Bernini Angel Statue Tattoo Design Thumbnail Freehand Skull, Dagger, and Wings Tattoo Design Thumbnail Skull Textured Jaw Tattoo Design Thumbnail Diver and Sharks Underwater Sleeve Tattoo Design Thumbnail Jaguar Skull Wolf Sleeve Tattoo Design Thumbnail Tiger Tattoo Design Thumbnail


JPJ World Famous Dark Water Shading Set

What's up guys ?! Today I want to talk a little bit about World Famous and why I choose to use World Famous, as well as why I recommend you pick up my Dark Water Shading Set . It's a system i've been using for years and it really helps with consistency in your shades . When it comes to things like going back into a piece, a hugely important key factor is consistency in your ink . You don't have to worry about trying to figure out what shade you were using in the previous session, my Dark Water Shading Set makes it quick and easy to reference which shade you were using and save yourself alot of time and hassle and also help make your tattoo as clean as possible . Another great part of this set is the black . Especially with black and grey, black is what you use to really set yourself apart . Black gives tattoos that depth and the contrast it needs to make it jump off the skin and make it look realistic . You need that solic black to set off everything else, and with World Famous Ink, the black heals super dark and really gives you that contrast you need to make your piece pop . I definitely suggest checking them out and a big shoutout to Lou, thanks for everything man and giving us artists a really great product to stand behind .

Tips & Tricks with JPJ : Large Scale Composition

How's it going guys ?! Today I want to talk about larger scale pieces and how I go about laying it out, and the steps I take to complete the piece . First tip with large scale pieces is don't get overwhelmed . I like to lay it all out and start with anything stenciled first, then build some other shapes and flow off of that . I`ll usually line out the flourishes in a really really light shade, almost to where you can barely see it, the first session so you have a guide that you can start shading off of, while allowing yourself the opportunity to still make different decisions as you go . I use the technique of push and pull . Doing the bottom portion of the piece really light so that way I can go in later on, once the lion is finished, and add the contrast in certain areas and key points where I want it to stand out a little bit more . That way I can bring the bottom of the piece forward once the lion is done, and add some nice drop shadows to give it a more in depth feel .