I could see and I was more attuned to the flowers ... I wanted something that was close to home from my past and then something that was from another culture from farther away - there's the birth thing and the death thing. Yeah."
Thanks to Wesley for sharing her beautiful tattoos with us here on Tattoosday!





This entry is ©2012 Tattoosday.




If you are reading this on another web site other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.blogspot.com and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.



Friday, January 20, 2012

Will Is Well-Armed for the Opera

Occasionally, one of my posts will fall through the cracks and I only discover it by chance.



For example, earlier this week I was passing through K-Mart in Penn Station when it struck me: the guy I had met several months earlier in there never ended up on the site! How did that happen? I'm still scratching my head over that one, because how could I forget this tattoo?



Will explained to me that he has the signatures of twenty-seven female opera singers that have, in some way, touched his life. The photo above is only a fragment of the whole array, which covers his left arm and runs down the side of his chest.



"I'm a big opera fan ...[it's] just a form of music and expression that has always meant a lot to me," Will told me. He explained how he had waited for two hours for a singer to emerge from a venue after a performance, but she never came out. That missed autograph opportunity gave him the idea to recreate the signatures of an array of great singers on his flesh.



Among the names visible in the photo above are Maria Callas and Grace Bumbry.



The signatures were inked by Dave Wallin at Eight of Swords Tattoo in Brooklyn.



Thanks to Will for sharing his operatic arm with us here on Tattoosday!





This entry is ©2012 Tattoosday.


If you are reading this on another web site other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.blogspot.com and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.



Tuesday, January 17, 2012

Ink Master Premieres Tonight!

Regular readers of Tattoosday may recall this post, last July, when I mentioned that a production company was looking for volunteers to get tattoos on a new reality tattoo competition series.



That was six months ago and the first installment of that project, Ink Master, is scheduled to debut tonight on Spike TV, at 10:00 PM (and 11:00) EST. 



I strongly encourage people to watch, as I’ve seen the line-up of artists competing, and know for a fact that they are a talented crew.








 Unlike New York Ink, which seems to have evolved very quickly into a faux-drama in a tattoo shop that just happens to have great tattooers, the focus of this show is about creating body art in a reality-competition setting.



That’s not to say there won’t be interpersonal conflicts - even shows like Master Chef and Project Runway have their share of drama. But, I am optimistic that this series will not disappoint.



Check out the trailer below:









SPIKE
Official Ink Master Series Trailer
www.spike.com


Spike Full EpisodesSpike Video ClipsSpike on Facebook




And here’s a bit of a tease ..... I know with 100% certainty that at least three of the volunteers on a couple of the episodes have appeared previously as subjects on Tattoosday. I’m looking forward to not only seeing who wins each week, but as USA Today put it, “who on earth decides to get inked as part of a reality competition?”  



This won’t be the last you hear about Ink Master on Tattoosday. Trust me.





This entry is ©2012 Tattoosday.


If you are reading this on another web site other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.blogspot.com and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.



Sunday, January 15, 2012

Meister's Memorial Sparrows

Last month, I was leaving the Muhlenberg branch of the New York Public Library when I spotted a woman with two birds on the backs of her calves:



These two sparrows belong to Meister, who is also known as The Nervous Cook.


I love how these are not your typical tattoo sparrows, but are more lifelike than the traditional bird flash that is much more common.


She explained that these, two of her eight tattoos, are memorial tattoos, that she has "for three people that I lost, roughly around the same time." Meister elaborated:
"A best friend of mine passed away in a scuba accident - she's the female sparrow [on the left calf] ...




...and then two good friends of mine died within two weeks of each other ... totally just a a devastating series of unfortunate accidents."


These, along with most of her other work, were tattooed by Myles Karr, who works out of Three Kings Tattoo in Brooklyn. Meister indicated that these sparrows were done a while back, when Myles still worked out of the now-defunct 334 Bowery Tattoo. Work from Myles has appeared previously on Tattoosday here.


Thanks to Meister for sharing her beautiful sparrows with us here on Tattoosday! Be sure to visit her over at The Nervous Cook.


This entry is ©2012 Tattoosday.


If you are reading this on another web site other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.blogspot.com and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.



Friday, January 13, 2012

Tattoosday Loves Friday the 13th!

How do I love thee? Let me count the ways.....



My lovely bride is a Friday the 13th baby, so it's a lucky day for me, in general.



As for Tattoosday, my visit stats have already been robust since December, but this week they have shattered the records, with yesterday being the best ever. My sitemeter points out that folks are visiting our old Friday the 13th posts in droves this month, which is fine by me, but I thought I'd link them here for fun.





Our first Friday the 13th adventure was in 2009, on Melanie's birthday, as documented here.



And, in 2010, we got the readers involved, and started here, and documented my first (and so far, only) Friday the 13th tattoo here. And followed up with another one for Melanie here.



There was only one such day last year, back in May, and we missed it, but this year we're starting early and, I just realized, thanks to the Leap Year, there are two additional Friday the 13th observances in 2012!



We're planning on getting inked today at Hand of Glory in Brooklyn, and there are plenty of other options, as well, including Dare Devil in Manhattan and Three Kings in Williamsburg.



If you know anywhere else, in New York City and elsewhere, please post in the comments section so our readers can find a place to go.



Check back tomorrow or see when our Twitter page may light up for more details later today.



Have a safe and lucky 13th!





This entry is ©2012 Tattoosday.


If you are reading this on another web site other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.blogspot.com and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.



Wednesday, January 11, 2012

Little Darling's Ink: Pinups for Pitbulls

Last spring, I met Deirdre, aka Little Darling, as she was leaving Penn Station to cross Seventh Avenue.



I snapped these pictures of her upper right arm:





Deirdre explained that she is the president and founder of a non-profit organization called Pinups for Pitbulls.



The two pups pictured are portraits of two of her dogs, as interpreted by skin artist Jon Clue.



Little Darling invites people to check out her company's website PinupsForPitbulls.org if you are interested in supporting the ongoing effort to help fulfill their mission of working "to educate the public about the history and temperament of the American Pit Bull Terrier and pit bull type dogs [and] to raise awareness about Breed Specific Legislation and Breed-Specific abuse."





One of the ways that Little Darling and her company strive to "reestablish the defamed reputation of pit bull type dogs as America's premier companion animal, war hero, and therapy dog," is through fundraisers and the sale of Pinups for Pitbulls merchandise, such as their annual calendar. Many of these products can be purchased through Amazon (see link below).





Other Pinups for Pitbulls Merchandise can be found by clicking the hyperlink in this sentence.



Thanks to Deirdre for sharing her tattoos with us here on Tattoosday, and for waiting so patiently for this post to appear.





This entry is ©2012 Tattoosday.


If you are reading this on another web site other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.blogspot.com and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.