Results tagged “Celtic”
UPDATED POST: Limited author copies are still available. You can order via Paypal here or contact me at email@example.com. Get a sneak peak inside the book here.
We live in a time when images of tattoos are in a constant stream online. Your eyes may light up at the artistry, as you scroll through your Instagram and Facebook feeds, click "Like," maybe even "Share" ... and then on to the next one. For me, when I want to really find inspiration, to spend time with a work of art, I want a book in my hands. That's why I continue to give birth to these monster tomes that are great big love letters to various genres of tattoos -- books that are meticulously crafted and published by Edition Reuss.
Black Tattoo Art II: Modern Expressions of the Tribal is my latest book; it's the second volume to my very first baby.
At the time, when we published the first volume in 2009, I had no idea that we would have such an incredible response. I just thought that there wasn't really any comprehensive books on works created only with black ink, such as neotribal, ornamental and abstract work, and so Edition Reuss and I made one. What came out of it was a community. Artists and collectors from the book contacted each other, shared ideas, and had a few drinks. It was the greatest gift I ever received from a project. So when asked if I'd do a second volume, I said, "Hell yeah!"
Within this hardcover are 448-pages containing over 600 images, in addition to text, featuring the works of over 75 artists from around the globe. That texture of the paper, the weight of it in your hands, the details that can be enjoyed from such a large format book ... it adds to the experience of marveling at fine tattoo art.
Here's more info on Black Tattoo Art II: Modern Expressions of the Tribal:
Black Tattoo Art II: Modern Expressions of the Tribal, the second incarnation of what has been deemed the "Bible of Blackwork Tattoos," continues the first volume's photographic journey across the globe, showcasing the absolute best of tattoos that capture the magic of the ancient art form in exciting contemporary interpretations on the body. Within the 448-pages of this massive tattoo tome, readers will explore particular movements in tattoo art that, much like most indigenous tattooing, are more decorative and less literal; elaborate patterns predominate; harmony and flow with the body is paramount; and the color palette is primarily black--hence, the name Black Tattoo Art. This second volume follows the direction of the first, but takes it even farther.
The most important addition to Black Tattoo Art II is the greater roster of international artists: 75 top tattooists from Saint Petersburg to Sao Paolo, Austin to Aotearoa, Barcelona to Brooklyn and beyond. They share their creativity, innovation, and spirit in presenting images of their tattoo and fine art work for this book. There are also more hand poked and tapped tattoos represented, and an entirely new chapter has been added celebrating Nordic and Celtic-inspired art. Along with the "Celtic/Nordic" works are those that fall under the chapters of "Dotwork," "Ornamental/Neotribal," "Abstract/Art Brut," and "Traditional Revival." Together, these works convey the endless possibilities of art that can be created with needles and black ink--although readers will find a splash of color in many of the tattoos on these pages.
The "Ornamental/Neotribal" chapter encompasses works that enhance the body through motifs that fit so organically with the collectors, they appear as if they were born with the art on their bodies. Within the "Neotribal" genre, patterns from various cultures are melded and often infused with a modern, even punk rock, aesthetic. In this volume, with the addition of the more expansive "Ornamental" label, the chapter also includes art featuring geometric elements, some representational forms, and big, bold swaths of black ink.
The "Dotwork" chapter displays excellence in tattooing that utilizes the stippling technique in a painstaking process, creating sophisticated works out of small points to huge effect. From Sacred Geometry and Eastern Iconography to pop culture portraiture and folk art imagery, the tattoos presented in this chapter depict a large range of subject matter created from a small mode of articulation: dots.
The new "Celtic/Nordic" chapter will inspire readers, not just with its stunning ancient designs, but also through the fantastic stories of the myths and lore behind much of the imagery, as conveyed by tattooist Colin Dale, who wrote the chapter's introduction and assembled the finest practitioners of Celtic and Nordic tattooing today for Black Tattoo Art II.
A newer tattoo movement that has defied easy classification is exhibited in the pages of the "Abstract/Art Brut" chapter. "Art Brut," or "raw art," evokes the intensity, feverishness, and freedom of creation when not bound by strict artistic formulas and conventions. This section has been further opened to include "Abstract" tattoos that possess the same flow and feeling but stylized in different ways.
The "Traditional Revival" section of this book is just a glimpse into the work of those carrying on the techniques, ceremony, and spirit of ancestral tattoo practices. While the focus of this book may be the "modern expressions of the tribal," respect must be paid to the origins from which these works flowered. In this chapter, readers will find Iban hand-tapped works of Borneo, Mentawai tattooing of Indonesia, Ta Moko of the Maori, Tatau of Samoa, magic-infused Thai tattoos, and Kalinga tattoo practices being revived in the Philippines.
One of the greatest successes of the first volume of Black Tattoo Art was that it helped forge bonds among artists and collectors who find particular allure in blackwork tattooing. The goal of Black Tattoo Art II is to expand this community and further inspire those seeking to carry forth the beautiful and powerful traditions of the art form.
Tattoo credits from top to bottom: Cover tattoo by Tomas Tomas; Leon Lam; Roxx 2 Spirit; Thomas Hooper; Celtic/Nordic chapter by Colin Dale; Buena Vista Tattoo Club; Filipino tattoo revival by Elle Festin/ Mark of the Four Waves (Photos by Joe Ash).
In honor of St. Patrick's Day, I naturally had to feature work from The Celtic Tattoo Queen herself, Pat Fish.
Collectors from around the world travel to Pat's Santa Barbara studio for her intricate knot and dot work tattoos. Last year, I posted an excerpt from my Inked mag profile on Pat, and I figure it's fitting today to post a bit more from our Q&A, where we talk about how she earned her royal title:
You're called the "Queen of Knots" in the tattoo community. How did that get started?
Lyle Tuttle gave me the name "Queen of Knots, and the title "Celtic Queen of the West Coast" came from a Skin & Ink magazine article. When I started [to tattoo], I was thirty years old. You can really do what you want till you turn thirty, but at that point, you better specialize and chose a profession, something that you are. I put myself through college doing research interviewing, and then I got hired by the local weekly newspaper to interview people. I did it for over a decade. But after a while, I got to where I didn't want to be edited anymore, where they'd brutally cut my work to make room for more advertising. I finally just decided that I wanted to do art full time. At that point, I thought that tattooing seemed to be the most legit way to do art. That's when I went on my quest to find who I should learn from and the rest is history. Now it's almost 28 years. Simultaneously, I decided something else I really needed was to find out my true identity because I was an orphan and lived all my life with a chip on my shoulder that somewhere, in some office, was the truth of about where I came from. I put a private eye on to find out who I was, and it turns out that I'm Scottish. It just made sense to me that everyone else in the world has ethnic pride--has an identity--and here I was finding it out and at the same time learning to do this new skill. So I decided to specialize in Celtic art, bringing back that tattoo tradition of the Europeans.
Like what traditions?
People think that the Europeans started getting tattooed when Captain Cook came back from Tahiti with tattooed sailors, who had gotten souvenirs when they went and explored. That isn't true. The Pictish people were known for their tattoos. It turns out that I'm a Campbell and the clan Campbell are Picts. It's an extremely small ethnic group. I thought it was something I should explore and one of the ways to do that would be to bring back alive this tradition of the heavily tattooed Pictish people--to bring these designs back to life in skin. One of the better choices of my life was to learn to tattoo and then to specialize in this.
See more of Pat's work on Luckyfish.com. Slainte!
I'm starting a new section on N+S on interesting tattoo projects, and the stories behind them. Not stories of the dog that died and that's why I got this Kanji on my shoulder, but stories meant to inspire and inform on the creative tattoo process. I'm snotty like that.
Here's the first in the series: Colin Dale's 3d Celtic Tattoo.
Colin's tattoo was a culmination of a project started on his own leg last February in California and involved various artists in the process. The original idea was to design a piece of Celtic knotwork that wrapped in an unbroken piece around the entire leg -- not just a band but also running from top to bottom in a three-dimensional tattoo encompassing the entire calf.
The design came from Pat Fish, aka The Queen of Celtic, a master at knotwork. The design was then given to her technical assistant and webmaster Colin Fraser Purcell who then made a 3D template that could be wrapped around Colin's leg in a cone shape. Pat then applied the design ... and got it right the first time! Not an easy task, even for someone as experienced as she is. Pat then spent 3 hours adjusting and freehand drawing it to fit before she even started to tattoo. The original outlining ran into the early hours of the morning.
Colin returned home and began to thicken up all the lines himself. This was actually more painful on the hip joint and lower back than the actual tattoo. [Imagine tattooing while touching your own toes for 2 hours at a time!] This was followed by Colin dot-shading all the negative spaces on the instep and shin. Unfortunately the tattoo wasn't finished in time for the Northern Ink Xposure convention in Toronto, but Colin took the opportunity to have Cory Ferguson to fill in the negative spaces in the left side and back where he couldn't reach. Cory is another talented award winning artist and friend who specializes in the pointillism technique combined with mandalas and tribal patterns.
After this was completed Colin took it down to Alex at Rites of Passage who did all of the greyshading of the knotwork. Alex specializes in Black&Grey and Portraits work, so this was sort of like asking da Vinci to paint a ceiling...with a roller. But it was decided that a simpler more graphic approach was the best way to compliment the Celtic style and complete Pat's original vision.
After this collaboration of three great artists, plus to artist/collector himself, the Three Dimensional Celtic was completed.
And that's just one way to get a kickass tattoo.