ANNUARIO TATUATORI ITALIANI 2014 PDF

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Today I got the chance to take some pictures and do a short video of a piece I finished over one year ago. It’s nice to see my work “age” well: D For details about the working process click here.

Very nice article about tattoos parents dedicate to their children. One of my tattoos is among them. I’m proud of the way I work and it makes me very happy when people appreciate it.

Many thanks to the journalist for having considered me for her article: Click here to see the article. A new ocean themed sleeve. My clients really love the sea apparently: Also this year, you can find me in the Italian Tattoo Artists Yearbook.

I can’t wait to start working on skin. Please ask me for other work like this: This girl knew exactly what she wanted: The owl also had to have a key around its neck, representing her son.

Manulibera: tatuaggi giapponesi a Milano | Tattoo Life

The setting had to be nocturnal but what really impressed me was that she didn’t want anything too realistic but something designed by me. For me that’s just like icing on the cake. After evaluating some ideas regarding the position of the owl she left me carte blanche.

I love this type of client: I liked my first drawing right from the start but the following day it didn’t satisfy me completely, so I went back to work and modified one wing, then the other, then the head; I basically redesigned it and changed colours at least three or four times before finally finding the ideal setting and the right lights. The work on skin went smoothly, in 5 sittings this half-back was completed thanks annuwrio the determination and perseverance of this girl to whom I can only say thank you for giving me the opportunity to do this work which is definitely among my favourites for The title is inspired by the not too “bright” era we are living in, hoping that this owl who brings light can be a good omen for the future.

Look at the images of the working process below. Click on images to enlarge then navigate using arrow keys or swipe on mobile. Today I found out that my work has been annuadio in an article by TrueArtists. My “Doomsday Clock” piece is among the 25 best black and grey tattoos according to True Artists.

Tattooing A to Z # Gian Maurizio Fercioni | Tattoo Life

Wnnuario guy has won my respect for the maturity and determination with which he approached this project. It is no coincidence that I often use him as an example with clients who worry about the time and economic management of a tattoo, especially when it comes to large pieces. When he first contacted me he was 19 years old, with all the economic restrictions of his age and of his student status, but he had a very clear picture of what he wanted to get, he wanted a full sleeve and already knew italinai subjects he wanted to include.

He was thinking of getting one part done and then proceed at a later time evaluating and adding one piece at ttatuatori time. I’ve never been a fan of collages.

An artist changes over time, he grows, evolves, and a project designed at different stages will hardly turn out to be organic like a project that has been carefully planned in advance. Provided that the artist who plans the different phases of a project remains the same, let alone when the artists are more than one. He listened to my advice and agreed with me, so we went right into the project and discussed all the necessary details.

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The main subject is a Tuareg, a figure that has always fascinated him, as he is fascinated by Middle Eastern culture. The skull is, needless to say, a memento mori. The scorpion on top of it represents his father, whose zodiac sign is precisely Scorpio. The desert roses are a tribute to his mother since they are her favourite flower. The woman in the background on the inner arm represents the need for love and tenderness shared by every man, young or old: The tray with the teapot and cups represent friendship, and the entire scene takes place at night because according to him it makes everything seem more fascinating and mysterious.

Once we had established the subjects all there was left to do was to draw them. I elaborated abnuario design in pencil. When working on a project I particularly like I prefer to study it on paper before moving on to digital colour, others I prefer to draw directly on the drawing tablet for convenience, especially when they are quite simple. Coming from the analog world I still find it hard to elaborate complex projects completely digitally, although today my use of the tablet is becoming more and more intense.

Given his age and economic restrictions he scheduled the appointments so as to be able to face the expense.

On a couple of occasions he had to cancel an appointment for economic reasons or other unexpected events, which I completely understand when sessions are scheduled so far apart, and even more so when you know that the client must come to terms with limited financial resources, but this guy is an example of determination that many adults anuario only dream of. He had a mission and he took the time to achieve it, certainly making some sacrifices considering his age and his student status.

Before every session he told me what his daily budget was and we proceeded accordingly, calmly, to carry out the work in the best possible way. It took three years to complete the entire sleeve. Needless to say, there are people who get a sleeve in the space of a couple of months, not to mention those who undergo three or four consecutive sessions. This client has proven to be more mature than many adults.

Xnnuario had a goal, a wish, assessed what were the necessary steps to achieve it, managed his time and money, he stood through the pain without flinching and can now proudly wear something that his peers, and probably even many adults, dream of.

Some of my work has been published in this issue of Skin Shots, one of the best selling tattoo magazines in the UK. I’m greatly honored to have my work published in tatuatork portfolio section of this issue of Skeen Deep probably one anuario the best selling tattoo magazines in the world: This tattoo was supposed to be just a cover-up initially.

Among various options, I considered a biomechanical to be the most suitable one. The client had already seen some of my works and after a few clarifications he agreed tatuatlri me, so we scheduled an appointment.

Now he had to trust another person me without obviously being sure of tatuagori he was going annkario end up with. Now put yourself in my shoes in front of a client with these precedents.

I was obviously feeling the pressure of being monitored and almost under exam. But besides this, the work went exactly as we had in mind. The cover-up required two sittings and up until then everything seemed finished. In autumn, however, my client returned and asked me to extend the biomechanical up to his chest. Well, considering what had happened before, it was a great satisfaction.

As with the previous work, I did the drawing freehand. Altogether it required a couple of sittings.

Manulibera: tatuaggi giapponesi a Milano

Another work finished but The following season, in springhe returned once again and this time he wanted to extend the tattoo to his middle forearm. This slightly bigger work took three sittings. Same procedure as the previous ones and to make things short, from the first step up to that moment this work italianl a total of approximately 36 hours, but it wasn’t over yet. At the beginning of he decided to extend the work to the wrist.

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So 3 more sittings were needed.

It wasn’t long before this customer came back for a new job. In December he asked me to italizni his other arm taking up the same space of the first one. No biomechanicals this time, just shading and cherry blossoms, a sort of Japanese sleeve in my own tatuqtori.

Initially it seemed out of place next to the biomechanical, but I was proved wrong. I think that getting a Japanese style sleeve with no subject, such as dragons, samurais etc. Apart tatuuatori a few cherry blossoms, the whole sleeve is based on shades of black and grey. Itaoiani idea and unusual work considering I’ve never done a tattoo in true Japanese style, however, I believe that even this can’t be considered as such.

Having virtually no experience with this style I decided to take a look at a few books on the subject before proceeding freehand. With a a couple of sittings the lines were completed. The creation of this sleeve turned out to be itaaliani fast. I still had no idea italiano they would become part of a single piece. A year later this guy came to see me, this time he wanted to get a tattoo across the back. Fantastic news if it weren’t for what he asked me to accomplish. He showed up with an image downloaded from the internet, a back piece that would make Giger turn in his grave if it were considered biomechanical.

To me it was a shock, after spending precious time with my clients I always expect our conversations to clarify their thoughts about the tattoo world, about the way I work and enhance their aesthetic sense, but maybe I shouldn’t take many things for granted. After doing two sleeves of which I was proud, I couldn’t understand how he could think I would be willing to copy someone else’s horrible tattoo, and even hatuatori how he could even want to tattoo an important part of his body such as the back with that stuff, that besides not having anything to do with tatuattori other tattoos he was “wearing” was definitely of poor quality.

We discussed the piece for a couple of meetings and luckily he understood my point of view and gave me carte blanche to execute this work. Ttatuatori spent all the tatuaatori necessary to obtain a design that would totally satisfy me and when I showed it to him he couldn’t help but agree with me.

As always, for this project, his determination and strength have been spectacular. The work took only 5 sittings. I find black and grey to be much faster than colour, but being a back piece it’s still a great time.

I wish to have given more prominence to the waves on the upper back enhancing the shading behind them, but he asked me to stay below the neck line of the shirt so I willingly respected his choice.

A few months later he told me that he was thinking of extending the project further. So, using the work already done on the back as a starting point, I thought of a way to continue using the same style. My initial idea was to repeat the theme on the back inverting it, that is, blending the waves at the bottom with the biomech at the top and vice versa.

To my proposal he replied saying that he preferred to maintain a dividing strip running down the center just like in the traditional Japanese tattoos. Too bad that after a couple of sessions, when I expressed my frustration for not being able to perform the work in my own way he replied: