The spring busted on my Aaron Cain shader, so I shipped it back to him and he tuned the heck out of it. It's running perfect again. While it was gone, using other machines helped me figure a few things out.

Here's the deal. Every machine has its own... well, it's own personality. Now that I'm accumulating experience, I'm able to feel and see the differences. From the contact vibration to how the skin takes the ink, it's starting to make a sense that's difficult to explain. I just know when to turn up and down. And I know when I'm right there.

Which happens to be different with every machine. Then, to have fun with the equation, throw in an innumerable amount of skin types. You know, great stuff like elasticity and density. Even writing about it makes it sound a bit daunting. And, I'll admit that it is incredibly much so when you approach it to learn.

But it kind of just happens eventually. With the important word being "eventually".

And so, eventually, my greys are getting smoother. I'm certain my hand motions are steadier and depth variations are more consistent, all of which help a great deal. But that understanding between myself and my machine has a lot to do with it.

I've a long way to go, but I'm starting to feel like I'm actually progressing.

I'm a little behind in posting. I've been booked solid for a bit (which is new to me) and finding time to post is getting tougher. I guess that's a good problem to have, but I have to make sure to keep Allen Tattoo current.

To start catching up, here's a really cool underwater scene I'm working on...

Jason follows this site and liked an earlier underwater scene I did. After talking with him, I kinda got a picture of the detail he wanted. I was a little nervous to lay it out, because I remember how daunting the first one seemed.

Once I started on it, though, all was fine. Most of the confusion was already solved from doing something familiar. So my goal in the first session was to get an outline and a slightly shaded version of the shapes. I wanted to be able to come back to it and know where I stood dimensionally.

Also, here's the actual Photoshop design. It's not pieced together exceptionally well, but enough for me to be able to pull the outline and render it seamlessly while I tattoo. I ended up purchasing some high resolution stock images for this one. I absorbed the cost, but that's no problem because I made the money back after the first session.

Here's the finished version of the Bettie Page tattoo I've been working on. (The outline is in the gallery) I'd like to do some more color blending when it heals... maybe some deeper mid browns... but that's just me. Oh, and sorry about the glare. I'll get better pictures when I can.

This is all Eternal Inks by the way. I just got a full set and absolutely love them.

Here's another angle.

I'll be tattooing the Body Art Expo convention this year at Navy Pier - Chicago. (June 27-29) I'll be up there in a Bluebird Tattoo booth.

If you're around, stop by and say "hello". It's always great to meet people who read the site.

Also, I have an opening on Friday and possibly Sunday. If you're interested, fire an email to me via david@allentattoo.com

Bob wanted a matching Mary to balance out the Jesus on his right side. Here's what we came up with. (The middle two tattoos are by other artists)

Also, someone commented about a healed pic. It's in the photo below. Actually, I'd like to start posting some more healed pictures next to the fresh ones. It'd be great to see the difference in contrast and consistency.

Here's a larger version...

In college (Illinois State) my roommate, Jason Meents, was always able to just draw figures and form straight from his mind. He was, and still is, able to accurately form and contort the anatomy to his liking. It was a pleasure watching him, and trying my hardest to soak it up.

Now I can hold my own drawing. No problem. But my creation process is much different. I do sketch up figures and I layout numerous thumbnails. I'm just a little too particular - and even the word "particular" is being nice. I have trouble getting past reality and what I actually see. It's my own personal struggle, really. I'll sketch and then go accumulate references to match the idea. Probably because I don't trust my version and I always want a sense of realism. It helps me attach myself to it. I may be able to visualize a crazy world with disfigured light poles and lanes of elongated, El Greco looking people cycling in front of the shop, but I fight myself to actually put that down. Not sure why. I just know we all have our own way of massaging the process to actually work. And do so consistently.

So this piece stretched me a little. For whatever reason, I took it as a personal challenge. The image was in my head, but she wanted it kind of realistic. Not an illustration.

After sketching and sketching, I reverted back to 'ol faithful: the internets. And, much to my chagrin, she couldn't come through for me. (She's usually a faithful and trustworthy friend - full of vigor, naked people, and spice)

I went downstairs, grabbed Ashlee's Nikon and decided to setup a quick reference shoot. The process was fun. Maybe even a bit liberating.

Anyway, this is the final piece. She loved it and, which, honestly, is all I could ask for.

Addendum: Hell yeah, an addendum! Matt at Insight offered his Alla Prima blood inks. I was hesitant, but after using them, I'm off to buy my own.

I've been really busy. Which is a wonderful problem to have. So in the hustle of the daily tattoo grind, it's a pleasure to keep getting opportunities to chip away at existing pieces.

Every time Ashley doesn't sit very long, but she sits like a champ. So even if I get only an hour to work on this piece, I jump on it... because it's so dang fun.